Podcasts about Kooper

Fresh off Memorial Day weekend and all of its misadventures, we accept the impossible mission of talking about running during a running podcast. But first – Summer GRIT is almost sold out, so get in if you still can. We also recap our past week of running, which included lost keys and trail runs in the Mount to Coast T1. Eventually, we talk about the Skechers Aero Spark, a really great trainer coming in at a $130 price point. This message will self destruct in five seconds.INDEX:0:00 Intro4:14 - Pickleball 6:18 - Memorial Day Weekend26:50 - Mount-To-Coast T1 32:18 - Summer GRIT / Ice Cream Talk43:49 - GRIT Gamblin'52:15 - Robbe's Pup54:35 - Mission: Impossible / Tom Cruise 1:01:46 - Bolder Boulder 1:02:40 - Skechers Aero SparkJOIN US ON THE RUN!Wednesday, June 4 @ 6:30 p.m.Global Run Day Crew Challenge w/ BITR, Charm City Run, and BrooksLocation: Patterson Park at Eastern & Linwood Ave., Baltimore, MDBring your crew, run some miles, get some Goodr sunglasses, and have a blast!Cost: FREERegister here: https://runsignup.com/Race/MD/Baltimore/GlobalRunningDayChallengePattersonParkSaturday, June 21 @ 8:00 a.m.Mount to Coast X BITR Trail Run - June 21, 8amLocation: Patapsco State Park, Soapstone Trail Head (park at Southwest Park and Ride, 1171 S. Rolling Road)Join us and Mount to Coast for the release of the all-new T1 trail shoe. We'll have 3 and 6.66 mile options followed by burgers from Kooper's food truck and apres run beverages. We'll also have multiple giveaways of Mount to Coast trail shoes!Cost: FREERSVP here: https://mailchi.mp/believeintherun/mounttocoastSUPPORT OUR SPONSORS!LMNTNEW FLAVOR ALERT! Squeeze the most out of summer with LMNT's new limited-time Lemonade Salt — salty, tart, and refreshing, it brings you the best of summer wherever you are. Get your free 8-count LMNT Sample Pack with any purchase: http://drinklmnt.com/thedropSWIFTWICKThe best running socks in the game, Swiftwick is made right here in the USA, which means no price increases on account of tariffs. We're always running in their socks and you should be too. The Drop listeners can get 15% off their first purchase with code BELIEVE15. Shop here: https://swiftwick.com/collections/believeLAGOON PILLOWSWe use Lagoon to get our best sleep and you should too. Featuring super soft covers, Certi-Pur foam and customizable features, they'll help you find the best pillow for your sleeping style. Visit them at http://lagoonsleep.com/believe and use the discount code BELIEVE for 15% off your first order.

Salud y Vida , invitado Dr. Alexander Kooper

Visionary of The Year hopeful Nick Schultz is joined by Mike DiGiacomo of the Better Business Bureau at Kooper's North in Mays Chapel on the Maryland Crab Cake Tour to give Nestor the business and fun of fundraising for Leukemia and Lymphoma Society's biggest soiree of the year and the events leading up to the big night in June. The post Visionary hopeful Nick Schultz and Mike DiGiacomo of BBB give Nestor the business of LLS fundraising and big events in May first appeared on Baltimore Positive WNST.

Terry Beck of Kooper's North shares his personal passion for beating leukemia and lymphoma and raising money for LLS through Burger Night and helping others like Nick Shultz from Heller Kowitz raise community funds for Visionary Of The Year to beat blood cancer. The post Terry Beck of Kooper's North shares personal passion for LLS, Burger Night and helping community raise funds to beat cancer first appeared on Baltimore Positive WNST.

After Bill Cole joined Nestor at Kooper's North on the Maryland Crab Cake Tour for a spring chat on zoo lights, solar power, bad pitching and the real cost of tariffs in industries like his at Cole Roofing and Gordian Energy, it inspired our intrepid host to take the Aparicio family over to Druid Hill Park for the Spring Illuminations. We highly recommend getting back to The Maryland Zoo with your family at sunset soon! The post Bill Cole joins Nestor at Kooper's North for spring chat on Zoo lights, solar power, pitching and tariffs first appeared on Baltimore Positive WNST.

Our local insurance expert and guiding light for premium information Pete Raimondi joins Nestor on the Maryland Crab Cake Tour at Kooper's North for a primer on policy review and being more educated about your insurance so you know the protection you need and who to call when things go wrong in real life. The post Pete Raimondi gives Nestor a primer of policy review for your insurance education and protection first appeared on Baltimore Positive WNST.

Nick Kooper joins the show!

As "A Cup Of Soup or Bowl" moved to Kooper's North, Jessica Normington of Blind Industries and Services of Maryland joined Nestor to open his eyes to the many needs of the blind community and how every citizen could help empower the incredible humans who inspire us all on the streets of Baltimore and beyond. And, Maurice, if you're still out there... The post Jessica Normington of BISM tells Nestor about supporting blind citizens and putting them to work first appeared on Baltimore Positive WNST.

Our on our second annual "A Cup of Soup Or Bowl Week," we welcomed a trio of ladies to Kooper's North whose volunteerism and work through the Greater Chesapeake Foundation benefits several groups focused on children and cancer and helping families in the fight. Let Monique Spagnola, Katie Caple and Gabby Reagoso tell you how you can help the kids. The post The work of Greater Chesapeake Foundation and Horizon Day Camp for kids battling cancer first appeared on Baltimore Positive WNST.

Our final stop for "A Cup Of Soup Or Bowl Week" was at Kooper's North in May Chapel, named after a dog, so it was appropriate that Kate Bell brought Nestor her safety story of true love for senior dogs. Reed's Rescue, whose mission is to provide care for older dogs, often overlooked in shelters, by placing them in foster homes and finding them adoptive families, was named after a dog named "Reed," whose name was inspired by a certain Baltimore Ravens' Hall of Famer. The post Kate Bell tells Nestor the safety story for senior dogs and Reed's Rescue first appeared on Baltimore Positive WNST.

The games are on, the music is perfect and the food is terrific, which is why we keep coming back to Kooper's North in Mays Chapel. And, of course, the gumbo! On the final day of "A Cup Of Soup Or Bowl," we reconvened with our favorite two-time cancer survivor Terry Beck, who tells his journey and support of LLS and many other charities via the "Burger Of The Month" in Timonium and Fell's Point. The post Terry Beck of Kooper's North shares his cancer journey and monthly burger glory with Nestor first appeared on Baltimore Positive WNST.

As "A Cup Of Soup Or Bowl" week moved around town, we were moved and inspired by all of the great things happening all over Baltimore. On Day 5 at Kooper's North, Nestor was joined by "No One Listens" documentary pal Gregg Landry of Towson Transfers and local media guru Chris Forhan, formerly of The Baltimore Banner, whose new local project spotlighting the "news you can use" approach of the new Towson Torch was a great way to discuss community and positive news right where WNST and Baltimore Positive reside. The post Chris Forhan of Towson Torch and Gregg Landry of Towson Transfers join Nestor to discuss community and positive news first appeared on Baltimore Positive WNST.

They are the Elton John and Bernie Taupin of Baltimore sports media – only gathering a few times a year and making podcasts, videos, blogs and radio from two different states for two decades at WNST Baltimore Positive. Luke Jones and Nestor Aparicio convene at Kooper's North on "A Cup Of Soup Or Bowl" to discuss the direction of 2025 Baltimore Orioles. It's baseball season, Birdland... The post Luke Jones and Nestor convene at Kooper's North to discuss direction of 2025 Baltimore Orioles first appeared on Baltimore Positive WNST.

In this special episode of the Trap Talk Podcast, we dive into the legacy of trapshooting with Randy Freston and his son, Kooper. Randy shares his incredible journey growing up in the sport, influenced by his father, a past ATA President, and how trapshooting has remained a family tradition. This episode explores the challenges, triumphs, and memorable moments of a multi-generational trapshooting family.Whether you're passionate about the sport or curious about its rich history, this episode is packed with inspiring stories and insights you won't want to miss!

Pred 31 rokmi vznikli dva samostatné štáty – Česká republika a Slovenská republika. Do podcastu Demagóg.sk prišli hostia, ktorí stoja na čele boja proti dezinformáciám v týchto krajinách. Čo je v týchto štátoch podobné a čo odlišné? Akým dezinformačným útokom čelia a je rozdiel v ich intenzite? Aj o tom diskutovala Veronika Jursová Prachárová v podcaste so šéfkou portálu Demagóg.sk Veronikou Frankovskou a šéfeditorom Demagog.cz Janom Fridrichovským.Veronika Frankovská vysvetlila, že hoci Demagog.cz vznikol v spolupráci s Demagóg.sk, v súčasnosti neexistujú žiadne personálne ani organizačné prepojenia. „Vždy boli však tie organizácie v kontakte a podporovali sa, alebo spolupracovali na rôznych projektoch. Kooperáciu sme v posledných rokoch opäť zintenzívnili,“ dodala.Jan Fridrichovský z Demagog.cz považuje za hlavnú odlišnosť medzi českým a slovenským informačným prostredím to, akú úlohu hrajú politici na konšpiračnej scéne. „Kým na Slovensku množstvo politikov spolupracuje s rôznymi aktérmi na tejto scéne a niektorí politici aj prišli z tohto prostredia, v Česku sa politici, ktorí sú zastúpení v parlamente alebo vo vláde, takejto spolupráci vyhýbajú.“ Podľa neho sa na konšpiračnej scéne v Česku objavujú skôr mimoparlamentní politici, ktorí však nemajú taký dosah.Veľkou podobnosťou podľa Fridrichovského je to, že Telegram slúži ako zdroj pre rôzne dezinformácie a zavádzajúce správy, ktoré sa následne šíria na ďalších platformách. „Na Telegrame sú veľmi silné vyslovene československé kanály, ktoré publikujú v oboch jazykoch, a rovnako aj ich publikum pochádza z Česka aj zo Slovenska,“ vysvetlil.Moderovala Veronika Jursová Prachárová.

The long awaited Utah Archery Bison Hunt episode. To share the story of Britt's unsusscessful Bison hunt. This one is a long episode but I decided to do this episode a little differently and bring on multiple friends: Nicole Martinez and Rendell Newman + my husband, Cody. Because hunting can sometimes be so much more than just the person who has the tag. “The Hunt” is often about the group, others who are willing to come spend their time to support you, put miles on their tires, boots and eyes. It's the wild encounters we each have and then coming back to camp to share them around the fire.  I had a hell of a support system, especially my husband and sons: Kooper and Rivers, who grinded it out with me, rooted for me and gave me encouragement and those little/big hugs when I needed them most. My dad making me a the coolest freezer on a trailer ready to go at any moment and brining supplies. Then the hunting buddies that came along for this wild ride, to help me cover ground and locate Bison. I thought it would be cool to bring on their perspectives and experiences. Without their relentlessness I would have missed out on a few of the opportunities that came my way.  Get ready to hear about some close encounters, bear hunts, making a stalk 8 yds away from bulls, adventures in getting our truck stuck, me getting to solo hunt for 3 days and lessons learned about Archery Bison Hunting. So without further ado. . . Here is the story of my Utah Archery Bison Hunt. Chapters: 0:00 - Intro 0:26 - Episode intro/what to expect 2:33 - Introducing Nicole & the night before the hunt  4:39 - Introducing Rendell 6:06 - Opening Morning  11:01 - Cody finds Koop a Bear  20:19 - Finding Buffalo/2nd Day 29:25 - Two big stalks on one day, Nicole's last day 53:40 - Nicole's final thoughts 58:09 - Just Rendell, Cody & Britt - Koop gets his bear 1:01:18 - Surviving the Elements - Getting our truck stuck & hiking out in storms  1:18:30 - Relocating the Bison 1:23:37 - Random Stalks throughout the Hunt & what we learned: HUGE bison at 109 yds 1:35:48 - The last full weekend of the hunt  1:44:08 - Lessons from close encounters: 25 yds away and 8 yds away 1:58:58 - Solo Hunting for days, thoughts as a female hunter 2:07:52 - The last day of the hunt 2:12:26 - Britt, Cody and Rendell's final thoughts on the hunt EPISODE MENTIONS:  MTN OPS for the best supplements and gear. Use code BRITT for 20% OFF your order! RUGGED ROAD COOLER GET 10% OFF your lightweight and organized cooler here or USE CODE: LONG Have Reckoning create content for your brand, learn more HERE! Follow Us on Social:  Nicole Martinez Rendell isn't public :) Cody Long Brittney Long IG Reckoning IG Affiliate Disclaimer.  Show Notes may contain affiliate links. If you click through my referral link, at no additional cost to you, I may earn a small commission if you make a purchase.  Thank you for supporting RECKONING LLC.

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I scored this green plastic 4 track cart of musical magic on Ebay, along with Bookends by Simon and Garfunkel, and The Live Adventures of Bloomfield and Kooper, Vol. 2. I needed to acquire an antiquated device through which to hear them because 4s don't play on standard 8 track machines, so I tracked down a heavy wooden Muntz cabinet model that still works. You have to change tracks with a lever - like an old time train conductor -  (which is thrilling enough by itself) - but when I heard Nick Gravenites crooning “Groovin' is Easy” and “Killin' Floor” through the jerry-rigged Jensen speakers,  I was hooked.  I read that Mike Bloomfield had first approached Mitch Ryder to be lead singer, but he didn't want to leave the Detroit Wheels.  Nick was a better fit. This writer of “Born in Chicago”, and collaborator with Janis Joplin and Quicksilver Messenger Service was the Chicago to California connection that made perfect sense at Monterrey, where the band debuted. I had forgotten that Bloomfield's mission when he first assembled his cracker jack, “All American” band, was to encompass more native musical genres and to seamlessly mix  R&B, Soul, Gospel, Country, and Pop. This was more than what the Chicago blues scene from which he emerged afforded. And, horns were part of the secret sauce. This happened at exactly the same time that Al Kooper's Blood, Sweat, and Tears were forming. Unfortunately, heroin, and other intrusions caused Bloomfield's band to break up before it could take its rightful crown, but this document, along with the soundtrack of Peter Fonda and Jack Nicholson's film, “The Trip” bears witness to their promised glory.  Groovin' may be easy, but Mike Bloomfield never did anything easy. 

Our favorite shows are the ones where we bring folks who don't know each other together under the same Baltimore Positive umbrella. The Maryland Crab Cake Tour at Kooper's Tavern in Fells Point convened longtime NFL player agent Chad Wiestling and Dave Sheinin of The Washington Post, who live 12 blocks apart near Patterson Park, to discuss the business of football, the Orioles and people. The post NFL agent Chad Wiestling and Dave Sheinin of The Washington Post talk business of football and people with Nestor first appeared on Baltimore Positive WNST.

Local NFL agent and former Terps football player Chad Wiestling tells Nestor about his passion for sports, his players at heart of his work and why he loves the Baltimore Orioles so much on the Maryland Crab Cake Tour at Kooper's Tavern in Fells Point at Oyster Fest. The post Local NFL agent Chad Wiestling tells Nestor about passion for sports and football players at heart of his work first appeared on Baltimore Positive WNST.

After a month in Paris covering the Olympics for The Washington Post, our favorite traveling Baltimore music maker, sports expert and local dude Dave Sheinin joins Nestor at Kooper's Pub on The Maryland Crab Cake Tour for a full recap of his summer French connection. The post Dave Sheinin of The Washington Post gives Nestor his Paris Olympics tales at Kooper's Fells Point first appeared on Baltimore Positive WNST.

Simon Kooper, a prominent Nama leader and freedom fighter, played a pivotal role in the resistance against colonial oppression in Namibia during the early 20th century. As a staunch advocate for the rights and dignity of the Nama people, Kooper's leadership was instrumental in mobilizing resistance against German colonial rule, which sought to exploit and subjugate his community. His commitment to justice and sovereignty was evident in his efforts to unify disparate groups under a common cause, aiming to restore autonomy and protect traditional lands. Kooper's legacy is marked by his courageous stand against systemic injustice and his enduring influence on the ongoing struggle for indigenous rights and self-determination in Namibia. His story remains a testament to the resilience and determination of those who fought for a more equitable future. Produced by Shaldon Ferris (Khoi/San) Interviewee Nichodimas Cooper (Nama) Image: Simon Kooper (Wiki Commons) Music: Saami Drum by Tyler, used with permission. Ncuuki Song by Ouma Katrina, used with permission. "Burn your village to the ground", by The Haluci Nation, used with permission.

“I wasn't bound to a style,” Al Kooper has said. He was talking about his guitar playing but just as easily could have been talking about the totality of Al Kooper, songwriter, musician, singer, producer, band director. “If anything, I was known for being in the right place at the right time and playing the right thing.” Kooper has been at the heart of rock & roll's time/space continuum for much of its history.Southside Johnny and the Asbury Jukes emerged from the New Jersey Shore in 1974. Though they carried a significant influence (and some key personnel) from Bruce Springsteen and the E Street Band, the Jukes evolved as more of a white R&B horn band in the Memphis tradition embodied by Stax Records. Organized by singer John “Southside Johnny” Lyon, guitarist and songwriter Steve Van Zandt (who decamped for the E Street Band in 1975 but continued to produce, manage, and write songs for the Jukes), and Richie “La Bamba” Rosenberg, the band is well known for its high-energy live shows and no-holds-barred songs.The Jukes' brand of raucous soul, roots-tinged rock, and bluesy reverie has flourished across the band's long career. Rolling Stone named Hearts of Stone one of the top 100 albums of the 1970s and '80s.

Last week, they did the podcast at Kooper's Tavern in Fell's Point and now Bill Cole and Nestor reconvene after Maryland Fleet and Pride Weekend in Baltimore with tales of a city that shined with happy Philly tourists and plenty of pride. The post Bill Cole and Nestor reconvene after Maryland Fleet and Pride Weekend in Baltimore with tales of revival first appeared on Baltimore Positive WNST.

What do you do when your family is in danger? Whatever you have to do to save them. And at Initiatech we are a family so you better believe Peri, Kooper, Spike, and Don are going to do everything in their power to help rescue the entire company from the clutches of the evil forces ruining their corporate aquarium retreat! That is, assuming they can survive the cybernetically enhanced octopi menacingly approaching them and find where the rest of the employees are being held. Don't waste another second, listen to part 2 of our hilarious corporate calamity right now and find out what happens! Follow the podcast's socials! Instagram:⁠ ⁠⁠⁠@talltale_tavern_podcast⁠⁠⁠⁠ YouTube:⁠ ⁠⁠⁠@TalltaleTavernPodcast⁠⁠⁠⁠ TikTok:⁠ ⁠⁠⁠@TalltaleTavernPodcast⁠⁠ Plus, join our ⁠discord! Special thanks to our Employee of the Month and DM! Mitch 'Bones' Graser - Follow him on twitter @knownasbones Thank you to our players! Jared Kilmer as Kooper the Tortle Paladin - Find him on social media @Jaredkilmer And if you're a geek and/or gamer who feels a need for psychological services please reach out to savepointbh.com Evan Graser as Peri the Harengon Barbarian - He has no social media and doesn't want you to bother him. Kyle Davidson as Spike the Yuan Ti Warlock - Follow his podcast The Talltale Tavern Scott Esmond as Don the Simic Hybrid Monk - Also follow his podcast The Talltale Tavern Talltale Tavern Theme song: Tyler Adelsperger Podcast Artwork: ⁠Zaezar (twitch.tv/zaezar)⁠ Additional Music: Celtic Ambiance by Alexander Nakarada (www.serpentsoundstudios.com) Battlefield by Alexander Nakarada (www.serpentsoundstudios.com)

When it's tough to park and the hotels are full and the Phillies and Orioles are sold out all weekend, life is good in the land of pleasant living. Bill Cole joins Nestor for Maryland Fleet Week and Baltimore Pride at Kooper's Tavern in Fell's Point where the vibrancy of our hometown is on display. The post Billy Cole joins Nestor for Fleet Week and Baltimore Pride at Kooper's Tavern in Fell's Point first appeared on Baltimore Positive WNST.

