Podcast appearances and mentions of jimmy wilson

Sign up for our weekly newsletter here! We are back for Season 10 of the Fueling Creativity in Education podcast! In this episode, hosts Dr. Cyndi Burnett and Dr. Matthew Worwood announce a unique and exciting start with episodes recorded on location at the National Association for Gifted and Talented Conference in Seattle. This season also features a special miniseries that explores gifted education alongside diversity, equity, and inclusion topics, kicking off with three insightful episodes.  The episode also highlights several developments aimed at amplifying the podcast's reach and resources. Cyndi shares her endeavor to launch a weekly newsletter featuring episodes and updates from past guests, labeled as "extra fuel." Meanwhile, Matthew discusses the extensive redesign and organization of their website, which now hosts over 200 episodes sorted into collections like STEM, theater education, and creativity research. Additionally, they introduce Jimmy Wilson, an emerging scholar who will contribute cutting-edge research insights, and Katherine Fu, their new creative producer. The hosts conclude with an appetizer of what's to come, including a new concluding question for guests about creative educational experiences, setting the stage for an engaging and resourceful season. Eager to bring more creativity into your school district? Check out our sponsor Curiosity2Create.org and join their Creativity Network for Educators at Curiosity2Connect! Check out our Podcast Website to dive deeper into Creativity in Education! For more information on Creativity in Education, check out: Cyndi's Website: Creativity and Education Matt's Website: Worwood Classroom

How can brainwriting transform divergent thinking sessions? Please complete our short 2024 survey to help us build season ten! In this episode of the Fueling Creativity in Education podcast, hosts Dr. Matthew Worwood and Dr. Cyndi Burnett chat with emerging scholar Jimmy Wilson about the connections between creativity research and education. They dive into the growing use of brainwriting in creative thinking sessions, explaining how it benefits different types of learners. Cyndi shares her experiences and research, emphasizing the value of teaching students how to think creatively by delaying judgment and encouraging originality and fluency. Jimmy highlights a study involving Italian elementary students and refugees, suggesting that college admissions should consider creativity to reflect diverse backgrounds. Together, they explore a fun exercise where participants take on different personas to think more creatively and brainstorm new uses for everyday objects. They also discuss how varying the timing of feedback can enhance the creative process and share practical examples, like Neil Bergenroth's use of rowing machines to teach STEM concepts. The conversation touches on equity in creativity, pointing out how cultural sensitivity and diverse environments can inspire new ideas. The hosts stress the importance of flexible and inclusive teaching methods to meet the needs of all learners. Wrapping up, they reflect on how creativity can drive positive change and help address challenges in education. Eager to bring more creativity into your school district? Check out our sponsor Curiosity2Create.org  Check out our new website at FuelingCreativitypodcast.com What to learn more about Design Thinking in Education?  Do you want to build a sustained culture of innovation and creativity at your school? Visit WorwoodClassroom.com to understand how Design Thinking can promote teacher creativity and support professional growth in the classroom.  Are you looking for more Creativity and Education Resources, Check out CreativityandEducation.com Subscribe to our monthly newsletter!

Neil interviews Jimmy Wilson from Paradise, Texas. Jimmy shares his unique journey of building Concord stagecoaches, a trade he learned from his father-in-law, JW Brown, who constructed 60 stagecoaches during his career. Jimmy discusses the craftsmanship involved, including his enjoyment of ironwork, and narrates the fascinating story of building a custom stagecoach for the Dallas Cowboys. He also reflects on the heritage of Western traditions and the influence of mentors.  Links Visit us at www.thecowboyperspective.com Jimmy Wilson: https://jwilsonstagecoaches.com/ Topics 00:00 Introduction to the Cowboy Perspective 00:25 Meet Jimmy Wilson: The Stagecoach Builder 01:10 The Art of Building Stagecoaches 01:33 The Cowboy Way: Horses and Stagecoaches 01:53 Crafting the Concord Stagecoach 03:47 Challenges and Joys of Stagecoach Building 05:58 The Dallas Cowboys Stagecoach 07:43 Conclusion and Contact Information  

GDP Script/ Top Stories for August 21st Publish Date:  August 21st   From the BG AD Group Studio Welcome to the Gwinnett Daily Post Podcast. Today is Wednesday, August 21st and Happy heavenly Birthday to broadcaster Jack Buck. ***08.21.24 – BIRTHDAY – JACK BUCK*** I'm Keith Ippolito and here are your top stories presented by KIA Mall of Georgia. Man convicted of killing 17-year-old during botched drug robbery Gwinnett investigators work led to RICO charges against thieves Vertical construction begins on Sugarloaf Parkway townhome development Plus, Leah McGrath from Ingles Markets on cereals. All of this and more is coming up on the Gwinnett Daily Post podcast, and if you are looking for community news, we encourage you to listen daily and subscribe! Break 1: KIA MOG   STORY 1:  Man convicted of killing 17-year-old during botched drug robbery Jaiden Williams, 20, has been sentenced to life in prison for the July 26, 2021, murder of 17-year-old Orbit Pough III during a failed drug robbery in Grayson. Convicted of felony murder, aggravated assault, and other charges, Williams will serve life with the possibility of parole and an additional five year probation. Williams met Pough under false pretenses, intending to rob him at gunpoint. During the encounter, Williams fatally shot Pough, who was also armed, and returned fire, injuring Williams and causing him to be paralyzed from the waist down. STORY 2:   Gwinnett investigators work led to RICO charges against thieves Gwinnett County police investigator Cpl. Jimmy Wilson was honored with the Partnership of The Year award by the Georgia Retailers Organized Crime Alliance on August 7. Wilson's investigation dismantled a multi-million-dollar criminal operation that was selling stolen goods online. His work led to the recovery of tens of thousands of dollars in stolen merchandise and resulted in RICO charges against the thieves. Wilson's efforts included jail interviews, collaborating with retail investigators, and executing search warrants to recover the stolen items. STORY 3: Vertical construction begins on Sugarloaf Parkway townhome development Parkland Residential has begun vertical construction on Sugarloaf Landing, a 114-unit stacked townhome development at 3440 Sugarloaf Parkway, Lawrenceville. The project will offer two- and three-bedroom units, starting at $2,400 per month, with sizes ranging from 1,600 to 1,950 square feet. Expected to start leasing in October, the development will feature amenities like a swimming pool, playground, and nature preserve, with maintenance and appliances included. Prim Properties will manage the community. For more information, interested parties can visit www.primprop.com or contact Brett Forney at brett@primprop.com. We have opportunities for sponsors to get great engagement on these shows. Call 770.874.3200 for more info. We'll be right back Break 2: MONSTER JAM STORY 4:   Prosecutors: Norcross-area man claimed to be a 'patriot' when he shot immigrant in the head Jorge Alberto Ramirez, 35, from unincorporated Norcross, has been sentenced to life in prison for the April 14, 2021, murder of 23-year-old Pedro Lopez-Belloso. Ramirez was convicted on multiple charges, including felony murder and aggravated assault, after fatally shooting Lopez-Belloso in the back of the head in an SUV on Jimmy Carter Boulevard. Ramirez, who claimed he acted out of a misguided sense of patriotism, initially argued that the shooting was accidental but later admitted intent. He received an additional five years on his life sentence. STORY 5:   Northside Hospital introduces AI-powered colonoscopy  Northside Hospital is enhancing colorectal cancer prevention with new AI technology. The GI Genius intelligent endoscopy module, the first FDA-approved computer-aided polyp detection system, was introduced on August 14. This AI-assisted colonoscopy tool helps detect potentially precancerous polyps more effectively by highlighting them in real-time, acting as a second set of eyes for endoscopists. Available at all five Northside hospitals and six outpatient centers, including Northside Hospital Gwinnett and Duluth, this technology aims to improve early detection and prevent colorectal cancer, which is highly curable when caught early. Regular screenings starting at age 45 are recommended, with earlier testing for those at higher risk. We'll be back in a moment.   Break 3: TOM WAGES (OBITS) – INGLES  2   And now here is Leah McGrath from Ingles Markets on cereals.   ***LEAH MCGRATH CEREALS***   We'll have final thoughts after this.   Break 4: GWINNETT COUNTY FAIR Signoff – Thanks again for hanging out with us on today's Gwinnett Daily Post Podcast. If you enjoy these shows, we encourage you to check out our other offerings, like the Cherokee Tribune Ledger Podcast, the Marietta Daily Journal, or the Community Podcast for Rockdale Newton and Morgan Counties. Read more about all our stories and get other great content at gwinnettdailypost.com Did you know over 50% of Americans listen to podcasts weekly? Giving you important news about our community and telling great stories are what we do. Make sure you join us for our next episode and be sure to share this podcast on social media with your friends and family. Add us to your Alexa Flash Briefing or your Google Home Briefing and be sure to like, follow, and subscribe wherever you get your podcasts. Produced by the BG Podcast Network   Show Sponsors: www.ingles-markets.com  www.wagesfuneralhome.com www.kiamallofga.com www.gwinnettcountyfair.com www.monsterjam.com/en-us   #NewsPodcast #CurrentEvents #TopHeadlines #BreakingNews #PodcastDiscussion #PodcastNews #InDepthAnalysis #NewsAnalysis #PodcastTrending #WorldNews #LocalNews #GlobalNews #PodcastInsights #NewsBrief #PodcastUpdate #NewsRoundup #WeeklyNews #DailyNews #PodcastInterviews #HotTopics #PodcastOpinions #InvestigativeJournalism #BehindTheHeadlines #PodcastMedia #NewsStories #PodcastReports #JournalismMatters #PodcastPerspectives #NewsCommentary #PodcastListeners #NewsPodcastCommunity #NewsSource #PodcastCuration #WorldAffairs #PodcastUpdates #AudioNews #PodcastJournalism #EmergingStories #NewsFlash #PodcastConversationsSee omnystudio.com/listener for privacy information.

When a handyman from Mobile, Alabama, was accused of stealing $1.95 from a woman who employed him in 1957, no one could have guessed the fervor it would cause, not just nationally but overseas. Jimmy Wilson was sentenced to death for the theft in a case that threatened America's reputation on a global scale. "Crimes of the Centuries" is a podcast from Grab Bag Collab exploring forgotten crimes from times past that made a mark and helped change history DON'T FORGET ABOUT THE CRIMES OF THE CENTURIES BOOK!  Order today at www.centuriespod.com/book (https://www.centuriespod.com/book)! Follow us on Instagram and Twitter: @centuriespod Episode sponsors: Greenlight. Sign up for Greenlight today and get your first month free when you go to www.greenlight.com/cotc Laundry Sauce. For 15% off your order, head to LaundrySauce.com/COTC and use code COTC.

Welcome to the kickoff of our "Listen & Learn" summer series for 2024 on the Fueling Creativity in Education Podcast! Hosts Dr. Matthew Worwood, Dr. Cyndi Burnett, and our newest addition, Scholar in Residence Jimmy Wilson, are here to bring you a unique blend of creativity research and practical classroom insights. With sunglasses on and excitement in the air, this introduction episode sets the stage for a six-week journey through classical literature of creativity, selected to enhance your professional learning. Cyndi and Matthew highlight the importance of making these episodes short and insightful—perfect for those of you enjoying a relaxing summer while staying committed to educational growth. Jimmy Wilson, a doctoral student from the University of Connecticut, joins the team as a scholar-in-residence to inject fresh, emerging perspectives into the conversation. Jimmy brings a wealth of experience from his years of teaching and a deep-rooted passion for neurodiverse learners in creativity and education. He shares his process of connecting scholarly research with practical classroom application, offering a sneak peek into his blog contributions on the podcast's website. The episode wraps up with a fun, interactive game where listeners collect letters at the end of each episode to form a secret code word, leading to fabulous prizes and the chance to join the podcast as a special guest. Don't miss out on this vibrant start to a summer of learning and creativity!

Aujourd'hui gros dossier :  "Papa's Got a Brand New Bag" de James Brown, et sur la façon dont Brown est passé du statut d'artiste doo-wop mineur à celui de pionnier du funk. INTRO APPOLO James Brown, "Night Train" (version Live at the Apollo). The Ravens, "Rock Me All Night Long" The Fabulous Flames, "Do You Remember ?" Nat Kendrick and the Swans, "(Do the)" Mashed Potatoes". James Brown, "Hold It" James Brown and the Famous Flames, "Think !" Les "5" Royales, "Think" James Brown and the Famous Flames, "Think" Sugar Pie DeSanto, "Soulful Dress" James Brown et Bea Ford, "You Got the Power" Joe Tex, "You Keep Her" Yvonne Fair, "I Found You" James Brown, "Night Flying" The Valentinos, "Lookin' For a Love" Yvonne Fair, "You Can Make it if You Try" Freddie King, "I'm on My Way to Atlanta" Solomon Burke, "Cry to Me" James Brown and the Famous Flames, "Night Train" (version Live at the Apollo) James Brown & his orchestra, "Out of Sight" James Brown et son orchestre, "Caldonia" James Brown, "Out of Sight (TAMI show live)" The Barbarians, "Are You a Boy or Are You a Girl ?" Jan & Dean, "Here They Come From All Over The World" Chuck Berry & Gerry and the Pacemakers : "Maybellene" James Brown, "Out of Sight" (TAMI Show) The Rolling Stones, "Around and Around" Jimmy Wilson, "Tin Pan Alley" Monte Easter, "Blues in the Evening" Jimmy Nolen, "After Hours" Jimmy Nolen, "Jimmy's Jive" Johnny Otis, "Casting My Spell" Johnny Otis, "Willie and the Hand Jive" Bobby Gentry, "Ode to Billie Joe" James Brown, "Papa's Got a Brand New Bag" James Brown "Papa's Got a Brand New Bag (parts 1, 2, and 3)" James Brown, "Papa's Got a Brand New Bag"

Southport Middle School's Cardinal Connection hosted by Andy Ashcraft.

