Podcasts about galkin

Alex Galkin, CEO and founder of Competera, delves into the complex world of AI-powered retail pricing. Discover how machine learning and Big Data are revolutionizing price optimization, enabling retailers to move beyond price elasticity and embrace contextual, personalized pricing strategies. Galkin shares insights on the five levels of price maturity, highlighting the importance of a data foundation and customer behavior in driving profitable pricing decisions. Learn how industry leaders are leveraging advanced techniques such as LTV optimization, and explore the impact of AI-generated reports, retail media, and price reviews on the future of pricing. From navigating inflation and recession to the unique challenges of cruise line pricing and the rise of TikTok shopping, this interview is a must-watch for anyone interested in the cutting-edge of retail technology. *Sponsored Content*

Date Preached: 19 February 2021 CSB Study Bible: https://amzn.to/48bR414 NASB MacArthur Study Bible: https://amzn.to/472llOE Will Galkin is a Pastor and Evangelist. All the rights for this sermon belong to Sermon Audio. --- Support this podcast: https://podcasters.spotify.com/pod/show/expositorysermons/support

Alex Galkin is the Co-Founder and CEO of Competera, a pricing optimization SaaS company converting technologies into ready-to-use products for enterprise retailers worldwide. Alex has been a mentor at his startups for several years, and he's a Ukrainian who left four days before the war started. In this episode, Alex helps us understand the pricing and ML work that they do at Competera as he talks about the three models they always put into use.   Why you have to check out today's podcast: Understand why you should treat pricing as a process Find out how Competera helps their clients in making pricing decisions Discover three models that Competera puts into use as MLs look for reasonable factors to make a price adjustment   “Pricing is a process, and you need to continuously improve as any other process in your organization.” – Alex Galkin   Topics Covered: 01:04 – How Alex got into pricing 03:07 – The work that Competera does in relation to pricing, and how they do it 08:28 – Using ML-driven price recommendations: Competera creating a ‘gray box' 12:35 – Talking about the portfolio-wide pricing/portfolio optimization 14:12 – An ML example of the decoy effect 17:20 – Alex explains how their smart product segmentation works; a product bringing more people in the store 23:09 – Alex's pricing advice 23:49 – Connect with Alex     Key Takeaways: “ML is not a human. He's not trying to play with the price; he's changing only if he sees the reasonable factor to make this price adjustment.” – Alex Galkin   People / Resources Mentioned: Competera: https://competera.net/   Connect with Alex Galkin: Email: galkin@competera.net LinkedIn: https://www.linkedin.com/in/alexandrgalkin/   Connect with Mark Stiving: LinkedIn: https://www.linkedin.com/in/stiving/ Email: mark@impactpricing.com  

