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9 episodes with fred rose
3 episodes with fred rose
3 episodes with fred rose
3 episodes with fred rose
2 episodes with fred rose
2 episodes with fred rose
3 episodes with fred rose
3 episodes with fred rose
2 episodes with fred rose
欢迎收听雪球出品的财经有深度，雪球，国内领先的集投资交流交易一体的综合财富管理平台，聪明的投资者都在这里。今天分享的内容叫投资的真谛，来自喝牛二的战总。我刚刚进入股市的时候，想法很简单，就想快速赚到钱。那时候还不懂价值投资，为了能够赚到钱，就从书店找了一些关于股票的书看。从一本书上读到：“想在股市中赚到钱，靠每年那一点点分红是不可能得，分红的钱比起股价下跌的损失，简直微不足道。想要赚钱的唯一的方法就是低价买入然后再高价卖出，一买一卖之间的差价就是投资者赚到的利润，这就是投资的真谛。”当时，我并没有看出这种方法在执行时候的难度，还把作者的话奉为圭臬。现在来看，低买高卖、高抛低吸，都是说起来容易，做起来难。想要靠差价获利，就需要预测市场的涨跌，在大涨前买入，在大跌前卖出。预测的难度非常大，并且准确率也不高，再加长交易过程中的摩擦成本，想利用这个模式来获利，成功的概率非常低，所以股市中才会出现7亏2平1赚的结果。想在股市中赚钱，除了买卖之间的差价之外，还有没有其他的方法？巴菲特在2013年的至股东信中，讲了两个股神亲身经历的关于投资的案例，这两笔小投资都不是关于股票投资的，都没有让股神的财富总额增长多少，但是巴菲特却认为这两个案例很有启发意义。下面和大家一起再次重温一下。第一笔投资的故事是从内布拉斯加州开始的。故事的背景是，从1973到1981年，由于当地居民普遍认为完全失控的恶性通货膨胀就要来临，再叠加乡村银行宽松的信贷政策，推动美国中西部的农场价格暴发性狂涨。后来泡沫突然破裂了，导致农场的价格拦腰下跌一半甚至更多，毁灭掉了那些借款买入农场的农场主和他们的借款人。在那场农场泡沫破裂之后一段时间里，在爱荷华州和内布拉斯加州有大量的银行倒闭。在1986年，巴菲特从联邦保险公司那买下了一个面积400英亩的农场，位于在奥马哈北部50英里。股神买这个农场的价格是28万美元，比几年前一家失败了的银行以这个农场为抵押做出的贷款相比还要少很多。他说他自己根本不懂如何经营一个农场。但是股神的一个儿子非常热爱农场种植。股神从他儿子那里了解到这个农场能够生产出多少公斤玉米和大豆，经营费用支出会是多少。根据这些收支的估计，巴菲特计算出这个农场正常化的投资收益率当时约为10%。他当时想，很有可能，生产效率会随着时间不断提高，农作物价格也会越涨越高。后来这两个预期都证明是对的，一个是因为技术进步，一个是因为通货膨胀。巴菲特说他不需要非同一般的知识或者智商，就能研究分析后得出结论，买入这个农场这笔投资不会有价值下跌出现亏损的风险，价值大幅上涨的潜力相当大。当然，偶尔也会有收成不好，农产品价格有时也会让人失望。但是那又能如何呢？会有一些非常糟糕的年景，也会有一些非常好的年景，而且他将来绝对不会有任何压力逼得他非得卖掉这个农场不可。现在到了2013年底，28年过去了，这农场的年利润翻了3倍，现在的价值已是我28年前买入时支付价格的5倍甚至更多。股神还是对农场种植什么也不懂，他2013年底才第二次去看了这个农场。第二笔投资的故事发生在1993年。当年巴菲特担任所罗门公司的 C E O 时，所罗门租用的办公室的房东告诉巴菲特， R T C 信托公司正在卖出一块零售物业，紧邻纽约大学。同样，也是一个泡沫突然破裂了——这一次波及的是商业地产，该信托公司创建的目的就是专门处置那些储蓄机构失败之后留下来的资产，这些储蓄机构贷款操作过于乐观给商业地产热潮火上浇油，推动价格疯涨。同样，这笔投资的分析也非常简单。和前面讲的那个农场投资案例一样，这个零售物业资产的无杠杆现值收益率也是约为10%。但是这个物业过去一直由 R T C 信托公司低效率经营管理，如果把几个空置的商店出租出去，收入就会增加。更加重要的是，最大的租户在这个物业中面积占比20%左右，当时支付的租金每平方英尺约为5美元，而其他租户平均租金水平为每平方英尺70美元。再过9年后，这份超低价租约就会到期，然后就能高价出租，肯定会推动这个物业盈利大幅增长。这处物业的地段也是超一流的：因为紧邻纽约大学。巴菲特和他的朋友Fred Rose和拉里三个人合伙加入了一个小团体来收购这块物业。Fred Rose是一个经验丰富的段位很高的房地产投资人，他和他的家族将来会负责管理这块商业地产。收购完成之后这些资产由他们管理。随着旧租约到期，整个物业的租金收入翻了3倍，现在每年分红就超过原始股权投资金额的35%。另外，巴菲特和他的合伙人最初的抵押贷款在1996年和1999年进行了再融资，这些运作允许我们做了几次特别分红，加起来就超过他们投资本金的150%。可是股神到今天为止还没去看过那块商业地产。股神讲了这两个非股票投资的小故事，是为了教给大家下面这五个投资原则。第一，并不是非得成为一个专家，才能获得满意的投资收益率。巴菲特不懂如何种地，也不懂如何管理公寓，但是他能够确定两件事，首先是所购买的资产能够给他带了多少收益，其次未来这些收益大概率会增加。明白这两点以后，即使在投资中仍然存在很多不确定性，但是股神不用费心搞懂每一个技术细节，最后仍然获得了满意的回报。第二，专注于估算你考虑投资的资产未来投入产出效率会是多少。如何你估算出来的未来产出能够符合你的预期收益率，那么就可以投资。如果不符合，就可以完全忽略。不会估的和估不准的都在能力圈之外，完全不要去介意，你没必要无所不知无所不晓；你只需要在自己的能力圈内去投资就足够了。第三，如果你专注的不是你考虑投资资产的基本面，而是这个资产的价格将来可能出现的变动，那你就是在投机。一项特定资产最近一段时间价格上涨，绝对不是买入的理由。以房产来举例，最近一段时间房子的价格上涨，绝不是现在买入房子的理由。应该根据这个地区同类型房子的房租，和未来房租的变动趋势来思考到底该不该投资。第四，巴菲特做这两笔小投资时，他所思考的只是这些资产未来会生产出什么，却一点也不关心它们每天的市场价格是多少。赢得比赛的人是那些专注于赛场的人才能赢得比赛，而不是那些眼睛紧紧盯住记分牌的人。把市场先生当成一个“傻子”，我们要利用他的报价，而不是他的智慧，只要土地还能够正产的生产农作物，没有变成盐碱地，就不要过度担心市场价格。当“傻子”的报价严重低估的时候，就从他手中把地买过来；当“傻子”的报价严重高估的时候，就把手中的土地卖给他；当报价合理的时候，就忽视他，去做自己喜欢的事情。第五，自己构思形成宏观观点，或是聆听别人的宏观预测或者市场预测，都是浪费时间。事实上这还是很危险的，因为这可能模糊你的视野，反而让你看不清真正重要的事实。真正重要的事实是地里能打多少粮食，房子能租多少租金。现在再回到过去的观点，股市里赚的钱是买入和卖出的差价，这个观点对吗？表面看没有错，但是这只是记分牌上的结果，并不是比赛本身。价格是由价值决定的，任何资产的价值都等于他未来净现金流的折现值。1989年贵州茅台营业收入首次突破一亿元，三十年后的2019年贵州茅台营业收入突破一千亿元。这相当于土地的产出增长了一千倍，“傻子”的报价自然也会水涨船高，投资者自然也会获得满意的收益。在最近一段时间，市场又重新走熊，不论公司的业绩如何，基本面如何，都是泥沙俱下，一起下跌。在这种环境中，去寻找真正优秀的公司，才会出现安全边际，才有可能用四毛钱的价格买到一块钱的公司。现在的机会大于风险，应该去践行股神的另一句名言“当别人恐惧的时候，我贪婪”了，与朋友们共勉！
In the final part of the epic Fred & Rose saga best-selling true crime author H. N. Lloyd is joined by Kristof Britton to discuss the twists and turns that took place after Fred and Rose Wests' arrest, Rose's trial, and the aftermath for the victims families, the police, public and the Wests' children
H. N. Lloyd and Kristof Britton continue their exploration of the life and crimes of Fred and Rose West. In this episode we delve into the lives of their victims.
H. N. Lloyd and Kristof Britton continue their exploration of the life and crimes of Fred & Rose West. In this episode they discuss the lives of some of the victims and ponder just how they fell victim to this depraved couple.
In this heartbreaking episode best-selling true crime author H. N. Lloyd and Kristof Britton discuss what is was like to live in the House of Horrors.
In this episode H. N. Lloyd and Kristof discuss how Fred and Rose met, fell in love, and set off on a path to bloody murder.
Part 3 of this episode series is finally here! We hope you all have enjoyed the content so far. Today, Kenna wraps up the highly anticipated end to Fred & Rose West's case.Become a patreon member and get bonus content!Check out Bright Cellars! -> https://www.pjtra.com/t/3-309893-293495-162371Get an offer with FRESH! Meal Plan! -> https://www.pntrs.com/t/3-318542-293495-232987We love you, YOU ARE NOT ALONE!!! National Suicide Prevention Lifeline: (800) 273-8255The Trevor Project: (212) 695-8650 https://www.thetrevorproject.orgSources:https://www.mirror.co.uk/news/uk-news/rose-west-now-name-change-32198173https://www.theguardian.com/theobserver/1999/nov/21/featuresreview.review4https://www.newspapers.com/article/the-guardian-fred-west/37301322/https://www.bbc.com/news/uk-england-gloucestershire-57182844https://www.crimeandinvestigation.co.uk/articles/13-harrowing-facts-about-fred-westhttps://www.biography.com/crime-figure/rosemary-westhttps://www.bbc.com/news/uk-england-gloucestershire-57146895https://en.wikipedia.org/wiki/Fred_West**DISCLAIMER: Kenna and Koelle are not licensed to diagnose individuals. The mental illnesses discussed in episodes are either diagnosed by a psychiatrist or psychologist or are purely speculation by the hosts.**
Part 2 of our 3 part request episode is here! We hope you are on the edge of your seat after these episodes, with just one left after this one! In this episode, Kenna continues talking through the lives of Fred & Rose, and their increasing victims.Become a patreon member and get bonus content!Click here for an offer with Craft Beer Club! -> https://www.pjtra.com/t/3-302317-293495-170830Check out temporary tattoos! -> https://www.pntrac.com/t/3-309574-293495-146707We love you, YOU ARE NOT ALONE!!! National Suicide Prevention Lifeline: (800) 273-8255The Trevor Project: (212) 695-8650 https://www.thetrevorproject.orgSources:https://www.mirror.co.uk/news/uk-news/rose-west-now-name-change-32198173https://www.theguardian.com/theobserver/1999/nov/21/featuresreview.review4https://www.newspapers.com/article/the-guardian-fred-west/37301322/https://www.bbc.com/news/uk-england-gloucestershire-57182844https://www.crimeandinvestigation.co.uk/articles/13-harrowing-facts-about-fred-westhttps://www.biography.com/crime-figure/rosemary-westhttps://www.bbc.com/news/uk-england-gloucestershire-57146895https://en.wikipedia.org/wiki/Fred_West**DISCLAIMER: Kenna and Koelle are not licensed to diagnose individuals. The mental illnesses discussed in episodes are either diagnosed by a psychiatrist or psychologist or are purely speculation by the hosts.**
In the second episode of our deep dive into the House Of Horrors we examine the early lives of Fred and Rose West. What warning signs were there, and how did they set off on the road that led them to become vicious and sadistic serial killers?
