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Law and Tax Considerations for Agriculture Federal Open Market Committee Announcement Bulls Versus Cows Body Condition Scoring 00:01:05 – Law and Tax Considerations for Agriculture: Roger McEowen, K-State and Washburn law professor, starts the show as he talks about potential issues for farmers and ranchers involving trade or business activity, basis, like-kind exchanges and croppers. Trade or Business; Income Tax Basis; Cropper; and Like-Kind Exchanges Article on AgManager.info 00:12:05 – Federal Open Market Committee Announcement: K-State's Brady Brewer and Brian Briggeman keep the show moving as they discuss the Federal Open Market Committee rate announcement. The pair breaks down what it means, what other factors could be at play and its impact to agriculture. 00:23:05 – Bulls Versus Cows Body Condition Scoring: The Beef Cattle Institute's Brad White, Brian Lubbers and Phillip Lancaster conclude the show with part of their Cattle Chat podcast. They converse about body condition scores for bulls versus cows. BCI Cattle Chat Podcast Bovine Science with BCI Podcast Email BCI at bci@ksu.edu Send comments, questions or requests for copies of past programs to ksrenews@ksu.edu. Agriculture Today is a daily program featuring Kansas State University agricultural specialists and other experts examining ag issues facing Kansas and the nation. It is hosted by Shelby Varner and distributed to radio stations throughout Kansas and as a daily podcast. K‑State Research and Extension is a short name for the Kansas State University Agricultural Experiment Station and Cooperative Extension Service, a program designed to generate and distribute useful knowledge for the well‑being of Kansans. Supported by county, state, federal and private funds, the program has county Extension offices, experiment fields, area Extension offices and regional research centers statewide. Its headquarters is on the K‑State campus in Manhattan
Rob Handy, a special education teacher at Lanphier High School in Springfield, Ill., joined the America's Work Force Union Podcast to discuss a special education program utilizing the North American Building Trades Unions' MC3 program. Handy also shared his journey from aspiring professional baseball player to a special education educator demonstrating the power of vocational training for students with disabilities. Melissa Cropper, President of the Ohio Federation of Teachers, joined the America's Work Force Union Podcast to discuss the issues facing Ohio's education system. Cropper also discussed some controversial bills being pushed through during the Ohio Legislature's lame-duck session and their potential impact on schools and communities.
Have you ever wondered about the astral plane or astral projection? This week, we chatted with Ryan Cropper from Your Potential, based in the UK. He is a spiritual life coach, an astral projection authority, and a content creator. This enlightening conversation left us in awe as he addressed numerous questions we had about the astral plane. We truly enjoyed learning about him and hearing the captivating stories of his own experiences in this mystical realm.Topics covered:- Ryan shares about his childhood & seeing spirits- His near-death experience at 16 years old- How he discovered he could astral project- What is the astral body- Astral traveling vs. astral projection- Horror movies & fear- The different astral planes- Astral projection experiences- Things to know in the astral plane- Chakras and working with fireRyan's courses, sessions & YouTube: https://www.ryancropper.com/Winter Solstice Info from Amanda:https://wiccahow.com/how-to-celebrate-the-winter-solstice-rituals-and-symbols-of-yule/Join us on Instagram: https://www.instagram.com/living.the.reiki.life/For more information about us & our offerings:Kristi: https://www.instagram.com/thebirchsoul/Amanda: https://www.instagram.com/reiki_with_manda/
Dublin 1984, and an unassuming family are pulled over by gardaí at a checkpoint. What follows is a media circus as the unassuming businessman, Robert Trimbole, is exposed as Australia's most wanted criminal ‘Aussie Bob'. What unfolded created an international game of cat and mouse. Host: Kevin Doyle, Guest: Liam Collins See omnystudio.com/listener for privacy information.
Vance Crowe delivers a short talk at Zack Smith's Stock Cropper Field Day about what he has learned from recording hundreds of Legacy Interviews and then sits down with Wes Carney to talk about his work as an engineer at John Deere.Vance also discusses Legacy Interviews www.LegacyInterviews.comor 314-866-2991
This week's top headlines include weather, the crop progress report, a new fungicide spraying tool by BASF, the latest on Avian Influenza, the August WASDE report, and more! This week we are joined by Zack Smith, farmer in Scarville, Iowa to talk about his stock cropping system. Don't forget to follow Zack on X @Zebulousprime, and be sure to register for their upcoming field day, on August 24th!
When I spoke with guitarist Jimmy James a few weeks ago for Caropop Ep. 143, he cited Steve Cropper of Booker T. and the M.G.'s. as a key inspiration. Listen to James' work with the organ trio Parlor Greens and, before that, the Delvon Lamarr Organ Trio, and you hear how he, like Cropper, is a rhythmic guitarist who never overplays yet can make your head spin. I told James I'd love to hear him to interview Cropper, and he said that would be a dream come true. Turns out, the 82-year-old Cropper, my guest for Caropop Ep. 93 last summer, has a new album, Friendlytown, coming out Aug. 23. I pitched the idea of James talking with Cropper, guitarist to guitarist, generation to generation, and here it is—with fantastic stories and insights plus a few guitar licks. (Photo by Stacie Huckeba.)
Bryan Broaddus of Cowboys Practice live from Cowboys Training Camp
Copper is integral to the global economy, and its importance will only increase as the world decarbonises its energy infrastructure. Bulls have long argued that supply will fail to keep up with rising demand, driving copper prices higher. So why have prices slumped in recent months? And in today's Dumb Question of the Week: Who is ‘Doctor Copper'? --- Thank you to Saxo for sponsoring this episode. Sign up to claim GBP 200 back in online trading fees when you open an account with Saxo today via: PensionCraft | Saxo (home.saxo) Capital at risk. T&C's apply. ---Get in touch
Night Traxx Presents Legendary Guitarist Steve Cropper, New album FriendlyTown Legendary Guitarist Steve Cropper Announces New Album ‘Friendlytown,' Out August 23rd Via Mascot Label Group Featuring Billy F Gibbons, Brian May and Tim Montana First Single “Too Much Stress feat. Brian May” Not many people start new bands in their 80s, but legendary guitarist, producer, and songwriter Steve Cropper isn't slowing down any time soon. The triple-threat musician, recently nominated for his first solo GRAMMY for the debut album from his tight and tuneful rock n' soul quintet, Steve Cropper & The Midnight Hour, has announced details of his highly anticipated sophomore album, ‘Friendlytown,' due out August 23rd via Mascot Label Group/Provogue. Always pushing ahead and never repeating himself, Cropper has brought in the talents of Billy F Gibbons from ZZ Top to play on the record. The album also features guest appearances from Queen guitarist extraordinaire Brian May and country-rock singer-songwriter and guitarist Tim Montana, who has balanced a successful solo career with high-profile collaborations with Gibbons and Kid Rock.
