Podcast appearances and mentions of Joe Brown

In this episode, we sat down with Joe Brown—founder of Melting Trends—along with musicians Rachel Ana Dobken, Damion & Paul from Tango Machina, and Gia from The Azures. The conversation centered on the upcoming Bond Street Block Party, happening Saturday, September 6 from 1–10 PM outside Bond Street Bar in Asbury Park. This free community festival has become a staple of the local scene, drawing large crowds of music lovers every year. The eclectic lineup for this year's event was handpicked by Brown, whose deep roots in the Asbury music community and years of experience curating shows through Melting Trends make him uniquely qualified to craft a bill that captures the city's energy and diversity.  The incredible lineup includes Ron Gallo, Sunshine Spazz, Ov Love, Desert Sharks, Rachel Ana Dobken, Tango Machina, Neon Rayon, The Azures, Beauty, Drkhrt, and Hot Wax Between Sets!Together, we explored the heartbeat of the Asbury Park music scene and the importance of small venues like Bond Street Bar, which provide vital spaces for up-and-coming bands to find their voice and grow their audience. Grassroots venues and community-driven events like the Block Party are what keep Asbury's creative spirit alive while opening doors for the next generation of artists. Don't miss the Bond Street Block Party on Saturday, Sept. 6 from 1–10 PM in downtown Asbury Park—a free show for the community.  Asbury Park Vibes Podcast Available on Spotify, Apple, Google, iHeart, Audible, and PandoraHosted by Diane DiMemmo & Doug DresherCopyright 2020-2025 Asbury Park Vibes. All rights reserved.

