Podcasts about derwood

Derwood Perkins - From Overwhelmed to Overwhelmed by High Praises Church

Derwood Andrews in conversation with David Eastaugh https://derwoodandrews1.bandcamp.com/ Guitarist, writer and founding member for- Generation X, Empire, Westworld, Dead Horse, Moondogg, Speedtwinn, Tone Poet and other glorious stuff... In late 1976, Andrews was playing lead guitar with an band called Paradox. Whilst performing at a gig at the Fulham Arts Centre he was talent-spotted by the punk-rocker Billy Idol, who was at that time looking for a guitar player to complete the line-up of a new band that he had just formed that would be named Generation X.

4680 Lexington Rd. Athens, GA 30605 (706) 549-0000 info@cornerstoneathens.cc Facebook - www.facebook.com/cornerstoneathens Instagram - www.instagram.com/cornerstoneathens

On this episode the PTID guys have the privilege of chatting with with first wave UK punk guitar legend Derwood Andrews! They discuss his time in Generation X and the early London scene. He talks about how he learned early on to be wary of lead singers. They cover his later career, including having a big hit with Westworld, and later collaborations with old friends. He talks about relocating from the dreary UK to the California desert, and how he couldn't imagine living anywhere else. Lots of ground is covered! Music by Generation X, Empire, Westwood, Moondogg, and Derwood and the Rat.

Lyrically inspired by people who get angry at things in life, but then take it out on the nearest available person to take it out on, regardless of how illogical it is to get angry at said people. Especially when most of it's your own fault. Musically done in the style of Psychostick.

Our guest Dawn Luedtke is a council woman in Montgomery County, Maryland. Montgomery County is just outside of Washington D.C. yet it includes a surprising amount of rural land. In fact, it's home to the Agricultural Reserve, 93,000 acres preserved for farm land and rural space and hailed as one of the best examples of land use policy in the country. Luedtke was elected to the council in 2022 to represent a newly created district that includes much of Montgomery County's rural spaces. We talk with Luedtke about the opportunities to make these rural voices heard in a diverse county, improving mental health access, and her love of theater. About Dawn Luedtke Dawn Luedtke is a community advocate, former Assistant Attorney General, certified law enforcement trainer and expert on healthy schools and public safety serving her first term on the Montgomery County Council.  She was elected in 2022 to represent the newly created District 7, including Ashton, Brookeville, Damascus, Derwood, Laytonsville, Montgomery Village, Olney, Redland, Sandy Spring, and northeast Montgomery County.  Dawn is committed to providing world-class constituent service, fostering a business environment for local small businesses to thrive, preventing crime through enhanced community policing, improving behavioral health and crisis response, and protecting Montgomery County's farmers, food, and Agricultural Reserve. She serves on the Council's Public Safety and Health and Human Services Committees. Dawn is a certified law enforcement trainer on school safety, implicit bias, hate crimes and other critical public safety issues, where she has taught and worked with law enforcement officials across Maryland. She served in the Office of the Attorney General of Maryland as Counsel to the Maryland Longitudinal Data System Center, Maryland Center for School Safety, Food Systems Resiliency Council, and Active Assailant Interdisciplinary Work Group. She also advised State agencies on topics including open government and government operations, and oversaw the creation of the State's Model Behavioral Threat Assessment Policy for K-12 Schools.  Dawn also served as Chair of the Prevention Subcommittee of the Active Assailant Interdisciplinary Work Group, a member of the Behavioral Health Administration's workgroup on involuntary commitment standards, the Maryland Institute for Emergency Medical Services Systems' Crisis Response Work Group, and as a member of the Youth & Families Subcommittee of the Governor's Commission to Study Mental & Behavioral Health. A longtime theater performer and advocate, Dawn is Vice President of the Opera Baltimore Board of Directors, Secretary of the University of Pennsylvania Glee Club Graduate Club Board of Directors, and previously served on the Boards of Directors of the Olney Theatre Center, Transformation Theater, LLC, and the Bruce Montgomery Foundation for the Arts. Dawn lives in Ashton with her husband Eric and four children.

The Godfather of Guncad himself, Derwood. The man behind the scenes of the AP-9, the WTF-9, the Mod-9, the KC-9, and the upcoming RTT-9. Join us as we delve into the hidden history of his builds and what the future has in store.Support Out of Battery:  Utreon: https://utreon.com/c/outofbatteryliveContact Us:   Website: https://outofbattery.live Affiliate Codes:   KAK Industries    https://www.kakindustry.com/    Code “outofbattery” for 10% off  Coex 3D    https://coex3d.com/    Code “outofbatterylive” for 10% off  Matador Arms    https://matadorarms.com/    Code “KM3D” for 20% off

The Fat One, Granny, Derwood, the Nip and Dr. Stone have deplaned and are attempting Gladiator sightings as they begin their 3 nights in the home of the pizza pie. Happy National Pino Noir Day.

Season 5 Episode 114/29/2022A NEW WEEK, ANOTHER EPISODE!NOTE: This episode begins our "SECRET WORD" Promotion with Indiana Whiskey Co, find the secret word and present them with the word for 20% off your whiskey purchase! [In Stores Only]This week we have Eric Klepper from our sponsor Indiana Whiskey Co! Which means we have Beer Flights where we get intimate with what makes him the man he is today, how he chose the whiskey life or did it choose him? He's a man of many talents we just can't handle it! Pop Culture is the second segment where we discuss Ezra Miller getting arrested (AGAIN!), Thor Love and Thunder trailer (Eric looooves Thor), Moon Knight is killing it on Disney+,  Seth Macfarlane has a SECOND jazz album and his show The Orville gets renewed for a third season on Hulu!Honer takes us to a hipster dive bar [minus the dive] in this week's Dive Bar Review! Bruce finishes us off (with a Name That Movie Trailer Trivia game!) The drinks keep flinging back and the fun doesn't end until we all read our Would You Rather's before we shut the show down.  We get really drunk this episode, and we can't contain our laughter! Eric was a great guest, and was able to handle our roasting as he fired right back at us. So, sit back with your favorite suds, and get Drunk With Buds! Eric also brings brand new whiskey flavors to the show for us to try out for our Shot Breaks! Whiskey #1: Peach Whiskey by Indiana Whiskey CoWhiskey #2: South Bend Locals Bourbon Whiskey Batch #2Beers drank this week:#1: Marceline Muffin (blonde ale) by Bottle Logic Brewing Anaheim, CA#2: Irish Eyes (red ale) by True Respite Brewing Company from Derwood, MD#3: Queen To Be (imperial/double new england - ipa) by Turning Point Beer from Bedford, TX#4: Cerberus (smoothie/pastry - sour) by Mortalis Brewing Company from Avon, NY

American Council of the Blind of Maryland 2022 Annual Conference and Convention February 25-26, 2022 A mighty little state with a wealth of history and resources Panel: Mobility and beyond MaryBeth Cleveland, certified orientation and mobility specialist, A to B and Back, Derwood, MD, mbcleveland@fastmail.net and Cecelia Rose, certified orientation and mobility specialist, cyrose@verizon.net Diane Ducharme, Community Outreach, The Low Vision Shop, Baltimore MD, diane@thelowvisionshop.com Panel: recreation Hughes, Robyn, Pikesville, MD, robynhughes04@verizon.net, adaptive kayaking, Braille trails in MA and MD, Horseback riding and Eric Phifer, Vice President, Outa Sight Dragon Boat team, ericphifer1852@gmail.com Panel: employment, education and rehabilitation Naomi Soule, Retired District Supervisor for Rehabilitation Services, Missouri" nstm@mindspring.com and Toni March, Director, Division of Rehabilitation Services, Office of Blindness and Vision Services, Baltimore, MD, toni.march@maryland.gov Conchita Hernandez, Statewide Blind and Low Vision Specialist, Maryland State Department of Education, Baltimore, MD, Conchita.hernandez@maryland.gov Find out more at https://acb-events.pinecast.co

On the eve of her new book release, I talk to bestselling children's author Beth Ferry about No Nibbling! (Roaring Brook Press, 2022), a tale filled with fantastic word play that will have kids laughing and insisting, One warm spring day, Derwood the goat planted a garden and patiently tended it as it grew. On that very same day, he noticed a dandelion puff--it was too early in the season, but Derwood was taking no chances. Growing a garden is risky business, after all. But as Derwood inspected the dandelion, he realized it wasn't a weed. It was a bunny! With Tabitha, a precocious bunny who is very interested in all the tasty vegetables, hopping on the scene, what ensues is a pun-filled tale that will leave you saying, "No nibbling!" Beth Ferry lives in New Jersey with her husband, three children, and two bulldogs. Mel Rosenberg is a professor of microbiology (Tel Aviv University, emeritus) who fell in love with children's books as a small child and now writes his own. He is also the founder of Ourboox, a web platform that allows anyone to create and share awesome flipbooks. Learn more about your ad choices. Visit megaphone.fm/adchoices

