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What will it take to address gun violence in America, and what might peacemaking have to say about it? These last few weeks, we have taken some time to hear from visionary peacemakers addressing the issue in creative, imaginative ways. In the last podcast of this series, we are joined by our good friends from the Selma Center for Nonviolence, Truth, and Reconciliation. Ainka Sanders Jackson and Lydia Chatmon share with us what these three values mean within the context of gun violence. They explain the racial and economic layers that are at the root of gun violence in America, and offer us a restorative pathway forward. Chatmon and Jackson call us to interrogate where we are complicit in these realities, but they also remind us of our agency and responsibility to be a part of the solution. While this conversation was recorded over a year ago, we think it remains a helpful resource for folks looking for accessible entry points into the conversation of gun violence. Read and share the Principles and Practices of Peacemaking Follow Telos on Instagram @thetelosgroupIf you're enjoying the podcast, become a monthly donor to Telos!Leave a rating and review on Apple podcasts or SpotifySubscribe to the Telos NewsletterLearn more about the Selma Center for Nonviolence, Truth, and Reconciliation
Today, Remi sits down for a conversation with Chris Chatmon. Chris is the founder of Kingmakers of Oakland, an organization dedicated to engaging, encouraging, and empowering Black boys. More about Kingmakers of Oakland | https://www.kingmakersofoakland.org/ Connect with us at Ambition Angels | https://www.ambitionangels.org/ Follow Remi | https://www.linkedin.com/in/remi-sobomehin/
Join Maestro Jerry Tello and Christopher Chatmon, as they discuss overcoming systems of oppression, cultivating a community that uplifts, and beginning each day with gratitude.For more, visit the following links: Kingmakers of Oakland Website, Kingmakers of Oakland Instagram, Kingmakers of Oakland Facebook, Kingmakers of Oakland on X, Kingmakers of Oakland LinkedIn, Chris Chatmon LinkedInFor more about the National Compadres Network, visit: National Compadres NetworkInstagram: https://www.instagram.com/healgenpodcast/Twitter: https://twitter.com/HealGenPodcastFacebook: https://www.facebook.com/Healing.Generations.PodcastEmail: HGP@compadresnetwork.org
Where do you have your priorities and responsibilities? How are you strengthening your family in Christ? In this episode, Jeff and Terence discuss: The marketplace as a platform for change and impact for God's Kindom. Being faithful to God's callings wherever they take us. Preparing your children to defend their faith no matter their age. Building your platform of consistency around Christ. Key Takeaways: As leaders, we have the choice to lead by example and build the culture from top to bottom. Everyone in the organization has value, no matter their role. Start ministry in your own home. The foundation of the home will impact the nation.Be the family devotional leader of your home - that is the greatest thing you can do in your life. You have more influence in the marketplace than you think you do. People spend the most time at work during the week. It is never too late to start, no matter where you are. "Be the person to live a life of consistency for Christ. Whether we live, work, play we are who we are." — Terence Chatmon About Dr. Terence Chatmon: Terence has a strong passion for discipleship, particularly discipling parents to make strong and flourishing families. He has been equipping and empowering Family Champions who make mature and thriving followers of Christ. His calling spans across five continents and forty-three states in America resulting in over 100,000 parents training on Victorious Family's step-by-step family planning process model. He has authored a must-read 5-Star-Bestselling book titled, Do Your Children Believe? published by Thomas Nelson. Inside this book, author Terence Chatmon offers his proven step-by-step process to create a personalized family discipleship plan that works for families, even those who have grown children. He shares the successes from thousands of workshop participants and stories of how he, his wife, and children put their plan into living action with remarkable blessings in tow. Do Your Children Believe? appears at a time when a similar moment in history does not sound so incredibly far-fetched: “There arose another generation after them who did not know the Lord or the work that he had done” (Judges 2:10 ESV).Victorious Family: www.victoriousfamily.org Connect with Terence Chatmon:Website: http://www.victoriousfamily.org/ Victorious Family Podcast: https://victoriousfamily.org/podcast/ Connect with Jeff Thomas: Website: https://www.arkosglobal.com/Podcast: https://www.generousbusinessowner.com/Book: https://www.arkosglobal.com/trading-upEmail: jeff.thomas@arkosglobal.comTwitter: https://twitter.com/ArkosGlobalAdv Facebook: https://www.facebook.com/arkosglobal/LinkedIn: https://www.linkedin.com/company/arkosglobaladvisorsInstagram: https://www.instagram.com/arkosglobaladvisors/YouTube: https://www.youtube.com/channel/UCLUYpPwkHH7JrP6PrbHeBxw
Interview with Terence Chatmon. Terence was a successful senior executive in US Fortune 500 companies, and was challenged by his wife to chart a course for the spiritual growth of his family and children, and, after much prayer, birthed Victorious Family Ministries, one of the world's most transformational step-by-step family spiritual development processes.
Interview with Terence Chatmon. Terence was a successful senior executive in US Fortune 500 companies, and was challenged by his wife to chart a course for the spiritual growth of his family and children, and, after much prayer, birthed Victorious Family Ministries, one of the world's most transformational step-by-step family spiritual development processes.
In this devoted episode, Terence Chatmon, President & CEO of Victorious Family, shares how he has developed a step-by-step family ministry process model that has been implemented in homes on five continents.You will discover:- What a family plan is and how to create one for your famil- How to intentionally connect with your family in a stronger way- How to lead your kids at each age and stage of life Terence Chatmon has served in senior executive leadership roles with Johnson & Johnson, Citibank, and Coca-Cola. Terence is a transformational leader amongst senior executives and CEOs. He holds a doctorate in humanities from Ohio Christian University. He is best known as a change agent for his creative leadership, building transformational sustainable communities, and driving business essentials across diverse industries, resulting in organizational efficiency and optimized revenue and profit growth. During the past four years, Chatmon has served as president of The John Maxwell Leadership Foundation and EQUIP Leadership. Want to learn more about Terence's work at Victorious Family? Check out his website at https://www.victoriousfamily.org and get your Family Discipleship Home Kit today!
In this episode of Coaching In Session, your host Michael Rearden dives deep into the realm of family dynamics and leadership development with special guest Terence Chatmon, President and CEO of Victorious Family. Terence brings a wealth of knowledge and experience to the table as they discuss strategies for becoming effective family champions, fostering spiritual growth within the household, and empowering parents to create a solid plan for their family's success.Join Michael and Terence as they explore the transformative power of leadership within the family unit, offering practical insights and actionable steps for listeners to implement in their own lives. Whether you're a seasoned parent or just starting your journey, this episode is packed with invaluable wisdom to help you lead your family towards a brighter, more fulfilling future.Terence ChatmonWebsite: https://victoriousfamily.org/Facebook: https://www.facebook.com/terence.chatmon/Instagram: https://www.instagram.com/victoriousfamilychampion/LinkedIn: https://www.linkedin.com/in/terence-chatmon/Twitter: https://twitter.com/terencechatmon1Youtube: https://www.youtube.com/c/VictoriousFamily___________________________________Michael ReardenWebsite: www.Revenconcepts.comReview, Follow, & Subscribe to the Podcast on your Favorite App: https://coachinginsession.buzzsprout.com/Support the Show: https://www.buzzsprout.com/1882580/supportInterested in working with me? Learn MoreEmail Me: Coachinginsession@gmail.com----------------------------------#CoachingInSession, #MichaelRearden, #TerenceChatmon, #FamilyCoach, #LeadershipDevelopment, #TransformationalLeader, #EmpoweringFamilies, #ParentingTips, #FamilyDynamics, #SpiritualGrowth, #PersonalDevelopment, #VictoriousFamily, #EffectiveLeadership, #FamilyChampions, #ParentingAdvice, #FamilyGoals, #FamilyEmpowerment, #PodcastEpisodeSupport the show
Victorious Family is a Christian Family Discipleship training and resource ministry founded over a decade ago led by founder, Terence Chatmon. Terence has committed himself to be a family champion in his home for over 26 years. What began as a family bible study in the Chatmon home has grown into a family discipleship movement through the parenting workshop, Do Your Children Believe, and has reached more than one hundred thousand participating families.Learn more:https://victoriousfamily.org/Be in touch!Instagram: @biblejazzSubscribe to Bible Jazz on Apple!https://podcasts.apple.com/us/podcast/uppc-podcast/id1450663729?mt=2Follow on Spotify:https://open.spotify.com/show/2YLbRFDsJbqGEAkMuJ1E5MListen on Stitcher:https://www.stitcher.com/podcast/university-place-presbyterian-church/bible-jazz?refid=stprAnd at www.UPPC.orgMusic:"Vibing Over Venus" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/"Modern Jazz Samba" by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/4063-modern-jazz-sambaLicense: https://filmmusic.io/standard-license"Study And Relax" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/"On Hold for You" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/
Victorious Family is a Christian Family Discipleship training and resource ministry founded over a decade ago led by founder, Terence Chatmon. Terence has committed himself to be a family champion in his home for over 26 years. What began as a family bible study in the Chatmon home has grown into a family discipleship movement through the parenting workshop, Do Your Children Believe, and has reached more than one hundred thousand participating families.Learn more:https://victoriousfamily.org/Be in touch!Instagram: @biblejazzSubscribe to Bible Jazz on Apple!https://podcasts.apple.com/us/podcast/uppc-podcast/id1450663729?mt=2Follow on Spotify:https://open.spotify.com/show/2YLbRFDsJbqGEAkMuJ1E5MListen on Stitcher:https://www.stitcher.com/podcast/university-place-presbyterian-church/bible-jazz?refid=stprAnd at www.UPPC.orgMusic:"Vibing Over Venus" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/"Modern Jazz Samba" by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/4063-modern-jazz-sambaLicense: https://filmmusic.io/standard-license"Study And Relax" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/"On Hold for You" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/
The Triple C Affect “The world doesn't really respond to them the way that we do.” Henry Caudle - 7th Grade Special Education Math Teacher Robert Chatmon - 12th Grade Economics Teacher Dr. Aaron Carter Jr - Principal, US History Teacher (23 years) https://www.thetriplecaffect.com/ “Tough love has been out since 2010. There is no tough love if they don't love you.” In this wonderful conversation, filled with quotables and wisdom, we are able to hear from 3 Black male educators. Mr. Robert Chatmon (making history and uplifting education was always in his blood), Mr. Henry Caudle (whose dad recommended that he become a substitute teacher, and his student inspired him to pursue a permanent career in education), and Dr. Aaron Carter Jr. (education was not his first passion, and he got started by teaching a school drumline) are The Triple C Affect. Together, they are transforming the trajectory of African American males in school, giving educators strategies to build social emotional relationships, and helping educational stakeholders understand the research behind the issue. “I'm encouraged about where we are going, but we still have a long way to go.” Black men are 2% of the teaching field, yet somehow, Mr. Caudle, Mr. Chatmon and Dr. Carter worked together (with other Black men!) in a school serving Black and Brown students, and they are ready to share their research and findings with others. When reflecting on the state of education in Black America, The Triple C Affect is optimistic. They break down the impact of Bloody Sunday and George Floyd on education, the availability of opportunities and programs, and how all of these elements influence the sociocultural context. They also share amazing advice for first year educators, and demonstrate the power of pursuing purpose. Tune in!
