Podcasts about Hazlewood

Het Paraorchestra van Charles Hazlewood is een bijzonder orkest, dat samengesteld is uit professionele musici, van wie een deel leeft met een fysieke functiebeperking. Op 13 juni bezoekt het orkest het Holland Festival in het Concertgebouw met het concert The Aanatomy of the Orchestra | Drone Refractions. Bijzonder is dat het publiek voor deze gelegenheid ook tussen de orkestleden kan rondbewegen, met of zonder rolstoel of andere hulpmiddelen. Hazlewood, die zijn loopbaan als veelgevraagd dirigent van toporkesten inruilde voor het exclusief werken met zijn Paraorkest, heeft hiervoor heel persoonlijke redenen. In deze podcast vertelt hij daar uitgebreid over. Het interview is in het Engels. Een paar van de belangrijkste citaten vatten we hier samen in het Nederlands. Wat is de beste manier om van muziek te genieten? Is dat thuis met een koptelefoon, met een geluidssysteem van een miljoen pond in een concerthal, op straat of in het midden van het orkest?"Als ik zou moeten kiezen, zou ik altijd zeggen dat de beste manier om muziek te ervaren is wanneer je er middenin zit. Het Anatomy of the Orchestra-project ontstond uit een ervaring die ik had toen ik zes jaar oud was. Ik was met mijn moeder naar een orkestrepetitie gekomen, en zat helemaal alleen in een enorm leeg auditorium naar een gigantisch symfonisch orkest te kijken dat aan het repeteren was. De dirigent zei op een gegeven moment: 'Je ziet er behoorlijk eenzaam uit daar beneden. Waarom kom je niet tussen ons zitten terwijl wij repeteren?' Ik ging bij de altvioolsectie in het midden van het orkest zitten. Niets had me kunnen voorbereiden op die waterval van prachtig geluid die op me neerdaalde. Mijn leven veranderde op dat moment. Sindsdien wil ik dat soort ervaring aan het publiek cadeau geven."Hoe combineer je de individuele vrijheid van muzikanten met de discipline van een orkest?"Mijn taak als dirigent is om een overkoepelende architectuur te creëren, een soort zeer veilige en toch vruchtbare en vrije plek, een structuur waarbinnen er dan bijna oneindige vrijheid is voor elke muzikant om het unieke van zichzelf in te brengen. Dus ja, er is discipline. Natuurlijk is er discipline zoals bij een legerpeloton, maar tegelijk ook zoveel meer vrijheid dan je ooit zou vinden in een legerpeloton."Dirigenten staan soms bekend als despoten. Hoe zorg je ervoor dat de noodzakelijke discipline binnen een orkest niet leidt tot excessen in leiderschap? "Voor mij gaat leiderschap absoluut niet over dwang. Dat is een soort oud, patriarchaal model van leiderschap, waarvan ik hoop dat het allang dood en begraven is. De grootste leider is naar mijn mening de grootste luisteraar. Leiderschap gaat over luisteren. Het gaat over het creëren van een platform voor andere mensen om te schitteren, omdat we meer zijn dan de som van onze delen."Hoe ontstond het idee voor Paraorchestra?"Ik heb vier kinderen en mijn jongste, prachtige kind werd geboren met hersenverlamming. In haar korte leven zette dat me aan het denken over die hele gemeenschap van mensen waar ik nooit eerder aan had gedacht. Ik begon me af te vragen: waarom heb ik in meer dan drie decennia dat ik orkesten over de hele wereld heb geleid, nooit een gehandicapte muzikant in een orkest gezien? In het VK identificeert 20% van de bevolking zich als gehandicapt. Dat is een enorme minderheid om over het hoofd te zien."Hoe verhouden aangepaste instrumenten zich tot de symfonische traditie?"Ik praat over het orkest als een voortdurende, moderne en toekomstgerichte traditie. We komen vast te zitten wanneer we orkesten alleen als bewakers van een traditie zien. Het orkest biedt het mooiste, en breedste spectrum in muziek. Er is geen reden waarom zoiets niet kan blijven ontwikkelen. Orkesten zijn bewakers van traditie, maar ze zijn ook het meest betrokken team dat mensen kunnen bedenken. Het is zo modern als de mensheid permanent modern blijft."Worden er nog steeds nieuwe instrumenten ontwikkeld voor mensen met beperkingen?"Er worden voortdurend nieuwe ondersteunende technologie-instrumenten uitgevonden, aangepast aan de specifieke behoeften, de sterke punten en de zwakke punten van een bepaalde musicus. Ik ben musicus, dus ik ben niet echt geïnteresseerd in hoe een stuk technologie in elkaar steekt. Ik wil alleen weten wat het kan doen."Hoe moeten muziekscholen en conservatoria omgaan met deze ontwikkelingen?"Ze moeten hun denken aanpassen en beginnen met het inhuren van onderwijzend personeel dat de verfijning en de kennis en de ervaring heeft van ondersteunende technologie. Het gaat er niet om of je wel of geen handen hebt. Het gaat erom of je geweldige muziek kunt spelen met welke middelen ook nodig zijn. Een van onze eerste klarinettisten is volledig doof, maar hij voelt de intonatie door de trillingen in zijn vingertoppen en speelt zuiverder dan welke klarinettist ook die ik ben tegengekomen."Waarom kies je voor drone-muziek in je Amsterdam-concert?"Drones waren voor mij een absoluut noodzakelijke bescherming toen ik klein was. Ik had een heel traumatische jeugd en drone-muziek was zo belangrijk voor me, omdat je een vast punt hebt, een vaste toon die niet zal opgeven, wat er ook gebeurt. De drone is de ultieme veiligheid. Het is het fundament dat ik miste. Ik denk dat dronemuziek altijd een speciale resonantie voor me heeft gehad. Dit concert staat in het teken van de eenvoudige en levensreddende kracht van de drone."Is Paraorchestra nu je enige werk?"Tijdens de lockdown leefde ik in mijn studio en was ervoer een enorme ik vrede en stilte. Ik bedacht dat ik niet meer op tournee wilde met al die andere orkesten omdat ik nu dit orkest heb, dat zoveel meer hongerig is naar verandering. Paraorchestra bezit moed en nieuwsgierigheid. Dit is een groep musici die wijd open staan voor elke nieuwe ervaring. Ze zitten niet vast aan een oud model, en ik ben er gelukkiger mee dan ik ooit in mijn leven ben geweest."Probeer je andere orkesten te bewegen om inclusiever te worden?"We hadden altijd een duidelijke keuze: we konden veel van onze energie besteden aan schreeuwen naar de industrie dat zij moest veranderen, of we konden de verandering zijn die we willen zien. Ik denk dat dat een veel betere manier is om je tijd te besteden. Het tempo van verandering is glaciaal: tergend langzaam. Dus ik ben liever de verandering die ik wil zien. Dat is wat we doen bij Paraorchestra."Dit is een gratis extra editie van de Cultuurpers Nieuwsbrief in het kader van het Holland Festival. Dat vindt dit jaar plaats van 11 t/m 29 juni 2025. Het Concert ‘Anatomy of an Orchestra | Drone Refractions door Charles Hazlewoods Paraorchestra is op 13 juni. Kaarten en inlichtingen. Wil je op de hoogte blijven van het Hollend Festival, en andere festivals? Neem dan een abonnement! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit nieuwsbrief.cultuurpers.nl/subscribe

Adam Peacock is joined by Daily Telegraph and Code Sports cricket journalist Ben Horne to talk about then brilliance of Vaibhav Suryavanshi the 14-year-old wonder kid in the IPL who's just hit a 35 ball century, we talk about the Australians in the IPL, Hazlewood's success with the ball and Starc's almost Hat-Trick. Plus, we look at the five biggest headlines for cricket this winter, how England can win The Ashes, the headache George Bailey and Andrew McDonald are facing and Horne's run in with the Indian media over a Trump-Kohli comparison! Send your cricket club cap to Producer Joel at the following address: Joel Harrison 50 Goulburn St, Sydney, NSW, 2000 Follow on Apple, Spotify and the LiSTNR app Watch on YouTube Drop us a message on Instagram and TikTok! See omnystudio.com/listener for privacy information.

