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27 episodes with jesse b
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2 episodes with jesse b
3 episodes with jesse b
2 episodes with jesse b
2 episodes with jesse b
10 TOP FREESTYLE SONGS OF JUNE 2024 This month's Countdown Showdown Mix features news songs from Luis G., George Anthony, Jesse B. & Mia. There are so many new releases I was almost tempted to extend my mix this month. Let's keep those new releases and remixes coming! April maintains her presence on the Countdown Showdown with a new remix by Willie Valentin. Will 3 to Da Max be able to hold on to the #1 Spot, or will Nyasia, Erik Christian, Denine, Lily Rose & Juliana Lee, Luis Marte & Rebekka be able to take them down? Tune in and find out! Support The Artists and Pick Up A Copy of Your Favorite Tracks!
This episode tackles the tough questions: Slavery Polygamy Relations with minors Child penalties Why did God allow these in the OT? How do they resonate with our faith and daily lives now? Jesse G, Steve C., and Jesse B have a heartfelt discussion from the Bible's perspective about this question. #ChristianTechEthics #AIandFaith #christianpodcast #christianlife #FaithTalk #SpiritualGrowth #WalkWithGod #christiancommunity #GodsLove #BibleStudy #fellowship #gospel #FaithAndMentalHealth #ChristianPerspectives
I'm losing my desire in the spiritual things. How can I find my way back … and gain back that desire ? Jesse G, Kevin G., and Jesse B have a heartfelt Discussion from the Bible's perspective about this question. We are back for Season 4.. continue to pray for this exercise. #ChristianTechEthics #AIandFaith #christianpodcast #christianlife #FaithTalk #SpiritualGrowth #WalkWithGod #christiancommunity #GodsLove #BibleStudy #fellowship #gospel #FaithAndMentalHealth #ChristianPerspectives
Navigating Faith in the Future: How Should Our Christian Perspective Shape Our View on AI, Genetic Engineering, and Virtual Reality? How can we discern what is morally acceptable in areas like artificial intelligence, genetic engineering, and virtual reality?... Jesse G, Steve C, and Jesse B discuss this question from the Bible's perspective. #ChristianTechEthics #AIandFaith #christianpodcast #christianlife #FaithTalk #SpiritualGrowth #WalkWithGod #christiancommunity #GodsLove #BibleStudy #fellowship #gospel #FaithAndMentalHealth #ChristianPerspectives
Why are many young individuals distancing themselves from the church and leaving or displaying indifference towards the Lord's things?... Jesse G, Matt G, and Jesse B discuss this question from the Bible's perspective. #FaithInFlux #YouthAndFaith #ChurchExodus #SpiritualDrift #ReligiousShifts
Jordan, Don, and Jesse B have gone into uber mode for this mega franchise of high and lows. We go from Part 1 to the Michael Bay produced 2009 version. Don is sorry he swears too much. CANCER SUCKS! Find us on @isceneitpod on Twitter Jordan@jordanwermager Don@WojoDuke. Listen to us On Spotify, Apple, where you find your podcasts. You can now find us at isceneitpod.org for movie reviews and more. --- Send in a voice message: https://podcasters.spotify.com/pod/show/isceneit/message
How does Christianity view mental health, and how can the Church better support individuals who are struggling with mental health challenges?... Jesse G, Steve C, and Jesse B discuss this question from the Bible's perspective. #christianpodcast #christianlife #FaithTalk #SpiritualGrowth #WalkWithGod #christiancommunity #GodsLove #BibleStudy #fellowship #gospel #FaithAndMentalHealth #ChristianPerspectives #MentalWellness #ChurchSupport #SpiritualWellbeing #HealingMinds
What is the role of the church in promoting social justice and combating systemic oppression? ... Jesse G, Steve C, and Jesse B discuss this question from the Bible's perspective. #christianpodcast #christianlife #FaithTalk #SpiritualGrowth #WalkWithGod #christiancommunity #GodsLove #BibleStudy #fellowship #gospel #FaithFightsOppression
How should we approach controversial issues such as abortion, homosexuality, and gender identity in today's society? Jesse G, Peter C, and Jesse B discuss this question from the Bible's perspective. #christianpodcast #christianlife #FaithTalk #SpiritualGrowth #WalkWithGod #christiancommunity #GodsLove #BibleStudy #fellowship #gospel
What is the importance of community and fellowship as Christians, and how can we build and maintain healthy relationships with other believers? Jesse G, Peter C, and Jesse B discuss this question from the Bible's perspective. #christianpodcast #christianlife #FaithTalk #SpiritualGrowth #WalkWithGod #ChristianLiving #GodsLove #BibleStudy #prayer #pray Want to listen to more episodes... catch us on Spotify https://open.spotify.com/show/7oeq3SVUZiAL7PazW1xzUl...
What is the meaning and purpose of prayer, and how can I develop a consistent and authentic prayer life? Jesse G, Peter C, and Jesse B discuss this question from the Bible's perspective. #christianpodcast #christianlife #FaithTalk #SpiritualGrowth #WalkWithGod #ChristianLiving #GodsLove #BibleStudy #prayer #pray
How do Christians navigate the challenges of living a faith-based life in a secular society?-- Jesse G, Peter C, and Jesse B discuss this question from the Bible's perspective. #christianpodcast #christianlife #FaithTalk #SpiritualGrowth #WalkWithGod #ChristianLiving #GodsLove #BibleStudy
How can I deepen my relationship with Christ? -- Jesse G, Peter C, and Jesse B discuss this question from the Bible's perspective. #christianpodcast #christianlife #sharingyourfaith Ask a question here -> https://forms.gle/nDyejhc85hK9Gtc7A
Christians at work... How to navigate sharing your faith at work.. - Jesse G, Steve C, and Jesse B discuss this question from the Bible's perspective.
Forgiveness... Why is it so hard to forgive? - Jesse G, Peter C, and Jesse B discuss this question from the Bible's perspective.
The Evangelical Protestant church is in the midst of a crisis—but the causes might be different than we think. Jesse B.Hamilton argues that the reason for the church's growing disunity, cultural confusion, and general lack of passion and power is its perpetual neglect of discipleship—what it truly means to follow Jesus, through his book "Discipleship and the Evangelical Church: A Critical Assessment." Faith Radio podcasts are made possible by your support. Give now: Click here * This encore presentation originally aired on November 07, 2022
Dealing with grief and loneliness during the holidays - Jesse G, Steve C, and Jesse B discuss this question from the Bible's perspective.
Is there anything wrong with playing the lotto? - Jesse G, Steve C, and Jesse B discuss this question from the Bible's perspective.
Today everything is virtual .. should we move our gatherings to virtual? Jesse G, Steve C, and Jesse B discuss this question from the Bible's perspective.
The Evangelical Protestant church is in the midst of a crisis—but the causes might be different than we think. Jesse B.Hamilton argues that the reason for the church's growing disunity, cultural confusion, and general lack of passion and power is its perpetual neglect of discipleship—what it truly means to follow Jesus, through his book "Discipleship and the Evangelical Church: A Critical Assessment."
Dealing with Anxiety as a Christian - Jesse G, Peter C, and Jesse B discuss the steps and approach from the Bible's perspective.
Self-Care for Christians, What is it and how to do it? - Jesse G, Steve C, and Jesse B discuss the steps and approach from the Bible's perspective.
How to engage people in a post-truth culture where feelings are more important than truth? - Jesse G, Peter C, and Jesse B discuss the steps and approach from the Bible's perspective.
What to do if you see a Christian not living right?- Jesse G, Steve C, and Jesse B discuss the steps and approach from the Bible's perspective.
How to deal with slander and gossip? - Jesse G, Peter C, and Jesse B discuss the steps and approach from the Bible's perspective.
What a believer possesses in Christ when they are saved? - Bryan B, Steve C, Jesse G, and Jesse B discuss the steps and approach from the Bible's perspective.
This episode takes a roundtable format about the Christian Response to Ukraine - Steve C, Jesse G, and Jesse B discuss this from the Bible's perspective.
How do I find a spouse who is compatible with me? People say get a Christian, but some people I know are not compatible with me. Where can I meet someone as a Christian? Steve C, Jesse G, and Jesse B have a conversation from the Bible's perspective.
Social Media and Christians: the good, the bad, and the ugly - Steve C, Jesse G, and Jesse B have a conversation from the Bible's perspective.
How to lead someone to Christ? - Bryan B, Steve C, Jesse G, and Jesse B discuss the steps and approach from the Bible's perspective.
Jesse Bobrowski is a Vice President and Partner of Business Development at Calvert Home Mortgage Investment based in Calgary, Alberta. In this episode we talked about: Jesse's Bio & Background Lending in Real Estate- BRRRR Strategy Hard Money Lenders VS Private Lenders Underwriting Deals Interest Rates and Inflation Resources and Lessons Learned Useful links: Book: The Five Dysfunctions of a Team: A Leadership Fable https://chmic.ca https://www.instagram.com/calverthomemortgage_/?hl=en Transcriptions: Jesse (0s): Welcome to the working capital real estate podcast. My name is Jesper galley. And on this show, we discuss all things real estate with investors and experts in a variety of industries that impact real estate. Whether you're looking at your first investment or raising your first fund, join me and let's build that portfolio one square foot at a time. Jesse (23s): Ladies and gentlemen, my name's Jessica galley, and you're listening to working capital their real estate podcast. My special guest today is a another Jesse Jesse . Jesse is the vice president and partner of business development at Calvert home mortgage. We're going to talk today about burst strategies, home mortgages, anything to do with lending. We're going to go into a little bit of Jessie's background and kind of shoot from the hip. So hope you enjoy it, Jesse. How are you doing today? Jesse B (50s): I'm doing great, Jesse. Thanks for having me along and hello to all your wonderful listeners. Jesse (56s): Yeah, thanks for coming on. We were just chatting right before the show. It's a little sunnier here in Toronto. You are joining us from a little bit further west, and you're saying that you, you guys, you guys are snowing right now. Jesse B (1m 10s): We are actually, it's sunny. Now we sold for the last 24 hours. So yeah, we got about half a foot of snow on the ground, Jesse (1m 18s): Right on. So that's out in Calgary. So I think I'm not sure if we've chatted about this, the audience that we have. I always like to say it's a, it's a podcast by a Canadian for all real estate investors, because I think 60% of our listeners are in the us 40% in Canada. So maybe those in the Midwest are getting a little bit of snow as well, this time of year. But for listeners, as we do with all our guests, perhaps you can give us a little bit of a background about how you got into real estate, that journey for you and, and where you're at today and what you're doing. Jesse B (1m 53s): Yeah, sure. I'd love to give the listener some insight into how I got here. So 16 years ago, I finished my university career. I went to a school in Ontario. I'm from Ontario, actually thunder bay, born and raised and, and finished my, my university career with a degree honors, spatular, commerce, finance, and marketing, and being from thunder bay. There's not much opportunity for somebody to work in the finance industry. So I was looking for other places to go. This is back in 2007. I had friends in Toronto that had left on our bay. I had friends in, in Calgary and some friends in Vancouver. I grew up fishing, hunting, skiing, sledding, outdoor stuff. And everybody who was in Calgary was not only doing really well professionally, but they were enjoying the outdoors. So it was an easy fit. I moved to Calgary, worked for a very short period of time as a proprietary trader. And during university, I bar tended at a, at a, at a, at a restaurant and I loved it. So when I moved to Calgary young professional right away, I got a bartending gig, great way to meet people, not a bad way to earn some money and also a great way to meet females at the time. So, so got into that. And through that, there were these regular clients that came in and I got to know them and they were, they ran a syndicated mortgage lending company. And as I got to know them, they got to know me and about what I did. And, and soon I started doing some consulting work for them and learning about the business. I was super interested in this, this lending business. And this is just when the subprime mortgage crisis started to started to bubble up in the states. So I was like, Hey, there's, what's going on here. And I very quickly learned that it's a, it's a very transparent way to do business if you're doing it right. It's very, it's, it's, it's very straightforward in terms of you're putting a mortgage on a property. That's your security. So the consulting started being working, part-time working full-time fast, forward eight years. I am looking to become a partner with these people that we couldn't agree to terms on the partnership, unfortunately, or fortunately now, and through that eight years, I met my current partners here because they were very present in the industry. I they're, they're very thoughtful word business, business owners, and we got to talking and sure enough, I started working for them. And fast forward, six years I'm partner, we're, we're scaling this company in a very meaningful way, helping many, many borrowers and shareholders lending on a short term, real estate, residential throughout Alberta and Ontario. Jesse (5m 16s): That's great. And it's, it's great to have you on, because we talk a lot about the traditional lending aspect of real estate, you know, your standard, what you think of as a mortgage or pretty, I guess, typical debt that you'd have on properties. And I think it would a lot of people, more people that get into our industry and more people that have been involved in an owner's field for a longer period of time, realize that there's another aspect of lending on the private side that we don't see very often. So at Calvert, can you talk a little bit about what exactly the team does there, is it focused on private? Do you do, do you do it all? W what kind of stuff do you typically work? When, Jesse B (5m 52s): So we are a mortgage investment corporation. We are a lender, that's all do we don't broker deals. We, we go out and we educate the market on here's the solutions that we're providing, and our solutions are very narrowly focused on people that buy, renovate, sell, or buy renovate, and refinance residential properties. Banks don't want that business. It's not profitable for them in the short term. Not many of our industry members slash competitors want that business for very similar reasons. We've taken time to understand what real estate investors are missing in terms of service, product type, and have created products specifically to cater to them. So all we do is have that narrow focus, really try to kick ass for the borrowers by providing them the service and solutions that they need. So a lot of times what they'll do is they'll buy a rundown house, renovate it, get it on the market. They'll buy a rundown under performing multiunit property, use our money, renovate it, get rents up, refinance it with a nice conventional loan and build a rental portfolio that way we're in it, just to provide those short-term solutions. And it has, it has been very popular for the market. We're, we're, we're, we're solving a real problem. Jesse (7m 33s): So let's kick off the kind of overview of the burst strategy for those that don't know. Maybe you could just give a high level of what the burst strategy is and what you typically see from the investor side, when, you know, when they're typically engaging you or when they should be engaging you and maybe, you know, talk a little bit about the best practices when it comes to finding debt for these types of, of buying flips or by rent rehab, refinance, repeat, I think I may be not in the right order, but yeah, if you could chat a little bit about that, I think the listeners would get a lot of value. Jesse B (8m 7s): Sure. So, so there's really, yeah. There's two strategies. We'll focus on Burr. So one is buy, renovate, sell. We do a kind of that. We just, we just define that as flipping and then the other is buy renovate, rent, refinance, repeat. So what they're doing there is, again, they're identifying, we're just, we're just residential. And we like, we, we typically do four doors or less, but we're getting into learning more about really successful practitioners who are into the higher unit stuff. And we're happy to help them when it makes sense, but what they do is they go out to the market and they identify, again, usually it's properties that are, they haven't been touched in a long time. They've been poorly managed. And in turn, there is a good opportunity to add some, add some renovation touches to increase the value, but also increase the quality of tenant and the quality of rent. So they're using our money because typically these properties are in such disarray that the banks don't even want them. But also because they're in Sasha's rate, even if the banks do them, they're usually able to increase the value, you know, 20, 30, sometimes 40%. And it makes sense to use are more expensive that for four or 5, 6, 7, 8, 9 months. And then when the project is complete, when they've increased the rents, when they've done their renovations, they can go to a bank lender, especially with the new cm. There's a, there's a CMAC product now and insure product that is specifically for this multifamily residential