Night Traxx presents Legendary Guitarist Steve Cropper Announces New Album ‘Friendlytown,' Out August 23rd Via Mascot Label Group Featuring Billy F Gibbons, Brian May and Tim Montana First Single “Too Much Stress feat. Brian May” Cropper has won two GRAMMY Awards from his seven nominations. He's been ranked the number two greatest guitarist of all-time—behind Jimi Hendrix—by England's Mojo Magazine, and number 36 in Rolling Stone magazine's “100 Greatest Guitarists of All Time.” Cropper's name is synonymous with the world-famous soul label Stax Records, and he is featured in HBO's new documentary, ‘Stax: Soulsville U.S.A.'
Melissa Cropper, President of the Ohio Federation of Teachers (OFT-AFT), joined the America's Work Force Union Podcast to provide an end-of-the-2023-2024 school year recap. Cropper discussed an OFT survey that focused on the factors causing the state's teacher shortage. She also provided an update on recent organizing and contract wins for union members. June is World Infertility Awareness Month, and in honor of that, Isha Vij, Vice President of Employer Growth at Maven Clinic, joined the America's Work Force Union Podcast and discussed how the organization is helping union members address fertility issues.
This Underdog Ag Podcast is building excitement for a historic day in Nebraska!On Wednesday, July 24, 2024 the Graze Master Group is bringing together a moment never witnessed before. Zack Smith, the inventor of the Stock Cropper – the world's first autonomous, solar powered, self-steering multi-species grazing barn, will be demonstrating his rural changing invention at Brian Brhel's farm – one of the most innovative and resilient farms and ranches in Nebraska. This duo is kicking off our July 24 field day and event with a confident, common sense message – we must save the nation's soil and water and we most certainly can do so by Balancing Nature & Profitability. If you want to network with some of the most influential leaders in agriculture and learn from their challenges and successes, this is a must attend event. It's FREE to make the information accessible to everyone. You will leave with a renewed vision and tangible information and resources to improve your farm, ranch, rural community, and nation. Register here: www.grazemastergroup.com/events or call/text Kerry Hoffschneider, co-founder of the Graze Master Group at (402) 363-8963. We cannot wait to see neighbors from near and far come together. It's going to be awesome. Thank you!--Be sure to rate, review, and subscribe.HOST: Kerry Hoffschneider--CREDITS:Mitchell Roush, ProducerBibi Luevano, Cover ArtPurple Planet Music, Theme
On August 3, 2013, Alexis Tiara Murphy, a 17-year-old high school student from Nelson County, Virginia disappeared after being seen at a gas station in Lovingston, Virginia. Eventually, Randy Taylor was convicted of her brutal slaying. The question is how many others did Rany kill?Thank you Rachael Spillers for writing this episode and SHANEL B. for suggesting this case.Sources:Alexis Tiara Murphy obituary. Lacaze, Katherine. “17-year-old…” The News and Advance. 06 Aug 2013.Hardy, Steve. “Car found…” The News and Advance. 07 Aug 2013.The Charlottesville Daily Progress. “Family's agonizing wait…” The News and Advance. 08 Aug 2013.Bayne, Liana. “Searching for…” The Daily Progress. 08 Aug 2013.Bayne, Liana. “Search for teen…” The Daily Progress. 09 Aug 2013.Bayne, Liana. “Clock is ticking…” The Daily Progress. 10 Aug 2013.Hardy, Steve, and Koerting, Katrina. “Nelson rallies in…” The Daily Progress. 11 Sun 2013.Reed, Ray. “Arrest made in…” The News and Advance. 12 Aug 2013.Hutchins, J. Reynolds; Richardson, Aaron; Evans, K. Burnell; and Bayne, Liana. “A suspect, but…” The Daily Progress. 13 Aug 2013.Bayne, Liana. “Nelson County abduction…” The Daily Progress. 14 Aug 2013.Evans, K. Burnell, and Hutchins, J. Reynolds. “Defense: teen was…” The Daily Progress. 15 Aug 2013.Mohrmann, Barrett. “Murphy's family skeptical…” The News-Virginian. 16 Aug 2013.Evans, K. Burnell. “Shadows of 2010…” The Daily Progress. 18 Aug 2013.Thompson, Dave. “Taylor's bond hearing…” The Daily Progress. 21 Aug 2013.Bayne, Liana. “Judge denies Taylor…” The Daily Progress. 23 Aug 2013.Mohrmann, Barrett. “River search turns…” The Daily Progress. 01 Sep 2013.Mohrmann, Barrett. “Family, investigators hopeful…” The News adn Advance. 04 Sep 2013.Staff Writer. “Person contacted in…” Richmond Times-Dispatch. 24 Sep 2013.Faulconer, Justin. “Teen's DNA linked…” The News and Advance. 06 May 2014.Faulconer, Justin. “Jury deliberating Taylor's…” The Daily Progress. 08 May 2014.Faulconer, Justin. “Taylor guilty of…” The News and Advance. 09 May 2014.Mohrmann, Barrett. “Murphy's family accepts…” The News and Advance. 19 May 2014.Faulconer, Justin. “Taylor lands more…” The News and Advance. 02 Jul 2014.Faulconer, Justin; Busse, Matt; and Cropper, Nick. “Remains of Alexis…” The News and Advance. 18 Feb 2021.
The North Eastern Australian Paranormal Society (NEAPS) are opening up an old case file – The Humpty Doo Poltergeist – this time with insider info! Journalist Paul Cropper has literally written the book on Humpty Doo, and chats to Charlie and Ben about encountering the stone-throwing spook, alternate theories, and whether the story would've been different if it had happened in the internet age. You don't have to believe, but you do need to listen. Paul Cropper's blog: https://www.thefortean.com/ Listen to Boonta Vista: https://podfollow.com/1240541605 The Two Bit Movie Club: https://www.borlff.com/ Keep up with all things TOFOP and more here
This week is Teacher Appreciation Week, and Melissa Cropper, President of the Ohio Federation of Teachers, joined the America's Work Force Union Podcast to talk about what can be done to show appreciation for teachers. Cropper also spoke about the funding of private school vouchers in Ohio and the FTC's final rule on non-compete clauses. Jeff Worthington, President of the Utah AFL-CIO, joined the America's Work Force Union Podcast to talk about Utah's H.B. 285, the efforts by the state's unions to defeat the bill and organizing in the state.
I Had Trials Once is back again for another episode...This week Jordan & Gaz are joined by former Crewe, Exeter, Tranmere, Leyton Orient and current Barrow defender...George Ray.The boys talk everything from unique football side hustles to representing Wales at under 21 level.They then discuss the early days coming through at Crewe Alexandre with the likes of Perry Ng before becoming one of the only players to make their professional debut at Wembley!George then openly discusses the emotional rollercoaster of being a professional footballer and how he dealt with various different managers before almost quitting the game entirely at the age of 26.Finally George talks about how he created the famous Roy Cropper parody account on twitter whilst also playing against a young Harry Kane whilst playing for Wales U21s.
Melissa Cropper, President of the Ohio Federation of Teachers, joined America's Work Force Union Podcast to discuss the recent first contract ratification at Equitas Health in Ohio. Cropper also spoke about an ongoing organizing campaign that is beginning its union election process, and a research group focusing on improving Teacher's workplace stress. James Cahill, Vice President of the Labor and Trust Department for Anthem Blue Cross Blue Shield, joined the America's Work Force Union Podcast to discuss Taft-Hartley Trust Funds and how unions use the trusts to prevent shifting rising healthcare costs onto members.