About Peter Swain I was one of the first web developers in the world ... built the UK version of yelp.com and had the 32nd listing on yahoo. Then ran one of the first mobile agencies in Europe working with Jamie Oliver, Ali G, Microsoft, Google and Apple. Now I'm deep into AI and helping businesses work out how to implement it and where. https://www.roaimastermind.com/freetrial ------------------------------------------------------ About June Edward I am a life long very successful entrepreneur who was born with a lot of psychic abilities. Once they opened fully, I had no choice but to get training to control them. I have worked with several famous paranormal groups and authors. I have assisted on several missing person cases, and am he author of several books, and the Relationship Mastery Program, that helps people understand how energy works, get in touch with their own soul, and change by seeing life from a higher perspective. https://juneedward.com/ --------------------------------------- About Terence Chatmon Terence Chatmon, a successful senior executive in corporate America, served in leadership roles with several Fortune 500 companies. He was challenged by his wife to chart a course for the spiritual growth of his family and children. After much prayer, one of the world's most transformational step-by-step family spiritual development processes were birthed by Victorious Family. Terence is now a family legacy champion, and his family discipleship workshop, Charting Your Family's Spiritual Course, has reached families on five continents and continues to grow. He is the President & CEO of Victorious Family, on mission to equip a generation to reach a generation. https://www.victoriousfamily.org/homekit --------------------------- When It Worked Podcast https://getoffthedamnphone.com/podcast 00:00:00 When It Worked Guests Peter Swain, June Edward, Terence Chatmon 00:02:09 Peter Swain Storms Ahead To 800 Points 00:05:25 Junes Winning Streak Continues 00:07:49 Alphabet Soup For 300 00:08:22 World Of Food For 300 00:08:53 Geography 300, Saudi Arabia Correct 00:10:53 Pacific, Central, South, Mountain Time 00:11:32 Peter Swains Victory Over Terence Anatomy, Cheekbones, Queen Elizabeth Ii 00:13:10 Control Royalty, World Of Food, Anatomy, Alphabet Soup 00:16:32 Final Round Peter Swain, Terrence Chatmon 00:17:58 Former Cocacola Executive Terrence Williams Life Changing Journey 00:18:50 Peters Ai Mastermind Helps Companies Get Roi 00:19:13 I Was The Lead Developer On Yelps Uk Version 00:19:46 Ai Can Write Undetectable Blog Posts 00:20:46 Author Launches Book, Supports Lemonade Day 00:22:04 June Discusses Midlife Crisis And Relationship Advice 00:24:15 Best Selling Book, Online Programs 00:24:42 Winner Peter Swain
In our Side Hustle Spotlight series, Naeemah speaks with small business owners about their motivation behind starting their businesses, challenges, and triumphs along the way. In this episode, Naeemah chats with Shavon Chatmon, owner of Man-ifiscent Candles in Kansas. Shavon Chatmon was raised in Beaufort, SC, and has been a military brat her entire life. She is a wife and mother of one child. Shavon is a retired veteran who served in the U.S. Army for 20 years. Once she retired, she found a love for candle making. Her husband and friends pushed her to leave her comfort zone and start her own business. So, she stepped out and started Man-ifiscent Candles. Every day she learns something new to perfect her craft and how to be a successful businesswoman. To learn more about Man-ifiscent Candles, visit their website https://www.man-ifiscentcandles.com/ Follow us on Social Media! https://www.instagram.com/organizemeradio/ https://www.facebook.com/OrganizeMeRadio For more information about Naeemah, visit her website https://naeemahfordgoldson.com/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/naeemah-ford-goldson/message
Video version of this podcast here: https://www.youtube.com/watch?v=NbUJlosxhTM 0:00 - Every Artist Must Learn How To Quit 14:17 - Mistakes A Filmmaker Makes After Sundance 32:02 - What Stops Artists From Reaching Their Goals? 42:35 - What Many Directors Don't Realize About Their Careers 56:25 - I Wouldn't Be A Director Without This Happening 1:06:48 - 4 Types Of Directing Every Director Should Know 1:18:35 - If You Don't Learn Story Structure You May Never Work In The Film Industry 1:28:13 - The Artist Filmmaker Versus The Business Filmmaker 1:36:14 - Why A Director Should Read A Screenplay 50 Times 1:53:50 - If A Director Doesn't Have These Skills They Won't Work 2:04:30 - How To Make It Impossible For Them Not To Hire You BUY THE BOOK - TRANSITIONS: A Director's Journey and Motivational Handbook https://amzn.to/3Jye6lP With a deft ability to balance both half-hour single camera comedies and one-hour dramas, Pete Chatmon has directed over 50 episodes of television including HBO Max's The Flight Attendant, Insecure, Silicon Valley, and Love Life, Netflix's You, ABC's Grey's Anatomy and Black-ish, Starz' Blindspotting, FX's It's Always Sunny in Philadelphia, and the Apple TV+ series Mythic Quest. He is in development on The Education of Matt Barnes with Showtime, for which he will direct the pilot and serve as executive producer and is currently co-executive producer and producing director on Reasonable Doubt, the first project to be produced via Hulu's Onyx Collective. His debut feature as writer/director, Premium, starred Dorian Missick, Zoe Saldana, and Hill Harper, and premiered on Showtime after a limited theatrical run. Chatmon also wrote, produced, and directed 761st, a documentary on the first Black tank battalion in WWII, narrated by Andre Braugher. Through TheDirector, his Digital Studio, he has directed, shot, and edited content for advertising agencies and Fortune 500 brands. Chatmon's career began in 2001 with the Sundance selection of his NYU thesis film, 3D, starring Kerry Washington. His most recent short film, BlackCard, premiered on HBO, and his narrative podcast, Wednesday Morning, engaged voters around the 2020 election. SUBSCRIBE TO PETE CHATMON'S YOUTUBE CHANNEL https://www.youtube.com/channel/UCpecW07kN9swag5PNGTRJ-A CONNECT WITH PETE CHATMON https://petechatmon.com https://www.imdb.com/name/nm0154079 https://www.instagram.com/petechatmon https://twitter.com/petechatmon https://www.youtube.com/channel/UCpecW07kN9swag5PNGTRJ-A MORE MICHAEL WIESE PRODUCTIONS AUTHORS https://mwp.com CONNECT WITH FILM COURAGE http://www.FilmCourage.com http://twitter.com/#!/FilmCourage SUBSCRIBE TO THE FILM COURAGE YOUTUBE CHANNEL http://bit.ly/18DPN37 SUPPORT FILM COURAGE BY BECOMING A MEMBER https://www.youtube.com/channel/UCs8o1mdWAfefJkdBg632_tg/join SUPPORT FILM COURAGE BY BECOMING A PATRON https://www.patreon.com/filmcourage (Affiliates) ►WE USE THIS CAMERA (B&H) – https://buff.ly/3rWqrra ►WE USE THIS SOUND RECORDER (AMAZON) – http://amzn.to/2tbFlM9 Stuff we use: LENS - Most people ask us what camera we use, no one ever asks about the lens which filmmakers always tell us is more important. This lens was a big investment for us and one we wish we could have made sooner. Started using this lens at the end of 2013 - http://amzn.to/2tbtmOq AUDIO Rode VideoMic Pro - The Rode mic helps us capture our backup audio. It also helps us sync up our audio in post https://amzn.to/425k5rG Audio Recorder - If we had to do it all over again, this is probably the first item we would have bought - https://amzn.to/3WEuz0k LIGHTS - Although we like to use as much natural light as we can, we often enhance the lighting with this small portable light. We have two of them and they have saved us a number of times - http://amzn.to/2u5UnHv *These are affiliate links, by using them you can help support this channel.
With the original plan to pursue a career as a musical theater composer still in his back pocket, Paris has created a career for himself as a “coordinator of brilliance”. Paris Barclay is an award winning Director and Producer, known for “Dahmer”, “Sons of Anarchy”, “The West Wing”, and “NYPD Blue”. In this episode, Paris shares with Pete what he looks for when hiring directors, how he navigates through the industry, the connection between composing, directing and cooking, the creation of “City of Angels”, his upcoming Billy Preston documentary, and more…(00:00:00 - 00:08:24) -- Podcast Intro (00:08:24 - 00:14:50) -- Transitioning From Composer to Music Video Director(00:14:50 - 00:17:40) -- Storytelling Through Music Video Directing(00:17:40 - 00:23:30) -- Relationships And The Role Of The Producing Director(00:23:30 - 00:27:30) -- The Role Of The Television Director(00:27:30 - 00:31:35) -- The "Cooking, Directing, and Composing" Connection(00:31:35 - 00:34:35) -- Transitioning Into Film(00:34:35 - 00:35:45) -- “Transitions: A Director's Journey And Motivational Handbook” Promo(00:35:45 - 00:41:40) -- Becoming A Producing Director(00:41:40 - 00:43:00) -- Creating “City Of Angels”(00:43:00 - 00:46:10) -- Navigating Through The Industry(00:46:10 - 00:49:20) -- Upcoming “Billy Preston” Project(00:49:20 - 00:55:10) -- 4 Keys When Hiring Directors(00:55:10 - 00:57:10) -- Most Compelling Scene/Episode(00:57:10 - 00:59:40) -- Martini Question(00:59:40 - 01:01:20) -- Podcast Outro
Chris Chatmon (“Baba” Chris) - “I am here truly as a product of so many folks that dealt with far more with far less.”
The "What's Your Revolution?" Show with Dr. Charles Corprew"
What's good, Revolutionaries? In the ever-evolving tapestry of human history, there are individuals who rise above the rest, trailblazers whose brilliance and resilience shine through the darkest of times. The question has always been, What does leadership look like for black men? Leadership is more than just a title or a position of authority; it is a force that emanates from within, captivating hearts and minds, igniting the flames of change, and leaving an indelible mark on humanity. It is an intuitive art honed through experience, empathy, and a profound understanding of the human spirit. Today, it's a pleasure to have Christopher Chatmon @babachris, The CEO of Kingmakers of Oakland (KOO) on the show, as we delve into the captivating world of leadership - a realm where Black men have emerged as true beacons of change and progress. Chatmon founded KOO, served as the first Executive Director of the African American Male Achievement ("AAMA") for the Oakland Unified School District ("OUSD"), and was named a "Leader to Learn From" by Education Week magazine. Please Go listen to this amazing episode of the "What's Your Revolution?" show with Christopher Chatmon on all your favorite podcast platforms. Please Like, Subscribe, Comment, and Send to all your friends!
Episode 166 of A History of Rock Music in Five Hundred Songs looks at “Crossroads", Cream, the myth of Robert Johnson, and whether white men can sing the blues. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-eight-minute bonus episode available, on “Tip-Toe Thru' the Tulips" by Tiny Tim. 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/ Errata I talk about an interview with Clapton from 1967, I meant 1968. I mention a Graham Bond live recording from 1953, and of course meant 1963. I say Paul Jones was on vocals in the Powerhouse sessions. Steve Winwood was on vocals, and Jones was on harmonica. Resources As I say at the end, the main resource you need to get if you enjoyed this episode is Brother Robert by Annye Anderson, Robert Johnson's stepsister. There are three Mixcloud mixes this time. As there are so many songs by Cream, Robert Johnson, John Mayall, and Graham Bond excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here -- one, two, three. This article on Mack McCormick gives a fuller explanation of the problems with his research and behaviour. The other books I used for the Robert Johnson sections were McCormick's Biography of a Phantom; Up Jumped the Devil: The Real Life of Robert Johnson, by Bruce Conforth and Gayle Dean Wardlow; Searching for Robert Johnson by Peter Guralnick; and Escaping the Delta by Elijah Wald. I can recommend all of these subject to the caveats at the end of the episode. The information on the history and prehistory of the Delta blues mostly comes from Before Elvis by Larry Birnbaum, with some coming from Charley Patton by John Fahey. The information on Cream comes mostly from Cream: How Eric Clapton Took the World by Storm by Dave Thompson. I also used Ginger Baker: Hellraiser by Ginger Baker and Ginette Baker, Mr Showbiz by Stephen Dando-Collins, Motherless Child by Paul Scott, and Alexis Korner: The Biography by Harry Shapiro. The best collection of Cream's work is the four-CD set Those Were the Days, which contains every track the group ever released while they were together (though only the stereo mixes of the albums, and a couple of tracks are in slightly different edits from the originals). You can get Johnson's music on many budget compilation records, as it's in the public domain in the EU, but the double CD collection produced by Steve LaVere for Sony in 2011 is, despite the problems that come from it being associated with LaVere, far and away the best option -- the remasters have a clarity that's worlds ahead of even the 1990s CD version it replaced. And for a good single-CD introduction to the Delta blues musicians and songsters who were Johnson's peers and inspirations, Back to the Crossroads: The Roots of Robert Johnson, compiled by Elijah Wald as a companion to his book on Johnson, can't be beaten, and contains many of the tracks excerpted in this episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick note that this episode contains discussion of racism, drug addiction, and early death. There's also a brief mention of death in childbirth and infant mortality. It's been a while since we looked at the British blues movement, and at the blues in general, so some of you may find some of what follows familiar, as we're going to look at some things we've talked about previously, but from a different angle. In 1968, the Bonzo Dog Band, a comedy musical band that have been described as the missing link between the Beatles and the Monty Python team, released a track called "Can Blue Men Sing the Whites?": [Excerpt: The Bonzo Dog Band, "Can Blue Men Sing the Whites?"] That track was mocking a discussion that was very prominent in Britain's music magazines around that time. 1968 saw the rise of a *lot* of British bands who started out as blues bands, though many of them went on to different styles of music -- Fleetwood Mac, Ten Years After, Jethro Tull, Chicken Shack and others were all becoming popular among the kind of people who read the music magazines, and so the question was being asked -- can white men sing the blues? Of course, the answer to that question was obvious. After all, white men *invented* the blues. Before we get any further at all, I have to make clear that I do *not* mean that white people created blues music. But "the blues" as a category, and particularly the idea of it as a music made largely by solo male performers playing guitar... that was created and shaped by the actions of white male record executives. There is no consensus as to when or how the blues as a genre started -- as we often say in this podcast "there is no first anything", but like every genre it seems to have come from multiple sources. In the case of the blues, there's probably some influence from African music by way of field chants sung by enslaved people, possibly some influence from Arabic music as well, definitely some influence from the Irish and British folk songs that by the late nineteenth century were developing into what we now call country music, a lot from ragtime, and a lot of influence from vaudeville and minstrel songs -- which in turn themselves were all very influenced by all those other things. Probably the first published composition to show any real influence of the blues is from 1904, a ragtime piano piece by James Chapman and Leroy Smith, "One O' Them Things": [Excerpt: "One O' Them Things"] That's not very recognisable as a blues piece yet, but it is more-or-less a twelve-bar blues. But the blues developed, and it developed as a result of a series of commercial waves. The first of these came in 1914, with the success of W.C. Handy's "Memphis Blues", which when it was recorded by the Victor Military Band for a phonograph cylinder became what is generally considered the first blues record proper: [Excerpt: The Victor Military