Top stockman and breeder Jimmy Wilson talks of his early days working for Gordon Blackstock which got him started in Suffolk sheep and his Bridgetown flock. Along with a few other select breeders from the Aberdeenshire area, they ruled the roost in the Suffolk sheep world for a good few decades. Jimmy went on to be a top Charolais cattle breeder also, and was chairman and president of both societies. With such depth of knowledge in the livestock world, he offers us all some invaluable advice.  

Episode Notes Join us as we dive into the mind of Actor Oliver Robins. He'll take us on his journey as a young boy acting in Hollywood to being the only surviving child actor from the movie franchise "Poltergeist" ow you can show your support by purchasing FB stars. Send stars to the stars fb.com/stars This episode is sponsored by Deadly Grounds Coffee "Its good to get a little Deadly" https://deadlygroundscoffee.com ————————————————— https://www.stilltoking.com/ Check out Toking with the Dead Episode 1 https://www.youtube.com/watch?v=awhL5FyW_j4 Check out Toking with the Dead Episode 2 https://www.youtube.com/watch?v=SaUai58ua6o Buy awesome Merchandise! https://www.stilltoking.com/toking-with-the-dead-train https://teespring.com/stores/still-toking-with Sponsorship Opportunities https://www.stilltoking.com/become-a-sponsor or email us at bartlett52108@gmail.com thetokingdead@gmail.com ————————————— Follow our guest https://www.imdb.com/name/nm0732319/ https://en.wikipedia.org/wiki/Oliver_Robins https://www.facebook.com/realoliverrobins/ https://www.instagram.com/oliverrobinsonig/?hl=en https://twitter.com/oliguyontwit?lang=en https://www.themoviedb.org/person/10085-oliver-robins... ————————————————— Follow Still Toking With and their friends! https://smartpa.ge/5zv1 https://thedorkeningpodcastnetwork.com/ ————————————— Produced by Leo Pond and The Dorkening Podcast Network https://TheDorkening.com Facebook.com/TheDorkening Youtube.com/TheDorkening Twitter.com/TheDorkening Dead Dork Radio https://live365.com/station/Dead-Dork-Radio-a68071 Check out Green Matters: https://www.facebook.com/GreenMattersMiddleboro/ More about our guest Robins's first film roles were in the 1982 CBS TV movie Million Dollar Infield as Aaron Miller and the 1982 ABC TV-movie Don't Go to Sleep as Kevin. He is best known for his portrayal of Robbie Freeling in the 1982 feature film Poltergeist and its 1986 sequel Poltergeist II: The Other Side. His other feature film role was in the 1982 comedy Airplane II: The Sequel as Jimmy Wilson. He made one television guest appearance in the 1986 Twilight Zone episode "Monsters!". Robins left the acting business after 1986. As an adult, he returned to show business as a writer and director. In 2000, he wrote and directed his first film, Dumped, which was released directly to video, and also wrote and directed Roomies in 2004. He wrote the 1999 movie Eating L.A.. Following the deaths of Dominique Dunne and Heather O'Rourke, Robins became the only surviving Poltergeist child actor, as well as the longest-lived.

To kick off the Neo-Saban and Hasbro Eras, Michael and Nathan bring on Jimmy and Billy of the Zeo to Hero podcast—which leads to some sibling squabbles between the guests! Why? Because Billy requested to guest host for Power Rangers Samurai. This series infamously adapted its Sentai counterpart, Shinkenger, exactly, going so far as to have a Caucasian red ranger with a Japanese last name. Then they set it in the most western-looking “Japanese” city ever. Talk about awkward! Nathan loses his mind over how awful the premiere is—even going so far as to issue an apology to the Turbo movie! When Rantmaster apologizes, you know it's bad. But is it the worst they've seen? Listen to find out! ----------------------------------------------- EMAIL FEEDBACK TO THE SHOW: powertrippod@gmail.com ----------------------------------------------- FOLLOW THE SHOW: Follow The Power Trips on Twitter: @ThePowerTripPod. Join the podcast's official Facebook group: Power Rangers Legacy. ----------------------------------------------- READ KAIJU RAMEN: kaijuramenmagazine.com ----------------------------------------------- OTHER PODCASTS WITH ATTITUDE: Kaiju Weekly Podcast: https://podcasts.apple.com/us/podcast/kaiju-weekly/id1330448313 The Henshin Men Podcast: https://podcasts.apple.com/us/podcast/henshin-men/id1575547087 The Monster Island Film Vault: https://podcasts.apple.com/us/podcast/the-monster-island-film-vault/id1472692780 The Kaiju Groupie Podcast: https://podcasts.apple.com/us/podcast/the-kaiju-groupie-podcast/id1519596361 ----------------------------------------------- The podcast logo was designed by Rebecca Hudgens. Follow her on Instagram @super_r_illustrations. Our theme songs are from the album Power of the Grid by Niall Stenson. We also use “Galaxy Quest (Instrumental)” by HeavenWraith from the OCRemix album Jet Force Gemini: Mizar Attacks! All film and audio clips belong to their respective copyright holders, and no infringement is intended or implied.  The Power Trip has no association with Saban Entertainment or Hasbro. Please rate and review us on Apple Podcasts and/or Podchaser to spread the word about the show.