BOSSes, get ready for an electrifying conversation with a true entertainment icon. In this episode of the VO Boss Podcast, Anne Ganguzza is joined by the legendary Rolonda Watts, an Emmy-winning, talk show host, actress, and award-winning voice actor. Rolonda's career is a masterclass in professional reinvention. From her groundbreaking syndicated talk show, The Rolonda Show, to her powerful voice acting work on Professor Wiseman in Curious George and her on-screen roles in Mind Your Business and Survival of the Thickest, she embodies the art of pivoting with purpose. The hosts discuss how her journey from journalism to entertainment shaped her, why listening is the most important tool for any communicator, and the life philosophies that have guided her to become a true BOSS.   00:01 - Anne (Host) Hey, bosses, Anne Ganguzza, you know your journey in voiceover is not just about landing gigs. It's about growing both personally and professionally. At Anne Ganguzza Voice Productions, I focus on coaching and demo production that nurtures your voice and your confidence. Let's grow together. Visit Anneganguzza.com to find out more. 00:48 Visit anganguza, hey. Hey everyone, welcome to the VO Boss Podcast. I'mGanguzzayour host, Anne Ganguza, and I have something amazing for you 00:53 , bosses, today.  00:55 Today's guest is a one-woman entertainmentRolondaempire. She's done it all award-winning journalistRolonda daytime talk show host, actor, stand-up comic, best-selling author and one of the most recognizable voices in voiceover. You may have heard her as Professor Wiseman on Curious GeorgeRolonda in the Proud FamilyRolonda kung Fu Panda and now Invincible Fight Girl. She's also the annoucer and promo voice of the Sherry Show, where Sherry Shepard calls her a daytime talk show legend, which I happen to agree. Rolanda Watts is currently lighting up the screen on Bounce TV's hit comedy Mind your Business which I always get to see all the shorts on the Facebook feed, by the way where she plays Lucille, the sharp, sassy family matriarch that keeps it real with tough love and somehow I feel like that just echoes your character to a T. And she I feel like that just echoes your character to a T, and she's also appearing in the upcoming season of Netflix's Survival ofRolondathe Thickest, and was recently inducted into the prestigious Silver Circle by the National Academy of Television Arts and Sciences at the 2024 Emmys, recognizing her lifetime of groundbreaking work in television.  02:04 Bosses, please welcome the incomparable Rolanda Watts, thank you. Thank you, rolanda. I have to tell you, you know I'm a big fan. I mean, I've said this to you before, but, bosses, I am the biggest fan of Rolanda. I actually know Rolanda from watching her on daytime talk TV, and that was a while ago. I want to say that daytime talk shows had just kind of come into like being, and you're one of the first that I watched and I just I just you, your personality, just everything about you was just amazing. It's just magnetic, and so I am so excited to be able to interview you, a talk show host. So I was like, oh man, how am I going to prepare to talk to you? But you are just so gracious and wonderful, and so that kind of gave me a little bit of of hope that I wouldn't completely flub it up today, rolanda.  03:05 - Rolonda (Guest) I don't think you would do that, Anne.  03:08 - Anne (Host) My goodness. So for the bosses, who you know don't really know your story and how you started off, I mean, my gosh, you're a media empire, so I don't even like we could have like five days worth of interviews with you, but it all started as broadcast journalism correct interviews with you, but it all started as broadcast journalism correct?  03:28 - Rolonda (Guest) Yes, Tell us about that. Well, I grew up in Winston-Salem, North Carolina, and I, you know, I went to well, it's a long story about how I became an actor, but it all started with being 12 years old and going to Broadway with my family and seeing Guys and Doll and I was just like, oh my God, I love the stage and that's what I Anne do. So I went to Spelman and majored in theater arts and then there weren't a lot of roles when I got out of college. There just wasn't a track for folks who looked like me in the acting world, and so I fell in love with journalism, went to Columbia's Graduate School of Journalism and I was a news reporter and investigative anchor woman and producer for many years for New York WABC, WNBC Inside.  04:16 - Anne (Host) Edition, and that's impressive. And all of a sudden. Well, yeah, I was an investigative journalist. I mean you just said it like it came so easy. But I Anne imagine at the time. I mean you must have had to really work to get yourself in that space.  04:33 - Rolonda (Guest) Well, it was a crazy time because it was the 1980s. There weren't a lot of women in investigative news reporting, not in New York City, and so it was a groundbreaking time for women and and there was so much in the news, especially in New York, it was the big gang wars, the mob wars. You know, gotti hadn't even come into into play yet, so it was murder and mayhem. I was covering, wow and yeah, an inside edition. I was more murder and mayhem.  05:04 - Anne (Host) I remember that.  05:06 - Rolonda (Guest) Yeah. And then a man by the name of Roger King, who in heaven remains the number one selling as human being in television, asked me if I would like to do my very own syndicated talk show. So for four years I did the Rolanda show and then, when that was over let's loop back to the 12 year old who wore the subway token around her neck as a good luck charm. I said I'm not going to be on a porch when I'm 80 years old, going I could have, would have, should have. I am going to take my chances and go for my lifelong dream and make that 12 year old inside of me happy.  05:41 And I took off and went to Hollywood and that's where I became an actor and a writer and a producer and had my own production company and stumbled into voice acting and all of these things were part of what so many people call me the reinventionist. But I have had to reinvent my life for so many reasons and so many times. But I believe that isRolondamany different things that I've done and it's all around one thing and that's what we do as voice actors Good storytelling.  06:13 - Anne (Host) Yeah, absolutely Absolutely. And it's so interesting because before I had really come into like knowing you again, after you know, watching your talk show, and then knowing you as in voiceover yeah, the Anne and promo voice of the Sherry show, how interesting. Like you started to talk show, you're like a legend and talk show in my, in my brain. I'm like Rolanda, that's so awesome, like you. And now you kind of came full circle back to it a little bit Right, being the Anne and the promo voice.  06:46 And I was watching a clip of you the other day and Sherry was saying something. She was going on. She was gushing about you, which I get that. She was gushing about you and it was so interesting. She was giving you this credit about talking about your talk show and how wonderful you were and you turned it right. The conversation went right back to her about how wonderful she was and I was just blown away by how gracious that was and I just thought, well, no wonder. Well, no wonder you made such a great talk show host, such a great communicator, such a great actor and stand-up comedian and everything, because you just have this wonderful way of connecting with people.  07:29 - Rolonda (Guest) Well, you're awfully sweet, Anne. I'm going to receive all of that, but I thank you for that. You know it's, it's it. I, you know I was. I get blown away too, because Sherry does not hold back about what. What do the folks say? Giving me my flowers? And it's nice to receive them when you can smell them. You know, you know, know, it's really interesting because we did pave the way for sherry and and kelly and and drew and tamron all of them and I also know the hard work that those ladies are doing.  08:04 This job called talk is not easy. The politics that go on, the struggles day to day, the whole idea that the show is bigger than you as a human. It's very trying and you're out there by yourself. So I of course give her her flowers back because you can hand over the baton, but if the person can't run with it it really doesn't count. So to be able to see that continuum is a beautiful, beautiful thing.  08:29 And you know what's really funny is that Sherry's executive producer, who you see on the show all the time, John Murray. John was a college student when he first came to see my show and that's when he got the TV bug. He was bitten by the TV bug and so I would invite him back. In fact, one time I put him on the show so he could come and see how the producers worked and the behind the scenes working Skip to him becoming the executive producer of the Sherry show, and he said there's no other voice that we would have introduced, Sherry, and pass on the legacy than you. So it's really good. I mean, you got to be nice to kids, because they're coming up and they'll be your boss.  09:10 - Anne (Host) Right. Isn't that the truth?  09:12 - Rolonda (Guest) It is, it's like full circle.  09:13 - Anne (Host) You've, really you've done so much and you are.  09:15 I feel as though you've got. I feel like, look, I know how busy I am and I do a lot of stuff, but I feel like you, you're, you're doing it all. I mean you're, you're in that sitcom and I see, I'm thankful. I see the clips that you're posting on Facebook and it's so funny how the Rolanda that I know right, that I had a conversation with at VO Atlanta, I mean I feel like it is just so true to your character. Tell us a little bit about that role. I feel like you're just having the best time doing it.  09:44 - Rolonda (Guest) Oh my God, Lucille Williams, or Lucille is just one of the most wonderful characters. I mean, she's just great. And this coming weekend she's going to break off into her cougarlicious life, I know, oh wow.  10:05 She and her besties. They call themselves the silver sneakers. The nieces have convinced them that they need to give up the old guys, who just need a nurse and a purse, and go and get some of the young guys to go get some cool you know, be cougars and so we see how that works. But it's very, you know, it's fun to play her. She's sassy, she's the matriarch of the family, but at the same time we're writing storylines that give her a full bodied woman-ness. At this certain age, absolutely, absolutely.  10:42 - Anne (Host) I love that.  10:43 - Rolonda (Guest) But Mind your Business is a wonderful sitcom. It's one of those wonderful family sitcoms. It's produced by Bentley Evans, who did Jamie Foxx and Martin, so you're going to get that kind of zany funniness, but it's. But my character is lost her business almost during covid and calls on her family to come in and help save the business. And so she moves in with the family to save some money and all hell breaks loose. They need more of a referee than they do business partners. Now.  11:14 - Anne (Host) I love it. Now, if I'm correct, you're on season two, is that correct?  11:20 - Rolonda (Guest) We're on season two. That's right.  11:22 - Anne (Host) That's right Will there be more seasons. We certainly hope so. I hope so too.  11:25 - Rolonda (Guest) Listen, we're depending on you to watch and binge and love it. We're on Bounce TV or the Brown Sugar app and you Love it.  11:32 - Anne (Host) We're on Bounce TV or the Brown Sugar app and you can go look up where you can watch it. Yeah, I love that. Well, ok, so All right, we have to. Now we have to come to the voiceover aspect of things. So you actually have been doing voiceover since you came to LA, right?  11:46 - Rolonda (Guest) And well, you know what's so crazy, Anne, is that I was doing voiceover work, promos and Anne and voiceovers, and I didn't even know I was a voice actor, because I was doing all of that stuff for my show. I mean, had I known I was a voice actor at that time, I would have had a very different contract, trust me. But but it let meRolonda you know. But, just being a news reporter for so many years in New York City and on Inside Edition across the nation, people just knew my voice. And when, when I moved to LA and gave up the whole news and talk business to come out here and be an actor and a producer, nine months into the game the writers went on strike and instead of hosting an internationally syndicated talk show, I was on the picket line serving pizza to the striking writers.  12:39 And I was like what am I going to do? And I had to eat, I had to pay my rent, I mean what, what? And it was like I'm not going back to news, so what am I going to do? And I remembered that I used to call 411 back when you used to get information and the operator even knew my voice. They would go is this Rolanda. And so I said well this, I know I've got a voice, I'll go do voice acting. And I could not catch a cold because I didn't understand what the business was about. I had a voice and I had a microphone, but I had no idea what voice acting was about. I had a voice and I had a microphone, but I had no idea what voice acting was about.  13:14 So I went over to Calumson and Calumson over there in Burbank and I took a class and that thing saved my life because those that was the one of the that was the well, it was one of the longest strikes in Hollywood nine months and by that time I had created a whole new career and the voice actors weren't on strike. So I said this is a great backup for my physical acting and there are times and when my voice works more than my physical acting and now that I'm becoming a woman of a certain age those roles aren't coming in as quickly. But, honey, I can play a hot 30 year old.  13:53 - Anne (Host) Well, my voice. I love that you're using the woman of a certain age because, as a woman of a certain age, as well, what are you?  14:02 - Rolonda (Guest) going to do.  14:04 - Anne (Host) Exactly. I mean, I say use it Right, I mean absolutely. And so let's talk just for a brief moment about what. So acting and voice acting, same, different, what? What would you say are the key differences? Because you said, oh, I had to go to Kalmanson and Kalmanson, right.  14:22 - Rolonda (Guest) So there are some things, yeah, oh, absolutely.  14:25 - Anne (Host) Bosses need to know that are different and I absolutely always tell people yes, you should, you should, you know, take acting classes. But also there are some, some differences.  14:35 - Rolonda (Guest) Yeah, I find that there there's. It's just a different set of muscles, I think that's what you would say. One is just strictly your imagination and I think, well, for me, one helps the other. Well, for instance, the character I play we talked about Lucille, lucille talks like this she's got a little quiver in her voice and she just real high pitch, like that. So some of those tricks that we learn in terms of texture and pitch and pacing and all of that that we do as we imagine our characters, I do the same thing when I see the character on the page and I say how does that voice, what? What is it about her voice that's going to make her stand out. And they know that's Lucille, that's part of her, because she doesn't have cause. That character doesn't have this voice, not my voice. So I think that that that helps me find my characters In fact.  15:29 In fact I did a play and I had I did three plays at one time. Craziest thing in the world never been done Did three plays at one time, playing 10 different characters, from a nine-year-old girl to a 76-year-old grandmother, and all of those are different voices. You know, one was a journalist, one was a, you know, grandmother one, a, a little girl who grew up in mississippi. I mean, those are just such different voices and I also have bring my physical things, like when I'm thinking of a character in my voice, acting. I think what would they wear?  16:04 Shakespeare said, the clothes make the man and the woman too. Are they wearing a cape that they sold over there, you know? Are they carrying a sword? Does she have really tight bobs in her hair? I mean, does she have a mustache? So there are all kinds of things that I think. If I'm in my prop room or my wardrobe room and it's just my imagination, what can I do to help bring those things to light? Just the way, when they put the wig on and the clothes and the heels on for stage or screen, you could become that character. You do the same in your imagination, yeah.  16:37 - Anne (Host) I love that, I love that parallel.  16:40 That makes so much sense, actually, and it's interesting. So, for voice actors, who have not necessarily acted, what sort of tips would you have to for them to be better actors? Let's say, because it's funny, I do a lot of the stuff that people don't think you need to act for in terms of voiceover, like corporate narration or e-learning, and they think that you don't need to act. But in reality you're always a character, and so when I'll say to my students, envision that scene, it's just to them they're like what, why? Why do I need to do that? Why don't I just read the words? You know why?  17:20 - Speaker 3 (Announcement) I hear it. Yeah, exactly, you know why?  17:22 - Rolonda (Guest) Because we're not looking for readers, we're looking for actors, and I think that's one of the biggest mistakes that folks make who don't become a VO boss is because they don't understand what this industry is about. It's really not even about your voice. It's not about I mean, everybody has a beautiful, unique voice, because there are no two voices alike but it's the acting that's going to make you so different. It's those subliminal things under those lines. Sometimes you have a whole commercial that tells a whole life story in four lines and they, they fought over those lines. Attorneys, 50 people made all those lines. So they mean something. What is the story we're telling here? Right, and who am I in this story and who am I talking to? You know all of those questions. Where am I? Why am I even this story and who am I talking to? You know all of those questions. Where am I? Why am I even talking about this toilet paper? You know, and I'm a bear.  18:21 Why am I. Even I'm a mama bear. I mean why? You know why am I, and I'm not going to act like a bear, but I'm going to act like a mom who's concerned about her kids not wiping themselves. And that's just real stuff. So how do you tap into the authenticity? How do you make it human? Because what our job is is to connect with another human being. That's something that folks down there on Madison Avenue, the big advertisers, can't do in their suits, so they depend on us as actors, to be human, to be just plain old ourselves and human. No bravado, as we're hearing so much in our copy and in our instruction and directions as actors. Authenticity, throw it away, just give it to me. No salesy, no Anne, and I got to tell you that's the hardest thing in the world to do. Even for us seasoned actors, it's sometimes hard to shake off the the, the formality and just get real with it. You know and feel comfortable and confident with that.  19:21 - Anne (Host) Can I ask you to repeat that, can you that you said, you said what you said. It was hard, it's hard, it is hard, right. It is so hard Like I love it because you create that scene Right. It is so hard, like I love it because you create that scene Right In which those words make sense, right.  19:36 And tell a story and sometimes those words are really we don't know. We don't know that, Like I, have some people that are almost indignant that they don't have a storyboard or they don't. They don't understand the words. So therefore, if they don't, they're just kind of well, let's just say them then.  19:58 - Rolonda (Guest) Right In a melody that I think they want to hear. Rolonda, that's great, then they'll have a melody that they just heard, but they won't have the commercial.  20:03 - Anne (Host) I love it, so yes, so you said it's hard, rolanda says it's hard, it is.  20:09 - Rolonda (Guest) I go on record as saying the hardest thing I've ever had to do whether it was talk, tv or vocal or physical acting is being myself. Now in life, I have no problem beingRolondaauthentically Rolanda. What you see is Rolonda you get. But it's something that happens when we pick up that script and that microphone is in front of us and, all of a sudden, things start changing and happening. We're just not ourselves. I don't sound like myself. I don't like toRolondahear my voice. It takes, it's really acting. When you hear people who sound like how did they get that job? They don't even sound like a voice actor. It's because they are turning themselves Rolonda a virtual pretzel justRolondato sound like that, to sound so normal.  20:58 I remember when I first started doing my talk show um, the, the demand of being a, an actor I mean not an actor, but a talk show host with a talk show called rolanda was that you had to be Rolanda. You couldn't be the news reporter anymore. That was crucial to the success, and so it was very hard to even do it then, and I can remember my bosses and my partners calling going get that news reporter out of there, bring back Rolanda. And I said but I've got this crazy laugh and a raspy voice and I, you know, I'm a Southern accent and that's everything that makes my brand. I mean, it's crazy, but that's Rolanda. When you say Rolanda, that's what you hear. So whatever that is about you, whatever that quirky, crazy thing that you think is your fault, that's going to be your greatest asset. You know, when I was a little kid, they called me froggy and I always played all the guys in all my all girls school plays and I thought that was a real fault of mine. And now I can play women, men, little boys, pirates, anything in this industry of voice acting, and there's no limitation. The only limitation is your imagination. It's not about the equipment, it's not even about your voice. It's about your brilliant imagination and what you bring to that character, not even the microphone, what you bring to that character that nobody else thought about. That made that animator go. Oh, I can't wait to draw this character, um, and to make the casting director's job easy. They want you to win, they want you to get this job, so give it to them, show them your special sauce.  22:43 But I think it takes real practice, practice, practice. Like carnegie hall, they say. You just don't walk up into carnegie hall and start playing the violin. No, you got to learn how the instrument works. You got to learn how to maintain it, take care of it, how to make love to that instrument so it delivers that God given art and craft that you've put into it. You've got to do the work. And a lot of people think, well, I can just go pick this up and read. And the sad thing is, and they don't take classes and they have no idea what they're doing wrong. The worst thing that can happen is you go years and years and years building on the wrong stuff because you never took the time to learn the right stuff. You don't know what you don't know. Yeah, that's so.  23:29 - Anne (Host) I'm.  23:29 - Rolonda (Guest) I'm real big on training and classes so that you get the education and the acting experience and you understand how to break down scripts, you understand the vocabulary of this industry and how to network and and and use your resources that are right there at your fingertips.  23:46 - Anne (Host) Well, I think I think you're probably very much a VO Boss on using those resources and networking throughout your whole career. That's absolutely something that I feel that you've you've done so successfully. What would you say is probably the most important thing tip that you could give to to ensure success in this industry? Because it's a evolving industry and, yes, being the the queen of reinvention, right, you've had to reinvent yourself, and reinvent yourself not only in, you know, voiceover, but in, like all the media and how it's evolved over the years. So what would be your, your best tip to ensure success? Don't quit there. You go.  24:26 - Rolonda (Guest) I like that. The only people who don't succeed in voice acting are people who quit. I like that. You know, even the greatest ones. And you know, when we're at the VO Atlanta conference and we're with the greats I mean we're with Bob, who's Porky the pig, and we're with Joe, who's every network's Anne and when you hear these, these, these major vo stars and pros say, man, I do 50 to 100 auditions and may not nab the job a lot of us went whoa.  24:59 - Anne (Host) thank god, it's just not us, because yeah, I mean I can show you a stack in my head. I'm like oh, thank god, because, yeah, I, I just did a ton, I know, yeah, and look, listen I hear some auditions from this month okay yeah, am, I, am, I am I booking every one of them?  25:16 - Rolonda (Guest) no, but that's but. But you have to change your mindset. Every time I show up that microphone and I'm doing an audition, I'm not going up there. Well, I'm not going to get the job anyway. If you've got a bad attitude like that, it's time for you to jump into a classroom and just realign yourself, because this is a long game. And let me tell you what's going to happen when you get great you nab that job, you go and do that commercial. One hour it's gone and you're right back to auditioning again. So don't put all of your emphasis on just the job, but the but, the practice, the maintenance of it. Uh, going to conferences like the VO Atlanta conference, vo Dallas conference, sosa look up these places. That's a good place to hobnob. This is a very solo business. You're a solopreneur, you're by yourself, you, your microphone, your computer and your imagination. That's it. So get out and join memberships. Like Anne. You can come and take my class, the voice acting masterclass with Rolanda. In fact, I'm going to offer your listeners a very special deal if they're interested.  26:29 But that's another way that we build community and you learn what's the cutting edge. Right now we're dealing with AI. What does that mean? Staying on the cutting edge of things that are going to affect your career and really take it as a business. This is not just a hobby. Understand how your taxes work, understand the legalities and understand the questions to ask when you're signing a contract. Now just don't run out there all willy-nilly and not ask the right questions or your voice will be used forever and you not get paid. You know the video game people just had a strike and got some. Where are we moving forward in the business?  27:10 Be able to talk intelligently about the business. So when you're out there meeting people, they know, oh okay, this is somebody really serious. This isn't just somebody who just got a microphone on amazon and call themselves a voice actor, because there's a lot of that. But I say that um, really, just don't quit and understand that every time you show up in front of that microphone, it's another opportunity to show you a special sauce. And if the casting director doesn't get you into this particular job and that's not their decision, it's the producer's or whoever the client is. If you don't make it then, then at least they've heard you. I get a lot of times where they're. Rolonda same client will keep calling me back and I know I've impressed them in those other auditions I've done, so I know they're looking for something for me, so I just keep showing up, doing the best that I possibly can and finding ways to make it different. Because they've heard the same audition 50 million times, sometimes 500 times.  28:12 So what can you do to make it a little different and still stay within the parameters? So there's Ganguzza kinds of tricks and strategies and all kinds of things that you can do to stand Ganguzza and also how you market yourself like anything else. This is a brand Just because Rolonda have a microphone. Anything else this is a brand. Just because you have a microphone doesn't mean you have a brand. So reallyRolonda you know, that's one of the things I tell my students all the time. Once you get the breaking down the script and understand how the microphone and the vocab let's, let's talk about marketing, social marketing. How do we brand ourselves? How can you be one name like Rolanda and people immediately know what that means, and so that's really knowing your stuff and knowing your own voice too, that's so interesting because for a while, when I first started, I had different names.  29:00 - Anne (Host) I mean I, of course I started VO Peeps, I have VO Boss, and then I have Anne Ganguza brand and I'm like I really just need to wrap it all up into the Anne Ganguza brand. So finally, people say I need an Anne Ganguza, like I need a Rolanda. I need an Anne Ganguza, and so I love that that you have that brand and you build on that brand. But, rolanda, let me ask you a question, because I saw the stack of auditions. Do you I mean still, do you get, still I say still do you get an imposter syndrome?  29:31 - Rolonda (Guest) I think I'm pretty much. I'm pretty much at this time in my life. I know who I am. You know I'm not trying to. I've done enough and achieved enough and have enough confidence in myself. I think you know what I think this is. The other thing about this industry is confidence, because you can hear I can hear through a microphone. If you're not confident and you don't even believe yourself, if you see it, I'm going to see it. If you believe it, I'm going to believe it. And that's half the battle, I mean, and that's also part of the practice of this art and this craft, is learning how to still your nerves. Breathing is so much a part, warming up is so much a part of it and it's a full body job. This is an inside job because your beautiful vocal cords are right here in this body encases it. So you got to work out, you got to stretch. You know I love this. Old morgan freeman used to say that the secret to his great voice was a good, deep yawn.  30:29 Absolutely, you know because it just loosens up everything and these 41 muscles up here need to be worked out. A lot of people just jump right up, start reading, don't even warm up their mouths.  30:40 - Anne (Host) As evidenced by your. I think it was yesterday when I saw you on Facebook and you were like all right, I'm going back to the gym.  30:48 - Rolonda (Guest) I know. I messed up.  30:50 - Anne (Host) That's it. I'm going back.  30:54 - Rolonda (Guest) I'm a hot mess but.  30:56 - Anne (Host) I think that warming up I mean it helps, it absolutely does. Just a physical walk, you know, if you go to the gym, a physical warmup does absolutely help. Now, we did talk, we touched upon the confidence issue. We did talk, we touched upon the confidence issue, and one thing that I'm really excited about is that in let's see, is it in September, on the 17th, we are going to have you doing a guest directorship for the VO bosses on improv to improve your confidence and connection. So we will be talking about how bosses can remain confident or stay confident or get confident in the booth, and I love that.  31:35 You said that we can hear. We can hear that confidence and it's really interesting because even if you're telling a story and it may not be the story that ends up being on the video or the commercial right or the commercial right If we're auditioning and we're telling a story and we're convinced of it and we are confident in it, then the people listening, the casting directors, the people that will cast us, will believe it as well, and I think that's one of the telltale signs that they say, ah, shortlist, or that's what's gonna get you the gig.  32:05 - Rolonda (Guest) I think confidence and that's really believing in yourself and being able to take chances and risks. Because you know, think about it. The casting director is hearing 500 people say the same three lines. What are you going to bring to that story that's going to make a difference? I'll give you an example.  32:23 I did an at t commercial and it was about it. It was a very little short commercial and it was about a young girl who sees her mother, who has gone out for girls night at a salsa club, and she says mom, is this you on social media? And the mother goes oh, yes, honey, we were out with Raul last night and we were just dancing and then I something happened. And I said and I just to world. That was not even a line in the script, but I just had this imagination, cuz I used to go out salsa with my girlfriends in California and, honey, when Eduardo would ask us to dance, we would to world. And that just brought that into that like an aunt Lucille, and that's what got me the gig. And it was, and it was just that little button that we say, you know, because they've heard 500 times that people say the same thing yes, I went salsaing with my girlfriend, but nobody twirled but me, nobody's.  33:26 - Anne (Host) nobody else is twirling except for Rolanda. Nobody else is.  33:29 - Rolonda (Guest) honey, that's how much fun I had, which lets you know what that video must have looked like, that the girl saw.  33:36 Absolutely, absolutely, and listen and the fact that these old ladies were even on social media, lets, you know, those boys were young. They taught him how to tick and tock and twirl, you know. So I'm having a whole imaginative thing about going out with my girlfriends and then my girlfriend, my daughter, catching me. Oh please, child, we had a good time. You know, we don't care about what people think at this age. So bringing all of those things, even my own wisdom at this age, like I don't care, honey, I'm twirling with Eduardo because the guys my age don't twirl, so I'm bringing all of that fun into it, you know.  34:11 Another example was when I did judge Joe Brown. You know I was the Anne for that show and when I was doing the audition we had to, you know, was a promo, so I would have to read the line and then listen to the sound bite and then read the line in between. And listen to the sound bite, read, read the line. And I was so big. Judge Joe was such a crazy, freaking judge show. I would say, coming up today on Judge Joe, I'm going to slit your tire and I'm going to beat Shaniqua Mary can't stand, john and then I'm going to cut your other tire and then I would be.  34:46 And then one time I just went, whoa, the next Judge, joe. Honey, they fell on the floor. I was so busy listening that I was reacting like an at home person and I was like, ooh, on the next Joe. I was so irreverent that they created a little animation called lady justice and it was a little bug and I made up this whole story that lady justice was in love with joe just like the daytime audience was gone. Joe, tell them, joe, that's judge, joe, you know because I know the daytime audience. Yeah, so that's the other question we asked who are you talking to?  35:30 - Speaker 3 (Announcement) absolutely, this wasn't the inside edition audience. This. Don't be afraid to take that risk.  35:53 - Rolonda (Guest) You can do a straight one on the next Judge. Joe and Shanique was going to go, but honey, one time let it rip and show them that you can have fun. Fun is the main key. If it's not fun, don't do it.  36:05 - Anne (Host) Yeah, I agree, I think if you can make, if you can make someone laugh, if you can, if you can, if you can bring a smile to that casting director, that person listening to you, oh my goodness. And speaking of because normally I try to make this, you know, a 30 minute podcast, but I do want to touch upon. I do want to touch upon the fact that you are a stand up comedian as well, and we had quite a conversation at VO Atlanta on that, and so I feel like that's just all embedded in your personality and I think you were always a funny person, like from maybe a young girl. But talk to us about being at stand up comedy is tough.  36:41 - Rolonda (Guest) Oh, it's really tough.  36:42 - Anne (Host) But you know something that's a rough audience.  36:45 - Rolonda (Guest) Know your audience. Who are you talking to? That's true. And you know something Lunell taught me that she said know your audience, be able to switch on a dime, whatever. But I'm going to tell you just, VO bosses, that comedy helps immensely. It helps your timing, you know. So much of comedy comes in threes. So when you're doing animation or even some fun commercials, what's that third line where the funny ABC?  37:10 - Anne (Host) read right Where's that?  37:11 - Rolonda (Guest) Where's that? Third line where the funny? Or they want an ABC. Read Right, where's that? Where's that? Where's the funny? And that also gives you the confidence and the imagination and and I tell you funny, joan Rivers told Sherri Shepherd funny girls always work, funny women, funny girls always work, funny women, funny women always work. So adding a little humor to something I think makes you stand out. But I love the craft of comedy. I'm uh got uh some comedy shows here in New York at the comedy village comedy in Harlem, and then I'm going to go out to flappers in LA this winter December for the holidays and I'm opening for Lunell and that's really exciting so yeah, I'm getting my comedy on Awesome.  37:58 - Anne (Host) Look out for me on Netflix one day. I do not doubt it. Well, rolanda, it has been such a pleasure. I wish I could talk to you for another. Well, another five episodes.  38:07 - Rolonda (Guest) Oh, wait a minute. Wait a minute Speaking of Netflix. I got to do this and we're talking about Michelle Boutot's show survival of the thickest.  38:15 - Anne (Host) I'm on that one as well on Netflix. Awesome. Oh, and before and before we actually go, talk to us a little bit about September 17th improv to improve your confidence. A little bit about what we're going to, we're going to be diving into in that class.  38:30 - Rolonda (Guest) Oh, I can't wait to that class because improv is such a great way to gain your confidence, to loosen up and to have a whole bunch of fun. The beautiful thing about improv is there are certain rules that we go by, but it's just fun and it's going to help you tap into your authenticity. One good example we improv every day in life. You talk to your lover very different than you do to your boss, and don't let your best girlfriend call you in the middle of the day, and then, when your mother calls, listen to all the different voices that we have, and that's a lot of improv too. Improv also helps you listen and much of acting is about listening and I think you will surprise yourself, and part of the improv to improve your confidence is finding your own voice and discovering things through this exercise about your own experiences and about your being able to to react on a dime and have fun and laugh about it. Then when you you get those scripts, you can improv in your head.  39:32 I always do a little role play before I start, something Like if I have to play an old grandma, then I talk like an old grandma. Okay, I spin and rush them out. Our teeth don't fit too well. You got a little pain in the rats every once in a while. So you keep building these wonderful things that help you. Listen, you may not get that job, but you know you're going to doggone. Put in the effort because you've done the work. You know you. You will be so surprised, all the places that your voice will take you. And improv too. I mean there are times you're going to meet strangers, a new boss, and going to have to improv too. I mean there are times you're going to meet strangers, a new boss and going to have to improv too.  40:13 So improv is going to be a fun exercise for us. We're going to then take scripts, break down those scripts and do some acting. I'm going to teach you about Uta Hagen's nine questions. We're going to talk a little bit, a bit about Sandy Meisner's techniques, and these are just little things that you can put in your hip pocket that will help you. When you go out into the world and you're in that booth by yourself and you look to the right and the left and there's nobody there but padded walls, what are you going to do? You're not going to freak out, because we're going to learn about warmups and what we do with all this body when we're nervous and behind a microphone, because I can hear nervousness, I can hear it. So let's uh, let's work on that rolanda, did you hear my nerves?  40:57 - Anne (Host) did you hear my nerves when I was interviewing you are so not nervous listen, you need to make it easy.  41:05 - Rolonda (Guest) You've got the ganguza method, that's it there you my own method. I want to be gangouza'd. I love it.  41:12 - Speaker 3 (Announcement) I love it oh my gosh.  41:14 - Anne (Host) Thank you so so much. It has been such a pleasure talking to you today.  41:19 - Rolonda (Guest) You know how much fun we have. We get together and start talking and the sun can come up.  41:23 - Anne (Host) So true, so true.  41:23 - Rolonda (Guest) Thank you, thank you so much.  41:25 - Anne (Host) I so true, thank you. Thank you so much. I'm so excited for you, for our class in September. Bosses, I'm going to give a great big shout out to our sponsor, ipdtl. You, too, can connect and network like bosses, like Rolanda and myself. Find out more at IPDTLcom.  41:42 - Rolonda (Guest) I just wanted to add this that if any of your listeners wanted to check out my voice acting masterclass voice acting masterclass I'm going to offer 50% off if they use the code VO Boss 50.  42:01 - Anne (Host) Oh, I love it. Vo Boss 50.  42:01 - Rolonda (Guest) I'll put that on the show notes, guys. Thank you so much, Just for your listeners. 50% off. Vo Boss listeners go to Rolandacom.  42:08 - Anne (Host) Awesome Thanks. Bye bosses. Thank you, Rolandacom. Awesome Thanks, Bye bosses. Thank you, Rolanda. Bye.  42:13 - Speaker 3 (Announcement) Join us next week for another edition of VO Boss with your host, Anne Ganguza, and take your business to the next level. Sign up for our mailing list at vobosscom and receive exclusive content, industry revolutionizing tips and strategies and new ways to rock your business like a boss. Redistribution with permission. Coast to coast connectivity via ipdtl.   

–There's almost no food that I don't like.It usually takes a long, long hour to get the proper freeze, so we took turns slowly turning the handle over and over.Joe Brown is a retired building contractor. He lives on a small family farm in the Bethania area of Winston Salem NC. He now has time to do all those projects that a busy work schedule didn't allow. He enjoys his grandchildren and great grandchildren and as time allows likes to reflect on his life and write stories about his adventures. Several of those stories have been shared through The Personal Publishing Project. His prayer is that his family can appreciate the history he has lived.