Band, "Memphis Blues"] The famous dancers Vernon and Irene Castle came up with a dance, the foxtrot -- which Vernon Castle later admitted was largely inspired by Black dancers -- to be danced to the "Memphis Blues", and the foxtrot soon overtook the tango, which the Castles had introduced to the US the previous year, to become the most popular dance in America for the best part of three decades. And with that came an explosion in blues in the Handy style, cranked out by every music publisher. While the blues was a style largely created by Black performers and writers, the segregated nature of the American music industry at the time meant that most vocal performances of these early blues that were captured on record were by white performers, Black vocalists at this time only rarely getting the chance to record. The first blues record with a Black vocalist is also technically the first British blues record. A group of Black musicians, apparently mostly American but led by a Jamaican pianist, played at Ciro's Club in London, and recorded many tracks in Britain, under a name which I'm not going to say in full -- it started with Ciro's Club, and continued alliteratively with another word starting with C, a slur for Black people. In 1917 they recorded a vocal version of "St. Louis Blues", another W.C. Handy composition: [Excerpt: Ciro's Club C**n Orchestra, "St. Louis Blues"] The first American Black blues vocal didn't come until two years later, when Bert Williams, a Black minstrel-show performer who like many Black performers of his era performed in blackface even though he was Black, recorded “I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,” [Excerpt: Bert Williams, "I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,”] But it wasn't until 1920 that the second, bigger, wave of popularity started for the blues, and this time it started with the first record of a Black *woman* singing the blues -- Mamie Smith's "Crazy Blues": [Excerpt: Mamie Smith, "Crazy Blues"] You can hear the difference between that and anything we've heard up to that point -- that's the first record that anyone from our perspective, a hundred and three years later, would listen to and say that it bore any resemblance to what we think of as the blues -- so much so that many places still credit it as the first ever blues record. And there's a reason for that. "Crazy Blues" was one of those records that separates the music industry into before and after, like "Rock Around the Clock", "I Want to Hold Your Hand", Sgt Pepper, or "Rapper's Delight". It sold seventy-five thousand copies in its first month -- a massive number by the standards of 1920 -- and purportedly went on to sell over a million copies. Sales figures and market analysis weren't really a thing in the same way in 1920, but even so it became very obvious that "Crazy Blues" was a big hit, and that unlike pretty much any other previous records, it was a big hit among Black listeners, which meant that there was a market for music aimed at Black people that was going untapped. Soon all the major record labels were setting up subsidiaries devoted to what they called "race music", music made by and for Black people. And this sees the birth of what is now known as "classic blues", but at the time (and for decades after) was just what people thought of when they thought of "the blues" as a genre. This was music primarily sung by female vaudeville artists backed by jazz bands, people like Ma Rainey (whose earliest recordings featured Louis Armstrong in her backing band): [Excerpt: Ma Rainey, "See See Rider Blues"] And Bessie Smith, the "Empress of the Blues", who had a massive career in the 1920s before the Great Depression caused many of these "race record" labels to fold, but who carried on performing well into the 1930s -- her last recording was in 1933, produced by John Hammond, with a backing band including Benny Goodman and Jack Teagarden: [Excerpt: Bessie Smith, "Give Me a Pigfoot and a Bottle of Beer"] It wouldn't be until several years after the boom started by Mamie Smith that any record companies turned to recording Black men singing the blues accompanied by guitar or banjo. The first record of this type is probably "Norfolk Blues" by Reese DuPree from 1924: [Excerpt: Reese DuPree, "Norfolk Blues"] And there were occasional other records of this type, like "Airy Man Blues" by Papa Charlie Jackson, who was advertised as the “only man living who sings, self-accompanied, for Blues records.” [Excerpt: Papa Charlie Jackson, "Airy Man Blues"] But contrary to the way these are seen today, at the time they weren't seen as being in some way "authentic", or "folk music". Indeed, there are many quotes from folk-music collectors of the time (sadly all of them using so many slurs that it's impossible for me to accurately quote them) saying that when people sang the blues, that wasn't authentic Black folk music at all but an adulteration from commercial music -- they'd clearly, according to these folk-music scholars, learned the blues style from records and sheet music rather than as part of an oral tradition. Most of these performers were people who recorded blues as part of a wider range of material, like Blind Blake, who recorded some blues music but whose best work was his ragtime guitar instrumentals: [Excerpt: Blind Blake, "Southern Rag"] But it was when Blind Lemon Jefferson started recording for Paramount records in 1926 that the image of the blues as we now think of it took shape. His first record, "Got the Blues", was a massive success: [Excerpt: Blind Lemon Jefferson, "Got the Blues"] And this resulted in many labels, especially Paramount, signing up pretty much every Black man with a guitar they could find in the hopes of finding another Blind Lemon Jefferson. But the thing is, this generation of people making blues records, and the generation that followed them, didn't think of themselves as "blues singers" or "bluesmen". They were songsters. Songsters were entertainers, and their job was to sing and play whatever the audiences would want to hear. That included the blues, of course, but it also included... well, every song anyone would want to hear. They'd perform old folk songs, vaudeville songs, songs that they'd heard on the radio or the jukebox -- whatever the audience wanted. Robert Johnson, for example, was known to particularly love playing polka music, and also adored the records of Jimmie Rodgers, the first country music superstar. In 1941, when Alan Lomax first recorded Muddy Waters, he asked Waters what kind of songs he normally played in performances, and he was given a list that included "Home on the Range", Gene Autry's "I've Got Spurs That Jingle Jangle Jingle", and Glenn Miller's "Chattanooga Choo-Choo". We have few recordings of these people performing this kind of song though. One of the few we have is Big Bill Broonzy, who was just about the only artist of this type not to get pigeonholed as just a blues singer, even though blues is what made him famous, and who later in his career managed to record songs like the Tin Pan Alley standard "The Glory of Love": [Excerpt: Big Bill Broonzy, "The Glory of Love"] But for the most part, the image we have of the blues comes down to one man, Arthur Laibley, a sales manager for the Wisconsin Chair Company. The Wisconsin Chair Company was, as the name would suggest, a company that started out making wooden chairs, but it had branched out into other forms of wooden furniture -- including, for a brief time, large wooden phonographs. And, like several other manufacturers, like the Radio Corporation of America -- RCA -- and the Gramophone Company, which became EMI, they realised that if they were going to sell the hardware it made sense to sell the software as well, and had started up Paramount Records, which bought up a small label, Black Swan, and soon became the biggest manufacturer of records for the Black market, putting out roughly a quarter of all "race records" released between 1922 and 1932. At first, most of these were produced by a Black talent scout, J. Mayo Williams, who had been the first person to record Ma Rainey, Papa Charlie Jackson, and Blind Lemon Jefferson, but in 1927 Williams left Paramount, and the job of supervising sessions went to Arthur Laibley, though according to some sources a lot of the actual production work was done by Aletha Dickerson, Williams' former assistant, who was almost certainly the first Black woman to be what we would now think of as a record producer. Williams had been interested in recording all kinds of music by Black performers, but when Laibley got a solo Black man into the studio, what he wanted more than anything was for him to record the blues, ideally in a style as close as possible to that of Blind Lemon Jefferson. Laibley didn't have a very hands-on approach to recording -- indeed Paramount had very little concern about the quality of their product anyway, and Paramount's records are notorious for having been put out on poor-quality shellac and recorded badly -- and he only occasionally made actual suggestions as to what kind of songs his performers should write -- for example he asked Son House to write something that sounded like Blind Lemon Jefferson, which led to House writing and recording "Mississippi County Farm Blues", which steals the tune of Jefferson's "See That My Grave is Kept Clean": [Excerpt: Son House, "Mississippi County Farm Blues"] When Skip James wanted to record a cover of James Wiggins' "Forty-Four Blues", Laibley suggested that instead he should do a song about a different gun, and so James recorded "Twenty-Two Twenty Blues": [Excerpt: Skip James, "Twenty-Two Twenty Blues"] And Laibley also suggested that James write a song about the Depression, which led to one of the greatest blues records ever, "Hard Time Killing Floor Blues": [Excerpt: Skip James, "Hard Time Killing Floor Blues"] These musicians knew that they were getting paid only for issued sides, and that Laibley wanted only blues from them, and so that's what they gave him. Even when it was a performer like Charlie Patton. (Incidentally, for those reading this as a transcript rather than listening to it, Patton's name is more usually spelled ending in ey, but as far as I can tell ie was his preferred spelling and that's what I'm using). Charlie Patton was best known as an entertainer, first and foremost -- someone who would do song-and-dance routines, joke around, play guitar behind his head. He was a clown on stage, so much so that when Son House finally heard some of Patton's records, in the mid-sixties, decades after the fact, he was astonished that Patton could actually play well. Even though House had been in the room when some of the records were made, his memory of Patton was of someone who acted the fool on stage. That's definitely not the impression you get from the Charlie Patton on record: [Excerpt: Charlie Patton, "Poor Me"] Patton is, as far as can be discerned, the person who was most influential in creating the music that became called the "Delta blues". Not a lot is known about Patton's life, but he was almost certainly the half-brother of the Chatmon brothers, who made hundreds of records, most notably as members of the Mississippi Sheiks: [Excerpt: The Mississippi Sheiks, "Sitting on Top of the World"] In the 1890s, Patton's family moved to Sunflower County, Mississippi, and he lived in and around that county until his death in 1934. Patton learned to play guitar from a musician called Henry Sloan, and then Patton became a mentor figure to a *lot* of other musicians in and around the plantation on which his family lived. Some of the musicians who grew up in the immediate area around Patton included Tommy Johnson: [Excerpt: Tommy Johnson, "Big Road Blues"] Pops Staples: [Excerpt: The Staple Singers, "Will The Circle Be Unbroken"] Robert Johnson: [Excerpt: Robert Johnson, "Crossroads"] Willie Brown, a musician who didn't record much, but who played a lot with Patton, Son House, and Robert Johnson and who we just heard Johnson sing about: [Excerpt: Willie Brown, "M&O Blues"] And Chester Burnett, who went on to become known as Howlin' Wolf, and whose vocal style was equally inspired by Patton and by the country star Jimmie Rodgers: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] Once Patton started his own recording career for Paramount, he also started working as a talent scout for them, and it was him who brought Son House to Paramount. Soon after the Depression hit, Paramount stopped recording, and so from 1930 through 1934 Patton didn't make any records. He was tracked down by an A&R man in January 1934 and recorded one final session: [Excerpt, Charlie Patton, "34 Blues"] But he died of heart failure two months later. But his influence spread through his proteges, and they themselves influenced other musicians from the area who came along a little after, like Robert Lockwood and Muddy Waters. This music -- or that portion of it that was considered worth recording by white record producers, only a tiny, unrepresentative, portion of their vast performing repertoires -- became known as the Delta Blues, and when some of these musicians moved to Chicago and started performing with electric instruments, it became Chicago Blues. And as far as people like John Mayall in Britain were concerned, Delta and Chicago Blues *were* the blues: [Excerpt: John Mayall and the Bluesbreakers, "It Ain't Right"] John Mayall was one of the first of the British blues obsessives, and for a long time thought of himself as the only one. While we've looked before at the growth of the London blues scene, Mayall wasn't from London -- he was born in Macclesfield and grew up in Cheadle Hulme, both relatively well-off suburbs of Manchester, and after being conscripted and doing two years in the Army, he had become an art student at Manchester College of Art, what is now Manchester Metropolitan University. Mayall had been a blues fan from the late 1940s, writing off to the US to order records that hadn't been released in the UK, and by most accounts by the late fifties he'd put together the biggest blues collection in Britain by quite some way. Not only that, but he had one of the earliest home tape recorders, and every night he would record radio stations from Continental Europe which were broadcasting for American service personnel, so he'd amassed mountains of recordings, often unlabelled, of obscure blues records that nobody else in the UK knew about. He was also an accomplished pianist and guitar player, and in 1956 he and his drummer friend Peter Ward had put together a band called the Powerhouse Four (the other two members rotated on a regular basis) mostly to play lunchtime jazz sessions at the art college. Mayall also started putting on jam sessions at a youth club in Wythenshawe, where he met another drummer named Hughie Flint. Over the late fifties and into the early sixties, Mayall more or less by himself built up a small blues scene in Manchester. The Manchester blues scene was so enthusiastic, in fact, that when the American Folk Blues Festival, an annual European tour which initially featured Willie Dixon, Memhis Slim, T-Bone Walker, Sonny Terry & Brownie McGhee, and John Lee Hooker, first toured Europe, the only UK date it played was at the Manchester Free Trade Hall, and people like Mick Jagger, Keith Richards, Brian Jones and Jimmy Page had to travel up from London to see it. But still, the number of blues fans in Manchester, while proportionally large, was objectively small enough that Mayall was captivated by an article in Melody Maker which talked about Alexis Korner and Cyril Davies' new band Blues Incorporated and how it was playing electric blues, the same music he was making in Manchester. He later talked about how the article had made him think that maybe now people would know what he was talking about. He started travelling down to London to play gigs for the London blues scene, and inviting Korner up to Manchester to play shows there. Soon Mayall had moved down to London. Korner introduced Mayall to Davey Graham, the great folk guitarist, with whom Korner had recently recorded as a duo: [Excerpt: Alexis Korner and Davey Graham, "3/4 AD"] Mayall and Graham performed together as a duo for a while, but Graham was a natural solo artist if ever there was one. Slowly Mayall put a band together in London. On drums was his old friend Peter Ward, who'd moved down from Manchester