Today is June 17, 2022, and that means it's your weekly news roundup episode. There's a lot that happened this past week and a lot on tap, as always, but I'm very excited to let you know that in this episode I let you know about our first affiliate marketer, the Daytonian Beard Company, so be sure to listen so you can find out how to get your 10% discount! Or, I'll just tell you now - you can visit https://thedaytonianbeardco.com/ and use the code “discoverdaytonpod” to get 10% off your purchase of any online order! Here's your transcript for this week's episode: Hello and welcome to the Discover Dayton podcast, the show that's all about the Gem City's past, present, and future. My name is Arch Grieve and I'm your host, and today is Friday, June 17th, so it's your weekly news roundup episode, where I read the news so you don't have to. As always a great deal happened last week and even more is on tap for next week, so stay tuned to hear all about it in just a moment.  Also very briefly before I get to your news I wanted to let you know that it was such a nice day outside today when I recorded this on Thursday that I decided to sit out on my front porch with an ice cold old fashioned to read the news to you, and I'm also doing it on TikTok and Instagram live when I can now, so if you want to get the raw, unedited news roundup podcast on Thursdays before anyone else, join me on those platforms moving forward! HB 583, a bill concerning multiple K-12 education laws in Ohio, has been approved by the state legislature and is set to arrive on Governor DeWine's desk soon. The bill contains changes to laws concerning students receiving EdChoice private school scholarships and parents of dyslexic students. It also extends districts' ability to hire substitute teachers with only a high school diploma by another two years. The bill expands EdChoice to include some families whose children previously received state funding for private education or whose siblings received such funding. HB 583 has drawn criticism from the Ohio Education Association, who are opposed to the idea of forcing taxpayers to pay to send children to mostly religious private schools which tend to under-perform compared to their public school counterparts. HB 583 also loosens requirements for charter school sponsors in Ohio, a move that has earned them some criticism from both charter school critics and advocates. Both groups raise issue with the lowered accountability this will allow school sponsors to get away with in the state. The bill also pushes back the start of dyslexia screening requirements by one year. Electric company AES Ohio, formerly Dayton Power and Light, is currently seeking approval from the state to disconnect customers remotely for non-payment. Duke Energy Ohio and AEP are already exempt from the in-person notification that AES is currently required to give before shutting off service. A spokesperson for the Public Utilities Commission of Ohio said Tuesday that there is no timeline as yet for when we can expect to see a ruling on this case. The move has drawn criticism from the Office of the Ohio Consumers' Council, Advocates for Basic Legal Equality, and the Ohio Poverty Law Center. These groups raise concerns over the language AES uses regarding “vulnerable customers;” AES has proposed “limiting” the number of such customers who would be subject to remote disconnection, which the OCC argues is insufficient. All vulnerable customers, such as people with disabilities or the elderly, should be exempt from the remote disconnection process, they argued in their recent filing. PUCO staff have also recommended against the proposal, saying it does not sufficiently communicate the change in disconnection practices to customers. Currently AES gives customers two notices before disconnection in the winter months but only one notice in the summer, which may be particularly troubling. Tuesday, June 14, was the hottest day Dayton has seen in nearly ten years. Temperatures soared to a peak of 95 degrees at the Dayton International Airport, with a heat index of 107 and humidity in the 70s. Closer to the city center, temperatures rose even one or two degrees higher due to the urban environment. This coming at the same time as power outages across Ohio has put many Daytonians in a precarious position, with National Weather Service meteorologist John franks calling the heat “oppressive.” Nighttime lows stayed above 70 degrees, depriving residents of what would typically be a welcome respite from the daytime heat. Cooling centers have opened across the Dayton metro area for those affected. There are locations in Dayton, Oakwood, Riverside, Moraine, West Carrolton, Washington Twp., and Warren County. As Dayton and Montgomery County Public Health tells us, the three most important things are to stay cool, stay hydrated, and stay informed. Visit www.phdmc.org/extreme-heat for more information. A fire broke out Tuesday on the roof of the Mendelson Liquidation Outlet building downtown, producing large clouds of black smoke that were spotted around 11:30 a.m. The building is currently undergoing major renovations to be converted into apartments, offices, and retail space. Dayton fire chief Jeff Lykins reported that the blaze likely started when construction crews cut into or worked on an object with rubber or fuel inside. The fire was small and quickly extinguished, but produced the aforementioned smoke that chief Lykins said made the fire look “more impressive than it actually was.” The damage was contained to roofing and the damaged vessel, and nobody was injured. Find delicious, sustainable, and affordable veggies each week from the Mission of Mary Cooperative, a group looking to provide sustainable urban development in Dayton. Their community supported agriculture program runs from May 25 until November 2, and pickups happen on Wednesdays from 2 to 6 p.m. at 619 Silver Lane in Dayton. Proceeds from the CSA go to supporting food access programs. E-mail team@missionofmary.org with questions or visit their website for more information. Gem City Market is providing a bit of extra assistance to children receiving pandemic EBT payments. Sign up for the Produce Perks Program at their Customer Service Desk to receive $1 toward produce on your next shopping trip for every dollar you spend on produce, up to $25. Visit their Facebook page or gemcitymarket.com for more details. Governor Mike Dewine on Monday announced that he has signed HB 99 into law, allowing teachers and other school personnel to carry firearms in classrooms. The bill goes into effect 90 days after being signed. This has been met with significant pushback from Ohio Democrats including former Dayton mayor Nan Whaley, who is also the Democratic nominee running against DeWine for the office of governor of Ohio. Governor DeWine admitted on Monday in his press release that there is no data to support the idea that arming teachers will reduce school shooting incidents, but said he has been told “anecdotally” that it will work. HB 99 also includes $6 million for school safety centers across Ohio, a continuation of the governor's previous efforts to expand behavioral health care across the state. The decision to arm teachers was influenced by the impracticality of schools training and arming hired school security personnel according to the state's current standards, which requires such personnel to have 700 hours or 20 years of law enforcement experience. In contrast, under HB 99, teachers will require only “up to” 24 hours of firearm training before being permitted to carry weapons in the classroom. Schools across the state have responded in various ways to the announcement; some saying they will arm teachers, some saying they won't, and many offering no comment at this time. School districts are not required to arm teachers under HB 99, and those that do are allowed to demand stricter requirements than those set forth by the state government. On the subject of Mike DeWine's repeated loosening of Ohio gun laws, HB 215 went into effect as well on Monday, allowing concealed carry of handguns without a license in the state of Ohio. Any Ohio resident otherwise allowed to carry a gun will not be required to seek a concealed carry license, and Ohioans with existing licenses will not be required to renew them. With this, Dayton Police has announced changes to the way officers will interact with the public, particularly during traffic stops. Officers will be encouraged to regularly ask motorists and residents if they are carrying a firearm, as civilians are now not required to disclose this information to police. Dayton Police Chief Kamran Afzal also encourages the public to volunteer this information to officers during stops and other encounters with law enforcement. The policy of asking civilians to disclose the possession of firearms is not new among certain departments, but it will now be more widely practiced, according to Chief Afzal. He also encourages gun owners to still opt into the firearm training that comes with a concealed carry license, which HB 215 waives. This Saturday, June 18, there will be a free health fair hosted at New City Church from 10 a.m. to 2 p.m. Services provided will include COVID vaccines, a1c testing, vision screenings, various weight loss resources, oral health resources, and more.  Dayton is currently developing its first Active Transportation Plan; a program which will seek to identify and prioritize projects to improve Dayton's bicycle and pedestrian networks. The plan will also be an essential part of securing infrastructure funding for such projects. Community members are asked and encouraged to be a part of the planning process throughout the month of July, with various outreach programs and online surveys planned. Visit walkbike.info/Dayton for more information. The Miami Valley Alzheimer's Association Chapter has announced the dates for its five Walks to End Alzheimer's, the largest event to raise funds and awareness for Alzheimer's in the world. The Miami Valley walks will be happening on September 10th, 17th, and 24th, and October 1st and 8th, at various locations around the Valley. For more info on specific locations and to register as a team or individual, go to alz.org/walk. After five years, the 416 Diner on East Fifth Street has closed its doors. Owner Guy Fragmin announced the decision last Thursday, saying “[they] hope to continue the tradition of great food and service in the near future.” Fans of the 416 on Facebook have expressed their words of sadness, support, and well wishes for the Diner's staff. The Five Rivers MetroParks are ready to restart a variety of projects that were put on hold by the COVID-19 pandemic. Among these are the Taylorsville MetroPark and Sugarcreek MetroPark, which the agency received public feedback on at the end of last year. Another major project going forward soon will be a park-over-the-river between the Third Street Bridge and Wolf Creek Bridge, announced in March of this year. According to MetroParks spokesperson Carrie Scarff, the park and footbridge will seek to unite East and West Dayton, as well as showcase the Great Miami River. The project has been named, appropriately, Unity Bridge. Five Rivers MetroParks also announced plans to make improvements to Sunrise Park and construct bikeways linking West Third Street to the riverfront below the Dayton Art Institute at Monument Avenue.    Angie's Firehouse Tavern on Watervliet Avenue is up for sale after being revived by retired fire captain Patrick Reed in 2010. The restaurant first opened in 1938 as the Hungarian restaurant Angi's (pronounced AHN-ji's), but came to be known as Angie's among locals who were unsure how to pronounce the name. Quickly gaining a reputation for delicious cabbage rolls and other home-cooked Hungarian meals, Angi's became a fixture of the community for decades. Patrick Reed and his family and friends bought the vacant Angi's in 2010 to keep the spot they loved alive. Now he's looking for new ownership with creative ideas to continue their work so he can relax after 12 years of hard work. He also cites frustration with staffing shortages and rising production costs as factors in his decision. Angie's is considered a historic Dayton landmark and is listed for sale at $475,000, including the building, equipment, recipes, and decorations within. And, of course, a 1970 Porsche Firetruck that can be used for advertising. Lynda Suda, market manager of 2nd Street Market, announced that the market has reached 100% indoor capacity. All 44 spaces have been filled by various growers, producers, bakers, artisans, and restaurants. There are spots still available for weekend-only vendors, however. Suda is always looking for passionate entrepreneurs to bring their craft to the community through 2nd Street Market. Many weekend-only vendors at the market are first-time business owners, and 2nd Street helps educate them on what licenses they'll need and how they can get them. Weekend-only vendors can apply by filling out an application and meeting with market organizers, but the process for indoor permanent vendors is both more involved and more competitive. The market has also become more diverse in the past five years, with more minority vendors filling weekend and permanent spots. To learn more about the market and see the various weekend events they hold, visit metroparks.org/places-to-go/2nd-street-market. It is now estimated that Dayton Public Schools will spend $62 million more than they have available in the next two school years and will run out of general fund money in 2024-25. While labor costs are expected to rise significantly, the bigger problem starts in September 2024 when the district will have to have spent its remaining $140 million in federal COVID-19 relief money. This money has been used for many projects in the Dayton Public School system, and the school board doesn't plan to end these projects when the federal relief money that was used to start them runs out. This leaves the district with a projected $73 million deficit in 2024-25. The Board of Education is looking to approve a $230 million general budget for the next school year, which is expected to be temporary until late September. They've also said they're not planning any staff cuts, and are in fact planning to hire for several positions. DPS Superintendent Elizabeth Lolli is meeting with the district's department heads to discuss what projects will be delayed and ensure that nothing is done that will negatively impact instruction or staffing numbers. Immigration attorney and former Dayton Public Schools president Mohamed al-Hamdani was selected as the chairman of the Montgomery County Democratic Party last Thursday. Al-Hamdani is the first Muslim to lead a county Democratic party in Ohio, replacing Mark Owens, who served as chairman for 15 years before his recent retirement. He is a Dayton Public Schools and Wright State University graduate, and earned his law degree from University of Dayton after working as a cultural advisor for the Department of Defense during Operation Iraqi Freedom. Like most politically-savvy people, al-Hamdani has his sights set on this year's elections, hoping to get Democrats into leadership positions at the local, state, and federal levels. Montgomery County has approved a new $6 million Environmental Services Lab in Downtown Dayton. The new lab will make sure drinking water and discharged wastewater are compliant with state regulations for over 80,000 homes in the county. The current lab in Moraine has been in place for decades and is in need of replacement as the county seeks to update aging infrastructure. The new lab will be state of the art and is being paid for by the American Rescue Plan, from which the county received $103 million. On Saturday, June 18, Hospice of Dayton will be holding a butterfly release to remember and honor loved ones lost in Dayton. The event will be held from 1 to 3 p.m. at the Hospice location on Wilmington Avenue. You can register for a $15 donation to have a butterfly released in a loved one's name; you can register online at hospiceofdayton.org, or you can call Marsha Bernard at 937-671-3119 for more information. The Good Samaritan Hospital site in northwest Dayton has a new facility opening, exciting partners with the project. The closing of the hospital was upsetting to many Dayton residents, who understandably believed it would have a negative impact on the community's health and well-being. The new facility is planned to be two stories, half of which will be occupied by the Dayton YMCA, including a pool, fitness center, and gym. Premier Health, which is putting forward about $15 million to fund the project, will occupy about a quarter of the facility. The project sought community feedback to learn what Daytonians wanted to see on the former hospital campus, which will also include an urgent care clinic, physicians' offices, and medical imaging services. Goodwill Easterseals will also have an office in the space to run their economic self-sufficiency and employment program. Construction is expected to begin this Fall and take about 14 months. Spokespersons with the project have said there will be more information in the coming weeks. Among the producers for the now Tony Award-winning “A Strange Loop” are Wright State University graduate Tony Monda and West Milton-born Jimmy Wilson. The show took home Best Musical and Best Book of a Musical at the 75th annual Tony Awards on Sunday. It was Wilson's first Broadway production as an associate producer with Barbara Whitman Productions. This is Monda's third Tony, previously having been involved in Hadestown, which took Best Musical in 2019, and The Inheritance, which won Best Play at last year's awards. In 2020, he also received the Graduate of the Last Decade Award from the Wright State Alumni Association. Wilson will be moving on to produce “Good Night, Oscar” for Broadway and Monda will be returning to Dayton to work with the Human Race Theater Company, where he interned in college. If you're looking for outdoor activities on the Great Miami this summer, Taiters Kayak Solutions will be offering kayak rentals Thursdays from 4 to 8 p.m. through September. Interested kayakers will launch from under the Riverside Bridge after setting up their rental and going through brief instructions and safety training at River-Scape MetroPark. Five Rivers MetroParks also runs several paddling programs, and the more adventurous among us may be interested in group whitewater rafting with Whitewater Warehouse. The kayak rental programs seek to lower the barrier to entry for the sport and encourage more Daytonians to experience our many lovely waterways. More information is available at metroparks.org. Tonight, Friday, June 17th, We Banjo 3 will be performing at the Levitt Pavilion at 7 p.m. The event is free, and features the band's unique blend of Irish folk music and Nashville bluegrass. If you find you're thirsty for a more traditional Irish music experience- and some beer- Bock Family Brewing will be hosting the debut of The HitchHikers Band, playing Irish jigs from 7 to 10 p.m. tonight. And finally tonight, the Schuster Center will be hosting a Juneteenth event from 8 to 10 p.m. celebrating the life of Dayton-born poet Paul Laurence Dunbar with the Dayton Philharmonic Orchestra. Tickets range from $26 to $85. Looking to tomorrow, the 18th, the Oregon District has its own Juneteenth celebration starting at 11:00 a.m. The free family-friendly event will feature face painting, games and activities, and black-owned food trucks from around the Dayton area. Jay's Seafood on East Sixth Street will be hosting a five-course wine luncheon at 12:30 tomorrow. The cost is $75 plus tax and gratuity, and you can call for reservations at 937-222-2892 or e-mail jaysrestaurant@yahoo.com. Moving on to Saturday evening, Grammy-nominated indigenous singer and Emcee Mumu Fresh is headlining a Juneteenth concert event starting at 5 p.m. at the Levitt Pavilion. The event starts with community-curated opening ceremonies with the Mumu Fresh concert starting at 7. Admittance is free. For a different kind of musical experience, check out the Dayton Woman's Club at 6 p.m., where Dayton area kirtan band Shakti & Bhakti will be hosting a spiritual music event until 8 p.m. Kirtan is a type of religious chanting originating in India, singing praises in a call and response style to create union through music. This event is also free. Sunday is Father's Day, so if your dad likes beer, maybe bring him down to Front Street Sunday at 11 a.m. for a market and art hop with craft beer from Devil Wind Brewing. The event will feature live music and over 200 local artists and vendors. Moving on to Tuesday the 21st, Wiley's Comedy Club is hosting the GRANDSLAM event for Dayton Story Slam 2022. This event runs from 8 a.m. to 5 p.m. and brings together the season's best storytellers for one culminating show. Tickets are available for $5 at planned2give.networkforgood.com/events/41654-the-grandslam. On Wednesday the 22nd at 3 p.m., the Summer Market Day will be returning to the Dayton Arcade. Show up to the Rotunda for food trucks, local vendors, live entertainment, and more to be announced. More information is available at arcadedayton.com. Drinks and professional development are up next on Thursday the 23rd with Happy Hour and Headshots from PRSA Dayton. Register for a ticket ranging from $5 to $35 at prsadayton.org/meetinginfo.php. There are 16 slots open for headshots, but you're free to just join for Happy Hour at a reduced ticket price. There is also a discount for active students. The event starts at 4:30 p.m. The Home Builder's Association of Dayton will be holding their 2nd annual cornhole tournament Thursday at 7:00p.m. at 84 Lumber on Poe Avenue. Teams can register for $50, with an early bird discount available, and will be guaranteed at least two games over the course of the tournament. There will be food and drinks provided and prizes for winning. Look for the 2nd Annual HBA Cornhole Tournament on Eventbrite.com for more information. For music Thursday evening, the John Doe folk trio out of Austin, Texas will be performing for free at the Levitt Pavilion starting at 7:00 p.m. The American Czechoslovakian Club. will be hosting a steak fry and dance next Friday evening starting at 6 p.m. Reservations must be made by Wednesday the 22nd and are $20 for club members or $21 for non-members. You can contact Mary Chidester at 937-287-4275 or by e-mail at reservations@accdayton.com for reservations or questions. Another free concert at the Levitt on Friday, this time featuring Altered Five Blues Band, a tough Milwaukee quintet with hard-hitting original songs from a 20-year career with no signs of stopping. Rise early on the morning of Saturday the 25th for Goat Yoga and Brunch at Secret Eden. Arrive between 8:30 and 8:45 a.m. to play with the goats and attend a low-impact, beginner-friendly yoga class starting at 9. Full brunch will be served after the class, followed by an optional goat walk of the property at no extra charge. Tickets are $50 per person and you can find more information at secreteden.net. The Redefining You School of Etiquette is having its grand opening event on Saturday at noon. The school is opening at 205 North Williams Street and will be hosting a raffle, opening day specials, and more. Visit redefiningyouSOE.com for more information or to sign up for classes. Saturday afternoon you can tour the stunning private gardens of the Oregon Historic District during their 2022 annual garden tour. The tour runs from 2 to 5 p.m. and tickets are $15. Proceeds go directly to the Oregon Historic District Society, the neighborhood's non-profit. Look for the Oregon Historic District Garden Tour on Eventbrite.com for info and to purchase tickets. In the evening of the 25th, the Dayton Liederkranz Turner German Club will be hosting a German wine tasting, featuring eight wines made either in Germany or in Ohio from German grapes. Tickets are $45 and include pairings for each wine sample and a souvenir DLT glass. The tasting starts at 6 p.m. Visit the DLT website at dayton-liederkranz-turners-inc.square.site for information and tickets. Also on Saturday the 25th the Dayton South Slavic Club, which I am a member of, will be hosting a picnic at the Polish Club Park on Needmore Rd in Dayton. Vatra Ziva will be providing the music. Doors open at 3pm, and the kids will do a short performance at about 4:30, then the band starts at 5. The event closes at 9pm. It's free, they just ask for an RSVP by emailing picnic@southslavicclub.org and for you to bring a finger food to share. It's also BYOB, although there will have non-alcoholic drinks there as well as ice, coolers, and dinnerware. At 7 p.m. Saturday Joslyn and the Sweet Compression will be performing at the Levitt Pavilion. The eponymous Joslyn Hampton and her band delivered dynamic funk and soul-inspired tunes on their debut album in 2019 and are set to tour across the country this year. The big event capping off the week on Sunday the 26th will be Wright Dunbar Day Block Party starting at 2 p.m. The event will feature food trucks, vendors, live DJs and other live performances, and runs until 7 p.m. The block from Williams Street to Third Street in the Wright Dunbar Historic District will be closed off for the event. Also, I am now a weekly sponsor of the Twosday Tuesdays event at the Oregon Express, where my friend Rich Hopkins hosts trivia every week. If you win round two, you get a free pitcher of beer (or $11). If I win, I get to keep my money! I won't be there this next Tuesday, so you have better odds, but I'll be back to defend my cash on Tuesday the 28th, so I hope to see you there! And finally, I am happy to announce that we have our first sponsor! It's an affiliate sponsor of the show, and it's the Daytonian Beard Company, which is an excellent local small black-owned business that makes beard care products. If you order from them online (not in store) you can get 10% off your order by using the code “discoverdaytonpod,” so I hope you'll visit them online at https://thedaytonianbeardco.com/ or check them out in-person at The Entrepreneurs Marketplace, although the discount code does not work for in-store purchases.  All right, that's it for this week's news roundup episode, and just as a heads up I will have some big news coming up soon that you're going to want to hear about related to some cool ways you can support this show while also getting some cool benefits in return, and if you're a business owner I may have some cool news about Bosnia and Herzegovina you're going to want to hear about, so stay tuned for that possibly as soon as next week. If you enjoyed this episode, please be sure to subscribe and leave a review and share this episode with a friend. Thanks so much for listening, and stay funky, Dayton.

