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2 episodes with Franzoni
Maria Franzoni is a former speaker bureau owner and author of The Bookability Formula. She shares a blunt, practical view of what makes a speaker bookable in the UK and European markets, and why “being good” is not the same as “getting hired”. This show is unmissable if you're serious about speaking.What we coverWhy “follow your passion” is often terrible business adviceThe UK/Europe market reality vs the US speaking marketWhy relevance to a paying market comes before polishing a keynoteWhat really builds credibility (and what screams “fake”)The networking mistake almost everyone makesWhy speakers overrun and how it hurts the event (and other speakers)The real reason top-paid speakers get bookedWhat makes organisers and bureaus reject someone instantlyDemo videos: why bad video is worse than no videoWhether your full keynote should be public or privatePlagiarism in the speaking industry and why it happensPodcast guesting as visibility and as training for concise communicationKey takeawaysRelevance is the filter. If the market doesn't care, your passion won't save you.Proof beats claims. Testimonials, outcomes and case studies do the heavy lifting.Bookability is business. Relationships, follow-up and sales habits matter more than most speakers want to admit.Assets signal quality. A weak demo video can quietly kill deals before you're even considered.Great speakers are often not the highest paid. The most bookable speakers usually run the best business.GuestMaria FranzoniLinkedIn: Maria FranzoniWebsite: mariafranzoni.meBook: The Bookability Formula (Great read)Links and resources mentionedSpeaker bureau newsletters and topic forecasts (example: Chartwell)The Dip (Seth Godin), referenced by John in the wider show contextJudy Carter (comedy writing advice mentioned), The New Comedy Bible, and see previous guest appearance.Chapters00:00 The bookability...
E dopo la possibile soluzione per l'Ucraina entro l'estate di cui troverete altri dettagli nel servizio di Marco Ventura, oggi apriamo con l'analisi di Valentina Pigliautile e il dibattito sulla data del referendum, quindi lo olimpiadi con lo speciale di Prima pagina, con Massimo Boccucci per la giornata e la nuova rubrica “Lamine” l'affilato e schietto commento di Andrea Sorrentino, per la cronaca restiamo ancora sulle olimpiadi con l'inviata Claudia Guasco e la guerriglia di Milano e chiudiamo con un ricordo di Massimo Boccucci di un grande giornalista.
Prime medaglie per l'Italia alle Olimpiadi di Milano-Cortina 2026. Il metallo più pesante arriva grazie a Francesca Lollobrigida nella gara sui 3000 metri dello Speed skating.
Sono tempi difficili per conoscere cosa è reale e cosa no. Sinner e la vittoria in diretta, l'impresa di Franzoni e quella social di Hannold. Ospite in studio Noah Wyle per la seconda stagione di The Pitt su HBO Max.
E dopo gli accordi indoeuropei di cui altri dettagli troverete nel servizio di Gabriele Rosana, partiamo dalla cronaca e dal caso di Anguillara con l'inviata Raffaella Troili che ci racconta l'angoscia dei genitori del figlio assassino che si sono tolti la vita, quindi ci spostiamo sul caso dei tifosi laziali e napoletani che si sono affrontati lungo l'autostrada con le inviata Alessia Marani e Federica Pozzi che ci spiegano i provvedimento del Viminale, quindi ci spostiamo in America con l'analisi di Anna Guaita per quanto accaduto a Minneapolis, segue l'ampia pagina di sport che parte dalla storia di Massimo Boccucci sulla vittoria lungo la Streif di Giovanni Franzoni e chiude con l'irriverente Lunedì di Andrea Sorrentino il commento a mano libera della serie A di calcio.
Analyse zu den Hahnenkammrennen Jacob Schramm ist zu Gast! Er erzählt von seiner Verletzung, die er sich vor einem Jahr auf der Streif zugezogen hat. In diesem Jahr ist er nach Kitzbühel zurückgekehrt und hat bei der Besichtigung ausschließlich Lust am Rennfahren verspürt. Mit Lukas bespricht er den Sieg von Franzoni, die überraschenden Emotionen von Odermatt und den Slalomsieg von Feller. Jacob setzt sich konkrete Ziele - und hofft auf eine Rückkehr auf die Weltcuppiste noch in dieser Saison. Folgt Jacob Schramm hier auf InstagramDieser Podcast wird vermarktet von der Podcastbude.www.podcastbu.de - Full-Service-Podcast-Agentur - Konzeption, Produktion, Vermarktung, Distribution und Hosting.Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen?Dann schaue auf www.kostenlos-hosten.de und informiere dich.Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude.
l podcast di Non Stop News dedica spazio alle eccellenze nazionali, celebrando talenti e iniziative che rendono grande l'Italia. Bruno Felicetti, direttore generale delle Funivie di Madonna di Campiglio, aggiorna sulla stagione sciistica in una delle perle delle Dolomiti, con ottime presenze grazie a neve perfetta e grandi eventi di Coppa del Mondo. In “Fisi News”, Giovanni Franzoni è la nuova stella azzurra: dopo i primi podi in carriera (3° a Val Gardena, 1° e 3° a Wengen), conquista la discesa libera di Kitzbuehel sulla mitica Streif, precedendo Odermatt (+0.07) e Muzaton, dedicando il trionfo all'amico Matteo Franzoso. Giorgio Rocca offre uno sguardo alle gare di ieri e oggi, con l'Italia protagonista in vista di Milano-Cortina. Per il Giorno della Memoria 2026 (81° anniversario dell'abbattimento dei cancelli di Auschwitz), il prof. Gadi Luzzato Voghera, direttore della Fondazione CDEC di Milano, presenta il suo libro “Al confine tra la vita e la morte” sul fenomeno del “musulmano” nei lager (termine per i prigionieri al limite della sopravvivenza, non legato all'Islam), riflette sull'importanza del ricordo oggi senza testimoni diretti e sull'allarme antisemitismo in aumento. Andrea Salvati riassume il calcio di Serie A: ieri le altre partite della 22ª giornata, oggi big match Juventus-Napoli alle 18 e Roma-Milan alle 20.45, decisive per lo scudetto con Inter in testa. In chiusura, Maurizio Belpietro commenta l'attualità.
Analyse zu Wengen, Tarvis und Kronplatz Brignone ist sowas von zurück, Vlhova bald auch? Es sind zur Abwechslung gute Nachrichten, die der Ski-Weltcup vermeldet. Zwei Gesamtweltcupsiegerinnen scheinen bei Olympia an den Start gehen zu können. Wir sprechen über Scheibs Selbstverständnis, Italiens Entwicklungsarbeit und Aichers unerhörte Rennpause. In Wengen ging der Stern von Franzoni auf, Odermatt gewinnt auch noch die nächsten 20 Abfahrten am Lauberhorn und McGrath gewinnt den vielleicht schönsten Slalom im gesamten Winter. Tobias feiert den 100. Podestplatz von Kristoffersen.Dieser Podcast wird vermarktet von der Podcastbude.www.podcastbu.de - Full-Service-Podcast-Agentur - Konzeption, Produktion, Vermarktung, Distribution und Hosting.Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen?Dann schaue auf www.kostenlos-hosten.de und informiere dich.Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude.
I contenuti di questo video hanno solo finalità informative e si basano su fonti giornalistiche pubbliche disponibili al momento della registrazione. Non costituiscono giudizi personali né accuse.Support this podcast at — https://redcircle.com/storia/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
This is not a show I ever planned to do. In all my years of podcasting, I've never felt compelled to look back and take stock of where we've been. But twenty twenty-four and twenty twenty-five have been different. These years have been brutal for our community, and I couldn't stay silent any longer. We lost giants. Real giants. Men who shaped the very foundation of modern Sasquatch research and carried the torch forward into the twenty-first century. Tonight, I'm setting aside whatever differences might have existed to honor what they gave us and acknowledge that we've lost some truly important figures.Doctor Jeff Meldrum passed away in September of twenty twenty-five after a brief battle with brain cancer. He was sixty-seven years old. The full professor of anatomy and anthropology at Idaho State University gave our community something precious: legitimacy. With his collection of over three hundred footprint casts and his landmark book Sasquatch: Legend Meets Science, he picked up where Grover Krantz left off and continued the tradition of academic rigor in a field that desperately needed it.I had the privilege of sitting down with Jeff just a few weeks before he passed, and that conversation will stay with me forever.Henry Franzoni died on August twenty-second, twenty twenty-four, also at sixty-seven. If Meldrum brought scientific credibility to Bigfoot research, Henry brought the internet. Back in nineteen ninety-three, he created the first Bigfoot website and the first online discussion group, the Internet Virtual Bigfoot Conference. From that foundation grew pretty much every Bigfoot organization and website you see today. I interviewed Henry about a year before he passed, and afterward he sent me a signed copy of his book, Failing in a Cooler Way: Why I Never Found Bigfoot. That title tells you everything you need to know about who Henry was as a person.Steven Streufert, owner of Bigfoot Books in Willow Creek, California, is also gone now. Steven was an institution, a historian and scholar who knew the stories, the players, and the timeline of how this phenomenon evolved from local legend to international sensation. He was a key member of the Bluff Creek Project, the team that rediscovered the exact location where Patterson and Gimlin filmed their famous footage in nineteen sixty-seven. Steven and I had our public disagreements in his Facebook group, but that's what a community of researchers should look like. We can all have our opinions and still show mutual respect for one another.Beyond the deaths, we lost places too. The Bigfoot Discovery Museum in Felton, California, closed its doors after twenty years. And in December of twenty twenty-four, two men from Portland died from exposure in the Gifford Pinchot National Forest while searching for Sasquatch on Christmas Eve.I explore the legacies of these three researchers, discuss the current state of Sasquatch research, examine the Patterson-Gimlin film at fifty-seven years, address what the skeptics say, talk about the nearly one thousand witnesses I've interviewed over almost forty years, and reflect on the lessons we can learn from the men we lost. I also share a word about safety for anyone venturing into the wilderness in pursuit of this mystery.The disagreements don't matter. The bickering doesn't matter. What matters is the work. What matters is the pursuit. These men spent their lives investigating something that most of society considers a joke, and they did it because they believed the truth was worth pursuing. Their torches have been passed. We'll do our best to carry them forward.Leave Brian A Voicemail Get Our FREE NewsletterGet Brian's Books Leave Us A VoicemailVisit Our WebsiteSupport Our SponsorsBecome a supporter of this podcast: https://www.spreaker.com/podcast/sasquatch-odyssey--4839697/support.
