American folk and blues musician
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Over the last 5 years, we have had the privilege of bringing you stories of Pioneering musicians such as Bill Monroe, Sam Cooke, Johnny Cash, Lead Belly, Dolly Parton, Sister Rosetta Tharpe, Pete Seeger, Jean Ritchie and so many more.However, a recently shift was forced upon the American Songcatcher program. Our distributor, Spotify for Podcasters/Creators, has taken down 1/4 of our episodes on all platforms, with more likely to follow, as they have began to crack down on the rights and usage of songs. Although this program is strictly education-based, and we don't sell products or produce any notable revenue from these episodes, they don't see what we do as fair use. It's a big blow, as over a year's worth of our work is now gone from the convenient places to listen to them.And so, our standstill for the last 5 months has been one of great pondering, and a lot of work with our nonprofit ReString Appalachia, where we have just surpassed 700 instruments given to those who had them taken away from natural disasters. It's been decided that from now on, American Songcatcher will strictly focus on traditional song history, field recordings, and interviews. We embrace our new direction, and we hope you will too. All of the episodes will be available on our website, AmericanSongcatcher.com in the next month. We'll be back with some new content soon, thank you for your patience, see you next time on American Songcatcher.__Support Educational Programming:Tax-Exempt DonationsJoin the Patreon CommunityOne-time donations: Venmo or PayPalFollow American Songcatcher on Instagram Credits: Nicholas Edward Williams - Production, editing, recording and distribution
Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: A Whiter Shade of Pale by Procol Harum (1967)Song 1: Angel by Shaggy (2000)Song 2: Angel of Mine by Monica (1998)Song 3: Conquistador by Procol Harum (1967)Song 4: Forever by The Little Dippers (1960)Song 5: Babe by Styx (1979)Song 6: Pedestrian at Best by Courtney Barnett (2015)Song 7: Running Bear by Johnny Preston (1960)Song 8: Joy to the World by Three Dog Night (1970)Song 9: Take This Hammer by Lead Belly (1942)Song 10: Hunting High and Low by a-ha (1985)
Songs include: Chatanooga Choo Choo by Glenn Miller, Beale Street Blues by Jelly Roll Morton, In the Pines by Leadbelly, Louisville Lady by Sophie Tucker and Tenessee Waltz by Patti Page.
In deze aflevering vervolgen we het fascinerende verhaal van de legendarische blueszanger Leadbelly. Na zijn breuk met John Lomax keerde hij met zijn vrouw Martha terug naar huis, teleurgesteld over de financiële uitbuiting die hij had ervaren. Ondanks racistische obstakels en ongelijke behandeling, bleef Leadbelly doorzetten en wist hij een indrukwekkende muzikale erfenis op te bouwen. De aflevering volgt zijn levensloop, van zijn strijd voor erkenning tot zijn latere jaren toen hij kampte met de neurologische ziekte ALS. Hoewel Leadbelly in 1949 overleed, bloeide zijn invloed pas echt op tijdens de folk revival die volgde. Zijn nummers als "Goodnight Irene", "Rock Island Line" en "Where Did You Sleep Last Night" werden klassiekers, gecoverd door artiesten als The Weavers, Lonnie Donegan en zelfs Nirvana. Deze aflevering belicht hoe Leadbelly's muzikale nalatenschap de Amerikaanse cultuur diepgaand heeft beïnvloed en tot op de dag van vandaag doorwerkt in verschillende muziekgenres.Voor deze aflevering van de podcast heb ik me voornamelijk gebaseerd op het boek “The Life and Legend of Leadbelly”, geschreven door Charles Wolf.Vind je deze podcast inspirerend en leerrijk? Deel hem dan in jouw netwerk en volg de podcast zodat je geen enkele nieuwe aflevering mist. En een review is ook altijd fijn
Does a bear kill in the woods? That's the question Patrick Horvath sets out to answer in his “Richard Scarry meets Dexter” opus Beneath the Trees Where Nobody Sees, the subject of this year's very first Four-Color Flashback. The 2024 IDW series takes place in an idyllic world of anthropomorphic animals where not all is as it seems–the local hardware store owner, Samantha Strong, has a nasty habit of heading out to the city and slaughtering random passersby. That is, until another serial killer comes to her small town of Woodbrook, threatening the life she has carefully maintained for decades. Paul, Arlo, and Special Guest™ Eric Sipple discuss Horvath's deceptively simple cartooning, his brilliant use of panel layouts, the limits of the book's suburban satire, Hassane Otsmane-Elhaou's visionary lettering, and so much more. Plus, Arlo raves about Best Picture nominee Nickel Boys. NEXT: we'll be back, someway, somehow. BREAKDOWN 00:00:28 - Intro / Guest 00:02:48 - Banter and generally wasting time 00:08:44 - Beneath the Trees Where Nobody Sees 01:35:47 - Outro / Next LINKS “Exclusive Interview: Patrick Horvath on BENEATH THE TREES WHERE NOBODY SEES” by Christian Angeles, The Beat MUSIC “Teddy Bear's Picnic” by Henry Hall, The Best Children's Songs & Stories (2014) “Where Did You Sleep Last Night” by Lead Belly, The Tradition Masters (2002) GOBBLEDYCARES National Suicide Prevention Lifeline: https://suicidepreventionlifeline.org/ Abortion Funds in Every State: https://bit.ly/AbortionFundsTwitter Support AAPI communities and those affected by anti-Asian violence: https://www.gofundme.com/c/act/stop-aapi-hate Support the AAPI Civic Engagement Fund: https://aapifund.org/ Support Black Lives Matter and find anti-racism resources: https://blacklivesmatters.carrd.co/ The Trevor Project provides information and support to LGBTQ youth: thetrevorproject.org Trans Lifeline: https://translifeline.org/ National Center for Transgender Equality: transequality.org Advocate for writers who might be owed money due to discontinuance of royalties: https://www.writersmustbepaid.org/ Help teachers and classrooms in need: https://www.donorschoose.org/ Do your part to remove the burden of medical debt for individuals, families, and veterans: https://www.unduemedicaldebt.org/ Register to vote: https://vote.gov/
Send us a textAlongside Boone, John Seeley (bass), Alex Wells (guitar), and Dale Myers (drums), these tight-knit guys stay connected to their homegrown roots having been around traditional instruments from a young age in piano, fiddle, and guitar instilling in them an appreciation of country-rock, bluegrass, blues, soul, and folk music. The band blends roots, blues, classic rock, soul, and, of course, Southern rock and has created an original sound reminiscent of some of the great blues-rock/Southern rock bands like the Allman Brothers, Lynyrd Skynyrd, ZZ Top and Wet Willie. They also draw inspiration from some of the all-time blues/soul greats like Muddy Waters, Leadbelly and various artists from back in the classic heyday of Motown Records.OTIS is new musical blood for a new day with heavy, melodic blues-rock riffs, soaring guitar work, a pounding rhythm section, and raw, soulful vocals from Mr. Froggett.The band embraces Southern rock's hallowed past while charting their own future. With some of the legendary Southern rock bands winding it down or no longer in existence, OTIS is a proud, new torchbearer of the Southern rock/blues-rock heritage.The band's debut album, 2014's Tough Times: A Tribute to John Brim, is a raw, groove-oriented, blues drenched masterpiece that got rave reviews and was a blueprint for things to come for the band.The blistering Eyes of the Sun was released in 2018 on Cleopatra Records and more than lived up to the promise of the band's debut album. Executive produced by Grammy-winning producer Paul Nelson, who earned his stripes by playing and performing with Johnny Winter and helping Johnny win a Grammy for his highly acclaimed album, Step Back, the album solidified the band's influences into a boiling stew of rootsy, kickass, take-no-prisoners, blues-rock goodness kicked up with a bit of soul and funk spiciness. Good musical eats to say the least.And now comes Last Fool in the Line, which is a precursor to a full album that will be released sometime hopefully sooner than later (good things take time!) To learn more about the band, connect at https://theotisband.com/ Visit the Self-Care Institute at https://www.selfcareinstitute.com/ Support the showVisit www.creativepeacemeal.com to leave a review, fan voicemail, and more!Insta @creative_peacemeal_podcastFB @creativepeacemealpodBonfire https://www.bonfire.com/store/creative-peacemeal/Redbubble CPPodcast.redbubble.comCreative Peacemeal READING list here Donate to AhHa!Broadway here! Donate to New Normal Rep here! Interested in the Self-Care Institute with Dr. Ami Kunimura? Click here Interested in Corrie Legge's content planner? Click here to order!