stuff, where it opens a lot more options on the refinance side. So they're able to go and, and typically get 80% loan to value. So buying something for 600, you increase the value to, to, by putting in, let's say 150 grand to a mill. Now you're 600 plus one 50, you're exiting with 80%. So 800 grand putting money back into your jeans and being able to do the next project and the project after that. So that works really well for the real estate investor, who wants to build a portfolio and build doors. It's a lot easier said than done because building a portfolio and building doors takes really great. The business acumen, the devil's in the details always. So the administrative processes is, is critical who you're using as property managers, all that stuff comes into play. But for those that are, that are, that are executing on this strategy, they really like what we're offering in terms of allowing them to get in, do what they need to do, and also get in with little friction. So, because we know this so well, when we see part of my language of piece of shit house, we're like, oh, show us, show us the show us the, the budget. And then we have, we're unique that we have our own internal evaluators. We hire appraisers that work for us that do the, do the value as complete. And they do that in real time, usually same day. So we're able to provide a real effort, this experience on that ad and say, yeah, here's your end value. Here's the profit you're making. And because you're making this profit, we want to support you. So we're very, we're lower docs, but because we really understand the business, we're not saying, oh, what's going on with, with this flooring? What about how is somebody ever going to live here? No, we did it. Thanks for the budget. We know what you're doing. We may ask some clarifying questions, but typically, because we're real estate investors ourselves, I've been doing this for literally 30 years and billions of dollars and thousands of mortgages. We've seen it all and we have the expertise to help the borrower. Jesse (12m 13s): Fair enough. So I just want to unpack a little bit about that. So for, for any listeners in the U S CMHC Canadian mortgage housing corporation, you're Fannie Mae, Freddie Mac would be your agency debt, very similar to what we use here. Now, I guess the 80% LTV on a lot of these, I guess it's like a lot of what we do now. It's really the, the, the loan to value. Oftentimes isn't the limiting factor these days, that's usually the debt service coverage, right? Yeah. So I'm curious the, well, number one, I, I question question about the product that you're mentioning, are you mentioning short-term debt and then you eventually do long-term with CMHC or is the short term product with agency debt? Jesse B (12m 54s): No, so we're so, so the short-term product is Calvert's money. We're lending that the exit with, with, with, with a CMHC approved lender yes. Is the borrower goes and figures that out. And typically they figure it out through a really strong mortgage broker. Like that's, when we're doing the loan, that's already part of the plan we've reviewed, we've done our analysis on, and by the way, we have a Burr analyzer. That's about to be released to the market where we've done our analysis on the debt service coverage, where we're, we're clear on what the rent should be. And in turn, the boar is really clear on provided. I execute, provided I do this. I'm going to hit what's needed for the exit. And that's really important for Burr, like a lot of, a lot of new or less sophisticated borrowers will say, yeah, I'm going to burn it. Okay. Explain us the exit. Hey, you know, it doesn't debt service, you know, your credit is really poor. You're not a great covenant. I don't think you're bankable. And, and they haven't thought of this. So again, because of our experience, we're asking every question and making sure that they can exit. So sometimes what they think is a Burr will say, no, you should really plan on this being a flip and, and run your numbers is if it's a flip and maybe you get, maybe you prove us wrong and you can Brit, but make sure that this is a viable project with your most likely scenario. Jesse (14m 26s): Yeah, no, that makes sense. And for, I think most listeners would know, but just for the DSCR debt service coverage ratio, that would be your net operating income over your divided, by the, the amount you have to pay to service your debt. So if you have $120,000 NOI, a hundred thousand dollars, your annual mortgage payments, you got a 1.2 is the, typically the way lenders will look at that. So I guess one of the distinctions that we've people on the show before that our hard money lenders, you hear the terms hard money lender, private lender, kind of thrown, thrown around and in conjunction with each other. Can you distinguish if at all, between hard money lenders and private lenders? Jesse B (15m 8s): Yeah. So the way that we're, we're a mortgage investment corporation. So we operate a fund. And within that fund, we have certain rules that we have to adhere to through securities regulators, through the various real estate regulators, through tax, through our auditors, through our board of directors, we borrow money from banks, they put rules on us. So we're a very structured lender. We like to refer to ourselves as an alternative mortgage lender. So by alternative, there would be in terms of, in terms of, I usually go by size, there would be, there would be your tier one banks. Then there would be your, your model lines of credit unions. And those are all lending money out at prime minus right now. And then you have your B lenders. The lenders are like your, your whole Mack, your home equity banks, your, your home trusts. And they're basically sending on a prime plus. And then there's alternative lenders. That's where we would fit in where, where we're, we're still structured. Well-governed companies that have to adhere to that governance. And then there's true privates. There's true hard money lenders that are, that are lending their own money, that, that can make their own rules. Jesse (16m 33s): This is the uncle that does lending that it seems to work from home. You don't really know what he does Jesse B (16m 38s): Exactly, exactly. Or like there's some, you know, some family offices that let's say the families that are worth 500 mill, they've taken a hundred mill. And they said, we're going to lend this money out on our own. And they do whatever they want. Yeah. So that would be, to me, that's the distinction of, of alternative versus private. So true, private, hard money. All we don't need docs, we'll just look at the property and lend on it. Usually that's more expensive. Usually that comes with big renewal fees and big fees. We're, we're more of, of, of, of a, of a alternative lender just below B. So that's kind of the distinction and yes, a lot of your listeners in the states, they refer to it as hard money lenders. We, we have a lot of flexibility that a hard money lender does, but we're more consistent. The money's always there. We get here to what we say. We have, you know, we have a 40 person organization that is behind all of this Making decision from my couch. Jesse (17m 42s): Yeah. That makes sense. I think the connotation with heart is that, you know, you're meeting on a park bench and somebody is handing you a duffel bag of cash, which is not the case. I mean, typically, but definitely with, with your company, it sounds like it is more of a structured kind of investment. Now I want to talk about the state of the market, because I think it's pretty topical right now where interest rates are at inflation rates, some of the latest hikes, but before we get there, when somebody is coming to you to do flips or to do a burst strategy, what would you say to them to make sure that they are, they are following the right guidelines to make the process as seamless as possible. And to be able to get to identify properties that are going to work with, with a team like yours. Jesse B (18m 26s): So the, the primary, the primary piece of advice I give general is, is own the process. This is your, this is a business you're putting your money at risk. It's amazing how many, how few people understand the comparables have asked their realtor, you know, are you just cherry pick like, like really know their numbers really know their budget, really know who they're dealing with in terms of lawyers, realtors, mortgage, brokers, us as a lender, like this is an entrepreneurial endeavor. And to be a successful entrepreneur, you need to put your, your, your mind, heart and soul into it. And you can't just watch HGTV, call a realtor, slap a deal together. And it works out now in fairness, the, the, the, the craziness that has been the Ontario and BC market, a lot of people, this has worked for them for years, being from Alberta, where we see prices, you know, peaks and valleys every six years, basically the professionals are in it for years and years and years, the speculators are out. So at some point in time, and we'll get into, you know, kind of what, what, what we're predicting for the market. At some point in time, there will be prices will go down how meaningful they go down, we'll find out. But, but the overall piece of advice that I have is own the process. Understand your numbers, come prepared, understand who your, who you're partnering with, and you don't have to know it all right off the bat. Like you, you still have to take action, but as you're taking action, continue to learn. Don't just say, oh, my realtor has gotten this, like, learn from your realtor, learn from your mortgage broker, learn from your lender, learn from your contractor. Because the more of that I'll call it institutional knowledge. You can build the more successful you'll be the most successful clients that we are fortunate enough to work with. Are those people that know everything. They may, they may never swung a hammer, but they know every single cost. They know their measurements inside and out. They probably don't have a law degree, but they can challenge their lawyer and me on certain closets. Those are the people that are going to kick ass. Jesse (20m 51s): Awesome. So in terms of the, the actual distinction between, you mentioned it before a four unit and below five and five unit and above, which we typically classify, even though it's residential, multi, residential, or commercial, when somebody's looking to underwrite, or when somebody is coming to you to underwrite the deal, you mentioned the fact that you have flexibility. Does that mean that you guys are going to be more open on those smaller deals to look at the asset specific rather than just the individual? Because I know one of the challenges or one of the, put it put another way. One of the benefits of doing apartment buildings, which is what my partners and I do, is that it really is less about us. And it's more about the asset. And if you can make the numbers work on the asset, you can get approvals and debt much easier. Whereas if it's single family houses or two, three units at a certain point, people seem to tap out in terms of the amount of debt they get. So how does that underwriting process look like for you? If it is more individual specific, more asset or a blend of the two, Jesse B (21m 53s): When we're underwriting a flipper bird deal, the bulk of our underwriting is based off of profitability. If they're bringing us a profitable deal and they can, they can execute on that profitable deal. We're likely in, so we're not digging, we're not relying on the covenant. So if it's in a, if it's, if it's a good property in, in, in, in, in a location that we want to do business in which basically is any urban center or surrounding area, and they're making money and they show us that, like, let's say, let's just use a quick example. Let's say, they're bringing us about a property that they're purchasing for 500 grand and their renovation is 50. And when it's done, it's worth six 50, and they're going to, they're going to be able to ex execute their renovations in a 60 day time period. So they're making money. We want him, we can do that deal, you know, Cheerio with as little as $20,000 down so we can lend them four 80 plus the feeds. It's always a 2% fee and, and 2% and four 80 is what is that $909,600. So we can lend them 480,000 plus the 9,600. So essentially $490,000 on a $500,000 purchase. Let's say that let's say two to cover the renovation costs. Plus our payments is going to be around 75 grand for the, for the duration of the loan. They need to show us that they have 75 grand, 75 grand could be cash lines of credit credit cards, show us that you have the money. And based off that, we're in. Hmm. You could, you could show, you can show almost, you can show a zero in a way you can, you can have, Jesse (23m 42s): We receive notice of assessment for those, for those wondering yeah. Jesse B (23m 46s): Income, you can choose zero tax return. Jesse (23m 49s): Okay. Yeah, Jesse B (23m 51s): You can have relative, like if you're totally delinquent on credit and you've never paid a bill, we're not, we don't want to do business with you, but if you have bruised credit, like what we define as Bruce credit is credit below 600, as long as there's rationale. And it's not like you're, you have $200,000 worth of outstanding credit consumer debt that that is maxed out. We probably want it. We're going to want to avoid that. But Bruce credit, we're fine to deal with. So we're underwriting the project. Each deal that we look at is an individual business opportunity. And as long as you can prove to us that you have the cash to do it and it's profitable. And the means to do it. Like if you, if, when we look at your budget, we have some questions. Who's doing the work I am. Okay. What's your experience with it looks like you're doing cabinetry. What's your experience with cabinetry? I haven't been, well, you might want to think about hiring that out. So as long as you prove to us, and again, we have a lot of expertise in this that you can execute we're in. Jesse (24m 50s): Got it. So let's move a little bit to the macro picture right now. Interest rates have gone up over the last, last few months over this. I mean, since, since the beginning of the year in Canada, in the states, we're starting to see buyers actually start making decisions for a long time. They weren't really impacting their decisions, which is kind of amazing for, for quite some time. How are you looking at the market right now in terms of a risk standpoint? And also, do you see this, you know, put you on the spot with the crystal ball, what do you see for the future as it pertains to the lending industry? Jesse B (25m 30s): So we see interest rates, firstly, continuing to rise. We have, we have an inflation problem that we had it two years or a year and a half ago, but we were, a lot of people were insisting. It was transitory. All inflation is transitory. It just depends on when and what measures need to be taken. Is it, is it transitory within a year or do we have a ten-year issue? So anyhow, we think rate, we, I believe rates will continue to increase probably another 50 bips next month, at least what the market's pricing in. And then 25 basis points thereafter for the foreseeable future that increase will impact affordability. A lot of people are already stretched with their debt, with their debt servicing that will in turn impact the market. Some people may bow to the market, which is not a bad thing because right now the, for the most part Canadian real estate is too hot. It's not sustainable. So will prices go down, maybe, especially in some markets where there already is affordability issues. Like we're seeing a lot of, a lot of markets in Ontario where, where you have relatively low wage wages versus the price of the homes. So there's already an affordability issue there. We don't think they'll go down in a big way. And the big stop gap to that is Canadians, want single family, residential housing. And right now there just isn't sufficient supply to, to make up for that demand. You have 400,000 immigrants coming into Canada for the next every year for the next five years. Canada does really good job at bringing in economic immigrants. So people that have capital and are ready to hit the ground running with employment, most immigrants value real estate, most immigrants want single family housing. So we're where I believe we have a supply issue that is always, is at least for the foreseeable issue is just going to really backstop a big slide in real estate values. So what, what I anticipate at least as a bit of a reset, you know, we won't see massive appreciation. We might see slight downward pressure, but what I love in terms of how Calvert has been in business for so long, we've S we've essentially only been lending in, in Ontario for two years prior to that, it was only Alberta. And in Alberta, we've managed through those peaks and valleys. So up into 2021, we had a, a market going down 2, 3, 4, 5% a year, every year for five years. So we're ready to we're, we're ready to manage through it and help our clients manage through it and with what our clients do in terms of flipping single family, residential housing stock. We believe that when the market turns, there'll be more opportunities for our buyer right now, it's hard for them to find really good value because you have a mom and pop buyer, which typically they don't want anything to do with a piece of shit house. Now they're saying, ah, you know, why don't we buy this? We could do our own renovations in a, in a, in a balanced market where you have three months supply, which I don't know when the last time many Ontario markets have seen that your buyer's not going to buy that stuff. Yup. So we, we anticipate slowdown of, of, of real estate appreciation, maybe even, maybe even in some markets, a bit of a downturn, but we believe that that fundamental supply