Podcasts about desperadoes

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.

SEGA Talk goes desperately dashin’ through this Data East centric Dashin’ Desperadoes episode! Let’s take a look at the little talked about game that plays like Sonic 2‘s competition mode. Is it a hidden gem? Let’s find out! [iTunes – Stitcher – YouTube – RSS – Download] Support us on Patreon! Get early access, have your memories read on the show, select the … Continued

#931 - Robert Greenidge The Robert Greenidge Interview is featured on The Paul Leslie Hour. Are you here? Dorothy said “there's no place like home.” When you're listening to The Paul Leslie Hour, we hope you feel like: “there's no place like here.” On this episode we're celebrating Mr. Robert Greenidge. You're about to hear an interview Paul did with Robert Greenidge in a hotel room the night before he was to perform with Jimmy Buffett and the Coral Reefer Band. The conversation began with Robert's solo album and from there went into a variety of directions.  Robert Greenidge is a man who has lived by and for the steel drum.  Sometimes called Robert G., he is a recording artist, entertainer and composer. He also fronts the band Club Trini along with partner and friend Michael Utley. He's a member of the Trinidad-based steel drum band The Desperadoes. Robert has recorded with artists ranging from Ringo Starr, John Lennon, Harry Nilsson, Robert Palmer, and others. Robert has been a member of Jimmy Buffett's Coral Reefer Band for 40 years—since 1983. With the unfortunate passing of Jimmy Buffett, many are asking what will become of the Coral Reefer Band without Jimmy? The Trinidad Express newspaper recently interviewed Robert, and he suggested the band may carry on. Remarking on the passing of Buffett, Greenidge said “Would he want the show to go? Absolutely! He would say, ‘rock on!'” Interesting idea, isn't it? Mr. Greenidge is about to share some great stories, but real quick—consider giving yourself and others the gift of stories. You can do that_ _by going right here. Paul has many more great interviews in store for you. Be one of the people who keep this show going. And with that, let's hear from Robert Greenidge.

1910 and the new West is dawning. Bringing a future of telephones, cars and new ways of doing. But there still rides a man of the old West. A Lawman out to serve justice to those who need its help and to those who deserve its sharp sword. That lawman is Richard Wade, U. S. Marshall. This time it's Desperadoes in Death Valley, written for radio by Barry M Putt Jr. Learn more about your ad choices. Visit megaphone.fm/adchoices

1910 and the new West is dawning. Bringing a future of telephones, cars and new ways of doing. But there still rides a man of the old West. A Lawman out to serve justice to those who need its help and to those who deserve its sharp sword. That lawman is Richard Wade, U. S. Marshall. This time it's Desperadoes in Death Valley, written for radio by Barry M Putt Jr. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today I reveal the captivating secrets of the perfume world in Dominique Roques' "In Search of Perfumes" and the daring escapades of Arizona's train bandits in Doug Hocking's "Southwest Train Robberies." Immerse yourself in the intoxicating world of scent making, from the fragrant fields of Andalucia to the exotic sandalwood market in Australia, and uncover the untold stories of the Wild West's most notorious train heists, from supernatural robberies to ingenious escapes. Plus, discover fascinating tidbits about Romania's national sport and a binge-worthy South Korean TV series on Netflix. Listen in as I bring these lesser-known literary and TV treasures to light! Timestamps: "In Search of Perfumes" book discussion - 00:00 "Southwest Train Robberies" book discussion - 07:40 Looks on Romania - 16:45 Looks on Vincenzo - 20:20 Books Discussed: "In Search of Perfumes" by Dominique Roques. "Southwest Train Robberies" by Doug Hocking _ Produced by the Greenville Podcast Company. Books & Looks is a project of Views on Books.

Join Robert Child for a conversation with author Damien Lewis. Damien is a former war correspondent and one of the Britain's "twenty favorite authors" as declared by World Book Day. He's an acclaimed and award-winning author topping bestseller lists worldwide. Many of his books are currently being produced for film and television. His latest book is called, SAS Brothers in Arms: Churchill's Desperadoes: Blood-and-Guts Defiance at Britain's Darkest Hour. Sign up for our twice monthly email Newsletter SOCIAL: YouTube Twitter Facebook Website --- Support this podcast: https://anchor.fm/robert-child/support

DUTCH MANTELL NOW HAS HIS OWN YOUTUBE CHANNEL: https://www.youtube.com/c/StoryTimewithDutchMantell If you want YOUR question answered by the Dirty Dutchman, then email to: questionsfordutch@gmail.com Dutch Mantell once again answers YOUR questions! This week, Dutch discusses Jamie Dundee, Randy Savage being intense 24/7, why he would not hire Tessa Blanchard, creating the Abyss gimmick, his preferences in western wear, why he will never take a job booking again, why George Gulas was the worst wrestler in history, why Mike Graham and Greg Gagne would never have made it were it not for their famous fathers, teaching Mr Wrestling 2 Johnny Walker a valuable lesson, why the Desperadoes never found Stan Hansen in WCW and more. Enjoy!  WSI | Wresting Shoot Interviews on YouTube: https://www.youtube.com/c/WSIWrestlingShootInterviews/ Dutch Mantell's Facebook: https://www.facebook.com/dutch.mantell Dutch Mantell's Twitter: https://twitter.com/dirtydutchman1 Dutch Mantell's Tales From a Dirt Road: https://www.amazon.com/dp/145644090X/ Dutch Mantell's The World According to Dutch: https://www.amazon.com/dp/1449953417/

Original Air Date: March 20, 1958 Host: Andrew Rhynes Show: The Cisco Kid Phone: (707) 98 OTRDW (6-8739) Stars: • Jack Mather (Cisco) • Harry Lang (Poncho) Exit music from: Roundup on the Prairie by Aaron Kenny https://bit.ly/3kTj0kK

Original Air Date: March 20, 1958 Host: Andrew Rhynes Show: The Cisco Kid Phone: (707) 98 OTRDW (6-8739) Stars: • Jack Mather (Cisco) • Harry Lang (Poncho) Exit music from: Roundup on the Prairie by Aaron Kenny https://bit.ly/3kTj0kK

