Podcasts about Haggard

Each week, music writer John Spong talks to one notable Willie Nelson fan about one Willie song that they love, leading to highly personal looks at the life, art, and legend of a genuine American folk hero. Listen here.New Yorker music critic Amanda Petrusich looks at the other big hit off Willie and Merle Haggard's classic 1983 Pancho & Lefty album, “Reasons to Quit.” It's a classic Haggard drinking song, but a little more pensive than most, and Amanda reframes it—and really, all of Pancho & Lefty—as an example of what she calls the Outlaw's Conundrum, i.e. what's an old rebel to do when the time comes to settle down? Then we get into the all-star band that backed Willie and Merle on the record and, in a particularly insightful interlude, the specific ways sad songs can help people when life feels like too much to bear.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Zooming in from the Great White North is outlaw country/ contemporary hard rocker Cory Marks who introduces us to his beautiful 9 yr old Karelian Bear dog Teslin who he rescued as a puppy from the dangers of the Yukon where he was playing a show. We get to know more about this unique Finnish breed, his childhood dog Emma and how well Teslin behaves while hanging out in tour buses and green rooms among many other fun stories.Cory will be bringing his brand of Haggard-like country meets straight-up arena rock anthems to a number of festivals this summer in Canada. For dates and tickets visit corymarks.comCory's shout outs go to his local Pet Smart in North Bay Ontario whose grooming services keep Teslin looking her best and the North Bay and District Humane Society who, since 1954, have been a key service provider for animal welfare within the community.  To adopt, foster, volunteer or donate go to northbayhumanesociety.caFor more pics and clips of Cory and Teslin check out our Instagram at @rockerdogpodcast

