Podcasts about dark end

Today, Cassie and Thomas talk about the life of Rosa Parks, including both before and after the Montgomery Bus Boycott, Reconstruction, and the Montgomery Bus Boycott with an emphasis on the women who made it possible including Claudette Colvin and Joann Robinson. All this and more on another episode of the best podcast in the world!Content Warning Time Stamps: Warning comes at 28 minutes 20 seconds and the conversation ends just before 31 minutes and 6 secondsResources for More Information: The Women Behind the Montgomery Bus Boycott At the Dark End of the StreetResource List on Highkey ObsessedIf you dig what you're hearing be sure to drop those 5 star ratings and reviews, and to follow the show on:Instagram: @HighkeyObsessedPodcast and @sharkbatesbookshelfWebsite: www.highkeyobsessed.com Hosted on Acast. See acast.com/privacy for more information.

For those who haven't heard the announcement I just posted , songs from this point on will sometimes be split among multiple episodes, so this is the fourth and final part of a four-episode look at the Byrds in 1966-69 and the birth of country rock, this time mostly focused on what Gram Parsons and Chris Hillman did after leaving the band. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode, on “The Dark End of the Street” by James Carr. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ (more…)

I'm happy to welcome back Eva as co-host to which she brings her knowledge and experience for this series about the five love languages. Whether on social media or in pop-culture, it seems as if these 5 methods of giving and receiving love have become a near ubiquitous shorthand for discussing personal tastes in people and determining potential compatibility in relationships. This conversation has been broken into segments. The first segment allowed Eva to present a brief history and context for the five love languages as well as some new and emerging alternatives to that framework. In the second segment, Eva began working through each of the five love languages and their connections to patriarchy and colonialism – and included discussion about quality time, physical affection, and words of affirmation. In this, the final part of our conversation about the five love languages, we finish talking about the complexities of affirmation and how it can sometimes be used to manipulate, and finally gift giving. The episode closes with some exploration into what some of our personal love languages are as well as how love is an infinitely adaptable language that must be learned with each new relationship. We remind you that this is a show about communication both how we express communication and how we receive communication from others, because as with all parts of any relationship, communication is reciprocal. We hope you enjoy listening.   Music by Luke Holizna: https://holizna.com/   Episode Notes: Honeydew Me Podcast: https://www.honeydewmepodcast.com/ If Books Could Kill Podcast: https://www.ifbookspod.com/ Anne Hodder-Shipp, Languages for Modern Love: https://www.themodernlove Sarah Deer, The Beginning and End of Rape: https://www.amazon.com/Beginning-End-Rape-Confronting-Violence/dp/0816696330 Danielle McGuire, At the Dark End of the Street: https://www.amazon.com/At-Dark-End-of-Street-audiobook/dp/B07NF286C4/ref=sr_1_1?hvadid=622529432603&hvdev=c&hvlocphy=9011577&hvnetw=g&hvqmt=e&hvrand=16553123323030560905&hvtargid=kwd-397904020995&hydadcr=7633_13469281&keywords=at+the+dark+end+of+the+street+book&qid=1707530478&sr=8-1 Support us on Patreon and PayPal!

I'm happy to welcome back Eva as co-host to which she brings her knowledge and experience for this series about the five love languages. Whether on social media or in pop-culture, it seems as if these 5 methods of giving and receiving love have become a near ubiquitous shorthand for discussing personal tastes in people and determining potential compatibility in relationships. This conversation has been broken into segments. The first segment allowed Eva to present a brief history and context for the five love languages as well as some new and emerging alternatives to that framework. In this segment, Eva begins working through each of the five love languages and their connections to patriarchy and colonialism – this episode includes discussion about quality time, physical affection, and words of affirmation – though we will come back to that last one again in the final segment. We remind you that this is a show about communication both how we express communication and how we receive communication from others, because as with all parts of any relationship, communication is reciprocal. We hope you enjoy listening. Music by Luke Holizna: https://holizna.com/   Episode Notes: Honeydew Me Podcast: https://www.honeydewmepodcast.com/ If Books Could Kill Podcast: https://www.ifbookspod.com/ Anne Hodder-Shipp, Languages for Modern Love: https://www.themodernlove Sarah Deer, The Beginning and End of Rape: https://www.amazon.com/Beginning-End-Rape-Confronting-Violence/dp/0816696330 Danielle McGuire, At the Dark End of the Street: https://www.amazon.com/At-Dark-End-of-Street-audiobook/dp/B07NF286C4/ref=sr_1_1?hvadid=622529432603&hvdev=c&hvlocphy=9011577&hvnetw=g&hvqmt=e&hvrand=16553123323030560905&hvtargid=kwd-397904020995&hydadcr=7633_13469281&keywords=at+the+dark+end+of+the+street+book&qid=1707530478&sr=8-1 Support us on Patreon and PayPal!

I am happy to welcome back Eva who brings her knowledge and experience as co-host for this series about the five love languages. Whether on social media or in pop-culture, it seems as if these 5 methods of giving and receiving love have become a near-ubiquitous shorthand for discussing personal tastes in people and determining potential compatibility in relationships. This is a long and detailed conversation which will be broken into segments, the first of which gives an overview of the origins of the 5 love languages, as well as some new and emerging models exploring how we express love to one-another. I am always excited for these conversations because Eva is such a thoughtful and engaging human, and I always uncover ways in which I, we still have room to grow. When we started this podcast we were dedicated to ensuring that the versions of us you hear in each episode are honest representations of the people we are in our lives and in our relationship. As such, we are evolving people with evolving ideas that reflect new experiences and knowledge acquired over time. The people we are now are not the same as the people were decades ago when we first started this relationship, or even when we started this podcast. This is a show about communication, both how we express communication and how we receive communication from others, because as with all parts of any relationship, good and effective communication is reciprocal. We hope you enjoy listening. Music by Luke Holizna: https://holizna.com/   Episode Notes: Honeydew Me Podcast: https://www.honeydewmepodcast.com/ If Books Could Kill Podcast: https://www.ifbookspod.com/ Anne Hodder-Shipp, Languages for Modern Love: https://www.themodernlove Sarah Deer, The Beginning and End of Rape: https://www.amazon.com/Beginning-End-Rape-Confronting-Violence/dp/0816696330 Danielle McGuire, At the Dark End of the Street: https://www.amazon.com/At-Dark-End-of-Street-audiobook/dp/B07NF286C4/ref=sr_1_1?hvadid=622529432603&hvdev=c&hvlocphy=9011577&hvnetw=g&hvqmt=e&hvrand=16553123323030560905&hvtargid=kwd-397904020995&hydadcr=7633_13469281&keywords=at+the+dark+end+of+the+street+book&qid=1707530478&sr=8-1 Support us on Patreon and PayPal!

The brothers are back after a month long summer break filled with birthdays, work, vacations, and more crap. The brothers spend most of this episode discussing nonsense and a few minutes talking about Catwoman. We discuss going to the movies, Lego, and a little bit abour Catwoman and Batman. Thanks for listening. Read: Catwoman: Selina's Big Score & Catwoman: The Dark End of the Street Next: Batman/Lobo: Deadly Serious

