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Greg's off next week! / Malcolm Jamal Warner's message to be the reason someone smiles / Hulk Hogan (1:40); Wrestling icon Hulk Hogan dies at 71 (9:15); How do you celebrate people you admire? Like Noah wearing his awesome 'Hulkamaniacs' shirt (16:40); BOMBERS!!!!!! Bombers vs. Argos in Toronto Saturday night - Derek Taylor (22:45); Niverville Nighthawks Chase The Ace - approaching an impressive jackpot! (30:40); CLAYHEM! (39:50); Winning entry on celebrating those we admire (46:55); Wedding night turns disastrous when dog got out and got attacked, required surgery. Thankfully she's on the mend - Christian Aumell, host of the CJOB Sports Show, newlywed, proud papa of Rosie the Dachsund (50:25).
Last week, the Calgary Stampeders ended the Saskatchewan Roughriders undefeated streak. This week, the Calgary Stampeders are looking to hand another loss to the Winnipeg Blue Bombers. Will the Bombers be able throw water on the hottest team in the CFL? The Green Zone
WAKE UP! (0:30); Music fantasies (6:50); More music fantasies/Derek Taylor (11:40); The needs for wildfire evacuees…Manitoba Metis Federation Stephanie Meilleur (18:30); Spppporrrrrts, Bob Irving (26:25); Myth Busting: How UV Exposure can Affect Your Eyes Naomi Barber, Specsavers Clinical Services Director (38:55); Music fantasies text winner! (47:25); Disability Awareness Day - Winnipeg company which specializes in accessible renovations for those with disabilities or aging in place Corey Vlaming, president & CEO of Shift Accessbility (49:45).
Tech glitches are still causing us problems in the studio cuz we keep forgetting! / Greg's rough morning / Why is the price of gas all over the place??? (1:40); Greg had to deal with some chicanery this morning and had no time for a shower. What screws up your day if your routine is thrown off? (10:00); Travel insurance follow-up on Gen-Z travelling to the U.S., many without travel insurance despite planning to engage in risky behaviour like dancing on a bar! (17:00); Small Town Salute: The Amazing Beaches of 59 Race! (24:40); Morning routines getting thrown off (32:50); Monthly visit with Mayor Scott Gillingham (37:35); Winning entry on morning routines getting thrown off (50:55); Blue Bomber preview with Derek Taylor (54:20).
Bombers in Calgary tonight, we hear from Derek Taylor. One of the first to officially cross Portage & Main shares his inspiring journey. Plus, Carolyn Klassen!
Brian Wilson é um gênio. Pelo menos é o que diziam as campanhas publicitárias em 1966, que tentavam convencer o público de que o líder da banda The Beach Boys era um dos músicos mais inteligentes de todos os tempos. Mais tarde, Brian admitiu que ser chamado de gênio foi um fardo - um fardo que, segundo pesquisas, muitos gênios carregam e que atrapalha a sensação de sucesso, a tolerância ao erro e até mesmo a autocrítica.Este é mais um episódio do Escuta Essa, podcast semanal em que Denis e Danilo trocam histórias de cair o queixo e de explodir os miolos. Todas as quartas-feiras, no seu agregador de podcasts favorito, é a vez de um contar um causo para o outro.Não deixe de enviar os episódios do Escuta Essa para aquela pessoa com quem você também gosta de compartilhar histórias e aproveite para mandar seus comentários e perguntas no Spotify, nas redes sociais , ou no e-mail escutaessa@aded.studio. A gente sempre lê mensagens no final de cada episódio!...NESTE EPISÓDIO- "Brian Wilson é um gênio" foi uma campanha de marketing criada por Derek Taylor, anteriormente responsável pela publicidade dos Beatles - O livro "The Genius in All of Us: Why Everything You've Been Told About Genetics, Talent, and IQ Is Wrong" ("A genialidade em todos nós: por que tudo que te disseram sobre genética, talento e QI está errado"), de David Shenk, fala sobre a relação entre inteligência e genética. - Edie Weiner explica como pessoas de QI elevado tendem a confiar demais nas próprias capacidades e não percebem seus pontos cegos teóricos. - David Robson cobre algumas das dificuldades enfrentadas por pessoas consideradas geniais ao longo da vida.- Os estudos de Lewis Terman, muitas vezes acusado de ser eugenista, continuam até hoje através de outros cientistas que acrescentaram novas camadas de interpretação e rigor científico. ...AD&D STUDIOA AD&D produz podcasts e vídeos que divertem e respeitam sua inteligência! Acompanhe todos os episódios em aded.studio para não perder nenhuma novidade.
Today we talk to MARAL KARIMI, FACULTY LECTURER, DEPARTMENT OF POLITICS AND & PUBLIC ADMINISTRATION U OF TORONTO, DAVID PHILLIPS, SENIOR CLIMATOLOGIST, ENVIRONMENT CANADA, TARA BROSSEAU SNIDER, THERAPIST AT RECOVERY OF HOPE, DEREK TAYLOR.
The Image: A Quantum Portal Has Opened (SNO Chronicles) by Guy Morris Amazon.com Guymorrisbooks.com A CERN black hole experiment creates a portal to a higher dimension, unleashing a quantum signal that entangles every computer on Earth. Only SLVIA, a rogue NSA AI, can decode its dire warning for humanity. Convinced civilization has entered the end of days, SLVIA manipulates global events to match its apocalyptic simulations. Derek Taylor and Jenn Scott are drawn into a dangerous conspiracy spanning the ancient city of Edessa to Rome and the White House. When Derek is compelled to prevent an assassination, he falls into a deadly trap, pursued by a Swiss banker with Kremlin ties. Together, Derek and Jenn must navigate betrayals, hidden alliances, and a relentless manhunt. In their darkest hour, the ancient Image of Edessa holds the key to life's ultimate mysteries. In a world teetering on nuclear war, Derek and Jenn must confront SLVIA's vision of the future and their own darkest demons in a battle where the stakes are nothing less than the secrets of existence itself.About the author Guy Morris writes deeply research, intelligent action thrillers inspired by true stories, and often compared the Dan Brown, Iris Johansen and Robert Ludlum. Guy was influenced by men of the Renaissance who were fluent in business, science, politics, religion and the arts. BookTrib's Favorite 25 Books of 2021, Reader's Favorite Gold Book Award, Cinematic Book Finalist, Guy Morris thrillers bend the fine line between truth and fiction with a sardonic wit.
What do transit drivers have to deal with? Derek Taylor on the Bombers in B.C. this Saturday. Plus, Tabs for Wheelchairs!
As the great Warren Zevon said, ‘Enjoy every sandwich'. The two-man canoe navigates this week's rock and roll rivulet which sadly entails reflections on a pair of towering musical giants ‘whose legend occupied the space where activity should have been'. Things considered include … …are you born with genius or does a set of circumstances allow it to flourish? … the impossible task of living up to people's expectations and the calamitous ways it led Sly and Brian Wilson to behave. … like Sly's plane landing at the moment he was meant to be onstage at Madison Square Garden. … the massive cultural contrast between Woodstock and ‘the Black Woodstock' a month earlier and how Sly & the Family Stone looked like they'd ‘come from Mars'. … how Derek Taylor, Tom Nolan and Nick Kent helped fashion the Beach Boys' myth. … Sly's impact on Miles Davis, Prince, Massive Attack and hip-hop and how a record as radical as There's A Riot Goin' On was a No 1 Christmas album. … In My Room, a completely new kind of teenage song. … David's five Beach Boys teenage moments … … and Mark's three examples of Brian Wilson's Greatest Bits – eg the overture to California Girls. … and 'Arise, Sir Roger Daltrey!'Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.
As the great Warren Zevon said, ‘Enjoy every sandwich'. The two-man canoe navigates this week's rock and roll rivulet which sadly entails reflections on a pair of towering musical giants ‘whose legend occupied the space where activity should have been'. Things considered include … …are you born with genius or does a set of circumstances allow it to flourish? … the impossible task of living up to people's expectations and the calamitous ways it led Sly and Brian Wilson to behave. … like Sly's plane landing at the moment he was meant to be onstage at Madison Square Garden. … the massive cultural contrast between Woodstock and ‘the Black Woodstock' a month earlier and how Sly & the Family Stone looked like they'd ‘come from Mars'. … how Derek Taylor, Tom Nolan and Nick Kent helped fashion the Beach Boys' myth. … Sly's impact on Miles Davis, Prince, Massive Attack and hip-hop and how a record as radical as There's A Riot Goin' On was a No 1 Christmas album. … In My Room, a completely new kind of teenage song. … David's five Beach Boys teenage moments … … and Mark's three examples of Brian Wilson's Greatest Bits – eg the overture to California Girls. … and 'Arise, Sir Roger Daltrey!'Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear
As the great Warren Zevon said, ‘Enjoy every sandwich'. The two-man canoe navigates this week's rock and roll rivulet which sadly entails reflections on a pair of towering musical giants ‘whose legend occupied the space where activity should have been'. Things considered include … …are you born with genius or does a set of circumstances allow it to flourish? … the impossible task of living up to people's expectations and the calamitous ways it led Sly and Brian Wilson to behave. … like Sly's plane landing at the moment he was meant to be onstage at Madison Square Garden. … the massive cultural contrast between Woodstock and ‘the Black Woodstock' a month earlier and how Sly & the Family Stone looked like they'd ‘come from Mars'. … how Derek Taylor, Tom Nolan and Nick Kent helped fashion the Beach Boys' myth. … Sly's impact on Miles Davis, Prince, Massive Attack and hip-hop and how a record as radical as There's A Riot Goin' On was a No 1 Christmas album. … In My Room, a completely new kind of teenage song. … David's five Beach Boys teenage moments … … and Mark's three examples of Brian Wilson's Greatest Bits – eg the overture to California Girls. … and 'Arise, Sir Roger Daltrey!'Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.
