Podcasts about i fought

Lou ,Mark and Perry listen to Buzzcocks play "Autonomy" also music trivia and a listen to B-Sides of hit records play The Pogues w/Joe Strummer play "I Fought the Law" and random relish topics and lote of extra fun stuff

I Fought the Law and the Law Won Are you carrying more than you should? Life can feel like a constant balancing act—until the weight becomes too much. In Exodus 18, Moses reunites with his family, only to receive a blunt but life-changing challenge from his father-in-law, Jethro: “What you are doing is not good.” Jethro's wisdom reshapes how Moses leads, showing us that leadership isn't about doing it all—it's about equipping others to share the load.  So, who are you empowering? And who's speaking wisdom into your life? Let's talk about it.  Exodus 18  Discussion topics What part of this sermon, or this passage stands out most to you and why?  In Exodus 18:7-12, Jethro celebrates what God has done for Israel. Why is it important to share testimonies of God's faithfulness with family and friends? Who is someone in your life that gives you wise advice when you need it? Who in your life do you allow to challenge you and say, "What you are doing is not good"? How can you be more open to wise counsel? Have you ever been in a situation where you were trying to do everything yourself? What happened? Where do you need to delegate or ask for help in your life—whether in family, work, ministry, or personal growth?  Next week Navigation Church moves back to two services.  Who is someone in your life that you would love to see sitting next to you?  Would you commit to making a personal invite to them this week? Check out our other audio series and video playlists that can help you find Jesus in every moment and then discover what's next

In 1966, Bobby Fuller was a rising rockstar. His eponymous band and their song "I Fought the Law" was climbing the charts when he suddenly died. As is the case with many rockstars, theories about his death abound. Was his death really an accident or suicide, or could it have been a hit from the LA mob…or even Charles Manson? Conspiracy Theories is on Instagram @theconspiracypod! Follow us to keep up with the show and get behind-the-scenes updates from Carter and the team. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Episode #163 of the Last Call Trivia Podcast begins with a round of general knowledge questions. Then, we hope you won't object to our theme round of “I Fought the Law” Trivia!Round OneThe game kicks off with a Health Trivia question about a medical condition most commonly found in children.Next, we have a Characters Trivia question that asks the Team to identify a character based on one of their famous quotes.The first round concludes with a Words Trivia question about a type of facility whose name derives from the Latin words for “water” and “place.”Bonus QuestionToday's Bonus Question is a follow-up to the Words Trivia question from the first round.Round TwoOrder in the court! Now, that we have your attention, let's get ready to argue our case in a round of “I Fought the Law” Trivia.The second round begins with an Objects Trivia question about a notorious figure who was well known for his use of 1-dollar postage stamps featuring Eugene O'Neill.Next, we have a Terms Trivia question about a legal term that describes the formal process of resolving disputes in a court of law.Round Two concludes with a Law Trivia question that asks the Team to identify the type of guilty plea in which the defendant asserts innocence and does not admit to the criminal act.Final QuestionWe've reached the Final Question of the game, and today's category of choice is Movies. Who's in for a laugh?The Trivia Team is asked to name five comedy films given their subtitles.Visit lastcalltrivia.com to learn more about hosting your own ultimate Trivia event!

I Fought the Law – Steve Earle Sitting in a Cell – South Hill Banks Great Speckle Bird – Roy Acuff & His Crazy Tennesseans Just Can’t Wait – Lee Fayssoux Your Cheatin’ Heart (feat. The Jordanaires) – Patsy Cline Touch of Grey – The Infamous Stringdusters Whiskey O’Clock – Donny Van Slee Jitters – Buddy DeVore and the Faded Cowboys Put Your Twang In To It – Luke Deuce

-It's a Bugaboo Tuesday….what's bothering Bill today?-Also, SONG OF THE DAY (sponsored by Sartor Hamann Jewelers): "I Fought the Law" - The Clash (1977)Show sponsored by SANDHILLS GLOBALOur Sponsors:* Check out Cigars International and use my code EARLYBREAK for a great deal: www.cigarsinternational.comAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

*VOTE *South State Road and Bailey Road projects *Cuyahoga Falls Firefighters Memorial Foundation Bourbon raffle *Lions Park Story Walk *Fall leaf pickup *Winter planter cleanup *Good Neighbors collecting *Daylight savings *Bob Feldbush *Trick-or-treaters *CFHS Presents Mary Shelley's Frankenstein *Northeast Ohio Hammered Dulcimer Weekend *Frank Ravanelli book release party *Dear Evan Hansen at EJ Thomas *Parking Meters on Parade Thank you for listening. We are always in the market for article submissions and suggestions for podcast interviews. If you are interested in volunteering with on The Falls Free Press or the Fallscast, or are a musician wishing to showcase your music on the podcast, drop us a line at fallsfreepress@gmail.com. If you enjoyed the show, be sure to rate and review us on Apple Podcasts to let others know to listen. Be sure to stop into Shelf Life Bookstore, or visit https://www.shelflifebookstore.com/joyjar to contribute to the Joy Jar. Fallscast theme and interstitial composed and performed by Alex Hall. Interim music: “I Fought the Law" by the Bobby Fuller Four (1966) Censor sound Effect from Pixabay.

Stephanie G'Schwind is the editor-in-chief of Colorado Review and the director of the Center for Literary Publishing at Colorado State University. She has edited two anthologies, Man in the Moon: Essays on Father and Fatherhood and Beautiful Flesh: A Body of Essays, which won the 2018 Colorado Book Award for Anthology. Harrison Canelaria Fletcher is the author of Descanso for My Father, Presentimiento: A Life in Dreams, and Finding Querencia: Essays from in Between. Besides being G'Schwind's fellow nonfiction editor at Colorado Review, he's been an editor at Shadowbox, Upstreet and Speculative Nonfiction. He teaches at Colorado State University and Vermont College of Fine Arts. All four of the essays from recent back issues discussed in this episode involve identity, place, and survival. The first is “Who Lives in That House” by Emily Winakur. For her the home operates on the level of being a dream about the self, what matters, what the risks are, why it is that a party of our brain is devoted to memories and specifically a sense of place. As a psychologist, Winakur uses her curiosity and concern for her patients to serve almost like a home inspector, making sure they're safe. In turn, Shze-Hui Tjoa's “The Story of Body” concerns a mind-body split that causes the author to mostly describe herself as a distanced, alienated “Body” and “Mind” that struggles under parental demands to become an exceptional musician. In Sarah Curtis's “The Ghost of Lubbock,” she's not a musician, but her dad is; in fact, he played with Buddy Holly and wrote “I Fought the Law” among other notable songs. But who is her dad, really: the stage performer, or the quiet guy who deflects questions? In Jarek Steel's “Nesting,” confinement and becoming are the dominant motifs. As a pregnant 19-year-old, she occupies a “garbagehouse” of a place, but transforms herself into a man who can look back at a very primal, vulnerable part of life and put the pieces together. Dan Hill, PhD, is the author of ten books and leads Sensory Logic, Inc. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

If you go camping in these woods, be sure to wear ear protection. Because the noises you'll hear are anything but subtle... Send in an outdoor story for narration http://eeriecast.com/outdoor "Alone in the Ozarks" - 01:35 "My Great Grandfather Took Her Skin" - 22:58 "Mendocino Monster" - 32:10 "The Time My Friends and I Fought a Wendigo" - 42:33 "Fleshgait/Skinwalker encounter in Western CO" - 55:38 Listen to more horror stories narrations http://eeriecast.com/ Follow NaturesTemper on Twitter: https://twitter.com/NaturesTemper And YouTube: https://www.youtube.com/NaturesTemper Sound effects from POND5 Learn more about your ad choices. Visit podcastchoices.com/adchoices

This year, you all sent me hundreds of hours of SCARY true stories to narrate. But these are my hand-picked favorite throughout the year! Enjoy these 27 SCARIEST True Stories of 2023. Follow the Unexplained Encounters podcast! https://pod.link/1152248491 Join EERIECAST PLUS to unlock ad-free episodes and support this show! (Will still contain some host-read sponsorships) https://www.eeriecast.com/plus SCARY STORIES TIMESTAMPS: 0:00  0:54 Strange Occurrences at my Friend's Graduation Party from SnappingThragg 7:55 The Chainsaw Masked its Footsteps from Neurotica Rampage 23:39 I Don't Go In Attics Anymore from Neurotica Rampage 42:51 Fragile Therapy from Valentina 50:57 Mard Azma from Anonymous 1:11:02 What Lives on the Island from countrydweller05 1:20:07 When the Ground Shakes from Yosemite Sam 1:33:09 Stone's Throw Away from appalachiansalamander 1:40:45 It Wasn't a Raccoon from Redscarecrow99 1:46:51 Banshee in the Fog from Celtic Kin 2:02:55 One of Actually a Few Weird Things from Mhopper1000 2:09:11 My Weird Childhood from JollyJello 2:13:44 Faceless Men of Weed Hill Road from MimiClyde 2:23:40 I Fought a Demon and Won from Visigoth 2:39:15 Curse of the Morris Minor from AmmeJeanRomeo 2:45:44 The Animal Skinner from jdixon55 2:54:02 The Black Dog from The Wolfman 3:01:54 The Pig Farm Werewolf from BenjyB 3:16:16 The Visitors from MattoMan 3:19:43 The Pinyon Skinwalker from Sienna 3:24:51 Visit in the Woods from Hunter L. 3:31:48 Something Got In My House from Sunshine 3:38:17 Stinker in the Fields from RD in Hull 3:51:00 Behind the Mound from Merthra 3:56:18 Sasquatch is Real from Shroomer 4:13:21 Lunch Break Road Rage from Michigan Maniac 4:18:12 Scary Trucker Story from Anonymous Join my Discord! https://discord.gg/3YVN4twrD8 Get some creepy merch at https://eeriecast.store/ Follow and review Tales from the Break Room on Spotify and Apple Podcasts! https://pod.link/1621075170 Follow us on Spotify! https://open.spotify.com/show/3mNZyXkaJPLwUwcjkz6Pv2 Follow and Review us on iTunes! https://podcasts.apple.com/us/podcast/darkness-prevails-podcast-true-horror-stories/id1152248491 Submit Your Story Here: https://www.darkstories.org/ Get Darkness Prevails Podcast Merchandise! https://teespring.com/stores/darknessprevails Subscribe on YouTube for More Stories! https://www.youtube.com/channel/UCh_VbMnoL4nuxX_3HYanJbA?sub_confirmation=1 Learn more about your ad choices. Visit podcastchoices.com/adchoices

I Fought the LawBobby FullerPutinAnti Authoritarian TypesIntimacy among Men in Federal PrisonsThe Mullahs of IranKGB & Successor OrganizationsWrigley FieldCapitol Hill Rioting MoronsMBS & The Bonesaw OptionAnd More...

I Fought the LawBobby FullerGeneral NoriegaProud BoysA Mob of Moronsa Collective: an Anus of AssholesThe Sharpe RatioFederal Penitentiary & Sexual ViolationInvading the US CapitolNancy PelosiChinese Maxims

On this episode, Payton discusses the rising rockstar Bobby Fuller and how he, along with his band, almost reached the top before tragedy struck. https://linktr.ee/murderwithmyhusband “I Fought the Law: The Life and Strange Death of Bobby Fuller” by Randell Fuller and Miriam Linna The El Paso Times - https://www.elpasotimes.com/story/news/history/2016/06/25/broken-melody-bobby-fuller-story-part-1/86139192/ LA Times - https://www.latimes.com/entertainment/music/posts/la-et-ms-bobby-fuller-i-fought-the-law-death-book-signing-20150304-story.html#:~:text=Texas%20guitarist%20and%20singer%20Bobby,He%20was%2023. The Hollywood Reporter - https://www.hollywoodreporter.com/news/music-news/celebrating-a-disturbing-new-bio-780611/ Far Out Magazine - https://faroutmagazine.co.uk/the-strange-death-of-bobby-fuller/ Grunge.com - https://www.grunge.com/307646/the-biggest-mysteries-in-classic-rock-still-unsolved-today/ Loudersound.com - https://www.loudersound.com/features/the-death-of-bobby-fuller-an-untimely-tragedy-and-an-unsolved-mystery AllThatsInteresting.com - https://allthatsinteresting.com/bobby-fuller TheGuardian.com - https://www.theguardian.com/music/2015/jul/16/the-short-life-and-mysterious-death-of-bobby-fuller-rocknroll-king-of-texas UDiscovermusic.com - https://www.udiscovermusic.com/stories/bobby-fuller-short-life-strange-death/ Unsolved.com - https://unsolved.com/gallery/bobby-fuller/ MusicInfluence.com - https://musicinfluence.com/rock-and-roll-tales/the-unsolved-murder-of-bobby-fuller/ WayBackAttack.com - https://www.waybackattack.com/rodgersjimmie.html#:~:text=Yet%20his%20entire%20life%20took,though%20Jimmie%20has%20said%20he History.com - https://www.history.com/this-day-in-history/sam-cooke-dies-under-suspicious-circumstances-in-la Wikipedia.com - https://en.wikipedia.org/wiki/I_Fought_the_Law Learn more about your ad choices. Visit podcastchoices.com/adchoices

Bob talked about the songs I Fought the Law, and I Feel Good, an officer-involved shooting, the man who interrupted a religious service, geese, and six cars vandalized in a University of Rochester parking lot.

At the height of the rock and roll revolution of the 1950's and 1960's, we lost so many great musicians. One that is consistently overlooked is Bobby Fuller, the man whose band popularized the song "I Fought the Law." Was his death an accident? A suicide? Or something more sinister?This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4106013/advertisement

This week we revisit our first ever series of episodes. Part 1 of our 3 part series on the infamous Reverend Willie Maxwell takes place in another small town in Alabama, Alexander City as well as its surrounding communities. Buckle up for this ride. After this, go back and check out Part 2 "I Fought the Law" and Part 3 "The Rest is Still Unwritten." All of the episodes are in season 1! --- Support this podcast: https://podcasters.spotify.com/pod/show/truecrimeoneasystreet/support

Libri Mary Ruefle, La mia proprietà privata, NN, trad. G. Guerzoni Robert Frost, Fuoco e ghiaccio, Adelphi, trad. Silvia Bre Grace Paley, Volevo scrivere una poesia invece ho fatto una torta, BigSur, trad. I. Zani, P. Cognetti Philip Levine, Notizie dal mondo, Mondadori, trad. G. Strazzeri Mario Luzi, La ferita nell'essere, Biblioteca di Repubblica Charles Simic, Avvicinati e ascolta, Elon, trad. D. Abeni e M. Egan Musica Sylvain Chauveau, Nuage Shigeru Umebayashi, Yumeji's Theme Paolo Nutini, Through the Echoes Bob Dylan, Not Dark Yet Fabrizio Coppola, Tutto questo blu Richard Ashcroft, A Song for the Lovers The Clash, I Fought the Law

What demons do you deal with? Cuz this guy was attacked by an actual demon creature and lived to tell the tale! Get some creepy merch at https://eeriecast.store/ Follow and review Tales from the Break Room on Spotify and Apple Podcasts! https://pod.link/1621075170 Join EERIECAST PLUS to unlock ad-free episodes and support this show! (Will still contain some host-read sponsorships) https://www.eeriecast.com/plus SCARY STORIES TIMESTAMPS 0:00 INTRO 1:11 Haunted by a Little Girl from Anonymous 4:59 Voices During the Whiteout from Ragnarok-16 11:25 I Fought a Demon and Won from Visigoth 26:59 Weirdo at the Hospital from Billy T. 30:05 Becky is Haunted from Aaron LC 37:52 Daytime Cleaning Haunt from SpoopyCleaner 44:29 A Threatening Walk Home from KaiCarp LINKS:  Join my DISCORD: https://discord.gg/5Wj9RqTR3w Follow us on Spotify! https://open.spotify.com/show/3mNZyXkaJPLwUwcjkz6Pv2 Follow and Review us on iTunes! https://podcasts.apple.com/us/podcast/darkness-prevails-podcast-true-horror-stories/id1152248491   Submit Your Story Here: https://www.darkstories.org/ Get Darkness Prevails Podcast Merchandise! https://teespring.com/stores/darknessprevails Subscribe on YouTube for More Stories! https://www.youtube.com/channel/UCh_VbMnoL4nuxX_3HYanJbA?sub_confirmation=1 Learn more about your ad choices. Visit podcastchoices.com/adchoices

Tune your ears to another extra-special episode of Fire and Water Records! In part 2 of a super-smash crossover event with Pop Culture Affidavit, the brothers Ryan and Neil Daly welcome guest host Tom Panarese to continue their already-three-hours-long discussion on favorite cover songs for another equally-long-conversation (seriously, what the hell is wrong with these guys?!!). What makes a great cover song? What's the point of covering somebody else's music? Do women sing Tom Waits songs better than he does? Do punk bands play Bob Dylan songs better than he does? Why does Panarese hate his sister? What genre does Neil like more than rock 'n roll? What song makes Ryan think about dying, but like, y'know, in a good way, maybe? All these questions, and many more than you want to know, will be answered on this episode of Fire and Water Records! Track list "Hey Jude" (The Beatles) covered by Wilson Pickett "La Bamba" (Traditional/Ritchie Valens) covered by Los Lobos "Desolation Row" (Bob Dylan) covered by My Chemical Romance "Got to Get a Message to You" (The Bee Gees) covered by Swamp Dogg "It's Hard to Be a Saint in the City" (Bruce Springsteen) covered by David Bowie "Higher Ground" (Stevie Wonder) covered by Red Hot Chili Peppers "Both Sides Now" (Joni Mitchell) covered by Neil Daly "Get Down, Make Love" (Queen) covered by Nine Inch Nails "Landslide" (Fleetwood Mac) covered by Smashing Pumpkins "Drive" (The Cars) covered by Britta Phillips "Ol' 55" (Tom Waits) covered by Sarah McLachlan "Love is All Around" (Sonny Curtis/"The Mary Tyler Moore Show") covered by Joan Jett "Stand By Me" (Ben E. King) covered by Playing For Change "It's the End of the World As We Know It (And I Feel Fine)" (R.E.M.) covered by Great Big Sea "Walk This Way" (Aerosmith) covered by Run D.M.C. Additional songs: "I Will Always Love You" performed by Whitney Houston; "I'm a Believer" performed by The Monkeys; "Bring it On Home to Me" performed by The Animals; "Respect" performed by Aretha Franklin; "Losing My Religion" performed by Ryan Starr; "Knockin' On Heaven's Door" performed by Guns 'n Roses; "Over the Rainbow" performed by Israel Kamakawiwo'ole; "Hazy Shade of Winter" performed by The Bangles; "Whole Lotta Love" performed by The Hollywood Vampires; "Gin and Juice" performed by The Gourds; "I Fought the Law" performed by The Clash; "All I Wanna Do (Is Make Love to You)" performed by Halestorm; "You Should Be Dancing" performed by Foo Fighters; "Gold Dust Woman" performed by Hole; "What I Like About You" performed by Poison; "It's All Over Now, Baby Blue" performed by Them; "Romeo & Juliet" performed by The Indigo Girls; "Boys of Summer" performed by The Ataris; "Come On, Eileen" performed by Save Ferris; "You Really Got Me" performed by Van Halen; "I Think We're Alone Now" performed by Tiffany, To hear part 1 of our discussion on Pop Culture Affidavit, click here. Check out Neil's now-classic take on "Both Sides Now" right here. Let us know what you think! Leave a comment or send an email to: RDalyPodcast@gmail.com. Like the FIRE AND WATER RECORDS Facebook page at: This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK. Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER – https://twitter.com/FWPodcasts Like our FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Subscribe to FIRE AND WATER RECORDS on iTunes: https://podcasts.apple.com/us/podcast/fire-and-water-records/id1458818655 Or subscribe via iTunes as part of the FIRE AND WATER PODCAST: http://itunes.apple.com/podcast/the-fire-and-water-podcast/id463855630 Support FIRE AND WATER RECORDS and the FIRE AND WATER PODCAST NETWORK on Patreon: https://www.patreon.com/fwpodcasts Thanks for listening!

Tune your ears to another extra-special episode of Fire and Water Records! In part 2 of a super-smash crossover event with Pop Culture Affidavit, the brothers Ryan and Neil Daly welcome guest host Tom Panarese to continue their already-three-hours-long discussion on favorite cover songs for another equally-long-conversation (seriously, what the hell is wrong with these guys?!!). What makes a great cover song? What's the point of covering somebody else's music? Do women sing Tom Waits songs better than he does? Do punk bands play Bob Dylan songs better than he does? Why does Panarese hate his sister? What genre does Neil like more than rock 'n roll? What song makes Ryan think about dying, but like, y'know, in a good way, maybe? All these questions, and many more than you want to know, will be answered on this episode of Fire and Water Records! Track list "Hey Jude" (The Beatles) covered by Wilson Pickett "La Bamba" (Traditional/Ritchie Valens) covered by Los Lobos "Desolation Row" (Bob Dylan) covered by My Chemical Romance "Got to Get a Message to You" (The Bee Gees) covered by Swamp Dogg "It's Hard to Be a Saint in the City" (Bruce Springsteen) covered by David Bowie "Higher Ground" (Stevie Wonder) covered by Red Hot Chili Peppers "Both Sides Now" (Joni Mitchell) covered by Neil Daly "Get Down, Make Love" (Queen) covered by Nine Inch Nails "Landslide" (Fleetwood Mac) covered by Smashing Pumpkins "Drive" (The Cars) covered by Britta Phillips "Ol' 55" (Tom Waits) covered by Sarah McLachlan "Love is All Around" (Sonny Curtis/"The Mary Tyler Moore Show") covered by Joan Jett "Stand By Me" (Ben E. King) covered by Playing For Change "It's the End of the World As We Know It (And I Feel Fine)" (R.E.M.) covered by Great Big Sea "Walk This Way" (Aerosmith) covered by Run D.M.C. Additional songs: "I Will Always Love You" performed by Whitney Houston; "I'm a Believer" performed by The Monkees; "Bring it On Home to Me" performed by The Animals; "Respect" performed by Aretha Franklin; "Losing My Religion" performed by Ryan Starr; "Knockin' On Heaven's Door" performed by Guns 'n Roses; "Over the Rainbow" performed by Israel Kamakawiwo'ole; "Hazy Shade of Winter" performed by The Bangles; "Whole Lotta Love" performed by The Hollywood Vampires; "Gin and Juice" performed by The Gourds; "I Fought the Law" performed by The Clash; "All I Wanna Do (Is Make Love to You)" performed by Halestorm; "You Should Be Dancing" performed by Foo Fighters; "Gold Dust Woman" performed by Hole; "What I Like About You" performed by Poison; "It's All Over Now, Baby Blue" performed by Them; "Romeo & Juliet" performed by The Indigo Girls; "Boys of Summer" performed by The Ataris; "Come On, Eileen" performed by Save Ferris; "You Really Got Me" performed by Van Halen; "I Think We're Alone Now" performed by Tiffany, To hear part 1 of our discussion on Pop Culture Affidavit, click here. Check out Neil's now-classic take on "Both Sides Now" right here. Let us know what you think! Leave a comment or send an email to: RDalyPodcast@gmail.com. Like the FIRE AND WATER RECORDS Facebook page at: This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK. Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER – https://twitter.com/FWPodcasts Like our FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Subscribe to FIRE AND WATER RECORDS on iTunes: https://podcasts.apple.com/us/podcast/fire-and-water-records/id1458818655 Or subscribe via iTunes as part of the FIRE AND WATER PODCAST: http://itunes.apple.com/podcast/the-fire-and-water-podcast/id463855630 Support FIRE AND WATER RECORDS and the FIRE AND WATER PODCAST NETWORK on Patreon: https://www.patreon.com/fwpodcasts Thanks for listening!

A Really Good UFC Fight Night: Main Card,and I'll Breakdown the Prelims Tomorrow and Friday on Savage Inc Pick's617. A Few Changes Coming. Time to keep Evolving. I'm gonna Have a Reaction Channel Podcast So I Can Introduce PeopleTo Epic Music

Aujourd'hui, nous allons nous pencher sur un disque qui occupe une triste place dans l'histoire du rock and roll, car c'est le disque qui est souvent crédité comme "le premier tube posthume du rock and roll". C'est un record assez glauque. Mais ce qui est glauque c'est surtout de se dire que c'est le premier de plusieurs succès posthumes de Holly, et qu'il y aura beaucoup plus de succès posthumes d'autres artistes après lui qu'avant lui. Que c'est même devenu un outil du musique business. Enjoy Cpt Diligaf Buddy Holly, “It Doesn't Matter Any More” Buddy Holly, “Peggy Sue” Paul Anka, “Diana” The Crickets featuring Dean Barlow, “Be Faithful” Buddy Holly, “Bo Diddley (Undubbed Version)” Sonny West, “All My Love” The Crickets, “Oh Boy!” Niki Sullivan, “It's All Over” The Crickets, “It's So Easy” Ivan, “Real Wild Child” Waylon Jennings, “Jole Blon” Buddy Holly, “It Doesn't Matter Any More” Buddy Holly, “Crying, Waiting, Hoping” Dion and the Belmonts, “Teenager in Love” the Big Bopper, “Chantilly Lace” Ritchie Valens, “Donna” Bobby Vee, “Suzy Baby” The Crickets, “I Fought the Law”

Happy Spooky Season! Join us for a very special episode with a very special guest, friend of the HistoryBoiz, Tyler Mitchell AKA Tmitch! Tmitch is going to tell us a very personal story that happened way back in 1924 and about his connection to the overall Sasquatch lore. You won't want to miss this one!Sources:Beck, Fred. I Fought the Apemen of Mt. St. Helens. Self, 1967.  ★ Support this podcast on Patreon ★

I Fought the Law - The Bobby Fuller Four, Good Ol' Boys - Waylon Jennings, Theme from 'Law & Order' - Mike Post, Renegade - Styx, Bad Boys - Inner Circle, Wanted Man - Ratt

Episode 18 – Misplacing the Blame for Crime…Again Its crimes and Mr. Weiner this week on The Middle. See what we did there?  In a special episode of the show, Anthony takes a long look at the recent rise in crime in New York – and everywhere else – and wonders about the blame game underway.  Politicians predictably see scapegoats in other politicians, while criminologists ponder the evidence. The police seem beleaguered and advocates for reform are feeling stymied. These are tough issues, so Anthony got help this week from Professor Eugene O'Donnell of the John Jay College of Criminal Justice and civil rights attorney and former candidate for Attorney General, Charlie King. Also this week : Jordan returns from camp; the Secret Service loses its, uh, stuff; and, there are lots of remakes of “I Fought the Law”. Learn more about your ad choices. Visit megaphone.fm/adchoices

I Fought the Law, the latest on Hunters laptop, gas prices are soaring yet Joe Biden said he had a plan to avoid that, and I'm so Dizzy... See omnystudio.com/listener for privacy information.

