Podcast appearances and mentions of bob dunn

In this episode, I with veteran podcaster Bob Dunn about the evolution of podcasting, especially within the WordPress and WooCommerce spaces. We discuss their early audio influences, the growth and accessibility of podcasting, and dive into the technical side, from microphones and editing software to production workflows. Bob explains his pivot from hosting to managing the multi-host "Do the Woo" podcast channel, shares repurposing tips, and we both reflect on content creation, podcast longevity, and how WordPress seamlessly powers our sites. Whether you're a podcaster already, a WordPress professional, or someone just looking for inspiration to start something new, this episode is for you.

Join Nathan Wrigley, Michelle Frechette, Corey Maass, Bob Dunn as they discuss the WordPress news from the last week which commenced Monday 24th March 2025. There's a lot to talk about but also a lot of technical gremlins! We discuss various topics related to WordPress, including accessibility, AI, and recent news in the WordPress community. Featured items include the new Elementor A11Y tool, the announcement of the Page Builder Summit, and updates on WordPress 6.8 accessibility improvements. We also delve into the practicalities of using AI in website development and recap highlights from the CloudFest hackathon.

As Gutenberg Times celebrates its 7th anniversary, we discovered an amazing coincidence: Bob Dunn, better known as BobWP, launched the DoTheWoo network in the exact same week back in 2018. Today, Bob and I take you behind the scenes to share the origin stories of our WordPress journeys, explore how key ideas took shape, and…

WordPress Media Corps — you might even chuckle when you hear the phrase.This experimental initiative is a team that replaced the WordPress Marketing Team. Not commercial WordPress, mind you, but the open source dot org side of the house. If you've been following me for any amount of time, you don't need me to spell out how important this initiative could be.A chance to legitimize the work only a handful of people across the entire globe have dedicated their professional careers towards — myself included.Before we dive deeper into what the Media Corps could accomplish, lets take a look at the outgoing struggles with the Marketing team:How could a volunteer-lead marketing team accomplish the fundamental responsibilities of marketing with no access to website traffic data, survey results, or have a stake in the product? That's right, it's nearly impossible.I know some of the people that were leading the charge with that effort, and lead it with great care and intention — but they were handcuffed. Lets face it: Open source WordPress doesn't function like a commercial product, because it isn't, which is why it has succeeded.Marketing has to come organically. With no budget or access, you're basically building out tasks for a team to accomplish. Tick the box, keep moving, but don't you dare critically think about how you can impact the brand sentiment of WordPress.In my previous post, Who is Responsible for WordPress Marketing, I reported on the Media Corps initiative stating that I'd reserve my opinion until I saw the process mature a bit more. Consider the rest of this my reaction as the dust settles on the Media Corps contributor kickoff call. A North Star I've been following is how do we keep WordPress thriving?This was a call to action put out by Josepha Haden Chomphosy, Executive Director of WordPress in the State of the Word 2023. It's recognized that in order for WordPress to escape a growth plateau, that the community needs to go beyond code quality and features. Humans need to recognize WordPress core worth, importance, and benefits for the greater open web. Simply put: People need to recommend WordPress more.If you can't do it with a volunteer marketing team, forge a bond with the people that have been the biggest cheerleaders for WordPress — WordPress Media.But this is open source WordPress, why do we need an official team to wrangle the media? What even is WordPress Media?I've been covering WordPress for well over 10 years and whenever I needed anything, I reached out to the person and asked. If dot org was releasing something new, I read about it, decided if it was newsworthy for my audience, and then reported on it or shared my opinion.Yes, something like the WordPress Media Corps helps galvanize the work I've been doing here at the WP Minute and my previous podcast Matt Report, but the approach has been opaque at best.Starting with the initial WordPress Media Kick Off Call. Based on the call to action to comment if you want to be involved from the Initial Roadmap post, I was under the impression that the kickoff call was going to include media folk and the contributing team. I wasn't alone on that assumption, check the comments.The kickoff commenced in a private call with the contributing team — and Bob Dunn founder of Do the Woo, who somehow found himself with the "Media Liaison" title.record scratches.Where did that come from? Was it voted on? Did WordPress media folks put Bob's name in a hat? I have nothing against Bob, everyone loves Bob, he oversees some solid content that helps WordPress thrive. That said, this was the Media Corps first shot at launching a meeting and threw transparency out of the window.We'll get to the Media Corps media partnership requirements in a minute, so hold that thought, but there's another issue at hand that I've talked about ad nauseam: “WordPress media” is tiny, impossible to turn into a sustainable business, and largely depends on in-kind sponsorships that genuinely see value in this type of content existing.That's if you define WordPress media like we do at The WP Minute versus what WP Beginner would publish. Remember: The Media Corps team still hasn't released how they will definitively define this.One only needs to look at the lack of effort to turn around the WP Tavern to see the proverbial proof in the pudding. I do this work because I love WordPress and because I think people should be informed on certain topics on the most widely used web publishing software.Do the Woo and WP Minute both jockey for those in-kind sponsors to keep us afloat. To help pay our writers, production teams, and other overhead. To be included in the Media Corps kickoff call is the equivalent to the Theme Team holding a private meeting to change how themes get included and only inviting Sujay Pawar to the Zoom call.But that's just my opinion, which is also my self-imposed job to analyze these community events. I'll reiterate: nothing against Bob, it's just the media business. Brand and trust are really the only things we have — and it goes both ways.This isn't the only time I've seen favoritism play out in WordPress media. I recall my team being rejected as a Media Partner for WordCamp Europe 2023, while I sat back and saw other brands have their logos added to the website with barely a peep out of them on social media or blog posts covering the event.WordPress media is a perfect storm: There's only 10,000 English speaking people in the world that actually care about this type of content, 8 people in the world (myself included) who actually care about covering it, and so few people that know the brands like WP Minute and The Repository who tirelessly cover it. I miss Sarah Gooding.There's only a handful of WP Media types, as I see it:Independent WordPress news sitesPaper of record, The WP TavernGeneral WordPress tutorial and information blogs, podcasts, and YouTube channelsPeople that do it for funsiesPeople that do it because their company tells them to blog about WordPressWhich brings me to the current Media Corps' requirements on how they are evaluating us:Have a focus on producing content that is at least 80% about WordPressReport factual news or produce relevant educational contentMaintain high standards of content quality/journalismAdhere to WordPress community guidelinesRespect information sensitivities (if any)Have you ever come across fake WordPress news? Who decides what the standards of content quality and journalism are? I mean, I lost that WordCamp media partnership slot to a tech YouTuber and I know I barely passed high school, so maybe I won't cut it?There will be another debate: Report news OR relevant educational content. There's a huge gap in scrutiny and body o...

In this episode we welcome in Bob Dunn jr. We discuss all things football and growing up in Wisconsin. TOPICS COVERED 1 Playing multiple sports and growing up in a football house. 2 Bobby shares why setting goals are so important. 3 Surviving the ups and downs of college athletics at all levers. 4 We talked about the massive growth going on at UW Eau Claire and how strong the WIAC conference is as a whole. 5 Coach gives his game changing GET YOUR EDGE advice and it has to do with HAVING A PLAN. If you enjoy the podcast please share it with your athletes- teachers- parents and other coaches. Help us grow our GET YOUR EDGE community! #chop-it Bob Dunn jr Contact Twitter @CoachBobDunnjr GET YOUR EDGE PODCAST Instagram and Twitter- @getyouredgepod Dean Contact www.foxvalleythrowsclub.com Instagram and Twitter- @foxvalleythrows Brian Contact www.sportsadvantedge.com Instagram- @sportsadvantedge / @brianbott23 Twitter- @botter23 / @sportadvantedgeappleton Email- Brian@sportsadvantedge.com Graphics and Logo- Bailey Marash Instagram and Twitter- @bmarasch13 #foxvalleythrows #getyouredge #sportsadvantedge #hardwork #athlete #makernation #foxvalley #fireit 

Not yet "Western Swing," this music is Texas Swing - musicians in the string band tradition who identified as Jazz players. Steel guitarist Bob Dunn, clarinetists John Harvey and Butch Gibson, saxophonist Earl Driver, pianist Landon Beaver, violinist Darrell Kirkpatrick and others play a range of jazz songs (mostly from the 1920's) with a relentless beat and great solos! --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Coach Jim Tufts is Sherm's co-host on this SSF. The guys start off discussing the Boston Bruins season and move on to high school lacrosse and Jim's experience as an official and the nuances of the sport. The key topic is the annual Special Olympics event at Exeter High School featuring over 200 athletes in competition. The Tufts family was instrumental in starting the program in New Hampshire. During the “Two Minute Drill” Jim talks about his vacation experience with the  West Ham Premier League soccer club in England and Sherm pays tribute to N.H. ski legend Bob Dunn.

Don't really give a shit what happened in the markets. When you lose someone you care about, it hurts more than any money can fix. Today I'll pay respects to a mentor of mine, Robert Dunn. Time permitting, we can dive into the markets, but  I plan on reminiscing a little bit about this wild man that I will forever call my friend. Show will be live at 2pm PST today! #Trading #futures #stocks #NaturalGas #cryptocurrency Sign up for a free, 6 video course on Cryptocurrency here: https://www.tradingacademy.com/crypto/ Contact TraderMerlin: Email – TraderMerlin@gmail.com LinkedIn: https://www.linkedin.com/groups/13930555/ Twitter: TraderMerlin - https://twitter.com/TraderMerlin IG: TraderMerlin - https://www.instagram.com/tradermerlin/ FB: TraderMerlin  - https://www.facebook.com/TraderMerlin Live Daily Show:  - https://www.youtube.com/TraderMerlin   Trading Applications used: #TastyWorks, #ThinkOrSwim #CliK, #TradeStation, #TradingView, #Barchart

On the podcast today, we have Bob Dunn. If you've been using WordPress for any length of time, and you've been consuming content in the ecosystem, it's highly likely that you've come across Bob before. He's been using WordPress since 2006, WooCommerce since 2011, and has been podcasting since 2014. In another life before he discovered WordPress, Bob ran a marketing company, but now his endeavours are all about WordPress. We talk about how Bob found WordPress back in the day when he was creating websites with HTML and Flash. Bob branded himself as BobWP and has never looked back. Given the size of the WordPress community, Bob was able to discover his niche within the greater whole and concentrate on WooCommerce. His popular Do the Woo podcast was born, and he's been working on it ever since. We talk about how Bob has managed to keep the momentum going, and what he thinks are unique about his podcast and community. We also talk about how growing a community such as this can be financed, as well as the ways Bob is trying to innovate in the near future to give value back to the WordPress project more generally. It's an interesting conversation about how content creators can find a place in the WordPress ecosystem and what impact they can have.

Esta noche contaremos con la presencia de Raymond Scott, músico, inventor de instrumentos electrónicos raros y visionario, así como responsable de la banda sonora de muchos de los dibujos animados de la Warner de Bugs Bunny y el Pato Lucas. Y además de este genio tendremos a Cab Calloway, Bob Dunn's Vagabonds, The Carter Family, Mahalia Jackson, Blind Boy Fuller, Orquesta Hermanos Palau... A partir de las 23.00 horas en la sintonía de Radio 3. Escuchar audio

The city of Chicago puts the full court press on trying to re-imagine Soldier Field.

*Bob Dunn, President of Landmark Development, joins the show to talk about the proposed plan for Soldier Field renovations.  *Multiple GRAMMY Award-winning Guitarist, Sharon Isbin, previews her upcoming show at the Chicago Philharmonic.  *ABC News' Alex Presha has the latest on the summit between US, Canada, and Mexico.  *Plus, Salena Zito has the latest political stories and Brett Chase has the updates on the General Iron situation in Chicago.See omnystudio.com/listener for privacy information.

