Podcast appearances and mentions of Forest Hills

Send us a textHi everybody and welcome to Attendance Bias. I am your host Brian Weinstein. Get ready for some venue whiplash; after three nights at the largest indoor venue on the tour in Chicago, Phish leaves the second city to arrive in New York. More specifically, July 22 and 23 at Forest Hills Stadium in Forest Hills, Queens; home to The Ramones, Simon and Garfunkel, and Peter Parker. If you've listened to Attendance Bias for any amount of time, you've probably heard me mention that I live in Forest Hills, so today's episode is a homecoming; I don't think I've ever lived closer to any music venue. Before these shows, I've never been able to walk to a Phish concert from my front door. And who would be the best guest in the world to give a preview of this venue and this neighborhood? None other than my wife, Michela Ratto. Michela has been on Attendance Bias once before, and while I mostly give background information and context about this venue that is new to the Phish world, she gives plenty of tips and tricks to help any listeners coming to these two shows, filling everyone in on what to expect.We cover a lot in today's episode; the history of the Forest Hills Tennis Stadium, what the neighborhood is like, the best ways to get there, and of course we give our takes on the controversial headlines about the stadium that crop up ahead of every summer concert season. Ironically, this is the longest episode of this venue preview series, but there are no music clips, since Phish has not only never played the stadium before but they've never played the entire borough of Queens!So join Michela and I to get the inside scoop on the Forest Hills Stadium, our theories as to why Phish chose to play the smallest New York City venue they've played in years, and where to get the best food once you get inside on July 22 and 23rd. 

New Jersey's primary election for governor begins today, with six Democrats and five Republicans competing to succeed Governor Phil Murphy. Meanwhile, Forest Hills Stadium in Queens is drawing renewed 311 noise complaints as its summer concert season gets underway. And the undefeated New York Liberty aim for their ninth consecutive win Tuesday night as they host the Chicago Sky in Brooklyn.

Christopher & Jobst im Gespräch mit Danielle & Alexander. Wir reden über die Tourisierung Berlins, die Dead Kennedys in Süddeutschland entdeckenn, "Punk-Gürtel" klauen, erste selbstgekaufte Single "48 Crash", Artikel über Punk in der Sounds, Tangerine Dream in der Eissporthalle, Ramones in der Neuen Welt, ab 6 Klavier lernen, selbstgestrickte Dirndl in den USA, Harzer / Ecke Elser Strasse, das Beste am Heroin war das Kotzen, der Zensor in Schöneberg, die Bücherei von A-Z durchlesen, Berlin war relativ sicher, ein Land das von Angst durchtränkt ist, "Little House on the Prairie", Burroughs auf Englisch, Tag der Offenen Tür auf dem Flughafen Tempelhof, die Galaxy fasst 12 German tanks, DJane Sergeant Eager, wohnen in Forest Hills, Ennio Morricone ist von Anfang bis Ende dabei, einen Hang zu Störsounds haben, die ersten Garage-Sounds, Christiane F. kennen- und liebengelernt, in Hamburg gab´s immer auf die Fresse, das Konzept von Manipulation & Guerilla Warfare, das Buch "England Revisited", Chrislo Haas, mit Gummimänteln nackt auf der Bühne, Bring Me the Horizon riesig in Japan, ein Angebot von Kenzo, anfangen im Rose Club zu arbeiten, in Köln lernen langsam zu laufen, mit Beehive und einem Kleid aus einer Plastiktischdecke am Halleschen Tor, wunderschön & blitzgescheit, jobben bei Jäki Eldorado und sein Plattenladen "Aus lauter Liebe", das Kassettenkombinat in Berlin, in die Kofferablage über dem Bad gezogen, die ganzen Bad Seeds auf H, Leute die alles hinterfragt haben, es gab keine Möglichkeit für Small Talk, die Freundlichkeitstests für BVG-Fahrer, Berlin war ne Rockstadt, der Einstieg bei den Space Cowboys, mit Motte Acid Jazz & House kennenlernen, es gab genug Gewalt im Leben, Rakim gut finden, mit den Australiern kam Heroin wieder in die Stadt, vegane Cowboy-Stiefel, die Aufbruchsstimmung von frühem Techno, das Prinzip der Zweckentfremdung, das Unterbewusstsein versteht die Negation nicht, Berlin war eine extreme Nachkriegsstadt, elektronische Musik mit Gudrun Gut, der Tod von Roland, wenn man 100 Tage keinen Alkohol trinken kann ist man körperlich nicht abhängig, Schlägereien in der Kneipe anzetteln, ein Drittel verkaufen, ein Drittel verschenken, ein Drittel behalten, von einer Residency zur nächsten reisen, eine Auftragsarbeit für die Albert-Schweitzer-Stiftung, endlich vegan werden, es lieben zu rauchen, radikal sein wollen, wenn man zwei Dinge zusammen tut entsteht das magische Dritte, unmöglich etwas zu bekommen was pur ist, Musik machen die man unter jedem Umstand machen kann, New Age Scheiß furchtbar finden, ohne Vinnie Signorello würde es keine Cro-Mags geben, Auftrag für eine französische Theaterproduktion, Drones für Orchestral Tools, weiter nach Formen des Crossovers suchen, sich in einem neuen Environment neu definieren, das Nomadenleben hilft, uvm.

We were so excited to watch the 2023 crowdfunded independent horror-thriller film The Forest Hills. Directed and Written by Scott Goldberg. Starring Chiko Mendez, along side Shelly Duvall (The Shining, Frankenweenie),Edward Furlong (Terminator 2, American History X, Pet Sematary Two) Dee Wallace (ET, Critters, Cujo, The Howling). Marianne Hagan (Halloween: The Curse of Michael Myers). Stacey Nelkin (Halloween III: Season of the Witch), Falissa Rose (Sleepaway camp).

