Podcasts about Big Six

The bourbon industry has this fascinating thing where “The Big Six” can hold such a monopoly of the industry - regardless of price category, and regardless of consumer profile. Is there room for other players to continue to penetrate the market, and how do they break the standard “value” scale that is so often set by Big Bourbon?  We hit on: What draws a consumer to Big Bourbon over a similar cost smaller brand? How does the consumer deal with a value scale that is constantly changing? Do the flavor profiles of smaller brands hit the flavor profiles of the larger brands? and much more. For questions or topic requests on upcoming episodes, email us at podcast@pursuitspirits.com.

After a incredibly disappointing defeat at home against Brighton, Arsenal's title challenge is all but over. For Arsenal to win the league at this point, Manchester City would have to drop all but one point from their remaining three games. City do have, on paper at least, a 'Big Six' opponent upcoming, but after their thrashing of Everton at the weekend it would be almost inconceivable that they would not beat Chelsea this weekend. At the far other end of the table, Southampton have confirmed their relegation after falling to Fulham. The Saints go down after having spent the last 11 years in the top division. The boys offer their opinion on if they think Southampton will come back up to the top quickly or not. Check out the discussion on this week's review of the Premier League. Drop a comment below and let us know if you think Southampton will be back up quickly. Join the RCR discord to chat with the boys and set up chess games: https://discord.gg/wzJQxR64rk If you're looking for custom apparel in the Falls Church area of Northern Virginia, check out TBS Impressions: https://tbsimpressions.com/ Connect with us on social media. Follow us on Twitter https://twitter.com/RedCard_Radio​​​​ Brad: https://twitter.com/KSBradG​​​​ Sean: https://twitter.com/WhiteHart_Sean​​​​ James: https://twitter.com/JamesTiffany​ Time Stamps to come #podcast #vodcast #soccer #epl #football #arsenal #chelsea #tottenham #manchestercity #liverpool #manchesterunited #fifa --- Send in a voice message: https://podcasters.spotify.com/pod/show/redcardradio/message

Jeremy Roach is returning to Duke, giving the Blue Devils four starters back. Last time that happened? Answer is on today's show. Does this make the Blue Devils preseason No. 1, or are there some more roster concerns with the team from Durham? Elsewhere: Mackenzie Mgbako — who previously committed to Duke — will play for the Indiana Hoosiers. So, can they make a run in the Big Ten? And the guys find out debate which are the "no excuse" programs in the Big Six leagues. What does that mean? Check the segment and send us your thoughts: @EyeonCBBPodcast. Eye on College Basketball is available for free on the Audacy app as well as Apple Podcasts, Spotify, Google Podcasts, Stitcher and wherever else you listen to podcasts.  Follow our team: @EyeonCBBPodcast @GaryParrishCBS @MattNorlander @Kyle_Boone @DavidWCobb @NataTheScribe You can listen to us on your smart speakers! Simply say, "Alexa, play the latest episode of the Eye on College Basketball podcast," or "Hey, Google, play the latest episode of the Eye on College Basketball podcast." Email the show for any reason whatsoever: ShoutstoCBS@gmail.com Visit Eye on College Basketball's YouTube channel: https://www.youtube.com/channel/UCeFb_xyBgOekQPZYC7Ijilw For more college hoops coverage, visit https://www.cbssports.com/college-basketball/ To hear more from the CBS Sports Podcast Network, visit https://www.cbssports.com/podcasts/ To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Adam & Chad attempt to handle the topic of 80's and 90's supermodels with grace and class… or at least try to be as non-cringey as possible!   Linda Evangelista, Naomi Campbell, Cindy Crawford, Christy Turlington, Claudia Schiffer, Kate Moss were known as the Big Six and were the biggest print and runway models the world has ever seen.  George Michael's Freedom 90 will be discussed.  Elle MacPherson, Kathy Ireland, Vendela, Christie Brinkley, Iman, Stephanie Seymour, Tyra Banks, Heidi Klum, Adriana Lima, Gisele.  Ok, now I am just listing names of beautiful women for SEO purposes!< '00 | an Art House Empire Production | #LessThan2000  Next Generation sci-fi sitcom Join a cast of hilarious AI idiots on a mission to wipe out the humans and save Earth. Listen on: Apple Podcasts SpotifySupport the show

The Spring Classics are done and dusted, so it's time to look at the big hitters going into the Grand Tours! That said, who are the "Big Six" of the Pro Peloton, who coined this group, and is it accurate? We also recap the Gorge Gravel Grinder and more. Enjoy the podcast!

We're giving you a re-run of a two part series we did on poetry at the very beginning of the podcast!  Amanda and Marie dive into teaching poetry - the why, the how, and more! Listen for an in-depth breakdown of actionable strategies to build your poetry-teaching confidence! Show Notes: https://www.bravenewteaching.com/home/toteachpoetryClick here to join Happy Hour!Check out the Poetry Workshop HERESupport the show

The bourbon industry has this fascinating thing where “The Big Six” can hold such a monopoly of the industry - regardless of price category, and regardless of consumer profile. Is there room for other players to continue to penetrate the market, and how do they break the standard “value” scale that is so often set by Big Bourbon?  We hit on: What draws a consumer to Big Bourbon over a similar cost smaller brand? How does the consumer deal with a value scale that is constantly changing? Do the flavor profiles of smaller brands hit the flavor profiles of the larger brands? and much more. For questions or topic requests on upcoming episodes, email us at podcast@pursuitspirits.com.

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

"Pitchers & Catchers" have reported to West Palm, FL and Mark Zuckerman has as well. Mark and Al begin with the not so surprising bad news that Stephen Strasburg has no timetable to return. Minor setback or is the final time we will go down the Strasburg road? (19:00) We start to set the 2023 table and let you know who "The Big Six" are to keep your eye on for this season. This includes Josiah Gray, who is aiming to give up far fewer home runs this year. What is the ceiling for Keibert Ruiz behind the plate? (29:30) All of MLB is adapting to the slew of new rules coming in 2023. Mark explains some potential quirks that might emerge from the new wrinkle involving a "Pitch Clock". How steep will the learning curve be across the sport? (39:30) There is not much of an update regarding the potential sale of the team and the hosts run through the reasons why. Last week Ted Lerner, the former Managing Principal Owner of the franchise, passed away at age 97. **Audio courtesy of NBC- 4 WRC TV. Learn more about your ad choices. Visit podcastchoices.com/adchoices