As the Maryland Crab Cake Tour presented by the Maryland Lottery, Liberty Pure Solutions and Jiffy Lube returned to Kooper's North, general manager Terry Beck and owner Patrick Russell discuss the legend and growth of Fell's Point and the joys of being longtime and local with Nestor. The post Terry Beck and Patrick Russell discuss the legend of Kooper's and joys of being longtime and local with Nestor first appeared on Baltimore Positive WNST.

The Maryland Crab Cake Tour returned to Kooper's North in Timonium to discuss all of the reasons to get back to the original Kooper's Tavern in Fell's Point for this week's big Fleet Week celebration. Let our old friend Patrick Russell tell you how the folks at Broadway and Thames plan to welcome the ships and flyovers. The post Patrick Russell of Kooper's Tavern tells Nestor about big Baltimore Fleet Week plans in Fell's Point first appeared on Baltimore Positive WNST.

Longtime public relations executive Dorothy Fuchs joins Nestor at Kooper's North on the Maryland Crab Cake Tour to share all of the details of the Maryland Fleet Week schedule and activities for downtown Baltimore and Fell's Point – on the ground and in the air for kids of all ages. The post Dorothy Fuchs joins Nestor at Kooper's North to share Fleet Week schedule and activities for downtown Baltimore first appeared on Baltimore Positive WNST.

#59: Join Britt and her family around the campfire on their first camping trip of 2024 scouting and looking for sheds. She is joined by her son Rivers where they discuss, Britt and Rivs shed hunting together, and their camping adventures and he shares his favorite gear and advice for kids going outdoors/hiking. Her husband Cody joins her to discuss his tips for the first camping trip of the year, PSA to check your trailers, their favorite camping meals as a family, the menu they have for the weekend and discuss his shed that he found. Kooper comes on to talk about his shed hunt, his experience at the Western Hunting Expo, and his current gear favorites as a teenager for the outdoors.  Read the article, shop suggestions and show notes HERE. Get our FAVORITE links, codes & more here! EPISODE MENTIONS:  Have Reckoning create content for your brand, learn more HERE! MTN OPS for the best supplements and gear. Use code BRITT for 20% OFF your order! RUGGED ROAD COOLER GET 10% OFF your lightweight and organized cooler here or USE CODE: LONG CAMOFIRE for 50-70% Off On Hunting Gear From Stealthcam, Vortex, Mystery Ranch and more! TONIC SITE SHOP for customized website designs, use code RECKONING15 for 15% OFF! Follow Us on Social:  Cody's IG Brittney Long IG Reckoning IG Britt's TikTok Affiliate Disclaimer.  Show Notes may contain affiliate links.  If you click through my referral link, at no additional cost to you, I may earn a small commission if you make a purchase.  Thank you for supporting RECKONING LLC.

Kooper, 79, is a multi-instrumentalist and composer who's played with the likes of The Rolling Stones, The Who and Jimi Hendrix and has created and produced for top bands.

In this episode we talk about all things NBA Free-Agency! It started at 3pm PST on Friday and it has been non stop action since. We get into our overrated signings and our underrated signings. We talk Dame requesting a trade and where we think he lands. Also where we think Harden ends up. We then hear from our good friend Kooper Blair in an interview we have been wanting to post for a while now! We talk about all things MLB and baseball in general! (50:00)

Hoy recibimos gratamente al músico venezolanos establecido en Chile, nuestro amigo Luis Kooper, bajista y vocalista de los metaleros Limitless. Luis estará compartiendo con nosotros todo lo pertinente a la banda y el futuro lanzamiento de su próximo trabajo discográfico. De la misma manera estaremos conversando acerca de diversos tópicos musicales, tales como Metallica, Megadeth, Sepultura, la inteligencia artificial en la música y mucho más. Hosted on Acast. See acast.com/privacy for more information. --- Send in a voice message: https://podcasters.spotify.com/pod/show/trascendenciave/message

 We answer questions about the idea of Kooper movie, about maybe not sending Al your demos, life in Queens in the old days, and a short interview with Nilly the Dog who is our canine commentator.

Today's Reframed Brain episode focuses on the power of understanding and embracing naturopathic medicine with guest Dr. Daisey Anglow, ND, Owner and Founder of Render Natural Wellness.   Please subscribe and like The Reframed Brain Podcast YouTube channel today!   Dr. Anglow is a State of Arizona Licensed Naturopathic Family Medicine physician. She has an extensive nutrition science background. She earned a Bachelor in Nutrition Science, Dietetics and Biology from Syracuse University in New York. She is a health educator, a writer and blogger featured in multiple publications.    After university in New York she worked at the Dana Farber Cancer Institute in Boston while earning her certificate in medical Spanish from Boston College. She became passionate about  Naturopathic Medicine through her high school years battling her own health struggles with asthma and weight gain and looking for ways to help herself. Growing up in a family of 12 doctors, she is the first Naturopathic Physician.    She understands both the conventional and naturopathic world and thus provide her patients the best integrative wellness protocol possible.    After graduating from the Southwest College of Naturopathic Medicine she was accepted in one of the few prestigious residency program in the country. Upon completion of her Family Medicine Residency, she has now an overall 8 years of experience in the health field.    Her first language is French. Being fluent in French and Spanish allows her to give back to multiple Spanish speaking health clinics. During her free time she enjoys volunteering, pilates and boxing. She is an avid cook, reader and dog mom to her 2-year old Bichon poodle named Kooper. Follow her and him on social media @drdaiseyanglow for daily content and stories.   Clean eating mentioned in podcast (Environmental Working Group/EWG):  https://www.ewg.org/apps/    You can connect with Dr. Daisey here:   Website: https://rendernaturalwellness.com/our-practice-focus   IG: https://www.instagram.com/drdaiseyanglow/   YouTube: https://www.youtube.com/channel/UCsK58nVCgHne0Vb8mJwDQ3g?app=desktop   Book your appointment: https://rendernaturalwellness.com/   If you or someone you know may be considering death by suicide, please, please call or text one of the numbers. You are loved and not alone.   Call or Text 988 National Suicide Prevention Lifeline 24/7 1–800–273–8255   National Institute of Mental Health  Text HOME to 741741 to connect with a Crisis Counselor 24/7   National Institute of Mental Health WhatsApp: https://api.whatsapp.com/send/?phone=...   Disclaimer: Erica Savage is not a medical practitioner, therapist, or counselor. This podcast is not a substitute for medical or mental health services. Erica's brain health expertise is centered in having sustained a traumatic brain injury in March 2021 and having to adapt a new life managing disabilities and chronic illness brought on by the brain injury. Erica's life is one involving active healing and advocacy for health disparities.

Gary Kooper is a Trainer, Coach, Mentor, Speaker, and Author. Gary Kooper has spent his professional career in the Industrial and Consumer packaging industry leading multiple world class business functions and teams for one of the largest packaging companies in the world.  Throughout his tenure, Gary and his teams were able to bring about world-class operational improvements as well as meet the needs of the most demanding consumer and industrial packaging organizations in the world.     The foundation of his message is “It's Up To Me I Can Make a Difference.” Through his company, Kooper Leadership Academy, whose mission is “To engage the hearts and minds of individuals, empowering them to consider the value they bring to themselves and others on a daily basis,” Gary is creating and developing more leaders to help individuals, communities, and organizations become the best they can be.     https://lnkd.in/gu8_fjvS

Sam Paddor and Al Kooper discuss Al's experiences recording Bob Dylan's "Like a Rolling Stone", The Rolling Stones' "You Can't Always Get What You Want" and producing with Lynyrd Skynyrd. Al Kooper's Website: https://alkooper.com My Back Pages Website: https://www.mybackpages.org

This week Britt is joined by her oldest son, Kooper and her husband, Cody to discuss Koop's Youth Idaho Deer Hunt.  Where he got his first deer!  Their youngest makes a special apperance with some of his thoughts too.  Hear their exprience hunting as a family, camping for 10 days and hear the unique perspective of an 11 year old hunter on what it's like to hunt, tips for young hunters and a few suggestions for adults introducing youth to the outdoors. Plus, hunting gear, clothes and backpack recommendations for the youth, from the youth. This episode is truly the chaos and fun you get when haging out with them around the campfire.  READ OR SHOP THE ARTICLE HERE! Get our FAVORITE links, codes & more here! EPISODE MENTIONS: TONIC SITE SHOP for customized website designs, use code RECKONING15 for 15% OFF! MTN OPS for the best supplements and gear use code BRITTFREESHIP for FREE shipping! CAMOFIRE for 50-70% Off On Hunting Gear From Stealthcam, Vortex, Mystery Ranch and more! Follow Us on Social:  Britt's TikTok Brittney Long Cody Long IG RECKONING Affiliate Disclaimer.  Show Notes may contain affiliate links.  If you click through my referral link, at no additional cost to you, I may earn a small commission if you make a purchase.  Thank you for supporting RECKONING LLC. Production music courtesy of www.epidemicsound.com

: On today's episode Gary Kooper shares the importance of empowering employees to embrace their passion and create more leaders within organizations. Listen in as Deborah and Gary discuss strategies for motivating your team, the importance of family support, and how three decades in the leadership experience inspired him to create an academy for future leaders.   Gary Kooper is a proven and skilled Leader, Trainer, Coach, Mentor, Speaker, and Author. He has spent his professional career in the Industrial and Consumer packaging industry leading multiple world class business functions and teams for one of the largest packaging companies in the world. Throughout his tenure Gary and his teams were able to bring about world class operational improvements as well as meet the needs of the most demanding consumer and industrial packaging organizations in the world.   His determination to achieve business results through process discipline and the pursuit of excellence would earn him Director roles leading some of the most talented manufacturing leaders in the industry. Gary's various roles provided him the opportunity to travel the globe spending time in 180 factories, training, developing, and building his teams. Through this experience Gary has learned that leaders who engage, inspire, and build trust have the biggest impact on the most important individuals of any organization…. The Front Line.   Gary has utilized his leadership experience, operational experience, mentoring experience, and coaching experience, to help shape and influence many individuals and teams professionally and outside his organization. Gary led his team to historic performance during the pandemic despite extreme supply chain challenges, including labor and material shortages. Did it by creating a culture of creative problem solving, agility, and most of all teamwork, utilizing everyone's talents.   The foundation of his message is “It's Up To Me I Can Make a Difference” and it's through his company, Kooper Leadership Academy, and its mission – “To engage the hearts and minds of individuals, empowering them to consider the value they bring to themselves and others on a daily basis” that he is creating and developing more leaders to help individuals, communities, and organizations become the best they can be. Gary has been married for 29 years, has 4 children, 1 granddaughter, and his life's philosophy is “Every day is a great day some are just better than others”   You can connect with Gary in the following ways: Instagram:  @kooper_leadership_academy Linkedin:  https://www.linkedin.com/in/gary-kooper-689b3733/   Whether you are a C-Suite Leader of today or tomorrow, take charge of your career with confidence and leverage the insights of The CEO's Compass: Your Guide to Get Back on Track.  To learn more about The CEO's Compass, you can get your copy here: https://amzn.to/3AKiflR See omnystudio.com/listener for privacy information.

Kooper and Derek talk about the Crest Ridge game and season goals. They discuss managing work and sports along with aliens and finishing the season stronghttps://youtube.com/@platesandpancakes4593https://instagram.com/voodoo4power?igshid=YmMyMTA2M2Y=https://voodoo4ranch.com/To possibly be a guest or support the show email Voodoo4ranch@gmail.comhttps://www.paypal.com/paypalme/voodoo4ranch

Leonard Raskin joins Nestor at Kooper's North for a serious fall financial sit down and some money wisdom

Have you ever thought about investing in real estate, but don't have the knowledge, education, or blueprint to get started? Fearless Flipping is your answer! Learn powerful tips, tricks, and practices from expert investors on how to get started and create financial freedom with real estate investing. Our weekly shows will empower you to conquer real estate investing!