Informativo de primera hora de la mañana, en el programa El Remate de La Diez Capital Radio. Unas 30.000 personas protestan contra el turismo masivo que devora recursos naturales y calidad de vida en Canarias. Segunda movilización ciudadana en las Islas para exigir la paralización de los macroproyectos que destruyen el territorio, una moratoria hotelera y la eliminación de los vertidos. Pánico en el aeropuerto de Gran Canaria el Sábado pasado. La Policía abatió a tiros a un hombre africano que les amenazó con un gran cuchillo tras intentar atracar a un taxista. Amid Achi, Concepción y Bacallado proponen una ampliación de capital de 5,2 millones en el CD Tenerife. La medida, que se debatirá en una junta general extraordinaria, pretende evitar el endeudamiento del club y posibilitar que todos los accionistas puedan participar. La plataforma del ‘hotel’ vuelve al mar tras 9 años atracada en Santa Cruz de Tenerife. Hoy se cumplen 1.180 días del cruel ataque e invasión de Rusia a Ucrania. 3 años y 82 días. Hoy es lunes 19 de mayo de 2025. Día Mundial de la Donación de Leche Materna. Cada 19 de mayo se celebra el Día Mundial de la Donación de Leche Materna, para rendir homenaje a las madres que participan en la noble práctica de donar leche materna, a recién nacidos que no pueden ser amamantados por sus madres por causas diversas, como enfermedades e intolerancia a las fórmulas de leche artificial. Asimismo, tiene como finalidad promover y estimular la participación de las madres en esta práctica, así como divulgar los beneficios de donar leche humana, para salvar vidas y fomentar el sano desarrollo de neonatos en la fase de lactancia. De acuerdo a la Organización Mundial de la Salud (OMS), la lactancia materna aporta todos los nutrientes necesarios para el crecimiento y desarrollo saludable de los niños. Beneficios de la leche materna. Aporta anticuerpos para la prevención de infecciones y enfermedades en prematuros y neonatos. Contiene los nutrientes necesarios para el crecimiento y desarrollo saludable de los niños. Contribuye a disminuir la morbimortalidad neonatal y futuras complicaciones de recién nacidos prematuros o con bajo peso. Estimula el desarrollo neurológico. Fortalece el sistema inmunológico. 1536 En la Torre de Londres es decapitada Ana Bolena, la esposa del rey Enrique VIII. 1643 Francia derrota a España en la batalla de Rocroi. 1874 En Francia se promulga una ley que prohíbe el trabajo de mujeres y niños en las minas. 1922 El Sistema Monetario Internacional experimenta una profunda reforma. 1931 En Madrid se levanta el estado de guerra. 1962 Marilyn Monroe le canta Happy Birthday Mr. President al entonces presidente John F. Kennedy. 1974 Erno Rubik crea el famoso cubo de Rubik. 1977 El tren Orient Express Directo hace su último viaje. 1979 En España queda legalizada la masonería. San Ivo de Bretaña, Adolfo de Arras, Alcuino, Celestino V, Crispín de Viterbo, Dunstán, Francisco Coll, Teófilo de Corte y Urbano. La coalición de Montenegro gana las elecciones en Portugal y la ultraderecha se dispara hasta empatar con los socialistas. El buque escuela mexicano Cuauhtémoc choca contra el puente de Brooklyn. Austria gana el Festival de Eurovisión 2025, España antepenúltima. España propondrá ante la ONU que la justicia internacional se pronuncie sobre el acceso de ayuda humanitaria a Gaza. Hito histórico de Canarias con la primera luchada oficial en Madrid. Las Islas adelantan en la capital de España la celebración del 30 de Mayo con un gran evento del deporte vernáculo y la VIII Romería Canaria, que reunió a cerca de 2.000 personas. Canarias, por debajo de la media española en el reciclaje de envases de plástico y cartón: 7,3 y 5,1 kilos menos por persona. Las Islas realizaron el año pasado una aportación inferior al 4,5% del total de residuos aprovechados a nivel nacional. La licitación del servicio de jardines en cinco aeropuertos canarios queda desierta. El contrato afectaba a los exteriores ajardinados de estos aeropuertos. Afectaba a los exteriores ajardinados de los aeropuertos de Tenerife Norte, Tenerife Sur, Gran Canaria, Fuerteventura y César Manrique-Lanzarote. El 19 de mayo de 1951 nace Joey Ramone, cantante estadounidense, de la banda Ramones que falleció en 2001 a los 49 años. Ramones fue una banda estadounidense de punk formada en Forest Hills, en el distrito de Queens (Nueva York, Estados Unidos) en 1974, y disuelta veintidós años más tarde, en 1996.

Thomas Lo, M.D., D.ABA, aka "Chef Dr. Lo," is a board-certified Anesthesiologist, Chef, CEO, and Entrepreneur. After graduating from Yale University with a degree in Molecular Biology, Dr. Chef Lo began his professional culinary career studying at the French Culinary Institute in New York. With a strong background in fundamental culinary techniques, Thomas interned at Veritas and Lupa Osteria and then joined the opening team of Virot restaurant at the Dylan Hotel in New York. Chef Dr. Lo is also the owner and culinary director of Spy C Cuisine restaurant in Forest Hills, New York. Spy C Cuisine has quickly gained critical accolades from the New York Times and received its first Michelin Bib Gourmand in 2020. With the understanding of the molecular physiology of taste, Chef Dr. Lo enjoys playing with the palate by synergistically combining flavor combinations and balancing the harmonies of sweet, salty, bitter, and sour. By contrasting various textures of his dishes, Chef Dr. Lo attempts to introduce the complexities and subtleties of food to you. As a Chef Physician, he is able to educate his customers, patients, and fellow colleagues on the medicinal aspects of haute cuisine. As a chef anesthesiologist, Chef Dr. Lo is known for his Sichuan Mind-Numbing Sauce, which must be properly prepared and used for dishes to provide the perfect balanced flavor profile. When given in the proper amount, harmony is achieved; but when too much is given, the flavors are overpowering. Although this would not be like a true overdose that Chef Dr. Lo sees in the operating room, the taste of the dish becomes acrimonious.

Forest Hills School District is one of the top Grand Rapids, Michigan Area Schools, and we're going to take a deeper dive into the Forest Hills School District in West Michigan and highlight three locations that you definitely need to be aware of if you're thinking about relocating.SUBSCRIBE: https://www.youtube.com/channel/UCWLKp_rEg77NKMFthOTVeiw?sub_confirmation=1 Contact us now:Call or Text: (616) 330-2555Email: info@marketgr.comMoving to Grand Rapids? Pick up our FREE relocation guide!https://mailchi.mp/8b5aff1055a5/relocation-guideMore from Group Realtors:Website

Former Mayor Bill de Blasio isn't ready to back any candidates in New York City's mayoral race. Plus, some Muslim worshippers on Long Island have a new ally in a quest to build an upgraded mosque in Nassau County. Also, there are a couple days left of juror selection in the high profile case of Harvey Weinstein. And finally, the Forest Hills Stadium summer concert series is officially back on after months of bitter standoff between venue organizers and a group of residents in the area.

Rain, thunderstorms and gusty winds are in the forecast for the New York City area Tuesday night. Meanwhile in Queens, Forest Hills Stadium will move ahead with its summer concert season after resolving a contentious permit fight. Plus, a new podcast explores the surprising dangers of sirens.

