Podcasts about goodnight irene

Darrell Clarke is the new Bristol Rovers manager. What a time to be alive.Listen to five delighted Gasheads discuss the return of DC to the Mem dugout!UTG!Support the show

Finn Brothers, 29 February 1988, Los angeles KCRW's SNAP. Performances include: Six Months in a Leaky Boat, Throw Your Arms Around Me, Fraction Too Much Friction, Charlie, Coca Cola Kid Jingle, She Got Body She Got Soul, Message to My Girl, Show a Little Mercy, Better Be Home Soon, Bye Bye Love, The Jazz Butcher, Dirty Creature, Poor Boy, I Hope I Never, Song for Noel, Whaling, You Send Me, Now We're Getting Somewhere, Goodnight Irene, Pokarekare AnaYou can significantly support the continuation of the 240 podcast for a donation of just a couple dollars per month. This goes directly towards covering the podcast hosting fees. Big thank yous if you are in a position to help. Head over here to: http://patreon.com/240neilfinn

In this episode, Neno's joined by Caz & Willett to discuss Rovers' perilous position in League One - with the club staring relegation to the fourth tier in the face.The gang discuss a run of defeats that have seen The Gas drop into the bottom four, the future of manager Inigo Calderon, and whether there's any hope of picking up the points needed to survive.Enjoy... & UTG.Support the show

We celebrate the memory of writer Jennifer Johnston who died on the 25th of February 2025.

In this episode, Neno's joined at The Sporty by Willett & Weeksy to discuss Directors of Football, damaging defeats & the end of season run-in - with just 6 league games remaining...UTG!Support the show

In deze aflevering vervolgen we het fascinerende verhaal van de legendarische blueszanger Leadbelly. Na zijn breuk met John Lomax keerde hij met zijn vrouw Martha terug naar huis, teleurgesteld over de financiële uitbuiting die hij had ervaren. Ondanks racistische obstakels en ongelijke behandeling, bleef Leadbelly doorzetten en wist hij een indrukwekkende muzikale erfenis op te bouwen. De aflevering volgt zijn levensloop, van zijn strijd voor erkenning tot zijn latere jaren toen hij kampte met de neurologische ziekte ALS. Hoewel Leadbelly in 1949 overleed, bloeide zijn invloed pas echt op tijdens de folk revival die volgde. Zijn nummers als "Goodnight Irene", "Rock Island Line" en "Where Did You Sleep Last Night" werden klassiekers, gecoverd door artiesten als The Weavers, Lonnie Donegan en zelfs Nirvana. Deze aflevering belicht hoe Leadbelly's muzikale nalatenschap de Amerikaanse cultuur diepgaand heeft beïnvloed en tot op de dag van vandaag doorwerkt in verschillende muziekgenres.Voor deze aflevering van de podcast heb ik me voornamelijk gebaseerd op het boek “The Life and Legend of Leadbelly”, geschreven door Charles Wolf.Vind je deze podcast inspirerend en leerrijk? Deel hem dan in jouw netwerk en volg de podcast zodat je geen enkele nieuwe aflevering mist. En een review is ook altijd fijn

In this episode, Neno's joined back at The Sporty by Max & Weeksy to discuss Iñigo Calderon's first win as Rovers boss away at Cambridge United.The lads then chat about the FA Cup exit at Ipswich Town, targets for the rest of the transfer window, and finish the pod with a game of Gas Who.UTG!Support the show

Neno's joined by Willett & Max to discuss Iñigo Calderon's appointment as manager, and dissect the New Years Day defeat to Leyton Orient at The Mem.The gang chat about why Calderon was chosen, the task on his hands to keep Rovers up, and what business is needed in the January window.Enjoy & UTG!Support the show

In this exclusive interview, Neno & Max chat to Bristol Rovers Vice President Abdullatif AlSaeed about all things Gas.They discuss the season so far, rumours of team selection interference, the flat mood at the club & get an update on the infrastructure plans.UTG!Support the show

In this episode, Neno's joined by Max & Weeksy to discuss the classic 'game of two halves' - Bristol Rovers 0-0 Crawley Town. The lads pick the bones out of what went so wrong for Matt Taylor's side in the 2nd half, having put in one of their best 45 minutes of the season in the first half.The gang then discuss the ever-changing mood around the manager's position, as well as the recent ownership/consortium rumours.Enjoy & UTGSupport the show

October 1, 1950 - The Maxwell is Stolen. Jack Benny and the gang have a meal at the drug store and Jack finds out his car has been stolen. References include ethyl Gasoline, the draft for the Korean war, Duncan Heins, Mad Man Muntz, gangsters Dillinger and Pretty Boy Floyd, the radio shows "People Are Funny" and "Hopalong Cassidy", the movie "Born To Be Bad", the song "Good Night Irene", the actor Ronald Colman, the costume designer Adrian, and Woody Woodpecker.

In this episode, Neno's joined at The Sporty by Weeksy and Jake to pick the bones out of back-to-back league defeats for The Gas.The lads discuss some dire defending against Wigan, the late resurgence against Posh, and the pressure starting to mount on Manager Matt Taylor.The guys then preview this weekend's clash at The Mem vs. Wycombe Wanderers - a 'must-not-lose' for Rovers?UTG!Support the show

The girls are in peak Summer mode this week, there's a whack of mid-afternoon Mas on the radio off them! There's the Irish good night, getting in trouble at work and Celine Dion! This and more, enjoy!  This episode contains explicit language and adult themes.  This Podcast is part of the Headstuff Network. Find out more at HeadStuffPodcasts.com This Podcast is sponsored by Key For Her.  The code TIGHT can be used sitewide on your first order at KeyForHer.com Click the link and your 20% discount for all Key For Her products will be applied at checkout.  https://keyforher.com/discount/TIGHT Producer: Laura Greene  Artwork: Alan Bourke-Tuffy  Thank you for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices

(Conversation recorded on June 12th, 2024)   Show Summary:  As we move through difficult cultural transitions and rethink our governance systems, it will be critical that we listen to voices that are rooted beyond the conventional Western thinking that has come to dominate our society. As such, it is always an honor when Indigenous leaders share their experiences and wisdom with the broader public. This week, Casey Camp-Horinek of the Ponca Nation joins Nate to recount her decades of work in Indigenous and environmental activism. Her stories shed light on the often-overlooked struggles and tragedies faced by Indigenous communities in their efforts to restore and safeguard their homelands. Casey also shares her current work advocating for The Rights of Nature - which legalizes the same rights of personhood to Earth's ecosystems - of which the Ponca Nation was the first tribe in the US to implement.  How is the treatment of Indigenous people under the United States government reflective of the exploitative relationship between industrial systems and the Earth? What is ‘Post-Traumatic Growth' and how could it assist in healing the deeper cultural wounds obstructing genuine dialogue and change? Could aligning our current laws with the laws of nature - followed by every other species - result in a more sustainable, interconnected, and thriving humanity?    About Casey Camp-Horinek: Casey Camp-Horinek, Councilwoman and Hereditary Drumkeeper of the Women's Scalp Dance Society of the Ponca Nation of Oklahoma, is a longtime activist, environmentalist, actress, and published author. First taking up the cause of Native and Human Rights in the early '70s, it has been in the last 15 years that she began her plea for Environmental Justice for her Ponca people and people around the globe. Casey has identified and diligently worked to remediate the corridor of toxic industry surrounding the historic lands of the Ponca people. Because of Casey's work, the Ponca Nation is the first Tribe in the State of Oklahoma to adopt the Rights of Nature Statute, and to pass a moratorium on fracking on Tribal Lands. Casey was also instrumental in the drafting and adoption of the first ever International Indigenous Women's Treaty protecting the Rights of Nature. Casey is a board member for Women's Earth and Climate Action Network, Movement Rights, as well as Earthworks. Casey Camp-Horinek has also been a film actor since 1988, starring in Avatar: The Last Airbender, Winter in the Blood, Barking Water and Goodnight Irene.   Show Notes and More   Watch this video episode on Youtube   Support The Institute for the Study of Energy and Our Future

We humans have this drive to erect barriers between ourselves and others, Luis Alberto Urrea says, and yet this makes us a little crazy. He is an exuberant, wise, and refreshing companion into the deep meaning and the problem of borders — what they are really about, what we do with them, and what they do to us. The Mexican-American border was as close and personal to him as it could be when he was growing up — an apt expression of his parents' turbulent Mexican-American divorce. In his writing and in this conversation, he complicates every dehumanizing stereotype of Mexicans, "migrants" — and border guards. A deep truth of our time, Luis insists, is that “we miss each other.” He offers a vision of the larger possibility of our time beyond the terrible tangles of today: that we might evolve the old illusion of the melting pot into a 21st-century richness of “us." And he delightfully models that messiness and humor will be required.Luis Alberto Urrea is a distinguished professor of creative writing at the University of Illinois Chicago. His books of poetry, fiction, and nonfiction include Into the Beautiful North, The Devil's Highway, The Hummingbird's Daughter, and Goodnight, Irene.Find the transcript for this show at onbeing.org.This show originally aired in July 2018.______Sign up for The Pause — a Saturday morning companion newsletter to the On Being podcast season, and our mailing list for news and invitations all year round. Be the first to know as tickets go on sale for the On Being 2025 live national conversation tour.

Interview begins at 1:40.  Visit farhof.org for additional information about exhibits and our newsletter. 

In this episode we examine the quartet, The Weavers, the folk group Pete Seeger formed with Lee Hays, Fred Hellerman and Ronnie Gilbert in 1949-1950. We go into detail with the founding of the group, their musical style and approach, and their initial pop success with the songs "Tzena Tzena" and "Goodnight Irene". We then investigate how the FBI, Counterattack, and other opportunistic individuals and institutions conspired to cancel the group from show business by labeling them as Communists during the peak of the Blacklist in the early-mid 1950s.

In this episode, Neno's joined at The Sporty by Weeksy and Willett to discuss a hectic start to life as the Bristol Rovers boss for Matt Taylor.The lads discuss the away wins over Crewe Alexandra in the FA Cup and high-flying Bolton Wanderers in the league, and look ahead to a tough run of fixtures over the festive period.They also chat about the recent change in shape to 3-5-2, and what it might mean for The Gas' transfer business next month.Enjoy & UTG!Support the show

It was the second hottest summer on record for Texas, but is it safe to ask if it's over? What to expect as a cold front pushes into Texas. Matt Lanza of Space City Weather with a look at whether today marks a turning point. Gun violence numbers are changing how many feel about safety […] The post ‘Good Night, Irene' follows a courageous woman's story in the WWII Red Cross appeared first on KUT & KUTX Studios -- Podcasts.

This is day 14 of the Dog Days of Podcasting. I'm home  at 12:14 am after a long drive from San Diego  goodnight Music by: Keith Richards Donate to the show – Rock and Roll Geek Friends And Family Membership DONATE ON PATREON! GET THE ROCK and ROLL GEEK APP FOR iPHONE OR ANDROID! iPhone/iPad – […]

Patrick Millikin in conversation with Luis Alberto Urrea

Welcome to episode 19 of the Prodigies Music Lesson Show for Kids, where Mr. Michael leads us through a third chillout bedtime podcast!

Singles Going Around- Mimosa Tree BluesThe Byrds- "It's No Use"Sam the Sham & The Pharaohs- "Little Red Riding Hood"Tony Joe White- "Whompt Out On You"The Monkees- "Daily Nightly"Joe South- "Hush"Elvis- "The Power of My Love"Simon & Garfunkel- "Fakin' It"Percy Sledge- "Take The Time To Know Her"Tommy McClain- "Before I Grow Too Old"The Animals- "Talking About You"Sonny & Cher- "I Look For You"Booker T & The MG's- "Sunny"The Beatles- "We Can Work It Out"Elmore James- "It Hurts Me Too"Bobby Charles- "Goodnight Irene"Lazy Lester- "Strange Things Happen"Neil Diamond- "Brother Love's Traveling Salvtion Show"Vanilla Fudge- "You Keep Me Hangin' On" (QT Edit)*All songs taken from the original Lp's and 45 rpm records.