Last time we spoke about the Allied invasion of Borneo. The Allies initiated the invasion of Borneo, commanded by General Morshead. The operation, known as Operation Oboe, aimed to reclaim vital oilfields from the demoralized Japanese forces. Despite their fierce resistance, American troops swiftly captured strategic locations on the island. The Japanese, already struggling with low morale and supply shortages, were unable to mount an effective defense. Amid the intense fighting, Air Commodore Cobby's forces conducted air assaults on key targets, weakening Japanese positions. As American troops landed on Tarakan Island on May 1, they faced heavy fire but managed to gain significant territory by nightfall. By early May, despite the loss of ground, Japanese forces continued to resist fiercely. This victory in Borneo marked a turning point in the Pacific campaign, ultimately foreshadowing the decline of Japanese influence in the region and paving the way for further Allied advances. This episode is the Second Okinawa Offensive Welcome to the Pacific War Podcast Week by Week, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about world war two? Kings and Generals have an assortment of episodes on world war two and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel you can find a few videos all the way from the Opium Wars of the 1800's until the end of the Pacific War in 1945.  Last we left off, by April 24, General Ushijima's 32nd Army had chosen to abandon the first line of Shuri defenses, with the exception of the extreme right in the Item Pocket area. However, the weary Japanese troops merely withdrew to the next line of prepared positions within the Shuri defense zone, ready to make the American invaders pay for every inch of territory gained. Observing this, General Hodge promptly ordered the 7th, 27th, and 96th Divisions to regroup and enhance their positions through aggressive maneuvers, seizing strategic ground in front of them and pushing back enemy outposts. His forces were also heavily depleted and exhausted, prompting him to plan a final offensive on April 26 before rotating in the relatively fresh 77th Division and the 1st Marine Division for support. Unbeknownst to him, the 62nd Division had suffered significant losses, nearly losing half of its original strength on the left flank. In response, Ushijima decided to move the 24th Division and the 44th Independent Mixed Brigade north to reinforce the Shuri defense zone, establishing a fallback position for retreating forces.This shift also meant that the southern areas were defended only by a hastily assembled Shimajiri Security Force of 5,500 men, drawn from rear-area supply units tasked with delaying any American advances from the south until the main infantry units could return.  The question of a second landing in southern Okinawa was considered by 10th Army most seriously before April 22. General Bruce, commander of the 77th Division, knew that his division would be committed in the Okinawa fighting as soon as lejima was secured. At Leyte the amphibious landing of the 77th Division behind the Japanese line at Ormoc had been spectacularly successful. General Bruce and his staff wished to repeat the move on Okinawa and urged it on the 10th Army command even before the division sailed from Leyte. As the Iejima fighting drew to a close, General Bruce pressed his recommendation to land his division on the southeast coast of Okinawa on the beaches just north of Minatoga. He believed that it would be necessary to effect a juncture with American forces then north of Shuri within ten days if the venture was to be successful. His plan was either to drive inland on Iwa, a road and communications center at the southern end of the island, or to push north against Yonabaru. General Buckner rejected the idea. His assistant chief of staff, G-4, stated that he could supply food but not ammunition for such a project at that time. The Minatoga beaches had been thoroughly considered in the planning for the initial landings and had been rejected because of the impossibility of furnishing adequate logistical support for even one division. The reefs were dangerous, the beaches inadequate, and the area exposed to strong enemy attack. Although beach outlets existed, they were commanded both by the escarpment to the west and by the plateau of the Chinen Peninsula. The 10th Army intelligence officer reported that the Japanese still had their reserves stationed in the south. Both the 24th Division and the 44th Independent Mixed Brigade were still in the area and could move quickly to oppose any landings. Artillery positions on the heights overlooking the beaches were fully manned. The 77th Division would be landing so far south that it would not have the support of the troops engaged to the north or of 24th Corps artillery. The steep terrain near the beaches favored the defense, and any unit there would be isolated. It might be more like Anzio than Leyte, Buckner suggested. Besides that, the three divisions on the line needed to be relieved, and Buckner's three unused divisions would all be needed there. On April 25, the main focus of action shifted to the Item Pocket, where Captain Bernard Ryan's Company F of the 165th Regiment surged forward following a 20-minute artillery bombardment to seize the summit of Ryan Ridge. Captain Ryan looked out over the rugged expanse of Ryan Ridge, where the Japanese forces entrenched at the top presented a formidable challenge. They controlled the crucial territory between Ryan and Fox Ridges, creating a dangerous stronghold that threatened his position. For Ryan, the solution lay in artillery fire. He understood that since the supporting fire would fall perpendicular to his attack route, the risk of overshooting or undershooting would be minimal, just a lateral deviation of fifteen yards. With this confidence, he ordered a twenty-minute artillery barrage on the slopes of the ridge.As dawn broke on the morning of the 25th, Ryan gathered his men from Company F. He stressed the importance of a swift ground assault to capitalize on the artillery support. However, this was no easy task; his company was tired, undermanned, and severely low on food and ammunition. Despite these challenges, the two assault platoons sprang into action the moment the first shells began to fall. They charged forward, propelled by the roar of mortars, machine guns, and antitank guns that kept enemy forces at bay.But as they sprinted towards the ridge, the enemy struck back fiercely. Enemy fire and natural obstacles thinned their ranks, yet thirty-one determined soldiers reached the summit. They found themselves standing on a jagged ridge, strewn with rocks and scarred vegetation, a treacherous landscape that added to their struggle. Just as the artillery fire began to fade, the Japanese emerged from their hidden positions: “spider holes,” pillboxes, and tunnels. The Americans stood ready, and for the next twenty minutes, a brutal fight erupted. They engaged in fierce hand-to-hand combat, reminiscent of earlier battles on Item Pocket ridge tops. The outcome was grim; thirty-five Japanese soldiers fell, and many more fled in panic. However, the Americans also paid a price, five were killed, and two wounded. Now, the real challenge began: consolidating their hard-won position. Captain Ryan knew that previous units had ascended these ridges only to be pushed back by the enemy. By late afternoon, only twenty-four effective soldiers remained atop the ridge, with each man averaging a mere six rounds of rifle ammunition. Medical supplies had run dry, and all the aid men had become casualties. Communication was severed, and Ryan could sense the tightening noose as the Japanese regrouped for an assault. Understanding the gravitas of their situation, Ryan devised a bold plan. He arranged for Company I to maneuver around to his right flank, hoping to replicate the success of the morning. At 4:05 PM, just fifteen minutes after artillery support resumed, Ryan and his company made their ascent once more, enduring five additional casualties along the route. Unfortunately, Company I struggled to reach the top, cut off by heavy enemy fire on the slopes. In a moment of desperation, Ryan and two men ventured out into the dark to seek reinforcement, a risky endeavor that could easily end in disaster. Although Company I was still bogged down, Captain Betts from Company K recognized the urgency of the situation and quickly mobilized his men. By midnight, all of Company K had reached the ridge, bolstering Ryan's weary but determined troops. As these events unfolded at Ryan Ridge, other companies from the 165th were locked in a brutal struggle at Gusukuma, located southwest of the ridge. Fierce fighting erupted as soldiers moved from wall to wall, tree to tree, fighting for every inch in the rubble of Gusukuma. Company A faced an unrelenting barrage, enduring fire from eight machine guns and a 47-mm antitank gun, much of which came from the yet-untamed eastern slope of Ryan Ridge. Amidst this chaos, Private First Class Richard King from Company A became a beacon of valor. In a remarkable display of courage, he climbed a tree to eliminate a Japanese soldier perched above and, from his vantage point, went on to kill ten more enemies before night fell. The day had been marked by sacrifice and bravery, with Captain Ryan and his men fighting heroically for every inch of ground gained on Ryan Ridge. As the sun set, they prepared for the challenges that lay ahead, their resolve unwavering amid the turmoil of war. Meanwhile, other companies of the 165th Regiment engaged fiercely in assaults against Gusukuma, gradually gaining ground at a high cost to both sides. At the same time, the 96th Division consolidated its position in front of Maeda and Kochi, while Colonel Pachler's 1st Battalion advanced 600 yards with minimal resistance to occupy the slope of Horseshoe Ridge. The following day, April 26, the general offensive resumed, with the bulk of the 165th Regiment continuing its costly advance into the heart of the Item Pocket, successfully clearing Gusukuma as Company F pushed along the crest of Ryan Ridge toward the northern end of the Machinato airstrip. To the east, the 105th Regiment advanced to the southern edge of Nakama, while the 106th Regiment extended the front line toward Yafusu. In the center, Colonel Halloran's 2nd Battalion launched an assault on the Maeda Escarpment but was quickly repulsed by a brutal barrage of Japanese fire across the front. However, elements of the 383rd Regiment managed to reach the crests of Hills 150 and 152, securing a strategic position to inflict heavy casualties on the enemy below, as tanks and armored flamethrowers moved to the outskirts of Maeda to wreak havoc. At 4 pm in the afternoon General Ushijima issued a terse order: “The enemy with troops following tanks has been advancing into the southern and eastern sectors of Maeda since about 1 pm. The 62d Division will dispatch local units . . . attack the enemy advancing in the Maeda sector and expect to repulse him decisively.” At the same time, adjacent 24th Division units were ordered to cooperate in this effort regardless of division boundary. Two hours later the Japanese commanding general issued another order: "The army will crush the enemy which has broken through near Maeda. The 24th Division will put its main strength northeast of Shuri this evening." Lastly, Pachler's 1st Battalion attempted to advance along the western flank of Kochi Ridge, while the 2nd Battalion moved along the eastern flank. Both battalions were immediately repelled by a barrage of enemy fire. The following day, efforts to establish physical contact between the two units proved costly and futile. Meanwhile, Halloran's 1st Battalion, along with elements of the 383rd Regiment, maneuvered through the saddle between Hills 150 and 152, receiving support from tanks and armored flamethrowers. Although tanks and infantry managed to penetrate to the southern edge of Maeda, the advance was halted by intense enemy fire. Atop the escarpment, an all-out effort was made to reduce a heavily fortified underground pillbox that separated Companies F and G; however, this attempt also failed. Concurrently, as the 105th Regiment organized a defensive line at Nakama, Colonel Stebbins' 2nd Battalion engaged in fierce combat around Yafusu in an effort to straighten their front lines. Meanwhile, the disorganized 165th Regiment continued clearing the Item Pocket, which was finally declared secure, although many Japanese troops remained hidden in deep caves and tunnels. Due to this disorganization and the sluggish progress in securing the pocket, General Griner ultimately decided to relieve Colonel Kelley of his command of the 165th. The regiment would then spend the remaining days of the month patrolling the Kuwan Inlet south of Machinato airfield. Griner's overextended and battered division would not undertake any further offensive actions until being relieved at the end of April. At sea, a Japanese suicide boat successfully dropped a depth charge near the destroyer Hutchins, which had to withdraw due to heavy damage. Additionally, Japanese aircraft reemerged during the night, with a kamikaze crashing into and sinking the ammunition ship Canada Victory, while other planes damaged two destroyers and a transport ship. Random factoid by the way, the SS Canada Victory was among the 531 Victory ships constructed during World War II as part of the Emergency Shipbuilding program. Launched by the Oregon Shipbuilding Corporation on January 12, 1944, she was completed on February 28, 1944. The ship was designated VC2-S-AP3 by the United States Maritime Commission, with hull number 93 (1009). Following her completion, the Maritime Commission transferred her to the civilian operator Alaska SS Company. This was merely a prelude to Admiral Ugaki's fourth mass Kikisui attack, which launched 115 kamikazes on April 28. While interceptor fighters destroyed most of these aircraft, seven managed to slip past the combat air patrol and crashed into destroyers Daly and Twiggs, the destroyer minesweeper Butler, the evacuation transport Pickney, and the hospital ship Comfort. On the ground, Halloran's Company K attempted to weaken resistance at the escarpment by moving through the 27th Division zone to the west and advancing southeast towards the Apartment House barracks, where they were met with heavy losses and forced to retreat. Meanwhile, on the western side of Kochi Ridge, Pachler's 3rd Battalion relieved the 1st Battalion and launched an attack into the gap between the ridge and Zebra Hill. They successfully led Company K through Kochi and into the cut, while Company L moved southward along the western slope. However, upon reaching the cut, both companies were met with a barrage of machine-gun fire, ultimately compelling them to withdraw. To the east, the 32nd Regiment faced delays in initiating their attack due to setbacks around Kochi, despite the successful raids by armored flamethrowers into the heart of Kuhazu. The following day, more kamikaze assaults inflicted additional damage on destroyers Hazelwood and Haggard. By the end of April, American pilots reported 1,216 air-to-air kills, while Japanese sources acknowledged losses exceeding 1,000 aircraft, including 820 destroyed in the first four Kikisui attacks. This left Admiral Ugaki with approximately 370 operational aircraft for future operations. It is also important to note that the Japanese pilots inflicted significant casualties, resulting in Admiral Spruance's 5th Fleet suffering the loss of 1,853 sailors killed or missing and 2,650 wounded, averaging one and a half ships hit per day. As April expired, a concerned Nimitz personally visited Okinawa, where Buckner reminded Nimitz that as a land battle, 10th Army operations fell under Army command. “Yes,” Nimitz replied, “but ground though it may be, I'm losing a ship and a half a day. So if this line isn't moving within five days, we'll get someone here to move it so we can all get out from under these stupid air attacks.” Nevertheless, by May, 10th Army had thoroughly bogged down into costly, unimaginative frontal assaults against southern Okinawa's heavily fortified Shuri line. Numerous 10th Army generals urged Buckner to “play the amphib card” and land the reserve 2nd Marine Division in southeastern Okinawa, behind Japanese lines. Buckner ultimately refused, claiming insufficient logistics. Nimitz concurred with Buckner, at least publicly, but few others did. Spruance, Turner, and Mitscher were themselves growing increasingly bitter at 10th Army's lack of progress, as well as USAAF lethargy constructing fighter airfields ashore that could finally relieve the battered carriers. Touring the developing Okinawa airstrips, a 5th Fleet staff officer discovered that General “Hap” Arnold had secretly been writing Okinawa's lead USAAF engineer, urging him to divert assigned fighter strip resources into building B-29 bomber airfields instead. An incredulous Spruance went ashore to investigate and discovered the allegation was true. Stunned, Spruance “turned that situation around in about 15 minutes.” On land, following an unsuccessful tank assault toward Onaga, the 32nd Regiment intensified pressure on enemy positions to the southeast to support operations against Kochi Ridge. However, the 17th Regiment's attacks were still stalled. Meanwhile, after fending off two strong counterattacks that resulted in approximately 265 Japanese casualties, the 383rd Regiment advanced to capture the crest of Hill 318 in fierce close combat. This critical victory finally enabled American forces to direct fire onto Shuri itself. On April 29, the 307th Regiment took over the Maeda Escarpment section of the line from the 381st, and the next morning, the 306th Regiment relieved the 383rd on the left flank of the 96th Division. Simultaneously, the 1st Marines relieved the 165th on the west coast, while the 5th Marines took over the line held by the 105th and 106th Regiments on May 1. Despite ongoing efforts, attacks against Kochi Ridge on April 30 once again failed. However, the 1st Battalion of the 32nd Regiment successfully established Company C on “Chimney Crag” and Company A on the “Roulette Wheel,” located on the ridge southwest of Kuhazu. During the night, large numbers of Japanese infiltrated behind these companies, disrupting the planned relief of the 32nd by the 184th Regiment. This relief, intended to be completed before dawn on May 1, was delayed until late in the afternoon. Despite this setback, Colonel Green's Company L managed to reach Gaja Ridge, positioned just in front of Conical Hill during the night. Concurrently, Colonel Hamilton's Company A attempted to mount ladders at the eastern end of the Maeda Escarpment but was quickly repelled by fierce defenders. On the western front, however, Company B successfully captured the edge of the escarpment using cargo nets by nightfall, although they were ultimately forced to withdraw due to heavy counterattacks later that night. Additionally, Hamilton's 3rd Battalion moved behind the escarpment to Nakama village, launching an attack eastward toward the Apartment House barracks area. Meanwhile, on the west coast, the 1st Marines had been attempting to advance south for two days but were repelled each time, suffering significant casualties. However, they did succeed in clearing an enemy pocket at Miyagusuku. On May 2, the 5th Marines finally joined the offensive but encountered stubborn resistance, while the 1st Marines continued to struggle to cross the draw south of Nakanishi village in their effort to reach the Jichaku ridge mass. To the east, Hamilton's Companies A and B positioned troops on the edge of the Maeda Escarpment but made no significant gains due to the enemy's intense machine-gun fire. The 17th Regiment eventually mopped up Onaga village, with the 1st Battalion taking control of the area, although they failed to capture Kochi during their renewed efforts. On May 3, after a dawn artillery preparation, the 1st Battalion on the east and the 3rd Battalion on the west advanced in a coordinated attack, which included a movement by Company C against How Hill on the eastern flank of Kochi Ridge. However, this entire effort was thwarted as heavy enemy artillery and machine-gun fire halted all progress. During 3 May the 1st Battalion, 307th Infantry, fought a desperate grenade battle to win the top of part of the escarpment. The Japanese showered the top with grenades and knee mortars from the reverse slope and with 81-mm. mortar fire from a distance. Men came back across the narrow top of the escarpment to the north side, swearing and crying, saying they would not go back into the fight. "Yet," observed one platoon leader, "in five minutes' time those men would go back there tossing grenades as fast as they could pull the pins."Finally, while the 1st Marines made only limited gains as they pushed toward the Asa River, the 5th Marines successfully cleared the Awacha Pocket and advanced between 300 and 600 yards in their zone. Unbeknownst to the Americans, their slow, incremental advances and the looming threat of a costly, protracted campaign were far from their only concerns. By the 29th General Cho had argued that in the present state of affairs, the Americans had the upper hand. If the status quo continued, the 32nd Army eventually would be wiped out. At this meeting, only Colonel Yahara spoke for continuing the war of attrition and avoiding an offensive. Yahara pointed out that in modern warfare a superiority of 3 to 1 was usually needed for successful attack. "To take the offensive with inferior forces… is reckless and would lead to certain defeat," he said. Second, the high ground around Minami-Uebaru had already fallen into American hands, giving them a major advantage in defensive terrain. Third, Yahara argued, a hasty offensive would fail, with thousands needlessly lost. Then, 32nd Army's reduced forces would be unable to hold Okinawa for a long period and unable to delay the invasion of Japan. A hasty attack would cause 32nd Army to fail in its duty. And yet, the other young staff members were silent. Cho then declared again that he hoped for an attack to snatch life from the midst of death. At this, Yahara left the room. All the other staff members then agreed to launch an offensive. Cho then tried to manage Yahara by sheer emotional force. At dawn on April 30, before Yahara "had time to splash water on his face," Cho appeared at his quarters. Cho squeezed Yahara's hand and said with genuine enthusiasm that there had been nothing but trouble between them in the past and that they would probably both die together on Okinawa. Cho then asked if Yahara, on this one occasion, would go along with the offensive. As Cho spoke, his tears fell abundantly. Yahara was deeply moved, despite his aloof reputation, and before long he was weeping too. He was overcome by Cho's sudden display of emotion and said, "I consent." Again I have to say, in the “battle of Okinawa” by Yahara, basically his memoirs, in which he notably lies a bunch to cover himself, but I digress, this moment amongst others are really interesting, I highly recommend reading the book. Cho's plan outlined that General Amamiya's 24th Division would lead the main effort on May 4, executing a two-pronged attack on the right half of the line. They intended to sweep past the Tanabaru Escarpment toward Minami-Uebaru hill, ultimately reaching the Futema-Atsuta line. Meanwhile, General Suzuki's 44th Independent Mixed Brigade was to shift from its reserve position behind the 62nd Division to a location northeast of Shuri and move northwest toward the coastal town of Oyama, effectively cutting off the 1st Marine Division's retreat. In conjunction with this, General Fujioka's battered 62nd Division would hold its position on the left flank and mount an offensive once the attacking units on its right had breached enemy lines. Additionally, the 23rd and 26th Shipping Engineer Regiments were tasked with conducting counterlandings in the American rear on the east and west coasts, respectively. The Japanese reasoned that success depended on the extent to which they could support their frontline troops with artillery, tanks, supplies, and communications. Their plans specified in detail the role that each of the support units was to play in the projected operations. Artillery units were ordered to regroup in preparation for the attack. Guns and howitzers were pulled out of cave positions and set up farther south in more open emplacements for greater flexibility. They were to open fire thirty minutes before the attack. When the infantry had driven through the American front lines, artillerymen were to move their weapons forward. The 27th Tank Regiment, hitherto uncommitted, was ordered to move from its position near Yonabaru during the night over several routes and support the attack in the Maeda area. To support this comprehensive offensive, Ugaki was alerted to prepare for the fifth mass Kikisui attack directed against the enemy's naval forces. Once the plans were finalized and preparations well underway, Ushijima and Cho celebrated with a pre-victory banquet in their chambers at headquarters. Even as Ushijima's banquet was underway, offensive operations had commenced. Japanese troops infiltrated behind American lines during the night while the shipping engineers prepared for their counterlandings. The 26th and 23d Shipping Engineer Regiments set out up the west and east coasts. On beaches south of Naha and Yonabaru, men of the shipping engineer regiments piled into barges and assault boats. Also, small groups of soldiers with light machine guns infiltrated behind U.S. lines on the night of 3 May to attack Americans as they became visible at dawn. Small units of three or four men, variously designated as "reconnaissance raiding" and "rear harassing" teams, proceeded toward the American lines to attack command posts, heavy weapons, communications, and depots and to send back information by means of smoke signals. The 27th Tank Regiment rumbled up to Ishimmi, several of its tanks being severely damaged by American artillery fire en route. Ugaki's fifth Kikisui attack began on the afternoon of May 3, when at least 19 kamikazes sortied from Formosa, stealthily approaching the American convoys. They successfully sank the destroyer Little and one landing craft, while severely damaging two destroyer-minelayers and another landing craft. Additionally, Japanese aircraft targeted shore installations, focusing their efforts on Yontan airfield. In Nakagusuku Bay, a suicide boat further damaged a cargo ship. At 02:00 on May 4, most of the boats from the 26th Shipping Engineer Regiment were spotted approaching the heavily defended area of Kuwan. Armed with antitank guns, heavy machine guns, light arms, and thousands of satchel charges, several hundred men of the 26th Shipping Engineer Regiment headed under overcast skies for landing places below Yontan and Kadena airfields. They miscalculated their position and turned, into the shore at a point where it was heavily defended. At 0200 riflemen of the 1st Marine Division on the sea wall near Kuwan caught sight of ten barges and opened up with concentrated fire. Naval flares lighted up the area. One company fired 1,100 rounds from 60-mm. mortars. Several enemy barges burst into flames. One platoon of marines used fifty boxes of ammunition and burned out six machine-gun barrels as it sprayed the Japanese trying to cross the reef. Although many of the engineers managed to reach the shore, some fled back to the Japanese lines, while others were trapped in Kuwan, where they were mopped up by the Marines at their leisure. A smaller group of Japanese forces advanced almost as far as Chatan, ultimately landing at Isa, where they were contained without much difficulty and destroyed the following day. The amphibious assault was even less successful on the east coast of Okinawa, as the 25th Shipping Engineer Regiment attempted to land near Ouki. Most of these troops were killed by fire from ships in Buckner Bay or by the 7th Division Reconnaissance Troop on land. As a result, the Japanese suffered losses of 500 to 800 men and nearly all their landing craft during these amphibious assaults. At 05:00, Ugaki initiated his main mass attack, launching 125 kamikazes and 103 escorting fighters from Kyushu to target Admiral Rawlings' Task Force 57, which was currently striking the Miyako and Ishigaki airfields. Taking advantage of the weakened anti-aircraft defenses, the kamikazes managed to score hits on the carriers Formidable and Indomitable, though both vessels ultimately survived. They also targeted American shipping, successfully sinking destroyers Morrison and Luce, along with three landing craft. Additionally, they inflicted further damage on the light cruiser Birmingham, the escort carrier Sangamon, the destroyer Ingraham, and two destroyer-minelayers, resulting in a total of 589 sailors killed.   On land, following a heavy artillery bombardment during the night, the 24th Division commenced its main assault. In the pitch darkness Japanese troops made their way toward the American front lines. At 0500 two red flares ordered them to attack. As the artillery fire became heavy, a guard of Company A, 17th Infantry, on a hill just north of Onaga, dropped back below the crest for cover. He thought that the enemy would not attack through his own artillery, but the enemy did just that. A few Japanese appeared on the crest and set up a light machine gun. Pfc. Tillman H. Black, a BAR man, killed the gunner, and as more of the enemy came over the crest he killed four Japanese who tried to man the machine gun. The enemy advanced over the crest in ragged groups, enabling Black to hold his own. Soon the whole company was in action and drove the enemy off the crest. The Japanese abandoned three light machine guns, four mortars, and much ammunition. At another point a surprise attack nearly succeeded. On high ground 1,000 yards east of Onaga a group of Japanese crept up the hill in front of Company I, 184th, commanded by Capt. James Parker. In the sudden onslaught that followed, two heavy machine gun crews abandoned their positions. One of them left its weapon intact, and the Japanese promptly took it over and swung it around on the company. Parker, watching the attack from the ridge, had anticipated the move. The Japanese managed to fire one burst; then Parker destroyed the usurped weapon with his remaining heavy machine gun. For an hour or two longer the Japanese clung to the forward slopes, firing their rifles amid shrill screams, but they made no further progress. By dawn the general pattern of the Japanese attack on the left (east) of the 14th Corps line was becoming clear. In the 184th's sector the enemy's 89th Regiment, following instructions to "close in on the enemy by taking advantage of cover,"had advanced around the east slopes of Conical Hill, crept across the flats, and assembled in force around the "Y ridges" east of Onaga. They had outflanked three companies of the 184th on Chimney Crag and the Roulette Wheel north of Kuhazu, and had also managed to evade the forward battalions of the 17th around Kochi. Another Japanese element had attacked 7th Division lines on the high ground north of Unaha. At dawn 1st Lt. Richard S. McCracken, commanding Company A, 184th, observed 2,000 Japanese soldiers in the open area east and north of Kuhazu. They were perfect "artillery meat." Unable to get through to his artillery support, McCracken called his battalion commander, Colonel Maybury, and described the lucrative targets. Maybury was equally pleased. McCracken suggested, however, that the Colonel should not be too happy--a group of Japanese at that moment was within 100 yards of Maybury's observation post. There was indeed a party of Japanese busily unlimbering two 75-mm, howitzers just below Maybury. But Company C, 17th Infantry, had spotted this activity, and within a few minutes maneuvered tanks into position and scattered the enemy group. Artillery eliminated the Japanese caught in the open. A mortar duel ensued, sometimes at ranges of 250 yards. The 3d Battalion, 32d, also poured fire on the enemy there. After the impetus of the attack was lost, a Japanese officer stood out on open ground and waved his saber to assemble his men for an attack. American mortarmen waited for a worth-while target to develop, then put mortar fire on it. Four times the officer assembled a group, only to have his men killed or scattered, before he was finally killed. While the 7th Division was repelling the Japanese attack in the eastern sector of the 14th Corps line, the 77th Division was blunting the other enemy "spearhead" in the center. Here the Japanese 32d Regiment, supported by tanks and engineers, attacked behind intense artillery fire. This sector was the critical point of attack, for a break-through here would enable the supporting 44th Independent Mixed Brigade to cut west and isolate the 1st Marine Division. Transportation difficulties beset the 32d Regiment almost from the start. During the night light tanks drove out of Shuri up the Ginowan road (Route 5), but American artillery interdicting the road prevented medium tanks from following. The mediums had to take a long detour, which was in such poor condition that only two of the tanks could enter into the attack. Trucks and artillery also were slowed down. Even foot troops had trouble in moving. One Japanese infantryman recorded that his column was shelled on the way and that everyone except himself and one other was wounded. Another wrote of encountering "terrific bombardment" on the way to Kochi. These difficulties severely handicapped the 32d Regiment in ensuing operations. Supported by nine light tanks, the 3d Battalion led the assault of the 32d Regiment against the 306th Infantry, 77th Division, before dawn on 4 May. The enemy mounted his assault from southeast of Hill 187 and hit the 77th where Route 5 curled around the east end of Urasoe-Mura Escarpment. The Japanese drove into the front lines of the 1st Battalion, 306th, near Maeda. Shortly before daylight, when the Japanese infantry had failed to take its initial objectives east of Hill 187, Colonel Murakami, commanding the 27th Tank Regiment, became impatient and recklessly committed his own infantry company, a standard element of a Japanese tank regiment. American artillery fire destroyed one platoon, disrupting the attack, and daylight found the surviving troops in a precarious position across from the American lines. Colonel Murakami ordered the company to withdraw, but artillery fire prevented a retreat during the day. When the Japanese used smoke for concealment, the Americans simply blanketed the obscured area with shell fire. The survivors straggled back to their front lines after nightfall. All the light tanks that had supported the attack were lost. By 07:30, the 306th Regiment had effectively repelled the enemy. The Japanese, broken up into small groups, attempted to withdraw across terrain subjected to heavy artillery and mortar fire, but few made it through. By 08:00, the 89th Regiment had also been pushed beyond grenade range along the entire front of the 7th Division. Instead of retreating or pressing the assault, however, Kanayama's troops made the critical mistake of milling about in the exposed flatlands, rendering them easy targets for American heavy weaponry. As a result, the 89th Regiment suffered severe losses from concentrated land, naval, and air bombardment, losing half its strength. Colonel Yoshida's 22nd Regiment in the center fared no better; its advance was delayed by the necessity of laying smoke, and it encountered significant hardships when the smoke unexpectedly cleared. In the center of the line the Japanese 22d Regiment was never able to fulfill its role of following up the "successful" advance of flank units, and the regiment spent the day locked in a violent fire fight with men of 3/306, 3/17, and 1/17 holding the Kochi-Onaga area. The Japanese reported the 22d "was not able attain results worth mentioning." Unbeknownst to the Americans, elements of the 1st Battalion of the 22nd Regiment had penetrated more than 1,000 yards behind American lines near Kochi, identifying a significant weak point before pulling back to the regimental line. Nevertheless, due to the overall failure of the 24th Division, the 44th Independent Mixed Brigade was not even committed to the attack. On the fronts at Maeda and the west coast, American forces made some gains. Hamilton's 1st Battalion successfully executed a complex demolition assault on the extensive cave-tunnel-pillbox network located about 200 feet west of the eastern end of the escarpment, effectively repulsing several subsequent counterattacks and inflicting approximately 600 casualties on the Japanese. The 5th Marines also advanced up to 400 yards through hotly contested terrain during the day. Although pinned down in the coastal area, Colonel Chappell's 1st Battalion managed to break through a defile east of Jichaku, while the 3rd Battalion secured a ridge approximately 400 yards ahead of its position. Despite the apparent failure of the Japanese attack, Amamiya refused to abandon the offensive, ordering a renewed effort during the night. Kitago's uncommitted 1st Battalion, along with the attached 26th Independent Battalion, was directed to penetrate the enemy lines northwest of Kochi in a night attack, aiming to replicate the breakthrough achieved by elements of the 1st Battalion of the 22nd Regiment. Following another artillery bombardment, the Japanese launched their assault against the 306th Regiment at 02:00 on May 5. However, this attack was quickly disrupted by American artillery. Three hours later, the Japanese struck again, this time supported by tanks. They pressed through artillery and mortar fire to engage the 306th in close combat. Fierce firefights erupted along the regiment's entire line, resulting in the Japanese suffering 248 dead during the fighting. Amid the chaos, a significant portion of Kitago's 1st Battalion successfully infiltrated behind American lines, breaching the defenses at a point between Route 5 and Kochi. While approximately 90 of the infiltrators were quickly killed while assaulting the command post of the 306th Regiment, around 450 Japanese troops crossed the divisional boundary and managed to reoccupy the town of Tanabaru and the Tanabaru Escarpment, effectively cutting off the supply road for the 17th Regiment. In response, Pachler sent Company E to eliminate the infiltrators, but they underestimated the enemy's strength and were repelled with heavy losses. With Company E stalled on the eastern slope of the escarpment, Company F, supported by tanks, attempted a broad flanking maneuver. They successfully pushed through Tanabaru, spending the day destroying the enemy's hastily established defenses. Company E then took over the assault, and by nightfall, they had reached the top of the Tanabaru Escarpment following a mortar preparation. The relentless battle for the Tanabaru Escarpment continued for the next two days, resulting in the Japanese losing 462 killed behind American lines. Only a few men managed to escape the Tanabaru death trap and return to the Shuri lines. Made even more desperate by the failure of Amamiya's grand attack, the ragtag battalions of the 62nd Division fought to the death to defend the vital western approaches to Shuri, ensuring that every yard gained came at a steep price in Marine lives. Each pillbox, cave, and tomb became a stronghold that unleashed a torrent of fire against the attacking Marines from all directions. Despite this fierce resistance, Del Valle's units made significant progress on May 5. The 5th Marines advanced their lines by an average of 300 yards, while the 1st Marines seized the high ground along the Asa River. At the Maeda Escarpment, the reverse slope was slowly captured as caves were blasted and sealed off. By midnight, it became clear to Ushijima that the counteroffensive had failed, with the Japanese suffering approximately 6,227 dead and losing 59 artillery pieces. In turn, the 7th and 77th Divisions, which had absorbed the brunt of the enemy counterattack, sustained 714 losses. Despite these heavy casualties, the 1st Marine Division, which continued its push to the south, incurred corresponding losses of 649 men. This indicated that the Americans experienced greater losses due to the Japanese defensive tactics of attrition. However, the morale of the 32nd Army had been shattered, as the Japanese abandoned all hope for a successful outcome from the operation. Nevertheless, the 24th Division and 5th Artillery Command were ordered to reorganize and shift to a holding action. This strategy aimed to bleed American strength by forcing the 10th Army to maintain its slow, deadly, yard-by-yard advance into the fire of prepared positions. I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. In the fierce Second Okinawa Counteroffensive, weary American troops pressed into determined Japanese defenses. Captain Ryan's valor led to hard-won territory despite heavy casualties. As chaos unfolded, Japanese morale waned, marking a turning point. The relentless battle showcased unparalleled sacrifice, foreshadowing the Allies' gradual victory in the Pacific.  

