Podcasts about Hohner

Just three episodes remain in Season Four, and this week, host Jim Ervin welcomes 17 year old guitar and harmonica phenom, Kiersi Jolie. Kiersi was in Michigan not long ago for a Women In Blues Showcase, held at the legendary Token Lounge in Westland, MI. Join us for a discussion about her early start in music, first taking on the piano at age 3, and the harmonica just a few short years later. She is a Hohner endorsed musician, and if you have not had a chance to see her live, you owe it to yourself to take in a show with her at your earliest convenience. Facebook: https://www.facebook.com/key.of.kiersiInstagram: https://www.instagram.com/in_the_key_of_kiersi/ Spotify: https://open.spotify.com/artist/7IIG7WqhDmal3viYpUMTJK YouTube: https://www.youtube.com/channel/UCmWX3tiGzGucXWJITdhvLPA_________________________Facebook: Time SignaturesYouTube: Time SignaturesFacebook: Capital Area Blues SocietyWebsite: Capital Area Blues SocietyFriends of Time Signatures _______Website: University of Mississippi Libraries Blues ArchiveWebsite: Killer Blues Headstone ProjectWebsite: Blues Society Radio NetworkWebsite: Keeping the Blues Alive Foundation

Meet Kiersi Joli — a 17-year-old blues sensation with a soul far beyond her years. From the moment she picked up a harmonica at age six, Kiersi's musical journey has been nothing short of extraordinary. By nine, she was already turning heads as a young spokesperson for Hohner harmonicas. Today, she's a multi-instrumentalist, award-winning singer-songwriter, and festival favorite, known not just for her incredible harmonica chops but also for her signature curly red hair and captivating stage presence.In this heartwarming and inspiring episode, Kiersi sits down with us — joined by her proud parents, Tina and Mike — to share stories from her remarkable rise through the blues world. From family jam sessions to national competitions, you'll get a behind-the-scenes look at what it takes to build a music career at such a young age.And yes — she'll be playing a few tunes for us, live around the dining room table. Catch this unforgettable conversation with one of the brightest young stars in blues today — just before she heads off to the prestigious Belmont University in Nashville this fall.Support this podcast at — https://redcircle.com/songwriter-connection/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Episode 176 Chapter 35, Live Electronic Music— Historical Practices. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 35, Live Electronic Music— Historical Practices from my book Electronic and Experimental music.   Playlist: LIVE ELECTRONIC MUSIC—HISTORICAL PRACTICES   Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1.     Karlheinz Stockhausen, “Mikrophonie I” (1964) from Mikrophonie I · Mikrophonie II.   Mikrophonist 1, Johannes Fritsch; Mikrophonist 2, Harald Bojé; Electronic Filters and Potentiometers 1, Karlheinz Stockhausen; Electronic Filters and Potentiometers 2, Hugh Davies, Jaap Spek; Tam-tam, Aloys Kontarsky; Tam-tam, Fred Alings.  Brüsseler Version 1965 recorded at WDR, Cologne. 07:24 01:42 2.     AMM, “In The Realm Of Nothing Whatever” (1966) from AMMMusic 1966. Cello, Accordion, Clarinet, Transistor Radio, Lawrence Sheaff; Electric Guitar, Transistor Radio, Keith Rowe; Music by, Cardew, Prévost, Rowe, Sheaff, Gare; Percussion, Eddie Prévost; Piano, Cello, Transistor Radio, Cornelius Cardew; Tenor Saxophone, Violin, Lou Gare. Recorded on the 8th and 27th June 1966 at Sound Techniques. 13:22 09:06 3.     Musica Elettronica Viva (MEV), “SpaceCraft” (1967) from MEV 40. Mbira Thumb Piano Mounted On A Ten-litre Agip Motor Oil Can, Contact Microphones, Amplified Trumpet, Voice, Alvin Curran; Amplified Glass Plate With Attached Springs, Contact Microphones, Frederic Rzewski; Homemade Synthesizer from Electronic Organ Parts, Allan Bryant; Moog Modular Synthesizer, Contact Microphones, Voice, Richard Teitelbaum; Tenor Saxophone, Ivan Vandor; Voice, Carol Plantamura. 30:45 22:26 4.     David Tudor, “Rainforest Version One” (1968) from Rainforest. Live electronics, David Tudor, Takehisa Kosugi. Used transducers to amplify objects. Recorded by Rob Miller. 21:50 53:10 5.     Karlheinz Stockhausen, “Kurzwellen” (1968), excerpt from Festival of Hits. Composed By, Mixed By, Electronics, Filters, Potentiometers, Karlheinz Stockhausen; Electronium, Harald Bojé; Tamtam, Alfred Alings, Rolf Gehlhaar; Piano, Aloys Kontarsky; Electric Viola, Johannes G. Fritsch. This is the opening of this long work, excerpted for this strange collection of greatest “hits” by Stockhausen (you had to be in 1970 to understand this). Kurzwellen is a piece where the musicians need to improvise and react to signals they receive on randomly tuned shortwave radios. This is from the Cologne recording made in the Rhenus studio in Godorf for the Cologne Radio (WDR, Westdeutscher Rundfunk Köln) on the 8th and 9th of April 1969 (53'30), which was record 2 of the original 2-record set. By the way, this ensemble also featured the Electronium Pi, made by Hohner beginning in 1952. It was a monophonic, electronic keyboard instrument and was an add-on instrument for the piano mounted under the keyboard, which is the model used by Stockhausen. His keyboardist, while Harald Bojé used the accordion-like model. 06:19 01:14:56 6.     The Music Improvisation Company, “Tuck” (1970) from The Music Improvisation Company. Electric Guitar, Derek Bailey; Live Electronics, Hugh Davies; Percussion, Jamie Muir; Soprano Saxophone, Evan Parker. 03:00 01:21:14 7.     David Tudor, “Rainforest IV” (1973) from Rainforest IV.  Composed in 1973 by David Tudor; performed by Composers Inside Electronics (David Tudor, Martin Kalve, Philip Edelstein, Ralph Jones, Bill Viola, John Driscoll). Recorded at the exhibition "Für Augen und Ohren - Von der Spieluhr zum akustischen (Environment (For eyes and ears - from the mechanical clock to the acoustic environment)" at the Akademie der Künste, Berlin, January 1980. 25:12 01:24:24 8.     Maryanne Amacher, “"Head Rhythm 1" And "Plaything 2" (1999) from Sound Characters (Making The Third Ear). Electroacoustic composer of sound installations, best known for her incorporation of otoacoustic emissions -- sounds that seem to be emanating from inside one's own head. This track plays with that concept and sets your brain up to experience itself, so to speak. 10:04 01:49:36 9.     Caroline Park, “Grain 5” (2011) from Grain. This is a cassette release by Park, often known her for generative composition work and electronic improvisations based on parameters that she defines. Recorded, performed by Caroline Park. 09:05 01:59:32 10.   Caterina Barbieri. “This Causes Consciousness To Fracture” (2017) from Patterns Of Consciousness.  Italian composer and musician from Bologna. This album was created using analog synthesis. Barbieri has said, “In Patterns of Consciousness I was interested in exploring the power of sound on our consciousness. I wanted to explore how a pattern creates a certain state of consciousness and how the gradual transformation of that pattern can affect that state of consciousness. I believe that sound is a tool for the exploration, reconfiguration and expansion of human perceptions.” I find this to be in a similar psychological vein as the Amacher work also heard in this episode. 22:44 02:08:36 11.   Sarah Davachi, “First Cadence” (2021) from Antiphonals. Composed, recorded, performed, Mellotron (bass flute, recorder, oboe), Tape Echo, Sarah Davachi. 05:48 02:31:20 12.   Asha Tamirisa, “Live Performance,”(2023) at the Waterworks 2023: Festival of Experimental Sound. Laptop synthesis, snare drums, Asha Tamirisa. Soundtrack for a video recorded by Wenhua Shi & Nick Stevens, video editing by Nick Stevens, and audio recording and mixing, Matthew Azevedo. 25:10 02:37:02   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

#209 - Unser Kopf ist ein mächtiges Instrument. Er kann uns helfen unsere Ziele zu verfolgen. Er kann uns aber auch an uns zweifeln lassen und blockieren. "Du hast ein Recht darauf, glücklich zu sein" - das ist Sigis Mission. Sigi Heidi Hohner ist Psychologin, Autorin und Coach und hilft Menschen, zu verstehen, wie sie sich gut fühlen können - egal was gerade im Leben passiert. Wie wir diesen Perspektivwechsel hinbekommen, uns gut mit uns selbst fühlen und vieles mehr bespreche ich in dieser Episode mit Sigi. Viel Freude mit den Denkanstößen dazu in dieser Folge! Unter folgendem Link findest Du die Beitragsseite: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.iamfasting.de/p209

Serbien und Vucic, Argentinien und Milei - wann begehren die Amis auf? Kaktusklau, Zwölfer-Dübel und eine grüne Abschiedsgala, die wehmütig stimmt. Gewohnt heiter präsentieren Paul und Hajo Schumacher die Wochenschau und merken eher zufällig, dass der Mutmachpodcast seinen fünften Geburtstag hat. Die Themen: Der Junge zieht um. Der Alte hat sich schon wieder in einen Köter verliebt. Was ist geblieben von Corona? War es schlau, die Laborthese zu dementieren? Möbelschieber und Stoßlüfter. Hohner und der Wuhan-Clan. Biodiversitätsverbrechen und das Bahnhofsvordach von Novi Sad. Plus: Wie heißt ein Franzose in Badelatschen? Folge 912. Literaturempfehlungen: Suse SchumacherDie Psychologie des Waldes, Kailash Verlag, 2024Michael Meisheit + Hajo Schumacher Nur der Tod ist schneller – Laufende Ermittlungen, Kriminalroman, Droemer Knaur Verlag.Kathrin Hinrichs + Hajo SchumacherBuch: "Ich frage für einen Freund..." Das Sex-ABC für Spaß in den besten JahrenKlartext Verlag.Kostenlose Meditationen für mehr Freundlichkeit (Metta) und Gelassenheit (Reise zum guten Ort) unter suseschumacher.deDem MutMachPodcast auf Instagram folgen Hosted on Acast. See acast.com/privacy for more information.

Wie kann man sich gesund denken? Wie können wir unsere Kinder in eine Impostor-freie Zukunft führen? Und was ist das Gegengift zu Impostor? Ist vom Bescheidenheits-Dogma zu Impostor zu Burnout ein typischer Weg?Diese Fragen diskutieren Brigitte Dyck und Hanna Rentschler mit Sigi Heidi Hohner, klinische Psychologin, Autorin, Life- und Transformationscoach und Inhaberin von Soul Powerment Coaching. Außerdem ist sie ehemalige Chefredakteurin von MTV. Die drei legen direkt mit dem Hot Topic los: Impostor! Ist das nur ein Frauenthema? Ist es nicht - wenn man anonym fragt, geben Männer öfter zu, dass sie darunter leiden.Sigi selbst hat das Impostor-Syndrom hinter sich gelassen und erst im Nachhinein gemerkt, dass sie darunter gelitten hat – und zwar erst, nachdem sie in den Burnout rutschte. Warnzeichen können Gedankenschleifen sein: „Ich bin nicht gut genug“, „ich zweifel an mir“, „ich kann das nicht“, „bald merken alle, dass ich es nicht kann“. Vor allem tauchen diese Gedanken auf, wenn man das vertraute Umfeld verlässt - Sigi nennt das Expandieren. Doch – man brennt nicht aus, wenn man nicht an sich selbst glaubt! Bei einem Thema hat Sigi eine ganz starke Meinung: Bescheidenheit kann zum Dogma werden und das ist richtig ungesund. Understatement findet sie gar nicht gut, denn es ist die Grundlage für Impostor!Wir sind alle in der Lage, größer zu werden, als die Generationen vor uns – eine Expansion zu wagen. Statt stolz darauf zu sein, regeln wir das herunter und dies ist eine Schutzreaktion unseres Nervensystems. Denn durch diese Expansion könnten wir die Zugehörigkeit zu unserer Peer-Group verlieren – gleichzeitig schaden uns genau diese Gedanken und können sogar langfristig zu einem Burnout führen. Auch in der Erziehung ist es wichtig, das vorzuleben. Denn Selbstliebe auf Befehl ist wie eine arrangierte Hochzeit. Unternehmen und Führungskräfte können natürlich gegensteuern. Je mehr man darüber weiß und je eher man die Warnzeichen erkennt, desto schneller kann man in den Dialog gehen. Ein ungewohnter Umgang mit Erfolgen, Komplimenten und Lob können Vorboten von Impostor und somit auch einem Burnout sein. Zum Schluss sagt sie noch einen wichtigen Satz: Glaub dir nicht alles, was du über dich selbst denkst! Sense or Nonsense: Ist das Impostor-Syndrom ein Frauenthema? Hanna ist sich sicher: Das haben alle! Brigitte allerdings kennt mehr Frauen, die unter diesen negativen Gedanken leiden. FührungsQuickie: Zunächst einmal herausfinden, wie Menschen mit Lob, Komplimenten und positiven Erlebnissen umgehen. Aufklärung über das Impostor-Syndrom kann dabei schon helfen. Für Unternehmen ist es wichtig, Wertearbeit zu betreiben. Leitender Gedanke: Man kann sich den Weg ins Glück nicht erleiden.Zur Website von Sigi: www.sigiheidihohner.com Website: https://brigitte-dyck.com/Shop Alle Online Trainings: https://brigitte-dyck.com/shopOnline Training: Benutzen wir die KI oder benutzt die KI uns? https://brigitte-dyck.com/info-menschenbild_kiGeschenk für dich: RoleLandscape und LeaderCanvas: https://brigitte-dyck.com/geschenkBuch mit persönlicher Widmung ab April 2025: “30 Fragen, die dein Leben bereichern. Dein Turbo für mehr Klarheit, Wachstum und außergewöhnlichen Erfolg” https://brigitte-dyck.com/kontaktBuch mit persönlicher Widmung ab 15. Mai 2025: “Künstliche Intelligenz in der Führung. Chancen, Entscheidungen und Strategien für morgen” https://brigitte-dyck.com/info-menschenbild_kiYouTube: https://www.youtube.com/@LeadershipMasterclass_developInsta: https://www.instagram.com/brigittedyck_leadership/LinkedIn: https://www.linkedin.com/in/brigitte-dyck%F0%9F%92%A1-future-leadership-325b3999/00:00:00 Intro und Begrüßung00:01:23 Sense or Nonsense00:02:41 Deep Dive00:03:42 Ist Impostor ein Frauenthema?00:05:05 Wann bemerkt man Impostor?00:06:12 KI Online Kurs00:08:04 Impostor in den Griff bekommen00:13:03 Positives Momentum zur Heilung nutzen00:15:35 Impostor-Syndrom erkennen00:17:34 Bescheidenheit und Understatement00:22:46 Impostor und Burnout00:24:46 FührungsQuickie00:25:57 Mindful Place to work00:27:23 Erziehung und Impostor00:31:36 Impostor und Unternehmenskultur00:34:54 Wertecoach00:37:21 Vorbilder für gesunde Leistungskultur00:40:07 Leitender Gedanke

You know the drill, Danny and Julius talked for way too long and now the episode is split into 2 parts! It's like the new Wicked movie! Topical, eh?First up is Danny's playlist. This playlist tells the story of Danny's youth where he grew to appreciate movies enough to want to study them in college. Of course Julius provides some excellent film criticism, particularly to a mutual favorite film from 2016, Moonlight.Songs/Movies Discussed"Bonzo Goes to Bitburg" - Ramones - from School of Rock (2003) dir. Richard Linklater"The Man in Me" - Bob Dylan - from The Big Lebowski (1998) dir. Coen BrothersKaw-liga - Hank Williams - from Moonrise Kingdom (2012) dir. Wes Anderson"Cell Therapy" - Goodie Mob - from Moonlight (2016) dir. Barry Jenkins"Beyond the Sea" - Bobby Darin - from Finding Nemo (2003) dir. Andrew Stanton & Goodfellas (1990) dir. Martin Scorcese"Me & Mr. Hohner" - Bobby DarinCheck back in next week to hear Julius's version!PlaylistsDanny: Spotify - Apple Music - YoutubeJulius: Spotify - Apple Music - YoutubeSend us a text message!You can follow us here: Instagram Twitter Tiktok Send us a message, we'd love to hear from you! Email is thegmspod at gmailLeave us a rating and review if you want to!Thanks for listening!

Episode 136 Sun Ra and Stockhausen—An Imaginary Encounter in Electronic Music Playlist   Time Track Time Start Introduction –Thom Holmes 14:28 00:00 Karlheinz Stockhausen,  “Es (It)” (1969) from Aus Den Sieben Tagen (from the Seven Days) (1973 Deutsche Grammophon). Composed by, electronics (Filters, Potentiometers), spoken voice, technician (Sound Direction), liner notes, Karlheinz Stockhausen; Elektronium, Harald Bojé; Piano, Aloys Kontarsky; Drums, Percussion (Tam-tam, Flexatone, Guero, Bamboo Flute, Jew's Harp, Rolf Gehlhaar; Drums, Percussion (Tam-tam, Flexatone, Guero, Jew's Harp, Alfred Alings; Viola, Johannes G. Fritsch. The Elektronium was an electronic instrument in the form of an accordion, invented by Hohner in 1952. From the cycle of compositions entitled Aus den Sieben Tagen. Es (10th May 1968). This is the complete cycle for the work consisting of 7 albums recorded at the Georg-Moller-Haus (Loge) in Darmstadt, from the 26th to 31st August 1969. This is different than the earlier recordings from Cologne that were released separately. Comes in a sturdy box together with a tri-lingual 20-page booklet. Each record is packed in its own cover. 23:04 14:30 Sun-Ra and his Astro Infinity Arkestra, “Space Probe” (1969) from My Brother The Wind Vol. 1 (2017 Cosmic Myth Records). Moog Modular Synthesizer solo, two keyboards, Sun Ra; Moog programming and mixing, Gershon Kingsley.” Recorded at Gershon Kingsley's New York studio before Sun Ra had acquired a prototype Minimoog from Bob Moog the following year. 17:45 37:30 Sun-Ra and his Astro Infinity Arkestra, “The Code Of Interdependence” (1969) from My Brother The Wind Vol. 1 (2017 Cosmic Myth Records). Moog Modular Synthesizer solo, two keyboards, Sun Ra; Moog programming and mixing, Gershon Kingsley; Drums, Danny Davis, John Gilmore; Oboe, Marshall Allen; Tenor Saxophone, John Gilmore. Recorded at Gershon Kingsley's New York studio before Sun Ra had acquired a prototype Minimoog from Bob Moog the following year. 16:50 55:16   Opening background music: Sun Ra and his Solar Myth Arkestra, “Seen Three Took Four” from The Solar-Myth Approach Vol. 1 (1970 Actuel). Piano, Minimoog, Electric Organ, Clavinet, Sun Ra; Tenor Saxophone, Percussion, John Gilmore; among a huge host of others. Introduction to the podcast voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Fue uno de los grandes virtuosos de la música popular nacional y falleció muy joven, con apenas 50 años, el 23 de octubre de 1977. Intérprete de armónica, cultor de la música de raíz folklórica, del tango y del jazz, de formación intuitiva, tocaba también violín, piano y contrabajo. Nació en Santiago del Estero, el 10 de agosto de 1927; con tan solo nueve años debutó como solista en una radio de su provincia natal y a los veinte años integró como bajista una banda de jazz. Su calidad cruzó las fronteras del país: Hohner, el principal fabricante de armónicas del mundo (de origen alemán), no sacaba un modelo nuevo al mercado si primero no tenía el visto bueno de Díaz. De hecho, fue el creador de un modo argentino de tocar la armónica, realizando notables trabajos tanto como ejecutante como compositor. Fue tal la dimensión de su conocimiento musical, que transitó cómodamente, desde Vivaldi a Jimi Hendrix, desde Ángel Villoldo a Horacio Salgán. En 1944 partió hacia Buenos Aires junto a, su hasta entonces amigo, Domingo Cura quien luego se convirtió en su cuñado dado que se casó con su hermana Victoria Cura, una cantora de bella voz. Fue contratado por un músico de jazz y director de orquestas características, Juan Carlos Barbará, que lo presentó como solista durante una temporada en la Confitería Hurlingham. En 1946, se destacó su presencia en el conjunto folklórico Chacay Manta, que tuvo buena recepción. El notable arpista paraguayo Félix Pérez Cardozo le abrió varias puertas que le permitieron llegar a los estudios de grabación, tras el trajín en numerosas peñas. A comienzos de los ´50 formó un trío junto a su colega de instrumento Luis Saltos, y el guitarrista Norberto Pereyra, a los que se sumó en el canto Victoria. Fue así que comenzaron a proyectarse a países de Latinoamérica hasta llegar a Estados Unidos, donde hicieron varias presentaciones que lo llevaron a compartir escenario con Louis Armstrong y Oscar Peterson. Luego, viajaron a Europa y, en Alemania, arribaron a la ciudad de Leverkusen, donde se encuentra la sede central de la fábrica de instrumentos Hohner, la marca de armónicas utilizadas por Hugo. En ese lugar fue tan grande el entusiasmo que causó con su talento, que pusieron su fotografía en la sala donde ya estaban las de los consagrados, Thielemans y Larry Adler, máximos exponentes, hasta aquel momento, del instrumento. A raíz de este reconocimiento surgieron muchas oportunidades, la más importante, un contrato para grabar con la orquesta de Waldo de los Ríos en España. A continuación se sucedieron sus actuaciones en Japón, en países de Medio Oriente, en las ciudades de Roma y de Milán. Su mayor dedicación fue el folklore, género en el que registró alrededor de setenta títulos repartidos en cinco discos de larga duración. También grabó jazz e incursionó en temas clásicos y el tango tuvo un lugar en su trayectoria y sus discos, con más de 80 versiones. Se destaca su producción con temas de Carlos Gardel y, en especial, sus recreaciones de “Soledad”, “Volver”, “Cuesta abajo” y “Amores de estudiante”. En esta fecha lo recordamos a partir de registros sonoros conservados en el Archivo Histórico de Radio Nacional. FICHA TÉCNICA Música y testimonios 2022-11-18 María Fernanda Heras (Locutora) Hugo Díaz (La Tempranera – La Folklórica) La Barranquera (Juan de Dios Gallo) Hugo Díaz [1954 “Antología Vol 2”] Tu Tremendo Silencio (Oscar Segundo Carrizo) Hugo Díaz y Los Hermanos Ibañez [1957 “Antología Vol 2”] Lección de Besos (Rauno Lehtinen) Hugo Díaz [1965 del Álbum “Antología Vol 3”] 2023-10-01 Claudio Kleiman (Periodista)  podcast Otra Historia (LRA1) La Olvidada (Hermanos Díaz) Eduardo Lagos y Hugo Díaz [1969 del Álbum “Así nos Gusta”] 2023 Franco Luciani (Musico) Hugo Díaz (Rincones de la Música – La Folklórica) Isla Saca (Santiago Cortesi ) Hugo Díaz [1975 del Álbum “En el Litoral”] Recuerdos de Ipacarai (Demetrio Ortiz - María Teresa Márquez)...

Esta semana, dedicamos un nuevo capítulo de Rebelión Sónica, al rescate patrimonial en vivo que el sello Cuneiform hizo de la legendaria banda británica, Soft Machine. Titulado “Høvikodden 1971”, el disco incluye dos shows grabados por el ingeniero Meny Bloch en el Centro de Arte Henie-Onstad, ubicado en la colina noruega de Høvikodden -a 10 kilómetros de Oslo-, los días 27 y 28 de febrero de 1971. En ese momento, la siempre cambiante alineación de la banda, estaba integrada por Elton Dean en saxo alto, saxello y Hohner pianet, Hugh Hopper en bajo, Mike Ratledge en Hohner pianet, órgano Lowrey Holiday Deluxe y Fender Rhodes y Robert Wyatt en batería y voces. Cuneiform explica que, si bien los dos sets interpretados la segunda noche se habían lanzado antes, esta es la primera vez que se edita la estadía de completa de dos noches en el promontorio de Noruega, por lo que la mitad del registro nunca se había escuchado antes. El sello agrega que se trata de “una excelente grabación estéreo de la banda tocando en una sala relativamente pequeña. Los equilibrios entre los instrumentos no están perfectamente balanceados, pero no hay otra grabación de Soft Machine que suene tanto como si la banda estuviera tocando *justo* frente a ti”. Cuneiform remata señalando que “además, pudimos mejorar de una manera modesta pero definitivamente notable el equilibrio no perfecto entre los instrumentos en esta edición”. En la parte final del programa, nos quedamos en el mismo año 1971 pero en la faceta en estudio de la banda, para escucharlos con música del fundamental álbum “Fourth”. Pueden escuchar Rebelión Sónica por radio Rockaxis todos los jueves a las 10 y 22 horas, como siempre, con la conducción de Héctor Aravena.