Episode 152 of A History of Rock Music in Five Hundred Songs looks at “For What It's Worth”, and the short but eventful career of Buffalo Springfield. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "By the Time I Get to Phoenix" by Glen Campbell. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, there's a Mixcloud mix containing all the songs excerpted in the episode. This four-CD box set is the definitive collection of Buffalo Springfield's work, while if you want the mono version of the second album, the stereo version of the first, and the final album as released, but no demos or outtakes, you want this more recent box set. For What It's Worth: The Story of Buffalo Springfield by Richey Furay and John Einarson is obviously Furay's version of the story, but all the more interesting for that. For information on Steve Stills' early life I used Stephen Stills: Change Partners by David Roberts.  Information on both Stills and Young comes from Crosby, Stills, Nash, and Young by David Browne.  Jimmy McDonough's Shakey is the definitive biography of Neil Young, while Young's Waging Heavy Peace is his autobiography. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before we begin -- this episode deals with various disabilities. In particular, there are descriptions of epileptic seizures that come from non-medically-trained witnesses, many of whom took ableist attitudes towards the seizures. I don't know enough about epilepsy to know how accurate their descriptions and perceptions are, and I apologise if that means that by repeating some of their statements, I am inadvertently passing on myths about the condition. When I talk about this, I am talking about the after-the-fact recollections of musicians, none of them medically trained and many of them in altered states of consciousness, about events that had happened decades earlier. Please do not take anything said in a podcast about music history as being the last word on the causes or effects of epileptic seizures, rather than how those musicians remember them. Anyway, on with the show. One of the things you notice if you write about protest songs is that a lot of the time, the songs that people talk about as being important or impactful have aged very poorly. Even great songwriters like Bob Dylan or John Lennon, when writing material about the political events of the time, would write material they would later acknowledge was far from their best. Too often a song will be about a truly important event, and be powered by a real sense of outrage at injustice, but it will be overly specific, and then as soon as the immediate issue is no longer topical, the song is at best a curio. For example, the sentencing of the poet and rock band manager John Sinclair to ten years in prison for giving two joints to an undercover police officer was hugely controversial in the early seventies, but by the time John Lennon's song about it was released, Sinclair had been freed by the Supreme Court, and very, very few people would use the song as an example of why Lennon's songwriting still has lasting value: [Excerpt: John Lennon, "John Sinclair"] But there are exceptions, and those tend to be songs where rather than talking about specific headlines, the song is about the emotion that current events have caused. Ninety years on from its first success, for example, "Brother, Can You Spare a Dime?" still has resonance, because there are still people who are put out of work through no fault of their own, and even those of us who are lucky enough to be financially comfortable have the fear that all too soon it may end, and we may end up like Al begging on the streets: [Excerpt: Rudy Vallee, "Brother Can You Spare a Dime?"] And because of that emotional connection, sometimes the very best protest songs can take on new lives and new meanings, and connect with the way people feel about totally unrelated subjects. Take Buffalo Springfield's one hit. The actual subject of the song couldn't be any more trivial in the grand scheme of things -- a change in zoning regulations around the Sunset Strip that meant people under twenty-one couldn't go to the clubs after 10PM, and the subsequent reaction to that -- but because rather than talking about the specific incident, Steve Stills instead talked about the emotions that it called up, and just noted the fleeting images that he was left with, the song became adopted as an anthem by soldiers in Vietnam. Sometimes what a song says is nowhere near as important as how it says it. [Excerpt: Buffalo Springfield, "For What It's Worth"] Steve Stills seems almost to have been destined to be a musician, although the instrument he started on, the drums, was not the one for which he would become best known. According to Stills, though, he always had an aptitude for rhythm, to the extent that he learned to tapdance almost as soon as he had learned to walk. He started on drums aged eight or nine, after somebody gave him a set of drumsticks. After his parents got sick of him damaging the furniture by playing on every available surface, an actual drum kit followed, and that became his principal instrument, even after he learned to play the guitar at military school, as his roommate owned one. As a teenager, Stills developed an idiosyncratic taste in music, helped by the record collection of his friend Michael Garcia. He didn't particularly like most of the pop music of the time, but he was a big fan of pre-war country music, Motown, girl-group music -- he especially liked the Shirelles -- and Chess blues. He was also especially enamoured of the music of Jimmy Reed, a passion he would later share with his future bandmate Neil Young: [Excerpt: Jimmy Reed, "Baby, What You Want Me To Do?"] In his early teens, he became the drummer for a band called the Radars, and while he was drumming he studied their lead guitarist, Chuck Schwin.  He said later "There was a whole little bunch of us who were into kind of a combination of all the blues guys and others including Chet Atkins, Dick Dale, and Hank Marvin: a very weird cross-section of far-out guitar players." Stills taught himself to play like those guitarists, and in particular he taught himself how to emulate Atkins' Travis-picking style, and became remarkably proficient at it. There exists a recording of him, aged sixteen, singing one of his own songs and playing finger-picked guitar, and while the song is not exactly the strongest thing I've ever heard lyrically, it's clearly the work of someone who is already a confident performer: [Excerpt: Stephen Stills, "Travellin'"] But the main reason he switched to becoming a guitarist wasn't because of his admiration for Chet Atkins or Hank Marvin, but because he started driving and discovered that if you have to load a drum kit into your car and then drive it to rehearsals and gigs you either end up bashing up your car or bashing up the drum kit. As this is not a problem with guitars, Stills decided that he'd move on from the Radars, and join a band named the Continentals as their rhythm guitarist, playing with lead guitarist Don Felder. Stills was only in the Continentals for a few months though, before being replaced by another guitarist, Bernie Leadon, and in general Stills' whole early life is one of being uprooted and moved around. His father had jobs in several different countries, and while for the majority of his time Stills was in the southern US, he also ended up spending time in Costa Rica -- and staying there as a teenager even as the rest of his family moved to El Salvador. Eventually, aged eighteen, he moved to New Orleans, where he formed a folk duo with a friend, Chris Sarns. The two had very different tastes in folk music -- Stills preferred Dylan-style singer-songwriters, while Sarns liked the clean sound of the Kingston Trio -- but they played together for several months before moving to Greenwich Village, where they performed together and separately. They were latecomers to the scene, which had already mostly ended, and many of the folk stars had already gone on to do bigger things. But Stills still saw plenty of great performers there -- Miles Davis and Dizzy Gillespie and Thelonius Monk in the jazz clubs, Woody Allen, Lenny Bruce, and Richard Pryor in the comedy ones, and Simon and Garfunkel, Richie Havens, Fred Neil and Tim Hardin in the folk ones -- Stills said that other than Chet Atkins, Havens, Neil, and Hardin were the people most responsible for his guitar style. Stills was also, at this time, obsessed with Judy Collins' third album -- the album which had featured Roger McGuinn on banjo and arrangements, and which would soon provide several songs for the Byrds to cover: [Excerpt: Judy Collins, "Turn, Turn, Turn"] Judy Collins would soon become a very important figure in Stills' life, but for now she was just the singer on his favourite record. While the Greenwich Village folk scene was no longer quite what it had been a year or two earlier, it was still a great place for a young talented musician to perform. As well as working with Chris Sarns, Stills also formed a trio with his friend John Hopkins and a banjo player called Peter Tork who everyone said looked just like Stills. Tork soon headed out west to seek his fortune, and then Stills got headhunted to join the Au Go Go Singers. This was a group that was being set up in the same style as the New Christy Minstrels -- a nine-piece vocal and instrumental group that would do clean-sounding versions of currently-popular folk songs. The group were signed to Roulette Records, and recorded one album, They Call Us Au-Go-Go Singers, produced by Hugo and Luigi, the production duo we've previously seen working with everyone from the Tokens to the Isley Brothers. Much of the album is exactly the same kind of thing that a million New Christy Minstrels soundalikes were putting out -- and Stills, with his raspy voice, was clearly intended to be the Barry McGuire of this group -- but there was one exception -- a song called "High Flyin' Bird", on which Stills was able to show off the sound that would later make him famous, and which became so associated with him that even though it was written by Billy Edd Wheeler, the writer of "Jackson", even the biography of Stills I used in researching this episode credits "High Flyin' Bird" as being a Stills original: [Excerpt: The Au-Go-Go Singers, "High Flyin' Bird"] One of the other members of the Au-Go-Go Singers, Richie Furay, also got to sing a lead vocal on the album, on the Tom Paxton song "Where I'm Bound": [Excerpt: The Au-Go-Go Singers, "Where I'm Bound"] The Au-Go-Go Singers got a handful of dates around the folk scene, and Stills and Furay became friendly with another singer playing the same circuit, Gram Parsons. Parsons was one of the few people they knew who could see the value in current country music, and convinced both Stills and Furay to start paying more attention to what was coming out of Nashville and Bakersfield. But soon the Au-Go-Go Singers split up. Several venues where they might otherwise have been booked were apparently scared to book an act that was associated with Morris Levy, and also the market for big folk ensembles dried up more or less overnight when the Beatles hit the music scene. But several of the group -- including Stills but not Furay -- decided they were going to continue anyway, and formed a group called The Company, and they went on a tour of Canada. And one of the venues they played was the Fourth Dimension coffee house in Fort William, Ontario, and there their support act was a rock band called The Squires: [Excerpt: The Squires, "(I'm a Man And) I Can't Cry"] The lead guitarist of the Squires, Neil Young, had a lot in common with Stills, and they bonded instantly. Both men had parents who had split up when they were in their teens, and had a successful but rather absent father and an overbearing mother. And both had shown an interest in music even as babies. According to Young's mother, when he was still in nappies, he would pull himself up by the bars  of his playpen and try to dance every time he heard "Pinetop's Boogie Woogie": [Excerpt: Pinetop Smith, "Pinetop's Boogie Woogie"] Young, though, had had one crucial experience which Stills had not had. At the age of six, he'd come down with polio, and become partially paralysed. He'd spent months in hospital before he regained his ability to walk, and the experience had also affected him in other ways. While he was recovering, he would draw pictures of trains -- other than music, his big interest, almost an obsession, was with electric train sets, and that obsession would remain with him throughout his life -- but for the first time he was drawing with his right hand rather than his left. He later said "The left-hand side got a little screwed. Feels different from the right. If I close my eyes, my left side, I really don't know where it is—but over the years I've discovered that almost one hundred percent for sure it's gonna be very close to my right side … probably to the left. That's why I started appearing to be ambidextrous, I think. Because polio affected my left side, and I think I was left-handed when I was born. What I have done is use the weak side as the dominant one because the strong side was injured." Both Young's father Scott Young -- a very famous Canadian writer and sports broadcaster, who was by all accounts as well known in Canada during his lifetime as his son -- and Scott's brother played ukulele, and they taught Neil how to play, and his first attempt at forming a group had been to get his friend Comrie Smith to get a pair of bongos and play along with him to Preston Epps' "Bongo Rock": [Excerpt: Preston Epps, "Bongo Rock"] Neil Young had liked all the usual rock and roll stars of the fifties  -- though in his personal rankings, Elvis came a distant third behind Little Richard and Jerry Lee Lewis -- but his tastes ran more to the more darkly emotional. He loved "Maybe" by the Chantels, saying "Raw soul—you cannot miss it. That's the real thing. She was believin' every word she was singin'." [Excerpt: The Chantels, "Maybe"] What he liked more than anything was music that had a mainstream surface but seemed slightly off-kilter. He was a major fan of Roy Orbison, saying, "it's almost impossible to comprehend the depth of that soul. It's so deep and dark it just keeps on goin' down—but it's not black. It's blue, deep blue. He's just got it. The drama. There's something sad but proud about Roy's music", and he would say similar things about Del Shannon, saying "He struck me as the ultimate dark figure—behind some Bobby Rydell exterior, y'know? “Hats Off to Larry,” “Runaway,” “Swiss Maid”—very, very inventive. The stuff was weird. Totally unaffected." More surprisingly, perhaps, he was a particular fan of Bobby Darin, who he admired so much because Darin could change styles at the drop of a hat, going from novelty rock and roll like "Splish Splash" to crooning "Mack The Knife" to singing Tim Hardin songs like "If I Were a Carpenter", without any of them seeming any less authentic. As he put it later "He just changed. He's completely different. And he's really into it. Doesn't sound like he's not there. “Dream Lover,” “Mack the Knife,” “If I Were a Carpenter,” “Queen of the Hop,” “Splish Splash”—tell me about those records, Mr. Darin. Did you write those all the same day, or what happened? He just changed so much. Just kinda went from one place to another. So it's hard to tell who Bobby Darin really was." And one record which Young was hugely influenced by was Floyd Cramer's country instrumental, "Last Date": [Excerpt: Floyd Cramer, "Last Date"] Now, that was a very important record in country music, and if you want to know more about it I strongly recommend listening to the episode of Cocaine and Rhinestones on the Nashville A-Team, which has a long section on the track, but the crucial thing to know about that track is that it's one of the earliest examples of what is known as slip-note playing, where the piano player, before hitting the correct note, briefly hits the note a tone below it, creating a brief discord. Young absolutely loved that sound, and wanted to make a sound like that on the guitar. And then, when he and his mother moved to Winnipeg after his parents' divorce, he found someone who was doing just that. It was the guitarist in a group variously known as Chad Allan and the Reflections and Chad Allan and the Expressions. That group had relatives in the UK who would send them records, and so where most Canadian bands would do covers of American hits, Chad Allan and the Reflections would do covers of British hits, like their version of Geoff Goddard's "Tribute to Buddy Holly", a song that had originally been produced by Joe Meek: [Excerpt: Chad Allan and the Reflections, "Tribute to Buddy Holly"] That would later pay off for them in a big way, when they recorded a version of Johnny Kidd and the Pirates' "Shakin' All Over", for which their record label tried to create an air of mystery by releasing it with no artist name, just "Guess Who?" on the label. It became a hit, the name stuck, and they became The Guess Who: [Excerpt: The Guess Who, "Shakin' All Over"] But at this point they, and their guitarist Randy Bachman, were just another group playing around Winnipeg. Bachman, though, was hugely impressive to Neil Young for a few reasons. The first was that he really did have a playing style that was a lot like the piano style of Floyd Cramer -- Young would later say "it was Randy Bachman who did it first. Randy was the first one I ever heard do things on the guitar that reminded me of Floyd. He'd do these pulls—“darrr darrrr,” this two-note thing goin' together—harmony, with one note pulling and the other note stayin' the same." Bachman also had built the first echo unit that Young heard a guitarist play in person. He'd discovered that by playing with the recording heads on a tape recorder owned by his mother, he could replicate the tape echo that Sam Phillips had used at Sun Studios -- and once he'd attached that to his amplifier, he realised how much the resulting sound sounded like his favourite guitarist, Hank Marvin of the Shadows, another favourite of Neil Young's: [Excerpt: The Shadows, "Man of Mystery"] Young soon started looking to Bachman as something of a mentor figure, and he would learn a lot of guitar techniques second hand from Bachman -- every time a famous musician came to the area, Bachman would go along and stand right at the front and watch the guitarist, and make note of the positions their fingers were in. Then Bachman would replicate those guitar parts with the Reflections, and Neil Young would stand in front of him and make notes of where *his* fingers were. Young joined a band on the local circuit called the Esquires, but soon either quit or was fired, depending on which version of the story you choose to believe. He then formed his own rival band, the Squires, with no "e", much to the disgust of his ex-bandmates. In July 1963, five months after they formed, the  Squires released their first record, "Aurora" backed with "The Sultan", on a tiny local label. Both tracks were very obviously influenced by the Shadows: [Excerpt: The Squires, "Aurora"] The Squires were a mostly-instrumental band for the first year or so they were together, and then the Beatles hit North America, and suddenly people didn't want to hear surf instrumentals and Shadows covers any more, they only wanted to hear songs that sounded a bit like the Beatles. The Squires started to work up the appropriate repertoire -- two songs that have been mentioned as in their set at this point are the Beatles album track "It Won't Be Long", and "Money" which the Beatles had also covered -- but they didn't have a singer, being an instrumental group. They could get in a singer, of course, but that would mean splitting the money with another person. So instead, the guitarist, who had never had any intention of becoming a singer, was more or less volunteered for the role. Over the next eighteen months or so the group's repertoire moved from being largely instrumental to largely vocal, and the group also seem to have shuttled around a bit between two different cities -- Winnipeg and Fort William, staying in one for a while and then moving back to the other. They travelled between the two in Young's car, a Buick Roadmaster hearse. In Winnipeg, Young first met up with a singer named Joni Anderson, who was soon to get married to Chuck Mitchell and would become better known by her married name. The two struck up a friendship, though by all accounts never a particularly close one -- they were too similar in too many ways; as Mitchell later said “Neil and I have a lot in common: Canadian; Scorpios; polio in the same epidemic, struck the same parts of our body; and we both have a black sense of humor". They were both also idiosyncratic artists who never fit very well into boxes. In Fort William the Squires made a few more records, this time vocal tracks like "I'll Love You Forever": [Excerpt: The Squires, "I'll Love You Forever"] It was also in Fort William that Young first encountered two acts that would make a huge impression on him. One was a group called The Thorns, consisting of Tim Rose, Jake Holmes, and Rich Husson. The Thorns showed Young that there was interesting stuff being done on the fringes of the folk music scene. He later said "One of my favourites was “Oh Susannah”—they did this arrangement that was bizarre. It was in a minor key, which completely changed everything—and it was rock and roll. So that idea spawned arrangements of all these other songs for me. I did minor versions of them all. We got into it. That was a certain Squires stage that never got recorded. Wish there were tapes of those shows. We used to do all this stuff, a whole kinda music—folk-rock. We took famous old folk songs like “Clementine,” “She'll Be Comin' 'Round the Mountain,” “Tom Dooley,” and we did them all in minor keys based on the Tim Rose arrangement of “Oh Susannah.” There are no recordings of the Thorns in existence that I know of, but presumably that arrangement that Young is talking about is the version that Rose also later did with the Big 3, which we've heard in a few other episodes: [Excerpt: The Big 3, "The Banjo Song"] The other big influence was, of course, Steve Stills, and the two men quickly found themselves influencing each other deeply. Stills realised that he could bring more rock and roll to his folk-music sound, saying that what amazed him was the way the Squires could go from "Cottonfields" (the Lead Belly song) to "Farmer John", the R&B song by Don and Dewey that was becoming a garage-rock staple. Young in turn was inspired to start thinking about maybe going more in the direction of folk music. The Squires even renamed themselves the High-Flying Birds, after the song that Stills had recorded with the Au Go Go Singers. After The Company's tour of Canada, Stills moved back to New York for a while. He now wanted to move in a folk-rock direction, and for a while he tried to persuade his friend John Sebastian to let him play bass in his new band, but when the Lovin' Spoonful decided against having him in the band, he decided to move West to San Francisco, where he'd heard there was a new music scene forming. He enjoyed a lot of the bands he saw there, and in particular he was impressed by the singer of a band called the Great Society: [Excerpt: The Great Society, "Somebody to Love"] He was much less impressed with the rest of her band, and seriously considered going up to her and asking if she wanted to work with some *real* musicians instead of the unimpressive ones she was working with, but didn't get his nerve up. We will, though, be hearing more about Grace Slick in future episodes. Instead, Stills decided to move south to LA, where many of the people he'd known in Greenwich Village were now based. Soon after he got there, he hooked up with two other musicians, a guitarist named Steve Young and a singer, guitarist, and pianist named Van Dyke Parks. Parks had a record contract at MGM -- he'd been signed by Tom Wilson, the same man who had turned Dylan electric, signed Simon and Garfunkel, and produced the first albums by the Mothers of Invention. With Wilson, Parks put out a couple of singles in 1966, "Come to the Sunshine": [Excerpt: The Van Dyke Parks, "Come to the Sunshine"] And "Number Nine", a reworking of the Ode to Joy from Beethoven's Ninth Symphony: [Excerpt: The Van Dyke Parks, "Number Nine"]Parks, Stills, and Steve Young became The Van Dyke Parks Band, though they didn't play together for very long, with their most successful performance being as the support act for the Lovin' Spoonful for a show in Arizona. But they did have a lasting resonance -- when Van Dyke Parks finally got the chance to record his first solo album, he opened it with Steve Young singing the old folk song "Black Jack Davy", filtered to sound like an old tape: [Excerpt: Steve Young, "Black Jack Davy"] And then it goes into a song written for Parks by Randy Newman, but consisting of Newman's ideas about Parks' life and what he knew about him, including that he had been third guitar in the Van Dyke Parks Band: [Excerpt: Van Dyke Parks, "Vine Street"] Parks and Stills also wrote a few songs together, with one of their collaborations, "Hello, I've Returned", later being demoed by Stills for Buffalo Springfield: [Excerpt: Steve Stills, "Hello, I've Returned"] After the Van Dyke Parks Band fell apart, Parks went on to many things, including a brief stint on keyboards in the Mothers of Invention, and we'll be talking more about him next episode. Stills formed a duo called the Buffalo Fish, with his friend Ron Long. That soon became an occasional trio when Stills met up again with his old Greenwich Village friend Peter Tork, who joined the group on the piano. But then Stills auditioned for the Monkees and was turned down because he had bad teeth -- or at least that's how most people told the story. Stills has later claimed that while he turned up for the Monkees auditions, it wasn't to audition, it was to try to pitch them songs, which seems implausible on the face of it. According to Stills, he was offered the job and turned it down because he'd never wanted it. But whatever happened, Stills suggested they might want his friend Peter, who looked just like him apart from having better teeth, and Peter Tork got the job. But what Stills really wanted to do was to form a proper band. He'd had the itch to do it ever since seeing the Squires, and he decided he should ask Neil Young to join. There was only one problem -- when he phoned Young, the phone was answered by Young's mother, who told Stills that Neil had moved out to become a folk singer, and she didn't know where he was. But then Stills heard from his old friend Richie Furay. Furay was still in Greenwich Village, and had decided to write to Stills. He didn't know where Stills was, other than that he was in California somewhere, so he'd written to Stills' father in El Salvador. The letter had been returned, because the postage had been short by one cent, so Furay had resent it with the correct postage. Stills' father had then forwarded the letter to the place Stills had been staying in San Francisco, which had in turn forwarded it on to Stills in LA. Furay's letter mentioned this new folk singer who had been on the scene for a while and then disappeared again, Neil Young, who had said he knew Stills, and had been writing some great songs, one of which Furay had added to his own set. Stills got in touch with Furay and told him about this great band he was forming in LA, which he wanted Furay to join. Furay was in, and travelled from New York to LA, only to be told that at this point there were no other members of this great band, but they'd definitely find some soon. They got a publishing deal with Columbia/Screen Gems, which gave them enough money to not starve, but what they really needed was to find some other musicians. They did, when driving down Hollywood Boulevard on April the sixth, 1966. There, stuck in traffic going the other way, they saw a hearse... After Steve Stills had left Fort William, so had Neil Young. He hadn't initially intended to -- the High-Flying Birds still had a regular gig, but Young and some of his friends had gone away for a few days on a road trip in his hearse. But unfortunately the transmission on the hearse had died, and Young and his friends had been stranded. Many years later, he would write a eulogy to the hearse, which he and Stills would record together: [Excerpt: The Stills-Young Band, "Long May You Run"] Young and his friends had all hitch-hiked in different directions -- Young had ended up in Toronto, where his dad lived, and had stayed with his dad for a while. The rest of his band had eventually followed him there, but Young found the Toronto music scene not to his taste -- the folk and rock scenes there were very insular and didn't mingle with each other, and the group eventually split up. Young even took on a day job for a while, for the only time in his life, though he soon quit. Young started basically commuting between Toronto and New York, a distance of several hundred miles, going to Greenwich Village for a while before ending up back in Toronto, and ping-ponging between the two. In New York, he met up with Richie Furay, and also had a disastrous audition for Elektra Records as a solo artist. One of the songs he sang in the audition was "Nowadays Clancy Can't Even Sing", the song which Furay liked so much he started performing it himself. Young doesn't normally explain his songs, but as this was one of the first he ever wrote, he talked about it in interviews in the early years, before he decided to be less voluble about his art. The song was apparently about the sense of youthful hope being crushed. The instigation for it was Young seeing his girlfriend with another man, but the central image, of Clancy not singing, came from Young's schooldays. The Clancy in question was someone Young liked as one of the other weird kids at school. He was disabled, like Young, though with MS rather than polio, and he would sing to himself in the hallways at school. Sadly, of course, the other kids would mock and bully him for that, and eventually he ended up stopping. Young said about it "After awhile, he got so self-conscious he couldn't do his thing any more. When someone who is as beautiful as that and as different as that is actually killed by his fellow man—you know what I mean—like taken and sorta chopped down—all the other things are nothing compared to this." [Excerpt: Neil Young, "Nowadays Clancy Can't Even Sing (Elektra demo)"] One thing I should say for anyone who listens to the Mixcloud for this episode, that song, which will be appearing in a couple of different versions, has one use of a term for Romani people that some (though not all) consider a slur. It's not in the excerpts I'll be using in this episode, but will be in the full versions on the Mixcloud. Sadly that word turns up time and again in songs of this era... When he wasn't in New York, Young was living in Toronto in a communal apartment owned by a folk singer named Vicki Taylor, where many of the Toronto folk scene would stay. Young started listening a lot to Taylor's Bert Jansch albums, which were his first real exposure to the British folk-baroque style of guitar fingerpicking, as opposed to the American Travis-picking style, and Young would soon start to incorporate that style into his own playing: [Excerpt: Bert Jansch, "Angie"] Another guitar influence on Young at this point was another of the temporary tenants of Taylor's flat, John Kay, who would later go on to be one of the founding members of Steppenwolf. Young credited Kay with having a funky rhythm guitar style that Young incorporated into his own. While he was in Toronto, he started getting occasional gigs in Detroit, which is "only" a couple of hundred miles away, set up by Joni and Chuck Mitchell, both of whom also sometimes stayed at Taylor's. And it was in Detroit that Neil Young became, albeit very briefly, a Motown artist. The Mynah Birds were a band in Toronto that had at one point included various future members