INTRODUCTION: Why Love? A couple of years ago, I heard about a man who committed to living like Jesus for an entire year. Wow! That's some commitment. I imagined the transformation that would undoubtedly happen. To find that joyful peace, or is it unwavering grit, insightful compassion, or humble adoration? Whichever way, each way, in all ways, life would never be the same.  I thought about how I would approach that challenge. How would I know that I was truly living like Jesus? Then it hit me; John says God is love. So to live like Jesus would be living love. But what is love? And how would I live love while crossing cultures with one foot on U.S. soil and the other in places like Haiti, where love is both obviously abundant and seemingly scarce, challenging and effortless simultaneously?  Not wholly unfamiliar, just listening to music, reading books, and sitting through many sermons, I have learned a thing or two about love. I know that it is universal, timeless, and ageless. It is a feeling, a choice, a given. It is all-encompassing, enduring, and everlasting. Love conquers all, never fails, and keeps us together. But it hurts, gets lost, and takes time. There are love bugs, love seats, and love boats. There are love notes, love songs, and love birds. Love is a dare, a game, a language. You can be lovesick, loveless, and lovely. You can fall in love, be addicted to love, would do anything in the name of love, playing the game of love with the power of love.You can't hurry it or buy it and don't know if it will be there tomorrow. Yet love is all you need. They say love the one you are with, and find the love of your life because love wins. There's even a “Love Chapter” in the Bible. We've heard the “Love Chapter” (1 Corinthians 13:4-8) read and expounded on many times (mostly at weddings). It's one of the most memorized, admired, and well-known passages in all Scripture, even by non-church folk. We've heard this famous passage so often our eyes kind of glaze over. “Love is patient; love is kind, does not env…” Yeah, yeah. We know how this goes.        But what is love, really?  So John says God is love. Bob the Tomato says God is bigger than the boogie man, Godzilla, and the monsters on T.V. So the love that is God must be way bigger than my love of black licorice and movie theater popcorn.  Jesus named the number one law of all of the laws, and there were tons. Leviticus, the third book of the Torah and the Old Testament, lists most of the 613 rules of conduct. He could have picked any one of them. Murder is pretty heavy. Stealing isn't exactly harmless. Adultery can destroy families in a hurry. Lying about someone could get you and them into a heap of trouble. But with no hesitation, he picked the one that sat right in between “don't carry a grudge or seek revenge” and “don't mate two different kinds of animals.” (Leviticus 19:18) Jesus basically said, “That's an easy one. Love God and love people.” Just like that. There is no exception clause, no fine print, no room for interpretation, love people, all of them, every single one.+           Even deeper, Paul said that you can't go wrong if you love people because love is the fulfillment of the law. Fulfillment, like an Amazon order, picked out of the warehouse, loaded, delivered, fulfilled. It's complete, buttoned-up, stick a fork in it, done. All of it, all 613 laws, if you love with the same love that God is, you don't break any. So WWJD (what would Jesus do) is interchangeable with WWLD (what would love do).  It makes sense then if you understand love than live love, your life would change. If that love got a little contagious, the whole world could be a better place.  I will figure out love one word at a time, taking 1 Corinthians 13 to heart and feet. Live it, learn it, love it. It is quite a list, a list that I think I already know, but somehow I think I have a lot to learn.  “Love is patient; love is kind. It does not envy, it does not boast, it is not proud. It does not dishonor others, it is not self-seeking, it is not easily angered, it keeps no record of wrongs.  Love does not delight in evil but rejoices with the truth. It always protects, always trusts, always hopes, always perseveres.  Love never fails.” I Corinthians 13: 4-8 N.I.V. INCLUDED IN THIS EPISODE (But not limited to): ·      The Benefits of Black Licorice ·      Becoming a Widow·      Success and Failures·      Surviving Cancer·      The Beauty of Death·      Leaving Medical Diagnoses on Voicemails·      The Pain of Mammograms·      Can't Pray the Gay Away·      The Difference Between God and the Church·      The Pressures of Living a Lie·      A Spotlight on Haiti  CONNECT WITH KIM: Website & Books: https://www.KimSorrelle.comYouTube: https://bit.ly/3vRFWXfFacebook: https://www.facebook.com/loveisbykim/Instagram: https://www.instagram.com/kimsorrelle/?hl=enTwitter: https://twitter.com/Kim_SorrelleLinkedIn: https://bit.ly/3tEzK24 KIM'S RECOMMENDATIONS: ·      All You Need Is Love (The Beatles): https://www.youtube.com/watch?v=_7xMfIp-irg  CONNECT WITH DE'VANNON: Website: https://www.SexDrugsAndJesus.comYouTube: https://bit.ly/3daTqCMFacebook: https://www.facebook.com/SexDrugsAndJesus/Instagram: https://www.instagram.com/sexdrugsandjesuspodcast/Twitter: https://twitter.com/TabooTopixLinkedIn: https://www.linkedin.com/in/devannonEmail: DeVannon@SexDrugsAndJesus.com  DE'VANNON'S RECOMMENDATIONS: ·      Pray Away Documentary (NETFLIX)o  https://www.netflix.com/title/81040370o  TRAILER: https://www.youtube.com/watch?v=tk_CqGVfxEs ·      Upwork: https://www.upwork.com·      FreeUp: https://freeup.net·      Disabled American Veterans (DAV): https://www.dav.org·      American Legion: https://www.legion.org ·      Black Licorice (consult your doctor):https://www.webmd.com/diet/black-licorice-health-benefits#1 ·      What The World Needs Now (Dionne Warwick): https://www.youtube.com/watch?v=FfHAs9cdTqg  INTERESTED IN PODCASTING OR BEING A GUEST?: ·      PodMatch is awesome! This application streamlines the process of finding guests for your show and also helps you find shows to be a guest on. The PodMatch Community is a part of this and that is where you can ask questions and get help from an entire network of people so that you save both money and time on your podcasting journey.https://podmatch.com/signup/devannon  TRANSCRIPT: [00:00:00]You're listening to the sex drugs and Jesus podcast, where we discuss whatever the fuck we want to! And yes, we can put sex and drugs and Jesus all in the same bed and still be all right at the end of the day. My name is De'Vannon and I'll be interviewing guests from every corner of this world as we dig into topics that are too risqué for the morning show, as we strive to help you understand what's really going on in your life.There is nothing off the table and we've got a lot to talk about. So let's dive right into this episode.De'Vannon: Hey everyone. And welcome to the sex drugs and Jesus podcast. I'm so thankful to have you with me again this week. God bless each. And every last one of you, Kim Sorrelle is my guest. Today. She is the author of two beautiful books and she has an incredible story. This is a woman has become like a sister to me and I am so excited to present her to the world.And in today's episode, we're going to talk about the benefits of black licorice. She's going to [00:01:00] tell us about how she became a widow. We're going to talk about the beauty of death and why doctors should not leave negative medical news on voicemails. Now, cam has a special love in our heart for Haiti.And so we spend quite a bit of time talking about Haiti, and then we get into a little bit about a voodoo, take a close, listen to this episode, and I hope you get a lot out of.Good morning. Good morning, Ms. Kim. So REL, welcome to the sex drugs and Jesus pod has today in the name of God. How are you doing woman?Kim: I am doing fabulous and I am so grateful to be here. And how are you?De'Vannon: I am fan fucking tastic van fucking tabulates and scrum daily. I'm shit. If I do say so myself, so I'm so happy to have you with me today. [00:02:00] I do believe that you're going to breathe in a shitload of value to my beautiful audience out there. Kevin likes to keep it real everybody. And so here we go. She's an author.She's an entrepreneur. He's a speaker. She's a cancer survivor and T the lover of black liquid. I'm going to give you a moment to talk about like your own history and your own way and adjust the second. But I wanted to dig into this a lover of black licorice, because never before what I've read into somebodies headlines on their profiles and things like that, that they mentioned any sort of candy or derivative of a, of a root or plant Loeser what licorice is.So I want you to tell me what is so special. What's so damn special about this black licorice, that it was worthy to go into your heading.Kim: How does a good question? Well, I feel like more people don't like black licorice than do like black licorice. And I can't imagine my life without it. It's just one of [00:03:00] those things I grew up. My, my favorite aunt, my aunt Rita, my great aunt always had black licorice in her pantry and she ran a home for old folks and I love going there and helping her out.And at the end of the day, having a piece of black licorice as a treat and I that's. Where am I love started for black licorice and it continued on. Apparently De'Vannon: Did you know, my dear that there are health, health benefits to black licorice. Kim: tell me. De'Vannon: So when I came across this, on your profile, it stood out to me. And so then I went digging around and shit as I do. And And so what I found, and I'm going to put a link of this link to web MD in the show notes of people can go and look it up, but it says it can help.It can help digestion blacklist by the laser. It's gonna help your digestive system work more [00:04:00]effectively. It can ease symptoms from indigestion, heartburn and ulcers. Black licorice extracts have been linked to a reduction in the bacteria that calls cause ulcers. And I could've sworn, I read something about this.Can have some sort of like maybe cancer-fighting qualities too. And so considering your history with cancer, which I'm going to let you tell us about, I was wondering if maybe a Lord was watching out for you. Early on in life before you got your diagnosis, because sometimes we have a taste for things that are going to heal us, and we don't necessarily realize it at the time.We just know we keep craving that for some reason. And so I'm wondering if perhaps you were drawn to that in order to help you overcome, you know, what you would be fighting later on in life.Kim: Interesting. Yeah. I love the idea of that. I have to say. Cause that's true. Like you hear about women that are expecting babies and crave certain things because there's [00:05:00] iron in it or there's something in it that, that they need or the baby needs or people in general. So yeah, couldn't possibly be for sure.De'Vannon: Yeah. So I'm just gonna read this real quick, then I'll hush and let, I was just so fascinated by this cause I'm a, I'm a licensed massage therapist and I like to get into natural healing and stuff like that. I have a shitload of essential Earls and everything like that. And so anything natural that we can do for ourselves, you know, sometimes the remedy that we need are like right there on the shelf in the house.And we don't know, you know, Kim: Right, right. De'Vannon: you know, then we go run into doctor via pumped, full all these drugs. Sometimes that's a good thing. Sometimes it's not. So I'm just gonna read this here. So it says a substance extracted from licorice root little cow cone dash a has been shown to have antitumor activity and acute leukemia breast and prostate cancer cell lines by lowering the amount [00:06:00] of BCL two, whatever the fuck that is a drug resistant protein excessive amounts of this protein are frequently associated with these cancers.Licorice is actually a plant and is found in like a couple of different countries in the world. And then that's how they make that black licorice candy. But it's not all sugar. It's bitter. Isn't that like the sweetest thing on the shelf. So yeah. I want you to know that and everybody else let's get some licorice y'allKim: There you go, you just see a level bunch of people. De'Vannon: so, so tell us about like what you, whatever you want to say about your history, and then go ahead and segue into the cancer story.Kim: Sure. Yeah. So I was going to be the first woman. That was my plan. And so I had my life laid out before me and knew where I was going to go. And when I was going to do, and then may of my senior year in high school, this man walked through the door [00:07:00] and I fell head over heels in love with him after swearing, I would never get married and have children because I had my life laid out.And 10 days after I met him, I asked him if he'd marry me. And he said, yes. And then we got married a little bit less than a year later. And so I was 17 when I got engaged in 18. When I got married, he was 22 when we got married. And he was the love of my life. I mean, I felt like we dated for a whole bunch of years.A couple years later, the baby started coming. I've got five kids and 11 grandkids and So big family. I know it's fun. It's so fun. And I love taking them to Disney world. They have this place on earth and they do sell like licorice at this new world. So that's good too. So, yeah, and I started my first business right out of high school.I'm not, intrepreneur sure. I've had businesses my whole life and and I run a nonprofit organization. I coached [00:08:00] varsity volleyball for 25 years and just whatever, been active and busy. And I've written a couple of books. De'Vannon: You know what? That's not a bad life. Kim: No, It's a great life.De'Vannon: It's not a bad life at all because you've, you've taken risks. You understand failure. You tell me about, tell me about at any point in your life where you failed at something, maybe it was a business, something that you try to do, and it didn't work out. Cause I wanted to illustrate because clearly you didn't get discouraged and you kept trying, and business can be a bitch to get into all the obstacles, the paperwork, the documentation.There's not really a clear path. And in, so sometimes we fail and we don't try again. So tell me about a time that you tried to do something. It just didn't work out.Kim: Yeah. Well, there's more than one of those stories to tell. I'll tell you that. I tried different businesses over the years. I was in business [00:09:00] on some businesses with my, my brother and my dad and some businesses alone and whatever. But we one business that didn't work out for me was fine dining. I have a golf course and and banquet facilities. So we do events, but we had fine dining. And that was, that's a tough road, man. Anybody in the restaurant business, I have so much respect for. I've been in the catering business for years, you know exactly how many people are coming, what time they're coming and what they're eating.Restaurant business is a whole different game, even staffing and knowing what food to have on hand and everything else. And there's so much loss of food and you can overstaff, or you can understand it. It's the, there's such a science to it. And to have one standalone restaurant and survive is amazing miracle hats off to those people.A lot of times you need more than one to [00:10:00] share expense and true income coming in. So yeah, that's that's, that's somebody, I have a whole lot of respect for people in the restaurant. This. De'Vannon: Yeah, I've been a server I've worked in restaurants. I've worked for catering companies. Yeah, it's, it's a bitch of an industry to be in, especially in the states because of the attitude that, that is here. You know, this may be the last country on the planet that actually still tip servers rather than just paying them, being fucking done with it.So I've wanted to highlight that because you know, with the pandemic and everything, people, you know, the world has. Like a sun has arisen over us. And I'm thankful for the disruption of the Corona virus, because it's shaken a lot of people up out of their bullshit as lie of a life that they had told themselves they were.But what I'm saying is that they were living a life that they really weren't happy with in the first place, they were lying to themselves and [00:11:00] accepting that as reality, they weren't happy. So the Corona virus took them away from the delusion long enough to get a new perspective. And then so a lot of people didn't go back to the bullshit.However, just because they're on a new path, doesn't mean it's going to be all gravy and flowers. You know, Dick sucking and all of that, you know, this is going to be some fuckery along the way. And so what, what, what words of encouragement that you say to people who are new to entrepreneurship, especially in this time that we live with so many people are, are trying new things and it doesn't matter if it's, you know, starting your own Lyft or Uber business, you're still an entrepreneur, you know, what would you say.Kim: I would say, do not give up. Don't give up. Don't give up. No, there been so many stories, story after story of people who their first try failed for second, try failed. Their third thing failed, you know, whatever in the publishing world. There's one of the books that has sold more books than [00:12:00]practically any other book in the world, maybe any other book in the world is the chicken soup for the soul series.If you've heard of it, I'm Jack Canfield and they had 144 rejections before they got a publisher to publish their book 144 and they have sold 650 million books. 650 million books. That's Yeah.no kidding. And so, so you look at that and go, well, what if they would've stopped at 1 42. And just given up, right.Harry Potter was rejected 11 times before publisher said yes. What if she wouldn't? What if JK Rowling's would have stopped that number 10 and just didn't put it out there anymore. Just don't give up. Don't believe in what you're doing. Work your butt off. Realize that entrepreneurship is the hardest road you sometimes I think people look at it and go, oh gosh, you're [00:13:00] your own boss?True. Oh gosh, you can set your own hours. Yes. But your own hours are more than anybody else. That's going to work for you. And you have to do everything alone at first, you know, like it takes up a long time to be in business before you take a vacation. So it's it's the hardest work you'll ever do.The most rewarding work you'll ever do. And really you, your name, your own price, you know, however hard you decide to work, whatever you decide to put into it is what you're going to get at. De'Vannon: Correct. And I couldn't agree more from having my own businesses and everything like that. It's bittersweet in that aspect. Like you do call your own shots. So it depends on what your value system is. Like. I value freedom. I love to come and go as I please. And I don't like being told what to do.Therefore, even though I got to go out there and hustle and make my own money every day, [00:14:00]my mental health is in a better state because I would rather the pressure of having to make my own money than to have a dumb ass boss telling me what to do and dumb ass coworkers, fucking up my vibe. Kim: So the military was great for you then. De'Vannon: the military and suck my fucking Dick.But yeah, I was 17 when I went to the military. I don't recommend that. You don't recommend it at all. Nothing. Since we mentioned Ms. JK Rowling, I always like to say, fuck you, JK Rowling for for being a damn turf, you know, and tariff is a trans exclusionary radical feminist because he has those strong views against like in like, you know, people, women who transitioned because he's like, I'm a real woman.Those bitches are not. So she's. Kim: I didn't know that about her. De'Vannon: Oh, God Google it. This bitch has been being bragged for filth and by the gay community of the two S LGBTQ plus community [00:15:00] for quite a while now, because she has liked certain posts and say a certain things, especially on her damn Twitter, I think so we love her forgiving us, Harry Potter.We love her for giving us the gay Dumbledore that was at a cute little sneak attack that she, you know, did that, or at least the fact that he was gay after all the books came out. So I appreciate the fuck out of her for that, but so she's not like against the gay people, but I don't like how she is against the trans girls to, you know, Kim: Yeah, that's too bad. Yeah. De'Vannon: it is too bad, but, you know, so she's bittersweet, you know, you know, and that's just where I stand on that. So, so let's talk about. The cancer. So some of my research and you, it wasn't just you who had cancer, you had breast cancer and said your husband had pancreatic pancreatic cancer. Now it's not very often. I talked to a person who were two people in their household had cancer at the same time. So walk me through the emotion.I [00:16:00] want to know where you were when you found out he had cancer. When you had cancer, where you were physically and where you were mentally.Kim: Yeah, well, hopefully this will be valuable to people. I was 47 years old when I found out I had cancer and I Fought getting a mammogram because I thought, oh, it's just a medical system making money. There's no breast cancer in my history that I would know if I had cancer. Like I just, I fought getting them a grams.And so I did not get them every year. Like you're supposed to, they're painful. They're horrible. It was obviously a man who invented the machine that turns your breast into a pancake. It is not a comfortable thing to have to do. And so I, I didn't want to do it. So I, I had you know, but like every few years and you're supposed to go more often than I, I was going.So my doctor convinced me to go and I went, I actually went to the [00:17:00] doctor because I tend to sell well. And she said, you know, you've not had a mammogram for a while. You really need to go. And so I went kicking and screaming and I said, Poor sweet ladies that were working at the Betty Ford clinic. I said, I am not having to be here.Like, this is ridiculous. I, this is a waste of my time. I'm a busy person. I shouldn't even have to be here doing this. And they were very sweet and very nice and did the mammogram, and then they make you wait. And then they wanted to do an ultrasound and they did that and they scheduled me for biopsy. And I was like, this is such a waste of time.There is no way there's anything wrong. And then on a Friday afternoon, two days after my birthday, actually, I wish I had a couple of my grandbabies in the bathtub and my phone rang at like three o'clock in the afternoon. And and they said Kim, the biopsies back, and you have breast cancer.And [00:18:00] that's pretty much all I heard. It was like, blah, blah, blah, blah, blah. We'll call you on Tuesday. I was like, what? And they're calling me on a Friday afternoon, you know, and I watch lifetime movies. I like the lifetime good lifetime movie. And that never happens that way. You get called into the office.They tell you face to face. You can ask questions, you know, it's the big dramatic moment, right? No, they called me on the phone on a flip and Friday afternoon when I can ask no questions. That was frustrating to me. And so anyway, I didn't even know how to react. I started crying. I called my husband on the phone.He was at work and, and I could, could barely get the words out and, and it seemed like seconds later he was there and any did the right thing. All of you who have a significant other out there, he did, this is what you should do. He just grabbed me and held me. He just held me and we cried together.Cause we [00:19:00] didn't know what the future health and that cancer word is a scary, scary word. And so the next day I went to the bookstore and all the books about breast cancer were either very depressing or just medical. And I thought, I want to know what it's going to feel like. I want to know what it's like, you know, and I knew better than.Go tracing things on the internet because you see things you don't ever want to see. And so so I started writing actually, it was incredible therapy for me, but it was, I started out just as a way to inform friends and family. Instead of calling everybody, can't go to the doctor tomorrow, you know, whatever.But my writing turned into way more than, than just I'm going to the doctor tomorrow. It was what I was going through. And there are so many choices you have to make, like, one of the choices is I had the choice. I [00:20:00] had to have a mastectomy, but to take off one side or both. And I didn't know. I mean, how do you know what to do?I've never been through this before. I didn't know what the right answer was. And we were sitting around the table, a dinner table one night and talking about it. And I said, I don't, I'm not sure what I'm going to do. I've got to make a decision. And one of my son said, mom, Would you get new siding on just half the house?And I went alcohol. Good point you're right. Yeah, we'll go for, we'll go for two here. So anyway, so like I was writing, continued to write my, my husband started having stomach issues. And so it was early September that I was diagnosed that I got the phone call and then the end of September, his stomach was hurting.He went to the doctor and they said, take some Rolaids it's because your wife has cancer, you know, whatever. You're just nervous. And then November, he went back again because it wasn't getting any better. And they told him the same thing, gave him [00:21:00] an appointment for a gastro guy. And the day that his appointment was not until January, it took forever to get into somebody.But the next day I was having a complete hysterectomy and so at a colonoscopy. So I was doing a clean-out the day that he went in. So I wasn't going to. Farther than five feet from my bathroom. And so he went by himself and I was the mouth. So I would have asked a hundred questions. He just went and didn't really ask questions and they did nothing.They basically told him the same thing. It's just, you're just nervous. You don't take some, Rolaids take some Tums, whatever. And I was so mad, but I couldn't really do anything about it. When he came home and told me, you know, whatever, and then the next day I had surgery and so week out of surgery and they found bladder cancer too, during my surgery, whatever.But anyways, so I was still healing and I [00:22:00] woke up in the morning. And he was sitting up in bed and did not look good. And he said, guy, my stomach, it kept me up. I just couldn't sleep. And I said, that's it go to the ER, because they'll do something, you know, at least they'll do something. The doctors are doing nothing.At least I'll run a test, they'll do something. So he drove himself to the emergency room. And my husband was a rule follower. So it said no cell phones in the emergency room. So his cell phone was off. So I'm waiting and waiting and waiting for him to call me. And as I'm still in pajamas watching reruns of Grey's anatomy or something, you know?And so he finally, he called and he said, Well, I guess they're going to keep me off or night. And I'm like, keep you overnight. They don't keep anybody overnight. Like, what are you talking about? Keep you overnight. And so I threw on like human clothing and ran out the door. And in my Vicodin ado, state drove like a bat outta [00:23:00] hell, down the highway to get to the hospital to find out what was going on.And shortly before I got there, my phone rang again and he said I guess there's a spot on my liver. I just started bawling. I could barely see to drive and I don't even remember parking. I just remember running in holding body parts because I had surgery after surgery and I was in pain, but I was, I went running through the door and they told me where he was and he was behind a curtain and I whipped back the curtain and he's just sitting on the edge of the bed.Like nothing is going on is I am balling, I'm sobbing. And, and he said I'm not going to invite you places anymore. If this is the way you're going to behave. And I said, wait a minute, you are not allowed to be funny right now. So it took us a couple of days. He spent a few more days in the hospital and they did some biopsies and a colonoscopy.They did whatever. And so it took [00:24:00] a few days for us to get a diagnosis. And I, I was fighting the doctors every step of the way they, they came in and said that his blood work, that they never saw levels like that. There's some, there's some cancer markers that they, they can tell on your, in your blood. And and the doctor came in and said he never saw the numbers like that.Never that high, never that high. And, and I'm like, well, then the lab screwed up re rewrite. When he said, no, no, no mistake with the lab. I said, really, your lab never makes a mistake. They must've made a mistake. You know, they, they act love if you've never seen numbers like this. And he's like, Nope, Nope, whatever.Anyway, I fought it and fought it, but you know, not that my fighting did any good of course, but so then when we got his diagnosis, I was actually back in the hospital again, because I was doing too much, I think, out of surgery and ended up with a bad kidney infection. And so he's [00:25:00] being released as I'm being admitted and it was just a mess.And but then we got his diagnosis and of pancreatic cancer. And that is just the worst kind. I mean, you know, with. Breast cancer has come a long way. You know, there's different kinds of breast cancer, but it sure has come a long way, you know, but pancreatic cancer just hasn't like, there just isn't a cure.And so we knew what that meant. And so we just. Started praying, man, you know, some miracle give us a miracle, like like the lame and the blind and the deaf got, you know, back in Jesus days and or the greatest miracle of heaven, but don't let them suffer was our prayer. And we had a great time together actually. Funny [00:26:00] as that may sound, we watched cash cab every day and we just enjoyed being together and spent the whole time together thinking that he had a year, they were saying probably a year. And six weeks, six weeks later, he all the whole six weeks were, were really pretty good. He, he wasn't in.And our prayer was being answered. And then but the last couple hours of his life, he was miserable. And he I called hospice to come and help with more meds or, you know, whatever to get them comfortable again. And I was holding him. He was sitting on the edge of the bed because it hurt to lay down and I was just holding him from behind.And I just felt his pain, just the agony, absolute agony that he was in at that time. And, and I just whispered in his ear as a baby, just go. And he did. That was it. He took his last [00:27:00] breath and, and that was, that was it. And it was crushing, because I was still in love with him. And after all those years, we were married a month shy of 29 years.That was 47 years old. And I expected to be that couple rocking on the porch, drinking lemonade, you know, too old to do anything else. And we were going to grow old together. And so it was quite a shock loose him because it wasn't just losing him. It was losing the dream of our future. We had just become empty-nesters and we're so looking forward to that, and I don't know why if you get to run around and make it, or I don't know what it is about that, but we were so looking forward to that, and finally it happened for us.And I believe in [00:28:00] an afterlife, I believe in heaven. And my husband was. An amazing guy who was faithful and true and a great friend of people, an incredible boss people who had great respect for him, he was generous and kind. And so I've never begrudged him. I've never like been angry at him for dying.Like I'm happy for him. Like at 51 years old to never pay a bill again, you know, or have to worry about illness or anything. Go him. Like he did it, he ran the race and finished strong and, and I miss him like crazy. If he walks through the door right now, I'd be the happiest person on earth. But I know it's not going to happen.And so I still had to deal with my stuff. You know, I had to deal with, with my cancer still, and I had to deal with life [00:29:00] now without the love of my life. And. Wasn't sure what life was going to bring. And, but I was sure one thing, I was not gonna stay in the grief. I wasn't gonna let that bring me down.I've known people that stay there. You know what I mean? Do you know people like that, that they lose somebody and they just kind of can't overcome it. They, they don't see a way out of it. And I was determined that, that I, I know there were things that happened that I wouldn't choose. I wouldn't choose to have cancer.I wouldn't choose to lose my husband and I wouldn't choose for him to have cancer, but the choices that I can make are how I'm going to live now. And I can choose to be joyful. And I can choose to embrace life and enjoy it and, and I can choose to be happy. And [00:30:00] though, so those are the choices I decided I would make.De'Vannon: Well to answer your question. Yes. I do know people who tend to get stuck in grief particularly over the death of people with. You know, it's perspective and our value system, you know, well, one thing you have in your favor is that you have an understanding of the life to come in the world to come.Usually when people die, they don't actually see still exist, you know, and, and we get people coming back to visit us in dreams and all sorts of stuff who have passed on. And this is evidence of what I'm telling you. You know, our more permanent form is our spirit form anyway. So when we die, we really become our truest selves.At that point, you know, we here on the earth are actually not yet at our highest state of evolution. So when people, and I'm seeing people cry and fall all over the casket at funerals and everything is all very dramatic, you know, what, what, what, what I feel like people really cry [00:31:00] for it. Death is the fact of.Whatever this person brought to their lives. You know, there are people who are crying over what that person can do for them anymore. Whether it's not bringing them, whether they're bringing them some sort of comfort or whatever, you know, oh my God, this person has gone. How am I going to move on? We'll see.That's really all about you. You know, from there, from the dead person's perspective, they're like peace out, you know, hell yeah. You know, I get the rest now. So I don't cry for the dad anymore because I was, I was at the hospital when my pastor died and she was like a mother to me. And that's what changed my perspective on it because she was like, okay, Yep.Yeah. She's 80 years old. She's like Bundy getting my wings. I'm not leaving this hospital, but y'all y'all are then it was just me, her and her husband was sleeping on the couch and I had served them as like their alter bore and assistant throughout high school. And so I w I went to the hospital that night.I wasn't expecting her to die. You know, it was like, okay, she'll get a miracle, you know, really [00:32:00] powerful prophetess, you know, religious woman and everything like that. I'm like, you know, very clever way and everything, you know, she can't die, you know? So she just had me like, call like one of her daughters and, you know, her daughter that lived in Texas. And, you know, and then everything is kind of like when, you know, went from there and then she did die. And I'm like, you know, I heard that last, like some call it like a death, how that lasts like gas. Life, you know, the part from her, but she was so happy. She wasn't regretting anything to you. Like I'm not in any pain.I feel totally great. Life's been great. Bye. Kim: Yeah. De'Vannon: You had like the best attitude ever. So, and then I cried because okay. I was okay. I was just been with somebody, they die. This is a first. And so but now I was like, you know what? She was really happy about this whole death thing. Old, what the fuck am I crying for?Kim: Yeah, [00:33:00] right. I mean, yeah. I, I think you're absolutely, you're hitting the nail on the head. I mean, we do, we, we mourn for ourselves, right. I cried for?them and we, they got it made, you know, we're the ones. In fact, during the time during that six weeks with my husband, there were times I would just start crying because I just couldn't help it.And, you know, try to be all tough for him, whatever. And I just started crying and he just would me and hold me. And he'd say, don't cry for me. Cry for me, cry for you. But don't cry for me. De'Vannon: He told you, right. And he had a good mind. He's like a very wise Sage. And look, I get that kids are going to die and stuff like that. And it really rips my heart apart when, when marriage is in ended because of the death of a child, I've never been in that situation only once in my life have I heard heard it said where a couple lost the kid.And they were like, you know what, we're thankful for the time God gave us what that kid made, the kid [00:34:00] was 17, but, and then they move it on. Not saying it was just that either. I don't know if they went to counseling or whatever, but you know, it's about perspective even in the death of like a kid, you know, that kid belongs to God first, before it does to the, before that he, before that individual does to the parents.And so. You know, we can have a plan for our child, but God might have other plans. And so we gotta be willing to let those plans go, you know, you know, shit, something in, and you know, sometimes we're just too married to how we think someone else's life is supposed to go supposed to end or even our own, you know, but they're there in lies the differences between somebody who has surrender to God and who not, you know, so Kim: Right. De'Vannon: it's easier to deal with the bad things in life.If you understand it all, doesn't have to go in whatever sort of way that you've already processed it in your head. Like it's going to be. And so. You mentioned [00:35:00] that they left your cancer diagnosis on a voicemail. So they left my, my doctors left my HIV diagnosis on a voicemail. It was a Saturday night, new year's Eve and much the same way, like man, really on a Saturday night, new year's Eve, you couldn't have would've fucking waited until like Monday on like on the second, you know,Kim: Oh, my word De'Vannon: So let me say to doctors in medical professions out there, just because we may or may not sign some shit that says you can leave voicemails.We mean, we still need you to exercise some modicum of discretion about what you choose to. It doesn't mean you're just billing everything on there. We like to hear good shit, good test results, appointment reminders. If it's a life altering diagnosis, even though we may have given you permission, just because you can doesn't mean you should.We would very much like you to bring us into the office and tell us if we have HIV cancer or something else, do not leave it on a voicemail and not on a Friday or Saturday night when we're trying to enjoy our [00:36:00] damn wine.Kim: Yeah, new year, happy new year. Oh, my word. I think too, like with the medical profession, like they have to deliver news like that. So often that maybe they just become a little, yeah. A little callous. Right. And so they're not necessarily paying attention to the calendar or time of day or you know how they're doing It but man, if it's something that two days or three days, isn't going to make a difference in your life, you know, health wise wait the two or three days for goodness sake.Yeah. Yeah. That's crazy.De'Vannon: It matters how we deliver bad news to people. And I didn't learn this or know it until I got that voicemail. It just does like the setting, the atmosphere, you know, I never talked to a psychologist, smart doctors bring a person. And even in the case of cancer, I would imagine you want to have the mental health staff.You want to have everybody [00:37:00] right there in the room, so that that person doesn't run out and go do something to hurt themselves. You know, something like that, you know, cause you never know what a per house person might react. And by leaving a voicemail, you Rob with the patient of the luxuries, I'm not even the luxury of the bare minimum necessities of having all the care there or at least set the appointments before they leave.I never talked to a doctor about it again, really. I never went to a, a mental health. I decided that I was going to die. And so then I became homeless and then I started getting arrested and everything. And so, you know, I had the wrong perception of what HIV was, but I wasn't in a doctor's office to get any education.And they told me the word infectious disease. And I was like, fuck, I don't want to go talk to those people. It sounds disgusting. So I was freaked out by the name of everything and I just ran. I ran ran from it.Kim: I, I can't say as I blame you, I mean, you know, HIV is certainly things have [00:38:00] changed a lot over the years, right? As far as medications, treatments and whatever, but there was a time, not that long ago that that was a death sentence. And I would think that's the first thing that's going to come to your mind is, oh my gosh, it.HIV I'm going to die.Is that what you thought? Like, is that what you were thinking?De'Vannon: It did, because at that time in Houston, when I was living in Houston, Texas, I would walk into like a gay bar and be like, Hey, where's Timmy or whatever. And they'd be like, oh, he died. He had aids or another fellow drug dealer of mine die from aids. Someone when I was growing up, when I was younger, died from aids, everyone I knew had died from aids.And so it doesn't matter how far the medication has come and the science has come and how well something can be treated if somebody doesn't know that that is just like, well, they don't know that. So, and so if you, and I didn't know that. And I didn't know anyone living a healthy life that I was good friends with.You know, [00:39:00] I might've talked to at many, met a guy on a hookup app that may have had HIV, but having sex with somebody and being okay that they're HIV positive is not really, they didn't really give me insight into exactly how they were living it. And I pushed that out of my mind because I just wanted Dick.And so I, didn't never, I didn't look at that as an opportunity to explore how one could live healthily with the virus, because I was just horny and trying to fuck, you know, so I let an opportunity pass me by, but you know, I have a different perspective about things now. I want you to you've mentioned that the mammogram was like turning like the breast and into if the pancakes and that it's a painful experience that, you know, a woman isn't probably gonna look forward to.What, what can you, what can you tell me about this machine and what it, what it does, but I'm trying to imagine the sort of torture device that you see.Kim: It's exactly what it is. You you like, you put your arm [00:40:00] up and try to get as close into the machine as you possibly can. And then it literally squishes you from the top and bound me, you know, like turn a knob or something and it goes farther and farther, farther, and it. Wishes you in there. It is painful.And I I don't know if it's better, if you're big busted or small breasted, I don't know what the difference would be. I've always known Ben well, in doubt. And so I, I had a lot to squished and it hurts. I mean, it, it, other women, maybe we're fortunate enough to have different experiences than I did, but any mammogram I ever had her like, crazy, like that was one of the blessings of may having a double mastectomy is I would never have to have another mammogram and I'm okay with that.But cause there's gotta be some silver lining. Right. But yeah, it just, it just goes squishes. Yeah. And yeah, that hurts. [00:41:00]De'Vannon: Damn. I wish I wish I thought you were telling me like what the blood work that they can detect, you know, there's cancer markers, but I wish that y'all could just get blood work done instead, but clearly that's not the case. Otherwise they wouldn't be making you go through the mammogram. So gosh, girls, I, I have the utmost respect for women, you know, from the, from having studied the the period, the menstrual cycles during the massage therapy, which.I'm telling you become a massage therapist, you have to learn so much, so much about the anatomy, things that in the body you'll never touch. And so just learning about how y'all's bodies change when you're trying to bear a child and everything like that and everything that's going on, you know, in the different, or, or Oregon's in the different anatomical structure of a female, you know, I have so much respect for women.You know, y'all are, y'all are strong, you know, mentally and physically and everything like [00:42:00]that. And in my opinion, quite unbreakable.Kim: Ah, I love that. I agree. I think women, we have to be strong and I think we need to support each other more than what we do sometimes. Like there should be a sisterhood, you know, like we should be supportive of each other and, and aren't always, you know, we can be, sometimes we can be the worst enemies and it shouldn't be like that.Like, There should be this strong bond between us. Cause we, we do have to put up with a lot. So then what happens is we put up with a sense from the time we were 10, 11, 12 years old, right. We have to deal with, with periods and cramps and pain. And then childbirth is no joyful moment. You know, it's nice.You get a baby at the end, but but it's hard, you know, and painful and pregnancy can be tough and all of that. And so then later in life, when men, you have to get up in the middle of the night to go to the bathroom more often because of [00:43:00] prostate issues, it's sort of payback in a way. It's like, oh, the one thing that the money I have to deal with kind of my, yeah, De'Vannon: Well boys, boys with better mind what energy we send out there, because it's going to come back to us later on. Kim: that's right. De'Vannon: So I played women, great respect. I identify more women than I do men, nothing against men. I mean, I like to go both ways and all the different ways that I can in the world sexually speaking, and, you know, spiritually speaking and energetically speaking for them to feel like a man to another, feel like a woman I'm not confused.I just want it all. AndKim: know, you know, the beauty of that is that I really believe that God created people to be who they are. And there are so many people out there that don't feel like they can live their authentic self, their real self, right. Because of things that they were taught growing up, or a lot of times churches doing so.much damage to [00:44:00] people saying, oh gosh, you can't be like that.Like my daughter had probably, I don't know if I should be saying this on the radio, but it's okay. But my daughter married a man. And she got pregnant on her honeymoon and when she was in the hospital delivering. He told her he was gay and wanted out of the marriage. And, but he grew up in the super strict Baptist home where you're not allowed to be gay.You know that that's a sin. Well, not all that creates you. How God creates you. You be who you are. Like there's beauty in that there's beauty in the diversity, right? People should just be allowed to be who they are without judgment or condemnation. Just be who God created you to be. De'Vannon: Fuck. When I was in California, I went through this phase where I was trying to pray the gay away, and there is a documentary and I I've been keeping this in my show notes for. Shit since it came out. So it's been a running thing [00:45:00] that I've had in my show notes for quite some time, it's called pray away.There's a documentary on Netflix about the old exited Exodus conversion therapy movement. The people who used to run that who supposedly got converted and were ungay and told everybody else has changed their ways, which resulted in suicides and deaths. Well, now they're still gay and they've come back to spill all the tea about the Exodus movement and how bullshit conversion therapy really.And so I do recommend that, that, that fucking documentary to everybody, it is some tea being spill, pour your wine, get your favorite beverage out, roll you up a blunt, whatever it is that you do, because that shit is to piss you off. But it's real. But I went through that too. I got me a girlfriend. I hung out with straight guys. I tried to fast and pray as Jesus to make me ungay and it didn't work. And I dated this girl for six months and ultimately I ended up just breaking her heart because the shit wasn't real, you know? And so where did I ever learn that something was wrong with me from the church? You know, God never [00:46:00] told me that, you know, it, look, y'all not every preacher is preaching.The truth is that we've got to get past this believing this, that somebody is on a pool pit or on television or in a suit up on a platform like they know better than, than, than you do. They don't Kim: Right. Exactly. Yeah. That, that, and and that is not the church, you know, it's churches that hurt people. God's not hurting. Right. And so sometimes people get angry about what they've been taught in church, and then they realize that they've been taught wrong, or the church that they went to can be so harsh or, you know, whatever.And that's church's fault. You know, that that unfortunately reflects on God in some people's eyes, but it's not God that God loves that is love. That's what it says in John, that God is love. Not that he loves, but that he is loved. Like in love, love, doesn't do that. Love. Doesn't [00:47:00] make people fit into some box because people are more comfortable with it loved to let you be who you are love.Just allows you to live your real self and without judgment, without thinking that you're better than, or higher than, or no more or whatever. De'Vannon: I agree with what you're saying, Kim, it, and it will take some time for people to accept that sort of truth and then internalize it, you know, because we're, we believe what we are taught growing up until we come into independent thinking. That's why I appreciate the mindfulness movement that's happening right now.And the, the push for autonomous mental thought. When I got kicked out of Lakewood church in Houston, Texas for not being straight, it caused a rift between me and God. Now I hadn't been in church. And like I said, serving my past and all of that until I was in high school and went to the military, I always held a volunteer position in church.They kicked me out and that [00:48:00] stopped me from praying is a, why did that happen? Because I had conflated. The God in the church as to one. And no, that was not, I was not as mature as I thought I was. And I was not as spiritually strong as I thought I was because had that happened. I should've just said, okay, well fuck this church, but not fuck the God.And I just said, fuck everything you see. And so, but now I would never do that because now I finally get, as I'm almost 40 years old, you know, that there's a difference in between the physical church and God himself. And the two should never church, as I say, a church is nothing more than an accessory to your spiritual walk, your most valuable time to be your alone time with God, so that when these pastors show up in their fucking scandals and when they do dumb shit, like kick us out for not being straight and the, in the straight people see them, see their friends getting abused by churches for not being straight.You know, we can still keep our relationship with God. So Jerry [00:49:00] Falwell, Jr. Did you see his latest bullshit? You know, after all of his shit, he finally came out in an article and said that he, that it was all a ruse, him running the that fucking seminary that his dad created and trying to do all that.He said, it's all a lie. He wasn't ever about all that. He wants to just, you know, do him. And that is not who he is. He ain't about all this Jesus stuff. So finally just fucking admitted it, bitch. Should we knew that because you know, when he had to address the pool boy scandal, you got, you got the pool boys running around and you got your, your pants unzip.And while you taking selfies with a bitch, that's not your fucking wife. We knew. So that whole message was to his brain fucked church followers and his evangelicals and everything like that. Like boy, and by we already knew.Kim: Yeah.but knowing, and then somebody admitting meeting two things, right? Like it can be hard when you're, when you're in the [00:50:00] spotlight and, you know, I think it can be easy for people to get wrapped up in ego. And I mean, how many people we've seen fall and it, and it can, the higher you build your pedestal the longer the fall is down.And it's sad to see. It's sad to see for sure. De'Vannon: His pedestal was fake though. But what you said is what he said. He was like, it was so much pressure to live up to this expectation of his dad, but you know, or he could have said, you know what, dad, fuck you. This is not who I am. I'm going to go have my pants up and on cruise ships and fucking pool boys.That's what I want to do. Okay. That's what you want to do, Jerry. Then go have your three ways and bring whatever, you know, we always have a choice. And so the let's make sure our pedestal is built on truth and not on a lie.Kim: Yeah, for sure. For sure. De'Vannon: So, [00:51:00] so, so we're going to close to the end of our hour here. We're definitely going to have you back on because you wrote two books one's called love is, and the other one's called cry and tell you lab. And we haven't had time to get into them at a feeling this would happen because you have so much substance going on with you.And sometimes I might have to have someone back on my show two or three or four times or whatever the case may be. And if that's the case, you know what, so be it then. But I want to talk about Haiti a little bit because God bless that nation. You know, they've been through so much. And I really want to shine a spotlight on, on Haitian people.I really, really do. And it seems like you have a strong heart for Haiti, and I love how then I was reading your book. You went there for the first time in the year 2000, and you were like talking about the poverty and the, the, the, the rank air and everything. And you it's like, you were fighting, falling in love with it, but nevertheless, here you are.And you're still in love with it. Sometimes in life. I've had that experience where my [00:52:00] first brush with something I'm like, I feel indifferent for it, or like I'm propelled by it. And really at the end of the day, I was falling in love with it. And I was like some of my favorite things, things that I hated at first, I find love now more than anything else.And I read that in the story. So the hate has been through so much. And when they had that last earthquake, a relative in my family said some stupid fucking shit like this. He was like, okay, just because of all that witchcraft they have down there, this is why this punishment has come upon them. And which I responded to his ignorance just a little bit.I was like, I'd probably say, it's something like, if you're not going to pray about them or speak something positive, then shut the fuck up because you don't know what the fuck they're doing. You know, he's never been Haiti. You know, he doesn't have, he's drawing all these conclusions from a distance yet.We'll speak about it as if it's fact. And so that shit pisses me off. And so [00:53:00] you've lived among the people. And so you have every right to have written the things that you have written. So I want you totell, to speak to me about your joy and your love for Haiti. And then I want to talk about the voodoo before we, before we wrap up, and then we're going to talk about the book in depth. The next time I have you back on and we're in really, really, really talk about Haiti alive.Kim: Yeah, I do. I love, I love Haiti. You know, people are people all over the world and we tend to put labels on people, right? Republican, Democrat, Bexar anti-vaxxer Haitia and America, and, you know, whatever, we, we put labels on people, but people aren't, their labels. You know, a person is not a label that we all have our names.We're all individuals. We all have our names and people are people all over the world. Haitian. [00:54:00] People, unfortunately, that are living in Haiti. You know, it's the poorest country in the Western hemisphere. The average Haitian eats three meals a week. Most do not have clean water. So they've got water that makes them sick.They had an earthquake in 2010 that killed over 200,000 people. And then the UN police that are there are supposed to be peacekeepers there. They end up putting their latrines way too close to the river, which is a source of water for people. They bathe in it, they wash their clothes in it, like it it's life to them.And because their latrines were too close, they introduced cholera into the country, Colorado that had, hadn't been in the country for a hundred years now, cholera's back in Haley and lots of people, thousands of people have died because of cholera because of the UN police. And it's it's. It is it's kind of thing after thinking of, to saying.Haiti is wonderful, wonderful, [00:55:00] incredible, loving people that are living in really tough conditions is really what it comes down to. And I think there's a misconception, like in some people's minds, poverty and laziness go together and poverty and laziness have nothing to do with each other. There, they shouldn't even be in the same sentence.What, what people in Haiti lack is opportunity. There are no jobs. We've done so much damage to Haiti. The world bank has done a lot of damage to Haiti. Other countries have done the understand Haiti because people make money on poverty. And so it's two people in this world's advantage financially, take heap people down and keep them living in poverty, which is. The biggest crime of all probably. Right. And so it's not a lack of intelligence. It's not a lack of [00:56:00] work ethic. It's that keeps them in poverty. It is it is lack of opportunity. It is lack of opportunity. I don't know, a lazy Haitian I'm sure. You know, like anything else there's going to be lazy people, but I don't know any people that I know work hard and, and take opportunities to work when, when the opportunity is there.It's just not always, there is the problem. And voodoo, I think is so misunderstood. You know, w we, if we break a mirror at seven years of bad luck, or, you know, a black cat crosses your path or Friday the 13th, or don't walk under a ladder, like we have our own superstitions. Right. And they're just sort of cultural superstitions within our country.And We have movies based on our cultural superstitions. Well, voodoo there's cultural voodoo. It's not all just on a [00:57:00] religious voodoo there's cultural voodoo. And so some of the beliefs, some of the, you know, things like if you pick up a baby from behind that baby is not going to grow to haul, you know, some things like that, that we'd go, what are they talking about? Well, they go, what are you talking about? You can't walk under a ladder, right? You can open an umbrella inside. You know, I mean, each culture probably has their own set of those kinds of things, but people love Jesus and have voodoo in their life at the same time. And one does not have to exclude the other because voodoo, I think people think of zombies or they think of, of animal sacrifice or human sacrifice, whole.Buddha is so much more than that. There are so few doctors and so little healthcare in the entire country that there are Buddha doctors and you don't just become one. You know, your dad was one. So your one, your grandpa, your great grandpa, and it [00:58:00] is herbal remedies and different ways to handle health issues.That's what a voodoo doctor does. It's not about curses and whatever. It's about, you know, they're in a community, there's no healthcare anywhere that you can walk to that you can get to at all. So there's a doctor basically in the community and there are some I'm sure, very valuable things we could probably learn from them with natural remedies. like you were talking about Blackwood for sure earlier, right? And that's Buddha, they're a voodoo doctor, but they're not. Skin and animals, you know what I mean? It's, there is some of that, certainly some extreme voodoo like there's extreme, anything else. But I would say, I mean, I don't know the statistic, but I know a whole lot of people in Haiti and people that I know it's they're culturally, there's voodoo, but they're not sacrificing [00:59:00] anything.They're not, you know, some of the stuff you see in movies or read in books or whatever, that's not happening. They're just people living like we're living in and it's part of their culture.De'Vannon: Well, like you said, there's two sides to everything. You have the extreme size of it and the bad side of it. When I have you go on the next time, we're going to get more into the vote. And I'm going to talk about the experience that I had when I was in high school, where somebody practiced the negative side of voodoo on me.Kim: Oh, I can't wait to hear about it. De'Vannon: And because they're both, they're both the true, you know, you have a, and then, you know, I have a couple of voodoo stories that I live here in Louisiana and voodoo is a big thing, voodoo who do whatever you want to call it, especially down in new Orleans, you know, it's serious. We, we actually still have a place called Marie.Lavos a house of voodoo, which I think is the house she used to live in. And it was soon turned into like a [01:00:00] store in her honor. You can go there and buy candles and voodoo dolls and different sort of magic accessories to do your magic craft with and stuff like that. And I love American horror story.Season three is about the a, which is the new Orleans. And and there Angela Bassett plays Marie Laveau in in, in American horror story coven is what it's called. And it's just very, it's very entertaining as the kick ass, the way that they portrayed her. But you mentioned two, two things that I wanted to touch on, and then I will let you have our last word. You mentioned that poverty and laziness, you know, you're not overly fond of those two things being coupled together. I wanted to give you a nod on that because the same, the same dumb ass relative who was talking shit about the Haitian people after they suffered the tragedy of the second earthquake than a reason of relatively short amount of time. We were driving around one day and somebody was like [01:01:00] homeless and he was all like, oh, I know they just go somewhere. And like in a program, you know, like fix that or whatever. Okay. And I think at this point I had already been homeless before that he said this stupid shit in my presence. And so I agree with you.It's not about laziness. It's about access opportunity. And then I'm going to add to that and say, state of mind, having lived amongst the homeless people and not everybody wants to become homeless, that everybody out there is unhappy. You have people living in mansions who go and fucking kill themselves or other people in the house.You know, there, there could be chaos, you know, in the richest places, but somebody out there shit. When I was in California to see the homeless people, sleeping, sleeping under the Palm trees in Cal, in Santa Monica, you know, They look fine, you know, just because we see somebody and what we consider to be the greatest state doesn't mean that they consider themselves to be in a degraded state of that they're unhappy, or that we need to go run, trying to fix them, or that there's anything [01:02:00]wrong with them being like that.And so, but it's not just because they're lazy or they don't want to work. Maybe they've had everything before they are. They don't want the pressures that come with having a successful life. Maybe they just fucking don't want anyone calling them. They don't fucking want any appointments. They don't want any meetings.They just want to round the street, get high, fuck and just go to fucking sleep.Kim: So funny that you say that I live, I live not in a huge city. It's the second biggest city in Michigan grand rapids. And there are home. We have homeless and I know a lot of them, I live right downtown. I know a lot of them by name and I know people that are afraid of homeless people. And it's like, when was the

272 - Dead Kennedys with Decibel's Justin Norton “Kill the Poor” Fresh Fruit For Rotting Vegetables 1980 T/S #1 Patrick #1- San Fran scene “California Uber Alles” California Uber Alles single 1979 “Let's Lynch the Landlord” Fresh Fruit For Rotting Vegetables 1980 T/S #2 “Pull My Strings”(Live at Bay Area Music Awards) Give Me Convenience or Give Me Death 1980 “Police Truck” Holiday in Cambodia single 1980 “Holiday in Cambodia” Fresh Fruit For Rotting Vegetables 1980 “Drug Me” Fresh Fruit For Rotting Vegetables 1980 “Chemical Warfare” Fresh Fruit For Rotting Vegetables 1980 Patrick #2- Roadie Life Patrick #3- Punks on the Road T/S #3 “I Fought the Law” Play New Rose For Me/Give Me Convenience or Give Me Death 1986 T/S #4 Patrick #6- Logo, Boston, DK Patrick #4- Moon Over Marin “Nazi Punks Fuck Off” In God We Trust, Inc. 1981 “I Am the Owl” Plastic Surgery Disasters 1982 “Moon Over Marin” Plastic Surgery Disasters 1982 “Riot” Plastic Surgery Disasters 1982 “Bleed For Me” Plastic Surgery Disasters 1982 Patrick #8- Alternative Tentacles T/S #5 Patrick #9- Frankenchrist “Soup is Good Food” Frankenchrist 1985 “Goons of Hazard” Frankenchrist 1985 “MTV-Get Off the Air” Frankenchrist 1985 “Chicken Farm” Frankenchrist 1985 Patrick #10- Raid T/S #6 Jello on Oprah (fade out at 3:05) “Jock-O-Rama” Frankenchrist 1985 “Cesspools in Eden” Bedtime in Democracy 1986 “I Spy” Bedtime in Democracy 1986 “Chickenshit Conformist” Bedtime in Democracy 1986 Patrick #5- End of Band Patrick #7- Post DK/Prison/Writing T/S #7 Patrick #12- DK legacy “Stars and Stripes of Corruption” Frankenchrist 1985 Patrick #11- R'ship with Band

След миналия епизод на поредицата, в който бе представена песента “Whiskey in the Jar”, “Нотна стойност” продължава с разказ за още една разбойническа ода. Макар че не притежава столетна история, песента “I Fought the Law” също се открива в най-различни версии, заради които се струва да ѝ обърнем внимание. Вашите предложения за бъдещи теми на поредицата може да изпращате на имейл адрес notnastoinost@abv.bg. Не пропускайте да последвате страницата на поредицата във Facebook, където редовно се публикуват материали на музикална тематика.

Whatcom County officials are at it again, gearing up to propose a new jail to voters for the third time. In this episode, we talk with Josh Cerretti from Imagine No Kages (INK) about our county's obsession with incarceration, punishment, and passing the buck on accountability. Also, valid question: what happened to the funding Whatcom County already got to repair the crumbling county jail?Watch Racially Charged from Brave New Films hereSongs in this episode:I Fought the Law by Dead KennedysJail Guitar Doors by The ClashThe Guillotine by The CoupSupport the show (https://foodjustice.ourpowerbase.net/civicrm/contribute/transact?reset=1&id=2)

mexico.sae.edu Referencias: Librería de música de AVID: - Input The Clash - The Cost of Living (CBS, 1979) - I Fought the Law