En janvier 2002 à Cogne, un petit village de montagne des Alpes italiennes, on retrouve un petit garçon de 3 ans, Samuele Lorenzi dans son lit, le crâne fracassé. Sa mère, Annamaria Franzoni, explique que le meurtre a eu lieu pendant qu'elle était à l'arrêt de bus avec son fils ainé. Mais tout la désigne comme étant l'assassin de son fils et elle est inculpée, puis écrouée. Annamaria Franzoni nie et accuse des habitantes du village…Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
En janvier 2002 à Cogne, un petit village de montagne des Alpes italiennes, on retrouve un petit garçon de 3 ans, Samuele Lorenzi dans son lit, le crâne fracassé. Sa mère, Annamaria Franzoni, explique que le meurtre a eu lieu pendant qu'elle était à l'arrêt de bus avec son fils ainé. Mais tout la désigne comme étant l'assassin de son fils et elle est inculpée, puis écrouée. Annamaria Franzoni nie et accuse des habitantes du village…Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
In this episode of The extra-Ordinary Leader, I'm joined by the brilliant Maria Franzoni — communication strategist, former international speaker bureau owner, and creator of The Bookability Formula. With over 25 years of experience helping speakers get booked and rebooked, Maria knows exactly what makes communication memorable, impactful, and influential.Together, we explore how to elevate your communication — whether you're speaking to a boardroom, pitching a new idea, or presenting to your team. Maria shares powerful lessons from the world of professional speaking that every leader can apply, from listening and storytelling to confidence, feedback, and reading your audience.We also talk about authenticity versus professionalism, what really gets people rebooked (and what doesn't), and how to make data and presentations come alive. This conversation is full of practical insight and honesty from one of the best in the business.Inside This EpisodeThe trait every extra-Ordinary leader sharesWhy confidence and psychological safety matter mostThe biggest communication pitfall — and how to fix itHow to listen before you speakInfluence through attraction, not persuasionBalancing authenticity with professional presencePowerPoint, data and storytelling done rightHow language shapes culture and impactReading your audience and slowing downWhat keeps great speakers rebookedMaria's teabag test for leadership under pressureFor more on Maria's work, visit www.mariafranzoni.meIf you'd like to deepen your own leadership journey, my book The extra-Ordinary Leader is available here: https://www.dollywaddell.com/store/p/the-extra-ordinary-leaderMentioned Resources:The world over time -- in data | Hans Rosling | TEDxStockholmThe beauty of data visualization - David McCandlessGlow In The Dark - Mark LerusteNever Split The Difference - Chris Voss
In this episode of Future Fuzz, Justin speaks with Maria Franzoni, a renowned international speaker bureau owner and agent with over 23 years of experience. They dive into her new book The Bookability Formula, breaking down the essential traits and strategies that separate the top 1% of bookable speakers from the rest. From relevance and memorability to ego management and storytelling, Maria shares the science, and math, behind building a thriving speaking career.Guest BioMaria Franzoni is a leading authority in the speaking industry, with a distinguished career spanning more than two decades as an international speaker bureau owner and agent. She has worked with some of the world's most iconic and in-demand speakers, helping them navigate and grow in the competitive world of professional speaking. Maria is also the founder of Speaking Business Academy and author of The Bookability Formula, a practical guide designed to help speakers of all levels understand what makes them bookable, and stay booked.TakeawaysThe top 1% of speakers deliver 80% of bookings and over 50% of revenue.Bookability = Relevance + Known + Memorable + Easy, all multiplied by Value, divided by (e)Ego.Relevance means solving a pressing, timely problem for a paying audience.Specialists get booked, generalists don't.You don't have to be famous to be highly bookable.Memorable speakers lean into their authentic personality and master storytelling.Value is measured not just in impact but in return on time for the audience.Ego can kill your bookings, be easy to work with and easy to find.Chapters00:00 Welcome and Guest Introduction 01:38 The Origin of The Bookability Formula 02:49 R – Relevance to a Paying Market 05:03 K – Known for One Thing 07:36 M – Memorable to Bookers and Audiences 10:26 Introverts vs Extroverts in Speaking 13:23 The Art and Science of Storytelling 16:00 E – Easy to Find, Work With, and Book 19:45 V – The Value You Bring 20:39 The Danger of Ego in Speaking 22:48 Bad Behavior Story from the Speaking Circuit 23:12 Where to Find the Book and More from MariaLinkedInFollow Maria Franzoni on LinkedIn Follow Justin Campbell on LinkedIn
⭐️ Boka din biljett till MILJONSHOWEN här ⭐️ Maria Franzoni är inte vilken talarcoach som helst. Hon har över två decennier i branschen och har arbetat med några av världens mest eftertraktade föreläsare genom London Speaker Bureau. Hon vet exakt vad som krävs för att bli bokad gång på gång och varför vissa talare alltid får förfrågningarna medan andra aldrig ens får ett svar. I det här avsnittet pratar hon och Jonathan om vad som verkligen gör en talare bokningsbar: hur du positionerar dig, hur byråer tänker och vad som avgör om ditt namn hamnar högst på listan när nästa event ska planeras. Ett avsnitt för dig som vill gå från att jaga uppdrag till att bli den som bokas om och om igen. Skarpt, insiktsfullt och fullt av verkliga lärdomar direkt från branschens insida. -- Tack för att du lyssnar! Om du gillar Miljonpodden får du gärna följa oss och ge ditt betyg på Spotify
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' Nobody cares about you until you show that you understand their problem, their situation, and you care about them.' As a former international speaker bureau owner, Maria Franzoni knows exactly what it takes to become a highly sought-after (and well-paid) speaker. In this week's conversation, she reveals what speaker bookers are really looking for, and you might be surprised to discover that how well you speak is only one factor in her brilliant Bookability Formula. We talk about the interplay and overlap between being a speaker and being an author, and the way in which books support speaking so beautifully, and vice versa. (But it has to be the right book - Maria spent months of her life writing the wrong one so you don't have to.) If you want to land more speaking gigs, if you're not afraid to hear what that takes, and if you want to write the right book to support all of that, you probably shouldn't miss this.
Delitto Di Cogne, Annamaria Franzoni: Ecco Che Cosa Fa Oggi!A oltre 20 anni dal delitto di Cogne, Franzoni vive lontana dai riflettori. Scopri cosa fa oggi e dove si è rifugiata.#AndreaVigentini #SarabandaCelebrity #AmiciDiMariaDeFilippi #ErmalMeta #MusicaItaliana #AutoriItaliani #TalentShow #TVItaliana #CantantiItaliani #Eurovision2025
Fala cambada de Gamers!! O COFFCAST TÁ DE VOLTA!! Hoje o nosso timaço de pro-players (e o Davi) estão reunidos para (tentar) chegar num consenso: Qual é "O MAIOR JOGO DE TERROR DE TODOS OS TEMPOS?".CONHEÇA O PROJETO DO YURICONHEÇA O PROJETO DO ANDERSONCONHEÇA O PROJETO DO FÁBIOMas, contudo, porém, entretanto, todavia, o que está esperando? Escute o CoffCast 191 e também assine o nosso feed!!!E se caso você queira enviar algum email para a gente é só mandar para: coffcast@gmail.comCoffCasters: Davi Cardoso (Sr. Dharma), Anderson Carlos, Fábio Franzoni e Yuri Hupsel.LINK DO CAST NO ANCHOR – https://anchor.fm/asociedadedepodcastsLINK DO SPOTIFY – https://open.spotify.com/show/6UjBjDjRJc5IAgdIyZQ9YlEdição: Davi CardosoArte: Anderson Carlos
Maria Franzoni has booked Neil Armstrong and Liza Minnelli—and mentored hundreds of speakers in between. In this episode of Leadership NOW with Dan Pontefract, she explains what separates the truly bookable speaker from the rest, and how those same principles apply to leadership, business, and long-term impact. We explore how speaker bureaus are evolving in an AI-enabled world, what event organizers actually want, and why celebrity status means far less than clarity, value, and being frictionless to work with. Maria also walks through her new model, The Bookability Formula, and why the most successful speakers aren't always the most famous—they're the most useful. This is a masterclass in leadership positioning disguised as a conversation about keynote speaking. If you want to lead with more presence, pitch with more purpose, or build influence that lasts, you'll want to listen through to the end. Learn more: Maria Franzoni: https://www.mariafranzoni.me Dan Pontefract: https://www.danpontefract.com
Andrea Franzoni"Cercare Dio con il telecomando"L'immaginario biblico nelle serie TVAncora Editricewww.ancoralibri.itSi può fare teologia con le serie TV? Portando sul piccolo schermo le esperienze centrali della vita quotidiana, le serie mettono in scena le domande esistenziali più profonde e le trasformazioni della fede nella nostra società e dunque offrono al teologo – e più in generale al credente – percorsi nuovi di riacquisizione del senso della fede stessa. Questo saggio mette in luce gli elementi biblici e teologici reinterpretati da alcune importanti serie televisive di questo inizio di terzo millennio. Perché, consapevolmente o meno, le serie formulano una domanda che è anche ecclesiale: come parlare di Dio al mondo post-metafisico? «Dando voce alle inquietudini e alle aspirazioni di un'intera società, le serie TV possono essere considerate come l'espressione di un heideggeriano “Essere-qui”, che mette al centro l'uomo nella fragilità della propria condizione e nel rifiuto della solitudine. A ben guardare allora queste storie ricordano al credente l'intimità originaria della sua stessa vocazione e cioè quella di abitare, stare qui, nel tempo che resta da qui alla fine del mondo, alla luce del mistero di Cristo».Andrea Franzoni è docente di religione cattolica presso l'Istituto superiore J.M. Keynes di Castel Maggiore in provincia di Bologna. Ha conseguito il baccellierato e la licenza in teologia presso la Facoltà Teologica dell'Emilia-Romagna (FTER) e da diversi anni studia il nesso tra le produzioni dell'industria culturale contemporanea (film, animazione, letteratura, videogiochi) e l'immaginario cristiano. Ha collaborato con le riviste Il Regno e I Martedì di San Domenico; scrive tuttora per il portale di informazione religiosa Settimananews.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.
Turing señaló que, si se puede llevar a cabo una conversación con una máquina sin ser capaz de distinguir entre sus respuestas y las que daría un humano, la máquina está pensando. ¿Cómo las Inteligencias Artificiales Generativas nos facilitan la vida? ¿Qué peligros comportan? ¿Piensan o tan solo simulan pensar? Ana Lidia Franzoni, Directora Académica de Innovación y Tecnología del EPIC Lab, se ha subido a un taxi sin conductor, conversa con su propio avatar digital y trabaja de muy cerca con las IAG.
