Podcast appearances and mentions of Frank Howard

The theory of ultraterrestrials—non-human intelligences that reside in hidden subterranean realms and subtly influence human affairs—has long been overshadowed by the more popular extraterrestrial hypothesis. But what if the so-called space visitors contactees described in the 1950s and beyond were actually ancient breakaway civilizations from Earth itself? We dive into the rich history of crypto-terrestrial lore, from secret underground bases to deceptive spirit board messages, and explore how these beings might be hiding in plain sight. Then, for our Plus+ members, we unravel the terrifying tale of a family plagued by a malevolent poltergeist calling itself “Prince.” Was its arrival triggered by innocent curiosity, or was something far more sinister unleashed from within the home—and the human psyche? Links Beyond Disclosure: Underground Bases, Higher Dimensions, Alien Abduction and Cryptozoology The Cassiopaean Experiment Laura Knight-Jadczyk The Cassiopaean Website Legends of America Helvetius, Spinoza, and Transmutation Experiences Madame Blavatsky Kachina Lucis Ancient Breakaway Civilization - A Source Study The UFO contactee no one investigated "Frank Howard, Was He A Contactee"? 1996 Australian UFO Conference An Extraterrestrial Message to the Nation Encounters with the Unknown Subterranean Worlds Day of the Descendants Alien Base Fate Magazine Plus+ Extension The extension of the show is EXCLUSIVE to Plus+ Members. To join, click HERE. Unwelcomed: The True Story of the Moffitt Family Haunting A Deadly Haunting Clues from 'Mr. Entity' Learn more about your ad choices. Visit megaphone.fm/adchoices

Rick Vaughn's book "Tampa Spring Training Tales," brings the past to life  & opens up a wealth of enjoyable stories including the Chicago Cubs, Tampa Smokers, Reds, White Sox & Red Sox @ historic Plant & Al Lopez FieldsTed Williams, Wade Boggs, Pete Rose and Al Lopez are just a few of the people we discuss this week on Florida BaseballBiz with Rick.“Chubby” Cubs owner is enamored with Tampa100th years of Spring TrainingTampa Mayor McKay was also PublisherWrigley moves Cubs from Tampa to out West1952 – Yankees celebrated their 50th anniversary at Columbia restaurant1955 World Series winners receive their awards in TampaReds extraordinary long-lasting relationship with Tampa BayBig Red Machine first gathers in TampaAl Lopez Field tore down as interest in Major League team risesYankees Core FourWade Boggs discovers he is going to the show from Johnny Bench100 Major Leaguers came through Plant Field & Al Lopez Field1940 All-Star game in Tampa for Finnish Relief Fund with Joe DiMaggio, Ted Williams, Jimmy Foxx, Hank Greenberg and Bob FellerSegregation of players by color – they could not stay at the same hotelsCardinals bought Outrigger motel in St. Pete so they could house all players at 1 locationTampa Bay Hotel proximity to Plant FieldBabe Ruth's longest Home Run, 587 feet, hit at Plant Field on April 4, 1919Ted Williams spits at fans first in TampaTim Kurkjian of ESPN – good friend and sounding boardFrank Howard & Ted Willams storyTampa Smokers, St. Pete Saints and a bull fightBaseball as a unifier amongst the many cultures in Ybor / Tampa1963 – Pete Rose – Rookie Year – Charlie Hustle emergesJFK at Al Lopez FieldCharitable work with Metropolitan Mission, Clearwater Youth & the Homeless Empowerment Program.Rick also keeps score for Florida Complex LeagueSpecial Thanks to the Tampa Baseball Museum for background information on Tampa Baseball Spring Training - discover more at https://www.tampabaseballmuseum.org/ Notes generated in part by DeScript#RaysUp

This week we discuss the miasma of the 2024 Chicago White Sox. They're on pace for one of the worst seasons in MLB history, but should this kind of thing ever happen? For our This Week In Baseball, we discuss the tragic death of Ray Chapman in 1920. This sort of thing doesn't happen often, but could it happen again and is there anything that can be done?Our Hall of Famer this week is Center Fielder Earle Combs. The Vet's committee was favorable to the leader man for Murderer's Row, but was it a justified favor? For our parting shots we speak on the trials and tribulations of Mike Trout, the deep cutting nature of the 1994 strike, and the curious case of the Speedway Classic MLB just announced.Enjoy our new crop of weekly commercials for Tiger Electronics Home Run Derby, Frank Howard for Nestle's Quick, and Tony Gwynn, Paul Molitor, and Jim Abbott for your favorite trading cards.Please join us as we discuss baseball topics and we continue our mission to make The Hall small. We hope you'll enjoy the ride.TimestampsThis Week In Baseball - 18:59Hall of Fame Discussion - 33:05Parting Shots - 44:55

Braves hurtful to watch, Soler's pinball play in right, bad balls & strikes, Snitker ejected, Bristol Motor Speedway to host Braves & Reds, White Sox finally win, Falcons WR injury, Browns to move to the burbs in a domed stadium? Caleb Williams carries your grandma's purse, Saints owner is a Saint, Spencer Rattler riles up LSU fans, Cris "Crybaby" Carter talking tough, Longhorns RB major injury, Harbaugh slapped on wrist, Olympics cocaine, women proposing to men? Lebron makes an arse of himself, Irish real woman boxer wins, IOC is Orwellian, green wackos attack Messi, yachts, swimming the English Channel & no that's not an illegal immigrant story, Dream Team, Jerry Tarkanian, Frank Howard, Jose Cruz, Ken Dryden, rock climbing, Federer, Alan Ameche, Gene Mauch, Bobby Bowden, Iron Joe McGinnity, Les Brown, Joe DiMaggio, Casey Stengel, Pete Rose, lesbian Dodgers fans kissing, John Smoltz, Mark DeRosa, This Day in Sports History, plus quotes from Jimmy Breslin, Harry Caray, and Jay Leno! 

In this episode of Sports the NEMO Way we bring the best Texas Rangers to the table for discussion.

JGB SPORTS 064 MAAC Tournament Recorded on June 4th 2024 Games Played May 25th 2024 Introduction MAAC Tournament Name Game Last week: F Oliver H was Frank Howard. This Week Clue 1: R Martin Antonio B Clue 2: Has played outfield alongside Barry Bonds at the start of his career. Clue 3 in the show. If you know the answer let us know on Twitter. Twitter Handles Follow Jackson @JGB_Jackson Follow Graham @MGBgraham Follow our Network @VisGlobalMedia The following music was used for this media project: Music: Celebration by Kevin MacLeod Free download: filmmusic.io/song/5051-celebration License (CC BY 4.0): filmmusic.io/standard-license

This week we discuss the spectre of gambling in professional sports. Just how much further can this go before something monumental happens again and can sports keep their integrity with its presence? For our This Week In Baseball, we discuss Ty Cobb's assault of a fan and its consenquences. Could this sort of thing happen today and how bonkers were the repercussions of his actions.Our Hall of Famer this week is outfielder Kiki Cuyler. His career has a lot of merit to it, but was the call for his election via Vet's Committee in 1968 the right call? For our parting shots we discuss Luis Arraez and Rogers Hornsby as well as how much baseball has become a TV show. Enjoy our new crop of weekly commercials in between segments with Daryl Strawberry for Milk, Frank Howard for Brut 33, and Reggie Jackson for Panasonic!Please join us as we discuss baseball topics and we continue our mission to make The Hall small. We hope you'll enjoy the ride.TimestampsThis Week In Baseball - 18:40Hall of Fame Discussion - 37:23Parting Shots - 48:25

In this week's episode, we are discussing Nancy Howard, who was shot in the face by a man who was hired by her husband. She survived the almost fatal wound and was able to have her day in court. This is a tale of betrayal, greed, deception and ultimately attempted murder.  This episode was recorded live at Henry's Majestic in Dallas, TX on May 2, 2024. We did enjoy a Chardonnay from Horshoe Bend along with grilled Chili-Lime Chicken Skewers accompanied by Cilantro Lime Pearl Couscous and a refreshing Jicama salad.www.texaswineandtruecrime.com

Hello Old Sports is part of the Sports History Network - The Headquarters For Your Favorite Sport's Yesteryear.EPISODE SUMMARYJoin us for the final of three episodes of the 2023 Hello Old Sports In Memoriam. In this episode we commemorate the lives and legacies of Brooks Robinson, Russ Francis, Tim Wakefield, Dick Butkus, Frank Howard, Bobby Knight, Willie Hernandez, Frank Wycheck, and George McGinnis. As in previous years we were glad to be joined by several of our Sports History Network colleagues for our In Memoriam special. For Part 3 we'd like to thank Bob Swick (Gridiron Greats Podcast), George Bozeka (Official PFRA Podcast), Dana Auguster (Historically Speaking Sports), Chad Cain (One Guy With a Mic Presents: Dingers and Dunks). And an extra special thinks to Dan's wife Allison, who came on to talk about Tim Wakefield. Contact the show at HelloOldSports@gmail.com and find us on Facebook at www.facebook.com/HelloOldSports

Starkville moves to Nashville and MLB's Winter Meetings this week. Former A's great Dave Stewart joins the show to talk about his efforts to bring baseball to Music City and who's to blame for the A's move out his home town, Oakland. He also tells stories of growing up in Oakland and sneaking into A's games and the history of his relationship with Reggie Jackson from childhood into his playing days and more.In the Doug-out, Doug pays tribute to Frank Howard with a great story from his playing days.Follow Jayson on Twitter: @jaysonstFollow Doug on Twitter: @DougGlanvilleFollow Mayor Tim on Twitter: @TimMMcMaster*Check out our YouTube page: youtube.com/@theathleticbaseballshow Hosted on Acast. See acast.com/privacy for more information.

Starkville moves to Nashville and MLB's Winter Meetings this week. Former A's great Dave Stewart joins the show to talk about his efforts to bring baseball to Music City and who's to blame for the A's move out his home town, Oakland. He also tells stories of growing up in Oakland and sneaking into A's games and the history of his relationship with Reggie Jackson from childhood into his playing days and more. In the Doug-out, Doug pays tribute to Frank Howard with a great story from his playing days. Follow Jayson on Twitter: @jaysonst Follow Doug on Twitter: @DougGlanville Follow Mayor Tim on Twitter: @TimMMcMaster *Check out our YouTube page: youtube.com/@theathleticbaseballshow Learn more about your ad choices. Visit megaphone.fm/adchoices

Jayson and Doug welcome Ron Washington to Starkville. The new manager of the LA Angels talks about his journey back to the managers chair after leading the Rangers to the World Series back in 2011. How has he changed over the years? Dusty Baker's influence on him as first a player and then a coach. How real was his scene in the movie Moneyball? All that and much more.Trivia from Justin Alpert: Name the five Hall of Fame pitchers since 1960 who have won a Game 7 in the World Series.In the Doug-out, Doug pays tribute to Frank Howard with a great story from his playing days.Follow Jayson on Twitter: @jaysonstFollow Doug on Twitter: @DougGlanvilleFollow Mayor Tim on Twitter: @TimMMcMaster*Check out our YouTube page: youtube.com/@theathleticbaseballshow Hosted on Acast. See acast.com/privacy for more information.

