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Yhis Sunday we want to give God praise Just Because. I am sure everyone of us has ben the reciepient of His love, mercy, and grace so we really don't need a reason to praise Him. Join us and let's praise yogether through our gifts.
On this episode of NO More Excuses Wake Up! Introducing Shanda DeshieldShanda is an online Money Coach; that helps coaches gain clarity and bridge the gap betweenbusiness and personal finances while reducing the effects of financialhardship with a money coach. Break bad habits, make money, save money, and growmoney with a plan. Shanda resides in New Jersey with her husband and twochildren. She has a background in franchise management, mortgage, and realestate. Shanda overcame losing it all after her first marriage and bankruptcyfrom the 2008 housing crash. She has a passion to help online service-basedcoaches to learn that their business is their retirement plan. Her motto: Justbecause you are self-employed does not mean you should go without health,disability, and life insurance. From this episode you will learn:· Shanda branched out on her own last year and started an online coaching business.· Shanda only works with online service-based entrepreneur coaches,· Teach the fundamentals of incoming revenue from their budget.· Not to funnel money out of your personal business and learn to separate yourpersonal finances from your business finances.· Shanda helps people get into the habit and fine-tune with managing their money andorganizing their bookkeeping in preparation for taxes.· Shanda teaches fundamentals to clients according to the needs of their business tofocus on emergency savings, medical, and a business financial lifestyle.There is a difference between having a side hustle and a business.· There is comfort in having a line of credit to guard your business. Shanda's word/s of Affirmation· I will protect my empire from financial ruin.· My habits create wealth. Connect with Shanda at:Instagram: https://www.instagram.com/realfinancialguideFacebook: www.facebook.com/realfinancialguide MY PERSONAL FINANCIAL MANTRA BUDGETPAY DEBTSAVEINVESTAND LIVE On each episode of No More Excuses. Wake Up! We will be talking about Money,Entrepreneurship & Life Skills that were not taught. You can download my free budgeting spreadsheet at www.stenellthemoneytherapist.comwhile you are there watch my video as I portray Muhammad Ali showing you how Ikick down closed doors. Book a 3-month 1-1 personal or business coaching call with me: https://stenellthemoneytherapist.as.me/consultation Learn more about me and my agencies www.stenellmyersenterprises.com If you would like to be on No More Excuses. Wake Up! Podcast, please email me atcontact@stenellthemoneytherapist.com Have a question? Want to share a topic you think I should discuss? Email me yourquestions and suggestions atcontact@stenellthemoneytherapist.com Connect with m
| Artist | Title | Album Name | | Robert Billard and the Cold Calls | Road To Nowhere | Stop | | | Deb Ryder | Devil's Credit Line | Memphis Moonlight | | Ericson Holt | Clever Girl | 99 Degrees | | TBelly | Boys and Freaky Girls | I Never Want To See Me Again | Andy Roberts Group | High On Love | THE ANDY ROBERTS GROUP 1 | Christone 'Kingfish' Ingram | That's What You Do | 662 | | | Dale Storr | Radiatin' The 88's | New Orleans Piano Live | Ajay Srivastav | Golden.mp3 | Powerless | | Donna Herula | Got What I Deserve | Bang At The Door | | EG Kight | Come On In My Kitchen | Trio Sessions | | Rev. J.W. Neely and Family | Don't Let Nobody Turn You Around | This May Be My Last Time (CD1); Raw African-American Gospel on 45rpm | Pastor That Lives Faith | Supernatural Prayer (Parts 1+ 2) | This May Be My Last Time (CD3): Raw African-American Gospel on | Kelly's Lot | Somebody In My Home | Where And When | | Big Creek Slim | Hyperborean Blues | Migration Blues | | Lightnin' Guy & The Houserockers | Freddie's Blues | Plays Hound Dog Taylor-MP3 | Billy F Gibbons | Shuffle, Step & Slide.mp3 | Hardware | | Arthur Smith & His Cracker-Jacks | Guitar Boogie | Great Rock 'n Roll Instrumentals, Vol. 1 CD 1 | Bill Justis | Raunchy | 50s Juke Box Hits | | Roulettes, The | Hully Gully Slip 'n' Slide | John, Paul, George, Dave, Brian, Tony & More; The Birth of the British Invasion | Elvis Presley | Just Because | Les Pionniers Du Rock | Mick Pini & Audio 54 | Slow Hands | Backtrack | | | Debbie Bond | High Rider Blues | Blues Without Borders | Chris Cain | As Long As You Get What You Want | Raisin Cain | | Tito Jackson | Rock Me Baby | Under Your Spell | | Bernie Marsden | I'll Play The Blues For You | Kings | | | Broke Fuse | Miss Me When I'm Gone | Rocket Ride | | Mike Zito | I'll Make Love To You | Resurrection |
On this edition of Fort McMurray Matters, we chat with the Director and two actors from 'Purge' the first live production in Fort McMurray, put on by Theatre; Just Because, since the start of the COVID-19 pandemic.
Why have an entire Beatles Hour with only George Harrison? For the same reason we'd have one with only John, Paul, or Ringo...JUST BECAUSE! We'll hear George demos, alternate versions, isolated vocals, a duet. Twenty-seven HARRISONGS await you...just because...
The hosts of the Otaku Spirit Animecast give a rundown of many titles that they believe didn't get enough spotlight in the anime fandom. Listen in and prepare to write down some possible titles you missed! Titles covered in this episode: They Were Eleven 18if AICO Incarnation Angolmois Record of Mongol Invasion Armitage III B The Beginning Break Blade BBK BRNK Colorful Cross Ange Dagashi Kashi Dennou Coil Price of Smiles Time of Eve Flying Witch Flip Flappers Gatchaman Crowds and Insight Godzilla Gugure Kokkuri-san Hagane Orchestra Genocidal Organ Hakumei to Mikochi Hanasaku Iroha Heavy Object HiScool Seha Girls High Score Girl Hinako Note Hinamatsuri Hitoribocchi Land of the Lustrous When Supernatural Battles Became Commonplace One Week Friends Actually I Am Castletown Dandelion Maria The Virgin Witch Just Because Kagewani Sunday Without God Kemurikusa Convenient Store Boy Friends Children of Whales Kurenai Makura no Danshi Merc Storia Mardock Scramble Ao-chan Can't Study Mitsuboshi Colors Nobunaga Concerto Onihei Oshiete Galko-chan Outbreak Company Planet With Prince of Stride Punchline Qualidia Code ReCreators 4 Leaves 4 Colors Scrapped Princess Kado the Right Answer Shounen Maid Showa Genroku Rakugo Shinju Knights of Sidonia Slow Start Sound of the Sky Seiyu Girls Time Travel Shoujo Tsugumomo Ushio and Tora Wakaba Girl Super Cub Wonder Egg Priority Akudama Drive Wandering Witch The Journey of Elaina Sleepy Princess In The Demon Castle ID Invaded Smile Down The Runway 22 7 If My Favorite Pop Idol Made It To Budokan I Would Die Ascendance of a Bookworm Babylon Wataten My Roommate is a Cat How Clumsy You Are Miss Ueno Space Battleship Tiramisu Konohana Kitan Magical Circle Guruguru Kemono Friends Inari Konkon Koi Iroha Encouragement of Climb Tari Tari Gunslinger Girl Project Ako Big Windup Iria Zeiram The Animation She The Ultimate Weapon Welcome to Demon School Iruma Kun Let's Make a Mug Too Yatterman Nights Interview With Muster Girls Laid Back Camp The opening music for this episode is the OP for Gunslinger Girl 2 called “Tatta Hitotsu no Omoi” by KOKIA. The closing music for this episode is the ED for Nobunaga Concerto called “Fukagyaku Replace” by MY FIRST STORY.
Elepé original español de 1964, acoplado en España, sin equivalente en el mercado europeo. Antología de música Beat. El título "The Authentic Liverpool Sound" es equivoco porque de los siete artistas solo dos son de Liverpool. The Animals son de Newcastle, Dave Clark de Tottenham, Manfred Mann nació en Sudáfrica, The Hollies y Billy J.Kramer eran de Manchester. Solo Gerry y los Swinging tenian acento Scouser y procedían del Mersey. Por tanto, es un elepé variopinto y muy valioso. Ponemos un ejemplar de primera edición española, en mono, sin digitalizar. Suena divino. Haré 3 programas con esta serie. V.A. – The Authentic Liverpool Sound España 1964. Odeon – MOCL 124 Serie: The Authentic Liverpool Sound Lista de Títulos A1 The Animals– The House Of The Rising Sun A2 The Dave Clark Five– Because A3 Manfred Mann– Do Wah Diddy Diddy A4 The Hollies– Baby That's All A5 The Swinging Blue Jeans– Hippy Hippy Shake A6 Billy J. Kramer Con The Dakotas – I'll Keep You Satisfied (Lennon-McCartney) A7 Gerry And The Pacemakers – It's Just Because B1 The Animals– I'm Crying B2 The Dave Clark Five– That's What I said B3 Manfred Mann– Sha La La B4 The Hollies– We're Through B5 The Swinging Blue Jeans– Good Golly Miss Molly B6 Billy J. Kramer Con The Dakotas – I Know B7 Gerry And The Pacemakers - It's Gonna Be All Right Bonus Gerry And The Pacemakers - Ferry cross the Mersey Jeanette - Manchester y Liverpool Marie Laforet - Manchester et Liverpool (fragmento). Escuchar audio
Just Because talks the value of TikTok, Albums vs Singles vs EPs, his time at Icon Collective, Vin Damato's necssary-but-tough feedback, and much more Join us every Sunday @ 2pm EDT, end your week with music and friends; see you in chat! -- House Club Live streams every Sunday @ 2pm EDT at http://youtube.com/warnercase. We listen to the newest house hits and talk with the world’s most interesting artists. Subscribe, and see you on Sundays in chat! End your week with music and friends. Hosted by warner case, Vin Damato, and Nick Timko. -- Just Because instagram – http://instagram.com/iamjustbecause spotify – https://open.spotify.com/artist/5giHLR4kCj9DMuqQ5TP4K7?si=IU0y94DqTnOTVcwKT-3ZEw soundcloud - http://soundcloud.com/justbecausemusic twitter – https://twitter.com/iamjustbecause House Club Live instagram – http://instagram.com/houseclublive apple podcasts – https://podcasts.apple.com/us/podcast/house-club-live/id1560256800 twitter – http://twitter.com/houseclublive warner case music platforms - http://fanlink.to/warnercase instagram - http://instagram.com/warner.case souncloud - http://soundcloud.com/warnercase facebook - http://facebook.com/warnerxcase mailer - http://fanlink.to/warnercase Vin Damato instagram - http://instagram.com/iamvindamato soundcloud - http://soundcloud.com/iamvindamato twitter - http://twitter.com/iamvindamato Nick Timko instagram: http://instagram.com/typicalnicholas
If You Don't Own Yourself And Your Actions, Who Does? Do You Blame Others For Your Missteps, Just Because?
We all have embarrassing moments we can laugh about—later. There are shameful moments that we would give anything to undo. But while our pasts remind us, they don’t have to define us. Episode Breakdown: 0:32 Review of last week, intro to this week 3:20 Beginning of the End, w/ John 5:20 The advice 10:53 The Challenge 11:46 Recap, Reward and Reminders 20:30 BLOOPERS 20:50 Fun music and scrolling announcements ▶Let us know you’re here! Like, Comment, Subscribe and Share ▶OR Fill out our Virtual Guest Card for more info! ▶ #FORdayton MARCH idea: MARCH RANDOMNESS! Random Acts of kindness can seem like madness, but they can give us more opportunities to be FOR people! Try these or come up with your own: 1. Help Someone broken down on the road. 2. Connect with someone you haven’t in a while to see how they are doing. 3. Take, or send a friend a meal, JUST BECAUSE. 4. Get the family together and go serve at House of Bread or your favorite shelter/non-profit. SHARE YOUR IDEAS WITH US... we may highlight yours! Express to people that you are FOR them. Give them a #FORdayton card to let them know it’s because you believe God is for them, and that they matter! Message us or fill out the Guest Card to get some #FORdayton cards! ▶ #FORdayton #local Giveaway Watch Facebook and Instagram Sunday afternoon. -Every person who LIKES that post will get entered to win. -OR - TAG someone in the post to win FOR them. WINNER will be chosen on Tuesday March 30th ▶Suggested Reading: John 21:1-19 ▶ Music we listened to making this episode: Beginning of the End - Weezer End of the Beginning - Black Sabbath End of the Day - One Direction Hillson Young and Free - End of Days ▶ Donate to Bridge Church & keep the good going!! ▶CREDITS: Cylinder Seven by Chris Zabriskie is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Source: http://chriszabriskie.com/cylinders/ Artist: http://chriszabriskie.com/ --- Send in a voice message: https://anchor.fm/bridge-dayton/message Support this podcast: https://anchor.fm/bridge-dayton/support
On this edition of Fort McMurray Matters, we chat with Theatre; Just Because about a stage mentorship program they're offering, a fundraiser they're co-hosting, and the production of Purge.
From an early age, we learn quickly to look for loopholes in the rules. We try to figure out what we can get away with and still be okay. We tend to take this same mindset into our relationship with God, but it doesn’t work. When we opt for loopholes and workarounds, we find ourselves in a category no one wants to be in: hypocrites. Jesus wants us to move beyond loophole religion. Episode Breakdown: 0:32 Review of last week, intro to this week 3:45 Loophole Religion, w/ John 11:26 The Advice 13:09 The Challenge 14:17 Recap, Reward and Reminders 22:21 BLOOPERS 22:41 Fun music and scrolling announcements ▶Let us know you’re here! Like, Comment, Subscribe and Share ▶OR Fill out our Virtual Guest Card You can request more info, get a free FOR Dayton car sticker or FOR Dayton cards! ▶ #FORdayton MARCH idea: MARCH RANDOMNESS! Random Acts of kindness can seem like madness, but they can give us more opportunities to be FOR people! Try these or come up with your own: 1. Help Someone broken down on the road. 2. Connect with someone you haven’t in a while to see how they are doing. 3. Take, or send a friend a meal, JUST BECAUSE. 4. Get the family together and go serve at House of Bread or your favorite shelter/non-profit. SHARE YOUR IDEAS WITH US... we may highlight yours! Express to people that you are FOR them. Give them a #FORdayton card to let them know it’s because you believe God is for them, and that they matter! Message us or fill out the Guest Card to get some #FORdayton cards! ▶ #FORdayton #local Giveaway Watch Facebook and Instagram Sunday afternoon. -Every person who likes that post will get entered in to win. - AND, You can win FOR someone else. - Nominate someone by tagging them in the post. WINNER will be chosen on Wednesday March 24th at noon ▶Suggested Reading: Mark 7:1-15 NLT ▶ Music we listened to making this episode: Elvis Costello - (What’s So Funny ‘Bout) Peace, Love and Understanding Jackie Wilson - Higher and Higher Hillsong Young & Free - Love Goes On Hillson Young & Free - Real Love ▶ Donate to Bridge Church & keep the good going!! ▶CREDITS: I Am a Man Who Will Fight for Your Honor by Chris Zabriskie is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Source: http://chriszabriskie.com/cylinders/ Artist: http://chriszabriskie.com/ --- Send in a voice message: https://anchor.fm/bridge-dayton/message Support this podcast: https://anchor.fm/bridge-dayton/support
Just Because is a spiritual common sense approach to our issues and how relates to the bible.