For those who haven't heard the announcement I posted, songs from this point on will sometimes be split among multiple episodes, so this is the third part of a multi-episode look at the song “Never Learn Not to Love” by the Beach Boys, and the links between Charles Manson and the LA music scene, as well as the life of Huddie “Lead Belly” Ledbetter. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-eight-minute bonus episode available, on “Fruit Tree” by Nick Drake. I’ve also started up an email newsletter at https://it-was-ninety-years-ago-today.ghost.io/ Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ (more…)
It's Day 2 of Robert F. Kennedy Jr.'s confirmation hearing to be Health Secretary, and many are wondering how Republican Senator Bill Cassidy will vote. The former emergency room doctor has concerns about the vaccine skeptic. Although Cassidy mostly votes along party lines, he did vote to impeach Trump on Jan. 6 charges. The Times-Picayune/The Advocate's editorial director and columnist Stepahnie Grace joined the show to share the latest. The new movie about the life of Bob Dylan, “A Complete Unknown,” is shedding a light on the folk music revival. But many don't know how Louisiana musician Huddie Leadbetter, or Lead Belly, played a role in expanding the genre. While his framed portrait only makes a brief cameo in the film, Lead Belly was a big influence on folk artists like Bob Dylan, Pete Seeger and Woody Guthrie. Although the common narrative insists he was “discovered” by white folklorists while locked up in Angola Prison, a new book is separating fact from fiction. Sheila Curran Bernard is the author of “Bring Judgment Day: Reclaiming Lead Belly's Truths from Jim Crow's Lies.” She breaks down the myths of his career and how he expanded folk and blues music across the U.S. and Europe.Poor sanitation is a longstanding issue in the Gulf South, especially in Alabama's Black Belt where the soil is a problem for traditional septic systems. The state's previous rules for funding water infrastructure made it difficult for residents to fix sanitation issues themselves. The Gulf States Newsroom's Danny McArthur reports on the patchwork of people and groups trying to address the problem.___Today's episode of Louisiana Considered was hosted by Bob Pavlovich. Our managing producer is Alana Schreiber. We receive production and technical support from Garrett Pittman, Adam Vos and our assistant producer, Aubry Procell.You can listen to Louisiana Considered Monday through Friday at noon and 7 pm. It's available on Spotify, the NPR App, and wherever you get your podcasts. Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to.Louisiana Considered is made possible with support from our listeners. Thank you!
Grant is joined by the one and only Charlie Parr. Charlie allows us some insights into his thoughts on the boundaries he has had to draw around making a living as an artist, the history of recorded music, his experience becoming a mentor to fellow Duluthian musician Jon Edwards, and how he discovered all that 1920's blues music while growing up in Austin, MN. Charlie performs a song by Leadbelly and an original tune as well. This episode brought to you by our sponsors Car Concierge, Petrichor Sound, and Pulse Barre & Fitness.
In augustus 1934 werd Leadbelly vrijgelaten. Met slechts tien dollar op zak had hij geen idee hoe hij zijn toekomst zou vormgeven. Leadbelly zocht contact met John Lomax, de man die eerder zijn muziek had vastgelegd in de gevangenis. Lomax zag het potentieel van Leadbelly en nam hem aan als assistent. Samen trokken ze door Amerika, op zoek naar authentieke folkmuziek. Hun reis was niet altijd gemakkelijk – de spanningen tussen de twee mannen liepen soms hoog op – maar leverde een schat aan opnames op die een belangrijke bijdrage zouden leveren aan het behoud van de Amerikaanse muzikale traditie. Ze ontmoetten talloze muzikanten en maakten historische opnames. Uiteindelijk werd Leadbelly geïntroduceerd in de intellectuele kringen van New York, waar hij in contact kwam met andere invloedrijke muzikanten en schrijvers. Voor deze aflevering van de podcast heb ik me voornamelijk gebaseerd op het boek “The Life and Legend of Leadbelly”, geschreven door Charles Wolf. Vind je deze podcast inspirerend en leerrijk? Deel hem dan in jouw netwerk en volg de podcast zodat je geen enkele nieuwe aflevering mist. En een review is ook altijd fijn
AT THE HOTEL BOHEMIA WE BELIEVE YOU CAN'T KNOW WHERE YOU ARE GOING UNLESS YOU KNOW WHERE YOU HAVE BEEN.2025 COMIN' ROUND THE MOUNTAIN.CAN YOU DIG IT? Drummer Buddy Rich died after surgery in 1987. As he was being prepped for surgery, a nurse asked him, “Is there anything you can't take?” Rich replied, “Yeah, country music.”Lucky Luciano was a mob leader who helped the U.S. work with the Sicilian Mafia during World War II in exchange for a reduced prison sentence. His last words were, “Tell Georgie I want to get in the movies one way or another.”Donald O'Connor was a singer, dancer, and actor known for his role in Singin' in the Rain. He also hosted the Academy Awards in 1954. O'Connor died at age 78 with his family gathered around him. He joked, “I'd like to thank the Academy for my lifetime achievement award that I will eventually get.” He still hasn't gotten one.Groucho's brother Leonard, who was better known as Chico Marx, gave instructions to his wife as his last words: “Remember, Honey, don't forget what I told you. Put in my coffin a deck of cards, a mashie niblick, and a pretty blonde.” A “mashie niblick” is a type of golf club.As he was dying, Alfred Hitchcock said, “One never knows the ending. One has to die to know exactly what happens after death, although Catholics have their hopes.”Blues guitarist Huddie William Ledbetter, a.k.a. Lead Belly, said, “Doctor, if I put this here guitar down now, I ain't never gonna wake up.” And he was right.Bo Diddley died giving a thumbs-up as he listened to the song “Walk Around Heaven.” His last word was “Wow.”"It was Christmas Eve babeIn the drunk tankAn old man said to me, won't see another oneAnd then he sang a songThe Rare Old Mountain DewI turned my face awayAnd dreamed about you"-Shane McGowenA VERY HAPPY NEW YEAR TO YOU AND YOURS FROM YOUR SPLENDID BOHEMIANS!
