POPULARITY
3 episodes with Fratto
8 episodes with Fratto
3 episodes with Fratto
2 episodes with Fratto
3 episodes with Fratto
2 episodes with Fratto
2 episodes with Fratto
2 episodes with Fratto
3 episodes with Fratto
Washington D.C. Sports is having a moment in the sports world with the Commanders impressive season in the NFL and the Capitals dominating the NHL. Public Address Announcer for the Washington Wizards and Commanders, Mark Fratto explains why the Wizards rebuild will result in success in the NBA. Fratto also explains his favorite basketball memories, announcing in Madison Square Garden, and how the political climate shapes sports in the D.C. area. Hoopsology is presented by Ballislife. Twitter:@hoopsologypod Instagram:@hoopsologypod Justin's Twitter: @JGHoopsology Matt's Twitter: @thetrainerstake Learn more about your ad choices. Visit megaphone.fm/adchoices
Micaela “Mickey” Costanzo was a 16-year-old from West Wendover, Nevada, who was murdered by two teens, one of whom she briefly dated. One suspect was identified quickly, but the other surprised investigators by coming forward on her own weeks later. Join Mike and Gibby as they discuss Kodi Patten and Toni Fratto. Both teens were arrested and charged with the murder of Micaela Costanzo. But Patten and Fratto told several different stories, which clouded the investigation. Investigators had to sift through the evidence to determine precisely what happened to Mickey and who did what. But the motive for the murder remained even more elusive.You can help support the show at patreon.com/truecrimeallthetimeVisit the show's website at truecrimeallthetime.com for contact, merchandise, and donation informationAn Emash Digital productionSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Hey Jersey Girls and Guys! In this week's episode I chatted with Joy about being a hairstylist at 19 years old. Joy has always had a passion for hair and didn't let her passion go to waste. This episode sounds like you are on a FaceTime call with us catching up about life and talking all things hair! xoxo Your Host Podcast Insta and Tik Tok: @thejerseygirlpod Guest Insta and Tik Tok: @enjoyurhair Host insta and Tik Tok: @madisonlhawkins
En este análisis detallado, Hernán Fratto habla con Juan Guevara experto en tecnología sobre el reciente hackeo masivo que afectó a AT&T, robando registros de llamadas y posiblemente contenido de mensajes de casi todos sus clientes, incluyendo los de Cricket y Boost Mobile. Este es el segundo incidente reportado, lo que aumenta la preocupación sobre la seguridad de los datos personales. Puntos clave que abordaremos: Detalles del Incidente: Exploramos qué información fue robada exactamente y cómo los hackers pudieron acceder a ella. Implicaciones para los Usuarios: Discutimos qué significa este hackeo para los clientes de AT&T y cómo podría afectar su privacidad y seguridad personal. Medidas de Seguridad: Consejos prácticos sobre cómo los usuarios pueden protegerse de futuros ataques y qué pasos tomar si creen que su información ha sido comprometida. Respuesta de AT&T: Cómo la empresa está manejando la situación y qué medidas está tomando para asegurar la protección de datos en el futuro. ¡No olvides suscribirte al canal para más actualizaciones sobre este caso y consejos sobre cómo mantenerte seguro en el mundo digital! Comenta abajo si has sido afectado por este hackeo o si tienes preguntas sobre cómo proteger tu información en línea. #HackeoATT #SeguridadDigital #ProteccionDeDatos #Tecnologia
Protect Your Retirement W/ A Gold. IRAhttps://www.redpill78gold.com or call 877-646-5347Noble Gold is Who I Trust ^^^Johnny Fratto is an America 1st Candidate for FL26 and he joins me tonight with special guest Chuck Callestohttps://frattoforflorida.comhttps://x.com/JohnnyFrattoFLFeel Focused, Energetic and Rested Today, click the link belowhttps://www.c60evo.com/redpill78/Use coupon code REDPILL78 to get an extra 10% offSave $50 off 4 week Supply of Emergency Food: http://www.PrepareWithRedPill78.comBe Prepared - Click hereGet your chlorine dioxide kitshttps://onenessdrops.com/redpill78Use code rp78 for 15% discountSupport My Pillow & RedPill78: https://www.mypillow.comUse Promo code - RP78 , or call 800-890-4893PROTECT YOURSELF! https://zstacklife.com/?ref=azbl62h8hdGet Dr. Z's Z Stack today and support this showRife machines and more. Click below to get yours today: https://rifemachine.myshopify.com/?rfsn=7854907.068eb0 Use Code "REDPILL78" for 10% off!FLYNN MOVIE : https://www.flynnmovie.com/RedPill78/ULTRA MAGA Collection from Rise Attire: https://riseattireusa.com/ultramaga/PLEASE CONSIDER SUPPORTING THE CHANNEL: http://www.redpill78news.com/donatehttps://libertylinks.io/RedPill78 Audio Podcast: https://app.studeo.fm/channels/130http://www.redpill78news.com/podcast Telegram: https://t.me/OfficialRedPillNews NEW MAILING ADDRESS:Zak Paine - RedPill78250 Palm Coast Pkwy NESuite 607-180Palm Coast, FL32137-8225 MAKE DONATIONS PAYABLE TO CASH OR REDPILL78Cash: $ZakPaineSubscribestar: https://www.subscribestar.com/redpill78Donate: http://www.redpill78news.com/donateKo-Fi: https://ko-fi.com/redpill78Music licensed courtesy of Epidemic SoundCrypto Donations:Bitcoin Donations - 33zU6nAmpz9xCNHuVAUugTAvV5cAeM4PJbBitcoin Cash - qqwzw2s5z9ru434p5zhzfjaegllcvk5nq5atsetvm2Ethereum Donations - 0xa418De68a42a02Ab395013f6CBe516721acAd706LiteCoin Donations - MRMyqJPi7ar6z76dkKhbuRvZ6i3XDD2cg9Patriot Compliance Commitment: Patriot Gold Group is here to answer questions and assist you in purchasing physical Gold & Silver. Patriot Gold Group does not provide investment advice or tax advice and we are not licensed Certified Financial Planners. We're transparent with our pricing so feel free to inquire about costs associated with your purchase. We're the most competitively priced in the industry and pride ourselves on Customer Service. We've been awarded “best in class” by Consumer Affairs for an unprecedented seven (7) years in a row and are A+ rated on the BBB, we appreciate and welcome the opportunity to show you why, … because compliance matters. Disclaimer: All investments carry risk. Precious metals are investments and prices may rise and/or fall which means the value of your metals may go up or down and the overall value of your investment may go down. There is always a risk of loss when investing and investing is typically reserved for “risk capital” meaning non-essential funds. Past performance never guarantees future results. Individuals should consult with their investment, legal or tax professionals regarding consequences and risk. Patriot Gold Group representatives are precious metals salespeople and are NOT licensed financial advisors or tax professionals and do not give financial and/or tax advice. * Information contained within this email should not be construed as Legal, Accounting, Tax or Investment advice.
En este análisis detallado, Hernán Fratto habla con Juan Guevara experto en tecnología sobre el reciente hackeo masivo que afectó a AT&T, robando registros de llamadas y posiblemente contenido de mensajes de casi todos sus clientes, incluyendo los de Cricket y Boost Mobile. Este es el segundo incidente reportado, lo que aumenta la preocupación sobre la seguridad de los datos personales. Puntos clave que abordaremos: Detalles del Incidente: Exploramos qué información fue robada exactamente y cómo los hackers pudieron acceder a ella. Implicaciones para los Usuarios: Discutimos qué significa este hackeo para los clientes de AT&T y cómo podría afectar su privacidad y seguridad personal. Medidas de Seguridad: Consejos prácticos sobre cómo los usuarios pueden protegerse de futuros ataques y qué pasos tomar si creen que su información ha sido comprometida. Respuesta de AT&T: Cómo la empresa está manejando la situación y qué medidas está tomando para asegurar la protección de datos en el futuro. ¡No olvides suscribirte al canal para más actualizaciones sobre este caso y consejos sobre cómo mantenerte seguro en el mundo digital! Comenta abajo si has sido afectado por este hackeo o si tienes preguntas sobre cómo proteger tu información en línea. #HackeoATT #SeguridadDigital #ProteccionDeDatos #Tecnologia
Jack talks to Dr. Melanie Fratto from the VCA Woodford Animal Hospital about this weekend's gigantic pet expo out at Jack Kain Ford on Saturday, and even more info on that can be found at wvlkam.com.See omnystudio.com/listener for privacy information.
Tim, Libby, Phil, & Serge join Mario Fratto to discuss Trump being ordered to pay $365 Million in NY fraud case, the SEC greenlighting the offering of the company behind Truth Social, and Fani Willis' father saying that hiding cash is a "black thing." Learn more about your ad choices. Visit megaphone.fm/adchoices
Today's bonus episode is my sit-down conversation with Mario Fratto who is running for U.S. Congress in New York's 24th district. He is running against a well-financed incumbent, Rep. Claudia Tenney (R-NY). While Tenney is a member of the GOP, I've been watching how her prior stances and even voting record is being massaged of late, due to be challenged in 2024. I wanted to learn a little more about the candidate running against her in the upcoming primary to see if there is a better alternative for that district. Mario Fratto has a background in law, having been a practicing lawyer for a number of years, but now enjoys managing a construction company. He has a passion for aiding the private sector, especially the entrepreneurs who want to have their own business, like he does. The bureaucratic class has so much red-tape today, it's stifling and he wants to address that. But, more than just being an advocate for small business, Fratto wants to get back to a Constitutional Republic, which was music to my ears. Fratto provides his background, how he ran before in 2022 and is running again in 2024. He recognizes our Federal government has grown too large and too powerful and wants to work toward removing a lot of that bloat. He wants to get back to following the U.S. Constitution as written, not as imagined or ignored. As we began to wind down the interview, I became more impressed with his background, his understanding of our nation's history and his reverence for that very document that has made our country what it is today. Long-time listeners to my show will know that I encourage all voters to pick Constitutional candidates and if you are in New York-24, I would strongly suggest meeting with and learning more about candidate Fratto today. I hope you enjoy my conversation with Mario Fratto and will consider supporting him financially if you have a means to do so. If you enjoyed the episode, please take a moment to rate and review and then share the link on your own social media. Take a moment to rate and review the show and then share the episode on social media. You can find me on Facebook, X, Instagram, GETTR and TRUTH Social by searching for The Alan Sanders Show. You can also support the show by visiting my Patreon page!
In questa puntata parleremo de "La Torre" raccolta di sei racconti ambientati in un edificio-Stato sovrano dal tono distopico e sarcastico scritto dal sudcoreano Bae Myung-hoon ed edito in Italia da Add Editore. Disponibile per la lettura anche su Prime Reading per i clienti di Amazon Prime. Link Amazon: https://www.amazon.it/torre-Myung-hoon-Bae-ebook/dp/B0B1JCLYPM/ref=sr_1_1?__mk_it_IT=%C3%85M%C3%85%C5%BD%C3%95%C3%91&crid=16CE5FGE830VL&keywords=la+torre&qid=1700160037&sprefix=la+torre%2Caps%2C113&sr=8-1 Canale Telegram: https://t.me/blablafantas Pagina Instagram https://www.instagram.com/bla.blafantasy/ Pagina Facebook https://www.facebook.com/blablafantasy/ Youtube: https://youtu.be/btiiR1HJY_c Musica in sottofondo: When I Was A Boy by Tokyo Music Walker | https://soundcloud.com/user-356546060 Music promoted by https://www.chosic.com/free-music/all/ Creative Commons CC BY 3.0 https://creativecommons.org/licenses/by/3.0/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/blablafantasy/message
On today's episode, Jason kicks things off with his Best Bet for the Thursday Night Football showdown between the San Francisco 49ers and New York Giants. Later, ‘Straight Outta Vegas' on FOX Sports Radio host Bernie Fratto swings by to discuss NFL week 3 from a gambling perspective. Fratto gives his picks for Las Vegas Raiders vs Pittsburgh Steelers, Denver Broncos vs Miami Dolphins, Los Angeles Chargers vs Minnesota Vikings, Buffalo Bills vs Washington Commanders, Chicago Bears vs Kansas City Chiefs, and much more! Follow Jason on Twitter and Instagram. Click here to subscribe, rate and review all of the latest Straight Fire with Jason McIntyre podcasts! #VolumeSee omnystudio.com/listener for privacy information.
On today's episode, Jason kicks things off with his Best Bet for the Thursday Night Football showdown between the San Francisco 49ers and New York Giants. Later, ‘Straight Outta Vegas' on FOX Sports Radio host Bernie Fratto swings by to discuss NFL week 3 from a gambling perspective. Fratto gives his picks for Las Vegas Raiders vs Pittsburgh Steelers, Denver Broncos vs Miami Dolphins, Los Angeles Chargers vs Minnesota Vikings, Buffalo Bills vs Washington Commanders, Chicago Bears vs Kansas City Chiefs, and much more! Follow Jason on Twitter and Instagram. Click here to subscribe, rate and review all of the latest Straight Fire with Jason McIntyre podcasts! #VolumeSee omnystudio.com/listener for privacy information.