Adam Peacock joins Alyssa Healy live from Delhi, India to catch up on all of the latest cricket action from around the globe. Heals share insight on what it's like inside the Delhi camp at the moment, Hazlewood and RCB have rocketed to the top of the ladder, Bumrah is back and Mumbai are looking good, KL Rahul vs Kohli and the Sunrisers holiday. Plus, Ask Heals: IPL 2025 edition where we open the floor up to the listener and get questions from "What's your favourite IPL match" top "What's your favourite Indian food." And Fergus O'neill and the Australians are making their presence felt in the County cricket. Send your cricket club cap to Producer Joel at the following address: Joel Harrison 50 Goulburn St, Sydney, NSW, 2000 Follow on Apple, Spotify and the LiSTNR app Watch on YouTube Drop us a message on Instagram and TikTok! See omnystudio.com/listener for privacy information.

In this episode of the show, Binksy, Baldy, Jamie and Stu look back at week 1 of IPL 2025 through a stock market lens. Who are we buying? Who are we selling? And what are we watching with our fingers poised ready to pounce in the coming weeks? We start on a positive note, highlighting a balanced RCB side unbeaten at the time of recording thanks to a bowling attack featuring the quality of Josh Hazlewood and a top order that's firing thanks to Phil Salt, Virat Kohli, Rajit Patidar and co. In the Buy section of the show there's also praise for Sai Sudharsan, MS Dhoni and wicketkeepers in general. We're watching the impact player performances and how that's impacting games and batting lineups. We're selling a star-studded Mumbai Indians batting lineup featuring Rohit Sharma, Suryakumar Yadav, Tilak Varma, Hardik Pandya and friends because we can't understand why they're continuing to struggle, and watching closely to see how much tinkering do with their teamsheet, tactics and batting lineup with the likes of Curran, Dhoni, Jadeja and Ashwin who could all slide up and down the middle order. To round out the show, there's chat about whether teams will score 300, how home ground advantage could play a role and if it is too early to be worried about Pat Cummins and his SRH bowling attack. We'll be back in your feed later in the week with more of a game review style show. If you're enjoying our content then please take the time to give us a like, follow, share or subscribe on all our channels (@toporderpod on Twitter & Facebook, and @thetoporderpodcast on Instagram & YouTube) and a (5-Star!) review at your favourite podcast provider, or tell a friend to download. It really helps others find the show and is the best thing you can do to support us. You can also find all our written content, including our Hall of Fame series, at our website. You can also dip back into our guest episodes - including conversations with Mike Hesson, Shane Bond and Mike Hussey, current players such as Matt Henry, Sophie Devine and Ish Sodhi, coaches Gary Stead, Jeetan Patel and Luke Wright, as well as Barry Richards, Frankie Mackay, Bharat Sundaresan and many more fascinating people from all across the cricketing world. And if you'd like to reach out to us with feedback, questions or guest suggestions, get in touch at thetoporderpodcast@gmail.com. Thanks for listening. 0:00 Intro 2:00 Buy - RCB top of the table thanks to Hazlewood, Salt, Patidar & co. 5:05 Buy - Wicketkeepers: MS Dhoni, Jurel, Kishan, Buttler, De Kock, Pooran 7:05 Buy - Sai Sudharsan & GT's batting lineup 9:00 Watch - Impact player performances 17:50 Sell - Mumbai Indians - Why are they struggling with the bat? 24:05 Sell - Umpire review of wides 26:20 Sell - Do seam bowlers need more craft? 33:20 Sell/Watch - CSK's batting order Ashwin/Jadeja/Curran/Dhoni 37:45 Watch - Will we see 300 scored this season? 41:55 Watch - Is SRH's bowling lineup a concern? 45:05 Watch - Variation across venues Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on the show, Binksy, Jamie, Baldy and Stu felt like bouncing around a few topics in the aftermath of the Champions Trophy before the news cycle is dominated by the IPL. There's a bit of ODI format chat, then a quick check-in on the teams we support - Australia, England and New Zealand. The episode starts with a discussion about the Champions Trophy format and ODI cricket in general. Did the tournament make a convincing case that there's still life left in 50-over cricket? Or are ODIs too formulaic? If the number of bilateral ODIs are declining, is that a problem? Or does it make these tournaments more exciting? Was the jeopardy of knockout cricket something the World Cup should consider? Or is a longer tournament still the best way to find out who the best team in the world is? We round out the show by touching base in Australia to wonder whether any of the fringe players did enough to force their way into best XIs when Cummins, Hazlewood and co. return? Then in England to ponder on the white-ball captaincy after Jos Buttler decided to step down. And we finish by looking at New Zealand's home series against Pakistan, which saw the return of some familiar names in Finn Allen, Tim Seifert, Jimmy Neesham and Ish Sodhi, but it was Kyle Jamieson who stole the show in the first T20 as the Black Caps powered to an emphatic win. We'll be back in your feed again later with the first instalment of our IPL 2025 Preview. Until then please take the time to give us a like, follow, share or subscribe on all our channels (@toporderpod on Twitter & Facebook, and @thetoporderpodcast on Instagram & YouTube) and a (5-Star!) review at your favourite podcast provider, or tell a friend to download. It really helps others find the show and is the best thing you can do to support us. You can also find all our written content, including our Hall of Fame series, at our website. You can also dip back into our guest episodes - including conversations with Mike Hesson, Shane Bond and Mike Hussey, current players such as Matt Henry, Sophie Devine and Ish Sodhi, coaches Gary Stead, Jeetan Patel and Luke Wright, as well as Barry Richards, Frankie Mackay, Bharat Sundaresan and many more fascinating people from all across the cricketing world. And if you'd like to reach out to us with feedback, questions or guest suggestions, get in touch at thetoporderpodcast@gmail.com. Thanks for listening. 0:00 Intro 1:30 Was the Champions Trophy fun? Is ODI cricket still in trouble? 11:50 Did Australia learn anything about their fringe players in the Champions Trophy? 15:25 Jos Buttler steps aside as white-ball captain - will he be replaced by Harry Brook or AI? 20:00 Black Caps v Pakistan - old faces return and Kyle Jamieson looks fantastic Learn more about your ad choices. Visit podcastchoices.com/adchoices

We're getting intimate with Polly Hazlewood from the ‘Dirty Mother Pukka' podcast which she co-presents with Anna Whitehouse - bringing Feminism with a side - helping of filth.  Rachel talks to Polly about her experiences as a mother to twins with a rare genetic condition, as well as exploring her knowledge and experience as a somatic sexologist (don't worry we explain it all!) It's all about connecting with yourself, to enable you to better connect with others, and have more intimate and positive relationships. Sarah and Lucy also cover the perils of not being able to polish a turd, and on a related theme, all the places you can find poo (quite a few if you are raising a puppy and a toddler at the same time.) You can listen to Polly and Anna on Dirty Mother Pukka You can find more about Polly on the Heba website here. Thanks to the lovely folk at Heba for sponsoring this week's episode. You can find more about them and their work here. If you'd be interested in sponsoring an episode of The Skies We're Under, please contact us at TSWUpodcast@gmail.com. We'd love to hear from you – we love sharing stories, we love hearing how things are going, the good, the bad, the snotty-crying ugly. You can leave a message with us in a number of ways: Firstly you can leave a message using speakpipe here: SpeakpipeTSWU  (Please note calls need to be limited to 90 seconds) You can send us a voice note from your phone to our email address at tswupodcast@gmail.com Or, if the thought of hearing your own voice gives you ‘the ick', then send us an email to tswupodcast@gmail.com Whatever way you choose to get in touch, we really want to hear your thoughts, views, musings, rants and confessions (we love a confession!) . Thanks for listening and being a part of our podcast community -It would make our day if you could like, follow and review the podcast wherever you listen.  We're so happy that The Skies We're Under is a free, independent podcast. Any sponsorship received is used to cover the costs of the production of episodes and compensate our valuable guests for their time. The hosts provide their time and efforts for free. They do, however, appreciate any offers of caffeination to keep them going – you can buy them a cuppa here…  Follow us on Instagram @BornatRightTime. Head to www.bornattherighttime.com to find a parent workshop or CPD-certified training for practitioners in communication, collaboration and personalised care with parents/carers.