with him. On bass was John McVie, who at the time knew nothing about blues -- he'd been playing in a Shadows-style instrumental group -- but Mayall gave him a stack of blues records to listen to to get the feeling. And on guitar was Bernie Watson, who had previously played with Screaming Lord Sutch and the Savages. In late 1963, Mike Vernon, a blues fan who had previously published a Yardbirds fanzine, got a job working for Decca records, and immediately started signing his favourite acts from the London blues circuit. The first act he signed was John Mayall and the Bluesbreakers, and they recorded a single, "Crawling up a Hill": [Excerpt: John Mayall and the Bluesbreakers, "Crawling up a Hill (45 version)"] Mayall later called that a "clumsy, half-witted attempt at autobiographical comment", and it sold only five hundred copies. It would be the only record the Bluesbreakers would make with Watson, who soon left the band to be replaced by Roger Dean (not the same Roger Dean who later went on to design prog rock album covers). The second group to be signed by Mike Vernon to Decca was the Graham Bond Organisation. We've talked about the Graham Bond Organisation in passing several times, but not for a while and not in any great detail, so it's worth pulling everything we've said about them so far together and going through it in a little more detail. The Graham Bond Organisation, like the Rolling Stones, grew out of Alexis Korner's Blues Incorporated. As we heard in the episode on "I Wanna Be Your Man" a couple of years ago, Blues Incorporated had been started by Alexis Korner and Cyril Davies, and at the time we're joining them in 1962 featured a drummer called Charlie Watts, a pianist called Dave Stevens, and saxophone player Dick Heckstall-Smith, as well as frequent guest performers like a singer who called himself Mike Jagger, and another one, Roderick Stewart. That group finally found themselves the perfect bass player when Dick Heckstall-Smith put together a one-off group of jazz players to play an event at Cambridge University. At the gig, a little Scottish man came up to the group and told them he played bass and asked if he could sit in. They told him to bring along his instrument to their second set, that night, and he did actually bring along a double bass. Their bluff having been called, they decided to play the most complicated, difficult, piece they knew in order to throw the kid off -- the drummer, a trad jazz player named Ginger Baker, didn't like performing with random sit-in guests -- but astonishingly he turned out to be really good. Heckstall-Smith took down the bass player's name and phone number and invited him to a jam session with Blues Incorporated. After that jam session, Jack Bruce quickly became the group's full-time bass player. Bruce had started out as a classical cellist, but had switched to the double bass inspired by Bach, who he referred to as "the guv'nor of all bass players". His playing up to this point had mostly been in trad jazz bands, and he knew nothing of the blues, but he quickly got the hang of the genre. Bruce's first show with Blues Incorporated was a BBC recording: [Excerpt: Blues Incorporated, "Hoochie Coochie Man (BBC session)"] According to at least one source it was not being asked to take part in that session that made young Mike Jagger decide there was no future for him with Blues Incorporated and to spend more time with his other group, the Rollin' Stones. Soon after, Charlie Watts would join him, for almost the opposite reason -- Watts didn't want to be in a band that was getting as big as Blues Incorporated were. They were starting to do more BBC sessions and get more gigs, and having to join the Musicians' Union. That seemed like a lot of work. Far better to join a band like the Rollin' Stones that wasn't going anywhere. Because of Watts' decision to give up on potential stardom to become a Rollin' Stone, they needed a new drummer, and luckily the best drummer on the scene was available. But then the best drummer on the scene was *always* available. Ginger Baker had first played with Dick Heckstall-Smith several years earlier, in a trad group called the Storyville Jazzmen. There Baker had become obsessed with the New Orleans jazz drummer Baby Dodds, who had played with Louis Armstrong in the 1920s. Sadly because of 1920s recording technology, he hadn't been able to play a full kit on the recordings with Armstrong, being limited to percussion on just a woodblock, but you can hear his drumming style much better in this version of "At the Jazz Band Ball" from 1947, with Mugsy Spanier, Jack Teagarden, Cyrus St. Clair and Hank Duncan: [Excerpt: "At the Jazz Band Ball"] Baker had taken Dobbs' style and run with it, and had quickly become known as the single best player, bar none, on the London jazz scene -- he'd become an accomplished player in multiple styles, and was also fluent in reading music and arranging. He'd also, though, become known as the single person on the entire scene who was most difficult to get along with. He resigned from his first band onstage, shouting "You can stick your band up your arse", after the band's leader had had enough of him incorporating bebop influences into their trad style. Another time, when touring with Diz Disley's band, he was dumped in Germany with no money and no way to get home, because the band were so sick of him. Sometimes this was because of his temper and his unwillingness to suffer fools -- and he saw everyone else he ever met as a fool -- and sometimes it was because of his own rigorous musical ideas. He wanted to play music *his* way, and wouldn't listen to anyone who told him different. Both of these things got worse after he fell under the influence of a man named Phil Seaman, one of the only drummers that Baker respected at all. Seaman introduced Baker to African drumming, and Baker started incorporating complex polyrhythms into his playing as a result. Seaman also though introduced Baker to heroin, and while being a heroin addict in the UK in the 1960s was not as difficult as it later became -- both heroin and cocaine were available on prescription to registered addicts, and Baker got both, which meant that many of the problems that come from criminalisation of these drugs didn't affect addicts in the same way -- but it still did not, by all accounts, make him an easier person to get along with. But he *was* a fantastic drummer. As Dick Heckstall-Smith said "With the advent of Ginger, the classic Blues Incorporated line-up, one which I think could not be bettered, was set" But Alexis Korner decided that the group could be bettered, and he had some backers within the band. One of the other bands on the scene was the Don Rendell Quintet, a group that played soul jazz -- that style of jazz that bridged modern jazz and R&B, the kind of music that Ray Charles and Herbie Hancock played: [Excerpt: The Don Rendell Quintet, "Manumission"] The Don Rendell Quintet included a fantastic multi-instrumentalist, Graham Bond, who doubled on keyboards and saxophone, and Bond had been playing occasional experimental gigs with the Johnny Burch Octet -- a group led by another member of the Rendell Quartet featuring Heckstall-Smith, Bruce, Baker, and a few other musicians, doing wholly-improvised music. Heckstall-Smith, Bruce, and Baker all enjoyed playing with Bond, and when Korner decided to bring him into the band, they were all very keen. But Cyril Davies, the co-leader of the band with Korner, was furious at the idea. Davies wanted to play strict Chicago and Delta blues, and had no truck with other forms of music like R&B and jazz. To his mind it was bad enough that they had a sax player. But the idea that they would bring in Bond, who played sax and... *Hammond* organ? Well, that was practically blasphemy. Davies quit the group at the mere suggestion. Bond was soon in the band, and he, Bruce, and Baker were playing together a *lot*. As well as performing with Blues Incorporated, they continued playing in the Johnny Burch Octet, and they also started performing as the Graham Bond Trio. Sometimes the Graham Bond Trio would be Blues Incorporated's opening act, and on more than one occasion the Graham Bond Trio, Blues Incorporated, and the Johnny Burch Octet all had gigs in different parts of London on the same night and they'd have to frantically get from one to the other. The Graham Bond Trio also had fans in Manchester, thanks to the local blues scene there and their connection with Blues Incorporated, and one night in February 1963 the trio played a gig there. They realised afterwards that by playing as a trio they'd made £70, when they were lucky to make £20 from a gig with Blues Incorporated or the Octet, because there were so many members in those bands. Bond wanted to make real money, and at the next rehearsal of Blues Incorporated he announced to Korner that he, Bruce, and Baker were quitting the band -- which was news to Bruce and Baker, who he hadn't bothered consulting. Baker, indeed, was in the toilet when the announcement was made and came out to find it a done deal. He was going to kick up a fuss and say he hadn't been consulted, but Korner's reaction sealed the deal. As Baker later said "‘he said “it's really good you're doing this thing with Graham, and I wish you the best of luck” and all that. And it was a bit difficult to turn round and say, “Well, I don't really want to leave the band, you know.”'" The Graham Bond Trio struggled at first to get the gigs they were expecting, but that started to change when in April 1963 they became the Graham Bond Quartet, with the addition of virtuoso guitarist John McLaughlin. The Quartet soon became one of the hottest bands on the London R&B scene, and when Duffy Power, a Larry Parnes teen idol who wanted to move into R&B, asked his record label to get him a good R&B band to back him on a Beatles cover, it was the Graham Bond Quartet who obliged: [Excerpt: Duffy Power, "I Saw Her Standing There"] The Quartet also backed Power on a package tour with other Parnes acts, but they were also still performing their own blend of hard jazz and blues, as can be heard in this recording of the group live in June 1953: [Excerpt: The Graham Bond Quartet, "Ho Ho Country Kicking Blues (Live at Klooks Kleek)"] But that lineup of the group didn't last very long. According to the way Baker told the story, he fired McLaughlin from the group, after being irritated by McLaughlin complaining about something on a day when Baker was out of cocaine and in no mood to hear anyone else's complaints. As Baker said "We lost a great guitar player and I lost a good friend." But the Trio soon became a Quartet again, as Dick Heckstall-Smith, who Baker had wanted in the band from the start, joined on saxophone to replace McLaughlin's guitar. But they were no longer called the Graham Bond Quartet. Partly because Heckstall-Smith joining allowed Bond to concentrate just on his keyboard playing, but one suspects partly to protect against any future lineup changes, the group were now The Graham Bond ORGANisation -- emphasis on the organ. The new lineup of the group got signed to Decca by Vernon, and were soon recording their first single, "Long Tall Shorty": [Excerpt: The Graham Bond Organisation, "Long Tall Shorty"] They recorded a few other songs which made their way onto an EP and an R&B compilation, and toured intensively in early 1964, as well as backing up Power on his follow-up to "I Saw Her Standing There", his version of "Parchman Farm": [Excerpt: Duffy Power, "Parchman Farm"] They also appeared in a film, just like the Beatles, though it was possibly not quite as artistically successful as "A Hard Day's Night": [Excerpt: Gonks Go Beat trailer] Gonks Go Beat is one of the most bizarre films of the sixties. It's a far-future remake of Romeo and Juliet. where the two star-crossed lovers are from opposing countries -- Beatland and Ballad Isle -- who only communicate once a year in an annual song contest which acts as their version of a war, and is overseen by "Mr. A&R", played by Frank Thornton, who would later star in Are You Being Served? Carry On star Kenneth Connor is sent by aliens to try to bring peace to the two warring countries, on pain of exile to Planet Gonk, a planet inhabited solely by Gonks (a kind of novelty toy for which there was a short-lived craze then). Along the way Connor encounters such luminaries of British light entertainment as Terry Scott and Arthur Mullard, as well as musical performances by Lulu, the Nashville Teens, and of course the Graham Bond Organisation, whose performance gets them a telling-off from a teacher: [Excerpt: Gonks Go Beat!] The group as a group only performed one song in this cinematic masterpiece, but Baker also made an appearance in a "drum battle" sequence where eight drummers played together: [Excerpt: Gonks Go Beat drum battle] The other drummers in that scene included, as well as some lesser-known players, Andy White who had played on the single version of "Love Me Do", Bobby Graham, who played on hits by the Kinks and the Dave Clark Five, and Ronnie Verrell, who did the drumming for Animal in the Muppet Show. Also in summer 1964, the group performed at the Fourth National Jazz & Blues Festival in Richmond -- the festival co-founded by Chris Barber that would evolve into the Reading Festival. The Yardbirds were on the bill, and at the end of their set they invited Bond, Baker, Bruce, Georgie Fame, and Mike Vernon onto the stage with them, making that the first time that Eric Clapton, Ginger Baker, and Jack Bruce were all on stage together. Soon after that, the Graham Bond Organisation got a new manager, Robert Stigwood. Things hadn't been working out for them at Decca, and Stigwood soon got the group signed to EMI, and became their producer as well. Their first single under Stigwood's management was a cover version of the theme tune to the Debbie Reynolds film "Tammy". While that film had given Tamla records its name, the song was hardly an R&B classic: [Excerpt: The Graham Bond Organisation, "Tammy"] That record didn't chart, but Stigwood put the group out on the road as part of the disastrous Chuck Berry tour we heard about in the episode on "All You Need is Love", which led to the bankruptcy of Robert Stigwood Associates. The Organisation moved over to Stigwood's new company, the Robert Stigwood Organisation, and Stigwood continued to be the credited producer of their records, though after the "Tammy" disaster they decided they were going to take charge themselves of the actual music. Their first album, The Sound of 65, was recorded in a single three-hour session, and they mostly ran through their standard set -- a mixture of the same songs everyone else on the circuit was playing, like "Hoochie Coochie Man", "Got My Mojo Working", and "Wade in the Water", and originals like Bruce's "Train Time": [Excerpt: The Graham Bond Organisation, "Train Time"] Through 1965 they kept working. They released a non-album single, "Lease on Love", which is generally considered to be the first pop record to feature a Mellotron: [Excerpt: The Graham Bond Organisation, "Lease on Love"] and Bond and Baker also backed another Stigwood act, Winston G, on his debut single: [Excerpt: Winston G, "Please Don't Say"] But the group were developing severe tensions. Bruce and Baker had started out friendly, but by this time they hated each other. Bruce said he couldn't hear his own playing over Baker's loud drumming, Baker thought that Bruce was far too fussy a player and should try to play simpler lines. They'd both try to throw each other during performances, altering arrangements on the fly and playing things that would trip the other player up. And *neither* of them were particularly keen on Bond's new love of the Mellotron, which was all over their second album, giving it a distinctly proto-prog feel at times: [Excerpt: The Graham Bond Organisation, "Baby Can it Be True?"] Eventually at a gig in Golders Green, Baker started throwing drumsticks at Bruce's head while Bruce was trying to play a bass solo. Bruce retaliated by throwing his bass at Baker, and then jumping on him and starting a fistfight which had to be broken up by the venue security. Baker fired Bruce from the band, but Bruce kept turning up to gigs anyway, arguing that Baker had no right to sack him as it was a democracy. Baker always claimed that in fact Bond had wanted to sack Bruce but hadn't wanted to get his