On today's show we have the pleasure of sitting down with Mark Fratto, the gameday voice of the @commanders at #FedexField. Mark shares his journey in broadcasting, great moments, and the process of becoming the new voice at FedEx Field. Mark brings a tremendous amount of experience coming from the University of MD, the New York Knicks, Army, and the Washington Wizards. We are ecstatic to have him as part of our Commander family Share your thoughts in the comments, and leave a thumbs up (or down)! Thanks for tuning in! --- Send in a voice message: https://podcasters.spotify.com/pod/show/commandthis/message Support this podcast: https://podcasters.spotify.com/pod/show/commandthis/support
On location in West Wendover, NV, we discuss the murder of a local teenager in that small town. Drink this week: Noah's Mill Genuine Bourbon Whiskey, Stillhouse Black Bourbon, and Crooked Water Regatta Rye --- Support this podcast: https://podcasters.spotify.com/pod/show/whiskey-dicks-and-jane/support
KyleJCrb started a podcast about video game music. You won't believe what happened next! PLAYLIST: 1:05 - Lame Genie, LongestSoloEver - Clickbait (Splatoon 3 [NSW] :: YouTube) -- 8:23 - 40Nix - Now, Until the Moment You Die (Touhou: Highly Responsive to Prayers [PC-98] :: Bandcamp) 13:29 - Omega Sparx, Alex V., Swats - Test Your Might (Mortal Kombat 11: Ultimate [PC] :: Bandcamp) 16:05 - BeanJammin - Black Moonrise [Midnight Mix] (Celeste [PC] :: OverClocked ReMix) -- FEATURED ALBUM #1 - NINTENDO HALLOWEEN MEGAMIX 2022 :: Bandcamp 26:17 - Equalyze - Luigi's Mansion Main Theme Remix (Luigi's Mansion [GCN]) 28:24 - snivys - Bloody Tears VIP Remix (Castlevania II: Simon's Quest [NES]) 32:24 - Jumpluff - Bonneton EDM Mix (Super Mario Odyssey [NSW]) -- 40:38 - minusworld - Pocket Sand (Super Mario Land, Donkey Kong (1994) [GB], Legend of Zelda: Oracle of Seasons [GBC] :: Dwelling of Duels) - Katy Scary, Viking Guitar - Stone Tower Temple (Legend of Zelda: Majora's Mask [N64] :: YouTube) 48:26 - BadHairlineProductions - A Clashing of Waves (Castlevania: Order of Ecclesia [NDS] :: YouTube) -- FEATURED ALBUM #2 - Mode Seven: A Jazz Tribute to the SNES :: OverClocked ReMix 58:04 - Fratto, Wiesty, The OC Jazz Collective - Brushwork (Mario Paint [SNES]) 1:01:57 - Nostalvania, The OC Jazz Collective - Quiet Rider (F-Zero [SNES]) 1:07:34 - Gregory Weaver, The OC Jazz Collective - 22nd Century [Digital Boy] (Mega Man X [SNES]) 1:12:21- Alejandro Espinosa, The OC Jazz Collective - Live Mega, Live Más (Live A Live [SUFAMI]) -- FEATURED ALBUM #3 - Encuentro de Sangre: A Metal Tribute to Castlevania :: GameGrooves 1:23:49 - Thennecan, Yamil Majluf, Leo Miyata, ThePlasmas, Gabriel León - The Silence of the Daylight (Castlevania II: Simon's Quest [NES]) 1:26:54 - Ferdk, ThePlasmas, Yamil Majluf, Leo Miyata, Gabriel León - Dwelling of Doom (Castlevania II: Simon's Quest [NES]) 1:29:31 - Pokérus Project, Leo Miyata, Gabriel León, Yamil Majluf, Thennecan - Vampire Killer (Castlevania [NES]) -- 1:38:42 - M Benson, Ben Cureton - Dovahkiin in Jamaica (Elder Scrolls V: Skyrim [PC] :: OverClocked ReMix) 1:41:58 - ACappellaVGM - Forest Interlude [A Cappella] (Donkey Kong Country 2: Diddy's Kong Quest [SNES] :: YouTube) 1:45:42 - Lofi Lia - Starman Theme (Super Mario Bros. [NES] :: YouTube Music) -- FEATURED ALBUM #4 - VGM Essentials: SARE :: Firaga Records 1:51:52 - SARE, arthur x medic - Big Arms (Sonic the Hedgehog 3 [GEN]) 1:54:34 - SARE, RoBKTA - Disco Despair (Danganronpa: Trigger Happy Havoc [PSP]) 1:58:55 - SARE, Slyleaf - Heartbeat, Heartbreak (Persona 4 [PS3]) -- 2:11:51 - TPR, abbytheoboist - Return To Lavender Town (Pokémon Gold & Silver [GBC] :: Bandcamp) 2:14:14 - Malukah, Peter Hollens - Baba Yetu [Remastered 2022] (Civilization IV [PC] :: YouTube Music)
Iowa best comic stops by and see's his old pal Round Guy at an Iowa Cub's game and they talk about the Yankee's.
Steve and Bernie(in for Geoff) kick off Week 0 by being first to react to Nebraska losing to Northwestern, in another 1-score game for Scott Frost. The guys wonder about punter Matt Araiza's future amid his off-field issues. The fellas talk Big10 look around the nation at other games today and preview some NFL teams; Raiders, Cowboys, Eagles and Niners. The fellas have an awesome Len Dawson tribute and Aaron Donald's helmet attack is troubling. The show talks Lakers acquiring Patrick Beverley and Steve talks about what's next for his favorite team. NFL insider Adam Caplan joins the show and Danny G. reminds Hartman of the SoFi Stadium food challenge. Plus, Fratto picks next week's big Ohio State/Notre Dame game!See omnystudio.com/listener for privacy information.
Bill Samuel, Government Affairs Director for the AFL-CIO, joined the America's Work Force Union Podcast and discussed the legislative victories for the Biden Administration and what they mean for working class families. The International Brotherhood of Electrical Workers (IBEW) Local 363 Business Manager Sam Fratto appeared on the AWF Union Podcast and spoke about the surprising number of solar projects within the Local's jurisdiction. He also explained the impact out of state workers had on a project at the Cardinal Health distribution center.
Mario Fratto is running in the GOP primary for NY 24 against Congresswoman Claudia Tenney.
WhichMat Podcast Ep. #27: Tim Fratto discusses CBD and it's application to Jiu-Jitsu and the tight rope the CBD suppliers walk in the State of Utah.This podcast was formally known as the Jiu-Jitsu Jabber Podcast and has since been rebranded to The WhichMat Podcast.
Martin Weiss and Bernie Fratto fill-in for the Odd Couple and tell you that Sports talk in mid-July is No problem! They have 4 big stories.. Fratto most fired up about USC/UCLA leaving the Pac-12. A caller asks about Deandre Ayton and the fellas discuss both Jeanie Buss and Danny Ainge in detail. See omnystudio.com/listener for privacy information.
#44In this episode we talk about dual immersion programs. You may be wondering what the difference is between immersion and dual immersion? Francesco Fratto joins me today to clarify and talk us through the process he and his district went though to implement their program. Francesco is the Director of World Languages, Language Immersion & English as a New Language in Herricks Public Schools in New Hyde Park, NY.Francesco speaks in detail about:what immersion and dual immersion programs are and how they work.the articulation of the Herricks Public Schools' dual immersion program and the steps they took to implement the program.the goals of the program, how they measured, and entry requirements.the logistics: finding qualified teachers, promoting the program, student retention, parental concerns around things such as L1 literacy development.Connect with Francesco Fratto:Email: FFratto@herricks.orgLinkedIn Connect with Joshua and the World Language Classroom CommunityWork with Joshua either in person or remotely.Sign up for Talking Points, my weekly newsletter with tips, tools and resources for language teachers.wlclassrom.comTwitter: @wlclassroomInstagram: @wlclassroomFacebook: /wlclassroomWLClassroom Facebook Group
Fed communication has evolved a lot in the last few decades, and few people have been in better places to view it than Tony Fratto, Founding Partner at Hamilton Place Strategies and former WH Deputy Press Secretary and Assistant Secretary of the US Treasury. The Greenspan days, the global financial crisis, the Trump tweets, the pandemic, the trading scandal, and inflation - we cover a lot of ground! Tony's podcast The Macrocast on twitter: @TonyFratto, @KalebNygaard
For Episode 2 of Excelsior Journeys: The First Steps, host and producer George Sirois looks back on his discussion with voiceover actor, sports announcer, and founder of Linacre Media, Mark Fratto. They talked about how Mark began his path way back in St. Mary's Catholic School, acting as a media director in college, and working all the way up to standing in the middle of a boxing ring for HBO Sports in the World's Most Famous Arena, Madison Square Garden. Want to be an in-demand podcast guest? Join the Endless Stages Challenge and you'll become one in less than 100 days. I'm so proud to be an affiliate for this challenge, and I invite you - creatives from all walks of life - to click on this link https://podcasting.endlessstages.com/?fpr=george52 (HERE). Click https://podcasting.endlessstages.com/ (HERE) to learn more about the challenge, and click https://stages.seantylerfoley.com/ (HERE) for more information about Endless Stages. To show your support for Excelsior Journeys, Excelsior Journeys: The First Steps, An Evening with Ivonna Cadaver, and From Duck Till Dark: Outside the Marvel Studios, please click on https://www.hesgotit.com/podcasts (www.hesgotit.com/podcasts) to subscribe, rate & review, and access the Buy Me a Coffee link. This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy
Round Guy talks to his old friend Willie Fratto-Farrell. They talk baseball the Yankees the NCAA Tournament and much more. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Want more content that explores links between the art and science of medicine? Here it is! In this episode, Brendan dips outside the usual world of hospitals and clinics to talk with Dr. Elena Fratto, a professor of Slavic Languages and Literatures at Princeton University. Professor Fratto published a book in November titled Medical Storyworlds: Health, Illness, and Bodies in Russian and European Literature at the Turn of the Twentieth Century, so she brings a unique perspective to conversations in medicine and healthcare. Topics discussed include mortality and dying with dignity, the importance of gathering patient stories, how literature has influenced medical care, and so much more. Enjoy! Episode produced by: Brendan Connolly Episode recording date: 11/10/21 www.medicuspodcast.com | medicuspodcast@gmail.com | Donate: http://bit.ly/MedicusDonate --- Send in a voice message: https://anchor.fm/medicus/message
Iowa and ISUs bowl game and baseballs prospects for a new season. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
The best Podcast from the state of Iowa, allegedly. Host Eric Marshall and Cody King are 2 Des Moines guys, talking about whatever they want in an entertaining and comical way. Thanks to BBops, and Lola's Fine Hot Sauces, this week we record from West Des Moines' Comedy Club, The Funny Bone. our first 3 time guest to the show, fan favorite and comedy legend Willie Farrell joins the show!
Politics used to take a backseat to economics, but at some point that all changed. The average American today is better off financially than they were before the pandemic, but consumer confidence – our economic outlook – is in the tank. Why? It's politics, of course. In this episode of The Dumbest Guy in the Room, Tony Fratto, the former Assistant Secretary of the Treasury and current partner at Hamilton Place Strategies, joins host John Dick to discuss the friction between political tribalism and economic truth, how government and media have failed in explaining basic policy virtues to the American people, and why bagel sandwiches kind of suck.
COOL MERCH! Stand up against critical race theory! Get your "MLK > CRT" t-shirt now, while supplies last. https://www.redbubble.com/shop/ap/80591606 ... IN THIS EPISODE This conversation with Mario Fratto was different from other podcast I've produced before. It was plagued with so many technical glitches that Mario and I suspected that I was being hacked. We joked that the CCP via Zoom were listening in after their AI detected the topics we were discussing. Whether true or not, this is what we discussed. What are the chances of President Biden being impeached? Not so good. Is a President Harris a good thing or a bad thing? Only in California could an African American [Larry Elder] be called the face of white supremacy. The psychic injury of potentially losing California will unleash a whole new level of cheating The politicization of Covid-19 vaccines And the fate of America's January 6th political prisoners Hmm... Is there anything in this episode THEY don't want you to hear? Tune in and hear for yourself. ... ABOUT MY GUEST Mario Fratto is an attorney and businessman from Geneva, New York, turned YouTuber ( Host of “Making the Case with Mario Fratto”) during Covid lockdowns. He is a lifelong conservative with "no regard for any political correctness." Find Mario Fratto online: Twitter: https://twitter.com/MarioFratto Instagram: https://www.instagram.com/mariojfratto/ YouTube: https://www.YouTube.com/makingthecasewithmariofratto ... FOLLOW JIM STROUD ONLINE Newsletter: https://sendfox.com/jimstroud Blog: https://blog.jimstroud.com Twitter: https://twitter.com/jimstroudshow Rumble: https://rumble.com/user/jimstroud Gettr: jimstroud --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/jim-stroud2/message Support this podcast: https://anchor.fm/jim-stroud2/support
Sometimes conversations go over time, but they are too good not to share! Listen to the bonus segment with Michael Farr and special guest, Tony Fratto.
Big time Hollywood producers Johnny Fratto Jr. (Drone Wars) and David Uslan (the Batman franchise) join the Original Gangsters podcast in studio! We cover a lot of ground including the history of the Fratto crime family and its connection to the Chicago Outfit. We also discuss Skinny Joey Merlino, the Batman franchise, and future of true crime content in television and film.
Big time Hollywood producers Johnny Fratto Jr. (Drone Wars) and David Uslan (the Batman franchise) join the Original Gangsters podcast in studio! We cover a lot of ground including the history of the Fratto crime family and its connection to the Chicago Outfit. We also discuss Skinny Joey Merlino, the Batman franchise, and future of true crime content in television and film.
Tony Fratto, Hamilton Place Strategies, CNBC Contributor, Former Assistant Secretary, U.S. Treasury Department. Discusses Biden Infrastructure plan See omnystudio.com/listener for privacy information.
The best Podcast from the state of Iowa, allegedly. Host Eric Marshall and Cody King are 2 Des Moines guys, talking about whatever they want in an entertaining and comical way. Thanks to BBops, and Lola's Fine Hot Sauces, this week we record from Des Moines newest hot spot, Coa Cantina. For our season 3 premiere, we bring on the funniest member of the Fratto-Farrell family, and the worlds best softball pitcher, Claudia Farrell. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
The best Podcast from the state of Iowa, allegedly. Host Eric Marshall and Cody King are 2 Des Moines guys, talking about whatever they want in an entertaining and comical way. Thanks to BBops, and Lola's Fine Hot Sauces, this week we record at the best Italian Restaurant in the state of Iowa, Time and Sons. For our season 2 finale our guest, was on our season 1 premiere, also is one of the best Comedians across the entire country. Our friend, and godfather of comedy, Willie Fratto-Farrell! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
The boys are back for Episode 10 discussing the MLS playoffs with New York City FC & NY Red Bulls being eliminated in the 1st round. We're talking International break and are also joined by Mark Fratto, NYCFC's public announcer, talking his career & soccer. Tune in!
En nuestro programa de hoy nos acompañará una misa de réquiem según la tradición franciscana de Córcega en canto fratto y después otro Requiem atribuido a dos autores: Antonie de Févin y Antoine Divitis, construido sobre la melodía estricta del canto llano. Escuchar audio
Coach Fratto talks about his story from playing at Oakton, going to Georgia and then as a bullpen coach for the Chicago Cubs. Then an assistant coach and finally head coach at Oakton Community College. Final Championship year in 2018. Things discussed: Building a championship culture. How can you build good chemistry in your team?.... The post Bill Fratto, Head Coach Oakton Community College, 2018 NJCAA World Series Champion and ABCA Coach of the year. appeared first on Baseball Outside The Box.
In this episode, Lauren Fratto describes her experience with anorexia and body dysmorphia while training to become a professional ballerina. Lauren talks about contributing factors to her negative view of her body, how her view of herself has evolved over time and through motherhood, and tools that have helped her gain a more positive view of her body.
On this episode of Gear Over Beer, Sal Fratto of Elephant Jake calls in to chat about the first time we played a gig together on his 21stbirthday, our love for Slaughter Beach, Dog, his love for his Fender Stratocaster, and the difference in the D.I.Y. scene from the east coast to the Midwest. Elephant Jake Info: @elephantjakeband https://open.spotify.com/artist/1U4QJplzw91yb7xkf07Df5?si=g62qa0PcRuaRDPnZeMDkVA Make sure to follow us on social media @gearoverbeer and subscribe to our Youtube and Patreon channels! https://www.youtube.com/channel/UCGViKrIyCmeZhvfaFwZ6rVA/featured?view_as=subscriber https://www.patreon.com/gearoverbeer --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/noah-mccormick/support
Sal Fratto joins to talk about Elephant Jake's new EP "Looking Good Feeling Good" as well as his love for The Sopranos and Cook Out among other things.