** Fifty Years of Fun's Patreon page: patreon.com/fiftyyearsoffun ** We're back with a bang! One of the absolute best early Creation singles gets a detailed excavation by your hosts. Matt goes to great lengths to not say “great.” Our guest guides us through the early Living Room days and tells us some recording tidbits. Don't slip up! Links: Songs: BBP - “TMBABL”: https://www.youtube.com/watch?v=0IebtIg8UZ4 BBP - “TCEM”: https://www.youtube.com/watch?v=XgFtQFv_Y8I Rain Parade “Look Around”: https://www.youtube.com/watch?v=0eMIyM6u0wA Twelve Cubic Feet “Hello Howard”: https://www.youtube.com/watch?v=GtWih7mjLoA&t=38s Jesse Garon “And if the Sky Should Fall”: https://www.youtube.com/watch?v=1N1jW_mqxcg Pop Will Eat Itself “Mesmerised”: https://www.youtube.com/watch?v=bQCG8MOpO0A Dave's Tour Diary which links back to his Facebook page: https://indiethroughthelookingglass.com/2020/09/26/creation-records-package-tour-europe-1984/ ————————————————————————— Stuff that comes up: Creation Records Alan McGee Jesus & Mary Chain Joe Foster Tony Fletcher Jasmine Minks Nightingales Go-Betweens Primal Scream Pop Will Eat Itself Jesse Garon & The Desperadoes Biff Bang Pow Twelve Cubic Feet Pastels My Bloody Valentine Joe Foster The Legend! The Rain Parade Paisley Underground —————————————————————————— ** Fifty Years of Fun's Patreon page: patreon.com/fiftyyearsoffun ** Special thanks to The Reds, Pinks & Purples for our theme music.

Desperadoes in Death Valley 1910 and the new West is dawning. Bringing a future of telephones, cars and new ways of doing. But there still rides a man of the old West. A Lawman out to serve justice to those who need its help and to those who deserve its sharp sword. That lawman is Richard Wade, U. S. Marshall. This time it's Desperadoes in Death Valley, written for radio by Barry M Putt Jr.

