Podcasts about Cooke

Megyn Kelly is joined by Charles C.W. Cooke and Madeleine Kearns of National Review to talk about former President Donald Trump's grenades being tossed at his potential opponent Gov. Ron DeSantis, whether DeSantis will fight back or continue to take the high road, whether VP Kamala Harris is smart or not and if she's a political liability, comparing Harris and Nikki Haley to Margaret Thatcher, Joe Biden's surrogates and wife trying to make him out to be Superman, Biden's supposed "epiphany" on gay marriage seeming to be a lie, Biden's actual record on "marriage equality," Drew Barrymore's incredibly cringe interview with trans celebrity Dylan Mulvaney where she literally kneels before Mulvaney, and more. Then Dave McCormick, author of "Superpower in Peril," joins to discuss what led to the Silicon Valley Bank debacle thanks to Biden's economic policy, Gov. Gavin Newsom's association with SVB, John Fetterman's ongoing absence in the Senate, China and Russia putting America's place in the world at risk, fixing America's biggest problems, and more.Find more about National Review's NR Plus here: https://nationalreview.com/nrplus-subscribe Follow The Megyn Kelly Show on all social platforms: YouTube: https://www.youtube.com/MegynKellyTwitter: http://Twitter.com/MegynKellyShowInstagram: http://Instagram.com/MegynKellyShowFacebook: http://Facebook.com/MegynKellyShow Find out more information at: https://www.devilmaycaremedia.com/megynkellyshow 

Dr Cooke used to sing and dance! Now he rests, and plants his garden while doing nothing illegal at all. Nope! Nothing bad happening in this town! Nothing to see here except Bing Crosby's last acting role. Hosted on Acast. See acast.com/privacy for more information.

When he's not writing his National Review column or rooting-on the Jaguars, Charlie Cooke is loving the Constitution he swore an oath to and loathing the proposed student loan transfer scheme he did not.  

Cathy Cooke discusses electromagnetic hypersensitivity – how it affects are health what are the symptoms and what we need to know in order for us to take back our health.   Ms. Cooke, a certified expert in Holistic Nutrition and Building Biology, digs deep to address underlying imbalances in the body from a functional medicine perspective as well as addressing the health of your home and workplace. All of these areas are evaluated and brought into balance so you can live your best life possible. She has been working as an Integrative Health Coach since 2014. She is a Board Certified Holistic Nutritionist with the National Association of Nutritional Professionals. Recognizing that many of her clients were “doing everything right” yet still suffering from health issues, she realized that many home and work environments were contributing to illness. Seeing dramatic improvements in her own health after limiting radio frequency exposure from wifi and cell phones, she received training and certification from the International Institute of Building Biology and Ecology, affording her the expertise to evaluate all areas in a persons life that may be contributing to illness.   

Host Hunter Cruse is joined by co-host Em Adler for detailed scouting reports on South Carolina's Zia Cooke, Virginia Tech's Taylor Soule and Oregon's Endyia Rogers Learn more about your ad choices. Visit podcastchoices.com/adchoices

Shelbourne legends Stuey Byrne & Seana Cooke joined Adrian & Shane in studio to chat about their new colouring book 'Girls in Green'. Catch OTB's sports breakfast show LIVE weekday mornings from 7:30am or just search for OTB AM and get the podcast on the OTB Sports app or wherever you listen to yours. SUBSCRIBE and FOLLOW the OTB AM podcast. #OTBAM is live weekday mornings from 7:30am across Off The Ball, in association with Gillette | #EffortlessFlow

“Summer House” star Kyle Cooke is setting the record straight on a few things on this episode. The reality star shares details about his time on "Traitors," and this season of "Summer House." Cooke also opened up about his wife, Amanda Batula's fertility struggle and how it is “more complicated” than fans realize. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's a return to the old days for the Cooke family of Greytown who are inviting people to come with their buckets and baskets to pick their own apples fresh off the tree. It's been a struggle for Molewood Orchard to keep going in the pandemic and it's hoped PYO will stop apples going to waste and houses from taking over the fertile soil.

Episode 340- Veteran art handler and preparator Bryan Cooke talks about: Cooke's Crating, the business he started back in 1975, and how it's essentially a service business, one that has grown with the art market, particularly in the last 10 years; why they don't use the word ‘art' in the company title, and how they discreetly move art around, especially high-priced works; how and why he self-published his book, Art Can Kill; some of his near-death experiences in art handling, including two involving elevators (one of my least favorite places); why he put himself in the line of risk, shielding his employees from danger; and he tells a condensed version of an epic story from the book in which a client for all intents and purposes kidnaps Bryan and his colleague during a moving job, on a large estate outside Chicago.

We celebrated International Women's Day by honoring some of the incredible women in our lives. Plus, Ashley Cooke stops by and talks about new music, the full-circle moment that happened with her current single "It's Been A Year" and which artist has the best catering on tour! Then, Lunchbox and his wife are in a big debate because of something that happened to her laptop, and now she thinks he owes her a new one. But he thinks she should pay for it. Hear what happened whose side you're on!See omnystudio.com/listener for privacy information.

Andreas discusses his journey of becoming an entrepreneur and how he is able to manage multiple businesses at one time. Social media handles: IG: @bankedoutt_radio_show Twitter: @BankedouttRadioShow FB: Bankedoutt Radio Show YouTube: Bankedoutt Radio Show Website: www.bankedouttradioshow.com --- Send in a voice message: https://anchor.fm/tipswithte/message Support this podcast: https://anchor.fm/tipswithte/support

TODAY’s GUEST IS Charisse Cooke! Today’s guest is Charisse Cooke! Charisse Cooke is a psychotherapist with over nineteen years of professional experience. She works in private practice in London and is also an online educator through social media. Specialising in relationships, Charisse offers challenging, hard-hitting advice to anyone wanting more honest and authentic relationships. She... The post Episode #169 Charisse Cooke on relationships fixes, communication hacks and why therapy can be life-changing! first appeared on Next Level Guy.