#1,005 - Steve Cropper Steve Cropper Interview on The Paul Leslie Hour. Are you here? Yes, you're tuned into episode #1,005 of The Paul Leslie Hour. Ahh! Yes indeed, we've been piling on the good stuff, talking to some of the most iconic people of all time and today is no exception. Paul is so excited about this one that you can hear his heart beating Now, ladies and gentlemen, we're elated to welcome the one-and-only Steve Cropper — one of the most legendary guitarists in music, a great songwriter, A&R man, record producer and renowned live performer. Steve Cropper, called one of the greatest guitarists of all time, was the rhythm guitarist for Booker T. & the M.G.'s. Cropper had a hand in pretty much every record issued by Stax Records. Cropper has written with everyone from Otis Redding to Eddie Floyd. Just think about all of the great tunes he co-wrote. Man, there's “(Sittin' on the) Dock of the Bay,” “In the Midnight Hour,” “634-5789,” “Knock on Wood.” No wonder Cropper was inducted into the Nashville Songwriters Hall of Fame, And then we can't forget those great instrumentals he co-wrote like “Green Onions” and “Time is Tight.” Steve Cropper just doesn't stop. Everyone's talking about this incredible new track he plays on: “Going Home: Theme of the Local Hero,” by Mark Knopfler. If you haven't heard it, please check it out. It's to support the Teenage Cancer Trust and Teen Cancer America. It's got more than sixty fabulous musicians on it, including Steve Cropper. I see that Paul is giving me a thumbs up and okay symbol. It's time for Steve Cropper, but real quick please subscribe and like The Paul Leslie Hour on Facebook and YouTube, it's a great help and it keeps you plugged into what we're doing. The Paul Leslie Hour is a talk show dedicated to “Helping People Tell Their Stories.” Some of the most iconic people of all time drop in to chat. Frequent topics include Arts, Entertainment and Culture.
Support the podcast on Youtube here: https://www.youtube.com/@drewsimoncomedy/featuredFollow Drew on Instagram: https://www.instagram.com/drew.simon.comedy/Follow Quinn on Instagram: https://www.instagram.com/quinnjohnswagswerve/
This podcast covers episodes 11,216 to 11,221. Everything Roy says and does seems like a calculated effort to make everyone believe that he was responsible for Racist Kelly's disappearance. Steve takes enormous pleasure when he lets slip to Tracy that Tommy O's future lies in Spain. Joseph is impressed with the facilities at Oakhill School and now has to face a daunting entrance exam. As Dylan prepares for his plea hearing at court, Eileen has doubts about Violet's absence and does some investigating. Leanne feels more positive about the future following her second seminar with Rowan. Cassie's history of sex work is revealed and a shocked Evelyn discovers there's even more to the story. Ahead of the world's stupidest heist, Damon continues to promise Sarah the world. Terrified that Paul will make the final decision about ending his life, Billy encourages others to downplay Paul's deteriorating speech. Dee Dee earns her money. Steve has hairy ears. Max pwns Daniel.
If you think you can't accomplish a lot of change and challenge yourself to achieve new goals in a short amount of time, then you'll benefit from listening to this chat with Diarra Cropper. I've gotten to know the ever-enthusiastic Diarra through the Black Men Run community. Black Men Run is a dynamic nationwide organization that is a movement that encourages Black men to be active to reverse health risks like hypertension, diabetes, stroke, and mental depression that disproportionally affect this population. The organization conducts meetups to bring local chapters together and organizes to connect at races throughout the country. I began running with the Denver chapter three years ago and have developed many great friendships. With awesome leadership, the Denver chapter has been one of the fastest-growing in the country. Diarra, like many African-American male track athletes, gravitated toward the power events like sprints. And why not? If you turned on a marathon on TV, the only Black runners you saw were Kenyans and Ethiopians, almost no Americans. Black runners were virtually absent from ultramarathons. When Diarra moved to Colorado Springs, it opened up a whole new world of trail running to him. Within a couple of short years, Diarra is now crushing trail ultras and through an almost-random encounter at the Leadville Trail 100, has recently gotten sponsored by Speedland. He's become a leader as well of the BMR sub-chapter in Colorado Springs. What's been super cool is that there are others in Black Men Run running ultras, and during our group runs it's exciting hearing the chatter about ultrarunning. The tide is definitely turning, too, as you see more Black runners at marathons and ultramarathons, and you are beginning to see lots more women and runners of other colors out there as well. I have no doubt that Diarra, with his passion and drive, is headed toward becoming a major force in the ultrarunning scene. Before we jump in, I'd encourage you to go to blackmenrun.com to find a local chapter. I got involved after the insane killing of Ahmaud Arberry, which woke me up to the fact that it is markedly less safe for a Black man to simply go for a run anywhere he wants unlike a white guy like me can. I've never regretted finding this really positive group to run with.Diarra CropperInstagram and Threads @co_trilete25Bill Stahlsilly_billy@msn.comFacebook Bill StahlInstagram @stahlor and @coachstahlYouTube We Are Superman Podcast
President of the Ohio Federation of Teachers (OFT), Melissa Cropper, joined the America's Work Force Union Podcast to discuss the first contract negotiations at Equitas Health Centers in Ohio. Cropper also discussed how two Ohio groups used awards from the American Federation of Teachers' 2023 back-to-school innovation grants. Maximillian Alvarez, Editor-in-Chief of The Real News Network and Chris Albright, an East Palestine, Ohio resident, joined the America's Work Force Union Podcast to discuss an upcoming event in East Palestine that hopes to urge President Joe Biden to utilize the Stafford Act to help residents of the region following 2023's Norfolk Southern derailment.
In this episode, I am joined by Diarra Cropper and coach Travis Lavin. Diarra has been in the sport for a few years and has his eye on quite a few races this year as well as looking for redemption and Javelina Jundred. Topics discussed include building motivation through community, training as someone with an active job, and interval structure. Follow along with Diarra on Instagram: https://www.instagram.com/co_trilete25/ Check out Coach Travis Lavin: https://www.instagram.com/tlavrunner11/ Go support Black Men Run: https://blackmenrun.com/blackmenrun-chapters/denver/
Melissa Cropper, President of the Ohio Federation of Teachers, joined the America's Work Force Union Podcast to talk about organizing campaigns in 2024. Cropper also talked about the organization's biennial convention and the success of Literacy Across Ohio Day. Director Carl Kriss joined America's Work Force Union Podcast to discuss his upcoming documentary, Relighting the Flame, which focuses on the fall and comeback of the steel industry in Northeast Ohio. Kriss talked about the inspiration behind the film and some of the worker stories that stuck with him.