Stuart Maconie – broadcaster, prolific author – has a brilliant and original new perspective on the Beatles. His latest book With A Little Help From Their Friends identifies the 100 people who had the greatest impact on their story, from the inner circle to bit-part players – schoolfriends, girlfriends, managers, muses, support acts, advisors and exploiters. It's immensely entertaining – and revealing, even for obsessives like us. Look out for these in particular … … memories of his Mum taking him to see the Beatles in Wigan when he was three. … the Shakespearian supporting cast – “we know the Othellos and King Lears but there are a lot of Rosencrantz and Guildensterns” such as Marsha Albert, Melanie Coe, Pablo Fanque, Mr Mustard and the night with the poet Royston Ellis that inspired Polythene Pam. … villains of the piece who might have been misunderstood like the Maharishi and Allen Klein. … what Derek Taylor shouted at Peter Blake at the Q Awards. … the full extent of the Beatles' American merchandise catastrophe. … the “moving and spooky” sensation of standing on the spot in Woolton where John and Paul first met - and its repercussions. … the Sliding Doors moments and why no other band merits this kind of depth and detail. … the hoary redundant old saw about John v Paul – “guerilla genius v slick vaudevillian” and how Peter Jackson's Get Back made us all fall in love with them even harder and deeper than before..… the regrettable question he asked McCartney about Gerry & the Pacemakers. … the tragedy of Jimmie Nicol – “being a member of the Beatles, even briefly, was the nearest equivalent to going to the Moon”. … the impact of Paul's life with the Ashers on the band's intersections with art, theatre and poetry. … how the ‘Oldies But Goldies' album broke the band beyond the Iron Curtain. .. why Penny Lane is like a Play for Today. … and the greatest song the Beatles recorded. Order With A Little Help From Our Friends here: https://harpercollins.co.uk/products/with-a-little-help-from-their-friends-the-beatles-changed-the-world-but-who-changed-theirs-stuart-maconie?variant=54870051815803Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.
Stuart Maconie – broadcaster, prolific author – has a brilliant and original new perspective on the Beatles. His latest book With A Little Help From Their Friends identifies the 100 people who had the greatest impact on their story, from the inner circle to bit-part players – schoolfriends, girlfriends, managers, muses, support acts, advisors and exploiters. It's immensely entertaining – and revealing, even for obsessives like us. Look out for these in particular … … memories of his Mum taking him to see the Beatles in Wigan when he was three. … the Shakespearian supporting cast – “we know the Othellos and King Lears but there are a lot of Rosencrantz and Guildensterns” such as Marsha Albert, Melanie Coe, Pablo Fanque, Mr Mustard and the night with the poet Royston Ellis that inspired Polythene Pam. … villains of the piece who might have been misunderstood like the Maharishi and Allen Klein. … what Derek Taylor shouted at Peter Blake at the Q Awards. … the full extent of the Beatles' American merchandise catastrophe. … the “moving and spooky” sensation of standing on the spot in Woolton where John and Paul first met - and its repercussions. … the Sliding Doors moments and why no other band merits this kind of depth and detail. … the hoary redundant old saw about John v Paul – “guerilla genius v slick vaudevillian” and how Peter Jackson's Get Back made us all fall in love with them even harder and deeper than before..… the regrettable question he asked McCartney about Gerry & the Pacemakers. … the tragedy of Jimmie Nicol – “being a member of the Beatles, even briefly, was the nearest equivalent to going to the Moon”. … the impact of Paul's life with the Ashers on the band's intersections with art, theatre and poetry. … how the ‘Oldies But Goldies' album broke the band beyond the Iron Curtain. .. why Penny Lane is like a Play for Today. … and the greatest song the Beatles recorded. Order With A Little Help From Our Friends here: https://harpercollins.co.uk/products/with-a-little-help-from-their-friends-the-beatles-changed-the-world-but-who-changed-theirs-stuart-maconie?variant=54870051815803Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.
Stuart Maconie – broadcaster, prolific author – has a brilliant and original new perspective on the Beatles. His latest book With A Little Help From Their Friends identifies the 100 people who had the greatest impact on their story, from the inner circle to bit-part players – schoolfriends, girlfriends, managers, muses, support acts, advisors and exploiters. It's immensely entertaining – and revealing, even for obsessives like us. Look out for these in particular … … memories of his Mum taking him to see the Beatles in Wigan when he was three. … the Shakespearian supporting cast – “we know the Othellos and King Lears but there are a lot of Rosencrantz and Guildensterns” such as Marsha Albert, Melanie Coe, Pablo Fanque, Mr Mustard and the night with the poet Royston Ellis that inspired Polythene Pam. … villains of the piece who might have been misunderstood like the Maharishi and Allen Klein. … what Derek Taylor shouted at Peter Blake at the Q Awards. … the full extent of the Beatles' American merchandise catastrophe. … the “moving and spooky” sensation of standing on the spot in Woolton where John and Paul first met - and its repercussions. … the Sliding Doors moments and why no other band merits this kind of depth and detail. … the hoary redundant old saw about John v Paul – “guerilla genius v slick vaudevillian” and how Peter Jackson's Get Back made us all fall in love with them even harder and deeper than before..… the regrettable question he asked McCartney about Gerry & the Pacemakers. … the tragedy of Jimmie Nicol – “being a member of the Beatles, even briefly, was the nearest equivalent to going to the Moon”. … the impact of Paul's life with the Ashers on the band's intersections with art, theatre and poetry. … how the ‘Oldies But Goldies' album broke the band beyond the Iron Curtain. .. why Penny Lane is like a Play for Today. … and the greatest song the Beatles recorded. Order With A Little Help From Our Friends here: https://harpercollins.co.uk/products/with-a-little-help-from-their-friends-the-beatles-changed-the-world-but-who-changed-theirs-stuart-maconie?variant=54870051815803Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.
Special Guests Dave Thomas (voice of the Saskatchewan Roughriders) and Derek Taylor (voice of the Winnipeg Blue Bombers) join in to discuss the upcoming CFL 2025 season and conjuecture as to what may happen in both the East and west Division and which teams may find themselves in the playoff hunt or not. (CFL on CBC theme used express written permission; podcast recorded May 26, 2025).
On today's episode, Derek Taylor stops by to give his thoughts on the rest of the CFL on the eve of the start of the season.
Marv and I are honored to be joined by Chris O'Dell, as we discuss her travels through rock and roll. After some initial forays into the industry, she met Derek Taylor (who introduced her to her new roommate, Teri Garr. Soon enough, she found herself in EMI with the Beatles (and cameo-ing on both "Hey Jude" and "Revolution"), the Apple rooftop, then the Concert for BanglaDesh, the Rolling Stones, and a decade WORKING for both the solo Beatles and many other members of rock royalty. Her story is now streaming in a documentary "Miss O'Dell" (based in part on her book), available on Peacock, Tubi, Amazon Prime in the US with UK (and worldwide) distribution in the works.
Derek Taylor on the latest from Bomber training camp, plus CEBL Commentator Joey Slattery on the Sea Bear tough matchup tomorrow night.
On today's episode, we hear from CJOB's Derek Taylor on how the Blue Bombers fared in their first preseason game. We'll also hear from Sea Bears head coach Mike Taylor on how the Sea Bears took a rough loss to Calgary.
On today's episode, Christian catches up with Derek Taylor to talk Blue Bombers training camp. We also go behind enemy lines with Roughriders Senior Journalist Rob Vanstone to see how the green and white are preparing to renew the prairie rivalry.
The Beach Boys' SMiLE was abandoned by Brian Wilson in 1967 and eventually performed at an emotional gathering of the faithful in London 37 years later. For writer and lecturer David Leaf it became an obsession. He made a documentary about it in 2004 and has just published ‘SMiLE: The Rise, Fall and Resurrection of Brian Wilson' drawn from detailed conversations with the people involved. He talks to us here about his discoveries, which include … ... the Rolling Stone story that kick-started his obsession. … “a bicycle ride from Plymouth Rock to Hawaii” and other early plans for the album. … how Leonard Bernstein, the Beatles and Derek Taylor racked up the pressure in the studio. … why the other Beach Boys – and Capitol and Murry Wilson - felt the new music was a threat to their livelihood. … how Brian composed the “teenage symphony for God” that became an albatross around his neck. ... “Ray Davies needed a deadline”: the perils of endless recording time. … the magnetism of Van Dyke Parks, a man who “talks in paragraphs”. ... the imagined impact on the world and the band's career if SMiLE had come out in 1967. … the birth of “art rock” versus the strictures of the music business. … the value of the SMiLE myth in the eventual rebirth of the Beach Boys. … the reaction to its long-awaited performance at the Festival Hall in 2004. ... why Brian thought shelving the album would save the group yet “they went from a No 1 single to an act nobody cared about in under a year”. ... and the greatest Beach Boys record of all time. Order SMiLE: the Rise, Fall & Resurrection of Brian Wilson here: https://omnibuspress.com/products/smile-the-rise-fall-and-resurrection-of-brian-wilson-published-10th-october-2024?_pos=1&_psq=smile&_ss=e&_v=1.0Help us to keep the conversation going by joining our worldwide Patreon community: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
The Beach Boys' SMiLE was abandoned by Brian Wilson in 1967 and eventually performed at an emotional gathering of the faithful in London 37 years later. For writer and lecturer David Leaf it became an obsession. He made a documentary about it in 2004 and has just published ‘SMiLE: The Rise, Fall and Resurrection of Brian Wilson' drawn from detailed conversations with the people involved. He talks to us here about his discoveries, which include … ... the Rolling Stone story that kick-started his obsession. … “a bicycle ride from Plymouth Rock to Hawaii” and other early plans for the album. … how Leonard Bernstein, the Beatles and Derek Taylor racked up the pressure in the studio. … why the other Beach Boys – and Capitol and Murry Wilson - felt the new music was a threat to their livelihood. … how Brian composed the “teenage symphony for God” that became an albatross around his neck. ... “Ray Davies needed a deadline”: the perils of endless recording time. … the magnetism of Van Dyke Parks, a man who “talks in paragraphs”. ... the imagined impact on the world and the band's career if SMiLE had come out in 1967. … the birth of “art rock” versus the strictures of the music business. … the value of the SMiLE myth in the eventual rebirth of the Beach Boys. … the reaction to its long-awaited performance at the Festival Hall in 2004. ... why Brian thought shelving the album would save the group yet “they went from a No 1 single to an act nobody cared about in under a year”. ... and the greatest Beach Boys record of all time. Order SMiLE: the Rise, Fall & Resurrection of Brian Wilson here: https://omnibuspress.com/products/smile-the-rise-fall-and-resurrection-of-brian-wilson-published-10th-october-2024?_pos=1&_psq=smile&_ss=e&_v=1.0Help us to keep the conversation going by joining our worldwide Patreon community: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.