MONOLOGUE The Liberal Clown Car Rolls On NEWSMAKER Liberal Leadership Debate  Wyatt Claypool, Senior Contributor with The National Telegraph Thenationaltelegraph.com  on YouTube https://www.youtube.com/@thenationaltelegraph9253   OPEN LINES THE CULT OF CLIMATE CHANGE Yes, NOAA adjusts its historical weather data: Here's why https://abcnews.go.com/US/noaa-adjusts-historical-weather-data/story?id=118987611 Tony Heller – Geologist, Weather Historian, Founder of Real Climate Science dot com MONOLOGUE "The Mass Graves Hoax: How a Lie Branded Canada as a Genocidal Nation NEWSMAKER Patrick Brown STRIKES AGAIN! Brampton staffers allegedly campaign to elect his mother-in-law https://www.rebelnews.com/patrick_brown_staffers_allegedly_campaign_to_elect_mother_in_law  David Menzies – Rebel News Mission Specialist OPEN LINES THIS DAY IN ROCK HISTORY  On this day in music, February 26, 1983, Michael Jackson's Thriller topped the Billboard Album chart – and was well on its way to becoming the best-selling album of the year, worldwide.  In 1980, Island Records' Rob Partridge and Bill Stewart offered U2 a recording contract after watching their performance at Dublin's National Boxing Stadium. A month later, the Irish rock band signed a four-year, four-album contract with the label.  In 1966, Nancy Sinatra scored her first No.1 hit in the US with “These Boots Are Made For Walkin'.” Written by Lee Hazlewood, and featuring instrumentation by The Wrecking Crew, the song marked the beginning of a long creative partnership between Sinatra and Hazlewood. Learn more about your ad choices. Visit megaphone.fm/adchoices

Neil Manthorp is joined by the former England fast bowler Steve Harmison to look ahead to the 2025 Champions Trophy, which starts in Pakistan and Dubai this week. They hear from England Head Coach Brendon McCullum and discuss if they have a genuine chance despite losing the ODI series in India 3-0. Australian Cricket Writer Bharat Sundarasen discusses their hopes ahead of the tournament, whilst captain Steve Smith explains how they'll manage to cope without Starc, Cummins and Hazlewood. They hear from South Africa captain Temba Bavuma as they look to end their hoodoo at an ICC event, whilst Behram Qazi gives his thoughts on how Pakistan are preparing ahead of co-hosting the tournament. Plus, they discuss the week's other big stories, as Kane Williamson signs for Middlesex, and Alex Hales won't play for Nottinghamshire this season, and they'll bring you The Final Word. Hosted on Acast. See acast.com/privacy for more information.

In this episode of the Top Order Podcast, Jamie, Baldy, Binksy and Stu preview the 2025 ICC Champions Trophy held in Pakistan and Dubai. We start the show with one of Baldy's famous explainers, before discussing the favourites, the each-way chances and the outsiders. That means covering India, Australia, New Zealand, England, South Africa, Pakistan, Afghanistan and Bangladesh in an attempt to predict who will lift the trophy on Sunday 9 March. Questions include: Can anyone stop Rohit Sharma's India? Do Australia deserve to be among the favourites after the loss of Starc, Cummins, Hazlewood & Co.? Have the Black Caps timed their run to perfection? Is this one tournament too early for an England white-ball side still under construction? Will the likes of Klaasen and Rabada power South Africa into the final? Can Babar Azam whip the home crowd into a frenzy? Are Ibrahim & Gurbaz going to repeat their T20 WC heroics? Do Bangladesh have any chance at all? And so much more! We'll be back in your feed with regular updates throughout the tournament. If you've enjoyed listening and/or watching, please take the time to give us a like, follow, share or subscribe on all our channels (@toporderpod on Twitter & Facebook, and @thetoporderpodcast on Instagram & YouTube) and a (5-Star!) review at your favourite podcast provider, or tell a friend to download. It really helps others find the show and is the best thing you can do to support us. You can also find all our written content, including our Hall of Fame series, at our website. You can also dip back into our guest episodes - including conversations with Mike Hesson, Shane Bond and Mike Hussey, current players such as Matt Henry, Sophie Devine and Ish Sodhi, coaches Gary Stead, Jeetan Patel and Luke Wright, as well as Barry Richards, Frankie Mackay, Bharat Sundaresan and many more fascinating people from all across the cricketing world. And if you'd like to reach out to us with feedback, questions or guest suggestions, get in touch at thetoporderpodcast@gmail.com. Thanks for listening. 0:00 Intro 1:15 Tournament explainer 3:55 India 14:05 Australia 25:10 New Zealand 34:50 England 44:40 South Africa 51:40 Pakistan 59:30 Afghanistan 1:04:55 Bangladesh 1:06:45 Tournament predictions Learn more about your ad choices. Visit podcastchoices.com/adchoices

Cummins & Hazlewood Out + Best Fielder of all time? | Cricket Today Show - Friday February 7 The Cricket Today Show brought to you by TABTouch cover all of the latest breaking news in the cricketing world including Cummins and Hazlewood ruled out of the Champions Trophy, Smith passing Ponting for Test catches and Marcus Stoinis retiring! The panel discuss all of the drama & big questions in the cricket right now, Chandimal batting well for Sri Lanka, Aussies dominating with the ball and finish off with some fun fan comments/questions! Join the Cricket Today Show thanks to TABTouch with Liam 'Stats Guy' McAllion and Marcus Bazzano to hear about all things Australia and world cricket! Timestamps: 2:17 - Quick Single, 8:32 - Australia vs Sri Lanka Talking Points, 16:22 - Best Fielders of All Time, 19:36 - Fan Questions/Comments

