Podcast appearances and mentions of king cat

I can see him coming out of a run-down building, into a rain-swept, darkened street. He's wearing a fedora pulled down over his forehead, with a large, rumpled trench coat to match. He moves wearily, a big man, not plodding, but not stepping lively either. If he speaks, it's laconic, with a somewhat slow pace to the words, seldom rising above a conversational tone. Not much bothers him. Oh, the occasional clue that's out of place, the occasional femme who means to do him wrong. Sometimes, he has to dodge bullets or fists. Once in a great while, he takes a crack on the head. But he keeps going. He smokes incessantly --- striking the match and the flame illuminating his face, with its hang dog look and sad eyes. It lights him up --- it's Robert Mitchum. He's the King Cat of film noir. The star of innumerable war films, some highlighting heroic officers, some as just a simple grunt who wants to go home. He's a Western hero or antihero. He's a malevolent villain who has LOVE and HATE tattooed on his knuckles. He threatens a family in which he thinks the lawyer father has done him wrong. He walks with hoods in Boston, the Yakuza in Japan. And he does all of this, not with the Method, not with histrionics, not with knock-your-eyes-out good looks --- he does it with stillness. With acting by not appearing to act. By being Robert Mitchum. He broke all the rules. He didn't give a damn. An unlikelier Hollywood star there never was.Website and blog: www.thosewonderfulpeople.comIG: @thosewonderfulpeopleTwitter: @FilmsInTheDark

This week, certified film royalty is in the studio! Mark and Simon sit down with Martin Scorsese's legendary film editor, Thelma Schoonmaker, who is here to discuss restoring her late husband director Michael Powell's equally legendary body of work as part of the iconic filmmaking duo Powell and Pressburger. She also talks about her own work with Scorsese. A must listen! Mark reviews the restoration of the Powell and Pressburger classic ‘Peeping Tom', a psychological horror about a filmmaker who murders women and records their dying moments; ‘Typist Artist Pirate King', director Carol Morley's warm and sympathetic fictionalised portrait of the late “avant-garde and misunderstood” artist Audrey Amiss; ‘Cat Person', a darkly comic psychological thriller about a college student who goes on an awkward date with an older man who may be a murderer, based on Kristen Roupenian's viral New Yorker short story of the same name; and ‘Five Nights at Freddy's, a supernatural horror inspired by the indie video game of the same name, which sees a troubled security guard menaced by creepy, animatronic, funhouse animals. Plus, the duo takes us through the Box Office Top 10 and the film events worth catching in this week's What's On. Time Codes (relevant only for the Vanguard - who are ad-free!): 10:38 Typist Artist Pirate King Review 22:27 Box Office Top Ten 35:45 Thelma Schoonmaker Interview 53:32 Laughter Lift 58:06 Cat Person Review 01:04:56 Five Nights At Freddy's Review 01:10:17 What's On You can contact the show by emailing correspondence@kermodeandmayo.com or you can find us on social media, @KermodeandMayo EXCLUSIVE NordVPN Deal ➼ https://nordvpn.com/take Try it risk-free now with a 30-day money-back guarantee! A Sony Music Entertainment production. Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts and follow us @sonypodcasts To advertise on this show contact: podcastadsales@sonymusic.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week's episodes: Suicide King, Cat Got Your Tongue, Demo Man, and Tainted Jacob

Segment 1 - 00:00 Segment 2 - 16:51 Segment 3 - 25:58 Segment 4 -35:32 Friday's edition of In Focus featured guests from Kansas Wildlife and Parks as well as the Friends of the Kaw. KMAN was joined for the hour by Riley County Game Warden Ben Jedlicka, also welcoming Marcia Rozelle from the Friends of the Kaw for the first half. The two discussed river cleanup events planned in October as well as the upcoming Cabela's King Cat tournament at Tuttle Creek Lake. The latter half of the show, Jedlicka discussed hunting seasons for Kansas and the rules and regulations relevant to hunters. They closed out the show highlighting pending Trunk or Treat festivities at Tuttle Creek State Park to celebrate Halloween.

