Podcasts about both carl

The conversation today is part of an ongoing partnership with the US Small Business Administration highlighting small businesses in the Shenandoah Valley as well as offering advice and resources to all small businesses. In this special Veterans Day episode, host Janet Michael and co-host Carl Knoblock, Virginia District Director for the SBA talk with John Kline, veteran/owner of Veterans Subs. John shares the history of Veteran Subs, a business he started to combine his passion for supporting veterans with his dream of owning a restaurant. Over the past two years, despite some challenges, the business has grown thanks to strong community support. John discusses the unique aspects of Veteran Subs, such as hosting veteran group meetings and fundraisers and donating a percentage of their sales to veteran organizations. Carl provides advice on establishing a nonprofit arm to maximize funding opportunities and streamline contributions, which John considers as part of the company's future plans. The conversation also covers Veteran Subs' extensive menu, which includes deli sandwiches, sides, and health-conscious options like "subs in a bowl." Carl suggests marketing strategies like taste tests and emphasizing fresh, in-house-made items to attract more customers. John talks about the importance of community engagement and how his military background influences his business decisions. The radio portion of the episode concludes with details on how customers can order from Veteran Subs and the importance of location and marketing for continued growth. Listeners are encouraged to visit veteranssubs.com and follow them on Facebook for more information. In the podcast conversation, Janet, Carl, and John discuss various aspects of running and marketing a small business, specifically focusing on a sub sandwich/deli restaurant owned by John. The conversation starts with Janet addressing issues with the consistency of the restaurant's marketing materials, including discrepancies between the website's contents and what is actually offered at the restaurant. Carl and Janet highlight the importance of uniformity in branding to avoid customer confusion. John explains the restaurant's operational challenges, like long working hours and the difficulty of noticing issues that are obvious to an outsider. They stress the value of an external viewpoint to identify and fix these problems. The discussion then shifts to various support programs for veterans, such as “Boots to Business,” which provides resources and support for veterans starting their own businesses. Carl and Janet provide insights about utilizing these veteran-focused programs to leverage support and network within the veteran community. Janet underscores the significance of customer interaction and networking, advising John to engage more with the local veterans' community by highlighting their stories on social media. Carl suggests securing intellectual property, like recipe trademarks, and exploring additional revenue streams, such as selling unique branded items. They address marketing strategies, comparing the effectiveness of social media campaigns against traditional methods like mailing brochures. Both Carl and Janet emphasize the importance of direct, engaging marketing efforts, such as attending local events and offering food samples, over spending money on mailers. They advise John to leverage his veteran status in marketing by using slogans to build stronger community ties. John shares his struggle with marketing due to limited resources. Carl advises considering franchising as a way to manage branding and marketing challenges systematically. They also discuss location strategy, noting the constraints of the current spot and the potential for better foot traffic in a more visible or easily accessible location. The conversation closes with Carl and Janet offering further practical marketing advice, like partnering with local institutions for catering and using student interns for research and development tasks to alleviate workload. They recommend tapping into local economic development offices for location scouting to improve visibility and access. Throughout, both Carl and Janet provide John with practical advice and strategic insights aimed at helping him scale his business and improve its market presence. The discussion was supportive and collaborative, focusing on actionable steps John can take to strengthen his restaurant's business model and marketing strategies. Hear more conversations like these by clicking here.

"Advocacy is the mirror reflecting the voices of the community into the corridors of power." - Unknown In today's podcast we cover the topic of advocacy and public policy in the context of the residential energy sector learning from our guests Robert Pegues, General Manager of Technical Delivery at US Ecologic, and RESNET board member, and Carl Chidlow, a lobbyist representing RESNET. Robert shares his background in the sector, highlighting his experience at last year's policy forum and his involvement with regional and national energy councils. Carl provides insights into RESNET's efforts to engage with policymakers through the RESNET Policy Forum, emphasizing the importance of practitioner involvement in legislative processes and the positive outcomes from bipartisan support on issues like the 45L tax credit and VA home loans. Our main discussion revolves around the upcoming 2024 RESNET Policy Forum, where industry professionals will convene to advocate for energy efficiency and housing policies. Carl explains the event's objectives and the practical aspects of participating, such as scheduled meetings with Congress members and the importance of constituency in policy advocacy, a truly turnkey process for the participant. Our narrative underlines the significance of direct engagement in shaping policies that affect the residential energy sector. The conversation also touches on the practical and personal aspects of participating in such an event, with Robert sharing his initial apprehensions and eventual satisfaction from influencing policy and advocating for industry concerns. Both Carl and Robert encourage listeners to participate in the policy forum, highlighting the opportunity to affect change and the foundational American right to petition the government. The episode concludes with a call to action for listeners to consider attending the policy forum and engaging in the democratic process to advocate for their industry and interests. Robert's LinkedIn: https://www.linkedin.com/in/robert-pegues-785622a7/ Carl's LinkedIn: https://www.linkedin.com/in/carl-chidlow-7816ba37/ Link to the 2024 Policy Forum: https://www.resnet.us/2024-policy-forum/ RESTalk: To the RESNET community, we hear you and want to engage. Learn more at www.RESNET.us. Or for more info on this topic, contact RESNET at INFO@RESNET.US    

This week, I chat with a police constable and a police detective, Carl Mumford and Daley Jones, who explain why they're working tirelessly to improve support for Neurodiversity in the Criminal Justice Stystem. Both Carl and Daley have ADHD, and they run the police ADHD support group: ADHD Alliance. Warning: suicide reference. Topics:00:00 Carl shares his personal ADHD journey 02:14 Daley shares his personal ADHD journey 06:24 What are the benefits of ADHD in policing?18:48 How can the Criminal Justice System better accommodate Neurodiversity?30:48 Should prisoners be screened for ADHD?47:43 Screening children for Neurodiversity 55:38 Are you hopeful for the future?Find Carl on LinkedIn

WOW this week's episode goes from bad to worse when it comes to dating scenarios!    But first, what do we all think of Rachel starting a Kick Starter for a new set of tits?! Would you trade a donation for a tit pic?! Carl has named it the TITSTARTER ** COPYRIGHT (lol)   We then have our good friend Tyler back on to talk about a situation he was in which ended with him losing his best friend, and his girlfriend! A great listen if you want to learn from Tyler's mistake! Hear all the red flags you should avoid if in a relationship!    And then we finally get to catch up with Tracey and Eugene from episode #36 and #37 to see where their romance has blossomed to since they met in studio! Can guarantee this is worth the listen! Both Carl and Rachel were left on the ends of their seats and super clammy after this chat!    Loving what you are hearing? Follow us on socials!    Instagram: instagram.com/marrieddivorcedanddating/ Rachel's Instagram: instagram.com/rachelohdear/ Carl's Instagram: instagram.com/carlpthompson/ Tracey's instagram: instagram.com/traceysarahlydiard  Eugene's Instagram: instagram.com/eugenethunder   Wanna email us a story, we know you've got one? mddtales@gmail.com   Intro Music: Neill Fraser - Married Divorced & Dating Theme instagram.com/neillfraser/

Tonight we have double trouble ... for demons, that is. And double the pleasure for our listeners. Demonologists James Annitto and Carl Johnson, with over 60 years of combined experience, discuss demonic foes, finding faith and their new venture: Duo Daemonologie.Visit their website at http://www.demonology.org/. Visit Duo Daemonologie on Facebook at https://www.facebook.com/DuoDaemonologie.ABOUT JAMES ANNITTOJames Annitto is an ordained Deacon and a Demonologist who has worked alongside many other specialists in this field. James is also a paranormal investigator/researcher and member of Duo Daemonologie, Paranormal Phenomena Research & Investigation (PPRI), Sanctuary Paranormal and the former founder/owner of The Dominion Ministry. He has been in the paranormal field since the early age of 15, investigating graveyards and legendary surroundings in the New England area such as Mercy Brown, Ladd School, USS Salem, and Slater Mill. He has appeared on  many radio and television shows. In addition to working with Carl Johnson in the research/lecture group Duo Daemonologie, in 2022 James started working with Criminologist Laura Brand, expert on The Toolbox Killers on the project "True Evil"; A Podcast and Lecture Series.ABOUT CARL JOHNSONCarl L. Johnson has been investigating reports of strange phenomena for the past 47 years, beginning with his association with noted ghost-hunting couple Ed and Lorraine Warren. As members of a team based at Rhode Island College, Carl and his twin brother Keith were called in to investigate the Perron family's farmhouse in Harrisville, Rhode Island during August and September of 1973 and they alerted the Warrens to the Perron's situation. Forty years later, this inspired a motion picture titled, "The Conjuring". Both Carl and Keith were featured in the first and second seasons of the SyFy Channel series, Ghost Hunters. Carl has numerous other television credits including the shows Paranormal State,  Finding Bigfoot, Most Terrifying Places In America, A Haunting, Ghost Adventures  and Mysteries: Decoded. He is the co-author, along with Lana J. Brock, of "Shadow Realms Demonology Handbook".SUPPORT THE PODCASTFOLLOW/SUBSCRIBE/REVIEW...On our website at afraidofnothingpodcast.com.BUY ME A COFFEE...Your gracious donation here (https://www.afraidofnothingpodcast.com/support/) will be shouted out in an upcoming episode.WATCH…VIMEO ON DEMAND: Rent the Afraid of Nothing documentary here: https://vimeo.com/ondemand/aondoc.AMAZON PRIME: Watch the documentary on Amazon Prime and please leave a positive review.QOSM (a new paranormal streaming platform): Use the coupon code AFRAIDOFNOTHING which gives users 10% Off of ANY content on the website (i.e., tiered subscriptions, rentals and purchases). BE SOCIAL…Be sure to like us on Facebook and follow us on Twitter and Instagram.Support the show (https://www.buymeacoffee.com/afraidofnothing)

