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3 episodes with Johnny Guitar
2 episodes with Johnny Guitar
4 episodes with Johnny Guitar
2 episodes with Johnny Guitar
4 episodes with Johnny Guitar
2 episodes with Johnny Guitar
2 episodes with Johnny Guitar
2 episodes with Johnny Guitar
2 episodes with Johnny Guitar
During production of Johnny Guitar, Joan Crawford wrangled a lacklustre script, a mercurial director, a chaos agent, and columnists who put a bounty on her head. Johnny Guitar is a parable about the persecutions of McCarthyism, but it's also about the perils in store for an aging film star.
On Episode 148 of Floating Through Film, we continue our series picked by Luke, Nicholas Ray! We're reviewing two of Ray's color films from the 50s, 1954's Johnny Guitar, and 1955's Rebel Without a Cause (1:45:05) . We hope you enjoy! Episode Next Week: Run for Cover + Bigger Than Life Music: - Intro: Johnny Guitar (https://www.youtube.com/watch?v=IlomoZqolEI&ab_channel=MovieThemesSymphonies%26Suites) - Break: Rebel Without a Cause (https://www.youtube.com/watch?v=fjKwWcMHVXs&list=PLqeu8TskTf4j_3Tc6kA4NAr0SRqPEhSrh&index=2&ab_channel=LeonardRosenman-Topic) - Outro: Johnny Guitar (https://www.youtube.com/watch?v=IlomoZqolEI&ab_channel=MovieThemesSymphonies%26Suites) Hosts: Luke Seay (LB: https://letterboxd.com/seayluke/, Twitter: https://x.com/luke67s) Blake Tourville (LB: https://letterboxd.com/blaketourville/, Twitter: https://x.com/vladethepoker) Dany Joshuva (LB: https://letterboxd.com/djoshuva/, Twitter: https://x.com/grindingthefilm) Podcast Links (Spotify and Apple): https://linktr.ee/floatingthroughfilm Letterboxd: https://letterboxd.com/floatingfilm/ Email: floatingthroughfilm@gmail.com
Radio show first broadcast on The Face Radio, Brooklyn at 4pm EST on 22 December 2024. Also online at https://thefaceradio.com/ to donate shop.thefaceradio.com/ Track List: Larry Williams & Johnny ‘Guitar' Watson – Two For The Price Of OneKeith Richards – Run Rudolph RunThe Doobie Brothers – Long Train Runnin' (Flying Mojito Brothers Refrito)GA-20 – Cryin' And Pleadin'Slaughter & The Dogs – Where Have All The Boot Boys GoneThe Saints – Know Your ProductRaw Spitt – Songs To SingPompidou – Synthesizer VoiceLaura Nyro – Wedding Bell BluesThe Buff Medways – Archive From 1959The Fall – Container DriversEdric Connor – Manchester United CalypsoEd Mahon – Give It All (feat. Louise Spiteri)The Edwin Hawkins Singers – Oh Happy Day (edit by Mr.K)
Apenas un año separa al estreno de «Woman They Almost Lynched» (Allan Dwan, 1953) y el de «Johnny Guitar» (Nicholas Ray, 1954). A esta última, el tiempo la ha convertido en título mítico de la historia del cine, mientras que la primera ha quedado como una de esas maravillas por descubrir que abundan en el cine clásico. Las dos fueron westerns atípicos por su absoluto protagonismo femenino. Tanto sus heroínas como sus supuestas villanas son mujeres que se enfrentan en el duelo final de rigor, y que llenan la pantalla con su fuerza arrolladora. Ambas, además, surgieron como modestas producciones en el seno de la Republic. En EAM analizamos con pasión este doble duelo. Tras los micros, Miguel Muñoz Garnica, Lourdes Esqueda y José Luis Forte.
Announcement drop regarding some pretty big show changes! RSS feed changes, January's theme with movie announcements & OUR BRAND NEW SHOW NAME! January's upcoming schedule: 1/1 - Eraserhead (1977) 1/2 - The Elephant Man (1980) 1/3 - Dune (1984) 1/6 - A New Leaf (1971) 1/8 - The Heartbreak Kid (1972) 1/10 - Mikey and Nicky (1976) 1/13 - The Lusty Men (1952) 1/14 - Johnny Guitar (1954) 1/15 - Rebel Without a Cause (1955) 1/16 - Hot Blood (1956) 1/17 - Bigger Than Life (1956) 1/20 - True Love (1989) 1/22 - Dogfight (1991) 1/24 - Household Saints (1993) 1/27 - The Last Duel (2021) 1/28 - House of Gucci (2021) 1/29 - Napoleon (2023) 1/30 - Gladiator II (2024) 1/31 - The Sixth Sense (1999)
In this episode at the Silver Screen Video, we explore the fascinating intersection of Johnny Guitar (1954) and the broader genre of Western Noir. Directed by Nicholas Ray and starring Joan Crawford, Sterling Hayden, and Mercedes McCambridge, Johnny Guitar stands out as a moody, subversive take on the Western genre, blending classic tropes with dark, psychological elements. We delve into how Johnny Guitar flips traditional Western conventions, turning the usual hero-villain dynamic on its head, with complex characters whose motivations are more ambiguous than in typical Westerns. With its stylized use of color, stark landscapes, and its morally gray characters, Johnny Guitar anticipates many of the hallmarks of Western Noir — a subgenre of Westerns that leans heavily into crime, fatalism, and the darker aspects of human nature. Check out episode one of movie scene breakdowns: https://www.youtube.com/@silverscreenvideo2849 Link is below for all our social media. https://linktr.ee/silverscreenvideo Thanks for stopping by. Feel free to email at silverscreenvideopodcast@gmail.com with any comments or thoughts. Also be sure to follow us on Instagram @silverscreenvideopodcast, Twitter @SilverVideo, and TikTok silver.screen.vid. --- Support this podcast: https://podcasters.spotify.com/pod/show/silverscreenvideo/support
10 years after MILDRED PIERCE and Crawford hasn't aged a day. Raise a glass for Turkey, and don't forget the importance of beating Ernest.SUPPORT THE SHOW: PATREONFOLLOW THE SHOW: INSTAGRAM // TWITTER // TIKTOK // YOUTUBEEMAIL THE SHOW: abreathoffreshmovie@gmail.com SHOP THE SHOW: TEE PUBLIC
90 años acaba de cumplir Sophia Loren, probablemente la actriz italiana más importante de la historia y nosotros vamos a celebrar su cumpleaños repasando su vida y su carrera. El aniversario que recoge esta semana “Lo que el cine nos dejó” son los 40 años del estreno de “Amadeus” la película sobre Mozart dirigida por Milos Forman. Charlamos con el director Luis Pietro, un realizador español que tiene una curiosa trayectoria internacional. Y en “Diligencia hacia el Oeste” tenemos esta semana una de las películas más atípicas del western: “Johnny Guitar”, un film lleno de romanticismo que rompe además con los roles de género típicos de las películas del Oeste.
EPISODE #429-- We return to the wild, wild west with Nicholas Ray's JOHNNY GUITAR from 1954. It's a good one. It's got Sterling Hayden. People love Sterling Hayden! We also talk about the lastest (French) version of THE THREE MUSKETEERS (2023) (as well as Richard Lesters' adaptations), as well as AMC's THE TERROR (2017) (now on Netflix!), Venkat Prahbu's THE GREATEST OF ALL TIME (2024), and the unfortunate TERMINATOR: ZERO (2024), which sucks an unbelievable amount of butt. Terrible show. Not The Terror, though. That show rules. Join the cause at Patreon.com/Quality. Follow the us on Ton Bluesky at kislingconnection and cruzflores, on Instagram @kislingwhatsit, and on Tiktok @kislingkino. You can watch Cruz and show favorite Alexis Simpson on You Tube in "They Live Together." Thanks to our artists Julius Tanag (http://www.juliustanag.com) and Sef Joosten (http://spexdoodles.tumblr.com). The theme music is "Eine Kleine Sheissemusik" by Drew Alexander. Also, I've got a newsletter, so maybe go check that one out, too. Listen to DRACULA: A RADIO PLAY on Apple Podcasts, at dracularadio.podbean.com, and at the Long Beach Playhouse at https://lbplayhouse.org/show/dracula And, as always, Support your local unions! UAW, SAG-AFTRA, and WGA strong and please leave us a review on iTunes or whatever podcatcher you listened to us on!
Three time Ms. Noir City Audra Wolfmann joins us once again to look at some of the strangest Westerns ever produced by Hollywood. Both of these films have surprisingly feminist themes while being directed by two of the studio system's true iconoclasts. First, Joan Crawford as saloon keeper Vienna is pitted against Mercedes McCambridge as the sexually-frustrated matriarch Emma Small in JOHNNY GUITAR (1954) for control of an Arizona town, and its two most eligible bachelors: The Dancin' Kid (Scott Brady) and Johnny Guitar (Sterling Hayden). Vienna has had both of them, which Emma has had none, but Emma appears to be more attracted to her feminine rival judging by the intensity of her rages whenever she's around Vienna. Directed by Nicholas Ray, whose best-known film, REBEL WITHOUT A CAUSE (1955), also concerns a love triangle that doesn't conform to the gender norms of the time. Also starring Ernest Borgnine, Ward Bond, and John Carradine, and filmed in striking Trucolor by Henry A. Stradling (Hitchcock's SUSPICION; A STREETCAR NAMED DESIRE). Next, Barbara Stanwyck is the "high ridin' woman with a whip in director Sam Fuller's utterly bizarre FORTY GUNS (1957), a movie as obsessed with dicks as its title would suggest. Three very Earp like brothers played by Barry Sullivan, Gene Barry, and Robert Dix (they couldn't find another Barry?) ride into Cochise County, Arizona and are immediately confronted by the movie's titular 40 guns. Stanwyck is Jessica Drummond, who rules the territory with lead and leather. Incredible camera work here by Fuller and cinematographer Joseph F. Biroc (THE AMAZING COLOSSAL MAN). We discussed Fuller previously way back in our Dark AF episode (S1E7) with THE NAKED KISS (1964). FORTY GUNS also stars Dean Jagger, Elvis' milquetoast dad from KING CREOLE (S2E10), as the milquetoast sheriff. We also ask all the hard questions like why Lady Gaga doesn't want to call the musical JOKER sequel a musical? The answer may surprise you. And please give us good reviews on Apple Podcasts. We could use em. Please check out Audra's amazing podcasts: SPEAKEASILY VS. THE 80s and RETROPHILIA. www.audrawolfmann.net podcasts.apple.com/no/podcast/retr…re/id1598247675 Hosts: Philena Franklin, Bob Calhoun and Cory Sklar Special Guest: Audra Wolfmann Greg Franklin is on assignment OMFYS theme by Chaki the Funk Wizard used with permission "Drink to Forget" by the Hot Patooties used with permission. Thanks Beth! Trailer audio courtesy of Archive.org "Bone Dry" and "Spirit Riders" by Telecasted; "Desert Drive" by Everet Almond; and misc. gun shot sounds courtesy of YouTube Audio Library Horse sounds courtesy of freesound.org neighing horse.wav by soundslikewillem -- https://freesound.org/s/418428/ -- License: Attribution NonCommercial 4.0 Horse galloping (coconut shells) version 1 by alanmcki -- https://freesound.org/s/403025/ -- License: Attribution 4.0 snorting horse.wav by soundslikewillem -- https://freesound.org/s/418427/ -- License: Attribution NonCommercial 4.0 Web: www.oldmoviesforyoungstoners.com Instagram/Facebook (Meta): oldmoviesforyoungstoners Bluesky: @oldmoviesystoners.bsky.social Twitter (X): @OM4YStoners Contact: oldmoviesforyoungstoners AT gmail DOT com NEXT EPISODE: Hammer Horror with horror blogger Rowan Lee. Still haven't figured out what movies yet because we're stoned.