Episode one hundred and sixty-seven of A History of Rock Music in Five Hundred Songs looks at “The Weight" by the Band, the Basement Tapes, and the continuing controversy over Dylan going electric. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode available, on "S.F. Sorrow is Born" by the Pretty Things. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Also, a one-time request here -- Shawn Taylor, who runs the Facebook group for the podcast and is an old and dear friend of mine, has stage-three lung cancer. I will be hugely grateful to anyone who donates to the GoFundMe for her treatment. Errata At one point I say "when Robertson and Helm travelled to the Brill Building". I meant "when Hawkins and Helm". This is fixed in the transcript but not the recording. Resources There are three Mixcloud mixes this time. As there are so many songs by Bob Dylan and the Band excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here — one, two, three. I've used these books for all the episodes involving Dylan: Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties by Elijah Wald, which is recommended, as all Wald's books are. Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. Chronicles Volume 1 by Bob Dylan is a partial, highly inaccurate, but thoroughly readable autobiography. Information on Tiny Tim comes from Eternal Troubadour: The Improbable Life of Tiny Tim by Justin Martell. Information on John Cage comes from The Roaring Silence by David Revill Information on Woodstock comes from Small Town Talk by Barney Hoskyns. For material on the Basement Tapes, I've used Million Dollar Bash by Sid Griffin. And for the Band, I've used This Wheel's on Fire by Levon Helm with Stephen Davis, Testimony by Robbie Robertson, The Band by Craig Harris and Levon by Sandra B Tooze. I've also referred to the documentaries No Direction Home and Once Were Brothers. The complete Basement Tapes can be found on this multi-disc box set, while this double-CD version has the best material from the sessions. All the surviving live recordings by Dylan and the Hawks from 1966 are on this box set. There are various deluxe versions of Music From Big Pink, but still the best way to get the original album is in this twofer CD with the Band's second album. Transcript Just a brief note before I start – literally while I was in the middle of recording this episode, it was announced that Robbie Robertson had died today, aged eighty. Obviously I've not had time to alter the rest of the episode – half of which had already been edited – with that in mind, though I don't believe I say anything disrespectful to his memory. My condolences to those who loved him – he was a huge talent and will be missed. There are people in the world who question the function of criticism. Those people argue that criticism is in many ways parasitic. If critics knew what they were talking about, so the argument goes, they would create themselves, rather than talk about other people's creation. It's a variant of the "those who can't, teach" cliche. And to an extent it's true. Certainly in the world of rock music, which we're talking about in this podcast, most critics are quite staggeringly ignorant of the things they're talking about. Most criticism is ephemeral, published in newspapers, magazines, blogs and podcasts, and forgotten as soon as it has been consumed -- and consumed is the word . But sometimes, just sometimes, a critic will have an effect on the world that is at least as important as that of any of the artists they criticise. One such critic was John Ruskin. Ruskin was one of the preeminent critics of visual art in the Victorian era, particularly specialising in painting and architecture, and he passionately advocated for a form of art that would be truthful, plain, and honest. To Ruskin's mind, many artists of the past, and of his time, drew and painted, not what they saw with their own eyes, but what other people expected them to paint. They replaced true observation of nature with the regurgitation of ever-more-mannered and formalised cliches. His attacks on many great artists were, in essence, the same critiques that are currently brought against AI art apps -- they're just recycling and plagiarising what other people had already done, not seeing with their own eyes and creating from their own vision. Ruskin was an artist himself, but never received much acclaim for his own work. Rather, he advocated for the works of others, like Turner and the pre-Raphaelite school -- the latter of whom were influenced by Ruskin, even as he admired them for seeing with their own vision rather than just repeating influences from others. But those weren't the only people Ruskin influenced. Because any critical project, properly understood, becomes about more than just the art -- as if art is just anything. Ruskin, for example, studied geology, because if you're going to talk about how people should paint landscapes and what those landscapes look like, you need to understand what landscapes really do look like, which means understanding their formation. He understood that art of the kind he wanted could only be produced by certain types of people, and so society had to be organised in a way to produce such people. Some types of societal organisation lead to some kinds of thinking and creation, and to properly, honestly, understand one branch of human thought means at least to attempt to understand all of them. Opinions about art have moral consequences, and morality has political and economic consequences. The inevitable endpoint of any theory of art is, ultimately, a theory of society. And Ruskin had a theory of society, and social organisation. Ruskin's views are too complex to summarise here, but they were a kind of anarcho-primitivist collectivism. He believed that wealth was evil, and that the classical liberal economics of people like Mill was fundamentally anti-human, that the division of labour alienated people from their work. In Ruskin's ideal world, people would gather in communities no bigger than villages, and work as craftspeople, working with nature rather than trying to bend nature to their will. They would be collectives, with none richer or poorer than any other, and working the land without modern technology. in the first half of the twentieth century, in particular, Ruskin's influence was *everywhere*. His writings on art inspired the Impressionist movement, but his political and economic ideas were the most influential, right across the political spectrum. Ruskin's ideas were closest to Christian socialism, and he did indeed inspire many socialist parties -- most of the founders of Britain's Labour Party were admirers of Ruskin and influenced by his ideas, particularly his opposition to the free market. But he inspired many other people -- Gandhi talked about the profound influence that Ruskin had on him, saying in his autobiography that he got three lessons from Ruskin's Unto This Last: "That 1) the good of the individual is contained in the good of all. 2) a lawyer's work has the same value as the barber's in as much as all have the same right of earning their livelihood from their work. 3) a life of labour, i.e., the life of the tiller of the soil and the handicraftsman is the life worth living. The first of these I knew. The second I had dimly realized. The third had never occurred to me. Unto This Last made it clear as daylight for me that the second and third were contained in the first. I arose with the dawn, ready to reduce these principles to practice" Gandhi translated and paraphrased Unto this Last into Gujurati and called the resulting book Sarvodaya (meaning "uplifting all" or "the welfare of all") which he later took as the name of his own political philosophy. But Ruskin also had a more pernicious influence -- it was said in 1930s Germany that he and his friend Thomas Carlyle were "the first National Socialists" -- there's no evidence I know of that Hitler ever read Ruskin, but a *lot* of Nazi rhetoric is implicit in Ruskin's writing, particularly in his opposition to progress (he even opposed the bicycle as being too much inhuman interference with nature), just as much as more admirable philosophies, and he was so widely read in the late nineteenth and early twentieth centuries that there's barely a political movement anywhere that didn't bear his fingerprints. But of course, our focus here is on music. And Ruskin had an influence on that, too. We've talked in several episodes, most recently the one on the Velvet Underground, about John Cage's piece 4'33. What I didn't mention in any of the discussions of that piece -- because I was saving it for here -- is that that piece was premiered at a small concert hall in upstate New York. The hall, the Maverick Concert Hall, was owned and run by the Maverick arts and crafts collective -- a collective that were so called because they were the *second* Ruskinite arts colony in the area, having split off from the Byrdcliffe colony after a dispute between its three founders, all of whom were disciples of Ruskin, and all of whom disagreed violently about how to implement Ruskin's ideas of pacifist all-for-one and one-for-all community. These arts colonies, and others that grew up around them like the Arts Students League were the thriving centre of a Bohemian community -- close enough to New York that you could get there if you needed to, far enough away that you could live out your pastoral fantasies, and artists of all types flocked there -- Pete Seeger met his wife there, and his father-in-law had been one of the stonemasons who helped build the Maverick concert hall. Dozens of artists in all sorts of areas, from Aaron Copland to Edward G Robinson, spent time in these communities, as did Cage. Of course, while these arts and crafts communities had a reputation for Bohemianism and artistic extremism, even radical utopian artists have their limits, and legend has it that the premiere of 4'33 was met with horror and derision, and eventually led to one artist in the audience standing up and calling on the residents of the town around which these artistic colonies had agglomerated: “Good people of Woodstock, let's drive these people out of town.” [Excerpt: The Band, "The Weight"] Ronnie Hawkins was almost born to make music. We heard back in the episode on "Suzie Q" in 2019 about his family and their ties to music. Ronnie's uncle Del was, according to most of the sources on the family, a member of the Sons of the Pioneers -- though as I point out in that episode, his name isn't on any of the official lists of group members, but he might well have performed with them at some point in the early years of the group. And he was definitely a country music bass player, even if he *wasn't* in the most popular country and western group of the thirties and forties. And Del had had two sons, Jerry, who made some minor rockabilly records: [Excerpt: Jerry Hawkins, "Swing, Daddy, Swing"] And Del junior, who as we heard in the "Susie Q" episode became known as Dale Hawkins and made one of the most important rock records of the fifties: [Excerpt: Dale Hawkins, "Susie Q"] Ronnie Hawkins was around the same age as his cousins, and was in awe of his country-music star uncle. Hawkins later remembered that after his uncle moved to Califormia to become a star “He'd come home for a week or two, driving a brand new Cadillac and wearing brand new clothes and I knew that's what I wanted to be." Though he also remembered “He spent every penny he made on whiskey, and he was divorced because he was running around with all sorts of women. His wife left Arkansas and went to Louisiana.” Hawkins knew that he wanted to be a music star like his uncle, and he started performing at local fairs and other events from the age of eleven, including one performance where he substituted for Hank Williams -- Williams was so drunk that day he couldn't perform, and so his backing band asked volunteers from the audience to get up and sing with them, and Hawkins sang Burl Ives and minstrel-show songs with the band. He said later “Even back then I knew that every important white cat—Al Jolson, Stephen Foster—they all did it by copying blacks. Even Hank Williams learned all the stuff he had from those black cats in Alabama. Elvis Presley copied black music; that's all that Elvis did.” As well as being a performer from an early age, though, Hawkins was also an entrepreneur with an eye for how to make money. From the age of fourteen he started running liquor -- not moonshine, he would always point out, but something far safer. He lived only a few miles from the border between Missouri and Arkansas, and alcohol and tobacco were about half the price in Missouri that they were in Arkansas, so he'd drive across the border, load up on whisky and cigarettes, and drive back and sell them at a profit, which he then used to buy shares in several nightclubs, which he and his bands would perform in in later years. Like every man of his generation, Hawkins had to do six months in the Army, and it was there that he joined his first ever full-time band, the Blackhawks -- so called because his name was Hawkins, and the rest of the group were Black, though Hawkins was white. They got together when the other four members were performing at a club in the area where Hawkins was stationed, and he was so impressed with their music that he jumped on stage and started singing with them. He said later “It sounded like something between the blues and rockabilly. It sort of leaned in both directions at the same time, me being a hayseed and those guys playing a lot funkier." As he put it "I wanted to sound like Bobby ‘Blue' Bland but it came out sounding like Ernest Tubb.” Word got around about the Blackhawks, both that they were a great-sounding rock and roll band and that they were an integrated band at a time when that was extremely unpopular in the southern states, and when Hawkins was discharged from the Army he got a call from Sam Phillips at Sun Records. According to Hawkins a group of the regular Sun session musicians were planning on forming a band, and he was asked to front the band for a hundred dollars a week, but by the time he got there the band had fallen apart. This doesn't precisely line up with anything else I know about Sun, though it perhaps makes sense if Hawkins was being asked to front the band who had variously backed Billy Lee Riley and Jerry Lee Lewis after one of Riley's occasional threats to leave the label. More likely though, he told everyone he knew that he had a deal with Sun but Phillips was unimpressed with the demos he cut there, and Hawkins made up the story to stop himself losing face. One of the session players for Sun, though, Luke Paulman, who played in Conway Twitty's band among others, *was* impressed with Hawkins though, and suggested that they form a band together with Paulman's bass player brother George and piano-playing cousin Pop Jones. The Paulman brothers and Jones also came from Arkansas, but they specifically came from Helena, Arkansas, the town from which King Biscuit Time was broadcast. King Biscuit Time was the most important blues radio show in the US at that time -- a short lunchtime programme which featured live performances from a house band which varied over the years, but which in the 1940s had been led by Sonny Boy Williamson II, and featured Robert Jr. Lockwood, Robert Johnson's stepson, on guiitar: [Excerpt: Sonny Boy Williamson II "Eyesight to the Blind (King Biscuit Time)"] The band also included a drummer, "Peck" Curtis, and that drummer was the biggest inspiration for a young white man from the town named Levon Helm. Helm had first been inspired to make music after seeing Bill Monroe and his Blue Grass Boys play live when Helm was eight, and he had soon taken up first the harmonica, then the guitar, then the drums, becoming excellent at all of them. Even as a child he knew that he didn't want to be a farmer like his family, and that music was, as he put it, "the only way to get off that stinking tractor  and out of that one hundred and five degree heat.” Sonny Boy Williamson and the King Biscuit Boys would perform in the open air in Marvell, Arkansas, where Helm was growing up, on Saturdays, and Helm watched them regularly as a small child, and became particularly interested in the drumming. “As good as the band sounded,” he said later “it seemed that [Peck] was definitely having the most fun. I locked into the drums at that point. Later, I heard Jack Nance, Conway Twitty's drummer, and all the great drummers in Memphis—Jimmy Van Eaton, Al Jackson, and Willie Hall—the Chicago boys (Fred Belew and Clifton James) and the people at Sun Records and Vee-Jay, but most of my style was based on Peck and Sonny Boy—the Delta blues style with the shuffle. Through the years, I've quickened the pace to a more rock-and-roll meter and time frame, but it still bases itself back to Peck, Sonny Boy Williamson, and the King Biscuit Boys.” Helm had played with another band that George Paulman had played in, and he was invited to join the fledgling band Hawkins was putting together, called for the moment the Sun Records Quartet. The group played some of the clubs Hawkins had business connections in, but they had other plans -- Conway Twitty had recently played Toronto, and had told Luke Paulman about how desperate the Canadians were for American rock and roll music. Twitty's agent Harold Kudlets booked the group in to a Toronto club, Le Coq D'Or, and soon the group were alternating between residencies in clubs in the Deep South, where they were just another rockabilly band, albeit one of the better ones, and in Canada, where they became the most popular band in Ontario, and became the nucleus of an entire musical scene -- the same scene from which, a few years later, people like Neil Young would emerge. George Paulman didn't remain long in the group -- he was apparently getting drunk, and also he was a double-bass player, at a time when the electric bass was becoming the in thing. And this is the best place to mention this, but there are several discrepancies in the various accounts of which band members were in Hawkins' band at which times, and who played on what session. They all *broadly* follow the same lines, but none of them are fully reconcilable with each other, and nobody was paying enough attention to lineup shifts in a bar band between 1957 and 1964 to be absolutely certain who was right. I've tried to reconcile the various accounts as far as possible and make a coherent narrative, but some of the details of what follows may be wrong, though the broad strokes are correct. For much of their first period in Ontario, the group had no bass player at all, relying on Jones' piano to fill in the bass parts, and on their first recording, a version of "Bo Diddley", they actually got the club's manager to play bass with them: [Excerpt: Ronnie Hawkins, "Hey Bo Diddley"] That is claimed to be the first rock and roll record made in Canada, though as everyone who has listened to this podcast knows, there's no first anything. It wasn't released as by the Sun Records Quartet though -- the band had presumably realised that that name would make them much less attractive to other labels, and so by this point the Sun Records Quartet had become Ronnie Hawkins and the Hawks. "Hey Bo Diddley" was released on a small Canadian label and didn't have any success, but the group carried on performing live, travelling back down to Arkansas for a while and getting a new bass player, Lefty Evans, who had been playing in the same pool of musicians as them, having been another Sun session player who had been in Conway Twitty's band, and had written Twitty's "Why Can't I Get Through to You": [Excerpt: Conway Twitty, "Why Can't I Get Through to You"] The band were now popular enough in Canada that they were starting to get heard of in America, and through Kudlets they got a contract with Joe Glaser, a Mafia-connected booking agent who booked them into gigs on the Jersey Shore. As Helm said “Ronnie Hawkins had molded us into the wildest, fiercest, speed-driven bar band in America," and the group were apparently getting larger audiences in New Jersey than Sammy Davis Jr was, even though they hadn't released any records in the US. Or at least, they hadn't released any records in their own name in the US. There's a record on End Records by Rockin' Ronald and the Rebels which is very strongly rumoured to have been the Hawks under another name, though Hawkins always denied that. Have a listen for yourself and see what you think: [Excerpt: Rockin' Ronald and the Rebels, "Kansas City"] End Records, the label that was on, was one of the many record labels set up by George Goldner and distributed by Morris Levy, and when the group did release a record in their home country under their own name, it was on Levy's Roulette Records. An audition for Levy had been set up by Glaser's booking company, and Levy decided that given that Elvis was in the Army, there was a vacancy to be filled and Ronnie Hawkins might just fit the bill. Hawkins signed a contract with Levy, and it doesn't sound like he had much choice in the matter. Helm asked him “How long did you have to sign for?” and Hawkins replied "Life with an option" That said, unlike almost every other artist who interacted with Levy, Hawkins never had a bad word to say about him, at least in public, saying later “I don't care what Morris was supposed to have done, he looked after me and he believed in me. I even lived with him in his million-dollar apartment on the Upper East Side." The first single the group recorded for Roulette, a remake of Chuck Berry's "Thirty Days" retitled "Forty Days", didn't chart, but the follow-up, a version of Young Jessie's "Mary Lou", made number twenty-six on the charts: [Excerpt: Ronnie Hawkins and the Hawks, "Mary Lou"] While that was a cover of a Young Jessie record, the songwriting credits read Hawkins and Magill -- Magill was a pseudonym used by Morris Levy. Levy hoped to make Ronnie Hawkins into a really big star, but hit a snag. This was just the point where the payola scandal had hit and record companies were under criminal investigation for bribing DJs to play their records. This was the main method of promotion that Levy used, and this was so well known that Levy was, for a time, under more scrutiny than anyone. He couldn't risk paying anyone off, and so Hawkins' records didn't get the expected airplay. The group went through some lineup changes, too, bringing in guitarist Fred Carter (with Luke Paulman moving to rhythm and soon leaving altogether)  from Hawkins' cousin Dale's band, and bass player Jimmy Evans. Some sources say that Jones quit around this time, too, though others say he was in the band for  a while longer, and they had two keyboards (the other keyboard being supplied by Stan Szelest. As well as recording Ronnie Hawkins singles, the new lineup of the group also recorded one single with Carter on lead vocals, "My Heart Cries": [Excerpt: Fred Carter, "My Heart Cries"] While the group were now playing more shows in the USA, they were still playing regularly in Canada, and they had developed a huge fanbase there. One of these was a teenage guitarist called Robbie Robertson, who had become fascinated with the band after playing a support slot for them, and had started hanging round, trying to ingratiate himself with the band in the hope of being allowed to join. As he was a teenager, Hawkins thought he might have his finger on the pulse of the youth market, and when Hawkins and Helm travelled to the Brill Building to hear new songs for consideration for their next album, they brought Robertson along to listen to them and give his opinion. Robertson himself ended up contributing two songs to the album, titled Mr. Dynamo. According to Hawkins "we had a little time after the session, so I thought, Well, I'm just gonna put 'em down and see what happens. And they were released. Robbie was the songwriter for words, and Levon was good for arranging, making things fit in and all that stuff. He knew what to do, but he didn't write anything." The two songs in question were "Someone Like You" and "Hey Boba Lou": [Excerpt: Ronnie Hawkins and the Hawks, "Hey Boba Lou"] While Robertson was the sole writer of the songs, they were credited to Robertson, Hawkins, and Magill -- Morris Levy. As Robertson told the story later, “It's funny, when those songs came out and I got a copy of the album, it had another name on there besides my name for some writer like Morris Levy. So, I said to Ronnie, “There was nobody there writing these songs when I wrote these songs. Who is Morris Levy?” Ronnie just kinda tapped me on the head and said, “There are certain things about this business that you just let go and you don't question.” That was one of my early music industry lessons right there" Robertson desperately wanted to join the Hawks, but initially it was Robertson's bandmate Scott Cushnie who became the first Canadian to join the Hawks. But then when they were in Arkansas, Jimmy Evans decided he wasn't going to go back to Canada. So Hawkins called Robbie Robertson up and made him an offer. Robertson had to come down to Arkansas and get a couple of quick bass lessons from Helm (who could play pretty much every instrument to an acceptable standard, and so was by this point acting as the group's musical director, working out arrangements and leading them in rehearsals). Then Hawkins and Helm had to be elsewhere for a few weeks. If, when they got back, Robertson was good enough on bass, he had the job. If not, he didn't. Robertson accepted, but he nearly didn't get the gig after all. The place Hawkins and Helm had to be was Britain, where they were going to be promoting their latest single on Boy Meets Girls, the Jack Good TV series with Marty Wilde, which featured guitarist Joe Brown in the backing band: [Excerpt: Joe Brown, “Savage”] This was the same series that Eddie Cochran and Gene Vincent were regularly appearing on, and while they didn't appear on the episodes that Hawkins and Helm appeared on, they did appear on the episodes immediately before Hawkins and Helm's two appearances, and again a couple of weeks after, and were friendly with the musicians who did play with Hawkins and Helm, and apparently they all jammed together a few times. Hawkins was impressed enough with Joe Brown -- who at the time was considered the best guitarist on the British scene -- that he invited Brown to become a Hawk. Presumably if Brown had taken him up on the offer, he would have taken the spot that ended up being Robertson's, but Brown turned him down -- a decision he apparently later regretted. Robbie Robertson was now a Hawk, and he and Helm formed an immediate bond. As Helm much later put it, "It was me and Robbie against the world. Our mission, as we saw it, was to put together the best band in history". As rockabilly was by this point passe, Levy tried converting Hawkins into a folk artist, to see if he could get some of the Kingston Trio's audience. He recorded a protest song, "The Ballad of Caryl Chessman", protesting the then-forthcoming execution of Chessman (one of only a handful of people to be executed in the US in recent decades for non-lethal offences), and he made an album of folk tunes, The Folk Ballads of Ronnie Hawkins, which largely consisted of solo acoustic recordings, plus a handful of left-over Hawks recordings from a year or so earlier. That wasn't a success, but they also tried a follow-up, having Hawkins go country and do an album of Hank Williams songs, recorded in Nashville at Owen Bradley's Quonset hut. While many of the musicians on the album were Nashville A-Team players, Hawkins also insisted on having his own band members perform, much to the disgust of the producer, and so it's likely (not certain, because there seem to be various disagreements about what was recorded when) that that album features the first studio recordings with Levon Helm and Robbie Robertson playing together: [Excerpt: Ronnie Hawkins and the Hawks, "Your Cheatin' Heart"] Other sources claim that the only Hawk allowed to play on the album sessions was Helm, and that the rest of the musicians on the album were Harold Bradley and Hank Garland on guitar, Owen Bradley and Floyd Cramer on piano, Bob Moore on bass, and the Anita Kerr singers. I tend to trust Helm's recollection that the Hawks played at least some of the instruments though, because the source claiming that also seems to confuse the Hank Williams and Folk Ballads albums, and because I don't hear two pianos on the album. On the other hand, that *does* sound like Floyd Cramer on piano, and the tik-tok bass sound you'd get from having Harold Bradley play a baritone guitar while Bob Moore played a bass. So my best guess is that these sessions were like the Elvis sessions around the same time and with several of the same musicians, where Elvis' own backing musicians played rhythm parts but left the prominent instruments to the A-team players. Helm was singularly unimpressed with the experience of recording in Nashville. His strongest memory of the sessions was of another session going on in the same studio complex at the time -- Bobby "Blue" Bland was recording his classic single "Turn On Your Love Light", with the great drummer Jabo Starks on drums, and Helm was more interested in listening to that than he was in the music they were playing: [Excerpt: Bobby "Blue" Bland, "Turn On Your Love Light"] Incidentally, Helm talks about that recording being made "downstairs" from where the Hawks were recording, but also says that they were recording in Bradley's Quonset hut.  Now, my understanding here *could* be very wrong -- I've been unable to find a plan or schematic anywhere -- but my understanding is that the Quonset hut was a single-level structure, not a multi-level structure. BUT the original recording facilities run by the Bradley brothers were in Owen Bradley's basement, before they moved into the larger Quonset hut facility in the back, so it's possible that Bland was recording that in the old basement studio. If so, that won't be the last recording made in a basement we hear this episode... Fred Carter decided during the Nashville sessions that he was going to leave the Hawks. As his son told the story: "Dad had discovered the session musicians there. He had no idea that you could play and make a living playing in studios and sleep in your own bed every night. By that point in his life, he'd already been gone from home and constantly on the road and in the service playing music for ten years so that appealed to him greatly. And Levon asked him, he said, “If you're gonna leave, Fred, I'd like you to get young Robbie over here up to speed on guitar”…[Robbie] got kind of aggravated with him—and Dad didn't say this with any malice—but by the end of that week, or whatever it was, Robbie made some kind of comment about “One day I'm gonna cut you.” And Dad said, “Well, if that's how you think about it, the lessons are over.” " (For those who don't know, a musician "cutting" another one is playing better than them, so much better that the worse musician has to concede defeat. For the remainder of Carter's notice in the Hawks, he played with his back to Robertson, refusing to look at him. Carter leaving the group caused some more shuffling of roles. For a while, Levon Helm -- who Hawkins always said was the best lead guitar player he ever worked with as well as the best drummer -- tried playing lead guitar while Robertson played rhythm and another member, Rebel Payne, played bass, but they couldn't find a drummer to replace Helm, who moved back onto the drums. Then they brought in Roy Buchanan, another guitarist who had been playing with Dale Hawkins, having started out playing with Johnny Otis' band. But Buchanan didn't fit with Hawkins' personality, and he quit after a few months, going off to record his own first solo record: [Excerpt: Roy Buchanan, "Mule Train Stomp"] Eventually they solved the lineup problem by having Robertson -- by this point an accomplished lead player --- move to lead guitar and bringing in a new rhythm player, another Canadian teenager named Rick Danko, who had originally been a lead player (and who also played mandolin and fiddle). Danko wasn't expected to stay on rhythm long though -- Rebel Payne was drinking a lot and missing being at home when he was out on the road, so Danko was brought in on the understanding that he was to learn Payne's bass parts and switch to bass when Payne quit. Helm and Robertson were unsure about Danko, and Robertson expressed that doubt, saying "He only knows four chords," to which Hawkins replied, "That's all right son. You can teach him four more the way we had to teach you." He proved himself by sheer hard work. As Hawkins put it “He practiced so much that his arms swoll up. He was hurting.” By the time Danko switched to bass, the group also had a baritone sax player, Jerry Penfound, which allowed the group to play more of the soul and R&B material that Helm and Robertson favoured, though Hawkins wasn't keen. This new lineup of the group (which also had Stan Szelest on piano) recorded Hawkins' next album. This one was produced by Henry Glover, the great record producer, songwriter, and trumpet player who had played with Lucky Millinder, produced Wynonie Harris, Hank Ballard, and Moon Mullican, and wrote "Drowning in My Own Tears", "The Peppermint Twist", and "California Sun". Glover was massively impressed with the band, especially Helm (with whom he would remain friends for the rest of his life) and set aside some studio time for them to cut some tracks without Hawkins, to be used as album filler, including a version of the Bobby "Blue" Bland song "Farther On Up the Road" with Helm on lead vocals: [Excerpt: Levon Helm and the Hawks, "Farther On Up the Road"] There were more changes on the way though. Stan Szelest was about to leave the band, and Jones had already left, so the group had no keyboard player. Hawkins had just the replacement for Szelest -- yet another Canadian teenager. This one was Richard Manuel, who played piano and sang in a band called The Rockin' Revols. Manuel was not the greatest piano player around -- he was an adequate player for simple rockabilly and R&B stuff, but hardly a virtuoso -- but he was an incredible singer, able to do a version of "Georgia on My Mind" which rivalled Ray Charles, and Hawkins had booked the Revols into his own small circuit of clubs around Arkanasas after being impressed with them on the same bill as the Hawks a couple of times. Hawkins wanted someone with a good voice because he was increasingly taking a back seat in performances. Hawkins was the bandleader and frontman, but he'd often given Helm a song or two to sing in the show, and as they were often playing for several hours a night, the more singers the band had the better. Soon, with Helm, Danko, and Manuel all in the group and able to take lead vocals, Hawkins would start missing entire shows, though he still got more money than any of his backing group. Hawkins was also a hard taskmaster, and wanted to have the best band around. He already had great musicians, but he wanted them to be *the best*. And all the musicians in his band were now much younger than him, with tons of natural talent, but untrained. What he needed was someone with proper training, someone who knew theory and technique. He'd been trying for a long time to get someone like that, but Garth Hudson had kept turning him down. Hudson was older than any of the Hawks, though younger than Hawkins, and he was a multi-instrumentalist who was far better than any other musician on the circuit, having trained in a conservatory and learned how to play Bach and Chopin before switching to rock and roll. He thought the Hawks were too loud sounding and played too hard for him, but Helm kept on at Hawkins to meet any demands Hudson had, and Hawkins eventually agreed to give Hudson a higher wage than any of the other band members, buy him a new Lowry organ, and give him an extra ten dollars a week to give the rest of the band music lessons. Hudson agreed, and the Hawks now had a lineup of Helm on drums, Robertson on guitar, Manuel on piano, Danko on bass, Hudson on organ and alto sax, and Penfound on baritone sax. But these new young musicians were beginning to wonder why they actually needed a frontman who didn't turn up to many of the gigs, kept most of the money, and fined them whenever they broke one of his increasingly stringent set of rules. Indeed, they wondered why they needed a frontman at all. They already had three singers -- and sometimes a fourth, a singer called Bruce Bruno who would sometimes sit in with them when Penfound was unable to make a gig. They went to see Harold Kudlets, who Hawkins had recently sacked as his manager, and asked him if he could get them gigs for the same amount of money as they'd been getting with Hawkins. Kudlets was astonished to find how little Hawkins had been paying them, and told them that would be no problem at all. They had no frontman any more -- and made it a rule in all their contracts that the word "sideman" would never be used -- but Helm had been the leader for contractual purposes, as the musical director and longest-serving member (Hawkins, as a non-playing singer, had never joined the Musicians' Union so couldn't be the leader on contracts). So the band that had been Ronnie Hawkins and the Hawks became the Levon Helm Sextet briefly -- but Penfound soon quit, and they became Levon and the Hawks. The Hawks really started to find their identity as their own band in 1964. They were already far more interested in playing soul than Hawkins had been, but they were also starting to get into playing soul *jazz*, especially after seeing the Cannonball Adderley Sextet play live: [Excerpt: Cannonball Adderley, "This Here"] What the group admired about the Adderley group more than anything else was a sense of restraint. Helm was particularly impressed with their drummer, Louie Hayes, and said of him "I got to see some great musicians over the years, and you see somebody like that play and you can tell, y' know, that the thing not to do is to just get it down on the floor and stomp the hell out of it!" The other influence they had, and one which would shape their sound even more, was a negative one. The two biggest bands on the charts at the time were the Beatles and the Beach Boys, and as Helm described it in his autobiography, the Hawks thought both bands' harmonies were "a blend of pale, homogenised, voices". He said "We felt we were better than the Beatles and the Beach Boys. We considered them our rivals, even though they'd never heard of us", and they decided to make their own harmonies sound as different as possible as a result. Where those groups emphasised a vocal blend, the Hawks were going to emphasise the *difference* in their voices in their own harmonies. The group were playing prestigious venues like the Peppermint Lounge, and while playing there they met up with John Hammond Jr, who they'd met previously in Canada. As you might remember from the first episode on Bob Dylan, Hammond Jr was the son of the John Hammond who we've talked about in many episodes, and was a blues musician in his own right. He invited Helm, Robertson, and Hudson to join the musicians, including Michael Bloomfield, who were playing on his new album, So Many Roads: [Excerpt: John P. Hammond, "Who Do You Love?"] That album was one of the inspirations that led Bob Dylan to start making electric rock music and to hire Bloomfield as his guitarist, decisions that would have profound implications for the Hawks. The first single the Hawks recorded for themselves after leaving Hawkins was produced by Henry Glover, and both sides were written by Robbie Robertson. "uh Uh Uh" shows the influence of the R&B bands they were listening to. What it reminds me most of is the material Ike and Tina Turner were playing at the time, but at points I think I can also hear the influence of Curtis Mayfield and Steve Cropper, who were rapidly becoming Robertson's favourite songwriters: [Excerpt: The Canadian Squires, "Uh Uh Uh"] None of the band were happy with that record, though. They'd played in the studio the same way they played live, trying to get a strong bass presence, but it just sounded bottom-heavy to them when they heard the record on a jukebox. That record was released as by The Canadian Squires -- according to Robertson, that was a name that the label imposed on them for the record, while according to Helm it was an alternative name they used so they could get bookings in places they'd only recently played, which didn't want the same band to play too often. One wonders if there was any confusion with the band Neil Young played in a year or so before that single... Around this time, the group also met up with Helm's old musical inspiration Sonny Boy Williamson II, who was impressed enough with them that there was some talk of them being his backing band (and it was in this meeting that Williamson apparently told Robertson "those English boys want to play the blues so bad, and they play the blues *so bad*", speaking of the bands who'd backed him in the UK, like the Yardbirds and the Animals). But sadly, Williamson died in May 1965 before any of these plans had time to come to fruition. Every opportunity for the group seemed to be closing up, even as they knew they were as good as any band around them. They had an offer from Aaron Schroeder, who ran Musicor Records but was more importantly a songwriter and publisher who  had written for Elvis Presley and published Gene Pitney. Schroeder wanted to sign the Hawks as a band and Robertson as a songwriter, but Henry Glover looked over the contracts for them, and told them "If you sign this you'd better be able to pay each other, because nobody else is going to be paying you". What happened next is the subject of some controversy, because as these things tend to go, several people became aware of the Hawks at the same time, but it's generally considered that nothing would have happened the same way were it not for Mary Martin. Martin is a pivotal figure in music business history -- among other things she discovered Leonard Cohen and Gordon Lightfoot, managed Van Morrison, and signed Emmylou Harris to Warner Brothers records -- but a somewhat unknown one who doesn't even have a Wikipedia page. Martin was from Toronto, but had moved to New York, where she was working in Albert Grossman's office, but she still had many connections to Canadian musicians and kept an eye out for them. The group had sent demo tapes to Grossman's offices, and Grossman had had no interest in them, but Martin was a fan and kept pushing the group on Grossman and his associates. One of those associates, of course, was Grossman's client Bob Dylan. As we heard in the episode on "Like a Rolling Stone", Dylan had started making records with electric backing, with musicians who included Mike Bloomfield, who had played with several of the Hawks on the Hammond album, and Al Kooper, who was a friend of the band. Martin gave Richard Manuel a copy of Dylan's new electric album Highway 61 Revisited, and he enjoyed it, though the rest of the group were less impressed: [Excerpt: Bob Dylan, "Highway 61 Revisited"] Dylan had played the Newport Folk Festival with some of the same musicians as played on his records, but Bloomfield in particular was more interested in continuing to play with the Paul Butterfield Blues Band than continuing with Dylan long-term. Mary Martin kept telling Dylan about this Canadian band she knew who would be perfect for him, and various people associated with the Grossman organisation, including Hammond, have claimed to have been sent down to New Jersey where the Hawks were playing to check them out in their live setting. The group have also mentioned that someone who looked a lot like Dylan was seen at some of their shows. Eventually, Dylan phoned Helm up and made an offer. He didn't need a full band at the moment -- he had Harvey Brooks on bass and Al Kooper on keyboards -- but he did need a lead guitar player and drummer for a couple of gigs he'd already booked, one in Forest Hills, New York, and a bigger gig at the Hollywood Bowl. Helm, unfamiliar with Dylan's work, actually asked Howard Kudlets if Dylan was capable of filling the Hollywood Bowl. The musicians rehearsed together and got a set together for the shows. Robertson and Helm thought the band sounded terrible, but Dylan liked the sound they were getting a lot. The audience in Forest Hills agreed with the Hawks, rather than Dylan, or so it would appear. As we heard in the "Like a Rolling Stone" episode, Dylan's turn towards rock music was *hated* by the folk purists who saw him as some sort of traitor to the movement, a movement whose figurehead he had become without wanting to. There were fifteen thousand people in the audience, and they listened politely enough to the first set, which Dylan played acoustically, But before the second set -- his first ever full electric set, rather than the very abridged one at Newport -- he told the musicians “I don't know what it will be like out there It's going to be some kind of  carnival and I want you to all know that up front. So go out there and keep playing no matter how weird it gets!” There's a terrible-quality audience recording of that show in circulation, and you can hear the crowd's reaction to the band and to the new material: [Excerpt: Bob Dylan, "Ballad of a Thin Man" (live Forest Hills 1965, audience noise only)] The audience also threw things  at the musicians, knocking Al Kooper off his organ stool at one point. While Robertson remembered the Hollywood Bowl show as being an equally bad reaction, Helm remembered the audience there as being much more friendly, and the better-quality recording of that show seems to side with Helm: [Excerpt: Bob Dylan, "Maggie's Farm (live at the Hollywood Bowl 1965)"] After those two shows, Helm and Robertson went back to their regular gig. and in September they made another record. This one, again produced by Glover, was for Atlantic's Atco subsidiary, and was released as by Levon and the Hawks. Manuel took lead, and again both songs were written by Robertson: [Excerpt: Levon and the Hawks, "He Don't Love You (And He'll Break Your Heart)"] But again that record did nothing. Dylan was about to start his first full electric tour, and while Helm and Robertson had not thought the shows they'd played sounded particularly good, Dylan had, and he wanted the two of them to continue with him. But Robertson and, especially, Helm, were not interested in being someone's sidemen. They explained to Dylan that they already had a band -- Levon and the Hawks -- and he would take all of them or he would take none of them. Helm in particular had not been impressed with Dylan's music -- Helm was fundamentally an R&B fan, while Dylan's music was rooted in genres he had little time for -- but he was OK with doing it, so long as the entire band got to. As Mary Martin put it “I think that the wonderful and the splendid heart of the band, if you will, was Levon, and I think he really sort of said, ‘If it's just myself as drummer and Robbie…we're out. We don't want that. It's either us, the band, or nothing.' And you know what? Good for him.” Rather amazingly, Dylan agreed. When the band's residency in New Jersey finished, they headed back to Toronto to play some shows there, and Dylan flew up and rehearsed with them after each show. When the tour started, the billing was "Bob Dylan with Levon and the Hawks". That billing wasn't to last long. Dylan had been booked in for nine months of touring, and was also starting work on what would become widely considered the first double album in rock music history, Blonde on Blonde, and the original plan was that Levon and the Hawks would play with him throughout that time.  The initial recording sessions for the album produced nothing suitable for release -- the closest was "I Wanna Be Your Lover", a semi-parody of the Beatles' "I Want to be Your Man": [Excerpt: Bob Dylan with Levon and the Hawks, "I Wanna Be Your Lover"] But shortly into the tour, Helm quit. The booing had continued, and had even got worse, and Helm simply wasn't in the business to be booed at every night. Also, his whole conception of music was that you dance to it, and nobody was dancing to any of this. Helm quit the band, only telling Robertson of his plans, and first went off to LA, where he met up with some musicians from Oklahoma who had enjoyed seeing the Hawks when they'd played that state and had since moved out West -- people like Leon Russell, J.J. Cale (not John Cale of the Velvet Underground, but the one who wrote "Cocaine" which Eric Clapton later had a hit with), and John Ware (who would later go on to join the West Coast Pop Art Experimental Band). They started loosely jamming with each other, sometimes also involving a young singer named Linda Ronstadt, but Helm eventually decided to give up music and go and work on an oil rig in New Orleans. Levon and the Hawks were now just the Hawks. The rest of the group soldiered on, replacing Helm with session drummer Bobby Gregg (who had played on Dylan's previous couple of albums, and had previously played with Sun Ra), and played on the initial sessions for Blonde on Blonde. But of those sessions, Dylan said a few weeks later "Oh, I was really down. I mean, in ten recording sessions, man, we didn't get one song ... It was the band. But you see, I didn't know that. I didn't want to think that" One track from the sessions did get released -- the non-album single "Can You Please Crawl Out Your Window?" [Excerpt: Bob Dylan, "Can You Please Crawl Out Your Window?"] There's some debate as to exactly who's playing drums on that -- Helm says in his autobiography that it's him, while the credits in the official CD releases tend to say it's Gregg. Either way, the track was an unexpected flop, not making the top forty in the US, though it made the top twenty in the UK. But the rest of the recordings with the now Helmless Hawks were less successful. Dylan was trying to get his new songs across, but this was a band who were used to playing raucous music for dancing, and so the attempts at more subtle songs didn't come off the way he wanted: [Excerpt: Bob Dylan and the Hawks, "Visions of Johanna (take 5, 11-30-1965)"] Only one track from those initial New York sessions made the album -- "One Of Us Must Know (Sooner or Later)" -- but even that only featured Robertson and Danko of the Hawks, with the rest of the instruments being played by session players: [Excerpt: Bob Dylan (One of Us Must Know (Sooner or Later)"] The Hawks were a great live band, but great live bands are not necessarily the same thing as a great studio band. And that's especially the case with someone like Dylan. Dylan was someone who was used to recording entirely on his own, and to making records *quickly*. In total, for his fifteen studio albums up to 1974's Blood on the Tracks, Dylan spent a total of eighty-six days in the studio -- by comparison, the Beatles spent over a hundred days in the studio just on the Sgt Pepper album. It's not that the Hawks weren't a good band -- very far from it -- but that studio recording requires a different type of discipline, and that's doubly the case when you're playing with an idiosyncratic player like Dylan. The Hawks would remain Dylan's live backing band, but he wouldn't put out a studio recording with them backing him until 1974. Instead, Bob Johnston, the producer Dylan was working with, suggested a different plan. On his previous album, the Nashville session player Charlie McCoy had guested on "Desolation Row" and Dylan had found him easy to work with. Johnston lived in Nashville, and suggested that they could get the album completed more quickly and to Dylan's liking by using Nashville A-Team musicians. Dylan agreed to try it, and for the rest of the album he had Robertson on lead guitar and Al Kooper on keyboards, but every other musician was a Nashville session player, and they managed to get Dylan's songs recorded quickly and the way he heard them in his head: [Excerpt: Bob Dylan, "Most Likely You Go Your Way and I'll Go Mine"] Though Dylan being Dylan he did try to introduce an element of randomness to the recordings by having the Nashville musicians swap their instruments around and play each other's parts on "Rainy Day Women #12 & 35", though the Nashville players were still competent enough that they managed to get a usable, if shambolic, track recorded that way in a single take: [Excerpt: Bob Dylan, "Rainy Day Women #12 & 35"] Dylan said later of the album "The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It's that thin, that wild mercury sound. It's metallic and bright gold, with whatever that conjures up." The album was released in late June 1966, a week before Freak Out! by the Mothers of Invention, another double album, produced by Dylan's old producer Tom Wilson, and a few weeks after Pet Sounds by the Beach Boys. Dylan was at the forefront of a new progressive movement in rock music, a movement that was tying thoughtful, intelligent lyrics to studio experimentation and yet somehow managing to have commercial success. And a month after Blonde on Blonde came out, he stepped away from that position, and would never fully return to it. The first half of 1966 was taken up with near-constant touring, with Dylan backed by the Hawks and a succession of fill-in drummers -- first Bobby Gregg, then Sandy Konikoff, then Mickey Jones. This tour started in the US and Canada, with breaks for recording the album, and then moved on to Australia and Europe. The shows always followed the same pattern. First Dylan would perform an acoustic set, solo, with just an acoustic guitar and harmonica, which would generally go down well with the audience -- though sometimes they would get restless, prompting a certain amount of resistance from the performer: [Excerpt: Bob Dylan, "Just Like a Woman (live Paris 1966)"] But the second half of each show was electric, and that was where the problems would arise. The Hawks were playing at the top of their game -- some truly stunning performances: [Excerpt: Bob Dylan and the Hawks, "Just Like Tom Thumb's Blues (live in Liverpool 1966)"] But while the majority of the audience was happy to hear the music, there was a vocal portion that were utterly furious at the change in Dylan's musical style. Most notoriously, there was the performance at Manchester Free Trade Hall where this happened: [Excerpt: Bob Dylan, "Like a Rolling Stone (live Manchester 1966)"] That kind of aggression from the audience had the effect of pushing the band on to greater heights a lot of the time -- and a bootleg of that show, mislabelled as the Royal Albert Hall, became one of the most legendary bootlegs in rock music history. Jimmy Page would apparently buy a copy of the bootleg every time he saw one, thinking it was the best album ever made. But while Dylan and the Hawks played defiantly, that kind of audience reaction gets wearing. As Dylan later said, “Judas, the most hated name in human history, and for what—for playing an electric guitar. As if that is in some kind of way equitable to betraying our Lord, and delivering him up to be crucified; all those evil mothers can rot in hell.” And this wasn't the only stress Dylan, in particular, was under. D.A. Pennebaker was making a documentary of the tour -- a follow-up to his documentary of the 1965 tour, which had not yet come out. Dylan talked about the 1965 documentary, Don't Look Back, as being Pennebaker's film of Dylan, but this was going to be Dylan's film, with him directing the director. That footage shows Dylan as nervy and anxious, and covering for the anxiety with a veneer of flippancy. Some of Dylan's behaviour on both tours is unpleasant in ways that can't easily be justified (and which he has later publicly regretted), but there's also a seeming cruelty to some of his interactions with the press and public that actually reads more as frustration. Over and over again he's asked questions -- about being the voice of a generation or the leader of a protest movement -- which are simply based on incorrect premises. When someone asks you a question like this, there are only a few options you can take, none of them good. You can dissect the question, revealing the incorrect premises, and then answer a different question that isn't what they asked, which isn't really an option at all given the kind of rapid-fire situation Dylan was in. You can answer the question as asked, which ends up being dishonest. Or you can be flip and dismissive, which is the tactic Dylan chose. Dylan wasn't the only one -- this is basically what the Beatles did at press conferences. But where the Beatles were a gang and so came off as being fun, Dylan doing the same thing came off as arrogant and aggressive. One of the most famous artifacts of the whole tour is a long piece of footage recorded for the documentary, with Dylan and John Lennon riding in the back of a taxi, both clearly deeply uncomfortable, trying to be funny and impress the other, but neither actually wanting to be there: [Excerpt Dylan and Lennon conversation] 33) Part of the reason Dylan wanted to go home was that he had a whole new lifestyle. Up until 1964 he had been very much a city person, but as he had grown more famous, he'd found New York stifling. Peter Yarrow of Peter, Paul, and Mary had a cabin in Woodstock, where he'd grown up, and after Dylan had spent a month there in summer 1964, he'd fallen in love with the area. Albert Grossman had also bought a home there, on Yarrow's advice, and had given Dylan free run of the place, and Dylan had decided he wanted to move there permanently and bought his own home there. He had also married, to Sara Lowndes (whose name is, as far as I can tell, pronounced "Sarah" even though it's spelled "Sara"), and she had given birth to his first child (and he had adopted her child from her previous marriage). Very little is actually known about Sara, who unlike many other partners of rock stars at this point seemed positively to detest the limelight, and whose privacy Dylan has continued to respect even after the end of their marriage in the late seventies, but it's apparent that the two were very much in love, and that Dylan wanted to be back with his wife and kids, in the country, not going from one strange city to another being asked insipid questions and having abuse screamed at him. He was also tired of the pressure to produce work constantly. He'd signed a contract for a novel, called Tarantula, which he'd written a draft of but was unhappy with, and he'd put out two single albums and a double-album in a little over a year -- all of them considered among the greatest albums ever made. He could only keep up this rate of production and performance with a large intake of speed, and he was sometimes staying up for four days straight to do so. After the European leg of the tour, Dylan was meant to take some time to finish overdubs on Blonde on Blonde, edit the film of the tour for a TV special, with his friend Howard Alk, and proof the galleys for Tarantula, before going on a second world tour in the autumn. That world tour never happened. Dylan was in a motorcycle accident near his home, and had to take time out to recover. There has been a lot of discussion as to how serious the accident actually was, because Dylan's manager Albert Grossman was known to threaten to break contracts by claiming his performers were sick, and because Dylan essentially disappeared from public view for the next eighteen months. Every possible interpretation of the events has been put about by someone, from Dylan having been close to death, to the entire story being put up as a fake. As Dylan is someone who is far more protective of his privacy than most rock stars, it's doubtful we'll ever know the precise truth, but putting together the various accounts Dylan's injuries were bad but not life-threatening, but they acted as a wake-up call -- if he carried on living like he had been, how much longer could he continue? in his sort-of autobiography, Chronicles, Dylan described this period, saying "I had been in a motorcycle accident and I'd been hurt, but I recovered. Truth was that I wanted to get out of the rat race. Having children changed my life and segregated me from just about everybody and everything that was going on. Outside of my family, nothing held any real interest for me and I was seeing everything through different glasses." All his forthcoming studio and tour dates were cancelled, and Dylan took the time out to recover, and to work on his film, Eat the Document. But it's clear that nobody was sure at first exactly how long Dylan's hiatus from touring was going to last. As it turned out, he wouldn't do another tour until the mid-seventies, and would barely even play any one-off gigs in the intervening time. But nobody knew that at the time, and so to be on the safe side the Hawks were being kept on a retainer. They'd always intended to work on their own music anyway -- they didn't just want to be anyone's backing band -- so they took this time to kick a few ideas around, but they were hamstrung by the fact that it was difficult to find rehearsal space in New York City, and they didn't have any gigs. Their main musical work in the few months between summer 1966 and spring 1967 was some recordings for the soundtrack of a film Peter Yarrow was making. You Are What You Eat is a bizarre hippie collage of a film, documenting the counterculture between 1966 when Yarrow started making it and 1968 when it came out. Carl Franzoni, one of the leaders of the LA freak movement that we've talked about in episodes on the Byrds, Love, and the Mothers of Invention, said of the film “If you ever see this movie you'll understand what ‘freaks' are. It'll let you see the L.A. freaks, the San Francisco freaks, and the New York freaks. It was like a documentary and it was about the makings of what freaks were about. And it had a philosophy, a very definite philosophy: that you are free-spirited, artistic." It's now most known for introducing the song "My Name is Jack" by John Simon, the film's music supervisor: [Excerpt: John Simon, "My Name is Jack"] That song would go on to be a top ten hit in the UK for Manfred Mann: [Excerpt: Manfred Mann, "My Name is Jack"] The Hawks contributed backing music for several songs for the film, in which they acted as backing band for another old Greenwich Village folkie who had been friends with Yarrow and Dylan but who was not yet the star he would soon become, Tiny Tim: [Excerpt: Tiny Tim, "Sonny Boy"] This was their first time playing together properly since the end of the European tour, and Sid Griffin has noted that these Tiny Tim sessions are the first time you can really hear the sound that the group would develop over the next year, and which would characterise them for their whole career. Robertson, Danko, and Manuel also did a session, not for the film with another of Grossman's discoveries, Carly Simon, playing a version of "Baby Let Me Follow You Down", a song they'd played a lot with Dylan on the tour that spring. That recording has never been released, and I've only managed to track down a brief clip of it from a BBC documentary, with Simon and an interviewer talking over most of the clip (so this won't be in the Mixcloud I put together of songs): [Excerpt: Carly Simon, "Baby Let Me Follow You Down"] That recording is notable though because as well as Robertson, Danko, and Manuel, and Dylan's regular studio keyboard players Al Kooper and Paul Griffin, it also features Levon Helm on drums, even though Helm had still not rejoined the band and was at the time mostly working in New Orleans. But his name's on the session log, so he must have m

