Podcast appearances and mentions of Joe Alexander

Send us a textJoe Alexander comes back for another episode! The former West Virginia, NBA and Overseas star joins us to catch up and talk about his new mentorship program that helps serious athletes with professional dreams get to the next level. This is such a great episode to learn about his program and what it truly takes to be a high level college and professional athlete. Go back and listen to Season 3 Episode 33 to learn about Joe Alexander's basketball story if you haven't already. It's one of our favorites! Thank You Joe Alexander!See links below to learn more about his program. Every serious young athlete should check this out!www.Probasketballmentorship.comwww.Skool.comIG: @joealexander

Joe Alexander, has an amazing story. Being raised overseas Joe arrived back in the US to realize he loved basketball but had learned a very different style overseas. By going to West Virginia and playing for two amazing coaches that instilled confidence in him to work hard he progressed on and moved his way up the draft board in 2008. After playing in the NBA 3 years, he moved on in his basketball career playing professionally for another 10 years. Hear his amazing Who Knew Moments!!! To View This Episode- https://youtu.be/vkTtBhpYh48 #philfriedrich #westvirginia #milwaukeebucks #nba #basketball #podcast

Exploring Sensory Sensitivities: With Award-Winning Filmmaker Joe Alexander On DETERMiNED

In this action-packed episode of the Bear Grease Render, Clay Newcomb and Render crew members Brent Reaves, Gary "Believer" Newcomb, and Josh "Landbridge" Spielmaker are joined by Capt. Jeff Brown (Ret.) and Lt. Joe Alexander of the Oklahoma Department of Wildlife Conservation. Hear more of the behind-the-scenes efforts to bring Oklahoma Paddlefish poaching to an end.  Also, listen along as the whole crew does a live caviar tasting. Plus, for the first time ever, watch this one live on video on our MeatEater Podcast Network YouTube channel. Connect with Clay and MeatEater Clay on Instagram MeatEater on Instagram, Facebook, Twitter, and Youtube Shop Bear Grease MerchSee omnystudio.com/listener for privacy information.

Today on the Bear Grease Render, Clay Newcomb is joined by Brent Reaves, Misty Newcomb, and a posse of game wardens from the Oklahoma Department of Wildlife Conservation.  Cap. Hank Jenks, Lt. Joe Alexander, Austin Jackson, and Kody Moore bring some law and order and regale the Render Crew with stories of retired game warden Keith Green, poacher-turned-legitimate caviar producer, Billy Wishard, and the success of the Paddlefish Research Center. Connect with Clay and MeatEater Clay on Instagram MeatEater on Instagram, Facebook, Twitter, and Youtube Shop Bear Grease MerchSee omnystudio.com/listener for privacy information.

In this episode Joe and I discuss a variety of hot topics including the role of the strength and conditioning/sports performance coach, motivation, sport-specific exercises, how social media has influenced our field, and new ways to approach return-to-play protocols. To get in contact with Joe you can find him at Instagram:https://www.instagram.com/coach_jalexander/Johns Hopkins Athletic Performance https://hopkinssports.com/staff-directory/joe-alexander/411If you liked the show give us a follow on Instagram and shoot us a DM with your favorite part of the show!https://www.instagram.com/hottakesperformancepodcast/Until next time, thanks for listening!!

Original airdate 10/25/2023Do you have Teambuildr for your athletes and teams? Perfect. You need to know about this feature that Joe Alexander uses with his staff at Johns Hopkins University. Joe is the director of Athletic Performance at Hopkins and has been using TeamBuildr since 2018.___TRY US OUT:24 hour access for ONLY $1: https://strengthcoachnetwork.com/monthly-order___CONNECT:

This is episode 001 of the TeamBuildr Round Table discussion. Each week we will have a new coach that shares insights with you on how they use the software.Additionally, we will ask them to share with us about something new they learned in the last year that helps them program for their athletes better. Tune in each week on Thursday to learn more!___TRY US OUT:24 hour access for ONLY $1: https://strengthcoachnetwork.com/monthly-order___CONNECT:

Blauer Hut, stahlblaue Augen, weltoffen – das sind die Markenzeichen von Joe Alexander. Er ist einer der erfolgreichsten Weltrekordhalter Europas mit unglaublichen 51 Weltrekorden, unter anderem das Fangen von Pfeilen mit der Hand. Außerdem ist er mehrfacher Hamburger und Deutscher Meister im Taekwondo. Seit 25 Jahre ist Joe erfolgreicher Backstage Coach und Ideengeber bei großen Fernsehshows, beispielweise für „Wetten, dass?“.  Heute ist er darüber hinaus als Autor und Coach erfolgreich. Gemeinsam mit Joe Alexander habe ich unter anderem über sein aufregendes Leben, die Zeit bei Wetten, dass..? und seine zahlreichen Rekord gesprochen.   www.torstenkoerting.com/termin/   Torsten J. Koerting auf Facebook www.torstenkoerting.com/facebook/   Torsten  J. Koerting auf Linkedin www.torstenkoerting.com/linkedin/   Torsten J. Koerting auf XING www.torstenkoerting.com/xing/   Torsten J. Koerting auf Instagram www.torstenkoerting.com/instagram/   Mehr Infos und alle Folgen des Podcast findest du hier! www.torstenkoerting.com/podcast/

Joe Alexander and Barak Swarttz speaks with Rabbi Sherman to explain how the worlds of basketball and Israel intersect in a deep way. Joe was the 8th pick in the 2008 NBA draft and then became a Maccabi Tel Aviv star after making aliyah and rediscovering his Jewish roots. Joe and Barak explain how other young kids in America can dream of a professional basketball career in the land of Israel. This summer, Joe and Barak will visit Sinai Temple with their new camp, Jabstep. https://www.jabstepbasketball.com/sinai Make sure to sign your children up today!

Blauer Hut, stahlblaue Augen, weltoffen – das sind die Markenzeichen von Joe Alexander. Er ist einer der erfolgreichsten Weltrekordhalter Europas mit unglaublichen 51 Weltrekorden, unter anderem das Fangen von Pfeilen mit der Hand. Außerdem ist er Mehrfacher Hamburger und Deutscher Meister im Taekwondo. Seit 25 Jahre ist Joe erfolgreicher Backstage Coach und Ideengeber bei großen Fernsehshows, beispielweise für „Wetten, dass?“.  Heute ist er darüber hinaus als Autor und Coach erfolgreich. In dieser Folge sprechen wir über seine Arbeiten als Coach und du bekommst exklusive Einblicke in diese. Quick Links: Sichere dir noch HEUTE eine Kopie unseres neuen Buches „Auftrag deines Lebens“! Du erfährst alles über spannende Themen die dir in deiner Selbstständigkeit helfen. Außerdem gibt es Interviews mit echten Koryphäen und ich bin mir sicher, dass Du von ihnen auf jeden Fall noch etwas lernen kannst. Buch ... www.die-koertings.com/buch/   Wenn du bereits in der Umsetzung bist oder es kommen möchtest, dann trete noch heute unsere Facebook Gruppe „Seilschaft der Selbstständigen bei. Komm mit anderem Selbstständigen ins Gespräch und lerne von ihnen! Facebook Gruppe ... www.die-koertings.com/facebookgruppe/   Vereinbare jetzt einen persönlichen Umsetzungstermin mit uns ... in dem wir Deine Aktuelle Situation analysieren, betrachten wo Du oder Dein Team hinmöchtest, wir können aufzeigen, wie Du dahin kommst, was Dich aktuell davon abhält und was möglicherweise notwendig ist, um Dich einen Schritt weiterzubringen und damit Du Deine Ziele erreichst. Wachstumssession ... www.die-koertings.com/termin/   Wenn du auf der Suche nach weiteren spannenden Impulsen für deine Selbstständigkeit bist, dann gehe jetzt auf unsere Impulseseite und lass die zahlreichen spannenden Impulse auf dich wirken. Impulse im Netflix Flow ... www.die-koertings.com/impulse/   Wenn dir diese Podcastfolge gefallen hat, dann höre dir jetzt noch weitere informative und spannende Folgen… Weitere Podcastfolgen ... www.die-koertings.com/podcast/  Impressum: https://die-koertings.com/impressum/

Blauer Hut, stahlblaue Augen, weltoffen – das sind die Markenzeichen von Joe Alexander. Er ist einer der erfolgreichsten Weltrekordhalter Europas mit unglaublichen 51 Weltrekorden, unter anderem das Fangen von Pfeilen mit der Hand. Außerdem ist er Mehrfacher Hamburger und Deutscher Meister im Taekwondo. Seit 25 Jahre ist Joe erfolgreicher Backstage Coach und Ideengeber bei großen Fernsehshows, beispielweise für „Wetten, dass?“.  Heute ist er darüber hinaus als Autor und Coach erfolgreich. In dieser Folge sprechen wir über seine 51 Rekorde und Einträge ins Guinness-Buch der Rekorde.   Quick Links: Sichere dir noch HEUTE eine Kopie unseres neuen Buches „Auftrag deines Lebens“! Du erfährst alles über spannende Themen die dir in deiner Selbstständigkeit helfen. Außerdem gibt es Interviews mit echten Koryphäen und ich bin mir sicher, dass Du von ihnen auf jeden Fall noch etwas lernen kannst. Buch ... www.die-koertings.com/buch/   Wenn du bereits in der Umsetzung bist oder es kommen möchtest, dann trete noch heute unsere Facebook Gruppe „Seilschaft der Selbstständigen bei. Komm mit anderem Selbstständigen ins Gespräch und lerne von ihnen! Facebook Gruppe ... www.die-koertings.com/facebookgruppe/   Vereinbare jetzt einen persönlichen Umsetzungstermin mit uns ... in dem wir Deine Aktuelle Situation analysieren, betrachten wo Du oder Dein Team hinmöchtest, wir können aufzeigen, wie Du dahin kommst, was Dich aktuell davon abhält und was möglicherweise notwendig ist, um Dich einen Schritt weiterzubringen und damit Du Deine Ziele erreichst. Wachstumssession ... www.die-koertings.com/termin/   Wenn du auf der Suche nach weiteren spannenden Impulsen für deine Selbstständigkeit bist, dann gehe jetzt auf unsere Impulseseite und lass die zahlreichen spannenden Impulse auf dich wirken. Impulse im Netflix Flow ... www.die-koertings.com/impulse/   Wenn dir diese Podcastfolge gefallen hat, dann höre dir jetzt noch weitere informative und spannende Folgen… Weitere Podcastfolgen ... www.die-koertings.com/podcast/  Impressum: https://die-koertings.com/impressum/

Blauer Hut, stahlblaue Augen, weltoffen – das sind die Markenzeichen von Joe Alexander. Er ist einer der erfolgreichsten Weltrekordhalter Europas mit unglaublichen 51 Weltrekorden, unter anderem das Fangen von Pfeilen mit der Hand. Außerdem ist er Mehrfacher Hamburger und Deutscher Meister im Taekwondo. Seit 25 Jahre ist Joe erfolgreicher Backstage Coach und Ideengeber bei großen Fernsehshows, beispielweise für „Wetten, dass?“.  Heute ist er darüber hinaus als Autor und Coach erfolgreich. In dieser Folge sprechen wir über „Wetten, dass ..?“, Samuel Koch und dessen tragischen Unfall.   Quick Links: Sichere dir noch HEUTE eine Kopie unseres neuen Buches „Auftrag deines Lebens“! Du erfährst alles über spannende Themen die dir in deiner Selbstständigkeit helfen. Außerdem gibt es Interviews mit echten Koryphäen und ich bin mir sicher, dass Du von ihnen auf jeden Fall noch etwas lernen kannst. Buch ... www.die-koertings.com/buch/   Wenn du bereits in der Umsetzung bist oder es kommen möchtest, dann trete noch heute unsere Facebook Gruppe „Seilschaft der Selbstständigen bei. Komm mit anderem Selbstständigen ins Gespräch und lerne von ihnen! Facebook Gruppe ... www.die-koertings.com/facebookgruppe/   Vereinbare jetzt einen persönlichen Umsetzungstermin mit uns ... in dem wir Deine Aktuelle Situation analysieren, betrachten wo Du oder Dein Team hinmöchtest, wir können aufzeigen, wie Du dahin kommst, was Dich aktuell davon abhält und was möglicherweise notwendig ist, um Dich einen Schritt weiterzubringen und damit Du Deine Ziele erreichst. Wachstumssession ... www.die-koertings.com/termin/   Wenn du auf der Suche nach weiteren spannenden Impulsen für deine Selbstständigkeit bist, dann gehe jetzt auf unsere Impulseseite und lass die zahlreichen spannenden Impulse auf dich wirken. Impulse im Netflix Flow ... www.die-koertings.com/impulse/   Wenn dir diese Podcastfolge gefallen hat, dann höre dir jetzt noch weitere informative und spannende Folgen… Weitere Podcastfolgen ... www.die-koertings.com/podcast/  Impressum: https://die-koertings.com/impressum/

