Podcasts about Crudup

Nik, Keefy and Don end our latest Metallica series with the ill-attempted "S & M." Is some of it great? Yes. We delve deep into what works, and what does not work at all. You might be surprised which is which. Keefy is upset at Nik, again.Don gets shame boners like a teenagerNik is 100% Nik and you have to love him, even Keefy does. Check out our last series on series on Pink Floydhttps://www.youtube.com/playlist?list... For Rock and Metal news: https://www.ghostcultmag.comFor vinyl porn: https://www.instagram.com/Glacially_M...To support the Pouredcast: https://linktr.ee/GlaciallyMusicalPou... Invest In Vinyl mylar inner sleeves https://amzn.to/3pPLQaA Timestamp: 0:00 Intro Nik "The Delicious Dish" Cameron, and Don "Captain Lateness" De Leaumont, and Keefy "Crudup"1:52 Beer of The Week ✅ Nik - 3 Floyds Beer, Don - Yuengling, Keefy - Liquid Death Seltzer new flavor with Stevia and filled with sadness 6:30 Vinyl ✅ Nik - Ann Wilson of Heart + Billy Joel, Don - Kati Ran reissue, Keefy - Spotlights + Mark Morton of Lamb of God16:20 News Keefy - Record Store Date fallout, Nik's rsd finds, Don did not like RSD and has Foreigner news35:41 Shirt ✅ Nik - More Cowbell, Don - Stay Inside Club, Keefy - Type O Negative39:00 The Meat of The Episode ✅ "S & M" is not as good as you remember. In fact it's much worse125:00 ✅ Outro - Please like and subscribe! Tell your friends!

From Coding to Check-Ins: Jaden Crudup's Unexpected Hospitality Journey Jaden Crudup, Sonesta's Lodging Development Manager, shares his unique career transition from computer science to the hospitality industry on Ted's Hospitality Minute hosted by Ted Kelly. Jaden provides valuable insights on networking, mentorship, and the lessons learned from hands-on experience in the field. Don't miss this week's latest episode here: https://youtu.be/RHsmtg2f6C4 #CodingToCheckIns #HospitalityJourney #HospitalityJourney #CareerChange #HospitalityCareers #HotelManagement 0:00 – Preview of the episode 0:15 – Introduction of guest Jaden Crudup 1:11 – Background of the guest 4:26 – Favorite subject that pushes the guest to continue in the industry 7:29 – Home Recovery Application 8:56 – Journey of employment 13:29 – Opportunities and Aspirations in the Hospitality Industry 15:32 – Thoughts on being a hotel owner 17:20 – Closing The Recoverit App: Click the Link: https://www.recoverit.app/ USE PROMO CODE 2023IMSL1

Episode 165, was indeed refreshing, informative and inspiring thanks to the energy and passion of Dr. Kendra Holmes, CEO and President of Affinia Healthcare. ----- Tangazo cohost and I were not quite prepared, for the passionate responses to our questions involving healthcare for underserved communities, that we encountered with Dr. Holmes. ------   You too will be moved by her boldness and determination, to identity racism in our healthcare systems which Holmes, attributes to many of the healthcare issues, that continue to plague our black communities. ------   In hour 2, I was joined by former Tallahassee Florida Mayor Dorothy Inman-Johnson, an author and political progressive, who tells it like it is on matters of national politics. ----- Alicia D Crudup, activist and community organizer in Minneapolis talks about the challenges facing her Congresswoman progressive IIhan Omar, in her bid for reelection. -----   Surprisingly this young black woman a progressive activist, believes that it's healthy for any incumbent to be challenged, as it benefits constituents to have more accountability from their elected officials. -----   I wholeheartedly agree with her position on that issue, with a reminder that elected officials, are not entitled to serve in office any longer than voters determine that they are serving their constituents. -----

For Wesley Snipes, his fifth movie has him going up against the... King of New York Christopher Walken gets out of prison and becomes the King of New York. He rounds up a crew and takes over the drug trade. Why? To fund a hospital. What? Snipes is one of a cop pile that wants him in jail and then dead. I really wanna talk Jules into just doing every movie Abel Ferrara has made. I've only seen two, and both times I was like this movie sucks and then watched them a decade later and said "Holy heck, these things are amazing". Catch up on Snipes, Crudup, Liotta, Mitchell, Gordon, Cazale and Longstreet in our back catalog. Please do rate and review us on Apple podcasts and pick a movie for us to cover.

ARTHUR BIG BOY CRUDUP – LOOK ON YONDER´S WALL Hola amigas y amigos, espero que todos se encuentren bien y con ganas de abordar una nueva escucha, gracias por estar ahí, donde quiera que sea y contarles que la semana pasada en parte del guión mencionábamos al protagonista de hoy y hoy también vamos a escuchar un disco de la misma casa discográfica DELMALK que ha tenido una importancia muy grande en el mundo del blues gracias a su catálogo y el buen hacer de quien también hoy, nos va a prestar las notas del guión, Bob Koester.

Pew pew, pop pop! Ahhhhh! This has that guy in it that people are pretty sketched out on now. He plays John Dillinger. He goes to jail and robs banks and goes to jail and associates with some people who are bad news. One of us is surprisingly into this! One of us is like "why is this movie full of history lies!". Who is it? And did you know Crudup is in this? And Christian Bale? Whoa! What about the scary guy from "Don't Breathe"? Yep, and he's prettttty cool. Mann it up with a Michael Mann full of men doing guns and money.

The Crudup pile grows mighty with a movie Robert Deniro directed. Matt Damon is boring. He's perfect to be a special agent. He ruins the lives of the people he "loves", but Angelina Jolie does ride him in a pile of dirt 5 minutes after they meet. This movie is very long. I had seen it before. I was not looking forward to watching it again. But? Do we like it? Are we thrilled to hear Joe Pesci pop up and drop some slurs? Grab your shine box and headphones! Also, Billy Crudup is in this. Rate? Review? Subscribe? Please?

Welcome to "Mentality Unchained Podcast" hosted by Dr. Kevin Thomas, Your Neighborhood Therapist. In this episode, Dr. Thomas is joined by a very special guest, The Owner of Sonny's Place and the Founder of the Awaken Foundation, Jurea Crudup. Together, they dive deep into a variety of topics including the transformative journey of switching careers, the challenges and rewards of being on the frontline, the artistry and emotional connection of being a DJ, the vital role of a support system in mental health, and a candid discussion on the current state of mental health in Rockford, IL. Titled "The Face and the Crowd," this episode delves into the intricacies of navigating personal and professional identities amidst societal expectations and pressures. Through honest conversations and insightful reflections, listeners are invited to explore the complexities of human experience and the importance of breaking free from the confines of societal norms to live authentically. Join Dr. Kevin Thomas and his esteemed guest as they unravel the layers of the human psyche, challenge conventional thinking, and inspire listeners to embrace their true selves on the journey to mental wellness. Tune in to "Mentality Unchained Podcast" for thought-provoking discussions and empowering insights into the world of mental health. --- Support this podcast: https://podcasters.spotify.com/pod/show/mentality-unchained/support

Leslie Crudup Villagarcia is a distinguished life coach, recognized for her dedication to fostering purpose-driven lives aligned with individual values rather than societal expectations. With an educational background including an MA in Applied Linguistics and a Cert IV in Life Coaching, Leslie brings a wealth of knowledge and experience to her coaching practice. She is the founder of Leslie V. Coaching, where she specializes in a variety of areas, including acceptance and commitment therapy, motivational interviewing, bibliotherapy and narrative therapy. Leslie offers coaching programs tailored to individuals, couples, and groups, providing services online via Zoom and in-person. Leslie is not just a life coach; she is also a proud queer, polyamorous woman of colour and an ally for marginalized groups, advocating for racial and social equity. Her work is informed by her extensive experience as an educator, trainer, curriculum developer, e-learning designer and workshop facilitator across Australia, Europe, Asia, and the US. Leslie's approach to coaching is pragmatic and grounded, emphasizing the importance of hard work and commitment to achieving personal goals while avoiding the pitfalls of toxic positivity and spiritual bypassing. In addition to her coaching practice, Leslie hosts the "Thriving Between the Lines" podcast, where she and her co-host, Meka, explore personal development books through the lens of intersectionality. This podcast aims to make self-help content more accessible and relatable by addressing the often-overlooked impact of privilege on success and highlighting the experiences of people from marginalized communities. In this episode, Leslie provides a snapshot of her life and articulates her views, knowledge and sheer deep understanding on the world, different cultures and a number of topics that many shy away from. She challenges the standard narrative or view within society and mainstream media, prompting some great questions and different ways of looking at a range of diverse topics. The key element that Steve took away and found extremely beneficial was "taking into account the "lived experience" component when it comes to looking at issues, different opinions and views within the world. Connect with Leslie: Instagram - @leslievcoaching Website - leslievcoaching.com Podcast - Thriving Between The Lines LinkedIn - www.linkedin.com/in/lesliecrudupvillagarcia/ Disclaimer: Important Notice The information provided in Share Podcast is for general informational purposes only. We are not experts in the discussed subjects, and our opinions are personal. While we aim for accuracy, we don't guarantee the completeness or reliability of the information. This podcast should not be considered a substitute for professional advice. Always consult qualified experts for specific advice. We are not liable for any decisions made based on the podcast content. The opinions expressed are those of individuals and not representative of any affiliated entities. The content is protected by copyright and unauthorized use is prohibited.

Contact your host with questions, suggestions, or requests about sponsoring the AppleInsider Daily:charles_martin@appleinsider.com(00:00) - 01 - Intro (00:15) - 02 - Apple breaks a feature to beat the ban (01:28) - 03 - Third party app stores coming ... to the EU only (02:41) - 04 - Apple Stores get storage drawers ... (03:07) - - Vision Pro has M2 alongside R1 chips (03:42) - 05 - QN: MLK remembered (04:12) - 06 - QN: Lunar New Year discount (04:40) - 07 - QN: Siri team consolidated (05:29) - 08 - QN: Crudup's award deja vu (06:03) - 09 - OTN: Google bars crypto apps in India (06:32) - 10 - Beeper users f'd around and found out (07:25) - 11 - Outro Links from the showApple's stripping out blood oxygen sensing from Apple Watch enough to skirt import banApple prepares to enable sideloading and App Store changes in EUApple Vision Pro storage cabinets appear in stores ahead of launchVision Pro has Mac mini's M2 processorApple marks Dr. Martin Luther King Jr. Day with homepage memorialChina gets another iPhone discount for Lunar New YearApple offers Austin relocation to 121 San Diego employees in office closureApple TV+ falls flat at Critics Choice AwardsGoogle follows Apple in pulling crypto apps in IndiaBeeper Mini users find Macs banned from iMessage networkSubscribe to the AppleInsider podcast on:Apple PodcastsOvercastPocket CastsSpotifySubscribe to the HomeKit Insider podcast on:•  Apple Podcasts•  Overcast•  Pocket Casts•  Spotify

"The only true currency in this bankrupt world is what you share with someone else when you're uncool." For our third Throwback episode, we're looking back at Episode 161 from May 2021 when Thomas and Brandon discussed Cameron Crowe's ALMOST FAMOUS. Listen as they talk about the film's casting process, who the characters were based on, and the troubles on set.  Throwback Intro - (00:00:00) Opening Banter (00:03:07) Recap of the Fictional Band Genre (00:04:00) Intro to Almost Famous (00:07:11) How Almost Famous Got to Production (00:16:27) Favorite Scenes (00:24:33) On Set Life - (00:40:38) Aftermath: Release and Legacy (00:47:15) What Worked and What Didn't (00:51:37) Alternate Universe Cast (00:59:26) Film Facts (01:05:40) Story Questions (01:09:23) Awards (01:16:50) Final Questions (01:27:28) Join our Patreon for More Content: https://www.patreon.com/cinenation Contact Us: Facebook: @cinenation Instagram: @cinenationpodcast Twitter/X: @CineNationPod TikTok: @cinenation Letterboxd: CineNation Podcast E-mail: cinenationpodcast@gmail.com