On today's episode of the DTF Podcast, Rob, Terrence and Fanta go through each of the Big Six leagues and discuss which team is best suited to make a run in the NCAA tournament. They also discuss Alabama vs. Purdue vs. Houston and who is in the best position to be the best team in college basketball. The Field of 68 merch store is now LIVE Purchase The Almanac here SUBSCRIBE to the Field of 68 Youtube Channel SUBSCRIBE to the Field of 68 Daily THE FIELD OF 68 IS POWERED BY BET RIVERS FOLLOW: Twitter Instagram Youtube https://thefieldof68.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

We follow on from the events of the separation of Rangi and Papa to look at the various godly wars that occurred between the Big Six as well as discussing more about what these multiple heavens are all about!Check out the website and shownotes!Become a Patron!https://www.patreon.com/historyaotearoaBuy some merch!https://teespring.com/stores/hanz-podcast ★ Support this podcast on Patreon ★

In this episode, Brian, Ben, and Melody dive deeper into the Big Six of parenting, and share some personal experiences related to this topic. Join us for this conversation that is so needed in today's climate.References: Attachments by Dr. Tim Clinton#ssa #childdevelopment #lgbtq #gospelcenteredcommunity #emotionalhealth #secureattachment #trueunionpodcast #conversationsSupport the show

Not only do the Big Five banks get away with charging exorbitant fees for basic services. Not only do they block any competitors by controlling Canada's payment infrastructure. Not only are they totally entwined with the federal government. But the Big Five banks are about to get even bigger.Featured in this episode: Colin Deacon, Keldon Bester, Alex VroncesTo learn more“How blocked mergers foiled banks' ambitions — and forced the Big Six to innovate” by James Bradshaw in The Globe and Mail“How the push to modernize Canada's payment systems went off the rails” by Jon Victor in The Logic“How the Big Five banks control how money moves in Canada” by Alex Vronces in Policy Options“RBC-HSBC banking merger is a slide to monopoly – Canada should just say no” by Keldon Bester in The Globe and MailCredits: Arshy Mann (Host and Producer), Jordan Cornish (Producer), Noor Azrieh (Associate Producer), Annette Ejiofor (Managing Editor) Sponsors: Rights Back At You, Athletic Greens If you value this podcast, Support us! You'll get premium access to all our shows ad free, including early releases and bonus content. You'll also get our exclusive newsletter, discounts on merch, tickets to our live and virtual events, and more than anything, you'll be a part of the solution to Canada's journalism crisis, you'll be keeping our work free and accessible to everybody.You can listen ad-free on Amazon Music—included with Prime. Hosted on Acast. See acast.com/privacy for more information.

Join Laurent Courtines on The Squeaky Bum Time Podcast as we recap a thrilling FA Cup 4th round weekend and approach the transfer deadline day.Wrexham delivers an exciting draw against Sheffield United, and Brighton once again proves their dominance against Liverpool. We'll delve into the reason why the Big Six keep eyeing the Seagulls for talent, particularly with their standout player Mitoma.In other matches, Man City edges past Arsenal with their dynamic strike partnership, and Tottenham sets their sights on silverware with the addition of Danjuma.Plus, we'll take a look at the impact of Gordon, Caicedo, and McKennie.Here's the rundown of this episode:Wrexham and MLS - why does it mean so much?Wrexham 3-3 Sheffield Utd Brighton 2-1 Liverpool Man City 1-0 Arsenal Preston 0-3 Tottenham Man United 3-1 ReadingRest of the FA Cup weekend Transfer deadline day review FA Cup Ties for the 5th Round.Tune in for all the latest in football analysis and discussion.-------------------Time Stamps:01:35 Wrexham and MLS - why does it mean so much?08:45 Wrexham 3-3 Sheffield Utd 13:35 Brighton 2-1 Liverpool 20:00 Man City 1-0 Arsenal 24:15 Preston 0-3 Tottenham 27:38 Man United 3-1 Reading29:45 Rest of the FA Cup weekend 32:00 Transfer deadline day review 37:30 FA Cup Ties for the 5th Round.--------------------------------------Leave us a 5-star rating and write a question in the review, and we'll answer it in the next episode!--------------------------------------Follow us to make sure you never miss an episodeLinktree: https://linktr.ee/SqueakyBumTimePodcastWeb: https://squeakybumtimepodcast.comSpotify: https://open.spotify.com/show/1Wh3KWm...Twitter: https://twitter.com/SqueakyBum_PodInstagram: https://www.instagram.com/squeakybumt...Facebook Group:

Jimbo is joined by Tim Spiers, Daniel Storey and Liam Tharme after a captivating FA Cup 4th round weekend and ahead of the transfer window slamming shut. Non-league Wrexham entertain us all with a 3-3 draw against Sheffield United, but Brighton are the big winners on Sunday, getting the better of Liverpool again. We rave about Mitoma and why the Big Six keep flocking to the Seagulls for players. Elsewhere, Man City edge past Arsenal with their big man little man strike partnership, Spurs are eyeing silverware even with moaning Danjuma, and agricultural Walsall catch Tim's eyes. Plus Gordon, Caicedo, Semenyo and that Ronaldo free-kick against Portsmouth. Produced by Charlie Jones. RUNNING ORDER:  • PART 1: It's Sean Dyche at Everton (02.00) • PART 2a: Wrexham 3-3 Sheffield Utd (08.00) • PART 2b: Brighton 2-1 Liverpool (14.00)  • PART 3a: Man City 1-0 Arsenal (28.00)  • PART 3b: Preston 0-3 Tottenham (33.00) • PART 3c: Fulham 1-1 Sunderland (37.00) • PART 4a: Happy transfer deadline day (40.00) • PART 4b: The rest of the FA Cup weekend (44.00) SIGN UP TO THE ATHLETIC TODAY FOR £1.99 A MONTH FOR 12 MONTHS • theathletic.com/totally • Get 20% Off and FREE shipping with the code EPL23 at manscaped.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Rugby Union Daily is back for the Six Nations and we start with bumper episode as Ugo and Chris chat to the coaches ahead of the opening weekend. Warren Gatland tells us about his return to Wales and what he loves about the Six Nations. They quiz Gregor Townsend on Finn Russell's return and whether this will be his last year as Scotland head coach. Steve Borthwick predicts a very competitive tournament this year and addresses some of the challenges facing the game today. Italy head coach Kieran Crowley reflects on their resurgence following their sensational win in Cardiff, and Andy Farrell talks about leading the number one side in the world. We also challenge the coaches to pick the one rival player they would like to have in the Six Nations squad!