National Novel Writing and Podcast Posting Month 2021 Welcome friend to Create Art Podcast where I help you tame your inner critic and create more than we consume. I am Timothy Kimo Brien your thankful head instigator with over 20 years in arts and education. How I accomplish this is by providing you with commentary, interviews, discussions, and projects that will inspire you to create art. This month I will be podcasting daily and writing a novel in 30 days. I am participating in NaPodPoMo and NaNoWriMo again this year as I did last year and you can hear those episodes here. You will be able to listen and read along to what I wrote for the day. I like to practice what I preach when it comes to art so I am challenging myself to write and having you come along for the ride. It is my hope this inspires you to accomplish your goals with your art and if you would like to share what you are doing email me at timothy@createartpodcast.com History of NaNoWriMo and NaPodPoMo NaNoWriMo: National Novel Writing Month began in 1999 as a daunting but straightforward challenge: to write 50,000 words of a novel in thirty days. Now, each year on November 1, hundreds of thousands of people around the world begin to write, determined to end the month with 50,000 words of a brand new novel. They enter the month as elementary school teachers, mechanics, or stay-at-home parents. They leave novelists. NaPodPoMo: NaPodPoMo* is a month-long event along the same vein as National Novel Writing Month aka NaNoWriMo. The difference? Well, instead of writing a 50,000-word novel, you podcast every day for 30 days from November 1st-30th. Use any platform you desire. From full production studio to iPhone app and just about anything in between. The goal is to use the challenge of podcasting daily as a form of podcasting boot camp. The Writing So Far 20 Nov 2021    daily count 1692 cumulative count 29320  “What you are telling us is unbelievable. You mean to say that Myra has been around since the late 1500's and has been passed along from one family to the next and this is the first time she has been passed to someone who is not technically a family. What are the odds,” replied Carl astonished?  “Nate, I am not sure giving you those names will be good for us, it may violate the rules I the diary,” said Cheryl.   “Well, we can't really go any farther until we get those lists of names and no one has died since we started our research so there is a chance that what Harold did broke the curse,” replied Nate.   “Myra did have another episode when I played some music earlier today. It was William Byrd's music that triggered her episode. It seems like whenever these names are brought up outside of us saying them, she goes into an episode. Cheryl and I are going to have to talk about this,” replied Carl.   “Don't take too long thinking about this, if we can find information to help us out in understanding what we are dealing with here then we can make good choices and not make the same mistakes that these other families have made. It all ended badly for these other folks, and I'll be damned if I am going to let anything happen to you little man. I don't think you want anything bad to happen to Cheryl either and neither do I,” said Nate.   “Nate, we will sleep on it, and we will talk to you tomorrow about this. I have the insurance paperwork mostly completed and I have the retirement paperwork completed. I need some help with  few details on what to put down for Myra and maybe Angela can help me with that when she gets time,” said Carl.   “She hasn't gotten back to you yet? She was supposed to set up a meeting with you both tomorrow. Did either of you get a text message or a call,” asked Nate worriedly?   “I have had my phone on me all day and I was over with Carmine earlier today with Myra and I got no call,” said Cheryl.   “Yeah, nothing on my phone either, I know that it is hard to get messages while I am at work but if there was a message from her it should have made it to my phone by now,” said Carl.   “Okay it may have gotten stuck in transmission somewhere along the line when you went into work and lost signal. What I want you to do is both of you to reset your phones and then look for a message from Angela. Cheryl did you two exchange numbers when you were at my house on Sunday,” asked Nate?  “Yeah she asked me and I have her number saved on my phone but I don't think I lost signal anytime today,” replied Cheryl.   “Who knows maybe you lost signal and just didn't know it. I know it happens to me all the time out here that's why I have landlines and two different carriers. Give that a try and give me a call back either way,” said Nate.   “Okay talk to you in a few minutes big bro,” said Carl. Both Carl and Cheryl hit reset on their phones. They heard a tapping on the patio door which caused them to jump. It was Myra in her pajamas knocking on the glass door. Carl opened it up. “What are you doing up Myra, you should be asleep right now.”  “I was sleeping, and I had a bad nightmare about Uncle Nate, Angela and Vince. It woke me up and you two weren't in your bedroom and so I hear voices out on the patio and that's why I knocked on the door,” said Myra sleepily.   Carl and Cheryl's phones turned back on at that time and were cycling through their checks. Cheryl walked into the apartment and took Myra's hand and led her to the couch. “Hey sweetie, Carl and I were just talking to Uncle Nate, and we stepped out onto the patio to not wake you up. Uncle Nate is fine we were just talking to him,” said Cheryl reassuringly.   Myra sat on the couch and yawned. “Can I sleep here until you are done talking with Uncle Nate,” asked Myra?  “You should go to bed, I can tuck you in if that helps,” replied Cheryl.  “I am not sure I can go back to bed, the dream seemed so real,” said Myra. Carl had stepped into the apartment and sat down next to Myra on the couch.   “Do you think talking about the dream would help you fall back asleep,” asked Carl? Myra nodded her head meekly. “How about I pick you up and take you to bed and you can tell us all about it and maybe that will help,” asked Carl? Myra nodded her head again. Carl picked her up and Cheryl walked in front of them to open Myra's bedroom door and turn on the light. Carl placed Myra gently on the bed and she got under the covers.   “Do you need a night light Myra,” asked Cheryl?  “That might be nice,” replied Myra.  Cheryl went to the bathroom attached to Myra's bedroom and turned on the light over the toilet and came back into the bedroom and shut the door most of the way. “Is that light enough for you Myra,” asked Cheryl?  “That should work, thank you,” replied Myra. Carl and Cheryl sat on the edge of each side of the bed.   “So, what happened Myra. Uncle Nate is fine, and I am sure Angela and Vince are fine too. Can you tell us what you dreamed about,” asked Carl softly?  “Well, I was walking around Uncle Nate's house and Seth and Rachel and Carmine weren't there, but Uncle Nate, Angela and Vince were there. An old man came through the front door and took Uncle Nate, Angela, and Vince into Uncle Nate's office. They didn't want to go and they were yelling at the old man but he was too powerful and he took all three of them into the office. They were yelling in the office and then they were quiet. The old man came out of the office and walked right past me and smiled at me like he knew me. I was so scared, and I was crying silently because I couldn't talk. When he left, I ran into Uncle Nate's office because the door was still open and there they were, all three of the laying on the floor, unable to talk and reaching out to me. That's when I woke up,” said Myra in a soft voice.   “That is scary, I can see why you woke up. But let me tell you about Vince, he is very strong and fast and protective of Uncle Nate and Angela. Vince is one of the fastest and strongest people I know, and he would never let that happen to anyone he was protecting,” said Carl.   “But he has only one eye,” replied Myra.   “Yes, that's true, but even with his one eye he is faster and stronger than just about everyone. He learned to adapt to make up for the loss of his eye. Uncle Nate is strong too and his office has things in it to help protect him so that no one could do anything to him. In fact, he has cameras all over his property so if someone tried to get on his property, he will know about it as soon as they step foot on it. Uncle Nate is well protected, and he also protects us from anything bad happening,” said Carl.   Carl's cell hone indicated an emergency text coming through. He hugged Myra and left the rom to see what the issue was. Cheryl stayed with Myra while Carl read the message, it was not from Angela as he expected, it was from Carmine. It read ‘taking Nate to the hospital, not sure what happened after he talked with you, meet me there when you can, seems serious'. Carl's heart froze. He texted Vince and Angela at the same time about what Carmine texted him. Panic filled his head. He berated himself for bringing his brother and his colleagues into this mess. He started to breath slowly to calm his nerves. There was no answer from Vince or Angela so he texted Carmine back. He wrote ‘I let Vince and Angela know by text, they haven't responded, I will get to the hospital soon, just putting Myra to bed after she had a nightmare, be safe'. It took a few minutes for Carl to calm down, but when he felt his breathing and heart get back to normal, he put on his game face and went back to the bedroom. When he got there, Cheryl put her finger to her lips to shush him and he saw Myra sleeping soundly. Cheryl got up from the bed and walked out into the living room with Carl. They sat on the couch together and Carl handed his phone to her. She read through the text messages between Carmine and Carl.   “Get over there now, I can watch her tonight. Just let me know what is going on okay. If I hear anything from Angela or Vince, I'll let you know,” said Cheryl as she kissed Carl.   “We need to be careful with that diary and with Myra. This just got turned up a notch,” said Carl.   “Just get to the hospital and help Carmine, we can talk about this later when Nate is okay. Just go now and be careful, don't let your emotions get out of check on this. We will be fine here,” said Cheryl.   “Text me the moment she wakes up or if anything happens. Text me if you feel weird, just text me if anything is out of the ordinary okay,” said Carl.   “Just let me know when you get to the hospital, I love you. We will get through this together,” said Cheryl.   Reaching Out To reach out to me, email timothy@createartpodcast.com I would love to hear about your journey and what you are working on. If you would like to be on the show or have me discuss a topic that is giving you trouble write in and lets start that conversation. Email: timothy@createartpodcast.com IG: @createartpodcast Twitter: @createartpod Mighty Networks: Create Art Podcast

National Novel Writing and Podcast Posting Month 2021 Welcome friend to Create Art Podcast where I help you tame your inner critic and create more than we consume. I am Timothy Kimo Brien your thankful head instigator with over 20 years in arts and education. How I accomplish this is by providing you with commentary, interviews, discussions, and projects that will inspire you to create art. This month I will be podcasting daily and writing a novel in 30 days. I am participating in NaPodPoMo and NaNoWriMo again this year as I did last year and you can hear those episodes here. You will be able to listen and read along to what I wrote for the day. I like to practice what I preach when it comes to art so I am challenging myself to write and having you come along for the ride. It is my hope this inspires you to accomplish your goals with your art and if you would like to share what you are doing email me at timothy@createartpodcast.com History of NaNoWriMo and NaPodPoMo NaNoWriMo: National Novel Writing Month began in 1999 as a daunting but straightforward challenge: to write 50,000 words of a novel in thirty days. Now, each year on November 1, hundreds of thousands of people around the world begin to write, determined to end the month with 50,000 words of a brand new novel. They enter the month as elementary school teachers, mechanics, or stay-at-home parents. They leave novelists. NaPodPoMo: NaPodPoMo* is a month-long event along the same vein as National Novel Writing Month aka NaNoWriMo. The difference? Well, instead of writing a 50,000-word novel, you podcast every day for 30 days from November 1st-30th. Use any platform you desire. From full production studio to iPhone app and just about anything in between. The goal is to use the challenge of podcasting daily as a form of podcasting boot camp. The Writing So Far 17 Nov 2021    daily count 1152 cumulative count 25850  Carl looked at the message from Cheryl and wrote down the instructions for the meal. Myra and Carl chopped the vegetables and Myra started to make her rice. Once they finished the prep work Carl went to turn on the television and to play something soothing from the music channel. He passed over the jazz station for fear of hearing another Grover Brecht song and chose some classical music. A piece by William Byrd came on and Myra took her book and sat on the couch.   “I am going to change out of these work clothes and into something more casual. I'll leave the music on for you if that's okay,” said Carl as he made his way to his bedroom. Myra didn't respond and Carl thought it may have been that she didn't hear him. Before he entered his bedroom, he went to the office to retrieve the diary. He wanted to check the names of the people who had signed the book before Cheryl and himself. He thought there could be some connection with the names and when Myra went into an episode. When he opened the diary, he saw the first name listed was John Dee. He has never heard of this person in his history classes and thought it was odd that the NPR station would be doing a piece on him at just that time when he turned on the radio. The next name looked like Thomas Digges. Carl saw that Grover Brecht's name was listed as well as John Esten Cooke. He quickly messaged Nate and Vince about this information. As he hit send, he felt worried that he may have violated the terms of the diary, so he closed the book and locked it away in his deck. He then went to his bedroom and still heard the music playing from the television but nothing else. He peeked in the living room to see that Myra was still just sitting on the couch, not moving. He reasoned that she is probably just reading her book, so he went back to his bedroom and began to change into jeans and a t-shirt. When he was done changing, he went out into the living room and the same music was still playing. It had been about ten minutes he thought, but since it was classical, he reasoned that the music playing was part of a symphony.  When he sat down on the love seat across from Myra, he saw that she was staring right into the television and slightly waving her arms like a conductor. She was in time with the music and seemed to be engrossed. He checked the information about the music, and it was still William Byrd. He forgot what song it had started on, but it sounded like what had been playing earlier. He waved his hand in front of Myra's eyes and there was no response, so he turned off the television.   “Daddy John daddy John, I love this music, can they start it again,” asked Myra?  “Myra, it's me Carl,” said Carl worriedly. He reached over and held Myra closely and started humming “My Favorite things” to her to help her come back. It took a few minutes for Myra to come back, but when she did, she closed her eyes slightly and then opened them wide.   “Did I have another episode,” asked Myra?  “Yeah, it was when I turned on the music. Have you heard of William Byrd,” asked Carl?  “I have no idea who that is,” replied Myra annoyedly.   “You were conducting the music and you were keeping time with the music perfectly. Did Harold ever play classical music for you, or have you gone to a concert with classical music,” asked Carl?  “I have no idea who this person is, I have gone to a concert before with a conductor but that was years ago. He didn't play much music at all, not as much as you play,” said Myra.   “It's okay it's okay, I know this all must be confusing to you right now. I know it is confusing to me. Let's just watch some cartoons, can I get you a drink of water or chocolate milk,” replied Carl?  “That would be great," said Myra.   Carl turned on the television and put on a cartoon channel. He then went to the kitchen and grabbed a glass and poured some chocolate milk for Myra. He placed the glass in front of her on the coffee table and sat down next to her. She was softly sobbing when he put his arm around her.   “Shhhh, it's going to be okay,” said Carl trying to comfort Myra.   “I have always had these episodes where I blank out and wake up and someone is holding me. I just want it to stop,” cried Myra.   “I want it to stop for you as well. I have them too and I know how frustrating it can be especially when you don't know when they will happen. Just drink some milk and let's just try to relax and have a good time,” said Carl.   The sun was going down when Cheryl got home at seven thirty. Both Carl and Myra were on the couch watching cartoons and laughing a little bit when she walked in. Cheryl looked in the kitchen where all the vegetables were chopped, and the rice was already cooked and ready to go. She went to the bedroom and changed from her work clothes to sweats and a t-shirt. When she came out both Carl and Myra were still watching cartoons.   “Hey, you two, having some bonding time I see. Let's get dinner started up. Myra, did you need anything to make the desert,” asked Cheryl?  “I got the recipe here,” Myra said as she grabbed her book. She went into the kitchen and gathered the ingredients.   “Do you need the oven for anything,” asked Cheryl?  “Nope, I can make it without an oven, do you need a hand with dinner,” asked Myra?  “I got it. You guys did very good getting everything prepped for me. How was your afternoon,” asked Cheryl?  Myra looked at her meekly. “I had another episode,” she said the words softly.   “Are you okay, how long did it last, what triggered it,” asked Cheryl?  “We had on some classical music when we got back and after we prepped the veggies. It was music by William Byrd, does that name ring a bell for you, “asked Carl?  “No how about you Myra,” replied Cheryl?  “Carl already asked me that and I have no idea who that guy was,” replied Myra.   “She was conducting and when I turned off the music, she was asking for daddy John again. She doesn't know who daddy John is. I put in a message to Nate and Vince about who those guys might be and if there is any connection,” said Carl.   Reaching Out To reach out to me, email timothy@createartpodcast.com I would love to hear about your journey and what you are working on. If you would like to be on the show or have me discuss a topic that is giving you trouble write in and lets start that conversation. Email: timothy@createartpodcast.com IG: @createartpodcast Twitter: @createartpod Mighty Networks: Create Art Podcast