I had such a great discussion with Dara Kurtz for this episode. Dara is the author of “I Am My Mother's Daughter: Wisdom on Life, Loss, and Love.” We talked about intentionally creating your legacy and family traditions. And, we dive deep on the topic of letter writing: why it's important, along with lots and lots of tips from Dara. Some topics Dara and I discuss include: Why she named her blog “Crazy Perfect Life;” The bag of letters from her childhood that she re-discovered after her mom died; The three different types of letters: Just Because letters; Special Occasion letters; and Legacy letters; Tips for writing each of these types of letters; The mother-daughter journals Dara kept with her kids; and Family traditions as a link between the past, present, and future. I hope you enjoy my discussion with Dara Kurtz. -=-=-=-=- Thank you sponsors & partners: Audible - Get a FREE audiobook and 30-day free trial: www.audibletrial.com/widowedparent BetterHelp - Talk with a licensed, professional therapist online. Get 10% off your first month: betterhelp.com/widowedparent Blue Apron - Special offers for listeners of the podcast: jennylisk.com/blueapron Grief Coach - Grief support text messaging service. Tips and support delivered all year long, personalized based on your loss. Listeners get $20 off: grief.coach/sign-up/JENNYLISK Support the show: Patreon, Merch, and More -=-=-=-=-
This week, the Toks begins her 3 part series on coaching. She starts talks about life coaching and what to look for when hiring a life coach 5 considerations when choosing a life coach. 1. Method 2. Ideology 3. Learning style: 4. Your intended outcome 5. Your pricing BONUS:Make sure there are discovery calls or information sessions for the coaching: a FAQ Is not enough The Words to Live by this week are Just Because it's available to me doesn't mean it's meant for me. Have a Great Week! www.ToksTalks.com Follow @ToksTalks on all social media ***Have any questions or anything you think I should talk about? Slide into my instagram DMs @ToksTalks or send me an email Its.tokstalks@gmail.com!
Whether it’s school, sports, or religion, when we focus only on the rules, it can be difficult to remember the overall purpose of something. Jesus reminds us that when we focus so much on the letter of the law, we may forget why the law was written in the first place. Episode Breakdown: 0:32 Review of last week, intro to this week 3:4 Flipping the Script, w/ John 5:24 The advice 11:02 The Challenge 12:24 Recap, Reward and Reminders 20:57 BLOOPERS 21:12 Fun music and scrolling announcements ▶Let us know you’re here! Like, Comment, Subscribe and Share ▶OR Fill out our Virtual Guest Card for more info! ▶ #FORdayton MARCH idea: MARCH MADNESS! Random Acts of kindness can seem like madness, but they can give us more opportunities to be FOR people! Try these or come up with your own: 1. Help Someone broken down on the road. 2. Connect with someone you haven’t in a while to see how they are doing. 3. Take, or send a friend a meal, JUST BECAUSE. 4. Get the family together and go serve at House of Bread or your favorite shelter/non-profit. SHARE YOUR IDEAS WITH US... we may highlight yours! Express to people that you are FOR them. Give them a #FORdayton card to let them know it’s because you believe God is for them, and that they matter! Message us or fill out the Guest Card to get some #FORdayton cards! ▶ #FORdayton #local Giveaway Watch Facebook and Instagram Sunday afternoon. -Every person who likes that post will get entered in to win. - AND, You can win FOR someone else. - Nominate someone by tagging them in the post. WINNER will be chosen randomly on Wednesday March 17th FACEBOOK INSTAGRAM ▶Suggested Reading: Matthew 11:28-30 NLT ▶ Music we listened to making this episode: Sam Cooke - A Change Is Gonna Come Sheryl Crow - A Change Would Do You Good Taylor Swift - Change Matt Redman - We Could Change the World ▶ Donate to Bridge Church & keep the good going!! --- Send in a voice message: https://anchor.fm/bridge-dayton/message Support this podcast: https://anchor.fm/bridge-dayton/support
33, I Could Hear Her VoiceMother. Wife. Daughter. Motherless Daughter. Author. Public Speaker. Cancer Thriver. Dara Kurtz is all of these things and so much more. She has had many experiences in her life that have brought her to a low point, however her Thriving spirit has enabled her to face each challenge head on and eventually get through to the other side of each experience. Two weeks after Dara gave birth to her first daughter, her Mom passed away from cancer. Dara tried to distract herself from the grief, pain, and loss by throwing herself into motherhood and her job. She had her best year in her career that year. Dara has since left her career and given herself the space, time and opportunity to make peace with her mothers death and to talk with others about it as well. Dara also had cancer herself, which sent her into a new journey of grief and learning. Advice from Dara: Write letters to your loved ones now, while you can. The handwritten word holds a lot of power for Dara.There are 3 kinds of letters: Just Because, Special Occasion, and The Legacy letter. Dara has written several books and has several tools available for those dealing with cancer, grief and loss. Books:I Am My Mother's Daughter: Wisdom on Life, Loss and LoveCrush Cancer: Personal Enlightenment From A Cancer SurvivorCrush Cancer WorkbookBooks can be found on Amazon, or through her website.Instagram: @crazyperflifeFacebook: Crazy Perfect Life Website: https://crazyperfectlife.com/Podcast Spotlight: Thrive The Podcast with Garth and DaraPart of life is facing and overcoming challenges. This podcast helps listeners overcome whatever challenges they might encounter. Join Dara and Garth as well as inspirational guests who are change leaders in the world.Hosts: Garth Callaghan and Dara KurtzInstagram: @napkinnotesdad @crazyperflife This is a Back Home Media production, recorded and produced in Phoenix, AZ. Music by Colen Lococo and The Revolving Birds.Like what you hear? Helped by what you heard? Have something to share? https://www.patreon.com/parentlesspodcastEmail: parentlesspodcast@gmail.comInstagram: @parentlesspodcastVoicemail: 623.396.6069You are not alone.
33, I Could Hear Her Voice Mother. Wife. Daughter. Motherless Daughter. Author. Public Speaker. Cancer Thriver. Dara Kurtz is all of these things and so much more. She has had many experiences in her life that have brought her to a low point, however her Thriving spirit has enabled her to face each challenge head on and eventually get through to the other side of each experience. Two weeks after Dara gave birth to her first daughter, her Mom passed away from cancer. Dara tried to distract herself from the grief, pain, and loss by throwing herself into motherhood and her job. She had her best year in her career that year. Dara has since left her career and given herself the space, time and opportunity to make peace with her mothers death and to talk with others about it as well. Dara also had cancer herself, which sent her into a new journey of grief and learning. Advice from Dara: Write letters to your loved ones now, while you can. The handwritten word holds a lot of power for Dara. There are 3 kinds of letters: Just Because, Special Occasion, and The Legacy letter. Dara has written several books and has several tools available for those dealing with cancer, grief and loss. Books: I Am My Mother's Daughter: Wisdom on Life, Loss and Love Crush Cancer: Personal Enlightenment From A Cancer Survivor Crush Cancer Workbook Books can be found on Amazon, or through her website. Instagram: @crazyperflife Facebook: Crazy Perfect Life Website: https://crazyperfectlife.com/ Podcast Spotlight: Thrive The Podcast with Garth and Dara Part of life is facing and overcoming challenges. This podcast helps listeners overcome whatever challenges they might encounter. Join Dara and Garth as well as inspirational guests who are change leaders in the world. Hosts: Garth Callaghan and Dara Kurtz Instagram: @napkinnotesdad @crazyperflife This is a Back Home Media production, recorded and produced in Phoenix, AZ. Music by Colen Lococo and The Revolving Birds. Like what you hear? Helped by what you heard? Have something to share? https://www.patreon.com/parentlesspodcast Email: parentlesspodcast@gmail.com Instagram: @parentlesspodcast Voicemail: 623.396.6069 You are not alone.
Jesus ignored certain religious protocols. For one, he was uncomfortably comfortable with unrepentant sinners. In this episode, we hear about an encounter that showed how Jesus came to reverse the order of things. Episode Breakdown: 0:32 Review of last week, intro to this week 3:43 Unsettling, w/ John 8:52 The advice 10:58 The Challenge 12:22 Recap, Reward and Reminders 19:35 BLOOPERS 19:54 Fun music and scrolling announcements ▶Let us know you’re here! Like, Comment, Subscribe and Share ▶OR Fill out our Virtual Guest Card for more info! ▶ #FORdayton MARCH idea: MARCH RANDOMNESS! Random Acts of kindness can seem like madness, but they can give us more opportunities to be FOR people! Try these or come up with your own: 1. Help Someone broken down on the road. 2. Connect with someone you haven’t in a while to see how they are doing. 3. Take, or send a friend a meal, JUST BECAUSE. 4. Get the family together and go serve at House of Bread or your favorite shelter/non-profit. SHARE YOUR IDEAS WITH US... we may highlight yours! Express to people that you are FOR them. Give them a #FORdayton card to let them know it’s because you believe God is for them, and that they matter! Message us or fill out the Guest Card to get some #FORdayton cards! ▶ #FORdayton #local Giveaway Watch Facebook and Instagram Sunday afternoon. -Every person who likes that post will get entered in to win. - AND, You can win FOR someone else. - Nominate someone by tagging them in the post. WINNER will be chosen randomly on Wednesday March 10th FACEBOOK INSTAGRAM ▶Suggested Reading: Mark 2 ▶ Music we listened to making this episode: Rascal Flatts - Close Nick Jonas - Close Marvin Sapp - Close Weird Al Yankovich - Close but no cigar ▶ Donate to Bridge Church & keep the good going!! --- Send in a voice message: https://anchor.fm/bridge-dayton/message Support this podcast: https://anchor.fm/bridge-dayton/support
Listening doesn’t come naturally. We have to work at it. And some of us are better than others. But listening, not just hearing, shows that we are FOR people and can really make a difference. If we can do this... we'll have the BEST Relationships. Episode Breakdown: 0:32 Review of last week, intro to this week 2:58 Listen up, w/ John 7:55 The advice 9:14 The Challenge 10:12 Recap, Reward and Reminders 17:35 BLOOPERS 17:52 Fun music and scrolling announcements ▶Let us know you’re here! Like, Comment, Subscribe and Share ▶OR Fill out our Virtual Guest Card for more info! ▶ #FORdayton MARCH idea: MARCH RANDOMNESS! Random Acts of kindness can seem like madness, but they can give us more opportunities to be FOR people! Try these or come up with your own: 1. Help Someone broken down on the road. 2. Connect with someone you haven’t in a while to see how they are doing. 3. Take, or send a friend a meal, JUST BECAUSE. 4. Get the family together and go serve at House of Bread or your favorite shelter/non-profit. SHARE YOUR IDEAS WITH US... we may highlight yours! Give them a #FORdayton card to let them know it’s because you believe God is for them, and that they matter! Message us or fill out the Guest Card to get some #FORdayton cards! ▶ #FORdayton #local Giveaway Watch Facebook and Instagram Sunday afternoon. -Every person who likes that post will get entered in to win. - AND, You can win FOR someone else. - Nominate someone by tagging them in the post. FACEBOOK INSTAGRAM Suggested Reading: Proverbs 18 NLT ▶ Music we listened to making this episode: David Guetta - Listen Bob Seger - Listen Kelly Clarkson - If No One Will Listen Chris Tomlin - God who Listens ▶ Donate to Bridge Church & keep the good going!! --- Send in a voice message: https://anchor.fm/bridge-dayton/message Support this podcast: https://anchor.fm/bridge-dayton/support
Toby Hanson joins the podcast to talk about his musical career as an accordion player. From an early age Toby was studying music. A family member would play an accordion at family gatherings. Since Toby was not big enough to play an accordion at that time he started in music by playing Piano. After graduation with a bachelors degree in music Toby has had an interesting career as a professional musician.Performing in multiple Social Dance Music Bands Toby keeps busy. From Swing music, to Polka, even a Cafe Orchestra his piano and accordion talents are in demand in Washington State.We wrap the episode up with a live performance of Just Because.If you want other great ideas of places to visit, or to find out more about people who are making amazing things in Washington State you can visit Explore Washington State.Support the show (https://www.buymeacoffee.com/ExploringWash)
Intro:Words from the great Philosopher Jim Malone (1:27)THANK YOU for your service (4:19) MISS YOU AND LOVE YOU POPS!!!Segment 1: The Pledge of Allegiance (5:44)What does FREEDOM really mean? (11:29)What If? (17:43)Just Because (29:52)Your Mission Should You Accept It (34:20)Outro: (41:06)Check out all of our previously published articles on our website: https://theycallmemistayu.com/tcmmy-blog. Also, find our recent podcast episodes everywhere you get your podcasts but you can also find our show and show notes via this link. Support the show (https://www.cash.app/$MistaYu)
D.O.T.E: Nothing..... Enneagram Test: https://www.truity.com When people talk about self care, you’ll usually hear the basic methods of “how to pamper yourself” • Take A Day Off • Treat Yourself To A Spa Day • Take Time To Love Yourself These examples are all true and you rightfully should do these things for yourself but I think what’s not being spoken of more in the “self care” message is what it looks like and the process of what true self care is. It all starts with the mind and this past year I’ve took the most time with myself and had full on therapy sessions to understand how my mind works. One of the best tools I’ve used to understand myself was an Enneagram test. It’s a series of questions and based on my answers it will give me a type that my personality best represents. With each types come strengths, weaknesses, fears, career advice...everything. I’ve done similar exams but this one hits more and I think it’s because of the time I took to look more inward. It reflected what I felt I knew about me so it wasn’t bullshit and because I trusted it’s legitimacy, I’ll trust how I could improve myself hence the tittle....Be Selfish For me....I have to remind myself that I need to established borders, TRULY TAKE CARE OF ME(that even means giving myself tough love), and accept that people won’t like me JUST BECAUSE....and that’s sexy
In 1971, Elvis laid down his second holiday-themed album, full of both traditional hymns and then-contemporary originals. The question is whether, despite the classic "Merry Christmas Baby," does the rest of the album hold up if you don't grade it on the Christmas Curve? In the news, the guys discuss the recent passing of country artist Charley Pride, Justin provides his in-depth review of the new book "Walk A Lonely Street: Elvis Presley, Country Music, and the True Story of Heartbreak Hotel" from author Tony Plews, then gives a long-awaited answer to a listener question about why he doesn't call Elvis "The King of Rock'n'Roll." Finally, Gurdip plucks a highly underrated track off "Elvis for Everyone" for Song of the Week and says "Finders Keepers, Losers Weepers," while Justin explores the unexpectedly deep roots and variants of the Sun-era "Just Because." We hope our listeners have a wonderful and safe holiday!