Welcome to On A Water Break—your all-access pass to the marching arts! This week, Stephen is joined by Jackie Brown, Woody Woodward, and two special guests: legendary Chuck Henson (@chuckhenson1) of Bands of America and broadcaster, and Joe Brown, the powerhouse educator behind Elizabeth HS, NJ.In this episode: 32 Count Life Stories from Chuck (“the big voice in the big stadium at the big band show!”) and Joe (“Joe Bama” of Title I band fame). Sideline Scoop:Clark Atlanta University Mighty Marching Panthers performed at Truist Park's MLB All-Star Weekend ✔️Leander (TX) HS band mourns sophomore member Braxton Jarmon amid flooding; community launches fundraisers ✔️Music for All names Dr. James Weaver as new CEO/President ✔️ Duck Brand+1Instagram+1Nicholas Moore of South Iredell HS takes home a $15,000 Duck Brand “Stuck at Prom” scholarship for his Duck Tape tuxedo ✔️ Duck Brand+15Duck Brand+15Ferris State University+15 Peak Group Travel Tip: Book early-bird fares now – peakgrouptravel.com & IG @peak.group.travel. 3…2…1—go! (60‑Second Tech Block): Joe breaks down the keys to Title I program success—“The difference is not in the kids' passion, but in the support, resources, and structure schools provide.” Water We Doing: Stephen advocates for raising NJ drumline standards; Chuck pushes for greater exposure to elite performance; Joe & Woody challenge DCI's tour model and explore regional access. Gush & Go: Woody celebrates opening-season wins; Joe cheers on alumni marching in Mandarins and Blue Devils; Chuck salutes BOA's 50th anniversary; Stephen reveals he's being sized for his Eagles Drumline championship ring.Featured Guests: Chuck Henson (@chuckhenson1) – BOA announcer, host of Joining Us podcast Joe Brown – Elizabeth HS, NJ Hosts: Stephen McCarrick (@stephenmccarrick) Jackie Brown (@spintronixguard) Woody Woodward (@remoking100)News & Story Links: • CAU at All-Star Game: [HBCU News article] ✔️ • Leander HS band story: [Facebook/KWTX coverage] ✔️ • Dr. James Weaver's appointment: [Music for All release] ✔️ • Nicholas Moore's scholarship: [Duck Brand winners page] & [PR Newswire coverage] ✔️ Yahoo Finance+14Duck Brand+14PR Newswire+14Timestamps:00:00 – Welcome & Host Introductions02:00 – 32 Count Life Story: Chuck Henson10:00 – 32 Count Life Story: Joe Brown18:00 – Sideline Scoop: News27:00 – Peak Group Travel Tip28:00 – 60‑Second Tech Block: Title I Bands34:00 – Water We Doing: DCI Access & Exposure44:00 – Gush & Go: Wins, BOA, Drumline Ring55:00 – Closing & CTAsListen everywhere:Apple • Spotify • Amazon • YouTubeConnect with us @onawaterbreak

Co host of the Jigs and Bigs podcast, Joe Brown, joins the boys to talk about his military time, glitter boat fishing vs kayak fishing, and why Bobby Roast Beef censors him.

Co host of the Jigs and Bigs podcast, Joe Brown, joins the boys to talk about his military time, glitter boat fishing vs kayak fishing, and why Bobby Roast Beef censors him.

Saving for education can feel overwhelming, especially when you're juggling military life, moves, and everything in between. Whether it's understanding your military benefits, choosing the right savings plan, or figuring out how to afford college for multiple kids at once, it can get complicated quickly. In this episode, Joe Brown shares strategies to help you plan for education expenses while making the most of your military benefits. We talk about how to use the GI Bill smartly, what to know about Chapter 35, and why scholarships and merit money should be a big part of your family's game plan. Plus, Joe breaks down 529 plans, education savings accounts, and tips for blending everything together without the stress. Joe is a CFP® Professional, an MQFP®, and a visiting professor of personal finance at the U.S. Coast Guard Academy, where his work is supported by the USAA Educational Foundation. He's the founder and lead planner at Always Ready Financial Planning. https://milmo.co/podcast/smarter-college-and-life-planning-for-military-families For more MILMO, follow at: MILMO.co ItsMILMO on YouTube @itsmilmo on X @itsmilmo Instagram @itsmilmo LinkedIn @itsmilmo Facebook

Sports staffers Joe Brown and Michael Lyne talk about the 15-player All-Area Boys Basketball squad.

This episode of Sync Music Matters is an Interview with Sam Stockham the creative Sync and Licensing manager at Involved Publishing Sam began his career in music at Columbia Records as an A&R assistant whilst studying for a music business degree  Post university he then began working in commercial rights and business affairs for the BBC. He later joined Universal Production Music where over 12 years he rose through the company to biome Head of Music Supervision.  Whilst at UPM he worked across all forms of media, syncing thousands of hours of music in film, tv and advertising and building relationships with some of the biggest broadcasters, production companies and brands in the UK and around the world. In 2024 he joined independent music publisher Involved Publishing as their Creative Sync & Licensing Manager.  As well as the publishing roster he is also responsible for sync across the groups iconic Anjunabeats, Anjunadeep and Anjunachill  The roster includes a wide variety of artists, producers and writers such as Above & Beyond, Seven Lions, Dusky, Yotto, CRi (pronounced creee), Durante, Qrion, Jason Ross, Lane 8, Nicky Elisabeth, Cephas Azariah, Caitlin Stubbs, Mark Barrott, Sophia Bel, Joe Brown, Mark Zito, Dylan Matthew, and Sam Burger to name just a few. Interview with Sam Stockham (00:00:00) Introduction (00:01:58) What was your route to music? (17:21:12) Under The Skin - how has the sync landscape changed? (27:43:12) How will AI Shape Music? (30:28:00) Royalties - TV vs Online (36:54:00) Is branding important in music? (40:40:19) Getting a Taste - What music and art has shaped you?

Matt, Dave, and Brad go live from the Columbus Fishing Expo in Columbus, Ohio. They are also joined by Bobby Roast Beef and Joe Brown from the Jigs and Bigs Podcast.Sponsored by: @DarkHorseTackle and Bioenno PowerDark Horse Tackle:Use promo code THECATCH5OFF to save $5 off your first monthly subscription to the box. Use code CATCHABYOB to save 25% off your build a box feature. Click the link below!https://darkhorsetackle.com/collections/subscription-productsBioenno:https://www.bioennopower.com

Here at The Loudini Rock & Roll Circus podcast we love horror films and we love great rock and metal. Put the two together and it you  have two great tastes that taste great together. For this years Halloween "Spook-tacular" we will take you on a haunted tour of some of our favorite horror sound tracks that feature great rock and metal bands   What we did this week:   Lily: Kennywood, Disney on ICe,   Loudini: Azrael, Snakes on a plane Retrospective (Minty), Joe Brown on Ike & Tina (Art of Dialogue), Bands shooting themselves in the foot with YouTube (Rock Feed), The early days of MTV (polyphonic), Japanese words that Americans don't understand (Mrs Eats), Adams Family Retrospective (Minty), Joe Rogan OMG!, R.I.P. Phil Lesh & Teri Gar, A.I. and Loudini   1. Trick or Treat (1986) Synopsis: Eddie Weinbauer, a high school outcast and heavy metal fan, discovers that his favorite rock star, Sammi Curr, has died in a mysterious fire. When he plays one of Curr's unreleased albums backward, he unwittingly resurrects the rocker as a supernatural force seeking revenge. Soundtrack: The soundtrack features Fastway, a British rock band that composed most of the music for the film, giving it an authentic 80s heavy metal vibe. Background: This cult classic explores themes of rebellion and the "Satanic Panic" of the 1980s, with cameo appearances by rock icons Ozzy Osbourne (playing a conservative talk show host) and Gene Simmons. 2. Queen of the Damned (2002) Synopsis: Based on Anne Rice's novel, this film follows vampire Lestat, who awakens from slumber to become a rock star, attracting the attention of other vampires and the ancient Queen Akasha, who wishes to rule alongside him. Soundtrack: Korn's Jonathan Davis worked with composer Richard Gibbs to produce tracks, with contributions from bands like Disturbed, Deftones, and Marilyn Manson. Background: The soundtrack was a defining feature, creating a unique, moody soundscape that reflects the gothic and seductive qualities of Rice's vampire world. 3. The Crow (1994) Synopsis: Eric Draven, a musician, returns from the grave to avenge his and his fiancée's murder on the night before Halloween. Guided by a mystical crow, he confronts the killers in a stylized, gritty urban landscape. Soundtrack: The dark and atmospheric soundtrack includes Nine Inch Nails, The Cure, Rage Against the Machine, and Stone Temple Pilots. Background: The Crow became iconic, partially due to its haunting soundtrack, and remains influential for its combination of rock music with the film's themes of love, vengeance, and loss. 4. Bride of Chucky (1998) Synopsis: Killer doll Chucky is resurrected by his former lover, Tiffany. After a ritual goes awry, she's trapped in a doll's body as well. Together, the murderous dolls embark on a chaotic journey to find new bodies. Soundtrack: The edgy soundtrack features Rob Zombie, Slayer, Judas Priest, and Type O Negative. Background: Known for its dark humor, Bride of Chucky refreshed the Child's Play series, and its soundtrack added a gritty, punk-rock feel to the horror-comedy. 5. Return of the Living Dead (1985) Synopsis: When a chemical leaks at a medical supply warehouse, it causes the dead to rise and wreak havoc in a nearby town. A group of punk teens finds themselves at the center of the chaos. Soundtrack: The punk-driven soundtrack includes The Cramps, T.S.O.L., and 45 Grave. Background: Blending punk culture with zombie horror, this film is notable for its humor, gore, and punk soundtrack, which complements its rebellious, chaotic spirit. 6. Demon Knight (1995) Synopsis: A mysterious drifter named Brayker seeks refuge in a rundown hotel while being pursued by a demonic entity called The Collector, who wants a relic Brayker holds. Soundtrack: The soundtrack includes Pantera, Megadeth, and Ministry. Background: Part of the "Tales from the Crypt" film series, this movie's soundtrack and horror-action elements captured a blend of supernatural horror with hard-hitting rock. 7. Freddy vs. Jason (2003) Synopsis: Freddy Krueger and Jason Voorhees, two iconic killers from horror franchises, come face-to-face in a battle, with teens caught in the crossfire. Soundtrack: The soundtrack features Ill Nino, Slipknot, Sepultura, and Spineshank. Background: Featuring a high-energy soundtrack, this crossover slasher appealed to metal fans and is known for its adrenaline-filled music. 8. House of 1000 Corpses (2003) Synopsis: Two couples on a road trip through rural America stumble upon a bizarre museum run by a man named Captain Spaulding. Their curiosity leads them into the lair of the Firefly family, where terror and madness unfold. Soundtrack: The soundtrack, curated by director Rob Zombie, includes songs by Zombie himself along with Buck Owens and The Ramones, adding a gritty, Southern rock vibe. Background: Rob Zombie's directorial debut is heavily influenced by grindhouse films and 1970s horror. The music complements its chaotic and disturbing tone, with Zombie's own tracks amplifying the twisted atmosphere. 9. Resident Evil (2002) Synopsis: Alice, an amnesiac security operative, teams up with a group of commandos to investigate a deadly virus outbreak in a high-tech facility known as The Hive. Their mission pits them against reanimated corpses and mutated creatures. Soundtrack: The soundtrack features Slipknot, Marilyn Manson, and Coal Chamber, creating an industrial, high-energy backdrop for the action-horror elements. Background: Known for its intense action sequences and blend of horror with sci-fi, the soundtrack's industrial metal sound contributes to the futuristic, menacing feel of the film. 10. Dracula 2000 (2000) Synopsis: In this modern adaptation, Dracula is accidentally revived in New Orleans, where he targets the daughter of the man who once tried to contain him. The story intertwines classic vampire lore with contemporary themes. Soundtrack: Featuring bands like Pantera, Slayer, System of a Down, and Linkin Park, the soundtrack is heavy with rock and metal tracks. Background: This retelling of the Dracula story embraces a darker, edgier approach, with a soundtrack that enhances its themes of immortality and rebellion against tradition.   New & Notable:   Loudini: Trope; Planes Lily: Blacklist Union; Hey Mr. Superstar

Recorded LIVE on location at the famed Pic-A-Lilli Inn; recommended to us by the one and only Joe Cermele (Field & Stream/Cut & Retie Podcast). This show is co-hosted this week by the one and only Janelle Orsino AKA Lil J, as technical difficulties made it impossible to get Joe Brown on the show remote. The mission was to head south and fish the Pinelands area of South Jersey; where according to Lil J... they NEVER have ice on the ponds and lakes... Find out how it all worked out! Want to support the show? BECOME A JIGHEAD HERE: https://rebrand.ly/bf8612 And/Or Buy me a coffee here: https://buymeacoffee.com/jigsandbigs Subscribe to J&B on YouTube: https://www.youtube.com/channel/UCQgjclBaAYEl0Xrw9JKYNQg Subscribe to American Vet Fishing on YouTube: https://www.youtube.com/@american_vet_fishing8741 BUY HEAT YOUR MEAT: https://heatyourmeat.net/ Call the J+B Hotline! 1+ (413) 324-8519 Or email jigsandbigs413@gmail.com (Questions, comments, FTG, Stories from the bait shop, Broke on the Boat submissions, and more) Check out our LINKTREE: https://linktr.ee/jigsandbigs Thanks to our Show Partners! - Hookset Hoodlums - https://www.hooksethoodlums.com - Use code JIGSANDBIGS10 for 10% off at checkout!!! - Dark Horse Tackle - https://darkhorsetackle.com?sca_ref=4963595.Ulm8078KDd [Save 15% off your first box in a Weekend Warrior or Dabble Pack month-month subscription using code JIGSANDBIGS15 at checkout or put together a BYOB and use the code JANDBBYOB25! - Omnia Fishing - https://omnia.direct/OmniaE-GiftCard [Save 15% off your FIRST order at Omnia Fishing!] - A-Bay Lure - https://abaylure.com [Use code Jigsandbigs to save 20% on your entire order] - Bay House Apartment - https://shorturl.at/fpRX8 - The Ship Motel - https://theshipmotel.com/ - Reaction Tackle - https://www.reactiontackle.com/JIGSANDBIGS - Three Belles Outfitters - https://rebrand.ly/zsdnchi - Torege Polarized Sunglasses - https://rebrand.ly/i2cqymx [Use code jigsandbigs10 to save 10% at checkout!]

Car Guy Coffee & Fixed Ops Friday feat. Joe Brown (Live at the Kain Event) Car Guy Coffee & Fixed Ops bring you the new blend of the week! This blend features Joe Brown, CMO @ Frank Leta Auto Group. We catch up with Joe as we discuss the events live at the Kain Event. Let's Brew! Don't forget to share and subscribe! Brew Brought By Our Proud Sponsors At: www.fixedopsdigital.com

Joe Brown is the founder of Heresy Financial. He is an entrepreneur, investor, public speaker, and host of the popular Youtube channel Heresy Financial, where he has helped millions achieve financial success by sharing key knowledge and insights on how the financial system works. Connect with Joe Brown: https://www.heresy.financial/ Subscribe to the Kowalski Analysis Podcast: iTunes: https://apple.co/3aOeqNJ Spotify: https://spoti.fi/2CPn6a2 Google Play: http://bit.ly/GoogleKowalskiAnalysis Please complete this form to apply for our coaching program: http://tinyurl.com/39292xcr Join me on Patreon: https://www.patreon.com/BiblicalPolygyny Learn the truth as we expose the false monogamy-only marriage doctrine by joining and following: https://www.facebook.com/biblemarriages https://www.facebook.com/groups/biblicalfamilies

Judge Joe Brown On Judge Mathis Promoting Gay Culture & Says His TV Show Ratings Was Better.

SM-33 shines in this one! Our group of pirates also experience problems like never before! Our host is joined by his brother-in-law, Joe Brown, to geek out about the fifth episode from Skeleton Crew titled, "You Have a Lot to Learn About Pirates." Topics Discussed Include: 1. Parents Trying! 2. The Comedy of Lanupa and SM-33 3. Jod and the Lightsaber Support the show on Patreon - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.patreon.com/forceghostconversations⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you want to continue the conversation, please follow us at the following websites: ⁠⁠⁠⁠⁠Blue Sky⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Merchandise

In this episode of the Coaching Culture Podcast, hosts JP Nerbun and Nate Sanderson welcome back Joe Brown, an athletic director from Colorado, to discuss creating a transformational culture within athletic departments and organizations. They emphasize that while mission statements and core values are important, true culture is experienced through what you feel, see, and hear in an environment. Joe shares practical strategies and insights for implementing these cultural principles, highlighting the significance of hard work and servant leadership in fostering a positive atmosphere. The episode serves as a valuable continuation from their previous conversation, laying a foundation for effective cultural transformation. Tune in to learn how to elevate your organization's culture through actionable steps and dedicated leadership.

– “Did you get one?”I quickly put the bead on the target and pulled the trigger.Joe Brown is a retired building contractor. He lives on a small family farm in the Bethania area of Winston Salem NC. He now has time to do all those projects that a busy work schedule didn't allow. He enjoys his grandchildren and great grandchildren and as time allows likes to reflect on his life and write stories about his adventures. Several of those stories have been shared through The Personal Publishing Project. His prayer is that his family can appreciate the history he has lived.