Episode 141 of A History of Rock Music in Five Hundred Songs looks at “River Deep Mountain High'”, and at the career of Ike and Tina Turner.  Click the full post to read liner notes, links to more information, and a transcript of the episode. Also, this episode was recorded before the sad death of the great Ronnie Spector, whose records are featured a couple of times in this episode, which is partly about her abusive ex-husband. Her life paralleled Tina Turner's quite closely, and if you haven't heard the episode I did about her last year, you can find it at https://500songs.com/podcast/episode-110-be-my-baby-by-the-ronettes/. I wish I'd had the opportunity to fit a tribute into this episode too. Patreon backers also have a ten-minute bonus episode available, on "Wild Thing" by the Troggs. 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. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the Brill Building scene, and I referred to it for the material about Jeff Barry and Ellie Greenwich. I've referred to two biographies of Phil Spector in this episode, Phil Spector: Out of His Head by Richard Williams and He's a Rebel by Mark Ribkowsky. Tina Turner has written two autobiographies. I Tina is now out of print but is slightly more interesting, as it contains interview material with other people in her life. My Love Story is the more recent one and covers her whole life up to 2019. Ike Turner's autobiography Takin' Back My Name is a despicable, self-serving, work of self-justification, and I do not recommend anyone buy or read it. But I did use it for quotes in the episode so it goes on the list. Ike Turner: King of Rhythm by John Collis is more even-handed, and contains a useful discography. That Kat Sure Could Play! is a four-CD compilation of Ike Turner's work up to 1957. The TAMI and Big TNT shows are available on a Blu-Ray containing both performances. There are many compilations available with some of the hits Spector produced, but I recommend getting Back to Mono, a four-CD overview of his career containing all the major singles put out by Philles. There are sadly no good compilations of Ike and Tina Turner's career, as they recorded for multiple labels, and would regularly rerecord the hits in new versions for each new label, so any compilation you find will have the actual hit version of one or two tracks, plus a bunch of shoddy remakes. However, the hit version of "River Deep, Mountain High" is on the album of the same name, which is a worthwhile album to get,. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today's episode is unfortunately another one of those which will require a content warning, because we're going to be talking about Ike and Tina Turner. For those of you who don't know, Ike Turner was possibly the most famously abusive spouse in the whole history of music, and it is literally impossible to talk about the duo's career without talking about that abuse. I am going to try not to go into too many of the details -- if nothing else, the details are very readily available for those who want to seek them out, not least in Tina's two autobiographies, so there's no sense in retraumatising people who've experienced domestic abuse by going over them needlessly -- but it would be dishonest to try to tell the story without talking about it at all. This is not going to be an episode *about* Ike Turner's brutal treatment of Tina Turner -- it's an episode about the record, and about music, and about their musical career -- but the environment in which "River Deep, Mountain High" was created was so full of toxic, abusive, destructive men that Ike Turner may only be the third-worst person credited on the record, and so that abuse will come up. If discussion of domestic abuse, gun violence, cocaine addiction, and suicide attempts are likely to cause you problems, you might want to read the transcript rather than listen to the podcast. That said, let's get on with the story. One of the problems I'm hitting at this point of the narrative is that starting with "I Fought the Law" we've hit a run of incredibly intertangled stories  The three most recent episodes, this one, and nine of the next twelve, all really make up one big narrative about what happened when folk-rock and psychedelia hit the Hollywood scene and the Sunset Strip nightclubs started providing the raw material for the entertainment industry to turn into pop culture. We're going to be focusing on a small number of individuals, and that causes problems when trying to tell a linear narrative, because people don't live their lives sequentially -- it's not the case that everything happened to Phil Spector, and *then* everything happened to Cass Elliot, and *then* everything happened to Brian Wilson. All these people were living their lives and interacting and influencing each other, and so sometimes we'll have to mention something that will be dealt with in a future episode. So I'll say here and now that we *will* be doing an episode on the Lovin' Spoonful in two weeks. So when I say now that in late 1965 the Lovin' Spoonful were one of the biggest bands around, and possibly the hottest band in the country, you'll have to take that on trust. But they were, and in late 1965 their hit "Do You Believe in Magic?" had made the top ten: [Excerpt: The Lovin' Spoonful, "Do You Believe in Magic?"] Phil Spector, as always, was trying to stay aware of the latest trends in music, and he was floundering somewhat. Since the Beatles had hit America in 1964, the hits had dried up -- he'd produced a few minor hit records in 1964, but the only hits he'd made in 1965 had been with the Righteous Brothers -- none of his other acts were charting. And then the Righteous Brothers left him, after only a year. In late 1965, he had no hit acts and no prospect of having any. There was only one thing to do -- he needed to start making his own folk-rock records. And the Lovin' Spoonful gave him an idea how to do that. Their records were identifiably coming from the same kind of place as people like the Byrds or the Mamas and the Papas, but they were pop songs, not protest songs -- the Lovin' Spoonful weren't doing Dylan covers or anything intellectual, but joyous pop confections of a kind that anyone could relate to. Spector knew how to make pop records like that. But to do that, he needed a band. Even though he had been annoyed at the way that people had paid more attention to the Righteous Brothers, as white men, than they had to the other vocalists he'd made hit records with (who, as Black women, had been regarded by a sexist and racist public as interchangeable puppets being controlled by a Svengali rather than as artists in their own right), he knew he was going to have to work with a group of white male vocalist-instrumentalists if he wanted to have his own Lovin' Spoonful. And the group he chose was a group from Greenwich Village called MFQ. MFQ had originally named themselves the Modern Folk Quartet, as a parallel to the much better-known Modern Jazz Quartet, and consisted of Cyrus Faryar, Henry Diltz, Jerry Yester, and Chip Douglas, all of whom were multi-instrumentalists who would switch between guitar, banjo, mandolin, and bass depending on the song. They had combined Kingston Trio style clean-cut folk with Four Freshmen style modern harmonies -- Yester, who was a veteran of the New Christy Minstrels, said of the group's vocals that "the only vocals that competed with us back then was Curt Boettcher's group", and  they had been taken under the wing of manager Herb Cohen, who had got them a record deal with Warner Brothers. They recorded two albums of folk songs, the first of which was produced by Jim Dickson, the Byrds' co-manager: [Excerpt: The Modern Folk Quartet, "Sassafras"] But after their second album, they had decided to go along with the trends and switch to folk-rock. They'd started playing with electric instruments, and after a few shows where John Sebastian, the lead singer of the Lovin' Spoonful, had sat in with them on drums, they'd got themselves a full-time drummer, "Fast" Eddie Hoh, and renamed themselves the Modern Folk Quintet, but they always shortened that to just MFQ. Spector was convinced that this group could be another Lovin' Spoonful if they had the right song, and MFQ in turn were eager to become something more than an unsuccessful folk group. Spector had the group rehearsing in his house for weeks at a stretch before taking them into the studio. The song that Spector chose to have the group record was written by a young songwriter he was working with named Harry Nilsson. Nilsson was as yet a complete unknown, who had not written a hit and was still working a day job, but he had a talent for melody, and he also had a unique songwriting sensibility combining humour and heartbreak. For example, he'd written a song that Spector had recorded with the Ronettes, "Here I Sit", which had been inspired by the famous graffito from public toilet walls -- "Here I sit, broken-hearted/Paid a dime and only farted": [Excerpt: The Ronettes, "Here I Sit"] That ability to take taboo bodily functions and turn them into innocent-sounding love lyrics is also at play in the song that Spector chose to have the MFQ record. "This Could be the Night" was written by Nilsson from the perspective of someone who is hoping to lose his virginity -- he feels like he's sitting on dynamite, and he's going to "give her some", but it still sounds innocent enough to get past the radio censors of the mid-sixties: [Excerpt: Harry Nilsson, "This Could Be the Night (demo)"] Spector took that song, and recorded a version of it which found the perfect balance between Spector's own wall of sound and the Lovin' Spoonful's "Good Time Music" sound: [Excerpt: MFQ, "This Could be the Night"] Brian Wilson was, according to many people, in the studio while that was being recorded, and for decades it would remain a favourite song of Wilson's -- he recorded a solo version of it in the 1990s, and when he started touring solo for the first time in 1998 he included the song in his earliest live performances. He also tried to record it with his wife's group, American Spring, in the early 1970s, but was unable to, because while he could remember almost all of the song, he couldn't get hold of the lyrics. And the reason he couldn't get hold of the lyrics is that the record itself went unreleased, because Phil Spector had found a new performer he was focusing on instead. It happened during the filming of the Big TNT Show, a sequel to the TAMI Show, released by American International Pictures, for which "This Could Be the Night" was eventually used as a theme song. The MFQ were actually performers at the Big TNT Show, which Spector was musical director and associate producer of, but their performances were cut out of the finished film, leaving just their record being played over the credits. The Big TNT Show generally gets less respect than the TAMI Show, but it's a rather remarkable document of the American music scene at the very end of 1965, and it's far more diverse than the TAMI show. It opens with, of all people, David McCallum -- the actor who played Ilya Kuryakin on The Man From UNCLE -- conducting a band of session musicians playing an instrumental version of "Satisfaction": [Excerpt: David McCallum, "Satisfaction"] And then, in front of an audience which included Ron and Russel Mael, later of Sparks, and Frank Zappa, who is very clearly visible in audience shots, came performances of every then-current form of popular music. Ray Charles, Petula Clark, Bo Diddley, the Byrds, the Lovin' Spoonful, Roger Miller, the Ronettes, and Donovan all did multiple songs, though the oddest contribution was from Joan Baez, who as well as doing some of her normal folk repertoire also performed "You've Lost That Lovin' Feelin'" with Spector on piano: [Excerpt: Joan Baez and Phil Spector, "You've Lost That Lovin' Feelin'"] But the headline act on the eventual finished film was the least-known act on the bill, a duo who had not had a top forty hit for four years at this point, and who were only on the bill as a last-minute fill-in for an act who dropped out, but who were a sensational live act. So sensational that when Phil Spector saw them, he knew he needed to sign them -- or at least he needed to sign one of them: [Excerpt: Ike and Tina Turner with the Ikettes, "Please, Please, Please"] Because Ike and Tina Turner's performance at the Big TNT Show was, if anything, even more impressive than James Brown's performance on the TAMI Show the previous year. The last we saw of Ike Turner was way back in episode eleven. If you don't remember that, from more than three years ago, at the time Turner was the leader of a small band called the Kings of Rhythm. They'd been told by their friend B.B. King that if you wanted to make a record, the person you go to was Sam Phillips at Memphis Recording Services, and they'd recorded "Rocket '88", often cited as the first ever rock and roll record, under the name of their sax player and vocalist Jackie Brenston: [Excerpt: Jackie Brenston and the Delta Cats, "Rocket '88"] We looked at some of the repercussions from that recording throughout the first year and a half or so of the podcast, but we didn't look any more at the career of Ike Turner himself. While "Rocket '88" was a minor hit, the group hadn't followed it up, and Brenston had left to go solo. For a while Ike wasn't really very successful at all -- though he was still performing around Memphis, and a young man named Elvis Presley was taking notes at some of the shows. But things started to change for Ike when he once again turned up at Sam Phillips' studio -- this time because B.B. King was recording there. At the time, Sun Records had still not started as its own label, and Phillips' studio was being used for records made by all sorts of independent blues labels, including Modern Records, and Joe Bihari was producing a session for B.B. King, who had signed to Modern. The piano player on the session also had a connection to "Rocket '88" -- when Jackie Brenston had quit Ike's band to go solo, he'd put together a new band to tour as the Delta Cats, and Phineas Newborn Jr had ended up playing Turner's piano part on stage, before Brenston's career collapsed and Newborn became King's pianist. But Phineas Newborn was a very technical, dry, jazz pianist -- a wonderful player, but someone who was best suited to playing more cerebral material, as his own recordings as a bandleader from a few years later show: [Excerpt: Phineas Newborn Jr, "Barbados"] Bihari wasn't happy with what Newborn was playing, and the group took a break from recording to get something to eat and try to figure out the problem. While they were busy, Turner went over to the piano and started playing. Bihari said that that was exactly what they wanted, and Turner took over playing the part. In his autobiography, Turner variously remembers the song King was recording there as "You Know I Love You" and "Three O'Clock Blues", neither of which, as far as I can tell, were actually recorded at Phillips' studio, and both of which seem to have been recorded later -- it's difficult to say for sure because there were very few decent records kept of these things at the time. But we do know that Turner played on a lot of King's records in the early fifties, including on "Three O'Clock Blues", King's first big hit: [Excerpt: B.B. King, "Three O'Clock Blues"] For the next while, Turner was on salary at Modern Records, playing piano on sessions, acting as a talent scout, and also apparently writing many of the songs that Modern's artists would record, though those songs were all copyrighted under the name "Taub", a pseudonym for the Bihari brothers, as well as being a de facto arranger and producer for the company. He worked on many records made in and around Memphis, both for Modern Records and for other labels who drew from the same pool of artists and musicians. Records he played on and produced or arranged include several of Bobby "Blue" Bland's early records -- though Turner's claim in his autobiography that he played on Bland's version of "Stormy Monday" appears to be incorrect, as that wasn't recorded until a decade later. He did, though, play on Bland's “Drifting from Town to Town”, a rewrite of Charles Brown's “Driftin' Blues”, on which, as on many sessions run by Turner, the guitarist was Matt “Guitar” Murphy, who later found fame with the Blues Brothers: [Excerpt: Bobby "Blue" Bland with Ike Turner and his Orchestra, "Driftin' Blues"] Though I've also seen the piano part on that credited as being by Johnny Ace – there's often some confusion as to whether Turner or Ace played on a session, as they played with many of the same artists, but that one was later rereleased as by Bobby “Blue” Bland with Ike Turner and his Orchestra, so it's safe to say that Ike's on that one. He also played on several records by Howlin' Wolf, including "How Many More Years", recorded at Sam Phillips' studio: [Excerpt: Howlin' Wolf, "How Many More Years?"] Over the next few years he played with many artists we've covered already in the podcast, like Richard Berry and the Flairs, on whose recordings he played guitar rather than piano: [Excerpt: The Flairs, "Baby Wants"] He also played guitar on records by Elmore James: [Excerpt: Elmore James, "Please Find My Baby"] and played with Little Junior Parker, Little Milton, Johnny Ace, Roscoe Gordon, and many, many more. As well as making blues records, he also made R&B records in the style of Gene and Eunice with his then-wife Bonnie: [Excerpt: Bonnie and Ike Turner, "My Heart Belongs to You"] Bonnie was his fourth wife, all of them bigamous -- or at least, I *think* she was his fourth. I have seen two different lists Turner gave of his wives, both of them made up of entirely different people, though it doesn't help that many of them also went by nicknames. But Turner started getting married when he was fourteen, and as he would often put it "you gave a preacher two dollars, the papers cost three dollars, that was it. In those days Blacks didn't bother with divorces." (One thing you will see a lot with Turner, unfortunately, is his habit of taking his own personal misbehaviours and claiming they were either universal, or at least that they were universal among Black people, or among men. It's certainly true that some people in the Southeastern US had a more lackadaisical attitude towards remarrying without divorce at the time than we might expect, but it was in no way a Black thing specifically -- it was a people-like-Ike-Turner thing -- see for example the very similar behaviour of Jerry Lee Lewis. I'm trying, when I quote him, not to include too many of these generalisations, but I thought it important to include that one early on to show the kind of self-justification to which he was prone throughout his entire life.) It's largely because Bonnie played piano and was singing with his band that Turner switched to playing guitar, but there was another reason – while he disliked the attention he got on stage, he also didn't want a repeat of what had happened with Jackie Brenston, where Brenston as lead vocalist and frontman had claimed credit for what Ike thought of as his own record. Anyone who saw Ike Turner and his Kings of Rhythm was going to know that Ike Turner was the man who was making it all happen, and so he was going to play guitar up front rather than be on the piano in the background. So Turner took guitar lessons from Earl Hooker, one of the great blues guitarists of the period, who had played with Turner's piano inspiration Pinetop Perkins before recording solo tracks like "Sweet Angel": [Excerpt: Earl Hooker, "Sweet Angel"] Turner was always happier in the studio than performing live -- despite his astonishing ego, he was also a rather shy person who didn't like attention -- and he'd been happy working on salary for Modern and freelancing on occasion for other labels like Chess and Duke. But then the Biharis had brought him out to LA, where Modern Records was based, and as Joel Bihari put it "Ike did a great job for us, but he was a country boy. We brought him to L.A., and he just couldn't take city life. He only stayed a month, then left for East St. Louis to form his own band. He told me he was going back there to become a star." For once, Turner's memory of events lined up with what other people said about him. In his autobiography, he described what happened -- "Down in Mississippi, life is slow. Tomorrow, you are going to plough this field. The next day, you going to cut down these trees. You stop and you go on about your business. Next day, you start back on sawing trees or whatever you doing. Here I am in California, and this chick, this receptionist, is saying "Hold on, Mr Bihari, line 2... hold line 3... Hey Joe, Mr Something or other on the phone for you." I thought "What goddamn time does this stop?"" So Turner did head to East St. Louis -- which is a suburb of St. Louis proper, across the Mississippi river from it, and in Illinois rather than Missouri, and at the time a thriving industrial town in its own right, with over eighty thousand people living there. Hardly the laid-back country atmosphere that Turner was talking about, but still also far from LA both geographically and culturally. He put together a new lineup of the Kings of Rhythm, with a returning Jackie Brenston, who were soon recording for pretty much every label that was putting out blues and R&B tracks at that point, releasing records on RPM, Sue, Flair, Federal, and Modern as well as several smaller labels. usually with either Brenston or the group's drummer Billy Gayles singing lead: [Excerpt: Billy Gayles with Ike Turner's Kings of Rhythm, "Just One More Time"] None of these records was a success, but the Kings of Rhythm were becoming the most successful band in East St. Louis. In the mid-fifties the only group that was as popular in the greater St. Louis metro area was the Johnny Johnson trio -- which soon became the Chuck Berry trio, and went on to greater things, while the Kings of Rhythm remained on the club circuit. But Turner was also becoming notorious for his temper -- he got the nickname "Pistol-Whippin' Ike Turner" for the way he would attack people with his gun, He also though was successful enough that he built his own home studio, and that was where he recorded "Boxtop". a calypso song whose middle eight seems to have been nicked from "Why Do Fools Fall In Love?" and whose general feel owes more than a little to "Love is Strange": [Excerpt: Ike Turner, Carlson Oliver, and Little Ann, "Boxtop"] The female vocals on that track were by Turner's new backing vocalist, who at the time went by the stage name "Little Ann". Anna Mae Bullock had started going to see the Kings of Rhythm regularly when she was seventeen, because her sister was dating one of the members of the band, and she had become a fan almost immediately. She later described her first experience seeing the group: "The first time I saw Ike on stage he was at his very best, sharply dressed in a dark suit and tie. Ike wasn't conventionally handsome – actually, he wasn't handsome at all – and he certainly wasn't my type. Remember, I was a schoolgirl, all of seventeen, looking at a man. I was used to high school boys who were clean-cut, athletic, and dressed in denim, so Ike's processed hair, diamond ring, and skinny body – he was all edges and sharp cheekbones – looked old to me, even though he was only twenty-five. I'd never seen anyone that thin! I couldn't help thinking, God, he's ugly." Turner didn't find Bullock attractive either -- one of the few things both have always agreed on in all their public statements about their later relationship was that neither was ever particularly attracted to the other sexually -- and at first this had caused problems for Anna Mae. There was a spot in the show where Turner would invite a girl from the audience up on stage to sing, a different one every night, usually someone he'd decided he wanted to sleep with. Anna Mae desperately wanted to be one of the girls that would get up on stage, but Turner never picked her. But then one day she got her chance. Her sister's boyfriend was teasing her sister, trying to get her to sing in this spot, and passed her the microphone. Her sister didn't want to sing, so Anna Mae grabbed the mic instead, and started singing -- the song she sang was B.B. King's "You Know I Love You", the same song that Turner always remembered as being recorded at Sun studios, and on which Turner had played piano: [Excerpt: B.B. King, "You Know I Love You"] Turner suddenly took notice of Anna Mae. As he would later say, everyone *says* they can sing, but it turned out that Anna Mae could. He took her on as an occasional backing singer, not at first as a full member of the band, but as a sort of apprentice, who he would teach how to use her talents more commercially. Turner always said that during this period, he would get Little Richard to help teach Anna Mae how to sing in a more uncontrolled, exuberant, style like he did, and Richard has backed this up, though Anna Mae never said anything about this. We do know though that Richard was a huge fan of Turner's -- the intro to "Good Golly Miss Molly": [Excerpt: Little Richard, "Good Golly Miss Molly"] was taken almost exactly from the intro to "Rocket '88": [Excerpt: Jackie Brenston and the Delta Cats, "Rocket '88"] and Richard later wrote the introduction to Turner's autobiography. So it's possible -- but both men were inveterate exaggerators, and Anna Mae only joined Ike's band a few months before Richard's conversion and retirement from music, and during a point when he was a massive star, so it seems unlikely. Anna Mae started dating Raymond Hill, a saxophone player in the group, and became pregnant by him -- but then Hill broke his ankle, and used that as an excuse to move back to Clarksdale, Mississippi, to be with his family, abandoning his pregnant teenage girlfriend, and it seems to be around this point that Turner and Anna Mae became romantically and sexually involved. Certainly, one of Ike's girlfriends, Lorraine Taylor, seems to have believed they were involved while Anna Mae was pregnant, and indeed that Turner, rather than Hill, was the father. Taylor threatened Bullock with Turner's gun, before turning it on herself and attempting suicide, though luckily she survived. She gave birth to Turner's son, Ike Junior, a couple of months after Bullock gave birth to her own son, Craig. But even after they got involved, Anna Mae was still mostly just doing odd bits of backing vocals, like on "Boxtop", recorded in 1958, or on 1959's "That's All I Need", released on Sue Records: [Excerpt: Ike Turner's Kings of Rhythm, "That's All I Need"] And it seemed that would be all that Anna Mae Bullock would do, until Ike Turner lent Art Lassiter eighty dollars he didn't want to pay back. Lassiter was a singer who was often backed by his own vocal trio, the Artettes, patterned after Ray Charles' Raelettes. He had performed with Turner's band on a semi-regular basis, since 1955 when he had recorded "As Long as I Have You" with his vocal group the Trojans, backed by "Ike Turner and his Orchestra": [Excerpt: The Trojans, Ike Turner and His Orchestra, "As Long as I Have You"] He'd recorded a few more tracks with Turner since then, both solo and under group names like The Rockers: [Excerpt: The Rockers, "Why Don't You Believe?"] In 1960, Lassiter needed new tyres for his car, and borrowed eighty dollars from Turner in order to get them -- a relatively substantial amount of money for a working musician back then. He told Turner that he would pay him back at a recording session they had booked, where Lassiter was going to record a song Turner had written, "A Fool in Love", with Turner's band and the Artettes. But Lassiter never showed up -- he didn't have the eighty dollars, and Turner found himself sat in a recording studio with a bunch of musicians he was paying for, paying twenty-five dollars an hour for the studio time, and with no singer there to record. At the time, he was still under the impression that Lassiter might eventually show up, if not at that session, then at least at a future one, but until he did, there was nothing he could do and he was getting angry. Bullock suggested that they cut the track without Lassiter. They were using a studio with a multi-track machine -- only two tracks, but that would be enough. They could cut the backing track on one track, and she could record a guide vocal on the other track, since she'd been around when Turner was teaching Lassiter the song. At least that way they wouldn't have wasted all the money. Turner saw the wisdom of the idea -- he said in his autobiography "This was the first time I got hip to two-track stereo" -- and after consulting with the engineer on the session, he decided to go ahead with Bullock's plan. The plan still caused problems, because they were recording the song in a key written for a man, so Bullock had to yell more than sing, causing problems for the engineer, who according to Turner kept saying things like "Goddammit, don't holler in my microphone". But it was only a demo vocal, after all, and they got it cut -- and as Lassiter didn't show up, Turner took Lassiter's backing vocal group as his own new group, renaming the Artettes to the Ikettes, and they became the first of a whole series of lineups of Ikettes who would record with Turner for the rest of his life. The intention was still to get Lassiter to sing lead on the record, but then Turner played an acetate of it at a club night where he was DJing as well as performing, and the kids apparently went wild: [Excerpt: Ike and Tina Turner, "A Fool in Love"] Turner took the demo to Juggy Murray at Sue Records, still with the intention of replacing Anna Mae's vocal with Lassiter's, but Murray insisted that that was the best thing about the record, and that it should be released exactly as it was, that it was a guaranteed hit. Although -- while that's the story that's told all the time about that record by everyone involved in the recording and release, and seems uncontested, there does seem to be one minor problem with the story, which is that the Ikettes sing "you know you love him, you can't understand/Why he treats you like he do when he's such a good man". I'm willing to be proved wrong, of course, but my suspicion is that Ike Turner wasn't such a progressive thinker that he was writing songs about male-male relationships in 1960. It's possible that the Ikettes were recorded on the same track as Tina's guide vocals, but if the intention was to overdub a new lead from Lassiter on an otherwise finished track, it would have made more sense for them to sing their finished backing vocal part. It seems more likely to me that they decided in the studio that the record was going to go out with Anna Mae singing lead, and the idea of Murray insisting is a later exaggeration. One thing that doesn't seem to be an exaggeration, though, is that initially Murray wanted the record to go out as by Ike Turner's Kings of Rhythm featuring Little Ann, but Turner had other ideas. While Murray insisted "the girl is the star", Turner knew what happened when other people were the credited stars on his records. He didn't want another Jackie Brenston, having a hit and immediately leaving Turner right back where he started. If Little Ann was the credited singer, Little Ann would become a star and Ike Turner would have to find a new singer. So he came up with a pseudonym. Turner was a fan of jungle women in film serials and TV, and he thought a wild-woman persona would suit Anna Mae's yelled vocal, and so he named his new star after Sheena, Queen of the Jungle, a female Tarzan knock-off comic character created by Will Eisner and Jerry Iger in the thirties, but who Turner probably knew from a TV series that had been on in 1955 and 56. He gave her his surname, changed "Sheena" slightly to make the new name alliterative and always at least claimed to have registered a trademark on the name he came up with, so if Anna Mae ever left the band he could just get a new singer to use the name. Anna Mae Bullock was now Tina Turner, and the record went out as by "Ike and Tina Turner": [Excerpt: Ike and Tina Turner, "A Fool in Love"] That went to number two on the R&B charts, and hit the top thirty on the pop charts, too. But there were already problems. After Ike had had a second son with Lorraine, he then got Tina pregnant with another of his children, still seeing both women. He had already started behaving abusively towards Tina, and as well as being pregnant, she was suffering from jaundice -- she says in the first of her two autobiographies that she distinctly remembered lying in her hospital bed, hearing "A Fool in Love" on the radio, and thinking "What's love got to do with it?", though as with all such self-mythologising we should take this with a pinch of salt. Turner was in need of money to pay for lawyers -- he had been arrested for financial crimes involving forged cheques -- and Juggy Murray wouldn't give him an advance until he delivered a follow-up to "A Fool in Love", so he insisted that Tina sneak herself out of the hospital and go into the studio, jaundiced and pregnant, to record the follow-up. Then, as soon as the jaundice had cleared up, they went on a four-month tour, with Tina heavily pregnant, to make enough money to pay Ike's legal bills. Turner worked his band relentlessly -- he would accept literally any gig, even tiny clubs with only a hundred people in the audience, reasoning that it was better for the band's image to play  small venues that had to turn people away because they were packed to capacity, than to play large venues that were only half full. While "A Fool in Love" had a substantial white audience, the Ike and Tina Turner Revue was almost the epitome of the chitlin' circuit act, playing exciting, funky, tightly-choreographed shows for almost entirely Black audiences in much the same way as James Brown, and Ike Turner was in control of every aspect of the show. When Tina had to go into hospital to give birth, rather than give up the money from gigging, Ike hired a sex worker who bore a slight resemblance to Tina to be the new onstage "Tina Turner" until the real one was able to perform again. One of the Ikettes told the real Tina, who discharged herself from hospital, travelled to the venue, beat up the fake Tina, and took her place on stage two days after giving birth. The Ike and Tina Turner Revue, with the Kings of Rhythm backing Tina, the Ikettes, and male singer Jimmy Thomas, all of whom had solo spots, were an astonishing live act, but they were only intermittently successful on record. None of the three follow-ups to "A Fool in Love" did better than number eighty-two on the charts, and two of them didn't even make the R&B charts, though "I Idolize You" did make the R&B top five. Their next big hit came courtesy of Mickey and Sylvia. You may remember us talking about Mickey and Sylvia way back in episode forty-nine, from back in 2019, but if you don't, they were one of a series of R&B duet acts, like Gene and Eunice, who came up after the success of Shirley and Lee, and their big hit was "Love is Strange": [Excerpt: Mickey and Sylvia, "Love is Strange"] By 1961, their career had more or less ended, but they'd recorded a song co-written by the great R&B songwriter Rose Marie McCoy, which had gone unreleased: [Excerpt: Mickey and Sylvia, "It's Gonna Work Out Fine"] When that was shelved they remade it as an Ike and Tina Turner record, with Mickey and Sylvia being Ike -- Sylvia took on all the roles that Ike would normally do in the studio, arranging the track and playing lead guitar, as well as joining the Ikettes on backing vocals, while Mickey did the spoken answering vocals that most listeners assumed were Ike, and which Ike would replicate on stage. The result, unsurprisingly, sounded more like a Mickey and Sylvia record than anything Ike and Tina had ever released before, though it's very obviously Tina on lead vocals: [Excerpt: Ike and Tina Turner, "It's Gonna Work Out Fine"] That made the top twenty on the pop charts -- though it would be their last top forty hit for nearly a decade as Ike and Tina Turner. They did though have a couple of other hits as the Ikettes, with Ike Turner putting the girl group's name on the label so he could record for multiple labels. The first of these, "I'm Blue (The Gong Gong Song)" was a song Ike had written which would later go on to become something of an R&B standard. It featured Dolores Johnson on lead vocals, but Tina sang backing vocals and got a rare co-production credit: [Excerpt: The Ikettes, "I'm Blue (The Gong Gong Song)"] The other Ikettes top forty hit was in 1965, with a song written by Steve Venet and Tommy Boyce -- a songwriter we will be hearing more about in three weeks -- and produced by Venet: [Excerpt: The Ikettes, "Peaches 'n' Cream"] Ike wasn't keen on that record at first, but soon came round to it when it hit the charts. The success of that record caused that lineup of Ikettes to split from Ike and Tina -- the Ikettes had become a successful act in their own right, and Dick Clark's Caravan of Stars wanted to book them, but that would have meant they wouldn't be available for Ike and Tina shows. So Ike sent a different group of three girls out on the road with Clark's tour, keeping the original Ikettes back to record and tour with him, and didn't pay them any royalties on their records. They resented being unable to capitalise on their big hit, so they quit. At first they tried to keep the Ikettes name for themselves, and got Tina Turner's sister Alline to manage them, but eventually they changed their name to the Mirettes, and released a few semi-successful records. Ike got another trio of Ikettes to replace them, and carried on with Pat Arnold, Gloria Scott, and Maxine Smith as the new Ikettes,. One Ikette did remain pretty much throughout -- a woman called Ann Thomas, who Ike Turner was sleeping with, and who he would much later marry, but who he always claimed was never allowed to sing with the others, but was just there for her looks. By this point Ike and Tina had married, though Ike had not divorced any of his previous wives (though he paid some of them off when Ike and Tina became big). Ike and Tina's marriage in Tijuana was not remembered by either of them as a particularly happy experience -- Ike would always later insist that it wasn't a legal marriage at all, and in fact that it was the only one of his many, many, marriages that hadn't been, and was just a joke. He was regularly abusing her in the most horrific ways, but at this point the duo still seemed to the public to be perfectly matched. They actually only ended up on the Big TNT Show as a last-minute thing -- another act was sick, though none of my references mention who it was who got sick, just that someone was needed to fill in for them, and as Ike and Tina were now based in LA -- the country boy Ike had finally become a city boy after all -- and would take any job on no notice, they got the gig. Phil Spector was impressed, and he decided that he could revitalise his career by producing a hit for Tina Turner. There was only one thing wrong -- Tina Turner wasn't an act. *Ike* and Tina Turner was an act. And Ike Turner was a control freak, just like Spector was -- the two men had essentially the same personality, and Spector didn't want to work with someone else who would want to be in charge. After some negotiation, they came to an agreement -- Spector could produce a Tina Turner record, but it would be released as an Ike and Tina Turner record. Ike would be paid twenty thousand dollars for his services, and those services would consist of staying well away from the studio and not interfering. Spector was going to go back to the old formulas that had worked for him, and work with the people who had contributed to his past successes, rather than leaving anything to chance. Jack Nitzsche had had a bit of a falling out with him and not worked on some of the singles he'd produced recently, but he was back. And Spector was going to work with Jeff Barry and Ellie Greenwich again. He'd fallen out with Barry and Greenwich when "Chapel of Love" had been a hit for the Dixie Cups rather than for one of Spector's own artists, and he'd been working with Mann and Weill and Goffin and King instead. But he knew that it was Barry and Greenwich who were the ones who had worked best with him, and who understood his musical needs best, so he actually travelled to see them in New York instead of getting them to come to him in LA, as a peace offering and a sign of how much he valued their input. The only problem was that Spector hadn't realised that Barry and Greenwich had actually split up.  They were still working together in the studio, and indeed had just produced a minor hit single for a new act on Bert Berns' label BANG, for which Greenwich had written the horn arrangement: [Excerpt: Neil Diamond, "Solitary Man"] We'll hear more about Neil Diamond, and about Jeff Barry's work with him, in three weeks. But Barry and Greenwich were going through a divorce and weren't writing together any more, and came back together for one last writing session with Spector, at which, apparently, Ellie Greenwich would cry every time they wrote a line about love. The session produced four songs, of which two became singles. Barry produced a version of "I Can Hear Music", written at these sessions, for the Ronettes, who Spector was no longer interested in producing himself: [Excerpt: The Ronettes, "I Can Hear Music"] That only made number ninety-nine on the charts, but the song was later a hit for the Beach Boys and has become recognised as a classic. The other song they wrote in those sessions, though, was the one that Spector wanted to give to Tina Turner. "River Deep, Mountain High" was a true three-way collaboration -- Greenwich came up with the music for the verses, Spector for the choruses, and Barry wrote the lyrics and tweaked the melody slightly. Spector, Barry, and Greenwich spent two weeks in their writing session, mostly spent on "River Deep, Mountain High". Spector later said of the writing "Every time we'd write a love line, Ellie would start to cry. I couldn't figure out what was happening, and then I realised… it was a very uncomfortable situation. We wrote that, and we wrote ‘I Can Hear Music'…. We wrote three or four hit songs on that one writing session. “The whole thing about ‘River Deep' was the way I could feel that strong bass line. That's how it started. And then Jeff came up with the opening line. I wanted a tender song about a chick who loved somebody very much, but a different way of expressing it. So we came up with the rag doll and ‘I'm going to cuddle you like a little puppy'. And the idea was really built for Tina, just like ‘Lovin' Feelin” was built for the Righteous Brothers.” Spector spent weeks recording, remixing, rerecording, and reremixing the backing track, arranged by Nitzsche, creating the most thunderous, overblown, example of the Wall of Sound he had ever created, before getting Tina into the studio. He also spent weeks rehearsing Tina on the song, and according to her most of what he did was "carefully stripping away all traces of Ike from my performance" -- she was belting the song and adding embellishments, the way Ike Turner had always taught her to, and Spector kept insisting that she just sing the melody -- something that she had never had the opportunity to do before, and which she thought was wonderful. It was so different from anything else that she'd recorded that after each session, when Ike would ask her about the song, she would go completely blank -- she couldn't hold this pop song in her head except when she was running through it with Spector. Eventually she did remember it, and when she did Ike was not impressed, though the record became one of the definitive pop records of all time: [Excerpt: Ike and Tina Turner, "River Deep, Mountain High"] Spector was putting everything on the line for this record, which was intended to be his great comeback and masterpiece. That one track cost more than twenty thousand dollars to record -- an absolute fortune at a time when a single would normally be recorded in one or two sessions at most. It also required a lot of work on Tina's part. She later estimated that she had sung the opening line of the song a thousand times before Spector allowed her to move on to the second line, and talked about how she got so hot and sweaty singing the song over and over that she had to take her blouse off in the studio and sing the song in her bra. She later said "I still don't know what he wanted. I still don't know if I pleased him. But I never stopped trying." Spector produced a total of six tracks with Tina, including the other two songs written at those Barry and Greenwich sessions, "I'll Never Need More Than This", which became the second single released off the "River Deep, Mountain High" album, and "Hold On Baby", plus cover versions of Arthur Alexander's "Every Day I Have to Cry Some", Pomus and Shuman's "Save the Last Dance", and "A Love Like Yours (Don't Come Knocking Everyday)" a Holland-Dozier-Holland song which had originally been released as a Martha and the Vandellas B-side. The planned album was to be padded out with six tracks produced by Ike Turner, mostly remakes of the duo's earlier hits, and was planned for release after the single became the hit everyone knew it would. The single hit the Hot One Hundred soon after it was released: [Excerpt: Ike and Tina Turner, "River Deep, Mountain High"] ...and got no higher up the charts than number eighty-eight. The failure of the record basically destroyed Spector, and while he had been an abusive husband before this, now he became much worse, as he essentially retired from music for four years, and became increasingly paranoid and aggressive towards the industry that he thought was not respectful enough of his genius. There have been several different hypotheses as to why "River Deep Mountain High" was not a success. Some have said that it was simply because DJs were fed up of Spector refusing to pay payola, and had been looking for a reason to take him down a peg. Ike Turner thought it was due to racism, saying later “See, what's wrong with America, I think, is that rather than accept something for its value… what it's doing, America mixes race in it. You can't call that record R&B. But because it's Tina… if you had not put Tina's name on there and put ‘Joe Blow', then the Top 40 stations would have accepted it for being a pop record. But Tina Turner… they want to brand her as being an R&B artist. I think the main reason that ‘River Deep' didn't make it here in America was that the R&B stations wouldn't play it because they thought it was pop, and the pop stations wouldn't play it because they thought it was R&B. And it didn't get played at all. The only record I've heard that could come close to that record is a record by the Beach Boys called ‘Good Vibrations'. I think these are the two records that I've heard in my life that I really like, you know?” Meanwhile, Jeff Barry thought it was partly the DJs but also faults in the record caused by Phil Spector's egomania, saying "he has a self-destructive thing going for him, which is part of the reason that the mix on ‘River Deep' is terrible, he buried the lead and he knows he buried the lead and he cannot stop himself from doing that… if you listen to his records in sequence, the lead goes further and further in and to me what he is saying is, ‘It is not the song I wrote with Jeff and Ellie, it is not the song – just listen to those strings. I want more musicians, it's me, listen to that bass sound. …' That, to me, is what hurts in the long run... Also, I do think that the song is not as clear on the record as it should be, mix-wise. I don't want to use the word overproduced, because it isn't, it's just undermixed." There's possibly an element of all three of these factors in play. As we've discussed, 1965 seems to have been the year that the resegregation of American radio began, and the start of the long slow process of redefining genres so that rock and roll, still considered a predominantly Black music at the beginning of the sixties, was by the end of the decade considered an almost entirely white music. And it's also the case that "River Deep, Mountain High" was the most extreme production Spector ever committed to vinyl, and that Spector had made a lot of enemies in the music business. It's also, though, the case  that it was a genuinely great record: [Excerpt: Ike and Tina Turner, "River Deep, Mountain High"] However, in the UK, it was promoted by Decca executive Tony Hall, who was a figure who straddled both sides of the entertainment world -- as part of his work as a music publicist he had been a presenter on Oh Boy!, written a column in Record Mirror, and presented a Radio Luxembourg show. Hall put his not-inconsiderable weight behind promoting the record, and it ended up reaching number two in the UK -- being successful enough that the album was also released over here, though it wouldn't come out in the US for several years. The record also attracted the attention of the Rolling Stones, who invited Ike and Tina to be their support act on a UK tour, which also featured the Yardbirds, and this would be a major change for the duo in all sorts of ways. Firstly, it got them properly in contact with British musicians -- and the Stones would get Ike and Tina as support artists several times over the next few years -- and also made the UK and Europe part of their regular tour itinerary. It also gave the duo their first big white rock audience, and over the next several years they would pivot more and more to performing music aimed at that audience, rather than the chitlin' circuit they'd been playing for previously. Ike was very conscious of wanting to move away from the blues and R&B -- while that was where he'd made his living as a musician, it wasn't music he actually liked, and he would often talk later about how much he respected Keith Richards and Eric Clapton, and how his favourite music was country music. Tina had also never been a fan of blues or R&B, and wanted to perform songs by the white British performers they were meeting. The tour also, though, gave Tina her first real thoughts of escape. She loved the UK and Europe, and started thinking about what life could be like for her not just being Ike Turner's wife and working fifty-one weeks a year at whatever gigs came along. But it also made that escape a little more difficult, because on the tour Tina lost one of her few confidantes in the organisation. Tina had helped Pat Arnold get away from her own abusive partner, and the two had become very close, but Arnold was increasingly uncomfortable being around Ike's abuse of Tina, and couldn't help her friend the way she'd been helped. She decided she needed to get out of a toxic situation, and decided to stay in England, where she'd struck up an affair with Mick Jagger, and where she found that there were many opportunities for her as a Black woman that simply hadn't been there in the US. (This is not to say that Britain doesn't have problems with racism -- it very much does, but those problems are *different* problems than the ones that the US had at that point, and Arnold found Britain's attitude more congenial to her personally). There was also another aspect, which a lot of Black female singers of her generation have mentioned and which probably applies here. Many Black women have said that they were astonished on visiting Britain to be hailed as great singers, when they thought of themselves as merely average. Britain does not have the kind of Black churches which had taught generations of Black American women to sing gospel, and so singers who in the US thought of themselves as merely OK would be far, far, better than any singers in the UK -- the technical standards were just so much lower here. (This is something that was still true at least as late as the mid-eighties. Bob Geldof talks in his autobiography about attending the recording session for "We Are the World" after having previously recorded "Do They Know It's Christmas?" and being astonished at how much more technically skilled the American stars were and how much more seriously they took their craft.) And Arnold wasn't just an adequate singer -- she was and is a genuinely great talent -- and so she quickly found herself in demand in the UK. Jagger got her signed to Immediate Records, a new label that had been started up by the Stones manager Andrew Oldham, and where Jimmy Page was the staff producer. She was given a new name, P.P. Arnold, which was meant to remind people of another American import, P.J. Proby, but which she disliked because the initials spelled "peepee". Her first single on the label, produced by Jagger, did nothing, but her second single, written by a then-unknown songwriter named Cat Stevens, became a big hit: [Excerpt: P.P. Arnold, "The First Cut is the Deepest"] She toured with a backing band, The Nice, and made records as a backing singer with artists like the Small Faces. She also recorded a duet with the unknown singer Rod Stewart, though that wasn't a success: [Excerpt: Rod Stewart and P.P. Arnold, "Come Home Baby"] We'll be hearing more about P.P. Arnold in future episodes, but the upshot of her success was that Tina had even fewer people to support her. The next few years were increasingly difficult for Tina, as Ike turned to cocaine use in a big way, became increasingly violent, and his abuse of her became much more violent. The descriptions of his behaviour in Tina's two volumes of autobiography are utterly harrowing, and I won't go into them in detail, except to say that nobody should have to suffer what she did. Ike's autobiography, on the other hand, has him attempting to defend himself, even while admitting to several of the most heinous allegations, by saying he didn't beat his wife any more than most men did. Now the sad thing is that this may well be true, at least among his peer group. Turner's behaviour was no worse than behaviour from, say, James Brown or Brian Jones or Phil Spector or Jerry Lee Lewis, and it may well be that behaviour like this was common enough among people he knew that Turner's behaviour didn't stand out at all. His abuse has become much better-known, because the person he was attacking happened to become one of the biggest stars in the world, while the women they attacked didn't. But that of course doesn't make what Ike did to Tina any better -- it just makes it infinitely sadder that so many more people suffered that way. In 1968, Tina actually tried to take her own life -- and she was so fearful of Ike that when she overdosed, she timed it so that she thought she would be able to at least get on stage and start the first song before collapsing, knowing that their contract required her to do that for Ike to get paid. As it was, one of the Ikettes noticed the tablets she had taken had made her so out of it she'd drawn a line across her face with her eyebrow pencil. She was hospitalised, and according to both Ike and Tina's reports, she was comatose and her heart actually stopped beating, but then Ike started yelling at her, saying if she wanted to die why didn't she do it by jumping in front of a truck, rather than leaving him with hospital bills, and telling her to go ahead and die if this was how she was going to treat him -- and she was so scared of Ike her heart started up again. (This does not seem medically likely to me, but I wasn't there, and they both were). Of course, Ike frames this as compassion and tough love. I would have different words for it myself. Tina would make several more suicide attempts over the years, but even as Tina's life was falling apart, the duo's professional career was on the up. They started playing more shows in the UK, and they toured the US as support for the Rolling Stones. They also started having hits again, after switching to performing funked-up cover versions of contemporary hits. They had a minor hit with a double-sided single of the Beatles' "Come Together" and the Stones' "Honky-Tonk Women", then a bigger one with a version of Sly and the Family Stone's "I Want to Take You Higher", then had their biggest hit ever with "Proud Mary". It's likely we'll be looking at Creedence Clearwater Revival's original version of that song at some point, but while Ike Turner disliked the original, Tina liked it, and Ike also became convinced of the song's merits by hearing a version by The Checkmates Ltd: [Excerpt: The Checkmates Ltd, "Proud Mary"] That was produced by Phil Spector, who came briefly out of his self-imposed exile from the music business in 1969 to produce a couple of singles for the Checkmates and Ronnie Spector. That version inspired Ike and Tina's recording of the song, which went to number four on the charts and won them a Grammy award in 1971: [Excerpt: Ike and Tina Turner, "Proud Mary"] Ike was also investing the money they were making into their music. He built his own state-of-the-art studio, Bolic Sound, which Tina always claimed was a nod to her maiden name, Bullock, but which he later always said was a coincidence. Several other acts hired the studio, especially people in Frank Zappa's orbit -- Flo and Eddie recorded their first album as a duo there, and Zappa recorded big chunks of Over-Nite Sensation and Apostrophe('), two of his most successful albums, at the studio. Acts hiring Bolic Sound also got Tina and the Ikettes on backing vocals if they wanted them, and so for example Tina is one of the backing vocalists on Zappa's "Cosmik Debris": [Excerpt: Frank Zappa, "Cosmik Debris"] One of the most difficult things she ever had to sing in her life was this passage in Zappa's song "Montana", which took the Ikettes several days' rehearsal to get right. [Excerpt: Frank Zappa and the Mothers of Invention, "Montana"] She was apparently so excited at having got that passage right that she called Ike out of his own session to come in and listen, but Ike was very much unimpressed, and insisted that Tina and the Ikettes not get credit on the records they made with Zappa. Zappa later said “I don't know how she managed to stick with that guy for so long. He treated her terribly and she's a really nice lady. We were recording down there on a Sunday. She wasn't involved with the session, but she came in on Sunday with a whole pot of stew that she brought for everyone working in the studio. Like out of nowhere, here's Tina Turner coming in with a rag on her head bringing a pot of stew. It was really nice.” By this point, Ike was unimpressed by anything other than cocaine and women, who he mostly got to sleep with him by having truly gargantuan amounts of cocaine around. As Ike was descending further into paranoia and abuse, though, Tina was coming into her own. She wrote "Nutbush City Limits" about the town where she grew up, and it reached number 22 on the charts -- higher than any song Ike ever wrote: [Excerpt: Ike and Tina Turner, "Nutbush City Limits"] Of course, Ike would later claim that he wrote the music and let Tina keep all the credit. Tina was also asked by the Who to appear in the film version of their rock opera Tommy, where her performance of "Acid Queen" was one of the highlights: [Excerpt: Tina Turner, "Acid Queen"] And while she was filming that in London, she was invited to guest on a TV show with Ann-Margret, who was a huge fan of Ike and Tina, and duetted with Tina -- but not Ike -- on a medley of her hits: [Excerpt: Tina Turner and Ann-Margret, "Nutbush City Limits/Honky Tonk Woman"] Just as with "River Deep, Mountain High", Tina was wanted for her own talents, independent of Ike. She was starting to see that as well as being an abusive husband, he was also not necessary for her to have a career. She was also starting to find parts of her life that she could have for herself, independent of her husband. She'd been introduced to Buddhist meditation by a friend, and took it up in a big way, much to Ike's disapproval. Things finally came to a head in July 1976, in Dallas, when Ike started beating her up and for the first time she fought back. She pretended to reconcile with him, waited for him to fall asleep, and ran across a busy interstate, almost getting hit by a ten-wheel truck, to get to another hotel she could see in the distance. Luckily, even though she had no money, and she was a Black woman in Dallas, not a city known for its enlightened attitudes in the 1970s, the manager of the Ramada Inn took pity on her and let her stay there for a while until she could get in touch with Buddhist friends. She spent the next few months living off the kindness of strangers, before making arrangements with Rhonda Graam, who had started working for Ike and Tina in 1964 as a fan, but had soon become indispensable to the organisation. Graam sided with Tina, and while still supposedly working for Ike she started putting together appearances for Tina on TV shows like Cher's. Cher was a fan of Tina's work, and was another woman trying to build a career after leaving an abusive husband who had been her musical partner: [Excerpt: Cher and Tina Turner, "Makin' Music is My Business"] Graam became Tina's full-time assistant, as well as her best friend, and remained part of her life until Graam's death a year ago. She also got Tina booked in to club gigs, but for a long time they found it hard to get bookings -- promoters would say she was "only half the act". Ike still wanted the duo to work together professionally, if not be a couple, but Tina absolutely refused, and Ike had gangster friends of his shoot up Graam's car, and Tina heard rumours that he was planning to hire a hit man to come after her. Tina filed for divorce, and gave Ike everything -- all the money the couple had earned together in sixteen years of work, all the property, all the intellectual property -- except for two cars, one of which Ike had given her and one which Sammy Davis Jr. had given her, and the one truly important thing -- the right to use the name "Tina Turner", which Ike had the trademark on. Ike had apparently been planning to hire someone else to perform as "Tina Turner" and carry on as if nothing had changed. Slowly, Tina built her career back up, though it was not without its missteps. She got a new manager, who also managed Olivia Newton-John, and the manager brought in a song he thought was perfect for Tina. She turned it down, and Newton-John recorded it instead: [Excerpt: Olivia Newton-John, "Physical"] But even while she was still playing small clubs, her old fans from the British rock scene were boosting her career. In 1981, after Rod Stewart saw her playing a club gig and singing his song "Hot Legs", he invited her to guest with him and perform the song on Saturday Night Live: [Excerpt: Rod Stewart and Tina Turner, "Hot Legs"] The Rolling Stones invited Tina to be their support act on a US tour, and to sing "Honky Tonk Women" on stage with them, and eventually when David Bowie, who was at the height of his fame at that point, told his record label he was going to see her on a night that EMI wanted to do an event for him, half the record industry showed up to the gig. She had already recorded a remake of the Temptations' "Ball of Confusion" with the British Electric Foundation -- a side project for two of the members of Heaven 17 -- in 1982, for one of their albums: [Excerpt: British Electric Foundation, "Ball of Confusion"] Now they were brought in to produce a new single for her, a remake of Al Green's "Let's Stay Together": [Excerpt: Tina Turner, "Let's Stay Together"] That made the top thirty in the US, and was a moderate hit in many places, making the top ten in the UK. She followed it up with another BEF production, a remake of "Help!" by the Beatles, which appears only to have been released in mainland Europe. But then came the big hit: [Excerpt: Tina Turner, "What's Love Got to Do With It?"] wenty-six years after she started performing with Ike, Tina Turner was suddenly a major star. She had a string of successes throughout the eighties and nineties, with more hit records, film appearances, a successful autobiography, a film based on the autobiography, and record-setting concert appearan