David Barrett joins me on episode 118.David is based in San Jose, California, where he took   lessons from Gary Smith from age 16, in addition to learning from great harmonica recordings. He started teaching harmonica himself from age 18 and has become one of the foremost harmonica educators around, with his BluesHarmonica.com website an invaluable resource. He ran the School of Blues for twenty years and has written over seventy instructional books, DVDs and CDs.David has four albums to his name, including two albums where he has collaborated with other harmonica players. These albums showcase his dedication to playing blues harmonica, where he has crafted harmonica parts from his lifelong study and love of the art form.Links:Website:https://www.bluesharmonica.com/School of Blues:https://www.schooloftheblues.com/Hohner profile page:https://www.hohner.de/en/david-barrettDavid's tuition books:https://www.melbay.com/AdvancedSearch/Default.aspx?SearchTerm=david+barrettVideos:David's YouTube channel:https://www.youtube.com/@bluesharmonicateacherPodcast website:https://www.harmonicahappyhour.comDonations:If you want to make a voluntary donation to help support the running costs of the podcast then please use this link (or visit the podcast website link above):https://paypal.me/harmonicahappyhour?locale.x=en_GBSpotify Playlist: Also check out the Spotify Playlist, which contains most of the songs discussed in the podcast:https://open.spotify.com/playlist/5QC6RF2VTfs4iPuasJBqwT?si=M-j3IkiISeefhR7ybm9qIQPodcast sponsors:This podcast is sponsored by SEYDEL harmonicas - visit the oldest harmonica factory in the world at www.seydel1847.com  or on Facebook or Instagram at SEYDEL HARMONICAS--------------------------------The Harmonica Company. Use promo code: 'happyhour7'.Email Jonathan at: sales@theharmonicacompany.com--------------------------------Blue Moon Harmonicas: https://bluemoonharmonicas.comSupport the Show.

Yvonnick Prene joins me on episode 117.Yvonnick was born in France and has been resident in New York for seventeen years after first moving to the city to study at the New School for Jazz & Contemporary Music.He started out playing blues and jazz on the diatonic and took lessons with some of the great French players, before focusing his attention playing jazz on the chromatic.Yvonnick is a bandleader and has released seven albums under his own name as well as numerous sessions as a sideman.He also runs the New Harmonica School in New York and the excellent online tutorial website My Harmonica Studio, as well as numerous tutorial books.Yvonnick is also the face of Hohner's new Xpression chromatic harmonica.Links:Website:https://www.yvonnickprene.com/Tuition website:https://www.myharmonicastudio.com/Henriksen amplifiers:https://www.henriksenamplifiers.com/Videos:Yvonnick's YouTube channel:https://www.youtube.com/channel/UCCRked2IhFUqTf92SHisizQYvonnick Prene & Manual Rocheman:https://www.youtube.com/watch?v=6O-y3YLahwYSlim Shady song:https://youtu.be/y6mgIJH6_EYNew York Harmonica School:https://www.youtube.com/watch?v=qcwEprk6rJ8Triste from Jobim's World album:https://youtu.be/nlztkwCXeKUPodcast website:https://www.harmonicahappyhour.comDonations:If you want to make a voluntary donation to help support the running costs of the podcast then please use this link (or visit the podcast website link above):https://paypal.me/harmonicahappyhour?locale.x=en_GBSpotify Playlist: Also check out the Spotify Playlist, which contains most of the songs discussed in the podcast:https://open.spotify.com/playlist/5QC6RF2VTfs4iPuasJBqwT?si=M-j3IkiISeefhR7ybm9qIQPodcast sponsors:This podcast is sponsored by SEYDEL harmonicas - visit the oldest harmonica factory in the world at www.seydel1847.com  or on Facebook or Instagram at SEYDEL HARMONICAS--------------------------------The Harmonica Company. Use promo code: 'happyhour7'.Email Jonathan at: sales@theharmonicacompany.com--------------------------------Blue Moon Harmonicas: https://bluemoonharmonicas.comSupport the Show.

Avec Tom Petty, Aerosmith, Billy Joel, Bob Dylan, Bruce Springsteen. En 1993, Tom Petty et son groupe, The Heartbreakers, sortent "Mary Jane's Last Dance" avec un solo d'harmonica signé Tom Petty. Dans les années 90, Steven Tyler d'Aerosmith en joue sur de nombreux morceaux, l'harmonica fait partie intégrante du son d'Aerosmith comme sur "Cryin". Steven Tyler qui a son propre harmonica signature, un diatonique de la marque allemande Hohner. Connu pour sa voix, son piano, le new-yorkais Billy Joel est très doué exemple sur le solo d'harmonica dans son 1er tube "Piano Man" en 1973. Bob Dylan et l'omniprésence de l'harmonica au début de sa carrière en fait son charme. Bruce Springsteen, disciple de Bob Dylan, utilise aussi l'harmonica dans ses albums les plus dépouillés, acoustiques, comme "The Ghost of Tom Joad". --- Du lundi au vendredi, Fanny Gillard et Laurent Rieppi vous dévoilent l'univers rock, au travers de thèmes comme ceux de l'éducation, des rockers en prison, les objets de la culture rock, les groupes familiaux et leurs déboires, et bien d'autres, chaque matin dans Coffee on the Rocks à 6h30 et rediffusion à 13h30 dans Lunch Around The Clock. Merci pour votre écoute Pour écouter Classic 21 à tout moment : www.rtbf.be/classic21 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Konstantin Reinfeld joins me on episode 103.Konstantin is a German who comes from the overblow school of harmonica, studying music at a conservatory and taking lessons from Howard Levy as part of his early development. He released a jazz album at age 18, with two more albums to follow before releasing a classical album played on the diatonic harmonica, for which he won a German Grammy award for classical music. On top of this Konstantin is a music producer, including producing his own recordings bringing the harmonica into a contemporary pop setting. He has a very active online presence and hosts harmonica interviews for the Hohner Live X series of YouTube videos.Links:Konstantin's website: https://www.konstantinreinfeld.comPatreon page:https://www.patreon.com/konstantinreinfeldCompositions for harmonica and piano:https://www.doerken-stiftung.de/foerderung/kompositionen-fuer-mundharmonika-als-gratisdownload/downloads-kompositionen-fuer-mundharmonika-und-klavierVideos:YouTube channel:https://www.youtube.com/@KonstantinReinfeldBody Heat with Benjamin Nuss:https://www.youtube.com/watch?v=_KEJzFcZgqg&list=TLGGMrKWZLRF3CoyMjAxMjAyNA&t=2sCinema Paradiso - Love Theme:https://youtu.be/ULj-GjL4nFA?si=D6G11zXwOCd32kvvInterview on Hohner channel with the 14 year old Konstantin:https://www.youtube.com/watch?v=vIPCFRTIJDUHohner Live X interview with Howard Levy:https://www.youtube.com/watch?v=X_DDBgcEViwCountry Harmonica Challenge:https://www.youtube.com/watch?v=glvupq6gpf8Don Toliver harmonica cover:https://www.youtube.com/watch?v=B2BVsMa5QiMPodcast website:https://www.harmonicahappyhour.comDonations:If you want to make a voluntary donation to help support the running costs of the podcast then please use this link (or visit the podcast website link above):https://paypal.me/harmonicahappyhour?locale.x=en_GBor sign-up to a monthly subscription to the podcast:https://www.buzzsprout.com/995536/supportSpotify Playlist:Also check out the Spotify Playlist, which contains most of the songs discussed in the podcast:https://open.spotify.com/playlist/5QC6RF2VTfs4iPuasJBqwT?si=M-j3IkiISeefhR7ybm9qIQPodcast sponsors:This podcast is sponsored by SEYDEL harmonicas - visit the oldest harmonica factory in the world at www.seydel1847.com  or on Facebook or Instagram at SEYDEL HARMONICASANDThe Harmonica Company. Use promo code: 'happyhour7'. Email Jonathan at: sales@theharmonicacompany.comSupport the show

Vitor Lopes joins me on episode 97.He is a Brazilian chromatic player who specialises in Choro music.Vitor tells us about the history of the harmonica in Brazil, starting out when Hohner opened a factory there in 1923, which later became the Hering factory. The availability of harmonicas in Brazil made the instrument very popular and spawned some tremendous players.In 2008 Vitor was awarded the APCA prize for the best Brazilian musician of the year. He has recorded several Choro albums with his bands, has toured in Europe several times and appears on numerous albums with other musicians. If you want to learn some Choro, Vitor has an online course available so you can play some of this wonderful music on the chromatic harmonica.Links:Chorando as Pitangas band website:https://chorandoaspitangas.comSoundcloud:https://soundcloud.com/vitor-lopes-harm/tracksVitor's Choro harmonica course:https://hotmart.com/en/marketplace/products/choro-harmonica-with-vitor-lopes/U51984467A?sck=HOTMART_SITEVideos:History of harmonica in Brazil: https://www.youtube.com/watch?v=nIF4-7Em_awEdu da Gaita playing Paganini's Moto Perpetuo:https://www.youtube.com/watch?v=1w8j_gfIEiUVitor's series of videos on Brazilian Choro music on harmonica:https://youtube.com/playlist?list=PLb7Pnj0vhWE3TcArNwNkjO4P9IQVCAbxA&si=Ai7wIhxP7LTXzrV-Concert with Chorando as Pitangas:https://youtu.be/Wbe2Dr0oi9s?si=IyiLCCHoiwHevJ2f With Ana Fridman: https://www.youtube.com/watch?v=GuxUvAEIPCMDuo with Pablo Fagundes: https://www.youtube.com/watch?v=s87mSjNEGJ8Vitor playing diatonic: https://www.youtube.com/watch?v=S-RtOdozKdwSuzuki condenser mic  overview from Joe Powers:https://www.youtube.com/watch?v=iQKs3yFRIncPodcast website:https://www.harmonicahappyhour.comDonations:If you want to make a voluntary donation to help support the running costs of the podcast then please use this link (or visit the podcast website link above):https://paypal.me/harmonicahappyhour?locale.x=en_GBor sign-up to a monthly subscription to the podcast:https://www.buzzsprout.com/995536/supportSpotify Playlist:Also check out the Spotify Playlist, which contains most of the songs discussed in the podcast:https://open.spotify.com/playlist/5QC6RF2VTfs4iPuasJBqwT?si=M-j3IkiISeefhR7ybm9qIQPodcast sponsors:This podcast is sponsored by SEYDEL harmonicas - visit the oldest harmonica factory in the world at www.seydel1847.com  or on Facebook or Instagram Support the show

When Hohner, the world's largest harmonica manufacturer, changed its flagship model (and in the process, its signature sound), a few musicians and harp customizers waged a quiet rebellion—and won."The Return of the Harmonica" originally appeared in Craftsmanship, a digital magazine about master artisans and innovators, and the architecture of excellence. You'll find many more stories, videos, audio recordings, and other resources on our site — free of charge and free of ads.Written by BEN MARKSIntroduction by KATHERINE MONAHANNarrated by GORAN NORQUISTProduced by KATHERINE MONAHANMusic by MIKE SNOWDEN / BLUE DOT SESSIONS

Marcos Coll joins me on episode 86.Marcos is a Spaniard who has been living in Berlin for the last twenty years. Marcos rose to fame at a young age on the Spanish blues scene playing with the Tonky Blues Band before forming the the Los Reyes del KO band, touring the world and sharing the stage with many famous names.Moving to Berlin in 2004, Marcos became a regular on the vibrant blues scene in Germany and recorded with many great artists.In addition to playing blues, Marcos likes to mix modern beats such as hip hop into the blues, as well as playing traditional Spanish and Latin music, including cutting a Latin song with Charlie Musselwhite.Marcos has an online tuition site called Harp and Soul, has been a judge at the Trossingen World Harmonica Championship and is a regular at Seoul, and other harmonica festivals.Links:Marcos's website:https://marcoscoll.com/Online tuition website:http://harpandsoul.info/enVideos:With Los Mighty Calacas at World Harmonica Festival 2013:https://www.youtube.com/watch?v=cLcLlgcJHLULatin workshop at Hohner masters 2022:https://youtu.be/9Qi0nxFsJbgChan Chan song, playing chord harp (and others) also effect part way thruhttps://youtu.be/_sBZj8CoB6QMarcos rapping on basketball anthem:https://www.youtube.com/watch?v=-yHcGFfXVTgHarp and Soul tuition introduction:https://youtu.be/ErHO7pI64HESeoul festival, playing with Antonio Serrano:https://youtu.be/ks88GMCDj_sPodcast website:https://www.harmonicahappyhour.comDonations:If you want to make a voluntary donation to help support the running costs of the podcast then please use this link (or visit the podcast website link above):https://paypal.me/harmonicahappyhour?locale.x=en_GBSpotify Playlist: Also check out the Spotify Playlist, which contains most of the songs discussed in the podcast:https://open.spotify.com/playlist/5QC6RF2VTfs4iPuasJBqwT?si=M-j3IkiISeefhR7ybm9qIQPodcast sponsors:This podcast is sponsored by SEYDEL harmonicas - visit the oldest harmonica factory in the world at www.seydel1847.com  or on Facebook or Instagram at SEYDEL HARMONICAS

Send us a Text Message.In this captivating interview with the YouTube Channel "Over on the Wild Side," we delve deep into the world of living history, living off grid, and camping. Join us as we explore the fascinating life of this adventurous man and learn about their unique experiences living off the land.From their passion for recreating historical moments to their impressive self-sustainable lifestyle, "Over on the Wild Side" offers a wealth of knowledge and insights on how to live harmoniously with nature. Discover their secrets to successful camping trips and learn his secrets for how he camps and lives comfortably in the wild. Find out how they maintain their off-grid lifestyle, and the joys and challenges that come with it.Through their engaging stories and practical advice, you'll gain a new appreciation for the natural world and be inspired to venture off the beaten path. Join us for this exciting interview with "Over on the Wild Side," and get ready to explore the wild side of life!Join my monthly newsletter full of useful historic information, camping tips and tricks, photos, and updates with what is coming up!My monthly podcast is LIVE on all podcasting platforms, check out Campfire Chats With Honorable Outfitters! Check out my website for more in depth information and close up pictures on the Artifacts Pages! If you are interested in my axe sheath patterns or my early 1900's cookbook please send me an email at mrdyersmusings@honorableoutfitters.com!Don't forget to subscribe! What I like to use in the field:BOY SCOUT MESS KIT modern update: THEROZ MESS KIT modern update: Hand Warmer: Hand Warmer Fuel: Boker Trapper Pocket Knife: Old Timer Jack Knife: Old Hickory "Kephart": Old Hickory fish knife:Sewing Kit: Marble's Match Case: Bayite Ferro Rod: Flint and Steel Kit: Small storage Tins: Blanket Pins: Graniteware cup: "Classic White" enamelware mug: Hohner "Pocket Pal" harmonica: "Scout Rope": Stonebridge Folding Lantern: Rope Lighter: Tube Whistle: Sewing Kit: "Awl for All" equipment repair: Bow Friction Fire Kit: Bar Towels:  Support the Show.

Meet Marissa: Marissa kickstarted her professional career in 2012 gaining invaluable sales and marketing experience within a large corporation. She enjoyed the structure that corporate-life offered, but ultimately made the decision to transition over to a small agency focused in event design and production and immediately felt at home. After spending close to 5 years managing and growing teams, nurturing existing relationships, fostering new partnerships, and overseeing executive level operations the pandemic brought the industry that she loved to an immediate standstill. She wasn't ready to give up on the industry that fed her passion for creativity and connection. After a year of event cancellations her partner asked her “Well, what do you really want to do?”. She simply responded with “I just want to do cool sh*t and have a good time". And with that, Marissa launched Good Time Creative in January of 2021.Good Time Creative is a female-owned creative design and production agency. GTC is operated by fearless creatives who have a specialized expertise in the live event industry. We thrive on creativity and push the boundaries of experiential development.Website:  https://www.goodtimecreative.comInstagram: https://www.instagram.com/goodtimecreativecoFacebook: https://www.facebook.com/GoodTimeCreativeCoTwitter: https://twitter.com/goodtmcreativePinterest: https://www.pinterest.com/goodtimecreative_coWhat You'll Learn in this Episode:Best event planning or time management tips especially when it comes to staying organized and getting everything done with trade shows.Some things she's seen whether it's clients she works with or on the trade show floor to get the most out of ExpoWest, Specialty Food Association - Fancy Food Shows, Sweets & Snacks Expo, or any food trade showsWhat you can expect from some of her 11 clients exhibiting at ExpoWest this year. What makes a good event strategy and ROI tips.Planning/goals/tips for a brand to focus on pre-show, during, post showBrand activations, pop-ups come back post-pandemic.How she nurtures professional and self development; either with new skill sets or keeping up the event industry trends.About Us - Women Who Brunch:Women Who Brunch is a community for women who love connecting, networking, and learning from each other over the most important meal of the week...BRUNCH!Visit our website for updates on events, recipes, brunch spots, product reviews and more or say hi on Instagram!Instagram: https://www.instagram.com/womenwhobrunchWebsite: https://womenwhobrunch.com

Rocky Lok joins me on episode 79.Rocky lives in Hong Kong, where there is a vibrant harmonica scene. Harmonica is taught in many schools there, which is how Rocky got started playing himself almost 50 years ago. He went on to become part of the King's Harmonica Quintet which has played many prestigious concerts, including in front of an audience of twenty thousand, as part of the 2008 Beijing Olympics torch procession and winning the group competition at the World Harmonica Championship in Trossingen. Rocky is a former president of the Hong Kong Harmonica Association where he was involved in setting-up the Asia Pacific Harmonica Festival and is regular judge in the competitions. He also helped organise the current Guinness world record of the most harmonicas playing together, officially 6131 people in Hong Kong.Links:King's Harmonica Quintet:www.KHQ.HK  Hong Kong Harmonica Association: www.hkharmonica.orgThe first Hong Kong International Chromatic Harmonica Competition, 2022: www.ICHC.hkharmonica.orgThe first Hong Kong International Composition Competition for Chromatic Harmonica 2021: https://iccch.hkharmonica.org/Details on the different chromatics Rocky plays:https://www.myharmonicastudio.com/rocky-lok-incredible-harmonica-collection/The 13th Asia Pacific Harmonica Festival 2022:http://hxharmonica.com/en/index.aspUpcoming King's Harmonica Quintet show:https://www.hk.artsfestival.org/en/programme/kings_harmonica_quintetVideos:King's Harmonica Quintet playlist:https://youtube.com/playlist?list=PL1NSxVDARfeZu9bfK9iviZlnBZGCMU2nMRocky playing solo:https://www.youtube.com/watch?v=WEiWkVf_Fbs&list=PL1NSxVDARfeYAmUSmjwMlGpCVpdgW_ZxGRocky interview with Hohner from 2012:https://www.hohner.de/en/rocky-lokThe 13th Asia Pacific Harmonica Festival 2022 concert:https://www.youtube.com/watch?v=9wJyOhzjBa0&list=PL1NSxVDARfealNufMH0jw_sum_cYRbM2qPodcast website:https://www.harmonicahappyhour.comDonations:If you want to make a voluntary donation to help support the running costs of the podcast then please use this link (or visit the podcast website link above):https://paypal.me/harmonicahappyhour?locale.x=en_GBSpotify Playlist: Also check out the Spotify Playlist, which contains most of the songs discussed in the podcast:https://open.spotify.com/playlist/5QC6RF2VTfs4iPuasJBqwT?si=M-j3IkiISeefhR7ybm9qIQPodcast sponsors:This podcast is sponsored by SEYDEL harmonicas - visit the oldest harmonica factory in the world at www.seydel1847.com  or on Facebook or Instagram at SEYDEL HARMONICASand Blows Me Away Productions: http://www.blowsmeaway.com/

This is an introduction to accordion lessons for beginners. Two small accordions are being used, one by Yamaha with 25 keys and 12 bass. The other is by Hohner with 26 Keys 12.5"(32cm) Key to Key 3 Registers Bass: 48 Bass Buttons 0 Registers Weight: 12lbs / 5.5kg Features: Affordable entry level model. The song we're working on is Bella Notte from the Disney movie Lady and The Tramp. It's the song in the spaghetti scene with accordion and mandolin. We're calling these episodes "A Rough Guide to Music & Travels" with Darlene playing accordion and keyboard. Thank you for watching.

We don't normally get too deep into politics, but tonight we bring in local pundit, Chad Hohner to get his unique insights into the upcoming mid-term elections. Chad brings us everything from a foundational explanation of the structure of our government to the most hotly contested races including, a candidate that may be on the run, a race between a candidate and his own doctor, an election that might not even be allowed to take place and much, much more! Trust me when I say, you will not here election analysis like this anywhere else! Enjoy!

Tad Robinson (born June 24, 1956) is an American singer, harmonica player, and songwriter. Robinson was born and raised in New York City. He graduated the New Lincoln School and attended Indiana University's school of music and graduating in 1980. He played regionally with a group called the Hesitation Blues Band, then moved to Chicago, where he became the vocalist for Dave Specter & the Bluebirds, singing on their 1994 album Blueplicity for Delmark Records. In 1994, he released his first album under his own name on the same label; seven more have followed, five on the Severn imprint. Robinson has performed at notable festivals in several countries, including the United States, Austria, Belgium, France, Germany, the Netherlands, and Switzerland. He has been a Hohner harmonica endorsee since 1985. Tad Robinson https://tadrobinson.com/ Mark Hummel www.markhummel.com Patreon https://www.patreon.com/markhummel Accidental Productions https://www.youtube.com/channel/UCOOnWFbj8SGiV34ixhO0Cwg

Heumann, Marcuswww.deutschlandfunk.de, BüchermarktDirekter Link zur Audiodatei

Hueck, Carstenwww.deutschlandfunk.de, BüchermarktDirekter Link zur Audiodatei

Heumann, Marcuswww.deutschlandfunk.de, Andruck - Das Magazin für Politische LiteraturDirekter Link zur Audiodatei

Gerhard Mueller joins me on episode 59.Gerhard is the Product Manager for Hohner harmonicas, a role he has held for 28 years. His father worked as a gardener at the Hohner factory in Trossingen, and as well as getting his son harmonica lessons, he even had a hand in helping Gerhard land his dream job at Hohner.Gerhard talks us through the fascinating history of Hohner and how it was established as the leading harmonica brand in the world having sold over 1 billion harmonicas since the company began. Gerhard tells us all about Hohner's harmonica offerings as well as some of the accessories offered and the yearly events hosted in Trossingen.Gerhard is also a fine chromatic player himself, having been part of the Hohnerklang Orchestra in Trossingen for over 25 years, he also regularly performs in his harmonica quartet Harmonicamento. Links:Hohner website:https://www.hohner.deTrossingen harmonica museum:https://www.hohner.de/en/community/harmonica-museumMarine Band 125 in 2021:https://www.hohner.de/#youtube-1Harmonicamento quartet:http://www.harmonicamento.de/Toots Thielemans 100th birthday concert:https://www.bozar.be/en/calendar/toots-thielemans-100th-anniversary-official-concertOther Toots 100th birthday celebrations in Brussels:https://www.thebulletin.be/toots-100-brussels-launches-centenary-celebration-jazz-giants-birthHohner endorsees:https://www.hohner.de/en/community/artistsCShop for parts:http://www.hohner-cshop.de/en/home/Harmonica Masters Workshop, happening in June 2022:https://www.harmonica-masters.de/en/Videos: Sheng harmonica:https://www.youtube.com/watch?v=SWt4mf3whxwHarpin' By The Sea Hohner presentation (including Trossingen Factory Tour):https://www.youtube.com/watch?v=PuRqqT_eSIMHarmonicamento at SPAH in 2011:https://www.youtube.com/watch?v=-fmxly46ewMSteve Baker discussing the HB52 microphone:https://www.youtube.com/watch?v=5a9V8Grhmr4Bonny B:https://www.youtube.com/watch?v=3lvNqIOtpfUFrenzelosa (outro song played by Gerhard):https://www.youtube.com/watch?v=bA-dqL2HAYAPodcast website:https://www.harmonicahappyhour.comDonations: If you want to make a voluntary donation to help support the running costs of the podcast then please use this link (or visit the podcast website link above):https://paypal.me/harmonicahappyhour?locale.x=en_GBAlso check out the Spotify Playlist, which contains many of the songs discussed in the podcast:https://open.spotify.com/playlist/5QC6RF2VTfs4iPuasJBqwT?si=M-j3IkiISeefhR7ybm9qIQ