This podcast is possible due to the donations of its supporters. Donate here if you believe in what we do: https://anchor.fm/sportsasajob/support We are joined by Mark Fratto who has tremendous amount of experience. He started Linacre Media, a full-service digital/social media, production services, and public relations consulting company in 2014. Before that he after served as a collegiate athletics administrator in the communications departments of St. John’s University and the University of Maryland for 15 years. Ten-year NCAA Final Four news conference moderator. He also has many experience behind the microphone. Some of his experience behind the microphone includes serving as a public address announcer at Madison Square Garden for New York Knicks, college basketball and New York Liberty games, at Yankee Stadium for New York City FC Major League Soccer contests, and at MetLife Stadium for the New York Giants. Mark also has served as ring announcer for Golden Boy Promotions, Mayweather Promotions, K2 Promotions, Roy Jones Jr. Promotions and many others and has called fights on HBO, HBO PPV, Showtime, HBO Latino, ESPN, ESPN2, ESPN Deportes, CBS Sports Network, MSG Network, and Ring TV. Episode Timestamp: 2:42 - Mark shares with us information about his business, doing voiceover, and being behind the mic. 4:38 - "When basketball implemented the press, I could only dribble right. That is when my sports career began." We dive into Mark's journey working in sports and navigating the different places he has been. 9:23 - How did Mark's Michael Jordan obsession fuel his career choices? 11:44 - Mark has been a Ten-year NCAA Final Four news conference moderator. We get behind the scenes of what he does and that is how co-host Olivia met him as well. 18:12 - Bob Beretta is a legend in College Sport Administration. Mark was lucky enough to work for him at one point. He credits a lot of his success to Bob. What did he learn from Bob and that he passes on to students today? 24:18 - We go into Mark's experience with ring announcing and being behind the mic. 26:51 - Story of how Mark was fired for his first-ever boxing event on a Tuesday of fight week. 29:31 - Practice is important. Mark would announce sparring at a local boxing club to get the reps in before being under the lights of Madison Square Garden 32:40 - After 15 years working in college athletics, how did the idea of his company Linacre Media come about? You can follow Mark Fratto on Linkedin here Send us your feedback and send us questions on our Social Media Platforms: Twitter @sportsasajob Instagram @sportsasajob Facebook @sportsasajob LinkedIn: Sports As a Job Visit our website www.sportsasajob.com Intro Music credit to ABAPO Music Studios: https://www.youtube.com/channel/UCwF1OqcNsQEOd0iNu0Yjitg Go sign up for #1 job sports focused job board online and be part of their network. https://www.jobsinsports.com/ make sure TO LET THEM KNOW YOU HEARD OF THEM FROM THE PODCAST. I want them to know we got industry leaders and future stars in this community!
Locked On Bruins - Daily Podcast On UCLA Bruins Football & Basketball
Bryan Fenley brings on Fox Sports Radio National Host Bernie Fratto who takes you on a joyride through UCLA sports nostalgia. Fratto, who was good friends with Bruin basketball legend Dave Meyers, remembers the indelible mark Meyers left on him and the UCLA community. Fratto, also, recalls the day Meyers introduced him to John Wooden. During that chance encounter, Wooden told Bernie three timeless stories, which he'll share with you. Enjoy. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Locked On Bruins - Daily Podcast On UCLA Bruins Football & Basketball
Bryan Fenley brings on Fox Sports Radio National Host Bernie Fratto who takes you on a joyride through UCLA sports nostalgia. Fratto, who was good friends with Bruin basketball legend Dave Meyers, remembers the indelible mark Meyers left on him and the UCLA community. Fratto, also, recalls the day Meyers introduced him to John Wooden. During that chance encounter, Wooden told Bernie three timeless stories, which he'll share with you. Enjoy. Learn more about your ad choices. Visit megaphone.fm/adchoices
The economic consequences of the cononavirus pandemic is the subject of the 180th episode.Our guest is Tony Fratto, former Assistant Secretary of Treasury and partner at Hamilton Place Strategies.In the conversation we examine the multiple stimulus proposals on the table, and discuss the important of direct payments, the proposed payroll tax cut, the idea of interest free loans to small and medium sized businesses, whether certain industries should be bailout, and whether stock buybacks should be disallowed and if the federal government should receive an equity stake in return for taxpayer investment.
Brandon Fratto is the Creative Director for TWIO, a brand + digital marketing agency in Salt Lake City. He recently returned to TWIO following a few years spent at Barebones, an outdoor lifestyle company. As Barebones’ Director of Brand & Product Strategy, he oversaw the strategy and execution of new product design, development & marketing....
Coming at you from Everlast's podcast studio, Woodsy phones in with Mick Conlan during Mick's big fight week. His rematch is scheduled for this Saturday, and we get to hear from Mick on how his preparations are going. George Foreman is making noise again! Not only does he have a new product hitting the market, but he has a great chat catching up with Mike Woods. Ronald Ellis recently won a regional title this past Saturday on the Charlo-Hogan card. He shares his future outlook after coming back from injuries. Ted Panagiotis is Dr. TKO. He shares the hot topic of marijuana, but from a boxing angle. Does it affect boxers and should it be tested for? Mark Fratto is the architect of Facebook's Fight Night Live. He shares the upcoming shows and the voice that makes him the voice of the Washington Wizards.
We hope you enjoyed your Thanksgiving. We are back and just a little heavier than ever. Today we are joined by NYCFC in-stadium announcer for NYCFC, Mark Fratto. Mark has become a staple of the club, but he's relatively new to soccer. He also works in basketball, and boxing, and has a wealth of cool experiences from working in broadcasting. Segment 1: Chicago Segment 2: (Starts at 48:12) Interview w/ Mark Fratto Today's Sponsor Live Breathe Futbol // Check out their dope clothing at www.livebreathefutbol.com and use the promo code GULLIEST for 15% off your first order. Learn more about your ad choices. Visit megaphone.fm/adchoices
We hope you enjoyed your Thanksgiving. We are back and just a little heavier than ever. Today we are joined by NYCFC in-stadium announcer for NYCFC, Mark Fratto. Mark has become a staple of the club, but he's relatively new to soccer. He also works in basketball, and boxing, and has a wealth of cool experiences from working in broadcasting. Segment 1: Chicago Segment 2: (Starts at 48:12) Interview w/ Mark Fratto Today's Sponsor Live Breathe Futbol // Check out their dope clothing at www.livebreathefutbol.com and use the promo code GULLIEST for 15% off your first order.
Part 2 of a stacked Talkbox podcast card kicks things off with Dennis Hogan. Dennis is fighting Charlo for the WBC Middleweight belt. He'll share how his camp is going in Florida and moving on from the controversial loss with Munguia. Abe Gonzalez is a contributor for NYFights.com. He's the man to listen to when it comes to up and coming prospects. Hear who's on his radar for 2019 and beyond. Marc Abrams is an announcer and PR man in the boxing world. Hear his conversation with Woodsy on how the game has changed and how he helps the fight game. Last up, voice of the Washington Wizards, Mark Fratto, closes the show. There's a few cards coming up for Facebook Fight Night Live, and Mark is here to bring free boxing shows to the people.
The Inspire Podcast returns for Season 2! Thanks for everyone who listened and help make season 1 a success. We launch Season 2 today with Tony Fratto, Former Deputy White House Press Secretary. Tony left the US Treasury level of Assistant Secretary of Treasury, then moved to the White House, where he was Deputy Assistant to the President and Principal Deputy Press Secretary. Today Tony is leading Hamilton Place Strategies, a communications consulting firm he founded. Bart and Tony discuss: Tony's work (3:56) Changes in media/government and how they communicate (7:52) Changing news cycles ( 8:53) No rhythm to the day anymore (10:35) Current news cycles are unsustainable (13:35) What regulators need to change (15:36) A time of great uncertainty (17:46) Don't forget tried and true methods of communication (18.03) New targeting channels can be very effective (24.31) Problems with social media and twitter (27:27) How to combat misinformation during elections (29:33) Link to Hamilton Place Strategies: https://www.hamiltonplacestrategies.com/ Follow Tony on Twitter @TonyFratto Learn about The Humphrey Group at www.thehumphreygroup.com Follow Bart on Twitter @THG_Bart
Talkbox joins you on this rainy day from New York. Andrew Cancio is joining us from his gig at the Southern California gas company! The super featherweight champ shares how life is after cementing his place as a world champ and shares some possible opponents for the future. After Cancio goes back to work, Vergil Ortiz Jr phones in to talk his last fight. Ortiz Jr. recently defeated Antonio Orozco within the distance. He takes us through that fight, what life is like being a top prospect out of Grand Prairie, TX, and maybe gives us a name of someone he'd like to share the ring with! Finally, last but not least, head of Facebook Fight Night Live, Mark Fratto joins the show. Mark is not only the voice of the Brooklyn Cyclones, but he puts together great fight cards for the people! Catch some of his previews for the cards coming up and how he is giving fighters a shot.
Talkbox! Again with some big names this episode. Newark's own, Shakur Stevenson, is headlining his own homecoming this Saturday. He's on his third opponent before he even steps in the ring. He'll talk about how he's handled two opponents dropping out and why he believes he's the best young fighter in the game. Joet Gonzalez is next and he believes that HE is the best fighter in the game. He shares his feelings on current world champions and where he ranks. He also talks about his fight this Saturday and how he plans to remain undefeated in impressive fashion. Vito Mielnicki is the youngest licensed boxer in the state of New Jersey's history. The state of New Jersey granted this young man a special exemption to fight pro. Hear what the 17 year old has to say about his debut coming up and how he is taking everything in. Luis Arias is batting cleanup. You may remember this middleweight contender from his fight against Daniel Jacobs. He's got a fight in Ireland coming up and he talks about switching around promoters, being a free agent, and his next opponent. Last but not least, the bossman, Mark Fratto, phones in. The voice of the Brooklyn Cyclones talks about a few fights he has coming up and also how he's bringing free boxing to the masses. All ready and live here for you on Talkbox!
When venture investor Natalie Fratto is determining which start-up founder to support, she doesn't just look for intelligence or charisma; she looks for adaptability. In this insightful talk, Fratto shares three ways to measure your "adaptability quotient" -- and shows why your ability to respond to change really matters.
When venture investor Natalie Fratto is determining which start-up founder to support, she doesn't just look for intelligence or charisma; she looks for adaptability. In this insightful talk, Fratto shares three ways to measure your "adaptability quotient" -- and shows why your ability to respond to change really matters.
When venture investor Natalie Fratto is determining which start-up founder to support, she doesn't just look for intelligence or charisma; she looks for adaptability. In this insightful talk, Fratto shares three ways to measure your "adaptability quotient" -- and shows why your ability to respond to change really matters.
Cuando Natalie Fratto, inversora en capitales de riesgo, evalúa a qué emprendedor financiar, no se limita a buscar inteligencia o carisma, sino también la capacidad de adaptabilidad. En esta esclarecedora charla, Fratto comparte tres maneras de medir el "coeficiente de adaptabilidad" y demuestra por qué es importante la capacidad de adaptarse al cambio.
Quando a investidora de risco Natalie Fratto está decidindo qual fundador de startup irá apoiar, ela não procura apenas inteligência ou carisma; ela procura capacidade de se adaptar. Nesta palestra perspicaz, Fratto compartilha três maneiras de medir nosso "quociente de adaptabilidade" e mostra por que nossa capacidade de reagir a mudanças realmente importa.
Wenn die Risiko-Investorin Natalie Fratto entscheidet, welchen Start-Up-Gründer sie unterstützen möchte, sucht sie nicht nur nach Intelligenz oder Charisma; sie sucht nach Anpassungsfähigkeit. In diesem aufschlussreichen Talk nennt Fratto drei Methoden, mit denen Sie Ihren "Anpassungsfähigkeitsquotienten" messen können -- und zeigt dabei, wieso Ihre Fähigkeit, auf Veränderungen zu reagieren, wirklich wichtig ist.
Talkbox! On this Tuesday afternoon right in time for the commute. Leading off and still riding cloud nine is trainer and great man of integrity, Manny Robles. Manny is gracious enough to share his time in the midst of making the rounds with his heavyweight champ, Andy Ruiz. He talks about his background, what he thinks about the rematch, and what he looks for in terms of values. Next up is the undefeated contender challenging for the IBF world title on the Thurman-Pacquiao card, Mike Lee. Mike talks about having training camp in California, dropping a weight class, and all things leading up to his bout against Caleb Plant. Saul Rodriguez is someone you want to get to know. He will be fighting on ESPN on 6/28. Saul has had an up and down in terms of promoters. He shares the hardships he has overcome in his career and his fighting style to us all. Last but not least, Mark Fratto joins us to talk with Woodsy on all things Friday Night Live fights while bringing his own A grade personality spin on things.
Talkbox episode 159 part two! Card was too stacked that we split it into halves. Leading off the second half is Devin Haney! Devin is an undefeated super prospect and recently signed an exclusive deal to be streamed on DAZN. He is ranked near the top on every sanctioning board at just 20 years old. Next up, Mario Barrios is a welterweight prospect, looking to showcase his skills on the Hurd-Williams fight card. Don't blink when you see the 23-0 prospect go to work, and listen in on why he is on Woodsy's watch list. David Avila is up next. He is a fellow reporter with some strong feelings on how certain aspects of women's boxing is being run. He'll speak his mind on a few topics that don't get enough light in the boxing industry. Mark Fratto closes the show. Mark is the CEO of Facebook's Friday Night Fights. He'll give us an update on some cards he's promoting while checking in on his analyst Woodsy.