Blauer Hut, stahlblaue Augen, weltoffen – das sind die Markenzeichen von Joe Alexander. Er ist einer der erfolgreichsten Weltrekordhalter Europas mit unglaublichen 51 Weltrekorden, unter anderem das Fangen von Pfeilen mit der Hand. Außerdem ist er Mehrfacher Hamburger und Deutscher Meister im Taekwondo. Seit 25 Jahre ist Joe erfolgreicher Backstage Coach und Ideengeber bei großen Fernsehshows, beispielweise für „Wetten, dass?“.  Heute ist er darüber hinaus als Autor und Coach erfolgreich. In dieser Folge sprechen wir über sein Leben, zu welchem unteranderem die Flucht nach Deutschland, die Zeit in den USA und viele Hindernissen gehören. Quick Links: Sichere dir noch HEUTE eine Kopie unseres neuen Buches „Auftrag deines Lebens“! Du erfährst alles über spannende Themen die dir in deiner Selbstständigkeit helfen. Außerdem gibt es Interviews mit echten Koryphäen und ich bin mir sicher, dass Du von ihnen auf jeden Fall noch etwas lernen kannst. Buch ... www.die-koertings.com/buch/   Wenn du bereits in der Umsetzung bist oder es kommen möchtest, dann trete noch heute unsere Facebook Gruppe „Seilschaft der Selbstständigen bei. Komm mit anderem Selbstständigen ins Gespräch und lerne von ihnen! Facebook Gruppe ... www.die-koertings.com/facebookgruppe/   Vereinbare jetzt einen persönlichen Umsetzungstermin mit uns ... in dem wir Deine Aktuelle Situation analysieren, betrachten wo Du oder Dein Team hinmöchtest, wir können aufzeigen, wie Du dahin kommst, was Dich aktuell davon abhält und was möglicherweise notwendig ist, um Dich einen Schritt weiterzubringen und damit Du Deine Ziele erreichst. Wachstumssession ... www.die-koertings.com/termin/   Wenn du auf der Suche nach weiteren spannenden Impulsen für deine Selbstständigkeit bist, dann gehe jetzt auf unsere Impulseseite und lass die zahlreichen spannenden Impulse auf dich wirken. Impulse im Netflix Flow ... www.die-koertings.com/impulse/   Wenn dir diese Podcastfolge gefallen hat, dann höre dir jetzt noch weitere informative und spannende Folgen… Weitere Podcastfolgen ... www.die-koertings.com/podcast/  Impressum: https://die-koertings.com/impressum/

All this week I am talking with Joe Alexander about food safety. Joe is a ServSafe instructor and food truck owner. My Newest Book – Food Truck 201: Get Off the Truck! https://www.amazon.com/dp/B0B5F2ND5W Get on my schedule for a free no obligation call. https://calendly.com/bill_moore/fttg-introductory-coaching-call Check out the best Food Truck group on Facebook https://www.facebook.com/groups/FoodTruckTraining Brand new to food trucking? Check out our training course that comes with 8 hours of one-on-one training. https://www.moorebetterperformance.com/food-truck-101.html For old school folks that like reading books I have you covered as well with a 300 plus page textbook and an optional study guide. https://www.amazon.com/gp/product/1697684467 We have video training on our YouTube channel. https://www.youtube.com/c/foodvendorreality Support the pod with a monthly donation. https://anchor.fm/food-truck-training/support Or offer one time support here. https://www.moorebetterperformance.com/store/p7/10_Minute_Food_Truck_Training_Pod_Cast_Support.html Intro Music: Just Breathing by NEFFEX https://www.youtube.com/channel/UCBefBxNTPoNCQBU_Lta6Nvg --- Support this podcast: https://anchor.fm/food-truck-training/support

All this week I am talking with Joe Alexander about food safety. Joe is a ServSafe instructor and food truck owner. My Newest Book – Food Truck 201: Get Off the Truck! https://www.amazon.com/dp/B0B5F2ND5W Get on my schedule for a free no obligation call. https://calendly.com/bill_moore/fttg-introductory-coaching-call Check out the best Food Truck group on Facebook https://www.facebook.com/groups/FoodTruckTraining Brand new to food trucking? Check out our training course that comes with 8 hours of one-on-one training. https://www.moorebetterperformance.com/food-truck-101.html For old school folks that like reading books I have you covered as well with a 300 plus page textbook and an optional study guide. https://www.amazon.com/gp/product/1697684467 We have video training on our YouTube channel. https://www.youtube.com/c/foodvendorreality Support the pod with a monthly donation. https://anchor.fm/food-truck-training/support Or offer one time support here. https://www.moorebetterperformance.com/store/p7/10_Minute_Food_Truck_Training_Pod_Cast_Support.html Intro Music: Just Breathing by NEFFEX https://www.youtube.com/channel/UCBefBxNTPoNCQBU_Lta6Nvg --- Support this podcast: https://anchor.fm/food-truck-training/support

All this week I am talking with Joe Alexander about food safety. Joe is a ServSafe instructor and food truck owner. My Newest Book – Food Truck 201: Get Off the Truck! https://www.amazon.com/dp/B0B5F2ND5W Get on my schedule for a free no obligation call. https://calendly.com/bill_moore/fttg-introductory-coaching-call Check out the best Food Truck group on Facebook https://www.facebook.com/groups/FoodTruckTraining Brand new to food trucking? Check out our training course that comes with 8 hours of one-on-one training. https://www.moorebetterperformance.com/food-truck-101.html For old school folks that like reading books I have you covered as well with a 300 plus page textbook and an optional study guide. https://www.amazon.com/gp/product/1697684467 We have video training on our YouTube channel. https://www.youtube.com/c/foodvendorreality Support the pod with a monthly donation. https://anchor.fm/food-truck-training/support Or offer one time support here. https://www.moorebetterperformance.com/store/p7/10_Minute_Food_Truck_Training_Pod_Cast_Support.html Intro Music: Just Breathing by NEFFEX https://www.youtube.com/channel/UCBefBxNTPoNCQBU_Lta6Nvg --- Support this podcast: https://anchor.fm/food-truck-training/support

All this week I am talking with Joe Alexander about food safety. Joe is a ServSafe instructor and food truck owner. My Newest Book – Food Truck 201: Get Off the Truck! https://www.amazon.com/dp/B0B5F2ND5W Get on my schedule for a free no obligation call. https://calendly.com/bill_moore/fttg-introductory-coaching-call Check out the best Food Truck group on Facebook https://www.facebook.com/groups/FoodTruckTraining Brand new to food trucking? Check out our training course that comes with 8 hours of one-on-one training. https://www.moorebetterperformance.com/food-truck-101.html For old school folks that like reading books I have you covered as well with a 300 plus page textbook and an optional study guide. https://www.amazon.com/gp/product/1697684467 We have video training on our YouTube channel. https://www.youtube.com/c/foodvendorreality Support the pod with a monthly donation. https://anchor.fm/food-truck-training/support Or offer one time support here. https://www.moorebetterperformance.com/store/p7/10_Minute_Food_Truck_Training_Pod_Cast_Support.html Intro Music: Just Breathing by NEFFEX https://www.youtube.com/channel/UCBefBxNTPoNCQBU_Lta6Nvg --- Support this podcast: https://anchor.fm/food-truck-training/support

All this week I am talking with Joe Alexander about food safety. Joe is a ServSafe instructor and food truck owner. My Newest Book – Food Truck 201: Get Off the Truck! https://www.amazon.com/dp/B0B5F2ND5W Get on my schedule for a free no obligation call. https://calendly.com/bill_moore/fttg-introductory-coaching-call Check out the best Food Truck group on Facebook https://www.facebook.com/groups/FoodTruckTraining Brand new to food trucking? Check out our training course that comes with 8 hours of one-on-one training. https://www.moorebetterperformance.com/food-truck-101.html For old school folks that like reading books I have you covered as well with a 300 plus page textbook and an optional study guide. https://www.amazon.com/gp/product/1697684467 We have video training on our YouTube channel. https://www.youtube.com/c/foodvendorreality Support the pod with a monthly donation. https://anchor.fm/food-truck-training/support Or offer one time support here. https://www.moorebetterperformance.com/store/p7/10_Minute_Food_Truck_Training_Pod_Cast_Support.html Intro Music: Just Breathing by NEFFEX https://www.youtube.com/channel/UCBefBxNTPoNCQBU_Lta6Nvg --- Support this podcast: https://anchor.fm/food-truck-training/support

All this week I am talking with Joe Alexander about food safety. Joe is a ServSafe instructor and food truck owner. My Newest Book – Food Truck 201: Get Off the Truck! https://www.amazon.com/dp/B0B5F2ND5W Get on my schedule for a free no obligation call. https://calendly.com/bill_moore/fttg-introductory-coaching-call Check out the best Food Truck group on Facebook https://www.facebook.com/groups/FoodTruckTraining Brand new to food trucking? Check out our training course that comes with 8 hours of one-on-one training. https://www.moorebetterperformance.com/food-truck-101.html For old school folks that like reading books I have you covered as well with a 300 plus page textbook and an optional study guide. https://www.amazon.com/gp/product/1697684467 We have video training on our YouTube channel. https://www.youtube.com/c/foodvendorreality Support the pod with a monthly donation. https://anchor.fm/food-truck-training/support Or offer one time support here. https://www.moorebetterperformance.com/store/p7/10_Minute_Food_Truck_Training_Pod_Cast_Support.html Intro Music: Just Breathing by NEFFEX https://www.youtube.com/channel/UCBefBxNTPoNCQBU_Lta6Nvg --- Support this podcast: https://anchor.fm/food-truck-training/support

All this week I am talking with Joe Alexander about food safety. Joe is a ServSafe instructor and food truck owner. My Newest Book – Food Truck 201: Get Off the Truck! https://www.amazon.com/dp/B0B5F2ND5W Get on my schedule for a free no obligation call. https://calendly.com/bill_moore/fttg-introductory-coaching-call Check out the best Food Truck group on Facebook https://www.facebook.com/groups/FoodTruckTraining Brand new to food trucking? Check out our training course that comes with 8 hours of one-on-one training. https://www.moorebetterperformance.com/food-truck-101.html For old school folks that like reading books I have you covered as well with a 300 plus page textbook and an optional study guide. https://www.amazon.com/gp/product/1697684467 We have video training on our YouTube channel. https://www.youtube.com/c/foodvendorreality Support the pod with a monthly donation. https://anchor.fm/food-truck-training/support Or offer one time support here. https://www.moorebetterperformance.com/store/p7/10_Minute_Food_Truck_Training_Pod_Cast_Support.html Intro Music: Just Breathing by NEFFEX https://www.youtube.com/channel/UCBefBxNTPoNCQBU_Lta6Nvg --- Support this podcast: https://anchor.fm/food-truck-training/support

Zero BS in this conversation. This one is about as a real as it gets! We are honored to have Joe Alexander on the podcast today for an episode that we will never forget. His basketball story is like no other and we get to learn all about it.Joe Alexander's journey is hoops is about as unique as it gets. Unlike the kids who grew up in the United States, Joe had very little access to NBA games, trainers and all of the other luxuries that most kids with NBA dreams had. Joe simply put in the WORK every single day to follow his NBA dreams. He starred at West Virginia and went on to sky rocket up the draft board to become the 8th overall pick of the NBA draft. He played with Milwaukee, Chicago and then went on to have a successful career overseas.Joe shares great stories about growing up in China, recruiting process, Bob Huggins, NCAA tourney run, Draft night, Charlie Bell, Shaq, Richard Jefferson, wild experiences overseas, his book and MUCH more!Big thanks to Joe Alexander for taking the time to hang out with us today. Joe tells it exactly how it is and tells us NOT what you want to hear, but what you should hear. That is exactly how his book will be and we know his book is going to have a huge impact in the basketball world. We can't thank Joe enough for his time.Thanks Joe Alexander!Be sure to follow his YouTube page and give his page a follow to keep up for when his book is released!https://m.youtube.com/channel/UCsX4ObOI99aNdLexJWcWzHg?fbclid=PAAaaglfWGfGBoQsV0mjsMDqkrLrhaGhUTRmsHe2pK6P0TEsCPRDKV3kZI-m4Follow us on social media for news, updates and highlight reels!Facebook - https://www.facebook.com/notin.myhouse.79Instagram- @Not_in_my_house_podcastTwitter - @NOTINMYHOUSEpc

We are continuing this month of March with one-off and rare recordings and tonight's Jazz feature is just that. Not too much is known about the leader, tenor saxophonist Joe Alexander except he was originally from Birmingham, Alabama but spent most of his playing career in Cleveland, Ohio where he found steady work. His only other recorded appearance is on Tadd Dameron's album "Fontainebleau" from 1956.. This album called "Blue Jubilee" is Joe's only recording under his name. Joe recorded this in June of 1960 while he was on a short tour of duty with Ray Charles' band. Joe and equally obscure trumpet player John Hunt teamed up. John was a long time player with Ray Charles. Joe and John are backed by an all-star rhythm section made up of Bobby Timmons on piano, Sam Jones on bass and Albert "Tootie" Heath on drums. Blue Jubilee turns out to be a fine solid Jazz album that presents two rather obscure players in the best light. Sadly this album never was issued domestically on CD but can be found on the European Fresh Sounds label. Enjoy a rare treat on tonight's Jazz Feature.

Joe Alexander is the author of the book "Blatant Raw Foodist Propaganda" and has been a raw foodist for 44 years.  He lives and works in Arkansas as a professional sign painter.  Joe is in the process of writing a new book which he hopes to release soon.He can be contacted via email at: joepainteralexander@gmx.comSubscribe to the Love Fruit Newsletter: http://bit.ly/lovefruitnewsletter

Follow Us On All Our Social Media @GenZHoops! Tune In On All Major Platforms Like Apple Podcasts, Spotify, And Youtube!!