When discussing the impact of gentrification, frequent topics include affordable housing, rising cost of living, and the displacement of long time residents. But what are some other, less quantifiable consequences of a neighborhood's demographic and economic transformation? What happens to your childhood memories when the people living on the street you grew up now treat you like an unwanted guest? In this episode of "A Correction Podcast", guest host Owa Brandstein speaks with two people who grew up on South Portland Ave in Fort Greene Brooklyn about the Emotional Impact of Gentrification. Owa Brandstein is 49 yrs old and born in Western Massachusetts. He is a lifelong educator and currently works as a School Improvement Lead for the Brooklyn North Field Support Center. He and his wife Grace live in Bedford Stuyvesant with his 12 year old daughter, Ona. Camille Kelly is 47 yrs old and was born in Park Slope, Brooklyn. Her current job is a DEI consultant and trainer. Camille currently lives on the Upper East side of Manhattan with her husband, Anton Kelly, and their two rambunctious boys, Rhys (11) and Tristan (9). Carl E. Johnson is 50 yrs old and was born to Edward and Patricia Johnson in New York Hospital. Carl is the Division Director for Transformative Mentoring Services at The Children's Village, is married to Jessica Duval for 6 years, and is the father of 4.Both Carl and Camille spent their childhood living on South Portland Ave in Fort Greene, Brooklyn. Camille, Owa and Carl all went to the University of Massachusetts at Amherst between 1990-1995. Subscribe to our newsletter today A Correction Podcast Episodes RSS

On this weeks episode the dudes are talking about all things seafood at Walt Disney World. There are so many options for a great bite from the sea life at Disney and we have some picky critics on this show. Both Carl and Jon are from New England and know how to find a great catch, especially some “Lobstah” while Ryan's Midwest Roots leave him looking for Shrimp and Sushi. Tune in now!

Our guests for this week's show were demonologists and paranormal researchers and investigators, Carl L. Johnson and Deacon James Annitto. Duo Daemonologie is a research unit that offers Carl and James' truly unique perspective through a series of lecture programs. Both Carl and James are both highly regarded in their fields of demonology and para-psychological exploration and have a combined 62 years of experience in this field. it is the central goal of Duo Daemonologie to legitimize demonology, the study of the lore and tradition of “wicked spirits.” This was a truly eye-opening and informative show, and the two hours flew by at a devilishly fast pace.

Today on Secret Door we are joined by Carl L. Johnson and Elise Carlson of Panorama Paranormal.   Carl L. Johnson has been investigating reports of strange phenomena for the past 47 years, beginning with his association with noted ghost-hunting couple Ed and Lorraine Warren. As members of a team based at Rhode Island College, Carl and his identical twin brother Keith were called in to investigate the Perron family's situation in Harrisville, Rhode Island during August and September of 1973 and they alerted the Warrens to the situation. Forty years later, this inspired a motion picture titled, The Conjuring. Both Carl and Keith were featured in the first and second seasons of the SyFy Channel series, Ghost Hunters, leaving the show to better pursue their own endeavors. Carl has numerous other television credits including the shows Paranormal State on A&E Network, The Haunted on Animal Planet, Finding Bigfoot on Animal Planet, Most Terrifying Places In America on Travel Channel, A Haunting on The Learning Channel, Destination America Television and Travel Channel, Ghost Adventures on Travel Channel and, Mysteries: Decoded on Travel Channel. Specializing as a demonologist, Carl continues his exploration of the preternatural through the research unit Panorama Paranormal, plus his web site, Demonology, Incorporated. He writes and lectures on related topics, and is well-versed in arcane New England lore.     Elise Giammarco Carlson is an established historian, President of the Johnston Historical Society and a cemetery conservator who holds a BS in Criminal Justice from Bryant University. Her interests include forensics, genealogy, quantum theory and martial arts.  Elise takes an analytic, pragmatic approach to paranormal investigation, not relying exclusively on suggestions of the supernatural. She has participated in paranormal investigations of historic Rhode Island mansions and sites such as Clouds Hill (Warwick, RI), Hearthside House (Lincoln, RI), Stephen Hopkins House (Providence, RI), Paine House (Coventry, RI) Old Slater Mill (Pawtucket, RI). Currently, she is conducting research on the history of Round Top Farm: the real-life setting for "The Conjuring" (Harrisville, RI). Elise's participation was instrumental to the production of an episode of, Most Terrifying Places in America produced in 2019 for the Travel Channel, for which she received an on-screen credited. Elise is co-founder and Director of Panorama Paranormal research unit, and she will organize private residential investigations.   CARL AND ELISE LINKS: BOOK: https://www.amazon.com/Shadow-Realms-Demonology-Carl-Johnson/dp/1542433274 FB:https://www.facebook.com/PanoramaParanormal/     Paypal One Time: https://www.paypal.me/secretdoorpodcast PATREON SUPPORTER: https://www.patreon.com/secretdoorpodcast PLEASE SUBSCRIBE ON YOUR PREFERRED PLATFORM!!! You can follow the Podcast on Youtube, iTunes, Stitcher, Google Play, Spotify, Listen Notes,TuneIn, & More... Just search Secret Door Podcast on your favourite podcast app!!! YOUTUBE LINK: https://youtu.be/HnbIrHopsqk WEBSITE: https://www.secretdoorpodcast.com/ FACEBOOK: https://www.facebook.com/secretdoorpodcast/ FB GROUP: https://www.facebook.com/groups/secretdoorpodcast/ INSTAGRAM: https://www.instagram.com/secretdoorpodcast/ Intro Music by: Deconsecration by Purple Planet Music www.purple-planet.com

Carl L. Johnson has been investigating reports of strange phenomena for the past 46 years, beginning with his association with noted ghost-hunting couple Ed and Lorraine Warren. As members of a team based at Rhode island College, Carl and his identical twin brother Keith were called in to investigate the Perron family's situation in Harrisville, Rhode Island during August and September of 1973 and they alerted the Warrens to the situation. Forty years later, this inspired a motion picture titled, The Conjuring. Both Carl and Keith were featured in the first and second seasons of the SyFy Channel series, Ghost Hunters, leaving the show to better pursue their own interests. Carl has numerous other television credits. Most recently, Carl participated in an investigation of Round Top Hill Farm house in Harrisville, which was produced for the Halloween, 2019 episode of Ghost Adventures seen on the Travel Channel.   Specializing as a demonologist, Carl continues his exploration of the preternatural through his web site, "Demonology, Incorporated." He writes and lectures on related topics, and is well-versed in arcane New England lore. A recent venture of Carl's is the educational and research unit, Duo Daemonology, for which he has partnered with theologian James Annitto.   Carl is employed by Old Slater Mill Association as Senior Interpreter staff and Programs Development. Slater Mill, located in Pawtucket, Rhode Island, built in 1793, is regarded as the birthplace of the American Industrial Revolution. The site is rich with history and, it is said, haunting, as unexplained happenings often are reported within all three historic buildings on the grounds.    call in at 563-999-3002 --- Support this podcast: https://anchor.fm/atunetwork/support

Carl L. Johnson has been investigating reports of strange phenomena for the past 46 years, beginning with his association with noted ghost-hunting couple Ed and Lorraine Warren. As members of a team based at Rhode island College, Carl and his identical twin brother Keith were called in to investigate the Perron family's situation in Harrisville, Rhode Island during August and September of 1973 and they alerted the Warrens to the situation. Forty years later, this inspired a motion picture titled, The Conjuring. Both Carl and Keith were featured in the first and second seasons of the SyFy Channel series, Ghost Hunters, leaving the show to better pursue their own interests. Carl has numerous other television credits. Most recently, Carl participated in an investigation of Round Top Hill Farm house in Harrisville, which was produced for the Halloween, 2019 episode of Ghost Adventures seen on the Travel Channel.   Specializing as a demonologist, Carl continues his exploration of the preternatural through his web site, "Demonology, Incorporated." He writes and lectures on related topics, and is well-versed in arcane New England lore. A recent venture of Carl's is the educational and research unit, Duo Daemonology, for which he has partnered with theologian James Annitto.   Carl is employed by Old Slater Mill Association as Senior Interpreter staff and Programs Development. Slater Mill, located in Pawtucket, Rhode Island, built in 1793, is regarded as the birthplace of the American Industrial Revolution. The site is rich with history and, it is said, haunting, as unexplained happenings often are reported within all three historic buildings on the grounds.    call in at 563-999-3002 --- Support this podcast: https://anchor.fm/atunetwork/support --- Support this podcast: https://anchor.fm/atunetwork/support

Carl L. Johnson has been investigating reports of strange phenomena for the past 46 years, beginning with his association with noted ghost-hunting couple Ed and Lorraine Warren. As members of a team based at Rhode island College, Carl and his identical twin brother Keith were called in to investigate the Perron family's situation in Harrisville, Rhode Island during August and September of 1973 and they alerted the Warrens to the situation. Forty years later, this inspired a motion picture titled, The Conjuring. Both Carl and Keith were featured in the first and second seasons of the SyFy Channel series, Ghost Hunters, leaving the show to better pursue their own interests. Carl has numerous other television credits. Most recently, Carl participated in an investigation of Round Top Hill Farm house in Harrisville, which was produced for the Halloween, 2019 episode of Ghost Adventures seen on the Travel Channel.   Specializing as a demonologist, Carl continues his exploration of the preternatural through his web site, "Demonology, Incorporated." He writes and lectures on related topics, and is well-versed in arcane New England lore. A recent venture of Carl's is the educational and research unit, Duo Daemonology, for which he has partnered with theologian James Annitto.   Carl is employed by Old Slater Mill Association as Senior Interpreter staff and Programs Development. Slater Mill, located in Pawtucket, Rhode Island, built in 1793, is regarded as the birthplace of the American Industrial Revolution. The site is rich with history and, it is said, haunting, as unexplained happenings often are reported within all three historic buildings on the grounds.    call in at 563-999-3002 --- Support this podcast: https://anchor.fm/atunetwork/support

Carl L. Johnson has been investigating reports of strange phenomena for the past 46 years, beginning with his association with noted ghost-hunting couple Ed and Lorraine Warren. As members of a team based at Rhode island College, Carl and his identical twin brother Keith were called in to investigate the Perron family's situation in Harrisville, Rhode Island during August and September of 1973 and they alerted the Warrens to the situation. Forty years later, this inspired a motion picture titled, The Conjuring. Both Carl and Keith were featured in the first and second seasons of the SyFy Channel series, Ghost Hunters, leaving the show to better pursue their own interests. Carl has numerous other television credits. Most recently, Carl participated in an investigation of Round Top Hill Farm house in Harrisville, which was produced for the Halloween, 2019 episode of Ghost Adventures seen on the Travel Channel.   Specializing as a demonologist, Carl continues his exploration of the preternatural through his web site, "Demonology, Incorporated." He writes and lectures on related topics, and is well-versed in arcane New England lore. A recent venture of Carl's is the educational and research unit, Duo Daemonology, for which he has partnered with theologian James Annitto.   Carl is employed by Old Slater Mill Association as Senior Interpreter staff and Programs Development. Slater Mill, located in Pawtucket, Rhode Island, built in 1793, is regarded as the birthplace of the American Industrial Revolution. The site is rich with history and, it is said, haunting, as unexplained happenings often are reported within all three historic buildings on the grounds.    call in at 563-999-3002 --- Support this podcast: https://anchor.fm/atunetwork/support --- Support this podcast: https://anchor.fm/atunetwork/support

Carl L. Johnson has been investigating reports of strange phenomena for the past 46 years, beginning with his association with noted ghost-hunting couple Ed and Lorraine Warren. As members of a team based at Rhode island College, Carl and his identical twin brother Keith were called in to investigate the Perron family's situation in Harrisville, Rhode Island during August and September of 1973 and they alerted the Warrens to the situation. Forty years later, this inspired a motion picture titled, The Conjuring. Both Carl and Keith were featured in the first and second seasons of the SyFy Channel series, Ghost Hunters, leaving the show to better pursue their own interests. Carl has numerous other television credits. Most recently, Carl participated in an investigation of Round Top Hill Farm house in Harrisville, which was produced for the Halloween, 2019 episode of Ghost Adventures seen on the Travel Channel.   Specializing as a demonologist, Carl continues his exploration of the preternatural through his web site, "Demonology, Incorporated." He writes and lectures on related topics, and is well-versed in arcane New England lore. A recent venture of Carl's is the educational and research unit, Duo Daemonology, for which he has partnered with theologian James Annitto.   Carl is employed by Old Slater Mill Association as Senior Interpreter staff and Programs Development. Slater Mill, located in Pawtucket, Rhode Island, built in 1793, is regarded as the birthplace of the American Industrial Revolution. The site is rich with history and, it is said, haunting, as unexplained happenings often are reported within all three historic buildings on the grounds.    call in at 563-999-3002    

