Podcasts about The Ink Spots

Support us on Patreonhttps://www.patreon.com/user?u=4279967Jack Benny TV Videocasthttps://open.spotify.com/show/6BDar4CsgVEyUloEQ8sWpw?si=89123269fe144a10Jack Benny Show OTR Podcast!https://open.spotify.com/show/3UZ6NSEL7RPxOXUoQ4NiDP?si=987ab6e776a7468cJudy Garland and Friends OTR Podcasthttps://open.spotify.com/show/5ZKJYkgHOIjQzZWCt1a1NN?si=538b47b50852483dStrange New Worlds Of Dimension X-1 Podcasthttps://open.spotify.com/show/6hFMGUvEdaYqPBoxy00sOk?si=a37cc300a8e247a1Buck Benny YouTube Channelhttps://r.search.yahoo.com/_ylt=AwrOoc1Q5bllBgQA469XNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891281/RO=10/RU=https%3a%2f%2fwww.youtube.com%2f%40BuckBenny/RK=2/RS=nVp4LDJhOmL70bh7eeCi6DPNdW4-Support us on Patreonhttps://www.patreon.com/user?u=4279967

Songs include: You Don't Know What Love Is by Dinah Washington, You Don't Have To Know the Language by Bing Crosby and the Andrews Sisters, It's Too Soon To Know by the Orioles, Ask Anyone Who Knows by the Ink Spots and I'll Know by Georgia Gibbs. 

Episode 319, More Signature Songs, presents the most-remembered recordings by iconic mid-century performers including Elvis Presley, The Ink Spots, Kitty Wells, Jerry Lee Lewis, Frank Sinatra, Johnny Mathis, Fats Domino, Perry Como, Dean Martin, and... Read More The post Episode 319, More Signature Songs appeared first on Sam Waldron.

This episode of The Other Side of the Bell, featuring trumpeter, Scott Belck, is brought to you by Bob Reeves Brass. You can also watch this interview on Youtube. About Scott: Dr. Scott Belck currently serves as the Director of Jazz Studies and Professor of Music at the University of Cincinnati's College-Conservatory of Music (CCM) where he directs the CCM Jazz Orchestra and teaches applied Jazz Trumpet. He is a founding member of critically acclaimed Tromba Mundi contemporary trumpet ensemble and has toured as a member of Grammy Award winning funk legend Bootsy Collins' Funk Unity Band as lead trumpet. He has served as trumpet and cornet soloist with the Air Force Band of Flight in Dayton, Ohio where he also held the post of musical director for the Air Force Night Flight Jazz Ensemble. He is the Founding Artistic Director Emeritus of the Cincinnati Contemporary Jazz Orchestra.   His playing credits include recordings lead trumpet/guest soloist with the Cincinnati Pops featuring the Manhattan Transfer and John Pizzarelli, the Glenn Miller Orchestra, the Van Dells, and jazz soloist with the University of North Texas One O'clock Lab Band with whom he recorded four CDs as jazz soloist and section trumpet. He has performed as principal/lead trumpet with the St. Louis Symphony, Indianapolis Symphony, Cincinnati Symphony, the National Symphony Orchestra of the Dominican Republic, the Columbus Symphony Orchestra, the Dayton Philharmonic Orchestra, the Lexington Philharmonic, the Richmond Symphony Orchestra, and as section trumpet with the Duluth-Superior Symphony Orchestra and the Duluth Festival Opera. He has performed as lead trumpet for shows/concerts of Christian McBride, Jimmy Heath, Aretha Franklin, Gerald Wilson, the Detroit Jazz Festival Orchestra, Linda Ronstadt, John Lithgow, Donna Summer, Maureen McGovern, Michael Feinstein, Lalo Rodriguez, Sandy Patti, Tito Puente Jr., Tommy Tune, Manhattan Transfer, Lou Rawls, Patti Austen, The Coasters, Yes, Ben Vereen, Doc Severinsen, the Temptations, Olivia Newton-John, Neil Sedaka, the Blue Wisp Big Band, the Columbus Jazz Orchestra, the Dayton Jazz Orchestra, the Ink Spots, the Four Freshmen, The Frankie Avalon, Fabian, Bobby Riddell, Little Anthony and the Imperials, Frankie Valli, The Maritime Jazz Orchestra of Canada as well as touring Broadway shows and regional and national recording sessions. He has performed as a leader, musical director, or sideman with many top jazz players on the scene today including: Fred Hersch, Rich Perry, Adam Nussbaum, Lew Soloff, Randy Brecker, Slide Hampton, Jim McNeely, Claudio Roditi, John Riley, Rick Margitza, Bob Belden, Jimmy Heath, Bobby Watson, Tom Harrell, Tim Hagans, Regina Carter, Wes Anderson, John Hollenbeck, Steve Turre, Conrad Herwig, Gordon Brisker, Hank Marr, Marvin Stamm, Gerry Mulligan, Kenny Garrett, John Fedchock, Phil Woods, Ed Soph, John LaBarbera and Diane Schuur. He has also served as the Artistic Director of the Dayton Jazz Orchestra, the Jazz Central Big Band, and the Miami Valley Jazz Camp in Ohio. He is the author of the text “Modern Flexibilities for Brass”, published by Meredith Music and distributed by Hal Leonard. In his spare time, he is the CEO and founder of Lip Slur World Headquarters. Belck's new book “Progressive Lip Flexibilities for Brass” is quickly becoming one of the most popular sarcastic lip slur books in the lower South-Central Ohio River valley region. Scott Belck is a Powell Signature Trumpet Artist.

Songs include : Worried Man Blues by the Carter Family. Don't Worry Bout That Mule by Louis Jordan, Worried Blues by Gladys Bentley, Worried Over You by Red Norvo and Do I Worry by the Ink Spots. 

We're looking back at the life and music of vocalist Jerry Daniels, a founding member of the world-famous Ink Spots.  The Ink Spots were founded around 1933 by four young Indianapolis singers, Deek Watson, Orville Jones, Charlie Fuqua, and Jerry Daniels. They would go on to become one of the most influential acts in American music, inspiring an entire generation of doo-wop, R&B, and rock and roll musicians. In 1989 the Ink Spots were inducted into the Rock and Roll Hall of Fame, the only Indianapolis act to receive this honor. Jerry Daniels left the Ink Spots in 1936, though his time with the group was short, he played a large role in establishing their unique sound. Join us for music from Daniels, featuring his early work with the Ink Spots, and his last recordings during the 1980s.

Eerlijk gezegd heb ik helemaal geen zin meer om het over Israël en Palestina te hebben. Je kan er alleen maar mee in de shit komen. Dit is wat ik tegen Dalit Lymor zeg halverwege ons tweede gesprek. Daarin komen we terug op een eerder gesprek wat destijds mislukte en om die reden nooit gepubliceerd is. Dalit is een pro-Israëlische activist en wilde destijds over haar activisme komen vertellen in de show. Nu doen we een poging om dit alles te begrijpen: wat er destijds mislukte en hoe dit alles te bekijken in het nieuwe licht van de aanslagen precies een jaar geleden... Gast: Dalit Lymor Audio nabewerking: Jasper Cremers Mecenas Patreon / sponsors : Josha Sietsma, Sietske's Pottery, Cartoon BoxSteun Open Geesten / Zomergeesten / Boze Geesten Podcast

Playwright Lloyd Suh and actor Keiko Agena discuss “The Chinese Lady,” which is on stage at the Alliance Theatre through October 17. H Johnson stops by for the latest edition of “H Johnson's Jazz Moment” with the story behind The Ink Spots. William Bell enters the National R&B Hall of Fame and Catfight! band members Katy Graves, Jennifer Leavey, and Stacy Kerber detail (cat)FIGHT! FOR YOUR RIGHTS. The benefit concert is on Saturday, October 5, at Eyedrum Art and Music Gallery.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Episode 312, Come Fly With Me 2, continues the music that Sam Waldron's phone picked out for him during a red-eye flight to Europe. Performers include Paul Anka, The Ink Spots, The Fifth Dimension, Pat... Read More The post Episode 312, Come Fly With Me 2 appeared first on Sam Waldron.

Oh Your Humble Host has eaten a bowl of beans (mixed with his chili) in honor of today's Great Gildersleeve on Sounds Like Radio Volume 177. Gildy tries to help out Leroy win a bean counting contest as they both discover Beans, Beans are The Magical Fruit. Like magic today's Gildy was broadcast June 18, 1952. Joining in our beans the magical fruit fest are: Patsy Cline, Grandpa, Dorothy Shay, Bing Crosby, Doris Day, Ink Spots & a little heard bonus from Jonathan Edwards.

durée : 01:01:15 - Club Jazzafip - Un road-trip au cœur de la musique américaine pour la Journée internationale de la musique country avec Nat King Cole et Woodie Herman, Ella Fitzgerald et The Ink Spots, Chet Atkins, The Bourbon Street Stompers, John Scofield, Floyd Carmer ou Arthur "Guitar Boogie" Smith...

Records left off of previous shows, including: It's a Sin to Tell a Lie by the Ink Spots, When Winter Comes by Mary Healy, Swing Them Jingle Bells by Fats Waller, Worried Blues by Gladys Bentley and Prison Cell Blues by Blind Lemon Jefferson. 

Stephen Sanchez is an American singer-songwriter based in New York City. Stephen fell in love with music as a child, listening to his grandfather's records from artists like Frank Sinatra, The Platters, Nat King Cole, and The Ink Spots. He began playing guitar shortly after and then at 14, when he felt an emotion he didn't know hot convey, he wrote a song about it. Stephen then began posting covers to YouTube and TikTok and his videos on the latter gained traction. In June 2020, Sanchez posted a cover of Cage the Elephant's "Cigarette Daydreams" on TikTok that became very popular. Slowly, he built an audience and by 2020 had over 100,000 followers. Stephen's breakthrough came with his 2021 single “Until I Found You,” which even landed him a gig singing at Sofia Richie-Grainge's wedding. In 2023, Stephen released his debut album “Angel Face” and embarked on a headlining tour. This year, he has released the deluxe version of his album along with a new single titled “Baby Blue Bathing Suit” for the Disney+ Beach Boys documentary. Today on the couch, Stephen discussed the inspiration behind “Angel Face (Club Deluxe)”, the “Baby Blue Bathing Suit” music video, Australia, and more!For a better nights sleep try Beyond Sleep Here:https://www.beyondsleeptech.com/pages/zach-sangYou can always leave us a voicemail - (262) 515-9224!Follow Us On Social!TikTokTwitterInstagramFacebookFollow ZachFollow Dan

Stephen Sanchez is an American singer-songwriter based in New York City. Stephen fell in love with music as a child, listening to his grandfather's records from artists like Frank Sinatra, The Platters, Nat King Cole, and The Ink Spots. He began playing guitar shortly after and then at 14, when he felt an emotion he didn't know hot convey, he wrote a song about it. Stephen then began posting covers to YouTube and TikTok and his videos on the latter gained traction. In June 2020, Sanchez posted a cover of Cage the Elephant's "Cigarette Daydreams" on TikTok that became very popular. Slowly, he built an audience and by 2020 had over 100,000 followers. Stephen's breakthrough came with his 2021 single “Until I Found You,” which even landed him a gig singing at Sofia Richie-Grainge's wedding. In 2023, Stephen released his debut album “Angel Face” and embarked on a headlining tour. This year, he has released the deluxe version of his album along with a new single titled “Baby Blue Bathing Suit” for the Disney+ Beach Boys documentary. Today on the couch, Stephen discussed the inspiration behind “Angel Face (Club Deluxe)”, the “Baby Blue Bathing Suit” music video, Australia, and more! For a better nights sleep try Beyond Sleep Here: https://www.beyondsleeptech.com/pages/zach-sang You can always leave us a voicemail - (262) 515-9224! Follow Us On Social! TikTok Twitter Instagram Facebook Follow Zach Follow Dan Learn more about your ad choices. Visit megaphone.fm/adchoices

Join Captain Dan, Penny Lane and Hunter as they bring you an hour of music inspired by the Fallout franchise!Hear tracks by the likes of The Ink Spots, Herb Albert and the Tijuana Brass, Dinah Washington and more!For more info and tracklisting, visit: https://thefaceradio.com/punks-in-parkasTune into new broadcasts of Punks In Parkas, Every Monday from Midday – 1 PM EST / 5 - 6 PM GMT//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

The Ink Spots were an American vocal jazz group who gained international fame in the 1930s and 1940s. The Rock-N-Roll Hall of Fame inductees paved the way for rhythm and blues and dew-wop. The Ink Spots began performing in the Indianapolis area around 1931, appearing on radio station WLW in Cincinnati. By 1934 they made it to the Apollo Theater in New York, and started touring in England. In 1936, the Ink Spots were the first African Americans to appear on television, when the medium was in the experimental stage of development. By 1938 they had their own nationwide radio show. In 1939 they recorded a ballad called, "If I Didn't Care", was a smash hit, selling over 19 million copies. Hoppy Jones, Deek Watson, Charlie Fuqua, and Bill Kenny went on to appear in movies, and made many guest appearances on variety shows during the golden age of TV, between 1948 and 1952. You will hear The Ink Spots 1938 radio show, plus an appearance on the Jack Benny radio program in 1948. More at http://krobcollection.com

Songs include: Born to Lose, Lost and Found, I'd Hate to Lose You, What Have We Got to lose?, Lost April and She Had to Go and Lose It At the Astor.  Performers include: Benny Carter, the Andrews Sisters, Ted Daffran, the Ink Spots, Richard Himbler, Thomas "Fats" Waller and Nat King Cole.