This is a free preview of a paid episode. To hear more, visit smokeempodcast.substack.com“Would you have Elon Musk's baby?” Sarah texted Nancy the other day, to which she responded, “Fuck no.” Thus launches the latest Smoke ‘Em debate, in which our co-host who is without child confesses she'd take some of that SpaceX sperm. Has she lost her mind, or is she merely responding to nature's imperative? We discuss this, as well as Musk's new babymama, Ashley St. Clair.Then it's on to a double-dip from New York Times Magazine: “Why Gen X Women are Having the Best Sex” and “How I Learned That the Problem in My Marriage Was Me.” Is 20th-century licentiousness dead? Has therapy bled too far into the culture?Also discussed:* Diet Pepsi > Diet Coke* “On accident” vs. “by accident”?* Sperm ice cubes at the 7-Eleven* Milo Yiannopoulos has entered the chat* Can you make yourself sexy or nah?* Netchix and flill* Nancy declares she does not like declarative sentences* The saddest divorce book* Why does Nancy get so annoyed when people talk about their sex lives?* Sarah's string of younger men* Moynihan's not kicking those bikini-clad girls out of bed* Women have rage problems, too* Announcement: CHEFS TALK!!!* “The thing about Led Zeppelin songs is, none of the names make sense.”Plus, the speedball of intimacy, the obsession with being obsessed, Nancy gets a crush on Jimmy Page, and much more!Correction: Listener Mavis wrote: “In ‘Iphigenia in Forest Hills,' she killed her child's father, not her daughter!” Absolutely correct! Nancy regrets the error, and for more Janet Malcolm, see this week's hot boxes

Send us a textIn this episode, Kaitlin interviews Natalie Toshkoff, a pelvic floor PT in Forest Hills, Queens. Natalie offers holistic pelvic floor care and wants to help more people get the care they need.Start your BeHerVillage RegistryFREE resources on BeHerVillageFollow BeHerVillage on InstagramContact Natalie 

How can we believe that God has the power to do all things when we don't know the outcome? And what if having faith in God leaves us disappointed when things don't turn out the way we hoped? Tune in as Apostle Jerry Valenti explores these themes while visiting the Forest Hills, FL Branch of The Church of Jesus Christ.Support the showYouthCast by The Church of Jesus Christ can also be found on Youtube: youtube.com/@tcojc-gmbaYouthCast is a production of The General Missionary Benevolent Association (GMBA), an auxiliary of The Church of Jesus Christ, headquartered in Monongahela, PA. (www.TheChurchOfJesusChrist.org)The Church of Jesus Christ and GMBA are 100% volunteer ministries, and we greatly appreciate your financial support for our youth programs: www.TheChurchOfJesusChrist.org/donate

As a professional dating coach, Devorah Kigel has helped over 300 women get clarity in their dating lives and marry their bashert. She has also been teaching classes for women on Judaism since 2001. She has her Masters in French and lived in Paris for 2 years, before discovering Torah Judaism and becoming observant. Devorah and her husband, Reuven, who is the Campus Director for Emet Outreach, host Shabbos guests most weeks. Using humor and honesty, Devorah shares the entertaining personal journey that led her to develop powerful tools to have the relationships you desire. Her book “Marry a Mensch: Timeless Jewish Wisdom for Today's Single Woman” published by Gefen was released September 2024 and is available on Amazon. Devorah has been featured in Newsweek, The Jerusalem Post, Meaningful Minute, Torah Anytime and on aish.com.For more info: www.devorahkigel.comRabbi Reuven Kigel is Emet's dynamic Campus Director, overseeing all of Emet's campus programs—at Baruch college, St. John's University, Queens College, and Adelphi University, as well as a multi-campus program in Forest Hills. He also serves as the Jewish chaplain for Baruch College. In 2022 he started an initiative to help 100k frum men get their health back by eating according to Chazal. You can find out more on www.thefitjew.comBorn during the heyday of communism to capitalist-aspiring parents in Kiev, USSR, Rabbi Kigel immigrated to the United States in 1978, as a young child. Rabbi Kigel has semicha from Rabbi Heineman in Baltimore, and has been a longtime member of the Passaic-Clifton community kollel. Rabbi Kigel graduated from the University of Michigan in 1995 with a degree in finance and spent 8 years working on Wall Street before switching careers to devote himself to the Jewish people.This conversation delves into his near-death experience, their financial struggles, the importance of faith and resilience during tough times, and their dedication to Jewish outreach, helping others find their bashert, and health initiatives.Enjoy the episode!00:00 - Meet the Kigels02:36 - Devorah's Early Life and Discovery of Orthodox Judaism10:59 - Rabbi Reuven's Background and Immigration Story17:08 - Rabbi Reuven's Car Accident and Spiritual Awakening30:12 - Financial Struggles and Career Transition47:51 - The Importance of Supportive Relationships50:11 - Becoming a Dating Coach51:16 - Challenges in Modern Dating57:48 - Balancing Career and Family01:04:29 - Health and Fitness Side Hustle01:08:21 - Final Thoughts and Reflections*For updates and conversations about these episodes, follow me at @talesoftamar on Instagram. You can also reach out to Tamar@tales-of.com with questions, comments, or inquiries, and/or check out my website tales-of.com to learn more about who I am and what I do. If you would like to donate to continue the initiative, please send money via Zelle to tberg93@gmail.comThank you for listening and strengthening the Jewish nation! Channukah Sameach!!!

Which movie about alien invasions do you think would be most accurate? We also discuss what horror movie we'd survive, the drones in the skies, and review movies like The Forest Hills, Nosferatu, Sasquatch Sunset, and Son In Law? Scaredycast is presented by Horror Monger Collectibles! A new horror store located in Mesa, AZ bringing you year round horror goodies! This episode is sponsored by: ValuSesh! Want to feel the vibes, but don't want to spend an arm and leg? Sesh For Less and use code SCAREDY at Checkout! Check out our YouTube where you can now WATCH episodes of Scaredycast! And follow us on social! Become a PATRON to support the show and get spooky exclusive content! Original music by Mangy Bones Get your horror movie news, reviews, and thoughts at HorrorPress.com! True crime, haunted happenings, UFO sightings, horror movies, and cryptid creatures. All the spooky you can endure inside one little horror podcast. Get the thirst of your morbid curiosity quenched when you check out Scaredycast! Visit Scaredycast.com for updates on the show, live show event dates, merch, and more!

Aaron & Riverman watch Shelley Duvall's final film & pay homage to the ETERNAL Edward Furlong! Stick around for the end, as we are joined by the film's director, Scott Goldberg who chat's about making the film & reacts to our thoughts on the film! Full video version on our YOUTUBE channel! Throw us a sub and a kind review on podcast services! https://www.youtube.com/@RevivalHouse

