Podcast appearances and mentions of chad mitchell

“My tongue is on fire right now… Holy sh*t, it's still burning. Is it going to get worse? It's getting worse.”In this special edition of Saigon Sunday Sessions, we turn up the heat—literally! Join me at Brick and Barrel for the ultimate hot sauce and taco-eating competition, where local chili aficionados battle it out for bragging rights and fiery glory.From tasting sauces like the infamous Vietnam Reaper to cheering on contestants in a high-stakes taco showdown, this episode is packed with flavor, laughter, and a lot of sweating. Special guest Chad Mitchell from Mixtape joins the fun, tackling spicy tacos while answering big questions about life and beer.If you've ever wondered what it's like to eat fire for fun, this is the episode for you.– Niall Mackay5 Key Takeaways (With Timestamps) 1. “The Vietnam Reaper” Takes the Crown – Sauce #5 earns its reputation as the spiciest in Saigon. (00:01:00) 2. Anne Pham's Taco Triumph – Five fiery tacos in 13 minutes—Anne Pham wins the competition with grit and determination. (00:17:00) 3. Hot Ones Homage – Chad Mitchell faces the heat while discussing his journey from California to Saigon. (00:25:00) 4. Spice Brings People Together – From laughter to out-of-body experiences, the event highlights Saigon's lively food culture. (00:33:00) 5. Pro Tips for Spice Lovers – Lessons learned: don't touch your eyes, and keep the lime handy. (00:35:00)Episode Chapters00:00 – Welcome to Brick and Barrel: The Heat Is On01:00 – The Hot Sauce Gauntlet: From Mild to Mind-Blowing17:00 – Taco Showdown: Anne Pham vs. Kung25:00 – Spicy Q&A: Chad Mitchell Talks Beer and Life33:00 – Reflections on Saigon's Fiery SpiritReflect with MeAs someone who barely survived tasting just one taco, I have nothing but respect for the contestants and the brave souls who sampled all 11 sauces. This event perfectly encapsulates the vibrant, bold energy of Saigon's food scene.Wh"Send me a message!"Become a Bắp Xào Đâyer in our community on Patreon and become part of something special.You can choose a Cà phê sữa đá, Bánh mì, Cơm tấm, Bún Thịt Nướng or the ultimate level, a Bắp Xào Đây. Episode Sponsors:7 Bridges Brewing Co. - An award winning Vietnamese craft brewery from Da Nang, with breweries across Vietnam!Tenzing Pacific - I highly recommend them for their professional advice related to personal, family, and business insurance.Support the showThis show is produced by Seven Million Bikes Podcasts.If you would like to work with them too check out their website!

The Roarin' Twenties were in full swing and the stock market was reaching new record highs a hundred years ago when vaudevillian Jimmy Cox wrote his cautionary tale about the fickleness of fortune and friendship.“Nobody Knows You When You're Down and Out" was copyrighted in 1923, but it was another four years before the first known publication appeared, with the 1927 recording by a little known jazzman named Bobby Leecan.Two others — an obscure vocal quartet called The Aunt Jemima Novelty Four and boogie-woogie pianist Pinetop Smith — also gave it a spin, but it was Bessie Smith's rendition in 1929 that made the song legendary.Predicting the FutureAs noted here earlier, Smith's treatment of the tune also was oddly prophetic. Columbia released Smith's record on Sept. 13, 1929. Two weeks earlier, The New York stock market had reached an all-time high; two weeks later, it took its most perilous plunge, beginning 10 years of The Great Depression. No song ever seemed more stunningly relevant than this one."Nobody Knows You When You're Down and Out" became one of Smith's biggest hits. In fact, the song was so identified with “The Empress of the Blues” that for another generation or so other female singers were reluctant to record it. By the 1950s, though, it was a blues standard. A version by Nina Simone reached No. 23 on Billboard's R&B charts. Odetta tackled it. So did Janis Joplin. Men also found the song a great vehicle. Louis Jordan and Josh White both had versions. So did Lead Belly and Eric Von Schmidt, Chad Mitchell, Otis Redding and Sam Cooke.The Brit BitMeanwhile, in English, when Eric Clapton was an art student in the early 1960s, he was attracted to the finger-picking acoustic guitar-stylings of bluesman Big Bill Broonzy. "Nobody Knows You When You're Down and Out" was one of the first songs Clapton learned to play that way.In 1970, he recorded a group version with his band Derek and the Dominos for the debut album Layla and Other Assorted Love Songs. (Also on that album, incidentally, on slide guitar, was Duane Allman, who also recorded the song with his brother Greg.)Our Take on the TuneSome nights are just magical, when everything we do — even this hundred-year-old song — seems suddenly fresh and new.Click here to check it out. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Chad Mitchell is a member of the Auburn Alliance Church in Auburn, New York. Hear more about the Night to Shine events in Pennsylvania and New York on the Family Life "Hometown Heroes" news feature.

Sad music news... Chad Allan passed away on November 21 at age 80. He is survived by his wife, Christine. Chad was born Allan Kowbel in Winnipeg and took his stage name, Chad Allan, in tribute to a favourite 1950s singer, Chad Mitchell. His first band was Allan and the Silvertones and then Chad Allan and the Reflections/Expressions, which evolved into the Guess Who. Chad left the Guess Who in 1966 to attend college. In 1967, he hosted the Winnipeg version of the weekly CBC TV music program Let's Go. Chad was a guest at the grand opening of the Red Robinson Show Theatre, and Red interviewed him on the September 21, 2000 edition of CISL Radio's "Wakeup Club". Here, they talk about the early days, some of the people Chad worked with, and the first time he heard "Shakin' All Over". In 2015, he was inducted as a Member of the Order of Manitoba for his contribution to Canadian music. A true rock'n'roll pioneer. RIP Chad!

** JOIN THE NEW FACEBOOK GROUP: https://www.facebook.com/groups/802347208310205/ ** By "new," we mean "their first album came out in 2015 or later." Chad Mitchell, maybe my "best new music friend" if you know what I mean by that, joins me to talk through each of our top 10 "new" emo and/or punk bands. I chose to be vulnerable and selected mine entirely based on the total number of Apple Music plays they have in my library. Don't judge me! There was some confusion as to whether or not hardcore bands count -- I thought so, but probably had already told Chad they didn't, so we will need to do a top 10 new hardcore bands episode later, I guess! Artists discussed today include Hot Mulligan, PUP, Beach Slang, Pool Kids, Turnstile, Oso Oso, and more. PGV Facebook Discussion Group: https://www.facebook.com/groups/802347208310205/ Spotify playlist for today's episode: https://open.spotify.com/playlist/00OynlFX9n2k2NYGU3eSgs?si=059d640ac83c4878 Dan's music licensing library: https://dankoch.net/library Email Dan: prettygoodvibrationspodcast@gmail.com IG: www.instagram.com/prettygoodvibespod/ Artwork: https://www.nickryanluevano.com/

Musician, label boss, designer and manager of the Nick Drake estate, Cally Callomon and Richard Morton Jack, author of the recently published Nick Drake : The Life, join host Jim Irvin to select albums they think should be better known. The records discussed in this episode are: Mighty Day On Campus by The Chad Mitchell Trio (1961), Begin by The Millennium (1968) and Fred Neil, self-titled, (1967). With two of the foremost experts on Nick Drake in the room we take the opportunity to talk about Nick's legacy, his taste in music, how Richard set about writing about him and how Cally deals with regular offers of festival slots for him. We also discuss the expectations of record collectors, the early days of the British psych revival and the pitfalls of the baritone in pop. A Spotify playlist to accompany this episode, featuring all three albums in their entirety and lots of the other stuff mentioned on the show, is available here: https://open.spotify.com/playlist/29sJrxAtKOiB0Q1y2EqO7y?si=7de6c556be804a43