On today's episode Sabrina talks with Bob Dunn, a tour guide in Jonesborough TN. He does historical tours downtown and shares some of his experiences doing that. If you are interested in doing a historical tour, visit https://jonesborough.com/tours/ Thanks for listening! To learn more about the region, visit northeasttennessee.org

As Chicago's skyline continues to evolve, what new developments will shape its future? In this episode you will learn:  1) How the Burnham Plan of 1909 continues to shape Chicago's skyline and development today  2) The potential impacts of the One Central and Woodlawn Central developments on Chicago's social, economic, and cultural landscape  3) How Equity Works is aimed at addressing the shortcomings of traditional affirmative action programs in order to provide more opportunities for residents of Chicago's south and west sides.  This is Bob Dunn, Karen Wilson, Dr. Byron T. Brazier's story...Bob Dunn, Karen Wilson, and Dr. Byron T. Brazier are all working on projects that will change the face of Chicago. One Central is a large project that will create a major transit hub and generate almost 300,000 new boardings a day. It will also unify the civic and cultural district, and drive transformative impact to neighborhoods that need it the most. The Woodline project is a catalyst project based on the Woodland 2060 Plan that will redevelop all of the properties in the community. The Urban League will provide training and support to ensure that residents can take advantage of the job opportunities that will be created by these projects.  Show some love by leaving a review on Apple Podcasts and rate on Spotify. Chapter Summaries: [00:00:00] - Hermene Hartman Hartman with N'DIGO Studio is going to talk about the changing face of Chicago and those who are changing it. The Burnham plan was a blueprint for the city of Chicago developed by Daniel Burnham and Edward Bennett in 1909. Dr. Byron Brazier, Bob Dunn, and Karen Wilson are going to discuss their plans for the development of Chicago today. [00:01:13] - Bob Dunn has a project called One Central. Karen Wilson from Chicago Urban League is also on the show. Today they talk about the changing face of Chicago and how it will change for the better.  [00:01:51] - Bob is talking about the one central project around Soldiers Field. 35 acres. It's a $4 billion civic asset which includes the transit, the infrastructure, the amenities and a vertical phase of development that will include office, residential, retail, dining, entertainment, hospitality, and healthcare. It will generate nearly 70000 permanent jobs on site. [00:04:44] - Dr. Byron Brazier is building on his father's legacy in the Woodlawn community. The project is a catalyst project based on the Woodlawn 2060 Plan. There will be a promenade, a hotel, a business center, a vertical farming, a fine arts center and a senior facility. [00:07:22] - Karen is at the Chicago Urban League. Karen has been the mayor of Gary, Indiana and a judge and a graduate of Harvard. Karen is excited about the plans for the Woodlawn Central and Bob's project. Karen and Dr. Brazier want the Urban League to bring the jobs that will be created by the projects to life. The Urban League has to provide the training and small businesses who will work on these projects by providing the businesses. [00:10:52] - Bob has created a new affirmative action called Equity Works. Equity Works is a partnership with the Urban League, the BLC and the Illinois Hispanic Chamber. The civic build is about a three and a half year construction project. The vertical development is a ten to 15 year project. Bob has done a lot of sports development in his career. He built the other three stadiums in the North Division. [00:17:20] - N'DIGO Studio is talking about some developments that are going to change the face of Chicago. The impact is on the surface, you see the city looks different, but the real impact is social impact, cultural impact, economic impact, job impact, tax impact, etc. Dr. Brazier's job is to make sure the developments keep people in mind. [00:19:14] - Dr. Brazier is planning to build a multi-million dollar development on the same timeline as one central. Dr. Brazier was born in the midsection of Chicago near the lake, and grew up in different parts of the city. He believes that development should focus on education, safety and cultural development. [00:24:37] - Bob Dunn has a project to create 78000 new construction jobs and 68000 permanent jobs in Chicago. He needs to create an alignment for the residents to get the jobs and to get training and education. Hermene Hartman is an educator, and she is talking on the changing face of Chicago. Connect with me: Instagram: iamhermenehartmanFacebook: hermenehartmanYouTube: ndigostudioLoved this episode? Leave us a review and rating here: {LINK}

A good deal of Western Swing,  some early country and a wee bit of blues. Have to give I haven't got a pot to cook(1936)  another airing. Naughtiness from The Sweet Violet Boys. Jimmie Revard and his Oklahoma Playboys- Ride 'em Cowboy(1936). A Bob Wills song. My only Bob Skyles and his Skyrockets trabk on vinyl next- The Rhythm King. Milton Brown and his Brownies- Yes sir(1936). Chicken Reel Stomp(1937)-The Tune Wranglers. The also performed as Tono Hombres and sang in Spanish. Wonderful blues from Buddy Jones- Settle down blues(1939) Buddy recorded over 80 sides for Decca. On piano is Moon Mulligan. Not Max as I say 'on air.' Bob Dunn on Steel guitar. Amade' Ardoin- La Valse a Abe and Two Step Eunice. A pioneer of Cajun and Zydeco music on record. Much legend surrounds his death. It now appears he probably died of V.D in 1942.  A unique voice and great accordion. The Georgia Crackers-  Joe Diamond(1927). The duo also performed as the Coffer Brothers. Dupree's Rome Boys- 12th Street Blues(1929). A popular dance band number of the time, adapted perfectly for guitar and fiddle. Lil McClintock- Don't think I'm Santa Clause(1930). McClintock was a street musican in Clinton South Carolina and only recorded four sides for Columbia. Nothing is known of his origins or what happened to him. An obscure but talented artist that came and went. Frank Hutchinson- K.C Blues(1929.)  Hutchinson is considered the best musician and singer of white country blues music and recorded around 40 sides for the Okeh label between 1926 and 1929. He played the steel guitar using a pen knife as a slide.  He'd worked as a miner in Virginia. Died young at 48.  I love this laid back track and his wee shout toward the end. We finish with that man Milton Brown and Hesitation Blues.  

What if there was a "lite" version of WordPress that was still WordPress — still customizable under the hood but tuned up for a great user experience for particular use cases? For example — could a lite version be used to allow an admin to literally build an online store in minutes from a mobile device? How about just a note-taking app with cool open web features? What if, what if, what if...!!!David Bisset, Bob Dunn, Jess Frick, and Eric Karkovack shared on Twitter Spaces what their own versions of WordPress Lite would do — what market or niche it would fit — and whether it's practical for something like this to run on WordPress at all.Why it matters: WordPress has had more and more competition in recent years for very simple applications and tasks like simple blogs, simple storefronts, and simple ways of selling access to subscribers for digital content. Conversations during this episode were occurring while the WordPress space was discussing competition and declining market share.

We have switched over to Slack from Discord. News There has been a lot of feedback for full site editing in the latest release of WordPress. The team over on make.wordpress.org is looking for people to sign up for usability testing by June 24th. This outreach program is going to try something new and pair up members of the program with community designers. Once paired, they will then find time between June 20th and July 1st to record a 15-minute call on Zoom going through one of two tasks: Creating & applying a new header, and using and customizing patterns. WordPress.org is now strongly recommending that theme authors switch to local hosted webfonts. Sarah Gooding writes over on WPTavern that a recent German court case fined a website using Google-hosted webfonts. In order to comply with GDPR - Europe's General Data Protection Regulation - WordPress themes should switch to locally hosted webfonts. Are you still recovering from WCEU? There are two reviews from media supporters that you may want to check out. Bob Dunn and Matt Medeiros recorded their experiences. And there are nearly 3000 event photos. If you would like to see those you can view the photo album from WCEU on Flickr. Andrew Palmer reviews his WCEU experience right here on the WP Minute. Nathan Wrigley interviews Matt Mullenweg on the Jukebox podcast hosted at the WPTavern. Mullenweg shares his reflections on WordPress and the changes to come in the future. WooCommerce: WooCommerce 6.6 was released and you can find the complete changelog over on the WooCommerce site for the recent changes. From Our Contributors and Producers Eric Karkovack writes about the CMS landscape (including WordPress) on the latest at the WP Minute. Eric makes a good argument about why a freelancer would not choose WordPress for building a website. What's with the WordPress vibe? Changes and Acquisitions seem to be published weekly now. Acquisitions in #WordPress have created some concern among smaller businesses and entrepreneurs as we compete with bigger companies with much larger budgets. Mark Zahra has a little survey on Twitter asking if you had to double down on one area in the next 6 months with the goal of generating growth, what would it be? There were several layoffs reported lately from Elementor and Envato. James Giroux tweeted about the status of @envato and @elemntor announcing significant redundancies in the last week. You can help those affected by: 1. Celebrating wins publicly and calling out individuals by name 2. Adding to their LinkedIn profiles 3. Introducing them to your network Next Up: Simplified Business Minute by Sam Muñoz The Case for Not Automating Client Interac

Rob Cairns sits down with Nathan Wrigley and Bob Dunn to talk podcasting. Bob, Nathan and Rob have all had shows that have hit episode 200 in the last month so enjoy the amazing conversation from these Podcast experts. Show Highlights: Podcast origin stories. Tips about recording your podcast. Technical issues that have happened during your podcast. How to get guests for your podcast.

Wow where time has gone. In this special episode 200, I sit down with Bob Dunn (Bobwp) and we talk about all things WooCommerce. Show Hightlights: Episode 200 - All I can say is wow! What is going on with WooCommerce. Bob Dunn's Podcast journey. Trends in WooCommerce

"The Hippy Times are going to end at some point." —Bob DunnIn this episode of Post Status Excerpt, David has an honest and deep dive with Bob Dunn into the "versions" of the WordPress community — something Bob covered in a recent blog post that has gotten some attention recently. They discuss what each "version" was like, how money can make a community act differently, and how people position themselves, for better or worse, in reaction to changes in the community.Also: David asks Bob if certain changes are unavoidable once a community gets to a certain size and asks what is missing from the WordPress community today that existed in the early days.Every week Post Status Excerpt will brief you on important WordPress news — in about 15 minutes or less! Learn what's new in WordPress in a flash. ⚡You can listen to past episodes of The Excerpt, browse all our podcasts, and don't forget to subscribe on Spotify, Amazon Music, Google Podcasts, iTunes, Castro, YouTube, Stitcher, Player.fm, Pocket Casts, Simplecast, or by RSS.

It's the WP Minute! This is Carrie Dils and I'm filling in for Matt, who's tweeting about podcasting. This episode is brought to you by Easy Support Videos. Support your WordPress users by embedding videos and screencasts right inside the WordPress admin. Learn more at EasySupportVideos.com! You know the drill, everything I mention here will be linked up in the newsletter and the blog post. Check out thewpminute.com for the links. Let’s get to the News Stay tuned for the direction of block development in the next few months. Justin Tadlock over on the WPTavern wrote about whether block development is merely a templating system with no build process. Since there still is a big concern around the direction of block development, he went ahead and reviewed where the React-based WordPress block editor (sometimes referred to as Gutenberg) had been hitting speed bumps for WordPress developers who have been more PHP Centric. Helen Hou-Sandi also published on her blog how she spent the last 8 months telling anybody she talked to about custom WordPress block development. They were way less scary and much easier than she thought they were going to be for somebody with minimal React experience. She said that a big game-changer for adoption and shifting thinking would be to find a way to unify templating between the front-end and the editor, essentially swapping the places where you output content with the corresponding editor component. My personal opinion: “That sounds amazing”! Helen says: “these are experiments and there will likely be many failed paths”, and that the focus remains on the problem to be solved during the research and experimentation phase, not on the implementation details. If you want the scoop on React and the possible direction of block development make sure you check out her post and follow updates on Twitter. For you plugin developers seeing plugin changes on WordPress.org: Mika Epstein reported on WordPress.org that inaccurate stats were adjusted for 100 plugins recently because of a stats gathering change. This means those plugins had their active install stats seemingly adjusted downward. She wants you to understand this was painful for a number of developers and they held off on announcing this as they were still doing a bit of triage and making sure it was blocked. Sorry about that confusion and it is corrected now. Let’s Talk about WooCommerce If you follow Bob Dunn for WooCommerce news, he announced that his Twitter handle changed for all things Woo. Jump over to @DotheWoo for updates and news. Moving on to the Grabbag If you are a runner, walker, or crawler this one is for you. WordPress has a virtual 5k scheduled for October 1 through October 30. This race is virtual and “virtually” anyone can participate in the race with the possibility of completing the 5k race. You can track your route on your favorite app or record the 5k off the grid. And you can register for the