Welcome to episode twenty-nine of A History of Rock Music in Five Hundred Songs. This is the second of our three-part look at Chess Records, and focuses on “Maybellene” by Chuck Berry. Click the full post to read liner notes, links to more information, and a transcript of the episode. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. I reference three previous episodes here — last week’s, the disclaimer episode, and the episode on Ida Red. I used three main books as reference here: Brown Eyed Handsome Man: The Life and Hard Times of Chuck Berry by Bruce Pegg is a good narrative biography of Berry, which doesn’t shy away from the less salubrious aspects of his personality, but is clearly written by an admirer. Long Distance Information: Chuck Berry’s Recorded Legacy by Fred Rothwell is an extraordinarily researched look at every single recording session of Berry’s career up to 2001. And for information on Chess, I used The Record Men: Chess Records and the Birth of Rock and Roll by Richard Cohen. I wouldn’t recommend that book, however — while it has some useful interview material and anecdotes from those involved, Cohen gets some basic matters of fact laughably wrong, and generally seems to be more interested in showing off his prose style than fact-checking. There are a myriad Chuck Berry compilations available. The one I’d recommend if you don’t have a spare couple of hundred quid for the complete works box set is the double-CD Gold, which has every major track without any of the filler. And if you want to check out more of Willie Dixon’s material, this four-CD set contains a hundred records he either performed on as an artist, played on as a session player, wrote, or produced. It’s the finest body of work in post-war blues. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Intro: Alan Freed introducing Chuck Berry and Maybellene] Welcome to the second part of our trilogy on Chess Records. This week, we’re going to talk about the most important single record Chess ever put out, and arguably the most important artist in the whole history of rock music. But first, we’re going to talk about something a lot more recent. We’re going to talk about “Old Town Road,” by Lil Nas X. For those of you who don’t follow the charts and the music news in general, “Old Town Road” is a song put out late last year by a rapper, but it reached number nineteen in the country charts. Because it’s a country song: [Excerpt: “Old Town Road” by Lil Nas X] That’s a song with banjo and mandolin, with someone singing in a low Johnny Cash style voice about riding a horse while wearing a cowboy hat. It’s clearly country music if anything at all is country music. But it was taken off the country music charts the week it would otherwise have made number one, in a decision that Billboard was at pains to say was nothing at all to do with his race. A hint — if you have to go to great lengths to say that the thing you’re doing isn’t racist, it’s probably racist. Because genre labels have always been about race, and about policing racial boundaries in the US, since the very beginning. Remember that when Billboard started the R&B charts they were called the “race music” charts. You had the race music charts for black people, the country charts for lower-class whites, and the pop charts for the respectable white people. That was the demarcation, and that still is the demarcation. But people will always want to push against those constraints. And in the 1950s, just like today, there were black people who wanted to make country music. But in the 1950s, unlike today, there was a term for the music those people were making. It was called rock and roll. For about a decade, from roughly 1955 through 1965, “rock and roll” became a term for the music which disregarded those racial boundaries. And since then there has been a slow but sure historical revisionism. The lines of rock and roll expand to let in any white man, but they constrict to push out the women and black men who were already there. But there’s one they haven’t yet been able to push out, because this particular black man playing country music was more or less the embodiment of rock and roll. Chuck Berry was, in many ways, not at all an admirable man. He was one of all too many rock and roll pioneers to be a sex offender (and again, please see the disclaimer episode I did close to the start of this series, for my thoughts about that — nothing I say about his work should be taken to imply that I think that work mitigates some of the awful things he did) and he was also by all accounts an unpleasant person in a myriad other ways. As I talked about in the disclaimer episode, we will be dealing with many awful people in this series, because that’s the nature of the history of rock and roll, but Chuck Berry was one of the most fundamentally unpleasant, unlikeable, people we’ll be looking at. Nobody has a good word to say about him as a human being, and he hurt a lot of people over his long life. When I talk about his work, or the real injustices that were also done to him, I don’t want to forget that. But when it comes to rock and roll, Chuck Berry may be the single most important figure who ever lived, and a model for everyone who followed. [Excerpt: “Maybellene”, just the intro] To talk about Chuck Berry, we first of all have to talk about Johnnie Johnson. Johnnie Johnson was a blues piano player, who had got a taste of life as a professional musician in the Marines, where he’d played in a military band led by Bobby Troup, the writer of “Route 66” among many other songs. After leaving the Marines, he’d moved around the Midwest, playing blues in various bands, before forming his own trio, the Johnnie Johnson Trio, in St Louis. That trio consisted of piano, saxophone, and drums — until New Year’s Eve 1952, when the saxophone player had a stroke and couldn’t play. Johnson needed another musician to play with the trio, and needed someone quick, but it was New Year’s Eve — every musician he could think of would be booked up. Except for Chuck Berry. Berry was a guitarist he vaguely knew, and was different in every way from Johnson. Where Johnson was an easy-going, fat, jovial, man, who had no ambitions other than to make a living playing boogie-woogie piano, Chuck Berry had already served a term in prison for armed robbery, was massively ambitious, and was skinny as a rake. But he could play the guitar and sing well enough, and the customers had hired a trio, not a duo, and so Chuck Berry joined the Johnnie Johnson Trio. Berry soon took over the band, as Johnson, a relatively easy-going person, saw that Berry was so ambitious that he would be able to bring the band greater success than they would otherwise have had. And also, Berry owned a car, which was useful for transporting the band to gigs. And so the Johnnie Johnson trio became the Chuck Berry Trio. Berry would also play gigs on the side with other musicians, and in 1954 he played guitar on a session for a calypso record on a local independent label: [Excerpt: “Oh Maria”, Joe Alexander and the Cubans] However, when Berry tried to get that label to record the Chuck Berry Trio, they weren’t interested. But then Berry drove to Chicago to see one of his musical heroes, Muddy Waters. We’ve talked about Waters before, but only in passing — but Waters was, by far, the biggest star in the Chicago electric blues style, whose driving, propulsive, records were more accessible than Howlin’ Wolf but still had some of the Delta grit that was missing from the cleaner sounds of people like T-Bone Walker. Berry stayed after the show to talk to his idol, and asked him how he could make records like Waters did. Waters told him to go and see Leonard Chess at Chess Records. Berry went to see Chess, who asked if Berry had a demo tape. He didn’t, but he went back to St Louis and came back the next week with a wire recording of four newly-recorded songs. The first thing he played was a blues song he’d written called “The Wee Wee Hours”: [excerpt: Chuck Berry, “The Wee Wee Hours”] That was too generic for Chess — and the blues they put out tended to be more electric Chicago blues, rather than the Nat Cole or Charles Brown style Berry was going for there. But the next song he played had them interested. Berry had always been interested in playing as many different styles of music as he could — he was someone who was trying to incorporate the sounds of Louis Jordan, Muddy Waters, Charlie Christian, and Nat “King” Cole, among others. And so as well as performing blues, jazz, and rhythm and blues music, he’d also incorporated a fair amount of country and western music in his shows. And in particular, he was an admirer of Bob Wills and his Texas Playboys, and he would perform their song “Ida Red” in shows, where it always went down well. We already had an entire episode of the podcast on “Ida Red”, which I’ll link in the liner notes to this, but as a quick reminder, it’s an old folk song, or collection of folk songs, that had become a big hit for Bob Wills, the Western Swing fiddle player: [Excerpt: “Ida Red”, Bob Wills and his Texas Playboys] Berry would perform that song live, but messed around and changed the lyrics a lot — he eventually changed the title to “Ida May”, for a start — and when he performed the song for Leonard Chess, Chess thought it sounded great. There was only one problem — he thought the name made it too obvious where Berry had got the idea, and he wanted it to sound more original. They tried several names and eventually hit on “Maybellene”, after the popular cosmetics brand, though they changed the spelling. “Ida Red” wasn’t the only influence on “Maybellene” though, there was another song called “Oh Red”, a hokum song by the Harlem Hamfats: [Excerpt: “Oh Red”, the Harlem Hamfats] Larry Birnbaum, in “Before Elvis”, suggests that this was the *only* influence on “Maybellene”, and that Berry was misremembering the song, as both songs have “Red” in the titles. I disagree — I think it’s fairly clear that “Maybellene” is inspired both by “Ida Red”s structure and patter-lyric verse and by “Oh Red”s chorus melody. And it wasn’t just Bob Wills’ version of “Ida Red” that inspired Berry. There’s a blues version, by Bumble Bee Slim, which has a guitar break that isn’t a million miles away from what Berry was doing: [Excerpt: “Ida Red”, Bumble Bee Slim] And there’s another influence as well. Berry’s lyrics were about a car chase — to try to catch up with a cheating girlfriend — and are the thing that makes the song so unique. They — and the car-horn sound of the guitar — seem to have been inspired by a hillbilly boogie song called “Hot Rod Racer” by Arkie Shibley and his Mountain Dew Boys: [Excerpt: “Hot Rod Racer”, Arkie Shibley and his Mountain Dew Boys] That had been a successful enough country song that it spawned at least three hit cover versions, including one by Red Foley. Berry took all these Western Swing, blues, and hillbilly boogie influences and turned them into something new: [Excerpt: Chuck Berry, “Maybellene”] Even this early, you can already see the Chuck Berry style fully formed. Clean blues guitar, as clean as someone like T-Bone Walker, but playing almost rockabilly phrases — this is closer to the style of Elvis’ Sun records than it is to anything else that Chess were putting out — and punning, verbose, witty lyrics talking about something that would have a clear appeal to people half his age. All of future rock is right there. The lineup on the record was the Chuck Berry trio — Berry on guitar, Johnson on piano, and Ebby Hardy on drums — augmented by two other musicians. Jerome Green, the maraca player, is someone we’ll be talking about next week, but we should here talk a bit about Willie Dixon, the bass player, because he is probably the single most important figure in the whole Chess Records story. Dixon had started out as a boxer — he’d been Joe Louis’ sparring partner — before starting to play a bass made out of a tin can and a single string for him by the blues pianist Leonard Caston. Dixon and Caston formed an Ink Spots-style group, “The Five Breezes”: [Excerpt: “Sweet Louise”, the Five Breezes] But when America joined in World War II, Dixon’s music career went on hold, as he was a conscientious objector, unwilling to fight in defence of a racist state, and so he spent ten months in prison. He joined Chess in 1951 shortly after Leonard Chess took over full control of the company by buying out its original owner — right after the club Chess had been running had mysteriously burned down, on a day it was closed, giving him enough insurance money to buy the whole record company. And Dixon was necessary because among Leonard Chess’ flaws was one fatal one — he had no idea what real musical talent was or how to find it. But he *did* have the second-order ability to find people who could recognise real musical talent when they heard it, and the willingness to trust those people’s judgment. And Dixon was not only a real talent himself, but he could bring out the best in others, too. Dixon was, effectively, the auteur behind almost everything that Chess Records put out. As well as a session bass player who played on almost every Chess release that wasn’t licensed from someone else, he was also their staff producer, talent scout, and staff songwriter, as well as a solo artist under his own name. He wrote and played on hits for Muddy Waters, Howlin’ Wolf, Sonny Boy Williamson II, Little Walter, Koko Taylor, Bo Diddley, Elmore James… to all intents and purposes, Willie Dixon *was* the Chicago blues, and when the second generation of rock and rollers started up in the 1960s — white boys with guitars from England — it was Willie Dixon’s songs that formed the backbone of their repertoire. Just a few of the songs he wrote that became classics include “Little Red Rooster” for Howlin’ Wolf: [Excerpt: Howlin’ Wolf, “Little Red Rooster”] “Bring it on Home” for Sonny Boy Williamson II [Excerpt: Sonny Boy Williamson II, “Bring it on Home”] “You Need Love” for Muddy Waters [Excerpt: Muddy Waters, “You Need Love”] You get the idea. In any other session he played on — in any other room he ever entered — Dixon would be the most important songwriter in the room. But as it turned out, on this occasion, he was only the second-most important and influential songwriter there, as “Maybellene” would be the start of a run of singles that is unparalleled for its influence on rock and roll music. It was the debut of the single most important songwriter in rock and roll history. Of course, Chuck Berry isn’t the only credited songwriter — and, separately, he may not have been the song’s only writer. But these two things aren’t linked. Leonard Chess was someone who had a reputation for not being particularly fair with his artists when it came to contracts. A favourite technique for him was to call an artist and tell him that he had some new papers to sign. He would then leave a bottle of whisky in the office, and not be in when the musician turned up. His secretary would say “Mr. Chess has been delayed. Help yourself to a drink while you wait in the office”. Chess would only return when the musician was totally drunk, and then get him to sign the contract. That wouldn’t work on Berry, who didn’t drink, but Chess did manage to get Berry to sign two thirds of the rights to “Maybellene” over to people who had nothing to do with writing it — Russ Fratto and Alan Freed. Freed had already taken the songwriting credit for several songs by bands that he managed, none of which he wrote, but now he was going to take the credit for a song by someone he had never met — Chess added his name to the credits as a bribe, in order to persuade him to play the song on his radio show. Russ Fratto, meanwhile, was the landlord of Chess Records’ offices and owned the stationery company that printed the labels Chess used on their records. It’s been said in a few places that Fratto was given the credit because the Chess brothers owed him money, so they gave him a cut of Berry’s royalties to pay off their own debt. But while Freed and Fratto took unearned credit for the song, it’s at least arguable that so did Chuck Berry. We’ll be looking at several Chuck Berry songs over the course of this podcast, and the question of authorship comes up for all of them. After they stopped working together, Johnnie Johnson started to claim that he deserved co-writing credit for everything that was credited to Berry on his own. Johnson claimed that while Berry wrote the lyrics by himself, the band as a whole worked out the music, and that Berry’s melody lines would be based on Johnson’s piano parts. To get an idea of what Johnson brought to the mix, here’s a performance from Johnson, without Berry, many years later: [Excerpt: Johnnie Johnson, “Johnny’s Boogie”] It’s impossible to say with certainty who did what — Johnson sued Berry in 2000, but the case was dismissed because of the length of time between the songs being written and the case being brought. And Johnson worked with Berry on almost all his albums before that so we don’t have any clear guides as to what Berry’s music sounded like without Johnson. Given Berry’s money-grubbing, grasping, nature, and his willingness to see every single interaction as about how many dollars and cents were in it for Chuck Berry, I have no trouble believing that Berry would take the credit for other people’s work and not think twice about it, so I can fully believe that Johnson worked with him on the music for the songs. On the other hand, most of the songs in question were based around very basic blues chord changes, and the musical interest in them comes almost solely from Berry’s guitar licks — Johnnie Johnson was a very good blues piano player just like a thousand other very good blues piano players, but Chuck Berry’s guitar style is absolutely distinctive, and unlike anything ever recorded before. But the crucial evidence as to how much input or lack of it Johnson had on the writing process comes with the keys Berry chose. Maybellene is in B-flat. A lot of his other songs are in E-flat. These are *not* keys that any guitarist would normally choose to write in. If you’re a guitarist, writing for the guitar, you’d probably choose to write in E or A if you’re playing the blues, D if you’re doing folkier stuff, maybe G or C if you’re doing something poppier and more melodic. These are easy keys for the guitar, the keys that every guitarist’s fingers will automatically fall into unless they have a good reason not to. E-flat and B-flat, though, are fairly straightforward keys on the piano if you’re playing the blues. And they’re keys that are *absolutely* standard for a saxophone player — alto saxes are tuned to an E-flat, tenor saxes to B-flat, so if you’re a band where the sax player is the most important instrumentalist, those are the keys you’re most likely to choose, all else being equal. Now, remember that Chuck Berry replaced the saxophone player in Johnnie Johnson’s band. Once you know that it seems obvious what’s happened — Berry has fit himself in around arrangements and repertoire that Johnson had originally worked up with a sax player, playing in the keys that Johnson was already used to. When they worked out the music for Berry’s songs, that was the pattern they fell into. So, I tend to believe Johnson that the backings were worked out between them after Berry wrote the lyrics. Johnson’s contribution seems to have come somewhere between that of an arranger and of a songwriter, and he deserves some credit at least morally, if not under the ridiculous legal situation that made arrangements uncopyrightable. [Excerpt: “Maybellene” guitar solo showing interplay of Berry and Johnson] “Maybellene”’s success was in part because of a very deliberate decision Berry had made years earlier, having noted the success of white performers singing black musicians’ material, and deciding that he was going to try to get the white people to buy his recordings rather than the cover versions, by singing in a voice that was closer to white singers than the typical blues vocalist. While it caused him problems in early days, notably with him turning up to gigs only to be told, often with accompanying racial slurs, that they’d expected the performer of “Maybellene” to be a white man and he wasn’t allowed to play, his playing-down of his own blackness also caused a major benefit — he became one of the only black musicians to chart higher than the white cover version. It would normally be expected that “Maybellene” would be overshadowed on the charts by Marty Robbins’ version, especially since Marty Robbins was a hugely popular star, and Berry was an unknown on a small blues label: [excerpt: Marty Robbins, “Maybellene”] Instead, as well as going to number one on the R&B charts, Berry’s recording went to number five on the pop charts. And other recordings by him would follow over the next few years. He was never a consistent chart success — in fact he did significantly less well than his reputation in rock and roll history would suggest — but he notched several top ten hits on the pop charts. “Maybellene” did so well that even “Wee Wee Hours”, released as the B-side, went to number ten on the R&B charts. And Berry’s next single was a “Maybellene” soundalike — “Thirty Days” [Excerpt: “Thirty Days”, Chuck Berry] It’s a great track, but it didn’t do quite so well on the charts — it went to number two on the R&B charts, and didn’t hit the pop charts at all. The single after that, “No Money Down”, did less well again. But Berry was about to turn things around again with his next single: [excerpt: *just the guitar intro* of “Roll Over Beethoven” by Chuck Berry] You don’t need anything more, do you? That’s the Chuck Berry formula, right there. You don’t even need to hear the vocals to know exactly what the record is. That record is, of course, “Roll Over Beethoven”. It’s worth listening to the lyrics again just to see what Berry is doing here. [Excerpt: “Roll Over Beethoven”, Chuck Berry] What we have here is, as far as I can tell, the first time that rock and roll started the pattern of self-mythologising that would continue throughout the genre’s history. Of course, there had been plenty of records before this that had talked about the power of music or how much the singer wanted to make you dance, or whatever, but this one is different in a couple of ways. Firstly, it’s talking about *recorded* music specifically — Berry isn’t wanting to go out and listen to a band play live, but he wants to listen to the DJ play his favourite record instead. And secondly, he’s explicitly making a link between his music — “these rhythm and blues” — and the music of the rockabilly artists from Memphis — “don’t step on my blue suede shoes”. And Berry’s music did resemble the Memphis rockabilly more than it resembled anything else. Both had electric lead guitars, double bass, drums, and reverb, and no saxophone and little piano. Both sang sped-up hillbilly boogies with a hard backbeat. Rock and roll was, as we have seen, a disparate genre at first, and people would continue to pull from a whole variety of different sources. But working independently and with no knowledge of each other, a white country hick from Tennessee and a sophisticated black urbanite from the Midwest had hit upon almost exactly the same formula, and Berry was going to make sure that he made the connection as clear as possible. If there’s a moment that rock and roll culture coalesced into a single thing, it was with “Roll Over Beethoven”. And Berry now had his formula worked out. The next thing to do was to get rid of the band. “Roll Over Beethoven” was the penultimate single credited to Chuck Berry & His Combo, rather than to just Chuck Berry. We’ll look at the last one, recorded at the same session, in a few weeks’ time.