| Artist | Title | Album Name | Album Copyright | Dixieland Jug Blowers | Boodle-Am-Shake | A Richer Tradition - Country Blues & String Band Music, 1923-1935 | Joe Turner | Christmas Date Boogie | Arhoolie Records Christmas Time Blues | Corey Harris* & Henry Butler | King Cotton | Vu-Du Menz | | Ramsey Lewis Trio | Merry Christmas Baby | Sound of Christmas | | Bukka White | Black Train | The Complete Sessions 1930-1940 | Seasick Steve & The Level Devils | Xmas Prison Blues | Cheap | | | Alger ''Texas'' Alexander | I am Calling Blues (1928) | Complete Recorded Works, Vol. 2 (1928 - 1930) | Charley Jordan with Mary Harri | No Christmas Blues | Charley Jordan Vol 3 (1935-1937) | Sonny Terry & Brownie McGhee | Hootin' the Blues - [ASH GROVE 1-21-1967 1ST SHOW] | Michael Messer | Rollin 'n' Tumblin | King Guitar 2001 | | Andres Roots Roundabout | Miss Carmen James | Three! | | | Lead Belly | The Christmas Song | Rockin' Blues Christmas | Pistol Pete Wearn | Riverside Blues | Live At Liège | | Jerry 'Boogie' McCain- | I Want To Be Your Santa Claus | I've Got The Blues All Over Me 1993 | MJQ | God Rest Ye Merry, Gentlemen | Germany (1956-1958 Lost Tapes)
Hello Interactors,Language shapes power, but it can also obscure and manipulate. Words like woke and decolonize, rooted in justice, are now tools for distortion by figures like Trump and Modi. In this essay, we'll explore how these terms connect to economic and political geography, tracing their co-opting, parallels to colonialism, and the need to reclaim their transformative potential. Let's dig in — and stay woke.STAY WOKE, START TALKINGAre you woke? It's a provocative question these days. Especially since this term was co-opted by the right as a pejorative since the Black Lives Matter uprising of 2020. Even last June Trump said regarding so-called woke military generals, “I would fire them. You can't have woke military.”And then there's Elon Musk. He's been increasingly waging a war on what he calls the ‘woke mind virus'. It seems he started abusing the term in 2021, along with other political rhetoric he's been ramping up in recently. The Economist reports a “leap in 2023 and 2024 in talk of immigration, border control, the integrity of elections and the ‘woke mind virus'.”Folks more on the left are also starting to distance themselves from the term or use it as a pejorative. Including some of my friends. Even self-described leftist and socialist, Susan Neiman criticized "wokeness," in her 2023 book Left Is Not Woke. She argues, as do many, that it has become antithetical to traditional leftist values — especially as it becomes a weapon by the right.According to the definition in the Cambridge dictionary, I am decidedly woke. That means I'm “aware, especially of social problems such as racism and inequality.” It worries me that people are eagerly running from this word. I'd rather they interrogate it. Understand it. Find it's meanings and question the intent behind its use. We should be discussing these nuances, not shushing them.Using the word in a sentence (in an approving manner), Cambridge offers hints at one of the original meanings: “She urged young black people to stay woke.” In 1938 the great blues legend Lead Belly also urged “everybody, be a little careful when they go along through there (Scottsboro, Alabama) – best stay woke, keep their eyes open." Those are spoken words in his song "Scottsboro Boys", about nine young Black men falsely accused of raping two white women in Alabama seven years earlier in 1931.Not a decade before, the Jamaican philosopher and social activist Marcus Garvey wrote in 1923, "Wake up Ethiopia! Wake up Africa!" Fifty years later that inspired playwright and novelist Barry Beckham to write “Garvey Lives!”, a 1972 play that included this line, “I been sleeping all my life. And now that Mr. Garvey done woke me up, I'm gon stay woke.” #StayWoke was trending on Twitter the summer of 2020.In 1962, ten years before Beckham's play, novelist William Melvin Kelley wrote this headline for a piece in the New York Times Magazine: “If You're Woke You Dig It; No mickey mouse can be expected to follow today's Negro idiom without a hip assist. If You're Woke You Dig It.” The article, which is an uneasy glimpse of how mainstream media regarded Black people in 1962, is about how white people co-opt terms from the Black community. His target was white woke Beatniks of the 1960s.Awakening others to injustice in the United States may have originated with white folks inspired by Abraham Lincoln. In the lead up to the his 1860 election, the, then woke, Republican Party helped organize a paramilitary youth movement in the Northern states called the ‘Wide Awakes'. These activists, which included some Black people, were inspired by Lincoln's fight to abolish slavery and promote workers' rights.They took up arms to defend Republican politicians who brazenly awakened others to injustices in America in their campaign speeches. This armed aggression — especially armed Black men — in part is what woke the South to the dawning wokeness across the North. Frightened as they were, they organize their own paramilitary and soon a civil war broke out.RECLAIM, RESIST, REVIVEWords can have unusual lifecycles. The term "queer" evolved from a pejorative label for homosexuals to a term of empowerment. Particularly after the activism of the 1960s and 1970s, including the Stonewall Riots. Its reclamation was reinforced by academic queer theory, which critiques societal norms around sexuality and gender. Today, "queer" is widely embraced as a self-identifier that reflects pride and resistance against stigma.Christopher Hobson, of the Substack Imperfect Notes, suggested in a post about the word polycrisis, this progression of terminology:Proposed — A new word or meaning is introduced through individuals, cultural interactions, academia, or mass media.Adopted — A word or meaning is embraced by a community, shaped by social relevance and media influence.Spread — Diffusion occurs through social networks and media exposure, leading to wider acceptance.Critiqued — As words gain popularity, they face scrutiny from linguistic purists and cultural commentators. The appropriateness of a term can be questioned, highlighting the intent behind its dissemination.Institutionalized — Widely used words become institutionalized, appearing in dictionaries and everyday language as standards.Hobson adds one other stage that is particularly relevant today, ‘pipiked.' It's a term he ‘adopted' as ‘proposed' and I'm now ‘spreading'. It comes from Naomi Klein's book, Doppelganger: A Trip into the Mirror World. Hobson writes:"A useful concept she introduces is ‘pipikism', which she takes from Philip Roth's, Operation Shylock, one of the texts about doppelgangers that Klein engages with. She quote's Roth's description of ‘pipikism' as ‘the antitragic force that inconsequencializes everything—farcicalizes everything, trivializes everything, superficializes everything.' This captures the way in which the concepts and frames we use to help understand our world are rendered useless by bad actors and bad faith, caught in ‘a knot of seriousness and ridiculousness that would never be untangled.'" (3)This lifecycle certainly applies to the word woke, but let's turn to a term more closely related to economic geography that's also in the cross-hairs of being ‘pipiked' — decolonize.Like woke, the term decolonize began as a call to dismantle injustice, exposing the deep roots of exploitation in European colonial systems. It symbolized hope for liberation and justice for the oppressed. Over time, like many critical terms, its meaning shifted. Once radical, decolonize risks becoming performative as its potency weakens through co-optation, especially by bad faith actors.Narendra Modi exemplifies this, using decolonization rhetoric to promote Hindutva, a Hindu nationalist agenda. His government renames cities, revises textbooks to erase Muslim rulers like the Mughals, and marginalizes minorities, particularly Muslims, under the guise of rejecting British colonial legacies. This parallels America's own rewriting of history to reinforce a white Christian narrative. Protestant colonizers replaced Indigenous names and erased Native perspectives, reframing