Carl, Chris and me talk about irrational fears. Do they make sense? Can we do anything about them? Both Carl and I are terrified of spiders. Carl tells us how he recently found one in the sink and went off to boil the kettle to give it a hot bath. And what about heights? Should be be scared of heights if we descended from primates and spent our early years climbing trees? We've now started a Patreon page so you can come and join in the community and support the podcast. https://www.patreon.com/MartsWorldPodcast

Both Carl and Nick are supporters of undefeated teams. But how long will that last? Diving into the undefeated, which of these teams will be the first to lose? It can't be the Avalanche or Red Wings, can it? And what about the yet to be victorious? Which of the winless teams are most primed for a bounce back? Can we eliminate from the playoffs already? What impact have the new rule changes had on games so far? Are coaches challenges used differently this year? Does picking the side on icing really matter? Carl plays a round of "For or Against" starring such things as the Toronto Maple Leafs, Drew Doughty and Gary Bettman. Also, a trade breaks mid show! Vladislav Namestnikov is off to Ottawa. But why? With Dustin Byfuglien still away from the Winnipeg Jets, when will he return and what can the Jets do to fix their defense? All this and more on episode 251 of the 4th Line Hockey Podcast! Twitter: twitter.com/4thLinePodcast Facebook: facebook.com/the4thlinepodcast Email: mail@the4thlinepodcast.com Intro music by Erik Hall of Ane Croft anecroftmusic.bandcamp.com/releases Part of the Alberta Podcast Network powered by ATB Financial  Sponsors: ATB is a bank that does a lot for the community. Find out how here. Head over to Seat Giant and use promo code apn for 5% off your purchase!

While out in San Diego, we sat down with Carl Thomas and Reid Carr at Red Door Interactive's HQ. Carl Thomas, the former CRO of Hookit, and Reid Carr, the CEO of Red Door Interactive, go deep on creating and inspiring care. Both Carl and Reid have a long history in the B2B space of working with both major brands and corporate sponsors, as well as sports properties. So we sought out to answer three questions- What do their employees care about? What do major brands care about?What does the end customer care about?Enjoy this wide ranging conversation with Carl and Reid!

Carl L. Johnson has been investigating reports of strange phenomena for the past 40 years, beginning with his association with noted ghost-hunting couple Ed and Lorraine Warren. As members of a team based at Rhode island College called Parapsychology Investigating and Research Organization, Carl is in the process of compiling accounts of his forays into paranormal exploration for his upcoming books, "Shadow Realms" and, "Ghosts Don't Feel The Cold!" Lana J. Brock, from Chattanooga Tennessee and raised in Kokomo, IN was first introduced to the paranormal by first hand experience with a demonic infestation in her childhood home.  She spent more than 18 years in service to the Baptist Church in a few states as a church pianist. In 2005 she obtained a Theology degree from Faith Bible Institute of Monroe, LA. ??Today she is co-authoring a book and other writing projects with Carl Johnson. She is also working on "Finding Evil" with her twin sister Lisa Nagel on the story of the haunting on Armstrong Street in Kokomo, Indiana. ? Both Carl and Lana can be seen on their website Demonology Incorporated, Twitter, YouTube Channel called Nebula Entertainment TM and on Facebook https://amzn.to/2Hfvm1X --- Support this podcast: https://anchor.fm/atunetwork/support

Carl L. Johnson has been investigating reports of strange phenomena for the past 40 years, beginning with his association with noted ghost-hunting couple Ed and Lorraine Warren. As members of a team based at Rhode island College called Parapsychology Investigating and Research Organization, Carl is in the process of compiling accounts of his forays into paranormal exploration for his upcoming books, "Shadow Realms" and, "Ghosts Don't Feel The Cold!" Lana J. Brock, from Chattanooga Tennessee and raised in Kokomo, IN was first introduced to the paranormal by first hand experience with a demonic infestation in her childhood home.  She spent more than 18 years in service to the Baptist Church in a few states as a church pianist. In 2005 she obtained a Theology degree from Faith Bible Institute of Monroe, LA. ??Today she is co-authoring a book and other writing projects with Carl Johnson. She is also working on "Finding Evil" with her twin sister Lisa Nagel on the story of the haunting on Armstrong Street in Kokomo, Indiana. ? Both Carl and Lana can be seen on their website Demonology Incorporated, Twitter, YouTube Channel called Nebula Entertainment TM and on Facebook https://amzn.to/2Hfvm1X --- Support this podcast: https://anchor.fm/atunetwork/support

Carl L. Johnson has been investigating reports of strange phenomena for the past 40 years, beginning with his association with noted ghost-hunting couple Ed and Lorraine Warren. As members of a team based at Rhode island College called Parapsychology Investigating and Research Organization, Carl is in the process of compiling accounts of his forays into paranormal exploration for his upcoming books, "Shadow Realms" and, "Ghosts Don't Feel The Cold!" Lana J. Brock, from Chattanooga Tennessee and raised in Kokomo, IN was first introduced to the paranormal by first hand experience with a demonic infestation in her childhood home.  She spent more than 18 years in service to the Baptist Church in a few states as a church pianist. In 2005 she obtained a Theology degree from Faith Bible Institute of Monroe, LA. ??Today she is co-authoring a book and other writing projects with Carl Johnson. She is also working on "Finding Evil" with her twin sister Lisa Nagel on the story of the haunting on Armstrong Street in Kokomo, Indiana. ? Both Carl and Lana can be seen on their website Demonology Incorporated, Twitter, YouTube Channel called Nebula Entertainment TM and on Facebook https://amzn.to/2Hfvm1X  