On this episode of the Audience podcast, Matt talks with fellow podcaster, Bob Dunn from the Do the Woo Podcast. Bob specializes in a specific niche within WordPress, which is what his podcast focuses on as well. That begs the question, “How do you niche down in podcasting?” Today, Bob and Matt talk about niche podcasting and sponsorships, how to get started with sponsorships (when you’re new and scared), and different types of ad-rolls. How important is creativity in an ad-roll? How do you own a segment? How flexible do you have to be with sponsors? Bob and Matt answer all of these questions and more in today’s episode of the Audience podcast. If you have any questions about this episode or want to get some of the resources we mentioned, head over to Castos.com/podcast. And as always, if you’re enjoying the show please share it with someone who you think would enjoy it as well. It is your continued support that will help us continue to help others. Thank you so much! Never miss another show by subscribing at castos.com/subscribe. Today you’ll learn about: Bob’s journey into podcasting and the story behind Do the Woo Niching down in podcasting The importance of branding in niche podcasting “Owning a segment” Advice for how new podcasters can approach possible sponsors Branding through the lens of small creators Transparency with sponsors and listeners How flexibility and sponsorships go hand-in-hand Different types of ad-rolls Long-term commitments and lengths of sponsorships Equipment opinions and tips Resources/Links: Bob Dunn, LinkedIn: https://www.linkedin.com/in/bobwp/ Bob Dunn, official website:

Content can play a powerful role in your SEO and social strategies, but a funny thing can happen when you create really compelling content. You might just create a community of folks who love what you have to say!... Oops. Now what?!In this episode of PressThis, Bob Dunn of Do The Woo shares his journey taking his vast array of current & ongoing content around WooCommerce to create an engaged and growing digital community for WooCommerce developers. Also known as BobWP, Bob is a fixture in the Woo community and has a very informed perspective on both content and community strategies.If you're ready to learn how to turn your valuable content into an even more valuable and engaged community, don't miss this episode of PressThis. Listen now!

Bob Dunn, vice president of Federal for Juniper Networks, joins host John Gilroy on this week's Federal Tech Talk to explain how recent changes in Juniper Networks can help with federal information technology goals.

Host Connor Craven is joined by Bob Dunn, VP of Juniper Federal Global Governments, to discuss tech regulations. Dunn brings his expertise on current regulations and offers insight on the potential regulations the future may bring.

Former CME floor trader Bob Dunn joins me today to talk about how he chooses his trades from a variety of markets. We will look at current markets as well as answer listener questions. Show starts live at 2pm

In his Signature Series with Online Trading Academy, Bob Teaches “Riding The Wave”, a momentum trading strategy applicable to any asset class. Today, I’ll talk to Bob about the current market situation and get his thoughts on where the momentum is headed now and going forward. We’ll probably walk down memory lane as well, pulling stories from his 45+ years as a trader, many of which were on the floors in Chicago! Join us live at 2pm PST today to discuss!

Welcome to a special bonus episode of Podcaster Stories. As the show approaches the midway point of Season 2, I just wanted to take this opportunity to say thank you. Thank you to you, the listeners, who have added this show to your regular listening habit, resulting in the show growing week on week since launch earlier this year. Thank you to my guests: https://podcasterstories.com/ep-1-talking-with-my-wife-about-depression/ (Jaclyn Brown) https://podcasterstories.com/talking-with-gini-dietrich-of-spin-sucks/ (Gini Dietrich) https://podcasterstories.com/ep-3-talking-with-bob-reed-of-the-old-man-podcast/ (Bob Reed) https://podcasterstories.com/talking-with-mark-asquith-rebel-base-media/ (Mark Asquith) https://podcasterstories.com/talking-with-jeff-esposito-kaspersky-security/ (Jeff Esposito) https://podcasterstories.com/ep-6-talking-with-bob-dunn-of-do-the-woo-podcast/ (Bob Dunn) https://podcasterstories.com/ep-7-talking-with-lisa-gerber-of-the-gear-show/ (Lisa Gerber) https://podcasterstories.com/ep-8-zach-moreno-rockwell-felder-squadcast/ (Zach Moreno and Rockwell Felder) https://podcasterstories.com/pete-cann-laughter-positivity-podcast/ (Pete Cann) https://podcasterstories.com/dr-alice-kerby-beyond-the-pink-cloud/ (Dr. Alice Kerby) https://podcasterstories.com/ep-11-talking-with-lefteris-statharas-of-lefteris-asks-science/ (Lefteris Statharas) https://podcasterstories.com/mark-taylor-education-on-fire-podcast/ (Mark Taylor) https://podcasterstories.com/susan-diaz-will-lamont-4am-report/ (Susan Diaz and Will Lamont) https://podcasterstories.com/eric-barnhart-mindful-moment-podcast/ (Eric Barnhart) https://podcasterstories.com/jenell-rieser-rachel-bellotti-true-north-collective/ (Jenell Riesner and Rachel Bellotti) https://podcasterstories.com/jody-hanks-chris-rash-the-digression-podcast/ (Jody Hanks and Chris Rash) https://podcasterstories.com/michael-levitt-breakfast-leadership-network/ (Michael Levitt) https://podcasterstories.com/sarah-st-john-frugalpreneur/ (Sarah St. John) https://podcasterstories.com/nate-garrison-extraordinary-podcast/ (Nate Garrison) for sharing their stories with me, and for being so open and gracious with their time while doing so. Thank you to the kind folks who have left a review for Podcaster Stories, Reviews help other listeners like you find the show for themselves, so thank you. And if you want to leave a review of your own, simply go to http://lovethepodcast.com/podcasterstories (lovethepodcast.com/podcasterstories) and choose where you want to leave the review.  And thank you to the podcasting community for the way they're always willing to help others grow, and to the podcasting tech platforms that make life easier for people like me to make a show like this. Companies like Squadcast, Auphonic, Focusrite, Samson, and Captivate, who turned out to be a podcast host so good I ended up joining their team!  Doing this show has been a real pleasure for me, and I've learned so much from those I've interviewed for the show, and those I've chatted with either online or via email. I hope you continue to enjoy, and I look forward to sharing more podcaster stories with you. Contact me: danny@podcasterstories.com My equipment: https://amzn.to/2ZVLwGz (Samson Q2U Mic) https://amzn.to/2wWspkR (Focusrite Scarlett Solo 3rd Gen Audio Interface) https://amzn.to/2Vp7HDM (TRITON AUDIO Fethead In-Line Microphone Preamp) https://amzn.to/35AgGpg (Denon DJ HP-1100 Over Ear Headphones) https://amzn.to/37ifmGG (RockJam MS050 Adjustable Mic Suspension Boom) https://amzn.to/39qiB06 (Dragonpad Pop Filter) Recommended resources: https://www.captivate.fm/signup?ref=dannybrown2 (Captivate.fm) https://www.captivate.fm/signup?ref=dannybrown2 (Aweber email marketing) https://www.captivate.fm/signup?ref=dannybrown2 (SquadCast remote interviewing)

What if there was a way to engage public high school students in theology and apologetics 5 days a week? That is exactly what our guests Bob Dunn and Mario Delgado are developing at Rock Point Church and for all of Arizona. In this episode, we take a look at public school release hour and how we can utilize it to help disciple students. If you work with students or are interested in starting a Seminary at your church, please reach out to Mario and Bob to get equipped at impacting the upcoming generation. Bob Dunn: youthlink1@gmail.com Mario Delgado: mario.delgado@rockpointchurch.com Instagram: @may24ito Check us out on YouTube: https://www.youtube.com/channel/UCP1ScpZNFou4QP1UY7qnBzg Make sure to join our Insiders Facebook Group: https://www.facebook.com/groups/christculturecoffeeinsiders/

With 24 hours in the day, and many markets trading most of that time, what time is the best? Veteran CME floor trader, Bob Dunn joins me to discuss how he uses the different trading times and which he finds to be the best. We will also be fielding viewer questions, so join us live at 2pm pst today!

Rob Cairns sits down and has a conversation with Bob Dunn (BobWp) on how to start and create a podcast.

. Milton Brown and His Brownies! Western Swing in the 1930's - great jazz by a string group and a superb vocalist! This group was more jazz than country and featured one of the first electric guitarists to be be recorded - Bob Dunn, as well as an excellent barrelhouse piano player named Fred "Papa" Calhoun. --- Support this podcast: https://anchor.fm/john-clark49/support

In episode six of Podcaster Stories, I sit down with Bob Dunn, founder of BobWP and host of Do the Woo Podcast. After making his name in the WordPress community, Bob has continued to grow his reputation in the WooCommerce space, showcasing the platform's features and benefits when it comes to e-commerce using the WordPress platform. In this week’s show, I sit down with Bob to talk about pivoting your brand, where WooCommerce is headed, how he and his wife beat IKEA's marketing department, and more. Topics on the menu include: Why he made the pivot from purely WordPress to WooCommerce How he's grown as a podcaster from launching different shows Why he chose the WooCommerce platform to concentrate on Where he sees the future of WooCommerce Why you should pinpoint exactly what you want to do when launching a podcast How he and his wife beat out the multi-national retailer IKEA for a marketing award Settle back for an informative show about the WooCommerce platform, building a niche, finding your passion when it comes to podcasting, and more. Connect with Bob: https://bobwp.com/ (BobWP.com) https://twitter.com/bobwp (Bob on Twitter) https://bobwp.com/category/woocommerce-podcast/ (Do the Woo podcast) Contact me: danny@podcasterstories.com My equipment: https://amzn.to/2QybcF0 (Rode Podmic) https://amzn.to/2wWspkR (Focusrite Scarlett Solo 3rd Gen) https://amzn.to/2Vp7HDM (TRITON AUDIO Fethead In-Line Microphone Preamp) https://amzn.to/35AgGpg (Denon DJ HP-1100 Over Ear Headphones) https://amzn.to/37ifmGG (RockJam MS050 Adjustable Mic Suspension Boom) https://amzn.to/39qiB06 (Dragonpad Pop Filter) Recommended resources: https://www.captivate.fm/signup?ref=dannybrown2 (Captivate.fm) https://www.aweber.com/easy-email.htm?id=513434 (Aweber email marketing) https://squadcast.fm/?ref=dannybrown3 (SquadCast remote interviewing)

Guest Bob Dunn joins us for a discussion of hard work from the book of Proverbs.

BobWP is a WordPress podcasting icon and a true enthusiast. Through his episodes he and his guests share great information and help countless WordPress users with their businesses. It was an honor and a blast to have him on WPCoffeeTalk with me!

@bobWP Show Notes All Things WooCommerce Doo the Woo podcast BobWP Media Audio This episode is sponsored by Using the WordPress REST API The post Interview with Bob Dunn appeared first on Voices of the ElePHPant.

What content should I produce, isn’t this a perennial question among people wanting to create new content? Also, this is not just about the love of creating new content but also balancing it with your money-making goals. Bob Dunn has produced a lot of content over the years in the form of written, video and…

Read the complete transcription on the Sales Game Changers Podcast website. BOB'S TIP TO EMERGING SALES LEADERS: “If you're true to yourself and true to your customers, they will be true to you. If you could live that way and set a foundation that is firm that you believe in, you'll be successful in sales.” Bob Dunn is the VP of Federal for Juniper Networks. He started his career at NYNEX before moving to Nortel. He also was a CEO at PacStar and also worked in private equity. Find Bob on LinkedIn!

On this episode, we had the joy of sitting with longtime friend, mentor and brother Bob Dunn of Youth Link Ministries to talk through our collective experiences with living by the Holy Spirit. Please join us and sit in on our conversation. Please become part of the discussion or give us feedback by following us on Facebook at facebook.com/rppodcast, Instagram @rppodcast or Tweet us on twitter.com/therppodcast. You can also always check out our website www.rppodcast.com to email us. Thanks for listening.