I have a Christmas and Hanukah gift for you: my show with Stephen Dunn. This is one of my favorite shows and he was one of my favorite poets. He published something like 21 collections of poetry. The show you're about to hear from 2001, the first time he was a guest on the show. Writers on Writing was on the radio then. Podcasting wouldn't be along for four more years and it would be a number of years—I've lost track—before my cohost Marrie Stone joined us.   I first learned of Dunn back in the early 1980s. I was on a bus in San Francisco, looking up at the placards that lined the roof of the bus and there was a poem of his. It may have been his poem, “Contact,” which he reads during the following interview. Back then the City posted poetry on MUNI busses (I think it's doing that again). Dunn and I never met in person but he graced me and the show with his presence a half dozen times. Stephen Dunn was born on June 24, 1939, in Forest Hills, Queens. He graduated from Forest Hills High School in 1957. He earned a BA in history and English from Hofstra University, attended the New School Writing Workshops, and finished his MA in creative writing at Syracuse University. Dunn's books of poetry include the posthumous collection The Not Yet Fallen World (W. W. Norton, 2022); Pagan Virtues (W. W. Norton, 2019); Lines of Defense (W. W. Norton, 2014); Here and Now: Poems (W. W. Norton, 2011); What Goes On: Selected and New Poems 1995-2009 (W. W. Norton, 2009); Everything Else in the World (W. W. Norton, 2006); Local Visitations (W. W. Norton, 2003); Different Hours (W. W. Norton, 2000), winner of the 2001 Pulitzer Prize winner for poetry; Loosestrife (W. W. Norton, 1996), a finalist for the National Book Critics Circle Award; New and Selected Poems: 1974–1994(W. W. Norton, 1994); Landscape at the End of the Century (W. W. Norton, 1991); Between Angels (W. W. Norton, 1989); Local Time (William Morrow & Co., 1986), winner of the National Poetry Series; Not Dancing (Carnegie Mellon University Press, 1984); Work & Love (HarperCollins, 1981); A Circus of Needs (Carnegie Mellon University Press, 1978); Full of Lust and Good Usage (Carnegie Mellon University Press, 1976); and Looking For Holes In the Ceiling (University of Massachusetts Press, 1974). He is also the author of Walking Light: Memoirs and Essays on Poetry (BOA Editions, 2001), and Riffs & Reciprocities: Prose Pairs (W. W. Norton, 1998). About Dunn's work, the poet Billy Collins has written: The art lies in hiding the art, Horace tells us, and Stephen Dunn has proven himself a master of concealment. His honesty would not be so forceful were it not for his discrete formality; his poems would not be so strikingly naked were they not so carefully dressed. Dunn's other honors include the Academy Award for Literature, the James Wright Prize, and fellowships from the National Endowment for the Arts and the New Jersey State Council on the Arts. He has taught poetry and creative writing and held residencies at Wartburg College, Wichita State University, Columbia University, University of Washington, Syracuse University, Southwest Minnesota State College, Princeton University, and University of Michigan. Dunn has worked as a professional basketball player, an advertising copywriter, and an editor, as well as a professor of creative writing. Dunn was the distinguished professor of creative writing at Richard Stockton College and lived in Frostburg, Maryland with his wife, the writer Barbara Hurd. He passed away on June 25, 2021. He won a Pulitzer Prize for Different Hours, the focus for our talk on this day in 2001. We also talk about the poets' state of mind, writing poems during and after the moment, existing in the world of ambiguity, being a retrospective poet, how his focus has changed over the years, how he taught poetry, good training for a poet, hearing from readers, National Poetry Month, and more. For more information on Writers on Writing and to become a supporter, visit our Patreon page. For a one-time donation, visit Ko-fi. You can find hundreds upon hundreds of past interviews on our website. If you'd like to support the show and indie bookstores, consider buying books at our bookstore on bookshop.org. We've stocked it with titles from our guests, as well as some of our personal favorites. And on Spotify, you'll find to an album's worth of typewriter music like what you hear on the show. Look for the artist, Just My Type. Email the show at writersonwritingpodcast@gmail.com. We love to hear from our listeners! (Recorded in 2001 in the KUCI-FM studio at University of California Irvine campus.)  Host: Barbara DeMarco-BarrettHost: Marrie StoneMusic: Travis Barrett (Stream his music on Spotify, Apple Music, Etc.)  

Mayor Eric Adams has agreed to unlock $5 billion for sewers, streets, and open spaces in exchange for City Council support of his signature housing plan, according to two city officials. Meanwhile, the Verrazzano-Narrows Bridge celebrates its 60th anniversary this Thursday. Also, the NYPD has a new Commissioner. Jessica Tisch, who previously led the Sanitation Department, is returning to the police agency, where she once served as Deputy Commissioner of Information Technology. Jillian Snider, a retired NYPD officer and Director of Criminal Justice and Civil Liberties at the R Street Institute, weighs in on what Tisch's leadership could mean for the department. And finally, Thanksgiving is almost here. WNYC is spotlighting unique holiday traditions. We hear from Michael Antonoff of Forest Hills.

Gio said the Yankees are not going to make any major changes in a year they went to the World Series. They are not firing Brian Cashman or Aaron Boone. Boomer's not so sure about that. Boomer said they only got that far because of the A.L. Central. Boomer thinks Cashman will be here and he will want to keep Boone, but maybe ownership will not. Suzyn also said after the game that the players love Boone. Boomer wonders if they love him so much, ‘why do they play like crap on the field?' Jerry returns for an update and has the final call of John Sterling's career. Gerrit Cole talked about what went wrong in the fifth inning when he didn't cover first base. Juan Soto talked a lot about free agency after the game. JJ Watt can't believe the Texans are the underdog against the Jets. JJ is also tired of all the Aaron Rodgers talk considering they are 2-6. In the final segment of the hour, a classic WFAN caller, Miriam in Forest Hills, calls in to talk about the Yankees inability to score multiple runs in multiple innings. A caller wants Aaron Judge stripped of his captaincy.

Hour 1 The way the Yankees went out, on their own field, was embarrassing. The combination of Gerrit Cole not covering first, and Anthony Rizzo not hustling to first was horrendous. Cole was pitching so great. Rizzo gave a speech to the team the game before. Gio is defending Rizzo for fielding a ball that was spinning in a very odd way and he wanted to make sure he secured the ball. Your $36 million man can't even cover first base. Even after the disastrous fifth inning, they came back and took the lead. Walks and sac flies did them in after that. Boomer doesn't like players ‘butterflying through life'. Jerry is here for his first update of the day and starts with John Sterling on the call as Aaron Judge dropped a fly ball in center. We then heard the Volpe throwing error in the same inning. We then heard from Sterling as Cole didn't cover first base on the Mookie Betts grounder. Then Freddie Freeman had a 2-run single. Then Hernandez hit a ball over Judge's head and the game was suddenly tied 5-5. After the game Aaron Boone said he was ‘heartbroken'. Judge talked about the drop after the game. Gerrit Cole was asked about not covering first. In the final segment of the hour, last night was a ‘never forget type night' for Yankees fans. Juan Soto was asked about free agency after the game and he said all 30 teams are options for him. Boomer said he should have realized it was right after a World Series loss. As much as you care about your team, you will never get that from most players on your team. Hour 2 Boomer thought the Jets would be 6-2 by the time we got to this game against the Texans, but instead they are 2-6. They are even annoying a nice guy like JJ Watt. He has had enough of the Jets and Aaron Rodgers. We took calls from Yankees fans who can't believe Aaron Judge dropped a fly ball. The ‘Goomba Grabbers' were banned from the game last night. A caller blames Aaron Boone for Gerrit Cole not covering first base and Gio thinks these takes are insane. Jerry returns for an update and has the sounds from Dodgers radio as they win the World Series. Aaron Judge talked about the errors that cost them the game and the series. Juan Soto was asked after the game about his future with the Yankees and if he wants to be here if the money is comparable. He said ‘every team has the same opportunities when I go to free agency'. In the final segment of the hour, Mike Francesa was on the livestream with Barstool last night watching the World Series. Mike was sitting next to Frank The Tank. Oh, and Juan Soto is clearly taking the highest amount he can get. It will not matter which team that is. Hour 3 Gio said the Yankees are not going to make any major changes in a year they went to the World Series. They are not firing Brian Cashman or Aaron Boone. Boomer's not so sure about that. Boomer said they only got that far because of the A.L. Central. Boomer thinks Cashman will be here and he will want to keep Boone, but maybe ownership will not. Suzyn also said after the game that the players love Boone. Boomer wonders if they love him so much, ‘why do they play like crap on the field?' Jerry returns for an update and has the final call of John Sterling's career. Gerrit Cole talked about what went wrong in the fifth inning when he didn't cover first base. Juan Soto talked a lot about free agency after the game. JJ Watt can't believe the Texans are the underdog against the Jets. JJ is also tired of all the Aaron Rodgers talk considering they are 2-6. In the final segment of the hour, a classic WFAN caller, Miriam in Forest Hills, calls in to talk about the Yankees inability to score multiple runs in multiple innings. A caller wants Aaron Judge stripped of his captaincy. Hour 4 The Yankees played ‘New York, New York' while the Dodgers were celebrating a World Series win on their field. We talked about all the miscues the Yankees had in the field in the fifth inning and the entire series. Jerry returns for his final update of the day, but ...