This week: we give a final reminder about the picnic for non-believers on July 16th, we talk about Uri Geller, we discuss motives behind recent LGBTQA+ rights attacks, and we cover a petition from American Atheists' to protect the free speech rights of non-believers. The FFRF update includes the impeached ex-President's remarks about atheists. After a rant about a pastor's curious position on marital sex without consent, you can listen to a special conversation among four of our Filthy Monkey Brains. Don't miss their humorous discussion on a cringeworthy Supreme Court decision about religious exemptions at work, the implications of the Defense Bill Amendment, and a misguided request about CRT. Thanks to Ketsa, SuRRism, Redproductions, AlexGrohl, Lexin_Music, Tommy Mutiu, and lemonmusicstudio for the music tracks.  Here are the links we provide for more information about the episode: https://friendlyatheist.substack.com/p/why-is-the-new-york-times-glorifying https://www.nytimes.com/2023/07/08/business/uri-geller-magic-deep-fakes.html  https://www.pbs.org/newshour/politics/why-is-the-gop-escalating-attacks-on-trans-rights-experts-say-the-goal-is-to-make-sure-evangelicals-vote https://www.atheists.org/2023/07/lindke-v-freed-amicus-brief/ https://ffrf.org/news https://www.youtube.com/watch?v=B2lakd2WUZg&feature=share https://www.governing.com/archive/gov-marital-rape-states-ohio-minnesota.html https://nypost.com/2023/03/05/ri-mom-says-teachers-union-treated-her-like-enemy-of-the-state/ https://www.scotusblog.com/2023/04/justices-look-for-common-ground-in-postal-workers-religious-liberty-case/ https://friendlyatheist.substack.com/p/gop-congressman-targets-churchstate Monica also would like to recommend the following books about Black History: The Warmth of Other Suns -The Epic Story of America's Great Migration, by Isabel Wilkerson. The Color of Law - A Forgotten History of How Our Government Segregated America, by Richard Rothstein.  And the following book wasn't referenced by name but it's interesting to understand Rosa Parks' work as a field officer for the NAACP before the Civil Rights movement went national: At the Dark End of the Street (Black Women, Hope & Resistance - A New History of the Civil Rights Movement - From Rosa Parks to the Rise of Black Power), by Danielle L. McGuire Our sponsors are: https://www.facebook.com/groups/BNLou/ https://www.facebook.com/groups/louatheists/   https://www.facebook.com/groups/ffrfky/ https://www.facebook.com/communityofreasonohky https://www.facebook.com/kysecular  

Amy & Joe are back with another episode about 1959!  Amy tells the story of a tragic lynching of an innocent black man, and Joe fills in the timeline with birthdays, a tragic rape, a UFO conspiracy, burglars, baseball, some plane crashes and more! Part of the Queen City Podcast Network: www.queencitypodcastnetwork.com. Credits Include:  Black Nationalism: A Search for an Identity in America by E. U. Essien-Udom, Oakland Tribune,  McGuire, Danielle L. At the Dark End of the Street: Black Women, Rape, and Resistance- a New History of the Civil Rights Movement from Rosa Parks to the Rise of Black Power , 'It Was like All of Us Had Been Raped': Sexual Violence, Community Mobilization, and the African American Freedom Struggle, Popculture.us, Wikipedia, New York Times, IMDB & Youtube.  Information may not be accurate, as it is produced by jerks. Music by MATT TRUMAN EGO TRIP, the greatest American Band. Click Here to buy their albums!