YALLLL!!! The highly anticipated 3 part episode is finally here! This is a DOOOOZY of a requested case, and we are so ready for you to get to listen to the content. Thank you so much for your constant support, and we hope you enjoy this 3 part installment brought to you by Kenna.Become a patreon member today! -> https://www.patreon.com/diagnosingakillerExclusive offer from Bright Cellars -> https://www.gopjn.com/t/3-309893-293495-162371Exclusive offer from FRESH! Meal Plan-> https://www.pjtra.com/t/3-318542-293495-232987We love you, YOU ARE NOT ALONE!!! National Suicide Prevention Lifeline: (800) 273-8255The Trevor Project: (212) 695-8650 https://www.thetrevorproject.orgSources:https://www.mirror.co.uk/news/uk-news/rose-west-now-name-change-32198173https://www.theguardian.com/theobserver/1999/nov/21/featuresreview.review4https://www.newspapers.com/article/the-guardian-fred-west/37301322/https://www.bbc.com/news/uk-england-gloucestershire-57182844https://www.crimeandinvestigation.co.uk/articles/13-harrowing-facts-about-fred-westhttps://www.biography.com/crime-figure/rosemary-westhttps://www.bbc.com/news/uk-england-gloucestershire-57146895https://en.wikipedia.org/wiki/Fred_West**DISCLAIMER: Kenna and Koelle are not licensed to diagnose individuals. The mental illnesses discussed in episodes are either diagnosed by a psychiatrist or psychologist or are purely speculation by the hosts.**
Welcome to the Instant Trivia podcast episode 1170, where we ask the best trivia on the Internet. Round 1. Category: At The Bookstore 1: Kathryn Glasgow's first novel, "Another Song About the King", features a mom obsessed with this singer. Elvis Presley. 2: 2 men travel America with this man's brain in a Tupperware bowl in the true story "Driving Mr. Albert". Albert Einstein. 3: This prolific novelist proved her "metal" once again with her 2000 bestseller "The House on Hope Street". Danielle Steel. 4: "Dark Eagle" by historian John Ensor Harr is called "A Novel Of" this traitor "And the American Revolution". Benedict Arnold. 5: The front cover of "Hooking Up" by this "Bonfire of the Vanities" author shows his name but not the book's title. Tom Wolfe. Round 2. Category: Ends In Ola. With Ola in quotation marks 1: It's what you ride along the canals of Venice. a gondola. 2: It often includes rolled oats, wheat germ, honey, fruit and nuts. granola. 3: This early phonograph began cranking out music in 1906. a Victrola. 4: Italy's Lombardy region is famous for producing this soft (and smelly) blue cheese. Gorgonzola. 5: Haiti occupies a third of this island; the Dominican Republic covers the rest. Hispaniola. Round 3. Category: Classic Country 1: 1 of 3 original members of the Country Music Hall of Fame. (1 of) Hank Williams, Sr., Jimmie Rodgers and Fred Rose. 2: To make it as "A big star in the movies", Buck Owens said he had to "act" this way. naturally. 3: Lefty Frizzell told his honey, "If you've got the money, I've got" this. the time. 4: Migrants leaving this state's "Dust Bowl" helped bring country music to the West. Oklahoma. 5: In 1958, the first country music Grammy Award went to this Kingston Trio song. "Tom Dooley". Round 4. Category: The Last Word Said In Classic Films 1: "The Wizard of Oz". home. 2: "Gone with the Wind". day. 3: "Casablanca". friendship. 4: "King Kong", from 1933. beast. 5: "Apocalypse Now". Horror. Round 5. Category: Ute Tell Me. With Ute in quotation marks 1: To water down. dilute. 2: Drive in from the burbs. commute. 3: Hairy. hirsute. 4: In a proper one of these, the forefinger touches the hat just to the right of the right eye. salute. 5: Jekyll calls Hyde this type of rough fellow "that slept within me". brute. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used
In 1994 the United Kingdom was stunned when a terrace house in the quiet town of Gloucester was revealed to be “the house of horrors.” Nine bodies were buried in the basement and garden of the property owned by seemingly ordinary couple Fred and Rose West, and three more bodies were found in the surrounding area. In this episode H. N. Lloyd and Kristof Britton explore how these extraordinary revelations came to be made by Gloucestershire Police.
This is a preview of our all-new Patreon exclusive episode that finds Shannon and Cathy discussing the Killer Couple Fred & Rose West. This Minicast discusses Janet Leach, Fred's Appropriate Adult that was instrumental in his confession but suffered the consequences. Want more? Head on over to www.patreon.com/terrortalk and become a Patron for more exclusive bonus content! Follow us on Facebook | Instagram | Patreon | YouTube Music by Mannequin Uprising --- Send in a voice message: https://podcasters.spotify.com/pod/show/terrortalk/message
This is a preview of our all-new Patreon exclusive episode that finds Shannon and Cathy discussing the Killer Couple Fred & Rose West. This Minicast discusses Rose West specifically. Want more? Head on over to www.patreon.com/terrortalk and become a Patron for more exclusive bonus content! Follow us on Facebook | Instagram | Patreon | YouTube Music by Mannequin Uprising --- Send in a voice message: https://podcasters.spotify.com/pod/show/terrortalk/message
You have to try really hard to not have fun around Kate Voss and Jason Goessl (a.k.a. Sundae + Mr. Goessl). They are two of the most fun people you could possibly know. Fun is in their DNA and everything they do. Their vintage styled music? Fun! Their vintage image? Fun! They even have a vintage styled bar-boutique called Can Can that has the slogan, Have fun fun at Can Can! What they have accomplished as a couple is nothing short of incredible. From touring with Kate Voss & the Hot Sauce to running their own Sun Goose Records label and studio to their biggest project to date, Kate and Jason keep it all fun and fancy!"I Love My Baby Better" performed by Sundae + Mr. Goesslwritten by Nicole Blaze and Kate Voss℗ 2020 Sun Goose Records. Used with permission of Kate Voss & Jason Goessl."Makes My Heart Sway" performed by Jason and the Jazzerknotswritten by Jason Goessl℗ 2024 Sun Goose Records. Used with permission of Jason Goessl."Deed I Do" performed by Sundae + Mr. Goesslwritten by Fred Rose and Walter Hirsch℗ 2022 Sun Goose Records. Used with permission of Kate Voss & Jason Goessl."Darlene" performed by Sundae + Mr. Goesslwritten by Kate Voss and Jason Goessl℗ 2020 Sun Goose Records. Used with permission of Kate Voss & Jason Goessl.Support the showVisit Into The Music at https://in2themusic.com!Support the show: https://www.buymeacoffee.com/intothemusic E-mail us at intothemusic@newprojectx.com YouTube Facebook Instagram INTO THE MUSIC is a production of Project X Productions, Appleton, WI.Producer: Rob MarnochaRecording, engineering, and post production: Rob MarnochaOpening theme: "Aerostar" by Los Straitjackets* (℗2013 Yep Roc Records)Closing theme: "Close to Champaign" by Los Straitjackets* (℗1999 Yep Roc Records)*Used with permission of Eddie AngelThis podcast copyright ©2024 by Project X Productions. All rights reserved.
This is a preview of our all-new Patreon exclusive episode that finds Shannon and Cathy discussing the Killer Couple Fred & Rose West. Want more? Head on over to www.patreon.com/terrortalk and become a Patron for more exclusive bonus content! Follow us on Facebook | Instagram | Patreon | YouTube Music by Mannequin Uprising --- Send in a voice message: https://podcasters.spotify.com/pod/show/terrortalk/message
Twitter: @podgaverockInsta: @podgaverockSpecial Guest Hosts: Jeff Gross and John ShafranskiHank Williams with his Drifting Cowboys “Lovesick Blues" a 1949 single released on MGM. Written by Irving Mills and Hank Williams and composed by Cliff Friend and produced by Fred Rose.Personel:Hank Williams - vocals, guitarClyde Baum - mandolinZeke Turner - electric guitarJerry Byrd - steel guitarLouis Innis - rhtyhm guitarTommy Jackson - fiddleWillie Thawl - bassCover:Performed by Josh BondIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.
Twitter: @podgaverockInsta: @podgaverockSpecial Guest Hosts: Jeff Gross and John ShafranskiHank Williams with his Drifting Cowboys “Lovesick Blues" a 1949 single released on MGM. Written by Irving Mills and Hank Williams and composed by Cliff Friend and produced by Fred Rose.Personel:Hank Williams - vocals, guitarClyde Baum - mandolinZeke Turner - electric guitarJerry Byrd - steel guitarLouis Innis - rhtyhm guitarTommy Jackson - fiddleWillie Thawl - bassCover:Performed by Josh BondIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:Phish “Gamehenge”Trey AnastasioPearl JamSmashing PumpkinsWarrantSoul AsylumEddie VedderTom MorelloLenny KravitzRage Against the Machine “Killing in the Name Of”Keanu ReevesCourtney LoveSteve MartinAdam SandlerHank Williams Sr. “I'm So Lonesome I Could Cry”Hank Williams Sr. “Ramblin' Man”Hank Williams Sr. “Move It on Over”Hank Williams Sr. “I Saw the Light”Hank Williams Sr. “Lost Highway”Hank Williams Sr. “Long Gone Lonesome Blues”Jimmie RodgersMaestroLouvin BrothersJohn FogertyChris StapletonJason IsbellDrive By TruckersHank Williams Sr. “Hey Good Lookin'”Hank Williams Sr. “Jumbalaya”Hank Williams Sr. “Honky Tonkin'”Cliff Friend “The Merry Go Round Broke Down”Looney TunesEmmett MillerJimmy DorseyTommy DorseyOh, ErnestElsie ClarkWillie Nelson“Blues Eyes Cryin in the Rain”Hank Williams Sr. “I Can't Help It If I'm Still In Love With You”Roy AcuffRobert JohnsonCharlie PattonOxford AmericanI Saw the LightBohemian RhapsodyDonna Summer “Love to Love You Baby”MC Hammer “Can't Touch This”Nick Tosches “Hellfire”Jerry Lee LewisNick Tosches “Country: The Twisted Roots of Rock n Roll”Dean MartinNick Toches “Dino”Johnny CashBob DylanThe Rolling StonesMarty RobbinsMerle HaggardAlan JacksonChris StapletonPatsy ClineLoretta LynnDolly PartonThe CricketsLittle RichardGeorge StraitRyan AdamsFrank IfieldBauhausEtta JamesAl Jolson
Ένα συνηθισμένο σπίτι στην Αγγλία στην οδό Cromwell 25. Μια απλή, συνηθισμένη οικογένεια. Για άλλους, άλλο ένα κτίριο. Για μερικούς, η είσοδος στην κόλαση. Το remake μιας από τις αγαπημένες μου υποθέσεις.
Jeremy & Corrina Stephens are truly old souls. They both seek a deeper understanding of their shared passions: traditional music and their faith. Both are uber-talented multi-instrumentalists with an immense knowledge of the music of early roots music pioneers such as Reno & Smiley, Jim & Jesse, The Chuck Wagon Gang, Charlie Monroe, Fred Rose, and more, which is evident in the style of bluegrass they create with their band, High Fidelity. It was a treat to sit down for a visit at the Coffee Hub in Xenia, OH with this wonderful folks, as we chatted about everything from Corrina's love of punk rock to Jeremy's analysis of canned tuna! Enjoy! This episode is brought to you by the following sponsors: -- Samson's Haircare: samsonshaircare.com (Use code BLUEGRASS to save 10%.) -- LawnChair USA: lawnchairusa.com/wallsoftime (Use code WALLSOFTIME to save 10%.) -- Best Self Co: bestself.co (Use code BLUEGRASS to save 15%)
Instrumental SING ALONG "Blue Eyes Crying In The Rain "Written by Fred Rose First Recorded 1946Producer Renee Plays Piano & GuitarSING ALONG ! Here are the Lyrics:In the twilight glow I see himBlue eyes crying' in the rainWhen we kissed goodbye and partedI knew we'd never meet again,Love is like a dying' emberOnly memories remainThrough the ages, I'll rememberBlue eyes crying' in the rainSomeday when we meet up yonderWe'll stroll hand and hand againIn a land that knows no partin'Blue eyes crying' in the rainVoiceRenee@charter.net
Pinkie Sings "Blue Eyes Crying In The Rain"Written by Fred Rose First Recorded 1946Producer Renee plays Piano & GuitarVoiceRenee@charter.net
Hank Williams, Fred Rose, and you.
I want to thank you all for sticking with us on this case. It's been a hard one to cover. This week we dive into the trial of Rose and the effect this had on Anamaria and the rest of the family. Follow us on Facebook For updates and true crime discussions.
We are on part 4 of this infamous case. Today we look at the victims and how they came to meet Fred & Rose. part 5 will be out next week. Follow us on Facebook for up-to-date info on cases we have covered.