hands dirty, and insisted that Baker do it, but neither Bond nor Heckstall-Smith objected when Bruce turned up for the next couple of gigs. So Baker took matters into his own hands, He pulled out a knife and told Bruce "If you show up at one more gig, this is going in you." Within days, Bruce was playing with John Mayall, whose Bluesbreakers had gone through some lineup changes by this point. Roger Dean had only played with the Bluesbreakers for a short time before Mayall had replaced him. Mayall had not been impressed with Eric Clapton's playing with the Yardbirds at first -- even though graffiti saying "Clapton is God" was already starting to appear around London -- but he had been *very* impressed with Clapton's playing on "Got to Hurry", the B-side to "For Your Love": [Excerpt: The Yardbirds, "Got to Hurry"] When he discovered that Clapton had quit the band, he sprang into action and quickly recruited him to replace Dean. Clapton knew he had made the right choice when a month after he'd joined, the group got the word that Bob Dylan had been so impressed with Mayall's single "Crawling up a Hill" -- the one that nobody liked, not even Mayall himself -- that he wanted to jam with Mayall and his band in the studio. Clapton of course went along: [Excerpt: Bob Dylan and the Bluesbreakers, "If You Gotta Go, Go Now"] That was, of course, the session we've talked about in the Velvet Underground episode and elsewhere of which little other than that survives, and which Nico attended. At this point, Mayall didn't have a record contract, his experience recording with Mike Vernon having been no more successful than the Bond group's had been. But soon he got a one-off deal -- as a solo artist, not with the Bluesbreakers -- with Immediate Records. Clapton was the only member of the group to play on the single, which was produced by Immediate's house producer Jimmy Page: [Excerpt: John Mayall, "I'm Your Witchdoctor"] Page was impressed enough with Clapton's playing that he invited him round to Page's house to jam together. But what Clapton didn't know was that Page was taping their jam sessions, and that he handed those tapes over to Immediate Records -- whether he was forced to by his contract with the label or whether that had been his plan all along depends on whose story you believe, but Clapton never truly forgave him. Page and Clapton's guitar-only jams had overdubs by Bill Wyman, Ian Stewart, and drummer Chris Winter, and have been endlessly repackaged on blues compilations ever since: [Excerpt: Jimmy Page and Eric Clapton, "Draggin' My Tail"] But Mayall was having problems with John McVie, who had started to drink too much, and as soon as he found out that Jack Bruce was sacked by the Graham Bond Organisation, Mayall got in touch with Bruce and got him to join the band in McVie's place. Everyone was agreed that this lineup of the band -- Mayall, Clapton, Bruce, and Hughie Flint -- was going places: [Excerpt: John Mayall's Bluesbreakers with Jack Bruce, "Hoochie Coochie Man"] Unfortunately, it wasn't going to last long. Clapton, while he thought that Bruce was the greatest bass player he'd ever worked with, had other plans. He was going to leave the country and travel the world as a peripatetic busker. He was off on his travels, never to return. Luckily, Mayall had someone even better waiting in the wings. A young man had, according to Mayall, "kept coming down to all the gigs and saying, “Hey, what are you doing with him?” – referring to whichever guitarist was onstage that night – “I'm much better than he is. Why don't you let me play guitar for you?” He got really quite nasty about it, so finally, I let him sit in. And he was brilliant." Peter Green was probably the best blues guitarist in London at that time, but this lineup of the Bluesbreakers only lasted a handful of gigs -- Clapton discovered that busking in Greece wasn't as much fun as being called God in London, and came back very soon after he'd left. Mayall had told him that he could have his old job back when he got back, and so Green was out and Clapton was back in. And soon the Bluesbreakers' revolving door revolved again. Manfred Mann had just had a big hit with "If You Gotta Go, Go Now", the same song we heard Dylan playing earlier: [Excerpt: Manfred Mann, "If You Gotta Go, Go Now"] But their guitarist, Mike Vickers, had quit. Tom McGuinness, their bass player, had taken the opportunity to switch back to guitar -- the instrument he'd played in his first band with his friend Eric Clapton -- but that left them short a bass player. Manfred Mann were essentially the same kind of band as the Graham Bond Organisation -- a Hammond-led group of virtuoso multi-instrumentalists who played everything from hardcore Delta blues to complex modern jazz -- but unlike the Bond group they also had a string of massive pop hits, and so made a lot more money. The combination was irresistible to Bruce, and he joined the band just before they recorded an EP of jazz instrumental versions of recent hits: [Excerpt: Manfred Mann, "(I Can't Get No) Satisfaction"] Bruce had also been encouraged by Robert Stigwood to do a solo project, and so at the same time as he joined Manfred Mann, he also put out a solo single, "Drinkin' and Gamblin'" [Excerpt: Jack Bruce, "Drinkin' and Gamblin'"] But of course, the reason Bruce had joined Manfred Mann was that they were having pop hits as well as playing jazz, and soon they did just that, with Bruce playing on their number one hit "Pretty Flamingo": [Excerpt: Manfred Mann, "Pretty Flamingo"] So John McVie was back in the Bluesbreakers, promising to keep his drinking under control. Mike Vernon still thought that Mayall had potential, but the people at Decca didn't agree, so Vernon got Mayall and Clapton -- but not the other band members -- to record a single for a small indie label he ran as a side project: [Excerpt: John Mayall and Eric Clapton, "Bernard Jenkins"] That label normally only released records in print runs of ninety-nine copies, because once you hit a hundred copies you had to pay tax on them, but there was so much demand for that single that they ended up pressing up five hundred copies, making it the label's biggest seller ever. Vernon eventually convinced the heads at Decca that the Bluesbreakers could be truly big, and so he got the OK to record the album that would generally be considered the greatest British blues album of all time -- Blues Breakers, also known as the Beano album because of Clapton reading a copy of the British kids' comic The Beano in the group photo on the front. [Excerpt: John Mayall with Eric Clapton, "Ramblin' On My Mind"] The album was a mixture of originals by Mayall and the standard repertoire of every blues or R&B band on the circuit -- songs like "Parchman Farm" and "What'd I Say" -- but what made the album unique was Clapton's guitar tone. Much to the chagrin of Vernon, and of engineer Gus Dudgeon, Clapton insisted on playing at the same volume that he would on stage. Vernon later said of Dudgeon "I can remember seeing his face the very first time Clapton plugged into the Marshall stack and turned it up and started playing at the sort of volume he was going to play. You could almost see Gus's eyes meet over the middle of his nose, and it was almost like he was just going to fall over from the sheer power of it all. But after an enormous amount of fiddling around and moving amps around, we got a sound that worked." [Excerpt: John Mayall with Eric Clapton, "Hideaway"] But by the time the album cane out. Clapton was no longer with the Bluesbreakers. The Graham Bond Organisation had struggled on for a while after Bruce's departure. They brought in a trumpet player, Mike Falana, and even had a hit record -- or at least, the B-side of a hit record. The Who had just put out a hit single, "Substitute", on Robert Stigwood's record label, Reaction: [Excerpt: The Who, "Substitute"] But, as you'll hear in episode 183, they had moved to Reaction Records after a falling out with their previous label, and with Shel Talmy their previous producer. The problem was, when "Substitute" was released, it had as its B-side a song called "Circles" (also known as "Instant Party -- it's been released under both names). They'd recorded an earlier version of the song for Talmy, and just as "Substitute" was starting to chart, Talmy got an injunction against the record and it had to be pulled. Reaction couldn't afford to lose the big hit record they'd spent money promoting, so they needed to put it out with a new B-side. But the Who hadn't got any unreleased recordings. But the Graham Bond Organisation had, and indeed they had an unreleased *instrumental*. So "Waltz For a Pig" became the B-side to a top-five single, credited to The Who Orchestra: [Excerpt: The Who Orchestra, "Waltz For a Pig"] That record provided the catalyst for the formation of Cream, because Ginger Baker had written the song, and got £1,350 for it, which he used to buy a new car. Baker had, for some time, been wanting to get out of the Graham Bond Organisation. He was trying to get off heroin -- though he would make many efforts to get clean over the decades, with little success -- while Bond was starting to use it far more heavily, and was also using acid and getting heavily into mysticism, which Baker despised. Baker may have had the idea for what he did next from an article in one of the music papers. John Entwistle of the Who would often tell a story about an article in Melody Maker -- though I've not been able to track down the article itself to get the full details -- in which musicians were asked to name which of their peers they'd put into a "super-group". He didn't remember the full details, but he did remember that the consensus choice had had Eric Clapton on lead guitar, himself on bass, and Ginger Baker on drums. As he said later "I don't remember who else was voted in, but a few months later, the Cream came along, and I did wonder if somebody was maybe believing too much of their own press". Incidentally, like The Buffalo Springfield and The Pink Floyd, Cream, the band we are about to meet, had releases both with and without the definite article, and Eric Clapton at least seems always to talk about them as "the Cream" even decades later, but they're primarily known as just Cream these days. Baker, having had enough of the Bond group, decided to drive up to Oxford to see Clapton playing with the Bluesbreakers. Clapton invited him to sit in for a couple of songs, and by all accounts the band sounded far better than they had previously. Clapton and Baker could obviously play well together, and Baker offered Clapton a lift back to London in his new car, and on the drive back asked Clapton if he wanted to form a new band. Clapton was as impressed by Baker's financial skills as he was by his musicianship. He said later "Musicians didn't have cars. You all got in a van." Clearly a musician who was *actually driving a new car he owned* was going places. He agreed to Baker's plan. But of course they needed a bass player, and Clapton thought he had the perfect solution -- "What about Jack?" Clapton knew that Bruce had been a member of the Graham Bond Organisation, but didn't know why he'd left the band -- he wasn't particularly clued in to what the wider music scene was doing, and all he knew was that Bruce had played with both him and Baker, and that he was the best bass player he'd ever played with. And Bruce *was* arguably the best bass player in London at that point, and he was starting to pick up session work as well as his work with Manfred Mann. For example it's him playing on the theme tune to "After The Fox" with Peter Sellers, the Hollies, and the song's composer Burt Bacharach: [Excerpt: The Hollies with Peter Sellers, "After the Fox"] Clapton was insistent. Baker's idea was that the band should be the best musicians around. That meant they needed the *best* musicians around, not the second best. If Jack Bruce wasn't joining, Eric Clapton wasn't joining either. Baker very reluctantly agreed, and went round to see Bruce the next day -- according to Baker it was in a spirit of generosity and giving Bruce one more chance, while according to Bruce he came round to eat humble pie and beg for forgiveness. Either way, Bruce agreed to join the band. The three met up for a rehearsal at Baker's home, and immediately Bruce and Baker started fighting, but also immediately they realised that they were great at playing together -- so great that they named themselves the Cream, as they were the cream of musicians on the scene. They knew they had something, but they didn't know what. At first they considered making their performances into Dada projects, inspired by the early-twentieth-century art movement. They liked a band that had just started to make waves, the Bonzo Dog Doo-Dah Band -- who had originally been called the Bonzo Dog Dada Band -- and they bought some props with the vague idea of using them on stage in the same way the Bonzos did. But as they played together they realised that they needed to do something different from that. At first, they thought they needed a fourth member -- a keyboard player. Graham Bond's name was brought up, but Clapton vetoed him. Clapton wanted Steve Winwood, the keyboard player and vocalist with the Spencer Davis Group. Indeed, Winwood was present at what was originally intended to be the first recording session the trio would play. Joe Boyd had asked Eric Clapton to round up a bunch of players to record some filler tracks for an Elektra blues compilation, and Clapton had asked Bruce and Baker to join him, Paul Jones on vocals, Winwood on Hammond and Clapton's friend Ben Palmer on piano for the session. Indeed, given that none of the original trio were keen on singing, that Paul Jones was just about to leave Manfred Mann, and that we know Clapton wanted Winwood in the band, one has to wonder if Clapton at least half-intended for this to be the eventual lineup of the band. If he did, that plan was foiled by Baker's refusal to take part in the session. Instead, this one-off band, named The Powerhouse, featured Pete York, the drummer from the Spencer Davis Group, on the session, which produced the first recording of Clapton playing on the Robert Johnson song originally titled "Cross Road Blues" but now generally better known just as "Crossroads": [Excerpt: The Powerhouse, "Crossroads"] We talked about Robert Johnson a little back in episode ninety-seven, but other than Bob Dylan, who was inspired by his lyrics, we had seen very little influence from Johnson up to this point, but he's going to be a major influence on rock guitar for the next few years, so we should talk about him a little here. It's often said that nobody knew anything about Robert Johnson, that he was almost a phantom other than his records which existed outside of any context as artefacts of their own. That's... not really the case. Johnson had died a little less than thirty years earlier, at only twenty-seven years old. Most of his half-siblings and step-siblings were alive, as were his son, his stepson, and dozens of musicians he'd played with over the years, women he'd had affairs with, and other assorted friends and relatives. What people mean is that information about Johnson's life was not yet known by people they consider important -- which is to say white blues scholars and musicians. Indeed, almost everything people like that -- people like *me* -- know of the facts of Johnson's life has only become known to us in the last four years. If, as some people had expected, I'd started this series with an episode on Johnson, I'd have had to redo the whole thing because of the information that's made its way to the public since then. But here's what was known -- or thought -- by white blues scholars in 1966. Johnson was, according to them, a field hand from somewhere in Mississippi, who played the guitar in between working on the cotton fields. He had done two recording sessions, in 1936 and 1937. One song from his first session, "Terraplane Blues", had been a very minor hit by blues standards: [Excerpt: Robert Johnson, "Terraplane Blues"] That had sold well -- nobody knows how well, but maybe as many as ten thousand copies, and it was certainly a record people knew in 1937 if they liked the Delta blues, but ten thousand copies total is nowhere near the sales of really successful records, and none of the follow-ups had sold anything like that much -- many of them had sold in the hundreds rather than the thousands. As Elijah Wald, one of Johnson's biographers put it "knowing about Johnson and Muddy Waters but not about Leroy Carr or Dinah Washington was like knowing about, say, the Sir Douglas Quintet but not knowing about the Beatles" -- though *I* would add that the Sir Douglas Quintet were much bigger during the sixties than Johnson was during his lifetime. One of the few white people who had noticed Johnson's existence at all was John Hammond, and he'd written a brief review of Johnson's first two singles under a pseudonym in a Communist newspaper. I'm going to quote it here, but the word he used to talk about Black people was considered correct then but isn't now, so I'll substitute Black for that word: "Before closing we cannot help but call your attention to the greatest [Black] blues singer who has cropped up in recent years, Robert Johnson. Recording them in deepest Mississippi, Vocalion has certainly done right by us and by the tunes "Last Fair Deal Gone Down" and "Terraplane Blues", to name only two of the four sides already released, sung to his own guitar accompaniment. Johnson makes Leadbelly sound like an accomplished poseur" Hammond had tried to get Johnson to perform at the Spirituals to Swing concerts we talked about in the very first episodes of the podcast, but he'd discovered that he'd died shortly before. He got Big Bill Broonzy instead, and played a couple of Johnson's records from a record player on the stage. Hammond introduced those recordings with a speech: "It is tragic that an American audience could not have been found seven or eight years ago for a concert of this kind. Bessie Smith was still at the height of her career and Joe Smith, probably the greatest trumpet player America ever knew, would still have been around to play obbligatos for her...dozens of other artists could have been there in the flesh. But that audience as well as this one would not have been able to hear Robert Johnson sing and play the blues on his guitar, for at that time Johnson was just an unknown hand on a Robinsonville, Mississippi plantation. Robert Johnson was going to be the big surprise of the evening for this audience at Carnegie Hall. I know him only from his Vocalion blues records and from the tall, exciting tales the recording engineers and supervisors used to bring about him from the improvised studios in Dallas and San Antonio. I don't believe Johnson had ever worked as a professional musician anywhere, and it still knocks me over when I think of how lucky it is that a talent like his ever found its way onto phonograph records. We will have to be content with playing two of his records, the old "Walkin' Blues" and the new, unreleased, "Preachin' Blues", because Robert Johnson died last week at the precise moment when Vocalion scouts finally reached him and told him that he was booked to appear at Carnegie Hall on December 23. He was in his middle twenties and nobody seems to know what caused his death." And that was, for the most part, the end of Robert Johnson's impact on the culture for a generation. The Lomaxes went down to Clarksdale, Mississippi a couple of years later -- reports vary as to whether this was to see if they could find Johnson, who they were unaware was dead, or to find information out about him, and they did end up recording a young singer named Muddy Waters for the Library of Congress, including Waters' rendition of "32-20 Blues", Johnson's reworking of Skip James' "Twenty-Two Twenty Blues": [Excerpt: Muddy Waters, "32-20 Blues"] But Johnson's records remained unavailable after their initial release until 1959, when the blues scholar Samuel Charters published the book The Country Blues, which was the first book-length treatment ever of Delta blues. Sixteen years later Charters said "I shouldn't have written The Country Blues when I did; since I really didn't know enough, but I felt I couldn't afford to wait. So The Country Blues was two things. It was a romanticization of certain aspects of black life in an effort to force the white society to reconsider some of its racial attitudes, and on the other hand it was a cry for help. I wanted hundreds of people to go out and interview the surviving blues artists. I wanted people to record them and document their lives, their environment, and their music, not only so that their story would be preserved but also so they'd get a little money and a little recognition in their last years." Charters talked about Johnson in the book, as one of the performers who played "minor roles in the story of the blues", and said that almost nothing was known about his life. He talked about how he had been poisoned by his common-law wife, about how his records were recorded in a pool hall, and said "The finest of Robert Johnson's blues have a brooding sense of torment and despair. The blues has become a personified figure of despondency." Along with Charters' book came a compilation album of the same name, and that included the first ever reissue of one of Johnson's tracks, "Preaching Blues": [Excerpt: Robert Johnson, "Preaching Blues"] Two years later, John Hammond, who had remained an ardent fan of Johnson, had Columbia put out the King of the Delta Blues Singers album. At the time no white blues scholars knew what Johnson looked like and they had no photos of him, so a generic painting of a poor-looking Black man with a guitar was used for the cover. The liner note to King of the Delta Blues Singers talked about how Johnson was seventeen or eighteen when he made his recordings, how he was "dead before he reached his twenty-first birthday, poisoned by a jealous girlfriend", how he had "seldom, if ever, been away from the plantation in Robinsville, Mississippi, where he was born and raised", and how he had had such stage fright that when he was asked to play in front of other musicians, he'd turned to face a wall so he couldn't see them. And that would be all that any of the members of the Powerhouse would know about Johnson. Maybe they'd also heard the rumours that were starting to spread that Johnson had got his guitar-playing skills by selling his soul to the devil at a crossroads at midnight, but that would have been all they knew when they recorded their filler track for Elektra: [Excerpt: The Powerhouse, "Crossroads"] Either way, the Powerhouse lineup only lasted for that one session -- the group eventually decided that a simple trio would be best for the music they wanted to play. Clapton had seen Buddy Guy touring with just a bass player and drummer a year earlier, and had liked the idea of the freedom that gave him as a guitarist. The group soon took on Robert Stigwood as a manager, which caused more arguments between Bruce and Baker. Bruce was convinced that if they were doing an all-for-one one-for-all thing they should also manage themselves, but Baker pointed out that that was a daft idea when they could get one of the biggest managers in the country to look after them. A bigger argument, which almost killed the group before it started, happened when Baker told journalist Chris Welch of the Melody Maker about their plans. In an echo of the way that he and Bruce had been resigned from Blues Incorporated without being consulted, now with no discussion Manfred Mann and John Mayall were reading in the papers that their band members were quitting before those members had bothered to mention it. Mayall was furious, especially since the album Clapton had played on hadn't yet come out. Clapton was supposed to work a month's notice while Mayall found another guitarist, but Mayall spent two weeks begging Peter Green to rejoin the band. Green was less than eager -- after all, he'd been fired pretty much straight away earlier -- but Mayall eventually persuaded him. The second he did, Mayall turned round to Clapton and told him he didn't have to work the rest of his notice -- he'd found another guitar player and Clapton was fired: [Excerpt: John Mayall's Bluesbreakers, "Dust My Blues"] Manfred Mann meanwhile took on the Beatles' friend Klaus Voorman to replace Bruce. Voorman would remain with the band until the end, and like Green was for Mayall, Voorman was in some ways a better fit for Manfred Mann than Bruce was. In particular he could double on flute, as he did for example on their hit version of Bob Dylan's "The Mighty Quinn": [Excerpt: Manfred Mann "The Mighty Quinn"] The new group, The Cream, were of course signed in the UK to Stigwood's Reaction label. Other than the Who, who only stuck around for one album, Reaction was not a very successful label. Its biggest signing was a former keyboard player for Screaming Lord Sutch, who recorded for them under the names Paul Dean and Oscar, but who later became known as Paul Nicholas and had a successful career in musical theatre and sitcom. Nicholas never had any hits for Reaction, but he did release one interesting record, in 1967: [Excerpt: Oscar, "Over the Wall We Go"] That was one of the earliest songwriting attempts by a young man who had recently named himself David Bowie. Now the group were public, they started inviting journalists to their rehearsals, which were mostly spent trying to combine their disparate musical influences --
In between takes of “It's Always Sunny In Philadelphia”, Charlie would spend his time writing and rewriting what would be his directorial debut, "Fool's Paradise". In this episode, Charlie and Pete dive into the realities of filmmaking from script to screen, the importance of discovering a character's wants and needs, lessons learned from the making of “Fool's Paradise”, taking risks to tell the stories that don't get told, and more… (00:00:00 - 00:05:25) -- Podcast Intro (00:05:25 - 00:09:30) -- Landing A Role On Law & Order(00:09:30 - 00:18:15) -- Involvement With The Williamstown Theatre Festival(00:18:15 - 00:24:35) -- It's Always Sunny In Philadelphia(00:24:35 - 00:28:00) -- Constructing Characters And Focusing On Their “Wants” (00:28:00 - 00:31:00) -- Collaborating With The “Gang”(00:31:00 - 00:38:05) -- Working With And Hiring Directors(00:38:05 - 00:40:55) -- Approaching Improvisation(00:40:55 - 00:41:55) -- “Transitions: A Director's Journey And Motivational Handbook” Promo(00:41:55 - 00:43:50) -- Transitioning Into Features(00:43:50 - 01:00:25) -- The Making Of “Fool's Paradise”(01:00:25 - 01:11:55) -- If You Could Remake “Fool's Paradise”, What Would You Do Differently?(01:11:55 - 01:15:25) -- Casting “Fool's Paradise”(01:15:25 - 01:18:30) -- The Realities Of Making A Movie(01:18:30 - 01:26:20) -- Lighting Round Questions(01:26:20 - 01:28:10) -- Podcast Outro
Anton Cropper is a director and producer known for 'Monk', ‘Black-ish', 'Suits', and his recent feature film ‘Fantasy Football'. In this episode, Anton joins Pete to discuss the role of the Stage Manager, directing actors and applying writer's notes, the importance of relationships, creating new worlds when directing pilots, pitch deck preparation, and more…(00:00:00 - 00:05:45) -- Podcast Intro (00:05:45 - 00:14:00) -- First Story To Have An Impact(00:14:00 - 00:17:45) -- Getting His Start In the Business(00:17:45 - 00:25:55) -- Growing Up And Financial Literacy(00:25:55 - 00:28:30) -- Early Years As A Stage Manager(00:28:30 - 00:37:15) -- Moving Up The Ladder(00:37:15 - 00:45:20) -- Directing Actors (00:45:20 - 00:53:00) -- Relationships And Receiving Notes (00:53:00 - 00:54:00) -- “Transitions: A Director's Journey And Motivational Handbook” Promo(00:54:00 - 01:02:10) -- Maintaining His Career And Getting On The Radar(01:02:10 - 01:05:10) -- Saying “No"(01:05:10 - 01:12:55) -- Creating The World With Pilots(01:12:55 - 01:18:50) -- The Importance Of Prep And Pitch Decks(01:18:50 - 01:22:22) -- Upcoming Projects(01:22:22 - 01:35:00) -- Lighting Round Questions(01:35:00 - 01:37:20) -- Podcast Outro
During a time when there was no clear blueprint for becoming a filmmaker in Hollywood, Charles Murray devoted his youth to educating himself via self-help handbooks from his local libraries. Charles is a writer, director, and producer best known for 'Sons of Anarchy', ‘Luke Cage', ‘Star Wars: The Clone Wars', and ‘Tales of Jedi'. He serves as showrunner on season two of Amazon Studios' 'Outer Range'. In this episode, Charles and Pete discuss the importance of doing your own research and understanding the language of filmmaking, the journey to getting a pilot picked up, what to look for when hiring Directors, staying true to what makes sense for you, and more…(00:00:00 - 00:13:20) -- Podcast Intro (00:13:20 - 00:21:30) —Growing Up In Indiana And Interest In Filmmaking(00:21:30 - 00:29:05) -- Becoming A Self-Made Screenplay Writer(00:29:05 - 00:39:30) -- Moving To California And Having Support (00:39:30 - 00:48:35) -- Doing The Groundwork(00:48:35 - 00:58:13) -- Early Years Working In Los Angeles(00:58:13 - 01:09:20) -- When Preparation Meets Opportunity(01:09:20 - 01:10:20) -- “Transitions: A Director's Journey and Motivational Handbook” Promo(01:10:20 - 01:17:30) -- Breaking Into The Industry As A Writer(01:17:30 - 01:32:45) -- Writing For Television And Getting His Pilot Picked Up(01:32:45 - 01:37:30) -- Transitioning Into The Role Of The Showrunner(01:37:30 - 01:43:40) -- Hiring Directors(01:43:40 - 01:51:00) -- The Directors Approach And Being Okay With “Not Knowing”(01:51:00 - 01:56:10) -- Lightning Round Questions(01:56:10 - 01:57:35) -- Podcast Outro
To avoid having to write a final paper for a Philosophy and Religion Studies course, Brian put his creativity to the test and presented a short film. Now an Emmy-nominated VFX supervisor, Brian Kubovcik is the Head of Studio for FuseFX and known for “She-Hulk: Attorney at Law”, “Tom Clancy's Jack Ryan”, and “Criminal Minds”. In this episode, Brian and Pete enter the world of visual effects as they explore the process from making a bid to working in post, the importance of understanding camera and lighting, special tools and equipment that help inform the VFX team, recognizing the people controlling the machines, the future of VFX and more…(00:00:00 - 00:06:53) -- Podcast Intro (00:06:53 - 00:12:40) -- Early Years Working In VFX(00:12:40 - 00:15:15) -- First Steps For VFX And Formatting A Script(00:15:15 - 00:20:50) -- Determining The FX Budget(00:20:50 - 00:23:55) -- VFX Prep And Refining Assumptions(00:23:55 - 00:28:15) -- The Importance Of Early Communication(00:28:15 - 00:30:10) -- Making A VFX Bid(00:30:10 - 00:35:55) -- Understanding Camera And Lighting(00:35:55 - 00:36:55) -- “Transitions: A Director's Journey and Motivational Handbook” Promo(00:36:55 - 00:39:20) -- The VFX Team And Set Visits(00:39:20 - 00:47:40) -- Working In Post(00:47:40 - 00:52:22) -- Favorite VFX Moments(00:52:22 - 00:56:10) -- The Future Of VFX(00:56:10 - 00:59:20) -- Lightning Round Questions(00:59:20 - 00:58:55) -- Podcast Outro
Shiri Appleby began her acting journey at age 5, working on the set of numerous television shows and commercials. An actress and director born in Calabasas, California, Shiri is best known for her breakout roles in “Roswell” and “Life Unexpected”, and her directorial work on “Grown-ish” and “UnPrisoned”. In this episode, Shiri and Pete discuss the performance of the Director, good vs. bad notes to give an actor, the importance of prepping and how it is your protection, adjusting to the new “Evercast” protocol in post-production, having chutzpah, and more… (00:00:00 - 00:07:10) -- Podcast Intro And WGA Strike Update(00:07:10 - 00:12:45) -- Early Memories On Set(00:12:45 - 00:22:00) -- High School And College Years(00:22:00 - 00:27:35) -- Working With An Acting Coach(00:27:35 - 00:32:40) -- Shadowing and Landing First Gig As A Director(00:32:40 - 00:33:40) -- “Transitions: A Director's Journey and Motivational Handbook” Promo(00:33:40 - 00:37:20) -- Eye Opening Moments Directing On Set(00:37:20 - 00:42:50) -- Directing Actors And Good Vs. Bad Notes(00:42:50 - 00:47:70) -- Representation And Identifying Your Genre Of Choice(00:47:70 - 00:52:20) -- The Importance Of Prepping (00:52:20 - 00:56:00) -- Editing Via Evercast(00:56:00 - 00:58:55) -- What Would You Change About The Industry?(00:58:55 - 01:00:50) -- The Performance Of The Director(01:00:50 - 01:01:15) -- What's Next?(01:01:15 - 01:05:40) —Lightning Round Questions(01:05:40 - 01:07:20) -- Podcast Outro
Terence Chatmon, family legacy champion and president of Victorious Family, discusses how we can shift the tide of family decay in our nation.