Follow and Subscribe to Beer Stories, produced by Seven Million Bikes Podcasts.In Episode 3 of Beer Stories, Alex & Mischa talk to the Founder & CEO of MixTape Drinks, Chad Mitchell, about Beer Styles! Do they even matter anymore?! They discuss the importance of learning the fundamentals of brewing before you can start playing around with style guidelines, inventing new styles of beer, the ubiquity of IPAs in the current craft beer market, style guidelines, the importance of beer styles for marketing purposes, category confusion at beer competitions, Pickle beers, the importance of pushing boundaries & challenging yourself, the beer naming process at MixTape, Sour Beers, Hazy IPAs, and whether Brewers prefer drinking their own beers or other people's. We also have new installments of our weekly segments, The Hangover Check and Fact or Fiction. Cheers! Learn more about Pasteur Street Brewing Co. Follow us on Facebook.Get NordVPN's ultimate security package - 63% off the 2-year planSupport the showThese are the programs we use to create Did that really happen? These are affiliate links so they will give us a small commission, only if you sign up , and at no extra cost to you! You'll be directly supporting Seven Million Bikes too.NordVPN | Descript | Buzzsprout | Canva | Fiverr | 10 Web

We're closing out 2022 with a real treat. The legendary Tom Paxton joins Dan over the phone, and Dan is truly starstruck. We talk about Tom's favorite Randy songs, plus Woody Guthrie, Dylan, Dave Van Ronk, Chad Mitchell, and a whole lot of Pete Seeger. Then friend-of-the-show Mary from Lansdale joins us for an after-show, where we talk Inside Llewyn Davis, and help separate fact from fiction regarding the NYC Folk Scene. Plus Dan makes fun of Suzanne Vega. If you don't know Tom's work, here's a primer for you: https://open.spotify.com/playlist/0mzkM10DEn5LKhvMhbdPTK?si=PvsrkBP2R9-SiSkoG8zRwA See you next year, wheelies!

Join here to get 4 free cans of MixTape Brewery Partea Hard Seltzer.Seven Million Bikes podcasts couldn't happen without the support of our community. I wanna give a massive thank you to our existing Patreon members, Zion Johnson, Brandon Thompson, Dan Jones, Andrew Barry, Carey Hughes Parey, Pippa Claire, Tracy Wright, Alistair Chapman, Brandon Thompson, and our newest member, Tien Cung.To say thank you to all of our members. We're having a special pool party here at my new apartment, and thanks to my friends at Mix Tape Brewery, we'll be enjoying the new green tea based hard seltzer, perfect for an afternoon of drinking by the pool.As you probably know, I'm a massive craft beer fan. MixTape Drinks is a relative newcomer on the growing craft beer scene here in Vietnam starting in 2020 by my friend Chad Mitchell and Taipei based Shawn Kidd.You'll often see me and a out in Saigon drinking their delicious peaches and cream ipa, or a refreshing California Sun Juicy Pale Ale. And if you're in the mood for something a bit heavier and darker, their Molly Milk Stout is delicious. I was pretty disappointed when I found out though, that it didn't actually include Molly.Through craft beer MixTape drinks is becoming part of the Vietnam community through local music, art, Food, and now podcasts. If you'd like to be part of the Seven Million Bikes community and support our podcast, then Mix Tape is giving away four free cans to the next three new community members that's worth 280,000 dong or 11 US dollars.To get your free cans, you have to be in HoChi Min City and join the We Mic Plan or above.  You can still support us wherever you are in the world. And when you do, next time you're in Saigon, the drinks are on me as a community member. You'll also get episodes before anyone else invites the special events like our pool party and bonus content that no one else will ever see or hear.And I'll also give you a special shout out on future. Join here. Thank you so much to everyone for listening and helping us pass 40,000 downloads recently and everyone who supports us,  including Mix Tape, Brewery.Support the showThese are the programs we use to create Did that really happen? These are affiliate links so they will give us a small commission, only if you sign up , and at no extra cost to you! You'll be directly supporting Seven Million Bikes too.NordVPN | Descript | Buzzsprout | Canva | Fiverr | 10 Web

Join here to get 4 free cans of MixTape Brewery Partea Hard Seltzer.Seven Million Bikes podcasts couldn't happen without the support of our community. I wanna give a massive thank you to our existing Patreon members, Zion Johnson, Brandon Thompson, Dan Jones, Andrew Barry, Carey Hughes Parey, Pippa Claire, Tracy Wright, Alistair Chapman, Brandon Thompson, and our newest member, Tien Cung.To say thank you to all of our members. We're having a special pool party here at my new apartment, and thanks to my friends at Mix Tape Brewery, we'll be enjoying the new green tea based hard seltzer, perfect for an afternoon of drinking by the pool.As you probably know, I'm a massive craft beer fan. MixTape Drinks is a relative newcomer on the growing craft beer scene here in Vietnam starting in 2020 by my friend Chad Mitchell and Taipei based Shawn Kidd.You'll often see me and a out in Saigon drinking their delicious peaches and cream ipa, or a refreshing California Sun Juicy Pale Ale. And if you're in the mood for something a bit heavier and darker, their Molly Milk Stout is delicious. I was pretty disappointed when I found out though, that it didn't actually include Molly.Through craft beer MixTape drinks is becoming part of the Vietnam community through local music, art, Food, and now podcasts. If you'd like to be part of the Seven Million Bikes community and support our podcast, then Mix Tape is giving away four free cans to the next three new community members that's worth 280,000 dong or 11 US dollars.To get your free cans, you have to be in HoChi Min City and join the We Mic Plan or above.  You can still support us wherever you are in the world. And when you do, next time you're in Saigon, the drinks are on me as a community member. You'll also get episodes before anyone else invites the special events like our pool party and bonus content that no one else will ever see or hear.And I'll also give you a special shout out on future. Join here. Thank you so much to everyone for listening and helping us pass 40,000 downloads recently and everyone who supports us,  including Mix Tape, Brewery.These are the programs we use to create A Vietnam Podcast. These are affiliate links so they will give us a small commission, only if you sign up , and at no extra cost to you! You'll be directly supporting Seven Million Bikes too.NordVPN | Descript | Buzzsprout | Canva | Fiverr | 10 Web Music from PixabayLicensor's Username | Licensee | Audio File URL

I recently talked with Chad Mitchell, PE, SE who is an Associate with S.A. Miro in Denver, CO. Instead of focusing on a particular building, we took some time out and talked about collaboration within the structural engineering community and ways that we can support one another. As a past president of the Structural Engineers Association of Colorado (SEAC), Chad shares a wealth of knowledge on how involvement with professional organizations can have a real and immediate effect on advancing the profession. As a group of volunteers, SEAC has developed documents regarding wind loads and snow loads that have made their way into the ICC Codes, helping structural engineers everywhere. We also touched on diversity, equity and inclusion (DEI) and how important it is for someone with a voice that carries to highlight people with voices that aren't heard as loud. Chad is an avid supporter of the engineering community as a whole and is passionate about sharing ideas that lead to industry wide elevation. Here are some links to other great collaborative efforts:www.seacolorado.orgwww.eng-tips.comIf you enjoy this show and want more content like this, visit gablmedia.comMentioned in this episode:Gabl Membership