Robert Winfree and Mark Radulich present our Gladiator 2000 Movie Review!Gladiator is a 2000 historical epic film directed by Ridley Scott and written by David Franzoni, John Logan, and William Nicholson from a story by Franzoni. It stars Russell Crowe, Joaquin Phoenix, Connie Nielsen, Oliver Reed, Derek Jacobi, Djimon Hounsou, and Richard Harris. Crowe portrays the Roman general Maximus Decimus Meridius, who is betrayed when Commodus, the ambitious son of Emperor Marcus Aurelius, murders his father and seizes the throne. Reduced to slavery, Maximus becomes a gladiator and rises through the ranks of the arena, determined to avenge the murders of his family and the emperor.The screenplay, initially written by Franzoni, was inspired by the 1958 Daniel P. Mannix novel Those About to Die. The script was acquired by DreamWorks Pictures, and Scott signed on to direct the film. Principal photography began in January 1999 and wrapped in May of that year. Production was complicated by the script being rewritten multiple times and by the death of Oliver Reed before production was finished.Gladiator had its world premiere in Los Angeles, California, on May 1, 2000. The film was released in the United States on May 5, 2000 by DreamWorks and internationally on May 12, 2000 by Universal Pictures. The film grossed $465.4 million worldwide, becoming the second highest-grossing film of 2000, and won five Academy Awards, including Best Picture and Best Actor for Crowe. A sequel, Gladiator II, was released in November 2024.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59
This episode was first aired on 1/2/23.I've been re-airing my old episodes with Henry Franzoni as a tribute to his legacy and that more people will enjoy him the way I did.Description:In this episode, I talk to Henry Franzoni, musician and Bigfoot enthusiast. The following topics are covered in this chat so you won't want to miss it!Henry's favorite Portland noodle placeCaveman ShoestoreGrowing up in New JerseyHenry's 1993 Skookum Lake experience with Bigfoot, a UFO and the Men in Black.The Physics of BigfootFirst Nations interactions with SasquatchWorking with Peter Byrne in the Bigfoot Research Project.Interactions with Ray Crowe in his bookstore.Henry's friendship with Renee DahindenThe Lost History of Drumming for Bigfoot.Resources:Books mentioned -Henry's book - In the Spirit of Seatco - https://amzn.to/3VvDPl6 (affiliate link)The Oregon Bigfoot Highway - https://amzn.to/3G9QLXZ (affiliate link)Mount Shasta's Forgotten History and Legends by D.W. Naef - https://amzn.to/3G4bZ9X (affiliate link)Movies mentioned - A Flash of Beauty on Amazon - https://amzn.to/3vsqOhp (affiliate link)Henry's documentary - Drumming for Bigfoot - https://tubitv.com/movies/475884/to-the-ends-of-the-earth-bigfoot-monster-mystery?start=true(titled on Tubi as To the Ends of the Earth)VHS transfer copy of Drumming for Bigfoot on Youtube - https://www.youtube.com/watch?v=9VPdOq7x8uMSasquatch Odyssey on Tubi - https://tubitv.com/movies/706373/sasquatch-odyssey-the-hunt-for-bigfoot?start=trueRead more:Towards a Resolution of the Bigfoot Phenomenon by J Glickmanhttp://www.photekimaging.com/Support/rptcol2.pdfAlso, it seems as if there was a Raw Audio of this interview posted of this interview as well. I can't remember what I had taken out. Maybe cussin'? Find out and enjoy! - https://www.patreon.com/posts/bigfoot-society-76023685Share your Bigfoot encounter with me here: bigfootsociety@gmail.comWant to call in and leave a voicemail of your encounters for the podcast - Check this out here - https://www.speakpipe.com/bigfootsociety(Use multiple voice mails if needed!)
The following is an archival episode which was one of my favorite conversations with Henry Franzoni.I can't bring myself to listen to the whole thing again yet. I will someday.It's like when you have a favorite album from 20 years ago that you loved and it brings back so many memories.I know you will enjoy this.It has all the original language in it. Heads up to those that are sensitive to language.Here's the original show notes:In this episode of the Bigfoot Society podcast, I welcome back Mr. Henry Franzoni, a prominent figure in the Bigfoot community. Franzoni discusses his new book, "Failing in a Cooler Way: Why I Never Found Bigfoot," and reflects on his past involvement in Bigfoot documentaries and research from the 1990s. He recalls creating the first online Bigfoot discussion group and how it evolved over time. Franzoni shares his controversial opinion that the search for evidence to prove Bigfoot's existence is futile, as he believes the U.S. military and government are already aware of Bigfoot's existence and have been working alongside them for years. He recounts a personal experience from 2000 when he believes he was warned by the government to stop his investigations into a suspected Bigfoot base in Mist, Oregon. Franzoni emphasizes that he thinks the government is feeding the public breadcrumbs about Bigfoot and that there's much more to the story than meets the eye.In other words: If you like the Rainier, Oregon episode that went crazy (https://www.youtube.com/watch?v=z5v75Od-X38) then you need to listen to this one because FRANZONI CONNECTS SOME DOTS THAT ARE GOING TO ROCK YOUR FACE.Resources: Buy Henry's new book here - https://henrockflamzoni.com/shop/ols/products/failing-in-a-cooler-wayHenry's previous book here -In the Spirit of Seatco - https://amzn.to/48SpNSx (Amazon Affiliate Link)Henry Franzoni is a friend that we lost earlier this year. I miss him and those that knew him miss him as well.Celebrate his life by watching these other interviews with him here:Flash of Beauty Henry interviews:https://www.youtube.com/watch?v=hIhEc_J1HPkhttps://www.youtube.com/watch?v=O08KWK0Wi4Uhttps://www.youtube.com/watch?v=OGGuhbtPi4sShare your Bigfoot encounter with me here: bigfootsociety@gmail.comWant to call in and leave a voicemail of your encounters for the podcast - Check this out here - https://www.speakpipe.com/bigfootsociety(Use multiple voice mails if needed!)
Tonight I decided to repost my interview from episode 347 from August 2023, with the late Henry Franzoni. Henry past away a few weeks ago, and I wanted to pay tribute. Henry was an author, scientist, and long time Bigfoot researcher. He shares his personal encounters with these elusive creatures, as well as explaining his theories on what he believes they are and are not. Henry's new book Failing In A Cooler Way: Why I Never Found Bigfoot is now available. You can get your copy now using the link below. Get Henry's Book HereSupport Our SponsorsVisit Hangar1 PublishingSasquatch Odyssey YouTube ChannelVisit Our WebsiteParanormal World Productions Merchandise Store Support The Showhttps://www.patreon.com/paranormalworldproductionsAll The Socials And Stuff/Contact Brianhttps://linktr.ee/ParanormalWorldProductionsbrian@paranormalworldproductions.com Send Brian A Voicemail Or Tell Your Storyhttps://www.speakpipe.com/SasquatchOdysseyPodcastFollow The Show On Instagram https://www.instagram.com/sasquatchodyssey/Follow The Show On TikTok https://www.tiktok.com/@sasquatchodysseypodcast?_t=8XRHQxPMFYo&_r=1Become a supporter of this podcast: https://www.spreaker.com/podcast/sasquatch-odyssey--4839697/support.
This is a conversation with Henry Franzoni about what I experienced during my time in Oakridge for Sasquatch Summer Fest. Many events are discussed that pushed me far, far into the group that believe Sasquatch is real without a doubt.The full Patreon report with photos (and more info that I feel comfortable sharing in a smaller community) is here: https://www.patreon.com/posts/full-oakridge-109008668?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=postshare_creator&utm_content=join_linkResources: Buy Henry's new book here - https://henrockflamzoni.com/shop/ols/products/failing-in-a-cooler-wayHenry's previous book here -In the Spirit of Seatco - https://amzn.to/48SpNSx (Amazon Affiliate Link)Share your Bigfoot encounter with me here: bigfootsociety@gmail.comWant to call in and leave a voicemail of your encounters for the podcast - Check this out here - https://www.speakpipe.com/bigfootsociety(Use multiple voice mails if needed!)
From 1993-1998, Henry Franzoni, participated as an advisor of Peter Byrne's Bigfoot Research Project with Ron Morehead. He also created the first online discussion forum focusing on Bigfoot. Members of the research project, also analyzed and released their findings on the famous Patterson-Gimlin film. In addition, he also took part in a movie about Bigfoot in which he played drums.Born in Paris, France, Franzoni and his family moved to New Jersey where they lived until he was 17. They then relocated to Oregon where he became a recording artist. In addition, he was a scientist for tribal fisheries and was a computer scientist and programmer.He currently lives in rural SW Washington with his wife and eight cats.Websites barattheedgeoftheuniverse.com henrockflamzoni.comBook Failing in a Cooler Way
El video original se llama: MI HISTORIA CON UNA NOVIA PSICOPÂTA (Me hizo de todo) | ROB # 305 (empr)
El video original se llama: MI HISTORIA CON UNA NOVIA PSICOPÂTA (Me hizo de todo) | ROB # 305 (empr)
Rob Franzoni cuenta su experiencia de como fue tener una relación con una novia toxica y psicópata, como se compro hasta 28 chips de teléfono para estarlo hostigando, como es andar con una mujer con colmillo y bien vivida, como lo ataco delante de un adulto mayor y una niña, como fingió su embarazó para amenazarlo de abortar, como le presumía a sus pretendientes, como lo mando a atropellar y le destruyo su moto nueva, mantener a una mujer que no aporta nada en el hogar y que gana buen dinero, como lo amenazo con brujería haciéndole amarres de amor, las mentiras que te puede echar una mujer para irse a vivir contigo cómodamente. --- Support this podcast: https://podcasters.spotify.com/pod/show/gusgripodcast/support
Ospite: Arnaldo Franzoni A TUTTA C con Cristiano Cesarini e Alessandro Sticozzi
¿Qué tiene que ver el maltrato a la inversión social con el Día Internacional de la Mujer? Pues en todo. Resulta que el desarrollo y la consolidación del Estado Social de Derecho se expande mucho más cuando son las mujeres las que, con su visión y su acción, deciden en torno a la inversión social, para beneficiar los proyectos de vida de niñas, niños y adolescentes. Así lo demuestran los resultados de un estudio realizado recientemente en siete países de América Latina, incluido Costa Rica. Y precisamente en nuestro caso, el asunto es de suyo significativo, dada la arremetida de la política fiscalista. Cuando esto sucede, las cargas para sostener el bienestar de las familias recaen con mucho mayor peso en las mujeres, muchas de las cuales enfrentan condiciones adversas para sostener la ausencia o el debilitamiento de la institucionalidad, como está ocurriendo hoy. En este 8 de marzo, la experta en desarrollo social latinoamericano, Juliana Martínez, nos convoca a buscar respuestas a preguntas tales como: ¿es qué acaso las mujeres somos genéticamente buenas? ¿Cómo es que la inversión social se relaciona con el bienestar y la igualdad de las mujeres? Para poner foco en ello conversamos con la Dra. Martínez Franzoni.
How do you captivate your audience, leave a lasting impression, and potentially transform your business through the power of keynote speaking? In this weeks episode of the Training Business podcast I'm speaking with Maria Franzoni, the founder and chief mentor of Speaking Business Academy. Maria is one of the most experienced speaker bookers in Europe and recognised as a speaking industry expert. She supports speakers (established and new) to turn their speaking into profitable businesses. Maria set up Speaking Business Academy, driven by a passion to elevate industry standards and empower speakers worldwide. Tune in and you'll learn the following, PLUS MUCH MORE:
In this episode, I speak with Mariella Franzoni, a Contemporary Art Specialist, Curator, and Consultant with over 15 years of international experience across Spain, Italy, and South Africa. Her diverse career spans academic research, teaching, and various pivotal roles in art organizations and events. Mariella dedicates herself to guiding art collectors, buyers, and brands, helping them navigate the complexities of the contemporary art scene.Celebrating the 11th edition of the fair, she shares the theme for 2024 "Inhabiting the Wild," drawing from Jack Halberstam's intriguing perspectives on human interaction with nature.