Oh, Your Humble Host has an action packed Great Gildersleeve on Sounds Like Radio Volume 167 this week. It seems our hero is wanted by a desperate woman who claims Gildy is her runaway husband missing for more than a decade. Oh no, Gildy's never been married it's all a mistake. Nothing to do now but put on your running shoes. Today's show originally heard April 2, 1952. Well, I hate to see Gildy in a pickle and so do these folks who all have a word of advice: Eddy Arnold, Billie Holiday, Bing Crosby, Ink Spots, Kay Starr, Dean Martin, Ella Fitzgerald & Louis Jordan.

This week your hosts Hall of Fame Referee JHawk, Marcy, Jess and Charly Butters discuss JK Rowling, JHawks Mania Weekend, Final Fantasy Spoilers. Then the gang is joined by 880 Champion "Amateur Wrestler" Reese Hayes to discuss High School Sports, Film Making, Working on Netflix's Mindhunter and so much more on this weeks The Indie Wrestling Guide.  (Intro)-"Degenerates"- A Day to Remember (Outro)-"I Don't want to set the world on fire"- The Ink Spots

Prestige-ish Media Fallout Season 1 REVIEW of episode 2 - The Target. Listen in as Craig Lake and Dan McNair give their opinions on the Amazon Prime show. Who let the dogs out? In this episode we discuss CX404, The Ink Spots, Siggi, chicken lovers, Ma June, cheese and crackers, and more. Please also join us for our coverage of The Boys Season 4, House of the Dragon Season 2, and The Jinx Season 2 coming soon. X @prestige_ish Instagram @prestigeishmedia X/Instagram @realrealbatman @danmcnair1017 http://prestigeish.com

Your Humble Host is here with Volume 163 of Sounds Like Radio! Today we find the Great Gildersleeve trying to help Marjorie & Bronco get a $2000 loan to finish construction on their house. Where to go? Ahh, how about Bullard, he's loaded BUT wait a minute Bullard and Gildy can't stand each other. Now that's what I call a flaw in the slaw with this plan. But somehow or another Your Humble Host and his buddies here will come up with a solution. Why to help cogitate on this we have Rosemary Clooney (as seen in our picture with this show displaying all her goodies she has to offer to get Bullard to come to Gildy's house) also with us are Burl Ives, Dinah Washington, Bing Crosby, Peggy Lee, Ink Spots and Jimmy Durante. With this brain trust we just gotta come up with an idea for Marjorie.

We're not like other girls… Join us for our most recent episode as we offer a critical re-evaluation of the figure of the bimbo and deconstruct societal preconceptions of femininity at large through our own cosima bee concordia's essay “My Official Bimbo Diagnosis”. With our two remaining brain cells we ponder, why does everyone seem to hate femininity so much, and why it is that femininity is seen as a threat to feminism? We argue (to the degree that bimbos can string ideas together) that femmephobia is in part the result of an aesthetic double bind. This double bind normatively expects us all to perform gender while also punishing or shaming those who perform gender “too much”. The “too much” of gender is dangerous because it wrests us from the pervasive myth that gender is natural. In a patriarchal world where the masculine is the neutral ideal, femininity is always “too much” and thus provides a useful scapegoat to perpetuate misogyny in both men who hate women and feminists alike.  In an effort to challenge these totalizing power dynamics we examine the extent to which it is both possible, and necessary -- albeit not without risk -- to take pleasure in gender even though it is gender that oppresses us. In what ways can we re-purpose the too much of gender? How can the BDSM dungeon as seen through Susan Stryker's “Dungeon Intimacies” be “a technology for the production of (trans)gendered embodiment”? And finally, could it be that the only gender binary that matters is Gender Minimalism vs. Gender Maximalism?For discussions on all those questions and more, listen to “Bimbo Theory: A Gender Maximalist Guide to Having It All”Read "My Official Bimbo Diagnosis" by cosima bee concordiaTo not miss out on episodes and get bonus content, sign up for our Patreon -- you're what makes this show possible!Intro and outro song is "Bless You" by the Ink Spots Get access to full bonus episodes, an exclusive RSS feed, and more by subscribing our Patreon! Hosted on Acast. See acast.com/privacy for more information.

Sounds Like Radio Volume 156 is here and so is Gildy. Yep, he's back from his disappearance last time in Volume 155. He's fully recovered and that just may be his trouble, as no one seems to be paying attention to Gildy now and he misses the attention he was getting. What to do? What to do? Uh oh, Gildy has a plan and I don't like the sounds of it. Well, maybe if Gildy listens to the gang I've rounded up to help out he may learn something from Blossom Dearie, The Ink Spots, Berndette Peters (our exciting picture featured with this show), Frank Sinatra, Patsy Cline, Bing Crosby and Astrud Gilberto. Let's find out in this January 16, 1952 Great Gildersleeve show.

This week on Echoes of Indiana Avenue, explore the Ink Spots' influence on rock and roll. The only Indianapolis act to be inducted into the Rock and Hall of Fame, the Ink Spots remain one of the most influential acts to emerge from the Avenue. Their songs were recorded by Elvis, Bob Dylan and The Beatles. The Ink Spots were formed in Indianapolis, during the early 1930s by Hoppy Jones, Charlie Fuqua, Deek Watson and Jerry Danies. In 1936, Daniels was replaced by the Baltimore vocalist Bill Kenny, who took on lead vocal duties. They developed a trademark sound that showcased Bill Kenny's high soaring tenor, Hoppy Jones' spoken word bass vocals, and Charlie Fuqua's distinctive guitar phrases.

Robert Hecker in conversation with David Eastaugh http://www.itsoktheband.com/ Played lead guitar and sang with Redd Kross from 1984 to 1991, and again from 2006 to the present, in addition to occasional on-stage reunions throughout the 1990s. He has also played guitar and sang with the band It's OK! since 1992. As of 2013, he no longer actively tours with Redd Kross, but continues to perform live with It's OK! It's OK! is/are: Robert Hecker (chameleon-voiced guitar guru, Redd Kross), Ellen Rooney (five-octave vocalist), Dennis McGarry (eight-string bass & three-piece suit), & Roy McDonald (drummer extraordinaire, The Muffs & Redd Kross). Individually, they can all stand as shred-lords, but collectively, they make a beautiful, hyper melodic (& harmonic) sound.  It's OK! have released four sixteen-song albums on Econoclast Recordings, each & every one of them a triumph of eclecticism. It's OK! have been compared to Queen, Guided By Voices, Poi Dog Pondering, Velvet Underground, Leonard Cohen, the Ink Spots, the BellRays, & A Giant Dog, to mention just a few. “We like all different kinds & sorts of music, so we write all different kinds & sorts of songs.” The band are currently constructing their fifth album. 

Joe Satriani Bass Sideman And Mermen Co - Founder Releases New Ambient Soundtrack#newmusic #newalbum #bass #ambient #joesatriani ALLEN WHITMAN, former bassist with legendary virtuoso guitarist JOE SATRIANI and co-founder of the San Francisco-based influential instrumental surf-rock trio THE MERMEN has announced the digital-only release (through label SQUEAKEY STUDIOS) of a new soundtrack/ambient album “MONOGATARI NO FŪKEI.”The album incorporates acoustic guitar-driven sonic environments with samples and synth that forwards a pace matching its title: “Landscape Of Stories”. The movement, using field recordings made on a recent visit to Japan, is compelling, occasionally contemplative and often propulsive.A stalwart of the San Francisco music scene, also credits live performance and musical collaboration with, among many others, the likes of HELIOS CREED, TINY TIM, THE SANDALS, THE INK SPOTS, NELS CLINE, MIKE KENEALLY, CARMINE APPICE, DOROTHY MOSKOWITZ, DJ QUEST, SAMMY HAGAR, TONY MACALPINE, DWEEZIL ZAPPA, STEVE LUKATHER, STEVE VAI, STEVE MORSE and JOHN PETRUCCI.To purchase: https://squeakeystudios.bandcamp.com/album/monogatari-no-f-keiInstagram: https://www.instagram.com/squeaksmore/https://audius.co/squeakeystudioshttps://soundcloud.com/squeakey-studiosThanks for tuning in, please be sure to click that subscribe button and give this a thumbs up!!Email: thevibesbroadcast@gmail.comInstagram: https://www.instagram.com/listen_to_the_vibes_/Facebook: https://www.facebook.com/thevibesbroadcastnetworkLinktree: https://linktr.ee/the_vibes_broadcastTikTok: https://vm.tiktok.com/ZMeuTVRv2/Twitter: https://twitter.com/TheVibesBrdcstTruth: https://truthsocial.com/@KoyoteFor all our social media and other links, go to: Linktree: https://linktr.ee/the_vibes_broadcastPlease subscribe, like, and share!

Songs about the passing of time, including: Time Changes Everything, Every Night About This Time, Time After Time, Moonlight Savings Time, As Time Goes By and Time Waits For No One.  Performers include: Dooley Wilson the Ink Spots, Helen Merrill, Artie Shaw, Guy Lombardo, Frank Sinatra and Harry James. 

Gurdip & Justin react to the virtual holiday duets with Pentatonix and Kane Brown released within the last week or so, briefly discuss the leaks of emails sent from Lisa Marie to Sofia Coppola, and dig into Songs of the Week. Gurdip selects the bubbly "It's A Wonderful World" from 1964's "Roustabout" while Justin goes deep on the obscure 1960 Elvis home recording "When the Swallows Come Back to Capistrano" - not just songwriter Leon Rene and the famous hit version by the Ink Spots, but also the actual event of the Return of the Swallows observed each year at the Mission San Juan de Capistrano.  If you enjoy TCBCast, please consider supporting the show over at Patreon.com/TCBCast. If you are unable to support us via Patreon, but want to support us another way, please make sure to leave a positive review or mention our show to another like-minded music/movie history enthusiast.

Co-host Jeremy brings us a record by groundbreaking American pop vocal group the Ink Spots. With their classic "Top & Bottom" song formula, the group were a major influence on doo-wop, rhythm & blues, and rock & roll, and you can find their records everywhere—just make sure it's the actual Ink Spots, which we will explain.   If you like us, please support us at patreon.com/idbuythatpodcast to get exclusive content, or tell a friend about us. Broke and have no friends? Leave us a review, it helps more people find us. Thanks!

Happy Halloween! The Big Show Podcast 1951-10-28 (032) Tallulah Bankhead, Jack Carson, Jimmy Durante, Ed Gardner, The Ink Spots, James and Pamela Mason (Mindi)

Happy Halloween! The Big Show Podcast 1951-10-28 (032) Tallulah Bankhead, Jack Carson, Jimmy Durante, Ed Gardner, The Ink Spots, James and Pamela Mason (Mindi)

This is a teaser--to access the full episode on an patron only-RSS feed, sign up at our Patreon.What if you became a zombie, but instead of becoming a mindless brain eater you find that you're exactly the same except for a new and uncontrollable urge to commit the most unspeakably horrific things you can imagine? What if you found yourself reveling in your newfound bloodlust?Join us for our special bonus review of Rob Jabbaz's exquisite 2021 Taiwanese pandemic body horror film “The Sadness” as we answer the call of the void and embrace the the depth of our depravity, exploring the thin line between everyday kindness and cruelty, self preservation and the death drive, and the dynamic relationship between sadism and masochism. At the end of the world there is a certain peace to be found in finally not having to pretend you will be saved.Aren't you tired of ignoring all those intrusive thoughts?This episode was in production longer than any other and its release marks an important milestone for us. A combination of audio issues, chronic illness, and mental health struggles really kicked our ass over the past many months and kept us from doing the work that we love. Adjusting our work habits and being patient with ourselves has been a difficult but rewarding process. On a much brighter note, this also marks our first episode since Drunk Church's one year birthday back in July! Thank you so much to those of you who have kept with us and our chaotic process—we couldn't do it without you.Intro and outro is "Bless You" by the Ink Spots Get access to full bonus episodes, an exclusive RSS feed, and more by subscribing our Patreon! Hosted on Acast. See acast.com/privacy for more information.