It's noir time again as we revisit some Ed Brubaker! This time, we're covering his Catwoman run with artists Darwyn Cooke and Mike Allred which starts in The Dark End of the Street, a collection that contains two whole stories! The first is Slam Bradley on the hunt for Catwoman which originally ran as backups in Detective Comics 759-762, and then we jump into Catwoman #1-4 from 2002. And then it's more Batman as we continue Knightfall Chapter 13 with a strange Two-Face tie-in from Showcase '93 #7. -- Don't forget, Chris & Nick will be doing a live recording of the Your Stupid Minds podcast at Comicpalooza in Houston, TX on Friday, May 26 at 4:30 PM central.  They'll be covering the 2004 Catwoman movie! -- Next Time: X-Men - Days of Future Past (Uncanny X-Men 138-143)  

Come with us from the Dark End of the Street to the Bright Side of the Road, by way of Kenya and Kentucky, the Congo and the Caribbean. This show features some of the crown jewels of the Kershaw vinyl collection that's just out of storage and now stashed on brand-new shelves (thank you crowd-funders). And there are obituary tributes to Tshala Muana and Gordon Lightfoot.  Visit https://andykershaw.co.uk  for play-lists and to get in touch, make a donation or become a sponsor.

Helgi and David met up at Helgi's place for an After Dark special now that the regular seasons are over. The Subway men's and women's leagues last games are discussed as well as the final placement of teams in the tables. The 1st division men's and women's leagues last games are discussed as well and then the playoff series are reviewed. David and Helgi were at the KKÍ (Icelandic Basketball Federation) bi-annual general meeting and the biggest agreed upon proposals are discussed. Finally, Helgi did some foreign player research and this After Dark special is wrapped up with predictions on how the quarter finals in the Subway men's and women's leagues will go. Enjoy!Hosts: Helgi Hrafn Ólafsson and David PatchellThe Uncoachables is brought to you by Lykill, Subway and Kristall

On the program this time around, we present “It's a Slippery Slope, Pt.1” featuring a collection of great slide guitar players. Included are Bonnie Raitt, Del Rey, Geoff Bartley, Jerry Douglas and of course, Ellen McIlwayne. Slide along with us for the next couple of shows, starting this week … on the Sing Out! Radio Magazine.Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwaysEllen McIlwaine / “Losing You” / Up from the Skies / PolydorDonna Herula / “Bang at the Door” / Bang at the Door / Self-producedRy Cooder / “At the Dark End of the Street” / Boomers Story / RepriseThe Jerry Douglas Band / “2:19” / What If / RounderWill Kimbrough / “Cape Henry” / Spring Break / DaphneRoger Williams / “Slipped Disc” / Masters of Slide: The Spider Sessions / Mountain HomeSally Van Meter & Orville Johnson / “Tex Mex Shindig” / Masters of Slide: The Spider Sessions / Mountain HomeSanto & Johnny / “Sleepwalk” / Sleepwalk / JasminBonnie Raitt / “Write Me a Few of Your Lines-Kokomo Blues” / Takin' My Time / Warner BrothersEllen McIlwaine / “Sliding” / Up from the Skies / PolydorLeRoy Parnell / “On the Road” / On the Road / AristaDel Rey / “Tennessee Local” / At the Uke Shack #2 / HobemianLeo Kottke / “Pamela Brown” / Ice Water / CapitolGeoff Bartley / “Grinnin' in Your Face” / Hear That Wind Howl / WaterbugThe David Bromberg Band / “Walkin' Blues” / The Blues the Whole Blues and Nothing but the Blues / Red HousePete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

The year 2022—full of unexpected changes. But more are on the horizon. The Chinese Communist Party is opening its borders, soon allowing Chinese people to visit other countries. An unprecedented COVID-19 outbreak sweeping the country, bringing risks of new virus mutations. The world's second largest economy in question, as it copes with export bans from the U.S., growing pushback from the international community, and surging tensions with Taiwan. ⭕️ Watch in-depth videos based on Truth & Tradition at Epoch TV

COVID-19 in Review: China Sees Dark End to 2022China's Zero-COVID-19 in Review: What Went Wrong?Report: China's 100+ Police Offices Around the WorldChips Act Boosts U.S. Domestic ManufacturingYear in Review: 2022 a Wild Ride for TikTokU.S. Gains Full Access to Audits of Chinese CompaniesKey Takeaways: the First Biden-Xi MeetingHouse Speaker Nancy Pelosi's Visit to TaiwanChina Eastern Plane Crash Kills All 132 OnboardWeakness Can Invite Enemies: Thayer Looks into 2023

COVID-19 in Review: China Sees Dark End to 2022; Chips Act Boosts US Domestic Manufacturing

Tom Waits "Get Behind the Mule"Merle Haggard "This Town's Not Big Enough"Fiona Apple "On the Bound"Sebadoh "Pink Moon"Robert Belfour "Black Mattie"New Moon Jelly Roll Freedom Rockers "If Blues Was Money"Hank Williams "Long Gone Lomesome Blues"Ruth Brown "Mama He Treats Your Daughter Mean"Mississippi Fred McDowell "Amazing Grace"Taj Mahal "Statesboro Blues"Dan Penn "The Dark End of the Street"Aretha Franklin "Good to Me As I Am to You"Bonnie "Prince" Billy "Make Worry for Me"Bob Wills and his Texas Playboys "Draggin' The Bow"Mavis Staples "Wrote a Song for Everyone"John R. Miller "Holy Dirt"Built to Spill "Conventional Wisdom"John Mayall & The Bluesbreakers "Have You Heard"Solomon Burke "The Judgement"Steve Earle & The Dukes "Sweet Little '66"Elvis Costello & The Attractions "Why Don't You Love Me (Like You Used To Do)?"Magnolia Electric Co. "The Night Shift Lullaby"Lucero "The Last Song"Connie Smith "Over The Next Hill"Cory Branan & Jon Snodgrass "The Corner"Holly Golightly & the Brokeoffs "Tank"Matt Woods "Ghosts of the Gospel"Otis Gibbs "Caroline"Billy Joe Shaver "Georgia On A Fast Train"Bob Dylan "If You Ever Go To Houston"Bukka White "Aberdeen Mississippi Blues"Mississippi Fred McDowell "61 Highway"Soltero "The Good Times"Louis Jordan "Junco Partner"Lucinda Williams "Real Live Bleeding Fingers and Broken Guitar Strings"Willie Mae Williams "Don't Want To Go There"The Black Keys "I Got Mine"James Brown "Give It Up Or Turnit a Loose"fIREHOSE "Brave Captain"S.G. Goodman "Teeth Marks"Billie Holiday "Lady Sings the Blues"Superchunk "The Question Is How Fast"Otis Redding "Nobody's Fault But Mine"Drive-By Truckers "Wilder Days"

(Here Comes the Version Bosssss)Village Caller/Village Soul - Lennie HibbertEverybody Needs Love - Temptations/Slim SmithMama - Jo Ann Campbell/HeptonesBarbados/Forest Gate Rock - Charlie Parker/Lester SterlingKeep on Moving - Curtis Mayfield & The ImpressionsTen to One - Impressions/Cornell CampbellNever Let Me Go - Impressions/Joe WhiteMy Dream Island - El TemposIt's Too Late - Cornelius Brothers/A.Ellis/A.PabloBuild My World Around You - Uniques/Marvin and TammiWherever I Lay My Hat - Marvin Gaye/Cornell CampbellIt's Raining - Three TopsRain Rain Go Away - Lee DorseyRain From the Sky - Adam Wade/Delroy WilsonDark End of the Street - Roy Hamilton/Pat KellyFunky Donkey - Bernard Purdie Death in the Arena - Roland AlphonsoRespect - Norma FraserHammerhead/Phoenix City - Mongo Santamaria/SkatalitesThat's How Strong My Love Is - Ken ParkerLet Him Try - Alton EllisYou and Me* - Penny and the Quarters*no Jamaican version, yet(?) KFSR JAMAICAN VERSION C 

Old 97's "I Don't Wanna Die In This Town"Valerie June "Workin' Woman Blues"Mary Wells "The One Who Really Loves You"The Replacements "Alex Chilton"The Hold Steady "Entitlement Crew"Joe Tex "Hold What You Got"Fiona Apple "Sleep to Dream"Mavis Staples "If All I Was Was Black"Esther Phillips "Release Me"Lucero "That Much Further West"Shaver "Live Forever"Gillian Welch "Caleb Meyer"Ray Charles "I've Got A Woman"Nicole Atkins "Brokedown Luck"James Brown "Please Please Please"Will Johnson "A Solitary Slip"Slobberbone "Pinball Song"Will Johnson "Cornelius"The O "Candy"Eilen Jewell "I'm Gonna Dress In Black"Willie Nelson/Waylon Jennings "Good Hearted Woman"Charlie Parr "Empty Out Your Pockets"Aretha Franklin "Dr. Feelgood (Love Is Serious Business)"Mississippi John Hurt "Monday Morning Blues"JD McPherson "Bridgebuilder"Little Richard "The Girl Can't Help It"Johnny Cash "Sea of Heartbreak"Etta James "At Last"R.E.M. "So. Central Rain"Tom Petty and the Heartbreakers "Learning To Fly"Tom Petty & The Heartbreakers "Room At The Top"Bobby Bland "I Pity The Fool"Ruth Brown "Mama He Treats Your Daughter Mean"Two Cow Garage "My Concern"Patterson Hood "Better Off Without"Ramones "Do You Remember Rock And Roll Radio"Ike & Tina Turner "Proud Mary"Sierra Ferrell "Jeremiah"James Carr "The Dark End of the Street"New Moon Jelly Roll Freedom Rockers feat. Alvin Youngblood Hart "She's About a Mover"Wilson Pickett "634-5789"Willie Mae 'Big Mama' Thornton "Hound Dog"Jason Isbell and the 400 Unit "The Blue"Magnolia Electric Co. "Northstar Blues"Brook Benton "Rainy Night in Georgia"The Devil Makes Three "Car Wreck"

We lost a wonderfully talented musician to cancer last year. Ellen McIlwaine was an inspiration to guitarists worldwide. Her muscular style and adept use of the slide was remarkable. This week and next on the program we'll present the two-part feature “It's a Slippery Slope,” featuring great slide guitarists including Ellen, along with David Bromberg, Geoff Bartley, Bonnie Raitt, Donna Herula and more. A variety of players, each with their own individual style … on the next two editions of The Sing Out! Radio Magazine.Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwaysEllen McIlwaine / “Losing You” / Up from the Skies / PolydorDonna Herula / “Bang at the Door” / Bang at the Door / Self-ProducedRy Cooder / “At the Dark End of the Street” / Boomers Story / RepriseThe Jerry Douglas Band / “2:19” / What If / RounderWill Kimbrough / “Cape Henry” / Spring Break / DaphneRoger Williams / “Slipped Disc” / Masters of Slide: The Spider Sessions / Mountain HomeSally Van Meter & Orville Johnson / “Tex Mex Shindig” / Masters of Slide: The Spider Sessions / Mountain HomeSanto & Johnny / “Sleepwalk” / Sleepwalk / JasminBonnie Raitt / “Write Me a Few of Your Lines-Kokomo Blues” / Takin' My Time / Warner BrothersEllen McIlwaine / “Sliding” / Up from the Skies / PolydorLeRoy Parnell / “On the Road” / On the Road / AristaDel Rey / “Tennessee Local” / At the Uke Shack #2 / HobemianLeo Kottke / “Pamela Brown” / Ice Water / CapitolGeoff Bartley / “Grinnin' in Your Face” / Hear That Wind Howl / WaterbugThe David Bromberg Band / “Walkin' Blues” / The Blues the Whole Blues and Nothing but the Blues / Red HousePete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

The status of Black Women? Living with misogynoir as a pre-existing condition.To be considered innocent is to be viewed as vulnerable to harm and worthy of protection from harm. An innocent person's pain is recognized, acknowledged, and addressed. Mediated Misogynoir: Erasing Black Women's and Girls' Innocence in the Public Imagination interrogates contemporary media culture to illuminate the ways the intersections of anti-blackness and misogyny, i.e., misogynoir, converge to obscure public perceptions of Black women and girls as people with any claim to innocence. When pained images of Black female bodies appear on media devices, the socio-political responses are telling, not only in their lack of urgency, but also in their inability to be read empathetically. By examining viral videos, memes, and recent film and television, Kalima Young makes a striking case for the need to create a new Black feminist media studies framework broad enough to hold the complexity and agency of Black women and girls in a digital age invested in framing them as inherently adulterated and impure.About Dr. Young:Dr. Kalima Young is an Assistant Professor in the Department of Electronic Media and Film where she teaches Principles of Film and Media Production and African American Cinema. She received her PhD in American Studies from the University of Maryland, College Park. Her scholarship explores the impact of race and gender-based trauma on Black identity, media, and Black cultural production. A videographer and writer, Ms. Young has written, produced and directed two feature films Grace Haven (2006), Lessons Learned (2009) as well as several political campaign videos.A gender-rights activist, Dr. Young is on the leadership team for the FORCE: Upsetting Rape Culture's Monument Quilt Project, a collection of stories of survivors of rape and sexual abuse. Collecting over 6,000 quilt squares from across the nation. She is also a member of Rooted, a Black LGBTQ healing collective. Additionally, Dr. Young is a frequent host on local radio where she provides media and cultural criticism.   Mediated Misogynoir: The Erasure of Black Women and Girls' Pain the Public Imagination is her latest literary work.Resources Mentioned:Mediated MisogynoirMisogynoir TransformedRace After TechnologyAlgorithms of OppressionMemes to Movements The Arab SpringAt the Dark End of the StreetConnect with Dr. Young:Email: kyoung@towson.eduThe podcast's hashtag is #nourishyourflourish. You can also find our practice on the following social media outlets:Facebook: The Eudaimonia CenterInstagram: theeudaimoniacenterTwitter: eu_daimonismFor more reproductive medicine and women's health information and other valuable resources, make sure to visit our website.

James Carr, Dan Penn, and Chips Moman.

Wow, for an episode in which not that much happened, Agie, Anna, and Stacey had a ton of fun breaking down this episode. Nick is away so the girlies will play. We had a few chuckles along the way as we break down each and every moment from the episode. Do we think Daniel is out of time? Do we love Taku and Jonathan more than we originally thought? Who are we actually rooting for leading up to the merge? You'll hear our thoughts on all of that and more as we dive into our recap of Survivor Season 42, Episode 4 "The Vibe of the Tribe." If you're looking for a specific segment, here's a breakdown: Intro (0:00-1:15) One Minute Thoughts (1:15-4:27) Episode Recap (4:27-38:46) The Fans Have Spoken (38:46-46:11) Jeff Needs a Vibe Check (46:11-48:59) Castaway of the Week (48:59-51:09) Stacey's Last Thoughts (51:09-52:14) Rapid Fire (52:14-57:50) Outro (57:50-end) Be sure to give us a follow on Instagram @EscapingRealityPod and on Twitter @EscRealityPod -- If you enjoyed this episode, please subscribe & leave us a rating/review on Apple Podcasts and/or Spotify! Make sure to tell your friends about the pod so they can join you (and us) on our journey through reality competition shows. As always, thanks for listening & thanks for Escaping Reality with us!

HAPPY VALENTINE'S DAY! In a special Valentine's Day edition of the podcast, join host Aeric Azana as he discusses the X WIVES OF WOLVERINE! The Canucklehead has one of the most storied and tragic romantic histories of any comic book character, and in this Geeksplained Extra we'll be counting down the 10 best! Follow us! Twitter: twitter.com/geeksplainedpod?lang=en Instagram: www.instagram.com/geeksplainedpod/?hl=en Send us your questions for the Geeksplained Mailbag! Email: Geeksplained@gmail.com Music Sampled: "The Dark End of the Street" by James Carr

RoséHide and SeekWerewolvesDining and / or Reading in the Dark End the SpeciesHuman WorthSilly Team MascotsTrucker ProtestsGeeseEpisode transcript here: https://laurenhudgins.com/2022/02/07/episode-50-its-dark-in-here-no-difference/shelwereadapoem@gmail.com@ShelWeRead

Ep. 039: In this installment of the Shred Shack Podcast, your favorite heavy metal caballeros make up for lost time after skipping a week in podcasting by recording a three hour show. After starting things off with some old business regarding Slipknot, Led Zeppelin and AC/DC, we take a look at the latest releases from Wicked Maraya, Khanus, Vektor, Polar, Dark End, Devildriver, Destruction, Toseland, Hatebreed, Seas of Wake, Kvelertak, Grand Magus and Formless. A ton of general, recording, touring and charting news is reviewed for several artists, with a particularly lengthly touring discussion. Pat and Reece from the New York side of things offer up the Top Ten Heavy Metal Songs About Space. For this week's Social Media Highlight segment, we give brief updates on Wasteland Rocks, Our World Below and Apothica before diving into Mata. From there, we discuss our experience seeing Tim "Ripper" Owens performing a mostly acoustic set at the Rock Box, backed and followed by San Antonio's own Jessikill. We follow that up with a discussion about our experience catching Jessikill a second time along with Forever Town, Seance and Worst Case Scenario. Our discussion for the week doubles as our Top Albums for the month of April 2016 as we further discuss our feelings on the latest from Otep, Deftones, Zakk Wylde, Vision of Atlantis, Rob Zombie, Darkestrah, Sig.Ar.Tyr and Aborted. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Bad Women Series, #4 of 4. The popular image of Parks is one of quiet, and demure respectability. When we were in elementary school, we were taught that Parks was a tired old woman, whose feet hurt after a long day on the job. Because she was a Black woman living in the south, she was relegated to the “back of the bus” on Montgomery, Alabama's public transportation. Yet, that day Parks did not move to the back of the bus. It was understood that her personal feelings and fatigue were the reason she did not give up her seat for a white passenger on that fateful day in December 1955, not her “lifetime of being rebellious,” as Parks herself said about her activism. Today we'll discuss Rosa Parks, the mid twentieth century civil rights movement in the United States, and the formation of memory. Get the transcript and full bibliography for this episode at digpodcast.org Select Bibliography Carl Wendell Hines, reprinted in Vincent Gordon Harding, “Beyond Amnesia: Martin Luther King, Jr. and the Future of America,” The Journal of American History, Vol. 74, No. 2 (Sep., 1987): 468-476. Jeanne Theoharis, “'A Life History of Being Rebellious': The Radicalism of Rosa Parks,” in Want to Start a Revolution? Radical Women in the Black Freedom Struggle, ed. Jeanne Theoharis (New York University Press, 2009), 115. Danielle McGuire, At the Dark End of the Street: Black Women, Rape, and Resistance- a New History of the Civil Rights Movement from Rosa Parks to the Rise of Black Power (New York: Vintage Books, 2011). Rosa Parks, My Story (New York: Dial Books, 1992). Learn more about your ad choices. Visit podcastchoices.com/adchoices

Richard Swift "Lady Luck"Margo Price "Weakness"Little Richard "Slippin' and Slidin'"Big Mama Thornton "Watermelon Man"The White Stripes "Stop Breaking Down"Adia Victoria "Howlin' Shame"Chuck Berry "Mean Old World"Bob Dylan "Like a Rolling Stone"Thelonious Monk "Monk's Dream"Mavis Staples "Will The Circle Be Unbroken"Dolly Parton "Traveling Man"Billy Joe Shaver "Tell Me Virginia"Matt Woods "Fireflies"Ted Taylor "You Got to Feel It"Eddie Hinton "Everybody Needs Love"Dan Penn "The Dark End of the Street"Ted Taylor "If I Thought You Needed Me"The Jimi Hendrix Experience "If 6 Was 9"Sly & The Family Stone "Que Sera, Sera (Whatever Will Be Will Be)"The Marvelettes "Please Mr Postman"S.G. Goodman "Old Time Feeling"Doc & Merle Watson "If I Needed You"Cedric Burnside "Pretty Flowers"Neko Case "Nobody Knows You When You're Down And Out"Amanda Shires "My Love (The Storm)"Charlie Parr "Walking Back from Willmar"M. Ward "Rave On"Maria Taylor "Cartoons and Forever Plans "Kevin Morby & Waxahatchee "Farewell Transmission"Grateful Dead "Candyman"Swamp Dogg "The Mind Does the Dancing While the Body Pulls the Strings"Patti Smith Group "Ask The Angels"Micah Schnabel "Blame It On Geography"Aimee Mann "Give Me Fifteen"Kitty Wells "I Can't Stop Loving You"The Mountain Goats "Dark in Here"William Elliot Whitmore "Old Devils"Cat Power "Lived In Bars"Billy Bragg "The Unwelcome Guest"Vic Chesnutt "The Night The Lights Went Out In Georgia"

The city of Atlanta has been lit up with the Braves' World Series win last week. Friday brings new records from Blur/Gorillaz frontman Damon Albarn, Gov't Mule, and Dave Gahan & Soulsavers. The Weeknd and Post Malone have a blazing hot new single, “One Right Now.” Kelly Clarkson takes an apparently literal song figuratively and laughs with Dave Grohl. 01:50 - Today in Pop Culture, the first issue of The Rolling Stone is published, 196702:50 - The Atlanta Braves are this year's World Series champs and make history06:55 - Blur & Gorillaz frontman releases album Friday; single “The Tower of Montevideo”08:52 - Mariah's Apple TV+ Christmas special, “Mariah's Christmas: The Magic Continues”09:34 - Drama on The Bachelorette… over a jacket12:03 - Foo Fighters' “Learn to Fly” meaning is not as deep as Kelly Clarkson thought13:28 - Post Malone and The Weeknd team up for “One Right Now”14:40 - Gov't Mule, “Heavy Load Blues” out Friday; single “Make it Rain”15:44 - Alec Baldwin intense confrontation with reporters18:45 - Dave Gahan & Soulsavers release album “Impostor;” single “Dark End of the Street” The Pop Culture Show is sponsored by Glen Scotia single malt scotch.The Pop Culture Show is rated “E” for everyone. Please, review and subscribe to The Pop Culture Show available on your favorite podcast network. Get Exclusive Pop Culture Show video interviews, video content and bonus video exclusively from our Instagram. Sign up for our Pop Cult and be the first to get show announcements, free stuff and insider information only available to cult members. Watch The Pop Culture Show TV channel for the most fun, interesting and intriguing guests and moments from the show available 24/7.Executive Producer: Steve BarnesHosts: Steve Barnes, Leslie Fram, Paul Cubby BryantIntern Producer: Lauren NobleFAIR USE COPYRIGHT NOTICE The Copyright Laws of the United States recognize a “fair use” of copyrighted content. Section 107 of the U.S. Copyright Act states:“NOTWITHSTANDING THE PROVISIONS OF SECTIONS 106 AND 106A, THE FAIR USE OF A COPYRIGHTED WORK, INCLUDING SUCH USE BY REPRODUCTION IN COPIES OR PHONORECORDS OR BY ANY OTHER MEANS SPECIFIED BY THAT SECTION, FOR PURPOSES SUCH AS CRITICISM, COMMENT, NEWS REPORTING, TEACHING (INCLUDING MULTIPLE COPIES FOR CLASSROOM USE), SCHOLARSHIP, OR RESEARCH, IS NOT AN INFRINGEMENT OF COPYRIGHT.” THIS VIDEO/AUDIO IN GENERAL MAY CONTAIN CERTAIN COPYRIGHTED WORKS THAT WERE NOT SPECIFICALLY AUTHORIZED TO BE USED BY THE COPYRIGHT HOLDER(S), BUT WHICH WE BELIEVE IN GOOD FAITH ARE PROTECTED BY FEDERAL LAW AND THE FAIR USE DOCTRINE FOR ONE OR MORE OF THE REASONS NOTED ABOVE. IF YOU HAVE ANY SPECIFIC CONCERNS ABOUT THIS VIDEO OR OUR POSITION ON THE FAIR USE DEFENSE, PLEASE CONTACT US AT INFO@THEPOPCULTURESHOW.COM SO WE CAN DISCUSS AMICABLY. THANK YOU.

