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22 episodes with bensons
2 episodes with bensons
2 episodes with bensons
2 episodes with bensons
2 episodes with bensons
2 episodes with bensons
2 episodes with bensons
3 episodes with bensons
3 episodes with bensons
Brendolynn sat down with Sophie Awon, part of Bensons' simulated workplace, and gave an in-depth view of the video they entered in the contest.
Meet Heidi and Jason Benson--a dairying duo from Wisconsin that make you wish you lived next door. This week Cameron and Laura talk about their unique dairy operation and their venture into the ADGA show ring. By the way--happy 4th birthday to our Podcast!
Season 2 of Star Trek Prodigy premires July 1 on Netflix. Enjoy this conversation with the Bensons who wrote on season 1.
Ever wondered how mastering wind and grass can change your game in bow hunting? This episode delivers tactical insights from Aussie bow hunter Brett Meldrum, who shares his expertise and gripping stories, including an intense encounter with severe blood poisoning during a rut camp in Northern New South Wales. We explore the challenges of hunting old bucks, preferred shooting distances, and the camaraderie of hunts organized by Wild Safaris, where community and top hunting brands come together for memorable game captures. Whether you're a seasoned hunter or a newcomer, Brett's tales and tactics will keep you on the edge of your seat.Bow hunting is more than just a sport; it's a lifestyle. Join us as we discuss the local wildlife, from fearless black swamp wallabies to the legal restrictions around hunting kangaroos with a bow. You'll hear heartwarming stories of the host's young son Finn's hunting successes and get a peek into the dedication involved in maintaining a top-notch bow setup like the Matthews V3X 33. The episode highlights the practice routines and family involvement that make bow hunting a lifelong passion and a bonding experience. Curious about the nuances between bows or need expert advice for your next hunt? We delve into the differences between the V3X and Phase 4 bows, emphasizing the importance of comfort and fit. Brett offers invaluable tips for beginners, including recommendations for reputable bow shops across Australia like Bensons, Tobas and Abbey archery. We also cover strategies for stalking game in open country, facing the physical demands of the hunt, and the adrenaline rush of encounters with larger game like buffalo. Tune in for practical advice and exhilarating stories that will resonate with every hunter out there.For the latest information, news, giveaways and anything mentioned on the show head over to our Facebook, Instagram or website. If you have a question, comment, topic, gear review suggestion or a guest that you'd like to hear on the show, shoot an email to accuratehunts@gmail.com or via our socials.
We're back after a very long hiatus with a new co-host and a new horrific case. In July 1985, a widowed tobacco heiress and her three children were preparing to leave for an errand when their Chevrolet Suburban exploded in their driveway, killing Margaret Benson and her son, Scott and severely injuring her daughter, Carol Lynn. Unraveling this case exposes the soft white underbelly of a wealthy yet dysfunctional family including dark family secrets, decades of manipulation, and a cancerous greed. But who could hate the Bensons enough to want the entire family dead? Sources: Mewshaw, M. (2001). Money to Burn, The True Story of the Benson Family Murders. Touchstone Greenya, J. (1987). Blood Relations, The Exclusive Inside Story of the Benson Family Murders. Harcourt Brace Jovanovitch; Blook Club Edition State of Florida vs. Steven Wayne Benson Case Number 85778CFA31HDH court records from Collier County Circuit Court in Collier County, FL. Stauffer, C., (1987, July 23, updated 1987, July 27). The Bensons: Lancaster family ripped apart by greed and murder 30 years ago. https://lancasteronline.com/news/local/the-bensons-lancaster-family-ripped-apart-by-greed-and-murder-30-years-ago/article_f83a6526-312e-11e5-833e-479fc52b5ae4.html Bovsun, M., (2022, July 2). Justince Story: Greed leeds to tobacco heiress fiery death. https://www.nydailynews.com/2022/07/02/justice-story-greed-leads-to-tobacco-heiresss-fiery-death/ Stauffer, C., (2015, July 27, updated 2015, July 28). Anger and lonliness: Steven Benson's life in prison after he killed his family members. https://lancasteronline.com/news/local/danger-and-loneliness-steven-bensons-life-in-prison-after-he-killed-his-family-members/article_4a499c3c-31fd-11e5-834c-674601e629e0.html Batten, B., (2016, April 1). Medical Examiner says Benson was stabbed to death in prison. https://www.naplesnews.com/story/news/local/2016/04/01/medical-examiner-says-benson-was-stabbed-to-death-in-prison/85873180/ Greenya, J., (1986, August 8). Benson Found Guilty of Murder. The Washington Post, https://www.washingtonpost.com/archive/lifestyle/1986/08/08/benson-found-guilty/4d1327bc-9329-48a1-88b4-80b4614adfe2/ Hardy, J., (1986, July 28). Benson murder trial is soap opera material. UPI Archives. https://www.upi.com/Archives/1986/07/28/Benson-murder-trial-is-soap-opera-material/4992522907200/ Myers, B., (2023, Feb 23). Steven Benson's Motivation for Blowing Up His Mother, Tobacco Heiress Margaret Benson. Grunge. https://www.grunge.com/1208374/steven-bensons-motivation-for-blowing-up-his-mother-tobacco-heiress-margaret-benson/ Florida Man Murders, Season 1, Episode 3 on Oxygen. https://www.oxygen.com/florida-man-murders/season-1/episode-3/videos/investigators-recall-benson-family-murders-crime Greenya, J., (1986, Aug 6). In Florida murder most malevolent. The Washington Post. https://www.washingtonpost.com/archive/lifestyle/1986/08/07/in-florida-murder-most-malevolent/3c1c9fb0-560b-4b40-8185-fc701724d936/ Saunders, S., (2020). Reason First: American Car Bomb - The Steven Benson Murders. Criminal. https://vocal.media/criminal/reason-first-american-car-bomb-the-steven-benson-murders District Court of Appeal of Florida, Second District., (1989, Sept. 1). In re Estate of Benson. Casetext. https://casetext.com/case/in-re-estate-of-benson Burchett, C., (2018, Oct. 20). State's misstep triggers mistrial. Perry News-Herald. https://medium.com/@cait.burchett/so-there-is-no-way-to-prove-you-did-not-do-it-correct-2b01be15e9c6 Crimebox., (2022, Jun 7). The Murder of Margaret Benson [Video]. https://www.youtube.com/watch?v=P2Eebt9XTkU Stauffer, C., (2015, Jul 17). Man who blew up his tobacco heiress mother and brother dies in Florida prison. Lancaster Online. https://lancasteronline.com/news/local/man-who-blew-up-his-tobacco-heiress-mother-and-brother-dies-in-florida-prison/article_7070299a-2bd0-11e5-b3a0-eb16fc0eb50a.html Nordheimer, J., (1986, Aug 7). Florida Murder Trial that Bared Secrets of the Rich Nears End. NY Times. https://www.nytimes.com/1986/08/07/us/florida-murder-trial-that-bared-secrets-of-the-rich-nears-end.html Hardy, J. (1986, Jul 24). Tobacco heiress Margaret Benson had 'heated discussions' with her... . UPI Archives. https://www.upi.com/Archives/1986/07/24/Tobacco-heiress-Margaret-Benson-had-heated-discussions-with-her/1629522561600/ (1986, Aug 18). All in the Family. Time. https://time.com/archive/6706871/all-in-the-family-8/ (1985, Jul. 11). Murder of 'Quiet' Heiress, son stuns exclusive area. Sun Sentinel. https://www.sun-sentinel.com/1985/07/11/murder-of-quiet-heiress-son-stuns-exclusive-area/ Nordheimer, J., (1985, July 15). Florida Resort Shocked over Car-Bomb Slayings. The New York Times. https://www.nytimes.com/1985/07/15/us/florida-resort-shocked-over-car-bomb-slayings.html Cottrill, C., (2016, Aug 3), 30 years ago: Sensational Benson murder trial garnered headlines. Naples Daily News. https://www.naplesnews.com/story/news/local/communities/the-banner/2016/08/03/30-years-ago-sensational-benson-murder-trial-garnered-headlines/87953310/ Bearak, B., (1986, Jun 30)., Tobacco Heir Charged in Bombing Deaths of Relatives., Los Angeles Times. https://www.latimes.com/archives/la-xpm-1986-06-30-mn-19-story.html United Press International., (1986, Aug 5). Defense Rests in Benson Murder Case After Golfer Testifies. Los Angeles Times. https://www.latimes.com/archives/la-xpm-1986-08-05-mn-1395-story.html Contributed Content., (1988, Apr 13)., Chidren of Mother-Killer Inherit Heiress' Estate. Chicago Tribune. https://www.chicagotribune.com/1988/04/13/children-of-mother-killer-inherit-heiress-estate/ (1987, May 29). Woman Loses Child's Claim to Benson Estate. Orlando Sentinel. https://www.orlandosentinel.com/1987/05/29/woman-loses-childs-claim-to-benson-estate/ TFIGlobal News Desk., (2021, Dec 14). Carol Lynn Benson sent her brother to justice. TFIGlobal News. https://tfiglobalnews.com/2021/12/14/carol-lynn-benson-sent-her-brother-to-justice/ Superior Court of Pennsylvania., (1992, Nov 6) In re Benson, Casetext. https://casetext.com/case/in-re-benson-30
This morning, Dave wanted to know what makes you weird... AND Glenn had a story to share!
Original Air Date: April 14, 1947Host: Andrew RhynesShow: The Lone RangerPhone: (707) 98 OTRDW (6-8739) Stars:• Brace Beemer (Lone Ranger)• John Todd (Tonto) Writer:• Fran Striker Producer:• George W. Trendle Music:• Ben Bonnell Exit music from: Roundup on the Prairie by Aaron Kenny https://bit.ly/3kTj0kK
Original Air Date: April 14, 1947Host: Andrew RhynesShow: The Lone RangerPhone: (707) 98 OTRDW (6-8739) Stars:• Brace Beemer (Lone Ranger)• John Todd (Tonto) Writer:• Fran Striker Producer:• George W. Trendle Music:• Ben Bonnell Exit music from: Roundup on the Prairie by Aaron Kenny https://bit.ly/3kTj0kK
Internet Marketing: Insider Tips and Advice for Online Marketing
In this episode we're joined by Cheryl Crossley, head of digital PR at IDHL Group & Sarah-Jayne Taylorson, Digital PR Consultant at NORTH. Cheryl and Sarah Jane share insights into the evolving landscape of online PR, the importance of integrating digital PR with traditional PR, and the factors contributing to a successful digital PR campaign. They delve into the ideation process and the challenges of pitching to online publications and offer valuable tips on building relationships with journalists. Additionally, they discuss essential tools and resources for PR professionals, such as TikTok and the Grapevine newsletter, and how to stay informed about emerging trends. With valuable perspectives and practical advice, this episode provides a deep dive into the world of online PR and offers valuable insights for marketing professionals.In this episode:00:00 Trends in online PR and marketing.05:57 Successful digital PR should involve more than just backlinks.13:29 Journalists face intense pressure handling overwhelming PR.14:47 Encouraging personalized journalist relationships.19:54 Closing remarks: guests recommended resources.Resources mentioned in this episode:TikTok trendsFlipboardGrapevine newsletter More about our guests: Cheryl is Head of Digital PR at WMG, and has worked in the industry for 15 years. She has experience delivering PR strategies for clients in a broad range of sectors. She has previously spoken at brightonSEO, presenting talks on the Value of Brand Mentions and the Rise of No Follow Links. Connect with Cheryl here: https://www.linkedin.com/in/cheryl-crossley-57037264https://www.idhlgroup.com/about/who-we-are Sarah-Jayne is a Digital PR Consultant at Newcastle-based agency, NORTH. With over 3 years in-house experience, she is now working agency-side leading on iconic brands such as HelloFresh, Green Chef and Bensons for Beds. Connect with Sarah-Jane here: X @sarahjanepr https://www.wearenorth.co.ukhttps://www.linkedin.com/in/sarah-jayne-taylorson/ To find out more about us and the show visit https://internetmarketingpodcast.orgLike and subscribe so you never miss an episode, and leave us a comment if you enjoyed the show. Connect with us if you'd like to work with us, you'd like to feature on the podcast, or you have a guest or topic recommendation. Email kelvin@brightonseo.com or…https://www.linkedin.com/in/kelvinnewman/https://twitter.com/kelvinnewman Hosted on Acast. See acast.com/privacy for more information. Hosted on Acast. See acast.com/privacy for more information.
Kas ir apļi trijstūrī? Šo Ievas Vaivodes mīklu un citas salta laika mīklas min trīs jaunie dziedātāji, aktieri: Sarma Liede, Austra Elza Kozuliņa un Toms Kalderauskis. Ziemas jeb salta laika mīklas uzdod: Rūdolfs Otomers, Ināra Antiņa, Vita Krauja, Rasa Sofija Grimma, Mihails Kuzņecovs, Undīne Kalniņa, Katrīna Kūlaine, Ieva Vaivode, Elīna Stariņa, Māris Bensons, Dzintra Alužāne, Augusts Narkevičs, Kārlis Narkēvičs, Ausma un Renārs Krūmiņi.