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No, I'm not dead. YAAAS BRO is not dead. Daddy has just been a little too busy, that's all… In this episode we welcome host of podcast "We're Big Kids Now", Joe Alexander. We talk about a few things that we enjoyed during our childhood but came to realize as adults that they actually suck, like Disney and Free Willy. We also talk about coming out, the ever changing rainbow flag, being a self-loathing gay, making friends in the gay scene, how people revolve their personalities around ONE interest (ew), and so much more. Buckle up kids, this episode is loaded. Big thanks to Mr. Joe Alexander for being so patient with the release of this episode and all of YOU beautiful, dedicated listeners for sticking around, checking in on the podcast and of course, donating. Love y'all

Mr. Kazuhiro Gomi, is President and CEO of NTT Research (https://ntt-research.com/), a division of The Nippon Telegraph and Telephone Corporation, commonly known as NTT (https://www.global.ntt/), a Japanese telecommunications company headquartered in Tokyo, Japan. Mr. Gomi has been at NTT for more than 30 years and was involved in product management/product development activities at the beginning of his tenure. In September of 2009, Mr. Gomi was first named to the Global Telecoms Business Power100 — a list of the 100 most powerful and influential people in the telecoms industry. He was the CEO of NTT America Inc. from 2010 to 2019 and also served on the Board of Directors at NTT Communications from 2012 to 2019. Mr. Gomi received a Masters of Science in Industrial Engineering from the University of Illinois at Urbana-Champaign, and a Master of Science in Electrical Engineering from Keio University, Tokyo. Mr. Gomi is a member of the board at US Japan Council, a non-profit organization aimed at fostering a better relationship between the US and Japan. Dr. Joe Alexander, is Director of the Medical and Health Informatics (MEI) Lab at NTT Research, where he oversees the MEI Lab research in multi-scale Precision Cardiology platforms such as the cardiovascular bio-digital twin, as well as heart-on-a-chip technology, specifically aimed at developing the infrastructure for a digital replica of an individual's heart. In addition, the MEI Lab is working on nano- and micro-scale sensors and electrodes, other organ-on-a-chip micro-fluidics technologies, as well as wearable and remote sensing to support future bio-digital twin applications. Before coming to NTT Research, Dr. Alexander spent 18 years at Pfizer, Inc., where he had most recently served as Senior Medical Director, Global Medical Affairs, working in cardiovascular medicine, worldwide clinical imaging and measurement technologies, medical devices and pulmonary hypertension, and regularly conducting modeling and simulation research in many of these areas. He previously worked for two years at Merck, Inc. and spent eight years at Vanderbilt University, where he completed a two-year residency in internal medicine and served as a professor of medicine and biomedical engineering. Dr. Alexander obtained his M.D. and Ph.D. (in biomedical engineering) degrees at the Johns Hopkins University School of Medicine.

Winds of change! The boys talk about the trade of Jack Suwinski and Tucupita Marcano, The usual article of MiLB players living conditions and the empty promises form the parent team. MadFriars interview of Matt Waldron and Dylan Reault. A conversation with 210 Gameday Joe Alexander about the Missions.

We start with our Fails, including Sean's roach problem, XBOX, and a child with a telescope. We also discuss the career of Joe Alexander, who even stinks overseas. We also go really in depth on NBA jerseys both past and present for Winners & Losers. For the Sports topics of the week, we start with the NBA Finals, and whether the Bucks have any shot. Also Danny Green proves the Sixers are soft, and Team USA lost to Nigeria. The Lighting are Stanley Cup Champions, further proving that Tom Brady has magical powers to bring success wherever he is. Shohei Ohtani is the first player that will hit and pitch in the All Star Game,and he's in the Home Run Derby as well. Meanwhile Ronald Acuna Jr. sees his season end, and the Marlins have a hilariously bad tweet about it. We also discuss Saturday Night's UFC fights, including where does Conor McGregor go from here? Pure Rock n Roll by Alexander Nakarada | https://www.serpentsoundstudios.com Music promoted by https://www.free-stock-music.com Attribution 4.0 International (CC BY 4.0) https://creativecommons.org/licenses/by/4.0/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/sean998/support

From the US and over to Taiwan, two Joe Alexander's were born with totally different lives ahead of themselves. Former NBA player, Joe Alexander, joins me as I finally set the record straight for all our fans who confuse the two of us in Chapter 27 of “We're Big Kids Now”. Listen to Joe's amazing journey down his NBA draft and a turning accident that led to his time away from the NBA. Also, you won't want to miss out on hearing what's the first thing he does every morning as a wake up routine...Let's just say it has to do with an intense pump! Be sure to follow Joe on Instagram and all other social media platforms. Guest: Joe Alexander Instagram: @JoeAlexander --- Support this podcast: https://anchor.fm/werebigkidsnow/support

February 15, 2021 - Joe Alexander joined Byers & Co to talk about the history of President's Day and details the Illinois connection to four United States presidents. See omnystudio.com/listener for privacy information.

Use promo code FINAL4CHAMP through Nov. 21 for 20% off CHAMPION BRAND PRODUCTS!! Joe Alexander returns to the show and brings Jamie Smalligan with him! Ash is out this week, but Kevin, Da and John all talk nonsense and catch up. What's Jamie been up to? Why does Joe like magic mushrooms?  + We ask your questions! Remember to call us or text at (304) 807-9098! Let us know you're listening!

In an effort to support as many Australian and Sydney artists as our platform allows during this time, we're introducing a new series in which we take a deep dive into some of our favourite local independent labels. Telling the stories of their history, breaking down essential releases, hearing from key players and more. Joe Alexander from Bedroom Suck shared with us his fonded memories of the label, and lifted the curtain behind some of the labels biggest releases, from Jaala, Scott and Charlene's Wedding and Good Morning. TRACKS PLAYED: Jaala - 'Sames' Jaala - 'Salt Shaker' Jaala - 'Hard Hold' Good Morning - 'For A Little While' Good Morning - Mirror Freak' Good Morning - 'Escalator' Scott And Charlene's Wedding 'Maureen' Scott And Charlene's Wedding 'Don't Bother Me' Scott And Charlene's Wedding 'Scrambled Eggs' Rabbit Island 'Boxing Day' Rabbit Island 'Deep In The Big' Gordon Koang 'Mal Mi Goa' See omnystudio.com/listener for privacy information.

Alright, I guess we're doing another season of Always Record. We start today by catching up with Guillaume Samard, Joe Alexander, SJ Anderson, Douglas Bolles, Dennis Koch, Alan Abbadessa, and Jordan Bartee.

Alright, I guess we're doing another season of Always Record. We start today by catching up with Guillaume Samard, Joe Alexander, SJ Anderson, Douglas Bolles, Dennis Koch, Alan Abbadessa, and Jordan Bartee.

Alright, I guess we're doing another season of Always Record. We start today by catching up with Guillaume Samard, Joe Alexander, SJ Anderson, Douglas Bolles, Dennis Koch, Alan Abbadessa, and Jordan Bartee.

Alright, I guess we're doing another season of Always Record. We start today by catching up with Guillaume Samard, Joe Alexander, SJ Anderson, Douglas Bolles, Dennis Koch, Alan Abbadessa, and Jordan Bartee.

Alright, I guess we're doing another season of Always Record. We start today by catching up with Guillaume Samard, Joe Alexander, SJ Anderson, Douglas Bolles, Dennis Koch, Alan Abbadessa, and Jordan Bartee.

Alright, I guess we're doing another season of Always Record. We start today by catching up with Guillaume Samard, Joe Alexander, SJ Anderson, Douglas Bolles, Dennis Koch, Alan Abbadessa, and Jordan Bartee.

Alright, I guess we're doing another season of Always Record. We start today by catching up with Guillaume Samard, Joe Alexander, SJ Anderson, Douglas Bolles, Dennis Koch, Alan Abbadessa, and Jordan Bartee.

Alright, I guess we're doing another season of Always Record. We start today by catching up with Guillaume Samard, Joe Alexander, SJ Anderson, Douglas Bolles, Dennis Koch, Alan Abbadessa, and Jordan Bartee.

Ein Coach für alles Extreme, Herausragende und Pfeile fangende: Joe Alexander. Egal ob Pfeile, Speere, Dartpfeile, Harpunen, Joe Alexander gotta catch 'em all. Katjana hat ihn heute eingefangen um mit ihm über seine Tricks zu reden - und um Liegestütze zu machen. Social Links zur Folge: Nie Gehört auf Instagram -> https://www.instagram.com/nie.gehoert/ Joes Webseite -> http://joealexander.com/ Joe auf Instagram -> https://www.instagram.com/joe_alexander_12/ - Dieser Podcast wird präsentiert von GeloRevoice™.

The global meditation/ritual working with Mark Golding, Wally Scharold, Jeremie JJ Draa, Guillaume Samard, Joe Alexander, SJ Anderson, Znore, Douglas Bolles, Hannah Craven, Dennis Koch, Bill Klaus, Alan Abbadessa, and Jordan Bartee.

The global meditation/ritual working with Mark Golding, Wally Scharold, Jeremie JJ Draa, Guillaume Samard, Joe Alexander, SJ Anderson, Znore, Douglas Bolles, Hannah Craven, Dennis Koch, Bill Klaus, Alan Abbadessa, and Jordan Bartee.

Joe Alexander of the Bradford Community is excited about the opportunity with Tyson Foods as he has the first of many chicken houses to open in Gibson County for Tyson’s Humboldt Complex. Tyson Humboldt Complex news release The post First Farm Ready for Tyson Birds appeared first on Tennessee Farm Bureau.