Ep.230 Carl E. Hazlewood (b. 1951) was born in Guyana, South America. Parallel to his studio practice, Hazlewood co-founded Aljira, a Center for Contemporary Art in Newark, NJ in 1983. Steeped in modest materials, such as polyester, push pins, map pins and metallic string, form is foregrounded and the slippage between drawing, painting and sculpture places his work in a space that challenges the conventions of each medium, and forces the viewer to experience form on its own terms. Hazlewood explains, “Like a sculptor, I work to find 'shapes' and 'volumes', implied or actual. And like painting, the layering becomes an intuitive search for textures, color and form…I define edges, where things begin and end, where they may find relationships and multiple transitions against or into each other. I think of this as 'drawing' the accumulation of parts into active and resonant connections. Then those 'active' parts are pinned into a final configuration, something that feels properly 'evocative' yet stable as plastic form.” Solo exhibitions of his work include BlackHead Anansi: Constellations at Charlotte and Philip Hanes Gallery, Wake Forest University, South Carolina (2023); Racing Thoughts-Fever Dreaming at Art Basel Miami Beach (2022); and BlackHead Lyricism at Welancora Gallery (2022). Hazlewood has been the recipient of fellowships at the MacDowell organization (2023, 2015); the Brown Foundation at the Dora Maar House, Ménerbes, France (2018); and the Bogliasco Foundation, Italy (2018). His fifty-two-foot-tall wall work, TRAVELER (2017), was commissioned by the Knockdown Center, Queens. Collections include: The National Museum of African American History and Culture, Smithsonian Institution, Washington, DC , The Study Center, Bogliasco Foundation, Genova, Italy, The Dora Maar House, Ménerbes, France, Ogden Museum of Southern Art, New Orleans, Louisiana, Museu Brasileiro da Escultura, São Paulo - Brazil, The Schomburg Center Collections, New York, NY, The University of Guyana, South America and The National Collection of Fine Arts, Castellani House, Guyana, South America. Photo credit: Dia Art Foundation Artist https://www.carle-hazlewood.com/ Welancora Gallery https://www.welancoragallery.com/artists/71-carl-e.-hazlewood/works/ Brattleboro Museum https://www.brattleboromuseum.org/2024/10/21/carl-e-hazlewood-infinite-passage/ Sharpe-Walentas https://www.thestudioprogram.com/artists-hp2023/carl-e-hazlewood Ortega y Gasset Projects https://www.oygprojects.com/swimming-blind-in-a-wine-dark-sea Duck Creek arts https://www.duckcreekarts.org/2024-group-show-ranee Whitewall https://whitewall.art/whitewaller/must-see-shows-in-the-hamptons-on-view-now/ Bomb https://bombmagazine.org/articles/2024/07/02/an-oral-history-with-cynthia-hawkins-by-julia-trotta/ Art Students League https://www.artstudentsleague.org/events/painters-talking-what-we-talk-about-when-we-talk-about-abstraction Wake Forest | Hanes Gallery https://hanesgallery.wfu.edu/blackhead-anansi-constellations/ Valentine Museum of Art https://valentinemuseumofart.com/artists/36-carl-hazlewood/works/ Art in Dumbo https://dumboopenstudios.com/listings/artist/carl-e-hazlewood/ Stabroek news https://www.stabroeknews.com/2024/02/04/sunday/eye-on-art/circling-back-to-carl-e-hazlewood/ Macdowell https://www.macdowell.org/artists/carl-e-hazlewood Art Cake https://artcake.org/artist-carl-e-hazlewood David Richard gallery https://davidrichardgallery.com/news/865-carl-e-hazlewood-demerara-dreaming-triptych-paintings-1996-2003-david-richard-gallery-chelsea-february-17-2022

Join Kosta and his guest: Susan Luna-Hazlewood, Director of Crawford Alumni Center at Tennessee Tech University. In this episode: Susan, you're the Executive Director of the Tennessee Tech Alumni Association, you're the Director of the Crawford Alumni Center and you also serve as the University's Chief Alumni Officer - needless to say, you know TTU alumni. But what do you wish every alumni knew about TTU? Higher education is an entire ecosystem all to itself - and I know that would take another full podcast episode to explain, but if you can condense it down, why does having a strong network of alumni matter for the growth and success of any university? In 2022 your daughter Ellie was diagnosed with Stage 4, High-Risk Neuroblastoma. At only 3 years old cancer had spread and was covering 80% of her body. After 15 months of chemotherapy, surgeries and treatment Ellie is officially in remission as of January 2024. How did this experience change you and your family? Find out more about Susan Luna-Hazlewood and Crawford Alumni Center: https://www.tntech.edu/univadv/cac/Are you a TTU Almuni? Sign up for the newsletter and update your information here:https://www.tntech.edu/univadv/cac/alumni-update.phpBetter Together with Kosta Yepifantsev is a product of Morgan Franklin Media and recorded in Cookeville, TN.This episode of Better Together with Kosta Yepifantsev is made possible by our partner Sabrina Brazle, The Realty Firm.Find out more about Sabrina Brazle:https://www.sabrinabrazle.com/

Waltermeyer v. Hazlewood

Should Konstas be DROPPED? Hazlewood vs Boland + BBL14 Classics! | Cricket Today Show - Wednesday January 8 The Cricket Today Show brought to you by TABTouch chats all things Border-Gavaskar trophy, if Sam Konstas is ready for Test cricket and the Sri Lanka series, Hazlewood vs Boland and where to from here for Team India! The panel discuss all of the dramas & big questions for the big Test nations, go through so many fun and interesting fan comments and chat all things BBL with a Heat thriller, Will Sutherland domination and all things SuperCoach BBL during Round 6! Join the Cricket Today Show thanks to TABTouch with Liam 'Stats Guy' McAllion, Leo Mullaly & Marcus Bazzano to hear about all things Australia and world cricket! Timestamps: 2:52 - Quick Single, 9:03 - Aus vs Ind Big Questions from the Series, 21:13 - BBL14 Talking Points, 30:12 - BBL14 Quickfire Tips, 34:16 - Fan Questions/Comments

India Survive vs Australia 3rd Test - Kohli's Problem + SuperCoach BBL Buy, Hold, Sell! | Cricket Today Show - Wednesday December 18 The Cricket Today Show brought to you by TABTouch talks about the Australia vs India 3rd Test with a lot of rain, Kohli out of form, Hazlewood's injury and wrap up some crazy BBL matches to start the season! The panel also go through the stats, biggest talking points like Boland's inclusion, Jadeja dominating and of course SuperCoach BBL for who to buy, hold and sell ahead of Round 2! Join the Cricket Today Show thanks to TABTouch with Liam 'Stats Guy' McAllion & Leo Mullaly to hear about all things Australia and world cricket!

Rain again toyed with both teams in the third Test but there was still plenty of action on day four at the Gabba. Steve Smith dropped a sitter then later took a screamer, KL Rahul and Ravindra Jadeja kept the Aussie assault at bay with a gutsy half-centuries, Josh Hazlewood suffered a right calf injury that'll likely keep him out of the summer, Mitch Starc and Pat Cummins carried the attack and Jasprit Bumrah and Akash Deep denied the hosts the chance to enforce the follow-on and in doing so pretty much sealing a draw. Izzy Westbury and Brad Haddin join you to discuss it all and answer questions from the Secret Cricket Club. Send your cricket club cap to Producer Sam at the following address: Sam Ferris50 Goulburn St, Sydney, NSW, 2000 Follow on Apple, Spotify and the LiSTNR app Watch on YouTube Drop us a message on Instagram and TikTok! See omnystudio.com/listener for privacy information.

Australia India Daily, 3rd Test, Brisbane Day 3: Rain, yes, but not so much that we didn't get some very important play. First of all from Carey, doing another useful job with the bat, then the showdown between Australia's fast bowlers and India's top order. Suddenly the Gabba track went full speed ahead, jumping and jagging as Starc and Hazlewood did their work. How can India steer a path to safety, and just what is going on with Virat Kohli? Come to our live shows! Melbourne December 22 - with RICKY PONTING Sydney January 7 Tickets at linktr.ee/thefinalword Support the show with a Nerd Pledge at patreon.com/thefinalword Catch the Pro Kabaddi League next to the MCG on December 28 johncainarena.com.au/event/pro-kabaddi-league-melbourne-raid-2024 Maurice Blackburn Lawyers - fighting for the rights of workers since 1919: mauriceblackburn.com.au Sort your super with CBUS on their 40th birthday: cbussuper.com.au Get 10% off the brilliant Maxi sunnies - the perfect Christmas gift t20vision.com/FINALWORD Find previous episodes at finalwordcricket.com Title track by Urthboy Learn more about your ad choices. Visit podcastchoices.com/adchoices