"Changing Beats: Goose's Drummer Departure and New Musical Ventures"Larry Mishkin dives into a live performance of the Grateful Dead's Mardi Gras Show from 1986. The discussion highlights the additional set by The Nevels, a brief comparison of songs played, and the significance of the venue, Kaiser Convention Center. The conversation transitions to Goose, a contemporary jam band, announcing a change in drummers and their new album release. Larry also touches on the Grateful Dead's record-breaking achievement of having the most Top 40 albums on the Billboard 200. Lastly, it explores the origins and themes of the Grateful Dead's song "Cassidy," drawing connections to individuals associated with the band and the Beat Generation. Throughout, there's a mix of musical analysis, historical context, and personal anecdotes, offering a comprehensive exploration of the music and culture surrounding these iconic bands plus the latest cannabis news. Grateful DeadFebruary 12, 1986 (38 years ago)Henry J. Kaiser Convention CenterOakland, CAGrateful Dead Live at Henry J. Kaiser Convention Center on 1986-02-12 : Free Download, Borrow, and Streaming : Internet Archive Show Title: Dead and the Neville Brothers Rock Oakland Celebrating Mardi Gras A short Dead show by Nevilles played a set after turning it into a marathon evening of great music INTRO: Sugaree Track #3 Start – 1:35 Jerry comes out smoking on this crowd favorite to get things rocking (second song after Hell in a Bucket). Released on the Jerry's first solo album, Garcia, in January, 1972. Played 362 times 1st at on July 31, 1971 at the Yale Bowl in New Haven, CN six months before its release Last played on July 8, 1995 at Soldier Field in Chicago Kaiser Convention Center is a historic, publicly owned multi-purpose building located in Oakland, California. The facility includes a 5,492-seat arena, a large theater, and a large ballroom.[2] The building is #27 on the list of Oakland Historic Landmarks.,[3] and was listed on the National Register of Historic Places in 2021.[4]The building is located at 10 10th Street, in the Civic Center district of the city. It is next to the Oakland Museum, Laney College, Lake Merritt, and near the Lake MerrittBARTstation.he Beaux-Arts style landmark was built in 1914; the architect was John J. Donovan.[3] The structural engineer was Maurice Couchot.[5] Originally known as the Oakland Civic Auditorium, it was renamed in honor of Henry J. Kaiser after a 1984 renovation.The city closed the facility in 2006 and its future was uncertain for a decade.[1] In 2006, Oakland voters defeated a ballot proposition advocating a library space in the building.The facility was owned by the City of Oakland until 2011, when it was sold to the local redevelopment agency for $28 million.[6] However, the redevelopment agency was dissolved by the State of California in 2012,[7] so ownership reverted to the city of Oakland.In 2015 the city chose a local developer, Orton Development, Inc. to renovate the facility. The plans are to turn it into a commercial space, with the Calvin Simmons Theater being renovated as a performing arts venue. The building is also supposed to be registered as a national historic landmark.In the 1950s and 1960s the Roller Derby played there hundreds of times. Elvis Presley performed at the convention center on June 3, 1956, and again on October 27, 1957. On December 28, 1962, Martin Luther King Jr. spoke to an audience of 7,000 at the auditorium to mark the 100th anniversary of the Emancipation Proclamation.[13]Ike & Tina Turner performed at the Oakland Auditorium on January 13, 1967.From 1967 through 1989, the Grateful Dead, an American rock band, performed at the convention center 57 times. Their first 23 concerts at the convention center were billed at "Oakland Auditorium", and later, starting in 1985, the venue changed to "Henry J. Kaiser Convention Center". In the 80's the band started performing "runs" of shows over the course of three to seven days.[ SHOW No. 1: Tons of Steel Track # 4 1:07 – 2:40 A “new” Brent song, released on In The Dark in 1987. Love the harmonizing with Phil – “She wasn't built to travel at the speed a rumor flies, these wheels are bound to jump the tracks, before they burn the ties.” Crowd loves it too – any excuse to hear Phil sing – this is just about a month before the Hampton show where Phil broke out Box of Rain, Deadheads couldn't get enough of him. David Dodd:Brent wrote the words and music for “Tons of Steel.” It was first performed on December 28, 1984, at the Civic Auditorium in San Francisco (now Bill Graham Civic). The other first in the show was "Day Tripper." I was there! It sounded like a hit to me. But then, I was completely disconnected from whatever it was that passed for hit-making in the 1980s.It was performed fairly regularly throughout 1985 through September 1987, making its last appearance on September 23 at The Spectrum in Philadelphia. That seems odd to me, because it was dropped from rotation just a little more than two months after it was released on In the Dark, in July. Any thoughts?So, it's a song about a train. One of the prime motifs in Grateful Dead lyrics. Quick—name five Grateful Dead songs with trains! No peeking!What do trains evoke in Dead lyrics? Everything from danger (“Caution,” “Casey Jones”) to adventure (“Jack Straw”) to love (“They Love Each Other”) to farewell (“He's Gone”) to whatever that thing is that we feel when Garcia sings about wishing he was a headlight... (and take a look at the back cover of Reflections sometime). Played 29 times First played December 28, 1984 S.F. Civic Auditorium (NYE run) Last played September 23, 1987 at the Spectrum, Philly SHOW No. 2: Cassidy Track #6 2:20 – 4:09 "Cassidy" is a song written by John Barlow and Bob Weir[1] and performed by the Grateful Dead, Ratdog, and Phil Lesh & Friends.[2] The song appeared on Bob Weir's Ace, and the Grateful Dead's Reckoning and Without a Net albums.[3]The song was named after Cassidy Law, who was born in 1970 and was the daughter of Grateful Dead crew member Rex Jackson and Weir's former housemate Eileen Law.[1] The lyrics also allude to Neal Cassady, who was associated with the Beats in the 1950s[4] and the Acid Test scene that spawned the Grateful Dead in the 1960s. Some of the lyrics in the song were also inspired by the death of Barlow's father.[5]The song was quoted in the admiring and admirable obituary of Barlow in The Economist.One of my favorite songs, a great sing a long.I really like this version because it gets nice and trippy. Always good for a helping define the mood of the show, usually about mid to late first set. A very fun tune. Played 339 times 1st: March 23, 1974 at the Cow Palace in Daley City, just outside S.F. Last: July 6, 1995 Riverport Amphitheatre, Maryland Heights, MO outside of St. Louis SHOW No. 3: Willie and the Hand Jive Track # 14 1:23 – 3;05 Played with the Neville Bros. but without Phil who left the stage for this one song. Willie and the Hand Jive" is a song written by Johnny Otis and originally released as a single in 1958 by Otis, reaching #9 on the Billboard Hot 100 chart and #5 on the Billboard R&B chart.[1][2] The song has a Bo Diddley beat and was partly inspired by the music sung by a chain gang Otis heard while he was touring. The lyrics are about a man who became famous for doing a dance with his hands, but the song has been accused of glorifying masturbation,[2]though Otis always denied it.[3] It has since been covered by numerous artists, including The Crickets, The Strangeloves, Eric Clapton, Cliff Richard, Kim Carnes, George Thorogood, The Bunch, and in live performances by The Grateful Dead.[4][5] Clapton's 1974 version was released as a single and reached the Billboard Hot 100, peaking at No. 26. Thorogood's 1985 version reached No. 25 on the BillboardRock Tracks chart. The lyrics tell of a man named Willie who became famous for doing a hand jive dance.