Welcome to episode twenty-nine of A History of Rock Music in Five Hundred Songs. This is the second of our three-part look at Chess Records, and focuses on “Maybellene” by Chuck Berry. Click the full post to read liner notes, links to more information, and a transcript of the episode. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. I reference three previous episodes here — last week’s, the disclaimer episode, and the episode on Ida Red. I used three main books as reference here: Brown Eyed Handsome Man: The Life and Hard Times of Chuck Berry by Bruce Pegg is a good narrative biography of Berry, which doesn’t shy away from the less salubrious aspects of his personality, but is clearly written by an admirer. Long Distance Information: Chuck Berry’s Recorded Legacy by Fred Rothwell is an extraordinarily researched look at every single recording session of Berry’s career up to 2001. And for information on Chess, I used The Record Men: Chess Records and the Birth of Rock and Roll by Richard Cohen. I wouldn’t recommend that book, however — while it has some useful interview material and anecdotes from those involved, Cohen gets some basic matters of fact laughably wrong, and generally seems to be more interested in showing off his prose style than fact-checking. There are a myriad Chuck Berry compilations available. The one I’d recommend if you don’t have a spare couple of hundred quid for the complete works box set is the double-CD Gold, which has every major track without any of the filler. And if you want to check out more of Willie Dixon’s material, this four-CD set contains a hundred records he either performed on as an artist, played on as a session player, wrote, or produced. It’s the finest body of work in post-war blues. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Intro: Alan Freed introducing Chuck Berry and Maybellene] Welcome to the second part of our trilogy on Chess Records. This week, we’re going to talk about the most important single record Chess ever put out, and arguably the most important artist in the whole history of rock music. But first, we’re going to talk about something a lot more recent. We’re going to talk about “Old Town Road,” by Lil Nas X. For those of you who don’t follow the charts and the music news in general, “Old Town Road” is a song put out late last year by a rapper, but it reached number nineteen in the country charts. Because it’s a country song: [Excerpt: “Old Town Road” by Lil Nas X] That’s a song with banjo and mandolin, with someone singing in a low Johnny Cash style voice about riding a horse while wearing a cowboy hat. It’s clearly country music if anything at all is country music. But it was taken off the country music charts the week it would otherwise have made number one, in a decision that Billboard was at pains to say was nothing at all to do with his race. A hint — if you have to go to great lengths to say that the thing you’re doing isn’t racist, it’s probably racist. Because genre labels have always been about race, and about policing racial boundaries in the US, since the very beginning. Remember that when Billboard started the R&B charts they were called the “race music” charts. You had the race music charts for black people, the country charts for lower-class whites, and the pop charts for the respectable white people. That was the demarcation, and that still is the demarcation. But people will always want to push against those constraints. And in the 1950s, just like today, there were black people who wanted to make country music. But in the 1950s, unlike today, there was a term for the music those people were making. It was called rock and roll. For about a decade, from roughly 1955 through 1965, “rock and roll” became a term for the music which disregarded those racial boundaries. And since then there has been a slow but sure historical revisionism. The lines of rock and roll expand to let in any white man, but they constrict to push out the women and black men who were already there. But there’s one they haven’t yet been able to push out, because this particular black man playing country music was more or less the embodiment of rock and roll. Chuck Berry was, in many ways, not at all an admirable man. He was one of all too many rock and roll pioneers to be a sex offender (and again, please see the disclaimer episode I did close to the start of this series, for my thoughts about that — nothing I say about his work should be taken to imply that I think that work mitigates some of the awful things he did) and he was also by all accounts an unpleasant person in a myriad other ways. As I talked about in the disclaimer episode, we will be dealing with many awful people in this series, because that’s the nature of the history of rock and roll, but Chuck Berry was one of the most fundamentally unpleasant, unlikeable, people we’ll be looking at. Nobody has a good word to say about him as a human being, and he hurt a lot of people over his long life. When I talk about his work, or the real injustices that were also done to him, I don’t want to forget that. But when it comes to rock and roll, Chuck Berry may be the single most important figure who ever lived, and a model for everyone who followed. [Excerpt: “Maybellene”, just the intro] To talk about Chuck Berry, we first of all have to talk about Johnnie Johnson. Johnnie Johnson was a blues piano player, who had got a taste of life as a professional musician in the Marines, where he’d played in a military band led by Bobby Troup, the writer of “Route 66” among many other songs. After leaving the Marines, he’d moved around the Midwest, playing blues in various bands, before forming his own trio, the Johnnie Johnson Trio, in St Louis. That trio consisted of piano, saxophone, and drums — until New Year’s Eve 1952, when the saxophone player had a stroke and couldn’t play. Johnson needed another musician to play with the trio, and needed someone quick, but it was New Year’s Eve — every musician he could think of would be booked up. Except for Chuck Berry. Berry was a guitarist he vaguely knew, and was different in every way from Johnson. Where Johnson was an easy-going, fat, jovial, man, who had no ambitions other than to make a living playing boogie-woogie piano, Chuck Berry had already served a term in prison for armed robbery, was massively ambitious, and was skinny as a rake. But he could play the guitar and sing well enough, and the customers had hired a trio, not a duo, and so Chuck Berry joined the Johnnie Johnson Trio. Berry soon took over the band, as Johnson, a relatively easy-going person, saw that Berry was so ambitious that he would be able to bring the band greater success than they would otherwise have had. And also, Berry owned a car, which was useful for transporting the band to gigs. And so the Johnnie Johnson trio became the Chuck Berry Trio. Berry would also play gigs on the side with other musicians, and in 1954 he played guitar on a session for a calypso record on a local independent label: [Excerpt: “Oh Maria”, Joe Alexander and the Cubans] However, when Berry tried to get that label to record the Chuck Berry Trio, they weren’t interested. But then Berry drove to Chicago to see one of his musical heroes, Muddy Waters. We’ve talked about Waters before, but only in passing — but Waters was, by far, the biggest star in the Chicago electric blues style, whose driving, propulsive, records were more accessible than Howlin’ Wolf but still had some of the Delta grit that was missing from the cleaner sounds of people like T-Bone Walker. Berry stayed after the show to talk to his idol, and asked him how he could make records like Waters did. Waters told him to go and see Leonard Chess at Chess Records. Berry went to see Chess, who asked if Berry had a demo tape. He didn’t, but he went back to St Louis and came back the next week with a wire recording of four newly-recorded songs. The first thing he played was a blues song he’d written called “The Wee Wee Hours”: [excerpt: Chuck Berry, “The Wee Wee Hours”] That was too generic for Chess — and the blues they put out tended to be more electric Chicago blues, rather than the Nat Cole or Charles Brown style Berry was going for there. But the next song he played had them interested. Berry had always been interested in playing as many different styles of music as he could — he was someone who was trying to incorporate the sounds of Louis Jordan, Muddy Waters, Charlie Christian, and Nat “King” Cole, among others. And so as well as performing blues, jazz, and rhythm and blues music, he’d also incorporated a fair amount of country and western music in his shows. And in particular, he was an admirer of Bob Wills and his Texas Playboys, and he would perform their song “Ida Red” in shows, where it always went down well. We already had an entire episode of the podcast on “Ida Red”, which I’ll link in the liner notes to this, but as a quick reminder, it’s an old folk song, or collection of folk songs, that had become a big hit for Bob Wills, the Western Swing fiddle player: [Excerpt: “Ida Red”, Bob Wills and his Texas Playboys] Berry would perform that song live, but messed around and changed the lyrics a lot — he eventually changed the title to “Ida May”, for a start — and when he performed the song for Leonard Chess, Chess thought it sounded great. There was only one problem — he thought the name made it too obvious where Berry had got the idea, and he wanted it to sound more original. They tried several names and eventually hit on “Maybellene”, after the popular cosmetics brand, though they changed the spelling. “Ida Red” wasn’t the only influence on “Maybellene” though, there was another song called “Oh Red”, a hokum song by the Harlem Hamfats: [Excerpt: “Oh Red”, the Harlem Hamfats] Larry Birnbaum, in “Before Elvis”, suggests that this was the *only* influence on “Maybellene”, and that Berry was misremembering the song, as both songs have “Red” in the titles. I disagree — I think it’s fairly clear that “Maybellene” is inspired both by “Ida Red”s structure and patter-lyric verse and by “Oh Red”s chorus melody. And it wasn’t just Bob Wills’ version of “Ida Red” that inspired Berry. There’s a blues version, by Bumble Bee Slim, which has a guitar break that isn’t a million miles away from what Berry was doing: [Excerpt: “Ida Red”, Bumble Bee Slim] And there’s another influence as well. Berry’s lyrics were about a car chase — to try to catch up with a cheating girlfriend — and are the thing that makes the song so unique. They — and the car-horn sound of the guitar — seem to have been inspired by a hillbilly boogie song called “Hot Rod Racer” by Arkie Shibley and his Mountain Dew Boys: [Excerpt: “Hot Rod Racer”, Arkie Shibley and his Mountain Dew Boys] That had been a successful enough country song that it spawned at least three hit cover versions, including one by Red Foley. Berry took all these Western Swing, blues, and hillbilly boogie influences and turned them into something new: [Excerpt: Chuck Berry, “Maybellene”] Even this early, you can already see the Chuck Berry style fully formed. Clean blues guitar, as clean as someone like T-Bone Walker, but playing almost rockabilly phrases — this is closer to the style of Elvis’ Sun records than it is to anything else that Chess were putting out — and punning, verbose, witty lyrics talking about something that would have a clear appeal to people half his age. All of future rock is right there. The lineup on the record was the Chuck Berry trio — Berry on guitar, Johnson on piano, and Ebby Hardy on drums — augmented by two other musicians. Jerome Green, the maraca player, is someone we’ll be talking about next week, but we should here talk a bit about Willie Dixon, the bass player, because he is probably the single most important figure in the whole Chess Records story. Dixon had started out as a boxer — he’d been Joe Louis’ sparring partner — before starting to play a bass made out of a tin can and a single string for him by the blues pianist Leonard Caston. Dixon and Caston formed an Ink Spots-style group, “The Five Breezes”: [Excerpt: “Sweet Louise”, the Five Breezes] But when America joined in World War II, Dixon’s music career went on hold, as he was a conscientious objector, unwilling to fight in defence of a racist state, and so he spent ten months in prison. He joined Chess in 1951 shortly after Leonard Chess took over full control of the company by buying out its original owner — right after the club Chess had been running had mysteriously burned down, on a day it was closed, giving him enough insurance money to buy the whole record company. And Dixon was necessary because among Leonard Chess’ flaws was one fatal one — he had no idea what real musical talent was or how to find it. But he *did* have the second-order ability to find people who could recognise real musical talent when they heard it, and the willingness to trust those people’s judgment. And Dixon was not only a real talent himself, but he could bring out the best in others, too. Dixon was, effectively, the auteur behind almost everything that Chess Records put out. As well as a session bass player who played on almost every Chess release that wasn’t licensed from someone else, he was also their staff producer, talent scout, and staff songwriter, as well as a solo artist under his own name. He wrote and played on hits for Muddy Waters, Howlin’ Wolf, Sonny Boy Williamson II, Little Walter, Koko Taylor, Bo Diddley, Elmore James… to all intents and purposes, Willie Dixon *was* the Chicago blues, and when the second generation of rock and rollers started up in the 1960s — white boys with guitars from England — it was Willie Dixon’s songs that formed the backbone of their repertoire. Just a few of the songs he wrote that became classics include “Little Red Rooster” for Howlin’ Wolf: [Excerpt: Howlin’ Wolf, “Little Red Rooster”] “Bring it on Home” for Sonny Boy Williamson II [Excerpt: Sonny Boy Williamson II, “Bring it on Home”] “You Need Love” for Muddy Waters [Excerpt: Muddy Waters, “You Need Love”] You get the idea. In any other session he played on — in any other room he ever entered — Dixon would be the most important songwriter in the room. But as it turned out, on this occasion, he was only the second-most important and influential songwriter there, as “Maybellene” would be the start of a run of singles that is unparalleled for its influence on rock and roll music. It was the debut of the single most important songwriter in rock and roll history. Of course, Chuck Berry isn’t the only credited songwriter — and, separately, he may not have been the song’s only writer. But these two things aren’t linked. Leonard Chess was someone who had a reputation for not being particularly fair with his artists when it came to contracts. A favourite technique for him was to call an artist and tell him that he had some new papers to sign. He would then leave a bottle of whisky in the office, and not be in when the musician turned up. His secretary would say “Mr. Chess has been delayed. Help yourself to a drink while you wait in the office”. Chess would only return when the musician was totally drunk, and then get him to sign the contract. That wouldn’t work on Berry, who didn’t drink, but Chess did manage to get Berry to sign two thirds of the rights to “Maybellene” over to people who had nothing to do with writing it — Russ Fratto and Alan Freed. Freed had already taken the songwriting credit for several songs by bands that he managed, none of which he wrote, but now he was going to take the credit for a song by someone he had never met — Chess added his name to the credits as a bribe, in order to persuade him to play the song on his radio show. Russ Fratto, meanwhile, was the landlord of Chess Records’ offices and owned the stationery company that printed the labels Chess used on their records. It’s been said in a few places that Fratto was given the credit because the Chess brothers owed him money, so they gave him a cut of Berry’s royalties to pay off their own debt. But while Freed and Fratto took unearned credit for the song, it’s at least arguable that so did Chuck Berry. We’ll be looking at several Chuck Berry songs over the course of this podcast, and the question of authorship comes up for all of them. After they stopped working together, Johnnie Johnson started to claim that he deserved co-writing credit for everything that was credited to Berry on his own. Johnson claimed that while Berry wrote the lyrics by himself, the band as a whole worked out the music, and that Berry’s melody lines would be based on Johnson’s piano parts. To get an idea of what Johnson brought to the mix, here’s