of Steppenwolf, and they were unusual for the time in that they were a white band with a Black lead singer, Ricky Matthews. They also had a rich manager, John Craig Eaton, the heir to the Eaton's department store fortune, who basically gave them whatever money they wanted -- they used to go to his office and tell him they needed seven hundred dollars for lunch, and he'd hand it to them. They were looking for a new guitarist when Bruce Palmer, their bass player, bumped into Neil Young carrying an amp and asked if he was interested in joining. He was. The Mynah Birds quickly became one of the best bands in Toronto, and Young and Matthews became close, both as friends and as a performance team. People who saw them live would talk about things like a song called “Hideaway”, written by Young and Matthews, which had a spot in the middle where Young would start playing a harmonica solo, throw the harmonica up in the air mid-solo, Matthews would catch it, and he would then finish the solo. They got signed to Motown, who were at this point looking to branch out into the white guitar-group market, and they were put through the Motown star-making machine. They recorded an entire album, which remains unreleased, but they did release a single, "It's My Time": [Excerpt: The Mynah Birds, "It's My Time"] Or at least, they released a handful of promo copies. The single was pulled from release after Ricky Matthews got arrested. It turned out his birth name wasn't Ricky Matthews, but James Johnson, and that he wasn't from Toronto as he'd told everyone, but from Buffalo, New York. He'd fled to Canada after going AWOL from the Navy, not wanting to be sent to Vietnam, and he was arrested and jailed for desertion. After getting out of jail, he would start performing under yet another name, and as Rick James would have a string of hits in the seventies and eighties: [Excerpt: Rick James, "Super Freak"] Most of the rest of the group continued gigging as The Mynah Birds, but Young and Palmer had other plans. They sold the expensive equipment Eaton had bought the group, and Young bought a new hearse, which he named Mort 2 – Mort had been his first hearse. And according to one of the band's friends in Toronto, the crucial change in their lives came when Neil Young heard a song on a jukebox: [Excerpt: The Mamas and the Papas, "California Dreamin'"] Young apparently heard "California Dreamin'" and immediately said "Let's go to California and become rock stars". Now, Young later said of this anecdote that "That sounds like a Canadian story to me. That sounds too real to be true", and he may well be right. Certainly the actual wording of the story is likely incorrect -- people weren't talking about "rock stars" in 1966. Google's Ngram viewer has the first use of the phrase in print being in 1969, and the phrase didn't come into widespread usage until surprisingly late -- even granting that phrases enter slang before they make it to print, it still seems implausible. But even though the precise wording might not be correct, something along those lines definitely seems to have happened, albeit possibly less dramatically. Young's friend Comrie Smith independently said that Young told him “Well, Comrie, I can hear the Mamas and the Papas singing ‘All the leaves are brown, and the skies are gray …' I'm gonna go down to the States and really make it. I'm on my way. Today North Toronto, tomorrow the world!” Young and Palmer loaded up Mort 2 with a bunch of their friends and headed towards California. On the way, they fell out with most of the friends, who parted from them, and Young had an episode which in retrospect may have been his first epileptic seizure. They decided when they got to California that they were going to look for Steve Stills, as they'd heard he was in LA and neither of them knew anyone else in the state. But after several days of going round the Sunset Strip clubs asking if anyone knew Steve Stills, and sleeping in the hearse as they couldn't afford anywhere else, they were getting fed up and about to head off to San Francisco, as they'd heard there was a good music scene there, too. They were going to leave that day, and they were stuck in traffic on Sunset Boulevard, about to head off, when Stills and Furay came driving in the other direction. Furay happened to turn his head, to brush away a fly, and saw a hearse with Ontario license plates. He and Stills both remembered that Young drove a hearse, and so they assumed it must be him. They started honking at the hearse, then did a U-turn. They got Young's attention, and they all pulled into the parking lot at Ben Frank's, the Sunset Strip restaurant that attracted such a hip crowd the Monkees' producers had asked for "Ben Frank's types" in their audition advert. Young introduced Stills and Furay to Palmer, and now there *was* a group -- three singing, songwriting, guitarists and a bass player. Now all they needed was a drummer. There were two drummers seriously considered for the role. One of them, Billy Mundi, was technically the better player, but Young didn't like playing with him as much -- and Mundi also had a better offer, to join the Mothers of Invention as their second drummer -- before they'd recorded their first album, they'd had two drummers for a few months, but Denny Bruce, their second drummer, had become ill with glandular fever and they'd reverted to having Jimmy Carl Black play solo. Now they were looking for someone else, and Mundi took that role. The other drummer, who Young preferred anyway, was another Canadian, Dewey Martin. Martin was a couple of years older than the rest of the group, and by far the most experienced. He'd moved from Canada to Nashville in his teens, and according to Martin he had been taken under the wing of Hank Garland, the great session guitarist most famous for "Sugarfoot Rag": [Excerpt: Hank Garland, "Sugarfoot Rag"] We heard Garland playing with Elvis and others in some of the episodes around 1960, and by many reckonings he was the best session guitarist in Nashville, but in 1961 he had a car accident that left him comatose, and even though he recovered from the coma and lived another thirty-three years, he never returned to recording. According to Martin, though, Garland would still sometimes play jazz clubs around Nashville after the accident, and one day Martin walked into a club and saw him playing. The drummer he was playing with got up and took a break, taking his sticks with him, so Martin got up on stage and started playing, using two combs instead of sticks. Garland was impressed, and told Martin that Faron Young needed a drummer, and he could get him the gig. At the time Young was one of the biggest stars in country music. That year, 1961, he had three country top ten hits, including a number one with his version of Willie Nelson's "Hello Walls", produced by Ken Nelson: [Excerpt: Faron Young, "Hello Walls"] Martin joined Faron Young's band for a while, and also ended up playing short stints in the touring bands of various other Nashville-based country and rock stars, including Patsy Cline, Roy Orbison, and the Everly Brothers, before heading to LA for a while. Then Mel Taylor of the Ventures hooked him up with some musicians in the Pacific Northwest scene, and Martin started playing there under the name Sir Raleigh and the Coupons with various musicians. After a while he travelled back to LA where he got some members of the LA group Sons of Adam to become a permanent lineup of Coupons, and they recorded several singles with Martin singing lead, including the Tommy Boyce and Steve Venet song "Tomorrow's Gonna Be Another Day", later recorded by the Monkees: [Excerpt: Sir Raleigh and the Coupons, "Tomorrow's Gonna Be Another Day"] He then played with the Standells, before joining the Modern Folk Quartet for a short while, as they were transitioning from their folk sound to a folk-rock style. He was only with them for a short while, and it's difficult to get precise details -- almost everyone involved with Buffalo Springfield has conflicting stories about their own careers with timelines that don't make sense, which is understandable given that people were talking about events decades later and memory plays tricks. "Fast" Eddie Hoh had joined the Modern Folk Quartet on drums in late 1965, at which point they became the Modern Folk Quintet, and nothing I've read about that group talks about Hoh ever actually leaving, but apparently Martin joined them in February 1966, which might mean he's on their single "Night-Time Girl", co-written by Al Kooper and produced and arranged by Jack Nitzsche: [Excerpt: The Modern Folk Quintet, "Night-Time Girl"] After that, Martin was taken on by the Dillards, a bluegrass band who are now possibly most famous for having popularised the Arthur "Guitar Boogie" Smith song "Duellin' Banjos", which they recorded on their first album and played on the Andy Griffith Show a few years before it was used in Deliverance: [Excerpt: The Dillards, "Duellin' Banjos"] The Dillards had decided to go in a country-rock direction -- and Doug Dillard would later join the Byrds and make records with Gene Clark -- but they were hesitant about it, and after a brief period with Martin in the band they decided to go back to their drummerless lineup. To soften the blow, they told him about another band that was looking for a drummer -- their manager, Jim Dickson, who was also the Byrds' manager, knew Stills and his bandmates. Dewey Martin was in the group. The group still needed a name though. They eventually took their name from a brand of steam roller, after seeing one on the streets when some roadwork was being done. Everyone involved disagrees as to who came up with the name. Steve Stills at one point said it was a group decision after Neil Young and the group's manager Frazier Mohawk stole the nameplate off the steamroller, and later Stills said that Richey Furay had suggested the name while they were walking down the street, Dewey Martin said it was his idea, Neil Young said that he, Steve Sills, and Van Dyke Parks had been walking down the street and either Young or Stills had seen the nameplate and suggested the name, and Van Dyke Parks says that *he* saw the nameplate and suggested it to Dewey Martin: [Excerpt: Steve Stills and Van Dyke Parks on the name] For what it's worth, I tend to believe Van Dyke Parks in most instances -- he's an honest man, and he seems to have a better memory of the sixties than many of his friends who led more chemically interesting lives. Whoever came up with it, the name worked -- as Stills later put it "We thought it was pretty apt, because Neil Young is from Manitoba which is buffalo country, and  Richie Furay was from Springfield, Ohio -- and I'm the field!" It almost certainly also helped that the word "buffalo" had been in the name of Stills' previous group, Buffalo Fish. On the eleventh of April, 1966, Buffalo Springfield played their first gig, at the Troubadour, using equipment borrowed from the Dillards. Chris Hillman of the Byrds was in the audience and was impressed. He got the group a support slot on a show the Byrds and the Dillards were doing a few days later in San Bernardino. That show was compered by a Merseyside-born British DJ, John Ravenscroft, who had managed to become moderately successful in US radio by playing up his regional accent so he sounded more like the Beatles. He would soon return to the UK, and start broadcasting under the name John Peel. Hillman also got them a week-long slot at the Whisky A-Go-Go, and a bidding war started between record labels to sign the band. Dunhill offered five thousand dollars, Warners counted with ten thousand, and then Atlantic offered twelve thousand. Atlantic were *just* starting to get interested in signing white guitar groups -- Jerry Wexler never liked that kind of music, always preferring to stick with soul and R&B, but Ahmet Ertegun could see which way things were going. Atlantic had only ever signed two other white acts before -- Neil Young's old favourite Bobby Darin, who had since left the label, and Sonny and Cher. And Sonny and Cher's management and production team, Brian Stone and Charlie Greene, were also very interested in the group, who even before they had made a record had quickly become the hottest band on the circuit, even playing the Hollywood Bowl as the Rolling Stones' support act. Buffalo Springfield already had managers -- Frazier Mohawk and Richard Davis, the lighting man at the Troubadour (who was sometimes also referred to as Dickie Davis, but I'll use his full name so as not to cause unnecessary confusion in British people who remember the sports TV presenter of the same name), who Mohawk had enlisted to help him. But Stone and Greene weren't going to let a thing like that stop them. According to anonymous reports quoted without attribution in David Roberts' biography of Stills -- so take this with as many grains of salt as you want -- Stone and Greene took Mohawk for a ride around LA in a limo, just the three of them, a gun, and a used hotdog napkin. At the end of the ride, the hotdog napkin had Mohawk's scrawled signature, signing the group over to Stone and Greene. Davis stayed on, but was demoted to just doing their lights. The way things ended up, the group signed to Stone and Greene's production company, who then leased their masters to Atlantic's Atco subsidiary. A publishing company was also set up for the group's songs -- owned thirty-seven point five percent by Atlantic, thirty-seven point five percent by Stone and Greene, and the other twenty-five percent split six ways between the group and Davis, who they considered their sixth member. Almost immediately, Charlie Greene started playing Stills and Young off against each other, trying a divide-and-conquer strategy on the group. This was quite easy, as both men saw themselves as natural leaders, though Stills was regarded by everyone as the senior partner -- the back cover of their first album would contain the line "Steve is the leader but we all are". Stills and Young were the two stars of the group as far as the audience were concerned -- though most musicians who heard them play live say that the band's real strength was in its rhythm section, with people comparing Palmer's playing to that of James Jamerson. But Stills and Young would get into guitar battles on stage, one-upping each other, in ways that turned the tension between them in creative directions. Other clashes, though were more petty -- both men had very domineering mothers, who would actually call the group's management to complain about press coverage if their son was given less space than the other one. The group were also not sure about Young's voice -- to the extent that Stills was known to jokingly apologise to the audience before Young took a lead vocal -- and so while the song chosen as the group's first A-side was Young's "Nowadays Clancy Can't Even Sing", Furay was chosen to sing it, rather than Young: [Excerpt: Buffalo Springfield, "Nowadays Clancy Can't Even Sing"] On the group's first session, though, both Stills and Young realised that their producers didn't really have a clue -- the group had built up arrangements that had a complex interplay of instruments and vocals, but the producers insisted on cutting things very straightforwardly, with a basic backing track and then the vocals. They also thought that the song was too long so the group should play faster. Stills and Young quickly decided that they were going to have to start producing their own material, though Stone and Greene would remain the producers for the first album. There was another bone of contention though, because in the session the initial plan had been for Stills' song "Go and Say Goodbye" to be the A-side with Young's song as the B-side. It was flipped, and nobody seems quite sure why -- it's certainly the case that, whatever the merits of the two tracks as songs, Stills' song was the one that would have been more likely to become a hit. "Nowadays Clancy Can't Even Sing" was a flop, but it did get some local airplay. The next single, "Burned", was a Young song as well, and this time did have Young taking the lead, though in a song dominated by harmonies: [Excerpt: Buffalo Springfield, "Burned"] Over the summer, though, something had happened that would affect everything for the group -- Neil Young had started to have epileptic seizures. At first these were undiagnosed episodes, but soon they became almost routine events, and they would often happen on stage, particularly at moments of great stress or excitement. Several other members of the group became convinced -- entirely wrongly -- that Young was faking these seizures in order to get women to pay attention to him. They thought that what he wanted was for women to comfort him and mop his brow, and that collapsing would get him that. The seizures became so common that Richard Davis, the group's lighting tech, learned to recognise the signs of a seizure before it happened. As soon as it looked like Young was about to collapse the lights would turn on, someone would get ready to carry him off stage, and Richie Furay would know to grab Young's guitar before he fell so that the guitar wouldn't get damaged. Because they weren't properly grounded and Furay had an electric guitar of his own, he'd get a shock every time. Young would later claim that during some of the seizures, he would hallucinate that he was another person, in another world, living another life that seemed to have its own continuity -- people in the other world would recognise him and talk to him as if he'd been away for a while -- and then when he recovered he would have to quickly rebuild his identity, as if temporarily amnesiac, and during those times he would find things like the concept of lying painful. The group's first album came out in December, and they were very, very, unhappy with it. They thought the material was great, but they also thought that the production was terrible. Stone and Greene's insistence that they record the backing tracks first and then overdub vocals, rather than singing live with the instruments, meant that the recordings, according to Stills and Young in particular, didn't capture the sound of the group's live performance, and sounded sterile. Stills and Young thought they'd fixed some of that in the mono mix, which they spent ten days on, but then Stone and Greene did the stereo mix without consulting the band, in less than two days, and the album was released at precisely the time that stereo was starting to overtake mono in the album market. I'm using the mono mixes in this podcast, but for decades the only versions available were the stereo ones, which Stills and Young both loathed. Ahmet Ertegun also apparently thought that the demo versions of the songs -- some of which were eventually released on a box set in 2001 -- were much better than the finished studio recordings. The album was not a success on release, but it did contain the first song any of the group had written to chart. Soon after its release, Van Dyke Parks' friend Lenny Waronker was producing a single by a group who had originally been led by Sly Stone and had been called Sly and the Mojo Men. By this time Stone was no longer involved in the group, and they were making music in a very different style from the music their former leader would later become known for. Parks was brought in to arrange a baroque-pop version of Stills' album track "Sit Down I Think I Love You" for the group, and it became their only top forty hit, reaching number thirty-six: [Excerpt: The Mojo Men, "Sit Down I Think I Love You"] It was shortly after the first Buffalo Springfield album was released, though, that Steve Stills wrote what would turn out to be *his* group's only top forty single. The song had its roots in both LA and San Francisco. The LA roots were more obvious -- the song was written about a specific experience Stills had had. He had been driving to Sunset Strip from Laurel Canyon on November the twelfth 1966, and he had seen a mass of young people and police in riot gear, and he had immediately turned round, partly because he didn't want to get involved in what looked to be a riot, and partly because he'd been inspired -- he had the idea for a lyric, which he pretty much finished in the car even before he got home: [Excerpt: The Buffalo Springfield, "For What it's Worth"] The riots he saw were what became known later as the Riot on Sunset Strip. This was a minor skirmish between the police and young people of LA -- there had been complaints that young people had been spilling out of the nightclubs on Sunset Strip into the street, causing traffic problems, and as a result the city council had introduced various heavy-handed restrictions, including a ten PM curfew for all young people in the area, removing the permits that many clubs had which allowed people under twenty-one to be present, forcing the Whisky A-Go-Go to change its name just to "the Whisk", and forcing a club named Pandora's Box, which was considered the epicentre of the problem, to close altogether. Flyers had been passed around calling for a "funeral" for Pandora's Box -- a peaceful gathering at which people could say goodbye to a favourite nightspot, and a thousand people had turned up. The police also turned up, and in the heavy-handed way common among law enforcement, they managed to provoke a peaceful party and turn it into a riot. This would not normally be an event that would be remembered even a year later, let alone nearly sixty years later, but Sunset Strip was the centre of the American rock music world in the period, and of the broader youth entertainment field. Among those arrested at the riot, for example, were Jack Nicholson and Peter Fonda, neither of whom were huge stars at the time, but who were making cheap B-movies with Roger Corman for American International Pictures. Among the cheap exploitation films that American International Pictures made around this time was one based on the riots, though neither Nicholson, Fonda, or Corman were involved. Riot on Sunset Strip was released in cinemas only four months after the riots, and it had a theme song by Dewey Martin's old colleagues The Standells, which is now regarded as a classic of garage rock: [Excerpt: The Standells, "Riot on Sunset Strip"] The riots got referenced in a lot of other songs, as well. The Mothers of Invention's second album, Absolutely Free, contains the song "Plastic People" which includes this section: [Excerpt: The Mothers of Invention, "Plastic People"] And the Monkees track "Daily Nightly", written by Michael Nesmith, was always claimed by Nesmith to be an impressionistic portrait of the riots, though the psychedelic lyrics sound to me more like they're talking about drug use and street-walking sex workers than anything to do with the riots: [Excerpt: The Monkees, "Daily Nightly"] But the song about the riots that would have the most lasting effect on popular culture was the one that Steve Stills wrote that night. Although how much he actually wrote, at least of the music, is somewhat open to question. Earlier that month, Buffalo Springfield had spent some time in San Francisco. They hadn't enjoyed the experience -- as an LA band, they were thought of as a bunch of Hollywood posers by most of the San Francisco scene, with the exception of one band, Moby Grape -- a band who, like them had three guitarist/singer/songwriters, and with whom they got on very well. Indeed, they got on rather better with Moby Grape than they were getting on with each other at this point, because Young and Stills would regularly get into arguments, and every time their argument seemed to be settling down, Dewey Martin would manage to say the wrong thing and get Stills riled up again -- Martin was doing a lot of speed at this point and unable to stop talking, even when it would have been politic to do so. There was even some talk while they were in San Francisco of the bands doing a trade -- Young and Pete Lewis of Moby Grape swapping places -- though that came to nothing. But Stills, according to both Richard Davis and Pete Lewis, had been truly impressed by two Moby Grape songs. One of them was a song called "On the Other Side", which Moby Grape never recorded, but which apparently had a chorus that went "Stop, can't you hear the music ringing in your ear, right before you go, telling you the way is clear," with the group all pausing after the word "Stop". The other was a song called "Murder in my Heart for the Judge": [Excerpt: Moby Grape, "Murder in my Heart for the Judge"] The song Stills wrote had a huge amount of melodic influence from that song, and quite a bit from “On the Other Side”, though he apparently didn't notice until after the record came out, at which point he apologised to Moby Grape. Stills wasn't massively impressed with the song he'd written, and went to Stone and Greene's office to play it for them, saying "I'll play it, for what it's worth". They liked the song and booked a studio to get the song recorded and rush-released, though according to Neil Young neither Stone nor Greene were actually present at the session, and the song was recorded on December the fifth, while some outbursts of rioting were still happening, and released on December the twenty-third. [Excerpt: Buffalo Springfield, "For What it's Worth"] The song didn't have a title when they recorded it, or so Stills thought, but when he mentioned this to Greene and Stone afterwards, they said "Of course it does. You said, 'I'm going to play the song, 'For What It's Worth'" So that became the title, although Ahmet Ertegun didn't like the idea of releasing a single with a title that wasn't in the lyric, so the early pressings of the single had "Stop, Hey, What's That Sound?" in brackets after the title. The song became a big hit, and there's a story told by David Crosby that doesn't line up correctly, but which might shed some light on why. According to Crosby, "Nowadays Clancy Can't Even Sing" got its first airplay because Crosby had played members of Buffalo Springfield a tape he'd been given of the unreleased Beatles track "A Day in the Life", and they'd told their gangster manager-producers about it. Those manager-producers had then hired a sex worker to have sex with Crosby and steal the tape, which they'd then traded to a radio station in return for airplay. That timeline doesn't work, unless the sex worker involved was also a time traveller,  because "A Day in the Life" wasn't even recorded until January 1967 while "Clancy" came out in August 1966, and there'd been two other singles released between then and January 1967. But it *might* be the case that that's what happened with "For What It's Worth", which was released in the last week of December 1966, and didn't really start to do well on the charts for a couple of months. Right after recording the song, the group went to play a residency in New York, of which Ahmet Ertegun said “When they performed there, man, there was no band I ever heard that had the electricity of that group. That was the most exciting group I've ever seen, bar none. It was just mind-boggling.” During that residency they were joined on stage at various points by Mitch Ryder, Odetta, and Otis Redding. While in New York, the group also recorded "Mr. Soul", a song that Young had originally written as a folk song about his experiences with epilepsy, the nature of the soul, and dealing with fame. However, he'd noticed a similarity to "Satisfaction" and decided to lean into it. The track as finally released was heavily overdubbed by Young a few months later, but after it was released he decided he preferred the original take, which by then only existed as a scratchy acetate, which got released on a box set in 2001: [Excerpt: Buffalo Springfield, "Mr. Soul (original version)"] Everyone has a different story of how the session for that track went -- at least one version of the story has Otis Redding turning up for the session and saying he wanted to record the song himself, as his follow-up to his version of "Satisfaction", but Young being angry at the idea. According to other versions of the story, Greene and Stills got into a physical fight, with Greene having to be given some of the valium Young was taking for his epilepsy to calm him down. "For What it's Worth" was doing well enough on the charts that the album was recalled, and reissued with "For What It's Worth" replacing Stills' song "Baby Don't Scold", but soon disaster struck the band. Bruce Palmer was arrested on drugs charges, and was deported back to Canada just as the song started to rise through the charts. The group needed a new bass player, fast. For a lipsynch appearance on local TV they got Richard Davis to mime the part, and then they got in Ken Forssi, the bass player from Love, for a couple of gigs. They next brought in Ken Koblun, the bass player from the Squires, but he didn't fit in with the rest of the group. The next replacement was Jim Fielder. Fielder was a friend of the group, and knew the material -- he'd subbed for Palmer a few times in 1966 when Palmer had been locked up after less serious busts. And to give some idea of how small a scene the LA scene was, when Buffalo Springfield asked him to become their bass player, he was playing rhythm guitar for the Mothers of Invention, while Billy Mundi was on drums, and had played on their second, as yet unreleased, album, Absolutely Free: [Excerpt: The Mothers of Invention, "Call any Vegetable"] And before joining the Mothers, Fielder and Mundi had also played together with Van Dyke Parks, who had served his own short stint as a Mother of Invention already, backing Tim Buckley on Buckley's first album: [Excerpt: Tim Buckley, "Aren't You the Girl?"] And the arrangements on that album were by Jack Nitzsche, who would soon become a very close collaborator with Young. "For What it's Worth" kept rising up the charts. Even though it had been inspired by a very local issue, the lyrics were vague enough that people in other situations could apply it to themselves, and it soon became regarded as an anti-war protest anthem -- something Stills did nothing to discourage, as the band were all opposed to the war. The band were also starting to collaborate with other people. When Stills bought a new house, he couldn't move in to it for a while, and so Peter Tork invited him to stay at his house. The two got on so well that Tork invited Stills to produce the next Monkees album -- only to find that Michael Nesmith had already asked Chip Douglas to do it. The group started work on a new album, provisionally titled "Stampede", but sessions didn't get much further than Stills' song "Bluebird" before trouble arose between Young and Stills. The root of the argument seems to have been around the number of songs each got on the album. With Richie Furay also writing, Young was worried that given the others' attitudes to his songwriting, he might get as few as two songs on the album. And Young and Stills were arguing over which song should be the next single, with Young wanting "Mr. Soul" to be the A-side, while Stills wanted "Bluebird" -- Stills making the reasonable case that they'd released two Neil Young songs as singles and gone nowhere, and then they'd released one of Stills', and it had become a massive hit. "Bluebird" was eventually chosen as the A-side, with "Mr. Soul" as the B-side: [Excerpt: Buffalo Springfield, "Bluebird"] The "Bluebird" session was another fraught one. Fielder had not yet joined the band, and session player Bobby West subbed on bass. Neil Young had recently started hanging out with Jack Nitzsche, and the two were getting very close and working on music together. Young had impressed Nitzsche not just with his songwriting but with his arrogance -- he'd played Nitzsche his latest song, "Expecting to Fly", and Nitzsche had said halfway through "That's a great song", and Young had shushed him and told him to listen, not interrupt. Nitzsche, who had a monstrous ego himself and was also used to working with people like Phil Spector, the Rolling Stones and Sonny Bono, none of them known for a lack of faith in their own abilities, was impressed. Shortly after that, Stills had asked Nitzsch