When proposing an episode for this week's show, the goal was to put focus on a tour that we haven't discussed a whole lot on this podcast - the 2011 Canadian tour. The question here was which show would be the one to cover. So we crowd sourced it and got some great answers, but the best answer was a suggestion to do the episode in tribute of former Calgary Flames star, Johnny Gaudreau and his brother Matthew, who were tragically killed recently. This made the Calgary 2011 show a no brainer to talk about. There is a big storyline that looms over this show. This happened to be the same day that R.E.M. called it a career. Hearing the band react to the news and play a very impassioned touching tribute to them with the song It Happened Today has been the consensus call back moment from this show. Pearl Jam could have made a decision to play one of their more well known radio singles like Losing My Religion, Everybody Hurts or Man On The Moon, but we'll talk about how they selected the right song for the right moment. There are also songs in this setlist that connect to something that the band has done recently such as Brain Of J, Rats, Crazy Mary and even something relevant in concerns to Johnny Guitar! Visit the Concertpedia - http://liveon4legs.com Contact the Show - liveon4legspodcast@gmail.com Donate to the Show - http://patreon.com/liveon4legs
With both Franklins on assignment, cannabis comic Ngaio Bealum and Instagram movie reviewer Ajax Green (@leonard_malted) join us for an exploration of voyeurism in film. First, we've got the ultimate voyeuristic spectacle with Alfred Hitchcock's masterpiece REAR WINDOW (1954), the first work from the Master of Suspense we've featured on this show, and we've only been at it for nearly three years now. What is up with that??? Jimmy Stewart J.B. "Jeff" Jeffries, a news photographer whose broken leg has left him nothing to do but stare out the back window of his Greenwich Village apartment into all the apartments of his neighbors. He gets so obsessed by the idea that one of these neighbors, Lars Thorwald (Raymond Burr) murdered his wife, that Jeff won't even make out with his way-too-young fashionista girlfriend, Lisa Fremont (Grade Kelly), vexing Ajax to no end. Fortunately for Jeff and Lisa's relationship, she cannot resist the pull of true crime, and soon becomes just as obsessed with her man's suspicions as he is. With immaculate wardrobe by Edith Head and a whole New York block recreated on a Paramount soundstage. Possibly the greatest film from the greatest director. REAR WINDOW is part of Criterion Channel's "Photographer's Gaze" series. For our second feature, we go all the way to Egypt for director Youssef Chahine's CAIRO STATION (1958) where the director plays Qinawi, a handicapped newspaper vendor who becomes obsessed with Hanuma (Hind Rustum--the Marilyn Monroe of the Middle East), a voluptuous beauty who makes her living by selling cold soft drinks to thirsty travelers without a permit. After being rejected by Hanuma, Qinawi soon takes inspiration from sensationalist news stories telling of a serial killer who chops up women and leaves their remains in trunks. Reviled by Egyptian audiences and critics when it was originally released but now considered a classic, it is filmed in a neorealist style that captures the sweat and dust of the Cairo Station of its time. Also look out for a surprise rockin' musical number. CAIRO STATION is part of Criterion Channel's Youssef Chahine series. We should've titled this episode "MALE GAZE" because Bob goes into way too much detail about Grace Kelly's sex life, Ngaio talks about his love of titties in movies, and Ajax wishes these films had higher body counts. It's a good thing we're doing FEMINIST WESTERNS for our next episode. Ajax, Ngaio, Cory and Bob also discuss the MEGALOPOLIS AI critic quote debacle, and Ngaio gives us an EMERALD CUP update. You can find Ajax on Insta @leonard_malted. You can find Ngaio on X, Insta, and probably every where else at ngaio420. Hosts: Cory Sklar and Bob Calhoun Philena Franklin and her dad Greg are on assignment. OMFYS theme by Chaki the Funk Wizard used with permission "Science Montage" by Jeremy Blake and "Lazy Laura" by Quincy's Moreira courtesy of YouTube Audio Library Web: www.oldmoviesforyoungstoners.com Instagram/Facebook (Meta): oldmoviesforyoungstoners Bluesky: @oldmoviesystoners.bsky.social Twitter (X): @OM4YStoners Contact: oldmoviesforyoungstoners AT gmail DOT com NEXT EPISODE: FEMINIST WESTERNS with JOHNNY GUITAR (1954) and FORTY GUNS (1957) with the return of PHILENA FRANKLIN and AUDRA WOLFMAN.
I denne episoden av Filmfrelst byr vi på del 2 av prosjektet som startet i episode #490, hvor vi ser nærmere på en av Hollywoods ikoniske regissører – den myteomspunne Nicholas Ray (1911-1979) – som er mest kjent for Johnny Guitar (1954), Rotløs ungdom («Rebel Without a Cause», 1955) og Bigger Than Life (1956). Ray spillefilmdebuterte med They Live By Night (1948), og i den første delen av denne podkast-diptyken – publisert på Montages i februar 2022 – snakket vi oss gjennom store deler av hans biografi og filmene han laget i første del av karrieren, frem til og med Johnny Guitar. Hør episoden her. Nå i del 2 plukker vi opp tråden der vi slapp i første samtale, og i praten nedenfor følger vi Ray fra 1955 og gjennom de to store kunstneriske høydepunktene Rotløs ungdom og Bigger Than Life, via en periode i Europa med bl.a. krigsfilmen Bitter Victory (1957) frem til og med karrieren i Hollywood imploderer under innspillingen av 55 Days at Peking (1963). Mot slutten av episoden diskuterer vi også den siste fasen av livet til Nicholas Ray, der anerkjennelse fra europeiske kritikere og filmskapere under den franske nybølgen og inn på 1970-tallet leder regissøren over i undervisning og en rolle som mentor for unge filmskapere, som igjen inspirerte hans siste verk – det eksperimentelle, kooperative prosjektet We Can't Go Home Again (1973), etterfulgt av meta-gravskriftet Lightning Over Water (1980), laget i samarbeid med Wim Wenders. Ved mikrofonene sitter Karsten Meinich og Erik Vågnes. God lytting!
We conclude our Camp Cinema season with our eighth episode covering Johnny Guitar (1954) and Imitation of Life (1959).In our finale, we delve into the origins of Camp Cinema in the 1950s, spotlighting Nicholas Ray's flamboyant western Johnny Guitar and Douglas Sirk's melodramatic Imitation of Life. Johnny Guitar subverts the traditional male bravado typical of most westerns by pitting two powerful women against each other. The visual artistry of Ray and his cinematographer, Harry Stradling, reveals the campy essense of the film with a rich palette of canary yellows, baked terra cottas, and deep azures. Imitation of Life achieves a similar feat, but with emotional resonance rather than visual flair. During our 1950s season, we explored Todd Haynes' commendable Douglas Sirk hommage, Far From Heaven. But nothing compares to the authentic touch of Sirk himself. Sirk masterfully understood cinema's power over an audience, manipulating emotions with precision in Imitation of Life. Its finale is one of the most emotionally explosive moments ever captured on celluloid. Camp manifest is many forms. Here we have two films that seem diametrically opposed in genre, but both use camp to full effect to elicit a deep response.
Make it CLAP! le podcast des élèves de Terminale option cinéma du Lycée Marc Bloch. Spécial « Lycéens et Apprentis au Cinéma 2023-2024 » 1) Interview de Nihina membre du Jury Jeunes du Festival du Film Italien de Villerupt Musique: “The Rain (Supa Dupa Fly) (1997) – Missy Elliott 2) Rafiki (2018) de Wanuri Kahiu Musique: "Suzie Noma” (2018) – Muthoni Drummer Queen « Ignitied » (2018) – Mumbi Kasumba 3) Ma Famille afghane (2022) de Michaela Pavlatova - Discussions autour de films d'animation Kung Fu Panda , Moi, Moche et Méchant, Super Mario Bros, le film Musique: “Peaches” (2023) – Bowser 4) Johnny Guitar (19544) de Nicholas Ray Musique: “Sad Hill” (1997) – IAM 5) Discussions autour des coups de cœur de l'année : Dune 2 (2024), Le Règne animal (2023), série Extraordinary, Mon Héroïne (2022), The Game (1997), La Bête (2024), Les 3 Mousquetaires.
Bang, bang! Joan Crawford shoots a whole town down in Nicholas Ray's 1954 cult/camp/queer/western/melodrama classic Johnny Guitar. It's Joshua's choice for the first episode in the Queer Classics program, celebrating our favorite queer-leaning films made before 1960. Before they figure out if its Cahiers du Cinéma stamp-of-approval is appropriate or not, he, Andrew, and new co-host Katharine Coldiron discuss Furiosa: A Mad Max Saga, The Bikeriders: A Midwest Accent Saga, I Saw the TV Glow: A Take-Up Brawl Saga, In Our Day: A Hong Sang-soo Saga. Lastly, it's all creamy keyboards and new and old Star Wars for One More Thing. Up next, Andrew picks Jean Cocteau's classic waking dream Orpheus. Until then, please share, subscribe, and review! Read on at TheTake-Up.com and follow us @thetakeupstl on Instagram, Twitter, Letterboxd, and Facebook. Special thanks to editor Jessica Pierce and Social Media Manager Kayla McCulloch. Theme music by AMP.
Jordan and Brooke are joined by Letterboxd senior editor Mitchell Beaupre (The Letterboxd Show) for Nicholas Ray's unconventional 1954 Western. We get to talk about icon/legend/notorious hater Joan Crawford, Nicholas Ray's frankly crazy life, an epic Southwest witch hunt, women in PANTS, and how this is definitely a film for the enbys.Follow us on Twitter and IG! (And Jordan's Letterboxd / Brooke's Letterboxd)Follow Mitchell on Twitter and Letterboxd!In celebration of Pride Month, support Denizens Society alongside us.
Bom dia, cinéfilos!O episódio de hoje é muito especial! Em homenagem ao aniversário de Julio Cesar de Miranda, o Tiago convidou o Jonathan para conversarem sobre Nicholas Ray e dois de seus filmes: No Silêncio da Noite, de 1950, e Johnny Guitar, de 1954. Siga o Jonathan no twitter: https://twitter.com/hanekawaifu
Con Massimiliano Bolcioni ripercorriamo la storia di Joan Crawford una delle più famose e influenti dive della golden age americana. Nata nel 1904 la sua carriera si estende per oltre cinque decenni, durante i quali ha recitato in più di 80 film tra i quali: "Lo sconosciuto" (The Unknown) di Tod Browing (1927) "Grand Hotel" di Edmund Golulding (1932) "Pioggia" (Rain) di Lewis Milestone (1932) "Donne" (The Women) di George Cukor (1939) "Il romanzo di Mildred" di Michael Curtiz (1945) "Perdutamente" (Humoresque) di Jean Negulesco (1946) "So che mi ucciderai (Sudden Fear) di David Miller (1952) "Johnny Guitar" di Nicholas Ray (1954) "Che fine ha fatto Baby Jane" di Robert Aldrich (1962) "5 corpi senza testa" (Strait-Jacket) di William Castle (1964)
Johnny Guitar (1954): It’s unusual, it’s weird, and it’s unlike any other film made by these stars. And it’s our first LTS western. Because maybe your show runner has a slightly twisted appreciation for the genre. Nicholas Ray, whose directorial chops we last experienced with In A Lonely Place, directs Joan Crawford, Sterling Hayden and Mercedes McCambridge. It’s a story that centers female characters, and gives Joan a chance to stomp around in great western wardrobe. Poor Sterling Hayden is just along for the ride. I picked this because I wanted a Joan Crawford vehicle, and because at least two LTS regulars were excited when I mentioned it. Shelly Brisbin with Micheline Maynard, Nathan Alderman and Randy Dotinga.
Johnny Guitar (1954): It’s unusual, it’s weird, and it’s unlike any other film made by these stars. And it’s our first LTS western. Because maybe your show runner has a slightly twisted appreciation for the genre. Nicholas Ray, whose directorial chops we last experienced with In A Lonely Place, directs Joan Crawford, Sterling Hayden and Mercedes McCambridge. It’s a story that centers female characters, and gives Joan a chance to stomp around in great western wardrobe. Poor Sterling Hayden is just along for the ride. I picked this because I wanted a Joan Crawford vehicle, and because at least two LTS regulars were excited when I mentioned it. Shelly Brisbin with Micheline Maynard, Nathan Alderman and Randy Dotinga.
Western Month continues with a look at Nicholas Ray's Johnny Guitar. Released in 1954 the film stars Sterling Hayden as the titular Mr. Guitar. However, he's outshone in the film by Joan Crawford as Vienna and Mercedes McCambridge as Emma, two women with a history.Andras Jones and David Kittredge join Mike to discuss this unusual Western.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.
Western Month continues with a look at Nicholas Ray's Johnny Guitar. Released in 1954 the film stars Sterling Hayden as the titular Mr. Guitar. However, he's outshone in the film by Joan Crawford as Vienna and Mercedes McCambridge as Emma, two women with a history.Andras Jones and David Kittredge join Mike to discuss this unusual Western.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.
Acabado de editar “Sulitânia Beat”, o segundo álbum dos Club Makumba, Tó Trips regressou ao Posto Emissor para falar de guitarras, recordar os tempos vividos em bandas como Santa Maria, Gasolina Em Teu Ventre! e Lulu Blind, e lamentar a gentrificação das cidades, onde os espaços para tocar tendem a desaparecer. No podcast da BLITZ, falamos ainda sobre os Prémios Grammy e o 30º aniversário do mítico concerto dos Nirvana em Cascais. Ouça o novo episódio de Posto Emissor. See omnystudio.com/listener for privacy information.