a performance from Johnson, without Berry, many years later: [Excerpt: Johnnie Johnson, “Johnny’s Boogie”] It’s impossible to say with certainty who did what — Johnson sued Berry in 2000, but the case was dismissed because of the length of time between the songs being written and the case being brought. And Johnson worked with Berry on almost all his albums before that so we don’t have any clear guides as to what Berry’s music sounded like without Johnson. Given Berry’s money-grubbing, grasping, nature, and his willingness to see every single interaction as about how many dollars and cents were in it for Chuck Berry, I have no trouble believing that Berry would take the credit for other people’s work and not think twice about it, so I can fully believe that Johnson worked with him on the music for the songs. On the other hand, most of the songs in question were based around very basic blues chord changes, and the musical interest in them comes almost solely from Berry’s guitar licks — Johnnie Johnson was a very good blues piano player just like a thousand other very good blues piano players, but Chuck Berry’s guitar style is absolutely distinctive, and unlike anything ever recorded before. But the crucial evidence as to how much input or lack of it Johnson had on the writing process comes with the keys Berry chose. Maybellene is in B-flat. A lot of his other songs are in E-flat. These are *not* keys that any guitarist would normally choose to write in. If you’re a guitarist, writing for the guitar, you’d probably choose to write in E or A if you’re playing the blues, D if you’re doing folkier stuff, maybe G or C if you’re doing something poppier and more melodic. These are easy keys for the guitar, the keys that every guitarist’s fingers will automatically fall into unless they have a good reason not to. E-flat and B-flat, though, are fairly straightforward keys on the piano if you’re playing the blues. And they’re keys that are *absolutely* standard for a saxophone player — alto saxes are tuned to an E-flat, tenor saxes to B-flat, so if you’re a band where the sax player is the most important instrumentalist, those are the keys you’re most likely to choose, all else being equal. Now, remember that Chuck Berry replaced the saxophone player in Johnnie Johnson’s band. Once you know that it seems obvious what’s happened — Berry has fit himself in around arrangements and repertoire that Johnson had originally worked up with a sax player, playing in the keys that Johnson was already used to. When they worked out the music for Berry’s songs, that was the pattern they fell into. So, I tend to believe Johnson that the backings were worked out between them after Berry wrote the lyrics. Johnson’s contribution seems to have come somewhere between that of an arranger and of a songwriter, and he deserves some credit at least morally, if not under the ridiculous legal situation that made arrangements uncopyrightable. [Excerpt: “Maybellene” guitar solo showing interplay of Berry and Johnson] “Maybellene”’s success was in part because of a very deliberate decision Berry had made years earlier, having noted the success of white performers singing black musicians’ material, and deciding that he was going to try to get the white people to buy his recordings rather than the cover versions, by singing in a voice that was closer to white singers than the typical blues vocalist. While it caused him problems in early days, notably with him turning up to gigs only to be told, often with accompanying racial slurs, that they’d expected the performer of “Maybellene” to be a white man and he wasn’t allowed to play, his playing-down of his own blackness also caused a major benefit — he became one of the only black musicians to chart higher than the white cover version. It would normally be expected that “Maybellene” would be overshadowed on the charts by Marty Robbins’ version, especially since Marty Robbins was a hugely popular star, and Berry was an unknown on a small blues label: [excerpt: Marty Robbins, “Maybellene”] Instead, as well as going to number one on the R&B charts, Berry’s recording went to number five on the pop charts. And other recordings by him would follow over the next few years. He was never a consistent chart success — in fact he did significantly less well than his reputation in rock and roll history would suggest — but he notched several top ten hits on the pop charts. “Maybellene” did so well that even “Wee Wee Hours”, released as the B-side, went to number ten on the R&B charts. And Berry’s next single was a “Maybellene” soundalike — “Thirty Days” [Excerpt: “Thirty Days”, Chuck Berry] It’s a great track, but it didn’t do quite so well on the charts — it went to number two on the R&B charts, and didn’t hit the pop charts at all. The single after that, “No Money Down”, did less well again. But Berry was about to turn things around again with his next single: [excerpt: *just the guitar intro* of “Roll Over Beethoven” by Chuck Berry] You don’t need anything more, do you? That’s the Chuck Berry formula, right there. You don’t even need to hear the vocals to know exactly what the record is. That record is, of course, “Roll Over Beethoven”. It’s worth listening to the lyrics again just to see what Berry is doing here. [Excerpt: “Roll Over Beethoven”, Chuck Berry] What we have here is, as far as I can tell, the first time that rock and roll started the pattern of self-mythologising that would continue throughout the genre’s history. Of course, there had been plenty of records before this that had talked about the power of music or how much the singer wanted to make you dance, or whatever, but this one is different in a couple of ways. Firstly, it’s talking about *recorded* music specifically — Berry isn’t wanting to go out and listen to a band play live, but he wants to listen to the DJ play his favourite record instead. And secondly, he’s explicitly making a link between his music — “these rhythm and blues” — and the music of the rockabilly artists from Memphis — “don’t step on my blue suede shoes”. And Berry’s music did resemble the Memphis rockabilly more than it resembled anything else. Both had electric lead guitars, double bass, drums, and reverb, and no saxophone and little piano. Both sang sped-up hillbilly boogies with a hard backbeat. Rock and roll was, as we have seen, a disparate genre at first, and people would continue to pull from a whole variety of different sources. But working independently and with no knowledge of each other, a white country hick from Tennessee and a sophisticated black urbanite from the Midwest had hit upon almost exactly the same formula, and Berry was going to make sure that he made the connection as clear as possible. If there’s a moment that rock and roll culture coalesced into a single thing, it was with “Roll Over Beethoven”. And Berry now had his formula worked out. The next thing to do was to get rid of the band. “Roll Over Beethoven” was the penultimate single credited to Chuck Berry & His Combo, rather than to just Chuck Berry. We’ll look at the last one, recorded at the same session, in a few weeks’ time.
Welcome to episode twenty-nine of A History of Rock Music in Five Hundred Songs. This is the second of our three-part look at Chess Records, and focuses on "Maybellene" by Chuck Berry. Click the full post to read liner notes, links to more information, and a transcript of the episode. ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. I reference three previous episodes here -- last week's, the disclaimer episode, and the episode on Ida Red. I used three main books as reference here: Brown Eyed Handsome Man: The Life and Hard Times of Chuck Berry by Bruce Pegg is a good narrative biography of Berry, which doesn't shy away from the less salubrious aspects of his personality, but is clearly written by an admirer. Long Distance Information: Chuck Berry's Recorded Legacy by Fred Rothwell is an extraordinarily researched look at every single recording session of Berry's career up to 2001. And for information on Chess, I used The Record Men: Chess Records and the Birth of Rock and Roll by Richard Cohen. I wouldn't recommend that book, however -- while it has some useful interview material and anecdotes from those involved, Cohen gets some basic matters of fact laughably wrong, and generally seems to be more interested in showing off his prose style than fact-checking. There are a myriad Chuck Berry compilations available. The one I'd recommend if you don't have a spare couple of hundred quid for the complete works box set is the double-CD Gold, which has every major track without any of the filler. And if you want to check out more of Willie Dixon's material, this four-CD set contains a hundred records he either performed on as an artist, played on as a session player, wrote, or produced. It's the finest body of work in post-war blues. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Intro: Alan Freed introducing Chuck Berry and Maybellene] Welcome to the second part of our trilogy on Chess Records. This week, we're going to talk about the most important single record Chess ever put out, and arguably the most important artist in the whole history of rock music. But first, we're going to talk about something a lot more recent. We're going to talk about "Old Town Road," by Lil Nas X. For those of you who don't follow the charts and the music news in general, "Old Town Road" is a song put out late last year by a rapper, but it reached number nineteen in the country charts. Because it's a country song: [Excerpt: "Old Town Road" by Lil Nas X] That's a song with banjo and mandolin, with someone singing in a low Johnny Cash style voice about riding a horse while wearing a cowboy hat. It's clearly country music if anything at all is country music. But it was taken off the country music charts the week it would otherwise have made number one, in a decision that Billboard was at pains to say was nothing at all to do with his race. A hint -- if you have to go to great lengths to say that the thing you're doing isn't racist, it's probably racist. Because genre labels have always been about race, and about policing racial boundaries in the US, since the very beginning. Remember that when Billboard started the R&B charts they were called the "race music" charts. You had the race music charts for black people, the country charts for lower-class whites, and the pop charts for the respectable white people. That was the demarcation, and that still is the demarcation. But people will always want to push against those constraints. And in the 1950s, just like today, there were black people who wanted to make country music. But in the 1950s, unlike today, there was a term for the music those people were making. It was called rock and roll. For about a decade, from roughly 1955 through 1965, "rock and roll" became a term for the music which disregarded those racial boundaries. And since then there has been a slow but sure historical revisionism. The lines of rock and roll expand to let in any white man, but they constrict to push out the women and black men who were already there. But there's one they haven't yet been able to push out, because this particular black man playing country music was more or less the embodiment of rock and roll. Chuck Berry was, in many ways, not at all an admirable man. He was one of all too many rock and roll pioneers to be a sex offender (and again, please see the disclaimer episode I did close to the start of this series, for my thoughts about that -- nothing I say about his work should be taken to imply that I think that work mitigates some of the awful things he did) and he was also by all accounts an unpleasant person in a myriad other ways. As I talked about in the disclaimer episode, we will be dealing with many awful people in this series, because that's the nature of the history of rock and roll, but Chuck Berry was one of the most fundamentally unpleasant, unlikeable, people we'll be looking at. Nobody has a good word to say about him as a human being, and he hurt a lot of people over his long life. When I talk about his work, or the real injustices that were also done to him, I don't want to forget that. But when it comes to rock and roll, Chuck Berry may be the single most important figure who ever lived, and a model for everyone who followed. [Excerpt: “Maybellene”, just the intro] To talk about Chuck Berry, we first of all have to talk about Johnnie Johnson. Johnnie Johnson was a blues piano player, who had got a taste of life as a professional musician in the Marines, where he'd played in a military band led by Bobby Troup, the writer of "Route 66" among many other songs. After leaving the Marines, he'd moved around the Midwest, playing blues in various bands, before forming his own trio, the Johnnie Johnson Trio, in St Louis. That trio consisted of piano, saxophone, and drums -- until New Year's Eve 1952, when the saxophone player had a stroke and couldn't play. Johnson needed another musician to play with the trio, and needed someone quick, but it was New Year's Eve -- every musician he could think of would be booked up. Except for Chuck Berry. Berry was a guitarist he vaguely knew, and was different in every way from Johnson. Where Johnson was an easy-going, fat, jovial, man, who had no ambitions other than to make a living playing boogie-woogie piano, Chuck Berry had already served a term in prison for armed robbery, was massively ambitious, and was skinny as a rake. But he could play the guitar and sing well enough, and the customers had hired a trio, not a duo, and so Chuck Berry joined the Johnnie Johnson Trio. Berry soon took over the band, as Johnson, a relatively easy-going person, saw that Berry was so ambitious that he would be able to bring the band greater success than they would otherwise have had. And also, Berry owned a car, which was useful for transporting the band to gigs. And so the Johnnie Johnson trio became the Chuck Berry Trio. Berry would also play gigs on the side with other musicians, and in 1954 he played guitar on a session for a calypso record on a local independent label: [Excerpt: "Oh Maria", Joe Alexander and the Cubans] However, when Berry tried to get that label to record the Chuck Berry Trio, they weren't interested. But then Berry drove to Chicago to see one of his musical heroes, Muddy Waters. We've talked about Waters before, but only in passing -- but Waters was, by far, the biggest star in the Chicago electric blues style, whose driving, propulsive, records were more accessible than Howlin' Wolf but still had some of the Delta grit that was missing from the cleaner sounds of people like T-Bone Walker. Berry stayed after the show to talk to his idol, and asked him how he could make records like Waters did. Waters told him to go and see Leonard Chess at Chess Records. Berry went to see Chess, who asked if Berry had a demo tape. He didn't, but he went back to St Louis and came back the next week with a wire recording of four newly-recorded songs. The first thing he played was a blues song he'd written called "The Wee Wee Hours": [excerpt: Chuck Berry, "The Wee Wee Hours"] That was too generic for Chess -- and the blues they put out tended to be more electric Chicago blues, rather than the Nat Cole or Charles Brown style Berry was going for there. But the next song he played had them interested. Berry had always been interested in playing as many different styles of music as he could -- he was someone who was trying to incorporate the sounds of Louis Jordan, Muddy Waters, Charlie Christian, and Nat "King" Cole, among others. And so as well as performing blues, jazz, and rhythm and blues music, he'd also incorporated a fair amount of country and western music in his shows. And in particular, he was an admirer of Bob Wills and his Texas Playboys, and he would perform their song "Ida Red" in shows, where it always went down well. We already had an entire episode of the podcast on "Ida Red", which I'll link in the liner notes to this, but as a quick reminder, it's an old folk song, or collection of folk songs, that had become a big hit for Bob Wills, the Western Swing fiddle player: [Excerpt: "Ida Red", Bob Wills and his Texas Playboys] Berry would perform that song live, but messed around and changed the lyrics a lot -- he eventually changed the title to "Ida May", for a start -- and when he performed the song for Leonard Chess, Chess thought it sounded great. There was only one problem -- he thought the name made it too obvious where Berry had got the idea, and he wanted it to sound more original. They tried several names and eventually hit on "Maybellene", after