Luis Alberto Urrea's latest novel is based on his mother's experiences working with the Red Cross behind the front lines during World War II.

 | Artist  | Title  | Album Name  | Album Copyright | Chip Taylor  | Czechoslovakian Heaven  | Little Prayers (disc 3) | Duke Robillard  | Going Straight  | Dangerous Place  |  | Paul Jones  | Trouble In Mind  (Instrumental)  | Suddenly I Like It  |  | Biscuit Miller  | Shake It Like Jello  | Wishbone  |  | Pete Rea  | Blood and Sweat  | Zero Hour  |  | Ben Kunder  | Colours  |   |   |  | Les Copeland  | Ry Cooder(Radio Edit)  |  | Blind Lemon Gators  | Goodnight Irene  | Gatorville  |   |  | Little Brother Montgomery  | No Special Rider Blues  | Piano Blues Orgy  |  | Bill King  | Brother Levon  | Mondo Jumbo  |  | Reverend Gary Davis  | 'Tis So Sweet To Trust In Jesus  | See What The Lord Has Done For Me. The Ernie Hawkins Sessions ( | Bo Diddley  | Cops & Robbers  | Bo The Man  |  | Chuck Berry  | You Can't Catch Me  | The Blues Collection (Chuc | Johnny Winter featuring Warren Haynes  | Done Somebody Wrong  | Roots  |   |  | Midnight Train  | Malted Milk  | MIDNIGHT TRAIN The E.P

Jo, Martin and Sam return to the ocean, the church, and another Leadbelly cover to consider Waits's reinterpretation of various older songs. The swirling Sea of Love, the unnecessary pub singalong, and behind-the-altar confessionals all get a new twist, to varied effect. website: songbysongpodcast.com twitter: @songbysongpod e-mail: songbysongpodcast@gmail.com Music extracts used for illustrative/review purposes include: Sea Of Love, Orphans: Brawlers Bawlers & Bastards, Tom Waits (2006) Goodnight Irene, Orphans: Brawlers Bawlers & Bastards, Tom Waits (2006) Altar Boy, Orphans: Brawlers Bawlers & Bastards, Tom Waits (2006) What Became Of Old Father Craft, The Alice Demos, Tom Waits (1992 - unreleased) We think your Song by Song experience will be enhanced by hearing, in full, the songs featured in the show, which you can get hold of from your favourite record shop or online platform. Please support artists by buying their music, or using services which guarantee artists a revenue - listen responsibly.

Peter's benediction involves peace. But it can only be claimed by the Children of God.

A new MP3 sermon from Calvary Independent Baptist Church is now available on SermonAudio with the following details: Title: Goodnight Irene Subtitle: First Peter Speaker: K. David Oldfield Broadcaster: Calvary Independent Baptist Church Event: Sunday - AM Date: 1/1/2023 Bible: 1 Peter 5:14 Length: 30 min.

Summerfolk 47 has come and gone and we're not ready to say Goodnight Irene just yet! In this week's episode of Georgian Bay Roots relive some of host Kailey Jane Hawkins' favourite musical moments from Summerfolk 47, including music by Ambre McLean, Redfox, Irish Mythen, Danny Michel, Leela Gilday, William Prince, Steve Poltz, Aleksi Campagne, The Mackenzie Blues Band, and RPR, also featuring tunes by Matt Andersen and Stan Rogers, and making his debut on the Georgian Bay Roots Radio airwaves, a tune from local musician Richard Ebbs!

They closed below the Irene number. Now what?We'll discuss all the details including a variety of charts and markets.The analysis found in these videos is appropriate for both beginning Traders and experienced Traders alike.We look at only technical analysis using charts from various time frames using various vehicles. We use only the Candlestick charts and moving averages to determine our next best case scenario. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

James McMurtry And The Heartless Bastards "No More Buffalo"The Low Anthem "Home I'll Never Be"Valerie June "Fade Into You"Candi Staton "Darling You're All That I Had"Otis Redding "Little Ol' Me"Golden Smog "Radio King"Laura Marling "Soothing"Johnny Cash "Jealous Loving Heart"Drag the River "forgiveness"Buddy Emmons "If No News Is Good News"Hank Williams "Howlin' At the Moon"Nick Drake "Pink Moon"Son Volt "Medicine Hat"Jolie Holland "Old Fashioned Morphine"James Luther Dickinson "Out of Blue"Trombone Shorty "Lie To Me"The Temptations "I Wish It Would Rain"Kitty Wells "Do Right Woman, Do Right Man"Matt Sweeney "My Home Is The Sea"Bonnie Raitt "Livin' for the Ones"Micah Schnabel "Gentle Always"Two Cow Garage "Let the Boys Be Girls"Micah Schnabel "Cincinnati, Ohio"Ted Hawkins "Sorry You're Sick"Eddie Floyd "Stealing Love"Big Mama Thornton "Sweet Little Angel"Otis Rush "Homework"Aimee Mann "Deathly (Remastered 2020)"Gillian Welch "I Just Came Home To Count The Memories"Otha Turner "Lay My Burden Down (Album Version)"Kendrick Lamar "The Heart Part 5"Koko Taylor "Never Trust A Man"Dr. John "I Walk On Guilded Splinters"Mavis Staples "I Wish I Knew How It Would Feel To Be Free"Bill Withers "Ain't No Sunshine"The Meters "Cissy Strut"Bobby "Blue" Bland "Ain't No Love In The Heart Of The City"Jerry Lee Lewis "Goodnight Irene"

In this edition of Super Necessary Meets, we are delighted to welcome the one and only 'The Voice' Michael Schiavello to the podcast. We discuss Michael's books, Goodnight Irene and The Commentators. We talk about his excitement to see Gordon Ryan in the circle and if he has any dream signings, his partner Mitch Chilson and his preparations before the shows, and we talk about his amazing one-liners. All this and much much more. Enjoy! We want to thank Michael for coming on and Tammy for making it possible! Learn more about your ad choices. Visit megaphone.fm/adchoices

Pete Seeger was an American folk singer and social activist. A fixture on nationwide radio in the 1940s, he also had a string of hit records during the early 1950s as a member of the Weavers, most notably the recording of Lead Belly's “Good Night Irene.” Peter, Paul, and Mary was an American folk group formed in New York City in 1961, during the American folk music revival phenomenon. The trio was composed of tenor Peter Yarrow, baritone Noel Paul Stookey, and alto Mary Travers.Time to answer a quick 4-question survey? Click to answer; thank you!https://docs.google.com/forms/d/1pfdA_6_7YzUnyolusOJy0lJeU0gNm07HIOMFyM2YCT4/editIf you like the Podcast please do three simple things for me: rate, subscribe, and write a review. Thank you!Amazon Associate ID is thedoctorofdi-20

November 5, 1950 - On the train to Los Angeles Jack benny and the gang are playing 20 questions. References include the midterm elections, Irene Dunn, Gary Cooper, Jimmy Stewart, movies "The Glass Menagerie", "The Miniver Story", "the Horn Blows at Midnight" and "I'll Get By", and the song "Good Night Irene".

On this weeks episode I am joined in the Gaff Cast studios by friend and president of DCU, Fearghal Lynch. We chat about what it's like to be a student union president during a pandemic and discuss some funny stories from the past

Elise Bryant is Executive Director of the Labor Heritage Foundation and President of the Coalition of Labor Union Women. Elise Bryant launched her labor arts career as the artistic director of the University of Michigan’s labor theater project, Workers’ Lives/Workers’ Stories in 1982.  She joined the National Writers Union and began her screenwriting career with a script for the documentary, Porgy and Bess: an American Voice which aired on PBS. In 1998 Elise made her Washington, DC stage debut in Theater J’s production of Goodnight Irene and founded the DC Labor Chorus. She directed two productions of the labor jazz opera, Forgotten: the Murder at the Ford Rouge Plant, in Detroit and in the Washington, DC area.  Most recently she directed the labor jazz opera Love Songs From the Liberation Wars: the 1940s Tobacco Workers Struggle. After working 35 years as a labor educator, Elise retired from her professorship at the National Labor College to start her own consulting service, the E.L.I.S.E. Consortium.   Elise is a lifetime member of the Wobblies (Industrial Workers of the World), a member of the AFM Local 1000 as well as CWA/Newspaper Guild Local 32035. In 2012 she was given the Lifetime Achievement award from the international organization, United Association of Labor Educators.  In 2017 she was elected President of the Coalition of Labor Union Women (CLUW). We discuss: Growing up in Detroit and using theater arts for activism; Directing labor jazz operas; Labor education and the National Labor College; The role of art in labor movements; The Coalition of Labor Union Women; The Labor Heritage Foundation; and the Future of organizing. Empathy Media Lab is produced by Evan Matthew Papp and we are a proud member of the Labor Radio Podcast Network. Support media, authors, artists, historians, and journalists, who are fighting to improve the prosperity of the working class.  Website - https://www.empathymedialab.com/  Patreon - https://www.patreon.com/empathymedialab  Twitter - https://twitter.com/empathymedialab  Twitch - https://www.twitch.tv/empathymedialab  Instagram - https://www.instagram.com/empathymedialab/  Facebook - https://www.facebook.com/EmpathyMediaLab/  Linkedin - https://www.linkedin.com/company/11307472/admin/  Youtube - https://www.youtube.com/channel/UCnL9xRky2ubsOLp-BuYGZhg  ​ Podcast -https://empathymedialab.podbean.com/  Apple - https://podcasts.apple.com/us/podcast/empathy-media-lab Spotify - https://open.spotify.com/show/6orzgkgpUVadqigQKC5WDq?si=KyaQUurBRMuu2cjT91CSxg  Google Podcasts - https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkLnBvZGJlYW4uY29tL2VtcGF0aHltZWRpYWxhYi9mZWVkLnhtbA?ep=14  Amazon - https://www.amazon.com/Empathy-Media-Lab  Stitcher - https://www.stitcher.com/show/empathy-media-labs-podcast  #HarmonyOfInterest #PoliticalEconomyMatters #LaborRadioPod #1U #UnionStrong

Goodnight Irene! What was Nate Robinson thinking? What did you think about the Tyson Jones Jr Fight? The guys have their opinion of course. Plus NFL week 12! The guys are more confused about the season than they were at the beginning exceot for one fact. Pat Mahomes is the MVP Another great episode! enjoy!

Henry is joined by Michael Schiavello, an Australian sports commentator and journalist. Michael has commentated for AXS TV, K-1, Dream, Maximum Fighting Championship, King of the Cage, and The Contender Asia. He has also written for more than 50 publications worldwide, was the long-serving editor of Blitz Magazine and the editor of International Kickboxer magazine until 2009. This conversation was originally broadcast on 3SER's 97.7FM Casey Radio in October 2020. It was produced by Rob Kelly.

Load that 300-pound phonograph recorder into the trunk of your car, because it's time to hit the road and record some folk music for the Library of Congress. This week, Andrew and Dan take a winding trip through the history of folk, blues, and Americana, all in the name of this rather boring mid-century hit.

World renowned sports broadcaster Schiavello joins the boys On the Turnbuckle. Michael discusses his work commentating sports ranging from MMA to Pro Wrestling, his award winning interview series The Voice Verses and some of the relationships he has formed with people such as Jim Ross and Stone Cold Steve Austin.Michael’s new book Good Night Irene is now available.https://www.booktopia.com.au/good-night-irene-michael-schiavello/book/9780648556930.htmlThe boys touch on some topics of interestClash Of ChampionsNJPW G1 ClimaxCovid-19 impact Sponsors http://the malehug.com.au #talktober “take the challenge and register now”http://facebook.com/viperirrigation Sign up now for a quote to cover all of your Landscape, garden and irrigation needsStart your own podcast at http://mypodcasthouse.comFollow us on twitter @ontheturnbuckle

World renowned sports broadcaster Schiavello joins the boys On the Turnbuckle. Michael discusses his work commentating sports ranging from MMA to Pro Wrestling, his award winning interview series The Voice Verses and some of the relationships he has formed with people such as Jim Ross and Stone Cold Steve Austin. Michael's new book Good Night Irene is now available. https://www.booktopia.com.au/good-night-irene-michael-schiavello/book/9780648556930.html The boys touch on some topics of interest Clash Of Champions NJPW G1 Climax Covid-19 impact Sponsors http://the malehug.com.au #talktober “take the challenge and register now” http://facebook.com/viperirrigation Sign up now for a quote to cover all of your Landscape, garden and irrigation needs Start your own podcast at http://mypodcasthouse.com Follow us on twitter @ontheturnbuckle

Amidst the up-welling of consciousness about racial divides, suffering, disenfranchisement, I share memories of my youth...a girl born into a progressive, broad-minded family, and yet one who was buoyed by being white and middle-class. The complexity of my own story, as is the case for each of us, is a microcosm. As we seek to create a new world, whites and blacks together, our stories and music can be the ground for true equality and deep healing. Piano music: "Goodnight Irene," by Huddie Leadbetter - "Leadbelly" - arranged and performed by Jessica Roemischer

We speak with internationally recognizable fight commentator Michael Schiavello known for his role with K-1 Kickboxing, AXS’ Television’s “The Voice Versus” and now with the world’s largest fight organization ONE Championship. He takes through the evolution of the Japanese mixed martial arts scene, and how he landed the role with K-1 at a time when it was the biggest thing on the planet. Michael shares his experiences with some of the greatest living fighters including Ernesto Hoost, Bob Sapp, Ray Sefo, Mark Hunt, Mirko “Cro Cop”, and Aung La Nsang. We also explore stories from his new book “Goodnight Irene” including Mike Tyson, the legitimacy of Bloodsport’s Frank Dux, organized crime, and the heyday of Pride FC. You can find out more about Michael here, https://en.wikipedia.org/wiki/Michael_Schiavello*****Like, subscribe, and support Landry.Audio through these channels: Regular or one-time supporter donations: https://landry-audio.com/supportMonthly newsletter: https://landry-audio.com/Instagram: https://www.instagram.com/landry.audio/Facebook: https://www.facebook.com/LandrydotAudioLinkedin: https://www.linkedin.com/company/26566527/Youtube: https://www.youtube.com/channel/UC-11LNfYV5qm5IB1hxBlr3w?sub_confirmation=1Youtube "Landry Bits" with shortened segments:https://www.youtube.com/channel/UC8B0z2JUWwYM_qxxGc8tkoQ?sub_confirmation=1Spotify: https://spoti.fi/2Sn0rqAApple podcasts: https://apple.co/2SE7REW

Jason & Jeremy get the privilege to chat with combat sports commentator Michael Schiavello. Schiavello provides great insight to the mindset that has helped him be successful, the origins of Good Night Irene, and more. The hosts also discuss Jason going viral, Woodley-Covington, and if WWE's Thunderdome concept would work in MMA.