Australia vs India 3rd Test Predictions - Sharma & Hazlewood Selection + BBL14 Opener | Cricket Today - Friday December 13. The Cricket Today Show brought to you by TABTouch previews an intense 3rd Test in Brisbane of Australia vs India, going through the major selection news, with Hazlewood returning and where Sharma should bat, how Pant and Cummins can dominate at The Gabba and also break down the best SuperCoach BBL picks ahead of the BBL14 opening match! The panel also go through The Gabba Test stats for India & Australia, answer all the fun fan comments/questions and preview a huge Perth Scorchers vs Melbourne Stars BBL14 Opener! Join the Cricket Today Show thanks to TABTouch with Liam 'Stats Guy' McAllion, Marcus Bazzano & Leo Mullaly to hear about all things Australia and world cricket! Cricket Today Timestamps:00:00 Intro02:18 Quick Single08:41 Australia vs India 3rd Test Preview25:01 SuperCoach BBL Round 135:25 Scorchers vs Stars BBL14 Opener40:09 Questions & Fan Comments

#151. Nona Invie raises their vocal game, Ben Hazlewood is too loud for Tokyo, Bear Hands wreck cars in the desert, and Ron shares new faves from Paul Spring, Haley Heynderickx, + more.Sponsored by DistroKid. Get 30% off your membership at distrokid.com/vip/independentmindedSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

BBL14 Teams Season Preview + Early Australia vs India 3rd Test Look | Cricket Today Show - Wednesday December 11 The Cricket Today Show talk all things Australia vs India, as well as a huge preview for BBL14, going through all eight teams cult heroes, predicted lineups, SuperCoach picks and where they will finish on the ladder! The panel also go through the best nicknames for players, BBL recruits and go through the fan comments and questions, asking about Boland vs Hazlewood and how important Bumrah is! Join Cricket Today's Liam 'Stats Guy' McAllion, Marcus Bazzano & Leo Mullaly to hear about all things Australia and world cricket! Timestamps:00:00 Intro02:07 Quick Single04:54 Adelaide Strikers11:18 Brisbane Heat15:47 Hobart Hurricanes19:45 Melbourne Renegades26:34 Melbourne Stars32:20 Perth Scorchers37:15 Sydney Sixers41:27 Sydney Thunder45:19 Early AUS vs IND 3rd Test Look47:58 Questions/Fan Comments

Australia is not the worst team ever, proving so by crushing India by 10 wickets at the Adelaide Oval to square the Border-Gavaskar Trophy Series at 1-all with three Tests to play. Adam Peacock and News Corp journalist Ben Horne join you to break it all down, especially the send-off Mohammed Siraj gave Travis Head. Then you'll hear Adam chat to Aussie fast bowler Josh Hazlewood on how he goes about setting up a batter. Finally, Feathers and Benny go around the grounds and finish with sundries and a bad day out for China.  Send your cricket club cap to Producer Sam at the following address: Sam Ferris50 Goulburn St, Sydney, NSW, 2000 Follow on Apple, Spotify and the LiSTNR app Watch on YouTube Drop us a message on Instagram and TikTok! See omnystudio.com/listener for privacy information.

here comes the Bride - fair, fat and vying for a chance at redeeming Ali Hazelwood in the eyes of Bridget and Laura. coming off the back of our somewhat negative reading experience of The Love Hypothesis, we are back for another slice with Bride by Ali Hazelwood. in this episode we contend with vampire and were customs, Ali Hazelwood's writing process and honing of her craft, rat kings, the dark recesses of Reddit, comparisons to Twilight (naturally) and of course... knotting. join us as we untangle all of the ins and outs of the inter-species, marriage-of-convenience, fantasy romance and try to bestow it with the ultimate rating: lit or shit?synopsis music by Peter Barbaixspecial things mentioned in the episode:celebrity memoir book club podcastthe shit no one tells you about writing podcasthow I combine plotting and pantsing in my writinghow do knots work?the unofficial guide to the omegaversea/b/o alpha's knot and omega's...butt full anatomyrat kingsend us questions, things you want us to speak about or just say hi!choose our next podcast read by going here and voting in the first week of each month!make sure you subscribe to hear our groundbreaking thoughts as soon as they are unleashed. if you want to be on the same page as us, follow us at talklit.gethit on Instagram and TikTok.theme music born from the creative genius of Big Boi B.talk lit, get hit are reading and recording on Giabal, Jagera, Jarowair & Turrbal lands. we acknowledge the cultural diversity of Aboriginal and Torres Strait Islander peoples and pay respect to Elders past, present and future. always was, always will be.

Welcome to a Wide World of Sports update. A snapshot of the latest sport stories from the 9News team including: Head and Siraj escaped suspension from ICC De Minaur and Ebden share Newcombe Medal Baseballer joins rival in biggest deal in sports history The biggest sport stories in less than 5 minutes delivered twice a day, with reports from the 9News team across Australia and overseas. Subscribe now to make it part of your daily news diet.  See omnystudio.com/listener for privacy information.

Australia vs India 2nd Test Predictions - Aussies are scared of Bumrah! | Cricket Today - Wednesday December 4. The Cricket Today Show previews a huge 2nd Test in Adelaide of Australia vs India, going through the major selection news, with Gill and Sharma returning for India and Hazlewood out for the Aussies, how Bumrah can dominate with the pink ball and answer the big questions, including ones from the fan comments! The panel also go through the predicted XI's, day/night Test stats, who will dominate with the ball and if Travis Head or Virat Kohli will make the most runs this match! Join Cricket Today's Liam 'Stats Guy' McAllion, Marcus Bazzano & Leo Mullaly to hear about all things Australia and world cricket!  Timestamps:00:00 Intro02:45 Quick Single07:02 Big Questions16:30 Predicted XI's21:19 Australia vs India Game Picks28:03 Questions/Fan Comments35:15 Outro

In this episode of the show, we review England's big win against the Black Caps at Hagley Oval, plus discuss some squad/injury news in the Border-Gavaskar series. England had some excellent performances from the likes of Harry Brook and Brydon Carse, but is it simply a case of catches win matches (or in New Zealand's case, dropped catches lose matches)? We discuss the first Test in plenty of detail, with comments on Brook, Carse, Ollie Pope, Kane Williamson, Daryl Mitchell, Nathan Smith and others, plus look ahead to the selection questions facing both sides. Is there a spot for Will Young? Has Jacob Bethell done enough with his chance for England to hold his place? And much more . . . We also chat about potential changes to both Australia and India for the second Test of the Border-Gavaskar series, with Josh Hazlewood injured and doubts about Mitchell Marsh, while for India it looks likely that both Shubman Gill and Rohit Sharma will return. Who will India leave out? And will the injuries provide a lifeline for Marnus Labuschagne? We'll be back in your feed again soon with more news and views from both these exciting series. Until then please take the time to give us a like, follow, share or subscribe on all our channels (@toporderpod on Twitter & Facebook, and @thetoporderpodcast on Instagram & YouTube) and a (5-Star!) review at your favourite podcast provider, or tell a friend to download. It really helps others find the show and is the best thing you can do to support us. You can also find all our written content, including our Hall of Fame series, at our website. You can also dip back into our guest episodes - including conversations Mike Hesson, Shane Bond and Mike Hussey, current players such as Matt Henry, Sophie Devine and Ish Sodhi, coaches Gary Stead, Jeetan Patel and Luke Wright, as well as Barry Richards, Frankie Mackay, Bharat Sundaresan and many more fascinating people from all across the cricketing world. And if you'd like to reach out to us with feedback, questions or guest suggestions, get in touch at thetoporderpodcast@gmail.com.   Thanks for listening. 0:00 Intro 1:40 Initial reaction to England's big win against New Zealand 3:50 Did the Black Caps drop the game? 5:55 Harry Brook takes advantage 9:45 Ollie Pope's contribution, as well as Ben Stokes and Chris Woakes 16:45 Did New Zealand pick the right bowling attack? 21:00 Black Caps struggling for consistency 22:30 Brydon Carse takes 10 wickets in the match 30:00 NZ selection questions 48:15 Any questions for England? 53:00 Hazlewood injury & Marsh doubts for Australia 58:05 Shubman Gill & Rohit Sharma set to return for India Learn more about your ad choices. Visit podcastchoices.com/adchoices