DJ and Zack sit down with Whelen Modified Tour Director Jimmy Wilson and talk about what got him started in racing to where he is today. We also discuss the weekends racing and what's coming up this week. --- Support this podcast: https://anchor.fm/turn4podcast/support

Kristin's brother, Jimmy, shares how he created a flexible, untraditional lifestyle that allows him to work from home, co-parent his daughter, and travel the world as a surf photographer. In this podcast, Kristin and Jimmy discuss financial pros and cons of going to college and racking up student debt versus joining the workforce. Jimmy also explains how he was able to fund his passion for surf photography by painting houses in Puerto Rico. He offers tips and advice for how to turn doing what you love into a long-term career and how to reinvent yourself when circumstances force your industry to change (or go extinct). Jimmy also shares what a day in the life of a surf photographer is like, including stories from his travels around the world (like the time he saw professional surfer, Mick Fanning, get attacked by a shark in Jeffrey's Bay, South Africa).  In the Lightning Round, find out:  Which camera and equipment Jimmy uses His favorite surf destination and non-surf destination Cheap flight/travel hacks Jet Lag tips How to stay motivated working at home A photography tip everyone should know What his future goals include  Jimmy is the former Photo Editor at Surfing Magazine, two-time Red Bull Illume Finalist, and is now the Online Content Editor and Social Media Coordinator for Vans Surf, working from home in Southern California. He has also worked at Eastern Surf Magazine, Transworld Surf, and has contributed to Surfer and Stab Magazines.  Episode 158 Special Offers:  Pre-Order Digital Nomads for Dummies 20% off Organifi Travel Packs 

Werte Hörerschaft, wir präsentieren euch die erste Folge der auf Steady bereits komplett erschienenen Stga-spielt Staffel zu Dark Souls III. Wenn euch gefällt, was ihr hört, schaut gerne auf Steady vorbei, um Zugang zu den weiteren 22 Folgen zu erhalten: https://steadyhq.com/de/startthegamealready/about Endlich ist sie da, die langersehnte Staffel zu Dark Souls III. Es ist schöner als seine Vorgänger, hat einen Soundtrack, der Christian schon im Hauptmenü ins Staunen versetzte und wir hoffen auf ganz viel Lore, bockschwere Kämpfe und eine reiche Welt voller Geschichten und Mysterien. Christians Charakter seht ihr im Thumbnail und heißt Ezrah von Mirrah. Felix ist in guter DS2-Tradition als Jimmy Wilson unterwegs. Zusammen spekulieren wir gleich mal über das Intro, das Christian zunächst verwirrt zurückgelassen hat. Zum Glück ist ja Felix dabei, der mit seinen 555 Spielstunden aufklären kann. Und kümmern wir uns gleich mal um den ersten Boss und machen Bekanntschaft mit einer Art grausamen Mutation. All das ist jedoch wie vergessen, sobald wir an einen historischen Ort treten: dem Firelink Shrine. Viel Spaß mit dieser Folge wünschen Felix & Christian! Timecodes: 00:00 Spielintro 22:21 Charaktererstellung 31:38 Wiederauferstehung 52:33 Iudex Gundyr 01:03:57 Firelink Shrine *music by Nicolas Jeudy and Dark Fantasy Studio

Today, we have Jimmy Wilson from Winchester Ammunition with us on the show and he's going to talk to us about waterfowl hunting ammunition. Specifically, we're going to discuss the complications of using lead free shot in waterfowl ammo, what sort of performance you ideally want from your waterfowl loads for hunting ducks, geese, and crane, and what sort of offerings Winchester manufacturers for waterfowl hunters. Show Notes: https://thebiggamehuntingblog.com/podcast/winchester-waterfowl-hunting-ammo/ Show Sponsor: Make sure you protect your hearing during waterfowl season by wearing ear protection while you're out in your duck or goose blind. Visit thebiggamehuntingblog.com/earpro to purchase a set of AXIL GS Extreme earbuds that are comfortable to wear, offer great ear protection, provide up to 6x hearing enhancement, and also have bluetooth connectivity. Plus, you'll also get the best pricing on them in the process (up to 65% off MSRP) through that link. What We Covered 1) Jimmy shares a story of a teal hunt down in Texas where he used Winchester Blind Side and DryLok ammo in his shotgun with a surprising amount of success. 2) How waterfowl are different from other species of game and what sort of performance you need out of your shot shells when duck, goose, or crane hunting. 3) Details on the specific waterfowl hunting shot shell lines Winchester currently manufacturers: Xpert High Velocity, Xpert Snow Goose, Blind Side, and Drylok. 4) What each line of Winchester waterfowl hunting ammo is best suited for. 5) Learn more about Winchester waterfowl hunting ammunition on their web site. Show Sponsor Make sure you protect your hearing during waterfowl season by wearing ear protection while you're out in your duck or goose blind. Visit thebiggamehuntingblog.com/earpro to purchase a set of AXIL GS Extreme earbuds that are comfortable to wear, offer great ear protection, provide up to 6x hearing enhancement, and also have bluetooth connectivity. Plus, you'll also get the best pricing on them in the process (up to 65% off MSRP) through that link.

