Podcasts about Dave Stevens

Smid en besked :)Så skal vi på tur ud med Cliff, Peevy, Jenny og Neville Sinclaire. Der er dumme nazister, gangstere, flyvende helte og en masse eventyr. Lyt med i vores gennemgang af dette episke action brag som udkom i 1991, instrueret af Joe Johnson og med den lækre musik af James Horner. The Rocketeer er lavet af tegneren og forfatteren Dave Stevens. Den udkom i 1982 - de bliver stadig tegnet og er til at finde. God mandag til jer alle - Filmfædre. 

This week on Bronze and Modern Gods:

This week, I'm reading the nineteenth chapter of the Peter David penned movie novelization of the 1991 Rocketeer film.  This chapter takes place in the study of Howard Hughes, the inventor of the Cirrus X-3 rocketpack in the world of the film (in Dave Steven's original story, it was his unnamed analogue of Doc Savage).  In this scene, you can see what's in Cliff's pockets, a Dave Stevens cameo as an ill-fated German rocketeer, an animated film featuring German rocket troopers, and references to the Spruce Goose (the Hughes H-4, a gargantuan - 218 ft long with a 319 ft wingspan - wooden flying boat meant to ferry men and equipment across the Atlantic during WW2).  Interestingly enough, the book has Cliff hang glide from Howard Hughes' study all the way to the Chaplin airfield (which was actually filmed in Santa Maria, CA, some 150+ miles northwest)!  Presumably, the airfield in the movie was not actually in Santa Maria.  That said, there is a museum there, the Santa Maria Museum of Flight, that has a number of remaining props used in the film, as it was the real life hangar used in the film (check out this clip for some very thorough detective work of filming locations).   Although it aired on Disney Channel around the time the movie was released, Rocketeer: Excitement in the Air (both a featurette on the film as well as a documentary on manned flight hosted by Billy Campbell) has some shots of the real life Spruce Goose as well as some shots of its maiden (and only) flight as well as some info on Howard Hughes.   It's well worth a watch! Thanks for listening!∞∞∞∞∞∞∞∞ Signup for the mailing list for a free special edition podcast, a demo copy of The Thirteenth Hour, and access to retro 80s soundtrack!Like what you see or hear? Consider supporting the show over at Thirteenth Hour Arts on Patreon or adding to my virtual tip jar over at Ko-fi. Join the Thirteenth Hour Arts Group over on Facebook, a growing community of creative people.Have this podcast conveniently delivered to you each week on Spotify,  iTunes, Stitcher, Player FM, Tunein, and Googleplay Music.Follow The Thirteenth Hour's Instagram pages: @the13thhr for your random postings on ninjas, martial arts, archery, flips, breakdancing, fantasy art and and @the13thhr.ost for more 80s music, movies, and songs from The Thirteenth Hour books and soundtrack.Listen to Long Ago Not So Far Away, the Thirteenth Hour soundtrack online at: https://joshuablum.bandcamp.com/ or Spotify.  Join the mailing list for a digital free copy.  You can also get it on CD or tape.Website: https://13thhr.wordpress.comBook trailer: http://bit.ly/1VhJhXYInterested in reading and reviewing The Thirteenth Hour for a free book?  Just email me at writejoshuablum@gmail.com for more details!https://13thhr.wordpress.com/2025/04/28/the-thirteenth-hour-podcast-507-and-like-a-hood-ornament-76-reading-the-rocketeer-movie-novelization-chapter-19/

Episode 285 features inspiring stories from athlete, Dave Stevens, a seven-time Emmy Award winner and congenital amputee, while Jimmy Carbone and Sean Ludwig promote upcoming barbecue events and barbecue's enormous growth.  Dave Stevens is an athlete and a seven-time Emmy Award winning sports broadcaster.  Dave is a congenital amputee and has wrestled, played football, and played baseball, all without legs.  Dave played college football and had a tryout with the Dallas Cowboys.  Dave was featured on the television show, That's Incredible along with a very young and future golf pro, Tiger Woods.  Dave had baseball tryouts with the 1984 Olympic baseball team, the Cincinnati Reds, and the Minnesota Twins, as well as a three-week contract with the minor league baseball team, St. Paul Saints where he played alongside Darryl Strawberry and even pinch-hit for Strawberry.  Dave worked at ESPN for over 20 years.  He has covered Super Bowls, World Series, Final Fours and many other events.  Dave volunteers as a board member for NubAbility Athletics, which organizes sports camps for “Limb-Different” Athletes. He also co-hosts the Celebrity Amputee Golf Classic and is an Ambassador Athlete for the Dave Clark Foundation which hosts free clinics with Minor League baseball teams for children with disabilities. Jimmy Carbone is back with a preview of his food events which we can look forward to this year, including Brisket King, Rib King, and Pig Island NYC.  Each year these events become more popular and we spend part of our time discussing the outstanding growth of barbecue and the various flavors being added which are changing the way we think of the cuisine.  It is an exciting time to be a foodie in New York as well as the surrounding areas and Jimmy's events are among the reasons why. Sean Ludwig is the founder of NYC BBQ, http://www.nycbbq.com a website and newsletter with news and information on all things barbecue in the NYC metro are.  He is also a co-founder with Ryan Cooper of The Smoke Sheet, https://www.bbqnewsletter.com which is a weekly newsletter that curates the latest national barbecue news, upcoming events, books to read, podcasts to listen to, videos to watch, recipes, and so much more.  Barbecue is experiencing tremendous growth and Sean provides unique insights as to why. We recommend you go to Baseball BBQ, https://baseballbbq.com for special grilling tools and accessories, Magnechef https://magnechef.com/ for excellent and unique barbecue gloves, Cutting Edge Firewood High Quality Kiln Dried Firewood - Cutting Edge Firewood in Atlanta for high quality firewood and cooking wood, Mantis BBQ, https://mantisbbq.com/ to purchase their outstanding sauces with a portion of the proceeds being donated to the Kidney Project, and for exceptional sauces, Elda's Kitchen https://eldaskitchen.com/   We conclude the show with the song, Baseball Always Brings You Home from the musician, Dave Dresser and the poet, Shel Krakofsky. We truly appreciate our listeners and hope that all of you are staying safe. If you would like to contact the show, we would love to hear from you.   Call the show:  (516) 855-8214 Email:  baseballandbbq@gmail.com Twitter:  @baseballandbbq Instagram:  baseballandbarbecue YouTube:  baseball and bbq Website:  https//baseballandbbq.weebly.com Facebook:  baseball and bbq

The Rocketeer is a 1991 American superhero film from Walt Disney Pictures. Directed by Joe Johnston, it stars Billy Campbell, Jennifer Connelly, Alan Arkin, Timothy Dalton, Paul Sorvino, and Tiny Ron Taylor. It is based on the character of the same name created by comic book artist and writer Dave Stevens.Set in 1938 Los Angeles, California, The Rocketeer tells the story of stunt pilot Cliff Secord, who discovers a hidden rocket pack that he thereafter uses to fly without the need of an aircraft. His heroic deeds soon attract the attention of Howard Hughes and the FBI, who are hunting for the missing rocket pack, as well as the Nazi operatives who stole it from Hughes. What's not to love?We've got a packed house for this episode in Hollywoodland. Connor, Frank, Matt and Peter all made sure to clear their schedules to talk about what's become something of a hidden gem. Accompanied by a stellar score by James Horner, join the boys as we go back to the early days of the super hero genre.You can watch The Rocketeer on Disney+. Be sure to follow us on Instagram.

Dans cet épisode de ComicsDiscovery, on enfile nos plus beaux jetpacks pour fracasser du nazi ! Delcourt, au travers d'un album hommage, nous replonge dans l'univers inventé par Dave Stevens, Rocketeer. Dans cet album, les grands noms du comics mettent en scène dans des aventures extraordinaires, cet héros inspiré par les récits pulp. Dave Stevens : un illustrateur de talent entre comics, animation et cinémaAvant de créer The Rocketeer, Dave Stevens fait ses débuts dans l'industrie du comics en travaillant comme encreur pour Russ Manning sur les adaptations de Tarzan et Star Wars en comic strips. Il rejoint ensuite le monde de l'animation en collaborant avec Hanna-Barbera sur des séries comme Super Friends et The Godzilla Power Hour. Son talent pour l'illustration le conduit également à devenir storyboarder pour des productions télévisées et cinématographiques, comme Les Aventuriers de l'Arche Perdue (Indiana Jones). Après le succès de The Rocketeer, Stevens s'est principalement consacré à l'illustration. Il réalise des couvertures mettant en scène des pin-ups et surtout Betty Page dont il est fan. Il devient au fil des années un ami proche et un grand soutien. Bien qu'il ait produit peu de bandes dessinées après The Rocketeer, son style méticuleux et son amour du rétro ont marqué plusieurs générations d'artistes. Spades vous en parle plus en détail dans l'émission. The Rocketeer : un héros pulp entre hommage et modernitéC'est en 1982, dans les pages bonus de Starslayer chez Pacific Comics, que The Rocketeer fait ses premiers pas sous la plume de Dave Stevens. Passionné par l'esthétique des années 40 et les serials d'aventures comme Commando Cody, l'auteur imagine Cliff Secord, un cascadeur intrépide qui découvre un jetpack expérimental et devient un justicier. Véritable condensé de l'esprit pulp, Cliff incarne l'aventurier courageux, un brin tête brûlée, évoluant dans un monde rempli d'espions, de gangsters et de nazis. Stevens ne se contente pas de reproduire les codes du genre : son héroïne, Betty, directement inspirée de la pin-up Betty Page, est bien plus qu'une simple faire-valoir. Forte et indépendante, elle apporte une dimension moderne à cet univers, faisant de The Rocketeer un vibrant hommage à l'âge d'or du pulp tout en le réinventant avec une touche de fraîcheur et d'élégance. Les aventures de RocketeerPeut-être êtes-vous familier de Rocketeer et de son univers via son adaptation en 1991 par le futur réalisateur de Captain America, Joe Johnston produite par Disney. Ce film d'aventure à l'ancienne met en scène Bill Campbell dans le rôle de Cliff Secord, tandis que Jennifer Connelly incarne Betty (rebaptisée Jenny pour l'occasion). Face à eux, Timothy Dalton campe un parfait méchant hollywoodien, inspiré d'Errol Flynn, mais avec une particularité : il est cette fois un espion nazi. Fidèle à l'esthétique des années 40, le film est un bel hommage aux serials d'époque, porté par une mise en scène soignée et une bande originale signée James Horner. Dans l'émission, c'est Faye qui vous parle de cette adaptation et vous recommande vivement la vidéo de Meea consacrée au film, un contenu riche et très bien documenté qui revient sur son histoire et son impact : https://www.youtube.com/watch?v=casrC6hCdV0 Les nouvelles aventures de RocketeerCette semaine, The Rocketeer revient chez Delcourt avec un album hommage célébrant l'héritage de Dave Stevens. Ce recueil réunit plusieurs histoires inédites signées par de très grands noms du comics, parmi lesquels Kurt Busiek, Mark Waid, John Cassaday, Michael Allred, Bruce Timm ou encore Adam Hughes. Avec son esthétique soignée, cet album est un superbe objet empli de nostalgie, un véritable hommage à l'univers et au style du créateur de The Rocketeer. Cependant, si vous ne connaissez pas encore ce héros à jetpack, on vous conseille plutôt de commencer par les comics originaux de Dave Stevens ou par le film de Joe Johnston, car ce nouvel album s'adresse avant tout aux fans de longue date déjà attachés à l'univers de The Rocketeer. Retrouvez nos chroniqueurs : Céline : Découvrez ses réseaux ici Faye : Découvrez ses réseaux ici Spades : Découvrez ses réseaux ici James : Découvrez son InstagramSuivez-nous sur nos réseaux sociaux : Facebook : ComicsDiscovery sur Facebook Twitter (X) : @comicsdiscovery sur Twitter Instagram : @comicsdiscovery sur Instagram TikTok : @jamesetfaye sur TikTok Écoutez nos podcasts sur vos plateformes préférées : Spotify : ComicsDiscovery sur Spotify Ausha : ComicsDiscovery sur Ausha Apple Podcasts : ComicsDiscovery sur Apple Podcasts Deezer : ComicsDiscovery sur Deezer Retrouvez nos replays vidéo : YouTube : ComicsDiscovery sur YouTube Twitch : James et Faye sur Twitch Pour nous soutenir :Vous aimez notre travail ? Vous pouvez nous aider sur Tipeee ! Rejoignez-nous sur Discord :Venez discuter avec nous sur notre serveur Discord :Rejoindre le serveur Découvrez nos autres productions :Retrouvez toutes nos productions et articles sur notre site officiel :James & Faye

This week, it's not me reading the next chapter of the Peter David penned movie novelization of the 1991 Rocketeer film.  That's because we have a special guest - Billy Campbell, who played the Cliff Secord / the Rocketeer in the 1991 film - is taking point to read Chapter 14!   Billy was last on the show in 2022 (follow this link for a preview of an exclusive podcast recorded for people who had supported fundraising efforts for the Hairy Cell Leukemia Foundation in memory of Rocketeer creator, Dave Stevens). This chapter takes place in one my favorite parts of the original comic and the film, the Bulldog Cafe.  If you like ambient, mood-setting background noise / "study music," you will love this this Bulldog Cafe-inspired video as if you were sitting in a booth of the Cafe.  Episode 500 is coming in a few weeks!  If you were a past guest on the show, check your messages this week for more details on the recording session on 3/2/25.Thanks, Billy, for your excellent reading, and thank you for listening!∞∞∞∞∞∞∞∞ Signup for the mailing list for a free special edition podcast, a demo copy of The Thirteenth Hour, and access to retro 80s soundtrack!Like what you see or hear? Consider supporting the show over at Thirteenth Hour Arts on Patreon or adding to my virtual tip jar over at Ko-fi. Join the Thirteenth Hour Arts Group over on Facebook, a growing community of creative people.Have this podcast conveniently delivered to you each week on Spotify,  iTunes, Stitcher, Player FM, Tunein, and Googleplay Music.Follow The Thirteenth Hour's Instagram pages: @the13thhr for your random postings on ninjas, martial arts, archery, flips, breakdancing, fantasy art and and @the13thhr.ost for more 80s music, movies, and songs from The Thirteenth Hour books and soundtrack.Listen to Long Ago Not So Far Away, the Thirteenth Hour soundtrack online at: https://joshuablum.bandcamp.com/ or Spotify.  Join the mailing list for a digital free copy.  You can also get it on CD or tape.Website: https://13thhr.wordpress.comBook trailer: http://bit.ly/1VhJhXYInterested in reading and reviewing The Thirteenth Hour for a free book?  Just email me at writejoshuablum@gmail.com for more details!