Als das Zürcher Psych-Rock-Quintett letzten Herbst mit ihrer 13-minütigen Debütsingle zum ersten Mal auf sich aufmerksam machte, wurden wir über Nacht zu Fans. Nun veröffentlichen EMZYG ihr entfesseltes und uferloses Debütalbum «52 Blue» (ohne die angesprochene Single übrigens). Im Interview erzählen Gianna Bollinger und Sersha Rafferty, warum das Album nach einem einsamen Wal benannt wurde, warum Snowboarder:innen das dankbarste Konzertpublikum sind und wieso die Band vor einer ungewissen Zukunft steht. Und natürlich hören wir musikalische Inspirationen der Band, die's übrigens auch in einer von der Band kuratierten Spotify-Playlist zu hören gibt. (Link unten) +++ PLAYLIST +++ · 22:53 – CRISPY SKIN von SQUID · 22:49 – DRUGSTORE DRASTIC von THROWING MUSES · 22:46 – ELECTRIC RELAXATION von A TRIBE CALLED QUEST · 22:43 – CAREY von JONI MITCHELL · 22:39 – AVALANCHES von JONI · 22:34 – THE KILLING MOON von ECHO AND THE BUNNYMEN · 22:28 – I'M COMIN' DOWN von PRIMAL SCREAM · 22:19 – FALSE FLAGS von PRIMAL SCREAM · 22:14 – COUNTRY GIRL von PRIMAL SCREAM · 22:09 – HAZLEWOOD von TOOTHPASTE · 21:55 – HEAVEN IN YOUR ARMS von SALUTE & JESSIE WARE · 21:52 – FOUND YOU AGAIN von FANTASY OF A BROKEN HEART & JORDANA · 21:49 – BORN, DIED von HOOTON TENNIS CLUB · 21:46 – SEASICK von THE RILLS · 21:42 – A GIRL LIKE YOU von EDWYN COLLINS · 21:39 – GUESTROOM von ANNA ERHARD · 21:36 – GETTING REMINDERS von EFTERKLANG FEAT. BEIRUT · 21:33 – LOW SUN von HERMANOS GUTIÉRREZ · 21:28 – DENN SIE WISSEN, WAS SIE TUN von TOCOTRONIC · 21:25 – I'M NOT PROUD von POLLY MONEY · 21:18 – INNOCENT MONEY von PRIMAL SCREAM · 21:14 – KEEP PUSHING von CLIPPING. · 21:08 – STAY HERE von FORT ROMEAU & GOLD PANDA · 21:04 – SWEET LOVE von SYLVIE KREUSCH · 20:56 – PICK IT UP von EMZYG · 20:47 – MIND FALLS von EMZYG · 20:39 – COWS & PREDATORS von EMZYG · 20:32 – GARDIENNES DU MYSTÈRE von EMZYG · 20:26 – LA ULTIMA PIEDRA von EMZYG · 20:21 – MONEY von WIDOWSPEAK · 20:15 – BELLS RING von MAZZY STAR · 20:10 – SURRENDER von EMZYG · 20:03 – HOLLOWED EYES von EMZYG

Karen, Christian y Juliana nos cuentan una historia de interculturalidad, de aprendizaje y de lucha en defensa de los territorios comunales de la Provincia de Esmeraldas. Un relato que se teje en torno a la realización del documental Queremos Nuestra Agua, en el cual Karen y Christian participaron como aprendices documentalistas para poder mostrar al mundo los problemas que surgen cuando el monocultivo a ultranza destruye los medios de vida de las comunidades rurales.  ¡Activa tu membresía hoy! Obtén beneficios de nuestros proyectos aliados y sé parte de la comunidad que sostiene este podcast: www.radiosemilla.com/apoyanos Telegram: t.me/radiosemillapodcast Escucha en: Spotify: https://open.spotify.com/show/7r8Nb90iI52NzP7dPTHrbw?si=92f084e082814cd5 Youtube: https://www.youtube.com/playlist?list=PLIk2jCydde9el3SckTVwVJrZuOEt9JIZt Redes: Instagram X Facebook Proyecto destacado - La Divina Papaya (Ecuador): -10% en toda su tienda online para miembros de Radio Semilla! Entra en www.ladivinapapaya.com y conoce sus maravillosos productos con de flores comestibles y hierbas aromáticas. Notas del episodio: https://www.queremosnuestraagua.com/

As the pair hit the West-End in their first Live Nation show, Anna and Polly talk sex ed, pleasure and why it's time to stop centering the peen. Oh and how platonic love has to be up there with romantic amour. Til death, indeed…

Art Bell - Mark Hazlewood - Blindsided by Planet X. Vincent Lords - Sensory Deprivation Experiment

How in the World did Michele Reneau beat incumbent Patsy Hazlewood in the GOP Primary?Brandon Lewis, Founder of The Tennessee Conservative, joins Yaffee Live on 102.3 FM Chattanooga's Talk Monster to discuss the Michele Reneau for Tennessee House District 27 campaign and the win that many are calling an "Upset" with the defeat of long-time incumbent Patsy Hazlewood.Brandon and Yaffee also discuss the state of the establishment GOP, the Tennessee Legislature and the upcoming November elections.

Jarrod and Behram unfold all the drama surrounding cricket off the field, over the course of last week, including Hazlewood's comment of purposely knocking England out of the T20 World Cup, retirements in men's cricket, and the criticism Lauderhill as a venue has received for its lack of facilities and preparedness.-To support the podcast please go to our Patreon page. https://www.patreon.com/user?u=32090121. Jarrod also now has a Buy Me A Coffee link, for those who would prefer to support the shows there: https://www.buymeacoffee.com/jarrodkimber.Each week, Jarrod Kimber hosts a live talk show on a Youtube live stream, where you can pop in and ask Jarrod a question live on air. Find Jarrod on Youtube here: https://www.youtube.com/c/JarrodKimberYT.To check out my video podcasts on Youtube : https://youtube.com/@JarrodKimberPodcasts-This podcast is edited and mixed by Ishit Kuberkar, he's at https://instagram.com/soundpotionstudio & https://twitter.com/ishitkMukunda Bandreddi is in charge of our video side.

Henry Moeran, former England fast bowler Steven Finn and BBC Sport cricket writer Matt Henry preview England's match with Oman at the men's T20 World Cup.They're joined by Australian cricket journalist Geoff Lemon to discuss Josh Hazlewood's comments about it “being in Australia's interests” to see England go out of the tournament.We also hear from the England coach Matthew Mott on how the side will approach their two must-win games against Oman and Namibia.

The countdown is on! The ICC Men's T20 World Cup is finally underway and a refreshed Josh Hazlewood joins the podcast to look ahead at Australia's tournament. The chat with Hazlewood starts at 8:18. Before that Josh Schonafinger and Louis Cameron give a squad update from the windy Windward Cricket Club, where a handful of Aussie players went through their paces three days out from the opening match. Hosted on Acast. See acast.com/privacy for more information.

Episode 4Buckle up buckaroos it's long one. Our heroes finally talk about The Dark Night Returns and talk they do. Surprisingly enough they liked it. Then they talk about a Superman arc Panic in the Sky which was a lot of fun to read and discuss.The Dark Night Returns Written and Drawn by Frank MillerSuperman: Panic in the Sky By Ordway, Grummett & Hazlewood

In this episode we feature a message from the Chairwoman of the Texas Veterans Commission. We also take a look at VA benefits for eligible survivors including Dependency and Indemnity Compensation (DIC), and Survivors Pension. Plus surprising facts about the Hazlewood education benefit for eligible surviving spouses and dependent children. Make a Claims Appointment Here. Get Hazlewood Information Here

You asked for it and we're giving it. You wanted more of us - Polly and Anna - so here we delve into Pol's ADHD diagnosis in an emotional, informative rollercoaster of a podcast episode that leaves no ADHD stone unturned. While Polly isn't an expert, she's read The Whole Internet since being diagnosed and this could be an initial stepping stone if you wonder if you - or your child - might have ADHD.