issue will backstop a big downturn. Jesse (29m 22s): Fair enough. And yeah, I think similar outlook on, on my end as well. I think we've, we've had a really good run for a long time in real estate. And you know, the idea of appreciation 15, 20, 20 5% annually is just, yeah, not a sustainable, not a sustainable business. So I think our reset for a lot of investors would be welcome with open arms and especially from an affordability point of view. But I think really the crux of it, I completely agree with you on the supply side. And it kind of just frustrates me on the policy level that we try so many things and we don't look at the supply side that if you want affordable housing, you need supply. That's just the bottom line you have to, you can't, you can't restrict supply, but yeah, I mean, we'll see how things go. I, you know, from, from the investor, that's looking to, you know, potentially work with short-term debt. Is there anything that you would advise on that end when it comes to the idea of making sure that when you do exit that short-term debt say it's 12 months at 10 months at whatever it is that you're making sure that you're going to be able to get permanent permanent capital permanent debt for the project that you're working on? Jesse B (30m 34s): Yeah, certainly no, certainly engage your bankers if you have bankers, but even if you have bankers engage in amaz engage a mortgage broker who has done this because they know all the bankers. So you'll want to make sure from the onset that, you know, yes, this is refinanceable, here's, who's likely to do it. Here's what the cost is likely to be. And we build that. And again, we talk about the Burr analyzer that we're going to be launching. We're going, that's going to be a tool that you can use to take to your banks, preemptively like the right banks and the right brokers are clamoring for your business. So go out and find them, align yourself with them, give them the plan and in turn, create an extremely high likelihood that, that exits there. You cannot, we won't allow you to go into a project and not make sure it's there. You may, you know, especially the newer people may not be prepared to do that extra step and that extra homework, but it's, it's a requirement. So align yourself with the right professionals, bankers, mortgage brokers. And as they're doing the work for you, learn from them, what does the B what is the bank looking for? Why is this particular issue with this property posing an issue? Is it zoning? Is it how many units is it location? You know, cause they're, every bank looks at these deals differently and, and sees they're the w the, the, the warts and the rainbows differently. So take time and understand what, what they're looking for, because then that'll influence the next project. Could you go into, Jesse (32m 14s): Got it. All right. We will put links up where people can reach it. And I'll just ask you in a second, but before we do, we have four questions. We ask every guest before we, we get off. So kind of rapid fire here. Jesse B (32m 27s): Sounds good. Jesse (32m 28s): Okay. What's something that, you know, now in your career, it could be a mortgages real estate and business that you wish you knew when you started in the business. Jesse B (32m 38s): I, now that success is the combination of work ethic and time. And before I was just hoping it was purely work ethic, but man, does it take a lot of time to learn stack those wins, stack those relationships, bring the best people and knowledge around you to succeed. So time plus work ethic, not just work ethic. Jesse (33m 7s): Perfect. What's a resource or book that you find yourself recently recommending to a, to others. Jesse B (33m 15s): So as we're scaling this, this business, a lot of, a lot of organizational management matters is where I'm focused on leadership, mentorship, coaching five dysfunctions of a team that I read a few months ago has been amazing. Lensioni is the author's last name. He's done a few really good organizational business books. So if you're, if you're a leader, it can relate to personal matters. Relationships, team matters, relationships, mentorship stuff. So five dysfunctions of a team is what I've been recommending a lot lately. And it's mostly because of where I'm at professionally, the things I'm going through, Jesse (34m 0s): What would you tell a young individual that's trying to get into our business, and that can be on the mortgage side or just the real estate investing business in general, Jesse B (34m 12s): Anything in the real estate industry is just putting yourself in positions to succeed. You're not going to hit the home run day one. You're probably going to be an admin, an analyst, a cold caller, whatever it takes, but make sure you're surrounding yourself. Make sure you're entering an organization or surrounding yourself with somebody that you believe in trust. And, and you've researched. Don't just jump into bed with antibody, be selective, but also be willing to, as they say you Chet, like if, if you're going to work for the best, they probably don't have a, the, the, the, a super high paying big responsibility job for you. You got to prove that you deserve those opportunities. Jesse (35m 1s): Hey, at 33, I'm still eating shit today. And a new title should be a, vice-president cool to call her. Cause at the end of the day, it's, we're still doing outreach. We're still connecting whether you want to buy, find off market deals. That call is typically not lined up, lined up for you. So that's great advice. Last question. First car, make and model Jesse B (35m 21s): First car making model. I had a, again, thunder bay, you know, kinda rednecky town. I had a shed silver auto halftime keen 88, 2 wheel drive tires to this thing was a death trap. And we would lay, we w w we were in the middle of nowhere. So the nearest, the nearest big city to us with Minneapolis St. Paul, I remember bombing down in, in snow storms when I was 17 years old with my buddies with just enough money to get down and scalp a ticket to the Minnesota Vikings game. And like, they're telling me to go faster and I'm like, guys, if I go faster, we're going to fly up the road with this Pete. Like this thing was a death trap and 500, or I guess it would be 600 kilometers there. 600 kilometers back somehow we made it Jesse (36m 8s): Awesome. Yeah. That is just a large piece of steel. What would you w we have a lot of colleagues that are in thunder bay. What would be the, the American equivalent of thunder bay? Jesse B (36m 20s): Yeah. American equivalent of thunder bay. It's like, I don't know what, what, what town of plenary is a population of 120,000? The nearest cities to that is to St. Marie to the east, which is 800 kilometers. So, so for Americans, that's 600 miles. Then the apples St. Paul to the south, which is 400 miles Winnipeg to the west, which is 600 miles. Like in terms of geography, there's nothing similar. Jesse (36m 54s): Yeah. I mean, culturally, I feel like a, I don't know if there'd be something in, in, in Michigan or if it would be, I don't know. It's like, it's kind of a mix of different, different cultures in thunder bay, but it's definitely, Jesse B (37m 7s): Yeah. We spent a lot of time. So down. So south at thunder bay, there's a Duluth aloof Minnesota. Now Duluth is kind of a, for the American listeners. Duluth is a more refined prettier version of thunder bay. So imagine more blue color, less picturesque version. That's the underbanked. Jesse (37m 31s): Yeah. You know, miss soda. That makes sense. If Fargo was filmed in Canada, which maybe, maybe it was thunder bay would probably be a good, a good spot. Jesse B (37m 39s): Yeah. Yeah. Fargo is a really good equivalent. Jesse (37m 42s): All right. Well, for people to reach out or connect with you, Jesse what's, where can we send them? We'll put the, we'll put everything we talked about in the show notes in any of the links, but yeah. Just let the listeners know and we'll put that up there. Jesse B (37m 54s): Yeah. So we have a great website with, with all the tools that, that a real estate investor would need in terms of, for flip and Britain Burr financing@chmic.ca. So Calvert, Google cower, home mortgage take you to our website. My contact information is there. I'm happy to, to discuss anything. I have an amazing team of underwriters and business development, people that can, that can point you in whatever direction needed. We also have a really great Instagram account ICU due to Jessie. I follow you personally, but our Instagram account is just to provide knowledge to real estate investors. So we're doing tips for flips economic reports. We're, we're releasing tools. We've just written. We've just wrote a white paper on the, on the benefits to the, the macro economy on real estate investing. So please follow us on Instagram at Calvert home mortgage. Jesse (38m 51s): My guest today has been Jesse Jesse. Thanks for being part of working capital. Jesse B (38m 57s): Thank you. Jesse (39m 5s): Thank you so much for listening to working capital the real estate podcast. I'm your host, Jesse, for galley. If you liked the episode, head on to iTunes and leave us a five star review and share on social media, it really helps us out. If you have any questions, feel free to reach out to me on Instagram, Jesse for galley, F R a G a L E, have a good one take care.
Episode #41 – Please welcome Los Angeles Field Office's Special Agent in Charge, Mr. Jesse Baker. Mr. Baker discusses his role and responsibilities in providing security support to Super Bowl 56, and his work history with the Secret Service. For more information about the topics covered in this episode, please use the links below. National Security Special Event (NSSE) - https://www.dhs.gov/keywords/nsse Special Event Assessment Rating (SERE 1)- https://www.dhs.gov/sites/default/files/publications/19_0905_ops_sear-fact-sheet.pdf Jesse B. Baker is a member of the Senior Executive Service who currently serves as the United States Secret Service Special Agent in Charge of the Los Angeles Field Office. Mr. Baker previously served as a member and later a supervisor on the Presidential Protective Division, where he fulfilled numerous supervisory assignments, managed the incident command center for the White House Grounds and led personnel responsible for ensuring the safety of the President of the United States. Mr. Baker received a Master in Business Administration from UCLA, and holds a Bachelor of Science in Business Administration, with a major in accounting from the University of Arizona. Hosted, Produced, and Edited by: Cody Starken Associate Producer and assistant editor: Starr Vazquez This episode is sponsored by the United States Secret Service. www.secretservice.gov Special thanks to SAIC Jesse Baker for his time and support. Music is “Nova Police” by Hermelin, found here: www.hermelin.bandcamp.com/track/nova- police. The music used in the podcast was altered from the original soundtrack by cutting specific sections of the music to create the intro and outro of the podcast. This work Attribution-Noncommercial-sharealike 3.0 United States (CC BY-NC-SA 3.0 US), which license definition is located here: creativecommons.org/licenses/by-nc-nd/3.0 Want to join the Secret Service? Click here to start your journey www.usajobs.gov/Search/?k=USSS Please visit us at: Twitter@secretservice, Instagram@secretservice, Facebook @UnitedStatesSecretServiceOfficial, YouTube@US Secret Service, and LinkedIn @U.S. Secret Service Subscribe to the podcast at Apple Podcasts, Google Podcasts, or SoundCloud.com and find it at www.secretservice.gov/press/social-media/
Jesse B. Lucerno, Growth Marketer, Founder of Vegas Top Marketers. Services Offering: Location, Facebook, Instagram, Re-Targeting Campaigns, Linkedin, Pinterest, Bing, Google, Social Media Marketing, Video Production, Video Editing, & Graphic Design. Website: https://www.lasvegastopmarketers.com
Jesse Byrd has already accomplished amazing things. From a college basketball scholarship player, to authoring and publishing childrens' books, to starting his own publishing house, with stops in Dubai and Silicon Valley along the way, it's clear Jesse's mind is always working.
Wayne G and Jesse B recast the 1999 film, The Matrix
Wayne G and Jesse B recast Jurassic Park (1993) at the request of the Field of Screens Podcast
Welcome from Chad, Jon, Chris Thank you to: Robert F, Jesse B, Rymbeau R, Griff B Announcements, News and Twitter SLEX Swag reveal happening on our socials Saturday Aug 7, 1330 EDT Scour. This is happening! Announcing DragnCard (buh-bye Octgn...not really gone, but why use it when this awesomeness exists!) Random Review Redux Part Three-do: Let the Discord decide. Who gets some respect? Contest: https://forms.gle/4CZUQmSMguixnFHx8 ALEP: The first AP is here, The Aldburg Plot You can watch Jon read a magazine on our YouTube Channel. AMAs Farewells
Jesse B Dawg joins the table and discusses moving around; coming of age; learning to provide; accommodations; being creative and innovative & much more.
On this episode of the Christ City (Community) Cast, Christine and Chaz sat down with Jesse B. and talked about Catholicism, the unexpected and surprising grace of Jesus, the importance of intimacy in Christian community, and the changes that come with having children. Christ City Church Music by Young Oceans.
Jesse B and Wayne G recast the 1995 Michael Bay film Bad Boys, starring Will Smith and Martin Lawrence
The Jesse B. Cook collection at the Bancroft Library is an amazing assortment of photos and ephemera spanning early 20th century San Francisco. Jesse Cook himself also has a fascinating, but complicated history. Learn how he complied this cherished collection as one of San Francisco's earliest and prolific scrapbookers.
10 TOP FREESTYLE SONGS OF APRIL 2021 – SYNDICATED! -=| top ten freestyle songs |=- 10.) E'Dee - Sunrise (Redemption mix)9.) In Exchange For What? By Marilyn Torres8.) Walking Away by Rudy Fausto7.) We Weren't Meant To Be by Nelson Rego6.) Goodbye [Redeux] by Ricardo Vazquez5.) Out Of Time by Luis G.4.) Over You by Rebekka3.) Monster by A'Lisa B2.) Star by Jasmine Denis1.) Mia - Inside Out -=| In Da Mixx |=- Jenaro & Jenni Renee - Scars [Remix]Believe in Love by Berrios vs ZoneBroken by Nelson RegoSo In Love by Damon CainGive Me One Night by Andrea MartinGoing Crazy by Mark MilanStefanie Bennett - Heart On The RunWalk Away From Me by Kenny FreestyleHad Enough by Elvira MiglinoNow That You're Gone by Synthia FigueroaLost In The Music by Jesse B -=| syndicated |=-
Cuadragésima versión de Nuevas Joyas - con música de The Chemical Brothers, Kase.O, Lucille Dupin & Buendía, John Grant, Jesse Báez, Electric Mistakes, Hannah Jadagu, Pablo Watusi, Nathan Micay, Arooj Aftab - un reencuentro sonoro en forma de Podcast de Gonzalo Rodríguez y Philippe Siegenthaler (Ex Tardes Radiónica). Don G & Siegen hacen una selección semanal de nuevos lanzamientos musicales a nivel mundial. Historias y anécdotas entorno a estas canciones que toman vida también en una variada playlist de cualquier tipo de géneros y colores sonoros. Noticias y lanzamientos son bienvenidos a: nuevasjoyascol@gmail.com
Noninvasive ventilation (NIV) may help COVID-19 patients in respiratory failure avoid invasive mechanical ventilation but may also lead to delays in intubation with potential for worse clinical outcomes. Domenico L. Grieco, MD, of Fondazione Policlinico Agostino Gemelli IRCCS in Rome, Jesse B. Hall, MD, of the University of Chicago, and Laveena Munshi, MD, MSc, of Sinai Health System/University Health Network of the University of Toronto join JAMA's live Q&A series to discuss helmet NIV, high-flow nasal oxygen, and other NIV modalities in the management of hypoxic coronavirus patients. Recorded March 25, 2021. Related Content: Effect of Helmet Noninvasive Ventilation vs High-Flow Nasal Oxygen on Days Free of Respiratory Support in Patients With COVID-19 and Moderate to Severe Hypoxemic Respiratory Failure Respiratory Support During the COVID-19 Pandemic: Is It Time to Consider Using a Helmet? Noninvasive Ventilation of COVID-19 Patients
Noninvasive ventilation (NIV) may help COVID-19 patients in respiratory failure avoid invasive mechanical ventilation but may also lead to delays in intubation with potential for worse clinical outcomes. Domenico L. Grieco, MD, of Fondazione Policlinico Agostino Gemelli IRCCS in Rome, Jesse B. Hall, MD, of the University of Chicago, and Laveena Munshi, MD, MSc, of Sinai Health System/University Health Network of the University of Toronto join JAMA's live Q&A series to discuss helmet NIV, high-flow nasal oxygen, and other NIV modalities in the management of hypoxic coronavirus patients. Recorded March 25, 2021. Related Content: Effect of Helmet Noninvasive Ventilation vs High-Flow Nasal Oxygen on Days Free of Respiratory Support in Patients With COVID-19 and Moderate to Severe Hypoxemic Respiratory Failure Respiratory Support During the COVID-19 Pandemic: Is It Time to Consider Using a Helmet? Noninvasive Ventilation of COVID-19 Patients
Professional wrestlers, "EZE" Eric Cairnie and Rex "The Boot" Atkins meet up with Comedian Joe-Dawg Hallam to help you with your morning commute by spewing nonsense! Today we are joined by wrestler Jesse Bieber! Tune in Monday thru Thursday, episode drops at 6am!Follow EZE on social media @EZEEricCairnie, Rex @WhatchaTalkinBoot and Joe-Dawg @MildThingJoe98!join us on Patreon for our friday show and all video versions at www.Patreon.com/GoodBrotherMorning!
Professional wrestlers, "EZE" Eric Cairnie and Rex "The Boot" Atkins meet up with Comedian Joe-Dawg Hallam to help you with your morning commute by spewing nonsense! Today we are joined by wrestler Jesse Bieber! Tune in Monday thru Thursday, episode drops at 6am!Follow EZE on social media @EZEEricCairnie, Rex @WhatchaTalkinBoot and Joe-Dawg @MildThingJoe98!join us on Patreon for our friday show and all video versions at www.Patreon.com/GoodBrotherMorning!