  Episode thirty-six of A History of Rock Music in Five Hundred Songs looks at "Blue Suede Shoes" by Carl Perkins, and is part one of a trilogy on the aftermath of Elvis leaving Sun, and the birth of rockabilly. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Black Denim Trousers and Motorcycle Boots" by the Cheers.  ----more---- Clarification While editing tonight's podcast I noticed something I didn't make clear. I talk about "Movie Magg" by Carl Perkins being about riding a mule to the cinema, but in the song he uses the word "horse" rather than mule. Perkins' family, in real life, had a mule when he wrote the song, and that was what he was writing about, even though the song lyric is "horse". Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. For copyright reasons, that might not be available in North America, so here's a Spotify playlist of the same recordings. Much of the information here comes from Go Cat Go! The Life and Times of Carl Perkins, by Carl Perkins and David McGee. I'm relying heavily on Sam Phillips: the Man Who Invented Rock and Roll by Peter Guralnick for all the episodes dealing with Phillips and Sun Records. There are many compilations available of Perkins' Sun recordings. This double-CD one seems as good as any. All Perkins' early Sun singles are also on this ten-disc set, which charts the history of Sun Records, with the A- and B-sides of ninety of the first Sun singles in chronological order for an absurdly low price. This will help give you the full context for Perkins' work, in a way hearing it in isolation wouldn't.     Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?  Transcript   Today's episode is, in effect, part one of a three-part story, looking at the repercussions of Elvis Presley's move from Sun Records, and the birth of rockabilly. As when I did my recent Chess Records trilogy, all of these episodes should stand alone, but you might find it interesting to listen back to this one after the next two. While Elvis Presley had moved from Sun to RCA, that didn't mean that Sam Phillips had given up on recording rock and roll music. Far from it. With the amount of money that RCA had paid for Elvis' contract, Sun Records was for the first time on a completely secure footing, and now Phillips could really begin work on making the music that would come to define his legacy. Because now, Sun Records shifted almost entirely from being a blues label to being a rockabilly label. We've not talked much about rockabilly as a genre, and that's because until now we've only heard one person performing it. But while Elvis was arguably the first rockabilly artist, it wasn't until Elvis had left Sun that the floodgates opened, and Sam Phillips started producing the records that defined the genre as a genre, rather than as the work of a single individual. The rockabilly sound was, in essence, created in Sun studios. And rockabilly is one of those sounds that purists, at least, insist had a very, very specific meaning. It had to have slapback echo on the vocals, it had to have an electric lead guitar and slapback bass. It basically had to have all the elements of Elvis' very earliest records. You could add a few other elements, like piano or drums -- mostly because anything else would exclude Jerry Lee Lewis -- but no horns or strings, no backing vocals, nothing that would take away from the very primitive sound. And no steel guitar or fiddle, either -- that would tip it over into country. There were, of course, other people who produced rockabilly records, and we'll look at some of them as the next couple of years go on. But when they did, they were all copying the sound that Sam Phillips created. Because after Elvis stopped recording for Sun, Sam Phillips and his small staff discovered enough young, exciting, musicians that Sun Records was assured a place in music history, even though its biggest artist was gone. The first of the new artists Phillips discovered was someone who came to Sun when Elvis was still on the label -- a young man named Carl Perkins. Perkins, like many of the pioneers of rock and roll music, had grown up dirt-poor. His parents were sharecroppers, who were illiterate enough that they misspelled their own surname on his birth certificate (they spelled it Perkings, but he always used Perkins in later life. His family had been so poor that when young Carl, inspired by listening to the Grand Ole Opry on the radio, asked if he could have a guitar, his parents couldn't afford one, and so his father made him one from a cigar box and a broom handle. However, young Carl got good enough that soon his dad bought him a real guitar. He was so poor that when he broke strings, he had to tie them together because he couldn't afford new ones, and he ended up developing a unique guitar style -- bending strings to get different notes rather than fretting them normally -- to avoid the knots in the strings, which hurt his fingers. When he was fourteen, Perkins wrote his first song, and it again shows just how poor he was. Listen to the lyrics to "Movie Magg": [Excerpt: Carl Perkins, "Movie Magg"] That's about going to the cinema *riding on a mule*. Because in the time and place where Perkins grew up, it was actually considered slightly classier to ride a mule to the cinema than to take a car, because if anyone *did* have a car, it was one that was so broken down and rusted that it was actually less impressive than a mule. All of Perkins' early work is like that, rooted in a poverty far deeper than almost anyone listening to this podcast will be able to understand. It's music based in the country music he heard growing up, and it's music that could only be made by someone who spent his childhood picking cotton for pennies an hour in order to help his family survive. When Perkins had learned to play the guitar well enough to play lead, he taught his brother Jay to play rudimentary rhythm parts. Jay loved music as much as Carl did, but the two brothers had slightly different tastes in country music. Carl was a massive fan of the inventor of bluegrass, Bill Monroe, who sang high, driving, harmony-filled songs of longing: [Excerpt: Bill Monroe, "Blue Moon of Kentucky"] Jay, on the other hand, preferred Ernest Tubb's low, honky tonk, music: [Excerpt: Ernest Tubb, "Tomorrow Never Comes"] They taught their younger brother Clayton to play a little bass, even though he wasn't a music lover especially -- Clayton loved drinking and fighting and not much else. But he had a reasonable sense of rhythm, so they could teach him the three places to put his fingers on most country songs, and let him figure out the rest with practice. Their friend Fluke Holland joined on drums, and the Perkins Brothers Band was born. The Perkins brothers spent the next several years honing their craft playing some of the roughest bars in Tennessee. They had to develop an ability to play dance music for venues where it was customary to buy two bottles of beer at a time -- one to drink, and one to smash over someone else's head -- you didn't want to use an empty bottle for your smashing, as there was no weight to them, but a full bottle of beer would put someone out of commission very quickly. So they very quickly developed a style that was rooted in honky-tonk music, but which was totally oriented around getting people dancing. It had elements of bluegrass, Western Swing, the blues, and anything else that could possibly be used to get a crowd of drunks dancing, if you only had two guitars, a double bass, and a drum kit. Both Carl and Jay would take turns singing lead, and when they ran out of songs to perform, Carl would improvise new ones around standard chord changes. He had the ability to improvise words and music off the top of his head -- and he'd remember a good chorus or a good line and reuse it, so these improvised songs slowly became standard, structured, parts of their set. They were soon able to make a full-time living playing music for bars full of angry drunk men, and for several years they did just that, starting from before it was even legal for them to enter the bars they were playing. They had no ambition to do anything else -- they were just glad to be earning a living doing something that was fun. Slowly but surely, Carl Perkins started to carve out a unique sound for the band, at least on the songs that he wrote and sang. He didn't know what it was that he was doing, but he knew it was different, and that no-one else was doing anything like it. Until one day he heard someone who was: [Excerpt: Elvis Presley, "Blue Moon of Kentucky"] When Carl Perkins heard Elvis singing "Blue Moon of Kentucky" on the radio, he knew that there was someone else who was out there doing the same kind of thing as him. He was even singing a song by Carl's favourite, Bill Monroe. If this Elvis Presley kid could become a star making that kind of music, maybe so could Carl himself. He and his brothers went to see Elvis live and while Jay and Clayton took a dislike to Elvis -- deciding that because he paid any attention to his appearance he must be gay, and therefore in their opinion worthy of nothing but contempt -- Carl saw something else. He determined right then that he was going to go to Sun Records and demand an audition. If they would put that Elvis boy's records out, then surely they would put his out too? The Perkins Brothers Band all piled into a single car, and drove down to Memphis, to 706 Union Ave. They went in to see the people at Sun Records -- and were turned away. Marion Keisker told them that they weren't auditioning right then, and that they didn't need any new singers. When Carl Perkins told her that they sounded a bit like Elvis, she was even more dismissive -- they didn't need another Elvis. They'd already got one. They trudged back despondently to the car, deciding that their dream of stardom was at an end. But as they were doing so, a Cadillac pulled up and a man got out of it. They decided that the only person who would be driving a Cadillac to that studio must be the owner of the record label, so they went over to him and told him what had happened. And Sam Phillips agreed with Keisker. He wasn't after anyone else right now. He had enough acts. And Carl was devastated. According to Perkins, Phillips later told him “I couldn’t say no. Never have I [seen] a pitifuller-looking fellow as you looked when I said, ‘I’m too busy to listen to you.’ You overpowered me.” He relented, and told them that he'd give them a quick listen, but it had to be quick as he was busy that day. They went into the studio and started running through their set. They got through a verse of the first song, and Phillips stopped them. He wasn't interested in anything like that. They started another song. Again, Phillips stopped them and said he wasn't interested. They were about to go home, but then Carl asked if he could try just one more song. He started up that song he had written when he was fourteen, "Movie Magg": [Excerpt: Carl Perkins, "Movie Magg"] The band joined in, and as they played through the song, Carl noticed something. Sam Phillips hadn't stopped them from playing. He sat through the whole thing, listening intently. When they got to the end, he said that if they came back with a few more songs that sounded like that, they might just be worth recording. The band were pleased, but Phillips also said something else, to Carl alone, that was more worrying. He told Carl that there was no place for any lead vocals by his brother Jay. "There's already one Ernest Tubb in the world. No-one needs another one." Without them having fully realised it at the time, the Perkins Brothers Band had now become Carl Perkins and his band. When they came back a few weeks later, they had worked out a few more songs. Phillips put out "Movie Magg", backed with a ballad Carl had written, "Turn Around", but he didn't put these out on Sun. Rather, he put them out on a new label, Flip, that didn't pay union scale. Flip only put out records around Tennessee, and the idea was that these would be audition records -- Phillips would see how the records would do locally, without paying full royalties and without paying expensive shipping costs or for a large print run. Phillips was in financial trouble at the time, and he was trying to find ways to cut costs. "Movie Magg" did well enough on Flip that for the next Carl Perkins single, Phillips moved him on to Sun Records proper. This followed the same formula as the first single, pairing an uptempo A-side with a B-side ballad in the Hank Williams vein. The A-side, "Gone Gone Gone", was one of Carl's improvised songs -- every take of it was different, although they were all based around the same basic idea, which was riffing on the old phrase, "It must be jelly, 'cause jam don't shake like that". [Excerpt, Carl Perkins, "Gone Gone Gone"] "Gone Gone Gone" wasn't a hit, but it sold well enough, and Phillips arranged for Perkins to go out on tour, on a bill with Elvis and another new Sun signing, Johnny Cash. It was on this tour that Cash made a suggestion to Perkins that would change Perkins' life. Cash remembered a fellow serviceman, a black man named C.V. Wright, had referred to his service issue shoes as "blue suede shoes", and he told Perkins that he should write a song about that. Perkins dismissed the idea. What the hell did he know about shoes, anyway? And what kind of song could you write about them? The idea was ridiculous. The tour went well, apart from one incident -- Perkins and Presley had been talking about their mutual love for the song "Only You", and that inspired Perkins to add the song to his own setlist. [Excerpt: Carl Perkins, "Only You"] That irritated Presley, who had been planning to perform the song himself the same night, and Presley felt that Perkins' performance had upstaged him. The two remained friends, but would never perform on the same bill again. Elvis did, however, take Carl out clothes shopping, and show him how to dress in a more sophisticated manner on stage. Shortly after that tour, Perkins was performing another show, when he noticed someone in the audience berating his date, "Don't step on my suedes!" He started thinking about what kind of person would find his shoes so important, and started thinking about pride, and about people who don't have anything. The idea merged with Cash's mention of blue suede shoes, and Perkins found himself one night getting out of bed, playing his electric guitar unplugged, so as not to disturb his wife, and writing a song he called "Blue Swade Shoes" -- he spelled "suede" s w a d e, because he didn't know how the word was spelled. Two days later, on December 19, 1955, he was in the studio recording it: [Excerpt: Carl Perkins, "Blue Suede Shoes"] Perkins was certain that this was going to be it. This was his breakthrough record. But at the same time he was getting depressed about his prospects. He had a wife and kids to support, and he was earning so little money from his music that he was having to do farm work as a side job in order to make enough money to buy his kids Christmas presents. The people at this side job were often astonished that "that singer fella" was there. Everyone around knew him from his stage shows, and they all knew he'd put out records. Surely he was rich now, and didn't need to be doing such menial work? He was at a low, and that didn't get better when he finally got his complimentary copies of his new single. They arrived through the post and, as often happened with records at that time, they'd got smashed into bits. He wanted to have his own copies of the record, of course, so he went into town to the shop that sold records, and asked for a copy. He was horrified at what he saw. Instead of a proper record -- a big ten inch thing with a tiny little hole in the middle, made out of shellac -- he was confronted with something only seven inches across, made of some kind of plastic, and with a big hole in the middle. He explained that no, he wanted his record, and the store owner replied that this was his record. He came home with this little floppy thing and cried, explaining to his wife that they'd messed up his record in some way, and that he was ruined. Eventually they figured out that this was OK, and that what the store owner had told Carl had been correct -- these new vinyl records were apparently what all the kids wanted instead of what Carl thought of as real records. "Blue Suede Shoes" was an obvious hit, but the B-side, "Honey Don't", got more than a little airplay as well: [Excerpt: Carl Perkins, "Honey Don't"] "Blue Suede Shoes" was such a smash hit that Steve Sholes of RCA called Sam Phillips, worried. When he'd signed Elvis, had he backed the wrong horse? Phillips assured Sholes that he hadn't. As it turned out, "Blue Suede Shoes" and Elvis' first single for RCA, "Heartbreak Hotel", were racing up the charts at the same time as each other. "Heartbreak Hotel" ended up at number one, and "Blue Suede Shoes" at number two, and both were crossover hits, making the top two in both pop and country and the top five in R&B. "Blue Suede Shoes" was so popular, in fact, that at one point it was being performed simultaneously on two different TV shows -- at the same time as Carl Perkins was appearing on the Ozark Jubilee, his very first TV appearance, Presley was on Stage Show on another network, performing his cover version of it: [Excerpt: Elvis Presley, "Blue Suede Shoes"] Presley's version wasn't released as a single until a few months later -- they'd come to a gentleman's agreement that he wouldn't affect Perkins' sales -- but it was put out as the opening track on Presley's first album, and as a track on an EP. When Presley's version finally came out as a single, towards the end of the year, it made the top twenty and brought in further royalties for Perkins. Perkins' version of "Blue Suede Shoes" and Elvis' had a few crucial differences other than just their performer. Perkins' version is more interesting rhythmically at the start -- it has a stop-time introduction which essentially puts it into six-four time before settling into four-four. Elvis, on the other hand, stayed with a four-four beat all the way through. Elvis' performance is all about keeping up a sense of urgency, while Perkins is about building up tension and release. Listen first of all to Elvis' introduction: [Excerpt: Elvis Presley, "Blue Suede Shoes"] "Well, it's one for the money," BAM, "two for the show", BAM... that's a record that's all about that initial urgency. Now listen to Perkins': [Excerpt: Carl Perkins, "Blue Suede Shoes"] It seems to stall after every line, as if it's hesitant, as if he doesn't really want to get started. But at the same time that gives it a rhythmic interest that isn't there in Presley's version. Perkins' original is the more sophisticated, musicianly, record. Most cover versions since have followed Presley's version, with the notable exception of John Lennon's live cover version from 1969, which follows the pattern of Perkins'. Unfortunately, Perkins' career was then derailed in a tragic accident. On his way to perform on the Perry Como Show on TV, Perkins' car hit a truck. The truck driver was killed, and Perkins and his brother Jay were both hospitalised. They got better, but their career had lost momentum -- and by the time they were completely well, Sam Phillips was rather more interested in his next big thing. Phillips did, however, get Perkins a Cadillac of his own, like the one Perkins had been impressed by when he first met Phillips. He told Perkins that he'd planned to do this for the first Sun Records artist to have a million-seller, which "Blue Suede Shoes" was. Perkins was less impressed when he found out that the Cadillac wasn't a gift, but had been paid for out of Perkins' royalties, and that eventually started a lifelong series of royalty disputes between the two men, with Perkins never believing he had received all the money that was rightfully his. Perkins would never have another hit as a performer, and his career would be defined by that one song, but he continued making great records, and in a few weeks' time we'll be taking a look at another of them, and at what happened in the studio when a couple of people came to visit while he was recording. Those future records would include some that would inspire some of the most important musicians in the world, and would rightfully become classics. But it's "Blue Suede Shoes" which ensured his place in music history, and which sixty-three years later, more than any other record, sums up that point in 1956 when two country boys from Tennessee were chasing each other up the charts and defining the future of rock and roll.