Today we're excited to have Robert Cooke, the founder and Principal Architect of 3Forge, a New York-based fintech company that focuses on solving complex data problems in the accounting world. Robert joins Count Me In to share his story about his lifelong passion for computers and his journey to founding 3Forge. He breaks down the three buckets of data that the company focuses on: real-time streaming of data, asking computers about data, and data entry. Robert emphasizes the importance of having the right technology in place to analyze data properly and shares his experience working with various organizations to solve their data problems. Join us as we explore the fascinating world of fintech and data.

Charles Cooke is back on the show this week. The National Review senior writer is an expert on gun policy and politics. He is also a Florida Man. So, he's the perfect person to come on and talk about Governor Ron Desantis's (R.) latest push to institute new gun reforms. Cooke said Desantis's push to implement permitless gun carry and banking reforms designed to pressure financial institutions into continuing to work with gun businesses is likely to succeed. Republicans have supermajorities in both houses of the state legislature and Desantis has worked more closely with lawmakers than previous governors. So, Cooke said the bills are almost certainly going to become law by the end of the session. He argued both reforms are good policies. But, beyond the merits of the proposals, he also said the move will help Desantis in the upcoming Republican presidential primary. He said Desantis needs those pro-gun accomplishments to fend off attacks from his right on the issue. He pointed to Georgia Governor Brian Kemp and Texas Governor Greg Abbott as contenders who could credibly go after him if he doesn't get these bills through. Of course, Cooke also stacked up the potential legislative accomplishments for Desantis against former president Donald Trump's record on guns. Permitless carry and pro-gun banking reforms would give Desantis a stronger legislative record than Trump. And Trump's infamous comments expressing a desire to take troubled people's guns and have due process afterward only helps Desantis. But Trump also appointed three Supreme Court justices who were in the Bruen majority, which is clearly a major trump card. Plus, Contributing Writer Jake Fogleman and I talk about the California city trying to charge people $1,000 for a gun-carry permit. And Reload Member Liz Mair tells us about how guns have played a role in her life and why she comes to The Reload for gun news. Special Guest: Charles Cooke.

We are joined on today's podcast by BRILLIANT LIFE coaches, Theresa Cooke and Jenny Taylor! In this extended interview, we'll be exploring: + why boundaries and behavior modification are not setting you FREE… + why shame and guilt are just INDICATORS of an upgrade that's already available… + how the cross created an ENTIRELY NEW starting place for you with God… + and how you can EXPERIENCE the same love the Father has for Jesus… Want to join the conversation? Let us know what impacted you the most from today's episode, for a chance to be featured on the podcast! As always, thanks for listening!

This week, in honor of Houston Tech Rodeo, let's check in on the Houston innovation ecosystem — how far it's come and where it's going. 

In this episode of The Negotiation podcast, we are thrilled to be joined by Joseph Cooke. Joseph is the Co-Founder and President of WPIC Marketing + Technologies, and he recently returned from his first trip to China in 38 months, having spent a week and a half there. As one of the first North American business people to visit China since the initial COVID lockdowns in 2019, we thought it would be a great opportunity to bring him back on the show to share his insights on the current situation in China. Today, Joseph provides insights into the changes in China he's seen over the 3 years since he last visited. Our discussion focuses on China's economy and markets, examining how the country is expected to evolve in the future.  We discuss sectors in China that have undergone significant transformations before concluding with a discussion on major upcoming marketing, sales, and shopping events in the country. If you plan to expand your business into this lucrative market or even travel to China in the coming year, don't miss out on this episode. Enjoy! Topics Discussed and Key Points:●      Joseph's life in China pre-COVID●      Arriving in China and going through the airport●      Domestic travel in China●      Rebuilding connections ●      China's economy and where it is heading●      China's welcoming of foreigners post-COVID●      Sectors in China that have seen a drastic metamorphosis●      Changes in the Chinese market over the previous few years●      Habits in China impacted by COVID ●      Micro breakdowns of specific sub-sectors ●      Queens Day and 618- the major holidays in H1 in China

Hour 2 of A&G features the costs of our open border policy, some Charles C.W. Cooke excellence, the weird conversation about giving Ukraine F-16s and more! See omnystudio.com/listener for privacy information.

Hour 2 of A&G features the costs of our open border policy, some Charles C.W. Cooke excellence, the weird conversation about giving Ukraine F-16s and more! See omnystudio.com/listener for privacy information.

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

Hour 2 of A&G features the costs of our open border policy, some Charles C.W. Cooke excellence, the weird conversation about giving Ukraine F-16s and more! See omnystudio.com/listener for privacy information.