Episode 163 of A History of Rock Music in Five Hundred Songs looks at “(Sittin' on) The Dock of the Bay", Stax Records, and the short, tragic, life of Otis Redding. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Soul Man" by Sam and Dave. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Redding, even if I split into multiple parts. The main resource I used for the biographical details of Redding was Dreams to Remember: Otis Redding, Stax Records, and the Transformation of Southern Soul by Mark Ribowsky. Ribowsky is usually a very good, reliable, writer, but in this case there are a couple of lapses in editing which make it not a book I can wholeheartedly recommend, but the research on the biographical details of Redding seems to be the best. Information about Stax comes primarily from two books: Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. There are two Original Album Series box sets which between them contain all the albums Redding released in his life plus his first few posthumous albums, for a low price. Volume 1, volume 2. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I begin -- this episode ends with a description of a plane crash, which some people may find upsetting. There's also a mention of gun violence. In 2019 the film Summer of Soul came out. If you're unfamiliar with this film, it's a documentary of an event, the Harlem Cultural Festival, which gets called the "Black Woodstock" because it took place in the summer of 1969, overlapping the weekend that Woodstock happened. That event was a series of weekend free concerts in New York, performed by many of the greatest acts in Black music at that time -- people like Stevie Wonder, David Ruffin, Mahalia Jackson, B.B. King, the Staple Singers, Sly and the Family Stone, Nina Simone, and the Fifth Dimension. One thing that that film did was to throw into sharp relief a lot of the performances we've seen over the years by legends of white rock music of the same time. If you watch the film of Woodstock, or the earlier Monterey Pop festival, it's apparent that a lot of the musicians are quite sloppy. This is easy to dismiss as being a product of the situation -- they're playing outdoor venues, with no opportunity to soundcheck, using primitive PA systems, and often without monitors. Anyone would sound a bit sloppy in that situation, right? That is until you listen to the performances on the Summer of Soul soundtrack. The performers on those shows are playing in the same kind of circumstances, and in the case of Woodstock literally at the same time, so it's a fair comparison, and there really is no comparison. Whatever you think of the quality of the *music* (and some of my very favourite artists played at Monterey and Woodstock), the *musicianship* is orders of magnitude better at the Harlem Cultural Festival [Excerpt: Gladys Knight and the Pips “I Heard it Through the Grapevine (live)”] And of course there's a reason for this. Most of the people who played at those big hippie festivals had not had the same experiences as the Black musicians. The Black players were mostly veterans of the chitlin' circuit, where you had to play multiple shows a day, in front of demanding crowds who wanted their money's worth, and who wanted you to be able to play and also put on a show at the same time. When you're playing for crowds of working people who have spent a significant proportion of their money to go to the show, and on a bill with a dozen other acts who are competing for that audience's attention, you are going to get good or stop working. The guitar bands at Woodstock and Monterey, though, hadn't had the same kind of pressure. Their audiences were much more forgiving, much more willing to go with the musicians, view themselves as part of a community with them. And they had to play far fewer shows than the chitlin' circuit veterans, so they simply didn't develop the same chops before becoming famous (the best of them did after fame, of course). And so it's no surprise that while a lot of bands became more famous as a result of the Monterey Pop Festival, only three really became breakout stars in America as a direct result of it. One of those was the Who, who were already the third or fourth biggest band in the UK by that point, either just behind or just ahead of the Kinks, and so the surprise is more that it took them that long to become big in America. But the other two were themselves veterans of the chitlin' circuit. If you buy the Criterion Collection Blu-Ray of Monterey Pop, you get two extra discs along with the disc with the film of the full festival on it -- the only two performances that were thought worth turning into their own short mini-films. One of them is Jimi Hendrix's performance, and we will talk about that in a future episode. The other is titled Shake! Otis at Monterey: [Excerpt: Otis Redding, "Shake! (live at Monterey Pop Festival)"] Otis Redding came from Macon, Georgia, the home town of Little Richard, who became one of his biggest early influences, and like Richard he was torn in his early years between religion and secular music -- though in most other ways he was very different from Richard, and in particular he came from a much more supportive family. While his father, Otis senior, was a deacon in the church, and didn't approve much of blues, R&B, or jazz music or listen to it himself, he didn't prevent his son from listening to it, so young Otis grew up listening to records by Richard -- of whom he later said "If it hadn't been for Little Richard I would not be here... Richard has soul too. My present music has a lot of him in it" -- and another favourite, Clyde McPhatter: [Excerpt: Billy Ward and the Dominoes, "Have Mercy Baby"] Indeed, it's unclear exactly how much Otis senior *did* disapprove of those supposedly-sinful kinds of music. The biography I used as a source for this, and which says that Otis senior wouldn't listen to blues or jazz music at all, also quotes his son as saying that when he was a child his mother and father used to play him "a calypso song out then called 'Run Joe'" That will of course be this one: [Excerpt: Louis Jordan, "Run Joe"] I find it hard to reconcile the idea of someone who refused to listen to the blues or jazz listening to Louis Jordan, but then people are complex. Whatever Otis senior's feelings about secular music, he recognised from a very early age that his son had a special talent, and encouraged him to become a gospel singer. And at the same time he was listening to Little Richard, young Otis was also listening to gospel singers. One particular influence was a blind street singer, Reverend Pearly Brown: [Excerpt: Reverend Pearly Brown, "Ninety Nine and a Half Won't Do"] Redding was someone who cared deeply about his father's opinion, and it might well have been that he would eventually have become a gospel performer, because he started his career with a foot in both camps. What seems to have made the difference is that when he was sixteen, his father came down with tuberculosis. Even a few years earlier this would have been a terminal diagnosis, but thankfully by this point antibiotics had been invented, and the deacon eventually recovered. But it did mean that Otis junior had to become the family breadwinner while his father was sick, and so he turned decisively towards the kind of music that could make more money. He'd already started performing secular music. He'd joined a band led by Gladys Williams, who was the first female bandleader in the area. Williams sadly doesn't seem to have recorded anything -- discogs has a listing of a funk single by a Gladys Williams on a tiny label which may or may not be the same person, but in general she avoided recording studios, only wanting to play live -- but she was a very influential figure in Georgia music. According to her former trumpeter Newton Collier, who later went on to play with Redding and others, she trained both Fats Gonder and Lewis Hamlin, who went on to join the lineup of James Brown's band that made Live at the Apollo, and Collier says that Hamlin's arrangements for that album, and the way the band would segue from one track to another, were all things he'd been taught by Miss Gladys. Redding sang with Gladys Williams for a while, and she took him under her wing, trained him, and became his de facto first manager. She got him to perform at local talent shows, where he won fifteen weeks in a row, before he got banned from performing to give everyone else a chance. At all of these shows, the song he performed was one that Miss Gladys had rehearsed with him, Little Richard's "Heeby Jeebies": [Excerpt: Little Richard, "Heeby Jeebies"] At this time, Redding's repertoire was largely made up of songs by the two greats of fifties Georgia R&B -- Little Richard and James Brown -- plus some by his other idol Sam Cooke, and those singers would remain his greatest influences throughout his career. After his stint with Williams, Redding went on to join another band, Pat T Cake and the Mighty Panthers, whose guitarist Johnny Jenkins would be a major presence in his life for several years. The Mighty Panthers were soon giving Redding top billing, and advertising gigs as featuring Otis "Rockin' Robin" Redding -- presumably that was another song in his live repertoire. By this time Redding was sounding enough like Little Richard that when Richard's old backing band, The Upsetters, were looking for a new singer after Richard quit rock and roll for the ministry, they took Redding on as their vocalist for a tour. Once that tour had ended, Redding returned home to find that Johnny Jenkins had quit the Mighty Panthers and formed a new band, the Pinetoppers. Redding joined that band, who were managed by a white teenager named Phil Walden, who soon became Redding's personal manager as well. Walden and Redding developed a very strong bond, to the extent that Walden, who was studying at university, spent all his tuition money promoting Redding and almost got kicked out. When Redding found this out, he actually went round to everyone he knew and got loans from everyone until he had enough to pay for Walden's tuition -- much of it paid in coins. They had a strong enough bond that Walden would remain his manager for the rest of Redding's life, and even when Walden had to do two years in the Army in Germany, he managed Redding long-distance, with his brother looking after things at home. But of course, there wasn't much of a music industry in Georgia, and so with Walden's blessing and support, he moved to LA in 1960 to try to become a star. Just before he left, his girlfriend Zelma told him she was pregnant. He assured her that he was only going to be away for a few months, and that he would be back in time for the birth, and that he intended to come back to Georgia rich and marry her. Her response was "Sure you is". In LA, Redding met up with a local record producer, James "Jimmy Mack" McEachin, who would later go on to become an actor, appearing in several films with Clint Eastwood. McEachin produced a session for Redding at Gold Star studios, with arrangements by Rene Hall and using several of the musicians who later became the Wrecking Crew. "She's All Right", the first single that came from that session, was intended to sound as much like Jackie Wilson as possible, and was released under the name of The Shooters, the vocal group who provided the backing vocals: [Excerpt: The Shooters, "She's All Right"] "She's All Right" was released on Trans World, a small label owned by Morris Bernstein, who also owned Finer Arts records (and "She's All Right" seems to have been released on both labels). Neither of Bernstein's labels had any great success -- the biggest record they put out was a single by the Hollywood Argyles that came out after they'd stopped having hits -- and they didn't have any connection to the R&B market. Redding and McEachin couldn't find any R&B labels that wanted to pick up their recordings, and so Redding did return to Georgia and marry Zelma a few days before the birth of their son Dexter. Back in Georgia, he hooked up again with the Pinetoppers, and he and Jenkins started trying local record labels, attempting to get records put out by either of them. Redding was the first, and Otis Redding and the Pinetoppers put out a single, "Shout Bamalama", a slight reworking of a song that he'd recorded as "Gamma Lamma" for McEachin, which was obviously heavily influenced by Little Richard: [Excerpt: Otis Redding and the Pinetoppers, "Shout Bamalama"] That single was produced by a local record company owner, Bobby Smith, who signed Redding to a contract which Redding didn't read, but which turned out to be a management contract as well as a record contract. This would later be a problem, as Redding didn't have an actual contract with Phil Walden -- one thing that comes up time and again in stories about music in the Deep South at this time is people operating on handshake deals and presuming good faith on the part of each other. There was a problem with the record which nobody had foreseen though -- Redding was the first Black artist signed to Smith's label, which was called Confederate Records, and its logo was the Southern Cross. Now Smith, by all accounts, was less personally racist than most white men in Georgia at the time, and hadn't intended that as any kind of statement of white supremacy -- he'd just used a popular local symbol, without thinking through the implications. But as the phrase goes, intent isn't magic, and while Smith didn't intend it as racist, rather unsurprisingly Black DJs and record shops didn't see things in the same light. Smith was told by several DJs that they wouldn't play the record while it was on that label, and he started up a new subsidiary label, Orbit, and put the record out on that label. Redding and Smith continued collaborating, and there were plans for Redding to put out a second single on Orbit. That single was going to be "These Arms of Mine", a song Redding had originally given to another Confederate artist, a rockabilly performer called Buddy Leach (who doesn't seem to be the same Buddy Leach as the Democratic politician from Louisiana, or the saxophone player with George Thorogood and the Destroyers). Leach had recorded it as a B-side, with the slightly altered title "These Arms Are Mine". Sadly I can't provide an excerpt of that, as the record is so rare that even websites I've found by rockabilly collectors who are trying to get everything on Confederate Records haven't managed to get hold of copies. Meanwhile, Johnny Jenkins had been recording on another label, Tifco, and had put out a single called "Pinetop": [Excerpt: Johnny Jenkins and the Pinetoppers, "Pinetop"] That record had attracted the attention of Joe Galkin. Galkin was a semi-independent record promoter, who had worked for Atlantic in New York before moving back to his home town of Macon. Galkin had proved himself as a promoter by being responsible for the massive amounts of airplay given to Solomon Burke's "Just Out of Reach (of My Two Open Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (of My Two Open Arms)"] After that, Jerry Wexler had given Galkin fifty dollars a week and an expense account, and Galkin would drive to all the Black radio stations in the South and pitch Atlantic's records to them. But Galkin also had his own record label, Gerald Records, and when he went to those stations and heard them playing something from a smaller label, he would quickly negotiate with that smaller label, buy the master and the artist's contract, and put the record out on Gerald Records -- and then he would sell the track and the artist on to Atlantic, taking ten percent of the record's future earnings and a finder's fee. This is what happened with Johnny Jenkins' single, which was reissued on Gerald and then on Atlantic. Galkin signed Jenkins to a contract -- another of those contracts which also made him Jenkins' manager, and indeed the manager of the Pinetops. Jenkins' record ended up selling about twenty-five thousand records, but when Galkin saw the Pinetoppers performing live, he realised that Otis Redding was the real star. Since he had a contract with Jenkins, he came to an agreement with Walden, who was still Jenkins' manager as well as Redding's -- Walden would get fifty percent of Jenkins' publishing and they would be co-managers of Jenkins. But Galkin had plans for Redding, which he didn't tell anyone about, not even Redding himself. The one person he did tell was Jerry Wexler, who he phoned up and asked for two thousand dollars, explaining that he wanted to record Jenkins' follow-up single at Stax, and he also wanted to bring along a singer he'd discovered, who sang with Jenkins' band. Wexler agreed -- Atlantic had recently started distributing Stax's records on a handshake deal of much the same kind that Redding had with Walden. As far as everyone else was concerned, though, the session was just for Johnny Jenkins, the known quantity who'd already released a single for Atlantic. Otis Redding, meanwhile, was having to work a lot of odd jobs to feed his rapidly growing family, and one of those jobs was to work as Johnny Jenkins' driver, as Jenkins didn't have a driving license. So Galkin suggested that, given that Memphis was quite a long drive, Redding should drive Galkin and Jenkins to Stax, and carry the equipment for them. Bobby Smith, who still thought of himself as Redding's manager, was eager to help his friend's bandmate with his big break (and to help Galkin, in the hope that maybe Atlantic would start distributing Confederate too), and so he lent Redding the company station wagon to drive them to the session.The other Pinetoppers wouldn't be going -- Jenkins was going to be backed by Booker T and the MGs, the normal Stax backing band. Phil Walden, though, had told Redding that he should try to take the opportunity to get himself heard by Stax, and he pestered the musicians as they recorded Jenkins' "Spunky": [Excerpt: Johnny Jenkins, "Spunky"] Cropper later remembered “During the session, Al Jackson says to me, ‘The big tall guy that was driving Johnny, he's been bugging me to death, wanting me to hear him sing,' Al said, ‘Would you take some time and get this guy off of my back and listen to him?' And I said, ‘After the session I'll try to do it,' and then I just forgot about it.” What Redding didn't know, though Walden might have, is that Galkin had planned all along to get Redding to record while he was there. Galkin claimed to be Redding's manager, and told Jim Stewart, the co-owner of Stax who acted as main engineer and supervising producer on the sessions at this point, that Wexler had only funded the session on the basis that Redding would also get a shot at recording. Stewart was unimpressed -- Jenkins' session had not gone well, and it had taken them more than two hours to get two tracks down, but Galkin offered Stewart a trade -- Galkin, as Redding's manager, would take half of Stax's mechanical royalties for the records (which wouldn't be much) but in turn would give Stewart half the publishing on Redding's songs. That was enough to make Stewart interested, but by this point Booker T. Jones had already left the studio, so Steve Cropper moved to the piano for the forty minutes that was left of the session, with Jenkins remaining on guitar, and they tried to get two sides of a single cut. The first track they cut was "Hey Hey Baby", which didn't impress Stewart much -- he simply said that the world didn't need another Little Richard -- and so with time running out they cut another track, the ballad Redding had already given to Buddy Leach. He asked Cropper, who didn't play piano well, to play "church chords", by which he meant triplets, and Cropper said "he started singing ‘These Arms of Mine' and I know my hair lifted about three inches and I couldn't believe this guy's voice": [Excerpt: Otis Redding, "These Arms of Mine"] That was more impressive, though Stewart carefully feigned disinterest. Stewart and Galkin put together a contract which signed Redding to Stax -- though they put the single out on the less-important Volt subsidiary, as they did for much of Redding's subsequent output -- and gave Galkin and Stewart fifty percent each of the publishing rights to Redding's songs. Redding signed it, not even realising he was signing a proper contract rather than just one for a single record, because he was just used to signing whatever bit of paper was put in front of him at the time. This one was slightly different though, because Redding had had his twenty-first birthday since the last time he'd signed a contract, and so Galkin assumed that that meant all his other contracts were invalid -- not realising that Redding's contract with Bobby Smith had been countersigned by Redding's mother, and so was also legal. Walden also didn't realise that, but *did* realise that Galkin representing himself as Redding's manager to Stax might be a problem, so he quickly got Redding to sign a proper contract, formalising the handshake basis they'd been operating on up to that point. Walden was at this point in the middle of his Army service, but got the signature while he was home on leave. Walden then signed a deal with Galkin, giving Walden half of Galkin's fifty percent cut of Redding's publishing in return for Galkin getting a share of Walden's management proceeds. By this point everyone was on the same page -- Otis Redding was going to be a big star, and he became everyone's prime focus. Johnny Jenkins remained signed to Walden's agency -- which quickly grew to represent almost every big soul star that wasn't signed to Motown -- but he was regarded as a footnote. His record came out eventually on Volt, almost two years later, but he didn't release another record until 1968. Jenkins did, though, go on to have some influence. In 1970 he was given the opportunity to sing lead on an album backed by Duane Allman and the members of the Muscle Shoals studio band, many of whom went on to form the Allman Brothers Band. That record contained a cover of Dr. John's "I Walk on Guilded Splinters" which was later sampled by Beck for "Loser", the Wu-Tang Clan for "Gun Will Go" and Oasis for their hit "Go Let it Out": [Excerpt: Johnny Jenkins, "I Walk on Guilded Splinters"] Jenkins would play guitar on several future Otis Redding sessions, but would hold a grudge against Redding for the rest of his life for taking the stardom he thought was rightfully his, and would be one of the few people to have anything negative to say about Redding after his early death. When Bobby Smith heard about the release of "These Arms of Mine", he was furious, as his contract with Redding *was* in fact legally valid, and he'd been intending to get Redding to record the song himself. However, he realised that Stax could call on the resources of Atlantic Records, and Joe Galkin also hinted that if he played nice Atlantic might start distributing Confederate, too. Smith signed away all his rights to Redding -- again, thinking that he was only signing away the rights to a single record and song, and not reading the contract closely enough. In this case, Smith only had one working eye, and that wasn't good enough to see clearly -- he had to hold paper right up to his face to read anything on it -- and he simply couldn't read the small print on the contract, and so signed over Otis Redding's management, record contract, and publishing, for a flat seven hundred dollars. Now everything was legally -- if perhaps not ethically -- in the clear. Phil Walden was Otis Redding's manager, Stax was his record label, Joe Galkin got a cut off the top, and Walden, Galkin, and Jim Stewart all shared Redding's publishing. Although, to make it a hit, one more thing had to happen, and one more person had to get a cut of the song: [Excerpt: Otis Redding, "These Arms of Mine"] That sound was becoming out of fashion among Black listeners at the time. It was considered passe, and even though the Stax musicians loved the record, Jim Stewart didn't, and put it out not because he believed in Otis Redding, but because he believed in Joe Galkin. As Stewart later said “The Black radio stations were getting out of that Black country sound, we put it out to appease and please Joe.” For the most part DJs ignored the record, despite Galkin pushing it -- it was released in October 1962, that month which we have already pinpointed as the start of the sixties, and came out at the same time as a couple of other Stax releases, and the one they were really pushing was Carla Thomas' "I'll Bring it Home to You", an answer record to Sam Cooke's "Bring it On Home to Me": [Excerpt: Carla Thomas, "I'll Bring it Home to You"] "These Arms of Mine" wasn't even released as the A-side -- that was "Hey Hey Baby" -- until John R came along. John R was a Nashville DJ, and in fact he was the reason that Bobby Smith even knew that Redding had signed to Stax. R had heard Buddy Leach's version of the song, and called Smith, who was a friend of his, to tell him that his record had been covered, and that was the first Smith had heard of the matter. But R also called Jim Stewart at Stax, and told him that he was promoting the wrong side, and that if they started promoting "These Arms of Mine", R would play the record on his radio show, which could be heard in twenty-eight states. And, as a gesture of thanks for this suggestion -- and definitely not as payola, which would be very illegal -- Stewart gave R his share of the publishing rights to the song, which eventually made the top twenty on the R&B charts, and slipped into the lower end of the Hot One Hundred. "These Arms of Mine" was actually recorded at a turning point for Stax as an organisation. By the time it was released, Booker T Jones had left Memphis to go to university in Indiana to study music, with his tuition being paid for by his share of the royalties for "Green Onions", which hit the charts around the same time as Redding's first session: [Excerpt: Booker T. and the MGs, "Green Onions"] Most of Stax's most important sessions were recorded at weekends -- Jim Stewart still had a day job as a bank manager at this point, and he supervised the records that were likely to be hits -- so Jones could often commute back to the studio for session work, and could play sessions during his holidays. The rest of the time, other people would cover the piano parts, often Cropper, who played piano on Redding's next sessions, with Jenkins once again on guitar. As "These Arms of Mine" didn't start to become a hit until March, Redding didn't go into the studio again until June, when he cut the follow-up, "That's What My Heart Needs", with the MGs, Jenkins, and the horn section of the Mar-Keys. That made number twenty-seven on the Cashbox R&B chart -- this was in the period when Billboard had stopped having one. The follow-up, "Pain in My Heart", was cut in September and did even better, making number eleven on the Cashbox R&B chart: [Excerpt: Otis Redding, "Pain in My Heart"] It did well enough in fact that the Rolling Stones cut a cover version of the track: [Excerpt: The Rolling Stones, "Pain in My Heart"] Though Redding didn't get the songwriting royalties -- by that point Allen Toussaint had noticed how closely it resembled a song he'd written for Irma Thomas, "Ruler of My Heart": [Excerpt: Irma Thomas, "Ruler of My Heart"] And so the writing credit was changed to be Naomi Neville, one of the pseudonyms Toussaint used. By this point Redding was getting steady work, and becoming a popular live act. He'd put together his own band, and had asked Jenkins to join, but Jenkins didn't want to play second fiddle to him, and refused, and soon stopped being invited to the recording sessions as well. Indeed, Redding was *eager* to get as many of his old friends working with him as he could. For his second and third sessions, as well as bringing Jenkins, he'd brought along a whole gang of musicians from his touring show, and persuaded Stax to put out records by them, too. At those sessions, as well as Redding's singles, they also cut records by his valet (which was the term R&B performers in those years used for what we'd now call a gofer or roadie) Oscar Mack: [Excerpt: Oscar Mack, "Don't Be Afraid of Love"] For Eddie Kirkland, the guitarist in his touring band, who had previously played with John Lee Hooker and whose single was released under the name "Eddie Kirk": [Excerpt: Eddie Kirk, "The Hawg, Part 1"] And Bobby Marchan, a singer and female impersonator from New Orleans who had had some massive hits a few years earlier both on his own and as the singer with Huey "Piano" Smith and the Clowns, but had ended up in Macon without a record deal and been taken under Redding's wing: [Excerpt: Bobby Marchan, "What Can I Do?"] Redding would continue, throughout his life, to be someone who tried to build musical careers for his friends, though none of those singles was successful. The changes in Stax continued. In late autumn 1963, Atlantic got worried by the lack of new product coming from Stax. Carla Thomas had had a couple of R&B hits, and they were expecting a new single, but every time Jerry Wexler phoned Stax asking where the new single was, he was told it would be coming soon but the equipment was broken. After a couple of weeks of this, Wexler decided something fishy was going on, and sent Tom Dowd, his genius engineer, down to Stax to investigate. Dowd found when he got there that the equipment *was* broken, and had been for weeks, and was a simple fix. When Dowd spoke to Stewart, though, he discovered that they didn't know where to source replacement parts from. Dowd phoned his assistant in New York, and told him to go to the electronics shop and get the parts he needed. Then, as there were no next-day courier services at that time, Dowd's assistant went to the airport, found a flight attendant who was flying to Memphis, and gave her the parts and twenty-five dollars, with a promise of twenty-five more if she gave them to Dowd at the other end. The next morning, Dowd had the equipment fixed, and everyone involved became convinced that Dowd was a miracle worker, especially after he showed Steve Cropper some rudimentary tape-manipulation techniques that Cropper had never encountered before. Dowd had to wait around in Memphis for his flight, so he went to play golf with the musicians for a bit, and then they thought they might as well pop back to the studio and test the equipment out. When they did, Rufus Thomas -- Carla Thomas' father, who had also had a number of hits himself on Stax and Sun -- popped his head round the door to see if the equipment was working now. They told him it was, and he said he had a song if they were up for a spot of recording. They were, and so when Dowd flew back that night, he was able to tell Wexler not only that the next Carla Thomas single would soon be on its way, but that he had the tapes of a big hit single with him right there: [Excerpt: Rufus Thomas, "Walking the Dog"] "Walking the Dog" was a sensation. Jim Stewart later said “I remember our first order out of Chicago. I was in New York in Jerry Wexler's office at the time and Paul Glass, who was our distributor in Chicago, called in an order for sixty-five thousand records. I said to Jerry, ‘Do you mean sixty-five hundred?' And he said, ‘Hell no, he wants sixty-five thousand.' That was the first order! He believed in the record so much that we ended up selling about two hundred thousand in Chicago alone.” The record made the top ten on the pop charts, but that wasn't the biggest thing that Dowd had taken away from the session. He came back raving to Wexler about the way they made records in Memphis, and how different it was from the New York way. In New York, there was a strict separation between the people in the control room and the musicians in the studio, the musicians were playing from written charts, and everyone had a job and did just that job. In Memphis, the musicians were making up the arrangements as they went, and everyone was producing or engineering all at the same time. Dowd, as someone with more technical ability than anyone at Stax, and who was also a trained musician who could make musical suggestions, was soon regularly commuting down to Memphis to be part of the production team, and Jerry Wexler was soon going down to record with other Atlantic artists there, as we heard about in the episode on "Midnight Hour". Shortly after Dowd's first visit to Memphis, another key member of the Stax team entered the picture. Right at the end of 1963, Floyd Newman recorded a track called "Frog Stomp", on which he used his own band rather than the MGs and Mar-Keys: [Excerpt: Floyd Newman, "Frog Stomp"] The piano player and co-writer on that track was a young man named Isaac Hayes, who had been trying to get work at Stax for some time. He'd started out as a singer, and had made a record, "Laura, We're On Our Last Go-Round", at American Sound, the studio run by the former Stax engineer and musician Chips Moman: [Excerpt: Isaac Hayes, "Laura, We're On Our Last Go-Round"] But that hadn't been a success, and Hayes had continued working a day job at a slaughterhouse -- and would continue doing so for much of the next few years, even after he started working at Stax (it's truly amazing how many of the people involved in Stax were making music as what we would now call a side-hustle). Hayes had become a piano player as a way of getting a little extra money -- he'd been offered a job as a fill-in when someone else had pulled out at the last minute on a gig on New Year's Eve, and took it even though he couldn't actually play piano, and spent his first show desperately vamping with two fingers, and was just lucky the audience was too drunk to care. But he had a remarkable facility for the instrument, and while unlike Booker T Jones he would never gain a great deal of technical knowledge, and was embarrassed for the rest of his life by both his playing ability and his lack of theory knowledge, he was as great as they come at soul, at playing with feel, and at inventing new harmonies on the fly. They still didn't have a musician at Stax that could replace Booker T, who was still off at university, so Isaac Hayes was taken on as a second session keyboard player, to cover for Jones when Jones was in Indiana -- though Hayes himself also had to work his own sessions around his dayjob, so didn't end up playing on "In the Midnight Hour", for example, because he was at the slaughterhouse. The first recording session that Hayes played on as a session player was an Otis Redding single, either his fourth single for Stax, "Come to Me", or his fifth, "Security": [Excerpt: Otis Redding, "Security"] "Security" is usually pointed to by fans as the point at which Redding really comes into his own, and started directing the musicians more. There's a distinct difference, in particular, in the interplay between Cropper's guitar, the Mar-Keys' horns, and Redding's voice. Where previously the horns had tended to play mostly pads, just holding chords under Redding's voice, now they were starting to do answering phrases. Jim Stewart always said that the only reason Stax used a horn section at all was because he'd been unable to find a decent group of backing vocalists, and the function the horns played on most of the early Stax recordings was somewhat similar to the one that the Jordanaires had played for Elvis, or the Picks for Buddy Holly, basically doing "oooh" sounds to fatten out the sound, plus the odd sax solo or simple riff. The way Redding used the horns, though, was more like the way Ray Charles used the Raelettes, or the interplay of a doo-wop vocal group, with call and response, interjections, and asides. He also did something in "Security" that would become a hallmark of records made at Stax -- instead of a solo, the instrumental break is played by the horns as an ensemble: [Excerpt: Otis Redding, "Security"] According to Wayne Jackson, the Mar-Keys' trumpeter, Redding was the one who had the idea of doing these horn ensemble sections, and the musicians liked them enough that they continued doing them on all the future sessions, no matter who with. The last Stax single of 1964 took the "Security" sound and refined it, and became the template for every big Stax hit to follow. "Mr. Pitiful" was the first collaboration between Redding and Steve Cropper, and was primarily Cropper's idea. Cropper later remembered “There was a disc jockey here named Moohah. He started calling Otis ‘Mr. Pitiful' 'cause he sounded so pitiful singing his ballads. So I said, ‘Great idea for a song!' I got the idea for writing about it in the shower. I was on my way down to pick up Otis. I got down there and I was humming it in the car. I said, ‘Hey, what do you think about this?' We just wrote the song on the way to the studio, just slapping our hands on our legs. We wrote it in about ten minutes, went in, showed it to the guys, he hummed a horn line, boom—we had it. When Jim Stewart walked in we had it all worked up. Two or three cuts later, there it was.” [Excerpt: Otis Redding, "Mr. Pitiful"] Cropper would often note later that Redding would never write about himself, but that Cropper would put details of Redding's life and persona into the songs, from "Mr. Pitiful" right up to their final collaboration, in which Cropper came up with lines about leaving home in Georgia. "Mr Pitiful" went to number ten on the R&B chart and peaked at number forty-one on the hot one hundred, and its B-side, "That's How Strong My Love Is", also made the R&B top twenty. Cropper and Redding soon settled into a fruitful writing partnership, to the extent that Cropper even kept a guitar permanently tuned to an open chord so that Redding could use it. Redding couldn't play the guitar, but liked to use one as a songwriting tool. When a guitar is tuned in standard tuning, you have to be able to make chord shapes to play it, because the sound of the open strings is a discord: [demonstrates] But you can tune a guitar so all the strings are the notes of a single chord, so they sound good together even when you don't make a chord shape: [demonstrates open-E tuning] With one of these open tunings, you can play chords with just a single finger barring a fret, and so they're very popular with, for example, slide guitarists who use a metal slide to play, or someone like Dolly Parton who has such long fingernails it's difficult to form chord shapes. Someone like Parton is of course an accomplished player, but open tunings also mean that someone who can't play well can just put their finger down on a fret and have it be a chord, so you can write songs just by running one finger up and down the fretboard: [demonstrates] So Redding could write, and even play acoustic rhythm guitar on some songs, which he did quite a lot in later years, without ever learning how to make chords. Now, there's a downside to this -- which is why standard tuning is still standard. If you tune to an open major chord, you can play major chords easily but minor chords become far more difficult. Handily, that wasn't a problem at Stax, because according to Isaac Hayes, Jim Stewart banned minor chords from being played at Stax. Hayes said “We'd play a chord in a session, and Jim would say, ‘I don't want to hear that chord.' Jim's ears were just tuned into one, four, and five. I mean, just simple changes. He said they were the breadwinners. He didn't like minor chords. Marvell and I always would try to put that pretty stuff in there. Jim didn't like that. We'd bump heads about that stuff. Me and Marvell fought all the time that. Booker wanted change as well. As time progressed, I was able to sneak a few in.” Of course, minor chords weren't *completely* banned from Stax, and some did sneak through, but even ballads would often have only major chords -- like Redding's next single, "I've Been Loving You Too Long". That track had its origins with Jerry Butler, the singer who had been lead vocalist of the Impressions before starting a solo career and having success with tracks like "For Your Precious Love": [Excerpt: Jerry Butler, "For Your Precious Love"] Redding liked that song, and covered it himself on his second album, and he had become friendly with Butler. Butler had half-written a song, and played it for Redding, who told him he'd like to fiddle with it, see what he could do. Butler forgot about the conversation, until he got a phone call from Redding, telling him that he'd recorded the song. Butler was confused, and also a little upset -- he'd been planning to finish the song himself, and record it. But then Redding played him the track, and Butler decided that doing so would be pointless -- it was Redding's song now: [Excerpt: Otis Redding, "I've Been Loving You Too Long"] "I've Been Loving You Too Long" became Redding's first really big hit, making number two on the R&B chart and twenty-one on the Hot One Hundred. It was soon being covered by the Rolling Stones and Ike & Tina Turner, and while Redding was still not really known to the white pop market, he was quickly becoming one of the biggest stars on the R&B scene. His record sales were still not matching his live performances -- he would always make far more money from appearances than from records -- but he was by now the performer that every other soul singer wanted to copy. "I've Been Loving You Too Long" came out just after Redding's second album, The Great Otis Redding Sings Soul Ballads, which happened to be the first album released on Volt Records. Before that, while Stax and Volt had released the singles, they'd licensed all the album tracks to Atlantic's Atco subsidiary, which had released the small number of albums put out by Stax artists. But times were changing and the LP market was becoming bigger. And more importantly, the *stereo* LP market was becoming bigger. Singles were still only released in mono, and would be for the next few years, but the album market had a substantial number of audiophiles, and they wanted stereo. This was a problem for Stax, because they only had a mono tape recorder, and they were scared of changing anything about their setup in case it destroyed their sound. Tom Dowd, who had been recording in eight track for years, was appalled by the technical limitations at the McLemore Ave studio, but eventually managed to get Jim Stewart, who despite -- or possibly because of -- being a white country musician was the most concerned that they keep their Black soul sound, to agree to a compromise. They would keep everything hooked up exactly the same -- the same primitive mixers, the same mono tape recorder -- and Stax would continue doing their mixes for mono, and all their singles would come directly off that mono tape. But at the same time, they would *also* have a two-track tape recorder plugged in to the mixer, with half the channels going on one track and half on the other. So while they were making the mix, they'd *also* be getting a stereo dump of that mix. The limitations of the situation meant that they might end up with drums and vocals in one channel and everything else in the other -- although as the musicians cut everything together in the studio, which had a lot of natural echo, leakage meant there was a *bit* of everything on every track -- but it would still be stereo. Redding's next album, Otis Blue, was recorded on this new equipment, with Dowd travelling down from New York to operate it. Dowd was so keen on making the album stereo that during that session, they rerecorded Redding's two most recent singles, "I've Been Loving You Too Long" and "Respect" (which hadn't yet come out but was in the process of being released) in soundalike versions so there would be stereo versions of the songs on the album -- so the stereo and mono versions of Otis Blue actually have different performances of those songs on them. It shows how intense the work rate was at Stax -- and how good they were at their jobs -- that apart from the opening track "Ole Man Trouble", which had already been recorded as a B-side, all of Otis Blue, which is often considered the greatest soul album in history, was recorded in a twenty-eight hour period, and it would have been shorter but there was a four-hour break in the middle, from 10PM to 2AM, so that the musicians on the session could play their regular local club gigs. And then after the album was finished, Otis left the session to perform a gig that evening. Tom Dowd, in particular, was astonished by the way Redding took charge in the studio, and how even though he had no technical musical knowledge, he would direct the musicians. Dowd called Redding a genius and told Phil Walden that the only two other artists he'd worked with who had as much ability in the studio were Bobby Darin and Ray Charles. Other than those singles and "Ole Man Trouble", Otis Blue was made up entirely of cover versions. There were three versions of songs by Sam Cooke, who had died just a few months earlier, and whose death had hit Redding hard -- for all that he styled himself on Little Richard vocally, he was also in awe of Cooke as a singer and stage presence. There were also covers of songs by The Temptations, William Bell, and B.B. King. And there was also an odd choice -- Steve Cropper suggested that Redding cut a cover of a song by a white band that was in the charts at the time: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] Redding had never heard the song before -- he was not paying attention to the white pop scene at the time, just to his competition on the R&B charts -- but he was interested in doing it. Cropper sat by the turntable, scribbling down what he thought the lyrics Jagger was singing were, and they cut the track. Redding starts out more or less singing the right words: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] But quickly ends up just ad-libbing random exclamations in the same way that he would in many of his live performances: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] Otis Blue made number one on the R&B album chart, and also made number six on the UK album chart -- Redding, like many soul artists, was far more popular in the UK than in the US. It only made number seventy-five on the pop album charts in the US, but it did a remarkable thing as far as Stax was concerned -- it *stayed* in the lower reaches of the charts, and on the R&B album charts, for a long time. Redding had become what is known as a "catalogue artist", something that was almost unknown in rock and soul music at this time, but which was just starting to appear. Up to 1965, the interlinked genres that we now think of as rock and roll, rock, pop, blues, R&B, and soul, had all operated on the basis that singles were where the money was, and that singles should be treated like periodicals -- they go on the shelves, stay there for a few weeks, get replaced by the new thing, and nobody's interested any more. This had contributed to the explosive rate of change in pop music between about 1954 and 1968. You'd package old singles up into albums, and stick some filler tracks on there as a way of making a tiny bit of money from tracks which weren't good enough to release as singles, but that was just squeezing the last few drops of juice out of the orange, it wasn't really where the money was. The only exceptions were those artists like Ray Charles who crossed over into the jazz and adult pop markets. But in general, your record sales in the first few weeks and months *were* your record sales. But by the mid-sixties, as album sales started to take off more, things started to change. And Otis Redding was one of the first artists to really benefit from that. He wasn't having huge hit singles, and his albums weren't making the pop top forty, but they *kept selling*. Redding wouldn't have an album make the top forty in his lifetime, but they sold consistently, and everything from Otis Blue onward sold two hundred thousand or so copies -- a massive number in the much smaller album market of the time. These sales gave Redding some leverage. His contract with Stax was coming to an end in a few months, and he was getting offers from other companies. As part of his contract renegotiation, he got Jim Stewart -- who like so many people in this story including Redding himself liked to operate on handshake deals and assumptions of good faith on the part of everyone else, and who prided himself on being totally fair and not driving hard bargains -- to rework his publishing deal. Now Redding's music was going to be published by Redwal Music -- named after Redding and Phil Walden -- which was owned as a four-way split between Redding, Walden, Stewart, and Joe Galkin. Redding also got the right as part of his contract negotiations to record other artists using Stax's facilities and musicians. He set up his own label, Jotis Records -- a portmanteau of Joe and Otis, for Joe Galkin and himself, and put out records by Arthur Conley: [Excerpt: Arthur Conley, "Who's Fooling Who?"] Loretta Williams [Excerpt: Loretta Williams, "I'm Missing You"] and Billy Young [Excerpt: Billy Young, "The Sloopy"] None of these was a success, but it was another example of how Redding was trying to use his success to boost others. There were other changes going on at Stax as well. The company was becoming more tightly integrated with Atlantic Records -- Tom Dowd had started engineering more sessions, Jerry Wexler was turning up all the time, and they were starting to make records for Atlantic, as we discussed in the episode on "In the Midnight Hour". Atlantic were also loaning Stax Sam and Dave, who were contracted to Atlantic but treated as Stax artists, and whose hits were written by the new Stax songwriting team of Isaac Hayes and David Porter: [Excerpt: Sam and Dave, "Soul Man"] Redding was not hugely impressed by Sam and Dave, once saying in an interview "When I first heard the Righteous Brothers, I thought they were colored. I think they sing better than Sam and Dave", but they were having more and bigger chart hits than him, though they didn't have the same level of album sales. Also, by now Booker T and the MGs had a new bass player. Donald "Duck" Dunn had always been the "other" bass player at Stax, ever since he'd started with the Mar-Keys, and he'd played on many of Redding's recordings, as had Lewie Steinberg, the original bass player with the MGs. But in early 1965, the Stax studio musicians had cut a record originally intending it to be a Mar-Keys record, but decided to put it out as by Booker T and the MGs, even though Booker T wasn't there at the time -- Isaac Hayes played keyboards on the track: [Excerpt: Booker T and the MGs, "Boot-Leg"] Booker T Jones would always have a place at Stax, and would soon be back full time as he finished his degree, but from that point on Duck Dunn, not Lewie Steinberg, was the bass player for the MGs. Another change in 1965 was that Stax got serious about promotion. Up to this point, they'd just relied on Atlantic to promote their records, but obviously Atlantic put more effort into promoting records on which it made all the money than ones it just distributed. But as part of the deal to make records with Sam and Dave and Wilson Pickett, Atlantic had finally put their arrangement with Stax on a contractual footing, rather than their previous handshake deal, and they'd agreed to pay half the salary of a publicity person for Stax. Stax brought in Al Bell, who made a huge impression. Bell had been a DJ in Memphis, who had gone off to work with Martin Luther King for a while, before leaving after a year because, as he put it "I was not about passive resistance. I was about economic development, economic empowerment.” He'd returned to DJing, first in Memphis, then in Washington DC, where he'd been one of the biggest boosters of Stax records in the area. While he was in Washington, he'd also started making records himself. He'd produced several singles for Grover Mitchell on Decca: [Excerpt: Grover Mitchell, "Midnight Tears"] Those records were supervised by Milt Gabler, the same Milt Gabler who produced Louis Jordan's records and "Rock Around the Clock", and Bell co-produced them with Eddie Floyd, who wrote that song, and Chester Simmons, formerly of the Moonglows, and the three of them started their own label, Safice, which had put out a few records by Floyd and others, on the same kind of deal with Atlantic that Stax had: [Excerpt: Eddie Floyd, "Make Up Your Mind"] Floyd would himself soon become a staff songwriter at Stax. As with almost every decision at Stax, the decision to hire Bell was a cause of disagreement between Jim Stewart and his sister Estelle Axton, the "Ax" in Stax, who wasn't as involved in the day-to-day studio operations as her brother, but who was often regarded by the musicians as at least as important to the spirit of the label, and who tended to disagree with her brother on pretty much everything. Stewart didn't want to hire Bell, but according to Cropper “Estelle and I said, ‘Hey, we need somebody that can liaison between the disc jockeys and he's the man to do it. Atlantic's going into a radio station with six Atlantic records and one Stax record. We're not getting our due.' We knew that. We needed more promotion and he had all the pull with all those disc jockeys. He knew E. Rodney Jones and all the big cats, the Montagues and so on. He knew every one of them.” Many people at Stax will say that the label didn't even really start until Bell joined -- and he became so important to the label that he would eventually take it over from Stewart and Axton. Bell came in every day and immediately started phoning DJs, all day every day, starting in the morning with the drivetime East Coast DJs, and working his way across the US, ending up at midnight phoning the evening DJs in California. Booker T Jones said of him “He had energy like Otis Redding, except he wasn't a singer. He had the same type of energy. He'd come in the room, pull up his shoulders and that energy would start. He would start talking about the music business or what was going on and he energized everywhere he was. He was our Otis for promotion. It was the same type of energy charisma.” Meanwhile, of course, Redding was constantly releasing singles. Two more singles were released from Otis Blue -- his versions of "My Girl" and "Satisfaction", and he also released "I Can't Turn You Loose", which was originally the B-side to "Just One More Day" but ended up charting higher than its original A-side. It's around this time that Redding did something which seems completely out of character, but which really must be mentioned given that with very few exceptions everyone in his life talks about him as some kind of saint. One of Redding's friends was beaten up, and Redding, the friend, and another friend drove to the assailant's house and started shooting through the windows, starting a gun battle in which Redding got grazed. His friend got convicted of attempted murder, and got two years' probation, while Redding himself didn't face any criminal charges but did get sued by the victims, and settled out of court for a few hundred dollars. By this point Redding was becoming hugely rich from his concert appearances and album sales, but he still hadn't had a top twenty pop hit. He needed to break the white market. And so in April 1966, Redding went to LA, to play the Sunset Strip: [Excerpt: Otis Redding, "Respect (live at the Whisky A-Go-Go)"] Redding's performance at the Whisky A-Go-Go, a venue which otherwise hosted bands like the Doors, the Byrds, the Mothers of Invention, and Love, was his first real interaction with the white rock scene, part of a process that had started with his recording of "Satisfaction". The three-day residency got rave reviews, though the plans to release a live album of the shows were scuppered when Jim Stewart listened back to the tapes and decided that Redding's horn players were often out of tune. But almost everyone on the LA scene came out to see the shows, and Redding blew them away. According to one biography of Redding I used, it was seeing how Redding tuned his guitar that inspired the guitarist from the support band, the Rising Sons, to start playing in the same tuning -- though I can't believe for a moment that Ry Cooder, one of the greatest slide guitarists of his generation, didn't already know about open tunings. But Redding definitely impressed that band -- Taj Mahal, their lead singer, later said it was "one of the most amazing performances I'd ever seen". Also at the gigs was Bob Dylan, who played Redding a song he'd just recorded but not yet released: [Excerpt: Bob Dylan, "Just Like a Woman"] Redding agreed that the song sounded perfect for him, and said he would record it. He apparently made some attempts at rehearsing it at least, but never ended up recording it. He thought the first verse and chorus were great, but had problems with the second verse: [Excerpt: Bob Dylan, "Just Like a Woman"] Those lyrics were just too abstract for him to find a way to connect with them emotionally, and as a result he found himself completely unable to sing them. But like his recording of "Satisfaction", this was another clue to him that he should start paying more attention to what was going on in the white music industry, and that there might be things he could incorporate into his own style. As a result of the LA gigs, Bill Graham booked Redding for the Fillmore in San Francisco. Redding was at first cautious, thinking this might be a step too far, and that he wouldn't go down well with the hippie crowd, but Graham persuaded him, saying that whenever he asked any of the people who the San Francisco crowds most loved -- Jerry Garcia or Paul Butterfield or Mike Bloomfield -- who *they* most wanted to see play there, they all said Otis Redding. Redding reluctantly agreed, but before he took a trip to San Francisco, there was somewhere even further out for him to go. Redding was about to head to England but before he did there was another album to make, and this one would see even more of a push for the white market, though still trying to keep everything soulful. As well as Redding originals, including "Fa-Fa-Fa-Fa (Sad Song)", another song in the mould of "Mr. Pitiful", there was another cover of a contemporary hit by a guitar band -- this time a version of the Beatles' "Day Tripper" -- and two covers of old standards; the country song "Tennessee Waltz", which had recently been covered by Sam Cooke, and a song made famous by Bing Crosby, "Try a Little Tenderness". That song almost certainly came to mind because it had recently been used in the film Dr. Strangelove, but it had also been covered relatively recently by two soul greats, Aretha Franklin: [Excerpt: Aretha Franklin, "Try a Little Tenderness"] And Sam Cooke: [Excerpt: Sam Cooke, "Live Medley: I Love You For Sentimental Reasons/Try a Little Tenderness/You Send Me"] This version had horn parts arranged by Isaac Hayes, who by this point had been elevated to be considered one of the "Big Six" at Stax records -- Hayes, his songwriting partner David Porter, Steve Cropper, Duck Dunn, Booker T. Jones, and Al Jackson, were all given special status at the company, and treated as co-producers on every record -- all the records were now credited as produced by "staff", but it was the Big Six who split the royalties. Hayes came up with a horn part that was inspired by Sam Cooke's "A Change is Gonna Come", and which dominated the early part of the track: [Excerpt: Otis Redding, "Try a Little Tenderness"] Then the band came in, slowly at first: [Excerpt: Otis Redding, "Try a Little Tenderness"] But Al Jackson surprised them when they ran through the track by deciding that after the main song had been played, he'd kick the track into double-time, and give Redding a chance to stretch out and do his trademark grunts and "got-ta"s. The single version faded out shortly after that, but the version on the album kept going for an extra thirty seconds: [Excerpt: Otis Redding, "Try a Little Tenderness"] As Booker T. Jones said “Al came up with the idea of breaking up the rhythm, and Otis just took that and ran with it. He really got excited once he found out what Al was going to do on the drums. He realized how he could finish the song. That he could start it like a ballad and finish it full of emotion. That's how a lot of our arrangements would come together. Somebody would come up with something totally outrageous.” And it would have lasted longer but Jim Stewart pushed the faders down, realising the track was an uncommercial length even as it was. Live, the track could often stretch out to seven minutes or longer, as Redding drove the crowd into a frenzy, and it soon became one of the highlights of his live set, and a signature song for him: [Excerpt: Otis Redding, "Try a Little Tenderness (live in London)"] In September 1966, Redding went on his first tour outside the US. His records had all done much better in the UK than they had in America, and they were huge favourites of everyone on the Mod scene, and when he arrived in the UK he had a limo sent by Brian Epstein to meet him at the airport. The tour was an odd one, with multiple London shows, shows in a couple of big cities like Manchester and Bristol, and shows in smallish towns in Hampshire and Lincolnshire. Apparently the shows outside London weren't particularly well attended, but the London shows were all packed to overflowing. Redding also got his own episode of Ready! Steady! Go!, on which he performed solo as well as with guest stars Eric Burdon and Chris Farlowe: [Excerpt: Otis Redding, Chris Farlowe and Eric Burdon, "Shake/Land of a Thousand Dances"] After the UK tour, he went on a short tour of the Eastern US with Sam and Dave as his support act, and then headed west to the Fillmore for his three day residency there, introducing him to the San Francisco music scene. His first night at the venue was supported by the Grateful Dead, the second by Johnny Talbot and De Thangs and the third by Country Joe and the Fish, but there was no question that it was Otis Redding that everyone was coming to see. Janis Joplin turned up at the Fillmore every day at 3PM, to make sure she could be right at the front for Redding's shows that night, and Bill Graham said, decades later, "By far, Otis Redding was the single most extraordinary talent I had ever seen. There was no comparison. Then or now." However, after the Fillmore gigs, for the first time ever he started missing shows. The Sentinel, a Black newspaper in LA, reported a few days later "Otis Redding, the rock singer, failed to make many friends here the other day when he was slated to appear on the Christmas Eve show[...] Failed to draw well, and Redding reportedly would not go on." The Sentinel seem to think that Redding was just being a diva, but it's likely that this was the first sign of a problem that would change everything about his career -- he was developing vocal polyps that were making singing painful. It's notable though that the Sentinel refers to Redding as a "rock" singer, and shows again how different genres appeared in the mid-sixties to how they appear today. In that light, it's interesting to look at a quote from Redding from a few months later -- "Everybody thinks that all songs by colored people are rhythm and blues, but that's not true. Johnny Taylor, Muddy Waters, and B.B. King are blues singers. James Brown is not a blues singer. He has a rock and roll beat and he can sing slow pop songs. My own songs "Respect" and "Mr Pitiful" aren't blues songs. I'm speaking in terms of the beat and structure of the music. A blues is a song that goes twelve bars all the way through. Most of my songs are soul songs." So in Redding's eyes, neither he nor James Brown were R&B -- he was soul, which was a different thing from R&B, while Brown was rock and roll and pop, not soul, but journalists thought that Redding was rock. But while the lines between these things were far less distinct than they are today, and Redding was trying to cross over to the white audience, he knew what genre he was in, and celebrated that in a song he wrote with his friend Art