Qui-Gon Jinn...again!? Just kidding, it’s Bob from BobWP.   We talk about why age shouldn’t be the thing to stop you from starting in the WordPress space, reminisce on how blogging used to be and how it’s still a relevant medium today, and why written content is the key to driving organic traffic to your site.   Enjoy!

Latest episode of Hawk Talk Podcast

Bob Dunn talks about building Babel Health, providing a high level of customer service with health plans company communication goals.

Rhonda Negard of Fat Dog Creatives & Kim Thornton of The Business of You recap the sessions for WordCamp Seattle 2018. Part 2 includes Jennifer McKnight discussing User Experience and Branding for WordPress Sites, Bob Dunn discussing How to Repurpose a Single Piece of Content Into a Lot of Content, and Kronda Adair explaining how to Turn Your Website into a Time Machine.

Read the complete transcript on the Sales Game Changers Podcast website. BOB'S TIP TO EMERGING SALES LEADERS: "If you're true to yourself and true to your customers, they will be true to you. If you could live that way and set a foundation that is firm that you believe in, you'll be successful in sales." Bob Dunn is the VP of Federal for Juniper Networks. He started his career at NYNEX before moving to Nortel. He also was a CEO at PacStar and also worked in private equity. Find Bob on LinkedIn!  

  Welcome to episode three of A History of Rock Music in Five Hundred Songs. Today we're looking at Bob Wills and "Ida Red". ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. I mention a PhD thesis on the history of the backbeat in the episode. Here's a link to it. Bob Wills' music is now in the public domain, so there are many different compilations available, of different levels of quality. This is an expensive but exhaustive one, while this is a cheap one which seems to have most of the important hits on it. The definitive book on Bob Wills, San Antonio Rose, is available here, though it's a bit pricey. And for all the episodes on pre-1954 music, one invaluable source is the book "Before Elvis" by Larry Birnbaum. Clarification In the episode I talk about two tracks as being "by Django Reinhardt", but the clips I play happen to be ones featuring violin solos. Those solos are, of course, by Reinhardt's longtime collaborator Stephane Grapelli. I assume most people will know this, but just in case. Transcript "Rock and Roll? Why, man, that's the same kind of music we've been playin' since 1928! ... We didn't call it rock and roll back when we introduced it as our style back in 1928, and we don't call it rock and roll the way we play it now. But it's just basic rhythm and has gone by a lot of different names in my time. It's the same, whether you just follow a drum beat like in Africa or surround it with a lot of instruments. The rhythm's what's important."   Bob Wills said that in 1957, and it brings up an interesting question. What's in a name?   Genre names are a strange thing, aren't they? In particular, did you ever notice how many of them had the word "and" in them? Rock and roll, rhythm and blues, country and western? There's sort of a reason for that.   Rock and roll is a special case, but the other two were names that were coined by Billboard, and they weren't originally meant to be descriptors of a single genre, but of collections of genres -- they were titles for its different charts. Rhythm and blues is a name that was used to replace the earlier name, of "race" records, because that was thought a bit demeaning. It was for the chart of "music made by black people", basically, whatever music those black people were making, so they could be making "rhythm" records, or they could be making "blues" records.   Only once you give a collection of things a name, the way people's minds work, they start thinking that because those things share a name they're the same kind of thing. And people start thinking about "rhythm and blues" records as being a particular kind of thing. And then they start making "rhythm and blues" records, and suddenly it is a thing.   The same thing goes for country and western. That was, again, two different genres. Country music was the music made by white people who lived in the rural areas, of the Eastern US basically -- people like the Carter Family, for example.   [Excerpt of “Keep on the Sunny Side” by the Carter Family]   We'll hear more about the Carter family in the future, but that's what country music was. Not country and western, just country. And that was the music made in Appalachia, especially Kentucky and Tennessee, and especially especially Nashville.   Western music was a bit different. That was the music being made in Texas, Oklahoma, and California, and it tended to use similar instrumentation to country music -- violins and guitars and so on -- but it had different subject matter -- lots of songs about cowboys and outlaws and so on -- and at the time we're talking about, the thirties and forties, it was a little bit slicker than country music.   This is odd in retrospect, because not many years later the Western musicians influenced people like Johnny Cash, Buck Owens, and Merle Haggard, who made very gritty, raw, unpolished music compared to the country music coming out of Nashville, but the thirties and forties were the heyday of singing cowboy films, with people like Gene Autrey and Roy Rogers becoming massive, massive stars, and so there was a lot of Hollywoodisation of the music, lots of crooning and orchestras and so on.   Western music was big, big business -- and so was swing music. And so it's perhaps not surprising that there was a new genre that emerged around that time. Western swing.   Western swing is, to simplify it ridiculously, swing music made in the West of the USA. But it's music that was made in the west -- largely in places like California --by the same kinds of people who in the east were making country music, and with a lot of the same influences.   It took the rhythms of swing music, but played them with the same instrumentation as the country musicians were using, so you'd get hot jazz style performances, but they'd be played on fiddle, banjo, guitar, and stand-up bass. There were a few other instruments that you'd usually get included as well -- the steel guitar, for example. Western swing usually also included a drum kit, which was one of the big ways it differed from country music as it was then. The drum kit was, in the early decades of the twentieth century, primarily a jazz instrument, and it was only because Western swing was a hybrid of jazz and Western music that it got included in those bands -- and for a long time drum kits were banned from country music shows like the Grand Ole Opry, and when they did finally relent and let Western swing bands play there, they made the drummers hide behind a curtain.   They would also include other instruments that weren't normally included in country or Western music at the time, like the piano. Less often, you'd have a saxophone or a trumpet, but basically the typical Western swing lineup would be a guitar, a steel guitar, a violin or two, a piano, a bass, and drums.   Again, as we saw in the episode about "Flying Home", where we talked about *non*-Western swing, you can see the rock band lineup starting to form. It was a gradual process though.   Take Bob Wills, the musician whose drummer had to hide behind a curtain.   Wills originally performed as a blackface comedian -- sadly, blackface performances were very, very common in the US in the 1930s (but then, they were common in the UK well into my lifetime. I'm not judging the US in particular here), but he soon became more well known as a fiddle player and occasional singer.   In 1929 Wills, the singer Milton Brown, and guitarist Herman Arnspiger, got together to perform a song at a Christmas dance party. They soon added Brown's brother Derwood on guitar and fiddle player John Dunnam, and became the Light Crust Doughboys.     [clip of the Light Crust Doughboys singing their theme]   That might seem like a strange name for a band, and it would be if that had been the name they chose themselves, but it wasn't. Their name was originally The Aladdin Laddies, as they got sponsored by the Aladdin Lamp Company to perform on WBAP radio under that name, but when that sponsorship fell through, they performed for a while as the Wills Fiddle Band, before they found a new sponsor -- Pappy O'Daniel.   You may know that name, as the name of the governor of Mississippi in the film "O Brother, Where Art Thou?", and that was... not an *entirely* inaccurate portrayal, though the character in that film definitely wasn't the real man. The real Pappy O'Daniel didn't actually become governor of Mississippi, but he did become the governor of Texas, in the 1940s.   But in the late 1920s and early thirties he was the head of advertising for Burrus Mill and Elevator Company, who made "Light Crust Flour", and he started to sponsor the show.   The band became immensely successful, but they were not particularly well paid -- in fact, O'Daniel insisted that everyone in the band would have to actually work a day job at the mill as well. Bob Wills was a truck driver as well as being a fiddle player, and the others had different jobs in the factory.   Pappy O'Daniel at first didn't like this hillbilly music being played on the radio show he was paying for -- in fact he wanted to cancel the show after two weeks. But Wills invited him down to the radio station to be involved in the broadcasts, and O'Daniel became the show's MC, as well as being the band's manager and the writer of their original material. O'Daniel even got his own theme song, "Pass the Biscuits, Pappy".   [insert Hillbilly Boys playing "Pass the Biscuits, Pappy"]   That's not the Light Crust Doughboys playing the song -- that's the Hillbilly Boys, another band Pappy O'Daniel hired a few years later, when Burrus Mill fired him and he formed his own company, Hillbilly Flour -- but that's the song that the Light Crust Doughboys used to play for O'Daniel, and the singer on that recording, Leon Huff, sang with the Doughboys from 1934 onwards. So you get the idea.   In 1932, the Light Crust Doughboys made their first recording, though they did so under the name the Fort Worth Doughboys -- Pappy O'Daniel didn't approve of them doing anything which might take them out of his control, so they didn't use the same name. This is "Nancy"   [insert clip of "Nancy"]   Now the music the Light Crust Doughboys were playing wasn't yet what we'd call Western Swing but they were definitely as influenced by jazz music as they were by Western music. In fact, the original lineup of the Light Crust Doughboys can be seen as the prototypical example of the singer-guitarist creative tension in rock music, except here it was a tension between the singer and the fiddle player. Milton Brown was, by all accounts, wanting to experiment more with a jazz style, while Bob Wills wanted to stick with a more traditional hillbilly string band sound. That creative tension led them to create a totally new form of music.   To see this, we're going to look forward a little bit to 1936, to a slightly different lineup of the band. Take a listen to this, for example -- "Dinah".   [insert section of Light Crust Doughboys playing "Dinah"]   And this -- "Limehouse Blues".   [insert section of Light Crust Doughboys playing "Limehouse Blues"]   And now listen to this -- Django Reinhardt playing "Dinah"   [insert section of Reinhardt playing "Dinah"]   And Reinhardt playing "Limehouse Blues"   [Reinhardt playing "Limehouse Blues"]   Those recordings were made a few years after the Light Crust Doughboys versions, but you can see the similarities. The Light Crust Doughboys were doing the same things as Stephane Grapelli and Django Reinhardt, years before them, even though we would now think of the Light Crust Doughboys as being "a country band", while Grapelli and Reinhardt are absolutely in the jazz category.   Now, I said that that's a different lineup of the Light Crust Doughboys, and it is. A version of the Light Crust Doughboys continues today, and one member, Smoky Montgomery, who joined the band in 1935, continued with them until his death in 2001. Smoky Montgomery's on those tracks you just heard, but Bob Wills and Milton Brown weren't. They both left, because Pappy O'Daniel was apparently not a very good person to work for.   In particular, O'Daniel wouldn't let the Doughboys play any venues where alcohol was served, or play dances generally. O'Daniel was only paying the band members $15 a week, and they could get $40 a night playing gigs, and so Brown left in 1932 to form his own band, the Musical Brownies.   The Musical Brownies are now largely forgotten, but they're considered the first band ever to play proper Western Swing, and they introduced a lot of things that defined the genre. In particular, they introduced electric steel guitar to the Western music genre, with the great steel player Bob Dunn.   For a while, the Musical Brownies were massively popular, but sadly Brown died in a car crash in 1936.   