[1][2] In a sense, the story is similar to that of Chuck Berry's "Johnny B. Goode", which tells of someone who became famous for playing the guitar and was released two months before "Willie and the Hand Jive".[1] The origin of the song came when one of Otis' managers, Hal Ziegler, found out that rock'n'roll concert venues in England did not permit the teenagers to stand up and dance in the aisles, so they instead danced with their hands while remaining in their seats.[2][5] At Otis' concerts, performers would demonstrate Willie's "hand jive" dance to the audience, so the audience could dance along.[2] The dance consisted of clapping two fists together one on top of the other, followed by rolling the arms around each other.[2] Otis' label, Capitol Records, also provided diagrams showing how to do the hand jive dance. Eric Clapton recorded "Willie and the Hand Jive" for his 1974 album 461 Ocean Boulevard. Clapton slowed down the tempo for his version.[12] Author Chris Welch believes that the song benefits from this "slow burn".[12]Billboard described it as a "monster powerful cut" that retains elements from Clapton's previous single "I Shot the Sheriff."[13]Record World said that "Clapton slowly boogies [the song] into laid-back magnificence. George Thorogood recorded a version of "Willie and the Hand Jive" for his 1985 album with the Destroyers Maverick.[27] His single version charted on the Hot Mainstream Rock Tracks chart, peaking at #25, and reached #63 on the Billboard Hot 100 chart.[1][28]Allmusic critic James Christopher Monger called the song one of Thorogood's "high points. Other artists who covered the song include: Johnny Rivers, New Riders of the Purple Sage, The Flying Burrito Brothers, Sandy Nelson, The Tremeloes, Amos Garrett, Ducks Deluxe and Levon Helm.[4]Lee Michaels released a version of the song on his 1971 album, 5th To my surprise, played 6 times by the band, all in '86 and once in ‘87 This is the fist time they ever played it Last: April 4, 1987 at the Centrum in Worcester, MA SHOW No. 4: In the Midnight Hour Track # 16 2:20 – 4:01 Played with the Nevilles, Phil back on stage Again, Jerry's playing really stands out. "In the Midnight Hour" is a song originally performed by Wilson Pickett in 1965 and released on his 1965 album of the same name, also appearing on the 1966 album The Exciting Wilson Pickett. The song was composed by Pickett and Steve Cropper at the historic Lorraine Motel in Memphis, later (April 1968) the site of the assassination of Martin Luther King Jr. Pickett's first hit on Atlantic Records,[1] it reached number one on the R&B charts and peaked at number 21 on the pop charts. Wilson Pickett recorded "In the Midnight Hour" at Stax Studios, Memphis, May 12, 1965. The song's co-writer Steve Cropper recalls: "[Atlantic Records president] Jerry Wexler said he was going to bring down this great singer Wilson Pickett" to record at Stax Studio where Cropper was a session guitarist" and I didn't know what groups he'd been in or whatever. But I used to work in [a] record shop, and I found some gospel songs that Wilson Pickett had sung on. On a couple [at] the end, he goes: 'I'll see my Jesus in the midnight hour! Oh, in the midnight hour. I'll see my Jesus in the midnight hour.'" and Cropper got the idea of using the phrase "in the midnight hour" as the basis for an R&B song.[3] More likely, Cropper was remembering The Falcons' 1962 song "I Found a Love," on which Pickett sings lead and says "And sometimes I call in the midnight hour!" The only gospel record Pickett had appeared on before this was the Violinaires' "Sign of the Judgement," which includes no such phrase.[4]Besides Cropper, the band on "In the Midnight Hour" featured Stax session regulars Al Jackson (drums) and Donald "Duck" Dunn (bass). According to Cropper, "Wexler was responsible for the track's innovative delayed backbeat", as Cropper revamped his planned groove for "In the Midnight Hour" based on a dance step called the Jerk, which Wexler demonstrated in the studio. According to Cropper, "this was the way the kids were dancing; they were putting the accent on two. Basically, we'd been one-beat-accenters with an afterbeat; it was like 'boom dah,' but here was a thing that went 'um-chaw,' just the reverse as far as the accent goes."[5]Pickett re-recorded the song for his 1987 album American Soul Man."In the Midnight Hour" t has become an iconic R&B track,[citation needed] placing at number 134 on Rolling Stone's list of the 500 Greatest Songs of All Time,[citation needed] Wilson Pickett's first of two entries on the list (the other being "Mustang Sally" at number 434).[citation needed] It is also one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll,[citation needed] Pickett's only such entry. In 2017, the song was selected for preservation in the National Recording Registry by the Library of Congress as being "culturally, historically, or artistically significant."[7] In 1999, "In the Midnight Hour" recorded in 1965 on Atlantic Records by Wilson Pickett was inducted into the Grammy Hall of Fame. Covers:· The Grateful Dead regularly performed the song in concert from 1967 onwards, most notably with extended improv vocals by frontman Ron "Pigpen" McKernan. It was occasionally the Dead's “midnight song” at their NYE shows – I saw them do it in 1985 at midnight on the 31st. Fun way to start the new year although I was always partial to Sugar Mag at NYE midnight. 57 times played 1st: December 10, 1965 at the Fillmore in S. F. Last: October 17, 1994 at MSG, NYC OUTRO: Johnny B. Goode Track #17 Start – 1:40 We just featured this song from a different show, but this version demands recognition. Played with the Nevilles – great mash up of musicians, singers, the whole thing is just great. Interestingly, not the encore, but the last song of the second set (US. Blues was the encore, a ripping version, but no Neville Bros so I went with JBG instead to hear them one more time). Chuck Berry tune Dead played it 283 times First played: September 7, 1969 at The Family Dog at the Great Highway, S.F. Last played: April 5, 1995 at the Birmingham-Jefferson Civic Center Coliseum, Birmingham, AL .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast
Zack Smith, AKA the Stock Cropper, is the co-creator of autonomous grazing machines, developed from the desire to harness the natural cycles of a plant-animal ecosystem. The autonomous grazing concept grows healthier animals and healthier soils, all with a lower carbon footprint. Hear from Zack on autonomous grazing, rural community sustainability, and more!
Melissa Cropper, President of the Ohio Federation of Teachers, joined the America's Work Force Union Podcast to talk about the organizing wins at CCAD and the Pickerington Public Library. Cropper also talked about OFT's efforts to organize other libraries in the state and the difficulty of winning a first contract in the private sector. A visiting scholar at the Kalmanovitz Initiative for Labor and the Working Poor at Georgetown University, John Russo, joined the America's Work Force Union Podcast to discuss contributing factors to the banner year for labor. He also discussed the impact of United Auto Workers President Shawn Fain and what the record contracts earned in 2023 could do for future negotiations.
Join Deadheads Alex and Dave - except this time, just Dave - in WP's analysis of Dave's Picks Volume 48 Disc 3 from the Kiel Opera House on October 24th 1970! Follow us @workingmanspod, @workingmans_pod on Instagram, or email us at workingmanspod@gmail.com.The essay on the Dead's early thematic jams: http://deadessays.blogspot.com/2010/01/deads-early-thematic-jams.htmlP.S. Thanks again to Zac for joining us in part 1! Make sure to check out Zac's show Rock Talk with Dr. Cropper!