Fred & Rose West were a deadly duo. Together they abducted, raped, tortured, and murdered many young girls. Some of the victim's remains weren't found until over 20 years later, buried under the couple's garden and in the cellar. TW : Rape, Sexual Abuse, Incest Sources : Fred & Rose by Howard Sounes Fun Facts : wwf.org smithsonianmag.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/murderburrito/support
Hey ya'all! Annie covers part 2 of the heinous acts of Serial Killers Fred and Rose West! Hang onto your barf buckets peeps! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/annie-weaver1/support
*excuse the rumbling noises during the first minute or two* Merch STICKERS now available! https://www.darkalignmentpodcast.com/product/dark-alignment-sticker/1 https://www.darkalignmentpodcast.com/ https://linktr.ee/DarkAlignment -- Enjoy our content? Support us on Patreon! https://www.patreon.com/DarkAlignment -- Follow us on Instagram! @DarkAlignment https://instagram.com/darkalignment We're on TikTok! https://vm.tiktok.com/ZMeDaYSF3/ And Twitter! https://twitter.com/AlignmentDark Like us on Facebook! Dark Alignment Podcast https://www.facebook.com/DarkAlignmentPodcast -- Brittney Oakley, Forensic Psychologist @Britt_Oakley https://www.instagram.com/britt_oakley Body Positivity, Pole & Hip Hop Dancing, Dog Mom Life, Nature, & Yoga Amy Eruca Rose, Astrologer @ErucaRose https://www.instagram.com/erucarose Astrology, Spirituality, Pole Dancing, Nature, & Yoga Astrology, Tarot, and Rune Readings by @ErucaRose are available now! Learn more about yourself, your soul, and your life path: https://erucarose.square.site -- Business Contact: darkalignmentpodcast@gmail.com -- Graphic Design by Collab Design Co. www.collabdesign.co -- Music by Kid Kota kidxkota@gmail.com --- 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/darkalignment/message Support this podcast: https://anchor.fm/darkalignment/support
In our final episode of Fred & Rose West, we discuss the house of horrors, 25 Cromwell Street. True Crime News: Brian Laundrie update BONUS: Ghost chat & unusual shopping list items (end of closing theme) Part of the Black Fur Network Twitter: https://twitter.com/CrimesLike Instagram: https://www.instagram.com/crimeslikethese/ Email: crimeslikethese@gmail.com Music by: Glitterwolf Twitter: https://twitter.com/GWsynth Spotify: https://open.spotify.com/artist/51JK9vg2VJYsfsdQoA5XU3?si=iSuK8BmbT7qA7PZGF5XGSw&dl_branch=1
It's time for part 2, all about Rose West. We also discuss recent true crime cases in the news over the past few weeks. Part of the Black Fur Network Twitter: https://twitter.com/CrimesLike Instagram: https://www.instagram.com/crimeslikethese/ Email: crimeslikethese@gmail.com Music by: Glitterwolf Twitter: https://twitter.com/GWsynth Spotify: https://open.spotify.com/artist/51JK9vg2VJYsfsdQoA5XU3?si=iSuK8BmbT7qA7PZGF5XGSw&dl_branch=1
Buckle up listeners...it's gonna be multi-part case! We're diving into the world of british serial killer couple, Fred and Rose West. Part of the Black Fur Network Twitter: https://twitter.com/CrimesLike Instagram: https://www.instagram.com/crimeslikethese/ Email: crimeslikethese@gmail.com Music by: Glitterwolf Twitter: https://twitter.com/GWsynth Spotify: https://open.spotify.com/artist/51JK9vg2VJYsfsdQoA5XU3?si=iSuK8BmbT7qA7PZGF5XGSw&dl_branch=1
We would like to thank everyone for coming back and listening we give some
The forgotten story of the Beverly Hills Speedway, where some of America's greatest racing machines were forged... and where the fates of men were made and lost.SUPPORT OUR SPONSOR:https://modelcitizendiecast.comMUSIC CREDITS:"You Forgot to Remember" by Irving Berlin Performed by John McCormackPublic Domainhttps://creativecommons.org/publicdomain/mark/1.0/"Red Hot Mama" by Bud Cooper, Fred Rose and Gilbert WellsPerformed by Sophie TuckerPublic Domainhttps://creativecommons.org/publicdomain/mark/1.0/"The International Rag" by Irving BerlinPerformed by Sophie Tucker & Al JolsonPublic Domainhttps://creativecommons.org/publicdomain/mark/1.0/"Blue Tango" by Leroy AndersonCreative Commons 3.0 Sharealikehttps://creativecommons.org/licenses/by/3.0/
The Warriors path led Fred to Little 500 and he followed his unique journey to find his team. The 1989 Cinzano team was comprised of a mix of talent and personalities that delivered Mike Asher to lap 180.
Nessa semana, Natália conta a história de Fred e Rosemary West e de como eles viraram o casal mais infame do mundo do true crime. ALERTA GATILHO: INCESTO, ESTUPRO, TORTURA, PEDOFILIA E ABUSO INFANTIL VISITE NOSSO CANAL NO YOUTUBE: https://www.youtube.com/channel/UCac9ZupbqFakPcL5CQgpUoQ Escrito e apresentado por Natália Salazar, Monika de Lima Knutsen e Renata Schmidt Produção: Natália Salazar e Renata Schmidt Edição: Monika de Lima Knutsen Música: Felipe Salazar Arte: Matheus Schmidt http://patriaamadacriminal.com IG: @patriaamadapodcast Twitter: @patriaamadapod https://www.youtube.com/channel/UCac9ZupbqFakPcL5CQgpUoQ Camisetas e produtos do Pátria: https://montink.com/loja-meia-boca Para quem mora fora do Brasil ou quer produtos diferenciados: https://teespring.com/stores/ptria-amada-criminal-podcat https://www.redbubble.com/people/PatriaAmada
Pensioner Anthony Williams jailed for the manslaughter of his wife in lockdown ... Anthony Williams has been cleared of murdering his wife Ruth at their home in Cwmbran Johnny Depp Subpoenas Elon Musk for Defamation Lawsuit Against Amber Heard Celebrity-backed sex toys are all the buzz ... Lily Allen, Cara Delevingne, Gwyneth Paltrow, Dakota Johnson, Cardi B PLUS: **EXCLUSIVE** @courtroomartist Priscilla Coleman lifts the lid on the celebrity and criminal gossip and an amazing career as the UK's foremost court room artist who has drawn:- Fred & Rose, Levi Bellfield, Ian Huntley Naomi Campbell Catherine Zeta-Jones & Michael Douglas Priscilla's book "Court Scenes: The Court Art of Priscilla Coleman" features many of these people.
Ve 4 díle krimicastu se podíváme na případy britských vrahů. Jedním z nich je Patrick Mackay, který je přezdívaný jako ďáblův učeň a poté si popovídáme o manželském párů Westových.
Fred and Rose West or 25 Cromwell Street, I’m not sure which is more famous. They were a couple who killed, sexually assaulted and tortured young women and girls including their children during the 60s and 70s. These horrific crimes were committed in and around Gloucester and mostly within the property of 25 Cromwell Street which has since been demolished due to most of the bodies being buried underneath the house.One of the most infamous killer couples, Fred and Rose West’s notoriety matches that of Ian Brady and Myra Hindley. But was it nature or nurture that made them both serial killers, and how did it go on for so long undetected?Follow us on @applepodcasts and @spotify ---------Find us on Instagram @everythingwiththegirlspod- - - - - -Like us? Rate us on @applepodcasts and let us know what you think on our social media, we’re always ready for some feedback and suggestions! See acast.com/privacy for privacy and opt-out information.
Ένα συνηθισμένο σπίτι στην Αγγλία; Μια συνηθισμένη οικογένεια; Η οδός Κρομγουελ 25 μια συνηθισμένη οδός; Ή η είσοδος στην κόλαση;
In part six of seven of this series, Anna Marie will finally become free from the "House of Horrors",but unfortunately for her sister Heather, she will not get the chance to escape, as Fred & Rose's paranoia start to set in. The beginning of the end for Fred & Rose starts to take shape, as detective Hazel Savage starts to investigate child abuse at the West's household. Plus we learn about a supposed connection between the Wests and another sadistic couple, that might have connections to a child sex trafficking ring.[FOLLOW US and BONUS CONTENT]Join our Patreon, for just $5/month, get elbow deep! you will get access to our after show "After the Podcast is Afraid" plus more bonus episodes & content, just visit patreon.com/ordisstudios Visit Our Website: eventhepodcastisafraid.comFollow us on Twitter @PodcastAfraid Follow us on Instagram @PodcastAfraid Part of the Crawlspace Media Network [FRED & ROSE WEST ETPIA SERIES]The "Fred & Rose Series" was researched & written by Stephanie Kemmerer, for "Even the Podcast is Afraid"[THIS EPISODE is SPONSORED BY]THE KANGAROO Kangaroo was created to ensure that everyone has access to home security. Go to heykangaroo dot com to learn more and start keeping your home safe today! And be sure to use the code RINGDONG for 20% off any Kangaroo Complete subscription order.Audible by Amazon - FREE for 30 Days visit [http://www.audibletrial.com/PodcastAfraid] or visit the Sponsors page on [https://www.eventhepodcastisafraid.com/sponsors] & click the "Click Here" under the Audible Logo[FURTHER READING] "Fred & Rose: The Full Story of Fred & Rose West and the Gloucester House of Horrors" by Howard Sounes [MUSIC USED in this EPISODE] Music from https://filmmusic.io"In Your Arms" by Kevin MacLeod (https://incompetech.com)License: CC BY (http://creativecommons.org/licenses/by/4.0/)
In part five of seven of this series, we see the torture and abuse, from Fred & Rose, go to a new level after letting one of their victims, Caroline, get away. The Wests would resort to murder by sexual torture, and bury their victims in the cellar & garden of their 25 Cromwell Street home. They would continue to the sadistic abuse upon Anna Marie, and have a few missing persons cases launched on some of the girls who are hidden at the House of Horrors. As we move closer to these heinous secrets finally being revealed.[FOLLOW US and BONUS CONTENT]Join our Patreon, for just $5/month, get elbow deep! you will get access to our after show "After the Podcast is Afraid" plus more bonus episodes & content, just visit patreon.com/ordisstudios Visit Our Website: eventhepodcastisafraid.comFollow us on Twitter @PodcastAfraid Follow us on Instagram @PodcastAfraid Part of the Crawlspace Media Network [FRED & ROSE WEST ETPIA SERIES]The "Fred & Rose Series" was researched & written by Stephanie Kemmerer, for "Even the Podcast is Afraid"[THIS EPISODE is SPONSORED BY]THE KANGAROO Kangaroo was created to ensure that everyone has access to home security. Go to heykangaroo dot com to learn more and start keeping your home safe today! And be sure to use the code RINGDONG for 20% off any Kangaroo Complete subscription order.Audible by Amazon - FREE for 30 Days visit [http://www.audibletrial.com/PodcastAfraid] or visit the Sponsors page on [https://www.eventhepodcastisafraid.com/sponsors] & click the "Click Here" under the Audible Logo[FURTHER READING] "Fred & Rose: The Full Story of Fred & Rose West and the Gloucester House of Horrors" by Howard Sounes [https://amzn.to/3fHMgWo] or get the AUDIOBOOK FREE with the Audible FREE 30 Day Trial [http://www.audibletrial.com/PodcastAfraid][MUSIC USED in this EPISODE] Music from https://filmmusic.io"In Your Arms" by Kevin MacLeod (https://incompetech.com)License: CC BY (http://creativecommons.org/licenses/by/4.0/)
In part four of seven of this series, after the murders of Anna McFall & Charmaine, Fred & Rose West turn to hunting & preying on young girls. After moving around a few times, they finally move into the "House of Horrors" on 25 Cromwell Street. Fred & Rose take their darkest desires and transform their basement into a sexual torture chamber, as they rent out rooms in their new home. Fred & Rose would take these new sick acts of sadistic torture to a whole new level, with the acts committed on their own daughter Anna Marie, and the kidnapped 17 year old Caroline. [FOLLOW US and BONUS CONTENT]Join our Patreon, for just $5/month, get elbow deep! you will get access to our after show "After the Podcast is Afraid" plus more bonus episodes & content, just visit patreon.com/ordisstudios Visit Our Website: eventhepodcastisafraid.comFollow us on Twitter @PodcastAfraid Follow us on Instagram @PodcastAfraid Part of the Crawlspace Media Network [FRED & ROSE WEST ETPIA SERIES]The "Fred & Rose Series" was researched & written by Stephanie Kemmerer, for "Even the Podcast is Afraid"[THIS EPISODE is SPONSORED BY]THE GALRY The Galry is a curated collection of photographs from around the world. The Galry is offering our listeners 15% off their purchase by using the code 15OFF. Go to the thegalry.com that’s T-H-E-G-A-L-R-Y dot com so your wall will never be boring again!Audible by Amazon - FREE for 30 Days visit [http://www.audibletrial.com/PodcastAfraid] or visit the Sponsors page on [https://www.eventhepodcastisafraid.com/sponsors] & click the "Click Here" under the Audible Logo[FURTHER READING] "Fred & Rose: The Full Story of Fred & Rose West and the Gloucester House of Horrors" by Howard Sounes [https://amzn.to/3fHMgWo] or get the AUDIOBOOK FREE for 30 Days with the Audible FREE Trial [http://www.audibletrial.com/PodcastAfraid][MUSIC USED in this EPISODE] Music from https://filmmusic.io"In Your Arms" by Kevin MacLeod (https://incompetech.com)License: CC BY (http://creativecommons.org/licenses/by/4.0/)Waltz (Tschikovsky Op. 40) by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/4605-waltz-tschikovsky-op-40-License: http://creativecommons.org/licenses/by/4.0/
We're live on Thursday nights from 1900 GMT wordpress hemmingfordgrey.home.blog Find us on telegram https://t.me/ForteanWords audio version available on anchor/spotify/breaker/google/overcast/pocket casts/RadioPublic/apple podcasts www.anchor.fm/forteanwords https://anchor.fm/s/8b9efe4/podcast/rss youtube archive: https://www.youtube.com/channel/UCegNsOjZ516esF4mMjUovhw Bitchute: https://www.bitchute.com/channel/hemmingfordgrey/ Dlive: https://dlive.tv/HemmingfordGrey Find Hemmy's movie podcast at https://exodusamericanus.com/category/dope-movies-and-shows/ & political podcast www.anchor.fm/grubandglory twitter: https://twitter.com/@sirhgrey email: forteanwords@protonmail.com Opening music: Ways In Which (5 note remix) by Kaptain Spectro featuring Hobbit
We discuss Fred and Rose West, two of the most horrific serial killers England has ever seen. Hosted on Acast. See acast.com/privacy for more information.