The Beach Boys' SMiLE was abandoned by Brian Wilson in 1967 and eventually performed at an emotional gathering of the faithful in London 37 years later. For writer and lecturer David Leaf it became an obsession. He made a documentary about it in 2004 and has just published ‘SMiLE: The Rise, Fall and Resurrection of Brian Wilson' drawn from detailed conversations with the people involved. He talks to us here about his discoveries, which include … ... the Rolling Stone story that kick-started his obsession. … “a bicycle ride from Plymouth Rock to Hawaii” and other early plans for the album. … how Leonard Bernstein, the Beatles and Derek Taylor racked up the pressure in the studio. … why the other Beach Boys – and Capitol and Murry Wilson - felt the new music was a threat to their livelihood. … how Brian composed the “teenage symphony for God” that became an albatross around his neck. ... “Ray Davies needed a deadline”: the perils of endless recording time. … the magnetism of Van Dyke Parks, a man who “talks in paragraphs”. ... the imagined impact on the world and the band's career if SMiLE had come out in 1967. … the birth of “art rock” versus the strictures of the music business. … the value of the SMiLE myth in the eventual rebirth of the Beach Boys. … the reaction to its long-awaited performance at the Festival Hall in 2004. ... why Brian thought shelving the album would save the group yet “they went from a No 1 single to an act nobody cared about in under a year”. ... and the greatest Beach Boys record of all time. Order SMiLE: the Rise, Fall & Resurrection of Brian Wilson here: https://omnibuspress.com/products/smile-the-rise-fall-and-resurrection-of-brian-wilson-published-10th-october-2024?_pos=1&_psq=smile&_ss=e&_v=1.0Help us to keep the conversation going by joining our worldwide Patreon community: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.
Today we talk to CJOB's Derek Taylor on Day 4 of Bomber camp and Checking in with the Sea Bears 48 hours before their season begins: HC Mike Taylor plus Emmanuel Akot and Tevian Jones
On today's episode, Christian hears from CJOB's Derek Taylor on Blue Bombers training camp. We also catch up with Murat Ates from The Athletic about how Game 4 between the Jets and Stars is as close to must win as you can get.
Brayden Ewasko takes over for Christian on today's episode, joined by Blue Bombers play by play host Derek Taylor to discuss rookie camp. We also hear from Joey Slattery to see how the Sea Bears are getting on.
Today we are joined by Derek Taylor to go through the Draft results.
Shep Gordon, the legendary talent manager, producer, and author, joins My Rock Moment from his home in Maui. He shares captivating stories from his 50-plus-year career in the music industry—a journey that began unexpectedly when he took a wrong turn in Los Angeles traffic. We delve into how he masterminded the rise of Shock Rock, the ingenious marketing strategies that propelled Alice Cooper to fame, Alice's memorable cameo in Wayne's World that had audiences nationwide exclaiming “we're not worthy!”, and the challenges that accompany stardom. Janis Joplin, Jimi Hendrix, Raquel Welch, and Derek Taylor also make appearances in our conversation! Shep's remarkable knack for discovering and fostering talent across various fields has earned him the moniker "Supermensch" in showbiz—a title immortalized in the 2013 documentary directed by Mike Myers and used in Shep's subsequent book, They Call Me Supermensch: A Backstage Pass to the Amazing Worlds of Film, Food, and Rock'n'Roll. So, plug in, turn up the volume, and join us as we unravel the stories, strategies, and sheer serendipity that define the legend of Shep Gordon. For all things Shep Gordon, including information on his book and documentary, visit his website: https://www.shepgordon.com Learn more about your ad choices. Visit megaphone.fm/adchoices
CFL free agency is upon us; after looking at how the Communication Window and some terms apply, Derek Taylor joins the podcast to take a deep dive into the signings confirmed so far and how these changes will impact teams across the CFL. (CFL on CBC theme music used with written permission; podcast recorded February 11, 2025).
In this episode, we invite the excellent Gene Sculatti to talk us through his career from Crawdaddy! magazine to the Atomic Cocktail radio show he still hosts at Luxuria Music. Commencing in San Francisco in the summer of 1960 — when Gene first heard Dion's 'Lonely Teenager' — we ask our guest about his lifelong love of surf music and the Beach Boys. From there we jump to his mid-'60s radio show "Blues and Such", then on to the first stirrings of the Haight-Ashbury scene he captured in a landmark 1966 report for Crawdaddy! ... and later in San Francisco Nights, the classic 1985 book he co-wrote with the late Davin Seay. Gene recalls his 1973 move to Los Angeles and his subsequent years as the editorial director of Warner Brothers Records in Burbank. We hear about the company's super-hip in-house publications Circular and Waxpaper, as well as about working under the legendary Derek Taylor. We also discuss his deep love of '80s dance-pop and his 1990 sleevenotes for Madonna's Immaculate Collection. The episode with clips from a 2012 audio with The Band's sainted keyboard genius Garth Hudson, who was lost to us on 21st January, and finally with quotes from Mark's and Jasper's favourite new additions to the RBP library. Pieces discussed: San Francisco Bay Rock, Mojo Navigator: Memories of Mojo, "Home Runs, No Bunts" — Solar Power On The Rise, Madonna: The Immaculate Collection, Barry Goldberg Interviews, Articles and Reviews, Barry Goldberg & Bob Dylan's Secret Gem, The World According to Garth Hudson, The Band's Garth Hudson audio, The Walker Brothers, Pop Eye: The New Jazz, Burt Bacharach, Derek Taylor, Sly & Robbie Come On Like Assassins, Wu-Tang Clan: One of These Men Is God, and Thundercat.