For Episode 47 of "The Separation is in the Preparation" podcast I am joined by Kooper Richardson. Koop is a UC Davis graduate, former offensive lineman for both UC Davis and Sacramento State, and is currently an offensive tackle for the Saskatchewan Roughriders of the CFL. Koop won a Big Sky Championship with UC Davis in 2018 and another Big Sky Championship with Sac State in 2021. We believe he may be the only player ever to have been a champion on both sides of the causeway. In this great conversation we talk about Kooper's football beginnings, the nitty gritty of being an offensive lineman, Koop's recruiting process, and ultimately the transition to professional football. This was a special one, so I can't wait for you all to hear it. Please like and subscribe! Appreciate you!

Ben Kooper has been the #1 college-student sales rep in the Cutco/Vector Marketing sales organization over the past 4 years. Ben has sold over $584,000 of Cutco, and will graduate with a 3.5 GPA as an Aerospace Engineering major on June 11th, 2022. His list of achievements begins with a 10K Fast Start, 20K Push his first Summer, and Assistant Manager leadership on one of the top teams in the Western Region. He's had 8 College All-American campaigns, with three #1 finishes. Ben's long-term vision is to work with SpaceX and help humanity get to Mars. An avid athlete, he has also competed on American Ninja Warrior. Ben Kooper is an incredible example of all-around success! To get access to all episodes and free resources, visit ChangingLivesPodcast.com.

We answer questions about the infamous Kapusta Christmas albums, who did the laughing on the overture to Child is Father to the Man, how to buy Kooper music from Japan, and Al's teaching days at Berklee. After each answer Nilly the Dog adds a brief canine rejoinder.

We answer listener questions about Fred Lipsius vs John Simon on keyboards doing Child is Father to the Man, and about Skynyrd before Kooper, at Muscle Shoals, and a bit about Al's high school days. On this episode the neighborhood cats sat in for Nilly the Dog who was away on tour.

: #128, Fun in episode #128, We smoke at the lounge the Espinosa Laranja Reserva Escuro and pair it with the Kooper Family Rye. We dive into trivia and who wants to be a bartender and how many Big Macks can one person take (apparently a lot), plus more at www.thegoodcigar.com