Episode ninety-two of A History of Rock Music in Five Hundred Songs looks at “The Lion Sleeps Tonight” by The Tokens, and at a seventy-year-long story of powerful people repeatedly ripping off less powerful people, then themselves being ripped off in turn by more powerful people, and at how racism meant that a song that earned fifteen million dollars for other people paid its composer ten shillings. 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 “Tossin’ and Turnin'” by Bobby Lewis.   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—-   ERRATUM: I say “Picture in Your Wallet” when I mean “Picture in My Wallet”.   Resources   As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.    Rian Malan’s 2000 article on Solomon Linda and The Lion Sleeps Tonight can be found here.   This 2019 article brings the story of the legal disputes up to date.   The information about isicathamiya comes from Nightsong: Performance, Power and Practice in South Africa by Veit Erlmann.   This collection of early isicathamiya and Mbube music includes several tracks by the Evening Birds.   Information on Pete Seeger and the Weavers primarily comes from Pete Seeger vs. The Un-Americans: A Tale of the Blacklist by Edward Renehan.   This collection has everything the Weavers recorded before their first split.   This is the record of one of the legal actions taken during Weiss’ dispute with Folkways in the late eighties and early nineties.   Information on the Tokens came from This is My Story.   There are, surprisingly, no budget compilations of the Tokens’ music, but this best-of has everything you need.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   Transcript   Today we’re going to look at a song that became a worldwide hit in multiple versions, and which I can guarantee everyone listening to this podcast has heard many times. A song that has been recorded by REM, that featured in a Disney musical, and which can be traced back from a white doo-wop group through a group of Communist folk singers to a man who was exploited by racist South African society — a man who invented an entire genre of music, which got named after his most famous song, but who never saw any of the millions that his song earned for others, and died in poverty. We’re going to look at the story of “The Lion Sleeps Tonight”:   [Excerpt: The Tokens, “The Lion Sleeps Tonight”]   The story of “The Lion Sleeps Tonight” is a story that goes back to 1939, when a singer called Solomon Linda was performing in South Africa. Linda was a Zulu, and thus in the racist regime of South Africa was largely without rights. Linda was, in the thirties and forties, probably the single most important performer in South Africa. He was the leader of a vocal group called the Evening Birds, who were the most popular isicathamiya group in South Africa.   Isicathamiya — and I hope I’m pronouncing that right — was a form of music which has a lot of parallels to some of the American vocal group music we’ve looked at, largely because it comes from some of the same roots. I don’t pretend to be an expert on the music by any means — I’ll put a link on the podcast webpage to a book which has far more information about this — but as best I understand it, it’s a music created when rural black people were forcibly displaced in the late nineteenth century and forced to find work in the city.   Those people combined elements of traditional Zulu music with two more Western elements. The first was the religious music that they heard from Church missions, and the second was American minstrel songs, heard from troupes of minstrels that toured the country, especially a black performer named Orpheus McAdoo, who led a troupe of minstrel and gospel performers who toured South Africa a lot in the late nineteenth century.   This new style of music was usually performed a capella, though sometimes there might be a single instrument added, and it gained a relatively formalised structure — it would almost always have very specific parts based on European choral music, with parts for a tenor, a soprano, an alto, and a bass, in strict four-part harmony — though the soprano and alto parts would be sung in falsetto by men. It would usually be based around the same I, IV, and V chords that most Western popular music was based on, and the Zulu language would often be distorted to fit Western metres, though the music was still more freeform than most of the Western music of the time.   This music started to be recorded in around 1930, and you can get an idea of the stylistic range from two examples. Here’s “Umteto we Land Act” by Caluza’s Double Quartet:   [Excerpt, “Umteto We Land Act”, Caluza’s Double Quartet”]   While here’s the Bantu Glee Singers, singing “Jim Takata Kanjani”:   [Excerpt: The Bantu Glee Singers, “Jim Takata Kanjani”]   Solomon Linda’s group, the Evening Birds, sang in this style, but incorporated a number of innovations. One was that they dressed differently — they wore matching striped suits, rather than the baggy trousers that the older groups wore — but also, they had extra bass singers. Up until this point, there would be four singers or multiples of four, with one singer singing each part. The Evening Birds, at Linda’s instigation, had a much thicker bass part, and in some ways prefigured the sound of doo-wop that would take over in America twenty years later.   Their music was often political — while the South African regime was horribly oppressive in the thirties, it wasn’t as oppressive as it later became, and a certain amount of criticism of the government was allowed in ways it wouldn’t be in future decades.   At the time, the main way in which this music would be performed was at contests with several groups, most of whom would be performing the same repertoire. An audience member would offer to pay one of the groups a few pennies to start singing — and then another audience member, when they got bored with the first group, would offer that group some more money to stop singing, before someone else offered another group some money. The Evening Birds quickly became the centre of this scene, and between 1933 and 1948, when they split, they were the most popular group around. As with many of the doo-wop groups they so resembled, they had a revolving lineup with members coming and going, and joining other groups like the Crocodiles and the Dundee Wandering Singers. There was even a second group called the Evening Birds, with a singer who sounded like Linda, and who had a long-running feud with Linda’s group.   But it wasn’t this popularity that got the Evening Birds recorded. It was because Solomon Linda got a day job packing records for Gallo Records, the only record label in South Africa, which owned the only recording studio in sub-Saharan Africa. While he was working in their factory, packing records, he managed to get the group signed to make some records themselves. In the group’s second session, they recorded a song that Linda had written, called “Mbube”, which means “lion”, and was about hunting the lions that would feed on his family’s cattle when he was growing up:   [Excerpt: Solomon Linda and the Evening Birds, “Mbube”]   There’s some dispute as to whether Linda wrote the whole song, or whether it’s based on a traditional Zulu song — I tend to fall on the side of Linda having written the whole thing, because very often when people say something is based on a traditional song, what they actually mean is “I don’t believe that an uneducated or black person can have written a whole song”.   But whatever the circumstances of most of the composition, one thing is definitely known – Linda was the one who came up with this falsetto melody:   [Excerpt: Solomon Linda and the Evening Birds, “Mbube”]   The song became massively, massively popular — so popular that eventually the master copy of the record disintegrated, as they’d pressed so many copies from it. It gave its name to a whole genre of music — in the same way that late fifties American vocal groups are doo-wop groups, South African groups like Ladysmith Black Mambazo are, more than eighty years later, still known as “mbube groups”.   Linda and the Evening Birds would make many more records, like “Anodu Gonda”:   [Excerpt: Solomon Linda and the Evening Birds, “Anodu Gonda”]   But it was “Mbube” that was their biggest hit. It sold a hundred thousand copies on Gallo Records — and earned Solomon Linda, its writer and lead singer, ten shillings. The South African government at the time estimated that a black family could survive on thirty-seven shillings and sixpence a week. So for writing the most famous melody ever to come out of Africa, Linda got a quarter of a week’s poverty-level wages. When Linda died in 1962, he had a hundred rand — equivalent then to fifty British pounds — in his bank account. He was buried in an unmarked grave.   And, a little over a year before his death, his song had become an international number one hit record. To see why, we have to go back to 1952, and a folk group called the Weavers.   Pete Seeger, the most important member of the Weavers, is a figure who is hugely important in the history of the folk music rebirth of the 1960s. Like most of the white folk singers of the period, he had an incredibly privileged background — he had attended Harvard as a classmate of John F Kennedy — but he also had very strong socialist principles. He had been friends with both Woody Guthrie and Lead Belly in the forties, and he dedicated his later career to the same kind of left-wing activism that Guthrie had taken part in.    Indeed, Guthrie and Seeger had both been members of the Almanac Singers, a folk group of the forties who had been explicitly pro-Communist. They’d been pacifists up until the Soviet entry into the Second World War, at which point they had immediately turned round and become the biggest cheerleaders of the war:   [Excerpt: The Almanac Singers, “Round and Round Hitler’s Grave”]   The Almanac Singers had a revolving door membership, including everyone from Burl Ives to Cisco Houston at one point or another, but the core of the group had been Seeger and Lee Hays, and those two had eventually formed another group, more or less as a continuation of the Almanac Singers, but with a less explicitly political agenda — they would perform Guthrie and Lead Belly songs, and songs they wrote themselves, but not be tied to performing music that fit the ideological line of the Communist Party.   The Weavers immediately had far more commercial success than the Almanac Singers ever had, and recorded such hits as their version of Lead Belly’s “Goodnight Irene”, with orchestration by Gordon Jenkins:   [Excerpt: The Weavers, “Goodnight Irene”]   And one of the hits they recorded was a version of “Mbube”, which they titled “Wimoweh”.   Alan Lomax, the folk song collector, had discovered somewhere a big stack of African records, which were about to be thrown out, and he thought to himself that those would be exactly the kind of thing that Pete Seeger might want, and gave them to him. Seeger loved the recording of “Mbube”, but neither man had any clear idea of what the song was or where it came from. Seeger couldn’t make out the lyrics — he thought Linda was singing something like “Wimoweh”, and he created a new arrangement of the song, taking Linda’s melody from the end of the song and singing it repeatedly throughout:   [Excerpt: The Weavers, “Wimoweh”]   At the time, the Weavers were signed as songwriters to Folkways, a company that was set up to promote folk music, but was part of a much bigger conglomerate, The Richmond Organisation. When they were informed that the Weavers were going to record “Wimoweh”, Folkways contacted the South African record company and were informed that “Mbube” was a traditional folk song. So Folkways copyrighted “Mbube”, as “Wimoweh”, in the name Paul Campbell — a collective pseudonym that the Weavers used for their arrangements of traditional songs.   Shortly after this, Gallo realised their mistake and tried to copyright “Mbube” themselves in the USA, under Solomon Linda’s name, only to be told that Folkways already had the copyright. Now, in the 1950s the USA was not yet a signatory to the Berne Convention, the international agreement on copyright laws, and so it made no difference that in South Africa the song had been copyrighted under Linda’s name — in the USA it was owned by Folkways, because they had registered it first.   But Folkways wanted the rights for other countries, too, and so they came to an agreement with Gallo that would be to Gallo’s immense disadvantage. Because they agreed that they would pay Gallo a modest one-off fee, and “let” Gallo have the rights to the song in a few territories in Africa, and in return Folkways would get the copyright everywhere else. Gallo agreed, and so “Mbube” by Solomon Linda and “Wimoweh” by Paul Campbell became separate copyrights — Gallo had, without realising it, given up their legal rights to the song throughout the world.   “Wimoweh” by the Weavers went to number six on the charts, but then Senator McCarthy stepped in. Both Pete Seeger and Lee Hays had been named as past Communist Party members, and were called before the House Unamerican Activities Committee to testify. Hays stood on his fifth amendment rights, refusing to testify against himself, but Seeger took the riskier option of simply refusing on first amendment grounds. He said, quite rightly, that his political activities, voting history, and party membership were nobody’s business except his, and he wasn’t going to testify about them in front of Congress. He spent much of the next decade with the threat of prison hanging over his head.   As a result, the Weavers were blacklisted from radio and TV, as was Seeger as a solo artist. “Wimoweh” dropped off the charts, and the group’s recording catalogue was deleted. The group split up, though they did get back together again a few years later, and managed to have a hit live album of a concert they performed at Carnegie Hall in 1955, which also included “Wimoweh”:   [Excerpt: The Weavers, “Wimoweh (live at Carnegie Hall)”]   Seeger left the group permanently a couple of years after that, when they did a commercial for tobacco — the group were still blacklisted from the radio and TV, and saw it as an opportunity to get some exposure, but Seeger didn’t approve of tobacco or advertising, and quit the group because of it — though because he’d made a commitment to the group, he did appear on the commercial, not wanting to break his word. At his suggestion, he was replaced by Erik Darling, from another folk group, The Tarriers. Darling was an Ayn Rand fan and a libertarian, so presumably didn’t have the same attitudes towards advertising.   