On the eve of her new book release, I talk to bestselling children's author Beth Ferry about No Nibbling! (Roaring Brook Press, 2022), a tale filled with fantastic word play that will have kids laughing and insisting, One warm spring day, Derwood the goat planted a garden and patiently tended it as it grew. On that very same day, he noticed a dandelion puff--it was too early in the season, but Derwood was taking no chances. Growing a garden is risky business, after all. But as Derwood inspected the dandelion, he realized it wasn't a weed. It was a bunny! With Tabitha, a precocious bunny who is very interested in all the tasty vegetables, hopping on the scene, what ensues is a pun-filled tale that will leave you saying, "No nibbling!" Beth Ferry lives in New Jersey with her husband, three children, and two bulldogs. Mel Rosenberg is a professor of microbiology (Tel Aviv University, emeritus) who fell in love with children's books as a small child and now writes his own. He is also the founder of Ourboox, a web platform that allows anyone to create and share awesome flipbooks. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Ever wanted to be a fly on the wall when three original punks talk about their days of punk, making music at that time and since. We're all about realising dreams! Derwood Andrews began his music career in 1976 as guitarist for Billy Idol's band Generation X. Since then Derwood has written, played and sung in many different music genres including rock, punk rock, pop punk, post-punk, indie rock, rockabilly, blues and alternative country.  Join us as we speak to Derwood Andrews about his early musical influences, teaching himself to play guitar, his first punk band, meeting Billy Idol and joining Generation X, forming his many bands, including Westworld, Empire, Tone Poet and so much more.  Derwood is joined by his former "Dead Horse" bandmates; Glen Matlock and Rat Scabies, and they all discuss the good, the great and the not so great of the early days of punk, being on the BBC music show "Top of The Pops," plus everything they have worked on together over the years. Then listen to Glen Matlock talk about being a Sex Pistol, working with Earl Slick, life in covid lockdown and one of his favourite moments in his music career. And then listen to Rat Scabies talk about being in The Damned, being part of Professor & the Madman and One Thousand Motels and of course meeting Derwood and working with Derwood. This is not just for punk fans, this is for music fans. Derwood Andrews Website IG Facebook Youtube Itunes Spotify Soundcloud 2 Sense  Music presents The Sync Report, where you will meet industry experts and top level songwriters as we pull the curtain back on music placement and scores, build vital relationships and provide real opportunities to our listeners. Listen to indie filmmakers present their latest productions and describe specific scenes as they consider music submitted by our audience. This episode is hosted by music supervisor and former Sony Epic Executive Jason P. Rothberg. Music. TBD Music is the difference between a good film and a great one.  Please tell your friends about us, and remember to rate, comment, & subscribe to us on Apple Podcasts and across all platforms.  And find us at The Sync Report here TSR Website  Facebook  Instagram Twitter Youtube Linkedin Tik Tok  TSR PODCAST is.... Hosted By: COLIN O'DONOGHUE  ROSE GANGUZZA JASON P ROTHBERG Featuring: MILFREDO SEVEN  PAULA FLACK KEVIN SHARPLEY  DAWN WISNER-JOHNSON Vinx De'Jon Parrette HEATHER RAGNARS Special Appearances: JODYLYNN TALEVI LISA DUNN PHILL MASON DR STACY MONTGOMER BETH WISNER-JAHNSEN MILES WISNER-JAHNSEN Created By: JASON P ROTHBERG Produced By: JASON P ROTHBERG PAULA FLACK Executive Producers: COLIN O'DONOGHUE KEVIN SHARPLEY  ROSE GANGUZZA JASON P ROTHBERG GIANFRANCO BIANCHI DEAN LYON Writers: JASON P ROTHBERG LISA DUNN KEVIN SHARPLEY  PAULA FLACK Editors: JASON P ROTHBERG MILFREDO SEVEN  PAULA FLACK  EDGAR “EDGE” CARNEY Adam McNamara PHILL MASON MILES WISNER-JAHNSEN MUSIC SUPERVISORS: JASON P ROTHBERG DAWN WISNER-JOHNSON MILFREDO SEVEN FOLEY: PHILL MASON MUSIC DEPARTMENT  BETH WISNER-JAHNSEN HEATHER RAGNARS Marketing Director PAULA FLACK Research:  LISA DUNN Graphic Design: GIANFRANCO BIANCHI JODYLYNN TALEVI  College Programs: DR STACY MONTGOMERY

It's the official first episode of a new podcast! Join Tim and Ben on a journey through the nerdpocalypse where we'll be trading our classic comic books for drinking water and decapitating eBay sellers for not responding adequately to the reports of fake Pokémon cards. Grab your museum quality replica swords and embark on this exceedingly geeky quest. Featuring music by Peter Swimm.Episode links:* True Respite Brewery in Derwood, Maryland* St. Elmo Brewing in Austin, Texas* 1992 Conan The Adventurer Action Figure* Robert E. Howard on Wikipedia* A list of all the Conan comic books* Ben's sweet lot of Conan comics, including the Todd McFarlane cover of #241* TCGPlayer Pokémon card price guideCheck out Tim's fake Pokémon cards - the smooth fake card is on the left, the real “textured” card is on the right. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbrown.substack.com

Alex sits down with Randy Altschuler, the CEO and co-founder of Xometry. Xometry is a publicly traded on-demand industrial parts marketplace based in Derwood, Maryland. Xometry's platform connects customers like BMW, NASA, Bosch, Dell and General Electric with contract manufacturers, which are often small domestic machine shops. The two discuss the founding of Xometry, contraction of manufacturing in the United States, and how the team at Xometry plans to scale the platform with its growing customers. 00:00 - Subscribe for Tech & Business News Daily 00:41 - Founding Xometry 02:52 - Using AI to Price Custom Products 06:21 - Xometry GMV vs Revenue 07:51 - Xometry's $260 Billion Market 10:17 - Approach to Corporate Development 12:04 - Growth of 3D Printing 14:14 - How Xometry is Solving the Chicken and Egg Problem 16:01 - Solving Supply Chain Issues During COVID 19:24 - International Supply Chain Complications 22:52 - Xometry Impact Fund Initiatives 24:42 - What Will It Take to Bring Manfufacturing Back to the U.S.? 31:52 - Large Scale Production on Xometry 34:52 - Supporting Small U.S. Manufacturers 36:46 - Closing Remarks Originally Aired: 08/27/21

In this episode Cyndi Sanford, Director of Mill Creek Parish Preschool and Early Childhood Educator, is sharing her wisdom and experience about the importance of preschool and all the age appropriate skills involved in the preschool setting! We are talking about the real work behind all the play in preschool! Art projects have real skills, playdoh is not just creativity and social skills are a priority! If you are a courageous mom of a young child, you will want to listen in to this conversation!! To learn more about Mill Creek Parish Preschool or contact the Director access the Mill Creek Parish Preschool website at www.mcpp.org. For all the local Mo Co listeners, MCPP is located in Derwood, MD!! I love to hear from courageous moms, so message me at: https://anchor.fm/momcourage/message or send me an email at karicourageousliving@gmail.com. Check out my website www.courageouslivingforyou.com and learn more about coaching and courageous conversations. --- Send in a voice message: https://podcasters.spotify.com/pod/show/thecourage/message

Derwood Perkins - Living on the Right Side of Easter by High Praises Church

The Fat One is joined by Granny, Young Nicklas and Derwood to ruin your day while they are enjoying Dollywood. Happy Easter Weekend!

Rabbit, Rabbit! The Fat One is joined by Young Nicklas, Granny and Derwood to ruin your day while they are enjoying Dollywood. Happy Sourdough Bread Day.

After the Vulgarian National Anthem, the Fat One is joined by Derwood, Young Nicklas and Granny to ruin you day while they are enjoying supper their cabin. Happy Taters Day.

The Fat One is joined by Granny, Derwood and Young Nicklas to ruin you day while they are enjoying their cabin. Happy National Turkey Neck Soup Day.

Four years into his tenure, Brad Underwood's Illini secure a 1-seed with a monster win at Ohio State. Mike Carpenter and Trevor Vallese react to an up-and-down second half, featuring late-game heroics from a masked Ayo and a superstar turn from Andre Curbelo. (Oh, and Isaac Ambrose pops in for a quick "LET'S GOOOOOO!") 

American-born artist based in the U.K., Kelly Chorpening discusses her practice, the intersection of drawing and writing, and 21st century art pedagogy. Many of her projects are co-developed as books published by Studio International (USA), RGAP (UK), Sint-Lucas Visual Arts and OPAK, FAK, KULeuven (Belgium. Her work has been shortlisted for both the Derwood and Jerwood drawing prizes. She is Programme Director Fine Art: Painting, Drawing and Printmaking at Camberwell College of Arts, University of the Art London and co-editor and contributor to A Companion to Contemporary Drawing, 2020. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In this episode, we sit down with Christian Dales, AKA Derwood. We chat about his album on vinyl "Renegade", vinyl collecting in general, the artwork for it, life as a musician, The Midnight sessions, but we also talk about the artwork that's on the wall behind Mark. Buy Derwood - Renegade on vinyl here: https://www.funkymooserecords.ca/products/derwood-renegade  Derwood on: His website: https://www.derwood.ca  YouTube: https://www.youtube.com/channel/UCfVQ5yvWBkUhjkO4O4Gmnfw  Bandcamp: https://derwood1.bandcamp.com/   Funky Moose Records on: Website: https://www.funkymooserecords.ca  Twitter: https://www.twitter.com/funkymoose_ca  Facebook: https://www.facebook.com/funkymooserecords   Instagram: https://www.instagram.com/funkymooserecords  Our sponsors: Shopify: https://fmr.fm/shopify   Pamu Slide earbuds: https://fmr.fm/pamu   Want to join us? Shoot us a message on the socials above or holler@funkymoose.ca.