Podcast Two with Claire Hegarty: ‘Just because you cannot hear me.’‘Does not mean I’m not shouting!’ The podcast takes us in many directions: and becomes a fascinating observation of the way our thoughts and ideas blend through almost every aspect of our daily lives. Claire talks about the way we are listened to may not […] The post Just Because.. Claire Hegarty – Podcast appeared first on LizianEvents News.
All brand new tracks on the Soul Kandi Radio Show with DJ Nick Power. Turn it up!! Richie Jones & Eric Kupper ft Sofia Rubina – “Calling You (Bagdad Café)” (Original) [Hysteria Records] Marcel Vogel & Tim Jules ft Javonntte – “Just Because” (Original) [Lumberjacks In Hell] Los Charly’s Orchestra ft Xantone Blacq – “Fly […] The post Soul Kandi Radio Show 14th Nov 2020 appeared first on SSRadio.
All brand new tracks on the Soul Kandi Radio Show with DJ Nick Power. Turn it up!! Richie Jones & Eric Kupper ft Sofia Rubina – “Calling You (Bagdad Café)” (Original) [Hysteria Records] Marcel Vogel & Tim Jules ft Javonntte – “Just Because” (Original) [Lumberjacks In Hell] Los Charly’s Orchestra ft Xantone Blacq – “Fly […] The post Soul Kandi Radio Show 14th Nov 2020 appeared first on SSRadio.
Welcome to Season 3! We thank you all so much for the love and support you've been giving us for the past seasons. We will strive our best to make each episode more insightful and more meaningful and worth your time. I'm sharing this episode with you to introduce our 3rd season which is all about finding one's purpose. For this first episode, let's share with you how I was able to find mine. I've aptly called this episode, "Why Your Just Because Could Just Be Your Just Cause" because that's what exactly happened to me. As cliché as it may sound, but at this stage, the best analogy that I could give is our concept of love for another person. We love a person just because. We do certain things JUST BECAUSE. And while it's still good to do things for people JUST BECAUSE, it helps to inspire people by letting them know our JUST CAUSE. At the end of the day, we want more people to support and rally for our cause, especially if it will help make the world a better place. At this point, I'd like to borrow the words of Simon Sinek: "Our Just Cause is our WHY projected into the future. It describes a future state in which our WHY has been realized." You see, the things that we do JUST BECAUSE could just be an answer for our JUST CAUSE.
Known for being a frontman and song writer for bands like Judah And The Lion & Pink Laundry, Judah Akers sits down with Jimi to talk about his latest worship project releasing under JUDAH., what inspired him to want to release a worship album, how worship music has been an influence in his life, and the full story behind the first single "Just Because".
Actually posting an episode on time for once! Enjoy the usual shenanigans of Just Because! and a discussion about snacks. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
You don’t need a reason, permission, a thumbs up or anything else to go, do and see. Do it just because. Take a holiday, do a random act of kindness, treat yourself, buy a lottery ticket... JUST BECAUSE. --- Send in a voice message: https://anchor.fm/heyevette/message
Jay and Mark are joined by Kim Lo and Elwood Jones (Movies & Tea Podcast - @moviesandteapod) to discuss "Surprises (El Paraiso Rico, Just Because)," the seventh chapter on the Deep Blue Sea DVD. In this episode, they discuss sleeveless sexpots, flesh and teeth, and sneak attacks. Enjoy!Please rate, review, share and subscribe! Thanks.
Welcome to the Turntable Round Table!This week we dive into albums we go to when traveling & highlight some of our faves from that album. Check it out!Tom’s PickTom Petty – Full Moon Fever (1989)Sample Track: “Love Is A Long Road”Mark’s PickJorma Kaukonen – Blue Country Heart (2002)Sample Track: “Just Because”Kevin’s PickBen Harper – Fight For Your Mind (1995)Sample Track: “Gold To Me”Shawn’s PickSimple Minds – Once Upon A Time (1985)Sample Track: “All The Things She Said”Juan’s PickNeil Young – After The Goldrush (1970)Sample Track: “Only Love Can Break Your Heart”Craig’s PickThe Police – Zenyatta Mondatta (1980)Sample Track: “When the World Is Running Down, You Make the Best of What's Still Around” Support the show (https://www.patreon.com/SchizoMusic)
Episode 168, featuring a great interview with Tony from Western Addiction & Swingin’ Utters, plus tracks from . Wrath Of Gods, The Real McKenzies, Just Because, Leftover Crack, Stokes CPH, Snapcase, Western Addiction, and Russian Circles. Eric joins the show by phone, an interview with Tony of Western Addiction, great new music, another farewell track, and wrapping up the show with Metal.
What's Good? Trip got a promotion and Juan opened a secret safe! AND we watched some anime! Whoaaa!! News Cyberpunk 2077 Edgerunner anime announced to air in 2022 with music by Akira Yamaoka. The World Ends With You Nintendo DS game will receive an anime adaptation. Summer anime air dates announced. Keep an eye out starting July 3rd! Fate/stay night: Heaven's Feel III. spring song will premier on August 15th. Why The Hell Are You Here, Teacher?! Uncensored Edition is coming to HiDIVE. So I'm a Spider. So What? will be 2 cour airing in January 2021. Spring Anime 2020 Wrap-Up Gleipnir- Studio Pine Jam (Gamers!, Just Because!) Wave, Listen to Me!- Sunrise (Cowboy Bebop, Daily Lives of High School Boys) Ascendance of a Bookworm- Ajia-Do (Izetta: The Last Witch, Kakushigoto) Tower of God- Telecom Animation Film (Orange, All Out!!) Our intro artist! Soundcloud: https://soundcloud.com/tomnasr Instagram: @tom_nasr Youtube: https://www.youtube.com/user/SuperArmhair Contact Us: Facebook: https://www.facebook.com/instantramenpodcast/ Twitter: https://twitter.com/InstantRamenPod Instagram: http://instagram.com/instantramenpodcast E-mail: instantramenpodcast@gmail.com Twitch: twitch.tv/krispother Blog: https://instantramenpodcast.blogspot.com/
Yuki and The TV Guru sit down and give advice on how to be a better nerd by using nerdom as a tool for social, economic, and self empowerment. Don't be like all these other nerds who consume art just to consume art or brag about how many shows they watch or how many games they played just to boost their egos. Sit down and study the art you're consuming and learn some game from it. Download our episodes at http://swarthynerd.com/ Check us out at Twitter: https://twitter.com/swarthynerd Gmail: swarthynerd@gmail.com Facebook: https://www.facebook.com/swarthynerd/ ------------------------------------------------- Yuki the Snowman social media Facebook: https://www.facebook.com/yukithesnowman/ Website: https://yukithesnowman.com/ Youtube:https://www.youtube.com/channel/UCnW2H7VD6ahR4xXPba-DYLQ Twitter: https://twitter.com/weebtrashyuki ------------------------------------------------------------------- Tv Guru social media Youtube: https://www.youtube.com/channel/UCxRviGx_yUWnDD0oABAT85g Twitter: https://mobile.twitter.com/superlostfan108 -------------------------------------------------------------------- These are our receipts in order (only on the website or podcasting apps) Slow burn season 4 David Duke (podcast) https://slate.com/podcasts/slow-burn/s4/david-duke Twilight zone (cbs all access drama) https://www.youtube.com/watch?v=Hs1W2kVnZNA Search party (HBO max) https://www.youtube.com/watch?v=oSmvtX-d6GU Sister's of sorrow (comic book) https://www.amazon.com/Sisters-Sorrow-Kurt-Sutter/dp/1684152011 Cowboy Bebop (anime) https://www.youtube.com/watch?v=RI08P5SaJNU Cowboy bebop retrospective (video) https://www.youtube.com/watch?v=vTYBKySzWFQ Wario land shake it (Wii game) https://www.youtube.com/watch?v=XVsxFXvcZQY The flag of Islam by honarable Elijah Muhammad (book) https://store.finalcall.com/products/the-flag-of-islam?variant=17393330305 Komi can't communicate vol 2 (manga) https://www.amazon.com/Komi-Cant-Communicate-Vol-2/dp/197470713X Don't toy with me, miss nagatoro (manga) https://www.amazon.com/dp/1947194860/ref=cm_sw_r_cp_apa_i_r75-EbXRVBAH3 Just because (anime) https://www.youtube.com/watch?v=Oi7EQSu7JZg Serial experiment Lane (anime) https://www.youtube.com/watch?v=lpv7Wv-sDAo Higurashi no naku koroni: when they cry cry (anime) https://www.youtube.com/watch?v=Kq5BHKn_o_k Zombie land saga (anime) https://www.youtube.com/watch?v=CCdNi_TH2IM At&t looking to sell WB interactive (article) https://www.cnbc.com/2020/06/12/att-seeks-sale-for-warner-gaming-unit-could-fetch-4-billion.htmlp Fandom: The Ultimate Security Blanket Essay (article) https://yukithesnowman.com/2020/06/25/fandom-the-ultimate-security-blanket/ Just Because! First Impressions (article) https://yukithesnowman.com/2017/10/10/first-impressions-just-because/ Tokyo Game Show Online (article) https://www.animenewsnetwork.com/news/2020-06-25/tokyo-game-show-2020-online-event-scheduled-for-september-23-27/.161069 How to buy a online business (website) https://exchangemarketplace.com/
We continue our miniseries of indeterminable length with another movie that we enjoy watching JUST BECAUSE, Carl Reiner's 1993 sex thriller parody, Fatal Instinct. Also we talk about parody movies in general and why some of them work better than others. And this one doesn't always even work all the time! But hey, where else can you get Armand Assante and Sean Young screwing recklessly while spinning plates? Also we're doing a summery chick-lit movie adaptation next, so get ready for that. Continue reading →
Tried to LINK to @The Music Authority page...up till now, it still existed. I've been “BLINKED” out of societal existence. Noticed as well, a majority of my Twitter tweets about what I play here are not published. Just because. Just BECAUSE. Just because they are a BULLY Monopoly! There truly is no reason that is justifiable for this megalithic billion-dollar monster organization to eliminate anyone. Just BECAUSE! What did I hear in the news the other day, they are no longer a platform, but an editing publisher. I wonder if there is a government hotline to report this stuff? I'll ask again, “WHO WATCHES THE WATCHMEN?” @The Music Authority LIVE STREAM Show & Podcast...recorded and on Mixcloud, Player FM, Stitcher, Tune In, Podcast Addict, Cast Box, Radio Public, and Pocket Cast, APPLE iTunes, AND Google Play Music! AND NOW ON MORNINGS IN CANADA! https://s1.citrus3.com:2000/public/HCRRadio Hamilton Co-Op Radio! Follow the show on TWITTER JimPrell@TMusicAuthority! Are you listening? June 5, 2020, Friday, verse two…Chris von Sneidern - DoctorTamaralee Shutt with Orbis Max - 86 Don't Let It Slip Away [Screwballs and Curveballs](Ice Cream Man Power Pop and More)The Gamma Goochies - Love-Itis [Never Learned To Dance]Dom Clark Trio - 14 Old Soldiers [Screwballs and Curveballs](Ice Cream Man Power Pop and More)Brandi Ediss - 02 call me [free kittens]@Paul Limb - Rocking Horse Winners Final Race [Film Noir Dreams]Copper Thieves - 05 School [333 1-3]Montrose Avenue - Where Do I Stand@Vibeke - 04 Overdrive [Overdrive]Sweetness - The Big Other [IPO Vol 7]The Laissez Fairs - 01_High Horse [Empire Of Mars] (Rum Bar Records)Sloan Music - 03 Right To Roam [12]@The Red Button - Running Away [Now It's All This!](Jem Records)Chris Rafferty - 66 - Mermaid [Songs We Learned In Sunday School] (Ice Cream Man Power Pop and More)Go Go's - The Whole World Lost Its Head [The Whole World Lost Its Head]@The Armoires - 03 Shame And Bourbon [Zibladone] (Big Stir Records)Bryan Howell and The Standalones - 02 Nothing To Give You (But Everything)Del Amitri – Roll To Me
Ross Enamait of Ross Training shares his thoughts on why training should be fun. Episode 1013: Just Because by Ross Enamait of Ross Training on Finding The Right Workout Routine & Exercise Variability Founded by Ross Enamait, RossTraining.com is dedicated to excellence and innovations in high performance conditioning, strength, and athletic development. His goal with the site is to provide a content-rich resource to assist with your development. As a long time trainer and boxing coach, Ross has dedicated his life to the development and improvement of athletes. He has been in business for over 15 years and has helped numerous athletes succeed at the world class level. It is his career and obsession. The original post is located here: http://rosstraining.com/blog/2009/02/19/just-because/ Please Rate & Review the Show! Visit Me Online at OLDPodcast.com and in The O.L.D. Facebook Group If you're looking for dental coverage made easy, visit Spiritdental.com/OHD to gain a little peace of mind and get a quote in about 60 seconds. --- Support this podcast: https://anchor.fm/optimal-health-daily/support
Click here for the feeder sound II OPEN CALL voting poll, available between 12th of May – 12th of June: www.feeder.ro/2020/05/09/vote-feeder-sound-open-call/ WINNERS announcement - 15th of June --- Marec - Intricate Set description: "Intricate" Slow start with a bit of deep grooves all the way down to the dark space. The journey into unknown is guided by the hypnotising sounds. Dreamy, broad and spaced-out vibes create easy listening. About Marec Artist biography: With a passion for music that began on the dance floor, Marec's transition to DJ has seen him hold down a residency for London and Georgia's Just Because and become a regular at the likes of Point, Keep On Going, Sandbox Music, Hoxton FM, Breakfast Musik and the infamous east end boat parties. His hypnotic blend of dubby, groove based minimal house has been heard at east London's most popular party spots; the Lion & Lamb, The Yard, Bar 512, Star Lane, Grow Hackney and fabrics room 1 for WetYourSelf! Outside of London, Marec has also gigged in Krakow, Wroclaw, Tbilisi, Batumi, Nantes and Kiev. Portfolio link: @marekjacek | https://www.facebook.com/marecmusic/ Current city: London, UK
This week Danny jumps into The Green Book and Can You Ever Forgive Me while Sean looks into Mayo Chiki! and Just Because! Plus news with Tropic Thunder news, Universal Pictures Boycott and angry people angry with PlayStation 5.