Jayson and Doug welcome Ron Washington to Starkville. The new manager of the LA Angels talks about his journey back to the managers chair after leading the Rangers to the World Series back in 2011. How has he changed over the years? Dusty Baker's influence on him as first a player and then a coach. How real was his scene in the movie Moneyball? All that and much more. Trivia from Justin Alpert: Name the five Hall of Fame pitchers since 1960 who have won a Game 7 in the World Series. In the Doug-out, Doug pays tribute to Frank Howard with a great story from his playing days. Follow Jayson on Twitter: @jaysonst Follow Doug on Twitter: @DougGlanville Follow Mayor Tim on Twitter: @TimMMcMaster *Check out our YouTube page: youtube.com/@theathleticbaseballshow Learn more about your ad choices. Visit megaphone.fm/adchoices

We pay tribute to a towering personalty who could have played in either the MLB or NBA. He choose baseball. Ed Kasputis interviews baseball author, Lew Freedman about the late, great Frank Howard (1936 – 2023).

Kevin and Thom with an eclectic menu of excellence today. It starts with Commanders' talk. Lots on Ron Rivera continuing to hitch his future wagon to Sam Howell and whether or not it will work. Can Howell save Ron's job if he continues to play well? The boys talked about that while also putting a bow on the Chase Young conversation. Then came pinball machines, Netflix's "All The Light We Cannot See", Frank Howard's funeral, Harbaugh to Washington, Tomlin to Washington, Jokic, the Wizards, Thom's Commanders-Seahawks prediction, and more. 

Long Island's Own Jeff Hysen blows out a few candles and shares his birthday with Ed Kranepool and Edgardo Alfonzo, but the real November celebration could be for the hiring of Carlos Mendoza as new Mets manager. If his tenure turns into a ticker-tape party, Mets fans may be talking about him someday like Greg and Jeff are talking about Davey Johnson this week, as a Hall of Fame candidate on the latest iteration of the veterans committee ballot. National League Town also remembers the baseball life and Met times of another of our skippers, Frank Howard, a man of many nicknames and monster home runs. --- Send in a voice message: https://podcasters.spotify.com/pod/show/nationalleaguetown/message

The Texas Rangers won their 1st World Series title to officially bring on the MLB's off-season. Al & Mark begin with a quick recap of the successful Podcast Party last month at Walter's. Thanks to all who came! (04:00) The Nationals announced that weeknight evening games will begin 20 minutes earlier at 6:45pm. This seems to be a way to encourage more fans to be able to stay for the final few innings, but what about those who don't get off work until around 6:30pm? (11:30) Roll call and analysis of the new members of the Nats Front Office. This includes the new senior director of amateur scouting, Brad Ciolek, who joins the organization after a successful tenure in Baltimore. (25:00) There also was some movement among the coaching staff that includes Gerardo Parra replacing Eric Young Jr. as 1st Base Coach. Darnell Coles was retained as Hitting Coach and Jim Hickey will also return as Pitching Coach. How much of these changes are simply about money? (39:20) Now that teams can no longer keep players on the IL, Stephen Strasburg is back on franchise's 40 man roster. Is this headed to a resolution this Winter? (45:00) Texas won it all just two years after losing over 100 games. Arizona meanwhile made the World Series with only 84 victories as the final Wild Card team. (50:00) A tribute to Frank Howard, one of the greatest hitters in the history of Washington Baseball. Howard passed away at age 87 and had many prolific offensive season while playing for the Senators in the late 60's/ early 70's. Learn more about your ad choices. Visit podcastchoices.com/adchoices

你的持續贊助，是我們不間斷更新的最大支持

This week, Backwards K Pod, wraps up the incredible 2023 MLB season, with the crowning and well deserved coronation, of the World Champion Texas Rangers. We give our solemn goodbyes posthumously, to slugger Frank Howard. A prodigious bat during the 60's and 70's, for the Dodgers, Senators and Rangers, who died October 30th, in Aldie, Virginia, after complications from a stroke. And last but not least, the detailed biography about arguably the greatest pitcher of the 20th Century, pre-WW II, who still holds some of the most unbreakable pitching records in baseball history, 136 years after he was born. #WalterJohnson #BigTrain #WashingtonSenators #BabeRuth #TyCobb #ClarkGriffith #ShirleyPovich #JoeCantillion #CliffBlankenship #HonusWagner #JohnMcGraw #TomZachary #BuckyHarris #RossYoung #GeorgeKelly #EarlMcNeely #MuddyRuel #FredLindstrom #ChristyMathewson

This week, Backwards K Pod, wraps up the incredible 2023 MLB season, with the crowning and well deserved coronation, of the World Champion Texas Rangers. We give our solemn goodbyes posthumously, to slugger Frank Howard. A prodigious bat during the 60's and 70's, for the Dodgers, Senators and Rangers, who died October 30th, in Aldie, Virginia, after complications from a stroke. And last but not least, the detailed biography about arguably the greatest pitcher of the 20th Century, pre-WW II, who still holds some of the most unbreakable pitching records in baseball history, 136 years after he was born. #WalterJohnson #BigTrain #WashingtonSenators #BabeRuth #TyCobb #ClarkGriffith #ShirleyPovich #JoeCantillion #CliffBlankenship #HonusWagner #JohnMcGraw #TomZachary #BuckyHarris #RossYoung #GeorgeKelly #EarlMcNeely #MuddyRuel #FredLindstrom #ChristyMathewson

It's with a heavy heart that baseball fans have lost another legend. Frank Howard was different. His career was fascinating. And his post baseball career more so. 19 years coaching..he loved the game..and maybe more so..loved it's players. It was never Me or I..he spread the word of others. I hope you enjoy this look back to the last sit down that Frank Howard did..,2 yrs ago and as sharp as it gets. Enjoy. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we discuss the finale of the World Series with the Texas Rangers winning their first in only 5 games. The Rangers won, but do we think the Arizona Diamondbacks are one and done?This week our we discuss we discussed late 19th century pitcher John Clarkson. This became a sort of Old Hoss Radbourn part 2, but just how impressed were we with the video game-esque numbers? For our parting shots we speak on the wholesome career of Frank Howard, the absense of baseball for a few months being good for you, and our heartfelt thanks for a finish to our first full season of the podcast. Please join us as we discuss baseball topics and we continue our mission to make The Hall small. We hope you'll enjoy the ride.TimestampsHall of Fame Discussion - 23:09Parting Shots - 35:21

Remembering Bobby Knight and Frank Howard   Rangers win the World Series

Check out my blog thegoat1.blogspot.com

Our top picks when it comes to TV, Movies, TikTok, Instagram and all things entertainment.This week's episode covered (list below in no particular order):The Golden BachelorKeith Lee & The OLGFoundTennis Player- Gael MonfilsRIP:Matthew PerryRichard RoundtreeBobby KnightFrank HowardSuzanne SomersPiper LaurieDick ButkusRudolph Isley

The baseball season is winding down but we're just getting started. Jeff made a trip to Forbes Field, or what is left of it and visited the site of a former guests historic pitch, the new Contemporary Baseball Era Committee Hall of Fames names dropped, we pick them up, there's a new baseball league for old names, Stew being Stew and we remember Frank Howard who recently passed away.  Our main story this week is about the indelible Roberto Clemente and one neither of us had heard before. We open an investigation into whether or not Clemente was actually kidnapped at gun point in San Diego. While doing so we might have also found something incredible in regards to the actual origin of the San Diego Chicken.  Wax Pack Heroes focuses on 1991as our season hits the stretch run. Don't forget, you can leave us a message at 607-216-8811.  Facebook -https://www.facebook.com/TwoStrikeNoise/ Instagram - @twostrikenoise Bluesky - @twostrikenoise.bsky.social Threads - @twostrikenoise Twitter - @twostrikenoise Two Strike Noise on YouTube - https://www.youtube.com/channel/UCvh7epD-mqT9qCIV7CNqhog Twitch - https://www.twitch.tv/twostrikenoise E-mail - twostrikenoise@gmail.com We pull ALOT of commons in Wax Pack Heroes. If you've got those Tom Foley or Ernest Riles cards just sitting around you can donate those commons to charity and maybe spark a child's interest in baseball and collecting. Find out more here: http://commons4kids.org/ #podernfamily #podnation #baseball #mlb #history #podcast #baseballcards

Episode #13: We honor the late Frank Howard, discuss World Series, go over final 2023 Mets report cards and have an hysterical time with the Mail bag and Quick Pitches!

NBA News, NFL News, MLB News, WNBA News, NHL News, SouthPark, A Farewell to Frank Howard, Bingo Smith, Rob Gardner & Matthew Perry. --- Support this podcast: https://podcasters.spotify.com/pod/show/on-the-radar/support

Today we discuss the Spencers! We talk about Spencer Torkelson and Spencer Turnbull. Tork took a great step forward in 2023 and looks to take another in 2024. Turnbull had one of the wildest season's we've seen and is looking to find a path to the majors in 2024. We also pay respects to Frank Howard.Support Us By Supporting Our Sponsors!FanDuelScore early this NFL season with FanDuel, America's Number One Sportsbook! Right now, NEW customers get ONE HUNDRED AND FIFTY DOLLARS in BONUS BETS with any winning FIVE DOLLAR MONEYLINE BET! That's A HUNDRED AND FIFTY BUCKS – if your team wins!  Visit FanDuel.com/LOCKEDON to get started.FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN) Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today we discuss the Spencers! We talk about Spencer Torkelson and Spencer Turnbull. Tork took a great step forward in 2023 and looks to take another in 2024. Turnbull had one of the wildest season's we've seen and is looking to find a path to the majors in 2024. We also pay respects to Frank Howard. Support Us By Supporting Our Sponsors! FanDuel Score early this NFL season with FanDuel, America's Number One Sportsbook! Right now, NEW customers get ONE HUNDRED AND FIFTY DOLLARS in BONUS BETS with any winning FIVE DOLLAR MONEYLINE BET! That's A HUNDRED AND FIFTY BUCKS – if your team wins!  Visit FanDuel.com/LOCKEDON to get started. FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN) Learn more about your ad choices. Visit podcastchoices.com/adchoices

Diamondbacks Manager Torey Lovullo joined the Doggie and put to rest any idea that he was upset with him.  Bobby valentine also checks into to talk about the passing of Frank Howard.

Highlights: Terry's thoughts on the Browns at the trade deadline; What Terry would do at quarterback if Deshaun Watson is out again this week; Rehashing the rehash of the infamous third-and-3 call in Seattle, and what's it got to do with Lenny Wilkens and Uwe Blab; What P.J. Walker said after the loss that should concern Browns fans; It's early, but is Terry worried about the Cavs? What the Cavs need to do LESS of to get back on track; Finding a niche for Evan Mobley; What Max Strus' postgame comments mean after Tuesday's loss to the Knicks; Are Craig Counsell and the Guardians a fit? Remembering bigger-than-life slugger Frank Howard; and two more fan letters about why they are Cleveland sports fans and a childhood memory of Jim Brown. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kevin and Thom opened the show with the news that Montez Sweat had been traded to the Bears for a 2nd round pick. Then during the show, the news broke that Chase Young had been traded to the 49ers for a 3rd round pick. The guys reacted in real-time on the Young trade. Thom also with thoughts on the passing of Washington Senators great, Frank Howard.  