Andrea Franzoni"Questo azzurro"L'uomo-gioiaEdizioni Sanpinowww.edizionisanpino.it"Scrivere è disegnare una portasu un muro invalicabilee poi aprirla."Christian Bobin ci offre quindici racconti: ritratti di persone care (suo padre), incontri (Maria la bambina zingara, una mendicante), figure emblematiche (Soulages, Glenn Gould, Matisse, Pascal), visioni (un ramo di mimosa, una cattedrale) e una lunga lettera alla donna che ha amato e perso, «la più che viva».Tra questi racconti fanno capolino brevi paragrafi, a volte scritti a mano, che condensano un pensiero, abbagliante di profondità e umanità.Traduzione a cura di Andrea Franzoni.Perché comprarlo?• Un prezioso scrigno di racconti del famoso scrittore francese, irrinunciabile per chi ama la sua scrittura e la sua poesia.• Un libro che parla al lettore come se tutto fosse rivolto e dedicato a lui. “La scrittura di Bobin è certamente poesia, perché è colma di silenzio, perché ha al proprio centro il silenzio: lo suscita, lo impone alla lettura, come respiro obbligato, come passo di forte e lento camminatore. Non lo si può leggere di corsa. La lentezza che egli persegue contagia il lettore e lo sistema in quel verbo di cui Bobin è maestro: l'auscultare, cosicché da lettori si diventa auscultatori, da corridori distratti a meditanti, da divoratori onnivori ad attenti. Bobin dunque ci conduce fuori dall'ordinario, ci educa”. Mariangela Gualtieri"Quel che mi mancherà nell'eternitàsaranno i libri e le lettere.Tutto il restonon saranno che deliziesin d'ora percettibili."IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.
In this episode of the Bigfoot Society podcast, I welcome back Mr. Henry Franzoni, a prominent figure in the Bigfoot community. Franzoni discusses his new book, "Failing in a Cooler Way: Why I Never Found Bigfoot," and reflects on his past involvement in Bigfoot documentaries and research from the 1990s. He recalls creating the first online Bigfoot discussion group and how it evolved over time. Franzoni shares his controversial opinion that the search for evidence to prove Bigfoot's existence is futile, as he believes the U.S. military and government are already aware of Bigfoot's existence and have been working alongside them for years. He recounts a personal experience from 2000 when he believes he was warned by the government to stop his investigations into a suspected Bigfoot base in Mist, Oregon. Franzoni emphasizes that he thinks the government is feeding the public breadcrumbs about Bigfoot and that there's much more to the story than meets the eye.In other words: If you like the Rainier, Oregon episode that went crazy (https://www.youtube.com/watch?v=z5v75Od-X38) then you need to listen to this one because FRANZONI CONNECTS SOME DOTS THAT ARE GOING TO ROCK YOUR FACE.Resources: Buy Henry's new book here - https://henrockflamzoni.com/shop/ols/products/failing-in-a-cooler-wayHenry's previous book here -In the Spirit of Seatco - https://amzn.to/48SpNSx (Amazon Affiliate Link)WATCH THE IOWA EPISODE IN THE “SASQUATCH: A SEARCH FOR SABE” DOCUMENTARY SERIES BY TATE HIERONYMUS // FIND OUT ALL ABOUT MY FIRST BIGFOOT ENCOUNTERS! https://www.youtube.com/watch?v=yo8O4rvywzETo unlock more bonus content and much more, become a supporting member of Bigfoot Society by joining the Patreon. https://www.patreon.com/thebigfootsocietyBecome a Youtube Channel member here: https://www.youtube.com/channel/UC8Qq45W6iaTU8FE9kelxT7Q/joinSupport Bigfoot Society one time by buying me a coffee here: https://www.buymeacoffee.com/bigfootsociety To pick up a Bigfoot Society shirt, stickers and more, check out our merch by heading on over to https://www.etsy.com/shop/BigfootSocietySend me a voice message to potentially be used for the show by calling 515-809-0165 Here's a fun prompt - “Hey, my name's [your name] and you're listening to the Bigfoot Society podcast!”If you'd like to send me fan mail, Bigfoot related products to check out or written out Bigfoot encounters then you reach me at the following address: Bigfoot Society 125 E 1st St. #233 Earlham, IA 50072Join our private Facebook group "Bigfoot Sasquatch Encounters" for a chance to connect with others who have had similar experiences. Follow the directions to ensure your entry is accepted.https://www.facebook.com/groups/5762233820540793/?ref=share_group_linkTune in to our YouTube channel (https://www.youtube.com/channel/UC8Qq45W6iaTU8FE9kelxT7Q) for new episodes of Bigfoot Society, and visit our website (www.bigfootsocietypodcast.com) for all the links mentioned above and more.Don't miss out on the Bigfoot action! —— Affiliate links mean I earn a commission from qualifying purchases. This helps support my channel at no additional cost to you.—— MY GEAR —— My Audio Interface: https://amzn.to/3L1q8XYMy Podcast Mic: https://amzn.to/3AlYwb9My Computer: https://amzn.to/40CCjQyMy Headphones: https://amzn.to/40A8gcrMy Webcam: https://amzn.to/3NqfddhThe best Bigfoot book: https://amzn.to/41x8IcNLose the weight along with me on Noom. Get 20% off your subscription with link below. (Consult your doctor first) https://noom.com/r/GdkaWNddL?1251Join Whatnot and pick up some sweet video games and vintage shirts. Use my link below and we both get $10 credit after you place your first order. https://whatnot.com/invite/bigfootsocietyLearn more and up your creative game with Skillshare. Use my link and get a $50 gift card. https://share.skillshare.com/bigfootsocietyIf you want an amazing website like Bigfoot Society has that is extremely easy to set up and connects to your podcast in an incredible way then check out Podpage. https://www.podpage.com/?via=jeremiah (Use this affiliate link and you help out Bigfoot Society)This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5828342/advertisement
Rob Franzoni fisicoculturista profesional cuenta lo malo de tener un cuerpo "mamado" lo que se gasta a la semana en comida y suplementos, inyectarse hormonas para tener un cuerpo espectacular, los daños a la salud que hacen los esteroides, como te acorta tu tiempo de vida el uso de fármacos en el deporte, mujeres que usan anabólicos y las consecuencias que pagan, lo que sucede si te inyectas y no comes bien, secretos para bajar de peso, lo recomendable para que una persona pueda tener un mejor desempeño al hacer pesas. --- Support this podcast: https://podcasters.spotify.com/pod/show/gusgripodcast/support
Henry Franzoni returns with Tim and Dana to share the release of hi new book, Failing in a Cooler Way; Why I Never Found Bigfoot. They have a fascinating discussion about the book, the possible government involvement, the indigenous knowledge, and how science ties into all of it. Henry also shares experiences working with Peter Bynre and their study of the Patterson Gimlin Film. As always, it is an informative and fun conversation!Order Henry's book:https://henrockflamzoni.com/The Bigfoot Influencers:https://thebigfootinfluencers.com/Untold Radio Network:https://untoldradioam.com/This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4602609/advertisement
In this episode, Chris talks with Nick Schauman of The Local Oyster and True Chesapeake as they perform bivalve ASMR, discuss the importance of conservation and the recycling of oyster shells in the Chesapeake Bay, and reminisce about old family recipes that appear on the menu today. Special thanks to Aaron Dante (@nopixafterdark) for the opportunity and platform!
In this podcast, Chris talks with Sarah Simington of Blue Moon Cafe and we discuss the creation of her iconic Cap'n Crunch French Toast, how she caught her staff member making out with a local food truck owner during a black out, and the difficulties in running a restaurant out of a 950 square foot space. Special thanks to Aaron Dante (@nopixafterdark) for the opportunity and platform!
In his very first podcast, Chris Franzoni, founder and “Eater-in-Chief” of @EatMoreBeMore, talks with Steve Chu, co-owner of Ekiben. They discuss the importance of family, becoming a James Beard semi-finalist, and how Baltimore's food scene rivals (and surpasses) that of DC. Special thanks to Aaron Dante for the opportunity and platform to launch this mini-series! Sflowproductions
Dana and Tim have and amazing conversation with the legendary Henry Franzoni! They discuss his first encounter, the early researchers, and the native theories on the subject of Bigfoot. Henry also gives us a sneak peak into his upcoming book! Hear about how the Bigfoot subject first made it to the world wide web!#Bigfoot, #Sasquatch, #Thebigfootinflueners, #Monsterquest, #Bigfootsightings, #Sasquatchsightings
La salud de la Caja Costarricense de Seguro Social, sigue siendo materia prioritaria de análisis nacional en un contexto en el que, como hemos señalado ya en otras oportunidades, tanto el presidente de la República, como su actual presidenta Ejecutiva, vienen argumentando que la institución está quebrada. Y aun cuando más de 400 personas de 43 instituciones distintas, firmaron una carta abierta ofreciendo argumentos de lo contrario y llamando la atención acerca de lo peligroso de ese tipo de aseveraciones, lo cierto es que el debate está establecido. Tanto esas advertencias como las conclusiones de una reciente auditoría externa de la firma Deloitte, reconocen una sólida salud financiera y no un estado de quiebra. Claro que no se ocultan los enormes desafíos institucionales, pero no es posible bregar con ellos a punta de cuestionamientos que generen un debilitamiento narrativo, una suspensión del portafolio de inversiones en todo el país y la ausencia de claridad en temas vitales como la fuga de especialistas y las listas de espera. Para seguir con el dedo en el renglón conversamos este martes con Juliana Martínez Franzoni, connotada investigadora social e integrante de la Junta de Notables que hace exactamente una década (2013) emitió un centenar de recomendaciones para darle sostenibilidad de largo plazo a nuestra emblemática entidad.