Episode 143 of A History of Rock Music in Five Hundred Songs looks at “Summer in the City'”, and at the short but productive career of the Lovin' Spoonful.  Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "The Sun Ain't Gonna Shine Any More" by the Walker Brothers and the strange career of Scott Walker. 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 As usual, all the songs excerpted in the podcast can be heard in full at Mixcloud. This box set contains all four studio albums by the Lovin' Spoonful, plus the one album by "The Lovin' Spoonful featuring Joe Butler", while this CD contains their two film soundtracks (mostly inessential instrumental filler, apart from "Darling Be Home Soon") Information about harmonicas and harmonicists comes from Harmonicas, Harps, and Heavy Breathers by Kim Field. There are only three books about the Lovin' Spoonful, but all are worth reading. Do You Believe in Magic? by Simon Wordsworth is a good biography of the band, while his The Magic's in the Music is a scrapbook of press cuttings and reminiscences. Meanwhile Steve Boone's Hotter Than a Match Head: My Life on the Run with the Lovin' Spoonful has rather more discussion of the actual music than is normal in a musician's autobiography. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Let's talk about the harmonica for a while. The harmonica is an instrument that has not shown up a huge amount in the podcast, but which was used in a fair bit of the music we've covered. We've heard it for example on records by Bo Diddley: [Excerpt: Bo Diddley, "I'm a Man"] and by Bob Dylan: [Excerpt: Bob Dylan, "Blowin' in the Wind"] and the Rolling Stones: [Excerpt: The Rolling Stones, "Little Red Rooster"] In most folk and blues contexts, the harmonicas used are what is known as a diatonic harmonica, and these are what most people think of when they think of harmonicas at all. Diatonic harmonicas have the notes of a single key in them, and if you want to play a note in another key, you have to do interesting tricks with the shape of your mouth to bend the note. There's another type of harmonica, though, the chromatic harmonica. We've heard that a time or two as well, like on "Love Me Do" by the Beatles: [Excerpt: The Beatles, "Love Me Do"] Chromatic harmonicas have sixteen holes, rather than the diatonic harmonica's ten, and they also have a slide which you can press to raise the note by a semitone, meaning you can play far more notes than on a diatonic harmonica -- but they're also physically harder to play, requiring a different kind of breathing to pull off playing one successfully. They're so different that John Lennon would distinguish between the two instruments -- he'd describe a chromatic harmonica as a harmonica, but a diatonic harmonica he would call a harp, like blues musicians often did: [Excerpt: The Beatles, "Love These Goon Shows"] While the chromatic harmonica isn't a particularly popular instrument in rock music, it is one that has had some success in other fields. There have been some jazz and light-orchestral musicians who have become famous playing the instrument, like the jazz musician Max Geldray, who played in those Goon Shows the Beatles loved so much: [Excerpt: Max Geldray, "C-Jam Blues"] And in the middle of the twentieth century there were a few musicians who succeeded in making the harmonica into an instrument that was actually respected in serious classical music. By far the most famous of these was Larry Adler, who became almost synonymous with the instrument in the popular consciousness, and who reworked many famous pieces of music for the instrument: [Excerpt: Larry Adler, "Rhapsody in Blue"] But while Adler was the most famous classical harmonicist of his generation, he was not generally considered the best by other musicians. That was, rather, a man named John Sebastian. Sebastian, who chose to take his middle name as a surname partly to Anglicise his name but also, it seems, at least in part as tribute to Johann Sebastian Bach (which incidentally now makes it really, really difficult to search for copies of his masterwork "John Sebastian Plays Bach", as Internet searches uniformly think you're searching just for the composer...) started out like almost all harmonica players as an amateur playing popular music. But he quickly got very, very, good, and by his teens he was already teaching other children, including at a summer camp run by Albert Hoxie, a musician and entrepreneur who was basically single-handedly responsible for the boom in harmonica sales in the 1920s and 1930s, by starting up youth harmonica orchestras -- dozens or even hundreds of kids, all playing harmonica together, in a semi-militaristic youth organisation something like the scouts, but with harmonicas instead of woggles and knots. Hoxie's group and the various organisations copying it led to there being over a hundred and fifty harmonica orchestras in Chicago alone, and in LA in the twenties and thirties a total of more than a hundred thousand children passed through harmonica orchestras inspired by Hoxie. Hoxie's youth orchestras were largely responsible for the popularity of the harmonica as a cheap instrument for young people, and thus for its later popularity in the folk and blues worlds. That was only boosted in the Second World War by the American Federation of Musicians recording ban, which we talked about in the early episodes of the podcast -- harmonicas had never been thought of as a serious instrument, and so most professional harmonica players were not members of the AFM, but were considered variety performers and were part of the American Guild of Variety Artists, along with singers, ukulele players, and musical saw players. Of course, the war did also create a problem, because the best harmonicas were made in Germany by the Hohner company, but soon a lot of American companies started making cheap harmonicas to fill the gap in the market. There's a reason the cliche of the GI in a war film playing a harmonica in the trenches exists, and it's largely because of Hoxie. And Hoxie was based in Philadelphia, where John Sebastian lived as a kid, and he mentored the young player, who soon became a semi-professional performer. Sebastian's father was a rich banker, and discouraged him from becoming a full-time musician -- the plan was that after university, Sebastian would become a diplomat. But as part of his preparation for that role, he was sent to spend a couple of years studying at the universities of Rome and Florence, learning about Italian culture. On the boat back, though, he started talking to two other passengers, who turned out to be the legendary Broadway songwriting team Rodgers and Hart, the writers of such classic songs as "Blue Moon" and "My Funny Valentine": [Excerpt: Ella Fitzgerald, "My Funny Valentine"] Sebastian talked to his new friends, and told them that he was feeling torn between being a musician and being in the foreign service like his father wanted. They both told him that in their experience some people were just born to be artists, and that those people would never actually find happiness doing anything else. He took their advice, and decided he was going to become a full-time harmonica player. He started out playing in nightclubs, initially playing jazz and swing, but only while he built up a repertoire of classical music. He would rehearse with a pianist for three hours every day, and would spend the rest of his time finding classical works, especially baroque ones, and adapting them for the harmonica. As he later said “I discovered sonatas by Telemann, Veracini, Bach, Handel, Vivaldi, Hasse, Marcello, Purcell, and many others, which were written to be played on violin, flute, oboe, musette, even bagpipes... The composer seemed to be challenging each instrument to create the embellishments and ornaments to suit its particular voice. . . . I set about choosing works from this treasure trove that would best speak through my instrument.” Soon his nightclub repertoire was made up entirely of these classical pieces, and he was making records like John Sebastian Plays Bach: [Excerpt: John Sebastian, "Flute Sonata in B Minor BWV1030 (J.S. Bach)"] And while Sebastian was largely a lover of baroque music above all other forms, he realised that he would have to persuade new composers to write new pieces for the instrument should he ever hope for it to have any kind of reputation as a concert instrument, so he persuaded contemporary composers to write pieces like George Kleinsinger's "Street Corner Concerto", which Sebastian premiered with the New York Philharmonic: [Excerpt: John Sebastian, "Street Corner Concerto"] He became the first harmonica player to play an entirely classical repertoire, and regarded as the greatest player of his instrument in the world. The oboe player Jay S Harrison once wrote of seeing him perform "to accomplish with success a program of Mr. Sebastian's scope is nothing short of wizardry. . . . He has vast technical facility, a bulging range of colors, and his intentions are ever musical and sophisticated. In his hands the harmonica is no toy, no simple gadget for the dispensing of homespun tunes. Each single number of the evening was whittled, rounded, polished, and poised. . . . Mr. Sebastian's playing is uncanny." Sebastian came from a rich background, and he managed to earn enough as a classical musician to live the lifestyle of a rich artistic Bohemian. During the forties and fifties he lived in Greenwich Village with his family -- apart from a four-year period living in Rome from 1951 to 55 -- and Eleanor Roosevelt was a neighbour, while Vivian Vance, who played Ethel Mertz on I Love Lucy, was the godmother of his eldest son. But while Sebastian's playing was entirely classical, he was interested in a wider variety of music. When he would tour Europe, he would often return having learned European folk songs, and while he was living in Greenwich Village he would often be visited by people like Burl Ives, Woody Guthrie, and other folk singers living in the area. And that early influence rubbed off on Sebastian's son, John Benson Sebastian, although young John gave up trying to learn the harmonica the first time he tried, because he didn't want to be following too closely in his father's footsteps. Sebastian junior did, though, take up the guitar, inspired by the first wave rock and rollers he was listening to on Alan Freed's show, and he would later play the harmonica, though the diatonic harmonica rather than the chromatic. In case you haven't already figured it out, John Benson Sebastian, rather than his father, is a principal focus of this episode, and so to avoid confusion, from this point on, when I refer to "John Sebastian" or "Sebastian" without any qualifiers, I'm referring to the younger man. When I refer to "John Sebastian Sr" I'm talking about the father. But it was John Sebastian Sr's connections, in particular to the Bohemian folk and blues scenes, which gave his more famous son his first connection to that world of his own, when Sebastian Sr appeared in a TV show, in November 1960, put together by Robert Herridge, a TV writer and producer who was most famous for his drama series but who had also put together documentaries on both classical music and jazz, including the classic performance documentary The Sound of Jazz. Herridge's show featured both Sebastian Sr and the country-blues player Lightnin' Hopkins: [Excerpt: Lightnin' Hopkins, "Blues in the Bottle"] Hopkins was one of many country-blues players whose career was having a second wind after his discovery by the folk music scene. He'd been recording for fourteen years, putting out hundreds of records, but had barely performed outside Houston until 1959, when the folkies had picked up on his work, and in October 1960 he had been invited to play Carnegie Hall, performing with Pete Seeger and Joan Baez. Young John Sebastian had come along with his dad to see the TV show be recorded, and had an almost Damascene conversion -- he'd already heard Hopkins' recordings, but had never seen anything like his live performances. He was at that time attending a private boarding school, Blair Academy, and his roommate at the school also had his own apartment, where Sebastian would sometimes stay. Soon Lightnin' Hopkins was staying there as well, as somewhere he could live rent-free while he was in New York. Sebastian started following Hopkins around and learning everything he could, being allowed by the older man to carry his guitar and buy him gin, though the two never became close. But eventually, Hopkins would occasionally allow Sebastian to play with him when he played at people's houses, which he did on occasion. Sebastian became someone that Hopkins trusted enough that when he was performing on a bill with someone else whose accompanist wasn't able to make the gig and Sebastian put himself forward, Hopkins agreed that Sebastian would be a suitable accompanist for the evening. The singer he accompanied that evening was a performer named Valentine Pringle, who was a protege of Harry Belafonte, and who had a similar kind of sound to Paul Robeson. Sebastian soon became Pringle's regular accompanist, and played on his first album, I Hear America Singing, which was also the first record on which the great trumpet player Hugh Masakela played. Sadly, Paul Robeson style vocals were so out of fashion by that point that that album has never, as far as I can tell, been issued in a digital format, and hasn't even been uploaded to YouTube.  But this excerpt from a later recording by Pringle should give you some idea of the kind of thing he was doing: [Excerpt: Valentine Pringle, "Go 'Way From My Window"] After these experiences, Sebastian started regularly going to shows at Greenwich Village folk clubs, encouraged by his parents -- he had an advantage over his peers because he'd grown up in the area and had artistic parents, and so he was able to have a great deal of freedom that other people in their teens weren't. In particular, he would always look out for any performances by the great country blues performer Mississippi John Hurt. Hurt had made a few recordings for Okeh records in 1928, including an early version of "Stagger Lee", titled "Stack O'Lee": [Excerpt: Mississippi John Hurt, "Stack O'Lee Blues"] But those records had been unsuccessful, and he'd carried on working on a farm. and not performed other than in his tiny home town of Avalon, Mississippi, for decades. But then in 1952, a couple of his tracks had been included on the Harry Smith Anthology, and as a result he'd come to the attention of the folk and blues scholar community. They'd tried tracking him down, but been unable to until in the early sixties one of them had discovered a track on one of Hurt's records, "Avalon Blues", and in 1963, thirty-five years after he'd recorded six flop singles, Mississippi John Hurt became a minor star, playing the Newport Folk Festival and appearing on the Tonight Show. By this time, Sebastian was a fairly well-known figure in Greenwich Village, and he had become quite a virtuoso on the harmonica himself, and would walk around the city wearing a holster-belt containing harmonicas in a variety of different keys. Sebastian became a huge fan of Hurt, and would go and see him perform whenever Hurt was in New York. He soon found himself first jamming backstage with Hurt, and then performing with him on stage for the last two weeks of a residency. He was particularly impressed with what he called Hurt's positive attitude in his music -- something that Sebastian would emulate in his own songwriting. Sebastian was soon invited to join a jug band, called the Even Dozen Jug Band. Jug band music was a style of music that first became popular in the 1920s, and had many of the same musical elements as the music later known as skiffle. It was played on a mixture of standard musical instruments -- usually portable, "folky" ones like guitar and harmonica -- and improvised homemade instruments, like the spoons, the washboard, and comb and paper. The reason they're called jug bands is because they would involve someone blowing into a jug to make a noise that sounded a bit like a horn -- much like the coffee pot groups we talked about way back in episode six. The music was often hokum music, and incorporated elements of what we'd now call blues, vaudeville, and country music, though at the time those genres were nothing like as distinct as they're considered today: [Excerpt: Cincinnati Jug Band, "Newport Blues"] The Even Dozen Jug Band actually ended up having thirteen members, and it had a rather remarkable lineup. The leader was Stefan Grossman, later regarded as one of the greatest fingerpicking guitarists in America, and someone who will be coming up in other contexts in future episodes I'm sure, and they also featured David Grisman, a mandolin player who would later play with the Grateful Dead among many others;  Steve Katz, who would go on to be a founder member of Blood, Sweat and Tears and produce records for Lou Reed; Maria D'Amato, who under her married name Maria Muldaur would go on to have a huge hit with "Midnight at the Oasis"; and Joshua Rifkin, who would later go on to become one of the most important scholars of Bach's music of the latter half of the twentieth century, but who is best known for his recordings of Scott Joplin's piano rags, which more or less single-handedly revived Joplin's music from obscurity and created the ragtime revival of the 1970s: [Excerpt: Joshua Rifkin, "Maple Leaf Rag"] Unfortunately, despite the many talents involved, a band as big as that was uneconomical to keep together, and the Even Dozen Jug Band only played four shows together -- though those four shows were, as Muldaur later remembered, "Carnegie Hall twice, the Hootenanny television show and some church". The group did, though, make an album for Elektra records, produced by Paul Rothchild. Indeed, it was Rothchild who was the impetus for the group forming -- he wanted to produce a record of a jug band, and had told Grossman that if he got one together, he'd record it: [Excerpt: The Even Dozen Jug Band, "On the Road Again"] On that album, Sebastian wasn't actually credited as John Sebastian -- because he was playing harmonica on the album, and his father was such a famous harmonica player, he thought it better if he was credited by his middle name, so he was John Benson for this one album. The Even Dozen Jug Band split up after only a few months, with most of the band more interested in returning to university than becoming professional musicians, but Sebastian remained in touch with Rothchild, as they both shared an interest in the drug culture, and Rothchild started using him on sessions for other artists on Elektra, which was rapidly becoming one of the biggest labels for the nascent counterculture. The first record the two worked together on after the Even Dozen Jug Band was sparked by a casual conversation. Vince Martin and Fred Neil saw Sebastian walking down the street wearing his harmonica holster, and were intrigued and asked him if he played. Soon he and his friend Felix Pappalardi were accompanying Martin and Neil on stage, and the two of them were recording as the duo's accompanists: [Excerpt: Vince Martin and Fred Neil, "Tear Down the Walls"] We've mentioned Neil before, but if you don't remember him, he was one of the people around whom the whole Greenwich Village scene formed -- he was the MC and organiser of bills for many of the folk shows of the time, but he's now best known for writing the songs "Everybody's Talkin'", recorded famously by Harry Nilsson, and "The Dolphins", recorded by Tim Buckley. On the Martin and Neil album, Tear Down The Walls, as well as playing harmonica, Sebastian acted essentially as uncredited co-producer with Rothchild, but Martin and Neil soon stopped recording for Elektra. But in the meantime, Sebastian had met the most important musical collaborator he would ever have, and this is the start of something that will become a minor trend in the next few years, of important musical collaborations happening because of people being introduced by Cass Elliot. Cass Elliot had been a singer in a folk group called the Big 3 -- not the same group as the Merseybeat group -- with Tim Rose, and the man who would be her first husband, Jim Hendricks (not the more famous guitarist of a similar name): [Excerpt: Cass Elliot and the Big 3, "The Banjo Song"] The Big 3 had split up when Elliot and Hendricks had got married, and the two married members had been looking around for other musicians to perform with, when coincidentally another group they knew also split up. The Halifax Three were a Canadian group who had originally started out as The Colonials, with a lineup of Denny Doherty, Pat LaCroix and Richard Byrne. Byrne didn't turn up for a gig, and a homeless guitar player, Zal Yanovsky, who would hang around the club the group were playing at, stepped in. Doherty and LaCroix, much to Yanovsky's objections, insisted he bathe and have a haircut, but soon the newly-renamed Halifax Three were playing Carnegie Hall and recording for Epic Records: [Excerpt: The Halifax Three, "When I First Came to This Island"] But then a plane they were in crash-landed, and the group took that as a sign that they should split up. So they did, and Doherty and Yanovsky continued as a duo, until they hooked up with Hendricks and Elliot and formed a new group, the Mugwumps. A name which may be familiar if you recognise one of the hits of a group that Doherty and Elliot were in later: [Excerpt: The Mamas and the Papas, "Creeque Alley"] But we're skipping ahead a bit there. Cass Elliot was one of those few people in the music industry about whom it is impossible to find anyone with a bad word to say, and she was friendly with basically everyone, and particularly good at matching people up with each other. And on February the 7th 1964, she invited John Sebastian over to watch the Beatles' first performance on the Ed Sullivan Show. Like everyone in America, he was captivated by the performance: [Excerpt: The Beatles, "I Want to Hold Your Hand (live on the Ed Sullivan Show)"] But Yanovsky was also there, and the two played guitar together for a bit, before retreating to opposite sides of the room. And then Elliot spent several hours as a go-between, going to each man and telling him how much the other loved and admired his playing and wanted to play more with him. Sebastian joined the Mugwumps for a while, becoming one of the two main instrumentalists with Yanovsky, as the group pivoted from performing folk music to performing Beatles-inspired rock. But the group's management team, Bob Cavallo and Roy Silver, who weren't particularly musical people, and whose main client was the comedian Bill Cosby, got annoyed at Sebastian, because he and Yanovsky were getting on *too* well musically -- they were trading blues licks on stage, rather than sticking to the rather pedestrian arrangements that the group was meant to be performing -- and so Silver fired Sebastian fired from the group. When the Mugwumps recorded their one album, Sebastian had to sit in the control room while his former bandmates recorded with session musicians, who he thought were nowhere near up to his standard: [Excerpt: The Mugwumps, "Searchin'"] By the time that album was released, the Mugwumps had already split up. Sebastian had continued working as a session musician for Elektra, including playing on the album The Blues Project, which featured white Greenwich Village folk musicians like Eric Von Schmidt, Dave Van Ronk, and Spider John Koerner playing their versions of old blues records, including this track by Geoff Muldaur, which features Sebastian on harmonica and "Bob Landy" on piano -- a fairly blatant pseudonym: [Excerpt: Geoff Muldaur, "Downtown Blues"] Sebastian also played rhythm guitar and harmonica on the demos that became a big part of Tim Hardin's first album -- and his fourth, when the record company released the remaining demos. Sebastian doesn't appear to be on the orchestrated ballads that made Hardin's name -- songs like "Reason to Believe" and "Misty Roses" -- but he is on much of the more blues-oriented material, which while it's not anything like as powerful as Hardin's greatest songs, made up a large part of his repertoire: [Excerpt: Tim Hardin, "Ain't Gonna Do Without"] Erik Jacobsen, the producer of Hardin's records, was impressed enough by Sebastian that he got Sebastian to record lead vocals, for a studio group consisting of Sebastian, Felix Pappalardi, Jerry Yester and Henry Diltz of the Modern Folk Quartet, and a bass singer whose name nobody could later remember. The group, under the name "Pooh and the Heffalumps", recorded two Beach Boys knockoffs, "Lady Godiva" and "Rooty Toot", the latter written by Sebastian, though he would later be embarrassed by it and claim it was by his cousin: [Excerpt: Pooh and the Heffalumps, "Rooty Toot"] After that, Jacobsen became convinced that Sebastian should form a group to exploit his potential as a lead singer and songwriter. By this point, the Mugwumps had split up, and their management team had also split, with Silver taking Bill Cosby and Cavallo taking the Mugwumps, and so Sebastian was able to work with Yanovsky, and the putative group could be managed by Cavallo. But Sebastian and Yanovsky needed a rhythm section. And Erik Jacobsen knew a band that might know some people. Jacobsen was a fan of a Beatles soundalike group called the Sellouts, who were playing Greenwich Village and who were co-managed by Herb Cohen, the manager of the Modern Folk Quartet (who, as we heard a couple of episodes ago, would soon go on to be the manager of the Mothers of Invention). The Sellouts were ultra-professional by the standards  of rock groups of the time -- they even had a tape echo machine that they used on stage to give them a unique sound -- and they had cut a couple of tracks with Jacobsen producing, though I've not been able to track down copies of them. Their leader Skip Boone, had started out playing guitar in a band called the Blue Suedes, and had played in 1958 on a record by their lead singer Arthur Osborne: [Excerpt: Arthur Osborne, "Hey Ruby"] Skip Boone's brother Steve in his autobiography says that that was produced by Chet Atkins for RCA, but it was actually released on Brunswick records. In the early sixties, Skip Boone joined a band called the Kingsmen -- not the same one as the band that recorded "Louie Louie" -- playing lead guitar with his brother Steve on rhythm, a singer called Sonny Bottari, a saxophone player named King Charles, bass player Clay Sonier, and drummer Joe Butler. Sometimes Butler would get up front and sing, and then another drummer, Jan Buchner, would sit in in his place. Soon Steve Boone would replace Bonier as the bass player, but the Kingsmen had no success, and split up. From the ashes of the Kingsmen had formed the Sellouts, Skip Boone, Jerry Angus, Marshall O'Connell, and Joe Butler, who had switched from playing "Peppermint Twist" to playing "I Want to Hold Your Hand" in February 1964. Meanwhile Steve Boone went on a trip to Europe before starting at university in New York, where he hooked up again with Butler, and it was Butler who introduced him to Sebastian and Yanovsky. Sebastian and Yanovsky had been going to see the Sellouts at the behest of Jacobsen, and they'd been asking if they knew anyone else who could play that kind of material. Skip Boone had mentioned his little brother, and as soon as they met him, even before they first played together, they knew from his appearance that he would be the right bass player for them. So now they had at least the basis for a band. They hadn't played together, but Erik Jacobsen was an experienced record producer and Cavallo an experienced manager. They just needed to do some rehearsals and get a drummer, and a record contract was more or less guaranteed. Boone suggested Jan Buchner, the backup drummer from the Kingsmen, and he joined them for rehearsals. It was during these early rehearsals that Boone got to play on his first real record, other than some unreleased demos the Kingsmen had made. John Sebastian got a call from that "Bob Landy" we mentioned earlier, asking if he'd play bass on a session. Boone tagged along, because he was a fan, and when Sebastian couldn't get the parts down for some songs, he suggested that Boone, as an actual bass player, take over: [Excerpt: Bob Dylan, "Maggie's Farm"] But the new group needed a name, of course. It was John Sebastian who came up with the name they eventually chose, The Lovin' Spoonful, though Boone was a bit hesitant about it at first, worrying that it might be a reference to heroin -- Boone was from a very conservative, military, background, and knew little of drug culture and didn't at that time make much of a distinction between cannabis and heroin, though he'd started using the former -- but Sebastian was insistent. The phrase actually referred to coffee -- the name came from "Coffee Blues" by Sebastian's old idol Mississippi John Hurt – or at least Hurt always *said* it was about coffee, though in live performance he apparently made it clear that it was about cunnilingus: [Excerpt: Mississippi John Hurt, "Coffee Blues"] Their first show, at the Night Owl Club, was recorded, and there was even an attempt to release it as a CD in the 1990s, but it was left unreleased and as far as I can tell wasn't even leaked. There have been several explanations for this, but perhaps the most accurate one is just the comment from the manager of the club, who came up to the group after their two sets and told them “Hey, I don't know how to break this to you, but you guys suck.” There were apparently three different problems. They were underrehearsed -- which could be fixed with rehearsal -- they were playing too loud and hurting the patrons' ears -- which could be fixed by turning down the amps -- and their drummer didn't look right, was six years older than the rest of the group, and was playing in an out-of-date fifties style that wasn't suitable for the music they were playing. That was solved by sacking Buchner. By this point Joe Butler had left the Sellouts, and while Herb Cohen was interested in managing him as a singer, he was willing to join this new group at least for the moment. By now the group were all more-or-less permanent residents at the Albert Hotel, which was more or less a doss-house where underemployed musicians would stay, and which had its own rehearsal rooms. As well as the Spoonful, Cass Elliot and Denny Doherty lived there, as did the Paul Butterfield Blues Band. Joe Butler quickly fit into the group, and soon they were recording what became their first single, produced by Jacobsen, an original of Sebastian's called "Do You Believe in Magic?", with Sebastian on autoharp and vocals, Yanovsky on lead guitar and backing vocals, Boone on bass, Butler on drums, and Jerry Yester adding piano and backing vocals: [Excerpt: The Lovin' Spoonful, "Do You Believe in Magic?"] For a long time, the group couldn't get a deal -- the record companies all liked the song, but said that unless the group were English they couldn't sell them at the moment. Then Phil Spector walked into the Night Owl Cafe, where the new lineup of the group had become popular, and tried to sign them up. But they turned him down -- they wanted Erik Jacobsen to produce them; they were a team. Spector's interest caused other labels to be interested, and the group very nearly signed to Elektra. But again, signing to Elektra would have meant being produced by Rothchild, and also Elektra were an album label who didn't at that time have any hit single acts, and the group knew they had hit single potential. They did record a few tracks for Elektra to stick on a blues compilation, but they knew that Elektra wouldn't be their real home. Eventually the group signed with Charley Koppelman and Don Rubin, who had started out as songwriters themselves, working for Don Kirshner. When Kirshner's organisation had been sold to Columbia, Koppelman and Rubin had gone along and ended up working for Columbia as executives. They'd then worked for Morris Levy at Roulette Records, before forming their own publishing and record company. Rather than put out records themselves, they had a deal to license records to Kama Sutra Records, who in turn had a distribution deal with MGM Records. Koppelman and Rubin were willing to take the group and their manager and producer as a package deal, and they released the group's demo of "Do You Believe In Magic?" unchanged as their first single: [Excerpt: The Lovin' Spoonful, "Do You Believe in Magic?"] The single reached the top ten, and the group were soon in the studio cutting their first album, also titled Do You Believe In Magic? The album was a mix of songs that were part of the standard Greenwich Village folkie repertoire -- songs like Mississippi John Hurt's "Blues in the Bottle" and Fred Neil's "The Other Side of This Life" -- and a couple more originals. The group's second single was the first song that Steve Boone had co-written. It was inspired by a date he'd gone on with the photographer Nurit Wilde, who sadly for him didn't go on a second date, and who would later be the mother of Mike Nesmith's son Jason, but who he was very impressed by. He thought of her when he came up with the line "you didn't have to be so nice, I would have liked you anyway", and he and Sebastian finished up a song that became another top ten hit for the group: [Excerpt: (The Good Time Music of) The Lovin' Spoonful, "You Didn't Have to Be So Nice"] Shortly after that song was recorded, but before it was released, the group were called into Columbia TV with an intriguing proposition. Bert Schneider and Bob Rafelson, two young TV producers, were looking at producing a TV show inspired by A Hard Day's Night, and were looking for a band to perform in it. Would the Lovin' Spoonful be up for it? They were interested at first, but Boone and Sebastian weren't sure they wanted to be actors, and also it would involve the group changing its name. They'd already made a name for themselves as the Lovin' Spoonful, did they really want to be the Monkees instead? They passed on the idea. Instead, they went on a tour of the deep South as the support act to the Supremes, a pairing that they didn't feel made much sense, but which did at least allow them to watch the Supremes and the Funk Brothers every night. Sebastian was inspired by the straight four-on-the-floor beat of the Holland-Dozier-Holland repertoire, and came up with his own variation on it, though as this was the Lovin' Spoonful the end result didn't sound very Motown at all: [Excerpt: The Lovin' Spoonful, "Daydream"] It was only after the track was recorded that Yanovsky pointed out to Sebastian that he'd unconsciously copied part of the melody of the old standard "Got a Date With an Angel": [Excerpt: Al Bowlly, "Got a Date With an Angel"] "Daydream" became the group's third top ten hit in a row, but it caused some problems for the group. The first was Kama Sutra's advertising campaign for the record, which had the words "Lovin' Spoonful Daydream", with the initials emphasised. While the group were drug users, they weren't particularly interested in being promoted for that rather than their music, and had strong words with the label. The other problem came with the Beach Boys. The group were supporting the Beach Boys on a tour in spring of 1966, when "Daydream" came out and became a hit, and they got on with all the band members except Mike Love, who they definitely did not get on with. Almost fifty years later, in his autobiography, Steve Boone would have nothing bad to say about the Wilson brothers, but calls Love "an obnoxious, boorish braggart", a "marginally talented hack" and worse, so it's safe to say that Love wasn't his favourite person in the world. Unfortunately, when "Daydream" hit the top ten, one of the promoters of the tour decided to bill the Lovin' Spoonful above the Beach Boys, and this upset Love, who understandably thought that his group, who were much better known and had much more hits, should be the headliners. If this had been any of the other Beach Boys, there would have been no problem, but because it was Love, who the Lovin' Spoonful despised, they decided that they were going to fight for top billing, and the managers had to get involved. Eventually it was agreed that the two groups would alternate the top spot on the bill for the rest of the tour. "Daydream" eventually reached number two on the charts (and number one on Cashbox) and also became the group's first hit in the UK, reaching number two here as well, and leading to the group playing a short UK tour. During that tour, they had a similar argument over billing with Mick Jagger as they'd had with Mike Love, this time over who was headlining on an appearance on Top of the Pops, and the group came to the same assessment of Jagger as they had of Love. The performance went OK, though, despite them being so stoned on hash given them by the wealthy socialite Tara Browne that Sebastian had to be woken up seconds before he started playing. They also played the Marquee Club -- Boone notes in his autobiography that he wasn't impressed by the club when he went to see it the day before their date there, because some nobody named David Bowie was playing there. But in the audience that day were George Harrison, John Lennon, Eric Clapton, Steve Winwood, Spencer Davis, and Brian Jones, most of whom partied with the group afterwards. The Lovin' Spoonful made a big impression on Lennon in particular, who put "Daydream" and "Do You Believe in Magic" in his jukebox at home, and who soon took to wearing glasses in the same round, wiry, style as the ones that Sebastian wore. They also influenced Paul McCartney, who wasn't at that gig, but who soon wrote this, inspired by "Daydream": [Excerpt: The Beatles, "Good Day Sunshine"] Unfortunately, this was more or less the high point of the group's career. Shortly after that brief UK tour, Zal Yanovsky and Steve Boone went to a party where they were given some cannabis -- and they were almost immediately stopped by the police, subjected to an illegal search of their vehicle, and arrested. They would probably have been able to get away with this -- after all, it was an illegal search, even though of course the police didn't admit to that -- were it not for the fact that Yanovsky was a Canadian citizen, and he could be deported and barred from ever re-entering the US just for being arrested. This was the first major drug bust of a rock and roll group, and there was no precedent for the group, their managers, their label or their lawyers to deal with this. And so they agreed to something they would regret for the rest of their lives. In return for being let off, Boone and Yanovsky agreed to take an undercover police officer to a party and introduce him to some of their friends as someone they knew in the record business, so he would be able to arrest one of the bigger dealers. This was, of course, something they knew was a despicable thing to do, throwing friends under the bus to save themselves, but they were young men and under a lot of pressure, and they hoped that it wouldn't actually lead to any arrests. And for almost a year, there were no serious consequences, although both Boone and Yanovsky were shaken up by the event, and Yanovsky's behaviour, which had always been erratic, became much, much worse. But for the moment, the group remained very successful. After "Daydream", an album track from their first album, "Did You Ever Have to Make Up Your Mind?" had been released as a stopgap single, and that went to number two as well. And right before the arrest, the group had been working on what would be an even bigger hit. The initial idea for "Summer in the City" actually came from John Sebastian's fourteen-year-old brother Mark, who'd written a bossa nova song called "It's a Different World". The song was, by all accounts, the kind of thing that a fourteen-year-old boy writes, but part of it had potential, and John Sebastian took that part -- giving his brother full credit -- and turned it into the chorus of a new song: [Excerpt: The Lovin' Spoonful, "Summer in the City"] To this, Sebastian added a new verse, inspired by a riff the session player Artie Schroeck had been playing while the group recorded their songs for the Woody Allen film What's Up Tiger Lily, creating a tenser, darker, verse to go with his younger brother's chorus: [Excerpt: The Lovin' Spoonful, "Summer in the City"] In the studio, Steve Boone came up with the instrumental arrangement, which started with drums, organ, electric piano, and guitar, and then proceeded to bass, autoharp, guitar, and percussion overdubs. The drum sound on the record was particularly powerful thanks to the engineer Roy Halee, who worked on most of Simon & Garfunkel's records. Halee put a mic at the top of a stairwell, a giant loudspeaker at the bottom, and used the stairwell as an echo chamber for the drum part. He would later use a similar technique on Simon and Garfunkel's "The Boxer". The track still needed another section though, and Boone suggested an instrumental part, which led to him getting an equal songwriting credit with the Sebastian brothers. His instrumental piano break was inspired by Gershwin, and the group topped it off with overdubbed city noises: [Excerpt: The Lovin' Spoonful, "Summer in the City"] The track went to number one, becoming the group's only number one record, and it was the last track on what is by far their best album, Hums of the Lovin' Spoonful. That album produced two more top ten hits for the group, "Nashville Cats", a tribute to Nashville session players (though John Sebastian seems to have thought that Sun Records was a Nashville, rather than a Memphis, label), and the rather lovely "Rain on the Roof": [Excerpt: The Lovin' Spoonful, "Rain on the Roof"] But that song caused friction with the group, because it was written about Sebastian's relationship with his wife who the other members of the band despised. They also felt that the songs he was writing about their relationship were giving the group a wimpy image, and wanted to make more rockers like "Summer in the City" -- some of them had been receiving homophobic abuse for making such soft-sounding music. The group were also starting to resent Sebastian for other reasons. In a recent contract renegotiation, a "key member" clause had been put into the group's record contract, which stated that Sebastian, as far as the label was concerned, was the only important member of the group. While that didn't affect decision-making in the group, it did let the group know that if the other members did anything to upset Sebastian, he was able to take his ball away with him, and even just that potential affected the way the group thought about each other. All these factors came into play with a song called "Darling Be Home Soon", which was a soft ballad that Sebastian had written about his wife, and which was written for another film soundtrack -- this time for a film by a new director named Francis Ford Coppola. When the other band members came in to play on the soundtrack, including that track, they found that rather than being allowed to improvise and come up with their own parts as they had previously, they had to play pre-written parts to fit with the orchestration. Yanovsky in particular was annoyed by the simple part he had to play, and when the group appeared on the Ed Sullivan show to promote the record, he mugged, danced erratically, and mimed along mocking the lyrics as Sebastian sang. The song -- one of Sebastian's very best -- made a perfectly respectable number fifteen, but it was the group's first record not to make the top ten: [Excerpt: The Lovin' Spoonful, "Darling Be Home Soon"] And then to make matters worse, the news got out that someone had been arrested as a result of Boone and Yanovsky's efforts to get themselves out of trouble the year before. This was greeted with horror by the counterculture, and soon mimeographed newsletters and articles in the underground papers were calling the group part of the establishment, and calling for a general boycott of the group -- if you bought their records, attended their concerts, or had sex with any of the band members, you were a traitor. Yanovsky and Boone had both been in a bad way mentally since the bust, but Yanovsky was far worse, and was making trouble for the other members in all sorts of ways. The group decided to fire Yanovsky, and brought in Jerry Yester to replace him, giving him a severance package that ironically meant that he ended up seeing more money from the group's records than the rest of them, as their records were later bought up by a variety of shell companies that passed through the hands of Morris Levy among others, and so from the late sixties through the early nineties the group never got any royalties. For a while, this seemed to benefit everyone. Yanovsky had money, and his friendship with the group members was repaired. He released a solo single, arranged by Jack Nitzsche, which just missed the top one hundred: [Excerpt: Zal Yanovsky, "Just as Long as You're Here"] That song was written by the Bonner and Gordon songwriting team who were also writing hits for the Turtles at this time, and who were signed to Koppelman and Rubin's company. The extent to which Yanovsky's friendship with his ex-bandmates was repaired by his firing was shown by the fact that Jerry Yester, his replacement in the group, co-produced his one solo album, Alive and Well in Argentina, an odd mixture of comedy tracks, psychedelia, and tributes to the country music he loved. His instrumental version of Floyd Cramer's "Last Date" is fairly listenable -- Cramer's piano playing was a big influence on Yanovsky's guitar -- but his version of George Jones' "From Brown to Blue" makes it very clear that Zal Yanovsky was no George Jones: [Excerpt: Zal Yanovsky, "From Brown to Blue"] Yanovsky then quit music, and went into the restaurant business. The Lovin' Spoonful, meanwhile, made one further album, but the damage had been done. Everything Playing is actually a solid album, though not as good as the album before, and it produced three top forty hits, but the highest-charting was "Six O'Clock", which only made number eighteen, and the album itself made a pitiful one hundred and eighteen on the charts. The song on the album that in retrospect has had the most impact was the rather lovely "Younger Generation", which Sebastian later sang at Woodstock: [Excerpt: John Sebastian, "Younger Generation (Live at Woodstock)"] But at Woodstock he performed that alone, because by then he'd quit the group. Boone, Butler, and Yester decided to continue, with Butler singing lead, and recorded a single, "Never Going Back", produced by Yester's old bandmate from the Modern Folk Quartet Chip Douglas, who had since become a successful producer for the Monkees and the Turtles, and written by John Stewart of the Kingston Trio, who had written "Daydream Believer" for the Monkees, but the record only made number seventy-eight on the charts: [Excerpt: The Lovin' Spoonful featuring Joe Butler, "Never Going Back"] That was followed by an album by "The Lovin' Spoonful Featuring Joe Butler", Revelation: Revolution 69, a solo album by Butler in all but name -- Boone claims not to have played on it, and Butler is the only one featured on the cover, which shows a naked Butler being chased by a naked woman with a lion in front of them covering the naughty bits. The biggest hit other than "Never Going Back" from the album was "Me About You", a Bonner and Gordon song which only made number ninety-one: [Excerpt: The Lovin' Spoonful Featuring Joe Butler, "Me About You"] John Sebastian went on to have a moderately successful solo career -- as well as his appearance at Woodstock, he released several solo albums, guested on harmonica on records by the Doors, Crosby, Stills, Nash, and Young and others, and had a solo number one hit in 1976 with "Welcome Back", the theme song from the TV show Welcome Back, Kotter: [Excerpt: John Sebastian, "Welcome Back"] Sebastian continues to perform, though he's had throat problems for several decades that mean he can't sing many of the songs he's best known for. The original members of the Lovin' Spoonful reunited for two performances -- an appearance in Paul Simon's film One Trick Pony in 1980, and a rather disastrous induction into the Rock and Roll Hall of Fame in 2000. Zal Yanovsky died of a heart attack in 2002. The remaining band members remained friendly, and Boone, Butler, and Yester reunited as the Lovin' Spoonful in 1991, initially with Yester's brother Jim, who had played in The Association, latterly with other members. One of those other members in the 1990s was Yester's daughter Lena, who became Boone's fourth wife (and is as far as I can discover still married to him). Yester, Boone, and Butler continued touring together as the Lovin' Spoonful until 2017, when Jerry Yester was arrested on thirty counts of child pornography possession, and was immediately sacked from the group. The other two carried on, and the three surviving original members reunited on stage for a performance at one of the Wild Honey Orchestra's benefit concerts in LA in 2020, though that was just a one-off performance, not a full-blown reunion. It was also the last Lovin' Spoonful performance to date, as that was in February 2020, but Steve Boone has performed with John Sebastian's most recent project, John Sebastian's Jug Band Village, a tribute to the Greenwich Village folk scene the group originally formed in, and the two played together most recently in December 2021. The three surviving original members of the group all seem to be content with their legacy, doing work they enjoy, and basically friendly, which is more than can be said for most of their contemporaries, and which is perhaps appropriate for a band whose main songwriter had been inspired, more than anything else, to make music with a positive attitude.