1 - Cow Cow Boogie (Cuma-Ti-Yi-Yi-Ay) - Ella Fitzgerald and Ink Spots – 19432 - Hawaiian Cowboy - Al Kealoha Perry And His Singing Surfriders – 19403 - Cattle Call - Chet Tyler - 19474 - A Roundup Lullaby (A Cowboy's Night Song to the Cattle) - Royal Dadmun – 19235 - I'm an Old Cowhand - Bing Crosby with Jimmy Dorsey and his Orchestra - 19366 - Cowboy Dance - The Ranch Boys - 19387 - A Cowboy in Khaki - Dick Thomas - 19448 - Vout Cowboy - Louis Prima And his Orchestra with Foy Willing and the Riders of the Purple Sage – 19469 - Home on the Range - Connie Boswell with Bob Crosby's Bob Cats - 193710 - Home on The Range - Jules Allen "The Singing Cowboy" - 192811 - Haim Afen Range - Mickey Katz and his Kosher-Jammers – 194712 - Alla en el Rancho Grande - Tito Guizar - 193613 - Tumbledown Ranch in Arizona - Dick Powell and The Foursome with Victor Young and his Orchestra – 194014 - Asfaltens Cowboy - Valdemar David med Teddy Pedersen og hans Orchester - 194115 - Cowboy from Brooklyn - Ray McKinley with Jimmy Dorsey And His Orchestra – 193816 - The Last Round-Up - Red River Dave and Orchestra - 194417 - Der Alte Cowboy - The Comedian Harmonists – 1934

Episode 281, After Dark Part 1, explores songs about things that happen after dark. Eighteen recordings include performances by The Andrews Sisters, The Ink Spots, The Fleetwoods, Rosemary Clooney, Patsy Cline, Sammi Smith, Elvis Presley,... Read More The post Episode 281, After Dark Part 1 appeared first on Sam Waldron.

Hello everyone. I am working on some new shows that are not quite finished. So here is a show i produced back in 2013 and it features the vocal groups from the big band era. Some of the groups were solo acts and others sang as part of the band. Who could forget groups like the Andrews Sisters, the Ink Spots, the Mills Brothers, the Pied Pipers and the Modernaires? In addition, I tried to give a little history of each group. I hope you enjoy all the vocal groups this week solo and as part of the band. Please visit this podcast at http://bigbandbashfm.blogspot.com

Given the failures of affirmative consent, how can we develop a better more nuanced framework that both embraces the messiness of sex and attends to the ways in which intimacy makes us uniquely vulnerable? What is the insatiable will that drives us to seek 'more and more' in our intimate encounters and aesthetic experiences? In what ways does play allow us to straddle the line between the real and the fictive so as to stir up the unconscious and trouble simplistic dualities such as normative understandings of Eros and Thanatos? How could a form of ethical sadism serve to guide our erotic relations so as to enable us to flirt with danger and play with limits? Come with us and play with fire in our third installment of Avgi Saketopoulou's “Sexuality Beyond Consent: Risk, Race, Traumatophilia”.Grab a copy for yourself from NYUPress to follow along!Intro & outro song is "Bless You" by the Ink SpotsSign up as a Drunk Church patron for access to a community discord, a private RSS feed with a selection of extended and bonus episodes, discounts on Drunk Church merch, and more! Get access to full bonus episodes, an exclusive RSS feed, and more by subscribing our Patreon! Hosted on Acast. See acast.com/privacy for more information.

This is the free teaser—to get access to the whole hour and a half bonus version, go to our Patreon and sign up at "Getting Tipsy with the Lord" or higher.Andrzej Żuławski's fever dream “Possession”—quite certainly the most extraordinary breakup film ever made—serves as our subject for today's bonus episode, and we invite you to join us as we are engulfed within the overwhelming tides of the mythosymbolic realm that it reveals to us. The film's dream logic defies reduction to rational understanding—indeed, such attempts would strip away its very essence, the power that renders it so profoundly affecting as it pulls us deeper and deeper into its unraveling horrors.We ask: What does it mean to be possessed? And how do we, in turn, seek possession of others and ourselves? In horrified fascination, we witness the characters' frenzied pursuit of various forms of possession, only for them to realize the multifaceted ways in which they themselves are possessed—not merely by desires like lust and jealousy, but also by institutions such as family and state. Our unsettling revelation lies in the disconnection between self-mastery and possession, leading us to contemplate whether, under these totalizing circumstances, reclaiming a sense of self necessitates surrendering to a kind of possession. Could it be that in order for us to truly experience ourselves authentically we must let ourselves become vulnerable to a possession that un-masters us, gives ourselves over to others, and risks the very same sense of self that we are so desperately in pursuit of?From escapades in espionage to the many tentacled eldritch horrors of the erotic unconscious, we trace the intricate anatomy of a breakup and the dissolution of the family, arriving at both terrifying and potentially liberating conclusions.Also featured: cosima's dog and her dog's dog friend who demandingly took center stage throughout recording in such a way that editing them out seemed in bad taste.Embrace the arcane journey with us as we explore these depths!Intro/outro song by "Bless You" by The Ink Spots Get access to full bonus episodes, an exclusive RSS feed, and more by subscribing our Patreon! Hosted on Acast. See acast.com/privacy for more information.

In which our brave investigators manage to squeeze into a sold-out show just in time for the opening act, as our detective drama reaches its thrilling conclusion—and the players themselves all roll sanity for stepping inside a theatre.   A Call of Cthulhu Scenario from Reckoning of the Dead, by Noah Lloyd and Matt Ryan. Episodes released weekly.   Visit our Patreon to help us continue making the podcast, and receive exclusive horrors in return.   The Apocalypse Players are: Dominic Allen @DomJAllen Joseph Chance @JosephChance2 Danann McAleer @DanannMcAleer Dan Wheeler @DanWheelerUK   Additional vocals by:  Jessica Temple @jessicamtemple Bettrys Jones @jettrysbones And with special thanks to Alice Wheeler @aliceswheeler for her rendition of ‘Lula Lula Bye Bye'   For more information and to get in touch, visit www.apocalypseplayers.com   CW: This podcast contains mature themes and strong language.   Music:   Theme song “Lula-Lula Bye Bye”, performed by Alice Wheeler and Dan Wheeler, after Beth Rowley. Original composed by George H. Clutsam.   With thanks once again to Finn McAleer and the Bearded Tits for use of their song Kid on the Dusty Mountain   Music from Epidemic Sound includes:   Eliot Ness by Bladverk Band Once Upon a Road by Bladverk Band No Time for Drinks by Martin Landstrom Ashtray by Martin Landstrom April's Fooling No One by Martin Landstrom Hotsy Totsie Lottie by Martin Landstrom Shapes of Shadows by Franz Gordon Sad Cop Story by Ludvig Moulin Desigh Ney by Ajwaa Cosmic Sunrise by Red Dictionary Parks of Kyoto by Sight of Wonders Salat Alsabah by Feras Charestan Heart of Sicily by Trabant Beyond the Western Hills by Gabriel Lewis The Two Thieves by Sven Lindvall Alien Controls by Cobby Costa The Last One to Live by Christian Andersen Haunted Outpost by Ethan Sloan Spider Room by Ethan Sloan Voiceless Whispering by Ethan Sloan   Music from filmmusic.io includes:   The following music was used for this media project: Music: Our Story Begins by Kevin MacLeod Free download: https://filmmusic.io/song/4181-our-story-begins License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: Dances and Dames by Kevin MacLeod Free download: https://filmmusic.io/song/3585-dances-and-dames License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: Long note One by Kevin MacLeod Free download: https://filmmusic.io/song/3992-long-note-one License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: The Dread by Kevin MacLeod Free download: https://filmmusic.io/song/4491-the-dread License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: Tranquility Base by Kevin MacLeod Free download: https://filmmusic.io/song/4542-tranquility-base License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: Impromptu in Blue by Kevin MacLeod Free download: https://filmmusic.io/song/3903-impromptu-in-blue License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: March of the Mind by Kevin MacLeod Free download: https://filmmusic.io/song/4020-march-of-the-mind License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: Atlantean Twilight by Kevin MacLeod Free download: https://filmmusic.io/song/3390-atlantean-twilight License (CC BY 4.0): https://filmmusic.io/standard-license   Music from Wikicommons includes:   Français : Cinquième pièce en do, extrait de "l'organiste" de César Franck. Harmonium Alexandre Debain de 1878. Registration : Basse=(5) Dolce, Dessus=(1)Flûte et (4)Hautbois Original Dixieland Jass Band — Livery Stable Blues Egmont Overture by Ludwig van Beethoven   Public Domain music From Free Music Archive includes:   I'm Gonna Get Me A Man That's All by Virginia Liston In the Dark Flashes —  by Bix Beiderbeck performed by Jess Stacy The Young Man Who Wouldn't Hoe Corn by Peggy Seeger Little Bits by Johnny Dodds Trio Don't Go Way Nobody by George Lewis & His New Orleans Stompers, written by Buddy Bolden Maybe by the Ink Spots. Writer: Allan Flynn; Frank Madden Deep Blue Sea Blues, written and performed by Clara Smith   Sound:   Sound from Zapsplat, Epidemic Sound and Sword Coast Soundscapes