  Episode thirty-six of A History of Rock Music in Five Hundred Songs looks at “Blue Suede Shoes” by Carl Perkins, and is part one of a trilogy on the aftermath of Elvis leaving Sun, and the birth of rockabilly. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Black Denim Trousers and Motorcycle Boots” by the Cheers.  —-more—- Clarification While editing tonight’s podcast I noticed something I didn’t make clear. I talk about “Movie Magg” by Carl Perkins being about riding a mule to the cinema, but in the song he uses the word “horse” rather than mule. Perkins’ family, in real life, had a mule when he wrote the song, and that was what he was writing about, even though the song lyric is “horse”. Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. For copyright reasons, that might not be available in North America, so here’s a Spotify playlist of the same recordings. Much of the information here comes from Go Cat Go! The Life and Times of Carl Perkins, by Carl Perkins and David McGee. I’m relying heavily on Sam Phillips: the Man Who Invented Rock and Roll by Peter Guralnick for all the episodes dealing with Phillips and Sun Records. There are many compilations available of Perkins’ Sun recordings. This double-CD one seems as good as any. All Perkins’ early Sun singles are also on this ten-disc set, which charts the history of Sun Records, with the A- and B-sides of ninety of the first Sun singles in chronological order for an absurdly low price. This will help give you the full context for Perkins’ work, in a way hearing it in isolation wouldn’t.     Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?  Transcript   Today’s episode is, in effect, part one of a three-part story, looking at the repercussions of Elvis Presley’s move from Sun Records, and the birth of rockabilly. As when I did my recent Chess Records trilogy, all of these episodes should stand alone, but you might find it interesting to listen back to this one after the next two. While Elvis Presley had moved from Sun to RCA, that didn’t mean that Sam Phillips had given up on recording rock and roll music. Far from it. With the amount of money that RCA had paid for Elvis’ contract, Sun Records was for the first time on a completely secure footing, and now Phillips could really begin work on making the music that would come to define his legacy. Because now, Sun Records shifted almost entirely from being a blues label to being a rockabilly label. We’ve not talked much about rockabilly as a genre, and that’s because until now we’ve only heard one person performing it. But while Elvis was arguably the first rockabilly artist, it wasn’t until Elvis had left Sun that the floodgates opened, and Sam Phillips started producing the records that defined the genre as a genre, rather than as the work of a single individual. The rockabilly sound was, in essence, created in Sun studios. And rockabilly is one of those sounds that purists, at least, insist had a very, very specific meaning. It had to have slapback echo on the vocals, it had to have an electric lead guitar and slapback bass. It basically had to have all the elements of Elvis’ very earliest records. You could add a few other elements, like piano or drums — mostly because anything else would exclude Jerry Lee Lewis — but no horns or strings, no backing vocals, nothing that would take away from the very primitive sound. And no steel guitar or fiddle, either — that would tip it over into country. There were, of course, other people who produced rockabilly records, and we’ll look at some of them as the next couple of years go on. But when they did, they were all copying the sound that Sam Phillips created. Because after Elvis stopped recording for Sun, Sam Phillips and his small staff discovered enough young, exciting, musicians that Sun Records was assured a place in music history, even though its biggest artist was gone. The first of the new artists Phillips discovered was someone who came to Sun when Elvis was still on the label — a young man named Carl Perkins. Perkins, like many of the pioneers of rock and roll music, had grown up dirt-poor. His parents were sharecroppers, who were illiterate enough that they misspelled their own surname on his birth certificate (they spelled it Perkings, but he always used Perkins in later life. His family had been so poor that when young Carl, inspired by listening to the Grand Ole Opry on the radio, asked if he could have a guitar, his parents couldn’t afford one, and so his father made him one from a cigar box and a broom handle. However, young Carl got good enough that soon his dad bought him a real guitar. He was so poor that when he broke strings, he had to tie them together because he couldn’t afford new ones, and he ended up developing a unique guitar style — bending strings to get different notes rather than fretting them normally — to avoid the knots in the strings, which hurt his fingers. When he was fourteen, Perkins wrote his first song, and it again shows just how poor he was. Listen to the lyrics to “Movie Magg”: [Excerpt: Carl Perkins, “Movie Magg”] That’s about going to the cinema *riding on a mule*. Because in the time and place where Perkins grew up, it was actually considered slightly classier to ride a mule to the cinema than to take a car, because if anyone *did* have a car, it was one that was so broken down and rusted that it was actually less impressive than a mule. All of Perkins’ early work is like that, rooted in a poverty far deeper than almost anyone listening to this podcast will be able to understand. It’s music based in the country music he heard growing up, and it’s music that could only be made by someone who spent his childhood picking cotton for pennies an hour in order to help his family survive. When Perkins had learned to play the guitar well enough to play lead, he taught his brother Jay to play rudimentary rhythm parts. Jay loved music as much as Carl did, but the two brothers had slightly different tastes in country music. Carl was a massive fan of the inventor of bluegrass, Bill Monroe, who sang high, driving, harmony-filled songs of longing: [Excerpt: Bill Monroe, “Blue Moon of Kentucky”] Jay, on the other hand, preferred Ernest Tubb’s low, honky tonk, music: [Excerpt: Ernest Tubb, “Tomorrow Never Comes”] They taught their younger brother Clayton to play a little bass, even though he wasn’t a music lover especially — Clayton loved drinking and fighting and not much else. But he had a reasonable sense of rhythm, so they could teach him the three places to put his fingers on most country songs, and let him figure out the rest with practice. Their friend Fluke Holland joined on drums, and the Perkins Brothers Band was born. The Perkins brothers spent the next several years honing their craft playing some of the roughest bars in Tennessee. They had to develop an ability to play dance music for venues where it was customary to buy two bottles of beer at a time — one to drink, and one to smash over someone else’s head — you didn’t want to use an empty bottle for your smashing, as there was no weight to them, but a full bottle of beer would put someone out of commission very quickly. So they very quickly developed a style that was rooted in honky-tonk music, but which was totally oriented around getting people dancing. It had elements of bluegrass, Western Swing, the blues, and anything else that could possibly be used to get a crowd of drunks dancing, if you only had two guitars, a double bass, and a drum kit. Both Carl and Jay would take turns singing lead, and when they ran out of songs to perform, Carl would improvise new ones around standard chord changes. He had the ability to improvise words and music off the top of his head — and he’d remember a good chorus or a good line and reuse it, so these improvised songs slowly became standard, structured, parts of their set. They were soon able to make a full-time living playing music for bars full of angry drunk men, and for several years they did just that, starting from before it was even legal for them to enter the bars they were playing. They had no ambition to do anything else — they were just glad to be earning a living doing something that was fun. Slowly but surely, Carl Perkins started to carve out a unique sound for the band, at least on the songs that he wrote and sang. He didn’t know what it was that he was doing, but he knew it was different, and that no-one else was doing anything like it. Until one day he heard someone who was: [Excerpt: Elvis Presley, “Blue Moon of Kentucky”] When Carl Perkins heard Elvis singing “Blue Moon of Kentucky” on the radio, he knew that there was someone else who was out there doing the same kind of thing as him. He was even singing a song by Carl’s favourite, Bill Monroe. If this Elvis Presley kid could become a star making that kind of music, maybe so could Carl himself. He and his brothers went to see Elvis live and while Jay and Clayton took a dislike to Elvis — deciding that because he paid any attention to his appearance he must be gay, and therefore in their opinion worthy of nothing but contempt — Carl saw something else. He determined right then that he was going to go to Sun Records and demand an audition. If they would put that Elvis boy’s records out, then surely they would put his out too? The Perkins Brothers Band all piled into a single car, and drove down to Memphis, to 706 Union Ave. They went in to see the people at Sun Records — and were turned away. Marion Keisker told them that they weren’t auditioning right then, and that they didn’t need any new singers. When Carl Perkins told her that they sounded a bit like Elvis, she was even more dismissive — they didn’t need another Elvis. They’d already got one. They trudged back despondently to the car, deciding that their dream of stardom was at an end. But as they were doing so, a Cadillac pulled up and a man got out of it. They decided that the only person who would be driving a Cadillac to that studio must be the owner of the record label, so they went over to him and told him what had happened. And Sam Phillips agreed with Keisker. He wasn’t after anyone else right now. He had enough acts. And Carl was devastated. According to Perkins, Phillips later told him “I couldn’t say no. Never have I [seen] a pitifuller-looking fellow as you looked when I said, ‘I’m too busy to listen to you.’ You overpowered me.” He relented, and told them that he’d give them a quick listen, but it had to be quick as he was busy that day. They went into the studio and started running through their set. They got through a verse of the first song, and Phillips stopped them. He wasn’t interested in anything like that. They started another song. Again, Phillips stopped them and said he wasn’t interested. They were about to go home, but then Carl asked if he could try just one more song. He started up that song he had written when he was fourteen, “Movie Magg”: [Excerpt: Carl Perkins, “Movie Magg”] The band joined in, and as they played through the song, Carl noticed something. Sam Phillips hadn’t stopped them from playing. He sat through the whole thing, listening intently. When they got to the end, he said that if they came back with a few more songs that sounded like that, they might just be worth recording. The band were pleased, but Phillips also said something else, to Carl alone, that was more worrying. He told Carl that there was no place for any lead vocals by his brother Jay. “There’s already one Ernest Tubb in the world. No-one needs another one.” Without them having fully realised it at the time, the Perkins Brothers Band had now become Carl Perkins and his band. When they came back a few weeks later, they had worked out a few more songs. Phillips put out “Movie Magg”, backed with a ballad Carl had written, “Turn Around”, but he didn’t put these out on Sun. Rather, he put them out on a new label, Flip, that didn’t pay union scale. Flip only put out records around Tennessee, and the idea was that these would be audition records — Phillips would see how the records would do locally, without paying full royalties and without paying expensive shipping costs or for a large print run. Phillips was in financial trouble at the time, and he was trying to find ways to cut costs. “Movie Magg” did well enough on Flip that for the next Carl Perkins single, Phillips moved him on to Sun Records proper. This followed the same formula as the first single, pairing an uptempo A-side with a B-side ballad in the Hank Williams vein. The A-side, “Gone Gone Gone”, was one of Carl’s improvised songs — every take of it was different, although they were all based around the same basic idea, which was riffing on the old phrase, “It must be jelly, ’cause jam don’t shake like that”. [Excerpt, Carl Perkins, “Gone Gone Gone”] “Gone Gone Gone” wasn’t a hit, but it sold well enough, and Phillips arranged for Perkins to go out on tour, on a bill with Elvis and another new Sun signing, Johnny Cash. It was on this tour that Cash made a suggestion to Perkins that would change Perkins’ life. Cash remembered a fellow serviceman, a black man named C.V. Wright, had referred to his service issue shoes as “blue suede shoes”, and he told Perkins that he should write a song about that. Perkins dismissed the idea. What the hell did he know about shoes, anyway? And what kind of song could you write about them? The idea was ridiculous. The tour went well, apart from one incident — Perkins and Presley had been talking about their mutual love for the song “Only You”, and that inspired Perkins to add the song to his own setlist. [Excerpt: Carl Perkins, “Only You”] That irritated Presley, who had been planning to perform the song himself the same night, and Presley felt that Perkins’ performance had upstaged him. The two remained friends, but would never perform on the same bill again. Elvis did, however, take Carl out clothes shopping, and show him how to dress in a more sophisticated manner on stage. Shortly after that tour, Perkins was performing another show, when he noticed someone in the audience berating his date, “Don’t step on my suedes!” He started thinking about what kind of person would find his shoes so important, and started thinking about pride, and about people who don’t have anything. The idea merged with Cash’s mention of blue suede shoes, and Perkins found himself one night getting out of bed, playing his electric guitar unplugged, so as not to disturb his wife, and writing a song he called “Blue Swade Shoes” — he spelled “suede” s w a d e, because he didn’t know how the word was spelled. Two days later, on December 19, 1955, he was in the studio recording it: [Excerpt: Carl Perkins, “Blue Suede Shoes”] Perkins was certain that this was going to be it. This was his breakthrough record. But at the same time he was getting depressed about his prospects. He had a wife and kids to support, and he was earning so little money from his music that he was having to do farm work as a side job in order to make enough money to buy his kids Christmas presents. The people at this side job were often astonished that “that singer fella” was there. Everyone around knew him from his stage shows, and they all knew he’d put out records. Surely he was rich now, and didn’t need to be doing such menial work? He was at a low, and that didn’t get better when he finally got his complimentary copies of his new single. They arrived through the post and, as often happened with records at that time, they’d got smashed into bits. He wanted to have his own copies of the record, of course, so he went into town to the shop that sold records, and asked for a copy. He was horrified at what he saw. Instead of a proper record — a big ten inch thing with a tiny little hole in the middle, made out of shellac — he was confronted with something only seven inches across, made of some kind of plastic, and with a big hole in the middle. He explained that no, he wanted his record, and the store owner replied that this was his record. He came home with this little floppy thing and cried, explaining to his wife that they’d messed up his record in some way, and that he was ruined. Eventually they figured out that this was OK, and that what the store owner had told Carl had been correct — these new vinyl records were apparently what all the kids wanted instead of what Carl thought of as real records. “Blue Suede Shoes” was an obvious hit, but the B-side, “Honey Don’t”, got more than a little airplay as well: [Excerpt: Carl Perkins, “Honey Don’t”] “Blue Suede Shoes” was such a smash hit that Steve Sholes of RCA called Sam Phillips, worried. When he’d signed Elvis, had he backed the wrong horse? Phillips assured Sholes that he hadn’t. As it turned out, “Blue Suede Shoes” and Elvis’ first single for RCA, “Heartbreak Hotel”, were racing up the charts at the same time as each other. “Heartbreak Hotel” ended up at number one, and “Blue Suede Shoes” at number two, and both were crossover hits, making the top two in both pop and country and the top five in R&B. “Blue Suede Shoes” was so popular, in fact, that at one point it was being performed simultaneously on two different TV shows — at the same time as Carl Perkins was appearing on the Ozark Jubilee, his very first TV appearance, Presley was on Stage Show on another network, performing his cover version of it: [Excerpt: Elvis Presley, “Blue Suede Shoes”] Presley’s version wasn’t released as a single until a few months later — they’d come to a gentleman’s agreement that he wouldn’t affect Perkins’ sales — but it was put out as the opening track on Presley’s first album, and as a track on an EP. When Presley’s version finally came out as a single, towards the end of the year, it made the top twenty and brought in further royalties for Perkins. Perkins’ version of “Blue Suede Shoes” and Elvis’ had a few crucial differences other than just their performer. Perkins’ version is more interesting rhythmically at the start — it has a stop-time introduction which essentially puts it into six-four time before settling into four-four. Elvis, on the other hand, stayed with a four-four beat all the way through. Elvis’ performance is all about keeping up a sense of urgency, while Perkins is about building up tension and release. Listen first of all to Elvis’ introduction: [Excerpt: Elvis Presley, “Blue Suede Shoes”] “Well, it’s one for the money,” BAM, “two for the show”, BAM… that’s a record that’s all about that initial urgency. Now listen to Perkins’: [Excerpt: Carl Perkins, “Blue Suede Shoes”] It seems to stall after every line, as if it’s hesitant, as if he doesn’t really want to get started. But at the same time that gives it a rhythmic interest that isn’t there in Presley’s version. Perkins’ original is the more sophisticated, musicianly, record. Most cover versions since have followed Presley’s version, with the notable exception of John Lennon’s live cover version from 1969, which follows the pattern of Perkins’. Unfortunately, Perkins’ career was then derailed in a tragic accident. On his way to perform on the Perry Como Show on TV, Perkins’ car hit a truck. The truck driver was killed, and Perkins and his brother Jay were both hospitalised. They got better, but their career had lost momentum — and by the time they were completely well, Sam Phillips was rather more interested in his next big thing. Phillips did, however, get Perkins a Cadillac of his own, like the one Perkins had been impressed by when he first met Phillips. He told Perkins that he’d planned to do this for the first Sun Records artist to have a million-seller, which “Blue Suede Shoes” was. Perkins was less impressed when he found out that the Cadillac wasn’t a gift, but had been paid for out of Perkins’ royalties, and that eventually started a lifelong series of royalty disputes between the two men, with Perkins never believing he had received all the money that was rightfully his. Perkins would never have another hit as a performer, and his career would be defined by that one song, but he continued making great records, and in a few weeks’ time we’ll be taking a look at another of them, and at what happened in the studio when a couple of people came to visit while he was recording. Those future records would include some that would inspire some of the most important musicians in the world, and would rightfully become classics. But it’s “Blue Suede Shoes” which ensured his place in music history, and which sixty-three years later, more than any other record, sums up that point in 1956 when two country boys from Tennessee were chasing each other up the charts and defining the future of rock and roll.