Today I'm joined by MURDER IN BIG HORN director and producer Razelle Benally and Matthew Galkin MURDER IN BIG HORN investigates the disappearances and possible murders of a group of Native American women in rural Montana. Within the last decade, dozens of young Indigenous women and girls from the Crow and Northern Cheyenne Nations have been murdered or have gone missing from Big Horn County and its surrounding area; arrests are rare in these cases and convictions virtually non-existent. When grieving Native families press law enforcement for answers, they are met with either indifference or silence. Elsewhere in America, these crimes would have shocked a community and the nation. National media would have picked up the story. But outside of the Crow and Northern Cheyenne Reservations, it barely registers, leaving a bereft circle of family, friends, and activists on their own, fighting for justice. This harrowing three-part series examines the circumstances around each disappearance, the searches for the missing, the details of these deeply problematic law enforcement responses, and the challenges with bringing perpetrators to justice. The series also reveals the historical forces at play that make Native American women some of the most vulnerable people in the country, not just in Big Horn County. Told solely through the perspectives of those involved – Native families, local Native journalists and local law enforcement – what emerges is a powerful portrait of tribal members and their community battling an epidemic of murdered and missing Indigenous women (MMIW) that was set in motion almost 200 years ago. MURDER IN BIG HORN is available on Showtime --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/followingfilms/support

Competera Pricing platform enables retailers and brands across all retail industries and markets to increase customer trust by setting and maintaining optimal price positions.  By continuously calculating and re-quantifying billions of possible price combinations, the platform's deep learning algorithms increase the enterprise clients' gross margin by 6%.    The optimal price recommendations across the entire pricing life cycle from initial, shelf to markdown and promo price are based on 20+ pricing and non-pricing factors combined with the real-time competitive data.below is a link to  Competera's educational assets and pricing community:  Pricing Heroes https://www.buzzsprout.com/2049169   Today's guest Alexandr Galkin CEO and founder LinkedIn https://www.linkedin.com/in/alexandrgalkin/ Competera website https://competera.net/ Podcast Hosts Jeff Roster Twitter https://twitter.com/JeffPR LinkedIn https://www.linkedin.com/in/jeff-roster-bb51b8/ Website https://thisweekininnovation.com Brian Sathianathan Twitter  https://twitter.com/BrianVision Website https://www.iterate.ai Podcast Website https://www.podbean.com/pu/pbblog-f8asf-af2782 https://thisweekininnovation.com Apple https://podcasts.apple.com/us/podcast/this-week-in-innovation/id1562068014 Spotify https://open.spotify.com/show/2QDqTUnt6jebdRHbRzSTJN LaunchPadOne https://www.launchpaddm.com/pd/This-Week-in-Innovation?showAllEpisodes=true Listen Notes https://lnns.co/2QPSfnizE5K     #pricing #priceoptimization #Pricing_Heroes, #innovation, #thisweekininnovation, #DigitalTransformation, #podcast, #retailpodcast, #emergingtechnologies, #5ForcesOfInnovation, #TRI2022, #tri2022, #Startup, #Startups, #Retailers, #retail, #retailtechnology, #retailtech, #futureofretail, #retailtrends, #VentureCapital, #VC, #Founders, #Entrepreneurs, #Gartner, #IHL, #mentorship, #ArtificialIntelligence, #AI, #cloud,      

Thu, 29 Sep 2022 10:06:58 +0000 https://adratspodcast.podigee.io/142-neue-episode 365c187e42d08eaa10b757dc1370044e … und welche Faktoren unser Leben verlängern länger leben full … und welche Faktoren unser Leben verlängern no altern,rauchen,gesundheit,depression,katholisch,kontrafunk,kirche,familie,freunde Julian B. Adrat

A media ministry publication of Grace Bible Church in Elkhart, Indiana. Moments of transforming grace from the Bible.

Likely no name is more synonymous with the “right to die” movement than Jack Kevorkian. He was considered rogue in his day, but never wavered in his advocacy for patients to make their own health care decisions, and likely can be credited with the increased awareness of the role of autonomy in health care and end of life decisions, better usage of palliative and hospice care services. Love him or hate him, he definitely made his mark.Sources:Jack Kevorkian - WikipediaLevinson, B. (2010). You Don't Know Jack. USA: HBO Films.Jack Kevorkian, convicted in assisted suicides, dies at 83 (nbcnews.com)120 people Dr. Kevorkian helped to die (finalexit.org)Jack Kevorkian Dies, Leaves Controversial Legacy, No Successor - ABC News (go.com)The First 'Dr. Death,' Jack Kevorkian, Euthanized 130 Patients | Crime News (oxygen.com)The Life of Dr. Death | Bentley Historical Library (umich.edu)Galkin, M. (2010). Kevorkian. USA: Fairhaven Films.Nicol, N. and Wylie, H. (2006). Between the Dying and the Dead: Dr. Jack Kevorkian's Life and the Battle to Legalize Euthanasia. Vision UK.

Esta semana, dedicamos una nueva sesión de Rebelión Sónica, principalmente al nuevo disco del trío experimental estadounidense Black Dice, “Mod Prog Sic”. Se trata del primer álbum de la banda de Brooklyn, Nueva York en nueve años, ya que es el sucesor de “Mr.Impossible” de 2012 y es el séptimo larga duración de una trayectoria caracterizada por moverse por estilos como el noise, el ambient, la indietronica, la psicodelia y el hardcore. Además, es el primer registro publicado por el nuevo sello de Jonathan Galkin -conocido por ser el cofundador de la afamada disquera DFA Records- FourFour Records y celebrará los 25 años desde la formación de Black Dice en 1997. Galkin dijo que “el debut de Black Dice, “Beaches & Canyons” de 2003, fue el primer álbum de larga duración editado por DFA, por lo que no podría haber una banda más apropiada para lanzar mi nuevo sello”. “Mod Prog Sic” fue producido por Rusty Santos (Animal Collective, Panda Bear, Owen Pallett) y editado el 01 de octubre pasado, con la banda integrada por Bjorn Copeland, Aaron Warren y Eric Copeland. Justamente, al final del programa, vamos con material de la prolífica obra solista de este último, específicamente de su disco de 2018, “Trogg Modal, Vol. 1”.

Pastor Walton has another conversation with Will Galkin this week about his ministry at Summit Meetings and experience working in local churches.

Pastor and Evangelist Will Galkin, our speaker for the 2021 Summit Meetings at Harvest, joins Pastor Walton to preview the event.