Jade Jensen, MD of Fulcrum Group South Africa, and Dave Stevens, CTO, explore Fulcrum's new Air Collect model. They discuss the complexities of premium finance and how Air Collect is transforming the collection process for brokers and insurers.   Jade and Dave explain the technical and operational advantages of Air Collect, which consolidates collections and streamlines payment distributions. This innovative solution minimises risks, reduces administrative burdens, and simplifies monthly reconciliations for brokers.   If you're in the insurance industry, this podcast provides valuable insights into how Fulcrum's solutions can enhance efficiency and mitigate financial risks. 

Episode 48 of The Queens Comic Podcast is on the internet and looking for love! In this latest round, Billy and Ian go over some recent toy picks ups, most of which have to do with Godzilla, and discuss Tom Sciolo's super-fun Godzilla Monsterpiece Theater series from IDW as well as recent pick ups like a great Dave Stevens retrospective, some EC fanzines and some Mark Spears cover buys. All that and the usual wacky banter awaits you, so dig in! And if you haven't already, follow us on the socials! That way you can stay hip to the happenings. Follow us on Instagram @queenscomicpodcast / @queenscomicparty Follow us on Twitter/X @queenscomicpod Check us out on YouTube https://www.youtube.com/@queenscomicpodcast Or hit up our website at http://www.queenscomicparty.com

This week, I'm reading the seventh chapter of the Peter David penned movie novelization of the 1991 Rocketeer film.  This chapter introduces Jenny Blake, Cliff's girlfriend (called Betty in Dave Stevens' original comic as an ode to pin up icon Bettie Paige).  That part, in the film, went to Jennifer Connelly, who you may also remember from 1986's Labyrinth.   When I was a teen, I had VHS copies of Labyrinth, Howard the Duck, Some Kind of Wonderful, Sixteen Candles, and The Rocketeer taped off the TV (often the edited for TV versions and/or missing certain scenes) and those films were often on rotation on weekend mornings for me.  This section also introduces the character of Lothar, a character Dave Stevens based off character actor Rondo Hatton. As always, thanks for listening! ∞∞∞∞∞∞∞∞  Signup for the mailing list for a free special edition podcast, a demo copy of The Thirteenth Hour, and access to retro 80s soundtrack! Like what you see or hear? Consider supporting the show over at Thirteenth Hour Arts on Patreon or adding to my virtual tip jar over at Ko-fi. Join the Thirteenth Hour Arts Group over on Facebook, a growing community of creative people. Have this podcast conveniently delivered to you each week on Spotify,  iTunes, Stitcher, Player FM, Tunein, and Googleplay Music. Follow The Thirteenth Hour's Instagram pages: @the13thhr for your random postings on ninjas, martial arts, archery, flips, breakdancing, fantasy art and and @the13thhr.ost for more 80s music, movies, and songs from The Thirteenth Hour books and soundtrack. Listen to Long Ago Not So Far Away, the Thirteenth Hour soundtrack online at: https://joshuablum.bandcamp.com/ or Spotify.  Join the mailing list for a digital free copy.  You can also get it on CD or tape. Website: https://13thhr.wordpress.com Book trailer: http://bit.ly/1VhJhXY Interested in reading and reviewing The Thirteenth Hour for a free book?  Just email me at writejoshuablum@gmail.com for more details! https://13thhr.wordpress.com/?p=14675

This week, I'm reading the fourth chapter of the Peter David penned movie novelization of the 1991 Rocketeer film.  This chapter basically picks up in the spot in the film where Cliff has had to crash land the Gee-Bee and is dealing with the Feds.  We also meet a version of Howard Hughes, who in the film, is the man behind the Cirrus X-3 rocketpack.  It's never stated in the Dave Stevens comic (since he didn't have the rights) but he was intending that the inventor of the pack be Doc Savage.  Dave Stevens, who consulted on the film, also did the graphic below - the one Hughes tosses in the fireplace after he's learned that the Cirrus has (supposedly) been destroyed in an effort to keep it from falling into the wrong hands. https://13thhr.wordpress.com/2024/11/04/the-thirteenth-hour-podcast-482-and-like-a-hood-ornament-61-reading-the-rocketeer-movie-novelization-chapter-4/

In honor of Cliff Secord's birthday, 10/26, I'm reading the third chapter of the Peter David penned movie novelization of the 1991 Rocketeer film.  (What I really love about the bio Dave Stevens penned for Cliff is that it gives both backstory and motivation for his character as well as why, in 1938, he is flying the Gee-Bee Z, a plane from the early 30s, for the first time in 1938.  You can tell that Dave had put quite a bit of thought into the character and the history of the era.)  This chapter basically picks up in the spot in the film where Cliff, already in the air, gets show down by a gangster being chased by the police and the FBI.  Although we never really get to see Cliff fly the Gee-Bee racer in an actual race, the fact that he is able to land the plane after the engine gets shot out and without landing gear suggests he has more than enough skill as a pilot - not surprising since he later becomes the Rocketeer.

22 Panels Pulp Blotter Book Club - The RocketeerTad and Mark Pracht discuss the Dave Stevens masterpiece.Support the show

It's been a few weeks but the Queens Comic Podcast is back! After a bit of a hiatus, Billy and Ian return to talk about some of the upcoming Queens Comic Party events, concert want lists and lots of comics! Thrill to the sights and sounds of old ratty old Charlton horror and sci-fi books, the new Henry & Glenn issue, Cyanide Swamp, some oddball pre-code horror, the new issue of The Incredible Hulk, Oni's new E.C. books and a gorgeous (and long out of print) Dave Stevens hardcover collection. And if you haven't already, follow us on the socials! What are you waiting for? Follow us on Instagram @queenscomicpodcast / @queenscomicparty Follow us on Twitter/X @queenscomicpod Check us out on YouTube https://www.youtube.com/@queenscomicpodcast Or hit up our website at http://www.queenscomicparty.com

Its a Hall of Fame edition of the Geary, Stein and Stevens Show!  Dave Stevens caught up with more Baseball Hall of Famers today in Cooperstown.   Here's our Hall of Fame starting lineup:   Ivan "Pudge" Rodriguez Bert Blyleven  Justin Morneau  Rich "Goose" Gossage Paul Molitor   And the Baseball Hall of Fame Class of 2024   Joe Mauer Jim Leyland Adrian Beltre Todd Helton 

Dave Recaps the Abilities Expo in Houston for the GSS Show.  What is the greatest trade show for the Disability Community? The Abilities Expo of course! Dave Stevens recaps the Houston show with some amazing new products that can change the lives of many with seen and unseen disabilities. Check out the show! Brought to you by Serendipity Yacht Cruises and Events and Your Home TV and All Wheels Up www.yourhometv.com www.sycruises.com www.allwheelsup.org

Once again we take a look at some comics submitted by their creators; we talk about what we liked about them and what could have been better. Jane Jet book 1: Nuclear Shadows, by writer Amal Desai and artist Paul Essenson, recalls Dave Stevens' Rocketeer — the art, the jet-pack concept, the time period — … Continue reading Critiquing Comics #238: “Jane Jet” and “The Fog Within”

Chae Tate, Dorian Price and Mark Radulich review movies currently on streaming services and in theaters: Tank Girl/Mystery Men/Rocketeer Movie Review! First up is Tank Girl (1995). Then we move on to Mystery Men (1999). Finally we review The Rocketeer (1991).Tank Girl is a 1995 American post-apocalyptic science fiction film directed by Rachel Talalay and written by Tedi Sarafian. Based on the British comics series created by Jamie Hewlett and Alan Martin, the film stars Lori Petty, Naomi Watts, Ice-T, and Malcolm McDowell. Set in a drought ravaged Australia years after a catastrophic impact event, it follows the antihero Tank Girl (Petty) as she, Jet Girl (Watts), and genetically modified supersoldiers called the Rippers fight Water & Power, an oppressive corporation led by Kesslee (McDowell).Mystery Men is a 1999 American superhero comedy film directed by Kinka Usher (in his feature-length directorial debut), written by Neil Cuthbert, loosely based on Bob Burden's Flaming Carrot Comics, starring Ben Stiller, Hank Azaria, William H. Macy, Greg Kinnear, Claire Forlani, Kel Mitchell, Paul Reubens, Janeane Garofalo, Wes Studi, Geoffrey Rush, Lena Olin, Eddie Izzard, and Tom Waits. The film details the story of a team of lesser superheroes with unimpressive powers who are required to save the day from a criminal genius when Champion City's resident superhero gets captured.The Rocketeer (released internationally as The Adventures of the Rocketeer) is a 1991 American superhero film from Walt Disney Pictures and Touchstone Pictures. It was produced by Charles Gordon, Lawrence Gordon, and Lloyd Levin, directed by Joe Johnston, and stars Billy Campbell, Jennifer Connelly, Alan Arkin, Timothy Dalton, Paul Sorvino, and Tiny Ron Taylor. It is based on the character of the same name created by comic book artist and writer Dave Stevens.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59

The Rocketeer blasted onto the scene in 1982, created by writer/artist Dave Stevens as an homage to pulp-serial heroes of the 1930s! Despite producing only a handful of issues of The Rocketeer's adventures, the character and Stevens' work were an inspiration to readers and peers alike, and led to the cult-classic 1991 film by director Joe Johnston. Dave Stevens passed-away in 2008 due to complications with leukemia, but his body of work lives on in THE ROCKETEER: THE COMPLETE ADVENTURES, available in trade paperback from IDW Publishing. Watch the documentary DAVE STEVENS: DRAWN TO PERFECTION in full on YouTube here: https://www.youtube.com/watch?v=oaLdlvOdnh8 CLOSING SONG: "Rocket Man" by The Passionate & Objective Jokerfan, from the album "Songs Song Sing Songs Onion Llama" -- https://open.spotify.com/album/1qPmKfh8Jksmqd4zmpFFJj?si=ctjMt0A4Rke6R7JJWD3T2A --- Join our Patreon for bonus episodes and content-requests! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/theveryfinecomicbookpodcast/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow us on Instagram at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/theveryfinecomicbookpodcast/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and send us questions to potentially read on-air via IG DM or via email at theveryfinecomicbookpodcast@gmail.com If you're enjoying The Very Fine Comic Book Podcast, please take the time to Rate it [on Spotify], Rate+Review it [on Apple Podcasts], Follow/Subscribe, and tell a friend! New episodes forthcoming weekly! Mail us things c/o Justin Decloux, Unit 1010, 3230 Yonge St, Toronto, ON, M4N 3P6, Canada Thanks for listening! Keep reading comics! ---

It's time for the 32nd episode of The Queens Comic Podcast! This episode is all about the post Brooklyn Invasion show bliss! Billy and Ian go over their pick ups from the recent Queens Comic Party show in Brooklyn, showing off a rare Dave Stevens fanzine offering, some golden age goodness including a sweet E.C. book, some of Frank Thorne's sexier work, some vintage Ditko Captain Atom books and then some of Ian's dollar bin digging, including a few Richard Corben oddities, some Boneyard Press horror and a few Tim Vigil books. We do it all for you, so check it out! And while you're at it, if you know what's up then you'll follow us on the socials! Follow us on Instagram @queenscomicpodcast / @queenscomicparty Follow us on Twitter/X @queenscomicpod Check us out on YouTube https://www.youtube.com/@queenscomicpodcast Or hit up our website at http://www.queenscomicparty.com

Troy & Dave recap an amazing weekend - honoring Dave all over the state of Minnesota They'll recap "Dave Stevens" night at the St. Paul Saints game where Dave was honored for his historic time on the 1996 team - and see Dave get attacked by the Saints Pig Mascot "OzemPIG" Troy takes a tour of the Baseball museum at CHS Field - and he checks out some famous ex-saints like Ila Borders & Darryl Strawberry And we talk with Rookie Minnesota Twins starter David Festa - who was just called up to the Big Leagues! Dave then heads to Rochester, Minnesota where he made Northwoods League history as the first legless coach in any wooden bat league thanks to Clint Narramore and the Rochester Honkers - and the old man took some cuts in the batting cages! And we'll introduce you to the Minnesota Millers - the states' only competitive "Beep Ball" team which is baseball for those who are visionally impaired. All that and more from Minnesota on an inspiring The Geary Stein & Stevens Show!   