What’s Good? JUAN ALMOST DIED FOR REALS HIS WHOLE HAND HAD TO BE REATTACHED IN THE ER IDK WHY WE’RE EVEN RECORDING THIS EPISODE!! News Sword Art Online: Alicization - War of Underworld has been postponed to July 2020. How Not to Summon a Demon Lord is receiving a second season. Cells at Work! Code Black will get an anime in January of 2021. Demon Slayer Movie: Infinity Train will release on October 16th. Animator Hatsumida Shiyo has said many studios have stopped recording for new anime episodes and most anime scheduled for June will likely be delayed. Spring Anime 2020 Preview Crunchyroll Ascendance of a Bookworm- Ajia-Do (How Not to Summon a Demon Lord, Izetta: The Last Witch) My Life as a Villainess- Silver Link. (Kokoro Connect, Non Non Biyori) Sing “Yesterday” for Me- Doga Kobo (Plastic Memories, Gabriel DropOut) The 8th Son? Are You Kidding Me?- SynergySP (Metal Fight Bayblade, Major S4-6 ), Shin-Ei Animation (Sweetness and Lightning, Teasing Master Takagi-san) Tower of God- Telecom Animation Film (Orange, All Out!!) Digimon Adventure 2020- Toei Animation (One Piece, Dragon Ball Z) The House Spirit Tatami-Chan- Zero-G (Tsugumomo, Grand Blue!) Shadowverse- Zexcs (Say “I Love You”., Diabolik Lovers) Princess Connect! Re: Dive- CygamesPicture (Manaria Friends, Blade Runner: Black Out 2022) Woodpecker Detective’s Office- LIDENFILMS (Love and Lies, She and Her Cat: Everything Flows) Funimation Gal & Dino- Kamikaze Douga (Pop Team Epic!, Jojo’s Bizarre Adventure), Space Neko Company (Apartment!, Oshiruko) Wave, Listen to Me!- Sunrise (Code Geass, Daily Lives of High School Boys) Listeners- MAPPA (Dororo, Yuri!!! on Ice) Arte- Seven Arcs (White Album, Dog Days) Bungo and Alchemist -Gears of Judgement- -OLM (Pokemon, A Letter to Momo) Kakushigoto- Ajia-Do Tamayomi- Studio A-CAT (Frame Arms Girl, Pastel Life) Sakura Wars the Animation- SANZIGEN (Black Rock Shooter, The Heroic Legend of Arslan) Gleipnir- Pine Jam (Gamers! Just Because!) Sachibato! President, It’s Time for Battle!- C2C (Hitoribocci no Marumaru Seikatsu, WorldEnd: What do you do at the end of the world? Are you busy? Will you save us?) The Millionaire Detective - Balance: Unlimited- CloverWorks (The Promised Neverland, Rascal Does Not Dream of Bunny Girl Senpai) APPARE-RANMAN- P.A. Works (Shirobako, Angel Beats!) Shironeko Project ZERO Chronicle - Project No.9 (High School Prodigies Have It Easy Even in Another World!, Didn’t I Say to Make My Abilities Average in the Next Life?!) Diary of Our Days at the Breakwater- Doga Kobo Hidive Future Folktales- Toei Animation Our intro artist! Soundcloud: https://soundcloud.com/tomnasr Instagram: @tom_nasr Youtube: https://www.youtube.com/user/SuperArmhair Contact Us: Facebook: https://www.facebook.com/instantramenpodcast/ Twitter: https://twitter.com/InstantRamenPod Instagram: http://instagram.com/instantramenpodcast E-mail: instantramenpodcast@gmail.com Twitch: twitch.tv/krispother Blog: https://instantramenpodcast.blogspot.com/
Episode seventy-six of A History of Rock Music in Five Hundred Songs looks at "Stagger Lee" by Lloyd Price, and how a barroom fight 125 years ago led to a song performed by everyone from Ma Rainey to Neil Diamond. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "That Crazy Feeling" by Kenny Rogers. I have also beeped out some expletives in the song excerpts this week, so as not to be censored by some podcast aggregators, and so I've uploaded an unbeeped version for backers. 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/ ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. The bulk of the information in this episode came from Stagolee Shot Billy, by Cecil Brown, the person who finally identified Lee Shelton as the subject of the song. I also got some information from Get Your Ass in the Water and Swim Like Me: African-American Narrative Poetry from the Oral Tradition by Bruce Jackson, Unprepared to Die by Paul Slade, and Yo' Mama!: New Raps, Toasts, Dozens, Jokes and Children's Rhymes from Urban Black America edited by Onwuchekwa Jemie. Lloyd Price has written a few books. His autobiography is out of print and goes for silly money (and don't buy the "Kindle edition" at that link, because it's just the sheet music to the song, which Amazon have mislabelled) but he's also written a book of essays with his thoughts on race, some of which shed light on his work. The Lloyd Price songs here can be found on The Complete Singles As & Bs 1952-62 . And you can get the Snatch and the Poontangs album on a twofer with Johnny Otis' less explicit album Cold Shot. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start today's episode, a brief note. Firstly, this episode contains a description of a murder, so if you're squeamish about that sort of thing, you may want to skip it. Secondly, some of the material I'm dealing with in this episode is difficult for me to deal with in a podcast, for a variety of reasons. This episode will look at a song whose history is strongly entwined both with American racism and with black underworld culture. The source material I've used for this therefore contains several things that for different reasons are difficult for me to say on here. There is frequent use of a particular racial slur which it is not okay under any circumstances for me as a white man to say; there are transcripts of oral history which are transcribed in rather patronising attempts at replicating African-American Vernacular English, which even were those transcripts themselves acceptable would sound mocking coming out of my English-accented mouth; and there is frequent use of sexual profanity, which I personally have no problem with at all, but would get this podcast an explicit rating on several of the big podcast platforms. There is simply no way to tell this story while avoiding all of those things, so I've come up with the best compromise I can. I will not use, even in quotes, that slur. I will minimise the use of transcripts, but when I have to use them, I will change them from being phonetic transcripts of AAVE into being standard written English, and I will include the swearing where it comes in the recordings I want to use but will beep it out of the version that goes up on the main podcast feed. I'll make an unexpurgated version available for my Patreon backers, and I'll put the unbleeped recordings on Mixcloud. The story we're going to tell goes back to Christmas Day 1895, but we're going to start our story in the mid 1950s, with Lloyd Price. [Excerpt: Lloyd Price, “Stagger Lee”] You may remember us looking at Lloyd Price way back in episode twelve, from Christmas 2018, but if you don't, Price was a teenager in 1952, when he wandered into Cosimo Matassa's studio in New Orleans, at the invitation of his acquaintance Dave Bartholomew, who had produced, co-written, and arranged most of Fats Domino's biggest hits. Price had a song, "Lawdy Miss Clawdy", which was loosely based around the same basic melody as Domino's earlier hit "The Fat Man", and they recorded it with Bartholomew producing, Domino on piano, and the great Earl Palmer on drums: [Excerpt: Lloyd Price, "Lawdy Miss Clawdy"] That was one of the first R&B records put out on Specialty Records, the label that would later bring Little Richard, Larry Williams, Sam Cooke and others to prominence, and it went to number one on the R&B charts. Price had a couple more big R&B hits, but then he got drafted, and when he got back the musical landscape had changed enough that he had no hits for several years. But then both Elvis Presley and Little Richard cut cover versions of "Lawdy Miss Clawdy", and that seemed to bring Price enough extra attention that in 1957 he got a couple of songs into the lower reaches of the Hot One Hundred, and one song, "Just Because" went to number three on the R&B charts: [Excerpt: Lloyd Price, "Just Because"] But it wasn't until 1958 that Price had what would become his biggest hit, a song that would kickstart his career, and which had its roots in a barroom brawl in St. Louis on Christmas Day 1895: [Excerpt: Lloyd Price, "Stagger Lee"] The Lee Line was a line of steamboats that went up and down the Mississippi, run by the Lee family. Their line was notorious, even by Mississippi riverboat standards, for paying its staff badly, but also for being friendly to prostitution and gambling. This meant that some people, at least, enjoyed working on the ships despite the low pay. There is a song, whose lyrics were quoted in an article from 1939, but which seems to have been much older, whose lyrics went (I've changed these into standard English, as I explained at the start): Reason I like the Lee Line trade Sleep all night with the chambermaid She gimme some pie, and she gimme some cake And I give her all the money that I ever make The Lee Line was one of the two preferred steamboat lines to work on for that reason, and it ended up being mentioned in quite a few songs, like this early version of the song that's better known as "Alabamy Bound", but was here called "Don't You Leave Me Here": [Excerpt: Little Harvey Hull and Long Cleve Reed, "Don't You Leave Me Here"] The line, "If the boat don't sink and the Stack don't drown" refers to one of the boats on the Lee Line, the Stack Lee, a boat that started service in 1902. But the boat was named, as many of the Lee Line ships were, after a member of the Lee family, in this case one Stack Lee, who was the captain in the 1880s and early 90s of a ship named after his father, James Lee, the founder of the company. In 1948 the scholar Shields McIlwayne claimed that the captain, and later the boat, were popular enough among parts of the black community that there were "more colored kids named Stack Lee than there were sinners in hell". But it was probably the boats' reputation for prostitution that led to a thirty-year-old pimp in St. Louis named Lee Shelton taking on the name "Stack Lee", at some time before Christmas Day 1895. On that Christmas Day, a man named Bill Lyons entered the Bill Curtis Saloon. Before he entered the saloon, he stopped to ask his friend to give him a knife, because the saloon was the roughest in the whole city, and he didn't want any trouble. Bill Lyons was known as "Billy the Bully", but bully didn't quite, or didn't only, mean what it means today. A "bully", in that time and place, was a term that encompassed both being a pimp and being a bagman for a political party. There was far more overlap in the late nineteenth and early twentieth centuries between politics and organised crime than many now realise, and the way things normally operated in many areas was that there would be a big man in organised crime whose job it would be to raise money for the party, get people out to vote, and tell them which way to vote. Lyons was not a popular man, but he was an influential man, and he was part of a rich family -- one of the richest black families in St. Louis. He was, like his family, very involved with the Republican Party. Almost all black people in the US were Republicans at that time, as it was only thirty years since the end of the Civil War, when the Republican President Lincoln had been credited with freeing black people from slavery, and the Bridgewater Saloon, owned by Lyons' rich brother-in-law Henry Bridgewater, was often used as a meeting place for local Republicans. Lyons had just ordered a drink when Lee Shelton walked into the bar. Shelton was a pimp, and seems to have made a lot of money from it. Shelton was also a Democrat, which in this time and place meant that he was essentially a member of a rival gang. [Excerpt: Duke Ellington, "Stack-A-Lee Blues"] Shelton was very big in the local Democratic party, and from what we can tell was far more popular among the black community than Lyons was. While the Democrats were still the less popular of the two major parties among black people in the area, some were starting to feel like the Republicans talked a good game but were doing very little to actually help black people, and were considering taking their votes elsewhere. He was also a pimp who seems to have had a better reputation than most among the sex workers who worked for him, though like almost everything in this story it's difficult to know for certain more than a hundred and twenty years later. When he walked into the bar, he was wearing mirror-toed shoes, a velvet waistcoat, an embroidered shirt, and gold rings, and carrying an ebony cane with a gold top. He had a slightly crossed left eye, and scars on his face. And he was wearing a white Stetson. Lee asked the crowd, "Who's treating?" and they pointed to Lyons. There was allegedly some bad blood between Lyons and Shelton, as Lyons' step-brother had murdered Shelton's friend a couple of years earlier, in the Bridgewater Saloon. But nonetheless, the two men were, according to the bartenders working there, who had known both men for decades, good friends, and they were apparently drinking and laughing together for a while, until they started talking about politics. They started slapping at each other's hats, apparently playfully. Then Shelton grabbed Lyons' hat and broke the rim, so Lyons then snatched Shelton's hat off his head. Shelton asked for his hat back, and Lyons said he wanted six bits -- seventy-five cents -- for a new hat. Shelton replied that you could buy a box of those hats for six bits, and he wasn't going to give Lyons any money. Lyons refused to hand the hat back until Shelton gave him the money, and Shelton pulled out his gun, and told Lyons to give him the hat. Lyons refused, and Shelton hit him on the head with the gun. He then threatened to kill Lyons if he didn't hand the hat over. Lyons pulled out the knife his friend had given him, and said "You cock-eyed son of a bitch, I'm going to *make* you kill me" and came at Shelton, who shot Lyons. Lyons staggered and clutched on to the bar, and dropped the hat. Shelton addressed Lyons using a word I am not going to say, and said "I told you to give me my hat", picked it up, and walked out. Lyons died of his wounds a few hours later. [Excerpt: Fred Waring's Pennsylvanians, "Stack O' Lee Blues"] Shelton was arrested, and let go on four thousand dollars bail -- that's something like a hundred and twenty thousand in today's money, to give you some idea, though by the time we go that far back comparisons of the value of money become fairly meaningless. Shelton hired himself the best possible lawyer -- a man named Nat Dryden, who was an alcoholic and opium addict, but was also considered a brilliant trial lawyer. Dryden had been the first lawyer in the whole of Missouri to be able to get a conviction for a white man murdering a black man. Shelton was still at risk, though, simply because of the power of Henry Bridgewater in local politics -- a mob of hundreds of people swamped the inquest trying to get to Shelton, and the police had to draw their weapons before they would disperse. But something happened between Shelton's arrest and the trial that meant that Bridgewater's political power waned somewhat. Shelton was arraigned by Judge David Murphy, who was regarded by most black people in the city as on their side, primarily because he was so against police brutality that when a black man shot a policeman, claiming self defence because the policeman was beating him up at the time, Murphy let the man off. Not only that, when a mob of policemen attacked the defendant outside the court in retribution, Murphy had them jailed. This made