Teil 1/4 von unserer Reihe für finanzielle Sicherheit.   Was sich SchülerInnen wünschen in der Schule zu lernen: Steuern, Investitionen, Sparmöglichkeiten, Umgang mit Geld, Immobilien...   Aber warum spricht keiner in der Schule über diese Themen? Das wollen die Jungs und Mädels von Zukunftstag Deutschland ändern und deswegen haben wir uns Lorenzo Wienecke & Juri Galkin zum Interview eingeladen.   Darum geht es in der Folge: 1. Was ist Zukunftstag? 2. Warum wir Wirtschaft bekämpfen  3. Warum du nicht viel Geld brauchst um vorsorgen zu können   Diese Folge wurde veröffentlicht unter der Kategorie Karriere ------------------------------------------------------------------ Folge uns auf Instagram für noch mehr Inspiration: https://www.instagram.com/berufsoptimierer/?hl=de . Hier findest du die Links zum Coaching und zum Bewerbungscheck Bewerbungscheck: https://www.berufsoptimierer.de/bewerbungscheck/ Coaching: https://www.berufsoptimierer.de/coaching/

Teil 1/4 von unserer Reihe für finanzielle Sicherheit.   Was sich SchülerInnen wünschen in der Schule zu lernen: Steuern, Investitionen, Sparmöglichkeiten, Umgang mit Geld, Immobilien...   Aber warum spricht keiner in der Schule über diese Themen? Das wollen die Jungs und Mädels von Zukunftstag Deutschland ändern und deswegen haben wir uns Lorenzo Wienecke & Juri Galkin zum Interview eingeladen.   Darum geht es in der Folge: 1. Was ist Zukunftstag? 2. Warum wir Wirtschaft bekämpfen  3. Warum du nicht viel Geld brauchst um vorsorgen zu können   Diese Folge wurde veröffentlicht unter der Kategorie Karriere ------------------------------------------------------------------ Folge uns auf Instagram für noch mehr Inspiration: https://www.instagram.com/berufsoptimierer/?hl=de . Hier findest du die Links zum Coaching und zum Bewerbungscheck Bewerbungscheck: https://www.berufsoptimierer.de/bewerbungscheck/ Coaching: https://www.berufsoptimierer.de/coaching/

Äänitetty 4.8.2021 Denis Galkin on Skepsis ry:n puheenjohtaja. Skepsis ry on tieteellinen yhdistys, joka edistää skeptistä ajattelua ja taistelee huuhaata vastaan. Mitä on skeptisyys? Mitä on huuhaa? Näitä kysymyksiä pohdimme Deniksen kanssa, sekä sitä, miten skeptisyys arkisessa ja yhteiskunnallisessa keskustelussa näkyy, tai tulisi näkyä. Sen lisäksi puhuimme vähän uskomushoidoista, ufoista sekä kryptoista. Tottakai.

Cześć! Dzisiejszą odsłonę rozpoczyna Adrian, który przy okazji premiery Cyberpunka 2077 postanowił pochylić się nad tematem bionicznych wszczepów, zastanawiając się czy mamy szansę stać się cyborgami rodem z gry? Dowiecie się między innymi co można sobie umieścić pod skórą, jak widzieć językiem, stać się naturalnym kompasem i słyszeć kolory. Patryk z kolei opowie z jakimi zagrożeniami może wiązać się niewinna wyprawa na basen. Czy woda w której się kąpiemy jest czysta? Czy można sprawdzić ile moczu znajduje się w basenie? Jak to policzyć? Ile takiej wody wypijamy? Przekonajmy się! Do usłyszenia! Patryk o moczu w basenach: 1:29:02 Adrian o wszczepach i cyborgach: 8:20 Źródła internetowe: https://bit.ly/34uoFEZ https://bit.ly/2WqZ5fP https://bit.ly/3rbCBxr https://bit.ly/3nAPtuD https://bit.ly/3mGL4p3 https://bit.ly/3mwKcTF https://bit.ly/38jTkpv https://bit.ly/2KknTDx https://bit.ly/37xVm6j https://bit.ly/34r0o2F https://bit.ly/37vq00i https://bit.ly/34utSwq Bibliografia: G. D. Cha et al., Adv. Healthcare Mater, 2019, 1801660 I. Galkin et al., Electronics 8(7), 2019, 810 K.-P. Hoffmann et al., "Technical, Medical and Ethical Challenges in Networks of Smart Active Implants*," 41st Annual International Conference of the IEEE Engineering in Medicine and Biology Society (EMBC), Berlin, Germany, 2019, 1484-1487 L. Jmaiff Blackstock et al., Environ. Sci. Technol. Lett., 4, 2017, 149-153 A. Dufour et al., J. Water Health, 15, 2017, 429-437

Episode 105 of A History of Rock Music in Five Hundred Songs looks at “Green Onions”, and how a company started by a Western Swing fiddle player ended up making the most important soul records of the sixties. 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 “He’s So Fine” by the Chiffons. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources I used three main books when creating this episode. Two were histories of Stax — Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon.  Country Soul by Charles L Hughes is a more general overview of soul music made in Tennessee and Alabama in the sixties, but is useful as it’s less likely to take statements about racial attitudes entirely at face value. This is a good cheap compilation of Booker T and the MGs’ music. If the Erwin Records tracks here interest you, they’re all available on this compilation. The Complete Stax-Volt Singles vol. 1: 1959-1968 is a nine-CD box set containing much of the rest of the music in this episode. It’s out of print physically, but the MP3 edition, while pricey, is worth it. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   And now we come to the end of the backfilling portion of the story. Since “Telstar” we’ve been looking at records from 1962 that came out just before “Love Me Do” — we’ve essentially been in an extended flashback. This is the last of those flashback episodes, and from next week on we’re moving forward into 1963. Today we’re going to look at a record by a group of musicians who would be as important to the development of music in the 1960s as any, and at the early years of Stax Records, a label that would become as important as Chess, Motown, or Sun. Today, we’re looking at “Green Onions” by Booker T. and the MGs, and how a white country fiddle player accidentally kickstarted the most important label in soul music: [Excerpt: Booker T. and the MGs, “Green Onions”] Our story starts in Memphis, with Jim Stewart, a part-time fiddle player. Stewart was in a Western Swing band, and was hugely influenced by Bob Wills, but he wasn’t making any real money from music. Instead, he was working a day job at a bank. But he was still interested in music, and wanted to be involved in the industry. One of the gigs he’d had was in the house band at a venue where Elvis sometimes played in his early years, and he’d seen how Elvis had gone from an obscure local boy all the way to the biggest star in the world. He knew he couldn’t do that himself, but he was irresistibly attracted to any field where that was *possible*. He found his way into the industry, and into music history as a result of a tip from his barber. The barber in question, Erwin Ellis, was another country fiddle player, but he owned his own record label, Erwin Records. Erwin Records was a tiny label — it was so tiny that its first release, by Ellis himself, seems not to exist anywhere. Even on compilations of Erwin Records material, it’s not present, which is a shame, as it would be interesting from a historical perspective to hear Ellis’ own playing. But while Ellis was unsuccessful both as a fiddle player and as a record company owner, he did manage to release a handful of rockabilly classics on Erwin Records, like Hoyt Jackson’s “Enie Meanie Minie Moe”: [Excerpt: Hoyt Jackson, “Enie Meanie Minie Moe”] and “Boppin’ Wig Wam Willie” by Ray Scott, who had written “Flyin’ Saucers Rock & Roll” for Billy Lee Riley, and who was backed by Riley’s Little Green Men on this single: [Excerpt: Ray Scott, “Boppin’ Wig Wam WIllie”] Ellis’ label wasn’t hugely successful, but he made some decent money from it, and he explained the realities of the music industry to Stewart as Stewart was sat in his barber’s chair. He told Stewart that you didn’t make money from the records themselves — small labels didn’t sell much — but that he was making some good money from the songs. The formula for success in the music business, Ellis explained, was that when you got a new artist through the door, you told them they could only record originals, not cover versions — and then you made sure they signed the publishing over to you. If you sold a record, you were just selling a bit of plastic, and you’d already paid to make the bit of plastic. There was no real money in that. But if you owned the song, every time that record was played on the radio, you got a bit of money with no extra outlay — and if you owned enough songs, then some of them might get covered by a big star, and then you’d get some real money. Hoyt Jackson, Ellis’ biggest act, hadn’t had any hits himself, but he’d written “It’s A Little More Like Heaven (Where You Are)”: [Excerpt: Hoyt Jackson, “It’s A Little More Like Heaven (Where You Are)”] Hank Locklin had recorded a cover version of it, which had gone to number three on the country charts: [Excerpt: Hank Locklin “It’s a Little More Like Heaven”] And Johnny Cash had rewritten it a bit, as “You’re the Nearest Thing to Heaven”, and had also had a top five country hit with it: [Excerpt: Johnny Cash, “You’re the Nearest Thing to Heaven”] Ellis explained to Stewart that he was still getting cheques every few months because he owned the publishing for this song that someone else had written and brought to him. If you owned the publishing for a song that became a hit, then you had a steady source of income without having to lift a finger. And people would just give you the publishing on their songs if you agreed to put a record of them out. For someone like Stewart, who worked in a bank and knew a little bit about finance, that sounded just about perfect. He pulled together a singing DJ, a piano player, and a rhythm guitarist he knew, and they pooled their savings and raised a thousand dollars to put out a record. Stewart wrote a song — the only song he’d ever write — Fred Byler, the DJ, sang it, and they hired Ellis and his tape recorder to record it in Jim’s wife’s uncle’s garage. They came up with the name Satellite Records for their label — nobody liked it, but they couldn’t think of anything better, and satellites were in the news with the recent launch of Sputnik. “Blue Roses” by Fred Byler, came out to pretty much no sales or airplay: [Excerpt: Fred Byler, “Blue Roses”] The next record was more interesting — “Boppin’ High School Baby” by Don Willis is a prime slice of Memphis rockabilly, though one with so much slapback echo that even Joe Meek might have said “hang on, isn’t that a bit much?”: [Excerpt: Don Willis, “Boppin’ High School Baby”] That also didn’t sell — Stewart and his partners knew nothing about the music business. They didn’t know how to get the records distributed to shops, and they had no money left. And then Erwin Ellis moved away and took his tape recorder with him, and Stewart’s wife’s uncle wanted to use his garage again and so wouldn’t let them record there any more. It looked like that would be the end of Satellite Records. But then three things changed everything for Jim Stewart, and for music history. The first of these was that Stewart’s new barber was also interested in music — he had a daughter who he thought could sing, and he had a large storage space he wasn’t using, in Brunswick on the outskirts of the city. If they’d record his daughter, they could use the storage space as a studio. The second was Chips Moman. Chips was a teenage guitarist who had been playing a friend’s guitar at a drugstore in Memphis, just hanging around after work, when Warren Smith walked in. Smith was a Sun Records rockabilly artist, who’d had a minor hit with “Rock and Roll Ruby”: [Excerpt: Warren Smith, “Rock and Roll Ruby”] Smith liked Moman’s playing, and offered him a job — Moman’s initial response was “doing what?” Moman had joined Smith’s band on guitar, then played with Johnny and Dorsey Burnette. He went with the Burnettes to California, where he was a session player for a time — though I’ve never been able to find a list of any of the records he played on, just people saying he played at Gold Star Studios. He’d then joined Gene Vincent’s Blue Caps, before being in an accident which had led him to come back to Memphis. He’d played guitar on the Don Willis session, and he’d essentially produced it, applying some of the techniques he’d learned in Californian studios. He was young, he was eager to make records, and he knew what he was doing. And the third event was that Stewart managed to persuade his sister, Estelle Axton, to buy out his business partners. Estelle was a naturally business-minded person who also had a yearning to do something involving music, and had been doing things in little ways. For example, the people where she worked all liked music but found they were too busy to go to the record shop — so Estelle would make a list of records they liked, go to one of the wholesalers that distributed music to record shops, buy records there for seventy-six cents, and sell them to her colleagues for a dollar. Estelle persuaded her husband, against his better judgement, to remortgage their house, and she used the money to buy recording equipment. Moman helped them set it up in the barber’s storage space, and Satellite Records started up again, restarting their numbering as if from scratch with what they were now considering their first real release — a song that Moman had co-written, sung by a black vocal group, the Vel-Tones: [Excerpt: The Vel-Tones, “Fool in Love”] The record was pretty much in the style of the white pop semi-doo-wop that was charting at the time, but the singers were black, and so it had to be promoted as R&B, and Jim Stewart made visits to Black DJs like Al Bell and Rufus Thomas, and managed to get the record some airplay. It was popular enough that the record got picked up for distribution by Mercury, and actually brought Satellite a small profit. But the label still wasn’t doing well, and they were finding it difficult to persuade musicians to trek all the way out to Brunswick. And the studio space was bad in other ways — it was right near a train track, and the noise of the trains would disrupt the sessions. And while it was free, at some point they would actually have to make a record featuring Stewart’s barber’s daughter, which nobody actually fancied doing.  So they decided to move studios again, and in doing so they were inspired by another Memphis record label. Hi Records had started around the same time as Satellite, and it had had a few big hits, most notably “Smokie (Part 2)” by the Bill Black Combo, the group that Elvis’ former bass player had formed when Elvis had joined the army: [Excerpt: Bill Black Combo: “Smokie (Part 2)”] For their studio, Hi used an old cinema — a lot of cinemas were closing down in the late fifties, due to the combination of television and the drive-in making indoor cinemas less appealing, and because white flight to the suburbs meant that people with money no longer lived in walking distance of cinemas the way they used to. The Satellite team found an old cinema on East McLemore Avenue, much closer to the centre of Memphis and easier for musicians to get to. That cinema had stopped showing films a year or two earlier, and there’d been a brief period where it had been used for country music performances, but the area was becoming increasingly Black, as white people moved away, and while plenty of Black people liked country music, they weren’t exactly welcomed to the performances in segregated 1950s Memphis, and so the building was abandoned, and available cheap. Meanwhile, Estelle’s son Charles was trying to get into the music business, too. Before I go any further in talking about him, I should say that I’ve had to depart from my normal policy when talking about him. Normally, I refer to people by the name they chose to go by, but in his case he was known by a nickname which was harmless in that time and place, but later became an extremely offensive racist slur in the UK, used against people of Pakistani descent. The word didn’t have those connotations in the US at the time, and he died before its use as a slur became widely known over there, but I’m just going to call him Charles. And speaking of words which might be considered racial slurs, the band that Charles joined — an all-white group who loved to play R&B — was called the Royal Spades. This was supposedly because of their love of playing cards, but there’s more than a suspicion that the racial connotations of the term were used deliberately, and that these white teenage boys were giggling at their naughty racial transgressiveness. The group had originally just been a guitar/bass/drum band, but Charles Axton had approached them and suggested they should get a horn section, offering his services as a tenor player. They’d laughed when he told them he’d only been playing a couple of weeks, but once he explained that his mother and uncle owned a record label, he was in the group, and they’d expanded to have a full horn section. The group was led by guitarist Steve Cropper and also included his friend, the bass player Duck Dunn, and Cropper and Charles Axton helped with the refurbishing of the cinema into a recording studio. The cinema had another advantage, too — as well as the auditorium, which became the studio, it had a lobby and concession stand. Estelle Axton turned that into a record shop, which she ran herself — with Cropper often helping out behind the counter. She instituted a policy that, unlike other record shops, people could hang around all day listening to music, without necessarily buying anything. She also brought in a loyalty card scheme — buy nine records and get a tenth record for free — which allowed her to track what individual customers were buying. She soon became so knowledgeable about what was selling to the Black teenagers of the area that she boasted that if you came into the shop with twenty dollars, she’d have sold you nineteen dollars’ worth of records before you left — she’d leave you with a dollar so you could pay for your transport home, to make sure you could come back with more money. By having a record shop in the record studio itself, they knew what was selling and could make more music that sounded like that. By having a crowd around all day listening to music, they could put the new recordings on and gauge the response before pressing a single copy. Satellite Records suddenly had a market research department. And they soon had an ally in getting them airplay. Rufus Thomas was the most important man in Black entertainment in Memphis. He was a popular DJ and comedian, he was the compere at almost every chitlin’ circuit show in the area, and he was also a popular singer. He’d been the one to record the first hit on Sun Records, “Bear Cat”, the answer record to “Hound Dog” we talked about way back in episode fifteen: [Excerpt: Rufus Thomas, “Bear Cat”] Rufus Thomas knew Jim Stewart from when Stewart had been promoting the Vel-Tones single, and so he came into the newly opened studio and suggested he cut a few tracks. If you’ve got a record label, and a DJ wants to make a record with you, that’s a godsend — you’re guaranteed airplay, not only for that record, but for a few of your others. And if that DJ also happens to be a genuine talent who’d made hit records before, you jump at the chance. Thomas also brought in his daughter, Carla, who happened to have an astonishing voice.  For the first session in the new studio, they recorded a song Rufus had written, “‘Cause I Love You”, with a few musicians that he knew, including a bass player called Wilbur Steinberg, and with Steve Cropper sitting in on guitar and Chips Moman producing. Also in the studio was David Porter, a teenager who sang in a band with Bob Tally, the trumpet player on the session — Porter was skipping school so he could be in a real recording studio, even though he wasn’t going to be singing on the session. When they started playing the song, Tally decided that it would sound good with a baritone sax on it. Nobody in the studio played saxophone, but then Porter remembered one of his classmates at Booker T Washington High School. This classmate was also called Booker T. — Booker T. Jones — and he could play everything. He played oboe, sax, trombone, double bass, guitar, and keyboards, and played them all to a professional standard. Porter popped over to the school, walked into the classroom Jones was in, told the teacher that another teacher wanted to see Jones, pulled him out of the class, and told him he was going to make a record. They borrowed a baritone sax from the school’s music room, went back to the studio, and Jones played on “‘Cause I Love You” by Rufus and Carla Thomas: [Excerpt: Rufus and Carla Thomas, “‘Cause I Love You”] “‘Cause I Love You” became a local hit, and soon Jim Stewart got a call from Jerry Wexler at Atlantic, offering to start distributing it, and any future records by Rufus and Carla Thomas. Stewart didn’t really know anything about the business, but when Wexler explained to Stewart that he was the producer of “What’d I Say” by Ray Charles, Stewart knew that was someone he needed to work with — he’d recently had a sort of Damascene conversion after hearing that record, and was now fully committed to his company’s new R&B style. For a five thousand dollar advance, Atlantic ended up with the rights to press and distribute all future masters from Satellite. The next single from the label was a Carla Thomas solo record, “Gee Whizz, Look at His Eyes”. For that session, they booked in some string players, and Bob Tally was meant to write an arrangement for them. However, he didn’t turn up to the session, and when Stewart went round to his house to find him, he discovered that Tally hadn’t written the arrangement, and had been up all night playing at a gig and was in no fit state to write one. Stewart had to make the string players play from a head arrangement — something string players normally never do — and ended up giving them directions like “just play donuts!”, meaning semibreves or whole notes, which are drawn as ovals with a hole in the middle, like a donut. Despite this, “Gee Whizz” went to number five on the R&B charts and ten on the pop charts. Satellite Records had a real hit: [Excerpt: Carla Thomas, “Gee Whizz, Look at His Eyes”] Satellite were starting to build up a whole team of people they could call on. Steve Cropper was working in the record shop, so he was available whenever they needed a guitar part playing or a second keyboard adding. David Porter was working at Big Star, the grocery store across the road, and he turned out to be a talented songwriter and backing vocalist. And of course there was the band that Cropper and Charles Axton were in, which had now been renamed to the Mar-Keys, a pun on “marquis” as in the noble title, and “keys” as in keyboards, as Estelle Axton thought — entirely correctly — that their original name was inappropriate. They also had a pool of Black session players they could call on, mostly older people who’d been brought to them by Rufus Thomas, and there were always eager teenagers turning up wanting to do anything they could in order to make a record. It was the Mar-Keys who finally gave Satellite the distinctive sound they were looking for. Or, at least, it was under the Mar-Keys’ name that the record was released. An instrumental, “Last Night”, was recorded at several sessions run by Moman, often with different lineups of musicians. The Mar-Keys at this point consisted of Steve Cropper, Duck Dunn, Charles Axton, Wayne Jackson, Terry Johnson, Smoochy Smith, and Don Nix, but the lineup on the finished recording had Smith on keyboards, Axton on sax and Jackson on trumpet, with some sources saying that Cropper provided the second keyboard part while others say he only played on outtakes, not on the final version. The other four musicians were Black session players — Lewie Steinberg, Wilbur’s brother, on bass, Gilbert Caples and Floyd Newman on saxes, and Curtis Green on drums. Floyd Newman also did the spoken “Ooh, last night!” that punctuated the record: [Excerpt: The Mar-Keys, “Last Night”] Jim Stewart and Chips Moman were both convinced that would be a flop, as was Jerry Wexler when he heard it. But Estelle Axton believed in its potential — and also believed in her son, who Stewart had little time for. Jim Stewart didn’t want his useless nephew’s band on his label at all if he could help it, but Estelle Axton wanted her son to have a hit. She got a test pressing to a DJ, who started playing it, and people started coming into the shop asking for the record. Eventually, Stewart gave in to his sister’s pressure, and agreed to release the record. There was only one problem — when they pulled the tape out, they found that the first section of the track had somehow been erased. They had to hunt through the rubbish, looking through discarded bits of tape, until they found another take of the song that had a usable beginning they could splice in. They did a very good job — I *think* I can hear the splice, but if it’s where I think it is, it’s about the cleanest editing job on analogue tape I’ve ever heard. If I’m right, the edit comes right in the middle of this passage: [Excerpt: The Mar-Keys, “Last Night”] Did you hear it? The song’s authorship has been debated over the years, because the horn part and the keyboard part were written separately. Caples and Newman, the session sax players, had come up with the horn part, and so always said they should get solo composition credit. Smoochy Smith had separately written the keyboard part, which came from something he’d been working on on his own, so he got credit too. Chips Moman had suggested combining the keyboard and horn lines, and so he got songwriting credit as well. And Charles Axton didn’t contribute anything to the song other than playing on the record, but because his family owned the record label, he got credit as well. The record became a big hit, and there are a couple of hypotheses as to why. Steve Cropper always argued that it was because you could dance the Twist to it, and so it rode the Twist craze, while others have pointed out that at one point in the record they leave a gap instead of saying “Ooh last night” as they do the rest of the way through. That gap allowed DJs to do the interjection themselves, which encouraged them to play it a lot. It made number three on the pop charts and number two on the R&B charts, and it led to Satellite Records coming to the attention of another label, also called Satellite, in California, who offered to sell the Memphis label the rights to use the name. Jim Stewart had never liked Satellite as a name anyway, and so they quickly reissued the record with a new label, named after the first letters of Jim Stewart and Estelle Axton’s surnames. Stax Records was born. The Mar-Keys immediately hit the road to promote the single — which brought resentment from the Black session players, some of whom claim that during the session it hadn’t even been intended as a Mar-Keys record, and who were annoyed that even though the record was primarily their work they weren’t getting the recognition and a bunch of white boys were.  Cropper soon got tired of the tour, quit the group and came back to Memphis — he was annoyed partly because the other band members, being teenage boys, many of them away from home for the first time, acted like wild animals, and partly because Cropper and Charles Axton both believed themselves to be the band’s leader and that the other should obey them. Cropper went back to working in the record shop, and playing on sessions at Stax. The second Mar-Keys single was recorded by the studio musicians while the group were out on tour — the first they even knew about it was when they saw it in the shop: [Excerpt: The Mar-Keys, “The Morning After”] That was much less successful, but the label was still interested in making instrumentals. They started a subsidiary label, Volt — if you put records out with two different label names, it was more likely that radio stations would play more of your records, because it wouldn’t seem like they were playing one label too much — and the first single on it was an instrumental that Chips Moman wrote, “Burnt Biscuits”, by a group consisting of Moman, Rufus Thomas’ son Mavell, Lewie Steinberg, and Howard Grimes: [Excerpt: The Triumphs, “Burnt Biscuits”] That wasn’t a hit, though Moman thought it had the potential to become as big as “Last Night”. It was released under the name “the Triumphs”, after the sports car Moman drove. Shortly after that, Moman produced what would be the last classic record he’d make for Stax, when he produced “You Don’t Miss Your Water” by a new singer, William Bell, who had previously been one of the backing vocalists on “Gee Whiz”. That track had Mavell Thomas on piano, Lewie Steinberg on bass, Ron Capone on drums, and Booker T. Jones on organ — by this point Booker T. was being called on a lot to play keyboards, as Floyd Newman recommended him as a reliable piano player in the hopes that if Jones was on keyboards, he wouldn’t be playing baritone sax, so Newman would get more of those gigs: [Excerpt: William Bell, “You Don’t Miss Your Water”] That was a great record, one of the defining records of the new country-soul genre along with Arthur Alexander’s records, but it would be the last thing Moman would do at Stax. He’d not been getting on with Estelle Axton, and he also claims that he had been promised a third of the company, but Jim Stewart changed his mind and refused to cut him in. Everyone has a different story about what happened, but the upshot was that Moman left the company, went to Nashville for a while, and then founded his own studio, American, in another part of Memphis. Moman would become responsible for writing and producing a whole string of soul, country, and rock classics, and I’m sure we’ll be hearing more from him in the next couple of years. After Moman left, the label floundered a little bit for a few months. Jim Stewart and Steve Cropper split the production duties that Moman had had between them. Stewart had already produced several records for Carla Thomas, and Cropper was a great musician who had been spending every second he could learning how to make records, so they could cope, but they released a mixture of really good soul records that failed to hit the charts, and truly dire novelty country songs like “The Three Dogwoods” by Nick Charles, a song from the perspective of the tree that became the cross on which Jesus was crucified: [Excerpt: Nick Charles, “The Three Dogwoods”] That was co-written by Cropper, which shows that even the man who co-wrote “In the Midnight Hour”, “Dock of the Bay” and “Knock on Wood” had his off days. The record that would prove Stax to be capable of doing great things without Chips Moman came about by accident. Stax was still not exclusively a soul label, and it was cutting the odd country and rockabilly record, and one of the people who was going to use the studio was Billy Lee Riley. You might remember Riley from a year ago, when we looked at his “Flyin’ Saucers Rock ‘n’ Roll”: [Excerpt: Billy Lee Riley and the Little Green Men, “Flyin’ Saucers Rock ‘n’ Roll”] Riley was running his own label at the time, and doing various bits of session work and singing for other people. No-one’s quite sure what he was using the studio for in early 1962 — some say he was cutting a jingle, some say he cut a few actual tracks but that they were awful, and others that he turned up too drunk to record. Either way, the session ended early, and the musicians were at a loose end. The musicians on this session were three of the regular Stax musicians — Steve Cropper, who had just turned twenty, on guitar, Booker T. Jones, who was still a teenager, on organ, and Lewie Steinberg, a decade older than either, on bass. The fourth musician was Al Jackson, who like Steinberg was an older Black man who had cut his teeth playing jazz and R&B throughout the fifties. Booker had played with Jackson in Willie Mitchell’s band, and had insisted to everyone at Stax that they needed to get this man in, as he was the best drummer Jones had ever heard. Jackson was making money from gigging, and didn’t want to waste his time playing sessions, which he thought would not be as lucrative as his regular gigs with Willie Mitchell. Eventually, Stax agreed to take him on on a salary, rather than just paying him one-off session fees, and so he became the first musician employed by Stax as a full-time player — Cropper was already on salary, but that was for his production work and his work at the record shop. As the session had ended rather disappointingly, the four were noodling on some blues as they had nothing better to do. Jim Stewart clicked on the talkback from the control room to tell them to go home, but then heard what they were playing, and told them to start it again so he could get it down on tape: [Excerpt: Booker T and the MGs, “Behave Yourself”] Stewart was happy with that track, but singles needed two sides, and so they needed to come up with something else. Cropper remembered a little musical lick he’d heard on the radio one day when he’d been driving with Booker — they’d both been fascinated by that lick, but neither could remember anything else about the song (and to this day no-one’s figured out what the song they’d heard was). They started noodling around with that lick, and shaped it into a twelve-bar instrumental: [Excerpt: Booker T. and the MGs, “Green Onions”] That was even better than the other track, and they needed a funky name to go with such a funky track. Lewie Steinberg thought that onions were the funkiest thing he could think of, and so the track became “Green Onions”. As the last instrumental they’d released with food as a title, “Burnt Biscuits”, had been by the Triumphs, they thought the group name should be another sports car name, and so it came out as by Booker T and the MGs. (They later said that MG stood either for Memphis Group or for Mixed Group, because they had both Black and white members, but the original idea was definitely the car – they just didn’t want to have a trademark lawsuit on their hands). “Green Onions” went to number one on the R&B charts and number three on the pop charts, and became the biggest thing Stax had ever recorded. That core group became the Stax house band, playing on every session from that point on. If they recorded an instrumental on their own, it went out as by Booker T and the MGs. If they recorded an instrumental with horn players, it went out as by the Mar-Keys, and they also played backing all the singers who came through the door of Stax, and there would be a lot of them over the next few years. There were a couple of changes — Booker T actually went off to university soon after recording “Green Onions”, so for a couple of years he could only play on weekends and during holidays — on weekdays, the studio used another keyboard player, again suggested by Floyd Newman, who had hired a young man for his bar band when the young man could only play piano with one hand, just because he seemed to have a feel for the music. Luckily, Isaac Hayes had soon learned to play with both hands, and he fit right in while Booker was away at university. The other change came a couple of years later, when after the MGs had had a few hits, Lewie Steinberg was replaced by Duck Dunn. Steinberg always claimed that the main reason he was dropped from the MGs was because he was Black and Steve Cropper wanted another white man. Cropper has always said it was because Duck Dunn had a harder-edged style that fit their music better than Steinberg’s looser feel, but also that Dunn had been his best friend for years and he wanted to play more with him. The two Black members of the MGs have never commented publicly, as far as I can tell, on the change. But whether with Jones or Hayes, Steinberg or Dunn, the MGs would be the foundation of Stax’s records for the rest of the sixties, as well as producing a string of instrumental hits. And it was those instrumental hits that led to the arrival of the person who would make Stax a legendary label. Joe Galkin, a record promoter to whom Jim Stewart owed a favour, was managing a local guitarist, Johnny Jenkins, and brought him into the studio to see if Stax could get him an instrumental hit, since they’d had a few of those. Jenkins did eventually release a single on Stax, but it wasn’t particularly special, and didn’t have any success: [Excerpt: Johnny Jenkins, “Spunky”] The day of Jenkins’ first session was a flop, they’d not been able to get anything decent recorded, and the musicians started to pack up. But Galkin had made a deal with the singer in Jenkins’ band — if he’d drive Jenkins to the studio, since Jenkins couldn’t drive, he’d try to get a record cut with him as well. Nobody was interested, but Galkin wore Jim Stewart down and he agreed to listen to this person who he just thought of as Johnny Jenkins’ driver. After hearing him, Steve Cropper ran out to get Lewie Steinberg, who was packing his bass away, and tell him to bring it back into the studio. Cropper played piano, Jenkins stayed on guitar, and Booker, Al, and Lewie played their normal instruments. Jim Stewart wasn’t particularly impressed with the results, but he owed Galkin a favour, so he released the record, a fun but unoriginal Little Richard soundalike: [Excerpt: Otis Redding, “Hey Hey Baby”] But soon DJs flipped the record, and it was the B-side that became the hit: [Excerpt: Otis Redding, “These Arms of Mine”] Otis Redding would never again be thought of as just Johnny Jenkins’ driver, and Stax Records was about to hit the big time.  