Episode one hundred and thirty-seven of A History of Rock Music in Five Hundred Songs looks at “Papa's Got a Brand New Bag” by James Brown, and at how Brown went from a minor doo-wop artist to the pioneer of funk. 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 "I'm a Fool" by Dino, Desi, and Billy. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ NB an early version of this was uploaded, in which I said "episode 136" rather than 137 and "flattened ninth" at one point rather than "ninth". I've fixed that in a new upload, which is otherwise unchanged. Resources As usual, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. I relied mostly on fur books for this episode. James Brown: The Godfather of Soul, by James Brown with Bruce Tucker, is a celebrity autobiography with all that that entails, but a more interesting read than many. Kill ‘Em and Leave: Searching for the Real James Brown, by James McBride is a more discursive, gonzo journalism piece, and well worth a read. Black and Proud: The Life of James Brown by Geoff Brown is a more traditional objective biography. And Douglas Wolk's 33 1/3 book on Live at the Apollo is a fascinating, detailed, look at that album. This box set is the best collection of Brown's work there is, but is out of print. This two-CD set has all the essential hits. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Introduction, the opening of Live at the Apollo. "So now, ladies and gentlemen, it is star time. Are you ready for star time? [Audience cheers, and gives out another cheer with each musical sting sting] Thank you, and thank you very kindly. It is indeed a great pleasure to present to you in this particular time, national and international known as the hardest working man in showbusiness, Man that sing "I'll Go Crazy"! [sting] "Try Me" [sting] "You've Got the Power" [sting] "Think" [sting], "If You Want Me" [sting] "I Don't Mind" [sting] "Bewildered" [sting] million-dollar seller "Lost Someone" [sting], the very latest release, "Night Train" [sting] Let's everybody "Shout and Shimmy" [sting] Mr. Dynamite, the amazing Mr. Please Please himself, the star of the show, James Brown and the Famous Flames"] In 1951, the composer John Cage entered an anechoic chamber at Harvard University. An anechoic chamber is a room that's been completely soundproofed, so no sound can get in from the outside world, and in which the walls, floor, and ceiling are designed to absorb any sounds that are made. It's as close as a human being can get to experiencing total silence. When Cage entered it, he expected that to be what he heard -- just total silence. Instead, he heard two noises, a high-pitched one and a low one. Cage was confused by this -- why hadn't he heard the silence? The engineer in charge of the chamber explained to him that what he was hearing was himself -- the high-pitched noise was Cage's nervous system, and the low-pitched one was his circulatory system. Cage later said about this, "Until I die there will be sounds. And they will continue following my death. One need not fear about the future of music." The experience inspired him to write his most famous piece, 4'33, in which a performer attempts not to make any sound for four minutes and thirty-three seconds. The piece is usually described as being four minutes and thirty-three seconds of silence, but it actually isn't -- the whole point is that there is no silence, and that the audience is meant to listen to the ambient noise and appreciate that noise as music. Here is where I would normally excerpt the piece, but of course for 4'33 to have its full effect, one has to listen to the whole thing. But I can excerpt another piece Cage wrote. Because on October the twenty-fourth 1962 he wrote a sequel to 4'33, a piece he titled 0'00, but which is sometimes credited as "4'33 no. 2". He later reworked the piece, but the original score, which is dedicated to two avant-garde Japanese composers, Toshi Ichiyanagi and his estranged wife Yoko Ono, reads as follows: "In a situation provided with maximum amplification (no feedback), perform a disciplined action." Now, as it happens, we have a recording of someone else performing Cage's piece, as written, on the day it was written, though neither performer nor composer were aware that that was what was happening. But I'm sure everyone can agree that this recording from October the 24th, 1962, is a disciplined action performed with maximum amplification and no feedback: [Excerpt: James Brown, "Night Train" (Live at the Apollo version)] When we left James Brown, almost a hundred episodes ago, he had just had his first R&B number one, with "Try Me", and had performed for the first time at the venue with which he would become most associated, the Harlem Apollo, and had reconnected with the mother he hadn't seen since he was a small child. But at that point, in 1958, he was still just the lead singer of a doo-wop group, one of many, and there was nothing in his shows or his records to indicate that he was going to become anything more than that, nothing to distinguish him from King Records labelmates like Hank Ballard, who made great records, put on a great live show, and are still remembered more than sixty years later, but mostly as a footnote. Today we're going to look at the process that led James Brown from being a peer of Ballard or Little Willie John to being arguably the single most influential musician of the second half of the twentieth century. Much of that influence is outside rock music, narrowly defined, but the records we're going to look at this time and in the next episode on Brown are records without which the entire sonic landscape of the late twentieth and early twenty-first centuries would be unimaginably different. And that process started in 1958, shortly after the release of "Try Me" in October that year, with two big changes to Brown's organisation. The first was that this was -- at least according to Brown -- when he first started working with Universal Attractions, a booking agency run by a man named Ben Bart, who before starting his own company had spent much of the 1940s working for Moe Gale, the owner of the Savoy Ballroom and manager of the Ink Spots, Louis Jordan, and many of the other acts we looked at in the very first episodes of this podcast. Bart had started his own agency in 1945, and had taken the Ink Spots with him, though they'd returned to Gale a few years later, and he'd been responsible for managing the career of the Ravens, one of the first bird groups: [Excerpt: The Ravens, "Rock Me All Night Long"] In the fifties, Bart had become closely associated with King Records, the label to which Brown and the Famous Flames were signed. A quick aside here -- Brown's early records were released on Federal Records, and later they switched to being released on King, but Federal was a subsidiary label for King, and in the same way that I don't distinguish between Checker and Chess, Tamla and Motown, or Phillips and Sun, I'll just refer to King throughout. Bart and Universal Attractions handled bookings for almost every big R&B act signed by King, including Tiny Bradshaw, Little Willie John, the "5" Royales, and Hank Ballard and the Midnighters. According to some sources, the Famous Flames signed with Universal Attractions at the same time they signed with King Records, and Bart's family even say it was Bart who discovered them and got them signed to King in the first place. Other sources say they didn't sign with Universal until after they'd proved themselves on the charts. But everyone seems agreed that 1958 was when Bart started making Brown a priority and taking an active interest in his career. Within a few years, Bart would have left Universal, handing the company over to his son and a business partner, to devote himself full-time to managing Brown, with whom he developed an almost father-son relationship. With Bart behind them, the Famous Flames started getting better gigs, and a much higher profile on the chitlin circuit. But around this time there was another change that would have an even more profound effect. Up to this point, the Famous Flames had been like almost every other vocal group playing the chitlin' circuit, in that they hadn't had their own backing musicians. There were exceptions, but in general vocal groups would perform with the same backing band as every other act on a bill -- either a single backing band playing for a whole package tour, or a house band at the venue they were playing at who would perform with every act that played that venue. There would often be a single instrumentalist with the group, usually a guitarist or piano player, who would act as musical director to make sure that the random assortment of musicians they were going to perform with knew the material. This was, for the most part, how the Famous Flames had always performed, though they had on occasion also performed their own backing in the early days. But now they got their own backing band, centred on J.C. Davis as sax player and bandleader, Bobby Roach on guitar, Nat Kendrick on drums, and Bernard Odum on bass. Musicians would come and go, but this was the core original lineup of what became the James Brown Band. Other musicians who played with them in the late fifties were horn players Alfred Corley and Roscoe Patrick, guitarist Les Buie, and bass player Hubert Perry, while keyboard duties would be taken on by Fats Gonder, although James Brown and Bobby Byrd would both sometimes play keyboards on stage. At this point, as well, the lineup of the Famous Flames became more or less stable. As we discussed in the previous episode on Brown, the original lineup of the Famous Flames had left en masse when it became clear that they were going to be promoted as James Brown and the Famous Flames, with Brown getting more money, rather than as a group. Brown had taken on another vocal group, who had previously been Little Richard's backing vocalists, but shortly after "Try Me" had come out, but before they'd seen any money from it, that group had got into an argument with Brown over money he owed them. He dropped them, and they went off to record unsuccessfully as the Fabulous Flames on a tiny label, though the records they made, like "Do You Remember", are quite good examples of their type: [Excerpt: The Fabulous Flames, "Do You Remember?"] Brown pulled together a new lineup of Famous Flames, featuring two of the originals. Johnny Terry had already returned to the group earlier, and stayed when Brown sacked the rest of the second lineup of Flames, and they added Lloyd Bennett and Bobby Stallworth. And making his second return to the group was Bobby Byrd, who had left with the other original members, joined again briefly, and then left again. Oddly, the first commercial success that Brown had after these lineup changes was not with the Famous Flames, or even under his own name. Rather, it was under the name of his drummer, Nat Kendrick. Brown had always seen himself, not primarily as a singer, but as a band leader and arranger. He was always a jazz fan first and foremost, and he'd grown up in the era of the big bands, and musicians he'd admired growing up like Lionel Hampton and Louis Jordan had always recorded instrumentals as well as vocal selections, and Brown saw himself very much in that tradition. Even though he couldn't read music, he could play several instruments, and he could communicate his arrangement ideas, and he wanted to show off the fact that he was one of the few R&B musicians with his own tight band. The story goes that Syd Nathan, the owner of King Records, didn't like the idea, because he thought that the R&B audience at this point only wanted vocal tracks, and also because Brown's band had previously released an instrumental which hadn't sold. Now, this is a definite pattern in the story of James Brown -- it seems that at every point in Brown's career for the first decade, Brown would come up with an idea that would have immense commercial value, Nathan would say it was the most ridiculous thing he'd ever heard, Brown would do it anyway, and Nathan would later admit that he was wrong. This is such a pattern -- it apparently happened with "Please Please Please", Brown's first hit, *and* "Try Me", Brown's first R&B number one, and we'll see it happen again later in this episode -- that one tends to suspect that maybe these stories were sometimes made up after the fact, especially since Syd Nathan somehow managed to run a successful record label for over twenty years, putting out some of the best R&B and country records from everyone from Moon Mullican to Wynonie Harris, the Stanley Brothers to Little Willie John, while if these stories are to be believed he was consistently making the most boneheaded, egregious, uncommercial decisions imaginable. But in this case, it seems to be at least mostly true, as rather than being released on King Records as by James Brown, "(Do the) Mashed Potatoes" was released on Dade Records as by Nat Kendrick and the Swans, with the DJ Carlton Coleman shouting vocals over Brown's so it wouldn't be obvious Brown was breaking his contract: [Excerpt: Nat Kendrick and the Swans, "(Do the)" Mashed Potatoes"] That made the R&B top ten,  and I've seen reports that Brown and his band even toured briefly as Nat Kendrick and the Swans, before Syd Nathan realised his mistake, and started allowing instrumentals to be released under the name "James Brown presents HIS BAND", starting with a cover of Bill Doggett's "Hold It": [Excerpt: James Brown Presents HIS BAND, "Hold It"] After the Nat Kendrick record gave Brown's band an instrumental success, the Famous Flames also came back from another mini dry spell for hits, with the first top twenty R&B hit for the new lineup, "I'll Go Crazy", which was followed shortly afterwards by their first pop top forty hit, "Think!": [Excerpt: James Brown and the Famous Flames, "Think!"] The success of "Think!" is at least in part down to Bobby Byrd, who would from this point on be Brown's major collaborator and (often uncredited) co-writer and co-producer until the mid-seventies. After leaving the Flames, and before rejoining them, Byrd had toured for a while with his own group, but had then gone to work for King Records at the request of Brown. King Records' pressing plant had equipment that sometimes produced less-than-ideal pressings of records, and Brown had asked Byrd to take a job there performing quality control, making sure that Brown's records didn't skip. While working there, Byrd also worked as a song doctor. His job was to take songs that had been sent in as demos, and rework them in the style of some of the label's popular artists, to make them more suitable, changing a song so it might fit the style of the "5" Royales or Little Willie John or whoever, and Byrd had done this for "Think", which had originally been recorded by the "5" Royales, whose leader, Lowman Pauling, had written it: [Excerpt: The "5" Royales, "Think"] Byrd had reworked the song to fit Brown's style and persona. It's notable for example that the Royales sing "How much of all your happiness have I really claimed?/How many tears have you cried for which I was to blame?/Darlin', I can't remember which was my fault/I tried so hard to please you—at least that's what I thought.” But in Brown's version this becomes “How much of your happiness can I really claim?/How many tears have you shed for which you was to blame?/Darlin', I can't remember just what is wrong/I tried so hard to please you—at least that's what I thought.” [Excerpt: James Brown and the Famous Flames, "Think"] In Brown's version, nothing is his fault, he's trying to persuade an unreasonable woman who has some problem he doesn't even understand, but she needs to think about it and she'll see that he's right, while in the Royales' version they're acknowledging that they're at fault, that they've done wrong, but they didn't *only* do wrong and maybe she should think about that too. It's only a couple of words' difference, but it changes the whole tenor of the song. "Think" would become the Famous Flames' first top forty hit on the pop charts, reaching number thirty-three. It went top ten on the R&B charts, and between 1959 and 1963 Brown and the Flames would have fifteen top-thirty R&B hits, going from being a minor doo-wop group that had had a few big hits to being consistent hit-makers, who were not yet household names, but who had a consistent sound that could be guaranteed to make the R&B charts, and who put on what was regarded as the best live show of any R&B band in the world. This was partly down to the type of discipline that Brown imposed on his band. Many band-leaders in the R&B world would impose fines on their band members, and Johnny Terry suggested that Brown do the same thing. As Bobby Byrd put it, "Many band leaders do it but it was Johnny's idea to start it with us and we were all for it ‘cos we didn't want to miss nothing. We wanted to be immaculate, clothes-wise, routine-wise and everything. Originally, the fines was only between James and us, The Famous Flames, but then James carried it over into the whole troupe. It was still a good idea because anybody joining The James Brown Revue had to know that they couldn't be messing up, and anyway, all the fines went into a pot for the parties we had." But Brown went much further with these fines than any other band leader, and would also impose them arbitrarily, and it became part of his reputation that he was the strictest disciplinarian in rhythm and blues music. One thing that became legendary among musicians was the way that he would impose fines while on stage. If a band member missed a note, or a dance step, or missed a cue, or had improperly polished shoes, Brown would, while looking at them, briefly make a flashing gesture with his hand, spreading his fingers out for a fraction of a second. To the audience, it looked like just part of Brown's dance routine, but the musician knew he had just been fined five dollars. Multiple flashes meant multiples of five dollars fined. Brown also developed a whole series of other signals to the band, which they had to learn, To quote Bobby Byrd again: "James didn't want anybody else to know what we was doing, so he had numbers and certain screams and spins. There was a certain spin he'd do and if he didn't do the complete spin you'd know it was time to go over here. Certain screams would instigate chord changes, but mostly it was numbers. James would call out football numbers, that's where we got that from. Thirty-nine — Sixteen —Fourteen — Two — Five — Three — Ninety-eight, that kind of thing. Number thirty-nine was always the change into ‘Please, Please, Please'. Sixteen is into a scream and an immediate change, not bam-bam but straight into something else. If he spins around and calls thirty-six, that means we're going back to the top again. And the forty-two, OK, we're going to do this verse and then bow out, we're leaving now. It was amazing." This, or something like this, is a fairly standard technique among more autocratic band leaders, a way of allowing the band as a whole to become a live compositional or improvisational tool for their leader, and Frank Zappa, for example, had a similar system. It requires the players to subordinate themselves utterly to the whim of the band leader, but also requires a band leader who knows the precise strengths and weaknesses of every band member and how they are likely to respond to a cue. When it works well, it can be devastatingly effective, and it was for Brown's live show. The Famous Flames shows soon became a full-on revue, with other artists joining the bill and performing with Brown's band. From the late 1950s on, Brown would always include a female singer. The first of these was Sugar Pie DeSanto, a blues singer who had been discovered (and given her stage name) by Johnny Otis, but DeSanto soon left Brown's band and went on to solo success on Chess records, with hits like "Soulful Dress": [Excerpt: Sugar Pie DeSanto, "Soulful Dress"] After DeSanto left, she was replaced by  Bea Ford, the former wife of the soul singer Joe Tex, with whom Brown had an aggressive rivalry and mutual loathing. Ford and Brown recorded together, cutting tracks like "You Got the Power": [Excerpt: James Brown and Bea Ford, "You Got the Power"] However, Brown and Ford soon fell out, and Brown actually wrote to Tex asking if he wanted his wife back. Tex's response was to record this: [Excerpt: Joe Tex, "You Keep Her"] Ford's replacement was Yvonne Fair, who had briefly replaced Jackie Landry in the Chantels for touring purposes when Landry had quit touring to have a baby. Fair would stay with Brown for a couple of years, and would release a number of singles written and produced for her by Brown, including one which Brown would later rerecord himself with some success: [Excerpt: Yvonne Fair, "I Found You"] Fair would eventually leave the band after getting pregnant with a child by Brown, who tended to sleep with the female singers in his band. The last shows she played with him were the shows that would catapult Brown into the next level of stardom. Brown had been convinced for a long time that his live shows had an energy that his records didn't, and that people would buy a record of one of them. Syd Nathan, as usual, disagreed. In his view the market for R&B albums was small, and only consisted of people who wanted collections of hit singles they could play in one place. Nobody would buy a James Brown live album. So Brown decided to take matters into his own hands. He decided to book a run of shows at the Apollo Theatre, and record them, paying for the recordings with his own money. This was a week-long engagement, with shows running all day every day -- Brown and his band would play five shows a day, and Brown would wear a different suit for every show. This was in October 1962, the month that we've already established as the month the sixties started -- the month the Beatles released their first single, the Beach Boys released their first record outside the US, and the first Bond film came out, all on the same day at the beginning of the month. By the end of October, when Brown appeared at the Apollo, the Cuban Missile Crisis was at its height, and there were several points during the run where it looked like the world itself might not last until November 62. Douglas Wolk has written an entire book on the live album that resulted, which claims to be a recording of the midnight performance from October the twenty-fourth, though it seems like it was actually compiled from multiple performances. The album only records the headline performance, but Wolk describes what a full show by the James Brown Revue at the Apollo was like in October 1962, and the following description is indebted to his book, which I'll link in the show notes. The show would start with the "James Brown Orchestra" -- the backing band. They would play a set of instrumentals, and a group of dancers called the Brownies would join them: [Excerpt: James Brown Presents His Band, "Night Flying"] At various points during the set, Brown himself would join the band for a song or two, playing keyboards or drums. After the band's instrumental set, the Valentinos would take the stage for a few songs. This was before they'd been taken on by Sam Cooke, who would take them under his wing very soon after these shows, but the Valentinos were already recording artists in their own right, and had recently released "Lookin' For a Love": [Excerpt: The Valentinos, "Lookin' For a Love"] Next up would be Yvonne Fair, now visibly pregnant with her boss' child, to sing her few numbers: [Excerpt: Yvonne Fair, "You Can Make it if You Try"] Freddie King was on next, another artist for the King family of labels who'd had a run of R&B hits the previous year, promoting his new single "I'm On My Way to Atlanta": [Excerpt: Freddie King, "I'm on My Way to Atlanta"] After King came Solomon Burke, who had been signed to Atlantic earlier that year and just started having hits, and was the new hot thing on the scene, but not yet the massive star he became: [Excerpt: Solomon Burke, "Cry to Me"] After Burke came a change of pace -- the vaudeville comedian Pigmeat Markham would take the stage and perform a couple