Episode 165 of A History of Rock Music in Five Hundred Songs looks at “Dark Stat” and the career of the Grateful Dead. This is a long one, even longer than the previous episode, but don't worry, that won't be the norm. There's a reason these two were much longer than average. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Codine" by the Charlatans. Errata I mispronounce Brent Mydland's name as Myland a couple of times, and in the introduction I say "Touch of Grey" came out in 1988 -- I later, correctly, say 1987. (I seem to have had a real problem with dates in the intro -- I also originally talked about "Blue Suede Shoes" being in 1954 before fixing it in the edit to be 1956) Resources No Mixcloud this week, as there are too many songs by the Grateful Dead, and Grayfolded runs to two hours. I referred to a lot of books for this episode, partly because almost everything about the Grateful Dead is written from a fannish perspective that already assumes background knowledge, rather than to provide that background knowledge. Of the various books I used, Dennis McNally's biography of the band and This Is All a Dream We Dreamed: An Oral History of the Grateful Dead by Blair Jackson and David Gans are probably most useful for the casually interested. Other books on the Dead I used included McNally's Jerry on Jerry, a collection of interviews with Garcia; Deal, Bill Kreutzmann's autobiography; The Grateful Dead FAQ by Tony Sclafani; So Many Roads by David Browne; Deadology by Howard F. Weiner; Fare Thee Well by Joel Selvin and Pamela Turley; and Skeleton Key: A Dictionary for Deadheads by David Shenk and Steve Silberman. Tom Wolfe's The Electric Kool-Aid Acid Test is the classic account of the Pranksters, though not always reliable. I reference Slaughterhouse Five a lot. As well as the novel itself, which everyone should read, I also read this rather excellent graphic novel adaptation, and The Writer's Crusade, a book about the writing of the novel. I also reference Ted Sturgeon's More Than Human. For background on the scene around Astounding Science Fiction which included Sturgeon, John W. Campbell, L. Ron Hubbard, and many other science fiction writers, I recommend Alec Nevala-Lee's Astounding. 1,000 True Fans can be read online, as can the essay on the Californian ideology, and John Perry Barlow's "Declaration of the Independence of Cyberspace". The best collection of Grateful Dead material is the box set The Golden Road, which contains all the albums released in Pigpen's lifetime along with a lot of bonus material, but which appears currently out of print. Live/Dead contains both the live version of "Dark Star" which made it well known and, as a CD bonus track, the original single version. And archive.org has more live recordings of the group than you can possibly ever listen to. Grayfolded can be bought from John Oswald's Bandcamp Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Excerpt: Tuning from "Grayfolded", under the warnings Before we begin -- as we're tuning up, as it were, I should mention that this episode contains discussions of alcoholism, drug addiction, racism, nonconsensual drugging of other people, and deaths from drug abuse, suicide, and car accidents. As always, I try to deal with these subjects as carefully as possible, but if you find any of those things upsetting you may wish to read the transcript rather than listen to this episode, or skip it altogether. Also, I should note that the members of the Grateful Dead were much freer with their use of swearing in interviews than any other band we've covered so far, and that makes using quotes from them rather more difficult than with other bands, given the limitations of the rules imposed to stop the podcast being marked as adult. If I quote anything with a word I can't use here, I'll give a brief pause in the audio, and in the transcript I'll have the word in square brackets. [tuning ends] All this happened, more or less. In 1910, T. S. Eliot started work on "The Love Song of J. Alfred Prufrock", which at the time was deemed barely poetry, with one reviewer imagining Eliot saying "I'll just put down the first thing that comes into my head, and call it 'The Love Song of J. Alfred Prufrock.'" It is now considered one of the great classics of modernist literature. In 1969, Kurt Vonnegut wrote "Slaughterhouse-Five, or, The Children's Crusade: A Duty-Dance with Death", a book in which the protagonist, Billy Pilgrim, comes unstuck in time, and starts living a nonlinear life, hopping around between times reliving his experiences in the Second World War, and future experiences up to 1976 after being kidnapped by beings from the planet Tralfamadore. Or perhaps he has flashbacks and hallucinations after having a breakdown from PTSD. It is now considered one of the great classics of modernist literature or of science fiction, depending on how you look at it. In 1953, Theodore Sturgeon wrote More Than Human. It is now considered one of the great classics of science fiction. In 1950, L. Ron Hubbard wrote Dianetics: The Modern Science of Mental Health. It is now considered either a bad piece of science fiction or one of the great revelatory works of religious history, depending on how you look at it. In 1994, 1995, and 1996 the composer John Oswald released, first as two individual CDs and then as a double-CD, an album called Grayfolded, which the composer says in the liner notes he thinks of as existing in Tralfamadorian time. The Tralfamadorians in Vonnegut's novels don't see time as a linear thing with a beginning and end, but as a continuum that they can move between at will. When someone dies, they just think that at this particular point in time they're not doing so good, but at other points in time they're fine, so why focus on the bad time? In the book, when told of someone dying, the Tralfamadorians just say "so it goes". In between the first CD's release and the release of the double-CD version, Jerry Garcia died. From August 1942 through August 1995, Jerry Garcia was alive. So it goes. Shall we go, you and I? [Excerpt: The Grateful Dead, "Dark Star (Omni 3/30/94)"] "One principle has become clear. Since motives are so frequently found in combination, it is essential that the complex types be analyzed and arranged, with an eye kept single nevertheless to the master-theme under discussion. Collectors, both primary and subsidiary, have done such valiant service that the treasures at our command are amply sufficient for such studies, so extensive, indeed, that the task of going through them thoroughly has become too great for the unassisted student. It cannot be too strongly urged that a single theme in its various types and compounds must be made predominant in any useful comparative study. This is true when the sources and analogues of any literary work are treated; it is even truer when the bare motive is discussed. The Grateful Dead furnishes an apt illustration of the necessity of such handling. It appears in a variety of different combinations, almost never alone. Indeed, it is so widespread a tale, and its combinations are so various, that there is the utmost difficulty in determining just what may properly be regarded the original kernel of it, the simple theme to which other motives were joined. Various opinions, as we shall see, have been held with reference to this matter, most of them justified perhaps by the materials in the hands of the scholars holding them, but none quite adequate in view of later evidence." That's a quote from The Grateful Dead: The History of a Folk Story, by Gordon Hall Gerould, published in 1908. Kurt Vonnegut's novel Slaughterhouse-Five opens with a chapter about the process of writing the novel itself, and how difficult it was. He says "I would hate to tell you what this lousy little book cost me in money and anxiety and time. When I got home from the Second World War twenty-three years ago, I thought it would be easy for me to write about the destruction of Dresden, since all I would have to do would be to report what I had seen. And I thought, too, that it would be a masterpiece or at least make me a lot of money, since the subject was so big." This is an episode several of my listeners have been looking forward to, but it's one I've been dreading writing, because this is an episode -- I think the only one in the series -- where the format of the podcast simply *will not* work. Were the Grateful Dead not such an important band, I would skip this episode altogether, but they're a band that simply can't be ignored, and that's a real problem here. Because my intent, always, with this podcast, is to present the recordings of the artists in question, put them in context, and explain why they were important, what their music meant to its listeners. To put, as far as is possible, the positive case for why the music mattered *in the context of its time*. Not why it matters now, or why it matters to me, but why it matters *in its historical context*. Whether I like the music or not isn't the point. Whether it stands up now isn't the point. I play the music, explain what it was they were doing, why they were doing it, what people saw in it. If I do my job well, you come away listening to "Blue Suede Shoes" the way people heard it in 1956, or "Good Vibrations" the way people heard it in 1966, and understanding why people were so impressed by those records. That is simply *not possible* for the Grateful Dead. I can present a case for them as musicians, and hope to do so. I can explain the appeal as best I understand it, and talk about things I like in their music, and things I've noticed. But what I can't do is present their recordings the way they were received in the sixties and explain why they were popular. Because every other act I have covered or will cover in this podcast has been a *recording* act, and their success was based on records. They may also have been exceptional live performers, but James Brown or Ike and Tina Turner are remembered for great *records*, like "Papa's Got a Brand New Bag" or "River Deep, Mountain High". Their great moments were captured on vinyl, to be listened back to, and susceptible of analysis. That is not the case for the Grateful Dead, and what is worse *they explicitly said, publicly, on multiple occasions* that it is not possible for me to understand their art, and thus that it is not possible for me to explain it. The Grateful Dead did make studio records, some of them very good. But they always said, consistently, over a thirty year period, that their records didn't capture what they did, and that the only way -- the *only* way, they were very clear about this -- that one could actually understand and appreciate their music, was to see them live, and furthermore to see them live while on psychedelic drugs. [Excerpt: Grateful Dead crowd noise] I never saw the Grateful Dead live -- their last UK performance was a couple of years before I went to my first ever gig -- and I have never taken a psychedelic substance. So by the Grateful Dead's own criteria, it is literally impossible for me to understand or explain their music the way that it should be understood or explained. In a way I'm in a similar position to the one I was in with La Monte Young in the last episode, whose music it's mostly impossible to experience without being in his presence. This is one reason of several why I placed these two episodes back to back. Of course, there is a difference between Young and the Grateful Dead. The Grateful Dead allowed -- even encouraged -- the recording of their live performances. There are literally thousands of concert recordings in circulation, many of them of professional quality. I have listened to many of those, and I can hear what they were doing. I can tell you what *I* think is interesting about their music, and about their musicianship. And I think I can build up a good case for why they were important, and why they're interesting, and why those recordings are worth listening to. And I can certainly explain the cultural phenomenon that was the Grateful Dead. But just know that while I may have found *a* point, *an* explanation for why the Grateful Dead were important, by the band's own lights and those of their fans, no matter how good a job I do in this episode, I *cannot* get it right. And that is, in itself, enough of a reason for this episode to exist, and for me to try, even harder than I normally do, to get it right *anyway*. Because no matter how well I do my job this episode will stand as an example of why this series is called "*A* History", not *the* history. Because parts of the past are ephemeral. There are things about which it's true to say "You had to be there". I cannot know what it was like to have been an American the day Kennedy was shot, I cannot know what it was like to be alive when a man walked on the Moon. Those are things nobody my age or younger can ever experience. And since August the ninth, 1995, the experience of hearing the Grateful Dead's music the way they wanted it heard has been in that category. And that is by design. Jerry Garcia once said "if you work really hard as an artist, you may be able to build something they can't tear down, you know, after you're gone... What I want to do is I want it here. I want it now, in this lifetime. I want what I enjoy to last as long as I do and not last any longer. You know, I don't want something that ends up being as much a nuisance as it is a work of art, you know?" And there's another difficulty. There are only two points in time where it makes sense to do a podcast episode on the Grateful Dead -- late 1967 and early 1968, when the San Francisco scene they were part of was at its most culturally relevant, and 1988 when they had their only top ten hit and gained their largest audience. I can't realistically leave them out of the story until 1988, so it has to be 1968. But the songs they are most remembered for are those they wrote between 1970 and 1972, and those songs are influenced by artists and events we haven't yet covered in the podcast, who will be getting their own episodes in the future. I can't explain those things in this episode, because they need whole episodes of their own. I can't not explain them without leaving out important context for the Grateful Dead. So the best I can do is treat the story I'm telling as if it were in Tralfamadorian time. All of it's happening all at once, and some of it is happening in different episodes that haven't been recorded yet. The podcast as a whole travels linearly from 1938 through to 1999, but this episode is happening in 1968 and 1972 and 1988 and 1995 and other times, all at once. Sometimes I'll talk about things as if you're already familiar with them, but they haven't happened yet in the story. Feel free to come unstuck in time and revisit this time after episode 167, and 172, and 176, and 192, and experience it again. So this has to be an experimental episode. It may well be an experiment that you think fails. If so, the next episode is likely to be far more to your taste, and much shorter than this or the last episode, two episodes that between them have to create a scaffolding on which will hang much of the rest of this podcast's narrative. I've finished my Grateful Dead script now. The next one I write is going to be fun: [Excerpt: Grateful Dead, "Dark Star"] Infrastructure means everything. How we get from place to place, how we transport goods, information, and ourselves, makes a big difference in how society is structured, and in the music we hear. For many centuries, the prime means of long-distance transport was by water -- sailing ships on the ocean, canal boats and steamboats for inland navigation -- and so folk songs talked about the ship as both means of escape, means of making a living, and in some senses as a trap. You'd go out to sea for adventure, or to escape your problems, but you'd find that the sea itself brought its own problems. Because of this we have a long, long tradition of sea shanties which are known throughout the world: [Excerpt: A. L. Lloyd, "Off to Sea Once More"] But in the nineteenth century, the railway was invented and, at least as far as travel within a landmass goes, it replaced the steamboat in the popular imaginary. Now the railway was how you got from place to place, and how you moved freight from one place to another. The railway brought freedom, and was an opportunity for outlaws, whether train robbers or a romanticised version of the hobo hopping onto a freight train and making his way to new lands and new opportunity. It was the train that brought soldiers home from wars, and the train that allowed the Great Migration of Black people from the South to the industrial North. There would still be songs about the riverboats, about how ol' man river keeps rolling along and about the big river Johnny Cash sang about, but increasingly they would be songs of the past, not the present. The train quickly replaced the steamboat in the iconography of what we now think of as roots music -- blues, country, folk, and early jazz music. Sometimes this was very literal. Furry Lewis' "Kassie Jones" -- about a legendary train driver who would break the rules to make sure his train made the station on time, but who ended up sacrificing his own life to save his passengers in a train crash -- is based on "Alabamy Bound", which as we heard in the episode on "Stagger Lee", was about steamboats: [Excerpt: Furry Lewis, "Kassie Jones"] In the early episodes of this podcast we heard many, many, songs about the railway. Louis Jordan saying "take me right back to the track, Jack", Rosetta Tharpe singing about how "this train don't carry no gamblers", the trickster freight train driver driving on the "Rock Island Line", the mystery train sixteen coaches long, the train that kept-a-rollin' all night long, the Midnight Special which the prisoners wished would shine its ever-loving light on them, and the train coming past Folsom Prison whose whistle makes Johnny Cash hang his head and cry. But by the 1960s, that kind of song had started to dry up. It would happen on occasion -- "People Get Ready" by the Impressions is the most obvious example of the train metaphor in an important sixties record -- but by the late sixties the train was no longer a symbol of freedom but of the past. In 1969 Harry Nilsson sang about how "Nobody Cares About the Railroads Any More", and in 1968 the Kinks sang about "The Last of the Steam-Powered Trains". When in 1968 Merle Haggard sang about a freight train, it was as a memory, of a child with hopes that ended up thwarted by reality and his own nature: [Excerpt: Merle Haggard, "Mama Tried"] And the reason for this was that there had been another shift, a shift that had started in the forties and accelerated in the late fifties but had taken a little time to ripple through the culture. Now the train had been replaced in the popular imaginary by motorised transport. Instead of hopping on a train without paying, if you had no money in your pocket you'd have to hitch-hike all the way. Freedom now meant individuality. The ultimate in freedom was the biker -- the Hell's Angels who could go anywhere, unburdened by anything -- and instead of goods being moved by freight train, increasingly they were being moved by truck drivers. By the mid-seventies, truck drivers took a central place in American life, and the most romantic way to live life was to live it on the road. On The Road was also the title of a 1957 novel by Jack Kerouac, which was one of the first major signs of this cultural shift in America. Kerouac was writing about events in the late forties and early fifties, but his book was also a precursor of the sixties counterculture. He wrote the book on one continuous sheet of paper, as a stream of consciousness. Kerouac died in 1969 of an internal haemmorage brought on by too much alcohol consumption. So it goes. But the big key to this cultural shift was caused by the Federal-Aid Highway Act of 1956, a massive infrastructure spending bill that led to the construction of the modern American Interstate Highway system. This accelerated a program that had already started, of building much bigger, safer, faster roads. It also, as anyone who has read Robert Caro's The Power Broker knows, reinforced segregation and white flight. It did this both by making commuting into major cities from the suburbs easier -- thus allowing white people with more money to move further away from the cities and still work there -- and by bulldozing community spaces where Black people lived. More than a million people lost their homes and were forcibly moved, and orders of magnitude more lost their communities' parks and green spaces. And both as a result of deliberate actions and unconscious bigotry, the bulk of those affected were Black people -- who often found themselves, if they weren't forced to move, on one side of a ten-lane highway where the park used to be, with white people on the other side of the highway. The Federal-Aid Highway Act gave even more power to the unaccountable central planners like Robert Moses, the urban planner in New York who managed to become arguably the most powerful man in the city without ever getting elected, partly by slowly compromising away his early progressive ideals in the service of gaining more power. Of course, not every new highway was built through areas where poor Black people lived. Some were planned to go through richer areas for