In 1843, Cathay Williams was born to an enslaved woman and a free black man, ironically in Independence, Missouri. It is hard to know an exact day, because records were not kept for the birth of slaves, and if you were born to an enslaved woman, you were born property. Cathay's childhood was spent on the outskirts of Jefferson City, Missouri, working for years as a house slave on the plantation of a wealthy planter by the name of Johnson.   Union forces took over Jefferson City in the early stages of the Civil War. Slaves were released and persuaded to serve in voluntary military support roles.   Captured slaves within Union lines were officially designated as contraband. When we say contraband today, usually the first thought would be illicit drugs, or something else forbidden. But back then, humans were labeled Illegal goods, “contraband.”  Over 400 women served in the Civil War posing as male soldiers. Today we are talking about  Cathay Williams, the only known female Buffalo Soldier. Williams was not only the first black woman to enlist, but the only documented woman to serve in the United States Army, while disguised as a man, during the Indian Wars. She was a pioneer for the thousands of American women serving in armed forces in the United States today.   Season 3 features inspiring, gallant, even audacious stories of REAL 19th Century women from the Wild West.  Stories that contain adult content, including violence which may be disturbing to some listeners, or secondhand listeners. So, discretion is advised. I am Andrea Anderson and this is Queens of the Mines, Season Three.   As contraband, Cathay was taken to Little Rock by Col. Benton of the 13th army corps and “pressed” into serving. She did not want to go. Benton wanted her to cook for the officers, so Cathay learned the skill. At 17, her role as an Army cook and washerwoman under the service of Union General Philip Sheridan took her all over the country. She saw the soldiers burn lots of cotton. During these travels, Williams was at Shreveport when the rebel gunboats were captured and burned on Red River, and witnessed Comanche, Kiowa, Southern Cheyenne, and Arapaho tribes relocated to reservations during the Red River campaign in Texas. She was there for the  Shenandoah Valley raids in Virginia, and saw the union defeat the Confederates, despite being outnumbered at the Battle of Pea Ridge in Fayetteville Ar. The work brought her to Iowa, Louisiana, Georgia and back home to her home state of Missouri. The lure of independence was undeniably attractive to a female young, unmarried former slave. So, in St. Louis, Missouri, she voluntarily enlisted for a three-year engagement in the U.S. army on November 15, 1866, this time to fight. Despite the prohibition against women serving in the military. The recruiter described her as William Cathay, a 5′ 9″ tall male with black eyes, black hair and black complexion. But in actuality, she was the first black female soldier to enlist with the Army. Only 4 months after Congress passed a law authorizing the formation of six all-black army units, after the Union Army had seen the value of black soldiers in the military and thought they should have the opportunity to join the peacetime army.  You would think an Army surgeon should have been able to identify Williams as a woman during the cursory examination, but the Army didn't require full medical exams then.     Williams said, “The regiment I joined wore the Zouave uniform,” which was  a distinctive jacket, vest, sash, baggy trousers, and fez. She continued to say that “only two persons, a cousin and a particular friend, members of the regiment, knew that I was a woman. They never ‘blowed on me. These particular friends were partly the reason Williams joined the Army. She could shoot, march and stand guard with the best of them and performed regular garrison duties. A garrison is a group of soldiers whose task is to guard the town or building where they live. Soon, orders transferred the new recruits out west to protect pioneers traveling through one of the most dangerous routes to California, called Cooke's Canyon.  In April of 1867, her troop marched to Fort Riley, Kansas, by July they had made it to Fort Union Mexico and arrived at Fort Cummings NM on October 1, 1867. They would remain stationed here for the next 8 months.  Williams had joined the army's fight against the Indigenous people. Health struggles began to plague Cathay.  She became feeble both physically and mentally, and much of the time quite unfit for duty. Smallpox was the most debilitating, but the back-to-back hospitalizations during eight months off sick leave were the most devastating. At Fort Cummings in New Mexico,  her body really began to show signs of strain. Maybe it was the heat, maybe  the effects of smallpox, or the years of marching. But the biggest blow came when the post surgeon discovered Cathay Williams, or William Cathay, was a woman. The surgeon informed the post commander. She said, “the men all wanted to get rid of me after they found out I was a woman. Some of them acted real bad to me.” Williams was honorably discharged by her commanding officer, Captain Charles E. Clarke on October 14, 1868 at at Fort Bayard, New Mexico, It was the end of her tenure in the Army, but her adventure as William Cathay had just gotten started. Again, dressed as a man, Cathay signed up for the 38th U.S. Infantry, an emerging, segregated all-black regiment. The 38th U.S. Infantry would eventually become part of the Buffalo Soldiers. Cathay and her fellow black comrades were named Buffalo Soldiers by the Plains Indians because they were fierce fighters, and they had short curly hair like the buffalo. The Buffalo Soldiers fought in skirmishes with Native Americans, escorted vulnerable wagon trains, built forts, mapped the territory, and protected white settlers – all with sub-par equipment. They showed tremendous skill. She is the only known black female soldier a part of the Buffalo Soldiers. Williams was adrift after the war but wanted to remain independent and self-sufficient.  She was accustomed to the Military providing shelter, education and medical care. She saw it as far superior to the uncertainties of civilian life as a liberated slave. As a newly freed slave, post-war job opportunities were practically nonexistent. The inequality and lack of access was smothering, particularly in the southern states. Most had no choice but to turn to military service to survive.  She went back to living under her original name and headed to Pueblo, Colorado, where her mother ran an orphanage and she was able to secure work as a cook. She was married there, but it ended fast after her husband was arrested for stealing her watch and chain, a hundred dollars and her team of horses and wagon. She had him arrested and put in jail. She moved to Trinidad, Colorado, and took on jobs as a seamstress, laundress and part time nurse under the name Kate Williams. But only after first passing as a male by the name of James Cady upon arrival.   The kids in town were afraid of her, she  was tall and dark with a masculine appearance. He walk had a limp due to her amputated toes.  She liked Trinidad. She knew good people there and had dreams of success. She hoped to take land near the depot when the railroad finally came in. She said, “Grant owns all this land around here, and it won't cost me anything. I shall never live in the states again.”  Trinidad had its own lil rush in the early 1870's when gold was discovered in the Spanish Peaks. In 1876, Trinidad was officially incorporated only a few months before Colorado became a state. There were about 50 to 60 mine shafts operating there, and one of them was owned and operated by one of Abraham Lincoln's sons.     Are you enjoying the podcast? Make sure to subscribe, rate, review and find us on facebook and instagram. You can join the biggest fans behind the scenes at patreon.com/queensofthemines, or give a one time tip via venmo to, @queensofthemines   Her life story went public while Williams was in Trinidad. A reporter from her home state of Missouri heard rumors of the black woman who faked her way into the army, and came to Trinidad from St Louis to meet her. She told the reporter,  “I wanted to make my own living and not be dependent on relations or friends. Cathay Williams' adventures were breaking news when it was published in the St. Louis Daily Times on January 2, 1876. She became well-known to most Trinidad residents, especially the older ones.  In 1891, Williams applied for a disability pension through the Army. She was now 49 years old.  At 52, she was suffering from neuralgia, loss of hearing, rheumatism and diabetes. She walked with a crutch, for all of her toes had been amputated. Her pension was denied. She had lied, and posed as a man to serve the country that had enslaved her. But women would not be allowed to serve in the army until 1948.  Historians argue about the time and location of her death but  most signs point to  Cathat Williams passing away in Trinidad in 1924 at the age of 82. It was said that she was very sick and had been without fire or food for several days.  Something else that I find fascinating about Trinidad. Trinidad is dubbed the Gender Reassignment Capital of the World. Dr Stanley Biber was a veteran surgeon returning from Korea in the 1960s. He moved to Trinidad, to be the town surgeon. In 1969, he performed his first Gender Reassignment for a local social worker, did a good job and earned a good reputation at a time when very few doctors were performing the surgery.  He was performing 4 gender reassignment surgeries a day in his peak years.  Haskell Hooks of Trinidad, Co wants to erect a local statue to honor Cathay Williams.  If you want to donate to the gofundme you can search Memorial Statue for Ms Cathay Williams, on the gofundme site. Its important to note Cathay is spelled Cathay. He has spent several years researching her story and is attempting to raise $50,000 to have the statue created by a New Mexico sculptor. He has organized several fund-raising events to cover the cost, including T-shirt sales and activities at Flo-Jo's Tavern & BBQ in downtown Trinidad and a gofundme page. I found this quite interesting, considering I just spent two days in Trinidad in November. While I was there, I had no idea who Cathay was, but I managed to stay right next to the location of her old house anyways. She lived at the corner of Second and Animas streets, and on West First Street ; the original homes no longer stand. It all leads me to wonder how far will you go to get what you want ?   _____________    