This week on Let’s Talk – The Arts, Rachael brings … Continued

"Tedeschi Trucks Band: Rocking the Garden Party with Warren Haynes and Trey Anastasio"Larry Mishkin discusses various topics related to marijuana law, culture, and music. He mentions updates on Tedeschi Trucks Band shows, including performances with Warren Haynes and Trey Anastasio. Larry also delves into the history of the song "It Takes a Lot to Laugh, It Takes a Train to Cry," originally written by Bob Dylan, and how it marked a pivotal moment in the transition to electric music. He discusses the Dead's cover of the song and its significance, along with other Dylan covers. Additionally, Larry touches on the Jerry Garcia and Merle Saunders performance from 50 years ago, featuring songs like "Finders Keepers" and "The Harder They Come." He highlights the guest musicians and the significance of these performances within the context of rock and roll history. Finally, he shares insights on Jerry Garcia's cover of "That's All Right, Mama" and its historical significance in the development of rock and roll music..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 Going with a Garcia/Saunders show:October 2, 1973 (50 years ago)Winterland, S.F.Garcia & Saunders 1973 Winterland SF KSAN : KSAN : Free Download, Borrow, and Streaming : Internet ArchiveBand members:Jerry – guitar and vocalsMerle – KeyboardJohn Kahn – bassBill Vitt – drumsGuests:Sara Fulcher – vocalsMatt Kelly – harmonicaRoger “Jellyroll” Troy – bass, vocalsMartin Fierro – saxBill Atwood - trumpet     INTRO:                  It Takes A Lot To Laugh It Takes A Train To Cry                                (this one is really from 10.12.1973 at Keystone because the Archive.org show is missing this song as the opener and this is the one closes in date I could find)                                Jerry Garcia/Merl Saunders • It Takes A Lot To Laugh, It Takes A Train To Cry 10/12/73 Fixed SBD - YouTube                                7:35 – 9:09                                 "It Takes a Lot to Laugh, It Takes a Train to Cry" is a song written by Bob Dylan, that was originally released on his album Highway 61 Revisited released Aug. 30, 1965. It was recorded barely a month earlier on July 29, 1965. The song was also included on an early, European Dylan compilation album entitled Bob Dylan's Greatest Hits 2.An earlier, alternate version of the song has been released, in different takes, beginning with the appearance of one take on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991 in 1991.Covered by Steven Stills, Leon Russell, Marianne Faithful, Taj Mahal, Paul Westerberg, Robyn Hitchcock and Lucinda Williams Dylan's live debut of the song came as part of Dylan's controversial electric set, backed by members of The Paul Butterfield Blues Band and Al Kooper, at the Newport Folk Festival on July 25, 1965, after "Maggie's Farm".[2][4][5][7] After being heckled during the electric set, and especially during "It Takes a Lot to Laugh, It Takes a Train to Cry", by fans who wanted Dylan to play acoustic folk music, Dylan returned to play acoustic versions of "Mr. Tambourine Man" and "It's All Over Now, Baby Blue".[4][7] The Newport performance of "It Takes a Lot to Laugh, It Takes a Train to Cry" features jamming by guitarist Bloomfield and organist Al Kooper.[4] Dylan played it live as part of his set in the August 1971 Concert for Bangladesh. This version was included in the concert film and Grammy Award-winning album of the same title.[2]A.         Dead played it 7 times:first time on June 10, 1973 at RFK Stadium (D.C.) with Allman Brothersfive times in 1991 and once on March 16, 1992 at the Spectrum, Philly Released on Dead album:  Postcards of the Hanging (March, 2002) B.         Jerry's various bands played it about 60 times,first time on January 15, 1972 at Keystone Korner in S.F. w/Merle SaundersLast time by JGB: March 4, 1995 at the Warfield in S.F.                                SHOW #1:           Finders Keepers                                Track No. 1                                3:00 – 4:13                 Finders Keepers was performed over 20 times by Jerry Garcia with the Garcia/Saunders band, Legion of Mary and Reconstruction between 1973 and 1979.On the 1973 Garcia/Saunders Keystone double album the song is called Finders Keepers and is correctly credited to Johnston and Bowen. The song was written by General Johnson, a member of the group Chairmen Of The Board, and Jeffrey Bowen, the producer of the Chairmen Of The Board recording. The song was originally released by the Chairmen Of The Board as a single with a vocal version of the song on the A side and an instrumental version on the B-side.  Chairmen of the Board is an American-Canadian, Detroit, Michigan-based soul musicgroup, who saw their greatest commercial success in the 1970s.  SHOW #2:           The Harder They Come                                Track No. 2                                1:05 – 2:18 "The Harder They Come" is a reggae song by the Jamaican singer Jimmy Cliff. It was first recorded for the soundtrack of the 1972 movie of the same name, in which it is supposed to have been written by the film's main character, Ivanhoe Martin. In 1969, singer Jimmy Cliff met film director Perry Henzell, who was intending to make a film about a musician who turned to crime. Cliff agreed to take the lead role, and the film was shot over the next two years. During filming, Cliff came up with the line "the harder they come". Henzell thought it would make a good title for the film, and asked Cliff to write and record a theme song for it.[2]The actual recording of the track, at Dynamic Sounds (Muscle Shoals, 1971), was filmed for inclusion in the movie. Cliff wrote the melody, and improvised the lyrics. The musicians were Gladstone Anderson (piano), Winston Wright (organ), Winston Grennan (drums), Linford "Hux" Brown (lead guitar), Ranford "Ranny Bop" Williams (rhythm guitar), and Clifton "Jackie" Jackson (bass).[2]Reggae track recorded in Jamaica in 1972 Covered by:  JGB (Kean College 2.2.80), Cher, Keith Richards (b-side to his single, Run Rudolph Run 1978), Rancid, Joe Strummer, Wayne Kramer, moe., Willie Nelson, Guster, Widespread Panic and many others The Harder They Come was performed over 350 times by Jerry Garcia/Merl Saunders groups and by the Jerry Garcia Band between 1973 and 1995. The lyrics and music for the song are included in the Jerry Garcia Songbook. Also played by Phil Lesh & Friends, Billy & The Kids, Voodoo Dead and Bob Weir with Soul Ska.                                SHOW #3:           That's All Right Mama                                Track No. 3                                2:20 – 3:59                                Featuring:  Bill Atwood on Trumpet and Sara Fulcher on vocals                                                              The song was written by Arthur "Big Boy" Crudup, and originally recorded by him in Chicago on September 6, 1946, as "That's All Right". Some of the lyrics are traditional blues verses first recorded by Blind Lemon Jefferson in 1926.[5][6] Crudup's recording was released as a single in 1947 on RCA Victor 20–2205, but was less successful than some of his previous recordings. One of the experts who consider the Crudup recording to be the "first rock and roll song" is Southeastern Louisiana University rock historian Joseph Burns, who adds that "this song could contain the first ever guitar solo break". Elvis Presley's version was recorded in July 1954.[10] While recording an album as part of a trio called The Blue Moon Boys, the band played "That's All Right" in between takes, and the uptempo style characteristic of rockabilly caught the attention of studio executive Sam Phillips, who asked for a refinement of the interpretation that was later recorded.[11] Its catalogue number was Sun 209.[12] The song was released under its original title, "That's All Right", and names the performers as Elvis Presley, Scotty, and Bill.[13] The Presley version was not identical to Crudup's since it was "at least twice as fast as the original".[2] His version is considered by some music critics as one of the records that was the first in the rock n'roll genre.  A 2004 article in The Guardian argues that rather than Presley's version being one of the first records of rock and roll, it was simply one of "the first white artists' interpretations of a sound already well-established by black musicians almost a decade before [...] a raucous, driving, unnamed variant of rhythm and blues". Covered by the Grateful Dead once with allman Brothers on June 10, 1973 (RFK great version with Jerry and Dickey Betts trading off lead licks) and once om April 18, 1986 at Berkeley Community TheaterPlayed regularly by JGB and other versions from the ‘70's until the end in 1995.                               SHOW #4:           Second That Emotion                                Track No. 5                                7:00 – 8:29 "I Second That Emotion" is a 1967 song written by Smokey Robinson and Al Cleveland. First charting as a hit for Smokey Robinson and the Miracles on the Tamla/Motown label in 1967, "I Second That Emotion" was later a hit single for the group duet Diana Ross & the Supremes and The Temptations, also on the Motown label. One morning in 1967, Robinson and Cleveland were shopping at Hudson's, a Detroit department store. Robinson found a set of pearls for his wife, Claudette. "They're beautiful." he said to the salesperson. "I sure hope she likes them." Cleveland then added "I second that emotion." Both songwriters laughed at Cleveland's malapropism; he had meant to say "I second that motion." The two were immediately inspired to write a song using the incorrect phrase. Was performed a handful of times (7) by the Grateful Dead in April, 1971First:  April 8, 1971 at The Music Hall, BostonLast:  April 29, 1971 at Fillmore East NYC Part of Jerry's bands repertoire between 1973 and 1994 (played almost 200 times)  OUTRO:                Sweet Little Angel                                Track #7                                2:20 – 3:59                 Written by BB King and Jules Taub in September, 1956                Some say it is an adaption of Black Angel Blues written by Lucille Bogan in December, 1930 In 1956, B.B. King recorded "Sweet Little Angel" (RPM Records 468). According to King, "I got the idea for 'Sweet Little Angel' from Robert Nighthawk's 'Sweet Black Angel', though I later discovered that the song had been recorded by someone before Nighthawk. At the time 'black' was not a popular word, as it is now. Instead of using the old title, I changed it to 'Sweet Little Angel'—and that was a pretty big record for me".[6] King's version, which included a horn section, was a stylistic shift for the song and it became a hit, reaching number eight on the Billboard R&B chart.[7] In 1957, he re-recorded "Sweet Little Angel" for his first album Singin' the Blues. Both versions prominently feature B.B. King's guitar work, with his note-bends "sounding almost like a lap steel in places.”

Hey, look, it's the 10th Radha Mitchell in our run! In this one, her character is named Doctor Fart-ass. Isn't that crazy? OK, I'm lying, her name is like Jess or something and she doesn't have a doctorate, she owns a diner and does everything there, except there's no customers... usually. Then 7th Heaven, Josh Lucas and two other knuckleheads show up and we got a noir on our hands. Is this mysterious? Is it believable? How does one get a job working 4 hour shifts at motels AND live there? Does New Zealand look like Oregon? Tune in!!!!! Podcast available everywhere so you can get your Crudup, Gordon or Liotta on. Link in bio or copy/paste https://linktr.ee/wedoingfilmographies #podcast #radhamitchell #joshlucas #kevinanderson #kiwinoir #noir #thriller #mystery #whenstrangersappear #barrywatson #7thheaven

MENtality Unchained host Kevin Thomas sat down with James Crudup, aka Sonny of Ubiquity Records, to discuss entrepreneurship, music, and the purpose behind his drive. He talked about his wife's influence on his ability to become an entrepreneur. He brings attention to how he was supported and accepted by the community of Rockford, IL, being from Chicago. Mr. Sonny stated that he only wanted to be a part of the community and bring encouragement to the community through music and hospitality.  Now Mr. Sonny dedicates himself to his children and their restaurant “Sonny's Place.” Mr. Sonny continues to be a mainstay and pillar of the Rockford community, and all respect him! #podcast, #podcasterunite, #podcaster, #podcastshow, #podcaslife, #healthpodcast, #podcasts, #podcastersofyoutube, #mentalhealth, #therapy, #podcastseries, #love, #youtube, #spotifypodcastshow, #spotify, #spotifypodcast, #ubiquityrecords, #sonnycrudup, #sonnysplace, #community, #music, #rentrepreneur  --- Support this podcast: https://podcasters.spotify.com/pod/show/mentality-unchained/support

I'm gonna level with you: I, Jason, love this movie. It has been my favorite movie since I saw it in the theater in 1999. This is the reason Billy Crudup is on the list of filmographies to cover. Do you want to laugh about dead bunnies? See a guy with a knife in his eye? Watch people chomp pills until they're a mess or see a very sad overdose? Watch this movie and then listen to us talk about it. Alison Maclean, Denis Johnson and Elizabeth Cuthrell crafted this hilarious and sad world we watch Crudup slop through along with Denis Leary, Samantha Morton, Jack Black, Michael Shannon, and Holly Hunter. Come hang on our Instagram at wedoingfilmographies and on twitter at dofilmographies

"Waking the Dead" is Billy Crudup's 10th film, directed by Keith Gordon (who switched over mostly to directing after acting in "Christine" "Jaws 2" and "the Legend of Billie Jean"), it's based on a best selling novel by the guy who wrote "Endless Love". Jennifer Connoly plays Billy "the prospective senator" Crudup's hippy girlfriend before she dies in a terrorist attack. OR DID SHE?!?!?!? When I saw this thing back in 2001, I cried and cried and cried at the end. Do I feel the same in 2022? Is it going to be Jules favorite movie? Is Hal Holbrook in this? What about Sandra Oh? I bet maybe John Carroll Lynch is somewhere in there? Now send us kisses on Instagram as wedoingfilmographies or on Twitter as dofilmographies

This is the loosely biographical story of writer/director Cameron Crowe as a teenager, played here by Patrick Fugit in his first film role, as he tags along with a band as a 15 year old journalist for Rolling Stone. Brad Pitt and Christian Bale almost played Russell Hammond, the guitarist of a fictional band on the rise in "Almost Famous". Pitt said "nah" and our buddy Billy Crudup ended up with the role of a lifetime. In his 11th credit, Crudup plays the coolest person you'd ever meet, and someone so handsome everybody else in the band looks like a bag of trash. Be our friends on Instagram, facebook and youtube at wedoingfilmographies, the Twitter is dofilmographies and you can find us on the reddit, call us on the hotline at 763-634-1897 or email us. Rate, review, tell your movie nerd friends.