The Fat One is back with a recap of his day, another 2020 Census and LOTS of drunkie nattering with Derwood. Happy National Candy Day.

Join The Beer Connoisseur for our Livestream Happy Hour and weekly Podcast with today's featured brewer Kenny Allen, head brewer of True Respite Brewing Co. of Derwood, Maryland. Journey through a guided tasting of some of the latest highly rated and rare beers made available to our Beer Buyers Club members. This unique event allows BC’s Beer Buyers Club members to taste and discuss these hard-to-find beers with fellow connoisseurs and engage in an in-depth Q&A with the brewers themselves. In this episode, Kenny discusses Dad Hat a 6.2% ABV limited release American IPA that scored 4.06 out of 5 points - Untappd. The brewery describes the beer as "All your dad's favorite hops in one tasty IPA! Pairs great with rope hats and calf-high tube socks. Oh--and don't forget the all-white sneakers! Whirlpooled w/ Centennial & Warrior, double dry hopped w/ Centennial, Warrior & Citra." Join BC’s Beer Buyers Club for free here. https://beerconnoisseur.com/articles/beer-buyers-club (https://beerconnoisseur.com/articles/beer-buyers-club) THANK YOU TO OUR SPONSORThis episode is brought to you by Precision Fermentation. Precision Fermentation is the creator of BrewMonitor®, the industry’s first comprehensive, real-time fermentation monitoring system. BrewMonitor live-streams dissolved oxygen, pH, gravity, pressure, temperature, and conductivity from existing fermentation tanks to any smartphone, tablet or PC. Continuous sampling, 24-7 remote tracking, and deep data analytics can greatly improve operational efficiency, as well as help prevent problems and ensure batch-to-batch consistency. For more information about BrewMonitor and to start a free 30-day trial, visit: https://www.precisionfermentation.com/tbc (https://www.precisionfermentation.com/tbc) Support this podcast

This episode is the definition of an obstacle creating an opportunity.  The founders and friends of True Respite Brewing Company in Derwood, MD came up with a new beer ordering & delivery platform within 45 minutes of the COVID19 shutdown and have generated over $1,000,000 of sales for craft beverage companies in one month.  Cheers to www.biermi.com

In this Spotlight episode Eric Interviews Dr. Min Phan of All Star Pediatric Dentistry located along 355/Hungerford Drive across from Rockville Town Square, we are proud to serve patients from Rockville, Derwood, Bethesda, Potomac, Olney, Gaithersburg, Germantown, Silver Spring, and all of Montgomery County. We make every effort to accommodate for your child's individualized dental needs and family's busy schedule. Dr. Chang and Dr. Phan are board-certified pediatric dentists with specialized training on age-appropriate dental care for infants, children, adolescences and those with special health care needs. They are well-versed in basic and advanced behavior guidance ranging from communicative guidance, tell-show-do, positive reinforcement, nitrous oxide inhalation to in-office conscious oral sedation, and hospital dentistry. Together they manage all your child's dental needs from caries prevention, routine dental cleanings, x-rays, fillings, crowns, baby root canals, extractions, interceptive orthodontics such as oral habit appliances and space maintainers.451 HUNGERFORD DR. SUITE 100 ROCKVILLE, MD 20850(301) 388-8588https://www.allstar-pediatricdentistry.com/

Dave and Ethan interview comedy musician Devo Spice, as well as chat with Derwood Bowen and Chad Kelson, aka Metal Al, to wrap up their final episode of 2019!

DC Beer's Adam and Richard visit Brendan and Bailey O'Leary and Kenny Allen in Montgomery County to talk about their up-and-coming brewery True Respite Brewing Company.A Long, Fraught Road to the Opening of True RespiteBrendan and Bailey began drawing up business plans for True Respite in 2014 while living in Colorado. When searching for a brewery location, they found that Montgomery County was a perfect spot: a “beer friendly” local government; few existing breweries; and close to family. Soon after, they met Kenny, a local brewer who was eager to join forces. Like many beer entrepreneurs, however, Brendan and Bailey had initial difficulties finding the right location for True Respite. Finally, in April 2018, just as they were planning to abandon their business plan, they found a willing landlord in an office park in Derwood, Maryland. A Growing Brewery with a Commitment to SustainabilityLess than two years later, True Respite is increasing production and expanding distribution. It employs a Blichmann 3.5-barrel system used primarily for experimental beers and a 15-barrel A.B.E system that can produce two brews in 10-12 hours. The brewery just bought two new 30-barrel fermenters and a canning line, looking to maximize production. It now distributes beer throughout Maryland, Delaware, and DC.Bailey is leading True Respite's sustainability efforts. She is instituting recycling and sustainable waste generation efforts and is looking into composting the brewery's waste. The brewery has also teamed up with the Rockville Watershed Committee to help keep the area's water clean-- while also brewing a new beer using locally foraged spicebush called the “Croydon Creek Spicebush Amber.”A Focus on Beer VarietyTrue Respite rarely brews the same beer twice. While focusing primarily on Hazy IPAs, its brewers are constantly creating new iterations to provide their customers with fresh, new brews.One recent beer is called “Hey Bud,” a fruity and complex Double Hazy IPA using fresh Strata and Mosaic hops. Another is the “Hazelnut Mocha Latta,” a balanced Imperial Milk Stout using Muntons light chocolate malt, lactose, and coffee, hazelnuts, and vanilla.You can check out True Respite's current beer listing here. Upcoming Local Events True Respite has some fun beer activities in the coming months. On Black Friday, it is putting up a biergarten at the Clarksburg Premium outlets. The brewery is also hosting the second annual Holiday Artist Fair on December 7. You can find a full calendar listing of events here. Catch up on all the DC Beer Show episodes here, and subscribe to our weekly newsletter, the DC Beer Weekly Pour.

Derwood Perkins - The Lord Is On Our Side by High Praises Church

The Golf DMV crew reviews Needwood Golf Course in Derwood, MD (Montgomery County), A member of the Golf DMV listening family reviewed Laurel Hill Golf Club in Lorton, VA, and the crew talk about steps to improve your game.

In episode 63, Steve and Alex are at Commonwealth Indian in Pike & Rose and joined by special guest @pike.and.rozay to discuss: - Commonwealth Indian, Pike & Rose's newest full-service restaurant - Openings/Closings (Downtown Silver Spring, Olney, Rockville, Derwood, Layhill, and more!) - Yelp: Love it or hate it? - MoCo Sports Hall of Fame: Alex met Dominique Dawes! - Juliet Lee, competitive eater from Germantown, passes away - Golden Bull demolished - Real Housewives of Potomac sighting - Electric scooter placed in trashcan and more! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Brock Holt and Lisa Scherber talk to Dale and Keefe about Brocks involvement with The Jimmy Fund, how he got involved with The Jimmy Fund after being traded to Boston from the Pirates, the relationships he and Dale have formed with childhood cancer patients, dealing with the loss of some of those children, watching some of them grow up, and the homerun Brock hit over the weekend following the death of his junior college coach, Pops.

Brock Holt and Lisa Scherber talk to Dale and Keefe about Brocks involvement with The Jimmy Fund, how he got involved with The Jimmy Fund after being traded to Boston from the Pirates, the relationships he and Dale have formed with childhood cancer patients, dealing with the loss of some of those children, watching some of them grow up, and the homerun Brock hit over the weekend following the death of his junior college coach, Pops.

Time to discuss an oldie but a goodie, Bewitched! We talk about witch power, aka girl power, practical effects, and try to figure out why Sam even put up with Derwood in first place.