days like Thanksgiving, a time of mourning for many, into celebratory myths.DOCTRINES, DISSENT, AND DOMINIONEarly colonial educational curricula framed colonization as a divine mission to civilize the so-called savages. Native Americans were often depicted as obstacles to progress rather than as sovereign peoples with rich cultures and governance systems. Systems, like the Iroquois League, impressed and inspired the early framers of American government, like Benjamin Franklin.But it was Christian dogma like the Doctrine of Discovery, a theological justification for seizing Indigenous land, that was integrated into educational and legal frameworks. Slavery was sanitized in textbooks to diminish its horrors, portraying it as a benign or even benevolent system. Early 20th-century textbooks referred to enslaved people as “workers” and omitted the violence of chattel slavery.Early colonizers established theological institutions like Harvard University, originally intended to train ministers and propagate Christian doctrine. My own family lineage is culpable. I've already written about Jonas Weed (circa 1610–1676), a Puritan minister who helped colonize Weathersfield, Connecticut. But there's also the brother of my ninth Mother, Jonathan Mitchell (1624–1668). He was a Harvard graduate and Puritan minister who played a pivotal role in shaping the Protestant-oriented writing of American history.He promoted a Christian God-given view of history, framing events as manifestations of God's will. He emphasized covenant theology that cast Puritans as a chosen people. As a fellow at Harvard, he shaped the intellectual environment that influenced figures like Cotton Mather, who's Magnalia Christi Americana (1702) depicted New England as a "city upon a hill" destined to fulfill a divine mission. JFK ripped this quote from history, as did Reagan and Obama to further their campaigns but also to ingrain messages that started with people like Mitchell and Mather.Institutions like the church and universities advanced Christian-nationalist ideologies that justified colonial rule, marginalizing Indigenous, African, and non-European cultures by framing European Christian values as superior. European imperial powers reshaped local economies for their gain, turning colonies into sources of raw materials and markets for goods. Monocultures like sugar and cotton left regions vulnerable, while urban centers prioritized resource export over local needs, fostering uneven development.By the mid-20th century, America had risen to global dominance, cementing its power through institutions like the IMF and World Bank, which reinforced economic dependencies. Decolonization movements emerged in response, with nations in Africa, Asia, and the Caribbean seeking justice and sovereignty. Yet many former colonies remain trapped in systemic inequalities shaped by imperial and American influence. While initiatives like the G-77 — a UN coalition of developing nations promoting collective economic interests and South-South cooperation — aim to reshape global systems, progress remains slow and resistance strong.Today, Project 2025 seeks to revive Christian-nationalist doctrines, echoing colonial practices. Signs of rising authoritarianism, white Christian nationalism, and silencing dissent are evident. The Levant, too, reflects another iteration of the colonial Doctrine of Discovery — seizing land and subjugating oppressed populations under theological justifications.Even in the early days of American colonization, there were woke voices. One of them happened to be another ancestor of mine. My tenth grandfather, Stephen Bachiler (circa 1561–1656) was an English clergyman and an early advocate for the separation of church and state. His life exemplified the struggles for religious autonomy in early American history, but also the importance of sustained critique of power and injustice.Educated at St. John's College, Oxford, he became the vicar of Wherwell but was ousted in 1605 for his Puritan beliefs. At nearly 70, he left to New England in 1632 to establish the First Church of Lynn near Boston. It was there it is assumed he cast the sole vote against the expulsion of Roger Williams — a proponent of equitable treatment of Native Americans and a fellow Separatist.Both men showed a commitment to religious freedom, tolerance, and fair dealings. While they were clearly colonizers and missionaries, each with their own religion, they were also relatively woke. They showed the importance of a sustained quest for liberty and justice amid prevailing authoritarian orthodoxies.Trump wields language as a tool to cement his prevailing authoritarian orthodoxies. He surrounds himself with figures who reduce substantive critical discourse to noise. His media allies, from Fox News to populist voices like Joe Rogan, amplify his rhetoric, diverting attention from systemic injustices. These platforms trivialize urgent issues, overshadowing genuine grievances with performative derision and bad faith gestures.When language meant to confront injustice is co-opted, maligned, or muted, its power is diminished. Performative actions can “pipikize” critical terms, rendering them absurd or hollow while leaving entrenched problems untouched — many rooted in centuries of European colonization. Yet Trump's alignment with a new breed of colonization deepens these issues.Figures like Elon Musk and JD Vance, champions of libertarian techno-optimism, feed into Trump's agenda. Musk dreams of private cities and space colonies free from governmental oversight, while Vance benefits from Silicon Valley backers like Peter Thiel, who pour millions into advancing deregulation and creating self-governing enclaves.These visions are the new face of colonialism — enclaves of privilege where exploitation thrives, disconnected from democratic accountability. They mirror the hierarchies and exclusions of the past, dressed as innovation but steeped in familiar patterns of dominance.In this age of populism — another word twisted and worn thin — vigilance is essential. Language must be scrutinized not just for its use but for its intent. Without this, we risk falling into complacency, lulled by superficial gestures and farcical displays. Stay awake. Words can preserve the power to transform — but only when their intent remains grounded in uprooting injustice and inhumanity.References:* Cambridge Dictionary. Definition of woke. * Economist. (2024). Immigration, border control, and the ‘woke mind virus': Tracking political rhetoric. * Hobson, Christopher. (Sep 13, 2024). Imperfect Notes: In conversation with Pete Chambers. * Klein, Naomi. (2023). Doppelganger: A Trip into the Mirror World. New York: Farrar, Straus and Giroux.* Macmillan Publishers. (2023). Crack-Up Capitalism: Market Radicals and the Dream of a World Without Democracy. * Neiman, Susan. (2023). Left Is Not Woke. Cambridge, MA: Polity Press.* New York Times Magazine. (1962). Kelley, William Melvin. If You're Woke You Dig It; No Mickey Mouse Can Be Expected to Follow Today's Negro Idiom Without a Hip Assist.* Press, Eyal. (2012). Beautiful Souls: Saying No, Breaking Ranks, and Heeding the Voice of Conscience in Dark Times. New York: Farrar, Straus and Giroux.* Roth, Philip. (1993). Operation Shylock: A Confession. New York: Houghton Mifflin Harcourt.* Time Magazine. (2023). India's textbook revisions spark controversy over history and ideology. * Walker, Corinne A. (2024). Aeon. What is behind the explosion in talk about decolonisation. * Dull, Jonathan. (2021). Post-Colonialism: Understanding the Past to Change the Future. World History Connected, 18(1), 125–142. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit interplace.io
Audio Introduction gives brief background on the program and identifies the cast as well as giving names of the stars who appeared on the program. Note: the announcer mispronounced one occasional guest... Lead Belly... he called him Led Belly. :) The Armed Forces Radio Service broadcasted these shows via shortwave to our troops overseas during WW II. This show was one of the AFRS shows. These programs are fun to listen to... good humor, clever and witty., Music is outstanding. These shows are living in the "Big Band and Jazz" playlist.