Join Deadheads Alex and Dave - except this time, just Dave - in WP's analysis of Dave's Picks Volume 48 from the Pauley Pavilion on November 20th 1971! Certified PodHead Zac Cropper from Rock Talk with Dr. Cropper guest stars to talk about the first two discs of Dave's Picks Vol. 48. We talk everything from Keith's arrival in the band to our favorite Dave's Picks artwork to Taylor Swift and Bryan Adams!Follow us @workingmanspod, @workingmans_pod on Instagram, or email us at workingmanspod@gmail.com.Also, check out Zac's show Rock Talk with Dr. Cropper!
President of the Ohio Federation of Teachers, Melissa Cropper, joined the America's Work Force Union Podcast to talk about Columbus' designation as a workforce hub. Cropper also discussed the OFT's ongoing battles with the Freedom Foundation and her concern for groups seeking to undermine the educational system in America. Special Assistant to the President of North America's Building Trades Unions, Melissa Wells, joined the America's Work Force Union Podcast to discuss her work with the trades, the growth she's seen since joining with NABTU and the upcoming Tradeswomen Build Nations Conference.
Day 233 Today's Reading: 1 John 3 One of the greatest thrills for any violinist is to play a Stradivarius. Named for their creator, Antonio Stradivari, who meticulously handcrafted these rare violins, which produce an amazing sound. So you can imagine the excitement of acclaimed British violinist Peter Cropper when, in 1981, London's Royal Academy of Music offered him a 258-year-old Stradivarius to play during a series of concerts. But then the unimaginable happened. As Cropper walked onto the stage during a concert, he tripped and fell on the violin, breaking off the neck. Forget being embarrassed—he'd just destroyed a priceless masterpiece! Cropper was inconsolable about what he'd done and vowed to do whatever he could to make it right. He took the violin to a master craftsman in the vain hope that he might be able to fix it. A miracle happened, and the craftsman was able to repair it. In fact, he repaired it so perfectly that the break was undetectable—and the sound was exquisite. The Academy was gracious enough to allow him to continue using the rare instrument. And for the remainder of the concert series, as Cropper played, he was reminded of the fact that what he once thought irreparably damaged had been fully restored by the hand of a Master craftsman. Our lives are in continual repair by the Master. That repair work has a name: sanctification. And one day, these broken lives will be a Stradivarius to God. Sanctification is what happens between now and know, between being born again and Jesus' coming again. Here's what 1 John 3 says about now and know: “Beloved, now we are children of God, and it has not appeared as yet what we will be. We know that when He appears, we will be like Him, because we will see Him just as He is”(verse 2). Now is the condition we are in presently. The broken violin. Broken by sin. The Know—that's the end when all the repairs are done, and we will be like Jesus. In between? That's the repair process called sanctification. We can compare the process of sanctification to an iceberg, which is almost 90 percent underwater. As the sun shines on the iceberg, the exposed part melts, moving the lower part upward. In the same way, we are usually aware of only a small part of our sinfulness and need, which is all we can deal with at any one time. However, as the light of God's work in our lives changes us in the areas we know about, we become aware of new areas needing His work. So put simply, sanctification is God's continual working on me, getting me closer to looking like Jesus. It's a good work, but it isn't an easy work. As D. L. Moody once said, “I've had more trouble with D. L. Moody than any other man I know.” Devotional writer of the classic My Utmost for His Highest, Oswald Chambers, said this about sanctification: “[sanctification] will cause an intense narrowing of all our interests on earth, and an immense broadening of all our interests in God. Sanctification means intense concentration on God's point of view. It means every power of body, soul, and spirit chained and kept for God's purpose only.” And F. F. Bruce speaks about the work of sanctification between now and know as imperative: “Those who have been justified are now being sanctified; those who have no experience of present sanctification have no reason to suppose they have been justified.” Nineteenth-century writer J. C. Ryle even takes it to a new level when he says: “The faith which has not a sanctifying influence on the character is no better than the faith of devils. It is a ‘dead faith, because it is alone.'” My favorite book of C. S. Lewis's Chronicles of Narnia series has always been The Voyage of the Dawn Treader. At one point in the book, the irritating antagonis
Colson and Jack get one over Roy Cropper actor David Neilson, Jack also has an awkward conversation with his Mother-in-Law and we rate the Aussie horror 'Talk To Me'Get in touch with Colson, Jack and Ben by sending us a message on WhatsApp, +447457404612 Hosted on Acast. See acast.com/privacy for more information.
Today we are joined by Corry Cropper, a Professor of French at Brigham Young University, and one of two authors, alongside Seth Whidden, of Velocipedomania: A Cultural History of the Velocipede in France (Bucknell University Press, 2023). In our conversation we discussed the origin of the velocipede and how it illuminated the paradoxes of cultural life in Second Empire France. In Velocipedomania, Cropper and Whidden argue that a close examination of the velocipede and the discourse around it both highlight the complexities of class, gender and modernity in late Second Empire France but also prefigure the links between the Third Republic and the French bicycle craze of the late 19th century. Through a close look at a range of primary sources, mostly drawn from 1868-1869, and carefully translated and reproduced in whole in the text, they demonstrate that the velocipede was more than a passing fad. The velocipede was instead a vital symbol of French modernity and tradition, masculinity and femininity, practicality and fancy, and machine power and body power. The book contains four major sections. Each correspond to a different primary source or set of primary sources. The most significant of the texts is The Manual of the Velocipede, written by Richard Lesclide and illustrated by Emile Benassit. The Manual contains scientific articles, short stories, instructions on how to learn to ride a velocipede, and dozens of images that provided some of the earliest visual lexicons of bicycle riding. Cropper and Whidden reproduce complete translations of these sections, copies of the images, and unpack them in text and footnotes. Cropper and Whidden's text and footnotes provide necessary context and compelling analysis; the sources can also be read alone and excerpted for teaching. Their discussion of the Manual for example focuses on a series of themes: the carnivalesque, the social classes of the Second Empire, gender difference, the erotic, and the modern and the traditional.Readers interested in the gender politics of velocipede riding will discover both the progressive and the retrograde. Cropper and Whidden show how the velocipede fad opened the door to sporting women who were able to use the machine to travel further than ever before but public decorum and sartorial conventions still limited the ways that women were able to ride. In a section called Note on Monsieur Michaux's Velocipede, Cropper and Whidden solve a historical mystery. They identify the note's author: a French naval officer de la Rue and velocipede enthusiast who invented the aquatic velocipede. De la Rue's Note offered practical explanations for why the French state should invest in velocipedes, including the speed of telegraph delivery and the protection of the borders from smugglers. At the same time, he also emphasized the pleasure he derived from riding his cycle. In the second chapter, Cropper and Whidden sketch out the history of velocipedes on stage. They show how velocipedes rolled into French opera following the liberalization of the medium during the final years of the Second Empire. Their translated text, Dagobert and his Velocipede, remains a very entertaining read. Their translation is joke dense and readers will need to flip between the text and footnotes to understand their witty and pun filled translation. A final chapter examines velocipedes and poetry. Cropper and Whidden's innovative approach to unpacking the history of the velocipede, which so successfully integrates translated primary sources, should be read by scholars interested in French history and sports history. It will also be very useful in classroom teaching. Keith Rathbone is a Senior Lecturer at Macquarie University in Sydney, Australia. He researches twentieth-century French social and cultural history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Today