Episode one hundred and thirty-five of A History of Rock Music in Five Hundred Songs looks at “The Sound of Silence" by Simon and Garfunkel, and the many records they made, together and apart, before their success. 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 "Blues Run the Game" by Jackson C. Frank. 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/ Errata I talk about a tour of Lancashire towns, but some of the towns I mention were in Cheshire at the time, and some are in Greater Manchester or Merseyside now. They're all very close together though. I say Mose Rager was Black. I was misremembering, confusing Mose Rager, a white player in the Muhlenberg style, with Arnold Schultz, a Black player who invented it. I got this right in the episode on "Bye Bye Love". Also, I couldn't track down a copy of the Paul Kane single version of “He Was My Brother” in decent quality, so I used the version on The Paul Simon Songbook instead, as they're basically identical performances. Resources As usual, I've created a Mixcloud playlist of the music excerpted here. This compilation collects all Simon and Garfunkel's studio albums, with bonus tracks, plus a DVD of their reunion concert. There are many collections of the pre-S&G recordings by the two, as these are now largely in the public domain. This one contains a good selection. I've referred to several books for this episode: Simon and Garfunkel: Together Alone by Spencer Leigh is a breezy, well-researched, biography of the duo. Paul Simon: The Life by Robert Hilburn is the closest thing there is to an authorised biography of Simon. And What is it All But Luminous? is Art Garfunkel's memoir. It's not particularly detailed, being more a collection of thoughts and poetry than a structured narrative, but gives a good idea of Garfunkel's attitude to people and events in his life. Roots, Radicals, and Rockers: How Skiffle Changed the World by Billy Bragg has some great information on the British folk scene of the fifties and sixties. And Singing From the Floor is an oral history of British folk clubs, including a chapter on Dylan's 1962 visit to London. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we're going to take a look at a hit record that almost never happened -- a record by a duo who had already split up, twice, by the time it became a hit, and who didn't know it was going to come out. We're going to look at how a duo who started off as an Everly Brothers knockoff, before becoming unsuccessful Greenwich Village folkies, were turned into one of the biggest acts of the sixties by their producer. We're going to look at Simon and Garfunkel, and at "The Sound of Silence": [Excerpt: Simon and Garfunkel, "The Sound of Silence"] The story of Simon and Garfunkel starts with two children in a school play.  Neither Paul Simon or Art Garfunkel had many friends when they met in a school performance of Alice in Wonderland, where Simon was playing the White Rabbit and Garfunkel the Cheshire Cat. Simon was well-enough liked, by all accounts, but he'd been put on an accelerated programme for gifted students which meant he was progressing through school faster than his peers. He had a small social group, mostly based around playing baseball, but wasn't one of the popular kids. Art Garfunkel, another gifted student, had no friends at all until he got to know Simon, who he described later as his "one and only friend" in this time period. One passage in Garfunkel's autobiography seems to me to sum up everything about Garfunkel's personality as a child -- and indeed a large part of his personality as it comes across in interviews to this day. He talks about the pleasure he got from listening to the chart rundown on the radio -- "It was the numbers that got me. I kept meticulous lists—when a new singer like Tony Bennett came onto the charts with “Rags to Riches,” I watched the record jump from, say, #23 to #14 in a week. The mathematics of the jumps went to my sense of fun." Garfunkel is, to this day, a meticulous person -- on his website he has a list of every book he's read since June 1968, which is currently up to one thousand three hundred and ten books, and he has always had a habit of starting elaborate projects and ticking off every aspect of them as he goes. Both Simon and Garfunkel were outsiders at this point, other than their interests in sport, but Garfunkel was by far the more introverted of the two, and as a result he seems to have needed their friendship more than Simon did. But the two boys developed an intense, close, friendship, initially based around their shared sense of humour. Both of them were avid readers of Mad magazine, which had just started publishing when the two of them had met up, and both could make each other laugh easily. But they soon developed a new interest, when Martin Block on the middle-of-the-road radio show Make Believe Ballroom announced that he was going to play the worst record he'd ever heard. That record was "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Paul Simon later said that that record was the first thing he'd ever heard on that programme that he liked, and soon he and Garfunkel had become regular listeners to Alan Freed's show on WINS, loving the new rock and roll music they were discovering. Art had already been singing in public from an early age -- his first public performance had been singing Nat "King" Cole's hit "Too Young" in a school talent contest when he was nine -- but the two started singing together. The first performance by Simon and Garfunkel was at a high school dance and, depending on which source you read, was a performance either of "Sh'Boom" or of Big Joe Turner's "Flip, Flop, and Fly": [Excerpt: Big Joe Turner, "Flip, Flop, and Fly"] The duo also wrote at least one song together as early as 1955 -- or at least Garfunkel says they wrote it together. Paul Simon describes it as one he wrote. They tried to get a record deal with the song, but it was never recorded at the time -- but Simon has later performed it: [Excerpt: Paul Simon, "The Girl For Me"] Even at this point, though, while Art Garfunkel was putting all his emotional energy into the partnership with Simon, Simon was interested in performing with other people. Al Kooper was another friend of Simon's at the time, and apparently Simon and Kooper would also perform together. Once Elvis came on to Paul's radar, he also bought a guitar, but it was when the two of them first heard the Everly Brothers that they realised what it was that they could do together. Simon fell in love with the Everly Brothers as soon as he heard "Bye Bye Love": [Excerpt: The Everly Brothers, "Bye Bye Love"] Up to this point, Paul hadn't bought many records -- he spent his money on baseball cards and comic books, and records just weren't good value. A pack of baseball cards was five cents, a comic book was ten cents, but a record was a dollar. Why buy records when you could hear music on the radio for free? But he needed that record, he couldn't just wait around to hear it on the radio. He made an hour-long two-bus journey to a record shop in Queens, bought the record, took it home, played it... and almost immediately scratched it. So he got back on the bus, travelled for another hour, bought another copy, took it home, and made sure he didn't scratch that one. Simon and Garfunkel started copying the Everlys' harmonies, and would spend hours together, singing close together watching each other's mouths and copying the way they formed words, eventually managing to achieve a vocal blend through sheer effort which would normally only come from familial closeness. Paul became so obsessed with music that he sold his baseball card collection and bought a tape recorder for two hundred dollars. They would record themselves singing, and then sing back along with it, multitracking themselves, but also critiquing the tape, refining their performances. Paul's father was a bass player -- "the family bassman", as he would later sing -- and encouraged his son in his music, even as he couldn't see the appeal in this new rock and roll music. He would critique Paul's songs, saying things like "you went from four-four to a bar of nine-eight, you can't do that" -- to which his son would say "I just did" -- but this wasn't hostile criticism, rather it was giving his son a basic grounding in song construction which would prove invaluable. But the duo's first notable original song -- and first hit -- came about more or less by accident. In early 1956, the doo-wop group the Clovers had released the hit single "Devil or Angel". Its B-side had a version of "Hey Doll Baby", a song written by the blues singer Titus Turner, and which sounds to me very inspired by Hank Williams' "Hey, Good Lookin'": [Excerpt: The Clovers, "Hey, Doll Baby"] That song was picked up by the Everly Brothers, who recorded it for their first album: [Excerpt: The Everly Brothers, "Hey Doll Baby"] Here is where the timeline gets a little confused for me, because that album wasn't released until early 1958, although the recording session for that track was in August 1957. Yet that track definitely influenced Paul Simon and Art Garfunkel to record a song that they released in November 1957. All I can imagine is that they heard the brothers perform it live, or maybe a radio station had an acetate copy. Because the way everyone has consistently told the story is that at the end of summer 1957, Simon and Garfunkel had both heard the Everly Brothers perform "Hey Doll Baby", but couldn't remember how it went. The two of them tried to remember it, and to work a version of it out together, and their hazy memories combined to reconstruct something that was completely different, and which owed at least as much to "Wake Up Little Suzie" as to "Hey Doll Baby". Their new song, "Hey Schoolgirl", was catchy enough that they thought if they recorded a demo of it, maybe the Everly Brothers themselves would record the song. At the demo studio they happened to encounter Sid Prosen, who owned a small record label named Big Records. He heard the duo perform and realised he might have his own Everly Brothers here. He signed the duo to a contract, and they went into a professional studio to rerecord "Hey Schoolgirl", this time with Paul's father on bass, and a couple of other musicians to fill out the sound: [Excerpt: Tom and Jerry, "Hey Schoolgirl"] Of course, the record couldn't be released under their real names -- there was no way anyone was going to buy a record by Simon and Garfunkel. So instead they became Tom and Jerry. Paul Simon was Jerry Landis -- a surname he chose because he had a crush on a girl named Sue Landis. Art became Tom Graff, because he liked drawing graphs. "Hey Schoolgirl" became a local hit. The two were thrilled to hear it played on Alan Freed's show (after Sid Prosen gave Freed two hundred dollars), and were even more thrilled when they got to perform on American Bandstand, on the same show as Jerry Lee Lewis. When Dick Clark asked them where they were from, Simon decided to claim he was from Macon, Georgia, where Little Richard came from, because all his favourite rock and roll singers were from the South. "Hey Schoolgirl" only made number forty-nine nationally, because the label didn't have good national distribution, but it sold over a hundred thousand copies, mostly in the New York area. And Sid Prosen seems to have been one of a very small number of independent label owners who wasn't a crook -- the two boys got about two thousand dollars each from their hit record. But while Tom and Jerry seemed like they might have a successful career, Simon and Garfunkel were soon to split up, and the reason for their split was named True Taylor. Paul had been playing some of his songs for Sid Prosen, to see what the duo's next single should be, and Prosen had noticed that while some of them were Everly Brothers soundalikes, others were Elvis soundalikes. Would Paul be interested in recording some of those, too? Obviously Art couldn't sing on those, so they'd use a different name, True Taylor. The single was released around the same time as the second Tom and Jerry record, and featured an Elvis-style ballad by Paul on one side, and a rockabilly song written by his father on the other: [Excerpt: True Taylor, "True or False"] But Paul hadn't discussed that record with Art before doing it, and the two had vastly different ideas about their relationship. Paul was Art's only friend, and Art thought they had an indissoluble bond and that they would always work together. Paul, on the other hand, thought of Art as one of his friends and someone he made music with, but he could play at being Elvis if he wanted, as well as playing at being an Everly brother. Garfunkel, in his memoir published in 2017, says "the friendship was shattered for life" -- he decided then and there that Paul Simon was a "base" person, a betrayer. But on the other hand, he still refers to Simon, over and over again, in that book as still being his friend, even as Simon has largely been disdainful of him since their last performance together in 2010. Friendships are complicated. Tom and Jerry struggled on for a couple more singles, which weren't as successful as "Hey Schoolgirl" had been, with material like "Two Teenagers", written by Rose Marie McCoy: [Excerpt: Tom and Jerry, "Two Teenagers"] But as they'd stopped being friends, and they weren't selling records, they drifted apart and didn't really speak for five years, though they would occasionally run into one another. They both went off to university, and Garfunkel basically gave up on the idea of having a career in music, though he did record a couple of singles, under the name "Artie Garr": [Excerpt: Artie Garr, "Beat Love"] But for the most part, Garfunkel concentrated on his studies, planning to become either an architect or maybe an academic. Paul Simon, on the other hand, while he was technically studying at university too, was only paying minimal attention to his studies. Instead, he was learning the music business. Every afternoon, after university had finished, he'd go around the Brill Building and its neighbouring buildings, offering his services both as a songwriter and as a demo performer. As Simon was competent on guitar, bass, and drums, could sing harmonies, and could play a bit of piano if it was in the key of C, he could use primitive multitracking to play and sing all the parts on a demo, and do it well: [Excerpt: Paul Simon, "Boys Were Made For Girls"] That's an excerpt from a demo Simon recorded for Burt Bacharach, who has said that he tried to get Simon to record as many of his demos as possible, though only a couple of them have surfaced publicly. Simon would also sometimes record demos with his friend Carole Klein, sometimes under the name The Cosines: [Excerpt: The Cosines, "Just to Be With You"] As we heard back in the episode on "Will You Love Me Tomorrow?", Carole Klein went on to change her name to Carole King, and become one of the most successful songwriters of the era -- something which spurred Paul Simon on, as he wanted to emulate her success. Simon tried to get signed up by Don Kirshner, who was publishing Goffin and King, but Kirshner turned Simon down -- an expensive mistake for Kirshner, but one that would end up benefiting Simon, who eventually figured out that he should own his own publishing. Simon was also getting occasional work as a session player, and played lead guitar on "The Shape I'm In" by Johnny Restivo, which made the lower reaches of the Hot One Hundred: [Excerpt: Johnny Restivo, "The Shape I'm In"] Between 1959 and 1963 Simon recorded a whole string of unsuccessful pop singles. including as a member of the Mystics: [Excerpt: The Mystics, "All Through the Night"] He even had a couple of very minor chart hits -- he got to number 99 as Tico and the Triumphs: [Excerpt: Tico and the Triumphs, "Motorcycle"] and number ninety-seven as Jerry Landis: [Excerpt: Jerry Landis, "The Lone Teen Ranger"] But he was jumping around, hopping onto every fad as it passed, and not getting anywhere. And then he started to believe that he could do something more interesting in music. He first became aware that the boundaries of what could be done in music extended further than "ooh-bop-a-loochy-ba" when he took a class on modern music at university, which included a trip to Carnegie Hall to hear a performance of music by the avant-garde composer Edgard Varese: [Excerpt: Edgard Varese, "Ionisation"] Simon got to meet Varese after the performance, and while he would take his own music in a very different, and much more commercial, direction than Varese's, he was nonetheless influenced by what Varese's music showed about the possibilities that existed in music. The other big influence on Simon at this time was when he heard The Freewheelin' Bob Dylan: [Excerpt: Bob Dylan, "Girl From the North Country"] Simon immediately decided to reinvent himself as a folkie, despite at this point knowing very little about folk music other than the Everly Brothers' Songs Our Daddy Taught Us album. He tried playing around Greenwich Village, but found it an uncongenial atmosphere, and inspired by the liner notes to the Dylan album, which talked about Dylan's time in England, he made what would be the first of several trips to the UK, where he was given a rapturous reception simply on the grounds of being an American and owning a better acoustic guitar -- a Martin -- than most British people owned. He had the showmanship that he'd learned from watching his father on stage and sometimes playing with him, and from his time in Tom and Jerry and working round the studios, and so he was able to impress the British folk-club audiences, who were used to rather earnest, scholarly, people, not to someone like Simon who was clearly ambitious and very showbiz. His repertoire at this point consisted mostly of songs from the first two Dylan albums, a Joan Baez record, Little Willie John's "Fever", and one song he'd written himself, an attempt at a protest song called "He Was My Brother", which he would release on his return to the US under yet another stage name, Paul Kane: [Excerpt: Paul Kane, "He Was My Brother"] Simon has always stated that that song was written about a friend of his who was murdered when he went down to Mississippi with the Freedom Riders -- but while Simon's friend was indeed murdered, it wasn't until about a year after he wrote the song, and Simon has confused the timelines in his subsequent recollections. At the time he recorded that, when he had returned to New York at the end of the summer, Simon had a job as a song plugger for a publishing company, and he gave the publishing company the rights to that song and its B-side, which led to that B-side getting promoted by the publisher, and ending up covered on one of the biggest British albums of 1964, which went to number two in the UK charts: [Excerpt: Val Doonican, "Carlos Dominguez"] Oddly, that may not end up being the only time we feature a Val Doonican track on this podcast. Simon continued his attempts to be a folkie, even teaming up again with Art Garfunkel, with whom he'd re-established contact, to perform in Greenwich Village as Kane and Garr, but they went down no better as a duo than Simon had as a solo artist. Simon went back to the UK again over Christmas 1963, and while he was there he continued work on a song that would become such a touchstone for him that of the first six albums he would be involved in, four would feature the song while a fifth would include a snippet of it. "The Sound of Silence" was apparently started in November 1963, but not finished until February 1964, by which time he was once again back in the USA, and back working as a song plugger. It was while working as a song plugger that Simon first met Tom Wilson, Bob Dylan's producer at Columbia. Simon met up with Wilson trying to persuade him to use some of the songs that the publishing company were putting out. When Wilson wasn't interested, Simon played him a couple of his own songs. Wilson took one of them, "He Was My Brother", for the Pilgrims, a group he was producing who were supposed to be the Black answer to Peter, Paul, and Mary: [Excerpt: The Pilgrims, "He Was My Brother"] Wilson was also interested in "The Sound of Silence", but Simon was more interested in getting signed as a performer than in having other acts perform his songs. Wilson was cautious, though -- he was already producing one folkie singer-songwriter, and he didn't really need a second one. But he *could* probably do with a vocal group... Simon mentioned that he had actually made a couple of records before, as part of a duo. Would Wilson be at all interested in a vocal *duo*? Wilson would be interested. Simon and Garfunkel auditioned for him, and a few days later were in the Columbia Records studio on Seventh Avenue recording their first album as a duo, which was also the first time either of them would record under their own name. Wednesday Morning, 3AM, the duo's first album, was a simple acoustic album, and the only instrumentation was Simon and Barry Kornfeld, a Greenwich Village folkie, on guitars, and Bill Lee, the double bass player who'd played with Dylan and others, on bass. Tom Wilson guided the duo in their song selection, and the eventual album contained six cover versions and six originals written by Simon. The cover versions were a mixture of hootenanny staples like "Go Tell it on the Mountain", plus Dylan's "The Times They Are A-Changin'", included to cross-promote Dylan's new album and to try to link the duo with the more famous writer, and one unusual one, "The Sun is Burning", written by Ian Campbell, a Scottish folk singer who Simon had got to know on his trips to the UK: [Excerpt: Simon and Garfunkel, "The Sun is Burning"] But the song that everyone was keenest on was "The Sound of Silence", the first song that Simon had written that he thought would stand up in comparison with the sort of song that Dylan was writing: [Excerpt: Simon and Garfunkel, "The Sound of Silence (Wednesday Morning 3AM version)"] In between sessions for the album, Simon and Garfunkel also played a high-profile gig at Gerde's Folk City in the Village, and a couple of shows at the Gaslight Cafe. The audiences there, though, regarded them as a complete joke -- Dave Van Ronk would later relate that for weeks afterwards, all anyone had to do was sing "Hello darkness, my old friend", for everyone around to break into laughter. Bob Dylan was one of those who laughed at the performance -- though Robert Shelton later said that Dylan hadn't been laughing at them, specifically, he'd just had a fit of the giggles -- and this had led to a certain amount of anger from Simon towards Dylan. The album was recorded in March 1964, and was scheduled for release  in October. In the meantime, they both made plans to continue with their studies and their travels. Garfunkel was starting to do postgraduate work towards his doctorate in mathematics, while Simon was now enrolled in Brooklyn Law School, but was still spending most of his time travelling, and would drop out after one semester. He would spend much of the next eighteen months in the UK. While he was occasionally in the US between June 1964 and November 1965, Simon now considered himself based in England, where he made several acquaintances that would affect his life deeply. Among them were a young woman called Kathy Chitty, with whom he would fall in love and who would inspire many of his songs, and an older woman called Judith Piepe (and I apologise if I'm mispronouncing her name, which I've only ever seen written down, never heard) who many people believed had an unrequited crush on Simon. Piepe ran her London flat as something of a commune for folk musicians, and Simon lived there for months at a time while in the UK. Among the other musicians who stayed there for a time were Sandy Denny, Cat Stevens, and Al Stewart, whose bedroom was next door to Simon's. Piepe became Simon's de facto unpaid manager and publicist, and started promoting him around the British folk scene. Simon also at this point became particularly interested in improving his guitar playing. He was spending a lot of time at Les Cousins, the London club that had become the centre of British acoustic guitar. There are, roughly, three styles of acoustic folk guitar -- to be clear, I'm talking about very broad-brush categorisations here, and there are people who would disagree and say there are more, but these are the main ones. Two of these are American styles -- there's the simple style known as Carter scratching, popularised by Mother Maybelle Carter of the Carter family, and for this all you do is alternate bass notes with your thumb while scratching the chord on the treble strings with one finger, like this: [Excerpt: Carter picking] That's the style played by a lot of country and folk players who were primarily singers accompanying themselves. In the late forties and fifties, though, another style had become popularised -- Travis picking. This is named after Merle Travis, the most well-known player in the style, but he always called it Muhlenberg picking, after Muhlenberg County, where he'd learned the style from Ike Everly -- the Everly Brothers' father -- and Mose Rager, a Black guitarist. In Travis picking, the thumb alternates between two bass notes, but rather than strumming a chord, the index and middle fingers play simple patterns on the treble strings, like this: [Excerpt: Travis picking] That's, again, a style primarily used for accompaniment, but it can also be used to play instrumentals by oneself. As well as Travis and Ike Everly, it's also the style played by Donovan, Chet Atkins, James Taylor, and more. But there's a third style, British baroque folk guitar, which was largely the invention of Davey Graham. Graham, you might remember, was a folk guitarist who had lived in the same squat as Lionel Bart when Bart started working with Tommy Steele, and who had formed a blues duo with Alexis Korner. Graham is now best known for one of his simpler pieces, “Anji”, which became the song that every British guitarist tried to learn: [Excerpt: Davey Graham, "Anji"] Dozens of people, including Paul Simon, would record versions of that. Graham invented an entirely new style of guitar playing, influenced by ragtime players like Blind Blake, but also by Bach, by Moroccan oud music, and by Celtic bagpipe music. While it was fairly common for players to retune their guitar to an open major chord, allowing them to play slide guitar, Graham retuned his to a suspended fourth chord -- D-A-D-G-A-D -- which allowed him to keep a drone going on some strings while playing complex modal counterpoints on others. While I demonstrated the previous two styles myself, I'm nowhere near a good enough guitarist to demonstrate British folk baroque, so here's an excerpt of Davey Graham playing his own arrangement of the traditional ballad "She Moved Through the Fair", recast as a raga and retitled "She Moved Thru' the Bizarre": [Excerpt: Davey Graham, "She Moved Thru' the Bizarre"] Graham's style was hugely influential on an entire generation of British guitarists, people who incorporated world music and jazz influences into folk and blues styles, and that generation of guitarists was coming up at the time and playing at Les Cousins. People who started playing in this style included Jimmy Page, Bert Jansch, Roy Harper, John Renbourn, Richard Thompson, Nick Drake, and John Martyn, and it also had a substantial influence on North American players like Joni Mitchell, Tim Buckley, and of course Paul Simon. Simon was especially influenced at this time by Martin Carthy, the young British guitarist whose style was very influenced by Graham -- but while Graham applied his style to music ranging from Dave Brubeck to Lutheran hymns to Big Bill Broonzy songs, Carthy mostly concentrated on traditional English folk songs. Carthy had a habit of taking American folk singers under his wing, and he taught Simon several songs, including Carthy's own arrangement of the traditional "Scarborough Fair": [Excerpt: Martin Carthy, "Scarborough Fair"] Simon would later record that arrangement, without crediting Carthy, and this would lead to several decades of bad blood between them, though Carthy forgave him in the 1990s, and the two performed the song together at least once after that. Indeed, Simon seems to have made a distinctly negative impression on quite a few of the musicians he knew in Britain at this time, who seem to, at least in retrospect, regard him as having rather used and discarded them as soon as his career became successful. Roy Harper has talked in liner notes to CD reissues of his work from this period about how Simon used to regularly be a guest in his home, and how he has memories of Simon playing with Harper's baby son Nick (now himself one of the greats of British guitar) but how as soon as he became successful he never spoke to Harper again. Similarly, in 1965 Simon started a writing partnership with Bruce Woodley of the Seekers, an Australian folk-pop band based in the UK, best known for "Georgy Girl". The two wrote "Red Rubber Ball", which became a hit for the Cyrkle: [Excerpt: The Cyrke, "Red Rubber Ball"] and also "Cloudy", which the Seekers recorded as an album track: [Excerpt: The Seekers, "Cloudy"] When that was recorded by Simon and Garfunkel, Woodley's name was removed from the writing credits, though Woodley still apparently received royalties for it. But at this point there *was* no Simon and Garfunkel. Paul Simon was a solo artist working the folk clubs in Britain, and Simon and Garfunkel's one album had sold a minuscule number of copies. They did, when Simon briefly returned to the US in March, record two tracks for a prospective single, this time with an electric backing band. One was a rewrite of the title track of their first album, now titled "Somewhere They Can't Find Me" and with a new chorus and some guitar parts nicked from Davey Graham's "Anji"; the other a Twist-beat song that could almost be Manfred Mann or Georgie Fame -- "We Got a Groovy Thing Goin'". That was also influenced by “Anji”, though by Bert Jansch's version rather than Graham's original. Jansch rearranged the song and stuck in this phrase: [Excerpt: Bert Jansch, “Anji”] Which became the chorus to “We Got a Groovy Thing Goin'”: [Excerpt: Simon and Garfunkel, "We Got a Groovy Thing Goin'"] But that single was never released, and as far as Columbia were concerned, Simon and Garfunkel were a defunct act, especially as Tom Wilson, who had signed them, was looking to move away from Columbia. Art Garfunkel did come to visit Simon in the UK a couple of times, and they'd even sing together occasionally, but it was on the basis of Paul Simon the successful club act occasionally inviting his friend on stage during the encore, rather than as a duo, and Garfunkel was still seeing music only as a sideline while Simon was now utterly committed to it. He was encouraged in this commitment by Judith Piepe, who considered him to be the greatest songwriter of his generation, and who started a letter-writing campaign to that effect, telling the BBC they needed to put him on the radio. Eventually, after a lot of pressure, they agreed -- though they weren't exactly sure what to do with him, as he didn't fit into any of the pop formats they had. He was given his own radio show -- a five-minute show in a religious programming slot. Simon would perform a song, and there would be an introduction tying the song into some religious theme or other. Two series of four episodes of this were broadcast, in a plum slot right after Housewives' Choice, which got twenty million listeners, and the BBC were amazed to find that a lot of people phoned in asking where they could get hold of the records by this Paul Simon fellow. Obviously he didn't have any out yet, and even the Simon and Garfunkel album, which had been released in the US, hadn't come out in Britain. After a little bit of negotiation, CBS, the British arm of Columbia Records, had Simon come in and record an album of his songs, titled The Paul Simon Songbook. The album, unlike the Simon and Garfunkel album, was made up entirely of Paul Simon originals. Two of them were songs that had previously been recorded for Wednesday Morning 3AM -- "He Was My Brother" and a new version of "The Sound of Silence": [Excerpt: Paul Simon, "The Sound of Silence"] The other ten songs were newly-written pieces like "April Come She Will", "Kathy's Song", a parody of Bob Dylan entitled "A Simple Desultory Philippic", and the song that was chosen as the single, "I am a Rock": [Excerpt: Paul Simon, "I am a Rock"] That song was also the one that was chosen for Simon's first TV appearance since Tom and Jerry had appeared on Bandstand eight years earlier. The appearance on Ready, Steady, Go, though, was not one that anyone was happy with. Simon had been booked to appear on  a small folk music series, Heartsong, but that series was cancelled before he could appear. Rediffusion, the company that made the series, also made Ready, Steady, Go, and since they'd already paid Simon they decided they might as well stick him on that show and get something for their money. Unfortunately, the episode in question was already running long, and it wasn't really suited for introspective singer-songwriter performances -- the show was geared to guitar bands and American soul singers. Michael Lindsay-Hogg, the director, insisted that if Simon was going to do his song, he had to cut at least one verse, while Simon was insistent that he needed to perform the whole thing because "it's a story". Lindsay-Hogg got his way, but nobody was happy with the performance. Simon's album was surprisingly unsuccessful, given the number of people who'd called the BBC asking about it -- the joke went round that the calls had all been Judith Piepe doing different voices -- and Simon continued his round of folk clubs, pubs, and birthday parties, sometimes performing with Garfunkel, when he visited for the summer, but mostly performing on his own. One time he did perform with a full band, singing “Johnny B Goode” at a birthday party, backed by a band called Joker's Wild who a couple of weeks later went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] The guitarist from Joker's Wild would later join the other band who'd played at that party, but the story of David Gilmour joining Pink Floyd is for another episode. During this time, Simon also produced his first record for someone else, when he was responsible for producing the only album by his friend Jackson C Frank, though there wasn't much production involved as like Simon's own album it was just one man and his guitar. Al Stewart and Art Garfunkel were also in the control room for the recording, but the notoriously shy Frank insisted on hiding behind a screen so they couldn't see him while he recorded: [Excerpt: Jackson C Frank, "Blues Run the Game"] It seemed like Paul Simon was on his way to becoming a respected mid-level figure on the British folk scene, releasing occasional albums and maybe having one or two minor hits, but making a steady living. Someone who would be spoken of in the same breath as Ralph McTell perhaps. Meanwhile, Art Garfunkel would be going on to be a lecturer in mathematics whose students might be surprised to know he'd had a minor rock and roll hit as a kid. But then something happened that changed everything. Wednesday Morning 3AM hadn't sold at all, and Columbia hadn't promoted it in the slightest. It was too collegiate and polite for the Greenwich Village folkies, and too intellectual for the pop audience that had been buying Peter, Paul, and Mary, and it had come out just at the point that the folk boom had imploded. But one DJ in Boston, Dick Summer, had started playing one song from it, "The Sound of Silence", and it had caught on with the college students, who loved the song. And then came spring break 1965. All those students went on holiday, and suddenly DJs in places like Cocoa Beach, Florida, were getting phone calls requesting "The Sound of Silence" by Simon and Garfunkel. Some of them with contacts at Columbia got in touch with the label, and Tom Wilson had an idea. On the first day of what turned out to be his last session with Dylan, the session for "Like a Rolling Stone", Wilson asked the musicians to stay behind and work on something. He'd already experimented with overdubbing new instruments on an acoustic recording with his new version of Dylan's "House of the Rising Sun", now he was going to try it with "The Sound of Silence". He didn't bother asking the duo what they thought -- record labels messed with people's records all the time. So "The Sound of Silence" was released as an electric folk-rock single: [Excerpt: Simon and Garfunkel, "The Sound of Silence"] This is always presented as Wilson massively changing the sound of the duo without their permission or knowledge, but the fact is that they had *already* gone folk-rock, back in March, so they were already thinking that way. The track was released as a single with “We Got a Groovy Thing Going” on the B-side, and was promoted first in the Boston market, and it did very well. Roy Harper later talked about Simon's attitude at this time, saying "I can remember going into the gents in The Three Horseshoes in Hempstead during a gig, and we're having a pee together. He was very excited, and he turns round to me and and says, “Guess what, man? We're number sixteen in Boston with The Sound of Silence'”. A few days later I was doing another gig with him and he made a beeline for me. “Guess what?” I said “You're No. 15 in Boston”. He said, “No man, we're No. 1 in Boston”. I thought, “Wow. No. 1 in Boston, eh?” It was almost a joke, because I really had no idea what that sort of stuff meant at all." Simon was even more excited when the record started creeping up the national charts, though he was less enthused when his copy of the single arrived from America. He listened to it, and thought the arrangement was a Byrds rip-off, and cringed at the way the rhythm section had to slow down and speed up in order to stay in time with the acoustic recording: [Excerpt: Simon and Garfunkel, "The Sound of Silence"] I have to say that, while the tempo fluctuations are noticeable once you know to look for them, it's a remarkably tight performance given the circumstances. As the record went up the charts, Simon was called back to America, to record an album to go along with it. The Paul Simon Songbook hadn't been released in the US,  and they needed an album *now*, and Simon was a slow songwriter, so the duo took six songs from that album and rerecorded them in folk-rock versions with their new producer Bob Johnston, who was also working with Dylan now, since Tom Wilson had moved on to Verve records. They filled out the album with "The Sound of Silence", the two electric tracks from March, one new song, "Blessed", and a version of "Anji", which came straight after "Somewhere They Can't Find Me", presumably to acknowledge Simon lifting bits of it. That version of “Anji” also followed Jansch's arrangement, and so included the bit that Simon had taken for “We Got a Groovy Thing Going” as well. They also recorded their next single, which was released on the British version of the album but not the American one, a song that Simon had written during a thoroughly depressing tour of Lancashire towns (he wrote it in Widnes, but a friend of Simon's who lived in Widnes later said that while it was written in Widnes it was written *about* Birkenhead. Simon has also sometimes said it was about Warrington or Wigan, both of which are so close to Widnes and so similar in both name and atmosphere that it would be the easiest thing in the world to mix them up.) [Excerpt: Simon and Garfunkel, "Homeward Bound"] These tracks were all recorded in December 1965, and they featured the Wrecking Crew -- Bob Johnston wanted the best, and didn't rate the New York players that Wilson had used, and so they were recorded in LA with Glen Campbell, Joe South, Hal Blaine, Larry Knechtel, and Joe Osborne. I've also seen in some sources that there were sessions in Nashville with A-team players Fred Carter and Charlie McCoy. By January, "The Sound of Silence" had reached number one, knocking "We Can Work it Out" by the Beatles off the top spot for two weeks, before the Beatles record went back to the top. They'd achieved what they'd been trying for for nearly a decade, and I'll give the last word here to Paul Simon, who said of the achievement: "I had come back to New York, and I was staying in my old room at my parents' house. Artie was living at his parents' house, too. I remember Artie and I were sitting there in my car one night, parked on a street in Queens, and the announcer said, "Number one, Simon & Garfunkel." And Artie said to me, "That Simon & Garfunkel, they must be having a great time.""