In this episode, we delve into the complexities of communicating a leadership philosophy within an organization, particularly in the context of sports. We discuss the importance of co-creating a culture that reflects not only a leader's vision but also incorporates the diverse philosophies of team members. Joining the conversation is Joe Brown, the Athletic Director at Niwot High School in Colorado. Joe shares insights on fostering a transformational coaching culture that is not just theoretical but actively practiced throughout his athletic department. His work with Colorado's High School Coaches Association and High School Activities Association further emphasizes his commitment to elevating sports culture. Tune in to learn how to inspire others and create a thriving organizational environment. Get the Podcast Notes and Subscribe to our weekly newsletter!  https://www.tocculture.com/newsletter  Interested in booking TOC for a team meeting/consultation? Click here→ https://www.tocculture.com/contact TOC Coaching & Culture Certification- https://www.tocculture.com/coaching-and-culture-certification  Learn More about TOC and how we can help enhance your coaching experience https://www.tocculture.com/tocculture  Learn More about Besty Butterick and her work with coaches! https://betsybutterick.com/ Follow Us On Social Media Instagram- https://www.instagram.com/tocculture/  TikTok- https://www.tiktok.com/@tocculture  Youtube- https://www.youtube.com/@tocculture

Pokemon TCG Pocket is sweeping the nation! We have OHKO Podcast and VGC commentator Joe Brown on to tell us more about it! #youtube #nintendo #pokemon #tcg #cardgame #videogames #nintendogames #podcast Find Joe at- https://x.com/Xeminan https://www.twitch.tv/xeminan Listen to the OHKO Podcast- https://x.com/OHKOpodcast https://www.youtube.com/channel/UCuqNWc3xvy2CSYjvbhAGfsw Follow Sketching Up on Instagram- https://www.instagram.com/sketchinguppod/ Facebook- https://www.facebook.com/sketchinguppod/ You can find Schnabel Studios on TikTok - https://www.tiktok.com/@schnabel.studios Instagram- https://www.instagram.com/schnabel.studios/ X- https://twitter.com/schnabelstudios Facebook- https://www.facebook.com/schnabelstudios/ Video edited by Chris Schnabel Episode Produced by Chris Schnabel and Matt Tornetta Music by Kyle Scott Sketching Up is a Schnabel Studios Production. Chapters: 0:00 - Introduction and Stopwatch Mystery 2:42 - Revisiting Past Podcasts and Collaborations 5:36 - Introduction to Pokémon TCG Pocket 7:30 - The Success of Pokémon TCG Pocket 10:49 - Gameplay Mechanics and Simplifications 12:09 - Monetization and In-Game Currency 15:31 - Virtual vs. Physical Cards 20:20 - The Thrill of Collecting and Rarity 23:08 - Exploring Pokémon Card Rarity and Mechanics 24:57 - The Future of TCG Pocket: Longevity and Community Engagement 28:41 - Competitive Nature of TCG Pocket: A New Era? 30:31 - The Challenge of Integrating TCG Pocket into Competitive Circuits 34:15 - The Importance of Trading in TCG Pocket 37:06 - The Ongoing Journey of Collecting Cards 40:29 - Joe's Ventures Beyond Pokémon: Commentary and Competitions

In this episode of Cycling Over Sixty, host Tom Butler takes a significant step toward personalized medicine. His initial consultation revealed a health issue that will be his top priority. Tom also introduces a new community initiative: a Zwift group ride with an accompanying Zoom chat room.Joining Tom this week is Joe Brown, co-founder of Methow Cycle and Sport in Winthrop, Washington. Joe shares insights into launching the bike shop and the unique experience of cycling and running a bike business in this stunning location. If you're curious about new riding destinations or the retail side of the cycling industry, don't miss this conversation with someone who has a wealth of experience.Thanks for Joining Me! Follow and comment on Cycling Over Sixty on Instagram: https://www.instagram.com/cyclingoversixty/Consider becoming a member of the Cycling Over Sixty Strava Club! www.strava.com/clubs/CyclingOverSixtyPlease send comments, questions and especially content suggestions to me at tom.butler@teleiomedia.comShow music is "Come On Out" by Dan Lebowitz. Find him here : lebomusic.com

En el primero de dos capítulos en abierto empezamos a narrar la historia de la masacre de Columbine, acontecida el 20 de abril de 1999, piedra fundacional del school shooting y evento clave del calendario mass murderer. En esta primera entrega, Kiko Amat realiza un minuto a minuto de la primera parte del “Judgement Day” que suena como si hubiese estado en las escaleras de la salida Oeste, tomando notas. También nos ofrece un análisis de las personalidades y trasfondos de Eric Harris & Dylan Klebold, además de una cronología de su carrera delictiva (dos años antes del ataque). Benja Villegas repunta lo anterior con un estudio de la inutilidad policial el día de autos, más un listado de teorías medíaticas de mierda (Goths-gays-nerds-jocks con gabardina). Una banda sonora pintona (The Only Ones, Joe Brown, Tyler The Creator, Judy Henske y Childish Gambino) redondea el episodio.

This Episode fully embodies the direction I've been trying to go with this podcast, its about the who the Angler is. We sit down with Joe Brown. He's an angler, a friend, an American Veteran, and a damn fine specimen of a human being. if you are a veteran, or stuggle with mental health. You dont have to go it alone. Please reach out to us! How about I just gonna let the episode do the talking. --- Support this podcast: https://podcasters.spotify.com/pod/show/the-catch-pod/support

The round table is back! This time with Joe Brown, Scarzig, and Caleb Peng. We talk all things Pokémon esports, from formats to logos.

This week James looks into the future and asks what F1's move to zero emission fuels from 2026 actually means. If the cars are zero emission, you don't need hybrid technology anymore, so will it open the door for the return of the lighter, great sounding V8 and V10 engines of the past? Or is hybrid tech the only thing keeping the manufacturers in F1? And what exactly are these magical fuels? Former Mercedes F1 technical chief Paddy Lowe tells us synthetic fuels that cost a fortune today will be cheaper to buy than normal fuels in 10 years and therefore affordable for owners of the billion-plus cars on the road. Here to help demystify all of this are Autosport F1 Editor Jon Noble and special guest Joe Brown, former Executive Editor of Wired and founder of One5C, a platform dedicated to sustainable solutions to real world problems. Send your comments or questions to: @jamesallenonf1 on X/Twitter. A Motorsport Studios production for Autosport

Joe Brown is with us today preaching on Psalm 11. (August 18, 2024)

Matthew 19 - Joe Brown - 2024 Youth Conference Hammond by First Baptist Church of Hammond

John 9 - Joe Brown - 2024 Youth Conference Hammond by First Baptist Church of Hammond

Get my new book: https://bronsonequity.com/fireyourselfDownload my new special report - How to Use Inflation to Your Advantage - www.bronsonequity.com/inflation Welcome to our latest episode. Today, we're thrilled to have three remarkable guests: Ryan Gibson, Joe Brown, and Rod Khleif. Ryan Gibson is the Co-Founder and Chief Investment Officer of Spartan Investment Group. With over $200 million in private equity raised for Spartan projects, Ryan's expertise shines in managing challenging markets. Beyond real estate, Ryan is also a seasoned commercial airline pilot and holds a degree in Business from Mercyhurst University, specializing in Marketing, Management, and Advertising. His pivotal role connects individual investors to SIG's exclusive real estate investment opportunities. Joe Brown, the dynamic force behind Heresy Financial, is an entrepreneur, public speaker, and investor dedicated to demystifying the intricacies of the financial system. His mission is to empower millions with the keys to financial success. In this episode, Joe unveils strategies for investors to thrive amidst inflation, drawing on his extensive knowledge and experience. Rod Khleif is a remarkable entrepreneur, real estate luminary, and philanthropist. With a background that includes owning over 2000 properties and experiencing both great triumphs and challenging setbacks, Rod's journey is filled with valuable lessons. He'll candidly discuss his mindset and the recovery process from losing $50 million in the crash of 2008. Get ready for authentic insights into real estate, success, mindset, and life. In this engaging discussion, our experts explore the importance of mindset in investing, the current state of the economy, and the critical topic of being greedy when others are fearful. They delve into the opportunities in various asset classes, such as self-storage and multifamily, and discuss strategies for managing risks and investment. Tune in now for an enlightening discussion that will empower your financial journey! 00:00 - Introduction by Bronson Hill 01:13 - Guest Introduction: Ryan Gibson, Joe Brown, Rod Khleif 05:45 - Importance of mindset in investing during economic uncertainty 09:25 - Self-storage opportunities and challenges 15:40 - Current real estate market insights 20:55 - Risk management strategies for investors 31:01 - The impact of debt and leverage on investments 39:03 - Personal investment strategies and diversification 46:22 - Recommended books and resources for investors 49:55 - Addressing Bitcoin and its investment viability 52:00 - Advice for new developers and key considerations 54:01 - How to follow and connect with our guests Connecting with the Guest:Ryan Gibson Website: https://spartan-investors.com/ Linkedin: https://www.linkedin.com/in/ryan-gibson-21784b5/ Instagram: https://www.instagram.com/spartaninvestmentgroup/ Youtube: https://www.youtube.com/spartanhomebuyers Joe Brown Website: https://heresy.financial/ Linkedin: https://www.linkedin.com/in/joseph-brown-5b6155a6/ Twitter: https://twitter.com/heresyfinancial Youtube: https://www.youtube.com/c/heresyfinancial Rod Khlief Website: https://rodkhleif.com/?sl=igo Linkedin: https://www.linkedin.com/in/rodkhleif/ Youtube: https://www.youtube.com/channel/UCbb357-0yQw0kdNelWKrSkA Facebook: https://www.facebook.com/rodkhleifofficial?sl=igo Linktree: https://linktr.ee/rodkhleif #RealEstateInvesting #FinancialFreedom #EconomicOpportunities

"Who the fuck is Joe Brown" reveals the details on his brand new bass boat! Bobby makes some upgrades this week in a few different ways (on the boat, and tech upgrades). You've seen our guest on TV for years, the one and only TV Mad Fisherman; Charlie Moore is in the beef seat this week! Talking some details about his career, the highs and lows, and of course we talk FISHING! Links mentioned in the show: - Springfield MA water and Sewer Reports: https://springfieldalerts.com/Suez/?fbclid=IwZXh0bgNhZW0CMTEAAR0jlnjnq5U-78AD7CpZmVD-yVxHu_WhyR49FcvaMKuwsPggPwqR5RbyxEM_aem_9em9gkKqX1EYZkMHZrJkQg - Gilltek Finesse Jig: https://darkhorsetackle.com/products/gilltek-finesse-jig?sca_ref=4963595.Ulm8078KDd - Riot Baits The Tantrum Chunk: https://omnia.direct/M4zoxp - Picasso Lures Shock Blade PRO Bladed Jig: https://darkhorsetackle.com/products/picasso-lures-shock-blade-pro?sca_ref=4963595.Ulm8078KDd - Rapala Crush City Freeloader: https://omnia.direct/jJpOBO Subscribe to J&B on YouTube: https://www.youtube.com/channel/UCQgjclBaAYEl0Xrw9JKYNQg BUY HEAT YOUR MEAT: https://heatyourmeat.net/ Call the J+B Hotline! 1+ (413) 324-8519 Or email jigsandbigs413@gmail.com (Questions, comments, FTG, Stories from the bait shop, Broke on the Boat submissions, and more) BECOME A JIGHEAD HERE: https://rebrand.ly/bf8612 Check out our LINKTREE: https://linktr.ee/jigsandbigs Thanks to our Show Partners! - Hookset Hoodlums - https://www.hooksethoodlums.com - Use code JIGSANDBIGS10 for 10% off at checkout!!! - Dark Horse Tackle - https://darkhorsetackle.com?sca_ref=4963595.Ulm8078KDd [Save 15% off your first box in a Weekend Warrior or Dabble Pack month-month subscription using code JIGSANDBIGS15 at checkout or put together a BYOB and use the code JANDBBYOB25! - Omnia Fishing - https://omnia.direct/OmniaE-GiftCard [Save 15% off your FIRST order at Omnia Fishing!] - A-Bay Lure - https://abaylure.com [Use code Jigsandbigs to save 20% on your entire order] - Bay House Apartment - https://shorturl.at/fpRX8 - The Ship Motel - https://theshipmotel.com/ - Reaction Tackle - https://www.reactiontackle.com/JIGSANDBIGS - Three Belles Outfitters - https://rebrand.ly/zsdnchi - Torege Polarized Sunglasses - https://rebrand.ly/i2cqymx [Use code jigsandbigs10 to save 10% at checkout!] --- Support this podcast: https://podcasters.spotify.com/pod/show/jigsandbigs/support

EVERYDAY CONVERSATION!!This week's episode we discussed chris brown meet & greet pics, a man's ego, hot boys reunion and more. Enjoy or Fuk Outta Here! YALL OPINIONS ON THE TOPIC? Comment, Email or Dm Us…we'll definitely talk about it!Get Ya Merch — https://foh-merch.creator-spring.com (https://foh-merch.creator-spring.com)Visit our website www.fohbrand.com Sponsors of the podcast: Guerilla Land Clothing @guerillalandmerchSmiley's Crafts & Thangs @smileycraft.thangs IF YOU WANT TO GET SOMEBODY OR SOMETHING THE FUK OUTTA HERE SEND US AN EMAIL AT FOH337@GMAIL.COMFollow us on Instagram: Podcast page @fohpodcast337 Sayso @saysographics DJ Truth @therealdjtruthBrandi @divine_empress_bJajeaux @dablkaristocrats --- Support this podcast: https://podcasters.spotify.com/pod/show/fohpod337/support

Car Guy Coffee & Fixed Ops Friday feat. Joe Brown (Live at the Kain Event) Car Guy Coffee & Fixed Ops bring you the new blend of the week! This blend features Joe Brown, CMO @ Frank Leta Auto Group. We catch up with Joe as we discuss the events live at the Kain Event. Let's Brew! Don't forget to share and subscribe! Brew Brought By Our Proud Sponsors At: www.fixedopsdigital.com

Welcome to the premiere "Song Dive" bonus episode: a way to hear the story behind a song that has made (or will soon make) our collective mixtapes & playlists! On this "Song Dive" episode, I am joined by Guy Fletcher of Dire Straits, and we're talking about the story behind Mark Knopfler's Guitar Heroes' “Going Home (Theme From Local Hero),” which Guy produced. This new 10-minute rendition was recorded in aid of Teenage Cancer Trust and Teen Cancer America, and features over 60 musical legends on the track.  We also take some time to discuss tracks from Dire Straits' catalog including: Money For Nothing, Walk Of Life, Heavy Fuel & The Bug; working with “Weird Al” Yankovic on his Dire Straits' parody “Money For Nothing / Beverly Hillbillies;” recording the soundtrack for The Princess Bride; the experience of mixing Dire Straits' "Live At The Rainbow, London UK, 12/1979" album from the original tapes; Guy's accreditation as a Dolby ATMOS engineer and how that factored into the new Going Home mix; bringing ATMOS to households via the Airsound Spatial speaker technology; and so much more!  The full list of artists who appear on “Going Home (Theme From Local Hero)” are (in alphabetical order): Joan Armatrading, Jeff Beck, Richard Bennett, Joe Bonamassa, Joe Brown, James Burton, Jonathan Cain, Paul Carrack, Eric Clapton, Ry Cooder, Jim Cox, Steve Cropper, Sheryl Crow, Danny Cummings, Roger Daltrey, Duane Eddy, Sam Fender, Guy Fletcher, Peter Frampton, Audley Freed, Vince Gill, David Gilmour, Buddy Guy, Keiji Haino, Tony Iommi, Joan Jett, John Jorgenson, Mark Knopfler, Sonny Landreth, Albert Lee, Greg Leisz, Alex Lifeson, Steve Lukather, Phil Manzanera, Dave Mason, Hank Marvin, Brian May, Robbie McIntosh, John McLaughlin, Tom Morello, Rick Nielsen, Orianthi, Brad Paisley, Nile Rodgers, Mike Rutherford, Joe Satriani, John Sebastian, Connor Selby, Slash, Bruce Springsteen, Ringo Starr and Zak Starkey, Sting, Andy Taylor, Susan Tedeschi and Derek Trucks, Ian Thomas, Pete Townshend, Keith Urban, Steve Vai, Waddy Wachtel, Joe Louis Walker, Joe Walsh, Ronnie Wood, Glenn Worf, & Zucchero. A minimum of 50% of the proceeds from the single are being donated to Teenage Cancer Trust and Teen Cancer America. To purchase the 12" vinyl, CD or digital edition of the single, please visit: https://www.markknopflersguitarheroes.com/ Be sure to visit MyWeeklyMixtape.com to hear all of the songs we discussed in this episode, and join the My Weekly Mixtape Discord Server via the link on the main menu! FOR MORE ON MY WEEKLY MIXTAPE Website: http://www.myweeklymixtape.com Patreon: https://www.patreon.com/myweeklymixtape Facebook: http://www.facebook.com/myweeklymixtape Twitter: https://twitter.com/myweeklymixtape Instagram: https://www.instagram.com/myweeklymixtape TikTok: https://www.tiktok.com/@myweeklymixtape Learn more about your ad choices. Visit megaphone.fm/adchoices

Joe Brown with the City of Phoenix's Street Transportation Department joins us to talk about a program designed to prevent fatal collisions. 