Before he became a musician, Merle Haggard lived the kind of life that's often mythologized in song: Hopping freights and doing prison time. When he became a star, he acquired his own observation car. Now that coach is part of the Virginia Scenic Railway. Terry Gross spoke with Haggard in 1995. Classical music critic Lloyd Schwartz reviews two albums: one's a collection of recordings by Paul Robeson, and the other features the music of Paul Robeson, performed by singer Davóne Tines. Finally, Justin Chang reviews David Cronenberg's new thriller, The Shrouds.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Riff Raff: Back from the grave in terrible Cameo form, thanks to Erik, we have words from RIFF RAFF himself! Welcome Dan Tony. Character or Retarded?: One of our favorite games where we try to figure out if someone is in on the joke or not. This time is CHAOBET from TikTok and his new numbers. Haley Joel Osment and Linda Hogan: Haley Joel goes viral with bodycam footage of his arrest and Linda Hogan posts a hysterical video ranting at Hulk Hogan and her daughter. THE BEAR!, FUCK YOU, WATCH THIS!, DAVE BLUNTS!, QUAY QUAY!, LEAN!, NU METAL MIKE!, KATY PERRY!, SPACE!, ASTRONAUT!, CAN'T ALL BE BANGERS!, BAD CALLER!, CAMEO!, RIP!, CELEB FROM THE PAST!, BAD JOB!, RIFF RAFF!, SQUIRT!, LIL DEBBIE!, KREAYSHAWN!, V-NASTY!, KILLING THEM WITH KINDNESS!, MAX ALBERT!, DISASTER!, DEAD!, MUMBLING!, FAN!, BAD AUDIO!, WIND!, MIKE DAN TONY!, JIM DAN TONY!, JEFF DAN TONY!, ERIK DAN TONY!, MULLETS!, BRAIDS!, POPPIN' CULTURE!, THEO VON!, PODCAST!, N-WORD F-WORD RETARD!, TIKTOK!, RETARDS!, IN ON THE JOKE!, NEW MATH!, CHAOBET!, EDGY RETARD!, ENDLESS SERIES OF NAMES!, NEW NUMBERS!, NEW MATH!, DEMENTIA!, HEAVEN ON EARTH!, BIG PHARMA!, AINT!, FLOUR!, FEV!, FUN!, GOING CRAZY!, PEMDAS!, BAM!, ADDERALL!, DAREDEVIL DEB!, OLD LADY!, STUNT WOMAN!, GOOFY!, HALEY JOEL OSMENT!, DRUGS!, SNOWBOARD!, SKI RESORT!, FUCKED UP!, UNIDENTIFIED SUBSTANCE!, KINGDOM HEARTS!, SORRA!, RESISTING!, BEING ATTACKED!, ANTISEMITIC!, LINDA HOGAN!, OLD!, HAGGARD!, CRYING!, TMI!, BROOKE HOGAN!, HULK HOGAN!, JUNKER!, DUMP!, XANAX!, BLACKOUT!, BRUISED!, BOTOX!, NICK HOGAN!, BLIZZ PIZZ!, GAWKER!, BUBBA!, LAWSUIT!, VADER!, SHAWN MICHAELS!, KUWAIT!, INCIDENT!, DARK SIDE OF THE RING!, SOULJA BOY!, COURT!, SEXUAL ASSAULT!, ASSISTANT!  You can find the videos from this episode at our Discord RIGHT HERE!