In Episode 119 Jay Leshark and Russell talk to master beer creator and owner of a Stetson cowboy hat Chad Mitchell. American, Chad first came to Phuket in 2004 for a holiday and after time working in Taiwan, back in the good old US of A, Chad finally made Phuket his home, well until a few years ago when he left for Vietnam. Chad talks about going from studying to being a surgeon, and then lawyer, before falling in love with making beer and setting up Mixed tape Drinks. Chad is super awesome and handsome and he let us try on his Stetson. We like Chad, he's cool. Website: http://mixtapedrinks.com/ Instagram: www.instagram.com/transientchad Facebook: www.facebook.com/mixtapedrinks Facebook: www.facebook.com/beervana.VN Recorded at: www.facebook.com/bakephuketofficial Produced by: www.shark13productions.com GET your HOT sauce - www.facebook.com/Dewicaribbeanhotsauce 10% off if you mention Jayleshark Jay and Russell are long-time friends and entertainers in Phuket. Follow them at www.facebook.com/jaylesharkandfriendspodcast/ Or on the twitter at @Phuketpodcast or on Instagram at @phuketpodcast Email them at jayleshark@gmail.com Listen to Barkcast: www.caninepointacademy.com/barkcast Follow Canine point academy on Facebook at www.facebook.com/caninepointacademy Website: www.caninepointacademy.com Twitter: @canineworld IG: @CaninePointAcademy Thanks to www.facebook.com/petemcdowellmusic/ for the new intro and www.facebook.com/PhuketAcademyOfPerformingArts/ #phuketradio #Phuketpodcast #saveusshark #jayandrussellpodcast #phuketfuntimes #musicphuket #headsupguys #Phuketchefs #caninepoint #dogtrainerphuket #phuketfood #phuketrestaurnat #phuketmuaythai #phuketBJJ #phuketfood #phuketrestaurant #phuketproperty #phuketelephants #phuketoceans #phukettriathlon #phuketlgbtq #phuketcoffee #phuketart #phuketboattours #phuketelephantreserve #phuketnature #elephantinphuket #phuketdesign #phuketpoledance #phuketfitness #phuketgym #phuketdance #phukethiphop #phuketbeer www.headsupguys.org www.mantherapy.org www.calm.com The Jayleshark and friends and Russell Podcast is produced by www.shark13productions.com

Welcome To Craft Beer's ONLY Voice of Reality Episode 16 Our guest today is Chad Mitchell from BeerVana International in Vietnam, Thailand and Indonesia. They distribute beer from all over the world but have an especially strong affinity for what we call American Craft Beer. As you'll hear, they are an anomaly in beer distribution; they actually care about the art and craft of the beer they represent. They believe in giving honest feedback, legitimate sales projections and partying like you love your job. They are beer nerds in a beer job and just listening to Chad's passion should inspire you to be better at what you do. Because I care about making you better in your career I asked Chad to talk to us about what his team looks for in a supplier partner and how you and your brewery can partner with them to tackle Southeast Asia. You'll hear my guests and I discuss depth vs width in regards to your distribution footprint and I believe you need both to diversify your sales channels enough to weather the inevitable storms in your future. He talks about mistakes he's seen, mistakes he's made and how breweries can learn from both. Chad's a super-cool guy and it was an honor to talk to him about Beervana as well as his brewery project, Mixtape Beverages. I decided to make our Mixtape conversation a bonus episode 17, so sit back and enjoy episode 16 as we focus on the story of Beervana and international distribution done right. Episode Sponsored by: Brewery Direct Simpson Motorcycle Helmets Yakima Valley Hops The Beer Attorney --- Support this podcast: https://anchor.fm/damnbrewery/support

Our guest today is Chad Mitchell from Mixtape Beverages in SouthEast Asia. He shared the story of his day job, BeerVana International with us in Episode 16 so if you haven't listened to that one yet, I'd recommend you do that first. His brewery is contract-brewed, which I'm starting to think might be one of the best business models under 10K annual BBL of production. He's got a ton of useful insights and stories to share and he's just a blast to hang out with. Sit back and listen, you might just learn something. --- Support this podcast: https://anchor.fm/damnbrewery/support