Chris and Jordan discuss winners and losers of the Summer of 2021. They touch on soccer, acid reflux, The Suicide Squad, Reminiscence, Tony Judt, and Netflix envelopes.

In this RfRx talk, Sikivu Hutchinson discusses the major themes of Black feminist identity and artistic control in her new road novel “Rock 'n' Roll Heretic”, vis-a-vis overcoming trauma, victim-blaming and silence around sexual violence, misogynoir (anti-Black misogyny) and corruption in faith-based communities. Sikivu Hutchinson is a writer, educator, and director. Her books include “Humanists in the Hood: Unapologetically Black, Feminist, and Heretical” (2020), the novel “White Nights, Black Paradise” (2015) and the new novel “Rock 'n' Roll Heretic: The Life and Times of Rory Tharpe” (2021). She is the founder of the Women's Leadership Project, Black Skeptics Los Angeles and a co-facilitator of the Black LGBTQI+ Parent and Caregiver group. Hosted by Eric Wells, the RfR Support Group Director and Mandisa Thomas, Founder and President of Black NonBelievers and RfR Support Group Leader. Resource List - “Humanists in the Hood: Unapologetically Black, Feminist, and Heretical” by Sikivu Hutchinson: https://www.amazon.com/Humanists-Hood... - “At the Dark End of the Street: Black Women, Rape and Resistance” by Danielle L. McGuire: https://www.amazon.com/At-Dark-End-St... - “Killing the Black Body: Race, Reproduction, and the Meaning of Liberty” by Dorothy: https://www.amazon.com/Killing-Black-... Roberts: - “Aretha Franklin, Sexual Violence and the Culture Dissemblance”, an article for the African American Intellectual History Society (AAIHS) by Rachel Zellars: https://www.aaihs.org/aretha-franklin... - “Love with Accountability: Digging up the Roots of Child Sexual Abuse” an anthology: https://www.amazon.com/Love-Accountab... - “The Ebony Exodus Project: Why Some Black Women Are Walking Out on Religion―and Others Should Too” by Candace R. M. Gorham LPC: https://www.amazon.com/Ebony-Exodus-P... - Black Diamond Queens: Black women and Rock ‘n' Roll by Maureen Mahon: https://www.amazon.com/Black-Diamond-... Upcoming Event: Juneteenth at the Museum of the African Diaspora presents Shredding While Black and Female: http://sikivuhutchinson.com/2021/05/1... Atheist Community of Discord: https://discord.com/invite/B28xRKb Any time you are struggling with religious doubts or fears you can connect with a trained RfR Helpline agent 24 hours a day, 7 days a week. To chat online go to http://www.recoveringfromreligion.org. To talk over the phone, dial: (844) 368-2848 in the US & Canada Important RfR Links: RfR Support Groups: http://www.meetup.com/pro/recovering-... Secular Therapy Project: http://www.seculartherapy.org Donation link: http://www.recoveringfromreligion.org/donate --- Send in a voice message: https://anchor.fm/recovering-from-religion/message

The music world lost a wonderful player on June 23rd, as Ellen McIlwaine passed at the age of 75. The cause of death was reported to be from esophageal cancer. Ellen came to prominence in the 1970s with her firey slide guitar style. For this week and next, we'll feature a collection of great slide players, including Bonnie Raitt, Del Rey, Geoff Bartley, Jerry Douglas and of course Ellen McIlwaine. For Ellen, this week we slide … on the The Sing Out! Radio Magazine.Episode #21-28:It's A Slippery Slope, Pt.1Host: Tom DruckenmillerThe Sing Out! Radio Magazine is broadcast weekly on the finest public radio stations nationwide and syndicated on iTunes, Stitcher, Podomatic, Bluegrass Planet, The Folk Music Notebook and on the Sing Out! website www.singout.orgArtist/”Song”/CD/LabelPete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwaysEllen McIlwaine / “Losing You” / Up from the Skies / PolydorDonna Herula / “Bang at the Door” / Bang at the Door / Self ProducedRy Cooder / “At the Dark End of the Street” / Boomers Story / RepriseThe Jerry Douglas Band / “2:19” / What If / RounderWill Kimbrough / “Cape Henry” / Spring Break / DaphneRoger Williams / “Slipped Disc” / Masters of Slide: The Spider Sessions / Mountain HomeSally Van Meter & Orville Johnson / “Tex Mex Shindig” / Masters of Slide: The Spider Sessions / Mountain HomeSanto & Johnny / “Sleepwalk” / Sleepwalk / JasminBonnie Raitt / “Write Me a Few of Your Lines-Kokomo Blues” / Takin' My Time / Warner BrothersEllen McIlwaine / “Sliding” / Up from the Skies / PolydorLeRoy Parnell / “On the Road” / On the Road / AristaDel Rey / “Tennessee Local” / At the Uke Shack #2 / HobemianLeo Kottke / “Pamela Brown” / Ice Water / CapitolGeoff Bartley / “Grinnin' in Your Face” / Hear That Wind Howl / WaterbugThe David Bromberg Band / “Walkin' Blues” / The Blues the Whole Blues and Nothing but the Blues / Red HousePete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

Happy Monday! In today's episode, Brendi sits down with Nick Courmon, a spoken word artist, workshop facilitator, and motivational speaker. Nick talks about how he grew to love poetry, intersectionality, and the Civil Rights Movement, sharing and learning Black History, and going viral and gaining a TikTok following of 88k+. Nick uses his passion and poetry to teach African American History, address a myriad of social issues, and advocate for mental health awareness. Appetizer: At the Dark End of the Street Keep up with Nick: Website, Instagram, Facebook, TikTok Episode ideas, comments, or thoughts? Catch up with us on Instagram! Don't forget to rate, review, and subscribe! Business inquiries: notyouravgbs@gmail.com

Irma Thomas "Wish Someone Would Care"R.E.M. "Wanderlust"The Shangri-Las "Sophisticated Boom Boom"John Prine "Spanish Pipedream"John Prine "When I Get to Heaven"Micah Schnabel "Gentle Always"Sister Rosetta Tharpe "Jericho"Bruce Springsteen "Atlantic City"Valerie June "Heart On a String"Tom Petty and the Heartbreakers "Angel Dream (No. 4)"Johnny Rivers "La Bamba/Twist And Shout"Eddie Hinton "Uncloudy Days"Valerie June "This World Is Not My Home"Prince "Nothing Compares 2 U"Junior Wells "Little By Little"The White Stripes "St. James Infirmary Blues"Bobbie Gentry "Fancy"Taj Mahal "She Caught The Katy (And Left Me A Mule To Ride)"Connie Smith "You're Getting Heavy On My Mind"Phoebe Bridgers "Kyoto"David Ramirez "People Call Who They Wanna Talk To"Neko Case "This Tornado Loves You"Drive-By Truckers "Sea Island Lonely"Etta James "Security"Jolie Holland "Old Fashioned Morphine"Precious Bryant "Don't Jump My Pony"Hayes Carll "Drunken Poet's Dream"Nancy Sinatra "Jackson"Lucero "Tonight Ain't Gonna Be Good"Matt Woods "Deadman's Blues"Lilly Hiatt "Records"Merry Clayton "Southern Man"Hank Mobley "The Breakdown"Ike & Tina Turner "Funkier Than a Mosquita's Tweeter"Mavis Staples "Down in Mississippi"Betty Davis "If I'm In Luck I Might Get Picked Up"Miles Davis Quintet "Trane's Blues"The Jayhawks "Two Angels"Gillian Welch "Good Baby"Cory Branan "The Corner"Dan Penn "The Dark End of the Street"Kris Kristofferson "Jesus Was a Capricorn"Dolly Parton "Don't Let It Trouble Your Mind"Memphis Minnie "The Saint"Alberta Hunter "Black Man"George Jones "Amazing Grace"Guy Clark "Let Him Roll"

Dan Penn is a living legend who co-wrote "I'm Your Puppet," "Dark End of the Street," "Do Right Woman, Do Right Man," "Cry Like a Baby" and he produced the Box Tops' legendary hit THE LETTER! Dan recently released his first solo album in years, "Living on Mercy," and it's amazingly satisfying, check it out. And listen to this podcast to hear Dan's story, from Muscle Shoals to Memphis, he was there, the history comes alive. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Step to the Music

This week we return to the doom and gloom of Netflix's Daredevil. Paul and Kayleigh mentally design their own superhero outfits, bemoan how naff the name "Frank" is, and ponder upon which is scarier: Wilson Fisk or a hoard of undead ninjas? Don't forget to subscribe, rate and review us or we'll come after you with sticks (disclaimer: we won't really).

Stu Levitan welcomes Danielle McGuire, author of the ground-breaking and award-winning book, At the Dark End of the Street: Black Women, Rape and Resistance–a New History of the Civil Rights Movement from Rosa Parks to the Rise of Black Power. Danielle clicks on two criteria, as a double alum of the UW and a past presenter at the Wisconsin Book Festival. It was a little before midnight on September 3, 1944. A 25-yo black woman named Recy Taylor, and two friends were walking home from church in rural Abbeville Alabama when a carload of six white boys with guns & knives kidnapped her, blindfolded her and drove her to a wooded area outside of town, where they raped her repeatedly for more than 3 hours. Because Recy Taylor's family and friends knew local law enforcement would not take the matter seriously, they contacted the NAACP office in Montgomery, Local president E. D. Nixon assigned his best investigator, a woman who had once lived in Abbeville before commencing a career in black activism. Her name was Rosa Parks. What Rosa Parks did before and after she got to Abbeville, and the overwhelming impact of sexualized violence on the civil rights movement is the business that occupies Danielle McGuire in this important book. As it has occupied her since she got her bachelor's and master's degrees in Afro-American Studies here in the late nineties before getting her Ph D from Rutgers. Danielle McGuire is a native of Janesville Wisconsin who's been thinking and writing about the role of race in modern America since she read Jonathan Kozol's book Savage Inequalities as a high school junior in 1991. Her work has had an impact. At the Dark End of the Street won the Frederick Jackson Turner Award from the Organization of American Historians and the Lillian Smith Award from the Southern Regional Council. Her Journal of American History essay, “It was Like We Were All Raped: Sexualized Violence, Community Mobilization and the African American Freedom Struggle,” won the A. Elizabeth Taylor Prize for best essay in southern women's history and was reprinted in the Best Essays in American History. Perhaps most important, her work led to a formal apology from the State of Alabama to Recy Taylor and her family. Danielle is the editor with John Dittmer of Freedom Rights: New Perspectives on the Civil Rights Movement. She is currently at work on a book about the 1967 murder of three young black men in the Algiers Motel in Detroit which, like At The Dark End of the Street, will be published by Knopf. She lives with her husband, two children and a lhasa-poo in metro Detroit. I had the pleasure of talking with Danielle McGuire on an earlier version of this show, and it is a new pleasure to welcome her now to Madison BookBeat. Airdate - July 6, 2020

Join us today as we explore the chaos that unfolds during the concert at Altamont Speedway in California during December of 1969. Note: The video Gimme Shelter is available on Amazon Prime (not Google Prime as I state in the episode). Also just to clarify-the wine was not sold at the concert but in the surrounding area. The Rolling Stones and the Grateful Dead have long careers but they do not collaborate in a meaningful way after Altamont.

David and Josh (@Josh_Moon) open with the latest on COVID and the criminal inaction by Republican leadership to mitigate the spread.Camille Bennett of Project Say Something stops by to discuss her group's progress in North Alabama and problems with Secretary of State John Merrill.We close this week with a lengthy discussion with the Montgomery Advertiser's Brian Lyman about their Confederate Reckoning project and the whitewashing of Alabama textbooks, and there's a Rightwing Nut of the Week in there too. Guests:Camille Bennet, Project Say Something (@staywokesouth) Brian Lyman, Montgomery Advertiser (@lyman_brian)Reading list and resources:"Southern schools' history textbooks: A long history of deception, and what the future holds" — Brian Lyman, Montgomery Advertiser"Reconstruction: America's Unfinished Revolution" — Eric FonerBooks by the slavery scholar Ira Berlin"Born in Slavery: Slave Narratives" — Library of CongressAlabama Department of Archives and History"Great Negroes: Past and Present" — Russel L. Adams"At the Dark End of the Street: Black Women, Rape, and Resistance" — Danielle L. McGuire"Trouble in Mind: Black Southerners in the Age of Jim Crow" — Leon Litwack"DOJ sues Alabama over violence, 'unconstitutional' conditions in state prisons" — Eddie Burkhalter, Alabama Political ReporterWe link to Amazon but consider buying from a local bookseller.About APW:APW is a weekly Alabama political podcast hosted by Josh Moon and David Person, two longtime Alabama political journalists. More information is available on our website. Listen anywhere you get your podcasts. Follow us on Twitter and Facebook.

With a new album just released, Dan Penn reminds everyone that there are few songwriters, and only one living, that have influenced (if not defined) the Memphis soul sound as he has. At 78, Dan Penn’s legacy is already sealed with songs that are enduring: “Do Right Woman, Do Right Man”, “Dark End of the Street”, “Cry Like a Baby”, and so many more. Our show this Friday had to carefully curate tracks from Irma Thomas, Percy Sledge, Solomon Burke, Arthur Alexander, and a couple dozen more to pay proper tribute. As a musician and songwriter, this Muscle Shoals legend deserves a spot in the Rock n’ Roll Hall of Fame and, while never considered a performer, his catalog includes three solo studio albums, one from 1973, another from 1994, and this year’s Living On Mercy. You’ll hear tracks from these and so much more in this morning’s episode of Deeper Roots.

Making a Scene Presents an Interview with Tyler FortierLAST YEAR’S MAN is the pseudonym of Eugene, OR based producer and singer/songwriter, Tyler Fortier. He is a frequent collaborator with up-and-coming Northwest singer/songwriters and has produced recordings for artists such as Anna Tivel, Beth Wood, and Jeffrey Martin. OPB Music named Jeffrey Martin's “Golden Thread,” off the Fortier-produced One Go Around, one of the best songs of 2017, calling it, "rock-solid songcraft...wrapped snugly in warm production that highlights every positive angle." As a songwriter, Fortier has shared the stage with the likes of Frazey Ford, The Deep Dark Woods, David Dondero, Matt Pond PA, and more, and has contributed to the catalogs of Warner/Chappell, BMG, and Marmoset. Fortier is currently writing and recording Last Year’s Man debut album, Brave the Storm. Last Years Man,The Valley of Jehoshaphat-v2,Last Years Man,The Dark End of the Road-v2,www.makingascene.org,Last Year's Man (Tyler Fortier),Last Years Man,No Eye On the Sparrow-v2,Last Years Man,My Own Ghost Town-v2, 

Label: MGM 13501Year: 1966Condition: M-Price: $16.00I just don't hear this great tune enough, so I've socked a clip into the "jukebox" ... I'll admit I didn't learn to love this one until after hearing Nick Lowe's version, circa 1979. But after that, I discovered the Sandy Posey original, which is a very special slice of southern girl-pop bliss. From the American Studios in Memphis, Chips Moman conjured more than a little bit of magic from Posey's vocals and a simple, but powerful arrangement... just as he had with James Carr and "Dark End of the Street," and many, many others. This isn't the only magic he conjured from Sandy Posey, either. If you like this one as much as I do, you'll find that most of her other MGM singles are well worth seeking out. Collector Nerd Alert: For those of you keeping track, here's another just-over-2-minute classic: It times at 2:06. Talk about brilliant! Note: This copy has a drillhole comes in a vintage MGM Records factory sleeve. The vinyl looks untouched, and the audio is very close to Mint. (This scan is a representative image from our archives... the drillhole on this copy is on the left above publisher credits.)

It’s September 3rd. On this day in 1944, a woman by the name of Recy Taylor was raped in Abbeville, Alabama. Jody and Niki are joined by Danielle McGuire to discuss how Taylor’s case became one of the most notable cases in the early modern civil rights movement — and an important chapter in the political life of Rosa Parks. Danielle McGuire’s book is “At the Dark End of the Street: Black Women, Race and Resistance -- A New History of the Civil Rights Movement from Rosa Parks to the Rise of Black Power.” Find a transcript of this episode at: https://tinyurl.com/esoterichistory This Day In Esoteric Political History is a proud member of Radiotopia from PRX. Get in touch if you have any ideas for future topics, or just want to say hello. Our website is thisdaypod.com Follow us on social @thisdaypod

Rosa Parks is a Civil Rights icon. A quiet, unassuming woman who would commit her life to activism, and eventually change the course of American history. In this episode, Billy leads the discussion around Ms. Parks' life, her legacy, and the lessons we can learn, as we navigated difficult waters today. Jesse and Billy discuss the unfortunate "shrink wrapping" of Rosa Parks' life. They discuss strategy with activist, author Bill Fletcher Jr. Bill offers powerful insights on tactics for winning, plus the meaning and value of "intersectionality". The hosts, again, discuss the importance of narratives, and critique the unfortunate ethnic divisions that have become resurgent, recently. Nick Cannon's public comments about Jews, the terrible police violence against George Floyd, Tony Timpa, Jacob Blake and so many others. The bizarre resurgence of anti-semitic statements from black public figures. Rosa Parks reminds us to remain vigilant. Do the work. Take the risk. SOURCES At the Dark End of the Street: Black Women, Rape, and Resistance -- A New History of the Civil Rights Movement from Rosa Parks to the Rise of Black Power by Danielle McGuire Rosa Parks Documentary - Biography Channel

Welcome to week 3 of the weekly recap podcast. Please go subscribe on youtube to get the reviews early every week! Today on the show Buck talks about Dave Franco's filmmaking Debut The Rental! He also talks about two early reviews with The Dark End of the Street, and indie film now playing on demand. He also talks about Brandon Cronenberg's new film Possessor. This is a very special episode because we finally make our funniest review free from the patreon vault! It's The Room guys! 