  Episode thirty-six of A History of Rock Music in Five Hundred Songs looks at “Blue Suede Shoes” by Carl Perkins, and is part one of a trilogy on the aftermath of Elvis leaving Sun, and the birth of rockabilly. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Black Denim Trousers and Motorcycle Boots” by the Cheers.  —-more—- Clarification While editing tonight’s podcast I noticed something I didn’t make clear. I talk about “Movie Magg” by Carl Perkins being about riding a mule to the cinema, but in the song he uses the word “horse” rather than mule. Perkins’ family, in real life, had a mule when he wrote the song, and that was what he was writing about, even though the song lyric is “horse”. Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. For copyright reasons, that might not be available in North America, so here’s a Spotify playlist of the same recordings. Much of the information here comes from Go Cat Go! The Life and Times of Carl Perkins, by Carl Perkins and David McGee. I’m relying heavily on Sam Phillips: the Man Who Invented Rock and Roll by Peter Guralnick for all the episodes dealing with Phillips and Sun Records. There are many compilations available of Perkins’ Sun recordings. This double-CD one seems as good as any. All Perkins’ early Sun singles are also on this ten-disc set, which charts the history of Sun Records, with the A- and B-sides of ninety of the first Sun singles in chronological order for an absurdly low price. This will help give you the full context for Perkins’ work, in a way hearing it in isolation wouldn’t.     Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?  Transcript   Today’s episode is, in effect, part one of a three-part story, looking at the repercussions of Elvis Presley’s move from Sun Records, and the birth of rockabilly. As when I did my recent Chess Records trilogy, all of these episodes should stand alone, but you might find it interesting to listen back to this one after the next two. While Elvis Presley had moved from Sun to RCA, that didn’t mean that Sam Phillips had given up on recording rock and roll music. Far from it. With the amount of money that RCA had paid for Elvis’ contract, Sun Records was for the first time on a completely secure footing, and now Phillips could really begin work on making the music that would come to define his legacy. Because now, Sun Records shifted almost entirely from being a blues label to being a rockabilly label. We’ve not talked much about rockabilly as a genre, and that’s because until now we’ve only heard one person performing it. But while Elvis was arguably the first rockabilly artist, it wasn’t until Elvis had left Sun that the floodgates opened, and Sam Phillips started producing the records that defined the genre as a genre, rather than as the work of a single individual. The rockabilly sound was, in essence, created in Sun studios. And rockabilly is one of those sounds that purists, at least, insist had a very, very specific meaning. It had to have slapback echo on the vocals, it had to have an electric lead guitar and slapback bass. It basically had to have all the elements of Elvis’ very earliest records. You could add a few other elements, like piano or drums — mostly because anything else would exclude Jerry Lee Lewis — but no horns or strings, no backing vocals, nothing that would take away from the very primitive sound. And no steel guitar or fiddle, either — that would tip it over into country. There were, of course, other people who produced rockabilly records, and we’ll look at some of them as the next couple of years go on. But when they did, they were all copying the sound that Sam Phillips created. Because after Elvis stopped recording for Sun, Sam Phillips and his small staff discovered enough young, exciting, musicians that Sun Records was assured a place in music history, even though its biggest artist was gone. The first of the new artists Phillips discovered was someone who came to Sun when Elvis was still on the label — a young man named Carl Perkins. Perkins, like many of the pioneers of rock and roll music, had grown up dirt-poor. His parents were sharecroppers, who were illiterate enough that they misspelled their own surname on his birth certificate (they spelled it Perkings, but he always used Perkins in later life. His family had been so poor that when young Carl, inspired by listening to the Grand Ole Opry on the radio, asked if he could have a guitar, his parents couldn’t afford one, and so his father made him one from a cigar box and a broom handle. However, young Carl got good enough that soon his dad bought him a real guitar. He was so poor that when he broke strings, he had to tie them together because he couldn’t afford new ones, and he ended up developing a unique guitar style — bending strings to get different notes rather than fretting them normally — to avoid the knots in the strings, which hurt his fingers. When he was fourteen, Perkins wrote his first song, and it again shows just how poor he was. Listen to the lyrics to “Movie Magg”: [Excerpt: Carl Perkins, “Movie Magg”] That’s about going to the cinema *riding on a mule*. Because in the time and place where Perkins grew up, it was actually considered slightly classier to ride a mule to the cinema than to take a car, because if anyone *did* have a car, it was one that was so broken down and rusted that it was actually less impressive than a mule. All of Perkins’ early work is like that, rooted in a poverty far deeper than almost anyone listening to this podcast will be able to understand. It’s music based in the country music he heard growing up, and it’s music that could only be made by someone who spent his childhood picking cotton for pennies an hour in order to help his family survive. When Perkins had learned to play the guitar well enough to play lead, he taught his brother Jay to play rudimentary rhythm parts. Jay loved music as much as Carl did, but the two brothers had slightly different tastes in country music. Carl was a massive fan of the inventor of bluegrass, Bill Monroe, who sang high, driving, harmony-filled songs of longing: [Excerpt: Bill Monroe, “Blue Moon of Kentucky”] Jay, on the other hand, preferred Ernest Tubb’s low, honky tonk, music: [Excerpt: Ernest Tubb, “Tomorrow Never Comes”] They taught their younger brother Clayton to play a little bass, even though he wasn’t a music lover especially — Clayton loved drinking and fighting and not much else. But he had a reasonable sense of rhythm, so they could teach him the three places to put his fingers on most country songs, and let him figure out the rest with practice. Their friend Fluke Holland joined on drums, and the Perkins Brothers Band was born. The Perkins brothers spent the next several years honing their craft playing some of the roughest bars in Tennessee. They had to develop an ability to play dance music for venues where it was customary to buy two bottles of beer at a time — one to drink, and one to smash over someone else’s head — you didn’t want to use an empty bottle for your smashing, as there was no weight to them, but a full bottle of beer would put someone out of commission very quickly. So they very quickly developed a style that was rooted in honky-tonk music, but which was totally oriented around getting people dancing. It had elements of bluegrass, Western Swing, the blues, and anything else that could possibly be used to get a crowd of drunks dancing, if you only had two guitars, a double bass, and a drum kit. Both Carl and Jay would take turns singing lead, and when they ran out of songs to perform, Carl would improvise new ones around standard chord changes. He had the ability to improvise words and music off the top of his head — and he’d remember a good chorus or a good line and reuse it, so these improvised songs slowly became standard, structured, parts of their set. They were soon able to make a full-time living playing music for bars full of angry drunk men, and for several years they did just that, starting from before it was even legal for them to enter the bars they were playing. They had no ambition to do anything else — they were just glad to be earning a living doing something that was fun. Slowly but surely, Carl Perkins started to carve out a unique sound for the band, at least on the songs that he wrote and sang. He didn’t know what it was that he was doing, but he knew it was different, and that no-one else was doing anything like it. Until one day he heard someone who was: [Excerpt: Elvis Presley, “Blue Moon of Kentucky”] When Carl Perkins heard Elvis singing “Blue Moon of Kentucky” on the radio, he knew that there was someone else who was out there doing the same kind of thing as him. He was even singing a song by Carl’s favourite, Bill Monroe. If this Elvis Presley kid could become a star making that kind of music, maybe so could Carl himself. He and his brothers went to see Elvis live and while Jay and Clayton took a dislike to Elvis — deciding that because he paid any attention to his appearance he must be gay, and therefore in their opinion worthy of nothing but contempt — Carl saw something else. He determined right then that he was going to go to Sun Records and demand an audition. If they would put that Elvis boy’s records out, then surely they would put his out too? The Perkins Brothers Band all piled into a single car, and drove down to Memphis, to 706 Union Ave. They went in to see the people at Sun Records — and were turned away. Marion Keisker told them that they weren’t auditioning right then, and that they didn’t need any new singers. When Carl Perkins told her that they sounded a bit like Elvis, she was even more dismissive — they didn’t need another Elvis. They’d already got one. They trudged back despondently to the car, deciding that their dream of stardom was at an end. But as they were doing so, a Cadillac pulled up and a man got out of it. They decided that the only person who would be driving a Cadillac to that studio must be the owner of the record label, so they went over to him and told him what had happened. And Sam Phillips agreed with Keisker. He wasn’t after anyone else right now. He had enough acts. And Carl was devastated. According to Perkins, Phillips later told him “I couldn’t say no. Never have I [seen] a pitifuller-looking fellow as you looked when I said, ‘I’m too busy to listen to you.’ You overpowered me.” He relented, and told them that he’d give them a quick listen, but it had to be quick as he was busy that day. They went into the studio and started running through their set. They got through a verse of the first song, and Phillips stopped them. He wasn’t interested in anything like that. They started another song. Again, Phillips stopped them and said he wasn’t interested. They were about to go home, but then Carl asked if he could try just one more song. He started up that song he had written when he was fourteen, “Movie Magg”: [Excerpt: Carl Perkins, “Movie Magg”] The band joined in, and as they played through the song, Carl noticed something. Sam Phillips hadn’t stopped them from playing. He sat through the whole thing, listening intently. When they got to the end, he said that if they came back with a few more songs that sounded like that, they might just be worth recording. The band were pleased, but Phillips also said something else, to Carl alone, that was more worrying. He told Carl that there was no place for any lead vocals by his brother Jay. “There’s already one Ernest Tubb in the world. No-one needs another one.” Without them having fully realised it at the time, the Perkins Brothers Band had now become Carl Perkins and his band. When they came back a few weeks later, they had worked out a few more songs. Phillips put out “Movie Magg”, backed with a ballad Carl had written, “Turn Around”, but he didn’t put these out on Sun. Rather, he put them out on a new label, Flip, that didn’t pay union scale. Flip only put out records around Tennessee, and the idea was that these would be audition records — Phillips would see how the records would do locally, without paying full royalties and without paying expensive shipping costs or for a large print run. Phillips was in financial trouble at the time, and he was trying to find ways to cut costs. “Movie Magg” did well enough on Flip that for the next Carl Perkins single, Phillips moved him on to Sun Records proper. This followed the same formula as the first single, pairing an uptempo A-side with a B-side ballad in the Hank Williams vein. The A-side, “Gone Gone Gone”, was one of Carl’s improvised songs — every take of it was different, although they were all based around the same basic idea, which was riffing on the old phrase, “It must be jelly, ’cause jam don’t shake like that”. [Excerpt, Carl Perkins, “Gone Gone Gone”] “Gone Gone Gone” wasn’t a hit, but it sold well enough, and Phillips arranged for Perkins to go out on tour, on a bill with Elvis and another new Sun signing, Johnny Cash. It was on this tour that Cash made a suggestion to Perkins that would change Perkins’ life. Cash remembered a fellow serviceman, a black man named C.V. Wright, had referred to his service issue shoes as “blue suede shoes”, and he told Perkins that he should write a song about that. Perkins dismissed the idea. What the hell did he know about shoes, anyway? And what kind of song could you write about them? The idea was ridiculous. The tour went well, apart from one incident — Perkins and Presley had been talking about their mutual love for the song “Only You”, and that inspired Perkins to add the song to his own setlist. [Excerpt: Carl Perkins, “Only You”] That irritated Presley, who had been planning to perform the song himself the same night, and Presley felt that Perkins’ performance had upstaged him. The two remained friends, but would never perform on the same bill again. Elvis did, however, take Carl out clothes shopping, and show him how to dress in a more sophisticated manner on stage. Shortly after that tour, Perkins was performing another show, when he noticed someone in the audience berating his date, “Don’t step on my suedes!” He started thinking about what kind of person would find his shoes so important, and started thinking about pride, and about people who don’t have anything. The idea merged with Cash’s mention of blue suede shoes, and Perkins found himself one night getting out of bed, playing his electric guitar unplugged, so as not to disturb his wife, and writing a song he called “Blue Swade Shoes” — he spelled “suede” s w a d e, because he didn’t know how the word was spelled. Two days later, on December 19, 1955, he was in the studio recording it: [Excerpt: Carl Perkins, “Blue Suede Shoes”] Perkins was certain that this was going to be it. This was his breakthrough record. But at the same time he was getting depressed about his prospects. He had a wife and kids to support, and he was earning so little money from his music that he was having to do farm work as a side job in order to make enough money to buy his kids Christmas presents. The people at this side job were often astonished that “that singer fella” was there. Everyone around knew him from his stage shows, and they all knew he’d put out records. Surely he was rich now, and didn’t need to be doing such menial work? He was at a low, and that didn’t get better when he finally got his complimentary copies of his new single. They arrived through the post and, as often happened with records at that time, they’d got smashed into bits. He wanted to have his own copies of the record, of course, so he went into town to the shop that sold records, and asked for a copy. He was horrified at what he saw. Instead of a proper record — a big ten inch thing with a tiny little hole in the middle, made out of shellac — he was confronted with something only seven inches across, made of some kind of plastic, and with a big hole in the middle. He explained that no, he wanted his record, and the store owner replied that this was his record. He came home with this little floppy thing and cried, explaining to his wife that they’d messed up his record in some way, and that he was ruined. Eventually they figured out that this was OK, and that what the store owner had told Carl had been correct — these new vinyl records were apparently what all the kids wanted instead of what Carl thought of as real records. “Blue Suede Shoes” was an obvious hit, but the B-side, “Honey Don’t”, got more than a little airplay as well: [Excerpt: Carl Perkins, “Honey Don’t”] “Blue Suede Shoes” was such a smash hit that Steve Sholes of RCA called Sam Phillips, worried. When he’d signed Elvis, had he backed the wrong horse? Phillips assured Sholes that he hadn’t. As it turned out, “Blue Suede Shoes” and Elvis’ first single for RCA, “Heartbreak Hotel”, were racing up the charts at the same time as each other. “Heartbreak Hotel” ended up at number one, and “Blue Suede Shoes” at number two, and both were crossover hits, making the top two in both pop and country and the top five in R&B. “Blue Suede Shoes” was so popular, in fact, that at one point it was being performed simultaneously on two different TV shows — at the same time as Carl Perkins was appearing on the Ozark Jubilee, his very first TV appearance, Presley was on Stage Show on another network, performing his cover version of it: [Excerpt: Elvis Presley, “Blue Suede Shoes”] Presley’s version wasn’t released as a single until a few months later — they’d come to a gentleman’s agreement that he wouldn’t affect Perkins’ sales — but it was put out as the opening track on Presley’s first album, and as a track on an EP. When Presley’s version finally came out as a single, towards the end of the year, it made the top twenty and brought in further royalties for Perkins. Perkins’ version of “Blue Suede Shoes” and Elvis’ had a few crucial differences other than just their performer. Perkins’ version is more interesting rhythmically at the start — it has a stop-time introduction which essentially puts it into six-four time before settling into four-four. Elvis, on the other hand, stayed with a four-four beat all the way through. Elvis’ performance is all about keeping up a sense of urgency, while Perkins is about building up tension and release. Listen first of all to Elvis’ introduction: [Excerpt: Elvis Presley, “Blue Suede Shoes”] “Well, it’s one for the money,” BAM, “two for the show”, BAM… that’s a record that’s all about that initial urgency. Now listen to Perkins’: [Excerpt: Carl Perkins, “Blue Suede Shoes”] It seems to stall after every line, as if it’s hesitant, as if he doesn’t really want to get started. But at the same time that gives it a rhythmic interest that isn’t there in Presley’s version. Perkins’ original is the more sophisticated, musicianly, record. Most cover versions since have followed Presley’s version, with the notable exception of John Lennon’s live cover version from 1969, which follows the pattern of Perkins’. Unfortunately, Perkins’ career was then derailed in a tragic accident. On his way to perform on the Perry Como Show on TV, Perkins’ car hit a truck. The truck driver was killed, and Perkins and his brother Jay were both hospitalised. They got better, but their career had lost momentum — and by the time they were completely well, Sam Phillips was rather more interested in his next big thing. Phillips did, however, get Perkins a Cadillac of his own, like the one Perkins had been impressed by when he first met Phillips. He told Perkins that he’d planned to do this for the first Sun Records artist to have a million-seller, which “Blue Suede Shoes” was. Perkins was less impressed when he found out that the Cadillac wasn’t a gift, but had been paid for out of Perkins’ royalties, and that eventually started a lifelong series of royalty disputes between the two men, with Perkins never believing he had received all the money that was rightfully his. Perkins would never have another hit as a performer, and his career would be defined by that one song, but he continued making great records, and in a few weeks’ time we’ll be taking a look at another of them, and at what happened in the studio when a couple of people came to visit while he was recording. Those future records would include some that would inspire some of the most important musicians in the world, and would rightfully become classics. But it’s “Blue Suede Shoes” which ensured his place in music history, and which sixty-three years later, more than any other record, sums up that point in 1956 when two country boys from Tennessee were chasing each other up the charts and defining the future of rock and roll.