SERIES 2 EPISODE 64: COUNTDOWN WITH KEITH OLBERMANN A-Block (1:44) SPECIAL COMMENT: The Biden Campaign slogan should literally be “MY OLD MAN CAN BEAT UP YOUR OLD MAN.” It is the most remarkable, unexpected, startling, counter-intuitive polling data I have ever seen: The future of democracy. The future of the prosecution of Trump. The future of the nation. The future of planetary climate. It may depend on convincing voters NOT that Joe Biden is somehow NOT TOO old but on convincing voters that he and Trump are BOTH TOO OLD. New polling shows 43 percent of Americans BELIEVE they're BOTH too old and they plan to vote as follows: Biden 61% Trump 13% In Pennsylvania it's Biden 66% Trump 11%! If they're BOTH too old – Biden wins in a landslide. Just growing the percentage IN Pennsylvania who believe they're both too old by FIVE percent would flip 110-thousand Trump votes TO BIDEN. And helpfully Trump is not only acting old, he's acting demented. In the last 48 hours he hasn't known WHERE he was, nor what YEAR it was, and even The New York Times is writing about it. Meanwhile, in a Washington courtroom, we had what one observer called a "proxy battle" for what might happen when Trump truly violates the newly-reinstated gag order. A J6 defendant freed while awaiting sentencing began to send violent, racist, homophobic, antisemitic texts to an FBI agent involved in his case, AND threatened to doxx him. The Judge had no problem cancelling his release and sending him directly to jail to await sentencing (the problem arose when he tried to resist the handcuffs and nearly took down four security officers). B-BLOCK (28:44) IN SPORTS: What if they gave a World Series and nobody watched? Texas survived the by-now traditional early departure of Max Scherzer to pull ahead of Arizona (on the road of course) in last night's 3rd Game. But the bad TV ratings and lack of national interest among baseball fans was far worse than even I had expected. In fact, they were record-setting worse. Plus the first star of the Texas franchise, Frank Howard, died yesterday. (31:50) THE WORST PERSONS IN THE WORLD: Boris Johnson goes into TV news, possibly for the free hairstyling. Tim Scott says it's Iowa or bust. And why are the Philadelphia Eagles advertisements appearing next to videos of lunatic Stew Peters spewing hate and giving voice to calls for violence against organizations like Catholic Charities? And why isn't the team or the NFL doing anything about it? C-BLOCK (37:50) THINGS I PROMISED NOT TO TELL: October was the birthday month of one of my favorite humans of all-time. I met him only once but it was so memorable, so warm, so funny that a decade later when he died, I was stunned when I heard the news and broke into tears.  See omnystudio.com/listener for privacy information.

Frank Morano discusses some of the hottest topics and gives his opinion. Franks talks about all of the politically campaigning on Halloween and early voting and then Frank talks about Rowan Wilson's approval rating going down because of a ruling he made last week. Frank talks about making the City and State Staten Island Power 100 list and then Frank talks about the life of Baseball legend Frank Howard who just died at the age of 87. Learn more about your ad choices. Visit megaphone.fm/adchoices

Andy starts with some Frank Howard memories and audio from his conversation with him in 2017. Also Ron Rivera on his play challenge process (0:00-20:57). More from Rivera, and possibly the NFL game of the year taking place in Germany this weekend (20:58-51:44). Steve Buckhantz joins for more remembrance of Frank Howard (51:45-1:09:51). For more sports coverage, download the ESPN630 AM app, visit https://www.sportscapitoldc.com, or tune in live from 9:00 AM - 11:00 AM Monday-Friday.To join the conversation, check us out on twitter @ESPN630DC and @andypollin1See omnystudio.com/listener for privacy information.

Dabo Swinney ties Frank Howard as Clemson's winningest coach

Dabo Swinney closes in on Frank Howard as the all-time winningest coach in Clemson history.

Welcome to the next episode of Sports Card Strategy Show (and Tell), a natural extension of our flagship show, but with a focus on your cards, questions, and ability to share the who, what, and why about your PC and flipping game. It's NFL season and today is the official kickoff to the 2023 NFL Season! Time to sell your NFL cards. To be a part of the show, email sonia@nooffseason.com. Show and Tell Submissions Today from our audience members include: Loni Conley Chad Guell Buckeye Dill Ohmyshoes Duke “Denny One Time” Dodson First up with Show and Tell submission is… Duke Dodson Traded a MJ sticker for the following cards: Lamar Jackson Justin Herber Contenders Optic Orange PSA Auto 10 Luka Doncicc Donruss Optic Blue Auto Tim Larson from Signs of the Times Collectables Tim shows off his storage until full of his collectable comic books, magazines, Star Wars action figures in original packaging and vintage signs. Vintage beer cans, sports cards and items in original packaging. Loni Conley - on eBay FFholsten Gridiron King - Justin Herbert, Burrow, Hurts. Flipping for a good profit. 1967 Full Set of the Monkees 1966 Full Set of Bat Laffs - Batman and The Joker Paid $450 in total for 333 card. Total in is $525. Picked up forty six, 1957 Topps Cards 1959 Ted Williams Fleer Set 1960 set of Topps Cards Vintage Billy Martin, Mays, Dick Williams, Reggie Smith, Lou Pinella, Frank Howard, Al Spangler, Jim Katt, 1954 Bowan, Richie Ashburn, Whitey Herzog, Don Drysdale, Ernie Banks, Sandy Kofax, Carl Yaz, 57' Hank Aaron, 1954 Jackie Robinson, Frank Robinson, Ted Williams 57' Topps #1. Paul Schmitz aka Buckeye Dill Pt 2 of a 26 card PSA submission. A mix of baseball and football. 2021 Select Justin Fields Die Cut Prizm PSA 9 2021 Silver Prizm Variation Devonta Smith PSA 9 2021 Donruss Optic Trevor Lawrence PSA 9 2021 Donruss Optic Fire Stefon Diggs PSA 9 2021 Bowman University Bryce Young Prospects Pink PSA 9 2021 Bowman University Bryce Young Prospects Pink Refractor PSA 10 2021 Bowman University Cj Stroud Chrome Prospects PSA 10 2021 Silver Prizm Josh Allen PSA 10 2021 Donruss Optic Holo Michah Parsons PSA 10 Chad “Dr. Crack” Guell Anfernee Simons Silver Prizm Allen Iverson Auto Jason Tatum Silver Concourse rookie prizm Jalen Brown Rookie Jalen Hurts Concourse Prizm rookie Lamar Jackson Prizm Joe Burrow Rookie PSA 10 Joe Burrow Silver Mosaic Prizm PSA 10 Joe Burrow Silver Field level PSA 10 Ja Morant Photo Variation Disco PSA 10 Jordan Poole PSA 10 Jordan Love Sliver Prizm Auto Rookie PSA 10 Tyrese Maxey Blue Retail PSA 10 Giannas Rookie PSA 10 Oh My Shoes, Jr Shoes, and Mrs. Shoes CSG 9 2021 Panini Illusions Justin Fields 2021 Prizm Break Justin Fields Rookie PSA 10 2021 Donruss Rated Rookie Trevor Lawarence 2021 Panini Prizm Kadarius Toney Purple Pulsar 2021 Select Premier Level Justin Fields 2018 Aaron Rodgers Gold Spectrum We'd love your questions and comments on this one.

What a week Grotto! The long awaited season has begun and we had 5 double headers to determine which players would be taking home two different Monster cards. We start off with a future look as thr33s himself joins us to discuss Playoff structure and the option to mint on ETH or Tezos. We then address two great questions from the 33 regarding how the baseline works as well as the accuracy of the spreads. We then give the highlights of Games 1 and 2 and finish off with a discussion on the art of the 3 latest mints: "Dream, Scarlet, & Crouton," Frank Howard, and Denise Eckersley. Have a great 4th of July weekend to our folks in the USA!

We are looking good this week as we review the new Gucci MLB collection. High fashion meets high and tight pitches and if you've got a couple of thousand of dollars earmarked for some questionable designs, you can grab some deals. We hit up the usual debuts and then head into this week's main segment about Hondo, The Washington Monument, The Capitol Punisher, AKA, Frank Howard. Frank made a big splash with his big body and big swing. He hit some moonshots and did some curls in the sauna in only his jock strap. Listen to find out what the heck that means. This week's Wax Pack Heroes are some 1990 Donruss. A close battle with a Hall of Famer involved.  Don't forget, you can leave us a message at 607-216-8811.  Facebook -https://www.facebook.com/TwoStrikeNoise/ Twitter - @twostrikenoise Instagram - @twostrikenoise Two Strike Noise on YouTube - https://www.youtube.com/channel/UCvh7epD-mqT9qCIV7CNqhog Twitch - https://www.twitch.tv/twostrikenoise E-mail - twostrikenoise@gmail.com We pull ALOT of commons in Wax Pack Heroes. If you've got those Tom Foley or Ernest Riles cards just sitting around you can donate those commons to charity and maybe spark a child's interest in baseball and collecting. Find out more here: http://commons4kids.org/ #podernfamily #podnation #baseball #mlb #history #podcast #baseballcards

We've all heard the phrase love is blind. We put on rose-colored glasses and think we have found the perfect person. Sometimes it takes a broken heart before we can see what was in front of us all the time. In this case, it took a slew of Texas Rednecks, a man so crooked you couldn't tell if he was coming on going, the loss of an eye, and the near loss of a life before things became crystal clear for Nancy Howard.  DONATE:  One time: Venmo: https://venmo.com/code?user_id=3248826752172032881 Paypal: https://www.paypal.me/twistedtravelandTC Monthly:  Patreon:  https://patreon.com/user?u=42048051&utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=creatorshare_creator&utm_content=join_link Anchor: https://podcasters.spotify.com/pod/show/twisted-travel-and-true-c?ref=radiopublic Social Media Links: https://www.facebook.com/twistedtravelandtruecrime https://www.instagram.com/twistedtravelandtrue_crime https://www.tiktok.com/@twistedtravelandtruecrim?lang=en   Gmail:  twistedtravelandtruecrime@gmail.com --- Support this podcast: https://podcasters.spotify.com/pod/show/twisted-travel-and-true-c/support

With her husband Frank out of town on business, 53 year old Nancy Howard was arriving home after picking up some takeout when she was accosted in her garage. The assailant took Nancy's purse and shot her in the head. Was it a burglary gone wrong, or something more? Tune in for one of our craziest stories yet as we unravel the tale of Nancy and Frank Howard.