Political commentator and talk radio legend Tommy Scbnurmacher is the author of ‘Canada’s Not a Real Country’ and a new memoir ‘Make-up Tips From Auschwitz: How Vanity Saved My Mother’s Life'. On a preview conversation of episode 110, Schnurmacher and host Andre Goulet go deep on a frequently forgotten fixture in an earlier era of Canadian politics to answer the question…...who was Fred Rose? This conversation was recorded on December 10th, 2019. Support the show at https://www.patreon.com/unpackingthenews Hear audio from Historica Canada's 'The Canadians: Fred Rose' and Lulu Belle and Scotty's 1952 song 'I'm No Communist' on Youtube.
NB This is a new version -- I accidentally uploaded the wrong file previously Episode thirty-eight of A History of Rock Music in Five Hundred Songs looks at "Heartbreak Hotel" by Elvis Presley, and is part three of a trilogy on the aftermath of Elvis leaving Sun, and the birth of rockabilly. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "The Flying Saucer" by Buchanan and Goodman. Also, it came too late for me to acknowledge in the episode itself, but I have to mention the sad news that Dave Bartholomew died today, aged 100. He will be missed. ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are many, many books about Elvis Presley out there, but the one I'm using as my major resource for information on him, and which has guided my views as to the kind of person he was, is Last Train to Memphis by Peter Guralnick, generally considered the best biography of him. This 3-CD box set (expensive on CD, but relatively cheap as MP3s) contains every surviving recording by Elvis from 1956, including outtakes. This more reasonably priced ten-CD box contains every official release he put out from 1954 through 62, but without the outtakes. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We've talked before, a couple of times, about Elvis Presley and his early recordings. Those Sun records are the ones on which his artistic reputation now largely rests, but they weren't the ones that made him famous. He didn't become the Elvis we all know until he started recording for RCA. So today we're going to look at the first single he put out on a major label, and the way it turned him from a minor regional country star into the King of Rock and Roll, a cultural phenomenon that would eclipse all music prior to him, and lead John Lennon to say "Before Elvis there was nothing". As you might remember from the last episode on Elvis, a few weeks ago, Elvis' manager, Colonel Tom Parker, had managed to get Elvis signed to RCA Records for a sum of money far greater than anything anyone had paid for a singer before, after Sam Phillips made what seemed like a ludicrous demand just to get Parker out of his hair. And this was a big deal. Sun Records, as we've seen, was a tiny regional operation. It was able to generate massive hits for Carl Perkins and Johnny Cash after Elvis left, but that's only because of the cash the label was able to make from the Elvis deal. It's safe to say that the whole genre of rockabilly was funded by that one deal. RCA, on the other hand, was one of the biggest labels in the world. The first thing RCA did was to reissue his last Sun single, "I Forgot to Remember to Forget", backed with "Mystery Train". With RCA's backing, the single did far better than it had on Sun, hitting number one on the country charts at the beginning of 1956. But was that enough to make the money RCA had paid for Elvis worth it? When Elvis went into the studio on January 10 1956, two days after his twenty-first birthday, the pressure was on him to record something very special indeed. Before going into the studio, Elvis had been sent ten demos of songs to consider for this first session. The song he ended up choosing as the main one for the session, though, was a song by someone he already knew -- and for which he had a third of the songwriting credit. Mae Axton was an odd figure. She was an English teacher who had a sideline as a freelance journalist. One day she was asked by a magazine she was freelancing for to write a story about hillbilly music, a subject about which she knew nothing. She went to Nashville to interview the singer Minnie Pearl, and while she was working on her story, Pearl introduced her to Fred Rose, the co-owner of Acuff-Rose Publishing, the biggest publishing company in country music. And Pearl, for some reason, told Rose that Mae, who had never written a song in her life, was a songwriter. Rose said that he needed a new novelty song for a recording session for the singer Dub Dickerson that afternoon, and asked Mae to write him one. And so, all of a sudden, Mae Axton was a songwriter, and she eventually wrote over two hundred songs, starting with her early collaborations with Dub Dickerson: [Excerpt: Dub Dickerson, "Shotgun Wedding"] She was still also a freelance journalist, though, and it was easy for her to make a sidestep into publicity for hillbilly acts. For a time she was Hank Snow's personal publicist, and she would often work with Colonel Parker on promoting shows when they came through Florida, where she lived. She'd interviewed Elvis when he came to Florida, and had immediately been struck by him. He'd talked to her about how amazed he was by how big the ocean was, and how he'd give anything to have enough money to bring his parents down to Florida to live there. She said later, "That just went through my heart. 'Cause I looked down there, and there were all these other kids, different show members for that night, all the guys looking for cute little girls. But his priority was doing something for his mother and daddy." She promised she'd write him a song, and by the end of the year, she had one for him. [Excerpt: Elvis Presley, “Heartbreak Hotel”] "Heartbreak Hotel" was, initially, the work of Tommy Durden, a country singer and songwriter. As Durden used to tell it, he was inspired by a newspaper story of a man who'd died by suicide, who had been found with no identification on him and a note that simply read "I walk a lonely street". Later research has suggested that rather than a suicide, the story Durden had read was probably about an armed robber, Alvin Krolik, who had been shot dead in the course of committing a robbery. Krolik had, a few years earlier, after confessing to a string of other robberies, made the news with a partial autobiography he'd written containing the lines “If you stand on a corner with a pack of cigarettes or a bottle and have nothing to do in life, I suggest you sit down and think. This is the story of a person who walked a lonely street. I hope this will help someone in the future.” Whatever the actual story, it inspired Durden, who had a few lines of the song, and he played what he had to Mae Axton. She thought a lot about the phrase, and eventually came to the conclusion that what you'd find at the end of a lonely street was a heartbreak hotel. The two of them finished the song off, with the help of Glenn Reeves, a rockabilly singer who refused to take credit for his work on the song, because he thought it was ridiculous. Reeves did, though, record the demo for them. They'd already decided that the song should be pitched to Elvis, and so Reeves impersonated Presley: [Excerpt: Glenn Reeves, "Heartbreak Hotel"] A lot of people have claimed that Elvis copied that recording exactly, phrasing and all. Comparing the two recordings, though, shows that that's not the case. Elvis definitely found it easier to record a song when he'd heard someone else doing it in an approximation of his style, and in the sixties he often *would* just copy the phrasing on demos. But in the case of "Heartbreak Hotel", Elvis is not copying Reeves' phrasing at all. The two are similar, but that's just because Reeves is imitating Elvis in the first place. There are dozens of tiny choices Elvis makes throughout the song which differ from those made by Reeves, and it's clear that Elvis was thinking hard about the choices he was making. When Mae played him the song, insisting to him that it would be his first million seller, his reaction on hearing it was "Hot dog, Mae! Play it again!" He instantly fell in love with the song, which reminded the young blues-lover of Roy Brown's "Hard Luck Blues": [Excerpt: Roy Brown, "Hard Luck Blues"] Elvis got a third of the songwriting credit for the song, which most people have said was insisted on by the Colonel – and certainly other songs Elvis recorded around that time gave him a credit for that reason. But to her dying day Mae Axton always said that she'd cut him in on the song so he might be able to get that money to buy his parents a house in Florida. The session to record "Heartbreak Hotel" started with the engineers trying -- and failing -- to get a replica of Sam Phillips' slapback echo sound, which was a sound whose secret nobody but Phillips knew. Instead they set up a speaker at one end of the room and fed in the sound from the mics at the other end, creating a makeshift echo chamber which satisfied Chet Atkins but threw the musicians, who weren't used to hearing the echo live rather than added after the fact. Atkins isn't the credited producer for "Heartbreak Hotel" -- that's Steve Sholes, the A&R man at RCA Records who had signed Presley -- but by all accounts Atkins was nominally in charge of actually running the session. And certainly there would be no other reason for having Atkins there -- he played guitar on the record, but only adding another acoustic rhythm guitar to the sound, which was frankly a waste of the talents of probably the greatest country guitarist of his generation. That said, Atkins didn't do that much production either -- according to Scotty Moore, his only suggestion was that they just keep doing what they'd been doing. To start the session off, they recorded a quick version of "I Got A Woman", the Ray Charles song, which had been a staple of Elvis' live act since it had been released: [Excerpt: Elvis Presley, "I Got A Woman"] After that, the remainder of the first session was devoted to "Heartbreak Hotel", a record that has a sense of thought that's been put into the arrangement that's entirely absent from the Sun Records arrangements, which mostly consist of start the song, play the song through with a single solo, and end the song. The whole point of those records was to capture a kind of spontaneity, and you can't do much to play with the dynamics of an arrangement when there are only three instruments there. But now there were six -- Scotty Moore and Bill Black were there as always, as was D.J. Fontana, who had joined the band on drums in 1955 and was recording for the first time, along with Atkins and piano player Floyd Cramer, who played on many of the biggest hits to come out of Nashville in the fifties and sixties. Atkins and Cramer are two of the principal architects of what became known as "the Nashville Sound" or "Countrypolitan" -- there are distinctions between these two styles for those who are interested in the fine details of country music, but for our purposes they're the same, a style of country music that pulled the music away from its roots and towards a sound that was almost a continuation of the pre-rock pop sound, all vocal groups and strings with little in the way of traditional country instrumentation like fiddles, mandolins, banjos, and steel guitars. And there's an element of that with their work with Presley, too -- the rough edges being smoothed off, everything getting a little bit more mannered. But at this point it seems still to be working in the record's favour. After recording "Heartbreak Hotel", they took a break before spending another three-hour session recording another R&B cover that was a staple of Elvis' stage show, "Money Honey". Along with the addition of Atkins and Cramer, there were also backing vocalists for the very first time. Now this is something that often gets treated as a problem by people coming to Elvis' music fresh today. Backing vocals in general have been deprecated in rock and roll music for much of the last fifty years, and people think of them as spoiling Elvis' artistry. There have even been releases of some of Elvis' recordings remixed to get rid of the backing vocals altogether (though that's thankfully not possible with these 1956 records, which were recorded directly to mono). But the backing vocals weren't an irritating addition to Elvis' artistry. Rather, they were the essence of it, and if you're going to listen to Elvis at all, and have any understanding of what he was trying to do, you need to understand that before anything else. Elvis' first ambition -- the aspiration he had right at the beginning of his career -- was to be a member of a gospel quartet. Elvis wanted to have his voice be part of a group, and he loved to sing harmony more than anything else. He wanted to sing in a gospel quartet before he ever met Sam Phillips, and as his career went on he only increased the number of backing vocalists he worked with -- by the end of his career he would have J.D. Sumner and the Stamps (a Southern Gospel group), *and* the Sweet Inspirations (the girl group who had backed Aretha Franklin), *and* Kathy Westmoreland, a classically-trained soprano, all providing backing vocals. However, the backing vocalists on this initial session weren't yet the Jordanaires, the group who would back Elvis throughout the fifties and sixties. One of the Jordanaires *was* there -- Gordon Stoker -- but the rest of them weren't hired for the January sessions, as Steve Sholes wanted to use members of a group who were signed with RCA in their own right -- the Speer Family. So Ben and Brock Speer joined Elvis and Stoker to make an unbalanced gospel quartet, with too many tenors and no baritone. When Elvis found out at a later session that this had happened as a cost-cutting measure, he insisted that all the Jordanaires be employed at his future sessions. The next day, to end the sessions, they regrouped and cut a couple of ballads. "I'm Counting On You" was rather mediocre, but "I Was The One" ended up being Elvis' personal favourite track from the sessions: [Excerpt: Elvis Presley, "I Was The One"] At the end of the sessions, Steve Sholes was very unsure if he'd made the right choice signing Elvis. He only had five tracks to show for three sessions in two days, when the normal thing was to record four songs per session -- Elvis and his group were so slow partly because they were used to the laid-back feel of the Sun studios, with Sam Phillips never clock-watching, and partly because Elvis was a perfectionist. Several times they'd recorded a take that Sholes had felt would be good enough to release, but Elvis had insisted he