of comedy sketches. We actually know exactly how these went, as Brown wasn't the only one recording a live album there that week, and Markham's album "The World's Greatest Clown" was a result of these shows and released on Chess Records: [Excerpt: Pigmeat Markham, "Go Ahead and Sing"] And after Markham would come the main event. Fats Gonder, the band's organist, would give the introduction we heard at the beginning of the episode -- and backstage, Danny Ray, who had been taken on as James Brown's valet that very week (according to Wolk -- I've seen other sources saying he'd joined Brown's organisation in 1960), was listening closely. He would soon go on to take over the role of MC, and would introduce Brown in much the same way as Gonder had at every show until Brown's death forty-four years later. The live album is an astonishing tour de force, showing Brown and his band generating a level of excitement that few bands then or now could hope to equal. It's even more astonishing when you realise two things. The first is that this was *before* any of the hits that most people now associate with the name James Brown -- before "Papa's Got a Brand New Bag" or "Sex Machine", or "It's a Man's Man's Man's World" or "Say it Loud I'm Black and I'm Proud" or "Funky Drummer" or "Get Up Offa That Thing". It's still an *unformed* James Brown, only six years into a fifty-year career, and still without most of what made him famous. The other thing is, as Wolk notes, if you listen to any live bootleg recordings from this time, the microphone distorts all the time, because Brown is singing so loud. Here, the vocal tone is clean, because Brown knew he was being recorded. This is the sound of James Brown restraining himself: [Excerpt: James Brown and the Famous Flames, "Night Train" (Live at the Apollo version)] The album was released a few months later, and proved Syd Nathan's judgement utterly, utterly, wrong. It became the thirty-second biggest selling album of 1963 -- an amazing achievement given that it was released on a small independent label that dealt almost exclusively in singles, and which had no real presence in the pop market. The album spent sixty-six weeks on the album charts, making number two on the charts -- the pop album charts, not R&B charts. There wasn't an R&B albums chart until 1965, and Live at the Apollo basically forced Billboard to create one, and more or less single-handedly created the R&B albums market. It was such a popular album in 1963 that DJs took to playing the whole album -- breaking for commercials as they turned the side over, but otherwise not interrupting it. It turned Brown from merely a relatively big R&B star into a megastar. But oddly, given this astonishing level of success, Brown's singles in 1963 were slightly less successful than they had been in the previous few years -- possibly partly because he decided to record a few versions of old standards, changing direction as he had for much of his career. Johnny Terry quit the Famous Flames, to join the Drifters, becoming part of the lineup that recorded "Under the Boardwalk" and "Saturday Night at the Movies". Brown also recorded a second live album, Pure Dynamite!, which is generally considered a little lacklustre in comparison to the Apollo album. There were other changes to the lineup as well as Terry leaving. Brown wanted to hire a new drummer, Melvin Parker, who agreed to join the band, but only if Brown took on his sax-playing brother, Maceo, along with him. Maceo soon became one of the most prominent musicians in Brown's band, and his distinctive saxophone playing is all over many of Brown's biggest hits. The first big hit that the Parkers played on was released as by James Brown and his Orchestra, rather than James Brown and the Famous Flames, and was a landmark in Brown's evolution as a musician: [Excerpt: James Brown and his Orchestra, "Out of Sight"] The Famous Flames did sing on the B-side of that, a song called "Maybe the Last Time", which was ripped off from the same Pops Staples song that the Rolling Stones later ripped off for their own hit single. But that would be the last time Brown would use them in the studio -- from that point on, the Famous Flames were purely a live act, although Bobby Byrd, but not the other members, would continue to sing on the records. The reason it was credited to James Brown, rather than to James Brown and the Famous Flames, is that "Out of Sight" was released on Smash Records, to which Brown -- but not the Flames -- had signed a little while earlier. Brown had become sick of what he saw as King Records' incompetence, and had found what he and his advisors thought was a loophole in his contract. Brown had been signed to King Records under a personal services contract as a singer, not under a musician contract as a musician, and so they believed that he could sign to Smash, a subsidiary of Mercury, as a musician. He did, and he made what he thought of as a fresh start on his new label by recording "Caldonia", a cover of a song by his idol Louis Jordan: [Excerpt: James Brown and his Orchestra, "Caldonia"] Understandably, King Records sued on the reasonable grounds that Brown was signed to them as a singer, and they got an injunction to stop him recording for Smash -- but by the time the injunction came through, Brown had already released two albums and three singles for the label. The injunction prevented Brown from recording any new material for the rest of 1964, though both labels continued to release stockpiled material during that time. While he was unable to record new material, October 1964 saw Brown's biggest opportunity to cross over to a white audience -- the TAMI Show: [Excerpt: James Brown, "Out of Sight (TAMI show live)"] We've mentioned the TAMI show a couple of times in previous episodes, but didn't go into it in much detail. It was a filmed concert which featured Jan and Dean, the Barbarians, Lesley Gore, Chuck Berry, the Beach Boys, Gerry and the Pacemakers, Billy J Kramer and the Dakotas, Marvin Gaye, the Miracles, the Supremes, and, as the two top acts, James Brown and the Rolling Stones. Rather oddly, the point of the TAMI Show wasn't the music as such. Rather it was intended as a demonstration of a technical process. Before videotape became cheap and a standard, it was difficult to record TV shows for later broadcast, for distribution to other countries, or for archive. The way they used to be recorded was a process known as telerecording in the UK and kinescoping in the US, and that was about as crude as it's possible to get -- you'd get a film camera, point it at a TV showing the programme you wanted to record, and film the TV screen. There was specialist equipment to do this, but that was all it actually did. Almost all surviving TV from the fifties and sixties -- and even some from the seventies -- was preserved by this method rather than by videotape. Even after videotape started being used to make the programmes, there were differing standards and tapes were expensive, so if you were making a programme in the UK and wanted a copy for US broadcast, or vice versa, you'd make a telerecording. But what if you wanted to make a TV show that you could also show on cinema screens? If you're filming a TV screen, and then you project that film onto a big screen, you get a blurry, low-resolution, mess -- or at least you did with the 525-line TV screens that were used in the US at the time. So a company named Electronovision came into the picture, for those rare times when you wanted to do something using video cameras that would be shown at the cinema. Rather than shoot in 525-line resolution, their cameras shot in 819-line resolution -- super high definition for the time, but capable of being recorded onto standard videotape with appropriate modifications for the equipment. But that meant that when you kinescoped the production, it was nearly twice the resolution that a standard US TV broadcast would be, and so it didn't look terrible when shown in a cinema. The owner of the Electronovision process had had a hit with a cinema release of a performance by Richard Burton as Hamlet, and he needed a follow-up, and decided that another filmed live performance would be the best way to make use of his process -- TV cameras were much more useful for capturing live performances than film cameras, for a variety of dull technical reasons, and so this was one of the few areas where Electronovision might actually be useful. And so Bill Roden, one of the heads of Electronovision, turned to a TV director named Steve Binder, who was working at the time on the Steve Allen show, one of the big variety shows, second only to Ed Sullivan, and who would soon go on to direct Hullaballoo. Roden asked Binder to make a concert film, shot on video, which would be released on the big screen by American International Pictures (the same organisation with which David Crosby's father worked so often). Binder had contacts with West Coast record labels, and particularly with Lou Adler's organisation, which managed Jan and Dean. He also had been in touch with a promoter who was putting on a package tour of British musicians. So they decided that their next demonstration of the capabilities of the equipment would be a show featuring performers from "all over the world", as the theme song put it -- by which they meant all over the continental United States plus two major British cities. For those acts who didn't have their own bands -- or whose bands needed augmenting -- there was an orchestra, centred around members of the Wrecking Crew, conducted by Jack Nitzsche, and the Blossoms were on hand to provide backing vocals where required. Jan and Dean would host the show and sing the theme song. James Brown had had less pop success than any of the other artists on the show except for the Barbarians, who are now best-known for their appearances on the Nuggets collection of relatively obscure garage rock singles, and whose biggest hit, "Are You a Boy or Are You a Girl?" only went to number fifty-five on the charts: [Excerpt: The Barbarians, "Are You a Boy or Are You a Girl?"] The Barbarians were being touted as the American equivalent of the Rolling Stones, but the general cultural moment of the time can be summed up by that line "You're either a girl or you come from Liverpool" -- which was where the Rolling Stones came from. Or at least, it was where Americans seemed to think they came from given both that song, and the theme song of the TAMI show, written by P.F. Sloan and Steve Barri, which sang about “the Rolling Stones from Liverpool”, and also referred to Brown as "the king of the blues": [Excerpt: Jan and Dean, "Here They Come From All Over The World"] But other than the Barbarians, the TAMI show was one of the few places in which all the major pop music movements of the late fifties and early sixties could be found in one place -- there was the Merseybeat of Gerry and the Pacemakers and the Dakotas, already past their commercial peak but not yet realising it, the fifties rock of Chuck Berry, who actually ended up performing one song with Gerry and the Pacemakers: [Excerpt: Chuck Berry and Gerry and the Pacemakers: "Maybellene"] And there was the Brill Building pop of Lesley Gore, the British R&B of the Rolling Stones right at the point of their breakthrough, the vocal surf music of the Beach Boys and Jan and Dean, and three of the most important Motown acts, with Brown the other representative of soul on the bill. But the billing was a sore point. James Brown's manager insisted that he should be the headliner of the show, and indeed by some accounts the Rolling Stones also thought that they should probably not try to follow him -- though other accounts say that the Stones were equally insistent that they *must* be the headliners. It was a difficult decision, because Brown was much less well known, but it was eventually decided that the Rolling Stones would go on last. Most people talking about the event, including most of those involved with the production, have since stated that this was a mistake, because nobody could follow James Brown, though in interviews Mick Jagger has always insisted that the Stones didn't have to follow Brown, as there was a recording break between acts and they weren't even playing to the same audience -- though others have disputed that quite vigorously. But what absolutely everyone has agreed is that Brown gave the performance of a lifetime, and that it was miraculously captured by the cameras. I say its capture was miraculous because every other act had done a full rehearsal for the TV cameras, and had had a full shot-by-shot plan worked out by Binder beforehand. But according to Steve Binder -- though all the accounts of the show are contradictory -- Brown refused to do a rehearsal -- so even though he had by far the most complex and choreographed performance of the event, Binder and his camera crew had to make decisions by pure instinct, rather than by having an actual plan they'd worked out in advance of what shots to use. This is one of the rare times when I wish this was a video series rather than a podcast, because the visuals are a huge part of this performance -- Brown is a whirlwind of activity, moving all over the stage in a similar way to Jackie Wilson, one of his big influences, and doing an astonishing gliding dance step in which he stands on one leg and moves sideways almost as if on wheels. The full performance is easily findable online, and is well worth seeking out. But still, just hearing the music and the audience's reaction can give some insight: [Excerpt: James Brown, "Out of Sight" (TAMI Show)] The Rolling Stones apparently watched the show in horror, unable to imagine following that -- though when they did, the audience response was fine: [Excerpt: The Rolling Stones, "Around and Around"] Incidentally, Chuck Berry must have been quite pleased with his payday from the TAMI Show, given that as well as his own performance the Stones did one of his songs, as did Gerry and the Pacemakers, as we heard earlier, and the Beach Boys did "Surfin' USA" for which he had won sole songwriting credit. After the TAMI Show, Mick Jagger would completely change his attitude to performing, and would spend the rest of his career trying to imitate Brown's performing style. He was unsuccessful in this, but still came close enough that he's still regarded as one of the great frontmen, nearly sixty years later. Brown kept performing, and his labels kept releasing material, but he was still not allowed to record, until in early 1965 a court reached a ruling -- yes, Brown wasn't signed as a musician to King Records, so he was perfectly within his rights to record with Smash Records. As an instrumentalist. But Brown *was* signed to King Records as a singer, so he was obliged to record vocal tracks for them, and only for them. So until his contract with Smash lapsed, he had to record twice as much material -- he had to keep recording instrumentals, playing piano or organ, for Smash, while recording vocal tracks for King Records. His first new record, released as by "James Brown" rather than the earlier billings of "James Brown and his Orchestra" or "James Brown and the Famous Flames", was for King, and was almost a remake of "Out of Sight", his hit for Smash Records. But even so, "Papa's Got a Brand New Bag" was a major step forward, and is often cited as the first true funk record. This is largely because of the presence of a new guitarist in Brown's band. Jimmy Nolen had started out as a violin player, but like many musicians in the 1950s he had been massively influenced by T-Bone Walker, and had switched to playing guitar. He was discovered as a guitarist by the bluesman Jimmy Wilson, who had had a minor hit with "Tin Pan Alley": [Excerpt: Jimmy Wilson, "Tin Pan Alley"] Wilson had brought Nolen to LA, where he'd soon parted from Wilson and started working with a whole variety of bandleaders. His first recording came with Monte Easter on Aladdin Records: [Excerpt: Monte Easter, "Blues in the Evening"] After working with Easter, he started recording with Chuck Higgins, and also started recording by himself. At this point, Nolen was just one of many West Coast blues guitarists with a similar style, influenced by T-Bone Walker -- he was competing with Pete "Guitar" Lewis, Johnny "Guitar" Watson, and Guitar Slim, and wasn't yet quite as good as any of them. But he was still making some influential records. His version of "After Hours", for example, released under his own name on Federal Records, was a big influence on Roy Buchanan, who would record several versions of the standard based on Nolen's arrangement: [Excerpt: Jimmy Nolen, "After Hours"] Nolen had released records on many labels, but his most important early association came from records he made but didn't release. In the mid-fifties, Johnny Otis produced a couple of tracks by Nolen, for Otis' Dig Records label, but they weren't released until decades later: [Excerpt: Jimmy Nolen, "Jimmy's Jive"] But when Otis had a falling out with his longtime guitar player Pete "Guitar" Lewis, who was one of the best players in LA but who was increasingly becoming unreliable due to his alcoholism, Otis hired Nolen to replace him. It's Nolen who's playing on most of the best-known recordings Otis made in the late fifties, like "Casting My Spell": [Excerpt: Johnny Otis, "Casting My Spell"] And of course Otis' biggest hit "Willie and the Hand Jive": [Excerpt: Johnny Otis, "Willie and the Hand Jive"] Nolen left Otis after a few years, and spent the early sixties mostly playing in scratch bands backing blues singers, and not recording. It was during this time that Nolen developed the style that would revolutionise music. The style he developed was unique in several different ways. The first was in Nolen's choice of chords. We talked last week about how Pete Townshend's guitar playing became based on simplifying chords and only playing power chords. Nolen went the other way -- while his voicings often only included two or three notes, he was also often using very complex chords with *more* notes than a standard chord. As we discussed last week, in most popular music, the chords are based around either major or minor triads -- the first, third, and fifth notes of a scale, so you have an E major chord, which is the notes E, G sharp, and B: [Excerpt: E major chord] It's also fairly common to have what are called seventh chords, which are actually a triad with an added flattened seventh, so an E7 chord would be the notes E, G sharp, B, and D: [Excerpt: E7 chord] But Nolen built his style around dominant ninth chords, often just called ninth chords. Dominant ninth chords are mostly thought of as jazz chords because they're mildly dissonant. They consist of the first, third, fifth, flattened seventh, *and* ninth of a scale, so an E9 would be the notes E, G sharp, B, D, and F sharp: [Excerpt: E9 chord] Another way of looking at that is that you're playing both a major chord *and* at the same time a minor chord that starts on the fifth note, so an E major and B minor chord at the same time: [Demonstrates Emajor, B minor, E9] It's not completely unknown for pop songs to use ninth chords, but it's very rare. Probably the most prominent example came from a couple of years after the period we're talking about, when in mid-1967 Bobby Gentry basically built the whole song "Ode to Billie Joe" around a D9 chord, barely ever moving off it: [Excerpt: Bobby Gentry, "Ode to Billie Joe"] That shows the kind of thing that ninth chords are useful for -- because they have so many notes in them, you can just keep hammering on the same chord for a long time, and the melody can go wherever it wants and will fit over it. The record we're looking at, "Papa's Got a Brand New Bag", actually has three chords in it -- it's basically a twelve-bar blues, like "Out of Sight" was, just with these ninth chords sometimes used instead of more conventional chords -- but as Brown's style got more experimental in future years, he would often build songs with no chord changes at all, just with Nolen playing a single ninth chord throughout. There's a possibly-apocryphal story, told in a few different ways, but the gist of which is that when auditioning Nolen's replacement many years later, Brown asked "Can you play an E ninth chord?" "Yes, of course" came the reply. "But can you play an E ninth chord *all night*?" The reason Brown asked this, if he did, is that playing like Nolen is *extremely* physically demanding. Because the other thing about Nolen's style is that he was an extremely percussive player. In his years backing blues musicians, he'd had to play with many different drummers, and knew they weren't always reliable timekeepers. So he'd started playing like a drummer himself, developing a technique called chicken-scratching, based on the Bo Diddley style he'd played with Otis, where he'd often play rapid, consistent, semiquaver chords, keeping the time himself so the drummer didn't have to. Other times he'd just play single, jagged-sounding, chords to accentuate the beat. He used guitars with single-coil pickups and turned the treble up and got rid of all the midrange, so the sound would cut through no matter what. As well as playing full-voiced chords, he'd also sometimes mute all the strings while he strummed, giving a percussive scratching sound rather than letting the strings ring. In short, the sound he got was this: [Excerpt: James Brown, "Papa's Got a Brand New Bag"] And that is the sound that became funk guitar. If you listen to Jimmy Nolen's playing on "Papa's Got a Brand New Bag", that guitar sound -- chicken scratched ninth chords -- is what every funk guitarist after him based their style on. It's not Nolen's guitar playing in its actual final form -- that wouldn't come until he started using wah wah pedals, which weren't mass produced until early 1967 -- but it's very clear when listening to the track that this is the birth of funk. The original studio recording of "Papa's Got a Brand New Bag" actually sounds odd if you listen to it now -- it's slower than the single, and lasts almost seven minutes: [Excerpt: James Brown "Papa's Got a Brand New Bag (parts 1, 2, and 3)"] But for release as a single, it was sped up a semitone, a ton of reverb was added, and it was edited down to just a few seconds over two minutes. The result was an obvious hit single: [Excerpt: James Brown, "Papa's Got a Brand New Bag"] Or at least, it was an obvious hit single to everyone except Syd Nathan, who as you'll have already predicted by now didn't like the song. Indeed according to Brown, he was so disgusted with the record that he threw his acetate copy of it onto the floor. But Brown got his way, and the single came out, and it became the biggest hit of Brown's career up to that point, not only giving him his first R&B number one since "Try Me" seven years earlier, but also crossing over to the pop charts in a way he hadn't before. He'd had the odd top thirty or even top twenty pop single in the past, but now he was in the top ten, and getting noticed by the music business establishment in a way he hadn't earlier. Brown's audience went from being medium-sized crowds of almost exclusively Black people with the occasional white face, to a much larger, more integrated, audience. Indeed, at the Grammys the next year, while the Beatles, the Beach Boys, the Rolling Stones, Bob Dylan, Phil Spector and the whole Motown stable were overlooked in favour of the big winners for that year Roger Miller, Herb Alpert, and the Anita Kerr Singers, even an organisation with its finger so notoriously off the pulse of the music industry as the National Academy of Recording Arts and Sciences, which presents the Grammys, couldn't fail to find the pulse of "Papa's Got a Brand New Bag", and gave Brown the Grammy for Best Rhythm and Blues record, beating out the other nominees "In the Midnight Hour", "My Girl", "Shotgun" by Junior Walker, and "Shake" by Sam Cooke. From this point on, Syd Nathan would no longer argue with James Brown as to which of his records would be released. After nine years of being the hardest working man in showbusiness, James Brown had now become the Godfather of Soul, and his real career had just begun.