The Two Gay Geeks

A prodigal childmay not ever return home.It is up to them.* * *By drawing your attention to the tip of the iceberg that is the Lotus Sutra, I hope to encourage you to read through it at some point in your Zen studies. In the Silent Thunder Order (STO), we recommend taking on the vast literature associated with Zen Buddhism in a somewhat circumspect manner, beginning with contemporary authors, translators and commentators, and working your way back in time and history through the countries of origin.Studying American and European works selectively, then moving to Japan, then China, and finally India, is advisable. If you simply leapfrog to the teachings from India, even in translation, you may run into a lot of confusion and frustration. Most of this is occasioned by the provenance of the written record as transcriptions of what were originally long chants, with the requisite repetition and other anomalies captured in print. But if you have already encountered the basic ideas expressed in settings more contemporary in syntax, you can get the gist of the ancient messaging, and better appreciate their context.The Lotus Sutra is no exception to this general rule. In this printing, the main body of the sutra occupies more than 300 pages of text, whereas the Innumerable Meanings preface, as well as the closing Meditation on Bodhisattva Universal Virtue, each runs to less than 30 pages. But the whole of the work is replete with hints and mentions of what are currently widely regarded as boilerplate, or basic teachings of contemporary Zen, too many to count.In the closing sutra on meditation, for example, we find a comprehensive summary of Buddha’s teachings, from the mundane to the sublime — similar to the condensed Heart Sutra chanted daily in most Zen centers, temples, and monasteries, but more strident in tone — including resonances of Master Dogen’s koan-like question of what precept is not fulfilled in zazen. Most of which are familiar; some are startling. Take a deep breath — I will run these down quickly:The importance of repetition in bringing about the fruits of wholehearted, single-minded effort, particularly in transmitting this sutra; that we do not need a teacher or preceptor; inclusion of sleeping and dreaming in the scope of daily practice; the importance of confession and repentance; a dream within a dream; sensory transformation, akin to cleansing the doors of perception, in Aldous Huxley’s memorable phrase; that buddhas and bodhisattvas of old were as we; we in the future shall be buddhas and bodhisattvas; the Pure Land paradise is accessible to all who have the eyes to see it; as are visions of the buddhas and bodhisattvas, for those willing to do the work of confession and repentance; that craving is primarily born of this body; that the six senses are thieves, and the sin of the eye, ear, nose, tongue, body and mind must be confessed; that taking refuge in the buddhas follows naturally upon confession and repentance; the expansion of the paramitas to include transcendent perfections; the three minds; the doctrine of no-mind and transcendent nonduality; the admonition to avoid the prevalent extremes of eternalistic versus nihilistic views; transcendent repentance as the ultimate destruction of discrimination; the middle way of the bodhisattva path; the three bodies; the monkey mind; sitting upright; meditating upon the true aspect of reality; false meditation; ritual cleansing; meditation as bodhisattva work; sudden enlightenment; dispensing with confession; the embrace of karma; giving oneself the precepts; raising aspiration to buddhahood; self-renunciation, self-awakening, and self-clarification; the redeemability of all transgressions; et cetera.Enough. Whew. And this is only a cursory summary. It is as if the authors wanted to ensure that no dharma was inadvertently left out, especially later tweaks that seem to contradict earlier teachings. Such as that the Path is actually no path, from the ultimate view of nonduality beyond absolute and relative.In passing I would like to comment on just one of the visions — the Pure Land envisioned as including all the requisite ubiquitous precious gems and gold, towering massive jewel trees, jewel grounds, and jewel thrones. Then, curiously, “lands…as even as one’s palm, with no mounds or hills or thorns…” The flatness of the ground in the Pure Land, which is also mentioned in the lifespan chapter as “even and smooth,” and the appeal of the absence of mounds, hills and thorns, does not have the immediate resonance in contemporary culture that it must have in more primitive times, when the main mode of transportation was walking.This taken-for-granted truism was reinforced by the great sardonic standup comic Shelley Berman, in a routine commenting upon reports gauging the relative safety of traveling, i.e. by air versus car or train: “I don’t know how much consideration they’ve given to walking.” It is always advisable to keep concrete context in mind.In this, the fourth and final installment of the Threefold Lotus Sutra, we focus on the parable of the prodigal son. This will complete our cursory journey through this extensive — one might say exhaustive — last teaching of the Buddha. We have touched on several high points that struck me upon first reading it many years ago, but have barely scratched the surface. Here is the story as told by Matsuoka Roshi, quoted in full from the Initiation ceremony we use in the STO:There is a wonderful story from the Lotus Sutra about a young man who grows up with a loving father in a fine home filled with treasure. Yet in his confusion and anger the boy runs away in search of riches. He travels for many years and undergoes many hardships, never finding his riches until all memory of his home and family are lost to him. Years later his father spies a ragged beggar in the distance yet immediately recognizes his lost son. He sends attendants out to welcome his son, yet the boy flees, thinking them sent to beat him. The wise father is troubled but devises a plan to slowly regain his son’s trust. He sends an attendant dressed as a beggar to inform the son that meals are to be had for work at the mansion. Gradually, over much time, the son is given more and more responsibility in his work until, after many years, the lost son rises to oversee the mansion and all of the father’s business interests. Only then does the wise father finally reveal his true relationship to his lost son. Only then does the son finally realize his birthright, that the riches he sought so fruitlessly were always in his possession.This rendition stands as a remarkable example of Sensei’s command of the English language, and his grasp of which traditional aspects of the history of Buddhism would resonate with an American audience. I do not imagine that this story was part of his initiation ceremony as a youth in Japan, but I could be wrong.After reading this quote, we go on to draw the obvious parallel with Zen practice: “Our practice is like this. Initiation into Zen marks the beginning of a search for something we already possess.”Like the parable of the blind leading the blind, this meme has long since been appropriated by other religious and philosophical systems, most famously in the Bible, in Luke 15:11–32, where it is attributed to Jesus. Wikipedia version:In the story, a father has two sons. The younger son asks for his portion of inheritance from his father, who grants his son's request. This son, however, is prodigal (i.e., wasteful and extravagant), thus squandering his fortune and eventually becoming destitute. As consequence, he now must return home empty-handed and intend to beg his father to accept him back as a servant. To the son's surprise, he is not scorned by his father but is welcomed back with celebration and a welcoming party. Envious, the older son refuses to participate in the festivities. The father tells the older son: "you are ever with me, and all that I have is yours, but thy younger brother was lost and now he is found."The Wikipedia team goes on to inform us that the Prodigal Son is the third and final parable of a cycle on redemption, following the parable of the Lost Sheep and the parable of the Lost Coin, and is usually read on the fourth Sunday of Lent. In the Lotus Sutra, we likewise find a handful of parables sprinkled throughout.This coincidental conjunction of parallel parables conjures the conjecture around the missing 18 years of the life of Jesus that are not accounted for in the Bible, reminiscent of the missing 18 minutes on the Watergate tapes, though more respectable. Some claim evidence that “ancient texts reveal that Jesus spent 17 years in the Orient…from age 13 to 29 [he] traveled to India, Nepal, Ladakh and Tibet as both student and teacher.” The historicity of his life is often called into question, as is Buddha’s, born about a half-millennia earlier.The story in the Lotus Sutra goes on for a half-dozen pages, single-spaced type, related to Buddha by four of his senior monks — all talking spontaneously and in unison and “with one mind,” a minor miracle in and of itself. Along with some self-deprecating confessions, they finally wrap it up with an admission and appreciation:“We, heads of the monks, in years moreover worn out, consider that we have attained nirvana, and that there is nothing more we are able to undertake, so we do not press forward to seek after Perfect Enlightenment.“The Buddha, knowing that our minds delight in inferior things, by his tactful power teaches according to our [capacity], but still we do not perceive that we are really Buddha-sons. Now we have just realized that the World-honored One does not begrudge the Buddha-wisdom…Now he in this sutra preaches only the One-vehicle…Therefore we say that though we had no mind to hope or expect it, [yet] now the great treasure of the King of the Law has of itself come to us, and such things that Buddha-sons should obtain we have all obtained.”And as if this were not enough,Then Maha-Kasyapa, desiring to proclaim this meaning over again, spoke [thus] in verse:“We on this day Have heard the Buddha’s voice teachAnd are ecstatic with joy atHaving obtained the unprecedented.”He goes on for another 10 pages of recapping the whole story and its implications in poetic form, demonstrating that Ananda was not the only follower of Buddha who possessed prodigious memory. One has to wonder if Buddha and his followers really did spontaneously burst into poesy, or if this account is merely a form of revisionist history. Perhaps we lost more than we can ever know — or recover — when we gained the printed word.Another example of seemingly unconnected emergence of similar cultural memes, in geographically distant parts of the world, is that of children’s games. They often center around developing the skills, such as hunting, that they will need later in tribal life. It is not unreasonable that certain parables, similarly, developed independently in different cultures and parts of the world. They tend to reflect common experiences likely to develop in human relations anywhere, and at any time. And parables have clearly been the default mode of teaching otherwise inaccessible “moral of the story” wisdom throughout history. If you see yourself in this picture, et cetera.The main take-away from this father-son parable is captured in other tales, such as that of the monk frantically looking everywhere for the wish-fulfilling mani-jewel, only to find that it was sewn into the hem of his robe all along. But I think the more salient message is that of setting your sites too low when it comes to spiritual aspiration.These sravakas, literally “hearers” or more generally, “disciples,” according to the Wiki folks, by reciting the tale of the prodigal son, are admitting that they, too, have squandered their opportunity by “looking for love in all the wrong places.” But now, waking up to the fact that what they really needed to know and possess has been on offer all along, it is expressed as the promise of Perfect Enlightenment, which Buddha had predicted as inevitable, for the fab four, as well as several others of his entourage. Maha-Kasyapa became his direct and immediate successor, which may explain his prominence in the closing stanzas of the Lotus.Again, tip of the iceberg. We are all prodigal sons and daughter, fathers and mothers, sisters and brothers. Desperadoes wasting our inheritance, our dowry, our alimony or structured settlement, our annuity, on frivolous and trivial pursuits. These things that are pleasing you can hurt you somehow, when the jewel of our legacy as human beings is staring us in the face, is indeed our original face itself. We could do worse than to turn around, sit down and count up our treasure. You don’t count your winnings when you’re sitting at the table, but there may not be time for counting when the dealing’s done. No one gave your bankroll to you, and no one can take it away. As Matsuoka Roshi would often say, “My enlightenment is mine and yours is yours. I can’t get yours and you can’t get mine.” God bless the child that’s got its own (Thank you, Billie). What a shame if we don’t.* * *Elliston Roshi is guiding teacher of the Atlanta Soto Zen Center and abbot of the Silent Thunder Order. He is also a gallery-represented fine artist expressing his Zen through visual poetry, or “music to the eyes.”UnMind is a production of the Atlanta Soto Zen Center in Atlanta, Georgia and the Silent Thunder Order. You can support these teachings by PayPal to donate@STorder.org. Gassho.Producer: Kyōsaku Jon Mitchell

Emerson Hough was best known as a writer of the American West. Although he was born in Iowa, he became enchanted with the West when he moved to New Mexico. While there he met and interviewed Pat Garrett. Garrett was famous as the man who shot Billy the Kid. Inspired by his connection to Garrett, Hough’s first book was Story of the Outlaw: A Study of Western Desperadoes.