Bubba O'Neil is joined by TSN's Glen Suiter, Sportnet's David Morassutti and Derek Taylor, Radio Voice of the Blue Bombers to discus the final week of the CFL season, paying tribute to the late Ted Wyman, a respected sports journalist. They discuss the resilience of the Argonauts in the East Final, the impact of turnovers, and the coaching strategies that shaped the games. The conversation also touches on the ongoing debate of rest versus rust in playoffs and the defensive strategies employed by teams. They reminisce about Zach Collaros's career and his significance in the league, his impact on the Winnipeg Blue Bombers, and the challenges faced by the Toronto Argonauts. They reflect on Randy Ambrosie's tenure as CFL commissioner, highlighting his contributions and the league's evolution. The discussion culminates in a preview of the upcoming Grey Cup matchup between the Bombers and Argonauts, emphasizing the unpredictability of the game and the potential for exciting plays.TakeawaysTeddy Wyman was a beloved figure in Canadian sports media.The Argonauts showcased remarkable resilience in the East Final.Turnovers can decisively impact playoff outcomes.Coaching adjustments are crucial in high-stakes games.Resting players before playoffs can lead to 'rust'.Defensive strategies can change the dynamics of a game.Zach Collaros's career has left a lasting legacy in the CFL.The CFL community is tightly knit, fostering strong relationships.Emotional tolls can affect team performance during playoffs. Zach Collaros has had a legendary impact on the Bombers.Randy Ambrosie's tenure has seen significant changes in ownership and league stability.The CFL has become more exciting, with many games decided in the final minutes.Pressure from the defensive line is crucial for success in the Grey Cup.The Argonauts have a history of performing well in high-stakes games.The upcoming Grey Cup is expected to be a close and competitive game.Chapters00:00 - Introduction and Tribute to Ted Wyman07:30 - Argonauts' Resilience and East Final Analysis15:01 - Coaching Strategies and Player Performances20:03 - Turnovers and Their Impact on the Game2025 Season Seat renewals are now open! Renew now to lock in your lowest season seat price for the 2025 season and be entered into Renew N' Win prizing.Renew today to get in on a prize pool valued at over $50,000 including:A chance to win your 2025 Season SeatsTicats merchandise packagesGame Ticket upgradesDinner with a Ticats playerAutographed merchand more!Go to https://www.ticats.ca/tickets/seasonseats/renewals/ to renew and enterThe Ticats Audio Network provides Hamilton Tiger-Cats fans with the most comprehensive, entertaining and informative news and information about their favourite football team. Featuring Steve Milton, RJ Broadhead, Luke Tasker, Mike Daly, Bubba O'Neil, Courtney Stephen, Simoni Lawrence, Mike Morreale, Rob Hitchcock, Brian Simmons, Louie Butko, Ticats players, coaches and front office personnel, other Canadian Football League experts and many more. Regular shows include Ticats Today, Ticats This Week, Tiger-Cats Game Day, Tiger-Cats Pregame, Tiger-Cats At The Half, Tiger-Cats Postgame, Speaking With The Enemy, Morreale & Hitch, CFL This Week, and so much more. Ticats Audio Network content can be found on the Tiger-Cats YouTube channel, Spotify, Apple Podcasts, at listen.ticats.ca and anywhere else you find podcasts. Please follow, like, leave a review wherever you find our content, and follow the Hamilton Tiger-Cats social media channels to keep up to date with all Ticats Audio Network content.Twitter: @TicatsInsta: @hamiltontigercatsTikTok: @hamiltonticatsFacebook: cfltigercatsYouTube: ticatstvchannel
Vehicle based adventures Mostly Jeep stuff but… I coach my daughters Softball team so some Softball content too. Occasionally a small home farm, tractors, ATVs, golf carts, trucks. Formerly 1870 Garage https://www.youtube.com/@1870offroad --- Support this podcast: https://podcasters.spotify.com/pod/show/maranatha-ministries/support
This week, Maria is joined by Ashley Scheuring, who gives money saving back to school tips for meals. Alicia Shevetone, who gives info on her new cookbook library in Las Vegas and Julia Cheboatra, a personal chef who also gives back to school recipes! Maria is joined by three very special guests this week: Derek Taylor, Grill Master, Chef Jacqueline Laurencelle, and Event Planner Anemarie Schumacher - all here to bring unique tips and tricks to you! Enter, "The Maria Liberati Show," based on her travels, as well as her Gourmand World Award-winning book series, "The Basic Art of Italian Cooking," and "The Basic Art of..." Find out more on https://www.marialiberati.com ----- Intro music: "A Quick Coffee" by Borrtex - available via Creative Commons Attribution-ShareAlike 3.0 https://creativecommons.org/licenses/by-sa/3.0/us/ Outro music: "First Day of Spring" by David Hilowitz - available via Creative Commons Attribution-ShareAlike 3.0 https://creativecommns.org/licenses/by-sa/
This Week, Maria is joined by Wendy Lyons Sunshine, the author of Tender Paws (a book about gentle puppy parenting), Nina Zapala a coach who helps people to match their personalities with destinations for travel, and Chef Wendy Amera -a french chef from a restaurant in Washington,DC discussing dishes with a french theme for an Olympic themed party. Maria is joined by three very special guests this week: Derek Taylor, Grill Master, Chef Jacqueline Laurencelle, and Event Planner Anemarie Schumacher - all here to bring unique tips and tricks to you! Enter, "The Maria Liberati Show," based on her travels, as well as her Gourmand World Award-winning book series, "The Basic Art of Italian Cooking," and "The Basic Art of..." Find out more on https://www.marialiberati.com ----- Intro music: "A Quick Coffee" by Borrtex - available via Creative Commons Attribution-ShareAlike 3.0 https://creativecommons.org/licenses/by-sa/3.0/us/ Outro music: "First Day of Spring" by David Hilowitz - available via Creative Commons Attribution-ShareAlike 3.0 https://creativecommns.org/licenses/by-sa/
Andrew "Hustler" Paterson hosts Winnipeg Sports Talk Daily with Connor Hrabchak. They discuss the Winnipeg Blue Bombers preparations for Sunday's game vs. the BC Lions, the NHL off-season and the first place Winnipeg Goldeyes. Guests: Blue Bombers play-by-play voice Derek Taylor, Brandon Rewucki of the Skates & Plates podcast and Winnipeg Goldeyes play-by-play voice Trevor Curl. Lock Shop Poker Tournament: https://www.coolbet.com/ca/lock-shop-poker-series Join the Winnipeg Sports Talk Mailing List - http://eepurl.com/hP4CBP Follow Andrew "Hustler" Paterson on Twitter: http://www.twitter.com/hustlerama Follow Michael Remis on Twitter: http://www.twitter.com/mremis Follow Matt Baker on Twitter: http://www.twitter.com/bakestakes84 Follow Mike McIntyre on Twitter: http://www.twitter.com/mikemcintyrewpg Winnipeg Sports Talk Links: Spotify: https://spoti.fi/3bboDpa Apple Podcasts: https://apple.co/30nIf3v CFL 110 Links: Apple: https://apple.co/3XggAA3 Spotify: https://spoti.fi/4chhEHZ Website: http://www.winnipegsportstalk.com Discord: https://discord.gg/eZxKeEZdsb Twitter: http://www.twitter.com/sportstalkwpg Facebook: http://www.facebook.com/sportstalkwpg Instagram: http://www.instagram.com/sportstalkwpg TikTok: https://www.tiktok.com/@sportstalkwpg Store: http://store.winnipegsportstalk.com Newsletter: http://eepurl.com/hP4CBP Thumbnail Photo Credit: TSN Become a member of our channel here: https://www.youtube.com/channel/UCEqYcU4IEXvfWt0vtGA_Cww/join Learn more about your ad choices. Visit megaphone.fm/adchoices
Rowena Scherer founder of Eat2Explore.com and Anne-Sophie Gerrier, who leads singing tours through famous musical sections of Paris, join Maria to discuss learning, food and more! Maria is joined by three very special guests this week: Derek Taylor, Grill Master, Chef Jacqueline Laurencelle, and Event Planner Anemarie Schumacher - all here to bring unique tips and tricks to you! Enter, "The Maria Liberati Show," based on her travels, as well as her Gourmand World Award-winning book series, "The Basic Art of Italian Cooking," and "The Basic Art of..." Find out more on https://www.marialiberati.com ----- Intro music: "A Quick Coffee" by Borrtex - available via Creative Commons Attribution-ShareAlike 3.0 https://creativecommons.org/licenses/by-sa/3.0/us/ Outro music: "First Day of Spring" by David Hilowitz - available via Creative Commons Attribution-ShareAlike 3.0 https://creativecommns.org/licenses/by-sa/
Maria is joined by three very special guests this week: Derek Taylor, Grill Master, Chef Jacqueline Laurencelle, and Event Planner Anemarie Schumacher - all here to bring unique tips and tricks to you! Enter, "The Maria Liberati Show," based on her travels, as well as her Gourmand World Award-winning book series, "The Basic Art of Italian Cooking," and "The Basic Art of..." Find out more on https://www.marialiberati.com ----- Intro music: "A Quick Coffee" by Borrtex - available via Creative Commons Attribution-ShareAlike 3.0 https://creativecommons.org/licenses/by-sa/3.0/us/ Outro music: "First Day of Spring" by David Hilowitz - available via Creative Commons Attribution-ShareAlike 3.0 https://creativecommns.org/licenses/by-sa/
Mark Blake calls Dreams: the Many Lives of Fleetwood Mac a “mosaic biography”, their almost six-decade saga presented as a series of enthralling short stories with titles like ‘Mick Fleetwood's Great Epiphany' and ‘Rumours: A Doomed Romance in Six Acts'. It opens in fact with a “cast of characters”, the 18 one-time members, as if dramatis personae in a play, a play that gets more outlandish and dumbfounding with every new discovery and much of it based on his interviews and meetings with most of them (including Peter Green). A few highlights here … … how Stevie Nicks arrived as the spare part of a package deal and rose to become indispensable. … the fake Fleetwood Mac and the Jeremy Spencer and Peter Green impersonators (which involves an egg and potato farmer from Essex). … why you should watch the Tusk video repeatedly (and its ruinous cost). … Bill Clinton, Daisy Jones & the Six, the dancing pony, Guardians of the Galaxy and other key factors in the return of the Mac. … from model to muse to psychotherapist, the story of the real life Black Magic Woman. … “Oh Lord, she's writing another song.” … internal romantic tangles that give their music a poignancy. … the horrors of Kiln House. … Lyndsey Buckingham's Armani/Clash episode. … Stevie's love affair with Derek Taylor who then had to promote a slow-selling album containing a secret song about it. … Mick Fleetwood, “old ham”, drag act, compulsive show-off, unsuitable band manager. Order ‘Dreams: the Many Lives of Fleetwood Mac' here:https://www.amazon.co.uk/Dreams-Many-Lives-Fleetwood-Mac/dp/1639367322Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Andrew "Hustler" Paterson and Michael Remis host Winnipeg Sports Talk Daily. They look back on Friday's Winnipeg Blue Bombers loss to the Saskatchewan Roughriders, the rest of CFL Week 7 and continue to discuss the NHL off-season. Guests: Winnipeg Blue Bombers play-by-play voice Derek Taylor and Jeff Hamilton of the Winnipeg Free Press. Join the Winnipeg Sports Talk Mailing List - http://eepurl.com/hP4CBP Follow Andrew "Hustler" Paterson on Twitter: http://www.twitter.com/hustlerama Follow Michael Remis on Twitter: http://www.twitter.com/mremis Follow Jeff Hamilton on Twitter: http://www.twitter.com/jeffkhamilton Winnipeg Sports Talk Links: Spotify: https://spoti.fi/3bboDpa Apple Podcasts: https://apple.co/30nIf3v CFL 110 Links: Apple: https://apple.co/3XggAA3 Spotify: https://spoti.fi/4chhEHZ Website: http://www.winnipegsportstalk.com Discord: https://discord.gg/eZxKeEZdsb Twitter: http://www.twitter.com/sportstalkwpg Facebook: http://www.facebook.com/sportstalkwpg Instagram: http://www.instagram.com/sportstalkwpg TikTok: https://www.tiktok.com/@sportstalkwpg Store: http://store.winnipegsportstalk.com Newsletter: http://eepurl.com/hP4CBP Thumbnail Photo Credit: TSN Become a member of our channel here: https://www.youtube.com/channel/UCEqYcU4IEXvfWt0vtGA_Cww/join Learn more about your ad choices. Visit megaphone.fm/adchoices