In this rebroadcast episode, ADJUSTED welcomes Pain Management Specialist, Jeffery Hazlewood, M.D. Dr. Hazelwood discusses treating injured workers for pain, psychosocial issues, opioids, and more. Season 7 is brought to you by Berkley Industrial Comp. This episode is hosted by Greg Hamlin and co-host  Claire MuselmanVisit the Berkley Industrial Comp blog for more!Got questions? Send them to marketing@berkindcomp.comFor music inquiries, contact Cameron Runyan at camrunyan9@gmail.com

In this episode of the show, Stu and Baldy look ahead to one of the most anticipated Test series of the year - at least here in New Zealand - the Black Caps v Australia. We also discuss the Neil Wagner's retirement from international cricket in the lead up to the first Test, which starts on Thursday at the Basin Reserve.We start the show with a tribute to Neil Wagner, who announced his retirement on Tuesday here in New Zealand. His impressive record and statistics speak for themselves, but with Wagner it was always the things that don't show up on the scorecard that spoke the loudest. We discuss his outstanding spell as a Test cricketer and how he'll be remembered in the coming years.Attention then turns to the upcoming series.Can the Black Caps overcome injuries to Kyle Jamieson and Devon Conway, and a lean history of success in this fixture to defeat the Aussies on home soil?Will Kane Williamson maintain his incredible run of form against a bowling attack featuring Cummins, Hazlewood, Starc and Lyon?Are the likes of Steve Smith and Marnus Labuschagne vulnerable in New Zealand conditions?What will the New Zealand bowling attack look like?And do Australian fans even care about the series at all?Plus we make our predictions as we look ahead to this rare occasion on the eve of the first Test. We'll be back again soon with more news and views, including a review of the 4th Test between India and England, but until then please take the time to give us a like, follow, share or subscribe on all our channels (@toporderpod on Twitter & Facebook, and @thetoporderpodcast on Instagram & YouTube) and a (5-Star!) review at your favourite podcast provider, or tell a friend to download. It really helps others find the show and is the best thing you can do to support us. You can also find all our written content, including our Hall of Fame series, at our website.You can also dip back into our guest episodes - including a recent conversation with Mike Hesson, plus chats with former World Cup stars Shane Bond and Mike Hussey, current players such as Matt Henry, Sophie Devine and Finn Allen, coaches Gary Stead, Jeetan Patel and Luke Wright, as well as Barry Richards, Frankie Mackay, Bharat Sundaresan and many more fascinating people from all across the cricketing world. And if you'd like to reach out to us with feedback, questions or guest suggestions, get in touch at thetoporderpodcast@gmail.com.Thanks for listening.0:00 Intro1:10 Neil Wagner retires!3:50 Will Neil Wagner go down as an NZ Cricket great?7:25 Squad news - Black Caps bowling attack10:05 Mitchell Santner or Scott Kuggeleijn for the final spot in the XI?11:35 Australia's settled lineup12:45 Devon Conway ruled out of the first Test with thumb injury13:55 What does this series mean for both sets of fans?21:55 Why do people still doubt this Australian side?25:45 Key matchups - Black Caps' seamers v Smith, Labuschagne and co.32:25 Key matchups - Can New Zealand's batting lineup stand up to this experienced Australian attack?34:00 Will Nathan Lyon be a factor in this series?36:40 How important is Kane Williamson's performance for New Zealand's chances of victory?41:15 Prediction time!47:30...

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.  

Amazing from the West Indies, Kane says he was barracking for them, huge performance from Jannick Sinner, Clarification for Basil Zempilas getting himself in hot water over the weekend, Tom Brady's time in Melbourne, why did Steve Smith give 2 balls to Hazlewood, does tennis need speeding up Learn more about your ad choices. Visit megaphone.fm/adchoices

Can Josh Hazlewood do something he's never done before? He faces the music from Dan Ginnane, Mark Taylor and Merv Hughes on Triple M after Australia left the West Indies 6/73, thanks to Hazlewood's work with the ball and another stunning Travis Head century. Follow on Apple, Spotify and the LiSTNR app Drop us a message on Instagram and TikTok! See omnystudio.com/listener for privacy information.

Hazlewood runs through Pakistan, Warner finds his baggy and Abdullah Shafique lays a two-footed slide tackle on his own team mate.  Get 25% off your Smith Optics using the code FAST at smithopticsaustralia.com.au If you want to support The Grade Cricketer, please join us on Patreon at https://www.Patreon.com/gradecricketer  for all the audio of our World Cup review shows. We are covering every game involving Australia, England, India and Pakistan. You'll also get #AskTGC Fridays every week and access to the entire back catalogue of Patreon work that has been going for 3 years now.  See omnystudio.com/listener for privacy information.

Cocksy poses the question of is this current Australian bowling quartet is the best we've seen in cricket? Cummins, Starc, Hazlewood and Lyon could challenge the best groupings ever. Learn more about your ad choices. Visit megaphone.fm/adchoices

Australia v Pakistan, Perth Day 4: The wait was all about Nathan Lyon's 500th wicket, and eventually it came around. Not before Pakistan challenged Australia with the ball one more time, Steve Smith furious with yet another dismissal, before Khawaja and Marsh kept on as they have been going. After that it was time for Starc, Hazlewood, Cummins, and Pakistani running between the wickets to have an influence, before Lyon's final say. Support the show with a Nerd Pledge at patreon.com/thefinalword Get Sydney live show tickets for for 7 January: linktr.ee/thefinalword Sort your super with CBUS on their 40th birthday: cbussuper.com.au Find previous episodes at finalwordcricket.com Title track by Urthboy

We review the World Cup final where Travis Head and Pat Cummins inspired a triumph for the ages. Support 81allout on Ko-Fi. Talking points:  Australia's remarkable achievement - and this triumph in comparison to their previous World Cup wins Rohit Sharma's approach at the start of the innings Virat Kohli and the ability to strike at six an over on any pitch The slowdown in the middle overs against fine Australian bowling Cummins, Hazlewood and their brilliant variations Shami opening the bowling instead of Siraj Bumrah's beauty to dismiss Steve Smith Travis Head's unforgettable assault Participants: Siddhartha Vaidyanathan (@sidvee) Mahesh Sethuraman (@cornerd) Ashoka (@ABVan) Kartikeya Date (@cricketingview) | Substack | ESPNcricinfo --------------------------------------------------------------------------------------------- Related: Great final caps Australia's greatest year - Kartikeya Date - Cricketingview Watch out for Shami when he's running in like a horse - Bharat Arun - ESPNcricinfo Advance Australia, inevitably - Osman Samiuddin - ESPNcricinfo Krishnamachari Srikkanth's analysis of the final - YouTube Buy War Minus the Shooting by Mike Marqusee - Amazon War Minus the Shooting - Revisiting the 1996 World Cup through a classic book - 81allout podcast Buy Cricket Beyond the Bazaar by Mike Coward - Amazon