The Cisco Kid came to radio October 2, 1942, with Jackson Beck in the title role and Louis Sorin as Pancho. With Vicki Vola and Bryna Raeburn in supporting roles and Michael Rye announcing, this weekly series continued on Mutual until February 14, 1945. It was followed by a thrice weekly series on a Mutual-Don Lee regional network in 1946, starring Jack Mather and Harry Lang, who continued to head the cast in the syndicated radio series of more than 600 episodes from 1947 to 1956.---------------------------------------------------------------------------Sherlock Holmes Radio Station Live 24/7 Click Here to Listenhttps://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441----------------------------------------------------------------------------

Sometimes in our research we come across stories that are regarded as true but that we can't fully verify. In this week's episode of the Futility Closet podcast we'll share two such stories from the 1920s, about a pair of New York fruit dealers and a mythologized bank robber, and discuss the strength of the evidence behind them. We'll also salute a retiring cat and puzzle over a heartless spouse. Intro: English essayist A.C. Benson dreamed poems. Robert Patch patented a toy truck at age 5. Sources for our feature on the Fortunato brothers and Herman Lamm: Walter Mittelstaedt, Herman 'Baron' Lamm, the Father of Modern Bank Robbery, 2012. L.R. Kirchner, Robbing Banks: An American History 1831-1999, 2003. William J. Helmer and Rick Mattix, Public Enemies: America's Criminal Past, 1919-1940, 1998. John Toland, The Dillinger Days, 1963. Bryan Burrough, Public Enemies: America's Greatest Crime Wave and the Birth of the FBI, 1933-34, 2009. John Belle and Maxinne Rhea Leighton, Grand Central: Gateway to a Million Lives, 2000. Brian Robb, A Brief History of Gangsters, 2014. Carl Sifakis, Encyclopedia of American Crime, 2014. Richard Ringer, "Today's Bank Robber Is No Baby Face Nelson; Current Group Called Amateurs in Comparison to Legendary Predecessors," American Banker 148 (Feb. 28, 1983), 2. George W. Hunt, "Of Many Things," America 159:17 (Dec. 3, 1988), 450. Alan Hynd, "Grand Central's $100,000 Deal," in Rouben Mamoulian, ed., Scoundrels & Scalawags: 51 Stories of the Most Fascinating Characters of Hoax and Fraud, 1968. "Historical Perspective: Clinton and Rockville Robberies," [Terre Haute, Ind.] Tribune-Star, Sept. 15, 2019. Philip Marchand, "Grand Theft With Autos: For Bandits and Desperadoes, a Fast Getaway Car Is Just as Important as a Gun," Toronto Star, July 7, 2012, W.1. Scott McCabe, "Father of Modern Bank Robbery Killed in Shootout," [Washington, D.C.] Examiner, Dec. 16, 2011, 8. Christopher Goodwin, "America's Own Robin Hood: John Dillinger Was a Suave, Smooth-Talking Gangster Who Was Cheered On by the Public," Sunday Times, June 28, 2009, 7. Stephen Wilks, "In Pursuit of America's Public Enemies," Canberra Times, Jan. 17, 2009, 17. "Nutty Scam Fooled Fruit Bros.", [Campbell River, B.C.] North Island Midweek, Jan. 3, 2007, 5. Max Haines, "A Grand Con Game," Moose Jaw [Sask.] Times Herald, Dec. 27, 2006, B6. "Fabulous Fakes," Gadsden [Ala.] Times, Nov. 11, 1983. Donald Altschiller, "In This Corner; Robbery Today? It's a Crime," Boston Globe, Jan. 25, 1983, 1. "Dead Bank Bandit Has Been Identified," Rushville [Ind.] Republican, Dec. 19, 1930. Listener mail: "'Chief Mouser' Palmerston Retires as UK's Top Diplomatic Cat," Associated Press, Aug. 7, 2020. Justin Parkinson, "Foreign Office Cat Palmerston Retires to Countryside," BBC News, Aug. 7, 2020. "Paws for Reflection: British Foreign Office Cat Heads for Retirement," Reuters, Aug. 7, 2020. Ulrike Lemmin-Woolfrey and Stacey Lastoe, "'Cats' Is a Disaster, but Cats Aren't: The Best Cat Cafes to Show Your Solidarity With Our Beloved Companions," CNN, July 19, 2019. Wikipedia, "Cat Café" (accessed Aug. 20, 2020). Frances Cha, "Moomin, Japan's 'Anti-Loneliness' Cafe, Goes Viral," CNN, Feb. 21, 2017. The bear's breakin. Ed Mazza, "Big Boss Bear Bashes Down Door for Incredible Entrance Into Cabin," Huffington Post, July 22, 2020. Becky Talley, "VIDEO: Lake Tahoe Bear Smashes Through Door Like 'The Hulk,'" Our Community Now, July 24, 2020. "Meet the Canada Post Worker Who Wrote the 'Bear at Door' Non-Delivery Slip," CBC, Sept. 26, 2014. Max Knoblauch, "'Bear at Door' Is a Solid Reason to Not Deliver a Package," Mashable, Sept. 25, 2014. Listener Yulia Samaichuk sent us four photos of Tono's Cat Café in Tianzifang, Shanghai. This week's lateral thinking puzzle is taken from Agnes Rogers' 1953 book How Come? A Book of Riddles, sent to us by listener Jon Jerome. You can listen using the player above, download this episode directly, or subscribe on Google Podcasts, on Apple Podcasts, or via the RSS feed at https://futilitycloset.libsyn.com/rss. Please consider becoming a patron of Futility Closet -- you can choose the amount you want to pledge, and we've set up some rewards to help thank you for your support. You can also make a one-time donation on the Support Us page of the Futility Closet website. Many thanks to Doug Ross for the music in this episode. If you have any questions or comments you can reach us at podcast@futilitycloset.com. Thanks for listening!

Let's go: Hill had a birthday! Kamala Harris makes history with Joe Biden WAP backlash  R Kelly is back in the news Lauryn Hill responds to allegations of beating her child. Traumatizing our children Hip Hop turns 47! Drake drops new single What's on TV; The Chi, Desperadoes, No Limit Records Documentary Also the fellas go on a trail down extra support from your child's father and into deeper plays at stake when it comes to life, relationships, and more.