I've been asked to upload shows from way back so here's the 30th. Still finding my way through the technical side then but the music's still good if i say so myself. Hope you enjoy them If so I'll keep them coming in between new episodes.30th Show Track List:1. I'm a man – The Haunted2. Got to see my baby every day – The Rats3. I want the rain pt1 – The Executioners4. I'm going to change the World – The Animals5. First session – Baba Brooks Band6. Soul Bosa Nova – Quincy Jones7. Mas que nada – Sergio Mendes/Brazil 668. Right now – Mel Torme9. Stranger in blue suede shoes – Kevin Ayers10. Fireface – Chocolate Watchband11. Grimbley Leitch – Powder12. Dear Father – Yes13. You should be more careful – Elizabeth14. If you gotta make a fool of somebody – James Ray15. A love I believe in – The Donnie Elbert Band16. Ganges Delta – Okko17. Burn Devil burn – The Soul Messengers/The Spirit of Israel18. (Don't worry) if there's a Hell below we're all going to go – Curtis Mayfield19. Superman lover – Johnny ‘Guitar' Watson20. Flowers in the air – Sally Eaton21. The story of Rasha & Dhara – Bobby Callender22. Lady Caroline – Velvet Fogg23. Sweet child of nothingness – The Human Expression24. It's getting better – Cass Elliot25. I found another girl – Dirt Merchants26. She already has somebody – The Enfields27. I will cry – So...But So What?28. The diamond hard blue apples of the Moon – The Nice29. Roundabout – Yes30. Stay out of my way – The Glory Rhodes31. A place in the Sun – Jason Crest32. My baby – Dave Anthony's Moods33. The last hooray – Wimple Winch34. Tell me man – Seventh House35. In a vision – Candle36. It's all over now – Martin Cure & The People
EPISODE 16 - “Beginner's Luck” - 01/01/2024 To win an Oscar sometimes takes decades of hard work and dedication to your craft — just ask PAUL NEWMAN, GERALDINE PAGE, and JESSICA TANDY. In fact, when Newman finally won the Oscar in 1987 for “The Color of Money,” after being nominated six times previously, he didn't even bother to show up to the ceremony. “It's like chasing a beautiful woman for 80 years,” he told the Associated Press. “Finally, she relents and you say, ‘I'm terribly sorry. I'm tired.'” However, there is a small group of actors who didn't have to chase that beautiful Oscar for 80 years. They won for their very first film. This week we take a look at this rarified group. SHOW NOTES: Sources: Inside Oscar: The Unofficial History of the Academy Awards (1986), by Mason Wiley and Damien Bona The Real Oscar: The Story Behind The Academy Awards (1981), by Peter H. Brown Seventy-Five Years of the Oscars: The Official History of The Academy Awards (2003), by Robert Osborne Oscar Dearest (1987), by Peter H. Brown and Jim Pinkston The Film Encyclopedia (1994), By Ephraim Katz Leonard Maltin's Movie Encyclopedia (1994), by Leonard Maltin IMDBPro.com Wikipedia.com Stars/Movies Mentioned: GALE SONDERGAARD — The Wizard of Oz (1939), Anthony Adverse (1936), The Mark Of Zorro (1940), The Letter (1940), Sherlock Holmes and the Spider Woman (1943), The King of Siam (1946); KATINA PAXINOU — For Whom The Bell Tolls (1943), Mourning Becomes Electra (1947); HAROLD RUSSELL — The Best Years of Our Lives (1946), Inside Moves (1980); MERCEDES McCAMBRIDGE — All The King's Men (1949), Lightning Strikes Twice (1951), Johnny Guitar (1954), Giant (1956), Touch Of Evil (1958), The Exorcist (1973); SHIRLEY BOOTH — Come Back Little Sheet (1952), About Mrs. Leslie (1954); EVA MARIE SAINT — On The Waterfront (1955), A Hatful of Rain (1957), Raintree County (1957), North By Northwest (1959); JO VAN FLEET — East of Eden (1955), The Rose Tattoo (1955), I'll Cry Tomorrow (1955), Four Queens and a King (1956), Gunfight At The Okay Corral (1957), Wild River (1960), Cool Hand Luke (1967); JULIE ANDREWS — Mary Poppins (1964), The Sound Of Music (1965), Thoroughly Modern Millie (1967), Darling Lil (1970), The Pink Panther (1967), The Pink Panther Strikes Again (1976), 10 (1979), Victor/Victoria (1982); BARBRA STREISAND — Funny Girl (1968), Hello Dolly (1969), On A Clear Day You Can See Forever (1970), The Owl and the Pussycat (1970); --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices
Émission vivre pour survivre, bruit qui court et riches lieux. On en a assez de scotcher devant la télé, on besoin de plus de fun. Passez-nous les clés de votre Harley, ce soir on a envie d'avancer, de voir nos rêves défiler, laisser le cinéma nous emporter. Un peu d'air dans nos vies, pour nous, c'est juste une question de survieDispo itou on da tube:Au programme cette semaine:* The Survival of Kindness, de Rolf de Heer, hors de la cage.* Rue des Dames, nouveau film de La Rumeur, Hamé et Ekoué battent toujours les pavés parisiens pour recueillir leurs maux.* Les Trois Mousquetaires : Milady, toujours de Martin Bourboulon et Jérôme Seydoux. Et toujours filmé à travers un filtre caca, qui colle bien au projet.Coups de cœur:THOMAS: Jigarthanda DoubleX (Karthik Subbaraj) + Last Stop Larrimah (Thomas Tancred)DOC ERWAN: revoir Johnny Guitar (Nicholas Ray)PLAYLISTPrégénérique / Extrait Rue barbareNapalm Death / Killing With KindnessWunderbach / Aujourd'hui Dans La Rue + Fast & Furious 7
Radio show first broadcast on The Face Radio, Brooklyn at 4pm EST on 26 November 2023. Also online at https://thefaceradio.com/ to donate shop.thefaceradio.com/ Track List: The Cramps – Drug TrainSay She She – Astral PlaneFlourgon & Ninjaman – Zig It Up! (Main Attraction Remix)Johnny ‘Guitar' Watson – Motorhead BabyLarry Williams – Slow DownLarry Williams & Johnny ‘Guitar' Watson – Two For The Price Of OneJunior Mance – Don't Cha Hear Me Callin' To YaAili – BabychanKraftwerk – SpacelabJohn Gibbs – J'ouvert (Frank Sestito Remix)Baby O – In The ForestDavid Holmes ft Raven Violet – Yeah x 3 (Jordan Nocturne Remix)Fabio Tosti & Spencer Banks – The Level Of Love (Old School Full Sax)
Square Roots - Episode 379 It's been seven years in the making but now we finally, finally shake the dust out of our boots and get on the long road to New Vegas. That's right, the Fallout game that uses the Bethesda engine but has Obsidian developing. Is it the best of both worlds? Also: Gambling Puns! The Johnny Guitar bit Air Bud 3: The Chess Muttster Jim watches Scary Movie 2 The Canadian Vault Cuck George Jetson This Week: We instate a new mayor sheriff in Fallout: New Vegas! Next Week: We reach NoVac and do the associated quests (One For My Baby, Come Fly With Me, That Lucky Old Sun) Our Patreon: http://patreon.com/squarerootspodcast Thanks to Steven Morris for his awesome theme! You can find him at: https://twitter.com/BeigeOnBeige and https://www.youtube.com/user/morrissteven Contact Square Roots! Twitter: @squarerootspod Facebook: https://www.facebook.com/groups/486022898258197/ Email: squarerootspodcast (at) gmail (dort) com
¡Bienvenidos al octavo episodio de Rosebud Sociedad Limitada! Aquí estamos nuevamente, listos para compartir contigo una nueva dosis de cine y debate en un tono amable. En esta ocasión, Alexis nos sorprende con una introducción en la que hace una alusión a una medida del gobierno para personas mayores y nos trae un toque de humor al estilo Seinfeld. En "La cartelera", comentamos tres películas que han llamado nuestra atención: "Una vida no tan simple", "Suzhou River" y "Vesper". Descubrimos sus puntos fuertes y te brindamos nuestra visión sobre estas producciones. En "La película", nos adentramos en el clásico "Senderos de gloria" de Stanley Kubrick, protagonizada por el inigualable Kirk Douglas. Corregimos algunos datos sobre esta obra maestra y exploramos cómo ha dejado una huella en la historia del cine. En "La oposición", debatimos sobre la inclusión de realities en programas de cine como el nuestro. Abordamos el caso de "Traitors España" y reflexionamos sobre el impacto de estos formatos en el mundo del entretenimiento. En "La Femme fatale", nos sumergimos en el fascinante mundo de "Johnny Guitar" dirigida por Nicholas Ray y protagonizada por la legendaria Joan Crawford. Descubrimos su relevancia y cómo ha trascendido en la cultura cinematográfica. En "La Cultureta", exploramos películas sobre el amor a distancia. Presentamos recomendaciones como "Her", "Carta de una desconocida" y la trilogía de Richard Linklater con "Antes del amanecer", "Antes del anochecer" y "Antes del atardecer". También hablamos sobre el genial director Max Ophüls y la emotiva "Breve encuentro" de David Lean. En Rosebud Sociedad Limitada, disfrutamos compartiendo nuestro amor por el cine y exploramos temas variados. Síguenos en nuestras redes sociales para estar al tanto de nuestras novedades y participar en debates interesantes. ¡Hasta el próximo episodio! Puedes apoyar al proyecto por solo 5€ al mes en patreon.com/humanistasincomplejos Puedes suscribirte a los boletines personales en https://humanistasincomplejos.substack.com/ Compartiendo el amor por el cine, las personas y la cultura en https://humanistasincomplejos.com
This Saturday it's 1954's Johnny Guitar, with three beers from @bhbc, procured by Jayson's dad. Joan Crawford is Vienna, a tough business woman with some advance knowledge about the railroad, so she sets up a casino in anticipation of cashing in in a year. Only problem is, the local ranchers, lead by Emma Small, don't want her kind around. It's a classic western trope, with one important difference: the main protagonists are women. Sterling Hayden plays the title character, who's definitely a secondary character. There are a lot of ins and a lot of outs here, so it's a good thing we have Barrelhouse's IPA, Mango IPA and Big Sur DIPA to keep our minds limber. Tune in this Saturday for more. Thanks for listening! Check out our website SUBSCRIBE: to the show on Apple Podcast or Google Play. You can also find us on Audible, Stitcher, Spotify, and Listen Notes. Follow us on Instagram , Facebook, and Twitter! We'd love to hear from you, so comment on our show wherever you are listening. And always, support your local brewery.