 Ryan, Derwood, & Dorthy Dubose February 24, 2019

In this episode we discuss how bullying is different from public and private schools. Special guest Franco Saladino stoops by to share his thoughts! He's a Long & Foster realtor, Derwood resident, and has been featured on HGTV. Rate & review our podcast! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/pktalk/message

In Episode 29, Steve and Alex discuss: - MoCo Celeb: Michael Ealy (Silver Spring native) - Origins of the Derwood name - Openings/Closings - Ford Explorer Speed Camera on I-270 - New Report Shows No Economic Growth in MoCo - Interview with The Ivy League of Comedy: Battle of the Relationships, who will be at the BlackRock Center for the Arts in Germantown on February 8th. and more! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

  Welcome to episode three of A History of Rock Music in Five Hundred Songs. Today we're looking at Bob Wills and "Ida Red". ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. I mention a PhD thesis on the history of the backbeat in the episode. Here's a link to it. Bob Wills' music is now in the public domain, so there are many different compilations available, of different levels of quality. This is an expensive but exhaustive one, while this is a cheap one which seems to have most of the important hits on it. The definitive book on Bob Wills, San Antonio Rose, is available here, though it's a bit pricey. And for all the episodes on pre-1954 music, one invaluable source is the book "Before Elvis" by Larry Birnbaum. Clarification In the episode I talk about two tracks as being "by Django Reinhardt", but the clips I play happen to be ones featuring violin solos. Those solos are, of course, by Reinhardt's longtime collaborator Stephane Grapelli. I assume most people will know this, but just in case. Transcript "Rock and Roll? Why, man, that's the same kind of music we've been playin' since 1928! ... We didn't call it rock and roll back when we introduced it as our style back in 1928, and we don't call it rock and roll the way we play it now. But it's just basic rhythm and has gone by a lot of different names in my time. It's the same, whether you just follow a drum beat like in Africa or surround it with a lot of instruments. The rhythm's what's important."   Bob Wills said that in 1957, and it brings up an interesting question. What's in a name?   Genre names are a strange thing, aren't they? In particular, did you ever notice how many of them had the word "and" in them? Rock and roll, rhythm and blues, country and western? There's sort of a reason for that.   Rock and roll is a special case, but the other two were names that were coined by Billboard, and they weren't originally meant to be descriptors of a single genre, but of collections of genres -- they were titles for its different charts. Rhythm and blues is a name that was used to replace the earlier name, of "race" records, because that was thought a bit demeaning. It was for the chart of "music made by black people", basically, whatever music those black people were making, so they could be making "rhythm" records, or they could be making "blues" records.   Only once you give a collection of things a name, the way people's minds work, they start thinking that because those things share a name they're the same kind of thing. And people start thinking about "rhythm and blues" records as being a particular kind of thing. And then they start making "rhythm and blues" records, and suddenly it is a thing.   The same thing goes for country and western. That was, again, two different genres. Country music was the music made by white people who lived in the rural areas, of the Eastern US basically -- people like the Carter Family, for example.   [Excerpt of “Keep on the Sunny Side” by the Carter Family]   We'll hear more about the Carter family in the future, but that's what country music was. Not country and western, just country. And that was the music made in Appalachia, especially Kentucky and Tennessee, and especially especially Nashville.   Western music was a bit different. That was the music being made in Texas, Oklahoma, and California, and it tended to use similar instrumentation to country music -- violins and guitars and so on -- but it had different subject matter -- lots of songs about cowboys and outlaws and so on -- and at the time we're talking about, the thirties and forties, it was a little bit slicker than country music.   This is odd in retrospect, because not many years later the Western musicians influenced people like Johnny Cash, Buck Owens, and Merle Haggard, who made very gritty, raw, unpolished music compared to the country music coming out of Nashville, but the thirties and forties were the heyday of singing cowboy films, with people like Gene Autrey and Roy Rogers becoming massive, massive stars, and so there was a lot of Hollywoodisation of the music, lots of crooning and orchestras and so on.   Western music was big, big business -- and so was swing music. And so it's perhaps not surprising that there was a new genre that emerged around that time. Western swing.   Western swing is, to simplify it ridiculously, swing music made in the West of the USA. But it's music that was made in the west -- largely in places like California --by the same kinds of people who in the east were making country music, and with a lot of the same influences.   It took the rhythms of swing music, but played them with the same instrumentation as the country musicians were using, so you'd get hot jazz style performances, but they'd be played on fiddle, banjo, guitar, and stand-up bass. There were a few other instruments that you'd usually get included as well -- the steel guitar, for example. Western swing usually also included a drum kit, which was one of the big ways it differed from country music as it was then. The drum kit was, in the early decades of the twentieth century, primarily a jazz instrument, and it was only because Western swing was a hybrid of jazz and Western music that it got included in those bands -- and for a long time drum kits were banned from country music shows like the Grand Ole Opry, and when they did finally relent and let Western swing bands play there, they made the drummers hide behind a curtain.   They would also include other instruments that weren't normally included in country or Western music at the time, like the piano. Less often, you'd have a saxophone or a trumpet, but basically the typical Western swing lineup would be a guitar, a steel guitar, a violin or two, a piano, a bass, and drums.   Again, as we saw in the episode about "Flying Home", where we talked about *non*-Western swing, you can see the rock band lineup starting to form. It was a gradual process though.   Take Bob Wills, the musician whose drummer had to hide behind a curtain.   Wills originally performed as a blackface comedian -- sadly, blackface performances were very, very common in the US in the 1930s (but then, they were common in the UK well into my lifetime. I'm not judging the US in particular here), but he soon became more well known as a fiddle player and occasional singer.   In 1929 Wills, the singer Milton Brown, and guitarist Herman Arnspiger, got together to perform a song at a Christmas dance party. They soon added Brown's brother Derwood on guitar and fiddle player John Dunnam, and became the Light Crust Doughboys.     [clip of the Light Crust Doughboys singing their theme]   That might seem like a strange name for a band, and it would be if that had been the name they chose themselves, but it wasn't. Their name was originally The Aladdin Laddies, as they got sponsored by the Aladdin Lamp Company to perform on WBAP radio under that name, but when that sponsorship fell through, they performed for a while as the Wills Fiddle Band, before they found a new sponsor -- Pappy O'Daniel.   You may know that name, as the name of the governor of Mississippi in the film "O Brother, Where Art Thou?", and that was... not an *entirely* inaccurate portrayal, though the character in that film definitely wasn't the real man. The real Pappy O'Daniel didn't actually become governor of Mississippi, but he did become the governor of Texas, in the 1940s.   But in the late 1920s and early thirties he was the head of advertising for Burrus Mill and Elevator Company, who made "Light Crust Flour", and he started to sponsor the show.   The band became immensely successful, but they were not particularly well paid -- in fact, O'Daniel insisted that everyone in the band would have to actually work a day job at the mill as well. Bob Wills was a truck driver as well as being a fiddle player, and the others had different jobs in the factory.   Pappy O'Daniel at first didn't like this hillbilly music being played on the radio show he was paying for -- in fact he wanted to cancel the show after two weeks. But Wills invited him down to the radio station to be involved in the broadcasts, and O'Daniel became the show's MC, as well as being the band's manager and the writer of their original material. O'Daniel even got his own theme song, "Pass the Biscuits, Pappy".   [insert Hillbilly Boys playing "Pass the Biscuits, Pappy"]   That's not the Light Crust Doughboys playing the song -- that's the Hillbilly Boys, another band Pappy O'Daniel hired a few years later, when Burrus Mill fired him and he formed his own company, Hillbilly Flour -- but that's the song that the Light Crust Doughboys used to play for O'Daniel, and the singer on that recording, Leon Huff, sang with the Doughboys from 1934 onwards. So you get the idea.   In 1932, the Light Crust Doughboys made their first recording, though they did so under the name the Fort Worth Doughboys -- Pappy O'Daniel didn't approve of them doing anything which might take them out of his control, so they didn't use the same name. This is "Nancy"   [insert clip of "Nancy"]   Now the music the Light Crust Doughboys were playing wasn't yet what we'd call Western Swing but they were definitely as influenced by jazz music as they were by Western music. In fact, the original lineup of the Light Crust Doughboys can be seen as the prototypical example of the singer-guitarist creative tension in rock music, except here it was a tension between the singer and the fiddle player. Milton Brown was, by all accounts, wanting to experiment more with a jazz style, while Bob Wills wanted to stick with a more traditional hillbilly string band sound. That creative tension led them to create a totally new form of music.   To see this, we're going to look forward a little bit to 1936, to a slightly different lineup of the band. Take a listen to this, for example -- "Dinah".   [insert section of Light Crust Doughboys playing "Dinah"]   And this -- "Limehouse Blues".   [insert section of Light Crust Doughboys playing "Limehouse Blues"]   And now listen to this -- Django Reinhardt playing "Dinah"   [insert section of Reinhardt playing "Dinah"]   And Reinhardt playing "Limehouse Blues"   [Reinhardt playing "Limehouse Blues"]   Those recordings were made a few years after the Light Crust Doughboys versions, but you can see the similarities. The Light Crust Doughboys were doing the same things as Stephane Grapelli and Django Reinhardt, years before them, even though we would now think of the Light Crust Doughboys as being "a country band", while Grapelli and Reinhardt are absolutely in the jazz category.   Now, I said that that's a different lineup of the Light Crust Doughboys, and it is. A version of the Light Crust Doughboys continues today, and one member, Smoky Montgomery, who joined the band in 1935, continued with them until his death in 2001. Smoky Montgomery's on those tracks you just heard, but Bob Wills and Milton Brown weren't. They both left, because Pappy O'Daniel was apparently not a very good person to work for.   In particular, O'Daniel wouldn't let the Doughboys play any venues where alcohol was served, or play dances generally. O'Daniel was only paying the band members $15 a week, and they could get $40 a night playing gigs, and so Brown left in 1932 to form his own band, the Musical Brownies.   The Musical Brownies are now largely forgotten, but they're considered the first band ever to play proper Western Swing, and they introduced a lot of things that defined the genre. In particular, they introduced electric steel guitar to the Western music genre, with the great steel player Bob Dunn.   For a while, the Musical Brownies were massively popular, but sadly Brown died in a car crash in 1936.   Bob Wills stayed in the Doughboys for a while longer, as the band's leader, as O'Daniel gave him a raise to $38 a week. And he continued to make the kind of music he'd made when Brown was in the band -- both Brown and Wills clearly recognised that what they'd come up with together was something better and more interesting than just jazz or just Western.   