white people, just because you can't completely do away with geographical realities. For example one was planned to be built through part of San Francisco, a rich, white part. But the people who owned properties in that area had enough political power and clout to fight the development, and after nearly a decade of fighting it, the development was called off in late 1966. But over that time, many of the owners of the impressive buildings in the area had moved out, and they had no incentive to improve or maintain their properties while they were under threat of demolition, so many of them were rented out very cheaply. And when the beat community that Kerouac wrote about, many of whom had settled in San Francisco, grew too large and notorious for the area of the city they were in, North Beach, many of them moved to these cheap homes in a previously-exclusive area. The area known as Haight-Ashbury. [Excerpt: The Grateful Dead, "Grayfolded"] Stories all have their starts, even stories told in Tralfamadorian time, although sometimes those starts are shrouded in legend. For example, the story of Scientology's start has been told many times, with different people claiming to have heard L. Ron Hubbard talk about how writing was a mug's game, and if you wanted to make real money, you needed to get followers, start a religion. Either he said this over and over and over again, to many different science fiction writers, or most science fiction writers of his generation were liars. Of course, the definition of a writer is someone who tells lies for money, so who knows? One of the more plausible accounts of him saying that is given by Theodore Sturgeon. Sturgeon's account is more believable than most, because Sturgeon went on to be a supporter of Dianetics, the "new science" that Hubbard turned into his religion, for decades, even while telling the story. The story of the Grateful Dead probably starts as it ends, with Jerry Garcia. There are three things that everyone writing about the Dead says about Garcia's childhood, so we might as well say them here too. The first is that he was named by a music-loving father after Jerome Kern, the songwriter responsible for songs like "Ol' Man River" (though as Oscar Hammerstein's widow liked to point out, "Jerome Kern wrote dum-dum-dum-dum, *my husband* wrote 'Ol' Man River'" -- an important distinction we need to bear in mind when talking about songwriters who write music but not lyrics). The second is that when he was five years old that music-loving father drowned -- and Garcia would always say he had seen his father dying, though some sources claim this was a false memory. So it goes. And the third fact, which for some reason is always told after the second even though it comes before it chronologically, is that when he was four he lost two joints from his right middle finger. Garcia grew up a troubled teen, and in turn caused trouble for other people, but he also developed a few interests that would follow him through his life. He loved the fantastical, especially the fantastical macabre, and became an avid fan of horror and science fiction -- and through his love of old monster films he became enamoured with cinema more generally. Indeed, in 1983 he bought the film rights to Kurt Vonnegut's science fiction novel The Sirens of Titan, the first story in which the Tralfamadorians appear, and wrote a script based on it. He wanted to produce the film himself, with Francis Ford Coppola directing and Bill Murray starring, but most importantly for him he wanted to prevent anyone who didn't care about it from doing it badly. And in that he succeeded. As of 2023 there is no film of The Sirens of Titan. He loved to paint, and would continue that for the rest of his life, with one of his favourite subjects being Boris Karloff as the Frankenstein monster. And when he was eleven or twelve, he heard for the first time a record that was hugely influential to a whole generation of Californian musicians, even though it was a New York record -- "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Garcia would say later "That was an important song. That was the first kind of, like where the voices had that kind of not-trained-singer voices, but tough-guy-on-the-street voice." That record introduced him to R&B, and soon he was listening to Chuck Berry and Bo Diddley, to Ray Charles, and to a record we've not talked about in the podcast but which was one of the great early doo-wop records, "WPLJ" by the Four Deuces: [Excerpt: The Four Deuces, "WPLJ"] Garcia said of that record "That was one of my anthem songs when I was in junior high school and high school and around there. That was one of those songs everybody knew. And that everybody sang. Everybody sang that street-corner favorite." Garcia moved around a lot as a child, and didn't have much time for school by his own account, but one of the few teachers he did respect was an art teacher when he was in North Beach, Walter Hedrick. Hedrick was also one of the earliest of the conceptual artists, and one of the most important figures in the San Francisco arts scene that would become known as the Beat Generation (or the Beatniks, which was originally a disparaging term). Hedrick was a painter and sculptor, but also organised happenings, and he had also been one of the prime movers in starting a series of poetry readings in San Francisco, the first one of which had involved Allen Ginsberg giving the first ever reading of "Howl" -- one of a small number of poems, along with Eliot's "Prufrock" and "The Waste Land" and possibly Pound's Cantos, which can be said to have changed twentieth-century literature. Garcia was fifteen when he got to know Hedrick, in 1957, and by then the Beat scene had already become almost a parody of itself, having become known to the public because of the publication of works like On the Road, and the major artists in the scene were already rejecting the label. By this point tourists were flocking to North Beach to see these beatniks they'd heard about on TV, and Hedrick was actually employed by one cafe to sit in the window wearing a beret, turtleneck, sandals, and beard, and draw and paint, to attract the tourists who flocked by the busload because they could see that there was a "genuine beatnik" in the cafe. Hedrick was, as well as a visual artist, a guitarist and banjo player who played in traditional jazz bands, and he would bring records in to class for his students to listen to, and Garcia particularly remembered him bringing in records by Big Bill Broonzy: [Excerpt: Big Bill Broonzy, "When Things Go Wrong (It Hurts Me Too)"] Garcia was already an avid fan of rock and roll music, but it was being inspired by Hedrick that led him to get his first guitar. Like his contemporary Paul McCartney around the same time, he was initially given the wrong instrument as a birthday present -- in Garcia's case his mother gave him an accordion -- but he soon persuaded her to swap it for an electric guitar he saw in a pawn shop. And like his other contemporary, John Lennon, Garcia initially tuned his instrument incorrectly. He said later "When I started playing the guitar, believe me, I didn't know anybody that played. I mean, I didn't know anybody that played the guitar. Nobody. They weren't around. There were no guitar teachers. You couldn't take lessons. There was nothing like that, you know? When I was a kid and I had my first electric guitar, I had it tuned wrong and learned how to play on it with it tuned wrong for about a year. And I was getting somewhere on it, you know… Finally, I met a guy that knew how to tune it right and showed me three chords, and it was like a revelation. You know what I mean? It was like somebody gave me the key to heaven." He joined a band, the Chords, which mostly played big band music, and his friend Gary Foster taught him some of the rudiments of playing the guitar -- things like how to use a capo to change keys. But he was always a rebellious kid, and soon found himself faced with a choice between joining the military or going to prison. He chose the former, and it was during his time in the Army that a friend, Ron Stevenson, introduced him to the music of Merle Travis, and to Travis-style guitar picking: [Excerpt: Merle Travis, "Nine-Pound Hammer"] Garcia had never encountered playing like that before, but he instantly recognised that Travis, and Chet Atkins who Stevenson also played for him, had been an influence on Scotty Moore. He started to realise that the music he'd listened to as a teenager was influenced by music that went further back. But Stevenson, as well as teaching Garcia some of the rudiments of Travis-picking, also indirectly led to Garcia getting discharged from the Army. Stevenson was not a well man, and became suicidal. Garcia decided it was more important to keep his friend company and make sure he didn't kill himself than it was to turn up for roll call, and as a result he got discharged himself on psychiatric grounds -- according to Garcia he told the Army psychiatrist "I was involved in stuff that was more important to me in the moment than the army was and that was the reason I was late" and the psychiatrist thought it was neurotic of Garcia to have his own set of values separate from that of the Army. After discharge, Garcia did various jobs, including working as a transcriptionist for Lenny Bruce, the comedian who was a huge influence on the counterculture. In one of the various attacks over the years by authoritarians on language, Bruce was repeatedly arrested for obscenity, and in 1961 he was arrested at a jazz club in North Beach. Sixty years ago, the parts of speech that were being criminalised weren't pronouns, but prepositions and verbs: [Excerpt: Lenny Bruce, "To is a Preposition, Come is a Verb"] That piece, indeed, was so controversial that when Frank Zappa quoted part of it in a song in 1968, the record label insisted on the relevant passage being played backwards so people couldn't hear such disgusting filth: [Excerpt: The Mothers of Invention, "Harry You're a Beast"] (Anyone familiar with that song will understand that the censored portion is possibly the least offensive part of the whole thing). Bruce was facing trial, and he needed transcripts of what he had said in his recordings to present in court. Incidentally, there seems to be some confusion over exactly which of Bruce's many obscenity trials Garcia became a transcriptionist for. Dennis McNally says in his biography of the band, published in 2002, that it was the most famous of them, in autumn 1964, but in a later book, Jerry on Jerry, a book of interviews of Garcia edited by McNally, McNally talks about it being when Garcia was nineteen, which would mean it was Bruce's first trial, in 1961. We can put this down to the fact that many of the people involved, not least Garcia, lived in Tralfamadorian time, and were rather hazy on dates, but I'm placing the story here rather than in 1964 because it seems to make more sense that Garcia would be involved in a trial based on an incident in San Francisco than one in New York. Garcia got the job, even though he couldn't type, because by this point he'd spent so long listening to recordings of old folk and country music that he was used to transcribing indecipherable accents, and often, as Garcia would tell it, Bruce would mumble very fast and condense multiple syllables into one. Garcia was particularly impressed by Bruce's ability to improvise but talk in entire paragraphs, and he compared his use of language to bebop. Another thing that was starting to impress Garcia, and which he also compared to bebop, was bluegrass: [Excerpt: Bill Monroe, "Fire on the Mountain"] Bluegrass is a music that is often considered very traditional, because it's based on traditional songs and uses acoustic instruments, but in fact it was a terribly *modern* music, and largely a postwar creation of a single band -- Bill Monroe and his Blue Grass Boys. And Garcia was right when he said it was "white bebop" -- though he did say "The only thing it doesn't have is the harmonic richness of bebop. You know what I mean? That's what it's missing, but it has everything else." Both bebop and bluegrass evolved after the second world war, though they were informed by music from before it, and both prized the ability to improvise, and technical excellence. Both are musics that involved playing *fast*, in an ensemble, and being able to respond quickly to the other musicians. Both musics were also intensely rhythmic, a response to a faster paced, more stressful world. They were both part of the general change in the arts towards immediacy that we looked at in the last episode with the creation first of expressionism and then of pop art. Bluegrass didn't go into the harmonic explorations that modern jazz did, but it was absolutely as modern as anything Charlie Parker was doing, and came from the same impulses. It was tradition and innovation, the past and the future simultaneously. Bill Monroe, Jackson Pollock, Charlie Parker, Jack Kerouac, and Lenny Bruce were all in their own ways responding to the same cultural moment, and it was that which Garcia was responding to. But he didn't become able to play bluegrass until after a tragedy which shaped his life even more than his father's death had. Garcia had been to a party and was in a car with his friends Lee Adams, Paul Speegle, and Alan Trist. Adams was driving at ninety miles an hour when they hit a tight curve and crashed. Garcia, Adams, and Trist were all severely injured but survived. Speegle died. So it goes. This tragedy changed Garcia's attitudes totally. Of all his friends, Speegle was the one who was most serious about his art, and who treated it as something to work on. Garcia had always been someone who fundamentally didn't want to work or take any responsibility for anything. And he remained that way -- except for his music. Speegle's death changed Garcia's attitude to that, totally. If his friend wasn't going to be able to practice his own art any more, Garcia would practice his, in tribute to him. He resolved to become a virtuoso on guitar and banjo. His girlfriend of the time later said “I don't know if you've spent time with someone rehearsing ‘Foggy Mountain Breakdown' on a banjo for eight hours, but Jerry practiced endlessly. He really wanted to excel and be the best. He had tremendous personal ambition in the musical arena, and he wanted to master whatever he set out to explore. Then he would set another sight for himself. And practice another eight hours a day of new licks.” But of course, you can't make ensemble music on your own: [Excerpt: Jerry Garcia and Bob Hunter, "Oh Mary Don't You Weep" (including end)] "Evelyn said, “What is it called when a person needs a … person … when you want to be touched and the … two are like one thing and there isn't anything else at all anywhere?” Alicia, who had read books, thought about it. “Love,” she said at length." That's from More Than Human, by Theodore Sturgeon, a book I'll be quoting a few more times as the story goes on. Robert Hunter, like Garcia, was just out of the military -- in his case, the National Guard -- and he came into Garcia's life just after Paul Speegle had left it. Garcia and Alan Trist met Hunter ten days after the accident, and the three men started hanging out together, Trist and Hunter writing while Garcia played music. Garcia and Hunter both bonded over their shared love for the beats, and for traditional music, and the two formed a duo, Bob and Jerry, which performed together a handful of times. They started playing together, in fact, after Hunter picked up a guitar and started playing a song and halfway through Garcia took it off him and finished the song himself. The two of them learned songs from the Harry Smith Anthology -- Garcia was completely apolitical, and only once voted in his life, for Lyndon Johnson in 1964 to keep Goldwater out, and regretted even doing that, and so he didn't learn any of the more political material people like Pete Seeger, Phil Ochs, and Bob Dylan were doing at the time -- but their duo only lasted a short time because Hunter wasn't an especially good guitarist. Hunter would, though, continue to jam with Garcia and other friends, sometimes playing mandolin, while Garcia played solo gigs and with other musicians as well, playing and moving round the Bay Area and performing with whoever he could: [Excerpt: Jerry Garcia, "Railroad Bill"] "Bleshing, that was Janie's word. She said Baby told it to her. She said it meant everyone all together being something, even if they all did different things. Two arms, two legs, one body, one head, all working together, although a head can't walk and arms can't think. Lone said maybe it was a mixture of “blending” and “meshing,” but I don't think he believed that himself. It was a lot more than that." That's from More Than Human In 1961, Garcia and Hunter met another young musician, but one who was interested in a very different type of music. Phil Lesh was a serious student of modern classical music, a classically-trained violinist and trumpeter whose interest was solidly in the experimental and whose attitude can be summed up by a story that's always told about him meeting his close friend Tom Constanten for the first time. Lesh had been talking with someone about serialism, and Constanten had interrupted, saying "Music stopped being created in 1750 but it started again in 1950". Lesh just stuck out his hand, recognising a kindred spirit. Lesh and Constanten were both students of Luciano Berio, the experimental composer who created compositions for magnetic tape: [Excerpt: Luciano Berio, "Momenti"] Berio had been one of the founders of the Studio di fonologia musicale di Radio Milano, a studio for producing contemporary electronic music where John Cage had worked for a time, and he had also worked with the electronic music pioneer Karlheinz Stockhausen. Lesh would later remember being very impressed when Berio brought a tape into the classroom -- the actual multitrack tape for Stockhausen's revolutionary piece Gesang Der Juenglinge: [Excerpt: Karlheinz Stockhausen, "Gesang Der Juenglinge"] Lesh at first had been distrustful of Garcia -- Garcia was charismatic and had followers, and Lesh never liked people like that. But he was impressed by Garcia's playing, and soon realised that the two men, despite their very different musical interests, had a lot in common. Lesh was interested in the technology of music as well as in performing and composing it, and so when he wasn't studying he helped out by engineering at the university's radio station. Lesh was impressed by Garcia's playing, and suggested to the presenter of the station's folk show, the Midnight Special, that Garcia be a guest. Garcia was so good that he ended up getting an entire solo show to himself, where normally the show would feature multiple acts. Lesh and Constanten soon moved away from the Bay Area to Las Vegas, but both would be back -- in Constanten's case he would form an experimental group in San Francisco with their fellow student Steve Reich, and that group (though not with Constanten performing) would later premiere Terry Riley's In C, a piece influenced by La Monte Young and often considered one of the great masterpieces of minimalist music. By early 1962 Garcia and Hunter had formed a bluegrass band, with Garcia on guitar and banjo and Hunter on mandolin, and a rotating cast of other musicians including Ken Frankel, who played banjo and fiddle. They performed under different names, including the Tub Thumpers, the Hart Valley Drifters, and the Sleepy Valley Hog Stompers, and played a mixture of bluegrass and old-time music -- and were very careful about the distinction: [Excerpt: The Hart Valley Drifters, "Cripple Creek"] In 1993, the Republican political activist John Perry Barlow was invited to talk to the CIA about the possibilities open to them with what was then called the Information Superhighway. He later wrote, in part "They told me they'd brought Steve Jobs in a few weeks before to indoctrinate them in modern information management. And they were delighted when I returned later, bringing with me a platoon of Internet gurus, including Esther Dyson, Mitch Kapor, Tony Rutkowski, and Vint Cerf. They sealed us into an electronically impenetrable room to discuss the radical possibility that a good first step in lifting their blackout would be for the CIA to put up a Web site... We told them that information exchange was a barter system, and that to receive, one must also be willing to share. This was an alien notion to them. They weren't even willing to share information among themselves, much less the world." 