Décimo cuarto programa de la temporada 20/21. Suenan 16 representantes del nuevo pop urbano. 1. Nathy Peluso "BUSINESS WOMAN" (Calambre, 2020) 2. Louta "ÁMAME" (2030, 2020) 3. Jesse Báez "QUIERO SABER" (con Dillon Francis) (Turbo, 2018) 4. Rosalía feat. Travis Scott "TKN" (TKN -single-, 2020) 5. Girl Ultra "ELLA TÚ Y YO" (Nuevos aires, 2019) 6. Eva Ruiz "AMANECER" (Amanecer -single-, 2020) 7. Nikola "SUR" (Kulebra -EP-, 2019) 8. Diego Raposo "DESCONOCIDOS" (con Mula) (Caribe Express, 2018) 9. Buscabulla "NO SABEMOS" (Regresa, 2020) 10. Rubio "TORMENTA DEL SXXI" (Mango negro, 2020) 11. Lily Alyen "NADA MÁS" (con Absolute Terror) (Alÿen Mixtape -EP-, 2018) 12. Antifan "NO ME DEJES VOLAR" (con Sticky M.A.) (Puede ser una mala racha, 2019) 13. Cupido "AUTOESTIMA" (Préstame un sentimiento, 2019) 14. Sen Senra "NO ME SUELTES MÁS" (Sensaciones, 2019) 15. Blanco Palamera "SALVAJE" (Promesas, 2019) 16. Megansito El Guapo "DORMIR" (MEG, 2019)
00:00:00 - Ryan is joined by Jesse B. Gove V to discuss the highly anticipated sci-fi action thriller, Christopher Nolan’s TENET. Jesse is drinking an Outer Realm from Original Pattern Brewing Company and Ryan is drinking The Magic Touch by American Solera and they are both IPAs because that’s the kind of guys they are. Be sure to check out the Sator Square and here is a link to the graphic timeline mentioned towards the end of the episode. Tune in to find out just how much they did, or didn’t, or did like the film! You can also follow Ryan (@haupt) and Jesse (@LintonFellows) on Letterboxd.com to keep up with their movie-watching habits. And apologies to Doughboys for riffing on their format. More cool rewards await you if you decide to support us on our Patreon! Audio Production by Rob Heath
10 TOP FREESTYLE SONGS OF OCTOBER 2020 - la llama radio 1045 hd2 FM There's a NEW Countdown... On FM Radio! I'm proud to announce that La Llama Radio has picked up The Countdown Showdown as part of their regular programming. That's Right Freestylers, We Are Syndicated on 50,000 Watts of Freestyle Power! ==| TOP TEN FREESTYLE SONGS |== 1.) Believe In Love by Zone vs Berrios Feat. C-Bank [ BUY ]2.) Dragon by Adelis [ BUY ]3.) Memories of Love by A’Lisa B [ BUY ]4.) Slipping Through My Hands by K7/TKA [ BUY ]5.) Destiny by Jasmine Denis [ BUY ]6.) You Should’ve Told Me by George Anthony Feat. Cynthia [ BUY ]7.) I’m Going Crazy by Mark Milan [ BUY ]8.) I Don’t Know by Raul Soto & A’Lisa B [ BUY ]9.) This Is Life by Jesse B [ BUY ]10.) Hearts On Fire by Fabian [ BUY ]
In this episode of the Building Us podcast, co-hosts Erik Garcia, CFP® and Dr. Matt Morris, LPC, LMFT interview Jesse Byrd, Award-Wining Story Developer, Editor, and Writer at Jesse B. Creative. Jesse talks about his career in the publishing industry and how the Jess B. Creative publishing house is writing children’s books that feature diverse characters and are created by diverse creators and why that is so important. Episode Highlights:What is one of Erik’s most memorable children's books from his childhood? (00:58)Matt introduces Jesse Byrd. (2:39)Jesse shares his background and his career in the publishing industry. (2:54)Jesse shares that the stories they created for their publishing house called Jesse B. Creative, focus on stories that not only feature diverse characters but are created by diverse creators. (2:58)What were some of the conversations that Erik’s family has been having around, regarding some of Jesse's work? (3:31)Erik talks about reading Sunny Days last night, with his daughter. (4:21)Jesse mentions that it’s vital to guarantee that everyone has a place, and everyone can see themselves reflected. (6:05)Matt mentions that he had always thought that the idea of colorblindness is a real fallacy, and kids notice color all the time. (6:33)Jesse talks about the practice that they’re doing called, vertical diversity. (7:02)Jesse shares that what they focus on is not just diversity on the page, because 50% of books featuring black kids aren't written by black creators. (8:14)Jesse mentions that it's quite disturbing when you peek behind the curtain and see how many stories from minorities aren't written by people within that experience. (9:43)Matt talks about when he grew up in New Mexico and he would read Native American children's books. (10:11)Jesse shares that today's market is the most experiential publishing market that you will see in terms of, people taking risks. (11:26)Jesse mentions that there are a lot of books that don't go through the process of approval from traditional publishing. (12:32)Erik shares a prologue from the book, King Penguin. (13:42)Jesse mentions that the issues from his books are real issues that not only affect the world but also children that are growing up. (14:54)In Jesse’s opinion, he doesn’t like to shy away from reality or sincerity. He wants to try and find a way that’s grade level appropriate to open a dialogue. (16:03)How does Jesse handle the harder aspects of life, in ways that remain developmentally appropriate for the reader? (17:23)Jesse thinks that one of the most significant ways of showing that people are capable of anything, by showing the diversity of what they’re doing and being anything on the page. (18:49)Jesse mentions that it’s difficult to have compassion without having an awareness first. (19:35)As a children's book author, how does Jesse handle the different forces at play? (21:54)Jesse shares the passage from a book entitled, Real Jungle Tales. (24:55)Jesse shares that every once in a while, he does a costume theme reading at elementary schools. (28:30)What has Jesse’s journey been like? (29:34)Jesse shares that because of his injury, he realized that he’s always been passionate about storytelling. (31:07)Erik shares how he met Jesse. (31:46)Jesse mentions that he adores business writing because it teaches you how to be efficient, how to be on voice and on-brand. (33:19)Jesse explains his four principles of business writing. (34:36)How does supporting black-owned businesses and learning more about economic forces that affect black-owned businesses show up in the publishing industry? (35:54)Jesse mentions that he and his mother have been in the publishing industry for 31 years. (36:12)Jesse mentions that they want to become “The Motown” of children’s book publishing. (39:17)Jesse shares that he has met a ton of phenomenal authors, illustrators, and storytellers from every single community that is more than capable of selling their stores, given the right opportunities and the right support. (40:13)Jesse shares that they are about to enter their fundraising round for publishing for their diverse publishing company. (43:22)Jesse mentions that they want people to have access to opportunities and for equity. (44:03)Erik asks five questions that were prepared by his daughter for Jesse to answer. (47:31)Jesse mentions that scale is something that he finds amusing. (48:38)Jesse shares that Sherry, from the book King Penguin, is inspired by a real-life human interaction and a relationship that he knows. (51:59)Jesse shares that one of the first ways kids are introduced to the world is through the books and the cartoons that they read. (53:14)Jesse mentions that they have 17 stories in the queue, five stories are currently being developed, and three stories will be up, before the end of this year. (54:04)Key Quotes:“Saving more space to make sure there's authentic diversity throughout the pages and throughout the stories is something we cherish.” - Jesse Byrd“It’s hard to notice these things in a vacuum, right? And that's why it's so important to not erase any colors from the rainbow but to add more colors to the rainbow, so we can appreciate all of the ROYGBIV on the spectrum.” - Jesse Byrd“I think everybody, every culture, every group is capable of telling their own stories, and they have people within those experiences who are more than happy to tell about their walk of life.” - Jesse Byrd“It actually does a disservice when we don't find a way to talk about some of the real things that are happening, and some of the real things that children, unfortunately, younger than we hoped that they would, are enduring and are having to face.” - Jesse Byrd“In a capitalistic economy, you largely vote with your dollars, and to put it that plainly is that if you want to see more diversity, you want to see more diversity by diverse people. The easiest way to do that is to financially support the work and the businesses of diverse people.” - Jesse ByrdResources Mentioned:Erik Garcia, CFP®Dr. Matt Morris, LPC, LMFTGarcia Financial GroupMatt Morris & AssociatesJesse Byrd LinkedInJesse B. Creative Inc.Gift Books to Kids
10 TOP FREESTYLE SONGS OF july 2020 The Countdown Showdown Mix is compiled by Freestyle Deejays who have been Billboard Reporters and Club Deejays. These are working Deejays that have been mixing Freestyle and other genres for decades. We ask each DJ for their personal Top Ten to formulate The Countdown Showdown's Monthy Top Ten Mix. This Month's Countdown Showdown is mixed by Legendary DJs, Editors, and Producers, The Santana Twins. ==| TOP TEN SONGS IN FREESTYLE |== 1.) You Should Have Told Me by George Anthony 2.) No Reason To Cry by Mia 3.) Dedicate My Love by Willie Valentin 4.) Into The Night by Diddle D 5.) Forever by Shy 6.) Don’t Call It Love by FFOF 7.) Spread Your Wings by Quadlibet 8.) Apology I.O.U. by Luis Marte 9.) All These Memories by Chrissy I Ecee 10.) All The Way by George Anthony ==| STILL IN THE MIX |== 11.) God Only Knows by Sharen Maceren 12.) My Reason Why by Elvira Miglino 13.) (Be) My Summer Love by Touch Of Quality 14.) Willing To Take A Chance by Nelson Rego 15.) Love Desire by Chrissy I Ecee 16.) Black and White by Pure Pleasure (Artistik Mix) 17.) I've Changed by Anthony Acosta 18.) This Is Life by Jesse B 19.) The Way That You Love Me by TST feat. Adelis 20.) Breath Away by Jae Mazor ==| BREAKOUT SONGS |== 21.) Fatal by Vizon 22.) Scars by Jenaro 23.) Is This Love by Angel Mena 24.) Him or Me by Nelson Rigo 25.) Hearts on Fire by Fabian 26.) Never End by Julio Mena 27.) IDK by Raul Soto & Alisa B 28.) Lost Within Our Souls by Solo Featuring Unique Latina 29.) Born To Love by Jae Mazor
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This episode takes a roundtable format about something currently affecting the world we live in and our Christian unity. Gareth, Kevin, Jesse G, and Jesse B having a healing practical conversation from the Bible's perspective. ================================================================= Ask a question anonymously here: thepracticalchristianpodcast.com Subscribe or Listen @: Spotify: https://spoti.fi/2umQf84 Apple Podcast -> https://apple.co/2tNUVDo Google Play Music -> https://bit.ly/2uxCD9T
Episode sixty-seven of A History of Rock Music in Five Hundred Songs looks at “Johnny B. Goode” by Chuck Berry, and the decline and fall of both Berry and Alan Freed. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Splish Splash” by Bobby Darin. —-more—- Resources As always, I’ve created Mixcloud streaming playlists with full versions of all the songs in the episode. Because of the limit on the number of songs by one artist, I have posted them as two playlists — part one, part two. I used foue main books as reference here: Brown Eyed Handsome Man: The Life and Hard Times of Chuck Berry by Bruce Pegg is a good narrative biography of Berry, which doesn’t shy away from the less salubrious aspects of his personality, but is clearly written by an admirer. Long Distance Information: Chuck Berry’s Recorded Legacy by Fred Rothwell is an extraordinarily researched look at every single recording session of Berry’s career up to 2001. I also used a Chuck Berry website, http://www.crlf.de/ChuckBerry/ , which contains updates on Rothwell’s research. The information on the precursors to the “Johnny B. Goode” intro comes from Before Elvis by Larry Birnbaum. And for information about Freed, I used Big Beat Heat: Alan Freed and the Early Years of Rock & Roll by John A. Jackson. There are a myriad Chuck Berry compilations available. The one I’d recommend if you don’t have a spare couple of hundred quid for the complete works box set is the double-CD Gold, which has every major track without much of the filler. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A brief content warning for this episode – like last week’s, this discusses, though not in any great detail, a few crimes of a sexual nature. If that’s likely to upset you, please either check the transcript to make sure you’ll be OK, or come back next week. Today we’re going to talk about the definitive fifties rock and roll song. “Johnny B. Goode” is so much the epitome of American post-war culture that when NASA sent a record into space, on the Voyager probes in the seventies, it was the only rock and roll song included in the selection of audio, which also included pieces by Bach, Beethoven, Mozart, and Stravinsky, and performances by Louis Armstrong and Blind Willie Johnson, along with folk songs, spoken greetings from world leaders, and so on. At the time the golden record was put together, it was criticised for containing any rock and roll at all. Now, that record is further away from Earth than any other object created by a human being. On Saturday Night Live, the week the probe was launched, Steve Martin joked that there’d been a message from aliens – “Send more Chuck Berry”. That’s what an important record “Johnny B. Goode” is. [Excerpt: Chuck Berry, “Johnny B. Goode”] When we last looked at Chuck Berry, he’d just released “School Day”, which had been his breakout hit into the broader white teenage market that had started to listen to rock and roll. Berry’s career didn’t go on a completely upward curve after that point. His next single, “Oh Baby Doll”, was a comparative flop — it reached number twelve in the R&B charts, but only number fifty-seven on the pop charts. But the record after that was the start of a three-single run that would consolidate Berry as rock and roll’s premier mythologiser. Where in May 1956 Berry had sung about “these rhythm and blues”, this time he was going to use the music’s new name, and he was singing “just let me hear some of that rock and roll music”: [Excerpt: Chuck Berry, “Rock and Roll Music”] That put him back in the top ten, and everything seemed to be going wonderfully for him. He was so popular now as a rock and roll star that on one of the late 1957 tours he did, when Buddy Holly and the Crickets were lower down the bill, the Crickets would do “Roll Over Beethoven” and “Brown-Eyed Handsome Man” as part of their set. Berry had written enough classics by now that other acts on the bill could do the ones he didn’t have time for. When he next went back into the studio, it was to cut seven songs. One of them, “Reelin’ and Rockin'”, was a slight reworking of the old Wynonie Harris song, “Round the Clock Blues”. Harris’ song, which had also been recorded by Big Joe Turner with Johnny Otis’ band, was an inspiration for “Rock Around the Clock” among other records: [Excerpt: Wynonie Harris, “Round the Clock Blues”] Berry’s version got rid of some of the more sexual lyrical content — though that would later come back in live performances of the song — and played up the song’s similarity to “Rock Around the Clock”, but it’s still basically the exact same song that Wynonie Harris had performed. Of course, the copyright is in Chuck Berry’s name — for all that he and his publishers would be very eager to sue anyone who might come too close to one of Berry’s songs, he had no compunction about taking all the credit for a song someone else had written. [Excerpt: Chuck Berry, “Reelin’ and Rockin’”] You might notice that the piano style on that track is very different from some of Berry’s earlier recordings. Now, there are two possible explanations for this, because I’ve seen two different pianists credited for these sessions. Some sources credit Lafayette Leake with playing the piano here, and that might be enough to explain the difference in style, but I’m going with the other sources, which credit Johnnie Johnson, Berry’s regular player, as playing on the session. If it is, though, he’s playing in a different style. This is because of the popularity of Jerry Lee Lewis, who had risen to fame since Berry’s last session. Lewis used to use a simple technique called “ripping” when playing the piano, in which you just slide your fingers across the keys as fast as possible. He does it pretty much constantly in his solos, as you can hear in this: [Excerpt: Jerry Lee Lewis, “Great Balls of Fire”, piano solo] Leonard Chess had heard that sound, and become convinced that that was the main reason that Lewis’ records were so successful, so he insisted on Johnnie Johnson doing that on Berry’s new records. Johnson didn’t like the sound, which he considered “all flash and no technique”, but Chess insisted — to the extent that when they were rehearsing the tracks, Chess would walk over and rip his hand down the keys himself, to show Johnson what he wanted. Johnson eventually went along with it, though he said he “’bout tore my thumbnail off” getting it done. [Excerpt: Chuck Berry, “Reelin’ and Rockin’”] He later acknowledged that Chess had a point, though — simple as it was, it did make the records more exciting, and it was something that the kids clearly liked. And something else that the kids liked was another song recorded at the same session — this time about the kids themselves: [Excerpt: Chuck Berry, “Sweet Little Sixteen”] “Sweet Little Sixteen” was one of the first songs about the experience of being a rock and roll fan. There had been earlier records about just dancing to rock and roll music, of course — things like “Drugstore Rock & Roll” or “Rip it Up” — but this was about fandom, and about the experience of following musicians. It’s not completely about that, sadly — it’s the teen girl fan filtered through the male gaze, and so it’s also about how “everybody wants to dance with” this sixteen-year-old girl, and about her “tight dresses and lipstick” — but where the song gains its power is in the verse sections where the girl becomes the viewpoint character, and we hear about how