Writing and selling a screenplay about a lawyer while working at a law firm is how Ellen became a writer best known for ‘Desperados', ‘Clifford the Big Red Dog', and her hit series 'Minx'. In this episode, Ellen and Pete discuss her transition into storytelling, how she discovered and developed the story of “Minx”, the process of pitching a story to a studio and network, her experience directing for the first time, running the show, and more…(00:00:00 - 00:07:25) -- Podcast Intro (00:07:25 - 00:13:30) -- Attending Law School(00:13:30 - 00:17:20) -- Becoming A Storyteller(00:17:20 - 00:21:00) -- Selling A Script And Moving To LA(00:21:00 - 00:22:50) -- Transitioning Into Television Writing(00:22:50 - 00:26:40) -- A Day In The Life Of A Writer(00:26:40 - 00:28:20) -- Discovering The Story Of ‘Minx'(00:28:20 - 00:33:00) -- Developing The Characters And Tone(00:33:00 - 00:40:35) -- The Pitching Process(00:40:35 - 00:41:33) -- “Transitions: A Director's Journey and Motivational Handbook” Promo(00:41:33 - 00:46:00) -- “Minx” Season One Production And Show-running(00:46:00 - 00:51:10) -- Hiring Directors(00:51:10 - 00:57:00) -- Directing The Finale(00:57:00 - 00:58:55) -- “Minx” Season Two Production(00:58:55 - 01:01:00) —“Minx” Season Two Directors(01:01:00 - 01:07:15) -- Lightning Round Questions(01:07:15 - 01:09:03) -- Podcast Outro
Shannon Baker Davis is an award-winning television and film editor best known for ‘Grown-ish', ‘Queen Sugar', 'Top Chef', ‘The Photograph', and “Prom Pact”. In this episode, Pete gains access to the mind of an editor as Shannon describes what she looks for when navigating through various cuts, her transition from reality tv to scripted editing, the importance of pacing in a scene, and more…(00:00:00 - 00:05:00) -- Podcast Intro (00:03:45 - 00:10:30) -- How Did You Get Your Start?(00:10:30 - 00:14:35) -- The First Story That Impacted You(00:14:35 - 00:17:45) -- Getting Involved With Editing(00:17:45 - 00:22:00) -- Navigating Various Cuts(00:22:00 - 00:28:10) -- Howard University vs. AFI Educational Journey(00:28:10 - 00:34:30) -- AFI Curriculum and Take Away(00:34:30 - 00:40:40) -- Building Trust And Proving Yourself(00:40:40 - 00:41:40) -- “Transitions: A Director's Journey and Motivational Handbook” Promo(00:41:40 - 00:48:10) -- Transitioning Into Scripted Editing(00:48:10 - 00:53:25) -- The Role Of An Assistant Editor(00:53:25 - 00:58:55) -- The Importance Of Having Good Instincts(00:58:55 - 01:09:40) -- The Signs Of A Good Director(01:09:40 - 01:11:10) -- What's Next For You?(01:11:10 - 01:13:05) -- Advice To Younger Self(01:13:05 - 01:16:20) -- Balancing Home And Work Life(01:16:20 - 01:19:40) -- Final Words(01:19:40 - 01:20:54) -- Podcast Outro
Valerie Weiss is an award-winning director and scientist known for “Star Trek: Strange New Worlds”, “Outer Banks” and “Chicago Med”. In this episode, Valerie and Pete discuss the future of filmmaking as they explore the benefits of using volume technology and Scriptation, the importance of allowing your life experiences to influence your perspective, being comfortable with uncertainty, marrying her love of science with her love for directing, and more… (00:00:00 - 00:03:45) -- Podcast Intro (00:03:45 - 00:11:55) -- Mailbag Questions(00:11:55 - 00:16:15) -- The First Story That Impacted You(00:16:15 - 00:19:00) -- Getting Involved With Theater and Acting(00:19:00 - 00:25:15) -- Balancing Her Love For Science With Directing(00:25:15 - 00:28:00) -- Getting Accepted Into The AFI Directors Program(00:28:00 - 00:33:10) -- Benefits of Being A Director With A Ph.D(00:33:10 - 00:37:30) -- Early Stages Directing Film(00:37:30 - 00:41:50) -- Staying Committed and Appreciating Your Personal Life Experiences (00:41:50 - 00:42:45) -- “Transitions: A Director's Journey and Motivational Handbook” Promo(00:42:45 - 00:47:05) -- Getting Her Start In Episodic Directing(00:47:05 - 00:52:35) -- Episodic Directing vs. Feature Directing(00:52:35 - 00:59:25) -- Getting Invited Back and Securing Her Role(00:59:25 - 01:04:40) -- Benefits Of Volume Technology(01:04:40 - 01:12:50) -- What Traits Make You Unique?(01:12:50 - 01:18:55) -- Being A Team Player and Problem Solving(01:18:55 - 01:24:45) -- Benefits of Using Scriptation(01:24:45 - 01:30:05) -- Lightning Round Questions(01:30:05 - 01:31:21) -- Podcast Outro
The decline of the American family is both devastating and obvious, and its current shape is producing the state of disarray apparent to all. But Terence is not without hope, for his trust is in the Lord, who is more than able to help families who put their eyes on Him. Terence is a no-nonsense leader of this organization called "Victorious Family," helping kingdom-minded men and women to recapture a godly legacy for their families. Also, a second visit with Wayne White from the Ocala area, an author and patriot.
Showing up to set as an intern in your Sunday's Best is not your average story, but the impression certainly impacted his journey. Jeff Byrd is a Director known for "Star Trek: Discovery", "Black Lightning”, and the 7 Emmy award nominated show, “Yellowjackets”. Tune in as Jeff joins the discussion, sharing how he transitioned from music video directing to film and television, guerrilla filmmaking vs. doing the “right” thing, the time he shared a New York alley location with F. Gary Gray, his producing director rebirth, failing up and more…(00:00:00 - 00:04:35) -- Podcast Intro (00:04:35 - 00:15:15) -- Getting His Start and Interning With Spike Lee(00:15:15 - 00:25:05) -- Working as a PA On A Michael Jordan Commercial(00:25:05 - 00:28:00) -- Moving From North Carolina To New York(00:28:00 - 00:35:00) -- Transitioning From College Football To Music Video Directing(00:35:00 - 00:38:10) -- Skills Learned From Music Video Directing(00:38:10 - 00:45:12) -- Shooting His First Short Film At Union Station(00:45:12 - 00:50:20) -- Meeting F. Gary Gray and Moving To LA(00:50:20 - 00:54:40) -- Transitioning From Music Videos To Film(00:54:40 - 01:01:33) -- The Importance of Community and Failing Up(01:01:33 - 01:02:33) -- “Transitions: A Director's Journey and Motivational Handbook” Promo(01:02:33 - 01:11:00) -- Transitioning From Film To Television(01:11:00 - 01:17:50) -- The Rebirth and Producing Directing(01:17:50 - 01:22:00) -- The Challenges of a Producing Director(01:22:00 - 01:33:00) -- Director Characteristics To Avoid(01:33:00 - 01:40:00) -- Advice For Transitioning Into Episodic Directing(01:40:00 - 01:46:30) -- Final Words(01:46:30 - 01:48:28) -- Podcast Outro
This week I am talking to Educator, Podcaster, and Content Creator...Shannon Chatmon.Shannon is a 15-year educator, podcaster, wife, and mother of two. She is founder of Black Panache, LLC, which seeks to amplify black voices and perspectives, and host of the U Talk, I'll Listen and Blacktivities Podcasts. She is also co-founder of the National Podcast Project, which promotes podcasting in the classroom.Shannon and I discuss 'Doing the Work' part during therapy. Often times people champion going to therapy which is a big step but rarely is the homework or the process after each session is highlighted. Shannon and I share our experiences.We also some of the breakthroughs we have had in therapy and share our thoughts on why we feel like black people don't go to therapy.Plus Shannon tells us IT'S ABOUT DAMN TIME for people to go to therapy and Do The Work in therapy.All of this and so much more...It's About DAMN Time!Follow Shannon's Podcast, Blacktivities on IG → hereFollow Shannon's Podcast, U Talk, I'll Listen on IG → hereVisit Black Panache → hereFollow me on Facebook, Twitter, IG, & more @DaWholeDamnShowFollow this on Facebook, Twitter, IG, & more @ItsAboutDamnTimePodDamn University Merch now available click link → HereMentioned in this episode:Build Your BlueprintWe want to help to just start the conversation for you and get your ideas rolling and captured. If you have any level of interest in transitioning into working remotely or you have heard us talk about this life from our podcast, Your Business Besties and you feel like this is something that can really work for you, then we encourage you to lean into this idea and don't miss your opportunity to join Building Your Blueprint - RIGHT NOW! It's only $37 and offered online. Build Your Blueprint
After almost a year-long hiatus, Pete welcomes you back with Episode 40 of Let's Shoot With Pete Chatmon. Join Pete as he goes from 0-100, revisiting just what he's been up to, diving into some mail bag questions submitted by listeners like you, and sharing a sneek peek of what to expect this "season", including a list of upcoming podcast guests... (00:00 - 03:40) -- Podcast Intro(03:40 - 13:05) -- Eleven Things Pete's Been Up To(13:05 - 14:50) -- What's Next For Pete?(14:50 - 15:50) -- "Transitions: A Director's Journey and Motivational Handbook" Promo(15:50 - 20:50) -- How Do You Select What Projects You Want To Work On?(20:50 - 24:40) -- How Do You Maximize Your Relationships With Your Reps?(24:40 - 32:45) -- Working With Intimacy Coordinators (32:45 - 36:00) -- Tackling Challenges Respectfully (36:00 - 37:25) -- Upcoming Podcast Guests(37:25 - 38:11) -- Podcast Outro
If you are a thought leader and influencer in the family, church, marketplace, educational sphere, and beyond, then join CEO Terence Chatmon and Victorious Family for a celebration and gala on 19 April 2023 at the World of Coca-Cola in Atlanta, GA. Victorious Family is committed to family transformation through family discipleship. They have already … The post Victorious Family Celebrates Family Discipleship with Gala Dinner at The World of Coca-Cola: Interview with CEO Terence Chatmon (Episode # 409) first appeared on TRANSLEADERSHIP, INC®.
Terence Chatmon is the President and CEO of Victorious Family, a family discipleship ministry that equips and empowers Family Champions, on five continents, to develop mature and thriving followers of Christ. Author of the five star best-selling book, “Do Your Children Believe?,” Terence offers a proven step by step process to create a personalized family … The post Conversation with Terence Chatmon: Are Your Children Prepared to Defend Their Faith? (Part 2) (Episode 444) first appeared on TRANSLEADERSHIP, INC®.
Terence Chatmon is the President and CEO of Victorious Family, a family discipleship ministry that equips and empowers Family Champions, on five continents, to develop mature and thriving followers of Christ. Author of the five star best-selling book, “Do Your Children Believe?”, Terence offers a proven step by step process to create a personalized family … The post Are Your Children Prepared to Defend Their Faith? with Terence Chatmon (Part 1) (Episode 443) first appeared on TRANSLEADERSHIP, INC®.
With a deft ability to balance both half-hour single camera comedies and one-hour dramas, Pete Chatmon has directed over 50 episodes of television including HBO Max's The Flight Attendant, Insecure, Silicon Valley, and Love Life, Netflix's You, ABC's Grey's Anatomy and Black-ish, Starz' Blindspotting, FX's It's Always Sunny in Philadelphia, and the Apple TV+ series Mythic Quest. He is in development on The Education of Matt Barnes with Showtime, for which he will direct the pilot and serve as executive producer and is currently co-executive producer and producing director on Reasonable Doubt, the first project to be produced via Hulu's Onyx Collective.His debut feature as writer/director, Premium, starred Dorian Missick, Zoe Saldana, and Hill Harper, and premiered on Showtime after a limited theatrical run. Chatmon also wrote, produced, and directed 761st, a documentary on the first Black tank battalion in WWII, narrated by Andre Braugher. Through TheDirector, his Digital Studio, he has directed, shot, and edited content for advertising agencies and Fortune 500 brands. Chatmon's career began in 2001 with the Sundance selection of his NYU thesis film, 3D, starring Kerry Washington. His most recent short film, BlackCard, premiered on HBO, and his narrative podcast, Wednesday Morning, engaged voters around the 2020 election. His podcast, Let's Shoot! with Pete Chatmon is available on YouTube, iTunes, and all podcast platforms. In January 2022 his book, Transitions: A Director's Journey + Motivational Handbook was released by Michael Wiese ProductionsEnjoy my conversation with Pete Chatmon.
Features Drew Chatmon, a young black king striving towards greatness! Talks about receiving 1.5+ million dollars in scholarships, graduating college debt free, defeating procrastination, and more life learned lessons. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Feeling overwhelmed? Author Terence Chatmon offers three challenges for parents to raise spiritually alive kids.Show Notes and ResourcesVictorious Families Kit & Workshop: extra help and support 1 on 1 discipleship.Find information about the IF Conference here.Resource Sale: Resources on FamilyLife Today.Find resources from this podcast at shop.familylife.com.Find more content and resources on the FamilyLife's app!Help others find FamilyLife. Leave a review on Apple Podcast or Spotify.Check out all the FamilyLife podcasts on the FamilyLife Podcast Network
Feeling overwhelmed? Author Terence Chatmon offers three challenges for parents to raise spiritually alive kids. Show Notes and Resources Victorious Families Kit & Workshop: extra help and support 1 on 1 discipleship. Checkout this week's donation offer Resource Sale: Resources on FamilyLife Today. Find resources from this podcast at shop.familylife.com. Find more content and resources on the FamilyLife's app! Help others find FamilyLife. Leave a review on Apple Podcast or Spotify. Check out all the FamilyLife podcasts on the FamilyLife Podcast Network
This week we have a special crossover podcast with the good folks over at JUST SHOOT IT.Pete sat down with Matt Enlow and Oren Kaplan for a second time to chat episodic directing television and how he's been bringing his unique vision to projects since they last talked in August of 2020. When three directors get together things go super in depth, up, down, and sideways. Enjoy!