In Episode 91, Corey covers: —Cleary Throws Penrith's Repeat Chances in Jeopardy —Nicho Hynes Golden Boot Slays Bunnies —NRL "Hip Drops" the Ball Again —NRL Grand Final Queensland Bound? —King Cat Celebrates 350th Game —Yellow & Black Wins the Feline Battle —Key Eagle About to Make Final Landing —Betts Calls Out Crows & AFL —The Miami Dolphins and the NFL are a Joke! #AFL #NRL #australianfootball #footy #nationalrugbyleague #australianfootballleague #sport #podcast #americanpodcaster #australiapodcast #newzealandpodcast #grandfinal #sportspodcaster #coreyjackson #shedadamus #shedheads 

Listen to Creative Elements: https://www.creativeelements.fm/austin-kleon/ (19 mins in)TranscriptI was like 27, or 26. At the time, these kids were probably 22. You know, so it's like, what can I be stoked on these, you know, these students? It's just absurd. And they wanted a title for the talk. And I said, Oh, it's called. I saw I looked at my blog, I was like, what's the most interesting thing I've written recently, it's called How to Steal Like an Artist. That's what it's called. And I didn't have it written or anything. Like, that sounds good. But I had this blog post that was like, all these quotes about artists talking about stealing. And then I went on this walk with my wife, and I said, you know, what do I say to these people that aren't that much younger than me? And she said, Well, the best talk I ever heard at school, was this lady got up in front of our class, and she just had a list of 10 things that she wish she had known when she was a student. I said, that's great. I'll steal that. And that's where the talk came from. The talk went over well, but you know, me being a sort of old millennial, right on the edge of, you know, I was born in 83. So it's like, I have a little bit at digital native to me, but not terribly. So it's kind of like, well, what happens to all this material after I give this talk that no one recorded? And so I thought, well, it would make a really cool blog post. And that's really the thing I posted the How to Steal Like an Artist blog post. And that went viral. And this is 2011. And it became clear, like, immediately, because I started hearing from editors is like, this is your next book. Even though you put this book out, there was a poetry book that sold okay, but like, didn't really blow any doors down. But this is like the new one. So you get a second chance.Jay Clouse 18:08This idea of being a second chance, was this the language that was told to you by the publisher?Austin Kleon 18:13No, no, no, no, no, that was just in the back of my head. You know, for the publisher, it's all. Publishers just think, is it going to be a good book or not? You know, I mean, it's a funny thing, my agent would hate it if I told this story, but which makes it even more fun to tell. But you know, Ted, my agent, there was a point after newspaper blackout came out that I wrote him an email and I said, I just realized that I really need an agent. You know, like, it would be good to have an agent, I realized that now. And he sent me this email back that was pleasant, but he was like, Look, kid, I make money by selling books. So when you got you better hope this book that you do on your own sells well. And if you got another idea for a book, then come see me. Right. So that was like, right after Newspaper Blackout came out? Well, I came to him when it was time to sell steal like an artist to publishers. So it was never the second but it almost feels like I don't know, like a bands like Nirvana puts out Bleach and then never minds the like, the major label, even though that doesn't really work because my publisher workman's independent, but it did feel like okay, this is the pop shot. This is like, this is the chance to do a book that might have a bigger audience than then the poetry book.Jay Clouse 19:32Well, I kind of blew past this. You know, a lot of people come on the show. They've self published books, some of them have gone through a publisher and they talk about it being like a miserably difficult experience to get to the point where someone says, Okay, we'll publish your book. Yeah, you publish Newspaper Blackout through a publisher. How did that happen?Austin Kleon 19:48That was just an editor that was a year younger than me. Harper Perennial, Amy Kaplan, who she's got a different name now. She said, Have you ever thought about a book I said, hell yeah, I thought about a book, let's do it, they sent me a contract, which, you know, really, in hindsight, I should have never signed. But you know, I, my, my mother in law's a lawyer, and she looked over it and it seemed fine. You know, it's like, cuz, you know, it's a poetry book. And the stakes seem very low. But I, my feeling was always with books, when people want to book from you, they'll they'll tell you, you know that that's always how I felt about it was like, it's much easier to be wanted than to try to sell something fresh or new. Now, you know, every writer now has the ability to grow an audience before they ever publish a book. But the thing is, is that you want an audience, if you want to self publish, you got to have an audience. And if you want to publish with a publisher, you need to have an audience. You know, it's kind of like, your, I think the thing that I tell people now is, it's like, it's both terrifying, and freeing the fact that you always run your own show. And it's always in your core, you are always the one doing the work. You know, I've been a published professional author for a decade now. And nobody ever comes to you and says, We're gonna do it for your kid, don't worry, we're gonna make your stuff that just doesn't happen. I mean, maybe it happens to like, a pop singer, something, you know, but it's never going to happen. Every person you see, that's like a big deal. There's just all this work that you don't see that happened before that, where they were making things happen for themselves. You know, I thought when I was younger, I'm such a genius. I'm so talented, someone will just come out of the woodwork and say bold. Here you go, kid. You know, I just I just had that stupid, wishful thinking. But you know, my agent has three things that he tells writers that I think are really, really, it's really, really good advice, I try to pass on, one, get famous first. And that sounds horrible, and terrible. But really what he's talking fame is just more people knowing you than, you know, people. So fame can be a tiny fame too. So that's just getting known in your field, like get known for something that's, I would actually change it from getting famous, I'd say get known for something, you know, first, Ted second. My second piece of advice is all publishing is self publishing. So whether you're self publishing, or whether you're going with the big five or Big Four, now, publisher, you are the one that cares the most about your work. And you're always going to be the one that pushes it and sells it and gets out in the world the best. And then three, the thing that Ted says that I think is even more true today than it was when he was saying 10 years ago is you're really CEO of your own multimedia empire to only think in terms of books is very limiting now, because you have these tools available to you now where you can just do whatever I mean, you've got the access to media now is