We've told stories of moonshiners; we've even interviewed one of them. Today we're going to tell the story of untaxed whiskey from the other side, that of the federal revenue agent, or revenuer. One of those agents was well-known in the hills and hollers of Kentucky, the legendary Big Six.Today we tell his story.You can subscribe to the Stories podcast at Spreaker, Apple Podcasts, Spotify, Audible, Stitcher, PlayerFM or on your favorite podcast app or feed reader.Thanks for listening and for sharing our stories of Appalachian history with your friends!

Graham Hill has worked in the environmental field for more than 20 years. From founding the website Treehugger in 2004 to the creation of The Carbonauts in 2019, he's made it his life mission to better the planet. In this week's episode, he's helping you do the same by sharing what he calls “The Big Six”—the most impactful actions you can take to reduce your carbon footprint. For show notes, visit https://brightly.eco/blog/how-to-reduce-carbon-footprint.

Welcome to the Comic Talk Headlines OFF-SEASON! FINAL Off-Season episode. Next week will be another dark week, and then we return to your regularly scheduled Nerdy Headlines with season 3.This is the most anticipated for each of the regular sections of the normal show. MusicRammsteinJob For a CowboySlipknot – Look Outside Your WindowDethklok!!!The Big Six https://metalinjection.net/upcoming-releases/deathcore-supergroup-the-big-six-lorna-shore-attila-traitors-etc-drops-first-teaserBleeding ThroughAugust Burns Red – Death Below (march 24)GojiraPantera – TourRammstein – Tour!!Gaming/TechYouTube monetization optionsDead Space Remake - Jan 27Star Wars Jedi: Survivor – March 17RE:4 Remake – March 24Suicide Squad: Kill The Justice League May 26Street Fighter 6 – June 2StarfieldMortal Kombat 12!!!!Comics and LitLazarus Planet – January (Mark Waid)Fall of XSins of SinisterEpisodicFall of the house of UsherFalloutStar Wars: AhsokaDune: sisterhoodGodzilla and the TitansTwisted Metal Mayfair Witches That 90s ShowNight Court RebootGen VThe Boys S4Mandalorian S3Witcher S3Succession S4Invincible S2Foundation S2Interview with the Vampire S2Marvelous Mrs Maisel S05 – FINAL SEASONMoviesInfinity Pool – Jan 27 (Brandon Cronenberg)Winnie the Pooh: Blood and honey – February 15Shazam! Fury of the Gods – March 17Super Mario – April 7Renfield – April 14Evil Dead Rise – April 21Spider-Man: Across the Spider-verse – June 2The Flash – June 10Blue Beetle - Aug 18Dune Part 2 – Nov 3Godzilla – Nov 3Ghostbusters Afterlife 2 – Dec 20Rebel MoonA Quiet Place Spinoff – Sept 22TMNT: Mutant Mayhem – August 4Joker 2Wes Anderson Movie – Musical??Left Field Long ShotLimp Bizkit new album??Killer Instinct??Friday the 13th – TV seriesDoors of Stone???You can support this show by visiting our merch store, or by leaving us an Apple Podcasts review.

Welcome to the Comic Talk Headlines OFF-SEASON! FINAL Off-Season episode. Next week will be another dark week, and then we return to your regularly scheduled Nerdy Headlines with season 3.This is the most anticipated for each of the regular sections of the normal show. MusicRammsteinJob For a CowboySlipknot – Look Outside Your WindowDethklok!!!The Big Six https://metalinjection.net/upcoming-releases/deathcore-supergroup-the-big-six-lorna-shore-attila-traitors-etc-drops-first-teaserBleeding ThroughAugust Burns Red – Death Below (march 24)GojiraPantera – TourRammstein – Tour!!Gaming/TechYouTube monetization optionsDead Space Remake - Jan 27Star Wars Jedi: Survivor – March 17RE:4 Remake – March 24Suicide Squad: Kill The Justice League May 26Street Fighter 6 – June 2StarfieldMortal Kombat 12!!!!Comics and LitLazarus Planet – January (Mark Waid)Fall of XSins of SinisterEpisodicFall of the house of UsherFalloutStar Wars: AhsokaDune: sisterhoodGodzilla and the TitansTwisted Metal Mayfair Witches That 90s ShowNight Court RebootGen VThe Boys S4Mandalorian S3Witcher S3Succession S4Invincible S2Foundation S2Interview with the Vampire S2Marvelous Mrs Maisel S05 – FINAL SEASONMoviesInfinity Pool – Jan 27 (Brandon Cronenberg)Winnie the Pooh: Blood and honey – February 15Shazam! Fury of the Gods – March 17Super Mario – April 7Renfield – April 14Evil Dead Rise – April 21Spider-Man: Across the Spider-verse – June 2The Flash – June 10Blue Beetle - Aug 18Dune Part 2 – Nov 3Godzilla – Nov 3Ghostbusters Afterlife 2 – Dec 20Rebel MoonA Quiet Place Spinoff – Sept 22TMNT: Mutant Mayhem – August 4Joker 2Wes Anderson Movie – Musical??Left Field Long ShotLimp Bizkit new album??Killer Instinct??Friday the 13th – TV seriesDoors of Stone???You can support this show by visiting our merch store, or by leaving us an Apple Podcasts review.

THIS WEEK ON TOILET RADIO: Breno is on a quest to find one (1) funny metal meme, Joe is on a quest to avoid elderly swingers. OTHER TOPICS: David DiSanto and the Vektors got kicked off the stupid metal cruise for being stupider than a metal cruise. The Taakes got CANCELLED from touring Australia! Quick, where's their GoFundMe and NYTimes editorial??!?! An update on THE BIG SIX, the hottest new band that still doesn't exist. Breno and Jordan discuss the world of official and unofficial Star Wars-themed bands. We follow up on the most popular metal tracks of 2022 with the assistance of Sirius XM's Liquid Metal and Octane channels. Trunkariffic! Kerry King is bored and angry because Slayer can't Slayer no more. Get a hobby! Music featured on this show: Animalize – Jungle Dance This program is available on Spotify. It is also available on iTunes or whatever they call it now, where you can rate, review, and subscribe. Give us money on Patreon to get exclusive bonus episodes and other cool shit.

"Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world."  - Albert Einstein For WHAT are you Optimizing in 2023? NOT, what are your goals but rather what is  the means to achieving those goals. Focus on THAT and the path to the desired outcome will appear. I am optimizing for clarity. Clarity of vision and purpose to guide me through a difficult transition.  Optimizing for clarity I suggest, will help me focus differently on exercising my curiosity and imagination effectively. I will continuously build questions and inquiries to fuel clarity. Questions like: what am I seeing? What am I missing in this picture? Who might be able to share a perspective that will increase my view?  Join me on the journey, NOT on my path but your own. I will hold space for you while you explore for what you need to optimize and how. This is the focus of my coaching practice. I welcome a chance to chat with you about how I can help. Walk with me:      Take the GRIT Scale and see where you land. Take the VIA strengths survey TODAY to evaluate where to focus. Try out The BIG SIX and learn about your personality tendencies. Book a complimentary  Exploratory Conversation to get a taste of my services. Follow or Connect with Me on LINKEDIN  

Welcome to a brand new year of Toilet Radio. We celebrated New Years Eve by watching Buffy the Vampire Slayer, Project Runway, and Delicatessen respectively. On this episode: Breno goes on an epic gamer rant about Chat Pile and the hype overload from list season. We talk about THE BIG SIX, the latest supergroup consisting of six death core vocalists. Chuck Billie of Testament is now a house flipper. Specifically, he became a house flipper during the absolute apex of the housing market in the United States. We talk about flippers, “passive income”, and an industry even more doomed than music. Finally, we're talking about the latest incarnation of Bamboozle fest. After When We Were Young, it looks like Bamboozle is seeking to grab all the bands that weren't remembered fondly from the early 2000s. Music featured on this show: Eternal Sleep – Against a Wall This program is available on Spotify. It is also available on iTunes or whatever they call it now, where you can rate, review, and subscribe. Give us money on Patreon to get exclusive bonus episodes and other cool shit.

Episode 158 Notes and Links to Javier Zamora's Work       On Episode 158 of The Chills at Will Podcast, Pete welcomes Javier Zamora, and the two discuss, among other things, his early love of learning and influences in his native Él Salvador, the effects of his family members on his world view, the accolades that have come with his writing and his original and continuing goals for his work, his memoir and his light and masterful touch with a young kid's POV, the ways in which traumas and bonding and love were intertwined in his journey to the US, and how writing the book brought him to a greater understanding of the vagaries of human behavior and his own behaviors.      Javier Zamora was born in La Herradura, El Salvador, in 1990. At the age of nine he migrated to the United States to be reunited with his parents. Zamora holds a BA from the University of California, Berkeley, where he studied and taught in June Jordan's Poetry for the People; and an MFA from New York University. He is the recipient of scholarships to Bread Loaf, Frost Place, Napa Valley, Squaw Valley, and VONA Writer's Conferences; and fellowships from CantoMundo and Colgate University where he is the Olive B. O'Connor fellow. His poems also appear in Best New Poets 2013, Indiana Review, Narrative, Ploughshares, Poet Lore, Theatre Under My Skin (Kalina Press: El Salvador), and elsewhere. Zamora has had his work recognized with a Meridian Editor's Prize, CONSEQUENCE Poetry Prize, and the Organic Weapon Arts Chapbook Contest.e enjoys hiking, camping, and is just getting into backpacking.   Buy Solito   Javier Zamora's Website   The New York Times Book Review of Solito   September 2022 from The Los Angeles Times: “At 9, Javier Zamora walked 4,000 miles to the U.S. At 29, he was ready to tell the story” At about 7:30, Pete asks the important question: Does Salvadoran Spanish have the best groseria?    At about 8:10, Javier responds to Pete's questions about his use of Spanish/Spanglish, and Salvadoran-specific words and his rationale/process in using the words    At about 11:50, Pete asks Javier about the awards and acclaim he has received and how it registers compared to the experience of sharing this personal story with the world   At about 14:45, Javier talks about pressures-external and internal-that have weighed him down and how therapy and healing through writing have lifted much of these pressures    At about 19:20, Javier speaks to Pete's question about the writers who have inspired and thrilled and challenged him; Javier mentions the outsized encouragement provided by Roberto Lovato   At about 21:00, Javier cites the huge influences of June Jordan and Roque Dalton    At about 22:25, Pete asks Javier about his early relationship with the written word, and he mentions his grandfather's and parents' educational and political backgrounds and how they shaped his reading     At about 27:05, Javier traces his fairly-circuitous route to becoming a writer, including the impact of Guevara's Motorcycle Diaries   At about 28:55, Javier responds to Pete's question about how the Bay Area's ethic has shaped him   At about 30: 10, Javier discusses the teaching of Salvadoran history in Él Salvador and how he was guided by this    At about 31:00, Javier and Pete highlight Immortal Technique and Rage Against the Machine as educational and radical musicians and inspirations   At about 32:10, Pete asks Javier about the meanings of the book's title, and Javier focuses on the three main parts/time periods of him being ”solito”   At about 34:20, Pete wonders about Javier's individual story and how it compares to, and was inspired by, more recent migrations of Salvadorans and Central Americans, particularly minors, and how journalism has erred in covering the    At about 39:30, Pete reads the epigraphs and Javier expands upon their importance and connections to the book   At about 41:00, Javier puts forth interesting ideas about the use of the word “immigrant” and suggests a possible substitute   At about 43:00, Javier expands upon ideas of the natural affinity that people (Americans, for one) have for children, and connections to the American immigration system     At about 44:30, Pete, stunned at the masterful ways in which Javier uses the POV of 9 yr old him, asks Javier how he managed to pull it off, and Javier talks about how his traumas have affected his growth   At about 47:10, Pete outlines the book's beginnings before Javier goes to the US   At about 48:00, Javier discusses the importance of his bonding time with his grandfather right before he headed North; he highlights The Body Keeps the Score and how he saw his ACES Index.   At about 51:00, Javier explains the Cadejo and its significance for him   At about 52:40, Javier recounts the tortuous boat trip that is depicted in the book and describes the overwhelming fear   At about 54:55, Javier talks about the “Big Four” (formerly the “Big Six” the people who become bonded for life with Javier and ideas of “surviving” as manifested by different people on Javier's journey   At about 58:30, Pete cites examples of charity depicted in the memoir and Pete compliments Javier's humanizing his characters; Javier responds with his views of the coyotes and the ways in which the border “world of 1999 that [he] described is different than now”   At about 1:01:20, Pete asks Javier if his stated goal for the writing of the book has been accomplished    At about 1:03:00, Javier talks about his involvement with Undocupoets, and how the writing world deals with issues of citizenship   At about 1:05:55, Javier describes his upcoming project    At about 1:06:45, Loca the Cat makes an appearance!      You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. You can watch other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both my YouTube Channel and my podcast while you're checking out this episode.     Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl     Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting my one-man show, my DIY podcast and my extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content! This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm convinced is a unique and spirited look at an often-ignored art form. The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.    Please tune in for Episode 159 with Amanda Korz, whose poetry witnesses previous versions of herself and intimately digs into mental illness, disability, and witchcraft. Her poetry collection, It's Just a Little Blood.    The episode will air on December 27.  