16 Nisan 2022'de New York Queens bölgesindeki Forest Hills parkında başıboş halde bir çanta bulundu. Çantanın dibinde yoğun bir kan birikintisi vardı ve fermuarı aralandığında içinde bir kadının cansız bedeni olduğu anlaşıldı. 51 yaşındaki iki çocuk annesi Orsolya Gaal neden öldürüldü?

16 Nisan 2022'de New York Queens bölgesindeki Forest Hills parkında başıboş halde bir çanta bulundu. Çantanın dibinde yoğun bir kan birikintisi vardı ve fermuarı aralandığında içinde bir kadının cansız bedeni olduğu anlaşıldı. 51 yaşındaki iki çocuk annesi Orsolya Gaal neden öldürüldü?

We were joined by Joe Schwander who is Forest Hills Easterns Head Coach. He talked to us about his team, talked about getting ready for this game, and more. See omnystudio.com/listener for privacy information.

Erica (The Surreality Podcast) and myself were lucky enough to joined by Nick Graystone (Primal Scream) to discuss his involvment in "The Forest Hills" , why we are horror fans, our favourite horror movies and so much moreFor early release episodes, go to patreon.patreon.com/shorejustineFollow Erica @surrealitypodFollow Nick @primal_scream_nzaFollow Me @shorestorepod@jjustineelizabeth Hosted on Acast. See acast.com/privacy for more information.

Spooky season is in full swing and there's no shortage of NEW HORROR to choose from! From wide theatrical releases to limited-release indie flicks, Join hosts Aleece and Tony as they frantically try to review 8 MORE new horror movie coming out before their favorite holiday! All of these films are set to be released in the first week of OCTOBER! Find out which of these eight films Aleece and Tony plan to see BEFORE HALLOWEEN!Which of these are YOU most interested in seeing this spooky season?? And, if you want to support the podcast, please check out our Patreon page: https://www.patreon.com/GuttedHorrorPodcastAlso find us here: Instagram: https://www.instagram.com/guttedhorrorpodcast/Linktree: https://linktr.ee/guttedhorrorpodcast?utm_source=linktree_profile_share<sid=10ebd0a0-36d8-4d5e-995b-ade06ec03f30Or Listen to us:Apple Podcasts: https://podcasts.apple.com/us/podcast/gutted-horror-podcast/id1558950151Spotify: https://open.spotify.com/show/775EZGCuXHfKw1mJddgCei?si=8c946c9c59be48efAmazon Music: https://music.amazon.com/podcasts/1e1a50de-33be-4056-89b8-a57063bb3b4c/gutted-horror-podcastMANY THANKS, LOVE, & GUTS to all of our listeners and followers for your support!!!

We were joined by Scott Wherley, who heads up the FHE Athletic Boosters. He talked with Huge about their mission, how you can get involved, and more. See omnystudio.com/listener for privacy information.

We were joined by Benjamin Norrix who is the FHE Head Men/Women's Rowing Coach. He talked about how they're raising funds for their program, where they could use some help, and how you could get involved. See omnystudio.com/listener for privacy information.

I sat down with Scott Goldberg, the director of the upcoming film, “The Forest Hills” and with this amazing opportunity we spoke about Shelley Duvall's last on-screen performance with an amazing cast. It's unfortunate that Shelley past away shortly after but she has been immortalized throughout the ages because we all know that she was a legend. We also conversed about how the actors performed exceptionally well in their roles, the concept behind the film, and the special effects. It amazes me how a low-budget independent film can ascertain so much publicity and continue to make it's mark in the horror community. I can see Scott Goldberg directing more great films in the future and retaining his status as a talented director with more box office hits. Be sure to follow Scott on Facebook with up-to-date premieres for “The Forest Hills” and to see Shelley Duvall's last on-screen performance.

CJ Ramone aka Christopher Joseph Ward's ALLEGED legal testimony has entered the broiling Ramones estate feud between Linda Ramone and Mickey Leigh. If real, it paints a damning, weighted picture of Joey's relationship with his brother. I am so very curious to hear what Marky Ramone might have to say about all of this. ⁠www.frumess.com⁠⁠⁠⁠ FRUMESS is POWERED by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.riotstickers.com/frumess⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ JOIN THE PATREON FOR LESS THAN A $2 CUP OF COFFEE!! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/Frumess ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Era la tarde del 28 de mayo de 2016 cuando Viktoria Nasykova se comunicó con su amiga Olga Svyk pidiéndole con urgencia sus servicios para ponerse pestañas. Para su suerte, Olga estaba disponible en ese momento. Minutos más tarde, Viktoria llegó a la casa de la esteticista en el barrio Forest Hills, en Nueva York, con una tarta de cheesecake como gesto de agradecimiento. Pero, tras esa aparente normalidad se escondía un plan siniestro que Olga no vio venir. La dejó pasar a su casa, sin saber que la diabólica mujer estaba a punto de ejecutar un plan frío y calculado. Hosted on Acast. See acast.com/privacy for more information.

Whats up Guys/Gals!

This is the All Local morning update for August 16, 2024  

Last year, Forest Hills High School student Salma Baksh found herself in a club aimed at discussing politics, but felt uncomfortable speaking up. Even with her best friend, Vilinez Estevez, by her side, the environment didn't feel right. The discomfort led Salma and Vili to look for a space where they could freely discuss the topics they really cared about. And when that original club fizzled out, another opportunity arose. Enter the Youth Informed Club. Their first meeting drew a packed room, with students eager to discuss issues like gun control and Mayor Eric Adams' policies. Now, the club's impact extends beyond their school, thanks to a partnership with Let's Talk Democracy, a civics education organization. The students also collaborated with the Forest Hills Green Team, gaining skills like networking and handling press advisories. In this episode we sit down with Salma and Vili to learn more about Youth Informed Club and what's in store for the future.See omnystudio.com/listener for privacy information.