More remote nonsense as Bensons devises the worst game show of all time and Sam doesn't understand diaries, dates or dentistsFor more exclusive content, visit our Instagram page here:www.instagram.com/killerrabbitpodGet your ‘Tweet' on right here:www.twitter.com/killerrabbitpodOr come join the discussion on our Facebook page:www.facebook.com/killerrabbitpodOr...If you'd rather not look at our ugly mugs but still want to join in, you can e-mail us at:killerrabbitpodcast@gmail.comIntro/Outro & Title Music provided by Free Vibes: https://goo.gl/NkGhTg Rock Thing by Creo: https://soundcloud.com/creo/rock-thingCreative Commons - Attribution 4.0 International (CC by 4.0): https://creativecommons.org/licenses/by/4.0/
Det kanske finns en anledning till den svaga kronan och Sveriges haveri. Det stavas facket. Det har varit Årets ledare-gala och den måste recenseras. Det snackas micro och micromicro bolag och så ställs Blomgrens pool och Bensons hund mot varandra. Såklart dedikeras avsnittet till alla sparares favorit Charlie Munger som gått bort. RIP! Börspoddens huvudsponsor är Skilling, besök dom på skilling.se. Läs mer om Skillings nya kapitalförsäkring i samarbete med Hubins på https://skilling.com/eu/sv/kf/
"Who Was That Masked Man?" The Lone Ranger is one of the iconic characters in American folklore. The Lone Ranger and Tonto are two of America's favorite western characters, and the theme and bridge music caused many thousands of kids to grow up to liking classical music, too. Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio
"Who Was That Masked Man?" The Lone Ranger is one of the iconic characters in American folklore.The Lone Ranger and Tonto are two of America's favorite western characters, and the theme and bridge music caused many thousands of kids to grow up to liking classical music, too.Listen to our radio station Old Time Radio https://link.radioking.com/otradioListen to other Shows at My Classic Radio https://www.myclassicradio.net/Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio
A telephone call to the Bensons.
Want to be heard on an episode? Send a voice message and ask us a question. Use this link: https://anchor.fm/adam-cabral/message My podcast will stay free but if you want to support me please subscribe. This will help me make more episodes and get new games to play for the podcast. Subscribe here: https://anchor.fm/adam-cabral/subscribe Bensons Roblox name is BensonsRobloxPodcast or BKKidzTV. Friend or follow him to join his games. Chech out Bensons youtube channel BK Kidz TV https://tinyurl.com/BKKidzTV-Youtube --- Send in a voice message: https://anchor.fm/adam-cabral/message
Want to be heard on an episode? Send a voice message and ask us a question. Use this link https://anchor.fm/adam-cabral/message My podcast will stay free but if you want to support me please subscribe. This will help me make more episodes and get new games to play for the podcast. Bensons Roblox name is BensonsRobloxPodcast or BKKidzTV. Friend or follow him to join his games. Chech out Bensons youtube channel BK Kidz TV https://tinyurl.com/BKKidzTV-Youtube --- Send in a voice message: https://anchor.fm/adam-cabral/message
Episode one hundred and forty-seven of A History of Rock Music in Five Hundred Songs looks at “Hey Joe" by the Jimi Hendrix Experience, and is the longest episode to date, at over two hours. Patreon backers also have a twenty-two-minute bonus episode available, on "Making Time" by The Creation. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud mix containing all the music excerpted in this episode. For information on the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. Information on Arthur Lee and Love came from Forever Changes: Arthur Lee and the Book of Love by John Einarson, and Arthur Lee: Alone Again Or by Barney Hoskyns. Information on Gary Usher's work with the Surfaris and the Sons of Adam came from The California Sound by Stephen McParland, which can be found at https://payhip.com/CMusicBooks Information on Jimi Hendrix came from Room Full of Mirrors by Charles R. Cross, Crosstown Traffic by Charles Shaar Murray, and Wild Thing by Philip Norman. Information on the history of "Hey Joe" itself came from all these sources plus Hey Joe: The Unauthorised Biography of a Rock Classic by Marc Shapiro, though note that most of that book is about post-1967 cover versions. Most of the pre-Experience session work by Jimi Hendrix I excerpt in this episode is on this box set of alternate takes and live recordings. And "Hey Joe" can be found on Are You Experienced? Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just a quick note before we start – this episode deals with a song whose basic subject is a man murdering a woman, and that song also contains references to guns, and in some versions to cocaine use. Some versions excerpted also contain misogynistic slurs. If those things are likely to upset you, please skip this episode, as the whole episode focusses on that song. I would hope it goes without saying that I don't approve of misogyny, intimate partner violence, or murder, and my discussing a song does not mean I condone acts depicted in its lyrics, and the episode itself deals with the writing and recording of the song rather than its subject matter, but it would be impossible to talk about the record without excerpting the song. The normalisation of violence against women in rock music lyrics is a subject I will come back to, but did not have room for in what is already a very long episode. Anyway, on with the show. Let's talk about the folk process, shall we? We've talked before, like in the episodes on "Stagger Lee" and "Ida Red", about how there are some songs that aren't really individual songs in themselves, but are instead collections of related songs that might happen to share a name, or a title, or a story, or a melody, but which might be different in other ways. There are probably more songs that are like this than songs that aren't, and it doesn't just apply to folk songs, although that's where we see it most notably. You only have to look at the way a song like "Hound Dog" changed from the Willie Mae Thornton version to the version by Elvis, which only shared a handful of words with the original. Songs change, and recombine, and everyone who sings them brings something different to them, until they change in ways that nobody could have predicted, like a game of telephone. But there usually remains a core, an archetypal story or idea which remains constant no matter how much the song changes. Like Stagger Lee shooting Billy in a bar over a hat, or Frankie killing her man -- sometimes the man is Al, sometimes he's Johnny, but he always done her wrong. And one of those stories is about a man who shoots his cheating woman with a forty-four, and tries to escape -- sometimes to a town called Jericho, and sometimes to Juarez, Mexico. The first version of this song we have a recording of is by Clarence Ashley, in 1929, a recording of an older folk song that was called, in his version, "Little Sadie": [Excerpt: Clarence Ashley, "Little Sadie"] At some point, somebody seems to have noticed that that song has a slight melodic similarity to another family of songs, the family known as "Cocaine Blues" or "Take a Whiff on Me", which was popular around the same time: [Excerpt: The Memphis Jug Band, "Cocaine Habit Blues"] And so the two songs became combined, and the protagonist of "Little Sadie" now had a reason to kill his woman -- a reason other than her cheating, that is. He had taken a shot of cocaine before shooting her. The first recording of this version, under the name "Cocaine Blues" seems to have been a Western Swing version by W. A. Nichol's Western Aces: [Excerpt: W.A. Nichol's Western Aces, "Cocaine Blues"] Woody Guthrie recorded a version around the same time -- I've seen different dates and so don't know for sure if it was before or after Nichol's version -- and his version had himself credited as songwriter, and included this last verse which doesn't seem to appear on any earlier recordings of the song: [Excerpt: Woody Guthrie, "Cocaine Blues"] That doesn't appear on many later recordings either, but it did clearly influence yet another song -- Mose Allison's classic jazz number "Parchman Farm": [Excerpt: Mose Allison, "Parchman Farm"] The most famous recordings of the song, though, were by Johnny Cash, who recorded it as both "Cocaine Blues" and as "Transfusion Blues". In Cash's version of the song, the murderer gets sentenced to "ninety-nine years in the Folsom pen", so it made sense that Cash would perform that on his most famous album, the live album of his January 1968 concerts at Folsom Prison, which revitalised his career after several years of limited success: [Excerpt: Johnny Cash, "Cocaine Blues (live at Folsom Prison)"] While that was Cash's first live recording at a prison, though, it wasn't the first show he played at a prison -- ever since the success of his single "Folsom Prison Blues" he'd been something of a hero to prisoners, and he had been doing shows in prisons for eleven years by the time of that recording. And on one of those shows he had as his support act a man named Billy Roberts, who performed his own song which followed the same broad outlines as "Cocaine Blues" -- a man with a forty-four who goes out to shoot his woman and then escapes to Mexico. Roberts was an obscure folk singer, who never had much success, but who was good with people. He'd been part of the Greenwich Village folk scene in the 1950s, and at a gig at Gerde's Folk City he'd met a woman named Niela Miller, an aspiring songwriter, and had struck up a relationship with her. Miller only ever wrote one song that got recorded by anyone else, a song called "Mean World Blues" that was recorded by Dave Van Ronk: [Excerpt: Dave Van Ronk, "Mean World Blues"] Now, that's an original song, but it does bear a certain melodic resemblance to another old folk song, one known as "Where Did You Sleep Last Night?" or "In the Pines", or sometimes "Black Girl": [Excerpt: Lead Belly, "Where Did You Sleep Last Night?"] Miller was clearly familiar with the tradition from which "Where Did You Sleep Last Night?" comes -- it's a type of folk song where someone asks a question and then someone else answers it, and this repeats, building up a story. This is a very old folk song format, and you hear it for example in "Lord Randall", the song on which Bob Dylan based "A Hard Rain's A-Gonna Fall": [Excerpt: Ewan MacColl, "Lord Randall"] I say she was clearly familiar with it, because the other song she wrote that anyone's heard was based very much around that idea. "Baby Please Don't Go To Town" is a question-and-answer song in precisely that form, but with an unusual chord progression for a folk song. You may remember back in the episode on "Eight Miles High" I talked about the circle of fifths -- a chord progression which either increases or decreases by a fifth for every chord, so it might go C-G-D-A-E [demonstrates] That's a common progression in pop and jazz, but not really so much in folk, but it's the one that Miller had used for "Baby, Please Don't Go to Town", and she'd taught Roberts that song, which she only recorded much later: [Excerpt: Niela Miller, "Baby, Please Don't Go To Town"] After Roberts and Miller broke up, Miller kept playing that melody, but he changed the lyrics. The lyrics he added had several influences. There was that question-and-answer folk-song format, there's the story of "Cocaine Blues" with its protagonist getting a forty-four to shoot his woman down before heading to Mexico, and there's also a country hit from 1953. "Hey, Joe!" was originally recorded by Carl Smith, one of the most popular country singers of the early fifties: [Excerpt: Carl Smith, "Hey Joe!"] That was written by Boudleaux Bryant, a few years before the songs he co-wrote for the Everly Brothers, and became a country number one, staying at the top for eight weeks. It didn't make the pop chart, but a pop cover version of it by Frankie Laine made the top ten in the US: [Excerpt: Frankie Laine, "Hey Joe"] Laine's record did even better in the UK, where it made number one, at a point where Laine was the biggest star in music in Britain -- at the time the UK charts only had a top twelve, and at one point four of the singles in the top twelve were by Laine, including that one. There was also an answer record by Kitty Wells which made the country top ten later that year: [Excerpt: Kitty Wells, "Hey Joe"] Oddly, despite it being a very big hit, that "Hey Joe" had almost no further cover versions for twenty years, though it did become part of the Searchers' setlist, and was included on their Live at the Star Club album in 1963, in an arrangement that owed a lot to "What'd I Say": [Excerpt: The Searchers, "Hey Joe"] But that song was clearly on Roberts' mind when, as so many American folk musicians did, he travelled to the UK in the late fifties and became briefly involved in the burgeoning UK folk movement. In particular, he spent some time with a twelve-string guitar player from Edinburgh called Len Partridge, who was also a mentor to Bert Jansch, and who was apparently an extraordinary musician, though I know of no recordings of his work. Partridge helped Roberts finish up the song, though Partridge is about the only person in this story who *didn't* claim a writing credit for it at one time or another, saying that he just helped Roberts out and that Roberts deserved all the credit. The first known recording of the completed song is from 1962, a few years after Roberts had returned to the US, though it didn't surface until decades later: [Excerpt: Billy Roberts, "Hey Joe"] Roberts was performing this song regularly on the folk circuit, and around the time of that recording he also finally got round to registering the copyright, several years after it was written. When Miller heard the song, she was furious, and she later said "Imagine my surprise when I heard Hey Joe by Billy Roberts. There was my tune, my chord progression, my question/answer format. He dropped the bridge that was in my song and changed it enough so that the copyright did not protect me from his plagiarism... I decided not to go through with all the complications of dealing with him. He never contacted me about it or gave me any credit. He knows he committed a morally reprehensible act. He never was man enough to make amends and apologize to me, or to give credit for the inspiration. Dealing with all that was also why I made the decision not to become a professional songwriter. It left a bad taste in my mouth.” Pete Seeger, a friend of Miller's, was outraged by the injustice and offered to testify on her behalf should she decide to take Roberts to court, but she never did. Some time around this point, Roberts also played on that prison bill with Johnny Cash, and what happened next is hard to pin down. I've read several different versions of the story, which change the date and which prison this was in, and none of the details in any story hang together properly -- everything introduces weird inconsistencies and things which just make no sense at all. Something like this basic outline of the story seems to have happened, but the outline itself is weird, and we'll probably never know the truth. Roberts played his set, and one of the songs he played was "Hey Joe", and at some point he got talking to one of the prisoners in the audience, Dino Valenti. We've met Valenti before, in the episode on "Mr. Tambourine Man" -- he was a singer/songwriter himself, and would later be the lead singer of Quicksilver Messenger Service, but he's probably best known for having written "Get Together": [Excerpt: Dino Valenti, "Get Together"] As we heard in the "Mr. Tambourine Man" episode, Valenti actually sold off his rights to that song to pay for his bail at one point, but he was in and out of prison several times because of drug busts. At this point, or so the story goes, he was eligible for parole, but he needed to prove he had a possible income when he got out, and one way he wanted to do that was to show that he had written a song that could be a hit he could make money off, but he didn't have such a song. He talked about his predicament with Roberts, who agreed to let him claim to have written "Hey Joe" so he could get out of prison. He did make that claim, and when he got out of prison he continued making the claim, and registered the copyright to "Hey Joe" in his own name -- even though Roberts had already registered it -- and signed a publishing deal for it with Third Story Music, a company owned by Herb Cohen, the future manager of the Mothers of Invention, and Cohen's brother Mutt. Valenti was a popular face on the folk scene, and he played "his" song to many people, but two in particular would influence the way the song would develop, both of them people we've seen relatively recently in episodes of the podcast. One of them, Vince Martin, we'll come back to later, but the other was David Crosby, and so let's talk about him and the Byrds a bit more. Crosby and Valenti had been friends long before the Byrds formed, and indeed we heard in the "Mr. Tambourine Man" episode how the group had named themselves after Valenti's song "Birdses": [Excerpt: Dino Valenti, "Birdses"] And Crosby *loved* "Hey Joe", which he believed was another of Valenti's songs. He'd perform it every chance he got, playing it solo on guitar in an arrangement that other people have compared to Mose Allison. He'd tried to get it on the first two Byrds albums, but had been turned down, mostly because of their manager and uncredited co-producer Jim Dickson, who had strong opinions about it, saying later "Some of the songs that David would bring in from the outside were perfectly valid songs for other people, but did not seem to be compatible with the Byrds' myth. And he may not have liked the Byrds' myth. He fought for 'Hey Joe' and he did it. As long as I could say 'No!' I did, and when I couldn't any more they did it. You had to give him something somewhere. I just wish it was something else... 'Hey Joe' I was bitterly opposed to. A song about a guy who murders his girlfriend in a jealous rage and is on the way to Mexico with a gun in his hand. It was not what I saw as a Byrds song." Indeed, Dickson was so opposed to the song that he would later say “One of the reasons David engineered my getting thrown out was because I would not let Hey Joe be on the Turn! Turn! Turn! album.” Dickson was, though, still working with the band when they got round to recording it. That came during the recording of their Fifth Dimension album, the album which included "Eight Miles High". That album was mostly recorded after the departure of Gene Clark, which was where we left the group at the end of the "Eight Miles High" episode, and the loss of their main songwriter meant that they were struggling for material -- doubly so since they also decided they were going to move away from Dylan covers. This meant that they had to rely on original material from the group's less commercial songwriters, and on a few folk songs, mostly learned from Pete Seeger The album ended up with only eleven songs on it, compared to the twelve that was normal for American albums at that time, and the singles on it after "Eight Miles High" weren't particularly promising as to the group's ability to come up with commercial material. The next single, "5D", a song by Roger McGuinn about the fifth dimension, was a waltz-time song that both Crosby and Chris Hillman were enthused by. It featured organ by Van Dyke Parks, and McGuinn said of the organ part "When he came into the studio I told him to think Bach. He was already thinking Bach before that anyway.": [Excerpt: The Byrds, "5D"] While the group liked it, though, that didn't make the top forty. The next single did, just about -- a song that McGuinn had written as an attempt at communicating with alien life. He hoped that it would be played on the radio, and that the radio waves would eventually reach aliens, who would hear it and respond: [Excerpt: The Byrds, "Mr. Spaceman"] The "Fifth Dimension" album did significantly worse, both critically and commercially, than their previous albums, and the group would soon drop Allen Stanton, the producer, in favour of Gary Usher, Brian Wilson's old songwriting partner. But the desperation for material meant that the group agreed to record the song which they still thought at that time had been written by Crosby's friend, though nobody other than Crosby was happy with it, and even Crosby later said "It was a mistake. I shouldn't have done it. Everybody makes mistakes." McGuinn said later "The reason Crosby did lead on 'Hey Joe' was because it was *his* song. He didn't write it but he was responsible for finding it. He'd wanted to do it for years but we would never let him.": [Excerpt: The Byrds, "Hey Joe"] Of course, that arrangement is very far from the Mose Allison style version Crosby had been doing previously. And the reason for that can be found in the full version of that McGuinn quote, because the full version continues "He'd wanted to do it for years but we would never let him. Then both Love and The Leaves had a minor hit with it and David got so angry that we had to let him do it. His version wasn't that hot because he wasn't a strong lead vocalist." The arrangement we just heard was the arrangement that by this point almost every group on the Sunset Strip scene was playing. And the reason for that was because of another friend of Crosby's, someone who had been a roadie for the Byrds -- Bryan MacLean. MacLean and Crosby had been very close because they were both from very similar backgrounds -- they were both Hollywood brats with huge egos. MacLean later said "Crosby and I got on perfectly. I didn't understand what everybody was complaining about, because he was just like me!" MacLean was, if anything, from an even more privileged background than Crosby. His father was an architect who'd designed houses for Elizabeth Taylor and Dean Martin, his neighbour when growing up was Frederick Loewe, the composer of My Fair Lady. He learned to swim in Elizabeth Taylor's private pool, and his first girlfriend was Liza Minelli. Another early girlfriend was Jackie DeShannon, the singer-songwriter who did the original version of "Needles and Pins", who he was introduced to by Sharon Sheeley, whose name you will remember from many previous episodes. MacLean had wanted to be an artist until his late teens, when he walked into a shop in Westwood which sometimes sold his paintings, the Sandal Shop, and heard some people singing folk songs there. He decided he wanted to be a folk singer, and soon started performing at the Balladeer, a club which would later be renamed the Troubadour, playing songs like Robert Johnson's "Cross Roads Blues", which had recently become a staple of the folk repertoire after John Hammond put out the King of the Delta Blues Singers album: [Excerpt: Robert Johnson, "Cross Roads Blues"] Reading interviews with people who knew MacLean at the time, the same phrase keeps coming up. John Kay, later the lead singer of Steppenwolf, said "There was a young kid, Bryan MacLean, kind of cocky but nonetheless a nice kid, who hung around Crosby and McGuinn" while Chris Hillman said "He was a pretty good kid but a wee bit cocky." He was a fan of the various musicians who later formed the Byrds, and was also an admirer of a young guitarist on the scene named Ryland Cooder, and of a blues singer on the scene named Taj Mahal. He apparently was briefly in a band with Taj Mahal, called Summer's Children, who as far as I can tell had no connection to the duo that Curt Boettcher later formed of the same name, before Taj Mahal and Cooder formed The Rising Sons, a multi-racial blues band who were for a while the main rivals to the Byrds on the scene. MacLean, though, firmly hitched himself to the Byrds, and particularly to Crosby. He became a roadie on their first tour, and Hillman said "He was a hard-working guy on our behalf. As I recall, he pretty much answered to Crosby and was David's assistant, to put it diplomatically – more like his gofer, in fact." But MacLean wasn't cut out for the hard work that being a roadie required, and after being the Byrds' roadie for about thirty shows, he started making mistakes, and when they went off on their UK tour they decided not to keep employing him. He was heartbroken, but got back into trying his own musical career. He auditioned for the Monkees, unsuccessfully, but shortly after that -- some sources say even the same day as the audition, though that seems a little too neat -- he went to Ben Frank's -- the LA hangout that had actually been namechecked in the open call for Monkees auditions, which said they wanted "Ben Franks types", and there he met Arthur Lee and Johnny Echols. Echols would later remember "He was this gadfly kind of character who knew everybody and was flitting from table to table. He wore striped pants and a scarf, and he had this long, strawberry hair. All the girls loved him. For whatever reason, he came and sat at our table. Of course, Arthur and I were the only two black people there at the time." Lee and Echols were both Black musicians who had been born in Memphis. Lee's birth father, Chester Taylor, had been a cornet player with Jimmie Lunceford, whose Delta Rhythm Boys had had a hit with "The Honeydripper", as we heard way back in the episode on "Rocket '88": [Excerpt: Jimmie Lunceford and the Delta Rhythm Boys, "The Honeydripper"] However, Taylor soon split from Lee's mother, a schoolteacher, and she married Clinton Lee, a stonemason, who doted on his adopted son, and they moved to California. They lived in a relatively prosperous area of LA, a neighbourhood that was almost all white, with a few Asian families, though the boxer Sugar Ray Robinson lived nearby. A year or so after Arthur and his mother moved to LA, so did the Echols family, who had known them in Memphis, and they happened to move only a couple of streets away. Eight year old Arthur Lee reconnected with seven-year-old Johnny Echols, and the two became close friends from that point on. Arthur Lee first started out playing music when his parents were talked into buying him an accordion by a salesman who would go around with a donkey, give kids free donkey rides, and give the parents a sales pitch while they were riding the donkey, He soon gave up on the accordion and persuaded his parents to buy him an organ instead -- he was a spoiled child, by all accounts, with a TV in his bedroom, which was almost unheard of in the late fifties. Johnny Echols had a similar experience which led to his parents buying him a guitar, and the two were growing up in a musical environment generally. They attended Dorsey High School at the same time as both Billy Preston and Mike Love of the Beach Boys, and Ella Fitzgerald and her then-husband, the great jazz bass player Ray Brown, lived in the same apartment building as the Echols family for a while. Ornette Coleman, the free-jazz saxophone player, lived next door to Echols, and Adolphus Jacobs, the guitarist with the Coasters, gave him guitar lessons. Arthur Lee also knew Johnny Otis, who ran a pigeon-breeding club for local children which Arthur would attend. Echols was the one who first suggested that he and Arthur should form a band, and they put together a group to play at a school talent show, performing "Last Night", the instrumental that had been a hit for the Mar-Keys on Stax records: [Excerpt: The Mar-Keys, "Last Night"] They soon became a regular group, naming themselves Arthur Lee and the LAGs -- the LA Group, in imitation of Booker T and the MGs – the Memphis Group. At some point around this time, Lee decided to switch from playing organ to playing guitar. He would say later that this was inspired by seeing Johnny "Guitar" Watson get out of a gold Cadillac, wearing a gold suit, and with gold teeth in his mouth. The LAGs started playing as support acts and backing bands for any blues and soul acts that came through LA, performing with Big Mama Thornton, Johnny Otis, the O'Jays, and more. Arthur and Johnny were both still under-age, and they would pencil in fake moustaches to play the clubs so they'd appear older. In the fifties and early sixties, there were a number of great electric guitar players playing blues on the West Coast -- Johnny "Guitar" Watson, T-Bone Walker, Guitar Slim, and others -- and they would compete with each other not only to play well, but to put on a show, and so there was a whole bag of stage tricks that West Coast R&B guitarists picked up, and Echols learned all of them -- playing his guitar behind his back, playing his guitar with his teeth, playing with his guitar between his legs. As well as playing their own shows, the LAGs also played gigs under other names -- they had a corrupt agent who would book them under the name of whatever Black group had a hit at the time, in the belief that almost nobody knew what popular groups looked like anyway, so they would go out and perform as the Drifters or the Coasters or half a dozen other bands. But Arthur Lee in particular wanted to have success in his own right. He would later say "When I was a little boy I would listen to Nat 'King' Cole and I would look at that purple Capitol Records logo. I wanted to be on Capitol, that was my goal. Later on I used to walk from Dorsey High School all the way up to the Capitol building in Hollywood -- did that many times. I was determined to get a record deal with Capitol, and I did, without the help of a fancy manager or anyone else. I talked to Adam Ross and Jack Levy at Ardmore-Beechwood. I talked to Kim Fowley, and then I talked to Capitol". The record that the LAGs released, though, was not very good, a track called "Rumble-Still-Skins": [Excerpt: The LAGs, "Rumble-Still-Skins"] Lee later said "I was young and very inexperienced and I was testing the record company. I figured if I gave them my worst stuff and they ripped me off I wouldn't get hurt. But it didn't work, and after that I started giving my best, and I've been doing that ever since." The LAGs were dropped by Capitol after one single, and for the next little while Arthur and Johnny did work for smaller labels, usually labels owned by Bob Keane, with Arthur writing and producing and Johnny playing guitar -- though Echols has said more recently that a lot of the songs that were credited to Arthur as sole writer were actually joint compositions. Most of these records were attempts at copying the style of other people. There was "I Been Trying", a Phil Spector soundalike released by Little Ray: [Excerpt: Little Ray, "I Been Trying"] And there were a few attempts at sounding like Curtis Mayfield, like "Slow Jerk" by Ronnie and the Pomona Casuals: [Excerpt: Ronnie and the Pomona Casuals, "Slow Jerk"] and "My Diary" by Rosa Lee Brooks: [Excerpt: Rosa Lee Brooks, "My Diary"] Echols was also playing with a lot of other people, and one of the musicians he was playing with, his old school friend Billy Preston, told him about a recent European tour he'd been on with Little Richard, and the band from Liverpool he'd befriended while he was there who idolised Richard, so when the Beatles hit America, Arthur and Johnny had some small amount of context for them. They soon broke up the LAGs and formed another