Before he became a musician, Merle Haggard lived the kind of life that's often mythologized in song: Hopping freights and doing prison time. When he became a star, he acquired his own observation car. Now that coach is part of the Virginia Scenic Railway. Terry Gross spoke with Haggard in 1995. Classical music critic Lloyd Schwartz reviews two albums: one's a collection of recordings by Paul Robeson, and the other features the music of Paul Robeson, performed by singer Davóne Tines. Finally, Justin Chang reviews David Cronenberg's new thriller, The Shrouds.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Welcome to Revolutionary Hoodrat with Kim Young from Dope Black Social Worker®. In this week's episode, Kim speaks with Bryan Haggard, LCSW, about his journey as a Black PhD student in social work. They discuss the importance of being unapologetically Black in various spaces and the hoodrat activities that Bryan enjoys.

We wanna hear from you! Send us a message here :) We're at CRS 25' with Lucas Hoge & Darryl Worley! Find out more about each artist below! With equal ease and finesse, No. 1 Billboard-charting artist Lucas Hoge can craft a song, cast a line, or call in a turkey in front of a film crew - all while holding an audience's attention on stage when performing. As a warm, engaging television host on hit Sportsman Channel, Heartland Network, and American Country Network show Hoge Wild, Hoge finds himself in over 155 million households annually, taking viewers across the globe as he travels to places like New Zealand, Bolivia, South Africa, and unchartered territory in North America. With a guitar in one hand and a bow in the other, Hoge treks the world to amplify his passion for the outdoors and change the narrative around conservation with each weekly Hoge Wild episode. Season 5 began airing in June 2024 and, in the first four months, has already seen over 10 million minutes viewed. Stay connected with Lucas here. The rich, reedy tones and all-American, blue-collar themes in his #1 hits “I Miss My Friend,” “Awful, Beautiful Life” and “Have You Forgotten?” are reminders of the down-to-Earth, Haggard-like Darryl Worley you always knew. The island vibes and blue-eyed soul in new songs “It's Good To Be Me,” “Lay It On Me” and “Lonely Alone” suggest there's another, almost-funky, version of Worley that's been kept under wraps. The alternate sides are both on display in Second Wind: Latest and Greatest, a project that mixes the traditional-country history he established in Nashville with the ragged soul that's deep in the bones of Muscle Shoals, a musical Alabama hotbed where Worley got his start. The area hosted hit sessions for Aretha Franklin, Bob Seger, Wilson Pickett and The Rolling Stones, and the sweaty swagger of the region's recording studios was a perfect fit for Worley as he recorded an album that re-establishes him in country culture. Stay connected with Darryl here. Support the show

Henry Haggard is the founding partner of Seekonk LLC. Following a twenty-five-year career at the U.S. State Department during which he attained the rank of Counselor in the Senior Foreign Service, From 2021-2023, he served as Minister Counsellor for Political Affairs at the United States Embassy in South Korea. Prior to that, he served as Director at the National Security Council under both the Trump and Biden administrations. His talk, "US-Korea Relationship in Transition", was recorded for broadcast on February 10, 2025.

Cache Haggard is the founder of Revenant Corps, a company that makes bespoke premium G10 edged weapons and other Impact Tools. His work has been recently featured in both Recoil and Off Grid Magazines three times now.  Cache is true craftsman and since his business has taken off, he is now joined full time by his lovely wife Katie, helping in the shop.  Cache is also a man who remains true his convictions and is truly a life long learner. You can find his incredible work at his website https://revenantcorps.com You can find show merch here https://teespring.com/id/stores/distinguished-savage-podcast You can find our sponsor Absolute Security and Lock here http://www.absolutesecurityandlock.com

Intro : Are You Ready For The Country The Shakers : Blue Moon Daughter (As Wild As Cool-2024) Lone Redneck : Lovely Country Girl (Walkin' In Nashville-2025) Claudia Buckley : Walkin', Talkin', Cryin', Barely Beatin', Broken Heart (Come On In-2024) 49 Winchester : Hillbilly Happy (Leavin' This Holler-2024) Jerry DeLeon & Southbound : When I'm Down (-2024) Jackson Dean : Duck Tape Heart (On The Back Of My Dreams-2024) Dennis Jay : Cowboy Rhythm (Cowboy Rhythm-2024) Greg Travis : Boots Down Low (Single-2024) The Red Clay Strays : Ramblin' (Made By These Moments-2024) James Intveld : Lets Talk It Out (Single-2024) Jesse Daniel & Benjamin Tod : A Few Ole Country Boys (Single-2024) Jesse Daniel : Turn The Devil Away (Single-2024) Rosie Flores : Wake Up Little Baby (The Sound Of My Own Tune-2024) Ramona and the Holy Smokes : Til It's Over (2024) Elisha Grant : Cash, Haggard, Jennings and Jones (Americana Outlaw-2024) Lainey Wilson : Those Boots (Bell Bottom Country-2022) Outro : Campfire

Today on The Cannabis Connection, we welcome Joseph Haggard.What do the California State Fair, a state testing resolution and Woody Harrelson have in common? On the show, we explore all this and some special manifestations for 2025. Joseph Haggard is a farmer at Emerald Spirit Botanicals and co-founder of the Farm Cut Co-operative. He was born and raised in Mendocino County where his family has grown cannabis for over 20 years. Emerald Spirit Botanicals breeds cannabis varietals rich in minor cannabinoids using a spiritual scientific breeding approach weaving together art and science in the search for new cannabis medicine. Emerald Spirit Botanicals and Farm Cut has been recognized with 8 Gold Medals at the California State Fair, A Golden Bear Best Sungrown Flower of California, 3 Emerald Cup Regenerative Farm Awards and 6 awards at Emerald Cup. We are honored to produce sun grown cannabis medicine grown using organic and regenerative farming practices. You can find our flower across California in over 60 stores. Learn more at Emeraldspiritbotanicals.com and www.farmcutcannabis.com.

Hello lovelies, welcome back to 50 PLUS A TIP Podcast and Happy New Year!

Our Patron Book Club joins us to discuss H. Rider Haggard's "She", the smell of the flame, Haggard's other works, "the things dudes won't do for a hottie", the city of Cambridge, the good earthy feminine logic, being torn between two ill-fated women, the lost race genre, the tombs of an ancient civilization, quaint local customs, being unalive (instead of undead), democracies and tyrants, and much more!

On this episode of the Holy Smokes podcast, host Steve Reiter sits down with Max Hatfield at his home, in Colorado. Max shares his unique life story, from his early years in Bakersfield, California, to his extensive work as a missionary. He talks about his journey into the world of cigars, how he became a Christian during the Jesus Revolution, and his missionary efforts in the Soviet Union and Turkey. Max also offers insights into his family life, particularly his marriage to his late wife, Karen, and their life dedicated to service. This conversation covers a wide range of topics including Max's passion for community, his love of music, and his lasting commitment to faith. Please tune in to hear about Max Hatfield's extraordinary journey and the lessons he has learned along the way. Join us for an insightful discussion with Max Hatfield.   Outline   00:00 Bakersfield Roots: Migrant Camps, Haggard 09:10 Choosing Party Life Over Church 12:18 From Hairstyling to Gas Plant Work 17:25 Seeking Jesus on the Road 28:47 "Musical Tour and Ministry in Europe" 35:42 "Concert, Relationship, Career Transition" 39:07 Winning Over Future In-Laws Tour 43:10 Called to Eastern Missions Journey 47:48 Operation Friendship: Olympic Outreach Recruitment 56:29 Chinese Dining Car Discovery 01:02:32 "Deciding on Relocation to Monument" 01:08:24 Reassessing Crusades' Misrepresentation of Jesus 01:13:26 Church Tech vs. People Focus 01:18:17 Meersham Business Challenges After Loss 01:25:57 Self-Funded Missions Begin Abroad 01:27:42 Retiring from Community Tree Sales 01:34:15 "Demonic Encounter and Vision Recovery" 01:40:09 Success Through Relational Influence 01:42:57 From Judgment to Compassion Insights

Jose Antonio Ibarra has been found guilty of murdering Georgia nursing student Laken Riley. Ibarra, 26, is an illegal alien from Venezuela. He waived his right to a jury, leaving his fate in the hands of Superior Court Judge H. Patrick Haggard, who sentenced Ibarra Wednesday to life in prison without parole. Haggard found Ibarra guilty on all 10 counts, including felony murder and malice murder, aggravated assault with intent to rape, kidnapping with bodily injury, obstructing a person making an emergency call, aggravated battery, tampering with evidence, and peeping Tom, Fox News and CNN reported. We discuss the timeline of events leading the Riley's murder on this week's edition of Problematic Women.

Icon Conference: https://www.eventbrite.com/e/the-theology-of-the-icon-image-likeness-conference-tickets-1031683682667?aff=oddtdtcreator Send Superchats at any time here: https://streamlabs.com/jaydyer/tip Get started with Bitcoin here: https://www.swanbitcoin.com/jaydyer/ The New Philosophy Course is here: https://marketplace.autonomyagora.com/philosophy101 Set up recurring Choq subscription with the discount code JAY44LIFE for 44% off now https://choq.com Lore coffee is here: https://www.patristicfaith.com/coffee/ Orders for the Red Book are here: https://jaysanalysis.com/product/the-red-book-essays-on-theology-philosophy-new-jay-dyer-book/ Subscribe to my site here: https://jaysanalysis.com/membership-account/membership-levels/ Follow me on R0kfin here: https://rokfin.com/jaydyerBecome a supporter of this podcast: https://www.spreaker.com/podcast/jay-sanalysis--1423846/support.

We gotta kill this hag, guys, we just REALLY gotta kill this hag. Max skirts death. Ataraxia searches for spoils. Ignis consults her knowledge about hags. Buster rounds up some goats. • • • Patreon: patreon.com/ICastFireball20 Twitter / Instagram: @ICastFireball20 Facebook: @ICastFireball2020 Email: ICastFireball2020@gmail.com Donations: ko-fi.com/icastfireball20 • • • AUDIO CREDITS Mynoise.net Ambience made on the incredible Mynoise.net. If you're looking for customizable background sound while you're creating, or studying, or playing your own dnd campaign check out this site and consider donating because it's a great site.   Zapsplat.com -  Many sound effects obtained from https://www.zapsplat.com   Public domain sound effects used throughout   “Spirit of the Sea” by Michael Ghelfi Studios on Youtube https://www.youtube.com/watch?v=UgrFlGuloVE GO CHECK THEM OUT!! Incredible TTRPG Ambiences and music! Their Patreon: https://www.patreon.com/MichaelGhelfi Conditions of use:https://michaelghelfi.com/conditions-of-use/ Michaelghelfistudios.com dscryb.com/MichaelGhelfi @MichaelGhelfiStudios "The Strangers" composed and produced by "Vivek Abhishek" Music link : https://www.youtube.com/watch?v=p_9rO7m-WHM SUBSCRIBE us on YOUTUBE: https://bit.ly/3qumnPH Follow on Facebook : https://bit.ly/33RWRtP Follow on Instagram : https://bit.ly/2ImU2JV   And as always a HUGE thank you to Hayden Allred for our amazing theme music!

IT'S THE HALLOWEEN EPISODE YOU NEFARIOUS DEMONS! Holy sh*t Will Hite a.k.a. Mark Twain a.k.a. Albert Einstein a.k.a. Albert Twain joins the natural born killer himself, Mickey Knox on this wild and crazy ep' of ST. As always, fart sounds, extreme hypotheticals, and non-stop trash-talkery on this fine edition of everyones favorite dental hygiene pod show. That's right you dirty lil' devils, its Sensitive Teeth!