Subscribe to the Cougar Bytes podcast:Apple Podcastshttps://podcasts.apple.com/us/podcast/cougar-bytes/id1459679000Google Podcastshttps://www.google.com/podcasts?feed=aHR0cHM6Ly93d3cuc3ByZWFrZXIuY29tL3Nob3cvMzQ3Nzc1OS9lcGlzb2Rlcy9mZWVkSpotifyhttps://open.spotify.com/show/5ZypcLEPas3ityVckKckVaPocket Castshttps://pca.st/9zjSOvercasthttps://overcast.fm/itunes1459679000/cougar-bytesSpreakerhttps://www.spreaker.com/show/3477759TuneInhttps://tunein.com/podcasts/Sports--Recreation-Podcasts/Cougar-Bytes-p1217875iHeartRadiohttps://www.iheart.com/podcast/cougar-bytes-43051393/

Welcome to the premiere "Song Dive" bonus episode: a way to hear the story behind a song that has made (or will soon make) our collective mixtapes & playlists! On this "Song Dive" episode, I am joined by Guy Fletcher of Dire Straits, and we're talking about the story behind Mark Knopfler's Guitar Heroes' “Going Home (Theme From Local Hero),” which Guy produced. This new 10-minute rendition was recorded in aid of Teenage Cancer Trust and Teen Cancer America, and features over 60 musical legends on the track.  We also take some time to discuss tracks from Dire Straits' catalog including: Money For Nothing, Walk Of Life, Heavy Fuel & The Bug; working with “Weird Al” Yankovic on his Dire Straits' parody “Money For Nothing / Beverly Hillbillies;” recording the soundtrack for The Princess Bride; the experience of mixing Dire Straits' "Live At The Rainbow, London UK, 12/1979" album from the original tapes; Guy's accreditation as a Dolby ATMOS engineer and how that factored into the new Going Home mix; bringing ATMOS to households via the Airsound Spatial speaker technology; and so much more!  The full list of artists who appear on “Going Home (Theme From Local Hero)” are (in alphabetical order): Joan Armatrading, Jeff Beck, Richard Bennett, Joe Bonamassa, Joe Brown, James Burton, Jonathan Cain, Paul Carrack, Eric Clapton, Ry Cooder, Jim Cox, Steve Cropper, Sheryl Crow, Danny Cummings, Roger Daltrey, Duane Eddy, Sam Fender, Guy Fletcher, Peter Frampton, Audley Freed, Vince Gill, David Gilmour, Buddy Guy, Keiji Haino, Tony Iommi, Joan Jett, John Jorgenson, Mark Knopfler, Sonny Landreth, Albert Lee, Greg Leisz, Alex Lifeson, Steve Lukather, Phil Manzanera, Dave Mason, Hank Marvin, Brian May, Robbie McIntosh, John McLaughlin, Tom Morello, Rick Nielsen, Orianthi, Brad Paisley, Nile Rodgers, Mike Rutherford, Joe Satriani, John Sebastian, Connor Selby, Slash, Bruce Springsteen, Ringo Starr and Zak Starkey, Sting, Andy Taylor, Susan Tedeschi and Derek Trucks, Ian Thomas, Pete Townshend, Keith Urban, Steve Vai, Waddy Wachtel, Joe Louis Walker, Joe Walsh, Ronnie Wood, Glenn Worf, & Zucchero. A minimum of 50% of the proceeds from the single are being donated to Teenage Cancer Trust and Teen Cancer America. To purchase the 12" vinyl, CD or digital edition of the single, please visit: https://www.markknopflersguitarheroes.com/ Be sure to visit MyWeeklyMixtape.com to hear all of the songs we discussed in this episode, and join the My Weekly Mixtape Discord Server to join in the musical discussions: https://discord.gg/hhDQAnXasm FOR MORE ON MY WEEKLY MIXTAPE Website: http://www.myweeklymixtape.com Patreon: https://www.patreon.com/myweeklymixtape Discord: https://discord.gg/hhDQAnXasm Facebook: http://www.facebook.com/myweeklymixtape Twitter: https://twitter.com/myweeklymixtape Instagram: https://www.instagram.com/myweeklymixtape TikTok: https://www.tiktok.com/@myweeklymixtape Learn more about your ad choices. Visit megaphone.fm/adchoices

Brandon Butler and Nathan “Shags” McLeod interview Brian Flowers, Regional Education Supervisor with MDC and Joe Brown, Nature School Lead Teacher with Columbia Public Schools.The Boone County Nature School will help children connect with nature in new and exciting ways, engage in unique and meaningful cross-curricular learning opportunities, develop proficiency in various outdoor skills, and be inspired to create lasting change in their community by participating in a sustainability project.Topics Discussed:  Turkey numbers, turkey hunting, Yellowstone National Park, Nature School creation and planning, outdoors focused curriculum, thoughtful programming, experienced teachers, favorite field trips, mystery bait bucket and more.For More Information:Boone County Nature SchoolSpecial thanks to:Living The Dream Outdoor PropertiesSuperior Foam Insulation LLCDoolittle TrailersScenic Rivers TaxidermyConnect with Driftwood Outdoors:FacebookInstagramEmail:info@driftwoodoutdoors.com

Car Guy Coffee & DriveCentric presents “Live at Drive for #DC20” feat. Joe Brown & John Vincent DriveCentric and Car Guy Coffee are excited to continue our new Web Series "DC20 Unlocked". We are live at “#DC20 2024”. In this episode we talk with Joe Brown, CMO at Frank Leta Auto Group & John Vincent, Director of Business & Development at Auto Genius. Let's Brew! Don't forget to share and subscribe! Brew Brought By: www.drivecentric.com

Plant your boots firmly on the ground and find freedom with Irish & Celtic Music Podcast #656 . Subscribe now! Tradify, Sorcha, The Gothard Sisters, Altan, Emma Langford, Patsy O'Brien, Poitín, Brother Sea, Gordon McLeod, Beltaine, Banda Gaites Camín de Fierro, Meerrant, The Celtic Kitchen Party, Chance the Arm, Alexander James Adams GET CELTIC MUSIC NEWS IN YOUR INBOX The Celtic Music Magazine is a quick and easy way to plug yourself into more great Celtic culture. Enjoy seven weekly news items for Celtic music and culture online. Subscribe now and get 34 Celtic MP3s for Free. VOTE IN THE CELTIC TOP 20 FOR 2024 This is our way of finding the best songs and artists each year. You can vote for as many songs and tunes that inspire you in each episode. Your vote helps me create next year's Best Celtic music of 2024 episode. You have just three weeks to vote this year. Vote Now! You can follow our playlist on Spotify to listen to those top voted tracks as they are added every 2 - 3 weeks. It also makes it easier for you to add these artists to your own playlists. You can also check out our Irish & Celtic Music Videos. THIS WEEK IN CELTIC MUSIC 0:07 - Tradify "Neili's Slide, Neili's Polka, Your Mother's Little Pet & Bill Sullivan's" from Take Flight 4:26 - WELCOME 6:12 - Sorcha "Waterman's / Luke Skywalker Walks on Sunshine" from Stomp the Floor 10:23 - The Gothard Sisters "Nightfall" from Dragonfly 14:34 - Altan "The Donegal Selection: An Bóthar Mór/Tommy Peoples' Reel/Is Cuma Liom (Reels)" from Donegal 17:51 - Emma Langford "Sailor's Wife" from Sowing Acorns 20:48 - FEEDBACK 22:55 - Patsy O'Brien "Where The Sunflowers Grow" from Onward 25:40 - Poitín "Aquarius Rhapsody" from One For The Road 31:05 - Brother Sea "Curious Shore" from Brother Sea Ep 34:48 - Gordon McLeod "The Colliers" from Still Fiddlin' 37:59 - Beltaine "Whisky Rye" from Mercy 41:01 - THANKS 43:28 - Banda Gaites Camín de Fierro “Flacos y Ensin Peinar" from Rock & Fierro 47:41 - Meerrant "Sur le Pont" from Fells 51:09 - The Celtic Kitchen Party "Along Came Catherine Snow" from Lobster Tail and Beer 53:25 - Chance the Arm "Cooley's Reel" from The Green Groves of Erin 57:52 - CLOSING 59:01 - Alexander James Adams "With These Boots" from The Blue Rose Rare and Other Faerie Tales 1:03:27 - CREDITS The Irish & Celtic Music Podcast was produced by Marc Gunn, The Celtfather and our Patrons on Patreon. The show was edited by Mitchell Petersen with Graphics by Miranda Nelson Designs. Visit our website to follow the show. You'll find links to all of the artists played in this episode. Todd Wiley is the editor of the Celtic Music Magazine. Subscribe to get 34 Celtic MP3s for Free. Plus, you'll get 7 weekly news items about what's happening with Celtic music and culture online. Best of all, you will connect with your Celtic heritage. Please tell one friend about this podcast. Word of mouth is the absolute best way to support any creative endeavor. Finally, remember. Reduce, reuse, recycle, and think about how you can make a positive impact on your environment. Promote Celtic culture through music at http://celticmusicpodcast.com/. WELCOME THE IRISH & CELTIC MUSIC PODCAST * Helping you celebrate Celtic culture through music. I am Marc Gunn. This podcast is here to build a diverse Celtic community and help the incredible artists who so generously share their music with you. If you hear music you love, please email artists to let them know you heard them on the Irish & Celtic Music Podcast. Musicians depend on your generosity to keep making music. So please find a way to support them. Buy a CD, Album Pin, Shirt, Digital Download, or join their communities on Patreon. You can find a link to all of the artists in the shownotes, along with show times, when you visit our website at celticmusicpodcast.com. If you are a Celtic musician or in a Celtic band, then please submit your band to be played on the podcast. You don't have to send in music or an EPK. You will get a free eBook called Celtic Musicians Guide to Digital Music and learn how to follow the podcast. It's 100% free. Just email Email follow@bestcelticmusic and of course, listeners can learn how to subscribe to the podcast and get a free music - only episode. THANK YOU PATRONS OF THE PODCAST! You are amazing. It is because of your generosity that you get to hear so much great Celtic music each and every week. Your kindness pays for our engineer, graphic designer, Celtic Music Magazine editor, promotion of the podcast, and allows me to buy the music I play here. It also pays for my time creating the show each and every week. As a patron, you get music - only episodes before regular listeners, vote in the Celtic Top 20, stand - alone stories, and you get a private feed to listen to the show.  All that for as little as $1 per episode. A special thanks to our Celtic Legends: Bill Mandeville, Marti Meyers, Brenda, Karen DM Harris, Emma Bartholomew, Dan mcDade, Carol Baril, Miranda Nelson, Nancie Barnett, Kevin Long, Gary R Hook, Lynda MacNeil, Kelly Garrod, Annie Lorkowski, Shawn Cali HERE IS YOUR THREE STEP PLAN TO SUPPORT THE PODCAST Go to our Patreon page. Decide how much you want to pledge every week, $1, $5, $25. Make sure to cap how much you want to spend per month. Keep listening to the Irish & Celtic Music Podcast to celebrate Celtic culture through music. You can become a generous Patron of the Podcast on Patreon at SongHenge.com. TRAVEL WITH CELTIC INVASION VACATIONS Every year, I take a small group of Celtic music fans on the relaxing adventure of a lifetime. We don't see everything. Instead, we stay in one area. We get to know the region through its culture, history, and legends. You can join us with an auditory and visual adventure through podcasts and videos. There's still time to join my Celtic Invasion of Scotland's Whisky. Learn more about the invasion at http://celticinvasion.com/ #celticmusic #irishmusic #celticmusicpodcast I WANT YOUR FEEDBACK What are you doing today while listening to the podcast? Please email me. I'd love to see a  picture of what you're doing while listening or of a band that you saw recently. Email me at follow@bestcelticmusic. Joe Brown emailed: "I love all you do, and have been a fan since the early shows. Speaking of them, many times I do like to go back and listen to them. I have been in love with the artists you played back then. Poitin, Vicki Swan and Johnnyt Dyer, Wicked Tinkers, Jed Marum, MacTalla Mor, and who could possibly forget Serious Kitchen!  Thanks for everything!!" Don Hickey emailed: "Going to see the Dublin City Ramblers on 3/18 in Sanford, Fl. Thank you," Brenda Richardson emailed some photos: "I enjoy the podcast immensely, and I finally have some photos to send from a 5K  St Patrick's Day event on March 16, 2024. This was a group of friends and family brought together by an exercise class leader at the YMCA in Colorado Springs. We heard snippets of Celtic Music along our route and saw a group of dancers in the parade." Brian McReynolds emailed a St Patrick's Day picture of bagpipers. Margaret Stock emailed a photo from the Shamrock Shuffle race in Alaska.

We look at a pair of 1965 films about Swinging Sixties youth that use British rock-n-roll stars in more traditional movie musicals. EVERY DAY'S A HOLIDAY stars John Leyton and Freddie & the Dreamers, while THREE HATS FOR LISA features Joe Brown and songs by Leslie Bricusse.

Addressing Abuse in the Church February 11 - March 17 9 AM / Room 810 "Of all bad men, religious bad men are the worst." - C.S. Lewis A six-week study of different kinds of abuse in the church: from spiritual abuse to domestic abuse to sexual abuse. Joe Brown will lead us through a study of the 2022 PCA Paper on Abuse, as well as Michael Kruger's 2022 book, Bully Pulpit. Come learn how to protect against abuse, how to help victims of abuse, and what Scripture has to say about this issue. 

In this episode of VeloUnlocked w/ Dr. Nick Serio, we're joined by Joe Brown, the distinguished head coach of the Cortland Red Dragons. They discuss how Joe's unique approach to team culture and recruitment fuels Cortland Baseball's historic success, the power of internal growth and mental toughness in baseball, and what it takes to foster real champions.Thanks for listening to this episode! To stay updated with VeloU and our insights on maximizing performance while minimizing the risk of injury, follow us on Instagram, TikTok, and Twitter at @velouniversity. And if you're interested in training with VeloU, click here to learn more. Don't forget to subscribe to this podcast and leave a review to help us bring you more valuable content in the future.

Addressing Abuse in the Church February 11 - March 17 9 AM / Room 810 "Of all bad men, religious bad men are the worst." - C.S. Lewis A six-week study of different kinds of abuse in the church: from spiritual abuse to domestic abuse to sexual abuse. Joe Brown will lead us through a study of the 2022 PCA Paper on Abuse, as well as Michael Kruger's 2022 book, Bully Pulpit. Come learn how to protect against abuse, how to help victims of abuse, and what Scripture has to say about this issue. 

Joe Brown was a hell-raiser, thug and violent alcoholic who terrorized the town of Whitmer, West Virginia at the turn of the 20th century. He did, that is, until he went a step too far.That, folks, is our story today.Be sure to subscribe to the Stories podcast on your favorite podcast app so you don't miss any of our stories of Appalachia.Thanks for listening and thanks for sharing our stories with your friends.

Did you think our Ahsoka conversations were over? Absolutely not! There is so much left to chat about in this mega-sized episode. Our host is joined by Mrs. Force Ghost Conversations, Elyse King, as well as his brother-in-law Joe Brown and sister-in-law Elly Brown to break down the series at length. Topics Discussed Include: 1. The grand lesson Ahsoka learns 2. Is Hera a "wet blanket"? 3. Where does the series go from here? If you want to continue the conversation, please follow us at the following websites: Twitter InstagramYoutubePatreon Clothing --- Send in a voice message: https://podcasters.spotify.com/pod/show/force-ghost-conversations/message

On this episode of Our American Stories, Jay Moore tells us the amazing story of meeting a WWII veteran before going to see Saving Private Ryan for the second time in theaters. Support the show (https://www.ouramericanstories.com/donate)See omnystudio.com/listener for privacy information.

Clay Finck chats with Joe Brown all about inflation, the primary driver of the high inflation we've seen over the past year, and much more!IN THIS EPISODE, YOU'LL LEARN: 00:00 - Intro02:45 - What inflation is, and why it exists in our modern day economy.29:43 - How investors can best protect themselves against inflation.43:37 - Who the ‘winners' and ‘losers' are in an inflationary system.45:45 - Whether stocks are a good inflation hedge or not.53:21 - The unintended consequences of price controls in an economy.And much, much more!*Disclaimer: Slight timestamp discrepancies may occur due to podcast platform differences.BOOKS AND RESOURCESCheck out Joe's website.Check out Joe's YouTube channel.Related episode: Listen to MI132: Weathering Inflation With Commodities w/ Tony Greer, or watch the video.Related episode: Listen to TIP404: The Untold History of Money w/ Joe Brown, or watch the video.NEW TO THE SHOW?Join the exclusive TIP Mastermind Community to engage in meaningful stock investing discussions with Kyle and the other community members.Check out our Millennial Investing Starter Packs.Browse through all our episodes (complete with transcripts) here.Try Kyle's favorite tool for picking stock winners and managing our portfolios: TIP Finance.Enjoy exclusive perks from our favorite Apps and Services.Stay up-to-date on financial markets and investing strategies through our daily newsletter, We Study Markets.Learn how to better start, manage, and grow your business with the best business podcasts.SPONSORSLearn how Principal Financial can help you find the right benefits and retirement plan for your team today.Get a customized solution for all of your KPIs in one efficient system with one source of truth. Download NetSuite's popular KPI Checklist, designed to give you consistently excellent performance for free.Your home might be worth more than you think. Earn extra money today with Airbnb.Shape and flex your home loans how you want with Athena. Join the thousands of Aussies taking control of their mortgage today.Experience real language learning for real conversations with Babbel. Listeners from Germany can use our code INVESTOR to get a 12-month subscription for the price of 6 months.Support your success every step of the way with Shopify. Sign up for a one-dollar-per-month trial period today!Learn from the world's best minds - anytime, anywhere, and at your own pace with Masterclass. Get 15% off an annual membership today.Support our free podcast by supporting our sponsors.Connect with Joe: Website | YouTube | Twitter Connect with Clay: TwitterSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Greetings again from Florianopolis, Brazil. Today, Jason encourages you to take advantage of his company's "Complete Solutions for Real Estate Investing" program. Then he and Joseph Brown finish up their conversation, exploring various economic factors, including housing and government borrowing. They touch on how housing is currently insulated from potential economic downturns due to low mortgage rates, particularly for the majority of homeowners with rates below 5%. This leads to an analysis of the inverted yield curve, traditionally seen as a recession predictor, but Joseph suggests it may not impact the housing market significantly. He explains that households are less likely to walk away from their homes and will prioritize other debts when facing financial difficulties. Furthermore, the gig economy and non-traditional employment options are becoming more prominent, making it easier for people to generate income, though the IRS is now actively tracking such income sources. Overall, the discussion emphasizes the resilience of the housing market in the face of broader economic challenges.     Key Takeaways: 1:25 Take advantage of Jason Hartman's "Complete Solutions for Real Estate Investing" program Joe Brown interview Part 2 2:22 US residential mortgage charts 4:10 Chart: Housing production, units available vs. population 6:21 The 6 year millennial lag and shadow demand 9:25 Stepping into the housing market vs staying out of it  13:38 The Reverse Repo Facility 18:29 The inverted yield curve and the housing market 21:14 The jobs market and the gig economy   Follow Jason on TWITTER, INSTAGRAM & LINKEDIN Twitter.com/JasonHartmanROI Instagram.com/jasonhartman1/ Linkedin.com/in/jasonhartmaninvestor/ Call our Investment Counselors at: 1-800-HARTMAN (US) or visit: https://www.jasonhartman.com/ Free Class:  Easily get up to $250,000 in funding for real estate, business or anything else: http://JasonHartman.com/Fund CYA Protect Your Assets, Save Taxes & Estate Planning: http://JasonHartman.com/Protect Get wholesale real estate deals for investment or build a great business – Free Course: https://www.jasonhartman.com/deals Special Offer from Ron LeGrand: https://JasonHartman.com/Ron Free Mini-Book on Pandemic Investing: https://www.PandemicInvesting.com