group, the American Four, with two white musicians, bass player John Fleckenstein and drummer Don Costa. Lee had them wear wigs so they seemed like they had longer hair, and started dressing more eccentrically -- he would soon become known for wearing glasses with one blue lens and one red one, and, as he put it "wearing forty pounds of beads, two coats, three shirts, and wearing two pairs of shoes on one foot". As well as the Beatles, the American Four were inspired by the other British Invasion bands -- Arthur was in the audience for the TAMI show, and quite impressed by Mick Jagger -- and also by the Valentinos, Bobby Womack's group. They tried to get signed to SAR Records, the label owned by Sam Cooke for which the Valentinos recorded, but SAR weren't interested, and they ended up recording for Bob Keane's Del-Fi records, where they cut "Luci Baines", a "Twist and Shout" knock-off with lyrics referencing the daughter of new US President Lyndon Johnson: [Excerpt: The American Four, "Luci Baines"] But that didn't take off any more than the earlier records had. Another American Four track, "Stay Away", was recorded but went unreleased until 2006: [Excerpt: Arthur Lee and the American Four, "Stay Away"] Soon the American Four were changing their sound and name again. This time it was because of two bands who were becoming successful on the Sunset Strip. One was the Byrds, who to Lee's mind were making music like the stuff he heard in his head, and the other was their rivals the Rising Sons, the blues band we mentioned earlier with Taj Mahal and Ry Cooder. Lee was very impressed by them as an multiracial band making aggressive, loud, guitar music, though he would always make the point when talking about them that they were a blues band, not a rock band, and *he* had the first multiracial rock band. Whatever they were like live though, in their recordings, produced by the Byrds' first producer Terry Melcher, the Rising Sons often had the same garage band folk-punk sound that Lee and Echols would soon make their own: [Excerpt: The Rising Sons, "Take a Giant Step"] But while the Rising Sons recorded a full album's worth of material, only one single was released before they split up, and so the way was clear for Lee and Echols' band, now renamed once again to The Grass Roots, to become the Byrds' new challengers. Lee later said "I named the group The Grass Roots behind a trip, or an album I heard that Malcolm X did, where he said 'the grass roots of the people are out in the street doing something about their problems instead of sitting around talking about it'". After seeing the Rolling Stones and the Byrds live, Lee wanted to get up front and move like Mick Jagger, and not be hindered by playing a guitar he wasn't especially good at -- both the Stones and the Byrds had two guitarists and a frontman who just sang and played hand percussion, and these were the models that Lee was following for the group. He also thought it would be a good idea commercially to get a good-looking white boy up front. So the group got in another guitarist, a white pretty boy who Lee soon fell out with and gave the nickname "Bummer Bob" because he was unpleasant to be around. Those of you who know exactly why Bobby Beausoleil later became famous will probably agree that this was a more than reasonable nickname to give him (and those of you who don't, I'll be dealing with him when we get to 1969). So when Bryan MacLean introduced himself to Lee and Echols, and they found out that not only was he also a good-looking white guitarist, but he was also friends with the entire circle of hipsters who'd been going to Byrds gigs, people like Vito and Franzoni, and he could get a massive crowd of them to come along to gigs for any band he was in and make them the talk of the Sunset Strip scene, he was soon in the Grass Roots, and Bummer Bob was out. The Grass Roots soon had to change their name again, though. In 1965, Jan and Dean recorded their "Folk and Roll" album, which featured "The Universal Coward"... Which I am not going to excerpt again. I only put that pause in to terrify Tilt, who edits these podcasts, and has very strong opinions about that song. But P. F. Sloan and Steve Barri, the songwriters who also performed as the Fantastic Baggies, had come up with a song for that album called "Where Where You When I Needed You?": [Excerpt: Jan and Dean, "Where Were You When I Needed You?"] Sloan and Barri decided to cut their own version of that song under a fake band name, and then put together a group of other musicians to tour as that band. They just needed a name, and Lou Adler, the head of Dunhill Records, suggested they call themselves The Grass Roots, and so that's what they did: [Excerpt: The Grass Roots, "Where Were You When I Needed You?"] Echols would later claim that this was deliberate malice on Adler's part -- that Adler had come in to a Grass Roots show drunk, and pretended to be interested in signing them to a contract, mostly to show off to a woman he'd brought with him. Echols and MacLean had spoken to him, not known who he was, and he'd felt disrespected, and Echols claims that he suggested the name to get back at them, and also to capitalise on their local success. The new Grass Roots soon started having hits, and so the old band had to find another name, which they got as a joking reference to a day job Lee had had at one point -- he'd apparently worked in a specialist bra shop, Luv Brassieres, which the rest of the band found hilarious. The Grass Roots became Love. While Arthur Lee was the group's lead singer, Bryan MacLean would often sing harmonies, and would get a song or two to sing live himself. And very early in the group's career, when they were playing a club called Bido Lito's, he started making his big lead spot a version of "Hey Joe", which he'd learned from his old friend David Crosby, and which soon became the highlight of the group's set. Their version was sped up, and included the riff which the Searchers had popularised in their cover version of "Needles and Pins", the song originally recorded by MacLean's old girlfriend Jackie DeShannon: [Excerpt: The Searchers, "Needles and Pins"] That riff is a very simple one to play, and variants of it became very, very, common among the LA bands, most notably on the Byrds' "I'll Feel a Whole Lot Better": [Excerpt: The Byrds, "I'll Feel a Whole Lot Better"] The riff was so ubiquitous in the LA scene that in the late eighties Frank Zappa would still cite it as one of his main memories of the scene. I'm going to quote from his autobiography, where he's talking about the differences between the LA scene he was part of and the San Francisco scene he had no time for: "The Byrds were the be-all and end-all of Los Angeles rock then. They were 'It' -- and then a group called Love was 'It.' There were a few 'psychedelic' groups that never really got to be 'It,' but they could still find work and get record deals, including the West Coast Pop Art Experimental Band, Sky Saxon and the Seeds, and the Leaves (noted for their cover version of "Hey, Joe"). When we first went to San Francisco, in the early days of the Family Dog, it seemed that everybody was wearing the same costume, a mixture of Barbary Coast and Old West -- guys with handlebar mustaches, girls in big bustle dresses with feathers in their hair, etc. By contrast, the L.A. costumery was more random and outlandish. Musically, the northern bands had a little more country style. In L.A., it was folk-rock to death. Everything had that" [and here Zappa uses the adjectival form of a four-letter word beginning with 'f' that the main podcast providers don't like you saying on non-adult-rated shows] "D chord down at the bottom of the neck where you wiggle your finger around -- like 'Needles and Pins.'" The reason Zappa describes it that way, and the reason it became so popular, is that if you play that riff in D, the chords are D, Dsus2, and Dsus4 which means you literally only wiggle one finger on your left hand: [demonstrates] And so you get that on just a ton of records from that period, though Love, the Byrds, and the Searchers all actually play the riff on A rather than D: [demonstrates] So that riff became the Big Thing in LA after the Byrds popularised the Searchers sound there, and Love added it to their arrangement of "Hey Joe". In January 1966, the group would record their arrangement of it for their first album, which would come out in March: [Excerpt: Love, "Hey Joe"] But that wouldn't be the first recording of the song, or of Love's arrangement of it – although other than the Byrds' version, it would be the only one to come out of LA with the original Billy Roberts lyrics. Love's performances of the song at Bido Lito's had become the talk of the Sunset Strip scene, and soon every band worth its salt was copying it, and it became one of those songs like "Louie Louie" before it that everyone would play. The first record ever made with the "Hey Joe" melody actually had totally different lyrics. Kim Fowley had the idea of writing a sequel to "Hey Joe", titled "Wanted Dead or Alive", about what happened after Joe shot his woman and went off. He produced the track for The Rogues, a group consisting of Michael Lloyd and Shaun Harris, who later went on to form the West Coast Pop Art Experimental Band, and Lloyd and Harris were the credited writers: [Excerpt: The Rogues, "Wanted Dead or Alive"] The next version of the song to come out was the first by anyone to be released as "Hey Joe", or at least as "Hey Joe, Where You Gonna Go?", which was how it was titled on its initial release. This was by a band called The Leaves, who were friends of Love, and had picked up on "Hey Joe", and was produced by Nik Venet. It was also the first to have the now-familiar opening line "Hey Joe, where you going with that gun in your hand?": [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] Roberts' original lyric, as sung by both Love and the Byrds, had been "where you going with that money in your hand?", and had Joe headed off to *buy* the gun. But as Echols later said “What happened was Bob Lee from The Leaves, who were friends of ours, asked me for the words to 'Hey Joe'. I told him I would have the words the next day. I decided to write totally different lyrics. The words you hear on their record are ones I wrote as a joke. The original words to Hey Joe are ‘Hey Joe, where you going with that money in your hand? Well I'm going downtown to buy me a blue steel .44. When I catch up with that woman, she won't be running round no more.' It never says ‘Hey Joe where you goin' with that gun in your hand.' Those were the words I wrote just because I knew they were going to try and cover the song before we released it. That was kind of a dirty trick that I played on The Leaves, which turned out to be the words that everybody uses.” That first release by the Leaves also contained an extra verse -- a nod to Love's previous name: [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] That original recording credited the song as public domain -- apparently Bryan MacLean had refused to tell the Leaves who had written the song, and so they assumed it was traditional. It came out in November 1965, but only as a promo single. Even before the Leaves, though, another band had recorded "Hey Joe", but it didn't get released. The Sons of Adam had started out as a surf group called the Fender IV, who made records like "Malibu Run": [Excerpt: The Fender IV, "Malibu Run"] Kim Fowley had suggested they change their name to the Sons of Adam, and they were another group who were friends with Love -- their drummer, Michael Stuart-Ware, would later go on to join Love, and Arthur Lee wrote the song "Feathered Fish" for them: [Excerpt: Sons of Adam, "Feathered Fish"] But while they were the first to record "Hey Joe", their version has still to this day not been released. Their version was recorded for Decca, with producer Gary Usher, but before it was released, another Decca artist also recorded the song, and the label weren't sure which one to release. And then the label decided to press Usher to record a version with yet another act -- this time with the Surfaris, the surf group who had had a hit with "Wipe Out". Coincidentally, the Surfaris had just changed bass players -- their most recent bass player, Ken Forssi, had quit and joined Love, whose own bass player, John Fleckenstein, had gone off to join the Standells, who would also record a version of “Hey Joe” in 1966. Usher thought that the Sons of Adam were much better musicians than the Surfaris, who he was recording with more or less under protest, but their version, using Love's arrangement and the "gun in your hand" lyrics, became the first version to come out on a major label: [Excerpt: The Surfaris, "Hey Joe"] They believed the song was in the public domain, and so the songwriting credits on the record are split between Gary Usher, a W. Hale who nobody has been able to identify, and Tony Cost, a pseudonym for Nik Venet. Usher said later "I got writer's credit on it because I was told, or I assumed at the time, the song was Public Domain; meaning a non-copyrighted song. It had already been cut two or three times, and on each occasion the writing credit had been different. On a traditional song, whoever arranges it, takes the songwriting credit. I may have changed a few words and arranged and produced it, but I certainly did not co-write it." The public domain credit also appeared on the Leaves' second attempt to cut the song, which was actually given a general release, but flopped. But when the Leaves cut the song for a *third* time, still for the same tiny label, Mira, the track became a hit in May 1966, reaching number thirty-one: [Excerpt: The Leaves, "Hey Joe"] And *that* version had what they thought was the correct songwriting credit, to Dino Valenti. Which came as news to Billy Roberts, who had registered the copyright to the song back in 1962 and had no idea that it had become a staple of LA garage rock until he heard his song in the top forty with someone else's name on the credits. He angrily confronted Third Story Music, who agreed to a compromise -- they would stop giving Valenti songwriting royalties and start giving them to Roberts instead, so long as he didn't sue them and let them keep the publishing rights. Roberts was indignant about this -- he deserved all the money, not just half of it -- but he went along with it to avoid a lawsuit he might not win. So Roberts was now the credited songwriter on the versions coming out of the LA scene. But of course, Dino Valenti had been playing "his" song to other people, too. One of those other people was Vince Martin. Martin had been a member of a folk-pop group called the Tarriers, whose members also included the future film star Alan Arkin, and who had had a hit in the 1950s with "Cindy, Oh Cindy": [Excerpt: The Tarriers, "Cindy, Oh Cindy"] But as we heard in the episode on the Lovin' Spoonful, he had become a Greenwich Village folkie, in a duo with Fred Neil, and recorded an album with him, "Tear Down the Walls": [Excerpt: Fred Neil and Vince Martin, "Morning Dew"] That song we just heard, "Morning Dew", was another question-and-answer folk song. It was written by the Canadian folk-singer Bonnie Dobson, but after Martin and Neil recorded it, it was picked up on by Martin's friend Tim Rose who stuck his own name on the credits as well, without Dobson's permission, for a version which made the song into a rock standard for which he continued to collect royalties: [Excerpt: Tim Rose, "Morning Dew"] This was something that Rose seems to have made a habit of doing, though to be fair to him it