Episode one hundred and forty of A History of Rock Music in Five Hundred Songs looks at “Trouble Every Day" by the Mothers of Invention, and the early career of Frank Zappa. 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 "Christmas Time is Here Again" by the Beatles. 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 I'm away from home as I upload this and haven't been able to do a Mixcloud, but will hopefully edit a link in in a week or so if I remember. The main biography I consulted for this was Electric Don Quixote by Neil Slaven. Zappa's autobiography, The Real Frank Zappa Book, is essential reading if you're a fan of his work. Information about Jimmy Carl Black's early life came from Black's autobiography, For Mother's Sake. Zappa's letter to Varese is from this blog, which also contains a lot of other useful information on Zappa. For information on the Watts uprising, I recommend Johnny Otis' Listen to the Lambs. And the original mix of Freak Out is currently available not on the CD issue of Freak Out itself, which is an eighties remix, but on this "documentary" set. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just a quick note before I begin -- there are a couple of passing references in this episode to rape and child abuse. I don't believe there's anything that should upset anyone, but if you're worried, you might want to read the transcript on the podcast website before or instead of listening. But also, this episode contains explicit, detailed, descriptions of racial violence carried out by the police against Black people, including against children. Some of it is so distressing that even reading the transcript might be a bit much for some people. Sometimes, in this podcast, we have to go back to another story we've already told. In most cases, that story is recent enough that I can just say, "remember last episode, when I said...", but to tell the story of the Mothers of Invention, I have to start with a story that I told sixty-nine episodes ago, in episode seventy-one, which came out nearly two years ago. In that episode, on "Willie and the Hand Jive", I briefly told the story of Little Julian Herrera at the start. I'm going to tell a slightly longer version of the story now. Some of the information at the start of this episode will be familiar from that and other episodes, but I'm not going to expect people to remember something from that long ago, given all that's happened since. The DJ Art Laboe is one of the few figures from the dawn of rock and roll who is still working. At ninety-six years old, he still promotes concerts, and hosts a syndicated radio show on which he plays "Oldies but Goodies", a phrase which could describe him as well as the music. It's a phrase he coined -- and trademarked -- back in the 1950s, when people in his audience would ask him to play records made a whole three or four years earlier, records they had listened to in their youth. Laboe pretty much single-handedly invented the rock and roll nostalgia market -- as well as being a DJ, he owned a record label, Original Sound, which put out a series of compilation albums, Oldies But Goodies, starting in 1959, which started to cement the first draft of the doo-wop canon. These were the first albums to compile together a set of older rock and roll hits and market them for nostalgia, and they were very much based on the tastes of his West Coast teenage listenership, featuring songs like "Earth Angel" by the Penguins: [Excerpt: The Penguins, "Earth Angel"] But also records that had a more limited geographic appeal, like "Heaven and Paradise" by Don Julian and the Meadowlarks: [Excerpt: Don Julian and the Meadowlarks, "Heaven and Paradise"] As well as being a DJ and record company owner, Laboe was the promoter and MC for regular teenage dances at El Monte Legion Stadium, at which Kip and the Flips, the band that featured Sandy Nelson and Bruce Johnston, would back local performers like the Penguins, Don and Dewey, or Ritchie Valens, as well as visiting headliners like Jerry Lee Lewis. El Monte stadium was originally chosen because it was outside the LA city limits -- at the time there were anti-rock-and-roll ordinances that meant that any teenage dance had to be approved by the LA Board of Education, but those didn't apply to that stadium -- but it also led to Laboe's audience becoming more racially diverse. The stadium was in East LA, which had a large Mexican-American population, and while Laboe's listenership had initially been very white, soon there were substantial numbers of Mexican-American and Black audience members. And it was at one of the El Monte shows that Johnny Otis discovered the person who everyone thought was going to become the first Chicano rock star, before even Ritchie Valens, in 1957, performing as one of the filler acts on Laboe's bill. He signed Little Julian Herrera, a performer who was considered a sensation in East LA at the time, though nobody really knew where he lived, or knew much about him other than that he was handsome, Chicano, and would often have a pint of whisky in his back pocket, even though he was under the legal drinking age. Otis signed Herrera to his label, Dig Records, and produced several records for him, including the record by which he's now best remembered, "Those Lonely Lonely Nights": [Excerpt: Little Julian Herrera, "Those Lonely, Lonely, Nights"] After those didn't take off the way they were expected to, Herrera and his vocal group the Tigers moved to another label, one owned by Laboe, where they recorded "I Remember Linda": [Excerpt: Little Julian Herrera and the Tigers, "I Remember Linda"]  And then one day Johnny Otis got a knock on his door from the police. They were looking for Ron Gregory. Otis had never heard of Ron Gregory, and told them so. The police then showed him a picture. It turned out that Julian Herrera wasn't Mexican-American, and wasn't from East LA, but was from Massachusetts. He had run away from home a few years back, hitch-hiked across the country, and been taken in by a Mexican-American family, whose name he had adopted. And now he was wanted for rape. Herrera went to prison, and when he got out, he tried to make a comeback, but ended up sleeping rough in the basement of the stadium where he had once been discovered. He had to skip town because of some other legal problems, and headed to Tijuana, where he was last seen playing R&B gigs in 1963. Nobody knows what happened to him after that -- some say he was murdered, others that he's still alive, working in a petrol station under yet another name, but nobody has had a confirmed sighting of him since then. When he went to prison, the Tigers tried to continue for a while, but without their lead singer, they soon broke up. Ray Collins, who we heard singing the falsetto part in "I Remember Linda", went on to join many other doo-wop and R&B groups over the next few years, with little success. Then in summer 1963, he walked into a bar in Ponoma, and saw a bar band who were playing the old Hank Ballard and the Midnighters song "Work With Me Annie". As Collins later put it, “I figured that any band that played ‘Work With Me Annie' was all right,” and he asked if he could join them for a few songs. They agreed, and afterwards, Collins struck up a conversation with the guitarist, and told him about an idea he'd had for a song based on one of Steve Allen's catchphrases. The guitarist happened to be spending a lot of his time recording at an independent recording studio, and suggested that the two of them record the song together: [Excerpt: Baby Ray and the Ferns, "How's Your Bird?"] The guitarist in question was named Frank Zappa. Zappa was originally from Maryland, but had moved to California as a child with his conservative Italian-American family when his father, a defence contractor, had got a job in Monterey. The family had moved around California with his father's work, mostly living in various small towns in the Mojave desert seventy miles or so north of Los Angeles. Young Frank had an interest in science, especially chemistry, and especially things that exploded, but while he managed to figure out the ingredients for gunpowder, his family couldn't afford to buy him a chemistry set in his formative years -- they were so poor that his father regularly took part in medical experiments to get a bit of extra money to feed his kids -- and so the young man's interest was diverted away from science towards music. His first musical interest, and one that would show up in his music throughout his life, was the comedy music of Spike Jones, whose band combined virtuosic instrumental performances with sound effects: [Excerpt: Spike Jones and his City Slickers, "Cocktails for Two"] and parodies of popular classical music [Excerpt: Spike Jones and his City Slickers, "William Tell Overture"] Jones was a huge inspiration for almost every eccentric or bohemian of the 1940s and 50s -- Spike Milligan, for example, took the name Spike in tribute to him. And young Zappa wrote his first ever fan letter to Jones when he was five or six. As a child Zappa was also fascinated by the visual aesthetics of music -- he liked to draw musical notes on staves and see what they looked like. But his musical interests developed in two other ways once he entered his teens. The first was fairly typical for the musicians of his generation from LA we've looked at and will continue to look at, which is that he heard "Gee" by the Crows on the radio: [Excerpt: The Crows, "Gee"] He became an R&B obsessive at that moment, and would spend every moment he could listening to the Black radio stations, despite his parents' disapproval. He particularly enjoyed Huggy Boy's radio show broadcast from Dolphins of Hollywood, and also would religiously listen to Johnny Otis, and soon became a connoisseur of the kind of R&B and blues that Otis championed as a musician and DJ: [Excerpt: Zappa on the Late Show, “I hadn't been raised in an environment where there was a lot of music in the house. This couple that owned the chilli place, Opal and Chester, agreed to ask the man who serviced the jukebox to put in some of the song titles that I liked, because I promised that I would dutifully keep pumping quarters into this thing so that I could listen to them, and so I had the ability to eat good chilli and listen to 'Three Hours Past Midnight' by Johnny 'Guitar' Watson for most of my junior and senior year"] Johnny “Guitar” Watson, along with Guitar Slim, would become a formative influence on Zappa's guitar playing, and his playing on "Three Hours Past Midnight" is so similar to Zappa's later style that you could easily believe it *was* him: [Excerpt: Johnny "Guitar" Watson, "Three Hours Past Midnight"] But Zappa wasn't only listening to R&B. The way Zappa would always tell the story, he discovered the music that would set him apart from his contemporaries originally by reading an article in Look magazine. Now, because Zappa has obsessive fans who check every detail, people have done the research and found that there was no such article in that magazine, but he was telling the story close enough to the time period in which it happened that its broad strokes, at least, must be correct even if the details are wrong. What Zappa said was that the article was on Sam Goody, the record salesman, and talked about how Goody was so good at his job that he had even been able to sell a record of Ionisation by Edgard Varese, which just consisted of the worst and most horrible noises anyone had ever heard, just loud drumming noises and screeching sounds. He determined then that he needed to hear that album, but he had no idea how he would get hold of a copy. I'll now read an excerpt from Zappa's autobiography, because Zappa's phrasing makes the story much better: "Some time later, I was staying overnight with Dave Franken, a friend who lived in La Mesa, and we wound up going to the hi-fi place -- they were having a sale on R&B singles. After shuffling through the rack and finding a couple of Joe Huston records, I made my way toward the cash register and happened to glance at the LP bin. I noticed a strange-looking black-and-white album cover with a guy on it who had frizzy gray hair and looked like a mad scientist. I thought it was great that a mad scientist had finally made a record, so I picked it up -- and there it was, the record with "Ionisation" on it. The author of the Look article had gotten it slightly wrong -- the correct title was The Complete Works of Edgard Varèse, Volume I, including "Ionisation," among other pieces, on an obscure label called EMS (Elaine Music Store). The record number was 401.I returned the Joe Huston records and checked my pockets to see how much money I had -- I think it came to about $3.75. I'd never bought an album before, but I knew they must be expensive because mostly old people bought them. I asked the man at the cash register how much EMS 401 cost. "That gray one in the box?" he said. "$5.95." I'd been searching for that record for over a year and I wasn't about to give up. I told him I had $3.75. He thought about it for a minute, and said, "We've been using that record to demonstrate hi-fi's with -- but nobody ever buys one when we use it. I guess if you want it that bad you can have it for $3.75."" Zappa took the record home, and put it on on his mother's record player in the living room, the only one that could play LPs: [Excerpt: Edgard Varese, "Ionisation"] His mother told him he could never play that record in the living room again, so he took the record player into his bedroom, and it became his record player from that point on. Varese was a French composer who had, in his early career, been very influenced by Debussy. Debussy is now, of course, part of the classical canon, but in the early twentieth century he was regarded as radical, almost revolutionary, for his complete rewriting of the rules of conventional classical music tonality into a new conception based on chordal melodies, pedal points, and use of non-diatonic scales. Almost all of Varese's early work was destroyed in a fire, so we don't have evidence of the transition from Debussy's romantic-influenced impressionism to Varese's later style, but after he had moved to the US in 1915 he had become wildly more experimental. "Ionisation" is often claimed to be the first piece of Western classical music written only for percussion instruments. Varese was part of a wider movement of modernist composers -- for example he was the best man at Nicolas Slonimsky's wedding -- and had also set up the International Composers' Guild, whose manifesto influenced Zappa, though his libertarian politics led him to adapt it to a more individualistic rather than collective framing. The original manifesto read in part "Dying is the privilege of the weary. The present day composers refuse to die. They have realized the necessity of banding together and fighting for the right of each individual to secure a fair and free presentation of his work" In the twenties and thirties, Varese had written a large number of highly experimental pieces, including Ecuatorial, which was written for bass vocal, percussion, woodwind, and two Theremin cellos. These are not the same as the more familiar Theremin, created by the same inventor, and were, as their name suggests, Theremins that were played like a cello, with a fingerboard and bow. Only ten of these were ever made, specifically for performances of Varese's work, and he later rewrote the work to use ondes martenot instead of Theremin cellos, which is how the work is normally heard now: [Excerpt: Edgard Varese, "Ecuatorial"] But Varese had spent much of the thirties, forties, and early fifties working on two pieces that were never finished, based on science fiction ideas -- L'Astronome, which was meant to be about communication with people from the star Sirius, and Espace, which was originally intended to be performed simultaneously by choirs in Beijing, Moscow, Paris, and New York. Neither of these ideas came to fruition, and so Varese had not released any new work, other than one small piece, Étude pour espace, an excerpt from the  larger work, in Zappa's lifetime. Zappa followed up his interest in Varese's music with his music teacher, one of the few people in the young man's life who encouraged him in his unusual interests. That teacher, Mr Kavelman, introduced Zappa to the work of other composers, like Webern, but would also let him know why he liked particular R&B records. For example, Zappa played Mr. Kavelman "Angel in My Life" by the Jewels, and asked what it was that made him particularly like it: [Excerpt: The Jewels, "Angel in My Life"] The teacher's answer was that it was the parallel fourths that made the record particularly appealing. Young Frank was such a big fan of Varese that for his fifteenth birthday, he actually asked if he could make a long-distance phone call to speak to Varese. He didn't know where Varese lived, but figured that it must be in Greenwich Village because that was where composers lived, and he turned out to be right. He didn't get through on his birthday -- he got Varese's wife, who told him the composer was in Europe -- but he did eventually get to speak to him, and was incredibly excited when Varese told him that not only had he just written a new piece for the first time in years, but that it was called Deserts, and was about deserts -- just like the Mojave Desert where Zappa lived: [Excerpt: Edgard Varese, "Deserts"] As he later wrote, “When you're 15 and living in the Mojave Desert, and you find out that the World's Greatest Composer (who also looks like a mad scientist) is working in a secret Greenwich Village laboratory on a song about your hometown (so to speak), you can get pretty excited.” A year later, Zappa actually wrote to Varese, a long letter which included him telling the story about how he'd found his work in the first place, hoping to meet up with him when Zappa travelled to the East Coast to see family. I'll read out a few extracts, but the whole thing is fascinating for what it says about Zappa the precocious adolescent, and I'll link to a blog post with it in the show notes. "Dear Sir: Perhaps you might remember me from my stupid phone call last January, if not, my name again is Frank Zappa Jr. I am 16 years old… that might explain partly my disturbing you last winter. After I had struggled through Mr. Finklestein's notes on the back cover (I really did struggle too, for at the time I had had no training in music other than practice at drum rudiments) I became more and more interested in you and your music. I began to go to the library and take out books on modern composers and modern music, to learn all I could about Edgard Varese. It got to be my best subject (your life) and I began writing my reports and term papers on you at school. At one time when my history teacher asked us to write on an American that has really done something for the U.S.A. I wrote on you and the Pan American Composers League and the New Symphony. I failed. The teacher had never heard of you and said I made the whole thing up. Silly but true. That was my Sophomore year in high school. Throughout my life all the talents and abilities that God has left me with have been self developed, and when the time came for Frank to learn how to read and write music, Frank taught himself that too. I picked it all up from the library. I have been composing for two years now, utilizing a strict twelve-tone technique, producing effects that are reminiscent of Anton Webern. During those two years I have written two short woodwind quartets and a short symphony for winds, brass and percussion. I plan to go on and be a composer after college and I could really use the counsel of a veteran such as you. If you would allow me to visit with you for even a few hours it would be greatly appreciated. It may sound strange but I think I have something to offer you in the way of new ideas. One is an elaboration on the principle of Ruth Seeger's contrapuntal dynamics and the other is an extension of the twelve-tone technique which I call the inversion square. It enables one to compose harmonically constructed pantonal music in logical patterns and progressions while still abandoning tonality. Varese sent a brief reply, saying that he was going to be away for a few months, but would like to meet Zappa on his return. The two never met, but Zappa kept the letter from Varese framed on his wall for the rest of his life. Zappa soon bought a couple more albums, a version of "The Rite of Spring" by Stravinsky: [Excerpt: Igor Stravinsky, "The Rite of Spring"] And a record of pieces by Webern, including his Symphony opus 21: [Excerpt: Anton Webern, "Symphony op. 21"] (Incidentally, with the classical music here, I'm not seeking out the precise performances Zappa was listening to, just using whichever recordings I happen to have copies of). Zappa was also reading Slonimsky's works of musicology, like the Thesaurus of Scales and Melodic Patterns. As well as this "serious music" though, Zappa was also developing as an R&B musician.  He later said of the Webern album, "I loved that record, but it was about as different from Stravinsky and Varèse as you could get. I didn't know anything about twelve-tone music then, but I liked the way it sounded. Since I didn't have any kind of formal training, it didn't make any difference to me if I was listening to Lightnin' Slim, or a vocal group called the Jewels (who had a song out then called "Angel in My Life"), or Webern, or Varèse, or Stravinsky. To me it was all good music." He had started as a drummer with a group called the Blackouts, an integrated group with white, Latino, and Black members, who played R&B tracks like "Directly From My Heart to You", the song Johnny Otis had produced for Little Richard: [Excerpt: Little Richard, "Directly From My Heart to You"] But after eighteen months or so, he quit the group and stopped playing drums. Instead, he switched to guitar, with a style influenced by Johnny "Guitar" Watson and Guitar Slim. His first guitar had action so bad that he didn't learn to play chords, and moved straight on to playing lead lines with his younger brother Bobby playing rhythm. He also started hanging around with two other teenage bohemians -- Euclid Sherwood, who was nicknamed Motorhead, and Don Vliet, who called himself Don Van Vliet. Vliet was a truly strange character, even more so than Zappa, but they shared a love for the blues, and Vliet was becoming a fairly good blues singer, though he hadn't yet perfected the Howlin' Wolf imitation that would become his stock-in-trade in later years. But the surviving recording of Vliet singing with the Zappa brothers on guitar, singing a silly parody blues about being flushed down the toilet of the kind that many teenage boys would write, shows the promise that the two men had: [Excerpt: Frank Zappa and Captain Beefheart, "Lost in a Whirlpool"] Zappa was also getting the chance to hear his more serious music performed. He'd had the high school band play a couple of his pieces, but he also got the chance to write film music -- his English teacher, Don Cerveris, had decided to go off and seek his fortune as a film scriptwriter, and got Zappa hired to write the music for a cheap Western he'd written, Run Home Slow. The film was beset with problems -- it started filming in 1959 but didn't get finished and released until 1965 -- but the music Zappa wrote for it did eventually get recorded and used on the soundtrack: [Excerpt: Frank Zappa, "Run Home Slow Theme"] In 1962, he got to write the music for another film, The World's Greatest Sinner, and he also wrote a theme song for that, which got released as the B-side of "How's Your Bird?", the record he made with Ray Collins: [Excerpt: Baby Ray and the Ferns, "The World's Greatest Sinner"] Zappa was able to make these records because by the early sixties, as well as playing guitar in bar bands, he was working as an assistant for a man named Paul Buff. Paul Buff had worked as an engineer for a guided missile manufacturer, but had decided that he didn't want to do that any more, and instead had opened up the first independent multi-track recording studio on the West Coast, PAL Studios, using equipment he'd designed and built himself, including a five-track tape recorder. Buff engineered a huge number of surf instrumentals there, including "Wipe Out" by the Surfaris: [Excerpt: The Surfaris, "Wipe Out"] Zappa had first got to know Buff when he had come to Buff's studio with some session musicians in 1961, to record some jazz pieces he'd written, including this piece which at the time was in the style of Dave Brubeck but would later become a staple of Zappa's repertoire reorchestrated in a  rock style. [Excerpt: The PAL Studio Band, "Never on Sunday"] Buff really just wanted to make records entirely by himself, so he'd taught himself to play the rudiments of guitar, bass, drums, piano, and alto saxophone, so he could create records alone. He would listen to every big hit record, figure out what the hooks were on the record, and write his own knock-off of those. An example is "Tijuana Surf" by the Hollywood Persuaders, which is actually Buff on all instruments, and which according to Zappa went to number one in Mexico (though I've not found an independent source to confirm that chart placing, so perhaps take it with a pinch of salt): [Excerpt: The Hollywood Persuaders, "Tijuana Surf"] The B-side to that, "Grunion Run", was written by Zappa, who also plays guitar on that side: [Excerpt: The Hollywood Persuaders, "Grunion Run"] Zappa, Buff, Ray Collins, and a couple of associates would record all sorts of material at PAL -- comedy material like "Hey Nelda", under the name "Ned and Nelda" -- a parody of "Hey Paula" by Paul and Paula: [Excerpt: Ned and Nelda, "Hey Nelda"] Doo-wop parodies like "Masked Grandma": [Excerpt: The PAL Studio Band, "Masked Grandma"] R&B: [Excerpt: The PAL Studio Band, "Why Don't You Do Me Right?"] and more. Then Buff or Zappa would visit one of the local independent label owners and try to sell them the master -- Art Laboe at Original Sound released several of the singles, as did Bob Keane at Donna Records and Del-Fi. The "How's Your Bird" single also got Zappa his first national media exposure, as he went on the Steve Allen show, where he demonstrated to Allen how to make music using a bicycle and a prerecorded electronic tape, in an appearance that Zappa would parody five years later on the Monkees' TV show: [Excerpt: Steve Allen and Frank Zappa, "Cyclophony"] But possibly the record that made the most impact at the time was "Memories of El Monte", a song that Zappa and Collins wrote together about Art Laboe's dances at El Monte Stadium, incorporating excerpts of several of the songs that would be played there, and named after a compilation Laboe had put out, which had included “I Remember Linda” by Little Julian and the Tigers. They got Cleve Duncan of the Penguins to sing lead, and the record came out as by the Penguins, on Original Sound: [Excerpt: The Penguins, "Memories of El Monte"] By this point, though, Pal studios was losing money, and Buff took up the offer of a job working for Laboe full time, as an engineer at Original Sound. He would later become best known for inventing the kepex, an early noise gate which engineer Alan Parsons used on a bass drum to create the "heartbeat" that opens Pink Floyd's Dark Side of the Moon: [Excerpt: Pink Floyd, "Speak to Me"] That invention would possibly be Buff's most lasting contribution to music, as by the early eighties, the drum sound on every single pop record was recorded using a noise gate. Buff sold the studio to Zappa, who renamed it Studio Z and moved in -- he was going through a divorce and had nowhere else to live. The studio had no shower, and Zappa had to just use a sink to wash, and he was surviving mostly off food scrounged by his resourceful friend Motorhead Sherwood. By this point, Zappa had also joined a band called the Soots, consisting of Don Van Vliet, Alex St. Clair and Vic Mortenson, and they recorded several tracks at Studio Z, which they tried to get released on Dot Records, including a cover version of Little Richard's “Slippin' and Slidin'”, and a song called “Tiger Roach” whose lyrics were mostly random phrases culled from a Green Lantern comic: [Excerpt: The Soots, "Tiger Roach"] Zappa also started writing what was intended as the first ever rock opera, "I Was a Teenage Maltshop", and attempts were made to record parts of it with Vliet, Mortenson, and Motorhead Sherwood: [Excerpt: Frank Zappa, "I Was a Teenage Maltshop"] Zappa was also planning to turn Studio Z into a film studio. He obtained some used film equipment, and started planning a science fiction film to feature Vliet, titled "Captain Beefheart Meets the Grunt People". The title was inspired by an uncle of Vliet's, who lived with Vliet and his girlfriend, and used to urinate with the door open so he could expose himself to Vliet's girlfriend, saying as he did so "Look at that! Looks just like a big beef heart!" Unfortunately, the film would not get very far. Zappa was approached by a used-car salesman who said that he and his friends were having a stag party. As Zappa owned a film studio, could he make them a pornographic film to show at the party? Zappa told him that a film wouldn't be possible, but as he needed the money, would an audio tape be acceptable? The used-car salesman said that it would, and gave him a list of sex acts he and his friends would like to hear. Zappa and a friend, Lorraine Belcher, went into the studio and made a few grunting noises and sound effects. The used-car salesman turned out actually to be an undercover policeman, who was better known in the area for his entrapment of gay men, but had decided to branch out. Zappa and Belcher were arrested -- Zappa's father bailed him out, and Zappa got an advance from Art Laboe to pay Belcher's bail. Luckily "Grunion Run" and "Memories of El Monte" were doing well enough that Laboe could give Zappa a $1500 advance. When the case finally came to trial, the judge laughed at the tape and wanted to throw the whole case out, but the prosecutor insisted on fighting, and Zappa got ten days in prison, and most of his tapes were impounded, never to be returned. He fell behind with his rent, and Studio Z was demolished. And then Ray Collins called him, asking if he wanted to join a bar band: [Excerpt: The Mothers, "Hitch-Hike"] The Soul Giants were formed by a bass player named Roy Estrada. Now, Estrada is unfortunately someone who will come up in the story a fair bit over the next year or so, as he played on several of the most important records to come out of LA in the sixties and early seventies. He is also someone about whom there's fairly little biographical information -- he's not been interviewed much, compared to pretty much everyone else, and it's easy to understand why when you realise that he's currently half-way through a twenty-five year sentence for child molestation -- his third such conviction. He won't get out of prison until he's ninety-three. He's one of the most despicable people who will turn up in this podcast, and frankly I'm quite glad I don't know more about him as a person. He was, though, a good bass player and falsetto singer, and he had released a single on King Records, an instrumental titled "Jungle Dreams": [Excerpt, Roy Estrada and the Rocketeers, "Jungle Dreams"] The other member of the rhythm section, Jimmy Carl Black, was an American Indian (that's the term he always used about himself until his death, and so that's the term I'll use about him too) from Texas. Black had grown up in El Paso as a fan of Western Swing music, especially Bob Wills, but had become an R&B fan after discovering Wolfman Jack's radio show and hearing the music of Howlin' Wolf and Sonny Boy Williamson. Like every young man from El Paso, he would travel to Juarez as a teenager to get drunk, see sex shows, and raise hell. It was also there that he saw his first live blues music, watching Long John Hunter, the same man who inspired the Bobby Fuller Four, and he would always claim Hunter as the man whose shows taught him how to play the blues. Black had decided he wanted to become a musician when he'd seen Elvis perform live. In Black's memory, this was a gig where Elvis was an unknown support act for Faron Young and Wanda Jackson, but he was almost certainly slightly misremembering -- it's most likely that what he saw was Elvis' show in El Paso on the eleventh of April 1956, where Young and Jackson were also on the bill, but supporting Elvis who was headlining. Either way, Black had decided that he wanted to make girls react to him the same way they reacted to Elvis, and he started playing in various country and R&B bands. His first record was with a group called the Keys, and unfortunately I haven't been able to track down a copy (it was reissued on a CD in the nineties, but the CD itself is now out of print and sells for sixty pounds) but he did rerecord the song with a later group he led, the Mannish Boys: [Excerpt: Jimmy Carl Black and the Mannish Boys, "Stretch Pants"] He spent a couple of years in the Air Force, but continued playing music during that time, including in a band called The Exceptions which featured Peter Cetera later of the band Chicago, on bass. After a brief time working as lineman in Wichita, he moved his family to California, where he got a job teaching drums at a music shop in Anaheim, where the bass teacher was Jim Fielder, who would later play bass in Blood, Sweat, and Tears. One of Fielder's friends, Tim Buckley, used to hang around in the shop as well, and Black was at first irritated by him coming in and playing the guitars and not buying anything, but eventually became impressed by his music. Black would later introduce Buckley to Herb Cohen, who would become Buckley's manager, starting his professional career. When Roy Estrada came into the shop, he and Black struck up a friendship, and Estrada asked Black to join his band The Soul Giants, whose lineup became Estrada, Black, a sax player named Davey Coronado, a guitarist called Larry and a singer called Dave. The group got a residency at the Broadside club in Ponoma, playing "Woolly Bully" and "Louie Louie" and other garage-band staples. But then Larry and Dave got drafted, and the group got in two men called Ray -- Ray Collins on vocals, and Ray Hunt on guitar. This worked for a little while, but Ray Hunt was, by all accounts, not a great guitar player -- he would play wrong chords, and also he was fundamentally a surf player while the Soul Giants were an R&B group. Eventually, Collins and Hunt got into a fistfight, and Collins suggested that they get in his friend Frank instead. For a while, the Soul Giants continued playing "Midnight Hour" and "Louie Louie", but then Zappa suggested that they start playing some of his original material as well. Davy Coronado refused to play original material, because he thought, correctly, that it would lose the band gigs, but the rest of the band sided with the man who had quickly become their new leader. Coronado moved back to Texas, and on Mother's Day 1965 the Soul Giants changed their name to the Mothers. They got in Henry Vestine on second guitar, and started playing Zappa's originals, as well as changing the lyrics to some of the hits they were playing: [Excerpt: The Mothers, "Plastic People"] Zappa had started associating with the freak crowd in Hollywood centred around Vito and Franzoni, after being introduced by Don Cerveris, his old teacher turned screenwriter, to an artist called Mark Cheka, who Zappa invited to manage the group. Cheka in turn brought in his friend Herb Cohen, who managed several folk acts including the Modern Folk Quartet and Judy Henske, and who like Zappa had once been arrested on obscenity charges, in Cohen's case for promoting gigs by the comedian Lenny Bruce. Cohen first saw the Mothers when they were recording their appearance in an exploitation film called Mondo Hollywood. They were playing in a party scene, using equipment borrowed from Jim Guercio, a session musician who would briefly join the Mothers, but who is now best known for having been Chicago's manager and producing hit records for them and Blood, Sweat, and Tears. In the crowd were Vito and Franzoni, Bryan Maclean, Ram Dass, the Harvard psychologist who had collaborated with Timothy Leary in controversial LSD experiments that had led to both losing their jobs, and other stalwarts of the Sunset Strip scene. Cohen got the group bookings at the Whisky A-Go-Go and The Trip, two of the premier LA nightclubs, and Zappa would also sit in with other bands playing at those venues, like the Grass Roots, a band featuring Bryan Maclean and Arthur Lee which would soon change its name to Love. At this time Zappa and Henry Vestine lived together, next door to a singer named Victoria Winston, who at the time was in a duo called Summer's Children with Curt Boettcher: [Excerpt: Summer's Children, "Milk and Honey"] Winston, like Zappa, was a fan of Edgard Varese, and actually asked Zappa to write songs for Summer's Children, but one of the partners involved in their production company disliked Zappa's material and the collaboration went no further. Zappa at this point was trying to incorporate more ideas from modal jazz into his music. He was particularly impressed by Eric Dolphy's 1964 album "Out to Lunch": [Excerpt: Eric Dolphy, "Hat and Beard"] But he was also writing more about social issues, and in particular he had written a song called "The Watts Riots Song", which would later be renamed "Trouble Every Day": [Excerpt: The Mothers of Invention, "Trouble Every Day"] Now, the Watts Uprising was one of the most important events in Black American history, and it feels quite wrong that I'm covering it in an episode about a band made up of white, Latino, and American Indian people rather than a record made by Black people, but I couldn't find any way to fit it in anywhere else. As you will remember me saying in the episode on "I Fought the Law", the LA police under Chief William Parker were essentially a criminal gang by any other name -- they were incompetent, violent, and institutionally racist, and terrorised Black people. The Black people of LA were also feeling particularly aggrieved in the summer of 1965, as a law banning segregation in housing had been overturned by a ballot proposition in November 1964, sponsored by the real estate industry and passed by an overwhelming majority of white voters in what Martin Luther King called "one of the most shameful developments in our nation's history", and which Edmund Brown, the Democratic governor said was like "another hate binge which began more than 30 years ago in a Munich beer hall". Then on Wednesday, August 11, 1965, the police pulled over a Black man, Marquette Frye, for drunk driving. He had been driving his mother's car, and she lived nearby, and she came out to shout at him about drinking and driving. The mother, Rena Price, was hit by one of the policemen; Frye then physically attacked one of the police for hitting his mother, one of the police pulled out a gun, a crowd gathered, the police became violent against the crowd, a rumour spread that they had kicked a pregnant woman, and the resulting protests were exacerbated by the police carrying out what Chief Parker described as a "paramiltary" response. The National Guard were called in, huge swathes of south central LA were cordoned off by the police with signs saying things like "turn left or get shot". Black residents started setting fire to and looting local white-owned businesses that had been exploiting Black workers and customers, though this looting was very much confined to individuals who were known to have made the situation worse. Eventually it took six days for the uprising to be put down, at a cost of thirty-four deaths, 1032 injuries, and 3438 arrests. Of the deaths, twenty-three were Black civilians murdered by the police, and zero were police murdered by Black civilians (two police were killed by other police, in accidental shootings). The civil rights activist Bayard Rustin said of the uprising, "The whole point of the outbreak in Watts was that it marked the first major rebellion of Negroes against their own masochism and was carried on with the express purpose of asserting that they would no longer quietly submit to the deprivation of slum life." Frank Zappa's musical hero Johnny Otis would later publish the book Listen to the Lambs about the Watts rebellion, and in it he devotes more than thirty pages to eyewitness accounts from Black people. It's an absolutely invaluable resource. One of the people Otis interviews is Lily Ford, who is described by my copy of the book as being the "lead singer of the famous Roulettes". This is presumably an error made by the publishers, rather than Otis, because Ford was actually a singer with the Raelettes, as in Ray Charles' vocal group. She also recorded with Otis under the name "Lily of the Valley": [Excerpt: Lily of the Valley, "I Had a Sweet Dream"] Now, Ford's account deserves a large excerpt, but be warned, this is very, very difficult to hear. I gave a content warning at the beginning, but I'm going to give another one here. "A lot of our people were in the street, seeing if they could get free food and clothes and furniture, and some of them taking liquor too. But the white man was out for blood. Then three boys came down the street, laughing and talking. They were teenagers, about fifteen or sixteen years old. As they got right at the store they seemed to debate whether they would go inside. One boy started a couple of times to go. Finally he did. Now a cop car finally stops to investigate. Police got out of the car. Meanwhile, the other two boys had seen them coming and they ran. My brother-in-law and I were screaming and yelling for the boy to get out. He didn't hear us, or was too scared to move. He never had a chance. This young cop walked up to the broken window and looked in as the other one went round the back and fired some shots and I just knew he'd killed the other two boys, but I guess he missed. He came around front again. By now other police cars had come. The cop at the window aimed his gun. He stopped and looked back at a policeman sitting in a car. He aimed again. No shot. I tried to scream, but I was so horrified that nothing would come out of my throat. The third time he aimed he yelled, "Halt", and fired before the word was out of his mouth. Then he turned around and made a bull's-eye sign with his fingers to his partner. Just as though he had shot a tin can off a fence, not a human being. The cops stood around for ten or fifteen minutes without going inside to see if the kid was alive or dead. When the ambulance came, then they went in. They dragged him out like he was a sack of potatoes. Cops were everywhere now. So many cops for just one murder." [Excerpt: The Mothers of Invention, "Trouble Every Day"] There's a lot more of this sort of account in Otis' book, and it's all worth reading -- indeed, I would argue that it is *necessary* reading. And Otis keeps making a point which I quoted back in the episode on "Willie and the Hand Jive" but which I will quote again here -- “A newborn Negro baby has less chance of survival than a white. A Negro baby will have its life ended seven years sooner. This is not some biological phenomenon linked to skin colour, like sickle-cell anaemia; this is a national crime, linked to a white-supremacist way of life and compounded by indifference”. (Just a reminder, the word “Negro” which Otis uses there was, in the mid-sixties, the term of choice used by Black people.) And it's this which inspired "The Watts Riot Song", which the Mothers were playing when Tom Wilson was brought into The Trip by Herb Cohen: [Excerpt: The Mothers of Invention, "Trouble Every Day"] Wilson had just moved from Columbia, where he'd been producing Dylan and Simon and Garfunkel, to Verve, a subsidiary of MGM which was known for jazz records but was moving into rock and roll. Wilson was looking for a white blues band, and thought he'd found one. He signed the group without hearing any other songs. Henry Vestine quit the group between the signing and the first recording, to go and join an *actual* white blues band, Canned Heat, and over the next year the group's lineup would fluctuate quite a bit around the core of Zappa, Collins, Estrada, and Black, with members like Steve Mann, Jim Guercio, Jim Fielder, and Van Dyke Parks coming and going, often without any recordings being made of their performances. The lineup on what became the group's first album, Freak Out! was Zappa, Collins, Estrada, Black, and Elliot Ingber, the former guitarist with the Gamblers, who had joined the group shortly before the session and would leave within a few months. The first track the group recorded, "Any Way the Wind Blows", was straightforward enough: [Excerpt: The Mothers of Invention, "Any Way the Wind Blows"] The second song, a "Satisfaction" knock-off called "Hungry Freaks Daddy", was also fine. But it was when the group performed their third song of the session, "Who Are The Brain Police?", that Tom Wilson realised that he didn't have a standard band on his hands: [Excerpt: The Mothers of Invention, "Who Are the Brain Police?"] Luckily for everyone concerned, Tom Wilson was probably the single best producer in America to have discovered the Mothers. While he was at the time primarily known for his folk-rock productions, he had built his early career on Cecil Taylor and Sun Ra records, some of the freakiest jazz of the fifties and early sixties. He knew what needed to be done -- he needed a bigger budget. Far from being annoyed that he didn't have the white blues band he wanted, Wilson actively encouraged the group to go much, much further. He brought in Wrecking Crew members to augment the band (though one of them. Mac Rebennack, found the music so irritating he pretended he needed to go to the toilet, walked out, and never came back). He got orchestral musicians to play Zappa's scores, and allowed the group to rent hundreds of dollars of percussion instruments for the side-long track "Return of the Son of Monster Magnet", which features many Hollywood scenesters of the time, including Van Dyke Parks, Kim Fowley, future Manson family member Bobby Beausoleil, record executive David Anderle, songwriter P.F. Sloan, and cartoonist Terry Gilliam, all recording percussion parts and vocal noises: [Excerpt: The Mothers of Invention, "Return of the Son of Monster Magnet"] Such was Wilson's belief in the group that Freak Out! became only the second rock double album ever released -- exactly a week after the first, Blonde on Blonde, by Wilson's former associate Bob Dylan. The inner sleeve included a huge list of people who had influenced the record in one way or another, including people Zappa knew like Don Cerveris, Don Vliet, Paul Buff, Bob Keane, Nik Venet, and Art Laboe,  musicians who had influenced the group like Don & Dewey, Johnny Otis, Otis' sax players Preston Love and Big Jay McNeely, Eric Dolphy, Edgard Varese, Richard Berry, Johnny Guitar Watson, and Ravi Shankar, eccentric performers like Tiny Tim, DJs like Hunter Hancock and Huggy Boy, science fiction writers like Cordwainer Smith and Robert Sheckley, and scenesters like David Crosby, Vito, and Franzoni. The list of 179 people would provide a sort of guide for many listeners, who would seek out those names and find their ways into the realms of non-mainstream music, writing, and art over the next few decades. Zappa would always remain grateful to Wilson for taking his side in the record's production, saying "Wilson was sticking his neck out. He laid his job on the line by producing the album. MGM felt that they had spent too much money on the album". The one thing Wilson couldn't do, though, was persuade the label that the group's name could stay as it was. "The Mothers" was a euphemism, for a word I can't say if I want this podcast to keep its clean rating, a word that is often replaced in TV clean edits of films with "melon farmers", and MGM were convinced that the radio would never play any music by a band with that name -- not realising that that wouldn't be the reason this music wouldn't get played on the radio. The group needed to change their name. And so, out of necessity, they became the Mothers of Invention.