Mindfulness expert Justice Crudup hosts the Mindfulness Monday Sessions at Chapman University's Fish Interfaith Center. In this episode, he talks about the transformational power of mindfulness and how students can apply this practice amidst the busyness of their everyday lives.  Created by Timea Steingart, podcast editor

Con Clifton Chenier, Eilen Jewell, MERYL STREEP BETTE MIDLER CHER OLIVIA NEWTON JOHN y GOLDIE HAWN, The 5th Dimension, The Sunshine Company, Mama Cass, Rare Bird, les Baronets, Elisa Toffoli, Arthur 'big Boy' Crudup, Merle Haggard, Elvis Presley, Scotty & Bill, Screamin' Jay Hawkins, Nina Simone, Creedence Clearwater Revival, Brian Ferry, Lecuona Cuban Boys, Antonio Machín, los 3 Diamantes, Natalia Lafourcade & Vicentico y la Orquesta de Pérez Prado

Hello Tomorrow! on Apple TV+ is both familiar and something we've never seen before. “It's representing materially and metaphorically, America as it once was, America as it will be and America as it is now,” Billy Crudup told Newsweek's H. Alan Scott about the new series, currently streaming. Crudup plays Jack, a salesman in a retro-futuristic United States, tasked with selling condos on the moon while his life begins to unravel. On the surface, it looks like 1950s America, but with futuristic elements like hovering cars and gadgets. “The actual fabric of the universe is both comforting, aspirational and disconcerting.” And that element is what's most exciting to Crudup about the world created by Amit Bhalla and Lucas Jansen. Ultimately the show inspires a conversation about the American dream. “The more time we spend wishing for a better reality, in my estimation, the less time we get in reality and the less chance we have of actually changing reality, because you're not living with the constituent parts of your day-to-day life if you're constantly thinking about tomorrow.” Visit Newsweek.com to learn more about the podcasts we offer and to catch up on the latest news. While you're there, subscribe to Newsweek's ‘For the Culture newsletter. Follow H. Alan Scott on everything at @HAlanScott. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

What's going on everyone?! I'm excited about this episode with him Army Sergeant Major Jermaine Crudup. Join us as we discuss mental health, masculinity, and the military in this episode. We hope you enjoy!

How does someone go from charging $500 for a website to pulling in 5-figures for a single website project? This is what my guest today, Amber Crudup, was able to do, and in fairness, the $500 price WAS the discounted price. (But the reason she created a 75% discount was because she couldn't sell a $2,000 website!) To reassess and reposition her offer to generate 5-figures per project is really an incredibly transformation, and even if you're not a web designer yourself, I think you're going to get a lot out of this episode. Quick overview of what we cover: The significance of processes when developing and scaling your businessAmber's journey through figuring out work-life harmony, how to be okay with her goals changing, and not being jealous of others' successes How limiting belief can affect the way you run your business and how to avoid letting the “not knowing” keep you from moving forwardAmber's perspective on non-negotiables and how important they are to your businessAmber's emphasis on the embodiment of the being when scaling and how who you are being is detrimental to your businessRESOURCES: Register for the Sustainable Scaling Summit: Designer Edition!Click here to join Adriane's Scalable Foundations MembershipClick here to get on the waitlist for Sustainable Growth LabClick here to work with Adriane and the Soulpreneur AgencyClick here for Amber's free gift offer LET'S CONNECT: Follow Soulpreneur: @soulpreneur_coFollow Sustainable Scaling: @sustainablescaling Follow Adriane @adrianegaleaVisit the website: soulpreneur.coCONNECT WITH AMBER: Follow Amber @ambercrudup_coVisit Amber's website: ambercrudup.comHey!! I'm Amber Crudup-- Business Coach to Brand + Web Designers. As a self-taught designer myself (hello YouTube University!), I've built a 7-figure business from the ground up + my passion is showing other designers how to do it too! Inside my group coaching program, Designed to Profit™, I teach designers how to strategically accelerate growth with a Signature 1:1 Solution that positions their expertise so they can easily charge 5-figures for their services. Helping designers make more money (without being glued to the computer 24/7) is my favorite pastime!- - - - - - - - - - - - - - - -Loved this episode? If you leave a review or share it with your friends on social, my team will send you a copy of one of our favourite business resources! Take a screenshot and email it over to us at support@soulpreneur.co or DM it to @sustainablescalingThis episode was first published at SustainableScaling.co/012

 | Artist  | Title  | Album Name  | Album Copyright | Lightnin' Hopkins  |  Wonder Why  | Lightnin' Hopkins In New York  | Candid  |  | Mississippi Bracey  | Stered Gal  | When The Levee Breaks, Mississippi Blues (Rare Cuts CD C)  | 2007 JSP  Records | Catfish Keith  | Little Pal of Mine  | Catfish Crawl (2019)  |  | Amos Milburn  | I'm Falling For You  | Complete Aladdin Recordings 1994 CD7 | Guy Davis and Fabrizio Pogi  |  Louise, Louise  | Sonny & Brownie's Last Train | Big Bill Broonzy  | Selling That Stuff  | Complete Recorded Works in Chronological Order Vol. 1 | Chris O  | I Need Your Love so Bad (feat. Didi Van Fritz)  | Wailin' & Raggin' the Blues | Washboard Sam  | Wasn't He Bad  | Washboard Swing  |  | Rev. Sekou with Luther and Cody Dickinson  | We Who Believe - MFiT  | In Times Like These  |  | Half Deaf Clatch  | Electric Desert - Interludio De Sombras  | Electric Desert  |  | Curley Weaver with Ruth Willis  | Some Cold Rainy Day  | Curley Weaver (1933-1935) | Son House  | My Black Mama Part 1  | The Delta Blues Of Son House | Seasick Steve  | Self Sufficient Man  | Amazon Artist Lounge EP | Frank Evans and Leo Taylor  | Bugle Call Rag  | Look A Yonder Coming | Andres Roots  | Black River Blues  | House Arrest EP  |  | Arthur Crudup  | Katie May (Remastered)  | Crudup's After Hours

It has been pretty convincingly argued that “That's All Right, Mama” was the world's first rock 'n' roll song (and subsequently the soundtrack of countless tales of teenage rebellion from the 1950a onward).However, should we be honoring the tune's composer and first performer — blues singer Arthur Crudup in 1946 — or the song's more famous interpreter, Elvis Presley, who introduced it to a wider world in 1954?“Big Boy” Crudup, who started his blues career in the late 1930s in Mississippi, recorded his composition in Chicago on Sept. 6, 1946, incorporating some traditional blues verses first recorded 20 years earlier by Blind Lemon Jefferson. Released as a single by RCA Victor in 1947, the record was less successful than some of Crudup's previous recordings. Still, some experts today consider the Crudup recording to be the "first rock and roll song." Among them is Southeastern Louisiana University rock historian Joseph Burns, who notes this song even “could contain the first ever guitar solo break."In early March 1949, Crudup's recording made even more history when it was re-released as RCA's first rhythm and blues record on its brand new 45 rpm single format (hitting stores on bright orange vinyl, incidentally).Enter ElvisMeanwhile in Tulepo, fellow Mississippian Elvis obviously heard Crudup's record.On the evening of July 5, 1954, during an otherwise uneventful recording session at Sun Studio in Memphis, Presley began improvising an up-tempo version of the song during a break. Right away, Bill Black jumped in on string bass. The pair was soon joined in the jam by Scotty Moore's guitar. Producer Sam Phillips, alert to the suddenly upbeat atmosphere, asked the three to start again so he could record it. (Elvis fans like to say that the resulting rendition is not identical to Crudup's because it was at least twice as fast as the original.)Crudup was credited as the composer on the Sun label when the record was released days later as Presley's debut single. In 2004, a Rolling Stone magazine article argued Presley's recording is the first rock 'n' roll record. Rebutting that claim in the same year, The Guardian characterized Elvis's record as simply one of "the first white artists' interpretations of a sound already well-established by black musicians almost a decade before. It was a raucous, driving, unnamed variant of rhythm and blues.”Take your pick. Meanwhile, despite legal battles into the 1970s, Crudup reportedly never received royalties for his work. An out-of-court settlement was supposed to pay him an estimated $60,000 in back royalties, but that never materialized. He died in 1974 without seeing the money.Big Boy Crudup has been honored with a marker on the Mississippi Blues Trail. And for his part, Elvis acknowledged Crudup's importance to rock 'n' roll when he once told a reporter, "If I had any ambition, it was to be as good as Arthur Crudup.”Our Take on the TuneIt was a grand and goofy night at the Bowen house last night, full of stories and wisecracks and ambling down wondrous strange new musical pathways, turning up numbers like this granddaddy of all things rock 'n' roll that just came running out to greet us about mid-evening. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Integrative oncology has made great strides over the past decade, but does it help to increase 5-year survival odds? In this interview, NMJ founder Karolyn A. Gazella talks with integrative oncology researcher, patient advocate, and breast cancer survivor Terri Crudup. Crudup was a part of the research team that recently published a study on the efficacy of integrative oncology for breast cancer patients in the Journal of Oncology. About the Expert Terri Crudup is an integrative oncology researcher who is passionate about increasing education, support, and funding for integrative therapies. As a two-time cancer survivor, Terri learned the power of complementary and lifestyle therapies, integrating them with traditional treatments to maximize her outcomes. Terri's employer, IQVIA, sponsored her research study showing institutional involvement with integrative oncology increases the odds of five-year survival for breast cancer patients. Her work has been published through ASCO and in the Journal of Oncology. Terri has a Biology degree from SUNY Geneseo, an MBA from the University of Rochester Simon School, and 20 years' experience as a researcher and consultant to pharmaceutical companies.

By Turner Cole. Works Cited “Brenau History and Traditions.” Brenau University, www.brenau.edu/about/brenau-history-and-traditions/. Accessed 9 Oct. 2021. Weatheringham, Gertrude. DELTA ZETA LAMP. 1962, www.deltazetaarchive.org/wp-content/uploads/2019/03/Summer_1962.pdf. Accessed 10 Oct. 2021. Wilson III, Charles Hooper. Refining a Woman's College: Toward a History of Brenau University, 1878-2008. 2008, getd.libs.uga.edu/pdfs/wilson_charles_h_200808_phd.pdf. Accessed 9 Oct. 2021.

On today's show: Greg Murphy, U.S. Representative for the 3rd District of North Carolina, discusses the infrastructure bill and Build Back Better plan, the vaccine mandates, and recognizes military veterans; Lt. Gen. (Ret.) Jerry Boykin, FRC's

What does wellness mean to you? For artist/athlete, Tash Crudup, the dimensions of wellness are interconnected and sustainable. She promotes plant-based life and has created a community that supports individuals on their journey towards wellness. Whether you're a vegan, an avid meat lover, or somewhere in between, you could definitely learn a thing or two from Tash. Small Bizz Shoutout: Last One Left by 1-OFF Recycled Garment Project (@1offproject) Donate to an organization of your choice, listed on LVS (lilveganshawty.co)

Get Links to all Stories, Trailer & Song in THE WAKEUP Newsletter: Arrives every day by 830am EST. Email Sean at Wakeupodcast@gmail.com  CONTACT + FOLLOW The Wakeup: On Instagram Here  and LinkedIn here for an early AM podcast preview   

In Episode 096, we are honoured to enjoy the company of Bill Crudup. Billy has been a long-time member of Drive495 in New York City and has shared more than a few intense and gruelling workouts under the close scrutiny of Don. We begin by speaking to Billy about his role as world class runner and legend, Steve Prefontaine, in the 1998 film, Without Limits. He outlines the training and preparation for the film and how they pieced together the numerous races required for depicting Prefontaine’s thrilling competitions. We then transition into Billy’s preparation for Almost Famous, where he played a skilled lead guitarist for an up and coming seventies rock band. Once again, Billy had to learn from some of the best in the world to create the illusion of guitar brilliance, piecing together memorable scenes for the movie. We quickly learn that Billy is a master in the art of taking brief moments in time and portraying himself as a world class performer throughout movies and television episodes. We even get to witness more of his acting and singing brilliance in the first season of The Morning Show, and anxiously await Season 2. And, all the while he still finds the time to fit his workouts into his busy schedule.Billy Crudup is an American film, theatre and television actor who is known for such films as Without Limits, Almost Famous, Big Fish, The Stanford Prison Experiment, Spotlight and Alien Covenant. More recently, Crudup has starred in the critically acclaimed Apple TV series, The Morning Show, receiving the Emmy Award for Best Supporting Actor in a Drama Series for his role. Billy was born in Manhasset, New York, received his undergraduate degree at the University of North Carolina and his Master of Fine Arts degree at the Tisch School of the Arts at New York University.The D&D Fitness Radio podcast is available at the following locations for downloadable audio, including: iTunes – https://itunes.apple.com/us/podcast/d-d-fitness-radio-podcast/id1331724217iHeart Radio – https://www.iheart.com/podcast/dd-fitness-radio-28797988/Spreaker.com – https://www.spreaker.com/show/d-and-d-fitness-radios-showSpotify – https://open.spotify.com/show/5Py2SSPA4mntNwYRm0OpriYou can reach both Don and Derek at the following locations: Don Saladino: http://www.DonSaladino.com Twitter and Instagram - @DonSaladino YouTube - http://www.youtube.com/donsaladino Derek M. Hansen: http://www.SprintCoach.comTwitter and Instagram - @DerekMHansen YouTube - http://youtube.com/derekmhansen

Billy, Tommy, and Brooks Crudup chat with Kate and Oliver on this week's very funny episode of "Sibling Revelry." They talk about everything from their parents' divorce to sharing an apartment in New York to "Almost Famous" and much more.Executive Producers: Kate Hudson and Oliver HudsonProduced by Allison BresnickMusic by Mark HudsonThis show is powered by Simplecast.This episode is sponsored by Butcher Box, Helix, and Coors Light.