excited she is to go to the show, and about her collections of autographs and photos. However flawed it is, it’s one of the best evocations of the experience of fandom as a hobby — not just liking the music, but having the experience of fandom be a major part of your life. One of the most notable things about “Sweet Little Sixteen” is the way that Berry uses the song to namecheck American Bandstand, which was fast becoming the most important rock and roll TV show around. While in the first chorus he sings about how they’ll be rocking in Boston and Pittsburgh, PA, in the subsequent choruses he changes that to “on Bandstand” and “in Philadelphia PA”, which is where American Bandstand was broadcast from. It’s a sign that Dick Clark was becoming more important than Berry’s mentor, Alan Freed. A week after the session for “Reelin’ and Rockin'” and “Sweet Little Sixteen”, came another session for what would become Berry’s most well-known song, and one that remains in the repertoire of almost every bar band in the world. It’s instantly recognisable right from the start. The introduction to “Johnny B. Goode” is one of the most well-known guitar parts in history: [Excerpt: Chuck Berry, “Johnny B. Goode”] But that guitar part has a long history — it’s original to Chuck Berry, but at the same time it’s based on a lot of earlier examples. Berry took the basic idea for that line from Carl Hogan, Louis Jordan’s guitarist, who played this as the intro to Jordan’s “Ain’t That Just Like a Woman”: [Excerpt: Louis Jordan, “Ain’t That Just Like a Woman”] But Hogan was only the latest in a long line of people who had played essentially that identical line. The first recording we have of that riff dates back to 1918, and a recording by Wilbur Sweatman’s Jazz Orchestra. Sweatman was a friend and colleague of Scott Joplin, and his band was one of the very first black jazz groups to record at all. And on their song “Bluin’ the Blues”, you hear this: [Excerpt: Wilbur Sweatman’s Jazz Orchestra, “Bluin’ the Blues”] We hear it in Blind Lemon Jefferson’s “Got the Blues”, in 1926: [Excerpt: Blind Lemon Jefferson, “Got the Blues”] In Blind Blake’s “Too Tight”, also from 1926: [Excerpt: Blind Blake, “Too Tight”] then in records by Cow Cow Davenport, Andy Kirk, and Count Basie, before it turns up in the Louis Jordan record. But there is a crucial difference between what Carl Hogan played and what Chuck Berry played. Listen again to Hogan’s playing: [Excerpt: Louis Jordan, “Ain’t That Just Like a Woman”] and now to Berry: [Excerpt: Chuck Berry, “Johnny B. Goode”] The crucial change Berry makes there is that most of the time he’s playing the solo line on two strings instead of one, creating a thicker sound, with parallel harmonies, rather than just the simple melody line. This was something that Berry learned from the great blues guitarist T-Bone Walker: [Excerpt: T-Bone Walker, “Shufflin’ the Blues”] Berry took Walker’s playing style, and combined it with Hogan’s note choices, and that simple change makes all the difference. It transmutes the part that Hogan had played from just a standard riff you find in dozens of old jazz records, a standard part of any musician’s toolkit, into a specific intro to a specific song. When, six years later, Carl Wilson of the Beach Boys played this as the intro to “Fun, Fun, Fun”: [Excerpt: The Beach Boys, “Fun Fun Fun”] Absolutely no-one listening thought “Oh, he’s riffing off ‘Texas Shout’ by Cow Cow Davenport” — everyone instantly thought “Oh, that’s the intro to ‘Johnny B. Goode'”. Berry had taken a standard piece of every musician’s toolkit, and by putting a very slight twist on it had made everyone listening hear it differently, so now it was identified solely with him. The lyric to Johnny B. Goode is more original than the music, but even there we can trace its origins. Berry always talked about how the original idea for the lyric was as a message to Johnnie Johnson, saying “Johnnie, be good”, stop drinking so much — a wake-up call to his friend and colleague. But that quickly changed, and the song became more about Berry himself, or an idealised version of Berry, perhaps how he would want people to see him — something that was even more explicit in the original version of the lyric, where rather than sing “a country boy”, he sang “a coloured boy”. But there’s another sign that Berry was talking about himself, and that’s in the very title itself. Goode is spelled “G-o-o-d-e”, with an “e” on the end — and Berry’s childhood home was at 2520 Goode avenue, with an E. There’s another possible origin as well — the poet Langston Hughes had written a very widely circulated series of newspaper columns, which Berry would have encountered in his teenage years and early twenties, about a character named Jesse B. Simple. (And in an interesting note, in 1934 Hughes wrote a story about racial injustice called “Berry”, about a boy named Berry who would, among other things, tell children stories and sing them songs, and Hughes signed the dedication in the book that story was in “Berry” rather than with his own name.) You can point to every element of “Johnny B. Goode” and say “well, this came from there, and this came from there”, but still you’re no closer to identifying why Johnny B. Goode works as well as it does. it’s the combination of all these elements in a way that they’d never been put together before that is Berry’s genius, and is why Berry is pretty much universally regarded as an innovator, not just as an imitator. “Johnny B. Goode” was also the title song for what turned out to be Alan Freed’s final film — a film called Go, Johnny, Go! which also featured Eddie Cochran, the Moonglows, and Ritchie Valens. [Excerpt: Berry and Freed dialogue from Go, Johnny, Go!] That film came out in 1959, and had Berry as Freed’s co-star, appearing with Freed as himself in almost every scene. It was the last gasp of rock and roll cultural relevance for almost everyone involved. By the time the film had come out, Valens was already dead, and within a little over eighteen months after its release, Cochran was also dead, Freed was disgraced, and Berry was in prison. In the last couple of episodes, I’ve mentioned a tour that Chuck Berry and Jerry Lee Lewis headlined in 1958, just after “Johnny B. Goode” came out, with Alan Freed as the MC. What I didn’t mention until now is that as well as the tension between Chuck and Jerry Lee, that tour ended up spelling the end of Freed’s career. Freed was already on the downturn in his career — rock and roll was moving from being a music made largely by black musicians to one dominated by white people, and to make matters worse the major labels had finally got a handle on it and started churning out dozens of prepackaged teen idols, most of them called Bobby. Freed didn’t have the connections with the major labels, or the understanding of the new manufactured pop, that he did with the R&B records from labels like Chess. But it was the show in Boston on this tour that led to Freed’s downfall. The early show, which had been headlined by Lewis, had had the audience dancing, and the police were not at all impressed with this. They’d forced Alan Freed to make the audience sit down, and Lewis had had to play his set to an audience who were seated and squirming, unable to get up and dance to his recent big hits like “Great Balls of Fire”: [Excerpt: Jerry Lee Lewis, “Great Balls of Fire”] Then came the late show, which Berry was headlining. The same thing started to happen — the kids in the audience got up to dance, and the police made Alan Freed make them sit down. But then, when the audience had quietened down, while Berry was standing there on stage, the police refused to dim the house lights and let the musicians carry on playing. So Freed got back on stage and said “It looks like the Boston police don’t want you to have a good time.” The show continued with the lights on, but the audience got annoyed — so much so that Chuck Berry finished the show from behind the drummer, in case the audience attacked. But the police got more annoyed. They got so annoyed, in fact, that they decided to simply claim that every single crime reported to them that night had been inspired by the show. Nobody now thinks that the New York Times reports which said there were multiple stabbings, fifteen people hospitalised, and multiple rapes, are actually accurate reports of anything caused by the show. But at the time, everyone believed it. Boston decided to ban rock and roll concerts altogether, as a result of the show, and while the tour continued through a couple more dates, most of the remaining tour dates got cancelled. Oddly, going through this adversity seems to have brought Berry and Jerry Lee Lewis together. While they’d been fighting each other for almost the entire tour, after this point they became quite close friends, and would speak warmly about each other. Things didn’t end so happily for Alan Freed. Freed had been having some problems with his radio station for a little while. He was difficult to work with, and they particularly disliked that he had started doing his broadcasts from home, rather than from the studio. When he’d been hired, the station was losing money, and he’d been a gamble. Now, they were in profit, and they didn’t need to take risks, and they’d been considering not renewing his contract when it came up in six months. Now that this had happened, they took the opportunity to use the morals clause in Freed’s contract to fire him, although he was allowed to present it as a resignation instead of a firing. Freed would manage to get another radio job, but not one with anything like the same prominence. He would, within a couple of years, become the designated industry fall guy for the practice of payola. This is something that we’ve talked about before — record labels would pay DJs to play their records. Sometimes it was in the form of adding their name to the writing credits, as was the case for Freed with records like “Maybellene” and “Sincerely” – and you can tell how much Freed contributed to those songs by hearing his own attempts at making records: [Excerpt: Alan Freed and his Rock and Roll Band, “Rock and Roll Boogie”, Rock Rock Rock version] Sometimes a promoter would just slip a DJ fifty dollars when handing over a promotional copy of the record. Sometimes, the DJ would be hired to announce a show by the act whose record was to be promoted. There were a lot of different methods, some of them more blatant than others, but it was a common practice. Every DJ and TV presenter took part in this, pretty much — Dick Clark certainly did — and while no-one other than the DJs liked the practice, the small labels that built rock and roll, labels like Sun or Chess or Atlantic, all saw it as a way that they could equalise things a little bit. The major labels all had an inbuilt advantage, and would get their records played on the radio no matter what — this was a way that the smaller labels could be heard. But precisely because it levelled the playing field somewhat, the larger record labels didn’t like it, and by this point the major labels were becoming more interested in rock and roll. And to protect that interest, they promoted a campaign against payola. Freed, as the most prominent DJ in the country, and someone who did his fair share of taking bribes, was essentially chosen as the scapegoat for this, once he lost his job at WINS. By the end of 1959 he lost his job with the station he moved to, WABC, once the payola scandal became headline news, and he spent the next few years moving from smaller stations to yet smaller ones, not staying anywhere very long. He died in 1965, of illnesses caused by his alcoholism. He was only forty-three. [Excerpt: Alan Freed sign-off, “This is not goodbye, it’s just goodnight”] And here we get to the downfall of Chuck Berry himself. It’s an unfortunate fact of chronology that I have to deal with this the week after dealing with Jerry Lee Lewis’ own underage sex scandal — well, a fact of both chronology and a terrible society that sees the bodies of young girls as something to which powerful men are entitled, anyway. Chuck Berry had been on a tour of the Southwest, when in Texas he had met up with a fourteen-year-old sex worker, who had accompanied him on the rest of the tour. He’d promised her a job working at his nightclub in St. Louis, and when he fired her shortly after she started there, she went to the police. Like Lewis, Berry has been more or less forgiven by the consensus narrative of rock history. There is slightly more justification for doing so in Berry’s case than in Lewis’, because the Mann Act, the law under which he was charged and convicted, was a law that was created specifically to punish black men — indeed, its official title was The White Slave Traffic Act. Given the way that other rock and roll artists seem to have had carte blanche to abuse young girls, the fact that a black man was about the only one, certainly for many decades, to spend time in prison for this, is more than a little unjust. But the fact remains, a man in his thirties had had sexual relations with a fourteen-year-old girl. And it’s not like this was an isolated incident — he would later famously settle a class-action suit brought against him by a large number of women he had videotaped on the toilet without their permission. So while Berry had an entirely fair complaint that the prosecution was motivated by race — and his prison sentence was reduced in large part because the judge made some extremely racist remarks — it’s still a fact that what he did was wrong. Now, I’m not going to spend much more time on this with Berry — not as much as I did with Jerry Lee Lewis last week — and that’s because as I said in the beginning of the series, this is not a podcast about the horrible crimes men have committed against women. So why bring it up at all? Well, there’s a myth that Berry’s career was completely wrecked by his arrest. This simply isn’t true. It’s true that “Johnny B. Goode” was Berry’s last top ten hit for quite a few years, and he only had one more top twenty hit in the fifties. But the thing is, his singles had had a very inconsistent chart history before that. He’d released eleven singles up to that point, and only five of them had made the top ten on the pop charts. Classics like “Thirty Days”, “Too Much Monkey Business”, “Brown-Eyed Handsome Man” and “You Can’t Catch Me” had totally failed to hit the pop charts at all. Berry was arrested in December 1959, and between trials and appeals, he didn’t end up going to jail until 1961. “Johnny B. Goode” came out in March 1958. That means that for almost two years *before* the arrest, Berry was, at best, charting in the lower reaches of the charts. The fact is, there’s a simple reason why Berry didn’t chart very much in the late fifties and early sixties. Well, there are two reasons. The first is that public taste had moved on, as it does every few years. There are very few singles artists — and all artists in the fifties were singles artists — who can survive a major change in the public’s taste. The other reason, as he would later admit himself, is that the material he recorded in the few years after “Johnny B. Goode” wasn’t his best. There were some good songs — things like “Carol”, “Little Queenie”, and “I’ve Got to Find My Baby” — but even those weren’t Berry at his absolute peak. And the majority of the material he put out during that time was stuff like “Anthony Boy” and “Too Pooped to Pop”, which very few of even Berry’s most ardent fans will tell you are worth listening to. There was one exception — during that time, he put out what may be the best song he ever wrote, “Memphis, Tennessee”: [Excerpt: Chuck Berry, “Memphis, Tennessee”] While it’s a travesty that that record didn’t chart, in retrospect it’s easy to see why it didn’t. Berry’s audience were, for the most part, teenagers. No matter how good a song it was, “Memphis Tennessee” was about a man wanting to regain contact with his six-year-old daughter after he’s split up with her mother. That’s something that would have far more relevance to people of Berry’s own age group than to the people who had been, a year or so earlier, wanting to dance with sweet little sixteen, and wanting to hear some of that rock and roll music. As odd as it is to say, Berry’s eighteen months in jail may have done him some good as a commercial prospect. The first three singles he released in 1964, right after getting out of prison, were all bigger hits than he’d had since summer 1958 — “Nadine” made number 23, “You Never Can Tell” made number fourteen, and “No Particular Place to Go”, a rewrite of “School Day”, with new, funnier, lyrics about sexual frustration, went to number ten: [Excerpt: Chuck Berry, “No Particular Place to Go”] Those songs were better than anything he’d released for several years previously, and it seemed that Berry might be on his way back to the top, but it was a false dawn. Berry’s studio work slid back into mediocrity with occasional flashes of his old brilliance, and his only hit after this point was in the seventies, when he had his only number one with a novelty song by Dave Bartholomew, “My Ding-a-Ling”, which if you’ve not heard it is about as juvenile as it sounds. In the late seventies, Berry essentially retired from making new music, choosing instead to spend the best part of forty years touring the world with just his guitar, playing with whatever local pickup band the promoter could scrape together, and often not even letting them know in advance what the next song was going to be — he assumed that everyone knew all of his songs, and he was, by and large, correct in that assumption. He was, by all accounts, an extremely bitter man. He did, though, work on one final album, just called “Chuck”, which was announced as part of the celebrations for his ninetieth birthday, but wasn’t released until shortly after his death. He died, aged ninety, in 2017, and the obituaries concentrated on his music rather than his crimes against women. John Lennon once said “if you tried to give rock and roll another name, it would be Chuck Berry”, and for both better and worse, that’s probably true.