Bob Wills stayed in the Doughboys for a while longer, as the band's leader, as O'Daniel gave him a raise to $38 a week. And he continued to make the kind of music he'd made when Brown was in the band -- both Brown and Wills clearly recognised that what they'd come up with together was something better and more interesting than just jazz or just Western.   Wills recruited a new singer, Tommy Duncan, but in 1933 Wills was fired by O'Daniel, partly because of rows over Wills wanting his brother in the band, and partly because Wills' drinking was already starting to affect his professionalism. He formed his own band and took Duncan and bass player Kermit Whalen with him. The Doughboys' steel guitar player, Leon McAuliffe, soon followed, and they became Bob Wills and his Texas Playboys. They advertised themselves as "formerly the Light Crust Doughboys" -- although that wasn't entirely true, as they weren't the whole band, though they were the core of it -- and Pappy O'Daniel sued them, unsuccessfully.   And the Texas Playboys then became the first Western Swing band to add a drum kit, and become a more obviously rhythm-oriented band.   The Texas Playboys were the first massively, massively successful Western swing band, and their style was one that involved taking elements from everywhere and putting them together. They had the drums and horns that a jazz band would have, the guitars and fiddles that country or Western bands would have, the steel guitar that a Hawaiian band would have, and that meant they could play all of those styles of music if they wanted to. And they did. They mixed jazz, and Western, and blues, and pop, and came up with something different from all of them.   This was music for dancing, and as music for dancing it had a lot of aspects that would later make their way into rock and roll. In particular it had that backbeat we talked about in episode two, although here it was swung less -- when you listen to them play with a heavy backbeat but with the fiddle as the main instrument, you can hear the influence of polka music, which was a big influence on all the Western swing musicians, and through them on rock and roll. Polka music is performed in 2/4 time, and there's a very, *very* strong connection between the polka beat and the backbeat.   (I won't go into that too much more here -- I already talked about the backbeat quite a bit in episode two -- but while researching these episodes I found a hugely informative but very detailed look at the development of the rock backbeat -- someone's PhD thesis from twenty years ago, four hundred pages just on that topic, which I'll link on the webpage if you want a much more detailed explanation)   Now by looking at the lineup of the Texas Playboys, we can see how the rock band lineup evolved. In 1938 the Texas Playboys had a singer, two guitars (one doubling on fiddle), three fiddlers, a banjo player, steel guitar, bass, drums, piano, trumpet, trombone, and two saxes. A *huge* band, and one at least as swing as it was Western. But around that time, Wills started to use electric guitars -- electric guitars only really became "a thing" in 1938 musically, and a lot of people started using them at the same time, like Benny Goodman's band as we heard about in the first episode. Wills' band was one of the first to use them, and Western musicians generally were more likely to use them, as they were already using amplified *steel* guitars.   We talked in episode two about how the big bands died between 1942 and 1944, and Wills was able to make his band considerably smaller with the aid of amplification, so by 1944 he'd got rid of most of his horn section apart from a single trumpet, having his electric guitars play what would previously have been horn lines.   So by 1944 the band would consist of two fiddles, two basses, two electric guitars, steel guitar, drums, and a trumpet. A smaller band, an electrified band, and one which, other than the fiddles and the trumpet, was much closer to the kind of lineups that you would get in the 50s and 60s. A smaller, tighter, band.   Now, Wills' band quickly became the most popular band in its genre, and he became widely known as "the king of Western Swing", but Wills' music was more than just swing. He was pulling together elements from country, from the blues, from jazz, from anything that could make him popular.   And, sadly, that would sometimes include plagiarism.   Now, the question of black influence on white music is a fraught one, and one that will come up a lot in the course of this history. And a lot of the time people will get things wrong. There were, of course, white people who made their living by taking black people's music and watering it down. There were also, though, plenty of more complicated examples, and examples of mutual influence.   There was a constant bouncing of ideas back and forth between country, western, blues, jazz, swing... all of these genres were coded as belonging to one or other race, but all of them had musicians who were listening to one another. This is not to say that racism was not a factor in who was successful -- of course it was, and this episode is, after all, about someone who started out as a blackface performer, race was a massive factor, and sadly still is -- but the general culture among musicians at the time was that good musicians of whatever genre respected good musicians of any other genre, and there were songs that everyone, or almost everyone, played, in their own styles, simply because a good song was a good song and at that time there wasn't the same tight association of performer and song that there is now -- you'd sometimes have five or six people in the charts with hit versions of the same song. You'd have a country version and a blues version and a swing version of a song, not because anyone was stealing anyone else's music, but because it was just accepted that everyone would record a hit song in their own style.   And certainly, in the case of Bob Wills, he was admired by -- and admired -- musicians across racial boundaries. The white jazz guitarist Les Paul -- of whom we'll almost certainly be hearing more -- used to tell a story. Paul was so amazed by Bob Wills' music that in 1938 he travelled from Waukesha Wisconsin, where he was visiting his mother, to Tulsa, Oklahoma, to hear Wills' band play, after his mother made him listen to Bob Wills on the radio. Paul was himself a famous guitarist at the time, and he got drawn on stage to jam with the band.   And then, in an interval, a black man in the audience -- presumably this must have been an integrated audience, which would have been *very* unusual in 1938 in Oklahoma, but this is how Les Paul told the story, and other parts of it check out so we should probably take his word for it absent better evidence -- came up and asked for Les Paul's autograph. He told Paul that he played guitar, and Paul said for the young man to show him what he could do. The young man did, and Paul said “Jesus, you *are* good. You want to come up and sit in with us?”   And he did -- that was the first time that Les Paul met his friend Charlie Christian, shortly before Christian got the offer from Benny Goodman. Hanging out and jamming at a Bob Wills gig.   So we can, for the most part, safely put Bob Wills into the mutual respect and influence category. He was someone who had the respect of his peers, and was part of a chain of influences crossing racial and stylistic boundaries.   It gets more difficult when you get to someone like Pat Boone, a few years later, who would record soundalike versions of black musicians' hits specifically to sell to people who wouldn't buy music by black people and act as a spoiler for their records. That's ethically very, very dodgy, plus Boone was a terrible musician.   But what I think we can all agree on is that just outright stealing a black musician's song, crediting it to a white musician, and making it a massive hit is just wrong. And sadly that happened with Bob Wills' band at least once.   Now, Leon McAuliffe, the Texas Playboys' steel guitar player, is the credited composer of "Steel Guitar Rag", which is the instrumental which really made the steel guitar a permanent fixture in country and western music. Without this instrumental, country music would be totally different.   [insert a section of "Steel Guitar Rag" by Bob Wills]   That's from 1936. Now, in 1927, the guitarist Sylvester Weaver made a pioneering recording, which is now often called the first recorded country blues, the first recorded blues instrumental, and the first slide guitar recording (as I've said before, there is never a first, but Weaver's recording is definitely important). That track is called "Guitar Rag" and... well...   [insert "Guitar Rag" by Sylvester Weaver].   Leon McAuliffe always claimed he'd never heard Sylvester Weaver's song, and came up with Steel Guitar Rag independently. Do you believe him?   So, the Texas Playboys were not averse to a bit of plagiarism. But the song we're going to talk about for the rest of the episode is one that would end up plagiarised itself, very famously.   "Ida Red" is an old folk song, first recorded in 1924. In fact, structurally it's a hokum song. As is often the case with this kind of song, it's part of a massive family tree of other songs -- there are blues and country songs with the same melody, songs with different melodies but mentions of Ida Red, songs which contain different lines from the song... many folk songs aren't so much songs in themselves as they are labels you can put on a whole family. There's no one song "Ida Red", there's a whole bunch of songs which are, to a greater or lesser extent, Ida Red. "Ida Red" is just a name you can slap on that family, something you can point to.   Most versions of "Ida Red" had the same chorus -- "Ida Red, Ida Red, I'm plum fool about Ida Red" -- but different lyrics, often joking improvised ones. Here's the first version of "Ida Red" to be recorded -- oddly, this version doesn't even have the chorus, but it does have the chorus melody played on the fiddle. This is Fiddlin' Powers and Family, singing about Ida Red who weighs three hundred and forty pounds, in 1924:   [insert Fiddlin Powers version of "Ida Red"]   Wills' version is very differently structured. It has totally different lyrics -- it has the familiar chorus, but the verses are totally different and have nothing to do with the character of Ida Red -- "Light's in the parlour, fire's in the grate/Clock on the mantle says it's a'gettin' late/Curtains on the window, snowy white/The parlour's pleasant on Sunday night"   [insert Bob Wills version of "Ida Red"]   Those lyrics -- and all the other lyrics in Wills' version except the chorus, were taken from an 1878 parlour song called "Sunday Night" by George Frederick Root, a Civil War era songwriter who is now best known as the writer of the melody we now know as "Jesus Loves the Little Children". They're cut down to fit into the fast-patter do-si-do style of the song, but they're still definitely the same lyrics as Root's.   "Ida Red" was one of many massive hits for Wills and the Texas Playboys, who continued to be hugely successful through the 1940s, at one point becoming a bigger live draw than Benny Goodman or Tommy Dorsey, although the band's success started to decline when Tommy Duncan quit in 1948 over Wills' drinking -- Wills would often miss shows because of his binge drinking, and Duncan was the one who had to deal with the angry fans. Wills replaced Duncan with various other singers, but never found anyone who would have the same success with him.   Bob Wills and the Texas Playboys had a couple of hits in the very early 1950s -- one of them, indeed, was a sequel to Ida Red -- "Ida Red Likes The Boogie", a novelty boogie song of the type we discussed last week. (And think back to what I said then about the boogie fad persisting much longer than it should have. "Ida Red Likes The Boogie" was recorded in 1949 and went top ten in 1950, yet those boogie novelty songs I talked about last week were from 1940).   [insert "Ida Red Likes The Boogie"]   But even as his kind of music was getting more into fashion under the name rock and roll, Wills himself became less popular. The band were still a popular live attraction through most of the 1950s, but they never again reached the heights of the 30s and 40s, and Wills' deteriorating health and the band's lack of success made them split up in 1965.   But before they'd split, Wills' music had had a lasting influence on rock and roll, and not just on the people you might expect. Remember how I talked about plagiarism? Well, in 1955, a musician went into Chess studios with a slight rewrite of "Ida Red" that he called "Ida May". Leonard Chess persuaded him to change the name because otherwise it would be too obvious where he stole the tune... and we will talk about "Maybellene" by Chuck Berry in a few weeks' time.   Patreon As always, this podcast only exists because of the donations of my backers on Patreon. If you enjoy it, why not join them?