Dr. Sharlene Sinegal Decuir is an Associate Professor and History Department Chair at Xavier Univerity of Louisiana (XULA), the nation's only historically black and catholic university. Dr. Sinegal Decuir opens up and shares her personal experiences with "The Network," detailing how she found herself, the challenges she faced on her way to tenure and what America must do to stop repeating its mistakes. Instagram: @sharlenesinegal Twitter: @drsdecuir Website: www.sinegal-decuir.com or xula.com (Dr. Sinegal Decuir can be found under History Dept.) Current reading/Recommended Reads: How to be an Antiracist, Stamped from the Beginning: The Definitive History or Racist Ideas in America, Ibram X. Kendi Medical Apartheid: The Dark History of Medical Experimentation on Black Americans, Harriet A. Washington The New Jim Crow: Mass Incarceration in the Age of Colorblindness, Michelle Alexander At the Dark End of the Street: Black Women, Rape and Resistance: A New History of the Civil Rights Movement from Rosa Parks to the Rise of Black Power, Danielle McGuire Gender & Jim Crow: Women and the Politics of Jim Crow in North Carolina, Glenda Gilmore White Fragility: Why it's so Hard for White People to Talk About Racism, Robin Diangelo Slavery by Another Name: The Race Enslavement of Black America from the Civil War to WWII, Douglas Blackmon Brainwashed: Challenging the Myth of Black Inferiority, Tom Burrell Currently listening/Recommended Music: Country: Kane Brown, Darius Rucker, Luke Bryan, Luke Combs Old School/90s R&B: Tevin Campbell, Monica, XScape, Mary J. Blige etc New School: Megan the Stallion, Cardi B Recommended Podcasts: The Network with Michael Prejean (!shameless plug!) Finally, "You Didn't Ask," but..."Save your money & pay your bills on time. Speak and live your own truth. Be the bearer of your own bones. We are allowed to make mistakes, learn from them." --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/mike493/message

Between 1986 and 1995, Domino's Pizza ran advertisements starring their mascot, The Noid. However, the advertisements stopped for seemingly no reason. However, there may be a much darker, and sadder story about why they stopped airing the advertisements. Check us out on social media and other listening platforms - https://linktr.ee/Afterdarkpodcast

We desperately want to know what's going on inside Alice & Jasper's heads. CW warnings for mentions of sexual violence: 5:38 (mention & brief discussion of the rape of Persephone myth), 41:27-44:07 (discussion of ambiguous themes of SV in the James & Bella plot), 59:04-59:57 (mentions of sexual violence).Recommended readings: Visualizing the Body: Western Theories and African Subjects by Oyèrónké OyěwùmíThe Master's Tools Will Never Dismantle the Master's House by Audre Lorde: http://s18.middlebury.edu/AMST0325A/Lorde_The_Masters_Tools.pdf At the Dark End of the Street: Black Women, Rape, and Resistance by Danielle L. McGuireDonate to Move to Higher Ground: mthg.orgPatreon: https://www.patreon.com/genderforkingInstagram: https://www.instagram.com/genderforking/Twitter: https://twitter.com/GenderForkingFacebook: https://www.facebook.com/GenderForking/Tumblr: https://bowlingshirtbellas.tumblr.com/Email: bowlingshirtbellas@gmail.comEnormous thank you to our Patreon Producers: Allison Holley, Jerryca Law & Deepra Sinha.

We are so lucky to have three episodes this week, all hosted, created, and curated by good friend of the pod, Pastor Mike Kelsey. Today, along with Jemar Tisby, author of The Color of Compromise, Mike will help us understand why American history matters as we think about racial justice and why current events like the murder of George Floyd aren’t just isolated incidents. (**All books mentioned and linked this week will be using Mike's affiliate link on Amazon. So buy up! Doesn't cost you anything additional- just gives a small portion of Amazon's commission straight to Mike!**) . . . . . #thatsoundsfunpodcast Resources: The Color of Compromise book The Color of Compromise Video Study White Awake book Divided by Faith book Local People book When Affirmative Action Was White book At the Dark End of the Street book I’ve Got the Light of Freedom book God's Long Summer book -- Thank you to our sponsor of today's show! Ritual: Try it out- satisfaction guaranteed! Go to ritual.com/thatsoundsfun for 10% off your first 3 months!

Why Black Lives Matter w/Gloria Purvis Today on this Vernacular Podcast + Creedal Catholic crossover episode, Gloria Purvis joins us to talk about racial justice, George Floyd, systemic racism, and our national moment. It's a really good conversation, and Gloria has challenging words for the Church and for all Americans. NOTE: The title of this episode, "Why Black Lives Matter," expresses unqualified support for the singular idea that Black Lives do matter. It is not an endorsement of all of the tenets of the organization Black Lives Matter or an expression of de facto membership of that organization. Resources mentioned: The Color of Law Slavery by Another Name by Douglas Blackmon Throughline's American Police At the Dark End of the Street by Danielle McGuire Eyes on the Prize (PBS) Grant by Ron Chernow Desegregating the Altar by Stephen Ochs Ven. Augustus Tolton Gloria is the host of EWTN's Morning Glory and a Board Member for the Northwest Pregnancy Center and Maternity Home in Washington, D.C. She is an Advisory Board Member on the Maryland Catholic Conference’s Respect for Life Department, and serves on the National Black Catholic Congress’ Leadership Commission on Social Justice. She is also the Chairperson for Black Catholics United for Life, which seeks to increase the size and strength of active Black Catholics participating in the pro-life movement. We'd love to hear what you think of this episode! Reach out to us: Email | Instagram | Twitter | Patreon Other shows on the Vernacular Podcast Network: Vernacular | Breaking Pod | The Popped Cast | The Lineup

Why Black Lives Matter w/Gloria Purvis Today on this Vernacular Podcast + Creedal Catholic crossover episode, Gloria Purvis joins us to talk about racial justice, George Floyd, systemic racism, and our national moment. It's a really good conversation, and Gloria has challenging words for the Church and for all Americans. NOTE: The title of this episode, "Why Black Lives Matter," expresses unqualified support for the singular idea that Black Lives do matter. It is not an endorsement of all of the tenets of the organization Black Lives Matter or an expression of de facto membership of that organization. Resources mentioned: The Color of Law Slavery by Another Name by Douglas Blackmon Throughline's American Police At the Dark End of the Street by Danielle McGuire Eyes on the Prize (PBS) Grant by Ron Chernow Desegregating the Altar by Stephen Ochs Ven. Augustus Tolton Gloria is the host of EWTN's Morning Glory and a Board Member for the Northwest Pregnancy Center and Maternity Home in Washington, D.C. She is an Advisory Board Member on the Maryland Catholic Conference’s Respect for Life Department, and serves on the National Black Catholic Congress’ Leadership Commission on Social Justice. She is also the Chairperson for Black Catholics United for Life, which seeks to increase the size and strength of active Black Catholics participating in the pro-life movement. We'd love to hear what you think of this episode! Reach out to us: Email | Instagram | Twitter | Patreon Other shows on the Vernacular Podcast Network: Vernacular | Breaking Pod | The Popped Cast | The Lineup

Elizabeth Kadetsky, author of On the Island at the Center of the Center of the World and The Poison That Purifies You, chats with Daniel Ford about her Juniper Award-winning memoir The Memory Eaters. Daniel also talks about the turbulent days following George Floyd's murder by a police officer in Minneapolis. Some reading and listening recommendations: Kellye Garrett's Guide for Non Black People Upset about Racism and Prejudice in America Stamped from the Beginning and How to be an Antiracist by Ibram X. Kendi At the Dark End of the Street: Black Women, Rape, and Resistance - a New History of the Civil Rights Movement from Rosa Parks to the Rise of Black Power by Danielle L. McGuire These Truths by Jill Lepore Between the World and Me by Ta-Nehisi Coates "1619" podcast, hosted by Nikole Hannah-Jones Fiction by John Vercher, Lauren Francis-Sharma, Nicole Blades, S.A. Cosby, Karla FC Holloway, James McBride, and De’Shawn Charles Winslow President Barack Obama's piece on Medium, titled "How to Make this Moment the Turning Point for Real Change" To learn more about Elizabeth Kadetsky, visit her official website, like her Facebook page, and follow her on Twitter and Instagram. Also read our view of The Memory Eaters in May’s “Books That Should Be On Your Radar.” Today's episode is sponsored by Libro.fm and OneRoom.

Today's story is “https://www.furaffinity.net/view/23688712/ (The Aviatrix)” by https://twitter.com/DarkEndWrites (Dark End), editor at Sofawolf Press. You can find more of his stories on his https://www.furaffinity.net/user/darkend/ (FurAffinity), https://dark-end.sofurry.com/ (SoFurry), or https://www.patreon.com/user?u=7280553&fan_landing=true (Patreon) page. Read for you by https://twitter.com/khakidoggy (Khaki), your faithful fireside companion.

ISSUE #76 Set Up, Joke, Punchline! NEWS Sam Raimi to Direct Doctor Strange 2 New Screenwriter for Doctor Strange 2 Birds Of Prey’s $81M Worldwide Launch & Name Change... Star Wars: The Clone Wars Final Season Coming Soon To Disney Plus Star Trek: Section 31 Will Begin Filming on May 4th in Canada COMIC NEWS Masters of the Multiverse #4 Teases a Dark End for the Original He-Man Details on Joker's Newest Henchwoman, Punchline Tom King Didn't Want to Kill Off Alfred Giant Sized X-Men Galore REVIEWS Sabrina Season 2 Picard Episode 1 Sound & Fury Revival #8 Fantastic Four Marvel Legend Wave X-Men + Fantastic Four #1 Locke & Key Season 1 COMICS PULL LIST X-Men #6 Clock #2 (of 4) X-force #7 Batman vs Ras Al Ghul #4 (of 6) Gutt Ghost Seek Out Sensation One Shot BONUS Gwen Stacy #1 (of 5) Thor #3 Welcome to the new Trinity and get ready for some Amazing, Astonishing, Uncanny discussions about all things GEEK!! We talk about Comics, Pull Lists and all things in Pop Culture Including TV, Movie News & Reviews Every Wednesday @7:30ish (GMT) One Represents All Da Source Wall BUSINESS INQUIRES dasourcewall@gmail.com SUBSCRIBE TO OUR CHANNEL: https://www.youtube.com/channel/UCLMjAJL0zvlqKHVA2AJxnmA CHECK OUT OUR STORE teespring.com/stores/dasourcewall JOIN & FOLLOW US: https://twitter.com/DaSourceWall https://www.instagram.com/dasourcewall https://www.facebook.com/DaSourceWall https://soundcloud.com/da-source-wall https://itunes.apple.com/gb/podcast/da-source-wall/id1317758328?mt=2 https://open.spotify.com/show/6vS0IXzoYNsg1TzE4zeOC4?si=FZh80qZCQEehd27BDJNoYQ https://www.stitcher.com/podcast/da-source-wall-podcast https://www.google.com/podcasts?feed=aHR0cDovL2ZlZWRzLnNvdW5kY2xvdWQuY29tL3VzZXJzL3NvdW5kY2xvdWQ6dXNlcnM6MzU0MTQ0OTExL3NvdW5kcy5yc3M

Boris [00:29] a side: "16:47:52..." b side: "...and hear nothing" Southern Lord Records Lord108.3 2009 Just chill, friends. Santo & Johnny [13:02] a side: "Sleep Walk" b side: "All Night Diner" Canadian American Records 103 1959 Gettin a little sleepy on the a-side but boy do things liven up on the flipside. Just like an all night diner. Together Pangea [18:05] a side: "Snakedog" b side: "Offer" Harvest Records B001863421 2013 Hot stuff from the So Cal dudes. Clarence Carter [23:24] a side: "Snatching It Back" b side: "Making Love (at the Dark End of the Street)" Atlantic Records 45-2605 1969 Killer a-side and a kind of bizarre b-side cover. The Royal Guardsmen [30:54] a side: "Snoopy vs the Red Baron" b side: "I Needed You" Laurie Records LR 3366 1966 And now a glimpse into Your Old Pal Will's mind. A dream I had once upon a time regarding The 50/50s- There we were. Playing a show in the basement of a library. We had launched into our new cover song, a mashup of The Dream Syndicate’s “The Days of Wine and Roses” and Tears for Fears “Mad World” (here in the waking world, this not our current cover). Just then I spotted someone leaving the show with my copy of The Royal Guardsmen “Snoopy vs The Red Baron” 45. Naturally I had to nab the culprit, so I passed my guitar to that “Max” kid from Roswell to takeover. And now you know why no one cares about your dreams. Snow Angel [35:47] a side: "So Sick So Cool" b side: "We Are Stars" Gabby La La Music 2015 So danged awesome from the wonderful brain of Gabby La La and friends. The Strokes [44:45] a side: "Someday" b side: "Is This It/Alone Together (home recordings)" RCA Records 07863 60623-7 2002 The hot sounds of 2002, when everything old was new again and it was so awesome. For a while. The Box Tops [52:25] a side: "Soul Deep" b side: "(The) Happy Song" Mala 12,040 1969 Super awesome groove, with a mighty fine Alex Chilton-penned b-side. Oddly "Soul Deep" was covered the next year by country crooner Eddy Arnold. Crazy man, crazy. Music behind the DJ: "The Red Baron" by Vince Guaraldi.

Guest Bard Morgan Viehman tells a story about an unwanted house pest.

The Jussie Smollett investigation has captured America’s attention — and ours. We take a look at the support for as well as the doubts about Smollett’s claims, and try to make sense of the charge that Smollett staged his own attack. In an era in which personal trauma and victimhood are often leveraged for cultural capital, we consider the long-term repercussions of the Smollett case.Discussed this week:“Jussie Smollett Timeline: Mystery Remains as Actor Is Charged With Faking His Assault” (Sopan Deb, The New York Times, Feb. 17, 2019)“Lee Daniels Shares Powerful Words for Jussie Smollett After Racist, Homophobic Attack” (Alex Ungerman, ETOnline, Jan. 29, 2019)April Ryan asks President Trump what he thinks about the alleged attack on Jussie Smollett (C-Span, Jan. 29, 2019)“Jussie Smollett speaks to Robin Roberts in ABC News exclusive interview” (Good Morning America, Feb. 14, 2019)“Can the Grammys Please Anyone?” (Ben Sisario, The New York Times, Feb. 7, 2019)“Fyre: The Greatest Party That Never Happened” (Netflix, 2019)“Fyre Fraud” (Hulu, 2019)“Breaking Bad” (AMC, 2008-13)“Where’s All This Energy for the Attacks on Black Transgender Women?” (Raquel Willis, Out, Jan. 31, 2019)“At the Dark End of the Street: Black Women, Rape, and Resistance — A New History of the Civil Rights Movement From Rosa Parks to the Rise of Black Power” (Danielle L. McGuire, 2011)“Prada, Gucci and now Burberry: Are brands under fire for offensive designs doing it on purpose?” (Rachel Leah, Salon, Feb 20. 2019)“Former Goucher Student Faces Four Counts of Hate Crime Charges for Racist Graffiti” (WJZ, Dec. 5, 2018)“Revisiting a Rape Scandal That Would Have Been Monstrous if True” (Retro Report, The New York Times, June 3, 2013)“Why You Always Lying” (Nicholas Fraser, Sept. 14, 2015)

Jonathan Santlofer is an author and artist. His memoir The Widower’s Notebook will be published by Penguin Books on July 10, 2018. He is the author of the international bestselling novel, The Death Artist, as well as Color Blind, The Killing Art, The Murder Notebook, and Anatomy of Fear, which won the Nero Award for best crime novel of 2009. He recently created and edited The New York Times “Notable Book,” It Occurs To Me that I Am America, a collection of original work by more than 50 of today’s best known authors and artists. He is editor/contributor of The New York Times best selling serial novel Inherit the Dead, editor and contributor of LA NOIRE: The Collected Stories, Akashic Books’ The Marijuana Chronicles, and co-editor, contributor and illustrator of the short story anthology, The Dark End of the Street. His stories appear in numerous collections, including The Rich & the Dead, edited by Nelson De Mille, New Jersey Noir, edited by Joyce Carol Oates, Lawrence Block’s two bestselling anthologies, In Sunlight and In Shadow and Alive In Form and Color. His stories have also appeared in such publications as Ellery Queen Magazine and the Strand Magazine. Jonathan is the recipient of two National Endowment for the Arts grants, has been a Visiting Artist at the American Academy In Rome, the Vermont Studio Center, and serves on the board of Yaddo, one of the oldest arts communities in the U.S. He was the creator and director of the Center For Fiction’s CRIME FICTION ACADEMY, the only program devoted exclusively to crime writing. He has taught Crime Fiction Writing, the graphic novel and Drawing in Pratt Institute’s Creative Writing program, Columbia University and The New School. He has given numerous workshops at writing conferences and festivals and has been a sought after lecturer at colleges, universities and museums across the country, among them the Whitney Museum of American Art, MOMA, Solomon R. Guggenheim Museum and LA MOCA. Also a well-known artist, Jonathan’s work has been exhibited in more than 200 exhibitions worldwide and is included in numerous private, corporate and public collections, among them the Metropolitan Museum of Art, NY, Art Institute of Chicago, IL, the Newark Museum, NJ, and Tokyo’s Institute of Contemporary Art, Japan. Jonathan’s work has been written about and reviewed extensively. He has been profiled in such publications as The New York Times, Publishers Weekly, Newsday, USA Today, Entertainment Weekly, has been the subject of a Sunday NY Times Magazine “Questions For” column. He lives in New York City where he writes and paints and is currently at work on a new novel.

Thank God I’m Fresh is back again with another episode. We kicking it with Riverment director Shayla Racquel in the building discussing the Fyre Festival documentaries, Oscar nominations, Gina Rodriguez being anti-black AF, Nick Cannon’s Consent App, Chris Brown and false rape accusations, R. Kelly being dropped by Sony Music, and whether Chrisette Michele can redeem herself after we begged her not perform for 45’s inauguration party. You can find Shayla on all platforms below: Instagram: @ShaylaRacquel Twitter: @ShaylaRacquel Reading While Black Book (@ReadingWhileBlk) is starting it’s new book, At the Dark End of the Street: Black Women, Rape & Resistance—A New History of the Civil Rights Movement from Rosa Parks to the Rise of Black Power by Danielle McGuire. Remember to pick up your copy and read with us. --- Support this podcast: https://anchor.fm/TGIFPod/support

"Stepping Out" by David SedarisGeorge Saunders at Main Street BooksHologram for the King by Dave EggersGonerilWord Notebooks"At the Dark End of the Street""At the Bright Side of the Road"Lester Bangs on Astral WeeksField Notes Pretty Much EverythingTall Wallet

In this episode, Natalia, Neil, Niki, and guest historian Leah Wright Rigueur discuss black women and electoral politics, the closing of Sears, and corporate art patronage. Support Past Present on Patreon: https://www.patreon.com/pastpresentpodcast Here are some links and references mentioned during this week’s show:  Black women voters are a crucial electoral contingent, especially in the upcoming midterm elections. We spoke with Dr. Leah Wright Rigueur, author of The Loneliness of the Black Republican: Pragmatic Politics and the Pursuit of Power, about black women’s voting power today and in the past. Niki referenced Rachel Devlin’s book A Girl Stands at the Door, and Leah recommended Brittney Cooper’s Eloquent Rage, Ashley Farmer’s Remaking Black Power, Danielle McGuire’s At the Dark End of the Street, and Keisha Blain’s Set the World on Fire, as all good books for better understanding the long history of black women’s political activism. Sears is closing its doors for good. Natalia mentioned historian Louis Hyman’s viral Twitter thread on how the Sears catalog created opportunities for African Americans to shop during Jim Crow. She also recommended historian Lizabeth Cohen’s book A Consumer’s Republic and historian David K. Johnson’s forthcoming book Buying Gay: How Physique Entrepreneurs Sparked A Movement. We discussed how although art patronage is nothing new, 2018’s unapologetically corporate branding of art feels unprecedented.    In our regular closing feature, What’s Making History: Natalia recommended Jessica Wilkerson’s Longreads article, “Living With Dolly Parton.” Neil shared the news that Judy Blume’s book Are You There God? It’s Me, Margaret. is being turned into a movie. Niki discussed W. David Marx’s Vox article, “An American campaign tee is trendy in Asia. Its popularity has nothing to do with the US.”