Wills recruited a new singer, Tommy Duncan, but in 1933 Wills was fired by O'Daniel, partly because of rows over Wills wanting his brother in the band, and partly because Wills' drinking was already starting to affect his professionalism. He formed his own band and took Duncan and bass player Kermit Whalen with him. The Doughboys' steel guitar player, Leon McAuliffe, soon followed, and they became Bob Wills and his Texas Playboys. They advertised themselves as "formerly the Light Crust Doughboys" -- although that wasn't entirely true, as they weren't the whole band, though they were the core of it -- and Pappy O'Daniel sued them, unsuccessfully.   And the Texas Playboys then became the first Western Swing band to add a drum kit, and become a more obviously rhythm-oriented band.   The Texas Playboys were the first massively, massively successful Western swing band, and their style was one that involved taking elements from everywhere and putting them together. They had the drums and horns that a jazz band would have, the guitars and fiddles that country or Western bands would have, the steel guitar that a Hawaiian band would have, and that meant they could play all of those styles of music if they wanted to. And they did. They mixed jazz, and Western, and blues, and pop, and came up with something different from all of them.   This was music for dancing, and as music for dancing it had a lot of aspects that would later make their way into rock and roll. In particular it had that backbeat we talked about in episode two, although here it was swung less -- when you listen to them play with a heavy backbeat but with the fiddle as the main instrument, you can hear the influence of polka music, which was a big influence on all the Western swing musicians, and through them on rock and roll. Polka music is performed in 2/4 time, and there's a very, *very* strong connection between the polka beat and the backbeat.   (I won't go into that too much more here -- I already talked about the backbeat quite a bit in episode two -- but while researching these episodes I found a hugely informative but very detailed look at the development of the rock backbeat -- someone's PhD thesis from twenty years ago, four hundred pages just on that topic, which I'll link on the webpage if you want a much more detailed explanation)   Now by looking at the lineup of the Texas Playboys, we can see how the rock band lineup evolved. In 1938 the Texas Playboys had a singer, two guitars (one doubling on fiddle), three fiddlers, a banjo player, steel guitar, bass, drums, piano, trumpet, trombone, and two saxes. A *huge* band, and one at least as swing as it was Western. But around that time, Wills started to use electric guitars -- electric guitars only really became "a thing" in 1938 musically, and a lot of people started using them at the same time, like Benny Goodman's band as we heard about in the first episode. Wills' band was one of the first to use them, and Western musicians generally were more likely to use them, as they were already using amplified *steel* guitars.   We talked in episode two about how the big bands died between 1942 and 1944, and Wills was able to make his band considerably smaller with the aid of amplification, so by 1944 he'd got rid of most of his horn section apart from a single trumpet, having his electric guitars play what would previously have been horn lines.   So by 1944 the band would consist of two fiddles, two basses, two electric guitars, steel guitar, drums, and a trumpet. A smaller band, an electrified band, and one which, other than the fiddles and the trumpet, was much closer to the kind of lineups that you would get in the 50s and 60s. A smaller, tighter, band.   Now, Wills' band quickly became the most popular band in its genre, and he became widely known as "the king of Western Swing", but Wills' music was more than just swing. He was pulling together elements from country, from the blues, from jazz, from anything that could make him popular.   And, sadly, that would sometimes include plagiarism.   Now, the question of black influence on white music is a fraught one, and one that will come up a lot in the course of this history. And a lot of the time people will get things wrong. There were, of course, white people who made their living by taking black people's music and watering it down. There were also, though, plenty of more complicated examples, and examples of mutual influence.   There was a constant bouncing of ideas back and forth between country, western, blues, jazz, swing... all of these genres were coded as belonging to one or other race, but all of them had musicians who were listening to one another. This is not to say that racism was not a factor in who was successful -- of course it was, and this episode is, after all, about someone who started out as a blackface performer, race was a massive factor, and sadly still is -- but the general culture among musicians at the time was that good musicians of whatever genre respected good musicians of any other genre, and there were songs that everyone, or almost everyone, played, in their own styles, simply because a good song was a good song and at that time there wasn't the same tight association of performer and song that there is now -- you'd sometimes have five or six people in the charts with hit versions of the same song. You'd have a country version and a blues version and a swing version of a song, not because anyone was stealing anyone else's music, but because it was just accepted that everyone would record a hit song in their own style.   And certainly, in the case of Bob Wills, he was admired by -- and admired -- musicians across racial boundaries. The white jazz guitarist Les Paul -- of whom we'll almost certainly be hearing more -- used to tell a story. Paul was so amazed by Bob Wills' music that in 1938 he travelled from Waukesha Wisconsin, where he was visiting his mother, to Tulsa, Oklahoma, to hear Wills' band play, after his mother made him listen to Bob Wills on the radio. Paul was himself a famous guitarist at the time, and he got drawn on stage to jam with the band.   And then, in an interval, a black man in the audience -- presumably this must have been an integrated audience, which would have been *very* unusual in 1938 in Oklahoma, but this is how Les Paul told the story, and other parts of it check out so we should probably take his word for it absent better evidence -- came up and asked for Les Paul's autograph. He told Paul that he played guitar, and Paul said for the young man to show him what he could do. The young man did, and Paul said “Jesus, you *are* good. You want to come up and sit in with us?”   And he did -- that was the first time that Les Paul met his friend Charlie Christian, shortly before Christian got the offer from Benny Goodman. Hanging out and jamming at a Bob Wills gig.   So we can, for the most part, safely put Bob Wills into the mutual respect and influence category. He was someone who had the respect of his peers, and was part of a chain of influences crossing racial and stylistic boundaries.   It gets more difficult when you get to someone like Pat Boone, a few years later, who would record soundalike versions of black musicians' hits specifically to sell to people who wouldn't buy music by black people and act as a spoiler for their records. That's ethically very, very dodgy, plus Boone was a terrible musician.   But what I think we can all agree on is that just outright stealing a black musician's song, crediting it to a white musician, and making it a massive hit is just wrong. And sadly that happened with Bob Wills' band at least once.   Now, Leon McAuliffe, the Texas Playboys' steel guitar player, is the credited composer of "Steel Guitar Rag", which is the instrumental which really made the steel guitar a permanent fixture in country and western music. Without this instrumental, country music would be totally different.   [insert a section of "Steel Guitar Rag" by Bob Wills]   That's from 1936. Now, in 1927, the guitarist Sylvester Weaver made a pioneering recording, which is now often called the first recorded country blues, the first recorded blues instrumental, and the first slide guitar recording (as I've said before, there is never a first, but Weaver's recording is definitely important). That track is called "Guitar Rag" and... well...   [insert "Guitar Rag" by Sylvester Weaver].   Leon McAuliffe always claimed he'd never heard Sylvester Weaver's song, and came up with Steel Guitar Rag independently. Do you believe him?   So, the Texas Playboys were not averse to a bit of plagiarism. But the song we're going to talk about for the rest of the episode is one that would end up plagiarised itself, very famously.   "Ida Red" is an old folk song, first recorded in 1924. In fact, structurally it's a hokum song. As is often the case with this kind of song, it's part of a massive family tree of other songs -- there are blues and country songs with the same melody, songs with different melodies but mentions of Ida Red, songs which contain different lines from the song... many folk songs aren't so much songs in themselves as they are labels you can put on a whole family. There's no one song "Ida Red", there's a whole bunch of songs which are, to a greater or lesser extent, Ida Red. "Ida Red" is just a name you can slap on that family, something you can point to.   Most versions of "Ida Red" had the same chorus -- "Ida Red, Ida Red, I'm plum fool about Ida Red" -- but different lyrics, often joking improvised ones. Here's the first version of "Ida Red" to be recorded -- oddly, this version doesn't even have the chorus, but it does have the chorus melody played on the fiddle. This is Fiddlin' Powers and Family, singing about Ida Red who weighs three hundred and forty pounds, in 1924:   [insert Fiddlin Powers version of "Ida Red"]   Wills' version is very differently structured. It has totally different lyrics -- it has the familiar chorus, but the verses are totally different and have nothing to do with the character of Ida Red -- "Light's in the parlour, fire's in the grate/Clock on the mantle says it's a'gettin' late/Curtains on the window, snowy white/The parlour's pleasant on Sunday night"   [insert Bob Wills version of "Ida Red"]   Those lyrics -- and all the other lyrics in Wills' version except the chorus, were taken from an 1878 parlour song called "Sunday Night" by George Frederick Root, a Civil War era songwriter who is now best known as the writer of the melody we now know as "Jesus Loves the Little Children". They're cut down to fit into the fast-patter do-si-do style of the song, but they're still definitely the same lyrics as Root's.   "Ida Red" was one of many massive hits for Wills and the Texas Playboys, who continued to be hugely successful through the 1940s, at one point becoming a bigger live draw than Benny Goodman or Tommy Dorsey, although the band's success started to decline when Tommy Duncan quit in 1948 over Wills' drinking -- Wills would often miss shows because of his binge drinking, and Duncan was the one who had to deal with the angry fans. Wills replaced Duncan with various other singers, but never found anyone who would have the same success with him.   Bob Wills and the Texas Playboys had a couple of hits in the very early 1950s -- one of them, indeed, was a sequel to Ida Red -- "Ida Red Likes The Boogie", a novelty boogie song of the type we discussed last week. (And think back to what I said then about the boogie fad persisting much longer than it should have. "Ida Red Likes The Boogie" was recorded in 1949 and went top ten in 1950, yet those boogie novelty songs I talked about last week were from 1940).   [insert "Ida Red Likes The Boogie"]   But even as his kind of music was getting more into fashion under the name rock and roll, Wills himself became less popular. The band were still a popular live attraction through most of the 1950s, but they never again reached the heights of the 30s and 40s, and Wills' deteriorating health and the band's lack of success made them split up in 1965.   But before they'd split, Wills' music had had a lasting influence on rock and roll, and not just on the people you might expect. Remember how I talked about plagiarism? Well, in 1955, a musician went into Chess studios with a slight rewrite of "Ida Red" that he called "Ida May". Leonard Chess persuaded him to change the name because otherwise it would be too obvious where he stole the tune... and we will talk about "Maybellene" by Chuck Berry in a few weeks' time.   Patreon As always, this podcast only exists because of the donations of my backers on Patreon. If you enjoy it, why not join them?