went both ways. We heard about him in the Lovin' Spoonful episode too, when he was in a band named the Big Three with Cass Elliot and her coincidentally-named future husband Jim Hendricks, who recorded this song, with Rose putting new music to the lyrics of the old public domain song "Oh! Susanna": [Excerpt: The Big Three, "The Banjo Song"] The band Shocking Blue used that melody for their 1969 number-one hit "Venus", and didn't give Rose any credit: [Excerpt: Shocking Blue, "Venus"] But another song that Rose picked up from Vince Martin was "Hey Joe". Martin had picked the song up from Valenti, but didn't know who had written it, or who was claiming to have written it, and told Rose he thought it might be an old Appalchian murder ballad or something. Rose took the song and claimed writing credit in his own name -- he would always, for the rest of his life, claim it was an old folk tune he'd heard in Florida, and that he'd rewritten it substantially himself, but no evidence of the song has ever shown up from prior to Roberts' copyright registration, and Rose's version is basically identical to Roberts' in melody and lyrics. But Rose takes his version at a much slower pace, and his version would be the model for the most successful versions going forward, though those other versions would use the lyrics Johnny Echols had rewritten, rather than the ones Rose used: [Excerpt: Tim Rose, "Hey Joe"] Rose's version got heard across the Atlantic as well. And in particular it was heard by Chas Chandler, the bass player of the Animals. Some sources seem to suggest that Chandler first heard the song performed by a group called the Creation, but in a biography I've read of that group they clearly state that they didn't start playing the song until 1967. But however he came across it, when Chandler heard Rose's recording, he knew that the song could be a big hit for someone, but he didn't know who. And then he bumped into Linda Keith, Keith Richards' girlfriend, who took him to see someone whose guitar we've already heard in this episode: [Excerpt: Rosa Lee Brooks, "My Diary"] The Curtis Mayfield impression on guitar there was, at least according to many sources the first recording session ever played on by a guitarist then calling himself Maurice (or possibly Mo-rees) James. We'll see later in the story that it possibly wasn't his first -- there are conflicting accounts, as there are about a lot of things, and it was recorded either in very early 1964, in which case it was his first, or (as seems more likely, and as I tell the story later) a year later, in which case he'd played on maybe half a dozen tracks in the studio by that point. But it was still a very early one. And by late 1966 that guitarist had reverted to the name by which he was brought up, and was calling himself Jimi Hendrix. Hendrix and Arthur Lee had become close, and Lee would later claim that Hendrix had copied much of Lee's dress style and attitude -- though many of Hendrix's other colleagues and employers, including Little Richard, would make similar claims -- and most of them had an element of truth, as Lee's did. Hendrix was a sponge. But Lee did influence him. Indeed, one of Hendrix's *last* sessions, in March 1970, was guesting on an album by Love: [Excerpt: Love with Jimi Hendrix, "Everlasting First"] Hendrix's name at birth was Johnny Allen Hendrix, which made his father, James Allen Hendrix, known as Al, who was away at war when his son was born, worry that he'd been named after another man who might possibly be the real father, so the family just referred to the child as "Buster" to avoid the issue. When Al Hendrix came back from the war the child was renamed James Marshall Hendrix -- James after Al's first name, Marshall after Al's dead brother -- though the family continued calling him "Buster". Little James Hendrix Junior didn't have anything like a stable home life. Both his parents were alcoholics, and Al Hendrix was frequently convinced that Jimi's mother Lucille was having affairs and became abusive about it. They had six children, four of whom were born disabled, and Jimi was the only one to remain with his parents -- the rest were either fostered or adopted at birth, fostered later on because the parents weren't providing a decent home life, or in one case made a ward of state because the Hendrixes couldn't afford to pay for a life-saving operation for him. The only one that Jimi had any kind of regular contact with was the second brother, Leon, his parents' favourite, who stayed with them for several years before being fostered by a family only a few blocks away. Al and Lucille Hendrix frequently split and reconciled, and while they were ostensibly raising Jimi (and for a few years Leon), he was shuttled between them and various family members and friends, living sometimes in Seattle where his parents lived and sometimes in Vancouver with his paternal grandmother. He was frequently malnourished, and often survived because friends' families fed him. Al Hendrix was also often physically and emotionally abusive of the son he wasn't sure was his. Jimi grew up introverted, and stuttering, and only a couple of things seemed to bring him out of his shell. One was science fiction -- he always thought that his nickname, Buster, came from Buster Crabbe, the star of the Flash Gordon serials he loved to watch, though in fact he got the nickname even before that interest developed, and he was fascinated with ideas about aliens and UFOs -- and the other was music. Growing up in Seattle in the forties and fifties, most of the music he was exposed to as a child and in his early teens was music made by and for white people -- there wasn't a very large Black community in the area at the time compared to most major American cities, and so there were no prominent R&B stations. As a kid he loved the music of Bob Wills and the Texas Playboys, and when he was thirteen Jimi's favourite record was Dean Martin's "Memories are Made of This": [Excerpt: Dean Martin, "Memories are Made of This"] He also, like every teenager, became a fan of rock and roll music. When Elvis played at a local stadium when Jimi was fifteen, he couldn't afford a ticket, but he went and sat on top of a nearby hill and watched the show from the distance. Jimi's first exposure to the blues also came around this time, when his father briefly took in lodgers, Cornell and Ernestine Benson, and Ernestine had a record collection that included records by Lightnin' Hopkins, Howlin' Wolf, and Muddy Waters, all of whom Jimi became a big fan of, especially Muddy Waters. The Bensons' most vivid memory of Jimi in later years was him picking up a broom and pretending to play guitar along with these records: [Excerpt: Muddy Waters, "Baby Please Don't Go"] Shortly after this, it would be Ernestine Benson who would get Jimi his very first guitar. By this time Jimi and Al had lost their home and moved into a boarding house, and the owner's son had an acoustic guitar with only one string that he was planning to throw out. When Jimi asked if he could have it instead of it being thrown out, the owner told him he could have it for five dollars. Al Hendrix refused to pay that much for it, but Ernestine Benson bought Jimi the guitar. She said later “He only had one string, but he could really make that string talk.” He started carrying the guitar on his back everywhere he went, in imitation of Sterling Hayden in the western Johnny Guitar, and eventually got some more strings for it and learned to play. He would play it left-handed -- until his father came in. His father had forced him to write with his right hand, and was convinced that left-handedness was the work of the devil, so Jimi would play left-handed while his father was somewhere else, but as soon as Al came in he would flip the guitar the other way up and continue playing the song he had been playing, now right-handed. Jimi's mother died when he was fifteen, after having been ill for a long time with drink-related problems, and Jimi and his brother didn't get to go to the funeral -- depending on who you believe, either Al gave Jimi the bus fare and told him to go by himself and Jimi was too embarrassed to go to the funeral alone on the bus, or Al actually forbade Jimi and Leon from going. After this, he became even more introverted than he was before, and he also developed a fascination with the idea of angels, convinced his mother now was one. Jimi started to hang around with a friend called Pernell Alexander, who also had a guitar, and they would play along together with Elmore James records. The two also went to see Little Richard and Bill Doggett perform live, and while Jimi was hugely introverted, he did start to build more friendships in the small Seattle music scene, including with Ron Holden, the man we talked about in the episode on "Louie Louie" who introduced that song to Seattle, and who would go on to record with Bruce Johnston for Bob Keane: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] Eventually Ernestine Benson persuaded Al Hendrix to buy Jimi a decent electric guitar on credit -- Al also bought himself a saxophone at the same time, thinking he might play music with his son, but sent it back once the next payment became due. As well as blues and R&B, Jimi was soaking up the guitar instrumentals and garage rock that would soon turn into surf music. The first song he learned to play was "Tall Cool One" by the Fabulous Wailers, the local group who popularised a version of "Louie Louie" based on Holden's one: [Excerpt: The Fabulous Wailers, "Tall Cool One"] As we talked about in the "Louie Louie" episode, the Fabulous Wailers used to play at a venue called the Spanish Castle, and Jimi was a regular in the audience, later writing his song "Spanish Castle Magic" about those shows: [Excerpt: The Jimi Hendrix Experience, "Spanish Castle Magic"] He was also a big fan of Duane Eddy, and soon learned Eddy's big hits "Forty Miles of Bad Road", "Because They're Young", and "Peter Gunn" -- a song he would return to much later in his life: [Excerpt: Jimi Hendrix, "Peter Gunn/Catastrophe"] His career as a guitarist didn't get off to a great start -- the first night he played with his first band, he was meant to play two sets, but he was fired after the first set, because he was playing in too flashy a manner and showing off too much on stage. His girlfriend suggested that he might want to tone it down a little, but he said "That's not my style". This would be a common story for the next several years. After that false start, the first real band he was in was the Velvetones, with his friend Pernell Alexander. There were four guitarists, two piano players, horns and drums, and they dressed up with glitter stuck to their pants. They played Duane Eddy songs, old jazz numbers, and "Honky Tonk" by Bill Doggett, which became Hendrix's signature song with the band. [Excerpt: Bill Doggett, "Honky Tonk"] His father was unsupportive of his music career, and he left his guitar at Alexander's house because he was scared that his dad would smash it if he took it home. At the same time he was with the Velvetones, he was also playing with another band called the Rocking Kings, who got gigs around the Seattle area, including at the Spanish Castle. But as they left school, most of Hendrix's friends were joining the Army, in order to make a steady living, and so did he -- although not entirely by choice. He was arrested, twice, for riding in stolen cars, and he was given a choice -- either go to prison, or sign up for the Army for three years. He chose the latter. At first, the Army seemed to suit him. He was accepted into the 101st Airborne Division, the famous "Screaming Eagles", whose actions at D-Day made them legendary in the US, and he was proud to be a member of the Division. They were based out of Fort Campbell, the base near Clarksville we talked about a couple of episodes ago, and while he was there he met a bass player, Billy Cox, who he started playing with. As Cox and Hendrix were Black, and as Fort Campbell straddled the border between Kentucky and Tennessee, they had to deal with segregation and play to only Black audiences. And Hendrix quickly discovered that Black audiences in the Southern states weren't interested in "Louie Louie", Duane Eddy, and surf music, the stuff he'd been playing in Seattle. He had to instead switch to playing Albert King and Slim Harpo songs, but luckily he loved that music too. He also started singing at this point -- when Hendrix and Cox started playing together, in a trio called the Kasuals, they had no singer, and while Hendrix never liked his own voice, Cox was worse, and so Hendrix was stuck as the singer. The Kasuals started gigging around Clarksville, and occasionally further afield, places like Nashville, where Arthur Alexander would occasionally sit in with them. But Cox was about to leave the Army, and Hendrix had another two and a bit years to go, having enlisted for three years. They couldn't play any further away unless Hendrix got out of the Army, which he was increasingly unhappy in anyway, and so he did the only thing he could -- he pretended to be gay, and got discharged on medical grounds for homosexuality. In later years he would always pretend he'd broken his ankle parachuting from a plane. For the next few years, he would be a full-time guitarist, and spend the periods when he wasn't earning enough money from that leeching off women he lived with, moving from one to another as they got sick of him or ran out of money. The Kasuals expanded their lineup, adding a second guitarist, Alphonso Young, who would show off on stage by playing guitar with his teeth. Hendrix didn't like being upstaged by another guitarist, and quickly learned to do the same. One biography I've used as a source for this says that at this point, Billy Cox played on a session for King Records, for Frank Howard and the Commanders, and brought Hendrix along, but the producer thought that Hendrix's guitar was too frantic and turned his mic off. But other sources say the session Hendrix and Cox played on for the Commanders wasn't until three years later, and the record *sounds* like a 1965 record, not a 1962 one, and his guitar is very audible – and the record isn't on King. But we've not had any music to break up the narration for a little while, and it's a good track (which later became a Northern Soul favourite) so I'll play a section here, as either way it was certainly an early Hendrix session: [Excerpt: Frank Howard and the Commanders, "I'm So Glad"] This illustrates a general problem with Hendrix's life at this point -- he would flit between bands, playing with the same people at multiple points, nobody was taking detailed notes, and later, once he became famous, everyone wanted to exaggerate their own importance in his life, meaning that while the broad outlines of his life are fairly clear, any detail before late 1966 might be hopelessly wrong. But all the time, Hendrix was learning his craft. One story from around this time sums up both Hendrix's attitude to his playing -- he saw himself almost as much as a scientist as a musician -- and his slightly formal manner of speech. He challenged the best blues guitarist in Nashville to a guitar duel, and the audience actually laughed at Hendrix's playing, as he was totally outclassed. When asked what he was doing, he replied “I was simply trying to get that B.B. King tone down and my experiment failed.” Bookings for the King Kasuals dried up, and he went to Vancouver, where he spent a couple of months playing in a covers band, Bobby Taylor and the Vancouvers, whose lead guitarist was Tommy Chong, later to find fame as one half