TD Bank's Head of Content & Digital Platforms joins Sarah to share a behind-the-scenes look at their new TD Stories content site, and brand podcast journey. BRAND STORYTELLING ACADEMY: www.kindredspeak.com/apply SHOW NOTES: https://blog.kindredspeak.com/Chad-Mitchell-TD-Bank-ep-42 SIGN UP FOR SARAH'S BRAND STORYTELLING NEWSLETTER: https://view.flodesk.com/pages/60959df4391ebed2fea9a20a Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode one hundred and twenty-eight of A History of Rock Music in Five Hundred Songs looks at "Mr. Tambourine Man" by the Byrds, and the start of LA folk-rock. 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 "I Got You Babe" by Sonny and Cher. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum The version of this originally uploaded got the date of the Dylan tour filmed for Don't Look Back wrong. I edited out the half-sentence in question when this was pointed out to me very shortly after uploading. Resources As usual, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode (with the exception of the early Gene Clark demo snippet, which I've not been able to find a longer version of). For information on Dylan and the song, I've mostly used these books: Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. While for the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. This three-CD set is a reasonable way of getting most of the Byrds' important recordings, while this contains the pre-Byrds recordings the group members did with Jim Dickson. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to take a look at one of the pivotal recordings in folk-rock music, a track which, though it was not by any means the first folk-rock record, came to define the subgenre in the minds of the listening public, and which by bringing together the disparate threads of influence from Bob Dylan, the Searchers, the Beatles, and the Beach Boys, manages to be arguably the record that defines early 1965. We're going to look at "Mr. Tambourine Man" by the Byrds: [Excerpt: The Byrds, "Mr. Tambourine Man"] Folk-rock as a genre was something that was bound to happen sooner rather than later. We've already seen how many of the British R&B bands that were becoming popular in the US were influenced by folk music, with records like "House of the Rising Sun" taking traditional folk songs and repurposing them for a rock idiom. And as soon as British bands started to have a big influence on American music, that would have to inspire a reassessment by American musicians of their own folk music. Because of course, while the British bands were inspired by rock and roll, they were all also coming from a skiffle tradition which saw Woody Guthrie, Lead Belly, Big Bill Broonzy, and the rest as being the people to emulate, and that would show up in their music. Most of the British bands came from the bluesier end of the folk tradition -- with the exception of the Liverpool bands, who pretty much all liked their Black music on the poppy side and their roots music to be more in a country vein -- but they were still all playing music which showed the clear influence of country and folk as well as blues. And that influence was particularly obvious to those American musicians who were suddenly interested in becoming rock and roll stars, but who had previously been folkies. Musicians like Gene Clark. Gene Clark was born in Missouri, and had formed a rock and roll group in his teens called Joe Meyers and the Sharks. According to many biographies, the Sharks put out a record of Clark's song "Blue Ribbons", but as far as I've been able to tell, this was Clark embellishing things a great deal -- the only evidence of this song that anyone has been able to find is a home recording from this time, of which a few seconds were used in a documentary on Clark: [Excerpt: Gene Clark, "Blue Ribbons"] After his period in the Sharks, Clark became a folk singer, starting out in a group called the Surf Riders. But in August 1963 he was spotted by the New Christy Minstrels, a fourteen-piece ultra-commercial folk group who had just released a big hit single, "Green Green", with a lead sung by one of their members, Barry McGuire: [Excerpt: The New Christy Minstrels, "Green Green"] Clark was hired to replace a departing member, and joined the group, who as well as McGuire at that time also included Larry Ramos, who would later go on to join The Association and sing joint lead on their big hit "Never My Love": [Excerpt: The Association, "Never My Love"] Clark was only in the New Christy Minstrels for a few months, but he appeared on several of their albums -- they recorded four albums during the months he was with the group, but there's some debate as to whether he appeared on all of them, as he may have missed some recording sessions when he had a cold. Clark didn't get much opportunity to sing lead on the records, but he was more prominent in live performances, and can be seen and heard in the many TV appearances the group did in late 1963: [Excerpt: The New Christy Minstrels, "Julianne"] But Clark was not a good fit for the group -- he didn't put himself forward very much, which meant he didn't get many lead vocals, which meant in turn that he seemed not to be pulling his weight. But the thing that really changed his mind came in late 1963, on tour in Canada, when he heard this: [Excerpt: The Beatles, "She Loves You"] Clark knew instantly that that was the kind of music he wanted to be making, and when "I Want to Hold Your Hand" came out in the US soon afterwards, it was the impetus that Clark needed in order to quit the group and move to California. There he visited the Troubadour club in Los Angeles, and saw another performer who had been in an ultra-commercial folk group until he had been bitten by the Beatle bug -- Roger McGuinn. One note here -- Roger McGuinn at this point used his birth name, but he changed it for religious reasons in 1967.  I've been unable to find out his views on his old name -- whether he considers it closer to a trans person's deadname which would be disrespectful to mention, or to something like Reg Dwight becoming Elton John or David Jones becoming David Bowie. As I presume everyone listening to this has access to a search engine and can find out his birth name if at all interested, I'll be using "Roger McGuinn" throughout this episode, and any other episodes that deal with him, at least until I find out for certain how he feels about the use of that name. McGuinn had grown up in Chicago, and become obsessed with the guitar after seeing Elvis on TV in 1956, but as rockabilly had waned in popularity he had moved into folk music, taking lessons from Frank Hamilton, a musician who had played in a group with Ramblin' Jack Elliot, and who would later go on to join a 1960s lineup of the Weavers. Hamilton taught McGuinn Lead Belly and Woody Guthrie songs, and taught him how to play the banjo. Hamilton also gave McGuinn an enthusiasm for the twelve-string guitar, an instrument that had been popular among folk musicians like Lead Belly, but which had largely fallen out of fashion. McGuinn became a regular in the audience at the Gate of Horn, a folk club owned by Albert Grossman, who would later become Bob Dylan's manager, and watched performers like Odetta and Josh White. He also built up his own small repertoire of songs by people like Ewan MacColl, which he would perform at coffee shops. At one of those coffee shops he was seen by a member of the Limeliters, one of the many Kingston Trio-alike groups that had come up during the folk boom. The Limeliters were after a guitarist to back them, and offered McGuinn the job. He turned it down at first, as he was still in school, but as it turned out the job was still open when he graduated, and so young McGuinn found himself straight out of school playing the Hollywood Bowl on a bill including Eartha Kitt. McGuinn only played with the Limeliters for six weeks, but in that short time he ended up playing on a top five album, as he was with them at the Ash Grove when they recorded their live album Tonight in Person: [Excerpt: The Limeliters, "Madeira, M'Dear"] After being sacked by the Limeliters, McGuinn spent a short while playing the clubs around LA, before being hired by another commercial folk group, the Chad Mitchell Trio, who like the Limeliters before them needed an accompanist. McGuinn wasn't particularly happy working with the trio, who in his telling regarded themselves as the stars and McGuinn very much as the hired help. He also didn't respect them as musicians, and thought they were little to do with folk music as he understood the term. Despite this, McGuinn stayed with the Chad Mitchell Trio for two and a half years, and played on two albums with them -- Mighty Day on Campus, and Live at the Bitter End: [Excerpt: The Chad Mitchell Trio, "The John Birch Society" ] McGuinn stuck it out with the Chad Mitchell trio until his twentieth birthday, and he was just about to accept an offer to join the New Christy Minstrels himself when he got a better one. Bobby Darin was in the audience at a Chad Mitchell Trio show, and approached McGuinn afterwards. Darin had started out in the music business as a songwriter, working with his friend Don Kirshner, but had had some success in the late fifties and early sixties as one of the interchangeable teen idol Bobbies who would appear on American Bandstand, with records like "Dream Lover" and "Splish Splash": [Excerpt: Bobby Darin, "Splish Splash"] But Darin had always been more musically adventurous than most of his contemporaries, and with his hit version of "Mack the Knife" he had successfully moved into the adult cabaret market. And like other singers breaking into that market, like Sam Cooke, he had decided to incorporate folk music into his act. He would do his big-band set, then there would be a fifteen-minute set of folk songs, backed just by guitar and stand-up bass. Darin wanted McGuinn to be his guitarist and backing vocalist for these folk sets, and offered to double what the Chad Mitchell Trio was paying him. Darin wasn't just impressed with McGuinn's musicianship -- he also liked his showmanship, which came mostly from McGuinn being bored and mildly disgusted with the music he was playing on stage. He would pull faces behind the Chad Mitchell Trio's back, the audience would laugh, and the trio would think the laughter was for them. For a while, McGuinn was happy playing with Darin, who he later talked about as being a mentor. But then Darin had some vocal problems and had to take some time off the road. However, he didn't drop McGuinn altogether -- rather, he gave him a job in the Brill Building, writing songs for Darin's publishing company. One of the songs he wrote there was "Beach Ball", co-written with Frank Gari. A knock-off of "Da Doo Ron Ron", retooled as a beach party song, the recording released as by the City Surfers apparently features McGuinn, Gari, Darin on drums and Terry Melcher on piano: [Excerpt: The City Surfers, "Beach Ball"] That wasn't a hit, but a cover version by Jimmy Hannan was a local hit in Melbourne, Australia: [Excerpt: Jimmy Hannan “Beach Ball”] That record is mostly notable for its backing vocalists, three brothers who would soon go on to become famous as the Bee Gees. Darin soon advised McGuinn that if he really wanted to become successful, he should become a rock and roll singer, and so McGuinn left Darin's employ and struck out as a solo performer, playing folk songs with a rock backbeat around Greenwich Village, before joining a Beatles tribute act playing clubs around New York. He was given further encouragement by Dion DiMucci, another late-fifties singer who like Darin was trying to make the transition to playing for adult crowds. DiMucci had been lead singer of Dion and the Belmonts, but had had more success as a solo act with records like "The Wanderer": [Excerpt: Dion, "The Wanderer"] Dion was insistent that McGuinn had something -- that he wasn't just imitating the Beatles, as he thought, but that he was doing something a little more original. Encouraged by Dion, McGuinn made his way west to LA, where he was playing the Troubadour supporting Roger Miller, when Gene Clark walked in. Clark saw McGuinn as a kindred spirit -- another folkie who'd had his musical