  Welcome to episode three of A History of Rock Music in Five Hundred Songs. Today we’re looking at Bob Wills and “Ida Red”. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. I mention a PhD thesis on the history of the backbeat in the episode. Here’s a link to it. Bob Wills’ music is now in the public domain, so there are many different compilations available, of different levels of quality. This is an expensive but exhaustive one, while this is a cheap one which seems to have most of the important hits on it. The definitive book on Bob Wills, San Antonio Rose, is available here, though it’s a bit pricey. And for all the episodes on pre-1954 music, one invaluable source is the book “Before Elvis” by Larry Birnbaum. Clarification In the episode I talk about two tracks as being “by Django Reinhardt”, but the clips I play happen to be ones featuring violin solos. Those solos are, of course, by Reinhardt’s longtime collaborator Stephane Grapelli. I assume most people will know this, but just in case. Transcript “Rock and Roll? Why, man, that’s the same kind of music we’ve been playin’ since 1928! … We didn’t call it rock and roll back when we introduced it as our style back in 1928, and we don’t call it rock and roll the way we play it now. But it’s just basic rhythm and has gone by a lot of different names in my time. It’s the same, whether you just follow a drum beat like in Africa or surround it with a lot of instruments. The rhythm’s what’s important.”   Bob Wills said that in 1957, and it brings up an interesting question. What’s in a name?   Genre names are a strange thing, aren’t they? In particular, did you ever notice how many of them had the word “and” in them? Rock and roll, rhythm and blues, country and western? There’s sort of a reason for that.   Rock and roll is a special case, but the other two were names that were coined by Billboard, and they weren’t originally meant to be descriptors of a single genre, but of collections of genres — they were titles for its different charts. Rhythm and blues is a name that was used to replace the earlier name, of “race” records, because that was thought a bit demeaning. It was for the chart of “music made by black people”, basically, whatever music those black people were making, so they could be making “rhythm” records, or they could be making “blues” records.   Only once you give a collection of things a name, the way people’s minds work, they start thinking that because those things share a name they’re the same kind of thing. And people start thinking about “rhythm and blues” records as being a particular kind of thing. And then they start making “rhythm and blues” records, and suddenly it is a thing.   The same thing goes for country and western. That was, again, two different genres. Country music was the music made by white people who lived in the rural areas, of the Eastern US basically — people like the Carter Family, for example.   [Excerpt of “Keep on the Sunny Side” by the Carter Family]   We’ll hear more about the Carter family in the future, but that’s what country music was. Not country and western, just country. And that was the music made in Appalachia, especially Kentucky and Tennessee, and especially especially Nashville.   Western music was a bit different. That was the music being made in Texas, Oklahoma, and California, and it tended to use similar instrumentation to country music — violins and guitars and so on — but it had different subject matter — lots of songs about cowboys and outlaws and so on — and at the time we’re talking about, the thirties and forties, it was a little bit slicker than country music.   This is odd in retrospect, because not many years later the Western musicians influenced people like Johnny Cash, Buck Owens, and Merle Haggard, who made very gritty, raw, unpolished music compared to the country music coming out of Nashville, but the thirties and forties were the heyday of singing cowboy films, with people like Gene Autrey and Roy Rogers becoming massive, massive stars, and so there was a lot of Hollywoodisation of the music, lots of crooning and orchestras and so on.   Western music was big, big business — and so was swing music. And so it’s perhaps not surprising that there was a new genre that emerged around that time. Western swing.   Western swing is, to simplify it ridiculously, swing music made in the West of the USA. But it’s music that was made in the west — largely in places like California –by the same kinds of people who in the east were making country music, and with a lot of the same influences.   It took the rhythms of swing music, but played them with the same instrumentation as the country musicians were using, so you’d get hot jazz style performances, but they’d be played on fiddle, banjo, guitar, and stand-up bass. There were a few other instruments that you’d usually get included as well — the steel guitar, for example. Western swing usually also included a drum kit, which was one of the big ways it differed from country music as it was then. The drum kit was, in the early decades of the twentieth century, primarily a jazz instrument, and it was only because Western swing was a hybrid of jazz and Western music that it got included in those bands — and for a long time drum kits were banned from country music shows like the Grand Ole Opry, and when they did finally relent and let Western swing bands play there, they made the drummers hide behind a curtain.   They would also include other instruments that weren’t normally included in country or Western music at the time, like the piano. Less often, you’d have a saxophone or a trumpet, but basically the typical Western swing lineup would be a guitar, a steel guitar, a violin or two, a piano, a bass, and drums.   Again, as we saw in the episode about “Flying Home”, where we talked about *non*-Western swing, you can see the rock band lineup starting to form. It was a gradual process though.   Take Bob Wills, the musician whose drummer had to hide behind a curtain.   Wills originally performed as a blackface comedian — sadly, blackface performances were very, very common in the US in the 1930s (but then, they were common in the UK well into my lifetime. I’m not judging the US in particular here), but he soon became more well known as a fiddle player and occasional singer.   In 1929 Wills, the singer Milton Brown, and guitarist Herman Arnspiger, got together to perform a song at a Christmas dance party. They soon added Brown’s brother Derwood on guitar and fiddle player John Dunnam, and became the Light Crust Doughboys.     [clip of the Light Crust Doughboys singing their theme]   That might seem like a strange name for a band, and it would be if that had been the name they chose themselves, but it wasn’t. Their name was originally The Aladdin Laddies, as they got sponsored by the Aladdin Lamp Company to perform on WBAP radio under that name, but when that sponsorship fell through, they performed for a while as the Wills Fiddle Band, before they found a new sponsor — Pappy O’Daniel.   You may know that name, as the name of the governor of Mississippi in the film “O Brother, Where Art Thou?”, and that was… not an *entirely* inaccurate portrayal, though the character in that film definitely wasn’t the real man. The real Pappy O’Daniel didn’t actually become governor of Mississippi, but he did become the governor of Texas, in the 1940s.   But in the late 1920s and early thirties he was the head of advertising for Burrus Mill and Elevator Company, who made “Light Crust Flour”, and he started to sponsor the show.   The band became immensely successful, but they were not particularly well paid — in fact, O’Daniel insisted that everyone in the band would have to actually work a day job at the mill as well. Bob Wills was a truck driver as well as being a fiddle player, and the others had different jobs in the factory.   Pappy O’Daniel at first didn’t like this hillbilly music being played on the radio show he was paying for — in fact he wanted to cancel the show after two weeks. But Wills invited him down to the radio station to be involved in the broadcasts, and O’Daniel became the show’s MC, as well as being the band’s manager and the writer of their original material. O’Daniel even got his own theme song, “Pass the Biscuits, Pappy”.   [insert Hillbilly Boys playing “Pass the Biscuits, Pappy”]   That’s not the Light Crust Doughboys playing the song — that’s the Hillbilly Boys, another band Pappy O’Daniel hired a few years later, when Burrus Mill fired him and he formed his own company, Hillbilly Flour — but that’s the song that the Light Crust Doughboys used to play for O’Daniel, and the singer on that recording, Leon Huff, sang with the Doughboys from 1934 onwards. So you get the idea.   In 1932, the Light Crust Doughboys made their first recording, though they did so under the name the Fort Worth Doughboys — Pappy O’Daniel didn’t approve of them doing anything which might take them out of his control, so they didn’t use the same name. This is “Nancy”   [insert clip of “Nancy”]   Now the music the Light Crust Doughboys were playing wasn’t yet what we’d call Western Swing but they were definitely as influenced by jazz music as they were by Western music. In fact, the original lineup of the Light Crust Doughboys can be seen as the prototypical example of the singer-guitarist creative tension in rock music, except here it was a tension between the singer and the fiddle player. Milton Brown was, by all accounts, wanting to experiment more with a jazz style, while Bob Wills wanted to stick with a more traditional hillbilly string band sound. That creative tension led them to create a totally new form of music.   To see this, we’re going to look forward a little bit to 1936, to a slightly different lineup of the band. Take a listen to this, for example — “Dinah”.   [insert section of Light Crust Doughboys playing “Dinah”]   And this — “Limehouse Blues”.   [insert section of Light Crust Doughboys playing “Limehouse Blues”]   And now listen to this — Django Reinhardt playing “Dinah”   [insert section of Reinhardt playing “Dinah”]   And Reinhardt playing “Limehouse Blues”   [Reinhardt playing “Limehouse Blues”]   Those recordings were made a few years after the Light Crust Doughboys versions, but you can see the similarities. The Light Crust Doughboys were doing the same things as Stephane Grapelli and Django Reinhardt, years before them, even though we would now think of the Light Crust Doughboys as being “a country band”, while Grapelli and Reinhardt are absolutely in the jazz category.   Now, I said that that’s a different lineup of the Light Crust Doughboys, and it is. A version of the Light Crust Doughboys continues today, and one member, Smoky Montgomery, who joined the band in 1935, continued with them until his death in 2001. Smoky Montgomery’s on those tracks you just heard, but Bob Wills and Milton Brown weren’t. They both left, because Pappy O’Daniel was apparently not a very good person to work for.   In particular, O’Daniel wouldn’t let the Doughboys play any venues where alcohol was served, or play dances generally. O’Daniel was only paying the band members $15 a week, and they could get $40 a night playing gigs, and so Brown left in 1932 to form his own band, the Musical Brownies.   The Musical Brownies are now largely forgotten, but they’re considered the first band ever to play proper Western Swing, and they introduced a lot of things that defined the genre. In particular, they introduced electric steel guitar to the Western music genre, with the great steel player Bob Dunn.   For a while, the Musical Brownies were massively popular, but sadly Brown died in a car crash in 1936.   Bob Wills stayed in the Doughboys for a while longer, as the band’s leader, as O’Daniel gave him a raise to $38 a week. And he continued to make the kind of music he’d made when Brown was in the band — both Brown and Wills clearly recognised that what they’d come up with together was something better and more interesting than just jazz or just Western.   Wills recruited a new singer, Tommy Duncan, but in 1933 Wills was fired by O’Daniel, partly because of rows over Wills wanting his brother in the band, and partly because Wills’ drinking was already starting to affect his professionalism. He formed his own band and took Duncan and bass player Kermit Whalen with him. The Doughboys’ steel guitar player, Leon McAuliffe, soon followed, and they became Bob Wills and his Texas Playboys. They advertised themselves as “formerly the Light Crust Doughboys” — although that wasn’t entirely true, as they weren’t the whole band, though they were the core of it — and Pappy O’Daniel sued them, unsuccessfully.   And the Texas Playboys then became the first Western Swing band to add a drum kit, and become a more obviously rhythm-oriented band.   The Texas Playboys were the first massively, massively successful Western swing band, and their style was one that involved taking elements from everywhere and putting them together. They had the drums and horns that a jazz band would have, the guitars and fiddles that country or Western bands would have, the steel guitar that a Hawaiian band would have, and that meant they could play all of those styles of music if they wanted to. And they did. They mixed jazz, and Western, and blues, and pop, and came up with something different from all of them.   This was music for dancing, and as music for dancing it had a lot of aspects that would later make their way into rock and roll. In particular it had that backbeat we talked about in episode two, although here it was swung less — when you listen to them play with a heavy backbeat but with the fiddle as the main instrument, you can hear the influence of polka music, which was a big influence on all the Western swing musicians, and through them on rock and roll. Polka music is performed in 2/4 time, and there’s a very, *very* strong connection between the polka beat and the backbeat.   (I won’t go into that too much more here — I already talked about the backbeat quite a bit in episode two — but while researching these episodes I found a hugely informative but very detailed look at the development of the rock backbeat — someone’s PhD thesis from twenty years ago, four hundred pages just on that topic, which I’ll link on the webpage if you want a much more detailed explanation)   Now by looking at the lineup of the Texas Playboys, we can see how the rock band lineup evolved. In 1938 the Texas Playboys had a singer, two guitars (one doubling on fiddle), three fiddlers, a banjo player, steel guitar, bass, drums, piano, trumpet, trombone, and two saxes. A *huge* band, and one at least as swing as it was Western. But around that time, Wills started to use electric guitars — electric guitars only really became “a thing” in 1938 musically, and a lot of people started using them at the same time, like Benny Goodman’s band as we heard about in the first episode. Wills’ band was one of the first to use them, and Western musicians generally were more likely to use them, as they were already using amplified *steel* guitars.   We talked in episode two about how the big bands died between 1942 and 1944, and Wills was able to make his band considerably smaller with the aid of amplification, so by 1944 he’d got rid of most of his horn section apart from a single trumpet, having his electric guitars play what would previously have been horn lines.   So by 1944 the band would consist of two fiddles, two basses, two electric guitars, steel guitar, drums, and a trumpet. A smaller band, an electrified band, and one which, other than the fiddles and the trumpet, was much closer to the kind of lineups that you would get in the 50s and 60s. A smaller, tighter, band.   Now, Wills’ band quickly became the most popular band in its genre, and he became widely known as “the king of Western Swing”, but Wills’ music was more than just swing. He was pulling together elements from country, from the blues, from jazz, from anything that could make him popular.   And, sadly, that would sometimes include plagiarism.   Now, the question of black influence on white music is a fraught one, and one that will come up a lot in the course of this history. And a lot of the time people will get things wrong. There were, of course, white people who made their living by taking black people’s music and watering it down. There were also, though, plenty of more complicated examples, and examples of mutual influence.   There was a constant bouncing of ideas back and forth between country, western, blues, jazz, swing… all of these genres were coded as belonging to one or other race, but all of them had musicians who were listening to one another. This is not to say that racism was not a factor in who was successful — of course it was, and this episode is, after all, about someone who started out as a blackface performer, race was a massive factor, and sadly still is — but the general culture among musicians at the time was that good musicians of whatever genre respected good musicians of any other genre, and there were songs that everyone, or almost everyone, played, in their own styles, simply because a good song was a good song and at that time there wasn’t the same tight association of performer and song that there is now — you’d sometimes have five or six people in the charts with hit versions of the same song. You’d have a country version and a blues version and a swing version of a song, not because anyone was stealing anyone else’s music, but because it was just accepted that everyone would record a hit song in their own style.   And certainly, in the case of Bob Wills, he was admired by — and admired — musicians across racial boundaries. The white jazz guitarist Les Paul — of whom we’ll almost certainly be hearing more — used to tell a story. Paul was so amazed by Bob Wills’ music that in 1938 he travelled from Waukesha Wisconsin, where he was visiting his mother, to Tulsa, Oklahoma, to hear Wills’ band play, after his mother made him listen to Bob Wills on the radio. Paul was himself a famous guitarist at the time, and he got drawn on stage to jam with the band.   And then, in an interval, a black man in the audience — presumably this must have been an integrated audience, which would have been *very* unusual in 1938 in Oklahoma, but this is how Les Paul told the story, and other parts of it check out so we should probably take his word for it absent better evidence — came up and asked for Les Paul’s autograph. He told Paul that he played guitar, and Paul said for the young man to show him what he could do. The young man did, and Paul said “Jesus, you *are* good. You want to come up and sit in with us?”   And he did — that was the first time that Les Paul met his friend Charlie Christian, shortly before Christian got the offer from Benny Goodman. Hanging out and jamming at a Bob Wills gig.   So we can, for the most part, safely put Bob Wills into the mutual respect and influence category. He was someone who had the respect of his peers, and was part of a chain of influences crossing racial and stylistic boundaries.   It gets more difficult when you get to someone like Pat Boone, a few years later, who would record soundalike versions of black musicians’ hits specifically to sell to people who wouldn’t buy music by black people and act as a spoiler for their records. That’s ethically very, very dodgy, plus Boone was a terrible musician.   But what I think we can all agree on is that just outright stealing a black musician’s song, crediting it to a white musician, and making it a massive hit is just wrong. And sadly that happened with Bob Wills’ band at least once.   Now, Leon McAuliffe, the Texas Playboys’ steel guitar player, is the credited composer of “Steel Guitar Rag”, which is the instrumental which really made the steel guitar a permanent fixture in country and western music. Without this instrumental, country music would be totally different.   [insert a section of “Steel Guitar Rag” by Bob Wills]   That’s from 1936. Now, in 1927, the guitarist Sylvester Weaver made a pioneering recording, which is now often called the first recorded country blues, the first recorded blues instrumental, and the first slide guitar recording (as I’ve said before, there is never a first, but Weaver’s recording is definitely important). That track is called “Guitar Rag” and… well…   [insert “Guitar Rag” by Sylvester Weaver].   Leon McAuliffe always claimed he’d never heard Sylvester Weaver’s song, and came up with Steel Guitar Rag independently. Do you believe him?   So, the Texas Playboys were not averse to a bit of plagiarism. But the song we’re going to talk about for the rest of the episode is one that would end up plagiarised itself, very famously.   “Ida Red” is an old folk song, first recorded in 1924. In fact, structurally it’s a hokum song. As is often the case with this kind of song, it’s part of a massive family tree of other songs — there are blues and country songs with the same melody, songs with different melodies but mentions of Ida Red, songs which contain different lines from the song… many folk songs aren’t so much songs in themselves as they are labels you can put on a whole family. There’s no one song “Ida Red”, there’s a whole bunch of songs which are, to a greater or lesser extent, Ida Red. “Ida Red” is just a name you can slap on that family, something you can point to.   Most versions of “Ida Red” had the same chorus — “Ida Red, Ida Red, I’m plum fool about Ida Red” — but different lyrics, often joking improvised ones. Here’s the first version of “Ida Red” to be recorded — oddly, this version doesn’t even have the chorus, but it does have the chorus melody played on the fiddle. This is Fiddlin’ Powers and Family, singing about Ida Red who weighs three hundred and forty pounds, in 1924:   [insert Fiddlin Powers version of “Ida Red”]   Wills’ version is very differently structured. It has totally different lyrics — it has the familiar chorus, but the verses are totally different and have nothing to do with the character of Ida Red — “Light’s in the parlour, fire’s in the grate/Clock on the mantle says it’s a’gettin’ late/Curtains on the window, snowy white/The parlour’s pleasant on Sunday night”   [insert Bob Wills version of “Ida Red”]   Those lyrics — and all the other lyrics in Wills’ version except the chorus, were taken from an 1878 parlour song called “Sunday Night” by George Frederick Root, a Civil War era songwriter who is now best known as the writer of the melody we now know as “Jesus Loves the Little Children”. They’re cut down to fit into the fast-patter do-si-do style of the song, but they’re still definitely the same lyrics as Root’s.   “Ida Red” was one of many massive hits for Wills and the Texas Playboys, who continued to be hugely successful through the 1940s, at one point becoming a bigger live draw than Benny Goodman or Tommy Dorsey, although the band’s success started to decline when Tommy Duncan quit in 1948 over Wills’ drinking — Wills would often miss shows because of his binge drinking, and Duncan was the one who had to deal with the angry fans. Wills replaced Duncan with various other singers, but never found anyone who would have the same success with him.   Bob Wills and the Texas Playboys had a couple of hits in the very early 1950s — one of them, indeed, was a sequel to Ida Red — “Ida Red Likes The Boogie”, a novelty boogie song of the type we discussed last week. (And think back to what I said then about the boogie fad persisting much longer than it should have. “Ida Red Likes The Boogie” was recorded in 1949 and went top ten in 1950, yet those boogie novelty songs I talked about last week were from 1940).   [insert “Ida Red Likes The Boogie”]   But even as his kind of music was getting more into fashion under the name rock and roll, Wills himself became less popular. The band were still a popular live attraction through most of the 1950s, but they never again reached the heights of the 30s and 40s, and Wills’ deteriorating health and the band’s lack of success made them split up in 1965.   But before they’d split, Wills’ music had had a lasting influence on rock and roll, and not just on the people you might expect. Remember how I talked about plagiarism? Well, in 1955, a musician went into Chess studios with a slight rewrite of “Ida Red” that he called “Ida May”. Leonard Chess persuaded him to change the name because otherwise it would be too obvious where he stole the tune… and we will talk about “Maybellene” by Chuck Berry in a few weeks’ time.   Patreon As always, this podcast only exists because of the donations of my backers on Patreon. If you enjoy it, why not join them?