In our previous episode of the LLAB, we spoke with three Black dancers about their experiences and challenges navigating concert dance. This week, we talked to dancers on the other end of the field, in commercial dance. Our guests Tash Crudup and Keenan Cooks share stories and lessons about the challenges, triumphs and what it […]

Quarter Inch and Mexican Morpheus review Almost Famous, a 2000 American comedy-drama film written and directed by Cameron Crowe and starring Billy Crudup, Frances McDormand, Kate Hudson, and Patrick Fugit. It tells the story of a teenage journalist writing for Rolling Stone in the early 1970s, his touring with the fictitious rock band Stillwater, and his efforts to get his first cover story published.Ben's Room Twitter: https://twitter.com/bensroomshowInsta: @BensroomshowGreg's Twitch: https://www.twitch.tv/microp1Rene interviews Greg 8/30/20Whos the downest cholo you know besides rene: CHENTECan you go to jail for hunting big foot in washington?: fuck this questionHow much length are you lying about: i never said micro means smallWould you smash foxes in a 1 on 1 spit swapping tongue wrestle?: current record 3 - 1Thoughts on global warming?: what Trump says standsMovie Review,Reviews,Film,Scene,Clip,Trailer,Teaser,Stop Reading These,Leslie Dixon,2000,Bens Room,Ben's Room,MicroP,Film Review,Billy Crudup,Michael Angarano,Patrick Fugit,Stillwater,Frances McDormand,Kate Hudson,Penny Lane,Jason Lee,Zooey Deschanel,Anna Paquin,Fairuza Balk,Bijou Phillips,Noah Taylor,Philip Seymour Hoffman,Jay Baruchel,Jimmy Fallon,Rainn Wilson,Mark Kozelek,Almost,Famous,Almost Famous Movie Review,Almost famous film review

On this week's episode, Tessa and Tricia discuss "Where'd You Go, Bernadette," all of the reasons why Cate Blanchett is queen, and bernadette-ing as an art form.  Just let her LIVE, Elgie.  Jesus.   Rate ~ Review~ Subscribe Instagram: @StrongFemalePod Twitter: @SFL_Chicago

Justice Crudup is the founder of the OC Justice Initiative, a non-profit organization with a mission to defend and support individuals facing unjust treatment by the justice system in Orange County. Justice articulates the idea that there is always a solution to bring two opposing perspectives together. His optimism and willingness to lead is a huge factor in his success, and we talk about how he cultivated his mindset and maintains mental health through meditation and his Buddhist practices. Links: Follow Justice on Instagram: https://www.instagram.com/ocjusticeinitiative/ Kyle's Instagram: https://www.instagram.com/adventure_creator/ Justice's Personal IG page: @mindfuljustice References from the conversation: Mobilize the People Peace is a human right OC no justice no peace OC protests

Today's episode features a conversation with Jonathan and fellow OKC Pastor, Larry Crudup.Larry serves as Pastor at Tabernacle Baptist Church of Oklahoma City. He is a graduate of Belmont University with an M.Div from Perkins School of theology. He is currently pursuing a Ph.D in interdisciplinary studies with a concentration in Ethical and Creative leadership from Union Institute and University in Cincinnati, OH.Jonathan and Larry discuss the need for community in this difficult and isolating season. Pastor Larry shares his vision for following in the way of Jesus as it relates to social justice, in a moment with so many competing agendas.There are too many good moments to list in this rich and hopeful conversation. We know it will challenge and encourage you to continue to press ahead with a vision for a better future.Support us on Patreon: https://www.patreon.com/sonofapreacherman/Visit Jonathan's Website: http://www.jonathanmartinwords.com/Watch The Zeitcast on YouTube: https://www.youtube.com/channel/UCdHzTuNKhTK-AZjfmkxQiwwPlease rate, review, share, and subscribe!Edited and produced by Joel Everson

For the first time ever the ladies of Termagant Talk are joined by their first male guest... Danny @dannyfromqueens. It’s a wild ride... we get into the shit. Also shout out to Joel Phillip. This week’s “We see you sis” Fashion Designer Melissa Mercedes @melissamercedesoffical Press play tell a friend and don’t forget to subscribe rate and review!!! • • • • • #termaganttalk #termagant #termaganttalkpodcast #dannyfromqueens #hiphoppodcast #blackpodcasts #blackpodcaster #hiphop #rap #rapmusic #emcees #bars #drip #wocpodcast #womenwholead #womenofcolorpodcasttoo #loveandhiphop #soundcloud #stitcher #itunes

If you are tired of setting for the hustle heavy lifestyle of the entrepreneur and are raising your hand to consistent income that DOESN'T require you to work crazy hours, I created a free class and saved a seat for you here: http://scalabilitylounge.com/grow. This class goes over the Scalability Factor so you can run a business that allows you to be laptopless - where you can work when you WANT to, not because you HAVE to. In this week's episode of the Scalability Show, Amber Crudup breaks down having a winning mindset and how she went from 0 to 70 membership site students in only four weeks. The episode features Amber, a business growth strategist who teaches others how to show up for their ideal client in a way that showcases their value and expertise.

Disclaimer: I hope your family, friends, loved, ones, clients and those in your world are safe. I wanted to acknowledge that we're in the midst of something most of us have never experienced and I hope is that this podcast provides inspiration to help drive your goals forward using design. Most of the episodes for this show are recorded in advance, and although Amber and I have an important discussion about hiring help in your business. This episode was recorded in February 2020, before COVID-19, and while I don't have all the help I'd like in my home right now, I want to say it's important to get the help you need to support you in life and business. I'm rooting for you, I believe in you. I hope you love this episode! Amber Crudup: Brand Strategist + Coach Army Wife. Boy Mom x3. Scientist turned Creative Entrepreneur She's a self taught graphic designer, a self-proclaimed graduate of YouTube University, and an advocate for creatives charging their worth. As a Biracial woman she  has been navigating identity her entire life and she now uses this unique perspective to help creative entrepreneurs uncover the true identity of their brands so they can effectively market themselves. Using strategy and her signature methodologies + framework, she helps creative entrepreneurs: Gain focus and clarity around their brand so they can position themselves as experts Confidently raise their prices so they can charge their worth or tap into a premium market Develop a visual identity + online presence that's designed to attract and convert quality clients, helping them generate consistent revenue month after month. Simply put, she helps my clients stand out from their competition so they can start booking quality clients consistently, while establishing themselves as experts and positioning their brands in a way that allows them to charge premium rates. Here's what we covered on the episode: How I got Amber's name after interviewing Ticora Davis on episode 56 of the podcast How Amber was very creative even at a young age which started her interest in design In 2002 she read an article and decided she wanted to design spread layouts for magazines so she went to North Carolina A&T where she studied visual arts and design   How Amber let self doubt get to her and decided to change her major to animal science  How Amber got laid off in 2008 from the biomedical field and fell back into the world of design   How Amber took the first job she could which was at a wedding venue that put her back in touch with her creative side   How Amber taught herself graphic design and built a wedding stationery business  How in 2017 Amber transitioned into brand and web design  How growing up on a farm impacted Amber to pick animal science as a major  How YouTube University taught Amber the skill set to use the software and how she started off using photoshop and illustrator How being pregnant with her sons impacted what she was able to do at her wedding venue job  How Amber needed a way to stay in the wedding world but work at home which led her to start her wedding stationery business  How Amber landed on branding and web design after realizing she wanted to help people change their lives and not just make an impact for one day  How Amber learned everything she could about branding and web design from 2016-2017  Amber explains what it was like to work from home with three boys and when she got most of her work done  How hiring a cleaner or personal assistant is a good investment for your business so you can spend more time working on what you love  How knowing what the best use of your time is and knowing how much your time is worth can help change your mindset  How you should be spending your time on revenue generating tasks and not the small tasks that you can have someone else do  How Amber offers brand and web design services and packages them together to make two different offers  The difference between Amber's first and second offer for her brand and web design services  How the core of Amber's services come from the strategy that happens before the designing starts  How stepping into a brand strategist role has changed Amber's mindset about design  How Amber offers her clients more than just a pretty website and gives them the strategy and tools they need to convert  Amber's starting prices for her services when she didn't package them together and how it's changed throughout the years The prices of Amber's packages as of last year and how she has increased them again this year  How in 2018 Amber developed a signature strategy that allowed her to break past the six figure mark  How Amber created her signature strategy to help guide and teach other designers how to build a profitable business that helps themselves and their clients  How Amber has transitioned from full out designer to helping designers grow and build their business   How Amber first launched her program Designed to Profit in the spring of 2019 and has done it three more times since then and continues to fine tune it How Amber does development for websites on the Showit platform which is simple and makes it easy for her clients to make updates  Why Amber charges for source files when she designs and how much she charges  How Amber is in the process of moving her business towards an agency model  How students in Amber's program Designed to Profit have the opportunity to join her team after to help build their portfolios and see what it's like to work with high quality clients  How schools might be falling behind on what they should really be teaching students which also inspired Amber to create her program  How we want to help people see what's available to them and teach them so they don't lack knowledge  How you can find information on Amber's upcoming program on her website and get on a waitlist or how you can connect with her on Instagram  How you deserve to value your worth and charge your worth in your business  How Amber's program is more than a course and involves group coaching where you get a lot of access to Amber  You can see stories and transformations from Amber's students on her Instagram or under #DTP   Links mentioned: Ambers Website  Ambers Program- Designed to Profit  Connect with Amber on Instagram    Like what you heard?  Click here to subscribe + leave a review on iTunes. Click here to join the free community!  Let's connect on Instagram!

Many early-stage creative entrepreneurs are more like frustrated freelancers than thriving business owners. They struggle with:Not understanding their value and how to communicate it.Working crazy hours without making enough money.Lacking the confidence to charge their worth.Amber Crudup is a brand designer and business coach who helps creative entrepreneurs build structure in their business so they can have more profit in their business and more freedom in their lives.On this episode, Amber shares:Why services are much harder to price than products, and how you can begin to understand and communicate your value.A simple way to know how much your work is worth.How structure breeds confidence in your pricing, your process, and your marketing efforts.Why not having enough clients probably isn't the biggest problem preventing you from being profitable.Links & References:Connect with Amber on InstagramLearn more about Amber here.Follow me on Instagram and Facebook. Learn more about my work at katiewussow.com.

Mental Health and racism at the workplace are a big issue in the world of a diverse workforce. Dr. Bianca Crudup, provides a sobering interview on the issue of racism, racial identity and mental health.

Show#2 Reflection Episode (Chandra Crudup)Valley theatre artist, arts advocate and activist Chandra Crudup joins the discussion to reflect with us about different types of issues that can occur when doing a production such as blind spots, inappropriate casting, and how artists can be a part of change and dialogue.   Resources:https://www.artequity.org/artequity-resources      #supportbrownpodcastsShow Transcript

For the first time ever the ladies of Termagant Talk are joined by their first male guest... Danny @dannyfromqueens. It’s a wild ride... we get into the shit. Also shout out to Joel Phillip. This week’s “We see you sis” Fashion Designer Melissa Mercedes @melissamercedesoffical Press play tell a friend and don’t forget to subscribe rate and review!!! • • • • • #termaganttalk #termagant #termaganttalkpodcast #dannyfromqueens #hiphoppodcast #blackpodcasts #blackpodcaster #hiphop #rap #rapmusic #emcees #bars #drip #wocpodcast #womenwholead #womenofcolorpodcasttoo #loveandhiphop #soundcloud #stitcher #itunes

Ronnie C. Crudup, Sr., is the Administrative Bishop Crudup for the Fellowship of International Churches, and the Chief Bishop Crudup for the Mid-South Diocese. In addition, he serves as the Senior Pastor of New Horizon Church International, which he started in 1987, under the instructions of the Holy Spirit to “go establish a church that would be on a new horizon.” Listen as he shares about his ministry.

A Career Retrospective with Billy Crudup recorded on December 17th, 2019. Moderated by Mara Webster. Equally memorable on the stage and screen, Billy Crudup has earned critical accolades for his performances. Currently he stars as Corey Ellison in Apple’s Golden-Globe nominated The Morning Show alongside Jennifer Aniston, Reese Witherspoon and Steve Carrell, which earned him both Critics’ Choice Award and Screen Actors Guild Award nominations. Recently, he starred in the film adaptation of Maria Semple’s novel, Where’d You Go, Bernadette, alongside Kristen Wiig and Cate Blanchett and in Bart Freundlich’s After the Wedding, alongside Julianne Moore and Michelle Williams. Previously, Crudup starred in Ridley Scott’s Alien: Covenant along with Michael Fassbender and Katherine Waterston and made his television debut in Netflix’s psychological thriller Gypsy opposite Naomi Watts. He appeared in Jackie opposite Natalie Portman; Zack Snyder’s Justice League, alongside Henry Cavill, Ben Affleck, Gal Gadot and Jason Mamoa; 20th Century Women alongside Annette Bening, Elle Fanning and Greta Gerwig; Spotlight, for which he won the Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture; the film also won the 2016 Academy Award® for Best Picture; Youth in Oregon, which debuted at the 2016 Tribeca Film Festival; and IFC Films’ The Stanford Prison Experiment, which is based on the landmark experiment conducted at Stanford University in the summer of 1971. Crudup made his motion picture debut in Barry Levinson’s Sleepers, opposite Robert De Niro, Brad Pitt and Jason Patric, followed by Woody Allen’s Everyone Says I Love You, and Pat O’Connor’s Inventing the Abbotts. Crudup played the leading role in critically acclaimed Without Limits, the story of legendary long distance runner Steven Prefontaine, for which he won the National Board of Review Award for Breakthrough Performance of the Year. He then starred in the critically acclaimed Jesus’ Son opposite Samantha Morton, Holly Hunter and Denis Leary, which earned him an Independent Spirit Award nomination, and he reunited with Jennifer Connelly in the acclaimed Waking the Dead. Crudup also starred in Cameron Crowe’s Academy Award®-winning Almost Famous along with Frances McDormand and Kate Hudson. Crudup’s other film credits include: 1 Mile to You, based on Jeremy Jackson’s novel Life at These Speed;. Noah Buschel’s Glass Chin; William H. Macy’s directorial debut Rudderless; Guillaume Canet’s Blood Ties opposite Clive Owen; the box office hit Eat Pray Love starring alongside Julia Roberts, Javier Bardem, and James Franco; Michael Mann’s Public Enemies alongside Johnny Depp and Christian Bale; Zack Synder’s Watchmen opposite Patrick Wilson; Charlotte Gray opposite Cate Blanchett; Tim Burton’s fantasy tale, Big Fish, also starring Ewan McGregor, Helena Bonham Carter, and Albert Finney; Stage Beauty opposite Claire Danes; Trust the Man with Julianne Moore; J.J. Abrams’ Mission Impossible 3 opposite Tom Cruise; and Robert De Niro’s The Good Shepherd alongside Matt Damon and Angelina Jolie. On stage, Crudup recently starred in the one-man play Harry Clarke at the Vineyard Theatre, for which he won an Outer Critics Circle Award, Off-Broadway Alliance Award, Lucille Lortel Award and Obie Award and garnered nominations for Drama League Award and Drama Desk Awards. Crudup starred in the repertory productions of No Man’s Land and Waiting for Godot on Broadway, opposite Ian McKellen, Patrick Stewart and Shuler Hensley. In 2007, Crudup won a “Best Performance by a Featured Actor” Tony for his role in the Broadway production of The Coast of Utopia. He also received Tony nominations for his roles in The Elephant Man, The Pillowman and Arcadia.