could do it better. He'd been right -- the later versions were an improvement -- but they had remarkably few tracks that they could use. Many of those who'd loved Elvis' earlier work were astonished at how bad "Heartbreak Hotel" sounded to them. The reverb, sounding so different from the restrained use of slapback on the Sun records, sounded to many ears, not least Sam Phillips', like a bad joke -- Phillips called the result "a morbid mess". [Excerpt: Elvis Presley, “Heartbreak Hotel”] Yet it became a smash hit. It went to number one on the pop charts, number one in country, and made the top five in R&B. This was the moment when Elvis went from being a minor country singer on a minor label to being Elvis, Elvis the Pelvis, the King of Rock & Roll. After the sessions that produced "Heartbreak Hotel", Elvis went back into the studio twice more and recorded a set of songs -- mostly R&B and rockabilly covers -- for his first album. Almost all of these were Elvis' own choice of material, and so while his versions of "Blue Suede Shoes" or "Tutti Frutti" didn't match the quality of the originals, they were fine performances and perfect for album tracks. While the "Heartbreak Hotel" session had been in Nashville -- a natural choice, since it was both relatively close to Elvis' home town of Memphis, and the capital of country music, and Elvis was still supposedly a country artist -- the next couple of sessions were in New York, timed to coincide with Elvis' appearances on TV. Starting with the low-rated Stage Show, a programme that was presented by the swing bandleaders Tommy and Jimmy Dorsey, Elvis quickly moved up the ladder of TV shows, appearing first with Milton Berle, then with Steve Allen, and then finally on the Ed Sullivan show. On his first appearances, you can see the Elvis that people who knew him talked about – even as he's working the audience with what looks like the utmost confidence, you can see his fingers twitching wildly in a way he's not properly conscious of, and you can tell that under the mask of the sex symbol is the quiet country boy who would never meet anyone's eye. Each show caused more controversy than the last, as first Elvis' hip gyrations got him branded a moral menace, then he was forced to sing while standing still, and then only filmed from the waist up. Those shows helped propel "Heartbreak Hotel" to the top of the charts, but the Colonel decided that Elvis probably shouldn't do too much more TV – if people could see him without paying, why would they pay to see him? No, Elvis was going to be in films instead. But all that work meant that Elvis' fourth set of sessions for RCA was fairly disastrous, and ended up with nothing that was usable. Elvis had been so busy promoting "Heartbreak Hotel" that he hadn't had any chance to prepare material, and so he just went with Steve Sholes' suggestion of "I Want You I Need You I Love You". But the session went terribly, because Elvis had no feel for the song at all. Normally, Elvis would learn a song straight away, after a single listen, but he just couldn't get the song in his head. They spent the whole session working on that single track, and didn't manage to get a usable take recorded at all. Steve Sholes eventually had to cobble together a take using bits of two different performances, and no-one was happy with it, but it reached number one on the country chart and number three on the pop charts. It was hardly "Heartbreak Hotel" levels of success, but it was OK. It was the B-side of that single that was really worth listening to. A leftover from the album sessions, it was, like Elvis' first single, a cover version of an Arthur Crudup song. And this one also gave D.J. Fontana his first chance to shine. [Excerpt: Elvis Presley, "My Baby Left Me"] By this point, it was very clear that if Elvis was given control of the studio and singing material he connected with, he would produce great things. And if he was doing what someone else thought he should be doing, he would be much less successful. A couple of months later Elvis and the group were back in the studio cutting what would become their biggest double-sided hit, both songs definitely chosen by Elvis. These days their cover version of Big Mama Thornton's "Hound Dog" is the better-known of the two sides they cut that day, but while that's an excellent track -- and one that bears almost no relation to Thornton's original -- the A-side, and the song that finally convinced several detractors, including Sam Phillips, that Elvis might be able to make decent records away from Sun, was "Don't Be Cruel", a song written by Otis Blackwell, but credited to Blackwell and Presley, as the Colonel insisted that his boy get a cut for making it a hit. Otis Blackwell is another person who we'll be hearing from a lot over the course of the series, as he wrote a string of hits, including several for Elvis, who he never met -- the one time he did have a chance to meet him, he declined, as he'd developed a superstition about meeting the man who'd given him his biggest hits. At this time, Blackwell had just written the song "Fever" for Little Willie John: [Excerpt: "Fever", Little Willie John] That song had become a big hit for Peggy Lee, in a version with different lyrics, and Blackwell was at the start of an impressive career. We don't have Blackwell's demo of "Don't Be Cruel", but he recorded a version in the 1970s which might give some idea of what Elvis heard in 1956: [Excerpt: Otis Blackwell, "Don't Be Cruel"] Elvis' version showed a lightness of touch that had been absent on his earlier RCA records. He was finally in control of the sound he wanted in the studio. "Don't Be Cruel" took twenty-eight takes, and "Hound Dog" thirty-one, but you'd never believe it from the light, frothy, sound that "Don't Be Cruel" has in its finished version, where Elvis sounds as playful as if he was improvising the song on the spot: [Excerpt: Elvis Presley, "Don't Be Cruel"] Both sides of the record went to number one – first “Don't Be Cruel” went to number one and “Hound Dog” to number two, and then they swapped over. Between them they spent eleven weeks at the top of the charts. But even as Elvis was starting to take complete control in the studio, that control was starting to be taken away from him by events. His next session after the one that produced "Hound Dog" and "Don't Be Cruel" was one he had not been expecting. When he'd signed to make his first film, a Western called "The Reno Brothers", he'd expected it to be a straight acting role with no songs -- he wanted to follow the path of people like Frank Sinatra, who had parallel careers in the cinema and in music, and he also hoped that he could emulate his acting idols, Marlon Brando and James Dean. But by the time he came to make the film, several songs had been added -- and he found out, to his annoyance, that he wasn't allowed to use Scotty, Bill, and DJ on the soundtrack, because the film company didn't think they could sound hillbilly enough. They were replaced with Hollywood session musicians, who could do a better job of sounding hillbilly than those country musicians could. Elvis didn't have any say over the material either, although he did like the main ballad that was going to be used in the film -- the other three songs were among the most mediocre he'd do in the fifties. By the time "The Reno Brothers" was finished, it had been renamed "Love Me Tender", and we'll be picking up on Elvis' film career in a future episode...
NB This is a new version — I accidentally uploaded the wrong file previously Episode thirty-eight of A History of Rock Music in Five Hundred Songs looks at “Heartbreak Hotel” by Elvis Presley, and is part three of a trilogy on the aftermath of Elvis leaving Sun, and the birth of rockabilly. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “The Flying Saucer” by Buchanan and Goodman. Also, it came too late for me to acknowledge in the episode itself, but I have to mention the sad news that Dave Bartholomew died today, aged 100. He will be missed. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are many, many books about Elvis Presley out there, but the one I’m using as my major resource for information on him, and which has guided my views as to the kind of person he was, is Last Train to Memphis by Peter Guralnick, generally considered the best biography of him. This 3-CD box set (expensive on CD, but relatively cheap as MP3s) contains every surviving recording by Elvis from 1956, including outtakes. This more reasonably priced ten-CD box contains every official release he put out from 1954 through 62, but without the outtakes. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We’ve talked before, a couple of times, about Elvis Presley and his early recordings. Those Sun records are the ones on which his artistic reputation now largely rests, but they weren’t the ones that made him famous. He didn’t become the Elvis we all know until he started recording for RCA. So today we’re going to look at the first single he put out on a major label, and the way it turned him from a minor regional country star into the King of Rock and Roll, a cultural phenomenon that would eclipse all music prior to him, and lead John Lennon to say “Before Elvis there was nothing”. As you might remember from the last episode on Elvis, a few weeks ago, Elvis’ manager, Colonel Tom Parker, had managed to get Elvis signed to RCA Records for a sum of money far greater than anything anyone had paid for a singer before, after Sam Phillips made what seemed like a ludicrous demand just to get Parker out of his hair. And this was a big deal. Sun Records, as we’ve seen, was a tiny regional operation. It was able to generate massive hits for Carl Perkins and Johnny Cash after Elvis left, but that’s only because of the cash the label was able to make from the Elvis deal. It’s safe to say that the whole genre of rockabilly was funded by that one deal. RCA, on the other hand, was one of the biggest labels in the world. The first thing RCA did was to reissue his last Sun single, “I Forgot to Remember to Forget”, backed with “Mystery Train”. With RCA’s backing, the single did far better than it had on Sun, hitting number one on the country charts at the beginning of 1956. But was that enough to make the money RCA had paid for Elvis worth it? When Elvis went into the studio on January 10 1956, two days after his twenty-first birthday, the pressure was on him to record something very special indeed. Before going into the studio, Elvis had been sent ten demos of songs to consider for this first session. The song he ended up choosing as the main one for the session, though, was a song by someone he already knew — and for which he had a third of the songwriting credit. Mae Axton was an odd figure. She was an English teacher who had a sideline as a freelance journalist. One day she was asked by a magazine she was freelancing for to write a story about hillbilly music, a subject about which she knew nothing. She went to Nashville to interview the singer Minnie Pearl, and while she was working on her story, Pearl introduced her to Fred Rose, the co-owner of Acuff-Rose Publishing, the biggest publishing company in country music. And Pearl, for some reason, told Rose that Mae, who had never written a song in her life, was a songwriter. Rose said that he needed a new novelty song for a recording session for the singer Dub Dickerson that afternoon, and asked Mae to write him one. And so, all of a sudden, Mae Axton was a songwriter, and she eventually wrote over two hundred songs, starting with her early collaborations with Dub Dickerson: [Excerpt: Dub Dickerson, “Shotgun Wedding”] She was still also a freelance journalist, though, and it was easy for her to make a sidestep into publicity for hillbilly acts. For a time she was Hank Snow’s personal publicist, and she would often work with Colonel Parker on promoting shows when they came through Florida, where she lived. She’d interviewed Elvis when he came to Florida, and had immediately been struck by him. He’d talked to her about how amazed he was by how big the ocean was, and how he’d give anything to have enough money to bring his parents down to Florida to live there. She said later, “That just went through my heart. ‘Cause I looked down there, and there were all these other kids, different show members for that night, all the guys looking for cute little girls. But his priority was doing something for his mother and daddy.” She promised she’d write him a song, and by the end of the year, she had one for him. [Excerpt: Elvis Presley, “Heartbreak Hotel”] “Heartbreak Hotel” was, initially, the work of Tommy Durden, a country singer and songwriter. As Durden used to tell it, he was inspired by a newspaper story of a man who’d died by suicide, who had been found with no identification on him and a note that simply read “I walk a lonely street”. Later research has suggested that rather than a suicide, the story Durden had read was probably about an armed robber, Alvin Krolik, who had been shot dead in the course of committing a robbery. Krolik had, a few years earlier, after confessing to a string of other robberies, made the news with a partial autobiography he’d written containing the lines “If you stand on a corner with a pack of cigarettes or a bottle and have nothing to do in life, I suggest you sit down and think. This is the story of a person who walked a lonely street. I hope this will help someone in the future.” Whatever the actual story, it inspired Durden, who had a few lines of the song, and he played what he had to Mae Axton. She thought a lot about the phrase, and eventually came to the conclusion that what you’d find at the end of a lonely street was a heartbreak hotel. The two of them finished the song off, with the help of Glenn Reeves, a rockabilly singer who refused to take credit for his work on the song, because he thought it was ridiculous. Reeves did, though, record the demo for them. They’d already decided that the song should be pitched to Elvis, and so Reeves impersonated Presley: [Excerpt: Glenn Reeves, “Heartbreak Hotel”] A lot of people have claimed that Elvis copied that recording exactly, phrasing and all. Comparing the two recordings, though, shows that that’s not the case. Elvis definitely found it easier to record a song when he’d heard someone else doing it in an approximation of his style, and in the sixties he often *would* just copy the phrasing on demos. But in the case of “Heartbreak Hotel”, Elvis is not copying Reeves’ phrasing at all. The two are similar, but that’s just because Reeves is imitating Elvis in the first place. There are dozens of tiny choices Elvis makes