stunning, you know, so it really becomes about what you want to do. But I always thought those three pieces of advice were really good. But I think the major thing is like don't wait on anybody. No one's going to come and night you, you know, no one's going to get out the sword and put it on both shoulders and say I knight thee you're in the club, you know, and by the time it feels like you're in the club, you don't need to be in the club. You know what I mean? So it's just so I'm always with people. I always think that young people need to get sort of the best of punk rock. earliest they can not they're like, oh Sal out there spit on us punk rock, but the real sort of the kind of punk rock that Michael Azur ad writes about in our band could be your life. These bands that got in the van, and they toured and they built audiences city by city, and they got addresses and built their mailing list. You know, that kind of great American. You know, it's the best of America punk to me, like, the band on the road. That's like, sort of the best of the American dream, you know, like building your audience slowly.Jay Clouse 24:26Yeah. I feel like there's like a, there's a lot of analogs, from music to all the online greeter stuff we talked about today, because they were just out there doing it going on the road, building this mailing list, every time they went to the city, it just got a little bit bigger. And that's not that different than what we're doing now. It's just instead of cities you have maybe internet communities, maybe you have these small pockets of culture. It's really about the same.Austin Kleon 24:52One newsletter subscriber at a time. Somebody tells their friend or his tweets that or whatever, you know, that musics interesting for me, I'm sort of a, I'm sort of a want to be, you know, music is what got me through my teenage years, I realized very early on, it wasn't going to be the lifestyle for me I wasn't going to be okay with just like being on the road and trying to entertain people, which is hilarious now because half of my job is getting up on the stage and performing for people. But music has always been an influence. And music is interesting, because musicians are always the kind of canaries in the coal mine. As far as media goes, anything bad that's going to happen will happen to musicians first. And it was true of streaming. It was well it was true of digital. It was true of Napster and all that. It was true of streaming. And it was trueThe pandemic. Musicians are really the artists, they're sort of, I can't think of another art form that's really more on the edge of whatever the world is doing. And they'll do it to them first.Jay Clouse 26:00Yeah, yeah. I thought when we started to see holograms of Tupac at Coachella, I was like, this is this is next.Austin Kleon 26:08Well isTupac. It's Gemini season right now. No one this layer, but you know, yeah, it's true. It's like, the indignities that are put upon the passed away musician.Jay Clouse 26:19Your three rules from Ted, if you believe them to be true, which it sounds like you do that number two rule of everybody is self publishing. What is the litmus test now for someone to decide if they should go with a traditional publisher? If they have the opportunity?Austin Kleon 26:34Oh, great question. I think it has a lot to do with business goals. It just depends. It depends completely on the person depends on what kind of stuff you're writing. You know, for me, my books do really well by the cash register, at the paper source or the, you know, Urban Outfitters, or wherever. Now, these books have taken a hit during the pandemic, because nobody's in person anymore. Yeah, so those books take a little bit of a hit. But, you know, like, I'm reading a book right now on how to take better notes. And I forget the guy's name. But it's like, that's a very niche.Jay Clouse 27:18Yeah.Austin Kleon 27:18Thing that most publishers probably like, take better notes. What is the you know, whatever, I'm sure this guy's probably sold a million copies, he's probably made of fortune. The thing about self publishing that I try to remind people is that it exists on a very wide economic spectrum. So like, for example, my two self publishing heroes are on one side, a guy named John Porcellino. And on the other side is a guy named Edward Tufte. Now John Porcellino has been doing this scene called King-Cat for 30 years, I think King-Cat since like, 19, you can tell I'm not good. It's late afternoon. My math skills are bad. But John's been doing this scene for 30 years at least it's it's it's one of the greatest American comics. And in my opinion, John's never gotten rich off of it. He, you know, started when he's a kid, it's so got that punk buddha, energy to it. But john, now I think he, he just started a Patreon. And I think he's just starting to be able to save enough to have a reasonable, like, lower middle class. I mean, this is just from what I've seen of him and seen of his work. He's just starting to be able to like kind of have a decent living through Patreon and his subscribers to King-Cat. So that's like one side of the economic spectrum. On the other side is someone like Edward Tufte. Edward Tufte. He was statistician at Yale. Nobody wants to publish his book called The Visual Display of Quantitative Information. Can you imagine no one wanted to publish that book. So he self published it out of his garage, took out a second mortgage on his house. Ed sold like 1.5 million copies of these books, they retail for $40. So you do the math, even if there's half I mean, this guy's made Yeah, he's made $40 $50 million. If you do the math off of of self publishing these books and he towards like the Grateful Dead, you know, he's one of those guys. He goes around with a sound system. He sets up in a Hilton ballroom, 500 people come and they sell, you know, 300 bucks ahead, and everybody gets books and he just goes around does that and makes a killing too you know, meanwhile, John's at like a comic con, hand selling King-Cat, you know, so like, both these dudes to me are our punk. You know, like they're both. They have that DIY punk spirit that the Grateful Dead had to You know, they're doing it, they're just doing it themselves, you know. But yeah, I don't have a huge opinion. I mean, the publisher thing, to me, it's still about having the muscle of distribution and getting it everywhere. And of course, the publisher takes a little bit of the risk with the printing and stuff, but that with on demand and stuff, it's changing a lot. I mean, it'll be interesting to see where you know, what happens with my next book, you know, whether I do some self publishing experiments or not, it's still worth it for me to go with a major publisher. But I have friends that say, I'm stupid, you know, I have friends who say, why would why at this point, wouldn't you self publish something, and sell it for 20 bucks and keep 10 and make a killing. But for me, it's about just being patient. I'm planning on doing this for a very long time. And so I'm just sort of patient and to be perfectly honest, I'm not very business savvy. I mean, I'm number savvy. But I'm not really interested in being a business person, which has always been a problem for me. You know, I didn't get into this. Like, if I wanted to make money, I would have gone to business school.