Here are two movies about doing something to change the world.  One does it in fairy tale format, while the other is much more a drama.  Both, however, have something to say on the desire to make a change, even if they're not quite sure from where that desire may emanate, or the resulting ramifications.

Talk Is Deep Episode 8 is here!! Nathanael talks to newly wed couple Tony and Danielle Crudup about the power of patience, the stress of wedding planning, and some deep insight on how to lead and how to follow in a marriage. Also, Nathanael ask what is the best advice given to them about marriage and the answer is quite unexpected. Tony can be found on IG @tonycrudup and to check out his clothing brand @thekulturalbrandclothing Danielle can be found on IG @danyell_w Like, comment, and share with someone who may benefit with either some wisdom or laughter. I apologize for the audio this episode --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/talkisdeep/support

Talk Is Deep is back with another episode!! Nathanael interviews his friend/mentor of many years and special guest, his daughter as they discuss many topics. From fatherhood, to which kid to love the least, to gaming and the rise in school shootings, this episode is sure to get you talking. Like, share, comment!! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/talkisdeep/support

Deze keer worstelt Ruud met een oude bekende duim; die van mede-Cinimma-presentator Luc van Oijen! Twee jaar presenteerden zij twee, samen met Lukas Puts, dit bioscoopprogramma voor de lokale tv. Het werd wel weer eens tijd voor een reünie! Inmiddels is Luc overigens hard aan het schrijven aan zijn eigen filmscenario's.  Onze gast was wel tevreden met Alien: Covenant (2017), het deel dat inmiddels misschien wel het sluitstuk lijkt van de franchise over buitenaardse horrorbeesten. Ruud vond de film vooral de eerste keer minder. Bij herbekijken was 'ie beter, maar er is genoeg om over te discussiëren in deze aflevering. Regisseur Ridley Scott kan immers beter. Verder gaat het ook over: de verloren Alien-film van Neil Blomkamp, de CGI-ziekte en een wel heel erotische blokfluitscène. Links: Luc interviewt Bassie en Adriaan: https://www.youtube.com/watch?v=NuzUbTRH7is Het YouTube-kanaal van Cinimma: https://www.youtube.com/channel/UCIikv4ZN1c3PLzY0jhEtnUw Lucs blog over scenarioschrijven: https://lucvanoijen.nl/2019/05/09/en-actie/ Extra links: Patrick (H) Willems, Patrick explains Alien: Covenant (and why it's great!): https://www.youtube.com/watch?v=YIftf6S3hvI Neil Blomkamps shorts op Oats Studios: https://www.youtube.com/user/OatsStudios 

Ronnie Crudup Jr.'s work in Real Estate started when houses were offered to the church where he is on staff.  His work has led to attracting community-building homeowners to a neighborhood where blight was beginning to take hold. Just a month after recording this episode, Ronnie was elected to the State Senate from the very community where he works.

FILE UPDATED - FULL EPISODE. In this episode of Let’s Talk Jackson, Donna Ladd sits down with Ronnie Crudup, Jr., the executive director of New Horizons Ministry Inc., and the recently elected Mississippi Representative from District 71. Donna and Ronnie talk about the effects of demographic shifts in South Jackson and how he’s trying to reverse the results. Also, find out why he thinks “God has a sense of humor.”