Author of the book The Spirit of Seatco, Henry Franzoni, sits down with us to speak further about his relationship to Sasquatch and PNW tribal members. Henry goes into detail regarding not only his experience as a scientist looking into the matter of Sasquatch, but understanding it through the cultural lens of the Native Americans who may know the most about this living legend.Join the film crew of A Flash of Beauty: Bigfoot Revealed as they explain the origin story for the documentary and speak candidly regarding their journey along the way.The Director Brett Eichenberger, Producer Jill Remensnyder and Cinematographer Michael Ferry, the minds behind the documentary, confess how and why the personal narrative interviews with Sasquatch experiencers has forever changed their lives.Host of the podcast is Co-Producer Tobe Johnson, an extended Sasquatch experiencer who not only knows how real the phenomenon of Sasquatch is, but just how transformative it can be on all aspects.So here we go....Once more back into the trees, where the documentary left off and the eyewitness of A Flash of Beauty lead us even further down the trail.production information for the film teamhttps://www.resonancepro.com/aboutA Flash of Beauty homepagehttps://www.bigfootdoc.comhttps://www.amazon.com/Spirit-Seatco-Sasquatch-Geography-Nineteenth-ebook/dp/B01HSJ8CXM
Polycystic ovary syndrome (PCOS) is a common condition impacting roughly one in four women of reproductive age. , In this show we discuss natural ways to reverse the underlying factors driving PCOS. Save 15% OFF on Berberine HCl and Myo-Inositol containing Sleep Formulations from MYOXCIENCE Save with code podcast at checkout Links to Studies, Images and the Video Version: https://bit.ly/3nMt9QJ Time Stamps 00:04 PCOS (polycystic ovarian syndrome) is about 1 in 5 of women of childbearing age. 00:26 The root cause of PCOS is poor metabolic health. 01:54 Ovaries hyper secrete androgens that are linked with challenges within the ovaries and the formation of water-forming cysts. 02:39 Hormonal birth control is frequently prescribed to increase sex hormone binding globulin and neutralize the elevated androgens. 04:04 Some cytochrome P450 enzymes are involved in the formation of steroid-like hormones, like testosterone. 05:04 Insulin and IGF-1 increase the activity of a cytochrome P450 enzyme called CYP17A1, which then increases testosterone, dihydrotestosterone, and DHEA within the ovaries. 06:36 Excessive levels of androgens cause hair loss, infertility, lack of ovulation, and cause the formation of water forming cysts within the ovaries. 08:24 Autoimmunity often co-occurs with PCOS. 08:44 Deliberate cold exposure helps metabolic health by stimulating brown and beige fat cells. 09:54 Metabolic health increases the activity of enzymes that create hormones. It does the inverse in men and women. 10:04 Men's poor metabolic health drives the formation of extra estrogen. 10:14 Women's poor metabolic health drives the formation of extra testosterone. 12:44 97% of obese women have PCOS. 65% of non-obese women have PCOS. 13:14 Fat cells secrete hormones, called adipocytokines. One of these is leptin. 13:54 Leptin decreases activity of T-regulatory cells that help to prevent autoimmunity. 16:04 Belly fat cells convert androgens into estrogens. This is impacted by insulin. 18:14 Nutrition and exercise are fundamental ways to address poor metabolic health. 18:24 A ketogenic or low carb diet is helpful because it manages blood sugar and insulin, and ketones have immune signaling properties. 19:24 Intermittent fasting can support glycemic variability and improve insulin sensitivity. 19:46 Time restricted feeding with a 16 or 18 hour fast is also helpful for longevity, burning fat, and supporting metabolic health. 20:14 Poor sleep exacerbates insulin resistance. Tape your mouth shut when you sleep. 21:24 Resistance training decreases androgens in women with PCOS. All exercise supports underlying metabolic dysfunction. 22:24 Magnesium is helpful for supporting insulin sensitivity. 23:15 Myo-inositol and inositol makes ovaries more sensitive to insulin, preventing the increase in androgens. 24:04 Vitamin D is involved in blood sugar regulation, immune health, and sleep quality. 24:19 Gut health is important to metabolic health. Eat real food and ferments. 24:54 Berberine hydrochloride, 500 mg 1 to 3 times per day, is a natural Metformin. Studies Mentioned Witchel, S. F., & Plant, T. M. (2020). Intertwined reproductive endocrinology: Puberty and polycystic ovary syndrome. Current Opinion in Endocrine and Metabolic Research, 14, 127–136. http://doi.org/10.1016/j.coemr.2020.07.004 Stefanaki, C., Bacopoulou, F., Kandaraki, E., Boschiero, D., & Diamandi-Kandarakis, E. (2019). Lean Women on Metformin and Oral Contraceptives for Polycystic Ovary Syndrome Demonstrate a Dehydrated Osteosarcopenic Phenotype: A Pilot Study. Nutrients, 11(9), 2055. http://doi.org/10.3390/nu11092055 Moghetti, P., & Tosi, F. (2020). Insulin resistance and PCOS: chicken or egg? Journal of Endocrinological Investigation, 44(2), 233–244. http://doi.org/10.1007/s40618-020-01351-0 Scarfò, G., Daniele, S., Fusi, J., Gesi, M., Martini, C., Franzoni, F., et al. (2022). Metabolic and Molecular Mechanisms of Diet and Physical Exercise in the Management of Polycystic Ovarian Syndrome. Biomedicines, 10(6), 1305. http://doi.org/10.3390/biomedicines10061305 Witchel, S. F., & Plant, T. M. (2020). Intertwined reproductive endocrinology: Puberty and polycystic ovary syndrome. Current Opinion in Endocrine and Metabolic Research, 14, 127–136. http://doi.org/10.1016/j.coemr.2020.07.004 Optimal management of polycystic ovary syndrome in adolescence. (2015). Optimal management of polycystic ovary syndrome in adolescence, 1–8. http://doi.org/10.1136/archdischild-2014-306471&domain=pdf&date_stamp=2015-06-22
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
Episode one hundred and forty of A History of Rock Music in Five Hundred Songs looks at “Trouble Every Day" by the Mothers of Invention, and the early career of Frank Zappa. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Christmas Time is Here Again" by the Beatles. 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 I'm away from home as I upload this and haven't been able to do a Mixcloud, but will hopefully edit a link in in a week or so if I remember. The main biography I consulted for this was Electric Don Quixote by Neil Slaven. Zappa's autobiography, The Real Frank Zappa Book, is essential reading if you're a fan of his work. Information about Jimmy Carl Black's early life came from Black's autobiography, For Mother's Sake. Zappa's letter to Varese is from this blog, which also contains a lot of other useful information on Zappa. For information on the Watts uprising, I recommend Johnny Otis' Listen to the Lambs. And the original mix of Freak Out is currently available not on the CD issue of Freak Out itself, which is an eighties remix, but on this "documentary" set. 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 I begin -- there are a couple of passing references in this episode to rape and child abuse. I don't believe there's anything that should upset anyone, but if you're worried, you might want to read the transcript on the podcast website before or instead of listening. But also, this episode contains explicit, detailed, descriptions of racial violence carried out by the police against Black people, including against children. Some of it is so distressing that even reading the transcript might be a bit much for some people. Sometimes, in this podcast, we have to go back to another story we've already told. In most cases, that story is recent enough that I can just say, "remember last episode, when I said...", but to tell the story of the Mothers of Invention, I have to start with a story that I told sixty-nine episodes ago, in episode seventy-one, which came out nearly two years ago. In that episode, on "Willie and the Hand Jive", I briefly told the story of Little Julian Herrera at the start. I'm going to tell a slightly longer version of the story now. Some of the information at the start of this episode will be familiar from that and other episodes, but I'm not going to expect people to remember something from that long ago, given all that's happened since. The DJ Art Laboe is one of the few figures from the dawn of rock and roll who is still working. At ninety-six years old, he still promotes concerts, and hosts a syndicated radio show on which he plays "Oldies but Goodies", a phrase which could describe him as well as the music. It's a phrase he coined -- and trademarked -- back in the 1950s, when people in his audience would ask him to play records made a whole three or four years earlier, records they had listened to in their youth. Laboe pretty much single-handedly invented the rock and roll nostalgia market -- as well as being a DJ, he owned a record label, Original Sound, which put out a series of compilation albums, Oldies But Goodies, starting in 1959, which started to cement the first draft of the doo-wop canon. These were the first albums to compile together a set of older rock and roll hits and market them for nostalgia, and they were very much based on the tastes of his West Coast teenage listenership, featuring songs like "Earth Angel" by the Penguins: [Excerpt: The Penguins, "Earth Angel"] But also records that had a more limited geographic appeal, like "Heaven and Paradise" by Don Julian and the Meadowlarks: [Excerpt: Don Julian and the Meadowlarks, "Heaven and Paradise"] As well as being a DJ and record company owner, Laboe was the promoter and MC for regular teenage dances at El Monte Legion Stadium, at which Kip and the Flips, the band that featured Sandy Nelson and Bruce Johnston, would back local performers like the Penguins, Don and Dewey, or Ritchie Valens, as well as visiting headliners like Jerry Lee Lewis. El Monte stadium was originally chosen because it was outside the LA city limits -- at the time there were anti-rock-and-roll ordinances that meant that any teenage dance had to be approved by the LA Board of Education, but those didn't apply to that stadium -- but it also led to Laboe's audience becoming more racially diverse. The stadium was in East LA, which had a large Mexican-American population, and while Laboe's listenership had initially been very white, soon there were substantial numbers of Mexican-American and Black audience members. And it was at one of the El Monte shows that Johnny Otis discovered the person who everyone thought was going to become the first Chicano rock star, before even Ritchie Valens, in 1957, performing as one of the filler acts on Laboe's bill. He signed Little Julian Herrera, a performer who was considered a sensation in East LA at the time, though nobody really knew where he lived, or knew much about him other than that he was handsome, Chicano, and would often have a pint of whisky in his back pocket, even though he was under the legal drinking age. Otis signed Herrera to his label, Dig Records, and produced several records for him, including the record by which he's now best remembered, "Those Lonely Lonely Nights": [Excerpt: Little Julian Herrera, "Those Lonely, Lonely, Nights"] After those didn't take off the way they were expected to, Herrera and his vocal group the Tigers moved to another label, one owned by Laboe, where they recorded "I Remember Linda": [Excerpt: Little Julian Herrera and the Tigers, "I Remember Linda"] And then one day Johnny Otis got a knock on his door from the police. They were looking for Ron Gregory. Otis had never heard of Ron Gregory, and told them so. The police then showed him a picture. It turned out that Julian Herrera wasn't Mexican-American, and wasn't from East LA, but was from Massachusetts. He had run away from home a few years back, hitch-hiked across the country, and been taken in by a Mexican-American family, whose name he had adopted. And now he was wanted for rape. Herrera went to prison, and when he got out, he tried to make a comeback, but ended up sleeping rough in the basement of the stadium where he had once been discovered. He had to skip town because of some other legal problems, and headed to Tijuana, where he was last seen playing R&B gigs in 1963. Nobody knows what happened to him after that -- some say he was murdered, others that he's still alive, working in a petrol station under yet another name, but nobody has had a confirmed sighting of him since then. When he went to prison, the Tigers tried to continue for a while, but without their lead singer, they soon broke up. Ray Collins, who we heard singing the falsetto part in "I Remember Linda", went on to join many other doo-wop and R&B groups over the next few years, with little success. Then in summer 1963, he walked into a bar in Ponoma, and saw a bar band who were playing the old Hank Ballard and the Midnighters song "Work With Me Annie". As Collins later put it, “I figured that any band that played ‘Work With Me Annie' was all right,” and he asked if he could join them for a few songs. They agreed, and afterwards, Collins struck up a conversation with the guitarist, and told him about an idea he'd had for a song based on one of Steve Allen's catchphrases. The guitarist happened to be spending a lot of his time recording at an independent recording studio, and suggested that the two of them record the song together: [Excerpt: Baby Ray and the Ferns, "How's Your Bird?"] The guitarist in question was named Frank Zappa. Zappa was originally from Maryland, but had moved to California as a child