A quarterly of reissues from Drawn & Quarterly has offered a fresh opportunity to reexamine King Cat. Not that there's every a bad time to revisit John Porcellino's work. The cartoonist has self-published nearly 80 issues of the series over the past 32 years. The black and white mini comic remains both deeply influential and extremely singular, built from a DIY ethos that informs all of his work, including the Spit and a Half comics distro, which dates back nearly as far. Porcellino's work is hailed for its deeply personal subject matter, coupled with simple line work that distills images down to only the most necessary markings. 

In this episode Gremi interviews Adoption Counselor Cam all about facilitating falling in love (with cupid's sparrow) and other experiences as an employee at Helping Hands Humane Society (ringworm, sanctuary cats who resemble Game of Thrones characters, being brave around giant dogs, fighting negative pibble stereotypes, and more). Yes, we still managed to get animal parodies into this episode.* As always, fun facts (like Cam's family gives their pets To Kill a Mockingbird names!), myth busts (kennel reactivity, what a shelter job is *really* like!), and funny stories (meeting THE MAYOR!) included! If you've ever wondered what it's like to be an Adoption Counselor, this is your episode (remember, you must be 18 years old to work at HHHS, but you can volunteer if you're younger). To learn more about our shelter, visit our website at hhhstopeka.org. You can help the animals in our care by participating in our virtual 5k fundraiser between 11/7 and 11/14! Register at register.chronotrack.com/r/59011. Please email us if you have any questions, feedback, or suggestions! Grace: gracec@hhhstopeka.org Emi: emig@hhhstopeka.org *We can't be held medically responsible if your ears bleed. Sry.