Canadian high performance with Dana Cooke and Colleen Loach. Hear all about Dana's trip to the World Championships and how she dealt with the last minute change of plans. Then, we speak with Colleen about her plans and her recent success in the Grand Prix arena. 

From kicking on the field to scratching in the leaves, Logan Cooke is a busy guy! And he's in the camo cave this week! Join us as we sit down with the Jacksonville Jaguars' Punter and get his thoughts on aquiring HIS OWN fist full of dirt and how he spends his off-days. Thank you for listening! 

On today's episode we have a glass of Burning Chair by Savage and Cooke! Continuing our finishing series, this is a bourbon finished in cabernet  wine barrels.  We talk about wine makers as blenders, collaboration in the bourbon world, and….water.  All that and more on today's episode of Whiskey Chasers!Our Website is www.whiskeychaserspod.com, check us out! Thanks, and enjoy the show!Be sure to show some love for the company that brought you today's bottle!https://www.savageandcooke.com/spirits/burning-chair-bourbon/ Our patreon is https://www.patreon.com/Whiskeychaserspod  You can also sign up through buzzsprout! This is not the first time we have had a bottle on the podcast from Savage and CookeWe had their bad sweater on about a year ago. Sad news is that they have changed their bottle for their productsJust clear glass, but same shapeThe matte black was better in my mind. The Burning chair was the first, anticipated, release from David Phinney for his whiskey company. David Phinney is a winemaker, a highly acclaimed winemaker at that. Creator of Orin Swift CellarsBest known for his creation: The Prisoner Now, while David is a great winemaker, he is not so much a distiller of whiskey. He sources from Indiana, Kentucky, and TennesseeBlends them, with the youngest going in at 4 years oldFinishes them in used barrels from his Napa Valley Cabernet projectsMashbill:Technically it is a high rye mashbill75% corn 21% rye and 4% Malted BarleyBarrel picksThey do some interesting private picksThey allow people to pick the wine barrels they are finished in and what percentage from those barrels are used in the blend for the final productThey also allow them to pick the proofEditor Steve notesPrice:$40ChrisIts bulliet as far as the bourbon goesThe finishing makes it amazingThe cab lingersTeam splinter groupGood with red meat mealsCodyThe flavor lingers longer than angels envyNot as long as woodinvilleIts goodTeam splinter groupIt does drink a little hotterSupport the showWebsite:www.whiskeychaserspod.comPatreon: https://www.patreon.com/WhiskeychaserspodFacebook:https://www.facebook.com/whiskeychaserspodcastInsta:https://www.instagram.com/whiskeychaserspodcast/TikTok:https://www.tiktok.com/@whiskeychaserspodcastThanks For Listening! Tell a Friend!

Moira Hannon speaks to Kate Cooke, of Quinlan & Cooke restaurant; Pearse Doherty, Sinn Féin Spokesperson on Finance, and Finance Minister Michael McGrath, on cost of living supports.

Janis Cooke Newman is the author of a memoir and two award-winning novels. She is the founder of Lit Camp, a nonprofit dedicated to supporting writers. Janis is also a long-time meditator, and has taught writing and mindfulness workshops at Esalen and through the San Francisco Zen Center, where she practices. 