him popular among black people, but less so among whites. [Excerpt: Frank Westphal and his Orchestra, "Stack O'Lee Blues"] The 1896 Republican National Convention was held in St. Louis, and one of the reasons it was chosen was that the white restaurants had promised the party that if they held the convention there, they would allow black people into the restaurants, so the black caucus within the party approved of the idea. But when the convention actually happened, the restaurants changed their minds, and the party did nothing. This infuriated many black delegates to the convention, who had seen for years how the system of backhanders and patronage on which American politics ran never got so far as to give anything to black people, who were expected just to vote for the Republicans. James Milton Turner, one of the leaders of the radical faction of the Republicans, and the first ever black US ambassador, who was a Missouri local and one of the most influential black politicians in the state, loudly denounced the Republican party for the way it was treating black voters. Shortly afterwards, the party had its local convention. Judge Murphy was coming up for reelection, and the black delegates voted for him to be the Republican nominee again. The white delegates, on the other hand, voted against him. This was the last straw. In 1896, ninety percent of black voters in Missouri voted Democrat, for the first time. Shelton's faction was now in the ascendant. Because Murphy wasn't reselected, Shelton's trial wasn't held by him, but Nat Dryden did an excellent job in front of the new judge, arguing that Shelton had been acting in self-defence, because Lyons had pulled out a knife. There was a hung jury, and it went to a retrial. Sadly for Shelton, though, Dryden wasn't going to be representing him in the second trial. Dryden had hidden his alcoholism from his wife, and she had offered him a glass of sherry. That had triggered a relapse, he'd gone on a binge, and died. At his next trial, in late 1897, Shelton was convicted, and sentenced to twenty-five years in prison -- presumably the influence of his political friends stopped him from getting the death penalty, just as it got him paroled twelve years later. Two years after that, though, Shelton was arrested again, for assault and robbery, and this time he died in prison. But even before his trial -- just before Dryden's death, in fact -- a song called "Stack-A-Lee" was mentioned in the papers as being played by a ragtime pianist in Kansas City. The story gets a bit hazy here, but we know that Shelton was friends with the ragtime pianist Tom Turpin. Ragtime had become popular in the US as a result of Scott Joplin's performance at the 1893 Chicago World's Fair -- the same fair, incidentally, that introduced the belly dancers known as "Little Egypt" who we talked about in the episode on the Coasters a few weeks back. But a year before that, Turpin, who was a friend of Joplin's, had written "Harlem Rag", which was published in 1897, and became the first ragtime tune written by a black man to be published: [Excerpt: Ragtime Dorian Henry, "Harlem Rag"] Turpin was another big man in St. Louis politics, and he was one of those who signed petitions for Shelton's release. While we can't know for sure, it seems likely that the earliest, ragtime, versions of the "Stagger Lee" song were written by Turpin. It's been suggested that he based the song on "Bully of the Town", a popular song written two years earlier, and itself very loosely based on a real murder case from New Orleans. That song was popularised by May Irwin, in a play which is also notable for having a love scene filmed by Edison in 1897, making it possibly the first ever love scene to be filmed. Irwin recorded her version in 1909, but she uses a racial slur, over and over again, which I am not going to allow on this podcast, so here's a 1920s version by Gid Tanner and his Skillet Lickers: [Excerpt: Gid Tanner and his Skillet Lickers, "Bully of the Town"] That song, in its original versions, is about someone who goes out and kills a bully -- in the same sense that Billy Lyons was a bully -- and so becomes the biggest bully himself. It's easy to see how Turpin could take that basic framework and add in some details about how his friend had done the same thing, and turn it into a new song. By 1910, the song about Stack Lee had spread all across the country. The folklorist and song collector John Lomax collected a version that year that went "Twas a Christmas morning/The hour was about ten/When Stagalee shot Billy Lyons/And landed in the Jefferson pen/O lordy, poor Stagalee". In 1924, two white songwriters copyrighted a version of it, called "Stack O'Lee Blues", and we've heard instrumental versions of that, from 1923 and 24, earlier in this episode -- that's what those instrumental breaks were. Lovie Austin recorded a song called "Skeg-A-Lee Blues" in 1924, but that bears little lyrical resemblance to the Stagger Lee we know about: [Excerpt: Ford & Ford, "Skeg-A-Lee Blues"] The first vocal recording of the song that we would now recognise as being Stagger Lee was by Ma Rainey, in 1925. In her version, the melody and some of the words come from "Frankie and Johnny", another popular song about a real-life murder in St. Louis in the 1890s: [Excerpt: Ma Rainey, "Stack O'Lee Blues"] According to Wikipedia, Louis Armstrong is playing cornet on that song. It doesn't sound like him to me, and I can't find any other evidence for that except other sites which get their information from Wikipedia. Sites I trust more say it was Joe Smith, and they also say that Coleman Hawkins and Fletcher Henderson are on the track. By 1927, the song was being recorded in many different variants. Long Cleve Reed and Little Harvey Hull recorded a version that clearly owes something to "the Bully of the Town": [Excerpt: Long Cleve Reed and Little Henry Hull -- Down Home Boys, "Original Stack O'Lee Blues"] And in possibly the most famous early version, Mississippi John Hurt asks why the police can't arrest that bad man Stagger Lee: [Excerpt: Mississippi John Hurt, "Stack O'Lee (1928 version)"] By this point, all connection with the real Lee Shelton had been lost, and it wouldn't be until the early nineties that the writer Cecil Brown would finally identify Shelton as the subject of the song. During the thirties and forties, the song came to be recorded by all sorts of musicians, almost all of them either folk musicians like Woody Guthrie, blues musicians like Ivory Joe Hunter, or field recordings, like the singer known as "Bama" who recorded this for the Lomaxes: [Excerpt: Bama, "Stackerlee"] None of these recorded versions was a major hit, but the song became hugely well known, particularly among black musicians around Louisiana. It was a song in everyone's repertoire, and every version of the song followed the same basic structure to start with -- Stagger Lee told Billy Lyons he was going to kill him over a hat that had been lost in a game of craps, Billy begged for his life, saying he had a wife and children, and Stagger Lee killed him anyway. Often the bullet would pass right through Billy and break the bartender's glass. From there, the story might change -- in some versions, Lee would go free -- sometimes because they couldn't catch him and sometimes because crowds of women implored the judge to let him off. In other versions, he would be locked up in jail, and in yet other versions he would be sentenced to death. Sometimes he would survive execution through magical powers, sometimes he would be killed, and crowds of women would mourn him, all dressed in red. In the versions where he was killed, he would often descend to Hell, where he would usurp the Devil, because the Devil wasn't as bad as Stagger Lee. There were so many versions of this song that the New Orleans pianist Doctor John was, according to some things I've read, able to play "Stagger Lee" for three hours straight without repeating a verse. Very few of these recordings had any commercial success, but one that did was a 1950 New Orleans version of the song, performed by "Archibald and His Orchestra": [Excerpt: Archibald and His Orchestra, "Stack A'Lee"] That version of the song was the longest ever recorded up to that point, and took up both sides of a seventy-eight record. It was released on Imperial Records, the same label that Fats Domino was on, in 1950, and was recorded at Cosimo Matassa's studio. It went top ten on the Billboard R&B charts, and was Archibald's only hit. That's the version that, eight years later, inspired Lloyd Price to record this: [Excerpt: Lloyd Price, "Stagger Lee"] That became a massive, massive hit. It went to number one on both the Hot One Hundred and the R&B charts -- which incidentally makes Lloyd Price the earliest solo artist to have a number one hit on the Hot One Hundred and still be alive today. Price's career was revitalised -- and "Stagger Lee" was brought properly into the mainstream of American culture. Over the next few decades, the song -- in versions usually based on Price's -- became a standard among white rock musicians. Indeed, it seems to have been recorded by some of the whitest people in music history, like Huey Lewis and the News: [Excerpt: Huey Lewis and the News, "Stagger Lee"] Mike Love of the Beach Boys: [Excerpt: Mike Love, "Stagger Lee"] and Neil Diamond: [Excerpt: Neil Diamond, “Stagger Lee”] But while the song had hit the white mainstream, the myth of Stagger Lee had an altogether different power among the black community. You see, up to this point all we've been able to look at are versions of the song that have seen commercial release, and they all represent what was acceptable to be sold in shops at the time. But as you may have guessed from the stuff about the Devil I mentioned earlier, Stagger Lee had become a folkloric figure of tremendous importance among many black Americans. He represented the bad man who would never respect any authority -- a trickster figure, but one who was violent as well. He represented the angry black man, but a sort of righteous anger, even if that anger was chaotic. Any black man who was not respected by white society would be thought of as a Stagger Lee figure, at least by some -- I've seen the label applied to everyone from O.J. Simpson to Malcolm X. Bobby Seale, the leader of the Black Panther Party, named his son Malik Nkrumah Stagolee Seale, and was often known to recite a version of "Stagger Lee" at parties. In an interview, later, Seale said "Now I transformed Stagolee, more or less in my own mind, into brothers standing on the block and all of the illegitimate activity. In effect, they were the lumpen proletariat in a high-tech social order, different from how 'lumpen' had been described historically. My point is this; that Malcolm X at one time was an illegitimate hustler. Later in life, Malcolm X grows to have the most profound political consciousness as far as I'm concerned. To me, this brother was really getting ready to move. So symbolically, at one time he was Stagolee." The version of Stagger Lee that Seale knew is the one that came from something called "toasts". Toasting is a form of informal storytelling in black American culture, usually rhyming, and usually using language and talking about subjects that would often be considered obscene. Toasting is now generally considered one of the precursors of rapping, and the style and subject matter are often very similar. Many of the stories told in toasts are very well known, including the story of the Signifying Monkey (which has been told in bowdlerised forms in many blues songs, including Chuck Berry's "Jo Jo Gunne"), and the story of Shine, the black cook on the Titanic, who swims for safety and refuses to help the Captain's daughter even after she offers sex in return for his help. Shine outswims the sharks who try to eat him, and arrives back on land before anyone there even knew the ship was sinking. Shine is, of course, another Stagger Lee style figure. These toasts remained largely unknown outside of the less respectable parts of the black community, until the scholar Bruce Jackson published his seminal book "Get Your Ass in the Water and Swim Like Me: African-American Poetry from Oral Tradition", whose title is taken from a version of the story of Shine and the Titanic. Jackson's field recordings, mostly recorded in prisons, have more recently been released on CD, though without the names of the performers attached. Here's the version of Stagger Lee he collected -- there will be several beeps in this, and the next few recordings, if you're listening to the regular version of this podcast: [Excerpt: Unknown field recording, "Stagger Lee"] After Jackson's book, but well before the recordings came out, Johnny Otis preserved many of these toasts in musical form on his Snatch and the Poontangs album, including "The Great Stack-A-Lee", which clearly has the same sources as the version Jackson recorded: [Excerpt: Snatch and the Poontangs, "The Great Stack-A-Lee"] That version was used as the basis for the most well-known recentish version of the song, the 1995 version by Nick Cave and the Bad Seeds: [Excerpt: Nick Cave and the Bad Seeds, "Stagger Lee"] Cave has later said in interviews that they improvised the music and used the lyrics from Jackson's book, but the melody is very, very, close to the Johnny Otis version. And there's more evidence of Cave basing his version on the Johnny Otis track. There's this line: [Excerpt: Nick Cave and the Bad Seeds, "Stagger Lee"] That's not in the versions of the toast in Jackson's book, but it *is* in a different song on the Snatch and the Poontangs album, "Two-Time Slim": [Excerpt: Snatch and the Poontangs, "Two-Time Slim"] This is the Stagger Lee of legend, the Stagger Lee who is the narrator of James Baldwin's great poem "Stagolee Wonders", a damning indictment of racist society: [Excerpt: James Baldwin, reading an excerpt from "Stagolee Wonders" on "Poems for a Listener",] Baldwin's view of Stagger Lee was, to quote from the interview from which that reading is also excerpted, "a black folk hero, a singer essentially, who actually truly comes out of the auction block, by way of the cotton field, into the beginning of the black church. And Stagger Lee's roots are there, and Stagger Lee's often been a preacher. He's one who conveys the real history.” It's a far cry from one pimp murdering another on Christmas Day 1895. And it's a mythos that almost everyone listening to Lloyd Price's hit version will have known nothing of. As a result of "Stagger Lee", Lloyd Price went on to have a successful career, scoring several more hits in 1959 and 1960, including the song for which he's now best known, "Personality": [Excerpt: Lloyd Price, "Personality"] Price also moved into other areas, including boxing promotion -- he was the person who got Don King, another figure who has often been compared to Stagger Lee, the chance to work with Mohammed Ali, and he later helped King promote the famous "Rumble in the Jungle" fight. Lloyd Price is eighty-seven years old, now, and released his most recent album in 2016. He still tours -- indeed, his most recent live show was earlier this month, just before the current coronavirus outbreak meant live shows had to stop. He opened his show, as he always does, with "Stagger Lee", and I hope that when we start having live shows again, he will continue to do so for a long, long time.