with his conservative Italian-American family when his father, a defence contractor, had got a job in Monterey. The family had moved around California with his father's work, mostly living in various small towns in the Mojave desert seventy miles or so north of Los Angeles. Young Frank had an interest in science, especially chemistry, and especially things that exploded, but while he managed to figure out the ingredients for gunpowder, his family couldn't afford to buy him a chemistry set in his formative years -- they were so poor that his father regularly took part in medical experiments to get a bit of extra money to feed his kids -- and so the young man's interest was diverted away from science towards music. His first musical interest, and one that would show up in his music throughout his life, was the comedy music of Spike Jones, whose band combined virtuosic instrumental performances with sound effects: [Excerpt: Spike Jones and his City Slickers, "Cocktails for Two"] and parodies of popular classical music [Excerpt: Spike Jones and his City Slickers, "William Tell Overture"] Jones was a huge inspiration for almost every eccentric or bohemian of the 1940s and 50s -- Spike Milligan, for example, took the name Spike in tribute to him. And young Zappa wrote his first ever fan letter to Jones when he was five or six. As a child Zappa was also fascinated by the visual aesthetics of music -- he liked to draw musical notes on staves and see what they looked like. But his musical interests developed in two other ways once he entered his teens. The first was fairly typical for the musicians of his generation from LA we've looked at and will continue to look at, which is that he heard "Gee" by the Crows on the radio: [Excerpt: The Crows, "Gee"] He became an R&B obsessive at that moment, and would spend every moment he could listening to the Black radio stations, despite his parents' disapproval. He particularly enjoyed Huggy Boy's radio show broadcast from Dolphins of Hollywood, and also would religiously listen to Johnny Otis, and soon became a connoisseur of the kind of R&B and blues that Otis championed as a musician and DJ: [Excerpt: Zappa on the Late Show, “I hadn't been raised in an environment where there was a lot of music in the house. This couple that owned the chilli place, Opal and Chester, agreed to ask the man who serviced the jukebox to put in some of the song titles that I liked, because I promised that I would dutifully keep pumping quarters into this thing so that I could listen to them, and so I had the ability to eat good chilli and listen to 'Three Hours Past Midnight' by Johnny 'Guitar' Watson for most of my junior and senior year"] Johnny “Guitar” Watson, along with Guitar Slim, would become a formative influence on Zappa's guitar playing, and his playing on "Three Hours Past Midnight" is so similar to Zappa's later style that you could easily believe it *was* him: [Excerpt: Johnny "Guitar" Watson, "Three Hours Past Midnight"] But Zappa wasn't only listening to R&B. The way Zappa would always tell the story, he discovered the music that would set him apart from his contemporaries originally by reading an article in Look magazine. Now, because Zappa has obsessive fans who check every detail, people have done the research and found that there was no such article in that magazine, but he was telling the story close enough to the time period in which it happened that its broad strokes, at least, must be correct even if the details are wrong. What Zappa said was that the article was on Sam Goody, the record salesman, and talked about how Goody was so good at his job that he had even been able to sell a record of Ionisation by Edgard Varese, which just consisted of the worst and most horrible noises anyone had ever heard, just loud drumming noises and screeching sounds. He determined then that he needed to hear that album, but he had no idea how he would get hold of a copy. I'll now read an excerpt from Zappa's autobiography, because Zappa's phrasing makes the story much better: "Some time later, I was staying overnight with Dave Franken, a friend who lived in La Mesa, and we wound up going to the hi-fi place -- they were having a sale on R&B singles. After shuffling through the rack and finding a couple of Joe Huston records, I made my way toward the cash register and happened to glance at the LP bin. I noticed a strange-looking black-and-white album cover with a guy on it who had frizzy gray hair and looked like a mad scientist. I thought it was great that a mad scientist had finally made a record, so I picked it up -- and there it was, the record with "Ionisation" on it. The author of the Look article had gotten it slightly wrong -- the correct title was The Complete Works of Edgard Varèse, Volume I, including "Ionisation," among other pieces, on an obscure label called EMS (Elaine Music Store). The record number was 401.I returned the Joe Huston records and checked my pockets to see how much money I had -- I think it came to about $3.75. I'd never bought an album before, but I knew they must be expensive because mostly old people bought them. I asked the man at the cash register how much EMS 401 cost. "That gray one in the box?" he said. "$5.95." I'd been searching for that record for over a year and I wasn't about to give up. I told him I had $3.75. He thought about it for a minute, and said, "We've been using that record to demonstrate hi-fi's with -- but nobody ever buys one when we use it. I guess if you want it that bad you can have it for $3.75."" Zappa took the record home, and put it on on his mother's record player in the living room, the only one that could play LPs: [Excerpt: Edgard Varese, "Ionisation"] His mother told him he could never play that record in the living room again, so he took the record player into his bedroom, and it became his record player from that point on. Varese was a French composer who had, in his early career, been very influenced by Debussy. Debussy is now, of course, part of the classical canon, but in the early twentieth century he was regarded as radical, almost revolutionary, for his complete rewriting of the rules of conventional classical music tonality into a new conception based on chordal melodies, pedal points, and use of non-diatonic scales. Almost all of Varese's early work was destroyed in a fire, so we don't have evidence of the transition from Debussy's romantic-influenced impressionism to Varese's later style, but after he had moved to the US in 1915 he had become wildly more experimental. "Ionisation" is often claimed to be the first piece of Western classical music written only for percussion instruments. Varese was part of a wider movement of modernist composers -- for example he was the best man at Nicolas Slonimsky's wedding -- and had also set up the International Composers' Guild, whose manifesto influenced Zappa, though his libertarian politics led him to adapt it to a more individualistic rather than collective framing. The original manifesto read in part "Dying is the privilege of the weary. The present day composers refuse to die. They have realized the necessity of banding together and fighting for the right of each individual to secure a fair and free presentation of his work" In the twenties and thirties, Varese had written a large number of highly experimental pieces, including Ecuatorial, which was written for bass vocal, percussion, woodwind, and two Theremin cellos. These are not the same as the more familiar Theremin, created by the same inventor, and were, as their name suggests, Theremins that were played like a cello, with a fingerboard and bow. Only ten of these were ever made, specifically for performances of Varese's work, and he later rewrote the work to use ondes martenot instead of Theremin cellos, which is how the work is normally heard now: [Excerpt: Edgard Varese, "Ecuatorial"] But Varese had spent much of the thirties, forties, and early fifties working on two pieces that were never finished, based on science fiction ideas -- L'Astronome, which was meant to be about communication with people from the star Sirius, and Espace, which was originally intended to be performed simultaneously by choirs in Beijing, Moscow, Paris, and New York. Neither of these ideas came to fruition, and so Varese had not released any new work, other than one small piece, Étude pour espace, an excerpt from the larger work, in Zappa's lifetime. Zappa followed up his interest in Varese's music with his music teacher, one of the few people in the young man's life who encouraged him in his unusual interests. That teacher, Mr Kavelman, introduced Zappa to the work of other composers, like Webern, but would also let him know why he liked particular R&B records. For example, Zappa played Mr. Kavelman "Angel in My Life" by the Jewels, and asked what it was that made him particularly like it: [Excerpt: The Jewels, "Angel in My Life"] The teacher's answer was that it was the parallel fourths that made the record particularly appealing. Young Frank was such a big fan of Varese that for his fifteenth birthday, he actually asked if he could make a long-distance phone call to speak to Varese. He didn't know where Varese lived, but figured that it must be in Greenwich Village because that was where composers lived, and he turned out to be right. He didn't get through on his birthday -- he got Varese's wife, who told him the composer was in Europe -- but he did eventually get to speak to him, and was incredibly excited when Varese told him that not only had he just written a new piece for the first time in years, but that it was called Deserts, and was about deserts -- just like the Mojave Desert where Zappa lived: [Excerpt: Edgard Varese, "Deserts"] As he later wrote, “When you're 15 and living in the Mojave Desert, and you find out that the World's Greatest Composer (who also looks like a mad scientist) is working in a secret Greenwich Village laboratory on a song about your hometown (so to speak), you can get pretty excited.” A year later, Zappa actually wrote to Varese, a long letter which included him telling the story about how he'd found his work in the first place, hoping to meet up with him when Zappa travelled to the East Coast to see family. I'll read out a few extracts, but the whole thing is fascinating for what it says about Zappa the precocious adolescent, and I'll link to a blog post with it in the show notes. "Dear Sir: Perhaps you might remember me from my stupid phone call last January, if not, my name again is Frank Zappa Jr. I am 16 years old… that might explain partly my disturbing you last winter. After I had struggled through Mr. Finklestein's notes on the back cover (I really did struggle too, for at the time I had had no training in music other than practice at drum rudiments) I became more and more interested in you and your music. I began to go to the library and take out books on modern composers and modern music, to learn all I could about Edgard Varese. It got to be my best subject (your life) and I began writing my reports and term papers on you at school. At one time when my history teacher asked us to write on an American that has really done something for the U.S.A. I wrote on you and the Pan American Composers League and the New Symphony. I failed. The teacher had never heard of you and said I made the whole thing up. Silly but true. That was my Sophomore year in high school. Throughout my life all the talents and abilities that God has left me with have been self developed, and when the time came for Frank to learn how to read and write music, Frank taught himself that too. I picked it all up from the library. I have been composing for two years now, utilizing a strict twelve-tone technique, producing effects that are reminiscent of Anton Webern. During those two years I have written two short woodwind quartets and a short symphony for winds, brass and percussion. I plan to go on and be a composer after college and I could really use the counsel of a veteran such as you. If you would allow me to visit with you for even a few hours it would be greatly appreciated. It may sound strange but I think I have something to offer you in the way of new ideas. One is an elaboration on the principle of Ruth Seeger's contrapuntal dynamics and the other is an extension of the twelve-tone technique which I call the inversion square. It enables one to compose harmonically constructed pantonal music in logical patterns and progressions while still abandoning tonality. Varese sent a brief reply, saying that he was going to be away for a few months, but would like to meet Zappa on his return. The two never met, but Zappa kept the letter from Varese framed on his wall for the rest of his life. Zappa soon bought a couple more albums, a version of "The Rite of Spring" by Stravinsky: [Excerpt: Igor Stravinsky, "The Rite of Spring"] And a record of pieces by Webern, including his Symphony opus 21: [Excerpt: Anton Webern, "Symphony op. 21"] (Incidentally, with the classical music here, I'm not seeking out the precise performances Zappa was listening to, just using whichever recordings I happen to have copies of). Zappa was also reading Slonimsky's works of musicology, like the Thesaurus of Scales and Melodic Patterns. As well as this "serious music" though, Zappa was also developing as an R&B musician. He later said of the Webern album, "I loved that record, but it was about as different from Stravinsky and Varèse as you could get. I didn't know anything about twelve-tone music then, but I liked the way it sounded. Since I didn't have