This week I'm excited to welcome Chris Kresser to the podcast. He's a globally recognised leader in the fields of ancestral health, paleo nutrition, and functional / integrative medicine. He is the creator of ChrisKresser.com, one of the top 25 natural health sites in the world, and the author of the New York Times best seller, Your Personal Paleo Code (published in paperback in December 2014 as The Paleo Cure). Chris has been studying, practicing, and teaching alternative medicine for more than fifteen years. Chris's work is informed by his own experience recovering from a chronic, complex illness which began while he was traveling in Southeast Asia in his early 20's. After seeing more than twenty doctors around the world and spending thousands of dollars in an effort to diagnose and treat his condition, Chris decided to take his health into his own hands. Through extensive study and research, continual self-experimentation, and formal training in integrative medicine, he recovered from this debilitating illness and went on to share what he learned with others through his popular blog, podcast, and private practice. Some questions asked during this episode: Is nutrient deficiency common these days if following a ‘healthy diet'? What is the most accurate method to measure our nutrient profile? What are the most common deficiencies? https://180nutrition.com.au/ Stu (00:14) This week, I'm excited to welcome Chris Kresser back to the podcast. Chris is a leader in functional medicine and ancestral health. (00:34) He's a New York Times bestselling author and the creator of one of the world's most respected natural health websites. In this episode, we discuss the importance of nutrient density, including deficiencies, accurate ways to measure, and supplementation. Over to Chris. (00:52) Hey guys. This is Stu from 180 Nutrition, and I am delighted to welcome back Chris Kresser to the podcast. Chris, how are you? Chris (00:59) I'm great, Stu. It's a pleasure to be back with you. Stu (01:03) Oh. Look, I really, I'm really looking forward to this conversation, because you are one of the big players, the heavy hitters in this industry with a voice, I think, that people respect, and you've had a whole heap of conversations that have been extremely thought-provoking. But for all of our listeners that may not be familiar with you or your work, and there won't be many, but I'd love it if you could just tell us a little bit more about yourself, please. Chris (01:29) Sure. I'll give you the very short version. I was in my early 20s, traveling in Indonesia, not too far from you and doing some surfing, and I got really sick with a classic kind of tropical illness. It was actually near death in a little village in [inaudible 00:01:48] for a few days and, fortunately, an Aussie who was staying in that village had some antibiotics that helped bring me back from the brink, and that started what became a 10-plus year journey back to health. Along the way, I discovered functional medicine and a paleo type of diet, both of which were instrumental in my recovery. (02:12) As I made progress in my own journey, people began to ask questions. They saw what was happening with me, and they saw how sick I was, and how I was recovering, and they got curious. I shared what I had learned along the way, and at some point a lo in that process, I decided to go back to school to study medicine, functional medicine, in order to translate that experience into something that could help other people. And so about 12, 13 years ago, I started my functional medicine practice, treated thousands of patients since then, and then in 2016 started a training program for other functional medicine doctors to train them in functional medicine, and then launched a health coach program and wrote some books. For full interview and transcript:  https://180nutrition.com.au/180-tv/chris-kresser-interview2/

Former LSU soccer captain Shannon Cooke, who recently signed with West Ham United Women's professional club on Jan. 31, joined Cody Worsham on this week's edition of Tigers Win. Cooke walked down memory lane from her time in Baton Rouge and looked ahead to an exciting future as she kicks off her professional career in East London. --- Send in a voice message: https://anchor.fm/heyfightinpodcast/message

We are kicking off Season 8 with a bang! We're discussing a topic we've meant to cover since Day 1: mixed tapes and CDs. Have you ever made one of somone? Has anyone ever made one for you? What do they mean? Are they always romantic gestures? Do they even matter in the day and age of streaming / playlists? All these questions and more answered as Michelle & Russ welcome Garrett from EverTrending Story to discuss this great topic with us.

Sam Cooke was a lot of things: soul superstar, civil rights champion, whip smart entrepreneur. But he was also a serial womanizer with an unbridled libido. On December 11, 1964, Cooke was shot to death by Bertha Lee Franklin, manager of the Hacienda Motel in Los Angeles. The killing was ruled a justifiable homicide due to Cooke's unruly, drunken behavior, which involved him holding another woman captive in his hotel room and allegedly raping her earlier in the evening. With full appreciation of the #MeToo moment we are currently all living through as a culture, Disgraceland, with fresh eyes, looks into this crime and the successful effort by Sam Cooke's family and powerful music industry colleagues to salvage his legacy and reputation by personally discrediting his victim. To see the full list of contributors, see the show notes at www.disgracelandpod.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Gary Cooke talks to Dublin-born guitar legend Gerry Leonard: Pt2 by Senior Times

Crooner Sam Cooke's unique blend of gospel and pop styles in the 1950s and early 1960s gave rise to a new genre of music: Soul. It was born alongside the Civil Rights movement, and became in many ways anthemic. On this episode of "The Eagle," we talk to singer Bradd Marquis, who is paying homage to Cooke and his legacy — both in music and in social justice — in his show, "A Change is Gonna Come." Marquis, who bears a striking resemblance to Cooke in both appearance and voice, is playing at Universal Preservation Hall this month.  

On this episode we have content creator, cosplayer and member of Achievement Hunter, Ky Cooke! We chop it up about everything from what is their origin story, how she was able to transition in from personal content creation to working with Achievement Hunter, building her personal brand, curating content for Black Heritage Month at Rooster Teeth and more! Be sure to follow them on all their platforms and tune into all their content on their YouTube!YOUTUBEhttps://www.youtube.com/@DefinedByKyTWITCHhttps://www.twitch.tv/definedbykyTWITTERhttps://twitter.com/definedbykyTIK TOKhttps://www.tiktok.com/@definedbykyWEBSITEhttps://www.flowcode.com/page/definedbyky---Welcome to the Unapologetically Black Gaming Podcast, a place created by black gamers for black gamers.Follow us at the platforms below:https://twitter.com/UBGPodhttps://www.tiktok.com/@ubgpodhttps://ko-fi.com/ubgpodhttps://www.twitch.tv/ubgpod

Presented by Yoshimura The Eighth Annual Mini Major West by Seven MX is upon us, and next weekend hundreds of minibike racers will converge at Glen Helen Raceway to compete on a special track, designed just for kids. In this week's Mid-Week Podcast, we invited CMXRS President Aaron Cooke and his son, Reegan, to join us to talk about everything racers and parents need to know about the upcoming race weekend. Lots of information in his podcast if you're a SoCal mini racer or parent, as well as some big, breaking news about the Mini Major franchise in general!