1962 brought a new experience for Robert Hunter. Hunter had been recruited into taking part in psychological tests at Stanford University, which in the sixties and seventies was one of the preeminent universities for psychological experiments. As part of this, Hunter was given $140 to attend the VA hospital (where a janitor named Ken Kesey, who had himself taken part in a similar set of experiments a couple of years earlier, worked a day job while he was working on his first novel) for four weeks on the run, and take different psychedelic drugs each time, starting with LSD, so his reactions could be observed. (It was later revealed that these experiments were part of a CIA project called MKUltra, designed to investigate the possibility of using psychedelic drugs for mind control, blackmail, and torture. Hunter was quite lucky in that he was told what was going to happen to him and paid for his time. Other subjects included the unlucky customers of brothels the CIA set up as fronts -- they dosed the customers' drinks and observed them through two-way mirrors. Some of their experimental subjects died by suicide as a result of their experiences. So it goes. ) Hunter was interested in taking LSD after reading Aldous Huxley's writings about psychedelic substances, and he brought his typewriter along to the experiment. During the first test, he wrote a six-page text, a short excerpt from which is now widely quoted, reading in part "Sit back picture yourself swooping up a shell of purple with foam crests of crystal drops soft nigh they fall unto the sea of morning creep-very-softly mist ... and then sort of cascade tinkley-bell-like (must I take you by the hand, ever so slowly type) and then conglomerate suddenly into a peal of silver vibrant uncomprehendingly, blood singingly, joyously resounding bells" Hunter's experience led to everyone in their social circle wanting to try LSD, and soon they'd all come to the same conclusion -- this was something special. But Garcia needed money -- he'd got his girlfriend pregnant, and they'd married (this would be the first of several marriages in Garcia's life, and I won't be covering them all -- at Garcia's funeral, his second wife, Carolyn, said Garcia always called her the love of his life, and his first wife and his early-sixties girlfriend who he proposed to again in the nineties both simultaneously said "He said that to me!"). So he started teaching guitar at a music shop in Palo Alto. Hunter had no time for Garcia's incipient domesticity and thought that his wife was trying to make him live a conventional life, and the two drifted apart somewhat, though they'd still play together occasionally. Through working at the music store, Garcia got to know the manager, Troy Weidenheimer, who had a rock and roll band called the Zodiacs. Garcia joined the band on bass, despite that not being his instrument. He later said "Troy was a lot of fun, but I wasn't good enough a musician then to have been able to deal with it. I was out of my idiom, really, 'cause when I played with Troy I was playing electric bass, you know. I never was a good bass player. Sometimes I was playing in the wrong key and didn't even [fuckin'] know it. I couldn't hear that low, after playing banjo, you know, and going to electric...But Troy taught me the principle of, hey, you know, just stomp your foot and get on it. He was great. A great one for the instant arrangement, you know. And he was also fearless for that thing of get your friends to do it." Garcia's tenure in the Zodiacs didn't last long, nor did this experiment with rock and roll, but two other members of the Zodiacs will be notable later in the story -- the harmonica player, an old friend of Garcia's named Ron McKernan, who would soon gain the nickname Pig Pen after the Peanuts character, and the drummer, Bill Kreutzmann: [Excerpt: The Grateful Dead, "Drums/Space (Skull & Bones version)"] Kreutzmann said of the Zodiacs "Jerry was the hired bass player and I was the hired drummer. I only remember playing that one gig with them, but I was in way over my head. I always did that. I always played things that were really hard and it didn't matter. I just went for it." Garcia and Kreutzmann didn't really get to know each other then, but Garcia did get to know someone else who would soon be very important in his life. Bob Weir was from a very different background than Garcia, though both had the shared experience of long bouts of chronic illness as children. He had grown up in a very wealthy family, and had always been well-liked, but he was what we would now call neurodivergent -- reading books about the band he talks about being dyslexic but clearly has other undiagnosed neurodivergences, which often go along with dyslexia -- and as a result he was deemed to have behavioural problems which led to him getting expelled from pre-school and kicked out of the cub scouts. He was never academically gifted, thanks to his dyslexia, but he was always enthusiastic about music -- to a fault. He learned to play boogie piano but played so loudly and so often his parents sold the piano. He had a trumpet, but the neighbours complained about him playing it outside. Finally he switched to the guitar, an instrument with which it is of course impossible to make too loud a noise. The first song he learned was the Kingston Trio's version of an old sea shanty, "The Wreck of the John B": [Excerpt: The Kingston Trio, "The Wreck of the John B"] He was sent off to a private school in Colorado for teenagers with behavioural issues, and there he met the boy who would become his lifelong friend, John Perry Barlow. Unfortunately the two troublemakers got on with each other *so* well that after their first year they were told that it was too disruptive having both of them at the school, and only one could stay there the next year. Barlow stayed and Weir moved back to the Bay Area. By this point, Weir was getting more interested in folk music that went beyond the commercial folk of the Kingston Trio. As he said later "There was something in there that was ringing my bells. What I had grown up thinking of as hillbilly music, it started to have some depth for me, and I could start to hear the music in it. Suddenly, it wasn't just a bunch of ignorant hillbillies playing what they could. There was some depth and expertise and stuff like that to aspire to.” He moved from school to school but one thing that stayed with him was his love of playing guitar, and he started taking lessons from Troy Weidenheimer, but he got most of his education going to folk clubs and hootenannies. He regularly went to the Tangent, a club where Garcia played, but Garcia's bluegrass banjo playing was far too rigorous for a free spirit like Weir to emulate, and instead he started trying to copy one of the guitarists who was a regular there, Jorma Kaukonnen. On New Year's Eve 1963 Weir was out walking with his friends Bob Matthews and Rich Macauley, and they passed the music shop where Garcia was a teacher, and heard him playing his banjo. They knocked and asked if they could come in -- they all knew Garcia a little, and Bob Matthews was one of his students, having become interested in playing banjo after hearing the theme tune to the Beverly Hillbillies, played by the bluegrass greats Flatt and Scruggs: [Excerpt: Flatt and Scruggs, "The Beverly Hillbillies"] Garcia at first told these kids, several years younger than him, that they couldn't come in -- he was waiting for his students to show up. But Weir said “Jerry, listen, it's seven-thirty on New Year's Eve, and I don't think you're going to be seeing your students tonight.” Garcia realised the wisdom of this, and invited the teenagers in to jam with him. At the time, there was a bit of a renaissance in jug bands, as we talked about back in the episode on the Lovin' Spoonful. This was a form of music that had grown up in the 1920s, and was similar and related to skiffle and coffee-pot bands -- jug bands would tend to have a mixture of portable string instruments like guitars and banjos, harmonicas, and people using improvised instruments, particularly blowing into a jug. The most popular of these bands had been Gus Cannon's Jug Stompers, led by banjo player Gus Cannon and with harmonica player Noah Lewis: [Excerpt: Gus Cannon's Jug Stompers, "Viola Lee Blues"] With the folk revival, Cannon's work had become well-known again. The Rooftop Singers, a Kingston Trio style folk group, had had a hit with his song "Walk Right In" in 1963, and as a result of that success Cannon had even signed a record contract with Stax -- Stax's first album ever, a month before Booker T and the MGs' first album, was in fact the eighty-year-old Cannon playing his banjo and singing his old songs. The rediscovery of Cannon had started a craze for jug bands, and the most popular of the new jug bands was Jim Kweskin's Jug Band, which did a mixture of old songs like "You're a Viper" and more recent material redone in the old style. Weir, Matthews, and Macauley had been to see the Kweskin band the night before, and had been very impressed, especially by their singer Maria D'Amato -- who would later marry her bandmate Geoff Muldaur and take his name -- and her performance of Leiber and Stoller's "I'm a Woman": [Excerpt: Jim Kweskin's Jug Band, "I'm a Woman"] Matthews suggested that they form their own jug band, and Garcia eagerly agreed -- though Matthews found himself rapidly moving from banjo to washboard to kazoo to second kazoo before realising he was surplus to requirements. Robert Hunter was similarly an early member but claimed he "didn't have the embouchure" to play the jug, and was soon also out. He moved to LA and started studying Scientology -- later claiming that he wanted science-fictional magic powers, which L. Ron Hubbard's new religion certainly offered. The group took the name Mother McRee's Uptown Jug Champions -- apparently they varied the spelling every time they played -- and had a rotating membership that at one time or another included about twenty different people, but tended always to have Garcia on banjo, Weir on jug and later guitar, and Garcia's friend Pig Pen on harmonica: [Excerpt: Mother McRee's Uptown Jug Champions, "On the Road Again"] The group played quite regularly in early 1964, but Garcia's first love was still bluegrass, and he was trying to build an audience with his bluegrass band, The Black Mountain Boys. But bluegrass was very unpopular in the Bay Area, where it was simultaneously thought of as unsophisticated -- as "hillbilly music" -- and as elitist, because it required actual instrumental ability, which wasn't in any great supply in the amateur folk scene. But instrumental ability was something Garcia definitely had, as at this point he was still practising eight hours a day, every day, and it shows on the recordings of the Black Mountain Boys: [Excerpt: The Black Mountain Boys, "Rosa Lee McFall"] By the summer, Bob Weir was also working at the music shop, and so Garcia let Weir take over his students while he and the Black Mountain Boys' guitarist Sandy Rothman went on a road trip to see as many bluegrass musicians as they could and to audition for Bill Monroe himself. As it happened, Garcia found himself too shy to audition for Monroe, but Rothman later ended up playing with Monroe's Blue Grass Boys. On his return to the Bay Area, Garcia resumed playing with the Uptown Jug Champions, but Pig Pen started pestering him to do something different. While both men had overlapping tastes in music and a love for the blues, Garcia's tastes had always been towards the country end of the spectrum while Pig Pen's were towards R&B. And while the Uptown Jug Champions were all a bit disdainful of the Beatles at first -- apart from Bob Weir, the youngest of the group, who thought they were interesting -- Pig Pen had become enamoured of another British band who were just starting to make it big: [Excerpt: The Rolling Stones, "Not Fade Away"] 29) Garcia liked the first Rolling Stones album too, and he eventually took Pig Pen's point -- the stuff that the Rolling Stones were doing, covers of Slim Harpo and Buddy Holly, was not a million miles away from the material they were doing as Mother McRee's Uptown Jug Champions. Pig Pen could play a little electric organ, Bob had been fooling around with the electric guitars in the music shop. Why not give it a go? The stuff bands like the Rolling Stones were doing wasn't that different from the electric blues that Pig Pen liked, and they'd all seen A Hard Day's Night -- they could carry on playing with banjos, jugs, and kazoos and have the respect of a handful of folkies, or they could get electric instruments and potentially have screaming girls and millions of dollars, while playing the same songs. This was a convincing argument, especially when Dana Morgan Jr, the son of the owner of the music shop, told them they could have free electric instruments if they let him join on bass. Morgan wasn't that great on bass, but what the hell, free instruments. Pig Pen had the best voice and stage presence, so he became the frontman of the new group, singing most of the leads, though Jerry and Bob would both sing a few songs, and playing harmonica and organ. Weir was on rhythm guitar, and Garcia was the lead guitarist and obvious leader of the group. They just needed a drummer, and handily Bill Kreutzmann, who had played with Garcia and Pig Pen in the Zodiacs, was also now teaching music at the music shop. Not only that, but about three weeks before they decided to go electric, Kreutzmann had seen the Uptown Jug Champions performing and been astonished by Garcia's musicianship and charisma, and said to himself "Man, I'm gonna follow that guy forever!" The new group named themselves the Warlocks, and started rehearsing in earnest. Around this time, Garcia also finally managed to get some of the LSD that his friend Robert Hunter had been so enthusiastic about three years earlier, and it was a life-changing experience for him. In particular, he credited LSD with making him comfortable being a less disciplined player -- as a bluegrass player he'd had to be frighteningly precise, but now he was playing rock and needed to loosen up. A few days after taking LSD for the first time, Garcia also heard some of Bob Dylan's new material, and realised that the folk singer he'd had little time for with his preachy politics was now making electric music that owed a lot more to the Beat culture Garcia considered himself part of: [Excerpt: Bob Dylan, "Subterranean Homesick Blues"] Another person who was hugely affected by hearing that was Phil Lesh, who later said "I couldn't believe that was Bob Dylan on AM radio, with an electric band. It changed my whole consciousness: if something like that could happen, the sky was the limit." Up to that point, Lesh had been focused entirely on his avant-garde music, working with friends like Steve Reich to push music forward, inspired by people like John Cage and La Monte Young, but now he realised there was music of value in the rock world. He'd quickly started going to rock gigs, seeing the Rolling Stones and the Byrds, and then he took acid and went to see his friend Garcia's new electric band play their third ever gig. He was blown away, and very quickly it was decided that Lesh would be the group's new bass player -- though everyone involved tells a different story as to who made the decision and how it came about, and accounts also vary as to whether Dana Morgan took his sacking gracefully and let his erstwhile bandmates keep their instruments, or whether they had to scrounge up some new ones. Lesh had never played bass before, but he was a talented multi-instrumentalist with a deep understanding of music and an ability to compose and improvise, and the repertoire the Warlocks were playing in the early days was mostly three-chord material that doesn't take much rehearsal -- though it was apparently beyond the abilities of poor Dana Morgan, who apparently had to be told note-by-note what to play by Garcia, and learn it by rote. Garcia told Lesh what notes the strings of a bass were tuned to, told him to borrow a guitar and practice, and within two weeks he was on stage with the Warlocks: [Excerpt: The Grateful Dead, “Grayfolded"] In September 1995, just weeks after Jerry Garcia's death, an article was published in Mute magazine identifying a cultural trend that had shaped the nineties, and would as it turned out shape at least the next thirty years. It's titled "The Californian Ideology", though it may be better titled "The Bay Area Ideology", and it identifies a worldview that had grown up in Silicon Valley, based around the ideas of the hippie movement, of right-wing libertarianism, of science fiction authors, and of Marshall McLuhan. It starts "There is an emerging global orthodoxy concerning the relation between society, technology and politics. We have called this orthodoxy `the Californian Ideology' in honour of the state where it originated. By naturalising and giving a technological proof to a libertarian political philosophy, and therefore foreclosing on alternative futures, the Californian Ideologues are able to assert that social and political debates about the future have now become meaningless. The California Ideology is a mix of cybernetics, free market economics, and counter-culture libertarianism and is promulgated by magazines such as WIRED and MONDO 2000 and preached in the books of Stewart Brand, Kevin Kelly and others. The new faith has been embraced by computer nerds, slacker students, 30-something capitalists, hip academics, futurist bureaucrats and even the President of the USA himself. As usual, Europeans have not been slow to copy the latest fashion from America. While a recent EU report recommended adopting the Californian free enterprise model to build the 'infobahn', cutting-edge artists and academics have been championing the 'post-human' philosophy developed by the West Coast's Extropian cult. With no obvious opponents, the global dominance of the Californian ideology appears to be complete." [Excerpt: Grayfolded] The Warlocks' first gig with Phil Lesh on bass was on June the 18th 1965, at a club called Frenchy's with a teenage clientele. Lesh thought his playing had been wooden and it wasn't a good gig, and apparently the management of Frenchy's agreed -- they were meant to play a second night there, but turned up to be told they'd been replaced by a band with an accordion and clarinet. But by September the group had managed to get themselves a residency at a small bar named the In Room, and playing there every night made them cohere. They were at this point playing the kind of sets that bar bands everywhere play to this day, though at the time the songs they were playing, like "Gloria" by Them and "In the Midnight Hour", were the most contemporary of hits. Another song that they introduced into their repertoire was "Do You Believe in Magic" by the Lovin' Spoonful, another band which had grown up out of former jug band musicians. As well as playing their own sets, they were also the house band at The In Room and as such had to back various touring artists who were the headline acts. The first act they had to back up was Cornell Gunter's version of the Coasters. Gunter had brought his own guitarist along as musical director, and for the first show Weir sat in the audience watching the show and learning the parts, staring intently at this musical director's playing. After seeing that, Weir's playing was changed, because he also picked up how the guitarist was guiding the band while playing, the small cues that a musical director will use to steer the musicians in the right direction. Weir started doing these things himself when he was singing lead -- Pig Pen was the frontman but everyone except Bill sang sometimes -- and the group soon found that rather than Garcia being the sole leader, now whoever was the lead singer for the song was the de facto conductor as well. By this point, the Bay Area was getting almost overrun with people forming electric guitar bands, as every major urban area in America was. Some of the bands were even having hits already -- We Five had had a number three hit with "You Were On My Mind", a song which had originally been performed by the folk duo Ian and Sylvia: [Excerpt: We Five, "You Were On My Mind"] Although the band that was most highly regarded on the scene, the Charlatans, was having problems with the various record companies they tried to get signed to, and didn't end up making a record until 1969. If tracks like "Number One" had been released in 1965 when they were recorded, the history of the San Francisco music scene may have taken a very different turn: [Excerpt: The Charlatans, "Number One"] Bands like Jefferson Airplane, the Great Society, and Big Brother and the Holding Company were also forming, and Autumn Records was having a run of success with records by the Beau Brummels, whose records were produced by Autumn's in-house A&R man, Sly Stone: [Excerpt: The Beau Brummels, "Laugh Laugh"] The Warlocks were somewhat cut off from this, playing in a dive bar whose clientele was mostly depressed alcoholics. But the fact that they were playing every night for an audience that didn't care much gave them freedom, and they used that freedom to improvise. Both Lesh and Garcia were big fans of John Coltrane, and they started to take lessons from his style of playing. When the group played "Gloria" or "Midnight Hour" or whatever, they started to extend the songs and give themselves long instrumental passages for soloing. Garcia's playing wasn't influenced *harmonically* by Coltrane -- in fact Garcia was always a rather harmonically simple player. He'd tend to play lead lines either in Mixolydian mode, which is one of the most standard modes in rock, pop, blues, and jazz, or he'd play the notes of the chord that was being played, so if the band were playing a G chord his lead would emphasise the notes G, B, and D. But what he was influenced by was Coltrane's tendency to improvise in long, complex, phrases that made up a single thought -- Coltrane was thinking musically in paragraphs, rather than sentences, and Garcia started to try the same kind of th