Burt Cohen on what happened 30 years after his experience with Charles Gibson of ABC News after Gibson's first on air newscast at WMAL ~ "I just thought of a funny story, there was a young newsman, came and did his first newscast on the air, he finished up and I said, 'Man, you better find another line of work, you're never going to amount to anything in this business.' 30 years later, my retirement party, I get an email,'Dear Burt, thank you for your advice, I'm glad I didn't listen to you. Good luck on your retirement. Charles Gibson, ABC News.'" Burt Cohen - Retired, WMAL Engineer and The Duke of Derwood and Andy Ockershausen in-studio interview Andy Ockershausen: This is Andy Ockershausen, this is Our Town. And I'm so delighted that the producer and executive producer and the money person behind Our Town, is going to take over this show and I'm going to sit here and listen to her. So, Janice Ockershausen its all yours. Janice Iacona Ockershausen: Thank you honey. Today we are recording the final episode of Our Town, Season Three. Andy Ockershausen: Save the best for last. Rounding Out Season Three - Our Town Janice Iacona Ockershausen: That's right, that's exactly right. We interviewed over 160 guests over the last three seasons. So, I said, "We've got to get this guy because he's going to really round out, bring it full circle, gotta round out our Season Three podcast." Andy Ockershausen: He's been around too. Janice Iacona Ockershausen: He has been around. Preparing for this interview today, it brought back so many memories, I was up at 3:00 in the morning thinking and laughing to myself about how great this interview was going to be. That nostalgia is really good and it's good for the soul. I was really up for this interview today. Without further adieu, he's a great guy, his wife, we've known as friends for so many years, Andy Ockershausen: Forever! You think of one you think of the other. Janice Iacona Ockershausen: That's right, he hasn't worked at WMAL for the past 14 years, but he was such an instrumental part of our product. His name is Burt Cohen, often referred to as the Duke of Derwood. He's a good friend and we're so glad to see you back Burt for a little while from Florida, as a snowbird. We welcome you back to your studio. Burt Cohen That's right. Janice Iacona Ockershausen: At WMAL. Ken, Burt Cohen, Burt Cohen, Ken Hunter. Ken Hunter: I've been waiting for the introduction. Burt, hey Burt. Andy Ockershausen: When he started with this Derwood, so many people had no idea where Derwood was. I know that for a fact. The Duke of Derwood Burt Cohen Do you know where the Duke of Derwood came from? Janice Iacona Ockershausen: No. Burt Cohen Whenever Trumbull and Core would end their show at 7:00 they would thank me and put in a little soundtrack of some funny things. They wanted to thank the Dude from Derwood. One day, we're sitting out in the kitchen eating lunch. The Lunch Bunch Andy Ockershausen: The lunch bunch. Burt Cohen Yeah. The lunch bunch. Janice Iacona Ockershausen: Yeah, that's right. Burt Cohen Had the house monitor on and a song comes on, "Duke, Duke, Duke of Earl..." "Trumbull say's, that's it! The Duke of Derwood." Janice Iacona Ockershausen: Oh that's great, at the lunch bunch. I think I was probably there that day. Andy Ockershausen: Yeah, that was a big part of the history of WMAL, was the lunch bunch. I was not privy to be part of it. Janice Iacona Ockershausen: You bought pizza every once in a while though. Andy Ockershausen: Yes occasionally, particularly on snowy days, I'd buy pizza for the group. They were low lifes, I didn't want to spend time with them. They were talent and engineers and news people, I wanted to spend my time with leaders. Burt Cohen (laughing) Andy Ockershausen: So, I couldn't find a leader. So I spent my time at Alfios. Janice Iacona Ockershausen: We just spent the last couple of minutes with Ken, playing some bloopers,