Megyn Kelly is joined by Charles C.W. Cooke, senior writer for National Review, the New York Times' Jeremy Peters, author of Insurgency, and Dave Ramsey, host of The Dave Ramsey Show, to talk about whether we need a State of the Union spectacle at all, Biden's lies in the speech, the spectacle of Marjorie Taylor Greene and others yelling "liar," focusing on cultural issues rather than the economy, lack of commentary from Biden on foreign policy issues like China and Ukraine, the reality of the job market, whether we're in a recession, the true state of the economy, the housing market President Biden's age as a campaign vulnerability, knives out for VP Kamala Harris, the bizarre kiss between Dr. Jill Biden and Kamala Harris' husband, the value of hard work, and more.More from Cooke: https://charlescwcooke.comPeters' book: https://www.penguinrandomhouse.com/books/586398/insurgency-by-jeremy-w-peters/More from Ramsey: https://www.ramseysolutions.com Follow The Megyn Kelly Show on all social platforms: YouTube: https://www.youtube.com/MegynKellyTwitter: http://Twitter.com/MegynKellyShowInstagram: http://Instagram.com/MegynKellyShowFacebook: http://Facebook.com/MegynKellyShow Find out more information at: https://www.devilmaycaremedia.com/megynkellyshow 

Nancy Cooke is a professor in Human Systems Engineering at the Polytechnic School, one of the Ira A. Fulton Schools of Engineering at Arizona State University. She also directs Global Security Initiative's Center for Human, AI, and Robot Teaming. Professor Cooke's research interests include the study of individual and team cognition. Applied research topics include: · the development of cognitive and knowledge engineering methodologies, · sensor operator threat detection, · cyber and intelligence analysis, · remotely-piloted aircraft systems, · human-robot teaming, · healthcare systems, and · emergency response systems. She specializes in the development, application, and evaluation of methodologies to elicit and assess individual and team cognition. Dr. Cooke is a Past President of the Human Factors and Ergonomics Society and the past chair of the Board on Human Systems Integration at the National Academies of Science, Engineering, and Medicine. She also recently chaired a study panel for the National Academies on the Enhancing the Effectiveness of Team Science. Dr. Cooke was a member of the US Air Force Scientific Advisory board from 2008-2012, and in 2014, she received the Human Factors and Ergonomics Society's Arnold M. Small President's Distinguished Service Award. Learn more about her work at the links below: ASU Human Systems Engineering Program ASU Global Security Initiative CHART Program CHART-ing the Future of Space Exploration Learn more about NDM at NaturalisticDecisionMaking.org. Where to find the hosts: Brian Moon Brian's website Brian's LinkedIn Brian's Twitter Laura Militello Laura's website Laura's LinkedIn Laura's Twitter

Gary Cooke talks to Brian Kerr: Part 3 by Senior Times

Rockshow episode 172 Sam Cooke Sam Cooke was a musical trailblazer who revolutionized the sound of soul music in the 1950s and 1960s. With his smooth, soulful voice and an ear for creating timeless melodies, Cooke was one of the most influential artists of his time. He was a pioneer in bridging the gap between gospel and pop music, becoming one of the first African-American artists to make it big in mainstream pop music. His influence is still felt today, with many modern artists citing him as an inspiration. https://officialsamcooke.com/ https://open.spotify.com/artist/6hnWRPzGGKiapVX1UCdEAC https://open.spotify.com/artist/6hnWRPzGGKiapVX1UCdEAC https://m.youtube.com/watch?v=pg6licrKF_E https://www.rockhall.com/inductees/sam-cooke https://www.edsullivan.com/artists/sam-cooke/ https://m.facebook.com/officialsamcooke/ https://www.instagram.com/officialsamcooke/?hl=en https://twitter.com/OfficialSCooke?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor #BlackExcellence #CelebrateBlackHistory #BlackExcellence #AfricanAmericanHeritage #CelebrateBlackHistory #HonorTheAncestors #RespectOurRoots #AfricanAmericanHeritage #HonorTheAncestors #BlackCultureMatters #RespectOurRoots @BlackExcellence @CelebrateBlackHistory @BlackExcellence @AfricanAmericanHeritage @CelebrateBlackHistory @HonorTheAncestors @RespectOutRoots Park Dental Care 12419 101st Ave South Richmond Hill Queens (718) 847-3800 https://www.718DENTISTS.com Please follow us on Youtube,Facebook,Instagram,Twitter,Patreon and at www.gettinglumpedup.com https://linktr.ee/RobRossi Get your T-shirt at https://www.prowrestlingtees.com/gettinglumpedup And https://www.bonfire.com/store/getting-lumped-up/ Subscribe to the channel and hit the like button This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/rob-rossi/support https://www.patreon.com/Gettinglumpedup --- Support this podcast: https://anchor.fm/rob-rossi/support

This week I'm excited to welcome Ashoka Houlahan to the podcast. Ashoka is the founder of Quantum Uplift, which is the next generation in wellness centers that incorporates leading edge research with advanced equipment and technology. In this episode, we discuss cellular health, the everyday practices that could negatively impact ourselves, and the strategies and technology on offer that can help. Over to Ashoka. Some questions asked during this episode:  What everyday practices could be negatively impacting our cellular health? How does the technology you offer support cellular health? What is the quantum field? https://180nutrition.com.au/shop/ I'm excited to welcome Ashoka Houlahan to the podcast. Ashoka is the founder of Quantum Uplift, which is the next generation in wellness centers that incorporates leading edge research with advanced equipment and technology. In this episode, we discuss cellular health, the everyday practices that could negatively impact ourselves, and the strategies and technology on offer that can help. Over to Ashoka. (01:13) Hey, guys, this is Stu from 180 Nutrition. And I am delighted to welcome Ashoka Houlahan to the podcast. Ashoka, how are you, mate? Ashoka (01:22) Well, thanks, Stuart. Thanks for having me on the program. Stu (01:24) No, thank you so much for sharing some of your time, and we've got some very interesting questions that I want to put to you today because I know that we've got many people out there that have lots of different thoughts and perspectives on some of the things that we're going to speak to you about a little bit later on. So before we dive into those, and for all of those that may not be familiar with you or your work or your company, et cetera, I'd love it if you could just tell us a little bit about yourself, please. Ashoka (01:52) Yeah, okay, thank you. Okay, so I'll try and keep this super brief but relevant for the future conversation. So I guess my original background was as a chemical engineer. And so as part of a chemical engineer, when I came out of school, I went to university, studied physics, chemistry, maths. And I had a trainee shift, which meant I worked as a chemical engineer by day and studied at night and did a hard slog for many, many years, but had a science and analytical background. That went well for a number of years, I was full of ambition and drive. I would best describe myself back then as I was young, egotistical, intellectual, and a little bit arrogant, so as I reflect back on myself. And that got me through life to a certain point, but due to my heavy workload and uni load, I quickly drove myself into the ground, found myself with a near midlife crisis around the age of 22. To view full interview and transcript:  https://180nutrition.com.au/180-tv/ashoka-houlahan-interview/