Jason briefly touches on the "over-entitled" investor as he reveals that getting properties for 'free' is a thing of the past. He also welcomes back to the show Joseph Brown of Heresy financial as they discuss the global conflicts, the emotional detachment of Americans from these events, and the potential dangers of policymakers' decisions. They highlighted the role of profit in perpetuating war and concluded with a cautionary note about the potential for ongoing conflict if war remains profitable. They also discussed the philosophy of 'packaged commodities' investment, arguing that investing in real estate with subsidized financing and tax benefits can be more profitable than investing in commodities directly. They noted the potential for increased capital flow and immigration into the US due to economic devastation and war around the world. Additionally, they advised investing in scarce resources, with a preference for those at the end product stage. Joseph expressed his long-standing optimism on residential real estate and predicted that prices would continue to rise. Jason emphasized the need to consider the housing market in a global context, noting that American real estate remains relatively affordable compared to many other countries. They concluded that the key factor in the housing market is the balance between the number of people needing housing and the number of available places to live. #RealEstateInvestment #GlobalInstability #RealEstateMarket #Inflation #CapitalFlight #USRealEstate #WealthPreservation"   Key Takeaways: Jason's editorial 1:43 Meme: the over-entitled investor Joe Brown interview 6:50 Extreme profits in a world in chaos  11:14 Pushing the prices of resources higher 14:38 Packaged commodities investing and wealth creation and destruction 18:04 Action steps and the great American real estate market 22:43 Bullish on residential real estate with data to prove it 27:59 Chart on mortgage currently on property     Follow Jason on TWITTER, INSTAGRAM & LINKEDIN Twitter.com/JasonHartmanROI Instagram.com/jasonhartman1/ Linkedin.com/in/jasonhartmaninvestor/ Call our Investment Counselors at: 1-800-HARTMAN (US) or visit: https://www.jasonhartman.com/ Free Class:  Easily get up to $250,000 in funding for real estate, business or anything else: http://JasonHartman.com/Fund CYA Protect Your Assets, Save Taxes & Estate Planning: http://JasonHartman.com/Protect Get wholesale real estate deals for investment or build a great business – Free Course: https://www.jasonhartman.com/deals Special Offer from Ron LeGrand: https://JasonHartman.com/Ron Free Mini-Book on Pandemic Investing: https://www.PandemicInvesting.com  