  Welcome to episode nineteen of A History of Rock Music in Five Hundred Songs. Today we’re looking at “That’s All Right Mama” by Elvis Presley. Click the full post to read liner notes, links to more information, and a transcript of the episode.  —-more—-     Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Elvis’ 1950s catalogue is, at least in the UK, now in the public domain, and can thus be found in many forms. This three-CD box set contains literally every recording he made from 1953 through 1955, including live recordings and session outtakes, along with a handsome book. This ten-disc set, meanwhile, charts the history of Sun Records, with the A- and B-sides of ninety of the first Sun singles, including all Elvis’ five Sun releases in their historical context, as well as “Bear Cat” and a lot of great blues and rockabilly. And this four-CD box set of Arthur Crudup contains everything you could want by that great bluesman. I’ve relied on three books here more than any others. The first is “Before Elvis” by Larry Birnbaum. which I’ve recommended many times before. The other two are by Peter Guralnick — Sam Phillips: The Man Who Invented Rock ‘n’ Roll, and Last Train to Memphis. The latter is the first volume of Guralnick’s two-volume biography of Elvis. The second volume of that book is merely good, not great (though still better than much of the nonsense written about Elvis), but Last Train to Memphis is, hands down, the best book on Elvis there is. (A content warning for both Guralnick books — they use racial slurs in reported speech, though never in anything other than a direct quote).   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, I just want to emphasise that in this episode I talk about some of Sam Phillips’ ideas around race and how to end racism. I hope I make it clear that I disagree with his ideas, but in trying to be fair and present his thinking accurately I may have given a different impression. I’m sure people listening to this in the context of the series as a whole understand where I’m coming from, but I’m aware that this will be some people’s first episode. There’s a reason this comes after the episode on “Sh’Boom”. If you come out of this episode thinking I think the way to end racism is to have white people perform black people’s music, go back and listen to that one. Anyway, on with the show… The Starlite Wranglers were not a band you would expect to end up revolutionising music — and indeed only some of them ever did. But you wouldn’t have expected even that from them. They were based in Memphis, but they were very far from being the sophisticated, urban music that was otherwise coming from big cities like that. Their bass player, Bill Black, would wear a straw hat and go barefoot, looking something like Huckleberry Finn, even as the rest of the band wore their smart Western suits. He’d hop on the bass and ride it, and tell cornpone jokes. They had pedal steel, and violin, and a singer named Doug Poindexter. Their one record on Sun was a pure Hank Williams soundalike: [excerpt of “My Kind of Carrying On” by Doug Poindexter and the Starlite Wranglers] Again, this doesn’t sound like anything that might revolutionise music. The single came out and did no better or worse than thousands of other singles by obscure country bands. In most circumstances it would be no more remembered now than, say “Cause You’re Always On My Mind” by Wiley Barkdull, or “Twice the Loving” by Floyd Huffman. But then something unprecedented in modern music history happened. Sun Records was the second record label Sam Phillips had set up — the first one had been a very short-lived label called Phillips, which he’d started up with his friend, the DJ Dewey Phillips (who was not related to Sam). After his experiences selling masters to other labels, like Modern and Duke and Chess, had caused him more problems than he’d initially realised, he’d decided that if he wanted to really see the music he loved become as big as he knew it could be, he’d have to run his own label. Because Sam Phillips had a mission. He was determined to end racism in the US, and he was convinced he could do so by making white audiences love the music of black people as much as he did. So the success of his new label was a moral imperative, and he wanted to find something that would be as big as “Rocket 88”, the record he’d leased to Chess. Or maybe even a performer as important as Howlin’ Wolf, the man who decades later he would still claim was the greatest artist he’d ever recorded. Howlin’ Wolf had recorded several singles at Sam’s studio before he’d started Sun records, and these singles had been leased to other labels. But like so many of the people he’d recorded, the record labels had decided they could make more money if they cut out the middle-Sam and recorded Wolf themselves. Sam Phillips often claimed later that none of the records Wolf made for Chess without Sam were anything like as good as the music he’d been making at 706 Union Ave; and he may well have been right about that. But still, the fact remained that the Wolf was elsewhere now, and Sam needed someone else as good as that. But he had a plan to get attention – make an answer record. This was something that happened a lot in blues and R&B in the fifties — if someone had a hit with a record, another record would come along, usually by another artist, that made reference to it. We’ve already seen this with “Good Rockin’ Tonight”, where the original version of that referenced half a dozen other records like “Caldonia”. And Sam Phillips had an idea for an answer song to “Hound Dog”. There had been several of these, including one from Roy Brown, who wrote “Good Rockin’ Tonight” — “Mr Hound Dog’s in Town” [excerpt: Roy Brown “Mr Hound Dog’s In Town”] Phillips, though,thought he had a particularly good take. The phrase “hound dog”, you see, was always used by women, and in Phillips’ view it was always used for a gigolo. And the female equivalent of that, in Phillips’ telling, was a bear cat. And so Sam Phillips sat down and “wrote” “Bear Cat”. Well, he was credited as the writer, anyway. In truth, the melody is identical to that of “Hound Dog”, and there’s not much difference in the lyrics either, but that was the way these answer records always went, in Phillips’ experience, and nobody ever kicked up a fuss about it. He called up a local Memphis DJ, Rufus Thomas, and asked him to sing on the track, and Thomas said yes, and the song was put out as one of the very first records on Phillips’ new record label, Sun. [excerpt of “Bear Cat” by Rufus Thomas] What was surprising was how big a hit it became — “Bear Cat” eventually climbed all the way to number three on the R&B charts, which was a phenomenal success for a totally new label with no track record. What was less phenomenal was when Duke Records and their publishing arm came to sue Sam Phillips over the record. It turned out that if you were going to just take credit for someone else’s song and not give them any of the money, it was best not to have a massive hit, and be based in the same city as the people whose copyright you were ripping off. Phillips remained bitter to the end of his life about the amount of money he lost on the record. But while he’d had a solid hit with “Bear Cat”, and Joe Hill Louis was making some pretty great blues records, Sam was still not getting to where he wanted to be. The problem was the audiences. Sam Phillips knew there was an audience for the kind of music these black men were making, but the white people just wouldn’t buy it from a black person. But it was the white audiences that made for proper mainstream success for any musician. White people had more money, and there were more of them. Maybe, he started to think, he could find a white person with the same kind of feeling in their music that the black people he was working with had? If he could do that — if he could get white people to *just listen* to black people’s music, *at all*, even if it was sung by a white person, then eventually they’d start listening to it from black people, too, and he could break down the colour barrier. (Sam Phillips, it has to be noted, always had big ideas and thought he could persuade the world of the righteousness of his cause if everyone else would *just listen*. A few years later, during the Cuban missile crisis, Phillips decided that since in his mind Castro was one of the good guys — Phillips was on the left and he knew how bad Batista had been — he would probably be able to negotiate some sort of settlement if he could just talk to him. So he got on the phone and tried to call Castro — and he actually did get through to Raul Castro, Fidel’s brother, and talk to him for a while. History does not relate if Phillips’ intervention is what prevented nuclear war.) So Sam Phillips was in the right frame of mind to take advantage when history walked into his studio. Elvis Aaron Presley was an unlikely name for a teen idol and star, and Elvis had an unlikely background for one as well. The son of a poor sharecropper from Mississippi who had moved to Memphis as a young man, he was working as a truck driver when he first went into Memphis Recording Service to record himself singing a song for his mother. And when Phillips’ assistant, Marion Keisker, heard the young man who’d come in to the studio, she thought she’d found just the man Phillips had been looking for – the white man who could sing like a black man. Or at least, that’s how Keisker told it. Like with so many things in rock music’s history, it depends on who you listen to. Sam Phillips always said it had been him, not Keisker, who “discovered” Elvis Presley, but the evidence seems to be on Keisker’s side. However, even there, it’s hard to see from Elvis’ original recording — versions of “My Happiness” and “That’s When Your Heartaches Begin” — what she saw in him that sounded so black. While the Ink Spots, who recorded the original version of “That’s When Your Heartaches Begin”, were black, they always performed in a very smooth, crooner-esque, style, and that’s what Presley did too in his recording. He certainly didn’t have any particular blues or R&B feel in his vocal on those recordings. [excerpt: “That’s When Your Heartaches Begin” — Elvis Presley] But Keisker or Phillips heard something in those recordings. More importantly, though, what Sam Phillips saw in him was an attitude. And not the attitude you might expect. You see, Elvis Presley was a quiet country boy. He had been bullied at school. He wore strange clothes and kept to himself, only ever really getting close to his mother. He was horribly introverted, and the few friends he did have mostly didn’t know about his interests, other than whichever one he shared with them. He mostly liked to listen to music, read comic books, and fantasise about being in a gospel quartet like the Jordanaires, singing harmony with a group like that. He’d hang around with some of the other teenagers living in the same housing block — Johnny and Dorsey Burnette, and a guy called Johnny Black, whose big brother Bill was the bass player with the Starlite Wranglers. They bullied him too, but they sort of allowed him to hang around with them, and they’d all get together and sing, Elvis standing a little off from the rest of them, like he wasn’t really part of the group. He’d thought for a while he might become an electrician, but he kept giving himself electric shocks and short-circuiting things — he said later that he was so clumsy it was a miracle that he didn’t cause any fires when he worked on people’s wiring. He didn’t have many friends — and no close friends at all — and many of those he did have didn’t even know he was interested in music. But he was absorbing music from every direction and every source — the country groups his mother liked to listen to on the radio like the Louvin Brothers, the gospel quartets who were massive stars among the religious, poor, people in the area, the music he heard at the Pentacostal church he attended (a white Pentacostal church, but still as much of a Holly Roller church as the black ones that SIster Rosetta Tharpe had learned her music from). He’d go down Beale Street, too, and listen to people like B.B. King — young Elvis bought his clothes from Lansky’s on Beale, where the black people bought their clothes, rather than from the places the other white kids got their clothes. But he wasn’t someone like Johnny Otis who fitted in with the black community, either — rather, he was someone who didn’t fit in anywhere. Someone who had nobody, other than his mother, who he felt really close to. He was weird, and unpopular, and shy, and odd-looking. But that feeling of not fitting in anywhere allowed him to pick up on music from everywhere. He didn’t own many records, but he *absorbed* songs from the radio. He’d hear something by the Ink Spots or Arthur Crudup once, and sing it perfectly. But it was gospel music he wanted to sing — and specifically what is known euphemistically as “Southern Gospel”, but which really means “white Gospel”. And this is an important distinction that needs to be made as we go forward, because gospel music has had a huge influence on rock and roll music, but that influence has almost all come from black gospel, the music invented by Thomas Dorsey and popularised by people like Sister Rosetta Tharpe or Mahalia Jackson. That’s a black genre, and a genre which has many prominent women in it — and it’s also a genre which has room for solo stars. When we talk about a gospel influence on Ray Charles or Aretha Franklin or Sam Cooke, that’s the gospel music we’re talking about. That black form of gospel became the primary influence on fifties rhythm and blues vocals, and through that on rock and roll. But there’s another gospel music as well — “Southern Gospel” or “quartet gospel”. That music is — or at least was at the time we’re talking about — almost exclusively white, and male, and sung by groups. To ears that aren’t attuned to it, it can sound a lot like barbershop music. It shares a lot of its repertoire with black gospel, but it’s performed in a very, very different style. [excerpt: “Take My Hand, Precious Lord”, the Blackwood Brothers] That’s the Blackwood Brothers singing, and you can hear how even though that’s a Thomas Dorsey song, it sounds totally different from, say, Mahalia Jackson’s version. The Blackwood Brothers were young Elvis Presley’s favourite group, and he was such a fan that when two of the group died in a plane crash in 1954, Elvis was one of the thousands who attended their funeral. He auditioned for several gospel quartets, but never found a role in any of them — but all his life, that was the music he wanted to sing, the music he would return to. He’d take any excuse he could to make himself just one of a gospel group, not a solo singer. But since he didn’t have a group, he was just a solo singer. Just a teenager with a spotty neck. And *that* is the feature that gets mentioned over and over again in the eyewitness descriptions of the young Elvis, when he was starting out. The fact that his neck was always filthy and covered in acne. He had greasy hair, and would never look anyone in the eye but would look down and mumble. What Sam Phillips saw in that teenage boy was a terrible feeling of insecurity. It was a feeling he recognised himself — Phillips had already been hospitalised a couple of times with severe depression and had to have electric shock therapy a few years earlier. But it was also something he recognised from the black musicians he’d been working with. In their cases it was because they’d been crushed by a racist system. In Phillips’ case it was because his brain was wired slightly differently from everyone else’s. He didn’t know quite what it was that made this teenage boy have that attitude, what it was that made him a scared, insecure, outsider. But whatever it was, Elvis Presley was the only white man Sam Phillips had met whose attitudes, bearing, and way of talking reminded him of the great black artists he knew and worked with, like Howlin’ Wolf or B.B. King, and he became eager to try him out and see what could happen. Phillips decided to put Elvis together with Scotty Moore and Bill Black, the guitarist and bass player from the Starlite Wranglers. Neither was an impressive technical musician – in fact at the time they were considered barely competent – but that was a plus in Phillips’ book. These were people who played with feeling, rather than with technique, and who wouldn’t try to do anything too flashy and showboaty. And he trusted their instincts, especially Scotty’s. He wanted to see what Scotty Moore thought, and so he got Elvis to go and rehearse with the two older musicians. Scotty Moore wasn’t impressed… or at least, he *thought* he wasn’t impressed. But at the same time… there was *something* there. It was worth giving the kid a shot, even though he didn’t quite know *why* he thought that. So Sam Phillips arranged for a session, recording a ballad, since that was the kind of thing that Elvis had been singing in his auditions. The song they thought might be suitable for him turned out not to be, and nor were many other songs they tried, until eventually they hit on “That’s All Right Mama”, a song originally recorded by Arthur “Big Boy” Crudup in 1946. Arthur Crudup was a country-blues singer, and he was another of those people who did the same kind of record over and over — he would sing blues songs with the same melody and often including many of the same lyrics, seemingly improvising songs based around floating lyrics. The song “That’s All Right Mama” was inspired by Blind Lemon Jefferson’s classic “Black Snake Moan”: [excerpt: “Black Snake Moan”, Blind Lemon Jefferson] Crudup had first used the line in “If I Get Lucky”. He then came up with the melody for what became “That’s All Right”, but recorded it with different lyrics as “Mean Ol’ Frisco Blues”: [excerpt: “Mean Old Frisco Blues”, Arthur Crudup] Then he wrote the words to “That’s All Right”, and sang them with the chorus of an old Charley Patton song: [excerpt: “Dirt Road Blues”, Arthur Crudup] And then he recorded “That’s All Right Mama” itself: [excerpt “That’s All Right Mama”, Arthur Crudup] Crudup’s records, as you can hear, were all based on a template – and he recorded several more songs with bits of “That’s All Right” in, both before and after writing that one. Elvis, Scotty, and Bill, however, didn’t follow that template. Elvis’ version of the song takes the country-blues feel of Crudup and reworks it into hillbilly music — it’s taken at a faster pace, and the sound is full of echo. You have Bill Black’s slapback bass instead of the drums on Crudup’s version. It still doesn’t, frankly, sound at all like the black musicians Phillips was working with, and it sounds a hell of a lot like a lot of white ones. If Phillips was, as the oversimplification would have it, looking for “a white man who could sing like a black one”, he hadn’t found it. Listening now, it’s definitely a “rock and roll” record, but at the time it would have been thought of as a “hillbilly” record. [excerpt “That’s All Right Mama, Elvis Presley] There is, though, an attitude in Presley’s singing which is different from most of the country music at the time — there’s a playfulness, an air of irreverence, which is very different from most of what was being recorded at the time. Presley seems to be treating the song as a bit of a joke, and to have an attitude which is closer to jazz-pop singers like Ella Fitzgerald than to blues or country music. He wears the song lightly, unafraid to sound a bit silly if it’s what’s needed for the record. He jumps around in his register and sings with an assurance that is quite astonishing for someone so young, someone who had basically never performed before, except in his own head. The B-side that they chose was a song from a very different genre — Bill Monroe’s bluegrass song “Blue Moon of Kentucky”: [excerpt: Bill Monroe “Blue Moon of Kentucky”] Elvis, Scotty, and Bill chose to rework that song in much the same style in which they’d reworked “That’s All Right Mama”. There’s nothing to these tracks but Elvis’ strummed acoustic, Black’s clicking slapback bass, and Scotty Moore’s rudimentary electric guitar fills — and the secret weapon, Sam Phillips’ echo. Phillips had a simple system he’d rigged up himself, and no-one else could figure out how he’d done it. The room he was recording in didn’t have a particularly special sound, but when he played back the recordings, there was a ton of echo on them, and it sounded great. The way he did this was simple. He didn’t use just one tape recorder — though tape recorders themselves were a newish invention, remember — he used two. He didn’t do multitracking like Les Paul — rather, what he did was use one tape recorder to record what was happening in the studio, while the other tape recorder *played the sound back for the first recorder to record as well*. This is called slapback echo, and Phillips would use it on everything, but especially on vocals. Nobody knew his secret, and when his artists moved off to other record labels, they often tried to replicate it, with very mixed results. But on “Blue Moon of Kentucky” it gave the record a totally different sound from Bill Monroe’s bluegrass music — a sound which would become known, later, as rockabilly: [excerpt “Blue Moon of Kentucky”, Elvis Presley] Phillips took the record to his friend, the DJ Dewey Phillips, who played it on his R&B show. When Elvis found out that Dewey Phillips was going to be playing his record on the radio, he was so nervous that rather than listen to it, he headed out to the cinema to watch a film so he wouldn’t be tempted to turn the radio on. There was such a response to the record, though, that Phillips played the record fourteen times, and Elvis’ mother had to go to the cinema and drag him out so he could go on the radio and be interviewed. On his first media interview he came across well, largely because Phillips didn’t tell him the mic was on until the interview was over – and Phillips also asked which school Elvis went to, as a way of cluing his listeners into Elvis’ race – most people had assumed, since Phillips’ show normally only played records by black people, that Elvis was black. Elvis Presley had a hit on his hands — at least as much of a hit as you could get from a country record on a blues label. Sadly, Crudup had sold the rights to the song years earlier, and never saw a penny in royalties – when he later sued over the rights, in the seventies, he was meant to get sixty thousand dollars in back payments, which he never received. I’ve seen claims, though I don’t know how true they are, that Crudup’s total pay for the song was fifty dollars and a bottle of whisky. But it was at the band’s first live performance that something even more astonishing happened, and it happened because of Presley’s stagefright, at least as Scotty Moore used to tell the story. Presley was, as we’ve mentioned, a deeply shy young man with unusual body language, and he was also unusually dressed — he wore the large, baggy, trousers that black men favoured. And he was someone who moved *a lot* when he was nervous or energetic — and even when he wasn’t, people would talk about how he was always tapping on something or moving in his seat. He was someone who just couldn’t keep still. And when he got on stage he was so scared he started shaking. And so did his pants. And because his pants were so baggy, they started shaking not in a way that looked like he was scared, but in a way that was, frankly, sexual. And the audiences reacted. A lot. Over the next year or two, Presley would rapidly grow utterly confident on stage, and when you look at footage of him from a few years later it’s hard to imagine him ever having stage fright at all, with the utter assurance and cocky smile he has. But all his stage presence developed from him noticing the things that the audience reacted to and doing more of them, and the thing they reacted to first and most was his nervous leg-twitching. And just like that, the unpopular poor boy with the spotty neck became the biggest male sex symbol the world had ever seen, and we’ll be seeing how that changed everything in future episodes.  