Today we are chatting with Phil DeFronzo, the founder, president and CEO of mortgage wholesaler TPO Go. Phil, who has been in the mortgage business since 1989, was the former CEO of Norcom Mortgage before he sold the retail business to CMG Financial and pursued the wholesale business. Phil and Clayton talk about his career journey over the past three decades, how he got to where he was today, and the interesting people he met and learned from along the way — including the mentorship of the late Dave Stevens. They also talk about TPO Go's strategy to differentiate itself and where he sees growth for the industry in the coming years in spaces like renovation loans and automation processes. Here's a glimpse of what you'll learn: Opportunities for growth often arise in challenging times. Focusing on profitability is key to weathering market changes. Renovation loans offer significant market potential, especially in aging housing stock. Brokers with strong product knowledge have a competitive advantage. Automation can improve turn times and enhance the customer experience. Related to this episode: CMG acquires Norcom Mortgage's retail assets - HousingWire Phil DeFronzo | LinkedIn TPO Go | Linkedin TPO GO HousingWire | YouTube HousingWire | YouTube Enjoy the episode! The Power House podcast is a show about leadership, markets and entrepreneurship in the housing industry. Each Thursday, Clayton Collins speaks with CEOs and founders from the mortgage and real estate sector to reveal how housing executives think about business growth, operational strategy, and leadership. The Power House podcast reveals the full picture through the stories of the industry's most impactful leaders. Clayton Collins is the CEO of HousingWire, and the Power House podcast is produced by HousingWire's Content Studio. Initially launched in 2019 as the Housing News podcast, the show was relaunched as Power House in 2024. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dave Stevens, hailing from Nelson, BC, is an accomplished Elite Ultra Runner, Coach, and Father. By day, Dave serves as a Spatial Analyst for the province while blending a sustainable training regimen into his busy lifestyle. With an impressive track record spanning more than a decade, Dave has secured victories at the Run Rabbit Run 100 miler twice, UTMB Mexico 100 miler, and has made the podium at the flatter Javelina 100. He has consistently placed in the top 10 at major races ranging from 50 to 100 kilometers. Dave proudly represented Canada at the mountain running world championships and excels in challenging mountain traverses. As he approaches 42, Dave shows no signs of slowing down, maintaining a relaxed approach to sustainable training that he eagerly shares with the athletes he coaches. Coming from a non-athletic background himself, Dave is passionate about helping others navigate this transition without making all the mistakes he once made.  Connect with Dave:Instagram: @davestevens_outrunya Coachinghttps://outrunya.comhttps://coolsaetgo.runConnect with Carolyn & Kim:Email us with guest ideas: inspiredsolescast@gmail.comInspired Soles InstagramKim's InstagramKim's FacebookCarolyn's FacebookWe love hearing from you! Connect with us on Instagram @inspiredsolescast or email guest ideas to inspiredsolescast@gmail.com. If you enjoyed this episode, please share it with a friend, subscribe or leave us a rating and review on Apple Podcasts.

Join this channel to get access to perks: https://www.youtube.com/channel/UCkHTY1eNYHr9JoTndx_m6kA/join New T-shirts & more are now available! http://tee.pub/lic/BAMG John & Richard dive into the Viewer Mailbag for more of your questions and comments including the state of the comic collecting market, the "actual" first appearance of Batman (what?), and the true origin of Spider-Man! Plus, the Hot Book of the Week features even more Dave Stevens, The Old Fart Rule shines a light on, you guessed it, Dave Stevens, and our Underrated Books of the Week include an obscure, great Bronze Age read and, for a change of pace, Dave Stevens! Bronze and Modern Gods is the channel dedicated to the Bronze, Copper and Modern Ages of comics and comic book collecting! Follow us on Facebook - https://www.facebook.com/BronzeAndModernGods Follow us on Instagram - https://www.instagram.com/bronzeandmoderngods #comics #comicbooks #comiccollecting --- Support this podcast: https://podcasters.spotify.com/pod/show/bronzeandmoderngods/support

Dave Stevens shares his incredible story of achieving sports & broadcasting success, despite having no legs. Dave & host Mark Hochgesang discuss overcoming obstacles, disability challenges & the benefits of inclusion, while having fun along the way. Enjoy sports fans!Dave Stevens Speaks Website: https://davestevensspeaks.com/Dave Stevens Speaks Instagram: https://www.instagram.com/davestevensspeaks_/?hl=enTV Video Clips Featuring Dave: https://www.youtube.com/watch?v=tFKIUsTbJxEDave Speaks with Jim Abbott: https://www.youtube.com/watch?v=vKAOXsRNUuYThe Saint of Second Chances: https://www.netflix.com/title/81476121The Geary Stein & Stevens Show Podcast: https://podcasts.apple.com/us/podcast/the-geary-stein-stevens-show/id1617159516Easter Seals Oregon: https://www.easterseals.com/oregon/Northwest Adaptive Sports: https://adaptivesportsnw.org/Special Olympics: https://www.specialolympics.org/Dave Clark Heavy Hitter Sports Episode: https://www.heavyhittersports.com/dave-clark-unsung-hereos/

Join this channel to get access to perks: https://www.youtube.com/channel/UCkHTY1eNYHr9JoTndx_m6kA/join New T-shirts & more are now available! http://tee.pub/lic/BAMG John & Richard hit the Viewer Mailbag for more of your questions and comments including the rise of violence in comics, more Dave Stevens, and yes, more CGC chat! Plus, the Hot Book of the Week features a female Silver Surfer, The 25 Year Rule spotlights Bruce Timm, and our Underrated Books of the Week include a Copper Age first appearance and a Spider-Gwen cover you may have missed! Bronze and Modern Gods is the channel dedicated to the Bronze, Copper and Modern Ages of comics and comic book collecting! Follow us on Facebook - https://www.facebook.com/BronzeAndModernGods Follow us on Instagram - https://www.instagram.com/bronzeandmoderngods #comics #comicbooks #comiccollecting --- Support this podcast: https://podcasters.spotify.com/pod/show/bronzeandmoderngods/support

Join this channel to get access to perks: https://www.youtube.com/channel/UCkHTY1eNYHr9JoTndx_m6kA/join New T-shirts & more are now available! http://tee.pub/lic/BAMG John & Richard hit the Viewer Mailbag for more of your questions and comments including a follow-up to last week's massive screw up by CGC, plus a reader tip on a Dave Stevens AND Art Adams key in one! The 25 Year Rule spotlights a forgotten Vertigo comic, and our Underrated Books of the Week include an American Flagg special and the comic where Archie finally chooses! Bronze and Modern Gods is the channel dedicated to the Bronze, Copper and Modern Ages of comics and comic book collecting! Follow us on Facebook - https://www.facebook.com/BronzeAndModernGods Follow us on Instagram - https://www.instagram.com/bronzeandmoderngods #comics #comicbooks #comiccollecting --- Support this podcast: https://podcasters.spotify.com/pod/show/bronzeandmoderngods/support

Join this channel to get access to perks: https://www.youtube.com/channel/UCkHTY1eNYHr9JoTndx_m6kA/join New T-shirts & more are now available! http://tee.pub/lic/BAMG Join John & Richard as they cover the latest hot comic book trend - Dave Stevens covers! Plus, your questions in Viewer Mail including comic book convention etiquette - how and when should you look up comic book prices in front of a dealer? The 25 Year Rule investigates the launch of the M2 Universe (what??) and our Underrated Books of the Week showcase another Dave Stevens cover and the first appearance of the Serpent Squad! Bronze and Modern Gods is the channel dedicated to the Bronze, Copper and Modern Ages of comics and comic book collecting! Follow us on Facebook - https://www.facebook.com/BronzeAndModernGods Follow us on Instagram - https://www.instagram.com/bronzeandmoderngods #comics #comicbooks #comiccollecting --- Support this podcast: https://podcasters.spotify.com/pod/show/bronzeandmoderngods/support

Strap on your fiery back-packs and flame-retardant trousers, and join us as we take to the skies for the 1991 adventure THE ROCKETEER. Go get it, kid!Content Warning: May contain giggling.END CREDITS- Presented by Robert Johnson and Christopher Webb- Produced/edited by Christopher Webb- "Still Any Good?" logo designed by Graham Wood & Robert Johnson- Crap poster mock-up by Christopher Webb- Theme music ("The Slide Of Time") by The Sonic Jewels, used with kind permission(c) 2023 Tiger Feet ProductionsFind us:Twitter @stillanygoodpodInstagram @stillanygoodpodEmail stillanygood@gmail.comSupport the show

WOW, what an amazing conversation this was! Prepare yourself for this inspirational interview with Dean Wilson and guests Doug Cornfield and Dave Stevens, two truly amazing and perspective-changing men! This episode is packed full of amazing stories and conversation about overcoming, accomplishments, and perspectives. Doug is an author, speaker, former college athlete, and the director of Disability, Dream, and Do (D3Day) sports camps. Dave Stevens was born without legs but made sports history as an athlete playing professional baseball and college football, and now after a 40 year career in TV, Dave is a highly sought after motivational speaker & philanthropist. See more from Doug and Dave here: Pulling Each Other Along: https://pullingeachotheralong.com/ D3Day Sports Camps: https://d3day.com/ Dave Stevens Speaks: https://davestevensspeaks.com/index Want More GLTV? ⁠Watch & Subscribe on YouTube!  Listen & Subscribe on Spotify Listen & Subscribe on Apple Podcasts ⁠Follow us on Instagram! ⁠Follow us on Facebook! --- Support this podcast: https://podcasters.spotify.com/pod/show/goodlifeconversations/support

Today's podcast is brought to you by nCino, makers of the nCino Mortgage Suite for the modern mortgage lender. nCino Mortgage Suite's three core products -- nCino Mortgage, nCino Incentive Compensation, and nCino Mortgage Analytics -- unite the people, systems, and stages of the mortgage process. See how nCino can support a homeownership journey that your borrowers and your team will love at nCino.com.

On this special episode of HousingWire Daily on the Sitzer/Burnett commission lawsuit trial, Editor in Chief Sarah Wheeler talks with Managing Editor James Kleimann about the testimony of some of the defense witnesses, including Dave Stevens, Stefan Swanepoel and Lawrence Wu.Related to this episode:Judge denies HomeServices' motion for mistrial in commission lawsuitHousingWire's YouTube ChannelEnjoy the episode!The HousingWire Daily podcast examines the most compelling articles reported across HW Media. Each morning, we provide our listeners with a deeper look into the stories coming across our newsrooms that are helping Move Markets Forward. Hosted and produced by the HW Media team.

Try Whakoom free for iOS: https://apps.apple.com/app/id1203325014 or for Android: https://play.google.com/store/apps/details?id=com.whakoom.app New T-shirts & more are now available! http://tee.pub/lic/BAMG She 1 • Him 2 - https://linktr.ee/she1him2 John & Richard are joined by Evan "The DC Guy" to remember the great Keith Giffen - the Legion, JLA, Ambush Bug, even Hex - we cover it all. Plus we hit the Viewer Mailbag to chat more about Dave Stevens, the new CBCS labels (finally!), and more Evel Knievel! There's also Show &Tell and the 25 Year Rule features a short-lived Star Trek spinoff. Our Underrated Books of the Week a dazzling classic cover and an under-the-radar early Spider-Man cover! Bronze and Modern Gods is the channel dedicated to the Bronze, Copper and Modern Ages of comics and comic book collecting! Follow us on Facebook - https://www.facebook.com/BronzeAndModernGods Follow us on Instagram - https://www.instagram.com/bronzeandmoderngods #comics #comicbooks #comiccollecting --- Support this podcast: https://podcasters.spotify.com/pod/show/bronzeandmoderngods/support

Your hosts Dr. Dean Bertram and Jason McLean are back in the audio-visual wing of the Mysterious Library. This week they check out the uplifting documentary: DAVE STEVENS: DRAWN TO PERFECTION from director Kelvin Mao. The film examines the life of Dave Stevens, who created The Rocketeer and reintroduced the world to 50's pin-up model Bettie Page. While carving out his own unique corner of importance in comic book and illustration art, Dave showed the world what it's like to pursue the life of a creative individual. Jason, who is also a comic book writer and artist, will be sharing his insights about the importance of Stevens, and his influence on the comic book and fantasy/sci-fi illustration scene. Join your Mysterious Librarians as they shift gears to explore the magic of the creative process, and its potential to alter our world.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4602609/advertisement

Try Whakoom free for iOS: https://apps.apple.com/app/id1203325014 or for Android: https://play.google.com/store/apps/details?id=com.whakoom.app New T-shirts & more are now available! http://tee.pub/lic/BAMG John & Richard talk about the biggest news to hit the comic book market last week, the rumors surrounding Taylor Swift possibly playing Dazzler in the MCU - plus we hit the Viewer Mailbag to the art of Dave Stevens, Bronze Age War comics, foreign variants & more. John shows off some beauty Marvel Silver Age Westerns and the Old Fart Rule features the never-ending Trial of the Flash. Our Underrated Books of the Week include a real-life daredevil and a barbarian first! Bronze and Modern Gods is the channel dedicated to the Bronze, Copper and Modern Ages of comics and comic book collecting! Follow us on Facebook - https://www.facebook.com/BronzeAndModernGods Follow us on Instagram - https://www.instagram.com/bronzeandmoderngods #comics #comicbooks #comiccollecting --- Support this podcast: https://podcasters.spotify.com/pod/show/bronzeandmoderngods/support

The Fellowship is pleased to present our first installment of Horror Month 2023, where we'll be discussing the sci-fi horror movies of the 1950s. First on the agenda is the 1956 classic Invasion of the Body Snatchers. Plus our usual random talk, geek news, and tangents