Carl L. Johnson has been investigating reports of strange phenomena for the past 40 years, Both Carl and Keith were featured in the first and second seasons of the SyFy Channel series, Ghost Hunters, leaving the show to better pursue their own interests. Carl's other television credits include five investigations/interventions documented for The Haunted seen on Animal Planet Channel, Finding Bigfoot also on Animal Planet, a special production of Most Terrifying Places In America produced for The Travel Channel, Paranormal State: The New Class on A&E Network, and A Haunting seen on Destination America Television and The Learning Channel. An episode of A Haunting titled, "Dangerous Games" which debuted on both aforementioned networks on December 2, 2016 documented Carl and his two siblings being raised in a sporadically haunted household. Specializing as a demonologist, Carl continues his exploration of the unknown through the forum provided by his and his partner Lana J. Brock's Become a supporter of this podcast: https://anchor.fm/atunetwork/support --- Support this podcast: https://anchor.fm/atunetwork/support --- Support this podcast: https://anchor.fm/atunetwork/support

Carl L. Johnson has been investigating reports of strange phenomena for the past 40 years, Both Carl and Keith were featured in the first and second seasons of the SyFy Channel series, Ghost Hunters, leaving the show to better pursue their own interests. Carl's other television credits include five investigations/interventions documented for The Haunted seen on Animal Planet Channel, Finding Bigfoot also on Animal Planet, a special production of Most Terrifying Places In America produced for The Travel Channel, Paranormal State: The New Class on A&E Network, and A Haunting seen on Destination America Television and The Learning Channel. An episode of A Haunting titled, "Dangerous Games" which debuted on both aforementioned networks on December 2, 2016 documented Carl and his two siblings being raised in a sporadically haunted household. Specializing as a demonologist, Carl continues his exploration of the unknown through the forum provided by his and his partner Lana J. Brock's Become a supporter of this podcast: https://anchor.fm/atunetwork/support --- Support this podcast: https://anchor.fm/atunetwork/support

Carl L. Johnson has been investigating reports of strange phenomena for the past 40 years, Both Carl and Keith were featured in the first and second seasons of the SyFy Channel series, Ghost Hunters, leaving the show to better pursue their own interests. Carl's other television credits include five investigations/interventions documented for The Haunted seen on Animal Planet Channel, Finding Bigfoot also on Animal Planet, a special production of Most Terrifying Places In America produced for The Travel Channel, Paranormal State: The New Class on A&E Network, and A Haunting seen on Destination America Television and The Learning Channel. An episode of A Haunting titled, "Dangerous Games" which debuted on both aforementioned networks on December 2, 2016 documented Carl and his two siblings being raised in a sporadically haunted household. Specializing as a demonologist, Carl continues his exploration of the unknown through the forum provided by his and his partner Lana J. Brock's Become a supporter of this podcast: https://anchor.fm/atunetwork/support --- Support this podcast: https://anchor.fm/atunetwork/support

Carl L. Johnson has been investigating reports of strange phenomena for the past 40 years, Both Carl and Keith were featured in the first and second seasons of the SyFy Channel series, Ghost Hunters, leaving the show to better pursue their own interests. Carl's other television credits include five investigations/interventions documented for The Haunted seen on Animal Planet Channel, Finding Bigfoot also on Animal Planet, a special production of Most Terrifying Places In America produced for The Travel Channel, Paranormal State: The New Class on A&E Network, and A Haunting seen on Destination America Television and The Learning Channel. An episode of A Haunting titled, "Dangerous Games" which debuted on both aforementioned networks on December 2, 2016 documented Carl and his two siblings being raised in a sporadically haunted household. Specializing as a demonologist, Carl continues his exploration of the unknown through the forum provided by his and his partner Lana J. Brock's --- Support this podcast: https://anchor.fm/atunetwork/support

Carl L. Johnson has been investigating reports of strange phenomena for the past 40 years, Both Carl and Keith were featured in the first and second seasons of the SyFy Channel series, Ghost Hunters, leaving the show to better pursue their own interests. Carl's other television credits include five investigations/interventions documented for The Haunted seen on Animal Planet Channel, Finding Bigfoot also on Animal Planet, a special production of Most Terrifying Places In America produced for The Travel Channel, Paranormal State: The New Class on A&E Network, and A Haunting seen on Destination America Television and The Learning Channel. An episode of A Haunting titled, "Dangerous Games" which debuted on both aforementioned networks on December 2, 2016 documented Carl and his two siblings being raised in a sporadically haunted household. Specializing as a demonologist, Carl continues his exploration of the unknown through the forum provided by his and his partner Lana J. Brock's --- Support this podcast: https://anchor.fm/atunetwork/support

Carl L. Johnson has been investigating reports of strange phenomena for the past 40 years, Both Carl and Keith were featured in the first and second seasons of the SyFy Channel series, Ghost Hunters, leaving the show to better pursue their own interests. Carl's other television credits include five investigations/interventions documented for The Haunted seen on Animal Planet Channel, Finding Bigfoot also on Animal Planet, a special production of Most Terrifying Places In America produced for The Travel Channel, Paranormal State: The New Class on A&E Network, and A Haunting seen on Destination America Television and The Learning Channel. An episode of A Haunting titled, "Dangerous Games" which debuted on both aforementioned networks on December 2, 2016 documented Carl and his two siblings being raised in a sporadically haunted household. Specializing as a demonologist, Carl continues his exploration of the unknown through the forum provided by his and his partner Lana J. Brock's Become a supporter of this podcast: https://anchor.fm/atunetwork/support

Jake and Carl talk about the differences between pricing projects hourly and pricing projects on a per project basis. This is a very popular topic of debate and we came to an interesting conclusion. Listen to find out how we each price things ourselves and what our thoughts are. We also test out Blab.im for the first time and create our first video cast of the podcast for Rookie Designer. It was a fairly good experience and the we got a lot of help from the great community there. Both Carl and I are thinking this may be an avenue that we continue to try out. You can find the Blab.im stream here:  Rookie Designer Eps 147 on Blab.im We have also launched a Rookie Designer YouTube Channel which will have our more formal video cast based on the Blab. Be sure to subscribe to the channel here: Rookie Designer Channel on YouTube     TECH PICKS Carl -               Jake -             Carl's Design Business Holy Carp Design - www.holycarpdesign.com Holy Carp Design on Facebook - www.facebook.com/HolyCarpDesign Holy Carp Design on Twitter - www.twitter.com/HolyCarpDesign Carl on LinkedIn - www.linkedin.com/in/carlgrivakis Jake's Design Business Graphic Precision - www.GraphicPrecision.com Graphic Precision on Facebook - www.facebook.com/GraphicPrecision Jake on Twitter - www.twitter.com/jakevanness Jake on LinkedIn - www.linkedin.com/in/jakevanness/ Rookie Designer Links Website: http://www.rookiedesigner.com Facebook: http://www.facebook.com/RookieDesigner Twitter: http://www.twitter.com/RookieDesigner iTunes: Rookie Designer on iTunes RSS (All Posts): RSS Feed (All Posts)

it's season finale time! We change up the format a little bit, squee over shipping, fawn over friendships, and then ruminate on rumors about Season Two. This episode was recorded in advance, so more recent previews and stuff are not included. Both Carl and Aarthi love this episode, and we're both super excited for S2!