any kind of formal training, it didn't make any difference to me if I was listening to Lightnin' Slim, or a vocal group called the Jewels (who had a song out then called "Angel in My Life"), or Webern, or Varèse, or Stravinsky. To me it was all good music." He had started as a drummer with a group called the Blackouts, an integrated group with white, Latino, and Black members, who played R&B tracks like "Directly From My Heart to You", the song Johnny Otis had produced for Little Richard: [Excerpt: Little Richard, "Directly From My Heart to You"] But after eighteen months or so, he quit the group and stopped playing drums. Instead, he switched to guitar, with a style influenced by Johnny "Guitar" Watson and Guitar Slim. His first guitar had action so bad that he didn't learn to play chords, and moved straight on to playing lead lines with his younger brother Bobby playing rhythm. He also started hanging around with two other teenage bohemians -- Euclid Sherwood, who was nicknamed Motorhead, and Don Vliet, who called himself Don Van Vliet. Vliet was a truly strange character, even more so than Zappa, but they shared a love for the blues, and Vliet was becoming a fairly good blues singer, though he hadn't yet perfected the Howlin' Wolf imitation that would become his stock-in-trade in later years. But the surviving recording of Vliet singing with the Zappa brothers on guitar, singing a silly parody blues about being flushed down the toilet of the kind that many teenage boys would write, shows the promise that the two men had: [Excerpt: Frank Zappa and Captain Beefheart, "Lost in a Whirlpool"] Zappa was also getting the chance to hear his more serious music performed. He'd had the high school band play a couple of his pieces, but he also got the chance to write film music -- his English teacher, Don Cerveris, had decided to go off and seek his fortune as a film scriptwriter, and got Zappa hired to write the music for a cheap Western he'd written, Run Home Slow. The film was beset with problems -- it started filming in 1959 but didn't get finished and released until 1965 -- but the music Zappa wrote for it did eventually get recorded and used on the soundtrack: [Excerpt: Frank Zappa, "Run Home Slow Theme"] In 1962, he got to write the music for another film, The World's Greatest Sinner, and he also wrote a theme song for that, which got released as the B-side of "How's Your Bird?", the record he made with Ray Collins: [Excerpt: Baby Ray and the Ferns, "The World's Greatest Sinner"] Zappa was able to make these records because by the early sixties, as well as playing guitar in bar bands, he was working as an assistant for a man named Paul Buff. Paul Buff had worked as an engineer for a guided missile manufacturer, but had decided that he didn't want to do that any more, and instead had opened up the first independent multi-track recording studio on the West Coast, PAL Studios, using equipment he'd designed and built himself, including a five-track tape recorder. Buff engineered a huge number of surf instrumentals there, including "Wipe Out" by the Surfaris: [Excerpt: The Surfaris, "Wipe Out"] Zappa had first got to know Buff when he had come to Buff's studio with some session musicians in 1961, to record some jazz pieces he'd written, including this piece which at the time was in the style of Dave Brubeck but would later become a staple of Zappa's repertoire reorchestrated in a rock style. [Excerpt: The PAL Studio Band, "Never on Sunday"] Buff really just wanted to make records entirely by himself, so he'd taught himself to play the rudiments of guitar, bass, drums, piano, and alto saxophone, so he could create records alone. He would listen to every big hit record, figure out what the hooks were on the record, and write his own knock-off of those. An example is "Tijuana Surf" by the Hollywood Persuaders, which is actually Buff on all instruments, and which according to Zappa went to number one in Mexico (though I've not found an independent source to confirm that chart placing, so perhaps take it with a pinch of salt): [Excerpt: The Hollywood Persuaders, "Tijuana Surf"] The B-side to that, "Grunion Run", was written by Zappa, who also plays guitar on that side: [Excerpt: The Hollywood Persuaders, "Grunion Run"] Zappa, Buff, Ray Collins, and a couple of associates would record all sorts of material at PAL -- comedy material like "Hey Nelda", under the name "Ned and Nelda" -- a parody of "Hey Paula" by Paul and Paula: [Excerpt: Ned and Nelda, "Hey Nelda"] Doo-wop parodies like "Masked Grandma": [Excerpt: The PAL Studio Band, "Masked Grandma"] R&B: [Excerpt: The PAL Studio Band, "Why Don't You Do Me Right?"] and more. Then Buff or Zappa would visit one of the local independent label owners and try to sell them the master -- Art Laboe at Original Sound released several of the singles, as did Bob Keane at Donna Records and Del-Fi. The "How's Your Bird" single also got Zappa his first national media exposure, as he went on the Steve Allen show, where he demonstrated to Allen how to make music using a bicycle and a prerecorded electronic tape, in an appearance that Zappa would parody five years later on the Monkees' TV show: [Excerpt: Steve Allen and Frank Zappa, "Cyclophony"] But possibly the record that made the most impact at the time was "Memories of El Monte", a song that Zappa and Collins wrote together about Art Laboe's dances at El Monte Stadium, incorporating excerpts of several of the songs that would be played there, and named after a compilation Laboe had put out, which had included “I Remember Linda” by Little Julian and the Tigers. They got Cleve Duncan of the Penguins to sing lead, and the record came out as by the Penguins, on Original Sound: [Excerpt: The Penguins, "Memories of El Monte"] By this point, though, Pal studios was losing money, and Buff took up the offer of a job working for Laboe full time, as an engineer at Original Sound. He would later become best known for inventing the kepex, an early noise gate which engineer Alan Parsons used on a bass drum to create the "heartbeat" that opens Pink Floyd's Dark Side of the Moon: [Excerpt: Pink Floyd, "Speak to Me"] That invention would possibly be Buff's most lasting contribution to music, as by the early eighties, the drum sound on every single pop record was recorded using a noise gate. Buff sold the studio to Zappa, who renamed it Studio Z and moved in -- he was going through a divorce and had nowhere else to live. The studio had no shower, and Zappa had to just use a sink to wash, and he was surviving mostly off food scrounged by his resourceful friend Motorhead Sherwood. By this point, Zappa had also joined a band called the Soots, consisting of Don Van Vliet, Alex St. Clair and Vic Mortenson, and they recorded several tracks at Studio Z, which they tried to get released on Dot Records, including a cover version of Little Richard's “Slippin' and Slidin'”, and a song called “Tiger Roach” whose lyrics were mostly random phrases culled from a Green Lantern comic: [Excerpt: The Soots, "Tiger Roach"] Zappa also started writing what was intended as the first ever rock opera, "I Was a Teenage Maltshop", and attempts were made to record parts of it with Vliet, Mortenson, and Motorhead Sherwood: [Excerpt: Frank Zappa, "I Was a Teenage Maltshop"] Zappa was also planning to turn Studio Z into a film studio. He obtained some used film equipment, and started planning a science fiction film to feature Vliet, titled "Captain Beefheart Meets the Grunt People". The title was inspired by an uncle of Vliet's, who lived with Vliet and his girlfriend, and used to urinate with the door open so he could expose himself to Vliet's girlfriend, saying as he did so "Look at that! Looks just like a big beef heart!" Unfortunately, the film would not get very far. Zappa was approached by a used-car salesman who said that he and his friends were having a stag party. As Zappa owned a film studio, could he make them a pornographic film to show at the party? Zappa told him that a film wouldn't be possible, but as he needed the money, would an audio tape be acceptable? The used-car salesman said that it would, and gave him a list of sex acts he and his friends would like to hear. Zappa and a friend, Lorraine Belcher, went into the studio and made a few grunting noises and sound effects. The used-car salesman turned out actually to be an undercover policeman, who was better known in the area for his entrapment of gay men, but had decided to branch out. Zappa and Belcher were arrested -- Zappa's father bailed him out, and Zappa got an advance from Art Laboe to pay Belcher's bail. Luckily "Grunion Run" and "Memories of El Monte" were doing well enough that Laboe could give Zappa a $1500 advance. When the case finally came to trial, the judge laughed at the tape and wanted to throw the whole case out, but the prosecutor insisted on fighting, and Zappa got ten days in prison, and most of his tapes were impounded, never to be returned. He fell behind with his rent, and Studio Z was demolished. And then Ray Collins called him, asking if he wanted to join a bar band: [Excerpt: The Mothers, "Hitch-Hike"] The Soul Giants were formed by a bass player named Roy Estrada. Now, Estrada is unfortunately someone who will come up in the story a fair bit over the next year or so, as he played on several of the most important records to come out of LA in the sixties and early seventies. He is also someone about whom there's fairly little biographical information -- he's not been interviewed much, compared to pretty much everyone else, and it's easy to understand why when you realise that he's currently half-way through a twenty-five year sentence for child molestation -- his third such conviction. He won't get out of prison until he's ninety-three. He's one of the most despicable people who will turn up in this podcast, and frankly I'm quite glad I don't know more about him as a person. He was, though, a good bass player and falsetto singer, and he had released a single on King Records, an instrumental titled "Jungle Dreams": [Excerpt, Roy Estrada and the Rocketeers, "Jungle Dreams"] The other member of the rhythm section, Jimmy Carl Black, was an American Indian (that's the term he always used about himself until his death, and so that's the term I'll use about him too) from Texas. Black had grown up in El Paso as a fan of Western Swing music, especially Bob Wills, but had become an R&B fan after discovering Wolfman Jack's radio show and hearing the music of Howlin' Wolf and Sonny Boy Williamson. Like every young man from El Paso, he would travel to Juarez as a teenager to get drunk, see sex shows, and raise hell. It was also there that he saw his first live blues music, watching Long John Hunter, the same man who inspired the Bobby Fuller Four, and he would always claim Hunter as the man whose shows taught him how to play the blues. Black had decided he wanted to become a musician when he'd seen Elvis perform live. In Black's memory, this was a gig where Elvis was an unknown support act for Faron Young and Wanda Jackson, but he was almost certainly slightly misremembering -- it's most likely that what he saw was Elvis' show in El Paso on the eleventh of April 1956, where Young and Jackson were also on the bill, but supporting Elvis who was headlining. Either way, Black had decided that he wanted to make girls react to him the same way they reacted to Elvis, and he started playing in various country and R&B bands. His first record was with a group called the Keys, and unfortunately I haven't been able to track down a copy (it was reissued on a CD in the nineties, but the CD itself is now out of print and sells for sixty pounds) but he did rerecord the song with a later group he led, the Mannish Boys: [Excerpt: Jimmy Carl Black and the Mannish Boys, "Stretch Pants"] He spent a couple of years in the Air Force, but continued playing music during that time, including in a band called The Exceptions which featured Peter Cetera later of the band Chicago, on bass. After a brief time working as lineman in Wichita, he moved his family to California, where he got a job teaching drums at a music shop in Anaheim, where the bass teacher was Jim Fielder, who would later play bass in Blood, Sweat, and Tears. One of Fielder's friends, Tim Buckley, used to hang around in the shop as well, and Black was at first irritated by him coming in and playing the guitars and not buying anything, but eventually became impressed by his music. Black would later introduce Buckley to Herb Cohen, who would become Buckley's manager, starting his professional career. When Roy Estrada came into the shop, he and Black struck up a friendship, and Estrada asked Black to join his band The Soul Giants, whose lineup became Estrada, Black, a sax player named Davey Coronado, a guitarist called Larry and a singer called Dave. The group got a residency at the Broadside club in Ponoma, playing "Woolly Bully" and "Louie Louie" and other garage-band staples. But then Larry and Dave got drafted, and the group got in two men called Ray -- Ray Collins on vocals, and Ray Hunt on guitar. This worked for a little while, but Ray Hunt was, by all accounts, not a great guitar player -- he would play wrong chords, and also he was fundamentally a surf player while the Soul Giants were an R&B group. Eventually, Collins and Hunt got into a fistfight, and Collins suggested that they get in his friend Frank instead. For a while, the Soul Giants continued playing "Midnight Hour" and "Louie Louie", but then Zappa suggested that they start playing some of his