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Playlist John Cage, “Radio Music” (1956) from John Cage (1974 Cramps Records). Performed on radios by Gianni-Emilio Simonetti, Juan Hidalgo, Walter Marchetti. Each of these performers used a Panasonic multi-band portable Radio Model RF-1600 B receiver. 6:00 Dick Raaijmakers, “Ballade Erlkönig (1967)” from Ballad 'Erlkönig'/5 Canons (1981 Composers' Voice). Tape composition by Raaijmakers. Recordings realized in the studio of the Royal Conservatory of The Hague. 23:33 Karlheinz Stockhausen, “Kurzwellen” (1968), excerpt from Festival 0f Hits (1970 Deutsche Grammophon). Composed By, Mixed By, Electronics, Filters, Potentiometers, Karlheinz Stockhausen; Electronium, Harald Bojé; Tamtam, Alfred Alings, Rolf Gehlhaar; Piano, Aloys Kontarsky; Electric Viola, Johannes G. Fritsch. This is the opening of this long work, excerpted for this strange collection of greatest “hits” by Stockhausen (you had to be in 1970 to understand this). Kurzwellen is a piece where the musicians need to improvise and react to signals they receive on randomly tuned shortwave radios. This is from the Cologne recording made in the Rhenus studio in Godorf for the Cologne Radio (WDR, Westdeutscher Rundfunk Köln) on the 8th and 9th of April 1969 (53'30), which was record 2 of the original 2-record set. By the way, this ensemble also featured the Electronium Pi, made by Hohner beginning in 1952. It was a monophonic, electronic keyboard instrument and was an add-on instrument for the piano mounted under the keyboard, which is the model used by Stockhausen. His keyboardist, while Harald Bojé used the accordion-like model. 6:19 Michael Snow, “Short Wavelength, excerpt (1980)” from 2 Radio Solos (1988 Freedom In A Vacuum). Recorded August 1980. Short-wave pieces played on a circa 1962 Nordmende receiver. Reissued on CD in 2009. What I would call truly improvised; no score, no rules, just listening and responding with the radio. 15.18 Philip Perkins, “Radio Music” (1956) from Virgo Ramayana (And Other Works For Radio) (1989 Fun Music). From an obscure cassette released in 1992 of a studio recording made by Perkins in 1989. Note that the later CD-R reissue of this album did not include “Radio Music” but did include other interesting works including radio sounds. 6:00 Ann Hamilton, “Mantle” from recordings made at the Miami Art Museum in 1998 for an exhibit by the artists. This audio CD was made in Mantle on June 1, 1998, during a twelve-hour period. The tracks and timings are: 7:30am (4:20); 8:00am (4:19); 9:00am (3:01); 11:00am (3:01); Noon (4:16); 1:00pm (2:15); 3:00pm (4:28); 6:00pm (1:50); 7:00pm (3:27). Mantle was a 3,500 square foot, site-specific installation created by Ann Hamilton. It included over 60,000 flowers piked on a 48-foot-long steel table. Buried within the flowers 30 speakers emitted muffled voices and mechanical noises. Thirteen shortwave radios were placed high on a shelf. An attendant sitting by the window sewed together wool coats. 32:09   Background Music Thom Holmes, “The World” excerpts (2015) for shortwave and processed sounds. 23:30   Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.  

Bob Corritore is considered among the top traditional blues harmonica players on the scene today. Additionally, he is the owner of the Rhythm Room in Phoenix, the radio show host of “Those Lowdown Blues” on KJZZ, the founder of Southwest Musical Arts Foundation, the editor and main writer of the Bob Corritore Blues Newsletter, an official endorser of Hohner harmonicas, a Keeping The Blues Alive award recipient, a Grammy nominated harmonica player and producer. The Trout talks with Bob about growing up in Chicago and performing with some of the great artists that came out of the Chicago Blues scene. Enjoy the Blues? You'll enjoy this wonderful interview with one of America's great Blues harmonicas players.  

My interview with Jeff Hohner continues! Jeff has been value investing for decades and is the president of Tecumseh Capital, an investment firm active in startups, public and private equity, private debt and real estate...so needless to say he has a wealth of incredible investment experience to learn from. Tune in to hear his wisdom! 

In this episode of Stocks4Docs, I interview a veteran value investor, entrepreneur, pub owner, and friend Jeff Hohner, the president of Tecumseh Capital. We discuss what drew him to value investing and how he has been so successful. He has so many excellent words of wisdom, you won't want to miss this interview! 

Dans Le Coin des Confidences, on dit tout à VERO au Boudu fil ! Chaque semaine, un artiste parle de son projet musical et dévoile sa playlist perso. Cette semaine : Mickael MAZALEYRAT pages Artistes : https://www.radiolocalitiz.fr/mickael-mazaleyrat/ Mickaël Mazaleyrat, harmoniciste hors normes, au jeu unique et sans limites. Il s'éprend de cet instrument à 18 ans, après avoir exploré l'orgue en autodidacte pendant dix ans. Il travaille et travaille encore, multiplie les rencontres, de Joël Daydé à Didier Dupond, de Calibre 12 au jazzman et virtuose du « ruine- babines » Jean Wetzel. A chaque fois qu'il monte sur scène pour un boeuf, il est comme habité, l'homme et l'harmonica ne font qu'un, les lames sont portées au rouge, les riffs sont incandescents. Parallèlement, il a appris la cuisine, un métier rigoureux, intégrant des brigades en Touraine, sur la côte d'Azur et en Autriche. Ses harmonicas le suivent partout. Il commence à enregistrer des albums en duo, multiplie les concerts et les collaborations. En 2002, de retour en France, il rejoint les Mannish Boys avec qui il enregistre 5 albums, lâche ses fourneaux pour prendre la route, croise des légendes du blues comme Billy Branch, Jimmy Johnson, Mick Taylor, Dr Feelgood, J.J.Milteau, Howard Tate... Toutes ces expériences, tous ces voyages nourrissent la musique qu'il compose pour Weeping Widows, un duo qu‘il forme en 2013, fin mélange de blues et de musiques du monde. Une musique innovante et remarquée, Weeping Widows multiplie les concerts, est finaliste du tremplin Révélations du festival Blues sur scène. Depuis 2017, Mickael Mazaleyrat est sponsorisé par Hohner. Le Coin des Confidences : https://www.radiolocalitiz.fr/le-coin-des-confidences/ Titres diffusés : Mickael Mazaleyrat - Wolfsfrau : https://soundcloud.com/mazaleyratmickael The Beatles - Michelle : https://music.apple.com/fr/album/michelle/1441132965?i=1441134003 Alain Bashung - La nuit je mens : https://music.apple.com/fr/album/la-nuit-je-mens/1443816325?i=1443816707 Pierre Perret - La cage aux oiseaux : https://music.apple.com/fr/album/la-cage-aux-oiseaux/1442516330?i=1442523722 Carène (Karen) Cheryl à la batterie : https://youtu.be/31fCuZvuroE Tserendavaa & Tsogtgerel - Tooroi Bandi : https://music.apple.com/fr/album/tooroi-bandi/279771869?i=279771883 Mickael Mazaleyrat - Où êtes-vous : https://soundcloud.com/mazaleyratmickael/ou-etes-vous

Welcome to Tomlin's Harmonica Podcast. This is the place to be for a variety of harmonica-related content including interviews, lessons and discussions about all aspects of harmonica playing. This podcast is brought to you by the Tomlin Harmonica School where I provide a step-by-step curriculum for Beginners to Advanced Intermediate players as well as personalised feedback and all the resources you need to get better at Blues harmonica. Go to tomlinharmonicaschool.com to get your first month for $1 using promo code PODCAST   Today's guest is one of the most influential figures in the harmonica world. He has played professionally for more than 40 years, he wrote The Harp Handbook and is a consultant for Hohner. He has been closely involved in a lot of the great developments to the instrument that we know and love. He is Steve Baker! Show Notes Live in lockdown with Baker Family https://www.youtube.com/watch?v=KcXRJGEO7Bw&list=PL5dC3pKSfIt6AFZyMJtYBF55-e2aH9SkX Website http://www.stevebaker.de Timezone Records https://timezone-records.shop Acoustic Music Records https://www.acoustic-music.de

Color outside the lines : In this 11 podcast I set the stage for more to come Information on events and classes going on in June 2021 highlighted. First off PARADISE COAST HARMONICA WORKSHOPJUNE 10th-12th 2021 Fort Myers, FLORIDA3 days and nights of seminars, performances and live jams with IBC finalist The Pitbull of Blues Band featuring Hohner endorsed artists: Todd Parrott Rob Paparozzi Jerry Fierro  https://jerryfierro8.wixsite.com/mysite-1/pch-workshop   Then talked about Jason Ricci visit his site for more information https://mooncat.org/?fbclid=IwAR0tutq_Xp0DEy6GO_E6mmBGdpLLU0I4mZ_nFV7-ozB4mVTkSQNkJIXW4DA   Closing talked about Me Nedra and ways to find out what is going on in my life and my art: Visit  www.nedraruss.com  www.njrmusic.com Talked about the group on Facebook to join  https://www.facebook.com/groups/1598464463522496   Music from Mudbone Funk Live at Dogtooth Todd Parrott Songs from the Harp Jason Ricci and JJ Appleton Beautiful Slop  Nedra Russ Blues News 2021 https://nedraruss.hearnow.com   