In #InVinoFab episode no. 22 we are joined by Dr. Joan Collier and Dr. Marvette Lacy to share about their qualitative research using Sista Circles both as a practice and study. This research approach for a more culturally grounded methodology to understand the experiences of black women graduate students and scholars.What is a Sista Circle? Historically, coming together and sharing life experiences with other women. A space to be yourself and find support. These are informal gatherings where women get together for emotional care and share their ways of knowing with a core group for conversation and to talk about the topics of the day. In this rich conversation with Marvette and Joan, we explore the sense of belonging for women in higher education, academia, and more. Issues of power dynamics in doctoral programs and also the messiness of analyzing your own voice when scholars are embedded with your own n research. There's conversation about black and white feminism, and how we show up differently in this movement and how we should let others know “your slip is hanging.”Fresh off the dissertation process, we discuss the process of working on doctoral work and how to find meaning through this research process. Not answered, but we talked about the challenges we still need to address in the academy, including but not limited to: -- How are we mentoring scholars and researchers in a variety of methodologies that are authentic to the learners' experiences?-- What are the ways your department/institution reward tenure and promotion that consider fostering supportive relationships while advising  support doctoral scholars? -- What are the equity considerations we need to think more about when working with graduate students, professional programs, and doctoral programs for people of color? -- What are the historically white spaces and structural changes that need to offer support for a broader audiences who are coming to our colleges and universities?-- Are we seeing our doctoral scholars as people and not just as sources of production?-- How do you let your learners actually learn and explore their own ways of knowing in relation to how they show up in society?-- How do we allow students to explore what kind of researcher they want to be? -- What is your praxis as an educator, scholar or practitioner in higher education? How do you show up at your institution?Connect and learn more about their work, practices, and passions here:Joan CollierTwitter: @joancollierPhD #CiteASista Website: https://citeasista.com/ & #CiteASista (shout out to @Ms_BMWilliams)LinkedIn: https://www.linkedin.com/in/joan-collier-phd-52396415/ Instagram: https://www.instagram.com/dr_mini_me/ Marvette LacyTwitter: @marvettelacyWebsite: https://www.marvettelacy.com/Facebook: https://www.facebook.com/MarvetteCCLacy/ LinkedIn: https://www.linkedin.com/in/marvette-lacy-phd-05604915A few of the MANY resources mentioned in this #InVinoFab podcast episode:-- College Student Educators International (ACPA) http://www.myacpa.org/-- Dr. Latoya Johnson methodology mentorship of teachers.https://getd.libs.uga.edu/pdfs/johnson_latoya_s_201505_phd.pdf-- Scholars of note and citation centred around black feminism and lived experiences in education, student affairs, and higher ed:    - bell hooks  http://www.bellhooksinstitute.com/    - Patricia Hill Collins https://socy.umd.edu/facultyprofile/Collins/Patricia%20Hill    - Cynthia Dillard https://coe.uga.edu/directory/people/cdillard    - Natasha N. Croom http://www.clemson.edu/education/about/directory/profile.html?userid=nncroom    - Lori Patton Davis https://www.loripattondavis.com/    - Kimberlé Crenshaw https://law.ucla.edu/faculty/faculty-profiles/kimberle-w-crenshaw/     - Pamela Felder http://pamelafelder.com/ -- Joan has the action-based response to discussing whiteness in scholarship, dissertation work, and research with your co-founder Brittany Williams, to support black women in scholarship through the #CiteASista movement: https://citeasista.com/about/https://twitter.com/CiteASista -- Marvette supports scholarship development with conducting literature reviews, being productive with your time, writing retreats, dissertation coaching, editing/transcription services, and workshops related to early career scholarship https://www.marvettelacy.com/blog #InVinoFab: Book Recommendations:- Well, That Escalated Quickly by Franchesca Ramsey http://www.wteqbook.com/ - Eloquent Rage: A Black Feminist Discovers Her Superpower by Brittany Cooper https://us.macmillan.com/books/9781250112576 - How We Get Free: Black Feminism and the Combahee River Collective Edited by Keeanga-Yamahtta https://www.akpress.org/how-we-get-free.html  - At the Dark End of the Street: Black Women, Rape, and Resistance - A New History     https://www.penguinrandomhouse.com/books/111678/at-the-dark-end-of-the-street-by-danielle-l-mcguire/9780307389244/ - The Woman in the Window by A.J. Finn https://www.harpercollins.com/9780062678416/the-woman-in-the-window/  Other references and citations to check out:Collier, J. N. (2017). Using Sista Circle Methodology to Examine Sense of Belonging of Black Women in Doctoral Programs at a Historically White Institution (Doctoral dissertation, University of Georgia).Lacy, M. C. C. (2017). Black Graduate Women's Self-defining Process Using Media and Sista Circle Methodology (Doctoral dissertation, University of Georgia).Taking up space: A Black graduate women's photo shoot as black feminist praxis https://citeasista.com/2017/04/04/taking-up-space-a-black-graduate-womens-photo-shoot-as-black-feminist-praxis/comment-page-1/ Graduation http://sa.coe.uga.edu/congratulations-to-the-spring-summer-2017-csaa-d-graduates/  Other works on Sista Circles in ResearchWomen of Color Ph.D. Candidates Thrive in Sister Circles http://diverseeducation.com/article/102621/ (Carver, 2017)Johnson, L. S. (2015). Using Sista Circles to Examine the Professional Experience of Contemporary Black Women Teachers in Schools: A Collective Story about School Culture and Support (Doctoral dissertation, University of Georgia). https://athenaeum.libs.uga.edu/handle/10724/33083 Presentation in 2017https://prezi.com/_fur2wflwo81/using-sista-cirlces-to-examine-the-professional-experience-o/ Sister Circles as a Culturally Relevant Intervention for Anxious African American Womenhttps://www.ncbi.nlm.nih.gov/pmc/articles/PMC3212099/ (Neal-Barnett, Murry, Ralston Payne, Thomas & Salley, 2011)Is there someone else we should talk to? Do you have a question or issue we should chat about on a future pod?  Let us know. We'd love to hear from you about whose story we should share on a future #InVinoFab episode. Send us love, suggestions, and comments to: invinofabulum@gmail.com Stay connected for a future episode of the #InVinoFab Podcast: Hosts: Patrice (@profpatrice) & Laura (@laurapasquini); pronouns: she/her Twitter: https://twitter.com/invinofab Instagram: https://www.instagram.com/invinofab/ 

From #MeToo to Brett Kavanaugh, we have a lot to be mad about. Rebecca Traister is back to discuss her new book exploring the social and historical power of women's anger. When women get angry, movements form and revolutions spark. See: Rosa Parks, Florynce Kennedy, Maxine Waters, and many more sheroes. We discuss rage-crying, the specific history of white women's tears, the lasting impact of Professor Anita Hill, and who has room to express their rage today. No wonder we're told to keep our anger to ourselves. Reading List: Good and Mad: The Revolutionary Power of Women’s Anger by Rebecca Traister is on sale now. For smart thoughts and links on Kavanaugh, we turn to Rebecca Traister, Irin Carmon, Jenée Desmond Harris, Laura McGann, Brittany Packnett Go deeper with books by and about these incredible angry feminists: Flo Kennedy: her public access show archive Vivian Gornick: all of her books Rosa Parks: At the Dark End of the Street Anita Hill: Strange Justice Rose Schneiderman: her 1911 speech at the Metropolitan Opera House after the Triangle Shirtwaist Factory fire

Welcome back to episode 2 of the #SixSongSelection and we are speaking to Jamie from the band Spacevolk ahead of their performance in EP this Summer. We discuss some of his musical influences, his listening habits in his teenage years and Cian tries his hand at writing some lyrics. His six songs were: David Bowie "Young Americans" // Otis Redding. "Try a little Tenderness" // Percy Sledge "Dark End of The Street" // Talking Heads "Life During Wartime" // Beyoncé "Love On Top" // Stevie Wonder "I Wish" Like, follow, subscribe, review and holler at us: https://www.stitcher.com/podcast/selected-podcast?refid=stpr https://itunes.apple.com/ie/podcast/selected-podcast/id1298786009 https://soundcloud.com/selectedpodcast https://twitter.com/selectedpodcast https://www.instagram.com/selectedpodcast/ helloselected@gmail.com

Автор хитов «The Dark End of the Street» и «Do Right Woman, Do Right Man» записал несколько сольных пластинок. Три из них считаются официальными в дискографии, но есть еще три альбома, которые он издал самостоятельно и найти их можно только в Америке. Слушаем несколько отрывков из официальных альбомов: «Nobody's Fool», «Do Right Man» и «Moments From This Theatre» – live, записанный вместе с Spooner Oldham.

The first installment of Inner Hoe Uprising’s Black History Month Series. Discussing black women's role in American Anti-Rape movements. Akua, Rodecka & Sam are together in to discuss: Bae(s) of The Week: Shirley Chisholm, Claudette Colvin, Pauli Murray Hoe(s) of the Week: Samantha G, Destiny R, Alli B, Bryan, Louanne A, Akeem, Maroussia J, G, Tawanna S & Jessica M Self Care Tips: Archive your ancestors Fuck That (Current Events): ‘Drag Race’ Star, Peppermint To Make History As A Trans Leading Lady On Broadway Fuck It (Topic of the Day): The OGs of the #MeToo Movement: A conversation on black women’s anti rape activism in America (and the americas), Maria W. Stewart, Sexual assault during American Slavery, Abolitionist movement, Mary Prince, slave narratives, Harriet Jacobs, Incidents in the Life of a Slave Girl, Rape Laws, The Civil War, Lincolns Liber Code, the Jezebel stereotype, the Black women are unrapeable myth, Crystal Fiester, Danielle McGuire, Tarana Burke, Reconstruction, lynchings, the KKK, Black Male Brute sterotype, Ida B Wells, Racial Terror on economically thriving black communities, Memphis Massacre of 1866, Black women’s clubs, suffrage, Frances Thompson, Harriet Simrl, Rosa Parks extensive anti rape activism, Recy Taylor, Gertrude Perkins, sexual assault at the hands of the police, Betty J Owens, Black student activism, Mary Ruth Reed, slut shaming, the defense of white purity, Fannie Lou Hamer, Daniel Holtzclaw, Domestic Violence, the Rape Crisis movement of the 1970s & a discussion on historical education in public school TRIGGER WARNING(S) :26:20- the end of the episode The entire topic of the day portion of this episode will be a discussion on rape and anti rape activism set forth by black women in American history. RELEVANT LINKS AND NOTES "What if I Am a Woman?: Black Women’s Campaigns for Sexual Justice and Citizenship” by Crystal Feimster "It Was Like All of Us Had Been Raped" by Danielle L McGuire "At the Dark End of the Street: Black Women, Rape and Resistance" by Danielle L McGuire WEBSITE
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Opening: “Queen S%!T” SheReal https://soundcloud.com/shereal/04-queen-s-t-produced-by 
Fuck That: "Krown Heights" PrinceShortyFly
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 End: “Yeah Yeah“ Abstract Fish Co SOCIAL MEDIA Show | IG: @InnerHoeUprising | Twitter: @InnerHoeUprisin Akua | IG: @heyakuagirl | Snap: heyyakuagirl Rebecca| IG &Twitter: @rebbyornot Sam | IG & Twitter: @slamridd | Snap: Samannerz #black #woman #sex #feminist #womanist #Comedy #raunchy #blackhistorymonth #metoo

Author, historian,lecturer & professor Danielle McGuire talks about the story of Recy Taylor and her book "At the Dark End of the Street: Black Women, Rape, and Resistance- A New History of the Civil Rights Movement from Rosa Parks to the Rise of Black Power" More information about Danielle McQuire is available at http://daniellemcguire.com/

H & m and how companies stocks go up when they stoke black peoples' anger in order to get a rise out of the market and oh, yeah, the Golden Globes. This is your bonus episode of Hoodrat to Headwrap Recommended Reading: Excerpt from Nicole Ashcoff's book, The New Prophets of Capital: https://www.theguardian.com/tv-and-radio/2015/may/09/oprah-winfrey-neoliberal-capitalist-thinkers At the Dark End of the Street by Danielle McGuire, who wrote at length about Recy Taylor's story in 2011 and was largely responsible for the public apology the Alabama House of Representatives gave to Recy on behalf of the state: https://www.penguinrandomhouse.com/books/111678/at-the-dark-end-of-the-street-by-danielle-l-mcguire/9780307389244/ Unrecommended, poorly written but referenced: https://www.thenation.com/article/the-lefty-critique-of-timesup-is-tired-and-self-defeating/ For backstory on Golden Globes Time's Up Movement and insanely rich and powerful people just "doing what they can", visit ihartericka on Instagram and watch the highlighted stories.

Named by Rolling Stone magazine as one of the 100 Greatest Songwriters of All Time, Dann Penn’s impact on the Southern music triangle of Muscle Shoals, Memphis, and Nashville cannot be overstated. In the 1960s he teamed with Chips Moman to create two of Southern soul’s most revered standards: “Do Right Woman, Do Right Man,” which was recorded by Aretha Franklin, and “The Dark End of the Street,” which was first cut by James Carr. Along with his frequent collaborator, Spooner Oldham, Penn has crafted R&B classics such as James and Bobby Purify’s “I’m Your Puppet,” Otis Redding’s “You Left the Water Running,” Percy Sledge’s “It Tears Me Up” and “Out of Left Field,” Solomon Burke’s “Take Me (Just As I Am),” and The Sweet Inspirations’ “Sweet Inspiration.” Additionally, the pair found pop success with Janis Joplin’s recording of “A Woman Left Lonely,” as well as hits such as “Cry Like a Baby” and “I Met Her in Church” that were recorded by The Box Tops, who first broke through to national prominence with the Penn-produced hit “The Letter.” Other artists who’ve recorded songs from the Dan Penn songbook include  Bobby “Blue” Bland,  Jerry Lee Lewis, Clarence Carter, Joe Cocker, Cher, Arthur Alexander, Ruth Brown, Irma Thomas, Bobby Womack, Esther Phillips, Joe Tex, Dolly Parton, Linda Ronstadt, Gregg Allman, Etta James, Dionne Warwick, Brenda Lee, Willie Nelson, Patti LaBelle, Elvis Costello, Buddy Guy, Arthur Conley, Sam & Dave, Elton John, Wilson Pickett, Roger McGuinn, John Prine, and many more. 

Welcome to Season 2! This week I sit down with Biko Caruthers, a PHD student of Afro-American Studies at UMass Amherst, to talk about his studies, social issues, and comic books. I also talk about a lifelong dream of mine that I never believed would come true that happened earlier this week at a concert. If you'd like to look in to what Biko has been studying, here's some recommended reading from him: - E. Patrick Johnson, Appropriating Blackness: Performance and the Politics of Authenticity - Danielle L. McGuire, At the Dark End of the Street: Black Women, Rape, and the Resistance, a New History of the Civil Rights from Rosa Parks to the Rise of Black Power - Assata Shakur, An Autobiography - James Baldwin, Fire, Next Time - Eddie S. Glaude Jr., Democracy in Black: How Race Still Enslaves the American Soul - Carl A. Zimring, Clean and White: A History of Environmental Racism in the United States Don't forget to check out our sponsor: Bearded Brother Energy Bars at beardedbrothers.com and use our coupon code "DREAMBEARD" at checkout for 15% off your entire order!

Rock The Schools continues to celebrate its upcoming 100th show by airing some of our most listened to shows. A special 100th episode will be aired with a special guest coming soon! We would like to take a special moment to honor all of our special guests who took time out of their busy schedule to empower our parents and students. Please continue to share Rock The Schools with your network of parents and students. More information can be found at: http://citizen.education Author of “At The Dark End Of The Street” Danielle McGuire, and Producer of “The Rape of Recy Taylor” Beth Hubbard, provide a powerful history lesson in honor of Black History month by recognizing the rich history in untold stories that bring forth truth. The Recy Taylor story is a critical piece of Black history about Rosa Parks, ten years prior to the Montgomery bus boycott.

文化土豆第一期播出后没有死，还发芽了。第二期节目的话题有 DC Comics 的新片 Wonder Woman 《神奇女侠》，有的人看到了古典历史的演绎，有的人看到了变形的独立女主人公，还有些人看到了不折不扣的向A片致敬，我们如何去欣赏它？英国小说马特·海格（Matt Haig）的新书的《我遇见了人类》是一本从都到尾都富含建议日摄取量800%人生哲理的小说，在一个“斯波克船长谈恋爱”（Spock in love）的故事背景下展开。海格的另外一本还未出版的小说已经定下要拍电影，并且由卷福出演男一号，所以现在绝对是需要熟读他大作的好时机。另外我们在播客中讨论到的内容有：片头片尾曲：Something Just Like This，Chainsmoker/Coldplayhttp://t.cn/RSHQA9J​电影：神奇女侠 (2017)https://movie.douban.com/subject/1578714/词条：“亚马逊人” （维基百科）http://t.cn/RSH0ERM电影：《铁扇公主》（1941）https://movie.douban.com/subject/1466022/文章：《万氏兄弟：手冢治虫的偶像，中国动画骄傲的开始》http://t.cn/RSHOwtH小说：《我遇见了人类》马特·海格https://book.douban.com/subject/26811138/小说：Two Years Eight Months and Twenty-Eight Days（英），拉什迪／鲁西迪http://t.cn/RSHWREg视频：32个不同的节拍器最终同步http://t.cn/RSHWUIu演讲：Last Words to the Nation，萨尔瓦多·阿连德http://t.cn/RSHHkMh​小说：How to Stop Time（英）, 马特·海格https://book.douban.com/subject/27014777龙荻录制后推荐大家看：非虚构：At the Dark End of the Street（Danielle L. McGuire）http://t.cn/RSHlM6C电影：《我的个神啊》(2015)，爱奇艺可看http://t.cn/RauEtX2美剧：《衰姐们第四季》Girls，腾讯视频可看http://t.cn/RSHjThI苹果WWDC2017微电影http://t.cn/RS7bxck​嘉宾微博，欢迎私信@益康糯米 http://weibo.com/u/2159117550@龙荻D http://weibo.com/ddisjulia@晏来来（他不太用）http://weibo.com/u/2076272337 See acast.com/privacy for privacy and opt-out information.

At the Dark End of the Street: Black Women, Rape, and Resistance–a New History of the Civil Rights Movement from Rosa Parks to the Rise of Black Power by Danielle L. McGuire traces the roots of the Civil Rights Movement directly back to campaigns waged in defense of Black womanhood against sexual violence. ​For this episode, Monica and Page sat with their friend, mentor, and inspiration, Mariame Kaba, to talk through the details and significance of this repressed narrative. Mariame Kaba is an abolitionist organizer, educator, and curator. She is the co-founder of Project NIA, and her work focuses on ending violence, dismantling the prison industrial complex, transformative justice, and supporting youth leadership development. Listeners Note: Our conversation includes description of rape and sexual violence, so please listen with care.

"At the Dark End of the Street" by Danielle L. McGuire tells the story of Black women's fight to obtain civil rights and equal legal protection against rape and sexual harassment. ⠀⠀ In this episode I discuss the book's fresh perspective on Rosa Parks and the Civil Rights Movement.   Visit NoireHistoir.com for show notes and video.

Author of “At The Dark End Of The Street” Danielle McGuire, and Producer of “The Rape of Recy Taylor” Beth Hubbard, provide a powerful history lesson in honor of Black History month by recognizing the rich history in untold stories that bring forth truth. The Recy Taylor story is a critical piece of Black history about Rosa Parks, ten years prior to the Montgomery bus boycott. Links: http://atthedarkendofthestreet.com http://www.syldi.org/events/2017/3/4/the-recy-taylor-story https://www.buzzfeed.com/briannasacks/uc-santa-cruz-lawsuit-settlement?utm_term=.bgNBmJw4d#.gtVy061rg

The Truth : The Dark End of the Mall

Shopping can make you work up a thirst. Performed by Lauren Adams and Peter Grosz, written by Casper Kelly, and produced by Jonathan Mitchell.

Shopping can make you work up a thirst. Performed by Lauren Adams and Peter Grosz, written by Casper Kelly, and produced by Jonathan Mitchell.

Shopping can make you work up a thirst. Performed by Lauren Adams and Peter Grosz, written by Casper Kelly, and produced by Jonathan Mitchell.

In this installment of the Shred Shack Podcast, your favorite heavy metal caballeros make up for lost time after skipping a week in podcasting by recording a three hour show. After starting things off with some old business regarding Slipknot, Led Zeppelin and AC/DC, we take a look at the latest releases from Wicked Maraya, Khanus, Vektor, Polar, Dark End, Devildriver, Destruction, Toseland, Hatebreed, Seas of Wake, Kvelertak, Grand Magus and Formless. A ton of general, recording, touring and charting news is reviewed for several artists, with a particularly lengthly touring discussion. Pat and Reece from the New York side of things offer up the Top Ten Heavy Metal Songs About Space. For this week's Social Media Highlight segment, we give brief updates on Wasteland Rocks, Our World Below and Apothica before diving into Mata. From there, we discuss our experience seeing Tim "Ripper" Owens performing a mostly acoustic set at the Rock Box, backed and followed by San Antonio's own Jessikill. We follow that up with a discussion about our experience catching Jessikill a second time along with Forever Town, Seance and Worst Case Scenario. Our discussion for the week doubles as our Top Albums for the month of April 2016 as we further discuss our feelings on the latest from Otep, Deftones, Zakk Wylde, Vision of Atlantis, Rob Zombie, Darkestrah, Sig.Ar.Tyr and Aborted.