Harvey Brownstone conducts an in-depth interview with Singing Legend Peggy Lee's Granddaughter, Holly Foster Wells About Harvey's guest: One of the most popular features of our show is our “Gone But Not Forgotten” series, celebrating the careers and legacies of the greatest stars who are no longer with us. Today's guest, Holly Foster Wells, is descended from show business royalty. She's the granddaughter of one of the most popular and beloved music artists of all time: the fabulous Peggy Lee, whose contributions to the world of popular music and jazz were monumental. Over her 7-decade career, she recorded over 1100 songs and released over 50 albums, with over a hundred top 100 hit singles, including “Somebody Else is Taking My Place”, “Why Don't You Do Right”, “Golden Earings”, “Riders in the Sky”, “Is That All There Is”, “Lover”, and of course, everybody's favourite, “Fever”, for which SHE came up with that distinctive arrangement, AND she wrote new lyrics. As a matter of fact, Peggy Lee was an extraordinary songwriter, who wrote or co-wrote over 270 songs, including her hits “Little Fool”, “What More Can a Woman Do”, “I Don't Know Enough About You”, “It's a Good Day”, and “Manana”. For the Disney movie “Lady and the Tramp”, she co-wrote ALL of the original songs, and she supplied the singing and speaking voices of 4 characters. She also wrote songs for many other movies, including “Anatomy of a Murder”, “The Jazz Singer”, “The Rawhide Years”, “Johnny Guitar”, “Tom Thumb”, “The Heart is a Lonely Hunter”, “The Russians are Coming, The Russians are Coming”, “Walk, Don't Run”, and many more. She appeared in 10 movies including “Stage Door Canteen”, “The Powers Girl”, “Jazz Ball”, “Mr. Music”, “The Jazz Singer”, and my personal favourite, “Pete Kelly's Blues”, for which she received an Academy Award nomination for Best Supporting Actress, and the Audience Award for Most Promising Female Personality of 1955. Ms Lee received 13 Grammy Award nominations including 1 win, plus a Lifetime Achievement Grammy Award. She was the first female recipient of 2 awards from the Songwriters Guild of America: the Aggie Award, for her composing skills, and the President's Award, for her support of young, emerging songwriters. In 1990 she won the ASCAP Pied Piper Award, and 2 years later she was inducted into the Songwriters' Hall of Fame. She received 2 honorary doctorates, a Star on the Hollywood Walk of Fame, and in 2020 the ASCAP Foundation established the Annual Peggy Lee Songwriter Award. Peggy Lee was a creative powerhouse, who directed her life and career on her own terms. But for her millions of fans, it's all about her quietly captivating voice, that continues to resonate with audiences of all ages. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To see more about Peggy Lee and Holly Foster Wells, go to:https://www.peggylee.com/https://www.facebook.com/misspeggylee/https://www.instagram.com/peggyleeofficial/https://twitter.com/peggyleemusichttps://www.youtube.com/channel/UCWfdzpDGBCOOWxWVR0fLVNw #PeggyLee #harveybrownstoneinterviews
When you think of 2009, immediately the first thing that comes to everyone's minds is those four Philadelphia shows that closed down The Spectrum. But people may forget that this wasn't the only four-night stint that they had in one building during this tour year. The 6,000+ capacity Gibson Amphitheatre located in Universal Studios in Los Angeles also played host to four Pearl Jam shows. Not four in a row like Philly, but the shows invited a bit more of an intimate experience. We'll talk about the two sets of shows and how one dominates the conversation over the other, but we'll also address a misconception that people seem to have due to how The Spectrum shows went down. We thank our Patron, Jason Weiss, for selecting this show as his episode request, and we'll share his story here. This is a Backspacer era tour, which meant that eight of the eleven songs were played. Coming off the heels of our contentious takes on Ole, we'll go off on another contentious song this week in Johnny Guitar, which has been known to be a bit divisive as well. If you join us for the Johnny talk, then you gotta stay for the conversations on Rearviewmirror, Alive, Red Mosquito featuring Ben Harper on a flat top steel guitar, and a spontaneous Lukin which included a string quartet accompanyment. We'll read you Question of the Week answers where we asked about what Backspacer songs that you'd like to see come back on the 2023 tour, and the Gear Guru segments will focus on Amongst The Waves, Red Mosquito and McCready's electric Star-Spangled Banner. Visit The Concertpedia - http://liveon4legs.com Now including a 7-day Free Trial for new donors! Donate To The Show - http://patreon.com/liveon4legs
"Miénteme, dime que me has esperado todos estos años “, el ex-pistolero en "Johnny Guitar" a su amada.”Jugamos con sus ilusiones y vds creen que la televisión es real”, el telepredicador en “Network”. Mentiras piadosas, letales, religiosas o electorales. La linea que separa la verdad de la mentira, la realidad de la ficción ("chalets en Galapagar para todos”) cada vez más delgada.”La Vie en Rose” hindú o "One more Kiss” de "Blade Runner" en la BSO asi como "TV (La Lógica Demente)”. "Sentir algo muy fuerte no garantiza que no estemos engañados”, comienza advirtiendo el psicólogo .Tu, yo y la mentira. ------------------------------------ Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com. ←Episodio anterior
The final four are headed to space this week courtesy of the RuZQ to add their two cents in eight bars to RuPaul's “Blame It on the Edit.” But first, we debate whether it's Anetra or Sasha getting the winner's edit based on the narratives of these Tic Tac lunches and Blame it on the Amazon for having to sit through so many mop commercials.The girls are out of small talk in the workroom, giving us time to also talk about our love for Roxxxy Andrews in “Read U Wrote U,” Tyra's run on Season 2, Kennedy Goddamn Davenport in general, Sasha Velour's semifinals golemography, the various love letters of Drag Race, Johnny Guitar and even some strong feelings on picnic salads. We get beautiful gowns, beautiful gowns on the runway, terrifying messages from the future to their past selves, and the double shantay we've been expecting all season. To wrap things up, we spin out on an extended tangent about early 2000's romcoms often starring Bradley Cooper. Want even more Alright Mary? Become a Matreon at the Sister Mary level to get access to Nuance, the Alright Mary aftershow, plus movie reviews and past seasons of US Drag Race, UK, Canada, Down Under, Philippines and more.Join us at our OnlyMary's level for EVEN MORE movie reviews, brackets, and deep dives into our personal lives!Patreon: www.patreon.com/alrightmaryEmail: alrightmarypodcast@gmail.comInstagram: @alrightmarypodJohnny: @johnnyalso (Instagram)Colin: @colindrucker_ (Instagram)Web: www.alrightmary.comThis episode is sponsored by BetterHelp. Get 10% off your first month at betterhelp.com/alrightmary!
This week, Danielle and Millie discuss 9 TO 5 (1980) and JOHNNY GUITAR (1954), teaching swear words to children, Millie being the reincarnation of Joan Crawford, and Danielle's quest to make TV writer's rooms a kinder place to work.To see a full ISWYD movie list, check out our Letterboxd here:https://letterboxd.com/isawwhatyoudid/films/diary/And check out Millie's book - ‘TCM Underground: 50 Must-See Films from the World of Classic Cult and Late-Night Cinema'runningpress.com/titles/millie-de-chirico/tcm-underground/9780762480005/See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Another year has passed, another birthday rolls over me, and another episode of great recommendations for me!... Once again, my friends delivered with a great loot of "gifts". So let's cut the cake and open those presents.Also, make sure you check out these great people and their stuff!Pyrate ScottyDarren Lucas and Movies Reviews 101The Latin JukeboxBest Film Ever PodcastCaroline and the Defining Disney PodcastBrian Clarkson and Tickets PleaseXRadioXSylvieTim DaughertyMusic: Tino Mendes & Yellow Paper - The HeistOpening Clip: Lethal Weapon (c) Warner Bros.Birthday Tune: Ruscenzi Music
Estamos de vuelta y lo hacemos con charleta sobre muerte, canibalismo y (algo de) pop en interviú con Benja Villegas y Kiko Amat, los (ir)responsables de Pop Y Muerte. Y hay Idolaza, Mercedes McCambridge, la adorable Emma de Johnny Guitar y la voz de Pazuzu (¿quién? escucha y lo sabrás). Los temas: 1 Hickeys - Oneness 2 Sandré - Miedo la vida 3 Megan Slankard - California 4 Peggy Lee - Johnny Guitar
“Miénteme, dime que me has esperado...” , le dice Sterling Hayden a Joan Crawford en "Johnny Guitar” (1954) . ”Jugamos con sus ilusiones pero ustedes se quedan ahí sentados...”, Peter Finch, en el papel del presentador de TV mutado a telepredicador, látigo de falacias informativas, en “Network” (1976) .Retrato de vendedores de humo, repaso a mediáticas mentiras. Los Stones o Chuck Berry en la BSO pero también María Jimenez o yo mismo en esta esta edición.
In which Roger and his bandmates in The Box find themselves in a heavy metal maelstrom on a Thursday night in Glasgow. Iron Maiden take no prisoners at the legendary Apollo Theatre en route to world domination. It's very loud, very sweaty and a just little bit silly, but as a baptism of fire into the world of heavy metal and the legion of devoted young fans, it's one not to be forgotten.With thanks to:Simon Elliott-Kemp: intro and outro music.Rionagh: artwork.Memory joggers: Charlie Collins and Paul Widger.Editor: Nigel Floyd.Sound FX courtesy of freesound.orgWith particular thanks to:LG: Ford Transit.Ben Free: crowd noise.Johnny Guitar 01: crowd noise (Barrowlands)Squareal: Glasgow bar chatter.I Am Azzerad: Glasgow street ambience.Claudius Spelten: Chinese restaurant ambience.Rikus246: club ambience.Heavy Metal riffs: Tri-Tachyonhttps://soundcloud.com/tri-tachyon/albums
Episode one hundred and forty-seven of A History of Rock Music in Five Hundred Songs looks at “Hey Joe" by the Jimi Hendrix Experience, and is the longest episode to date, at over two hours. Patreon backers also have a twenty-two-minute bonus episode available, on "Making Time" by The Creation. 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/ Resources As usual, I've put together a Mixcloud mix containing all the music excerpted in this episode. For information on the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. Information on Arthur Lee and Love came from Forever Changes: Arthur Lee and the Book of Love by John Einarson, and Arthur Lee: Alone Again Or by Barney Hoskyns. Information on Gary Usher's work with the Surfaris and the Sons of Adam came from The California Sound by Stephen McParland, which can be found at https://payhip.com/CMusicBooks Information on Jimi Hendrix came from Room Full of Mirrors by Charles R. Cross, Crosstown Traffic by Charles Shaar Murray, and Wild Thing by Philip Norman. Information on the history of "Hey Joe" itself came from all these sources plus Hey Joe: The Unauthorised Biography of a Rock Classic by Marc Shapiro, though note that most of that book is about post-1967 cover versions. Most of the pre-Experience session work by Jimi Hendrix I excerpt in this episode is on this box set of alternate takes and live recordings. And "Hey Joe" can be found on Are You Experienced? Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just a quick note before we start – this episode deals with a song whose basic subject is a man murdering a woman, and that song also contains references to guns, and in some versions to cocaine use. Some versions excerpted also contain misogynistic slurs. If those things are likely to upset you, please skip this episode, as the whole episode focusses on that song. I would hope it goes without saying that I don't approve of misogyny, intimate partner violence, or murder, and my discussing a song does not mean I condone acts depicted in its lyrics, and the episode itself deals with the writing and recording of the song rather than its subject matter, but it would be impossible to talk about the record without excerpting the song. The normalisation of violence against women in rock music lyrics is a subject I will come back to, but did not have room for in what is already a very long episode. Anyway, on with the show. Let's talk about the folk process, shall we? We've talked before, like in the episodes on "Stagger Lee" and "Ida Red", about how there are some songs that aren't really individual songs in themselves, but are instead collections of related songs that might happen to share a name, or a title, or a story, or a melody, but which might be different in other ways. There are probably more songs that are like this than songs that aren't, and it doesn't just apply to folk songs, although that's where we see it most notably. You only have to look at the way a song like "Hound Dog" changed from the Willie Mae Thornton version to the version by Elvis, which only shared a handful of words with the original. Songs change, and recombine, and everyone who sings them brings something different to them, until they change in ways that nobody could have predicted, like a game of telephone. But there usually remains a core, an archetypal story or idea which remains constant no matter how much the song changes. Like Stagger Lee shooting Billy in a bar over a hat, or Frankie killing her man -- sometimes the man is Al, sometimes he's Johnny, but he always done her wrong. And one of those stories is about a man who shoots his cheating woman with a forty-four, and tries to escape -- sometimes to a town called Jericho, and sometimes to Juarez, Mexico. The first version of this song we have a recording of is by Clarence Ashley, in 1929, a recording of an older folk song that was called, in his version, "Little Sadie": [Excerpt: Clarence Ashley, "Little Sadie"] At some point, somebody seems to have noticed that that song has a slight melodic similarity to another family of songs, the family known as "Cocaine Blues" or "Take a Whiff on Me", which was popular around the same time: [Excerpt: The Memphis Jug Band, "Cocaine Habit Blues"] And so the two songs became combined, and the protagonist of "Little Sadie" now had a reason to kill his woman -- a reason other than her cheating, that is. He had taken a shot of cocaine before shooting her. The first recording of this version, under the name "Cocaine Blues" seems to have been a Western Swing version by W. A. Nichol's Western Aces: [Excerpt: W.A. Nichol's Western Aces, "Cocaine Blues"] Woody Guthrie recorded a version around the same time -- I've seen different dates and so don't know for sure if it was before or after Nichol's version -- and his version had himself credited as songwriter, and included this last verse which doesn't seem to appear on any earlier recordings of the song: [Excerpt: Woody Guthrie, "Cocaine Blues"] That doesn't appear on many later recordings either, but it did clearly influence yet another song -- Mose Allison's classic jazz number "Parchman Farm": [Excerpt: Mose Allison, "Parchman Farm"] The most famous recordings of the song, though, were by Johnny Cash, who recorded it as both "Cocaine Blues" and as "Transfusion Blues". In Cash's version of the song, the murderer gets sentenced to "ninety-nine years in the Folsom pen", so it made sense that Cash would perform that on his most famous album, the live album of his January 1968 concerts at Folsom Prison, which revitalised his career after