Lil King Cat is a singer who came out in Limerick in Ireland in the 1990s.  She was in for quite a shock when she came out to her mum…

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I mentioned in a previous episode of the show I had participated in an annual zine fest in Madison called Print & Resist. One of the people showcasing his work at the event was John Porcellino, creator of the popular minicomic zine King Kat. Went to his table to introduce myself and I blurted out that I had this podcast and I would love to talk with him. We exchanged information and he was nice enough to talk with me a few weeks later on facebook messenger. John's Website http://www.spitandahalf.com/ John's Author Page on Amazon - https://amzn.to/2L5fkdU --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/tomraysartpodcast/message Support this podcast: https://anchor.fm/tomraysartpodcast/support

"My f***king cat just stepped on my sandwich" And other things in this episode of the podcast! LINKS! CLICK THEM!: go.twitch.tv/winglessvalkyrie discord.gg/nnxwnPg twitter.com/WinglessValk www.patreon.com/WinglessValkyrie www.torstennogel.weebly.com

We sit down with the legendary John Porcellino, creator of King Cat Comics and one man comics distro under the Spit And A Half banner. King Cat is one of the longest continually published mini comics in existence, with 77 issues since 1989! John just dropped the new issue, which is full of John's great brand of animal stories. He also just published a collection of Jenny Zervakis' mini comics called Strange Growths, and we talk about her work and what drove this inveterate self-publisher to become a publisher of other artists. PLUS: Mike and Zack talk about Delaware Punch! Progress with projects! And a VANCAF scene report!

We sit down with the legendary John Porcellino, creator of King Cat Comics and one man comics distro under the Spit And A Half banner. King Cat is one of the longest continually published mini comics in existence, with 77 issues since 1989! John just dropped the new issue, which is full of John's great brand of animal stories. He also just published a collection of Jenny Zervakis' mini comics called Strange Growths, and we talk about her work and what drove this inveterate self-publisher to become a publisher of other artists. PLUS: Mike and Zack talk about Delaware Punch! Progress with projects! And a VANCAF scene report!

Matt and Jimmy finally get into the same room to do our Opening Week(ish) episode! We do division predictions, make our HR leader picks, and EVERYONE PLEASE GO TELL JIMMY TO WATCH STRANGER THINGS. @jimmy_bowman and include the show in the tweet. Fly my pretties!  Listen to this episode if you want to hear us talk about Airfolk Relations, Captain Wacky's Morning Madhouse, Great Phillies Moments, Grasshopper Scarcity, Contract Dowries, The Max Kepler Effect, A God Among (Korean) Men, and King Cat and Duke Felix. @ThatBBShow, One-Punchers! 

Welcome to Robots From Tomorrow! For this episode the guys have picked a couple of comics that will be hitting shelves this week and talk about why they're excited to read them. Clocking in at around 15 minutes, this bite-sized audio nugget is the perfect companion for any Wednesday Warrior! Picks for Wednesday, November 30, 2016 Mike- Blubber #4 & King Cat #76 Matt- Adventure Time: Islands & Mickey's Craziest Adventures Robots From Tomorrow is a weekly comics podcast recorded deep beneath the Earth's surface. You can subscribe to it via iTunes or through the RSS feed at RobotsFromTomorrow.com. You can also follow Mike and Greg on Twitter. This episode is brought to you by Third Eye Comics. Enjoy your funny books.