NOTE: This episode went up before the allegations about Dylan, in a lawsuit filed on Friday, were made public on Monday night. Had I been aware of them, I would at least have commented at the beginning of the episode. Episode one hundred and thirty of A History of Rock Music in Five Hundred Songs looks at “Like a Rolling Stone" by Bob Dylan, and the controversy over Dylan going electric, Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Hold What You've Got" by Joe Tex. 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/ Erratum A couple of times I refer to “CBS”. Dylan's label in the US was Columbia Records, a subsidiary of CBS Inc, but in the rest of the world the label traded as “CBS Records”. I should probably have used “Columbia” throughout... Resources No Mixcloud this week, as there are too many songs by Dylan. Much of the information in this episode comes from Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties by Elijah Wald, which is recommended, as all Wald's books are. I've used these books for all the episodes involving Dylan: Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. The New Yorker article by Nat Hentoff I talk about is here. And for the information about the writing of "Like a Rolling Stone", I relied on yet another book by Heylin, All the Madmen. Dylan's albums up to 1967 can all be found in their original mono mixes on this box set. And Dylan's performances at Newport from 1963 through 1965 are on this DVD. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There's a story that everyone tells about Bob Dylan in 1965, the story that has entered into legend. It's the story that you'll see in most of the biographies of him, and in all those coffee-table histories of rock music put out by glossy music magazines. Bob Dylan, in this story, was part of the square, boring, folk scene until he plugged in an electric guitar and just blew the minds of all those squares, who immediately ostracised him forever for being a Judas and betraying their traditionalist acoustic music, but he was just too cool and too much of a rebel to be bound by their rules, man. Pete Seeger even got an axe and tried to cut his way through the cables of the amplifiers, he was so offended by the desecration of the Newport Folk Festival. And like all these stories, it's an oversimplification but there's an element of truth to it too. So today, we're going to look at what actually happened when Dylan went electric. We're going to look at what led to him going electric, and at the truth behind the legend of Seeger's axe. And we're going to look at the masterpiece at the centre of it all, a record that changed rock songwriting forever. We're going to look at Bob Dylan and "Like a Rolling Stone": [Excerpt: Bob Dylan, "Like a Rolling Stone"] While we've seen Dylan turn up in all sorts of episodes -- most recently the episode on "Mr. Tambourine Man", the last time we looked at him in detail was in the episode on "Blowin' in the Wind", and when we left him there he had just recorded his second album, The Freewheelin' Bob Dylan, but it had not yet been released. As we'll see, Dylan was always an artist who moved on very quickly from what he'd been doing before, and that had started as early as that album. While his first album, produced by John Hammond, had been made up almost entirely of traditional songs and songs he'd learned from Dave van Ronk or Eric von Schmidt, with only two originals, The Freewheelin' Bob Dylan had started out being produced by Hammond, but as Hammond and Dylan's manager Albert Grossman had come to find it difficult to work together, the last few tracks had been produced by Tom Wilson. We've mentioned Wilson briefly a couple of times already, but to reiterate, Wilson was a Black Harvard graduate and political conservative whose background was in jazz and who had no knowledge of or love for folk music. But Wilson saw two things in Dylan -- the undeniable power of his lyrics, and his vocals, which Wilson compared to Ray Charles. Wilson wanted to move Dylan towards working with a backing band, and this was something that Dylan was interested in doing, but his first experiment with that, with John Hammond, hadn't been a particular success. Dylan had recorded a single backed with a band -- "Mixed-Up Confusion", backed with "Corrina, Corrina", a version of an old song that had been recorded by both Bob Wills and Big Joe Turner, but had recently been brought back to the public mind by a version Phil Spector had produced for Ray Peterson. Dylan's version of that song had a country lope and occasional breaks into Jimmie Rodgers style keening that foreshadow his work of the late sixties: [Excerpt: Bob Dylan, "Corrina, Corrina (single version)"] A different take of that track was included on The Freewheelin' Bob Dylan, an album that was made up almost entirely of originals. Those originals fell into roughly two types -- there were songs like "Masters of War", "Blowin' in the Wind", and "A Hard Rain's Gonna Fall" which dealt in some way with the political events of the time -- the fear of nuclear war, the ongoing conflict in Vietnam, the Civil Rights movement and more -- but did so in an elliptical, poetic way; and there were songs about distance in a relationship -- songs like "Don't Think Twice, It's Alright", which do a wonderful job at portraying a young man's conflicted feelings -- the girl has left him, and he wants her back, but he wants to pretend that he doesn't.  While it's always a bad idea to look for a direct autobiographical interpretation of Dylan's lyrics, it seems fairly safe to say that these songs were inspired by Dylan's feelings for his girlfriend, Suze Rotolo, who had gone travelling in Europe and not seen him for eight months, and who he was worried he would never see again, and he does seem to have actually had several conflicting feelings about this, ranging from desperation for her to come back through to anger and resentment. The surprising thing about The Freewheelin' Bob Dylan is that it's a relatively coherent piece of work, despite being recorded with two different producers over a period of more than a year, and that recording being interrupted by Dylan's own travels to the UK, his separation from and reconciliation with Rotolo, and a change of producers. If you listened to it, you would get an impression of exactly who Dylan was -- you'd come away from it thinking that he was an angry, talented, young man who was trying to merge elements of both traditional English folk music and Robert Johnson style Delta blues with poetic lyrics related to what was going on in the young man's life. By the next album, that opinion of Dylan would have to be reworked, and it would have to be reworked with every single album that came out.  But The Freewheelin' Bob Dylan came out at the perfect time for Dylan to step into the role of "spokesman for a generation" -- a role which he didn't want, and to which he wasn't particularly suited. Because it came out in May 1963, right at the point at which folk music was both becoming hugely more mainstream, and becoming more politicised. And nothing showed both those things as well as the Hootenanny boycott: [Excerpt: The Brothers Four, “Hootenanny Saturday Night”] We've talked before about Hootenanny, the folk TV show, but what we haven't mentioned is that there was a quite substantial boycott of that show by some of the top musicians in folk music at the time. The reason for this is that Pete Seeger, the elder statesman of the folk movement, and his old band the Weavers, were both blacklisted from the show because of Seeger's Communist leanings. The Weavers were --- according to some sources -- told that they could go on if they would sign a loyalty oath, but they refused. It's hard for those of us who weren't around at the time to really comprehend both just how subversive folk music was considered, and how seriously subversion was taken in the USA of the early 1960s. To give a relevant example -- Suze Rotolo was pictured on the cover of The Freewheelin' Bob Dylan. Because of this, her cousin's husband, who was in the military, lost his security clearance and didn't get a promotion he was in line for. Again,  someone lost his security clearance because his wife's cousin was pictured on the cover of a Bob Dylan album. So the blacklisting of Seeger and the Weavers was considered a serious matter by the folk music community, and people reacted very strongly. Joan Baez announced that she wouldn't be going on Hootenanny until they asked Seeger on, and Dylan, the Kingston Trio, Dave van Ronk, Ramblin' Jack Elliott, and Peter, Paul, and Mary, among many others, all refused to go on the show as a result. But the odd thing was, whenever anyone *actually asked* Pete Seeger what he thought they should do, he told them they should go on the TV show and use it as an opportunity to promote the music. So while the Kingston Trio and Peter, Paul, and Mary, two of the biggest examples of the commercialisation of folk music that the serious purists sneered at, were refusing to go on the TV in solidarity with a Communist, that Communist's brother, Mike Seeger, happily went on Hootenanny with his band the New Lost City Ramblers, and when the Tarriers were invited on to the show but it clashed with one of their regular bookings, Pete Seeger covered their booking for them so they could appear. Dylan was on the side of the boycotters, though he was not too clear on exactly why. When he spoke about  the boycott on stage, this is what he had to say: [Excerpt: Dylan talks about the boycott. Transcript: "Now a friend of mine, a friend of all yours I'm sure, Pete Seeger's been blacklisted [applause]. He and another group called the Weavers who are around New York [applause] I turned down that television show, but I got no right [applause] but . . . I feel bad turning it down, because the Weavers and Pete Seeger can't be on it. They oughta turn it down. They aren't even asked to be on it because they are blacklisted. Uh—which is, which is a bad thing. I don't know why it's bad, but it's just bad, it's bad all around."] Hootenanny started broadcasting in April 1963, just over a month before The Freewheelin' Bob Dylan came out, and so it would have been a good opportunity for publicity for him -- but turning the show down was also good publicity. Hootenanny wouldn't be the only opportunity to appear on TV that he was offered. It would also not be the only one he turned down. In May, Dylan was given the opportunity to appear on the Ed Sullivan Show, but he agreed on one condition -- that he be allowed to sing "Talking John Birch Paranoid Blues". For those who don't know, the John Birch Society is a far-right conspiratorial organisation which had a huge influence on the development of the American right-wing in the middle of the twentieth century, and is responsible for perpetuating almost every conspiracy theory that has exerted a malign influence on the country and the world since that time. They were a popular punching bag for the left and centre, and for good reason -- we heard the Chad Mitchell Trio mocking them, for example, in the episode on "Mr. Tambourine Man" a couple of weeks ago.  So Dylan insisted that if he was going to go on the Ed Sullivan Show, it would only be to perform his song about them: [Excerpt: Bob Dylan, "Talking John Birch Paranoid Blues"] Now, the Ed Sullivan Show was not interested in having Dylan sing a song that would upset a substantial proportion of its audience, on what was after all meant to be an entertainment show, and so Dylan didn't appear on the show -- and he got a big publicity boost from his principled refusal to make a TV appearance that would have given him a big publicity boost. It's interesting to note in this context that Dylan himself clearly didn't actually think very much of the song -- he never included it on any of his albums, and it remained unreleased for decades. By this point, Dylan had started dating Joan Baez, with whom he would have an on-again off-again relationship for the next couple of years, even though at this point he was also still seeing Suze Rotolo. Baez was one of the big stars of the folk movement, and like Rotolo she was extremely politically motivated. She was also a fan of Dylan's writing, and had started recording versions of his songs on her albums: [Excerpt: Joan Baez, "Don't Think Twice, It's All Right"] The relationship between the two of them became much more public when they appeared together at the Newport Folk Festival in 1963. The Newport Folk Festival had started in 1959, as a spinoff from the successful Newport Jazz Festival, which had been going for a number of years previously. As there was a large overlap between the jazz and folk music fanbases -- both musics appealed at this point to educated, middle-class, liberals who liked to think of themselves as a little bit Bohemian -- the Jazz Festival had first started putting on an afternoon of folk music during its normal jazz programme, and then spun that off into a whole separate festival, initially with the help of Albert Grossman, who advised on which acts should be booked (and of course included several of the acts he managed on the bill). Both Newport festivals had been shut down after rioting at the 1960 Jazz Festival, as three thousand more people had turned up for the show than there was capacity for, and the Marines had had to be called in to clear the streets of angry jazz fans, but the jazz  festival had returned in 1962, and in 1963 the folk festival came back as well. By this time, Albert Grossman was too busy to work for the festival, and so its organisation was taken over by a committee headed by Pete Seeger.  At that 1963 festival, even though Dylan was at this point still a relative unknown compared to some of the acts on the bill, he was made the headliner of the first night, which finished with his set, and then with him bringing Joan Baez, Peter, Paul and Mary, Pete Seeger and the Freedom Singers out to sing with him on "Blowin' in the Wind" and "We Shall Overcome".  To many people, Dylan's appearance in 1963 was what launched him from being "one of the rising stars of the folk movement" to being the most important musician in the movement -- still just one of many, but the first among equals. He was now being talked of in the same terms as Joan Baez or Pete Seeger, and was also starting to behave like someone as important as them -- like he was a star. And that was partly because Baez was promoting Dylan, having him duet with her on stage on his songs -- though few would now argue that the combination of their voices did either artist any favours, Baez's pure, trained, voice, rubbing up against Dylan's more idiosyncratic phrasing in ways that made both sound less impressive: [Excerpt: Joan Baez and Bob Dylan, "With God On Our Side (live at Newport 1963)"] At the end of 1963, Dylan recorded his third album, which came out in early 1964. The Times They Are A-Changin' seems to be Dylan's least personal album to this point, and seems to have been written as a conscious attempt to write the kind of songs that people wanted and expected from him -- there were songs about particular recent news events, like "The Lonesome Death of Hattie Carroll",  the true story of the murder of a Black woman by a white man, and  "Only a Pawn in Their Game", about the murder of the Civil Rights activist Medgar Evers. There were fictional dramatisations of the kind of effects that real-world social problems were having on people, like "North Country Blues", in which the callous way mining towns were treated by capital leads to a woman losing her parents, brother, husband, and children, or "The Ballad of Hollis Brown", about a farmer driven to despair by poverty who ends up killing his whole family and himself. As you can imagine, it's not a very cheery album, but it's one that impressed a lot of people, especially its title track, which was very deliberately written as an anthem for the new social movements that were coming up: [Excerpt: Bob Dylan, "The Times They Are A-Changin'"] But it was a bleak album, with none of the humour that had characterised Dylan's first two albums. Soon after recording the album, Dylan had a final split with Rotolo, went travelling for a while, and took LSD for the first time. He also started to distance himself from Baez at this point, though the two would remain together until mid 1965. He seems to have regarded the political material he was doing as a mistake, as something he was doing for other people, rather than because that was what he wanted to do.  He toured the UK in early 1964, and then returned to the US in time to record his fourth album, Another Side of Bob Dylan. It can be argued that this is the point where Dylan really becomes himself, and starts making music that's the music he wants to make, rather than music that he thinks other people want him to make.  The entire album was recorded in one session, along with a few tracks that didn't make the cut -- like the early version of "Mr. Tambourine Man" with Ramblin' Jack Elliott that we heard in the episode on that song. Elliott was in attendance, as were a number of Dylan's other friends, though the album features only Dylan performing. Also there was the journalist Nat Hentoff, who wrote a full account of the recording session for the New Yorker, which I'll link in the show notes.  Dylan told Hentoff "“There aren't any finger-pointing songs in here, either. Those records I've already made, I'll stand behind them, but some of that was jumping into the scene to be heard and a lot of it was because I didn't see anybody else doing that kind of thing. Now a lot of people are doing finger-pointing songs. You know—pointing to all the things that are wrong. Me, I don't want to write for people anymore. You know—be a spokesman. Like I once wrote about Emmett Till in the first person, pretending I was him. From now on, I want to write from inside me, and to do that I'm going to have to get back to writing like I used to when I was ten—having everything come out naturally." Dylan was right to say that there were no finger-pointing songs. The songs on Another Side of Bob Dylan were entirely personal -- "Ballad in Plain D", in particular, is Dylan's take on the night he split up with Suze Rotolo, laying the blame -- unfairly, as he would later admit -- on her older sister. The songs mostly dealt with love and relationships, and as a result were ripe for cover versions. The opening track, in particular, "All I Really Want to Do", which in Dylan's version was a Jimmie Rodgers style hillbilly tune, became the subject of duelling cover versions. The Byrds' version came out as the follow-up to their version of "Mr. Tambourine Man": [Excerpt: The Byrds, "All I Really Want to Do"] But Cher also released a version -- which the Byrds claimed came about when Cher's husband Sonny Bono secretly taped a Byrds live show where they performed the song before they'd released it, and he then stole their arrangement: [Excerpt: Cher, "All I Really Want to Do"] In America, the Byrds' version only made number forty on the charts, while Cher made number fifteen. In the UK, where both artists were touring at the time to promote the single, Cher made number nine but the Byrds charted higher at number four.  