throughout the song which differ from those made by Reeves, and it’s clear that Elvis was thinking hard about the choices he was making. When Mae played him the song, insisting to him that it would be his first million seller, his reaction on hearing it was “Hot dog, Mae! Play it again!” He instantly fell in love with the song, which reminded the young blues-lover of Roy Brown’s “Hard Luck Blues”: [Excerpt: Roy Brown, “Hard Luck Blues”] Elvis got a third of the songwriting credit for the song, which most people have said was insisted on by the Colonel – and certainly other songs Elvis recorded around that time gave him a credit for that reason. But to her dying day Mae Axton always said that she’d cut him in on the song so he might be able to get that money to buy his parents a house in Florida. The session to record “Heartbreak Hotel” started with the engineers trying — and failing — to get a replica of Sam Phillips’ slapback echo sound, which was a sound whose secret nobody but Phillips knew. Instead they set up a speaker at one end of the room and fed in the sound from the mics at the other end, creating a makeshift echo chamber which satisfied Chet Atkins but threw the musicians, who weren’t used to hearing the echo live rather than added after the fact. Atkins isn’t the credited producer for “Heartbreak Hotel” — that’s Steve Sholes, the A&R man at RCA Records who had signed Presley — but by all accounts Atkins was nominally in charge of actually running the session. And certainly there would be no other reason for having Atkins there — he played guitar on the record, but only adding another acoustic rhythm guitar to the sound, which was frankly a waste of the talents of probably the greatest country guitarist of his generation. That said, Atkins didn’t do that much production either — according to Scotty Moore, his only suggestion was that they just keep doing what they’d been doing. To start the session off, they recorded a quick version of “I Got A Woman”, the Ray Charles song, which had been a staple of Elvis’ live act since it had been released: [Excerpt: Elvis Presley, “I Got A Woman”] After that, the remainder of the first session was devoted to “Heartbreak Hotel”, a record that has a sense of thought that’s been put into the arrangement that’s entirely absent from the Sun Records arrangements, which mostly consist of start the song, play the song through with a single solo, and end the song. The whole point of those records was to capture a kind of spontaneity, and you can’t do much to play with the dynamics of an arrangement when there are only three instruments there. But now there were six — Scotty Moore and Bill Black were there as always, as was D.J. Fontana, who had joined the band on drums in 1955 and was recording for the first time, along with Atkins and piano player Floyd Cramer, who played on many of the biggest hits to come out of Nashville in the fifties and sixties. Atkins and Cramer are two of the principal architects of what became known as “the Nashville Sound” or “Countrypolitan” — there are distinctions between these two styles for those who are interested in the fine details of country music, but for our purposes they’re the same, a style of country music that pulled the music away from its roots and towards a sound that was almost a continuation of the pre-rock pop sound, all vocal groups and strings with little in the way of traditional country instrumentation like fiddles, mandolins, banjos, and steel guitars. And there’s an element of that with their work with Presley, too — the rough edges being smoothed off, everything getting a little bit more mannered. But at this point it seems still to be working in the record’s favour. After recording “Heartbreak Hotel”, they took a break before spending another three-hour session recording another R&B cover that was a staple of Elvis’ stage show, “Money Honey”. Along with the addition of Atkins and Cramer, there were also backing vocalists for the very first time. Now this is something that often gets treated as a problem by people coming to Elvis’ music fresh today. Backing vocals in general have been deprecated in rock and roll music for much of the last fifty years, and people think of them as spoiling Elvis’ artistry. There have even been releases of some of Elvis’ recordings remixed to get rid of the backing vocals altogether (though that’s thankfully not possible with these 1956 records, which were recorded directly to mono). But the backing vocals weren’t an irritating addition to Elvis’ artistry. Rather, they were the essence of it, and if you’re going to listen to Elvis at all, and have any understanding of what he was trying to do, you need to understand that before anything else. Elvis’ first ambition — the aspiration he had right at the beginning of his career — was to be a member of a gospel quartet. Elvis wanted to have his voice be part of a group, and he loved to sing harmony more than anything else. He wanted to sing in a gospel quartet before he ever met Sam Phillips, and as his career went on he only increased the number of backing vocalists he worked with — by the end of his career he would have J.D. Sumner and the Stamps (a Southern Gospel group), *and* the Sweet Inspirations (the girl group who had backed Aretha Franklin), *and* Kathy Westmoreland, a classically-trained soprano, all providing backing vocals. However, the backing vocalists on this initial session weren’t yet the Jordanaires, the group who would back Elvis throughout the fifties and sixties. One of the Jordanaires *was* there — Gordon Stoker — but the rest of them weren’t hired for the January sessions, as Steve Sholes wanted to use members of a group who were signed with RCA in their own right — the Speer Family. So Ben and Brock Speer joined Elvis and Stoker to make an unbalanced gospel quartet, with too many tenors and no baritone. When Elvis found out at a later session that this had happened as a cost-cutting measure, he insisted that all the Jordanaires be employed at his future sessions. The next day, to end the sessions, they regrouped and cut a couple of ballads. “I’m Counting On You” was rather mediocre, but “I Was The One” ended up being Elvis’ personal favourite track from the sessions: [Excerpt: Elvis Presley, “I Was The One”] At the end of the sessions, Steve Sholes was very unsure if he’d made the right choice signing Elvis. He only had five tracks to show for three sessions in two days, when the normal thing was to record four songs per session — Elvis and his group were so slow partly because they were used to the laid-back feel of the Sun studios, with Sam Phillips never clock-watching, and partly because Elvis was a perfectionist. Several times they’d recorded a take that Sholes had felt would be good enough to release, but Elvis had insisted he could do it better. He’d been right — the later versions were an improvement — but they had remarkably few tracks that they could use. Many of those who’d loved Elvis’ earlier work were astonished at how bad “Heartbreak Hotel” sounded to them. The reverb, sounding so different from the restrained use of slapback on the Sun records, sounded to many ears, not least Sam Phillips’, like a bad joke — Phillips called the result “a morbid mess”. [Excerpt: Elvis Presley, “Heartbreak Hotel”] Yet it became a smash hit. It went to number one on the pop charts, number one in country, and made the top five in R&B. This was the moment when Elvis went from being a minor country singer on a minor label to being Elvis, Elvis the Pelvis, the King of Rock & Roll. After the sessions that produced “Heartbreak Hotel”, Elvis went back into the studio twice more and recorded a set of songs — mostly R&B and rockabilly covers — for his first album. Almost all of these were Elvis’ own choice of material, and so while his versions of “Blue Suede Shoes” or “Tutti Frutti” didn’t match the quality of the originals, they were fine performances and perfect for album tracks. While the “Heartbreak Hotel” session had been in Nashville — a natural choice, since it was both relatively close to Elvis’ home town of Memphis, and the capital of country music, and Elvis was still supposedly a country artist — the next couple of sessions were in New York, timed to coincide with Elvis’ appearances on TV. Starting with the low-rated Stage Show, a programme that was presented by the swing bandleaders Tommy and Jimmy Dorsey, Elvis quickly moved up the ladder of TV shows, appearing first with Milton Berle, then with Steve Allen, and then finally on the Ed Sullivan show. On his first appearances, you can see the Elvis that people who knew him talked about – even as he’s working the audience with what looks like the utmost confidence, you can see his fingers twitching wildly in a way he’s not properly conscious of, and you can tell that under the mask of the sex symbol is the quiet country boy who would never meet anyone’s eye. Each show caused more controversy than the last, as first Elvis’ hip gyrations got him branded a moral menace, then he was forced to sing while standing still, and then only filmed from the waist up. Those shows helped propel “Heartbreak Hotel” to the top of the charts, but the Colonel decided that Elvis probably shouldn’t do too much more TV – if people could see him without paying, why would they pay to see him? No, Elvis was going to be in films instead. But all that work meant that Elvis’ fourth set of sessions for RCA was fairly disastrous, and ended up with nothing that was usable. Elvis had been so busy promoting “Heartbreak Hotel” that he hadn’t had any chance to prepare material, and so he just went with Steve Sholes’ suggestion of “I Want You I Need You I Love You”. But the session went terribly, because Elvis had no feel for the song at all. Normally, Elvis would learn a song straight away, after a single listen, but he just couldn’t get the song in his head. They spent the whole session working on that single track, and didn’t manage to get a usable take recorded at all. Steve Sholes eventually had to cobble together a take using bits of two different performances, and no-one was happy with it, but it reached number one on the country chart and number three on the pop charts. It was hardly “Heartbreak Hotel” levels of success, but it was OK. It was the B-side of that single that was really worth listening to. A leftover from the album sessions, it was, like Elvis’ first single, a cover version of an Arthur Crudup song. And this one also gave D.J. Fontana his first chance to shine. [Excerpt: Elvis Presley, “My Baby Left Me”] By this point, it was very clear that if Elvis was given control of the studio and singing material he connected with, he would produce great things. And if he was doing what someone else thought he should be doing, he would be much less successful. A couple of months later Elvis and the group were back in the studio cutting what would become their biggest double-sided hit, both songs definitely chosen by Elvis. These days their cover version of Big Mama Thornton’s “Hound Dog” is the better-known of the two sides they cut that day, but while that’s an excellent track — and one that bears almost no relation to Thornton’s original — the A-side, and the song that finally convinced several detractors, including Sam Phillips, that Elvis might be able to make decent records away from Sun, was “Don’t Be Cruel”, a song written by Otis Blackwell, but credited to Blackwell and Presley, as the Colonel insisted that his boy get a cut for making it a hit. Otis Blackwell is another person who we’ll be hearing from a lot over the course of the series, as he wrote a string of hits, including several for Elvis, who he never met — the one time he did have a chance to meet him, he declined, as he’d developed a superstition about meeting the man who’d given him his biggest hits. At this time, Blackwell had just written the song “Fever” for Little Willie John: [Excerpt: “Fever”, Little Willie John] That song had become a big hit for Peggy Lee, in a version with different lyrics, and Blackwell was at the start of an impressive career. We don’t have Blackwell’s demo of “Don’t Be Cruel”, but he recorded a version in the 1970s which might give some idea of what Elvis heard in 1956: [Excerpt: Otis Blackwell, “Don’t Be Cruel”] Elvis’ version showed a lightness of touch that had been absent on his earlier RCA records. He was finally in control of the sound he wanted in the studio. “Don’t Be Cruel” took twenty-eight takes, and “Hound Dog” thirty-one, but you’d never believe it from the light, frothy, sound that “Don’t Be Cruel” has in its finished version, where Elvis sounds as playful as if he was improvising the song on the spot: [Excerpt: Elvis Presley, “Don’t Be Cruel”] Both sides of the record went to number one – first “Don’t Be Cruel” went to number one and “Hound Dog” to number two, and then they swapped over. Between them they spent eleven weeks at the top of the charts. But even as Elvis was starting to take complete control in the studio, that control was starting to be taken away from him by events. His next session after the one that produced “Hound Dog” and “Don’t Be Cruel” was one he had not been expecting. When he’d signed to make his first film, a Western called “The Reno Brothers”, he’d expected it to be a straight acting role with no songs — he wanted to follow the path of people like Frank Sinatra, who had parallel careers in the cinema and in music, and he also hoped that he could emulate his acting idols, Marlon Brando and James Dean. But by the time he came to make the film, several songs had been added — and he found out, to his annoyance, that he wasn’t allowed to use Scotty, Bill, and DJ on the soundtrack, because the film company didn’t think they could sound hillbilly enough. They were replaced with Hollywood session musicians, who could do a better job of sounding hillbilly than those country musicians could. Elvis didn’t have any say over the material either, although he did like the main ballad that was going to be used in the film — the other three songs were among the most mediocre he’d do in the fifties. By the time “The Reno Brothers” was finished, it had been renamed “Love Me Tender”, and we’ll be picking up on Elvis’ film career in a future episode…