This was a lecture that Rev. Batzig delivered at the 2017 Wrath - Grace Conference, held at Shady Grove PCA in Derwood, MD.

Merry Christmas SAVAGES! New Episode is up! We've got Derwood from The Utah County Swillers in Studio! We're also talking A Christmas Horror Story… Get some!

Merry Christmas SAVAGES! New Episode is up! We've got Derwood from The Utah County Swillers in Studio! We're also talking A Christmas Horror Story… Get some!

Happy New Year, Screamerz! This week, I'm sitting down with Chris & Shawn from the 42nd Street Drive-In podcast to dish the dish on the 1972 Spanish classic, TOMBS OF THE BLIND DEAD! Even though we don't get into it on the show, this movie actually scared the livin' crud out of me when I saw it on WPIX-Channel 11's CHILLER THEATER when I was a tiny waif. Technically, this should be a beast from the NIGHTMARE CLOSET, but nothing's scarier than Brad's imitation of these undead Templar nasties. Especially when he does it nekkid. Yoinks! Plus, BETTE & DERWOOD, everyone's favorite brown-nosers call in with reviews of THE SHRINE and DREAM HOME, and then reveal that they're not the straight-A students they pretend to be. I feel a spanking coming on! And finally, the GREEN GOBLIN/TIMES SQUARE TAKEOVER gets shredded, AMERICAN HORROR STORY gets schooled, THE WALKING DEAD get reamed and then....a listener is going to get publicly and merciless thrashed on this episode. Is it YOU??? *ominous thunderclap, howling wolf, maniacal laughter, silent queef*