This episode we sit down the "The Group Home App" founder Eric Chatmon and breaks down how his innovation is changing the community on a global scale. Be sure to follow Eric and keep up with the cause!www.grouphomeinfo.orgwww.grouphomes11@gmail.comYouTubehttps://youtu.be/3NkpGJQrtqcInstagram:https://www.instagram.com/ericchat01/
Kaley Cuoco is an actress, best known for her work in "8 Simple Rules", "Charmed", and "The Big Bang Theory". After discovering the unreleased novel while scrolling through Amazon, "The Flight Attendant" became Cuoco's first project as a producer. In this episode, Kaley joins Pete to discuss the lessons learned from working with John Ritter, landing her role as “Penny Hofstadter” in ‘The Big Bang Theory', transitioning out of sitcoms, mastering the art of multitasking, and more…SHOW NOTES:(00:00:00- 00:06:10) — Pete's Intro(00:06:10- 00:16:05) — Becoming An Actor (00:16:05- 00:20:45) — Lessons Learned From Working With John Ritter(00:20:45- 00:25:00) — "Virtuosity" And Her First Big Break (00:25:00- 00:29:00) — Sitcoms And Comedy(00:29:00- 00:34:30) — Multicam: From Prep to Shoot (00:34:30- 00:36:50) — Landing "The Big Bang Theory"(00:36:50- 00:39:10) — Working With Actors(00:39:10- 00:41:40) — "8 Simple Rules" vs "The Big Bang Theory"(00:41:40- 00:43:15) — Transitioning from Sitcom to Film(00:43:15- 00:44:15) — “Transitions: A Director's Journey And Motivational Handbook” Promo(00:44:15- 00:46:00) — Becoming A Producer (00:46:00- 00:54:30) — Developing "The Flight Attendant"(00:54:30- 00:57:50) — Lessons Learned From Season 1 to Season 2(00:57:50- 01:04:30) — Multitasking And Working With Directors(01:04:30- 01:08:30) — Playing Multiple Versions Of A Character(01:08:30- 01:11:55) — Hopes For "The Flight Attendant'" Season 2(01:11:55- 01:17:17) — A Question For Pete(01:17:17- 01:21:50) — Lightning Round Questions(00:00:00- 00:00:00) - Pete's Outro
#1 Rated Business Show - How to Parent with Parenting Expert Terrence Chatmon How to Parent with Parenting Expert Terrence Chatmon and learn how to get government contracts with Amy Reese from ARC Solutions As always, follow us on Instagram @mr.marketology @iamkcpride You can now watch the #1 Rated Business Show live on Xperienc On Demand, get the app or visit them on the web to learn more visit https://xperienc.tv/ The #1 Rated Business Talk Show is a mix of fun and informative interviews. We broadcast all over the globe. The show is Hosted by “Mr. Marketology,” Jeff Beale and “The Rockstar of Branding,” K.C. Pride. We sit down with today's industry leaders, politicians, entrepreneurs, and celebs and cover business related topics to help you build and grow your business. “LIVE” every M-F | 10-11am --- Send in a voice message: https://anchor.fm/1ratedbusinessshow/message
On this special craft episode, Pete highlights the importance of “blocking” when shooting scenes for television. Pete talks in depth about understanding which character has the most important entrance, identifying which angle provides the most meaningful coverage for the characters, how blocking can help communicate the subtext of a scene, doing your research on a show's “typical” style, and more…SHOW NOTES:(00:00:00- 00:03:30) -- Pete's Intro(00:03:30- 00:05:35) — What Separates A “Good” Director From A “Great” Director?(00:05:35- 00:08:45) — Knowing What Projects To Pursue (00:08:45- 00:10:15) — Directing A TV Show vs Film(00:10:15- 00:12:20) — Prep, Prep, Prep(00:12:20- 00:16:20) — Utilizing Your Agents/Managers When Starting Out(00:16:20- 00:17:45) — “Blocking” Definition…(00:17:45- 00:19:25) — Which Direction Provides The Most Depth For Master Shot?(00:19:25- 00:21:30) — Which Character Has The Most Important Entrance?(00:21:30- 00:23:00) — Which Angle Provides The Most Coverage For The Characters?(00:23:00- 00:29:30) — What Blocking Helps Communicate The Subtext Of A Scene?(00:29:30- 00:30:30) — “Transitions: A Director's Journey And Motivational Handbook” Promo(00:30:30- 00:31:45) — Blocking With The Least Amount Of Camera Angles(00:31:45- 00:34:45) — How Does The Show Tend To Shoot Scenes Like This?(00:34:45- 00:35:45) — How Important Is This Scene To The Episode?(00:35:45- 00:37:50) — The 7 Questions To Consider When Blocking An Episode(00:37:50- 00:37:00) — Pete's Outro*** Watch on YouTube: https://bit.ly/37iekw1*** Get your Director's merch: https://www.drctr.video/
Sera Gamble is a writer and producer, best known for her work on "Supernatural", "The Magicians", and Netflix's hit series "You". In this episode, Sera sits down with Pete to talk about her 10,000 hour long journey from poetry to screenplays, television screenwriting's chain of command, writing a story through the eyes of Joe Goldberg, social media's influence on storytelling and more…SHOW NOTES:(00:00:00- 00:05:30) — Pete's Intro(00:05:30- 00:8:05) — From Cincinnati To California (00:8:05- 00:10:10) — First Time Being Inspired By A Story (00:10:10- 00:14:20) — Writing And Story Process (00:14:20- 00:18:30) — Path To Screenplay Writing (00:18:30- 00:22:30) — 10,000 Hours (00:22:30- 00:27:50) — Entering ‘Project Greenlight'(00:27:50- 00:32:20) — Stepping Into Television Writing (00:32:20- 00:35:00) — Chain Of Command(00:35:00- 00:40:25) — Running A Show And Working With Directors (00:40:25- 00:41:20) — “Transitions: A Director's Journey And Motivational Handbook” Promo(00:41:20- 00:48:22) — Supporting Characters And Joe Goldberg(00:48:22- 00:53:00) — Social Media Influence On Storytelling (00:53:00- 01:02:00) — Lightning Round Questions(01:02:00- 01:03:15) — Pete's Outro*** Watch on YouTube: https://bit.ly/37iekw1*** Get your Director's merch: https://www.drctr.video/
On this special Craft Episode, Pete answers a handful of questions given to him by listeners like you. Pete discusses the importance of blocking a scene in preparation for rehearsals, redefining your expectations when executing a project, the benefits of putting together a web-series, directing actors, and more. The episode concludes with a live reading from the “Introduction” of his new book, “Transitions: A Director's Journey And Motivational Handbook”, available now...SHOW NOTES:(00:00:00- 00:09:45) — Pete's Intro/Updates(00:09:45- 00:18:00) — Tips For Running Rehearsals(00:18:00- 00:21:35) — Directors Editing Projects (00:21:35- 00:24:00) — Teaching At NYU(00:24:00- 00:28:10) — Benefits Of Making A Web-Series(00:28:10- 00:30:26) — Director's Cut vs. Delivery (00:30:26- 00:32:55) — Redefining Your Expectations (00:32:55- 00:36:00) — Directing Actors (00:36:00- 00:37:00) — “Transitions: A Director's Journey And Motivational Handbook” Promo(00:37:00- 00:48:40) — Pete Reads The Introduction (00:48:40- 00:49:20) — Pete's Outro*** Watch on YouTube: https://bit.ly/37iekw1*** Get your Director's merch: https://www.drctr.video/
Kelly Edwards has made her mark at more than a dozen studios and production companies over her 30 year journey. From inside the network ranks to her recent producing deal with HBO, Kelly is currently living out her dream as a writer on Fox's “Our Kind Of People”. On this episode, Kelly joins Pete to talk about the importance of having a support system and fighting fear, overseeing emerging artist diversity programs, developing HBO access, the creation of her book “The Executive Chair: A Writer's Guide To TV Series Development”, and more…SHOW NOTES:(00:00:00- 00:07:10) — Pete's Intro(00:07:10- 00:13:00) — What Makes A Good Story?(00:13:00- 00:15:25) — First Story That Made An Impact (00:15:25- 00:18:30) — Film Education(00:18:30- 00:23:15) — Early Stages Of Career(00:23:15- 00:35:50) — Having A Support System And The Desire (00:35:50- 00:44:00) — Path To Executive Chair (00:44:00- 00:56:25) -- Diversity Initiative And Hiring POC(00:56:25- 00:57:20) -- “Transitions: A Director's Journey + Motivational Handbook” Promo(00:57:20- 01:11:00) — Working With “HBO Access”(01:11:00- 01:18:55) — Landing Her HBO Deal(01:18:55- 01:22:20) — Writing “The Executive Chair” (01:22:20- 01:30:55) — Hardest Chapter To Write(01:30:55- 01:43:10) — Lightning Round Questions(01:43:10- 01:45:00) — Pete's Outro*** Watch on YouTube: https://bit.ly/37iekw1*** Get your Director's merch: https://www.drctr.video/
Crystle C. Roberson is best known for her work on OWN's ‘Greenleaf', ‘All American' on the CW, and ABC's ‘Queens'. Inspired by a scene from Spielberg's ‘The Color Purple', Crystle went from photography to producing director. On this episode, Crystle joins Pete to talk about merging photography with motion picture, shooting short films over the weekends, the do's and don'ts of directing television, a day in the life as a producing director, and more…SHOW NOTES:(00:00:00- 00:05:16) -- Pete's Intro(00:05:16- 00:9:50) -- Introduction To Photography & Film(00:9:50- 00:13:30) — Growing Up In Macon (00:13:30- 00:17:00) — Carving Your Own Path(00:17:00- 00:21:45) — Merging Photography With Motion Pictures(00:21:45- 00:27:55) — How Much Should You Really Know?(00:27:55- 00:31:00) — Shooting Shorts On The Weekends(00:31:00- 00:34:35) -- Being An Assistant(00:34:35- 00:38:44) -- Getting Into The DGA & Director's Journey(00:38:44- 00:39:40) — “Transitions: A Director's Journey And Motivational Handbook” Promo(00:39:40- 00:46:30) — Do's & Don'ts Of Television Directing (00:46:30- 00:54:00) — Being A Producing Director (00:54:00- 01:03:40) — Directing Directors (01:03:40- 01:13:35) — Day In The Life On Set(01:13:35- 01:18:40) — Maintaining The Tone Of The Show (01:18:40- 01:20:55) -- Giving Input During Post(01:20:55- 01:25:30) -- What's Next For You?(01:25:30- 01:30:50) -- Lightning Round Questions(01:30:50- 01:16:52) -- Pete's Outro*** Watch on YouTube: https://bit.ly/37iekw1*** Get your Director's merch: https://www.drctr.video/
Geeta Gandbhir got her start working as an Assistant Editor for Spike Lee films like “Malcolm X”, “Clockers”, and “Bamboozled”. It wasn't until post 9/11 that she transitioned from narrative films to documentaries. On this episode, Geeta joins Pete to talk about the role of an editor and what makes them good, her process when it comes to selecting scenes in post, her transition into directing, and the making of her HBO miniseries “Black and Missing”…SHOW NOTES:(00:00:00- 00:05:11) -- Petes Intro(00:05:11- 00:08:00) -- What Makes A Good Story?(00:08:00- 00:10:50) —Three Acts Vs. Five Acts(00:10:50- 00:15:45) —Getting Into Filmmaking (00:15:45- 00:18:15) —What Does An Editor Do? (00:18:15- 00:23:55) —What Makes A Good Editor?(00:23:55- 00:27:00) —Working On “Malcolm X”(00:27:00- 00:34:20) -- Pivotal Moments And Switching To AVID(00:34:20- 00:36:35) -- Screening And Selecting Takes (00:36:35- 00:37:33) — “Transitions: A Directors Journey And Motivational Handbook” Promo(00:37:33- 00:42:30) — Transitioning From Narrative To Documentary(00:42:30- 00:47:55) — Approaching Documentaries As Narratives (00:47:55- 00:52:10) — Transitioning Into Directing (00:52:10- 00:58:20) — The Making Of “Black and Missing” (00:58:20- 01:03:20) — What is “Black and Missing”?(01:03:20- 01:14:40) - Lightning Round Questions(01:14:40- 01:16:52) - Petes Outro*** Watch on YouTube: https://bit.ly/37iekw1*** Get your Director's merch: https://www.drctr.video/
DGA Award-winning Dan Attias is one of the most accomplished and respected Directors working in television today. You've likely marveled at his creative choices on episodes of "Homeland", "Billions", "The Wire", "The Americans", "The Sopranos", and more. He's also written the book, "Directing Great Television: Inside TV's Golden Age". On this episode, Dan joins Pete to talk about facing the blank page, taking responsibility for being the storyteller, acknowledging the many ways you can approach a story, his guiding principals for each stage of filmmaking and more…SHOW NOTES:(00:00:00- 00:06:00) -- Pete's Intro(00:06:00- 00:12:35) -- What Makes A Good Story?(00:12:35- 00:20:30) —The Film That Impacted You & Pushed Your Filmmaking Agenda(00:20:30- 00:27:45) —The Most Important Question To Ask Yourself(00:27:45- 00:34:04) —Early Stages, From Acting to AD(00:34:04- 00:34:59) —“Transitions: A Directors Journey And Motivational Handbook” Promo(00:34:59- 00:46:00) —Top 3 Takeaways From Being An Assistant Director (00:46:00- 00:51:15) -- Acknowledging The Many Ways To Approach A Story(00:51:15- 00:58:50) -- Transitioning To Episodic Directing (00:58:50- 01:03:50) — Getting Into Comedy Directing (01:03:50- 01:07:20) — Connection Between Features and Premium Cable(01:07:20- 01:12:00) — Film vs. Digital Filmmaking(01:12:00- 01:16:00) — Taking Responsibility For Being The Storyteller(01:16:00- 01:19:24) — The Gift of Directing(01:19:24- 01:29:40) — Guiding Principal For Prep, Production, and Post(01:29:40- 01:33:30) - Lightning Round Questions(01:33:30- 01:35:02) - Petes Outro*** Watch on YouTube: https://bit.ly/37iekw1*** Get your Director's merch: https://www.drctr.video/
We hear a lot today about the importance of creating equitable learning environments for all children -- providing each child what they need to be successful, which means some might need more than others depending on their starting point. We also hear a lot about backlash against some of those efforts. So when ideas about equity vary from community to community, how does it get implemented? Does an environment that is equitable for one child necessarily mean it becomes unequitable for another? Where is the balance – and how does it get struck? LaShawn Chatmon is the founding Executive Director and Kathleen Osta is Managing Director of the National Equity Project. NEP works with education leaders nationally on these very questions – helping design and implement community-appropriate approaches to equitable learning. Both have worked in schools – LaShawn as a teacher and leader, Kathleen as a social worker –and, can offer practical guidance on how to build and implement approaches that work. For more information, go to www.turnaroundusa.org/podcast.
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