Episode one hundred and thirty-eight of A History of Rock Music in Five Hundred Songs looks at “I Fought the Law", and at the mysterious death of Bobby Fuller. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Hanky Panky" by Tommy James and the Shondells. 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 No Mixcloud this week due to the large number of tracks by the Bobby Fuller Four Resources Information about the Crickets' post-Holly work comes from Buddy Holly: Learning the Game, by Spencer Leigh. There are two books available about Bobby Fuller -- the one I consulted most is Rock and Roll Mustangs by Stephen McParland, which can be bought as a PDF from https://payhip.com/cmusicbooks I also consulted I Fought the Law: The Life and Strange Death of Bobby Fuller by Miriam Linna and Randell Fuller. One minor note -- both these books spell Bob Keane's name Keene. Apparently he spelled it multiple ways, but I have chosen to use the spelling he used on his autobiography, which is also the spelling I have used for him previously. There are several compilations available of the Bobby Fuller Four's material, but the best collection of the hit singles is Magic Touch: The Complete Mustang Singles Collection.  And this is an expanded edition of the Crickets' In Style album. Erratum I say Sonny Curtis wrote "Oh Boy!" -- I meant Sonny West. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A warning, before I begin. This episode, more than most, deals with events you may find disturbing, including graphic descriptions of violent death. Please check the transcript on the podcast website at 500songs.com if you are worried that you might be upset by this. This episode will not be a pleasant listen. Now on with the episode... More than anything, Bobby Fuller wanted desperately to be Buddy Holly. His attitude is best summed up in a quote from Jim Reese, the guitarist with the Bobby Fuller Four, who said "Don't get me wrong, I thought the world of Bobby Fuller and I cared a lot for him, so I say this with the best intentions -- but he was into Buddy Holly so much that if Buddy Holly decided to wear one red sock and one blue sock and Bobby Fuller found out about it, Bobby Fuller would've had one red sock and one blue sock. He figured that the only way to accomplish whatever Buddy Holly had accomplished was to be as much like Buddy Holly as possible." And Reese was right -- Bobby Fuller really was as much like Buddy Holly as possible. Buddy Holly was from Texas, so was Bobby Fuller. Buddy Holly played a Fender Stratocaster, Bobby Fuller played a Fender Stratocaster. Buddy Holly performed with the Crickets, Bobby Fuller's biggest hit was with a Crickets song. Buddy Holly recorded with Norman Petty, Bobby Fuller recorded with Norman Petty. Of course, there was one big difference. Buddy Holly died in an accident when he was twenty-two. Bobby Fuller lived to be twenty-three. And his death was no accident... [Excerpt: The Bobby Fuller Four, "I Fought the Law"] After Buddy Holly quit the Crickets in 1958, they continued recording with Norman Petty, getting in guitarist Sonny Curtis, who had been an associate of the band members even before they were a band, and who had been a frequent collaborator with Buddy, and vocalist Earl Sinks. But while they kept recording, Petty didn't release any of the recordings, and the group became convinced that he wasn't really interested in doing so. Rather, they thought that he was just using them as leverage to try to get Buddy back. "Love's Made a Fool of You" was the record that made the Crickets lose their faith in Norman Petty. The song was one that Buddy Holly and Bob Montgomery had written way back in 1954, and Holly had revived it for a demo in 1958, recording it not as a potential song for himself but to give to the Everly Brothers, reworked in their style, though they never recorded it: [Excerpt: Buddy Holly, "Love's Made a Fool of You"] When Holly and the Crickets had parted ways, the Crickets had recorded their own version of the song with Petty producing, which remained unreleased like everything they'd recorded since Buddy left. But on the very day that Buddy Holly died, Petty shipped a copy of the tape to Decca, express mail, so that a single could be released as soon as possible: [Excerpt: The Crickets, "Love's Made a Fool of You"] The Crickets never worked with Norman Petty again after that, they were so disgusted at his determination to cash in on the death of their friend and colleague. Petty continued to exploit Holly's work, getting in a band called the Fireballs to add new instrumental backing to Holly's old demos so they could be released as new singles, but the split between Petty and Holly's living colleagues was permanent. But the Crickets didn't give up performing, and continued recording new material, mostly written either by Sonny Curtis or by the group's drummer Jerry Allison, who had co-written several of the group's earlier hits with Holly. "More Than I Can Say" was written by Curtis and Allison, and didn't make the top forty in the US, but did become a top thirty hit in the UK: [Excerpt: The Crickets, "More Than I Can Say"] That was later also covered in hit versions by Bobby Vee and Leo Sayer. The B-side, "Baby My Heart", wasn't a hit for the Crickets, but was covered by the Shadows on their first album, which made number one on the UK charts. That performance was one of the few Shadows records at this point to have vocals: [Excerpt: The Shadows, "Baby My Heart"] The group's first post-Holly album collected all their singles without Holly to that point, plus a few new filler tracks. The album, In Style With the Crickets, didn't chart in the US, but was a success in the UK. Around the time that album was released, Earl Sinks quit the group, and became a songwriter. He collaborated with Buddy Holly's old musical partner Bob Montgomery on a variety of hits for people like Brenda Lee, and in the seventies went back into performing for a while, having minor solo country hits as Earl Richards, and then bought a chain of abbatoirs. Allison and Curtis supplemented their income from the Crickets with session work -- Allison backed the Everly Brothers on "Til I Kissed You": [Excerpt: The Everly Brothers, "Til I Kissed You"] and both of them played on Eddie Cochran's last studio session, playing on "Three Steps to Heaven", with Curtis playing the electric lead while Cochran played the acoustic: [Excerpt: Eddie Cochran, "Three Steps to Heaven"] After that, the group went on tour in the UK as the backing band for the Everly Brothers, where they coincidentally bumped into Cochran, who told them "If I knew you guys were coming, I'd have asked you to bring me a bottle of American air.” They would never see Cochran again. Shortly after that tour, Sonny Curtis was drafted -- though while he was in the army, he wrote "Walk Right Back" for the Everly Brothers, as we discussed in the episode on "Cathy's Clown": [Excerpt: The Everly Brothers, "Walk Right Back"] Joe Mauldin gave up on music for a while, and so for a while The Crickets consisted of just Jerry Allison, new singer Jerry Naylor, and guitarist Tommy Allsup, who had played with Holly after Holly left the Crickets. That lineup recorded the "Bobby Vee Meets the Crickets" album, with Bobby Vee singing lead: [Excerpt: Bobby Vee and the Crickets, "Well... All Right"] Curtis would return once his time in the army was over, and eventually, in the 1970s, the group would stabilise on a lineup of Curtis, Mauldin, and Allison,  who would play together more or less consistently until 2015. But for a few years in the early sixties there was a lot of lineup shuffling, especially as Allison got drafted not long after Curtis got out of the Army -- there was one UK tour where there were no original members at all, thanks to Allison's absence. When Curtis was out of the group around the time of the Bobby Vee album, Snuff Garrett tried to get a friend of his to join as the group's new lead singer, and brought him to LA, but it didn't work out. Garrett later said "He and Jerry didn't hit it off in the way I imagined. After a few months, it was over and the guy started playing clubs around LA. I did demos with him and took them to my boss, the president of Liberty, and he said, ‘You've got enough of your friends signed to the label. You've signed the Crickets and Buddy Knox and they're not doing much business, and this guy can hardly speak English.' I said, ‘Well, I think he's going to be something.' ‘Okay,' he said, ‘Drop one of the acts you've got and you can sign him.' I said, ‘Forget it.' A year later, he was an international star and his name was Trini Lopez" Lopez's big hit, "If I Had a Hammer", was recorded in a live show at a club called PJs: [Excerpt: Trini Lopez, "If I Had a Hammer"] PJs was owned by a gangster named Eddie Nash, who is now best known as the prime suspect in a notorious case known as the Wonderland Murders, when in 1981 four people were horribly beaten to death, either with the assistance of or to send a message to the porn star John Holmes, depending on which version of the story you believe. If you're unfamiliar with the case, I advise you not to google it, as it's very far from pretty. I bring this up because PJs would soon play a big part in the career of the Bobby Fuller Four. Bobby Fuller was born in the Gulf Coast of Texas, but his family moved about a lot during his formative years, mostly in the Southwestern US, living in Lubbock, Texas, Hobbs, New Mexico, and Salt Lake City, Utah, among other places, before finally settling down in El Paso. El Paso is a border town, right up close to the border with Mexico, and that meant that it had a complicated relationship with Juarez, the nearest large town on the Mexican side of the border. Between 1919 and 1933, the selling and consumption of alcohol had been made illegal in the United States, a period known as Prohibition, but of course it had not been criminalised in Mexico, and so during those years any time anyone from El Paso wanted to get drunk they'd travel to Juarez. Even after Prohibition ended, Juarez had a reputation as a party town, and Randy Fuller, Bobby's brother, would later tell a teen magazine "You can grow up in El Paso and get really bad -- it's Juarez that makes it that way. Whatever personality you have, you have it 100%. You can go to Juarez and get drunk, or stay in El Paso and get religion" Of course, from the outside, that sounds a whole lot like "now look what YOU made ME do". It's not the fault of those white people from Texas that they travel to someone else's city in someone else's country and get falling-down drunk and locked up in their jails every weekend, but it's the fault of those tempting Mexicans. And when Bobby and Randy Fuller's older brother Jack disappeared in 1961, while Bobby was off at university, that was at first what everyone thought had happened -- he'd gone to Juarez, got drunk, and got locked up until he could sleep it off. But when he didn't reappear after several days, everyone became more concerned. It turned out that Jack had met a man named Roy Handy at a bus depot and started chatting with him. They'd become friendly, and had gone off to do some target shooting together in the desert. But Handy had seen what looked like a wad of thousand-dollar bills in Jack's sun visor, and had decided to turn the gun on Jack rather than the target, killing him. The thousand-dollar bills had been play money, a gift bought for a small child who lived nearby. Because of the murder, Bobby Fuller moved back to El Paso from Denton in North Texas, where he had been studying music at university. He did enroll in a local college, but gave up his studies very quickly. Bobby had been something of a musical prodigy -- his original plan before going to North Texas State University had actually been to go to Juilliard, where he was going to study jazz drumming. Instead, while Bobby continued his drumming, he started living a party lifestyle, concentrating on his car, on women -- he got multiple women pregnant in his late teens and early twenties -- and on frequent trips to Juarez, where he would spend a lot of time watching a local blues musician, Long John Hunter: [Excerpt: Long John Hunter, "El Paso Rock"] Meanwhile, a music scene had been growing in El Paso since the late 1950s. A group called the Counts were at the forefront of it, with instrumentals like "Thunder": [Excerpt: The Counts, "Thunder"] The Counts splintered into various groups, and one of them became The Embers, who Bobby Fuller joined on drums. Fuller was also one of a tiny number of people at this time who actually had a home studio. Fuller had started out with a simple bedroom studio, but thanks to his parents' indulgence he had repurposed a big chunk of their house as a studio, including building, with his brother Randy, an echo chamber (though it didn't work very well and he stuck with tape echo). It was in that home studio that the Embers recorded their first single, "Jim's Jive", with Fuller on drums and Jim Reese on lead guitar: [Excerpt: Jerry Bright and The Embers, "Jim's Jive"] That was released on a tiny local label, Yucca Records, which also released the Embers' second single -- and also released two Bobby Fuller solo singles, starting with "You're in Love": [Excerpt: Bobby Fuller, "You're in Love"] That was recorded at Fuller's home studio, with the Embers backing him, and became the number one single locally, but Yucca Records had no national distribution, and the record didn't get a wider release. Fuller's second single, though, was the first time his Buddy Holly fixation came to the forefront. Fuller was, by many accounts, *only* interested in sounding like Buddy Holly -- though his musical tastes were broad enough that he also wanted to sound like Eddie Cochran, Ritchie Valens, and the Crickets. But that was the extent of Fuller's musical world, and so obviously he wanted to work with the people who had worked with Holly. So his second single was recorded at Norman Petty's studio in Clovis, New Mexico, with Petty's wife Vi, who had played keyboards on some Buddy Holly records, on keyboards and backing vocals: [Excerpt: Bobby Fuller, "Gently My Love"] But as it turned out, Fuller was very underwhelmed by the experience of working with Petty, and decided that he was going to go back to recording in his home studio. Fuller left the Embers and started performing on his own, playing rhythm guitar rather than drums, with a band that initially consisted of his brother Randy on bass, Gaylord Grimes on drums, and Jim Reese on lead guitar, though there would be constant lineup changes. Two of the many musicians who drifted in and out of Fuller's revolving band lineup, Larry Thompson and Jerry Miller, were from the Pacific Northwest, and were familiar with the scene that I talked about in the episode on "Louie, Louie". Thompson was a fan of one of the Pacific Northwest bands, the Frantics, who had hits with tracks like "Werewolf": [Excerpt: The Frantics, "Werewolf"] Thompson believed that the Frantics had split up, and so Fuller's group took on that name for themselves. When they found out that the group *hadn't* split up, they changed their name to the Fanatics, though the name on their bass drum still read "The Frantics" for quite a while. Jerry Miller later moved back to Seattle, where he actually joined the original Frantics, before going on to become a founder member of Moby Grape. Fuller started his own record label, Eastwood Records, and put out another solo single, which covered the full breadth of his influences. The B-side was "Oh Boy!", the song Sonny Curtis had written for Buddy Holly, while the A-side was "Nervous Breakdown", which had originally been recorded by Eddie Cochran: [Excerpt: Bobby Fuller, "Nervous Breakdown"] Everything was very fluid at this point, with musicians coming and going from different lineups, and none of these musicians were only playing in one band. For example, as well as being lead guitarist in the Fanatics, Jim Reese also played on "Surfer's Paradise" by Bobby Taylor and the Counts: [Excerpt: Bobby Taylor and the Counts, "Surfer's Paradise"] And Bobby's record label, renamed from Eastwood to Exeter, was releasing records  by other artists as well as Bobby and the Fanatics, though none of these records had any success. In early 1963 Fuller and his latest lineup of Fanatics -- Randy, drummer Jimmy Wagnon, and guitarist Tex Reed -- travelled to LA to see if they could become successful outside El Paso. They got a residency at the Hermosa Biltmore, and also regularly played the Rendezvous Ballroom in Balboa, where the Beach Boys and Dick Dale had both played not long before, and there they added some surf instrumentals to their repertoire. Bobby soon became almost as keen on surf music as he was on rockabilly. While in LA, they tried all the record companies, with no success. The most encouragement they got came from Bob Keane at Del-Fi, the label that had previously been Ritchie Valens' label, who told him that the tapes they brought him of their El Paso recordings sounded good but they needed better songs, and to come back to him when they had a hit song. Bobby determined to do just that. On their return to El Paso, Bobby Fuller and the Fanatics recorded "Stringer" for Todd Records, a small label owned by Paul Cohen, the former Decca executive who had signed Buddy Holly but not known what to do with him: [Excerpt: Bobby Fuller and the Fanatics, "Stringer"] Fuller also opened his own teen nightclub, the Teen Rendezvous, which he named after the Balboa ballroom. The Fanatics became the regular band there, and at this point they started to build up a serious reputation as live performers. The Teen Rendezvous only stayed open for a few months, though -- there were complaints about the noise, and also they booked Bobby Vee as a headliner one night. Vee charged a thousand dollars for his appearance, which the club couldn't really afford, and they didn't make it back on the doors. They'd hoped that having a prestigious act like Vee play there might get more people to come to the club regularly, but it turned out that Vee gave a sub-par performance, and the gamble didn't pay off. It was around this time that Fuller made his first recording of a song that would eventually define him, though it wasn't his idea. He was playing the Crickets In Style album to his brother Randy, and Randy picked up on one song, a Sonny Curtis composition which had never been released as a single: [Excerpt: The Crickets, "I Fought the Law"] Randy thought the Crickets' actual record sounded horrible, but he also thought the song had the potential to be a really big hit. He later explained "The James Dean movie Rebel Without a Cause had made a big impression on me, and I told Bobby, 'Man, let's do that one... it oughta sell a million copies'. Everyone was into the whole rebel thing, with switchblades and stuff like that. It just seemed like a natural thing for us to do." Fuller recorded his own version of the song, which once again became a local hit: [Excerpt: Bobby Fuller, "I Fought The Law (El Paso version)"] But even though the record did get some national distribution, from VeeJay Records, it didn't get any airplay outside the Southwest, and Fuller remained a local star with absolutely no national profile. Meanwhile, he was still trying to do what Bob Keane had asked and come up with a hit song, but he was stuck in a musical rut. As Jim Reese would later say, "Bobby was a great imitator. He could sing just like Holly, McCartney, Lennon, or Eddie Cochran. And he could imitate on the guitar, too. But Bobby never did Bobby". To make matters worse, the Beatles came on to the American musical scene, and caused an immediate shift in the public taste. And Bobby Fuller had a very complicated relationship with the Beatles. He had to play Beatles songs live because that's what the audiences wanted, but he felt that rock and roll was *American* music, and he resented British people trying to play it. He respected them as songwriters, but didn't actually like their original material. He could tell that they were huge Buddy Holly fans, like him, and he respected that, but he loathed Motown, and he could tell they were listening to that too. He ended up trying to compromise by playing Buddy Holly songs on stage but introducing them by talking about how much the Beatles loved Buddy Holly. Another person who was negatively affected by the British Invasion was Bob Keane, the man who had given Fuller some encouragement. Keane's Del-Fi Records had spent the previous few years making a steady income from churning out surf records like "Surf Rider" by the Lively Ones: [Excerpt: The Lively Ones, "Surf Rider"] And the Surfer's Pajama Party album by the Bruce Johnston Surfing Band: [Excerpt: Bruce Johnston, "The Surfer Stomp"] But as surf music had suddenly become yesterday's news, Del-Fi were in financial trouble, and Keane had had to take on a partner who gave the label some financial backing, Larry Nunes. Now, I am going to be very, very, careful about exactly what I say about Nunes here. I am aware that different people give very, very, different takes on Nunes' personality -- Barry White, for example, always said that knowing Nunes was the best thing that ever happened to him, credited Nunes with everything good in his career, and gave him credit on all his albums as his spiritual advisor. However, while White made Nunes out to be pretty much a saint, that is not the impression one gets from hearing Bob Keane or any of Bobby Fuller's circle talk about him. Nunes had started out in the music business as a "rack jobber", someone who ran a small distribution company, selling to small family-owned shops and to secondary markets like petrol stations and grocery stores. The business model for these organisations was to get a lot of stock of records that hadn't sold, and sell them at a discount, to be sold in discount bins. But they were also a perfect front for all sorts of criminal activity. Because these were bulk sales of remaindered records, dead stock, the artists weren't meant to get royalties on them, and no real accounting was done of the sales. So if a record label "accidentally" pressed up a few thousand extra copies of a hit record and sold it on to a rack jobber, the artists would never know. And if the Mafia made a deal with the record pressing plant to press up a few thousand extra copies, the *record label* would never know. And so very, very, quickly this part of the distribution system became dominated by organised crime. I have seen no proof, only rumours, that Nunes was directly involved in organised crime, but Bob Keane in particular later became absolutely convinced he was. Keane would later write in his autobiography: “I wondered if I had made a deal with the Devil. I had heard that Larry had a reputation for being associated with the Mob, and as it turned out three years later our relationship ended in deception, dishonesty, and murder. I consider myself very lucky to have come out of my relationship with Nunes in one piece, virtually unscathed." Again, this is Keane's interpretation of events. I am not saying that Larry Nunes was a mobster, I am saying that Bob Keane repeatedly made that accusation many times, and that other people in this story have said similar things. By late 1964, Bobby Fuller had come up with a song he was pretty sure *would* be a successful single, like Keane had wanted, a song called "Keep on Dancing" he'd written with Randy: [Excerpt: Bobby Fuller, “Keep On Dancing”] After some discussion he managed to persuade Randy, Jim Reese, and drummer DeWayne Quirico to move with him to LA -- Bobby and Randy's mother also moved with them, because after what had happened to her eldest son she was very protective of her other children. Jim Reese was less keen on the move than the others, as he thought that Fuller was only interested in himself, not in the rest of the Fanatics. As Reese would later say, "Bobby wanted us all to go to California, but I was leery because it always had been too one-sided with Bobby. He ran everything, hired and fired at the least whim, and didn't communicate well with other people. He was never able to understand that a musician, like other people, needs food, gasoline, clothes, a place to live, etc. I often felt that Bobby thought we should be following him anywhere just for the thrill of it." Eventually, Fuller got them to go by agreeing that when they got to LA, everything would be split equally -- one for all and all for one, though when they finally made a deal with Keane, Fuller was the only one who ended up receiving royalties. The rest of the group got union scale. Keane agreed that "Keep on Dancing" could be a hit, but that wasn't the first record the group put out through one of Keane's labels. The first was an instrumental titled "Thunder Reef": [Excerpt: The Shindigs, "Thunder Reef"] That wasn't released as by the Fanatics, but as by The Shindigs -- Keane had heard that Shindig! needed a house band and thought that naming the group after the show might be a way to get them the position. As it happened, the TV show went with another group, led by James Burton, who they called the Shindogs, and Keane's plan didn't work out. The Shindigs single was released on a new Del-Fi subsidiary, Mustang, on which most future records by the group would be released. Mustang was apparently set up specifically for the group, but the first record released on that label was actually by a studio group called The Surfettes: [Excerpt: The Surfettes, "Sammy the Sidewalk Surfer"] The Surfettes consisted of Carol Connors, the former lead singer of the Teddy Bears and writer of "Hey Little Cobra", and her sister Cheryl. Carol had written the single with Buzz Cason, of Brenda Lee's band, and the session musicians on that single included several other artists who were recording for Del-Fi at the time -- David Gates, Arthur Lee, and Johnny Echols, all of whom we'll be hearing more about in future episodes. Almost simultaneously with the Shindigs single, another single by the Fanatics was released, "Those Memories of You": [Excerpt: Bobby Fuller and the Fanatics, "Those Memories of You"] That single, backed by a surf instrumental called "Our Favourite Martian", was released on Donna Records, another Del-Fi subsidiary, as by Bobby Fuller and the Fanatics, which made the other group members furious -- what had happened to one for all and all for one? Randy Fuller, who was a very aggressive young man, was so annoyed that he stormed into Bob Keane's office and frisbeed one of the singles at his head. They didn't want to be Bobby's backing band, they wanted to be a proper group, so it was agreed the group's name would be changed. It was changed to The Bobby Fuller Four. Jim Reese claimed that Keane and Fuller formed The Bobby Fuller Four Inc, without the other three members having participation, and made them employees of the corporation. Reese said "this didn't fit in with my concept of the verbal agreement I had with Bobby, but at least it was better than nothing". The group became the house band at the Rendezvous, playing their own sets and backing people like Sonny and Cher. They then got a residency at the Ambassador Hotel in Hollywood, and then Jim Reese quit the band. Fuller phoned him and begged him to come back, and as Reese said later "I again repeated my conditions about equal treatment and he agreed, so I went back -- probably the biggest mistake I ever made." The group's first single as the Bobby Fuller Four, released on Mustang as all their future records were, was "Take My Word": [Excerpt: The Bobby Fuller Four, "Take My Word"] The record was unsuccessful -- Keane's various labels, while they were better distributed than Bobby's own labels back in El Paso, still only had spotty distribution, and Mustang being a new label it was even more difficult to get records in stores. But the group were getting a reputation as one of the best live acts in the LA area at the time. When the club Ciro's, on the Sunset Strip, closed and reopened under its new name It's Boss, the group were chosen to perform at its grand reopening, and they played multiple four- to six-week residencies at PJ's. The next record the group released, "Let Her Dance", was a slight rewrite of "Keep on Dancing", the song the Fuller brothers had written together, though Bobby was the only credited writer on the label: [Excerpt: The Bobby Fuller Four, "Let Her Dance"] That was the first single they recorded at a new state-of-the-art studio Keane had opened up. That studio had one of the first eight-track machines in LA, and a truly vast echo chamber, made up from a couple of unused vaults owned by a bank downstairs from the studio. But there were big arguments between Fuller and Keane, because Fuller wanted only to make music that could be reproduced live exactly as it was on the record, while Keane saw the record as the important thing. Keane put a percussion sound on the record, made by hitting a bottle, which Fuller detested as they couldn't do it live, and the two would only end up disagreeing more as they continued working together. There's a lot of argument among Fuller fans about this -- personally I can see both sides, but there are people who are very much Team Bobby and think that nothing he recorded for Mustang is as good as the El Paso recordings, because of Bob Keane diluting the raw power of his live sound. But in an era  where studio experimentation was soon to lead to records like "Strawberry Fields Forever" or "Good Vibrations", I think a bit of extra percussion is hardly an unforgivable dilution: [Excerpt: The Bobby Fuller Four, "Let Her Dance"] KRLA radio started playing "Let Her Dance" every hour, at the instigation of Larry Nunes -- and most of the people talking about this have implied that he bribed people in order to get this to happen, or that it was through his alleged Mob connections. Certainly, he knew exactly when they would start playing the record, and how frequently, before they did. As a result of this exposure, "Let Her Dance" became a massive local hit, but they still didn't have the distribution to make it a hit outside California. It did, though, do well enough that Liberty Records asked about putting the record out nationally. Keane came to a verbal agreement, which he thought was an agreement for Liberty to distribute the Mustang Records single, and Liberty thought was an agreement to put out the single on their own label and have an option on future Fuller recordings. Liberty put the record out on their own label, without Keane having signed anything, and Keane had to sue them. The result was that the record was out on two different labels, which were suing each other, and so it hardly had any chance at any kind of success. The legal action also affected the next single, "Never to Be Forgotten": [Excerpt: The Bobby Fuller Four, "Never to Be Forgotten"] That's often considered the best of the band's originals for Mustang, and was written by the Fuller brothers -- and both of them were credited this time -- but Liberty sued Keane, claiming that because they'd released "Let Her Dance", they also had an option on the next single. But even though the group still weren't selling records, they were getting other opportunities for exposure, like their appearance in a film which came out in April 1966. Though admittedly, this film was hardly A Hard Day's Night. Indeed, a lot of people have claimed that The Ghost in the Invisible Bikini was cursed. The film, which went through the working titles Pajama Party in a Haunted House, Slumber Party in a Haunted House, Bikini Party in a Haunted House, and Ghost in a Glass Bikini, was made by the cheapy exploitation company American International Pictures, and several people involved in it would die in the next four years, starting with Buster Keaton, who was meant to appear in the film, but had to back out due to his health problems and died before the film came out. Then on the first day of filming, a grip fell to his death. In the next four years, two of the film's young stars, Sue Hamilton and John Macchia, would die, as would Philip Bent, an actor with a minor role who died in July 1966 in a plane crash which also took the life of Peter Sachse, an extra on the film who was married to a cast member. Three more stars of the film, Francis X Bushman, Basil Rathbone, and Boris Karloff would also all be dead within a handful of years, but they were all elderly and unwell when filming started. I don't believe in curses myself, but it is a horrible run of bad luck for a single film. To make matters worse, the group weren't even playing their own music in the film, but lipsynching to tracks by other musicians. And they had to play Vox instruments in the film, because of a deal the filmmakers had made, when the group all hated Vox instruments, which Jim Reese thought of as only good for starting bonfires. For the next single, Keane had discussed with Fuller what songs the group had that were "different", but Fuller apparently didn't understand what he meant. So Keane went to the rest of the group and asked them what songs always went over well in live performances. All three band members said that "I Fought the Law" should be the next single. Bobby disagreed, and almost got into a fistfight with his brother over it -- they'd already released it as a single once, on his own label, and he didn't want to do it again. He also wanted to record his own material not cover versions. But the others prevailed, and "I Fought the Law" became the record that would define the group: [Excerpt: The Bobby Fuller Four, "I Fought the Law"] "I Fought the Law" became the group's breakthrough hit. It made the top ten, and turned the song, which had previously been one of the Crickets' most obscure songs, into a rock and country standard. In the seventies, the song would be recorded by Hank Williams Jr, the Clash, the Dead Kennedys and more, and all of them would be inspired by the Bobby Fuller Four's version of the song, not the Crickets' original. Around this time, the group also recorded a live album at PJs, in the hope of duplicating Trini Lopez's success with his earlier album. The album was shelved, though, because it didn't capture the powerhouse live act of the group's reputation, instead sounding rather dull and lifeless, with an unenthused audience: [Excerpt: The Bobby Fuller Four, "Oh Boy!"] While "I Fought the Law" was a huge success, it started a period of shifts within the band. Shortly after the PJs album was recorded, DeWayne Quirico quit the band and moved back to El Paso. He was temporarily replaced by Johnny Barbata, who would later become a member of the Turtles, before Fuller's preferred replacement Dalton Powell was able to get to LA to join the band. There seems to have been some shuffling about, as well, because as far as I can tell, Powell joined the band, then quit and was replaced by Barbata returning, and then rejoined again, all in about a six month period. Given the success of "I Fought the Law", it only made sense that at their first recording session with Powell, the group would record more tracks that had originally been on the Crickets' In Style album. One of these, their version of "Baby My Heart", went unreleased at the time, though to my taste it's the best thing the group ever did: [Excerpt: The Bobby Fuller Four, "Baby My Heart"] The other, "Love's Made a Fool of You", became the group's next single: [Excerpt: The Bobby Fuller Four, "Love's Made a Fool of You"] "Love's Made a Fool of You" was also a success, making number twenty-six in the charts, but the group's next session, which would produce their last single, was the cause of some conflict. Keane had noticed that soul music was getting bigger, and so he'd decided to open up a sister label to Mustang, Bronco, which would release soul and R&B music. As he didn't know much about that music himself, though of course he had worked with Sam Cooke, he decided to hire an A&R man to deal with that kind of music. The man he chose was a piano player named Barry White, still several years from making his own hit records. White had had some success as an arranger and producer already, having arranged "The Harlem Shuffle" for Bob and Earl, on which he also played piano: [Excerpt: Bob and Earl, "The Harlem Shuffle"] Despite White's remit, the records he produced for Bronco and Mustang weren't especially soulful. "Back Seat 38 Dodge" by Opus 1, for example, is a psychedelic updating of the kind of car songs that the Beach Boys and Jan and Dean had been doing a couple of years earlier: [Excerpt: Opus 1, "Back Seat 38 Dodge"] White was present at what became the final Bobby Fuller Four session, though accounts differ as to his involvement. Some have him arranging "The Magic Touch”, others have him playing drums on the session, some have him co-producing. Bob Keane always said that the record had no involvement from White whatsoever, that he was there but not participating, but various band members, while differing on other things, have insisted that White and Fuller got into huge rows, as Fuller thought that White was trying to turn his music into Motown, which he despised. The finished record does sound to me like it's got some of White's fingerprints on it: [Excerpt: The Bobby Fuller Four, "The Magic Touch"] But "The Magic Touch" flopped -- it departed too far from the updated Buddy Holly sound of the group's hit singles, and audiences weren't responding. “The Ghost in the Invisible Bikini” came out and was an embarrassment to the band – and on July the eleventh the next in that horrible series of deaths linked to the film happened, the plane crash that killed Philip Bent and Peter Sachse. On July the sixteenth, William Parker, the long-serving chief of the LAPD, had died. If, hypothetically, someone wanted to commit a crime in LA and not have it investigated too closely, the few days after Parker's death, when the entire department was in mourning and making preparations for a massive public funeral, would have been a good time to do so. Two days after Parker's death, July the eighteenth 1966, was going to be the crunch point for the Bobby Fuller Four. They had a recording session scheduled for 8:30AM, but they also were planning on having a band meeting after the session, at which it was likely the group were going to split up. Jim Reese had just got his draft notice, Bobby and Randy were getting on worse, and nobody was happy with the music they were making. They were going to finish the album they were working on, and then Bobby was going to go solo. Or at least that was what everyone assumed -- certainly Ahmet Ertegun had been sniffing round Bobby as a solo artist, though Bobby kept saying publicly he wanted to continue working with the band. There were also later rumours that Morris Levy had been after Bobby, and had even signed him to a deal, though no documentary evidence of such a deal has surfaced. It seemed that if there was to be a group at all, it would just be a name for any random musicians Bobby hired. Bobby also wanted to become a pure recording artist, and not tour any more -- he hated touring, thought people weren't listening to the band properly, and that being away from home meant he didn't have time to write songs, which in turn meant that he had to record what he thought of as substandard material by other people rather than his own original material. He wanted to stay in LA, play clubs, and make records. But even though making records was what he wanted to do, Bobby never turned up for the recording session, and nor did he turn up for the group meeting afterwards. The group's next single had been announced as "It's Love Come What May": [Excerpt: Randy Fuller, "It's Love Come What May"] When that was released, it was released as a Randy Fuller solo single, with Randy's voice overdubbed on top of Bobby's. Because there was no use putting out a record by a dead man. Here's what we actually know about Bobby Fuller's death, as far as I can tell. There are a lot of conflicting claims, a lot of counternarratives, and a lot of accusations that seek to tie in everyone from Charles Manson to Frank Sinatra, but this is as close as I can get to the truth. Bobby and Randy were living together, with their mother, though Randy was out a lot of the time, and the two brothers at that point could barely stand to be in the same room with each other, as often happens in bands where brothers work together. On the night of July the seventeenth, Bobby Fuller left the house for a couple of hours after getting a phone call -- some people who were around said he was going to see a girlfriend named Melody to buy some acid from her, but she says he didn't see her that night. Melody was a sex worker, who was also reputedly the girlfriend of a local nightclub owner who had Mob connections and was jealous of her attachments to other men -- though she denies this. Nobody has ever named which club owner, but it's generally considered to be Eddie Nash, the owner of PJs. Melody was also friends with Larry Nunes, and says she acted as a go-between for Nunes and Fuller. Fuller got back in around 2:30 AM and spent some time having beer with the building manager.  Then at some point he went out again -- Bobby was a night owl. When his mother, Lorraine, woke up, she noticed her car, which Bobby often used to borrow, wasn't there. She had a terrible bad feeling about her son's whereabouts -- though she often had such feelings, after the murder of her eldest son. She kept checking outside every half hour or so to see if he was coming home. At 5PM, two musicians from El Paso, Ty Grimes and Mike Ciccarelli, who'd come to LA to see Fuller, pulled into the parking lot near his apartment block. There were no other cars nearby. A car pulled in beside them, but they didn't pay any attention. They went up the stairs and rang the doorbell. While they were ringing the doorbell, Lorraine Fuller was out checking the mail, and noticed her car, which hadn't been there earlier. She opened the door. Ty Grimes later said "When we walked back to Mike's car, Bobby's car was now parked next to Mike's, and he was laying in the front seat already dead. We also saw his mom being helped toward the apartment." Fuller had been dead long enough for rigor mortis to have set in. While Lorraine Fuller later said that his hand had been on the ignition key, there was actually no key found in the car. He had apparently died from inhaling petrol. His body was covered in bruises, and the slippers he was wearing looked like they'd been dragged across the ground. His body was covered in petrol, and his right index finger was broken. Bob Keane has later said that Larry Nunes knew some details of the crime scene before he was told them. According to the other members of the band, there was an eight hundred thousand dollar life insurance policy on Bobby's life, held by the record company. Keane didn't get any money from any such policy, and stated that if such a policy existed it must have been taken out by Nunes, who soon stopped working with Keane, as Keane's labels collapsed without their one remaining star. The death was initially ruled a suicide, which would not pay out on an insurance claim, and later changed to accidental death, which would. Though remember, of course, we have only the word of Bobby's other band members that any insurance policy existed. No real police investigation was ever carried out, because it was such an open-and-shut case. At no point was it ever considered a murder by the famously corrupt LAPD. Bob Keane hired private investigators to investigate the case. One of them was shot at, and the others gave up on the investigation, scared to continue. The autopsy report that was issued months after the fact bore no resemblance to what any of the witnesses said they saw of the state of Fuller's body. More than thirty years later, Keane tried to get the information the LAPD held about the case, and was told that it could only be accessed by a family member. Keane contacted Randy Fuller, who was then told that the entire case file was missing. So all we can go on as far as the official records go is the death certificate. Which means that I lied to you at the start of the episode. Because officially, no matter what impression you might have got from everything I just said, Bobby Fuller's death *was* an accident.

In July of 1924 in Ape Canyon Washington five gold prospectors were attacked while they slept by several large hairy ape like creatures. The men would claimed they battled the creatures all night long and by day break even killed one of the creatures they described as being hairy, seven feet tall, and over three hundred pounds. One man, Fred Beck, would go on to write a book about these encounters and would stick to his story until the end of his life.  Listen as Marcus and Vic break down the story and discuss the different aspects of this bizarre case. They discuss bigfoot statistic nationwide and how it compares to this story. They tackle one of the most popular skeptic explanations and talk about how it doesn't measure up when you think about it. Listen to find out more!  The extended episode of our shows is EXCLUSIVE to our patrons. Marcus and Vic discuss Fred Beck's book "I Fought the Apemen of Mt. St. Helens". They look at Fred's real thoughts of what Bigfoot is and what they encountered at Ape Canyon. They delve into some of the often overlooked aspects of the story as well.  Sign up to become a patron and get access to this great content by clicking HERE   Follow Us: Facebook: https://www.facebook.com/OneCandleSociety Twitter: @1candlesociety Instagram: 1CandleSociety YouTube: https://www.youtube.com/c/OneCandleSociety

Elder Tom Toone shares from Romans 13 about obeying civil authorities with the message: “I Fought the Law and the Law Won.” As you prepare for the message, please read the passage and ask yourself, “What authority figure do I struggle to obey? Who is the ultimate authority?”

Mandy abandons the show this week for something actually impactful. Meanwhile, Alex and Jim do the news. Topics include: Joe Rogan being an anti-vax moron, Joe Biden's big ole' American Families Plan proposal, his dem-brain means-tested attempt at tuition-free college, Bernie's College for All plan (which is, of course, a million times better), Mark Zuckerberg evicting native Hawaiians from his newly purchased beach, and India's coronavirus woes. Then we talk something many vets are thinking about: the War-That-Will-Not-End in Afghanistan. While Biden blows off the May 1st troop withdrawal date, and the Taliban prepares to attack coalition bases in reprisal, veterans of Afghanistan are back home trying to make sense of it all. Timothy Kudo captured this sentiment in a bottle with a NY Times opinion piece called "I Fought in Afghanistan. I Still Wonder, Was It Worth It?" Though he hasn't quite figured out yet that WAR IS A RACKET, he still works through his own Hurt Locker Moment, like we all have (or will). Link to the article: https://www.nytimes.com/2021/04/14/opinion/afghanistan-war-biden-veterans.html If you want to reach out to us the best way is to send a note to pillowscreamradio@protonmail.com. One of us will respond. Being frustrated together is better than being frustrated alone. #You'reNotTheOnlyOne -Jim & Alex

On this week in 1977 The Clash released their self titled debut album. It would finally get a US release in July of 1979. It's considered one of the greatest punk rock albums of all time. In a 2017 Billboard article marking the album's 40th anniversary Kennith Partridge wrote, "The self-titled debut album by The Clash is about as punk as it gets. Released April 8th, 1977 in the U.K. and later in America, where CBS execs deemed it too raw for polite consumers, 'The Clash' is a thin and scratchy rapid-fire cataloging of problems big and small. It's about race relations, unemployment, and American cultural imperialism. Also: zit-faced burglars and loners pleasuring themselves with condoms on." AllMusic's Stephen Thomas Erlewine wrote, "The Sex Pistols 'Never Mind The Bollocks' may have appeared revolutionary, but the Clash's eponymous debut album was pure, unadulterated rage and fury, fueled by passion for both rock & roll and revolution."In this episode we'll take you back to the making of the album that was written and recorded in less than a month, the stories behind the songs, the album cover and a whole lot more. TRACKLISTING (UK RELEASE):SIDE ONE:1. "Janie Jones"2. "Remote Control" 3. "I'm So Bored with the USA" 4. "White Riot" 5. "Hate and War" 6. "What's My Name"7. "Deny"8. "London's Burning" SIDE TWO:1. "Career Opportunities"2. "Cheat" 3. "Protex Blue"4. "Police & Thieves"5. "48 Hours" 6. "Garageland"TRACKLISTING (US RELEASE):SIDE ONE:1. "Clash City Rockers"2. "I'm So Bored with the USA" 3. "Remote Contro4. "Complete Control" 5. "White Riot" 6. "(White Man) In Hammersmith Palais" 7. "London's Burning" 8. "I Fought the Law"SIDE TWO:1. "Janie Jones" 2. "Career Opportunities" 3. "What's My Name"4. "Hate & War" 5. "Police & Thieves"6. "Jail Guitar Doors"7. "Garageland"DISCovery on Facebook: www.facebook.com/TheDISCoverypodcasthome DISCovery on Twitter: https://twitter.com/DISCoverySenichThe DISCovery theme song "Woo Hoo" by Reebosound (https://reebosound.bandcamp.com)Please give the show a five-star rating and review wherever you listen to DISCovery!

The song “I Fought the Law” by the Bobby Fuller Four reached number 9 on the Billboard Charts in the week of March 12, 1966. Just months later, Bobby Fuller was found dead. The mystery of what happened to him has been called “the rock and roll version of John F. Kennedy’s assassination.” Learn more in Miriam Linna and Randell Fuller’s book, I Fought the Law: The Life and Strange Death of Bobby Fuller. We made a special playlist of music discussed in this episode. Check out our online shop. Criminal is a proud member of Radiotopia from PRX. If you haven’t already, please review us on Apple Podcasts! It’s an important way to help new listeners discover the show: iTunes.com/CriminalShow. Say hello on Twitter, Facebook and Instagram. Sign up for our newsletter, The Accomplice. If you’d like to introduce friends or family members to podcasts, we created a How to Listen guide based on frequently asked questions. For a transcript of this episode, send an email to transcripts@thisiscriminal.com with the episode name and number. Artwork by Julienne Alexander. Sponsors: Article Article is offering our listeners $50 off their first purchase of $100 or more.  to claim, visit article.com/criminal and the discount will be automatically applied at checkout. Better Help Get 10% off your first month with discount code criminal at BetterHelp.com/criminal Nutrafol going to Nutrafol.com and entering the promo code CRIMINAL to save 20% off your first month’s subscription, plus free shipping on every order. Progressive Get your quote online at Progressive.com and see how much you could be saving Rothy’s check out all the amazing shoes, bags and masks available right now at rothys.com/criminal. Simplisafe Visit SimpliSafe.com/criminal to get a free camera plus SimpliSafe’s holiday savings. Squarespace Try Squarespace.com/criminal for a free trial and when you’re ready to launch, use the offer code CRIMINAL to save 10% off your first purchase of a website or domain. Sun Basket Sun Basket is offering $35 off your order when you go right now to sunbasket.com/criminal and enter promo code criminal at checkout. Virtue Labs Visit virtuelabs.com and use the code CRIMINAL to receive 20% off plus free shipping on your Virtue order. Ziprecruiter See for yourself how ZipRecruiter makes hiring faster and easier. Try it now for free at ZipRecruiter.com/criminal.