Welcome to episode twenty-nine of A History of Rock Music in Five Hundred Songs. This is the second of our three-part look at Chess Records, and focuses on "Maybellene" by Chuck Berry. Click the full post to read liner notes, links to more information, and a transcript of the episode.  ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. I reference three previous episodes here -- last week's, the disclaimer episode, and the episode on Ida Red. I used three main books as reference here: Brown Eyed Handsome Man: The Life and Hard Times of Chuck Berry by Bruce Pegg is a good narrative biography of Berry, which doesn't shy away from the less salubrious aspects of his personality, but is clearly written by an admirer. Long Distance Information: Chuck Berry's Recorded Legacy by Fred Rothwell is an extraordinarily researched look at every single recording session of Berry's career up to 2001. And for information on Chess, I used The Record Men: Chess Records and the Birth of Rock and Roll by Richard Cohen. I wouldn't recommend that book, however -- while it has some useful interview material and anecdotes from those involved, Cohen gets some basic matters of fact laughably wrong, and generally seems to be more interested in showing off his prose style than fact-checking. There are a myriad Chuck Berry compilations available. The one I'd recommend if you don't have a spare couple of hundred quid for the complete works box set is the double-CD Gold, which has every major track without any of the filler. And if you want to check out more of Willie Dixon's material, this four-CD set contains a hundred records he either performed on as an artist, played on as a session player, wrote, or produced. It's the finest body of work in post-war blues.     Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   [Intro: Alan Freed introducing Chuck Berry and Maybellene] Welcome to the second part of our trilogy on Chess Records. This week, we're going to talk about the most important single record Chess ever put out, and arguably the most important artist in the whole history of rock music. But first, we're going to talk about something a lot more recent. We're going to talk about "Old Town Road," by Lil Nas X. For those of you who don't follow the charts and the music news in general, "Old Town Road" is a song put out late last year by a rapper, but it reached number nineteen in the country charts. Because it's a country song: [Excerpt: "Old Town Road" by Lil Nas X] That's a song with banjo and mandolin, with someone singing in a low Johnny Cash style voice about riding a horse while wearing a cowboy hat. It's clearly country music if anything at all is country music. But it was taken off the country music charts the week it would otherwise have made number one, in a decision that Billboard was at pains to say was nothing at all to do with his race. A hint -- if you have to go to great lengths to say that the thing you're doing isn't racist, it's probably racist. Because genre labels have always been about race, and about policing racial boundaries in the US, since the very beginning. Remember that when Billboard started the R&B charts they were called the "race music" charts. You had the race music charts for black people, the country charts for lower-class whites, and the pop charts for the respectable white people. That was the demarcation, and that still is the demarcation. But people will always want to push against those constraints. And in the 1950s, just like today, there were black people who wanted to make country music. But in the 1950s, unlike today, there was a term for the music those people were making. It was called rock and roll. For about a decade, from roughly 1955 through 1965, "rock and roll" became a term for the music which disregarded those racial boundaries. And since then there has been a slow but sure historical revisionism. The lines of rock and roll expand to let in any white man, but they constrict to push out the women and black men who were already there. But there's one they haven't yet been able to push out, because this particular black man playing country music was more or less the embodiment of rock and roll. Chuck Berry was, in many ways, not at all an admirable man. He was one of all too many rock and roll pioneers to be a sex offender (and again, please see the disclaimer episode I did close to the start of this series, for my thoughts about that -- nothing I say about his work should be taken to imply that I think that work mitigates some of the awful things he did) and he was also by all accounts an unpleasant person in a myriad other ways. As I talked about in the disclaimer episode, we will be dealing with many awful people in this series, because that's the nature of the history of rock and roll, but Chuck Berry was one of the most fundamentally unpleasant, unlikeable, people we'll be looking at. Nobody has a good word to say about him as a human being, and he hurt a lot of people over his long life. When I talk about his work, or the real injustices that were also done to him, I don't want to forget that. But when it comes to rock and roll, Chuck Berry may be the single most important figure who ever lived, and a model for everyone who followed. [Excerpt: “Maybellene”, just the intro] To talk about Chuck Berry, we first of all have to talk about Johnnie Johnson. Johnnie Johnson was a blues piano player, who had got a taste of life as a professional musician in the Marines, where he'd played in a military band led by Bobby Troup, the writer of "Route 66" among many other songs. After leaving the Marines, he'd moved around the Midwest, playing blues in various bands, before forming his own trio, the Johnnie Johnson Trio, in St Louis. That trio consisted of piano, saxophone, and drums -- until New Year's Eve 1952, when the saxophone player had a stroke and couldn't play. Johnson needed another musician to play with the trio, and needed someone quick, but it was New Year's Eve -- every musician he could think of would be booked up. Except for Chuck Berry. Berry was a guitarist he vaguely knew, and was different in every way from Johnson. Where Johnson was an easy-going, fat, jovial, man, who had no ambitions other than to make a living playing boogie-woogie piano, Chuck Berry had already served a term in prison for armed robbery, was massively ambitious, and was skinny as a rake. But he could play the guitar and sing well enough, and the customers had hired a trio, not a duo, and so Chuck Berry joined the Johnnie Johnson Trio. Berry soon took over the band, as Johnson, a relatively easy-going person, saw that Berry was so ambitious that he would be able to bring the band greater success than they would otherwise have had. And also, Berry owned a car, which was useful for transporting the band to gigs. And so the Johnnie Johnson trio became the Chuck Berry Trio. Berry would also play gigs on the side with other musicians, and in 1954 he played guitar on a session for a calypso record on a local independent label: [Excerpt: "Oh Maria", Joe Alexander and the Cubans] However, when Berry tried to get that label to record the Chuck Berry Trio, they weren't interested. But then Berry drove to Chicago to see one of his musical heroes, Muddy Waters. We've talked about Waters before, but only in passing -- but Waters was, by far, the biggest star in the Chicago electric blues style, whose driving, propulsive, records were more accessible than Howlin' Wolf but still had some of the Delta grit that was missing from the cleaner sounds of people like T-Bone Walker. Berry stayed after the show to talk to his idol, and asked him how he could make records like Waters did. Waters told him to go and see Leonard Chess at Chess Records. Berry went to see Chess, who asked if Berry had a demo tape. He didn't, but he went back to St Louis and came back the next week with a wire recording of four newly-recorded songs. The first thing he played was a blues song he'd written called "The Wee Wee Hours": [excerpt: Chuck Berry, "The Wee Wee Hours"] That was too generic for Chess -- and the blues they put out tended to be more electric Chicago blues, rather than the Nat Cole or Charles Brown style Berry was going for there. But the next song he played had them interested. Berry had always been interested in playing as many different styles of music as he could -- he was someone who was trying to incorporate the sounds of Louis Jordan, Muddy Waters, Charlie Christian, and Nat "King" Cole, among others. And so as well as performing blues, jazz, and rhythm and blues music, he'd also incorporated a fair amount of country and western music in his shows. And in particular, he was an admirer of Bob Wills and his Texas Playboys, and he would perform their song "Ida Red" in shows, where it always went down well. We already had an entire episode of the podcast on "Ida Red", which I'll link in the liner notes to this, but as a quick reminder, it's an old folk song, or collection of folk songs, that had become a big hit for Bob Wills, the Western Swing fiddle player: [Excerpt: "Ida Red", Bob Wills and his Texas Playboys] Berry would perform that song live, but messed around and changed the lyrics a lot -- he eventually changed the title to "Ida May", for a start -- and when he performed the song for Leonard Chess, Chess thought it sounded great. There was only one problem -- he thought the name made it too obvious where Berry had got the idea, and he wanted it to sound more original. They tried several names and eventually hit on "Maybellene", after the popular cosmetics brand, though they changed the spelling. "Ida Red" wasn't the only influence on "Maybellene" though, there was another song called "Oh Red", a hokum song by the Harlem Hamfats: [Excerpt: "Oh Red", the Harlem Hamfats] Larry Birnbaum, in "Before Elvis", suggests that this was the *only* influence on "Maybellene", and that Berry was misremembering the song, as both songs have "Red" in the titles. I disagree -- I think it's fairly clear that "Maybellene" is inspired both by "Ida Red"s structure and patter-lyric verse and by "Oh Red"s chorus melody. And it wasn't just Bob Wills' version of “Ida Red” that inspired Berry. There's a blues version, by Bumble Bee Slim, which has a guitar break that isn't a million miles away from what Berry was doing: [Excerpt: "Ida Red", Bumble Bee Slim] And there's another influence as well. Berry's lyrics were about a car chase -- to try to catch up with a cheating girlfriend -- and are the thing that makes the song so unique. They -- and the car-horn sound of the guitar -- seem to have been inspired by a hillbilly boogie song called "Hot Rod Racer" by Arkie Shibley and his Mountain Dew Boys: [Excerpt: "Hot Rod Racer", Arkie Shibley and his Mountain Dew Boys] That had been a successful enough country song that it spawned at least three hit cover versions, including one by Red Foley. Berry took all these Western Swing, blues, and hillbilly boogie influences and turned them into something new: [Excerpt: Chuck Berry, "Maybellene"] Even this early, you can already see the Chuck Berry style fully formed. Clean blues guitar, as clean as someone like T-Bone Walker, but playing almost rockabilly phrases -- this is closer to the style of Elvis' Sun records than it is to anything else that Chess were putting out -- and punning, verbose, witty lyrics talking about something that would have a clear appeal to people half his age. All of future rock is right there. The lineup on the record was the Chuck Berry trio -- Berry on guitar, Johnson on piano, and Ebby Hardy on drums -- augmented by two other musicians. Jerome Green, the maraca player, is someone we'll be talking about next week, but we should here talk a bit about Willie Dixon, the bass player, because he is probably the single most important figure in the whole Chess Records story. Dixon had started out as a boxer -- he'd been Joe Louis' sparring partner -- before starting to play a bass made out of a tin can and a single string for him by the blues pianist Leonard Caston. Dixon and Caston formed an Ink Spots-style group, "The Five Breezes": [Excerpt: "Sweet Louise", the Five Breezes] But when America joined in World War II, Dixon's music career went on hold, as he was a conscientious objector, unwilling to fight in defence of a racist state, and so he spent ten months in prison. He joined Chess in 1951 shortly after Leonard Chess took over full control of the company by buying out its original owner -- right after the club Chess had been running had mysteriously burned down, on a day it was closed, giving him enough insurance money to buy the whole record company. And Dixon was necessary because among Leonard Chess' flaws was one fatal one -- he had no idea what real musical talent was or how to find it. But he *did* have the second-order ability to find people who could recognise real musical talent when they heard it, and the willingness to trust those people's judgment. And Dixon was not only a real talent himself, but he could bring out the best in others, too. Dixon was, effectively, the auteur behind almost everything that Chess Records put out. As well as a session bass player who played on almost every Chess release that wasn't licensed from someone else, he was also their staff producer, talent scout, and staff songwriter, as well as a solo artist under his own name. He wrote and played on hits for Muddy Waters, Howlin' Wolf, Sonny Boy Williamson II, Little Walter, Koko Taylor, Bo Diddley, Elmore James... to all intents and purposes, Willie Dixon *was* the Chicago blues, and when the second generation of rock and rollers started up in the 1960s -- white boys with guitars from England -- it was Willie Dixon's songs that formed the backbone of their repertoire. Just a few of the songs he wrote that became classics include "Little Red Rooster" for Howlin' Wolf: [Excerpt: Howlin' Wolf, "Little Red Rooster"] "Bring it on Home" for Sonny Boy Williamson II [Excerpt: Sonny Boy Williamson II, "Bring it on Home"] "You Need Love" for Muddy Waters [Excerpt: Muddy Waters, "You Need Love"] You get the idea. In any other session he played on -- in any other room he ever entered -- Dixon would be the most important songwriter in the room. But as it turned out, on this occasion, he was only the second-most important and influential songwriter there, as "Maybellene" would be the start of a run of singles that is unparalleled for its influence on rock and roll music. It was the debut of the single most important songwriter in rock and roll history. Of course, Chuck Berry isn't the only credited songwriter -- and, separately, he may not have been the song's only writer. But these two things aren't linked. Leonard Chess was someone who had a reputation for not being particularly fair with his artists when it came to contracts. A favourite technique for him was to call an artist and tell him that he had some new papers to sign. He would then leave a bottle of whisky in the office, and not be in when the musician turned up. His secretary would say "Mr. Chess has been delayed. Help yourself to a drink while you wait in the office". Chess would only return when the musician was totally drunk, and then get him to sign the contract. That wouldn't work on Berry, who didn't drink, but Chess did manage to get Berry to sign two thirds of the rights to "Maybellene" over to people who had nothing to do with writing it -- Russ Fratto and Alan Freed. Freed had already taken the songwriting credit for several songs by bands that he managed, none of which he wrote, but now he was going to take the credit for a song by someone he had never met -- Chess added his name to the credits as a bribe, in order to persuade him to play the song on his radio show. Russ Fratto, meanwhile, was the landlord of Chess Records' offices and owned the stationery company that printed the labels Chess used on their records. It's been said in a few places that Fratto was given the credit because the Chess brothers owed him money, so they gave him a cut of Berry's royalties to pay off their own debt. But while Freed and Fratto took unearned credit for the song, it's at least arguable that so did Chuck Berry. We'll be looking at several Chuck Berry songs over the course of this podcast, and the question of authorship comes up for all of them. After they stopped working together, Johnnie Johnson started to claim that he deserved co-writing credit for everything that was credited to Berry on his own. Johnson claimed that while Berry wrote the lyrics by himself, the band as a whole worked out the music, and that Berry's melody lines would be based on Johnson's piano parts. To get an idea of what Johnson brought to the mix, here's a performance from Johnson, without Berry, many years later: [Excerpt: Johnnie Johnson, “Johnny's Boogie”] It's impossible to say with certainty who did what -- Johnson sued Berry in 2000, but the case was dismissed because of the length of time between the songs being written and the case being brought. And Johnson worked with Berry on almost all his albums before that so we don't have any clear guides as to what Berry's music sounded like without Johnson. Given Berry's money-grubbing, grasping, nature, and his willingness to see every single interaction as about how many dollars and cents were in it for Chuck Berry, I have no trouble believing that Berry would take the credit for other people's work and not think twice about it, so I can fully believe that Johnson worked with him on the music for the songs. On the other hand, most of the songs in question were based around very basic blues chord changes, and the musical interest in them comes almost solely from Berry's guitar licks -- Johnnie Johnson was a very good blues piano player just like a thousand other very good blues piano players, but Chuck Berry's guitar style is absolutely distinctive, and unlike anything ever recorded before. But the crucial evidence as to how much input or lack of it Johnson had on the writing process comes with the keys Berry chose. Maybellene is in B-flat. A lot of his other songs are in E-flat. These are *not* keys that any guitarist would normally choose to write in. If you're a guitarist, writing for the guitar, you'd probably choose to write in E or A if you're playing the blues, D if you're doing folkier stuff, maybe G or C if you're doing something poppier and more melodic. These are easy keys for the guitar, the keys that every guitarist's fingers will automatically fall into unless they have a good reason not to. E-flat and B-flat, though, are fairly straightforward keys on the piano if you're playing the blues. And they're keys that are *absolutely* standard for a saxophone player -- alto saxes are tuned to an E-flat, tenor saxes to B-flat, so if you're a band where the sax player is the most important instrumentalist, those are the keys you're most likely to choose, all else being equal. Now, remember that Chuck Berry replaced the saxophone player in Johnnie Johnson's band. Once you know that it seems obvious what's happened -- Berry has fit himself in around arrangements and repertoire that Johnson had originally worked up with a sax player, playing in the keys that Johnson was already used to. When they worked out the music for Berry's songs, that was the pattern they fell into. So, I tend to believe Johnson that the backings were worked out between them after Berry wrote the lyrics. Johnson's contribution seems to have come somewhere between that of an arranger and of a songwriter, and he deserves some credit at least morally, if not under the ridiculous legal situation that made arrangements uncopyrightable. [Excerpt: “Maybellene” guitar solo showing interplay of Berry and Johnson] “Maybellene”'s success was in part because of a very deliberate decision Berry had made years earlier, having noted the success of white performers singing black musicians' material, and deciding that he was going to try to get the white people to buy his recordings rather than the cover versions, by singing in a voice that was closer to white singers than the typical blues vocalist. While it caused him problems in early days, notably with him turning up to gigs only to be told, often with accompanying racial slurs, that they'd expected the performer of "Maybellene" to be a white man and he wasn't allowed to play, his playing-down of his own blackness also caused a major benefit -- he became one of the only black musicians to chart higher than the white cover version. It would normally be expected that "Maybellene" would be overshadowed on the charts by Marty Robbins' version, especially since Marty Robbins was a hugely popular star, and Berry was an unknown on a small blues label: [excerpt: Marty Robbins, "Maybellene"] Instead, as well as going to number one on the R&B charts, Berry's recording went to number five on the pop charts. And other recordings by him would follow over the next few years. He was never a consistent chart success -- in fact he did significantly less well than his reputation in rock and roll history would suggest -- but he notched several top ten hits on the pop charts. "Maybellene" did so well that even "Wee Wee Hours", released as the B-side, went to number ten on the R&B charts. And Berry's next single was a "Maybellene" soundalike -- "Thirty Days" [Excerpt: "Thirty Days", Chuck Berry] It's a great track, but it didn't do quite so well on the charts -- it went to number two on the R&B charts, and didn't hit the pop charts at all. The single after that, "No Money Down", did less well again. But Berry was about to turn things around again with his next single: [excerpt: *just the guitar intro* of "Roll Over Beethoven" by Chuck Berry] You don't need anything more, do you? That's the Chuck Berry formula, right there. You don't even need to hear the vocals to know exactly what the record is. That record is, of course, "Roll Over Beethoven". It's worth listening to the lyrics again just to see what Berry is doing here. [Excerpt: "Roll Over Beethoven", Chuck Berry] What we have here is, as far as I can tell, the first time that rock and roll started the pattern of self-mythologising that would continue throughout the genre's history. Of course, there had been plenty of records before this that had talked about the power of music or how much the singer wanted to make you dance, or whatever, but this one is different in a couple of ways. Firstly, it's talking about *recorded* music specifically -- Berry isn't wanting to go out and listen to a band play live, but he wants to listen to the DJ play his favourite record instead. And secondly, he's explicitly making a link between his music -- "these rhythm and blues" -- and the music of the rockabilly artists from Memphis -- "don't step on my blue suede shoes". And Berry's music did resemble the Memphis rockabilly more than it resembled anything else. Both had electric lead guitars, double bass, drums, and reverb, and no saxophone and little piano. Both sang sped-up hillbilly boogies with a hard backbeat. Rock and roll was, as we have seen, a disparate genre at first, and people would continue to pull from a whole variety of different sources. But working independently and with no knowledge of each other, a white country hick from Tennessee and a sophisticated black urbanite from the Midwest had hit upon almost exactly the same formula, and Berry was going to make sure that he made the connection as clear as possible. If there's a moment that rock and roll culture coalesced into a single thing, it was with "Roll Over Beethoven". And Berry now had his formula worked out. The next thing to do was to get rid of the band. "Roll Over Beethoven" was the penultimate single credited to Chuck Berry & His Combo, rather than to just Chuck Berry. We'll look at the last one, recorded at the same session, in a few weeks' time.