As you might have gathered from this, Seeger was a man of strong principles, and so you might be surprised that he would take credit for someone else’s song. As it turned out, he didn’t. When he discovered that Solomon Linda had written the song, that it wasn’t just a traditional song, he insisted that all future money he would have made from it go to Linda, and sent Linda a cheque for a thousand dollars for the money he’d already earned. But Seeger was someone who didn’t care much about money at all — he donated the vast majority of his money to worthy causes, and lived frugally, and he assumed that the people he was working with would behave honourably and keep to agreements, and didn’t bother checking on them. They didn’t, and Linda saw nothing from them.   Over the years after 1952, “Wimoweh” became something of a standard in America, with successful versions like the one by Yma Sumac:   [Excerpt: Yma Sumac, “Wimoweh”]   And in the early sixties it was in the repertoire of almost every folk group, being recorded by groups like the Kingston Trio, who had taken the Weavers’ place as the most popular folk group in the country.   And then the Tokens entered the picture. We’ve mentioned the Tokens before, in the episode on “Will You Love Me Tomorrow?” — they were the group, also known as the Linc-Tones, that was led by Carole King’s friend Neil Sedaka, and who’d recorded “While I Dream” with Sedaka on lead vocals:   [Excerpt: Neil Sedaka and the Tokens, “While I Dream”]   After recording that, one member of the group had gone off to college, and been replaced by the falsetto singer Jay Siegel. But then the group had split up, and Sedaka had gone on to a very successful career as a solo performer and a songwriter.  But Siegel and one of the other group members, Hank Medress, had carried on performing together, and had formed a new group, Darrell and the Oxfords, with two other singers. That group had made a couple of records for Roulette Records, one of which, “Picture in Your Wallet”, was a local hit:   [Excerpt: Darrell and the Oxfords, “Picture in Your Wallet”]   But that group had also split up. So the duo invited yet another pair of singers to join them — Mitch Margo, who was around their age, in his late teens, and his twelve-year-old brother Phil. The group reverted to their old name of The Tokens, and recorded a song called “Tonight I Fell In Love”, which they leased to a small label called Warwick Records:   [Excerpt: The Tokens, “Tonight I Fell In Love”]   Warwick Records sat on the track for six months before releasing it. When they did, in 1961, it went to number fifteen on the charts. But by then, the group had signed to RCA Records, and were now working with Hugo and Luigi, the production duo who you might remember from the episode on “Shout”.   The group put out a couple of flop singles on RCA, including a remake of the Moonglows’ “Sincerely”:   [Excerpt: The Tokens, “Sincerely”]   But after those two singles flopped, the group made the record that would define them for the rest of their lives. The Tokens had been performing “Wimoweh” in their stage act, and they played it for Hugo and Luigi, who thought there was something there, but they didn’t think it would be commercial as it was. They decided to get a professional writer in to fix the song up, and called in George David Weiss, a writer with whom they’d worked before. The three of them had previously co-written “Can’t Help Falling In Love” for Elvis Presley, basing it on a traditional melody, which is what they thought they were doing here:   [Excerpt: Elvis Presley, “Can’t Help Falling In Love”]   Weiss took the song home and reworked it. Weiss decided to find out what the original lyrics had been about, and apparently asked the South African consulate, who told him that it was about lions, so he came up with new lyrics — “in the jungle, the mighty jungle, the lion sleeps tonight”.   Hugo and Luigi came up with an arrangement for Weiss’ new version of the song, and brought in an opera singer named Anita Darian to replicate the part that Yma Sumac had sung on her version. The song was recorded, and released on the B-side of the Tokens’ third flop in a row:   [Excerpt: The Tokens, “The Lion Sleeps Tonight”]   As it was believed by everyone involved that the song was a traditional one, the new song was copyrighted in the names of Weiss, Hugo, and Luigi. And as it was released as a B-side of a flop single, nobody cared at first.   But then a DJ flipped the record and started playing the B-side, and suddenly the song was a hit. Indeed, it went to number one. And it didn’t just go to number one, it became a standard, recorded over the years by everyone from Brian Eno to Billy Joel, The New Christy Minstrels to They Might Be Giants.   Obviously, the publishers of “Wimoweh”, who knew that the song wasn’t a traditional piece at all, wanted to get their share of the money. However, the owner of the publishing company was also a good friend of Weiss — and Weiss was someone who had a lot of influence in the industry, and who nobody wanted to upset, and so they came to a very amicable agreement. The three credited songwriters would stay credited as the songwriters and keep all the songwriting money — after all, Pete Seeger didn’t want it, and the publishers were only under a moral obligation to Solomon Linda, not a legal one — but the Richmond Organisation would get the publishing money.   Everyone seemed to be satisfied with the arrangement, and Solomon Linda’s song went on earning a lot of money for a lot of white men he never met.   The Tokens tried to follow up with a version of an actual African folk song, “Bwa Nina”, but that wasn’t a hit, and nor was a version of “La Bamba”. While they continued their career for decades, the only hit they had as performers was in 1973, by which point Hank Medress had left and the other three had changed their name to Cross Country and had a hit with a remake of “In the Midnight Hour”:   [Excerpt: Cross Country, “The Midnight Hour”]   I say that was the only hit they had as performers, because they went into record production themselves. There they were far more successful, and as a group they produced records like the Chiffons’ “He’s So Fine”, making them the first vocal group to produce a hit for another vocal group:   [Excerpt: The Chiffons, “He’s So Fine”]   That song would, of course, generate its own famous authorial dispute case in later years. After Hank Medress left the group, he worked as a producer on his own, producing hits for Tony Orlando and Dawn, and also producing one of the later hit versions of “The Lion Sleeps Tonight”, Robert John’s version, which made number three in 1972:   [Excerpt: Robert John, “The Lion Sleeps Tonight”]   Today there are two touring versions of the Tokens, one led by Jay Siegel and one by Phil Margo.   But while in 1961 the Richmond Organisation, Hugo and Luigi, and George Weiss all seemed happy with their agreement, things started to go wrong in 1989.   American copyright law has had several changes over the years, and nothing of what I’m saying applies now, but for songs written before 1978 and the first of the Mickey Mouse copyright extensions, the rule used to be that a song would be in copyright for twenty-eight years. The writer could then renew it for a second twenty-eight-year term. (The rule is now that songs published in America remain in copyright until seventy years after the writer’s death).    And it’s specifically the *writer* who could renew it for that second term, not the publishers. George Weiss filed notice that he was going to renew the copyright when the twenty-eight-year term expired, and that he wasn’t going to let the Richmond Organisation publish the song.   As soon as the Richmond Organisation heard about this, they took Weiss to court, saying that he couldn’t take the publishing rights away from them, because the song was based on “Wimoweh”, which they owned. Weiss argued that if the song was based on “Wimoweh”, the copyright should have reflected that for the twenty-eight years that the Richmond Organisation owned it. They’d signed papers agreeing that Weiss and Hugo and Luigi were the writers, and if they’d had a problem with that they should have said so back in 1961.   The courts sided with Weiss, but they did say that the Richmond Organisation might have had a bit of a point about the song’s similarity to “Wimoweh”, so they had to pay a small amount of money to Solomon Linda’s family.   And the American writers getting the song back coincided with two big boosts in the income from the song. First, R.E.M recorded a song called “The Sidewinder Sleeps Tonite”, on their album Automatic For the People (a record we will definitely be talking about in 2026, assuming I’m still around and able to do the podcast by then). The album was one of the biggest records of the decade, and on the song, Michael Stipe sang a fragment of Solomon Linda’s melody:   [Excerpt: R.E.M. “The Sidewinder Sleeps Tonite”]   The owners of “The Lion Sleeps Tonight” took legal action about that, and got themselves credited as co-writers of R.E.M.’s song, and the group also had to record “The Lion Sleeps Tonight”, releasing it as a B-side to the hit single version of “Sidewinder”:   [Excerpt: R.E.M. “The Lion Sleeps Tonight”]   Even better from their point of view, the song was featured in the Disney film The Lion King, which on its release in 1994 became the second highest-grossing film of all time and the most successful animated film ever, and in its Broadway adaptation, which became the most successful Broadway show of all time.   And in 2000, Rian Malan, a South African journalist based in America, who mostly dedicated his work to expunging his ancestral guilt — he’s a relative of Daniel Malan, the South African dictator who instituted the apartheid system, and of Magnus Malan, one of the more monstrous ministers in the regime in its last days of the eighties and early nineties — found out that while Solomon Linda’s family had been getting some money, it amounted at most to a couple of thousand dollars a year, shared between Linda’s daughters. At the same time, Malan estimated that over the years the song had generated something in the region of fifteen million dollars for its American copyright owners.   Malan published an article about this, and just before that, the daughters got a minor windfall — Pete Seeger noticed a six thousand dollar payment, which came to him when a commercial used “Wimoweh”, rather than “The Lion Sleeps Tonight”. He realised that he’d been receiving the royalties for “Wimoweh” all along, even though he’d asked that they be sent to Linda, so he totalled up how much he’d earned from the song over the years, which came to twelve thousand dollars, and he sent a cheque for that amount to Linda’s daughters.   Those daughters were living in such poverty that in 2001, one of the four died of AIDS — a disease which would have been completely treatable if she’d been able to afford the anti-retroviral medication to treat it.   The surviving sisters were told that the copyright in “Mbube” should have reverted to them in the eighties, and that they had a very good case under South African law to get a proper share of the rights to both “Wimoweh” and “The Lion Sleeps Tonight”.   They just needed to find someone in South Africa that they could sue. Abilene Music, the current owners of “The Lion Sleeps Tonight”, were based in the USA and had no assets in South Africa. Suing them would be pointless. But they could sue someone else:   [Excerpt: Timon and Pumbaa, “The Lion Sleeps Tonight”]   Disney had assets in South Africa. Lots of them. And they’d used Solomon Linda’s song in their film, which under South African law would be copyright infringement. It would even be possible, if the case went really badly for Disney, that Linda’s family could get total ownership of all Disney assets in South Africa.   So in 2006, Disney came to an out of court settlement with Linda’s family, and they appear to have pressured Abilene Music to do the same thing. Under South African law, “Mbube” would go out of copyright by 2012, but it was agreed that Linda’s daughters would receive royalties on “The Lion Sleeps Tonight” until 2017, even after the South African copyright had expired, and they would get a lump sum from Disney. The money they were owed would be paid into a trust.   After 2017, they would still get money from “Wimoweh”, but not from “The Lion Sleeps Tonight”, whose rights would revert fully to its American owners.   Unfortunately, most of the money they got seems to have gone on legal bills. The three surviving sisters each received, in total, about eighty-three thousand dollars over the ten-year course of the agreement after those bills, which is much, much, more than they were getting before, but only a fraction of what the song would have earned them if they’d been paid properly.   In 2017, the year the agreement expired, Disney announced they were making a photorealistic CGI remake of The Lion King. That, too, featured “The Lion Sleeps Tonight”, and that, too, became the most successful animated film of all time. Under American copyright law, “Wimoweh” will remain in copyright until 2047, unless further changes are made to the law. Solomon Linda’s family will continue to receive royalties on that song. “The Lion Sleeps Tonight”, the much more successful song, will remain in copyright until 2057, and the money from that will mostly go to Claire Weiss-Creatore, who was George Weiss’ third wife, and who after he died in 2010 became the third wife of Luigi Creatore, of Hugo and Luigi, who died himself in 2015. Solomon Linda’s daughters won’t see a penny of it.   According to George Weiss’ obituary in the Guardian, he “was a familiar figure at congressional hearings into copyright reform and music piracy, testifying as to the vital importance of intellectual property protection for composers”.  