Episode seventy-six of A History of Rock Music in Five Hundred Songs looks at “Stagger Lee” by Lloyd Price, and how a barroom fight 125 years ago led to a song performed by everyone from Ma Rainey to Neil Diamond. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “That Crazy Feeling” by Kenny Rogers. I have also beeped out some expletives in the song excerpts this week, so as not to be censored by some podcast aggregators, and so I’ve uploaded an unbeeped version for backers. 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/ —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. The bulk of the information in this episode came from Stagolee Shot Billy, by Cecil Brown, the person who finally identified Lee Shelton as the subject of the song. I also got some information from Get Your Ass in the Water and Swim Like Me: African-American Narrative Poetry from the Oral Tradition by Bruce Jackson, Unprepared to Die by Paul Slade, and Yo’ Mama!: New Raps, Toasts, Dozens, Jokes and Children’s Rhymes from Urban Black America edited by Onwuchekwa Jemie. Lloyd Price has written a few books. His autobiography is out of print and goes for silly money (and don’t buy the “Kindle edition” at that link, because it’s just the sheet music to the song, which Amazon have mislabelled) but he’s also written a book of essays with his thoughts on race, some of which shed light on his work. The Lloyd Price songs here can be found on The Complete Singles As & Bs 1952-62 . And you can get the Snatch and the Poontangs album on a twofer with Johnny Otis’ less explicit album Cold Shot. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start today’s episode, a brief note. Firstly, this episode contains a description of a murder, so if you’re squeamish about that sort of thing, you may want to skip it. Secondly, some of the material I’m dealing with in this episode is difficult for me to deal with in a podcast, for a variety of reasons. This episode will look at a song whose history is strongly entwined both with American racism and with black underworld culture. The source material I’ve used for this therefore contains several things that for different reasons are difficult for me to say on here. There is frequent use of a particular racial slur which it is not okay under any circumstances for me as a white man to say; there are transcripts of oral history which are transcribed in rather patronising attempts at replicating African-American Vernacular English, which even were those transcripts themselves acceptable would sound mocking coming out of my English-accented mouth; and there is frequent use of sexual profanity, which I personally have no problem with at all, but would get this podcast an explicit rating on several of the big podcast platforms. There is simply no way to tell this story while avoiding all of those things, so I’ve come up with the best compromise I can. I will not use, even in quotes, that slur. I will minimise the use of transcripts, but when I have to use them, I will change them from being phonetic transcripts of AAVE into being standard written English, and I will include the swearing where it comes in the recordings I want to use but will beep it out of the version that goes up on the main podcast feed. I’ll make an unexpurgated version available for my Patreon backers, and I’ll put the unbleeped recordings on Mixcloud. The story we’re going to tell goes back to Christmas Day 1895, but we’re going to start our story in the mid 1950s, with Lloyd Price. [Excerpt: Lloyd Price, “Stagger Lee”] You may remember us looking at Lloyd Price way back in episode twelve, from Christmas 2018, but if you don’t, Price was a teenager in 1952, when he wandered into Cosimo Matassa’s studio in New Orleans, at the invitation of his acquaintance Dave Bartholomew, who had produced, co-written, and arranged most of Fats Domino’s biggest hits. Price had a song, “Lawdy Miss Clawdy”, which was loosely based around the same basic melody as Domino’s earlier hit “The Fat Man”, and they recorded it with Bartholomew producing, Domino on piano, and the great Earl Palmer on drums: [Excerpt: Lloyd Price, “Lawdy Miss Clawdy”] That was one of the first R&B records put out on Specialty Records, the label that would later bring Little Richard, Larry Williams, Sam Cooke and others to prominence, and it went to number one on the R&B charts. Price had a couple more big R&B hits, but then he got drafted, and when he got back the musical landscape had changed enough that he had no hits for several years. But then both Elvis Presley and Little Richard cut cover versions of “Lawdy Miss Clawdy”, and that seemed to bring Price enough extra attention that in 1957 he got a couple of songs into the lower reaches of the Hot One Hundred, and one song, “Just Because” went to number three on the R&B charts: [Excerpt: Lloyd Price, “Just Because”] But it wasn’t until 1958 that Price had what would become his biggest hit, a song that would kickstart his career, and which had its roots in a barroom brawl in St. Louis on Christmas Day 1895: [Excerpt: Lloyd Price, “Stagger Lee”] The Lee Line was a line of steamboats that went up and down the Mississippi, run by the Lee family. Their line was notorious, even by Mississippi riverboat standards, for paying its staff badly, but also for being friendly to prostitution and gambling. This meant that some people, at least, enjoyed working on the ships despite the low pay. There is a song, whose lyrics were quoted in an article from 1939, but which seems to have been much older, whose lyrics went (I’ve changed these into standard English, as I explained at the start): Reason I like the Lee Line trade Sleep all night with the chambermaid She gimme some pie, and she gimme some cake And I give her all the money that I ever make The Lee Line was one of the two preferred steamboat lines to work on for that reason, and it ended up being mentioned in quite a few songs, like this early version of the song that’s better known as “Alabamy Bound”, but was here called “Don’t You Leave Me Here”: [Excerpt: Little Harvey Hull and Long Cleve Reed, “Don’t You Leave Me Here”] The line, “If the boat don’t sink and the Stack don’t drown” refers to one of the boats on the Lee Line, the Stack Lee, a boat that started service in 1902. But the boat was named, as many of the Lee Line ships were, after a member of the Lee family, in this case one Stack Lee, who was the captain in the 1880s and early 90s of a ship named after his father, James Lee, the founder of the company. In 1948 the scholar Shields McIlwayne claimed that the captain, and later the boat, were popular enough among parts of the black community that there were “more colored kids named Stack Lee than there were sinners in hell”. But it was probably the boats’ reputation for prostitution that led to a thirty-year-old pimp in St. Louis named Lee Shelton taking on the name “Stack Lee”, at some time before Christmas Day 1895. On that Christmas Day, a man named Bill Lyons entered the Bill Curtis Saloon. Before he entered the saloon, he stopped to ask his friend to give him a knife, because the saloon was the roughest in the whole city, and he didn’t want any trouble. Bill Lyons was known as “Billy the Bully”, but bully didn’t quite, or didn’t only, mean what it means today. A “bully”, in that time and place, was a term that encompassed both being a pimp and being a bagman for a political party. There was far more overlap in the late nineteenth and early twentieth centuries between politics and organised crime than many now realise, and the way things normally operated in many areas was that there would be a big man in organised crime whose job it would be to raise money for the party, get people out to vote, and tell them which way to vote. Lyons was not a popular man, but he was an influential man, and he was part of a rich family — one of the richest black families in St. Louis. He was, like his family, very involved with the Republican Party. Almost all black people in the US were Republicans at that time, as it was only thirty years since the end of the Civil War, when the Republican President Lincoln had been credited with freeing black people from slavery, and the Bridgewater Saloon, owned by Lyons’ rich brother-in-law Henry Bridgewater, was often used as a meeting place for local Republicans. Lyons had just ordered a drink when Lee Shelton walked into the bar. Shelton was a pimp, and seems to have made a lot of money from it. Shelton was also a Democrat, which in this time and place meant that he was essentially a member of a rival gang. [Excerpt: Duke Ellington, “Stack-A-Lee Blues”] Shelton was very big in the local Democratic party, and from what we can tell was far more popular among the black community than Lyons was. While the Democrats were still the less popular of the two major parties among black people in the area, some were starting to feel like the Republicans talked a good game but were doing very little to actually help black people, and were considering taking their votes elsewhere. He was also a pimp who seems to have had a better reputation than most among the sex workers who worked for him, though like almost everything in this story it’s difficult to know for certain more than a hundred and twenty years later. When he walked into the bar, he was wearing mirror-toed shoes, a velvet waistcoat, an embroidered shirt, and gold rings, and carrying an ebony cane with a gold top. He had a slightly crossed left eye, and scars on his face. And he was wearing a white Stetson. Lee asked the crowd, “Who’s treating?” and they pointed to Lyons. There was allegedly some bad blood between Lyons and Shelton, as Lyons’ step-brother had murdered Shelton’s friend a couple of years earlier, in the Bridgewater Saloon. But nonetheless, the two men were, according to the bartenders working there, who had known both men for decades, good friends, and they were apparently drinking and laughing together for a while, until they started talking about politics. They started slapping at each other’s hats, apparently playfully. Then Shelton grabbed Lyons’ hat and broke the rim, so Lyons then snatched Shelton’s hat off his head. Shelton asked for his hat back, and Lyons said he wanted six bits — seventy-five cents — for a new hat. Shelton replied that you could buy a box of those hats for six bits, and he wasn’t going to give Lyons any money. Lyons refused to hand the hat back until Shelton gave him the money, and Shelton pulled out his gun, and told Lyons to give him the hat. Lyons refused, and Shelton hit him on the head with the gun. He then threatened to kill Lyons if he didn’t hand the hat over. Lyons pulled out the knife his friend had given him, and said “You cock-eyed son of a bitch, I’m going to *make* you kill me” and came at Shelton, who shot Lyons. Lyons staggered and clutched on to the bar, and dropped the hat. Shelton addressed Lyons using a word I am not going to say, and said “I told you to give me my hat”, picked it up, and walked out. Lyons died of his wounds a few hours later. [Excerpt: Fred Waring’s Pennsylvanians, “Stack O’ Lee Blues”] Shelton was arrested, and let go on four thousand dollars bail — that’s something like a hundred and twenty thousand in today’s money, to give you some idea, though by the time we go that far back comparisons of the value of money become fairly meaningless. Shelton hired himself the best possible lawyer — a man named Nat Dryden, who was an alcoholic and opium addict, but was also considered a brilliant trial lawyer. Dryden had been the first lawyer in the whole of Missouri to be able to get a conviction for a white man murdering a black man. Shelton was still at risk, though, simply because of the power of Henry Bridgewater in local politics — a mob of hundreds of people swamped the inquest trying to get to Shelton, and the police had to draw their weapons before they would disperse. But something happened between Shelton’s arrest and the trial that meant that Bridgewater’s political power waned somewhat. Shelton was arraigned by Judge David Murphy, who was regarded by most black people in the city as on their side, primarily because he was so against police brutality that when a black man shot a policeman, claiming self defence because the policeman was beating him up at the time, Murphy let the man off. Not only that, when a mob of policemen attacked the defendant outside the court in retribution, Murphy had them jailed. This made him popular among black people, but less so among whites. [Excerpt: Frank Westphal and his Orchestra, “Stack O’Lee Blues”] The 1896 Republican National Convention was held in St. Louis, and one of the reasons it was chosen was that the white restaurants had promised the party that if they held the convention there, they would allow black people into the restaurants, so the black caucus within the party approved of the idea. But when the convention actually happened, the restaurants changed their minds, and the party did nothing. This infuriated many black delegates to the convention, who had seen for years how the system of backhanders and patronage on which American politics ran never got so far as to give anything to black people, who were expected just to vote for the Republicans. James Milton Turner, one of the leaders of the radical faction of the Republicans, and the first ever black US ambassador, who was a Missouri local and one of the most influential black politicians in the state, loudly denounced the Republican party for the way it was treating black voters. Shortly afterwards, the party had its local convention. Judge Murphy was coming up for reelection, and the black delegates voted for him to be the Republican nominee again. The white delegates, on the other hand, voted against him. This was the last straw. In 1896, ninety percent of black voters in Missouri voted Democrat, for the first time. Shelton’s faction was now in the ascendant. Because Murphy wasn’t reselected, Shelton’s trial wasn’t held by him, but Nat Dryden did an excellent job in front of the new judge, arguing that Shelton had been acting in self-defence, because Lyons had pulled out a knife. There was a hung jury, and it went to a retrial. Sadly for Shelton, though, Dryden wasn’t going to be representing him in the second trial. Dryden had hidden his alcoholism from his wife, and she had offered him a glass of sherry. That had triggered a relapse, he’d gone on a binge, and died. At his next trial, in late 1897, Shelton was convicted, and sentenced to twenty-five years in prison — presumably the influence of his political friends stopped him from getting the death penalty, just as it got him paroled twelve years later. Two years after that, though, Shelton was arrested again, for assault and robbery, and this time he died in prison. But even before his trial — just before Dryden’s death, in fact — a song called “Stack-A-Lee” was mentioned in the papers as being played by a ragtime pianist in Kansas City. The story gets a bit hazy here, but we know that Shelton was friends with the ragtime pianist Tom Turpin. Ragtime had become popular in the US as a result of Scott Joplin’s performance at the 1893 Chicago World’s Fair — the same fair, incidentally, that introduced the belly dancers known as “Little Egypt” who we talked about in the episode on the Coasters a few weeks back. But a year before that, Turpin, who was a friend of Joplin’s, had written “Harlem Rag”, which was published in 1897, and became the first ragtime tune written by a black man to be published: [Excerpt: Ragtime Dorian Henry, “Harlem Rag”] Turpin was another big man in St. Louis politics, and he was one of those who signed petitions for Shelton’s release. While we can’t know for sure, it seems likely that the earliest, ragtime, versions of the “Stagger Lee” song were written by Turpin. It’s been suggested that he based the song on “Bully of the Town”, a popular song written two years earlier, and itself very loosely based on a real murder case from New Orleans. That song was popularised by May Irwin, in a play which is also notable for having a love scene filmed by Edison in 1897, making it possibly the first ever love scene to be filmed. Irwin recorded her version in 1909, but she uses a racial slur, over and over again, which I am not going to allow on this podcast, so here’s a 1920s version by Gid Tanner and his Skillet Lickers: [Excerpt: Gid Tanner and his Skillet Lickers, “Bully of the Town”] That song, in its original versions, is about someone who goes out and kills a bully — in the same sense that Billy Lyons was a bully — and so becomes the biggest bully himself. It’s easy to see how Turpin could take that basic framework and add in some details about how his friend had done the same thing, and turn it into a new song. By 1910, the song about Stack Lee had spread all across the country. The folklorist and song collector John Lomax collected a version that year that went “Twas a Christmas morning/The hour was about ten/When Stagalee shot Billy Lyons/And landed in the Jefferson pen/O lordy, poor Stagalee”. In 1924, two white songwriters copyrighted a version of it, called “Stack O’Lee Blues”, and we’ve heard instrumental versions of that, from 1923 and 24, earlier in this episode — that’s what those instrumental breaks were. Lovie Austin recorded a song called “Skeg-A-Lee Blues” in 1924, but that bears little lyrical resemblance to the Stagger Lee we know about: [Excerpt: Ford & Ford, “Skeg-A-Lee Blues”] The first vocal recording of the song that we would now recognise as being Stagger Lee was by Ma Rainey, in 1925. In her version, the melody and some of the words come from “Frankie and Johnny”, another popular song about a real-life murder in St. Louis in the 1890s: [Excerpt: Ma Rainey, “Stack O’Lee Blues”] According to Wikipedia, Louis Armstrong is playing cornet on that song. It doesn’t sound like him to me, and I can’t find any other evidence for that except other sites which get their information from Wikipedia. Sites I trust more say it was Joe Smith, and they also say that Coleman Hawkins and Fletcher Henderson are on the track. By 1927, the song was being recorded in many different variants. Long Cleve Reed and Little Harvey Hull recorded a version that clearly owes something to “the Bully of the Town”: [Excerpt: Long Cleve Reed and Little Henry Hull — Down Home Boys, “Original Stack O’Lee Blues”] And in possibly the most famous early version, Mississippi John Hurt asks why the police can’t arrest that bad man Stagger Lee: [Excerpt: Mississippi John Hurt, “Stack O’Lee (1928 version)”] By this point, all connection with the real Lee Shelton had been lost, and it wouldn’t be until the early nineties that the writer Cecil Brown would finally identify Shelton as the subject of the song. During the thirties and forties, the song came to be recorded by all sorts of musicians, almost all of them either folk musicians like Woody Guthrie, blues musicians like Ivory Joe Hunter, or field recordings, like the singer known as “Bama” who recorded this for the Lomaxes: [Excerpt: Bama, “Stackerlee”] None of these recorded versions was a major hit, but the song became hugely well known, particularly among black musicians around Louisiana. It was a song in everyone’s repertoire, and every version of the song followed the same basic structure to start with — Stagger Lee told Billy Lyons he was going to kill him over a hat that had been lost in a game of craps, Billy begged for his life, saying he had a wife and children, and Stagger Lee killed him anyway. Often the bullet would pass right through Billy and break the bartender’s glass. From there, the story might change — in some versions, Lee would go free — sometimes because they couldn’t catch him and sometimes because crowds of women implored the judge to let him off. In other versions, he would be locked up in jail, and in yet other versions he would be sentenced to death. Sometimes he would survive execution through magical powers, sometimes he would be killed, and crowds of women would mourn him, all dressed in red. In the versions where he was killed, he would often descend to Hell, where he would usurp the Devil, because the Devil wasn’t as bad as Stagger Lee. There were so many versions of this song that the New Orleans pianist Doctor John was, according to some things I’ve read, able to play “Stagger Lee” for three hours straight without repeating a verse. Very few of these recordings had any commercial success, but one that did was a 1950 New Orleans version of the song, performed by “Archibald and His Orchestra”: [Excerpt: Archibald and His Orchestra, “Stack A’Lee”] That version of the song was the longest ever recorded up to that point, and took up both sides of a seventy-eight record. It was released on Imperial Records, the same label that Fats Domino was on, in 1950, and was recorded at Cosimo Matassa’s studio. It went top ten on the Billboard R&B charts, and was Archibald’s only hit. That’s the version that, eight years later, inspired Lloyd Price to record this: [Excerpt: Lloyd Price, “Stagger Lee”] That became a massive, massive hit. It went to number one on both the Hot One Hundred and the R&B charts — which incidentally makes Lloyd Price the earliest solo artist to have a number one hit on the Hot One Hundred and still be alive today. Price’s career was revitalised — and “Stagger Lee” was brought properly into the mainstream of American culture. Over the next few decades, the song — in versions usually based on Price’s — became a standard among white rock musicians. Indeed, it seems to have been recorded by some of the whitest people in music history, like Huey Lewis and the News: [Excerpt: Huey Lewis and the News, “Stagger Lee”] Mike Love of the Beach Boys: [Excerpt: Mike Love, “Stagger Lee”] and Neil Diamond: [Excerpt: Neil Diamond, “Stagger Lee”] But while the song had hit the white mainstream, the myth of Stagger Lee had an altogether different power among the black community. You see, up to this point all we’ve been able to look at are versions of the song that have seen commercial release, and they all represent what was acceptable to be sold in shops at the time. But as you may have guessed from the stuff about the Devil I mentioned earlier, Stagger Lee had become a folkloric figure of tremendous importance among many black Americans. He represented the bad man who would never respect any authority — a trickster figure, but one who was violent as well. He represented the angry black man, but a sort of righteous anger, even if that anger was chaotic. Any black man who was not respected by white society would be thought of as a Stagger Lee figure, at least by some — I’ve seen the label applied to everyone from O.J. Simpson to Malcolm X. Bobby Seale, the leader of the Black Panther Party, named his son Malik Nkrumah Stagolee Seale, and was often known to recite a version of “Stagger Lee” at parties. In an interview, later, Seale said “Now I transformed Stagolee, more or less in my own mind, into brothers standing on the block and all of the illegitimate activity. In effect, they were the lumpen proletariat in a high-tech social order, different from how ‘lumpen’ had been described historically. My point is this; that Malcolm X at one time was an illegitimate hustler. Later in life, Malcolm X grows to have the most profound political consciousness as far as I’m concerned. To me, this brother was really getting ready to move. So symbolically, at one time he was Stagolee.” The version of Stagger Lee that Seale knew is the one that came from something called “toasts”. Toasting is a form of informal storytelling in black American culture, usually rhyming, and usually using language and talking about subjects that would often be considered obscene. Toasting is now generally considered one of the precursors of rapping, and the style and subject matter are often very similar. Many of the stories told in toasts are very well known, including the story of the Signifying Monkey (which has been told in bowdlerised forms in many blues songs, including Chuck Berry’s “Jo Jo Gunne”), and the story of Shine, the black cook on the Titanic, who swims for safety and refuses to help the Captain’s daughter even after she offers sex in return for his help. Shine outswims the sharks who try to eat him, and arrives back on land before anyone there even knew the ship was sinking. Shine is, of course, another Stagger Lee style figure. These toasts remained largely unknown outside of the less respectable parts of the black community, until the scholar Bruce Jackson published his seminal book “Get Your Ass in the Water and Swim Like Me: African-American Poetry from Oral Tradition”, whose title is taken from a version of the story of Shine and the Titanic. Jackson’s field recordings, mostly recorded in prisons, have more recently been released on CD, though without the names of the performers attached. Here’s the version of Stagger Lee he collected — there will be several beeps in this, and the next few recordings, if you’re listening to the regular version of this podcast: [Excerpt: Unknown field recording, “Stagger Lee”] After Jackson’s book, but well before the recordings came out, Johnny Otis preserved many of these toasts in musical form on his Snatch and the Poontangs album, including “The Great Stack-A-Lee”, which clearly has the same sources as the version Jackson recorded: [Excerpt: Snatch and the Poontangs, “The Great Stack-A-Lee”] That version was used as the basis for the most well-known recentish version of the song, the 1995 version by Nick Cave and the Bad Seeds: [Excerpt: Nick Cave and the Bad Seeds, “Stagger Lee”] Cave has later said in interviews that they improvised the music and used the lyrics from Jackson’s book, but the melody is very, very, close to the Johnny Otis version. And there’s more evidence of Cave basing his version on the Johnny Otis track. There’s this line: [Excerpt: Nick Cave and the Bad Seeds, “Stagger Lee”] That’s not in the versions of the toast in Jackson’s book, but it *is* in a different song on the Snatch and the Poontangs album, “Two-Time Slim”: [Excerpt: Snatch and the Poontangs, “Two-Time Slim”] This is the Stagger Lee of legend, the Stagger Lee who is the narrator of James Baldwin’s great poem “Stagolee Wonders”, a damning indictment of racist society: [Excerpt: James Baldwin, reading an excerpt from “Stagolee Wonders” on “Poems for a Listener”,] Baldwin’s view of Stagger Lee was, to quote from the interview from which that reading is also excerpted, “a black folk hero, a singer essentially, who actually truly comes out of the auction block, by way of the cotton field, into the beginning of the black church. And Stagger Lee’s roots are there, and Stagger Lee’s often been a preacher. He’s one who conveys the real history.” It’s a far cry from one pimp murdering another on Christmas Day 1895. And it’s a mythos that almost everyone listening to Lloyd Price’s hit version will have known nothing of. As a result of “Stagger Lee”, Lloyd Price went on to have a successful career, scoring several more hits in 1959 and 1960, including the song for which he’s now best known, “Personality”: [Excerpt: Lloyd Price, “Personality”] Price also moved into other areas, including boxing promotion — he was the person who got Don King, another figure who has often been compared to Stagger Lee, the chance to work with Mohammed Ali, and he later helped King promote the famous “Rumble in the Jungle” fight. Lloyd Price is eighty-seven years old, now, and released his most recent album in 2016. He still tours — indeed, his most recent live show was earlier this month, just before the current coronavirus outbreak meant live shows had to stop. He opened his show, as he always does, with “Stagger Lee”, and I hope that when we start having live shows again, he will continue to do so for a long, long time.