several years of limited success: [Excerpt: Johnny Cash, "Cocaine Blues (live at Folsom Prison)"] While that was Cash's first live recording at a prison, though, it wasn't the first show he played at a prison -- ever since the success of his single "Folsom Prison Blues" he'd been something of a hero to prisoners, and he had been doing shows in prisons for eleven years by the time of that recording. And on one of those shows he had as his support act a man named Billy Roberts, who performed his own song which followed the same broad outlines as "Cocaine Blues" -- a man with a forty-four who goes out to shoot his woman and then escapes to Mexico. Roberts was an obscure folk singer, who never had much success, but who was good with people. He'd been part of the Greenwich Village folk scene in the 1950s, and at a gig at Gerde's Folk City he'd met a woman named Niela Miller, an aspiring songwriter, and had struck up a relationship with her. Miller only ever wrote one song that got recorded by anyone else, a song called "Mean World Blues" that was recorded by Dave Van Ronk: [Excerpt: Dave Van Ronk, "Mean World Blues"] Now, that's an original song, but it does bear a certain melodic resemblance to another old folk song, one known as "Where Did You Sleep Last Night?" or "In the Pines", or sometimes "Black Girl": [Excerpt: Lead Belly, "Where Did You Sleep Last Night?"] Miller was clearly familiar with the tradition from which "Where Did You Sleep Last Night?" comes -- it's a type of folk song where someone asks a question and then someone else answers it, and this repeats, building up a story. This is a very old folk song format, and you hear it for example in "Lord Randall", the song on which Bob Dylan based "A Hard Rain's A-Gonna Fall": [Excerpt: Ewan MacColl, "Lord Randall"] I say she was clearly familiar with it, because the other song she wrote that anyone's heard was based very much around that idea. "Baby Please Don't Go To Town" is a question-and-answer song in precisely that form, but with an unusual chord progression for a folk song. You may remember back in the episode on "Eight Miles High" I talked about the circle of fifths -- a chord progression which either increases or decreases by a fifth for every chord, so it might go C-G-D-A-E [demonstrates] That's a common progression in pop and jazz, but not really so much in folk, but it's the one that Miller had used for "Baby, Please Don't Go to Town", and she'd taught Roberts that song, which she only recorded much later: [Excerpt: Niela Miller, "Baby, Please Don't Go To Town"] After Roberts and Miller broke up, Miller kept playing that melody, but he changed the lyrics. The lyrics he added had several influences. There was that question-and-answer folk-song format, there's the story of "Cocaine Blues" with its protagonist getting a forty-four to shoot his woman down before heading to Mexico, and there's also a country hit from 1953. "Hey, Joe!" was originally recorded by Carl Smith, one of the most popular country singers of the early fifties: [Excerpt: Carl Smith, "Hey Joe!"] That was written by Boudleaux Bryant, a few years before the songs he co-wrote for the Everly Brothers, and became a country number one, staying at the top for eight weeks. It didn't make the pop chart, but a pop cover version of it by Frankie Laine made the top ten in the US: [Excerpt: Frankie Laine, "Hey Joe"] Laine's record did even better in the UK, where it made number one, at a point where Laine was the biggest star in music in Britain -- at the time the UK charts only had a top twelve, and at one point four of the singles in the top twelve were by Laine, including that one. There was also an answer record by Kitty Wells which made the country top ten later that year: [Excerpt: Kitty Wells, "Hey Joe"] Oddly, despite it being a very big hit, that "Hey Joe" had almost no further cover versions for twenty years, though it did become part of the Searchers' setlist, and was included on their Live at the Star Club album in 1963, in an arrangement that owed a lot to "What'd I Say": [Excerpt: The Searchers, "Hey Joe"] But that song was clearly on Roberts' mind when, as so many American folk musicians did, he travelled to the UK in the late fifties and became briefly involved in the burgeoning UK folk movement. In particular, he spent some time with a twelve-string guitar player from Edinburgh called Len Partridge, who was also a mentor to Bert Jansch, and who was apparently an extraordinary musician, though I know of no recordings of his work. Partridge helped Roberts finish up the song, though Partridge is about the only person in this story who *didn't* claim a writing credit for it at one time or another, saying that he just helped Roberts out and that Roberts deserved all the credit. The first known recording of the completed song is from 1962, a few years after Roberts had returned to the US, though it didn't surface until decades later: [Excerpt: Billy Roberts, "Hey Joe"] Roberts was performing this song regularly on the folk circuit, and around the time of that recording he also finally got round to registering the copyright, several years after it was written. When Miller heard the song, she was furious, and she later said "Imagine my surprise when I heard Hey Joe by Billy Roberts. There was my tune, my chord progression, my question/answer format. He dropped the bridge that was in my song and changed it enough so that the copyright did not protect me from his plagiarism... I decided not to go through with all the complications of dealing with him. He never contacted me about it or gave me any credit. He knows he committed a morally reprehensible act. He never was man enough to make amends and apologize to me, or to give credit for the inspiration. Dealing with all that was also why I made the decision not to become a professional songwriter. It left a bad taste in my mouth.” Pete Seeger, a friend of Miller's, was outraged by the injustice and offered to testify on her behalf should she decide to take Roberts to court, but she never did. Some time around this point, Roberts also played on that prison bill with Johnny Cash, and what happened next is hard to pin down. I've read several different versions of the story, which change the date and which prison this was in, and none of the details in any story hang together properly -- everything introduces weird inconsistencies and things which just make no sense at all. Something like this basic outline of the story seems to have happened, but the outline itself is weird, and we'll probably never know the truth. Roberts played his set, and one of the songs he played was "Hey Joe", and at some point he got talking to one of the prisoners in the audience, Dino Valenti. We've met Valenti before, in the episode on "Mr. Tambourine Man" -- he was a singer/songwriter himself, and would later be the lead singer of Quicksilver Messenger Service, but he's probably best known for having written "Get Together": [Excerpt: Dino Valenti, "Get Together"] As we heard in the "Mr. Tambourine Man" episode, Valenti actually sold off his rights to that song to pay for his bail at one point, but he was in and out of prison several times because of drug busts. At this point, or so the story goes, he was eligible for parole, but he needed to prove he had a possible income when he got out, and one way he wanted to do that was to show that he had written a song that could be a hit he could make money off, but he didn't have such a song. He talked about his predicament with Roberts, who agreed to let him claim to have written "Hey Joe" so he could get out of prison. He did make that claim, and when he got out of prison he continued making the claim, and registered the copyright to "Hey Joe" in his own name -- even though Roberts had already registered it -- and signed a publishing deal for it with Third Story Music, a company owned by Herb Cohen, the future manager of the Mothers of Invention, and Cohen's brother Mutt. Valenti was a popular face on the folk scene, and he played "his" song to many people, but two in particular would influence the way the song would develop, both of them people we've seen relatively recently in episodes of the podcast. One of them, Vince Martin, we'll come back to later, but the other was David Crosby, and so let's talk about him and the Byrds a bit more. Crosby and Valenti had been friends long before the Byrds formed, and indeed we heard in the "Mr. Tambourine Man" episode how the group had named themselves after Valenti's song "Birdses": [Excerpt: Dino Valenti, "Birdses"] And Crosby *loved* "Hey Joe", which he believed was another of Valenti's songs. He'd perform it every chance he got, playing it solo on guitar in an arrangement that other people have compared to Mose Allison. He'd tried to get it on the first two Byrds albums, but had been turned down, mostly because of their manager and uncredited co-producer Jim Dickson, who had strong opinions about it, saying later "Some of the songs that David would bring in from the outside were perfectly valid songs for other people, but did not seem to be compatible with the Byrds' myth. And he may not have liked the Byrds' myth. He fought for 'Hey Joe' and he did it. As long as I could say 'No!' I did, and when I couldn't any more they did it. You had to give him something somewhere. I just wish it was something else... 'Hey Joe' I was bitterly opposed to. A song about a guy who murders his girlfriend in a jealous rage and is on the way to Mexico with a gun in his hand. It was not what I saw as a Byrds song." Indeed, Dickson was so opposed to the song that he would later say “One of the reasons David engineered my getting thrown out was because I would not let Hey Joe be on the Turn! Turn! Turn! album.” Dickson was, though, still working with the band when they got round to recording it. That came during the recording of their Fifth Dimension album, the album which included "Eight Miles High". That album was mostly recorded after the departure of Gene Clark, which was where we left the group at the end of the "Eight Miles High" episode, and the loss of their main songwriter meant that they were struggling for material -- doubly so since they also decided they were going to move away from Dylan covers. This meant that they had to rely on original material from the group's less commercial songwriters, and on a few folk songs, mostly learned from Pete Seeger The album ended up with only eleven songs on it, compared to the twelve that was normal for American albums at that time, and the singles on it after "Eight Miles High" weren't particularly promising as to the group's ability to come up with commercial material. The next single, "5D", a song by Roger McGuinn about the fifth dimension, was a waltz-time song that both Crosby and Chris Hillman were enthused by. It featured organ by Van Dyke Parks, and McGuinn said of the organ part "When he came into the studio I told him to think Bach. He was already thinking Bach before that anyway.": [Excerpt: The Byrds, "5D"] While the group liked it, though, that didn't make the top forty. The next single did, just about -- a song that McGuinn had written as an attempt at communicating with alien life. He hoped that it would be played on the radio, and that the radio waves would eventually reach aliens, who would hear it and respond: [Excerpt: The Byrds, "Mr. Spaceman"] The "Fifth Dimension" album did significantly worse, both critically and commercially, than their previous albums, and the group would soon drop Allen Stanton, the producer, in favour of Gary Usher, Brian Wilson's old songwriting partner. But the desperation for material meant that the group agreed to record the song which they still thought at that time had been written by Crosby's friend, though nobody other than Crosby was happy with it, and even Crosby later said "It was a mistake. I shouldn't have done it. Everybody makes mistakes." McGuinn said later "The reason Crosby did lead on 'Hey Joe' was because it was *his* song. He didn't write it but he was responsible for finding it. He'd wanted to do it for years but we would never let him.": [Excerpt: The Byrds, "Hey Joe"] Of course, that arrangement is very far from the Mose Allison style version Crosby had been doing previously. And the reason for that can be found in the full version of that McGuinn quote, because the full version continues "He'd wanted to do it for years but we would never let him. Then both Love and The Leaves had a minor hit with it and David got so angry that we had to let him do it. His version wasn't that hot because he wasn't a strong lead vocalist." The arrangement we just heard was the arrangement that by this point almost every group on the Sunset Strip scene was playing. And the reason for that was because of another friend of Crosby's, someone who had been a roadie for the Byrds -- Bryan MacLean. MacLean and Crosby had been very close because they were both from very similar backgrounds -- they were both Hollywood brats with huge egos. MacLean later said "Crosby and I got on perfectly. I didn't understand what everybody was complaining about, because he was just like me!" MacLean was, if anything, from an even more privileged background than Crosby. His father was an architect who'd designed houses for Elizabeth Taylor and Dean Martin, his neighbour when growing up was Frederick Loewe, the composer of My Fair Lady. He learned to swim in Elizabeth Taylor's private pool, and his first girlfriend was Liza Minelli. Another early girlfriend was Jackie DeShannon, the singer-songwriter who did the original version of "Needles and Pins", who he was introduced to by Sharon Sheeley, whose name you will remember from many previous episodes. MacLean had wanted to be an artist until his late teens, when he walked into a shop in Westwood which sometimes sold his paintings, the Sandal Shop, and heard some people singing folk songs there. He decided he wanted to be a folk singer, and soon started performing at the Balladeer, a club which would later be renamed the Troubadour, playing songs like Robert Johnson's "Cross Roads Blues", which had recently become a staple of the folk repertoire after John Hammond put out the King of the Delta Blues Singers album: [Excerpt: Robert Johnson, "Cross Roads Blues"] Reading interviews with people who knew MacLean at the time, the same phrase keeps coming up. John Kay, later the lead singer of Steppenwolf, said "There was a young kid, Bryan MacLean, kind of cocky but nonetheless a nice kid, who hung around Crosby and McGuinn" while Chris Hillman said "He was a pretty good kid but a wee bit cocky." He was a fan of the various musicians who later formed the Byrds, and was also an admirer of a young guitarist on the scene named Ryland Cooder, and of a blues singer on the scene named Taj Mahal. He apparently was briefly in a band with Taj Mahal, called Summer's Children, who as far as I can tell had no connection to the duo that Curt Boettcher later formed of the same name, before Taj Mahal and Cooder formed The Rising Sons, a multi-racial blues band who were for a while the main rivals to the Byrds on the scene. MacLean, though, firmly hitched himself to the Byrds, and particularly to Crosby. He became a roadie on their first tour, and Hillman said "He was a hard-working guy on our behalf. As I recall, he pretty much answered to Crosby and was David's assistant, to put it diplomatically – more like his gofer, in fact." But MacLean wasn't cut out for the hard work that being a roadie