Blues Radio International With Jesse Finkelstein & Audrey Michelle
James Harman performs live at the 2016 Blues Music Awards on Edition 666 of Blues Radio International, with Leadbelly, Jimmy Witherspoon, Floyd James and Little Sonny.Find more at BluesRadioInternational.net
Lead Belly to the Weavers to the Kingston Trio to Bob Dylan to the Fab Four. It's a fascinating journey..... --- Support this podcast: https://podcasters.spotify.com/pod/show/mark-owens2/support
Candyman and Cultural Contradictions: Grateful Dead's Egypt AdventureIn this episode of the Deadhead Cannabis Show, host Larry Mishkin highlights two key topics: a favorite Grateful Dead show and his recent experiences at Goose concerts. First, Larry talks about an iconic Grateful Dead concert that took place on September 16, 1978, at the Sun et Lumiere Theater in Giza, Egypt, near the pyramids and the Sphinx. This event is special not just for its unique location but also for featuring collaborations with Egyptian musician Hamza El Din, who joined the Dead for a jam session. The Egypt shows are remembered for their blend of American rock and ancient Egyptian culture, marking a historic moment in music history.Larry also reflects on the song "Candyman" by the Grateful Dead, exploring its themes of melancholy and contradiction within the counterculture of the 1960s. He discusses how the song portrays a sympathetic yet flawed character, and how it resonates with the complex dynamics of that era, blending elements of peace, revolution, and criminality.Switching gears, Larry shares his recent experiences attending two Goose concerts in Chicago. He highlights Goose's cover of Bob Seger's "Hollywood Nights" and talks about the band's growing popularity. Larry attended the concerts with family and friends and praises the outdoor venue in Chicago, noting its impressive atmosphere and the city's skyline as a backdrop. He fondly recalls his connections to Bob Seger's music from his youth and marvels at how younger bands like Goose continue to bring classic rock into their performances. Grateful DeadSeptember 16, 1978 (46 years ago)Son Et Lumiere Theater (aka Sphinx Theatre)Giza, EgyptGrateful Dead Live at Sphinx Theatre on 1978-09-16 : Free Borrow & Streaming : Internet Archive Giza (/ˈɡiːzə/; sometimes spelled Gizah, Gizeh, Geeza, Jiza; Arabic: الجيزة, romanized: al-Jīzah, pronounced [ald͡ʒiːzah], Egyptian Arabic: الجيزةel-Gīza[elˈgiːzæ])[3] is the third-largest city in Egypt by area after Cairo and Alexandria; and fourth-largest city in Africa by population after Kinshasa, Lagos, and Cairo. It is the capital of Giza Governorate with a total population of 4,872,448 in the 2017 census.[4] It is located on the west bank of the Nile opposite central Cairo, and is a part of the Greater Cairo metropolis. Giza lies less than 30 km (18.64 mi) north of Memphis (Men-nefer, today the village of Mit Rahina), which was the capital city of the unified Egyptian state during the reign of pharaoh Narmer, roughly 3100 BC. Giza is most famous as the location of the Giza Plateau, the site of some of the most impressive ancient monuments in the world, including a complex of ancient Egyptian royal mortuary and sacred structures, among which are the Great Sphinx, the Great Pyramid of Giza, and a number of other large pyramids and temples. Giza has always been a focal point in Egypt's history due to its location close to Memphis, the ancient pharaonic capital of the Old Kingdom. Son et lumière (French pronunciation: [sɔ̃n e lymjɛʁ] (French, lit. "sound and light")), or a sound and light show, is a form of nighttime entertainment that is usually presented in an outdoor venue of historic significance.[1] Special lighting effects are projected onto the façade of a building or ruin and synchronized with recorded or live narration and music to dramatize the history of the place.[1] The invention of the concept is credited to Paul Robert-Houdin, who was the curator of the Château de Chambord in France, which hosted the world's first son et lumière in 1952.[1] Another was established in the early 1960s at the site of the Great Pyramid of Giza in Egypt. One of the Seven Wonders of the Ancient World and a star attraction in Egypt, the pyramids of Giza offer a completely different experience at night, when lasers, lights, and visual projections bring their history to life. Here's how to visit the pyramids after dark. The sound and light show at Giza takes place every night for 55 minutes by the Great Sphinx of king Kephren, it is a laser show with history narration of your own language. Kyle FitzgeraldThe National Standing under a total lunar eclipse at the foot of ancient power by the Great Pyramid, the Grateful Dead were concluding the final show of their three-night run at the Sound and Light Theatre in Giza in 1978.His hair in pigtails, guitarist Jerry Garcia wove the outro of the percussive Nubian composition Olin Arageed into an extended opening of Fire on the Mountain. “There were Bedouins out on the desert dancing … It was amazing, it really was amazing,” Garcia said in a 1979 radio interview. The September 14-16 shows in Giza were the ultimate experiment for the American band – the first to play at the pyramids – known for pushing music beyond the realms of imagination. And just as the Grateful Dead were playing in the centre of ancient Egypt, a landmark peace treaty was being brokered in the US that would reshape geopolitics in the Middle East. For as the Grateful Dead arrived in Egypt as cultural ambassadors, on the other side of the world US president Jimmy Carter had gathered his Egyptian counterpart Anwar Sadat and Israeli prime minister Menachem Begin to broker the Camp David Accords that led to an Egyptian-Israeli peace settlement. “No show that they have ever done has the international significance of their three performances in Egypt,” said Richard Loren, the Grateful Dead's manager from 1974-1981. “When we left the stage on the last show, everybody was high on acid, and the first news that came on: They signed the Camp David agreement. Sadat, Begin and Carter signed the agreement in Camp David. This happened during those three days.” Loren, who produced the shows, credited his friendship with Jefferson Airplane vocalist Marty Balin, who had a keen interest in Egypt, for developing his own fascination with the country. “The lead singer for Jefferson Airplane is the seed that resulted in the Grateful Dead playing in Egypt,” he said. Loren recalled riding a camel around the pyramid site during a three-week visit in 1975. To his right were the pyramids. In front of him, the Sphinx. “And I look down and I see a stage, and a light bulb went off in my head immediately. The Grateful Dead ought to play in Egypt,” he said. Loren, associate Alan Trist and Grateful Dead bass player Phil Lesh formed a scouting committee that would be responsible for liaising with American and Egyptian officials, Secret Service members and Egyptian first lady Jehan Sadat to allow the Grateful Dead to play in front of the pyramids. After the mission to the proposed site, meetings in Washington and Egypt, discussions with government officials and a party for the consulate, the band still needed to convince officials the purpose of the show was to make music – not money. And so the Dead paid their own expenses and offered to donate all the proceeds.Half would be donated to the Faith and Hope Society – the Sadats' favourite charity – and the other to Egypt's Department of Antiquities. “It was a sales pitch by the three of us – Alan, Richard and Phil,” Loren said. A telegram was sent on March 21, 1978, confirming the Grateful Dead would perform two open-air shows at the Sound and Light in front of the Great Pyramid and Sphinx. They would go on to play three shows. Describing the planning, bassist Phil Lesh said, "It sort of became my project because I was one of the first people in the band who was on the trip of playing at places of power. You know, power that's been preserved from the ancient world. The pyramids are like the obvious number one choice because no matter what anyone thinks they might be, there is definitely some kind of mojo about the pyramids."