Episode seventy-six of A History of Rock Music in Five Hundred Songs looks at “Stagger Lee” by Lloyd Price, and how a barroom fight 125 years ago led to a song performed by everyone from Ma Rainey to Neil Diamond. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “That Crazy Feeling” by Kenny Rogers. I have also beeped out some expletives in the song excerpts this week, so as not to be censored by some podcast aggregators, and so I’ve uploaded an unbeeped version for backers. 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/ —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. The bulk of the information in this episode came from Stagolee Shot Billy, by Cecil Brown, the person who finally identified Lee Shelton as the subject of the song. I also got some information from Get Your Ass in the Water and Swim Like Me: African-American Narrative Poetry from the Oral Tradition by Bruce Jackson, Unprepared to Die by Paul Slade, and Yo’ Mama!: New Raps, Toasts, Dozens, Jokes and Children’s Rhymes from Urban Black America edited by Onwuchekwa Jemie. Lloyd Price has written a few books. His autobiography is out of print and goes for silly money (and don’t buy the “Kindle edition” at that link, because it’s just the sheet music to the song, which Amazon have mislabelled) but he’s also written a book of essays with his thoughts on race, some of which shed light on his work. The Lloyd Price songs here can be found on The Complete Singles As & Bs 1952-62 . And you can get the Snatch and the Poontangs album on a twofer with Johnny Otis’ less explicit album Cold Shot. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start today’s episode, a brief note. Firstly, this episode contains a description of a murder, so if you’re squeamish about that sort of thing, you may want to skip it. Secondly, some of the material I’m dealing with in this episode is difficult for me to deal with in a podcast, for a variety of reasons. This episode will look at a song whose history is strongly entwined both with American racism and with black underworld culture. The source material I’ve used for this therefore contains several things that for different reasons are difficult for me to say on here. There is frequent use of a particular racial slur which it is not okay under any circumstances for me as a white man to say; there are transcripts of oral history which are transcribed in rather patronising attempts at replicating African-American Vernacular English, which even were those transcripts themselves acceptable would sound mocking coming out of my English-accented mouth; and there is frequent use of sexual profanity, which I personally have no problem with at all, but would get this podcast an explicit rating on several of the big podcast platforms. There is simply no way to tell this story while avoiding all of those things, so I’ve come up with the best compromise I can. I will not use, even in quotes, that slur. I will minimise the use of transcripts, but when I have to use them, I will change them from being phonetic transcripts of AAVE into being standard written English, and I will include the swearing where it comes in the recordings I want to use but will beep it out of the version that goes up on the main podcast feed. I’ll make an unexpurgated version available for my Patreon backers, and I’ll put the unbleeped recordings on Mixcloud. The story we’re going to tell goes back to Christmas Day 1895, but we’re going to start our story in the mid 1950s, with Lloyd Price. [Excerpt: Lloyd Price, “Stagger Lee”] You may remember us looking at Lloyd Price way back in episode twelve, from Christmas 2018, but if you don’t, Price was a teenager in 1952, when he wandered into Cosimo Matassa’s studio in New Orleans, at the invitation of his acquaintance Dave Bartholomew, who had produced, co-written, and arranged most of Fats Domino’s biggest hits. Price had a song, “Lawdy Miss Clawdy”, which was loosely based around the same basic melody as Domino’s earlier hit “The Fat Man”, and they recorded it with Bartholomew producing, Domino on piano, and the great Earl Palmer on drums: [Excerpt: Lloyd Price, “Lawdy Miss Clawdy”] That was one of the first R&B records put out on Specialty Records, the label that would later bring Little Richard, Larry Williams, Sam Cooke and others to prominence, and it went to number one on the R&B charts. Price had a couple more big R&B hits, but then he got drafted, and when he got back the musical landscape had changed enough that he had no hits for several years. But then both Elvis Presley and Little Richard cut cover versions of “Lawdy Miss Clawdy”, and that seemed to bring Price enough extra attention that in 1957 he got a couple of songs into the lower reaches of the Hot One Hundred, and one song, “Just Because” went to number three on the R&B charts: [Excerpt: Lloyd Price, “Just Because”] But it wasn’t until 1958 that Price had what would become his biggest hit, a song that would kickstart his career, and which had its roots in a barroom brawl in St. Louis on Christmas Day 1895: [Excerpt: Lloyd Price, “Stagger Lee”] The Lee Line was a line of steamboats that went up and down the Mississippi, run by the Lee family. Their line was notorious, even by Mississippi riverboat standards, for paying its staff badly, but also for being friendly to prostitution and gambling. This meant that some people, at least, enjoyed working on the ships despite the low pay. There is a song, whose lyrics were quoted in an article from 1939, but which seems to have been much older, whose lyrics went (I’ve changed these into standard English, as I explained at the start): Reason I like the Lee Line trade Sleep all night with the chambermaid She gimme some pie, and she gimme some cake And I give her all the money that I ever make The Lee Line was one of the two preferred steamboat lines to work on for that reason, and it ended up being mentioned in quite a few songs, like this early version of the song that’s better known as “Alabamy Bound”, but was here called “Don’t You Leave Me Here”: [Excerpt: Little Harvey Hull and Long Cleve Reed, “Don’t You Leave Me Here”] The line, “If the boat don’t sink and the Stack don’t drown” refers to one of the boats on the Lee Line, the Stack Lee, a boat that started service in 1902. But the boat was named, as many of the Lee Line ships were, after a member of the Lee family, in this case one Stack Lee, who was the captain in the 1880s and early 90s of a ship named after his father, James Lee, the founder of the company. In 1948 the scholar Shields McIlwayne claimed that the captain, and later the boat, were popular enough among parts of the black community that there were “more colored kids named Stack Lee than there were sinners in hell”. But it was probably the boats’ reputation for prostitution that led to a thirty-year-old pimp in St. Louis named Lee Shelton taking on the name “Stack Lee”, at some time before Christmas Day 1895. On that Christmas Day, a man named Bill Lyons entered the Bill Curtis Saloon. Before he entered the saloon, he stopped to ask his friend to give him a knife, because the saloon was the roughest in the whole city, and he didn’t want any trouble. Bill Lyons was known as “Billy the Bully”, but bully didn’t quite, or didn’t only, mean what it means today. A “bully”, in that time and place, was a term that encompassed both being a pimp and being a bagman for a political party. There was far more overlap in the late nineteenth and early twentieth centuries between politics and organised crime than many now realise, and the way things normally operated in many areas was that there would be a big man in organised crime whose job it would be to raise money for the party, get people out to vote, and tell them which way to vote. Lyons was not a popular man, but he was an influential man, and he was part of a rich family — one of the richest black families in St. Louis. He was, like his family, very involved with the Republican Party. Almost all black people in the US were Republicans at that time, as it was only thirty years since the end of the Civil War, when the Republican President Lincoln had been credited with freeing black people from slavery, and the Bridgewater Saloon, owned by Lyons’ rich brother-in-law Henry Bridgewater, was often used as a meeting place for local Republicans. Lyons had just ordered a drink when Lee Shelton walked into the bar. Shelton was a pimp, and seems to have made a lot of money from it. Shelton was also a Democrat, which in this time and place meant that he was essentially a member of a rival gang. [Excerpt: Duke Ellington, “Stack-A-Lee Blues”] Shelton was very big in the local Democratic party, and from what we can tell was far more popular among the black community than Lyons was. While the Democrats were still the less popular of the two major parties among black people in the area, some were starting to feel like the Republicans talked a good game but were doing very little to actually help black people, and were considering taking their votes elsewhere. He was also a pimp who seems to have had a better reputation than most among the sex workers who worked for him, though like almost everything in this story it’s difficult to know for certain more than a hundred and twenty years later. When he walked into the bar, he was wearing mirror-toed shoes, a velvet waistcoat, an embroidered shirt, and gold rings, and carrying an ebony cane with a gold top. He had a slightly crossed left eye, and scars on his face. And he was wearing a white Stetson. Lee asked the crowd, “Who’s treating?” and they pointed to Lyons. There was allegedly some bad blood between Lyons and Shelton, as Lyons’ step-brother had murdered Shelton’s friend a couple of years earlier, in the Bridgewater Saloon. But nonetheless, the two men were, according to the bartenders working there, who had known both men for decades, good friends, and they were apparently drinking and laughing together for a while, until they started talking about politics. They started slapping at each other’s hats, apparently playfully. Then Shelton grabbed Lyons’ hat and broke the rim, so Lyons then snatched Shelton’s hat off his head. Shelton asked for his hat back, and Lyons said he wanted six bits — seventy-five cents — for a new hat. Shelton replied that you could buy a box of those hats for six bits, and he wasn’t going to give Lyons any money. Lyons refused to hand the hat back until Shelton gave him the money, and Shelton pulled out his gun, and told Lyons to give him the hat. Lyons refused, and Shelton hit him on the head with the gun. He then threatened to kill Lyons if he didn’t hand the hat over. Lyons pulled out the knife his friend had given him, and said “You cock-eyed son of a bitch, I’m going to *make* you kill me” and came at Shelton, who shot Lyons. Lyons staggered and clutched on to the bar, and dropped the hat. Shelton addressed Lyons using a word I am not going to say, and said “I told you to give me my hat”, picked it up, and walked out. Lyons died of his wounds a few hours later. [Excerpt: Fred Waring’s Pennsylvanians, “Stack O’ Lee Blues”] Shelton was arrested, and let go on four thousand dollars bail — that’s something like a hundred and twenty thousand in today’s money, to give you some idea, though by the time we go that far back comparisons of the value of money become fairly meaningless. Shelton hired himself the best possible lawyer — a man named Nat Dryden, who was an alcoholic and opium addict, but was also considered a brilliant trial lawyer. Dryden had been the first lawyer in the whole of Missouri to be able to get a conviction for a white man murdering a black man. Shelton was still at risk, though, simply because of the power of Henry Bridgewater in local politics — a mob of hundreds of people swamped the inquest trying to get to Shelton, and the police had to draw their weapons before they would disperse. But something happened between Shelton’s arrest and the trial that meant that Bridgewater’s political power waned somewhat. Shelton was arraigned by Judge David Murphy, who was regarded by most black people in the city as on their side, primarily because he was so against police brutality that when a black man shot a policeman, claiming self defence because the policeman was beating him up at the time, Murphy let the man off. Not only that, when a mob of policemen attacked the defendant outside the court in retribution, Murphy had them jailed. This made him popular among black people, but less so among whites. [Excerpt: Frank Westphal and his Orchestra, “Stack O’Lee Blues”] The 1896 Republican National Convention was held in St. Louis, and one of the reasons it was chosen was that the white restaurants had promised the party that if they held the convention there, they would allow black people into the restaurants, so the black caucus within the party approved of the idea. But when the convention actually happened, the restaurants changed their minds, and the party did nothing. This infuriated many black delegates to the convention, who had seen for years how the system of backhanders and patronage on which American politics ran never got so far as to give anything to black people, who were expected just to vote for the Republicans. James Milton Turner, one of the leaders of the radical faction of the Republicans, and the first ever black US ambassador, who was a Missouri local and one of the most influential black politicians in the state, loudly denounced the Republican party for the way it was treating black voters. Shortly afterwards, the party had its local convention. Judge Murphy was coming up for reelection, and the black delegates voted for him to be the Republican nominee again. The white delegates, on the other hand, voted against him. This was the last straw. In 1896, ninety percent of black voters in Missouri voted Democrat, for the first time. Shelton’s faction was now in the ascendant. Because Murphy wasn’t reselected, Shelton’s trial wasn’t held by him, but Nat Dryden did an excellent job in front of the new judge, arguing that Shelton had been acting in self-defence, because Lyons had pulled out a knife. There was a hung jury, and it went to a retrial. Sadly for Shelton, though, Dryden wasn’t going to be representing him in the second trial. Dryden had hidden his alcoholism from his wife, and she had offered him a glass of sherry. That had triggered a relapse, he’d gone on a binge, and died. At his next trial, in late 1897, Shelton was convicted, and sentenced to twenty-five years in prison — presumably the influence of his political friends stopped him from getting the death penalty, just as it got him paroled twelve years later. Two years after that, though, Shelton was arrested again, for assault and robbery, and this time he died in prison. But even before his trial — just before Dryden’s death, in fact — a song called “Stack-A-Lee” was mentioned in the papers as being played by a ragtime pianist in Kansas City. The story gets a bit hazy here, but we know that