H Rider Haggard's “She and Allan”, first published in 1921 is a gripping adventure about Allan Quatermain, who together with Hans, the Hottentot and, the Zulu-Chief Omslopogaas and at the bidding of the old Witch Doctor Zikali seeks out Ayesha, the daughter of Isis to find answers to their questions about life and death, and their many, sometimes strange, Adventures on their way. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

H Rider Haggard's “She and Allan”, first published in 1921 is a gripping adventure about Allan Quatermain, who together with Hans, the Hottentot and, the Zulu-Chief Omslopogaas and at the bidding of the old Witch Doctor Zikali seeks out Ayesha, the daughter of Isis to find answers to their questions about life and death, and their many, sometimes strange, Adventures on their way. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

H Rider Haggard's “She and Allan”, first published in 1921 is a gripping adventure about Allan Quatermain, who together with Hans, the Hottentot and, the Zulu-Chief Omslopogaas and at the bidding of the old Witch Doctor Zikali seeks out Ayesha, the daughter of Isis to find answers to their questions about life and death, and their many, sometimes strange, Adventures on their way. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

H Rider Haggard's “She and Allan”, first published in 1921 is a gripping adventure about Allan Quatermain, who together with Hans, the Hottentot and, the Zulu-Chief Omslopogaas and at the bidding of the old Witch Doctor Zikali seeks out Ayesha, the daughter of Isis to find answers to their questions about life and death, and their many, sometimes strange, Adventures on their way. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

H Rider Haggard's “She and Allan”, first published in 1921 is a gripping adventure about Allan Quatermain, who together with Hans, the Hottentot and, the Zulu-Chief Omslopogaas and at the bidding of the old Witch Doctor Zikali seeks out Ayesha, the daughter of Isis to find answers to their questions about life and death, and their many, sometimes strange, Adventures on their way. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

H Rider Haggard's “She and Allan”, first published in 1921 is a gripping adventure about Allan Quatermain, who together with Hans, the Hottentot and, the Zulu-Chief Omslopogaas and at the bidding of the old Witch Doctor Zikali seeks out Ayesha, the daughter of Isis to find answers to their questions about life and death, and their many, sometimes strange, Adventures on their way. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

H Rider Haggard's “She and Allan”, first published in 1921 is a gripping adventure about Allan Quatermain, who together with Hans, the Hottentot and, the Zulu-Chief Omslopogaas and at the bidding of the old Witch Doctor Zikali seeks out Ayesha, the daughter of Isis to find answers to their questions about life and death, and their many, sometimes strange, Adventures on their way. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

H Rider Haggard's “She and Allan”, first published in 1921 is a gripping adventure about Allan Quatermain, who together with Hans, the Hottentot and, the Zulu-Chief Omslopogaas and at the bidding of the old Witch Doctor Zikali seeks out Ayesha, the daughter of Isis to find answers to their questions about life and death, and their many, sometimes strange, Adventures on their way. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

For many years the record for buying the largest round of drinks belonged to country legend Merle Haggard! Haggard bought over 5000 "C.C. waterbacks" for the crowd at Billy Bob's in Texas! in today's dollars it would have been a $40,000 tab!

rWotD Episode 2676: You Take Me for Granted Welcome to Random Wiki of the Day, your journey through Wikipedia’s vast and varied content, one random article at a time.The random article for Saturday, 31 August 2024 is You Take Me for Granted."You Take Me for Granted" is a song written by Leona Williams, and recorded by American country music artist Merle Haggard backed by The Strangers. It was released in March 1983 as the second single from the album Going Where the Lonely Go. The song was Haggard's twenty-ninth number one on the country chart. The single stayed at number one for one week and spent a total of thirteen weeks on the country chart.This recording reflects the Wikipedia text as of 00:14 UTC on Saturday, 31 August 2024.For the full current version of the article, see You Take Me for Granted on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm long-form Danielle.

Main Theme:In this riveting episode of the “Music Speaks” podcast, hosts Blake, James, and Amanda explore the therapeutic power of music with outlaw country artist Dwayne H. Parker. Through an intimate conversation, Parker delves into the importance of authenticity in music and reflects on the influence of country legends like Waylon Jennings, Johnny Cash, and Merle Haggard.Key Highlights:1.Authenticity in Music:Parker's dedication to staying true to his roots despite industry pressures.The significance of genuine storytelling in the Outlaw movement, inspired by icons such as Jennings, Cash, and Haggard.2.Personal Stories and Struggles:Insightful anecdotes from Parker about navigating the music industry.Challenges faced with social media and gaining recognition while maintaining authenticity.The impact of being labeled “too country” for Nashville and finding support from a Canadian label.3.Musical Contributions:Discussion of Parker's latest single, “I Ain't Johnny,” which emphasizes his unique identity in the music world.Exploration of his album “Bottle of Survival,” inspired by personal experiences, including the loss of his father.4.Future Endeavors:Exciting projects on the horizon, including the launch of his website and the release of two more records this year.Enthusiasm for his 1967 Gibson guitar and its role in his upcoming music.5.Listener Engagement:Parker's gratitude for listener support and plans for ongoing communication with his audience.Sponsorship shout-outs to BetterHelp, Bones Coffee Company, and All Above Landscaping, with special discounts for listeners.Takeaway Message:Dwayne H. Parker's journey underscores the therapeutic power of music when it remains authentic and true to real-life experiences. His story is a testament to the resilience and passion required to thrive in the music industry while staying genuine.Sponsors:BetterHelp: Offering online therapy services with a discount for listeners. 10% off your first month - use the code MUSICSPEAKSBones Coffee Company: Special deals on gourmet coffee for podcast followers. 10% off your order! - use the code MUSICSPEAKSAll Above Landscaping: Discounts on landscaping services for the podcast community.Tune in to this episode for an inspiring conversation about music's healing power and the importance of staying true to oneself in the ever-evolving world of country music.Listen now on Apple Podcasts!Follow Us:Instagram: @When_Words_Fail_PodcastTwitter: @WWFMSFacebook: When Words Fail Music Speaks PodcastContact Us:Email: james@whenwordsfailmusicspeaks.com

Upon invitation to Sir Henry's residence, a small group mof close friends, both men and women, gather to have a chance to meet the famous African big game hunter Mr. Allen Quartermaine.  This story, written in 1885, is one of H. Rider Hagarrd's best short stories and a tale so well told you can't help but feel you are in the room listening to the narrative. Check out our new website at www.bestof1001stories.com.

We take another look at the Haggard-esque neo-traditional grit of early Clint Black, with his 1992 hit, "We Tell Ourselves".  We get all the earthy blues we'd expect, but how does the musical setting of this cut channel both the doubt and the determination inherent in the complex and heavy situation that the lyrics describe?

Ep. 148 - Steve Haggard of Alerus talks Arizona banking trends to watch

We welcome one of Country Music's hottest acts, Jesse Daniel to the show. Since releasing his 2018 self-titled debut on his own Die True Records, he's earned great esteem as a country music traditionalist and built a wildly devoted international following – thanks in no small part to his freewheeling live show and tendency to tour nearly 200 days a year, consistently selling out 500-capacity rooms. Daniel's fourth studio album, 'Countin' The Miles' features guest appearances from Haggard, Jon Randall, the legendary Gene Elders of George Strait's Ace in the Hole Band – who passed away shortly after recording – and Jodi Lyford, Daniel's partner, bandmate and frequent co-writer. For more on Jesse Daniel, visit: www.jessedanielmusic.com ______ This episode is brought to you by Magic Mind. Magic Mind is a “mental performance shot”, an addition to your daily routine, that gets you focused, mentally clear, motivated, and productive while reducing stress, with mushroom nootropics and adaptogens plus over 100% of your daily vitamin C and D per bottle! It is 100% Safe- all ingredients are third-party tested, sourced from the best suppliers You have a limited offer you can use now, that gets you up to 48% off your first subscription or 20% off one time purchases with code JRODCONCERTS20 at checkout You can claim it at: https://www.magicmind.com/JRODCONCERTS20

Cyndia Haggard, Vernon County Republican Committee Chairwoman, joins the Marc Cox Morning Show to discuss the judge ruling that 8 candidates had to be removed from the Aug. 6th primary ballot. 

Representative Craig Haggard (R-57) joins the Gun Guy show talking his military career, political career, and what's ahead in the State House. See omnystudio.com/listener for privacy information.

00:00-10:10- The Gun Guy, Guy Relford starts today's show with a conversation and information about his training courses. Guy also shares how Indiana Gun Laws protect gun owners more than other states, shares today's guest, and more! 10:10-22:25- Guy opens the second segment with a phone call from a listener concerning the National Legislation involving gun rights and VA Veterans. Guy also converses with Representative Craig Haggard, R-57, on his military career. 22:25-35:26- Guy continues his conversation with Representative Haggard. The two talk about Haggard's political career, his experiences in the State House, House Bill 1323, and more! 35:26-46:31- Guy kicks off the 5 o'clock hour with a few trial court decisions. Should Felons possess firearms? Is it unconstitutional to say no? 46:31-56:45- Guy comes back with a continued discussion on if felons and illegal immigrants should be able to own firearms. Guy goes to the phone lines to get the opinions from listeners. 56:45-1:05:27- Guy continues to go to the phone lines for listeners on the question of if felons and illegal immigrants should be able to own firearms. 1:05:27-1:11:00- Guy wraps up the show with a final segment on gun rights for felons and illegal immigrants. Listeners continue to express their opinions.See omnystudio.com/listener for privacy information.

Comedian Jeremiah Watkins joins Jason and Tully to talk about malfunctioning fog machine, saggy eyes, Jason's current dating life, high-functioning autism, Jeremiah's new podcast, Casinos, the magic dirbike, Dennis Rodman: the high-functioning rebounder, Jason and Jeremiah's concussions, Jason's role in Bam's movie Haggard, and the boys play America's favorite new game show “trashy or not?” Claim your free 3 piece towel set and save over 40% off! Go to trymiracle.com/ELLIS PROMO CODE: ELLIS Learn more about your ad choices. Visit megaphone.fm/adchoices

Joey is looking HAGGARD yall!Love the show and want it AD FREE and more BONUS CONTENT? Join the Rose Garden on Patreon.CONNECT WITH US: Instagram | Twitter | TikTok | MerchEMAIL: 2blackgirls1rose@gmail.comFollow Natasha's Substack The Nite Owl: theniteowl.substack.comFollow Justine for beauty content: @justlydiak Hosted on Acast. See acast.com/privacy for more information.

This week Danny and Tyler finally cover "The Poet of the Common Man," Merle Haggard. One of the biggest names in country music history, Haggard has dozens of No. 1 hits and went on to influence countless artists and songwriters from across all genres. For today's episode we add his iconic classic "Mama Tried" to our Ultimate Country Playlist.For just $5 a month you can help keep the lights on and get access to bonus episodes! Consider supporting us on Patreon HERE!Follow the link below to keep up with which songs are being added to our Ultimate Country Playlist on Spotify, now including "Mama Tried"https://tinyurl.com/takethispodplaylist And now on TIDAL!https://t.co/MHEvOz2DOAWant more Merle recs? Here's some from Tyler and Danny:Okie From MuskogeeBig CityI Think I'll Just Stay Here and DrinkRamblin' FeverThe Okie From Muskogee's Comin' HomeThe Bottle Let Me DownSwinging DoorsIf We Make it Through DecemberCheck out our Patreon!Check out our new merch store!Instagram: @TakeThisPodandShoveItFor everything else click HERE!Want to create your own great podcast? Why not start today! We use BuzzSprout for hosting and have loved it. So we suggest you give them a try as well! Buzzsprout gets your show listed in every major podcast platform, and makes understanding your podcast data a breeze. Follow this link to let Buzzsprout know we sent you—you'll get a $20 credit if you sign up for a paid plan, and it helps support our show.

Working mornings can drain your soul and age you rapidly. Recently, Ryan has slipped into a new stage in life and he's actually quite happy about it. On the other hand, Dez seems to have reached a new milestone as well, but she's not too thrilled about it. Learn more about your ad choices. Visit megaphone.fm/adchoices

Working mornings can drain your soul and age you rapidly. Recently, Ryan has slipped into a new stage in life and he's actually quite happy about it. On the other hand, Dez seems to have reached a new milestone as well, but she's not too thrilled about it. Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Merriam-Webster's Word of the Day for February 22, 2024 is: haggard • HAG-urd • adjective Someone described as haggard appears tired or thin especially as if because of hunger, worry, or pain. Haggard can also describe someone who looks wild or otherwise disheveled. // After a disastrous rafting trip, Robin emerged from the woods looking haggard but otherwise unscathed. See the entry > Examples: “All three leads are excellent, but it's especially worth noting the complexity of what DiCaprio pulls off. Initially, Ernest seems a fairly standard character type, the cocky, dim-bulb guy of disposable moral fiber, easily influenced by someone much smarter. But he becomes more interesting as the anguish caused by his love for Mollie eats away at him, with the actor looking discernibly more haggard as Hale's plot advances and he's unable to extricate himself from it.” — David Rooney, The Hollywood Reporter, 20 May 2023 Did you know? Haggard has its origins in falconry, the ancient sport of hunting with a trained bird of prey. The birds used in falconry were not bred in captivity until very recently; traditionally, falconers trained wild birds that were either taken from the nest when quite young or trapped as adults. A bird trapped as an adult is termed a haggard, from the synonymous Middle French word hagard. Such a bird being notoriously wild and difficult to train, haggard was easily extended to apply to a “wild” and intractable person. Eventually, the word came to express the way the human face looks when a person is exhausted, anxious, or terrified. Today, the most common meaning of haggard is “gaunt” or “worn.”