  Welcome to episode three of A History of Rock Music in Five Hundred Songs. Today we’re looking at Bob Wills and “Ida Red”. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. I mention a PhD thesis on the history of the backbeat in the episode. Here’s a link to it. Bob Wills’ music is now in the public domain, so there are many different compilations available, of different levels of quality. This is an expensive but exhaustive one, while this is a cheap one which seems to have most of the important hits on it. The definitive book on Bob Wills, San Antonio Rose, is available here, though it’s a bit pricey. And for all the episodes on pre-1954 music, one invaluable source is the book “Before Elvis” by Larry Birnbaum. Clarification In the episode I talk about two tracks as being “by Django Reinhardt”, but the clips I play happen to be ones featuring violin solos. Those solos are, of course, by Reinhardt’s longtime collaborator Stephane Grapelli. I assume most people will know this, but just in case. Transcript “Rock and Roll? Why, man, that’s the same kind of music we’ve been playin’ since 1928! … We didn’t call it rock and roll back when we introduced it as our style back in 1928, and we don’t call it rock and roll the way we play it now. But it’s just basic rhythm and has gone by a lot of different names in my time. It’s the same, whether you just follow a drum beat like in Africa or surround it with a lot of instruments. The rhythm’s what’s important.”   Bob Wills said that in 1957, and it brings up an interesting question. What’s in a name?   Genre names are a strange thing, aren’t they? In particular, did you ever notice how many of them had the word “and” in them? Rock and roll, rhythm and blues, country and western? There’s sort of a reason for that.   Rock and roll is a special case, but the other two were names that were coined by Billboard, and they weren’t originally meant to be descriptors of a single genre, but of collections of genres — they were titles for its different charts. Rhythm and blues is a name that was used to replace the earlier name, of “race” records, because that was thought a bit demeaning. It was for the chart of “music made by black people”, basically, whatever music those black people were making, so they could be making “rhythm” records, or they could be making “blues” records.   Only once you give a collection of things a name, the way people’s minds work, they start thinking that because those things share a name they’re the same kind of thing. And people start thinking about “rhythm and blues” records as being a particular kind of thing. And then they start making “rhythm and blues” records, and suddenly it is a thing.   The same thing goes for country and western. That was, again, two different genres. Country music was the music made by white people who lived in the rural areas, of the Eastern US basically — people like the Carter Family, for example.   [Excerpt of “Keep on the Sunny Side” by the Carter Family]   We’ll hear more about the Carter family in the future, but that’s what country music was. Not country and western, just country. And that was the music made in Appalachia, especially Kentucky and Tennessee, and especially especially Nashville.   Western music was a bit different. That was the music being made in Texas, Oklahoma, and California, and it tended to use similar instrumentation to country music — violins and guitars and so on — but it had different subject matter — lots of songs about cowboys and outlaws and so on — and at the time we’re talking about, the thirties and forties, it was a little bit slicker than country music.   This is odd in retrospect, because not many years later the Western musicians influenced people like Johnny Cash, Buck Owens, and Merle Haggard, who made very gritty, raw, unpolished music compared to the country music coming out of Nashville, but the thirties and forties were the heyday of singing cowboy films, with people like Gene Autrey and Roy Rogers becoming massive, massive stars, and so there was a lot of Hollywoodisation of the music, lots of crooning and orchestras and so on.   Western music was big, big business — and so was swing music. And so it’s perhaps not surprising that there was a new genre that emerged around that time. Western swing.   Western swing is, to simplify it ridiculously, swing music made in the West of the USA. But it’s music that was made in the west — largely in places like California –by the same kinds of people who in the east were making country music, and with a lot of the same influences.   It took the rhythms of swing music, but played them with the same instrumentation as the country musicians were using, so you’d get hot jazz style performances, but they’d be played on fiddle, banjo, guitar, and stand-up bass. There were a few other instruments that you’d usually get included as well — the steel guitar, for example. Western swing usually also included a drum kit, which was one of the big ways it differed from country music as it was then. The drum kit was, in the early decades of the twentieth century, primarily a jazz instrument, and it was only because Western swing was a hybrid of jazz and Western music that it got included in those bands — and for a long time drum kits were banned from country music shows like the Grand Ole Opry, and when they did finally relent and let Western swing bands play there, they made the drummers hide behind a curtain.   They would also include other instruments that weren’t normally included in country or Western music at the time, like the piano. Less often, you’d have a saxophone or a trumpet, but basically the typical Western swing lineup would be a guitar, a steel guitar, a violin or two, a piano, a bass, and drums.   Again, as we saw in the episode about “Flying Home”, where we talked about *non*-Western swing, you can see the rock band lineup starting to form. It was a gradual process though.   Take Bob Wills, the musician whose drummer had to hide behind a curtain.   Wills originally performed as a blackface comedian — sadly, blackface performances were very, very common in the US in the 1930s (but then, they were common in the UK well into my lifetime. I’m not judging the US in particular here), but he soon became more well known as a fiddle player and occasional singer.   In 1929 Wills, the singer Milton Brown, and guitarist Herman Arnspiger, got together to perform a song at a Christmas dance party. They soon added Brown’s brother Derwood on guitar and fiddle player John Dunnam, and became the Light Crust Doughboys.     [clip of the Light Crust Doughboys singing their theme]   That might seem like a strange name for a band, and it would be if that had been the name they chose themselves, but it wasn’t. Their name was originally The Aladdin Laddies, as they got sponsored by the Aladdin Lamp Company to perform on WBAP radio under that name, but when that sponsorship fell through, they performed for a while as the Wills Fiddle Band, before they found a new sponsor — Pappy O’Daniel.   You may know that name, as the name of the governor of Mississippi in the film “O Brother, Where Art Thou?”, and that was… not an *entirely* inaccurate portrayal, though the character in that film definitely wasn’t the real man. The real Pappy O’Daniel didn’t actually become governor of Mississippi, but he did become the governor of Texas, in the 1940s.   But in the late 1920s and early thirties he was the head of advertising for Burrus Mill and Elevator Company, who made “Light Crust Flour”, and he started to sponsor the show.   The band became immensely successful, but they were not particularly well paid — in fact, O’Daniel insisted that everyone in the band would have to actually work a day job at the mill as well. Bob Wills was a truck driver as well as being a fiddle player, and the others had different jobs in the factory.   Pappy O’Daniel at first didn’t like this hillbilly music being played on the radio show he was paying for — in fact he wanted to cancel the show after two weeks. But Wills invited him down to the radio station to be involved in the broadcasts, and O’Daniel became the show’s MC, as well as being the band’s manager and the writer of their original material. O’Daniel even got his own theme song, “Pass the Biscuits, Pappy”.   [insert Hillbilly Boys playing “Pass the Biscuits, Pappy”]   That’s not the Light Crust Doughboys playing the song — that’s the Hillbilly Boys, another band Pappy O’Daniel hired a few years later, when Burrus Mill fired him and he formed his own company, Hillbilly Flour — but that’s the song that the Light Crust Doughboys used to play for O’Daniel, and the singer on that recording, Leon Huff, sang with the Doughboys from 1934 onwards. So you get the idea.   In 1932, the Light Crust Doughboys made their first recording, though they did so under the name the Fort Worth Doughboys — Pappy O’Daniel didn’t approve of them doing anything which might take them out of his control, so they didn’t use the same name. This is “Nancy”   [insert clip of “Nancy”]   Now the music the Light Crust Doughboys were playing wasn’t yet what we’d call Western Swing but they were definitely as influenced by jazz music as they were by Western music. In fact, the original lineup of the Light Crust Doughboys can be seen as the prototypical example of the singer-guitarist creative tension in rock music, except here it was a tension between the singer and the fiddle player. Milton Brown was, by all accounts, wanting to experiment more with a jazz style, while Bob Wills wanted to stick with a more traditional hillbilly string band sound. That creative tension led them to create a totally new form of music.   To see this, we’re going to look forward a little bit to 1936, to a slightly different lineup of the band. Take a listen to this, for example — “Dinah”.   [insert section of Light Crust Doughboys playing “Dinah”]   And this — “Limehouse Blues”.   [insert section of Light Crust Doughboys playing “Limehouse Blues”]   And now listen to this — Django Reinhardt playing “Dinah”   [insert section of Reinhardt playing “Dinah”]   And Reinhardt playing “Limehouse Blues”   [Reinhardt playing “Limehouse Blues”]   Those recordings were made a few years after the Light Crust Doughboys versions, but you can see the similarities. The Light Crust Doughboys were doing the same things as Stephane Grapelli and Django Reinhardt, years before them, even though we would now think of the Light Crust Doughboys as being “a country band”, while Grapelli and Reinhardt are absolutely in the jazz category.   Now, I said that that’s a different lineup of the Light Crust Doughboys, and it is. A version of the Light Crust Doughboys continues today, and one member, Smoky Montgomery, who joined the band in 1935, continued with them until his death in 2001. Smoky Montgomery’s on those tracks you just heard, but Bob Wills and Milton Brown weren’t. They both left, because Pappy O’Daniel was apparently not a very good person to work for.   In particular, O’Daniel wouldn’t let the Doughboys play any venues where alcohol was served, or play dances generally. O’Daniel was only paying the band members $15 a week, and they could get $40 a night playing gigs, and so Brown left in 1932 to form his own band, the Musical Brownies.   The Musical Brownies are now largely forgotten, but they’re considered the first band ever to play proper Western Swing, and they introduced a lot of things that defined the genre. In particular, they introduced electric steel guitar to the Western music genre, with the great steel player Bob Dunn.   For a while, the Musical Brownies were massively popular, but sadly Brown died in a car crash in 1936.   Bob Wills stayed in the Doughboys for a while longer, as the band’s leader, as O’Daniel gave him a raise to $38 a week. And he continued to make the kind of music he’d made when Brown was in the band — both Brown and Wills clearly recognised that what they’d come up with together was something better and more interesting than just jazz or just Western.   Wills recruited a new singer, Tommy Duncan, but in 1933 Wills was fired by O’Daniel, partly because of rows over Wills wanting his brother in the band, and partly because Wills’ drinking was already starting to affect his professionalism. He formed his own band and took Duncan and bass player Kermit Whalen with him. The Doughboys’ steel guitar player, Leon McAuliffe, soon followed, and they became Bob Wills and his Texas Playboys. They advertised themselves as “formerly the Light Crust Doughboys” — although that wasn’t entirely true, as they weren’t the whole band, though they were the core of it — and Pappy O’Daniel sued them, unsuccessfully.   And the Texas Playboys then became the first Western Swing band to add a drum kit, and become a more obviously rhythm-oriented band.   The Texas Playboys were the first massively, massively successful Western swing band, and their style was one that involved taking elements from everywhere and putting them together. They had the drums and horns that a jazz band would have, the guitars and fiddles that country or Western bands would have, the steel guitar that a Hawaiian band would have, and that meant they could play all of those styles of music if they wanted to. And they did. They mixed jazz, and Western, and blues, and pop, and came up with something different from all of them.   This was music for dancing, and as music for dancing it had a lot of aspects that would later make their way into rock and roll. In particular it had that backbeat we talked about in episode two, although here it was swung less — when you listen to them play with a heavy backbeat but with the fiddle as the main instrument, you can hear the influence of polka music, which was a big influence on all the Western swing musicians, and through them on rock and roll. Polka music is performed in 2/4 time, and there’s a very, *very* strong connection between the polka beat and the backbeat.   (I won’t go into that too much more here — I already talked about the backbeat quite a bit in episode two — but while researching these episodes I found a hugely informative but very detailed look at the development of the rock backbeat — someone’s PhD thesis from twenty years ago, four hundred pages just on that topic, which I’ll link on the webpage if you want a much more detailed explanation)   Now by looking at the lineup of the Texas Playboys, we can see how the rock band lineup evolved. In 1938 the Texas Playboys had a singer, two guitars (one doubling on fiddle), three fiddlers, a banjo player, steel guitar, bass, drums, piano, trumpet, trombone, and two saxes. A *huge* band, and one at least as swing as it was Western. But around that time, Wills started to use electric guitars — electric guitars only really became “a thing” in 1938 musically, and a lot of people started using them at the same time, like Benny Goodman’s band as we heard about in the first episode. Wills’ band was one of the first to use them, and Western musicians generally were more likely to use them, as they were already using amplified *steel* guitars.   We talked in episode two about how the big bands died between 1942 and 1944, and Wills was able to make his band considerably smaller with the aid of amplification, so by 1944 he’d got rid of most of his horn section apart from a single trumpet, having his electric guitars play what would previously have been horn lines.   So by 1944 the band would consist of two fiddles, two basses, two electric guitars, steel guitar, drums, and a trumpet. A smaller band, an electrified band, and one which, other than the fiddles and the trumpet, was much closer to the kind of lineups that you would get in the 50s and 60s. A smaller, tighter, band.   Now, Wills’ band quickly became the most popular band in its genre, and he became widely known as “the king of Western Swing”, but Wills’ music was more than just swing. He was pulling together elements from country, from the blues, from jazz, from anything that could make him popular.   And, sadly, that would sometimes include plagiarism.   Now, the question of black influence on white music is a fraught one, and one that will come up a lot in the course of this history. And a lot of the time people will get things wrong. There were, of course, white people who made their living by taking black people’s music and watering it down. There were also, though, plenty of more complicated examples, and examples of mutual influence.   There was a constant bouncing of ideas back and forth between country, western, blues, jazz, swing… all of these genres were coded as belonging to one or other race, but all of them had musicians who were listening to one another. This is not to say that racism was not a factor in who was successful — of course it was, and this episode is, after all, about someone who started out as a blackface performer, race was a massive factor, and sadly still is — but the general culture among musicians at the time was that good musicians of whatever genre respected good musicians of any other genre, and there were songs that everyone, or almost everyone, played, in their own styles, simply because a good song was a good song and at that time there wasn’t the same tight association of performer and song that there is now — you’d sometimes have five or six people in the charts with hit versions of the same song. You’d have a country version and a blues version and a swing version of a song, not because anyone was stealing anyone else’s music, but because it was just accepted that everyone would record a hit song in their own style.   And certainly, in the case of Bob Wills, he was admired by — and admired — musicians across racial boundaries. The white jazz guitarist Les Paul — of whom we’ll almost certainly be hearing more — used to tell a story. Paul was so amazed by Bob Wills’ music that in 1938 he travelled from Waukesha Wisconsin, where he was visiting his mother, to Tulsa, Oklahoma, to hear Wills’ band play, after his mother made him listen to Bob Wills on the radio. Paul was himself a famous guitarist at the time, and he got drawn on stage to jam with the band.   And then, in an interval, a black man in the audience — presumably this must have been an integrated audience, which would have been *very* unusual in 1938 in Oklahoma, but this is how Les Paul told the story, and other parts of it check out so we should probably take his word for it absent better evidence — came up and asked for Les Paul’s autograph. He told Paul that he played guitar, and Paul said for the young man to show him what he could do. The young man did, and Paul said “Jesus, you *are* good. You want to come up and sit in with us?”   And he did — that was the first time that Les Paul met his friend Charlie Christian, shortly before Christian got the offer from Benny Goodman. Hanging out and jamming at a Bob Wills gig.   So we can, for the most part, safely put Bob Wills into the mutual respect and influence category. He was someone who had the respect of his peers, and was part of a chain of influences crossing racial and stylistic boundaries.   It gets more difficult when you get to someone like Pat Boone, a few years later, who would record soundalike versions of black musicians’ hits specifically to sell to people who wouldn’t buy music by black people and act as a spoiler for their records. That’s ethically very, very dodgy, plus Boone was a terrible musician.   But what I think we can all agree on is that just outright stealing a black musician’s song, crediting it to a white musician, and making it a massive hit is just wrong. And sadly that happened with Bob Wills’ band at least once.   Now, Leon McAuliffe, the Texas Playboys’ steel guitar player, is the credited composer of “Steel Guitar Rag”, which is the instrumental which really made the steel guitar a permanent fixture in country and western music. Without this instrumental, country music would be totally different.   [insert a section of “Steel Guitar Rag” by Bob Wills]   That’s from 1936. Now, in 1927, the guitarist Sylvester Weaver made a pioneering recording, which is now often called the first recorded country blues, the first recorded blues instrumental, and the first slide guitar recording (as I’ve said before, there is never a first, but Weaver’s recording is definitely important). That track is called “Guitar Rag” and… well…   [insert “Guitar Rag” by Sylvester Weaver].   Leon McAuliffe always claimed he’d never heard Sylvester Weaver’s song, and came up with Steel Guitar Rag independently. Do you believe him?   So, the Texas Playboys were not averse to a bit of plagiarism. But the song we’re going to talk about for the rest of the episode is one that would end up plagiarised itself, very famously.   “Ida Red” is an old folk song, first recorded in 1924. In fact, structurally it’s a hokum song. As is often the case with this kind of song, it’s part of a massive family tree of other songs — there are blues and country songs with the same melody, songs with different melodies but mentions of Ida Red, songs which contain different lines from the song… many folk songs aren’t so much songs in themselves as they are labels you can put on a whole family. There’s no one song “Ida Red”, there’s a whole bunch of songs which are, to a greater or lesser extent, Ida Red. “Ida Red” is just a name you can slap on that family, something you can point to.   Most versions of “Ida Red” had the same chorus — “Ida Red, Ida Red, I’m plum fool about Ida Red” — but different lyrics, often joking improvised ones. Here’s the first version of “Ida Red” to be recorded — oddly, this version doesn’t even have the chorus, but it does have the chorus melody played on the fiddle. This is Fiddlin’ Powers and Family, singing about Ida Red who weighs three hundred and forty pounds, in 1924:   [insert Fiddlin Powers version of “Ida Red”]   Wills’ version is very differently structured. It has totally different lyrics — it has the familiar chorus, but the verses are totally different and have nothing to do with the character of Ida Red — “Light’s in the parlour, fire’s in the grate/Clock on the mantle says it’s a’gettin’ late/Curtains on the window, snowy white/The parlour’s pleasant on Sunday night”   [insert Bob Wills version of “Ida Red”]   Those lyrics — and all the other lyrics in Wills’ version except the chorus, were taken from an 1878 parlour song called “Sunday Night” by George Frederick Root, a Civil War era songwriter who is now best known as the writer of the melody we now know as “Jesus Loves the Little Children”. They’re cut down to fit into the fast-patter do-si-do style of the song, but they’re still definitely the same lyrics as Root’s.   “Ida Red” was one of many massive hits for Wills and the Texas Playboys, who continued to be hugely successful through the 1940s, at one point becoming a bigger live draw than Benny Goodman or Tommy Dorsey, although the band’s success started to decline when Tommy Duncan quit in 1948 over Wills’ drinking — Wills would often miss shows because of his binge drinking, and Duncan was the one who had to deal with the angry fans. Wills replaced Duncan with various other singers, but never found anyone who would have the same success with him.   Bob Wills and the Texas Playboys had a couple of hits in the very early 1950s — one of them, indeed, was a sequel to Ida Red — “Ida Red Likes The Boogie”, a novelty boogie song of the type we discussed last week. (And think back to what I said then about the boogie fad persisting much longer than it should have. “Ida Red Likes The Boogie” was recorded in 1949 and went top ten in 1950, yet those boogie novelty songs I talked about last week were from 1940).   [insert “Ida Red Likes The Boogie”]   But even as his kind of music was getting more into fashion under the name rock and roll, Wills himself became less popular. The band were still a popular live attraction through most of the 1950s, but they never again reached the heights of the 30s and 40s, and Wills’ deteriorating health and the band’s lack of success made them split up in 1965.   But before they’d split, Wills’ music had had a lasting influence on rock and roll, and not just on the people you might expect. Remember how I talked about plagiarism? Well, in 1955, a musician went into Chess studios with a slight rewrite of “Ida Red” that he called “Ida May”. Leonard Chess persuaded him to change the name because otherwise it would be too obvious where he stole the tune… and we will talk about “Maybellene” by Chuck Berry in a few weeks’ time.   Patreon As always, this podcast only exists because of the donations of my backers on Patreon. If you enjoy it, why not join them?