Frank G Howard, CEO of GeneIQ, comes from a place of experience when it comes to dealing with various struggles in life, whether that be personally, with family health, or bringing purpose in his daily work. This need for purpose is what's driven him to head up GeneIQ, where they take genetics into account to guide treatment decisions and improve patient wellness. What's more, they've found that 75% of senior living residents who were tested have multiple recommendations for medication changes based on their genetics. He describes residents who are undergoing medication trial and error crying in a hallway, transforming their struggles into joy when appropriate medication is applied. But something like this needs to be a larger part of a system that keeps a community running. He also explains what goes into the backend of something like this, from how they integrate with existing resident tracking systems, to ensuring protection of personal health information. Listen to this episode and learn more at geneiqlab.com

Colour as a Means of Art Being an Adaption of the Experience of Professors to the Practice of Amatures

On this episode of "Level Up Success" we talk with Frank Howard, he will discuss with us how he became a Software Engineer. On the first part of this episode he will discuss how was the process to get his job after he finish College. He will also discuss how involve he is at his job so the computer software, and how he make sure everything is working and it is stable.

Frank Howard from Howard Concrete Pumping, knows a thing or two about abandoned mine land reclamation.Their company has completed more mine reclamation projects than our competitors combined in the regions we serve.  Howard has completed nearly 30,000 injection holes for over 2,000,000 feet of drilling and 1,100,00 cubic yards of grout in the past ten years.  Abandoned Mine Land reclamation (AML), serves an important part in restoring the environment in Pennsylvania and surrounding states. Companies like Howard Concrete Pumping that work in AML reclamation help resolve mine fires, mine subsidence, dangerous high walls, open shafts and portals, mining-impacted water supplies, and other hazards resulting from past coal mining.The infrastructure and jobs act has helped fund the continued work on AML. Tune in to listen to the fascinating stories of how this work will make Pennsylvania safer and healthier.

After hearing K.J. Henry talk about his time growing up as a Wake Forest fan, Swanny wants to know who you rooted for at times when you were young. Also, Tim Bourett shares memories of Frank Howard and Peahead Walker's relationship.