For those who haven't heard the announcement I just posted , songs from this point on will sometimes be split among multiple episodes, so this is the second part of a multi-episode look at the Byrds in 1966-69 and the birth of country rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode, on "With a Little Help From My Friends" by Joe Cocker. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud at this time as there are too many Byrds songs in the first chunk, but I will try to put together a multi-part Mixcloud when all the episodes for this song are up. My main source for the Byrds is Timeless Flight Revisited by Johnny Rogan, I also used Chris Hillman's autobiography, the 331/3 books on The Notorious Byrd Brothers and The Gilded Palace of Sin, I used Barney Hoskyns' Hotel California and John Einarson's Desperadoes as general background on Californian country-rock, Calling Me Hone, Gram Parsons and the Roots of Country Rock by Bob Kealing for information on Parsons, and Requiem For The Timeless Vol 2 by Johnny Rogan for information about the post-Byrds careers of many members. Information on Gary Usher comes from The California Sound by Stephen McParland. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. The International Submarine Band's only album can be bought from Bandcamp. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we begin, a brief warning – this episode contains brief mentions of suicide, alcoholism, abortion, and heroin addiction, and a brief excerpt of chanting of a Nazi slogan. If you find those subjects upsetting, you may want to read the transcript rather than listen. As we heard in the last part, in October 1967 Roger McGuinn and Chris Hillman fired David Crosby from the Byrds. It was only many years later, in a conversation with the group's ex-manager Jim Dickson, that Crosby realised that they didn't actually have a legal right to fire him -- the Byrds had no partnership agreement, and according to Dickson given that the original group had been Crosby, McGuinn, and Gene Clark, it would have been possible for Crosby and McGuinn to fire Hillman, but not for McGuinn and Hillman to fire Crosby. But Crosby was unaware of this at the time, and accepted a pay-off, with which he bought a boat and sailed to Florida, where saw a Canadian singer-songwriter performing live: [Excerpt: Joni Mitchell, "Both Sides Now (live Ann Arbor, MI, 27/10/67)"] We'll find out what happened when David Crosby brought Joni Mitchell back to California in a future story... With Crosby gone, the group had a major problem. They were known for two things -- their jangly twelve-string guitar and their soaring harmonies. They still had the twelve-string, even in their new slimmed-down trio format, but they only had two of their four vocalists -- and while McGuinn had sung lead on most of their hits, the sound of the Byrds' harmony had been defined by Crosby on the high harmonies and Gene Clark's baritone. There was an obvious solution available, of course, and they took it. Gene Clark had quit the Byrds in large part because of his conflicts with David Crosby, and had remained friendly with the others. Clark's solo album had featured Chris Hillman and Michael Clarke, and had been produced by Gary Usher who was now producing the Byrds' records, and it had been a flop and he was at a loose end. After recording the Gene Clark with the Gosdin Brothers album, Clark had started work with Curt Boettcher, a singer-songwriter-producer who had produced hits for Tommy Roe and the Association, and who was currently working with Gary Usher. Boettcher produced two tracks for Clark, but they went unreleased: [Excerpt: Gene Clark, "Only Colombe"] That had been intended as the start of sessions for an album, but Clark had been dropped by Columbia rather than getting to record a second album. He had put together a touring band with guitarist Clarence White, bass player John York, and session drummer "Fast" Eddie Hoh, but hadn't played many gigs, and while he'd been demoing songs for a possible second solo album he didn't have a record deal to use them on. Chisa Records, a label co-owned by Larry Spector, Peter Fonda, and Hugh Masekela, had put out some promo copies of one track, "Yesterday, Am I Right", but hadn't released it properly: [Excerpt: Gene Clark, "Yesterday, Am I Right"] Clark, like the Byrds, had left Dickson and Tickner's management organisation and signed with Larry Spector, and Spector was wanting to make the most of his artists -- and things were very different for the Byrds now. Clark had had three main problems with being in the Byrds -- ego clashes with David Crosby, the stresses of being a pop star with a screaming teenage fanbase, and his fear of flying. Clark had really wanted to have the same kind of role in the Byrds that Brian Wilson had with the Beach Boys -- appear on the records, write songs, do TV appearances, maybe play local club gigs, but not go on tour playing to screaming fans. But now David Crosby was out of the group and there were no screaming fans any more -- the Byrds weren't having the kind of pop hits they'd had a few years earlier and were now playing to the hippie audience. Clark promised that with everything else being different, he could cope with the idea of flying -- if necessary he'd just take tranquilisers or get so drunk he passed out. So Gene Clark rejoined the Byrds. According to some sources he sang on their next single, "Goin' Back," though I don't hear his voice in the mix: [Excerpt: The Byrds, "Goin' Back"] According to McGuinn, Clark was also an uncredited co-writer on one song on the album they were recording, "Get to You". But before sessions had gone very far, the group went on tour. They appeared on the Smothers Brothers TV show, miming their new single and "Mr. Spaceman", and Clark seemed in good spirits, but on the tour of the Midwest that followed, according to their road manager of the time, Clark was terrified, singing flat and playing badly, and his guitar and vocal mic were left out of the mix. And then it came time to get on a plane, and Clark's old fears came back, and he refused to fly from Minneapolis to New York with the rest of the group, instead getting a train back to LA. And that was the end of Clark's second stint in the Byrds. For the moment, the Byrds decided they were going to continue as a trio on stage and a duo in the studio -- though Michael Clarke did make an occasional return to the sessions as they progressed. But of course, McGuinn and Hillman couldn't record an album entirely by themselves. They did have several tracks in a semi-completed state still featuring Crosby, but they needed people to fill his vocal and instrumental roles on the remaining tracks. For the vocals, Usher brought in his friend and collaborator Curt Boettcher, with whom he was also working at the time in a band called Sagittarius: [Excerpt: Sagittarius, "Another Time"] Boettcher was a skilled harmony vocalist -- according to Usher, he was one of the few vocal arrangers that Brian Wilson looked up to, and Jerry Yester had said of the Modern Folk Quartet that “the only vocals that competed with us back then was Curt Boettcher's group” -- and he was more than capable of filling Crosby's vocal gap, but there was never any real camaraderie between him and the Byrds. He particularly disliked McGuinn, who he said "was just such a poker face. He never let you know where you stood. There was never any lightness," and he said of the sessions as a whole "I was really thrilled to be working with The Byrds, and, at the same time, I was glad when it was all over. There was just no fun, and they were such weird guys to work with. They really freaked me out!" Someone else who Usher brought in, who seems to have made a better impression, was Red Rhodes: [Excerpt: Red Rhodes, "Red's Ride"] Rhodes was a pedal steel player, and one of the few people to make a career on the instrument outside pure country music, which is the genre with which the instrument is usually identified. Rhodes was a country player, but he was the country pedal steel player of choice for musicians from the pop and folk-rock worlds. He worked with Usher and Boettcher on albums by Sagittarius and the Millennium, and played on records by Cass Elliot, Carole King, the Beach Boys, and the Carpenters, among many others -- though he would be best known for his longstanding association with Michael Nesmith of the Monkees, playing on most of Nesmith's recordings from 1968 through 1992. Someone else who was associated with the Monkees was Moog player Paul Beaver, who we talked about in the episode on "Hey Jude", and who had recently played on the Monkees' Pisces, Aquarius, Capricorn & Jones, Ltd album: [Excerpt: The Monkees, "Star Collector"] And the fourth person brought in to help the group out was someone who was already familiar to them. Clarence White was, like Red Rhodes, from the country world -- he'd started out in a bluegrass group called the Kentucky Colonels: [Excerpt: The Kentucky Colonels, "Clinch Mountain Backstep"] But White had gone electric and formed one of the first country-rock bands, a group named Nashville West, as well as becoming a popular session player. He had already played on a couple of tracks on Younger Than Yesterday, as well as playing with Hillman and Michael Clarke on Gene Clark's album with the Gosdin Brothers and being part of Clark's touring band with John York and "Fast" Eddie Hoh. The album that the group put together with these session players was a triumph of sequencing and production. Usher had recently been keen on the idea of crossfading tracks into each other, as the Beatles had on Sgt Pepper, and had done the same on the two Chad and Jeremy albums he produced. By clever crossfading and mixing, Usher managed to create something that had the feel of being a continuous piece, despite being the product of several very different creative minds, with Usher's pop sensibility and arrangement ideas being the glue that held everything together. McGuinn was interested in sonic experimentation. He, more than any of the others, seems to have been the one who was most pushing for them to use the Moog, and he continued his interest in science fiction, with a song, "Space Odyssey", inspired by the Arthur C. Clarke short story "The Sentinel", which was also the inspiration for the then-forthcoming film 2001: A Space Odyssey: [Excerpt: The Byrds, "Space Odyssey"] Then there was Chris Hillman, who was coming up with country material like "Old John Robertson": [Excerpt: The Byrds, "Old John Robertson"] And finally there was David Crosby. Even though he'd been fired from the group, both McGuinn and Hillman didn't see any problem with using the songs he had already contributed. Three of the album's eleven songs are compositions that are primarily by Crosby, though they're all co-credited to either Hillman or both Hillman and McGuinn. Two of those songs are largely unchanged from Crosby's original vision, just finished off by the rest of the group after his departure, but one song is rather different: [Excerpt: The Byrds, "Draft Morning"] "Draft Morning" was a song that was important to Crosby, and was about his -- and the group's -- feelings about the draft and the ongoing Vietnam War. It was a song that had meant a lot to him, and he'd been part of the recording for the backing track. But when it came to doing the final vocals, McGuinn and Hillman had a problem -- they couldn't remember all the words to the song, and obviously there was no way they were going to get Crosby to give them the original lyrics. So they rewrote it, coming up with new lyrics where they couldn't remember the originals: [Excerpt: The Byrds, "Draft Morning"] But there was one other contribution to the track that was very distinctively the work of Usher. Gary Usher had a predilection at this point for putting musique concrete sections in otherwise straightforward pop songs. He'd done it with "Fakin' It" by Simon and Garfunkel, on which he did uncredited production work, and did it so often that it became something of a signature of records on Columbia in 1967 and 68, even being copied by his friend Jim Guercio on "Susan" by the Buckinghams. Usher had done this, in particular, on the first two singles by Sagittarius, his project with Curt Boettcher. In particular, the second Sagittarius single, "Hotel Indiscreet", had had a very jarring section (and a warning here, this contains some brief chanting of a Nazi slogan): [Excerpt: Sagittarius, "Hotel Indiscreet"] That was the work of a comedy group that Usher had discovered and signed to Columbia. The Firesign Theatre were so named because, like Usher, they were all interested in astrology, and they were all "fire signs".  Usher was working on their first album, Waiting For The Electrician or Someone Like Him, at the same time as he was working on the Byrds album: [Excerpt: The Firesign Theatre, "W.C. Fields Forever"] And he decided to bring in the Firesigns to contribute to "Draft Morning": [Excerpt: The Byrds, "Draft Morning"] Crosby was, understandably, apoplectic when he heard the released version of "Draft Morning". As far as Hillman and McGuinn were concerned, it was always a Byrds song, and just because Crosby had left the band didn't mean they couldn't use material he'd written for the Byrds. Crosby took a different view, saying later "It was one of the sleaziest things they ever did. I had an entire song finished. They just casually rewrote it and decided to take half the credit. How's that? Without even asking me. I had a finished song, entirely mine. I left. They did the song anyway. They rewrote it and put it in their names. And mine was better. They just took it because they didn't have enough songs." What didn't help was that the publicity around the album, titled The Notorious Byrd Brothers minimised Crosby's contributions. Crosby is on five of the eleven tracks -- as he said later, "I'm all over that album, they just didn't give me credit. I played, I sang, I wrote, I even played bass on one track, and they tried to make out that I wasn't even on it, that they could be that good without me." But the album, like earlier Byrds albums, didn't have credits saying who played what, and the cover only featured McGuinn, Hillman, and Michael Clarke in the photo -- along with a horse, which Crosby took as another insult, as representing him. Though as McGuinn said, "If we had intended to do that, we would have turned the horse around". Even though Michael Clarke was featured on the cover, and even owned the horse that took Crosby's place, by the time the album came out he too had been fired. Unlike Crosby, he went quietly and didn't even ask for any money. According to McGuinn, he was increasingly uninterested in being in the band -- suffering from depression, and missing the teenage girls who had been the group's fans a year or two earlier. He gladly stopped being a Byrd, and went off to work in a hotel instead. In his place came Hillman's cousin, Kevin Kelley, fresh out of a band called the Rising Sons: [Excerpt: The Rising Sons, "Take a Giant Step"] We've mentioned the Rising Sons briefly in some previous episodes, but they were one of the earliest LA folk-rock bands, and had been tipped to go on to greater things -- and indeed, many of them did, though not as part of the Rising Sons. Jesse Lee Kincaid, the least well-known of the band, only went on to release a couple of singles and never had much success, but his songs were picked up by other acts -- his "Baby You Come Rollin' 'Cross My Mind" was a minor hit for the Peppermint Trolley Company: [Excerpt: The Peppermint Trolley Company, "Baby You Come Rollin' 'Cross My Mind"] And Harry Nilsson recorded Kincaid's "She Sang Hymns Out of Tune": [Excerpt: Harry Nilsson, "She Sang Hymns Out of Tune"] But Kincaid was the least successful of the band members, and most of the other members are going to come up in future episodes of the podcast -- bass player Gary Marker played for a while with Captain Beefheart and the Magic Band, lead singer Taj Mahal is one of the most respected blues singers of the last sixty years, original drummer Ed Cassidy went on to form the progressive rock band Spirit, and lead guitarist Ry Cooder went on to become one of the most important guitarists in rock music. Kelley had been the last to join the Rising Sons, replacing Cassidy but he was in the band by the time they released their one single, a version of Rev. Gary Davis' "Candy Man" produced by Terry Melcher, with Kincaid on lead vocals: [Excerpt: The Rising Sons, "Candy Man"] That hadn't been a success, and the group's attempt at a follow-up, the Goffin and King song "Take a Giant Step", which we heard earlier, was blocked from release by Columbia as being too druggy -- though there were no complaints when the Monkees released their version as the B-side to "Last Train to Clarksville". The Rising Sons, despite being hugely popular as a live act, fell apart without ever releasing a second single. According to Marker, Mahal realised that he would be better off as a solo artist, but also Columbia didn't know how to market a white group with a Black lead vocalist (leading to Kincaid singing lead on their one released single, and producer Terry Melcher trying to get Mahal to sing more like a white singer on "Take a Giant Step"), and some in the band thought that Terry Melcher was deliberately trying to sink their career because they refused to sign to his publishing company. After the band split up, Marker and Kelley had formed a band called Fusion, which Byrds biographer Johnny Rogan describes as being a jazz-fusion band, presumably because of their name. Listening to the one album the group recorded, it is in fact more blues-rock, very like the music Marker made with the Rising Sons and Captain Beefheart. But Kelley's not on that album, because before it was recorded he was approached by his cousin Chris Hillman and asked to join the Byrds. At the time, Fusion were doing so badly that Kelley had to work a day job in a clothes shop, so he was eager to join a band with a string of hits who were just about to conclude a lucrative renegotiation of their record contract -- a renegotiation which may have played a part in McGuinn and Hillman firing Crosby and Clarke, as they were now the only members on the new contracts. The choice of Kelley made a lot of sense. He was mostly just chosen because he was someone they knew and they needed a drummer in a hurry -- they needed someone new to promote The Notorious Byrd Brothers and didn't have time to go through a laborious process of audtioning, and so just choosing Hillman's cousin made sense, but Kelley also had a very strong, high voice, and so he could fill in the harmony parts that Crosby had sung, stopping the new power-trio version of the band from being *too* thin-sounding in comparison to the five-man band they'd been not that much earlier. The Notorious Byrd Brothers was not a commercial success -- it didn't even make the top forty in the US, though it did in the UK -- to the presumed chagrin of Columbia, who'd just paid a substantial amount of money for this band who were getting less successful by the day. But it was, though, a gigantic critical success, and is generally regarded as the group's creative pinnacle. Robert Christgau, for example, talked about how LA rather than San Francisco was where the truly interesting music was coming from, and gave guarded praise to Captain Beefheart, Van Dyke Parks, and the Fifth Dimension (the vocal group, not the Byrds album) but talked about three albums as being truly great -- the Beach Boys' Wild Honey, Love's Forever Changes, and The Notorious Byrd Brothers. (He also, incidentally, talked about how the two songs that Crosby's new discovery Joni Mitchell had contributed to a Judy Collins album were much better than most folk music, and how he could hardly wait for her first album to come out). And that, more or less, was the critical consensus about The Notorious Byrd Brothers -- that it was, in Christgau's words "simply the best album the Byrds have ever recorded" and that "Gone are the weak--usually folky--tracks that have always flawed their work." McGuinn, though, thought that the album wasn't yet what he wanted. He had become particularly excited by the potentials of the Moog synthesiser -- an instrument that Gary Usher also loved -- during the recording of the album, and had spent a lot of time experimenting with it, coming up with tracks like the then-unreleased "Moog Raga": [Excerpt: The Byrds, "Moog Raga"] And McGuinn had a concept for the next Byrds album -- a concept he was very excited about. It was going to be nothing less than a grand sweeping history of American popular music. It was going to be a double album -- the new contract said that they should deliver two albums a year to Columbia, so a double album made sense -- and it would start with Appalachian folk music, go through country, jazz, and R&B, through the folk-rock music the Byrds had previously been known for, and into Moog experimentation. But to do this, the Byrds needed a keyboard player. Not only would a keyboard player help them fill out their thin onstage sound, if they got a jazz keyboardist, then they could cover the jazz material in McGuinn's concept album idea as well. So they went out and looked for a jazz piano player, and happily Larry Spector was managing one. Or at least, Larry Spector was managing someone who *said* he was a jazz pianist. But Gram Parsons said he was a lot of things... [Excerpt: Gram Parsons, "Brass Buttons (1965 version)"] Gram Parsons was someone who had come from a background of unimaginable privilege. His maternal grandfather was the owner of a Florida citrus fruit and real-estate empire so big that his mansion was right in the centre of what was then Florida's biggest theme park -- built on land he owned. As a teenager, Parsons had had a whole wing of his parents' house to himself, and had had servants to look after his every need, and as an adult he had a trust fund that paid him a hundred thousand dollars a year -- which in 1968 dollars would be equivalent to a little under nine hundred thousand in today's money. Two events in his childhood had profoundly shaped the life of young Gram. The first was in February 1956, when he went to see a new singer who he'd heard on the radio, and who according to the local newspaper had just recorded a new song called "Heartburn Motel".  Parsons had tried to persuade his friends that this new singer was about to become a big star -- one of his friends had said "I'll wait til he becomes famous!" As it turned out, the day Parsons and the couple of friends he did manage to persuade to go with him saw Elvis Presley was also the day that "Heartbreak Hotel" entered the Billboard charts at number sixty-eight. But even at this point, Elvis was an obvious star and the headliner of the show. Young Gram was enthralled -- but in retrospect he was more impressed by the other acts he saw on the bill. That was an all-star line-up of country musicians, including Mother Maybelle and the Carter Sisters, and especially the Louvin Brothers, arguably the greatest country music vocal duo of all time: [Excerpt: The Louvin Brothers, "The Christian Life"] Young Gram remained mostly a fan of rockabilly music rather than country, and would remain so for another decade or so, but a seed had been planted. The other event, much more tragic, was the death of his father. Both Parsons' parents were functioning alcoholics, and both by all accounts were unfaithful to each other, and their marriage was starting to break down. Gram's father was also, by many accounts, dealing with what we would now call post-traumatic stress disorder from his time serving in the second world war. On December the twenty-third 1958, Gram's father died of a self-inflicted gunshot wound. Everyone involved seems sure it was suicide, but it was officially recorded as natural causes because of the family's wealth and prominence in the local community. Gram's Christmas present from his parents that year was a reel-to-reel tape recorder, and according to some stories I've read his father had left a last message on a tape in the recorder, but by the time the authorities got to hear it, it had been erased apart from the phrase "I love you, Gram." After that Gram's mother's drinking got even worse, but in most ways his life still seemed charmed, and the descriptions of him as a teenager are about what you'd expect from someone who was troubled, with a predisposition to addiction, but who was also unbelievably wealthy, good-looking, charming, and talented. And the talent was definitely there. One thing everyone is agreed on is that from a very young age Gram Parsons took his music seriously and was determined to make a career as a musician. Keith Richards later said of him "Of the musicians I know personally (although Otis Redding, who I didn't know, fits this too), the two who had an attitude towards music that was the same as mine were Gram Parsons and John Lennon. And that was: whatever bag the business wants to put you in is immaterial; that's just a selling point, a tool that makes it easier. You're going to get chowed into this pocket or that pocket because it makes it easier for them to make charts up and figure out who's selling. But Gram and John were really pure musicians. All they liked was music, and then they got thrown into the game." That's not the impression many other people have of Parsons, who is almost uniformly described as an incessant self-promoter, and who from his teens onwards would regularly plant fake stories about himself in the local press, usually some variant of him having been signed to RCA records. Most people seem to think that image was more important to him than anything. In his teens, he started playing in a series of garage bands around Florida and Georgia, the two states in which he was brought up. One of his early bands was largely created by poaching the rhythm section who were then playing with Kent Lavoie, who later became famous as Lobo and had hits like "Me and You and a Dog Named Boo". Lavoie apparently held a grudge -- decades later he would still say that Parsons couldn't sing or play or write. Another musician on the scene with whom Parsons associated was Bobby Braddock, who would later go on to co-write songs like "D-I-V-O-R-C-E" for Tammy Wynette, and the song "He Stopped Loving Her Today", often considered the greatest country song ever written, for George Jones: [Excerpt: George Jones, "He Stopped Loving Her Today"] Jones would soon become one of Parsons' musical idols, but at this time he was still more interested in being Elvis or Little Richard. We're lucky enough to have a 1962 live recording of one of his garage bands, the Legends -- the band that featured the bass player and drummer he'd poached from Lobo. They made an appearance on a local TV show and a friend with a tape recorder recorded it off the TV and decades later posted it online. Of the four songs in that performance, two are R&B covers -- Little Richard's "Rip It Up" and Ray Charles' "What'd I Say?", and a third is the old Western Swing classic "Guitar Boogie Shuffle". But the interesting thing about the version of "Rip it Up" is that it's sung in an Everly Brothers style harmony, and the fourth song is a recording of the Everlys' "Let It Be Me". The Everlys were, of course, hugely influenced by the Louvin Brothers, who had so impressed young Gram six years earlier, and in this performance you can hear for the first time the hints of the style that Parsons would make his own a few years later: [Excerpt: Gram Parsons and the Legends, "Let it Be Me"] Incidentally, the other guitarist in the Legends, Jim Stafford, also went on to a successful musical career, having a top five hit in the seventies with "Spiders & Snakes": [Excerpt: Jim Stafford, "Spiders & Snakes"] Soon after that TV performance though, like many musicians of his generation, Parsons decided to give up on rock and roll, and instead to join a folk group. The group he joined, The Shilos, were a trio who were particularly influenced by the Journeymen, John Phillips' folk group before he formed the Mamas and the Papas, which we talked about in the episode on "San Francisco". At various times the group expanded with the addition of some female singers, trying to capture something of the sound of the New Chrisy Minstrels. In 1964, with the band members still in school, the Shilos decided to make a trip to Greenwich Village and see if they could make the big time as folk-music stars. They met up with John Phillips, and Parsons stayed with John and Michelle Phillips in their home in New York -- this was around the time the two of them were writing "California Dreamin'". Phillips got the Shilos an audition with Albert Grossman, who seemed eager to sign them until he realised they were still schoolchildren just on a break. The group were, though, impressive enough that he was interested, and we have some recordings of them from a year later which show that they were surprisingly good for a bunch of teenagers: [Excerpt: The Shilos, "The Bells of Rhymney"] Other than Phillips, the other major connection that Parsons made in New York was the folk singer Fred Neil, who we've talked about occasionally before. Neil was one of the great songwriters of the Greenwich Village scene, and many of his songs became successful for others -- his "Dolphins" was recorded by Tim Buckley, most famously his "Everybody's Talkin'" was a hit for Harry Nilsson, and he wrote "Another Side of This Life" which became something of a standard -- it was recorded by the Animals and the Lovin' Spoonful, and Jefferson Airplane, as well as recording the song, included it in their regular setlists, including at Monterey: [Excerpt: Jefferson Airplane, "The Other Side of This Life (live at Monterey)"] According to at least one biographer, though, Neil had another, more pernicious, influence on Parsons -- he may well have been the one who introduced Parsons to heroin, though several of Parsons' friends from the time said he wasn't yet using hard drugs. By spring 1965, Parsons was starting to rethink his commitment to folk music, particularly after "Mr. Tambourine Man" became a hit. He talked with the other members about their need to embrace the changes in music that Dylan and the Byrds were bringing about, but at the same time he was still interested enough in acoustic music that when he was given the job of arranging the music for his high school graduation, the group he booked were the Dillards. That graduation day was another day that would change Parsons' life -- as it was the day his mother died, of alcohol-induced liver failure. Parsons was meant to go on to Harvard, but first he went back to Greenwich Village for the summer, where he hung out with Fred Neil and Dave Van Ronk (and started using heroin regularly). He went to see the Beatles at Shea Stadium, and he was neighbours with Stephen Stills and Richie Furay -- the three of them talked about forming a band together before Stills moved West. And on a brief trip back home to Florida between Greenwich Village and Harvard, Parsons spoke with his old friend Jim Stafford, who made a suggestion to him -- instead of trying to do folk music, which was clearly falling out of fashion, why not try to do *country* music but with long hair like the Beatles? He could be a country Beatle. It would be an interesting gimmick. Parsons was only at Harvard for one semester before flunking out, but it was there that he was fully reintroduced to country music, and in particular to three artists who would influence him more than any others. He'd already been vaguely aware of Buck Owens, whose "Act Naturally" had recently been covered by the Beatles: [Excerpt: Buck Owens, "Act Naturally"] But it was at Harvard that he gained a deeper appreciation of Owens. Owens was the biggest star of what had become known as the Bakersfield Sound, a style of country music that emphasised a stripped-down electric band lineup with Telecaster guitars, a heavy drumbeat, and a clean sound. It came from the same honky-tonk and Western Swing roots as the rockabilly music that Parsons had grown up on, and it appealed to him instinctively.  In particular, Parsons was fascinated by the fact that Owens' latest album had a cover version of a Drifters song on it -- and then he got even more interested when Ray Charles put out his third album of country songs and included a version of Owens' "Together Again": [Excerpt: Ray Charles, "Together Again"] This suggested to Parsons that country music and the R&B he'd been playing previously might not quite be so far apart as he'd thought. At Harvard, Parsons was also introduced to the work of another Bakersfield musician, who like Owens was produced by Ken Nelson, who also produced the Louvin Brothers' records, and who we heard about in previous episodes as he produced Gene Vincent and Wanda Jackson. Merle Haggard had only had one big hit at the time, "(My Friends Are Gonna Be) Strangers": [Excerpt: Merle Haggard, "(My Friends are Gonna Be) Strangers"] But he was about to start a huge run of country hits that would see every single he released for the next twelve years make the country top ten, most of them making number one. Haggard would be one of the biggest stars in country music, but he was also to be arguably the country musician with the biggest influence on rock music since Johnny Cash, and his songs would soon start to be covered by everyone from the Grateful Dead to the Everly Brothers to the Beach Boys. And the third artist that Parsons was introduced to was someone who, in most popular narratives of country music, is set up in opposition to Haggard and Owens, because they were representatives of the Bakersfield Sound while he was the epitome of the Nashville Sound to which the Bakersfield Sound is placed in opposition, George Jones. But of course anyone with ears will notice huge similarities in the vocal styles of Jones, Haggard, and Owens: [Excerpt: George Jones, "The Race is On"] Owens, Haggard, and Jones are all somewhat outside the scope of this series, but are seriously important musicians in country music. I would urge anyone who's interested in them to check out Tyler Mahan Coe's podcast Cocaine and Rhinestones, season one of which has episodes on Haggard and Owens, as well as on the Louvin Brothers who I also mentioned earlier, and season two of which is entirely devoted to Jones. When he dropped out of Harvard after one semester, Parsons was still mostly under the thrall of the Greenwich Village folkies -- there's a recording of him made over Christmas 1965 that includes his version of "Another Side of This Life": [Excerpt: Gram Parsons, "Another Side of This Life"] But he was encouraged to go further in the country direction by John Nuese (and I hope that's the correct pronunciation – I haven't been able to find any recordings mentioning his name), who had introduced him to this music and who also played guitar. Parsons, Neuse, bass player Ian Dunlop and drummer Mickey Gauvin formed a band that was originally called Gram Parsons and the Like. They soon changed their name though, inspired by an Our Gang short in which the gang became a band: [Excerpt: Our Gang, "Mike Fright"] Shortening the name slightly, they became the International Submarine Band. Parsons rented them a house in New York, and they got a contract with Goldstar Records, and released a couple of singles. The first of them, "The Russians are Coming, The Russians are Coming" was a cover of the theme to a comedy film that came out around that time, and is not especially interesting: [Excerpt: The International Submarine Band, "The Russians are Coming, The Russians are Coming"] The second single is more interesting. "Sum Up Broke" is a song by Parsons and Neuse, and shows a lot of influence from the Byrds: [Excerpt: The international Submarine Band, "Sum Up Broke"] While in New York with the International Submarine Band, Parsons made another friend in the music business. Barry Tashian was the lead singer of a band called the Remains, who had put out a couple of singles: [Excerpt: The Remains, "Why Do I Cry?"] The Remains are now best known for having been on the bill on the Beatles' last ever tour, including playing as support on their last ever show at Candlestick Park, but they split up before their first album came out. After spending most of 1966 in New York, Parsons decided that he needed to move the International Submarine Band out to LA. There were two reasons for this. The first was his friend Brandon DeWilde, an actor who had been a child star in the fifties -- it's him at the end of Shane -- who was thinking of pursuing a musical career. DeWilde was still making TV appearances, but he was also a singer -- John Nuese said that DeWilde sang harmony with Parsons better than anyone except Emmylou Harris -- and he had recorded some demos with the International Submarine Band backing him, like this version of Buck Owens' "Together Again": [Excerpt: Brandon DeWilde, "Together Again"] DeWilde had told Parsons he could get the group some work in films. DeWilde made good on that promise to an extent -- he got the group a cameo in The Trip, a film we've talked about in several other episodes, which was being directed by Roger Corman, the director who worked a lot with David Crosby's father, and was coming out from American International Pictures, the company that put out the beach party films -- but while the group were filmed performing one of their own songs, in the final film their music was overdubbed by the Electric Flag. The Trip starred Peter Fonda, another member of the circle of people around David Crosby, and another son of privilege, who at this point was better known for being Henry Fonda's son than for his own film appearances. Like DeWilde, Fonda wanted to become a pop star, and he had been impressed by Parsons, and asked if he could record Parsons' song "November Nights". Parsons agreed, and the result was released on Chisa Records, the label we talked about earlier that had put out promos of Gene Clark, in a performance produced by Hugh Masekela: [Excerpt: Peter Fonda, "November Nights"] The other reason the group moved West though was that Parsons had fallen in love with David Crosby's girlfriend, Nancy Ross, who soon became pregnant with his daughter -- much to Parsons' disappointment, she refused to have an abortion. Parsons bought the International Submarine Band a house in LA to rehearse in, and moved in separately with Nancy. The group started playing all the hottest clubs around LA, supporting bands like Love and the Peanut Butter Conspiracy, but they weren't sounding great, partly because Parsons was more interested in hanging round with celebrities than rehearsing -- the rest of the band had to work for a living, and so took their live performances more seriously than he did, while he was spending time catching up with his old folk friends like John Phillips and Fred Neil, as well as getting deeper into drugs and, like seemingly every musician in 1967, Scientology, though he only dabbled in the latter. The group were also, though, starting to split along musical lines. Dunlop and Gauvin wanted to play R&B and garage rock, while Parsons and Nuese wanted to play country music. And there was a third issue -- which record label should they go with? There were two labels interested in them, neither of them particularly appealing. The offer that Dunlop in particular wanted to go with was from, of all people, Jay Ward Records: [Excerpt: A Salute to Moosylvania] Jay Ward was the producer and writer of Rocky & Bullwinkle, Peabody & Sherman, Dudley Do-Right and other cartoons, and had set up a record company, which as far as I've been able to tell had only released one record, and that five years earlier (we just heard a snippet of it). But in the mid-sixties several cartoon companies were getting into the record business -- we'll hear more about that when we get to song 186 -- and Ward's company apparently wanted to sign the International Submarine Band, and were basically offering to throw money at them. Parsons, on the other hand, wanted to go with Lee Hazlewood International. This was a new label set up by someone we've only talked about in passing, but who was very influential on the LA music scene, Lee Hazlewood. Hazlewood had got his start producing country hits like Sanford Clark's "The Fool": [Excerpt: Sanford Clark, "The Fool"] He'd then moved on to collaborating with Lester Sill, producing a series of hits for Duane Eddy, whose unique guitar sound Hazlewood helped come up with: [Excerpt: Duane Eddy, "Rebel Rouser"] After splitting off from Sill, who had gone off to work with Phil Spector, who had been learning some production techniques from Hazlewood, Hazlewood had gone to work for Reprise records, where he had a career in a rather odd niche, producing hit records for the children of Rat Pack stars. He'd produced Dino, Desi, and Billy, who consisted of future Beach Boys sideman Billy Hinsche plus Desi Arnaz Jr and Dean Martin Jr: [Excerpt: Dino, Desi, and Billy, "I'm a Fool"] He'd also produced Dean Martin's daughter Deana: [Excerpt: Deana Martin, "Baby I See You"] and rather more successfully he'd written and produced a series of hits for Nancy Sinatra, starting with "These Boots are Made for Walkin'": [Excerpt: Nancy Sinatra, "These Boots are Made for Walkin'"] Hazlewood had also moved into singing himself. He'd released a few tracks on his own, but his career as a performer hadn't really kicked into gear until he'd started writing duets for Nancy Sinatra. She apparently fell in love with his demos and insisted on having him sing them with her in the studio, and so the two made a series of collaborations like the magnificently bizarre "Some Velvet Morning": [Excerpt: Lee Hazlewood and Nancy Sinatra, "Some Velvet Morning"] Hazlewood is now considered something of a cult artist, thanks largely to a string of magnificent orchestral country-pop solo albums he recorded, but at this point he was one of the hottest people in the music industry. He wasn't offering to produce the International Submarine Band himself -- that was going to be his partner, Suzi Jane Hokom -- but Parsons thought it was better to sign for less money to a label that was run by someone with a decade-long string of massive hit records than for more money to a label that had put out one record about a cartoon moose. So the group split up. Dunlop and Gauvin went off to form another band, with Barry Tashian -- and legend has it that one of the first times Gram Parsons visited the Byrds in the studio, he mentioned the name of that band, The Flying Burrito Brothers, and that was the inspiration for the Byrds titling their album The Notorious Byrd Brothers. Parsons and Nuese, on the other hand, formed a new lineup of The International Submarine Band, with bass player Chris Ethridge, drummer John Corneal, who Parsons had first played with in The Legends, and guitarist Bob Buchanan, a former member of the New Christy Minstrels who Parsons had been performing with as a duo after they'd met through Fred Neil. The International Submarine Band recorded an album, Safe At Home, which is now often called the first country-rock album -- though as we've said so often, there's no first anything. That album was a mixture of cover versions of songs by people like Johnny Cash and Merle Haggard: [Excerpt: The International Submarine Band, "I Must Be Somebody Else You've Known"] And Parsons originals, like "Do You Know How It Feels To Be Lonesome?", which he cowrote with Barry Goldberg of the Electric Flag: [Excerpt: The International Submarine Band, "Do You Know How It Feels To Be Lonesome?"] But the recording didn't go smoothly. In particular, Corneal realised he'd been hoodwinked. Parsons had told him, when persuading him to move West, that he'd be able to sing on the record and that some of his songs would be used. But while the record was credited to The International Submarine Band, everyone involved agrees that it was actually a Gram Parsons solo album by any other name -- he was in charge, he wouldn't let other members' songs on the record, and he didn't let Corneal sing as he'd promised. And then, before the album could be released, he was off. The Byrds wanted a jazz keyboard player, and Parsons could fake being one long enough to get the gig. The Byrds had got rid of one rich kid with a giant ego who wanted to take control of everything and thought his undeniable talent excused his attempts at dominating the group, and replaced him with another one -- who also happened to be signed to another record label. We'll see how well that worked out for them in two weeks' time.  