world revolutionised by the Beatles -- and suggested that the two become a duo, performing in the style of Peter and Gordon, the British duo who'd recently had a big hit with "World Without Love", a song written for them by Paul McCartney: [Excerpt: Peter and Gordon, "World Without Love"] The duo act didn't last long though, because they were soon joined by a third singer, David Crosby. Crosby had grown up in LA -- his father, Floyd Crosby, was an award-winning cinematographer, who had won an Oscar for his work on Tabu: A Story of the South Seas, and a Golden Globe for High Noon, but is now best known for his wonderfully lurid work on a whole series of films starring Vincent Price, including The Pit and the Pendulum, House of Usher, Tales of Terror, and Comedy of Terrors. Like many children of privilege, David had been a spoiled child, and he had taken to burglary for kicks, and had impregnated a schoolfriend and then run off rather than take responsibility for the child. Travelling across the US as a way to escape the consequences of his actions, he had spent some time hanging out with musicians like Fred Neil, Paul Kantner, and Travis Edmondson, the latter of whom had recorded a version of Crosby's first song, "Cross the Plains": [Excerpt: Travis Edmondson, "Cross the Plains"] Edmondson had also introduced Crosby to cannabis, and Crosby soon took to smoking everything he could, even once smoking aspirin to see if he could get high from that. When he'd run out of money, Crosby, like Clark and McGuinn, had joined an ultra-commercial folk group. In Crosby's case it was Les Baxter's Balladeers, put together by the bandleader who was better known for his exotica recordings. While Crosby was in the Balladeers, they were recorded for an album called "Jack Linkletter Presents A Folk Festival", a compilation of live recordings hosted by the host of Hootenanny: [Excerpt: Les Baxter's Balladeers, "Ride Up"] It's possible that Crosby got the job with Baxter through his father's connections -- Baxter did the music for many films made by Roger Corman, the producer and director of those Vincent Price films. Either way, Crosby didn't last long in the Balladeers. After he left the group, he started performing solo sets, playing folk music but with a jazz tinge to it -- Crosby was already interested in pushing the boundaries of what chords and melodies could be used in folk. Crosby didn't go down particularly well with the folk-club crowds, but he did impress one man. Jim Dickson had got into the music industry more or less by accident -- he had seen the comedian Lord Buckley, a white man who did satirical routines in a hipsterish argot that owed more than a little to Black slang, and had been impressed by him. He had recorded Buckley with his own money, and had put out Buckley's first album Hipsters, Flipsters and Finger Poppin' Daddies, Knock Me Your Lobes on his own label, before selling the rights of the album to Elektra records: [Excerpt: Lord Buckley, "Friends, Romans, Countrymen"] Dickson had gone on to become a freelance producer, often getting his records put out by Elektra, making both jazz records with people like Red Mitchell: [Excerpt: Red Mitchell, "Jim's Blues"] And country, folk, and bluegrass records, with people like the Dillards, whose first few albums he produced: [Excerpt: The Dillards, "Duelling Banjos"] Dickson had also recently started up a publishing company, Tickson Music, with a partner, and the first song they had published had been written by a friend of Crosby's, Dino Valenti, with whom at one point Crosby had shared a houseboat: [Excerpt: Dino Valenti, "Get Together"] Unfortunately for Dickson, before that song became a big hit for the Youngbloods, he had had to sell the rights to it, to the Kingston Trio's managers, as Valenti had been arrested and needed bail money, and it was the only way to raise the funds required. Dickson liked Crosby's performance, and became his manager. Dickson had access to a recording studio, and started recording Crosby singing traditional songs and songs to which Dickson owned the copyright -- at this point Crosby wasn't writing much, and so Dickson got him to record material like "Get Together": [Excerpt: David Crosby, "Get Together"] Unfortunately for Crosby, Dickson's initial idea, to get him signed to Warner Brothers records as a solo artist using those recordings, didn't work out. But Gene Clark had seen Crosby perform live and thought he was impressive. He told McGuinn about him, and the three men soon hit it off -- they were able to sing three-part harmony together as soon as they met. ( This is one characteristic of Crosby that acquaintances often note -- he's a natural harmony singer, and is able to fit his voice into pre-existing groups of other singers very easily, and make it sound natural). Crosby introduced the pair to Dickson, who had a brainwave. These were folkies, but they didn't really sing like folkies -- they'd grown up on rock and roll, and they were all listening to the Beatles now. There was a gap in the market, between the Beatles and Peter, Paul, and Mary, for something with harmonies, a soft sound, and a social conscience, but a rock and roll beat. Something that was intelligent, but still fun, and which could appeal to the screaming teenage girls and to the college kids who were listening to Dylan. In Crosby, McGuinn, and Clark, Dickson thought he had found the people who could do just that. The group named themselves The Jet Set -- a name thought up by McGuinn, who loved flying and everything about the air, and which they also thought gave them a certain sophistication -- and their first demo recording, with all three of them on twelve-string guitars, shows the direction they were going in. "The Only Girl I Adore", written by McGuinn and Clark, has what I can only assume is the group trying for Liverpool accents and failing miserably, and call and response and "yeah yeah" vocals that are clearly meant to evoke the Beatles. It actually does a remarkably good job of evoking some of Paul McCartney's melodic style -- but the rhythm guitar is pure Don Everly: [Excerpt: The Jet Set, "The Only Girl I Adore"] The Jet Set jettisoned their folk instruments for good after watching A Hard Day's Night -- Roger McGuinn traded in his banjo and got an electric twelve-string Rickenbacker just like the one that George Harrison played, and they went all-in on the British Invasion sound, copying the Beatles but also the Searchers, whose jangly sound was perfect for the Rickenbacker, and who had the same kind of solid harmony sound the Jet Set were going for. Of course, if you're going to try to sound like the Beatles and the Searchers, you need a drummer, and McGuinn and Crosby were both acquainted with a young man who had been born Michael Dick, but who had understandably changed his name to Michael Clarke. He was only eighteen, and wasn't a particularly good drummer, but he did have one huge advantage, which is that he looked exactly like Brian Jones. So the Jet Set now had a full lineup -- Roger McGuinn on lead guitar, Gene Clark on rhythm guitar, David Crosby was learning bass, and Michael Clarke on drums. But that wasn't the lineup on their first recordings. Crosby was finding it difficult to learn the bass, and Michael Clarke wasn't yet very proficient on drums, so for what became their first record Dickson decided to bring in a professional rhythm section, hiring two of the Wrecking Crew, bass player Ray Pohlman and drummer Earl Palmer, to back the three singers, with McGuinn and Gene Clark on guitars: [Excerpt: The Beefeaters, "Please Let Me Love You"] That was put out on a one-single deal with Elektra Records, and Jim Dickson made the deal under the condition that it couldn't be released under the group's real name -- he wanted to test what kind of potential they had without spoiling their reputation. So instead of being put out as by the Jet Set, it was put out as by the Beefeaters -- the kind of fake British name that a lot of American bands were using at the time, to try and make themselves seem like they might be British. The record did nothing, but nobody was expecting it to do much, so they weren't particularly bothered. And anyway, there was another problem to deal with. David Crosby had been finding it difficult to play bass and sing -- this was one reason that he only sang, and didn't play, on the Beefeaters single. His bass playing was wooden and rigid, and he wasn't getting better. So it was decided that Crosby would just sing, and not play anything at all. As a result, the group needed a new bass player, and Dickson knew someone who he thought would fit the bill, despite him not being a bass player. Chris Hillman had become a professional musician in his teens, playing mandolin in a bluegrass group called the Scottsville Squirrel Barkers, who made one album of bluegrass standards for sale through supermarkets: [Excerpt: The Scottsville Squirrel Barkers, "Shady Grove"] Hillman had moved on to a group called the Golden State Boys, which featured two brothers, Vern and Rex Gosdin. The Golden State Boys had been signed to a management contract by Dickson, who had renamed the group the Hillmen after their mandolin player -- Hillman was very much in the background in the group, and Dickson believed that he would be given a little more confidence if he was pushed to the front. The Hillmen had recorded one album, which wasn't released until many years later, and which had featured Hillman singing lead on the Bob Dylan song "When the Ship Comes In": [Excerpt: The Hillmen, "When the Ship Comes In"] Hillman had gone on from there to join a bluegrass group managed by Randy Sparks, the same person who was in charge of the New Christy Minstrels, and who specialised in putting out ultra-commercialised versions of roots music for pop audiences. But Dickson knew that Hillman didn't like playing with that group, and would be interested in doing something very different, so even though Hillman didn't play bass, Dickson invited him to join the group. There was almost another lineup change at this point, as well. McGuinn and Gene Clark were getting sick of David Crosby's attitude -- Crosby was the most technically knowledgeable musician in the group, but was at this point not much of a songwriter. He was not at all shy about pointing out what he considered flaws in the songs that McGuinn and Clark were writing, but he wasn't producing anything better himself. Eventually McGuinn and Clark decided to kick Crosby out of the group altogether, but they reconsidered when Dickson told them that if Crosby went he was going too. As far as Dickson was concerned, the group needed Crosby's vocals, and that was an end of the matter. Crosby was back in the group, and all was forgotten. But there was another problem related to Crosby, as the Jet Set found out when they played their first gig, an unannounced spot at the Troubadour. The group had perfected their image, with their Beatles suits and pose of studied cool, but Crosby had never performed without an instrument before. He spent the gig prancing around the stage, trying to act like a rock star, wiggling his bottom in what he thought was a suggestive manner. It wasn't, and the audience found it hilarious. Crosby, who took himself very seriously at this point in time, felt humiliated, and decided that he needed to get an instrument to play. Obviously he couldn't go back to playing bass, so he did the only thing that seemed possible -- he started undermining Gene Clark's confidence as a player, telling him he was playing behind the beat. Clark -- who was actually a perfectly reasonable rhythm player -- was non-confrontational by nature and believed Crosby's criticisms. Soon he *was* playing behind the beat, because his confidence had been shaken. Crosby took over the rhythm guitar role, and from that point on it would be Gene Clark, not David Crosby, who would have to go on stage without an instrument. The Jet Set were still not getting very many gigs, but they were constantly in the studio, working on material. The most notable song they recorded in this period is "You Showed Me", a song written by Gene Clark and McGuinn, which would not see release at the time but which would later become a hit for both