Episode one hundred and forty-seven of A History of Rock Music in Five Hundred Songs looks at “Hey Joe" by the Jimi Hendrix Experience, and is the longest episode to date, at over two hours. Patreon backers also have a twenty-two-minute bonus episode available, on "Making Time" by The Creation. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud mix containing all the music excerpted in this episode. For information on the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. Information on Arthur Lee and Love came from Forever Changes: Arthur Lee and the Book of Love by John Einarson, and Arthur Lee: Alone Again Or by Barney Hoskyns. Information on Gary Usher's work with the Surfaris and the Sons of Adam came from The California Sound by Stephen McParland, which can be found at https://payhip.com/CMusicBooks Information on Jimi Hendrix came from Room Full of Mirrors by Charles R. Cross, Crosstown Traffic by Charles Shaar Murray, and Wild Thing by Philip Norman. Information on the history of "Hey Joe" itself came from all these sources plus Hey Joe: The Unauthorised Biography of a Rock Classic by Marc Shapiro, though note that most of that book is about post-1967 cover versions. Most of the pre-Experience session work by Jimi Hendrix I excerpt in this episode is on this box set of alternate takes and live recordings. And "Hey Joe" can be found on Are You Experienced? Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just a quick note before we start – this episode deals with a song whose basic subject is a man murdering a woman, and that song also contains references to guns, and in some versions to cocaine use. Some versions excerpted also contain misogynistic slurs. If those things are likely to upset you, please skip this episode, as the whole episode focusses on that song. I would hope it goes without saying that I don't approve of misogyny, intimate partner violence, or murder, and my discussing a song does not mean I condone acts depicted in its lyrics, and the episode itself deals with the writing and recording of the song rather than its subject matter, but it would be impossible to talk about the record without excerpting the song. The normalisation of violence against women in rock music lyrics is a subject I will come back to, but did not have room for in what is already a very long episode. Anyway, on with the show. Let's talk about the folk process, shall we? We've talked before, like in the episodes on "Stagger Lee" and "Ida Red", about how there are some songs that aren't really individual songs in themselves, but are instead collections of related songs that might happen to share a name, or a title, or a story, or a melody, but which might be different in other ways. There are probably more songs that are like this than songs that aren't, and it doesn't just apply to folk songs, although that's where we see it most notably. You only have to look at the way a song like "Hound Dog" changed from the Willie Mae Thornton version to the version by Elvis, which only shared a handful of words with the original. Songs change, and recombine, and everyone who sings them brings something different to them, until they change in ways that nobody could have predicted, like a game of telephone. But there usually remains a core, an archetypal story or idea which remains constant no matter how much the song changes. Like Stagger Lee shooting Billy in a bar over a hat, or Frankie killing her man -- sometimes the man is Al, sometimes he's Johnny, but he always done her wrong. And one of those stories is about a man who shoots his cheating woman with a forty-four, and tries to escape -- sometimes to a town called Jericho, and sometimes to Juarez, Mexico. The first version of this song we have a recording of is by Clarence Ashley, in 1929, a recording of an older folk song that was called, in his version, "Little Sadie": [Excerpt: Clarence Ashley, "Little Sadie"] At some point, somebody seems to have noticed that that song has a slight melodic similarity to another family of songs, the family known as "Cocaine Blues" or "Take a Whiff on Me", which was popular around the same time: [Excerpt: The Memphis Jug Band, "Cocaine Habit Blues"] And so the two songs became combined, and the protagonist of "Little Sadie" now had a reason to kill his woman -- a reason other than her cheating, that is. He had taken a shot of cocaine before shooting her. The first recording of this version, under the name "Cocaine Blues" seems to have been a Western Swing version by W. A. Nichol's Western Aces: [Excerpt: W.A. Nichol's Western Aces, "Cocaine Blues"] Woody Guthrie recorded a version around the same time -- I've seen different dates and so don't know for sure if it was before or after Nichol's version -- and his version had himself credited as songwriter, and included this last verse which doesn't seem to appear on any earlier recordings of the song: [Excerpt: Woody Guthrie, "Cocaine Blues"] That doesn't appear on many later recordings either, but it did clearly influence yet another song -- Mose Allison's classic jazz number "Parchman Farm": [Excerpt: Mose Allison, "Parchman Farm"] The most famous recordings of the song, though, were by Johnny Cash, who recorded it as both "Cocaine Blues" and as "Transfusion Blues". In Cash's version of the song, the murderer gets sentenced to "ninety-nine years in the Folsom pen", so it made sense that Cash would perform that on his most famous album, the live album of his January 1968 concerts at Folsom Prison, which revitalised his career after several years of limited success: [Excerpt: Johnny Cash, "Cocaine Blues (live at Folsom Prison)"] While that was Cash's first live recording at a prison, though, it wasn't the first show he played at a prison -- ever since the success of his single "Folsom Prison Blues" he'd been something of a hero to prisoners, and he had been doing shows in prisons for eleven years by the time of that recording. And on one of those shows he had as his support act a man named Billy Roberts, who performed his own song which followed the same broad outlines as "Cocaine Blues" -- a man with a forty-four who goes out to shoot his woman and then escapes to Mexico. Roberts was an obscure folk singer, who never had much success, but who was good with people. He'd been part of the Greenwich Village folk scene in the 1950s, and at a gig at Gerde's Folk City he'd met a woman named Niela Miller, an aspiring songwriter, and had struck up a relationship with her. Miller only ever wrote one song that got recorded by anyone else, a song called "Mean World Blues" that was recorded by Dave Van Ronk: [Excerpt: Dave Van Ronk, "Mean World Blues"] Now, that's an original song, but it does bear a certain melodic resemblance to another old folk song, one known as "Where Did You Sleep Last Night?" or "In the Pines", or sometimes "Black Girl": [Excerpt: Lead Belly, "Where Did You Sleep Last Night?"] Miller was clearly familiar with the tradition from which "Where Did You Sleep Last Night?" comes -- it's a type of folk song where someone asks a question and then someone else answers it, and this repeats, building up a story. This is a very old folk song format, and you hear it for example in "Lord Randall", the song on which Bob Dylan based "A Hard Rain's A-Gonna Fall": [Excerpt: Ewan MacColl, "Lord Randall"] I say she was clearly familiar with it, because the other song she wrote that anyone's heard was based very much around that idea. "Baby Please Don't Go To Town" is a question-and-answer song in precisely that form, but with an unusual chord progression for a folk song. You may remember back in the episode on "Eight Miles High" I talked about the circle of fifths -- a chord progression which either increases or decreases by a fifth for every chord, so it might go C-G-D-A-E [demonstrates] That's a common progression in pop and jazz, but not really so much in folk, but it's the one that Miller had used for "Baby, Please Don't Go to Town", and she'd taught Roberts that song, which she only recorded much later: [Excerpt: Niela Miller, "Baby, Please Don't Go To Town"] After Roberts and Miller broke up, Miller kept playing that melody, but he changed the lyrics. The lyrics he added had several influences. There was that question-and-answer folk-song format, there's the story of "Cocaine Blues" with its protagonist getting a forty-four to shoot his woman down before heading to Mexico, and there's also a country hit from 1953. "Hey, Joe!" was originally recorded by Carl Smith, one of the most popular country singers of the early fifties: [Excerpt: Carl Smith, "Hey Joe!"] That was written by Boudleaux Bryant, a few years before the songs he co-wrote for the Everly Brothers, and became a country number one, staying at the top for eight weeks. It didn't make the pop chart, but a pop cover version of it by Frankie Laine made the top ten in the US: [Excerpt: Frankie Laine, "Hey Joe"] Laine's record did even better in the UK, where it made number one, at a point where Laine was the biggest star in music in Britain -- at the time the UK charts only had a top twelve, and at one point four of the singles in the top twelve were by Laine, including that one. There was also an answer record by Kitty Wells which made the country top ten later that year: [Excerpt: Kitty Wells, "Hey Joe"] Oddly, despite it being a very big hit, that "Hey Joe" had almost no further cover versions for twenty years, though it did become part of the Searchers' setlist, and was included on their Live at the Star Club album in 1963, in an arrangement that owed a lot to "What'd I Say": [Excerpt: The Searchers, "Hey Joe"] But that song was clearly on Roberts' mind when, as so many American folk musicians did, he travelled to the UK in the late fifties and became briefly involved in the burgeoning UK folk movement. In particular, he spent some time with a twelve-string guitar player from Edinburgh called Len Partridge, who was also a mentor to Bert Jansch, and who was apparently an extraordinary musician, though I know of no recordings of his work. Partridge helped Roberts finish up the song, though Partridge is about the only person in this story who *didn't* claim a writing credit for it at one time or another, saying that he just helped Roberts out and that Roberts deserved all the credit. The first known recording of the completed song is from 1962, a few years after Roberts had returned to the US, though it didn't surface until decades later: [Excerpt: Billy Roberts, "Hey Joe"] Roberts was performing this song regularly on the folk circuit, and around the time of that recording he also finally got round to registering the copyright, several years after it was written. When Miller heard the song, she was furious, and she later said "Imagine my surprise when I heard Hey Joe by Billy Roberts. There was my tune, my chord progression, my question/answer format. He dropped the bridge that was in my song and changed it enough so that the copyright did not protect me from his plagiarism... I decided not to go through with all the complications of dealing with him. He never contacted me about it or gave me any credit. He knows he committed a morally reprehensible act. He never was man enough to make amends and apologize to me, or to give credit for the inspiration. Dealing with all that was also why I made the decision not to become a professional songwriter. It left a bad taste in my mouth.” Pete Seeger, a friend of Miller's, was outraged by the injustice and offered to testify on her behalf should she decide to take Roberts to court, but she never did. Some time around this point, Roberts also played on that prison bill with Johnny Cash, and what happened next is hard to pin down. I've read several different versions of the story, which change the date and which prison this was in, and none of the details in any story hang together properly -- everything introduces weird inconsistencies and things which just make no sense at all. Something like this basic outline of the story seems to have happened, but the outline itself is weird, and we'll probably never know the truth. Roberts played his set, and one of the songs he played was "Hey Joe", and at some point he got talking to one of the prisoners in the audience, Dino Valenti. We've met Valenti before, in the episode on "Mr. Tambourine Man" -- he was a singer/songwriter himself, and would later be the lead singer of Quicksilver Messenger Service, but he's probably best known for having written "Get Together": [Excerpt: Dino Valenti, "Get Together"] As we heard in the "Mr. Tambourine Man" episode, Valenti actually sold off his rights to that song to pay for his bail at one point, but he was in and out of prison several times because of drug busts. At this point, or so the story goes, he was eligible for parole, but he needed to prove he had a possible income when he got out, and one way he wanted to do that was to show that he had written a song that could be a hit he could make money off, but he didn't have such a song. He talked about his predicament with Roberts, who agreed to let him claim to have written "Hey Joe" so he could get out of prison. He did make that claim, and when he got out of prison he continued making the claim, and registered the copyright to "Hey Joe" in his own name -- even though Roberts had already registered it -- and signed a publishing deal for it with Third Story Music, a company owned by Herb Cohen, the future manager of the Mothers of Invention, and Cohen's brother Mutt. Valenti was a popular face on the folk scene, and he played "his" song to many people, but two in particular would influence the way the song would develop, both of them people we've seen relatively recently in episodes of the podcast. One of them, Vince Martin, we'll come back to later, but the other was David Crosby, and so let's talk about him and the Byrds a bit more. Crosby and Valenti had been friends long before the Byrds formed, and indeed we heard in the "Mr. Tambourine Man" episode how the group had named themselves after Valenti's song "Birdses": [Excerpt: Dino Valenti, "Birdses"] And Crosby *loved* "Hey Joe", which he believed was another of Valenti's songs. He'd perform it every chance he got, playing it solo on guitar in an arrangement that other people have compared to Mose Allison. He'd tried to get it on the first two Byrds albums, but had been turned down, mostly because of their manager and uncredited co-producer Jim Dickson, who had strong opinions about it, saying later "Some of the songs that David would bring in from the outside were perfectly valid songs for other people, but did not seem to be compatible with the Byrds' myth. And he may not have liked the Byrds' myth. He fought for 'Hey Joe' and he did it. As long as I could say 'No!' I did, and when I couldn't any more they did it. You had to give him something somewhere. I just wish it was something else... 