Brandon Novak pro skateboarder, speaker, author, & best friend of Bam Margera. He is known for his appearances on Viva La Bam, Jackass, the CKY series & Haggard. EPISODE LINKS https://brandonnovak.com https://www.instagram.com/brandon__novak Venmo for Novak's scholarship fund - @NovaksHouse SPONSORS: https://ver.so/danny - Use code DANNY to save 15% on your order. https://factormeals.com/DJP50 - Use CODE: DJP50 for 50% off. Weekly bonus episodes: https://patreon.com/dannyjones FOLLOW DANNY JONES https://www.instagram.com/jonesdanny https://twitter.com/jonesdanny OUTLINE 00:00 - Brandon & Bam in the early days 06:00 - How Brandon got into heroin so early? 09:40 - Brandon's memory is shot 12:55 - Ali Boulala & the Piss Drunx crew 20:01 - Avoiding drugs and alcohol 22:14 - Brandon's quest to sobriety 26:08 - Intentionally sabotaging his own success 29:32 - Insane story behind the ALF tattoo 33:02 - Filming Viva La Bam for MTV 37:53 - Putting a rock up his butt for drug money 41:31 - CKY stories 42:50 - Twisted stories trying to score smack 44:37 - Brandons mom prayed for his death 49:45 - Working for the DEA 58:26 - Fentanyl 01:01:57 - What's a "Speed-ball" ? 01:03:51 - Cartel wars 01:06:40 - Disturbing hotel experience in Australia 01:14:43 - Novak's relationship with Bam 01:19:57 - Novak's Houses for the Recovering 01:28:31 - Psychological affect of giving 01:32:47 - Methadone clinics 01:41:49 - Experiments with good vices 01:46:51 - The most FOUL tattoo in history 01:51:44 - Conflict