Try Whakoom free for iOS: https://apps.apple.com/app/id1203325014 or for Android: https://play.google.com/store/apps/details?id=com.whakoom.app New T-shirts & more are now available! http://tee.pub/lic/BAMG John & Richard dig into more of your Viewer Mail, including the appeal of DC Bronze Age Horror comics, more grading tips, and the origin of the Fantast Collection's name! Plus, the Old Fart Rule features the end of a decades-long horror anthology, and our Underrated Books of the Week include a Kirby-filled Marvel Romance title and our very first underrated webtoon! Bronze and Modern Gods is the channel dedicated to the Bronze, Copper and Modern Ages of comics and comic book collecting! Follow us on Facebook - https://www.facebook.com/BronzeAndModernGods Follow us on Instagram - https://www.instagram.com/bronzeandmoderngods #comics #comicbooks #comiccollecting --- Support this podcast: https://podcasters.spotify.com/pod/show/bronzeandmoderngods/support

Join Andrew Dunn and Chris Triebel as they discuss the newest series on Disney+: Ahsoka! Then stick around for a review of The Rocketeer: The Complete Adventures by Dave Stevens. It's kind of false advertising. There's only two adventures. SUBSCRIBE HERE: https://www.youtube.com/c/themedialunchbreak?sub_confirmation=1 BUY SOME MERCH: https://the-media-lunch-break.creator-spring.com Twitter: twitter.com/MediaLunchBreak Patreon: www.patreon.com/TheMediaLunchBreak Youtube: www.youtube.com/c/TheMediaLunchBreak Facebook: www.facebook.com/TheMediaLunchBreak Instagram: @TheMediaLunchBreak Or email us at: TheMediaLunchBreak@gmail.com Listen to and review us on Apple Podcasts, Spotify, and Google Podcasts! The Media Lunch Break on YouTube: www.youtube.com/c/themedialunchbreak Graphic art by: Melinda Filonuk - www.melgraphics.com www.etsy.com/shop/melgraphicscreations Eric Scotolati - https://twitter.com/ericscotolati

70mm Month Part Two kicks off with the co-host of the 70mm podcast, famous artist, Danny Haas. And we're joined by the director of the documentary Dave Stevens: Drawn to Perfection, Kelvin Mao. Kelvin's appearance is not a coincidence, because we're tackling Danny's favorite movie of all time, the 1930's action classic translation of Dave Stevens greatest work, The Rocketeer! Chapters Introduction (00:00:00) Hatch News (00:28:12) The Rocketeer Roundtable (00:15:42) Your Letters (01:49:53) Notes and Links Check out the BRAND NEW Escape Hatch Merch Drop! Our all new collection of swag is available now and every order includes a free Cameo style shoutout from Haitch or Jason. Browse our collection now. Join the Escape Hatch Discord Server! Hang out with Haitch, Jason, and other friends of the pod. Check out the invite here. Escape Hatch is a TAPEDECK Podcasts Jawn! Escape Hatch is a member of TAPEDECK Podcasts, alongside: 70mm (a podcast for film lovers), Bat & Spider (low rent horror and exploitation films), The Letterboxd Show (Official Podcast from Letterboxd), Cinenauts (exploring the Criterion Collection), Lost Light (Transformers, wrestling, and more), and Will Run For (obsessed with running). Check these pods out!. See the movies we've watched and are going to watch on Letterboxd Escape Hatch's Breaking Dune News Twitter list Rate and review the podcast to help others discover it, and let us know what you think of the show at letters@escapehatchpod.com or leave us a voicemail at +1-415-534-5211. Follow @escapehatchpod on Twitter and Instagram. Music by Scott Fritz and Who'z the Boss Music. Cover art by ctcher. Edited by Megan Hayward of EditAudio. Produced by Haitch. Escape Hatch is a production of Haitch Industries.

On today's episode, Editor in Chief Sarah Wheeler talks with Dave Stevens, CEO at Mountain Lake Consulting and former CEO of the Mortgage Bankers Association, about challenges in the MBS market and the GSEs' aggressive stance on loan repurchases.Related to this episode:Opinion: Who will buy the mortgages?Fannie and Freddie face dilemma in loan repurchasesHousingWire's YouTube ChannelEnjoy the episode!HousingWire Annual is where the community from across the housing ecosystem comes together to share strategies, drive business, discover new technologies, discuss best practices, and meet industry leaders. Our agenda is power packed with content to propel your company to the next level and connect you with the industry playmakers. Click here to learn more!The HousingWire Daily podcast examines the most compelling articles reported across HW Media. Each morning, we provide our listeners with a deeper look into the stories coming across our newsrooms that are helping Move Markets Forward. Hosted and produced by the HW Media team.

In the present podcast, we dive deep into the intriguing interplay between artificial intelligence and applied behavior analysis (ABA). In today's conversation, we're joined by a leading technologist Dave Stevens. We explore how A.I. might reshape the landscape of behavioral interventions. From tailored ABA programs powered by predictive algorithms to data-driven insights enhancing treatment plans, A.I. could amplify the precision and effectiveness of behavior analysis. We also discuss potential challenges and the exciting possibilities that arise when cutting-edge technology meets the science of behavior.   To earn CEUs for listening, click here, log in or sign up, pay the CEU fee, + take the attendance verification to generate your certificate! Don't forget to subscribe and follow and leave us a rating and review.   Show Notes References poe.com chat.openai.com AI is Creating Massive Entrepreneurial Opportunity w/ Emad Mostaque | #16 Moonshots and Mindsets

We're rounding off our 4th anniversary celebration of the "Events: Demystified" Podcast with the 3rd episode of our special mini-series! Join us on as we delve into the importance of Mental and Physical Fitness for everyone in the event industry, this episode is packed with all the tips that were shared during our last season, a great recap of invaluable insights and practical strategies if you haven't been able to tune into all the episodes. Don't miss our series wrap-up, where we'll reflect on the important of personal well-being. Looking forward to diving deeper with you all into this important topic! Mental & Physical Fitness for Small Business Owners Talk mentioned in this episode: https://youtu.be/5Vak5mfh5pY Other Podcast Episodes with the main focus being Mental & Physical Fitness: Demystifying Wellness at #IMEX Frankfurt '23: https://youtu.be/fmOGG-YSno4 108: Mental Fitness, Wellness, and the Digital AI Transformation: https://youtu.be/uYendBZEyRE 102: Wellness and Fitness Tips from the Fittest #eventprofs ft Dave Stevens: https://youtu.be/TISAARvrwr0 101: Starting the New Year as a Fit Wholesome New You #mentalandphysicalfitness: https://youtu.be/qBMqvKJpaIs Mental & Physical Fitness Sneak-Peeks: https://youtube.com/playlist?list=PLmG4lhDPrYBYZnM5xPqDEtEZfI6Rww94v ------------------------------ Join the #EventProfs Community via this link: ⁠⁠https://eventprofscommunity.com/?via=anca-trifan⁠⁠ ------------------------------ Follow us on LinkedIn, Facebook, Twitter, and Instagram to stay updated on the latest episodes and join the conversation. Connect with your Podcast Host at the links below: LinkedIn: https://www.linkedin.com/in/ancatrifan/ Instagram: https://www.instagram.com/treefan_events/ Tik-Tok: https://www.tiktok.com/@treefan.events Facebook: https://www.facebook.com/TreeFanEvents ------------------------------ ⁠⁠⁠⁠⁠“Events: demystified” Podcast⁠⁠⁠⁠⁠ is brought to you by ⁠⁠⁠⁠⁠Tree-Fan Events⁠⁠⁠⁠⁠ and your Podcast Host is ⁠⁠⁠⁠⁠Anca Trifan, CMP, DES. ⁠⁠⁠⁠⁠ Let's chat about your event, and schedule a time that works for you via the ⁠⁠⁠⁠⁠20 min free consultation link. ⁠⁠⁠⁠⁠ Original Podcast Music written and produced by ⁠⁠⁠⁠⁠Fable Score Music. ⁠⁠⁠⁠⁠ ---------------- For event and podcast updates, tips, and tricks of the trade, follow us on these social channels: Instagram: ⁠⁠https://www.instagram.com/eventsdemystifiedpodcast/⁠⁠⁠⁠⁠ Our YouTube channel: ⁠⁠⁠⁠⁠https://www.youtube.com/channel/UC2_hOoPp_DhYCvaH2SznPNw⁠⁠⁠ LinkedIn Page: ⁠⁠⁠https://www.linkedin.com/company/events-demystified-podcast/⁠⁠ --- Send in a voice message: https://podcasters.spotify.com/pod/show/eventsdemystified/message

“The nation is literally standing on the front doorstep of the largest wave of home buying demand in US history.” – Dave StevensWith so much sensational and conflicting information out there, it's no wonder people are confused about the changes happening in real estate today. In this episode, Brian talks to Dave Stevens, CEO of Mountain Lake Consulting and a 40-year veteran of the mortgage banking industry, and reveals the facts and strategies that professionals need if they want to succeed in this marketplace.YOU'LL LEARN:The real state of today's real estate industry. Dave Stevens' analysis of the market. How to finish the year strong and get ahead for 2024.MENTIONED IN THIS EPISODE:Dave StevensBuffini & Company Real Estate ReportLeadership ConferenceFree Business ConsultationFree Marketing ResourcesNOTEWORTHY QUOTES:“Every time the Fed starts raising rates, they always overshoot. They always create a recession, small or large. And then they drop rates shortly thereafter.” – Dave Stevens“Rates are coming down again; they aren't going to be up at this level much longer.” – Dave Stevens“You buy the home of your dreams when you can buy the home of your dreams, you rent the rate and then you refinance it when it comes down further.” – Dave Stevens“People need to not focus on the here and now because the here and now is an awkward technical environment brought on by the Federal Reserve trying to control an overheated economy.” – Dave Stevens“The future's looking bright and we can do well if we're a pro and approach it in the right way.” – Brian Buffini“If you want to be a winner, you've got to do what the winners do.” – Brian Buffini“If you want to participate in the rebound that's coming without it burning you to a crisp, you've got to become a listing agent.” – Brian Buffini“If you really want to be a pro, you have to act differently than your emotions. You also have to prepare differently than your current experiences.” – Brian Buffinihttps://www.itsagoodlife.com Hosted on Acast. See acast.com/privacy for more information.