  Welcome to episode nineteen of A History of Rock Music in Five Hundred Songs. Today we're looking at "That's All Right Mama" by Elvis Presley. Click the full post to read liner notes, links to more information, and a transcript of the episode.  ----more----     Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. Elvis' 1950s catalogue is, at least in the UK, now in the public domain, and can thus be found in many forms. This three-CD box set contains literally every recording he made from 1953 through 1955, including live recordings and session outtakes, along with a handsome book. This ten-disc set, meanwhile, charts the history of Sun Records, with the A- and B-sides of ninety of the first Sun singles, including all Elvis' five Sun releases in their historical context, as well as "Bear Cat" and a lot of great blues and rockabilly. And this four-CD box set of Arthur Crudup contains everything you could want by that great bluesman. I've relied on three books here more than any others. The first is "Before Elvis" by Larry Birnbaum. which I've recommended many times before. The other two are by Peter Guralnick -- Sam Phillips: The Man Who Invented Rock 'n' Roll, and Last Train to Memphis. The latter is the first volume of Guralnick's two-volume biography of Elvis. The second volume of that book is merely good, not great (though still better than much of the nonsense written about Elvis), but Last Train to Memphis is, hands down, the best book on Elvis there is. (A content warning for both Guralnick books -- they use racial slurs in reported speech, though never in anything other than a direct quote).   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, I just want to emphasise that in this episode I talk about some of Sam Phillips' ideas around race and how to end racism. I hope I make it clear that I disagree with his ideas, but in trying to be fair and present his thinking accurately I may have given a different impression. I'm sure people listening to this in the context of the series as a whole understand where I'm coming from, but I'm aware that this will be some people's first episode. There's a reason this comes after the episode on “Sh'Boom”. If you come out of this episode thinking I think the way to end racism is to have white people perform black people's music, go back and listen to that one. Anyway, on with the show... The Starlite Wranglers were not a band you would expect to end up revolutionising music -- and indeed only some of them ever did. But you wouldn't have expected even that from them. They were based in Memphis, but they were very far from being the sophisticated, urban music that was otherwise coming from big cities like that. Their bass player, Bill Black, would wear a straw hat and go barefoot, looking something like Huckleberry Finn, even as the rest of the band wore their smart Western suits. He'd hop on the bass and ride it, and tell cornpone jokes. They had pedal steel, and violin, and a singer named Doug Poindexter. Their one record on Sun was a pure Hank Williams soundalike: [excerpt of "My Kind of Carrying On" by Doug Poindexter and the Starlite Wranglers] Again, this doesn't sound like anything that might revolutionise music. The single came out and did no better or worse than thousands of other singles by obscure country bands. In most circumstances it would be no more remembered now than, say "Cause You're Always On My Mind" by Wiley Barkdull, or "Twice the Loving" by Floyd Huffman. But then something unprecedented in modern music history happened. Sun Records was the second record label Sam Phillips had set up -- the first one had been a very short-lived label called Phillips, which he'd started up with his friend, the DJ Dewey Phillips (who was not related to Sam). After his experiences selling masters to other labels, like Modern and Duke and Chess, had caused him more problems than he'd initially realised, he'd decided that if he wanted to really see the music he loved become as big as he knew it could be, he'd have to run his own label. Because Sam Phillips had a mission. He was determined to end racism in the US, and he was convinced he could do so by making white audiences love the music of black people as much as he did. So the success of his new label was a moral imperative, and he wanted to find something that would be as big as "Rocket 88", the record he'd leased to Chess. Or maybe even a performer as important as Howlin' Wolf, the man who decades later he would still claim was the greatest artist he'd ever recorded. Howlin' Wolf had recorded several singles at Sam's studio before he'd started Sun records, and these singles had been leased to other labels. But like so many of the people he'd recorded, the record labels had decided they could make more money if they cut out the middle-Sam and recorded Wolf themselves. Sam Phillips often claimed later that none of the records Wolf made for Chess without Sam were anything like as good as the music he'd been making at 706 Union Ave; and he may well have been right about that. But still, the fact remained that the Wolf was elsewhere now, and Sam needed someone else as good as that. But he had a plan to get attention – make an answer record. This was something that happened a lot in blues and R&B in the fifties -- if someone had a hit with a record, another record would come along, usually by another artist, that made reference to it. We've already seen this with "Good Rockin' Tonight", where the original version of that referenced half a dozen other records like "Caldonia". And Sam Phillips had an idea for an answer song to "Hound Dog". There had been several of these, including one from Roy Brown, who wrote “Good Rockin' Tonight” -- "Mr Hound Dog's in Town" [excerpt: Roy Brown “Mr Hound Dog's In Town”] Phillips, though,thought he had a particularly good take. The phrase "hound dog", you see, was always used by women, and in Phillips' view it was always used for a gigolo. And the female equivalent of that, in Phillips' telling, was a bear cat. And so Sam Phillips sat down and "wrote" "Bear Cat". Well, he was credited as the writer, anyway. In truth, the melody is identical to that of "Hound Dog", and there's not much difference in the lyrics either, but that was the way these answer records always went, in Phillips' experience, and nobody ever kicked up a fuss about it. He called up a local Memphis DJ, Rufus Thomas, and asked him to sing on the track, and Thomas said yes, and the song was put out as one of the very first records on Phillips' new record label, Sun. [excerpt of "Bear Cat" by Rufus Thomas] What was surprising was how big a hit it became -- "Bear Cat" eventually climbed all the way to number three on the R&B charts, which was a phenomenal success for a totally new label with no track record. What was less phenomenal was when Duke Records and their publishing arm came to sue Sam Phillips over the record. It turned out that if you were going to just take credit for someone else's song and not give them any of the money, it was best not to have a massive hit, and be based in the same city as the people whose copyright you were ripping off. Phillips remained bitter to the end of his life about the amount of money he lost on the record. But while he'd had a solid hit with "Bear Cat", and Joe Hill Louis was making some pretty great blues records, Sam was still not getting to where he wanted to be. The problem was the audiences. Sam Phillips knew there was an audience for the kind of music these black men were making, but the white people just wouldn't buy it from a black person. But it was the white audiences that made for proper mainstream success for any musician. White people had more money, and there were more of them. Maybe, he started to think, he could find a white person with the same kind of feeling in their music that the black people he was working with had? If he could do that -- if he could get white people to *just listen* to black people's music, *at all*, even if it was sung by a white person, then eventually they'd start listening to it from black people, too, and he could break down the colour barrier. (Sam Phillips, it has to be noted, always had big ideas and thought he could persuade the world of the righteousness of his cause if everyone else would *just listen*. A few years later, during the Cuban missile crisis, Phillips decided that since in his mind Castro was one of the good guys -- Phillips was on the left and he knew how bad Batista had been -- he would probably be able to negotiate some sort of settlement if he could just talk to him. So he got on the phone and tried to call Castro -- and he actually did get through to Raul Castro, Fidel's brother, and talk to him for a while. History does not relate if Phillips' intervention is what prevented nuclear war.) So Sam Phillips was in the right frame of mind to take advantage when history walked into his studio. Elvis Aaron Presley was an unlikely name for a teen idol and star, and Elvis had an unlikely background for one as well. The son of a poor sharecropper from Mississippi who had moved to Memphis as a young man, he was working as a truck driver when he first went into Memphis Recording Service to record himself singing a song for his mother. And when Phillips' assistant, Marion Keisker, heard the young man who'd come in to the studio, she thought she'd found just the man Phillips had been looking for – the white man who could sing like a black man. Or at least, that's how Keisker told it. Like with so many things in rock music's history, it depends on who you listen to. Sam Phillips always said it had been him, not Keisker, who "discovered" Elvis Presley, but the evidence seems to be on Keisker's side. However, even there, it's hard to see from Elvis' original recording -- versions of "My Happiness" and "That's When Your Heartaches Begin" -- what she saw in him that sounded so black. While the Ink Spots, who recorded the original version of "That's When Your Heartaches Begin", were black, they always performed in a very smooth, crooner-esque, style, and that's what Presley did too in his recording. He certainly didn't have any particular blues or R&B feel in his vocal on those recordings. [excerpt: "That's When Your Heartaches Begin" -- Elvis Presley] But Keisker or Phillips heard something in those recordings. More importantly, though, what Sam Phillips saw in him was an attitude. And not the attitude you might expect. You see, Elvis Presley was a quiet country boy. He had been bullied at school. He wore strange clothes and kept to himself, only ever really getting close to his mother. He was horribly introverted, and the few friends he did have mostly didn't know about his interests, other than whichever one he shared with them. He mostly liked to listen to music, read comic books, and fantasise about being in a gospel quartet like the Jordanaires, singing harmony with a group like that. He'd hang around with some of the other teenagers living in the same housing block -- Johnny and Dorsey Burnette, and a guy called Johnny Black, whose big brother Bill was the bass player with the Starlite Wranglers. They bullied him too, but they sort of allowed him to hang around with them, and they'd all get together and sing, Elvis standing a little off from the rest of them, like he wasn't really part of the group. He'd thought for a while he might become an electrician, but he kept giving himself electric shocks and short-circuiting things -- he said later that he was so clumsy it was a miracle that he didn't cause any fires when he worked on people's wiring. He didn't have many friends -- and no close friends at all -- and many of those he did have didn't even know he was interested in music. But he was absorbing music from every direction and every source -- the country groups his mother liked to listen to on the radio like the Louvin Brothers, the gospel quartets who were massive stars among the religious, poor, people in the area, the music he heard at the Pentacostal church he attended (a white Pentacostal church, but still as much of a Holly Roller church as the black ones that SIster Rosetta Tharpe had learned her music from). He'd go down Beale Street, too, and listen to people like B.B. King -- young Elvis bought his clothes from Lansky's on Beale, where the black people bought their clothes, rather than from the places the other white kids got their clothes. But he wasn't someone like Johnny Otis who fitted in with the black community, either -- rather, he was someone who didn't fit in anywhere. Someone who had nobody, other than his mother, who he felt really close to. He was weird, and unpopular, and shy, and odd-looking. But that feeling of not fitting in anywhere allowed him to pick up on music from everywhere. He didn't own many records, but he *absorbed* songs from the radio. He'd hear something by the Ink Spots or Arthur Crudup once, and sing it perfectly. But it was gospel music he wanted to sing -- and specifically what is known euphemistically as "Southern Gospel", but which really means "white Gospel". And this is an important distinction that needs to be made as we go forward, because gospel music has had a huge influence on rock and roll music, but that influence has almost all come from black gospel, the music invented by Thomas Dorsey and popularised by people like Sister Rosetta Tharpe or Mahalia Jackson. That's a black genre, and a genre which has many prominent women in it -- and it's also a genre which has room for solo stars. When we talk about a gospel influence on Ray Charles or Aretha Franklin or Sam Cooke, that's the gospel music we're talking about. That black form of gospel became the primary influence on fifties rhythm and blues vocals, and through that on rock and roll. But there's another gospel music as well -- "Southern Gospel" or "quartet gospel". That music is -- or at least was at the time we're talking about -- almost exclusively white, and male, and sung by groups. To ears that aren't attuned to it, it can sound a lot like barbershop music. It shares a lot of its repertoire with black gospel, but it's performed in a very, very different style. [excerpt: "Take My Hand, Precious Lord", the Blackwood Brothers] That's the Blackwood Brothers singing, and you can hear how even though that's a Thomas Dorsey song, it sounds totally different from, say, Mahalia Jackson's version. The Blackwood Brothers were young Elvis Presley's favourite group, and he was such a fan that when two of the group died in a plane crash in 1954, Elvis was one of the thousands who attended their funeral. He auditioned for several gospel quartets, but never found a role in any of them -- but all his life, that was the music he wanted to sing, the music he would return to. He'd take any excuse he could to make himself just one of a gospel group, not a solo singer. But since he didn't have a group, he was just a solo singer. Just a teenager with a spotty neck. And *that* is the feature that gets mentioned over and over again in the eyewitness descriptions of the young Elvis, when he was starting out. The fact that his neck was always filthy and covered in acne. He had greasy hair, and would never look anyone in the eye but would look down and mumble. What Sam Phillips saw in that teenage boy was a terrible feeling of insecurity. It was a feeling he recognised himself -- Phillips had already been hospitalised a couple of times with severe depression and had to have electric shock therapy a few years earlier. But it was also something he recognised from the black musicians he'd been working with. In their cases it was because they'd been crushed by a racist system. In Phillips' case it was because his brain was wired slightly differently from everyone else's. He didn't know quite what it was that made this teenage boy have that attitude, what it was that made him a scared, insecure, outsider. But whatever it was, Elvis Presley was the only white man Sam Phillips had met whose attitudes, bearing, and way of talking reminded him of the great black artists he knew and worked with, like Howlin' Wolf or B.B. King, and he became eager to try him out and see what could happen. Phillips decided to put Elvis together with Scotty Moore and Bill Black, the guitarist and bass player from the Starlite Wranglers. Neither was an impressive technical musician – in fact at the time they were considered barely competent – but that was a plus in Phillips' book. These were people who played with feeling, rather than with technique, and who wouldn't try to do anything too flashy and showboaty. And he trusted their instincts, especially Scotty's. He wanted to see what Scotty Moore thought, and so he got Elvis to go and rehearse with the two older musicians. Scotty Moore wasn't impressed... or at least, he *thought* he wasn't impressed. But at the same time... there was *something* there. It was worth giving the kid a shot, even though he didn't quite know *why* he thought that. So Sam Phillips arranged for a session, recording a ballad, since that was the kind of thing that Elvis had been singing in his auditions. The song they thought might be suitable for him turned out not to be, and nor were many other songs they tried, until eventually they hit on "That's All Right Mama", a song originally recorded by Arthur "Big Boy" Crudup in 1946. Arthur Crudup was a country-blues singer, and he was another of those people who did the same kind of record over and over -- he would sing blues songs with the same melody and often including many of the same lyrics, seemingly improvising songs based around floating lyrics. The song "That's All Right Mama" was inspired by Blind Lemon Jefferson's classic "Black Snake Moan": [excerpt: "Black Snake Moan", Blind Lemon Jefferson] Crudup had first used the line in "If I Get Lucky". He then came up with the melody for what became "That's All Right", but recorded it with different lyrics as "Mean Ol' Frisco Blues": [excerpt: "Mean Old Frisco Blues", Arthur Crudup] Then he wrote the words to "That's All Right", and sang them with the chorus of an old Charley Patton song: [excerpt: "Dirt Road Blues", Arthur Crudup] And then he recorded "That's All Right Mama" itself: [excerpt "That's All Right Mama", Arthur Crudup] Crudup's records, as you can hear, were all based on a template – and he recorded several more songs with bits of “That's All Right” in, both before and after writing that one. Elvis, Scotty, and Bill, however, didn't follow that template. Elvis' version of the song takes the country-blues feel of Crudup and reworks it into hillbilly music -- it's taken at a faster pace, and the sound is full of echo. You have Bill Black's slapback bass instead of the drums on Crudup's version. It still doesn't, frankly, sound at all like the black musicians Phillips was working with, and it sounds a hell of a lot like a lot of white ones. If Phillips was, as the oversimplification would have it, looking for "a white man who could sing like a black one", he hadn't found it. Listening now, it's definitely a "rock and roll" record, but at the time it would have been thought of as a "hillbilly" record. [excerpt “That's All Right Mama, Elvis Presley] There is, though, an attitude in Presley's singing which is different from most of the country music at the time -- there's a playfulness, an air of irreverence, which is very different from most of what was being recorded at the time. Presley seems to be treating the song as a bit of a joke, and to have an attitude which is closer to jazz-pop singers like Ella Fitzgerald than to blues or country music. He wears the song lightly, unafraid to sound a bit silly if it's what's needed for the record. He jumps around in his register and sings with an assurance that is quite astonishing for someone so young, someone who had basically never performed before, except in his own head. The B-side that they chose was a song from a very different genre -- Bill Monroe's bluegrass song "Blue Moon of Kentucky": [excerpt: Bill Monroe "Blue Moon of Kentucky"] Elvis, Scotty, and Bill chose to rework that song in much the same style in which they'd reworked "That's All Right Mama". There's nothing to these tracks but Elvis' strummed acoustic, Black's clicking slapback bass, and Scotty Moore's rudimentary electric guitar fills -- and the secret weapon, Sam Phillips' echo. Phillips had a simple system he'd rigged up himself, and no-one else could figure out how he'd done it. The room he was recording in didn't have a particularly special sound, but when he played back the recordings, there was a ton of echo on them, and it sounded great. The way he did this was simple. He didn't use just one tape recorder -- though tape recorders themselves were a newish invention, remember -- he used two. He didn't do multitracking like Les Paul -- rather, what he did was use one tape recorder to record what was happening in the studio, while the other tape recorder *played the sound back for the first recorder to record as well*. This is called slapback echo, and Phillips would use it on everything, but especially on vocals. Nobody knew his secret, and when his artists moved off to other record labels, they often tried to replicate it, with very mixed results. But on "Blue Moon of Kentucky" it gave the record a totally different sound from Bill Monroe's bluegrass music -- a sound which would become known, later, as rockabilly: [excerpt "Blue Moon of Kentucky", Elvis Presley] Phillips took the record to his friend, the DJ Dewey Phillips, who played it on his R&B show. When Elvis found out that Dewey Phillips was going to be playing his record on the radio, he was so nervous that rather than listen to it, he headed out to the cinema to watch a film so he wouldn't be tempted to turn the radio on. There was such a response to the record, though, that Phillips played the record fourteen times, and Elvis' mother had to go to the cinema and drag him out so he could go on the radio and be interviewed. On his first media interview he came across well, largely because Phillips didn't tell him the mic was on until the interview was over – and Phillips also asked which school Elvis went to, as a way of cluing his listeners into Elvis' race – most people had assumed, since Phillips' show normally only played records by black people, that Elvis was black. Elvis Presley had a hit on his hands -- at least as much of a hit as you could get from a country record on a blues label. Sadly, Crudup had sold the rights to the song years earlier, and never saw a penny in royalties – when he later sued over the rights, in the seventies, he was meant to get sixty thousand dollars in back payments, which he never received. I've seen claims, though I don't know how true they are, that Crudup's total pay for the song was fifty dollars and a bottle of whisky. But it was at the band's first live performance that something even more astonishing happened, and it happened because of Presley's stagefright, at least as Scotty Moore used to tell the story. Presley was, as we've mentioned, a deeply shy young man with unusual body language, and he was also unusually dressed -- he wore the large, baggy, trousers that black men favoured. And he was someone who moved *a lot* when he was nervous or energetic -- and even when he wasn't, people would talk about how he was always tapping on something or moving in his seat. He was someone who just couldn't keep still. And when he got on stage he was so scared he started shaking. And so did his pants. And because his pants were so baggy, they started shaking not in a way that looked like he was scared, but in a way that was, frankly, sexual. And the audiences reacted. A lot. Over the next year or two, Presley would rapidly grow utterly confident on stage, and when you look at footage of him from a few years later it's hard to imagine him ever having stage fright at all, with the utter assurance and cocky smile he has. But all his stage presence developed from him noticing the things that the audience reacted to and doing more of them, and the thing they reacted to first and most was his nervous leg-twitching. And just like that, the unpopular poor boy with the spotty neck became the biggest male sex symbol the world had ever seen, and we'll be seeing how that changed everything in future episodes.  