"Curiosity has its own reason for existing."  - Albert Einstein Who are you? How do you know?  If you know yourself through your stories, experiences or accomplishments, is this knowledge limited to certain parts of your story or the entire being that is you? Who we are or who we believe our self to be, determines our patterns, decisions and even our beliefs. Being aware of what motivates us or grabs our attention is essential to  How well do you know yourself? What if your feelings of wellbeing, that dictate the quality of your life, are also determined by how well you allow yourself to be seen? That starts with knowing who you are! Self awareness is a core competency in leadership. With deeper self-awareness, compassion, and empathy meaningful success more likely. Walk with me and we'll explore how to expand your agency by building efficacy, optimism and imagination. Be fiercely responsible and accountable in meaningful ways. Build the capacity to examine your own thinking to turn every challenge into growth for a career and life you love. How will examining your own thinking processes improve your own feelings of wellbeing? A Coach, as thinking partner, can help you see your metacognition, allowing you to leverage it for greater success in any endeavour. Walk with me:    Take the GRIT Scale and see where you land. Take the VIA strengths survey TODAY to evaluate where to focus. Try out The BIG SIX and learn about your personality tendencies. Book a complimentary  Exploratory Conversation to get a taste of my services. Follow or Connect with Me on LINKEDIN CORRECTION: The Richard Power's book I references is actually called "Bewilderment".

Wellbeing for all, built by dynamic, fluid human agency using a healthy accountability and responsibility.  Specifically how responsibility and accountability is fundamental to building, supporting, expanding and sustaining our shared need and  desire for  wellbeing overall and for all. The wellbeing of people, structures, systems and growth itself in every form is only possible at least at its highest potential form with a broad appreciation and understanding of accountability and responsibility. Let's innovate for greater well-being and performance! How well do you know yourself? Are you rooted in compassion and are you able to put space and time to work to expand your feeling of wellbeing.  Self awareness is a core competency in leadership. With deeper self-awareness compassion, empathy, and ultimately meaningful success is possible. Walk with me and we'll explore how to expand your agency by building efficacy, optimism and imagination. Be fiercely responsible and accountable in meaningful ways. Build the capacity to examine your own thinking to turn every challenge into growth for a career and life you love. How will examining your own thinking processes improve your own feelings of wellbeing? A Coach, as thinking partner, can help you see your metacognition, allowing you to leverage it for greater success in any endeavour. Walk with me:       Take the GRIT Scale and see where you land. Take the VIA strengths survey TODAY to evaluate where to focus. Try out The BIG SIX and learn about your personality tendencies. Book a complimentary  Exploratory Conversation to get a taste of my services. Follow or Connect with Me on LINKEDIN

Klimmzüge sind das Schweizer Taschenmesser in Deiner Fitness-Toolbox: Sie gehören nicht nur zu den "Big Six", den sechs effektivsten Muskelaufbau-Übungen. Das Schöne am Klimmzug ist, dass Du ihn praktisch überall trainieren kannst. An Türrahmen, Ästen, Vorsprüngen oder natürlich an der guten allen Klimmzug-Stange. Falls Klimmzüge schon Teil Deiner Trainingsroutine sind, ist diese Folge für Dich: Denn je mehr Du Deine Technik perfektionierst, desto effektiver trainierst Du (bei gleichem Zeiteinsatz). Und falls Du bisher noch gar keinen Klimmzug schaffst, ist diese Folge ebenfalls für Dich: Denn Du lernst die perfekte Klimmzugtechnik von der Pike auf – in neun simplen Schritten. SHOWNOTES: marfit.de/pullup KLIMMZUG-KURS: First Pull-Up von Marco Meyer ____________ Reklame! AG1 (by Athletic Greens): Als FMM-Hörer bekommst Du zur ersten Bestellung kostenlos 5 Travelpacks, einen Jahresvorrat Vitamin D+K2 plus Willkommenspaket mit Shaker und schicker Edelstahldose.

The Big 6ix with a twist, a new panel and a new Xtra show coming to the official YouTube channel after the World Cup and before GW19.

What is the best design for the 21st Century workplace? Who is equipped to answer this? NOT THE OLD GUARD, I submit.  Who will take on the challenge an iterate and innovate us into a new workplace that recognizes the importance of valuing every voice in the interest of expanding engagement, collaboration and contribution? We seem to be arguing about in-office, remote or hybrid BUT the real innovation looks past this limiting thinking, if you ask me? I joined the workforce, for real, in the wild 80"s and was shocked at how it was still modelled on a military hierarchical model with org charts and command and control at its heart. HOW HAVE WE NOT MOVED COMPLETELY AWAY FROM THIS? Let's innovate for greater well-being and performance! How well do you know yourself? Are you rooted in compassion and are you able to put space and time to work to expand your feeling of wellbeing.  Self awareness is a core competency in leadership. With deeper self-awareness compassion, empathy, and ultimately meaningful success is possible. Walk with me and we'll explore how to expand your agency by building efficacy, optimism and imagination. Be fiercely responsible and accountable in meaningful ways. Build the capacity to examine your own thinking to turn every challenge into growth for a career and life you love. How will examining your own thinking processes improve your own feelings of wellbeing? A Coach, as thinking partner, can help you see your metacognition, allowing you to leverage it for greater success in any endeavour. Walk with me:       Take the GRIT Scale and see where you land. Take the VIA strengths survey TODAY to evaluate where to focus. Try out The BIG SIX and learn about your personality tendencies. Book a complimentary  Exploratory Conversation to get a taste of my services. Follow or Connect with Me on LINKEDIN

When entering a dark period, whether in an experience or a mindset, do you see the precious gift it might offer? Are you prepared to dig for it, even dig for it? "What is the last thing on earth you would expect people to see in you?" - Thomas Moore If you want to be a presence of real substance, refuse to miss the opportunities presented by the dark nights. How well do you know yourself? Are you rooted in compassion and are you able to put space and time to work to expand your feeling of wellbeing.  Self awareness is a core competency in leadership. With deeper self-awareness compassion, empathy, and ultimately meaningful success is possible. Walk with me and we'll explore how to expand your agency by building efficacy, optimism and imagination. Be fiercely responsible and accountable in meaningful ways. Build the capacity to examine your own thinking to turn every challenge into growth for a career and life you love. How will examining your own thinking processes improve your own feelings of wellbeing? A Coach, as thinking partner, can help you see your metacognition, allowing you to leverage it for greater success in any endeavour. Walk with me:       Take the GRIT Scale and see where you land. Take the VIA strengths survey TODAY to evaluate where to focus. Try out The BIG SIX and learn about your personality tendencies. Book a complimentary  Exploratory Conversation to get a taste of my services. Follow or Connect with Me on LINKEDIN