Episode 166 of A History of Rock Music in Five Hundred Songs looks at “Crossroads", Cream, the myth of Robert Johnson, and whether white men can sing the blues. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-eight-minute bonus episode available, on “Tip-Toe Thru' the Tulips" by Tiny Tim. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I talk about an interview with Clapton from 1967, I meant 1968. I mention a Graham Bond live recording from 1953, and of course meant 1963. I say Paul Jones was on vocals in the Powerhouse sessions. Steve Winwood was on vocals, and Jones was on harmonica. Resources As I say at the end, the main resource you need to get if you enjoyed this episode is Brother Robert by Annye Anderson, Robert Johnson's stepsister. There are three Mixcloud mixes this time. As there are so many songs by Cream, Robert Johnson, John Mayall, and Graham Bond excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here -- one, two, three. This article on Mack McCormick gives a fuller explanation of the problems with his research and behaviour. The other books I used for the Robert Johnson sections were McCormick's Biography of a Phantom; Up Jumped the Devil: The Real Life of Robert Johnson, by Bruce Conforth and Gayle Dean Wardlow; Searching for Robert Johnson by Peter Guralnick; and Escaping the Delta by Elijah Wald. I can recommend all of these subject to the caveats at the end of the episode. The information on the history and prehistory of the Delta blues mostly comes from Before Elvis by Larry Birnbaum, with some coming from Charley Patton by John Fahey. The information on Cream comes mostly from Cream: How Eric Clapton Took the World by Storm by Dave Thompson. I also used Ginger Baker: Hellraiser by Ginger Baker and Ginette Baker, Mr Showbiz by Stephen Dando-Collins, Motherless Child by Paul Scott, and  Alexis Korner: The Biography by Harry Shapiro. The best collection of Cream's work is the four-CD set Those Were the Days, which contains every track the group ever released while they were together (though only the stereo mixes of the albums, and a couple of tracks are in slightly different edits from the originals). You can get Johnson's music on many budget compilation records, as it's in the public domain in the EU, but the double CD collection produced by Steve LaVere for Sony in 2011 is, despite the problems that come from it being associated with LaVere, far and away the best option -- the remasters have a clarity that's worlds ahead of even the 1990s CD version it replaced. And for a good single-CD introduction to the Delta blues musicians and songsters who were Johnson's peers and inspirations, Back to the Crossroads: The Roots of Robert Johnson, compiled by Elijah Wald as a companion to his book on Johnson, can't be beaten, and contains many of the tracks excerpted in this episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick note that this episode contains discussion of racism, drug addiction, and early death. There's also a brief mention of death in childbirth and infant mortality. It's been a while since we looked at the British blues movement, and at the blues in general, so some of you may find some of what follows familiar, as we're going to look at some things we've talked about previously, but from a different angle. In 1968, the Bonzo Dog Band, a comedy musical band that have been described as the missing link between the Beatles and the Monty Python team, released a track called "Can Blue Men Sing the Whites?": [Excerpt: The Bonzo Dog Band, "Can Blue Men Sing the Whites?"] That track was mocking a discussion that was very prominent in Britain's music magazines around that time. 1968 saw the rise of a *lot* of British bands who started out as blues bands, though many of them went on to different styles of music -- Fleetwood Mac, Ten Years After, Jethro Tull, Chicken Shack and others were all becoming popular among the kind of people who read the music magazines, and so the question was being asked -- can white men sing the blues? Of course, the answer to that question was obvious. After all, white men *invented* the blues. Before we get any further at all, I have to make clear that I do *not* mean that white people created blues music. But "the blues" as a category, and particularly the idea of it as a music made largely by solo male performers playing guitar... that was created and shaped by the actions of white male record executives. There is no consensus as to when or how the blues as a genre started -- as we often say in this podcast "there is no first anything", but like every genre it seems to have come from multiple sources. In the case of the blues, there's probably some influence from African music by way of field chants sung by enslaved people, possibly some influence from Arabic music as well, definitely some influence from the Irish and British folk songs that by the late nineteenth century were developing into what we now call country music, a lot from ragtime, and a lot of influence from vaudeville and minstrel songs -- which in turn themselves were all very influenced by all those other things. Probably the first published composition to show any real influence of the blues is from 1904, a ragtime piano piece by James Chapman and Leroy Smith, "One O' Them Things": [Excerpt: "One O' Them Things"] That's not very recognisable as a blues piece yet, but it is more-or-less a twelve-bar blues. But the blues developed, and it developed as a result of a series of commercial waves. The first of these came in 1914, with the success of W.C. Handy's "Memphis Blues", which when it was recorded by the Victor Military Band for a phonograph cylinder became what is generally considered the first blues record proper: [Excerpt: The Victor Military Band, "Memphis Blues"] The famous dancers Vernon and Irene Castle came up with a dance, the foxtrot -- which Vernon Castle later admitted was largely inspired by Black dancers -- to be danced to the "Memphis Blues", and the foxtrot soon overtook the tango, which the Castles had introduced to the US the previous year, to become the most popular dance in America for the best part of three decades. And with that came an explosion in blues in the Handy style, cranked out by every music publisher. While the blues was a style largely created by Black performers and writers, the segregated nature of the American music industry at the time meant that most vocal performances of these early blues that were captured on record were by white performers, Black vocalists at this time only rarely getting the chance to record. The first blues record with a Black vocalist is also technically the first British blues record. A group of Black musicians, apparently mostly American but led by a Jamaican pianist, played at Ciro's Club in London, and recorded many tracks in Britain, under a name which I'm not going to say in full -- it started with Ciro's Club, and continued alliteratively with another word starting with C, a slur for Black people. In 1917 they recorded a vocal version of "St. Louis Blues", another W.C. Handy composition: [Excerpt: Ciro's Club C**n Orchestra, "St. Louis Blues"] The first American Black blues vocal didn't come until two years later, when Bert Williams, a Black minstrel-show performer who like many Black performers of his era performed in blackface even though he was Black, recorded “I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,” [Excerpt: Bert Williams, "I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,”] But it wasn't until 1920 that the second, bigger, wave of popularity started for the blues, and this time it started with the first record of a Black *woman* singing the blues -- Mamie Smith's "Crazy Blues": [Excerpt: Mamie Smith, "Crazy Blues"] You can hear the difference between that and anything we've heard up to that point -- that's the first record that anyone from our perspective, a hundred and three years later, would listen to and say that it bore any resemblance to what we think of as the blues -- so much so that many places still credit it as the first ever blues record. And there's a reason for that. "Crazy Blues" was one of those records that separates the music industry into before and after, like "Rock Around the Clock", "I Want to Hold Your Hand", Sgt Pepper, or "Rapper's Delight". It sold seventy-five thousand copies in its first month -- a massive number by the standards of 1920 -- and purportedly went on to sell over a million copies. Sales figures and market analysis weren't really a thing in the same way in 1920, but even so it became very obvious that "Crazy Blues" was a big hit, and that unlike pretty much any other previous records, it was a big hit among Black listeners, which meant that there was a market for music aimed at Black people that was going untapped. Soon all the major record labels were setting up subsidiaries devoted to what they called "race music", music made by and for Black people. And this sees the birth of what is now known as "classic blues", but at the time (and for decades after) was just what people thought of when they thought of "the blues" as a genre. This was music primarily sung by female vaudeville artists backed by jazz bands, people like Ma Rainey (whose earliest recordings featured Louis Armstrong in her backing band): [Excerpt: Ma Rainey, "See See Rider Blues"] And Bessie Smith, the "Empress of the Blues", who had a massive career in the 1920s before the Great Depression caused many of these "race record" labels to fold, but who carried on performing well into the 1930s -- her last recording was in 1933, produced by John Hammond, with a backing band including Benny Goodman and Jack Teagarden: [Excerpt: Bessie Smith, "Give Me a Pigfoot and a Bottle of Beer"] It wouldn't be until several years after the boom started by Mamie Smith that any record companies turned to recording Black men singing the blues accompanied by guitar or banjo. The first record of this type is probably "Norfolk Blues" by Reese DuPree from 1924: [Excerpt: Reese DuPree, "Norfolk Blues"] And there were occasional other records of this type, like "Airy Man Blues" by Papa Charlie Jackson, who was advertised as the “only man living who sings, self-accompanied, for Blues records.” [Excerpt: Papa Charlie Jackson, "Airy Man Blues"] But contrary to the way these are seen today, at the time they weren't seen as being in some way "authentic", or "folk music". Indeed, there are many quotes from folk-music collectors of the time (sadly all of them using so many slurs that it's impossible for me to accurately quote them) saying that when people sang the blues, that wasn't authentic Black folk music at all but an adulteration from commercial music -- they'd clearly, according to these folk-music scholars, learned the blues style from records and sheet music rather than as part of an oral tradition. Most of these performers were people who recorded blues as part of a wider range of material, like Blind Blake, who recorded some blues music but whose best work was his ragtime guitar instrumentals: [Excerpt: Blind Blake, "Southern Rag"] But it was when Blind Lemon Jefferson started recording for Paramount records in 1926 that the image of the blues as we now think of it took shape. His first record, "Got the Blues", was a massive success: [Excerpt: Blind Lemon Jefferson, "Got the Blues"] And this resulted in many labels, especially Paramount, signing up pretty much every Black man with a guitar they could find in the hopes of finding another Blind Lemon Jefferson. But the thing is, this generation of people making blues records, and the generation that followed them, didn't think of themselves as "blues singers" or "bluesmen". They were songsters. Songsters were entertainers, and their job was to sing and play whatever the audiences would want to hear. That included the blues, of course, but it also included... well, every song anyone would want to hear.  They'd perform old folk songs, vaudeville songs, songs that they'd heard on the radio or the jukebox -- whatever the audience wanted. Robert Johnson, for example, was known to particularly love playing polka music, and also adored the records of Jimmie Rodgers, the first country music superstar. In 1941, when Alan Lomax first recorded Muddy Waters, he asked Waters what kind of songs he normally played in performances, and he was given a list that included "Home on the Range", Gene Autry's "I've Got Spurs That Jingle Jangle Jingle", and Glenn Miller's "Chattanooga Choo-Choo". We have few recordings of these people performing this kind of song though. One of the few we have is Big Bill Broonzy, who was just about the only artist of this type not to get pigeonholed as just a blues singer, even though blues is what made him famous, and who later in his career managed to record songs like the Tin Pan Alley standard "The Glory of Love": [Excerpt: Big Bill Broonzy, "The Glory of Love"] But for the most part, the image we have of the blues comes down to one man, Arthur Laibley, a sales manager for the Wisconsin Chair Company. The Wisconsin Chair Company was, as the name would suggest, a company that started out making wooden chairs, but it had branched out into other forms of wooden furniture -- including, for a brief time, large wooden phonographs. And, like several other manufacturers, like the Radio Corporation of America -- RCA -- and the Gramophone Company, which became EMI, they realised that if they were going to sell the hardware it made sense to sell the software as well, and had started up Paramount Records, which bought up a small label, Black Swan, and soon became the biggest manufacturer of records for the Black market, putting out roughly a quarter of all "race records" released between 1922 and 1932. At first, most of these were produced by a Black talent scout, J. Mayo Williams, who had been the first person to record Ma Rainey, Papa Charlie Jackson, and Blind Lemon Jefferson, but in 1927 Williams left Paramount, and the job of supervising sessions went to Arthur Laibley, though according to some sources a lot of the actual production work was done by Aletha Dickerson, Williams' former assistant, who was almost certainly the first Black woman to be what we would now think of as a record producer. Williams had been interested in recording all kinds of music by Black performers, but when Laibley got a solo Black man into the studio, what he wanted more than anything was for him to record the blues, ideally in a style as close as possible to that of Blind Lemon Jefferson. Laibley didn't have a very hands-on approach to recording -- indeed Paramount had very little concern about the quality of their product anyway, and Paramount's records are notorious for having been put out on poor-quality shellac and recorded badly -- and he only occasionally made actual suggestions as to what kind of songs his performers should write -- for example he asked Son House to write something that sounded like Blind Lemon Jefferson, which led to House writing and recording "Mississippi County Farm Blues", which steals the tune of Jefferson's "See That My Grave is Kept Clean": [Excerpt: Son House, "Mississippi County Farm Blues"] When Skip James wanted to record a cover of James Wiggins' "Forty-Four Blues", Laibley suggested that instead he should do a song about a different gun, and so James recorded "Twenty-Two Twenty Blues": [Excerpt: Skip James, "Twenty-Two Twenty Blues"] And Laibley also suggested that James write a song about the Depression, which led to one of the greatest blues records ever, "Hard Time Killing Floor Blues": [Excerpt: Skip James, "Hard Time Killing Floor Blues"] These musicians knew that they were getting paid only for issued sides, and that Laibley wanted only blues from them, and so that's what they gave him. Even when it was a performer like Charlie Patton. (Incidentally, for those reading this as a transcript rather than listening to it, Patton's name is more usually spelled ending in ey, but as far as I can tell ie was his preferred spelling and that's what I'm using). Charlie Patton was best known as an entertainer, first and foremost -- someone who would do song-and-dance routines, joke around, play guitar behind his head. He was a clown on stage, so much so that when Son House finally heard some of Patton's records, in the mid-sixties, decades after the fact, he was astonished that Patton could actually play well. Even though House had been in the room when some of the records were made, his memory of Patton was of someone who acted the fool on stage. That's definitely not the impression you get from the Charlie Patton on record: [Excerpt: Charlie Patton, "Poor Me"] Patton is, as far as can be discerned, the person who was most influential in creating the music that became called the "Delta blues". Not a lot is known about Patton's life, but he was almost certainly the half-brother of the Chatmon brothers, who made hundreds of records, most notably as members of the Mississippi Sheiks: [Excerpt: The Mississippi Sheiks, "Sitting on Top of the World"] In the 1890s, Patton's family moved to Sunflower County, Mississippi, and he lived in and around that county until his death in 1934. Patton learned to play guitar from a musician called Henry Sloan, and then Patton became a mentor figure to a *lot* of other musicians in and around the plantation on which his family lived. Some of the musicians who grew up in the immediate area around Patton included Tommy Johnson: [Excerpt: Tommy Johnson, "Big Road Blues"] Pops Staples: [Excerpt: The Staple Singers, "Will The Circle Be Unbroken"] Robert Johnson: [Excerpt: Robert Johnson, "Crossroads"] Willie Brown, a musician who didn't record much, but who played a lot with Patton, Son House, and Robert Johnson and who we just heard Johnson sing about: [Excerpt: Willie Brown, "M&O Blues"] And Chester Burnett, who went on to become known as Howlin' Wolf, and whose vocal style was equally inspired by Patton and by the country star Jimmie Rodgers: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] Once Patton started his own recording career for Paramount, he also started working as a talent scout for them, and it was him who brought Son House to Paramount. Soon after the Depression hit, Paramount stopped recording, and so from 1930 through 1934 Patton didn't make any records. He was tracked down by an A&R man in January 1934 and recorded one final session: [Excerpt, Charlie Patton, "34 Blues"] But he died of heart failure two months later. But his influence spread through his proteges, and they themselves influenced other musicians from the area who came along a little after, like Robert Lockwood and Muddy Waters. This music -- or that portion of it that was considered worth recording by white record producers, only a tiny, unrepresentative, portion of their vast performing repertoires -- became known as the Delta Blues, and when some of these musicians moved to Chicago and started performing with electric instruments, it became Chicago Blues. And as far as people like John Mayall in Britain were concerned, Delta and Chicago Blues *were* the blues: [Excerpt: John Mayall and the Bluesbreakers, "It Ain't Right"] John Mayall was one of the first of the British blues obsessives, and for a long time thought of himself as the only one. While we've looked before at the growth of the London blues scene, Mayall wasn't from London -- he was born in Macclesfield and grew up in Cheadle Hulme, both relatively well-off suburbs of Manchester, and after being conscripted and doing two years in the Army, he had become an art student at Manchester College of Art, what is now Manchester Metropolitan University. Mayall had been a blues fan from the late 1940s, writing off to the US to order records that hadn't been released in the UK, and by most accounts by the late fifties he'd put together the biggest blues collection in Britain by quite some way. Not only that, but he had one of the earliest home tape recorders, and every night he would record radio stations from Continental Europe which were broadcasting for American service personnel, so he'd amassed mountains of recordings, often unlabelled, of obscure blues records that nobody else in the UK knew about. He was also an accomplished pianist and guitar player, and in 1956 he and his drummer friend Peter Ward had put together a band called the Powerhouse Four (the other two members rotated on a regular basis) mostly to play lunchtime jazz sessions at the art college. Mayall also started putting on jam sessions at a youth club in Wythenshawe, where he met another drummer named Hughie Flint. Over the late fifties and into the early sixties, Mayall more or less by himself built up a small blues scene in Manchester. The Manchester blues scene was so enthusiastic, in fact, that when the American Folk Blues Festival, an annual European tour which initially featured Willie Dixon, Memhis Slim, T-Bone Walker, Sonny Terry & Brownie McGhee, and John Lee Hooker, first toured Europe, the only UK date it played was at the Manchester Free Trade Hall, and people like Mick Jagger, Keith Richards, Brian Jones and Jimmy Page had to travel up from London to see it. But still, the number of blues fans in Manchester, while proportionally large, was objectively small enough that Mayall was captivated by an article in Melody Maker which talked about Alexis Korner and Cyril Davies' new band Blues Incorporated and how