Songs include: Blues In the Night, Saturday Night, Thief In the Night, Night Train, When the Blue Of the Night Meets the Gold Of the Day and Tomorrow Night. Performers include: Fed Astaire, Ethyl Waters, Johnny Mercer, Frank Sinatra, Bing Crosby, the Ink Spots and Dizzy Gillespie. 

In which our Detectives sink a few jars, conversations are had in at least two cars, nobody else ends up behind bars, but a band name is proposed (and it ain't Spiders from Mars)...   A Call of Cthulhu Scenario from Reckoning of the Dead, by Noah Lloyd and Matt Ryan. Episodes released weekly.   Visit our Patreon to help us continue making the podcast, and receive exclusive horrors in return.   The Apocalypse Players are: Dominic Allen @DomJAllen Joseph Chance @JosephChance2 Danann McAleer @DanannMcAleer Dan Wheeler @DanWheelerUK   Additional vocals by:  Jessica Temple @jessicamtemple Bettrys Jones @jettrysbones And with special thanks to Alice Wheeler @aliceswheeler for her rendition of ‘Lula Lula Bye Bye'   For more information and to get in touch, visit www.apocalypseplayers.com   CW: This podcast contains mature themes and strong language.   Music:   Theme song “Lula-Lula Bye Bye”, performed by Alice Wheeler and Dan Wheeler, after Beth Rowley. Original composed by George H. Clutsam.   With thanks once again to Finn McAleer and the Bearded Tits for use of their song Kid on the Dusty Mountain   Music from Epidemic Sound includes:   Eliot Ness by Bladverk Band Once Upon a Road by Bladverk Band No Time for Drinks by Martin Landstrom Ashtray by Martin Landstrom April's Fooling No One by Martin Landstrom Hotsy Totsie Lottie by Martin Landstrom Shapes of Shadows by Franz Gordon Sad Cop Story by Ludvig Moulin Desigh Ney by Ajwaa Cosmic Sunrise by Red Dictionary Parks of Kyoto by Sight of Wonders Salat Alsabah by Feras Charestan Heart of Sicily by Trabant Beyond the Western Hills by Gabriel Lewis The Two Thieves by Sven Lindvall Alien Controls by Cobby Costa The Last One to Live by Christian Andersen Haunted Outpost by Ethan Sloan Spider Room by Ethan Sloan Voiceless Whispering by Ethan Sloan   Music from filmmusic.io includes:   The following music was used for this media project: Music: Our Story Begins by Kevin MacLeod Free download: https://filmmusic.io/song/4181-our-story-begins License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: Dances and Dames by Kevin MacLeod Free download: https://filmmusic.io/song/3585-dances-and-dames License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: Long note One by Kevin MacLeod Free download: https://filmmusic.io/song/3992-long-note-one License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: The Dread by Kevin MacLeod Free download: https://filmmusic.io/song/4491-the-dread License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: Tranquility Base by Kevin MacLeod Free download: https://filmmusic.io/song/4542-tranquility-base License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: Impromptu in Blue by Kevin MacLeod Free download: https://filmmusic.io/song/3903-impromptu-in-blue License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: March of the Mind by Kevin MacLeod Free download: https://filmmusic.io/song/4020-march-of-the-mind License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: Atlantean Twilight by Kevin MacLeod Free download: https://filmmusic.io/song/3390-atlantean-twilight License (CC BY 4.0): https://filmmusic.io/standard-license   Music from Wikicommons includes:   Français : Cinquième pièce en do, extrait de "l'organiste" de César Franck. Harmonium Alexandre Debain de 1878. Registration : Basse=(5) Dolce, Dessus=(1)Flûte et (4)Hautbois Original Dixieland Jass Band — Livery Stable Blues Egmont Overture by Ludwig van Beethoven   Public Domain music From Free Music Archive includes:   I'm Gonna Get Me A Man That's All by Virginia Liston In the Dark Flashes —  by Bix Beiderbeck performed by Jess Stacy The Young Man Who Wouldn't Hoe Corn by Peggy Seeger Little Bits by Johnny Dodds Trio Don't Go Way Nobody by George Lewis & His New Orleans Stompers, written by Buddy Bolden Maybe by the Ink Spots. Writer: Allan Flynn; Frank Madden Deep Blue Sea Blues, written and performed by Clara Smith   Sound:   Sound from Zapsplat, Epidemic Sound and Sword Coast Soundscapes