The Guilty Feminist 379. Questioning EverythingPresented by Deborah Frances-White and Chloe Petts with special guest Daisy HaggardRecorded 16 October 2023 at Soho Theatre. Released 27 November.The Guilty Feminist theme composed by Mark Hodge. More about Deborah Frances-Whitehttps://deborahfrances-white.comhttps://twitter.com/DeborahFWhttps://www.virago.co.uk/the-guilty-feminist-bookMore about Chloe Pettshttps://twitter.com/ChloePettshttps://www.instagram.com/chloepettshttps://www.chloepetts.orgMore about Daisy Haggardhttps://twitter.com/daisy_haggardhttps://www.bbc.co.uk/iplayer/episodes/p0glbknc/boat-storyFor more information about this and other episodes…visit https://www.guiltyfeminist.comtweet us https://www.twitter.com/guiltfempodlike our Facebook page https://www.facebook.com/guiltyfeministcheck out our Instagram https://www.instagram.com/theguiltyfeministor join our mailing list http://www.eepurl.com/bRfSPTOur new podcasts are out nowMedia Storm https://podfollow.com/media-stormAbsolute Power https://podfollow.com/john-bercows-absolute-powerCome to a live recording:Kings Place, 15 January 2024: https://www.kingsplace.co.uk/whats-on/comedy/the-guilty-feminist-15-jan/Kings Place, 19 February 2024: https://www.kingsplace.co.uk/whats-on/comedy/the-guilty-feminist-19-feb/Australia/New Zealand 2024 dates coming soonThank you to our amazing Patreon supporters.To support the podcast yourself, go to https://www.patreon.com/guiltyfeminist You can also get an ad-free version of the podcast via Apple Podcasts or Acast+ https://plus.acast.com/s/guiltyfeminist. Hosted on Acast. See acast.com/privacy for more information.