Welcome!   It is another busy week on the technology front.  We discuss Facial Recognition and some of the problems with false positives and how you can see if your pictures are included in some of these websites. Then we discuss Amy Klobachers anti-trust legislation against big tech.  Then we get into Info-Sec Careers and something you might want to know before considering a career move. We also discuss Zero-Trust and why you must be thinking about that if you want to be secure and there is even more, so be sure to Listen in. For more tech tips, news, and updates, visit - CraigPeterson.com. --- Tech Articles Craig Thinks You Should Read: Strengthening Zero Trust Architecture Here’s a Way to Learn if Facial Recognition Systems Used Your Photos Scalpers aren’t the main reason you can’t find a new console What I Wish I Knew at the Start of My InfoSec Career Chrome users have faced 3 security concerns over the past 24 hours Klobuchar targets Big Tech with biggest antitrust overhaul in 45 years I Fought the Dark Web and the Dark Web Won How the United States Lost to Hackers --- Automated Machine-Generated Transcript: Craig Peterson: [00:00:00] We're going to talk a little bit about scalpers. They're not the main reason you can't find a new gaming console.  I've had a number of people ask about getting into information security. I'm going to give you some tips about what I wish I knew at the start of my career.  Hello everybody. Craig Peterson here.  I want to start out by talking a little bit about the facial recognition systems and there are a lot of concerns, legitimately, a lot of concerns because now our privacy is getting worse and worse. I'm going to talk next week a little bit, at least it's on my schedule about what's happening with GPS and pros and cons to it because there are some very concerning things about GPS. Much of our business and private lives is based on GPS, nowadays. You're in a plane, you're in a boat, trains, I guess don't use GPS a whole lot, but we depend on them in our cars, everywhere. We'll talk a little bit about that next week. When it comes to facial recognition, it has come to the forefront. Now we know that, for instance, London, England was probably the most surveilled city in the world. I don't think that's anywhere near true now, considering what the Chinese have been doing to their citizens. No, I probably shouldn't call them citizens. I'm not sure what the right thing would be to call them, but the people living over there in China are under a constant eye. They're even watching them over there for jaywalking and they use facial recognition systems to automatically send them a ticket. Oh, also this social credit score they have over there where if you do jaywalk or do something else, you get points taken off of your social credit score. If your score reaches a certain point, you can't even take public transportation anymore. That's how they're controlling people. One of the many ways that they're controlling people in China. These facial recognition systems are used there. We know they've been in use in London where they're trying to track people and reverse engineer crimes, someone commits a crime. There are sensors that listen for gunshots, for instance, and then they will just backtrack all of the people that were in the area. Okay. Watching them where they work, as you remember, it's being recorded. So you're here now, where did you come from? Some of that same type of technology was used in Washington, DC for what happened on January six, with the riot of well, 80 people. Some riot. We're also now aware of what was done in Oregon and in Washington state and New York City where they were tracking people as well now. Did they get charged? Did they go to jail? They were using facial recognition systems and they were figuring out where they were, where they had been. They were also looking forward to the fact, because unlike China, where they want to know where everybody is and they've got this whole social credit system. What we were doing is finding people who were committing serious crimes. The police obviously don't want to go into that area because there are so many rioters and they were armed with all kinds of things, the baseball bats, but they had frozen bottles of water. No, I don't know. I threw a bottle of water at him. You had. That thing, deep, frozen, in a deep freeze, below zero degrees, which is way cold Fahrenheit. You brought it with you and you use that liter bottle to bash someone over the head. We saw this again and again. So you find those people. You don't arrest them right away. You don't send the police in. No reason to put their lives in any more danger than they are everyday, normally. Then what you do is track them as they leave. Now when they were leaving, they were using facial recognition to figure out who was there and where did they go? That facial recognition technology then was able to track them down. Once they got into an area where there weren't a lot of rioters or no rioters about to get in their car, or however it is, they got there, they arrested them. Of course, some of these rioters, real rioters, right? Where there's hundreds of people rioting, not 80. They were able to track them down. Some of them were arrested, some of them were charged. In a lot of these cases, the mayor said, no, don't do anything. Just let them I was going to set them riot, but that's not how they phrased it. I'm trying to remember how they phrased it. So we are seeing. Facial recognition used in law enforcement. It's one thing to track them either.  What happens over in London where a crime is committed and they now track everybody back to figure out where did they come from? What car did they get into? Did they get out of it initially? Then what was the license plate number and who owns that car? Crime-solving that way, where they don't necessarily recognize your face. They don't know it's you.  However, now we're finding more and more of that happening, where the systems recognize your face and they know it's you, and they know what your social media accounts. They know obviously where you live, it's all tied in.  A lot of cases is tied in via your driver's license or now these federally mandated national ID cards that so many people are carrying around.  Apparently, I'll have to carry around to next time I get my license because my state has finally decided they are not going to issue regular driver's licenses anymore, which definitely bothers me. I'm sure you can figure that out too. How were they identifying people? It's one thing to see a face and okay. There's the face here. Okay. There's a face there. There's okay. Here. Okay. So he just got into this car to leave. That's one thing, right? I think that's pretty legit. You don't have a particular right to privacy when you're in a public place. In fact, you have no right to privacy when you enter a public place. So I don't have a problem with that.  Now we're using artificial intelligence and we've talked about some of them before, Clearview is a great example, clearview.ai. Here's a company that some would argue illegally captured scraped. What kind of her kind of wording you want to use pictures of people all from all over the internet and the police can subscribe to their service and Clearview says, Oh no, we only let police at it, although there's evidence that would suggest otherwise. They're allowing all kinds of third parties access to the database, but you can put a person's picture into their software.  Their software, by the way, includes a mobile app, so it can be done on the street and you know who they are.  Now, this is getting RoboCop-ish. If e you've ever seen the movie Robocop. Actually, there's a series of these things with the Ed two Oh nines. What happened is the police officer could go out and he'd be patrolling in the streets and he come across some people in the computer in that kind of the heads up display would figure out, okay, that's this person they've been arrested 20 times a felony, this and that, and okay that person was shoplifting with their names and addresses and things right there in the screen. That's been a theme of science fiction movies for very long time.   I interviewed probably about a decade ago, a guy out at the consumer electronic show who had a very cool device that you could wear.  It was designed for policemen and it was like a pair of big goggles back in the day, right? This is before Google glass and some of these other things came out, but they were able to with this the heads-up display put anything you wanted on it. So it's coming, it's not here yet. It's going to be here even more in the future.  If you want to check if your photo is part of all of this stash and there are billions literally of photos that Clearview AI has out there, but you can check at least the basics.  So many of us use this website online that allowed us to upload our photos and share them with friends and relatives and family, and put it together, and have a really great little album that you could share with people.  That was on a site called flicker. Today, many of us are uploading our photos to Amazon or to Google. Apple, of course, has many of them. What happened with flicker is they went out of business. They got sold and resold few times.  What they ended up doing is selling the pictures online. There's people I talked about this a couple of years ago, this guy driving down the highway and he sees a billboard with his picture on it, not the sort of thing that he was expecting that's for sure. It's probably not something you expected when you uploaded your photos to flicker. So take a minute.  Go to a website called exposing.ai.  This particular website is specifically aimed at flicker photos. It'll tell you if it has found your picture. So you can, you put in your flicker username and they'll let you know if your flicker photos have been taken and used for facial recognition by a few different companies.  Dive face, face scrub, mega phase Pippa, VGG face, and many others. You can just put in your username. You can put in a tag that you tagged that photo when you uploaded it, or the URL of a photo. If you have a photo, it is online and it's yours and you want to see if anybody else is using it somewhere on the internet.  The easy way to do this is to go to Google image search. You can upload the image, you can give it the URL of the image, and it'll tell you if it finds matching images or at least images that are close to it online.  Stick around. Visit me online Craig Peterson dot com. During the lockdown, we've had a lot of things that have become difficult to get your hands on. Turns out that includes various types of games like your PS5's, but it extends a whole lot further than that. Hi everybody. Craig Peterson here.  Here we go, man, another fallout from the whole lockdown thing. This is a pretty darn big deal because it's affected the entire computer industry. We've heard a lot of complaints about how difficult it's been to get a Sony PlayStation five or a Microsoft X-Box series SX. They both hit store shelves last year, but they have been almost impossible to find at any of the major retailers.  There's a great little article that was in ARS Technica, and they put together a graph based on some data obtained from E-bay. This data was looking at the availability and costs specifically of the PS five. Now, this is a fairly advanced computer, frankly, in order to play these video games, of course, it's got a lot of graphics capability built right into this silly thing.  It seems that there were a certain number of consoles sold on certain days at certain prices. You can see this massive price increase. It just jumped right up in November. Pretty much stayed up there in the thousand dollars plus range. Isn't that amazing.  It went down in January and is more or less flat right now. You can get them on eBay for about 380 bucks right now. Why is that? What's been going on here. We've got scalpers. Obviously, a thousand dollars is a lot higher than the $380 you can get it for right now.  It turns out that there is a huge problem and the problem we're seeing is affecting the entire computer world. There are certain chips for which there is a shortage. Why is there a shortage? Well, it had to do with the lockdown. Companies were trying to figure out, okay, how many of these devices am I going to sell when everybody's locked down?  They miscalculated, frankly. It wasn't a problem with supply. It was that these companies that had been ordering these components cut their orders back or stopped them entirely.  You've got Sony and others out there, Microsoft's console as well, trying to find the parts. They have had a very hard time. Well, what happens when it's hard to find something? Either the quality is going to go down to keep the price the same or the price is going to go up. There's only a couple of ways that it really can go.  They're estimating right now that these constraints on the supply chain are probably going to last for a few more months. We've seen it big time in the computer world, particularly in the storage space. You may not be aware of it, but there are, of course, hard disks that aren't really disks called SSD, which is a solid-state disk. Okay. You probably know about that. I wrote up a thing, in fact, Because people were asking me about what to buy, to upgrade their computers.  If you have a slower computer, putting an SSD in is usually a very good idea, but there are many grades of SSDs.  In fact, I've got a little document. If you want it to send an email to me@craigpeterson.com. I'll be glad to send you a copy. I wrote this for one of our clients. It drives me crazy. They need a new computer, in this case, a desktop. So they say, Hey Craig, can you guys go ahead and work us up a quote? So we look at what they're using the computer for. We look at the longevity of that computer so that they get the best bang for their buck and usefulness. How useful is it going to be? Is it going to be offline just five minutes a day, by the way, adds up to over $2,000 a year for just an average salary of a data entry worker.  It adds up pretty quickly if it goes down.   We put together this proposal and this was for a customed Dell machine and we specify all of the components that go into it. That's an important thing to remember because these components all have varying levels of quality.  We sent them the quote and we've done this before, right? Who's the fool here, them or us. They said no. I went to the Dell site and I got this special going on and then I can get the same computer for 300 bucks. Not true. It's not true. Now, you guys are the best and brightest, right? This sort of stuff, you can't compare a Yugo to a beautiful Cadillac right there. There's no comparison between the two, but that's what they were doing. They needed an F150 in order to haul stuff but instead of getting the F150, they just got a little hatchback that they can maybe throw a couple of things in the back, but they needed a big bed pickup truck. That just drives me crazy. So I wrote this probably three or four-page long, a thing explaining why you need to buy the right kind of hardware. Why the stuff that they're selling you at a discount isn't going to work for you and things need to be included, include things like the hardware encryption and SSDs.  Again, I'll send you this report if you want it. Just let me know, call me@craigpeterson.com.  I started this whole thing because we're talking about SSDs. SSDs are not all created equal. Some of these SSDs store one bit per little bubble, if you will. Some of them store two bits on them store three-bit bits. They're all constrained in their lifetime based on how many writes are occurring to that disc.  You've got to look at that as well to figure it out. Now, of course, I got into SSDs because we were talking about the capacity in manufacturing and the shortage that we're seeing right now. If some of these game consoles, there is a shortage in all of these types of disks, there's even a shortage of memory and certain CPUs.  The disc shortage started a few years ago when there was massive flooding in Indonesia. That's where a lot of the hard disks are made. Now, these are the things that spin, right? Now we've got new technology that lets us pack more data into the SSDs.  Whereas we were seeing the hard disk go up in size. I remember my first one was, I think it was five megabytes. It was just, Whoa, how could I have used five Meg and then 10 megabytes? Of course, hard disks, reasonably priced ones tend to 12 terabyte drives and again, multiple different types of drives.  There's the more server-oriented that if there's an error on the disk, the disc stays alive and it repairs itself in real-time in the background. Then there's the stuff you get as consumers where if the disc starts failing, the whole disc goes offline until it fits fixes itself. Then there's real crap. The ones like these green drives from Western digital, that I do not like. I just had confirmation on that this week that are even cheaper, but all of these are hard to get right now.  We will see eventually all of these supplies back in line. The manufacturers can make them. The whole lockdown hasn't really been a problem for them. The problem has been that people aren't ordering because they're afraid during the lockdown that people wouldn't be buying computers. Of course, we found the opposite to be true. Didn't we.  People were buying these consoles to play video games. Buying computers to work from home. Trying to buy network security stuff as well.  That's really changed the whole thing.  When we get back, let's get into we'll get into the InfoSec career a little bit later if you miss it. If you're thinking about getting into information security. Make sure you go online to Craig peterson.com. So you can catch that.  We'll talk about that, but let's do something I think that might affect a lot of people and that's Chrome users, three security problems in the last week. Hey, you guys are the best and brightest. You know what I think about Google and Google Chrome? Just this last week, over one 24 hour period, Chrome had three security problems. We're going to talk about that right now. Hi, everybody. Craig Peterson here.  Google is evil. I've established that I think, before, the things they do, the things they have been doing to us.  Remember their motto used to be, don't be evil. They removed that from the website a couple of years ago. Now, no longer don't be evil. Nowadays they're doing pretty much everything they can to, maybe be evil is a little strong a word, but they're pretty much-doing everything they can to get as much information about you and sell it.  Do you remember his goal? Larry Page when they were starting it up. The goal was okay, where we are going to get all of the world's information and democratize it. Make it available for everyone, anyone out there who wants to get at it. Frankly, it's been pretty good until fairly recently. At which point I switched over to duck duck go.  Chrome is another one of their products. Microsoft frankly, jumped right onto the Chrome bandwagon. What they ended up doing over Microsoft is taking Google's open-source version of the base of Chrome. They call it chromium. It's the guts, if you will, of the Google Chrome browser and they made it available to anyone that wants to get their hands on it. So Microsoft got their hands on it and messed around with it a little bit. As Microsoft is wont to do. They came up with their Edge browser. The latest Edge is really Google Chrome in disguise.  There are others out there too. You probably know if you've been through one of my courses when I'm talking about browsers. The Epic browser is a pretty good browser. It is designed to be more or less safe. But we go into that a lot more detail. In which cases is it not et cetera. Some people have used the Tor browser, which ties into the Onion network that provides even more anonymity. So there are options. Of course, Safaris available from Apple for almost every platform now. It is a very fast browser and it does a lot to try and keep your data secure. The same thing's true with Firefox. In the Improving Windows Security Course, I go into the problems with each one of these, including Firefox and what you have to consider.  This past week we had a bit of an issue. If you attended my webinars last year. This would have been in 2020.  I went through some of the privacy plugins that you can use for your browser. You might remember that one of them was something called the Great Suspender. Highly recommended at the time. Got to add that in there because I don't want you to just go grab it.  It was recommended. I used it, extensively on a bunch of different browsers, because what the Great Suspender did is save your machine's memory CPU, frankly, even a little bit of disc I/O when you were on a tab on your web browser, your tab would just respond.  Normally everything looks good, but if you're like me, you probably opened another tab or maybe another window and then another tab or another window. You just dig deeper and deeper as you're looking into something, trying to figure something out.  You might have 20 or 30 or 40 or 50 tabs. Open each one of those tabs represents a different thread, a different process, basically on your computer. That means it's using memory, it's using CPU and it might be also hitting your disk, using your disk. The Great Suspenders said wait a minute, now you haven't used this tab in whatever you set it for, I usually had it about 15 minutes. What I'm going to do now, Yes, I'm going to take a snapshot of this page.  I am going to just release all of the resources that were associated with the page. If you go back to that tab, all you have now is a snapshot, just a picture of what was on the page.  You can see what was on the page and depending on how you configure the Great Suspender, I had it set up so that if I activated a tab again, it would automatically reload that page. You could have had it so that if you got to that picture and you really wanted it, you'd click on it and it would reload the page. Very. Handy.  It allowed you to have hundreds of potentially of tabs open quote-unquote, when in fact they weren't open and they weren't using hardly any resources at all. The Great suspender this last June was sold.  The original person who wrote this thing, and it's a great little really great, actually a little piece of software decided that he wanted to make some money off of it. Why not?  He sold it. It's unclear as to who actually owns it or controls it right now and who he sold it to because the name of the account, the developer account, is the Great Suspender. So that's not going to help you at all.  It started showing some signs of what Google and what people are calling malice, under this new ownership. There was a thread in GitHub that was published in November and GitHub is where so much of this code is stored, right. It started to show some signs of frankly, of malice under this new ownership. They said that a new version contained malicious code that tracked users and manipulated web requests.  Now the Great Suspender did normally manipulate web requests, in order to keep everything flowing and smooth. So you might go to a website and then it suspends it, and it might use a different URL and the URL is going to cause the Great Suspender inside your browser to be called. Okay.  So I'm not sure what they mean about the manipulation here, but Google removed it. It's gone like that and no warning or anything else just within the last week. They completely removed the Great Suspender, not just from the store, they removed it from your machines where you were using it.  It said this - the extension contains malware, that's the only warning they gave. That is the only background they gave. They really haven't said a whole lot. People, by the way, who were using the Great Suspender were really left in a lurch because any suspended tabs when Google went bye-bye, any suspended tabs you had were a lost. How's that for a terrible thing? Absolutely terrible.  There is a Reddit thread out there that you can see.  They talk about how you can get your tabs back. So if you had followed my advice back then and put it on, good for you.  However, the problem is that it turned out to ultimately be malicious. So that's a big deal.  Remember I said three security problems in 24 hours, Google on Thursday, released a Chrome update that fixes what it called a zero-day vulnerability in the browser. This is another buffer, overflow problem. If you're programming, you know what that means in version eight, which is Google's open-source Javascript engine, and they rated it as high. Again, Google didn't say much about what the vulnerability was. Probably didn't want to encourage people to try and use it, but they said it was existing in the wild. That's not very good.  Then sync abuse, a security researcher reported on Thursday as well. Hackers were using malware that abused the Chrome sync feature to bypass firewalls so the malware could connect to command and control servers. Not good.   If you are using, if you have Chrome, I have it because I have to, cause I have to test things out.  If you are using it, make sure it is up to date. Most of the time Chrome will update itself, but this week is one where you should double-check Chrome and make sure it really has been updated. Cause these are some pretty nasties. All right.  I'm sure you're familiar with Senator Amy Klobuchar. She ran for President, under of course the Democrat ticket, this last election cycle. She is targeting big tech, at least. That's what she says. We'll talk about the reality. Hello everybody. Craig Peterson here. Thanks so much for joining us today. I really appreciate it. And I appreciate hearing from you as well. Any questions? I have so much information to give you guys we're starting some training courses, free email training, just everything me@craigpeterson.com. Any questions as well and visit me online at Craig peterson.com.  Senator Amy Klobuchar, is a Democrat from Minnesota and she has introduced a bill here in Congress and supposedly big tech is in her crosshairs. Now I think that's really funny because it's not in reality. Okay.  Here's an article from ARS Technica a very good website, by the way, on some of the tech. It says not only our major firms, such as Apple, Amazon, Facebook, and Google under investigation for allegedly breaking existing antitrust law.  A newly proposed bill in the Senate would make it harder for these and other firms to become so troublingly large in the first place.  If you've been listening to me for a while, I have friends that have been absolutely destroyed by some of these big tech firms. Where companies have gone ahead and then announced a product because they found, Oh, wait a minute. These guys over here, they're doing pretty darn well with that product. Let's see if we can't figure out if there's really a market forward or not end up, they're competing with us. So here's what we'll do. Let's go ahead and announce. We're going to have a product and it's going to be better than their product, and you can get it from us and you can rely on us. Don't pay attention to that small company over there. They are entirely unreliable.  All of a sudden that small company's sales plummet because people are waiting for big co to come up with their version of whatever it might be. Then they'll compare it to and maybe buy it a bit later on.  That's a way that many of these companies have grown and grown in a very big way.  Senator Klobuchar introduced this bill called Clara. Should have called it Clarice. The competition and anti-trust law enforcement reform act. This would be the largest overhaul to the US antitrust legislation in almost 50 years if it became law. It's interesting because her statement says while the United States once had some of the most effective antitrust laws in the world. Our economy today faces and massive competition problem.  I'm a little confused here. It looks like she is asking for competition. I don't know. I don't understand it. I thought she was one of these far-left ones. I remember the debates quite well. They're looking at expanding resources. In other words, give them more money at the federal trade commission, the department of justice in their antitrust division. They're looking to pursue a review of more mergers, more aggressively. Now my knee jerk reaction is, these big companies usually we'll fail. They usually just keep getting greedier and bigger. Look at what happened to GM. They went bankrupt and unfortunately, they use tax dollars to bail them out. Chrysler has gone bankrupt twice, and they've used our tax dollars to bail them out. I don't think that's a good idea.  Remember our tax dollars mean our time. We have to put in our time, we can't spend with our families. Time, we cannot spend on vacation. Time we cannot spend relaxing. It takes our time now, where we have to work to make money, to give to the government, to bail out companies that are failures. What the government decided to do rather than let these bigger companies fail as they ultimately always do. If you're old enough, you'll remember back in the seventies and eighties, IBM, too big to fail. They owned the business, the computer business in the sixties and seventies, and they just fell off the edge. Didn't they? That usually happens.  I'm not sure a hundred percent is going to happen with the social media companies but I suspect they are. Look at what's happening right now. If you have kids that are under 20, do they have a Facebook account? Even in their thirties, under 20-year-olds, they don't use Facebook anymore. Facebook is likely to die off unless they change in a big way. So what's Facebook do? They buy competitors. They buy WhatsApp. We've talked about WhatsApp before and my thoughts on that. They buy Instagram. They buy competitors and they use competitors too. Change their business model a little bit and move laterally rather than vertically. That's not a bad idea in business.  Frankly, most businesses expand their product line, expand their way of doing things by acquiring successful small businesses. So I get that. I think that's wonderful.  But what the Senator is proposing is that we have the government decide if a business should be allowed to acquire another business. There is a line in there where I agree with her. I'm not a hundred percent sure where that line should go. We've had antitrust laws here in the United States since 1800s, a very long time. The Sherman act short and simple back then it made it illegal to monopolize or attempt to monopolize or conspire to monopolize the market. I liked that one. How about if you're defining the market? There's two sides to this, one side often overlooked.  You've got the side of the supplier. You've got Facebook or GM or whoever. You say Facebook is the 800-pound gorilla. They own this market. So what should you do about Facebook? That's what she's trying to figure out here. What should we do? They're saying we should have a government regulator decide if it's a monopoly or not. We know how well that ends up working. You end up with a revolving door, the regulators working for the corporations, and then going back to the regulators right back and forth. It's absolutely crazy. That side of it.  There is another side and this other side is frankly not that new, but it has gotten worse more recently. It's called a monopsony. What this is where you have a lot of suppliers. So you'd have a whole lot of Facebook' for instance, but only one purchaser. You said, Craig, what are you talking about? We're the best and brightest. I'm not quite sure where you're going with this.  Here's where we're going. Monopsony is typified by Walmart. Walmart is well-known as a company that you do not want to sell to.  If you're a small business, you look at it, say, Oh yeah we got Walmart. They're going to sell our product. Okay. Okay. Great for you. It's not wonderful. Walmart took out every rubber hose they had, and they beat the supplier over the head and shoulders and back until they capitulated.  Walmart was routinely criticized for this forcing vendors to lower prices until it became unsustainable. I can think of a few of these products right off the top of my head. Do you remember Rubbermaid, right? It was the. The dominant force for those rubber containers at Walmart. Then all of a sudden it wasn't there anymore. Do you remember that? Because they couldn't sell it to Walmart at the prices Walmart wanted it at. That's one way Walmart keeps the prices low. With this monopsony problem. We're talking about a lot of companies that make competing products, but there's really one 800 pound gorilla. That's buying it. Walmart has a huge share of the US retail market.  Of course, now they've been one-upped by our friends over at Amazon. Amazon is there now in that kind of the same position. If you're going to sell something, you pretty much have to have it on Amazon. Amazon's basically going to dictate how much you can sell it for. Isn't that interesting. By the way, that word monopsony dates back almost a hundred years as well. Antitrust laws have never addressed the idea of this kind of anti-competitive behavior from the bottom-up direction. It's an interesting way.  So what do I think is the way to go on all of this stuff? First of all, we'll see if it ever becomes law. They tried something similar with a bill back in 2019, and it didn't get very far. With the Democrats controlling the white house, the house of representatives, and the Senate. The idea of reform being passed is more feasible, but there's one other side to this.  This goes back to my friends who have had their businesses effectively stolen by large companies. That is when we're looking at more regulation, which is exactly what she's proposing. More regulators, more money going to the regulators. They're making the entire marketplace harder.   If you're a small company and do you have to comply with all of these new rules, you now have to make all of these regulators happy. What are the odds? You're going to be able to do that compared to the big guys.  The big guys can quite easily afford all of the attorneys, all of the regulatory compliance people, everybody that's needed. But you can't.  So the big companies love this sort of thing because the regulations make it easier for them to keep competitors out of the market.  They're keeping competitors out of the market. We've already established that they're buying competitors, so they don't have to compete with them.   Now we're going to make matters worse with this Klobuchar bill. By doing what? By increasing regulation, making it harder to compete.  I propose that we'll actually have more monopolies after this. I would much rather just keep it simple and watch out for monopolies.  If a company makes mistakes and is going under, let it go under. Any parts of that company that have any value will be sold. That's what bankruptcy laws all about. If, someone who's thinking about maybe getting into an information security career. Or maybe you're looking at another career because right now there are millions of jobs open in InfoSec. We're going to talk about it. What do I wish I knew? Hi everybody, Craig Peterson here. Thanks so much for joining me.  You probably know that I have been in information security for a very long time. It started out as I had to protect my own company. When I got nailed 30 years ago with what was called the Morris worm. If you've been on any of my webinars where I do a little background, you heard my story there. It just scared me to death. I almost lost a bunch of clients because of this worm.  The worm is a piece of software that gets onto a computer and then spreads to other computers. Nowadays, we have a lot of things that act like worms. For instance, ransomware gets in and starts to spread. We have all kinds of bad guys that are doing the same thing. They'll get onto a machine in your network. Then they'll manually start looking around and seeing what you have, what file servers you have. Oh, let's connect to the G drive or whatever you call that file server drive or shared drive. They will look through your files and just the rest of the story, right?  You guys are the best and brightest. You really are. So here's where I come down. I think there is a lot of opportunities here and I did a little presentation for a mastermind group. I'm a member of last week.  I talked about a guy that became a friend of mine who is in his late fifties is right around 60 years old and decided he needed a new career. His prior career had literally disappeared. They had just been destroyed. He was in retail and he was managing a store and he had a lot of clients.  Of course, that job went away and he was looking for, what do I do next? He's been listening to me for a very long time on the radio and decided that maybe he should look into an InfoSe career. So he did.  I used him as a case study with my mastermind group. What should people be looking to do and how can I help them? So I figured let's do this because I saw an article in Dark Reading. That's one of my favorite websites for all of these articles on security. They were talking about exactly that, what should I be doing now, if I want a security career?  What are the things I should know and do?  The author of this is Joan Goodchild, an easy name to pronounce.  What happened to her? She points out, do you know information security can be really rewarding?  I absolutely agree with that. It is a thankless job, you miss one thing and something gets in. Someone brings it from home you don't quite have everything in place or everything up to date.  The biggest problem I've seen and I see with this friend of mine that I talked about in the mastermind is that we don't think we know enough. It's something called imposters syndrome. You've probably heard of it. It exists in a lot of different facets of our lives, not just in careers.   So he has imposter syndrome, as do a lot of people who are in cybersecurity because there's so much to know.  That's why I've said forever businesses cannot do cybersecurity.  Antivirus isn't going to work for you. Basic firewalls are not going to work for you. Even if you have the right equipment in place if you don't know how to manage it and set it up. All of this stuff, it's just not possible to do.  Maybe you should look at a security career, cybersecurity.  Let's run through some of the things that she put in there. Of course, I'll add my little side things, but she asked a bunch of people in cybersecurity, specifically what do you wish you would have known when you first started. Here's Gregory Touhill, president of Applegate, federal Brigadier general retired in first, us CSO under president Barack Obama, CSO is the chief information security officer for the federal government. He said. I love this quote. Cybersecurity is a full-contact team sport. There is no single person who is an expert on all of the various aspects of the area of the discipline. Once I got over myself and recognize that I couldn't do it all, I focused on building the right team of experts to solve issues before they become problems. That revelation triggered great future success. So there you go.  I think that's absolutely phenomenal to remember. You're going to have imposter syndrome if you decide to go into this, but the bottom line is to work with a team. If you can find a vendor like me, that knows what they're doing, that has people that can help you out because you cannot just be out there yourself. Next point here. This is from Wayne Pruitt, cyber-range, technical trainer in North America.  I've seen him before. He's been on one of my webinars where I was teaching about cybersecurity. To be effective in cybersecurity you need to have an understanding of all areas of information technology. Boy, is that true? If an analyst does not understand how a web application communicates with a database on the backend, how will he know if the traffic he's seen is normal or malicious? Without this understanding, analysts are just relying on security tools to make the determination. Hopefully, those tools are configured correctly. Sometimes you have to learn the basics. Don't understand the more complex. Again, this goes into you've got to have a team. You have to have multiple people who can help out at different levels because frankly, you can't know it all. Going back to that the general Brigadier general, he had such a good point. Next up is a chief strategist at Point 3 security.  Her name is Chloe Messdaghi. I really wish I knew how little diversity and inclusion were practiced. When I first entered the industry, many of us in our current organizations are now working for to improve the situation are gaining ground. But within my first year, I felt like I had entered the 1940s. I personally think this is ridiculous.  Men are attracted to certain things and certain careers, women, the same thing. There are some careers that are dominated by women and some that are men. One of my daughters works with me and she is a cybersecurity analyst and she's just finishing some more training. In fact, our people tend to spend about a third of their time in training and she's very good and it has nothing to do with the fact that my daughter's a girl. So come on, quit seeing sex and seeing the race everywhere. It's just crazy. It's out there and she's right there aren't many women that are in this career.  Next up here, Lakshmi Hanspal. She is CSO of a company called Box whom I have used before. They've got some very good products for file sharing. I switched over to Dropbox. I like some of the stuff a little bit better having come from a traditional stuff background.  It was not until I entered higher leadership roles and began formulating hiring strategies that I realized the more diverse teams solve the toughest challenges, skills, such as critical thinking, how to manage risk trade-offs and cybersecurity not being a zero-sum game are extremely fundamental and understanding and thriving in the security industry. It is obvious she spent some time writing that and trying to put in lots of big words.  She is right. We when we're talking about diversity in this case, what she's talking about are the diversity of skills, critical thinking, managing trade-offs, and understanding that we all have to work together on a team in the cybersecurity field. I thought she had a really great point.  Next up, we have Josh Rickard security research engineer over at Swimlane. I wish I knew and understood that an organization's priorities are guide rails for information security teams, as with most starting in InfoSec. I wanted to solve all the security issues I came across, but this is impossible. Understanding business priorities while communicating potential risks is critical. Okay. But helping the business with those priorities gives you credibility. Wow.  I'm going to save that one, frankly, because that is something that we all need to remember. I've had people on my team that was just a hundred percent focused on doing the right thing, quote unquote, on the cybersecurity front, and to them, the right thing was to make sure there are no holes. So I can see that from a certain perspective. And again, back to the diversity of thought, having someone like that on your team is a good idea, but it does have to be tempered.  Mary Writz VP product development over at ForgeRock. When I started 20 years ago as a penetration tester at IBM. I wondered how I even got the job because I did not feel qualified in hindsight. No one was truly qualified because it was such a young domain. I was hired because of my technical background, my curiosity, my interest, fast forward, 10 years, I was teaching a technical audience how to build hunt teams and I expect everyone in the audience knew more than me. A gentleman in the audience raised his hand and said, you're assuming we know what we're doing, but we don't. After we all laughed, we shared our notes and learned from each other. Wow. So insightful here, because again, she's pointing out.  The curiosity requirement. I think if you're not curious, you're not going to spend the time it takes to investigate and to learn more.   We're going to cover a few more.  You're listening to Craig Peterson and online@craigpeterson.com. We're talking right now about InfoSec, information security. Have you thought about maybe taking up a bit of a new career? Well there are some estimated 2 million open jobs in this one.  Of course, this is Craig Peterson.  We were just talking about this article that appeared in dark reading. Now, dark reading is an online magazine, right? It's a website. And they had this article that I absolutely had to read because it reminded me of someone I know. One of our listeners, who decided he needed a new career. He'd lost his job. He'd been out of work for over a year and he had been managing a retail camera shop and they shut it down. He was stuck. What do I do? He'd been listening to the show for a long time. He decided he wanted to go into information security. He took some courses on it and he got himself a job. A full-time job being the chief IT security guy for this company after just a few months. So that tells you how desperate these companies are. Kind of jerking his chain a little bit, but not right, because he just barely had any background.  If you want me to connect you with him, if you are serious about thinking about one of these careers, I'll be glad to forward your request to him, just to see if he's willing to talk to you. Just email me ME@craigpeterson.com and make sure you mentioned what this is all about. So I know what's going on.  Ran Harel, he's a security principal and product manager over at Semperis said, when I was growing up, I was quite an introvert, by the way, that sounds like a lot of us in it. I didn't realize until much later on in my career, just how great the security and tech community are looking back. I realize how quickly I could have solved so many issues, by just asking on an IRC channel or forum.  IRC is an internet relay chat, a bit of a technical thing, but it's an online chat. I would tell my former self, the problem you are facing now is probably been dealt with multiple times in the past year alone. Don't be afraid to ask the InfoSec community and then learn from them.  That's absolutely true. I found an online IRC channel basically, and they were set up just to talk about CMMC is this new standard that department of defense contractors are having to use. As you probably know, we have clients that are manufacturers and make things for the Department of Defense and they have to maintain security.  It's been interesting going in there answering questions for people and even asking a couple of questions. It is a great resource. This particular kind of IRC is over on discuss. You can find them all over the place. Reddit has a bunch of subreddits. It's dealing with these things, including, by the way, getting into an InfoSec career. So keep that in mind.  There's lots of people like myself that are more than willing to help because some of the stuff can get pretty confusing. All right. The next one. Is from Cody Cornell, chief security officer, and co-founder over at swimlane. He said, apply for jobs. You are not qualified for everyone else is. Man. I have seen that so many times everybody from PhDs all the way on, down throughout a high school and who have sent me applications that they were not even close to qualified for. Now, you can probably guess with me, I don't care if you have a degree. All I care about is can you do the work. Can you get along with the team are you really going to pull your weight and contribute?  I have seen many times that the answer to that is no, but I've seen other times where, wow, this person's really impressive. So again, apply for jobs you're not qualified for because everybody is. Security changes every day. New skills techniques and the needs of organizations are always shifting. And to be able to check every box from an experience and skills perspective is generally impossible. Looking back at 20 years of jobs in the security space, I don't believe that I was ever a hundred percent qualified for any of them, but felt confident that I could successfully do them.  So keep that in mind. Okay.  Again, imposter syndrome, we're all worried about it. This applies to more than just InfoSec. This applies to every job, every part of life, we all feel as though we're impostors and that we're not really qualified, but the question is, can you figure it out? Can you really do it? Next up here is Chris Robert, a hacker in residence, he calls himself over at Semperis and he says, overall, the most important lessons that I'd tell my younger self are not tech-based. Rather they focus on the human aspect of working in the cybersecurity industry. I think cybersecurity professionals in general, tend to focus on technology and ignore the human element, which is a mistake and something we need to collectively learn from and improve.  I agree with him on that as well. However, we know humans are going to make mistakes, so make sure you got the technology in place that will help to mitigate those types of problems.  Next up, we've got Marlys Rogers. She's CISO over at the CSAA insurance group that's a lot of four-letter acronyms. You are nothing without data. Data is queen. Coming from an insurance person, right? Without hard data, you can only speak to security in more imagined ways or ways. The board and C-suite are aware of in the media cost-benefit is only achievable with related data points. Demonstrating how much we are fighting off and how the tools, processes, and people make that happen. Next up we have Edward Frye, he's CSO over at our Aryaka. When I first started out, I was fairly impatient and wanted to get things done right away. While there are some things that need to be done right now, not everything needs to be done. Now have the ability to prioritize and focus on the items that will have the biggest impact. I think one of the biggest lessons I've learned along the way is while we may need to move quickly, this race is a marathon, not a sprint.  Patience is essential for security pros. I can certainly see that one.  Chris Morgan, senior cyber threat intelligence analyst over at Digital Shadows, despite the way that many in media liked to portray cyber threats, not everything will bring about the end of the world. For those getting into incident response and threats, try to have a sense of perspective and establish the facts before allowing your colleagues to push too quickly towards remediation mitigation, et cetera.  Expectation management amongst senior colleagues is also something you'll frequently have to do to avoid them breaking down over a mere phishing site. The quote, one of my former colleagues try to avoid chicken, little central.   I've seen that before as well.  The next one is things are changing daily and the last one is the perception of security is still a challenge.  So great little article by Joan Goodchild. You'll see it in my newsletter, which we're trying to get out now Sunday mornings. You can click through on the link if you'd like to read more.  As you can see. 2 million open jobs while between one and 3 million, depending on whose numbers you're going at in cybersecurity.  You don't have to be an expert. As I said, one of our listeners went from not knowing much about it at all, he can install windows that's it, to having a job in cybersecurity in less than six months.  I'm doing a special presentation coming up next month for the New England Society of Physicians and Psychiatrists. We're going to be talking a little bit about what we will talk about right now. What can you do to keep your patient information safe?  What can we do as patients to help make sure our data's safe.  You'll also find me on pretty much every podcast platform out there. Just search for my name, Craig Peterson. I have a podcast and it makes it pretty easy. I've found some of them don't understand if you try and search for Craig Peterson, tech talk, some of them do. I've been a little inconsistent with my naming over the years, but what the heck you can find me. It's easy enough to do.   I've got this new kind of purple-ish logo that you can look for to make sure it's the right one. And then you can listen to subscribe, please subscribe. It helps all of our numbers. You can also, of course, by listening online with one of these devices, help our numbers too. Cause it's you guys that are important.  The more subscribers we have, the way these algorithms work, the more promotion we'll get.  I think that's frankly, a very good thing as well.  What do you do if you need to see a doctor, that question has a different answer today than it did a year ago. I won't be able to say that in about another month, right? Because mid-March is when everything changed last year, 2020, man, what a year?  To see a doctor nowadays, we are typically going online, aren't we? You're going to talk to them. So many doctors have been using some of these platforms that are just not secure things like zoom, for instance, which we know isn't secure. Now, the fed kind of loosen things up a little bit under the Trump administration saying, Hey. People need to see doctors. The HIPAA PCI rules were loosened up a little bit in order to make things a little bit better. Then there's the whole DSS thing with HIPAA. All of these rules are just across the board are loosened up.  That has caused us to have more of our information stolen.  I'm going to be talking a little bit about this FBI, actually multi-agency warning that came out about the whole medical biz and what we need to be doing. Bottom line, Zoom is not something we should be using when we're talking to our doctors.  Now, this really bothers me too. Zoom is bad. We know that it's not secure and it should not be used for medical discussions, but Zoom has been private labeling its services so that you can go out and say, Hey, zoom, I want to use you and I'm going to call it my XYZ medical platform.  People have done that. Businesses have done that. Not really realizing how insecure Zoom is. I'm going to give them the benefit of the doubt here. You go and you use the XYZ medical platform and you have no clue of Zoom. Other than man, this looks a lot like Zoom, that's the dead giveaway. Keep an eye out for that because a lot of these platforms just aren't secure. I do use Zoom for basic webinars because everybody has it. Everybody knows how to use it.  I have WebEx and the WebEx version of it is secure. In fact, all the basic versions, even of WebEx are secure and I can have a thousand people on a webinar or which is a great way to go. It's all secure end to end.  Unlike again, what Zoom had been doing, which is it might be secure from your desktop, but it gets to a server where it's no longer secure. That kind of problem that telegram has, frankly.   If you are talking to your doctor, try and use an approved platform. That's how you can keep it safer. If you're a doctor and you have medical records be really careful. Zoom has done some just terrible things from a security standpoint. For instance, installing a complete web server on a Mac and allowing access to the Mac now via the webserver. Are you nuts? What the heck are you doing? That's just crazy. Just so insecure.  This is all part of a bigger discussion and the discussion has to do with Zero trust architectures.  We're seeing this more and more. A couple of you, Danny. I know you reached out to me asking specifically about zero trust architectures. Now Danny owns a chain of. Coffee shops and his family does as well. He says, Hey, listen, what should I do to become secure? So I helped them out. I got him a little Cisco platform, and second Cisco go that he can use as much more secure than the stuff you buy the big box retailers or your buying at Amazon, et cetera, and got it all configured for him and running. Then he heard me talk at about zero trust and said, Hey, can I do zero trust with this Cisco go, this Muraki go, is actually what it is and the answer is, well so here's the concept that businesses should be using, not just medical businesses, but businesses in general and zero trust means that you do not trust the devices, even the ones that you own that are on your network. You don't trust them to be secure. You don't trust them to talk to other devices without explicit permission.  Instead of having a switch that allows everything to talk to everything or a wifi network where everything can talk to everything, you have very narrow, very explicit ways that devices can talk to each other. That's what zero trust is all about.  That's where the businesses are moving.  There's zero trust architecture, and it doesn't refer to just a specific piece of technology. Obviously, we're talking about the idea that devices, and even on top of that, the users who are using the devices only have the bare minimum access they need in order to perform their job. Some businesses look at this and say that's a problem. I'm going to get complaints that someone needs access to this and such. You need that because here's what can happen. You've got this data that's sitting out there might be your intellectual property. You might be a doctor in a doctor's office and you've got patient records. You might have the records from your PCI your credit card records that you have. I put on. Those are sitting there on your network that is in fact a little dangerous because now you've got something the bad guys want.  It's dangerous if the bad guys find it and they take it, you could lose your business. It's that simple.  They are not allowing you to use the excuse anymore because of COVID. That excuse doesn't work anymore. The same thing's true with the credit card numbers that you have the excuse of I'm just a small business. It's not a big deal. Doesn't work anymore. They are taking away your credit card privileges.  We had an outreach from a client that became a client, that had their ability to take credit cards taken away from them because again, there was a leak. So we have to be careful when you're talking and you have private information, or if you don't want your machine to be hacked, do not use things like Zoom. I covered this extensively in my Improving Windows Security course. So keep an eye out for that as well. If you're not on my email list, you won't find out about this stuff. Go right now to Craig peterson.com. If you scroll down to the bottom of that homepage and sign up for that newsletter so you can get all of what I talk about here and more. Hey, thanks to some hackers out there. Your application for unemployment benefits might've been approved and you didn't apply for it in the first place. Turns out somebody stealing our information again. Hi everybody. Craig Peterson here.  Hey, this is a big concern of mine and I've often wondered because I have not been receiving these stimulus checks. I did not get the first round. I did not get the second round and I contacted the IRS and the IRS says depends on when you filed for 2019. Oh my gosh. Of course, I was a little late filing that year. They still haven't caught up. I guess that's good news, right? That the IRS data processing centers are terrible.  It goes back to aren't you glad we don't get the government we pay for is the bottom line here, but I've been concerned. Did somebody steal my refund?  Did somebody steal my unemployment benefits, did somebody steal my stimulus checks? It is happening more and more. There is a great little article talking about this, where someone had stolen the author's John personal information again. Now we probably all have had our personal information stolen, whether you're aware of it or not. As usual, I recommend that you go to have I been poned.com and pwnd is spelled, pwn, D have I been poned.com and find out whether or not your data has been stolen and is out there on the dark web.  They have a really good database of a lot of these major hacks.  Many of us have been hacked via these credit bureaus and one in particular Equifax who have all kinds of personal information about us, had it all stolen.  It's easy enough for people to steal our identities file fake tax returns. That's why the IRS is telling you, Hey, file your return as soon as possible. That way when the bad guy's file, we'll know it's the bad guys cause you already filed it. As opposed to you file your tax return and the IRS comes back and says, Oh, you already filed. We already sent you a refund or whatever. You already filed it.  That is a terrible thing to have to happen because now you have to fight and you have to prove it wasn't you. How do you prove a negative? It's almost impossible. At least in this case, hopefully, the check was sent to some state 50 States away, another side of the world. So you can say, Hey, listen, I never been there, then they can hopefully track where it was deposited.  Although now the bad guys are using these websites that have banks behind them, or maybe it's a bank with a website that is designed for people to get a debit card and an account just like that. That, in fact, it's what was used to hack my buddy. My 75-year-old buddy has been out delivering meals and had his paychecks stolen through one of those.  These fraudulent job claims are happening more and more. It's really a rampant scam. We've had warnings coming out from the FBI and they have really accelerated during the lockdown because now we've had these jobless benefits increased, people, making more money staying in their home than they made on the job. Disincentives for working, frankly. He's saying here the author again, John Wasik, that a third of a million people in his state alone were victims of the scam. This is an Illinois. This is where he lives. A third of the people in the state of Illinois, including several people that he knew.  We've got some national tallies underway. I don't know if you've seen these. I've seen them on TV and read about them, California. It is crazy. People were applying for California unemployment that didn't live in the state at all, would come into the state and once you're there in the state pick up the check, right? Cause that's all they were doing. Some people have been caught with more than a million dollars worth of California unemployment money.  Of course, it wasn't a check, it was actually a debit card. The same basic deal and California is estimating that more than $11 billion was stolen. Can you imagine that tens of millions of people could have been scammed because of this? This is the third time the author had been a victim of identity theft and fraud.  He wanted to know how could they get his information. Well, I've told you, check it out on, have I been poned. It'll tell you which breaches your information was in. It does it based on your email address.  It'll also tell what type of data was stolen in those breaches. So it's important stuff. I think you should definitely have a look at it.  He is very upset and I can understand it. Data breaches last year, more than 737 million data files are ripped off according to act.com.  Frankly, that was a digital pandemic, with more and more of us working at home. I just talked about the last segment. Your doctor's office and you are talking to your doctor. How now? Cause you don't go into the office. There are so many ways they can steal it.   The FBI's recording now a 400% increase in cybercrime reports that we had this mega hack of corporate and government systems. This whole thing we've talked about before called the SolarWinds hack, although it was really more of a Microsoft hack, and it went out via SolarWinds as well as other things. Be careful everybody out there. If you find yourself in these breach reports on, have I been poned make sure you go to the website. Set yourself up with a new password. At the very least use a password manager.  I just responded to an email before, when it went on the air today, from a listener who was talking about two-factor authentication.  He's worried about what to use. I sent him my special report on two-factor authentication, but it is the bottom line, quite a problem.  Again, Use one password, use two-factor authentication with one password. Don't use SMS as that and you'll be relatively safe.  I don't know I can't say do this and you'll be safe. I don't think there's any way to be sure your safe.  Having these organizations, businesses, government agencies hacked all the time that don't seem to care about losing our data, right? Oh, it's a cost of doing business,

Sal and Bob travel to Morton's Steakhouse in Troy, Michigan. The One Hit Wonder is I Fought the Law, which is a great choice since their guest is retired police officer, David Quinlivin, who is dubbed Q The Cop. The boys yap about their weekend gigs and complain about casinos. Sal jokes about his Italian heritage, and Officer Quinlivin tells the guys about the realities of police work, how to get out of a ticket, and gross encounters with lawbreakers. Follow the show for more: Twitter: @SalandBobShow Facebook: facebook.com/SalAndBobShow

Il est probable qu’un épisode sur le droit dans les Pensées de Pascal, après un été en compagnie de Gaston Lagaffe, a de quoi passer pour abrupte et d’une approche moins évidente, pour ne pas dire barbante, pour les fidèles auditeurs de l’émission. Pourtant, à la lecture de ce monument de la littérature française comme de la philosophie, l’approche pascalienne du droit et de la justice a de quoi nous interpeller, oui aujourd’hui, tant son actualité raisonne et l’éclairage de ces pensées nous fait prendre conscience du fait que les turpitudes de notre société du XXIème siècle, ne sont finalement pas si éloignées de celles de notre éminent auteur du XVIIème. La conception pascalienne du droit et de la justice pourrait se résumer en quelques aphorismes bien connus et c’est ce qui en fait certainement la force intrinsèque, pour ne pas dire la vérité intemporelle. Deux idées maîtresses irriguent donc les Pensées de Pascal. D’abord, la justice comme vertu en soi n’existe pas (ou plus) mais c’est la Force qui se déguise en justice pour être acceptée par l’homme, par la société ; et sans la Force il n’y aurait pas de justice, à l’exception d’une justice immanente à laquelle Pascal ne croit guère. Ensuite, le droit naturel existe mais il nous est imperceptible ; et ce faisant nous refusons le plus souvent de la percevoir et ce volontairement. Si bien que le droit est d’essence humaine, post adaméenne (c’est-à-dire après la chute ou le péché originel) et n’a pas plus de légitimité que celle que lui accorde la Force au moment où il est édicté, où il doit être appliqué. Crédits : - Extraits de La Foi prise au Mot du 31 mars 2019 sur la chaîne KtoTV - Extrait de Gilets jaunes : nouvelle journée de violences, plus de 1 300 interpellations, sur FRANCE 24 - Extrait de Témoignages confinement : comment les Français vivent-ils depuis un mois ? sur FRANCE 24 - Extrait de Cent mille dollars au soleil, Henri Verneuil, 1964 - Extrait de Batman Begins, Christopher Nolan, 2005 - I Fought the Law, The Clash, 1977

Three L.A. comedians are quarantined in a podcast studio during a global pandemic. There is literally nothing to be done EXCEPT make content. These are "The Corona Diaries" and this is Episode 91.  Sitting in with us again today one last time is our hilarious next door neighbor, Daniel Magden! Follow him on Twitter @MagdenDaniel and check out his podcast "Reefer Sadness".  Also, joining us for this episode via phone from the Old Dominion, it's Tom and Michelle from the EXCELLENT podcast, Apocalyse in Review. Music at the end is "I Fought the Law" by Dead Kennedys.

This week we're chasing the skip of great shows with Teenage Bounty Hunters!  Thrill as Suesie and Frank stay on topic for nearly the entire EPISODE.  Honestly, here's a spoiler alert: this show rules.  Intro is Rebel Girl by Bikini Kill.  Outro is I Fought the Law by the Clash.     We'd like to thank our sponsor for this week: Via Behavioral Health!  You can find them here:  https://www.instagram.com/theviacommunity/?hl=en   Please rate, review and subscribe to the show on iTunes E-mail: realteengirltalk@gmail.com  Facebook: https://www.facebook.com/groups/teengirltalk/ I Hope I Can Make It Through: https://ihopeicanmakeitthrough.podbean.com/

This week we're chasing the skip of great shows with Teenage Bounty Hunters!  Thrill as Suesie and Frank stay on topic for nearly the entire EPISODE.  Honestly, here's a spoiler alert: this show rules.  Intro is Rebel Girl by Bikini Kill.  Outro is I Fought the Law by the Clash.     We'd like to thank our sponsor for this week: Via Behavioral Health!  You can find them here:  https://www.instagram.com/theviacommunity/?hl=en   Please rate, review and subscribe to the show on iTunes E-mail: realteengirltalk@gmail.com  Facebook: https://www.facebook.com/groups/teengirltalk/ I Hope I Can Make It Through: https://ihopeicanmakeitthrough.podbean.com/