Episode 105 of A History of Rock Music in Five Hundred Songs looks at "Green Onions", and how a company started by a Western Swing fiddle player ended up making the most important soul records of the sixties. 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 "He's So Fine" by the Chiffons. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Resources I used three main books when creating this episode. Two were histories of Stax -- Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon.  Country Soul by Charles L Hughes is a more general overview of soul music made in Tennessee and Alabama in the sixties, but is useful as it's less likely to take statements about racial attitudes entirely at face value. This is a good cheap compilation of Booker T and the MGs' music. If the Erwin Records tracks here interest you, they're all available on this compilation. The Complete Stax-Volt Singles vol. 1: 1959-1968 is a nine-CD box set containing much of the rest of the music in this episode. It's out of print physically, but the MP3 edition, while pricey, is worth it. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   And now we come to the end of the backfilling portion of the story. Since "Telstar" we've been looking at records from 1962 that came out just before "Love Me Do" -- we've essentially been in an extended flashback. This is the last of those flashback episodes, and from next week on we're moving forward into 1963. Today we're going to look at a record by a group of musicians who would be as important to the development of music in the 1960s as any, and at the early years of Stax Records, a label that would become as important as Chess, Motown, or Sun. Today, we're looking at "Green Onions" by Booker T. and the MGs, and how a white country fiddle player accidentally kickstarted the most important label in soul music: [Excerpt: Booker T. and the MGs, "Green Onions"] Our story starts in Memphis, with Jim Stewart, a part-time fiddle player. Stewart was in a Western Swing band, and was hugely influenced by Bob Wills, but he wasn't making any real money from music. Instead, he was working a day job at a bank. But he was still interested in music, and wanted to be involved in the industry. One of the gigs he'd had was in the house band at a venue where Elvis sometimes played in his early years, and he'd seen how Elvis had gone from an obscure local boy all the way to the biggest star in the world. He knew he couldn't do that himself, but he was irresistibly attracted to any field where that was *possible*. He found his way into the industry, and into music history as a result of a tip from his barber. The barber in question, Erwin Ellis, was another country fiddle player, but he owned his own record label, Erwin Records. Erwin Records was a tiny label -- it was so tiny that its first release, by Ellis himself, seems not to exist anywhere. Even on compilations of Erwin Records material, it's not present, which is a shame, as it would be interesting from a historical perspective to hear Ellis' own playing. But while Ellis was unsuccessful both as a fiddle player and as a record company owner, he did manage to release a handful of rockabilly classics on Erwin Records, like Hoyt Jackson's "Enie Meanie Minie Moe": [Excerpt: Hoyt Jackson, "Enie Meanie Minie Moe"] and "Boppin' Wig Wam Willie" by Ray Scott, who had written "Flyin' Saucers Rock & Roll" for Billy Lee Riley, and who was backed by Riley's Little Green Men on this single: [Excerpt: Ray Scott, "Boppin' Wig Wam WIllie"] Ellis' label wasn't hugely successful, but he made some decent money from it, and he explained the realities of the music industry to Stewart as Stewart was sat in his barber's chair. He told Stewart that you didn't make money from the records themselves -- small labels didn't sell much -- but that he was making some good money from the songs. The formula for success in the music business, Ellis explained, was that when you got a new artist through the door, you told them they could only record originals, not cover versions -- and then you made sure they signed the publishing over to you. If you sold a record, you were just selling a bit of plastic, and you'd already paid to make the bit of plastic. There was no real money in that. But if you owned the song, every time that record was played on the radio, you got a bit of money with no extra outlay -- and if you owned enough songs, then some of them might get covered by a big star, and then you'd get some real money. Hoyt Jackson, Ellis' biggest act, hadn't had any hits himself, but he'd written "It's A Little More Like Heaven (Where You Are)": [Excerpt: Hoyt Jackson, "It's A Little More Like Heaven (Where You Are)"] Hank Locklin had recorded a cover version of it, which had gone to number three on the country charts: [Excerpt: Hank Locklin "It's a Little More Like Heaven"] And Johnny Cash had rewritten it a bit, as "You're the Nearest Thing to Heaven", and had also had a top five country hit with it: [Excerpt: Johnny Cash, "You're the Nearest Thing to Heaven"] Ellis explained to Stewart that he was still getting cheques every few months because he owned the publishing for this song that someone else had written and brought to him. If you owned the publishing for a song that became a hit, then you had a steady source of income without having to lift a finger. And people would just give you the publishing on their songs if you agreed to put a record of them out. For someone like Stewart, who worked in a bank and knew a little bit about finance, that sounded just about perfect. He pulled together a singing DJ, a piano player, and a rhythm guitarist he knew, and they pooled their savings and raised a thousand dollars to put out a record. Stewart wrote a song -- the only song he'd ever write -- Fred Byler, the DJ, sang it, and they hired Ellis and his tape recorder to record it in Jim's wife's uncle's garage. They came up with the name Satellite Records for their label -- nobody liked it, but they couldn't think of anything better, and satellites were in the news with the recent launch of Sputnik. "Blue Roses" by Fred Byler, came out to pretty much no sales or airplay: [Excerpt: Fred Byler, "Blue Roses"] The next record was more interesting -- "Boppin' High School Baby" by Don Willis is a prime slice of Memphis rockabilly, though one with so much slapback echo that even Joe Meek might have said "hang on, isn't that a bit much?": [Excerpt: Don Willis, "Boppin' High School Baby"] That also didn't sell -- Stewart and his partners knew nothing about the music business. They didn't know how to get the records distributed to shops, and they had no money left. And then Erwin Ellis moved away and took his tape recorder with him, and Stewart's wife's uncle wanted to use his garage again and so wouldn't let them record there any more. It looked like that would be the end of Satellite Records. But then three things changed everything for Jim Stewart, and for music history. The first of these was that Stewart's new barber was also interested in music -- he had a daughter who he thought could sing, and he had a large storage space he wasn't using, in Brunswick on the outskirts of the city. If they'd record his daughter, they could use the storage space as a studio. The second was Chips Moman. Chips was a teenage guitarist who had been playing a friend's guitar at a drugstore in Memphis, just hanging around after work, when Warren Smith walked in. Smith was a Sun Records rockabilly artist, who'd had a minor hit with "Rock and Roll Ruby": [Excerpt: Warren Smith, "Rock and Roll Ruby"] Smith liked Moman's playing, and offered him a job -- Moman's initial response was "doing what?" Moman had joined Smith's band on guitar, then played with Johnny and Dorsey Burnette. He went with the Burnettes to California, where he was a session player for a time -- though I've never been able to find a list of any of the records he played on, just people saying he played at Gold Star Studios. He'd then joined Gene Vincent's Blue Caps, before being in an accident which had led him to come back to Memphis. He'd played guitar on the Don Willis session, and he'd essentially produced it, applying some of the techniques he'd learned in Californian studios. He was young, he was eager to make records, and he knew what he was doing. And the third event was that Stewart managed to persuade his sister, Estelle Axton, to buy out his business partners. Estelle was a naturally business-minded person who also had a yearning to do something involving music, and had been doing things in little ways. For example, the people where she worked all liked music but found they were too busy to go to the record shop -- so Estelle would make a list of records they liked, go to one of the wholesalers that distributed music to record shops, buy records there for seventy-six cents, and sell them to her colleagues for a dollar. Estelle persuaded her husband, against his better judgement, to remortgage their house, and she used the money to buy recording equipment. Moman helped them set it up in the barber's storage space, and Satellite Records started up again, restarting their numbering as if from scratch with what they were now considering their first real release -- a song that Moman had co-written, sung by a black vocal group, the Vel-Tones: [Excerpt: The Vel-Tones, "Fool in Love"] The record was pretty much in the style of the white pop semi-doo-wop that was charting at the time, but the singers were black, and so it had to be promoted as R&B, and Jim Stewart made visits to Black DJs like Al Bell and Rufus Thomas, and managed to get the record some airplay. It was popular enough that the record got picked up for distribution by Mercury, and actually brought Satellite a small profit. But the label still wasn't doing well, and they were finding it difficult to persuade musicians to trek all the way out to Brunswick. And the studio space was bad in other ways -- it was right near a train track, and the noise of the trains would disrupt the sessions. And while it was free, at some point they would actually have to make a record featuring Stewart's barber's daughter, which nobody actually fancied doing.  So they decided to move studios again, and in doing so they were inspired by another Memphis record label. Hi Records had started around the same time as Satellite, and it had had a few big hits, most notably "Smokie (Part 2)" by the Bill Black Combo, the group that Elvis' former bass player had formed when Elvis had joined the army: [Excerpt: Bill Black Combo: "Smokie (Part 2)"] For their studio, Hi used an old cinema -- a lot of cinemas were closing down in the late fifties, due to the combination of television and the drive-in making indoor cinemas less appealing, and because white flight to the suburbs meant that people with money no longer lived in walking distance of cinemas the way they used to. The Satellite team found an old cinema on East McLemore Avenue, much closer to the centre of Memphis and easier for musicians to get to. That cinema had stopped showing films a year or two earlier, and there'd been a brief period where it had been used for country music performances, but the area was becoming increasingly Black, as white people moved away, and while plenty of Black people liked country music, they weren't exactly welcomed to the performances in segregated 1950s Memphis, and so the building was abandoned, and available cheap. Meanwhile, Estelle's son Charles was trying to get into the music business, too. Before I go any further in talking about him, I should say that I've had to depart from my normal policy when talking about him. Normally, I refer to people by the name they chose to go by, but in his case he was known by a nickname which was harmless in that time and place, but later became an extremely offensive racist slur in the UK, used against people of Pakistani descent. The word didn't have those connotations in the US at the time, and he died before its use as a slur became widely known over there, but I'm just going to call him Charles. And speaking of words which might be considered racial slurs, the band that Charles joined -- an all-white group who loved to play R&B -- was called the Royal Spades. This was supposedly because of their love of playing cards, but there's more than a suspicion that the racial connotations of the term were used deliberately, and that these white teenage boys were giggling at their naughty racial transgressiveness. The group had originally just been a guitar/bass/drum band, but Charles Axton had approached them and suggested they should get a horn section, offering his services as a tenor player. They'd laughed when he told them he'd only been playing a couple of weeks, but once he explained that his mother and uncle owned a record label, he was in the group, and they'd expanded to have a full horn section. The group was led by guitarist Steve Cropper and also included his friend, the bass player Duck Dunn, and Cropper and Charles Axton helped with the refurbishing of the cinema into a recording studio. The cinema had another advantage, too -- as well as the auditorium, which became the studio, it had a lobby and concession stand. Estelle Axton turned that into a record shop, which she ran herself -- with Cropper often helping out behind the counter. She instituted a policy that, unlike other record shops, people could hang around all day listening to music, without necessarily buying anything. She also brought in a loyalty card scheme -- buy nine records and get a tenth record for free -- which allowed her to track what individual customers were buying. She soon became so knowledgeable about what was selling to the Black teenagers of the area that she boasted that if you came into the shop with twenty dollars, she'd have sold you nineteen dollars' worth of records before you left -- she'd leave you with a dollar so you could pay for your transport home, to make sure you could come back with more money. By having a record shop in the record studio itself, they knew what was selling and could make more music that sounded like that. By having a crowd around all day listening to music, they could put the new recordings on and gauge the response before pressing a single copy. Satellite Records suddenly had a market research department. And they soon had an ally in getting them airplay. Rufus Thomas was the most important man in Black entertainment in Memphis. He was a popular DJ and comedian, he was the compere at almost every chitlin' circuit show in the area, and he was also a popular singer. He'd been the one to record the first hit on Sun Records, "Bear Cat", the answer record to "Hound Dog" we talked about way back in episode fifteen: [Excerpt: Rufus Thomas, "Bear Cat"] Rufus Thomas knew Jim Stewart from when Stewart had been promoting the Vel-Tones single, and so he came into the newly opened studio and suggested he cut a few tracks. If you've got a record label, and a DJ wants to make a record with you, that's a godsend -- you're guaranteed airplay, not only for that record, but for a few of your others. And if that DJ also happens to be a genuine talent who'd made hit records before, you jump at the chance. Thomas also brought in his daughter, Carla, who happened to have an astonishing voice.  For the first session in the new studio, they recorded a song Rufus had written, "'Cause I Love You", with a few musicians that he knew, including a bass player called Wilbur Steinberg, and with Steve Cropper sitting in on guitar and Chips Moman producing. Also in the studio was David Porter, a teenager who sang in a band with Bob Tally, the trumpet player on the session -- Porter was skipping school so he could be in a real recording studio, even though he wasn't going to be singing on the session. When they started playing the song, Tally decided that it would sound good with a baritone sax on it. Nobody in the studio played saxophone, but then Porter remembered one of his classmates at Booker T Washington High School. This classmate was also called Booker T. -- Booker T. Jones -- and he could play everything. He played oboe, sax, trombone, double bass, guitar, and keyboards, and played them all to a professional standard. Porter popped over to the school, walked into the classroom Jones was in, told the teacher that another teacher wanted to see Jones, pulled him out of the class, and told him he was going to make a record. They borrowed a baritone sax from the school's music room, went back to the studio, and Jones played on "'Cause I Love You" by Rufus and Carla Thomas: [Excerpt: Rufus and Carla Thomas, "'Cause I Love You"] "'Cause I Love You" became a local hit, and soon Jim Stewart got a call from Jerry Wexler at Atlantic, offering to start distributing it, and any future records by Rufus and Carla Thomas. Stewart didn't really know anything about the business, but when Wexler explained to Stewart that he was the producer of "What'd I Say" by Ray Charles, Stewart knew that was someone he needed to work with -- he'd recently had a sort of Damascene conversion after hearing that record, and was now fully committed to his company's new R&B style. For a five thousand dollar advance, Atlantic ended up with the rights to press and distribute all future masters from Satellite. The next single from the label was a Carla Thomas solo record, "Gee Whizz, Look at His Eyes". For that session, they booked in some string players, and Bob Tally was meant to write an arrangement for them. However, he didn't turn up to the session, and when Stewart went round to his house to find him, he discovered that Tally hadn't written the arrangement, and had been up all night playing at a gig and was in no fit state to write one. Stewart had to make the string players play from a head arrangement -- something string players normally never do -- and ended up giving them directions like "just play donuts!", meaning semibreves or whole notes, which are drawn as ovals with a hole in the middle, like a donut. Despite this, "Gee Whizz" went to number five on the R&B charts and ten on the pop charts. Satellite Records had a real hit: [Excerpt: Carla Thomas, "Gee Whizz, Look at His Eyes"] Satellite were starting to build up a whole team of people they could call on. Steve Cropper was working in the record shop, so he was available whenever they needed a guitar part playing or a second keyboard adding. David Porter was working at Big Star, the grocery store across the road, and he turned out to be a talented songwriter and backing vocalist. And of course there was the band that Cropper and Charles Axton were in, which had now been renamed to the Mar-Keys, a pun on "marquis" as in the noble title, and "keys" as in keyboards, as Estelle Axton thought -- entirely correctly -- that their original name was inappropriate. They also had a pool of Black session players they could call on, mostly older people who'd been brought to them by Rufus Thomas, and there were always eager teenagers turning up wanting to do anything they could in order to make a record. It was the Mar-Keys who finally gave Satellite the distinctive sound they were looking for. Or, at least, it was under the Mar-Keys' name that the record was released. An instrumental, "Last Night", was recorded at several sessions run by Moman, often with different lineups of musicians. The Mar-Keys at this point consisted of Steve Cropper, Duck Dunn, Charles Axton, Wayne Jackson, Terry Johnson, Smoochy Smith, and Don Nix, but the lineup on the finished recording had Smith on keyboards, Axton on sax and Jackson on trumpet, with some sources saying that Cropper provided the second keyboard part while others say he only played on outtakes, not on the final version. The other four musicians were Black session players -- Lewie Steinberg, Wilbur's brother, on bass, Gilbert Caples and Floyd Newman on saxes, and Curtis Green on drums. Floyd Newman also did the spoken "Ooh, last night!" that punctuated the record: [Excerpt: The Mar-Keys, "Last Night"] Jim Stewart and Chips Moman were both convinced that would be a flop, as was Jerry Wexler when he heard it. But Estelle Axton believed in its potential -- and also believed in her son, who Stewart had little time for. Jim Stewart didn't want his useless nephew's band on his label at all if he could help it, but Estelle Axton wanted her son to have a hit. She got a test pressing to a DJ, who started playing it, and people started coming into the shop asking for the record. Eventually, Stewart gave in to his sister's pressure, and agreed to release the record. There was only one problem -- when they pulled the tape out, they found that the first section of the track had somehow been erased. They had to hunt through the rubbish, looking through discarded bits of tape, until they found another take of the song that had a usable beginning they could splice in. They did a very good job -- I *think* I can hear the splice, but if it's where I think it is, it's about the cleanest editing job on analogue tape I've ever heard. If I'm right, the edit comes right in the middle of this passage: [Excerpt: The Mar-Keys, "Last Night"] Did you hear it? The song's authorship has been debated over the years, because the horn part and the keyboard part were written separately. Caples and Newman, the session sax players, had come up with the horn part, and so always said they should get solo composition credit. Smoochy Smith had separately written the keyboard part, which came from something he'd been working on on his own, so he got credit too. Chips Moman had suggested combining the keyboard and horn lines, and so he got songwriting credit as well. And Charles Axton didn't contribute anything to the song other than playing on the record, but because his family owned the record label, he got credit as well. The record became a big hit, and there are a couple of hypotheses as to why. Steve Cropper always argued that it was because you could dance the Twist to it, and so it rode the Twist craze, while others have pointed out that at one point in the record they leave a gap instead of saying "Ooh last night" as they do the rest of the way through. That gap allowed DJs to do the interjection themselves, which encouraged them to play it a lot. It made number three on the pop charts and number two on the R&B charts, and it led to Satellite Records coming to the attention of another label, also called Satellite, in California, who offered to sell the Memphis label the rights to use the name. Jim Stewart had never liked Satellite as a name anyway, and so they quickly reissued the record with a new label, named after the first letters of Jim Stewart and Estelle Axton's surnames. Stax Records was born. The Mar-Keys immediately hit the road to promote the single -- which brought resentment from the Black session players, some of whom claim that during the session it hadn't even been intended as a Mar-Keys record, and who were annoyed that even though the record was primarily their work they weren't getting the recognition and a bunch of white boys were.  Cropper soon got tired of the tour, quit the group and came back to Memphis -- he was annoyed partly because the other band members, being teenage boys, many of them away from home for the first time, acted like wild animals, and partly because Cropper and Charles Axton both believed themselves to be the band's leader and that the other should obey them. Cropper went back to working in the record shop, and playing on sessions at Stax. The second Mar-Keys single was recorded by the studio musicians while the group were out on tour -- the first they even knew about it was when they saw it in the shop: [Excerpt: The Mar-Keys, "The Morning After"] That was much less successful, but the label was still interested in making instrumentals. They started a subsidiary label, Volt -- if you put records out with two different label names, it was more likely that radio stations would play more of your records, because it wouldn't seem like they were playing one label too much -- and the first single on it was an instrumental that Chips Moman wrote, "Burnt Biscuits", by a group consisting of Moman, Rufus Thomas' son Mavell, Lewie Steinberg, and Howard Grimes: [Excerpt: The Triumphs, "Burnt Biscuits"] That wasn't a hit, though Moman thought it had the potential to become as big as "Last Night". It was released under the name "the Triumphs", after the sports car Moman drove. Shortly after that, Moman produced what would be the last classic record he'd make for Stax, when he produced "You Don't Miss Your Water" by a new singer, William Bell, who had previously been one of the backing vocalists on "Gee Whiz". That track had Mavell Thomas on piano, Lewie Steinberg on bass, Ron Capone on drums, and Booker T. Jones on organ -- by this point Booker T. was being called on a lot to play keyboards, as Floyd Newman recommended him as a reliable piano player in the hopes that if Jones was on keyboards, he wouldn't be playing baritone sax, so Newman would get more of those gigs: [Excerpt: William Bell, "You Don't Miss Your Water"] That was a great record, one of the defining records of the new country-soul genre along with Arthur Alexander's records, but it would be the last thing Moman would do at Stax. He'd not been getting on with Estelle Axton, and he also claims that he had been promised a third of the company, but Jim Stewart changed his mind and refused to cut him in. Everyone has a different story about what happened, but the upshot was that Moman left the company, went to Nashville for a while, and then founded his own studio, American, in another part of Memphis. Moman would become responsible for writing and producing a whole string of soul, country, and rock classics, and I'm sure we'll be hearing more from him in the next couple of years. After Moman left, the label floundered a little bit for a few months. Jim Stewart and Steve Cropper split the production duties that Moman had had between them. Stewart had already produced several records for Carla Thomas, and Cropper was a great musician who had been spending every second he could learning how to make records, so they could cope, but they released a mixture of really good soul records that failed to hit the charts, and truly dire novelty country songs like "The Three Dogwoods" by Nick Charles, a song from the perspective of the tree that became the cross on which Jesus was crucified: [Excerpt: Nick Charles, "The Three Dogwoods"] That was co-written by Cropper, which shows that even the man who co-wrote "In the Midnight Hour", "Dock of the Bay" and "Knock on Wood" had his off days. The record that would prove Stax to be capable of doing great things without Chips Moman came about by accident. Stax was still not exclusively a soul label, and it was cutting the odd country and rockabilly record, and one of the people who was going to use the studio was Billy Lee Riley. You might remember Riley from a year ago, when we looked at his "Flyin' Saucers Rock 'n' Roll": [Excerpt: Billy Lee Riley and the Little Green Men, "Flyin' Saucers Rock 'n' Roll"] Riley was running his own label at the time, and doing various bits of session work and singing for other people. No-one's quite sure what he was using the studio for in early 1962 -- some say he was cutting a jingle, some say he cut a few actual tracks but that they were awful, and others that he turned up too drunk to record. Either way, the session ended early, and the musicians were at a loose end. The musicians on this session were three of the regular Stax musicians -- Steve Cropper, who had just turned twenty, on guitar, Booker T. Jones, who was still a teenager, on organ, and Lewie Steinberg, a decade older than either, on bass. The fourth musician was Al Jackson, who like Steinberg was an older Black man who had cut his teeth playing jazz and R&B throughout the fifties. Booker had played with Jackson in Willie Mitchell's band, and had insisted to everyone at Stax that they needed to get this man in, as he was the best drummer Jones had ever heard. Jackson was making money from gigging, and didn't want to waste his time playing sessions, which he thought would not be as lucrative as his regular gigs with Willie Mitchell. Eventually, Stax agreed to take him on on a salary, rather than just paying him one-off session fees, and so he became the first musician employed by Stax as a full-time player -- Cropper was already on salary, but that was for his production work and his work at the record shop. As the session had ended rather disappointingly, the four were noodling on some blues as they had nothing better to do. Jim Stewart clicked on the talkback from the control room to tell them to go home, but then heard what they were playing, and told them to start it again so he could get it down on tape: [Excerpt: Booker T and the MGs, "Behave Yourself"] Stewart was happy with that track, but singles needed two sides, and so they needed to come up with something else. Cropper remembered a little musical lick he'd heard on the radio one day when he'd been driving with Booker -- they'd both been fascinated by that lick, but neither could remember anything else about the song (and to this day no-one's figured out what the song they'd heard was). They started noodling around with that lick, and shaped it into a twelve-bar instrumental: [Excerpt: Booker T. and the MGs, "Green Onions"] That was even better than the other track, and they needed a funky name to go with such a funky track. Lewie Steinberg thought that onions were the funkiest thing he could think of, and so the track became "Green Onions". As the last instrumental they'd released with food as a title, "Burnt Biscuits", had been by the Triumphs, they thought the group name should be another sports car name, and so it came out as by Booker T and the MGs. (They later said that MG stood either for Memphis Group or for Mixed Group, because they had both Black and white members, but the original idea was definitely the car – they just didn't want to have a trademark lawsuit on their hands). "Green Onions" went to number one on the R&B charts and number three on the pop charts, and became the biggest thing Stax had ever recorded. That core group became the Stax house band, playing on every session from that point on. If they recorded an instrumental on their own, it went out as by Booker T and the MGs. If they recorded an instrumental with horn players, it went out as by the Mar-Keys, and they also played backing all the singers who came through the door of Stax, and there would be a lot of them over the next few years. There were a couple of changes -- Booker T actually went off to university soon after recording "Green Onions", so for a couple of years he could only play on weekends and during holidays -- on weekdays, the studio used another keyboard player, again suggested by Floyd Newman, who had hired a young man for his bar band when the young man could only play piano with one hand, just because he seemed to have a feel for the music. Luckily, Isaac Hayes had soon learned to play with both hands, and he fit right in while Booker was away at university. The other change came a couple of years later, when after the MGs had had a few hits, Lewie Steinberg was replaced by Duck Dunn. Steinberg always claimed that the main reason he was dropped from the MGs was because he was Black and Steve Cropper wanted another white man. Cropper has always said it was because Duck Dunn had a harder-edged style that fit their music better than Steinberg's looser feel, but also that Dunn had been his best friend for years and he wanted to play more with him. The two Black members of the MGs have never commented publicly, as far as I can tell, on the change. But whether with Jones or Hayes, Steinberg or Dunn, the MGs would be the foundation of Stax's records for the rest of the sixties, as well as producing a string of instrumental hits. And it was those instrumental hits that led to the arrival of the person who would make Stax a legendary label. Joe Galkin, a record promoter to whom Jim Stewart owed a favour, was managing a local guitarist, Johnny Jenkins, and brought him into the studio to see if Stax could get him an instrumental hit, since they'd had a few of those. Jenkins did eventually release a single on Stax, but it wasn't particularly special, and didn't have any success: [Excerpt: Johnny Jenkins, "Spunky"] The day of Jenkins' first session was a flop, they'd not been able to get anything decent recorded, and the musicians started to pack up. But Galkin had made a deal with the singer in Jenkins' band -- if he'd drive Jenkins to the studio, since Jenkins couldn't drive, he'd try to get a record cut with him as well. Nobody was interested, but Galkin wore Jim Stewart down and he agreed to listen to this person who he just thought of as Johnny Jenkins' driver. After hearing him, Steve Cropper ran out to get Lewie Steinberg, who was packing his bass away, and tell him to bring it back into the studio. Cropper played piano, Jenkins stayed on guitar, and Booker, Al, and Lewie played their normal instruments. Jim Stewart wasn't particularly impressed with the results, but he owed Galkin a favour, so he released the record, a fun but unoriginal Little Richard soundalike: [Excerpt: Otis Redding, "Hey Hey Baby"] But soon DJs flipped the record, and it was the B-side that became the hit: [Excerpt: Otis Redding, "These Arms of Mine"] Otis Redding would never again be thought of as just Johnny Jenkins' driver, and Stax Records was about to hit the big time.  