Welcome to episode twenty-nine of A History of Rock Music in Five Hundred Songs. This is the second of our three-part look at Chess Records, and focuses on “Maybellene” by Chuck Berry. Click the full post to read liner notes, links to more information, and a transcript of the episode.  —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. I reference three previous episodes here — last week’s, the disclaimer episode, and the episode on Ida Red. I used three main books as reference here: Brown Eyed Handsome Man: The Life and Hard Times of Chuck Berry by Bruce Pegg is a good narrative biography of Berry, which doesn’t shy away from the less salubrious aspects of his personality, but is clearly written by an admirer. Long Distance Information: Chuck Berry’s Recorded Legacy by Fred Rothwell is an extraordinarily researched look at every single recording session of Berry’s career up to 2001. And for information on Chess, I used The Record Men: Chess Records and the Birth of Rock and Roll by Richard Cohen. I wouldn’t recommend that book, however — while it has some useful interview material and anecdotes from those involved, Cohen gets some basic matters of fact laughably wrong, and generally seems to be more interested in showing off his prose style than fact-checking. There are a myriad Chuck Berry compilations available. The one I’d recommend if you don’t have a spare couple of hundred quid for the complete works box set is the double-CD Gold, which has every major track without any of the filler. And if you want to check out more of Willie Dixon’s material, this four-CD set contains a hundred records he either performed on as an artist, played on as a session player, wrote, or produced. It’s the finest body of work in post-war blues.     Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   [Intro: Alan Freed introducing Chuck Berry and Maybellene] Welcome to the second part of our trilogy on Chess Records. This week, we’re going to talk about the most important single record Chess ever put out, and arguably the most important artist in the whole history of rock music. But first, we’re going to talk about something a lot more recent. We’re going to talk about “Old Town Road,” by Lil Nas X. For those of you who don’t follow the charts and the music news in general, “Old Town Road” is a song put out late last year by a rapper, but it reached number nineteen in the country charts. Because it’s a country song: [Excerpt: “Old Town Road” by Lil Nas X] That’s a song with banjo and mandolin, with someone singing in a low Johnny Cash style voice about riding a horse while wearing a cowboy hat. It’s clearly country music if anything at all is country music. But it was taken off the country music charts the week it would otherwise have made number one, in a decision that Billboard was at pains to say was nothing at all to do with his race. A hint — if you have to go to great lengths to say that the thing you’re doing isn’t racist, it’s probably racist. Because genre labels have always been about race, and about policing racial boundaries in the US, since the very beginning. Remember that when Billboard started the R&B charts they were called the “race music” charts. You had the race music charts for black people, the country charts for lower-class whites, and the pop charts for the respectable white people. That was the demarcation, and that still is the demarcation. But people will always want to push against those constraints. And in the 1950s, just like today, there were black people who wanted to make country music. But in the 1950s, unlike today, there was a term for the music those people were making. It was called rock and roll. For about a decade, from roughly 1955 through 1965, “rock and roll” became a term for the music which disregarded those racial boundaries. And since then there has been a slow but sure historical revisionism. The lines of rock and roll expand to let in any white man, but they constrict to push out the women and black men who were already there. But there’s one they haven’t yet been able to push out, because this particular black man playing country music was more or less the embodiment of rock and roll. Chuck Berry was, in many ways, not at all an admirable man. He was one of all too many rock and roll pioneers to be a sex offender (and again, please see the disclaimer episode I did close to the start of this series, for my thoughts about that — nothing I say about his work should be taken to imply that I think that work mitigates some of the awful things he did) and he was also by all accounts an unpleasant person in a myriad other ways. As I talked about in the disclaimer episode, we will be dealing with many awful people in this series, because that’s the nature of the history of rock and roll, but Chuck Berry was one of the most fundamentally unpleasant, unlikeable, people we’ll be looking at. Nobody has a good word to say about him as a human being, and he hurt a lot of people over his long life. When I talk about his work, or the real injustices that were also done to him, I don’t want to forget that. But when it comes to rock and roll, Chuck Berry may be the single most important figure who ever lived, and a model for everyone who followed. [Excerpt: “Maybellene”, just the intro] To talk about Chuck Berry, we first of all have to talk about Johnnie Johnson. Johnnie Johnson was a blues piano player, who had got a taste of life as a professional musician in the Marines, where he’d played in a military band led by Bobby Troup, the writer of “Route 66” among many other songs. After leaving the Marines, he’d moved around the Midwest, playing blues in various bands, before forming his own trio, the Johnnie Johnson Trio, in St Louis. That trio consisted of piano, saxophone, and drums — until New Year’s Eve 1952, when the saxophone player had a stroke and couldn’t play. Johnson needed another musician to play with the trio, and needed someone quick, but it was New Year’s Eve — every musician he could think of would be booked up. Except for Chuck Berry. Berry was a guitarist he vaguely knew, and was different in every way from Johnson. Where Johnson was an easy-going, fat, jovial, man, who had no ambitions other than to make a living playing boogie-woogie piano, Chuck Berry had already served a term in prison for armed robbery, was massively ambitious, and was skinny as a rake. But he could play the guitar and sing well enough, and the customers had hired a trio, not a duo, and so Chuck Berry joined the Johnnie Johnson Trio. Berry soon took over the band, as Johnson, a relatively easy-going person, saw that Berry was so ambitious that he would be able to bring the band greater success than they would otherwise have had. And also, Berry owned a car, which was useful for transporting the band to gigs. And so the Johnnie Johnson trio became the Chuck Berry Trio. Berry would also play gigs on the side with other musicians, and in 1954 he played guitar on a session for a calypso record on a local independent label: [Excerpt: “Oh Maria”, Joe Alexander and the Cubans] However, when Berry tried to get that label to record the Chuck Berry Trio, they weren’t interested. But then Berry drove to Chicago to see one of his musical heroes, Muddy Waters. We’ve talked about Waters before, but only in passing — but Waters was, by far, the biggest star in the Chicago electric blues style, whose driving, propulsive, records were more accessible than Howlin’ Wolf but still had some of the Delta grit that was missing from the cleaner sounds of people like T-Bone Walker. Berry stayed after the show to talk to his idol, and asked him how he could make records like Waters did. Waters told him to go and see Leonard Chess at Chess Records. Berry went to see Chess, who asked if Berry had a demo tape. He didn’t, but he went back to St Louis and came back the next week with a wire recording of four newly-recorded songs. The first thing he played was a blues song he’d written called “The Wee Wee Hours”: [excerpt: Chuck Berry, “The Wee Wee Hours”] That was too generic for Chess — and the blues they put out tended to be more electric Chicago blues, rather than the Nat Cole or Charles Brown style Berry was going for there. But the next song he played had them interested. Berry had always been interested in playing as many different styles of music as he could — he was someone who was trying to incorporate the sounds of Louis Jordan, Muddy Waters, Charlie Christian, and Nat “King” Cole, among others. And so as well as performing blues, jazz, and rhythm and blues music, he’d also incorporated a fair amount of country and western music in his shows. And in particular, he was an admirer of Bob Wills and his Texas Playboys, and he would perform their song “Ida Red” in shows, where it always went down well. We already had an entire episode of the podcast on “Ida Red”, which I’ll link in the liner notes to this, but as a quick reminder, it’s an old folk song, or collection of folk songs, that had become a big hit for Bob Wills, the Western Swing fiddle player: [Excerpt: “Ida Red”, Bob Wills and his Texas Playboys] Berry would perform that song live, but messed around and changed the lyrics a lot — he eventually changed the title to “Ida May”, for a start — and when he performed the song for Leonard Chess, Chess thought it sounded great. There was only one problem — he thought the name made it too obvious where Berry had got the idea, and he wanted it to sound more original. They tried several names and eventually hit on “Maybellene”, after the popular cosmetics brand, though they changed the spelling. “Ida Red” wasn’t the only influence on “Maybellene” though, there was another song called “Oh Red”, a hokum song by the Harlem Hamfats: [Excerpt: “Oh Red”, the Harlem Hamfats] Larry Birnbaum, in “Before Elvis”, suggests that this was the *only* influence on “Maybellene”, and that Berry was misremembering the song, as both songs have “Red” in the titles. I disagree — I think it’s fairly clear that “Maybellene” is inspired both by “Ida Red”s structure and patter-lyric verse and by “Oh Red”s chorus melody. And it wasn’t just Bob Wills’ version of “Ida Red” that inspired Berry. There’s a blues version, by Bumble Bee Slim, which has a guitar break that isn’t a million miles away from what Berry was doing: [Excerpt: “Ida Red”, Bumble Bee Slim] And there’s another influence as well. Berry’s lyrics were about a car chase — to try to catch up with a cheating girlfriend — and are the thing that makes the song so unique. They — and the car-horn sound of the guitar — seem to have been inspired by a hillbilly boogie song called “Hot Rod Racer” by Arkie Shibley and his Mountain Dew Boys: [Excerpt: “Hot Rod Racer”, Arkie Shibley and his Mountain Dew Boys] That had been a successful enough country song that it spawned at least three hit cover versions, including one by Red Foley. Berry took all these Western Swing, blues, and hillbilly boogie influences and turned them into something new: [Excerpt: Chuck Berry, “Maybellene”] Even this early, you can already see the Chuck Berry style fully formed. Clean blues guitar, as clean as someone like T-Bone Walker, but playing almost rockabilly phrases — this is closer to the style of Elvis’ Sun records than it is to anything else that Chess were putting out — and punning, verbose, witty lyrics talking about something that would have a clear appeal to people half his age. All of future rock is right there. The lineup on the record was the Chuck Berry trio — Berry on guitar, Johnson on piano, and Ebby Hardy on drums — augmented by two other musicians. Jerome Green, the maraca player, is someone we’ll be talking about next week, but we should here talk a bit about Willie Dixon, the bass player, because he is probably the single most important figure in the whole Chess Records story. Dixon had started out as a boxer — he’d been Joe Louis’ sparring partner — before starting to play a bass made out of a tin can and a single string for him by the blues pianist Leonard Caston. Dixon and Caston formed an Ink Spots-style group, “The Five Breezes”: [Excerpt: “Sweet Louise”, the Five Breezes] But when America joined in World War II, Dixon’s music career went on hold, as he was a conscientious objector, unwilling to fight in defence of a racist state, and so he spent ten months in prison. He joined Chess in 1951 shortly after Leonard Chess took over full control of the company by buying out its original owner — right after the club Chess had been running had mysteriously burned down, on a day it was closed, giving him enough insurance money to buy the whole record company. And Dixon was necessary because among Leonard Chess’ flaws was one fatal one — he had no idea what real musical talent was or how to find it. But he *did* have the second-order ability to find people who could recognise real musical talent when they heard it, and the willingness to trust those people’s judgment. And Dixon was not only a real talent himself, but he could bring out the best in others, too. Dixon was, effectively, the auteur behind almost everything that Chess Records put out. As well as a session bass player who played on almost every Chess release that wasn’t licensed from someone else, he was also their staff producer, talent scout, and staff songwriter, as well as a solo artist under his own name. He wrote and played on hits for Muddy Waters, Howlin’ Wolf, Sonny Boy Williamson II, Little Walter, Koko Taylor, Bo Diddley, Elmore James… to all intents and purposes, Willie Dixon *was* the Chicago blues, and when the second generation of rock and rollers started up in the 1960s — white boys with guitars from England — it was Willie Dixon’s songs that formed the backbone of their repertoire. Just a few of the songs he wrote that became classics include “Little Red Rooster” for Howlin’ Wolf: [Excerpt: Howlin’ Wolf, “Little Red Rooster”] “Bring it on Home” for Sonny Boy Williamson II [Excerpt: Sonny Boy Williamson II, “Bring it on Home”] “You Need Love” for Muddy Waters [Excerpt: Muddy Waters, “You Need Love”] You get the idea. In any other session he played on — in any other room he ever entered — Dixon would be the most important songwriter in the room. But as it turned out, on this occasion, he was only the second-most important and influential songwriter there, as “Maybellene” would be the start of a run of singles that is unparalleled for its influence on rock and roll music. It was the debut of the single most important songwriter in rock and roll history. Of course, Chuck Berry isn’t the only credited songwriter — and, separately, he may not have been the song’s only writer. But these two things aren’t linked. Leonard Chess was someone who had a reputation for not being particularly fair with his artists when it came to contracts. A favourite technique for him was to call an artist and tell him that he had some new papers to sign. He would then leave a bottle of whisky in the office, and not be in when the musician turned up. His secretary would say “Mr. Chess has been delayed. Help yourself to a drink while you wait in the office”. Chess would only return when the musician was totally drunk, and then get him to sign the contract. That wouldn’t work on Berry, who didn’t drink, but Chess did manage to get Berry to sign two thirds of the rights to “Maybellene” over to people who had nothing to do with writing it — Russ Fratto and Alan Freed. Freed had already taken the songwriting credit for several songs by bands that he managed, none of which he wrote, but now he was going to take the credit for a song by someone he had never met — Chess added his name to the credits as a bribe, in order to persuade him to play the song on his radio show. Russ Fratto, meanwhile, was the landlord of Chess Records’ offices and owned the stationery company that printed the labels Chess used on their records. It’s been said in a few places that Fratto was given the credit because the Chess brothers owed him money, so they gave him a cut of Berry’s royalties to pay off their own debt. But while Freed and Fratto took unearned credit for the song, it’s at least arguable that so did Chuck Berry. We’ll be looking at several Chuck Berry songs over the course of this podcast, and the question of authorship comes up for all of them. After they stopped working together, Johnnie Johnson started to claim that he deserved co-writing credit for everything that was credited to Berry on his own. Johnson claimed that while Berry wrote the lyrics by himself, the band as a whole worked out the music, and that Berry’s melody lines would be based on Johnson’s piano parts. To get an idea of what Johnson brought to the mix, here’s a performance from Johnson, without Berry, many years later: [Excerpt: Johnnie Johnson, “Johnny’s Boogie”] It’s impossible to say with certainty who did what — Johnson sued Berry in 2000, but the case was dismissed because of the length of time between the songs being written and the case being brought. And Johnson worked with Berry on almost all his albums before that so we don’t have any clear guides as to what Berry’s music sounded like without Johnson. Given Berry’s money-grubbing, grasping, nature, and his willingness to see every single interaction as about how many dollars and cents were in it for Chuck Berry, I have no trouble believing that Berry would take the credit for other people’s work and not think twice about it, so I can fully believe that Johnson worked with him on the music for the songs. On the other hand, most of the songs in question were based around very basic blues chord changes, and the musical interest in them comes almost solely from Berry’s guitar licks — Johnnie Johnson was a very good blues piano player just like a thousand other very good blues piano players, but Chuck Berry’s guitar style is absolutely distinctive, and unlike anything ever recorded before. But the crucial evidence as to how much input or lack of it Johnson had on the writing process comes with the keys Berry chose. Maybellene is in B-flat. A lot of his other songs are in E-flat. These are *not* keys that any guitarist would normally choose to write in. If you’re a guitarist, writing for the guitar, you’d probably choose to write in E or A if you’re playing the blues, D if you’re doing folkier stuff, maybe G or C if you’re doing something poppier and more melodic. These are easy keys for the guitar, the keys that every guitarist’s fingers will automatically fall into unless they have a good reason not to. E-flat and B-flat, though, are fairly straightforward keys on the piano if you’re playing the blues. And they’re keys that are *absolutely* standard for a saxophone player — alto saxes are tuned to an E-flat, tenor saxes to B-flat, so if you’re a band where the sax player is the most important instrumentalist, those are the keys you’re most likely to choose, all else being equal. Now, remember that Chuck Berry replaced the saxophone player in Johnnie Johnson’s band. Once you know that it seems obvious what’s happened — Berry has fit himself in around arrangements and repertoire that Johnson had originally worked up with a sax player, playing in the keys that Johnson was already used to. When they worked out the music for Berry’s songs, that was the pattern they fell into. So, I tend to believe Johnson that the backings were worked out between them after Berry wrote the lyrics. Johnson’s contribution seems to have come somewhere between that of an arranger and of a songwriter, and he deserves some credit at least morally, if not under the ridiculous legal situation that made arrangements uncopyrightable. [Excerpt: “Maybellene” guitar solo showing interplay of Berry and Johnson] “Maybellene”’s success was in part because of a very deliberate decision Berry had made years earlier, having noted the success of white performers singing black musicians’ material, and deciding that he was going to try to get the white people to buy his recordings rather than the cover versions, by singing in a voice that was closer to white singers than the typical blues vocalist. While it caused him problems in early days, notably with him turning up to gigs only to be told, often with accompanying racial slurs, that they’d expected the performer of “Maybellene” to be a white man and he wasn’t allowed to play, his playing-down of his own blackness also caused a major benefit — he became one of the only black musicians to chart higher than the white cover version. It would normally be expected that “Maybellene” would be overshadowed on the charts by Marty Robbins’ version, especially since Marty Robbins was a hugely popular star, and Berry was an unknown on a small blues label: [excerpt: Marty Robbins, “Maybellene”] Instead, as well as going to number one on the R&B charts, Berry’s recording went to number five on the pop charts. And other recordings by him would follow over the next few years. He was never a consistent chart success — in fact he did significantly less well than his reputation in rock and roll history would suggest — but he notched several top ten hits on the pop charts. “Maybellene” did so well that even “Wee Wee Hours”, released as the B-side, went to number ten on the R&B charts. And Berry’s next single was a “Maybellene” soundalike — “Thirty Days” [Excerpt: “Thirty Days”, Chuck Berry] It’s a great track, but it didn’t do quite so well on the charts — it went to number two on the R&B charts, and didn’t hit the pop charts at all. The single after that, “No Money Down”, did less well again. But Berry was about to turn things around again with his next single: [excerpt: *just the guitar intro* of “Roll Over Beethoven” by Chuck Berry] You don’t need anything more, do you? That’s the Chuck Berry formula, right there. You don’t even need to hear the vocals to know exactly what the record is. That record is, of course, “Roll Over Beethoven”. It’s worth listening to the lyrics again just to see what Berry is doing here. [Excerpt: “Roll Over Beethoven”, Chuck Berry] What we have here is, as far as I can tell, the first time that rock and roll started the pattern of self-mythologising that would continue throughout the genre’s history. Of course, there had been plenty of records before this that had talked about the power of music or how much the singer wanted to make you dance, or whatever, but this one is different in a couple of ways. Firstly, it’s talking about *recorded* music specifically — Berry isn’t wanting to go out and listen to a band play live, but he wants to listen to the DJ play his favourite record instead. And secondly, he’s explicitly making a link between his music — “these rhythm and blues” — and the music of the rockabilly artists from Memphis — “don’t step on my blue suede shoes”. And Berry’s music did resemble the Memphis rockabilly more than it resembled anything else. Both had electric lead guitars, double bass, drums, and reverb, and no saxophone and little piano. Both sang sped-up hillbilly boogies with a hard backbeat. Rock and roll was, as we have seen, a disparate genre at first, and people would continue to pull from a whole variety of different sources. But working independently and with no knowledge of each other, a white country hick from Tennessee and a sophisticated black urbanite from the Midwest had hit upon almost exactly the same formula, and Berry was going to make sure that he made the connection as clear as possible. If there’s a moment that rock and roll culture coalesced into a single thing, it was with “Roll Over Beethoven”. And Berry now had his formula worked out. The next thing to do was to get rid of the band. “Roll Over Beethoven” was the penultimate single credited to Chuck Berry & His Combo, rather than to just Chuck Berry. We’ll look at the last one, recorded at the same session, in a few weeks’ time.