What is your duty of care? First, do no harm. Perhaps this old principle or standard is the foundation of expanding well-being. As a leader, questioning your duty of care, may assure your principles are firmly based.  In this episode I speak to this foundation and two pillars that arise out of it as areas of inquiry: patterns of language and patterns of thought. How well do you know yourself? Are you rooted in compassion and are you able to put space and time to work to expand your feeling of wellbeing.  Self awareness is a core competency in leadership. With deeper self-awareness compassion, empathy, and ultimately meaningful success is possible. Walk with me and we'll explore how to expand your agency by building efficacy, optimism and imagination. Be fiercely responsible and accountable in meaningful ways. Build the capacity to examine your own thinking to turn every challenge into growth for a career and life you love. How will examining your own thinking processes improve your own feelings of wellbeing? A Coach, as thinking partner, can help you see your metacognition, allowing you to leverage it for greater success in any endeavour. Walk with me:       Take the GRIT Scale and see where you land. Take the VIA strengths survey TODAY to evaluate where to focus. Try out The BIG SIX and learn about your personality tendencies. Book a complimentary  Exploratory Conversation to get a taste of my services. Follow or Connect with Me on LINKEDIN

İngiliz Haftası'nın 69. bölümünde Arhan Ata Pilavoğlu ve Güner Çalış'ın konuğu İbrahim Altınsay. İbrahim Altınsay'ın Fulham taraftarı olma hikayesi ve takımın mevcut durumunun ışığında Fulham ölçeğindeki takımların futbol ortamında yaşadıkları, Big Six ve diğerleri arasındaki ekonomik eşitsizlik ve imkanlar arasındaki uçurum, modern zamanlarda teknoloji vasıtasıyla ile değişen futbol izleyiciliği algısı ve bunun tribüne yansıması, bahislerin futbol dünyasına etkisi, VAR uygulaması ve hakemlere tavsiye edilen kural yorumlarının oyunun akışında yarattığı etki... Hepsi ve daha fazlası İngiliz Haftası'nın 69. bölümünde.

Welcome to The Academic Life! In this episode you'll hear about: Why Aaron Basko thinks we are looking at student success backwards. How asking alums why they stayed at a school often tells us more about student needs than asking the students who are withdrawing why they leave. What the “Big Six” for student success is. What two things to evaluate as you decide which college or university will be the right “fit” for you. His advice to parents and incoming students. Our guest is: Aaron Basko, who currently serves as Associate Vice President for Enrollment Services at the University of Lynchburg, in Lynchburg Virginia. With 25 years of experience serving as an enrollment growth specialist and student success strategist for multiple institutions, Aaron has been part of the leadership team that engineered historic growth comebacks at three different colleges and universities. Aaron specializes in creating cross-functional teams for strategic enrollment planning and retention success. A thought leader and author, Aaron has written for The Chronicle of Higher Education, Inside Higher Ed, The Times Higher Education, and the State Department's Fulbright blog. As a 2015 Fulbright International Education Administrator and capacity building specialist, Aaron also assists institutions with student mobility and international partnership initiatives. Aaron loves to create “a-ha moments” and to help institutions clarify the distinctive voice that will resonate with the right students. Our host is: Dr. Christina Gessler, who holds a PhD in American history. She is the co-producer of the Academic Life. Listeners to this episode may also be interested in: Aaron Basko's article in Inside Higher Ed on how to attract more liberal arts college students to campus : Liberal arts colleges need new strategies (opinion) “Have We Gotten Student Success Completely Backwards?” and Aaron's other articles in The Chronicle of Higher Education: Aaron Basko (chronicle.com) This discussion about the college admissions process. Get Real and Get In: How to Get Into the College of Your Dreams by Being Your Authentic Self, by Aviva Legatt This conversation about navigating the ups and downs of student life:  How To Human: An Incomplete Manual for Living in a Messed-Up World, by Alice Connor How to College: What to Know Before You Go (and When You're There), by Andrea Malkin Brenner and Lara Hope Schwartz This conversation about rejection-recovery and dealing with mistakes You are smart and capable, but you aren't an island, and neither are we. We reach across our mentor network to bring you podcasts on everything from how to finish that project to how to take care of your beautiful mind. Here on the Academic Life channel, we embrace a broad definition of what it means to be an academic and to lead an academic life. We view education as a transformative human endeavor and are inspired by today's knowledge-producers working inside and outside the academy. Wish we'd bring on an expert about something? DMs us on Twitter: @AcademicLifeNBN. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/academic-life

Welcome to The Academic Life! In this episode you'll hear about: Why Aaron Basko thinks we are looking at student success backwards. How asking alums why they stayed at a school often tells us more about student needs than asking the students who are withdrawing why they leave. What the “Big Six” for student success is. What two things to evaluate as you decide which college or university will be the right “fit” for you. His advice to parents and incoming students. Our guest is: Aaron Basko, who currently serves as Associate Vice President for Enrollment Services at the University of Lynchburg, in Lynchburg Virginia. With 25 years of experience serving as an enrollment growth specialist and student success strategist for multiple institutions, Aaron has been part of the leadership team that engineered historic growth comebacks at three different colleges and universities. Aaron specializes in creating cross-functional teams for strategic enrollment planning and retention success. A thought leader and author, Aaron has written for The Chronicle of Higher Education, Inside Higher Ed, The Times Higher Education, and the State Department's Fulbright blog. As a 2015 Fulbright International Education Administrator and capacity building specialist, Aaron also assists institutions with student mobility and international partnership initiatives. Aaron loves to create “a-ha moments” and to help institutions clarify the distinctive voice that will resonate with the right students. Our host is: Dr. Christina Gessler, who holds a PhD in American history. She is the co-producer of the Academic Life. Listeners to this episode may also be interested in: Aaron Basko's article in Inside Higher Ed on how to attract more liberal arts college students to campus : Liberal arts colleges need new strategies (opinion) “Have We Gotten Student Success Completely Backwards?” and Aaron's other articles in The Chronicle of Higher Education: Aaron Basko (chronicle.com) This discussion about the college admissions process. Get Real and Get In: How to Get Into the College of Your Dreams by Being Your Authentic Self, by Aviva Legatt This conversation about navigating the ups and downs of student life:  How To Human: An Incomplete Manual for Living in a Messed-Up World, by Alice Connor How to College: What to Know Before You Go (and When You're There), by Andrea Malkin Brenner and Lara Hope Schwartz This conversation about rejection-recovery and dealing with mistakes You are smart and capable, but you aren't an island, and neither are we. We reach across our mentor network to bring you podcasts on everything from how to finish that project to how to take care of your beautiful mind. Here on the Academic Life channel, we embrace a broad definition of what it means to be an academic and to lead an academic life. We view education as a transformative human endeavor and are inspired by today's knowledge-producers working inside and outside the academy. Wish we'd bring on an expert about something? DMs us on Twitter: @AcademicLifeNBN. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/education