Episode ninety-two of A History of Rock Music in Five Hundred Songs looks at "The Lion Sleeps Tonight" by The Tokens, and at a seventy-year-long story of powerful people repeatedly ripping off less powerful people, then themselves being ripped off in turn by more powerful people, and at how racism meant that a song that earned fifteen million dollars for other people paid its composer ten shillings. 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 "Tossin' and Turnin'" by Bobby Lewis.   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----   ERRATUM: I say “Picture in Your Wallet” when I mean “Picture in My Wallet”.   Resources   As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.    Rian Malan's 2000 article on Solomon Linda and The Lion Sleeps Tonight can be found here.   This 2019 article brings the story of the legal disputes up to date.   The information about isicathamiya comes from Nightsong: Performance, Power and Practice in South Africa by Veit Erlmann.   This collection of early isicathamiya and Mbube music includes several tracks by the Evening Birds.   Information on Pete Seeger and the Weavers primarily comes from Pete Seeger vs. The Un-Americans: A Tale of the Blacklist by Edward Renehan.   This collection has everything the Weavers recorded before their first split.   This is the record of one of the legal actions taken during Weiss' dispute with Folkways in the late eighties and early nineties.   Information on the Tokens came from This is My Story.   There are, surprisingly, no budget compilations of the Tokens' music, but this best-of has everything you need.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   Transcript   Today we're going to look at a song that became a worldwide hit in multiple versions, and which I can guarantee everyone listening to this podcast has heard many times. A song that has been recorded by REM, that featured in a Disney musical, and which can be traced back from a white doo-wop group through a group of Communist folk singers to a man who was exploited by racist South African society -- a man who invented an entire genre of music, which got named after his most famous song, but who never saw any of the millions that his song earned for others, and died in poverty. We're going to look at the story of "The Lion Sleeps Tonight":   [Excerpt: The Tokens, "The Lion Sleeps Tonight"]   The story of "The Lion Sleeps Tonight" is a story that goes back to 1939, when a singer called Solomon Linda was performing in South Africa. Linda was a Zulu, and thus in the racist regime of South Africa was largely without rights. Linda was, in the thirties and forties, probably the single most important performer in South Africa. He was the leader of a vocal group called the Evening Birds, who were the most popular isicathamiya group in South Africa.   Isicathamiya -- and I hope I'm pronouncing that right -- was a form of music which has a lot of parallels to some of the American vocal group music we've looked at, largely because it comes from some of the same roots. I don't pretend to be an expert on the music by any means -- I'll put a link on the podcast webpage to a book which has far more information about this -- but as best I understand it, it's a music created when rural black people were forcibly displaced in the late nineteenth century and forced to find work in the city.   Those people combined elements of traditional Zulu music with two more Western elements. The first was the religious music that they heard from Church missions, and the second was American minstrel songs, heard from troupes of minstrels that toured the country, especially a black performer named Orpheus McAdoo, who led a troupe of minstrel and gospel performers who toured South Africa a lot in the late nineteenth century.   This new style of music was usually performed a capella, though sometimes there might be a single instrument added, and it gained a relatively formalised structure -- it would almost always have very specific parts based on European choral music, with parts for a tenor, a soprano, an alto, and a bass, in strict four-part harmony -- though the soprano and alto parts would be sung in falsetto by men. It would usually be based around the same I, IV, and V chords that most Western popular music was based on, and the Zulu language would often be distorted to fit Western metres, though the music was still more freeform than most of the Western music of the time.   This music started to be recorded in around 1930, and you can get an idea of the stylistic range from two examples. Here's "Umteto we Land Act" by Caluza's Double Quartet:   [Excerpt, "Umteto We Land Act", Caluza's Double Quartet"]   While here's the Bantu Glee Singers, singing "Jim Takata Kanjani":   [Excerpt: The Bantu Glee Singers, "Jim Takata Kanjani"]   Solomon Linda's group, the Evening Birds, sang in this style, but incorporated a number of innovations. One was that they dressed differently -- they wore matching striped suits, rather than the baggy trousers that the older groups wore -- but also, they had extra bass singers. Up until this point, there would be four singers or multiples of four, with one singer singing each part. The Evening Birds, at Linda's instigation, had a much thicker bass part, and in some ways prefigured the sound of doo-wop that would take over in America twenty years later.   Their music was often political -- while the South African regime was horribly oppressive in the thirties, it wasn't as oppressive as it later became, and a certain amount of criticism of the government was allowed in ways it wouldn't be in future decades.   At the time, the main way in which this music would be performed was at contests with several groups, most of whom would be performing the same repertoire. An audience member would offer to pay one of the groups a few pennies to start singing -- and then another audience member, when they got bored with the first group, would offer that group some more money to stop singing, before someone else offered another group some money. The Evening Birds quickly became the centre of this scene, and between 1933 and 1948, when they split, they were the most popular group around. As with many of the doo-wop groups they so resembled, they had a revolving lineup with members coming and going, and joining other groups like the Crocodiles and the Dundee Wandering Singers. There was even a second group called the Evening Birds, with a singer who sounded like Linda, and who had a long-running feud with Linda's group.   But it wasn't this popularity that got the Evening Birds recorded. It was because Solomon Linda got a day job packing records for Gallo Records, the only record label in South Africa, which owned the only recording studio in sub-Saharan Africa. While he was working in their factory, packing records, he managed to get the group signed to make some records themselves. In the group's second session, they recorded a song that Linda had written, called "Mbube", which means "lion", and was about hunting the lions that would feed on his family's cattle when he was growing up:   [Excerpt: Solomon Linda and the Evening Birds, "Mbube"]   There's some dispute as to whether Linda wrote the whole song, or whether it's based on a traditional Zulu song -- I tend to fall on the side of Linda having written the whole thing, because very often when people say something is based on a traditional song, what they actually mean is "I don't believe that an uneducated or black person can have written a whole song".   But whatever the circumstances of most of the composition, one thing is definitely known – Linda was the one who came up with this falsetto melody:   [Excerpt: Solomon Linda and the Evening Birds, "Mbube"]   The song became massively, massively popular -- so popular that eventually the master copy of the record disintegrated, as they'd pressed so many copies from it. It gave its name to a whole genre of music -- in the same way that late fifties American vocal groups are doo-wop groups, South African groups like Ladysmith Black Mambazo are, more than eighty years later, still known as "mbube groups".   Linda and the Evening Birds would make many more records, like "Anodu Gonda":   [Excerpt: Solomon Linda and the Evening Birds, "Anodu Gonda"]   But it was "Mbube" that was their biggest hit. It sold a hundred thousand copies on Gallo Records -- and earned Solomon Linda, its writer and lead singer, ten shillings. The South African government at the time estimated that a black family could survive on thirty-seven shillings and sixpence a week. So for writing the most famous melody ever to come out of Africa, Linda got a quarter of a week's poverty-level wages. When Linda died in 1962, he had a hundred rand -- equivalent then to fifty British pounds -- in his bank account. He was buried in an unmarked grave.   And, a little over a year before his death, his song had become an international number one hit record. To see why, we have to go back to 1952, and a folk group called the Weavers.   Pete Seeger, the most important member of the Weavers, is a figure who is hugely important in the history of the folk music rebirth of the 1960s. Like most of the white folk singers of the period, he had an incredibly privileged background -- he had attended Harvard as a classmate of John F Kennedy -- but he also had very strong socialist principles. He had been friends with both Woody Guthrie and Lead Belly in the forties, and he dedicated his later career to the same kind of left-wing activism that Guthrie had taken part in.    Indeed, Guthrie and Seeger had both been members of the Almanac Singers, a folk group of the forties who had been explicitly pro-Communist. They'd been pacifists up until the Soviet entry into the Second World War, at which point they had immediately turned round and become the biggest cheerleaders of the war:   [Excerpt: The Almanac Singers, "Round and Round Hitler's Grave"]   The Almanac Singers had a revolving door membership, including everyone from Burl Ives to Cisco Houston at one point or another, but the core of the group had been Seeger and Lee Hays, and those two had eventually formed another group, more or less as a continuation of the Almanac Singers, but with a less explicitly political agenda -- they would perform Guthrie and Lead Belly songs, and songs they wrote themselves, but not be tied to performing music that fit the ideological line of the Communist Party.   The Weavers immediately had far more commercial success than the Almanac Singers ever had, and recorded such hits as their version of Lead Belly's "Goodnight Irene", with orchestration by Gordon Jenkins:   [Excerpt: The Weavers, "Goodnight Irene"]   And one of the hits they recorded was a version of "Mbube", which they titled "Wimoweh".   Alan Lomax, the folk song collector, had discovered somewhere a big stack of African records, which were about to be thrown out, and he thought to himself that those would be exactly the kind of thing that Pete Seeger might want, and gave them to him. Seeger loved the recording of "Mbube", but neither man had any clear idea of what the song was or where it came from. Seeger couldn't make out the lyrics -- he thought Linda was singing something like "Wimoweh", and he created a new arrangement of the song, taking Linda's melody from the end of the song and singing it repeatedly throughout:   [Excerpt: The Weavers, "Wimoweh"]   At the time, the Weavers were signed as songwriters to Folkways, a company that was set up to promote folk music, but was part of a much bigger conglomerate, The Richmond Organisation. When they were informed that the Weavers were going to record "Wimoweh", Folkways contacted the South African record company and were informed that "Mbube" was a traditional folk song. So Folkways copyrighted "Mbube", as "Wimoweh", in the name Paul Campbell -- a collective pseudonym that the Weavers used for their arrangements of traditional songs.   Shortly after this, Gallo realised their mistake and tried to copyright "Mbube" themselves in the USA, under Solomon Linda's name, only to be told that Folkways already had the copyright. Now, in the 1950s the USA was not yet a signatory to the Berne Convention, the international agreement on copyright laws, and so it made no difference that in South Africa the song had been copyrighted under Linda's name -- in the USA it was owned by Folkways, because they had registered it first.   But Folkways wanted the rights for other countries, too, and so they came to an agreement with Gallo that would be to Gallo's immense disadvantage. Because they agreed that they would pay Gallo a modest one-off fee, and "let" Gallo have the rights to the song in a few territories in Africa, and in return Folkways would get the copyright everywhere else. Gallo agreed, and so "Mbube" by Solomon Linda and "Wimoweh" by Paul Campbell became separate copyrights -- Gallo had, without realising it, given up their legal rights to the song throughout the world.   "Wimoweh" by the Weavers went to number six on the charts, but then Senator McCarthy stepped in. Both Pete Seeger and Lee Hays had been named as past Communist Party members, and were called before the House Unamerican Activities Committee to testify. Hays stood on his fifth amendment rights, refusing to testify against himself, but Seeger took the riskier option of simply refusing on first amendment grounds. He said, quite rightly, that his political activities, voting history, and party membership were nobody's business except his, and he wasn't going to testify about them in front of Congress. He spent much of the next decade with the threat of prison hanging over his head.   As a result, the Weavers were blacklisted from radio and TV, as was Seeger as a solo artist. "Wimoweh" dropped off the charts, and the group's recording catalogue was deleted. The group split up, though they did get back together again a few years later, and managed to have a hit live album of a concert they performed at Carnegie Hall in 1955, which also included "Wimoweh":   [Excerpt: The Weavers, "Wimoweh (live at Carnegie Hall)"]   Seeger left the group permanently a couple of years after that, when they did a commercial for tobacco -- the group were still blacklisted from the radio and TV, and saw it as an opportunity to get some exposure, but Seeger didn't approve of tobacco or advertising, and quit the group because of it -- though because he'd made a commitment to the group, he did appear on the commercial, not wanting to break his word. At his suggestion, he was replaced by Erik Darling, from another folk group, The Tarriers. Darling was an Ayn Rand fan and a libertarian, so presumably didn't have the same attitudes towards advertising.   As you might have gathered from this, Seeger was a man of strong principles, and so you might be surprised that he would take credit for someone else's song. As it turned out, he didn't. When he discovered that Solomon Linda had written the song, that it wasn't just a traditional song, he insisted that all future money he would have made from it go to Linda, and sent Linda a cheque for a thousand dollars for the money he'd already earned. But Seeger was someone who didn't care much about money at all -- he donated the vast majority of his money to worthy causes, and lived frugally, and he assumed that the people he was working with would behave honourably and keep to agreements, and didn't bother checking on them. They didn't, and Linda saw nothing from them.   Over the years after 1952, "Wimoweh" became something of a standard in America, with successful versions like the one by Yma Sumac:   [Excerpt: Yma Sumac, "Wimoweh"]   And in the early sixties it was in the repertoire of almost every folk group, being recorded by groups like the Kingston Trio, who had taken the Weavers' place as the most popular folk group in the country.   And then the Tokens entered the picture. We've mentioned the Tokens before, in the episode on "Will You Love Me Tomorrow?" -- they were the group, also known as the Linc-Tones, that was led by Carole King's friend Neil Sedaka, and who'd recorded "While I Dream" with Sedaka on lead vocals:   [Excerpt: Neil Sedaka and the Tokens, "While I Dream"]   After recording that, one member of the group had gone off to college, and been replaced by the falsetto singer Jay Siegel. But then the group had split up, and Sedaka had gone on to a very successful career as a solo performer and a songwriter.  But Siegel and one of the other group members, Hank Medress, had carried on performing together, and had formed a new group, Darrell and the Oxfords, with two other singers. That group had made a couple of records for Roulette Records, one of which, "Picture in Your Wallet", was a local hit:   [Excerpt: Darrell and the Oxfords, "Picture in Your Wallet"]   But that group had also split up. So the duo invited yet another pair of singers to join them -- Mitch Margo, who was around their age, in his late teens, and his twelve-year-old brother Phil. The group reverted to their old name of The Tokens, and recorded a song called "Tonight I Fell In Love", which they leased to a small label called Warwick Records:   [Excerpt: The Tokens, "Tonight I Fell In Love"]   Warwick Records sat on the track for six months before releasing it. When they did, in 1961, it went to number fifteen on the charts. But by then, the group had signed to RCA Records, and were now working with Hugo and Luigi, the production duo who you might remember from the episode on "Shout".   The group put out a couple of flop singles on RCA, including a remake of the Moonglows' "Sincerely":   [Excerpt: The Tokens, "Sincerely"]   But after those two singles flopped, the group made the record that would define them for the rest of their lives. The Tokens had been performing "Wimoweh" in their stage act, and they played it for Hugo and Luigi, who thought there was something there, but they didn't think it would be commercial as it was. They decided to get a professional writer in to fix the song up, and called in George David Weiss, a writer with whom they'd worked before. The three of them had previously co-written "Can't Help Falling In Love" for Elvis Presley, basing it on a traditional melody, which is what they thought they were doing here:   [Excerpt: Elvis Presley, "Can't Help Falling In Love"]   Weiss took the song home and reworked it. Weiss decided to find out what the original lyrics had been about, and apparently asked the South African consulate, who told him that it was about lions, so he came up with new lyrics -- "in the jungle, the mighty jungle, the lion sleeps tonight".   Hugo and Luigi came up with an arrangement for Weiss' new version of the song, and brought in an opera singer named Anita Darian to replicate the part that Yma Sumac had sung on her version. The song was recorded, and released on the B-side of the Tokens' third flop in a row:   [Excerpt: The Tokens, "The Lion Sleeps Tonight"]   As it was believed by everyone involved that the song was a traditional one, the new song was copyrighted in the names of Weiss, Hugo, and Luigi. And as it was released as a B-side of a flop single, nobody cared at first.   But then a DJ flipped the record and started playing the B-side, and suddenly the song was a hit. Indeed, it went to number one. And it didn't just go to number one, it became a standard, recorded over the years by everyone from Brian Eno to Billy Joel, The New Christy Minstrels to They Might Be Giants.   Obviously, the publishers of "Wimoweh", who knew that the song wasn't a traditional piece at all, wanted to get their share of the money. However, the owner of the publishing company was also a good friend of Weiss -- and Weiss was someone who had a lot of influence in the industry, and who nobody wanted to upset, and so they came to a very amicable agreement. The three credited songwriters would stay credited as the songwriters and keep all the songwriting money -- after all, Pete Seeger didn't want it, and the publishers were only under a moral obligation to Solomon Linda, not a legal one -- but the Richmond Organisation would get the publishing money.   Everyone seemed to be satisfied with the arrangement, and Solomon Linda's song went on earning a lot of money for a lot of white men he never met.   The Tokens tried to follow up with a version of an actual African folk song, "Bwa Nina", but that wasn't a hit, and nor was a version of "La Bamba". While they continued their career for decades, the only hit they had as performers was in 1973, by which point Hank Medress had left and the other three had changed their name to Cross Country and had a hit with a remake of "In the Midnight Hour":   [Excerpt: Cross Country, "The Midnight Hour"]   I say that was the only hit they had as performers, because they went into record production themselves. There they were far more successful, and as a group they produced records like the Chiffons' "He's So Fine", making them the first vocal group to produce a hit for another vocal group:   [Excerpt: The Chiffons, "He's So Fine"]   That song would, of course, generate its own famous authorial dispute case in later years. After Hank Medress left the group, he worked as a producer on his own, producing hits for Tony Orlando and Dawn, and also producing one of the later hit versions of "The Lion Sleeps Tonight", Robert John's version, which made number three in 1972:   [Excerpt: Robert John, "The Lion Sleeps Tonight"]   Today there are two touring versions of the Tokens, one led by Jay Siegel and one by Phil Margo.   But while in 1961 the Richmond Organisation, Hugo and Luigi, and George Weiss all seemed happy with their agreement, things started to go wrong in 1989.   American copyright law has had several changes over the years, and nothing of what I'm saying applies now, but for songs written before 1978 and the first of the Mickey Mouse copyright extensions, the rule used to be that a song would be in copyright for twenty-eight years. The writer could then renew it for a second twenty-eight-year term. (The rule is now that songs published in America remain in copyright until seventy years after the writer's death).    And it's specifically the *writer* who could renew it for that second term, not the publishers. George Weiss filed notice that he was going to renew the copyright when the twenty-eight-year term expired, and that he wasn't going to let the Richmond Organisation publish the song.   As soon as the Richmond Organisation heard about this, they took Weiss to court, saying that he couldn't take the publishing rights away from them, because the song was based on "Wimoweh", which they owned. Weiss argued that if the song was based on "Wimoweh", the copyright should have reflected that for the twenty-eight years that the Richmond Organisation owned it. They'd signed papers agreeing that Weiss and Hugo and Luigi were the writers, and if they'd had a problem with that they should have said so back in 1961.   The courts sided with Weiss, but they did say that the Richmond Organisation might have had a bit of a point about the song's similarity to "Wimoweh", so they had to pay a small amount of money to Solomon Linda's family.   And the American writers getting the song back coincided with two big boosts in the income from the song. First, R.E.M recorded a song called "The Sidewinder Sleeps Tonite", on their album Automatic For the People (a record we will definitely be talking about in 2026, assuming I'm still around and able to do the podcast by then). The album was one of the biggest records of the decade, and on the song, Michael Stipe sang a fragment of Solomon Linda's melody:   [Excerpt: R.E.M. "The Sidewinder Sleeps Tonite"]   The owners of "The Lion Sleeps Tonight" took legal action about that, and got themselves credited as co-writers of R.E.M.'s song, and the group also had to record "The Lion Sleeps Tonight", releasing it as a B-side to the hit single version of "Sidewinder":   [Excerpt: R.E.M. "The Lion Sleeps Tonight"]   Even better from their point of view, the song was featured in the Disney film The Lion King, which on its release in 1994 became the second highest-grossing film of all time and the most successful animated film ever, and in its Broadway adaptation, which became the most successful Broadway show of all time.   And in 2000, Rian Malan, a South African journalist based in America, who mostly dedicated his work to expunging his ancestral guilt -- he's a relative of Daniel Malan, the South African dictator who instituted the apartheid system, and of Magnus Malan, one of the more monstrous ministers in the regime in its last days of the eighties and early nineties -- found out that while Solomon Linda's family had been getting some money, it amounted at most to a couple of thousand dollars a year, shared between Linda's daughters. At the same time, Malan estimated that over the years the song had generated something in the region of fifteen million dollars for its American copyright owners.   Malan published an article about this, and just before that, the daughters got a minor windfall -- Pete Seeger noticed a six thousand dollar payment, which came to him when a commercial used "Wimoweh", rather than "The Lion Sleeps Tonight". He realised that he'd been receiving the royalties for "Wimoweh" all along, even though he'd asked that they be sent to Linda, so he totalled up how much he'd earned from the song over the years, which came to twelve thousand dollars, and he sent a cheque for that amount to Linda's daughters.   Those daughters were living in such poverty that in 2001, one of the four died of AIDS -- a disease which would have been completely treatable if she'd been able to afford the anti-retroviral medication to treat it.   The surviving sisters were told that the copyright in "Mbube" should have reverted to them in the eighties, and that they had a very good case under South African law to get a proper share of the rights to both "Wimoweh" and "The Lion Sleeps Tonight".   They just needed to find someone in South Africa that they could sue. Abilene Music, the current owners of "The Lion Sleeps Tonight", were based in the USA and had no assets in South Africa. Suing them would be pointless. But they could sue someone else:   [Excerpt: Timon and Pumbaa, "The Lion Sleeps Tonight"]   Disney had assets in South Africa. Lots of them. And they'd used Solomon Linda's song in their film, which under South African law would be copyright infringement. It would even be possible, if the case went really badly for Disney, that Linda's family could get total ownership of all Disney assets in South Africa.   So in 2006, Disney came to an out of court settlement with Linda's family, and they appear to have pressured Abilene Music to do the same thing. Under South African law, "Mbube" would go out of copyright by 2012, but it was agreed that Linda's daughters would receive royalties on "The Lion Sleeps Tonight" until 2017, even after the South African copyright had expired, and they would get a lump sum from Disney. The money they were owed would be paid into a trust.   After 2017, they would still get money from "Wimoweh", but not from "The Lion Sleeps Tonight", whose rights would revert fully to its American owners.   Unfortunately, most of the money they got seems to have gone on legal bills. The three surviving sisters each received, in total, about eighty-three thousand dollars over the ten-year course of the agreement after those bills, which is much, much, more than they were getting before, but only a fraction of what the song would have earned them if they'd been paid properly.   In 2017, the year the agreement expired, Disney announced they were making a photorealistic CGI remake of The Lion King. That, too, featured "The Lion Sleeps Tonight", and that, too, became the most successful animated film of all time. Under American copyright law, "Wimoweh" will remain in copyright until 2047, unless further changes are made to the law. Solomon Linda's family will continue to receive royalties on that song. "The Lion Sleeps Tonight", the much more successful song, will remain in copyright until 2057, and the money from that will mostly go to Claire Weiss-Creatore, who was George Weiss' third wife, and who after he died in 2010 became the third wife of Luigi Creatore, of Hugo and Luigi, who died himself in 2015. Solomon Linda's daughters won't see a penny of it.   According to George Weiss' obituary in the Guardian, he "was a familiar figure at congressional hearings into copyright reform and music piracy, testifying as to the vital importance of intellectual property protection for composers".  