we are joined by Corry Cropper, a Professor of French at Brigham Young University, and one of two authors, alongside Seth Whidden, of Velocipedomania: A Cultural History of the Velocipede in France (Bucknell University Press, 2023). In our conversation we discussed the origin of the velocipede and how it illuminated the paradoxes of cultural life in Second Empire France. In Velocipedomania, Cropper and Whidden argue that a close examination of the velocipede and the discourse around it both highlight the complexities of class, gender and modernity in late Second Empire France but also prefigure the links between the Third Republic and the French bicycle craze of the late 19th century. Through a close look at a range of primary sources, mostly drawn from 1868-1869, and carefully translated and reproduced in whole in the text, they demonstrate that the velocipede was more than a passing fad. The velocipede was instead a vital symbol of French modernity and tradition, masculinity and femininity, practicality and fancy, and machine power and body power. The book contains four major sections. Each correspond to a different primary source or set of primary sources. The most significant of the texts is The Manual of the Velocipede, written by Richard Lesclide and illustrated by Emile Benassit. The Manual contains scientific articles, short stories, instructions on how to learn to ride a velocipede, and dozens of images that provided some of the earliest visual lexicons of bicycle riding. Cropper and Whidden reproduce complete translations of these sections, copies of the images, and unpack them in text and footnotes. Cropper and Whidden's text and footnotes provide necessary context and compelling analysis; the sources can also be read alone and excerpted for teaching. Their discussion of the Manual for example focuses on a series of themes: the carnivalesque, the social classes of the Second Empire, gender difference, the erotic, and the modern and the traditional.Readers interested in the gender politics of velocipede riding will discover both the progressive and the retrograde. Cropper and Whidden show how the velocipede fad opened the door to sporting women who were able to use the machine to travel further than ever before but public decorum and sartorial conventions still limited the ways that women were able to ride. In a section called Note on Monsieur Michaux's Velocipede, Cropper and Whidden solve a historical mystery. They identify the note's author: a French naval officer de la Rue and velocipede enthusiast who invented the aquatic velocipede. De la Rue's Note offered practical explanations for why the French state should invest in velocipedes, including the speed of telegraph delivery and the protection of the borders from smugglers. At the same time, he also emphasized the pleasure he derived from riding his cycle. In the second chapter, Cropper and Whidden sketch out the history of velocipedes on stage. They show how velocipedes rolled into French opera following the liberalization of the medium during the final years of the Second Empire. Their translated text, Dagobert and his Velocipede, remains a very entertaining read. Their translation is joke dense and readers will need to flip between the text and footnotes to understand their witty and pun filled translation. A final chapter examines velocipedes and poetry. Cropper and Whidden's innovative approach to unpacking the history of the velocipede, which so successfully integrates translated primary sources, should be read by scholars interested in French history and sports history. It will also be very useful in classroom teaching. Keith Rathbone is a Senior Lecturer at Macquarie University in Sydney, Australia. He researches twentieth-century French social and cultural history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
Today we are joined by Corry Cropper, a Professor of French at Brigham Young University, and one of two authors, alongside Seth Whidden, of Velocipedomania: A Cultural History of the Velocipede in France (Bucknell University Press, 2023). In our conversation we discussed the origin of the velocipede and how it illuminated the paradoxes of cultural life in Second Empire France. In Velocipedomania, Cropper and Whidden argue that a close examination of the velocipede and the discourse around it both highlight the complexities of class, gender and modernity in late Second Empire France but also prefigure the links between the Third Republic and the French bicycle craze of the late 19th century. Through a close look at a range of primary sources, mostly drawn from 1868-1869, and carefully translated and reproduced in whole in the text, they demonstrate that the velocipede was more than a passing fad. The velocipede was instead a vital symbol of French modernity and tradition, masculinity and femininity, practicality and fancy, and machine power and body power. The book contains four major sections. Each correspond to a different primary source or set of primary sources. The most significant of the texts is The Manual of the Velocipede, written by Richard Lesclide and illustrated by Emile Benassit. The Manual contains scientific articles, short stories, instructions on how to learn to ride a velocipede, and dozens of images that provided some of the earliest visual lexicons of bicycle riding. Cropper and Whidden reproduce complete translations of these sections, copies of the images, and unpack them in text and footnotes. Cropper and Whidden's text and footnotes provide necessary context and compelling analysis; the sources can also be read alone and excerpted for teaching. Their discussion of the Manual for example focuses on a series of themes: the carnivalesque, the social classes of the Second Empire, gender difference, the erotic, and the modern and the traditional.Readers interested in the gender politics of velocipede riding will discover both the progressive and the retrograde. Cropper and Whidden show how the velocipede fad opened the door to sporting women who were able to use the machine to travel further than ever before but public decorum and sartorial conventions still limited the ways that women were able to ride. In a section called Note on Monsieur Michaux's Velocipede, Cropper and Whidden solve a historical mystery. They identify the note's author: a French naval officer de la Rue and velocipede enthusiast who invented the aquatic velocipede. De la Rue's Note offered practical explanations for why the French state should invest in velocipedes, including the speed of telegraph delivery and the protection of the borders from smugglers. At the same time, he also emphasized the pleasure he derived from riding his cycle. In the second chapter, Cropper and Whidden sketch out the history of velocipedes on stage. They show how velocipedes rolled into French opera following the liberalization of the medium during the final years of the Second Empire. Their translated text, Dagobert and his Velocipede, remains a very entertaining read. Their translation is joke dense and readers will need to flip between the text and footnotes to understand their witty and pun filled translation. A final chapter examines velocipedes and poetry. Cropper and Whidden's innovative approach to unpacking the history of the velocipede, which so successfully integrates translated primary sources, should be read by scholars interested in French history and sports history. It will also be very useful in classroom teaching. Keith Rathbone is a Senior Lecturer at Macquarie University in Sydney, Australia. He researches twentieth-century French social and cultural history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sports
Vance Crowe was invited to give a talk at the Stock Cropper field day in Buffalo Center, Iowa. Vance gave a talk about what advice he would give to his daughter if she were attending an event with other people that had similar values.Stock Cropper Field day was put on by Zack Smith and featured Jason Mauck. To learn more check out the #FarmWeird hashtag on Twitter.Book a Legacy Interview | https://legacyinterviews.com/ —A Legacy Interview is a two-hour recorded interview with you and a host that can be watched now and viewed in the future. It is a recording of what you experienced, the lessons you learned and the family values you want passed down. We will interview you or a loved one, capturing the sound of their voice, wisdom and a sense of who they are. These recorded conversations will be private, reserved only for the people that you want to share it with.Contact Vance for a Talk | https://www.vancecrowe.com/ —Vance delivers speeches that reveal important aspects of human communication. Audiences are entertained, engaged, and leave feeling empowered to change something about the way they are communicating. Vance tells stories about his own experiences, discusses theories in ways that make them relatable and highlights interesting people, books, and media that the audience can learn even more from.