This essay is one in a series celebrating deserving artists or albums not included on NPR Music's list of 150 Greatest Albums Made By Women.Nancy Sinatra, the force who brought "These Boots Are Made For Walkin'" to life, was never meant to sing the song at all. The late Lee Hazlewood, a songwriter and producer for the likes of Duane Eddy, had written the single and intended to sing it himself. But once Sinatra heard it, she immediately had a better idea. "He said, 'It's not really a girl's song. I sing it myself onstage.' I told him that coming from a guy it was harsh and abusive, but was perfect for a little girl to sing," Sinatra told Los Angeles Magazine last year. The song soared to the top of the Billboard pop charts, scored Sinatra two Grammy nominations and has been covered dozens of times by the likes of Loretta Lynn and a baby-faced Nick Cave.The 1966 hit became an anthem for women who refused to be walked all over, and who threatened to do the very same if crossed. It also proved that Sinatra and Hazlewood collaborations were pure magic, a fact writ large on their first collaborative album, 1968's Nancy & Lee. Composed of covers and Hazlewood-penned tunes, Nancy & Lee is a linchpin of horn-driven, off-kilter, sing-speak '60s pop. While Hazlewood's lysergic jilted cowboy baritone purrs throughout the album, and Billy Strange, of the famed Wrecking Crew, lends a hand arranging and composing the songs here, Sinatra's crystalline pipes, made all the more wonderful because of her expressive singing style, make it glisten.The way Sinatra so nonchalantly sings "go ahead, see if I care" on the album's Johnny and June Carter Cash cover "Jackson", you can almost see her shrugging. On the twinkling closing track "I've Been Down So Long (It Looks Like Up To Me)," Sinatra admits: "Well I pushed him off the ladder of success," giggling; Hazlewood chimes in and says: "That's true!" (The vinyl version of the album features Sinatra and Hazlewood in a Q&A, in which they're asked: "Does 'Lady Bird' contain political overtones?" The two reply: "The only overtones 'Lady Bird' contains are the high notes Lee misses and Nancy laughs at").What stuns about Nancy & Lee, though, is how Sinatra and Hazlewood masterfully marry sunshiny orchestral elements with lyrics that dig at something darker about the human condition, ranging from fleeting lovers and feeling so devastatingly lonesome that another romance seems outside the realm of possibility. On the swelling "Sundown, Sundown," Hazelwood growls: "There's no one in this world for me / There's never gonna be." Then Sinatra comes in, sweeping Strange's orchestral arrangements — and listeners — off their feet as she croons: "Sundown / I miss you, sundown / I need you sundown / Come on, come on, come on, come on back to me."Love is always just out of reach on Nancy & Lee; no one is anyone's baby. It's a sweet, elusive dream thing that lives on only in song. Loving feelings are lost, and in "Summer Wine," characters wake up with their pockets empty, head swelled and with only a fading memory to remind them of the one who got away. The album's core is the

On this episode of the NTEB Prophecy News Podcast, we are not afraid to ask questions, and one of the questions we'll be asking today is did Directed Energy Weapons have anything to do with any aspect of the wildfires that destroyed Maui and took the lives of nearly 100 souls so far? Considering that today is Day 1,246 of 15 Days To Flatten The Curve, it's a fair question. Also, in the second hour of the Podcast today, we are so excited to welcome into the NTEB Studios the Deputy Director of Religious Services at the Texas Department of Criminal Justice, C. F. Hazlewood, who heads up the Rehabilitation Programs Division in Huntsville, Texas. CF and I will be discussing the impact of the Bibles Behind Bars program in the prison system there and in the lifes of the inmates. All week long we will be celebrating one year of our Bibles Behind Bars program and the work that God is doing through all of us!

Questions From The Flight Deck: Introducing: Andy Christopher – F18 Navy Fighter Pilot and Investment Advisor Background How'd you get interested in flying? Why the Navy? Navy flight experience. Ejection story – first flight!?!   Meat of the Mission – 529s Common Questions: What if my kid gets a scholarship? Do I need to invest in my state's 529? No! What if I overfund the 529? Can I give my 529 to my child? How does the 529 affect financial aid? Can I use the 529 for United, Delta, SWA feeder schools – aka career development programs. United Aviate Delta Propel Program  SWA Destination 225 Should I just use the Roth IRA? Roth 401k? The major difference between Roth IRA withdrawals and Roth 401k withdrawals: There is one catch, though. Early withdrawals have to be prorated between (nontaxable) contributions and (taxable) earnings. To calculate the portion of the withdrawal attributable to earnings, simply multiply the withdrawal amount by the ratio of total account earnings to account balance. U.S. Department of Labor. “401(k) Plans for Small Businesses Supplement.” Why save for college? College Tuition Inflation Statistics | BestColleges  Tuition increases over time have traditionally outpaced inflation Avoid student loan debt (for parents and children) One of the most expensive “investments” in one's life 529 basics  Similar to Roth IRA: After-tax money in, tax-free money out when used for qualifying tuition expenses FAFSA: Does a 529 plan affect financial aid? - Savingforcollege.com  Any parental assets beyond that amount ($10,000) will reduce a student's aid package by up to a maximum of 5.64% of the asset's value. So, if a parent's 529 account exceeds the Asset Protection Allowance by $10,000, his child's financial aid award could be reduced by as much as $564. Which plan to pick? What Is a 529 Plan? - Savingforcollege.com Don't have to use your state's plan, but may be reasons to use in-house plan Unique plan rules for transfer of ownership, total account value limits for contributions State tax benefits (OH) E.g., Virginia residents – tax deduction PER ACCOUNT, age 70 rule and tax deductions carry forward... Low-cost plans (Utah my529, W VA, etc.)  How much to save?  Vanguard Savings Calculator Rule of thumb: Public vs. Private Scholarship Other sources of funding: grandparents, GI Bill, etc. "Superfunding”: 10 Rules for Superfunding a 529 Plan - Savingforcollege.com How to invest the contributions? Low-cost/index approach Target-enrollment date (works like a 401(k) target-date fund) What if you don't use the funds? Estate Planning Considerations: Dynasty 529 Plan For Multigenerational College Expenses (kitces.com) Secure Act 2.0 Changes: The SECURE Act 2.0: The Most Impactful Provisions #10 — Moving 529 Assets to a Roth IRA - Fred Reish Withdrawal Options: Penalty-free (not tax free) for service academies, scholarship, death/disability Changing beneficiaries Veteran Benefits GI Bill Transfer State Specific Benefits (CalVets, etc.) Hazlewood Act - Through the state's Hazlewood Act, originally approved in 1943, Texas promises its veterans or their survivors 150 free credit hours at any of the state's public universities or community colleges, once their federal benefits have been exhausted. And vets may transfer hours they don't use to their children. Hazlewood benefits are available to veterans who currently reside in Texas and who lived in Texas or had Texas as their home of record at the time of enlistment, or who simply enlisted in Texas.   1. Vanguard college funding calculators  https://vanguard.wealthmsi.com/csp.php 2. Leading Edge 529 video https://youtu.be/Br4ws8waxDQ 3. Morningstar College report, comparison. https://www.morningstar.com/personal-finance/best-529-plans-2023 

Jarrod joins the team to take a look at the WTC final in the wake of Hazlewood's injury. Learn more about your ad choices. Visit megaphone.fm/adchoices

A bit quiet in our niche cricket wheelhouses this week; almost like the schedule has been cleared to talk about one thing only. Anyway, Hazlewood is maybe getting fit, Jaiswal is in as a reserve, KL Rahul enjoyed himself, and Sabba made a tonne off 34 rocks. Oh, and the IPL Final was postponed 24 hours, and we recorded beforehand. On a serious note, Meg Lanning is out of the Ashes due to medical reasons and we wish her the best. ESPNCricinfo's Alex Malcolm joins us for some good, earnest Ashes cricket chat, before AskTGC references Wisden, internet dickheads, Ian Bell masks, and crisps/chips. Sign up to the Australian Cricket Family at cricket.com.au/acf before June 6 to get early bird discounts on tickets for the Aussie summer, with Pakistan, West Indies and South Africa all coming out. Budgy is backing us big time this English summer, get around them at budgysmuggler.com Limited edition merch available: gradecricketer.com Live show tickets available in Birmingham, Leeds and one London show: gradecricketer.com You get discounts, early access and an exclusive podcast every week when you sign up at patreon.com/gradecricketer Learn more about your ad choices. Visit megaphone.fm/adchoices