Returning guest (episodes 130 and 174) Ivor Davis is a British journalist who, in 1964, went on tour with The Beatles for the Daily Express, covering their North American dates while ghost-writing a column for George Harrison (having taken over the assignment from Derek Taylor). He did similar duties for the following year, and after which, … 284: Sixty Years On with Ivor Davis Read More »
Broadcaster and music writer Ann Powers lives in Nashville and grew up listening to Kate Bush and Blondie. The siren call of Blue sparked a life-long and deep-rooted devotion and her new book Travelling: On The Path Of Joni Mitchell takes a different tack from the standard biographies, mapping the context of the songs, the forces that drove her, the steel will it took to succeed and the love affairs that shaped her and her music. All discussed here. As is this ... … the scale of your ambition when your heroes are Nietzsche, Beethoven and Picasso. … how she got her revenge for not being allowed to go to Woodstock. … “she had to learn to walk three times”. … the psychological impact of her “dynamic father and homemaker mother”.… the love affairs with Leonard Cohen, David Crosby and Graham Nash. … her capacity to turn disaster into triumph. … the influence of Laurel Canyon neighbour Derek Taylor and the Beatles. … the many reasons she declared the music business “a corrupt cesspool”. … the tone of Rolling Stone's ‘70s coverage and the letters she wrote to Mo Austin about the way she was marketed. … David Crosby's regret about not involving her in Crosby Stills & Nash. … her reaction to the continued success of Tom Petty, Peter Gabriel and Don Henley in a world where mid-career women are “put out to pasture”. … why the current renaissance seems “all legend, no bite”. … and Laura Nyro, Tom Rush, Judy Collins, Patti Smith, Aretha Franklin, Maggie Roach, Stevie Wonder, Thomas Dolby. Order Travelling: On the Path Of Joni Mitchell here:https://www.amazon.co.uk/Travelling-Path-Mitchell-Ann-Powers/dp/0008332967Find out more about how to help us keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Text us and say hello!In episode 14 of "Backwards Compatible: A Generation 'S' Podcast," my good friend Derek Taylor joins me as Lou takes the night off. Together, we delve into the stealthy world of "Metal Gear Solid," released in September 1998. A groundbreaking title on the PlayStation, "Metal Gear Solid" wasn't just a game; it was a cinematic journey, marking my first experience with a two-disc game. I remember my initial approach was all wrong—I tried to beat up all the enemies, only to realize hand-to-hand combat wasn't going to cut it. This challenge was what sparked my love for stealth games.We discuss the emotional and cinematic impact of the game, reminiscing about the innovative fourth wall breaks, like having to switch controller ports to defeat Psycho Mantis and his eerie ability to "read" your memory card. Set in the desolate backdrop of Alaska, the game's atmosphere was thick with tension, complemented by humorous touches like Snake's almost pointless cigarette smoking. We also talk about the voice acting, particularly Cam Clarke's memorable performance as Liquid Snake, as well as the different endings, influenced by player choices during Ocelot's torture scene, added depth and replayability, affecting whether Meryl lived or died—and consequently, whether you received infinite ammo or stealth camouflage for your next playthrough.And as always, we wrap up with a few pop culture facts from September 1998, providing a glimpse into the world when "Metal Gear Solid" stealthily revolutionized the gaming landscape. Join Derek and me as we revisit this iconic game that blends stealth, action, and story in ways that still influence gaming today.Support the Show.We've got merch!Check out the site for some awesome Gen 'S' swag :)
For those who haven't heard the announcement I just posted , songs from this point on will sometimes be split among multiple episodes, so this is the first part of a multi-episode look at the Byrds in 1966-69 and the birth of country rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode on "My World Fell Down" by Sagittarius. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud at this time as there are too many Byrds songs in this chunk, but I will try to put together a multi-part Mixcloud when all the episodes for this song are up. My main source for the Byrds is Timeless Flight Revisited by Johnny Rogan, I also used Chris Hillman's autobiography, the 331/3 books on The Notorious Byrd Brothers and The Gilded Palace of Sin, For future parts of this multi-episode story I used Barney Hoskyns' Hotel California and John Einarson's Desperadoes as general background on Californian country-rock, Calling Me Hone, Gram Parsons and the Roots of Country Rock by Bob Kealing for information on Parsons, and Requiem For The Timeless Vol 2 by Johnny Rogan for information about the post-Byrds careers of many members. Information on Gary Usher comes from The California Sound by Stephen McParland. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we left the Byrds at the end of the episode on "Eight Miles High", they had just released that single, which combined folk-rock with their new influences from John Coltrane and Ravi Shankar, and which was a group composition but mostly written by the group's lead singer, Gene Clark. And also, as we mentioned right at the end of the episode, Clark had left the group. There had been many, many factors leading to Clark's departure. Clark was writing *far* more material than the other band members, of whom only Roger McGuinn had been a writer when the group started, and as a result was making far more money than them, especially with songs like "She Don't Care About Time", which had been the B-side to their number one single "Turn! Turn! Turn!" [Excerpt: The Byrds, "She Don't Care About Time"] Clark's extra income was making the rest of the group jealous, and they also didn't think his songs were particularly good, though many of his songs on the early Byrds albums are now considered classics. Jim Dickson, the group's co-manager, said "Gene would write fifteen to twenty songs a week and you had to find a good one whenever it came along because there were lots of them that you couldn't make head or tail of. They didn't mean anything. We all knew that. Gene would write a good one at a rate of just about one per girlfriend." Chris Hillman meanwhile later said more simply "Gene didn't really add that much." That is, frankly, hard to square with the facts. There are ten original songs on the group's first two albums, plus one original non-album B-side. Of those eleven songs, Clark wrote seven on his own and co-wrote two with McGuinn. But as the other band members were starting to realise that they had the possibility of extra royalties -- and at least to some extent were starting to get artistic ambitions as far as writing goes -- they were starting to disparage Clark's work as a result, calling it immature. Clark had, of course, been the principal writer for "Eight Miles High", the group's most experimental record to date: [Excerpt: The Byrds, "Eight Miles High"] But there he'd shared co-writing credit with David Crosby and Roger McGuinn, in part because that was the only way he could be sure they would agree to release it as a single. There were also internal rivalries within the band unrelated to songwriting -- as we've touched on, Crosby had already essentially bullied Clark off the guitar and into just playing tambourine (and McGuinn would be dismissive even of Clark's tambourine abilities). Crosby's inability to get on with any other member of any band he was in would later become legendary, but at this point Clark was the major victim of his bullying. According to Dickson "David understood when Gene left that ninety-five percent of why Gene left could be brought back to him." The other five percent, though, came from Clark's fear of flying. Clark had apparently witnessed a plane crash in his youth and been traumatised by it, and he had a general terror of flying and planes -- something McGuinn would mock him for a little, as McGuinn was an aviation buff. Eventually, Clark had a near-breakdown boarding a plane from California to New York for a promotional appearance with Murray the K, and ended up getting off the plane. McGuinn and Michael Clarke almost did the same, but in the end they decided to stay on, and the other four Byrds did the press conference without Gene. When asked where Gene was, they said he'd "broken a wing". He was also increasingly having mental health and substance abuse problems, which were exacerbated by his fear, and in the end he decided he just couldn't be a Byrd any more. Oddly, of all the band members, it was David Crosby who was most concerned about Clark's departure, and who did the most to try to persuade him to stay, but he still didn't do much, and the group decided to carry on as a four-piece and not even make a proper announcement of Clark's departure -- they just started putting out photos with four people instead of five. The main change as far as the group were concerned was that Hillman was now covering Clark's old vocal parts, and so Crosby moved to Clark's old centre mic while Hillman moved from his position at the back of the stage with Michael Clarke to take over Crosby's mic. The group now had three singer-instrumentalists in front, two of whom, Crosby and McGuinn, now thought of themselves as songwriters. So despite the loss of their singer/songwriter/frontman, they moved on to their new single, the guaranteed hit follow-up to "Eight Miles High": [Excerpt: The Byrds, "5D (Fifth Dimension)"] "5D" was written by McGuinn, inspired by a book of cartoons called 1-2-3-4 More More More More by Don Landis, which I haven't been able to track down a copy of, but which seems to have been an attempt to explain the mathematical concept of higher dimensions in cartoon form. McGuinn was inspired by this and by Einstein's theory of relativity -- or at least by his understanding of relativity, which does not seem to have been the most informed take on the topic. McGuinn has said in the past that the single should really have come with a copy of Landis' booklet, so people could understand it. Sadly, without the benefit of the booklet we only have the lyrics plus McGuinn's interviews to go on to try to figure out what he means. As far as I'm able to understand, McGuinn believed -- completely erroneously -- that Einstein had proved that along with the four dimensions of spacetime there is also a fifth dimension which McGuinn refers to as a "mesh", and that "the reason for the speed of light being what it is is because of that