Stasera ultima puntata di questa pandemica terza stagione di Karmadillo!Per l'occasione non potevano mancare per la quarta volta le SKA-tenatissime Iene Ska-Punk per mantenere la tradizione di apertura e chiusura con loro (vi promettiamo che questa però sarà davvero l'ultima!)Vi avvisiamo che il podcast potrebbe contenere tracce di:- Suonatine in laiv sesscion con suggestivi rumori di sottofondo e audio distorto- Giochino ironico per ricordare alcuni degli artisti ferraresi delle puntate passate (HEMP, Arianna Poli, Lucertole, Space Carlos, Cut Yena, EcoFibra Band, Good Night Irene, J.Bisio, Heute Nebel, Das-Fuff, d•Drop, Road to Funk, Christian Zanarini Criket, MARTA)- Riesumazione di tabù vari ed eventuali- Inversione di ruoli- Risposte alle domande da casaBUON ASCOLTO E BUONA ESTATE!Anche se in realtà... questa ultima, ultima non sarà... STATE TUNED!!!

Good Night Irene by Jennifer Johnston. Featuring Enda Oates and Roger Gregg directed by Gorretti Slavin

Gli ospiti di stasera sono i Good Night Irene, gruppo che dopo il gran successo di "Mi piaccion le panchine", cover rivisitata del pezzo degli Skiantos, vengono a raccontarsi un po' a Karmadillo e a suonare pure qualcosina dal vivo. Stasera quindi tutti sintonizzati dalle 21 alle 22.30 su Web Radio Giardino per il solito appuntamento del giovedì!