the Turtles and the Lightning Seeds: [Excerpt: The Jet Set, "You Showed Me"] Clark in particular was flourishing as a songwriter, and becoming a genuine talent. But Jim Dickson thought that the song that had the best chance of being the Jet Set's breakout hit wasn't one that they were writing themselves, but one that he'd heard Bob Dylan perform in concert, but which Dylan had not yet released himself. In 1964, Dylan was writing far more material than he could reasonably record, even given the fact that his albums at this point often took little more time to record than to listen to. One song he'd written but not yet put out on an album was "Mr. Tambourine Man". Dylan had written the song in April 1964, and started performing it live as early as May, when he was on a UK tour that would later be memorialised in D.A. Pennebaker's film Don't Look Back. That performance was later released in 2014 for copyright extension purposes on vinyl, in a limited run of a hundred copies. I *believe* this recording is from that: [Excerpt: Bob Dylan, "Mr. Tambourine Man (live Royal Festival Hall 1964)"] Jim Dickson remembered the song after seeing Dylan perform it live, and started pushing Witmark Music, Dylan's publishers, to send him a demo of the song. Dylan had recorded several demos, and the one that Witmark sent over was a version that was recorded with Ramblin' Jack Elliot singing harmony, recorded for Dylan's album Another Side of Bob Dylan, but left off the album as Elliot had been off key at points: [Excerpt: Bob Dylan and Ramblin' Jack Elliot, "Mr. Tambourine Man" (from Bootleg Series vol 7)] There have been all sorts of hypotheses about what "Mr. Tambourine Man" is really about. Robert Shelton, for example, suspects the song is inspired by Thomas de Quincey's Confessions of an Opium Eater. de Quincey uses a term for opium, "the dark idol", which is supposedly a translation of the Latin phrase "mater tenebrarum", which actually means "mother of darkness" (or mother of death or mother of gloom). Shelton believes that Dylan probably liked the sound of "mater tenebrarum" and turned it into "Mister Tambourine Man". Others have tried to find links to the Pied Piper of Hamelin, or claimed that Mr. Tambourine Man is actually Jesus. Dylan, on the other hand, had a much more prosaic explanation -- that Mr. Tambourine Man was a friend of his named Bruce Langhorne, who was prominent in the Greenwich Village folk scene. As well as being a guitarist, Langhorne was also a percussionist, and played a large Turkish frame drum, several feet in diameter, which looked and sounded quite like a massively oversized tambourine. Dylan got that image in his head and wrote a song about it. Sometimes a tambourine is just a tambourine. (Also, in a neat little coincidence, Dylan has acknowledged that he took the phrase “jingle jangle” from a routine by Jim Dickson's old client, Lord Buckley.) Dickson was convinced that "Mr. Tambourine Man" would be a massive hit, but the group didn't like it. Gene Clark, who was at this point the group's only lead singer, didn't think it fit his voice or had anything in common with the songs he was writing. Roger McGuinn was nervous about doing a Dylan song, because he'd played at the same Greenwich Village clubs as Dylan when both were starting out -- he had felt a rivalry with Dylan then, and wasn't entirely comfortable with inviting comparisons with someone who had grown so much as an artist while McGuinn was still very much at the beginning of his career. And David Crosby simply didn't think that such a long, wordy, song had a chance of being a hit. So Dickson started to manipulate the group. First, since Clark didn't like singing the song, he gave the lead to McGuinn. The song now had one champion in the band, and McGuinn was also a good choice as he had a hypothesis that there was a space for a vocal sound that split the difference between John Lennon and Bob Dylan, and was trying to make himself sound like that -- not realising that Lennon himself was busily working on making his voice more Dylanesque at the same time. But that still wasn't enough -- even after Dickson worked with the group to cut the song down so it was only two choruses and one verse, and so came in under two minutes, rather than the five minutes that Dylan's original version lasted, Crosby in particular was still agitating that the group should just drop the song. So Dickson decided to bring in Dylan himself. Dickson was acquainted with Dylan, and told him that he was managing a Beatles-style group who were doing one of Dylan's songs, and invited him to come along to a rehearsal. Dylan came, partly out of politeness, but also because Dylan was as aware as anyone of the commercial realities of the music business. Dylan was making most of his money at this point as a songwriter, from having other people perform his songs, and he was well aware that the Beatles had changed what hit records sounded like. If the kids were listening to beat groups instead of to Peter, Paul, and Mary, then Dylan's continued commercial success relied on him getting beat groups to perform his songs. So he agreed to come and hear Jim Dickson's beat group, and see what he thought of what they were doing with his song. Of course, once the group realised that Dylan was going to be coming to listen to them, they decided that they had better actually work on their arrangement of the song. They came up with something that featured McGuinn's Searchers-style twelve-string playing, the group's trademark harmonies, and a rather incongruous-sounding marching beat: [Excerpt: The Jet Set, "Mr. Tambourine Man (early version)"] Dylan heard their performance, and was impressed, telling them "You can DANCE to it!" Dylan went on a charm offensive with the group, winning all of them round except Crosby -- but even Crosby stopped arguing the point, realising he'd lost. "Mr. Tambourine Man" was now a regular part of their repertoire. But they still didn't have a record deal, until one came from an unexpected direction. The group were playing their demos to a local promoter, Benny Shapiro, when Shapiro's teenage daughter came in to the room, excited because the music sounded so much like the Beatles. Shapiro later joked about this to the great jazz trumpet player Miles Davis, and Davis told his record label about this new group, and suddenly they were being signed to Columbia Records. "Mr. Tambourine Man" was going to be their first single, but before that they had to do something about the group's name, as Columbia pointed out that there was already a British group called the Jet Set. The group discussed this over Thanksgiving turkey, and the fact that they were eating a bird reminded Gene Clark of a song by the group's friend Dino Valenti, "Birdses": [Excerpt: Dino Valenti, "Birdses"] Clark suggested "The Birdses", but the group agreed it wasn't quite right -- though McGuinn, who was obsessed with aviation, did like the idea of a name that was associated with flight. Dickson's business partner Eddie Tickner suggested that they just call themselves "The Birds", but the group saw a problem with that, too -- "bird" being English slang for "girl", they worried that if they called themselves that people might think they were gay. So how about messing with the vowels, the same way the Beatles had changed the spelling of their name? They thought about Burds with a "u" and Berds with an "e", before McGuinn hit on Byrds with a y, which appealed to him because of Admiral Byrd, an explorer and pioneering aviator. They all agreed that the name was perfect -- it began with a "b", just like Beatles and Beach Boys, it was a pun like the Beatles, and it signified flight, which was important to McGuinn. As the group entered 1965, another major event happened in McGuinn's life -- the one that would lead to him changing his name. A while earlier, McGuinn had met a friend in Greenwich Village and had offered him a joint. The friend had refused, saying that he had something better than dope. McGuinn was intrigued to try this "something better" and went along with his friend to what turned out to be a religious meeting, of the new religious movement Subud, a group which believes, among other things, that there are seven levels of existence from gross matter to pure spirit, and which often encourages members to change their names. McGuinn was someone who was very much looking for meaning in his life -- around this time he also became a devotee of the self-help writer Norman Vincent Peale thanks to his mother sending him a copy of Peale's book on positive thinking -- and so he agreed to give the organisation a go. Subud involves a form of meditation called the laithan, and on his third attempt at doing this meditation, McGuinn had experienced what he believed was contact with God -- an intense hallucinatory experience which changed his life forever. McGuinn was initiated into Subud ten days before going into the studio to record "Mr. Tambourine Man", and according to his self-description, whatever Bob Dylan thought the song was about, he was singing to God when he sang it -- in earlier interviews he said he was singing to Allah, but now he's a born-again Christian he tends to use "God". The group had been assigned by CBS to Terry Melcher, mostly because he was the only staff producer they had on the West Coast who had any idea at all about rock and roll music, and Melcher immediately started to mould the group into his idea of what a pop group should be. For their first single, Melcher decided that he wasn't going to use the group, other than McGuinn, for anything other than vocals. Michael Clarke in particular was still a very shaky drummer (and would never be the best on his instrument) while Hillman and Crosby were adequate but not anything special on bass and guitar. Melcher knew that the group's sound depended on McGuinn's electric twelve-string sound, so he kept that, but other than that the Byrds' only contribution to the A-side was McGuinn, Crosby, and Clark on vocals. Everything else was supplied by members of the Wrecking Crew -- Jerry Cole on guitar, Larry Knechtel on bass, Leon Russell on electric piano, and Hal Blaine on drums: [Excerpt: The Byrds, "Mr. Tambourine Man"] Indeed, not everyone who performed at the session is even clearly audible on the recording. Both Gene Clark and Leon Russell were actually mixed out by Melcher -- both of them are audible, Clark more than Russell, but only because of leakage onto other people's microphones. The final arrangement was a mix of influences. McGuinn's twelve-string sound was clearly inspired by the Searchers, and the part he's playing is allegedly influenced by Bach, though I've never seen any noticeable resemblance to anything Bach ever wrote. The overall sound was an attempt to sound like the Beatles, while Melcher always said that the arrangement and feel of the track was inspired by "Don't Worry Baby" by the Beach Boys. This is particularly noticeable in the bass part -- compare the part on the Beach Boys record: [Excerpt: The Beach Boys, "Don't Worry Baby (instrumental mix with backing vocals)"] to the tag on the Byrds record: [Excerpt: The Byrds, "Mr. Tambourine Man"] Five days before the Byrds recorded their single, Bob Dylan had finally recorded his own version of the song, with the tambourine man himself, Bruce Langhorne, playing guitar, and it was released three weeks before the Byrds' version, as an album track on Dylan's Bringing it All Back Home: [Excerpt: Bob Dylan, "Mr. Tambourine Man"] Dylan's album would become one of the most important of his career, as we'll discuss in a couple of weeks, when we next look at Dylan. But it also provided an additional publicity boost for the Byrds, and as a result their record quickly went to number one in both the UK and America, becoming the first record of a Dylan song to go to number one on any chart. Dylan's place in the new pop order was now secured; the Byrds had shown that American artists could compete with the British Invasion on its own terms -- that the new wave of guitar bands still had a place for Americans; and folk-rock was soon identified as the next big commercial trend. And over the next few weeks we'll see how all those things played out throughout the mid sixties.