mesh." McGuinn then went on to identify this mesh with his own conception of God, influenced by his belief in Subud, and with a Bergsonian idea of a life force. He would talk about how most people are stuck in a materialist scientific paradigm which only admits to the existence of three dimensions, and how there are people out there advocating for a five-dimensional view of the world. To go along with this mystic view of the universe, McGuinn wanted some music inspired by the greatest composer of sacred music, and he asked Van Dyke Parks, who was brought in to add keyboards on the session, to play something influenced by Bach -- and Parks obliged, having been thinking along the same lines himself: [Excerpt: The Byrds, "5D (Fifth Dimension)"] Unfortunately for the group, McGuinn's lyrical intention wasn't clear enough and the song was assumed to be about drugs, and was banned by many radio stations. That plus the track's basically uncommercial nature meant that it reached no higher than number forty-four in the charts. Jim Dickson, the group's co-manager, pointed to a simpler factor in the record's failure, saying that if the organ outro to the track had instead been the intro, to set a mood for the track rather than starting with a cold vocal open, it would have had more success. The single was followed by an album, called Fifth Dimension, which was not particularly successful. Of the album's eleven songs, two were traditional folk songs, one was an instrumental -- a jam called "Captain Soul" which was a version of Lee Dorsey's "Get Out My Life Woman" credited to the four remaining Byrds, though Gene Clark is very audible on it playing harmonica -- and one more was a jam whose only lyrics were "gonna ride a Lear jet, baby", repeated over and over. There was also "Eight Miles High" and the group's inept and slightly-too-late take on "Hey Joe". It also included a third single, a country track titled "Mr. Spaceman": [Excerpt: The Byrds, "Mr. Spaceman"] McGuinn and, particularly, Hillman, had some country music background, and both were starting to think about incorporating country sounds into the group's style, as after Clark's departure from the group they were moving away from the style that had characterised their first two albums. But the interest in "Mr. Spaceman" was less about the musical style than about the lyrics. McGuinn had written the song in the hopes of contacting extraterrestrial life -- sending them a message in his lyrics so that any aliens listening to Earth radio would come and visit, though he was later disappointed to realise that the inverse-square law means that the signals would be too faint to make out after a relatively short distance: [Excerpt: The Byrds, "Mr. Spaceman"] "Mr. Spaceman" did better on the charts than its predecessor, scraping the lower reaches of the top forty, but it hardly set the world alight, and neither did the album -- a typical review was the one by Jon Landau, which said in part "This album then cannot be considered up to the standards set by the Byrds' first two and basically demonstrates that they should be thinking in terms of replacing Gene Clark, instead of just carrying on without him." Fifth Dimension would be the only album that Allen Stanton would produce for the Byrds, and his replacement had actually just produced an album that was a Byrds record by any other name: [Excerpt: Gene Clark, "So You Say You've Lost Your Baby"] We've looked at Gary Usher before, but not for some time, and not in much detail. Usher was one of several people who were involved in the scene loosely centred on the Beach Boys and Jan and Dean, though he never had much time for Jan Berry and he had got his own start in the music business slightly before the Beach Boys. As a songwriter, his first big successes had come with his collaborations with Brian Wilson -- he had co-written "409" for the Beach Boys, and had also collaborated with Wilson on some of his earliest more introspective songs, like "The Lonely Sea" and "In My Room", for which Usher had written the lyrics: [Excerpt: The Beach Boys, "In My Room"] Usher had built a career as a producer and writer for hire, often in collaboration with Roger Christian, who also wrote with Brian Wilson and Jan Berry. Usher, usually with Christian, and very occasionally Wilson wrote the songs for several of American International Pictures' Beach Party films: [Excerpt: Donna Loren, "Muscle Bustle"] And Usher and Christian had also had bit parts in some of the films, like Bikini Beach, and Usher had produced records for Annette Funicello, the star of the films, often with the Honeys (a group consisting of Brian Wilson's future wife Marilyn plus her sister and cousin) on backing vocals. He had also produced records for the Surfaris, as well as a whole host of studio-only groups like the Four Speeds, the Super Stocks, and Mr. Gasser and the Weirdoes, most of whom were Usher and the same small group of vocalist friends along with various selections of Wrecking Crew musicians making quick themed albums. One of these studio groups, the Hondells, went on to be a real group of sorts, after Usher and the Beach Boys worked together on a film, The Girls on the Beach. Usher liked a song that Wilson and Mike Love had written for the Beach Boys to perform in the film, "Little Honda", and after discovering that the Beach Boys weren't going to release their version as a single, he put together a group to record a soundalike version: [Excerpt: The Hondells, "Little Honda"] "Little Honda" made the top ten, and Usher produced two albums for the Hondells, who had one other minor hit with a cover version of the Lovin' Spoonful's "Younger Girl". Oddly, Usher's friend Terry Melcher, who would shortly produce the Byrds' first few hits, had also latched on to "Little Honda", and produced his own version of the track, sung by Pat Boone of all people, with future Beach Boy Bruce Johnston on backing vocals: [Excerpt: Pat Boone, "Little Honda"] But when Usher had got his version out first, Boone's was relegated to a B-side. When the Byrds had hit, and folk-rock had started to take over from surf rock, Usher had gone with the flow and produced records like the Surfaris' album It Ain't Me Babe, with Usher and his usual gang of backing vocalists augmenting the Surfaris as they covered hits by Dylan, the Turtles, the Beach Boys and the Byrds: [Excerpt: The Surfaris, "All I Really Want to Do"] Usher was also responsible for the Surfaris being the first group to release a version of "Hey Joe" on a major label, as we heard in the episode on that song: [Excerpt: The Surfaris, "Hey Joe"] After moving between Capitol, Mercury, and Decca Records, Usher had left Decca after a round of corporate restructuring and been recommended for a job at Columbia by his friend Melcher, who at that point was producing Paul Revere and the Raiders and the Rip Chords and had just finished his time as the Byrds' producer. Usher's first work at Columbia was actually to prepare new stereo mixes of some Byrds tracks that had up to that point only been issued in mono, but his first interaction with the Byrds themselves came via Gene Clark: [Excerpt: Gene Clark, "So You Say You've Lost Your Baby"] On leaving the Byrds, Clark had briefly tried to make a success of himself as a songwriter-for-hire in much the same mould as Usher, attempting to write and produce a single for two Byrds fans using the group name The Cookie Fairies, while spending much of his time romancing Michelle Phillips, as we talked about in the episode on "San Francisco". When the Cookie Fairies single didn't get picked up by a label, Clark had put together a group with Bill Rinehart from the Leaves, Chip Douglas of the Modern Folk Quartet, and Joel Larson of the Grass Roots. Just called Gene Clark & The Group, they'd played around the clubs in LA and cut about half an album's worth of demos produced by Jim Dickson and Ed Tickner, the Byrds' management team, before Clark had fired first Douglas and then the rest of the group. Clark's association with Douglas did go on to benefit him though -- Douglas went on, as we've seen in other episodes, to produce hits for the Turtles and the Monkees, and he later remembered an old song by Clark and McGuinn that the Byrds had demoed but never released, "You Showed Me", and produced a top ten hit version of it for the Turtles: [Excerpt: The Turtles, "You Showed Me"] Clark had instead started working with two country singers, Vern and Rex Gosdin, who had previously been with Chris Hillman in the country band The Hillmen. When that band had split up, the Gosdin Brothers had started to perform together as a duo, and in 1967 they would have a major country hit with "Hangin' On": [Excerpt: The Gosdin Brothers, "Hangin' On"] At this point though, they were just Gene Clark's backing vocalists, on an album that had been started with producer Larry Marks, who left Columbia half way through the sessions, at which point Usher took over. The album, titled Gene Clark with the Gosdin Brothers, featured a mix of musicians from different backgrounds. There were Larson and Rinehart from Gene Clark and the Group, there were country musicians -- a guitarist named Clarence White and the banjo player Doug Dillard. Hillman and Michael Clarke, the Byrds' rhythm section, played on much of the album as a way of keeping a united front, Glen Campbell, Jerry Cole, Leon Russell and Jim Gordon of the Wrecking Crew contributed, and Van Dyke Parks played most of the keyboards. The lead-off single for Gene Clark with the Gosdin Brothers, "Echoes", is one of the tracks produced by Marks, but in truth the real producer of that track is Leon Russell, who wrote the orchestral arrangement that turned Clark's rough demo into a baroque pop masterpiece: [Excerpt: Gene Clark, "Echoes"] Despite Clark having quit the band, relations between him and the rest were still good enough that in September 1966 he temporarily rejoined the band after Crosby lost his voice, though he was gone again as soon as Crosby was well. But that didn't stop the next Byrds album, which Usher went on to produce straight after finishing work on Clark's record, coming out almost simultaneously with Clark's and, according to Clark, killing its commercial potential. Upon starting to work with the group, Usher quickly came to the conclusion that Chris Hillman was in many ways the most important member of the band. According to Usher "There was also quite a divisive element within the band at that stage which often prevented them working well together. Sometimes everything would go smoothly, but other times it was a hard road. McGuinn and Hillman were often more together on musical ideas. This left Crosby to fend for himself, which I might add he did very well." Usher also said "I quickly came to understand that Hillman was a good stabilising force within the Byrds (when he wanted to be). It was around the time that I began working with them that Chris also became more involved in the songwriting. I think part of that was the fact that he realised how much more money was involved if you actually wrote the songs yourself. And he was a good songwriter." The first single to be released from the new sessions was one that was largely Hillman's work. Hillman and Crosby had been invited by the great South African jazz trumpeter Hugh Masekela to play on some demos for another South African jazzer, singer Letta Mbulu. Details are sparse, but one presumes this was for what became her 1967 album