This week Seoirse, Tomas and Laura talk travel to the Croatian mountains, go on a treasure hunt, entor a dream to try and save a person who is suffering from severe depression, go back to the wild west and travel in a bleak, desolate, post-apocalytic setting. But enough about 2020! They also review The last of Us Part 2 and discuss if this game really is the best game of the year.Sanit Kotar Official SiteInto a Dream Steam PageThe Hand of Glory Official SiteThe Outcast Lovers Steam PageDesperadoes 3 Official SiteThe Almost Gone Official SiteThe Last of Us Part 2 Official SiteAdventure Games Podcast Official SiteIf you would like to stay up to date make sure you subscribe to the podcast. You can subscribe and listen to this podcast on Itunes and Spotify and all other major Podcast Platforms! You can also subscribe to our Youtube channel for extra video content such as video reviews, video interviews, trailers and gameplay.You can also support the podcast at our PatreonYou can review this podcast here:https://ratethispodcast.com/adventuregamespodcastYou can also find this podcast on our social media below:FacebookTwitterInstagramDiscordYou can also find the RSS feed here:http://www.adventuregamespodcast.com/podcast?format=rssAdventure Game Podcasts logo by Jake Vest. You can check out his work here:https://jake.re/Music is Speedy Delta (ID 917) by Lobo Loco and can be found here:http://freemusicarchive.org/music/Lobo_Loco/Welcome/Speedy_Delta_ID_917_1724

We review three currently-streaming movies, Desperadoes 2020 & The Old Guard via Netflix, and Greyhound via Apple TV Plus!

Shubh gives his take on Desperados– Netflix's latest hit and miss. He talks about Dunkirk and how important it is to him, as well as Alice in Wonderland's power as an allegory for growing up too fast. Shubh then tells you his five favourite comedies available to stream on Netflix.As always, if you enjoyed the show, follow us and subscribe to the show: you can find us on iTunes or on any app that carries podcasts as well as on YouTube. Please remember to subscribe and give us a nice review. That way you’ll always be among the first to get the latest GSMC Movie Podcasts.We would like to thank our Sponsor: GSMC Podcast NetworkAdvertise with US: http://www.gsmcpodcast.com/advertise-with-us.htmlWebsite: http://www.gsmcpodcast.com/Movie-podcast.htmlITunes Feed : https://itunes.apple.com/us/podcast/gsmc-movie-podcast/id1116274617 GSMC YouTube Channel: https://www.youtube.com/watch?v=tX3_EvbHp08&list=PLF8Qial15ufrmDabMk03LCx49N85Bxv71Twitter: https://twitter.com/GSMC_MoviesFacebook: https://www.facebook.com/gsmcmovie/Disclaimer: The views expressed on the GSMC Movie Podcast are for Movie purposes only. Reproduction, copying or redistribution of The GSMC Movie Podcast without the express written consent of Golden State Media Concepts LLC is prohibited.

Jeff and Christian welcome the writer of Mortal Kombat 11, Injustice 2, and the Image comic book Heart Attack, Shawn Kittelsen to the show to discuss new Cyberpunk 2077 info, new Marvel's Avengers info, new Rocksteady DC comics game info, and a possible subscription to the Xbox Series X hardware! The Playlist: Desperadoes III, Deep Rock Galactic, Rocket League, Ring Fit Adventure, The Witcher 3, Deck of Ashes, Blade & Sorcery Update 8 Parting Gifts! BONUS CONTENT: David Chen and Dan Trachtenberg join Jeff and Christian for a spoiler-filled discussion of The Last of Us Part 2

Jeff and Christian welcome the writer of Mortal Kombat 11, Injustice 2, and the Image comic book Heart Attack, Shawn Kittelsen to the show to discuss new Cyberpunk 2077 info, new Marvel's Avengers info, new Rocksteady DC comics game info, and a possible subscription to the Xbox Series X hardware! The Playlist: Desperadoes III, Deep Rock Galactic, Rocket League, Ring Fit Adventure, The Witcher 3, Deck of Ashes, Blade & Sorcery Update 8 Parting Gifts! BONUS CONTENT: David Chen and Dan Trachtenberg join Jeff and Christian for a spoiler-filled discussion of The Last of Us Part 2

Jeff and Christian welcome the writer of Mortal Kombat 11, Injustice 2, and the Image comic book Heart Attack, Shawn Kittelsen to the show to discuss new Cyberpunk 2077 info, new Marvel's Avengers info, new Rocksteady DC comics game info, and a possible subscription to the Xbox Series X hardware! The Playlist: Desperadoes III, Deep Rock Galactic, Rocket League, Ring Fit Adventure, The Witcher 3, Deck of Ashes, Blade & Sorcery Update 8 Parting Gifts! BONUS CONTENT: David Chen and Dan Trachtenberg join Jeff and Christian for a spoiler-filled discussion of The Last of Us Part 2

YESTERDAY’S NEWS -- Tales of classic scandals, scoundrels and scourges told from historic newspapers in the golden age of yellow journalism... Bullets For Sheriff Maxwell And Family Episode 376 is an action-packed thriller with a jailbreak, a prison break, a couple of car chases, a bank robbery, and then some. At the center of it all is the law-enforcing family of Sheriff Hugh Maxwell of Plymouth County, Iowa, who make the ultimate sacrifice in their pursuit of justice. Culled from the historic pages of the Sioux City Journal, the Des Moines Register, and other newspapers of the era. *** A creation Of Pulpular Media Also from Pulpular Media: Portals to Possibility, an improvised comedy about an alternate reality, where monsters are real--and hilarious!!! Visit pulpular.com/portals for a brand-new episode. Catastrophic Calmaties, Exploring the famous and forgotten disasters of the 19th and 20th centuries. What could go wrong? Everything! Want to get a jump on the next episode of True Crime Historian? Why then, download the new podcast app Himalaya and get all new episodes a day early, then drop a buck in the tip jar for True Crime Historian. Or sign up for Himalaya Plus and for premium content and other special features. Or you can support your favorite podcaster at www.patreon.com/truecrimehistorian. Just a dollar an episode reserves your bunk at the safe house and access to exclusive content and whatever personal services you require. *** Opening theme by Nico Vitesse. Incidental music by Nico Vitesse, Chuck Wiggins, and Dave Sams. Some music and sound effects licensed from podcastmusic.com. Closing theme by Dave Sams and Rachel Schott, engineered by David Hisch at Third Street Music. Media management by Sean Miller-Jones Richard O Jones, Executive Producer

The post Revival Desperadoes appeared first on Bethesda Church of God.