This episode was recorded at an exclusive event called PodMAX / Propelify where founders had an opportunity to share their stories and knowledge.  Special guest host Amber Fuhriman of Success Development Solutions leads the conversation down a path of insights, solutions, and collaboration.  Join the us for our next event at www.podmax.co And grab your virtual seat for the next Propelify Innovation Festival on October 5-9 at http://www.propelify.com (www.propelify.com) Michael Galkin Michael Galkin, Co-founder of VoiceNEXT, is a serial entrepreneur. Having started his first company in his freshman dorm room to taking another public, Mr. Galkin has a vision and turns that vision to reality. Mr. Galkin has over 35 years experience in the telecommunications industry. He was involved in the wireless industry from its inception in 1986. He is presently a leader in the VoIP industry with 15 years experience. VoiceNEXT was a pioneer creating a “Business Class” Cloud phone service for businesses. Using VoiceNEXT's Cloud PBX, companies can use the power of the internet to empower their voice communications. Mr. Galkin was recognized as a finalist in the Ernst and Young Entrepreneur of the Year Award as well as receiving an Inc. 500 Award(#126).         Mr. Galkin has been with VoiceNEXT since it's inception in 2003. The Company provides state of the art Telecom services to business' using the power of the internet. VoiceNEXT powers close to 1000 businesses; providing them with cloud based communications services. As a leader in the Industry VoiceNEXT was one of the first companies to add SMS to business contact centers. VoiceNEXT strives to continue to deliver cutting edge communications services to its clients. The Company presently powers Call and Contact centers for several Church and Dwight brands: Trojan, Simply Saline and Act Fluoride; as well The Tribeca Film Festival and others. Let VoiceNEXT show you a better way Learn more about your ad choices. Visit https://megaphone.fm/adchoices (megaphone.fm/adchoices)

On Ep33 of Livestream Deals, entrepreneur Mike Galkin shares his journey from running storage and window washing businesses in college to his current company, VoiceNEXT, which offers industry-leading customer service in the cloud communication industry. Hosted by Ross Brand of Livestream Universe as part of the PodMAX event presented by Propelify. SUBSCRIBE YouTube Channel: https://youtube.com/LivestreamUniverse (https://YouTube.com/LivestreamUniverse) SHOP THE SHOW: https://livestreamdeals.com/ (https://LivestreamDeals.com) https://livestreamuniverse.com/Resources (https://LivestreamUniverse.com/Resources) https://amazon.com/shop/iRossBrand (https://amazon.com/shop/iRossBrand) Michael Galkin, founder of Voicenext, is a serial entrepreneur. Having started his first company in his freshman dorm room to taking another public, Mr. Galkin has a vision and turns that vision to reality. Mr. Galkin has extensive experience in the telecommunications industry. He was involved in the wireless industry from its inception. He is presently a leader in the VoIP industry. VoiceNEXT was recognized by the New Jersey Technology Council as one of NJ's fast growth companies. VoiceNEXT has put together the areas first “Business Class” VoIP service for businesses. Using VoiceNEXT's Cloud PBX companies can use the power of the internet to empower their voice communications. Mr. Galkin was recognized as a finalist in the Ernst and Young Entrepreneur of the Year Award as well as receiving an Inc. 500 Award.