of Cheech and Chong. But he got depressed at how white Vancouver was, and travelled back down south to join a reconfigured King Kasuals, who now had a horn section. The new lineup of King Kasuals were playing the chitlin circuit and had to put on a proper show, and so Hendrix started using all the techniques he'd seen other guitarists on the circuit use -- playing with his teeth like Alphonso Young, the other guitarist in the band, playing with his guitar behind his back like T-Bone Walker, and playing with a fifty-foot cord that allowed him to walk into the crowd and out of the venue, still playing, like Guitar Slim used to. As well as playing with the King Kasuals, he started playing the circuit as a sideman. He got short stints with many of the second-tier acts on the circuit -- people who had had one or two hits, or were crowd-pleasers, but weren't massive stars, like Carla Thomas or Jerry Butler or Slim Harpo. The first really big name he played with was Solomon Burke, who when Hendrix joined his band had just released "Just Out of Reach (Of My Two Empty Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (Of My Two Empty Arms)"] But he lacked discipline. “Five dates would go beautifully,” Burke later said, “and then at the next show, he'd go into this wild stuff that wasn't part of the song. I just couldn't handle it anymore.” Burke traded him to Otis Redding, who was on the same tour, for two horn players, but then Redding fired him a week later and they left him on the side of the road. He played in the backing band for the Marvelettes, on a tour with Curtis Mayfield, who would be another of Hendrix's biggest influences, but he accidentally blew up Mayfield's amp and got sacked. On another tour, Cecil Womack threw Hendrix's guitar off the bus while he slept. In February 1964 he joined the band of the Isley Brothers, and he would watch the Beatles on Ed Sullivan with them during his first days with the group. Assuming he hadn't already played the Rosa Lee Brooks session (and I think there's good reason to believe he hadn't), then the first record Hendrix played on was their single "Testify": [Excerpt: The Isley Brothers, "Testify"] While he was with them, he also moonlighted on Don Covay's big hit "Mercy, Mercy": [Excerpt: Don Covay and the Goodtimers, "Mercy Mercy"] After leaving the Isleys, Hendrix joined the minor soul singer Gorgeous George, and on a break from Gorgeous George's tour, in Memphis, he went to Stax studios in the hope of meeting Steve Cropper, one of his idols. When he was told that Cropper was busy in the studio, he waited around all day until Cropper finished, and introduced himself. Hendrix was amazed to discover that Cropper was white -- he'd assumed that he must be Black -- and Cropper was delighted to meet the guitarist who had played on "Mercy Mercy", one of his favourite records. The two spent hours showing each other guitar licks -- Hendrix playing Cropper's right-handed guitar, as he hadn't brought along his own. Shortly after this, he joined Little Richard's band, and once again came into conflict with the star of the show by trying to upstage him. For one show he wore a satin shirt, and after the show Richard screamed at him “I am the only Little Richard! I am the King of Rock and Roll, and I am the only one allowed to be pretty. Take that shirt off!” While he was with Richard, Hendrix played on his "I Don't Know What You've Got, But It's Got Me", which like "Mercy Mercy" was written by Don Covay, who had started out as Richard's chauffeur: [Excerpt: Little Richard, "I Don't Know What You've Got, But It's Got Me"] According to the most likely version of events I've read, it was while he was working for Richard that Hendrix met Rosa Lee Brooks, on New Year's Eve 1964. At this point he was using the name Maurice James, apparently in tribute to the blues guitarist Elmore James, and he used various names, including Jimmy James, for most of his pre-fame performances. Rosa Lee Brooks was an R&B singer who had been mentored by Johnny "Guitar" Watson, and when she met Hendrix she was singing in a girl group who were one of the support acts for Ike & Tina Turner, who Hendrix went to see on his night off. Hendrix met Brooks afterwards, and told her she looked like his mother -- a line he used on a lot of women, but which was true in her case if photos are anything to go by. The two got into a relationship, and were soon talking about becoming a duo like Ike and Tina or Mickey and Sylvia -- "Love is Strange" was one of Hendrix's favourite records. But the only recording they made together was the "My Diary" single. Brooks always claimed that she actually wrote that song, but the label credit is for Arthur Lee, and it sounds like his work to me, albeit him trying hard to write like Curtis Mayfield, just as Hendrix is trying to play like him: [Excerpt: Rosa Lee Brooks, "My Diary"] Brooks and Hendrix had a very intense relationship for a short period. Brooks would later recall Little
Bensons Roblox name is BensonsRobloxPodcast. Friend or follow him to join his games. Check out Bensons new page https://tinyurl.com/BensonsRobloxPodcast-Home Check out my Youtube channel - BK Kidz TV https://tinyurl.com/BKKidzTV-Youtube --- Send in a voice message: https://anchor.fm/adam-cabral/message
Bensons Roblox name is BensonsRobloxPodcast. Friend or follow him to join his games. Check out Bensons new page https://tinyurl.com/BensonsRobloxPodcast-Home Check out my Youtube channel - BK Kidz TV https://tinyurl.com/BKKidzTV-Youtube --- Send in a voice message: https://anchor.fm/adam-cabral/message
Bensons Roblox name is BensonsRobloxPodcast. Friend or follow him to join his games. Check out Bensons new page https://tinyurl.com/BensonsRobloxPodcast-Home Check out my Youtube channel - BK Kidz TV https://tinyurl.com/BKKidzTV-Youtube --- Send in a voice message: https://anchor.fm/adam-cabral/message
Check out Bensons new page https://tinyurl.com/BensonsRobloxPodcast-Home Check out my Youtube channel - BK Kidz TV https://tinyurl.com/BKKidzTV-Youtube --- Send in a voice message: https://anchor.fm/adam-cabral/message
Check out Bensons new page https://tinyurl.com/BensonsRobloxPodcast-Home Check out my Youtube channel - BK Kidz TV https://tinyurl.com/BKKidzTV-Youtube --- Send in a voice message: https://anchor.fm/adam-cabral/message
Check out Bensons new page https://tinyurl.com/BensonsRobloxPodcast-Home Check out my Youtube channel - BK Kidz TV https://tinyurl.com/BKKidzTV-Youtube --- Send in a voice message: https://anchor.fm/adam-cabral/message
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Check out Bensons new page https://tinyurl.com/BensonsRobloxPodcast-Home Check out my Youtube channel - BK Kidz TV https://tinyurl.com/BKKidzTV-Youtube Benson plays Escape Fast Food Obby on Roblox --- Send in a voice message: https://anchor.fm/adam-cabral/message
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Check out Bensons new page https://tinyurl.com/BensonsRobloxPodcast-Home Check out my Youtube channel - BK Kidz TV https://tinyurl.com/BKKidzTV-Youtube Benson plays Granny Chapter 2 (Phone) on Roblox --- Send in a voice message: https://anchor.fm/adam-cabral/message
Check out Bensons new page https://tinyurl.com/BensonsRobloxPodcast-Home Check out my Youtube channel - BK Kidz TV https://tinyurl.com/BKKidzTV-Youtube Benson plays Escape Evil Doctor Obby on Roblox --- Send in a voice message: https://anchor.fm/adam-cabral/message
Check out Bensons new page https://tinyurl.com/BensonsRobloxPodcast-Home Check out my Youtube channel - BK Kidz TV https://tinyurl.com/BKKidzTV-Youtube Benson plays Piggy With Sharkdude1027 (The Podcast of Roblox) on Roblox --- Send in a voice message: https://anchor.fm/adam-cabral/message
Check out Bensons new page https://tinyurl.com/BensonsRobloxPodcast-Home Check out my Youtube channel - BK Kidz TV https://tinyurl.com/BKKidzTV-Youtube Benson plays Five Nights at Freddys on Roblox --- Send in a voice message: https://anchor.fm/adam-cabral/message
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Evangelical Steven Pynakker interviews the author of "Watchman on the Tower: Ezra Taft Benson and the Making of the Mormon Right". In this episode Matthew Harris details Bensons ascendency to Eisenhower's Cabinet. This was during the height of the Cold War. Ezra was tasked by the President to roll back the New Deal programs in the Department Of Agriculture. Find out why he was largely unable to do so. Also discussed is Bensons attempt to weed out communists in his Department, and his relationship with Sen. Joe McCarthy. New information not previously brought to light will be revealed over the course of this three part series. Stay Tuned! Here is a Link to purchase the book
Evangelical Steven Pynakker continues his interview with Matthew Harris author of "Watchman on the Tower: Ezra Taft Benson and the Making of the Mormon Right". In this episode Matthew details Bensons intimate relationship with the right-wing John Birch Society and its founder Robert Welch. New information is revealed on this episode never before made public. Whether you're a fan of President Benson or not, you will find this presentation very informative. Here is a link to purchase the book
Benson Plays Break In Story on ROBLOX again Chech out Bensons youtube channel BK Kidz TV - https://tinyurl.com/BKKidzTV-Youtube --- Send in a voice message: https://anchor.fm/adam-cabral/message
Benson plays Break In story on Roblox Chech out Bensons youtube channel BK Kidz TV - https://tinyurl.com/BKKidzTV-Youtube --- Send in a voice message: https://anchor.fm/adam-cabral/message
Roblox is still down Chech out Bensons youtube channel BK Kidz TV - https://www.youtube.com/channel/UCM8LqUaKws5O4-jTyTQYZnw Listen to us on Spotify - https://open.spotify.com/show/6vs2Fh3W2tQcGCZoYL0Spm --- Send in a voice message: https://anchor.fm/adam-cabral/message
Benson Plays Pancake Squad Chech out Bensons youtube channel BK Kidz TV - https://www.youtube.com/channel/UCM8LqUaKws5O4-jTyTQYZnw Listen to us on Spotify - https://open.spotify.com/show/6vs2Fh3W2tQcGCZoYL0Spm --- Send in a voice message: https://anchor.fm/adam-cabral/message
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Roblox is down for the first episode. Chech out Bensons youtube channel BK Kidz TV - https://www.youtube.com/channel/UCM8LqUaKws5O4-jTyTQYZnw Listen to us on Spotify - https://open.spotify.com/show/6vs2Fh3W2tQcGCZoYL0Spm --- Send in a voice message: https://anchor.fm/adam-cabral/message
Jim spends some time with retiring Pro Football Hall of Fame president and executive director David Baker on his 8 years at the Hall, 12 years as commissioner of the Arena Football League and his relationship with the Bensons and New Orleans. Also, Jim finishes the show with his pick for Thursday Night Football.
Join Janice for part two of deja vu with The Bensons. From outreach to being unoffendable when everything is a performance to get to the top, how we each took a scenic route to realizing we were never going to look the part. WTF: Jimmy and Mary @adrinkwiththebensons A Drink With The Bensons Podcast jimmyandmarys.com use promo code GODHASNOTGIVEN Janice @godhasnotgiven // @jani_the_cat And shoutout to @juicelessjamie for the hookup! Learn more about your ad choices. Visit megaphone.fm/adchoices
Join Janice for part one of a walk to remember with The Bensons, down the memory lane they share with a certain former celebrity pastor for remembrances and reconsiderations of the kinds of love, leadership and losses we face in white evangelical spaces. WTF: Jimmy and Mary @adrinkwiththebensons A Drink With The Bensons Podcast jimmyandmarys.com use promo code GODHASNOTGIVEN Janice @godhasnotgiven // @jani_the_cat And shoutout to @juicelessjamie for the hookup! Support the show (https://patreon.com/janicelagata) Learn more about your ad choices. Visit megaphone.fm/adchoices
In today's chat, I'm joined by the sensational Bensons, Georgia and Ella.Georgia and Ella lost their Mum Lisa back in 2018. The girls share their stories, the weird world of grief and how it affects us all so differently,and the difficulties of those milestones we all know too well. I've been away for a minute, but what an episode to bring you guys back in. The girls are wonderful, and it was such an easy conversation.Thank you both for being part of this Time codes0:00 - Intro 2:51 - Schooling Life 6:00 - Conversations about loss 10:30 - The weird world of Grief 16:30 - The strength of a mother 18:22 - Milestones 26:00 - hearing the news 32:56 - Dreamstate 35:13 - Marathon training40:00 - Living with pressure and stress
The talented EHG Assist team tasked the panel -- plus returning guest Jeff Drake! -- with talking about shows and episodes that shouldn't have worked, but somehow did. We began our theme episode with the late-'70s satire Soap. Do the problematic parts justify the hilarity around them? Is some of the bad acting and slow pacing an homage of sorts to daytime dramas? Should you (re-)watch, or just find a supercut of all the previouslies and next-ons? Later, we went Around The Dial with The Circle, Nailed It!, Pop-Up Video, and Battle Of The Network Stars, before a complete 180 in tone brought us to a Canon submission from 2020's Normal People. AppleTV+ both won AND lost, and then we all updated our quiz résumés for Game Time. Good morning, Bensons -- it's an all-new Extra Hot Great! GUESTS
The talented EHG Assist team tasked the panel -- plus returning guest Jeff Drake! -- with talking about shows and episodes that shouldn't have worked, but somehow did. We began our theme episode with the late-'70s satire Soap. Do the problematic parts justify the hilarity around them? Is some of the bad acting and slow pacing an homage of sorts to daytime dramas? Should you (re-)watch, or just find a supercut of all the previouslies and next-ons? Later, we went Around The Dial with The Circle, Nailed It!, Pop-Up Video, and Battle Of The Network Stars, before a complete 180 in tone brought us to a Canon submission from 2020's Normal People. AppleTV+ both won AND lost, and then we all updated our quiz résumés for Game Time. Good morning, Bensons -- it's an all-new Extra Hot Great!Show TopicsSoapATD: The CircleATD: Nailed It!ATD: Pop-Up VideoATD: Battle Of The Network StarsThe Canon: Normal People S01.E10Winner and Loser of the WeekGame Time: Working Hard Or Hardly Working?Show NotesWatch Jeff Drake's show, Central Park, on AppleTV+Jeff just released an album! Listen to it on Basecamp.Watch a big old playlist of vintage Pop-Up VideoWatch the 1976 Battle Of The Network StarsOr skip directly to the notorious Robert Conrad relayGet more music-documentary content on the Mark And Sarah Talk About Songs PatreonNeed to talk to someone? Click here or call 1-800-273-TALKDiscussionTweet at us @ExtraHotPodcast on TwitterWe are @ExtraHotGreat on InstagramSupport EHG on PatreonThe EHG gang have been recording this podcast for almost a decade now. In podcasting terms, that makes us positively Methuselahian. Since the start of EHG, our listeners have asked if we had a tip jar or donation system and we'd look at each other and say surely that is a joke, people don't pay other people to do podcasts. We'd email them back "Ha ha ha, good one, Chet" and go about our business. Now we are told this is a real thing that real nice people do. Value for value? In today's topsy turvy world? It's madness but that good kind of madness, like when you wake up at 3:15am and clean your house. Or something. In all seriousness, we are humbled by your continued prodding to get a Patreon page up for EHG and here it is! Extra Hot Great on Patreon See acast.com/privacy for privacy and opt-out information.