[11]Rather than ship all of the required sound reinforcement equipment from the United States, the PA and a 24-track, mobile studio recording truck were borrowed from the Who, in the UK. The Dead crew set up their gear at the open-air theater on the east side of the Great Sphinx, for three nights of concerts. The final two, September 15 & 16, 1978, are excerpted for the album. The band referred to their stage set-up as "The Gizah Sound and Light Theater". The final night's performance coincided with a total lunar eclipse. Drummer Bill Kreutzmann played with a cast, having broken his wrist while horseback riding. The King's Chamber of the nearby Great Pyramid of Giza was rigged with a speaker and microphone in a failed attempt to live-mix acoustical echo.[12] Lesh recalled that through the shows he observed "an increasing number of shadowy figures gathering just at the edge of the illuminated area surrounding the stage and audience – not locals, as they all seem to be wearing the same garment, a dark, hooded robe. These, it turns out, are the Bedouin, the nomadic horsemen of the desert: drawn in by the music and lights... each night they have remained to dance and sway rhythmically for the duration of the show."[13] Kreutzmann recalls "Egypt instantly became the biggest, baddest, and most legendary field trip that we took during our entire thirty years as a band... It was priceless and perfect and, at half a million dollars, a bargain in the end. Albeit, a very expensive bargain."[14] The concerts weren't expected to be profitable (proceeds were donated to the Department of Antiquities and a charity chosen by Jehan Sadat). Costs were to be offset by the production of a triple-live album; however, performances did not turn out as proficient as planned, musically, and technical problems plagued the recordings.[10] The results were shelved as the band focused instead on a new studio album, Shakedown Street. INTRO: Candyman Track #3 2:54 – 4:50 From Songfacts: the American Beauty album is infused with sadness. Jerry Garcia's mother was still seriously injured and her still fate uncertain following an automotive accident, while Phil Lesh was still grieving his father's passing. The melancholic aura comes through in "Candyman" as much as any other song on the album.The effect of the melodic sadness on the song's context is interesting, to say the least. It makes everything about the candyman character in the song seem sympathetic, when the lyrics suggest that he is anything but. Dead lyricist Robert Hunter said he certainly didn't resonate with the character's penchant for violence (more on that below).The Random House Historical Dictionary of American Slang defines the term "candyman" primarily as a drug dealer and secondarily as a man who is lucky in general and lucky with women in particular. The latter version seems to fit better with the song, as the character announces his arrival to all the women in town and tells them they ought to open their windows (presumably to let him in). While there's no evidence to suggest that Hunter was getting at anything too deep with the song, "Candyman" does provide an interesting perspective on the contradictions of the 1960s counterculture. Mixed in with all the peaceniks and flowers were hard-drug pushers, violent revolutionaries, and common criminals. By 1970, this stew had long since become so mixed-up that its attendant parts could no longer be cleanly extracted from each other. The fact that American Beauty came out in the midst of the Manson Family "hippie cult killings" trial says just about all that needs to be said about the complicated reality that had arisen out of the 1960s counterculture.Beyond all that, though, the outlaw song that romanticizes criminality is a long-held and cherished tradition in American music. With American Beauty, Jerry Garcia wanted the Dead to do something like "California country western," where they focused more on the singing than on the instrumentation. So the sang Hunter's lyrics: Good mornin', Mr. BensonI see you're doin' wellIf I had me a shotgunI'd blow you straight to HellThis is an oddly violent line for a song by the Grateful Dead, who sought to embody the '60s peace-and-love ethos about as sincerely and stubbornly as any act to come out of the era. It always got a raucous applause from the audience, too, which seems equally incongruous with the Deadhead culture.Hunter was bothered by the cheers. In an interview published in Goin' Down the Road by Blair Jackson (p. 119), he brings this phenomenon up when asked if any of his songs has been widely misinterpreted. He mentions that he had first witnessed an audience's enthusiastic response to violence while watching the 1975 dystopian film Rollerball and "couldn't believe" the cheers.Hunter tells Jackson that he hopes fans know that the perspective in "Candyman" is from a character and not from himself. He stresses the same separation between himself and the womanizer in "Jack Straw." As far as the Mr. Benson in "Candyman," David Dodd in the Annotated Grateful Dead Lyrics makes a great case for that being Sheriff Benson from Leadbelly's "Midnight Special" (who may very well have been based on a real sheriff). If true, this might place "Candyman" in Houston, Texas (though Hunter might not have had anything so specific in mind). Almost always a first set song. Often featured in acoustic sets, back in the day. This version features this awesome Garcia solo that we were listing to. Maybe he was inspired by the pyramids or whatever magical spirits might have come out from within to see this American band the Grateful Dead. Hopefully, it made those spirits grateful themselves. Played: 273First: April 3, 1970 at Armory Fieldhouse, Cincinnati, OH, USALast: June 30, 1995 at Three Rivers Stadium, Pittsburgh, PA, USA SHOW No. 1: Hamza El Din Track #10 7:30 – 9:00 Hamza El Din (Arabicحمزة علاء الدين) (July 10, 1929 – May 22, 2006) was an Egyptian Nubian composer, oudplayer, tar player, and vocalist. He was born in southern Egypt and was an internationally known musician of his native region Nubia, situated on both sides of the Egypt–Sudan border. After musical studies in Cairo, he lived and studied in Italy, Japan and the United States. El Din collaborated with a wide variety of musical performers, including Sandy Bull, the Kronos Quartet and the Grateful Dead. His performances attracted the attention of the Grateful Dead, Joan Baez, and Bob Dylan in the 1960s, which led to a recording contract and to his eventual emigration to the United States. In 1963, El Din shared an apartment in the San Francisco Bay Area with folk musician Sandy Bull. Following his appearance at the Newport Folk Festival in 1964, he recorded two albums for Vanguard Records, released 1964–65. His 1971 recording Escalay: The Water Wheel, published by Nonesuch Records and produced by Mickey Hart, has been recognized as one of the first world music recordings to gain wide release in the West, and was claimed as an influence by some American minimalist composers, such as Steve Reich and Terry Riley, as well as by Grateful Dead percussionist Mickey Hart.