required, and after being the Byrds' roadie for about thirty shows, he started making mistakes, and when they went off on their UK tour they decided not to keep employing him. He was heartbroken, but got back into trying his own musical career. He auditioned for the Monkees, unsuccessfully, but shortly after that -- some sources say even the same day as the audition, though that seems a little too neat -- he went to Ben Frank's -- the LA hangout that had actually been namechecked in the open call for Monkees auditions, which said they wanted "Ben Franks types", and there he met Arthur Lee and Johnny Echols. Echols would later remember "He was this gadfly kind of character who knew everybody and was flitting from table to table. He wore striped pants and a scarf, and he had this long, strawberry hair. All the girls loved him. For whatever reason, he came and sat at our table. Of course, Arthur and I were the only two black people there at the time." Lee and Echols were both Black musicians who had been born in Memphis. Lee's birth father, Chester Taylor, had been a cornet player with Jimmie Lunceford, whose Delta Rhythm Boys had had a hit with "The Honeydripper", as we heard way back in the episode on "Rocket '88": [Excerpt: Jimmie Lunceford and the Delta Rhythm Boys, "The Honeydripper"] However, Taylor soon split from Lee's mother, a schoolteacher, and she married Clinton Lee, a stonemason, who doted on his adopted son, and they moved to California. They lived in a relatively prosperous area of LA, a neighbourhood that was almost all white, with a few Asian families, though the boxer Sugar Ray Robinson lived nearby. A year or so after Arthur and his mother moved to LA, so did the Echols family, who had known them in Memphis, and they happened to move only a couple of streets away. Eight year old Arthur Lee reconnected with seven-year-old Johnny Echols, and the two became close friends from that point on. Arthur Lee first started out playing music when his parents were talked into buying him an accordion by a salesman who would go around with a donkey, give kids free donkey rides, and give the parents a sales pitch while they were riding the donkey, He soon gave up on the accordion and persuaded his parents to buy him an organ instead -- he was a spoiled child, by all accounts, with a TV in his bedroom, which was almost unheard of in the late fifties. Johnny Echols had a similar experience which led to his parents buying him a guitar, and the two were growing up in a musical environment generally. They attended Dorsey High School at the same time as both Billy Preston and Mike Love of the Beach Boys, and Ella Fitzgerald and her then-husband, the great jazz bass player Ray Brown, lived in the same apartment building as the Echols family for a while. Ornette Coleman, the free-jazz saxophone player, lived next door to Echols, and Adolphus Jacobs, the guitarist with the Coasters, gave him guitar lessons. Arthur Lee also knew Johnny Otis, who ran a pigeon-breeding club for local children which Arthur would attend. Echols was the one who first suggested that he and Arthur should form a band, and they put together a group to play at a school talent show, performing "Last Night", the instrumental that had been a hit for the Mar-Keys on Stax records: [Excerpt: The Mar-Keys, "Last Night"] They soon became a regular group, naming themselves Arthur Lee and the LAGs -- the LA Group, in imitation of Booker T and the MGs – the Memphis Group. At some point around this time, Lee decided to switch from playing organ to playing guitar. He would say later that this was inspired by seeing Johnny "Guitar" Watson get out of a gold Cadillac, wearing a gold suit, and with gold teeth in his mouth. The LAGs started playing as support acts and backing bands for any blues and soul acts that came through LA, performing with Big Mama Thornton, Johnny Otis, the O'Jays, and more. Arthur and Johnny were both still under-age, and they would pencil in fake moustaches to play the clubs so they'd appear older. In the fifties and early sixties, there were a number of great electric guitar players playing blues on the West Coast -- Johnny "Guitar" Watson, T-Bone Walker, Guitar Slim, and others -- and they would compete with each other not only to play well, but to put on a show, and so there was a whole bag of stage tricks that West Coast R&B guitarists picked up, and Echols learned all of them -- playing his guitar behind his back, playing his guitar with his teeth, playing with his guitar between his legs. As well as playing their own shows, the LAGs also played gigs under other names -- they had a corrupt agent who would book them under the name of whatever Black group had a hit at the time, in the belief that almost nobody knew what popular groups looked like anyway, so they would go out and perform as the Drifters or the Coasters or half a dozen other bands. But Arthur Lee in particular wanted to have success in his own right. He would later say "When I was a little boy I would listen to Nat 'King' Cole and I would look at that purple Capitol Records logo. I wanted to be on Capitol, that was my goal. Later on I used to walk from Dorsey High School all the way up to the Capitol building in Hollywood -- did that many times. I was determined to get a record deal with Capitol, and I did, without the help of a fancy manager or anyone else. I talked to Adam Ross and Jack Levy at Ardmore-Beechwood. I talked to Kim Fowley, and then I talked to Capitol". The record that the LAGs released, though, was not very good, a track called "Rumble-Still-Skins": [Excerpt: The LAGs, "Rumble-Still-Skins"] Lee later said "I was young and very inexperienced and I was testing the record company. I figured if I gave them my worst stuff and they ripped me off I wouldn't get hurt. But it didn't work, and after that I started giving my best, and I've been doing that ever since." The LAGs were dropped by Capitol after one single, and for the next little while Arthur and Johnny did work for smaller labels, usually labels owned by Bob Keane, with Arthur writing and producing and Johnny playing guitar -- though Echols has said more recently that a lot of the songs that were credited to Arthur as sole writer were actually joint compositions. Most of these records were attempts at copying the style of other people. There was "I Been Trying", a Phil Spector soundalike released by Little Ray: [Excerpt: Little Ray, "I Been Trying"] And there were a few attempts at sounding like Curtis Mayfield, like "Slow Jerk" by Ronnie and the Pomona Casuals: [Excerpt: Ronnie and the Pomona Casuals, "Slow Jerk"] and "My Diary" by Rosa Lee Brooks: [Excerpt: Rosa Lee Brooks, "My Diary"] Echols was also playing with a lot of other people, and one of the musicians he was playing with, his old school friend Billy Preston, told him about a recent European tour he'd been on with Little Richard, and the band from Liverpool he'd befriended while he was there who idolised Richard, so when the Beatles hit America, Arthur and Johnny had some small amount of context for them. They soon broke up the LAGs and formed another group, the American Four, with two white musicians, bass player John Fleckenstein and drummer Don Costa. Lee had them wear wigs so they seemed like they had longer hair, and started dressing more eccentrically -- he would soon become known for wearing glasses with one blue lens and one red one, and, as he put it "wearing forty pounds of beads, two coats, three shirts, and wearing two pairs of shoes on one foot". As well as the Beatles, the American Four were inspired by the other British Invasion bands -- Arthur was in the audience for the TAMI show, and quite impressed by Mick Jagger -- and also by the Valentinos, Bobby Womack's group. They tried to get signed to SAR Records, the label owned by Sam Cooke for which the Valentinos recorded, but SAR weren't interested, and they ended up recording for Bob Keane's Del-Fi records, where they cut "Luci Baines", a "Twist and Shout" knock-off with lyrics referencing the daughter of new US President Lyndon Johnson: [Excerpt: The American Four, "Luci Baines"] But that didn't take off any more than the earlier records had. Another American Four track, "Stay Away", was recorded but went unreleased until 2006: [Excerpt: Arthur Lee and the American Four, "Stay Away"] Soon the American Four were changing their sound and name again. This time it was because of two bands who were becoming successful on the Sunset Strip. One was the Byrds, who to Lee's mind were making music like the stuff he heard in his head, and the other was their rivals the Rising Sons, the blues band we mentioned earlier with Taj Mahal and Ry Cooder. Lee was very impressed by them as an multiracial band making aggressive, loud, guitar music, though he would always make the point when talking about them that they were a blues band, not a rock band, and *he* had the first multiracial rock band. Whatever they were like live though, in their recordings, produced by the Byrds' first producer Terry Melcher, the Rising Sons often had the same garage band folk-punk sound that Lee and Echols would soon make their own: [Excerpt: The Rising Sons, "Take a Giant Step"] But while the Rising Sons recorded a full album's worth of material, only one single was released before they split up, and so the way was clear for Lee and Echols' band, now renamed once again to The Grass Roots, to become the Byrds' new challengers. Lee later said "I named the group The Grass Roots behind a trip, or an album I heard that Malcolm X did, where he said 'the grass roots of the people are out in the street doing something about their problems instead of sitting around talking about it'". After seeing the Rolling Stones and the Byrds live, Lee wanted to get up front and move like Mick Jagger, and not be hindered by playing a guitar he wasn't especially good at -- both the Stones and the Byrds had two guitarists and a frontman who just sang and played hand percussion, and these were the models that Lee was following for the group. He also thought it would be a good idea commercially to get a good-looking white boy up front. So the group got in another guitarist, a white pretty boy who Lee soon fell out with and gave the nickname "Bummer Bob" because he was unpleasant to be around. Those of you who know exactly why Bobby Beausoleil later became famous will probably agree that this was a more than reasonable nickname to give him (and those of you who don't, I'll be dealing with him when we get to 1969). So when Bryan MacLean introduced himself to Lee and Echols, and they found out that not only was he also a good-looking white guitarist, but he was also friends with the entire circle of hipsters who'd been going to Byrds gigs, people like Vito and Franzoni, and he could get a massive crowd of them to come along to gigs for any band he was in and make them the talk of the Sunset Strip scene, he was soon in the Grass Roots, and Bummer Bob was out. The Grass Roots soon had to change their name again, though. In 1965, Jan and Dean recorded their "Folk and Roll" album, which featured "The Universal Coward"... Which I am not going to excerpt again. I only put that pause in to terrify Tilt, who edits these podcasts, and has very strong opinions about that song. But P. F. Sloan and Steve Barri, the songwriters who also performed as the Fantastic Baggies, had come up with a song for that album called "Where Where You When I Needed You?": [Excerpt: Jan and Dean, "Where Were You When I Needed You?"] Sloan and Barri decided to cut their own version of that song under a fake band name, and then put together a group of other musicians to tour as that band. They just needed a name, and Lou Adler, the head of Dunhill Records, suggested they call themselves The Grass Roots, and so that's what they did: [Excerpt: The Grass Roots, "Where Were You When I Needed You?"] Echols would later claim that this was deliberate malice on Adler's part -- that Adler had come in to a Grass Roots show drunk, and pretended to be interested in signing them to a contract, mostly to show off to a woman he'd brought with him. Echols and MacLean had spoken to him, not known who he was, and he'd felt disrespected, and Echols claims that he suggested the name to get back at them, and also to capitalise on their local success. The new Grass Roots soon started having hits, and so the old band had to find another name, which they got as a joking reference to a day job Lee had had at one point -- he'd apparently worked in a specialist bra shop, Luv Brassieres, which the rest of the band found hilarious. The Grass Roots became Love. While Arthur Lee was the group's lead singer, Bryan MacLean would often sing harmonies, and would get a song or two to sing live himself. And very early in the group's career, when they were playing a club called Bido Lito's, he started making his big lead spot a version of "Hey Joe", which he'd learned from his old friend David Crosby, and which soon became the highlight of the group's set. Their version was sped up, and included the riff which the Searchers had popularised in their cover version of "Needles and Pins", the song originally recorded by MacLean's old girlfriend Jackie DeShannon: [Excerpt: The Searchers, "Needles and Pins"] That riff is a very simple one to play, and variants of it became very, very, common among the LA bands, most notably on the Byrds' "I'll Feel a Whole Lot Better": [Excerpt: The Byrds, "I'll Feel a Whole Lot Better"] The riff was so ubiquitous in the LA scene that in the late eighties Frank Zappa would still cite it as one of his main memories of the scene. I'm going to quote from his autobiography, where he's talking about the differences between the LA scene he was part of and the San Francisco scene he had no time for: "The Byrds were the be-all and end-all of Los Angeles rock then. They were 'It' -- and then a group called Love was 'It.' There were a few 'psychedelic' groups that never really got to be 'It,' but they could still find work and get record deals, including the West Coast Pop Art Experimental Band, Sky Saxon and the Seeds, and the Leaves (noted for their cover version of "Hey, Joe"). When we first went to San Francisco, in the early days of the Family Dog, it seemed that everybody was wearing the same costume, a mixture of Barbary Coast and Old West -- guys with handlebar mustaches, girls in big bustle dresses with feathers in their hair, etc. By contrast, the L.A. costumery was more random and outlandish. Musically, the northern bands had a little more country style. In L.A., it was folk-rock to death. Everything had that" [and here Zappa uses the adjectival form of a four-letter word beginning with 'f' that the main podcast providers don't like you saying on non-adult-rated shows] "D chord down at the bottom of the neck where you wiggle your finger around -- like 'Needles and Pins.'" The reason Zappa describes it that way, and the reason it became so popular, is that if you play that riff in D, the chords are D, Dsus2, and Dsus4 which means you literally only wiggle one finger on your left hand: [demonstrates] And so you get that on just a ton of records from that period, though Love, the Byrds, and the Searchers all actually play the riff on A rather than D: [demonstrates] So that riff became the Big Thing in LA after the Byrds popularised the Searchers sound there, and Love added it to their arrangement of "Hey Joe". In January 1966, the group would record their arrangement of it for their first album, which