This week's episode of the podcast is special, and in a number of ways. First, Derek and Andy W. record the show "live" from a common location and not from a distance via Skype. Also, they discuss their experiences at this year's Small Press Expo, which took place September 19-20. Most importantly, though, this episode is notable for its focus on the 2015 Ignatz Awards, the first time that the Two Guys have discussed this industry recognition in any in-depth manner.  In fact, almost the entire episode is devoted to the Ignatz nominees, a substantial number of texts, and as a result, this show goes longer than usual. And they break up recording the show over a two-day period: the first third after day one of SPX (and before the Ignatz winners have been announced), and the final segment after the event has ended. Andy and Derek begin by sharing some of their experiences at SPX, including the people they met, the creators they talked with, the small press publishers who attended, and the general demographics of the crowd (this was a con that definitely skewed young). Then they go into a rundown of all the 2015 Ignatz Award nominees, discussing the nine different categories and briefly highlighting the five nominees under each. There are some categories, such as "Outstanding Anthology or Collection," that the guys find a little problematic. Both Andy and Derek feel that a collection by a single artist and an anthology comprising a variety are completely different beasts and, as such, shouldn't be clumped together in this manner. There are others, including "Promising New Talent" and "Outstanding Comic," that would benefit by clearer context. (For example, what exactly defines a "new talent," and how   might an "outstanding comic" be distinguished from an "outstanding graphic novel"?) In the final segments of the episode -- the last 2/3 that was recorded after that final day of SPX -- Derek and Andy go into detail about many of the titles nominated for an Ignatz. They list the winners of each category, which were made public on Saturday night of the con, and provide a few observations. The Ignatz Awards winners are chosen by popular vote, anyone who attends the event can cast a ballot, so the Two Guys with PhDs take some of the results with a sizable grain of salt. For example, they're surprised by the fact that neither Noah Van Sciver and Ethan Riley (both highly accomplished and nominated multiple times) received anything. Or that Drawn and Quarterly: 25 Years of Contemporary Cartooning, Comics, and Graphic Novels was shut out. Or how Sophia Foster-Dimino came out as she did. Still, one of the most notable takeaways from this year's ceremony is the fact that women completely swept the awards, so this is definitely a year of significance. After a brief discussion of the winners, Andy and Derek get into a detailed analysis of may of the nominated titles, especially focusing on those works they've not yet discussed on previous episodes. These include Ed Luce's Wuvable Oaf (Fantagraphics), Jillian Tamaki's SuperMutant Magic Academy (Drawn and Quarterly) and "Sex Coven" (from Frontier #7, published by Youth in Decline), M. Dean's K.M. & R.P. & MCMLXXI (1971), Walter Scott's Wendy (Koyama Press), Gina Wyndbrandt's Big Pussy (2D Cloud), Jason Little's Borb (Uncivilized Books), John Porcellino's King Cat #75, and Georgia Webber's Dumb series. There are so many great titles to cover, and as a result, the show goes longer than the guys anticipated. But that's OK. SPX and the Ignatz Awards only come once a year, so why not take advantage of this celebrated occasion?

John Porcellino is a leading author and illustrator in the independent comics and ’zine movement. He has been self-publishing the autobiographical 'zine King Cat Comics since 1989.

The Servant King - Cat Meakin - John 13:1-17 - 15/02/09 by Holy Trinity Church

This is a pretty mellow show, but I think it's a good one.  John Porcellino is the cartoonist between the long-running King-Cat mincomic series, and many collections and other books. One of them that Phil and I (Matt) recently read is Perfect Example, a true-life high school story, that has been described as a coming-of-age story which reads like a "goodbye to the familiar Road trips, drunken concerts, and late-night make-out sessions."  According to cartoonist Chris Ware, "John Porcellino's comics distill, in just a few lines and words, the feeling of simply being alive." We caught up with John Porcellino before he went to SPX, one of the mainstays on the indie comics convention calendar.  Phil and I talk with John P. about self-publishing, what he gained from his art school experience at NIU, the difference between the early days of alternative comics (the 80/90s) and now.  We also talk about doing comics for the love of it, and learning from the artwork (it really applies to writing, drawing, and music, as well) while you are making it.  And since we share the stateline region with John, I had to ask him about the changes from living in an urban/suburban environment to living in the more rural environment of South Beloit.

Little Freddie's real name is Fread E. Martin and he was born in McComb, Mississippi, July 19, 1940 down the road from Bo Diddley place. His father, Jessie James Martin, was a blues guitarist that worked the weekend southern circuit in the Delta. His father would bring him out on the town when he was out there playin. "I would go out there and sit around on the outside around the juke joints and listenin." He'd be playin and drinkin and everyone was havin' fun. Freddie eventually taught himself how to play guitar and develop his country-style blues or as he calls it "Gut Bucket Blues". At the age of 17, Freddie moved from the farm to New Orleans to stay with his sister. There he met such upcoming stars as Buddy Guy and Slim Harpo. However, adapting to life in the big city wasn't easy as Freddie explains. "I got lost all the time," he said. "All the houses looked the same. I had to get the police to take me home or else they'd arrest me. Finally one of the policemen told me to look at the street sign and the number on the houses. It got easy to get around after that." Freddie King