Both those releases came out after the album came out in late 1964, but even before it was released, Dylan was looking for other artists to cover his new songs. He found one at the 1964 Newport Folk Festival, where he met Johnny Cash for the first time. Cash had been a fan of Dylan for some time -- and indeed, he's often credited as being the main reason why CBS persisted with Dylan after his first album was unsuccessful, as Cash had lobbied for him within the company -- and he'd recently started to let that influence show. His most recent hit, "Understand Your Man", owed more than a little to Dylan's "Don't Think Twice, It's All Right", and Cash had also started recording protest songs. At Newport, Cash performed his own version of "Don't Think Twice": [Excerpt: Johnny Cash, "Don't Think Twice, It's All Right"] Cash and Dylan met up, with June Carter and Joan Baez, in Baez's hotel room, and according to later descriptions they were both so excited to meet each other they were bouncing with excitement, jumping up and down on the beds. They played music together all night, and Dylan played some of his new songs for Cash. One of them was "It Ain't Me Babe", a song that seems at least slightly inspired by "She Loves You" -- you can sing the "yeah, yeah, yeah" and "no, no, no" together -- and which was the closing track of Another Side of Bob Dylan. Cash soon released his own version of the song, which became a top five country hit: [Excerpt: Johnny Cash, "It Ain't Me Babe"] But it wasn't long after meeting Cash that Dylan met the group who may have inspired that song -- and his meeting with the Beatles seems to have confirmed in him his decision that he needed to move away from the folk scene and towards making pop records. This was something that Tom Wilson had been pushing for for a while -- Wilson had told Dylan's manager Albert Grossman that if they could get Dylan backed by a good band, they'd have a white Ray Charles on their hands. As an experiment, Wilson took some session musicians into the studio and had them overdub an electric backing on Dylan's acoustic version of "House of the Rising Sun", basing the new backing on the Animals' hit version. The result wasn't good enough to release, but it did show that there was a potential for combining Dylan's music with the sound of electric guitars and drums: [Excerpt: Bob Dylan, “House of the Rising Sun (electric version)”] Dylan was also being influenced by his friend John Hammond Jr, the blues musician son of Dylan's first producer, and a veteran of the Greenwich Village folk scene. Hammond had decided that he wanted to show the British R&B bands what proper American blues sounded like, and so he'd recruited a group of mostly-Canadian musicians to back him on an electric album. His "So Many Roads" album featured three members of a group called Levon and the Hawks -- Levon Helm, Garth Hudson, and Robbie Robertson -- who had recently quit working for the Canadian rockabilly singer Ronnie Hawkins -- plus harmonica player Charlie Musselwhite and Mike Bloomfield, who was normally a guitarist but who is credited on piano for the album: [Excerpt: John Hammond, Jr. "Who Do You Love?"] Dylan was inspired by Hammond's sound, and wanted to get the same sound on his next record, though he didn't consider hiring the same musicians. Instead, for his next album he brought in Bruce Langhorne, the tambourine man himself, on guitar, Bobby Gregg -- a drummer who had been the house drummer for Cameo-Parkway and played on hits by Chubby Checker, Bobby Rydell and others; the session guitarists Al Gorgoni and Kenny Rankin, piano players Frank Owens and Paul Griffin, and two bass players, Joseph Macho and William Lee, the father of the film director Spike Lee. Not all of these played on all the finished tracks -- and there were other tracks recorded during the sessions, where Dylan was accompanied by Hammond and another guitarist, John Sebastian, that weren't used at all -- but that's the lineup that played on Dylan's first electric album, Bringing it All Back Home. The first single, "Subterranean Homesick Blues" actually takes more inspiration than one might imagine from the old-school folk singers Dylan was still associating with. Its opening lines seem to be a riff on "Taking it Easy", a song that had originally been written in the forties by Woody Guthrie for the Almanac Singers, where it had been a song about air-raid sirens: [Excerpt: The Almanac Singers, "Taking it Easy"] But had then been rewritten by Pete Seeger for the Weavers, whose version had included this verse that wasn't in the original: [Excerpt: The Weavers, "Taking it Easy"] Dylan took that verse, and the basic Guthrie-esque talking blues rhythm, and connected it to Chuck Berry's "Too Much Monkey Business" with its rapid-fire joking blues lyrics: [Excerpt: Chuck Berry, "Too Much Monkey Business"] But Dylan's lyrics were a radical departure, a freeform, stream-of-consciousness proto-psychedelic lyric inspired as much by the Beat poets as by any musician -- it's no coincidence that in the promotional film Dylan made for the song, one of the earliest examples of what would become known as the rock video, the Beat poet Allen Ginsberg makes an appearance: [Excerpt: Bob Dylan, "Subterranean Homesick Blues"] "Subterranean Homesick Blues" made the top forty in the US -- it only made number thirty-nine, but it was Dylan's first single to chart at all in the US. And it made the top ten in the UK -- but it's notable that even over here, there was still some trepidation about Dylan's new direction. To promote his UK tour, CBS put out a single of "The Times They Are A-Changin'", and that too made the top ten, and spent longer on the charts than "Subterranean Homesick Blues". Indeed, it seems like everyone was hedging their bets. The opening side of Bringing it All Back Home is all electric, but the B-side is made up entirely of acoustic performances, though sometimes with a little added electric guitar countermelody -- it's very much in the same style as Dylan's earlier albums, and seems to be a way of pulling back after testing the waters, of reassuring people who might have been upset by the change in style on the first side that this was still the same Dylan they knew.  And the old Dylan certainly still had plenty of commercial life in him. Indeed, when Dylan went to the UK for a tour in spring of 1965, he found that British musicians were trying to copy his style -- a young man called Donovan seemed to be doing his best to *be* Dylan, with even the title of his debut hit single seeming to owe something to "Blowing in the Wind": [Excerpt: Donovan, "Catch the Wind (original single version)"] On that UK tour, Dylan performed solo as he always had -- though by this point he had taken to bringing along an entourage. Watching the classic documentary of that tour, Dont Look Back, it's quite painful to see Dylan's cruelty to Joan Baez, who had come along on the expectation that she would be duetting with him occasionally, as he had dueted with her, but who is sidelined, tormented, and ignored. It's even worse to see Bob Neuwirth,  a hanger-on who is very obviously desperate to impress Dylan by copying all his mannerisms and affectations, doing the same. It's unsurprising that this was the end of Dylan and Baez's relationship. Dylan's solo performances on that tour went down well, but some of his fans questioned him about his choice to make an electric record. But he wasn't going to stop recording with electric musicians. Indeed, Tom Wilson also came along on the tour, and while he was in England he made an attempt to record a track with the members of John Mayall's Bluesbreakers -- Mayall, Hughie Flint, Eric Clapton, and John McVie, though it was unsuccessful and only a low-fidelity fragment of it circulates: [Excerpt: Bob Dylan and the Bluesbreakers, "If You Gotta Go, Go Now"] Also attending that session was a young wannabe singer from Germany who Dylan had taken up with, though their dalliance was very brief. During the session Dylan cut a demo of a song he planned to give her, but Nico didn't end up recording "I'll Keep it With Mine" until a couple of years later. But one other thing happened in England. After the UK tour, Dylan travelled over to Europe for a short tour, then returned to the UK to do a show for the BBC -- his first full televised concert. Unfortunately, that show never went ahead -- there was a party the night before, and Dylan was hospitalised after it with what was said to be food poisoning. It might even actually have been food poisoning, but take a listen to the episode I did on Vince Taylor, who was also at that party, and draw your own conclusions. Anyway, Dylan was laid up in bed for a while, and took the opportunity to write what he's variously described as being ten or twenty pages of stream of consciousness vomit, out of which he eventually took four pages of lyrics, a vicious attack on a woman who was originally the protagonist's social superior, but has since fallen. He's never spoken in any detail about what or who the subject of the song was, but given that it was written just days after his breakup with Baez, it's not hard to guess. The first attempt at recording the song was a false start. On June the fifteenth, Dylan and most of the same musicians who'd played on his previous album went into the studio to record it, along with Mike Bloomfield, who had played on that John Hammond album that had inspired Dylan and was now playing in the Paul Butterfield Blues Band. Bloomfield had been surprised when Dylan had told him that he didn't want the kind of string-bending electric blues that Bloomfield usually played, but he managed to come up with something Dylan approved of -- but the song was at this point in waltz time: [Excerpt: Bob Dylan, "Like a Rolling Stone (early version)"] The session ended, but Joe Macho, Al Gorgoni and Bobby Gregg stayed around after the session, when Tom Wilson called in another session guitarist to join them in doing the same trick he'd done on "House of the Rising Sun", overdubbing new instruments on a flop acoustic record he'd produced for a Greenwich Village folk duo who'd already split up. But we'll hear more about "The Sound of Silence" in a few weeks' time. The next day, the same musicians came back, along with one new one. Al Kooper had been invited by Wilson to come along and watch the session, but he was determined that he was going to play on whatever was recorded. He got to the session early, brought his guitar and amp in and got tuned up before Wilson arrived. But then Kooper heard Bloomfield play, realised that he simply couldn't play at anything remotely like the same standard, and decided he'd be best off staying in the control room after all.  But then, before they started recording "Like a Rolling Stone", which by now was in 4/4 time, Frank Owens, who had been playing organ, switched to piano and left his organ on. Kooper saw his chance -- he played a bit of keyboards, too, and the song was in C, which is the easiest key to play in. Kooper asked Wilson if he could go and play, and Wilson didn't exactly say no, so Kooper went into the studio and sat at the organ.  Kooper improvised the organ line that became the song's most notable instrumental part, but you will notice that it's mixed quite low in the track. This is because Wilson was unimpressed with Kooper's playing, which is technically pretty poor -- indeed, for much of the song, Kooper is a beat behind the rest of the band, waiting for them to change chords and then following the change on the next measure. Luckily, Kooper is also a good enough natural musician that he made this work, and it gave the song a distinctive sound: [Excerpt: Bob Dylan, "Like a Rolling Stone"] The finished record came in at around six minutes -- and here I should just mention that most books on the subject say that the single was six minutes and thirteen seconds long. That's the length of the stereo mix of the song on the stereo version of the album. The mono mix on the mono album, which we just heard, is five minutes fifty-eight, as it has a shorter fade. I haven't been able to track down a copy of the single as released in 1965, but usually the single mix would be the same as the mono album mix. Whatever the exact length, it was much, much, longer than the norm for a single -- the Animals' "House of the Rising Sun" had been regarded as ridiculously long at four and a half minutes -- and Columbia originally wanted to split the song over two sides of a single. But eventually it was released as one side, in full: [Excerpt: Bob Dylan, "Like a Rolling Stone"] That's Bruce Langhorne there playing that rather sloppy tambourine part, high in the mix. The record made the top five in the UK, and reached number two in the US, only being held off from the top spot by "Help!" by the Beatles.  It would, however, be the last track that Tom Wilson produced for Dylan. Nobody knows what caused their split after three and a half albums working together -- and everything suggests that on the UK tour in the Spring, the two were very friendly. But they had some sort of disagreement, about which neither of them would ever speak, other than a comment by Wilson in an interview shortly before his death in which he said that Dylan had told him he was going to get Phil Spector to produce his records. In the event, the rest of the album Dylan was working on would be produced by Bob Johnston, who would be Dylan's regular producer until the mid-seventies. So "Like a Rolling Stone" was a major break in Dylan's career, and there was another one shortly after its release, when Dylan played the Newport Folk Festival for the third time, in what has become possibly the single most discussed and analysed performance in folk or rock music. The most important thing to note here is that there was not a backlash among the folk crowd against electric instruments. The Newport Folk Festival had *always* had electric performers -- John Lee Hooker and Johnny Cash and The Staple Singers had all performed with electric guitars and nobody had cared. What there was, was a backlash against pop music. You see, up until the Beatles hit America, the commercial side of folk music had been huge. Acts like the Kingston Trio, Peter, Paul, and Mary, The Chad Mitchell Trio, and so on had been massive. Most of the fans at the Newport Folk Festival actually despised many of these acts as sell-outs, doing watered-down versions of the traditional music they loved. But at the same time, those acts *were* doing watered-down versions of the traditional music they loved, and by doing so they were exposing more people to that traditional music. They were making programmes like Hootenanny possible -- and the folkies didn't like Hootenanny, but Hootenanny existing meant that the New Lost City Ramblers got an audience they would otherwise not have got. There was a recognition, then, that the commercialised folk music that many of them despised was nonetheless important in the development of a thriving scene. And it was those acts, the Kingston Trios and Peter, Paul, and Marys, who were fast losing their commercial relevance because of the renewed popularity of rock music. If Hootenanny gets cancelled and Shindig put on in its place, that's great for fans of the Righteous Brothers and Sam Cooke, but it's not so great if you want to hear "Tom Dooley" or "If I Had a Hammer". And so many of the old guard in the folk movement weren't wary of electric guitars *as instruments*, but they were wary of anything that looked like someone taking sides with the new pop music rather than the old folk music. For Dylan's first performance at the festival in 1965, he played exactly the set that people would expect of him, and there was no problem. The faultlines opened up, not with Dylan's first performance, but with the performance by the Paul Butterfield Blues Band, as part of a history of the blues, presented by Alan Lomax. Lomax had no objection to rock and roll -- indeed, earlier in the festival the Chambers Brothers, a Black electric group from Mississippi, had performed a set of rock and R&B songs, and Lomax had come on stage afterwards and said “I'm very proud tonight that we finally got onto the Newport Folk Festival our modern American folk music: rock 'n' roll!” But Lomax didn't think that the Butterfield band met his criteria of "authenticity". And he had a point. The Paul Butterfield Blues Band were an integrated group -- their rhythm section were Black musicians who had played with Howlin' Wolf -- and they'd gained experience through playing Chicago blues on the South Side of Chicago, but their leader, Butterfield, was a white man, as was Mike Bloomfield, their guitarist, and so they'd quickly moved to playing clubs on the North side, where Black musicians had generally not been able to play. Butterfield and Bloomfield were both excellent musicians, but they were closer to the British blues lovers who were making up groups like the Rolling Stones, Animals, and Manfred Mann. There was a difference -- they were from Chicago, not from the Home Counties -- but they were still scholars coming at the music from the outside, rather than people who'd grown up with the music and had it as part of their culture. The Butterfield Band were being promoted as a sort of American answer to the Stones, and they had been put on Lomax's bill rather against his will -- he wanted to have some Chicago blues to illustrate that part of the music, but why not Muddy Waters or Howlin' Wolf, rather than this new group who had never really done anything? One he'd never even heard -- but who he knew that Albert Grossman was thinking about managing. So his introduction to the Butterfield Blues Band's performance was polite but hardly rapturous. He said "Us white cats always moved in, a little bit late, but tried to catch up...I understand that this present combination has not only caught up but passed the rest. That's what I hear—I'm anxious to find out whether it's true or not." He then introduced the musicians, and they started to play an old Little Walter song: [Excerpt: The Paul Butterfield Blues Band, "Juke"] But after the set, Grossman was furious at Lomax, asking him what kind of introduction that was meant to be. Lomax responded by asking if Grossman wanted a punch in the mouth, Grossman hurled a homophobic slur at Lomax, and the two men started hitting each other and rolling round in the dirt, to the amusement of pretty much everyone around. But Lomax and Grossman were both far from amused. Lomax tried to get the Festival board to kick Grossman out, and almost succeeded, until someone explained that if they did, then that would mean that all Grossman's acts, including huge names like Dylan and Peter, Paul, and Mary, would also be out.  Nobody's entirely sure whose idea it was, but it seems to have been Grossman who thought that since Bloomfield had played on Dylan's recent single, it might be an idea to get the Butterfield Blues Band to back Dylan on stage, as a snub to Lomax. But the idea seems to have cohered properly when Grossman bumped into Al Kooper, who was attending the festival just as an audience member. Grossman gave Kooper a pair of backstage passes, and told him to meet up with Dylan. And so, for Dylan's performance on the Sunday -- scheduled in the middle of the day, rather than as the headliner as most people expected, he appeared with an electric guitar, backed by the Paul Butterfield Blues Band and Al Kooper. He opened with his recent single "Maggie's Farm", and followed it with the new one, "Like a Rolling Stone": [Excerpt: Bob Dylan, "Like a Rolling Stone (live at Newport)"] After those two songs, the group did one more, a song called "Phantom Engineer", which they hadn't rehearsed properly and which was an utter train wreck. And then they left the stage. And there was booing. How much booing, and what the cause was, is hard to say, but everyone agrees there was some. Some people claim that the booing was just because the set had been so short, others say that the audience was mostly happy but there were just a few people booing. And others say that the booing mostly came from the front -- that there were sound problems that meant that while the performance sounded great to people further back, there was a tremendous level of distortion near the front. That's certainly what Pete Seeger said. Seeger was visibly distraught and angry at the sounds coming from the stage. He later said, and I believe him, that it wasn't annoyance at Dylan playing with an electric band, but at the distorted sound. He said he couldn't hear the words, that the guitar was too loud compared to the vocals, and in particular that his father, who was an old man using a hearing aid, was in actual physical pain at the sound. According to Joe Boyd, later a famous record producer but at this time just helping out at the festival, Seeger, the actor Theodore Bikel, and Alan Lomax, all of whom were on the festival board, told Boyd to take a message to Paul Rothchild, who was working the sound, telling him that the festival board ordered him to lower the volume. When Boyd got there, he found Rothchild there with Albert Grossman and Peter Yarrow of Peter, Paul, and Mary, who was also on the board. When Boyd gave his message, Yarrow responded that the board was "adequately represented at the sound controls", that the sound was where the musicians wanted it, and gave Boyd a message to take back to the other board members, consisting of a single raised middle finger. Whatever the cause of the anger, which was far from universal, Dylan was genuinely baffled and upset at the reaction -- while it's been portrayed since, including by Dylan himself at times, as a deliberate act of provocation on Dylan's part, it seems that at the time he was just going on stage with his new friends, to play his new songs in front of some of his old friends and a crowd that had always been supportive of him. Eventually Peter Yarrow, who was MCing, managed to persuade Dylan to go back on stage and do a couple more numbers, alone this time as the band hadn't rehearsed any more songs. He scrounged up an acoustic guitar, went back on, spent a couple of minutes fiddling around with the guitar, got a different guitar because something was wrong with that one, played "It's All Over Now, Baby Blue", spent another couple of minutes tuning up, and then finally played "Mr. Tambourine Man": [Excerpt: Bob Dylan, "Mr. Tambourine Man (live at Newport)"] But that pause while Dylan was off stage scrounging an acoustic guitar from somewhere led to a rumour that has still got currency fifty-six years later. Because Peter Yarrow, trying to keep the crowd calm, said "He's gone to get his axe" -- using musicians' slang for a guitar. But many of the crowd didn't know that slang. But they had seen Pete Seeger furious, and they'd also seen, earlier in the festival, a demonstration of work-songs, sung by people who kept time by chopping wood, and according to some people Seeger had joined in with that demonstration, swinging an axe as he sang. So the audience put two and two together, and soon the rumour was going round the festival -- Pete Seeger had been so annoyed by Dylan going electric he'd tried to chop the cables with an axe, and had had to be held back from doing so. Paul Rothchild even later claimed to have seen Seeger brandishing it. The rumour became so pervasive that in later years, even as he denied doing it, Seeger tried to explain it away by saying that he might have said something like "I wish I had an axe so I could cut those cables". In fact, Seeger wasn't angry at Dylan, as much as he was concerned -- shortly afterwards he wrote a private note to himself trying to sort out his own feelings, which said in part "I like some rock and roll a great deal. Chuck Berry and Muddy Waters. I confess that, like blues and like flamenco music, I can't listen to it for a long time at a stretch. I just don't feel that aggressive, personally. But I have a question. Was the sound at Newport from Bob's aggregation good rock and roll?  I once had a vision of a beast with hollow fangs. I first saw it when my mother-in-law, who I loved very much, died of cancer... Who knows, but I am one of the fangs that has sucked Bob dry. It is in the hope that I can learn that I write these words, asking questions I need help to answer, using language I never intended. Hoping that perhaps I'm wrong—but if I am right, hoping that it won't happen again." Seeger would later make his own electric albums, and he would always continue to be complimentary towards Dylan in public. He even repeatedly said that while he still wished he'd been able to hear the words and that the guitar had been mixed quieter, he knew he'd been on the wrong side, and that if he had the time over he'd have gone on stage and asked the audience to stop booing Dylan. But the end result was the same -- Dylan was now no longer part of the Newport Folk Festival crowd. He'd moved on and was now a pop star, and nothing was going to change that. He'd split with Suze, he'd split with Joan Baez, he'd split with Tom Wilson, and now he'd split with his peer group. From now on Dylan wasn't a spokesman for his generation, or the leader of a movement. He was a young man with a leather jacket and a Stratocaster, and he was going to make rock music. And we'll see the results of that in future episodes.