the popular cosmetics brand, though they changed the spelling. "Ida Red" wasn't the only influence on "Maybellene" though, there was another song called "Oh Red", a hokum song by the Harlem Hamfats: [Excerpt: "Oh Red", the Harlem Hamfats] Larry Birnbaum, in "Before Elvis", suggests that this was the *only* influence on "Maybellene", and that Berry was misremembering the song, as both songs have "Red" in the titles. I disagree -- I think it's fairly clear that "Maybellene" is inspired both by "Ida Red"s structure and patter-lyric verse and by "Oh Red"s chorus melody. And it wasn't just Bob Wills' version of “Ida Red” that inspired Berry. There's a blues version, by Bumble Bee Slim, which has a guitar break that isn't a million miles away from what Berry was doing: [Excerpt: "Ida Red", Bumble Bee Slim] And there's another influence as well. Berry's lyrics were about a car chase -- to try to catch up with a cheating girlfriend -- and are the thing that makes the song so unique. They -- and the car-horn sound of the guitar -- seem to have been inspired by a hillbilly boogie song called "Hot Rod Racer" by Arkie Shibley and his Mountain Dew Boys: [Excerpt: "Hot Rod Racer", Arkie Shibley and his Mountain Dew Boys] That had been a successful enough country song that it spawned at least three hit cover versions, including one by Red Foley. Berry took all these Western Swing, blues, and hillbilly boogie influences and turned them into something new: [Excerpt: Chuck Berry, "Maybellene"] Even this early, you can already see the Chuck Berry style fully formed. Clean blues guitar, as clean as someone like T-Bone Walker, but playing almost rockabilly phrases -- this is closer to the style of Elvis' Sun records than it is to anything else that Chess were putting out -- and punning, verbose, witty lyrics talking about something that would have a clear appeal to people half his age. All of future rock is right there. The lineup on the record was the Chuck Berry trio -- Berry on guitar, Johnson on piano, and Ebby Hardy on drums -- augmented by two other musicians. Jerome Green, the maraca player, is someone we'll be talking about next week, but we should here talk a bit about Willie Dixon, the bass player, because he is probably the single most important figure in the whole Chess Records story. Dixon had started out as a boxer -- he'd been Joe Louis' sparring partner -- before starting to play a bass made out of a tin can and a single string for him by the blues pianist Leonard Caston. Dixon and Caston formed an Ink Spots-style group, "The Five Breezes": [Excerpt: "Sweet Louise", the Five Breezes] But when America joined in World War II, Dixon's music career went on hold, as he was a conscientious objector, unwilling to fight in defence of a racist state, and so he spent ten months in prison. He joined Chess in 1951 shortly after Leonard Chess took over full control of the company by buying out its original owner -- right after the club Chess had been running had mysteriously burned down, on a day it was closed, giving him enough insurance money to buy the whole record company. And Dixon was necessary because among Leonard Chess' flaws was one fatal one -- he had no idea what real musical talent was or how to find it. But he *did* have the second-order ability to find people who could recognise real musical talent when they heard it, and the willingness to trust those people's judgment. And Dixon was not only a real talent himself, but he could bring out the best in others, too. Dixon was, effectively, the auteur behind almost everything that Chess Records put out. As well as a session bass player who played on almost every Chess release that wasn't licensed from someone else, he was also their staff producer, talent scout, and staff songwriter, as well as a solo artist under his own name. He wrote and played on hits for Muddy Waters, Howlin' Wolf, Sonny Boy Williamson II, Little Walter, Koko Taylor, Bo Diddley, Elmore James... to all intents and purposes, Willie Dixon *was* the Chicago blues, and when the second generation of rock and rollers started up in the 1960s -- white boys with guitars from England -- it was Willie Dixon's songs that formed the backbone of their repertoire. Just a few of the songs he wrote that became classics include "Little Red Rooster" for Howlin' Wolf: [Excerpt: Howlin' Wolf, "Little Red Rooster"] "Bring it on Home" for Sonny Boy Williamson II [Excerpt: Sonny Boy Williamson II, "Bring it on Home"] "You Need Love" for Muddy Waters [Excerpt: Muddy Waters, "You Need Love"] You get the idea. In any other session he played on -- in any other room he ever entered -- Dixon would be the most important songwriter in the room. But as it turned out, on this occasion, he was only the second-most important and influential songwriter there, as "Maybellene" would be the start of a run of singles that is unparalleled for its influence on rock and roll music. It was the debut of the single most important songwriter in rock and roll history. Of course, Chuck Berry isn't the only credited songwriter -- and, separately, he may not have been the song's only writer. But these two things aren't linked. Leonard Chess was someone who had a reputation for not being particularly fair with his artists when it came to contracts. A favourite technique for him was to call an artist and tell him that he had some new papers to sign. He would then leave a bottle of whisky in the office, and not be in when the musician turned up. His secretary would say "Mr. Chess has been delayed. Help yourself to a drink while you wait in the office". Chess would only return when the musician was totally drunk, and then get him to sign the contract. That wouldn't work on Berry, who didn't drink, but Chess did manage to get Berry to sign two thirds of the rights to "Maybellene" over to people who had nothing to do with writing it -- Russ Fratto and Alan Freed. Freed had already taken the songwriting credit for several songs by bands that he managed, none of which he wrote, but now he was going to take the credit for a song by someone he had never met -- Chess added his name to the credits as a bribe, in order to persuade him to play the song on his radio show. Russ Fratto, meanwhile, was the landlord of Chess Records' offices and owned the stationery company that printed the labels Chess used on their records. It's been said in a few places that Fratto was given the credit because the Chess brothers owed him money, so they gave him a cut of Berry's royalties to pay off their own debt. But while Freed and Fratto took unearned credit for the song, it's at least arguable that so did Chuck Berry. We'll be looking at several Chuck Berry songs over the course of this podcast, and the question of authorship comes up for all of them. After they stopped working together, Johnnie Johnson started to claim that he deserved co-writing credit for everything that was credited to Berry on his own. Johnson claimed that while Berry wrote the lyrics by himself, the band as a whole worked out the music, and that Berry's melody lines would be based on Johnson's piano parts. To get an idea of what Johnson brought to the mix, here's a performance from Johnson, without Berry, many years later: [Excerpt: Johnnie Johnson, “Johnny's Boogie”] It's impossible to say with certainty who did what -- Johnson sued Berry in 2000, but the case was dismissed because of the length of time between the songs being written and the case being brought. And Johnson worked with Berry on almost all his albums before that so we don't have any clear guides as to what Berry's music sounded like without Johnson. Given Berry's money-grubbing, grasping, nature, and his willingness to see every single interaction as about how many dollars and cents were in it for Chuck Berry, I have no trouble believing that Berry would take the credit for other people's work and not think twice about it, so I can fully believe that Johnson worked with him on the music for the songs. On the other hand, most of the songs in question were based around very basic blues chord changes, and the musical interest in them comes almost solely from Berry's guitar licks -- Johnnie Johnson was a very good blues piano player just like a thousand other very good blues piano players, but Chuck Berry's guitar style is absolutely distinctive, and unlike anything ever recorded before. But the crucial evidence as to how much input or lack of it Johnson had on the writing process comes with the keys Berry chose. Maybellene is in B-flat. A lot of his other songs are in E-flat. These are *not* keys that any guitarist would normally choose to write in. If you're a guitarist, writing for the guitar, you'd probably choose to write in E or A if you're playing the blues, D if you're doing folkier stuff, maybe G or C if you're doing something poppier and more melodic. These are easy keys for the guitar, the keys that every guitarist's fingers will automatically fall into unless they have a good reason not to. E-flat and B-flat, though, are fairly straightforward keys on the piano if you're playing the blues. And they're keys that are *absolutely* standard for a saxophone player -- alto saxes are tuned to an E-flat, tenor saxes to B-flat, so if you're a band where the sax player is the most important instrumentalist, those are the keys you're most likely to choose, all else being equal. Now, remember that Chuck Berry replaced the saxophone player in Johnnie Johnson's band. Once you know that it seems obvious what's happened -- Berry has fit himself in around arrangements and repertoire that Johnson had originally worked up with a sax player, playing in the keys that Johnson was already used to. When they worked out the music for Berry's songs, that was the pattern they fell into. So, I tend to believe Johnson that the backings were worked out between them after Berry wrote the lyrics. Johnson's contribution seems to have come somewhere between that of an arranger and of a songwriter, and he deserves some credit at least morally, if not under the ridiculous legal situation that made arrangements uncopyrightable. [Excerpt: “Maybellene” guitar solo showing interplay of Berry and Johnson] “Maybellene”'s success was in part because of a very deliberate decision Berry had made years earlier, having noted the success of white performers singing black musicians' material, and deciding that he was going to try to get the white people to buy his recordings rather than the cover versions, by singing in a voice that was closer to white singers than the typical blues vocalist. While it caused him problems in early days, notably with him turning up to gigs only to be told, often with accompanying racial slurs, that they'd expected the performer of "Maybellene" to be a white man and he wasn't allowed to play, his playing-down of his own blackness also caused a major benefit -- he became one of the only black musicians to chart higher than the white cover version. It would normally be expected that "Maybellene" would be overshadowed on the charts by Marty Robbins' version, especially since Marty Robbins was a hugely popular star, and Berry was an unknown on a small blues label: [excerpt: Marty Robbins, "Maybellene"] Instead, as well as going to number one on the R&B charts, Berry's recording went to number five on the pop charts. And other recordings by him would follow over the next few years. He was never a consistent chart success -- in fact he did significantly less well than his reputation in rock and roll history would suggest -- but he notched several top ten hits on the pop charts. "Maybellene" did so well that even "Wee Wee Hours", released as the B-side, went to number ten on the R&B charts. And Berry's next single was a "Maybellene" soundalike -- "Thirty Days" [Excerpt: "Thirty Days", Chuck Berry] It's a great track, but it didn't do quite so well on the charts -- it went to number two on the R&B charts, and didn't hit the pop charts at all. The single after that, "No Money Down", did less well again. But Berry was about to turn things around again with his next single: [excerpt: *just the guitar intro* of "Roll Over Beethoven" by Chuck Berry] You don't need anything more, do you? That's the Chuck Berry formula, right there. You don't even need to hear the vocals to know exactly what the record is. That record is, of course, "Roll Over Beethoven". It's worth listening to the lyrics again just to see what Berry is doing here. [Excerpt: "Roll Over Beethoven", Chuck Berry] What we have here is, as far as I can tell, the first time that rock and roll started the pattern of self-mythologising that would continue throughout the genre's history. Of course, there had been plenty of records before this that had talked about the power of music or how much the singer wanted to make you dance, or whatever, but this one is different in a couple of ways. Firstly, it's talking about *recorded* music specifically -- Berry isn't wanting to go out and listen to a band play live, but he wants to listen to the DJ play his favourite record instead. And secondly, he's explicitly making a link between his music -- "these rhythm and blues" -- and the music of the rockabilly artists from Memphis -- "don't step on my blue suede shoes". And Berry's music did resemble the Memphis rockabilly more than it resembled anything else. Both had electric lead guitars, double bass, drums, and reverb, and no saxophone and little piano. Both sang sped-up hillbilly boogies with a hard backbeat. Rock and roll was, as we have seen, a disparate genre at first, and people would continue to pull from a whole variety of different sources. But working independently and with no knowledge of each other, a white country hick from Tennessee and a sophisticated black urbanite from the Midwest had hit upon almost exactly the same formula, and Berry was going to make sure that he made the connection as clear as possible. If there's a moment that rock and roll culture coalesced into a single thing, it was with "Roll Over Beethoven". And Berry now had his formula worked out. The next thing to do was to get rid of the band. "Roll Over Beethoven" was the penultimate single credited to Chuck Berry & His Combo, rather than to just Chuck Berry. We'll look at the last one, recorded at the same session, in a few weeks' time.
A little Cajun seasoning to open up the show. Regis Prograis is currently the top ranked junior welterweight on BoxRec and he joined Woodsy to talk smack about the division. Also on the phone call, Regis shares his thoughts on Conor McGregor and the time he got in a fight at Big Five sporting goods. Tiara Brown phones in as well. Tiara is an undefeated boxer representing, not only women, but here fellow brothers and sisters in blue. She is a cop in the Washington D.C. area who also has plans to fight for regional and world title belts. After all of this, if you haven't checked out Facebook's Fightnight Live, Mark Fratto joins the show to tell you why you should. All while holding his new 7 month old child! Stay tuned till the end! Woodsy also gives his take on the McGregor retirement. Talkbox Podcast episode 153 powered by Everlast is coming at you now!
Fair warning - this episode contains extreme sexual elements and may not be for everyone! In this episode we take a look at a love triangle that ended with one dead, and a small town woman whose internet persona cost her life. Help support the show: http://Patreon.com/EsotericOddities - Connect With Us - Instagram - @ EsotericOddities Twitter - https://twitter.com/esotericodditie Facebook - https://facebook.com/esotericoddities Email - Odditiespodcast@gmail.com Spotify - http://spoti.fi/2DprpDl iTunes - http://apple.co/2vEZ7FZ Player.FM - https://player.fm/series/esoteric-oddities Stitcher - https://bit.ly/2O4iikNiHeart Radio - https://ihr.fm/2OOKyV1 - Sources - https://bit.ly/2TP8Rp7 https://bit.ly/2S6Dncs https://bit.ly/2TLHgot
La experimentada Asesora en Inversiones Inmobiliarias en Miami, nos cuenta los secretos de por qué es buen negocio invertir en Real Estate en Miami. Dónde comprar?, Cuánto Invertir?, Renta asegurada y mucho más, en ésta entrevista que abre las puertas de un posible horizonte para aquellos que quieran invertir su dinero en un Mercado más seguro y previsible que el argentino. English The experienced Real Estate Investment Advisor in Miami, tells us the secrets of why it is good business to invest in Real Estate in Miami. Where to buy ?, How much to invest ?, Guaranteed income and much more, in this interview that opens the doors of a possible horizon for those who want to invest their money in a market more secure and predictable than the Argentine one.