Spending time with a guy like Eamon McGrath can make you feel a bit lazy. This kid is only 22, but has put out that many records already. He has toured the country countless times and he has the colorful party-binge stories you would expect from a 50-year-old roadie going thru AA's 12-Steps. Eamon's record Peacemaker is his attempt to make amends for his past mistakes and when we talked he was amazingly candid about the life of an up-and-coming Canadian indie singer songwriter. Tracks played on the show... 1) Eamon McGrath, Peacemaker "Dark End of the Street" 2) Eamon McGrath, Peacemaker "Wrecking Ball" 3) Eamon McGrath, Peacemaker "Before You Got So Sad" 4) Eamon McGrath, Peacemaker "Heaven Run Me Down" 5) Eamon McGrath, Peacemaker "I Am the Deer" ALL songs CANCON

Welcome back to rememberinghistory.com where we are remembering history and we’re making history.  We continue in this third wiki history podcast about Less Famous People involved in Civil Rights. In this podcast, we will focus exclusively on women who participated and died in the struggle for civil rights. Why should we spend an entire podcast focusing on women heroes of the civil rights movement? Great question. I think that I can give you a great answer. I noticed, in my research on civil rights heroes, that there were lists devoted to this subject by organizations that I respect. When I read the lists, I found very few women.  Perhaps only one or two on a list of twenty or thirty people.   It seems like the stories about women heroes are not being told, they are being forgotten and that’s completely contrary to what rememberinghistory.com stands for.  There are other reasons but I will discuss those reasons in the context of a larger issue that will be presented towards the end of this podcast. Stay tuned.   I hope that you have heard the previous podcasts about civil rights heroes like Harry and Harriett Moore who fought for equality in education and investigated lynching and police brutality in Florida. There was also George Washington Lee who fought for voting rights and Corporal Roman Ducksworth who refused to be put into the colored section of a bus in Mississippi.       In the last podcast, we focused on the white people (or rather heroes) like William Lewis Moore who held single man marches to promote equality and integration and Rev. James Reeb who lived in Black neighborhoods, sent his kids to integrated schools and answered Dr. King’s call to march in Selma, Alabama where Rev. Reeb was killed by white segregationists.  Finally, there was Rev. Bruce Klunder who was killed when he tried to stop the construction of a segregated school in Cleveland. There were a lot more people that I was not able to discuss but I  (and I ‘m truly sorry about that) because they deserve to be remembered and honored for the service in the fight for civil rights. They were courageous and committed and should not be forgotten.    Please also remember that there is a lot more information and plenty of resources such as books, DVDs and audiobooks in the Books & Stuff store at rememberinghistory.com. Well, let’s get started. We have a lot to cover and I want to keep it wiki.   I do want to caution that some of these stories are rather violent. I won’t go into too much detail about the violence, but I do want to tell what really happened.  The truth in history is my objective—always. And I just want to give you some notice that this is a slightly longer podcast because we have so much to discuss: In the beginning, we’ll discuss two strong and courageous women who worked for voting rights and were killed by the Klan.     Then we’ll discuss a white woman (who was a wife and mother of five) who met with a tragic end. We’ll conclude with a discussion of the special position of women (all women) who fought for civil rights and how they were specific targets for sexualized violence and intimidation.   Let’s begin with two brave and determined African American women who fought for voting rights in Mississippi.   Birdia Beatrice Clark Keglar was born on June 1, 1908 in Charleston, Mississippi (not South Carolina, but Mississippi). Charleston is located in north central Mississippi and is the county seat of Tallahatchie County.  Birdia Keglar was known from an early age to be independent and very self-reliant, perhaps because she was youngest child in a very large family. She attended high school in Charleston but quit in the 11 grade to work and help support her family. She worked on the family farm until she got married on Christmas Day in 1924 at the age of 16. She had two sons but the marriage didn’t last.  After the end of her marriage, she ventured out to Memphis, Tennessee to get a more experience and see another part of the country. Her first job was at a local segregated swimming pool, which was frustrating to her because she could not use or get close to any of the pool facilities, except to clean.  She returned to Charleston and started working at the city’s first Black dry cleaners, which was owned by her uncle.   However, the owners of the local funeral home were impressed with her and enticed her away from her uncle’s business to the Fox Funeral Home of Granada. This would prove to be a very significant job for her because it was also where many civil rights activities and meetings were held. She remained at the funeral home until her death.   Because of her exposure to civil rights at the funeral home, Birdia Keglar quickly got involved in the local civil rights activities. She began to travel to other cities too like Granada, Greenwood, Clarksdale and Jackson to coordinate civil rights activities. At the same time, she was caring for her aging mother and young nieces and nephews.  And she remained active in the community and her church. She established a local girl scout troop (that was a first for black girls!), collected and distributed food and clothing to the poor, accompanied friends and family members to medical and law appointments and, at her church, became President of the local Usher Board.   In 1965, Birdia Keglar became more involved in civil rights activities, particularly voting rights. She was the first Black person to vote in Tallahatchie County and she encouraged other Blacks to register and vote. She began organizing the first Tallahatchie County Branch of the NAACP and solicited memberships in the local population. Unfortunately, she was killed before the branch was fully operational.     As you can probably expect, Birdia Keglar was subjected to constant death threats and was forced to take different routes to get home or sometimes she could not go home at all because it was too dangerous. She often had to be escorted down the street by local Black men to protect her from assaults by white segregationists. This was dangerous for everyone. And, yes, Birdia  Keglar did go to Selma to march with Dr. Martin Luther King.   The following year, 1966, Birdia  Keglar attended, in Jackson, Mississippi, a civil rights rally that was attended by Senator Robert Kennedy. On her return trip home, Birdia Keglar and four others (one of whom I will discuss in just a moment) were pursued by Klansman in Sidon, Mississippi, driven off the rode and killed. It is reported that Birdia Keglar’s body was found with her face slashed and arms cut off.  The local sheriff ruled her death as an accident. No further investigation was made.  Her son, Robert, did try to get information from the FBI about his mother’s killing but he was killed three months later while making inquiries.   Birdia Keglar was one of those people who uplift everyone that they meet.  She was a courageous woman who was determined to make a difference—and she did. In her honor, June 1st is remembered as Birdia Keglar Day in Tallahatchie County and a portion of Highway 35 has been called Birdia Keglar Highway.     Her story was included in a book called Where Rebels Roost: Mississippi Civil Rights Revisited by Susan Klopfer. It is an excellent book and gives much more information about his courageous lady and others who also fought for civil rights in that dangerous state.  The book is available in the bookstore at rememberinghistory.com. I hope that you will read it and let me know what you think.    For her work in civil rights and voting rights and her courage in getting other African Americans to vote, we recognize and honor Mrs. Birdia Beatrice Clark Keglar and thank her for her service. (applause)   The next woman that I will discuss in this podcast was also fighting for civil rights and, sadly, was killed with Birdia Keglar and three others on the return home from a civil rights meeting in Jackson, Mississippi. But I’m jumping ahead. Let me introduce Mrs. Adlena McKinley Hamlett.   Adlena Hamlett was a bold and courageous civil rights activist, focusing primarily on voting rights for African Americans.  Born in Scobey, Mississippi in 1889, Mrs. Hamlett was also a respected elementary school teacher. She was a strong believer in the power of education to empower African Americans and she spent extra time teaching Black children to read and write proficiently.       Adlena Hamlett was committed to the passage of a Voting Rights Bill to guarantee the right to vote for all Americans. In fact, she testified before the U.S. Commission on Civil Rights about voting rights violence and harassment of civil rights workers.  She also participated in numerous civil rights protests, marches and organizations to help African Americans register and vote.  For her work, she was constantly threatened, harassed and, a few months before her death, an effigy of her was hanged.  She was told unequivocally that, if she continued with her activities, she would be killed. She was not deterred.   On January 11, 1966, she was returning home from a conference on voting rights that was attended by Senator Robert Kennedy. She was in her gold-toned Plymouth Fury with her best friend, Birdie Kegler (whom we just discussed) and three others when the Klan pursued her car and drove it off the road in Sidon, Mississippi.  She (and Birdie Keglar) were tortured, mutilated (arms dismembered) and killed. Mrs. Hamlett had been beheaded. She was 78 years old. No one was ever arrested or prosecuted for the crime. In fact, the prosecutor decided that a drunk driver had hit the car causing it to go off the road and kill Adlena Hamlett and Birdie Keglar. The other passengers in the car were injured but survived. To this day, the Department of Justice refuses to open a cold case file or revisit the killings.        Adlena Hamlett’s grand-daughter remembers her grandmother as a strong woman who was committed to exercising her right to vote.  She remembers going to a voting booth with her grandmother. The white lady clerk at the polling station tore up her grandmother’s ballot.  Her grandmother was unfazed and simply said, “It is my constitutional right to vote. I’ll come back again and again.”   Adlena Hamlett was a courageous and strong woman who fought for civil rights.  She refused to be scared away and instead kept moving forward. For her ability to come back again and again, we honor and remember Mrs. Adlena Mckinley Hamlett. And we thank her for her service.   And, by the way, you can find out more about Adlena Hamlett in the book named Where Rebels Roost: Mississippi Civil Rights Revisited, which you can find in the rememberinghistory.com bookstore.   The last person that I want to discuss is someone whom I hinted at in the previous podcast. I did not say her name but I did say that she was mentioned in the Selma Movie. Today, I’m going to say her name:  Mrs. Viola Liuzzo.   Is her name familiar to you?  I hope so because she was an “unlikely soldier” in the struggle for civil rights. She didn’t look like a person who would be a part of that movement but she was a strong-willed, principled woman who believed in equality.  I’m jumping ahead of myself. Let me tell her story.   Viola Fauver Gregg Liuzzo was born in 1925 in Pennsylvania. Viola grew up very poor, a child of the Depression. Her father, who was a coal miner, was injured on the job and couldn’t work any longer to support the family. Her mother took teaching jobs whenever she could find them to support the family. They later moved to Chatanooga, Tennessee where they lived in extreme poverty. This was where Viola first witnessed racial segregation and systematic racism.  She witnessed that, even though she was very poor, her family (being Caucasian) still had social privileges and rights that were denied to African Americans in the South.    In 1943, she married and had two children then divorced. Later, she married Anthony Liuzzo and had three more children.  The family lived in Detroit. She joined the Unitarian Universalist Church (remember this was the same church of Rev. James Reeb) and she joined the NAACP.  Because of the Church and her experience with segregation in Tennessee and, from what I understand was her very strong-willed personality, she became involved in civil rights and social activism.   She helped to organize protests against segregation in Detroit (yes, there was segregation in Detroit, Michigan!), attended civil rights conferences and worked closely with the NAACP and the SCLC.  By the way, she also protested laws that allowed children to drop out of school at an early age. This was probably in response to her own experience in dropping out of school at age 16. To protest, she homeschooled for two months for which she was arrested, convicted and placed on probation. This visionary lady started homeschooling before it was popular (like today) but she really believed that children should be encouraged to stay in school. Still, she made a strong stand for her principles.   In March, 1965, horrified by the images of police brutality and violence at the Bloody Sunday March in Selma, Alabama, Viola Liuzzo travelled to Selma saying that the struggle was “everybody’s fight.”  Answering Dr. King’s call for people to join the protest in Selma, Mrs. Liuzzo left her five kids with family friends, contacted the SCLC and got to work.  She delivered food and water to various locations, welcomed and recruited volunteers and transported volunteers and marchers to and from airports, bus terminals and train stations in her 1963 Oldsmobile. She participated in the later, successful and largely peaceful march from Selma to Montgomery.   After the third march in Selma, ending on March 25, Viola Liuzzo and Leroy Moton, a 19-year Black student were driving protesters to airports, bus terminals and back to universities.  They stopped to get gas at a local filling station and were subjected to verbal abuse and intimidation.  They left Route 80 but were followed and a car tried to run them off the road. Later on a back road returning to Selma, they were pursued by Klansmen who quickly overtook her Oldsmobile. Three Klansmen fired shots directly into the car at Viola Liuzzo. She was hit and killed instantly. Although he was covered with blood, Leroy Moton was not shot. He lay motionless as the Klansmen checked the car then left. He flagged down a passing motorist, who happened to be another volunteer working to transport protesters from the march.   Viola Liuzzo’s funeral was held five days later and was attended by hundreds of people and many civil rights leaders like Martin Luther King and Roy Wilkens. Interestingly, her funeral was also attended by teamster president, Jimmy Hoffa.   The FBI quickly arrested and indicted the four Klansmen. (An interesting fact is that one of the Klansman killers indicted was actually an FBI informant.) The trials were something of fiasco. The first trial resulted in a mistrial after the prosecutor used blatantly racist terminology about Viola Liuzzo including calling her a “white n-word.” The second trial was delayed when the defense attorney was killed when he fell asleep while driving. However, in the end, the all-white jury acquitted the killers of murder. Afterwards, they went to a Klan conference where they were greeted with a standing ovation. The defendants were later convicted on federal charges.   Viola Liuzzo was criticized by many organizations as having brought her death upon herself for engaging in such risky and dangerous activities as civil rights. This was considered extremely radical and controversial for a white woman, especially a mother.   But she has also received many posthumous awards and recognitions.  Her name was added to the Civil Rights Memorial in Montgomery, Alabama. There was also a documentary made about her called, Home of the Brave. You can find this documentary in the bookstore at rememberinghistory.com.   For her boldness and commitment to civil rights, we honor and remember Mrs. Viola Liuzzo and thank her for her service. (applause)   I want to conclude this podcast on women warriors (or heroes or martyrs) by briefly discussing why I chose to devote a podcast to focusing on women.  Yes, in the first podcast, I discussed various people (5 men, and 1 woman) who were killed in the civil rights movement. In the second podcast, I focused only on white people involved (or rather, killed) in defense of civil rights. In this final podcast, I focused on women, both black women and white women, who were killed during the civil rights movement.  Most of the people (perhaps, all) are not widely known.  That is the sad story that links them. So, why did I choose to devote this podcast to women?   Because women faced a special kind of violence during the civil rights movement.  In general, women are subjected to specific and focused violence and intimidation in most conflicts even today, and this was certainly true during the fight for civil rights in the United States.   Women were specifically targeted and sexually assaulted by racist civilians and law enforcement who battered their genitals, grabbed their breasts, yelled gender/sexual epithets, attacked the abdominal region of pregnant women, threatened the women with sexual violence or actually committed rape.  These were routine occurrences for which the perpetrators were seldom punished.   In fact, incidents of ritualistic rape and intimidation were common and remained largely unpunished.  Women, who reported these crimes, were often accused of being prostitutes and faced public criticism and humiliation as well as imprisonment and possibly having their children taken away.   Racist groups like the Ku Klux Klan specifically targeted and worked to intimidate women fighting for civil rights. They attacked and isolated women in their homes, or while walking down the street or driving along roads. They used violence, threats and other forms of intimidation (including threatening their children) to try to stop women from participating in civil rights or voting rights activities.   We’ve discussed a few examples. Think of Birdia Keglar and Adlena Hamlett who were killed by the Klan on their way home from giving testimony about voting rights. When the Klan drove their car off the road, the elderly women were taken from the car and marched into the woods where they were tortured, mutilated and killed. The men were left in the car.  Adlena Hamlett been threatened numerous times and had an effigy hanged to intimidate her.  The local sheriff had constantly threatened Birdia Keglar. She actually needed body guards (men who volunteered) to walk with her. Many people remember Birdia Keglar as terrified of the hostile sheriff and afraid every day of her life. And they also remember that she got out every day, registered people with the NAACP and helped other Black people to register to vote—despite her fear. Viola Liuzzo faced many problems even though she was a middle class white woman. Because she was working for civil rights, she was targeted for harassment, criticized as being a neglectful and selfish mother to her five children, and considered to be unfeminine and basically deserved her fate. There was also talk that she was killed because she was in the car with a black man.  Rumors were spread that she was having sexual relations with black men and that she was a “woman of loose morals.” The FBI worked to tarnish her reputation even after she was killed, possibly as a way to try to justify her murder. Many people simply remember as the unstable, wife-of-a-teamster who was murdered because she was in the car with a black man when she should have been home with her kids. (That’s the kind of criticism that women faced and possibly still face.)   So, women (of all races) who participated in the civil rights movement were targeted for sexual violence and intimidation that men were not subjected to.   And there is a vast amount of information about how white men used sexual violence (including numerous cases of gang rape) against all black women. Often these men were released with a small fine (if any punishment was given) but the victimized black women were brutalized, humiliated and labeled as “amoral jezebels.” (this label is a quote from a Florida judge).   So, that is why I wanted a special podcast to discuss the courage and commitment of women fighting for civil rights, knowing that they could face a particularly brutal form of violence and terror.  One interesting fact that is not widely known is that one woman worked tirelessly to meet with women who had faced sexual violence and to investigate and document cases of sexual violence against women. She would appear on the scene usually within hours, spend time with and interview the women, make sure that they were receiving good medical attention and lobby prosecutors to investigate and prosecute the crimes. This brave woman was Rosa Parks—and she was doing this long before her fateful bus ride that sparked the Civil Rights Movement. For her work in support of victims of rape and terror (and for her well-known act of defiance against segregation in busing), we honor and remember Mrs. Rosa Parks and thank her for her undying and courageous service. (applause)       There are interesting books about violence against women fighting for civil rights and against any black woman in the segregationist states.   One is s called:  At the Dark End of the Street: Black Women, Rape, and Resistance—A New History of the Civil Rights Movement from Rosa Parks to the Rise of Black Power (Knopf, September 2010) by Danielle L. McGuire. It is a groundbreaking new work of history that reinterprets the Civil Rights Movement in terms of the sexualized violence and rape that marked race relations in America for centuries.   Another book, called Free at Last: A History the Civil Rights Movement and those who died in the Struggle by Sara Bullard and Julian Bond.  This book discusses everyone in this podcast series and many more.   Finally, a book that focuses on Viola Liuzzo is called From Selma to Sorrow: The Life and Death of Viola Liuzzo by Mary Stanton. It discusses Liuzzo’s work, her life and her murder. But it also discusses the aftermath of her murder like the trial and J.Edgar Hoover’s campaign to posthumously destroy her reputation and therefore justify her murder.   Again, don’t try to remember the names of these books, they are all available for purchase at the rememberinghistory.com Books & Stuff store and listed on the Facebook page.   So, this concludes the podcast on woman warriors in the civil rights movement—and this three-part podcast series on lesser known heroes (or martyrs) of the civil rights movement.  I hope that you have enjoyed and learned a lot in this podcast. I have. It has not been easy to hear about elderly women being tortured and killed by Klan. Or to hear about gang rape, intimidation and perpetrators laughing about it , paying $25 to the court then going home.  Again, I state that it is not so important how they died. What is important is their courage, commitment and their vision for a better country with equality and equality rights for all. It is so important to remember and honor them:  Mrs. Birdia Keglar, Mrs. Adlena Hamlett, Mrs. Viola Liuzzo and Mrs. Rosa Parks. (applause.)   And it is important to remember that people fought very hard (and were killed) for many of the rights that we enjoy right now (like the right to vote).  So, remember to exercise those rights and use those powers. Get out and vote!   What is happening next month? Oh, there’s a lot going on at rememberinghistory.com! Next month’s podcast series will focus on great historic sites and places to visit.  Yes, there are a few places that are well-known and well-visited. That’s great. But there are other places and activities that are not widely known. Those are the places and activities that I’m going to discuss in the May podcast series. It’s great information for a family vacation when the kids are out of school. The places are educational, fun and you’ll see that they are quite unique. And I just want to let you know that rememberinghistory.com has a Facebook page (of the same name).  On that Remembering History Facebook page, you will find pictures of the people that were discussed, interesting historical sites and great discussions and commentary.  I hope that you will visit there; we know that a picture can speak a thousand words and bring history to life. Would you like to see a picture of Corporal Roman Ducksworth, Viola Liuzzo or Birdia Keglar? You will find them on the Remembering History Facebook page. And you’ll find many more pictures of people and places that are significant in African American history. And, of course, you can feel free to visit the rememberinghistory.com website for the great blog posts and bookstore. Our community can be found in many different places—and they are all connected. Just like us.   Let’s wrap it up now. I look forward to seeing you for the next podcast series on great historic sites in African American history. The first in the three-part series will be released on Tuesday, May 12 and every Tuesday for the rest of the month. Mark your calendars! See you soon at rememberinghistory.com where we ARE remembering history and we’re making history!   Remember to vote!   Bye for now!