Episode sixty-seven of A History of Rock Music in Five Hundred Songs looks at “Johnny B. Goode” by Chuck Berry, and the decline and fall of both Berry and Alan Freed. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Splish Splash” by Bobby Darin. —-more—- Resources As always, I’ve created Mixcloud streaming playlists with full versions of all the songs in the episode. Because of the limit on the number of songs by one artist, I have posted them as two playlists — part one, part two. I used foue main books as reference here: Brown Eyed Handsome Man: The Life and Hard Times of Chuck Berry by Bruce Pegg is a good narrative biography of Berry, which doesn’t shy away from the less salubrious aspects of his personality, but is clearly written by an admirer. Long Distance Information: Chuck Berry’s Recorded Legacy by Fred Rothwell is an extraordinarily researched look at every single recording session of Berry’s career up to 2001. I also used a Chuck Berry website, http://www.crlf.de/ChuckBerry/ , which contains updates on Rothwell’s research. The information on the precursors to the “Johnny B. Goode” intro comes from Before Elvis by Larry Birnbaum. And for information about Freed, I used Big Beat Heat: Alan Freed and the Early Years of Rock & Roll by John A. Jackson. There are a myriad Chuck Berry compilations available. The one I’d recommend if you don’t have a spare couple of hundred quid for the complete works box set is the double-CD Gold, which has every major track without much of the filler. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A brief content warning for this episode – like last week’s, this discusses, though not in any great detail, a few crimes of a sexual nature. If that’s likely to upset you, please either check the transcript to make sure you’ll be OK, or come back next week. Today we’re going to talk about the definitive fifties rock and roll song. “Johnny B. Goode” is so much the epitome of American post-war culture that when NASA sent a record into space, on the Voyager probes in the seventies, it was the only rock and roll song included in the selection of audio, which also included pieces by Bach, Beethoven, Mozart, and Stravinsky, and performances by Louis Armstrong and Blind Willie Johnson, along with folk songs, spoken greetings from world leaders, and so on. At the time the golden record was put together, it was criticised for containing any rock and roll at all. Now, that record is further away from Earth than any other object created by a human being. On Saturday Night Live, the week the probe was launched, Steve Martin joked that there’d been a message from aliens – “Send more Chuck Berry”. That’s what an important record “Johnny B. Goode” is. [Excerpt: Chuck Berry, “Johnny B. Goode”] When we last looked at Chuck Berry, he’d just released “School Day”, which had been his breakout hit into the broader white teenage market that had started to listen to rock and roll. Berry’s career didn’t go on a completely upward curve after that point. His next single, “Oh Baby Doll”, was a comparative flop — it reached number twelve in the R&B charts, but only number fifty-seven on the pop charts. But the record after that was the start of a three-single run that would consolidate Berry as rock and roll’s premier mythologiser. Where in May 1956 Berry had sung about “these rhythm and blues”, this time he was going to use the music’s new name, and he was singing “just let me hear some of that rock and roll music”: [Excerpt: Chuck Berry, “Rock and Roll Music”] That put him back in the top ten, and everything seemed to be going wonderfully for him. He was so popular now as a rock and roll star that on one of the late 1957 tours he did, when Buddy Holly and the Crickets were lower down the bill, the Crickets would do “Roll Over Beethoven” and “Brown-Eyed Handsome Man” as part of their set. Berry had written enough classics by now that other acts on the bill could do the ones he didn’t have time for. When he next went back into the studio, it was to cut seven songs. One of them, “Reelin’ and Rockin'”, was a slight reworking of the old Wynonie Harris song, “Round the Clock Blues”. Harris’ song, which had also been recorded by Big Joe Turner with Johnny Otis’ band, was an inspiration for “Rock Around the Clock” among other records: [Excerpt: Wynonie Harris, “Round the Clock Blues”] Berry’s version got rid of some of the more sexual lyrical content — though that would later come back in live performances of the song — and played up the song’s similarity to “Rock Around the Clock”, but it’s still basically the exact same song that Wynonie Harris had performed. Of course, the copyright is in Chuck Berry’s name — for all that he and his publishers would be very eager to sue anyone who might come too close to one of Berry’s songs, he had no compunction about taking all the credit for a song someone else had written. [Excerpt: Chuck Berry, “Reelin’ and Rockin’”] You might notice that the piano style on that track is very different from some of Berry’s earlier recordings. Now, there are two possible explanations for this, because I’ve seen two different pianists credited for these sessions. Some sources credit Lafayette Leake with playing the piano here, and that might be enough to explain the difference in style, but I’m going with the other sources, which credit Johnnie Johnson, Berry’s regular player, as playing on the session. If it is, though, he’s playing in a different style. This is because of the popularity of Jerry Lee Lewis, who had risen to fame since Berry’s last session. Lewis used to use a simple technique called “ripping” when playing the piano, in which you just slide your fingers across the keys as fast as possible. He does it pretty much constantly in his solos, as you can hear in this: [Excerpt: Jerry Lee Lewis, “Great Balls of Fire”, piano solo] Leonard Chess had heard that sound, and become convinced that that was the main reason that Lewis’ records were so successful, so he insisted on Johnnie Johnson doing that on Berry’s new records. Johnson didn’t like the sound, which he considered “all flash and no technique”, but Chess insisted — to the extent that when they were rehearsing the tracks, Chess would walk over and rip his hand down the keys himself, to show Johnson what he wanted. Johnson eventually went along with it, though he said he “’bout tore my thumbnail off” getting it done. [Excerpt: Chuck Berry, “Reelin’ and Rockin’”] He later acknowledged that Chess had a point, though — simple as it was, it did make the records more exciting, and it was something that the kids clearly liked. And something else that the kids liked was another song recorded at the same session — this time about the kids themselves: [Excerpt: Chuck Berry, “Sweet Little Sixteen”] “Sweet Little Sixteen” was one of the first songs about the experience of being a rock and roll fan. There had been earlier records about just dancing to rock and roll music, of course — things like “Drugstore Rock & Roll” or “Rip it Up” — but this was about fandom, and about the experience of following musicians. It’s not completely about that, sadly — it’s the teen girl fan filtered through the male gaze, and so it’s also about how “everybody wants to dance with” this sixteen-year-old girl, and about her “tight dresses and lipstick” — but where the song gains its power is in the verse sections where the girl becomes the viewpoint character, and we hear about how excited she is to go to the show, and about her collections of autographs and photos. However flawed it is, it’s one of the best evocations of the experience of fandom as a hobby — not just liking the music, but having the experience of fandom be a major part of your life. One of the most notable things about “Sweet Little Sixteen” is the way that Berry uses the song to namecheck American Bandstand, which was fast becoming the most important rock and roll TV show around. While in the first chorus he sings about how they’ll be rocking in Boston and Pittsburgh, PA, in the subsequent choruses he changes that to “on Bandstand” and “in Philadelphia PA”, which is where American Bandstand was broadcast from. It’s a sign that Dick Clark was becoming more important than Berry’s mentor, Alan Freed. A week after the session for “Reelin’ and Rockin'” and “Sweet Little Sixteen”, came another session for what would become Berry’s most well-known song, and one that remains in the repertoire of almost every bar band in the world. It’s instantly recognisable right from the start. The introduction to “Johnny B. Goode” is one of the most well-known guitar parts in history: [Excerpt: Chuck Berry, “Johnny B. Goode”] But that guitar part has a long history — it’s original to Chuck Berry, but at the same time it’s based on a lot of earlier examples. Berry took the basic idea for that line from Carl Hogan, Louis Jordan’s guitarist, who played this as the intro to Jordan’s “Ain’t That Just Like a Woman”: [Excerpt: Louis Jordan, “Ain’t That Just Like a Woman”] But Hogan was only the latest in a long line of people who had played essentially that identical line. The first recording we have of that riff dates back to 1918, and a recording by Wilbur Sweatman’s Jazz Orchestra. Sweatman was a friend and colleague of Scott Joplin, and his band was one of the very first black jazz groups to record at all. And on their song “Bluin’ the Blues”, you hear this: [Excerpt: Wilbur Sweatman’s Jazz Orchestra, “Bluin’ the Blues”] We hear it in Blind Lemon Jefferson’s “Got the Blues”, in 1926: [Excerpt: Blind Lemon Jefferson, “Got the Blues”] In Blind Blake’s “Too Tight”, also from 1926: [Excerpt: Blind Blake, “Too Tight”] then in records by Cow Cow Davenport, Andy Kirk, and Count Basie, before it turns up in the Louis Jordan record. But there is a crucial difference between what Carl Hogan played and what Chuck Berry played. Listen again to Hogan’s playing: [Excerpt: Louis Jordan, “Ain’t That Just Like a Woman”] and now to Berry: [Excerpt: Chuck Berry, “Johnny B. Goode”] The crucial change Berry makes there is that most of the time he’s playing the solo line on two strings instead of one, creating a thicker sound, with parallel harmonies, rather than just the simple melody line. This was something that Berry learned from the great blues guitarist T-Bone Walker: [Excerpt: T-Bone Walker, “Shufflin’ the Blues”] Berry took Walker’s playing style, and combined it with Hogan’s note choices, and that simple change makes all the difference. It transmutes the part that Hogan had played from just a standard riff you find in dozens of old jazz records, a standard part of any musician’s toolkit, into a specific intro to a specific song. When, six years later, Carl Wilson of the Beach Boys played this as the intro to “Fun, Fun, Fun”: [Excerpt: The Beach Boys, “Fun Fun Fun”] Absolutely no-one listening thought “Oh, he’s riffing off ‘Texas Shout’ by Cow Cow Davenport” — everyone instantly thought “Oh, that’s the intro to ‘Johnny B. Goode'”. Berry had taken a standard piece of every musician’s toolkit, and by putting a very slight twist on it had made everyone listening hear it differently, so now it was identified solely with him. The lyric to Johnny B. Goode is more original than the music, but even there we can trace its origins. Berry always talked about how the original idea for the lyric was as a message to Johnnie Johnson, saying “Johnnie, be good”, stop drinking so much — a wake-up call to his friend and colleague. But that quickly changed, and the song became more about Berry himself, or an idealised version of Berry, perhaps how he would want people to see him — something that was even more explicit in the original version of the lyric, where rather than sing “a country boy”, he sang “a coloured boy”. But there’s another sign that Berry was talking about himself, and that’s in the very title itself. Goode is spelled “G-o-o-d-e”, with an “e” on the end — and Berry’s childhood home was at 2520 Goode avenue, with an E. There’s another possible origin as well — the poet Langston Hughes had written a very widely circulated series of newspaper columns, which Berry would have encountered in his teenage years and early twenties, about a character named Jesse B. Simple. (And in an interesting note, in 1934 Hughes wrote a story about racial injustice called “Berry”, about a boy named Berry who would, among other things, tell children stories and sing them songs, and Hughes signed the dedication in the book that story was in “Berry” rather than with his own name.) You can point to every element of “Johnny B. Goode” and say “well, this came from there, and this came from there”, but still you’re no closer to identifying why Johnny B. Goode works as well as it does. it’s the combination of all these elements in a way that they’d never been put together before that is Berry’s genius, and is why Berry is pretty much universally regarded as an innovator, not just as an imitator. “Johnny B. Goode” was also the title song for what turned out to be Alan Freed’s final film — a film called Go, Johnny, Go! which also featured Eddie Cochran, the Moonglows, and Ritchie Valens. [Excerpt: Berry and Freed dialogue from Go, Johnny, Go!] That film came out in 1959, and had Berry as Freed’s co-star, appearing with Freed as himself in almost every scene. It was the last gasp of rock and roll cultural relevance for almost everyone involved. By the time the film had come out, Valens was already dead, and within a little over eighteen months after its release, Cochran was also dead, Freed was disgraced, and Berry was in prison. In the last couple of episodes, I’ve mentioned a tour that Chuck Berry and Jerry Lee Lewis headlined in 1958, just after “Johnny B. Goode” came out, with Alan Freed as the MC. What I didn’t mention until now is that as well as the tension between Chuck and Jerry Lee, that tour ended up spelling the end of Freed’s career. Freed was already on the downturn in his career — rock and roll was moving from being a music made largely by black musicians to one dominated by white people, and to make matters worse the major labels had finally got a handle on it and started churning out dozens of prepackaged teen idols, most of them called Bobby. Freed didn’t have the connections with the major labels, or the understanding of the new manufactured pop, that he did with the R&B records from labels like Chess. But it was the show in Boston on this tour that led to Freed’s downfall. The early show, which had been headlined by Lewis, had had the audience dancing, and the police were not at all impressed with this. They’d forced Alan Freed to make the audience sit down, and Lewis had had to play his set to an audience who were seated and squirming, unable to get up and dance to his recent big hits like “Great Balls of Fire”: [Excerpt: Jerry Lee Lewis, “Great Balls of Fire”] Then came the late show, which Berry was headlining. The same thing started to happen — the kids in the audience got up to dance, and the police made Alan Freed make them sit down. But then, when the audience had quietened down, while Berry was standing there on stage, the police refused to dim the house lights and let the musicians carry on playing. So Freed got back on stage and said “It looks like the Boston police don’t want you to have a good time.” The show continued with the lights on, but the audience got annoyed — so much so that Chuck Berry finished the show from behind the drummer, in case the audience attacked. But the police got more annoyed. They got so annoyed, in fact, that they decided to simply claim that every single crime reported to them that night had been inspired by the show. Nobody now thinks that the New York Times reports which said there were multiple stabbings, fifteen people hospitalised, and multiple rapes, are actually accurate reports of anything caused by the show. But at the time, everyone believed it. Boston decided to ban rock and roll concerts altogether, as a result of the show, and while the tour continued through a couple more dates, most of the remaining tour dates got cancelled. Oddly, going through this adversity seems to have brought Berry and Jerry Lee Lewis together. While they’d been fighting each other for almost the entire tour, after this point they became quite close friends, and would speak warmly about each other. Things didn’t end so happily for Alan Freed. Freed had been having some problems with his radio station for a little while. He was difficult to work with, and they particularly disliked that he had started doing his broadcasts from home, rather than from the studio. When he’d been hired, the station was losing money, and he’d been a gamble. Now, they were in profit, and they didn’t need to take risks, and they’d been considering not renewing his contract when it came up in six months. Now that this had happened, they took the opportunity to use the morals clause in Freed’s contract to fire him, although he was allowed to present it as a resignation instead of a firing. Freed would manage to get another radio job, but not one with anything like the same prominence. He would, within a couple of years, become the designated industry fall guy for the practice of payola. This is something that we’ve talked about before — record labels would pay DJs to play their records. Sometimes it was in the form of adding their name to the writing credits, as was the case for Freed with records like “Maybellene” and “Sincerely” – and you can tell how much Freed contributed to those songs by hearing his own attempts at making records: [Excerpt: Alan Freed and his Rock and Roll Band, “Rock and Roll Boogie”, Rock Rock Rock version] Sometimes a promoter would just slip a DJ fifty dollars when handing over a promotional copy of the record. Sometimes, the DJ would be hired to announce a show by the act whose record was to be promoted. There were a lot of different methods, some of them more blatant than others, but it was a common practice. Every DJ and TV presenter took part in this, pretty much — Dick Clark certainly did — and while no-one other than the DJs liked the practice, the small labels that built rock and roll, labels like Sun or Chess or Atlantic, all saw it as a way that they could equalise things a little bit. The major labels all had an inbuilt advantage, and would get their records played on the radio no matter what — this was a way that the smaller labels could be heard. But precisely because it levelled the playing field somewhat, the larger record labels didn’t like it, and by this point the major labels were becoming more interested in rock and roll. And to protect that interest, they promoted a campaign against payola. Freed, as the most prominent DJ in the country, and someone who did his fair share of taking bribes, was essentially chosen as the scapegoat for this, once he lost his job at WINS. By the end of 1959 he lost his job with the station he moved to, WABC, once the payola scandal became headline news, and he spent the next few years moving from smaller stations to yet smaller ones, not staying anywhere very long. He died in 1965, of illnesses caused by his alcoholism. He was only forty-three. [Excerpt: Alan Freed sign-off, “This is not goodbye, it’s just goodnight”] And here we get to the downfall of Chuck Berry himself. It’s an unfortunate fact of chronology that I have to deal with this the week after dealing with Jerry Lee Lewis’ own underage sex scandal — well, a fact of both chronology and a terrible society that sees the bodies of young girls as something to which powerful men are entitled, anyway. Chuck Berry had been on a tour of the Southwest, when in Texas he had met up with a fourteen-year-old sex worker, who had accompanied him on the rest of the tour. He’d promised her a job working at his nightclub in St. Louis, and when he fired her shortly after she started there, she went to the police. Like Lewis, Berry has been more or less forgiven by the consensus narrative of rock history. There is slightly more justification for doing so in Berry’s case than in Lewis’, because the Mann Act, the law under which he was charged and convicted, was a law that was created specifically to punish black men — indeed, its official title was The White Slave Traffic Act. Given the way that other rock and roll artists seem to have had carte blanche to abuse young girls, the fact that a black man was about the only one, certainly for many decades, to spend time in prison for this, is more than a little unjust. But the fact remains, a man in his thirties had had sexual relations with a fourteen-year-old girl. And it’s not like this was an isolated incident — he would later famously settle a class-action suit brought against him by a large number of women he had videotaped on the toilet without their permission. So while Berry had an entirely fair complaint that the prosecution was motivated by race — and his prison sentence was reduced in large part because the judge made some extremely racist remarks — it’s still a fact that what he did was wrong. Now, I’m not going to spend much more time on this with Berry — not as much as I did with Jerry Lee Lewis last week — and that’s because as I said in the beginning of the series, this is not a podcast about the horrible crimes men have committed against women. So why bring it up at all? Well, there’s a myth that Berry’s career was completely wrecked by his arrest. This simply isn’t true. It’s true that “Johnny B. Goode” was Berry’s last top ten hit for quite a few years, and he only had one more top twenty hit in the fifties. But the thing is, his singles had had a very inconsistent chart history before that. He’d released eleven singles up to that point, and only five of them had made the top ten on the pop charts. Classics like “Thirty Days”, “Too Much Monkey Business”, “Brown-Eyed Handsome Man” and “You Can’t Catch Me” had totally failed to hit the pop charts at all. Berry was arrested in December 1959, and between trials and appeals, he didn’t end up going to jail until 1961. “Johnny B. Goode” came out in March 1958. That means that for almost two years *before* the arrest, Berry was, at best, charting in the lower reaches of the charts. The fact is, there’s a simple reason why Berry didn’t chart very much in the late fifties and early sixties. Well, there are two reasons. The first is that public taste had moved on, as it does every few years. There are very few singles artists — and all artists in the fifties were singles artists — who can survive a major change in the public’s taste. The other reason, as he would later admit himself, is that the material he recorded in the few years after “Johnny B. Goode” wasn’t his best. There were some good songs — things like “Carol”, “Little Queenie”, and “I’ve Got to Find My Baby” — but even those weren’t Berry at his absolute peak. And the majority of the material he put out during that time was stuff like “Anthony Boy” and “Too Pooped to Pop”, which very few of even Berry’s most ardent fans will tell you are worth listening to. There was one exception — during that time, he put out what may be the best song he ever wrote, “Memphis, Tennessee”: [Excerpt: Chuck Berry, “Memphis, Tennessee”] While it’s a travesty that that record didn’t chart, in retrospect it’s easy to see why it didn’t. Berry’s audience were, for the most part, teenagers. No matter how good a song it was, “Memphis Tennessee” was about a man wanting to regain contact with his six-year-old daughter after he’s split up with her mother. That’s something that would have far more relevance to people of Berry’s own age group than to the people who had been, a year or so earlier, wanting to dance with sweet little sixteen, and wanting to hear some of that rock and roll music. As odd as it is to say, Berry’s eighteen months in jail may have done him some good as a commercial prospect. The first three singles he released in 1964, right after getting out of prison, were all bigger hits than he’d had since summer 1958 — “Nadine” made number 23, “You Never Can Tell” made number fourteen, and “No Particular Place to Go”, a rewrite of “School Day”, with new, funnier, lyrics about sexual frustration, went to number ten: [Excerpt: Chuck Berry, “No Particular Place to Go”] Those songs were better than anything he’d released for several years previously, and it seemed that Berry might be on his way back to the top, but it was a false dawn. Berry’s studio work slid back into mediocrity with occasional flashes of his old brilliance, and his only hit after this point was in the seventies, when he had his only number one with a novelty song by Dave Bartholomew, “My Ding-a-Ling”, which if you’ve not heard it is about as juvenile as it sounds. In the late seventies, Berry essentially retired from making new music, choosing instead to spend the best part of forty years touring the world with just his guitar, playing with whatever local pickup band the promoter could scrape together, and often not even letting them know in advance what the next song was going to be — he assumed that everyone knew all of his songs, and he was, by and large, correct in that assumption. He was, by all accounts, an extremely bitter man. He did, though, work on one final album, just called “Chuck”, which was announced as part of the celebrations for his ninetieth birthday, but wasn’t released until shortly after his death. He died, aged ninety, in 2017, and the obituaries concentrated on his music rather than his crimes against women. John Lennon once said “if you tried to give rock and roll another name, it would be Chuck Berry”, and for both better and worse, that’s probably true.