[1] He also performed with the Grateful Dead, most famously during their Egypt concerts of 1978. During these three shows, Hamza El Din, performed as a guest and played his composition "Ollin Arageed" He was backed by the students of his Abu Simbel school and accompanied by the Grateful Dead. After Egypt, hamza el din played with the dead in the U.S. On October 21st, back in 1978, the Grateful Dead were in the midst of wrapping up a fiery five-night run at San Francisco's Winterland Ballroom. This string of shows was particularly special for the band, as they marked the first shows played by the Dead following their now-legendary performances near the Great Pyramid of Giza in Egypt a month prior. n an effort to bring their experiences in Northern Africa home with them to share with their fans, the Dead's '78 Winterland run saw sit-ins by Egyptian percussionist, singer, and oud player Hamza El Din. On October 21st, El Din opened the show solo, offering his divine percussion before the Grateful Dead slowly emerged to join him for an ecstatic rendition of “Ollin Arageed”, a number based off a Nubian wedding tune, before embarking on a soaring half-acoustic, half-electric jam, that we will get to on the other side of Music News: MUSIC NEWS: Lead in music: Goose — "Hollywood Nights" (Bob Seger) — Fiddler's Green — 6/8/24 (youtube.com) 0:00 – 1:10 Goose covering Bob Seeger and the Silver Bullet Band's Hollywood Nights, this version from earlier this year but Goose did play it Friday night in Chicago at the Salt Shed's Festival stage outside along the Chicago river with the Skyline in the background. Very impressive. "Hollywood Nights" is a song written and recorded by American rock artist Bob Seger. It was released in 1978 as the second single from his album, Stranger in Town. Seger said "The chorus just came into my head; I was driving around in the Hollywood Hills, and I started singing 'Hollywood nights/Hollywood hills/Above all the lights/Hollywood nights.' I went back to my rented house, and there was a Time with Cheryl Tiegs on the cover...I said 'Let's write a song about a guy from the Midwest who runs into someone like this and gets caught up in the whole bizarro thing.'" [1] Seger also said that "Hollywood Nights" was the closest he has had to a song coming to him in a dream, similar to how Keith Richards described the riff to "(I Can't Get No) Satisfaction" coming to him in a dream. Robert Clark Seger (/ˈsiːɡər/SEE-gər; born May 6, 1945) is a retired American singer, songwriter, and musician. As a locally successful Detroit-area artist, he performed and recorded with the groups Bob Seger and the Last Heard and the Bob Seger System throughout the 1960s, In 1973, he put together the Silver Bullet Band, with a group of Detroit-area musicians, with whom he became most successful on the national level with the album Live Bullet (1976), recorded live with the Silver Bullet Band in 1975 at Cobo Hall in Detroit, Michigan. In 1976, he achieved a national breakout with the studio album Night Moves. On his studio albums, he also worked extensively with the Alabama-based Muscle Shoals Rhythm Section, which appeared on several of Seger's best-selling singles and albums. A roots rock musician with a classic raspy, powerful voice, Seger is known for his songs concerning love, women, and blue-collar themes, and is one of the best-known artists of the heartland rock genre. He has recorded many hits, including "Night Moves", "Turn the Page", "Mainstreet", "Still the Same", "Hollywood Nights", "Against the Wind", "You'll Accomp'ny Me", "Shame on the Moon", "Roll Me Away", "Like a Rock", and "Shakedown", the last of which was written for the 1987 film Beverly Hills Cop II and topped the Billboard Hot 100 chart. He also co-wrote the Eagles' number-one hit "Heartache Tonight", and his recording of "Old Time Rock and Roll" was named one of the Songs of the Century in 2001. Which leads us to: Goose plays three nights in Chicago: Wednesday, Thursday and Friday night at the Salt Shed. I caught the Thursday and Friday show. Went with my wife on Thursday and hung out with good friends John and Marnie, her brothers Rick and Joel, Stephan and others. Friday with my son Daniel and good buddy Kevin who got us rock star parking and even more impressively killer seats dead center at the bottom of the grandstands in the back of the floor, a few feet off the floor and dead center so we could see everything, hear everything and have a place to sit and rest for a few minutes when needed. I have to say, I've now seen Goose five times and enjoy them more and more. Great musical jams, great light show, lots of good energy from the band and the fans. Rick Mitoratando is a first class guitartist and singer, Peter Anspach on keyboard and guitar and vocals, Jeff Arevalo, percussionist, Trevor Weekz on bass and newcomer, Cotter Ellis on drums, replacing original drummer, Ben Askind. Began playing in 2014 in Wilton Connecticut so this is their 10 year and they are just getting stronger. They really love what they do and its shows in their live performances. Great set lists in Chicago: Thursday night they were joined on stage by Julian Lage, a jazz composer and guitarist for the last two songs of the first set, A Western Sun and Turned Clouds. If you have not yet seen Goose you need to see Goose. Soon. Jane's Addiction Concert Ends Abruptly After Perry Farrell Punches Dave Navarro Onstage 3. Jane's Addiction Offer ‘Heartfelt Apology' for Fight, Cancel Sunday's Show Phish announce 3 night run in Albany Oct. 25 – 27 to benefit Divided Sky Foundation A residential program for people recovering from drug and alcohol abuse. The Divided Sky Foundation, a 46-bed nonprofit recovery center spearheaded by Phish frontman Trey Anastasio, will be an abstinence-based, nonmedical residence, one of the first ofits kind in Vermont. The Divided Sky Foundation is a charitable nonprofit founded by Anastasio; it purchased the Ludlow location to create a substance-use disorder treatment center back in 2021. Anastasio, Phish's lead guitarist and vocalist, has dealt publicly with his own drug and alcohol use and later sobriety, a journey that brought him under the supervision of drug court in Washington County, New York, in the mid-2000s. There, he met Gulde, who worked in the court system at the time, and the two have stayed friends since. Together, Gulde and Anastasio used their personal experiences with treatment facilities to implement a vision for the Ludlow space, she said. Very cool organization, deserves everyone's support. Trey turned it around which is why he is now 5 years older than Jerry was when he died in 1995 and Trey and Phish are just getting stronger and stronger. SHOW No. 2: Ollin Arageed Track #11 13:10 – 14:42 Musical composition written by Hamza El-Din. He and members of the Abu Simbel School of Luxor choir opened the shows with his composition Olin Arageed on nights one and two, and opened set two of night three with the song as well. Joined on stage by the band. Fun, different and a shout out to the locals. The Dead played it a few more times with Hamza and then retired it for good. SHOW No. 3: Fire On The Mountain Track #12 13:00 – end INTO Iko Iko Track #13 0:00 – 1:37 This transition is one of my all time Dead favorites. Out of a stand alone Fire (no Scarlet lead in) into a sublime and spacey Iko Iko. Another perfect combination for the pyramids, sphinx and full lunar eclipse.A great reason to listen to this show and these two tunes. MJ NEWS: MJ Lead in Song Still Blazin by Wiz Khalifa: Still Blazin (feat. Alborosie) (youtube.com) 0:00 – 0:45 We talked all about Wiz Khalifa on last week's episode after I saw him headline the Miracle in Mundelein a week ago. But did not have a chance to feature any of his tunes last week. This one is a natural for our show. This song is from Kush & Orange Juice (stylized as Kush and OJ) is the eighth mixtape by American rapper Wiz Khalifa. It was released on April 14, 2010, by Taylor Gang Records and Rostrum Records. Kush & Orange Juice gained notoriety after its official release by making it the number-one trending topic on both Google and Twitter.[1] On the same day, a link to the mixtape was posted for download on Wiz's Twitter.[2] The hashtag#kushandorangejuice became the number-six trending topic on the microblogging service after its release and remained on the top trending items on Twitter for three days.