Our annual look at spooky music for Halloween. Songs include: Mr Ghost Goes to Town, Skeleton in the Closet, The Halloween Dance, Music For Strings, Percussion and Celesta, Graveyard Blues and Mysterious Mose. Performers include: Helen Gross, Wingy Manone, Bob Dunn, the Hudson-DeLange Orchestra, the Los Angeles Chamber Symphony, Nat Gonella and Harry Resser. The episode concludes with the host reading, Haunted, by Siegfried Sassoon.

Set 1: Diggin' into the 45 vault for Tony Jackson & the Vibrations with "Fortune Teller" with stellar guitar work from Paul Pilnick...why isn't he in the R&R Hall of Shame?....Charlie Feathers [another candidate if you ask moi….maybe the requirement is a full set of teeth?] singin' his tale of a "Wild wild party" which was released on a 7" slab o wax in 1961 / Memphis Records. Mickey Most doesn't want to miss the 45 rpm party but even if he does "It's Alright" w/ Sir James Page on guitar...Fairport breaks the 45 spell with a cut from their first LP with "Time will show the wiser"...Ian McDonald aka Ian Mathews on lead vocals and none other than Judy Dyble on background vocals...great guitar work from Richard Thompson... Set 2: The Bloos Magoos on 45 rpm..."So I'm wrong and you are right"...after this [their 1st 45] they changed their name to The Blues Magoos. The Blue Things with a DRR staple "Orange rooftops of your mind" on a 45 from RCA...Killer! The Onion Radio News checks in with their weekly report on prison food....And speaking of food....Papa Link Davis on a small label out of Texas with "Rice and Gravy Boogie" takes us to The Nazz "Under the Ice" a 45 rpm on the SGC label 1968. Set 3: A bunch of Browns.... Roy Brown w/ the R&R Trio on a 45 / Imperial Records 1958...."Hip shakin' baby"...Roy never sounded better! He doesn't need more cowbell he needs more REVERB!....Milton Brown & His Musical Brownies check in with an instro-mental "Takin' Off" / Decca 1935. Brown is considered the architect of western swing predating Bob Wills by a few years. In fact Wills got his start in one of Milton's early bands...the world would know more about Milton Brown had he not died in a car crash in 1935 driving his "date" home. The Steel guitar is played by one of the greatest of all time Bob Dunn who is credited with the first amplified steel guitar ever recorded! Phil Brown keeps the ball "Rollin' and tumblin" off his first record called Cruel Inventions from 2002...I dig Phil a lot....James Brown with "It's a new day [Let a man come in" from 1970 finishing out the last proper set of music for the evening..... We finish out the festivities with one of the great German bands of the last 50 years...CAN. "She brings the rain" is the b-side of their 2nd single and a great one at that...Earl Jean [McCrea] with the original recording of "I'm into something good" which was a big hit for Herman's Hermits....and taking us to the finish line is a really good Canadian band called Mother Earth...their cover of Soul Sacrifice is essential! That's if for this week.....so if the good lord's willin' and the creek don't rise we'll be back at the Purple Grotto with another DRR Show next week....stay smooooth…...

Bob Dunn is blogger and podcaster who teaches his readers and listeners how to grow their WordPress online stores and monetize their blogs without the BS or hype. You can learn more about Bob here: bobwp.com This episode is brought to you by Wags Media. Wags Media helps entrepreneurs and businesses generate more customers and grow their brand. You can enter to win the contest and learn more about Wags Media here: https://www.wagsmedia.com/home Thank you for listening to The Business Blast Podcast! Tyler --- Support this podcast: https://anchor.fm/authorsunite/support

Bob Dunn is a Wordpress expert who has made a name for himself in the Wordpress community. Bob has been working on Wordpress for ten years and has fifteen years of marketing experience. He is the creator of the BobWP Podcasts. He runs four shows and offers various content for Wordpress users, ecommerce, content marketing, ... Read more

Let me introduce you to Bob Dunn (a.k.a. BobWP), ha, like that's a sentence that you're going to be able to say! We all know about Bob don't we? We've read his many blogs and listened to his many podcasts and he's taught us all a great deal. So this one was a great one for me to do as I have a huge amount of respect for Bob and all that he does for WordPress. What, I think, makes Bob unique is the sheer amount of quality content that he produces, it's prodigious and it's hard to know how he manages to create it all.

Let me introduce you to Bob Dunn (a.k.a. BobWP), ha, like that's a sentence that you're going to be able to say! We all know about Bob don't we? We've read his many blogs and listened to his many podcasts and he's taught us all a great deal. So this one was a great one for me to do as I have a huge amount of respect for Bob and all that he does for WordPress. What, I think, makes Bob unique is the sheer amount of quality content that he produces, it's prodigious and it's hard to know how he manages to create it all.

In this episode of PressThis we interview Bob Dunn of BobWP ecommerce podcast and content destination. Named favorite person in the community on a previous episode of PressThis by Torque's Emily Schiola, Bob is a fixture at WordCamps and within the ecommerce community within WordPress. Bob focuses his blogging and podcasting on WordPress and WooCommerce. Bob will be sharing the latest trends and news from around ecom and WordPress. If you’re looking to stay up to date on the evolution of ecommerce in WordPress, don't miss this episode!

In this episode of PressThis we interview Bob Dunn of BobWP ecommerce podcast and content destination. Named favorite person in the community on a previous episode of PressThis by Torque's Emily Schiola, Bob is a fixture at WordCamps and within the ecommerce community within WordPress. Bob focuses his blogging and podcasting on WordPress and WooCommerce. Bob will be sharing the latest trends and news from around ecom and WordPress. If you’re looking to stay up to date on the evolution of ecommerce in WordPress, don't miss this episode!