Episode seventy-four of A History of Rock Music in Five Hundred Songs looks at “It Doesn’t Matter Any More” by Buddy Holly, and at the reasons he ended up on the plane that killed him. 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 “Chantilly Lace” by the Big Bopper.  Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/—-more—- Before I get to the resources and transcript, a quick apology. This one is up more than a day late. I’ve not been coping very well with all the news about coronavirus outbreak (I’m one of those who’s been advised by the government to sel-isolate for three months) and things are taking longer than normal. Next week’s should be up at the normal time. Also, no Mixcloud this week — I get a server error when uploading the file to Mixcloud’s site. Erratum I mention that Bob Dylan saw the first show on the Winter Dance Party tour with no drummer. He actually saw the last one with the drummer, who was hospitalised that night after the show, not before the show as I had thought.  Resources   I’ve used two biographies for the bulk of the information here — Buddy Holly: Learning the Game, by Spencer Leigh, and Rave On: The Biography of Buddy Holly by Philip Norman. I also used  Beverly Mendheim’s book on Ritchie Valens. There are many collections of Buddy Holly’s work available, but many of them are very shoddy, with instrumental overdubs recorded over demos after his death. The best compilation I am aware of is The Memorial Collection, which contains almost everything he issued in his life, as he issued it (for some reason two cover versions are missing) along with the undubbed acoustic recordings that were messed with and released after his death. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   Before I begin, this episode will deal with both accidental bereavement and miscarriage, so if you think those subjects might be traumatising, you may want to skip this one. Today, we’re going to look at a record that holds a sad place in rock and roll’s history, because it’s the record that is often credited as “the first posthumous rock and roll hit”. Now, that’s not strictly true — as we’ve talked about before in this podcast, there is rarely, if ever, a “first” anything at all, and indeed we’ve already looked at an earlier posthumous hit when we talked about “Pledging My Love” by Johnny Ace. But it is a very sad fact that “It Doesn’t Matter Any More” by Buddy Holly ended up becoming the first of several posthumous hit records that Holly had, and that there would be many more posthumous hit records by other performers after him than there had been before him. Buddy Holly’s death is something that hangs over every attempt to tell his story. More than any other musician of his generation, his death has entered rock and roll mythology. Even if you don’t know Holly’s music, you probably know two things about him — that he wore glasses, and that he died in a plane crash. You’re likely also to know that Ritchie Valens and the Big Bopper died in the same crash, even if you don’t know any of the songs that either of those two artists recorded. Normally, when you’re telling a story, you’d leave that to the end, but in the case of Holly it overshadows his life so much that there’s absolutely no point trying to build up any suspense — not to mention that there’s something distasteful about turning a real person’s tragic death into entertainment. I hope I’ve not done so in episodes where other people have died, but it’s even more important not to do so here. Because while the death of Buddy Holly, Ritchie Valens, and the Big Bopper is always portrayed as an accident, the cause of their death has its roots in exploitation of young, vulnerable, people, and a pressure to work no matter what. So today, we’re going to look at how “It Doesn’t Matter Any More” became Buddy Holly’s last single: [Excerpt: Buddy Holly, “It Doesn’t Matter Any More”] People often talk about how Buddy Holly’s career was short, but what they don’t mention is that his chart career was even shorter. Holly’s first chart single, “That’ll Be the Day”, was released in May 1957. His last top thirty single during his lifetime, “Think it Over”, was released in May 1958. By the time he went on the Winter Dance Party, the tour that led to his death, in January 1959, he had gone many months without a hit, and his most recent record, “Heartbeat”, had only reached number eighty-two. He’d lost every important professional relationship in his life, and had split from the group that had made him famous. To see how this happened, we need to pick up where we left off with him last time. You’ll remember that when we left the Crickets, they’d released “That’ll Be the Day”, and it hadn’t yet become a hit, and they’d also released “Words of Love” as a Buddy Holly solo single. While there were different names on them, the same people would make the records, whether it was a solo or group record — Buddy Holly on vocals and lead guitar, Niki Sullivan on rhythm guitar, Jerry Allison on drums, Joe Mauldin on bass, and producer Norman Petty and his wife sometimes adding keyboards. They didn’t distinguish between “Buddy Holly” and “Crickets” material when recording — rather they separated it out later. The more straight-ahead rock and roll records would have backing vocals overdubbed on them, usually by a vocal group called the Picks, and would be released as Crickets records, while the more experimental ones would be left with only Holly’s vocal on, and would be released as solo records. (There were no records released as by “Buddy Holly and the Crickets” at the time, because the whole idea of the split was that DJs would play two records instead of one if they appeared to be by different artists). And they were recording *a lot*. Two days after “That’ll be the Day” was released, on the twenty-seventh of May 1957, they recorded “Everyday” and “Not Fade Away”. Between then and the first of July they recorded “Tell Me How”, “Oh Boy”, “Listen to Me”, “I’m Going to Love You Too”, and cover versions of Fats Domino’s “Valley of Tears” and Little Richard’s “Ready Teddy”. Remember, this was all before they’d had a single hit — “That’ll Be the Day” and “Words of Love” still hadn’t charted. This is quite an astonishing outpouring of songs, but the big leap forward came on the second of July, when they made a second attempt at a song they’d attempted to record back in late 1956, and had been playing in their stage show since then. The song had originally been titled “Cindy Lou”, after Buddy’s niece, but Jerry Allison had recently started dating a girl named Peggy Sue Gerrison, and they decided to change the lyrics to be about her. The song had also originally been played as a Latin-flavoured number, but when they were warming up, Allison started playing a fast paradiddle on his snare drum. Holly decided that they were going to change the tempo of the song and have Allison play that part all the way through, though this meant that Allison had to go out and play in the hallway rather than in the main studio, because the noise from his drums was too loud in the studio itself. The final touch came when Petty decided, on the song’s intro, to put the drums through the echo chamber and keep flicking the switch on the echo from “on” to “off”, so it sounded like there were two drummers playing: [Excerpt: Buddy Holly, “Peggy Sue”] Someone else was flicking a switch, too — Niki Sullivan was already starting to regret joining the Crickets, because there really wasn’t room for his rhythm guitar on most of the songs they were playing. And on “Peggy Sue” he ended up not playing at all. On that song, Buddy had to switch between two pickups — one for when he was singing, and another to give his guitar a different tone during the solo. But he was playing so fast that he couldn’t move his hand to the switch, and in those days there were no foot pedals one could use for the same sort of effect. So Niki Sullivan became Holly’s foot pedal. He knelt beside Holly and waited for the point when the solo was about to start, and flicked the switch on his guitar. When the solo came to an end again, Sullivan flicked the switch again and it went back to the original sound. [Excerpt: Buddy Holly, “Peggy Sue”] It’s a really strange sounding record, if you start to pay attention to it. Other than during the solo, Holly’s guitar is so quiet that you can hear the plectrum as loudly as you can hear the notes. He just keeps up a ram-a-ram-a quaver downstrum throughout the whole song, which sounds simple until you try to play it, at which point you realise that you start feeling like your arm’s going to fall off about a quarter of the way through. And there’s just that, those drums (playing a part which must be similarly physically demanding) with their weird echo, and Holly’s voice. In theory, Joe Mauldin’s bass is also in there, but it’s there at almost homeopathic levels. It’s a record that is entirely carried by the voice, the drums, and the guitar solo. Of course, Niki Sullivan wasn’t happy about being relegated to guitar-switch-flicker, and there were other tensions within the group as well. Holly was having an affair with a married woman at the time — and Jerry Allison, who was Holly’s best friend as well as his bandmate, was also in love with her, though not in a relationship with her, and so Holly had to keep his affair hidden from his best friend. And not only that, but Allison and Sullivan were starting to have problems with each other, too. To help defuse the situation, Holly’s brother Larry took him on holiday, to go fishing in Colorado. But even there, the stress of the current situation was showing — Buddy spent much of the trip worried about the lack of success of “That’ll Be the Day”, and obsessing over a new record by a new singer, Paul Anka, that had gone to number one: [Excerpt: Paul Anka, “Diana”] Holly was insistent that he could do better than that, and that his records were at least as good. But so far they were doing nothing at all on the charts. But then a strange thing happened. “That’ll Be the Day” started getting picked up by black radio stations. It turned out that there had been another group called the Crickets — a black doo-wop group from about five years earlier, led by a singer called Dean Barlow, who had specialised in smooth Ink Spots-style ballads: [Excerpt The Crickets featuring Dean Barlow, “Be Faithful”] People at black radio stations had assumed that this new group called the Crickets was the same one, and had then discovered that “That’ll Be the Day” was really rather good. The group even got booked on an otherwise all-black tour headlined by Clyde McPhatter and Otis Rush, booked by people who hadn’t realised they were white. Before going on the tour, they formally arranged to have Norman Petty be their manager as well as their producer. They were a success on the tour, though when it reached the Harlem Apollo, which had notoriously hostile audiences, the group had to reconfigure their sets, as the audiences didn’t like any of Holly’s original material except “That’ll Be the Day”, but did like the group’s cover versions of R&B records like “Bo Diddley”: [Excerpt: Buddy Holly, “Bo Diddley (Undubbed Version)”] Some have said that the Crickets were the first white act to play the Apollo. That’s not the case — Bobby Darin had played there before them, and I think so had the jazz drummer Buddy Rich, and maybe one or two others. But it was still a rarity, and the Crickets had to work hard to win the audience around. After they finished that tour, they moved on to a residency at the Brooklyn Paramount, on an Alan Freed show that also featured Little Richard and Larry Williams — who the Crickets met for the first time when they walked into the dressing room to find Richard and Williams engaged in a threesome with Richard’s girlfriend. During that engagement at the Paramount, the tensions within the group reached boiling point. Niki Sullivan, who was in an awful mood because he was trying to quit smoking, revealed the truth about Holly’s affair to Allison, and the group got in a fist-fight. According to Sullivan — who seems not to have always been the most reliable of interviewees — Sullivan gave Jerry Allison a black eye, and then straight away they had to go to the rooftop to take the photo for the group’s first album, The “Chirping” Crickets. Sullivan says that while the photo was retouched to hide the black eye, it’s still visible, though I can’t see it myself. After this, they went into a three-month tour on a giant package of stars featuring Chuck Berry, Fats Domino, Paul Anka, the Everly Brothers, the Bobbettes, the Drifters, LaVern Baker, and many more. By this point, both “That’ll Be the Day” and “Peggy Sue” had risen up the charts — “That’ll Be the Day” eventually went to number one, while “Peggy Sue” hit number three — and the next Crickets single, “Oh Boy!” was also charting. “Oh Boy!” had originally been written by an acquaintance of the band, Sonny West, who had recorded his own version as “All My Love” a short while earlier: [Excerpt: Sonny West, “All My Love”] Glen Hardin, the piano player on that track, would later join a lineup of the Crickets in the sixties (and later still would be Elvis’ piano player and arranger in the seventies). Holly would later also cover another of West’s songs, “Rave On”. The Crickets’ version of “Oh Boy!” was recorded at a faster tempo, and became another major hit, their last top ten: [Excerpt: The Crickets, “Oh Boy!”] Around the time that came out, Eddie Cochran joined the tour, and like the Everly Brothers he became fast friends with the group. The group also made an appearance on the Ed Sullivan Show, with Holly, Mauldin, and Allison enthusiastically performing “That’ll Be the Day” and “Peggy Sue”, and Sullivan enthusiastically miming and playing an unplugged guitar. Sullivan was becoming more and more sidelined in the group, and when they returned to Lubbock at the end of the tour — during which he’d ended up breaking down and crying — he decided he was going to quit the group. Sullivan tried to have a solo career, releasing “It’s All Over” on Dot Records: [Excerpt: Niki Sullivan, “It’s All Over”] But he had no success, and ended up working in electronics, and in later years also making money from the Buddy Holly nostalgia industry. He’d only toured as a member of the group for a total of ninety days, though he’d been playing with them in the studio for a few months before that, and he’d played on a total of twenty-seven of the thirty-two songs that Holly or the Crickets would release in Holly’s lifetime. While he’d been promised an equal share of the group’s income — and Petty had also promised Sullivan, like all the other Crickets, that he would pay 10% of his income to his church — Sullivan got into endless battles with Petty over seeing the group’s accounts, which Petty wouldn’t show him, and eventually settled for getting just $1000, ten percent of the recording royalties just for the single “That’ll Be the Day”, and co-writing royalties on one song, “I’m Going to Love You Too”. His church didn’t get a cent. Meanwhile, Petty was busy trying to widen the rifts in the group. He decided that while the records would still be released as either “Buddy Holly” or “the Crickets”, as a live act they would from now on be billed as “Buddy Holly and the Crickets”, a singer and his backing group, and that while Mauldin and Allison would continue to get twenty-five percent of the money each, Holly would be on fifty percent. This was an easy decision, since Petty was handling all the money and only giving the group pocket money rather than giving them their actual shares of the money they’d earned. The group spent all of 1958 touring, visiting Hawaii, Australia, the UK, and all over the US, including the famous last ever Alan Freed tour that we looked at recently in episodes on Chuck Berry and Jerry Lee Lewis. They got in another guitarist, Tommy Allsup, who took over the lead role while Buddy played rhythm, and who joined them on tour, though he wasn’t an official member of the group. The first recording Allsup played on was “It’s So Easy”: [Excerpt: The Crickets, “It’s So Easy”] But the group’s records were selling less and less well. Holly was getting worried, and there was another factor that came into play. On a visit to New York, stopping in to visit their publisher in the Brill Building, all three of the Crickets became attracted to the receptionist, a Puerto Rican woman named Maria Elena Santiago who was a few years older than them. They all started to joke about which of them would ask her out, and Holly eventually did so. It turned out that while Maria Elena was twenty-five, she’d never yet been on a date, and she had to ask the permission of her aunt, who she lived with, and who was also the head of the Latin-American division of the publishing company. The aunt rang round every business contact she had, satisfied herself that Buddy was a nice boy, and gave her blessing for the date. The next day, she was giving her blessing for the two to marry — Buddy proposed on the very first date. They eventually went on a joint honeymoon with Jerry Allison and Peggy Sue. But Maria Elena was someone who worked in the music industry, and was a little bit older, and she started saying things to Buddy like “You need to get a proper accounting of the money that’s owed you”, and “You should be getting paid”. This strained his relationship with Petty, who didn’t want any woman of colour butting her nose in and getting involved in his business. Buddy moved to a flat in Greenwich Village with Maria Elena, but for the moment he was still working with Petty, even after Petty used some extremely misogynistic slurs I’m not going to repeat here against his new wife. But he was worried about his lack of hits, and they tried a few different variations on the formula. The Crickets recorded one song, a cover version of a song they’d learned on the Australian tour, with Jerry Allison singing lead. It was released under the name “Ivan” — Allison’s middle name — and became a minor hit: [Excerpt: Ivan, “Real Wild Child”] They tried more and more different things, like getting King Curtis in to play saxophone on “Reminiscing”, and on one occasion dispensing with the Crickets entirely and having Buddy cut a Bobby Darin song, “Early in the Morning”, with other musicians. They were stockpiling recordings much faster than they could release them, but the releases weren’t doing well at all. “It’s So Easy” didn’t even reach the top one hundred. Holly was also working with other artists. In September, he produced a session for his friend Waylon Jennings, who would later become a huge country star. It was Jennings’ first ever session, and they turned out an interesting version of the old Cajun song “Jole Blon”, which had earlier been a hit for Moon Mullican. This version had Holly on guitar and King Curtis on saxophone, and is a really interesting attempt at blending Cajun music with R&B: [Excerpt: Waylon Jennings, “Jole Blon”] But Holly’s biggest hope was placed in a session that was really breaking new ground. No rock and roll singer had ever recorded with a full string section before — at least as far as he was aware, and bearing in mind that, as we’ve seen many times, there’s never truly a first anything. In October 1958, Holly went into the studio with the Dick Jacobs Orchestra, with the intention of recording three songs — his own “True Love Ways”, a song called “Moondreams” written by Petty, and one called “Raining in My Heart” written by Felice and Boudleaux Bryant, who’d written many hits for his friends the Everly Brothers. At the last minute, though, he decided to record a fourth song, which had been written for him by Paul Anka, the same kid whose “Diana” had been so irritating to him the year before. He played through the song on his guitar for Dick Jacobs, who only had a short while to write the arrangement, and so stuck to the simplest thing he could think of, basing it around pizzicato violins: [Excerpt: Buddy Holly, “It Doesn’t Matter Any More”] At that point, everything still seemed like it could work out OK. Norman Petty and the other Crickets were all there at the recording session, cheering Buddy on. That night the Crickets appeared on American Bandstand, miming to “It’s So Easy”. That would be the last time they ever performed together, and soon there would be an irreparable split that would lead directly to Holly’s death — and to his posthumous fame. Holly was getting sick of Norman Petty’s continual withholding of royalties, and he’d come up with a plan. The Crickets would, as a group, confront Petty, get him to give them the money he owed them, and then all move to New York together to start up their own record label and publishing company. They’d stop touring, and focus on making records, and this would allow them the time to get things right and try new things out, which would lead to them having hits again, and they could also produce records for their friends like Waylon Jennings and Sonny Curtis. It was a good plan, and it might have worked, but it relied on them getting that money off Norman Petty. When the other two got back to Texas, Petty started manipulating them. He told them they were small-town Texas boys who would never be able to live in the big city. He told them that they didn’t need Buddy Holly, and that they could carry on making Crickets records without him. He told them that Maria Elena was manipulating Buddy, and that if they went off to New York with him it would be her who was in charge of the group from that point on. And he also pointed out that he was currently the only signatory on the group’s bank account, and it would be a real shame if something happened to all that money. By the time Buddy got back to Texas, the other two Crickets had agreed that they were going to stick with Norman Petty. Petty said it was fine if Buddy wanted to fire him, but he wasn’t getting any money until a full audit had been done of the organisation’s money. Buddy was no longer even going to get the per diem pocket money or expenses he’d been getting. Holly went back to New York, and started writing many, many, more songs, recording dozens of acoustic demos for when he could start his plan up: [Excerpt: Buddy Holly, “Crying, Waiting, Hoping”] It was a massive creative explosion for the young man. He was not only writing songs himself, but he was busily planning to make an album of Latin music, and he was making preparations for two more projects he’d like to do — an album of duets on gospel songs with Mahalia Jackson, and an album of soul duets with Ray Charles. He was going to jazz clubs, and he had ambitions of following Elvis into films, but doing it properly — he enrolled in courses with Lee Strasberg’s Actors Studio, to learn Method Acting. Greenwich Village in 1958 was the perfect place for a young man with a huge amount of natural talent and appetite for learning, but little experience of the wider world and culture. But the young couple were living off Maria Elena’s aunt’s generosity, and had no income at all of their own. And then Maria Elena revealed that she was pregnant. And Norman Petty revealed something he’d kept hidden before — by the terms of Buddy’s contract, he hadn’t really been recording for Brunswick or Coral, so they didn’t owe him a penny. He’d been recording for Petty’s company, who then sold the masters on to the other labels, and would get all the royalties. The Crickets bank account into which the royalties had supposedly been being paid, and which Petty had refused to let the band members see, was essentially empty. There was only one thing for it. He had to do another tour. And the only one he could get on was a miserable-seeming affair called the Winter Dance Party. While most of the rock and roll package tours of the time had more than a dozen acts on, this one had only five. There was an opening act called Frankie Sardo, and then Dion and the Belmonts, who had had a few minor hits, and had just recorded, but not yet released, their breakthrough record “Teenager in Love”: [Excerpt: Dion and the Belmonts, “Teenager in Love”] Then there was the Big Bopper, who was actually a fairly accomplished songwriter but was touring on the basis of his one hit, a novelty song called “Chantilly Lace”: [Excerpt: the Big Bopper, “Chantilly Lace”] And Ritchie Valens, whose hit “Donna” was rising up the charts in a way that “It Doesn’t Matter Any More” was notably failing to do: [Excerpt: Ritchie Valens, “Donna”] Buddy put together a new touring band consisting of Tommy Allsup on guitar, Waylon Jennings on bass — who had never played bass before starting the tour — and a drummer called Carl Bunch. For a while it looked like Buddy’s friend Eddie Cochran was going to go on tour with them as well, but shortly before the tour started Cochran got an offer to do the Ed Sullivan Show, which would have clashed with the tour dates, and so he didn’t make it. Maria Elena was very insistent that she didn’t want Buddy to go, but he felt that he had no choice if he was going to support his new child. The Winter Dance Party toured Wisconsin, Iowa, and Minnesota, through the end of January and the beginning of February 1959, and the conditions were miserable for everyone concerned. The tour had been put together with no thought of logistics, and it zig-zagged wildly across those three states, with gigs often four hundred miles away from each other. The musicians had to sleep on the tour bus — or buses. The tour was being run on a shoe-string, and they’d gone with the cheapest vehicle-hire company possible. They went through, according to one biography I’ve read, eight different buses in eleven days, as none of the buses were able to cope with the Midwestern winter, and their engines kept failing and the heating on several of the buses broke down. I don’t know if you’ve spent any time in that part of America in the winter, but I go there for Christmas every year (my wife has family in Minnesota) and it’s unimaginably cold in a way you can’t understand unless you’ve experienced it. It’s not unusual for temperatures to drop to as low as minus forty degrees, and to have three feet or more of snow. Travelling in a bus, with no heating, in that weather, all packed together, was hell for everyone. The Big Bopper and Valens were both fat, and couldn’t fit in the small seats easily. Several people on the tour, including Bopper and Valens, got the flu. And then finally Carl Bunch got hospitalised with frostbite. Buddy’s band, which was backing everyone on stage, now had no drummer, and so for the next three days of the tour Holly, Dion, and Valens would all take it in turns playing the drums, as all of them were adequate drummers. The shows were still good, at least according to a young man named Robert Zimmerman, who saw the first drummerless show, in Duluth Minnesota, and who would move to Greenwich Village himself not that long afterwards. After a show in Clear Lake, Iowa, Buddy had had enough. He decided to charter a plane to take him to Fargo, North Dakota, which was just near Moorhead, Minnesota, where they were planning on playing their next show. He’d take everyone’s laundry — everyone stank and had been wearing the same clothes for days — and get it washed, and get some sleep in a real bed. The original plan was to have Allsup and Jennings travel with him, but eventually they gave up their seats to the two other people who were suffering the most — the Big Bopper and Valens. There are different stories about how that happened, most involving a coin-toss, but they all agree that when Buddy found out that Waylon Jennings was giving up his seat, he jokingly said to Jennings “I hope your old bus freezes”, and Jennings replied, “Yeah, well I hope your ol’ plane crashes”. The three of them got on the plane in the middle of the night, on a foggy winter’s night, which would require flying by instruments. Unfortunately, while the pilot on the plane was rated as being a good pilot during the day, he kept almost failing his certification for being bad at flying by instrument. And the plane in question had an unusual type of altitude meter. Where most altitude meters would go up when the plane was going up and down when it was going down, that particular model’s meter went down when the plane was going up, and up when it was going down. The plane took off, and less than five minutes after takeoff, it plummeted straight down, nose first, into the ground at top speed, killing everyone on board instantly. As soon as the news got out, Holly’s last single finally started rising up the charts. It ended up going to number thirteen on the US charts, and number one in many other countries. The aftermath shows how much contempt the music industry — and society itself — had for those musicians at that time. Maria Elena found out about Buddy’s death not from the police, but from the TV — this later prompted changes in how news of celebrity deaths was to be revealed. She was so upset that she miscarried two days later. She was too distraught to attend the funeral, and to this day has still never been able to bring herself to visit her husband’s grave. The grief was just too much. The rest of the people on the tour were forced to continue the remaining thirteen days of the tour without the three acts anyone wanted to go and see, but were also not paid their full wages, because the bill wasn’t as advertised. A new young singer was picked up to round out the bill on the next gig, a young Minnesotan Holly soundalike called Bobby Vee, whose first single, “Suzy Baby”, was just about to come out: [Excerpt: Bobby Vee, “Suzy Baby”] When Vee went on tour on his own, later, he hired that Zimmerman kid we mentioned earlier as his piano player. Zimmerman worked under the stage name Elston Gunn, but would later choose a better one. After that date Holly, Valens, and the Bopper were replaced by Fabian, Frankie Avalon, and Jimmy Clanton, and the tour continued. Meanwhile, the remaining Crickets picked themselves up and carried on. They got Buddy’s old friend Sonny Curtis on guitar, and a succession of Holly-soundalike singers, and continued playing together until Joe Mauldin died in 2015. Most of their records without Buddy weren’t particularly memorable, but they did record one song written by Curtis which would later become a hit for several other people, “I Fought the Law”: [Excerpt: The Crickets, “I Fought the Law”] But the person who ended up benefiting most from Holly’s death was Norman Petty. Suddenly his stockpile of unreleased Buddy Holly recordings was a goldmine — and not only that, he ended up coming to an agreement with Holly’s estate that he could take all those demos Holly had recorded and overdub new backing tracks on them, turning them into full-blown rock and roll songs. Between overdubbed versions of the demos, and stockpiled full-band recordings, Buddy Holly kept having hit singles in the rest of the world until 1965, though none charted in the US, and he made both Petty and his estate very rich. Norman Petty died in 1984. His last project was a still-unreleased “updating” of Buddy’s biggest hits with synthesisers. These days, Buddy Holly is once again on tour, or at least something purporting to be him is. You can now go and see a “hologram tour”, in which an image of a look-not-very-alike actor miming to Holly’s old recordings is projected on glass, using the old Victorian stage trick Pepper’s Ghost, while a live band plays along to the records. Just because you’ve worked someone to death aged twenty-two, doesn’t mean that they can’t still keep earning money for you when they’re eighty-three. And a hologram will never complain about how cold the tour bus is, or want to wash his laundry.

Episode seventy-four of A History of Rock Music in Five Hundred Songs looks at “It Doesn’t Matter Any More” by Buddy Holly, and at the reasons he ended up on the plane that killed him. 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 “Chantilly Lace” by the Big Bopper.  Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/—-more—- Before I get to the resources and transcript, a quick apology. This one is up more than a day late. I’ve not been coping very well with all the news about coronavirus outbreak (I’m one of those who’s been advised by the government to sel-isolate for three months) and things are taking longer than normal. Next week’s should be up at the normal time. Also, no Mixcloud this week — I get a server error when uploading the file to Mixcloud’s site. Erratum I mention that Bob Dylan saw the first show on the Winter Dance Party tour with no drummer. He actually saw the last one with the drummer, who was hospitalised that night after the show, not before the show as I had thought.  Resources   I’ve used two biographies for the bulk of the information here — Buddy Holly: Learning the Game, by Spencer Leigh, and Rave On: The Biography of Buddy Holly by Philip Norman. I also used  Beverly Mendheim’s book on Ritchie Valens. There are many collections of Buddy Holly’s work available, but many of them are very shoddy, with instrumental overdubs recorded over demos after his death. The best compilation I am aware of is The Memorial Collection, which contains almost everything he issued in his life, as he issued it (for some reason two cover versions are missing) along with the undubbed acoustic recordings that were messed with and released after his death. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   Before I begin, this episode will deal with both accidental bereavement and miscarriage, so if you think those subjects might be traumatising, you may want to skip this one. Today, we’re going to look at a record that holds a sad place in rock and roll’s history, because it’s the record that is often credited as “the first posthumous rock and roll hit”. Now, that’s not strictly true — as we’ve talked about before in this podcast, there is rarely, if ever, a “first” anything at all, and indeed we’ve already looked at an earlier posthumous hit when we talked about “Pledging My Love” by Johnny Ace. But it is a very sad fact that “It Doesn’t Matter Any More” by Buddy Holly ended up becoming the first of several posthumous hit records that Holly had, and that there would be many more posthumous hit records by other performers after him than there had been before him. Buddy Holly’s death is something that hangs over every attempt to tell his story. More than any other musician of his generation, his death has entered rock and roll mythology. Even if you don’t know Holly’s music, you probably know two things about him — that he wore glasses, and that he died in a plane crash. You’re likely also to know that Ritchie Valens and the Big Bopper died in the same crash, even if you don’t know any of the songs that either of those two artists recorded. Normally, when you’re telling a story, you’d leave that to the end, but in the case of Holly it overshadows his life so much that there’s absolutely no point trying to build up any suspense — not to mention that there’s something distasteful about turning a real person’s tragic death into entertainment. I hope I’ve not done so in episodes where other people have died, but it’s even more important not to do so here. Because while the death of Buddy Holly, Ritchie Valens, and the Big Bopper is always portrayed as an accident, the cause of their death has its roots in exploitation of young, vulnerable, people, and a pressure to work no matter what. So today, we’re going to look at how “It Doesn’t Matter Any More” became Buddy Holly’s last single: [Excerpt: Buddy Holly, “It Doesn’t Matter Any More”] People often talk about how Buddy Holly’s career was short, but what they don’t mention is that his chart career was even shorter. Holly’s first chart single, “That’ll Be the Day”, was released in May 1957. His last top thirty single during his lifetime, “Think it Over”, was released in May 1958. By the time he went on the Winter Dance Party, the tour that led to his death, in January 1959, he had gone many months without a hit, and his most recent record, “Heartbeat”, had only reached number eighty-two. He’d lost every important professional relationship in his life, and had split from the group that had made him famous. To see how this happened, we need to pick up where we left off with him last time. You’ll remember that when we left the Crickets, they’d released “That’ll Be the Day”, and it hadn’t yet become a hit, and they’d also released “Words of Love” as a Buddy Holly solo single. While there were different names on them, the same people would make the records, whether it was a solo or group record — Buddy Holly on vocals and lead guitar, Niki Sullivan on rhythm guitar, Jerry Allison on drums, Joe Mauldin on bass, and producer Norman Petty and his wife sometimes adding keyboards. They didn’t distinguish between “Buddy Holly” and “Crickets” material when recording — rather they separated it out later. The more straight-ahead rock and roll records would have backing vocals overdubbed on them, usually by a vocal group called the Picks, and would be released as Crickets records, while the more experimental ones would be left with only Holly’s vocal on, and would be released as solo records. (There were no records released as by “Buddy Holly and the Crickets” at the time, because the whole idea of the split was that DJs would play two records instead of one if they appeared to be by different artists). And they were recording *a lot*. Two days after “That’ll be the Day” was released, on the twenty-seventh of May 1957, they recorded “Everyday” and “Not Fade Away”. Between then and the first of July they recorded “Tell Me How”, “Oh Boy”, “Listen to Me”, “I’m Going to Love You Too”, and cover versions of Fats Domino’s “Valley of Tears” and Little Richard’s “Ready Teddy”. Remember, this was all before they’d had a single hit — “That’ll Be the Day” and “Words of Love” still hadn’t charted. This is quite an astonishing outpouring of songs, but the big leap forward came on the second of July, when they made a second attempt at a song they’d attempted to record back in late 1956, and had been playing in their stage show since then. The song had originally been titled “Cindy Lou”, after Buddy’s niece, but Jerry Allison had recently started dating a girl named Peggy Sue Gerrison, and they decided to change the lyrics to be about her. The song had also originally been played as a Latin-flavoured number, but when they were warming up, Allison started playing a fast paradiddle on his snare drum. Holly decided that they were going to change the tempo of the song and have Allison play that part all the way through, though this meant that Allison had to go out and play in the hallway rather than in the main studio, because the noise from his drums was too loud in the studio itself. The final touch came when Petty decided, on the song’s intro, to put the drums through the echo chamber and keep flicking the switch on the echo from “on” to “off”, so it sounded like there were two drummers playing: [Excerpt: Buddy Holly, “Peggy Sue”] Someone else was flicking a switch, too — Niki Sullivan was already starting to regret joining the Crickets, because there really wasn’t room for his rhythm guitar on most of the songs they were playing. And on “Peggy Sue” he ended up not playing at all. On that song, Buddy had to switch between two pickups — one for when he was singing, and another to give his guitar a different tone during the solo. But he was playing so fast that he couldn’t move his hand to the switch, and in those days there were no foot pedals one could use for the same sort of effect. So Niki Sullivan became Holly’s foot pedal. He knelt beside Holly and waited for the point when the solo was about to start, and flicked the switch on his guitar. When the solo came to an end again, Sullivan flicked the switch again and it went back to the original sound. [Excerpt: Buddy Holly, “Peggy Sue”] It’s a really strange sounding record, if you start to pay attention to it. Other than during the solo, Holly’s guitar is so quiet that you can hear the plectrum as loudly as you can hear the notes. He just keeps up a ram-a-ram-a quaver downstrum throughout the whole song, which sounds simple until you try to play it, at which point you realise that you start feeling like your arm’s going to fall off about a quarter of the way through. And there’s just that, those drums (playing a part which must be similarly physically demanding) with their weird echo, and Holly’s voice. In theory, Joe Mauldin’s bass is also in there, but it’s there at almost homeopathic levels. It’s a record that is entirely carried by the voice, the drums, and the guitar solo. Of course, Niki Sullivan wasn’t happy about being relegated to guitar-switch-flicker, and there were other tensions within the group as well. Holly was having an affair with a married woman at the time — and Jerry Allison, who was Holly’s best friend as well as his bandmate, was also in love with her, though not in a relationship with her, and so Holly had to keep his affair hidden from his best friend. And not only that, but Allison and Sullivan were starting to have problems with each other, too. To help defuse the situation, Holly’s brother Larry took him on holiday, to go fishing in Colorado. But even there, the stress of the current situation was showing — Buddy spent much of the trip worried about the lack of success of “That’ll Be the Day”, and obsessing over a new record by a new singer, Paul Anka, that had gone to number one: [Excerpt: Paul Anka, “Diana”] Holly was insistent that he could do better than that, and that his records were at least as good. But so far they were doing nothing at all on the charts. But then a strange thing happened. “That’ll Be the Day” started getting picked up by black radio stations. It turned out that there had been another group called the Crickets — a black doo-wop group from about five years earlier, led by a singer called Dean Barlow, who had specialised in smooth Ink Spots-style ballads: [Excerpt The Crickets featuring Dean Barlow, “Be Faithful”] People at black radio stations had assumed that this new group called the Crickets was the same one, and had then discovered that “That’ll Be the Day” was really rather good. The group even got booked on an otherwise all-black tour headlined by Clyde McPhatter and Otis Rush, booked by people who hadn’t realised they were white. Before going on the tour, they formally arranged to have Norman Petty be their manager as well as their producer. They were a success on the tour, though when it reached the Harlem Apollo, which had notoriously hostile audiences, the group had to reconfigure their sets, as the audiences didn’t like any of Holly’s original material except “That’ll Be the Day”, but did like the group’s cover versions of R&B records like “Bo Diddley”: [Excerpt: Buddy Holly, “Bo Diddley (Undubbed Version)”] Some have said that the Crickets were the first white act to play the Apollo. That’s not the case — Bobby Darin had played there before them, and I think so had the jazz drummer Buddy Rich, and maybe one or two others. But it was still a rarity, and the Crickets had to work hard to win the audience around. After they finished that tour, they moved on to a residency at the Brooklyn Paramount, on an Alan Freed show that also featured Little Richard and Larry Williams — who the Crickets met for the first time when they walked into the dressing room to find Richard and Williams engaged in a threesome with Richard’s girlfriend. During that engagement at the Paramount, the tensions within the group reached boiling point. Niki Sullivan, who was in an awful mood because he was trying to quit smoking, revealed the truth about Holly’s affair to Allison, and the group got in a fist-fight. According to Sullivan — who seems not to have always been the most reliable of interviewees — Sullivan gave Jerry Allison a black eye, and then straight away they had to go to the rooftop to take the photo for the group’s first album, The “Chirping” Crickets. Sullivan says that while the photo was retouched to hide the black eye, it’s still visible, though I can’t see it myself. After this, they went into a three-month tour on a giant package of stars featuring Chuck Berry, Fats Domino, Paul Anka, the Everly Brothers, the Bobbettes, the Drifters, LaVern Baker, and many more. By this point, both “That’ll Be the Day” and “Peggy Sue” had risen up the charts — “That’ll Be the Day” eventually went to number one, while “Peggy Sue” hit number three — and the next Crickets single, “Oh Boy!” was also charting. “Oh Boy!” had originally been written by an acquaintance of the band, Sonny West, who had recorded his own version as “All My Love” a short while earlier: [Excerpt: Sonny West, “All My Love”] Glen Hardin, the piano player on that track, would later join a lineup of the Crickets in the sixties (and later still would be Elvis’ piano player and arranger in the seventies). Holly would later also cover another of West’s songs, “Rave On”. The Crickets’ version of “Oh Boy!” was recorded at a faster tempo, and became another major hit, their last top ten: [Excerpt: The Crickets, “Oh Boy!”] Around the time that came out, Eddie Cochran joined the tour, and like the Everly Brothers he became fast friends with the group. The group also made an appearance on the Ed Sullivan Show, with Holly, Mauldin, and Allison enthusiastically performing “That’ll Be the Day” and “Peggy Sue”, and Sullivan enthusiastically miming and playing an unplugged guitar. Sullivan was becoming more and more sidelined in the group, and when they returned to Lubbock at the end of the tour — during which he’d ended up breaking down and crying — he decided he was going to quit the group. Sullivan tried to have a solo career, releasing “It’s All Over” on Dot Records: [Excerpt: Niki Sullivan, “It’s All Over”] But he had no success, and ended up working in electronics, and in later years also making money from the Buddy Holly nostalgia industry. He’d only toured as a member of the group for a total of ninety days, though he’d been playing with them in the studio for a few months before that, and he’d played on a total of twenty-seven of the thirty-two songs that Holly or the Crickets would release in Holly’s lifetime. While he’d been promised an equal share of the group’s income — and Petty had also promised Sullivan, like all the other Crickets, that he would pay 10% of his income to his church — Sullivan got into endless battles with Petty over seeing the group’s accounts, which Petty wouldn’t show him, and eventually settled for getting just $1000, ten percent of the recording royalties just for the single “That’ll Be the Day”, and co-writing royalties on one song, “I’m Going to Love You Too”. His church didn’t get a cent. Meanwhile, Petty was busy trying to widen the rifts in the group. He decided that while the records would still be released as either “Buddy Holly” or “the Crickets”, as a live act they would from now on be billed as “Buddy Holly and the Crickets”, a singer and his backing group, and that while Mauldin and Allison would continue to get twenty-five percent of the money each, Holly would be on fifty percent. This was an easy decision, since Petty was handling all the money and only giving the group pocket money rather than giving them their actual shares of the money they’d earned. The group spent all of 1958 touring, visiting Hawaii, Australia, the UK, and all over the US, including the famous last ever Alan Freed tour that we looked at recently in episodes on Chuck Berry and Jerry Lee Lewis. They got in another guitarist, Tommy Allsup, who took over the lead role while Buddy played rhythm, and who joined them on tour, though he wasn’t an official member of the group. The first recording Allsup played on was “It’s So Easy”: [Excerpt: The Crickets, “It’s So Easy”] But the group’s records were selling less and less well. Holly was getting worried, and there was another factor that came into play. On a visit to New York, stopping in to visit their publisher in the Brill Building, all three of the Crickets became attracted to the receptionist, a Puerto Rican woman named Maria Elena Santiago who was a few years older than them. They all started to joke about which of them would ask her out, and Holly eventually did so. It turned out that while Maria Elena was twenty-five, she’d never yet been on a date, and she had to ask the permission of her aunt, who she lived with, and who was also the head of the Latin-American division of the publishing company. The aunt rang round every business contact she had, satisfied herself that Buddy was a nice boy, and gave her blessing for the date. The next day, she was giving her blessing for the two to marry — Buddy proposed on the very first date. They eventually went on a joint honeymoon with Jerry Allison and Peggy Sue. But Maria Elena was someone who worked in the music industry, and was a little bit older, and she started saying things to Buddy like “You need to get a proper accounting of the money that’s owed you”, and “You should be getting paid”. This strained his relationship with Petty, who didn’t want any woman of colour butting her nose in and getting involved in his business. Buddy moved to a flat in Greenwich Village with Maria Elena, but for the moment he was still working with Petty, even after Petty used some extremely misogynistic slurs I’m not going to repeat here against his new wife. But he was worried about his lack of hits, and they tried a few different variations on the formula. The Crickets recorded one song, a cover version of a song they’d learned on the Australian tour, with Jerry Allison singing lead. It was released under the name “Ivan” — Allison’s middle name — and became a minor hit: [Excerpt: Ivan, “Real Wild Child”] They tried more and more different things, like getting King Curtis in to play saxophone on “Reminiscing”, and on one occasion dispensing with the Crickets entirely and having Buddy cut a Bobby Darin song, “Early in the Morning”, with other musicians. They were stockpiling recordings much faster than they could release them, but the releases weren’t doing well at all. “It’s So Easy” didn’t even reach the top one hundred. Holly was also working with other artists. In September, he produced a session for his friend Waylon Jennings, who would later become a huge country star. It was Jennings’ first ever session, and they turned out an interesting version of the old Cajun song “Jole Blon”, which had earlier been a hit for Moon Mullican. This version had Holly on guitar and King Curtis on saxophone, and is a really interesting attempt at blending Cajun music with R&B: [Excerpt: Waylon Jennings, “Jole Blon”] But Holly’s biggest hope was placed in a session that was really breaking new ground. No rock and roll singer had ever recorded with a full string section before — at least as far as he was aware, and bearing in mind that, as we’ve seen many times, there’s never truly a first anything. In October 1958, Holly went into the studio with the Dick Jacobs Orchestra, with the intention of recording three songs — his own “True Love Ways”, a song called “Moondreams” written by Petty, and one called “Raining in My Heart” written by Felice and Boudleaux Bryant, who’d written many hits for his friends the Everly Brothers. At the last minute, though, he decided to record a fourth song, which had been written for him by Paul Anka, the same kid whose “Diana” had been so irritating to him the year before. He played through the song on his guitar for Dick Jacobs, who only had a short while to write the arrangement, and so stuck to the simplest thing he could think of, basing it around pizzicato violins: [Excerpt: Buddy Holly, “It Doesn’t Matter Any More”] At that point, everything still seemed like it could work out OK. Norman Petty and the other Crickets were all there at the recording session, cheering Buddy on. That night the Crickets appeared on American Bandstand, miming to “It’s So Easy”. That would be the last time they ever performed together, and soon there would be an irreparable split that would lead directly to Holly’s death — and to his posthumous fame. Holly was getting sick of Norman Petty’s continual withholding of royalties, and he’d come up with a plan. The Crickets would, as a group, confront Petty, get him to give them the money he owed them, and then all move to New York together to start up their own record label and publishing company. They’d stop touring, and focus on making records, and this would allow them the time to get things right and try new things out, which would lead to them having hits again, and they could also produce records for their friends like Waylon Jennings and Sonny Curtis. It was a good plan, and it might have worked, but it relied on them getting that money off Norman Petty. When the other two got back to Texas, Petty started manipulating them. He told them they were small-town Texas boys who would never be able to live in the big city. He told them that they didn’t need Buddy Holly, and that they could carry on making Crickets records without him. He told them that Maria Elena was manipulating Buddy, and that if they went off to New York with him it would be her who was in charge of the group from that point on. And he also pointed out that he was currently the only signatory on the group’s bank account, and it would be a real shame if something happened to all that money. By the time Buddy got back to Texas, the other two Crickets had agreed that they were going to stick with Norman Petty. Petty said it was fine if Buddy wanted to fire him, but he wasn’t getting any money until a full audit had been done of the organisation’s money. Buddy was no longer even going to get the per diem pocket money or expenses he’d been getting. Holly went back to New York, and started writing many, many, more songs, recording dozens of acoustic demos for when he could start his plan up: [Excerpt: Buddy Holly, “Crying, Waiting, Hoping”] It was a massive creative explosion for the young man. He was not only writing songs himself, but he was busily planning to make an album of Latin music, and he was making preparations for two more projects he’d like to do — an album of duets on gospel songs with Mahalia Jackson, and an album of soul duets with Ray Charles. He was going to jazz clubs, and he had ambitions of following Elvis into films, but doing it properly — he enrolled in courses with Lee Strasberg’s Actors Studio, to learn Method Acting. Greenwich Village in 1958 was the perfect place for a young man with a huge amount of natural talent and appetite for learning, but little experience of the wider world and culture. But the young couple were living off Maria Elena’s aunt’s generosity, and had no income at all of their own. And then Maria Elena revealed that she was pregnant. And Norman Petty revealed something he’d kept hidden before — by the terms of Buddy’s contract, he hadn’t really been recording for Brunswick or Coral, so they didn’t owe him a penny. He’d been recording for Petty’s company, who then sold the masters on to the other labels, and would get all the royalties. The Crickets bank account into which the royalties had supposedly been being paid, and which Petty had refused to let the band members see, was essentially empty. There was only one thing for it. He had to do another tour. And the only one he could get on was a miserable-seeming affair called the Winter Dance Party. While most of the rock and roll package tours of the time had more than a dozen acts on, this one had only five. There was an opening act called Frankie Sardo, and then Dion and the Belmonts, who had had a few minor hits, and had just recorded, but not yet released, their breakthrough record “Teenager in Love”: [Excerpt: Dion and the Belmonts, “Teenager in Love”] Then there was the Big Bopper, who was actually a fairly accomplished songwriter but was touring on the basis of his one hit, a novelty song called “Chantilly Lace”: [Excerpt: the Big Bopper, “Chantilly Lace”] And Ritchie Valens, whose hit “Donna” was rising up the charts in a way that “It Doesn’t Matter Any More” was notably failing to do: [Excerpt: Ritchie Valens, “Donna”] Buddy put together a new touring band consisting of Tommy Allsup on guitar, Waylon Jennings on bass — who had never played bass before starting the tour — and a drummer called Carl Bunch. For a while it looked like Buddy’s friend Eddie Cochran was going to go on tour with them as well, but shortly before the tour started Cochran got an offer to do the Ed Sullivan Show, which would have clashed with the tour dates, and so he didn’t make it. Maria Elena was very insistent that she didn’t want Buddy to go, but he felt that he had no choice if he was going to support his new child. The Winter Dance Party toured Wisconsin, Iowa, and Minnesota, through the end of January and the beginning of February 1959, and the conditions were miserable for everyone concerned. The tour had been put together with no thought of logistics, and it zig-zagged wildly across those three states, with gigs often four hundred miles away from each other. The musicians had to sleep on the tour bus — or buses. The tour was being run on a shoe-string, and they’d gone with the cheapest vehicle-hire company possible. They went through, according to one biography I’ve read, eight different buses in eleven days, as none of the buses were able to cope with the Midwestern winter, and their engines kept failing and the heating on several of the buses broke down. I don’t know if you’ve spent any time in that part of America in the winter, but I go there for Christmas every year (my wife has family in Minnesota) and it’s unimaginably cold in a way you can’t understand unless you’ve experienced it. It’s not unusual for temperatures to drop to as low as minus forty degrees, and to have three feet or more of snow. Travelling in a bus, with no heating, in that weather, all packed together, was hell for everyone. The Big Bopper and Valens were both fat, and couldn’t fit in the small seats easily. Several people on the tour, including Bopper and Valens, got the flu. And then finally Carl Bunch got hospitalised with frostbite. Buddy’s band, which was backing everyone on stage, now had no drummer, and so for the next three days of the tour Holly, Dion, and Valens would all take it in turns playing the drums, as all of them were adequate drummers. The shows were still good, at least according to a young man named Robert Zimmerman, who saw the first drummerless show, in Duluth Minnesota, and who would move to Greenwich Village himself not that long afterwards. After a show in Clear Lake, Iowa, Buddy had had enough. He decided to charter a plane to take him to Fargo, North Dakota, which was just near Moorhead, Minnesota, where they were planning on playing their next show. He’d take everyone’s laundry — everyone stank and had been wearing the same clothes for days — and get it washed, and get some sleep in a real bed. The original plan was to have Allsup and Jennings travel with him, but eventually they gave up their seats to the two other people who were suffering the most — the Big Bopper and Valens. There are different stories about how that happened, most involving a coin-toss, but they all agree that when Buddy found out that Waylon Jennings was giving up his seat, he jokingly said to Jennings “I hope your old bus freezes”, and Jennings replied, “Yeah, well I hope your ol’ plane crashes”. The three of them got on the plane in the middle of the night, on a foggy winter’s night, which would require flying by instruments. Unfortunately, while the pilot on the plane was rated as being a good pilot during the day, he kept almost failing his certification for being bad at flying by instrument. And the plane in question had an unusual type of altitude meter. Where most altitude meters would go up when the plane was going up and down when it was going down, that particular model’s meter went down when the plane was going up, and up when it was going down. The plane took off, and less than five minutes after takeoff, it plummeted straight down, nose first, into the ground at top speed, killing everyone on board instantly. As soon as the news got out, Holly’s last single finally started rising up the charts. It ended up going to number thirteen on the US charts, and number one in many other countries. The aftermath shows how much contempt the music industry — and society itself — had for those musicians at that time. Maria Elena found out about Buddy’s death not from the police, but from the TV — this later prompted changes in how news of celebrity deaths was to be revealed. She was so upset that she miscarried two days later. She was too distraught to attend the funeral, and to this day has still never been able to bring herself to visit her husband’s grave. The grief was just too much. The rest of the people on the tour were forced to continue the remaining thirteen days of the tour without the three acts anyone wanted to go and see, but were also not paid their full wages, because the bill wasn’t as advertised. A new young singer was picked up to round out the bill on the next gig, a young Minnesotan Holly soundalike called Bobby Vee, whose first single, “Suzy Baby”, was just about to come out: [Excerpt: Bobby Vee, “Suzy Baby”] When Vee went on tour on his own, later, he hired that Zimmerman kid we mentioned earlier as his piano player. Zimmerman worked under the stage name Elston Gunn, but would later choose a better one. After that date Holly, Valens, and the Bopper were replaced by Fabian, Frankie Avalon, and Jimmy Clanton, and the tour continued. Meanwhile, the remaining Crickets picked themselves up and carried on. They got Buddy’s old friend Sonny Curtis on guitar, and a succession of Holly-soundalike singers, and continued playing together until Joe Mauldin died in 2015. Most of their records without Buddy weren’t particularly memorable, but they did record one song written by Curtis which would later become a hit for several other people, “I Fought the Law”: [Excerpt: The Crickets, “I Fought the Law”] But the person who ended up benefiting most from Holly’s death was Norman Petty. Suddenly his stockpile of unreleased Buddy Holly recordings was a goldmine — and not only that, he ended up coming to an agreement with Holly’s estate that he could take all those demos Holly had recorded and overdub new backing tracks on them, turning them into full-blown rock and roll songs. Between overdubbed versions of the demos, and stockpiled full-band recordings, Buddy Holly kept having hit singles in the rest of the world until 1965, though none charted in the US, and he made both Petty and his estate very rich. Norman Petty died in 1984. His last project was a still-unreleased “updating” of Buddy’s biggest hits with synthesisers. These days, Buddy Holly is once again on tour, or at least something purporting to be him is. You can now go and see a “hologram tour”, in which an image of a look-not-very-alike actor miming to Holly’s old recordings is projected on glass, using the old Victorian stage trick Pepper’s Ghost, while a live band plays along to the records. Just because you’ve worked someone to death aged twenty-two, doesn’t mean that they can’t still keep earning money for you when they’re eighty-three. And a hologram will never complain about how cold the tour bus is, or want to wash his laundry.