'Hey Joe' I was bitterly opposed to. A song about a guy who murders his girlfriend in a jealous rage and is on the way to Mexico with a gun in his hand. It was not what I saw as a Byrds song." Indeed, Dickson was so opposed to the song that he would later say “One of the reasons David engineered my getting thrown out was because I would not let Hey Joe be on the Turn! Turn! Turn! album.” Dickson was, though, still working with the band when they got round to recording it. That came during the recording of their Fifth Dimension album, the album which included "Eight Miles High". That album was mostly recorded after the departure of Gene Clark, which was where we left the group at the end of the "Eight Miles High" episode, and the loss of their main songwriter meant that they were struggling for material -- doubly so since they also decided they were going to move away from Dylan covers. This meant that they had to rely on original material from the group's less commercial songwriters, and on a few folk songs, mostly learned from Pete Seeger The album ended up with only eleven songs on it, compared to the twelve that was normal for American albums at that time, and the singles on it after "Eight Miles High" weren't particularly promising as to the group's ability to come up with commercial material. The next single, "5D", a song by Roger McGuinn about the fifth dimension, was a waltz-time song that both Crosby and Chris Hillman were enthused by. It featured organ by Van Dyke Parks, and McGuinn said of the organ part "When he came into the studio I told him to think Bach. He was already thinking Bach before that anyway.": [Excerpt: The Byrds, "5D"] While the group liked it, though, that didn't make the top forty. The next single did, just about -- a song that McGuinn had written as an attempt at communicating with alien life. He hoped that it would be played on the radio, and that the radio waves would eventually reach aliens, who would hear it and respond: [Excerpt: The Byrds, "Mr. Spaceman"] The "Fifth Dimension" album did significantly worse, both critically and commercially, than their previous albums, and the group would soon drop Allen Stanton, the producer, in favour of Gary Usher, Brian Wilson's old songwriting partner. But the desperation for material meant that the group agreed to record the song which they still thought at that time had been written by Crosby's friend, though nobody other than Crosby was happy with it, and even Crosby later said "It was a mistake. I shouldn't have done it. Everybody makes mistakes." McGuinn said later "The reason Crosby did lead on 'Hey Joe' was because it was *his* song. He didn't write it but he was responsible for finding it. He'd wanted to do it for years but we would never let him.": [Excerpt: The Byrds, "Hey Joe"] Of course, that arrangement is very far from the Mose Allison style version Crosby had been doing previously. And the reason for that can be found in the full version of that McGuinn quote, because the full version continues "He'd wanted to do it for years but we would never let him. Then both Love and The Leaves had a minor hit with it and David got so angry that we had to let him do it. His version wasn't that hot because he wasn't a strong lead vocalist." The arrangement we just heard was the arrangement that by this point almost every group on the Sunset Strip scene was playing. And the reason for that was because of another friend of Crosby's, someone who had been a roadie for the Byrds -- Bryan MacLean. MacLean and Crosby had been very close because they were both from very similar backgrounds -- they were both Hollywood brats with huge egos. MacLean later said "Crosby and I got on perfectly. I didn't understand what everybody was complaining about, because he was just like me!" MacLean was, if anything, from an even more privileged background than Crosby. His father was an architect who'd designed houses for Elizabeth Taylor and Dean Martin, his neighbour when growing up was Frederick Loewe, the composer of My Fair Lady. He learned to swim in Elizabeth Taylor's private pool, and his first girlfriend was Liza Minelli. Another early girlfriend was Jackie DeShannon, the singer-songwriter who did the original version of "Needles and Pins", who he was introduced to by Sharon Sheeley, whose name you will remember from many previous episodes. MacLean had wanted to be an artist until his late teens, when he walked into a shop in Westwood which sometimes sold his paintings, the Sandal Shop, and heard some people singing folk songs there. He decided he wanted to be a folk singer, and soon started performing at the Balladeer, a club which would later be renamed the Troubadour, playing songs like Robert Johnson's "Cross Roads Blues", which had recently become a staple of the folk repertoire after John Hammond put out the King of the Delta Blues Singers album: [Excerpt: Robert Johnson, "Cross Roads Blues"] Reading interviews with people who knew MacLean at the time, the same phrase keeps coming up. John Kay, later the lead singer of Steppenwolf, said "There was a young kid, Bryan MacLean, kind of cocky but nonetheless a nice kid, who hung around Crosby and McGuinn" while Chris Hillman said "He was a pretty good kid but a wee bit cocky." He was a fan of the various musicians who later formed the Byrds, and was also an admirer of a young guitarist on the scene named Ryland Cooder, and of a blues singer on the scene named Taj Mahal. He apparently was briefly in a band with Taj Mahal, called Summer's Children, who as far as I can tell had no connection to the duo that Curt Boettcher later formed of the same name, before Taj Mahal and Cooder formed The Rising Sons, a multi-racial blues band who were for a while the main rivals to the Byrds on the scene. MacLean, though, firmly hitched himself to the Byrds, and particularly to Crosby. He became a roadie on their first tour, and Hillman said "He was a hard-working guy on our behalf. As I recall, he pretty much answered to Crosby and was David's assistant, to put it diplomatically – more like his gofer, in fact." But MacLean wasn't cut out for the hard work that being a roadie required, and after being the Byrds' roadie for about thirty shows, he started making mistakes, and when they went off on their UK tour they decided not to keep employing him. He was heartbroken, but got back into trying his own musical career. He auditioned for the Monkees, unsuccessfully, but shortly after that -- some sources say even the same day as the audition, though that seems a little too neat -- he went to Ben Frank's -- the LA hangout that had actually been namechecked in the open call for Monkees auditions, which said they wanted "Ben Franks types", and there he met Arthur Lee and Johnny Echols. Echols would later remember "He was this gadfly kind of character who knew everybody and was flitting from table to table. He wore striped pants and a scarf, and he had this long, strawberry hair. All the girls loved him. For whatever reason, he came and sat at our table. Of course, Arthur and I were the only two black people there at the time." Lee and Echols were both Black musicians who had been born in Memphis. Lee's birth father, Chester Taylor, had been a cornet player with Jimmie Lunceford, whose Delta Rhythm Boys had had a hit with "The Honeydripper", as we heard way back in the episode on "Rocket '88": [Excerpt: Jimmie Lunceford and the Delta Rhythm Boys, "The Honeydripper"] However, Taylor soon split from Lee's mother, a schoolteacher, and she married Clinton Lee, a stonemason, who doted on his adopted son, and they moved to California. They lived in a relatively prosperous area of LA, a neighbourhood that was almost all white, with a few Asian families, though the boxer Sugar Ray Robinson lived nearby. A year or so after Arthur and his mother moved to LA, so did the Echols family, who had known them in Memphis, and they happened to move only a couple of streets away. Eight year old Arthur Lee reconnected with seven-year-old Johnny Echols, and the two became close friends from that point on. Arthur Lee first started out playing music when his parents were talked into buying him an accordion by a salesman who would go around with a donkey, give kids free donkey rides, and give the parents a sales pitch while they were riding the donkey, He soon gave up on the accordion and persuaded his parents to buy him an organ instead -- he was a spoiled child, by all accounts, with a TV in his bedroom, which was almost unheard of in the late fifties. Johnny Echols had a similar experience which led to his parents buying him a guitar, and the two were growing up in a musical environment generally. They attended Dorsey High School at the same time as both Billy Preston and Mike Love of the Beach Boys, and Ella Fitzgerald and her then-husband, the great jazz bass player Ray Brown, lived in the same apartment building as the Echols family for a while. Ornette Coleman, the free-jazz saxophone player, lived next door to Echols, and Adolphus Jacobs, the guitarist with the Coasters, gave him guitar lessons. Arthur Lee also knew Johnny Otis, who ran a pigeon-breeding club for local children which Arthur would attend. Echols was the one who first suggested that he and Arthur should form a band, and they put together a group to play at a school talent show, performing "Last Night", the instrumental that had been a hit for the Mar-Keys on Stax records: [Excerpt: The Mar-Keys, "Last Night"] They soon became a regular group, naming themselves Arthur Lee and the LAGs -- the LA Group, in imitation of Booker T and the MGs – the Memphis Group. At some point around this time, Lee decided to switch from playing organ to playing guitar. He would say later that this was inspired by seeing Johnny "Guitar" Watson get out of a gold Cadillac, wearing a gold suit, and with gold teeth in his mouth. The LAGs started playing as support acts and backing bands for any blues and soul acts that came through LA, performing with Big Mama Thornton, Johnny Otis, the O'Jays, and more. Arthur and Johnny were both still under-age, and they would pencil in fake moustaches to play the clubs so they'd appear older. In the fifties and early sixties, there were a number of great electric guitar players playing blues on the West Coast -- Johnny "Guitar" Watson, T-Bone Walker, Guitar Slim, and others -- and they would compete with each other not only to play well, but to put on a show, and so there was a whole bag of stage tricks that West Coast R&B guitarists picked up, and Echols learned all of them -- playing his guitar behind his back, playing his guitar with his teeth, playing with his guitar between his legs. As well as playing their own shows, the LAGs also played gigs under other names -- they had a corrupt agent who would book them under the name of whatever Black group had a hit at the time, in the belief that almost nobody knew what popular groups looked like anyway, so they would go out and perform as the Drifters or the Coasters or half a dozen other bands. But Arthur Lee in particular wanted to have success in his own right. He would later say "When I was a little boy I would listen to Nat 'King' Cole and I would look at that purple Capitol Records logo. I wanted to be on Capitol, that was my goal. Later on I used to walk from Dorsey High School all the way up to the Capitol building in Hollywood -- did that many times. I was determined to get a record deal with Capitol, and I did, without the help of a fancy manager or anyone else. I talked to Adam Ross and Jack Levy at Ardmore-Beechwood. I talked to Kim Fowley, and then I talked to Capitol". The record that the LAGs released, though, was not very good, a track called "Rumble-Still-Skins": [Excerpt: The LAGs, "Rumble-Still-Skins"] Lee later said "I was young and very inexperienced and I was testing the record company. I figured if I gave them my worst stuff and they ripped me off I wouldn't get hurt. But it didn't work, and after that I started giving my best, and I've been doing that ever since." The LAGs were dropped by Capitol after one single, and for the next little while Arthur and Johnny did work for smaller labels, usually labels owned by Bob Keane, with Arthur writing and producing and Johnny playing guitar -- though Echols has said more recently that a lot of the songs that were credited to Arthur as sole writer were actually joint compositions. Most of these records were attempts at copying the style of other people. There was "I Been Trying", a Phil Spector soundalike released by Little Ray: [Excerpt: Little Ray, "I Been Trying"] And there were a few attempts at sounding like Curtis Mayfield, like "Slow Jerk" by Ronnie and the Pomona Casuals: [Excerpt: Ronnie and the Pomona Casuals, "Slow Jerk"] and "My Diary" by Rosa Lee Brooks: [Excerpt: Rosa Lee Brooks, "My Diary"] Echols was also playing with a lot of other people, and one of the musicians he was playing with, his old school friend Billy Preston, told him about a recent European tour he'd been on with Little Richard, and the band from Liverpool he'd befriended while he was there who idolised Richard, so when the Beatles hit America, Arthur and Johnny had some small amount of context for them. They soon broke up the LAGs and formed another group, the American Four, with two white musicians, bass player John Fleckenstein and drummer Don Costa. Lee had them wear wigs so they seemed like they had longer hair, and started dressing more eccentrically -- he would soon become known for wearing glasses with one blue lens and one red one, and, as he put it "wearing forty pounds of beads, two coats, three shirts, and wearing two pairs of shoes on one foot". As well as the Beatles, the American Four were inspired by the other British Invasion bands -- Arthur was in the audience for the TAMI show, and quite impressed by Mick Jagger -- and also by the Valentinos, Bobby Womack's group. They tried to get signed to SAR Records, the label owned by Sam Cooke for which the Valentinos recorded, but SAR weren't interested, and they ended up recording for Bob Keane's Del-Fi records, where they cut "Luci Baines", a "Twist and Shout" knock-off with lyrics referencing the daughter of new US President Lyndon Johnson: [Excerpt: The American Four, "Luci Baines"] But that didn't take off any more than the earlier records had. Another American Four track, "Stay Away", was recorded but went unreleased until 2006: [Excerpt: Arthur Lee and the American Four, "Stay Away"] Soon the American Four were changing their sound and name again. This time it was because of two bands who were becoming successful on the Sunset Strip. One was the Byrds, who to Lee's mind were making music like the stuff he heard in his head, and the other was their rivals the Rising Sons, the blues band we mentioned earlier with Taj Mahal and Ry Cooder. Lee was very impressed by them as an multiracial band making aggressive, loud, guitar music, though he would always make the point when talking about them that they were a blues band, not a rock band, and *he* had the first multiracial rock band. Whatever they were like live though, in their recordings, produced by the Byrds' first producer Terry Melcher, the Rising Sons often had the same garage band folk-punk sound that Lee and Echols would soon make their own: [Excerpt: The Rising Sons, "Take a Giant Step"] But while the Rising Sons recorded a full album's worth of material, only one single was released before they split up, and so the way was clear for Lee and Echols' band, now renamed once again to The Grass Roots, to become the Byrds' new challengers. Lee later said "I named the group The Grass Roots behind a trip, or an album I heard that Malcolm X did, where he said 'the grass roots of the people are out in the street doing something about their problems instead of sitting around talking about it'". After seeing the Rolling Stones and the Byrds live, Lee wanted to get up front and move like Mick Jagger, and not be hindered by playing a guitar he wasn't especially good at -- both the Stones and the Byrds had two guitarists and a frontman who just sang and played hand percussion, and these were the models that Lee was following for the group. He also thought it would be a good idea commercially to get a good-looking white boy up front. So the group got in another guitarist, a white pretty boy who Lee soon fell out with and gave the nickname "Bummer Bob" because he was unpleasant to be around. Those of you who know exactly why Bobby Beausoleil later became famous will probably agree that this was a more than reasonable nickname to give him (and those of you who don't, I'll be dealing with him when we get to 1969). So when Bryan MacLean introduced himself to Lee and Echols, and they found out that not only was he also a good-looking white guitarist, but he was also friends with the entire circle of hipsters who'd been going to Byrds gigs, people like Vito and Franzoni, and he could get a massive crowd of them to come along to gigs for any band he was in and make them the talk of the Sunset Strip scene, he was soon in the Grass Roots, and Bummer Bob was out. The Grass Roots soon had to change their name again, though. In 1965, Jan and Dean recorded their "Folk and Roll" album, which featured "The Universal Coward"... Which I am not going to excerpt again. I only put