it was playing electric blues, the same music he was making in Manchester. He later talked about how the article had made him think that maybe now people would know what he was talking about. He started travelling down to London to play gigs for the London blues scene, and inviting Korner up to Manchester to play shows there. Soon Mayall had moved down to London. Korner introduced Mayall to Davey Graham, the great folk guitarist, with whom Korner had recently recorded as a duo: [Excerpt: Alexis Korner and Davey Graham, "3/4 AD"] Mayall and Graham performed together as a duo for a while, but Graham was a natural solo artist if ever there was one. Slowly Mayall put a band together in London. On drums was his old friend Peter Ward, who'd moved down from Manchester with him. On bass was John McVie, who at the time knew nothing about blues -- he'd been playing in a Shadows-style instrumental group -- but Mayall gave him a stack of blues records to listen to to get the feeling. And on guitar was Bernie Watson, who had previously played with Screaming Lord Sutch and the Savages. In late 1963, Mike Vernon, a blues fan who had previously published a Yardbirds fanzine, got a job working for Decca records, and immediately started signing his favourite acts from the London blues circuit. The first act he signed was John Mayall and the Bluesbreakers, and they recorded a single, "Crawling up a Hill": [Excerpt: John Mayall and the Bluesbreakers, "Crawling up a Hill (45 version)"] Mayall later called that a "clumsy, half-witted attempt at autobiographical comment", and it sold only five hundred copies. It would be the only record the Bluesbreakers would make with Watson, who soon left the band to be replaced by Roger Dean (not the same Roger Dean who later went on to design prog rock album covers). The second group to be signed by Mike Vernon to Decca was the Graham Bond Organisation. We've talked about the Graham Bond Organisation in passing several times, but not for a while and not in any great detail, so it's worth pulling everything we've said about them so far together and going through it in a little more detail. The Graham Bond Organisation, like the Rolling Stones, grew out of Alexis Korner's Blues Incorporated. As we heard in the episode on "I Wanna Be Your Man" a couple of years ago, Blues Incorporated had been started by Alexis Korner and Cyril Davies, and at the time we're joining them in 1962 featured a drummer called Charlie Watts, a pianist called Dave Stevens, and saxophone player Dick Heckstall-Smith, as well as frequent guest performers like a singer who called himself Mike Jagger, and another one, Roderick Stewart. That group finally found themselves the perfect bass player when Dick Heckstall-Smith put together a one-off group of jazz players to play an event at Cambridge University. At the gig, a little Scottish man came up to the group and told them he played bass and asked if he could sit in. They told him to bring along his instrument to their second set, that night, and he did actually bring along a double bass. Their bluff having been called, they decided to play the most complicated, difficult, piece they knew in order to throw the kid off -- the drummer, a trad jazz player named Ginger Baker, didn't like performing with random sit-in guests -- but astonishingly he turned out to be really good. Heckstall-Smith took down the bass player's name and phone number and invited him to a jam session with Blues Incorporated. After that jam session, Jack Bruce quickly became the group's full-time bass player. Bruce had started out as a classical cellist, but had switched to the double bass inspired by Bach, who he referred to as "the guv'nor of all bass players". His playing up to this point had mostly been in trad jazz bands, and he knew nothing of the blues, but he quickly got the hang of the genre. Bruce's first show with Blues Incorporated was a BBC recording: [Excerpt: Blues Incorporated, "Hoochie Coochie Man (BBC session)"] According to at least one source it was not being asked to take part in that session that made young Mike Jagger decide there was no future for him with Blues Incorporated and to spend more time with his other group, the Rollin' Stones. Soon after, Charlie Watts would join him, for almost the opposite reason -- Watts didn't want to be in a band that was getting as big as Blues Incorporated were. They were starting to do more BBC sessions and get more gigs, and having to join the Musicians' Union. That seemed like a lot of work. Far better to join a band like the Rollin' Stones that wasn't going anywhere. Because of Watts' decision to give up on potential stardom to become a Rollin' Stone, they needed a new drummer, and luckily the best drummer on the scene was available. But then the best drummer on the scene was *always* available. Ginger Baker had first played with Dick Heckstall-Smith several years earlier, in a trad group called the Storyville Jazzmen. There Baker had become obsessed with the New Orleans jazz drummer Baby Dodds, who had played with Louis Armstrong in the 1920s. Sadly because of 1920s recording technology, he hadn't been able to play a full kit on the recordings with Armstrong, being limited to percussion on just a woodblock, but you can hear his drumming style much better in this version of "At the Jazz Band Ball" from 1947, with Mugsy Spanier, Jack Teagarden, Cyrus St. Clair and Hank Duncan: [Excerpt: "At the Jazz Band Ball"] Baker had taken Dobbs' style and run with it, and had quickly become known as the single best player, bar none, on the London jazz scene -- he'd become an accomplished player in multiple styles, and was also fluent in reading music and arranging. He'd also, though, become known as the single person on the entire scene who was most difficult to get along with. He resigned from his first band onstage, shouting "You can stick your band up your arse", after the band's leader had had enough of him incorporating bebop influences into their trad style. Another time, when touring with Diz Disley's band, he was dumped in Germany with no money and no way to get home, because the band were so sick of him. Sometimes this was because of his temper and his unwillingness to suffer fools -- and he saw everyone else he ever met as a fool -- and sometimes it was because of his own rigorous musical ideas. He wanted to play music *his* way, and wouldn't listen to anyone who told him different. Both of these things got worse after he fell under the influence of a man named Phil Seaman, one of the only drummers that Baker respected at all. Seaman introduced Baker to African drumming, and Baker started incorporating complex polyrhythms into his playing as a result. Seaman also though introduced Baker to heroin, and while being a heroin addict in the UK in the 1960s was not as difficult as it later became -- both heroin and cocaine were available on prescription to registered addicts, and Baker got both, which meant that many of the problems that come from criminalisation of these drugs didn't affect addicts in the same way -- but it still did not, by all accounts, make him an easier person to get along with. But he *was* a fantastic drummer. As Dick Heckstall-Smith said "With the advent of Ginger, the classic Blues Incorporated line-up, one which I think could not be bettered, was set" But Alexis Korner decided that the group could be bettered, and he had some backers within the band. One of the other bands on the scene was the Don Rendell Quintet, a group that played soul jazz -- that style of jazz that bridged modern jazz and R&B, the kind of music that Ray Charles and Herbie Hancock played: [Excerpt: The Don Rendell Quintet, "Manumission"] The Don Rendell Quintet included a fantastic multi-instrumentalist, Graham Bond, who doubled on keyboards and saxophone, and Bond had been playing occasional experimental gigs with the Johnny Burch Octet -- a group led by another member of the Rendell Quartet featuring Heckstall-Smith, Bruce, Baker, and a few other musicians, doing wholly-improvised music. Heckstall-Smith, Bruce, and Baker all enjoyed playing with Bond, and when Korner decided to bring him into the band, they were all very keen. But Cyril Davies, the co-leader of the band with Korner, was furious at the idea. Davies wanted to play strict Chicago and Delta blues, and had no truck with other forms of music like R&B and jazz. To his mind it was bad enough that they had a sax player. But the idea that they would bring in Bond, who played sax and... *Hammond* organ? Well, that was practically blasphemy. Davies quit the group at the mere suggestion. Bond was soon in the band, and he, Bruce, and Baker were playing together a *lot*. As well as performing with Blues Incorporated, they continued playing in the Johnny Burch Octet, and they also started performing as the Graham Bond Trio. Sometimes the Graham Bond Trio would be Blues Incorporated's opening act, and on more than one occasion the Graham Bond Trio, Blues Incorporated, and the Johnny Burch Octet all had gigs in different parts of London on the same night and they'd have to frantically get from one to the other. The Graham Bond Trio also had fans in Manchester, thanks to the local blues scene there and their connection with Blues Incorporated, and one night in February 1963 the trio played a gig there. They realised afterwards that by playing as a trio they'd made £70, when they were lucky to make £20 from a gig with Blues Incorporated or the Octet, because there were so many members in those bands. Bond wanted to make real money, and at the next rehearsal of Blues Incorporated he announced to Korner that he, Bruce, and Baker were quitting the band -- which was news to Bruce and Baker, who he hadn't bothered consulting. Baker, indeed, was in the toilet when the announcement was made and came out to find it a done deal. He was going to kick up a fuss and say he hadn't been consulted, but Korner's reaction sealed the deal. As Baker later said "‘he said “it's really good you're doing this thing with Graham, and I wish you the best of luck” and all that. And it was a bit difficult to turn round and say, “Well, I don't really want to leave the band, you know.”'" The Graham Bond Trio struggled at first to get the gigs they were expecting, but that started to change when in April 1963 they became the Graham Bond Quartet, with the addition of virtuoso guitarist John McLaughlin. The Quartet soon became one of the hottest bands on the London R&B scene, and when Duffy Power, a Larry Parnes teen idol who wanted to move into R&B, asked his record label to get him a good R&B band to back him on a Beatles cover, it was the Graham Bond Quartet who obliged: [Excerpt: Duffy Power, "I Saw Her Standing There"] The Quartet also backed Power on a package tour with other Parnes acts, but they were also still performing their own blend of hard jazz and blues, as can be heard in this recording of the group live in June 1953: [Excerpt: The Graham Bond Quartet, "Ho Ho Country Kicking Blues (Live at Klooks Kleek)"] But that lineup of the group didn't last very long. According to the way Baker told the story, he fired McLaughlin from the group, after being irritated by McLaughlin complaining about something on a day when Baker was out of cocaine and in no mood to hear anyone else's complaints. As Baker said "We lost a great guitar player and I lost a good friend." But the Trio soon became a Quartet again, as Dick Heckstall-Smith, who Baker had wanted in the band from the start, joined on saxophone to replace McLaughlin's guitar. But they were no longer called the Graham Bond Quartet. Partly because Heckstall-Smith joining allowed Bond to concentrate just on his keyboard playing, but one suspects partly to protect against any future lineup changes, the group were now The Graham Bond ORGANisation -- emphasis on the organ. The new lineup of the group got signed to Decca by Vernon, and were soon recording their first single, "Long Tall Shorty": [Excerpt: The Graham Bond Organisation, "Long Tall Shorty"] They recorded a few other songs which made their way onto an EP and an R&B compilation, and toured intensively in early 1964, as well as backing up Power on his follow-up to "I Saw Her Standing There", his version of "Parchman Farm": [Excerpt: Duffy Power, "Parchman Farm"] They also appeared in a film, just like the Beatles, though it was possibly not quite as artistically successful as "A Hard Day's Night": [Excerpt: Gonks Go Beat trailer] Gonks Go Beat is one of the most bizarre films of the sixties. It's a far-future remake of Romeo and Juliet. where the two star-crossed lovers are from opposing countries -- Beatland and Ballad Isle -- who only communicate once a year in an annual song contest which acts as their version of a war, and is overseen by "Mr. A&R", played by Frank Thornton, who would later star in Are You Being Served? Carry On star Kenneth Connor is sent by aliens to try to bring peace to the two warring countries, on pain of exile to Planet Gonk, a planet inhabited solely by Gonks (a kind of novelty toy for which there was a short-lived craze then). Along the way Connor encounters such luminaries of British light entertainment as Terry Scott and Arthur Mullard, as well as musical performances by Lulu, the Nashville Teens, and of course the Graham Bond Organisation, whose performance gets them a telling-off from a teacher: [Excerpt: Gonks Go Beat!] The group as a group only performed one song in this cinematic masterpiece, but Baker also made an appearance in a "drum battle" sequence where eight drummers played together: [Excerpt: Gonks Go Beat drum battle] The other drummers in that scene included, as well as some lesser-known players, Andy White who had played on the single version of "Love Me Do", Bobby Graham, who played on hits by the Kinks and the Dave Clark Five, and Ronnie Verrell, who did the drumming for Animal in the Muppet Show. Also in summer 1964, the group performed at the Fourth National Jazz & Blues Festival in Richmond -- the festival co-founded by Chris Barber that would evolve into the Reading Festival. The Yardbirds were on the bill, and at the end of their set they invited Bond, Baker, Bruce, Georgie Fame, and Mike Vernon onto the stage with them, making that the first time that Eric Clapton, Ginger Baker, and Jack Bruce were all on stage together. Soon after that, the Graham Bond Organisation got a new manager, Robert Stigwood. Things hadn't been working out for them at Decca, and Stigwood soon got the group signed to EMI, and became their producer as well. Their first single under Stigwood's management was a cover version of the theme tune to the Debbie Reynolds film "Tammy". While that film had given Tamla records its name, the song was hardly an R&B classic: [Excerpt: The Graham Bond Organisation, "Tammy"] That record didn't chart, but Stigwood put the group out on the road as part of the disastrous Chuck Berry tour we heard about in the episode on "All You Need is Love", which led to the bankruptcy of  Robert Stigwood Associates. The Organisation moved over to Stigwood's new company, the Robert Stigwood Organisation, and Stigwood continued to be the credited producer of their records, though after the "Tammy" disaster they decided they were going to take charge themselves of the actual music. Their first album, The Sound of 65, was recorded in a single three-hour session, and they mostly ran through their standard set -- a mixture of the same songs everyone else on the circuit was playing, like "Hoochie Coochie Man", "Got My Mojo Working", and "Wade in the Water", and originals like Bruce's "Train Time": [Excerpt: The Graham Bond Organisation, "Train Time"] Through 1965 they kept working. They released a non-album single, "Lease on Love", which is generally considered to be the first pop record to feature a Mellotron: [Excerpt: The Graham Bond Organisation, "Lease on Love"] and Bond and Baker also backed another Stigwood act, Winston G, on his debut single: [Excerpt: Winston G, "Please Don't Say"] But the group were developing severe tensions. Bruce and Baker had started out friendly, but by this time they hated each other. Bruce said he couldn't hear his own playing over Baker's loud drumming, Baker thought that Bruce was far too fussy a player and should try to play simpler lines. They'd both try to throw each other during performances, altering arrangements on the fly and playing things that would trip the other player up. And *neither* of them were particularly keen on Bond's new love of the Mellotron, which was all over their second album, giving it a distinctly proto-prog feel at times: [Excerpt: The Graham Bond Organisation, "Baby Can it Be True?"] Eventually at a gig in Golders Green, Baker started throwing drumsticks at Bruce's head while Bruce was trying to play a bass solo. Bruce retaliated by throwing his bass at Baker, and then jumping on him and starting a fistfight which had to be broken up by the venue security. Baker fired Bruce from the band, but Bruce kept turning up to gigs anyway, arguing that Baker had no right to sack him as it was a democracy. Baker always claimed that in fact Bond had wanted to sack Bruce but hadn't wanted to get his hands dirty, and insisted that Baker do it, but neither Bond nor Heckstall-Smith objected when Bruce turned up for the next couple of gigs. So Baker took matters into his own hands, He pulled out a knife and told Bruce "If you show up at one more gig, this is going in you." Within days, Bruce was playing with John Mayall, whose Bluesbreakers had gone through some lineup changes by this point. Roger Dean had only played with the Bluesbreakers for a short time before Mayall had replaced him. Mayall had not been impressed with Eric Clapton's playing with the Yardbirds at first -- even though graffiti saying "Clapton is God" was already starting to appear around London -- but he had been *very* impressed with Clapton's playing on "Got to Hurry", the B-side to "For Your Love": [Excerpt: The Yardbirds, "Got to Hurry"] When he discovered that Clapton had quit the band, he sprang into action and quickly recruited him to replace Dean. Clapton knew he had made the right choice when a month after he'd joined, the group got the word that Bob Dylan had been so impressed with Mayall's single "Crawling up a Hill" -- the one that nobody liked, not even Mayall himself -- that he wanted to jam with Mayall and his band in the studio. Clapton of course went along: [Excerpt: Bob Dylan and the Bluesbreakers, "If You Gotta Go, Go Now"] That was, of course, the session we've talked about in the Velvet Underground episode and elsewhere of which little other than that survives, and which Nico attended. At this point, Mayall didn't have a record contract, his experience recording with Mike Vernon having been no more successful than the Bond group's had been. But soon he got a one-off deal -- as a solo artist, not with the Bluesbreakers -- with Immediate Records. Clapton was the only member of the group to play on the single, which was produced by Immediate's house producer Jimmy Page: [Excerpt: John Mayall, "I'm Your Witchdoctor"] Page was impressed enough with Clapton's playing that he invited him round to Page's house to jam together. But what Clapton didn't know was that Page was taping their jam sessions, and that he handed those tapes over to Immediate Records -- whether he was forced to by his contract with the label or whether that had been his plan all along depends on whose story you believe, but Clapton never truly forgave him. Page and Clapton's guitar-only jams had overdubs by Bill Wyman, Ian Stewart, and drummer Chris Winter, and have been endlessly repackaged on blues compilations ever since: [Excerpt: Jimmy Page and Eric Clapton, "Draggin' My Tail"] But Mayall was having problems with John McVie, who had started to drink too much, and as soon as he found out that Jack Bruce was sacked by the Graham Bond Organisation, Mayall got in touch with Bruce and got him to join the band in McVie's place. Everyone was agreed that this lineup of the band -- Mayall, Clapton, Bruce, and Hughie Flint -- was going places: [Excerpt: John Mayall's Bluesbreakers with Jack Bruce, "Hoochie Coochie Man"] Unfortunately, it wasn't going to last long. Clapton, while he thought that Bruce was the greatest bass player he'd ever worked with, had other plans. He was going to leave the country and travel the world as a peripatetic busker. He was off on his travels, never to return. Luckily, Mayall had someone even better waiting in the wings. A young man had, according to Mayall, "kept coming down to all the gigs and saying, “Hey, what are you doing with him?” – referring to whichever guitarist was onstage that night – “I'm much better than he is. Why don't you let me play guitar for you?” He got really quite nasty about it, so finally, I let him sit in. And he was brilliant." Peter Green was probably the best blues guitarist in London at that time, but this lineup of the Bluesbreakers only lasted a handful of gigs -- Clapton discovered that busking in Greece wasn't as much fun as being called God in London, and came back very soon after he'd left. Mayall had told him that he could have his old job back when he got back, and so Green was out and Clapton was back in. And soon the Bluesbreakers' revolving door revolved again. Manfred Mann had just had a big hit with "If You Gotta Go, Go Now", the same song we heard Dylan