NB This is a new version — I accidentally uploaded the wrong file previously Episode thirty-eight of A History of Rock Music in Five Hundred Songs looks at “Heartbreak Hotel” by Elvis Presley, and is part three of a trilogy on the aftermath of Elvis leaving Sun, and the birth of rockabilly. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “The Flying Saucer” by Buchanan and Goodman. Also, it came too late for me to acknowledge in the episode itself, but I have to mention the sad news that Dave Bartholomew died today, aged 100. He will be missed. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are many, many books about Elvis Presley out there, but the one I’m using as my major resource for information on him, and which has guided my views as to the kind of person he was, is Last Train to Memphis by Peter Guralnick, generally considered the best biography of him. This 3-CD box set (expensive on CD, but relatively cheap as MP3s) contains every surviving recording by Elvis from 1956, including outtakes. This more reasonably priced ten-CD box contains every official release he put out from 1954 through 62, but without the outtakes. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We’ve talked before, a couple of times, about Elvis Presley and his early recordings. Those Sun records are the ones on which his artistic reputation now largely rests, but they weren’t the ones that made him famous. He didn’t become the Elvis we all know until he started recording for RCA. So today we’re going to look at the first single he put out on a major label, and the way it turned him from a minor regional country star into the King of Rock and Roll, a cultural phenomenon that would eclipse all music prior to him, and lead John Lennon to say “Before Elvis there was nothing”. As you might remember from the last episode on Elvis, a few weeks ago, Elvis’ manager, Colonel Tom Parker, had managed to get Elvis signed to RCA Records for a sum of money far greater than anything anyone had paid for a singer before, after Sam Phillips made what seemed like a ludicrous demand just to get Parker out of his hair. And this was a big deal. Sun Records, as we’ve seen, was a tiny regional operation. It was able to generate massive hits for Carl Perkins and Johnny Cash after Elvis left, but that’s only because of the cash the label was able to make from the Elvis deal. It’s safe to say that the whole genre of rockabilly was funded by that one deal. RCA, on the other hand, was one of the biggest labels in the world. The first thing RCA did was to reissue his last Sun single, “I Forgot to Remember to Forget”, backed with “Mystery Train”. With RCA’s backing, the single did far better than it had on Sun, hitting number one on the country charts at the beginning of 1956. But was that enough to make the money RCA had paid for Elvis worth it? When Elvis went into the studio on January 10 1956, two days after his twenty-first birthday, the pressure was on him to record something very special indeed. Before going into the studio, Elvis had been sent ten demos of songs to consider for this first session. The song he ended up choosing as the main one for the session, though, was a song by someone he already knew — and for which he had a third of the songwriting credit. Mae Axton was an odd figure. She was an English teacher who had a sideline as a freelance journalist. One day she was asked by a magazine she was freelancing for to write a story about hillbilly music, a subject about which she knew nothing. She went to Nashville to interview the singer Minnie Pearl, and while she was working on her story, Pearl introduced her to Fred Rose, the co-owner of Acuff-Rose Publishing, the biggest publishing company in country music. And Pearl, for some reason, told Rose that Mae, who had never written a song in her life, was a songwriter. Rose said that he needed a new novelty song for a recording session for the singer Dub Dickerson that afternoon, and asked Mae to write him one. And so, all of a sudden, Mae Axton was a songwriter, and she eventually wrote over two hundred songs, starting with her early collaborations with Dub Dickerson: [Excerpt: Dub Dickerson, “Shotgun Wedding”] She was still also a freelance journalist, though, and it was easy for her to make a sidestep into publicity for hillbilly acts. For a time she was Hank Snow’s personal publicist, and she would often work with Colonel Parker on promoting shows when they came through Florida, where she lived. She’d interviewed Elvis when he came to Florida, and had immediately been struck by him. He’d talked to her about how amazed he was by how big the ocean was, and how he’d give anything to have enough money to bring his parents down to Florida to live there. She said later, “That just went through my heart. ‘Cause I looked down there, and there were all these other kids, different show members for that night, all the guys looking for cute little girls. But his priority was doing something for his mother and daddy.” She promised she’d write him a song, and by the end of the year, she had one for him. [Excerpt: Elvis Presley, “Heartbreak Hotel”] “Heartbreak Hotel” was, initially, the work of Tommy Durden, a country singer and songwriter. As Durden used to tell it, he was inspired by a newspaper story of a man who’d died by suicide, who had been found with no identification on him and a note that simply read “I walk a lonely street”. Later research has suggested that rather than a suicide, the story Durden had read was probably about an armed robber, Alvin Krolik, who had been shot dead in the course of committing a robbery. Krolik had, a few years earlier, after confessing to a string of other robberies, made the news with a partial autobiography he’d written containing the lines “If you stand on a corner with a pack of cigarettes or a bottle and have nothing to do in life, I suggest you sit down and think. This is the story of a person who walked a lonely street. I hope this will help someone in the future.” Whatever the actual story, it inspired Durden, who had a few lines of the song, and he played what he had to Mae Axton. She thought a lot about the phrase, and eventually came to the conclusion that what you’d find at the end of a lonely street was a heartbreak hotel. The two of them finished the song off, with the help of Glenn Reeves, a rockabilly singer who refused to take credit for his work on the song, because he thought it was ridiculous. Reeves did, though, record the demo for them. They’d already decided that the song should be pitched to Elvis, and so Reeves impersonated Presley: [Excerpt: Glenn Reeves, “Heartbreak Hotel”] A lot of people have claimed that Elvis copied that recording exactly, phrasing and all. Comparing the two recordings, though, shows that that’s not the case. Elvis definitely found it easier to record a song when he’d heard someone else doing it in an approximation of his style, and in the sixties he often *would* just copy the phrasing on demos. But in the case of “Heartbreak Hotel”, Elvis is not copying Reeves’ phrasing at all. The two are similar, but that’s just because Reeves is imitating Elvis in the first place. There are dozens of tiny choices Elvis makes throughout the song which differ from those made by Reeves, and it’s clear that Elvis was thinking hard about the choices he was making. When Mae played him the song, insisting to him that it would be his first million seller, his reaction on hearing it was “Hot dog, Mae! Play it again!” He instantly fell in love with the song, which reminded the young blues-lover of Roy Brown’s “Hard Luck Blues”: [Excerpt: Roy Brown, “Hard Luck Blues”] Elvis got a third of the songwriting credit for the song, which most people have said was insisted on by the Colonel – and certainly other songs Elvis recorded around that time gave him a credit for that reason. But to her dying day Mae Axton always said that she’d cut him in on the song so he might be able to get that money to buy his parents a house in Florida. The session to record “Heartbreak Hotel” started with the engineers trying — and failing — to get a replica of Sam Phillips’ slapback echo sound, which was a sound whose secret nobody but Phillips knew. Instead they set up a speaker at one end of the room and fed in the sound from the mics at the other end, creating a makeshift echo chamber which satisfied Chet Atkins but threw the musicians, who weren’t used to hearing the echo live rather than added after the fact. Atkins isn’t the credited producer for “Heartbreak Hotel” — that’s Steve Sholes, the A&R man at RCA Records who had signed Presley — but by all accounts Atkins was nominally in charge of actually running the session. And certainly there would be no other reason for having Atkins there — he played guitar on the record, but only adding another acoustic rhythm guitar to the sound, which was frankly a waste of the talents of probably the greatest country guitarist of his generation. That said, Atkins didn’t do that much production either — according to Scotty Moore, his only suggestion was that they just keep doing what they’d been doing. To start the session off, they recorded a quick version of “I Got A Woman”, the Ray Charles song, which had been a staple of Elvis’ live act since it had been released: [Excerpt: Elvis Presley, “I Got A Woman”] After that, the remainder of the first session was devoted to “Heartbreak Hotel”, a record that has a sense of thought that’s been put into the arrangement that’s entirely absent from the Sun Records arrangements, which mostly consist of start the song, play the song through with a single solo, and end the song. The whole point of those records was to capture a kind of spontaneity, and you can’t do much to play with the dynamics of an arrangement when there are only three instruments there. But now there were six — Scotty Moore and Bill Black were there as always, as was D.J. Fontana, who had joined the band on drums in 1955 and was recording for the first time, along with Atkins and piano player Floyd Cramer, who played on many of the biggest hits to come out of Nashville in the fifties and sixties. Atkins and Cramer are two of the principal architects of what became known as “the Nashville Sound” or “Countrypolitan” — there are distinctions between these two styles for those who are interested in the fine details of country music, but for our purposes they’re the same, a style of country music that pulled the music away from its roots and towards a sound that was almost a continuation of the pre-rock pop sound, all vocal groups and strings with little in the way of traditional country instrumentation like fiddles, mandolins, banjos, and steel guitars. And there’s an element of that with their work with Presley, too — the rough edges being smoothed off, everything getting a little bit more mannered. But at this point it seems still to be working in the record’s favour. After recording “Heartbreak Hotel”, they took a break before spending another three-hour session recording another R&B cover that was a staple of Elvis’ stage show, “Money Honey”. Along with the addition of Atkins and Cramer, there were also backing vocalists for the very first time. Now this is something that often gets treated as a problem by people coming to Elvis’ music fresh today. Backing vocals in general have been deprecated in rock and roll music for much of the last fifty years, and people think of them as spoiling Elvis’ artistry. There have even been releases of some of Elvis’ recordings remixed to get rid of the backing vocals altogether (though that’s thankfully not possible with these 1956 records, which were recorded directly to mono). But the backing vocals weren’t an irritating addition to Elvis’ artistry. Rather, they were the essence of it, and if you’re going to listen to Elvis at all, and have any understanding of what he was trying to do, you need to understand that before anything else. Elvis’ first ambition — the aspiration he had right at the beginning of his career — was to be a member of a gospel quartet. Elvis wanted to have his voice be part of a group, and he loved to sing harmony more than anything else. He wanted to sing in a gospel quartet before he ever met Sam Phillips, and as his career went on he only increased the number of backing vocalists he worked with — by the end of his career he would have J.D. Sumner and the Stamps (a Southern Gospel group), *and* the Sweet Inspirations (the girl group who had backed Aretha Franklin), *and* Kathy Westmoreland, a classically-trained soprano, all providing backing vocals. However, the backing vocalists on this initial session weren’t yet the Jordanaires, the group who would back Elvis throughout the fifties and sixties. One of the Jordanaires *was* there — Gordon Stoker — but the rest of them weren’t hired for the January sessions, as Steve Sholes wanted to use members of a group who were signed with RCA in their own right — the Speer Family. So Ben and Brock Speer joined Elvis and Stoker to make an unbalanced gospel quartet, with too many tenors and no baritone. When Elvis found out at a later session that this had happened as a cost-cutting measure, he insisted that all the Jordanaires be employed at his future sessions. The next day, to end the sessions, they regrouped and cut a couple of ballads. “I’m Counting On You” was rather mediocre, but “I Was The One” ended up being Elvis’ personal favourite track from the sessions: [Excerpt: Elvis Presley, “I Was The One”] At the end of the sessions, Steve Sholes was very unsure if he’d made the right choice signing Elvis. He only had five tracks to show for three sessions in two days, when the normal thing was to record four songs per session — Elvis and his group were so slow partly because they were used to the laid-back feel of the Sun studios, with Sam Phillips never clock-watching, and partly because Elvis was a perfectionist. Several times they’d recorded a take that Sholes had felt would be good enough to release, but Elvis had insisted he could do it better. He’d been right — the later versions were an improvement — but they had remarkably few tracks that they could use. Many of those who’d loved Elvis’ earlier work were astonished at how bad “Heartbreak Hotel” sounded to them. The reverb, sounding so different from the restrained use of slapback on the Sun records, sounded to many ears, not least Sam Phillips’, like a bad joke — Phillips called the result “a morbid mess”. [Excerpt: Elvis Presley, “Heartbreak Hotel”] Yet it became a smash hit. It went to number one on the pop charts, number one in country, and made the top five in R&B. This was the moment when Elvis went from being a minor country singer on a minor label to being Elvis, Elvis the Pelvis, the King of Rock & Roll. After the sessions that produced “Heartbreak Hotel”, Elvis went back into the studio twice more and recorded a set of songs — mostly R&B and rockabilly covers — for his first album. Almost all of these were Elvis’ own choice of material, and so while his versions of “Blue Suede Shoes” or “Tutti Frutti” didn’t match the