Melissa Cropper, President of the Ohio Federation of Teachers, joined the America's Work Force Union Podcast and discussed the big win for labor against Ohio State Issue 1. Cropper also spoke about organizing libraries and school board elections.
Cliff Barackman and James "Bobo" Fay speak with Paul Cropper, co-author of the new book The Yowie File: Encounters with Australian Ape-Men! Paul discusses the history of the Australian mystery apes, notable cases, and the other cryptids that might lurk down under! Find the book here: https://a.co/d/1ThIOquGet $100 off your first six-session program today: Mindbloom.com/bigfoot, promo code bigfoot Sign up for our weekly bonus podcast "Beyond Bigfoot & Beyond" here: https://www.patreon.com/bigfootandbeyondpodcastGet official "Bigfoot & Beyond with Cliff & Bobo" merchandise here: https://sasquatchprints.com/bigfoot-and-beyond-merch/This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5828320/advertisement
Anton Cropper is a director and producer known for 'Monk', ‘Black-ish', 'Suits', and his recent feature film ‘Fantasy Football'. In this episode, Anton joins Pete to discuss the role of the Stage Manager, directing actors and applying writer's notes, the importance of relationships, creating new worlds when directing pilots, pitch deck preparation, and more…(00:00:00 - 00:05:45) -- Podcast Intro (00:05:45 - 00:14:00) -- First Story To Have An Impact(00:14:00 - 00:17:45) -- Getting His Start In the Business(00:17:45 - 00:25:55) -- Growing Up And Financial Literacy(00:25:55 - 00:28:30) -- Early Years As A Stage Manager(00:28:30 - 00:37:15) -- Moving Up The Ladder(00:37:15 - 00:45:20) -- Directing Actors (00:45:20 - 00:53:00) -- Relationships And Receiving Notes (00:53:00 - 00:54:00) -- “Transitions: A Director's Journey And Motivational Handbook” Promo(00:54:00 - 01:02:10) -- Maintaining His Career And Getting On The Radar(01:02:10 - 01:05:10) -- Saying “No"(01:05:10 - 01:12:55) -- Creating The World With Pilots(01:12:55 - 01:18:50) -- The Importance Of Prep And Pitch Decks(01:18:50 - 01:22:22) -- Upcoming Projects(01:22:22 - 01:35:00) -- Lighting Round Questions(01:35:00 - 01:37:20) -- Podcast Outro
Marcus Mosher and Landon McCool take a look at two UDFA wide receivers that the Dallas Cowboys signed this off-season. Could Jalen Moreno-Cropper start for the Cowboys in the slot? And what are the chances that David Durden makes the roster? All that and so much more in this episode of the show!Support Us By Supporting Our Sponsors!Built BarBuilt Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKEDON15,” and you'll get 15% off your next order.FanDuelMake Every Moment More. Don't miss the chance to get your No Sweat First Bet up to ONE THOUSAND DOLLARS in Bonus Bets when you go FanDuel.com/LOCKEDON.FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN) Learn more about your ad choices. Visit podcastchoices.com/adchoices
Marcus Mosher and Landon McCool take a look at two UDFA wide receivers that the Dallas Cowboys signed this off-season. Could Jalen Moreno-Cropper start for the Cowboys in the slot? And what are the chances that David Durden makes the roster? All that and so much more in this episode of the show! Support Us By Supporting Our Sponsors! Built Bar Built Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKEDON15,” and you'll get 15% off your next order. FanDuel Make Every Moment More. Don't miss the chance to get your No Sweat First Bet up to ONE THOUSAND DOLLARS in Bonus Bets when you go FanDuel.com/LOCKEDON. FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN) Learn more about your ad choices. Visit podcastchoices.com/adchoices
Will Selva and MJ Acosta-Ruiz are back for another episode of El Huddle! This week we're talking first names and what they mean to us , some party chat and we're joined by Fresno State WR prospect Jalen Moreno - Cropper! Don't miss out on this one.See omnystudio.com/listener for privacy information.
Will Selva and MJ Acosta-Ruiz are back for another episode of El Huddle! This week we're talking first names and what they mean to us , some party chat and we're joined by Fresno State WR prospect Jalen Moreno - Cropper! Don't miss out on this one.See omnystudio.com/listener for privacy information.
Will Selva and MJ Acosta-Ruiz are back for another episode of El Huddle! This week we're talking first names and what they mean to us , some party chat and we're joined by Fresno State WR prospect Jalen Moreno - Cropper! Don't miss out on this one.See omnystudio.com/listener for privacy information.
Will Selva and MJ Acosta-Ruiz are back for another episode of El Huddle! This week we're talking first names and what they mean to us , some party chat and we're joined by Fresno State WR prospect Jalen Moreno - Cropper! Don't miss out on this one.See omnystudio.com/listener for privacy information.
Will Selva and MJ Acosta-Ruiz are back for another episode of El Huddle! This week we're talking first names and what they mean to us , some party chat and we're joined by Fresno State WR prospect Jalen Moreno - Cropper! Don't miss out on this one.See omnystudio.com/listener for privacy information.
Sifu Rick Cropper is a Martial Arts practitioner, instructor, and founder of the Kaizen League. I'll credit it to sparring. We whack each other but we love each other, we trust each other, we push each other, nobody's got weird attitude at all. We're there to improve but we're there to help each other. It helps keep me accountable to everything I do… Sifu Rick Cropper - Episode 792 Internationally recognized holder of a 8th degree black belt in the Chuan-Fa branch of Kajukenbo self-defense system. Master Rick Cropper is one of the most widely respected, and highly sought after Black Belt instructors in the Pacific Northwest. Having Over 50 years of martial art experience and having taught thousands of martial art students, Master Cropper's teaching style and methods are highly praised. Master Cropper's accolades are many, including training multiple Black Belt World Champions, ranked in the top 21 sports karate school in the world, promoter of the Mighty River Classic Martial Art Tournament, and promoting many students to black belts, including master rank. In this high-octane, energetic, and FUN episode, Sifu Rick Cropper talks about his journey to the martial arts, future goals, and his tournament, the Kaizen League. Listen to learn more! Show notes You may check out more about Sifu Rick Cropper on mightyriverclassic.com
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
In the nineteenth century, a fascination with the Church of Jesus Christ of Latter-day Saints made Mormons and Mormonism a common trope in French journalism, art, literature, politics, and popular culture. Heather Belnap, Corry Cropper, and Daryl Lee bring to light French representations of Mormonism from the 1830s to 1914, arguing that these portrayals often […] The post Maxwell Institute Podcast #157: Latter-day Saints in the French Imagination, with Corry Cropper, Daryl Lee, and Heather Belnap appeared first on Neal A. Maxwell Institute | BYU.
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