Criminal Behaviorology Pirates! Behavior Analysis and Maritime Crime from the Great Lakes to Modern Day Somalia Timothy reads from two books on pirates in the great lakes as well as a Todd A. Ward article on piracy in the coastal waters of Somalia. Behavior analysts, rogues that we are, might have role in resolving piracy in the modern age. Show Highlights: - James Strang (“The King if Beaver Island”) and his pursuit of “Prophet,” as in his followers overtaking of the largest island in Lake Michigan. How Strang is viewed as a pirate by many, and why his rule over “St. James Island” led to his own violent end. - “Dangerous” Dan Seavey. Lawman, brawler, poacher and the last of the Great Lakes pirates. - Why piracy is an interesting subject matter in regards to criminology and behavior analysis. Once ubiquitous in the waterways, it is now localized to key parts of the world. What can this sea change in delinquency tell us about how crime originates? - Todd A. Ward on Kantor’s Interbehaviorism in regards to piracy in Somalia. - How a sociological problem could be ameliorated by psychological interventions. Communication networks in crisis situations are relevant to the threats ship crews face. What factors within the country itself are most relevant? - Explicit, implicit and heuristic rules in regards to maritime crime and other problems. International Talk Like a Pirate Day: https://en.wikipedia.org/wiki/International_Talk_Like_a_Pirate_Day Frederick Stonehouse’s Book “Pirates, Crooks and Killers: The Dark Side of the Great Lakes” http://www.averycolorstudios.com/Books/Fred-Stonehouse.html “Michigan Rogues, Desperadoes and Cut-throats” by Tom Powers https://journals.uic.edu/ojs/index.php/bsi/article/view/2497 Todd A. Ward’s Article on Piracy: https://journals.uic.edu/ojs/index.php/bsi/article/view/2497 Kantor’s Interbehaviorism: https://kantor.weebly.com/ The First Barbary Wars (1801 – 1805) https://en.wikipedia.org/wiki/First_Barbary_War Look up CrimBehav on Facebook: facebook.com/CrimBehav Criminal Behaviorology on Blogger. CB Podcast Sites: https://criminalbehaviorology.podomatic.com https://anchor.fm/criminalbehaviorology https://itunes.apple.com/us/podcast/criminal-behaviorology/id1441879795?mt=2&uo=4 https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy83MzY4OWFjL3BvZGNhc3QvcnNz https://open.spotify.com/show/5VM7Sjv762u7nb91YWGczZ https://www.breaker.audio/criminal-behaviorology https://overcast.fm/itunes1441879795/criminal-behaviorology https://pca.st/Q38w https://radiopublic.com/criminal-behaviorology-GEv2AZ https://www.stitcher.com/podcast/anchor-podcasts/criminal-behaviorology Please write a review on any of our podcast sites listed above. Questions, comments, and requests for transcripts to: criminalbehaviorology@gmail.com Thank you for listening. --- Support this podcast: https://anchor.fm/criminalbehaviorology/support

Gamescom is next week, and it will see a few of the RPS treehousers zipping off to Cologne. In this pod, they prepare themselves for the mission ahead. Thumbs at the ready, maggots. Alice is looking forward to playing some Watch Dogs Legion, and seeing how much Laaaaahndaaaan they can fit into their game. Matthew is eager to see the Cyberpunk 2077 demo that was shown at E3, to see what’s what. Links: Matthew and Brendan played Mount and Blade 2 at Gamescom last year: https://www.youtube.com/watch?v=8ByrC0GoQrE& Matt played Watch Dogs: Legion at E3: https://www.rockpapershotgun.com/2019/06/14/watch-dogs-legion-does-a-good-lahndan-but-the-npcs-left-me-cold/ Desperadoes 3 looks interesting: https://www.rockpapershotgun.com/2018/08/21/desperados-3-announced/ Matt had problems with Cyberpunk 2077’s latest demo: https://www.rockpapershotgun.com/2019/06/12/cyberpunk-2077s-e3-demo-has-weak-gunplay-and-unimaginative-stereotypes/ The Longing is a 400-day game: https://www.rockpapershotgun.com/2019/04/24/the-best-games-from-a-maze-festival-in-berlin/ Alice’s Ritual of the Moon diary: https://www.rockpapershotgun.com/2019/04/12/ritual-of-the-moon-diary-day-one/ Empire of Sin is all about them gangsters: https://www.rockpapershotgun.com/2019/06/18/empire-of-sin-preview-e3-2019/ Steve Coogan gets off driving ban: https://www.theguardian.com/culture/2019/aug/13/alan-partridge-saves-steve-coogan-from-lengthy-driving-ban Brendan’s Dicey Dungeons review: https://www.rockpapershotgun.com/2019/08/13/dicey-dungeons-review/ Horace is a platformer about a sad robot: https://www.youtube.com/watch?v=ESmao3XvT2E The Lehman Trilogy is good: https://www.theguardian.com/stage/2018/jul/13/the-lehman-trilogy-review-lyttelton-sam-mendes Midsummer Nights Dream has her from Game of Thrones: https://www.theguardian.com/stage/2019/jun/11/a-midsummer-nights-dream-review-bridge-theatre-london-gwendoline-christie-nicholas-hytner Kurzgesagt is doing a series about ants: https://www.youtube.com/watch?v=7_e0CA_nhaE

Hope you've got your six-shooter and lasso ready, pardner, because in the newest episode of the Dog and Thimble Podcast we're hitting the old dusty trail to talk about Western Legends! But if you think the Dog and Thimble gang is only here to talk about games then you've never tangled with those desperadoes before. They're also talking about costumes for cows, whether Jesus was a certifiable hunk, and Alana's crazy outfits as a child. I reckon you'd be doing yourself a powerful disservice if you didn't listen to this episode, so get to it!