would come out in March: [Excerpt: Love, "Hey Joe"] But that wouldn't be the first recording of the song, or of Love's arrangement of it – although other than the Byrds' version, it would be the only one to come out of LA with the original Billy Roberts lyrics. Love's performances of the song at Bido Lito's had become the talk of the Sunset Strip scene, and soon every band worth its salt was copying it, and it became one of those songs like "Louie Louie" before it that everyone would play. The first record ever made with the "Hey Joe" melody actually had totally different lyrics. Kim Fowley had the idea of writing a sequel to "Hey Joe", titled "Wanted Dead or Alive", about what happened after Joe shot his woman and went off. He produced the track for The Rogues, a group consisting of Michael Lloyd and Shaun Harris, who later went on to form the West Coast Pop Art Experimental Band, and Lloyd and Harris were the credited writers: [Excerpt: The Rogues, "Wanted Dead or Alive"] The next version of the song to come out was the first by anyone to be released as "Hey Joe", or at least as "Hey Joe, Where You Gonna Go?", which was how it was titled on its initial release. This was by a band called The Leaves, who were friends of Love, and had picked up on "Hey Joe", and was produced by Nik Venet. It was also the first to have the now-familiar opening line "Hey Joe, where you going with that gun in your hand?": [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] Roberts' original lyric, as sung by both Love and the Byrds, had been "where you going with that money in your hand?", and had Joe headed off to *buy* the gun. But as Echols later said “What happened was Bob Lee from The Leaves, who were friends of ours, asked me for the words to 'Hey Joe'. I told him I would have the words the next day. I decided to write totally different lyrics. The words you hear on their record are ones I wrote as a joke. The original words to Hey Joe are ‘Hey Joe, where you going with that money in your hand? Well I'm going downtown to buy me a blue steel .44. When I catch up with that woman, she won't be running round no more.' It never says ‘Hey Joe where you goin' with that gun in your hand.' Those were the words I wrote just because I knew they were going to try and cover the song before we released it. That was kind of a dirty trick that I played on The Leaves, which turned out to be the words that everybody uses.” That first release by the Leaves also contained an extra verse -- a nod to Love's previous name: [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] That original recording credited the song as public domain -- apparently Bryan MacLean had refused to tell the Leaves who had written the song, and so they assumed it was traditional. It came out in November 1965, but only as a promo single. Even before the Leaves, though, another band had recorded "Hey Joe", but it didn't get released. The Sons of Adam had started out as a surf group called the Fender IV, who made records like "Malibu Run": [Excerpt: The Fender IV, "Malibu Run"] Kim Fowley had suggested they change their name to the Sons of Adam, and they were another group who were friends with Love -- their drummer, Michael Stuart-Ware, would later go on to join Love, and Arthur Lee wrote the song "Feathered Fish" for them: [Excerpt: Sons of Adam, "Feathered Fish"] But while they were the first to record "Hey Joe", their version has still to this day not been released. Their version was recorded for Decca, with producer Gary Usher, but before it was released, another Decca artist also recorded the song, and the label weren't sure which one to release. And then the label decided to press Usher to record a version with yet another act -- this time with the Surfaris, the surf group who had had a hit with "Wipe Out". Coincidentally, the Surfaris had just changed bass players -- their most recent bass player, Ken Forssi, had quit and joined Love, whose own bass player, John Fleckenstein, had gone off to join the Standells, who would also record a version of “Hey Joe” in 1966. Usher thought that the Sons of Adam were much better musicians than the Surfaris, who he was recording with more or less under protest, but their version, using Love's arrangement and the "gun in your hand" lyrics, became the first version to come out on a major label: [Excerpt: The Surfaris, "Hey Joe"] They believed the song was in the public domain, and so the songwriting credits on the record are split between Gary Usher, a W. Hale who nobody has been able to identify, and Tony Cost, a pseudonym for Nik Venet. Usher said later "I got writer's credit on it because I was told, or I assumed at the time, the song was Public Domain; meaning a non-copyrighted song. It had already been cut two or three times, and on each occasion the writing credit had been different. On a traditional song, whoever arranges it, takes the songwriting credit. I may have changed a few words and arranged and produced it, but I certainly did not co-write it." The public domain credit also appeared on the Leaves' second attempt to cut the song, which was actually given a general release, but flopped. But when the Leaves cut the song for a *third* time, still for the same tiny label, Mira, the track became a hit in May 1966, reaching number thirty-one: [Excerpt: The Leaves, "Hey Joe"] And *that* version had what they thought was the correct songwriting credit, to Dino Valenti. Which came as news to Billy Roberts, who had registered the copyright to the song back in 1962 and had no idea that it had become a staple of LA garage rock until he heard his song in the top forty with someone else's name on the credits. He angrily confronted Third Story Music, who agreed to a compromise -- they would stop giving Valenti songwriting royalties and start giving them to Roberts instead, so long as he didn't sue them and let them keep the publishing rights. Roberts was indignant about this -- he deserved all the money, not just half of it -- but he went along with it to avoid a lawsuit he might not win. So Roberts was now the credited songwriter on the versions coming out of the LA scene. But of course, Dino Valenti had been playing "his" song to other people, too. One of those other people was Vince Martin. Martin had been a member of a folk-pop group called the Tarriers, whose members also included the future film star Alan Arkin, and who had had a hit in the 1950s with "Cindy, Oh Cindy": [Excerpt: The Tarriers, "Cindy, Oh Cindy"] But as we heard in the episode on the Lovin' Spoonful, he had become a Greenwich Village folkie, in a duo with Fred Neil, and recorded an album with him, "Tear Down the Walls": [Excerpt: Fred Neil and Vince Martin, "Morning Dew"] That song we just heard, "Morning Dew", was another question-and-answer folk song. It was written by the Canadian folk-singer Bonnie Dobson, but after Martin and Neil recorded it, it was picked up on by Martin's friend Tim Rose who stuck his own name on the credits as well, without Dobson's permission, for a version which made the song into a rock standard for which he continued to collect royalties: [Excerpt: Tim Rose, "Morning Dew"] This was something that Rose seems to have made a habit of doing, though to be fair to him it went both ways. We heard about him in the Lovin' Spoonful episode too, when he was in a band named the Big Three with Cass Elliot and her coincidentally-named future husband Jim Hendricks, who recorded this song, with Rose putting new music to the lyrics of the old public domain song "Oh! Susanna": [Excerpt: The Big Three, "The Banjo Song"] The band Shocking Blue used that melody for their 1969 number-one hit "Venus", and didn't give Rose any credit: [Excerpt: Shocking Blue, "Venus"] But another song that Rose picked up from Vince Martin was "Hey Joe". Martin had picked the song up from Valenti, but didn't know who had written it, or who was claiming to have written it, and told Rose he thought it might be an old Appalchian murder ballad or something. Rose took the song and claimed writing credit in his own name -- he would always, for the rest of his life, claim it was an old folk tune he'd heard in Florida, and that he'd rewritten it substantially himself, but no evidence of the song has ever shown up from prior to Roberts' copyright registration, and Rose's version is basically identical to Roberts' in melody and lyrics. But Rose takes his version at a much slower pace, and his version would be the model for the most successful versions going forward, though those other versions would use the lyrics Johnny Echols had rewritten, rather than the ones Rose used: [Excerpt: Tim Rose, "Hey Joe"] Rose's version got heard across the Atlantic as well. And in particular it was heard by Chas Chandler, the bass player of the Animals. Some sources seem to suggest that Chandler first heard the song performed by a group called the Creation, but in a biography I've read of that group they clearly state that they didn't start playing the song until 1967. But however he came across it, when Chandler heard Rose's recording, he knew that the song could be a big hit for someone, but he didn't know who. And then he bumped into Linda Keith, Keith Richards' girlfriend, who took him to see someone whose guitar we've already heard in this episode: [Excerpt: Rosa Lee Brooks, "My Diary"] The Curtis Mayfield impression on guitar there was, at least according to many sources the first recording session ever played on by a guitarist then calling himself Maurice (or possibly Mo-rees) James. We'll see later in the story that it possibly wasn't his first -- there are conflicting accounts, as there are about a lot of things, and it was recorded either in very early 1964, in which case it was his first, or (as seems more likely, and as I tell the story later) a year later, in which case he'd played on maybe half a dozen tracks in the studio by that point. But it was still a very early one. And by late 1966 that guitarist had reverted to the name by which he was brought up, and was calling himself Jimi Hendrix. Hendrix and Arthur Lee had become close, and Lee would later claim that Hendrix had copied much of Lee's dress style and attitude -- though many of Hendrix's other colleagues and employers, including Little Richard, would make similar claims -- and most of them had an element of truth, as Lee's did. Hendrix was a sponge. But Lee did influence him. Indeed, one of Hendrix's *last* sessions, in March 1970, was guesting on an album by Love: [Excerpt: Love with Jimi Hendrix, "Everlasting First"] Hendrix's name at birth was Johnny Allen Hendrix, which made his father, James Allen Hendrix, known as Al, who was away at war when his son was born, worry that he'd been named after another man who might possibly be the real father, so the family just referred to the child as "Buster" to avoid the issue. When Al Hendrix came back from the war the child was renamed James Marshall Hendrix -- James after Al's first name, Marshall after Al's dead brother -- though the family continued calling him "Buster". Little James Hendrix Junior didn't have anything like a stable home life. Both his parents were alcoholics, and Al Hendrix was frequently convinced that Jimi's mother Lucille was having affairs and became abusive about it. They had six children, four of whom were born disabled, and Jimi was the only one to remain with his parents -- the rest were either fostered or adopted at birth, fostered later on because the parents weren't providing a decent home life, or in one case made a ward of state because the Hendrixes couldn't afford to pay for a life-saving operation for him. The only one that Jimi had any kind of regular contact with was the second brother, Leon, his parents' favourite, who stayed with them for several years before being fostered by a family only a few blocks away. Al and Lucille Hendrix frequently split and reconciled, and while they were ostensibly raising Jimi (and for a few years Leon), he was shuttled between them and various family members and friends, living sometimes in Seattle where his parents lived and sometimes in Vancouver with his paternal grandmother. He was frequently malnourished, and often survived because friends' families fed him. Al Hendrix was also often physically and emotionally abusive of the son he wasn't sure was his. Jimi grew up introverted, and stuttering, and only a couple of things seemed to bring him out of his shell. One was science fiction -- he always thought that his nickname, Buster, came from Buster Crabbe, the star of the Flash Gordon serials he loved to watch, though in fact he got the nickname even before that interest developed, and he was fascinated with ideas about aliens and UFOs -- and the other was music. Growing up in Seattle in the forties and fifties, most of the music he was exposed to as a child and in his early teens was music made by and for white people -- there wasn't a very large Black community in the area at the time compared to most major American cities, and so there were no prominent R&B stations. As a kid he loved the music of Bob Wills and the Texas Playboys, and when he was thirteen Jimi's favourite record was Dean Martin's "Memories are Made of This": [Excerpt: Dean Martin, "Memories are Made of This"] He also, like every teenager, became a fan of rock and roll music. When Elvis played at a local stadium when Jimi was fifteen, he couldn't afford a ticket, but he went and sat on top of a nearby hill and watched the show from the distance. Jimi's first exposure to the blues also came around this time, when his father briefly took in lodgers, Cornell and Ernestine Benson, and Ernestine had a record collection that included records by Lightnin' Hopkins, Howlin' Wolf, and Muddy Waters, all of whom Jimi became a big fan of, especially Muddy Waters. The Bensons' most vivid memory of Jimi in later years was him picking up a broom and pretending to play guitar along with these records: [Excerpt: Muddy Waters, "Baby Please Don't Go"] Shortly after this, it would be Ernestine Benson who would get Jimi his very first guitar. By this time Jimi and Al had lost their home and moved into a boarding house, and the owner's son had an acoustic guitar with only one string that he was planning to throw out. When Jimi asked if he could have it instead of it being thrown out, the owner told him he could have it for five dollars. Al Hendrix refused to pay that much for it, but Ernestine Benson bought Jimi the guitar. She said later “He only had one string, but he could really make that string talk.” He started carrying the guitar on his back everywhere he went, in imitation of Sterling Hayden in the western Johnny Guitar, and eventually got some more strings for it and learned to play. He would play it left-handed -- until his father came in. His father had forced him to write with his right hand, and was convinced that left-handedness was the work of the devil, so Jimi would play left-handed while his father was somewhere else, but as soon as Al came in he would flip the guitar the other way up and continue playing the song he had been playing, now right-handed. Jimi's mother died when he was fifteen, after having been ill for a long time with drink-related problems, and Jimi and his brother didn't get to go to the funeral -- depending on who you believe, either Al gave Jimi the bus fare and told him to go by himself and Jimi was too embarrassed to go to the funeral alone on the bus, or Al actually forbade Jimi and Leon from going. After this, he