One-two-three-four! The Ramones, a four-man rock band from Forest Hills, Queens, played the Bowery music club CBGB for the very first time on August 16, 1974.Not only would Joey, Johnny, Tommy and Dee Dee reinvigorate downtown New York nightlife here -- creating a unique and energetic form of punk -- but they would join with a small group of musicians at CBGB to revolutionize American music in the 1970s.In this episode we're celebrating the 50th anniversary of The Ramones' first performances in downtown Manhattan. But this also a tribute to New York rock music of the 1970s and to the most famous rock-music club in America.CBGB & OMFUG officially stands for "Country, Bluegrass, Blues and Other Music For Uplifting Gormandizers," and Hilly Kristal's legendary hole-in-the-wall music venue on the Bowery would be best defined by that "other music" -- namely punk, new wave and later hardcore.Over the course of 70 performances, the Ramones would perfect their sound and appearance on the ragged little stage here at CBGB, building upon musical influences like the local glam rock scene (The New York Dolls, Jayne County) and their own nostalgic callbacks to the Beatles.The mid-1970s CBGBs scene would produce other artists who would go on to mainstream, international fame -- Patti Smith, Television, the Talking Heads and Blondie. Not only would these artists become associated with the Bowery, but most of them would live on the surrounding streets.On this special episode, Greg is joined by an incredible roster of guests including Ramones record producer and engineer Ed Stasium; longtime CBGBs fixture BG Hacker; tour guide and Ramones fan Ann McDermott and music historian Jesse Rifkin, author of This Must Be The Place: Music, Community and Vanished Spaces in New York City.Visit the website for more information and imagesSee the Bowery Boys live at Joe's Pub this October!After listening to this show, check out the Bowery Boys podcasts on the history of the East Village:#416 Creating the East Village#417 Walking the East Village  

Send us a Text Message.Forgiveness is something we never graduate from. It's an ongoing process of healing that God is working in our lives. This week, we are sharing a sermon Ben preached at Forest Hills in the Nashville area about his journey with forgiveness.  We pray you'll be challenged by this word & share it with someone who comes to mind as you listen.  SHOW LINKS:Connect with AngieTotal Forgiveness by RT KendallEpisode from the Glass House with RT Kendall is HERE. Genesis 45- the story of JosephConnect with the Glass House on Instagram HEREClick HERE to take the summer listener survey and be entered to win the summer essentials giveaway.

Tracklist : 1. Fading Away 2. I Don't Care 3. Reemash & Cj keys 4. Forest Hills 5. Bamba Nami 6. Give Up (Original Mix) 7. 8nine Muzique & OddXperienc Feat. DynamicSoul - Untitled 8. BlacTears - Night Smokes (Original Mix) 9. Been Waiting 10. Limitless (Mr Shane SA Remix) 11. C-Moody & Deep Essentials

WELCOME TO THE JOURNEY CHURCH ONLINE! We are so excited to connect with you this week! We pray you are blessed & that you find a place to belong here in our community. In our new series, "Dear Church," Pastor Craig discusses the current state and future vision of the church, with a focus on reaching people in the Rego Park, Forest Hills, and Kew Gardens area and the heart behind planting Restoration NYC. We explore the role of trust and obedience to God's will, using the story of Abraham and Isaac as an illustration. We delve into true obedience to God and reflect on Abraham's unwavering trust in God's promises, even when asked to sacrifice his only son. Drawing from biblical examples, we examine how God intervenes in seemingly impossible situations and discuss the challenges and rewards of faithfulness. Join us in prayer for growth and a deeper understanding of our role in God's will. UPDATE YOUR EMAIL INFO HERE: www.journeyqueens.com/updates New Here?: www.journeyqueens.com/connectioncard Next Steps: www.journeyqueens.com/next-steps Give Online: www.journeyqueens.com/giving Instagram: www.instagram.com/journeychurchqueens/ Facebook: www.facebook.com/journeyqueens/ Twitter: twitter.com/journeychurchqueens Website: www.journeyqueens.com

George Beckerman joined me to talk about early TV, his first writing job, 1983's NBC Yummy Awards; Paul Winchell and Pinky Lee; growing up in Forest Hills; going to high school with Jerry Springer; going into the textile business; getting his suits on the cover of GQ; selling his business and moving to LA; writing a screenplay "Beverly Hills Shrink" for Fred Weintraub; writing a special "Blondes vs. Brunettes" directed by Steve Binder; seeing Joan Collins sans makeup and working with Don Novello; pitching 30 episode ideas to the producers of Alice; getting a job on TBS sitcom Safe at Home with pissed off cast; hiring Dan O'Shannon and Tom Anderson; an arrest during rehearsal; pitching for Head of the Class and a movie for Gene Wilder; first head of the Class "The Russians are Coming"; the problems and greatness of multi-cam comedies; writing "Child of the 60's" and meeting Lori Petty; writing "Parent's Night" and having 23 characters to write; writing Trouble in Perfectville for Robin Givens and having it changed; working with Tannis Vallely and her father on two different shows; Howard Hesseman; becoming friends with Robin Givens and her mother and needing to get Mike Tyson off the set; Leslie Bega and Khrystyne Haje; creating and leaving "Molloy"; becoming friends with Mayim Bialik; Jennifer Aniston; fighting with Bill Bixby on the set of "Man of the People"; Monty has great cast including Henry Winkler, David Schwimmer, and China Kantner - daughter of Grace Slick and Paul Kantner, but was short lived; The Jackie Thomas show was the most fun he had; trying to turn Jackie Thomas into a modern day Dick Van Dyke; playing tennis with Norm MacDonald; working with Chris Farley; meeting his wife Geraldine Leder writing for "Secret Service Guy" a show that never aired; having his film script optioned by Ben Stiller and not getting a budget; writing a Lifetime movie for Kirstie Alley; a Hallmark time travel movie; writing for children's television; making a short film "Autocowrecked"; writing a song with a member of Foster the People; the current state of TV as a business; Adam I. Lapidus and the Simpsons

Healing spaces, educational opportunities, community connections ... who knew all this (and more) could be found in a scripture garden? Join host Blake Smith for this episode of What's Brewing where he sits down with Forest Hills Scripture Garden co-founder, Joyce Blair, and leader of the new “Friends of the Garden” leadership team, Blake Rosbury, for a fascinating look at what can come out of the passions and commitment of a congregation, no matter the size, when they engage in mission with unconditional abandon. Download TranscriptThanks for listening to Project Zion Podcast!Follow us on Facebook and Instagram!Intro and Outro music used with permission: “For Everyone Born,” Community of Christ Sings #285. Music © 2006 Brian Mann, admin. General Board of Global Ministries t/a GBGMusik, 458 Ponce de Leon Avenue, Atlanta, GA 30308. copyright@umcmission.org “The Trees of the Field,” Community of Christ Sings # 645, Music © 1975 Stuart Dauerman, Lillenas Publishing Company (admin. Music Services). All music for this episode was performed by Dr. Jan Kraybill, and produced by Chad Godfrey. NOTE: The series that make up the Project Zion Podcast explore the unique spiritual and theological gifts Community of Christ offers for today's world. Although Project Zion Podcast is a Ministry of Community of Christ. The views and opinions expressed in this episode are those speaking and do not necessarily reflect the official policy or position of Community of Christ.