Jeffrey J. Mariotte is the award-winning author of more than 70 novels, including thrillers Empty Rooms and The Devil’s Bait, supernatural thrillers Season of the Wolf, Missing White Girl, River Runs Red, and Cold Black Hearts, horror epic The Slab, the Dark Vengeance teen horror quartet, and others, including works set in the worlds of Narcos, Deadlands, Buffy and Angel, Supernatural, Superman, Spider-Man, 30 Days of Night, CSI, NCIS, and more. With partner and wife Marsheila Rockwell, he wrote the science fiction/horror/thriller 7 SYKOS and the video game tie-in Mafia III: Plain of Jars, and has published numerous short stories. He also writes comics, including the long-running horror/Western series Desperadoes and original graphic novels Zombie Cop and Fade to Black. He was VP of Marketing for Image Comics/WildStorm, Senior Editor for DC Comics/WildStorm, and the first Editor-in-Chief for IDW Publishing.   Links:www.jeffmariotte.com.   7 Sykos: https://www.amazon.com/7-Sykos-Marsheila-Rockwell-ebook/dp/B00X3NIWNS/ref=sr_1_1?s=books&ie=UTF8&qid=1543194523&sr=1-1&keywords=7+SYKOS+Mariotte Cold Black Hearts:https://www.amazon.com/Cold-Black-Hearts/dp/B006G72A40 Empty Rooms:https://www.amazon.com/Empty-Rooms-Krebbs-Robey-Casefiles/dp/B07KFQV86C https://www.amazon.com/Empty-Rooms-Krebbs-Robey-Casefiles/dp/1614752346/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=1543194457&sr=1-1 The Devil’s Bait:https://www.amazon.com/Devils-Bait-Jeffrey-J-Mariotte-ebook/dp/B0058EU3TG/ref=sr_1_3?ie=UTF8&qid=1543397413&sr=8-3&keywords=The+Devil%27s+Bait Narcos: The Jaguar's Claw" https://titanbooks.com/9739-narcos-the-jaguars-claw/ 

This week, we check in with a man of many names who commits the most heinous of crime, then disappears...or does he? Plus, Jim reads a letter from a 130-year-old Facebook troll and possibly the best poem we've found to date. Yesterday's Chip Paper is the podcast where your hosts, Jim and Violet, scour historical newspaper archives and unearth forgotten stories. From mad scientists to murderers, elaborate con artists to the elaborately conned, the only limit to what we can find is that someone, somewhere has to have written about it. You can find us on Facebook and Twitter @paperpodcast, and on email at chippaperpodcast@gmail.com Archives used in this episode: www.britishnewspaperarchive.co.uk www.newspapers.com Other sources: North Carolina Bandits, Bushwackers, Outlaws, Crooks, Devils, Ghosts, Desperadoes and Other Assorted and Sundry Characters! By Carole Marsh https://books.google.co.uk/books?id=FHLG--BGQ-IC Intro/Outro - The International Rag (Al Jolson & Sophie Tucker) All music comes with thanks to the Free Music Archive. 

Download “Beyond Accountability,” a free eBook written by Nate Larkin from Samson Society. Visit http://discipleship.org/accountability to get your free copy of this eBook in PDF, Mobi and ePub formats.   The following audio comes from the National Disciple Making Forum by Discipleship.org. The theme for this year was "Disciple Maker,” and two organizations—Radical Mentoring and Samson Society—hosted a track called “Men's Discipleship.” That's where we recorded the audio for today's episode.   Connect with Discipleship.org: https://twitter.com/disciplesforum https://www.facebook.com/discipleshipforum   Relevant Links: Samson Society: http://samsonsociety.org/ Radical Mentoring: https://radicalmentoring.com/

In 1967 thirty men left Trinidad with 97 steel drums to represent their country at the World’s Fair in Montreal. None of them had ever been off their island before. They were members of the Esso Trinidad Tripoli Steel Band, all playing “pan,” the steel drums of Calypso, hammered from the leftover oil drums of World War II. The band took Expo ’67 by storm. And their sound and performance caught the ear of one of the most popular entertainers of the day: Liberace. The glittery piano virtuoso hired the Trinidad Tripoli Steel Band to go on the road with him for the next two years — traveling to cities large and small around the world including towns in George Wallace’s segregated south. One flamboyant rhinestoned white piano player and 30 black steel drummers from Trinidad playing Flight of the Bumblebee. We travel to Trinidad and trace the history of the steel drum and follow the Esso Trinidad Tripoli Steel Band from the streets of Port of Spain to the Ed Sullivan Show. Steel pan was born on the island of Trinidad in the late 1930s. It began as an outlaw instrument, hammered from milk tins, biscuit boxes, brake drums, garbage cans — and later, the oil barrels that were scattered across the oil-rich island after World War II. When the bands first started, anything metal that could be scavenged was “tuned” and played to make a sound, a note. Pan began as the music of the island’s poor, before Trinidad’s independence from Britain. For the native Trinidadians under British rule, the beating of drums and marching in Carnival was often forbidden. As the oil drums evolved, dozens of pan bands — some more than 100 members strong — sprang up in neighborhoods across the island. Casablanca, Destination Tokyo, Desperadoes, Tripoli… they named themselves after the American war movies and Westerns of the day. Come Carnival, the steel bands would battle one another for the championship, marching across Port of Spain waging musical war — a tradition that continues today. When the island gained its independence in the 1960s, the foreign companies that controlled the oil resources of Trinidad worried about nationalization of their businesses. The island’s prime minister declared steel pan music an important, vital expression of the Trinidadian people. British Petroleum, Esso and other oil companies looking to sway public opinion began sponsoring neighborhood oil drum orchestras, supplying instruments, uniforms and the money to tour outside Trinidad. In 1967, the Esso Trinidad Tripoli Steel Band (named after the World War II movie Shores of Tripoli) was sent by the government and the Esso oil company to represent Trinidad and the nation’s musical heritage at the Montreal Expo World’s Fair.

Violet covers the unbelievable story of the six youthful desperadoes and the Thanksgiving Day riot at Folsom Prison in 1927. Meanwhile, Jim discovers a man desperately trying to get a moral across through a murderous apple metaphor, and "Old Fashioned" letter writer who really hates these newfangled sewerage systems. Yesterday's Chip Paper is a fortnighly(ish) history podcast that looks at true crime, strange letters and long lost poetry from the pages of the world's historic newspapers. British Newspaper Archive www.britishnewspaperarchive.co.uk/ California Digital Newspaper Collection https://cdnc.ucr.edu/cgi-bin/cdnc Eliphind www.eliphind.com Illinois Digital Newspaper Collections http://idnc.library.illinois.edu/ New York Times http://www.nytimes.com/

"The Fall 2009 Sidney Harman Writer-in-Residence at Baruch College features Joseph O’Connor, the author of six novels: Cowboys and Indians, Desperadoes, The Salesman, Inishowen, Star of the Sea, and Redemption Falls; four collections of non-fiction, and an award-winning stage play, Red Roses and Petrol. Roslyn Bernstein, Director of the Sidney Harman Writer-in-Residence Program, introduces the event. James McCarthy, Provost and Vice President for Academic Affairs, makes the welcoming remarks. Mary McGlynn, Professor of English specializing in British, Irish, and Anglophone postcolonial literatures of the twentieth century, introduces the speaker. The event takes place on October 20, 2009, at the Newman Conference Center, Baruch College, co-sponsored by Poets & Writers."