Cameron Cooke joins Racing Pulse to discuss his $750,000 purchase at the Karaka Sale, Lot 294, a colt by Too Darn Hot

In this episode, Courtenay invites Kelsey Cooke back to the show to share the story of how she went from struggling with chronic health issues to becoming a DoTerra health coach. In this conversation, she shares the 5 essential pillars to optimize metabolic health (something many Americans struggle with). If you're ready to improve digestion, clear brain fog, lose stubborn fat, increase your energy, bust diet myths, stabilize your blood sugar, learn what collagen is really all about, and finally feel your best, then this episode is a must-listen! Kelsey grew up acting professionally in Hollywood, signing with her first agent at the age of 7. She earned her Bachelor's Degree in HeyTheatre Arts from Vanguard University, and pursued a Broadway, TV and Film career in New York upon graduating, working on shows like PAN AM (ABC) and ROYAL PAINS (USA). Her work eventually brought her back to Hollywood where she trained in improv at The Groundlings, and work on projects like LIFE PARTNERS (Tribeca & Sundance Film Festival), BLACK NOVEMBER (Vivica Fox), BAD TEACHER (CBS) and THE VERONICA MARS MOVIE. In 2020 she Co-Founded “thisishardtoread” productions and is an award-winning producer, writer, and actor on the award-winning feature comedy/mockumentary film, RE-OPENING. Episode Resources: Link to discounted products Connect with Kelsey: Instagram: @kelseycookeofficial Facebook: https://m.facebook.com/kelseycookeofficial   Website: https://www.thisishardtoreadprod.com/team http://my.doterra.com/guerra Starting Feb 1st if they reach out to she can send them a special promo code for an additional free oil with their order & they will also get the hand blender no matter what! ————————————————— Disclaimer: this is intended to be inspiration & entertainment. We aim to inform, inspire & empower. Guest opinions/ statements are not a reflection of the host or podcast. Please note these are conversational dialogues. All statements and opinions are not necessarily meant to be taken as fact. Please do your own research. Thanks for watching! ————————————————— Follow & Connect with Courtenay: https://www.courtenayturner.com Twitter: https://twitter.com/KineticCourtz TruthSocial: https://truthsocial.com/@CourtenayTurner Instagram: https://instagram.com/kineticcourtz?utm_medium=copy_link Telegram: https://t.me/courtenayturnerpodcastcommunity Read some of her articles: https://www.truthmatters.biz ————————————————— Listen to &/or watch the podcast here! https://linktr.ee/courtenayturner ————————————————— Support my work & Affiliate links: https://www.buymeacoffee.com/courtzt https://zstacklife.com/?ref=COURTENAYTURNER The wellness company: https://www.twc.health/?ref=UY6YiLPqkwZzUX Enroll link: https://app.sharehealthcare.com/enroll? Referral code: courtz Www.HolyHydrogen.com Discount code: UPRISING144K LMNT https://drinklmnt.com/pages/free-gift-with-purchase?rfsn=6999587.ebab27&utm_medium=affiliate&utm_source=courtenayturner&utm_campaign=agwp&utm_content=&utm_term=&rfsn_cn=EXCLUSIVE%20GIFT%20FOR%20COURTENAY%20TURNER%27S%20COMMUNITY Autonomy affiliate links: Ignite Sales: https://www.universityofreason.com/a/29887/KVR3yvZo Mindset workshop: https://www.universityofreason.com/a/2147526145/KVR3yvZo Critical thinking trivium method: https://www.universityofreason.com/a/2147486641/KVR3yvZo Solutions webinar: https://www.universityofreason.com/a/2147492490/KVR3yvZo Richard's GTW freedom vault: https://www.universityofreason.com/a/2147506649/KVR3yvZo ©2022 All Rights Reserved Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Jeff sits down with author Monica Cooke to look at the first chapter of her work in progress romance novel. They talk about building voices to communicate character personalities and slowing down in emotional moments to help the reader feel it. For more on dialogue, go to https://dialoguedoctor.com/ To find Monica's work, check out her website - mwcooke.com

Gary Cooke meets up with Billy Mc Grath to discuss his most interesting career. Billy is taking his one man show to Galway & Limerick that will look back on his career. He sees it as the 3rd Act. He tells Gary ... In the last 4 decades, I have been a son, a brother, a husband, a father, separated, a single dad with one son, a father again, a single dad with two sons, an orphan, a divorced man, a husband again and a father again, again, and again. But amongst the personal change, pain, and transformation, there are many here among us who feel that life is but a joke. I couldn't have survived mine without comedy. Because without laughing your life may well become a tragedy. The show's broad theme is the 3rd Act. What do we want to be when we grow up? We are all living 20/30 years longer. I'm not going to play soccer for Ireland or climb The Andes but I can write & perform. With a lot of laughs along the way. https://www.thesun.ie/tvandshowbiz/music/9983695/u2-bono-producer-secret-plot-hire/ Billy will be preforming Live on Fri Feb 17th Galway and Limerick Sat Feb 18th Visit for further details https://tht.ie/3934/billy-magra-gusto www.sideline.ie