Episode sixty-seven of A History of Rock Music in Five Hundred Songs looks at "Johnny B. Goode" by Chuck Berry, and the decline and fall of both Berry and Alan Freed. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Splish Splash" by Bobby Darin. ----more---- Resources As always, I've created Mixcloud streaming playlists with full versions of all the songs in the episode. Because of the limit on the number of songs by one artist, I have posted them as two playlists -- part one, part two. I used foue main books as reference here: Brown Eyed Handsome Man: The Life and Hard Times of Chuck Berry by Bruce Pegg is a good narrative biography of Berry, which doesn't shy away from the less salubrious aspects of his personality, but is clearly written by an admirer. Long Distance Information: Chuck Berry's Recorded Legacy by Fred Rothwell is an extraordinarily researched look at every single recording session of Berry's career up to 2001. I also used a Chuck Berry website, http://www.crlf.de/ChuckBerry/ , which contains updates on Rothwell's research. The information on the precursors to the "Johnny B. Goode" intro comes from Before Elvis by Larry Birnbaum. And for information about Freed, I used Big Beat Heat: Alan Freed and the Early Years of Rock & Roll by John A. Jackson. There are a myriad Chuck Berry compilations available. The one I'd recommend if you don't have a spare couple of hundred quid for the complete works box set is the double-CD Gold, which has every major track without much of the filler. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A brief content warning for this episode – like last week's, this discusses, though not in any great detail, a few crimes of a sexual nature. If that's likely to upset you, please either check the transcript to make sure you'll be OK, or come back next week. Today we're going to talk about the definitive fifties rock and roll song. “Johnny B. Goode” is so much the epitome of American post-war culture that when NASA sent a record into space, on the Voyager probes in the seventies, it was the only rock and roll song included in the selection of audio, which also included pieces by Bach, Beethoven, Mozart, and Stravinsky, and performances by Louis Armstrong and Blind Willie Johnson, along with folk songs, spoken greetings from world leaders, and so on. At the time the golden record was put together, it was criticised for containing any rock and roll at all. Now, that record is further away from Earth than any other object created by a human being. On Saturday Night Live, the week the probe was launched, Steve Martin joked that there'd been a message from aliens – “Send more Chuck Berry”. That's what an important record "Johnny B. Goode" is. [Excerpt: Chuck Berry, “Johnny B. Goode”] When we last looked at Chuck Berry, he'd just released "School Day", which had been his breakout hit into the broader white teenage market that had started to listen to rock and roll. Berry's career didn't go on a completely upward curve after that point. His next single, "Oh Baby Doll", was a comparative flop -- it reached number twelve in the R&B charts, but only number fifty-seven on the pop charts. But the record after that was the start of a three-single run that would consolidate Berry as rock and roll's premier mythologiser. Where in May 1956 Berry had sung about "these rhythm and blues", this time he was going to use the music's new name, and he was singing "just let me hear some of that rock and roll music": [Excerpt: Chuck Berry, "Rock and Roll Music"] That put him back in the top ten, and everything seemed to be going wonderfully for him. He was so popular now as a rock and roll star that on one of the late 1957 tours he did, when Buddy Holly and the Crickets were lower down the bill, the Crickets would do "Roll Over Beethoven" and "Brown-Eyed Handsome Man" as part of their set. Berry had written enough classics by now that other acts on the bill could do the ones he didn't have time for. When he next went back into the studio, it was to cut seven songs. One of them, "Reelin' and Rockin'", was a slight reworking of the old Wynonie Harris song, "Round the Clock Blues". Harris' song, which had also been recorded by Big Joe Turner with Johnny Otis' band, was an inspiration for "Rock Around the Clock" among other records: [Excerpt: Wynonie Harris, "Round the Clock Blues"] Berry's version got rid of some of the more sexual lyrical content -- though that would later come back in live performances of the song -- and played up the song's similarity to "Rock Around the Clock", but it's still basically the exact same song that Wynonie Harris had performed. Of course, the copyright is in Chuck Berry's name -- for all that he and his publishers would be very eager to sue anyone who might come too close to one of Berry's songs, he had no compunction about taking all the credit for a song someone else had written. [Excerpt: Chuck Berry, “Reelin' and Rockin'”] You might notice that the piano style on that track is very different from some of Berry's earlier recordings. Now, there are two possible explanations for this, because I've seen two different pianists credited for these sessions. Some sources credit Lafayette Leake with playing the piano here, and that might be enough to explain the difference in style, but I'm going with the other sources, which credit Johnnie Johnson, Berry's regular player, as playing on the session. If it is, though, he's playing in a different style. This is because of the popularity of Jerry Lee Lewis, who had risen to fame since Berry's last session. Lewis used to use a simple technique called "ripping" when playing the piano, in which you just slide your fingers across the keys as fast as possible. He does it pretty much constantly in his solos, as you can hear in this: [Excerpt: Jerry Lee Lewis, “Great Balls of Fire”, piano solo] Leonard Chess had heard that sound, and become convinced that that was the main reason that Lewis' records were so successful, so he insisted on Johnnie Johnson doing that on Berry's new records. Johnson didn't like the sound, which he considered "all flash and no technique", but Chess insisted -- to the extent that when they were rehearsing the tracks, Chess would walk over and rip his hand down the keys himself, to show Johnson what he wanted. Johnson eventually went along with it, though he said he "'bout tore my thumbnail off" getting it done. [Excerpt: Chuck Berry, “Reelin' and Rockin'”] He later acknowledged that Chess had a point, though -- simple as it was, it did make the records more exciting, and it was something that the kids clearly liked. And something else that the kids liked was another song recorded at the same session -- this time about the kids themselves: [Excerpt: Chuck Berry, "Sweet Little Sixteen"] "Sweet Little Sixteen" was one of the first songs about the experience of being a rock and roll fan. There had been earlier records about just dancing to rock and roll music, of course -- things like "Drugstore Rock & Roll" or "Rip it Up" -- but this was about fandom, and about the experience of following musicians. It's not completely about that, sadly -- it's the teen girl fan filtered through the male gaze, and so it's also about how "everybody wants to dance with" this sixteen-year-old girl, and about her "tight dresses and lipstick" -- but where the song gains its power is in the verse sections where the girl becomes the viewpoint character, and we hear about how excited she is to go to the show, and about her collections of autographs and photos. However flawed it is, it's one of the best evocations of the experience of fandom as a hobby -- not just liking the music, but having the experience of fandom be a major part of your life. One of the most notable things about "Sweet Little Sixteen" is the way that Berry uses the song to namecheck American Bandstand, which was fast becoming the most important rock and roll TV show around. While in the first chorus he sings about how they'll be rocking in Boston and Pittsburgh, PA, in the subsequent choruses he changes that to "on Bandstand" and "in Philadelphia PA", which is where American Bandstand was broadcast from. It's a sign that Dick Clark was becoming more important than Berry's mentor, Alan Freed. A week after the session for "Reelin' and Rockin'" and "Sweet Little Sixteen", came another session for what would become Berry's most well-known song, and one that remains in the repertoire of almost every bar band in the world. It's instantly recognisable right from the start. The introduction to "Johnny B. Goode" is one of the most well-known guitar parts in history: [Excerpt: Chuck Berry, "Johnny B. Goode"] But that guitar part has a long history -- it's original to Chuck Berry, but at the same time it's based on a lot of earlier examples. Berry took the basic idea for that line from Carl Hogan, Louis Jordan's guitarist, who played this as the intro to Jordan's "Ain't That Just Like a Woman": [Excerpt: Louis Jordan, "Ain't That Just Like a Woman"] But Hogan was only the latest in a long line of people who had played essentially that identical line. The first recording we have of that riff dates back to 1918, and a recording by Wilbur Sweatman's Jazz Orchestra. Sweatman was a friend and colleague of Scott Joplin, and his band was one of the very first black jazz groups to record at all. And on their song "Bluin' the Blues", you hear this: [Excerpt: Wilbur Sweatman's Jazz Orchestra, "Bluin' the Blues"] We hear it in Blind Lemon Jefferson's "Got the Blues", in 1926: [Excerpt: Blind Lemon Jefferson, "Got the Blues"] In Blind Blake's "Too Tight", also from 1926: [Excerpt: Blind Blake, "Too Tight"] then in records by Cow Cow Davenport, Andy Kirk, and Count Basie, before it turns up in the Louis Jordan record. But there is a crucial difference between what Carl Hogan played and what Chuck Berry played. Listen again to Hogan's playing: [Excerpt: Louis Jordan, "Ain't That Just Like a Woman"] and now to Berry: [Excerpt: Chuck Berry, "Johnny B. Goode"] The crucial change Berry makes there is that most of the time he's playing the solo line on two strings instead of one, creating a thicker sound, with parallel harmonies, rather than just the simple melody line. This was something that Berry learned from the great blues guitarist T-Bone Walker: [Excerpt: T-Bone Walker, "Shufflin' the Blues"] Berry took Walker's playing style, and combined it with Hogan's note choices, and that simple change makes all the difference. It transmutes the part that Hogan had played from just a standard riff you find in dozens of old jazz records, a standard part of any musician's toolkit, into a specific intro to a specific song. When, six years later, Carl Wilson of the Beach Boys played this as the intro to "Fun, Fun, Fun": [Excerpt: The Beach Boys, "Fun Fun Fun"] Absolutely no-one listening thought "Oh, he's riffing off 'Texas Shout' by Cow Cow Davenport" -- everyone instantly thought "Oh, that's the intro to 'Johnny B. Goode'". Berry had taken a standard piece of every musician's toolkit, and by putting a very slight twist on it had made everyone listening hear it differently, so now it was identified solely with him. The lyric to Johnny B. Goode is more original than the music, but even there we can trace its origins. Berry always talked about how the original idea for the lyric was as a message to Johnnie Johnson, saying "Johnnie, be good", stop drinking so much -- a wake-up call to his friend and colleague. But that quickly changed, and the song became more about Berry himself, or an idealised version of Berry, perhaps how he would want people to see him -- something that was even more explicit in the original version of the lyric, where rather than sing "a country boy", he sang "a coloured boy". But there's another sign that Berry was talking about himself, and that's in the very title itself. Goode is spelled "G-o-o-d-e", with an "e" on the end -- and Berry's childhood home was at 2520 Goode avenue, with an E. There's another possible origin as well -- the poet Langston Hughes had written a very widely circulated series of newspaper columns, which Berry would have encountered in his teenage years and early twenties, about a character named Jesse B. Simple. (And in an interesting note, in 1934 Hughes wrote a story about racial injustice called "Berry", about a boy named Berry who would, among other things, tell children stories and sing them songs, and Hughes signed the dedication in the book that story was in "Berry" rather than with his own name.) You can point to every element of "Johnny B. Goode" and say "well, this came from there, and this came from there", but still you're no closer to identifying why Johnny B. Goode works as well as it does. it's the combination of all these elements in a way that they'd never been put together before that is Berry's genius, and is why Berry is pretty much universally regarded as an innovator, not just as an imitator. "Johnny B. Goode" was also the title song for what turned out to be Alan Freed's final film -- a film called Go, Johnny, Go! which also featured Eddie Cochran, the Moonglows, and Ritchie Valens. [Excerpt: Berry and Freed dialogue from Go, Johnny, Go!] That film came out in 1959, and had Berry as Freed's co-star, appearing with Freed as himself in almost every scene. It was the last gasp of rock and roll cultural relevance for almost everyone involved. By the time the film had come out, Valens was already dead, and within a little over eighteen months after its release, Cochran was also dead, Freed was disgraced, and Berry was in prison. In the last couple of episodes, I've mentioned a tour that Chuck Berry and Jerry Lee Lewis headlined in 1958, just after “Johnny B. Goode” came out, with Alan Freed as the MC. What I didn't mention until now is that as well as the tension between Chuck and Jerry Lee, that tour ended up spelling the end of Freed's career. Freed was already on the downturn in his career -- rock and roll was moving from being a music made largely by black musicians to one dominated by white people, and to make matters worse the major labels had finally got a handle on it and started churning out dozens of prepackaged teen idols, most of them called Bobby. Freed didn't have the connections with the major labels, or the understanding of the new manufactured pop, that he did with the R&B records from labels like Chess. But it was the show in Boston on this tour that led to Freed's downfall. The early show, which had been headlined by Lewis, had had the audience dancing, and the police were not at all impressed with this. They'd forced Alan Freed to make the audience sit down, and Lewis had had to play his set to an audience who were seated and squirming, unable to get up and dance to his recent big hits like “Great Balls of Fire”: [Excerpt: Jerry Lee Lewis, “Great Balls of Fire”] Then came the late show, which Berry was headlining. The same thing started to happen -- the kids in the audience got up to dance, and the police made Alan Freed make them sit down. But then, when the audience had quietened down, while Berry was standing there on stage, the police refused to dim the house lights and let the musicians carry on playing. So Freed got back on stage and said "It looks like the Boston police don't want you to have a good time." The show continued with the lights on, but the audience got annoyed -- so much so that Chuck Berry finished the show from behind the drummer, in case the audience attacked. But the police got more annoyed. They got so annoyed, in fact, that they decided to simply claim that every single crime reported to them that night had been inspired by the show. Nobody now thinks that the New York Times reports which said there were multiple stabbings, fifteen people hospitalised, and multiple rapes, are actually accurate reports of anything caused by the show. But at the time, everyone believed it. Boston decided to ban rock and roll concerts altogether, as a result of the show, and while the tour continued