that pause in to terrify Tilt, who edits these podcasts, and has very strong opinions about that song. But P. F. Sloan and Steve Barri, the songwriters who also performed as the Fantastic Baggies, had come up with a song for that album called "Where Where You When I Needed You?": [Excerpt: Jan and Dean, "Where Were You When I Needed You?"] Sloan and Barri decided to cut their own version of that song under a fake band name, and then put together a group of other musicians to tour as that band. They just needed a name, and Lou Adler, the head of Dunhill Records, suggested they call themselves The Grass Roots, and so that's what they did: [Excerpt: The Grass Roots, "Where Were You When I Needed You?"] Echols would later claim that this was deliberate malice on Adler's part -- that Adler had come in to a Grass Roots show drunk, and pretended to be interested in signing them to a contract, mostly to show off to a woman he'd brought with him. Echols and MacLean had spoken to him, not known who he was, and he'd felt disrespected, and Echols claims that he suggested the name to get back at them, and also to capitalise on their local success. The new Grass Roots soon started having hits, and so the old band had to find another name, which they got as a joking reference to a day job Lee had had at one point -- he'd apparently worked in a specialist bra shop, Luv Brassieres, which the rest of the band found hilarious. The Grass Roots became Love. While Arthur Lee was the group's lead singer, Bryan MacLean would often sing harmonies, and would get a song or two to sing live himself. And very early in the group's career, when they were playing a club called Bido Lito's, he started making his big lead spot a version of "Hey Joe", which he'd learned from his old friend David Crosby, and which soon became the highlight of the group's set. Their version was sped up, and included the riff which the Searchers had popularised in their cover version of  "Needles and Pins", the song originally recorded by MacLean's old girlfriend Jackie DeShannon: [Excerpt: The Searchers, "Needles and Pins"] That riff is a very simple one to play, and variants of it became very, very, common among the LA bands, most notably on the Byrds' "I'll Feel a Whole Lot Better": [Excerpt: The Byrds, "I'll Feel a Whole Lot Better"] The riff was so ubiquitous in the LA scene that in the late eighties Frank Zappa would still cite it as one of his main memories of the scene. I'm going to quote from his autobiography, where he's talking about the differences between the LA scene he was part of and the San Francisco scene he had no time for: "The Byrds were the be-all and end-all of Los Angeles rock then. They were 'It' -- and then a group called Love was 'It.' There were a few 'psychedelic' groups that never really got to be 'It,' but they could still find work and get record deals, including the West Coast Pop Art Experimental Band, Sky Saxon and the Seeds, and the Leaves (noted for their cover version of "Hey, Joe"). When we first went to San Francisco, in the early days of the Family Dog, it seemed that everybody was wearing the same costume, a mixture of Barbary Coast and Old West -- guys with handlebar mustaches, girls in big bustle dresses with feathers in their hair, etc. By contrast, the L.A. costumery was more random and outlandish. Musically, the northern bands had a little more country style. In L.A., it was folk-rock to death. Everything had that" [and here Zappa uses the adjectival form of a four-letter word beginning with 'f' that the main podcast providers don't like you saying on non-adult-rated shows] "D chord down at the bottom of the neck where you wiggle your finger around -- like 'Needles and Pins.'" The reason Zappa describes it that way, and the reason it became so popular, is that if you play that riff in D, the chords are D, Dsus2, and Dsus4 which means you literally only wiggle one finger on your left hand: [demonstrates] And so you get that on just a ton of records from that period, though Love, the Byrds, and the Searchers all actually play the riff on A rather than D: [demonstrates] So that riff became the Big Thing in LA after the Byrds popularised the Searchers sound there, and Love added it to their arrangement of "Hey Joe". In January 1966, the group would record their arrangement of it for their first album, which would come out in March: [Excerpt: Love, "Hey Joe"] But that wouldn't be the first recording of the song, or of Love's arrangement of it – although other than the Byrds' version, it would be the only one to come out of LA with the original Billy Roberts lyrics. Love's performances of the song at Bido Lito's had become the talk of the Sunset Strip scene, and soon every band worth its salt was copying it, and it became one of those songs like "Louie Louie" before it that everyone would play. The first record ever made with the "Hey Joe" melody actually had totally different lyrics. Kim Fowley had the idea of writing a sequel to "Hey Joe", titled "Wanted Dead or Alive", about what happened after Joe shot his woman and went off. He produced the track for The Rogues, a group consisting of Michael Lloyd and Shaun Harris, who later went on to form the West Coast Pop Art Experimental Band, and Lloyd and Harris were the credited writers: [Excerpt: The Rogues, "Wanted Dead or Alive"] The next version of the song to come out was the first by anyone to be released as "Hey Joe", or at least as "Hey Joe, Where You Gonna Go?", which was how it was titled on its initial release. This was by a band called The Leaves, who were friends of Love, and had picked up on "Hey Joe", and was produced by Nik Venet. It was also the first to have the now-familiar opening line "Hey Joe, where you going with that gun in your hand?": [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] Roberts' original lyric, as sung by both Love and the Byrds, had been "where you going with that money in your hand?", and had Joe headed off to *buy* the gun. But as Echols later said “What happened was Bob Lee from The Leaves, who were friends of ours, asked me for the words to 'Hey Joe'. I told him I would have the words the next day. I decided to write totally different lyrics. The words you hear on their record are ones I wrote as a joke. The original words to Hey Joe are ‘Hey Joe, where you going with that money in your hand? Well I'm going downtown to buy me a blue steel .44. When I catch up with that woman, she won't be running round no more.' It never says ‘Hey Joe where you goin' with that gun in your hand.' Those were the words I wrote just because I knew they were going to try and cover the song before we released it. That was kind of a dirty trick that I played on The Leaves, which turned out to be the words that everybody uses.” That first release by the Leaves also contained an extra verse -- a nod to Love's previous name: [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] That original recording credited the song as public domain -- apparently Bryan MacLean had refused to tell the Leaves who had written the song, and so they assumed it was traditional. It came out in November 1965, but only as a promo single. Even before the Leaves, though, another band had recorded "Hey Joe", but it didn't get released. The Sons of Adam had started out as a surf group called the Fender IV, who made records like "Malibu Run": [Excerpt: The Fender IV, "Malibu Run"] Kim Fowley had suggested they change their name to the Sons of Adam, and they were another group who were friends with Love -- their drummer, Michael Stuart-Ware, would later go on to join Love, and Arthur Lee wrote the song "Feathered Fish" for them: [Excerpt: Sons of Adam, "Feathered Fish"] But while they were the first to record "Hey Joe", their version has still to this day not been released. Their version was recorded for Decca, with producer Gary Usher, but before it was released, another Decca artist also recorded the song, and the label weren't sure which one to release. And then the label decided to press Usher to record a version with yet another act -- this time with the Surfaris, the surf group who had had a hit with "Wipe Out". Coincidentally, the Surfaris had just changed bass players -- their most recent bass player, Ken Forssi, had quit and joined Love, whose own bass player, John Fleckenstein, had gone off to join the Standells, who would also record a version of “Hey Joe” in 1966. Usher thought that the Sons of Adam were much better musicians than the Surfaris, who he was recording with more or less under protest, but their version, using Love's arrangement and the "gun in your hand" lyrics, became the first version to come out on a major label: [Excerpt: The Surfaris, "Hey Joe"] They believed the song was in the public domain, and so the songwriting credits on the record are split between Gary Usher, a W. Hale who nobody has been able to identify, and Tony Cost, a pseudonym for Nik Venet. Usher said later "I got writer's credit on it because I was told, or I assumed at the time, the song was Public Domain; meaning a non-copyrighted song. It had already been cut two or three times, and on each occasion the writing credit had been different. On a traditional song, whoever arranges it, takes the songwriting credit. I may have changed a few words and arranged and produced it, but I certainly did not co-write it." The public domain credit also appeared on the Leaves' second attempt to cut the song, which was actually given a general release, but flopped. But when the Leaves cut the song for a *third* time, still for the same tiny label, Mira, the track became a hit in May 1966, reaching number thirty-one: [Excerpt: The Leaves, "Hey Joe"] And *that* version had what they thought was the correct songwriting credit, to Dino Valenti. Which came as news to Billy Roberts, who had registered the copyright to the song back in 1962 and had no idea that it had become a staple of LA garage rock until he heard his song in the top forty with someone else's name on the credits. He angrily confronted Third Story Music, who agreed to a compromise -- they would stop giving Valenti songwriting royalties and start giving them to Roberts instead, so long as he didn't sue them and let them keep the publishing rights. Roberts was indignant about this -- he deserved all the money, not just half of it -- but he went along with it to avoid a lawsuit he might not win. So Roberts was now the credited songwriter on the versions coming out of the LA scene. But of course, Dino Valenti had been playing "his" song to other people, too. One of those other people was Vince Martin. Martin had been a member of a folk-pop group called the Tarriers, whose members also included the future film star Alan Arkin, and who had had a hit in the 1950s with "Cindy, Oh Cindy": [Excerpt: The Tarriers, "Cindy, Oh Cindy"] But as we heard in the episode on the Lovin' Spoonful, he had become a Greenwich Village folkie, in a duo with Fred Neil, and recorded an album with him, "Tear Down the Walls": [Excerpt: Fred Neil and Vince Martin, "Morning Dew"] That song we just heard, "Morning Dew", was another question-and-answer folk song. It was written by the Canadian folk-singer Bonnie Dobson, but after Martin and Neil recorded it, it was picked up on by Martin's friend Tim Rose who stuck his own name on the credits as well, without Dobson's permission, for a version which made the song into a rock standard for which he continued to collect royalties: [Excerpt: Tim Rose, "Morning Dew"] This was something that Rose seems to have made a habit of doing, though to be fair to him it went both ways. We heard about him in the Lovin' Spoonful episode too, when he was in a band named the Big Three with Cass Elliot and her coincidentally-named future husband Jim Hendricks, who recorded this song, with Rose putting new music to the lyrics of the old public domain song "Oh! Susanna": [Excerpt: The Big Three, "The Banjo Song"] The band Shocking Blue used that melody for their 1969 number-one hit "Venus", and didn't give Rose any credit: [Excerpt: Shocking Blue, "Venus"] But another song that Rose picked up from Vince Martin was "Hey Joe". Martin had picked the song up from Valenti, but didn't know who had written it, or who was claiming to have written it, and told Rose he thought it might be an old Appalchian murder ballad or something. Rose took the song and claimed writing credit in his own name -- he would always, for the rest of his life, claim it was an old folk tune he'd heard in Florida, and that he'd rewritten it substantially himself, but no evidence of the song has ever shown up from prior to Roberts' copyright registration, and Rose's version is basically identical to Roberts' in melody and lyrics. But Rose takes his version at a much slower pace, and his version would be the model for the most successful versions going forward, though those other versions would use the lyrics Johnny Echols had rewritten, rather than the ones Rose used: [Excerpt: Tim Rose, "Hey Joe"] Rose's version got heard across the Atlantic as well. And in particular it was heard by Chas Chandler, the bass player of the Animals. Some sources seem to suggest that Chandler first heard the song performed by a group called the Creation, but in a biography I've read of that group they clearly state that they didn't start playing the song until 1967. But however he came across it, when Chandler heard Rose's recording, he knew that the song could be a big hit for someone, but he didn't know who. And then he bumped into Linda Keith, Keith Richards' girlfriend,  who took him to see someone whose guitar we've already heard in this episode: [Excerpt: Rosa Lee Brooks, "My Diary"] The Curtis Mayfield impression on guitar there was, at least according to many sources the first recording session ever played on by a guitarist then calling himself Maurice (or possibly Mo-rees) James. We'll see later in the story that it possibly wasn't his first -- there are conflicting accounts, as there are about a lot of things, and it was recorded either in very early 1964, in which case it was his first, or (as seems more likely, and as I tell the story later) a year later, in which case he'd played on maybe half a dozen tracks in the studio by that point. But it was still a very early one. And by late 1966 that guitarist had reverted to the name by which he was brought up, and was calling himself Jimi Hendrix. Hendrix and Arthur Lee had become close, and Lee would later claim that Hendrix had copied much of Lee's dress style and attitude -- though many of Hendrix's other colleagues and employers, including Little Richard, would make similar claims -- and most of them had an element of truth, as Lee's did. Hendrix was a sponge. But Lee did influence him. Indeed, one of Hendrix's *last* sessions, in March 1970, was guesting on an album by Love: [Excerpt: Love with Jimi Hendrix, "Everlasting First"] Hendrix's name at birth was Johnny Allen Hendrix, which made his father, James Allen Hendrix, known as Al, who was away at war when his son was born, worry that he'd been named after another man who might possibly be the real father, so the family just referred to the child as "Buster" to avoid the issue. When Al Hendrix came back from the war the child was renamed James Marshall Hendrix -- James after Al's first name, Marshall after Al's dead brother -- though the family continued calling him "Buster". Little James Hendrix Junior didn't have anything like a stable home life. Both his parents were alcoholics, and Al Hendrix was frequently convinced that Jimi's mother Lucille was having affairs and became abusive about it. They had six children, four of whom were born disabled, and Jimi was the only one to remain with his parents -- the rest were either fostered or adopted at birth, fostered later on because the parents weren't providing a decent home life, or in one case made a ward of state because the Hendrixes couldn't afford to pay for a life-saving operation for him. The only one that Jimi had any kind of regular contact with was the second brother, Leon, his parents' favourite, who stayed with them