quality of the originals, they were fine performances and perfect for album tracks. While the “Heartbreak Hotel” session had been in Nashville — a natural choice, since it was both relatively close to Elvis’ home town of Memphis, and the capital of country music, and Elvis was still supposedly a country artist — the next couple of sessions were in New York, timed to coincide with Elvis’ appearances on TV. Starting with the low-rated Stage Show, a programme that was presented by the swing bandleaders Tommy and Jimmy Dorsey, Elvis quickly moved up the ladder of TV shows, appearing first with Milton Berle, then with Steve Allen, and then finally on the Ed Sullivan show. On his first appearances, you can see the Elvis that people who knew him talked about – even as he’s working the audience with what looks like the utmost confidence, you can see his fingers twitching wildly in a way he’s not properly conscious of, and you can tell that under the mask of the sex symbol is the quiet country boy who would never meet anyone’s eye. Each show caused more controversy than the last, as first Elvis’ hip gyrations got him branded a moral menace, then he was forced to sing while standing still, and then only filmed from the waist up. Those shows helped propel “Heartbreak Hotel” to the top of the charts, but the Colonel decided that Elvis probably shouldn’t do too much more TV – if people could see him without paying, why would they pay to see him? No, Elvis was going to be in films instead. But all that work meant that Elvis’ fourth set of sessions for RCA was fairly disastrous, and ended up with nothing that was usable. Elvis had been so busy promoting “Heartbreak Hotel” that he hadn’t had any chance to prepare material, and so he just went with Steve Sholes’ suggestion of “I Want You I Need You I Love You”. But the session went terribly, because Elvis had no feel for the song at all. Normally, Elvis would learn a song straight away, after a single listen, but he just couldn’t get the song in his head. They spent the whole session working on that single track, and didn’t manage to get a usable take recorded at all. Steve Sholes eventually had to cobble together a take using bits of two different performances, and no-one was happy with it, but it reached number one on the country chart and number three on the pop charts. It was hardly “Heartbreak Hotel” levels of success, but it was OK. It was the B-side of that single that was really worth listening to. A leftover from the album sessions, it was, like Elvis’ first single, a cover version of an Arthur Crudup song. And this one also gave D.J. Fontana his first chance to shine. [Excerpt: Elvis Presley, “My Baby Left Me”] By this point, it was very clear that if Elvis was given control of the studio and singing material he connected with, he would produce great things. And if he was doing what someone else thought he should be doing, he would be much less successful. A couple of months later Elvis and the group were back in the studio cutting what would become their biggest double-sided hit, both songs definitely chosen by Elvis. These days their cover version of Big Mama Thornton’s “Hound Dog” is the better-known of the two sides they cut that day, but while that’s an excellent track — and one that bears almost no relation to Thornton’s original — the A-side, and the song that finally convinced several detractors, including Sam Phillips, that Elvis might be able to make decent records away from Sun, was “Don’t Be Cruel”, a song written by Otis Blackwell, but credited to Blackwell and Presley, as the Colonel insisted that his boy get a cut for making it a hit. Otis Blackwell is another person who we’ll be hearing from a lot over the course of the series, as he wrote a string of hits, including several for Elvis, who he never met — the one time he did have a chance to meet him, he declined, as he’d developed a superstition about meeting the man who’d given him his biggest hits. At this time, Blackwell had just written the song “Fever” for Little Willie John: [Excerpt: “Fever”, Little Willie John] That song had become a big hit for Peggy Lee, in a version with different lyrics, and Blackwell was at the start of an impressive career. We don’t have Blackwell’s demo of “Don’t Be Cruel”, but he recorded a version in the 1970s which might give some idea of what Elvis heard in 1956: [Excerpt: Otis Blackwell, “Don’t Be Cruel”] Elvis’ version showed a lightness of touch that had been absent on his earlier RCA records. He was finally in control of the sound he wanted in the studio. “Don’t Be Cruel” took twenty-eight takes, and “Hound Dog” thirty-one, but you’d never believe it from the light, frothy, sound that “Don’t Be Cruel” has in its finished version, where Elvis sounds as playful as if he was improvising the song on the spot: [Excerpt: Elvis Presley, “Don’t Be Cruel”] Both sides of the record went to number one – first “Don’t Be Cruel” went to number one and “Hound Dog” to number two, and then they swapped over. Between them they spent eleven weeks at the top of the charts. But even as Elvis was starting to take complete control in the studio, that control was starting to be taken away from him by events. His next session after the one that produced “Hound Dog” and “Don’t Be Cruel” was one he had not been expecting. When he’d signed to make his first film, a Western called “The Reno Brothers”, he’d expected it to be a straight acting role with no songs — he wanted to follow the path of people like Frank Sinatra, who had parallel careers in the cinema and in music, and he also hoped that he could emulate his acting idols, Marlon Brando and James Dean. But by the time he came to make the film, several songs had been added — and he found out, to his annoyance, that he wasn’t allowed to use Scotty, Bill, and DJ on the soundtrack, because the film company didn’t think they could sound hillbilly enough. They were replaced with Hollywood session musicians, who could do a better job of sounding hillbilly than those country musicians could. Elvis didn’t have any say over the material either, although he did like the main ballad that was going to be used in the film — the other three songs were among the most mediocre he’d do in the fifties. By the time “The Reno Brothers” was finished, it had been renamed “Love Me Tender”, and we’ll be picking up on Elvis’ film career in a future episode…
Dans cet épisode, Normand Lester raconte l’enquête qu'il a menée en 1988 sur l’expulsion de 17 diplomates russes du Canada, la plupart en poste à Montréal. Ottawa ne voulait pas ébruiter l’affaire. Ces révélations ont provoqué des réactions en chaîne, tant au Canada qu’à Moscou. Les expulsions étaient liées à l’arrestation à Terre-Neuve d’un espion russe dont la mission était de voler les secrets entourant la surveillance américaine des sous-marins nucléaires soviétiques dans l’Atlantique. Les Russes voulaient savoir si une nouvelle technologie rendait leurs submersibles indétectables. Un véritable techno-thriller!
Les Soviétiques possèdent à Montréal le plus élégant consulat étranger au Canada, au cœur du fameux «Golden Square Mile» qui faisait la gloire du capitalisme anglo-montréalais au tournant du XXe siècle. En fait, c'est plus qu'un simple consulat. En 1987, lors d’un important incendie, on découvre en fait qu’il s'agit d'un complexe qui relie deux de ses secteurs par un tunnel, évitant toute surveillance. Dans ce nouvel épisode sur l’espionnage russe au Canada, Normand Lester nous explique comment Montréal est devenu un centre névralgique de l’espionnage russe en Amérique du Nord.
Dans cet épisode Normand Lester nous révèle comment Igor Gozenko, un diplomate russe à Ottawa a littéralement lancé la guerre froide en donnant à la GRC le nom d’espions russes à Montréal, dont le député communiste Fred Rose. Les Soviétiques ciblent les recherches sur la bombe atomique qui se déroulent à l’Université de Montréal. Il nous raconte aussi comment le célèbre agent double britannique au service de Moscou, Kim Philby, a tenté de prendre la direction des services secrets canadiens. Il termine avec l’histoire de Vladimir Vetrov, en poste à Montréal, qui est à l’origine de l’une des grandes affaires d’espionnage du 20e siècle.
Fred Rose cuts off Hank Williams, Elvis puts down a deposit on Graceland, Johnny Cash nearly dies of a drug overdose, Dolly and Porter's feud comes to an end, Tim McGraw wrecks his Lexus, and Ray Price gets popped for pot. That and more in today's podcast. Be sure to subscribe on iTunes, Spotify, and Google Play. Follow us @TICMHpodcast on Facebook, Twitter, and Instagram.
Épisode 19 Cette semaine, Mathieu Cordeau racontre l'horreur des progroms en Europe au cours du long 19e siècle; Florian Alatorre racontre l'élection de Fred Rose, le seul élu communiste à la Chambre des communes dans les années 1940; et David St-Denis Lisée parle des éditeurs engagés en analysant le cas de François Maspero.
Épisode 19 Cette semaine, Mathieu Cordeau racontre l'horreur des progroms en Europe au cours du long 19e siècle; Florian Alatorre racontre l'élection de Fred Rose, le seul élu communiste à la Chambre des communes dans les années 1940; et David St-Denis Lisée parle des éditeurs engagés en analysant le cas de François Maspero.
The global south, that is countries south of the equator, are beginning to organize themselves in order to take on their own challenges. Today’s guest, Aruna Raman and I talked extensively about knowledge and talent sharing collaborations across the global south. Who is Aruna? You may remember Fred Rose of Acara from episode 20 of Social Entrepreneur. Every summer, the Acara program at the University of Minnesota sponsors a study abroad program. When the students arrive in Bangalore, Aruna Raman is there to greet them. She introduces them to social entrepreneurs, nonprofits and government officials. She wants the students to see the truth of what it’s like to do business in a complex society like India. Aruna also coordinates a program in the fall where students take their businesses forward to develop a viable business plan. She places these students in social enterprises to work on projects. Aruna and I talked about the importance of local context in social innovation. Aruna also describes how being entrepreneurial is more important than being an entrepreneur. Social Entrepreneurship Quotes from Aruna Raman: “Be entrepreneurial rather than being an entrepreneur.” “I kept thinking, what is the one thing that would lead organizations to collaborate?” “I feel that there is so much energy directed towards being an entrepreneur that the other roles are forgotten.” “It takes a village to groom an entrepreneur.” “Why don’t we have theories and tools that come from the developing world?” “Bangalore is now overrun with white kids with yoga mats.” “I thought, perhaps we can strengthen the south-south narrative.” “I kept thinking, since India has been at the forefront, how do things work in Kenya or Latin America, and can we share our learnings?” “We can use the collective energy of the global south to codify and document a lot of learnings and present ourselves as a formidable force as well.” “The global south is a force to be reckoned with.” “Never underestimate the power of good research.” “Rapid prototyping only works when you have a firm grasp on what the problem is.” “The more time you spend listening to people, the humbler you will become.” “If I go to a country and I stay for a long period of time, what can the country gain from me?” Social Entrepreneurship Resources: Acara: http://acara.environment.umn.edu Aruna Raman on LinkedIn: https://in.linkedin.com/in/aruna-raman-1670b44 Twitter: https://twitter.com/SocEntButterfly Aruna on Facebook: https://www.facebook.com/aruna.raman eBook: Five Key Traits of Successful Social Entrepreneurs: http://tonyloyd.com/socent Try Audible and Receive Two Free Audiobooks: http://tonyloyd.com/books
Fred Rose grew up on a family farm a few miles from the Canadian border. It was there that Fred learned several life lessons that make him a good entrepreneur: self-sufficiency, a lack of need for permission, perseverance. He was also a bit of an odd man out. Imagine the audacity of a kid in a one-room school house who dared to dream of growing up to be a scientist. Fred told me that he’s always had a bit of chip on his shoulder: a need to prove that he could do what others did not believe he could do. Fred went to work in Silicon Valley in 1979, just as personal computers were on the rise. After a few years, he moved to Minnesota to pursue his degree from the University of Minnesota, where his love for computers began to bloom. After graduation, he went to work for Honeywell where he had the chance to develop radiation-hardened computer chips for space flight. Today, some of his chips are in the Smithsonian Institute. Fred also worked on cutting edge projects including synthesis, where they describe hardware in the software and then compiling it directly to hardware. Through these experiences, Fred learned about the management of complexity. Fred also worked on research projects for the US Department of Defense, within Honeywell as a principal researcher for DARPA. There he learned how to write grant proposals and describe value propositions. In 1985, Fred and his wife had triplets who had serious medical complications. One of the triplets died, and the other two have cerebral palsy. When his daughters entered school in the early 1990s, he worked towards mainstreaming them. He was drawn into problem-based curriculum, where he found that he could use his skills. In the late 1990s, Fred started a non-profit, High Tech Kids, to get kids involved in science and technology. Around this same time, Fred got involved in Honeywell’s business internationally, especially in India. These two things combined, put Fred on his current path which is, according to Fred “Helping people and creating organizations, to help them solve hard and complicated problems, outside of boundaries.” Today, Fred is the co-founder and director of Acara, a program of the Institute on the Environment, at the University of Minnesota. Acara is a series of courses and incubation activities to turn the passion of students into viable social and environmental ventures. Resources: Book: The Fortune at the Bottom of the Pyramid: Eradicating Poverty Through Profits: http://amzn.to/1RSQ0nH Acara: http://acara.environment.umn.edu/ Acara on Twitter: https://twitter.com/acaraimpact Fred Rose on Twitter: https://twitter.com/FredRoseAcara Institute on the Environment: http://environment.umn.edu/ High Tech Kids: http://hightechkids.org
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