Episode one hundred and sixty-seven of A History of Rock Music in Five Hundred Songs looks at “The Weight" by the Band, the Basement Tapes, and the continuing controversy over Dylan going electric. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode available, on "S.F. Sorrow is Born" by the Pretty Things. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Also, a one-time request here -- Shawn Taylor, who runs the Facebook group for the podcast and is an old and dear friend of mine, has stage-three lung cancer. I will be hugely grateful to anyone who donates to the GoFundMe for her treatment. Errata At one point I say "when Robertson and Helm travelled to the Brill Building". I meant "when Hawkins and Helm". This is fixed in the transcript but not the recording. Resources There are three Mixcloud mixes this time. As there are so many songs by Bob Dylan and the Band excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here — one, two, three. I've used these books for all the episodes involving Dylan: Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties by Elijah Wald, which is recommended, as all Wald's books are. Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. Chronicles Volume 1 by Bob Dylan is a partial, highly inaccurate, but thoroughly readable autobiography. Information on Tiny Tim comes from Eternal Troubadour: The Improbable Life of Tiny Tim by Justin Martell. Information on John Cage comes from The Roaring Silence by David Revill Information on Woodstock comes from Small Town Talk by Barney Hoskyns. For material on the Basement Tapes, I've used Million Dollar Bash by Sid Griffin. And for the Band, I've used This Wheel's on Fire by Levon Helm with Stephen Davis, Testimony by Robbie Robertson, The Band by Craig Harris and Levon by Sandra B Tooze. I've also referred to the documentaries No Direction Home and Once Were Brothers. The complete Basement Tapes can be found on this multi-disc box set, while this double-CD version has the best material from the sessions. All the surviving live recordings by Dylan and the Hawks from 1966 are on this box set. There are various deluxe versions of Music From Big Pink, but still the best way to get the original album is in this twofer CD with the Band's second album. Transcript Just a brief note before I start – literally while I was in the middle of recording this episode, it was announced that Robbie Robertson had died today, aged eighty. Obviously I've not had time to alter the rest of the episode – half of which had already been edited – with that in mind, though I don't believe I say anything disrespectful to his memory. My condolences to those who loved him – he was a huge talent and will be missed. There are people in the world who question the function of criticism. Those people argue that criticism is in many ways parasitic. If critics knew what they were talking about, so the argument goes, they would create themselves, rather than talk about other people's creation. It's a variant of the "those who can't, teach" cliche. And to an extent it's true. Certainly in the world of rock music, which we're talking about in this podcast, most critics are quite staggeringly ignorant of the things they're talking about. Most criticism is ephemeral, published in newspapers, magazines, blogs and podcasts, and forgotten as soon as it has been consumed -- and consumed is the word . But sometimes, just sometimes, a critic will have an effect on the world that is at least as important as that of any of the artists they criticise. One such critic was John Ruskin. Ruskin was one of the preeminent critics of visual art in the Victorian era, particularly specialising in painting and architecture, and he passionately advocated for a form of art that would be truthful, plain, and honest. To Ruskin's mind, many artists of the past, and of his time, drew and painted, not what they saw with their own eyes, but what other people expected them to paint. They replaced true observation of nature with the regurgitation of ever-more-mannered and formalised cliches. His attacks on many great artists were, in essence, the same critiques that are currently brought against AI art apps -- they're just recycling and plagiarising what other people had already done, not seeing with their own eyes and creating from their own vision. Ruskin was an artist himself, but never received much acclaim for his own work. Rather, he advocated for the works of others, like Turner and the pre-Raphaelite school -- the latter of whom were influenced by Ruskin, even as he admired them for seeing with their own vision rather than just repeating influences from others. But those weren't the only people Ruskin influenced. Because any critical project, properly understood, becomes about more than just the art -- as if art is just anything. Ruskin, for example, studied geology, because if you're going to talk about how people should paint landscapes and what those landscapes look like, you need to understand what landscapes really do look like, which means understanding their formation. He understood that art of the kind he wanted could only be produced by certain types of people, and so society had to be organised in a way to produce such people. Some types of societal organisation lead to some kinds of thinking and creation, and to properly, honestly, understand one branch of human thought means at least to attempt to understand all of them. Opinions about art have moral consequences, and morality has political and economic consequences. The inevitable endpoint of any theory of art is, ultimately, a theory of society. And Ruskin had a theory of society, and social organisation. Ruskin's views are too complex to summarise here, but they were a kind of anarcho-primitivist collectivism. He believed that wealth was evil, and that the classical liberal economics of people like Mill was fundamentally anti-human, that the division of labour alienated people from their work. In Ruskin's ideal world, people would gather in communities no bigger than villages, and work as craftspeople, working with nature rather than trying to bend nature to their will. They would be collectives, with none richer or poorer than any other, and working the land without modern technology. in the first half of the twentieth century, in particular, Ruskin's influence was *everywhere*. His writings on art inspired the Impressionist movement, but his political and economic ideas were the most influential, right across the political spectrum. Ruskin's ideas were closest to Christian socialism, and he did indeed inspire many socialist parties -- most of the founders of Britain's Labour Party were admirers of Ruskin and influenced by his ideas, particularly his opposition to the free market. But he inspired many other people -- Gandhi talked about the profound influence that Ruskin had on him, saying in his autobiography that he got three lessons from Ruskin's Unto This Last: "That 1) the good of the individual is contained in the good of all. 2) a lawyer's work has the same value as the barber's in as much as all have the same right of earning their livelihood from their work. 3) a life of labour, i.e., the life of the tiller of the soil and the handicraftsman is the life worth living. The first of these I knew. The second I had dimly realized. The third had never occurred to me. Unto This Last made it clear as daylight for me that the second and third were contained in the first. I arose with the dawn, ready to reduce these principles to practice" Gandhi translated and paraphrased Unto this Last into Gujurati and called the resulting book Sarvodaya (meaning "uplifting all" or "the welfare of all") which he later took as the name of his own political philosophy. But Ruskin also had a more pernicious influence -- it was said in 1930s Germany that he and his friend Thomas Carlyle were "the first National Socialists" -- there's no evidence I know of that Hitler ever read Ruskin, but a *lot* of Nazi rhetoric is implicit in Ruskin's writing, particularly in his opposition to progress (he even opposed the bicycle as being too much inhuman interference with nature), just as much as more admirable philosophies, and he was so widely read in the late nineteenth and early twentieth centuries that there's barely a political movement anywhere that didn't bear his fingerprints. But of course, our focus here is on music. And Ruskin had an influence on that, too. We've talked in several episodes, most recently the one on the Velvet Underground, about John Cage's piece 4'33. What I didn't mention in any of the discussions of that piece -- because I was saving it for here -- is that that piece was premiered at a small concert hall in upstate New York. The hall, the Maverick Concert Hall, was owned and run by the Maverick arts and crafts collective -- a collective that were so called because they were the *second* Ruskinite arts colony in the area, having split off from the Byrdcliffe colony after a dispute between its three founders, all of whom were disciples of Ruskin, and all of whom disagreed violently about how to implement Ruskin's ideas of pacifist all-for-one and one-for-all community. These arts colonies, and others that grew up around them like the Arts Students League were the thriving centre of a Bohemian community -- close enough to New York that you could get there if you needed to, far enough away that you could live out your pastoral fantasies, and artists of all types flocked there -- Pete Seeger met his wife there, and his father-in-law had been one of the stonemasons who helped build the Maverick concert hall. Dozens of artists in all sorts of areas, from Aaron Copland to Edward G Robinson, spent time in these communities, as did Cage. Of course, while these arts and crafts communities had a reputation for Bohemianism and artistic extremism, even radical utopian artists have their limits, and legend has it that the premiere of 4'33 was met with horror and derision, and eventually led to one artist in the audience standing up and calling on the residents of the town around which these artistic colonies had agglomerated: “Good people of Woodstock, let's drive these people out of town.” [Excerpt: The Band, "The Weight"] Ronnie Hawkins was almost born to make music. We heard back in the episode on "Suzie Q" in 2019 about his family and their ties to music. Ronnie's uncle Del was, according to most of the sources on the family, a member of the Sons of the Pioneers -- though as I point out in that episode, his name isn't on any of the official lists of group members, but he might well have performed with them at some point in the early years of the group. And he was definitely a country music bass player, even if he *wasn't* in the most popular country and western group of the thirties and forties. And Del had had two sons, Jerry, who made some minor rockabilly records: [Excerpt: Jerry Hawkins, "Swing, Daddy, Swing"] And Del junior, who as we heard in the "Susie Q" episode became known as Dale Hawkins and made one of the most important rock records of the fifties: [Excerpt: Dale Hawkins, "Susie Q"] Ronnie Hawkins was around the same age as his cousins, and was in awe of his country-music star uncle. Hawkins later remembered that after his uncle moved to Califormia to become a star “He'd come home for a week or two, driving a brand new Cadillac and wearing brand new clothes and I knew that's what I wanted to be." Though he also remembered “He spent every penny he made on whiskey, and he was divorced because he was running around with all sorts of women. His wife left Arkansas and went to Louisiana.” Hawkins knew that he wanted to be a music star like his uncle, and he started performing at local fairs and other events from the age of eleven, including one performance where he substituted for Hank Williams -- Williams was so drunk that day he couldn't perform, and so his backing band asked volunteers from the audience to get up and sing with them, and Hawkins sang Burl Ives and minstrel-show songs with the band. He said later “Even back then I knew that every important white cat—Al Jolson, Stephen Foster—they all did it by copying blacks. Even Hank Williams learned all the stuff he had from those black cats in Alabama. Elvis Presley copied black music; that's all that Elvis did.” As well as being a performer from an early age, though, Hawkins was also an entrepreneur with an eye for how to make money. From the age of fourteen he started running liquor -- not moonshine, he would always point out, but something far safer. He lived only a few miles from the border between Missouri and Arkansas, and alcohol and tobacco were about half the price in Missouri that they were in Arkansas, so he'd drive across the border, load up on whisky and cigarettes, and drive back and sell them at a profit, which he then used to buy shares in several nightclubs, which he and his bands would perform in in later years. Like every man of his generation, Hawkins had to do six months in the Army, and it was there that he joined his first ever full-time band, the Blackhawks -- so called because his name was Hawkins, and the rest of the group were Black, though Hawkins was white. They got together when the other four members were performing at a club in the area where Hawkins was stationed, and he was so impressed with their music that he jumped on stage and started singing with them. He said later “It sounded like something between the blues and rockabilly. It sort of leaned in both directions at the same time, me being a hayseed and those guys playing a lot funkier." As he put it "I wanted to sound like Bobby ‘Blue' Bland but it came out sounding like Ernest Tubb.” Word got around about the Blackhawks, both that they were a great-sounding rock and roll band and that they were an integrated band at a time when that was extremely unpopular in the southern states, and when Hawkins was discharged from the Army he got a call from Sam Phillips at Sun Records. According to Hawkins a group of the regular Sun session musicians were planning on forming a band, and he was asked to front the band for a hundred dollars a week, but by the time he got there the band had fallen apart. This doesn't precisely line up with anything else I know about Sun, though it perhaps makes sense if Hawkins was being asked to front the band who had variously backed Billy Lee Riley and Jerry Lee Lewis after one of Riley's occasional threats to leave the label. More likely though, he told everyone he knew that he had a deal with Sun but Phillips was unimpressed with the demos he cut there, and Hawkins made up the story to stop himself losing face. One of the session players for Sun, though, Luke Paulman, who played in Conway Twitty's band among others, *was* impressed with Hawkins though, and suggested that they form a band together with Paulman's bass player brother George and piano-playing cousin Pop Jones. The Paulman brothers and Jones also came from Arkansas, but they specifically came from Helena, Arkansas, the town from which King Biscuit Time was broadcast. King Biscuit Time was the most important blues radio show in the US at that time -- a short lunchtime programme which featured live performances from a house band which varied over the years, but which in the 1940s had been led by Sonny Boy Williamson II, and featured Robert Jr. Lockwood, Robert Johnson's stepson, on guiitar: [Excerpt: Sonny Boy Williamson II "Eyesight to the Blind (King Biscuit Time)"] The band also included a drummer, "Peck" Curtis, and that drummer was the biggest inspiration for a young white man from the town named Levon Helm. Helm had first been inspired to make music after seeing Bill Monroe and his Blue Grass Boys play live when Helm was eight, and he had soon taken up first the harmonica, then the guitar, then the drums, becoming excellent at all of them. Even as a child he knew that he didn't want to be a farmer like his family, and that music was, as he put it, "the only way to get off that stinking tractor  and out of that one hundred and five degree heat.” Sonny Boy Williamson and the King Biscuit Boys would perform in the open air in Marvell, Arkansas, where Helm was growing up, on Saturdays, and Helm watched them regularly as a small child, and became particularly interested in the drumming. “As good as the band sounded,” he said later “it seemed that [Peck] was definitely having the most fun. I locked into the drums at that point. Later, I heard Jack Nance, Conway Twitty's drummer, and all the great drummers in Memphis—Jimmy Van Eaton, Al Jackson, and Willie Hall—the Chicago boys (Fred Belew and Clifton James) and the people at Sun Records and Vee-Jay, but most of my style was based on Peck and Sonny Boy—the Delta blues style with the shuffle. Through the years, I've quickened the pace to a more rock-and-roll meter and time frame, but it still bases itself back to Peck, Sonny Boy Williamson, and the King Biscuit Boys.” Helm had played with another band that George Paulman had played in, and he was invited to join the fledgling band Hawkins was putting together, called for the moment the Sun Records Quartet. The group played some of the clubs Hawkins had business connections in, but they had other plans -- Conway Twitty had recently played Toronto, and had told Luke Paulman about how desperate the Canadians were for American rock and roll music. Twitty's agent Harold Kudlets booked the group in to a Toronto club, Le Coq D'Or, and soon the group were alternating between residencies in clubs in the Deep South, where they were just another rockabilly band, albeit one of the better ones, and in Canada, where they became the most popular band in Ontario, and became the nucleus of an entire musical scene -- the same scene from which, a few years later, people like Neil Young would emerge. George Paulman didn't remain long in the group -- he was apparently getting drunk, and also he was a double-bass player, at a time when the electric bass was becoming the in thing. And this is the best place to mention this, but there are several discrepancies in the various accounts of which band members were in Hawkins' band at which times, and who played on what session. They all *broadly* follow the same lines, but none of them are fully reconcilable with each other, and nobody was paying enough attention to lineup shifts in a bar band between 1957 and 1964 to be absolutely certain who was right. I've tried to reconcile the various accounts as far as possible and make a coherent narrative, but some of the details of what follows may be wrong, though the broad strokes are correct. For much of their first period in Ontario, the group had no bass player at all, relying on Jones' piano to fill in the bass parts, and on their first recording, a version of "Bo Diddley", they actually got the club's manager to play bass with them: [Excerpt: Ronnie Hawkins, "Hey Bo Diddley"] That is claimed to be the first rock and roll record made in Canada, though as everyone who has listened to this podcast knows, there's no first anything. It wasn't released as by the Sun Records Quartet though -- the band had presumably realised that that name would make them much less attractive to other labels, and so by this point the Sun Records Quartet had become Ronnie Hawkins and the Hawks. "Hey Bo Diddley" was released on a small Canadian label and didn't have any success, but the group carried on performing live, travelling back down to Arkansas for a while and getting a new bass player, Lefty Evans, who had been playing in the same pool of musicians as them, having been another Sun session player who had been in Conway Twitty's band, and had written Twitty's "Why Can't I Get Through to You": [Excerpt: Conway Twitty, "Why Can't I Get Through to You"] The band were now popular enough in Canada that they were starting to get heard of in America, and through Kudlets they got a contract with Joe Glaser, a Mafia-connected booking agent who booked them into gigs on the Jersey Shore. As Helm said “Ronnie Hawkins had molded us into the wildest, fiercest, speed-driven bar band in America," and the group were apparently getting larger audiences in New Jersey than Sammy Davis Jr was, even though they hadn't released any records in the US. Or at least, they hadn't released any records in their own name in the US. There's a record on End Records by Rockin' Ronald and the Rebels which is very strongly rumoured to have been the Hawks under another name, though Hawkins always denied that. Have a listen for yourself and see what you think: [Excerpt: Rockin' Ronald and the Rebels, "Kansas City"] End Records, the label that was on, was one of the many record labels set up by George Goldner and distributed by Morris Levy, and when the group did release a record in their home country under their own name, it was on Levy's Roulette Records. An audition for Levy had been set up by Glaser's booking company, and Levy decided that given that Elvis was in the Army, there was a vacancy to be filled and Ronnie Hawkins might just fit the bill. Hawkins signed a contract with Levy, and it doesn't sound like he had much choice in the matter. Helm asked him “How long did you have to sign for?” and Hawkins replied "Life with an option" That said, unlike almost every other artist who interacted with Levy, Hawkins never had a bad word to say about him, at least in public, saying later “I don't care what Morris was supposed to have done, he looked after me and he believed in me. I even lived with him in his million-dollar apartment on the Upper East Side." The first single the group recorded for Roulette, a remake of Chuck Berry's "Thirty Days" retitled "Forty Days", didn't chart, but the follow-up, a version of Young Jessie's "Mary Lou", made number twenty-six on the charts: [Excerpt: Ronnie Hawkins and the Hawks, "Mary Lou"] While that was a cover of a Young Jessie record, the songwriting credits read Hawkins and Magill -- Magill was a pseudonym used by Morris Levy. Levy hoped to make Ronnie Hawkins into a really big star, but hit a snag. This was just the point where the payola scandal had hit and record companies were under criminal investigation for bribing DJs to play their records. This was the main method of promotion that Levy used, and this was so well known that Levy was, for a time, under more scrutiny than anyone. He couldn't risk paying anyone off, and so Hawkins' records didn't get the expected airplay. The group went through some lineup changes, too, bringing in guitarist Fred Carter (with Luke Paulman moving to rhythm and soon leaving altogether)  from Hawkins' cousin Dale's band, and bass player Jimmy Evans. Some sources say that Jones quit around this time, too, though others say he was in the band for  a while longer, and they had two keyboards (the other keyboard being supplied by Stan Szelest. As well as recording Ronnie Hawkins singles, the new lineup of the group also recorded one single with Carter on lead vocals, "My Heart Cries": [Excerpt: Fred Carter, "My Heart Cries"] While the group were now playing more shows in the USA, they were still playing regularly in Canada, and they had developed a huge fanbase there. One of these was a teenage guitarist called Robbie Robertson, who had become fascinated with the band after playing a support slot for them, and had started hanging round, trying to ingratiate himself with the band in the hope of being allowed to join. As he was a teenager, Hawkins thought he might have his finger on the pulse of the youth market, and when Hawkins and Helm travelled to the Brill Building to hear new songs for consideration for their next album, they brought Robertson along to listen to them and give his opinion. Robertson himself ended up contributing two songs to the album, titled Mr. Dynamo. According to Hawkins "we had a little time after the session, so I thought, Well, I'm just gonna put 'em down and see what happens. And they were released. Robbie was the songwriter for words, and Levon was good for arranging, making things fit in and all that stuff. He knew what to do, but he didn't write anything." The two songs in question were "Someone Like You" and "Hey Boba Lou": [Excerpt: Ronnie Hawkins and the Hawks, "Hey Boba Lou"] While Robertson was the sole writer of the songs, they were credited to Robertson, Hawkins, and Magill -- Morris Levy. As Robertson told the story later, “It's funny, when those songs came out and I got a copy of the album, it had another name on there besides my name for some writer like Morris Levy. So, I said to Ronnie, “There was nobody there writing these songs when I wrote these songs. Who is Morris Levy?” Ronnie just kinda tapped me on the head and said, “There are certain things about this business that you just let go and you don't question.” That was one of my early music industry lessons right there" Robertson desperately wanted to join the Hawks, but initially it was Robertson's bandmate Scott Cushnie who became the first Canadian to join the Hawks. But then when they were in Arkansas, Jimmy Evans decided he wasn't going to go back to Canada. So Hawkins called Robbie Robertson up and made him an offer. Robertson had to come down to Arkansas and get a couple of quick bass lessons from Helm (who could play pretty much every instrument to an acceptable standard, and so was by this point acting as the group's musical director, working out arrangements and leading them in rehearsals). Then Hawkins and Helm had to be elsewhere for a few weeks. If, when they got back, Robertson was good enough on bass, he had the job. If not, he didn't. Robertson accepted, but he nearly didn't get the gig after all. The place Hawkins and Helm had to be was Britain, where they were going to be promoting their latest single on Boy Meets Girls, the Jack Good TV series with Marty Wilde, which featured guitarist Joe Brown in the backing band: [Excerpt: Joe Brown, “Savage”] This was the same series that Eddie Cochran and Gene Vincent were regularly appearing on, and while they didn't appear on the episodes that Hawkins and Helm appeared on, they did appear on the episodes immediately before Hawkins and Helm's two appearances, and again a couple of weeks after, and were friendly with the musicians who did play with Hawkins and Helm, and apparently they all jammed together a few times. Hawkins was impressed enough with Joe Brown -- who at the time was considered the best guitarist on the British scene -- that he invited Brown to become a Hawk. Presumably if Brown had taken him up on the offer, he would have taken the spot that ended up being Robertson's, but Brown turned him down -- a decision he apparently later regretted. Robbie Robertson was now a Hawk, and he and Helm formed an immediate bond. As Helm much later put it, "It was me and Robbie against the world. Our mission, as we saw it, was to put together the best band in history". As rockabilly was by this point passe, Levy tried converting Hawkins into a folk artist, to see if he could get some of the Kingston Trio's audience. He recorded a protest song, "The Ballad of Caryl Chessman", protesting the then-forthcoming execution of Chessman (one of only a handful of people to be executed in the US in recent decades for non-lethal offences), and he made an album of folk tunes, The Folk Ballads of Ronnie Hawkins, which largely consisted of solo acoustic recordings, plus a handful of left-over Hawks recordings from a year or so earlier. That wasn't a success, but they also tried a follow-up, having Hawkins go country and do an album of Hank Williams songs, recorded in Nashville at Owen Bradley's Quonset hut. While many of the musicians on the album were Nashville A-Team players, Hawkins also insisted on having his own band members perform, much to the disgust of the producer, and so it's likely (not certain, because there seem to be various disagreements about what was recorded when) that that album features the first studio recordings with Levon Helm and Robbie Robertson playing together: [Excerpt: Ronnie Hawkins and the Hawks, "Your Cheatin' Heart"] Other sources claim that the only Hawk allowed to play on the album sessions was Helm, and that the rest of the musicians on the album were Harold Bradley and Hank Garland on guitar, Owen Bradley and Floyd Cramer on piano, Bob Moore on bass, and the Anita Kerr singers. I tend to trust Helm's recollection that the Hawks played at least some of the instruments though, because the source claiming that also seems to confuse the Hank Williams and Folk Ballads albums, and because I don't hear two pianos on the album. On the other hand, that *does* sound like Floyd Cramer on piano, and the tik-tok bass sound you'd get from having Harold Bradley play a baritone guitar while Bob Moore played a bass. So my best guess is that these sessions were like the Elvis sessions around the same time and with several of the same musicians, where Elvis' own backing musicians played rhythm parts but left the prominent instruments to the A-team players. Helm was singularly unimpressed with the experience of recording in Nashville. His strongest memory of the sessions was of another session going on in the same studio complex at the time -- Bobby "Blue" Bland was recording his classic single "Turn On Your Love Light", with the great drummer Jabo Starks on drums, and Helm was more interested in listening to that than he was in the music they were playing: [Excerpt: Bobby "Blue" Bland, "Turn On Your Love Light"] Incidentally, Helm talks about that recording being made "downstairs" from where the Hawks were recording, but also says that they were recording in Bradley's Quonset hut.  