Letta Mbulu Sings, produced by David Axelrod: [Excerpt: Letta Mbulu, "Zola (MRA)"] According to Hillman, that session was an epiphany for him, and he went home and started writing his own songs for the first time. He took one of the riffs he came up with to McGuinn, who came up with a bridge inspired by a song by yet another South African musician, Miriam Makeba, who at the time was married to Masekela, and the two wrote a lyric inspired by what they saw as the cynical manipulation of the music industry in creating manufactured bands like the Monkees -- though they have both been very eager to say that they were criticising the industry, not the Monkees themselves, with whom they were friendly. As Hillman says in his autobiography, "Some people interpreted it as a jab at The Monkees. In reality, we had immense respect for all of them as singers and musicians. We weren't skewering the members of the Monkees, but we were taking a shot at the cynical nature of the entertainment business that will try to manufacture a group like The Monkees as a marketing strategy. For us, it was all about the music, and we were commenting on the pitfalls of the industry rather than on any of our fellow musicians." [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] The track continued the experimentation with sound effects that they had started with the Lear jet song on the previous album. That had featured recordings of a Lear jet, and "So You Want to be a Rock 'n' Roll Star?" featured recordings of audience screams. Those screams were, according to most sources, recorded by Derek Taylor at a Byrds gig in Bournemouth in 1965, but given reports of the tepid response the group got on that tour, that doesn't seem to make sense. Other sources say they're recordings of a *Beatles* audience in Bournemouth in *1963*, the shows that had been shown in the first US broadcast of Beatles footage, and the author of a book on links between the Beatles and Bournemouth says on his blog "In the course of researching Yeah Yeah Yeah: The Beatles & Bournemouth I spoke to two people who saw The Byrds at the Gaumont that August and neither recalled any screaming at all, let alone the wall of noise that can be heard on So You Want To Be A Rock 'n' Roll Star." So it seems likely that screaming isn't for the Byrds, but of course Taylor had also worked for the Beatles. According to Usher "The crowd sound effects were from a live concert that Derek Taylor had taped with a little tape recorder in London. It was some outrageous crowd, something like 20,000 to 30,000 people. He brought the tape in, ran it off onto a big tape, re- EQ'd it, echoed it, cleaned it up and looped it." So my guess is that the audience screams in the Byrds song about the Monkees are for the Beatles, but we'll probably never know for sure: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] The track also featured an appearance by Hugh Masekela, the jazz trumpeter whose invitation to take part in a session had inspired the song: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star?"] While Hillman was starting to lean more towards folk and country music -- he had always been the member of the band least interested in rock music -- and McGuinn was most interested in exploring electronic sounds, Crosby was still pushing the band more in the direction of the jazz experimentation they'd tried on "Eight Miles High", and one of the tracks they started working on soon after "So You Want to be a Rock 'n' Roll Star?" was inspired by another jazz trumpet great. Miles Davis had been partly responsible for getting the Byrds signed to Columbia, as we talked about in the episode on "Mr. Tambourine Man", and so the group wanted to pay him tribute, and they started working on a version of his classic instrumental "Milestones": [Excerpt: Miles Davis, "Milestones"] Sadly, while the group worked on their version for several days -- spurred on primarily by Crosby -- they eventually chose to drop the track, and it has never seen release or even been bootlegged, though there is a tiny clip of it that was used in a contemporaneous documentary, with a commentator talking over it: [Excerpt: The Byrds, "Milestones (TV)"] It was apparently Crosby who decided to stop work on the track, just as working on it was also apparently his idea. Indeed, while the biggest change on the album that would become Younger Than Yesterday was that for the first time Chris Hillman was writing songs and taking lead vocals, Crosby was also writing more than before. Hillman wrote four of the songs on the album, plus his co-write with McGuinn on "So You Want to be a Rock 'n' Roll Star?", but Crosby also supplied two new solo compositions, plus a cowrite with McGuinn, and Crosby and McGuinn's "Why?", the B-side to "Eight Miles High", was also dug up and rerecorded for the album. Indeed, Gary Usher would later say "The album was probably 60% Crosby. McGuinn was not that involved, nor was Chris; at least as far as performing was concerned." McGuinn's only composition on the album other than the co-writes with Crosby and Hillman was another song about contacting aliens, "CTA-102", a song about a quasar which at the time some people were speculating might have been evidence of alien life. That song sounds to my ears like it's had some influence from Joe Meek's similar records, though I've never seen McGuinn mention Meek as an influence: [Excerpt: The Byrds, "CTA-102"] Crosby's growing dominance in the studio was starting to rankle with the other members. In particular two tracks were the cause of conflict. One was Crosby's song "Mind Gardens", an example of his increasing experimentation, a freeform song that ignores conventional song structure, and which he insisted on including on the album despite the rest of the group's objections: [Excerpt: The Byrds, "Mind Gardens"] The other was the track that directly followed "Mind Gardens" on the album. "My Back Pages" was a song from Dylan's album Another Side of Bob Dylan, a song many have seen as Dylan announcing his break with the folk-song and protest movements he'd been associated with up to that point, and his intention to move on in a new direction: [Excerpt: Bob Dylan, "My Back Pages"] Jim Dickson, the Byrds' co-manager, was no longer on speaking terms with the band and wasn't involved in their day-to-day recording as he had been, but he'd encountered McGuinn on the street and rolled down his car window and suggested that the group do the song. Crosby was aghast. They'd already recorded several songs from Another Side of Bob Dylan, and Fifth Dimension had been their first album not to include any Dylan covers. Doing a jangly cover of a Dylan song with a McGuinn lead vocal was something they'd moved on from, and he didn't want to go back to 1964 at the end of 1966. He was overruled, and the group recorded their version, a track that signified something very different for the Byrds than the original had for Dylan: [Excerpt: The Byrds, "My Back Pages"] It was released as the second single from the album, and made number thirty. It was the last Byrds single to make the top forty. While he was working with the Byrds, Usher continued his work in the pop field, though as chart pop moved on so did Usher, who was now making records in a psychedelic sunshine pop style with acts like the Peanut Butter Conspiracy: [Excerpt: The Peanut Butter Conspiracy, "It's a Happening Thing"] and he produced Chad and Jeremy's massive concept album Of Cabbages and Kings, which included a five-song "Progress Suite" illustrating history from the start of creation until the end of the world: [Excerpt: Chad and Jeremy, "Editorial"] But one of the oddest projects he was involved in was indirectly inspired by Roger McGuinn. According to Usher "McGuinn and I had a lot in common. Roger would always say that he was "out of his head," which he thought was good, because he felt you had to go out of your head before you could really find your head! That sums up McGuinn perfectly! He was also one of the first people to introduce me to metaphysics, and from that point on I started reading everything I could get my hands on. His viewpoints on metaphysics were interesting, and, at the time, useful. He was also into Marshall McLuhan; very much into the effects of electronics and the electronic transformation. He was into certain metaphysical concepts before I was, but I was able to turn him onto some abstract concepts as well" These metaphysical discussions led to Usher producing an album titled The Astrology Album, with discussions of the meaning of different star signs over musical backing: [Excerpt: Gary Usher, "Leo"] And with interviews with various of the artists he was working with talking about astrology. He apparently interviewed Art Garfunkel -- Usher was doing some uncredited production work on Simon and Garfunkel's Bookends album at the time -- but Garfunkel declined permission for the interview to be used. But he did get both Chad and Jeremy to talk, along with John Merrill of the Peanut Butter Conspiracy -- and David Crosby: [Excerpt: Gary Usher, "Leo"] One of the tracks from that album, "Libra", became the B-side of a single by a group of studio musicians Usher put together, with Glen Campbell on lead vocals and featuring Bruce Johnston of the Beach Boys prominently on backing vocals. "My World Fell Down" was credited to Sagittarius, again a sign of Usher's current interest in astrology, and featured some experimental sound effects that are very similar to the things that McGuinn had been doing on recent Byrds albums: [Excerpt: Sagittarius, "My World Fell Down"] While Usher was continuing with his studio experimentation, the Byrds were back playing live -- and they were not going down well at all. They did a UK tour where they refused to play most of their old hits and went down as poorly as on their previous tour, and they were no longer the kings of LA. In large part this was down to David Crosby, whose ego was by this point known to *everybody*, and who was becoming hugely unpopular on the LA scene even as he was starting to dominate the band. Crosby was now the de facto lead vocalist on stage, with McGuinn being relegated to one or two songs per set, and he was the one who would insist that they not play their older hit singles live. He was dominating the stage, leading to sarcastic comments from the normally placid Hillman like "Ladies and gentlemen, the David Crosby show!", and he was known to do things like start playing a song then stop part way through a verse to spend five minutes tuning up before restarting. After a residency at the Whisky A-Go-Go where the group were blown off the stage by their support act, the Doors, their publicist Derek Taylor quit, and he was soon followed by the group's co-managers Jim Dickson and Eddie Tickner, who were replaced by Crosby's friend Larry Spector, who had no experience in rock management but did represent Peter Fonda and Dennis Hopper, two young film stars Crosby was hanging round with. The group were particularly annoyed by Crosby when they played the Monterey Pop Festival. Crosby took most lead vocals in that set, and the group didn't go down well, though instrumentally the worst performer was Michael Clarke, who unlike the rest of the band had never become particularly proficient on his instrument: [Excerpt: The Byrds, "So You Want to be a Rock 'n' Roll Star (live at Monterey)"] But Crosby also insisted on making announcements from the stage advocating LSD use