01:17 - Tamsin’s Superpower: Recognizing Songs Within Seconds 05:08 - Outside the Charmed Circle (https://www.amazon.com/Outside-Charmed-Circle-Exploring-Sexuality/dp/073876132X) (Tamsin’s book about gender, sexuality, and spirituality) * The Pagan Community (https://en.wikipedia.org/wiki/Modern_Paganism) * “Necessarily Brief” 09:09 - Consent in the Mentor/Mentee Relationship (Master/Apprentice) * The Universal Attribution Fallacy * Access * Power Dynamics * Conflicts of Interest * The Word “Politics” - how we negotiate power between groups of greater than one 16:57 - Using Certain Phrases (i.e. “Identity Politics,” “Cancel Culture”) and Divisiveness * Obfuscation * We Hate You Now: The Hardest Problem of The Aftertimes (https://medium.com/surviving-covid-19/we-hate-you-now-d0fca14e3b82) * Social Contracts 23:46 - What Is A Person? Individuality & Personhood * Plato (https://en.wikipedia.org/wiki/Plato) & Aristotle (https://en.wikipedia.org/wiki/Aristotle) * Women, Fire and Dangerous Things: What Categories Reveal About the Mind by George Lakoff (https://www.amazon.com/Women-Fire-Dangerous-Things-Categories/dp/0226468046) * Hegemonic Norms, Privilege & Power 30:01 - “Fringe Communities”; Subcultures and Intersection * How Buildings Learn (https://www.amazon.com/How-Buildings-Learn-Happens-Theyre/dp/0140139966): Edge Cities * The Queer Community * Using the Word “Queer” * Gatekeeping * Fear of Powerlessness * The Relationship Between Radicals and Reactionaries * “Outside The Charmed Circle” * Gayle S. Rubin: Thinking Sex: Notes for a Radical Theory of the Politics of Sexuality (https://sites.middlebury.edu/sexandsociety/files/2015/01/Rubin-Thinking-Sex.pdf) 44:30 - Individual Experiences Are Not Universally Applicable * Getting People to Care About Other People * Teaching Empathy * Less Hubris, Gatekeeping, and Self-Reinforcing Superiority Reflections: Jamey: Conceptualizing that other people are having a different experience than you. Rein: What are the interactions in a community that empathy leads to and how can we promote those? Helping. Helping by Edgar H. Schein (https://www.amazon.com/Helping-Offer-Give-Receive-Help/dp/1605098566) Tamsin: The dynamics at the heart of any subculture you care to name really aren’t that dissimilar from one group to another. This episode was brought to you by @therubyrep (https://twitter.com/therubyrep) of DevReps, LLC (http://www.devreps.com/). To pledge your support and to join our awesome Slack community, visit patreon.com/greaterthancode (https://www.patreon.com/greaterthancode) To make a one-time donation so that we can continue to bring you more content and transcripts like this, please do so at paypal.me/devreps (https://www.paypal.me/devreps). You will also get an invitation to our Slack community this way as well. Transcript: JAMEY: Hello and welcome to Episode 232 of Greater Than Code. I’m one of your hosts, Jamey Hampton, and I’m here with my friend, Rein Henrichs. REIN: Thanks, Jamey. That is a lot of episodes. I’m here with our guest, Tamsin Davis-Langley who is a white, queer, nonbinary trans femme from a multiethnic family who grew up poor. They spent most of their adult work life as the tech-savvy person in a non-technical office, and are now pursuing a career in digital communications. Their academic path began in liberal arts, detoured through computer science, and ended with a degree in Gender, Women, and Sexuality Studies from the University of Washington. Their work explores the ways subcultural communities intersect with non-normative expressions of gender and sexuality. They've written about how the problems of abuse and predation in subcultures are linked to the power dynamics inherent in those groups. Under their nom de plume, Misha Magdalene, they're the author of Outside the Charmed Circle, a book about gender, sexuality, and spirituality. Tamsin, welcome to the show. TAMSIN: Thank you so much! It’s a delight to be here. REIN: So you know what we’re going to ask you. [laughter] What is your superpower and how did you acquire it? TAMSIN: My superpower is that I can, with a relatively high degree of accuracy, listen to the radio and identify the song that's playing within 5 seconds, or so if it was recorded within a specific window of time and basically falls under the very broad umbrella of Western pop music. This happened because I was bitten by a radioactive record store employee back in the 80s and since then, I've been able to go, “Oh yeah, that's Won't Get Fooled Again by The Who. It's on Who's Next released 1972. Produced by Glen's Johns,” blah, blah, blah, blah, blah, and this is a delightful party trick for getting people to suddenly realize they want to talk to someone else at the party. JAMEY: I was about to ask – [overtalk] REIN: How do you remember all of that? TAMSIN: How do I remember all of that? I have no idea. I literally could not tell you what I had for dinner last night and I'm in the midst of training sessions for a position that I'm pursuing in digital communications and half the time I'm going, “What was the command to do the things so that I can function?” But I can literally tell you the brand of bass guitar that Paul McCartney played in The Beatles, or the kind of keyboard that Kate Bush used when she was recording her albums in the late 70s and early 80s was a Hohner, a violin-shaped bass, and a Fairlight synthesizer, respectively. [chuckles] JAMEY: I can relate to this because I often think about how many other things I could know if I freed up all of the space in my brain where I kept the names of all the Pokémon. TAMSIN: Right, right. I want to defrag my own brain and just throw out huge chunks of permanent storage, but no. JAMEY: Do you use your superpower for good, or for evil? TAMSIN: In finest, strong, bad tradition, I try to use my powers only for good, or for awesome. I have actually used it to further my career. I did work for a little while at a Musicland, back when those existed, and later at a Tower Records, back when those existed. For younger listeners, those were both brick and mortar stores where you could go in and buy music on physical media and occasionally, accessories that were associated with bands, or musicians that you liked and people would walk in and say things like, “I'm trying to find a CD by this band and I don't know the name of the band, or the name of the song, or any of the lyrics, but it's got this bit in it that goes “Duh, duh, duh, duh, duh, duh, duh, duh” and I went, “Bad to the Bone, George Thurogood & the Delaware Destroyers. Here's their Best Of. Thank you.” So that's the extent to which my superpower operates for good, or for awesome. REIN: That reminds me, there was a librarian who worked at The London Library, which has about a million books, for 40 years and could do a very similar thing where they knew what book someone was looking for better than that person did. TAMSIN: Yeah. That kind of talent always delights me when I find it out in the wild where I'm like, “Yeah, I was looking for this book. It kind of was about this thing and I remember it had sort of a teal cover. Oh, here you go.” Yeah, it's kind of an amazing and wonderful thing to see, but then I do it and I feel really self-conscious, so. [laughs] REIN: So, speaking of books, graceful segue. TAMSIN: Yes. Speaking of books. REIN: Tell us a little bit about the book that you wrote. TAMSIN: I can, yes. So when I was finishing up my degree at the University of Washington in Gender, Women, and Sexuality Studies, I spent a lot of time thinking about how to apply the concepts and the tools that I was learning in my degree program to my actual day-to-day life. It's all well and good when you're in the ivory tower of academia to talk about intersectionality and hegemonic norms of sexuality, or gender, but how does that actually play out in your work life, or in your family dynamic? Or if you are a person who practices some form of spirituality, how does that play out in your spiritual communities, or really, in any subcultural communities that you're a part of? As it happens, one of the subcultural communities that I'm part of is what's generally referred to as “the pagan community,” I'm going to throw a lot of quotes around that because pagan is not a commonly agreed upon term and we could get into a great argument about how much of a community it is. But all of that to the side, one day I was sitting there probably having coffee at the coffee shop on campus and I thought, “Hmm, I wonder what would happen if you took this intersectional feminist lens and turned it on the pagan community?” I thought about it a moment and then I think I literally said, “Oh no,” out loud because I realized that was a book and 2 and a half years later, 3 years later, it was published by Llewellyn worldwide as Outside the Charmed Circle. It's a book about how gender and sexuality are expressed, explored, repressed denied, or whatever other ways engaged within the subculture of modern pagan polytheist, or magical “practice.” It's a book I had a lot of fun writing, which is really strange to hear myself say out loud because there were moments when I absolutely wanted to bang my head on the keyboard, or just fold the laptop up and smack myself in the face with it like the monks in Monty Python. But it's a book that I really enjoyed writing because I got to spend long hours researching and talking about a bunch of my favorite stuff: gender, sexuality, embodiment, philosophy, Van Halen and their impact on Western culture and I say that, and people are like, “Oh, that's really funny,” and I'm like, “No, no, I'm being really serious.” As far as the question that just came up in the chat here: is there something I cut from the book that I wish I could have put in? One of the things that I said in the very last chapter is that the book I wrote is necessarily brief. Each chapter in that book could have been its own book. There's a chapter on embodiment. A chapter on gender and theory – I believe the chapter is actually called Gender and Theory in Practice. There's a chapter, or a couple of chapters on consent and how consent works in these communities. There's so much more that can be said about these topics. There's so much more that I could have said about any of these topics. But 300 pages, I felt like I'd run on quite long enough. Consent in the mentor-mentee relationship also just came up in chat. That's actually a topic that I touch on in the book and it's something I have really strong feelings about. Especially in the pagan and polytheists communities, there's often a lot of stress on the teacher-student relationship, sort of master-apprentice, if you want to get all scythe about it and well, there's a lot of unspoken disagreement about what the appropriate dynamic between those two parties should be. There are people who will cheerfully say, “Oh, well, teachers and students should always have this kind of relationship and should never have that kind of relationship.” Yeah, and by that kind of relationship, we're usually talking about a sexual and/or romantic relationship. And then there are people who are perfectly happy to say, “Well, that's true in most cases, but this situation is different,” and often what they mean is, “my situation is different.” So when I was writing the book, I had the less than enviable of saying, “Dear sweet summer child, no, your situation isn't different. It's not any different. It is never any different. Teachers and students just shouldn't have those kinds of relationships while they are ensconced in that power dynamic of teacher-student, or mentor-mentee.” REIN: Of course, thinking that your own situation is different is quite common. Common enough that we have a name for it and that is the universal attribution fallacy. TAMSIN: Yeah. Not to be super political, but it goes back to the phenomenon that you see quite often in modern sociopolitical discourse where people will say, “X is always immoral and wrong, except when I do it,” and X could be getting an abortion, being in a same-sex relationship, any number of things. “Well, that's always bad and wrong, but my circumstances are different.” JAMEY: One thing I think is interesting about what you're talking about with teachers and students is that the concept of a teacher-student relationship is nebulous in a lot of ways. Like, how would you draw the line here between this is an actual teacher and student relationship and therefore, inappropriate as opposed to “I have this relationship with someone and I'm learning something from them,” which I learn from all people all the time, including my partner and other people? Where is the line between “This is a great person in my life that I'm learning” from versus “I'm in this hierarchical relationship with them”? TAMSIN: The short answer would be access—access to knowledge, access, to experience, access to opportunity. If you are a teacher and I am coming to you saying, “I want to learn this thing,” and your response is not “Okay, sure, I can take you on as a student and teach you this thing,” but instead, “I can take you on and teach you this thing if X, Y, or Z,” that becomes a really sketchy kind of dynamic where if I want whatever it is that you have the ability to give me the knowledge, the opportunity, the access, I am essentially being required to behave in ways that I might not otherwise. REIN: It seems like there are maybe two important things here. One is power dynamics—which always exist; they never don't exist—and the other is more narrowly conflicts of interest. TAMSIN: Right, and one of the things that I ran into, with talking modern practitioners of pagan and polytheistic spirituality, is that a lot of people want to talk about power, very few people are comfortable talking about power dynamics. In part, because in my experience, a lot of people don't want to see themselves as being people who have power to impact others in a negative way. Will they, or nil they? There becomes this attitude of deniability where it's like, “Well, I can't possibly be in an oppressive position. I can't possibly be an abuser because I'm coming to this from just as much a place of powerlessness as the next person,” and that's not always true, of course. REIN: I think sometimes talking about groups in that way is vulnerable to that counterargument and I try to talk about the dynamics as being every relationship between two people has an element of power. TAMSIN: Absolutely, and one of the arguments I often get into with people is about the word politics because people, especially in our current social climate, tend to think that politics means a turf war between these two groups, or parties. My response is that politics is just the word to describe how we negotiate power between groups of greater than one. Politics is how we talk about the policies. There's the whole word police meaning city, politics, policy. It's a thing. Politics is how we arrange policies and laws and agreements so that we can all basically move forward doing the same kind of thing. Yes, from the chat: “framing politics between two groups is very American.” It really is. So I have often been criticized for bringing politics into spirituality and I'm going, “We're sitting around talking about power all day long, pretending that politics isn't a part of that is a way of getting out of having to be accountable for the politics that's actually going on.” That maneuver is as present in any subculture you care to name as it is in the pagan community. I mean, that's certainly not unique to witches, Druids, modern polytheists, and whomever. JAMEY: Yeah. Everything we've been talking about in the pagan has made me think of the tech community, too. My question earlier about mentorship, I was thinking that and when you were talking about “Don't bring politics into” – such a common thing that we talk about in tech, also. TAMSIN: Oh yeah. Why do you have to bring politics into this? Why do you have to bring identity politics, or diversity politics into this argument? We work in tech; this is a meritocracy and the sound of a thousand palms slapping into a thousand foreheads echoes across the land. JAMEY: I know you said it to illustrate that point, the phrase, identity politics, I just have such a visceral physical reaction to. [laughs] TAMSIN: Oh, it's great. Isn't it? It's like, there are certain phrases that in modern discourse have become so completely alienated from their original context that they're almost devoid of meaning. Identity politics is one. Cancel, or cancellation, or – [overtalk] JAMEY: Cancel culture. I just saw a whole conversation about this today because Andrew Cuomo said it in his press conference. It was a whole thing. TAMSIN: Oh God. [laughter] JAMEY: I’m sorry for bringing up Andrew Cuomo. I take it back. [laughs] TAMSIN: Verbal equivalent of keyboard smash right now. [laughter] Yeah, I feel like when people start throwing terms like that around, this is all an attempt at obfuscation. It's an attempt at getting away from having to talk about what's actually going on and, in many cases, what's actually going on is that somebody, or somebodies are doing some shady things that they don't necessarily want to be held accountable for. REIN: People say, “Keep politics out of X.” That statement is incomplete and what they really mean is “Keep politics that don't matter to me out of X.” TAMSIN: Right. “Keep politics that I don't have to think about.” REIN: “Things that don't impact me in any way, I don’t care about those.” TAMSIN: Exactly. Yeah. But if politics suddenly means that I can't get the right chip for the motherboard to run the gaming machine that I really want to set up, suddenly politics is real important. That's the point where I start getting that glassy-eyed thousand-yard stare at somebody and going, “So politics and power dynamics matters when it's something that impacts you personally. Is that what you're saying?” Maybe from there, we could, I don't know, extrapolate that other people who, and this is a galaxy brain moment here, actually exists, have the same relationships [chuckles] to the things that matter to them. Like, I don't know, housing, or healthcare, or to be a little dark, I guess, not being hatecrimed to death. REIN: This is the one of my favorite tweets: “I don't know how to convince you to care about other people writ large.” TAMSIN: Yeah, exactly. We talk a lot lately about how divisive things are and how divided the country is. There's a Medium article that I read recently with the delightfully bracing title of, “We hate you now.” It was an article about the potential going forward into a post-COVID-19 world where all of the people who've been wearing masks when they have to go outside, washing their hands, staying home unless absolutely necessary and who've, essentially, felt that they've been held captive in their own homes for over a year now are looking at the people who've been going to weddings, pool parties, restaurants, barbecues, and two weeks later, half of the attendees are sick, or dead and having, what I would say, are some pretty justifiable feelings of “We were doing all the right things and you selfish, entitled fill in your profanity of choice, have been doing exactly all the wrong things that have perpetuated this situation, such that we're still in lockdown and still in lockdown. We kind of hate you now and there's a real possibility of that we're always going to hate you.” To me, that's the divide I'm seeing in our culture going forward. Things like that. Then again, I am speaking as someone who shares custody of my daughter with my ex who lives in California and what that means, operationally, is that I have not seen my daughter in-person since March 8th of 2020 and so, I'm a little head up under the collar. Wow, that just kind of went off into a really dark place. [laughs] REIN: No, this is good stuff. Very normal for us. This is why I don't have an issue going on record as saying that ethical systems based on naive individualism are bankrupt. TAMSIN: Absolutely. One of the things that came out of my degree program with—and I will point out that I did go to a state university in the notoriously liberal state of Washington. But one of the things that I came out of my degree program with was a healthy and deeply ingrained respect for the concept of the social contract and for social contract theory as a venue of study, especially when you're looking at power dynamics in groups. What I found is that explaining the social contract to people is really easy if they actually want to understand it and utterly impossible, if they're opposed, because if they're opposed, what's really going on isn't that they don't understand. They get it perfectly; they just don't want to agree. I can say the social contract is that you don't punch me, I don't shoot you; we maintain a basic air of non-violence and go on about our day. That's a contract. You don't hurt me. I don't hurt you. We move on. It's as simple as that, or as complicated as, “Hey, look, we have a civilization.” That is a marvelous quote in the chat: “No, thank you. I'd rather pretend I invent the entire universe every time I make an Apple pie.” REIN: This gets all the way like the turtles go all the way down to what does it mean to be a person and what is the person to relationship to society? TAMSIN: And if we are going to dive that deep into philosophy, I'm going to need some whiskey at least. [chuckles] I'm kidding. But as far as what is a person, philosophers have been trying to work that one out for quite literally thousands of years, at this point. When I was writing Outside the Charmed Circle, I wound up necessarily having to go back and read some amounts of Plato and Aristotle because they are, in many ways, part of the groundwork of Western philosophy and as well, part of the groundwork for Western notions of spirituality and magical practice. As you know, pagans are polytheists, or magicians. One of the things that I was horrified to discover and shouldn't have been really—I should have expected this—was that Plato and Aristotle didn't think too highly of women. There are these marvelous quotes that I included in the book and by marvelous, I mean tragic, frankly referring to the distinction between men, and women and other animals. That was text I saw on my screen and looked at and went, blink, blink, blink, What?” REIN: This reminds me of George Lakoff's book, Women, Fire, and Dangerous Things, so titled because there is a language with a category that includes those things in the same category. TAMSIN: Wow. That's great. That's neat. REIN: I think I can respect women being in the same category as dangerous things, to be fair. TAMSIN: I think depending on how we're defining dangerous, anybody of any gender can be dangerous, but I have to admire the hustle of putting that as your title, that's pretty great. But the question of who counts as a person? What is a person? If you look at some of the classical Greek philosophers—Aristotle, Plato—they would say a person is a human male individual who fulfills these criteria and anyone who doesn't fulfill those criteria isn't really fully a person. REIN: The human male citizen. TAMSIN: Right. REIN: Which is also how the US defined it. TAMSIN: Shocking. Yeah, and then if you look at these philosophers as laying the groundwork for how Western culture defines, or describes personhood individuality, the next big cultural movements come along was of course, Christianity. I'm not here to bash on Christianity, but I will note that if you look at Christian philosophy around identity and individuality, especially if you're looking at gendered identities, a lot of that would be drawn from the work of Paul who wrote most of the epistles in the last two thirds of what's called the New Testament, the Christian Bible. Paul had some less than awesome views about women and they're pretty much in a direct line of descent from Plato and Aristotle. You look at the things Paul was saying and it's like, oh, okay so he's basically just importing Greek philosophical misogyny into this new religion, which made a lot of sense because at that point in time, Greek philosophy was, I've called it the groundwork for Western philosophy and the Greeks were considered the de facto mainstream philosophers of that era, and everyone was rolling around speaking Greek, even the Romans. So this notion of individuality and of personhood being something that we specifically define by how you match an established hegemonic norm and by hegemonic, I mean a norm that is imposed by a power above you and it's this established hierarchy. When I was learning about hegemonic norms in my degree program, someone in the class asked, “Okay, so hegemonic norm, how does that apply to us in modern Western American 21st century culture?” It's like, well, it's real easy. Who has the privilege? Who has the power? If you're white, you have privilege and power that you don't have if you're Black, or Brown, or Asian, or what have you. If you are a cisgender person, you have privilege and power that you don't have if you're trans or non-binary. If you are a cis male, you have privilege and power that you don't have if you are a non-cis male, and so on. That's hegemonic power, that's hegemony in action and a lot of those hegemonic norms come directly down from the classical Greeks through the norms established by Christianity. I spend a lot of time talking about this in a book which is at least extensively about witchcraft, paganism, and magic because they're hobby horses that are really important to me and they seemed to tie in. So I was like, “Yeah, let's do this. Let's just throw it all in there.” REIN: So you have these fringe communities and fringe only relative to the dominant normative culture, right? TAMSIN: Right. REIN: But then they start to intersect on the edges of that hegemonic, cultural conglomeration, whatever you want to call it. It reminds me of – so this is an analogy that I'm going to see if it lands so let me know. There's a book called How Buildings Learn and, in that book, one of the things that he talks about is what are called edge cities, where historically cities have been built around a port, or railroad, or some other thing. But what's happening in modern cities, there's a lot of the action is happening at the edges of the city where the highways intersect and so on. There's also a lot more possibility to build out there because the city center has been made pretty rigid by the buildings are large and they're probably not going anywhere, the codes, the building and zoning codes are very rigid, and so on. So actually, a lot of the most vital growth that happened in modern studies is happening at the edges. I wonder if it's like that as well in these fringe communities and if that term has baggage that you want me to avoid, let me know. TAMSIN: Oh no, I'm fine with the term. I think there's a lot of traction there. One of the hobby horses that I drag out and bang on a regular basis is the notion that subcultural communities reiterate and reinforce a lot of the same core assumptions as the over culture in which they are ensconced. There is this attitude of, “Well, we're different from outsiders. We're smarter, we're better, we're more spiritual. We're more accepting. We're more,” whatever the virtue, or the value that they want to see themselves as having is. But they frequently don't stop to realize that, in many ways, they are just reenacting a lot of the same attitudes that the mainstream culture, of which they are a subculture, is enacting all over the place. I think when you look at the fringes of subcultures, the places where they start to rub up against other cultures, or other subcultures, where they start to intersect and get some new ideas and some new, interesting stuff going on that can be really valid, valuable, and healthy for the community as a whole. I also think that that is a place where there can be a lot of tension and a lot of fear. I've seen that in the pagan community, where there are a lot of people who I think would position themselves very much at the center of the little circle of pagan community and they look at someone like, for instance, me, who's kind of out on this fringe edge here, rubbing up against the queer community, or the trans community, or whatever other communities that I'm part of. They may see this idea, or that idea and go, Well, that's not how we do things. That's not us. That's like some of your weird queer trans stuff,” and I'm going, “No, but wait. It's really cool and it informs what we do over here in this really useful way. And why are you walking away? Come back.” And then occasionally, it's like, “Oh, you were walking away to get a torch and a pitchfork. No, no, no, don't come back.” [chuckles] JAMEY: When you were talking about that with the fringe communities, I was thinking about the queer community as well, even before you brought it up, because I think that what Rein was saying about exciting things happening in that space is definitely true. But I also think that you have a problem in the community sometimes like, people who are younger, or more newly out and don't know as much about queer history trying to roll things back. That's why we have this argument about why younger people, who think that the word “queer” is not okay for anyone to use, coming in and saying, “Oh, we can't do this,” and older people saying, “There has been a lot of discourse, progress, and things that have happened over the course of history that you need to know about before you can have an informed opinion on it. [laughs] TAMSIN: You need to scroll back up in the chat before you start talking. [laughter] JAMEY: Yeah. You need to scroll back up like a bunch of years in the chat. [laughs] TAMSIN: Right. Yes. That is a huge issue in the queer community and it's one that – I'm 47 years old and I have found myself in conversations with people who are 19, 20 who wants to tell me, “Oh, well, you shouldn't use the word queer because queer is a slur,” and I'm going, “Ah, ah, ah, ah, ah, red flag, hold on. Queer has been used as a slur, absolutely yes. But in the 80s and 90s, there was an awful lot of work done to reclaim that word. I know, I was there.” And today, now the primary driver behind the notion that queer is a slur is trans-exclusionary radical feminism. It's transphobes who are like, ‘Yeah, no, no, no, no, no, no. Queer gives too much leeway for all of these trans people to sneak into this community. So uh oh, we can't be having with that.” So I find myself basically having to strike the compromise of okay, I'm never going to tell you that you have to call yourself queer, but you don't get to tell all of us queers out here that that's not our word and if that means you don't want to come sit at our table, or come to our parties, that's okay, too. The problem of gatekeeping in the queer community, as in every subcultural community, is real and it's real bad. The extent to which some quorum within a community wants to enforce little boundaries inside the larger community. So it's like I have my little walled garden in the queer community, and you can come in if you perform gender, or sexuality, or identity in these specific ways that I am dictating. It's too much headache. It's funny how I talk about these problems in the queer community, or in the trans community, or in the pagan community and I have friends who work in the tech world and they're going, “Huh, this all sounds eerily familiar.” JAMEY: It's almost as if people act the same, TAMSIN: No matter where you go. [chuckles] Yeah, it is. These are not problems unique to any one subcultural community. They are human problems and I'm often tempted to say that the solution is to stop dealing with people, but I like people and I like doing things with people. One of the reasons I'm so mad about this stupid pandemic is that I miss people, hanging out with people in-person and being able to drink coffee with them. But I think that a lot of these problems of gatekeeping, these enforcement of boundaries, these power dynamic issues that we have all fundamentally come back to, at least in many of the cases I've seen, issues around power and the fear of powerlessness, the fear of being disenfranchised, or of losing what you see as power, or opportunity, or access, or privilege that you're entitled to. I mean, that's certainly what seems to be one of the things that's at the core of these ridiculous ideas like white genocide. White people are being crowded out and we're being outbred by all of these other people of color and white people have to band together and blah, blah, blah! All of this garbage is all rooted in fear and under that ignorance. Much wiser and more experienced minds than mine have written at great length about those issues and how best to combat them. I have a lot of hope in that regard, but at the same time, I look at the news app on my phone every morning and that hope dies a little. So it's kind of a tidal thing; it rises and falls. REIN: The relationship between radicals and action areas, I think where it's a relationship to a particular preferred state of affairs and whether you think you need to go forwards, or backwards to get there. REIN: Right. We used to call that the difference between a liberal and a conservative view, but those words have been so battered and worked out of utility that you can't even bring them up anymore. But it, again, goes back to that idea of you have the circle that is the community and the people at the center, who are perhaps most emblematic of its baseline core ideas and ideals, and then the people out on the fringes of things, who are bringing in new information and new ideas, or sending their ideas out to other communities and sharing with them. I think that can all be really healthy and part of a wholesome ecosystem of subcultural engagement and interaction. I also think that when people get scared, they start doing things that are really not in their best interest. They start making really bad choices and that way lies dissent, dissension, and conflict. But a lot of that is why I titled the book I wrote Outside the Charmed Circle because it comes from an essay by a cultural theorist named Gayle Rubin. This is an essay that she wrote called “Thinking Sex” and in this essay, she posited that you can look at ideas like sexuality and if you picture it as two circles, one inside the other divided up like a dark board, pie wedged shapes. The inner circle, the charmed circle is the stuff that society basically all approves of: heterosexuality, monogamy, sex for the purposes of procreation, and so on and so forth. And then outside the charm circle are what Gayle Rubin called the outer limits. Those are the things which society doesn't approve so non-monogamy, having sex for reasons other than procreation, because it's fun, or to make money, or whatever reasons. Each of the things in the term circle has its counterpart in the outer limits, its counterpart outside the charmed circle. Ah, see what I did there? So things like homosexuality, or bisexuality, or asexuality, or demisexuality, or, or, or—these are all outside the term circle because they are fundamentally alien to the hegemonic norms of culture and I just realized I'm throwing a lot of this jargon around, wow. REIN: I think it is interesting as a metaphor here because it implies both, at the periphery and also, a sparseness, or lack of structure. TAMSIN: Yeah. I think that there's value to be found both, at the core and on the edges, on the fringe. [laughs] REIN: What’s [inaudible] is that some of these groups on the edges seem to be reproducing structures that are found in the core. TAMSIN: Oh yeah, absolutely. The structures that you find at the core of a group are really comfortable. They're really comforting if they're built for you. To pick one, for example, the structure of being cisgender is really comfortable. You’re cis if you were born and you were assigned a gender at birth and you grew up and you're like, “Yeah, that's me. That fits me like a glove because it's tailored to who I am. I don't have any objections to this.” But if you take that same glove and put it on someone else, it's going to be too big, too small, it fits in the wrong ways, it's no, this is wrong. These structures of being cisgender don't fit for someone like say, me. That's not to say being cisgender is wrong. It's perfectly fine and that's okay. Just not for me. JAMEY: This is certainly coming back to what you were saying earlier about “Oh, I care about these issues that affect me,” and we have to extrapolate that they affect other people because you'll see people are like, “Oh, but this is so comfortable. Why wouldn't you want this great comfortable thing?” And I can't extrapolate that other people are having a different experience. TAMSIN: One of the real problems that we as human beings have is not understanding that our individual experiences are not universally applicable. It's like handing someone a strawberry ice cream cone and they taste it and they're like, “Oh, thanks. Not for me,” and you're like, “Well, what's wrong with it? It's delicious. It's a strawberry ice cream cone,” and they're like, “I don't like strawberry ice cream.” Like, “Well, how can you not? I like strawberry ice cream.” “Yeah, but I don't taste this strawberry ice cream with your tongue. Your taste buds. Mine are wired differently.” That's just a random example pulled out of the air; I actually like strawberry ice cream fine. Not my favorite, but it's fine. But individual experience isn't universally applicable and to come back to that question of how do we define the individual person as against a larger culture, or community? I think past a certain point of defining an individual, or a person as a self-aware consciousness, I really don't want to try and define personhood at all. If I can acknowledge that someone is sapient and sentient, that's good enough for me and if at some point down the road, we get to a place of developing actual artificial intelligence, like Turing capable AI. If it tells me it's sentient and sapient, I am more than happy to sit down and have a coffee with it and I think that's as much as I want to get into well, how do we define a person? Because once you go any further than that, inevitably it winds up with oppression, slavery, and genocide. Again, pretty grim. [laughs] JAMEY: No, it’s good. REIN: Again, how do we get people to care about other people? TAMSIN: Oh, if I had the answer to that, I could write another book. It would be a bestseller and I would never have to try and get another job. I think that the answer, and I am totally cribbing from my partner here—who is an amazing human being and a developer at a local software company up here. My partner would probably suggest that the answer is you teach empathy and you start teaching empathy by going back to you have this relationship to this issue, or this thing that happened. It made you feel a certain way. How do you think that issue impacted that person? Experiences aren't universal, but the condition of experiencing things is universal. So I'm not going to have the same experience that someone else has with any given issue, but I can acknowledge that they are having an experience and that their experience is as meaningful to them and their lives as mine is to me and my life. Once you've done that, you started the building blocks of developing empathy, which leads to compassion, which leads to, “Oh, maybe we should get kids out of those cages on the border, maybe we should find a way to feed people, and restore the power grid in Texas so elderly people aren't literally freezing to death in their homes in the 21st century in America.” REIN: I think there's a Swedish word for the realization that everyone on this street that you're walking down has just as rich, deep, and complex an inner mental life as you do and I think we need more of that. TAMSIN: Yeah, we do. We do. Now I totally want to go and look up that Swedish word, but that acknowledgement that everyone around us is actually a person. They have an interior life, they have hopes and dreams of their own, and their hopes and dreams don't have to be relevant to me. One of the things that I think those of us who are ensconced in subcultures sometimes struggle with is – well, it's the inverse of another problem so let me, let me try and rephrase this. Those of us who are in subcultural communities—whether it's the tech community, or the queer community, or the trans community, or the pagan community, or what have you—we all struggle with these feelings of our interests and our passions being incomprehensible to people who aren't part of our communities. I am not a developer. I am not even really much of a coder, but I know enough about coding from having been in a CS program for a hot minute to be able to grasp what's cool about really elegant code, what's really cool about this thing that my partner comes to me and she's like, “Oh, I did this thing and we blah, blah, blah, blah, blah, blah, blah, blah, blah,” and I'm like, “I understood about one word in three, but it was barely enough to hang on with my fingernails,” and that is really cool and awesome. But that's not a conversation that she could have with, for instance, my Mom. My mother, who is a brilliant woman and has a degree in nursing and is a medical professional and does all these things, my Mom would do just glaze over a little and go, “Okay, cool. I'm glad that the good thing happened for you,” but it does reinforce this idea that these things we're into are relatively esoteric. So it in turn reinforces this seclusion of our little subcultural communities into their enclaves and we become this little technocratic priesthood, but that can turn into another problem, which is not only are we weird and different, but we're better. The taking of pride in the cool, awesome thing that we understand and love can turn into, “If you don't understand the cool, awesome thing we're into what's wrong with you?” Oh, well, pfft users. I've heard that exact sentiment expressed by people in the software industry and it always baffles me because I'm like, “You realize that you are making tools for people to use, right?” The people that you're going “Pfft users” about are literally the reason you have a job because otherwise, all of the tippy-tappy you do with the keyboard is an intellectual exercise. Great, you created this incredibly elegant piece of software that no one is going to use. At that point, you may as well just be building a matchstick cathedral in your backyard and then lighting it on fire. What I would really like to see from all of our communities is a little less hubris and a lot less gatekeeping and a substantial amount less of a self-reinforcing sense of superiority about people who aren't inside our particular charmed circle. What I want to see is our subcultural communities, having pride in who we are and what we do, and the cool things that we make, or the cool things that we do, or the cool lives that we lead, or whatever it is that is part of our community without turning that into, “And that's why we're so much better than the normies, the mundanes, the muggles—to use Voldemort's word. That's why we're better than people who don't do this cool stuff that we do.” Because I feel like that need to be better than the people who make us feel kind of weird and like we don't belong is again, just reiterating the same power structures that got us into this problem in the first place. The over culture thinks it's better than these weird freaky fringe communities because they're nerdy, or they're awkward, or they're cringy and the fringe communities in return think they're better than the basic, boring, mundane, mainstream, normie culture and nobody gets to have any fun. I would much rather have a mainstream culture that respects and appreciates the awesome things that fringe communities bring to the table, the innovations that they provide, the new ways of thinking and approaching problems and have subcultural communities that understand that they are ensconced in an over culture, which is the reason that they can exist and that's how I'm going to solve world peace. JAMEY: So we’re coming up to the part of our show where we like to let everyone give a reflection about what we've talked about for the past hour, or so. This is something that is going to be on your mind, or a call-to-action, or just something that stuck out for you. I'm going to go first. What's something that stuck out for me was the conversation that we had actually a couple of times about conceptualizing that other people are having a different experience than you and how that's so hard for people. Because I think that you see this, even on a microlevel within these subcultures, and I think that suggests to me that it's such a natural human thing to do and I think that I get that because it does feel good to have things in common with other people and to celebrate the things that we have in common. I guess, I'm thinking about this specifically in the trans community where they're like, “It feels great to be able to be like, ‘We have this thing in common and I feel so good about that,’” but there are still a lot of different kinds of people in the trans community and this is how you end up with people saying, “Oh, the universal trans experience is loving being a girl when you take your estrogen,” and I'm like, “That's definitely not.” [laughs] You could probably keep making that thing that you're saying smaller until it's true for everyone in your little group that it's true for. But we have this desire to categorize ourselves in that way and I think that the reason I'm talking about this and saying this is, I think that it's really good to keep in mind the ways that all of us probably also do this on smaller levels. So I guess, my call-to-action is I'm going to try and think about catching myself if I'm doing this. REIN: Well, I'm going to attempt to stay in my lane here with my reflection. I was thinking about one of the first things that came up, which is mentor-mentee relationships, and I was thinking about what you said about empathy. One of the things that – I’ve changed a little bit, even in the last few years in terms of how I think about empathy, which is, I think empathy is good, but I don't think it's very actionable because empathy is an internal thing that happens in individual people's heads. No one else has access to it. What Russell Ackoff says is that systems are not the sum of their components, they're the product of their interactions. So what I started to think about was what are the interactions in a community that empathy leads to and how can we promote those? What I've started to focus on is the interaction called helping. Edgar Schein wrote a book called Helping and it's a study of the social process, or phenomenon where people help each other. How does it happen? Why does it happen? One of the things he noticed that that was pretty interesting is that helping is mostly notable when it doesn't happen and there's an expectation that it should have. So you think here are things like that's not helpful and what I think that we should try to do is focus more on positive affirmations when it does happen. So that's why when I do retrospectives with teams, we leave that with appreciations. I want to make helping remarkable. I want people to talk about helping and get better at it as practice. I guess, that's my solution to how do you get people to care about each other? It's how do you build empathy and I think it's by the practice of helping. TAMSIN: I like that a lot. That's really good. One of the thoughts that has recurred over the course of this conversation for me is that the dynamics at the heart of any subculture you care to name really aren't that dissimilar from one group to another, whatever their special interest happens to be. That was the thing I didn't understand growing up. It was a thing I certainly didn't understand through much of my adult life and now, crawling into my late 40s, I'm finally starting to wrap my head around this concept, that in a lot of ways, these groups are really all the same. That's because well, as we've alluded earlier, they're all made up of people and people all tend to be kind of the same in terms of the patterns that they enact, the approaches that they take, the things that they fundamentally want. Again, not universal experiences, but we all have the shared commonality of having these experiences. We all have the shared feature of wanting things and wanting to be understood. Wanting empathy, or compassion, even if we are ourselves not terribly good at giving it. That's certainly something that's been true with me. Even within the course of this conversation, I brought up the Medium article about the pandemic and how it's really easy to want to be furious with the people who are, in a very real way, responsible for the fact that I haven't seen my daughter in over a year. At the same time, at least some of those people were acting in ways that I don't have to think are rational or correct, but they had some reason they did the things they did and if I can understand why they act the way they do and I want to spend the effort and the energy to meet them where they are, perhaps I can find ways to work with them to be different, to be what I would consider better. More in line with a social contract that means that we don't have 600,000 people dead by the summer, but that is work that's on me to do, because I can't ask somebody, who's already living in a state of fear, to suddenly magically have cool, calm rationality descend upon them. REIN: The last thing I'll mention for folks who are listening, who are on software development teams and so on, is that a team is literally definitionally a group of people who help each other. TAMSIN: Yes, yes, it is. JAMEY: This was really great. Thank you so much. TAMSIN: Thank you. I had a wonderful time. This was a blast. JAMEY: And I should say that anyone who wants to have further conversations like this with us, we have a Slack community and we're all there, all of our guests are there, and lots of other really interesting people. You can join our Slack community if you back us on Patreon, patreon.com/greaterthancode, even like a dollar. REIN: These episodes are successful because we co-create them with our guests. We're helping each other make cool episodes. So thank you for helping us to make a cool episode. TAMSIN: It has genuinely been my pleasure. It’s been a delight. Thank you so much for having me. Special Guest: Tamsin Davis-Langley.