In this episode of The Roadmap to TIC 3.0, Constance Sayers, president of Government Executive Media Group, will speak with Chad Mitchell, technical solutions architect for U.S. Public Sector at Cisco and Ryan Friel, senior consulting solutions architect for the Public Sector Cloud Practice at WWT to talk through the basics of TIC 3.0, its connection with zero trust and cloud, as well as why agencies should begin to align architectures with this framework in order to strengthen cyber defenses.

In this episode of The Roadmap to TIC 3.0, Constance Sayers, president of Government Executive Media Group, will speak with Chad Mitchell, technical solutions architect for U.S. Public Sector at Cisco and Michael Pfeiffer, Cloud Networking Architect at WWT to talk through how TIC 3.0 provides the flexibility necessary to enable remote workers as well as the unified communications and collaboration tools they need to remain productive.

Cybersecurity is an ongoing battle for agencies. As IT environments change and become less about the perimeter and more about the user, agencies are faced with the challenge of a new security environment alongside the task of trying to outpace malicious actors that are rapidly creating more sophisticated threats. A Zero Trust approach can help. In this episode, we'll talk through what agencies need to know about security as they continue on their digital transformation journeys and how they can work with trusted vendor partners, like Cisco, to help stay ahead of threats. This is what we'll discuss in the third and final episode of “Building the Future of Government,” a three-part podcast series that seeks to lay out a roadmap for what agencies need to know to lay a path to government operations of the future. In this episode, host Craig Hill, distinguished systems engineer in the U.S. Public Sector CTO's Office at Cisco talks with Chad Mitchell, technical solutions architect for U.S. Public Sector at Cisco about Zero Trust and how the approach can tackle security across agencies. Check out what they have to say

It's a podcast follow-up! A few weeks ago on the pod Bill and Chad talked about a guy who they believed slept in his car during a radio seminar they all attended in Nashville back in 2009. Well, that guy was Sam Alex and he joins Bill and Chad to set the record straight on his exact sleeping arrangements that weekend. The three also talk about how Country artists are nicer than anyone in the music industry, and is it possible to maintain a successful friendship with a celebrity? Check out Sam's website HERE. Follow Chad @thechadradio to find his podcast "That Just Happened." Follow Bill @dollabilltre. This podcast brought to you by HOMIE, the easiest way to buy and sell your home!