iCarly reboot trailer! Golf holes! Fencin' Bensons! We're talking Jerry Trainor's spray tan, two possible love interests for Spencer, and Build A Bra vs bro time. It's a sporty week here on Spencer and the City! Follow us on Twitter: @SpencerATCpod
In this episode, presenter and broadcast journalist Catherine Galloway talks youth, ageing, research time, and timelessness with Professor Simon Goldhill, a former director of CRASSH, and Professor of Greek Literature and Culture at the Faculty of Classics. We also spend time considering the life-changing power of the moment. As chair of the Nine Dots Prize Board, Professor Goldhill makes the phone call to the winner of this lucrative and prestigious biennial international essay competition, telling the astonished recipient that their ‘out of the box' thinking has netted them $100,000, a publishing contract with Cambridge University Press, and the chance to come to CRASSH for a term to work on turning their essay answer into a book. The latest recipient was announced this month, and we've got the scoop on the idea that won. Thoughtlines is produced by Carl Homer at Cambridge TV. Learn more: - Find more on Professor Simon Goldhill here: https://www.classics.cam.ac.uk/directory/simon-goldhill - To discover the identity of the 2021 winner of the Nine Dots Prize mentioned in this episode click here: https://ninedotsprize.org/ - An open access copy of the first Nine Dots Prize book, Stand Out Of Our Light: Freedom and Resistance In The Attention Economy, by James Williams, is available here: https://www.cambridge.org/core/books/stand-out-of-our-light/3F8D7BA2C0FE3A7126A4D9B73A89415D - An open access copy of the second Nine Dots Prize book, Bread, Cement, Cactus: A Memoir of Belonging and Dislocation, by Annie Zaidi, is available here: https://www.cambridge.org/core/books/bread-cement-cactus/75DCB40487D5CD8DCB772761555CF10C Simon Goldhill is the Professor of Greek Literature and Culture at the Faculty of Classics and a Fellow of King's College Cambridge. Professor Simon Goldhill's forthcoming book on time, discussed in this episode, will be released in 2022 by Cambridge University Press, and is titled The Christian Invention of Time: Temporality and the Literature of Late Antiquity. Two of his recent books are A Very Queer Family Indeed: Sex, Religion and the Bensons in Victorian Britain (The University of Chicago Press, 2016)https://press.uchicago.edu/ucp/books/book/chicago/V/bo24550846.html
Bensons - the day is finally (almost) here! Today, we proffer our predictions for the 93rd Academy Awards. We've spent the last few weeks breaking down potential contenders in all different categories, and now it's time to officially decide who we think will bring home those Oscar statues come Sunday. Be sure to check out our Oscar Bait Oscar Ballot we've shared on all of our social medias - fill it out, post it, and tag us to be a part of the fun! We can't wait to see your picks. Be sure to check us out on social media - @oscarbaitpodcast on Instagram, @oscarbaitthepod on Twitter, AND @oscarbaitpodcast on TikTok! Here are the episodes for all 8 Best Picture nominees: The Father, Judas and the Black Messiah, Mank, Minari, Nomadland, Promising Young Woman, Sound of Metal, & The Trial of the Chicago 7 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/oscar-bait/support
Margery Benson hat einen großen Traum: den goldenen Käfer in Neukaledonien zu finden, den ihr Vater ihr einst in einem Naturkundebuch gezeigt hat. Doch dieser Traum ist über die Jahre hin genauso verblasst wie Margery selbst. Bis an einem grauen Londoner Morgen alles anders wird. Kurz darauf findet sich Margery auf einem Dampfer nach Australien wieder, an ihrer Seite die junge Enid Pretty. Die plapperhafte Sexbombe ist nicht gerade das, was sich Margery als seriöse Begleitung auf ihrer Expedition vorgestellt hat. Doch auch Enid hat ein Geheimnis und hegt einen Traum. Zusammen begeben sich die beiden ungleichen Frauen in ein Abenteuer, das die kühnsten Erwartungen übertrifft. Eine hinreißende Geschichte über Freundschaft und Freiheit: Wie wir den Mut finden, an Träume zu glauben und einander zu helfen, sie zu verwirklichen.(Quelle: Klappentext)
Bensons - this week, our hearts got torn out and stepped on by Florian Zeller’s “The Father.” It detailed the story of an aging man, played by Sir Anthony Hopkins, and how dementia takes a toll not only on him, but on the people that he loves, namely, his last surviving daughter, played by Olivia Colman. It’s heartbreaking, at times, frightening, and leaves you with a hole in your chest that can never be repaired: the unfortunate reality for those who suffer from such a horribly unforgiving disease. The film is nominated for six Oscars - but will it take home any? Be sure to check us out on social media - @oscarbaitpodcast on Instagram, @oscarbaitthepod on Twitter, AND @oscarbaitpodcast on TikTok! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/oscar-bait/support
Bryce, Dallin and Alex discuss the big things of the league, ty Lawsons Chinese mishaps, t-shirt concepts from Bensons add drops, and why bryce is on track to be a rich powerful ladies man, and why everyone should listen when speaking of or about or to ZION! Find out this and more on this weeks big talk pod! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
This week, Terrell sits down with Adam and Ashlyn Benson to talk about Schitt's Creek, first year of marriage in quarantine, and relationships. Binge loves the Bensons, and if you don't- Ew, listener.Download the SoundsTooth App
Kaum einer pflegt den Western Swing so ausgeprägt wie der 9-fache Grammy-Gewinner und Frontman Ray Benson. Sein Bass-Bariton ist das Markenzeichen seiner über 50-jährigen Band «Asleep At The Wheel». Bensons 70. Geburtstag am 16. März ist Grund genug, sich wieder einmal dem Country-Swing zu widmen. Mit der zweiten Stunde wird der Country Special endgültig zur Tanzhalle. Wir liefern Sound und Geschichten rund ums Line Dancing.
In der 27. Folge von Geschichten aus dem Altbau geht es in der ersten Geschichte um die junge Architektur-Touristin Clarice, die nach St. Petersburg reist, um eines der vermutlich mysteriösesten Häuser der Welt zu besuchen. Das Nagant-Haus ist nämlich eigentlich mehr ein Labyrinth als ein Haus und hatte die Aufgabe seinen Bauherrn mit all den Gängen und Türen vor bösen Geistern schützen. Kurz nach Beginn der Führung durchs Haus seilt sich Clarice von der Gruppe ab, um alleine auf Erkundungstour zu gehen. Jedoch stellt sie ziemlich schnell fest, dass es besser gewesen wäre, die Gruppe nicht zu verlassen. Danach geht es zu den Bensons, zum Babysitten. Lucy ist ein Teenager und verbringt, anders als die meisten in ihrem Alter, den Großteil ihrer Wochenenden damit, auf den Nachwuchs der wohlhabenden Familie Benson aufzupassen. Mr. Benson ist als Sammler für Kurioses stadtbekannt und so ist es für Lucy immer ein Erlebnis, nach neuen, merkwürdigen und exotischen Sammelobjekten Ausschau zu halten. Als sie an diesem Wochenende allerdings Mr. Bensons angeblich neustes Mitbringsel entdeckt, bekommt sie eine Gänsehaut. Denn obwohl Lucy nicht an Coulrophobie leidet, jagt ihr der lebensgroße Clown im Gästezimmer etwas Angst ein.
Only a taste of whats to come hey! Talkin about life on the Rock N' Roll, Bruce Lee's wisdom and taking free holidays for yourself by never having to leave the bed thanks to the power of dreams."Practice self acceptance by reading the power of now, written by some German header called Eckart Tolle" If you'd like to support the one man operation that is the Hardy Book, please consider becoming a patron https://www.patreon.com/Hardybucks
Folge #94: Heute besprechen wir zwei wundervolle Bücher aus dem S.Fischer Verlag. In der heutigen Folge stelle ich euch folgende Bücher vor: "Miss Bensons Reise" von Rachel Joyce und "Die Freimaurer" von John Dickie. Heute ist es also besonders Abwechslungsreich! Außerdem erzähle ich euch von meinem Gewinnspiel (in Kooperation mit Stern Crime) das heute auf Instagram gestartet ist. Viel Spaß bei der Folge!
Hauswirtschaftslehrerin Margery, Mitte 40 und vom Leben enttäuscht, verkauft ihren Besitz und bricht auf zu einer Forschungsreise nach Neukaledonien, um den „Goldenen Käfer“ zu entdecken. Ein Abenteuer aus der Werkstatt der Autorin von „Die unwahrscheinliche Pilgerreise des Harold Fry“
A Monday night to forget as the Bears leave Los Angeles without having scored an offensive touchdown. With Chicago still 5-2, what changes can be made to stop the bleeding? New Orleans comes to town for a Sunday afternoon affair. Will Dan's criticisms of Taysom Hill come back to haunt us all? Sports gambling and fantasy football angles galore this week, a quick visit to the B1G and the boys head to Louisiana to chat with Bears fan Jarred during this week's Fans N Eggs. Plus much much more. Let's lick our wounds together. That sounds weird. 0:00 - 05:02 - the world premiere of the Bears devastating loss song, "Into The Dark (Red Zone's Stark)" by Coach Cuse, Bill Doinks and Daughter of Bill Doinks with inspiration from Death Cab For Cutie. Plus a look at what's on tap tonight. 05:03 - 50:24 - Bears-Rams review. What in the hell is going on with Matt Nagy's offense? We are about all out of new offensive playcalling options if you've listened to the past couple weeks but let's continue to get creative. Did anyone earn the Cornish Hen Bears Player Of The Week? 50:25 - 51:13 - How you can be the next Zero Doinks 51:14 - 74:20 - Saints preview. Do people hate Sean Payton? Is there a Sandusky still on staff for New Orleans? Why are the Bensons worth so much money? What happened with the weird Catholic church fiddling and diddling scandal? 74:21 - 92:53 - Hamm's N Bread (gambling segment). Rick Feelsmen drops by to offer his hot hot picks which will keep you at or slightly above .500. Which way are the boys leaning in Bears-Saints? Any teasers that Dan Doinks wants to slap in front of the audience? 92:52 - 107:36 - Bears Fantasy Corner (fantasy football segment). Unique angles and weirdness take center stage during this week's fantasy football segment. Don't miss it. 107:37 - 129:55 - Fans N Eggs (fan interview segment). Dan and Bill visit Louisiana this week and chat with Jarred (@MrSmith8201) regarding all things New Orleans, including crawfish, BBQ, beer and tons more. 129:56 - 130:26 - Where you can find Zero Doinks on the interwebs. 130:27 - 133:44 - B1G Minute. The Illini and Gophers both stunk last weekend. 133:45 - END - Happy Halloween, Doinkers. We love you. --- Support this podcast: https://anchor.fm/zerodoinks/support
Interview with Farah Mendlesohn The Lesbian Historic Motif Podcast - Episode 27 with Heather Rose Jones A series of interviews with authors of historically-based fiction featuring queer women. In this episode we talk about: I chat with Farah Mendlesohn about her brand new lesbian Regency romance Spring Flowering. How did a literary theorist specializing in fantasy and science fiction come to write historic romance? Why was the 17th century a great time to set fiction about women loving women? How does historical fiction writer Geoffrey Trease come into things? How Spring Flowering came out of a challenge and a NaNoWriMo project. Books mentionedSpring Flowering by Farah Mendlesohn In These Times: Living in Britain Through Napoleon's Wars, 1793-1815 by Jenny Uglow Beulah Marie Dix (she wrote historical fiction in the early 20th century and was known to have relationships with women) Behind Closed Doors: At Home in Georgian England by Amanda Vickery (mentioned as “In the Georgian Household”) A Very Queer Family Indeed: Sex, Religion, and the Bensons in Victorian Britain by Simon Goldhill A transcript of this podcast may be available here. (Transcripts added when available.) Links to the Lesbian Historic Motif Project Online Website: http://alpennia.com/lhmp Blog: http://alpennia.com/blog RSS: http://alpennia.com/blog/feed/ Twitter: @LesbianMotif Discord: Contact Heather for an invitation to the Alpennia/LHMP Discord server The Lesbian Historic Motif Project Patreon Links to Heather Online Website: http://alpennia.com Email: Heather Rose Jones Twitter: @heatherosejones Facebook: Heather Rose Jones (author page) Links to Farah Mendlesohn Online Website: Farah Mendlesohn Twitter: @effjayem
Scott Whitley of Wicked Bites talks to VB live from Benson's Ice Cream in Boxford! He has the owner on the program to talk about the process that goes into making their homemade ice cream flavors. Hear the full conversation, here!