Join us as we talk to our friend Chad Hohner about the adventures we've all had doing our philanthropic work around the world. Enjoy!

Rick Epping joins me on episode 37. Rick worked for Hohner USA for 18 years and played a pivotal role in improving the quality of their harmonicas back to their former glory. While at Hohner, he also developed the XB40, the all-bending harmonica. Rick is also an expert customiser of harmonicas and can be credited with the creation of embossing reeds to improve playability.Rick has a real passion for playing Irish music, to such an extent that he even moved to Ireland so he could immerse himself in the music. He has released several albums with notable Irish groups for us to enjoy his traditional music playing.Rick is also adept at playing harmonica on a rack, perhaps with the less orthodox instruments of the concertina and the banjo.Links:Article by Rick on harmonica types used in Irish Music:https://www.celticguitarmusic.com/irishharm.htmArticle on reed longevity:https://www.bluesharmonica.com/rick_eppings_paper_reed_longevity_revisitedPat Missin page on the XB40:https://www.patmissin.com/reviews/xb40.htmlEasy third tuning:https://www.modernbluesharmonica.com/board/board_topic/5560960/5490922.htmBrendan Power's Slip Slider harmonica:https://www.brendan-power.com/SlipSlider.phpIron Lung:https://www.brendan-power.com/IronLung.phpHarmonica UK Chrom Weekend: (2021 info will be available from May 21)https://www.harmonicauk.com/cw/Willie Clancy Summer School:https://www.scoilsamhraidhwillieclancy.com/HarmonicaUK Virtual Chromatic Weekend:http://harmonica.uk/HUKBlog/chromatic-weekend/Videos:One man show for Irish Cultural Centre:https://irishculturalcentre.co.uk/2020/04/28/music-rick-epping/YouTube workshop on harmonica maintenance:https://www.youtube.com/watch?v=-yKDUhAgmRgAnother harmonica maintenance workshop:https://www.youtube.com/watch?v=lIsHOn-65uY&t=1608sSession that Brian McDonagh, Philip Duffy and I held every Tuesday for 15 years:https://youtu.be/Lt-BUD37SwANHL Concert: Buckets Of Rain:https://www.youtube.com/watch?v=oRvTwBYng4AAlso check out the Spotify Playlist, which contains some of the songs discussed in the podcast:https://open.spotify.com/playlist/5QC6RF2VTfs4iPuasJBqwT?si=M-j3IkiISeefhR7ybm9qIQ

Oliver Polzer und Flugbegleiterin Brigitte Hohner

Steve Baker moved from his native London in his early 20s to become part of the vibrant music scene in Hamburg. His brand of punk folk won him recognition and he was soon a regular on the German session circuit, as well as collaborations in various bands and duos, with his best work coming working alongside Chris Jones. Steve has long been a consultant to Hohner, and was instrumental in the development of the modern incarnations of the Marine Band: the Deluxe and the Crossover, as well as other Hohner innovations. He has released a body of instructional material and helped set-up the Trossingen festival and the Harmonica Masters Workshop, which runs in the same town three out of every four years.Select the Chapter Markers tab above to jump to different sections of the podcast.Links:Steve's websitehttp://www.stevebaker.de/news_en_6.htmlVideos:YouTube Channel:https://www.youtube.com/channel/UCqsgaR1LVVqVT7u_Ud5jpEQTutorials videos:https://www.youtube.com/playlist?list=PL5dC3pKSfIt4vSp9RT75I_KHaULc45e7uThe Baker Family Live in Lockdown:https://www.youtube.com/playlist?list=PL5dC3pKSfIt6AFZyMJtYBF55-e2aH9SkXAlso check out the Spotify Playlist, which contains some of the songs discussed in the podcast:https://open.spotify.com/playlist/5QC6RF2VTfs4iPuasJBqwT?si=M-j3IkiISeefhR7ybm9qIQ

«De sus jornales, Casimiro había ido apartando algo todos los sábados. Había comprado... una de esas... alcancías de cedro..., y en ella había ido echando... los centavitos de a diez... de a cinco... de a tres [y] de a uno.... Hasta que al fin... no cabía ya [ni uno más].... Casimiro... rió fuerte, él solo.... »—¿De qué te ríis, m’ijo?... »—De nada, nana. De ver que ya yené l’alcancía.... —... ¿Y cuánto calculas que habís ajuntado ayí?... »... ¡Traentisiete... cabal! Los traeintisinco que cuesta, y los otros dos que sobran p’al viaje. Uno p’al carro d’ida y güelta, y l’otro pa mercar alguna cosita... o chupar una paleta.... »Amaneció el domingo. Muy tempranito... Casimiro... se encaminó al pueblo en busca de carro.... [y] se acomodó en el asiento trasero.... »El carro arrancó.... El chofer sonaba la bocina. Y no dejaba de gritar el “brocha”, delante de toda puerta abierta: “¡San Salvador! ¡San Salvador!...” »... Asomaron los primeros ranchos de Paleca. Los primeros ranchos de Aculhuaca.... Se cruzaron con las primeras camionetas. Con carros que iban y venían. Con camiones cargados. Una parada.... De pronto el carro vuelve a detenerse.... Han llegado al “punto”.... »Casimiro... baja del carro.... En un papelito el chele José Ángel le ha dado la dirección del almacén [del turco] donde él compró su acordeón hace cerca de cuatro años.... Lo saca y... se encamina [al] almacén.... »... Ahí estaba precisamente lo que andaba buscando. Ahí estaban las cajas que guardaban los acordeones....  »Casimiro, con tremante mano, quitó la tapa de... la amarilla jaspeada de rojo.... De la caja... emanaba... un suave aroma de barniz fino, de tafilete nuevo. Era como una cosa sagrada.... Lo tomó en manos. Le dio vueltas por todos lados, examinándolo. Con la yema del dedo índice... sobó sus lengüetas, sus llaves, su teclado de válvulas, el tafilete del triple fuelle, sus esquineras de metal niquelado.... El turcote sonreía mirándole. »—Es un Hohner legítimo. La bejor barca del bundo, barchante. »Y... arrebatándoselo de las manos a Casimiro, [añadió]: »—Es un Hohner de veintiuna teclas y ocho bajos. Y abría los fuelles, hacía funcionar las válvulas [y] lo mostraba todo a la curiosidad del ingenuo marchante, cada vez más cautivado.... »—¿Y cuánto quiere por él? »El turcote se le quedó mirando, como justipreciando su capacidad monetaria. »—Trentasete colones no bás, barchante.... »—Le doy traentisinco, patrón. »—Llevátelo..., barchante. Bor ser bos.... ... Casimiro... sacando de su alforja los choricitos de níquel,... dijo al turcote: »—Béya, patrón, s’istá cabal.... »—Trentasinco. Cabal, barchante. »Casimiro tomó en brazos su envoltorio, y salió del almacén.»1 De ahí que a este cuento el escritor salvadoreño Arturo Ambrogi le haya puesto por título «La merca del acordeón». Menos mal que Dios, a diferencia del turco con relación a Casimiro, no evalúa nuestra capacidad económica a fin de vendernos la vida eterna. Pues si bien Dios pudiera vendérnosla a un precio muy alto, fuera del alcance de la gran mayoría de nosotros, nos la ofrece más bien a modo de regalo a pesar de que es algo de lo más anhelado. Es que no tiene precio lo que pagó su Hijo Jesucristo para ofrecérnosla. Él dio su vida misma al morir en la cruz por nuestros pecados.2 Más vale, entonces, si no lo hemos hecho todavía, que aprovechemos su extraordinaria oferta y que aceptemos hoy mismo ese regalo de la vida eterna. Carlos ReyUn Mensaje a la Concienciawww.conciencia.net 1 Arturo Ambrogi, El jetón y otros cuentos (San Salvador: UCA Editores, 1976), pp. 140-48. 2 Ro 6:23; 1P 1:18,19

What’s that thing that Mr. Henry is playing? A harmonica? A piano?! Nope. It’s a Melodica!!! Reeds and keys and tubes, oh my! Learn all about this cool, unique instrument in today’s Spotlight.    Check out our YouTube channel: https://www.youtube.com/channel/UCdGhqK_DWpRIKS45ICqN3eQ   ***Classroom and Homeschool Teachers***  Find our digital resource to help enhance your classroom HERE!   Like us on Facebook!    Mr. Fite Check out original fun and educational music from Mr. Fite at  https://brucefite.com/music and subscribe to the Mr. Fite’s YouTube Channel   Mr. Henry Learn music and the piano with Mr. Henry by subscribing to his YouTube channel:  Mr. Henry’s Music World   THE MELODICA!   Joke of the Day:  How do you make a bandstand?  Take away the chairs.    Bill: (playing melodica)   Bruce: (from a distance) Mr. Henry...Mr. Henry? (to himself) What’s that sound? Sounds like a harmonica….. Oh hey, Mr. Henry...well that’s not a harmonica… what is that thing?    Bill: Hey Mr. Fite...it’s called a melodica!    Bruce: Melodica? It looks like a mini piano…    Bill: Yeah it’s true...it does use the keyboard or the black and white keys found on a piano...but in order to make the sound you also have to blow into this tube and press a key to make this sound (plays)    Bruce: Wow, that’s pretty cool. How does it get that harmonica sound?    Bill: Well, inside of the melodica are these small reeds. Reeds are often found on clarinets and other woodwind instruments...but we also use reeds in harmonicas and then of course…. the melodica.    Bruce: Hmmm the reeds...so they are very small wooden reeds inside?    Bill: Well yes, they are small but they are actually made out of metal. When you blow into the melodica and press down a key, the air flows over the reed which vibrates quickly to make a sound.      Bruce: Oh wow! These are pretty cool. It’s like the piano and harmonica teamed up to combined their powers to make “THE MELODICAAAAAAAAAAAHHHHHHHHH”    Bill: Ok...Mr. Fite...yeah we get it…. But your right, Melodicas are small enough to where you can bring it anywhere. You can even walk around as you play it!    Bruce: I need to get one of these, but I bet they are expensive…    Bill: Actually, they are not that expensive. Now you could get one that is...but you can buy melodicas for less than 20 bucks.    Bruce: That’s not bad at all. About to order one right now… Who invented the melodica?    Bill: Well, a company from Germany named Hohner made the instrument. Hohner makes all types of instruments like harmonicas, accordions and in the 1950’s they came up with the melodica!     Bruce: Oh wow...so it's a fairly new instrument compared to the flute that has been around for over 40,000 years!    Bill: Yeah, definitely a newer instrument and super cool.     Bruce: So this tube goes into the melodica and you blow into it while playing.     Bill: Exactly, having the tube allows the keyboard to stay flat as you play it. You can play the keyboard of the melodica just like the piano.     Bruce: Cool...but what is this part still in the melodica case?    Bill: Well, that’s actually another type of mouthpiece. This mouthpiece looks more like the mouthpiece of a clarinet or saxophone. You can take the tube out of the melodica and put the “horn” mouthpiece in instead.    Bruce: Gotcha...so when you play the melodica with the horn mouthpiece, would you hold the instrument differently?    Bill: Yes, you would hold it kinda like a trumpet. So the melodica would be on its side and you place your left hand on the back of the melodica while your right-hand pushes down the keys on the keyboard. Bring the hon mouthpiece up to your mouth and blow it into it while pressing the keys down.     Bruce: Cool, it kinda turns into a marching keyboard!     Bill: Exactly and super fun to play. Well, I better get going. I have a concert to play for tonight. And of course, using this here melodica for it.     Bruce: Nice, can I come along to check it out.    Bill: Well sure, actually I have another melodica here. You could jam along!    Bruce: Sweet! And that’s the...   TOGETHER: MELODICA!   App of the Month  Hey there Music Podcast for Kids listeners. The app of the month is a fun virtual instrument called percussive. Percussive is a super cool app that gives kids and adults the ability to play 5 different types of instruments including the marimba, xylophone, kalimba, vibraphone, and glockenspiel. Choose an instrument and even play with different mallets. The mallet is the stick that has a hard or soft end and is used to hit the bar on the instruments like the marimba, vibraphone, glockenspiel, and vibraphone. The different mallets give each instrument a unique sound which you can experiment with in this super sweet app. The kalimba is an instrument from Africa, which can also be called the mbira, that you pluck with the fingers. We actually discuss the kalimba in the Music of Africa episode! So, for one, take a listen to that episode to learn more about the kalimba, and while you're at it, check out the app called percussive for some fun instrument jam along time! We have no affiliation with Percussive, we just think it’s a pretty cool app that makes music fun. And that’s the app of the month: Percussive!    