Welcome to The Academic Life! In this episode you'll hear about: Why Aaron Basko thinks we are looking at student success backwards. How asking alums why they stayed at a school often tells us more about student needs than asking the students who are withdrawing why they leave. What the “Big Six” for student success is. What two things to evaluate as you decide which college or university will be the right “fit” for you. His advice to parents and incoming students. Our guest is: Aaron Basko, who currently serves as Associate Vice President for Enrollment Services at the University of Lynchburg, in Lynchburg Virginia. With 25 years of experience serving as an enrollment growth specialist and student success strategist for multiple institutions, Aaron has been part of the leadership team that engineered historic growth comebacks at three different colleges and universities. Aaron specializes in creating cross-functional teams for strategic enrollment planning and retention success. A thought leader and author, Aaron has written for The Chronicle of Higher Education, Inside Higher Ed, The Times Higher Education, and the State Department's Fulbright blog. As a 2015 Fulbright International Education Administrator and capacity building specialist, Aaron also assists institutions with student mobility and international partnership initiatives. Aaron loves to create “a-ha moments” and to help institutions clarify the distinctive voice that will resonate with the right students. Our host is: Dr. Christina Gessler, who holds a PhD in American history. She is the co-producer of the Academic Life. Listeners to this episode may also be interested in: Aaron Basko's article in Inside Higher Ed on how to attract more liberal arts college students to campus : Liberal arts colleges need new strategies (opinion) “Have We Gotten Student Success Completely Backwards?” and Aaron's other articles in The Chronicle of Higher Education: Aaron Basko (chronicle.com) This discussion about the college admissions process. Get Real and Get In: How to Get Into the College of Your Dreams by Being Your Authentic Self, by Aviva Legatt This conversation about navigating the ups and downs of student life:  How To Human: An Incomplete Manual for Living in a Messed-Up World, by Alice Connor How to College: What to Know Before You Go (and When You're There), by Andrea Malkin Brenner and Lara Hope Schwartz This conversation about rejection-recovery and dealing with mistakes You are smart and capable, but you aren't an island, and neither are we. We reach across our mentor network to bring you podcasts on everything from how to finish that project to how to take care of your beautiful mind. Here on the Academic Life channel, we embrace a broad definition of what it means to be an academic and to lead an academic life. We view education as a transformative human endeavor and are inspired by today's knowledge-producers working inside and outside the academy. Wish we'd bring on an expert about something? DMs us on Twitter: @AcademicLifeNBN. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

A full slate of games last weekend and a few bonus mid-week games already played makes this Review episode of RCR a full one. How did two Big Six clubs fare away at Southampton? Did Arsenal continue on their winning ways against Fulham? How did the rest of the pack fare? Sean and James cover the results from the most recent Premier League matches. This is the new format for Red Card Radio. Wednesday mornings the Review episode will release, Thursday morning will bring The News, and Friday morning the Boys will preview the slate of games coming up at the weekend. Give us your feed back about what you like and what you hate. Join the RCR discord to chat with the boys and set up chess games: https://discord.gg/wzJQxR64rk If you're looking for custom apparel in the Falls Church area of Northern Virginia, check out TBS Impressions: https://tbsimpressions.com/ Connect with us on social media. Follow us on Twitter https://twitter.com/RedCard_Radio​​​​ Brad: https://twitter.com/KSBradG​​​​ Sean: https://twitter.com/WhiteHart_Sean​​​​ James: https://twitter.com/JamesTiffany​ Time Stamps 0:00 Intro & League Table 4:51 Leeds/Chelsea 9:56 Newcastle/Manchester City 16:29 Manchester United/Liverpool 31:33 Outro --- Send in a voice message: https://anchor.fm/redcardradio/message

S8 Ep12 Streamed live, August 8, 2022. Monopolies are bad, we all know that, and yet the "Big Six" publishers are eating each other, dwindling down, and claiming it's in the authors' best interest. We call shenanigans.   Links Alasdair Stuart, and his Hugo-nominated fanzine, The Full Lid Mur on Twitter, Youtube, website  Matt on Twitter, YouTube, website Support via Patreon Twitch schedule for August: Monday 12pm: Ditch Diggers Tuesday 3pm: I Should Be Writing Wednesday 3pm: Gaming TBD Thursday 3pm: I Should Be Writing Thursday 8pm: Arsenic and Old Dice, A Brindlewood Bay Livestream August 8, 2022 | Season 8 Ep 12 | murverse.com Copyright 2022, Mur Lafferty and Matt Wallace | CC BY-NC-ND 4.0 License

As Labour unveils its plans to tackle the energy price rises crisis are all political parties simply tinkering with a broken,  privatised utilities system? Keir Starmer looks as if he's ignored even the modest proposal from Gordon Brown to bring the Big Six energy companies into temporary public ownership in favour of a price cap freeze across the board.Why has he rejected what, according to opinion polls, would be popular voters and what are the flaws in his plan?Meanwhile, as the energy producers rake in massive profits and reap the benefits of the UK tax system no political party seems willing to back any form of public ownership.Will the Scottish government bring us in line with all other developed countries and raise the age kids start school to six? Check out how the Norwegian system works by visiting the Nordic Horizons podcast sitehttps://www.nordichorizons.org/soundcloud-podcasts/The Tory leadership candidates are in Perth for their sole Scottish hustings. Both have issued their challenges to the SNP focusing on greater "scrutiny" of both the civil service and the Scottish government.These hardly seem rallying cries for the unionist faithful in fighting the drive towards independence. While in the wings two thirds of their supporters would welcome the return of Boris Johnson as Prime Minister. ★ Support this podcast ★

İngiliz Haftası'nın 63. bölümünde Arhan Ata Pilavoğlu ve Güner Çalış, sezonun ilk maçları yaklaşırken bu kez Premier League'de "big six" dışında yer alan takımları konuşuyorlar. Steven Gerrard yönetiminde geçtiğimiz sezonki hayal kırıklığını tersine çevirmek isteyen Aston Villa, "big six" haricinde ligin en iddialı takımı olan West Ham United ve teknik direktörleri David Moyes, sezona transfersiz girecek olan Leicester City ve diğer takımlar mercek altında.