through a couple more dates, most of the remaining tour dates got cancelled. Oddly, going through this adversity seems to have brought Berry and Jerry Lee Lewis together. While they'd been fighting each other for almost the entire tour, after this point they became quite close friends, and would speak warmly about each other. Things didn't end so happily for Alan Freed. Freed had been having some problems with his radio station for a little while. He was difficult to work with, and they particularly disliked that he had started doing his broadcasts from home, rather than from the studio. When he'd been hired, the station was losing money, and he'd been a gamble. Now, they were in profit, and they didn't need to take risks, and they'd been considering not renewing his contract when it came up in six months. Now that this had happened, they took the opportunity to use the morals clause in Freed's contract to fire him, although he was allowed to present it as a resignation instead of a firing. Freed would manage to get another radio job, but not one with anything like the same prominence. He would, within a couple of years, become the designated industry fall guy for the practice of payola. This is something that we've talked about before -- record labels would pay DJs to play their records. Sometimes it was in the form of adding their name to the writing credits, as was the case for Freed with records like "Maybellene" and "Sincerely" – and you can tell how much Freed contributed to those songs by hearing his own attempts at making records: [Excerpt: Alan Freed and his Rock and Roll Band, “Rock and Roll Boogie”, Rock Rock Rock version] Sometimes a promoter would just slip a DJ fifty dollars when handing over a promotional copy of the record. Sometimes, the DJ would be hired to announce a show by the act whose record was to be promoted. There were a lot of different methods, some of them more blatant than others, but it was a common practice. Every DJ and TV presenter took part in this, pretty much -- Dick Clark certainly did -- and while no-one other than the DJs liked the practice, the small labels that built rock and roll, labels like Sun or Chess or Atlantic, all saw it as a way that they could equalise things a little bit. The major labels all had an inbuilt advantage, and would get their records played on the radio no matter what -- this was a way that the smaller labels could be heard. But precisely because it levelled the playing field somewhat, the larger record labels didn't like it, and by this point the major labels were becoming more interested in rock and roll. And to protect that interest, they promoted a campaign against payola. Freed, as the most prominent DJ in the country, and someone who did his fair share of taking bribes, was essentially chosen as the scapegoat for this, once he lost his job at WINS. By the end of 1959 he lost his job with the station he moved to, WABC, once the payola scandal became headline news, and he spent the next few years moving from smaller stations to yet smaller ones, not staying anywhere very long. He died in 1965, of illnesses caused by his alcoholism. He was only forty-three. [Excerpt: Alan Freed sign-off, “This is not goodbye, it's just goodnight”] And here we get to the downfall of Chuck Berry himself. It's an unfortunate fact of chronology that I have to deal with this the week after dealing with Jerry Lee Lewis' own underage sex scandal -- well, a fact of both chronology and a terrible society that sees the bodies of young girls as something to which powerful men are entitled, anyway. Chuck Berry had been on a tour of the Southwest, when in Texas he had met up with a fourteen-year-old sex worker, who had accompanied him on the rest of the tour. He'd promised her a job working at his nightclub in St. Louis, and when he fired her shortly after she started there, she went to the police. Like Lewis, Berry has been more or less forgiven by the consensus narrative of rock history. There is slightly more justification for doing so in Berry's case than in Lewis', because the Mann Act, the law under which he was charged and convicted, was a law that was created specifically to punish black men -- indeed, its official title was The White Slave Traffic Act. Given the way that other rock and roll artists seem to have had carte blanche to abuse young girls, the fact that a black man was about the only one, certainly for many decades, to spend time in prison for this, is more than a little unjust. But the fact remains, a man in his thirties had had sexual relations with a fourteen-year-old girl. And it's not like this was an isolated incident -- he would later famously settle a class-action suit brought against him by a large number of women he had videotaped on the toilet without their permission. So while Berry had an entirely fair complaint that the prosecution was motivated by race -- and his prison sentence was reduced in large part because the judge made some extremely racist remarks -- it's still a fact that what he did was wrong. Now, I'm not going to spend much more time on this with Berry -- not as much as I did with Jerry Lee Lewis last week -- and that's because as I said in the beginning of the series, this is not a podcast about the horrible crimes men have committed against women. So why bring it up at all? Well, there's a myth that Berry's career was completely wrecked by his arrest. This simply isn't true. It's true that "Johnny B. Goode" was Berry's last top ten hit for quite a few years, and he only had one more top twenty hit in the fifties. But the thing is, his singles had had a very inconsistent chart history before that. He'd released eleven singles up to that point, and only five of them had made the top ten on the pop charts. Classics like "Thirty Days", "Too Much Monkey Business", "Brown-Eyed Handsome Man" and "You Can't Catch Me" had totally failed to hit the pop charts at all. Berry was arrested in December 1959, and between trials and appeals, he didn't end up going to jail until 1961. "Johnny B. Goode" came out in March 1958. That means that for almost two years *before* the arrest, Berry was, at best, charting in the lower reaches of the charts. The fact is, there's a simple reason why Berry didn't chart very much in the late fifties and early sixties. Well, there are two reasons. The first is that public taste had moved on, as it does every few years. There are very few singles artists -- and all artists in the fifties were singles artists -- who can survive a major change in the public's taste. The other reason, as he would later admit himself, is that the material he recorded in the few years after "Johnny B. Goode" wasn't his best. There were some good songs -- things like "Carol", "Little Queenie", and "I've Got to Find My Baby" -- but even those weren't Berry at his absolute peak. And the majority of the material he put out during that time was stuff like "Anthony Boy" and "Too Pooped to Pop", which very few of even Berry's most ardent fans will tell you are worth listening to. There was one exception -- during that time, he put out what may be the best song he ever wrote, "Memphis, Tennessee": [Excerpt: Chuck Berry, "Memphis, Tennessee"] While it's a travesty that that record didn't chart, in retrospect it's easy to see why it didn't. Berry's audience were, for the most part, teenagers. No matter how good a song it was, "Memphis Tennessee" was about a man wanting to regain contact with his six-year-old daughter after he's split up with her mother. That's something that would have far more relevance to people of Berry's own age group than to the people who had been, a year or so earlier, wanting to dance with sweet little sixteen, and wanting to hear some of that rock and roll music. As odd as it is to say, Berry's eighteen months in jail may have done him some good as a commercial prospect. The first three singles he released in 1964, right after getting out of prison, were all bigger hits than he'd had since summer 1958 -- "Nadine" made number 23, "You Never Can Tell" made number fourteen, and "No Particular Place to Go", a rewrite of "School Day", with new, funnier, lyrics about sexual frustration, went to number ten: [Excerpt: Chuck Berry, "No Particular Place to Go"] Those songs were better than anything he'd released for several years previously, and it seemed that Berry might be on his way back to the top, but it was a false dawn. Berry's studio work slid back into mediocrity with occasional flashes of his old brilliance, and his only hit after this point was in the seventies, when he had his only number one with a novelty song by Dave Bartholomew, "My Ding-a-Ling", which if you've not heard it is about as juvenile as it sounds. In the late seventies, Berry essentially retired from making new music, choosing instead to spend the best part of forty years touring the world with just his guitar, playing with whatever local pickup band the promoter could scrape together, and often not even letting them know in advance what the next song was going to be -- he assumed that everyone knew all of his songs, and he was, by and large, correct in that assumption. He was, by all accounts, an extremely bitter man. He did, though, work on one final album, just called "Chuck", which was announced as part of the celebrations for his ninetieth birthday, but wasn't released until shortly after his death. He died, aged ninety, in 2017, and the obituaries concentrated on his music rather than his crimes against women. John Lennon once said "if you tried to give rock and roll another name, it would be Chuck Berry", and for both better and worse, that's probably true.
Session 40: Bespoke (with Jesse B.)TL; DL: First Impressions → Subversion of Self-Expression → Introducing Jesse → Metropolitan Styles → Destinations x Alterations → Foreign Boutiques → Yeah, Just Pick What You Want → Japan... Italy... Australia... Poland → Return Trips → Where To Next ?! > Jump by Dillon J. (@DillonJacksonTV)>> "Sometimes nostalgia's better in the past." - Jesse B. (@blzk__)>> “That first impression is gonna hold weight." - Eric W. (@ayofresco)>> "Posh, very posh." - Aazim J. (@iseelucidly)> Genesis Owusu - "WUTD”> Jessy Lanza - "Giddy" ~~You Free ?! serves as a medium for digital natives to collect and converse about personal development, communal challenges and the advancement of global human culture.Contact us: shareourpodcast@gmail.com@calluswhenyoufree on IG@callwhenyoufree on Twitter
Session 40: Bespoke (with Jesse B.) Jesse B. hops on a call with Eric and Aazim to share his thoughts on personal style, international travel, shopping, and more. TL; DL: First Impressions → Subversion of Self-Expression → Introducing Jesse → Metropolitan Styles → Destinations x Alterations → Foreign Boutiques → Yeah, Just Pick What You Want → Japan... Italy... Australia... Poland → Return Trips → Where To Next ?! > Jump by Dillon J. (@DillonJacksonTV) >> "Sometimes nostalgia's better in the past." - Jesse B. (@blzk__) >> “That first impression is gonna hold weight." - Eric W. (@ayofresco) >> "Posh, very posh." - Aazim J. (@iseelucidly) > Genesis Owusu - "WUTD” > Jessy Lanza - "Giddy" > Join the conversation at youfree.earth
In this episode, Jesse B. shares her experience, strength, and hope. Clean Date - 08/12/2001 Podcast Recovery is a forerunner in digitally accessible addiction recovery support. We provide ease and convenience to any and all seeking a message of recovery and hope. By broadcasting the stories of recovering addicts, we act as a complement to all other recovery services. We exist to create a global foundation platform, so that any addict may hear a message of strength and hope. We contribute education and awareness by highlighting the diversity in the lives of recovering addicts, to show that one addict helping another truly works. Please review, rate, and subscribe!!! Check out our website and social media accounts below. www.podcastrecovery.com https://twitter.com/PodcastRecovery https://www.facebook.com/Podcast-Recovery-208366179951769/https://www.facebook.com/groups/1905708653062608/ Intro music by Lee Rosevere - Let's Start at the Beginning Outro music by Lee Rosevere - Going Homehttps://creativecommons.org/licenses/by/4.0/
Here is the final part to my amazing interview with tattoo mentor and friend Jesse B.
Join Dan as he fanboys over David Wise! (Thanks to Jesse B on Facebook for the episode suggestion!) Have comments/suggestions/ideas for a song or musical concept? Email me at overtonewarpzone@gmail.com, and follow me on social media everywhere @OTWZpodcast! ---------- Nerdwriter1 video on How Music Was Made On Super Nintendo: https://www.youtube.com/watch?v=jvIzIAgRWV0
Sesión de viernes llena de ritmo. Suenan novedades de Jesse Báez junto a C.Tangana, Bearoid, Monarchy, North State o Chvrches. Y además escuchamos juntos música de Iván Ferreiro, Lori Meyers, Alice Merton, Imagine Dragons, Drake o ElyElla.
June 18, 2017 The Just Riding Along Show Page ABOUT THIS EPISODE Tune in to this weeks episode to hear Andrea's racing prowess, Matt's racing woes, and how Kenny has found snow again. The crew covers SRAM Eagle GX, Andrea's new demo bike that is on order, sends Larry Enticer's name over the radio waves, and Kenny flirts with the idea of joining the dropper side. ------------ SHOW DONATIONS -Jesse B from Maine gave $25 -Geoff H from Texas gave $25 A huge thanks to all the past show supporters! If you like JRA and want it to continue, consider supporting the show, CLICK HERE. We want to hear from you! If you have any questions, comments, or ideas for the next episode, contact us at jra@mountainbikeradio.com. If you have a question, please include the following details: what do you weigh, do you jump stuff, what is your budget, what is your goal? This will help us, help you, keep Just Riding Along. ------------ LISTENER QUESTIONS Questions answered by the crew in this episode: – Paul from Oregon has some numbness issues in his hands. Help! - CONTINUED – Brian sends in a followup on Paul's fit woes – Jesse B from Maine has issues with his Next SL Crankset, but loves his bike shop. – Zach J has a followup on his helmet choice. – Jason U wants tire advice for Ore to Shore this fall. – SFC McElroy has some wisdom on why people don't haul the mail downhill in Utah. If you have any comments or questions for the Just Riding Along show, email to jra@mountainbikeradio.com ------------ RELATED SHOW LINKS Shop via our Amazon Affiliate Link Go to the Mountain Bike Radio Store Sid Charger 2 Damper SRAM GX Eagle Pivot Switchblade Spot Rocker Larry Enticer Ore to Shore Topeak JoeBlow Booster Wheels MFG Thread Together BB92 Become a Mountain Bike Radio member Just Riding Along on Twitter Brickhouse Racing Website Brickhouse Racing Facebook Page Brickhouse Racing Instagram Mountain Bike Radio Facebook Page Andrea’s Twitter Matt’s Twitter Kenny’s Twitter
On attend quoi pour honorer Jesse Bélanger ? by NexRadio.ca
Instead of talking about a trailer this week we're talking an ENTIRE MOVIE! Ben, Ryan, and new-to-the-podcast Jesse B. Grove V spend some time going over the ins and outs of the newest addition to the long line of Superman films: Man of Steel. Things get off to a weird Marxist start, but end up covering some of the following: Does Jor-El's robot have a name? Ryan says, "yes." Which Superman actor has the best chin:Reeve,Routh, Cavill, Welling, or maybe even...Daly?. Is Superman boring? To this one, Ryan says, "no." Does the new movie support Ben'sUnified Theory of Superman's Powers? The jury remains out. Enjoy this cathartic episode of the podcast, and be sure to check out Jesse's webcomic, Eating the Bar, and all the other great shows on the Brachiolope Media Network! Music for this week's show provided by: Main Title from Superman - John Williams (what else could it possibly be?)
We share one terrific online collection of historical San Francisco images: the Jesse Brown Cook Scrapbooks at the Bancroft Library.
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