In the 1970s, Hohner, the world’s largest harmonica manufacturer, changed its flagship model, and in the process its signature sound. A few musicians and harp customizers waged a quiet rebellion. And they won. The Return of the Harmonica originally appeared in Craftsmanship Quarterly, a multimedia online magazine focused on master artisans, innovators, and the architecture of excellence. You'll find many more stories, videos, audio recordings, and other resources on our site — all free of charge, and free of advertising. Written by BEN MARKS Introduction by SUMMER BROWN Narrated by GORAN NORQUIST Produced by LARRY ROSEN Music by MIKE SNOWDEN

Vous cherchez une nouvelle flûte et vous songez à la trouver d’occasion plutôt que neuve ? C’est tout à fait une option, à condition toutefois de ne pas foncer tête baissée et de prendre le temps de s’y préparer pour faire un choix éclairé... Dans cet épisode, je vous propose de voir :  -  Qu’entend-on par occasion et pourquoi faire ce choix ? (3’34) -  Quels en sont les avantages et les inconvénients ? (5’48) -  Par quel canaux trouver/acheter une flûte d’occasion ? (7’03) Ensuite, plusieurs points conséquents et importants :  -  Comment éviter les mauvaises surprises ? (8’35) -  Comment repérer les annonces à fuir ? (11’55) -  Le cas des flûtes de facteur (17’29) -  prêter attention aux flûtes éventuellement volées (19’18) Et enfin : -  comment cela se passe-t-il si vous êtes vendeur, et non acheteur ? (20’57)

For the 55th anniversary of the Help! album, TJ and Tony go track by track, offering hot takes on Maureen Cleave and a cautionary tale for prospective buyers of the Back to the Future III soundtrack.While Tony provides eagle-eared recording trivia yet fails to discern the difference between the Hofner and Hohner musical instrument companies, TJ speaks to the wonders of a new miracle drug called NUJV.They also ponder the placement of Matchbox 20 on the Mt. Rushmore of Rock while doing their best not to get “PJ Probied.”

Welcome to "Between the Cracks" (or "the ones who got away").  Even though Community Keyboards has chatted with many organ and keyboard world celebrities, many more have avoided the probing questions of your host!  With the kind permission of THE ESSEX ORGAN MUSEUM (http://www.essexorganmuseum.com/links-Interest.html) we present an A to Z of those who never made it, for whatever reason, to the programme. Ole Erling was born Erling Axel Olsen on the 29th July 1938 at Nørrebro in Copenhagen. His early career was not in music. He worked for a period as caretaker, and trained as an electrician. He was called to the Hammond house, a large music store that specialized in organs, and while he repaired the light he saw how a big the Hammond organ would sound if it were played by a skilled musician. Erling Olsen decided that he would play the organ. However, a Hammond organ very expensive, and on apprentice wages it would take years to save up for it. That he became an Organ owner due to a happy coincidence: An Italian orchestra had run out of money, and to be able to afford the tickets home to Italy , there was no other option than to sell their instruments. Erling Olsen bought a portable Hohner organ from the orchestra. He began performing at weddings and confirmations, and eventually became a sought banquet musician. His career gained momentum when Ole Erling began recording fun music as well as the more lively repertoire. He extended the business with his own record label - Popular Music later PM Music - and with several recordings in the charts was making rapid progress in his musical career. In the early 1980s the interest in organ music was waning, and there were longer breaks between both record releases and performances. There were two events that led to Ole Erling returned to the musical scene: First the introduction of a new Wersi organ on the market which was a minor revolution, which gave Ole Erling the will to perform again. Then there was suddenly a nostalgic interest in music. Then for several years he performed at the Langeland Festival , where he played for a new generation of music lovers, much to the surprise of many - not least himself. Ole Erling died 20th February 2016 in Smørum. Extract and translation from the Ole Erling WIKIPEDIA page Ole Erling died 20th February 2016 Ole Erling plays HALLELUJAH on Hammo --- Send in a voice message: https://anchor.fm/communitykeyboards/message

Rachelle Plas is a French player who learnt her craft at an early age in group lessons provided by Greg Zlap in Paris. She won various competitions at French music festivals which led on to her touring Europe and beyond with her band. After making a splash at the World Harmonica Festival in Germany, Rachelle became the face of Hohner’s Golden Melody harmonicas. She has gone on to record two albums since, with her fusion of blues, soul, pop, rock & electro bringing her fast flowing harmonica style to a new and younger audience.Select the Chapter Markers tab above to select different sections of the podcast (website version only).Rachelle's website:https://www.rachelleplas.comRachelle's boutique store, where songs and teaching material can be purchased:https://www.rachelleplas.com/victoryswaymusic-boutique-storeYouTube videos:Hohner Masters of Harmonica:https://www.youtube.com/watch?v=8z_DrIDsQSwSBW I’ve Got To Go:https://www.youtube.com/watch?v=Rd43fxbelFIOrange Blossom Special:https://www.youtube.com/watch?v=ajrNA6sPoDMMellow Down Easy:https://www.youtube.com/watch?v=KwXt3Tj377AFrench Harmonica Players:https://www.planetharmonica.com/Ressources/FrenchHarp/FrHarpUK.htmAlso check out the Spotify Playlist, which contains some of the songs discussed in the podcast:https://open.spotify.com/playlist/5QC6RF2VTfs4iPuasJBqwT?si=M-j3IkiISeefhR7ybm9qIQSponsor website:https://www.lonewolfblues.com

We are thrilled to have Mr. Dave Feder, a tremendous musical artist who lives in the Florida Keys, join us on the podcast today. Dave's name is very familiar to most of the residents of the Keys, and many of them have seen and heard him perform, so we're really looking forward to talking to him today. Dave does not play other people's music and he prefers to allow the atmosphere in the room to move him and dictate where each performance will go. Be sure to tune in today, to hear what Dave has to share about his kind of music.   Dave was a curious kid, growing up. He had unusual and interesting parents who didn't want to teach their children their prejudices and forced all three of them to take piano lessons, which Dave did not enjoy. When he was about nine or ten years old, he was given a Hohner guitar. He had a book of cowboy songs and he managed to learn every song in the book. He had a neighbor who had a band that would play in the barn, and Dave would often escape from his room and run to the neighbor's house to listen to the band. They played in open tunings, which really fascinated and affected Dave. Later on, Dave's cousin, a talented guitarist, taught him some things about playing the guitar, and eventually, Dave went on to teach himself to play the guitar properly. Listen in today, to find out more about this interesting and talented musician.     Show highlights: Dave explains why he does not enjoy being referred to as a 'local artist'. Dave talks about why he does not usually play other people's music. He could probably play songs that he has written for ten hours straight, without repeating any of them. When Dave sits down to perform, he likes to let the vibe of the room dictate what will happen. Dave is currently influenced by the Spanish and Lucian styles of music, which are traditionally improvisational. Why he isn't capable of playing the same songs, in the same way, over and over. Dave likes to have his mind and body tuned well enough to allow the music to come out of his hands and be delivered and shared with the audience, in the present moment. Dave's preferred band understands him well. They are all in tune with each other and they have a conversation, musically, which is very meaningful to the people who are involved in it. Dave talks about his role in the Jimmy Buffett Projects. Dave shares his definition of success. It can take years to perfect certain technical skills on the guitar. His parents were interesting, unusual and forward-thinking people. Dave likes to fix electronics. He built a television set when he was thirteen years old, from an old army kit. When something interests him, he learns about it because his parents taught him that he could learn anything he wanted to. But his parents were aghast when he wanted to go to music school.   Dave comes from a family of over-achievers, and they are all very charity-minded. Dave talks about ICE, which was formed to build an amphitheater, to bring art, music, and dance to the public at no cost, and to fund scholarships. In general, Dave has found that the people who have made it big, are charitable. Establishing a value for your art is an important step in being an artist. Links and resources: Dave's website - https://davidfeder.com/ ICE - www.keysice.com 

Edward Hohner v. DOJ

(THESE NOTES WILL BE UPDATED)Mickey Raphael was given his first harmonica by an uncle who said if you can play Oh, Suzanna I'll give you the harmonica. Mickey would go on to play a whole lot more than that, having been Willie Nelson's harmonica player for over 46 years. He's played with the likes of Townes Van Zandt, Chris Stapleton, Tom Morello, Paul Simon, Snoop Dogg, Engelbert Humperdinck, Leon Bridges, Neil Young, Norah Jones, Bob Dylan, Ray Charles, Duane Eddy, Vince Gill, Emmylou Harris, Leon Russell...DO I NEED TO SAY MORE? Mickey's story is a perfect fit for Baker Street with Thom Pollard. He picked up the harmonica and knew that he was destined to be a pro. His early influences include Sonny Boy Williamson, Sonny Terry & Brownie Mcghee and the legendary bluesman Paul Butterfield, with whom he soon became friends. Mickey tells a great story about playing with Tom Morello of Rage Against the Machine fame, and how he introduced Tom's mom to Willie. Mickey's website is at mickeyraphael.comHand to Mouth, the music is courtesy of Mickey Raphael and Paul ButterfieldPaul Butterfield's One More Heartache, which Mickey plays before he hits the stage every night: https://www.youtube.com/watch?v=HHMryjUnu58First song he ever played with Willie Nelson, Funny How Time Slips Away:https://www.youtube.com/watch?v=iZaZqx9v3dUPLEASE VISIT ME AT eyesopenproductions.com - click on CONTACT and ask to be added to my mailing list.Support the show (https://www.patreon.com/user)

Here is my conversation with London based jazz chromatic harmonica player and composer Adam Glasser. Connect with Adam: http://www.adamglassermusic.comFor more episodes please visit: harmonicastudio.yvonnickprene.com Harmonica Studio Podcast features conversations with pro harmonica players from all over the world, hosted by me, Yvonnick Prené.Instagram: instagram.com/HarmonicaStudioFacebook: facebook.com/harmonicastudioDiscover Yvonnick's books: yvonnickprene.com/bookOver the past year, I have produced over 600 step-by-step lessons to help chromatic harmonica players to practice better. Whether you're just starting out or a pro harmonica player I have something for you to work on! Harmonica Studio is THE place to gain directions, encouragements and most of all be inspired to get your harmonica playing to the next level! Try it FREE today at harmonicastudio.yvonnickprene.comDo Enjoy Listening to This Podcast?If you enjoyed this episode help us out by leaving a star rating and review on iTunes or your favorite podcast app. Thanks for your help!Support the show (http://harmonicastudio.yvonnickprene.com)Support the show (http://harmonicastudio.yvonnickprene.com)

- Billy Swan “Don't Be Cruel” - - Bob Darin “Me And Mr. Hohner” - - Hoyt Axton “California Women” - - Townes Van Zandt “Hunger Child Blues” - - Thomas Jefferson Kaye “Collection Box” – - Willie Nelson “Shotgun Willie” - - Jackie DeShannon “The Weight” - - Dillard & Clark “Don't Let Me Down” – - Bill Wilson “Pay Day Give Away” - - Dolly Parton “Getting Happy” - - Larry Williams & Johnny Watson With The Kaleidoscope “Nobody” - - Jim Ford “Rising Sign” - - JJ Cale “Cajun Moon” - - Donnie Fritts “Sumpin Funky Going On” - - Kenny Rogers & The First Edition “Tulsa Turnaround” - - Willis Alan Ramsey “Northeast Texas Women” - Escuchar audio

My conversation with harmonica player and legendary educator Phil Duncan. In this episode Phil tells his journey as a music teacher and writer for Mel Bay publication, his favorite Hohner models, advice for beginners and much more!Connect with Phil: FacebookFor more episodes please visit: harmonicastudio.yvonnickprene.com Harmonica Studio Podcast features conversations with pro harmonica players from all over the world, hosted by me, Yvonnick Prené.Instagram: instagram.com/HarmonicaStudioFacebook: facebook.com/harmonicastudioDiscover Yvonnick's books: yvonnickprene.com/bookOver the past year, I have produced over 500 step-by-step lessons to help chromatic harmonica players to practice better. Whether you're just starting out or a pro harmonica player I have something for you to work on! Harmonica Studio is THE place to gain directions, encouragements and most of all be inspired to get your harmonica playing to the next level! Try it FREE today at harmonicastudio.yvonnickprene.comDo Enjoy Listening to This Podcast?If you enjoyed this episode help us out by leaving a star rating and review on iTunes or your favorite podcast app. Thanks for your help!Support the showSupport the show (http://harmonicastudio.yvonnickprene.com)

Here is my conversation with diatonic harmonica player Boaz Kim. When I first met Boaz at SPAH in Tulsa Oklahoma during his performance with Winslow Yerxa I was struck by his virtuosity on the instrument. I learned later that he could play as well the bass, chord, tremolo and chromatic harmonica! In this episode Boaz talks about harmonica customization and repair, learning classical pieces, his love for the bass harmonica and much more!Connect with Boaz: instagram.com/bkimmusicFor more episodes please visit: harmonicastudio.yvonnickprene.com Harmonica Studio Podcast features conversations with pro harmonica players from all over the world, hosted by me, Yvonnick Prené.Instagram: instagram.com/HarmonicaStudioFacebook: facebook.com/harmonicastudioDiscover Yvonnick's books: yvonnickprene.com/bookOver the past year, I have produced over 500 step-by-step lessons to help chromatic harmonica players to practice better. Whether you're just starting out or a pro harmonica player I have something for you to work on! Harmonica Studio is THE place to gain directions, encouragements and most of all be inspired to get your harmonica playing to the next level! Try it FREE today at harmonicastudio.yvonnickprene.comDo Enjoy Listening to This Podcast?If you enjoyed this episode help us out by leaving a star rating and review on iTunes or your favorite podcast app. Thanks for your help!Support the showSupport the show (http://harmonicastudio.yvonnickprene.com)

Here is my conversation with diatonic harmonica player Tim Gonzalez. I met Tim last summer at SPAH in Tulsa Oklahoma at the Hohner booth. We started to jam on the spot, him on a Natural minor tuned Special 20 and myself on a Rocket harmonica. It was a special moment! In this episode Tim talks about his desire to bring the harmonica into Latin music, his upcoming album "Harp Combo", advice for practicing harmonica and much more!Connect with Tim: https://www.timgonzalez.netFor more episodes please visit: harmonicastudio.yvonnickprene.com Harmonica Studio Podcast features conversations with pro harmonica players from all over the world, hosted by me, Yvonnick Prené.Instagram: instagram.com/HarmonicaStudioFacebook: facebook.com/harmonicastudioDiscover Yvonnick's books: yvonnickprene.com/bookOver the past year, I have produced over 500 step-by-step lessons to help chromatic harmonica players to practice better. Whether you're just starting out or a pro harmonica player I have something for you to work on! Harmonica Studio is THE place to gain directions, encouragements and most of all be inspired to get your harmonica playing to the next level! Try it FREE today at harmonicastudio.yvonnickprene.comDo Enjoy Listening to This Podcast?If you enjoyed this episode help us out by leaving a star rating and review on iTunes or your favorite podcast app. Thanks for your help!Support the showSupport the show (http://harmonicastudio.yvonnickprene.com)

Here is my conversation with French chromatic harmonica player Olivier Ker Ourio. I met Olivier when I was a teenager growing up in Paris and learning how to play the chromatic harp. I always enjoyed listening to his music. In this episode Olivier talks about his inspirations behind his upcoming albums "Singular Insularity", how he write original music, his friendship with Toots Thielemans, his stay in New York City, the importance of being yourself and a lot more!Connect with Olivier: www.kerourio.comFor more episodes please visit: harmonicastudio.yvonnickprene.com Harmonica Studio Podcast features conversations with pro harmonica players from all over the world, hosted by me, Yvonnick Prené.Instagram: instagram.com/HarmonicaStudioFacebook: facebook.com/harmonicastudioDiscover Yvonnick's books: yvonnickprene.com/bookOver the past year, I have produced over 500 step-by-step lessons to help chromatic harmonica players to practice better. Whether you're just starting out or a pro harmonica player I have something for you to work on! Harmonica Studio is THE place to gain directions, encouragements and most of all be inspired to get your harmonica playing to the next level! Try it FREE today at harmonicastudio.yvonnickprene.comDo Enjoy Listening to This Podcast?If you enjoyed this episode help us out by leaving a star rating and review on iTunes or your favorite podcast app. Thanks for your help!Support the showSupport the show (http://harmonicastudio.yvonnickprene.com)

I had a great time talking with Los Angeles based Jazz chromatic harmonica player Bill Barrett. Bill is an Hohner endorsee and plays the CX 12. I dig his musicality, strong sense of rhythm, his sophisticated use of bending, switch corner and tongue blocking techniques. In this episode we are talking about his busy work as a sideman, advice for chromatic harmonica players, his life in LA and how to develop an original voice on the chromatic harmonica.Connect with Bill Barrett: www.facebook.com/billbarrett23For more episodes please visit: harmonicastudio.yvonnickprene.com Harmonica Studio Podcast features conversations with pro harmonica players from all over the world, hosted by me, Yvonnick Prené.Instagram: instagram.com/HarmonicaStudioFacebook: facebook.com/harmonicastudioDiscover Yvonnick's books: yvonnickprene.com/bookOver the past year, I have produced over 500 step-by-step lessons to help chromatic harmonica players to practice better. Whether you're just starting out or a pro harmonica player I have something for you to work on! Harmonica Studio is THE place to gain directions, encouragements and most of all be inspired to get your harmonica playing to the next level! Try it FREE today at harmonicastudio.yvonnickprene.comDo Enjoy Listening to This Podcast?If you enjoyed this episode help us out by leaving a star rating and review on iTunes or your favorite podcast app. Thanks for your help!Support the showSupport the show (http://harmonicastudio.yvonnickprene.com)

The Magnus Archives... in SPAAAAACEStatement of T. Geistman regarding the circumstances of his assignment to, and later dismissal from, the Sales Department of Stellar Firma Ltd.Thanks to this week's Patrons: Irene Hausler, Erin Paige, Micaela Palmeiro, Connor E. Hohner, Ace Tayloe, Julia Meyer, Brant Casavant, Taffeara, Mrs. Widgery's Lodger, Wendy Kay, Mattanja Koenz, DTBR, Daniel Simmons, Emil Johansson, pewterandjaded, Yancy Zim, Clarissa, Emily Ritchie, OpalKat29If you would like to join them, be sure to visit www.patreon.com/rustyquillEditing this week by David DevereuxSFX this week by previously credited artists via Freesound.org.Join our community:WEBSITE: rustyquill.comFACEBOOK: facebook.com/therustyquillTWITTER: @therustyquillREDDIT: reddit.com/r/RustyQuillDISCORD: https://discord.gg/KckTv8yEMAIL: mail@rustyquill.comStellar Firma is a podcast distributed by Rusty Quill Ltd. and licensed under a Creative Commons Attribution Non-Commercial Share alike 4.0 International Licence. See acast.com/privacy for privacy and opt-out information.

Phelo The Great ... LIVE, Rare On-Air Interview With Legendary Blues Artist, Joey Gilmore ___LISTEN NOW ___Joey Gilmore's career has spanned almost 50 years, with performances throughout the United States and Europe. Joey is a true Blues and R&B master who incorporates new and varied styles in his music and high energy live shows.like . share . subscribe . leave a comment _https://www.spreaker.com/user/valeriedenisejones _ phelothegreat.com - vlfmgt.com - msvaleriedenisejones.com

Case #0020312Statement of Tova McHugh regarding their string of near-death experiences. Original statement given December 3rd 2002.Audio recording by Jonathan Sims, the Archivist.Thanks to this week's Patrons: Irene Häusler, Erin Paige, Micaela Palmeiro, Connor E. Hohner, Ace Tayloe, Julia Meyer, Brant Casavant, Taffeara, Mrs. Widgery's Lodger, Wendy Kay, Mattanja Koenz, DTBR, Daniel Simmons, Emil Johansson, pewterandjaded, Yancy Zim, Clarissa, Emily Ritchie, OpalKat29If you'd like to join them be sure to visit www.patreon.com/rustyquillEdited this week by David Devereux & Alexander J Newall.Written by Jonathan Sims and directed by Alexander J Newall.Performances:- "The Archivist" - Jonathan Sims- "Basira Hussain" - Frank Voss- "Melanie King" - Lydia NicholasSound effects this week by HunteR4708 & previously credited artists via freesound.org.Check out our merchandise at https://www.redbubble.com/people/rustyquill/collections/708982-the-magnus-archives-s1You can subscribe to this podcast using your podcast software of choice, or by visiting www.rustyquill.com/subscribePlease rate and review on your software of choice, it really helps us to spread the podcast to new listeners, so share the fear.Content notes:- Self harm- Infanticide- Murder- Near-death experienceJoin our community:WEBSITE: rustyquill.comFACEBOOK: facebook.com/therustyquillTWITTER: @therustyquillREDDIT: reddit.com/r/RustyQuillDISCORD: https://discord.gg/KckTv8yEMAIL: mail@rustyquill.comThe Magnus Archives is a podcast distributed by Rusty Quill Ltd. and licensed under a Creative Commons Attribution Non-Commercial Sharealike 4.0 International Licence See acast.com/privacy for privacy and opt-out information.

Join Alex, Helen, Bryn, Lydia and Ben as they come up with plans to infiltrate the Shoin Institute.This week Cel and Zolf get crafty, Hamid makes use of an old talent, and Azu has trouble fitting in.Thanks to this week's Patrons:Irene Häusler, Erin Paige, Micaela Palmeiro, Connor E. Hohner, Ace Tayloe, Julia Meyer, Brant Casavant, Taffeara, Mrs. Widgery's Lodger, Wendy Kay, Mattanja Koenz, DTBR, Daniel Simmons, Emil Johansson, pewterandjaded, Yancy Zim, Clarissa, Emily Ritchie, OpalKat29If you would like to join them, be sure to visit www.patreon.com/rustyquillEditing this week by Lowri Ann Davies & Alexander J NewallSFX this week by MattJ99, CapsLok, zbig77, deleted_user_7146007, humanoide9000, qubodup, zembacraftworks, jorickhoofd, seachangeau, volivieri and previously credited artists via Freesound.orgAs always, today’s game system is available for free at d20pfsrd.comJoin our community:WEBSITE: rustyquill.comFACEBOOK: facebook.com/therustyquillTWITTER: @therustyquillREDDIT: reddit.com/r/RustyQuillDISCORD: https://discord.gg/KckTv8yEMAIL: mail@rustyquill.comRusty Quill Gaming is a podcast distributed by Rusty Quill Ltd. and licensed under a Creative Commons Attribution Non-Commercial Share alike 4.0 International Licence. See acast.com/privacy for privacy and opt-out information.