playing earlier: [Excerpt: Manfred Mann, "If You Gotta Go, Go Now"] But their guitarist, Mike Vickers, had quit. Tom McGuinness, their bass player, had taken the opportunity to switch back to guitar -- the instrument he'd played in his first band with his friend Eric Clapton -- but that left them short a bass player. Manfred Mann were essentially the same kind of band as the Graham Bond Organisation -- a Hammond-led group of virtuoso multi-instrumentalists who played everything from hardcore Delta blues to complex modern jazz -- but unlike the Bond group they also had a string of massive pop hits, and so made a lot more money. The combination was irresistible to Bruce, and he joined the band just before they recorded an EP of jazz instrumental versions of recent hits: [Excerpt: Manfred Mann, "(I Can't Get No) Satisfaction"] Bruce had also been encouraged by Robert Stigwood to do a solo project, and so at the same time as he joined Manfred Mann, he also put out a solo single, "Drinkin' and Gamblin'" [Excerpt: Jack Bruce, "Drinkin' and Gamblin'"] But of course, the reason Bruce had joined Manfred Mann was that they were having pop hits as well as playing jazz, and soon they did just that, with Bruce playing on their number one hit "Pretty Flamingo": [Excerpt: Manfred Mann, "Pretty Flamingo"] So John McVie was back in the Bluesbreakers, promising to keep his drinking under control. Mike Vernon still thought that Mayall had potential, but the people at Decca didn't agree, so Vernon got Mayall and Clapton -- but not the other band members -- to record a single for a small indie label he ran as a side project: [Excerpt: John Mayall and Eric Clapton, "Bernard Jenkins"] That label normally only released records in print runs of ninety-nine copies, because once you hit a hundred copies you had to pay tax on them, but there was so much demand for that single that they ended up pressing up five hundred copies, making it the label's biggest seller ever. Vernon eventually convinced the heads at Decca that the Bluesbreakers could be truly big, and so he got the OK to record the album that would generally be considered the greatest British blues album of all time -- Blues Breakers, also known as the Beano album because of Clapton reading a copy of the British kids' comic The Beano in the group photo on the front. [Excerpt: John Mayall with Eric Clapton, "Ramblin' On My Mind"] The album was a mixture of originals by Mayall and the standard repertoire of every blues or R&B band on the circuit -- songs like "Parchman Farm" and "What'd I Say" -- but what made the album unique was Clapton's guitar tone. Much to the chagrin of Vernon, and of engineer Gus Dudgeon, Clapton insisted on playing at the same volume that he would on stage. Vernon later said of Dudgeon "I can remember seeing his face the very first time Clapton plugged into the Marshall stack and turned it up and started playing at the sort of volume he was going to play. You could almost see Gus's eyes meet over the middle of his nose, and it was almost like he was just going to fall over from the sheer power of it all. But after an enormous amount of fiddling around and moving amps around, we got a sound that worked." [Excerpt: John Mayall with Eric Clapton, "Hideaway"] But by the time the album cane out. Clapton was no longer with the Bluesbreakers. The Graham Bond Organisation had struggled on for a while after Bruce's departure. They brought in a trumpet player, Mike Falana, and even had a hit record -- or at least, the B-side of a hit record. The Who had just put out a hit single, "Substitute", on Robert Stigwood's record label, Reaction: [Excerpt: The Who, "Substitute"] But, as you'll hear in episode 183, they had moved to Reaction Records after a falling out with their previous label, and with Shel Talmy their previous producer. The problem was, when "Substitute" was released, it had as its B-side a song called "Circles" (also known as "Instant Party -- it's been released under both names). They'd recorded an earlier version of the song for Talmy, and just as "Substitute" was starting to chart, Talmy got an injunction against the record and it had to be pulled. Reaction couldn't afford to lose the big hit record they'd spent money promoting, so they needed to put it out with a new B-side. But the Who hadn't got any unreleased recordings. But the Graham Bond Organisation had, and indeed they had an unreleased *instrumental*. So "Waltz For a Pig" became the B-side to a top-five single, credited to The Who Orchestra: [Excerpt: The Who Orchestra, "Waltz For a Pig"] That record provided the catalyst for the formation of Cream, because Ginger Baker had written the song, and got £1,350 for it, which he used to buy a new car. Baker had, for some time, been wanting to get out of the Graham Bond Organisation. He was trying to get off heroin -- though he would make many efforts to get clean over the decades, with little success -- while Bond was starting to use it far more heavily, and was also using acid and getting heavily into mysticism, which Baker despised. Baker may have had the idea for what he did next from an article in one of the music papers. John Entwistle of the Who would often tell a story about an article in Melody Maker -- though I've not been able to track down the article itself to get the full details -- in which musicians were asked to name which of their peers they'd put into a "super-group". He didn't remember the full details, but he did remember that the consensus choice had had Eric Clapton on lead guitar, himself on bass, and Ginger Baker on drums. As he said later "I don't remember who else was voted in, but a few months later, the Cream came along, and I did wonder if somebody was maybe believing too much of their own press". Incidentally, like The Buffalo Springfield and The Pink Floyd, Cream, the band we are about to meet, had releases both with and without the definite article, and Eric Clapton at least seems always to talk about them as "the Cream" even decades later, but they're primarily known as just Cream these days. Baker, having had enough of the Bond group, decided to drive up to Oxford to see Clapton playing with the Bluesbreakers. Clapton invited him to sit in for a couple of songs, and by all accounts the band sounded far better than they had previously. Clapton and Baker could obviously play well together, and Baker offered Clapton a lift back to London in his new car, and on the drive back asked Clapton if he wanted to form a new band. Clapton was as impressed by Baker's financial skills as he was by his musicianship. He said later "Musicians didn't have cars. You all got in a van." Clearly a musician who was *actually driving a new car he owned* was going places. He agreed to Baker's plan. But of course they needed a bass player, and Clapton thought he had the perfect solution -- "What about Jack?" Clapton knew that Bruce had been a member of the Graham Bond Organisation, but didn't know why he'd left the band -- he wasn't particularly clued in to what the wider music scene was doing, and all he knew was that Bruce had played with both him and Baker, and that he was the best bass player he'd ever played with. And Bruce *was* arguably the best bass player in London at that point, and he was starting to pick up session work as well as his work with Manfred Mann. For example it's him playing on the theme tune to "After The Fox" with Peter Sellers, the Hollies, and the song's composer Burt Bacharach: [Excerpt: The Hollies with Peter Sellers, "After the Fox"] Clapton was insistent. Baker's idea was that the band should be the best musicians around. That meant they needed the *best* musicians around, not the second best. If Jack Bruce wasn't joining, Eric Clapton wasn't joining either. Baker very reluctantly agreed, and went round to see Bruce the next day -- according to Baker it was in a spirit of generosity and giving Bruce one more chance, while according to Bruce he came round to eat humble pie and beg for forgiveness. Either way, Bruce agreed to join the band. The three met up for a rehearsal at Baker's home, and immediately Bruce and Baker started fighting, but also immediately they realised that they were great at playing together -- so great that they named themselves the Cream, as they were the cream of musicians on the scene. They knew they had something, but they didn't know what. At first they considered making their performances into Dada projects, inspired by the early-twentieth-century art movement. They liked a band that had just started to make waves, the Bonzo Dog Doo-Dah Band -- who had originally been called the Bonzo Dog Dada Band -- and they bought some props with the vague idea of using them on stage in the same way the Bonzos did. But as they played together they realised that they needed to do something different from that. At first, they thought they needed a fourth member -- a keyboard player. Graham Bond's name was brought up, but Clapton vetoed him. Clapton wanted Steve Winwood, the keyboard player and vocalist with the Spencer Davis Group. Indeed, Winwood was present at what was originally intended to be the first recording session the trio would play. Joe Boyd had asked Eric Clapton to round up a bunch of players to record some filler tracks for an Elektra blues compilation, and Clapton had asked Bruce and Baker to join him, Paul Jones on vocals, Winwood on Hammond and Clapton's friend Ben Palmer on piano for the session. Indeed, given that none of the original trio were keen on singing, that Paul Jones was just about to leave Manfred Mann, and that we know Clapton wanted Winwood in the band, one has to wonder if Clapton at least half-intended for this to be the eventual lineup of the band. If he did, that plan was foiled by Baker's refusal to take part in the session. Instead, this one-off band, named The Powerhouse, featured Pete York, the drummer from the Spencer Davis Group, on the session, which produced the first recording of Clapton playing on the Robert Johnson song originally titled "Cross Road Blues" but now generally better known just as "Crossroads": [Excerpt: The Powerhouse, "Crossroads"] We talked about Robert Johnson a little back in episode ninety-seven, but other than Bob Dylan, who was inspired by his lyrics, we had seen very little influence from Johnson up to this point, but he's going to be a major influence on rock guitar for the next few years, so we should talk about him a little here. It's often said that nobody knew anything about Robert Johnson, that he was almost a phantom other than his records which existed outside of any context as artefacts of their own. That's... not really the case. Johnson had died a little less than thirty years earlier, at only twenty-seven years old. Most of his half-siblings and step-siblings were alive, as were his son, his stepson, and dozens of musicians he'd played with over the years, women he'd had affairs with, and other assorted friends and relatives. What people mean is that information about Johnson's life was not yet known by people they consider important -- which is to say white blues scholars and musicians. Indeed, almost everything people like that -- people like *me* -- know of the facts of Johnson's life has only become known to us in the last four years. If, as some people had expected, I'd started this series with an episode on Johnson, I'd have had to redo the whole thing because of the information that's made its way to the public since then. But here's what was known -- or thought -- by white blues scholars in 1966. Johnson was, according to them, a field hand from somewhere in Mississippi, who played the guitar in between working on the cotton fields. He had done two recording sessions, in 1936 and 1937. One song from his first session, "Terraplane Blues", had been a very minor hit by blues standards: [Excerpt: Robert Johnson, "Terraplane Blues"] That had sold well -- nobody knows how well, but maybe as many as ten thousand copies, and it was certainly a record people knew in 1937 if they liked the Delta blues, but ten thousand copies total is nowhere near the sales of really successful records, and none of the follow-ups had sold anything like that much -- many of them had sold in the hundreds rather than the thousands. As Elijah Wald, one of Johnson's biographers put it "knowing about Johnson and Muddy Waters but not about Leroy Carr or Dinah Washington was like knowing about, say, the Sir Douglas Quintet but not knowing about the Beatles" -- though *I* would add that the Sir Douglas Quintet were much bigger during the sixties than Johnson was during his lifetime. One of the few white people who had noticed Johnson's existence at all was John Hammond, and he'd written a brief review of Johnson's first two singles under a pseudonym in a Communist newspaper. I'm going to quote it here, but the word he used to talk about Black people was considered correct then but isn't now, so I'll substitute Black for that word: "Before closing we cannot help but call your attention to the greatest [Black] blues singer who has cropped up in recent years, Robert Johnson. Recording them in deepest Mississippi, Vocalion has certainly done right by us and by the tunes "Last Fair Deal Gone Down" and "Terraplane Blues", to name only two of the four sides already released, sung to his own guitar accompaniment. Johnson makes Leadbelly sound like an accomplished poseur" Hammond had tried to get Johnson to perform at the Spirituals to Swing concerts we talked about in the very first episodes of the podcast, but he'd discovered that he'd died shortly before. He got Big Bill Broonzy instead, and played a couple of Johnson's records from a record player on the stage. Hammond introduced those recordings with a speech: "It is tragic that an American audience could not have been found seven or eight years ago for a concert of this kind. Bessie Smith was still at the height of her career and Joe Smith, probably the greatest trumpet player America ever knew, would still have been around to play obbligatos for her...dozens of other artists could have been there in the flesh. But that audience as well as this one would not have been able to hear Robert Johnson sing and play the blues on his guitar, for at that time Johnson was just an unknown hand on a Robinsonville, Mississippi plantation. Robert Johnson was going to be the big surprise of the evening for this audience at Carnegie Hall. I know him only from his Vocalion blues records and from the tall, exciting tales the recording engineers and supervisors used to bring about him from the improvised studios in Dallas and San Antonio. I don't believe Johnson had ever worked as a professional musician anywhere, and it still knocks me over when I think of how lucky it is that a talent like his ever found its way onto phonograph records. We will have to be content with playing two of his records, the old "Walkin' Blues" and the new, unreleased, "Preachin' Blues", because Robert Johnson died last week at the precise moment when Vocalion scouts finally reached him and told him that he was booked to appear at Carnegie Hall on December 23. He was in his middle twenties and nobody seems to know what caused his death." And that was, for the most part, the end of Robert Johnson's impact on the culture for a generation. The Lomaxes went down to Clarksdale, Mississippi a couple of years later -- reports vary as to whether this was to see if they could find Johnson, who they were unaware was dead, or to find information out about him, and they did end up recording a young singer named Muddy Waters for the Library of Congress, including Waters' rendition of "32-20 Blues", Johnson's reworking of Skip James' "Twenty-Two Twenty Blues": [Excerpt: Muddy Waters, "32-20 Blues"] But Johnson's records remained unavailable after their initial release until 1959, when the blues scholar Samuel Charters published the book The Country Blues, which was the first book-length treatment ever of Delta blues. Sixteen years later Charters said "I shouldn't have written The Country Blues when I did; since I really didn't know enough, but I felt I couldn't afford to wait. So The Country Blues was two things. It was a romanticization of certain aspects of black life in an effort to force the white society to reconsider some of its racial attitudes, and on the other hand it was a cry for help. I wanted hundreds of people to go out and interview the surviving blues artists. I wanted people to record them and document their lives, their environment, and their music, not only so that their story would be preserved but also so they'd get a little money and a little recognition in their last years." Charters talked about Johnson in the book, as one of the performers who played "minor roles in the story of the blues", and said that almost nothing was known about his life. He talked about how he had been poisoned by his common-law wife, about how his records were recorded in a pool hall, and said "The finest of Robert Johnson's blues have a brooding sense of torment and despair. The blues has become a personified figure of despondency." Along with Charters' book came a compilation album of the same name, and that included the first ever reissue of one of Johnson's tracks, "Preaching Blues": [Excerpt: Robert Johnson, "Preaching Blues"] Two years later, John Hammond, who had remained an ardent fan of Johnson, had Columbia put out the King of the Delta Blues Singers album. At the time no white blues scholars knew what Johnson looked like and they had no photos of him, so a generic painting of a poor-looking Black man with a guitar was used for the cover. The liner note to King of the Delta Blues Singers talked about how Johnson was seventeen or eighteen when he made his recordings, how he was "dead before he reached his twenty-first birthday, poisoned by a jealous girlfriend", how he had "seldom, if ever, been away from the plantation in Robinsville, Mississippi, where he was born and raised", and how he had had such stage fright that when he was asked to play in front of other musicians, he'd turned to face a wall so he couldn't see them. And that would be all that any of the members of the Powerhouse would know about Johnson. Maybe they'd also heard the rumours that were starting to spread that Johnson had got his guitar-playing skills by selling his soul to the devil at a crossroads at midnight, but that would have been all they knew when they recorded their filler track for Elektra: [Excerpt: The Powerhouse, "Crossroads"] Either way, the Powerhouse lineup only lasted for that one session -- the group eventually decided that a simple trio would be best for the music they wanted to play. Clapton had seen Buddy Guy touring with just a bass player and drummer a year earlier, and had liked the idea of the freedom that gave him as a guitarist. The group soon took on Robert Stigwood as a manager, which caused more arguments between Bruce and Baker. Bruce was convinced that if they were doing an all-for-one one-for-all thing they should also manage themselves, but Baker pointed out that that was a daft idea when they could get one of the biggest managers in the country to look after them. A bigger argument, which almost killed the group before it started, happened when Baker told journalist Chris Welch of the Melody Maker about their plans. In an echo of the way that he and Bruce had been resigned from Blues Incorporated without being consulted, now with no discussion Manfred Mann and John Mayall were reading in the papers that their band members were quitting before those members had bothered to mention it. Mayall was furious, especially since the album Clapton had played on hadn't yet come out. Clapton was supposed to work a month's notice while Mayall found another guitarist, but Mayall spent two weeks begging Peter Green to rejoin the band. Green was less than eager -- after all, he'd been fired pretty much straight away earlier -- but Mayall eventually persuaded him. The second he did, Mayall turned round to Clapton and told him he didn't have to work the rest of his notice -- he'd found another guitar player and Clapton was fired: [Excerpt: John Mayall's Bluesbreakers, "Dust My Blues"] Manfred Mann meanwhile took on the Beatles' friend Klaus Voorman to replace Bruce. Voorman would remain with the band until the end, and like Green was for Mayall, Voorman was in some ways a better fit for Manfred Mann than Bruce was. In particular he could double on flute, as he did for example on their hit version of Bob Dylan's "The Mighty Quinn": [Excerpt: Manfred Mann "The Mighty Quinn"] The new group, The Cream, were of course signed in the UK to Stigwood's Reaction label. Other than the Who, who only stuck around for one album, Reaction was not a very successful label. Its biggest signing was a former keyboard player for Screaming Lord Sutch, who recorded for them under the names Paul Dean and Oscar, but who later became known as Paul Nicholas and had a successful career in musical theatre and sitcom. Nicholas never had any hits for Reaction, but he did release one interesting record, in 1967: [Excerpt: Oscar, "Over the Wall We Go"] That was one of the earliest songwriting attempts by a young man who had recently named himself David Bowie. Now the group were public, they started inviting journalists to their rehearsals, which were mostly spent trying to combine their disparate musical influences --