Joe is a graduate of the Colorado School of Mines with a degree in Economics and Business. Joe has been a lender since 2002; was named as a “Million Dollar Loan Officer” in 2007 and recognized by 5280 Magazine as a Five Star Mortgage Professional since 2012. Joe has been recognized as a top 500 loan originator nationwide by National Mortgage News and Scotsman Guide, most recently being recognized as the #64 top nationwide loan originator for 2021. National Mortgage News has ranked him in the top 1% of all originators nationwide since 2015. Prior to working with residential mortgages, Joe was a commercial lender, underwriter and financial analyst which prepared him for his mortgage career and taught him the specifics of how to get loans approved and how to find the best terms for the customer.Joe now works as a Senior Loan Officer for Castle & Cooke Mortgage, a Billion Dollar mortgage lender based in Salt Lake City, Utah. In addition to his Loan Officer responsibilities, Joe manages several offices for Castle & Cooke Mortgage, including the Denver branch, which has been a leading office for the past 10 years and remains a top office for 2022 YTD. In partnership with Your Castle Real Estate, First Alliance Title, Pine Financial and other real estate companies in Denver, Joe has closed hundreds of loans for both experienced and first-time homebuyers as well as numerous property investors. Joe continues to contribute to the real estate and mortgage community with his monthly presentations on financing options and continuing education.Learn more:https://www.linkedin.com/in/jmasseylending/https://www.loansbyjoemassey.comNMLS #220170Colorado Real Estate Leaders https://businessinnovatorsradio.com/colorado-real-estate-leaders/Source: https://businessinnovatorsradio.com/interview-with-joe-massey-senior-loan-officer-at-castle-cooke-mortgage

Riki's About Me Video:https://www.2point0financial.com/aboutSocial:  https://www.linkedin.com/in/richard-cooke-crpc/Twitter: @RikisRamblingsMusic in this episode was obtained from Bensound.

The divisions throughout society are mighty deep. Jack Gleason has some timely advice for effectively communicating with brainwashed friends and family. The public's trust issues with the medical establishment are not without merit. And when the medical establishment tells us that belief in freedom is bad for us, it doesn't make things any better. Maybe it's the current lack of unspun news that makes truth so important to those of us who treasure it. Mark Creech lays out what it means to love the truth in a time when falsehood is king. Now that mainstream media outlets are admitting that there may be justifiable concerns over covid vaccine side effects, there are a couple of questions we need to be asking. Kit Knightly says those questions are: "Why this and why now?" When the president starts bloviating about how "no one needs an AR-15" it's tempting to wonder what exactly has been keeping him up at night. Charles C.W. Cooke skillfully disarms Biden's most grotesque gun control argument. Sponsors: Monticello College Life Saving Food  Bereli

Whether we're remodeling an investment property for a buy and hold or flipping it for a quick turnaround, navigating renovations and construction can be a minefield, especially in this market.   This is an area where extremely expensive mistakes can be made, and one way to avoid them is leaning on the experience and expertise of seasoned renovators.   How do we avoid over-renovating? Where can we find contractors we can trust?   In this episode, I'm joined by the owner of Cooke LLC, Jim Cooke. With 20 years of experience renovating investment properties, he shares what every new investor has to know about this critical aspect of the game.   Don't fall in love with the property, it's not your house, your goal is to get it to comp. -Jim Cooke   Three Things You'll Learn In This Episode   High-level budgeting strategies you have to be aware of How do we determine the money and effort we need to put into a project for it to be profitable, and not a money pit? The key to contractor relationships Why would a contractor choose to work with an investor on a repeat basis? How to shift your strategy with the market As investors, we have to deal with material shortages. How do we shift our strategies to keep up with changes in the supply chain?    Guest Bio Jim is a real estate investor and founder of Cooke Realty LLC. With 20 years of flipping experience under his belt, he has handled just about every type of home renovation. Connect with Jim over on LinkedIn.

In today's episode, Tom and Tim meet Robert Cooke (CTO and Founder, 3Forge), for an absorbing chat about the changing technological face of the finance sector.The guys cover a lot of interesting ground, from complexity, regulations and IT in financial services companies, to new technologies and thei potential impact on this highly regulated industry, to the future of crypto after 2022's dramatic market crash.For more amazing DEX content, including podcasts, articles and exclusive research, head over to the DEX Hub (dex.nexthink.com)To hear more interviews like this one, subscribe to the Digital Employee Experience Podcast on Apple Podcasts, Spotify, or your preferred podcast platform.Listening on a desktop & can't see the links? Just search for Digital Employee Experience in your favorite podcast player.

Megyn Kelly is joined by Rich Lowry and Charles C.W. Cooke of National Review to talk about Biden's lawyers finding more classified documents in President Biden's home, the media spinning on behalf of Biden, Biden's team hiding the details for months, Trump's response to the Biden story, MLK's legacy and impact on America, racists who dishonor MLK in the '60s and today, an MLK statue that looks like a body part, Prince Harry's disturbing story about his mom and "todger," building a career based around humiliation, the CDC saying a vaccine safety signal was identified with increased stroke risk, media ignoring the story because it doesn't fit its COVID perspective, whether they'll ever catch the Supreme Court leaker, Charles and Rich's upbringing and what brought them to National Review and conservatism, and more.Find more about NR Plus here: https://nationalreview.com/nrplus-subscribeFollow The Megyn Kelly Show on all social platforms: YouTube: https://www.youtube.com/MegynKellyTwitter: http://Twitter.com/MegynKellyShowInstagram: http://Instagram.com/MegynKellyShowFacebook: http://Facebook.com/MegynKellyShow Find out more information at: https://www.devilmaycaremedia.com/megynkellyshow