ON>TOUR>AGE PODCAST EPISODE 2 Christmas comes early for Smiley and Mike, as the band get new drums and harmonicas. Which member of the band travels first class? and who is known as “The little hands of concrete”? Mike & Gareth cutting a cool silhouette

ON>TOUR>AGE PODCAST EPISODE 2 Christmas comes early for Smiley and Mike, as the band get new drums and harmonicas. Which member of the band travels first class? and who is known as “The little hands of concrete”? Mike & Gareth cutting a cool silhouette

Pop Art Painter Jamie Roxx (www.JamieRoxx.us) welcomes Will Jacobs (Powerhouse Blues, R&B, Soul, Gospel, Funk) to the Show!  www.willjacobsband.com Known for his powerful, live performances, WILL JACOBS is a modern Blues/Jazz, R&B/Soul artist based currently based in Berlin, Germany. Originally from Chicago, USA, he's already a well-seasoned performer at only 25 years of age. Making the jump across the pond to Europe in mid-2016, Will began performing and sharing his dynamic playing skills in Berlin, Germany plus performing with Hohner artist, Marcos Coll at festivals in Poland, Spain & France . Media Inquiries: Doug W. Deutsch Doug Deutsch Publicity Services www.facebook.com/dougdeutschpublicity

Chad Hohner 11 & 11A 3 Min. Teaser

We're taking this consolidated episode with Chad Hohner "At Speed"! You should be racing along with us to catch up before Season 2 hits! Don't get caught in the pits!

Ob Eminent, Wersi, Hohner oder Bontempi, Heimorgeln eroberten die Wohnzimmer der 70er und 80er Jahre. Doch plötzlich waren sie wieder verschwunden und die Home-Keyboards übernahmen das Feld. Was macht die Faszination einer Heimorgel aus und gibt es zum Keyboard überhaupt Unterschiede, darüber sprechen wir in dieser Episode und zeigen, wie man mit Korg Module ein Keyboard auf den neuesten Stand bringen kann.

Christian Dehn ist Direktor für Vertrieb und Marketing beim unangefochtenen Weltmarktführer für Akkordeons und Mundharmonikas, Hohner Musikinstrumente. Hohner wurde bereits 1857 gegründet. Mit einem Höchststand von 5000 Mitarbeitern und einem Jahresumsatz von 33 Millionen Hamonikas zu Beginn des 20. Jahrhunderts befindet sich die einzigartig authentische Marke Hohner in einer herausfordernden Branche, die seit den 80er Jahren unter der rückläufigen Nachfrage leidet und sich inzwischen bei 200 Mitarbeitern stabilisiert hat, sich auf eine stärkere Bindung an den Endverbraucher konzentriert und auf eine positive Zukunft schaut. Christian Dehn erlernte sein Handwerk beim Luxus-Füllhalter- und Kugelschreiberhersteller Mont Blanc, für den er lange Zeit die Vertriebs- und Marketingaktivitäten in Asien leitete. Seit 2014 leitet der studierte Betriebswirt das 25-köpfige Verkaufs- und Marketingteam von Hohner von seinem globalen Hauptsitz in Trossingen, Baden Württemberg, aus. Mit der Mission "Musik für Jedermann zugänglich zu machen" hatte der Hamburger das Vergnügen, mit Markenbotschaftern wie Ozzy Osborne, Bob Dylan und Bryan Adams zusammenzuarbeiten.

We discuss movie reviews, our own harrowing near-death experiences, ancient ancestors and new wave "Meal Prep" all in the action packed second part of our interview with Chad Hohner!

Chad Hohner joins us to talk about diabolical plots by dead celebrities, Olympic scandals, Danica Patrick's biological clock, extreme punishments for minor offenses and much more in part 1 of our 2 part interview.

Hohner https://www.hohner.de/en Rick Estrin 1 from CD On the harp side track 12 Let's get out of town  http://rickestrin.com Joe Filisko Erick Noden on On the Move track 1 On the move https://www.rootsduo.com Him and Her on Solid Ground tack 2 down by the pool www.himandhertx.com Nedra and Julio Dusty Roads Cd track on Dusty roads www.njrmusic.com  Hooker and Heat track 5 on double set CD Lets make it https://www.amazon.com/Hooker-N-Heat-John-Lee/dp/B000002UZU John Mayall Blues Breakers 4: Another man  https://www.amazon.com/Blues-Breakers-Eric-Clapton-Remastered/dp/B00005K9QP/ref=sr_1_1?s=music&ie=UTF8&qid=1523915254&sr=1-1&keywords=bluesbreakers+with+eric+clapton Johney Sansone track 2 Cron Whiskey https://www.johnnysansone.com Norton Buffalo Roy Rogers traveling  tracks  Track 5 The Buffalo Mambo track 11 Shake your money maker  http://www.nortonbuffalo.com http://www.roy-rogers.com    

Smelly ants are emerging from Ed's ceiling, and John is trying to eat fewer carbs. Not no carbs, just fewer. They talk about harmonicas; artisanal ice cream sandwiches; quitting a band and committing even harder to a band; what you get when you slice off a bit of pyramid; a bunch of books; and the imminent demise, or perhaps eternal eminence, of Donald J. Trump. Follow links to the Hohner 280/64, the Dead in Ithaca, frustum, The Iron Horse in Missoula, Andrew Martin's Early Work, Nicolas Freeling, Nicholas Blake, Mount Hood Meadows, Trader Joe's Sublime Ice Cream Sandwiches, Ruby Jewel, and Phở Oregon.

Joe Filisko reveals his love for American roots folk and blues music.  He explains the mechanics of the harmonica in an in-depth description of reed design, adjusting, setting and tuning the diatonic harmonica and how this manifested in the Hohner Thunderbird Harmonica that Joe contributed his expertise to. Joe is also an accomplished artist who travels the world with his Blues roots duo partner, Eric Noden, whom he’s recorded four studio records with at Joyride Studio with genius audio engineer Blaze Barton. Joe discusses their approach to studio recording, gear, microphones, amps, and techniques. Joe is also a dedicated educator who has taught for decades at the Old Town School of Folk Music in Chicago, IL USA along with teaching workshops around the world.  He also provides deeply researched harmonica lessons and teaching resources found on his website.   Filisko Harmonica Instruction: http://www.filiskostore.com/ Schedule and appearances, all things Filisko:  http://www.filisko.com/   Joe Filisko & Eric Noden:  https://www.rootsduo.com/ Old Town School of Folk Music:  https://www.oldtownschool.org/ Filisko harmonica instruction  Facebook page:  https://www.facebook.com/FiliskoStoreHarmonicaInstruction/   JoyRide Recording Studio - Blaise Barton:  http://www.joyride-studio.com/ To find more interviews like this: http://darausf.com/musician-technician-entrepreneur-podcast/ The Musician Technician Entrepreneur Podcast is sponsored by the Digital Audio Recording Arts at the University of St. Francis in Joliet, IL USA.  Teaching students how to succeed in the music business by being a Musician Technician Entrepreneur while earning their Bachelors degree.  http://www.darausf.com

If you're a regular listener of this podcast you know that I recently published milestone episode 25, featuring Mike Dawson of Modern Drummer Magazine and The Modern Drummer Podcast. Well this is another milestone episode. It's the first to feature a live guest performance. That performance and today's interview is by acclaimed music educator David Barrett. David has made a living as professional harmonica player & educator David has made his living as a professional harmonica player and as one of the most widely respected educators of the instrument. In fact he's largely responsible for taking the harmonica from novelty instrument to highly coveted art form. He's published 70 book/CD sets and over 4000 educational videos, all of which is part of BluesHarmonica.com. David's an extraordinary individual. He's very self-motivated, has a keen appreciation for systems, and has a true love of community. In 2002 David opened School of the Blues in San Jose California, which is dedicated to the study of blues. Building a business around his love of harmonica & teaching David built a business around his love of harmonica and teaching, and it all happened somewhat organically. As he became a respected harmonica player, David was asked to teach private lessons. Private lessens evolved into workshops, which lead to the realization that there was an absence of quality literature for harmonica, and particularly blues harmonica. He learned to play harmonica by listening, but turned his skill into a teaching method that has garnered a longtime partnership with Hohner. His craft has also garnered him respect among the most noteworthy players across two or more generations. In our conversation David opens up about the evolution of his educational programs and business, marketing, community, and his new emphasis on gear reviews. His story is fascinating, he's a good communicator, savvy in business, and passionate about teaching. I enjoyed our conversation so much, that I'm hoping to have him back for a part-two interview. Hope you enjoy listening to our conversation as much as I did recording it. Also available on iTunes, Stitcher & Google Play Music If you enjoyed this episode, please leave a review and rating on iTunes. I'd be forever grateful! SHOW NOTES David Barrett on Facebook BluesHarmonica.com David Barrett on Twitter The Modern Drummer Podcast School of the Blues Hohner RESOURCES FOR MUSICIANS The Unstarving Musician's Guide to Getting Paid Gigs: How to Get Booked and Paid What You're Worth, Over and Over Again! ConvertKit – Awesome email marketing solution, something every musician needs! DreamHost – Been using this web hosting service forever. Love them, trust them! More resources – Visit my Resources page for more deals on musician resources.

If you're a regular listener of this podcast you know that I recently published milestone episode 25, featuring Mike Dawson of Modern Drummer Magazine and The Modern Drummer Podcast. Well this is another milestone episode. It's the first to feature a live guest performance. That performance and today's interview is by acclaimed music educator David Barrett. David has made a living as professional harmonica player & educator David has made his living as a professional harmonica player and as one of the most widely respected educators of the instrument. In fact he's largely responsible for taking the harmonica from novelty instrument to highly coveted art form. He's published 70 book/CD sets and over 4000 educational videos, all of which is part of BluesHarmonica.com. David's an extraordinary individual. He's very self-motivated, has a keen appreciation for systems, and has a true love of community. In 2002 David opened School of the Blues in San Jose California, which is dedicated to the study of blues. Building a business around his love of harmonica & teaching David built a business around his love of harmonica and teaching, and it all happened somewhat organically. As he became a respected harmonica player, David was asked to teach private lessons. Private lessens evolved into workshops, which lead to the realization that there was an absence of quality literature for harmonica, and particularly blues harmonica. He learned to play harmonica by listening, but turned his skill into a teaching method that has garnered a longtime partnership with Hohner. His craft has also garnered him respect among the most noteworthy players across two or more generations. In our conversation David opens up about the evolution of his educational programs and business, marketing, community, and his new emphasis on gear reviews. His story is fascinating, he's a good communicator, savvy in business, and passionate about teaching. I enjoyed our conversation so much, that I'm hoping to have him back for a part-two interview. Hope you enjoy listening to our conversation as much as I did recording it. Also available on iTunes, Stitcher & Google Play Music If you enjoyed this episode, please leave a review and rating on iTunes. I'd be forever grateful! SHOW NOTES David Barrett on Facebook BluesHarmonica.com David Barrett on Twitter The Modern Drummer Podcast School of the Blues Hohner RESOURCES FOR MUSICIANS The Unstarving Musician's Guide to Getting Paid Gigs: How to Get Booked and Paid What You're Worth, Over and Over Again! ConvertKit – Awesome email marketing solution, something every musician needs! DreamHost – Been using this web hosting service forever. Love them, trust them! More resources – Visit my Resources page for more deals on musician resources.

世界上有一半的人会吹口琴，还有一半人希望自己会吹口琴。" 　　J.J.MILTEAU于二战后的1950年出生于法国巴黎一个普通的家庭（他父亲是名厨师）。充斥着摇滚的60年代使他有机会选择是过平淡而一成不变的学习生活还是当一名豪放不羁的艺术家。他决定去欧洲和北美旅行，打打小工，会会各种各样的人和艺术家。 　　在路上，他听说了一些不是很著名但极富有灵感的蓝调艺人，于是开始了他演奏口琴的生涯。口琴虽小，但便于携带，对于像他这样年轻而孤独的旅人是很合适的。三十年后，他有足够的理由为他当初的选择感到高兴，因为这小小的口琴带给他各种快乐和意想不到的境遇。 　　从北极圈（圣皮埃尔岛和密克隆岛）到南非，从瑞士到古巴，甚至在著名的"巴黎歌剧"的舞台上等意想不到的场所，他都进行过演出。 　　J.J.MILTEAU感到能够成为一名忙碌的乐手很幸运。但他同时感到他也是一个平民，希望能够与人分享他的经验和知识。口琴是少数几个吹奏乐器之一：包括呼出和吸入的过程。在医院里，J.J.MILTEAU和几个内科医生和理疗专家共同领导了一项关于声乐呼吸练习的研究工作，以帮助那些患有如气喘病这样呼吸道疾病的儿童和成人。 他一直坚持音乐的创作：为电视节目，为电影录制音带，为商业演出……他的事业中充满各种不同的工作。他曾担任过（或同时担任）作曲家、音响师、出版商、唱片商、唱片封套设计、摄影师……他年轻时甚至在录音间工作过。 1997年，他创建了一个网站：HYPERLINK （http://www.nilteau.com）。这是一个关于口琴的"电脑之城"，其中包括一座博物馆、一所学校、一个音乐会吧，还有许许多多英语、法语和波兰语的消息和链接。 著名品牌"Hohner"用他的名字生产了两种类型的口琴。

世界上有一半的人会吹口琴，还有一半人希望自己会吹口琴。" 　　J.J.MILTEAU于二战后的1950年出生于法国巴黎一个普通的家庭（他父亲是名厨师）。充斥着摇滚的60年代使他有机会选择是过平淡而一成不变的学习生活还是当一名豪放不羁的艺术家。他决定去欧洲和北美旅行，打打小工，会会各种各样的人和艺术家。 　　在路上，他听说了一些不是很著名但极富有灵感的蓝调艺人，于是开始了他演奏口琴的生涯。口琴虽小，但便于携带，对于像他这样年轻而孤独的旅人是很合适的。三十年后，他有足够的理由为他当初的选择感到高兴，因为这小小的口琴带给他各种快乐和意想不到的境遇。 　　从北极圈（圣皮埃尔岛和密克隆岛）到南非，从瑞士到古巴，甚至在著名的"巴黎歌剧"的舞台上等意想不到的场所，他都进行过演出。 　　J.J.MILTEAU感到能够成为一名忙碌的乐手很幸运。但他同时感到他也是一个平民，希望能够与人分享他的经验和知识。口琴是少数几个吹奏乐器之一：包括呼出和吸入的过程。在医院里，J.J.MILTEAU和几个内科医生和理疗专家共同领导了一项关于声乐呼吸练习的研究工作，以帮助那些患有如气喘病这样呼吸道疾病的儿童和成人。 他一直坚持音乐的创作：为电视节目，为电影录制音带，为商业演出……他的事业中充满各种不同的工作。他曾担任过（或同时担任）作曲家、音响师、出版商、唱片商、唱片封套设计、摄影师……他年轻时甚至在录音间工作过。 1997年，他创建了一个网站：HYPERLINK （http://www.nilteau.com）。这是一个关于口琴的"电脑之城"，其中包括一座博物馆、一所学校、一个音乐会吧，还有许许多多英语、法语和波兰语的消息和链接。 著名品牌"Hohner"用他的名字生产了两种类型的口琴。

Welcome to Secrets of Organ Playing Podcast #53! (hosted by Vidas PInkevicius, DMA) Secrets of Organ Playing - Helping Reach Your Dreams: http://www.organduo.lt Today's guest is Glenn Tompkins from Mesa, Arizona who is a fellow blogger, artist, improviser on accordion and a great lover of organ music. He has always been fascinated by sound, textures, color and atmosphere. Early in his life he learned to love music, having been drawn to such art by listening to his grandfather play the violin, harmonica, piano, organ and mandolin. His Uncle Walter gave him his 1930's Hohner accordion which stimulated a lifelong fascination with the study of instrumental music. In the 1950's his father provided for him to start music lessons at an accordion school in Bound Brook, New Jersey. From 1960 to 1965 Glenn attended Middlesex High School, then went on to Drew University at Madison, New Jersey from 1965 through 1970. At Drew he initially wanted to major in English, but subsequently decided to change his major to Art (Studio). Around 1967/ 68 he had given up on continuing with the accordion as it seemed to be considered an out-of-date and somewhat unpopular instrument. Somewhere in the vicinity of the years 1999/ 2000, some friends gave him a beautiful vintage Scandalli accordion, a 4/5 reed instrument in LMMH configuration. The Scandalli rekindled his abiding interest in acoustic music, allowing him to experiment with all sorts of tonal blends from those beautiful Italian reeds. Glenn joined YouTube in 2009 and started making music videos to share with the worldwide community under the channel name FromHolbergsTime. Previously he had not realized the potential for making new friends through the sharing of music, but quickly he could see the value of this imaginative and extensive network of musicians, fans and music-lovers. This chapter of Glenn's life has provided exceeding joy as he has rediscovered the positive attributes of folk music, traditional hymns, contemporary praise & worship, improvisation, Classical music, Gospel tunes and popular melodies. ​ In this conversation Glenn talks about the poetry of organ music. Enjoy and share your comments below. ​ And don't forget to help spread the word about the SOP Podcast by sharing it with your organist friends. Thanks for caring. Related links: http://www.fanfaresandreveries.com Glenn on YouTube: https://www.youtube.com/user/FromHolbergsTime Glenn on Facebook: https://www.facebook.com/profile.php?id=100009012063724 Glenn on Twitter: https://twitter.com/Mesa_Artist ​Glenn on Linkedin: https://www.linkedin.com/in/glenn-tompkins-a4853373

Steve Baker is an incredible player performing and recording in a diverse range of styles and genres. He's also a consultant for Hohner who's come up with many of the recent Hohner models including the Crossover, Thunderbird and Marine Band Deluxe. We talk about his musical journey that brought him from the U.K. to Germany in the late 70s, his teaching philosophy and the many harp innovations he's been responsible for. 

PHOENIX VS PHENIX Drums Logic X: Busy Roundtrip Drumset World Conga Egyptian Nile Darbouka Instruments Logic X: E-Piano Whrill E-Piano Lava Lamp Wah Guitar Cuban Horns Ion Drive Chord Synth Bass loops 2 track Bass Paploviante bassloops Hohner 5 String (my baby) Thank you for listening !!!

Latinopia.com: Latino MusicSHOW DESCRIPTION: The Latinopia.com Podcast is Video Podcast show about Latino Art, History and Culture. The Podcast is published by PodcastStudios.com for Latinopia.EPISODE TITLE: Latino  MUSIC: FLACO JIMENEZ STYLINGSEPISODE DESCRIPTION: Flaco Jimenez is perhaps the best known Conjunto music accordionist in the world. He has performed with Ry Cooder, Freddy Fender, Los Lobos, The Rolling Stones and many other groups. The Hohner Company, manufacturers of accordions, has even seen fit to create a special line of Hohner accordions named after Flaco and employing his unique tuning. Latinopia visited with Flaco and asked him to showcase his unique accordion stylings.SHOW CONTACT INFO: EMAIL: podcast@latinopia.comURL: http://latinopia.comPODCAST RSS FEED: http://feeds.feedburner.com/Latinopia

WWDC Announced, Apple Q2 earnings. Apps reviewed: Garage Band, Hohner – How to Blow the Blues, Ocarina, SoundPrism, Finger Piano Lite, Euphonics LE, Dr. Seuss Band

Comenzamos en grande, acompañados del olor a pino de una guitarra Martin Dreadnought y el chirriante sonar metálico una armónica Hohner, que acompañan a una voz peculiar, nasal y de medio tono, pero con una furia implícita, la pasión viviente de la interpretación. El nominado al Premio Nobel de Literatura canta y nos ofrece un soundtrack propicio para que hablemos de curiosidades de su rodante vida. Con ustedes Bob Dylan, genio, loco y figura. Poeta, mecías contra su voluntad y músico ante todo. Sean bienvenidos a rodar.

show#40810.15.11   WOMEN!!!!! Jackson Browne & David Lindley - You Asshole You (You Just Want Meat) (Live at The Main Point (sept 7 1975)Bonnie Raitt - Women Be Wise (Live in the Rainbow Room, Philadelphia - 1972 (WMMR Radio)Tony Joe White - Red Neck Women (Live From Austin TX 2006)Mason Casey - Two Crazy Women (Deep Blue Dream 2003)J.J. Cale - Louisiana Women (Really 1972)James Harman - (I Got) So Many Womens (Side Dishes 2003)Kaye Bohler - Just Another Woman (Men and Music 2002)Nick Curran - Women and Cadillacs (Fixin' Your Head 2000)Lightnin' Malcolm - So Many Women (Renegade 2011)Little Junior Parker - Bad Women Bad Whiskey (1952-1955 2008)Stick McGhee - Whiskey, Women & Loaded Dice (The R&B Years - 1953 [Disc 2])Michael Hill's Blues Mob - Women Make the World Go 'Round (Have Mercy 1996)Alexis Korner - Evil Hearted Woman (Bootleg Him 1972)Craig Erickson - Wild Little Woman (Retro Blues Express 1994)David Maxwell & Louisiana Red - New Jersey Women (You Got To Move 2009)Coco Montoya - Women Have A Way With A Fool (Can't Look Back 2002)Gary Moore - I Loved Another Woman (Blues for Greeny 1996)Guitar Shorty - Texas Women (Bare Knuckle 2010)Charlie Musselwhite - Cadillac Women (The Well 2010)Spinner's Section:some stuff I bet you never heard before (all vinyl)Dick Destiny & the Highway Kings: Dweezils ripped my flesh (0:38) (Brutality, Destination, 1987)Peter "Madcat" Ruth: baby scratch my back (2:57) (Heavy Duty Harpin', Hohner, 1984)Merle Travis: black diamond blues (3:06) (The Merle Travis Guitar, Capitol, 1956)Sweet Salvation: have you ever had the blues (2:22) (-, Elektra, 1972)BB King: recession blues (1958) (2:21) (Blues Rarities, Chess, 1985)Crew: struggle (6:02) (Doin' Overtime, Blue Sting, 1986)Jesse "Ed" Davis: bacon fat (4:40) (Keep Me Comin', Epic, 1973)Keith Sykes: truck driver blues (3:16) (1-2-3, Vanguard, 1971)Toots Thielemans: blues talk (2:15) (The Salient One, ABC, 1973)Pete Johnson: somebody (3:34) (Blowin' The Family Jewels, Bleu Shadow, 1988)Ted & the Tall Tops: crazy date (3:35) (untittled mini album, New Rose, 1987)Jump Dickie Jump: who's the one you gonna put the chainball to his feet (3:55) (-, Rockhouse, 1986)

This song was recorded on 11 February 1963 in ten takes. There's a Place was first released as a track on Please Please Me. It's release in the US came a year later on the legendary Vee-Jay album “Introducing…The Beatles,” released on January 6th, 1964. The second US release was as a single, which wasn’t released in Britain, as the flip side to “Twist And Shout.” This single was released on the newly formed Vee-Jay subsidiary Tollie Records in late February of 1964 as a way to capitalize on their performing “Twist And Shout” on the Ed Sullivan Show on February 23rd, 1964. Although its’ A-side reached number two on the Billboard charts, “There’s A Place” charted at number 74 for the week of April 11th, 1964. The third US release of the song occurred in August of 1964 with the re-release of the Tollie single on the Vee Jay “Oldies 45” label. The fourth release was on the Vee Jay double-album “The Beatles vs. The Four Seasons”, released on October 1st, 1964, which coupled the “Introducing…The Beatles” album with “The Golden Hits of the Four Seasons”. The fifth appearance came less than two weeks later with another repackage of the Vee Jay album under the name “Songs, Pictures And Stories Of The Fabulous Beatles”, released on October 12th, 1964. Then, it became silent and the song was not available in album form for the next 16 years........ The vocals use some complex harmonies, and there was a harmonica intro. There's the usual outrageous composition by Lennon, the verse being an unusual 15 measures long, and the bridge an unusual 10. Goes to show that the Fab 4 put considerable effort in this song. It was the first song they recorded for the LP, so they probably saw it having great - hit - potential. In the end, it ended up in a very unflattering position on the album; next to last on side two. They apparently lost interest in the song quickly thereafter. They did not perform the song during any other their national tours of 1963, nor is there any documentation of them performing the song at any other live performance apart from 3 BBC shows. The lyrics are pretty serious for those 'Yeah yeah' times, and deal with the struggles of Lennon with Life in general. It is the earliest expression of a feeling that Lennon would use many times, which goes something like: "it's all about me (Lennon) and the world hates me".... On Please Please Me, it was recorded in the famous Martin vocals-left/instruments-right stereo mode. Here, we present a true stereo version, compiled from 2 different takes. This really brings out the vocal harmonies: Paul takes the lead for most of the verse sections with John singing in harmony below him. At the end of the first and third verses, Paul suddenly drops out leaving John briefly exposed by himself on lead ('when I'm alone!"), and at the end of the middle variant verse, John sings lead with a vocalese backing by Paul and George. The bridge section alternates between solo John and John and Paul in unison. And listen to those trill-like ornaments John tacks onto the end of his phrases in the verse ! Motown artists, such as Smokey Robinson, were probably the catalyst to this vocal gimmick. Macca's bass goes 'boom boom boom' most of the time; we forgive him for that, since he had to sing the complex vocal harmonies in real time ! Harrison plays the intro (which he flunked in several takes), an adequate rythm guitar, and sporadic vocals harmonies. We didn't use the Hohner harmonica, but kept the guitar intro instead.

The Concert Percussion Ensemble performs David Maslanka's "Hohner" at thh 2005 Spring Concert.