original material as well. Davy Coronado refused to play original material, because he thought, correctly, that it would lose the band gigs, but the rest of the band sided with the man who had quickly become their new leader. Coronado moved back to Texas, and on Mother's Day 1965 the Soul Giants changed their name to the Mothers. They got in Henry Vestine on second guitar, and started playing Zappa's originals, as well as changing the lyrics to some of the hits they were playing: [Excerpt: The Mothers, "Plastic People"] Zappa had started associating with the freak crowd in Hollywood centred around Vito and Franzoni, after being introduced by Don Cerveris, his old teacher turned screenwriter, to an artist called Mark Cheka, who Zappa invited to manage the group. Cheka in turn brought in his friend Herb Cohen, who managed several folk acts including the Modern Folk Quartet and Judy Henske, and who like Zappa had once been arrested on obscenity charges, in Cohen's case for promoting gigs by the comedian Lenny Bruce. Cohen first saw the Mothers when they were recording their appearance in an exploitation film called Mondo Hollywood. They were playing in a party scene, using equipment borrowed from Jim Guercio, a session musician who would briefly join the Mothers, but who is now best known for having been Chicago's manager and producing hit records for them and Blood, Sweat, and Tears. In the crowd were Vito and Franzoni, Bryan Maclean, Ram Dass, the Harvard psychologist who had collaborated with Timothy Leary in controversial LSD experiments that had led to both losing their jobs, and other stalwarts of the Sunset Strip scene. Cohen got the group bookings at the Whisky A-Go-Go and The Trip, two of the premier LA nightclubs, and Zappa would also sit in with other bands playing at those venues, like the Grass Roots, a band featuring Bryan Maclean and Arthur Lee which would soon change its name to Love. At this time Zappa and Henry Vestine lived together, next door to a singer named Victoria Winston, who at the time was in a duo called Summer's Children with Curt Boettcher: [Excerpt: Summer's Children, "Milk and Honey"] Winston, like Zappa, was a fan of Edgard Varese, and actually asked Zappa to write songs for Summer's Children, but one of the partners involved in their production company disliked Zappa's material and the collaboration went no further. Zappa at this point was trying to incorporate more ideas from modal jazz into his music. He was particularly impressed by Eric Dolphy's 1964 album "Out to Lunch": [Excerpt: Eric Dolphy, "Hat and Beard"] But he was also writing more about social issues, and in particular he had written a song called "The Watts Riots Song", which would later be renamed "Trouble Every Day": [Excerpt: The Mothers of Invention, "Trouble Every Day"] Now, the Watts Uprising was one of the most important events in Black American history, and it feels quite wrong that I'm covering it in an episode about a band made up of white, Latino, and American Indian people rather than a record made by Black people, but I couldn't find any way to fit it in anywhere else. As you will remember me saying in the episode on "I Fought the Law", the LA police under Chief William Parker were essentially a criminal gang by any other name -- they were incompetent, violent, and institutionally racist, and terrorised Black people. The Black people of LA were also feeling particularly aggrieved in the summer of 1965, as a law banning segregation in housing had been overturned by a ballot proposition in November 1964, sponsored by the real estate industry and passed by an overwhelming majority of white voters in what Martin Luther King called "one of the most shameful developments in our nation's history", and which Edmund Brown, the Democratic governor said was like "another hate binge which began more than 30 years ago in a Munich beer hall". Then on Wednesday, August 11, 1965, the police pulled over a Black man, Marquette Frye, for drunk driving. He had been driving his mother's car, and she lived nearby, and she came out to shout at him about drinking and driving. The mother, Rena Price, was hit by one of the policemen; Frye then physically attacked one of the police for hitting his mother, one of the police pulled out a gun, a crowd gathered, the police became violent against the crowd, a rumour spread that they had kicked a pregnant woman, and the resulting protests were exacerbated by the police carrying out what Chief Parker described as a "paramiltary" response. The National Guard were called in, huge swathes of south central LA were cordoned off by the police with signs saying things like "turn left or get shot". Black residents started setting fire to and looting local white-owned businesses that had been exploiting Black workers and customers, though this looting was very much confined to individuals who were known to have made the situation worse. Eventually it took six days for the uprising to be put down, at a cost of thirty-four deaths, 1032 injuries, and 3438 arrests. Of the deaths, twenty-three were Black civilians murdered by the police, and zero were police murdered by Black civilians (two police were killed by other police, in accidental shootings). The civil rights activist Bayard Rustin said of the uprising, "The whole point of the outbreak in Watts was that it marked the first major rebellion of Negroes against their own masochism and was carried on with the express purpose of asserting that they would no longer quietly submit to the deprivation of slum life." Frank Zappa's musical hero Johnny Otis would later publish the book Listen to the Lambs about the Watts rebellion, and in it he devotes more than thirty pages to eyewitness accounts from Black people. It's an absolutely invaluable resource. One of the people Otis interviews is Lily Ford, who is described by my copy of the book as being the "lead singer of the famous Roulettes". This is presumably an error made by the publishers, rather than Otis, because Ford was actually a singer with the Raelettes, as in Ray Charles' vocal group. She also recorded with Otis under the name "Lily of the Valley": [Excerpt: Lily of the Valley, "I Had a Sweet Dream"] Now, Ford's account deserves a large excerpt, but be warned, this is very, very difficult to hear. I gave a content warning at the beginning, but I'm going to give another one here. "A lot of our people were in the street, seeing if they could get free food and clothes and furniture, and some of them taking liquor too. But the white man was out for blood. Then three boys came down the street, laughing and talking. They were teenagers, about fifteen or sixteen years old. As they got right at the store they seemed to debate whether they would go inside. One boy started a couple of times to go. Finally he did. Now a cop car finally stops to investigate. Police got out of the car. Meanwhile, the other two boys had seen them coming and they ran. My brother-in-law and I were screaming and yelling for the boy to get out. He didn't hear us, or was too scared to move. He never had a chance. This young cop walked up to the broken window and looked in as the other one went round the back and fired some shots and I just knew he'd killed the other two boys, but I guess he missed. He came around front again. By now other police cars had come. The cop at the window aimed his gun. He stopped and looked back at a policeman sitting in a car. He aimed again. No shot. I tried to scream, but I was so horrified that nothing would come out of my throat. The third time he aimed he yelled, "Halt", and fired before the word was out of his mouth. Then he turned around and made a bull's-eye sign with his fingers to his partner. Just as though he had shot a tin can off a fence, not a human being. The cops stood around for ten or fifteen minutes without going inside to see if the kid was alive or dead. When the ambulance came, then they went in. They dragged him out like he was a sack of potatoes. Cops were everywhere now. So many cops for just one murder." [Excerpt: The Mothers of Invention, "Trouble Every Day"] There's a lot more of this sort of account in Otis' book, and it's all worth reading -- indeed, I would argue that it is *necessary* reading. And Otis keeps making a point which I quoted back in the episode on "Willie and the Hand Jive" but which I will quote again here -- “A newborn Negro baby has less chance of survival than a white. A Negro baby will have its life ended seven years sooner. This is not some biological phenomenon linked to skin colour, like sickle-cell anaemia; this is a national crime, linked to a white-supremacist way of life and compounded by indifference”. (Just a reminder, the word “Negro” which Otis uses there was, in the mid-sixties, the term of choice used by Black people.) And it's this which inspired "The Watts Riot Song", which the Mothers were playing when Tom Wilson was brought into The Trip by Herb Cohen: [Excerpt: The Mothers of Invention, "Trouble Every Day"] Wilson had just moved from Columbia, where he'd been producing Dylan and Simon and Garfunkel, to Verve, a subsidiary of MGM which was known for jazz records but was moving into rock and roll. Wilson was looking for a white blues band, and thought he'd found one. He signed the group without hearing any other songs. Henry Vestine quit the group between the signing and the first recording, to go and join an *actual* white blues band, Canned Heat, and over the next year the group's lineup would fluctuate quite a bit around the core of Zappa, Collins, Estrada, and Black, with members like Steve Mann, Jim Guercio, Jim Fielder, and Van Dyke Parks coming and going, often without any recordings being made of their performances. The lineup on what became the group's first album, Freak Out! was Zappa, Collins, Estrada, Black, and Elliot Ingber, the former guitarist with the Gamblers, who had joined the group shortly before the session and would leave within a few months. The first track the group recorded, "Any Way the Wind Blows", was straightforward enough: [Excerpt: The Mothers of Invention, "Any Way the Wind Blows"] The second song, a "Satisfaction" knock-off called "Hungry Freaks Daddy", was also fine. But it was when the group performed their third song of the session, "Who Are The Brain Police?", that Tom Wilson realised that he didn't have a standard band on his hands: [Excerpt: The Mothers of Invention, "Who Are the Brain Police?"] Luckily for everyone concerned, Tom Wilson was probably the single best producer in America to have discovered the Mothers. While he was at the time primarily known for his folk-rock productions, he had built his early career on Cecil Taylor and Sun Ra records, some of the freakiest jazz of the fifties and early sixties. He knew what needed to be done -- he needed a bigger budget. Far from being annoyed that he didn't have the white blues band he wanted, Wilson actively encouraged the group to go much, much further. He brought in Wrecking Crew members to augment the band (though one of them. Mac Rebennack, found the music so irritating he pretended he needed to go to the toilet, walked out, and never came back). He got orchestral musicians to play Zappa's scores, and allowed the group to rent hundreds of dollars of percussion instruments for the side-long track "Return of the Son of Monster Magnet", which features many Hollywood scenesters of the time, including Van Dyke Parks, Kim Fowley, future Manson family member Bobby Beausoleil, record executive David Anderle, songwriter P.F. Sloan, and cartoonist Terry Gilliam, all recording percussion parts and vocal noises: [Excerpt: The Mothers of Invention, "Return of the Son of Monster Magnet"] Such was Wilson's belief in the group that Freak Out! became only the second rock double album ever released -- exactly a week after the first, Blonde on Blonde, by Wilson's former associate Bob Dylan. The inner sleeve included a huge list of people who had influenced the record in one way or another, including people Zappa knew like Don Cerveris, Don Vliet, Paul Buff, Bob Keane, Nik Venet, and Art Laboe, musicians who had influenced the group like Don & Dewey, Johnny Otis, Otis' sax players Preston Love and Big Jay McNeely, Eric Dolphy, Edgard Varese, Richard Berry, Johnny Guitar Watson, and Ravi Shankar, eccentric performers like Tiny Tim, DJs like Hunter Hancock and Huggy Boy, science fiction writers like Cordwainer Smith and Robert Sheckley, and scenesters like David Crosby, Vito, and Franzoni. The list of 179 people would provide a sort of guide for many listeners, who would seek out those names and find their ways into the realms of non-mainstream music, writing, and art over the next few decades. Zappa would always remain grateful to Wilson for taking his side in the record's production, saying "Wilson was sticking his neck out. He laid his job on the line by producing the album. MGM felt that they had spent too much money on the album". The one thing Wilson couldn't do, though, was persuade the label that the group's name could stay as it was. "The Mothers" was a euphemism, for a word I can't say if I want this podcast to keep its clean rating, a word that is often replaced in TV clean edits of films with "melon farmers", and MGM were convinced that the radio would never play any music by a band with that name -- not realising that that wouldn't be the reason this music wouldn't get played on the radio. The group needed to change their name. And so, out of necessity, they became the Mothers of Invention.
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