Western New York Defense Attorney Mario J. Fratto has always been a type of person to say what is on his mind. When candidate Donald Trump entered the political arena, Trumps disdain of traditional political norms attracted Fratto to then candidate Trump.Two years into his Trump’s Presidential term, Fratto admits things are a bit dysfunctional, but he’s sticking by his guy. Fratto believes the system is so rotted from within, dysfunction is something that could be beneficial- it certainly has motivated citizens from all political persuasions to tune into political as was seen by November’s near historic voter participation.Fratto chats with Chilly Pete about politics in 2018, jumping from one hot button issue to the next with some predictions for the new year. They keep it civil and they both hope for calm in 2019, but Fratto admits calm is an unlikely political reality once Democrats take the Congressional gavel on January 3rd.Be sure to subscribe to Chilly Underground on your favorite Podcasting services including iTunes, Spotify, Spreaker.Listen to Chilly Underground live every Saturday 1pm on Radio RAMPA 620 AMFor more visit: www.ChillyUnderground.com
This is the last program of the 2018 calendar year. One of my main passions is politics, so I thought I would speak to two individuals who also share a passion of the political gridiron- one from political left and one from the political right- to hear what they thought of the past year- a year that would never end.Due to the 24/7 wall to wall political coverage of the Trump Presidency, which typically goes from one scandal to to the next, sometimes scandals by Presidential Twitter design, it is harder and harder to keep track of time. Things just seem to be so blurry and keeping track of political data points continually is becoming tougher to do as our heads keep spinning. Congress doesn’t even convene until January 3rd, but the November election seems like it happened a year ago. The migrant children being taken into custody and put into change linked pens also seems like years ago, as does the Kim Jong Un/ Trump summit, but that too happened this past year. We speak to Patrick McGill- a Washington DC based Democratic political consultant who is currently very bullish after what he dubs Novembers election- a Blue Tsunami. We are then joined by a Western NY attorney and Trump supporter , Mario Fratto, who sees things very differently. He’s much more pessimistic about the months to come, especially with this new Democratically controlled Congress, and Fratto sadly believes the political tribalism the country witnessed this past fall during the Brett Kavanaugh Hearing will be more of what we come to expect as normal in 2019. For our countries sake, I hope that is not the case.So for this week it is two civil political conversations, from both sides of the aisles.Be sure to subscribe to Chilly Underground on your favorite Podcasting services including iTunes, Spotify, Spreaker.Listen to Chilly Underground live every Saturday 1pm on Radio RAMPA 620 AMFor more visit: www.ChillyUnderground.com
Bernie Fratto shares some of the key highlights on Straight Outta Vegas before the biggest slate of Thursday games of the year and tells you why betting early may be the way to go. NFL Week 11 features a full slate with many division leaders facing off against each other and Fratto tells you which teams will stay on pace in their divisions. Also, Bernie tells you why it is so hard for a team to repeat as Super Bowl champions! Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers
Bernie Fratto shares some of the key highlights on Straight Outta Vegas before the biggest slate of Thursday games of the year and tells you why betting early may be the way to go. NFL Week 11 features a full slate with many division leaders facing off against each other and Fratto tells you which teams will stay on pace in their divisions. Also, Bernie tells you why it is so hard for a team to repeat as Super Bowl champions! Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers
The Steelers got a huge win against the Panthers on Thursday Night Football and Bernie Fratto breaks down some of the key highlights on Straight Outta Vegas. NFL Week 10 features another day of high-flying offenses and Fratto helps you figure out which teams to put your confidence in. Also, Bernie breaks down his solution to the College Football Playoff! Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers
The Steelers got a huge win against the Panthers on Thursday Night Football and Bernie Fratto breaks down some of the key highlights on Straight Outta Vegas. NFL Week 10 features another day of high-flying offenses and Fratto helps you figure out which teams to put your confidence in. Also, Bernie breaks down his solution to the College Football Playoff! Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers
First hour of the show will be Case of the Mondays with myself and Anu Vaidya. Then I am going to have a little bit different type of guest this week. This week we will be talking about CBD Oil folks. I want to hear from you Monday as well. If you have a CBD question or testimony feel free to call in and be a part of our Live Show. 319-527-6208 Press 1 to get on the air. To save time and get on the Air faster message me area code you will be calling from. Tim Fratto is a second generation grower, He's been growing since the age of 10. Now that he is 41, He's opened up the first dispensary ever in his area in Oregon, allowing the first medical marijuana patients to access cannabis in a safe environment. For the last decade, He has been specializing in treating major illness such as Cancer, Autism patients with Epilepsy, Lyme, MS etc with cannabis oil and tinctures. He is a breeder, grower, and activist.
For Episode 2 of Excelsior Journeys, host George Sirois welcomes voiceover actor, sports announcer, and founder of Linacre Media, Mark Fratto. They talk about how Mark began his path way back in St. Mary's Catholic School, acting as a media director in college, and working all the way up to standing in the middle of a boxing ring for HBO Sports in the World's Most Famous Arena, Madison Square Garden. Got a question for Mark? Send it to georgehsirois@gmail.com
For Episode 2 of Excelsior Journeys, host George Sirois welcomes voiceover actor, sports announcer, and founder of Linacre Media, Mark Fratto. They talk about how Mark began his path way back in St. Mary's Catholic School, acting as a media director in college, and working all the way up to standing in the middle of a boxing ring for HBO Sports in the World's Most Famous Arena, Madison Square Garden. Got a question for Mark? Send it to georgehsirois@gmail.com
Is lying part of the job description? with Stephanie Cutter, Tony Fratto, Jake Siewert by Deirdre Latour
Trade is the subject of the 95th episode. Our guest is Tony Fratto, founding partner of Hamilton Place Strategies, CNBC contributor, and former senior Treasury official. In this deep dive, we discuss the state of play on trade actions and reactions, NAFTA, fast track authority, the Mexican presidential transition, how trade may affect the midterm elections, the recent $12 billion agriculture bailout, the role of Peter Navarro and how tariffs are being used against the EU and China.
In this episode we help Fratto clean out his beer fridge. Beers tasted include: Saint Arnold Divine Reserve #8 (1:23) Saint Arnold Divine Reserve #14 (9:30) Pi-neapple Upsidedown Cake (Mike & Kelsey's Wedding) (23:00) Black Pearl (31:25) La Vache à Bière Brune Aquitaine (38:45) Fratto #6 Throttle-Body Ale (49:45) Arrogant Bastard Ale - Bourbon Barrel (1:12:05) Jester King Black Metal Imperial Stout (English yeast) (1:26:30)
In this episode we help Fratto clean out his beer fridge. Beers tasted include: Rahr & Sons Winter Warmer (12:15) Rahr & Sons Iron Thistle (23:20) Rahr & Sons Bourbon Barrel Aged Winter Warmer (2011) (34:00) Wasatch Polygamy Porter (44:15) Warka Classic / Warka Beer (57:00 0 Zlaty Bazant (12% / Golden Pheasant / Premium) (1:02:40) Simpler Times Pilsner (1:09:30) Beer 30 Light (1:12:55) Żywiec Jasne Pełne / Beer (1:16:20) Żywiec Porter (1:21:15) Boissonnerie Générale Bière Blonde (1:31:06) Fratto #4 Coffee Lager (1:44:00)
Woodsy is in studio with the creator of Facebook FIGHTNIGHT LIVE, Mark Fratto! Facebook FIGHTNIGHT LIVE live-streams boxing, MMA, and Muay Thai events from around the world and allows fans to interact with commentators and analysts before, after and throughout fights.
We are back with another great episode. Today we had Willie Fratto-Farrell, a hilarious Stand Up with an amazing family history dating back to Al Capone. He shared with us how his father was close to Al Capone and how his family was tied to the Italian Mafia. Plus he dropped great stories related to Stand Up and classic American history. We find out why Monique looks like the Desk Clerk from Monsters Inc, Willie connects the science of Kathy Griffin looking like Andy Dick, plus some retro Elvis Karate. Please leave a 5 star review and let us know once again why Freddy can’t read. OrozcoDesignStudio.com freddycorrea.com ___________________________________________________ For all your Graphic Design needs go to OrozcoDesignStudio.com Find all of my social media at FreddyCorrea.com The Chat Snap & Thanks for the Invite Podcast is part of Bluestreak Radio Network find more shows by clicking on the link! Please Subscribe to us on iTunes and give us a FIVE STAR review :D Follow Lissy on Twitter @lissycorrea5 Instagram @lissycorrea And Follow me on Both Twitter and Instagram @fredreker also me on Facebook Freddy Correa --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/daniel-freddy-correa/message
Anthony James "AJ" Fratto is a former United States Navy helicopter search & rescue swimmer, Blue Angel crew chief number #1 & underground community leader. AJ has been a touring musician & the poster boy (guest vocalist) of highly acclaimed & respected progressive metal band Queensryche & they’re 2009 release American Soldier. AJ is the leader […] The post Pensacola Business Radio: Aj’s Bravehearts and The Destiny Benefit Concert appeared first on Business RadioX ®.
AJ Fratto - Former Blue Angel and he was the American Soldier on Queensrÿche's "American Soldier" record.We sit down to talk his life story, his military story, his music story, and he did it while naked - not the guest I needed to have in the buff.
AJ Fratto - Former Blue Angel and he was the American Soldier on Queensrÿche's "American Soldier" record.We sit down to talk his life story, his military story, his music story, and he did it while naked - not the guest I needed to have in the buff.
Episode: 05 Duration: 1:59:52 Size: 110mb iTunes RSS Summary: Joey lets Maxxxwell back onto the show. Johnny Fratto and Tabitha Stevens call in to share stories and talk about Eric’s passing. One of the best shows so far! The post Episode 05 – Johnny Fratto, Tabitha Stevens appeared first on Podtrash.
For this mix I aimed to create a dreamlike and timeless atmosphere - dark (but not too dark). It is calm, yet there are many shifting scenes, many passing landscapes and some conflicting emotions... When it ends, (I hope) it feels as if it was much longer than it actually was ... --- originally published on Ambientblog --- Playlist[start] [length] [Artist] - [Title][Album], [Year], [Label#] 00:00 02:28 Alvin Lucier - Elegy for Albert AnastasiaVespers and other Early Works, 2002, New World Records 80604-201:26 02:03 Teho Teardo - Several Tree Huggers Were Found DeadFaith in a Wet Season, 2012, Voxxov Records VOXFCD0202:41 01:43 Threethings - ArkhangelskSequence 7, 2013, Future Sequence SEQ00703:50 01:58 Kane Ikin - Slipping Away...And Darkness Came, 2012, Headphone Commute HCD00105:23 01:20 Ekkehard Ehlers - Woolf PhraseMusic for William Forsythe, 2002, Whatness 00505:32 02:35 Philippe Lamy - Trying to tell a StoryStorytelling, 2012, Audio Gourmet Netlabel AGN06107:14 01:30 Christina Vantzou - Moonsound (Ernest Gibson Remix)No. 1 Remixes, 2011, Self-released08:27 03:00 Alva Noto, Ryuichi Sakamoto - Microon IIISummvs, 2011, Raster-Noton r-n 13209:41 - 02:18 Jlu - Noise100 Years of Noise, 2013, Enough Records enrcmp1910:04 04:15 Thomas Köner - Novaya Zemlya 3Novaya Zemlya, 2012, Thouch TO:8512:28 03:53 Dr. Jeffrey Thompson - Voice of Earth (edit)Nasa Voyager Space Recordings, 1992, Brain/Mind Research14:17 00:52 Chris Chafe - Josef Parvizi - Stanford Scientists turn seizures into music14:36 01:53 Arve Henriksen - Magma OscillatorChron, 2012, Rune Grammofon RLP 2152Y15:20 02:05 Heitor Alvelos - Untitled....49 Years from Gesang der Jünglinge, 2005, Sirr 002016:40 02:06 David Toop - HypnogogmatistMelatonin: Meditations on Sound in Sleep, 2004, Room40 EDRM40218:43 02:42 Arturs Maskats - Da Ispravitsja Molitva MojaOn Photography, 2005, GB Records BCGBCD0720:48 02:35 Murcof - PlantAntibothis vol 4, 2012, Thisco thisk.07221:29 05:45 Eyvind Kang - Petrified WoodAir Texture volume III, 2013, Air Texture AIR00325:00 06:37 Biosphere - SuperfluidCompilation 1991 - 2004, 2012, Biophon Records BIO7D28:20 02:19 The New Honey Shade - 2013.02.043M33S, 2013, Bandcamp30:40 01:09 Mark Tamea - The LakeAtomism, 2013, Awal EQ:RA 00231:37 01:30 Atom TM - Streuung - Teil IVWinterreise, 2011, self-released32:04 02:12 Seetyca - Der Atem Des ThieresIm Traum, 2005, Dark Winter dw01633:17 01:06 Coil + Nine Inch Nails - Eraser (Reduction)Recoiled, 2014, Cold Spring CSR193CD33:48 02:08 Sergio Sorrentino, Machinefabriek - Buco Nero (Zwart Gat)Vignettes, 2013, Fratto 9 Under the Sky Records fratto02434:35 02:01 Pleq - The Early Symptoms of SchizophreniaIt's not Boring, It's Ambient, 2012, Preserved Sound 35:45 03:03 John Kannenberg - Echoes of the PharosMeditations on Light (Reconstructions, 2011, Monochrome Visions, MV3536:34 02:28 Benoit Pioulard - If I Could Possibly Tell The Difference, I Wouldn't Care AnywayAir Texture Vol. II, 2012, Air Texture AIR00238:23 01:35 Dakhabrakha - YagudkyYagudky, 2007, self-released39:21 01:00 Felipe Otondo - TeocalliTutuguri, 2013, Sargasso SCD2807040:06 02:33 Penjaga Insaf - Perang DamaiTo Whom it May Concern, 2005, Shortwave Transmission SWT0141:48 02:27 Lustmord - Y GairThe Word as Power, 2013, Blackest Ever Black BlackestCD00443:15 02:44 Kreng - NimmermeerL'Autopsie Phenomenale De Dieu, 2009, Miasmah MIACD010 45:27 02:46 Loren Nerell - Slow DreamSlow Dream, 2012, Projekt PRO27146:27 05:36 Mendel Kaelen - SatoriRemembering What Was Forgotten, 2010, Self Released SR00150:27 02:08 Bass Communion - Grammatic FogBass Communion III, 2001, Burning Shed 51:45 01:39 Brady Allard - Vernichtung, Pt. 2Anamnesis, 2012, self-released/Bandcamp52:47 02:47 Kim Cascone - The Silver StarThe Astrum Argentum, 2007, Musica Excentrica exc00954:16 05:43 Janek Schaefer - Radio 112 FMLay-By Lullabye, 2014, 12k 12k107955:03 01:51 Frances White - Centre Bridge (Dark River)Electroacoustic Works, 2007, Mode 18455:24 03:03 Jamie Drouin - A Three Month Warm UpA Three Month Warm Up, 2009, Dragon's Eye Recording de 502358:27 01:32 Frances White - Centre Bridge (Dark River)Electroacoustic Works, 2007, Mode 1841:00:00 End
Goodfella's Henry Hill, Howard Stern's Johnny Fratto and Chicago hitman Frank Collutta all sit in on Decently Funny to tell their stories of what life was like as a mobster, the son of a mafia boss and as a hitman (respectively). They answer almost all of the questions that the boys asked. What's it like to murder someone? Have you ever had to rough up one of your friends? And for you Stern fans, is Eric the Midget as shitty in real life as he is on the radio? Then, Nuzzy asks a question not even these tough guys would answer. A question that got Henry Hill ready to destroy the recording equipment and gets Fratto & Collutta to walk out on the show all together. All that plus Nuzzy & Guy talk about the crime of the century that they nearly pulled off during their childhood. Download now to avoid getting a lickin'. Follow everyone on twitter. @realGoodfella, @FrankCollutta, @JohnnyFratto,@theNuzzy, @theguydf, @littleboatjack & @decentlyfunny... download all of our shows "Decently Funny" on iTunes, listen to us on the go with our mobile app at Stitcher.com/DecentlyFunny and at home on DecentlyFunny.com.
Jen Psaki and Tony Fratto are our guests this week. Show produced by Katherine Caperton Original Air Date: March 10, 2012 on SiriusXM Satellite Radio "POTUS" Channel 124 Listen to the show by clicking on the bar above. Show also available for download on Apple iTunes by clicking here. This week Josh . . . → Read More: Episode 48, with guests Jen Psaki, Former Obama Deputy Communications Director and Tony Fratto, Former Bush Deputy Press Secretary
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