On this week's show we chat with Icelandic Chairboy Kristján Sturluson, we remember Oli Darlington plus we have all the action and reaction from the victory over Bristol Rovers at Adams Park. --- Send in a voice message: https://anchor.fm/phil-catchpole/message

The story of the "weeping icon" has it all - a 102-year-old flying nun, the Gulf War, armed robbery, John Gotti, religious schism, and insurance fraud. Hear the amazing truth in this week's episode, "Goodnight, Irene!" Transcript, references and more at https://order-of-the-jackalope.com/goodnight-irene/

Accident, True Detective Blasters, Hot Rod Center The Cardiac Kidz, Get Out Kleenex, Ain't You Fire Engines, Dischord Gary Wilson, New York Surf The Dead Boys, Down in Flames Accident, Kill the Bee Gees Los Saicos, Demolicion Shock, This Generation's on Vacation K.M.D, Subroc's Mission Kaleidoscope, Once Upon a Time there was a World Red Transistor, Not Bite Pink Mountaintops, Walk in Silence Creation, Cool Jerk Halo Benders, Virginia Reel Around the Fountain Blasters, Big Green Vet The Cardiac Kids, Find Yourself a Way The Mad, I Hate Music Shock, Spoiled Stiff Little Fingers, Suspect Device Bad Religion, Into the Night Leadbelly, Goodnight Irene

'“Over the years, we've taken artists who may know each other, may have played with each other 20-30 years ago, and it's sort of a reunion. I remember being backstage last year when Dave Bromberg and Tom Chapin – at one point they were both in the New York music scene – and they were saying ‘ya remember when we played the Village Gate?' Or to see Richie Havens hugging Odetta … just so many stories. We try to do it in the form of a song-swap; put them all up on stage together and they go round robin and do two songs each, and at the end of the show they usually do one big ‘Goodnight Irene' thing or ‘This Land Is Your Land.' It's just great.” That's Bruce Newman, Memphis tax and entertainment lawyer extraordinaire, talking about 25 years of the annual benefit concerts known as Acoustic Sunday Live. For the second year in a row, 2019's concert will benefit Protect Our Aquifer, the nonprofit group started by Ward Archer dedicated to public oversight of our precious Memphis water.

Get ready to cringe as Ashley tells Dimitria the gruesome story of the Pickton Pig Farmer Killer. You may want to avoid pork for a while after this episode... #talesfromthemidnightsociety

The year is 2005, the town is Eureka. One man is American, the other Irish. Both have suffered /are suffering loss in their lives. As the music fades and the conversation ends the loneliness remains.

by Jennifer Johnston featuring Roger Gregg

Hop on the Happy Bus and listen as we talk about some pretty powerful as well as some pretty funny memories of Camp Daniel this summer. Special thanks to Spectrum for the use of "The Wheels On the Bus". Here is their channel to like and subscribe. https://www.youtube.com/channel/UCelHsNxKYnF1WlIOo-5YcFQ We used a portion of "You've got a friend in me" from "Toy Story 2". We don't own the rights to this song. It is owned by Randy Newman, Disney and Pixar. We also used Goodnight Irene by George Winston. Here is his channel and song info. We don't own the rights to this song. https://www.youtube.com/channel/UCyaPfzu5hmvB41zVp7aaXFw Montana: A Love Story ℗ 2004 Dancing Cat Music Released on: 2004-10-14 Music Publisher: Ludlow Music Provided to YouTube by The Orchard Enterprises Camp Daniels social media http://www.campdaniel.org/ www.facebook.com/camp.daniel.5 www.instagram.com/camp_daniel www.HappyLife.lol www.Facebook.com/HappyLifeStudios www.Instagram.com/HappyLife_Studios www.Twitter.com/HappyLifStudios www.PayPal.me/StevoHays

OMG IT'S MARCH ALREADY? GOOD NIGHT IRENE. We love to hear from you! 1890Studios.comDrop us a line: TheNetflixExplorers@gmail.comFACEBOOK: https://www.facebook.com/thenetflixexplorersTWITTER: @TheNetExITUNES: https://itunes.apple.com/us/podcast/netflix-explorers-podcast/id1200124353?mt=2Leave a comment on Facebook and review us on iTunes!Advertising inquiries: dale@1890Studios.com

Goodnight Irene by Leadbelly & The First Time Ever I Saw Your Face by Roberta Flack

This is the best thing I’ve ever recorded. If you want to hear the conversation and not the introduction, you can fast forward to 12:45. But you won’t do that, right? Thanks. Really, though…I appreciate and love everyone who has recorded with me, and honestly you’ve brought me to the point where a thing like what you’re about to hear could happen.  I needed time.  Apparently like 2.5 years.  Also, I needed the equipment.  A good recorder, headphones, and microphones.  And, apparently, the perfect evening with a friend with whom I’ve never had this deep a conversation before. Today, you’ll meet my friend Jason, and you’ll travel with us through an insightful, hilarious, important conversation. This will take about 4 weeks. Please listen, and comment, and share. I present to you, “Goodnight Irene (Del Norris, pt 1).”   Leadbelly…worth your time.

Today on Independence Day, your independent, community radio station in Bloomington, Indiana presents “Pete Seeger: Plain and Complicated.” It’s hard to know where to begin but let’s start with one of the most popular songs of the mid-20th century, The Weavers rendition of “Goodnight Irene” by Huddie Ledbetter, better known as Leadbelly. This is a …

In this episode Broken Boxes gets into conversation with writer and director Sterlin Harjo. We hear about Sterlin's journey to becoming a filmmaker and he shares memories of growing up in rural Oklahoma as 'that weird artist kid'. Sterlin talks about being a founding member of renown Native comedy group the 1491s and reflects on the beginning project that catapulted the group to what it is today. Sterlin also talks about Standing Rock as an Indigenous led global movement and we get his perspective regarding the film works that have come since. Sterlin also offers his insight for existing in a world consumed by social media and offers advice on how to approach creating film work in today's accessible media platforms. Sterlin Harjo belongs to the Seminole and Creek Nations, and is a native of Holdenville, Oklahoma. Interested from an early age in visual art and film, Harjo studied painting at the University of Oklahoma before writing his first feature-length script. Since then Harjo was a participant in the Sundance Institute's Feature Film Program. In 2004, Sundance Institute selected Harjo to receive an Annenberg Fellowship, which provided extended support over a two-year period to facilitate the creation of his feature project. In 2006 Harjo was in the inaugural class of United States Artists award recipients. He was also the youngest recipient. Sterlin Harjo completed a year of development on his feature film script FOUR SHEETS TO THE WIND through the Sundance Institute's Filmmaker Labs where he worked under the guidance of industry veterans such as Robert Redford, Stanley Tucci, Joan Tewkesbury, Susan Shilliday, Frank Pierson, Walter Mosley, and Antonia Bird. Sterlin's project was one of 12 projects chosen from a pool of almost 2,500 based on the uniqueness of his voice, the originality of his story and the promise of this feature film offering something poignant to American cinema. Harjo's short film GOOD NIGHT IRENE premiered at the Sundance Film Festival 05 and has went on to play festivals around the world. The short film has garnered Harjo awards including Special Jury Recognition at the Aspen Shorts Festival and Best Oklahoma Film at the Dead Center film festival in Oklahoma City. In 2007 Harjo's first feature film, FOUR SHEETS TO THE WIND, premiered at the Sundance Film Festival. The film garnered warm responses from both audience's and critics. Tamara Podemski won a Special Jury Prize for outstanding performance for her role in the film as Miri Smallhill. Podemski was also nominated for an Independent Spirit Award for her performance. Harjo's film BARKING WATER had a successful premiere at the 2009 Sundance Film Festival, and it screened as a part of the highly acclaimed New Directors/New Film series in New York City. Barking Water was the only American film that played in the Venice Days section of the 2009 Venice Film Festival. Harjo's first documentary THIS MAY BE THE LAST TIME premiered at the 2014 Sundance Film Festival. Harjo's film Mekko premiered at The Los Angeles Film Festival in 2015. Mekko also screened at the Toronto International Film Festival and the Stockholm International Film Festival. It won best film at the ImagineNative Film Festival in Toronto. Harjo is a founding member of the all Native comedy group the 1491s.

In this episode Broken Boxes gets into conversation with writer and director Sterlin Harjo. We hear about Sterlin's journey to becoming a filmmaker and he shares memories of growing up in rural Oklahoma as 'that weird artist kid'. Sterlin talks about being a founding member of renown Native comedy group the 1491s and reflects on the beginning project that catapulted the group to what it is today. Sterlin also talks about Standing Rock as an Indigenous led global movement and we get his perspective regarding the film works that have come since. Sterlin also offers his insight for existing in a world consumed by social media and offers advice on how to approach creating film work in today's accessible media platforms. Sterlin Harjo belongs to the Seminole and Creek Nations, and is a native of Holdenville, Oklahoma. Interested from an early age in visual art and film, Harjo studied painting at the University of Oklahoma before writing his first feature-length script. Since then Harjo was a participant in the Sundance Institute’s Feature Film Program. In 2004, Sundance Institute selected Harjo to receive an Annenberg Fellowship, which provided extended support over a two-year period to facilitate the creation of his feature project. In 2006 Harjo was in the inaugural class of United States Artists award recipients. He was also the youngest recipient. Sterlin Harjo completed a year of development on his feature film script FOUR SHEETS TO THE WIND through the Sundance Institute’s Filmmaker Labs where he worked under the guidance of industry veterans such as Robert Redford, Stanley Tucci, Joan Tewkesbury, Susan Shilliday, Frank Pierson, Walter Mosley, and Antonia Bird. Sterlin’s project was one of 12 projects chosen from a pool of almost 2,500 based on the uniqueness of his voice, the originality of his story and the promise of this feature film offering something poignant to American cinema. Harjo’s short film GOOD NIGHT IRENE premiered at the Sundance Film Festival 05 and has went on to play festivals around the world. The short film has garnered Harjo awards including Special Jury Recognition at the Aspen Shorts Festival and Best Oklahoma Film at the Dead Center film festival in Oklahoma City. In 2007 Harjo’s first feature film, FOUR SHEETS TO THE WIND, premiered at the Sundance Film Festival. The film garnered warm responses from both audience’s and critics. Tamara Podemski won a Special Jury Prize for outstanding performance for her role in the film as Miri Smallhill. Podemski was also nominated for an Independent Spirit Award for her performance. Harjo’s film BARKING WATER had a successful premiere at the 2009 Sundance Film Festival, and it screened as a part of the highly acclaimed New Directors/New Film series in New York City. Barking Water was the only American film that played in the Venice Days section of the 2009 Venice Film Festival. Harjo’s first documentary THIS MAY BE THE LAST TIME premiered at the 2014 Sundance Film Festival. Harjo’s film Mekko premiered at The Los Angeles Film Festival in 2015. Mekko also screened at the Toronto International Film Festival and the Stockholm International Film Festival. It won best film at the ImagineNative Film Festival in Toronto. Harjo is a founding member of the all Native comedy group the 1491s.

More musicians born in 1917, one hundred years ago this year. Musicians include: Dean Martin, Jo Stafford, Dennis Day, Lena Horne, Buddy Rich, Danielle Darrieux and Vera Lynn. Songs include: Goodnight Irene, Route 66, I Will Always Love You, Confessin the Blues, A Nightingale Sang in Barkley Square and Day by Day.

Quico Pi de la Serra presenta “The musical mojo of Dr. John: Celebrating Mac and his music”, el m

Cya!