Episode seventy-four of A History of Rock Music in Five Hundred Songs looks at "It Doesn't Matter Any More" by Buddy Holly, and at the reasons he ended up on the plane that killed him. 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 "Chantilly Lace" by the Big Bopper.  Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/----more---- Before I get to the resources and transcript, a quick apology. This one is up more than a day late. I've not been coping very well with all the news about coronavirus outbreak (I'm one of those who's been advised by the government to sel-isolate for three months) and things are taking longer than normal. Next week's should be up at the normal time. Also, no Mixcloud this week -- I get a server error when uploading the file to Mixcloud's site. Erratum I mention that Bob Dylan saw the first show on the Winter Dance Party tour with no drummer. He actually saw the last one with the drummer, who was hospitalised that night after the show, not before the show as I had thought.  Resources   I've used two biographies for the bulk of the information here -- Buddy Holly: Learning the Game, by Spencer Leigh, and Rave On: The Biography of Buddy Holly by Philip Norman. I also used  Beverly Mendheim's book on Ritchie Valens. There are many collections of Buddy Holly's work available, but many of them are very shoddy, with instrumental overdubs recorded over demos after his death. The best compilation I am aware of is The Memorial Collection, which contains almost everything he issued in his life, as he issued it (for some reason two cover versions are missing) along with the undubbed acoustic recordings that were messed with and released after his death. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   Before I begin, this episode will deal with both accidental bereavement and miscarriage, so if you think those subjects might be traumatising, you may want to skip this one. Today, we're going to look at a record that holds a sad place in rock and roll's history, because it's the record that is often credited as "the first posthumous rock and roll hit". Now, that's not strictly true -- as we've talked about before in this podcast, there is rarely, if ever, a "first" anything at all, and indeed we've already looked at an earlier posthumous hit when we talked about "Pledging My Love" by Johnny Ace. But it is a very sad fact that "It Doesn't Matter Any More" by Buddy Holly ended up becoming the first of several posthumous hit records that Holly had, and that there would be many more posthumous hit records by other performers after him than there had been before him. Buddy Holly's death is something that hangs over every attempt to tell his story. More than any other musician of his generation, his death has entered rock and roll mythology. Even if you don't know Holly's music, you probably know two things about him -- that he wore glasses, and that he died in a plane crash. You're likely also to know that Ritchie Valens and the Big Bopper died in the same crash, even if you don't know any of the songs that either of those two artists recorded. Normally, when you're telling a story, you'd leave that to the end, but in the case of Holly it overshadows his life so much that there's absolutely no point trying to build up any suspense -- not to mention that there's something distasteful about turning a real person's tragic death into entertainment. I hope I've not done so in episodes where other people have died, but it's even more important not to do so here. Because while the death of Buddy Holly, Ritchie Valens, and the Big Bopper is always portrayed as an accident, the cause of their death has its roots in exploitation of young, vulnerable, people, and a pressure to work no matter what. So today, we're going to look at how "It Doesn't Matter Any More" became Buddy Holly's last single: [Excerpt: Buddy Holly, "It Doesn't Matter Any More"] People often talk about how Buddy Holly's career was short, but what they don't mention is that his chart career was even shorter. Holly's first chart single, "That'll Be the Day", was released in May 1957. His last top thirty single during his lifetime, "Think it Over", was released in May 1958. By the time he went on the Winter Dance Party, the tour that led to his death, in January 1959, he had gone many months without a hit, and his most recent record, "Heartbeat", had only reached number eighty-two. He'd lost every important professional relationship in his life, and had split from the group that had made him famous. To see how this happened, we need to pick up where we left off with him last time. You'll remember that when we left the Crickets, they'd released "That'll Be the Day", and it hadn't yet become a hit, and they'd also released "Words of Love" as a Buddy Holly solo single. While there were different names on them, the same people would make the records, whether it was a solo or group record -- Buddy Holly on vocals and lead guitar, Niki Sullivan on rhythm guitar, Jerry Allison on drums, Joe Mauldin on bass, and producer Norman Petty and his wife sometimes adding keyboards. They didn't distinguish between "Buddy Holly" and "Crickets" material when recording -- rather they separated it out later. The more straight-ahead rock and roll records would have backing vocals overdubbed on them, usually by a vocal group called the Picks, and would be released as Crickets records, while the more experimental ones would be left with only Holly's vocal on, and would be released as solo records. (There were no records released as by "Buddy Holly and the Crickets" at the time, because the whole idea of the split was that DJs would play two records instead of one if they appeared to be by different artists). And they were recording *a lot*. Two days after “That'll be the Day” was released, on the twenty-seventh of May 1957, they recorded "Everyday" and "Not Fade Away". Between then and the first of July they recorded "Tell Me How", "Oh Boy", "Listen to Me", "I'm Going to Love You Too", and cover versions of Fats Domino's "Valley of Tears" and Little Richard's "Ready Teddy". Remember, this was all before they'd had a single hit -- "That'll Be the Day" and "Words of Love" still hadn't charted. This is quite an astonishing outpouring of songs, but the big leap forward came on the second of July, when they made a second attempt at a song they'd attempted to record back in late 1956, and had been playing in their stage show since then. The song had originally been titled "Cindy Lou", after Buddy's niece, but Jerry Allison had recently started dating a girl named Peggy Sue Gerrison, and they decided to change the lyrics to be about her. The song had also originally been played as a Latin-flavoured number, but when they were warming up, Allison started playing a fast paradiddle on his snare drum. Holly decided that they were going to change the tempo of the song and have Allison play that part all the way through, though this meant that Allison had to go out and play in the hallway rather than in the main studio, because the noise from his drums was too loud in the studio itself. The final touch came when Petty decided, on the song's intro, to put the drums through the echo chamber and keep flicking the switch on the echo from "on" to "off", so it sounded like there were two drummers playing: [Excerpt: Buddy Holly, "Peggy Sue"] Someone else was flicking a switch, too -- Niki Sullivan was already starting to regret joining the Crickets, because there really wasn't room for his rhythm guitar on most of the songs they were playing. And on "Peggy Sue" he ended up not playing at all. On that song, Buddy had to switch between two pickups -- one for when he was singing, and another to give his guitar a different tone during the solo. But he was playing so fast that he couldn't move his hand to the switch, and in those days there were no foot pedals one could use for the same sort of effect. So Niki Sullivan became Holly's foot pedal. He knelt beside Holly and waited for the point when the solo was about to start, and flicked the switch on his guitar. When the solo came to an end again, Sullivan flicked the switch again and it went back to the original sound. [Excerpt: Buddy Holly, "Peggy Sue"] It's a really strange sounding record, if you start to pay attention to it. Other than during the solo, Holly's guitar is so quiet that you can hear the plectrum as loudly as you can hear the notes. He just keeps up a ram-a-ram-a quaver downstrum throughout the whole song, which sounds simple until you try to play it, at which point you realise that you start feeling like your arm's going to fall off about a quarter of the way through. And there's just that, those drums (playing a part which must be similarly physically demanding) with their weird echo, and Holly's voice. In theory, Joe Mauldin's bass is also in there, but it's there at almost homeopathic levels. It's a record that is entirely carried by the voice, the drums, and the guitar solo. Of course, Niki Sullivan wasn't happy about being relegated to guitar-switch-flicker, and there were other tensions within the group as well. Holly was having an affair with a married woman at the time -- and Jerry Allison, who was Holly's best friend as well as his bandmate, was also in love with her, though not in a relationship with her, and so Holly had to keep his affair hidden from his best friend. And not only that, but Allison and Sullivan were starting to have problems with each other, too. To help defuse the situation, Holly's brother Larry took him on holiday, to go fishing in Colorado. But even there, the stress of the current situation was showing -- Buddy spent much of the trip worried about the lack of success of "That'll Be the Day", and obsessing over a new record by a new singer, Paul Anka, that had gone to number one: [Excerpt: Paul Anka, "Diana"] Holly was insistent that he could do better than that, and that his records were at least as good. But so far they were doing nothing at all on the charts. But then a strange thing happened. "That'll Be the Day" started getting picked up by black radio stations. It turned out that there had been another group called the Crickets -- a black doo-wop group from about five years earlier, led by a singer called Dean Barlow, who had specialised in smooth Ink Spots-style ballads: [Excerpt The Crickets featuring Dean Barlow, "Be Faithful"] People at black radio stations had assumed that this new group called the Crickets was the same one, and had then discovered that "That'll Be the Day" was really rather good. The group even got booked on an otherwise all-black tour headlined by Clyde McPhatter and Otis Rush, booked by people who hadn't realised they were white. Before going on the tour, they formally arranged to have Norman Petty be their manager as well as their producer. They were a success on the tour, though when it reached the Harlem Apollo, which had notoriously hostile audiences, the group had to reconfigure their sets, as the audiences didn't like any of Holly's original material except "That'll Be the Day", but did like the group's cover versions of R&B records like "Bo Diddley": [Excerpt: Buddy Holly, "Bo Diddley (Undubbed Version)"] Some have said that the Crickets were the first white act to play the Apollo. That's not the case -- Bobby Darin had played there before them, and I think so had the jazz drummer Buddy Rich, and maybe one or two others. But it was still a rarity, and the Crickets had to work hard to win the audience around. After they finished that tour, they moved on to a residency at the Brooklyn Paramount, on an Alan Freed show that also featured Little Richard and Larry Williams -- who the Crickets met for the first time when they walked into the dressing room to find Richard and Williams engaged in a threesome with Richard's girlfriend. During that engagement at the Paramount, the tensions within the group reached boiling point. Niki Sullivan, who was in an awful mood because he was trying to quit smoking, revealed the truth about Holly's affair to Allison, and the group got in a fist-fight. According to Sullivan -- who seems not to have always been the most reliable of interviewees -- Sullivan gave Jerry Allison a black eye, and then straight away they had to go to the rooftop to take the photo for the group's first album, The "Chirping" Crickets. Sullivan says that while the photo was retouched to hide the black eye, it's still visible, though I can't see it myself. After this, they went into a three-month tour on a giant package of stars featuring Chuck Berry, Fats Domino, Paul Anka, the Everly Brothers, the Bobbettes, the Drifters, LaVern Baker, and many more. By this point, both "That'll Be the Day" and "Peggy Sue" had risen up the charts -- "That'll Be the Day" eventually went to number one, while "Peggy Sue" hit number three -- and the next Crickets single, "Oh Boy!" was also charting. "Oh Boy!" had originally been written by an acquaintance of the band, Sonny West, who had recorded his own version as "All My Love" a short while earlier: [Excerpt: Sonny West, "All My Love"] Glen Hardin, the piano player on that track, would later join a lineup of the Crickets in the sixties (and later still would be Elvis' piano player and arranger in the seventies). Holly would later also cover another of West's songs, "Rave On". The Crickets' version of “Oh Boy!” was recorded at a faster tempo, and became another major hit, their last top ten: [Excerpt: The Crickets, "Oh Boy!"] Around the time that came out, Eddie Cochran joined the tour, and like the Everly Brothers he became fast friends with the group. The group also made an appearance on the Ed Sullivan Show, with Holly, Mauldin, and Allison enthusiastically performing "That'll Be the Day" and "Peggy Sue", and Sullivan enthusiastically miming and playing an unplugged guitar. Sullivan was becoming more and more sidelined in the group, and when they returned to Lubbock at the end of the tour -- during which he'd ended up breaking down and crying -- he decided he was going to quit the group. Sullivan tried to have a solo career, releasing "It's All Over" on Dot Records: [Excerpt: Niki Sullivan, "It's All Over"] But he had no success, and ended up working in electronics, and in later years also making money from the Buddy Holly nostalgia industry. He'd only toured as a member of the group for a total of ninety days, though he'd been playing with them in the studio for a few months before that, and he'd played on a total of twenty-seven of the thirty-two songs that Holly or the Crickets would release in Holly's lifetime. While he'd been promised an equal share of the group's income -- and Petty had also promised Sullivan, like all the other Crickets, that he would pay 10% of his income to his church -- Sullivan got into endless battles with Petty over seeing the group's accounts, which Petty wouldn't show him, and eventually settled for getting just $1000, ten percent of the recording royalties just for the single "That'll Be the Day", and co-writing royalties on one song, "I'm Going to Love You Too". His church didn't get a cent. Meanwhile, Petty was busy trying to widen the rifts in the group. He decided that while the records would still be released as either "Buddy Holly" or "the Crickets", as a live act they would from now on be billed as "Buddy Holly and the Crickets", a singer and his backing group, and that while Mauldin and Allison would continue to get twenty-five percent of the money each, Holly would be on fifty percent. This was an easy decision, since Petty was handling all the money and only giving the group pocket money rather than giving them their actual shares of the money they'd earned. The group spent all of 1958 touring, visiting Hawaii, Australia, the UK, and all over the US, including the famous last ever Alan Freed tour that we looked at recently in episodes on Chuck Berry and Jerry Lee Lewis. They got in another guitarist, Tommy Allsup, who took over the lead role while Buddy played rhythm, and who joined them on tour, though he wasn't an official member of the group. The first recording Allsup played on was "It's So Easy": [Excerpt: The Crickets, "It's So Easy"] But the group's records were selling less and less well. Holly was getting worried, and there was another factor that came into play. On a visit to New York, stopping in to visit their publisher in the Brill Building, all three of the Crickets became attracted to the receptionist, a Puerto Rican woman named Maria Elena Santiago who was a few years older than them. They all started to joke about which of them would ask her out, and Holly eventually did so. It turned out that while Maria Elena was twenty-five, she'd never yet been on a date, and she had to ask the permission of her aunt, who she lived with, and who was also the head of the Latin-American division of the publishing company. The aunt rang round every business contact she had, satisfied herself that Buddy was a nice boy, and gave her blessing for the date. The next day, she was giving her blessing for the two to marry -- Buddy proposed on the very first date. They eventually went on a joint honeymoon with Jerry Allison and Peggy Sue. But Maria Elena was someone who worked in the music industry, and was a little bit older, and she started saying things to Buddy like "You need to get a proper accounting of the money that's owed you", and "You should be getting paid". This strained his relationship with Petty, who didn't want any woman of colour butting her nose in and getting involved in his business. Buddy moved to a flat in Greenwich Village with Maria Elena, but for the moment he was still working with Petty, even after Petty used some extremely misogynistic slurs I'm not going to repeat here against his new wife. But he was worried about his lack of hits, and they tried a few different variations on the formula. The Crickets recorded one song, a cover version of a song they'd learned on the Australian tour, with Jerry Allison singing lead. It was released under the name "Ivan" -- Allison's middle name -- and became a minor hit: [Excerpt: Ivan, "Real Wild Child"] They tried more and more different things, like getting King Curtis in to play saxophone on "Reminiscing", and on one occasion dispensing with the Crickets entirely and having Buddy cut a Bobby Darin song, "Early in the Morning", with other musicians. They were stockpiling recordings much faster than they could release them, but the releases weren't doing well at all. "It's So Easy" didn't even reach the top one hundred. Holly was also working with other artists. In September, he produced a session for his friend Waylon Jennings, who would later become a huge country star. It was Jennings' first ever session, and they turned out an interesting version of the old Cajun song "Jole Blon", which had earlier been a hit for Moon Mullican. This version had Holly on guitar and King Curtis on saxophone, and is a really interesting attempt at blending Cajun music with R&B: [Excerpt: Waylon Jennings, "Jole Blon"] But Holly's biggest hope was placed in a session that was really breaking new ground. No rock and roll singer had ever recorded with a full string section before -- at least as far as he was aware, and bearing in mind that, as we've seen many times, there's never truly a first anything. In October 1958, Holly went into the studio with the Dick Jacobs Orchestra, with the intention of recording three songs -- his own "True Love Ways", a song called "Moondreams" written by Petty, and one called "Raining in My Heart" written by Felice and Boudleaux Bryant, who'd written many hits for his friends the Everly Brothers. At the last minute, though, he decided to record a fourth song, which had been written for him by Paul Anka, the same kid whose "Diana" had been so irritating to him the year before. He played through the song on his guitar for Dick Jacobs, who only had a short while to write the arrangement, and so stuck to the simplest thing he could think of, basing it around pizzicato violins: [Excerpt: Buddy Holly, "It Doesn't Matter Any More"] At that point, everything still seemed like it could work out OK. Norman Petty and the other Crickets were all there at the recording session, cheering Buddy on. That night the Crickets appeared on American Bandstand, miming to "It's So Easy". That would be the last time they ever performed together, and soon there would be an irreparable split that would lead directly to Holly's death -- and to his posthumous fame. Holly was getting sick of Norman Petty's continual withholding of royalties, and he'd come up with a plan. The Crickets would, as a group, confront Petty, get him to give them the money he owed them, and then all move to New York together to start up their own record label and publishing company. They'd stop touring, and focus on making records, and this would allow them the time to get things right and try new things out, which would lead to them having hits again, and they could also produce records for their friends like Waylon Jennings and Sonny Curtis. It was a good plan, and it might have worked, but it relied on them getting that money off Norman Petty. When the other two got back to Texas, Petty started manipulating them. He told them they were small-town Texas boys who would never be able to live in the big city. He told them that they didn't need Buddy Holly, and that they could carry on making Crickets records without him. He told them that Maria Elena was manipulating Buddy, and that if they went off to New York with him it would be her who was in charge of the group from that point on. And he also pointed out that he was currently the only signatory on the group's bank account, and it would be a real shame if something happened to all that money. By the time Buddy got back to Texas, the other two Crickets had agreed that they were going to stick with Norman Petty. Petty said it was fine if Buddy wanted to fire him, but he wasn't getting any money until a full audit had been done of the organisation's money. Buddy was no longer even going to get the per diem pocket money or expenses he'd been getting. Holly went back to New York, and started writing many, many, more songs, recording dozens of acoustic demos for when he could start his plan up: [Excerpt: Buddy Holly, "Crying, Waiting, Hoping"] It was a massive creative explosion for the young man. He was not only writing songs himself, but he was busily planning to make an album of Latin music, and he was making preparations for two more projects he'd like to do -- an album of duets on gospel songs with Mahalia Jackson, and an album of soul duets with Ray Charles. He was going to jazz clubs, and he had ambitions of following Elvis into films, but doing it properly -- he enrolled in courses with Lee Strasberg's Actors Studio, to learn Method Acting. Greenwich Village in 1958 was the perfect place for a young man with a huge amount of natural talent and appetite for learning, but little experience of the wider world and culture. But the young couple were living off Maria Elena's aunt's generosity, and had no income at all of their own. And then Maria Elena revealed that she was pregnant. And Norman Petty revealed something he'd kept hidden before -- by the terms of Buddy's contract, he hadn't really been recording for Brunswick or Coral, so they didn't owe him a penny. He'd been recording for Petty's company, who then sold the masters on to the other labels, and would get all the royalties. The Crickets bank account into which the royalties had supposedly been being paid, and which Petty had refused to let the band members see, was essentially empty. There was only one thing for it. He had to do another tour. And the only one he could get on was a miserable-seeming affair called the Winter Dance Party. While most of the rock and roll package tours of the time had more than a dozen acts on, this one had only five. There was an opening act called Frankie Sardo, and then Dion and the Belmonts, who had had a few minor hits, and had just recorded, but not yet released, their breakthrough record "Teenager in Love": [Excerpt: Dion and the Belmonts, "Teenager in Love"] Then there was the Big Bopper, who was actually a fairly accomplished songwriter but was touring on the basis of his one hit, a novelty song called "Chantilly Lace": [Excerpt: the Big Bopper, "Chantilly Lace"] And Ritchie Valens, whose hit "Donna" was rising up the charts in a way that "It Doesn't Matter Any More" was notably failing to do: [Excerpt: Ritchie Valens, "Donna"] Buddy put together a new touring band consisting of Tommy Allsup on guitar, Waylon Jennings on bass -- who had never played bass before starting the tour -- and a drummer called Carl Bunch. For a while it looked like Buddy's friend Eddie Cochran was going to go on tour with them as well, but shortly before the tour started Cochran got an offer to do the Ed Sullivan Show, which would have clashed with the tour dates, and so he didn't make it. Maria Elena was very insistent that she didn't want Buddy to go, but he felt that he had no choice if he was going to support his new child. The Winter Dance Party toured Wisconsin, Iowa, and Minnesota, through the end of January and the beginning of February 1959, and the conditions were miserable for everyone concerned. The tour had been put together with no thought of logistics, and it zig-zagged wildly across those three states, with gigs often four hundred miles away from each other. The musicians had to sleep on the tour bus -- or buses. The tour was being run on a shoe-string, and they'd gone with the cheapest vehicle-hire company possible. They went through, according to one biography I've read, eight different buses in eleven days, as none of the buses were able to cope with the Midwestern winter, and their engines kept failing and the heating on several of the buses broke down. I don't know if you've spent any time in that part of America in the winter, but I go there for Christmas every year (my wife has family in Minnesota) and it's unimaginably cold in a way you can't understand unless you've experienced it. It's not unusual for temperatures to drop to as low as minus forty degrees, and to have three feet or more of snow. Travelling in a bus, with no heating, in that weather, all packed together, was hell for everyone. The Big Bopper and Valens were both fat, and couldn't fit in the small seats easily. Several people on the tour, including Bopper and Valens, got the flu. And then finally Carl Bunch got hospitalised with frostbite. Buddy's band, which was backing everyone on stage, now had no drummer, and so for the next three days of the tour Holly, Dion, and Valens would all take it in turns playing the drums, as all of them were adequate drummers. The shows were still good, at least according to a young man named Robert Zimmerman, who saw the first drummerless show, in Duluth Minnesota, and who would move to Greenwich Village himself not that long afterwards. After a show in Clear Lake, Iowa, Buddy had had enough. He decided to charter a plane to take him to Fargo, North Dakota, which was just near Moorhead, Minnesota, where they were planning on playing their next show. He'd take everyone's laundry -- everyone stank and had been wearing the same clothes for days -- and get it washed, and get some sleep in a real bed. The original plan was to have Allsup and Jennings travel with him, but eventually they gave up their seats to the two other people who were suffering the most -- the Big Bopper and Valens. There are different stories about how that happened, most involving a coin-toss, but they all agree that when Buddy found out that Waylon Jennings was giving up his seat, he jokingly said to Jennings "I hope your old bus freezes", and Jennings replied, "Yeah, well I hope your ol' plane crashes". The three of them got on the plane in the middle of the night, on a foggy winter's night, which would require flying by instruments. Unfortunately, while the pilot on the plane was rated as being a good pilot during the day, he kept almost failing his certification for being bad at flying by instrument. And the plane in question had an unusual type of altitude meter. Where most altitude meters would go up when the plane was going up and down when it was going down, that particular model's meter went down when the plane was going up, and up when it was going down. The plane took off, and less than five minutes after takeoff, it plummeted straight down, nose first, into the ground at top speed, killing everyone on board instantly. As soon as the news got out, Holly's last single finally started rising up the charts. It ended up going to number thirteen on the US charts, and number one in many other countries. The aftermath shows how much contempt the music industry -- and society itself -- had for those musicians at that time. Maria Elena found out about Buddy's death not from the police, but from the TV -- this later prompted changes in how news of celebrity deaths was to be revealed. She was so upset that she miscarried two days later. She was too distraught to attend the funeral, and to this day has still never been able to bring herself to visit her husband's grave. The grief was just too much. The rest of the people on the tour were forced to continue the remaining thirteen days of the tour without the three acts anyone wanted to go and see, but were also not paid their full wages, because the bill wasn't as advertised. A new young singer was picked up to round out the bill on the next gig, a young Minnesotan Holly soundalike called Bobby Vee, whose first single, "Suzy Baby", was just about to come out: [Excerpt: Bobby Vee, "Suzy Baby"] When Vee went on tour on his own, later, he hired that Zimmerman kid we mentioned earlier as his piano player. Zimmerman worked under the stage name Elston Gunn, but would later choose a better one. After that date Holly, Valens, and the Bopper were replaced by Fabian, Frankie Avalon, and Jimmy Clanton, and the tour continued. Meanwhile, the remaining Crickets picked themselves up and carried on. They got Buddy's old friend Sonny Curtis on guitar, and a succession of Holly-soundalike singers, and continued playing together until Joe Mauldin died in 2015. Most of their records without Buddy weren't particularly memorable, but they did record one song written by Curtis which would later become a hit for several other people, "I Fought the Law": [Excerpt: The Crickets, "I Fought the Law"] But the person who ended up benefiting most from Holly's death was Norman Petty. Suddenly his stockpile of unreleased Buddy Holly recordings was a goldmine -- and not only that, he ended up coming to an agreement with Holly's estate that he could take all those demos Holly had recorded and overdub new backing tracks on them, turning them into full-blown rock and roll songs. Between overdubbed versions of the demos, and stockpiled full-band recordings, Buddy Holly kept having hit singles in the rest of the world until 1965, though none charted in the US, and he made both Petty and his estate very rich. Norman Petty died in 1984. His last project was a still-unreleased "updating" of Buddy's biggest hits with synthesisers. These days, Buddy Holly is once again on tour, or at least something purporting to be him is. You can now go and see a "hologram tour", in which an image of a look-not-very-alike actor miming to Holly's old recordings is projected on glass, using the old Victorian stage trick Pepper's Ghost, while a live band plays along to the records. Just because you've worked someone to death aged twenty-two, doesn't mean that they can't still keep earning money for you when they're eighty-three. And a hologram will never complain about how cold the tour bus is, or want to wash his laundry.

Episode 6 features Carly Connor and Tino, from Glasgow, Scotland. They take us on a musical journey. We discuss the music that surrounds the key moments in their lives, with first sounds including Aretha, Whitney, Paul Simon, Urban Cookie Collective and a funny story about Elvis and Glasgow neds. They talk us through playing in Glasgow while they were teenagers, to having a Holy Fuck moment at King Tuts and supporting Jessie Buckley in London. Tino speaks about sharing a stage with Rod Stewart at The Hydro and singing I Fought the Law with Mick Jones from The Clash.Carly and Tino performed a live set for us when they came into the studio you will hear Real Good Looker and Wasting My Time.Follow us on Social Media: @whoyoulisteningto Facebook Instagram and YouTube

Listeners, what is best in life? Eh...fuggedaboutit. On this episode of FW Presents, Ryan Daly welcomes Andrew Leyland back to discuss SAVAGE SWORD OF CRIMINAL by Ed Brubaker and Sean Phillips. This special magazine-sized chapter of Brubaker and Phillips' acclaimed hardboiled Criminal series is a love letter to Marvel's Savage Sword of Conan from the '70s. Let us know what you think! Leave a comment or send an email to: RDalyPodcast@gmail.com. Check out Andy's podcast The Palace of Glittering Delights and other shows at: http://twotruefreaks.com/shows.php?show=37 This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK. Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER - https://twitter.com/FWPodcasts Like our FACEBOOK page - https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Or subscribe via iTunes as part of the FIRE AND WATER PODCAST: http://itunes.apple.com/podcast/the-fire-and-water-podcast/id463855630 Support the FIRE AND WATER PODCAST NETWORK on Patreon: https://www.patreon.com/fwpodcasts Music this episode: "I Fought the Law" by The Bobby Fuller Four; "Anvil of Crom" by Basil Poledouris; "The Fun Lovin' Criminal" by Fun Lovin' Criminals. Thanks for listening!

DC Beer's Richard and Adam speak with Earl Holman and Dan Messeca about the history and beer offerings at Crooked Crab Brewing Company in Odenton, Maryland. Approaching its two-year anniversary, Crooked Crab has found its identity as a brewery that offers something for everyone. It always has at least a dozen beers on tap and will continue to create more high-quality brews in the future.A College Dream Come TrueEarl, Dan, and their friend Alex Josephs became close friends while attending the University of Maryland in the mid-2000s. Over a few rounds of golf and a few more rounds of beer, they started talking about eventually starting a brewery. Ten years later, in August 2015, they began developing business plans to open their brewery. Two and a half years later, on February 15, 2018, they officially opened Crooked Crab.Despite its name, Crooked Crab does not cook crabs, nor does it brew crabs (as the owners have informed disappointed inquirers). Instead, Earl, Dan, and Alex came up with Crooked Crab as an alliterative tribute to Maryland's crab scene.Something for EveryoneCrooked Crab hosts a 15-barrel system brew house, which allows the brewmaster, Adam Osborn, to constantly brew new beers, while also maintaining five flagship beers served year-round. The Maryland brewery also hosts a large tap room that has become a popular gathering place for Odenton locals.Crooked Crab's five flagship beers are Crooked Cream Ale (a light, easy cream ale), Haze for Days (a hazy IPA), I Fought the Claw (a traditional west-coast IPA), Chuck Brown Ale (a brown ale), and High Joltage (a coffee stout). In addition to these year-round beers, Crooked Crab usually offers around ten seasonal/experimental beers on tap at all times. The Crooked Crab team likes to get creative when creating beer names. Many are music-inspired, like Chuck Brown Ale (the Godfather of go-go music), Started from the Bottom Lager (a tribute to Drake), and I Fought the Claw (a spin on The Clash's I Fought the Law). Some other favorites are a Bohemian Pils called Pils Bo Baggins and a locally sourced pumpkin brew called Straight Outta Odenton. Coming Soon to Crooked CrabIn the coming months, Earl, Dan, and Alex look to continue to build a diverse offering of brews, possibly looking to focus a bit more on barrel-aged beers and lagers.Crooked Crab is available in draft and cans in over 100 locations in Maryland and DC. And their canned offerings are growing. They just recently had a canned release of two flagship beers, High Joltage and Haze for Days, and are looking to do a canned release of an imperial fruited sour and hazy double IPA in early February. Crooked Crab is also celebrating its two-year anniversary on February 15. Come and join the party at the Maryland brewery! You can catch up on all the DC Beer Show episodes here, and subscribe to our weekly newsletter, the DC Beer Weekly Pour.

A comprehensive examination of the bizarre and mysterious death of 23-year old rocker Bobby Fuller of the Bobby Fuller Four, who rose to fame just six months prior to his death with the hit song - "I Fought the Law". Originally ruled a suicide, many unanswered questions remain regarding his demise, with conspiracy theories ranging from accidental drug overdose, to murder, involving the Mob, shady record producers, and even police involvement. YOUTUBE - https://www.youtube.com/mindshock AUDIBLE FREE TRIAL - https://amzn.to/2KRHO8C SUPPORT MINDSHOCK - https://www.paypal.me/mindshock -SOCIAL- FACEBOOK - https://www.facebook.com/MindshockPodcast TWITTER - https://twitter.com/MindshockPod PATREON - https://www.patreon.com/mindshock MEDIUM - https://medium.com/@mindshock --- Support this podcast: https://anchor.fm/mindshock/support

Joe was interviewed on the "Sounds Like Liberty" podcast about: The music of Anarchitecture Podcast Our band The making of "Theme from Friends Against Government" How naming our band killed our faith in democracy (and might get us in trouble someday) 5 (or 10) albums that everybody needs to hear Check out our band "Diametric" at diametricband.com, where you can stream our music and find links to spotify, itunes, and several other platforms. Use hashtag #ana026 to reference this episode in a tweet, post, or comment View full show notes at http://anarchitecturepodcast.com/ana026. ----more---- Intro Intro to Sounds Like Liberty - Nicky P and Lizzie The Launch Pad Media Free Markets Green Earth We do our own music The Bad Joke Trumpet and the Uh Oh Tuba The Friends Against Government Podcast - bringing new friends together Our musical history Pulling the family card to shanghai our bassist Songs for libertarians "Woulda Coulda Shoulda" - the #nocoiner anthem "Romance of Revolution" - a protest song about the futility of protesting "Hollow Shell" - breathing life into a city "Theme from Friends Against Government" Discussion Welcome to Sounds Like Liberty What is Anarchitecture? Australian regulations - 30% more pain in the ass Reading Ron Paul on the plane to Australia Freedom Indexes - Is Australia more free than the US? Plenty of open space in Australia Theme from Friends Against Government We've written and recorded a song for one episode of our podcast A spoof on 80's sitcoms "It's beautifully cheesy" "Ironically Overproduced" "That is an obscene number of tracks" Michael McDonald "We're Yacht Rock People here" What are your musical tastes? Good songwriting, regardless of genre What Phish and Tool have (had) in common Strangefolk, the Creed of jam bands Phish sold out to their fans How did you miss Ween? Restricting production to force good songwriting But overproducing anyways Our band - Diametric Late to the Game album - We're getting the band back together! "It was what it was" High school - gigs around town After college - Manchester, NH, where the groups all live together Cities of Sand - our flagship album Distrokid "What's the best concert you've been to?" Moon Boot Lover Consumed by the music Alien Vacation Tower of Power - a force to be reckoned with This is real music here - no DJ's required Goldfish - DJ's plus live flutes Afro Celt Sound System My challenge - go to a TOP concert How does music fit into your life I should cut back on podcasts New rule - after dinner, no podcasts, just music Spotify - great for finding new music Marvin Gaye Everyone likes Vulfpeck OK, we're going to spend the next 5 minutes talking about the clarinet Soundtrack Moments In high school, 2 friends died in a car accident We played a gig that night - gave people a place to be together Graduation party on a mountaintop in Vermont "Some band was playing too loud, so the cops came" We played "I Fought the Law" 5 albums that everybody needs to hear God Street Wine - $1.99 Romances Rustic Overtones - Viva Nueva (also Rooms by the Hour) Thanks to Gravity - Slingshot Percy Hill - Color in Bloom OSI - Office of Strategic Influence (sneaky bonus) Porcupine Tree - In Absentia or Deadwing (sneaky bonus) Moon Boot Lover - Back on Earth Racists ruin everything A Primer to Prog Vola - Applause of a Distant Crowd The music has to grab me Prog rock is an investment Plugs Anarchitecture Diametric Late to the Game (Live) Cities of Sand - some of our best songwriting Funkshin Junkshin - A Bit Too Much The great band name struggle Snipe Funkshin Junkshin "Tranny in Need of Danny" - how I lost my faith in democracy TINO-D Diametric - the band that lives on opposite ends of the earth Hoping to do some mid-life crisis recording Recommending music to Tom Woods Citizen of Nowhere Part 3 teaser Links/Resources Sounds Like Liberty Episode 54 (This original episode) The Launch Pad Media Free Markets Green Earth Friends Against Government Too Many Cooks Theme from Full House Theme from Cheers Yacht Rock Distrokid - email us for a referral discount! Sounds Like Liberty soundtrack playlist on Spotify Diametric - our band's home page Spotify Apple Music / iTunes Amazon Bandcamp YouTube Google Play Music iHeartRadio Bands Mentioned Phish Tool They Might be Giants Ween Moon Boot Lover Tower of Power Goldfish Afro Celt Sound System (The Afrocelts) Marvin Gaye Bill Withers Alexis Evans St. Paul and the Broken Bones Vulfpeck Benny Goodman Duke Ellington Big Lick God Street Wine Rustic Overtones Thanks to Gravity Percy Hill OSI Grateful Dead Steely Dan Porcupine Tree Dream Theater Fates Warning Vola 12 Foot Ninja Animals as Leaders Peter Gabriel Episodes Mentioned ana007: Citizen of Nowhere | Part 2: Joe's Immigration Ordeal ana021: AGENDA 21!!! | Friends Against Government Contact: Email us: info@anarchitecturepodcast.comTweet us: @anarchitecturep Follow: Website: http://www.anarchitecturepodcast.com/Facebook: https://www.facebook.com/anarchitecturepodcast/Instagram: https://www.instagram.com/anarchitecturep/Twitter: https://twitter.com/anarchitecturep/Reddit: https://www.reddit.com/user/AnarchitecturePodcstMinds: https://www.minds.com/AnarchitecturePodcast Subscribe: iTunes: https://itunes.apple.com/au/podcast/anarchitecture/id1091252412YouTube: http://www.youtube.com/channel/UCWELM_zTl7tXLgT-rDKpSvgSpotify: https://open.spotify.com/show/5pepyQfA25PBz6bzKzlynf?si=4UiD6cLkR6Wd26wJC4S4YQPodbean: https://anarchitecture.podbean.com/Stitcher: http://www.stitcher.com/s?fid=85082&refid=stprBitchute: https://www.bitchute.com/channel/MIq2dOnSaTOP/RSS (all posts): http://www.anarchitecturepodcast.com/feed/RSS (Podcasts only): http://www.anarchitecturepodcast.com/feed/podcast/Other Subscription Options Support: Patreon: https://www.patreon.com/anarchitecturepodcastBitbacker.io: https://bitbacker.io/user/anarchitecture/Steemit: https://steemit.com/@anarchitectureDonate Bitcoin (BTC): 32cPbM7j5rxRu1KUaXGtoxsqFQNWD696p7

FURIOSA: TODAS LAS COSAS PUNK Programa conducido por Rodrigo Vidal Tamayo con una selección de lo mejor del punk mundial. Escucha un nuevo episodio en vivo todos los viernes a las 7pm con repetición los sábados a la 1pm (Hora del centro de México) por: www.circovolador.org/radio Disponible en ivoox y en itunes todos los viernes a partir de las 9pm Setlist del episodio 11: 1. Los lagartos – Hasta la madre 3:48 2. Catch 22 - Hard To Impress 2:06 3. bloodsucking zombies - moonlight sonata 2:42 4. across the border - Patriotic Pack 4:12 5. Thought Riot - On New Tablets 2:49 6. Masked intruder - I Fought the Law 2:32 7. Negative Approach - Tied Down 1:33 8. Los Suaves - Preparado Para El Rock And Roll 4:33 9. Mute - Resistance 3:23 10. Disco Volante - It's Your Funeral 3:20 11. mukeka di rato - acabar com voce 0:59 12. Face To Face – Pastel 3:17 13. The Virus - Full Circle 2:18 14. cooter - full house 3:39

We are forever grateful for your patience, bbs! This week enjoy some ramblings, stumbling over our words and a hefty amount of dogs barking in the background! Mallory drops some knowledge about the MOVE cult while Jules tells the story of the original singers of I Fought the Law: The Bobby Fuller Four mysterious murder? suicide?

Blake Hilley just finished his freshman year at the Juilliard School, and he’s already done more than many people do during their entire undergraduate careers.   Here are just a few of the projects he has accomplished in this short period of time: he premiered a solo work for bass titled Bass Heart by composer Bishu Chattopadhyay he released a recording of himself performing Kol Nidrei he put out a ton of recordings on his YouTube channel, including a quite entertaining cover of I Fought the Law (also singing!) he wrote an article for the Juilliard Admissions Blog titled A Day in the Life of a Double Bassist He has also played with the Juilliard Orchestra, where he worked with Itzhak Perlman and many others, performed in the New Juilliard Ensemble, and has been studying with Albert Laszlo. If Blake has done this much in just one year, I can’t wait to see what he accomplishes by the time he wraps up his undergraduate degree! Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations is sponsored by: D'Addario Strings This episode is brought to you by D’Addario Strings! Check out their Zyex strings, which are synthetic core strings that produce an extremely warm, rich sound. Get the sound and feel of gut strings with more evenness, projection and stability than real gut. Kolstein Music The Samuel Kolstein Violin Shop was founded by Samuel Kolstein in 1943 as a Violin and Bow making establishment in Brooklyn, New York. Now on Long Island, over 60 years later, Kolstein’s has built a proud reputation for quality, craftsmanship and expertise in both the manufacture and repair of a whole range of stringed instruments, and has expanded to a staff of twelve experts in restoration, marketing and production. A440 Violin Shop An institution in the Roscoe Village neighborhood for over 20 years, A440's commitment to fairness and value means that we have many satisfied customers from the local, national, and international string playing communities. Our clients include major symphony orchestras, professional orchestra and chamber music players, aspiring students, amateur adult players, all kinds of fiddlers, jazz and commercial musicians, university music departments, and public schools. Upton Bass String Instrument Company Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players. Texas Hill Country Bass Collective Join them July 22 thru July 25 for our 6th annual Austin Bass Workshop at the amazing Westlake High School.  Come join friends from the Texas Hill Country Bass Collective for four days of music, bass, and fun and work with 2019 featured guest artist (and past Contrabass Conversations guest) Dennis Whittaker! The Bass Violin Shop The Bass Violin Shop offers the Southeast’s largest inventory of laminate, hybrid and carved double basses. Whether you are in search of the best entry-level laminate, or a fine pedigree instrument, there is always a unique selection ready for you to try. Trade-ins and consignments welcome! Contrabass Conversations production team: Jason Heath, host Michael Cooper and Steve Hinchey, audio editing Mitch Moehring, audio engineer Trevor Jones, publication and promotion Krista Kopper, archival and cataloging Subscribe to the podcast to get these interviews delivered to you automatically!

The Delgados special with Emma Pollock in conversation Their first commercial release came with the inclusion of their track "Liquidation Girl" on the compilation album Skookum Chief Powered Teenage Zit Rock Angst from Nardwuar the Human Serviette. Instead of signing to a record label, the band started their own, Chemikal Underground, on which they released their own records and also some from other local bands, among them Mogwai and Arab Strap. Chemikal Underground's first release was the Delgados first single "Monica Webster / Brand New Car". The single caught the attention of BBC Radio 1 DJ John Peel, and the band quickly became one of his favourites, going on to record seven sessions for his show. The cost of Chemikal Underground's second release, the single "Disco Nation 45" by Bis, left the cash-strapped label unable to afford another release by the Delgados, so their next release "Lazarwalker" came from the London-based Radar Records. Tempted by Radar to a five-album deal, the band declined, instead poaching their A&R contact, Graeme Beattie, for work at Chemikal Underground. Another single, "Cinecentre" followed in early 1996 as the band juggled work at the label with several tours, and recorded their debut album. The band released two more singles, this time taken from their album Domestiques released in November 1996. The song "Under Canvas, Under Wraps" being voted number three in John Peel's Festive Fifty that year. The band released their second album in 1998. Peloton - also a cycling reference. The single "Pull the Wires From the Wall" gave the Delgados their first hit single in the UK Singles Chart, reaching number 69.[3] The band's close relationship with Peel continued, with "Pull the Wires From the Wall" voted to number one in the Festive Fifty (it would also make the all time chart made in 2000). The Delgados' evolution continued with The Great Eastern in 2000. The record was produced by Dave Fridmann. Their next single, "American Trilogy", reached number 61 in the UK chart. Their fourth album, Hate, was released on Mantra rather than the band's own label. The song "The Light Before We Land" was used as the opening theme for the anime Gunslinger Girl, while the song "Woke From Dreaming" is played at the beginning of episode 7. The band returned to their own label for 2004's Universal Audio. The band announced they were splitting up in April 2005 due to the departure of Henderson who found it difficult "to pour so much of my energy and time into something that never quite seemed to get the attention or respect [he] felt it deserved." The four will continue to run Chemikal Underground together. Songwriters Pollock and Woodward are pursuing individual projects, while Savage will continue production duties at the band's Chem19 in a new studio. Since the band's separation, the track "I Fought the Angels" from Universal Audio has been used in the fourth episode in the second season of the Golden Globe-winning medical drama Grey's Anatomy in 2006, and in the opening scene in the series premiere of BBC Three's Lip Service in 2010. A double disc containing 29 tracks, The Complete BBC Peel Sessions, was released on 12 June 2006 in Europe, and later in the year in the United States. Woodward released his debut solo album in June 2009 under the name Lord Cut-Glass. Savage also played on the album.

In Sounds Like Liberty: Episode 41 we talk with @Car Campit of the FAGcast. We’ll start with an analysis of I Fought the Law as performed by The Clash. Clearly we’re talking about crime and punishment, but where does it land on the scale? In I Heard This Happened, a long long awaited pick by Nicky: I Made a deal With Myself by Alex Evans. He waited months for this record to come out and totally missed it the week it did so we’re a little late to the party but it was well worth the anticipation. His Comments: The first track was a lil shakey for me but I bought the ticket and the ride was worth staying.  The album reminds me of what Mayer Hawthorne did on A Strange Arrangement but with a more St. Paul & Broken Bones vibe. The production lands somewhere in between. The whole record is just a big homage to the Stax recording artists and god bless em, we could use more of that. https://alexisevans.bandcamp.com/album/ive-come-a-long-way I picked something more mellow for this episode Reign the Sky with Phone Home. This Ep just reminded me of all the high concept heartfelt rock that I used to enjoy bands like and Brave Saint Saturn. They describe themselves as alternative pop and punk. Take your pick. I just enjoy the impassioned vocals and heartfelt lyrics.  They seem like a bunch of nice Canadian guys. https://reigntheskyofficial.bandcamp.com/album/phone-home Today’s interview is with @Car Campit one of the madcap adventurers over at the Friends Against Government podcast. Check out the FAGcast here: https://twitter.com/fagcast?lang=en Here are some of the artists we talked about: Umphrey's Mcgee https://spoti.fi/2UVIHS3 Phish https://spoti.fi/2YnrV0d Widespread https://spoti.fi/2JIiDsn Primus https://spoti.fi/2UUVAvL Pink Floyd https://spoti.fi/2HIguLn SCOTS (Southern Culture on the Skids) https://spoti.fi/2FxDYzD The Mountain Goats https://spoti.fi/2TvdBit The Rentals https://spoti.fi/2HRlz3n Weezer https://spoti.fi/2YnNOwA This Must Be The Place (Film) https://imdb.to/2TZTzlm Alex Winter Film - Deep Web https://imdb.to/2JDICB7 Dann Reid - Culinary Libertarian Podcast https://www.culinarylibertarian.com/ Dangerous History Podcast - John Taylor Gatto http://profcj.org/ep173/ Thomas Sowell https://www.tsowell.com/ Car Recommends Terrapin Station - The Grateful Dead http://bit.ly/2MDC2Zj 77 - The Talking Heads http://bit.ly/2U9vZ56 Paul’s Boutique - The Beastie Boys http://bit.ly/2HSdoE0 Music from Big Pink - The Band http://bit.ly/2Wi9nN0 Gut the Van - Dispatch http://bit.ly/2HUa1w7 Find all the episodes at http://www.ancapmusic.com Check out the show’s spotify soundtrack here:https://spoti.fi/2MFxkKG To Support Us Join The Freedom Choir here: http://www.supportsll.com Click here to sign up for email list:http://bit.ly/2MDWoSg

Sal and Bob travel to Morton's Steakhouse in Troy, Michigan. The One Hit Wonder is I Fought the Law, which is a great choice since their guest is retired police officer, David Quinlivin, who is dubbed Q The Cop. The boys yap about their weekend gigs and complain about casinos. Sal jokes about his Italian heritage, and Officer Quinlivin tells the guys about the realities of police work, how to get out of a ticket, and gross encounters with lawbreakers. Follow the show for more: Twitter: @SalandBobShow Facebook: facebook.com/SalAndBobShow

SGEM 229: I Fought the Law and the Law Won - But Would it Matter if I had a Resident? by SAEM

Last week hearings in the U.S. Senate began for Supreme Court nominee Judge Bret Kavanaugh. In this edition of the Nixon Now Podcast, we look back at the justices President Nixon appointed to the highest court, and the challenges they faced in their respective confirmation processes. Our guest today successfully shepherded through arguably one of the most consequential nominees in the past half century, Justice William Rehnquist. He did this not once, but twice: when Justice Rehnquist became associate justice in 1971, and again when he became chief justice in 1986. Wally Johnson began his career as a special attorney in the organized crime section of the criminal division at the Department of Justice, ultimately leading the organized crime task force in Miami. He was minority counsel of the Senate judiciary subcommittee on criminal laws and procedures under ranking minority member, Senator Roman Hruska. In 1970, he was appointed by Attorney General John Mitchell as associate attorney general responsible for managing the Powell and Rehnquist confirmations before the Senate judiciary committee. From 1972 to 1973, he served in the White House in the vaunted congressional liaison office. From 1973 to 1975, Johnson served as assistant attorney general for land and natural resources. Today he remains a successful lawyer living in Cody Wyoming. Photo: President Nixon presents Lewis Powell (shown on the left of RN) and William Rehnquist (on right of RN) framed gifts recognizing their confirmation as Supreme Court justices on December 22, 1971. (Richard Nixon Presidential Library) Music: "I Fought the Law" by The Clash (1977). Interview by Jonathan Movroydis