Get to know ultra runner Jimmy Wilson and find out all about a very interesting new ultra format at the Pemberton 24. Jeff Stafford also joins to talk a bit about the Barkley Fall Classic.

This week Alan is joined by his Manager Nikola, and old Personal Assistant Jimmy, to discuss a magical day at Sesame Street, and another one at Disneyland...Alan Cumming's Shelves is all about Alan Cumming and his shelves. There's lots of things on these shelves, oddities and artefacts from across Alan's life, and so each week he takes one of the curiosities off his shelf, and tells you all about it, with the help of some friends. See acast.com/privacy for privacy and opt-out information.

It is week two of the 2021 NFL regular season and the Miami Dolphins are all alone in FIRST PLACE of the AFC East. That is because The Bills and Jets lost their opening games and The Dolphins beat New England IN New England for just the second time since 2008. How sweet it is to be back on top of the division! So how did this victory come about? Outside of turnovers and penalties, New England dominated the stat lines, but Miami seemingly never lost control of the game.Sam and Chris give different takes on how this victory made them feel and despite riding high for the opening week of the season, this team still has a ton of questions that need to be answered as they head into week two against the Buffalo Bills.Speaking of The Bills...did you know that our guest this week absolutely HATES them? Former Dolphins Safety Jimmy Wilson joins the show to discuss the AFC East rival, his time with the team, and what rookie defender he is already impressed with. Jimmy also details how his former coach helped give him a career in the NFL, why he became a Cowboys fan as a kid and his thoughts on the NIL decision for college athletes.Afterwards, the boys get back to business and preview the home opener against the Buffalo Bills. Sam and Chris differ on the outcome of this game, believe it or not. Find out who is optimistic about Miami's chances, and who is not, in segment number three!Welcome To Perfectville is part of the BLEAV Podcast Network and is presented by BetOnline.AG.Enjoy and Welcome To Perfectville!

In today's episode of At Close of Business, journalists Jordan Murray and Katie McDonald discuss pandemic-induced architectural rethinks. Making headlines, Crown knocks back Backstone's takeover offer, Predictive raises $27m for gold exploration, and Jimmy Wilson steps down as chief executive of CBH.

In today's episode of At Close of Business, journalists Jordan Murray and Katie McDonald discuss pandemic-induced architectural rethinks. Making headlines, Crown knocks back Backstone's takeover offer, Predictive raises $27m for gold exploration, and Jimmy Wilson steps down as chief executive of CBH.

After nearly four years with the state's main grain handler the CEO Jimmy Wilson has decided it's time to move on, with his resignation effective on June 30.The former BHP Billiton executive was appointed CEO in September 2017. CBH chair Simon Stead acknowledged Jimmy Wilson for his achievements at the co-operative “There has been an emphatic focus on the core of the business, with CBH adding 2.5 million tonnes of additional storage to the network, completing 80 throughput enhancement projects and over 200 sustaining capital projects over the past three years." One year ago today, Australia's grain growers started hearing strange rumours their barley was going to be hit by huge tariffs from China. That rumour turned out to be true, and in the following weeks and months other commodities were affected, as agriculture became the whipping boy for growing tensions between China and Australia. But a year on there's been some remarkable turn-arounds and important lessons.

Rory and Shane are humbled, excited and quite frankly, honored, to welcome “Jimmy Wilson” himself, Claude Coleman Jr., to the show!! Claude is not only the amazing drummer and backbone of Ween, he is also an amazing writer, composer, and multi-instrumentalist. Over the past few years he has not only released another amazing record for his own project Amandla, amandlanet.net, but has started his own music rehearsal space business in Asheville North Carolina, Soundspace@Rabbit's. soundspaceavl.com Soundspace@Rabbit's is a renovated, historical motel originally known as Rabbit's Tourist Court and was a popular stop among black artists on the 'Chitlin' Circuit' as it was black owned and part of the Green Book since the 1930's. Claude explains how he and his business partner and have worked tirelessly to obtain and renovate this once glorious property back to its original luster and then some. When fully completed, Soundspace@Rabbit's will not only be a music rehearsal space, arts studio and mural gallery, but will also feature a re-created soul food kitchen (as Rabbit's Tourist Court originally had) headed by Chef Clarence Robinson. facebook.com/CookingComedyCatering/ Claude tells his story of moving to Asheville, the need he found for a functioning rehearsal space, learning the history of the property and how the project grew and changed from its inception to opening. We also discuss the Black Lives Matter movement, issues surrounding intergenerational wealth throughout the black community, and about the feeling related to the statues and monuments of the South. Claude and the guys also get into chatting about Donovan, Bob Dylan, Joan Baez and the Rolling Thunder Revue documentary. There is a part 2 to this conversation which is available on our Patreon at patreon.com/weencastpodcast where we discuss Amandla on vinyl, playing with Angelo Moore and Brand New Step, his take on switching from drums to bass, his approach to songwriting, one of his original bands “Skunk”, and how he joined Ween! As if having one legendary drummer on this episode is not enough, we got two!! Chris “Tomato 11” Harfenist checks in with us to tell us about the new Sound of Urchin Prescription Plan for 2020! That's right, all new Urchin tracks and never before heard archive tracks delivered right to your e-mail twice a month for the rest of the year!! Go to soundofurchin.com for details and to sign up now! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/weencastpodcast/message Support this podcast: https://anchor.fm/weencastpodcast/support

Whelen Modified Tour Director Jimmy Wilson joins Hannah Newhouse and Kyle Rickey to talk racing at Martinsville! Learn more about your ad choices. Visit podcastchoices.com/adchoices See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Whelen Modified Tour Director Jimmy Wilson joins Hannah Newhouse and Kyle Rickey to talk racing at Martinsville!

On this episode of the World's Greatest Action Sports Podcast, Chris and Todd welcome special guests, Thrasher Magazine's, Mike Burnett, to break down the ten Skater Of The Year finalists including, Mason Silva, Taylor Kirby, Louie Lopez, Alexis Sablone, Pedro Delfino, Elijah Berle, Mason Silva, Tom Knox, etc. Plus, photographer, Jimmy Wilson tells us about being front row in the lineup at two supersessions at Jaws and Mavericks. Also, Kai Lenny is next level, the WSL kicks off with some amazing surfing, as well as a shark incident and a covid scare causing the postponement of both the men's and women's events. Skyler The Surf Dog got pitted at the Surf Ranch! K2 Snowboards drops Big Band, snowboarding isn't cancelled, but some events may be. Nerd news has a lot of Mandolorian and Holiday movie talk, we answer a couple of your questions, and so much more.   Presented by:   Hansen's Surfboards @hansensurfboards K2 Snowboarding @k2.snowboarding Pannikin Coffee And Tea @pannikincoffeeandtea Chemistry Surfboards @chemistrysurfboards YewOnline.com @yewonline New Greens @newgreens NanocraftCBD @nanocraftCBD BN3TH @BN3THApparel Adventure IO @adventureio Super 73 @super73

Rory and Shane are humbled, excited and quite frankly, honored, to welcome “Jimmy Wilson” himself, Claude Coleman Jr., to the show!!  Claude is not only the amazing drummer and backbone of Ween, he is also an amazing writer, composer, and multi-instrumentalist.  Over the past few years he has not only released another amazing record for … Continue reading Ween Cast Episode 28, The Claude Coleman Jr. Interview, Part 1 →