This week hosts Kacper Rosolowski and Denis Shkuratov have on the show: - Mark Hunt returns to Submission Radio to discuss his big KO win over Antonio Bigfoot Silva at UFC 193, the feeling of walking out into such a packed arena with a home crowd, how it compared to epic Japanese shows like Pride and K-1, predicting that Holly Holm would beat Ronda Rousey via head kick KO, who he wants to face next, rematches with Fabricio Werdum, Junior Dos Santos, Alistair Overeem and Stipe Miocic, who he feels is most deserving of the next title shot, Alistair Overeem’s past of testing positive for PEDs, his book and how it makes him feel to help others, how much longer he’ll fight for, and more. - Ken Shamrock returns to Submission Radio to talk about his fight against Royce Gracie at Bellator 149. The UFC, WWE and Pride FC legend talks discusses how he believes that Royce Gracie is stuck in the past, why he wanted this fight so much, if people should be worried that two 50-year-old guys are still fighting, his current physical shape, Royce not giving him the credit he deserves, Joe Rogan’s comments on his fight with Kimbo being fake and how he can make things right, if he would fight Kurt Angle, Ronda Rousey’s loss to Holly Holm and what advice Ken would give to her, and more. - Legendary commentator and MMA personality Michael Schiavello aka “The Voice” makes his first appearance on Submission Radio to discuss the events that transpired at UFC 193, Holly Holm’s brutal head kick KO over Ronda Rousey, why he wasn’t surprised by the outcome and why it isn’t the biggest upsets in UFC history, Ronda Rousey’s gameplan during the fight, how much blame goes towards her coach Edmond Tarverdyan, how it affects the UFC and if a rematch makes sense, whether UFC 193 will result in an MMA boom in Melbourne Australia, his catchphrase “GOODNIGHT IRENE”, Mark Cuban stories, getting drunk with Sone Cold Steve Austin, Legacy FC 49 and why everybody should get excited, and lots more. - Also on the show is discussion on our experience during UFC 193 fight week, as well as a breakdown of UFC Fight Night: Magny vs Gastelum and such fights as Diego Sanchez vs Ricardo Lamas, Henry Cejudo vs Jussier Formiga, and Kelvin Gastelum vs Neil Magny. - twitter.com/SubmissionAus , - facebook.com/SubmissionRadioAus , - youtube.com/user/submissionradioau

This week's Guests on the show include: - Mark Hunt returns to Submission Radio to discuss his big KO win over Antonio Bigfoot Silva at UFC 193, the feeling of walking out into such a packed arena with a home crowd, how it compared to epic Japanese shows like Pride and K-1, predicting that Holly Holm would beat Ronda Rousey via head kick KO, who he wants to face next, rematches with Fabricio Werdum, Junior Dos Santos, Alistair Overeem and Stipe Miocic, who he feels is most deserving of the next title shot, Alistair Overeem's past of testing positive for PEDs, his book and how it makes him feel to help others, how much longer he'll fight for, and more. - Ken Shamrock returns to Submission Radio to talk about his fight against Royce Gracie at Bellator 149. The UFC, WWE and Pride FC legend talks discusses how he believes that Royce Gracie is stuck in the past, why he wanted this fight so much, if people should be worried that two 50-year-old guys are still fighting, his current physical shape, Royce not giving him the credit he deserves, Joe Rogan's comments on his fight with Kimbo being fake and how he can make things right, if he would fight Kurt Angle, Ronda Rousey's loss to Holly Holm and what advice Ken would give to her, and more. - Legendary commentator and MMA personality Michael Schiavello aka “The Voice” makes his first appearance on Submission Radio to discuss the events that transpired at UFC 193, Holly Holm's brutal head kick KO over Ronda Rousey, why he wasn't surprised by the outcome and why it isn't the biggest upsets in UFC history, Ronda Rousey's gameplan during the fight, how much blame goes towards her coach Edmond Tarverdyan, how it affects the UFC and if a rematch makes sense, whether UFC 193 will result in an MMA boom in Melbourne Australia, his catchphrase “GOODNIGHT IRENE”, Mark Cuban stories, getting drunk with Sone Cold Steve Austin, Legacy FC 49 and why everybody should get excited, and lots more. - Also on the show is discussion on our experience during UFC 193 fight week, as well as a breakdown of UFC Fight Night: Magny vs Gastelum and such fights as Diego Sanchez vs Ricardo Lamas, Henry Cejudo vs Jussier Formiga, and Kelvin Gastelum vs Neil Magny. - twitter.com/SubmissionAus , - facebook.com/SubmissionRadioAus , - youtube.com/user/submissionradioau

This week's Guests on the show include: - Mark Hunt returns to Submission Radio to discuss his big KO win over Antonio Bigfoot Silva at UFC 193, the feeling of walking out into such a packed arena with a home crowd, how it compared to epic Japanese shows like Pride and K-1, predicting that Holly Holm would beat Ronda Rousey via head kick KO, who he wants to face next, rematches with Fabricio Werdum, Junior Dos Santos, Alistair Overeem and Stipe Miocic, who he feels is most deserving of the next title shot, Alistair Overeem's past of testing positive for PEDs, his book and how it makes him feel to help others, how much longer he'll fight for, and more. - Ken Shamrock returns to Submission Radio to talk about his fight against Royce Gracie at Bellator 149. The UFC, WWE and Pride FC legend talks discusses how he believes that Royce Gracie is stuck in the past, why he wanted this fight so much, if people should be worried that two 50-year-old guys are still fighting, his current physical shape, Royce not giving him the credit he deserves, Joe Rogan's comments on his fight with Kimbo being fake and how he can make things right, if he would fight Kurt Angle, Ronda Rousey's loss to Holly Holm and what advice Ken would give to her, and more. - Legendary commentator and MMA personality Michael Schiavello aka “The Voice” makes his first appearance on Submission Radio to discuss the events that transpired at UFC 193, Holly Holm's brutal head kick KO over Ronda Rousey, why he wasn't surprised by the outcome and why it isn't the biggest upsets in UFC history, Ronda Rousey's gameplan during the fight, how much blame goes towards her coach Edmond Tarverdyan, how it affects the UFC and if a rematch makes sense, whether UFC 193 will result in an MMA boom in Melbourne Australia, his catchphrase “GOODNIGHT IRENE”, Mark Cuban stories, getting drunk with Sone Cold Steve Austin, Legacy FC 49 and why everybody should get excited, and lots more. - Also on the show is discussion on our experience during UFC 193 fight week, as well as a breakdown of UFC Fight Night: Magny vs Gastelum and such fights as Diego Sanchez vs Ricardo Lamas, Henry Cejudo vs Jussier Formiga, and Kelvin Gastelum vs Neil Magny. - twitter.com/SubmissionAus , - facebook.com/SubmissionRadioAus , - youtube.com/user/submissionradioau

This week hosts Kacper Rosolowski and Denis Shkuratov have on the show: - Mark Hunt returns to Submission Radio to discuss his big KO win over Antonio Bigfoot Silva at UFC 193, the feeling of walking out into such a packed arena with a home crowd, how it compared to epic Japanese shows like Pride and K-1, predicting that Holly Holm would beat Ronda Rousey via head kick KO, who he wants to face next, rematches with Fabricio Werdum, Junior Dos Santos, Alistair Overeem and Stipe Miocic, who he feels is most deserving of the next title shot, Alistair Overeem’s past of testing positive for PEDs, his book and how it makes him feel to help others, how much longer he’ll fight for, and more. - Ken Shamrock returns to Submission Radio to talk about his fight against Royce Gracie at Bellator 149. The UFC, WWE and Pride FC legend talks discusses how he believes that Royce Gracie is stuck in the past, why he wanted this fight so much, if people should be worried that two 50-year-old guys are still fighting, his current physical shape, Royce not giving him the credit he deserves, Joe Rogan’s comments on his fight with Kimbo being fake and how he can make things right, if he would fight Kurt Angle, Ronda Rousey’s loss to Holly Holm and what advice Ken would give to her, and more. - Legendary commentator and MMA personality Michael Schiavello aka “The Voice” makes his first appearance on Submission Radio to discuss the events that transpired at UFC 193, Holly Holm’s brutal head kick KO over Ronda Rousey, why he wasn’t surprised by the outcome and why it isn’t the biggest upsets in UFC history, Ronda Rousey’s gameplan during the fight, how much blame goes towards her coach Edmond Tarverdyan, how it affects the UFC and if a rematch makes sense, whether UFC 193 will result in an MMA boom in Melbourne Australia, his catchphrase “GOODNIGHT IRENE”, Mark Cuban stories, getting drunk with Sone Cold Steve Austin, Legacy FC 49 and why everybody should get excited, and lots more. - Also on the show is discussion on our experience during UFC 193 fight week, as well as a breakdown of UFC Fight Night: Magny vs Gastelum and such fights as Diego Sanchez vs Ricardo Lamas, Henry Cejudo vs Jussier Formiga, and Kelvin Gastelum vs Neil Magny. - twitter.com/SubmissionAus , - facebook.com/SubmissionRadioAus , - youtube.com/user/submissionradioau See omnystudio.com/listener for privacy information.

First recorded in 1934 by Lead Belly the 'Homicidal Harmoniser', David Cheal follows the waltzing lament of 'Goodnight, Irene' through interpretations by the Weavers, Ry Cooder and Bryan Ferry. Credits: Hallmark, H&H Music, Rhino/Warner Bros, Virgin Germany. See acast.com/privacy for privacy and opt-out information.

THE "FOLK MUSIC" EPISODE First broadcast August 16, 2014 on GtownRaadio.com > Our guest, veteran folksinger Deb Ansel sings > Meet the people behind the venerable Skunskville Folk Festival > Interviews with open carry uke proponent, Ned Fugent, and cranky old folk diva, Halo Angel > Ed Feldman rants against folk music > Performances from the main stage at Skunksville: The Klappe Family, Boxcar Waldo, and more! > Zombies attack! > Zombies sing Good Night Irene

Songs in 3/4 time. Tunes include: Sidewalks of New York, Always, Missouri Waltz, Goodnight Irene, After the Ball and Oh What a Beautiful Morning.  Performers include: Bing Crosby, Dennis Day, Tino Rossi, Roy Acuff and Nick Lucas.

PODCAST: 17 Nov 2013   01 - Les Mespriceuse des Garcons - de Temps Antan - Ce Monde Ici Bas 02 - Johnson Boys - Sara Grey & Kieron Means - Down in Old Dolores 03 - I Want To See The Bright Lights Tonight - Dave Burland - His Master’s Choice 04 - Sweet Thames Flow Softly - Alison Brown - Twilight Motel 05 - Piper In The North Country - Colum Sands - Turn The Corner 06 - A North Country Maid - The Owl Service - The Garland Sessions 07 - I Lost My North - Jason Steel - The Weight Of Care 08 - The Cruel Mother - Kim Lowings and The Greenwood - Deepest Darkest Night 09 - Whisky Jack - Harvey Andrews - Encore 10 - Abroad As I Was Walking - Sarah Matthews - As I Was Walking 11 - Songbird - The Moulettes - The Bear’s Revenge 12 - Take Me Home - The Long Hill Ramblers -  Beauty and Butchery 13 - Open The Door For Three - Realta - Open The Door For Three 14 - Don’t Put Your Life On The Stage - Lizzie Nunnery - Black Hound Howling 15 - Send Up A Rescue Flare - The Deadly Winters - Away Boys Away 16 - Farewell, Farewell - Janet Dowd - Sailing Away 17 - The Chemical Workers' Song - Demon Barbers - Unreleased 18 - Goodnight Irene - Ry Cooder - Chicken Skin Music

Kicking off Lo-Fi Friday here is Goodnight Irene originally by Lead Belly.

Dr. B, with all due respect, what if we are slowed down . . . way slowed down . . . TOO slowed down . . . stuck in traffic, waiting for a storm, waiting out a storm . . … Continue reading → The post STORM SURGE ON THE MIND: Words for Waiting (For/Out) a Storm, When You’re Slowed Way Down, to the music of Good Night Irene, Stormy Weather, Singing in the Rain, and You’ll Never Walk Alone. Can you guess what the poetry news is for this week’s show? We’re slowing down for . . . first appeared on Dr. Barbara Mossberg » Poetry Slowdown.

On this edition of Conservative Watchtower Radio President Obama makes it back to Washington just in time to act like he really cares about those of you dealing with hurricane Irene and talso this week we are going to light a powder keg as I discuss the lunancy of Ron Paul and his supporters. Should be lot's of fun.

Kamil Kreps scores to give the Panthers a 4-1 lead against Carolina.

"The Rough-Skinned Girl" is a Native American story told among some of the tribes in the Great Lakes region of the U.S. and Canada, particularly the Miq-Mak and Algonquin tribes. The title (Oochegeaska in Miq-Mak) also can be translated as "Burnt-Skinned Girl". This is one of innumerable versions of the Cinderella motif found around the world; but in this case the similarity is more than coincidence. Natives apparently heard the popular French tale, as related by French trappers, and adapted it to their own culture. We present the story with the aid of our guest star Mary, who's been a friend all her life (literally -- she attended Zephyr's first birthday party when we lived in San Francisco). She spent 10 days traveling with us under battle conditions, joining us in Reno as we were frantically trying to get our new show together, accompanying us on our 2000 mile dash to Arkansas, then aiding and abetting us during our show's first two performances in Hot Springs and Conway, AR. What a trooper. But once the pressure was off, we managed to have some fun, absorbing the local color along historic Bath House Row in Hot Springs, where we also attended an open mic poetry reading at The Poets Loft, the longest running open mic poetry night in the world. Mary wasn't content merely to observe, but also got up and read one of her own poems, followed by her a cappella rendering of "Goodnight Irene" in Japanese. We also spent an evening at The Brauhaus listening to the music of our friends The Itinerant Locals. And in Little Rock we took Mary to the Clinton Library and Central High School, site of the landmark 1957 school integration conflict. Now she's off to The Bay Area again, and we're off again on another summer tour. See you there! Happy Listening! Dennis (Father, Hunter), Kimberly (Sister, Hunter's Sister), Zephyr (Narrator, Sister) and Mary (Rough-Skinned Girl)