Shelton was friends with the ragtime pianist Tom Turpin. Ragtime had become popular in the US as a result of Scott Joplin’s performance at the 1893 Chicago World’s Fair — the same fair, incidentally, that introduced the belly dancers known as “Little Egypt” who we talked about in the episode on the Coasters a few weeks back. But a year before that, Turpin, who was a friend of Joplin’s, had written “Harlem Rag”, which was published in 1897, and became the first ragtime tune written by a black man to be published: [Excerpt: Ragtime Dorian Henry, “Harlem Rag”] Turpin was another big man in St. Louis politics, and he was one of those who signed petitions for Shelton’s release. While we can’t know for sure, it seems likely that the earliest, ragtime, versions of the “Stagger Lee” song were written by Turpin. It’s been suggested that he based the song on “Bully of the Town”, a popular song written two years earlier, and itself very loosely based on a real murder case from New Orleans. That song was popularised by May Irwin, in a play which is also notable for having a love scene filmed by Edison in 1897, making it possibly the first ever love scene to be filmed. Irwin recorded her version in 1909, but she uses a racial slur, over and over again, which I am not going to allow on this podcast, so here’s a 1920s version by Gid Tanner and his Skillet Lickers: [Excerpt: Gid Tanner and his Skillet Lickers, “Bully of the Town”] That song, in its original versions, is about someone who goes out and kills a bully — in the same sense that Billy Lyons was a bully — and so becomes the biggest bully himself. It’s easy to see how Turpin could take that basic framework and add in some details about how his friend had done the same thing, and turn it into a new song. By 1910, the song about Stack Lee had spread all across the country. The folklorist and song collector John Lomax collected a version that year that went “Twas a Christmas morning/The hour was about ten/When Stagalee shot Billy Lyons/And landed in the Jefferson pen/O lordy, poor Stagalee”. In 1924, two white songwriters copyrighted a version of it, called “Stack O’Lee Blues”, and we’ve heard instrumental versions of that, from 1923 and 24, earlier in this episode — that’s what those instrumental breaks were. Lovie Austin recorded a song called “Skeg-A-Lee Blues” in 1924, but that bears little lyrical resemblance to the Stagger Lee we know about: [Excerpt: Ford & Ford, “Skeg-A-Lee Blues”] The first vocal recording of the song that we would now recognise as being Stagger Lee was by Ma Rainey, in 1925. In her version, the melody and some of the words come from “Frankie and Johnny”, another popular song about a real-life murder in St. Louis in the 1890s: [Excerpt: Ma Rainey, “Stack O’Lee Blues”] According to Wikipedia, Louis Armstrong is playing cornet on that song. It doesn’t sound like him to me, and I can’t find any other evidence for that except other sites which get their information from Wikipedia. Sites I trust more say it was Joe Smith, and they also say that Coleman Hawkins and Fletcher Henderson are on the track. By 1927, the song was being recorded in many different variants. Long Cleve Reed and Little Harvey Hull recorded a version that clearly owes something to “the Bully of the Town”: [Excerpt: Long Cleve Reed and Little Henry Hull — Down Home Boys, “Original Stack O’Lee Blues”] And in possibly the most famous early version, Mississippi John Hurt asks why the police can’t arrest that bad man Stagger Lee: [Excerpt: Mississippi John Hurt, “Stack O’Lee (1928 version)”] By this point, all connection with the real Lee Shelton had been lost, and it wouldn’t be until the early nineties that the writer Cecil Brown would finally identify Shelton as the subject of the song. During the thirties and forties, the song came to be recorded by all sorts of musicians, almost all of them either folk musicians like Woody Guthrie, blues musicians like Ivory Joe Hunter, or field recordings, like the singer known as “Bama” who recorded this for the Lomaxes: [Excerpt: Bama, “Stackerlee”] None of these recorded versions was a major hit, but the song became hugely well known, particularly among black musicians around Louisiana. It was a song in everyone’s repertoire, and every version of the song followed the same basic structure to start with — Stagger Lee told Billy Lyons he was going to kill him over a hat that had been lost in a game of craps, Billy begged for his life, saying he had a wife and children, and Stagger Lee killed him anyway. Often the bullet would pass right through Billy and break the bartender’s glass. From there, the story might change — in some versions, Lee would go free — sometimes because they couldn’t catch him and sometimes because crowds of women implored the judge to let him off. In other versions, he would be locked up in jail, and in yet other versions he would be sentenced to death. Sometimes he would survive execution through magical powers, sometimes he would be killed, and crowds of women would mourn him, all dressed in red. In the versions where he was killed, he would often descend to Hell, where he would usurp the Devil, because the Devil wasn’t as bad as Stagger Lee. There were so many versions of this song that the New Orleans pianist Doctor John was, according to some things I’ve read, able to play “Stagger Lee” for three hours straight without repeating a verse. Very few of these recordings had any commercial success, but one that did was a 1950 New Orleans version of the song, performed by “Archibald and His Orchestra”: [Excerpt: Archibald and His Orchestra, “Stack A’Lee”] That version of the song was the longest ever recorded up to that point, and took up both sides of a seventy-eight record. It was released on Imperial Records, the same label that Fats Domino was on, in 1950, and was recorded at Cosimo Matassa’s studio. It went top ten on the Billboard R&B charts, and was Archibald’s only hit. That’s the version that, eight years later, inspired Lloyd Price to record this: [Excerpt: Lloyd Price, “Stagger Lee”] That became a massive, massive hit. It went to number one on both the Hot One Hundred and the R&B charts — which incidentally makes Lloyd Price the earliest solo artist to have a number one hit on the Hot One Hundred and still be alive today. Price’s career was revitalised — and “Stagger Lee” was brought properly into the mainstream of American culture. Over the next few decades, the song — in versions usually based on Price’s — became a standard among white rock musicians. Indeed, it seems to have been recorded by some of the whitest people in music history, like Huey Lewis and the News: [Excerpt: Huey Lewis and the News, “Stagger Lee”] Mike Love of the Beach Boys: [Excerpt: Mike Love, “Stagger Lee”] and Neil Diamond: [Excerpt: Neil Diamond, “Stagger Lee”] But while the song had hit the white mainstream, the myth of Stagger Lee had an altogether different power among the black community. You see, up to this point all we’ve been able to look at are versions of the song that have seen commercial release, and they all represent what was acceptable to be sold in shops at the time. But as you may have guessed from the stuff about the Devil I mentioned earlier, Stagger Lee had become a folkloric figure of tremendous importance among many black Americans. He represented the bad man who would never respect any authority — a trickster figure, but one who was violent as well. He represented the angry black man, but a sort of righteous anger, even if that anger was chaotic. Any black man who was not respected by white society would be thought of as a Stagger Lee figure, at least by some — I’ve seen the label applied to everyone from O.J. Simpson to Malcolm X. Bobby Seale, the leader of the Black Panther Party, named his son Malik Nkrumah Stagolee Seale, and was often known to recite a version of “Stagger Lee” at parties. In an interview, later, Seale said “Now I transformed Stagolee, more or less in my own mind, into brothers standing on the block and all of the illegitimate activity. In effect, they were the lumpen proletariat in a high-tech social order, different from how ‘lumpen’ had been described historically. My point is this; that Malcolm X at one time was an illegitimate hustler. Later in life, Malcolm X grows to have the most profound political consciousness as far as I’m concerned. To me, this brother was really getting ready to move. So symbolically, at one time he was Stagolee.” The version of Stagger Lee that Seale knew is the one that came from something called “toasts”. Toasting is a form of informal storytelling in black American culture, usually rhyming, and usually using language and talking about subjects that would often be considered obscene. Toasting is now generally considered one of the precursors of rapping, and the style and subject matter are often very similar. Many of the stories told in toasts are very well known, including the story of the Signifying Monkey (which has been told in bowdlerised forms in many blues songs, including Chuck Berry’s “Jo Jo Gunne”), and the story of Shine, the black cook on the Titanic, who swims for safety and refuses to help the Captain’s daughter even after she offers sex in return for his help. Shine outswims the sharks who try to eat him, and arrives back on land before anyone there even knew the ship was sinking. Shine is, of course, another Stagger Lee style figure. These toasts remained largely unknown outside of the less respectable parts of the black community, until the scholar Bruce Jackson published his seminal book “Get Your Ass in the Water and Swim Like Me: African-American Poetry from Oral Tradition”, whose title is taken from a version of the story of Shine and the Titanic. Jackson’s field recordings, mostly recorded in prisons, have more recently been released on CD, though without the names of the performers attached. Here’s the version of Stagger Lee he collected — there will be several beeps in this, and the next few recordings, if you’re listening to the regular version of this podcast: [Excerpt: Unknown field recording, “Stagger Lee”] After Jackson’s book, but well before the recordings came out, Johnny Otis preserved many of these toasts in musical form on his Snatch and the Poontangs album, including “The Great Stack-A-Lee”, which clearly has the same sources as the version Jackson recorded: [Excerpt: Snatch and the Poontangs, “The Great Stack-A-Lee”] That version was used as the basis for the most well-known recentish version of the song, the 1995 version by Nick Cave and the Bad Seeds: [Excerpt: Nick Cave and the Bad Seeds, “Stagger Lee”] Cave has later said in interviews that they improvised the music and used the lyrics from Jackson’s book, but the melody is very, very, close to the Johnny Otis version. And there’s more evidence of Cave basing his version on the Johnny Otis track. There’s this line: [Excerpt: Nick Cave and the Bad Seeds, “Stagger Lee”] That’s not in the versions of the toast in Jackson’s book, but it *is* in a different song on the Snatch and the Poontangs album, “Two-Time Slim”: [Excerpt: Snatch and the Poontangs, “Two-Time Slim”] This is the Stagger Lee of legend, the Stagger Lee who is the narrator of James Baldwin’s great poem “Stagolee Wonders”, a damning indictment of racist society: [Excerpt: James Baldwin, reading an excerpt from “Stagolee Wonders” on “Poems for a Listener”,] Baldwin’s view of Stagger Lee was, to quote from the interview from which that reading is also excerpted, “a black folk hero, a singer essentially, who actually truly comes out of the auction block, by way of the cotton field, into the beginning of the black church. And Stagger Lee’s roots are there, and Stagger Lee’s often been a preacher. He’s one who conveys the real history.” It’s a far cry from one pimp murdering another on Christmas Day 1895. And it’s a mythos that almost everyone listening to Lloyd Price’s hit version will have known nothing of. As a result of “Stagger Lee”, Lloyd Price went on to have a successful career, scoring several more hits in 1959 and 1960, including the song for which he’s now best known, “Personality”: [Excerpt: Lloyd Price, “Personality”] Price also moved into other areas, including boxing promotion — he was the person who got Don King, another figure who has often been compared to Stagger Lee, the chance to work with Mohammed Ali, and he later helped King promote the famous “Rumble in the Jungle” fight. Lloyd Price is eighty-seven years old, now, and released his most recent album in 2016. He still tours — indeed, his most recent live show was earlier this month, just before the current coronavirus outbreak meant live shows had to stop. He opened his show, as he always does, with “Stagger Lee”, and I hope that when we start having live shows again, he will continue to do so for a long, long time.
In this episode of the Just Because podcast, Chris and Matt discuss their resolutions for 2020, an upcoming trip to Icarus Brewing, apartment hunting, and more! Follow the Just Because podcast on Instagram: @JustBecausePod08 The Just Because podcast is part of the Nookshots Network. Learn more: https://www.nookshots.com Hosts: Chris: @BagsGaming Matt: @TheRealSpoons --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
This episode Chis and Matt have a special guest on as we discuss Matt's wedding, were the Just Because name originated, and strange facts! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Episode 110, featuring songs from Cro-Mags, The Von Tramps, Gumiho, Bite Back, Just Because, Streetlight Manifesto, AC4, The Normandys, Throes, and Dope. Eric of Anonymous and Suburban Hell Kill guest co-hosts, we play a bunch of new music, bands from Sweden to Korea, and continue our Metal picks to finish the show.
On tepisode 31 of 'Boys in the Fatherhood,' the bi-weekly Irish/American fusion podcast on parenting, fatherhood, and making sure your kids don't turn into serial killers. Y'ALL NEED TO SEND US YOUR DAD JOKES! Tweet at us @FatherhoodBoys or send us an email at BoysintheFatherhood@Gmail.com. ALL DAD JOKES WELCOME, it's the best way you can get internet famous. The boys debate Nanny's vs Daycare, as Eric prepares to send his 4th-month-old off with one or the other. SPOILER ALERT: One Nanny he interviewed wasn't a good fit JUST BECAUSE she was a tiny bit antisemitic (also, she didn't take her shoes off). Also, Smitty circumcises a balloon... for safety. Got stuff to say? Send us your parenting stories at BoysintheFatherhood@Gmail.com, and find us on Twitter @FatherhoodBoys.
This episode centres around some party that Ally is giving JUST BECAUSE. Which means we get a whole lotta dancing, a whole lotta kissing and a whole lotta Billy ButtHurt! We also object on Ally's behalf as she gets put in contempt of court by mean ol' Judge Walsh over her wardrobe choices, before we finally get to the REAL debate of the episode - what the hell kinda aesthetic was Ally's party-swan-fruit-salad?!
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