Join Adeline this week on Cryptid Radio as she tells you about when she found out what a Snallygaster really is. Special Thanks to the kind people that leant me their voices and sang "I Don't Want to Set the World on Fire" by the Ink Spots for me. UbiSubject17 on Twitter OsirisDeVirus on Twitter and Twitch MzMaxx on Twitter and Twitch PandorasLunchBoxx on Twitter and Twitch If you would like to donate to the Alzheimer's Association you can go to https://donate.tiltify.com/@nukacafe/alzheimers-association-fundraiser --- Support this podcast: https://podcasters.spotify.com/pod/show/cryptid-radio/support

In which a canary sings, a jailbird wails, and an old Peacock struts once more.   A Call of Cthulhu Scenario from Reckoning of the Dead, by Noah Lloyd and Matt Ryan. Episodes released weekly.   Visit our Patreon to help us continue making the podcast, and receive exclusive horrors in return.   The Apocalypse Players are: Dominic Allen @DomJAllen Joseph Chance @JosephChance2 Danann McAleer @DanannMcAleer Dan Wheeler @DanWheelerUK   Additional vocals by:  Jessica Temple @jessicamtemple Bettrys Jones @jettrysbones And with special thanks to Alice Wheeler @aliceswheeler for her rendition of ‘Lula Lula Bye Bye'   For more information and to get in touch, visit www.apocalypseplayers.com   CW: This podcast contains mature themes and strong language.   Music:   Theme song “Lula-Lula Bye Bye”, performed by Alice Wheeler and Dan Wheeler, after Beth Rowley. Original composed by George H. Clutsam.   With thanks once again to Finn McAleer and the Bearded Tits for use of their song Kid on the Dusty Mountain   Music from Epidemic Sound includes:   Eliot Ness by Bladverk Band Once Upon a Road by Bladverk Band No Time for Drinks by Martin Landstrom Ashtray by Martin Landstrom April's Fooling No One by Martin Landstrom Hotsy Totsie Lottie by Martin Landstrom Shapes of Shadows by Franz Gordon Sad Cop Story by Ludvig Moulin Desigh Ney by Ajwaa Cosmic Sunrise by Red Dictionary Parks of Kyoto by Sight of Wonders Salat Alsabah by Feras Charestan Heart of Sicily by Trabant Beyond the Western Hills by Gabriel Lewis The Two Thieves by Sven Lindvall Alien Controls by Cobby Costa The Last One to Live by Christian Andersen Haunted Outpost by Ethan Sloan Spider Room by Ethan Sloan Voiceless Whispering by Ethan Sloan   Music from filmmusic.io includes:   The following music was used for this media project: Music: Our Story Begins by Kevin MacLeod Free download: https://filmmusic.io/song/4181-our-story-begins License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: Dances and Dames by Kevin MacLeod Free download: https://filmmusic.io/song/3585-dances-and-dames License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: Long note One by Kevin MacLeod Free download: https://filmmusic.io/song/3992-long-note-one License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: The Dread by Kevin MacLeod Free download: https://filmmusic.io/song/4491-the-dread License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: Tranquility Base by Kevin MacLeod Free download: https://filmmusic.io/song/4542-tranquility-base License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: Impromptu in Blue by Kevin MacLeod Free download: https://filmmusic.io/song/3903-impromptu-in-blue License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: March of the Mind by Kevin MacLeod Free download: https://filmmusic.io/song/4020-march-of-the-mind License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: Atlantean Twilight by Kevin MacLeod Free download: https://filmmusic.io/song/3390-atlantean-twilight License (CC BY 4.0): https://filmmusic.io/standard-license   Music from Wikicommons includes:   Français : Cinquième pièce en do, extrait de "l'organiste" de César Franck. Harmonium Alexandre Debain de 1878. Registration : Basse=(5) Dolce, Dessus=(1)Flûte et (4)Hautbois Original Dixieland Jass Band — Livery Stable Blues Egmont Overture by Ludwig van Beethoven   Public Domain music From Free Music Archive includes:   I'm Gonna Get Me A Man That's All by Virginia Liston In the Dark Flashes —  by Bix Beiderbeck performed by Jess Stacy The Young Man Who Wouldn't Hoe Corn by Peggy Seeger Little Bits by Johnny Dodds Trio Don't Go Way Nobody by George Lewis & His New Orleans Stompers, written by Buddy Bolden Maybe by the Ink Spots. Writer: Allan Flynn; Frank Madden Deep Blue Sea Blues, written and performed by Clara Smith   Sound:   Sound from Zapsplat, Epidemic Sound and Sword Coast Soundscapes

In which Chief O'Connor dials up an old friend, while Detective Ferrari reacts most strangely to a particularly gruesome and disturbing crime scene—before making a curious phone call of his own...   A Call of Cthulhu Scenario from Reckoning of the Dead, by Noah Lloyd and Matt Ryan. Episodes released weekly.   Visit our Patreon to help us continue making the podcast, and receive exclusive horrors in return.   The Apocalypse Players are: Dominic Allen @DomJAllen Joseph Chance @JosephChance2 Danann McAleer @DanannMcAleer Dan Wheeler @DanWheelerUK   Additional vocals by:  Jessica Temple @jessicamtemple Bettrys Jones @jettrysbones And with special thanks to Alice Wheeler @aliceswheeler for her rendition of ‘Lula Lula Bye Bye'   For more information and to get in touch, visit www.apocalypseplayers.com   CW: This podcast contains mature themes and strong language.   Music:   Theme song “Lula-Lula Bye Bye”, performed by Alice Wheeler and Dan Wheeler, after Beth Rowley. Original composed by George H. Clutsam.   With thanks once again to Finn McAleer and the Bearded Tits for use of their song Kid on the Dusty Mountain   Music from Epidemic Sound includes:   Eliot Ness by Bladverk Band Once Upon a Road by Bladverk Band No Time for Drinks by Martin Landstrom Ashtray by Martin Landstrom April's Fooling No One by Martin Landstrom Hotsy Totsie Lottie by Martin Landstrom Shapes of Shadows by Franz Gordon Sad Cop Story by Ludvig Moulin Desigh Ney by Ajwaa Cosmic Sunrise by Red Dictionary Parks of Kyoto by Sight of Wonders Salat Alsabah by Feras Charestan Heart of Sicily by Trabant Beyond the Western Hills by Gabriel Lewis The Two Thieves by Sven Lindvall Alien Controls by Cobby Costa The Last One to Live by Christian Andersen Haunted Outpost by Ethan Sloan Spider Room by Ethan Sloan Voiceless Whispering by Ethan Sloan   Music from filmmusic.io includes:   The following music was used for this media project: Music: Our Story Begins by Kevin MacLeod Free download: https://filmmusic.io/song/4181-our-story-begins License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: Dances and Dames by Kevin MacLeod Free download: https://filmmusic.io/song/3585-dances-and-dames License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: Long note One by Kevin MacLeod Free download: https://filmmusic.io/song/3992-long-note-one License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: The Dread by Kevin MacLeod Free download: https://filmmusic.io/song/4491-the-dread License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: Tranquility Base by Kevin MacLeod Free download: https://filmmusic.io/song/4542-tranquility-base License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: Impromptu in Blue by Kevin MacLeod Free download: https://filmmusic.io/song/3903-impromptu-in-blue License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: March of the Mind by Kevin MacLeod Free download: https://filmmusic.io/song/4020-march-of-the-mind License (CC BY 4.0): https://filmmusic.io/standard-license   The following music was used for this media project: Music: Atlantean Twilight by Kevin MacLeod Free download: https://filmmusic.io/song/3390-atlantean-twilight License (CC BY 4.0): https://filmmusic.io/standard-license   Music from Wikicommons includes:   Français : Cinquième pièce en do, extrait de "l'organiste" de César Franck. Harmonium Alexandre Debain de 1878. Registration : Basse=(5) Dolce, Dessus=(1)Flûte et (4)Hautbois Original Dixieland Jass Band — Livery Stable Blues Egmont Overture by Ludwig van Beethoven   Public Domain music From Free Music Archive includes:   I'm Gonna Get Me A Man That's All by Virginia Liston In the Dark Flashes —  by Bix Beiderbeck performed by Jess Stacy The Young Man Who Wouldn't Hoe Corn by Peggy Seeger Little Bits by Johnny Dodds Trio Don't Go Way Nobody by George Lewis & His New Orleans Stompers, written by Buddy Bolden Maybe by the Ink Spots. Writer: Allan Flynn; Frank Madden Deep Blue Sea Blues, written and performed by Clara Smith   Sound:   Sound from Zapsplat, Epidemic Sound and Sword Coast Soundscapes

The boys get tattoos. Oh boy. This is a doozy. A simple request from Adam—that the trio get Grawlix tattoos together—takes a wild spin into Passive-Aggressive Acres (a suburb of Riff City) in a way that only a vintage GSTW episode could. The ending is such a shocking surprise that we're still not entirely sure what happened. We just know it's all great.  Featuring standup comedy clips from our sweet boy Ben Roy and Anthony Crawford! LINKS: See the Grawlix live at the Bug Theatre in Denver, Colorado on Saturday, February 25th with Jaye McBride, Julia Corral, and Noah Reynolds! See Ben perform at Comedy Works South in Denver on February 22nd See Andrew perform with Mary Mack at Black Buzzard in Denver on February 28th See Adam at the Comedy Bar in Chicago on March 10th-11th Support us on Patreon for ad-free episodes, birthday shout-outs, stickers, exclusive merch, our pod-within-the-pod Boi Crazy, bonus videos and so much more Give us a follow and say hello on Instagram, Twitter, TikTok, Facebook, YouTube and Discord! Get your own official Grawlix merch—it's like a tattoo that you can put in the washing machine Learn more about your ad choices. Visit megaphone.fm/adchoices

Shellac Stack No. 300 gives three cheers with Buddy Clark! We sample some Western Swing with Leon McAuliffe and Tex Williams, enjoy a humorous monologue with Tom McNaughton, dance with Sam Lanin, Frankie Trumbauer, Leo Erdody, and Ted Lewis, and enjoy more fine records by the Hylton Sisters, the Ink Spots, Vincent Lopez, and more.

January 17, 1954 - This episode begins with Jack Benny and the gang have lunch at the drug store and ends with Jack fighting a parking ticket in court, References incule Terry Moore's ermine bathing suit, golfers Fred Wanpler, Lloyd Mangrum, Sam Sneed and Ben Hogen, musicians Bing Crosby, Liberace, The Bell Sisters, The Ink Spots, The Fred Waring Choir, and Teresa Brewer with her song "Ricochet Romance". Plus the movie "The Eddie Cantor Story", detective Boston Blackie, and Mandrake the Magician.

Songs include: I'm a Fool To Want You, Keep Cool Fool, A Fool Such As I, A Fool Am I, Them Durn Fool Things and These Foolish Things. Performers include: Frank Sinatra, The Ink Spots, June Foray, Glenn Miller , Billy Eckstein, Stan Getz, Nat King Cole & Benny Carter.

Guest host Ciku Theuri speaks with music writer Jordannah Elizabeth about the intimate relationship between music and Black American speech. That connection was never closer than in the 1930s and 40s when Cab Calloway's Hepster Dictionary and Sister Rosetta Tharpe's groundbreaking rock 'n' roll established new artistic and linguistic pathways. Jordannah Elizabeth is the founder of the Feminist Jazz Review and author of the upcoming A Child's Introduction to Hip Hop. Music excerpts in this episode by Sister Rosetta Tharpe, Cab Calloway and His Orchestra, The Ink Spots, Roscoe Dash, Gucci Mane, Tems, Nbhd Nick and Sarah, the Illstrumentalist. Photo of Bill Robinson, Lena Horne and Cab Calloway from the 1943 musical film, Stormy Weather, via Wikimedia Commons. Read a transcript of the episode here. Subscribe to Subtitle's newsletter here.

Guest host Ciku Theuri speaks with music writer Jordannah Elizabeth about the intimate relationship between music and Black American speech. That connection was never closer than in the 1930s and 40s when Cab Calloway's Hepster Dictionary and Sister Rosetta Tharpe's groundbreaking rock 'n' roll established new artistic and linguistic pathways. Jordannah Elizabeth is the founder of the Feminist Jazz Review and author of the upcoming A Child's Introduction to Hip Hop. Music excerpts in this episode by Sister Rosetta Tharpe, Cab Calloway and His Orchestra, The Ink Spots, Roscoe Dash, Gucci Mane, Tems, Nbhd Nick and Sarah, the Illstrumentalist. Photo of Bill Robinson, Lena Horne and Cab Calloway from the 1943 musical film, Stormy Weather, via Wikimedia Commons. Read a transcript of the episode here. Subscribe to Subtitle's newsletter here.