became even more introverted than he was before, and he also developed a fascination with the idea of angels, convinced his mother now was one. Jimi started to hang around with a friend called Pernell Alexander, who also had a guitar, and they would play along together with Elmore James records. The two also went to see Little Richard and Bill Doggett perform live, and while Jimi was hugely introverted, he did start to build more friendships in the small Seattle music scene, including with Ron Holden, the man we talked about in the episode on "Louie Louie" who introduced that song to Seattle, and who would go on to record with Bruce Johnston for Bob Keane: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] Eventually Ernestine Benson persuaded Al Hendrix to buy Jimi a decent electric guitar on credit -- Al also bought himself a saxophone at the same time, thinking he might play music with his son, but sent it back once the next payment became due. As well as blues and R&B, Jimi was soaking up the guitar instrumentals and garage rock that would soon turn into surf music. The first song he learned to play was "Tall Cool One" by the Fabulous Wailers, the local group who popularised a version of "Louie Louie" based on Holden's one: [Excerpt: The Fabulous Wailers, "Tall Cool One"] As we talked about in the "Louie Louie" episode, the Fabulous Wailers used to play at a venue called the Spanish Castle, and Jimi was a regular in the audience, later writing his song "Spanish Castle Magic" about those shows: [Excerpt: The Jimi Hendrix Experience, "Spanish Castle Magic"] He was also a big fan of Duane Eddy, and soon learned Eddy's big hits "Forty Miles of Bad Road", "Because They're Young", and "Peter Gunn" -- a song he would return to much later in his life: [Excerpt: Jimi Hendrix, "Peter Gunn/Catastrophe"] His career as a guitarist didn't get off to a great start -- the first night he played with his first band, he was meant to play two sets, but he was fired after the first set, because he was playing in too flashy a manner and showing off too much on stage. His girlfriend suggested that he might want to tone it down a little, but he said "That's not my style". This would be a common story for the next several years. After that false start, the first real band he was in was the Velvetones, with his friend Pernell Alexander. There were four guitarists, two piano players, horns and drums, and they dressed up with glitter stuck to their pants. They played Duane Eddy songs, old jazz numbers, and "Honky Tonk" by Bill Doggett, which became Hendrix's signature song with the band. [Excerpt: Bill Doggett, "Honky Tonk"] His father was unsupportive of his music career, and he left his guitar at Alexander's house because he was scared that his dad would smash it if he took it home. At the same time he was with the Velvetones, he was also playing with another band called the Rocking Kings, who got gigs around the Seattle area, including at the Spanish Castle. But as they left school, most of Hendrix's friends were joining the Army, in order to make a steady living, and so did he -- although not entirely by choice. He was arrested, twice, for riding in stolen cars, and he was given a choice -- either go to prison, or sign up for the Army for three years. He chose the latter. At first, the Army seemed to suit him. He was accepted into the 101st Airborne Division, the famous "Screaming Eagles", whose actions at D-Day made them legendary in the US, and he was proud to be a member of the Division. They were based out of Fort Campbell, the base near Clarksville we talked about a couple of episodes ago, and while he was there he met a bass player, Billy Cox, who he started playing with. As Cox and Hendrix were Black, and as Fort Campbell straddled the border between Kentucky and Tennessee, they had to deal with segregation and play to only Black audiences. And Hendrix quickly discovered that Black audiences in the Southern states weren't interested in "Louie Louie", Duane Eddy, and surf music, the stuff he'd been playing in Seattle. He had to instead switch to playing Albert King and Slim Harpo songs, but luckily he loved that music too. He also started singing at this point -- when Hendrix and Cox started playing together, in a trio called the Kasuals, they had no singer, and while Hendrix never liked his own voice, Cox was worse, and so Hendrix was stuck as the singer. The Kasuals started gigging around Clarksville, and occasionally further afield, places like Nashville, where Arthur Alexander would occasionally sit in with them. But Cox was about to leave the Army, and Hendrix had another two and a bit years to go, having enlisted for three years. They couldn't play any further away unless Hendrix got out of the Army, which he was increasingly unhappy in anyway, and so he did the only thing he could -- he pretended to be gay, and got discharged on medical grounds for homosexuality. In later years he would always pretend he'd broken his ankle parachuting from a plane. For the next few years, he would be a full-time guitarist, and spend the periods when he wasn't earning enough money from that leeching off women he lived with, moving from one to another as they got sick of him or ran out of money. The Kasuals expanded their lineup, adding a second guitarist, Alphonso Young, who would show off on stage by playing guitar with his teeth. Hendrix didn't like being upstaged by another guitarist, and quickly learned to do the same. One biography I've used as a source for this says that at this point, Billy Cox played on a session for King Records, for Frank Howard and the Commanders, and brought Hendrix along, but the producer thought that Hendrix's guitar was too frantic and turned his mic off. But other sources say the session Hendrix and Cox played on for the Commanders wasn't until three years later, and the record *sounds* like a 1965 record, not a 1962 one, and his guitar is very audible – and the record isn't on King. But we've not had any music to break up the narration for a little while, and it's a good track (which later became a Northern Soul favourite) so I'll play a section here, as either way it was certainly an early Hendrix session: [Excerpt: Frank Howard and the Commanders, "I'm So Glad"] This illustrates a general problem with Hendrix's life at this point -- he would flit between bands, playing with the same people at multiple points, nobody was taking detailed notes, and later, once he became famous, everyone wanted to exaggerate their own importance in his life, meaning that while the broad outlines of his life are fairly clear, any detail before late 1966 might be hopelessly wrong. But all the time, Hendrix was learning his craft. One story from around this time sums up both Hendrix's attitude to his playing -- he saw himself almost as much as a scientist as a musician -- and his slightly formal manner of speech. He challenged the best blues guitarist in Nashville to a guitar duel, and the audience actually laughed at Hendrix's playing, as he was totally outclassed. When asked what he was doing, he replied “I was simply trying to get that B.B. King tone down and my experiment failed.” Bookings for the King Kasuals dried up, and he went to Vancouver, where he spent a couple of months playing in a covers band, Bobby Taylor and the Vancouvers, whose lead guitarist was Tommy Chong, later to find fame as one half of Cheech and Chong. But he got depressed at how white Vancouver was, and travelled back down south to join a reconfigured King Kasuals, who now had a horn section. The new lineup of King Kasuals were playing the chitlin circuit and had to put on a proper show, and so Hendrix started using all the techniques he'd seen other guitarists on the circuit use -- playing with his teeth like Alphonso Young, the other guitarist in the band, playing with his guitar behind his back like T-Bone Walker, and playing with a fifty-foot cord that allowed him to walk into the crowd and out of the venue, still playing, like Guitar Slim used to. As well as playing with the King Kasuals, he started playing the circuit as a sideman. He got short stints with many of the second-tier acts on the circuit -- people who had had one or two hits, or were crowd-pleasers, but weren't massive stars, like Carla Thomas or Jerry Butler or Slim Harpo. The first really big name he played with was Solomon Burke, who when Hendrix joined his band had just released "Just Out of Reach (Of My Two Empty Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (Of My Two Empty Arms)"] But he lacked discipline. “Five dates would go beautifully,” Burke later said, “and then at the next show, he'd go into this wild stuff that wasn't part of the song. I just couldn't handle it anymore.” Burke traded him to Otis Redding, who was on the same tour, for two horn players, but then Redding fired him a week later and they left him on the side of the road. He played in the backing band for the Marvelettes, on a tour with Curtis Mayfield, who would be another of Hendrix's biggest influences, but he accidentally blew up Mayfield's amp and got sacked. On another tour, Cecil Womack threw Hendrix's guitar off the bus while he slept. In February 1964 he joined the band of the Isley Brothers, and he would watch the Beatles on Ed Sullivan with them during his first days with the group. Assuming he hadn't already played the Rosa Lee Brooks session (and I think there's good reason to believe he hadn't), then the first record Hendrix played on was their single "Testify": [Excerpt: The Isley Brothers, "Testify"] While he was with them, he also moonlighted on Don Covay's big hit "Mercy, Mercy": [Excerpt: Don Covay and the Goodtimers, "Mercy Mercy"] After leaving the Isleys, Hendrix joined the minor soul singer Gorgeous George, and on a break from Gorgeous George's tour, in Memphis, he went to Stax studios in the hope of meeting Steve Cropper, one of his idols. When he was told that Cropper was busy in the studio, he waited around all day until Cropper finished, and introduced himself. Hendrix was amazed to discover that Cropper was white -- he'd assumed that he must be Black -- and Cropper was delighted to meet the guitarist who had played on "Mercy Mercy", one of his favourite records. The two spent hours showing each other guitar licks -- Hendrix playing Cropper's right-handed guitar, as he hadn't brought along his own. Shortly after this, he joined Little Richard's band, and once again came into conflict with the star of the show by trying to upstage him. For one show he wore a satin shirt, and after the show Richard screamed at him “I am the only Little Richard! I am the King of Rock and Roll, and I am the only one allowed to be pretty. Take that shirt off!” While he was with Richard, Hendrix played on his "I Don't Know What You've Got, But It's Got Me", which like "Mercy Mercy" was written by Don Covay, who had started out as Richard's chauffeur: [Excerpt: Little Richard, "I Don't Know What You've Got, But It's Got Me"] According to the most likely version of events I've read, it was while he was working for Richard that Hendrix met Rosa Lee Brooks, on New Year's Eve 1964. At this point he was using the name Maurice James, apparently in tribute to the blues guitarist Elmore James, and he used various names, including Jimmy James, for most of his pre-fame performances. Rosa Lee Brooks was an R&B singer who had been mentored by Johnny "Guitar" Watson, and when she met Hendrix she was singing in a girl group who were one of the support acts for Ike & Tina Turner, who Hendrix went to see on his night off. Hendrix met Brooks afterwards, and told her she looked like his mother -- a line he used on a lot of women, but which was true in her case if photos are anything to go by. The two got into a relationship, and were soon talking about becoming a duo like Ike and Tina or Mickey and Sylvia -- "Love is Strange" was one of Hendrix's favourite records. But the only recording they made together was the "My Diary" single. Brooks always claimed that she actually wrote that song, but the label credit is for Arthur Lee, and it sounds like his work to me, albeit him trying hard to write like Curtis Mayfield, just as Hendrix is trying to play like him: [Excerpt: Rosa Lee Brooks, "My Diary"] Brooks and Hendrix had a very intense relationship for a short period. Brooks would later recall Little
Director: Nicholas Ray Producer: Nicholas Ray Screenplay: Philip Yordan Photography: Harry Stradling, Sr. Music: Victor Young Cast: Joan Crawford, Sterling Hayden, Mercedes McCambridge, Scott Brady, Ward Bond Rotten Tomatoes: Critics: 94%/Audience: 85%
This week- a pair of disputes that range from the domestic to the pangalactic. Both of which were turned into off-Broadway musicals for the 2004 theater season. Saloonkeeper Vienna's volatile relationship with the local yokels is quickly approaching critical. As a defensive measure she hires on a former lover and multiple discipline virtuoso, Johnny. Will this be enough to calm the waters, kept at a rolling boil by unable to deal with her feelings local rancher Emma Small? Or will this be the last duet for Vienna and Johnny Guitar? Alex dreams of life after the Starlite Starbrite trailer park he has spent his life in. Alex's only escapes are his dreams of college and the arcade game outside the local convenience store. When he breaks the high score, he soon learns it is all true and the Ko-Dan Armada is threatening all peaceful planets of the Rylan Star League. With only his navigator, Grig, can Alex save The Frontier and stop the power mad Xur? What hope can there possibly be when you are The Last Starfighter? All that and Craig almost achieves enlightenment, Kevin fills in some gaps, Dave looks down on their life choices, and Tyler feels the force flow through him- it isn't as fun as expected. Join us, won't you?Episode 248- Penultimate Guitarfighter
James Cameron-Wilson examines the UK box office, depressed by a lack of any new big films ahead of the new James Bond film, No Time To Die. Stylish Irish film Rose Plays Julie arrived at #30 in the chart, though James still recommends last week's Irish entry Herself, now at #15. With nothing else new to get his teeth into, James recommends the Netflix film Kate, starring Mary Elizabeth Winstead and Woody Harrelson, despite a somewhat derivative thriller plot. He also feels the 1954 Joan Crawford film Johnny Guitar, long held to be a camp classic, deserves a higher reputation; it is now out in a restored edition on DVD and Blu-Ray. Learn more about your ad choices. Visit megaphone.fm/adchoices
12/6/2020 On this week's episode we talk about the 1954 movie Johnny Guitar by Nicholas Ray alongside Robocop (Paul Verhoeven, 1987) and Robocop 2 (Irvin Kershner, 1990). Eventually, we came around to the idea that these movies are connected by certain ideas about the weird, fucked up relationship between ownership and responsibility. Maybe? Also, isn't it weird that Kershner directed Robocop 2 AND The Empire Strikes Back? Isn't it weird that Mercedes McCambridge, who plays one of the most evil monsters of all time in Johnny Guitar, ends up being the voice of the demon in The Exorcist? Huh? Right? Intro Music: "Hale Makame," 1930, Unknown author / Public domain Outro Music: "Fool Me Some More," 1930, Gus Arnheim / Public domain --- Support this podcast: https://anchor.fm/whatsyourdungeon/support
The Movie Palace returns with a discussion about Nicholas Ray's 1954 western JOHNNY GUITAR...
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