"The Fall 2009 Sidney Harman Writer-in-Residence at Baruch College features Joseph O'Connor, the author of six novels: Cowboys and Indians, Desperadoes, The Salesman, Inishowen, Star of the Sea, and Redemption Falls; four collections of non-fiction, and an award-winning stage play, Red Roses and Petrol. Roslyn Bernstein, Director of the Sidney Harman Writer-in-Residence Program, introduces the event. James McCarthy, Provost and Vice President for Academic Affairs, makes the welcoming remarks. Mary McGlynn, Professor of English specializing in British, Irish, and Anglophone postcolonial literatures of the twentieth century, introduces the speaker. The event takes place on October 20, 2009, at the Newman Conference Center, Baruch College, co-sponsored by Poets & Writers."

"The Fall 2009 Sidney Harman Writer-in-Residence at Baruch College features Joseph O’Connor, the author of six novels: Cowboys and Indians, Desperadoes, The Salesman, Inishowen, Star of the Sea, and Redemption Falls; four collections of non-fiction, and an award-winning stage play, Red Roses and Petrol. Roslyn Bernstein, Director of the Sidney Harman Writer-in-Residence Program, introduces the event. James McCarthy, Provost and Vice President for Academic Affairs, makes the welcoming remarks. Mary McGlynn, Professor of English specializing in British, Irish, and Anglophone postcolonial literatures of the twentieth century, introduces the speaker. The event takes place on October 20, 2009, at the Newman Conference Center, Baruch College, co-sponsored by Poets & Writers."

"The Fall 2009 Sidney Harman Writer-in-Residence at Baruch College features Joseph O'Connor, the author of six novels: Cowboys and Indians, Desperadoes, The Salesman, Inishowen, Star of the Sea, and Redemption Falls; four collections of non-fiction, and an award-winning stage play, Red Roses and Petrol. Roslyn Bernstein, Director of the Sidney Harman Writer-in-Residence Program, introduces the event. James McCarthy, Provost and Vice President for Academic Affairs, makes the welcoming remarks. Mary McGlynn, Professor of English specializing in British, Irish, and Anglophone postcolonial literatures of the twentieth century, introduces the speaker. The event takes place on October 20, 2009, at the Newman Conference Center, Baruch College, co-sponsored by Poets & Writers."

Ron Hansen is the author of ten works of fiction and a collection of essays. He is particularly known for his meticulous examinations of religious experience, and of the lives of historical figures. Among his best known books are the novels Desperadoes; The Assassination of Jesse James by the Coward Robert Ford, which was a finalist for the PEN/Faulkner Award; Mariette in Ecstasy; Atticus, a finalist for both the National Book Award and the PEN/Faulkner; the short story collection Nebraska; and his latest novel, A Wild Surge of Guilty Passion. Hansen is presently the Gerard Manley Hopkins Professor in the Arts and Humanities at Santa Clara University, where he teaches courses in writing and literature. He is also an ordained deacon of the Catholic Church.Hansen read from his work on September 22, 2011, in Cornell’s Goldwin Smith Hall. This interview took place earlier the same day.

We believe in being guided by cosmic forces here at the Moonbase so we coudn’t possibly ignore the arrival in the airlock this week of *two* new releases featuring that king of keyboard instruments, the Stylophone. For not only does … Continue reading →

The Cisco Kid came to radio October 2, 1942, with Jackson Beck in the title role and Louis Sorin as Pancho. With Vicki Vola and Bryna Raeburn in supporting roles and Michael Rye announcing, this weekly series continued on Mutual until February 14, 1945. It was followed by a thrice weekly series on a Mutual-Don Lee regional network in 1946, starring Jack Mather and Harry Lang, who continued to head the cast in the syndicated radio series of more than 600 episodes from 1947 to 1956.---------------------------------------------------------------------------Sherlock Holmes Radio Station Live 24/7 Click Here to Listenhttps://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441----------------------------------------------------------------------------

Part 2 of our Season 2 Review includes such talking points as Helen of Troy's champagne bottle needs, Dolly Parton becoming a Christmas Angel, and whether Matt will only truly be happy if his pants literally catch fire. Enjoy!Direcast is:Luki Slinn (@LukiSlinn on Twitter and Instagram) Matt George Lovett (@mattgeorgelovett on Instagram) Jacob Warr (@WarrstoriesO on Twitter) Helen.Peter Wellman (@Mr_Montigue on Twitter) H Folkmans (@folkpersons on Twitter and @artpersons on Instagram) Our logo and banner art is by H Folkmans. The Direcast theme was composed and performed by Matt George Lovett. This episode was edited by Luki Slinn.The following music was featured in this episode:'Birthday Variation' by Matt George Lovett'Midnight Creeping' by Jonathan Snow'We Wish You a Merry Christmas' by Kevin MacLeod'Ironsworn Variation' by Matt George Lovett'Fugue for One Synthetic' Heart by Andrea Baroni'Western Cowboy Ride' by David FesliyanThis week we were discussing the following games:Once Upon a Birthday by Lynne M. Meyerhttps://lynnemeyer.itch.io/once-upon-a-birthdayMonster of the Week by Michael Sandshttps://www.evilhat.com/home/monster-of-the-week/Warmer in the Winter by Will Lentzhttps://www.drivethrurpg.com/product/298423/Warmer-In-The-Winter--PlaytestIronsworn by Shawn Tomkinhttps://www.ironswornrpg.com/Uprising by Brian Engard and Anna Meadehttps://www.evilhat.com/home/uprising/Desperadoes by Ian Lemke and Andre Frenzerhttps://www.drivethrurpg.com/product/316116/Desperados-A-Pen-and-Paper-Roleplaying-GameThe Ironsworn fillable character sheet praised at length in the episode can be found here:http://www.playeveryrole.com/wp-content/uploads/2020/09/Ironsworn-Character-Sheet-Fillable.pdfYou can follow Direcast on Facebook and Twitter @direcast, and on Instagram @direcastpod.We use the Lines and Veils safety mechanic, as well as the X card system for player safety during our games. We also all complete an RPG Consent Checklist before recording, using the survey created by Kienna Shaw and Lauren Bryant-Monk. Their TTRPG safety toolkit can be found at the link below.https://drive.google.com/drive/folders/114jRmhzBpdqkAlhmveis0nmW73qkAZCjIf you feel that we have missed or mischaracterised anything which should have been raised as a trigger at the top, please let us know by emailing us at direcastpod@gmail.com, and we will do our best to set things right.