Which Ramones songs are best, “worst,” and underrated? A fun game brought to you by Reddit. www.frumess.com⁠⁠ FRUMESS is POWERED by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.riotstickers.com/frumess⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ GET 200 DIECUT STICKERS FOR $69  RIGHT HERE - NO PROMO CODE NEED JOIN THE PATREON FOR LESS THAN A $2 CUP OF COFFEE!! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/Frumess ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

The gang's all here for this week's episode, which features an alarming amount of comic books, bears, details about the first Talking Comics panel at Flame Con 2024, bloodlust, David Corenswet's Superman, and a grand reunion at Sessanta in Forest Hills, New York!Books: Blood Hunt #1, Space Ghost #1, Bad Boy Crash Course (Webtoon), Lights (Webtoon), Shubeik Lubeik OGN, Bear Pirate Viking Queen #1, Just Like Home (novel), Power Pack: Into the Storm #5, Spider-Woman #7, Harley Quinn Annual, Unbeatable Squirrel Girl Beats Up the Marvel Universe OGNOther Stuff: Sessanta: Puscifer / A Perfect Circle / Primus (concert), Suitable Flesh (movie), The Fall Guy (movie), The Planet of the Apes franchise (movies), Paleo Pines (video game)This Comic Book Podcast is brought to you by Talking Comics. The podcast is hosted by Steve Seigh, Bob Reyer, Joey Braccino, Aaron Amos, Chris Ceary, and John Burkle, who dissect everything comics-related weekly, from breaking news to new releases. Our Twitter handle is @TalkingComics, and you can email us at podcast@talkingcomicbooks.com.

"Prayer is the soil where every other spiritual practice grows."Tyler teaches on the pervasiveness of prayer in every facet of our spiritual walk and its importance in our growth. He challenges us to pray like we believe that God hears and answers. Key Scripture Passage: Hebrews 5v7This podcast and its episodes are paid for by The Circle, our community of monthly givers. Special thanks for this episode goes to: Gillian from Forest Hills, South Africa; Jeff from Ann Arbor, Michigan; Evan from Olympia, Washington; Christa and Jim from Goodyear, Arizona; and Andrew from Woodstock, Ontario. Thank you all so much!If you'd like to pay it forward and contribute toward future resources, you can learn more at practicingtheway.org/give.

Whitney Elkins-Hutten of PassiveInvesting.com interviews Multifamily Syndication Expert, Gino Barbaro. Gino shares his journey from the restaurant business to becoming a multifamily real estate investor, discussing his latest acquisition of Forest Hills, a 128-unit property in Knoxville, Tennessee. From overcoming challenges during the purchase process to implementing a value-add strategy post-acquisition, Gino dives deep into the intricacies of multifamily investing. Discover valuable insights into property management, financing, and fostering strong tenant relationships in this insightful episode.

Johann Rashid aka Promiseland is a is a multidisciplinary artist who works in the forms of music, performance art, and video. Johann has done work for Seekings, The Voidz, Nick Murphy, and more musicians. Promiseland released his new album ‘Sad But Happy' featuring tracks with Melati Malay, Samantha Urbani, and Julian Casablancas. Promiseland has supported The Strokes on their Asia Tour in 2023 but I dropped the ball when he performed at Forest Hills opening up for The Strokes and Angel Olsen. Johann's ‘Take Down The House' Boys Noize Remix has been going off for days and I can't make it stop, I love it too much. Please welcome Johann Rashid aka Promiseland to Wear Many Hats. ⁠⁠⁠instagram.com/_promiseland_ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠instagram.com/wearmanyhatswmh⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠instagram.com/rashadrastam⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠rashadrastam.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠wearmanyhats.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Episode 109. Kate block is a gem. She's a therapeutic bodyworker, yoga teacher, and fellow science lover. She's also someone who walks the walk, meaning she listens to her body and what doesn't feel right for her, and makes uncomfortable changes when necessary. Today you get to hear her story, and a whole bunch of wisdom, and I am confident you will enjoy it as much as I did. I am realizing more and more that something that really lights me up is finding innovative solutions for healing for both myself and my clients. Kate is a wonderful example of that because she's helped me get better in touch with my body and the lessons I've learned through somatic practices and this conversation apply to both therapists and our clients. Kate is intuitive, and truly has a gift for this work. Oh, and fun fact, without formally learning about Internal Family Systems (IFS) she basically does Parts with with her clients because it just made sense to her. Cool stuff, right? You're going to love this conversation, so let's dive in! We cover: What is bodywork and how does it differ from massage therapy? How Kate combines the wisdom of talk therapy and bodywork to help her clients reach the next level of peace and healing Why she reminds people that "your body is never trying to hurt you" and what she means by that Why the question, "What do you feel in your body?" often feels hard, and how to practice embodiment Kate's approach to meal prep (one of my favorite answers to the integrated motivation question) and how you can use this knowledge to change a "should" to a "choose to" for something you want to do, but don't really enjoy And much more! “I know I shouldn't focus on weight loss, but…” (Polarized Parts Alert!) Are you feeling unsure how to guide a client who wants to improve their relationship with food, but also wants to lose weight? We offer this super cool transformational exercise that can help your clients work to understand their polarized parts, build self-trust and listen to their intuition! This free PDF gives step-by-step instructions for doing one of my all-time favorite exercises (based on Internal Family Systems theory) to explore polarized parts. It will help clients get to know the parts of themselves without judgment, understand their intention, and create empowerment and harmony in their bodies. This is hands-down one of the best ways I've found to help support client autonomy and build self-trust at the same time. I can't wait to share it with you! Sign up today to use this innovative tool! Who is Kate Block? Kate Block is the founder of Little Dipper — a therapeutic bodywork and private yoga practice located in the Forest Hills area of Grand Rapids (thisislittledipper.com). Her work at Little Dipper is grounded in her belief that the most transformative massage therapy, bodywork, and movement isn't about “fixing” anything about you or your body, it's about fostering a deeper connection to your own body and heart. Kate loves helping her clients address physical and emotional issues in a way that focuses on root causes so that they feel and live better.  She is deeply passionate about the human body, health + wellness, and a well-marbled, medium-rare ribeye. Her post-grad biology background informs both her work as a licensed massage therapist and the approach she takes in leading her clients and students in yoga and movement. For Kate, therapeutic bodywork is all about learning how to show up, connect, and move (both literally and metaphorically) from a place of alignment with your deepest, truest self. Disclaimer: This blog and podcast is for informational and educational purposes only. It is not a substitute for individual professional advice or treatment, including medical or mental health advice. It does not constitute a provider-patient relationship.