Jimmy “Jimmicane” Wilson, lives an astounding life. Since pursuing his dream of becoming a surf photographer at only 14 years old, my younger brother has traveled to some of the most remote and beautiful destinations on the planet - in the company of world-class surfers and swimsuit models, of course.   Jimmy is the former Photo Editor at Surfing Magazine, two-time Red Bull Illume Finalist, and is now the Online Content Editor and Social Media Coordinator for Vans Surf, working from home in Southern California. He has also worked at Eastern Surf Magazine, Transworld Surf, and has contributed to Surfer and Stab Magazines.  In this episode of Badass Digital Nomads, Jimmy shares what a day in the life of a surf photographer is like, including stories of multiple life-or-death experiences he has witnessed in his travels around the world (like the time he saw Mick Fanning get attacked by a shark in J-Bay, South Africa).  He shares how he funded his passion for surf photography by painting houses in Puerto Rico, and how to turn doing what you love into a long-term career while giving back to your community and the planet. Jimmy also offers tips and advice on how to to reinvent yourself when circumstances force your industry to change (or go extinct). In the Lightning Round, I ask about:  Which camera and equipment he uses His favorite surf destination and non-surf destination Cheap flight/travel hacks Jet Lag tips How to stay motivated working at home A photography tip everyone should know What his future goals include  I hope that this episode inspires you to carve your own path in the world and serves as a reminder for how much we can learn about ourselves and the world through travel! Connect with Jimmy:  Instagram.com @Jimmicane Jimmy's Red Bull Illume Photos Vans Surf Instagram Jimmicane - Surfing Magazine Archive Stab Magazine Jimmy's Surfer Magazine Articles Connect on LinkedIn ........................................................................................................ Support the Badass Digital Nomads Podcast: Leave a 5* review of Badass Digital Nomads on iTunes Leave a voice message Become a Patron Connect With Kristin on Socials:  Follow on Instagram Watch Digital Nomad TV on YouTube Subscribe to Traveling with Kristin on YouTube  Join the Badass Digital Nomads Facebook Group

On this week's episode of “The World's Greatest Action Sports Podcast”, Chris fights through allergies to talk with Todd about lots of topics including, International Surfing Day, Jimmy Wilson's vision of an improved Championship Surf Tour, amazing skate protests, Noah Waggy Wegrich, Frederico Morias and Theresa Bonvalot winning the biggest surf event since Covid-19 hit, New Vans Surf Doc “Breaking Boundaries”, Tony Hawk's skateboarding Masterclass, new skate video games including EA SKATE, Tony Hawk Pro Skater Remix, Session Skate, SkaterXL, Last Resort is created by Stan Leveille, Stevie Bell on The Bomb Hole, the fight to change Columbus, Ohio, to Flavortown, ohio, and so much more.   Presented by:   Adventure IO @adventureio K2 Snowboarding @k2.snowboarding Pannikin Coffee And Tea @pannikincoffeeandtea Chemistry Surfboards @chemistrysurfboards YewOnline.com @yewonline New Greens @newgreens NanocraftCBD @nanocraftCBD Super 73 Electric Bikes! @super73 BN3TH Apparel @BN3TH

From Rock and Roll to Beach music, Jimmy has played it all. His project , Jimmy Rehab, with his brother, David Wilson , is legendary. He currently is the guitarist and vocalist with Ocean Boulevard --- Send in a voice message: https://anchor.fm/sandy-carlton/message

We are both jazzed and psyched to announce our first Patreon exclusive episode!!  Join us at patreon.com/weencastpodcast for a full length (over an hour) discussion of one of the most elusive Ween side projects ever; The Jimmy Wilson Group!  There is only 1 sign up “Tier”; only $1 per month!  This show was in the … Continue reading Ween Cast Patreon Episode 1 Preview, Jimmy Wilson Group June 30 2001, John and Peters, New Hope, PA →

On this week's episode of the World's Greatest Action Sports Podcast, Chris and Todd go full 420! We're all still quarantined, but luckily, we have technology on our side! Our guests this week include Ken Block, Pierre Wikberg, Jimmy Wilson, and the legendary Zoltan “The Magician” Torkos! The dudes also talk about The fight to reopen Southern California beaches, RAGE 3, the Insane Pipeline Swell, Top 10 Quarantine Clips, TransWorld SKATE, Chippa Wilson and Ben Gulliver's new short “Pink Lemonade”, Wes Kramer 4/20 DC skate part on Thrasher Mag, “The Knob Buster” on Jenkem, The Bomb Hole Podcast hosted by Chris Grenier and E-Stone Ep. 1—Justin Bennee, Burton going above and beyond. Plus, we answer some of your questions. This is a great episode, you're going to love it, whether you celebrate 420 or not.

Tonight on Quicksie Story Time, Jimmy Wilson from 94.3 The Wolf reads the classic, “Where The Wild Things Are” Download

The guys are joined in studio by Jimmy Wilson, the series director for the NASCAR Whelen Modified Tour. We also discuss sim racing, merits for the Hall of Fame and more.

HAPPY HANUKAH BI'YATCH'S!!Here we go again, back at the podcast waves. With a new name and a new co-host. Our first show isn't very tangy, but hold on as we get to now each and get swangy!Jimmy Wilson joins the Barely Kosher as a team player, single and looking to mingle, he could be your "thank you, next" Guy!

This week Katie and Maddie interview their brother Jimmy about what it's like being an MMA fighter and a brother to three girls. We dive into some fun quick questions as well as what training and nutrition look like for Jimmy. --- Support this podcast: https://anchor.fm/shes-my-sister-podcast/support

We are a fine art gallery nestled in the beautiful and historic Linden Hills area of southwest Minneapolis at 4304 Upton Avenue South.We feature Jimmy Wilson limited edition prints and various other guest artists.Jimmy Wilson is also an award winning filmmaker and writer. His work includes films on Polar bears, Lions, Wolves, and Moose. He writes a monthly piece for ‘Internationally Known: Lifestyle and Fashion’ magazine.Gallery hours: Wednesday-Sunday 12PM-5PM Or by appointment.jimmy@jimmypicture.com 612-201-0701

In this Business News podcast Mark Pownall and Mark Beyer discuss Woodside’s Fifo project, contrary views in the nickel sector, Jimmy Wilson’s lateral move, Port Hedland’s dust issue and small business.

In this Business News podcast Mark Pownall and Mark Beyer discuss Woodside’s Fifo project, contrary views in the nickel sector, Jimmy Wilson’s lateral move, Port Hedland’s dust issue and small business.

Join me, Mike Perricone, and my Producer, "Shorty" for another episode of HOT LAPS WITH STATS on THE 110 NATION SPORTS RADIO NETWORK this Friday, July 7, 2017, from 8-10 p.m. Our first guest in the studio will be Jimmy Wilson, head of the WHELEN MODIFIED TOUR. We haven't spoken with Jimmy since his last visit prior to the Myrtle Beach Opener, so we will get an update on 2017 thus far, the new tracks on the schedule, any surprises, and his overall observations. Then, on the eve of the Evans, Baldwin and Jarzombek Memorial at Riverhead (L. I.) Raceway, we will welcome back Jim Williams, who plans on bringing his replica 7NY Baldwin Modified from Rhode Island for his annual visit to the East End oval. Jim will also bring us up to date on what's happening with the New England Antique Racers (NEAR). Talking racing yesterday and today, so please join us

This episode is JAM PACKED! First off, T-Hat scored an interview with the gracious Jimmie Wilson (representing San Marino this year). You'll hear that plus the controversy surrounding the Russian entrant, Julia Samoylova. Last but not least, you'll hear the last batch of our first listens! Music: -- Valentina Monetta & Jimmy Wilson, "Spirit of the Night" (San Marino) -- Isaiah, "Don't Come Easy" (Australia) -- Blanche, "City Lights," (Belgium) -- Salvador Sobral, "Amar pelos dois" (Portugal) -- Artsvik, "Fly With Me" (Armenia) -- Svala, "Paper" (Iceland) -- Julia Samoylova, "Flame Is Burning" (Russia) -- Kristian Kostov, "Beautiful Mess" (Bulgaria) -- JOWST, "Grab The Moment" (Norway) -- Martina Bárta, "My Turn" (Czech Republic) -- IMRI, "I Feel Alive" (Israel) -- Dihaj, "Skeletons" (Azerbaijan) -- Robin Bengtsson, "I Can't Go On" (Sweden) -- Demy, "This Is Love" (Greece) -- Brendan Murray, "Dying To Try" (Ireland) -- Tijana Bogićević, "In Too Deep" (Serbia) -- Fusedmarc, "Rain of Revolution" (Lithuania)

Join me, Mike Perricone and Mr. C.J. Sports for HOT LAPS WITH STATS on Friday, March 3, 2017 from 8-10 p.m. on THE 11O NATION SPORTS RADIO NETWORK. Our guest in the studio will be Jimmy Wilson, the Head of the WHELEN MODIFIED TOUR. We will be talking with Jimmy about the 2017 season in general and the Season Opener at Myrtle Beach  (S.C.) Speedway on March 18, 2017, which Mr. C.J. SPORTS and Shorty will be covering on-site for THE 110 NATION.  A very pivotal guest and a very important and informative discussion as the WHELEN MODIFIED TOUR prepares for 2017. Please join us.   

Guest(s): Jimmy Wilson, Nutrition Program Director, Bauman College, Penn Grove, CA

show#4915.25.131. Patrick Sweany - Frozen Lake - 2011 - from That Old Southern Drag (3:20)Spinner's Section:all vinyl2. Dr. Feelgood: night time (5:22) (Private Practice, 1978)3. Jimmy Wilson: jumpin' from six to six (1954) (2:06) (Trouble In My House, 198?)4. John Lennon: John Sinclair (3:28) (Sometime In New York City, 1972)5. Tabby Thomas: I'll make the trip (3:34) (Blues Train, 1986)6. Chris Thomas: cheatin' women blues (4:29) (The Beginning, 1986)7. Buddy Guy: no lie (1963) (2:26) (I Was Walking Through The Woods, 196?)8. Townes van Zandt: brand new companion (4:40) (Delta Momma Blues, 1978)9. Carlos Santana (ft. Fab. T-birds): lightnin' (3:49) (Havana Moon, 1983)10. Jimmy Reed: take out some insurance (1959) (2:19) (Got Me Dizzy, 1981)11. Buzzy Linhart: a tear outweighs a smile (5:30) (Pussycats Can Go Far, 1974)Back To Beardo:12. Finis Tasby - I Missed You Bad - 1998 - from Jump Children (3:36)13. Nicole Hart/Anni Piper - One Good Man - - from Split Second (7:18)14. Pat Ramsey - King of Fools - 1996 - from It's About Time (5:36)15. Dudley Taft - God Forbid - 2013 - from Deep Deep Blue (4:18)16. Mighty Mike Schermer - Stickin' To You (Featuring Emily Gimble) - 2013 - from Be Somebody (4:31)17. The Geoff Everett Band - Lost At Sea - 2012 - from The Quick And The Dead (6:28)18. Paul Reddick - A Thousand Years - 2012 - from Wishbone (4:51)19. Robson Fernandes - Forgive Me - 2006 - from Gumbo Blues (5:49)20. Buddy Guy - Ain't No Need - 1970 - from Buddy and the Juniors (4:30)21. Dizzy Gillespie - Newport Blues - 1959 - from Newport Jazz Festival 7/3/1959 (8:40)22. Clarence "Gatemouth" Brown/Los Super Seven - See That My Grave Is Kept Clean - 2005 - from Heard It on the X (2:47)23. Lonnie Johnson - Deep Blue Sea Blues - 1990 - from Steppin' on the Blues (3:04)24. Jef Lee Johnson & Blues Anatomy(Geoff Muldaur vocal) - He's a Jelly Roll Baker - 2008 - from Rediscovering Lonnie Johnson (3:29)

For this Snippet, we read Only 1,659,230 Requirements – A Response to the Negativity Toward the Boston Globe Redesign by Jimmy Wilson on The Design-O-Blog. (http://www.pagebreakpodcast.com/snippets/boston-globe-redesign)

More Blues than you deserve...show#1507/16/06Lonnie Brooks, Long John Hunter, Phillip Walker - A Little More Time (from Lone Star Shootout 1999 Alligator Records http://www.alligator.com )Capt. Beefheart and the Magic Band - Evil (from Live show recording in Avalon 1966 )Spinner's Section:Colin James: standin' on the edge (Bad habits, Elektra, 1995)John 'Juke' Logan: rockin' like a wild child (The Truth Will Rock You, Mocombo Records, 2005)Jimmy Wilson: lemon squeezer (1953) (Trouble In My House, Diving Duck, 198?)Jimmy Wilson: tell me (1953) (Trouble In My House, Diving Duck, 198?)Michelle Willson: blues for a day (Evil Gal Blues, Bullseye Blues, 1994)Rhythm Chiefs: RC Boogie (recorded live in Holland in 2005)Back to Beardo:Trudy Lynn with The Calvin Owens Orchestra - Blues Party (from I'm Still Here on Sawdust Alley Records 2006 http://www.calvinowens.com )Larry McCray - Nobody Never Hurt Nobody With the Blues (from Live On Interstate 75 2005 Magnolia Records http://www.larrymccray.com )Bill Perry - Sneakin' Around (from Greycourt Lightning Pointblank 1998 http://www.billperry.com )Johnny Jenkins - Bad News (from Ton-Ton Macoute Capricorn Records 1974 )James Harmon Band - By-Yourself Dance (from Strictly Live in '85...plus! Vol. 1 Http://www.jamesharmon.com )Barbara Blue - What Makes You So Tough? (from Love Money can't Buy 2006 Big Blue Records http://www.barbarablue.com )http://www.bandanablues.com