Welcome to episode twenty-nine of A History of Rock Music in Five Hundred Songs. This is the second of our three-part look at Chess Records, and focuses on “Maybellene” by Chuck Berry. Click the full post to read liner notes, links to more information, and a transcript of the episode.  —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. I reference three previous episodes here — last week’s, the disclaimer episode, and the episode on Ida Red. I used three main books as reference here: Brown Eyed Handsome Man: The Life and Hard Times of Chuck Berry by Bruce Pegg is a good narrative biography of Berry, which doesn’t shy away from the less salubrious aspects of his personality, but is clearly written by an admirer. Long Distance Information: Chuck Berry’s Recorded Legacy by Fred Rothwell is an extraordinarily researched look at every single recording session of Berry’s career up to 2001. And for information on Chess, I used The Record Men: Chess Records and the Birth of Rock and Roll by Richard Cohen. I wouldn’t recommend that book, however — while it has some useful interview material and anecdotes from those involved, Cohen gets some basic matters of fact laughably wrong, and generally seems to be more interested in showing off his prose style than fact-checking. There are a myriad Chuck Berry compilations available. The one I’d recommend if you don’t have a spare couple of hundred quid for the complete works box set is the double-CD Gold, which has every major track without any of the filler. And if you want to check out more of Willie Dixon’s material, this four-CD set contains a hundred records he either performed on as an artist, played on as a session player, wrote, or produced. It’s the finest body of work in post-war blues.     Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   [Intro: Alan Freed introducing Chuck Berry and Maybellene] Welcome to the second part of our trilogy on Chess Records. This week, we’re going to talk about the most important single record Chess ever put out, and arguably the most important artist in the whole history of rock music. But first, we’re going to talk about something a lot more recent. We’re going to talk about “Old Town Road,” by Lil Nas X. For those of you who don’t follow the charts and the music news in general, “Old Town Road” is a song put out late last year by a rapper, but it reached number nineteen in the country charts. Because it’s a country song: [Excerpt: “Old Town Road” by Lil Nas X] That’s a song with banjo and mandolin, with someone singing in a low Johnny Cash style voice about riding a horse while wearing a cowboy hat. It’s clearly country music if anything at all is country music. But it was taken off the country music charts the week it would otherwise have made number one, in a decision that Billboard was at pains to say was nothing at all to do with his race. A hint — if you have to go to great lengths to say that the thing you’re doing isn’t racist, it’s probably racist. Because genre labels have always been about race, and about policing racial boundaries in the US, since the very beginning. Remember that when Billboard started the R&B charts they were called the “race music” charts. You had the race music charts for black people, the country charts for lower-class whites, and the pop charts for the respectable white people. That was the demarcation, and that still is the demarcation. But people will always want to push against those constraints. And in the 1950s, just like today, there were black people who wanted to make country music. But in the 1950s, unlike today, there was a term for the music those people were making. It was called rock and roll. For about a decade, from roughly 1955 through 1965, “rock and roll” became a term for the music which disregarded those racial boundaries. And since then there has been a slow but sure historical revisionism. The lines of rock and roll expand to let in any white man, but they constrict to push out the women and black men who were already there. But there’s one they haven’t yet been able to push out, because this particular black man playing country music was more or less the embodiment of rock and roll. Chuck Berry was, in many ways, not at all an admirable man. He was one of all too many rock and roll pioneers to be a sex offender (and again, please see the disclaimer episode I did close to the start of this series, for my thoughts about that — nothing I say about his work should be taken to imply that I think that work mitigates some of the awful things he did) and he was also by all accounts an unpleasant person in a myriad other ways. As I talked about in the disclaimer episode, we will be dealing with many awful people in this series, because that’s the nature of the history of rock and roll, but Chuck Berry was one of the most fundamentally unpleasant, unlikeable, people we’ll be looking at. Nobody has a good word to say about him as a human being, and he hurt a lot of people over his long life. When I talk about his work, or the real injustices that were also done to him, I don’t want to forget that. But when it comes to rock and roll, Chuck Berry may be the single most important figure who ever lived, and a model for everyone who followed. [Excerpt: “Maybellene”, just the intro] To talk about Chuck Berry, we first of all have to talk about Johnnie Johnson. Johnnie Johnson was a blues piano player, who had got a taste of life as a professional musician in the Marines, where he’d played in a military band led by Bobby Troup, the writer of “Route 66” among many other songs. After leaving the Marines, he’d moved around the Midwest, playing blues in various bands, before forming his own trio, the Johnnie Johnson Trio, in St Louis. That trio consisted of piano, saxophone, and drums — until New Year’s Eve 1952, when the saxophone player had a stroke and couldn’t play. Johnson needed another musician to play with the trio, and needed someone quick, but it was New Year’s Eve — every musician he could think of would be booked up. Except for Chuck Berry. Berry was a guitarist he vaguely knew, and was different in every way from Johnson. Where Johnson was an easy-going, fat, jovial, man, who had no ambitions other than to make a living playing boogie-woogie piano, Chuck Berry had already served a term in prison for armed robbery, was massively ambitious, and was skinny as a rake. But he could play the guitar and sing well enough, and the customers had hired a trio, not a duo, and so Chuck Berry joined the Johnnie Johnson Trio. Berry soon took over the band, as Johnson, a relatively easy-going person, saw that Berry was so ambitious that he would be able to bring the band greater success than they would otherwise have had. And also, Berry owned a car, which was useful for transporting the band to gigs. And so the Johnnie Johnson trio became the Chuck Berry Trio. Berry would also play gigs on the side with other musicians, and in 1954 he played guitar on a session for a calypso record on a local independent label: [Excerpt: “Oh Maria”, Joe Alexander and the Cubans] However, when Berry tried to get that label to record the Chuck Berry Trio, they weren’t interested. But then Berry drove to Chicago to see one of his musical heroes, Muddy Waters. We’ve talked about Waters before, but only in passing — but Waters was, by far, the biggest star in the Chicago electric blues style, whose driving, propulsive, records were more accessible than Howlin’ Wolf but still had some of the Delta grit that was missing from the cleaner sounds of people like T-Bone Walker. Berry stayed after the show to talk to his idol, and asked him how he could make records like Waters did. Waters told him to go and see Leonard Chess at Chess Records. Berry went to see Chess, who asked if Berry had a demo tape. He didn’t, but he went back to St Louis and came back the next week with a wire recording of four newly-recorded songs. The first thing he played was a blues song he’d written called “The Wee Wee Hours”: [excerpt: Chuck Berry, “The Wee Wee Hours”] That was too generic for Chess — and the blues they put out tended to be more electric Chicago blues, rather than the Nat Cole or Charles Brown style Berry was going for there. But the next song he played had them interested. Berry had always been interested in playing as many different styles of music as he could — he was someone who was trying to incorporate the sounds of Louis Jordan, Muddy Waters, Charlie Christian, and Nat “King” Cole, among others. And so as well as performing blues, jazz, and rhythm and blues music, he’d also incorporated a fair amount of country and western music in his shows. And in particular, he was an admirer of Bob Wills and his Texas Playboys, and he would perform their song “Ida Red” in shows, where it always went down well. We already had an entire episode of the podcast on “Ida Red”, which I’ll link in the liner notes to this, but as a quick reminder, it’s an old folk song, or collection of folk songs, that had become a big hit for Bob Wills, the Western Swing fiddle player: [Excerpt: “Ida Red”, Bob Wills and his Texas Playboys] Berry would perform that song live, but messed around and changed the lyrics a lot — he eventually changed the title to “Ida May”, for a start — and when he performed the song for Leonard Chess, Chess thought it sounded great. There was only one problem — he thought the name made it too obvious where Berry had got the idea, and he wanted it to sound more original. They tried several names and eventually hit on “Maybellene”, after the popular cosmetics brand, though they changed the spelling. “Ida Red” wasn’t the only influence on “Maybellene” though, there was another song called “Oh Red”, a hokum song by the Harlem Hamfats: [Excerpt: “Oh Red”, the Harlem Hamfats] Larry Birnbaum, in “Before Elvis”, suggests that this was the *only* influence on “Maybellene”, and that Berry was misremembering the song, as both songs have “Red” in the titles. I disagree — I think it’s fairly clear that “Maybellene” is inspired both by “Ida Red”s structure and patter-lyric verse and by “Oh Red”s chorus melody. And it wasn’t just Bob Wills’ version of “Ida Red” that inspired Berry. There’s a blues version, by Bumble Bee Slim, which has a guitar break that isn’t a million miles away from what Berry was doing: [Excerpt: “Ida Red”, Bumble Bee Slim] And there’s another influence as well. Berry’s lyrics were about a car chase — to try to catch up with a cheating girlfriend — and are the thing that makes the song so unique. They — and the car-horn sound of the guitar — seem to have been inspired by a hillbilly boogie song called “Hot Rod Racer” by Arkie Shibley and his Mountain Dew Boys: [Excerpt: “Hot Rod Racer”, Arkie Shibley and his Mountain Dew Boys] That had been a successful enough country song that it spawned at least three hit cover versions, including one by Red Foley. Berry took all these Western Swing, blues, and hillbilly boogie influences and turned them into something new: [Excerpt: Chuck Berry, “Maybellene”] Even this early, you can already see the Chuck Berry style fully formed. Clean blues guitar, as clean as someone like T-Bone Walker, but playing almost rockabilly phrases — this is closer to the style of Elvis’ Sun records than it is to anything else that Chess were putting out — and punning, verbose, witty lyrics talking about something that would have a clear appeal to people half his age. All of future rock is right there. The lineup on the record was the Chuck Berry trio — Berry on guitar, Johnson on piano, and Ebby Hardy on drums — augmented by two other musicians. Jerome Green, the maraca player, is someone we’ll be talking about next week, but we should here talk a bit about Willie Dixon, the bass player, because he is probably the single most important figure in the whole Chess Records story. Dixon had started out as a boxer — he’d been Joe Louis’ sparring partner — before starting to play a bass made out of a tin can and a single string for him by the blues pianist Leonard Caston. Dixon and Caston formed an Ink Spots-style group, “The Five Breezes”: [Excerpt: “Sweet Louise”, the Five Breezes] But when America joined in World War II, Dixon’s music career went on hold, as he was a conscientious objector, unwilling to fight in defence of a racist state, and so he spent ten months in prison. He joined Chess in 1951 shortly after Leonard Chess took over full control of the company by buying out its original owner — right after the club Chess had been running had mysteriously burned down, on a day it was closed, giving him enough insurance money to buy the whole record company. And Dixon was necessary because among Leonard Chess’ flaws was one fatal one — he had no idea what real musical talent was or how to find it. But he *did* have the second-order ability to find people who could recognise real musical talent when they heard it, and the willingness to trust those people’s judgment. And Dixon was not only a real talent himself, but he could bring out the best in others, too. Dixon was, effectively, the auteur behind almost everything that Chess Records put out. As well as a session bass player who played on almost every Chess release that wasn’t licensed from someone else, he was also their staff producer, talent scout, and staff songwriter, as well as a solo artist under his own name. He wrote and played on hits for Muddy Waters, Howlin’ Wolf, Sonny Boy Williamson II, Little Walter, Koko Taylor, Bo Diddley, Elmore James… to all intents and purposes, Willie Dixon *was* the Chicago blues, and when the second generation of rock and rollers started up in the 1960s — white boys with guitars from England — it was Willie Dixon’s songs that formed the backbone of their repertoire. Just a few of the songs he wrote that became classics include “Little Red Rooster” for Howlin’ Wolf: [Excerpt: Howlin’ Wolf, “Little Red Rooster”] “Bring it on Home” for Sonny Boy Williamson II [Excerpt: Sonny Boy Williamson II, “Bring it on Home”] “You Need Love” for Muddy Waters [Excerpt: Muddy Waters, “You Need Love”] You get the idea. In any other session he played on — in any other room he ever entered — Dixon would be the most important songwriter in the room. But as it turned out, on this occasion, he was only the second-most important and influential songwriter there, as “Maybellene” would be the start of a run of singles that is unparalleled for its influence on rock and roll music. It was the debut of the single most important songwriter in rock and roll history. Of course, Chuck Berry isn’t the only credited songwriter — and, separately, he may not have been the song’s only writer. But these two things aren’t linked. Leonard Chess was someone who had a reputation for not being particularly fair with his artists when it came to contracts. A favourite technique for him was to call an artist and tell him that he had some new papers to sign. He would then leave a bottle of whisky in the office, and not be in when the musician turned up. His secretary would say “Mr. Chess has been delayed. Help yourself to a drink while you wait in the office”. Chess would only return when the musician was totally drunk, and then get him to sign the contract. That wouldn’t work on Berry, who didn’t drink, but Chess did manage to get Berry to sign two thirds of the rights to “Maybellene” over to people who had nothing to do with writing it — Russ Fratto and Alan Freed. Freed had already taken the songwriting credit for several songs by bands that he managed, none of which he wrote, but now he was going to take the credit for a song by someone he had never met — Chess added his name to the credits as a bribe, in order to persuade him to play the song on his radio show. Russ Fratto, meanwhile, was the landlord of Chess Records’ offices and owned the stationery company that printed the labels Chess used on their records. It’s been said in a few places that Fratto was given the credit because the Chess brothers owed him money, so they gave him a cut of Berry’s royalties to pay off their own debt. But while Freed and Fratto took unearned credit for the song, it’s at least arguable that so did Chuck Berry. We’ll be looking at several Chuck Berry songs over the course of this podcast, and the question of authorship comes up for all of them. After they stopped working together, Johnnie Johnson started to claim that he deserved co-writing credit for everything that was credited to Berry on his own. Johnson claimed that while Berry wrote the lyrics by himself, the band as a whole worked out the music, and that Berry’s melody lines would be based on Johnson’s piano parts. To get an idea of what Johnson brought to the mix, here’s a performance from Johnson, without Berry, many years later: [Excerpt: Johnnie Johnson, “Johnny’s Boogie”] It’s impossible to say with certainty who did what — Johnson sued Berry in 2000, but the case was dismissed because of the length of time between the songs being written and the case being brought. And Johnson worked with Berry on almost all his albums before that so we don’t have any clear guides as to what Berry’s music sounded like without Johnson. Given Berry’s money-grubbing, grasping, nature, and his willingness to see every single interaction as about how many dollars and cents were in it for Chuck Berry, I have no trouble believing that Berry would take the credit for other people’s work and not think twice about it, so I can fully believe that Johnson worked with him on the music for the songs. On the other hand, most of the songs in question were based around very basic blues chord changes, and the musical interest in them comes almost solely from Berry’s guitar licks — Johnnie Johnson was a very good blues piano player just like a thousand other very good blues piano players, but Chuck Berry’s guitar style is absolutely distinctive, and unlike anything ever recorded before. But the crucial evidence as to how much input or lack of it Johnson had on the writing process comes with the keys Berry chose. Maybellene is in B-flat. A lot of his other songs are in E-flat. These are *not* keys that any guitarist would normally choose to write in. If you’re a guitarist, writing for the guitar, you’d probably choose to write in E or A if you’re playing the blues, D if you’re doing folkier stuff, maybe G or C if you’re doing something poppier and more melodic. These are easy keys for the guitar, the keys that every guitarist’s fingers will automatically fall into unless they have a good reason not to. E-flat and B-flat, though, are fairly straightforward keys on the piano if you’re playing the blues. And they’re keys that are *absolutely* standard for a saxophone player — alto saxes are tuned to an E-flat, tenor saxes to B-flat, so if you’re a band where the sax player is the most important instrumentalist, those are the keys you’re most likely to choose, all else being equal. Now, remember that Chuck Berry replaced the saxophone player in Johnnie Johnson’s band. Once you know that it seems obvious what’s happened — Berry has fit himself in around arrangements and repertoire that Johnson had originally worked up with a sax player, playing in the keys that Johnson was already used to. When they worked out the music for Berry’s songs, that was the pattern they fell into. So, I tend to believe Johnson that the backings were worked out between them after Berry wrote the lyrics. Johnson’s contribution seems to have come somewhere between that of an arranger and of a songwriter, and he deserves some credit at least morally, if not under the ridiculous legal situation that made arrangements uncopyrightable. [Excerpt: “Maybellene” guitar solo showing interplay of Berry and Johnson] “Maybellene”’s success was in part because of a very deliberate decision Berry had made years earlier, having noted the success of white performers singing black musicians’ material, and deciding that he was going to try to get the white people to buy his recordings rather than the cover versions, by singing in a voice that was closer to white singers than the typical blues vocalist. While it caused him problems in early days, notably with him turning up to gigs only to be told, often with accompanying racial slurs, that they’d expected the performer of “Maybellene” to be a white man and he wasn’t allowed to play, his playing-down of his own blackness also caused a major benefit — he became one of the only black musicians to chart higher than the white cover version. It would normally be expected that “Maybellene” would be overshadowed on the charts by Marty Robbins’ version, especially since Marty Robbins was a hugely popular star, and Berry was an unknown on a small blues label: [excerpt: Marty Robbins, “Maybellene”] Instead, as well as going to number one on the R&B charts, Berry’s recording went to number five on the pop charts. And other recordings by him would follow over the next few years. He was never a consistent chart success — in fact he did significantly less well than his reputation in rock and roll history would suggest — but he notched several top ten hits on the pop charts. “Maybellene” did so well that even “Wee Wee Hours”, released as the B-side, went to number ten on the R&B charts. And Berry’s next single was a “Maybellene” soundalike — “Thirty Days” [Excerpt: “Thirty Days”, Chuck Berry] It’s a great track, but it didn’t do quite so well on the charts — it went to number two on the R&B charts, and didn’t hit the pop charts at all. The single after that, “No Money Down”, did less well again. But Berry was about to turn things around again with his next single: [excerpt: *just the guitar intro* of “Roll Over Beethoven” by Chuck Berry] You don’t need anything more, do you? That’s the Chuck Berry formula, right there. You don’t even need to hear the vocals to know exactly what the record is. That record is, of course, “Roll Over Beethoven”. It’s worth listening to the lyrics again just to see what Berry is doing here. [Excerpt: “Roll Over Beethoven”, Chuck Berry] What we have here is, as far as I can tell, the first time that rock and roll started the pattern of self-mythologising that would continue throughout the genre’s history. Of course, there had been plenty of records before this that had talked about the power of music or how much the singer wanted to make you dance, or whatever, but this one is different in a couple of ways. Firstly, it’s talking about *recorded* music specifically — Berry isn’t wanting to go out and listen to a band play live, but he wants to listen to the DJ play his favourite record instead. And secondly, he’s explicitly making a link between his music — “these rhythm and blues” — and the music of the rockabilly artists from Memphis — “don’t step on my blue suede shoes”. And Berry’s music did resemble the Memphis rockabilly more than it resembled anything else. Both had electric lead guitars, double bass, drums, and reverb, and no saxophone and little piano. Both sang sped-up hillbilly boogies with a hard backbeat. Rock and roll was, as we have seen, a disparate genre at first, and people would continue to pull from a whole variety of different sources. But working independently and with no knowledge of each other, a white country hick from Tennessee and a sophisticated black urbanite from the Midwest had hit upon almost exactly the same formula, and Berry was going to make sure that he made the connection as clear as possible. If there’s a moment that rock and roll culture coalesced into a single thing, it was with “Roll Over Beethoven”. And Berry now had his formula worked out. The next thing to do was to get rid of the band. “Roll Over Beethoven” was the penultimate single credited to Chuck Berry & His Combo, rather than to just Chuck Berry. We’ll look at the last one, recorded at the same session, in a few weeks’ time.