Photo credit: MILKOVÍ on Unsplash eCommerce - Helping folks sell online In this episode, I'm chatting with Bob Dunn of bobwp.com. Bob is a master at producing content and building an audience. We're talking about eCommerce, and what's involved in selling products online. And the conversation doesn't stop there. Bob shares his experience with podcasting, page builders, managing affiliates, sponsors and more. So if you are thinking about starting an online business, this episode covers a lot of ground. Bob Dunn With a background in marketing Bob and his wife Judy grew a marketing company into what today is a content marketing machine centered around eCommerce. "In 2007 I began to dabble in WordPress and by 2008, I knew it was the perfect solution for me and my clients. We dove back into eCommerce a bit more by starting a membership site in 2008 as well, a time before membership sites really were catching on. And obviously, with the technology nowhere at where it is today, it took us a good 9 months to develop the site." Today, Bob produces several podcasts and writes a ton of useful content for his growing audience. The rest is history, as they say. In a nutshell, it’s all about eCommerce with a frosting of WordPress. Listen to Episode 21 Where to find Bob: Website: bobwp.com Twitter: @bobwp Tools and Resources discussed: WooCommerce Easy Digitial Downloads Blubrry Libsyn AffiliateWP BeaverBuilder CoSchedule ThirstyAffiliates Shareasale

This Week’s Guest: Bob Dunn Bob Dunn, Host of The WP Ecommerce Show, joined me to chat on my podcast, This is Affiliate Marketing with Shawn Collins. Episode 46 I wanted to learn more about the real Bob, so I asked him a variety of questions I figured he had not been asked in previous interviews. We discussed... Some of his favorite old movies Whether he used a CMS before WordPress Watching soccer Promoting a subscription service years ago Taking in stray cats Why he doesn't list his phone on his contact page Links from this episode Bob on Twitter Bob's first Tweet Bob's laptop stickers Bob and his iPhone Thank you for listening Please leave a comment or feel free to contact me. And if you enjoyed this episode of This is Affiliate Marketing with Shawn Collins, please share it.

In this episode, Bob and I get back to WordPress basics and talk all about blogging! Bob talks about how he built his blog, using plugins (60+!), coming up with good content, and a lot more. This is an excellent episode for anyone who uses WordPress or wants to start a blog. Show Notes Bob […] The post Episode 25: Bob Dunn & Blogging appeared first on How I Built It.

Bob Dunn and Amanda Hughes-Boys and Girls Club-Discussed how the club is helping kids through school and in finding work after graduation. Also talked about ways that the club is helping to get kids through college and on the road to success so they can be a contributing member of society. Concluded by going over how the club is helping kids give back to the community.

Bob Dunn, known as BobWP across the web, started his business in 1992 and spent over 25 years partnered with his wife providing marketing and design for large and small businesses. He discovered WordPress in 2007 and started designing WordPress sites.   Visit the WP-Tonic site for additional content: https://www.wp-tonic.com/podcast/110-bob-dunn-bobwp-podcast/   ==================   WP-Tonic is not only a WordPress maintenance and support service, but we publish a twice weekly WordPress podcast where we talk with some of the brightest minds in WordPress development, web design, business, and online marketing.

Meet Bob Dunn WordPress Blogger and Podcaster! Bob is a Content creator focuses on all things WordPress (http://www.bobwp.com). Hear Bob unpack his story from a print agency, to WordPress web agency and beyond. This is a guy who knows how to shift, and keep at the cutting edge. On the Facebook Group, come over and share your WooCommerce stories and tips: http://leejacksondev.com/group Action You Can Apply Today: You have to adapt, keep changing and keep working, grab onto new ideas and have fun with ideas. Stay flexible and keep an open mind. Get out of the WordPress bubble, make sure you don’t lose touch beyond WordPress and you can develop connections through networking.  Resources: Do the Woo Podcast - https://bobwp.com/category/do-the-woo-podcast/ Woo themes - https://woothemes.com Woo camp - https://woocamp.com/ Bobs RSS feed - https://bobwp.com/bobwp-wordpress-blog/ Plugins: Woo commerce - https://www.woothemes.com/woocommerce/ Woo-commerce subscription - https://www.woothemes.com/products/woocommerce-subscriptions/ Woo-commerce membership - https://www.woothemes.com/products/woocommerce-memberships/ Connect With Bob: Website: https://www.bobwp.com Twitter : @bobWP Let me Google that for you: http://lmgtfy.com/?q=bobwp --- OUR EVENT: Do you want to make real change in your business? Join us at our in-person event Agency Transformation Live Meet Troy Dean; Lee Jackson, Chris Ducker, Kelly Baader, Amy Woods, Paul Lacey, Dave Foy and other legends in this fantastic conference focused on actionable steps that you can use to transform your agency. --- See acast.com/privacy for privacy and opt-out information.

If anyone knows the heart of an entrepreneur, it’s Bob Dunn. He transitioned his business to WordPress in 2008 and has never looked back. He’s also got a heart for those beginning with WordPress. His service offerings have varied of the years, but he’s really landed in his sweet spot with training. Join us for a discussion of Bob’s journey, how he’s decided what to try next each time he’s grown his business, what’s worked, and what’s hasn’t. Let’s learn with Bob!

This week on WPwatercooler we'll be discussing and recapping WooConf 6 – 8 April 2016, Austin, Texas. We're looking for folks involved in the event's creation and people that spoke at the event.Show airs April 11 at 11am PDT / 2pm EDT / 7PM UTC* WooConf: Learn. Develop. Sell. 00:01* I'm making a change… – Chris Lema 00:02* T-Shirt Printing & Fulfillment | DTG, Sublimation & Screen Printing 00:08* Codeable.io – #1 outsourcing service for WordPress 00:09* Andy Sernovitz – WooConf 00:10* Andy Sernovitz's Damn, I Wish I'd Thought of That! 00:11* Chris Lema – WooConf 00:11* Bob Dunn – WooConf 00:11* Why WooConf will be worth it for store owners – WooConf* Brian Krogsgard – WooConf 00:12* Patrick Rauland – WooConf 00:13* Agenda – WooConf 00:14* An Executive's Guide to Scaling WooCommerce 00:22* Do the Woo Podcast with BobWP 00:23* Webinar: Myths, Mistakes & Management of WooCommerce at Scale 00:24[LISTATTENDEES event_identifier=”ep183-wooconf-recap-learning-developing-selling-wordpress-ecommerce-5-5709a25ba40cd” show_gravatar=”true”] See acast.com/privacy for privacy and opt-out information.

This weeks show discusses WordPress is not easy, Alignable’s Small Business Trust Index, Apple vs the FBI, American Airlines is suing Gogo, and more! As a WordPress trainer and coach, Bob Dunn, aka BobWP, brings his 6 years of WordPress experience, 20+ years of running a design and marketing company, and a ton of patience to his […] The post Episode 092: What About Bob? appeared first on DradCast.

WordPress has allowed me to kickstart and foster my own career in the digital age and I'm betting it has for you too. That's the beauty of such a highly-adopted open source web publishing platform, there's always a layer of service or support that the market needs. Sure it's free, but we all know what that really means. Over the years, businesses and organizations have called upon the likes of freelancers and agencies to aide in extending WordPress to fit their unique requirements. But what if you're not a developer or a designer? Heck, what if you're not even a traditional consultant, how would you launch your own WordPress career? Today I'm joined by Bob Dunn who built a career off of training and educating around the WordPress ecosystem. I'm bullish on this space and if you're looking to dive into the deep-end — this is the episode for you! Options for the non-technical WordPress business owner Listen to the show Making a living in the WordPress space without having to ship a line of code sounds like the good life, doesn't it? There's a certain freedom when you're not constantly pressured to balance client expectations for the services you deliver. Bob and I cover some of the most popular ways for you to monetize your info-based WordPress business. This is a must-listen and one of my favorite episodes that I've recorded, enjoy! Affiliate sales An age-old way of making money in the WordPress space, linking to affiliate products. This is the lowest hanging fruit and something you could dip your toe into by simply recommending your favorite WordPress products. Paid reviews Something I'm currently offering, paid reviews. Bob has also started doing paid reviews, amongst other notable blogs in our space. Of course, I'd challenge you to find a unique voice and point of view if you pursue this route. Advertise/Sponsorship A traditional method which requires you to really jump on the consistent content publishing routine to drive loads of traffic and build an audience. Membership/Courses This is a very common route for today's online entrepreneur to pursue. It's something I've experimented with here on the Matt Report with some limited success. The most notable success in our space, would be Post Status and WP Elevation. Workshops The most intense of the bunch, workshops can be a lucrative venture, but require a lot of hands-on time. In today's episode, Bob shares his own experiences with running workshops and why he's decided to wind them down in 2016. What are you doing to monetize your business? I'd love to hear what steps you've taken to monetize your business. Especially since I recently published my first paid WordPress review. Is it a new members-only course or a more traditional hands-on training consultation? Share your experiences below. ★ Support this podcast ★

WordPress has allowed me to kickstart and foster my own career in the digital age and I’m betting it has for you too. That’s the beauty of such a highly-adopted open source web publishing platform, there’s always a layer of service or support that the market needs. Sure it’s free, but we all know what that really means. Over the years, businesses and organizations have called upon the likes of freelancers and agencies to aide in extending WordPress to fit their unique requirements. But what if you’re not a developer or a designer? Heck, what if you’re not even a traditional consultant, how would you launch your own WordPress career? Today I’m joined by Bob Dunn who built a career off of training and educating around the WordPress ecosystem. I’m bullish on this space and if you’re looking to dive into the deep-end — this is the episode for you! (more…)

Bob Dunn talks about his career transition into WordPress services and his ongoing metamorphosis to refine his WP Training offerings. We also talked a good bit about using sponsors to fund projects.

Do you have to train your clients on using WordPress after a site launch? In today's episode I get to sit down with someone I have a ton of respect for, Bob Dunn. Bob runs a site called BobWP.com where he educates newbie WordPress users on using themes, plugins, and general blogging practices. As advanced users, sometimes training can be daunting for us. Why don't they get it? This is so easy! Bob preaches about patience as a virtue and how that resonates with his clients. This creates a customer base that really fall in love with Bob and his process, which keeps the referral engine going. Interview with Bob Dunn of BobWP.com Subscribe via iTunes Upfront and personal In a world of passive income and six-figure theme sales, Bob has a lot to teach us about creating personal relationships with our customers. It's not much different than building an audience and that's what I love about what he has going on. He openly admits that he operates under a different “style.” A style that is more hands on, longer duration tutorials, and thorough discovery of client needs. This attracts a demographic of non-technical WP users which commonly need a recurring amount of help. At the end of the day, he's building up a loyal following of repeat customers that have no trouble referring him to others. Finding focus Thousands of themes and thousands of plugins. Bob has set a core focus on producing tutorials for Genesis and WooThemes. While he get's a lot of requests to cover other themes and plugins, he's realized that setting a vertical early on is a must. This opens up the stage for digging into the “data” of WP products. Common questions and repeat frustrations can be a tremendous asset to product developers. I think this is where Bob and many of us training users can find leverage with our businesses. What are your WP training tips? I'd like you to share your stories and tips for training the clients you work with. Let us know in the comments below! ★ Support this podcast ★

Do you have to train your clients on using WordPress after a site launch? In today’s episode I get to sit down with someone I have a ton of respect for, Bob Dunn. Bob runs a site called BobWP.com where he educates newbie WordPress users on using themes, plugins, and general blogging practices. As advanced users, sometimes training can be daunting for us. Why don’t they get it? This is so easy! Bob preaches about patience as a virtue and how that resonates with his clients. This creates a customer base that really fall in love with Bob and his process, which keeps the referral engine going. (more…)

The WordPress for Websites episode. WordPress trainer Bob Dunn joins Jay Ehret to discuss control and content management for small business websites. How much time do you spend managing the content of your website. A typical small business owner either spends too much time or not enough time. That's because managing a website is not easy. But that has changed in the past couple of years with WordPress, the free, open-source software that is a user-friendly content management system. WordPress allows any entrepreneur to take control of their website content. In this episode of Power to the Small Business, WordPress coach and trainer Bob Dunn joins host Jay Ehret to discuss how any small business can use WordPress to manage and control their website, while saving time and money. Guest: Bob Dunn - WordPress Trainer and Coach at BobWp.comHost: Jay Ehret - Small Business Marketing Specialist at The Marketing Spot Topics Discussed: What is a content management system? Can anyone put up their own website? Why should WordPress be the choice? How much should it cost? What are the basics of getting a website up? Should you use premium themes or not? What plugins should you use? Complete Show Notes and Links: WordPress for Small Business Websites