Now, my understanding here *could* be very wrong -- I've been unable to find a plan or schematic anywhere -- but my understanding is that the Quonset hut was a single-level structure, not a multi-level structure. BUT the original recording facilities run by the Bradley brothers were in Owen Bradley's basement, before they moved into the larger Quonset hut facility in the back, so it's possible that Bland was recording that in the old basement studio. If so, that won't be the last recording made in a basement we hear this episode... Fred Carter decided during the Nashville sessions that he was going to leave the Hawks. As his son told the story: "Dad had discovered the session musicians there. He had no idea that you could play and make a living playing in studios and sleep in your own bed every night. By that point in his life, he'd already been gone from home and constantly on the road and in the service playing music for ten years so that appealed to him greatly. And Levon asked him, he said, “If you're gonna leave, Fred, I'd like you to get young Robbie over here up to speed on guitar”…[Robbie] got kind of aggravated with him—and Dad didn't say this with any malice—but by the end of that week, or whatever it was, Robbie made some kind of comment about “One day I'm gonna cut you.” And Dad said, “Well, if that's how you think about it, the lessons are over.” " (For those who don't know, a musician "cutting" another one is playing better than them, so much better that the worse musician has to concede defeat. For the remainder of Carter's notice in the Hawks, he played with his back to Robertson, refusing to look at him. Carter leaving the group caused some more shuffling of roles. For a while, Levon Helm -- who Hawkins always said was the best lead guitar player he ever worked with as well as the best drummer -- tried playing lead guitar while Robertson played rhythm and another member, Rebel Payne, played bass, but they couldn't find a drummer to replace Helm, who moved back onto the drums. Then they brought in Roy Buchanan, another guitarist who had been playing with Dale Hawkins, having started out playing with Johnny Otis' band. But Buchanan didn't fit with Hawkins' personality, and he quit after a few months, going off to record his own first solo record: [Excerpt: Roy Buchanan, "Mule Train Stomp"] Eventually they solved the lineup problem by having Robertson -- by this point an accomplished lead player --- move to lead guitar and bringing in a new rhythm player, another Canadian teenager named Rick Danko, who had originally been a lead player (and who also played mandolin and fiddle). Danko wasn't expected to stay on rhythm long though -- Rebel Payne was drinking a lot and missing being at home when he was out on the road, so Danko was brought in on the understanding that he was to learn Payne's bass parts and switch to bass when Payne quit. Helm and Robertson were unsure about Danko, and Robertson expressed that doubt, saying "He only knows four chords," to which Hawkins replied, "That's all right son. You can teach him four more the way we had to teach you." He proved himself by sheer hard work. As Hawkins put it “He practiced so much that his arms swoll up. He was hurting.” By the time Danko switched to bass, the group also had a baritone sax player, Jerry Penfound, which allowed the group to play more of the soul and R&B material that Helm and Robertson favoured, though Hawkins wasn't keen. This new lineup of the group (which also had Stan Szelest on piano) recorded Hawkins' next album. This one was produced by Henry Glover, the great record producer, songwriter, and trumpet player who had played with Lucky Millinder, produced Wynonie Harris, Hank Ballard, and Moon Mullican, and wrote "Drowning in My Own Tears", "The Peppermint Twist", and "California Sun". Glover was massively impressed with the band, especially Helm (with whom he would remain friends for the rest of his life) and set aside some studio time for them to cut some tracks without Hawkins, to be used as album filler, including a version of the Bobby "Blue" Bland song "Farther On Up the Road" with Helm on lead vocals: [Excerpt: Levon Helm and the Hawks, "Farther On Up the Road"] There were more changes on the way though. Stan Szelest was about to leave the band, and Jones had already left, so the group had no keyboard player. Hawkins had just the replacement for Szelest -- yet another Canadian teenager. This one was Richard Manuel, who played piano and sang in a band called The Rockin' Revols. Manuel was not the greatest piano player around -- he was an adequate player for simple rockabilly and R&B stuff, but hardly a virtuoso -- but he was an incredible singer, able to do a version of "Georgia on My Mind" which rivalled Ray Charles, and Hawkins had booked the Revols into his own small circuit of clubs around Arkanasas after being impressed with them on the same bill as the Hawks a couple of times. Hawkins wanted someone with a good voice because he was increasingly taking a back seat in performances. Hawkins was the bandleader and frontman, but he'd often given Helm a song or two to sing in the show, and as they were often playing for several hours a night, the more singers the band had the better. Soon, with Helm, Danko, and Manuel all in the group and able to take lead vocals, Hawkins would start missing entire shows, though he still got more money than any of his backing group. Hawkins was also a hard taskmaster, and wanted to have the best band around. He already had great musicians, but he wanted them to be *the best*. And all the musicians in his band were now much younger than him, with tons of natural talent, but untrained. What he needed was someone with proper training, someone who knew theory and technique. He'd been trying for a long time to get someone like that, but Garth Hudson had kept turning him down. Hudson was older than any of the Hawks, though younger than Hawkins, and he was a multi-instrumentalist who was far better than any other musician on the circuit, having trained in a conservatory and learned how to play Bach and Chopin before switching to rock and roll. He thought the Hawks were too loud sounding and played too hard for him, but Helm kept on at Hawkins to meet any demands Hudson had, and Hawkins eventually agreed to give Hudson a higher wage than any of the other band members, buy him a new Lowry organ, and give him an extra ten dollars a week to give the rest of the band music lessons. Hudson agreed, and the Hawks now had a lineup of Helm on drums, Robertson on guitar, Manuel on piano, Danko on bass, Hudson on organ and alto sax, and Penfound on baritone sax. But these new young musicians were beginning to wonder why they actually needed a frontman who didn't turn up to many of the gigs, kept most of the money, and fined them whenever they broke one of his increasingly stringent set of rules. Indeed, they wondered why they needed a frontman at all. They already had three singers -- and sometimes a fourth, a singer called Bruce Bruno who would sometimes sit in with them when Penfound was unable to make a gig. They went to see Harold Kudlets, who Hawkins had recently sacked as his manager, and asked him if he could get them gigs for the same amount of money as they'd been getting with Hawkins. Kudlets was astonished to find how little Hawkins had been paying them, and told them that would be no problem at all. They had no frontman any more -- and made it a rule in all their contracts that the word "sideman" would never be used -- but Helm had been the leader for contractual purposes, as the musical director and longest-serving member (Hawkins, as a non-playing singer, had never joined the Musicians' Union so couldn't be the leader on contracts). So the band that had been Ronnie Hawkins and the Hawks became the Levon Helm Sextet briefly -- but Penfound soon quit, and they became Levon and the Hawks. The Hawks really started to find their identity as their own band in 1964. They were already far more interested in playing soul than Hawkins had been, but they were also starting to get into playing soul *jazz*, especially after seeing the Cannonball Adderley Sextet play live: [Excerpt: Cannonball Adderley, "This Here"] What the group admired about the Adderley group more than anything else was a sense of restraint. Helm was particularly impressed with their drummer, Louie Hayes, and said of him "I got to see some great musicians over the years, and you see somebody like that play and you can tell, y' know, that the thing not to do is to just get it down on the floor and stomp the hell out of it!" The other influence they had, and one which would shape their sound even more, was a negative one. The two biggest bands on the charts at the time were the Beatles and the Beach Boys, and as Helm described it in his autobiography, the Hawks thought both bands' harmonies were "a blend of pale, homogenised, voices". He said "We felt we were better than the Beatles and the Beach Boys. We considered them our rivals, even though they'd never heard of us", and they decided to make their own harmonies sound as different as possible as a result. Where those groups emphasised a vocal blend, the Hawks were going to emphasise the *difference* in their voices in their own harmonies. The group were playing prestigious venues like the Peppermint Lounge, and while playing there they met up with John Hammond Jr, who they'd met previously in Canada. As you might remember from the first episode on Bob Dylan, Hammond Jr was the son of the John Hammond who we've talked about in many episodes, and was a blues musician in his own right. He invited Helm, Robertson, and Hudson to join the musicians, including Michael Bloomfield, who were playing on his new album, So Many Roads: [Excerpt: John P. Hammond, "Who Do You Love?"] That album was one of the inspirations that led Bob Dylan to start making electric rock music and to hire Bloomfield as his guitarist, decisions that would have profound implications for the Hawks. The first single the Hawks recorded for themselves after leaving Hawkins was produced by Henry Glover, and both sides were written by Robbie Robertson. "uh Uh Uh" shows the influence of the R&B bands they were listening to. What it reminds me most of is the material Ike and Tina Turner were playing at the time, but at points I think I can also hear the influence of Curtis Mayfield and Steve Cropper, who were rapidly becoming Robertson's favourite songwriters: [Excerpt: The Canadian Squires, "Uh Uh Uh"] None of the band were happy with that record, though. They'd played in the studio the same way they played live, trying to get a strong bass presence, but it just sounded bottom-heavy to them when they heard the record on a jukebox. That record was released as by The Canadian Squires -- according to Robertson, that was a name that the label imposed on them for the record, while according to Helm it was an alternative name they used so they could get bookings in places they'd only recently played, which didn't want the same band to play too often. One wonders if there was any confusion with the band Neil Young played in a year or so before that single... Around this time, the group also met up with Helm's old musical inspiration Sonny Boy Williamson II, who was impressed enough with them that there was some talk of them being his backing band (and it was in this meeting that Williamson apparently told Robertson "those English boys want to play the blues so bad, and they play the blues *so bad*", speaking of the bands who'd backed him in the UK, like the Yardbirds and the Animals). But sadly, Williamson died in May 1965 before any of these plans had time to come to fruition. Every opportunity for the group seemed to be closing up, even as they knew they were as good as any band around them. They had an offer from Aaron Schroeder, who ran Musicor Records but was more importantly a songwriter and publisher who  had written for Elvis Presley and published Gene Pitney. Schroeder wanted to sign the Hawks as a band and Robertson as a songwriter, but Henry Glover looked over the contracts for them, and told them "If you sign this you'd better be able to pay each other, because nobody else is going to be paying you". What happened next is the subject of some controversy, because as these things tend to go, several people became aware of the Hawks at the same time, but it's generally considered that nothing would have happened the same way were it not for Mary Martin. Martin is a pivotal figure in music business history -- among other things she discovered Leonard Cohen and Gordon Lightfoot, managed Van Morrison, and signed Emmylou Harris to Warner Brothers records -- but a somewhat unknown one who doesn't even have a Wikipedia page. Martin was from Toronto, but had moved to New York, where she was working in Albert Grossman's office, but she still had many connections to Canadian musicians and kept an eye out for them. The group had sent demo tapes to Grossman's offices, and Grossman had had no interest in them, but Martin was a fan and kept pushing the group on Grossman and his associates. One of those associates, of course, was Grossman's client Bob Dylan. As we heard in the episode on "Like a Rolling Stone", Dylan had started making records with electric backing, with musicians who included Mike Bloomfield, who had played with several of the Hawks on the Hammond album, and Al Kooper, who was a friend of the band. Martin gave Richard Manuel a copy of Dylan's new electric album Highway 61 Revisited, and he enjoyed it, though the rest of the group were less impressed: [Excerpt: Bob Dylan, "Highway 61 Revisited"] Dylan had played the Newport Folk Festival with some of the same musicians as played on his records, but Bloomfield in particular was more interested in continuing to play with the Paul Butterfield Blues Band than continuing with Dylan long-term. Mary Martin kept telling Dylan about this Canadian band she knew who would be perfect for him, and various people associated with the Grossman organisation, including Hammond, have claimed to have been sent down to New Jersey where the Hawks were playing to check them out in their live setting. The group have also mentioned that someone who looked a lot like Dylan was seen at some of their shows. Eventually, Dylan phoned Helm up and made an offer. He didn't need a full band at the moment -- he had Harvey Brooks on bass and Al Kooper on keyboards -- but he did need a lead guitar player and drummer for a couple of gigs he'd already booked, one in Forest Hills, New York, and a bigger gig at the Hollywood Bowl. Helm, unfamiliar with Dylan's work, actually asked Howard Kudlets if Dylan was capable of filling the Hollywood Bowl. The musicians rehearsed together and got a set together for the shows. Robertson and Helm thought the band sounded terrible, but Dylan liked the sound they were getting a lot. The audience in Forest Hills agreed with the Hawks, rather than Dylan, or so it would appear. As we heard in the "Like a Rolling Stone" episode, Dylan's turn towards rock music was *hated* by the folk purists who saw him as some sort of traitor to the movement, a movement whose figurehead he had become without wanting to. There were fifteen thousand people in the audience, and they listened politely enough to the first set, which Dylan played acoustically, But before the second set -- his first ever full electric set, rather than the very abridged one at Newport -- he told the musicians “I don't know what it will be like out there It's going to be some kind of  carnival and I want you to all know that up front. So go out there and keep playing no matter how weird it gets!” There's a terrible-quality audience recording of that show in circulation, and you can hear the crowd's reaction to the band and to the new material: [Excerpt: Bob Dylan, "Ballad of a Thin Man" (live Forest Hills 1965, audience noise only)] The audience also threw things  at the musicians, knocking Al Kooper off his organ stool at one point. While Robertson remembered the Hollywood Bowl show as being an equally bad reaction, Helm remembered the audience there as being much more friendly, and the better-quality recording of that show seems to side with Helm: [Excerpt: Bob Dylan, "Maggie's Farm (live at the Hollywood Bowl 1965)"] After those two shows, Helm and Robertson went back to their regular gig. and in September they made another record. This one, again produced by Glover, was for Atlantic's Atco subsidiary, and was released as by Levon and the Hawks. Manuel took lead, and again both songs were written by Robertson: [Excerpt: Levon and the Hawks, "He Don't Love You (And He'll Break Your Heart)"] But again that record did nothing. Dylan was about to start his first full electric tour, and while Helm and Robertson had not thought the shows they'd played sounded particularly good, Dylan had, and he wanted the two of them to continue with him. But Robertson and, especially, Helm, were not interested in being someone's sidemen. They explained to Dylan that they already had a band -- Levon and the Hawks -- and he would take all of them or he would take none of them. Helm in particular had not been impressed with Dylan's music -- Helm was fundamentally an R&B fan, while Dylan's music was rooted in genres he had little time for -- but he was OK with doing it, so long as the entire band got to. As Mary Martin put it “I think that the wonderful and the splendid heart of the band, if you will, was Levon, and I think he really sort of said, ‘If it's just myself as drummer and Robbie…we're out. We don't want that. It's either us, the band, or nothing.' And you know what? Good for him.” Rather amazingly, Dylan agreed. When the band's residency in New Jersey finished, they headed back to Toronto to play some shows there, and Dylan flew up and rehearsed with them after each show. When the tour started, the billing was "Bob Dylan with Levon and the Hawks". That billing wasn't to last long. Dylan had been booked in for nine months of touring, and was also starting work on what would become widely considered the first double album in rock music history, Blonde on Blonde, and the original plan was that Levon and the Hawks would play with him throughout that time.  The initial recording sessions for the album produced nothing suitable for release -- the closest was "I Wanna Be Your Lover", a semi-parody of the Beatles' "I Want to be Your Man": [Excerpt: Bob Dylan with Levon and the Hawks, "I Wanna Be Your Lover"] But shortly into the tour, Helm quit. The booing had continued, and had even got worse, and Helm simply wasn't in the business to be booed at every night. Also, his whole conception of music was that you dance to it, and nobody was dancing to any of this. Helm quit the band, only telling Robertson of his plans, and first went off to LA, where he met up with some musicians from Oklahoma who had enjoyed seeing the Hawks when they'd played that state and had since moved out West -- people like Leon Russell, J.J. Cale (not John Cale of the Velvet Underground, but the one who wrote "Cocaine" which Eric Clapton later had a hit with), and John Ware (who would later go on to join the West Coast Pop Art Experimental Band). They started loosely jamming with each other, sometimes also involving a young singer named Linda Ronstadt, but Helm eventually decided to give up music and go and work on an oil rig in New Orleans. Levon and the Hawks were now just the Hawks. The rest of the group soldiered on, replacing Helm with session drummer Bobby Gregg (who had played on Dylan's previous couple of albums, and had previously played with Sun Ra), and played on the initial sessions for Blonde on Blonde. But of those sessions, Dylan said a few weeks later "Oh, I was really down. I mean, in ten recording sessions, man, we didn't get one song ... It was the band. But you see, I didn't know that. I didn't want to think that" One track from the sessions did get released -- the non-album single "Can You Please Crawl Out Your Window?" [Excerpt: Bob Dylan, "Can You Please Crawl Out Your Window?"] There's some debate as to exactly who's playing drums on that -- Helm says in his autobiography that it's him, while the credits in the official CD releases tend to say it's Gregg. Either way, the track was an unexpected flop, not making the top forty in the US, though it made the top twenty in the UK. But the rest of the recordings with the now Helmless Hawks were less successful. Dylan was trying to get his new songs across, but this was a band who were used to playing raucous music for dancing, and so the attempts at more subtle songs didn't come off the way he wanted: [Excerpt: Bob Dylan and the Hawks, "Visions of Johanna (take 5, 11-30-1965)"] Only one track from those initial New York sessions made the album -- "One Of Us Must Know (Sooner or Later)" -- but even that only featured Robertson and Danko of the Hawks, with the rest of the instruments being played by session players: [Excerpt: Bob Dylan (One of Us Must Know (Sooner or Later)"] The Hawks were a great live band, but great live bands are not necessarily the same thing as a great studio band. And that's especially the case with someone like Dylan. Dylan was someone who was used to recording entirely on his own, and to making records *quickly*. In total, for his fifteen studio albums up to 1974's Blood on the Tracks, Dylan spent a total of eighty-six days in the studio -- by comparison, the Beatles spent over a hundred days in the studio just on the Sgt Pepper album. It's not that the Hawks weren't a good band -- very far from it -- but that studio recording requires a different type of discipline, and that's doubly the case when you're playing with an idiosyncratic player like Dylan. The Hawks would remain Dylan's live backing band, but he wouldn't put out a studio recording with them backing him until 1974. Instead, Bob Johnston, the producer Dylan was working with, suggested a different plan. On his previous album, the Nashville session player Charlie McCoy had guested on "Desolation Row" and Dylan had found him easy to work with. Johnston lived in Nashville, and suggested that they could get the album completed more quickly and to Dylan's liking by using Nashville A-Team musicians. Dylan agreed to try it, and for the rest of the album he had Robertson on lead guitar and Al Kooper on keyboards, but every other musician was a Nashville session player, and they managed to get Dylan's songs recorded quickly and the way he heard them in his head: [Excerpt: Bob Dylan, "Most Likely You Go Your Way and I'll Go Mine"] Though Dylan being Dylan he did try to introduce an element of randomness to the recordings by having the Nashville musicians swap their instruments around and play each other's parts on "Rainy Day Women #12 & 35", though the Nashville players were still competent enough that they managed to get a usable, if shambolic, track recorded that way in a single take: [Excerpt: Bob Dylan, "Rainy Day Women #12 & 35"] Dylan said later of the album "The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It's that thin, that wild mercury sound. It's metallic and bright gold, with whatever that conjures up." The album was released in late June 1966, a week before Freak Out! by the Mothers of Invention, another double album, produced by Dylan's old producer Tom Wilson, and a few weeks after Pet Sounds by the Beach Boys. Dylan was at the forefront of a new progressive movement in rock music, a movement that was tying thoughtful, intelligent lyrics to studio experimentation and yet somehow managing to have commercial success. And a month after Blonde on Blonde came out, he stepped away from that position, and would never fully return to it. The first half of 1966 was taken up with near-constant touring, with Dylan backed by the Hawks and a succession of fill-in drummers -- first Bobby Gregg, then Sandy Konikoff, then Mickey Jones. This tour started in the US and Canada, with breaks for recording the album, and then moved on to Australia and Europe. The shows always followed the same pattern. First Dylan would perform an acoustic set, solo, with just an acoustic guitar and harmonica, which would generally go down well with the audience -- though sometimes they would get restless, prompting a certain amount of resistance from the performer: [Excerpt: Bob Dylan, "Just Like a Woman (live Paris 1966)"] But the second half of each show was electric, and that was where the problems would arise. The Hawks were playing at the top of their game -- some truly stunning performances: [Excerpt: Bob Dylan and the Hawks, "Just Like Tom Thumb's Blues (live in Liverpool 1966)"] But while the majority of the audience was happy to hear the music, there was a vocal portion that were utterly furious at the change in Dylan's musical style. Most notoriously, there was the performance at Manchester Free Trade Hall where this happened: [Excerpt: Bob Dylan, "Like a Rolling Stone (live Manchester 1966)"] That kind of aggression from the audience had the effect of pushing the band on to greater heights a lot of the time -- and a bootleg of that show, mislabelled as the Royal Albert Hall, became one of the most legendary bootlegs in rock music history. Jimmy Page would apparently buy a copy of the bootleg every time he saw one, thinking it was the best album ever made. But while Dylan and the Hawks played defiantly, that kind of audience reaction gets wearing. As Dylan later said, “Judas, the most hated name in human history, and for what—for playing an electric guitar. As if that is in some kind of way equitable to betraying our Lord, and delivering him up to be crucified; all those evil mothers can rot in hell.” And this wasn't the only stress Dylan, in particular, was under. D.A. Pennebaker was making a documentary of the tour -- a follow-up to his documentary of the 1965 tour, which had not yet come out. Dylan talked about the 1965 documentary, Don't Look Back, as being Pennebaker's film of Dylan, but this was going to be Dylan's film, with him directing the director. That footage shows Dylan as nervy and anxious, and covering for the anxiety with a veneer of flippancy. Some of Dylan's behaviour on both tours is unpleasant in ways that can't easily be justified (and which he has later publicly regretted), but there's also a seeming cruelty to some of his interactions with the press and public that actually reads more as frustration. Over and over again he's asked questions -- about being the voice of a generation or the leader of a protest movement -- which are simply based on incorrect premises. When someone asks you a question like this, there are only a few options you can take, none of them good. You can dissect the question, revealing the incorrect premises, and then answer a different question that isn't what they asked, which isn't really an option at all given the kind of rapid-fire situation Dylan was in. You can answer the question as asked, which ends up being dishonest. Or you can be flip and dismissive, which is the tactic Dylan chose. Dylan wasn't the only one -- this is basically what the Beatles did at press conferences. But where the Beatles were a gang and so came off as being fun, Dylan doing the same thing came off as arrogant and aggressive. One of the most famous artifacts of the whole tour is a long piece of footage recorded for the documentary, with Dylan and John Lennon riding in the back of a taxi, both clearly deeply uncomfortable, trying to be funny and impress the other, but neither actually wanting to be there: [Excerpt Dylan and Lennon conversation] 33) Part of the reason Dylan wanted to go home was that he had a whole new lifestyle. Up until 1964 he had been very much a city person, but as he had grown more famous, he'd found New York stifling. Peter Yarrow of Peter, Paul, and Mary had a cabin in Woodstock, where he'd grown up, and after Dylan had spent a month there in summer 1964, he'd fallen in love with the area. Albert Grossman had also bought a home there, on Yarrow's advice, and had given Dylan free run of the place, and Dylan had decided he wanted to move there permanently and bought his own home there. He had also married, to Sara Lowndes (whose name is, as far as I can tell, pronounced "Sarah" even though it's spelled "Sara"), and she had given birth to his first child (and he had adopted her child from her previous marriage). Very little is actually known about Sara, who unlike many other partners of rock stars at this point seemed positively to detest the limelight, and whose privacy Dylan has continued to respect even after the end of their marriage in the late seventies, but it's apparent that the two were very much in love, and that Dylan wanted to be back with his wife and kids, in the country, not going from one strange city to another being asked insipid questions and having abuse screamed at him. He was also tired of the pressure to produce work constantly. He'd signed a contract for a novel, called Tarantula, which he'd written a draft of but was unhappy with, and he'd put out two single albums and a double-album in a little over a year -- all of them considered among the greatest albums ever made. He could only keep up this rate of production and performance with a large intake of speed, and he was sometimes staying up for four days straight to do so. After the European leg of the tour, Dylan was meant to take some time to finish overdubs on Blonde on Blonde, edit the film of the tour for a TV special, with his friend Howard Alk, and proof the galleys for Tarantula, before going on a second world tour in the autumn. That world tour never happened. Dylan was in a motorcycle accident near his home, and had to take time out to recover. There has been a lot of discussion as to how serious the accident actually was, because Dylan's manager Albert Grossman was known to threaten to break contracts by claiming his performers were sick, and because Dylan essentially disappeared from public view for the next eighteen months. Every possible interpretation of the events has been put about by someone, from Dylan having been close to death, to the entire story being put up as a fake. As Dylan is someone who is far more protective of his privacy than most rock stars, it's doubtful we'll ever know the precise truth, but putting together the various accounts Dylan's injuries were bad but not life-threatening, but they acted as a wake-up call -- if he carried on living like he had been, how much longer could he continue? in his sort-of autobiography, Chronicles, Dylan described this period, saying "I had been in a motorcycle accident and I'd been hurt, but I recovered. Truth was that I wanted to get out of the rat race. Having children changed my life and segregated me from just about everybody and everything that was going on. Outside of my family, nothing held any real interest for me and I was seeing everything through different glasses." All his forthcoming studio and tour dates were cancelled, and Dylan took the time out to recover, and to work on his film, Eat the Document. But it's clear that nobody was sure at first exactly how long Dylan's hiatus from touring was going to last. As it turned out, he wouldn't do another tour until the mid-seventies, and would barely even play any one-off gigs in the intervening time. But nobody knew that at the time, and so to be on the safe side the Hawks were being kept on a retainer. They'd always intended to work on their own music anyway -- they didn't just want to be anyone's backing band -- so they took this time to kick a few ideas around, but they were hamstrung by the fact that it was difficult to find rehearsal space in New York City, and they didn't have any gigs. Their main musical work in the few months between summer 1966 and spring 1967 was some recordings for the soundtrack of a film Peter Yarrow was making. You Are What You Eat is a bizarre hippie collage of a film, documenting the counterculture between 1966 when Yarrow started making it and 1968 when it came out. Carl Franzoni, one of the leaders of the LA freak movement that we've talked about in episodes on the Byrds, Love, and the Mothers of Invention, said of the film “If you ever see this movie you'll understand what ‘freaks' are. It'll let you see the L.A. freaks, the San Francisco freaks, and the New York freaks. It was like a documentary and it was about the makings of what freaks were about. And it had a philosophy, a very definite philosophy: that you are free-spirited, artistic." It's now most known for introducing the song "My Name is Jack" by John Simon, the film's music supervisor: [Excerpt: John Simon, "My Name is Jack"] That song would go on to be a top ten hit in the UK for Manfred Mann: [Excerpt: Manfred Mann, "My Name is Jack"] The Hawks contributed backing music for several songs for the film, in which they acted as backing band for another old Greenwich Village folkie who had been friends with Yarrow and Dylan but who was not yet the star he would soon become, Tiny Tim: [Excerpt: Tiny Tim, "Sonny Boy"] This was their first time playing together properly since the end of the European tour, and Sid Griffin has noted that these Tiny Tim sessions are the first time you can really hear the sound that the group would develop over the next year, and which would characterise them for their whole career. Robertson, Danko, and Manuel also did a session, not for the film with another of Grossman's discoveries, Carly Simon, playing a version of "Baby Let Me Follow You Down", a song they'd played a lot with Dylan on the tour that spring. That recording has never been released, and I've only managed to track down a brief clip of it from a BBC documentary, with Simon and an interviewer talking over most of the clip (so this won't be in the Mixcloud I put together of songs): [Excerpt: Carly Simon, "Baby Let Me Follow You Down"] That recording is notable though because as well as Robertson, Danko, and Manuel, and Dylan's regular studio keyboard players Al Kooper and Paul Griffin, it also features Levon Helm on drums, even though Helm had still not rejoined the band and was at the time mostly working in New Orleans. But his name's on the session log, so he must have m