On Ep33 of Livestream Deals, entrepreneur Mike Galkin shares his journey from running storage and window washing businesses in college to his current company, VoiceNEXT, which offers industry-leading customer service in the cloud communication industry. Hosted by Ross Brand of Livestream Universe as part of the PodMAX event presented by Propelify.SUBSCRIBEPodcast: https://livestreamdeals.com/podcast/YouTube Channel: https://YouTube.com/LivestreamUniverseSHOP THE SHOW:https://LivestreamDeals.comhttps://LivestreamUniverse.com/Resourceshttps://amazon.com/shop/iRossBrandMichael Galkin, founder of Voicenext, is a serial entrepreneur. Having started his first company in his freshman dorm room to taking another public, Mr. Galkin has a vision and turns that vision to reality. Mr. Galkin has extensive experience in the telecommunications industry. He was involved in the wireless industry from its inception. He is presently a leader in the VoIP industry. VoiceNEXT was recognized by the New Jersey Technology Council as one of NJ’s fast growth companies. VoiceNEXT has put together the areas first “Business Class” VoIP service for businesses. Using VoiceNEXT’s Cloud PBX companies can use the power of the internet to empower their voice communications. Mr. Galkin was recognized as a finalist in the Ernst and Young Entrepreneur of the Year Award as well as receiving an Inc. 500 Award.

Pastor Gary interviews Will Galkin on his experience with evangelism and church planting.

Link to bioRxiv paper: http://biorxiv.org/cgi/content/short/2020.07.01.182428v1?rss=1 Authors: Stojakovic, A., Trushin, S., Sheu, A., Khalili, L., Chang, S.-Y., Li, X., Christensen, T., Salisbury, J. L., Geroux, R. E., Gateno, B., Flannery, P. J., Dehankar, M., Funk, C. C., Wilkins, J., Stepanova, A., OHagan, T., Galkin, A., Nesbitt, J., Zhu, X., Tripathi, U., Macura, S., Tchkonia, T., Pirtskhalava, T., Kirkland, J. L., Kudgus, R. A., Schoon, R. A., Reid, J. M., Yamazaki, Y., Kanekiyo, T., Zhang, S., Nemutlu, E., Dzeja, P., Jaspersen, A., Kwon, C. Y. I., Lee, M. K., Trushina, E. Abstract: We demonstrate that mitochondrial respiratory chain complex I is an important small molecule druggable target in Alzheimers Disease (AD). Partial inhibition of complex I triggers the AMP-activated protein kinase-dependent signaling network leading to neuroprotection in symptomatic APP/PS1 mice, a translational model of AD. Treatment of APP/PS1 mice with complex I inhibitor after the onset of AD-like neuropathology improved energy homeostasis, synaptic activity, long-term potentiation, dendritic spine maturation, cognitive function and proteostasis, and reduced oxidative stress and inflammation in brain and periphery, ultimately blocking the ongoing neurodegeneration. Therapeutic efficacy in vivo was monitored using translational biomarkers FDG-PET, 31P NMR, and metabolomics. Cross-validation of the mouse and the human AMP-AD transcriptomic data demonstrated that pathways improved by the treatment in APP/PS1 mice, including the immune system response and neurotransmission, represent mechanisms essential for therapeutic efficacy in AD patients. Copy rights belong to original authors. Visit the link for more info

Yuriy Galkin’s latest album ...For Its Beauty Alone has been turning heads since its release last year, getting warm accolades in All About Jazz, Jazz Weekly, and several other publications. On today’s episode, we chat with Yuriy about growing up in Russia, moving to the United Kingdom, and his eventual relocation to the New York City area in 2017.  We also talk about composing, work flows, how Yuriy approaches orchestration, and much more.  Check out Yuriy on Instagram, and check out his album release show at Smalls in New York City on February 19 if you get the chance! Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations is sponsored by: D'Addario Strings This episode is brought to you by D’Addario Strings! Check out their Zyex strings, which are synthetic core strings that produce an extremely warm, rich sound. Get the sound and feel of gut strings with more evenness, projection and stability than real gut.   Steve Swan String Bass Steve Swan String Bass features the West Coast’s largest selection of double basses between Los Angeles and Canada.  Located in Burlingame, just south of San Francisco, their large retail showroom holds about 70 basses on display. Their new basses all feature professional setups and come with a cover at no additional cost. Used and consignment instruments receive any needed repairs and upgrades before getting a display position on the sales floor. Upton Bass String Instrument Company Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players. The Bass Violin Shop The Bass Violin Shop offers the Southeast’s largest inventory of laminate, hybrid and carved double basses. Whether you are in search of the best entry-level laminate, or a fine pedigree instrument, there is always a unique selection ready for you to try. Trade-ins and consignments welcome! Modacity   Modacity is a practicing app that helps musicians be more effective at practice.  They help you get the results you want, while keeping you encouraged and motivated to stick with it and reach those goals – however big, or small, they may be.    Kolstein Music The Samuel Kolstein Violin Shop was founded by Samuel Kolstein in 1943 as a Violin and Bow making establishment in Brooklyn, New York. Now on Long Island, over 60 years later, Kolstein’s has built a proud reputation for quality, craftsmanship and expertise in both the manufacture and repair of a whole range of stringed instruments, and has expanded to a staff of twelve experts in restoration, marketing and production. A440 Violin Shop An institution in the Roscoe Village neighborhood for over 20 years, A440's commitment to fairness and value means that we have many satisfied customers from the local, national, and international string playing communities. Our clients include major symphony orchestras, professional orchestra and chamber music players, aspiring students, amateur adult players, all kinds of fiddlers, jazz and commercial musicians, university music departments, and public schools.   Contrabass Conversations production team: Jason Heath, host Michael Cooper and Steve Hinchey, audio editing Mitch Moehring, audio engineer Trevor Jones, publication and promotion Krista Kopper, archival and cataloging Subscribe to the podcast to get these interviews delivered to you automatically!

CEO and cofounder Alex Galkin talks about his company Competera. The company offers a cloud-native platform for brick&click retailers to make optimal price and promo decisions. It was founded in 2014 in Ukraine. https://competera.net/

Fedor Galkin, Project Manager at Insilico Medicine, Inc., discusses his work studying the microbiome, human genotypes, and aging/longevity. Galkin graduated from Moscow State University with a degree in Bioengineering & Bioinformatics. His work focuses on human microbiome aging clocks based on deep learning. Interestingly, the microbiome can serve as an incredibly accurate biological clock, able to predict the age of many people within just years. Galkin discusses the earliest microbiome aging clocks and recent advances, and the technology that is behind them. Some of these technologies can make assessments based on an individual's blood biochemistry and gene expression levels, etc., but as he states there has never before been a clock that predicts age based on gut microbes. Galkin discusses their work in detail, discussing how they select and look at the microbes. Galkin explains the correlations and organization in the microbes, and how with age, things fluctuate. He details how they observe the changes that show age, and how certain conditions, such as diabetes will make the gut microbes appear as a much older person. Continuing, the bioengineering expert talks about nutrients, and how supplements, etc. can impact the biological systems. And he explains how their work on the species level is ongoing, but that they hope to delve deeper into the functional and genetic level as well, in their continued study of the human microbiome. In this podcast: What is a microbiome aging clock? How nutrients play a role in the gut microbiome The role of supplements in biological health

Треклист: 01) Tyga - Ayy Macarena (Frost & Arkstone Remix) 02) DMX & Twenty Four & Kutsuev x Wayne - Party Up (Oscar Edit) 03) Bbno$ & Y2k - Lalala (Ice & Nitrex Remix) 04) Tanir & Tyomcha x Gntls & Bardrop x Steve Cavalo - Da Da Da (SAlANDIR Extended Version) 05) Jony x Ramirez & Frost - Комета (SAlANDIR Extended Version) 06) Tones And I vs Landis & XM - Dance Monkey (DJ Baur Flow Edit) 07) GAYAZOV$ BROTHER$ - Увезите меня на Дип-хаус (Dj Pobeda Mashup) 08) Real Booty Babes x Kastra - Street Body 2K19 (Akhmetoff MixShow) 09) Ida Corr vs Fedde Le Grand x Saint Jhn - Let Me Think About Roses (Dj Prycewell & Dj Rav Tool) 10) Zivert - Credo (Dj Pobeda Mashup) 11) HammAli & Navai - Девочка-война (Mike Prado & Foma Remix) + HammAli & Navai feat. Лоя x Mike Prado - Девочка Война (Dj Nitkin Rework) 12) Maruv x Forever Young x Diaz - Siren Rock 2K19 (Akhmetoff MixShow) 13) Queen, Don Diablo - We Will Rock You (KIDY Edit) 14) Calvin Harris vs. Volac - How deep is your love (Galkin edit) 15) Summer Cem - Tamam Tamam (HUNTER edit) 16) Billie Eilish x Trace - Bad Guy (Dj Pobeda Mashup) 17) RASA, Kavabanga, Depo, Kolibri - Фиолетово (Explo Remix) 18) Paul Johnson x DoubleOn - Get Get Down 19 (Akhmetoff Mashup) 19) Dj Snake vs. Alex Marvel - Turn Down for What (Kutsuev Work Edit) 20) Avicii, Aloe Blacc x BRL, MOTI, Riggi & Piros - SOS (DJ Baur Edit) 21) Bon Jovi x Relanium - Its My Life 2K19 (Akhmetoff ReMash) 22) Daddy Yankee, Snow & Katy Perry vs Felguk & Subb - Con Calma (DJ Baur VIP Edit) 23) Mike Candys & Jack Holiday vs Tujamo, Plastik Funk x LOTTEN - Who Riddle (DJ Baur VIP Edit) 24) Artik & Asti x Magician & Kideko - Грустный дэнс (Steve Cavalo x Bardrop Mashup) 25) Zivert vs. Steve Angello & Temworx - Life (Dmitry V Not EDM Mash) 26) Teddy Cream - Summer Jam (Mike Candys Extended Remix) 27) Twenty One Pilots, Bomfunk MC'S vs Max Korzh - Heathens Maliy Freestyler (Steve Cavalo x Bardrop Mashup) 28) Joan Jett. ft David Flix - I Love Rock & Roll (Steve Cavalo x Bardrop Mashup) 29) RSAC x Джаро & Ханза - NBA Королева Танцпола (Dj Pobeda Tool) 30) Niletto - Любимка (Jack Remix) 31) Torr & Snoop Dogg - The Next Episode (Dj Timur Smirnov Mashup) 32) Coolio - Gangsta's Paradise (Stanislav Shik Remix) 33) Chamillionaire X Dj Snake X Brandon - Ridin (Dj Allan 2019 Reboot) 34) Банд'Эрос & Giorgio Gee - Про красивую жизнь (Sergey Kutsuev & Sheeloff Mash) 35) Fat Joe, Remy Ma, David Guetta, GLOWINTHEDARK vs Steve Jameson - All The Way Up (Vincent & Diaz Mash-Up) 36) ЛСП x Phlegmatic Dogs - Монетка (JIVI 69 Edit) 37) Грибы vs. Phlegmatic Dogs - Копы (Martynoff Mashup) 38) Wax Motif & Warez x Big Baby Tape - Static Loot (Roblex Edit) 39) Jah Khalib vs. Don Diablo & CID - Джадуа (Sergey Kutsuev & Sheeloff Mash) 40) Dj Boyko - Все Танцуют Босиком на Песке (Robby Mond & Kelme Remix) 41) Digital Koala - Grizzly 42) MEGandFOX - BML 43) Fisher - Losing It (Martynoff edit) 44) Face x Tv Noise & Dillon Francis - Юморист (Tribeat Mash) 45) Nirvana - Smells Like Teen Spirit (Lis & Hot Loud Remix) 46) Benny Benassi vs. Don Diablo - Satisfaction (Sergey Kutsuev Mash) 47) The Prodigy - No Good (Explo Remix) 48) 6ix9ine - Billy (Martynoff edit) 49) Tiesto x Max Korzh x SHM x SkyWee - One Nebo (Steve Cavalo x Bardrop Mashup) 50) Zivert - Beverly Hills (Dj Pobeda Mashup) 51) Stromae ft Barthezz Brain vs Jurbas - Alors On Danse (Steve Cavalo x Bardrop Mashup) 52) T-Fest ft Don Diablo - Улети (Steve Cavalo x Badrop Mashup) 53) MATTN, Roland Clark, Klaas - Children (Extended Mix) 54) Loboda vs. Throttle - Superstar (Dmitry V All In Mash) 55) Big Baby Tape & Don Diablo - Trap Luv (Sergey Kutsuev & Sheeloff Mash) 56) Don Diablo, Элджей - UFO 57) Don Diablo - Momentum 58) Steve Angello & Laidback Luke - Be (Extended Mix) (D.O.D Remix) 59) Swanky Tunes & Nssnd x Lex Blaze - Game Time (Extended Mix) 60) Deorro x Duck Sauce - Barbra Streisand (DJ Jeff Edit) 61) The Prodigy vs John Cocos - Smack My Bitch Up (Regush Mash-Up) 62) Silver vs. Sergey Kutsuev x Deni Knight - Forgiven (Sergey Kutsuev & Sheeloff Mash) 63) Daddy Yankee vs Jan Steen - Gasolina (Jack Mash Up) 64) Sean Paul x Mike Prado & Foma - Get Busy (SAlANDIR Extended Version) 65) Childish Gambino vs TV Noise - This is America vs 808 (Joe Maz Bootleg) 66) Miko - Девочка В Тренде (GNTLS Remix) 67) Макс Корж - Шантаж (GNTLS Remix) 68) GAYAZOV$ BROTHER$ - До Встречи На Танцполе (John Cocos VIP Remix) No Jingle: yadi.sk/d/h8bcv1JO10KTkw

Треклист: 01) Tyga - Ayy Macarena (Frost & Arkstone Remix) 02) DMX & Twenty Four & Kutsuev x Wayne - Party Up (Oscar Edit) 03) Bbno$ & Y2k - Lalala (Ice & Nitrex Remix) 04) Tanir & Tyomcha x Gntls & Bardrop x Steve Cavalo - Da Da Da (SAlANDIR Extended Version) 05) Jony x Ramirez & Frost - Комета (SAlANDIR Extended Version) 06) Tones And I vs Landis & XM - Dance Monkey (DJ Baur Flow Edit) 07) GAYAZOV$ BROTHER$ - Увезите меня на Дип-хаус (Dj Pobeda Mashup) 08) Real Booty Babes x Kastra - Street Body 2K19 (Akhmetoff MixShow) 09) Ida Corr vs Fedde Le Grand x Saint Jhn - Let Me Think About Roses (Dj Prycewell & Dj Rav Tool) 10) Zivert - Credo (Dj Pobeda Mashup) 11) HammAli & Navai - Девочка-война (Mike Prado & Foma Remix) + HammAli & Navai feat. Лоя x Mike Prado - Девочка Война (Dj Nitkin Rework) 12) Maruv x Forever Young x Diaz - Siren Rock 2K19 (Akhmetoff MixShow) 13) Queen, Don Diablo - We Will Rock You (KIDY Edit) 14) Calvin Harris vs. Volac - How deep is your love (Galkin edit) 15) Summer Cem - Tamam Tamam (HUNTER edit) 16) Billie Eilish x Trace - Bad Guy (Dj Pobeda Mashup) 17) RASA, Kavabanga, Depo, Kolibri - Фиолетово (Explo Remix) 18) Paul Johnson x DoubleOn - Get Get Down 19 (Akhmetoff Mashup) 19) Dj Snake vs. Alex Marvel - Turn Down for What (Kutsuev Work Edit) 20) Avicii, Aloe Blacc x BRL, MOTI, Riggi & Piros - SOS (DJ Baur Edit) 21) Bon Jovi x Relanium - Its My Life 2K19 (Akhmetoff ReMash) 22) Daddy Yankee, Snow & Katy Perry vs Felguk & Subb - Con Calma (DJ Baur VIP Edit) 23) Mike Candys & Jack Holiday vs Tujamo, Plastik Funk x LOTTEN - Who Riddle (DJ Baur VIP Edit) 24) Artik & Asti x Magician & Kideko - Грустный дэнс (Steve Cavalo x Bardrop Mashup) 25) Zivert vs. Steve Angello & Temworx - Life (Dmitry V Not EDM Mash) 26) Teddy Cream - Summer Jam (Mike Candys Extended Remix) 27) Twenty One Pilots, Bomfunk MC'S vs Max Korzh - Heathens Maliy Freestyler (Steve Cavalo x Bardrop Mashup) 28) Joan Jett. ft David Flix - I Love Rock & Roll (Steve Cavalo x Bardrop Mashup) 29) RSAC x Джаро & Ханза - NBA Королева Танцпола (Dj Pobeda Tool) 30) Niletto - Любимка (Jack Remix) 31) Torr & Snoop Dogg - The Next Episode (Dj Timur Smirnov Mashup) 32) Coolio - Gangsta's Paradise (Stanislav Shik Remix) 33) Chamillionaire X Dj Snake X Brandon - Ridin (Dj Allan 2019 Reboot) 34) Банд'Эрос & Giorgio Gee - Про красивую жизнь (Sergey Kutsuev & Sheeloff Mash) 35) Fat Joe, Remy Ma, David Guetta, GLOWINTHEDARK vs Steve Jameson - All The Way Up (Vincent & Diaz Mash-Up) 36) ЛСП x Phlegmatic Dogs - Монетка (JIVI 69 Edit) 37) Грибы vs. Phlegmatic Dogs - Копы (Martynoff Mashup) 38) Wax Motif & Warez x Big Baby Tape - Static Loot (Roblex Edit) 39) Jah Khalib vs. Don Diablo & CID - Джадуа (Sergey Kutsuev & Sheeloff Mash) 40) Dj Boyko - Все Танцуют Босиком на Песке (Robby Mond & Kelme Remix) 41) Digital Koala - Grizzly 42) MEGandFOX - BML 43) Fisher - Losing It (Martynoff edit) 44) Face x Tv Noise & Dillon Francis - Юморист (Tribeat Mash) 45) Nirvana - Smells Like Teen Spirit (Lis & Hot Loud Remix) 46) Benny Benassi vs. Don Diablo - Satisfaction (Sergey Kutsuev Mash) 47) The Prodigy - No Good (Explo Remix) 48) 6ix9ine - Billy (Martynoff edit) 49) Tiesto x Max Korzh x SHM x SkyWee - One Nebo (Steve Cavalo x Bardrop Mashup) 50) Zivert - Beverly Hills (Dj Pobeda Mashup) 51) Stromae ft Barthezz Brain vs Jurbas - Alors On Danse (Steve Cavalo x Bardrop Mashup) 52) T-Fest ft Don Diablo - Улети (Steve Cavalo x Badrop Mashup) 53) MATTN, Roland Clark, Klaas - Children (Extended Mix) 54) Loboda vs. Throttle - Superstar (Dmitry V All In Mash) 55) Big Baby Tape & Don Diablo - Trap Luv (Sergey Kutsuev & Sheeloff Mash) 56) Don Diablo, Элджей - UFO 57) Don Diablo - Momentum 58) Steve Angello & Laidback Luke - Be (Extended Mix) (D.O.D Remix) 59) Swanky Tunes & Nssnd x Lex Blaze - Game Time (Extended Mix) 60) Deorro x Duck Sauce - Barbra Streisand (DJ Jeff Edit) 61) The Prodigy vs John Cocos - Smack My Bitch Up (Regush Mash-Up) 62) Silver vs. Sergey Kutsuev x Deni Knight - Forgiven (Sergey Kutsuev & Sheeloff Mash) 63) Daddy Yankee vs Jan Steen - Gasolina (Jack Mash Up) 64) Sean Paul x Mike Prado & Foma - Get Busy (SAlANDIR Extended Version) 65) Childish Gambino vs TV Noise - This is America vs 808 (Joe Maz Bootleg) 66) Miko - Девочка В Тренде (GNTLS Remix) 67) Макс Корж - Шантаж (GNTLS Remix) 68) GAYAZOV$ BROTHER$ - До Встречи На Танцполе (John Cocos VIP Remix) No Jingle: yadi.sk/d/h8bcv1JO10KTkw

10 Questions with business leaders in the painting, sports, marketing industries. You will find even though we are all in different industries we are all alike in many waysSupport this show http://supporter.acast.com/amatopodcast. See acast.com/privacy for privacy and opt-out information.