for several years before being fostered by a family only a few blocks away. Al and Lucille Hendrix frequently split and reconciled, and while they were ostensibly raising Jimi (and for a  few years Leon), he was shuttled between them and various family members and friends, living sometimes in Seattle where his parents lived and sometimes in Vancouver with his paternal grandmother. He was frequently malnourished, and often survived because friends' families fed him. Al Hendrix was also often physically and emotionally abusive of the son he wasn't sure was his. Jimi grew up introverted, and stuttering, and only a couple of things seemed to bring him out of his shell. One was science fiction -- he always thought that his nickname, Buster, came from Buster Crabbe, the star of the Flash Gordon serials he loved to watch, though in fact he got the nickname even before that interest developed, and he was fascinated with ideas about aliens and UFOs -- and the other was music. Growing up in Seattle in the forties and fifties, most of the music he was exposed to as a child and in his early teens was music made by and for white people -- there wasn't a very large Black community in the area at the time compared to most major American cities, and so there were no prominent R&B stations. As a kid he loved the music of Bob Wills and the Texas Playboys, and when he was thirteen Jimi's favourite record was Dean Martin's "Memories are Made of This": [Excerpt: Dean Martin, "Memories are Made of This"] He also, like every teenager, became a fan of rock and roll music. When Elvis played at a local stadium when Jimi was fifteen, he couldn't afford a ticket, but he went and sat on top of a nearby hill and watched the show from the distance. Jimi's first exposure to the blues also came around this time, when his father briefly took in lodgers, Cornell and Ernestine Benson, and Ernestine had a record collection that included records by Lightnin' Hopkins, Howlin' Wolf, and Muddy Waters, all of whom Jimi became a big fan of, especially Muddy Waters. The Bensons' most vivid memory of Jimi in later years was him picking up a broom and pretending to play guitar along with these records: [Excerpt: Muddy Waters, "Baby Please Don't Go"] Shortly after this, it would be Ernestine Benson who would get Jimi his very first guitar. By this time Jimi and Al had lost their home and moved into a boarding house, and the owner's son had an acoustic guitar with only one string that he was planning to throw out. When Jimi asked if he could have it instead of it being thrown out, the owner told him he could have it for five dollars. Al Hendrix refused to pay that much for it, but Ernestine Benson bought Jimi the guitar. She said later “He only had one string, but he could really make that string talk.” He started carrying the guitar on his back everywhere he went, in imitation of Sterling Hayden in the western Johnny Guitar, and eventually got some more strings for it and learned to play. He would play it left-handed -- until his father came in. His father had forced him to write with his right hand, and was convinced that left-handedness was the work of the devil, so Jimi would play left-handed while his father was somewhere else, but as soon as Al came in he would flip the guitar the other way up and continue playing the song he had been playing, now right-handed. Jimi's mother died when he was fifteen, after having been ill for a long time with drink-related problems, and Jimi and his brother didn't get to go to the funeral -- depending on who you believe, either Al gave Jimi the bus fare and told him to go by himself and Jimi was too embarrassed to go to the funeral alone on the bus, or Al actually forbade Jimi and Leon from going.  After this, he became even more introverted than he was before, and he also developed a fascination with the idea of angels, convinced his mother now was one. Jimi started to hang around with a friend called Pernell Alexander, who also had a guitar, and they would play along together with Elmore James records. The two also went to see Little Richard and Bill Doggett perform live, and while Jimi was hugely introverted, he did start to build more friendships in the small Seattle music scene, including with Ron Holden, the man we talked about in the episode on "Louie Louie" who introduced that song to Seattle, and who would go on to record with Bruce Johnston for Bob Keane: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] Eventually Ernestine Benson persuaded Al Hendrix to buy Jimi a decent electric guitar on credit -- Al also bought himself a saxophone at the same time, thinking he might play music with his son, but sent it back once the next payment became due. As well as blues and R&B, Jimi was soaking up the guitar instrumentals and garage rock that would soon turn into surf music. The first song he learned to play was "Tall Cool One" by the Fabulous Wailers, the local group who popularised a version of "Louie Louie" based on Holden's one: [Excerpt: The Fabulous Wailers, "Tall Cool One"] As we talked about in the "Louie Louie" episode, the Fabulous Wailers used to play at a venue called the Spanish Castle, and Jimi was a regular in the audience, later writing his song "Spanish Castle Magic" about those shows: [Excerpt: The Jimi Hendrix Experience, "Spanish Castle Magic"] He was also a big fan of Duane Eddy, and soon learned Eddy's big hits "Forty Miles of Bad Road", "Because They're Young", and "Peter Gunn" -- a song he would return to much later in his life: [Excerpt: Jimi Hendrix, "Peter Gunn/Catastrophe"] His career as a guitarist didn't get off to a great start -- the first night he played with his first band, he was meant to play two sets, but he was fired after the first set, because he was playing in too flashy a manner and showing off too much on stage. His girlfriend suggested that he might want to tone it down a little, but he said "That's not my style".  This would be a common story for the next several years. After that false start, the first real band he was in was the Velvetones, with his friend Pernell Alexander. There were four guitarists, two piano players, horns and drums, and they dressed up with glitter stuck to their pants. They played Duane Eddy songs, old jazz numbers, and "Honky Tonk" by Bill Doggett, which became Hendrix's signature song with the band. [Excerpt: Bill Doggett, "Honky Tonk"] His father was unsupportive of his music career, and he left his guitar at Alexander's house because he was scared that his dad would smash it if he took it home. At the same time he was with the Velvetones, he was also playing with another band called the Rocking Kings, who got gigs around the Seattle area, including at the Spanish Castle. But as they left school, most of Hendrix's friends were joining the Army, in order to make a steady living, and so did he -- although not entirely by choice. He was arrested, twice, for riding in stolen cars, and he was given a choice -- either go to prison, or sign up for the Army for three years. He chose the latter. At first, the Army seemed to suit him. He was accepted into the 101st Airborne Division, the famous "Screaming Eagles", whose actions at D-Day made them legendary in the US, and he was proud to be a member of the Division. They were based out of Fort Campbell, the base near Clarksville we talked about a couple of episodes ago, and while he was there he met a bass player, Billy Cox, who he started playing with. As Cox and Hendrix were Black, and as Fort Campbell straddled the border between Kentucky and Tennessee, they had to deal with segregation and play to only Black audiences. And Hendrix quickly discovered that Black audiences in the Southern states weren't interested in "Louie Louie", Duane Eddy, and surf music, the stuff he'd been playing in Seattle. He had to instead switch to playing Albert King and Slim Harpo songs, but luckily he loved that music too. He also started singing at this point -- when Hendrix and Cox started playing together, in a trio called the Kasuals, they had no singer, and while Hendrix never liked his own voice, Cox was worse, and so Hendrix was stuck as the singer. The Kasuals started gigging around Clarksville, and occasionally further afield, places like Nashville, where Arthur Alexander would occasionally sit in with them. But Cox was about to leave the Army, and Hendrix had another two and a bit years to go, having enlisted for three years. They couldn't play any further away unless Hendrix got out of the Army, which he was increasingly unhappy in anyway, and so he did the only thing he could -- he pretended to be gay, and got discharged on medical grounds for homosexuality. In later years he would always pretend he'd broken his ankle parachuting from a plane. For the next few years, he would be a full-time guitarist, and spend the periods when he wasn't earning enough money from that leeching off women he lived with, moving from one to another as they got sick of him or ran out of money. The Kasuals expanded their lineup, adding a second guitarist, Alphonso Young, who would show off on stage by playing guitar with his teeth. Hendrix didn't like being upstaged by another guitarist, and quickly learned to do the same. One biography I've used as a source for this says that at this point, Billy Cox played on a session for King Records, for Frank Howard and the Commanders, and brought Hendrix along, but the producer thought that Hendrix's guitar was too frantic and turned his mic off. But other sources say the session Hendrix and Cox played on for the Commanders wasn't until three years later, and the record *sounds* like a 1965 record, not a 1962 one, and his guitar is very audible – and the record isn't on King. But we've not had any music to break up the narration for a little while, and it's a good track (which later became a Northern Soul favourite) so I'll play a section here, as either way it was certainly an early Hendrix session: [Excerpt: Frank Howard and the Commanders, "I'm So Glad"] This illustrates a general problem with Hendrix's life at this point -- he would flit between bands, playing with the same people at multiple points, nobody was taking detailed notes, and later, once he became famous, everyone wanted to exaggerate their own importance in his life, meaning that while the broad outlines of his life are fairly clear, any detail before late 1966 might be hopelessly wrong. But all the time, Hendrix was learning his craft. One story from around this time  sums up both Hendrix's attitude to his playing -- he saw himself almost as much as a scientist as a musician -- and his slightly formal manner of speech.  He challenged the best blues guitarist in Nashville to a guitar duel, and the audience actually laughed at Hendrix's playing, as he was totally outclassed. When asked what he was doing, he replied “I was simply trying to get that B.B. King tone down and my experiment failed.” Bookings for the King Kasuals dried up, and he went to Vancouver, where he spent a couple of months playing in a covers band, Bobby Taylor and the Vancouvers, whose lead guitarist was Tommy Chong, later to find fame as one half of Cheech and Chong. But he got depressed at how white Vancouver was, and travelled back down south to join a reconfigured King Kasuals, who now had a horn section. The new lineup of King Kasuals were playing the chitlin circuit and had to put on a proper show, and so Hendrix started using all the techniques he'd seen other guitarists on the circuit use -- playing with his teeth like Alphonso Young, the other guitarist in the band, playing with his guitar behind his back like T-Bone Walker, and playing with a fifty-foot cord that allowed him to walk into the crowd and out of the venue, still playing, like Guitar Slim used to. As well as playing with the King Kasuals, he started playing the circuit as a sideman. He got short stints with many of the second-tier acts on the circuit -- people who had had one or two hits, or were crowd-pleasers, but weren't massive stars, like Carla Thomas or Jerry Butler or Slim Harpo. The first really big name he played with was Solomon Burke, who when Hendrix joined his band had just released "Just Out of Reach (Of My Two Empty Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (Of My Two Empty Arms)"] But he lacked discipline. “Five dates would go beautifully,” Burke later said, “and then at the next show, he'd go into this wild stuff that wasn't part of the song. I just couldn't handle it anymore.” Burke traded him to Otis Redding, who was on the same tour, for two horn players, but then Redding fired him a week later and they left him on the side of the road. He played in the backing band for the Marvelettes, on a tour with Curtis Mayfield, who would be another of Hendrix's biggest influences, but he accidentally blew up Mayfield's amp and got sacked. On another tour, Cecil Womack threw Hendrix's guitar off the bus while he slept. In February 1964 he joined the band of the Isley Brothers, and he would watch the Beatles on Ed Sullivan with them during his first days with the group. Assuming he hadn't already played the Rosa Lee Brooks session (and I think there's good reason to believe he hadn't), then the first record Hendrix played on was their single "Testify": [Excerpt: The Isley Brothers, "Testify"] While he was with them, he also moonlighted on Don Covay's big hit "Mercy, Mercy": [Excerpt: Don Covay and the Goodtimers, "Mercy Mercy"] After leaving the Isleys, Hendrix joined the minor soul singer Gorgeous George, and on a break from Gorgeous George's tour, in Memphis, he went to Stax studios in the hope of meeting Steve Cropper, one of his idols. When he was told that Cropper was busy in the studio, he waited around all day until Cropper finished, and introduced himself. Hendrix was amazed to discover that Cropper was white -- he'd assumed that he must be Black -- and Cropper was delighted to meet the guitarist who had played on "Mercy Mercy", one of his favourite records. The two spent hours showing each other guitar licks -- Hendrix playing Cropper's right-handed guitar, as he hadn't brought along his own. Shortly after this, he joined Little Richard's band, and once again came into conflict with the star of the show by trying to upstage him. For one show he wore a satin shirt, and after the show Richard screamed at him “I am the only Little Richard! I am the King of Rock and Roll, and I am the only one allowed to be pretty. Take that shirt off!” While he was with Richard, Hendrix played on his "I Don't Know What You've Got, But It's Got Me", which like "Mercy Mercy" was written by Don Covay, who had started out as Richard's chauffeur: [Excerpt: Little Richard, "I Don't Know What You've Got, But It's Got Me"] According to the most likely version of events I've read, it was while he was working for Richard that Hendrix met Rosa Lee Brooks, on New Year's Eve 1964. At this point he was using the name Maurice James, apparently in tribute to the blues guitarist Elmore James, and he used various names, including Jimmy James, for most of his pre-fame performances. Rosa Lee Brooks was an R&B singer who had been mentored by Johnny "Guitar" Watson, and when she met Hendrix she was singing in a girl group who were one of the support acts for Ike & Tina Turner, who Hendrix went to see on his night off. Hendrix met Brooks afterwards, and told her she looked like his mother -- a line he used on a lot of women, but which was true in her case if photos are anything to go by. The two got into a relationship, and were soon talking about becoming a duo like Ike and Tina or Mickey and Sylvia -- "Love is Strange" was one of Hendrix's favourite records. But the only recording they made together was the "My Diary" single. Brooks always claimed that she actually wrote that song, but the label credit is for Arthur Lee, and it sounds like his work to me, albeit him trying hard to write like Curtis Mayfield, just as Hendrix is trying to play like him: [Excerpt: Rosa Lee Brooks, "My Diary"] Brooks and Hendrix had a very intense relationship for a short period. Brooks would later recall Little