Author Ed Erdelac joins Perry this week to discuss the best of the 90s-era pulp hero adaptations—The Rocketeer! We discuss the origins, how well this film stands the test of time, its legacy, and posit some theories as to why it wasn't more popular when it came out.Visit Ed's Linktree for all his linksPatrons get to listen to ad-free episodes before everyone else and they also get access to my exclusive companion podcast, the Superhero Cinephiles Book Club. If you want to join in, please consider supporting us through Patreon!Want to tell us what you think? Have any questions or comments for Perry about superheroes in media or comics? Leave a voice message to play on the show. You can also apply to be a guest on the show.This episode is brought to you by BlendJet. Use my special link, zen.ai/supercinemapod12, to save 12% at blendjet.com. The discount will be applied at checkout!Facebook Twitter Instagram Contact

As the conversation continues between FNF's Chuck Cain and real estate and lending industry veteran Dave Stevens, the focus shifts from regulatory and compliance concerns to the bigger issues ahead. Affordability, or lack thereof, due to a significant shortage of housing inventory, will continue to pinch the housing market even as rates are expected to ease in the latter half of 2023. Stevens offers his take on what Uncle Sam needs to do- but don't count on anything happening anytime soon.

On today's episode, Editor in Chief Sarah Wheeler talks with Dave Stevens, CEO at Mountain Lake Consulting and former CEO of the Mortgage Bankers Association, about the recent LLPA changes and what he thinks the housing industry should be fighting for now that the DTI requirement has been pushed back.Related to this episode:Connect with Dave on LinkedInThe mortgage industry doesn't want the DTI LLPA fee delayed. They want it killedHousingWire's YouTube ChannelEnjoy the episode!Gathering of Eagles will bring together the nation's top residential real estate CEOs, Presidents, and C-Level leadership teams to grow, network, and set the pace for what's next in our industry. 2023's Gathering of Eagles is at Omni Barton Creek Resort in the rolling hill country of Austin, Texas from June 18-21. Click here to learn more and register your spot!The HousingWire Daily podcast examines the most compelling articles reported across HW Media. Each morning, we provide our listeners with a deeper look into the stories coming across our newsrooms that are helping Move Markets Forward. Hosted and produced by the HW Media team.

In the opening download of this riveting two-part conversation, FNF's Chuck Cain welcomes industry insider and veteran Dave Stevens for a candid take on the real estate industry. In his 40-year career, Stevens has seen and done it all, as a top loan originator, CEO of the Mortgage Bankers Association, and Federal Housing Commissioner. Stevens doesn't pull any punches when it comes to The Fed, mounting compliance concerns, and the real estate industry's slow adoption of technology. 

This week our featured films are the documentary Dave Stevens; Drawn To Perfection, the Shudder release A Wounded Fawn, and the Korean action thriller Hunt.Dave Stevens: Drawn To Perfection's Kickstarer ends on December 2. Timecode:(0:00) - Intro (12:47) - Hunt(22:48) - A Wounded Fawn(35:33) - Dave Stevens: Drawn To Perfection Trailer(37:40) - Review of Dave Stevens: Drawn To Perfection(50:40) - Down(59:31) -  What's in the Box - Super Fuzz(73:50) - Dave Stevens: Drawn To Perfection interview with director Kelvin Mao and editor Rob ChatlinAtty's Antiques is on Facebook MarketplaceCheck out Anderson and Mike Carano's Clever Kind Productions for your production needs!For the month of November, Anderson and Greg cover the year 1989. For access to our bonus episode, subscribe to our CinemAddicts Patreon.CinemAddicts Team Emails:1. Anderson Cowan: anderson@andersoncowan.com2. Bruce Purkey: brucepurkey@gmail.com3. Eric Holmes: hamslime@gmail.com4. Greg Srisavasdi: editor@deepestdream.comRate/review CinemAddicts on Apple Podcasts!HAVE A CHAT WITH ANDY HERELinks to the promised CCP shorts are below.THE COLD COCKLE SHORTSRULES OF REDUCTIONMORMOANTHE CULT OF CARANOSubscribe to my Anderson's Channel HereGROUPERS TRAILERPlease Give Groupers a Rotten Tomatoes Audience Score HerePlease Rate It on IMDB HereSupport the show