The guys are all back together again! After a two week hiatus, Jay is back and he comes in hot on Tad and Nicky's opinions of their ability to make the NBA if only they were 7'3".In other news, the playoffs are approaching so the guys discussWhich teams are at the highest risk of an early exitWhich lower seeds could make a great runHow the CJ McCullom and Malcom Brogdon injuries impact the Blazers and BucksWhich tanking teams will actually make it into the top 5Jay goes hard on LeBronFollow us!@tadhall_@nickypalooza@Jay_Quiles@NBYAYPOD

We've got some snippets of our favorite interviews of the first 24 episodes here. We've got Wellington Smith, Jevon Carter, Joe Alexander, Coach Billy Hahn and some amazing advertisers. Listen to the full episodes on your favorite podcast app, including all the full episodes of the previous 24 episodes!   The Final Fourcast is a podcast hosted by West Virginia University basketball alums Kevin Jones, Da'Sean Butler and John Flowers with co-host Ashley! Fans of WVU basketball won't want to miss this. Don't forget to SUBSCRIBE to our podcast if you haven't already, leave a review and tell a friend! 

In episode 9, Ben and Spencer recap the Bulls firing Fred Hoiberg and discuss the wild Western Conference playoff race. Headlines 0:00-6:17 Fred Hoiberg firing (Potential coaching candidates, Hoiberg problems, and Bulls future) 6:18-13:43 Warriors talk (Warriors-Raptors recap, KD heating up, and Steph Curry's return) 13:44-18:48 Gordon Hayward back (30-point performance, new Celtics starting five, and Hayward's progression moving forward) 18:49-32:58 Western Conference Playoff Race (Pelicans debate, Rockets/Jazz playoff odds, and Denver heating up) What's Bothering Us (New Segment) 32:59-44:20 DWade jersey farewell tour, Wiggins sucking, and Giannis-Hezonja MVP Race 44:21-48:15 Debating MVP Candidates: Giannis, Kawhi, Embiid, and Curry 48:16-1:03:19 Power 3: Worst NBA Draft Busts Spencer's Picks: Anthony Bennett, Joe Alexander, and Hasheem Thabeet Ben's Picks: Darko Milicic, Adam Morrison, and Greg Oden

El educador Financiero Joe Alexander nos acompaña el día de hoy para conversar con nosotros sobre la educación financiera, como, inteligentemente, podemos surgir y tener el éxito necesario en nuestras finanzas tanto empresarial como personal.

Joe Alexander is here! What got him in trouble at his dorm at WVU? What's some of the differences between John Beilein and Bob Huggins? What's it like coming in as a recruit from a different coach that just left? Also, Da'Sean Butler gets aroused, John Flowers has a bad back and Kevin Jones forgets he's recording a podcast and just sits back and enjoys the conversation. If you haven't subscribed, do it now! What's stopping you? Come on now. Follow us at @FinalFourCast on Instagram, Twitter and Facebook. Let us know you're listening! Leave a review and rating, it really does help!

He's still dunking.Ten years after departing West Virginia as the eighth pick of the NBA draft, Joe Alexander continues a highly successful professional career that has taken him across the world. Alexander has always been honest and extremely introspective and he continues that in this episode. Now ten years removed from WVU, he tells the story of the naive freshman who enrolled in school with absolutely no understanding of how the game was played. He details how John Beilein, Bob Huggins, and the Mountaineer coaching staff helped him mature into an NBA Lottery selection. This podcast will make you smile, shake your head, and gain an entirely new insight into one of West Virginia's all-time most memorable athletes.Enjoy.

42 Minutes 311: Alan Abbadessa Green - Vision & The Voice - 05.15.2018 Upon the release of the full length feature sync film, Vision & The Voice, the program has the pleasure of sharing 42 Minutes with its creator and the editor of the Sync Books, Alan Abbadessa Green. Topics Include: The Infinite Jest, Sync Summit, Bill Klaus, Synchronize, Negativland, Fine Just Fine, Joe Alexander, Always Record #175, Senses, Perceptions Synchronicity, Elements, Time, Reality Synchromysticism, Jake Kotze, Rodney Ascher, Little Nemo, Catharsis, Politics, Bread Crumbs, Meditation, Znore, Kay Pax, Sync Book Volume 3 https://vimeo.com/267825186

Topics: The Infinite Jest, Sync Summit, Bill Klaus, Synchronize, Negativland, Fine Just Fine, Joe Alexander, Always Record #175, Senses, Perceptions Synchronicity, Elements, Time, Reality Synchromysticism, Jake Kotze, Rodney Ascher, Little Nemo, Catharsis, P...

Topics: The Infinite Jest, Sync Summit, Bill Klaus, Synchronize, Negativland, Fine Just Fine, Joe Alexander, Always Record #175, Senses, Perceptions Synchronicity, Elements, Time, Reality Synchromysticism, Jake Kotze, Rodney Ascher, Little Nemo, Catharsis, P...

I catch up with Joe Alexander before a Ottawa Jr. Senators 5-0 win!

This episode features a guest appearance from Kai's longtime friend, Max Schimanski. This is Max's 2nd time appearing on Locked on Bus on the guest, and he is always one of my favorite dudes to talk ball with. For those that don't know, Max is a Davidson grad (Steph Curry blessup), and a contributor for Nylon Calculus. He has some great content out there, definitely recommend checking it out. https://fansided.com/author/maxschimanski/ Additionally, if you follow NBA twitter at all, I definitely suggest giving him a follow- @schimax . In this episode we primarily focus on the Bucks Front Office developments for the first half of the pod, and then get into some draft and NBA finals talk to close it out. (01:00) We discuss the biggest news of the day: John Hammond has officially accepted a job to be the General Manager of the Orlando Magic and thus the search for Milwaukee's new GM has begun, albeit in somewhat usual fashion. (08:30) Breakdown of John Hammond's tenure as Bucks General Manager. We talk about some of his best and worst trades, free agent acquisitions and draft picks. Some of the many players mentioned in this thread include: Giannis Antetokoumnpo, Greg Monroe, Tobias Harris, Monta Ellis, Jared Dudley, Zaza Pachulia, John Salmons, Joe Alexander, Andrew Bogut, Michael Carter- Williams, J.J. Redick, John Henson, Mike Dunleavy (obligatory Fuck Mike Dunleavy!) and more! (27:45) Justin Zanik talk. We discuss his qualifications for the GM job. Max actually had the chance to meet him during training camp in Madison, so we get to hear a little bit about that too. He has experience as an Assistant GM and agent, so qualifications aren't an issue with him. (35:00) Draft Talk. Players that we could see rising and or/ falling. Potential fits for the Bucks at picks 17 and 48 and just general prospects of intrigue. NBA prospects discussed include: Dennis Smith, Donovan Mitchell, OG Anunoby, T.J. Leaf, Ike Anigbogu, Justin Patton, Jonathan Jeanne, Terrance Ferguson, Josh Hart, Tony Bradley, Frank Mason, Monte Morris, Semi Ojeleye, Caleb Swannigan (50:30) NBA Finals talk. Key matchups, what the Cavs have to do to win this series, will Steve Kerr be back to coach the Finals/ does that matter?

Topics: Anniversary, Synchronicity, Time Travel, Back To The Future, Joe Alexander, Jake Kotze, Sync Practice, Talkshoe, Girl On A Train, Time Is A Loop, Rushed, Sex, Science, Wormhole, 911, Kripal, King, Creation, Writing, Agency, Inception, 42

42 Minutes 246: Jacques the Fatalist - "28 days 6 hours 42 minutes 12 seconds" - 10.18.2016 There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy. Or that's what Doug and Will find as they look back at five years of 42 Minutes on the very day they set the thing in motion. Were all five years present in that first episode? Maybe! Find out . . . Topics Include: Anniversary, Synchronicity, Time Travel, Back To The Future, Joe Alexander, Jake Kotze, Sync Practice, Talkshoe, Girl On A Train, Time Is A Loop, Rushed, Sex, Science, Wormhole, 911, Kripal, King Creation, Writing, Agency, Inception, 42. 42minutes.com

42 Minutes Bonus: Joe Alexander: Back To The Future Day Predicts 911 - 10.21.15 The Program travels through time and space to share Back To The Future Day with our favorite synchromystic filmmaker, Joe Alexander. Topics Include: The Walk, BTTF, Bob Gale, Zemeckis, Philippe Petit, The Wire, 911, Strength & Mercy, Twin Towers, Liberty, Interstate 60, Trump, Cubs, Magic. Watch: Back To The Future Predicts 911 https://www.youtube.com/watch?v=P1ULjJ3EqyY Visit: barelyHuman11 https://www.youtube.com/user/barelyHuman11 Purchase: Back To The Future http://amzn.to/1NmoBHb

Topics: The Walk, BTTF, Bob Gale, Zemeckis, Philippe Petit, The Wire, 911, Strength & Mercy, Twin Towers, Liberty, Interstate 60, Trump, Cubs, Magic

Visit: https://www.youtube.com/user/barelyHuman11 Topics: Sync Summit, Olympia, The Tower, Lightning, Treasures, David Plate, Conspiracy, Illuminati!!!!!

42 Minutes Bonus: Joe Alexander - Back To The Future Predicts 911 - 09.11.14 Topics: Sync Summit, Olympia, The Tower, Lightning, Treasures, David Plate, Conspiracy, Illuminati!!!!! Visit: https://www.youtube.com/user/barelyHuman11 Watch: https://www.youtube.com/watch?v=uPJQ-1Y8jfY http://www.youtube.com/user/barelyHuman11

Tiny Migrants: Tiny Migrants are a self-proclaimed group of ‘space garage pirates’ who come from the planet ‘Magicdreams’, or at least that’s what they said in one surprisingly candid interview with FBi Radio. Don’t let the act fool you, they’re not a prog-rock band; they just don’t take it very seriously. Making music that is. What they do create can be filed-under psych influenced garage-pop or to take a leaf out of their book I’ll say, “They’re the sound of The Kinks getting a Chinese burn while plunging into the depths of a dunk machine.” All of the members are active in other groups in Brisbane such as Woodboot , and a few make up the ranks of Brisbane’s favourite garage rock band that can’t fit in a Maxi Taxi – Velociraptor. Recorded by Mark Ryan and SLAM Sound. Mixed by Will Clarke. Recorded at Sonic Masala Fest, Brisbane. June 21st 2014. Per Purpose: Per Purpose have come a long way since supporting Beaches back in June, 2013, we brought you that performance in episode 39 of Live Delay. Since then the group have released a cassingle, a debut LP and a follow-up single on a new Sydney label called Béchamel Records. They’re a band that work very quickly. Their cycle of ‘write, perform, record, discard and repeat’ moves at near break-neck speeds. You won’t be hearing any songs from that debut LP from October 2013 that’s for sure. Singer Glen Scheanu proclaims that the new set is the new album, the vision of which is already clear in his mind. Matt Ford has taken over drum duties for the band after the departure of Bedroom Suck Records main-man Joe Alexander. Recorded & mixed by Josh Watson. Recorded at The Underdog, Brisbane. April 25th 2014. Airing details: Originally via Zed Digital, 8-9pm, Friday 18 July 2014. Show production and engineering: Josh Watson.

http://thesyncbook.com/42minutes#Ep109 San Francisco Sync Week http://thesyncbook.com/alwaysrecord#Ep67 http://thesyncbook.com/synchronize#Ep05 Topics: Bay Area Sync Week, Rodney Ascher's Mega Mix, Room 237, Radio 8 Ball at the Berkeley Monkey House, David Plate & Synchromystic Art, Victoria Nelson, Jeremy Violator Hellspawn, Harry Potter & Copernicus, Tom Waits (for no man!)

Per Purpose: Live Delay is proud to have finally procured a quality live recording of Brisbane force of nature, Per Purpose. The four (sometimes five) piece have been tearing at eardrums for a few years now and are on the precipice of releasing their debut long player – one that will be something to be reckoned with indeed if this live set is anything to go by. Composed of Glen Schenau, Mitchell Perkins, Harry Byrne, Joe Alexander and occasionally Josh Watson, this recording comes from their blistering support set when compatriots Beaches visited the Black Bear Lodge in Brisbane. With some overlap with early Drones material, Per Purpose have purpose and this is one of the best sets you’re likely to here on Live Delay this year. Recorded by Darragh Murray Mixed by Dusty Anastassiou. Recorded at the Black Bear Lodge, 2013. Mere Women: Mere Women are Katrina Byrne, Amy Wilson and Flyn McKinnirery, a talented trio from Marrickville, Sydney. They’ve been kicking aorund the scene for a few years now and brought out the well received OLD LIFE in mid-2012 – a noisy, laconic adventures of post-punk with some gothic undertones thrown in for good measure. They’ve got an interesting sound and make for an excellent live group and you should definitely tune in to check out this set from their 2012 Old Life record launch in Sydney. Our good friends FBi radio were on hand to capture the set and it’s via them that we can bring it to your eardrums! Recorded and produced by FBi Radio, Sydney. Graciously shared with Live Delay. Airing details: First aired via Zed Digital, 8-9pm, Friday 11 October 2013. Show production and engineering: Darragh Murray. Kudos: FBi Radio Sydney, Dusty Anastassiou.

http://thesyncbook.com/42minutes#Ep82 Apophenia Productions http://tinyurl.com/c5pykvp

Talking with Sync film maker Joe Alexander about his new film starring Christopher Lloyd http://www.youtube.com/user/barelyHuman11?feature=watch

The Bulls Show welcomes its first professional basketball player to the show. Former Bull, Joe Alexander joins Nillz to discuss his NBA career as a lottery pick out of West Virginia and share some insight on his time in Chicago. Learn about life in the league and Joe's aspirations for the future. Also listen in on "Vanilla Sky's" first hand experience with everyone from Derrick Rose to Vinny Del Negro (!).

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On this episode of the Buckscast Abe,Nick and Dakota talk about the latest Bucks game since the last episode and Dakota interviews former Bucks 1st round pick in Joe Alexander.

The Suns continued the process of working out potential future NBA players in advance of the 2008 NBA Draft on Thursday, June 12. The crop of swingmen being evaluated were West Virginia's Joe Alexander, Arizona's Chase Budinger, Oregon's Maarty Leunen, France's Nicolas Batum, BYU's Lee Cummard and UNLV's Curtis Terry.