My Granddaddy giving free game. Enjoy and Merry Christmas. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/bobby-crudup/support

Allen and Gerald are joined again by Mr. Alan Hardy to discuss 2009's Watchmen, directed by Zack Snyder and all of the questionable decisions involved in the existence of this adaptation of Alan Moore's most lauded work.

On this episode, we preview Colin James' 19th album 'Miles to Go'.  The record features 11 blues standards, and 2 original songs. Colin coves his hero James Cotton, Muddy Waters, Howlin' Wolf, Arthur "Big Boy" Crudup, Charles Brown, Blind Willie Johnson, Blind Lemon Jefferson, and more. The podcast includes two tracks you'll hear on the album, "I Will Remain" and "40 Light Years".

Bishop Ronnie Crudup the founder and pastor of New Horizon Church and their involvement in the Jackson, MS area and what he thinks about the market. He also explains how his past lead to his ministry . This interview was steamed live via YouTube on the day of New Horizon's Community Blast . See the video https://youtu.be/ezIXvlluCDE Like share subskribe .

Imagine this… Everything is great in your life. You have the American dream. Then You wake up and can’t move… You go back to sleep…Read moreOutlier’s with Warren Crudup

3 CDs per comen

It's my late brother's birthday. Brandon F. Crudup and I couldn't let the day go by without speaking about him. God Bless!!!

My little brother died a year ago today. I couldn't let the day pass without speaking on him. He meant so much to me and my family. He is gone but will never be forgotten. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/bobby-crudup/support

My mission, my purpose, and my goals. For this podcast. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/bobby-crudup/support

Them boys are being back in town. Them boys are being back in town. It's the return of these boys. These Frank and Dan boys. They return with steamy and dank episode of podcast. Join Frank and Dan boys as they talk about Violence by Video Village, Vengeance in the Outer Rim, the state of the film and music industry, the Alien franchise, and Alien: Covenant. It's a sham-lang-wham-a-lam and a-la-la-la-la-la-la-la of a time. I like blueberry.

Taking a wee break after the recent weeks of sturm and drang for two quieter dramas, before the much belated arrival of Wonder Woman next week, we discuss John Butler's Irish comedy drama Handsome Devils and Mike Mills' semi-autobiographical film 20th Century Women.  Handsome Devil is a sweet drama featuring a stand-out performance from Andrew Scott as an English teacher in an Irish boarding school obsessed with sport.  Ned (Fionn O'Shea) is an alienated student at the school who is excluded because he has no interest in sport. Subjected to homophobic bullying, he creates a sarcastic outsider persona as a defense. When a new boy arrives at the school and becomes Ned's room-mate (Nicholas Galitzine), early resentment between them slowly evolves into a fragile friendship. But what led to Conor, a stunning rugby player, being expelled from his last school - and what will Ned do once he learns his only friend's secret? Annette Bening's Oscar snub seems more unbelievable now this film is out in Australia. Heading up a stellar cast including Elle Fanning, Greta Gerwig and Billy Crudup, Mike Mills draws on his childhood for this story of a young teenager being raised without a male role model and his strained relationship with his mother.  Quietly powerful and featuring interesting digressions into the histories of the characters' lives with archive footage, 20th Century Women is a time capsule from a vanished era of Californian optimism and free thought.  This episode is dedicated to the memories of Roger Moore and Dennis Johnson.  As always, check us out on Facebook and Twitter @hopscotchfriday, and drop us a rating on iTunes.

Movie Meltdown - Episode 396 This week the Meltdown Gang gets together to have a large scale discussion about Ridley Scott's Alien: Covenant. How it works as an individual movie as well as how it fits into and essentially changes the entire franchise. And as we break down this lovely parallel for the futility of life, we also mention... Noomi Rapace, the susceptibility of humans and pugs, big wheat, the lost episode of Heavy Metal, an overwhelming sense of mystery, Michael Fassbender, kind of timeless, planet designers, hinges on insanity, you knew that was coming because the movie kept going, less-predictable twists, the bastion of humility, masking frustration, this... means something, Don Knotts in every movie ever, what's the point of all this, faith-based leader, as the years go on... these do become our myths, science fiction my ass, person gets into a situation... then it's non-stop action 'til the end of the movie, replacing cloud with butt, it's mouth has a mouth, that stuff does other stuff, a landing party full of red shirts, shut-ins with no cable, Lawrence of Arabia, eating high school graduates, Fassbender on Fassbender action, CGI aliens, connecting dots that I didn't necessarily need connected, not believe in Darwinism, do we need that level of complexity, subtle yet distinct, tiny John Cena, like Jurassic Park, Mr. robotic by the books guy, the Nazi, shorthand, divorce lawyers in space, hey I'm gonna make... art, concentrated acid for blood, oxygen tanks and guns, dogburster and I want to go over to Giger's house and just touch things. Spoiler Alert: Full spoilers for Alien: Covenant. So go see the movie before you listen. You have been warned! "You can keep ramming new stories in the middle of your story you already thought you had figured out - I guess? Seems to be the case."

Tommy Crudup, Senior Talent Executive and Senior Supervising Producer for the Rachael Ray Show, a daytime talk show starring Rachael Ray that debuted in syndication in September 2006, featuring food, lifestyle, celebrities and more! The show, and Tommy, have won multiple awards, including two Daytime Emmy Awards for Best Outstanding Talk Show.

The Filmlosophers, Eddie Villanueva and Chad Riley, head to the stars for a review of Ridley Scott's newest film, Alien: Covenant (2017). Starring Michael Fassbender in a dual role and new characters played by Katherine Waterston, Danny McBride and Billy Crudup, among others, the latest installment is a successor to Prometheus (2014) - but does it do its job in terms of leading into the original Alien franchise? In movie news, we discuss Joss Wedon's new role in overseeing the final Justice League film for its November release date following a personal tragedy in director Zach Snyder's family.

Joined by Charlie for our special 50th episode, we search for answers in Ridley Scott's Alien: Covenant and debate how this stacks up against the controversial Prometheus. And later, we discuss the news of Netflix developing a Dark Crystal prequel series. Follow the show on Twitter: @thecinemaspeak Intro: 0:00 - 12:02 Review - Alien: Covenant: 12:02 - 45:43 News - Netflix developing a Dark Crystal TV series, Tom Hardy to play Venom: 45:43 - 56:34 This week in new releases/Outro: 56:34 - 1:04:16 Spoiler Discussion - Alien: Covenant: 1:04:16 - 1:36:52 Spoiler Discussion - The Leftovers season 3, episode 6: 1:36:52 - 1:45:15

Billy Crudup's teenage son has been less than impressed with his choice for movie roles. But now that Crudup is starring in the dark horror flick "Alien: Covenant," things at home have changed. "He's so excited, mostly because it's not another movie of me sitting around with someone talking about my feelings," Crudup tells Peter Travers. Crudup also opens up about his films, his life and upcoming projects. Like what we're doing? Leave a review! ----> http://bit.ly/2kIbsjV Check out our other podcasts: http://bit.ly/2eBJMNa * ABOUT PETER TRAVERS: Peter Travers an American film critic, author and journalist. For some 25 years, Travers has written for Rolling Stone. He personally screens nearly 400 movies per year and releases weekly reviews. Travers is the nation's most blurbed film critic, according to eFilmCritic.com. Travers is also host of ABC's "Popcorn With Peter Travers," where he interviews actors, directors and Broadway performers about their roles and their lives. Popcorn on Twitter: http://abcn.ws/2gGYRiD Popcorn on Facebook: http://abcn.ws/2f3iHDw Popcorn on YouTube: http://abcn.ws/2gyswtx Popcorn on Instagram: http://abcn.ws/2fC0Ak2

We're offering a special pre-Oscars edition of the podcast this week with actor Billy Crudup. Best known for his role as 70s rock star Russell Hammond in "Almost Famous," Crudup stars in two Oscar-nominated films this year, "Jackie" and "20th Century Women." A Broadway star as well as a movie actor, Crudup said he began practicing mindfulness as a way to help "triage" anxiety and panic attacks he experienced, including at three separate times while performing on stage.

Devin and Mark flash back to a(nother) challenging time in American presidential history with a look at the Oscar-contending Pablo Larain drama Jackie.

Tony Award winning actor Billy Crudup spoke to Catie Lazarus about portraying a polarizing character, lawyer Eric MacLeish in the phenomenal film Spotlight, which chronicles The Boston Globe's Spotlight Investigative Team as they reveal the Catholic Church's systemic cover up of sexual abuse. Eric MacLeish is alive and does not like how he is depicted, although he supports the film. Eric MacLeish's real life saga, which The Boston Globe is also chronicling, could be its own Lifetime Movie. Crudup spoke about the larger mission of the film, which is, by all accounts, accurate and honest, and his own goal as an actor. Alongside Crudup, Spotlight stars Michael Keaton, Mark Ruffalo, Rachel McAdams, Liev Schreiber, Brian d’Arcy James and Stanley Tucci as it depicts how the Boston Globe earned a duly deserved Pulitzer Prize for its investigation and, more importantly, revealed a city wide crisis of abuse, which the Catholic Church covered up for decades. We are all guilty, meaning there was more everyone...

Our heroes this week delve into some edgier topics, such as how many chickens it takes to breed an egg, review Scott Pilgrim vs the World, The Other Guys, the Jason swirl, how Roboboots got its name and get all Crudup in it. Email us at robobootspodcast@gmail.com and tell us how you cook your hot dogs!

Our heroes this week delve into some edgier topics, such as how many chickens it takes to breed an egg, review Scott Pilgrim vs the World, The Other Guys, the Jason swirl, how Roboboots got its name and get all Crudup in it. Email us at robobootspodcast@gmail.com and tell us how you cook your hot dogs!