On the latest episode of Rival Recon Hari is back with his 'Big Six' series ahead of the 22/23 season, on this episode, he is joined by Phil Costa to at Arsenal's season ahead! Can Arteta finally get the Gunners back into the Champions League?Prefer to listen to our shows without the ads? We've got your back, just head on over to http://anfieldindexpro.com and supercharge your listening experience.Chat and debate 24/7 with other Reds, join our FREE Discord community at https://bit.ly/3geu605Follow us on Twitter: https://bit.ly/3u9gYShFind us on Facebook: https://bit.ly/3KWFxbdSubscribe on YouTube: https://bit.ly/3KXImsjFREE iOS app: https://apple.co/3KSqdMGFREE Android app: https://bit.ly/32KMxqmSupport this show http://supporter.acast.com/theanfieldindex. See acast.com/privacy for privacy and opt-out information.

This summer has seen many comings and goings for the clubs in England. Many new faces at the clubs across the spectrum in the Premier League. This episode of RCR will recap the major transfer activity from some of the Premier League teams this season. The primary focus of this conversations was into the transfer business of the Big Six clubs in England. Sean provided the mid season Formula 1 update. This is the new format for Red Card Radio. Wednesday mornings the Review episode will release, Thursday morning will bring The News, and Friday morning the Boys will preview the slate of games coming up at the weekend. Give us your feed back about what you like and what you hate. Join the RCR discord to chat with the boys and set up chess games: https://discord.gg/wzJQxR64rk If you're looking for custom apparel in the Falls Church area of Northern Virginia, check out TBS Impressions: https://tbsimpressions.com/ Connect with us on social media. Follow us on Twitter https://twitter.com/RedCard_Radio​​​​ Brad: https://twitter.com/KSBradG​​​​ Sean: https://twitter.com/WhiteHart_Sean​​​​ James: https://twitter.com/JamesTiffany​ --- Send in a voice message: https://anchor.fm/redcardradio/message

HEADLINES: congrats to the Lionesses and positive vibes to Weston McKennie SEASON PREVIEW [6:00]: transfer window winners/losers and most intriguing individuals signings; predictions [20:15] for title winners, top 4, club with best shot to break up Big Six (plus proposal for upset United fans), bottom 3; Golden Boot [46:00], 1st manager fired and best wild-n-wacky off-the-wall prediction; plus LNJ's Fantasy Corner. STOPPAGE TIME [1:05:00]: Best Bets and GOAWs

Arhan Ata Pilavoğlu ve Güner Çalış'ın hazırlayıp sunduğu İngiliz Haftası'nın 62. bölümüne yeteneklerini ABD'ye taşıyan Ozan Can Sülüm konuk oluyor ve üçlü, Manchester City ve Liverpool dışındaki Big Six takımları üzerine bir sohbete koyuluyorlar. Arsenal'da Mikel Arteta ile devam edilmesi ve takımın bu karar sonucunda çizdiği rota, önemli oyuncularını takımda tutan ve müthiş transferler ile iyice güçlenerek eksiklerini kapatan Tottenham'dan beklentiler, Abramovic sonrası dönemde takımdan giden önemli yıldızlar ve kurumsal hafızanın silinmesiyle sezona soru işaretleriyle başlayacak olan Chelsea değerlendirmeleri, Manchester United cephesinde hem gelen hem de gitmesi gereken oyuncular konusunda yaşanan kaos ve yüksek beklentilerin yarattığı çalkantı... Hepsi ve daha fazlası İngiliz Haftası'nın sezon öncesi ikinci ön değerlendirme bölümünde sizlerle.

On the latest episode of Rival Recon Hari is back with his 'Big Six' series ahead of the 22/23 season, on this episode, he is joined by Carl Anka of The Athletic to look ahead to Man Utd's season after a topsy turvy summer, but can Erik Ten Hag improve the established squad?Prefer to listen to our shows without the ads? We've got your back, just head on over to http://anfieldindexpro.com and supercharge your listening experience.Chat and debate 24/7 with other Reds, join our FREE Discord community at https://bit.ly/3geu605Follow us on Twitter: https://bit.ly/3u9gYShFind us on Facebook: https://bit.ly/3KWFxbdSubscribe on YouTube: https://bit.ly/3KXImsjFREE iOS app: https://apple.co/3KSqdMGFREE Android app: https://bit.ly/32KMxqmSupport this show http://supporter.acast.com/theanfieldindex. See acast.com/privacy for privacy and opt-out information.

Guy & Karl kick off their preview of the 22/23 Premier League season by discussing the big six. Who will win the league? Who's going to under and over achieve? And will Man Utd need to take a step back before taking two steps forward?Prefer to listen to our shows without the ads? We've got your back, just head on over to http://anfieldindexpro.com and supercharge your listening experience.Chat and debate 24/7 with other Reds, join our FREE Discord community at https://bit.ly/3geu605Follow us on Twitter: https://bit.ly/3u9gYShFind us on Facebook: https://bit.ly/3KWFxbdSubscribe on YouTube: https://bit.ly/3KXImsjFREE iOS app: https://apple.co/3KSqdMGFREE Android app: https://bit.ly/32KMxqmSupport this show http://supporter.acast.com/theanfieldindex. See acast.com/privacy for privacy and opt-out information.

On the latest episode of Rival Recon Hari is back with his 'Big Six' series ahead of the 22/23 season, on this episode, he is joined by Dan Burke of @OneFootball & The Blue Moon Podcast to look ahead to Man City's season with new signing Erling Haaland being of great interest!Prefer to listen to our shows without the ads? We've got your back, just head on over to http://anfieldindexpro.com and supercharge your listening experience.Chat and debate 24/7 with other Reds, join our FREE Discord community at https://bit.ly/3geu605Follow us on Twitter: https://bit.ly/3u9gYShFind us on Facebook: https://bit.ly/3KWFxbdSubscribe on YouTube: https://bit.ly/3KXImsjFREE iOS app: https://apple.co/3KSqdMGFREE Android app: https://bit.ly/32KMxqmSupport this show http://supporter.acast.com/theanfieldindex. See acast.com/privacy for privacy and opt-out information.