HOLY OVERSTUFFED MAILBAG BATMAN!!This week's guest now holds the record for most mailbag questions to date! He's the very long time friend of both hosts, destroyer of 3 piece chicken and fries and one of the best self-taught drummers to ever come out of this province. The one and only Chad "Chester Chicken" Mitchell!The first 7 minutes of conversation was not recorded but we'll be releasing the video version of this episode on our new website jamsessionspodcast.com in a few days and you can catch the entire thing there! The guys catch up and talk about what they've been up to, Chad gives us all a sample of a fresh new track he's been working on (so fresh he just finished the vocal tracks right before coming on the show!!) and then Mike lets Chad hear the project they've been working on together and the reactions from both Chad and Jeph are priceless!! If you're just tuning in now to hear Chad, please consider subscribing to the show, and head over to the website where you can "Buy the guys a Twisted Tea" AkA help support the show with a small (or large) donation! All proceeds go to the hosting and production costs of this thing you love!! Thanks!!Support the show (https://www.buymeacoffee.com/jamsessions)

Bill cracks open a beer or two and is joined by Chad Mitchell, formerly of the "Mojo In The Morning" show in Detroit, and host of his own show in Phoenix, most recently at KOOL-FM and KMLE-FM. They talk about their 20+ years of friendship, the rollercoaster ride that's been their careers, and Bill is perhaps too harsh on Kim K. (not THAT Kim K., another one). Follow @thechadradio for all of Chad's projects, and click HERE for his new podcast "That Just Happened".

Ep 1 This World Is Not My Home By: David Finch by Chad Mitchell

Chad Mitchell, founder of Meridian 105 Architecture, joins the show to talk about his beginnings and connections growing up in Florida, before moving to Chicago and working for the German-American architect Helmet Jahn. He then relocated to the 105th Meridian in Denver and worked for Oz Architecture. We then spend most of the time talking about the formation of his firm during an economic downturn and the buildings that his team has created since. Check out the full conversation on iTunes, Spotify or wherever you get your podcasts.

Our guest on today’s episode is none other than Chad Mitchell. Chad is the VP/Head of Content & Digital Platforms at TD Bank. By chance, Chad introduced himself to Anda after hearing her speak on another podcast. Their thoughts on content measurement aligned immediately, and resulted in this conversation to get those ideas and practices out into the world.Chad and Anda also discuss the parallels and differences between corporate comms and marketing, building awareness for a brand based on strong core values, and of course, how to properly measure content.

First met John in the Summer of 1969 while I was house setting Pat and Victoria Garvey in Central City Colorado. He wasn't famous yet, but he was close, having replace Chad Mitchell in the Chad Mitchel Trio. He was on his way to L.A. to finish production on his first album. This was on his second or third album I think.

First met John in the Summer of 1969 while I was house setting Pat and Victoria Garvey in Central City Colorado. He wasn't famous yet, but he was close, having replace Chad Mitchell in the Chad Mitchel Trio. He was on his way to L.A. to finish production on his first album. This was on his second or third album I think.

Thanks for listening! Here’s a bonus episode for August, as Kevin talks with Chad Mitchell, former senior director of digital communications at Walmart, now with Perfect Sense as a VP, Corporate Practice. In this interview, he talks about his career at Walmart and the company’s approach to storytelling. He also discusses the challenges for corporate communications departments today when it comes to resources, strategy, digital assets management, and why some find it difficult to produce brand storytelling or brand journalism. For show notes, visit http://www.TheTalkingPointsPodcast.com/. If you have feedback or a suggestion for an interview, article or topic, reach out to us on the show’s Facebook group, just search for “Talking Points Podcast Group” there. Or, find each of us on LinkedIn.

When The Trumpet Sounds By Chad Mitchell by Chad Mitchell

Chad Mitchell, Senior Director, Digital Communications at Walmart is back for a second episode of the Social Business Engine podcast series. On Chad's first appearance we discussed how Walmart launched their blog - Walmart Today - to celebrate the customer. On this episode, we get a behind the scenes look at the impact of Walmart’s commitment to telling its story through digital channels and how it's rebuilding its reputation with its associates and customers. You'll hear how they're writing content around themes like The Ripple Effect and Made by America. View the show notes:  http://www.socialbusinessengine.com/podcasts/the-impact-of-digital-storytelling-on-walmarts-reputation

This week's podcast features Chad Mitchell, Senior Director of Digital Communications at Walmart. Chad is an ex-politician who uses his communication and strategic thinking expertise to serve the largest company in the world. With over 11,000 stores located in 28 countries across the globe there are plenty of stories to tell on their blog, which is newly titled Walmart Today. In this episode you'll discover the process Chad and his team went through before launching the new blog. Visit our show notes page for links to things we discussed: http://www.socialbusinessengine.com/podcasts/how-walmart-today-was-launched-to-celebrate-the-customer

When Chipotle Mexican Grill tapped Joe Stupp to be Head of Social Media, the company chose the person with the most relevant experience possible. In fact, Joe was the restaurant manager of the very first Chipotle. Now nearly 1,800 restaurants strong, Chipotle still approaches social media in an unconventional style that is perhaps befitting a much smaller brand – with just a handful of people who know every facet of the business intimately, and who love talking with customers. They answer all sorts of questions, from the basic – “Where does your chicken come from?” – to the absurd – “What kind of toilet paper do you use in the bathroom?” – and all with a virtual smile. Or perhaps it’s a wink? Joe spent some time with me and Dan Moriarty for Episode 3 of the Focus on Customer Service Podcast. Some of the most quotable moments of this episode include: • “We don’t really view it as customer service, but more like we’re just conversing with people.” • “Being response to our customers… just comes naturally to us.” • On social media response time: “We have zero goals around that...We do not track it. We do not keep an eye on it. It’s just something that we do. ” • Advice to others: “People really have to be careful that they know their business inside and out.” As a reminder, brands featured on the Focus on Customer Service Podcast appear because of YOU the listener. To nominate a brand that has amazing customer service on social media, just use the hashtag #FOCS. Here are the highlights of Episode 3 and where to find them: (2:45) Joe’s history at Chipotle, starting with the very first restaurant (4:35) Chipotle’s philosophy on customer service (6:19) What kinds of questions does Chipotle receive on social media? (7:10) The weirdest question Chipotle has received (7:48) Where Joe’s team sits in the organization (9:32) How Chipotle achieves its “amazing” response time (11:11) Questions about specific restaurants vs. brand questions (13:53) One Twitter handle or two? (15:53) Joe’s advice to other companies starting a social customer service practice (17:25) What’s next for Chipotle’s customer service (20:05) What Joe likes to tweet about personally Chipotle was nominated by Chad Mitchell (@cmmitchell4) during a recent #SMTLive webinar. Have you experienced awesome customer service on social media? If so, please nominate the brand by sending a tweet using the hashtag #FOCS!

Interview edition - Chad Mitchell, senior director of digital communications at Walmart, talks about how his team is structured, their work and responsibilities, a Black Friday tactic on Twitter involving a store employee, the company's overall approach to Twitter and the mission of the Walmart blog.

Chad Mitchell, Senior Director of Digital Communications for Walmart, joins the Social Pros Podcast this week to discuss his social team’s changing structure, managing the reputation of a company that operates on so many levels, and staying authentic with a global brand. http://www.convinceandconvert.com/?p=18290

Walmart’s Chad Mitchell, Sr. Director of Digital Communications is my guest this week on The Inside Social Media Podcast. Click here to subscribe to the podcast on iTunes As the world’s largest retailer, Walmart is regularly recognized as one of the top brands in social media. With my chat here with Chad, you’ll get an inside look at […] The post ISM Episode 16: Walmart’s Chad Mitchell, Sr. Director of Digital Communications appeared first on Rick Mulready.

Walmart’s Chad Mitchell, Sr. Director of Digital Communications is my guest this week on The Inside Social Media Podcast. Click here to subscribe to the podcast on iTunes As the world’s largest retailer, Walmart is regularly recognized as one of the top brands in social media. With my chat here with Chad, you’ll get an inside look at... The post ISM Episode 16: Walmart’s Chad Mitchell, Sr. Director of Digital Communications appeared first on RickMulready.com.