The Only thing missing from Comic Con At Home was an after hours hang out . Enter JohnCon. Julie and Shawna Benson and I reached out to friends to join us, like Jerry Ordway Phil Jimenez Amy Chu Vita Ayala Liam Sharp amd Dan Slott .More guests and conversation in parts 2 and 3
A special bonus episode brought to you remotely!After skipping right past Spring and moving directly into summer, the Rabbits have RETURNED in full force!The KRP Phone has passed through Benson, NOT been sterilised and is once again a buzz with your wonderful voices!The cheesiest 'Fact Hunt' in all of Cheese Town awaits with some unBRIElieveable content.Bensons story brings us lashings of semen soaked sundries and a very sweet Quiz.Thanks for sticking with us, we'll be back with the main show as soon as we possibly can.Stay safeAdam, Benson & SamIf you like what you hear, check out our BRAND NEW Patreon here....www.Patreon.com/killerrabbitpodCome join the discussion on our Facebook page:www.facebook.com/killerrabbitpodGet your ‘Tweet’ on right here:www.twitter.com/killerrabbitpodAnd for more exclusive content, visit our Instagram page here:www.instagram.com/killerrabbitpodOr...If you’d rather not look at our ugly mugs but still want to join in, you can e-mail us at:killerrabbitpodcast@gmail.comRELATED LINKS:Title Music provided by Free Vibes: https://goo.gl/NkGhTgRock Thing by Creo: https://soundcloud.com/creo/rock-thingCreative Commons - Attribution 4.0 International (CC by 4.0): https://creativecommons.org/licenses/by/4.0/ Support the show (https://www.patreon.com/killerrabbitpod)
Grappling Rewind: Breakdowns of Professional BJJ and Grappling Events
This week on the Grappling Rewind Maine and Emil Break down the Main and Co-Main event for Fight to Win 139 and 140 that took place this weekend in Dallas Texas. Headlined by Roberto Cyborg Abreu vs Vinicius Trator Ferreira, and Osvaldo "Queixinho" Moizinho vs AJ Agazarm, with matchups between Johnny Tama and Ethan Crelinsten, and Gabriel Almeida vs Roberto Jimenez in the Co-Main slots this weekend. In the news section of the show we talk about the brackets for Third Coast Grappling being released for the first 3CG Kumite. We talk about BJJ and MMA retirements and un-retirements, the new things on the Grappling Rewind website including articles, an updated event list, and more. We also talk about BJJ EBI OT Only event that Eddie Bravo has announced grapplers for and dates. In the recap section of the show we break down Cyborg vs Trator and how Cyborgs great top game and conjunction with his body lock passing and pressure lead to his victory at F2W 139. In the Co-Main we break down the stellar match between Johnny Tama and Ethan Crelinsten that showed so many layers to the leg lock game as well as the rare third layer of knowledgeable counter submission after defense. We talk about some of the most interesting entries we saw and how impressed we were with both grapplers leg locks and pacing throughout the match. In our recap of Fight to Win 140 we talked about how tough vs AJ Agazarm is, ,and how many deep subs Queixinho threw up in an attempt to submit him. We break down his entry into numerous omaplatas and armbars, and talk about the defense that allowed AJ to weather the storm. In the Co-Main we talk about Gabriel Almeida vs Roberto Jimenez, which saw a great deal of complex 50/50 and 50/50 back attack attempts. We talk about how we are seeing more transitions from 50/50 into other positions and how the position is used less and less in recent years as a stalling position. We also go through the rest of the results on both cards and talk about the Submissions of the night. In the preview section of the show we take a look at Fight to Win 141 headlined by Rafael Lovato Jr. vs Arnaldo Maidana for the now vacant Light Heavyweight title. We talk about Lovato looking to reclaim this title after losing it to Yuri Simoes before Yuri was forced to vacate due to injury. In the Co-Main event slot on the event we take a look at Edwin Najmi vs Benson Henderson, we talk about the possibility of a Edwin Najmi flying triangle given Bensons low stance, but we also factor in Bensons wrestling if the match stays on the feet for a length of time. In the outro of the show Maine and Emil talk about Yoga and running, and how they both have been using quarantine to improve physical conditioning. Recorded 5-18-2020
“We go to Bikini Bottom and find the mother of pearls before finding out that yes Bensons for Beds is a front for Crusty's who want you to die, I knew it! Death is sassy, and honestly, when three people die in a bath at once, who can blame him – and when there's a best boy who loves to play, I think I may have to sign up for death now – oh Gods they found me, I TAKE IT BACK!” To support the show, be sure to find us on Instagram and Twitter @bestdamcamppod and on Tumblr at thebestdamcamp.tumblr.com. If you'd like to get your thoughts across, you can email us at thebestdamcamp@hotmail.com. Percy Jackson Merchandise. Music Recommendation: Congratulations by Day6 For more Percy Jackson content check out Fran's YouTube channel A Healthy Dose of Fran and support her via Patreon. Nickel Anarchy: Instagram and Redbubble Taylor Paisley-French: Instagram, YouTube, and Spotify __________________ Everyone needs a little help now and then, and that's OK. If you or someone you know, need support or maybe you just need someone to understand, there is always someone to call. CheckPoint provides Mental Health Hotline numbers Worldwide. Remember, it's OK to not be OK. https://checkpointorg.com/global/
This past semester we had a tremendous #IBCMissionsConference19. Our guests included Rev. James Poitras and Missionaries to Benin and the Central African Republic, Rev. Michael and Danan Benson.While here, the Bensons were kind enough to sit down with Rev. Chris Henderson to share the story about their lives. We know you'll enjoy hearing the Benson's story about how God drew them into the ministry.
This year, missionaries Rev. Michael and Sis. Danan Benson were with us during Missions Conference. The theme was, Our Time is Now and the Bensons blessed us with their ministry at IBC and Wednesday evening at Calvary.Listen to them minister during Missions Conference IBC chapel!
Javicia Leslie has joined the panel! See what she has to say about being Ali Finer and this episode ‘Return To Sender’. The Bensons and the Levy’s meet full circle through their daughters violin, Cara betrays the team and Arthur Finer is in love. Join the discussion here! What would you do if YOU got a friend request from God on social media? Would you believe it? Would you take it seriously?? What would happen if it became more and more real? That's what Miles Finer's dealing with on God Friended Me, and on the GOD FRIENDED ME AFTERBUZZ TV AFTER SHOW, we'll be talking about every single episodes each week! Tune in for plot discussion, character breakdowns, predictions and more! Be sure to subscribe, comment, and rate to stay up to date on all things God Friended Me, and who knows? We might even have a few special guest interviews from time to time! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
My son Benson tells us a story about sports
Story about the men throwing stuff
We first met the Bensons, a family of five, in episode 67 when they were preparing to take a giant leap, sell their house, and travel around the world for a year. We caught up with them again halfway through their trip while they were in South America to see what that trip ended up looking like (episode 76). Today, we get to chat with them again, now that they have been back in the US for over a year. This is a hard conversation, and we ask the question, "How do you keep the travel spirit alive at home after a huge adventurous trip has passed?" Returning "home" is often the hardest part of travel, and not letting go of the life changes, but instead figuring out how to apply them to your new "normal" is the confusing part. Join us today as we reflect on the Benson's family trip and how it's permanently changed their lives, and as we dig into this question, the possibilities and opportunities that surround us, and how to take appropriate action in moving forward and adjusting to a new normal. Show Notes Rebekah's Etsy Shop - Semillas Collective International Blessings (subscription-based international jewelry) Everybody Always - Book by Bob Goff (also check out his book Love Does) The Benson's Instagram: @beforewefinish Before We Finish on Facebook The Benson's blog: BeforeWeFinish.com For full show notes visit https://TheBudgetMindedTraveler.com/98
På 60-talet kunde Dr Herbert Benson visa på sambandet mellan kropp och sinne i ett experiment han gjorde på Harvard Medical School. Apor blev belönade om de med tankens kraft kunde styra sitt eget blodtryck. Detta blev inledningen på Dr Bensons arbete med att visa hur mycket vårt sinne styr vår fysiska hälsa.
På 60-talet kunde Dr Herbert Benson visa på sambandet mellan kropp och sinne i ett experiment han gjorde på Harvard Medical School. Apor blev belönade om de med tankens kraft kunde styra sitt eget blodtryck. Detta blev inledningen på Dr Bensons arbete med att visa hur mycket vårt sinne styr vår fysiska hälsa.
På 60-talet kunde Dr Herbert Benson visa på sambandet mellan kropp och sinne i ett experiment han gjorde på Harvard Medical School. Apor blev belönade om de med tankens kraft kunde styra sitt eget blodtryck. Detta blev inledningen på Dr Bensons arbete med att visa hur mycket vårt sinne styr vår fysiska hälsa.
Bensons are an incredible couple, who turned their lives around and now focusing on helping other couples to find their path to joy. Enjoy! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/lucygleisz/support
Interview with Farah Mendlesohn The Lesbian Historic Motif Podcast: Episode 16b A series of interviews with authors of historically-based fiction featuring queer women. In this episode we talk about I chat with Farah Mendlesohn about her brand new lesbian Regency romance Spring Flowering. How did a literary theorist specializing in fantasy and science fiction come to write historic romance? Why was the 17th century a great time to set fiction about women loving women? How does historical fiction writer Geoffrey Trease come into things? How Spring Flowering came out of a challenge and a NaNoWriMo project. Publications mentioned: Spring Flowering by Farah Mendlesohn (2017, Manifold Press) In These Times: Living in Britain Through Napoleon's Wars, 1793-1815 by Jenny Uglow Beulah Marie Dix (she wrote historical fiction in the early 20th century and was known to have relationships with women) Behind Closed Doors: At Home in Georgian England by Amanda Vickery (mentioned as “In the Georgian Household”) A Very Queer Family Indeed: Sex, Religion, and the Bensons in Victorian Britain by Simon Goldhill More info The Lesbian Historic Motif Project lives at: http://alpennia.com/lhmp Website: https://farahmendlesohn.com Twitter: @effjayem If you have questions or comments about the LHMP or these podcasts, send them to: contact@alpennia.com
That's right, they're back! We first met the Bensons in episode 67, when they were planning to sell their house and hit the road for a year with their three boys. This adventurous family of five has now been on the road for six months and is here to catch us up on their experience thus far. Today we get to see how things have turned out for them on their travels, including the good, the fabulous, the bad, and the very ugly. Find out what they have learned, where they're going next, and how this trip has changed everything for them. View full show notes at http://thebudgetmindedtraveler.com/76
The Benson family has BIG plans. They are selling their house and many of their possessions to hit the road as a family of five for a year of round the world travel. In this episode we discuss how they decided to do it, how they plan to fund it, where they think they will go, what fears they have around it, what they hope to get out of it and much more. Show Notes - http://www.thebudgetmindedtraveler.com/67
Saints News Radio Krewe, Kyle T., Diva, The Professional and D'Professor give their first part of analyzing the New Orleans Saints 2015-2016 NFL Season, Sean Payton's decision to stay in New Orleans, Ownership Issues with the Bensons and the future of the New Orleans Saints franchise.
Gene Fields from Team VooDoo in the studio.. Way Of The Warrior Kickboxing in Modesto.. Chael going to WWE?? Wandi too? Vitor the Duck says no to interims.. Bensons steps up for WW fight? Cody pulls a KIZZ... Joey's Vegas saga... UFC 183 review.. Drug Tests and fights removed from the records.. and News
The boys discussWho Dat say Gonna Own Dem Saints?Are you on Team Gayle or Team Rita? PICK A SIDE YOU COWARDRalph breaks down accusations against Tom Benson being senile Saints Delvin Breaux, CFL's Deion Sanders of CFL!Kevin discusses Tom Brady's ballsYour Twitter QuestionsSuper Bowl PicksPS: Donate and the audio quality stays awesome and don't forget to download our Iphone app! Itunes.
Meet Gerald and Cynthia Benson, good friends of Lydia Flinch and regulars at La Reina de Corazones. While the Bensons discuss decapitation with Michelle, Lydia brings David home to Casa Underwood and his brother John.
Episode 7. Meet Gerald and Cynthia Benson, good friends of Lydia Flinch and regulars at La Reina de Corazones. While the Bensons discuss decapitation with Michelle, Lydia brings David home to Casa Underwood and his brother John.
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