Eine Oberstufe lädt selbst Banken und Versicherungen zu einem "Zukunftstag" ein, um wichtige finanzielle Sachverhalte zu lernen, die in der Schule nicht vermittelt werden. Ich spreche mit einem der Organisatoren, der das Erfolgskonzept mittlerweile in einen Verein ausgegründet hat. Wir beleuchten die Entstehungsgeschichte, sprechen über seinen Gründergeist mit Anfang 20 und tauschen uns detailliert darüber aus, was (junge) Menschen über Finanzen wissen sollten. Viel Spaß!

Новый пак эдитов

Новый пак эдитов

Новый пак эдитов

Новый пак эдитов

Новый пак эдитов

Новый пак эдитов

Новый пак эдитов

Новый пак эдитов

Новый пак эдитов

Новый пак эдитов

Новый пак эдитов

Новый пак эдитов

Новый пак эдитов

Новый пак эдитов

Новый пак эдитов

Новый пак эдитов

Новый пак эдитов

Новый пак эдитов

Треклист: 01) A-Mase & Sharliz - Зима В Сердце (Vip Cover Mix) 02) Tiesto x Wolfgang Gartner vs. Zhu - Faded (Santilla WorkUp) 03) Zivert x Lavrushkin & Eddie G - Еще хочу (SAlANDIR Extended Edit) 04) Dubdogz, Subb - Summer Jam (Remake Extended) 05) Kazka - Plakala (The Faino remix Syntheticsax Edit extended) 06) Rita Ora - Let You Love Me (TPaul Remix) 07) Viktor Pavlik - Ти Мое Небо (DJ Stranger Remix) 08) Dave Ramone feat. Minelli - Love On Repeat (Extended Mix) 09) Gaullin vs Ice & Gonzalez - Moonlight (Nejtrino & Baur Mashup) 10) Faruk Sabanci, Maruv - For You (Ramirez & Rakurs Remix) 11) HUGEL feat. Amber Van Day - WTF (Jack Remix) 12) David Guetta Feat. JD Davis - The World Is Mine (Dj Jurbas Remix) 13) Loud Luxury feat. Brando - Body (Tolkachev & Stracher Remix) 14) Selena Gomez - Back To You (Dj Vianu Remix) 15) 50 Cent - Disco Inferno (Monkey MO Remix) 16) KYIVSTONER - Мяу Мяу (Dj Tiger JZ Remix) 17) Rompasso - Ignis (Olmega & Skill Remix) 18) Gnarls Barkley - Crazy (The Stickmen Extended Remix) 19) Sofi Tukker - Batshit (Asian Punch Remix) 20) Laurent Wolf - No Stress (Alex Shik & Eugene Star Remix) 21) Yo Yo Honey Singh & Neha Kakkar - Aao Raja (Freddy & Maximus Remix) 22) The Limba - Обманула (Dj Metis Remix) 23) Luxor feat. Marie vs. De Fault - Манекены (YJNS Mash Up) 24) Lizer - Корабли (Kolya Funk Club Mix) 25) Адлер Коцба, Timran X Salvino Miranda Vs. Arefiev - Запах Моеи Женщины (Moonrider Party Mash) 26) Freed From Desire (Nejtrino & Baur Mashup) 27) Focus On Me (Nejtrino & Baur Mashup) 28) Throttle - Hit The Road Jack (Robby Mond & Verel Remix) 29) Дима Билан, Полина Гагарина - BilanPholiya (Dobrynin Remix) 30) #2Маши - Мама, Я Танцую (Konstantin Ozeroff & Sky Remix) 31) Picco x Toby Green - Somebody to Love Everytime (RelaxDJ Edit) 32) Yeah Yeah Yeahs - Heads Will Roll (Metro Edit) (Extended Mix) 33) Sean Paul - Temperature (Nitrex Remix) 34) David Guetta, Bebe Rexha & J.Balvin - Say My Name (John Cocos Remix) 35) Arnon feat Killua - Te molla (Dj Killjoy Remix) 36) Ганвест ft. ZAN x SKILL x Leo Burn x Alex Shik - Никотин (Dj Alex K Edit) 37) HammAli & Navai - Пустите Меня Танцпол (DJ MARTY Mashup) 38) Lil Jon feat. Kool-Aid Man - All I Really Want For Christmas (Eugene Star & Nikis Remix) 39) Summer Cem & twoloud & Kyanu - Tamam Tamam (Alan Broks & MiniDj Mash-Up) 40) T-Fest Х Скриптонит ft. KLINE vs. DJ TARANTINO & DJ DYXANIN - Ламбада (Serj Bezoluk Mash Up) 41) Zabava & Кравц - Укутаю (John Cocos Remix) 42) Big baby Tape, Rakurs - Gimme The Loot (Art Myers Mash-Up 2k19) 43) Тимати feat. L'One - AMG (Eugene Star & StaniSlav House Remix) 44) Tenca & Kolya Funk Vs. Dj Killjoy & Eugene Star - Лев (Moonrider Mash Up) 45) Леша Свик Vs. Steff Da Campo - Дым (DJ JURBAS MASH UP) 46) Макс Корж - Небо поможет нам (DMC Mikael & Deni Knight Remix) 47) Gwen Stefani vs. Rene Rodrigez - Hollaback (Chris Fader Mash) 48) Zuccero - Baila Morena (DMC Mikael Remix) 49) Mr. President & Wayne - Coco Jambo (VeX & Myers Booty Mix) 50) Flo Rida - Low (Badaytoff & Daula Mashup 19) 51) Nick Corline, CID - Sweet Dream (DJ KIRILLICH Edit) 52) Mike Candys - Pump It Up (Original Club Mix) 53) David Guetta & Ne-Yo & Akon - Play Hard (Dj Rock Mash Up) 54) Calvin Harris - How deep is your love (Galkin edit) 55) Tujamo & Sidney Samson - Riverside (DJ MARTY & DJ LEGENDA Mashup) 56) Nebezao feat. Rafal - Black Panther (John Cocos Remix) 57) SHM feat. John Martin vs. Mako, Paris & Simo - Don't You Worry Child (Sergey Kutsuev Mash) 58) The Chemical Brothers - Galvanize (Balu Remix) 59) Zivert - Life (John Cocos Remix) 60) Cardi B, Bad Bunny, J Balvin - I Like It (Razumov Mash Up) 61) Мальбэк & Сюзанна & Normvn & Hardwell & Tribeat & Laidback Luke - Гипнозы (Normvn Music Full Fresh Edit) 62) Tiesto vs Queen - We Will BOOM You (Ash R. Mashup) 63) Tiësto - Grapevine (Tujamo Remix) 64) Jay-Z & Kanye West - Niggas In Paris (RICH-MAX & Vladi Remix) 65) Faithless & Decay and Relay vs. Dj Tarantino & Dj Dyxanin - Insomnia (Kaminsky Mash Up) 66) Tujamo x Teknova - Calabria Reloaded (Excitation Club Mix) 67) Michael Zager Band - Let's All Chant (Nick Stay & Soul Beast Remix) 68) LAMBADA (Reznikov & First) 69) Тима Белорусских vs. Rakurs, Tarantino & Dyxanin - Мокрые кроссы (Maldrix Mashup) 70) 50 Cent x Bounce Inc. - Just A Lil Bit In The Place (DJ KUBA & NEITAN Edit) 71) Major Lazer x Mark Bale - Bumaye Freak Out (DJ KUBA & NEITAN Edit) 72) Jennifer Lopez x Rihanna x Henry Fong - Love On The Floor (DJ KUBA & NEITAN Edit) 73) Daddy Yankee vs. AABEL - Gasolina (Dmitry V Mash) 74) Lil Jon ft Offset & 2 Chainz - Alive (Rakurs & Ruslan Rost Remix) 75) T-Fest - Не Помню (John Cocos Remix) 76) Justin Timberlake x Brohug - Sexyback (DJ KUBA & NEITAN Hype Edit) 77) Imagine Dragons - Natural (Ice Remix) 78) FISHER - Losing It (Extended) 79) MANA project - Ялта-Парус (KOFO remix) 80) Swanky Tunes - Big Love To The Bass (Extended Mix) Лайв без джинглов: yadi.sk/d/FzC33QgOluprAg

Треклист: 01) A-Mase & Sharliz - Зима В Сердце (Vip Cover Mix) 02) Tiesto x Wolfgang Gartner vs. Zhu - Faded (Santilla WorkUp) 03) Zivert x Lavrushkin & Eddie G - Еще хочу (SAlANDIR Extended Edit) 04) Dubdogz, Subb - Summer Jam (Remake Extended) 05) Kazka - Plakala (The Faino remix Syntheticsax Edit extended) 06) Rita Ora - Let You Love Me (TPaul Remix) 07) Viktor Pavlik - Ти Мое Небо (DJ Stranger Remix) 08) Dave Ramone feat. Minelli - Love On Repeat (Extended Mix) 09) Gaullin vs Ice & Gonzalez - Moonlight (Nejtrino & Baur Mashup) 10) Faruk Sabanci, Maruv - For You (Ramirez & Rakurs Remix) 11) HUGEL feat. Amber Van Day - WTF (Jack Remix) 12) David Guetta Feat. JD Davis - The World Is Mine (Dj Jurbas Remix) 13) Loud Luxury feat. Brando - Body (Tolkachev & Stracher Remix) 14) Selena Gomez - Back To You (Dj Vianu Remix) 15) 50 Cent - Disco Inferno (Monkey MO Remix) 16) KYIVSTONER - Мяу Мяу (Dj Tiger JZ Remix) 17) Rompasso - Ignis (Olmega & Skill Remix) 18) Gnarls Barkley - Crazy (The Stickmen Extended Remix) 19) Sofi Tukker - Batshit (Asian Punch Remix) 20) Laurent Wolf - No Stress (Alex Shik & Eugene Star Remix) 21) Yo Yo Honey Singh & Neha Kakkar - Aao Raja (Freddy & Maximus Remix) 22) The Limba - Обманула (Dj Metis Remix) 23) Luxor feat. Marie vs. De Fault - Манекены (YJNS Mash Up) 24) Lizer - Корабли (Kolya Funk Club Mix) 25) Адлер Коцба, Timran X Salvino Miranda Vs. Arefiev - Запах Моеи Женщины (Moonrider Party Mash) 26) Freed From Desire (Nejtrino & Baur Mashup) 27) Focus On Me (Nejtrino & Baur Mashup) 28) Throttle - Hit The Road Jack (Robby Mond & Verel Remix) 29) Дима Билан, Полина Гагарина - BilanPholiya (Dobrynin Remix) 30) #2Маши - Мама, Я Танцую (Konstantin Ozeroff & Sky Remix) 31) Picco x Toby Green - Somebody to Love Everytime (RelaxDJ Edit) 32) Yeah Yeah Yeahs - Heads Will Roll (Metro Edit) (Extended Mix) 33) Sean Paul - Temperature (Nitrex Remix) 34) David Guetta, Bebe Rexha & J.Balvin - Say My Name (John Cocos Remix) 35) Arnon feat Killua - Te molla (Dj Killjoy Remix) 36) Ганвест ft. ZAN x SKILL x Leo Burn x Alex Shik - Никотин (Dj Alex K Edit) 37) HammAli & Navai - Пустите Меня Танцпол (DJ MARTY Mashup) 38) Lil Jon feat. Kool-Aid Man - All I Really Want For Christmas (Eugene Star & Nikis Remix) 39) Summer Cem & twoloud & Kyanu - Tamam Tamam (Alan Broks & MiniDj Mash-Up) 40) T-Fest Х Скриптонит ft. KLINE vs. DJ TARANTINO & DJ DYXANIN - Ламбада (Serj Bezoluk Mash Up) 41) Zabava & Кравц - Укутаю (John Cocos Remix) 42) Big baby Tape, Rakurs - Gimme The Loot (Art Myers Mash-Up 2k19) 43) Тимати feat. L'One - AMG (Eugene Star & StaniSlav House Remix) 44) Tenca & Kolya Funk Vs. Dj Killjoy & Eugene Star - Лев (Moonrider Mash Up) 45) Леша Свик Vs. Steff Da Campo - Дым (DJ JURBAS MASH UP) 46) Макс Корж - Небо поможет нам (DMC Mikael & Deni Knight Remix) 47) Gwen Stefani vs. Rene Rodrigez - Hollaback (Chris Fader Mash) 48) Zuccero - Baila Morena (DMC Mikael Remix) 49) Mr. President & Wayne - Coco Jambo (VeX & Myers Booty Mix) 50) Flo Rida - Low (Badaytoff & Daula Mashup 19) 51) Nick Corline, CID - Sweet Dream (DJ KIRILLICH Edit) 52) Mike Candys - Pump It Up (Original Club Mix) 53) David Guetta & Ne-Yo & Akon - Play Hard (Dj Rock Mash Up) 54) Calvin Harris - How deep is your love (Galkin edit) 55) Tujamo & Sidney Samson - Riverside (DJ MARTY & DJ LEGENDA Mashup) 56) Nebezao feat. Rafal - Black Panther (John Cocos Remix) 57) SHM feat. John Martin vs. Mako, Paris & Simo - Don't You Worry Child (Sergey Kutsuev Mash) 58) The Chemical Brothers - Galvanize (Balu Remix) 59) Zivert - Life (John Cocos Remix) 60) Cardi B, Bad Bunny, J Balvin - I Like It (Razumov Mash Up) 61) Мальбэк & Сюзанна & Normvn & Hardwell & Tribeat & Laidback Luke - Гипнозы (Normvn Music Full Fresh Edit) 62) Tiesto vs Queen - We Will BOOM You (Ash R. Mashup) 63) Tiësto - Grapevine (Tujamo Remix) 64) Jay-Z & Kanye West - Niggas In Paris (RICH-MAX & Vladi Remix) 65) Faithless & Decay and Relay vs. Dj Tarantino & Dj Dyxanin - Insomnia (Kaminsky Mash Up) 66) Tujamo x Teknova - Calabria Reloaded (Excitation Club Mix) 67) Michael Zager Band - Let's All Chant (Nick Stay & Soul Beast Remix) 68) LAMBADA (Reznikov & First) 69) Тима Белорусских vs. Rakurs, Tarantino & Dyxanin - Мокрые кроссы (Maldrix Mashup) 70) 50 Cent x Bounce Inc. - Just A Lil Bit In The Place (DJ KUBA & NEITAN Edit) 71) Major Lazer x Mark Bale - Bumaye Freak Out (DJ KUBA & NEITAN Edit) 72) Jennifer Lopez x Rihanna x Henry Fong - Love On The Floor (DJ KUBA & NEITAN Edit) 73) Daddy Yankee vs. AABEL - Gasolina (Dmitry V Mash) 74) Lil Jon ft Offset & 2 Chainz - Alive (Rakurs & Ruslan Rost Remix) 75) T-Fest - Не Помню (John Cocos Remix) 76) Justin Timberlake x Brohug - Sexyback (DJ KUBA & NEITAN Hype Edit) 77) Imagine Dragons - Natural (Ice Remix) 78) FISHER - Losing It (Extended) 79) MANA project - Ялта-Парус (KOFO remix) 80) Swanky Tunes - Big Love To The Bass (Extended Mix) Лайв без джинглов: yadi.sk/d/FzC33QgOluprAg

Sermon by Evangelist Will Galkin

Sermon by Evangelist Will Galkin

Sermon by Evangelist Will Galkin

Sermon by Evangelist Will Galkin

Sermon by Evangelist Will Galkin

En esta emisión de Mujeres…¡De Acá!, Valeria Sampedro y Marcela Ojeda dialogaron con la coordinadora de Educación en Derechos Humanos y Juventud de Amnistía Internacional Argentina, Lucila Galkin Sutton, acerca del informe de amnistía internacional que reveló que la tasa global de embarazo adolescente y/o tasa media de natalidad muestra un nivel alto, estimado en 49 por 1.000 mujeres de entre 15 y 19 años, con amplias diferencias entre países ricos y pobres. “109 mil adolescentes de 15 a 19 años son madres anualmente en nuestro país; y cada tres horas una niña de entre 10 y 14 atraviesa un embarazo” Asimismo el equipo de Radio Nacional entrevistó a la coordinadora de ESI de Jujuy (Educación Sexual Integral), Patricia Morales, acerca de la impactante noticia que registro 30 alumnas embarazadas en un colegio de la provincia. Por último, el equipo de Mujeres… ¡De Acá! dialogó con la directora del Hospital Perrando, Andrea Mayol, acerca del caso en chaco de una menor de 13 años que arribó al hospital Julio C. Perrando de resistencia, provincia de Chaco; con un embarazo de 28 semanas que provocó una cesárea, en donde falleció la madre y él bebe que nació con un pesó de 1.300 gramos.

Ephesians 6:10-20 -

Ephesians 6:10-20 -

Ephesians 6:10-20 -

Ephesians 5:1-8 -

Colossians 3:1-8 -

Colossians 3:1-8 -

Ephesians 5:1-8 -

Psalms 36:1-4 -

Psalms 36:1-4 -

The only assurance we have is based on the finished work of Jesus Christ alone.

Jonah 1:1 -

Jonah 1:1 -

Jonah 1:1 -

Jonah 1:1 -

Jonah 1:1 -

James 3:1-18 - Lukus Counterman - The tongue is a tool for good or a weapon of evil. It all depends on how you use it. James wants people of true faith to pass the test of the tongue, and that can only happen if God changes the heart. The overflow of a changed heart is Christlike communication.

2 Corinthians 2:14-17 - Jon Kopp - As people wired for competition and victory, how do we follow Christ in a world where it looks like we consistently lose? What keeps our focus on what really matters?

Psalms 127:1-5 - Lukus Counterman - Whether we seek to build, protect, or labor during the course of this year, Solomon gives us instruction on how to do that in Psalm 127. God can give significance to our lives if we follow His means of finding it!

Proverbs 13:12 - Jon Kopp - When we hope in an expected outcome, we can not function properly (sick inside), but when we hope in an expected person (God) we find a tree of life. The tree of life from Eden is redeemed in us to be a source of satisfaction. We are a fountain for others.

James 4:1-6 - Lukus Counterman - Jesus opens our prison cell of bondage to loving and serving sin. We are free! But in our struggle with sin, we find ourselves running back to the sinful desires that we are freed from. We don't know the grace that is ours in Jesus Christ!

Hebrews 11:1-3 - Jonathan Albright - Our lives are to be marked by continual sacrificial obedience to God. These steps of obedience are steps of faith when we cannot see the end result...when all the answers are not clear. Abraham gives us a real life example of this life of radical obedience.

Hebrews 12:1-6 - Will Galkin - There is a danger of discouragement, of no longer running the race, of stopping when we ought to be running! Don't be discouraged.

1 John 4:1-21 -

Matthew 5:13-16 - Sometimes Christians can feel overwhelmed or under equipped when thinking about taking the gospel to those around them. We can be burdened about everyone and end up reaching no one. What is needed is a Gospel Grid.

Acts 17:16-34 - This is the 2nd edition to the Gospel Grid sermons. Here we learn to understand our audience.

1 Corinthians 15:1-6 - This is the 3rd edition to the Gospel Grid sermons. In this sermon you will understand what the gospel is and how to communicate it.

Ephesians 4:11-13 - This is the 4th edition to the Gospel Grid sermons. In this sermon, Will discusses how to have a biblical plan to reach those around you with the gospel.

Ephesians 4:11-13 - This is the 5th edition to the Gospel Grid sermons. In this sermon, Will continues his discussion on how to have a biblical plan to reach those around you with the gospel.

John 3:16-17 - God the greatest giver, gave man, the greatest sinner, Jesus the greatest gift.

Philippians 2:12-18 - How do Christians grow spiritually? By working out thier own salvation with fear and trembling.

Psalms 119:1-176 - Because the pressures of life are so heavy, we need God to quicken us! Lord, I need you.

Hebrews 12:1-5 - There is a danger of discouragement, of no longer running the race, of stopping when we ought to be running! Don't be discouraged.