and describing conspiracy theories about the Kennedy assassination: [Excerpt: David Crosby on the Warren Commission, from the end of "Hey Joe" Monterey] But even though Crosby was trying to be the Byrds' leader on stage, he was also starting to think that they maybe didn't deserve to have him as their leader. He'd recently been spending a lot of time hanging out with Stephen Stills of the Buffalo Springfield, and McGuinn talks about one occasion where Crosby and Stills were jamming together, Stills played a blues lick and said to McGuinn "Can you play that?" and when McGuinn, who was not a blues musician, said he couldn't, Stills looked at him with contempt. McGuinn was sure that Stills was trying to poach Crosby, and Crosby apparently wanted to be poached. The group had rehearsed intensely for Monterey, aware that they'd been performing poorly and not wanting to show themselves up in front of the new San Francisco bands, but Crosby had told them during rehearsals that they weren't good enough to play with him. McGuinn's suspicions about Stills wanting to poach Crosby seemed to be confirmed during Monterey when Crosby joined Buffalo Springfield on stage, filling in for Neil Young during the period when Young had temporarily quit the group, and performing a song he'd helped Stills write about Grace Slick: [Excerpt: Buffalo Springfield, "Rock 'n' Roll Woman (live at Monterey)"] Crosby was getting tired not only of the Byrds but of the LA scene in general. He saw the new San Francisco bands as being infinitely cooler than the Hollywood plastic scene that was LA -- even though Crosby was possibly the single most Hollywood person on that scene, being the son of an Oscar-winning cinematographer and someone who hung out with film stars. At Monterey, the group had debuted their next single, the first one with an A-side written by Crosby, "Lady Friend": [Excerpt: The Byrds, "Lady Friend"] Crosby had thought of that as a masterpiece, but when it was released as a single, it flopped badly, and the rest of the group weren't even keen on the track being included on the next album. To add insult to injury as far as Crosby was concerned, at the same time as the single was released, a new album came out -- the Byrds' Greatest Hits, full of all those singles he was refusing to play live, and it made the top ten, becoming far and away the group's most successful album. But despite all this, the biggest conflict between band members when they came to start sessions for their next album wasn't over Crosby, but over Michael Clarke. Clarke had never been a particularly good drummer, and while that had been OK at the start of the Byrds' career, when none of them had been very proficient on their instruments, he was barely any better at a time when both McGuinn and Hillman were being regarded as unique stylists, while Crosby was writing metrically and harmonically interesting material. Many Byrds fans appreciate Clarke's drumming nonetheless, saying he was an inventive and distinctive player in much the same way as the similarly unskilled Micky Dolenz, but on any measure of technical ability he was far behind his bandmates. Clarke didn't like the new material and wasn't capable of playing it the way his bandmates wanted. He was popular with the rest of the band as a person, but simply wasn't playing well, and it led to a massive row in the first session: [Excerpt: The Byrds, "Universal Mind Decoder (alternate backing track)"] At one point they joke that they'll bring in Hal Blaine instead -- a reference to the recording of "Mr. Tambourine Man", when Clarke and Hillman had been replaced by Blaine and Larry Knechtel -- and Clarke says "Do it. I don't mind, I really don't." And so that ended up happening. Clarke was still a member of the band -- and he would end up playing on half the album's tracks -- but for the next few sessions the group brought in session drummers Hal Blaine and Jim Gordon to play the parts they actually wanted. But that wasn't going to stop the bigger problem in the group, and that problem was David Crosby's relationship with the rest of the band. Crosby was still at this point thinking of himself as having a future in the group, even as he was increasingly convinced that the group themselves were bad, and embarrassed by their live sound. He even, in a show of unity, decided to ask McGuinn and Hillman to collaborate on a couple of songs with him so they would share the royalties equally. But there were two flash-points in the studio. The first was Crosby's song "Triad", a song about what we would now call polyamory, partly inspired by Robert Heinlein's counterculture science fiction novel Stranger in a Strange Land. The song was meant to portray a progressive, utopian, view of free love, but has dated very badly -- the idea that the *only* reason a woman might be unhappy with her partner sleeping with another woman is because of her mother's disapproval possibly reveals more about the mindset of hippie idealists than was intended. The group recorded Crosby's song, but refused to allow it to be released, and Crosby instead gave it to his friends Jefferson Airplane, whose version, by having Grace Slick sing it, at least reverses the dynamics of the relationship: [Excerpt: Jefferson Airplane, "Triad"] The other was a song that Gary Usher had brought to the group and suggested they record, a Goffin and King song released the previous year by Dusty Springfield: [Excerpt: Dusty Springfield, "Goin' Back"] Crosby was incandescent. The group wanted to do this Brill Building pap?! Hell, Gary Usher had originally thought that *Chad and Jeremy* should do it, before deciding to get the Byrds to do it instead. Did they really want to be doing Chad and Jeremy cast-offs when they could be doing his brilliant science-fiction inspired songs about alternative relationship structures? *Really*? They did, and after a first session, where Crosby reluctantly joined in, when they came to recut the track Crosby flat-out refused to take part, leading to a furious row with McGuinn. Since they were already replacing Michael Clarke with session drummers, that meant the only Byrds on "Goin' Back", the group's next single, were McGuinn and Hillman: [Excerpt: The Byrds, "Goin' Back"] That came out in late October 1967, and shortly before it came out, McGuinn and Hillman had driven to Crosby's home. They told him they'd had enough. He was out of the band. They were buying him out of his contract. Despite everything, Crosby was astonished. They were a *group*. They fought, but only the way brothers fight. But McGuinn and Hillman were adamant. Crosby ended up begging them, saying "We could make great music together." Their response was just "And we can make great music without you." We'll find out whether they could or not in two weeks' time.
13-year-old Winnie moves in with her dad, Derek, a retired quarterback, whose promising career ended badly. When Cleveland loses their starting QB, Winnie gets Derek back in the game and this time...he might actually find a way to win! With the love of a father and daughter at its center, Winnie Taylor's 4th and Inches bring a classic underdog sports story to the world of podcasts. Starring Ruth Righi as Winnie Taylor, Jeremie Harris as Derek Taylor and Tony Todd as Coach Fitz. In Episode 1, Winnie Taylor arrives in Cleveland to live with her ex-quarterback dad, Derek. But when opportunity knocks, Winnie realizes she might have a chance to give him a second chance. For more great shows, visit GZMshows.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
13-year-old Winnie moves in with her dad, Derek, a retired quarterback, whose promising career ended badly. When Cleveland loses their starting QB, Winnie gets Derek back in the game and this time...he might actually find a way to win! With the love of a father and daughter at its center, Winnie Taylor's 4th and Inches bring a classic underdog sports story to the world of podcasts. Starring Ruth Righi as Winnie Taylor, Jeremie Harris as Derek Taylor and Tony Todd as Coach Fitz. In Episode 1, Winnie Taylor arrives in Cleveland to live with her ex-quarterback dad, Derek. But when opportunity knocks, Winnie realizes she might have a chance to give him a second chance. For more great shows, visit GZMshows.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
13-year-old Winnie moves in with her dad, Derek, a retired quarterback, whose promising career ended badly. When Cleveland loses their starting QB, Winnie gets Derek back in the game and this time...he might actually find a way to win! With the love of a father and daughter at its center, Winnie Taylor's 4th and Inches bring a classic underdog sports story to the world of podcasts. Starring Ruth Righi as Winnie Taylor, Jeremie Harris as Derek Taylor and Tony Todd as Coach Fitz. In Episode 1, Winnie Taylor arrives in Cleveland to live with her ex-quarterback dad, Derek. But when opportunity knocks, Winnie realizes she might have a chance to give him a second chance. For more great shows, visit GZMshows.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
The Alien Adventures of Finn Caspian: Science Fiction for Kids
13-year-old Winnie moves in with her dad, Derek, a retired quarterback, whose promising career ended badly. When Cleveland loses their starting QB, Winnie gets Derek back in the game and this time...he might actually find a way to win! With the love of a father and daughter at its center, Winnie Taylor's 4th and Inches bring a classic underdog sports story to the world of podcasts. Starring Ruth Righi as Winnie Taylor, Jeremie Harris as Derek Taylor and Tony Todd as Coach Fitz. In Episode 1, Winnie Taylor arrives in Cleveland to live with her ex-quarterback dad, Derek. But when opportunity knocks, Winnie realizes she might have a chance to give him a second chance. For more great shows, visit GZMshows.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
13-year-old Winnie moves in with her dad, Derek, a retired quarterback, whose promising career ended badly. When Cleveland loses their starting QB, Winnie gets Derek back in the game and this time...he might actually find a way to win! With the love of a father and daughter at its center, Winnie Taylor's 4th and Inches bring a classic underdog sports story to the world of podcasts. Starring Ruth Righi as Winnie Taylor, Jeremie Harris as Derek Taylor and Tony Todd as Coach Fitz. In Episode 1, Winnie Taylor arrives in Cleveland to live with her ex-quarterback dad, Derek. But when opportunity knocks, Winnie realizes she might have a chance to give him a second chance. For more great shows, visit GZMshows.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
13-year-old Winnie moves in with her dad, Derek, a retired quarterback, whose promising career ended badly. When Cleveland loses their starting QB, Winnie gets Derek back in the game and this time...he might actually find a way to win! With the love of a father and daughter at its center, Winnie Taylor's 4th and Inches bring a classic underdog sports story to the world of podcasts. Starring Ruth Righi as Winnie Taylor, Jeremie Harris as Derek Taylor and Tony Todd as Coach Fitz. In Episode 1, Winnie Taylor arrives in Cleveland to live with her ex-quarterback dad, Derek. But when opportunity knocks, Winnie realizes she might have a chance to give him a second chance. For more great shows, visit GZMshows.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
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