Actor Jamie Galen joins us to discuss his role as Kyle, beloved best friend to Eddie Furlong in the 90's cult classic, Brainscan. Jamie discusses his unique upbringing, career in theater, television, and film, as well as his iconic M&M's commercial.Jamie makes his return to acting in film in the upcoming horror film The Forest Hills, where he is reunited with Eddie Furlong, and also features horror legends Shelley Duvall, Dee Wallace, and Felissa Rose.Follow us on Social Media: @pvdhorror Instagram, Twitter, TikTok, FacebookWatch us on YouTube: https://www.youtube.com/channel/UCOyloOb0puVCXDjJ_ZiPYqgVisit our website: https://pvdhorror.com/Special thanks to John Brennan for the intro and outro music. Be sure to find his music on social media at @badtechno or the following:https://johnbrennan.bandcamp.com

Bill examines the case of Forest Hills, Queens and their charitable giving. Originally only available in the New York City area, Bill's Empire State O'Reilly commentary addresses local New York issues, but those issues have implications, impact the country, and mirror problems in other states. Learn more about your ad choices. Visit megaphone.fm/adchoices

For this episode we take another trip into the Ugly Things tape archive for a January 1995 interview with Johnny Ramone. Johnny talked to Mike Stax about growing up in the ‘50s and ‘60s in Forest Hills, New York, his high school garage band the Tangerine Puppets, and some of the great live shows he saw back then, including the Beatles, the Stones, the Who, the Lovin Spoonful, the Stooges, and his hometown heroes, the Vagrants. And, of course, they talked about the Ramones. Please support the podcast by joining our Patreon at patreon.com/uglythingspod, where you can enjoy special bonus content plus much more. In this episodes bonus content we are featuring a copy of Ugly Things Issue No.14 (1995) Long out of print, this issue features the Johnny Ramone interview as well as a huge cover story on Crime, pluch much more. Become a Patreon today! Check out Ugly Things Magazine: https://ugly-things.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to “Concerts on the Corner: Best of Summer 2023”! This full concert is comprised of many of our favorite performances and moments from the 2023 Summer Tour. We made sure to incorporate DMB's new material, older classics, and of course some special guests as well. In total, 16 different shows are represented across this 3+ hour epic journey that will be sure to leave you cheering for more! We hope you enjoy this iteration of “Concerts on the Corner”!   HUGE thanks and shoutout to the tapers! Without them, none of this would be possible. Audio from the following taper's sources were used in this show: Zach Semcken, Rob Bokon, Scott Plumer, "bersey", Ryan Hoyt, Henry Hart, Robert Taylor, Mark Terrell, Jon Koch, and Noam Yemini   0:00 Intro 02:23 Madman's Eyes (fake) (06/30/23 - Deer Creek)  04:50 Minarets (06/30/23 - Deer Creek) 12:10 Madman's Eyes (07/14/23 - SPAC) 16:17 Bismarck (06/03/23 - Charleston, SC) 21:39 Busted Stuff (06/23/23 - Burgettstown, PA) 26:46 JTR (06/09/23 - Forest Hills, NY) 33:15 It Could Happen (07/15/23 - SPAC) 37:37 Virginia in the Rain (07/14/23 - SPAC) 44:30 Too Much (fake) (07/07/23 - Chicago, IL) 44:48 Warehouse (07/26/23 - Orange Beach, AL) 54:35 Seek Up (09/01/23 - The Gorge) 01:15:45 Looking for a Vein (05/26/23 - Nashville, TN) 01:19:26 Cha Cha (06/16/23 - Bangor, ME) 01:25:38 American Baby Intro (07/14/23 - SPAC) 01:32:40 I Want You (She's So Heavy) (06/23/23 - Burgettstown, PA) 01:34:52 Break Free (feat. Greg Phillinganes) (08/26/23 - Irvine, CA) 01:42:58 Grace is Gone (feat. Greg Phillinganes) (08/25/23 - Irvine, CA) 01:51:51 The Only Thing (07/29/23 West Palm Beach, FL) 01:59:20 The Weight (09/02/23 - The Gorge) 02:04:54 Lie in Our Graves (feat. Béla Fleck) (07/15/23 - SPAC) 02:17:01 Cry Freedom (09/01/23 - The Gorge) 02:24:21 Tripping Billies (feat. Warren Haynes) (07/18/23 - Holmdel, NJ) ————————————————— 02:31:18 A Pirate Looks at Forty (09/02/23 - The Gorge) 02:35:47 Monsters (feat. Warren Haynes) (07/18/23 - Holmdel, NJ) 02:42:50 Two Step (feat. Warren Haynes) (07/19/23 - Wantagh, NY) ————————————————— 03:01:44 Just Breathe (09/02/23 - The Gorge) 03:06:41 Spoon (feat. Molly Tuttle & Bronwyn Keith-Hynes) (09/01/23 - The Gorge) 03:12:56 Ants Marching (feat. Molly Tuttle & Bronwyn Keith-Hynes) (09/01/23 - The Gorge)

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

This is The Zone of Disruption! This is the I AM RAPAPORT: STEREO PODCAST! His name is Michael Rapaport aka The Gringo Mandingo aka The Monster of Mucous aka Captain Colitis aka The Disruptive Warrior aka Mr. NY aka The Inflamed Ashkenazi aka The Smiling Sultan of Sniff aka The Flat Footed Phenom is here to discuss: Chronic inflammation, the condolences for the passing of Weezy, man's best friend, going to a fundraiser in Forest Hills, what he's done for The Disruptive Culture, going to sleep early, throwing up bedside, needing to be a diligent eater, The Knicks being eliminated and what needs to come next, Dumb Dumb Ja Morant, Kevin Durant the Head Coach Killer, The Celtics owning the Sixers & Joel Embiid post game remarks & a whole lotta mo'! This episode is not to be missed!    Stand Up Comedy Tickets on sale at: MichaelRapaportComedy.com   Follow on YouTube at: https://www.youtube.com/@MichaelRapaport   Please support our sponsor www.bluechew.com. Promo code RAP20   If you are interested in NBA, NFL, MLB, NCAA, Soccer, Golf, Tennis & UFC Picks/Parlays/Props Follow @TheyCaptainPicks on Instagram & subscribe to packages at www.CaptainPicks.com   www.dbpodcasts.com   Produced by DBPodcasts.com Follow @dbpodcasts, @iamrapaport, @michaelrapaport on TikTok, Twitter & Instagram Music by Jansport J (Follow @JansportJ) www.JansportJMusic.comSee omnystudio.com/listener for privacy information.