[ 1. Nixon Admitted Marijuana Is ‘Not Particularly Dangerous' In Newly Discovered Recording2. Marijuana Use By Older Americans Has Nearly Doubled In The Last Three Years, AARP-Backed Study Shows3. Medical Marijuana Helps People With Arthritis And Other Rheumatic Conditions Reduce Use Of Opioids And Other Medications, Study Shows4. U.S. Marijuana Consumers Have Spent More Than $4.1 Billion On Pre-Rolled Joints In The Past Year And A Half, Industry Report Finds SHOW No. 4: Sunrise Track #162:08 – 3:37 Grateful dead song written, music and lyrics by Donna Jean Godchaux. Released on Terrapin Station album, July 27, 1977 There are two accounts of the origins of this song, both of which may be true. One is that it is about Rolling Thunder, the Indian Shaman, conducting a ceremony (which certainly fits with many of the lyrics). The other is that it was written by Donna in memory of Rex Jackson, one of the Grateful Dead's crew (after whom the Rex Foundation is named). The song is about a Native American medicine man named Rolling Thunder, who spent a lot of time with the Dead."'Sunrise' is about sunrise services we attended and what Rolling Thunder would do," Godchaux said on the Songfacts Podcast. "It's very literal actually. Rolling Thunder would conduct a sunrise service, so that's how that came about."Donna Jean Godchaux wrote this song on piano after Jerry Garcia asked her to write a song for the Terrapin Station album. She said it just flowed out of her - music and lyrics - and was one of the easiest songs she ever wrote.The drumming at the end of the song was played by a real medicine man. "We cut it in Los Angeles, and he came and brought the medicine drum, so what you hear on the end is the real deal," Godchaux told Songfacts. "It was like a sanctuary in that studio when he was playing that. It was very heavy." It was played regularly by the Grateful Dead in 1977 and 1978 (Donna left the band in early 1979).This version is the last time the band ever played it. Played: 30 timesFirst: May 1, 1977 at The Palladium, New York, NY, USALast: September 16, 1978 at the Pyramids, Giza Egypt OUTRO: Shakedown Street Track #17 3:07 – 4:35 Title track from Shakedown Street album November 8, 1978 One of Jerry's best numbers. A great tune that can open a show, open the second set, occasionally played as an encore, but not here. It is dropped into the middle of the second set as the lead in to Drums. This is only the second time the song is played by the band. Played: 164 timesFirst: August 31, 1978 at Red Rocks Amphitheatre, Morrison, CO, USALast: July 9, 1995 at Soldier Field, Chicago, IL – opened the second set, the final set of music ever performed by the band. Shout outs: Karen Shmerling's birthday This week my beautiful granddaughter, Ruby, is coming to town to visit. Can't wait to see her and her parents. .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast
Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.).Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: when the party's over by Billie Eilish (2018)Song 1: This is Not a Test by Oppenheimer (2006)Song 2: So Long, Farewell by The Cast of The Sound of Music (1965)Song 3: Lift Me Up by Jeff Lynne (1990)Song 4: Irene (Goodnight Irene) by Lead Belly (1933)Song 5: Story of My Life by Loretta Lynn (2004)Song 6: Goodbye Horses by Q Lazzarus (1988)Song 7: Hey Mister by Henry Ate (1996)Song 8: Jamaica Farewell by Harry Belafonte (1956)Song 9: Grand Canyon by Judy Collins (2022)Song 10: This is Where It Ends by Barenaked Ladies (1996)
The Marvelous McBroom Sisters: Marsha, Dana, Lorelei, Durga...Forces of Nature! Marsha was a model extradinare and is a great educator and humanitarian; Dana an educator at Fashion Institute of Technology in NY, Author of Grace Jones's " Pull Up to the Bumper" and an actress in "Leadbelly"; Lorelei Background Singer with Pink Floyd, Rolling Stones, Rod Stewart and creator of a new YouTube Video Show "Who Influenced You"?; Durga, Background Singer with Pink Floyd, Blue Pearl, Songwriter and an accomplished actress. Simply a marvelous not to be missed episode.
En el octavo episodio de El Cancionero de Kurt, Albina Cabrera repasa cuatro álbumes y artistas que representan el rock clásico y las raíces del blues dentro de los 50 álbumes favoritos de Cobain. Comenzando con Meet the Beatles! de 1964, exploramos la conexión entre John Lennon y el icónico músico argentino Charly García. Con Rocks de Aerosmith (1976), revisitamos la fundación del hard rock. Luego, The Man Who Sold the World de David Bowie (1970) nos ayuda a entender la influencia sónica en Kurt Cobain. Finalmente, Leadbelly's Last Sessions Volume One de 1953 destaca cómo Cobain podía cantar blues como los grandes, mientras exploramos cómo el blues ha sido adaptado en varios rincones de América Latina. Agradecimientos especiales: Diego Urdaneta, periodista musical venezolano con base en Mexico, Latam Editorial Lead en Apple. Sergio Marchi, periodista de rock argentino, autor de su biografía No digas nada: Una vida de Charly García publicado en 1997 por Debolsillo. También publicó Los Beatles Desde El Comienzo junto a Fernando Blanco. Equipo: Host: Albina CabreraProductora asistente: Gisela Casa MadridEditor: Dusty HenryProductor de audio: Roddy NikpourPodcast manager: Isabel KhaliliDirector editorial: Larry Mizell Jr.Support the show: http://kexp.org/elsonidoSee omnystudio.com/listener for privacy information.
The Marvelous McBroom Sisters: Marsha, Dana, Lorelei, Durga...Forces of Nature! Marsha was a model extradinare and is a great educator and humanitarian; Dana an educator at Fashion Institute of Technology in NY, Author of Grace Jones's " Pull Up to the Bumper" and an actress in "Leadbelly"; Lorelei Background Singer with Pink Floyd, Rolling Stones, Rod Stewart and creator of a new YouTube Video Show "Who Influenced You"?; Durga, Background Singer with Pink Floyd, Blue Pearl, Songwriter and an accomplished actress. Simply a marvelous not to be missed episode.
Martin Douglas dives into Lead Belly's Last Sessions. The blues aren't limited to a specific era or place — if you've got the blues and a strong enough voice, you can sing the blues. Kurt Cobain just happened to filter the blues through a muddy strain of punk rock. Hosts: Dusty Henry and Martin DouglasAudio producers: Martin Douglas and Roddy NikpourPodcast manager: Isabel KhaliliEditorial director: Larry Mizell Jr. Support the podcast: kexp.org/cobainSee omnystudio.com/listener for privacy information.
durée : 01:01:37 - La Série musicale - par : Zoé Sfez - Lead Belly a traversé l'Amérique, du Texas à la Louisiane, de Dallas à New York, de Washington à la Californie, glanant, recréant, inventant un répertoire à la croisée du blues, de la folk et de ce qu'on appellera plus tard la protest song.
Every Supergiant Games release is an event. But it's not just from the gamers and critics who adore the video games' rich stories, immaculate art style or addictive game play. It's the music nerds that also wait with bated breath on Darren Korb's newest score. As Supergiant's in-house composer and audio head, Korb has become a fixture unto himself with his compositions, from the Lead Belly meets Massive Attack thunk of Bastion to the Imogen Heap inspired Transistor soundtrack. But for Korb, and Supergiant as a whole, Hades might be the zenith. The game has received lavish praise, and so has Korb's work, which has found him expanding into new sounds. Hades' eccentric score is a mixture of Mediterranean folk, progressive-metal and lush chamber pieces. Alongside collaborators Ashley Barrett and Austin Wintory (composer of Journey), Korb has reached the apex of composition: an album that can stand on its own sweeping merits while providing the perfect audio companion to the gameplay. We talked to Korb about his research for the score, his work voicing the main character, Zagreus, and recording in Abbey Road. These two interviews are from before Hades' release, looking at the history of Korb's work with Supergiant. The second is after Hades' release.
Every Supergiant Games release is an event. But it's not just from the gamers and critics who adore the video games' rich stories, immaculate art style or addictive game play. It's the music nerds that also wait with bated breath on Darren Korb's newest score. As Supergiant's in-house composer and audio head, Korb has become a fixture unto himself with his compositions, from the Lead Belly meets Massive Attack thunk of Bastion to the Imogen Heap inspired Transistor soundtrack. But for Korb, and Supergiant as a whole, Hades might be the zenith. The game has received lavish praise, and so has Korb's work, which has found him expanding into new sounds. Hades' eccentric score is a mixture of Mediterranean folk, progressive-metal and lush chamber pieces. Alongside collaborators Ashley Barrett and Austin Wintory (composer of Journey), Korb has reached the apex of composition: an album that can stand on its own sweeping merits while providing the perfect audio companion to the gameplay. We talked to Korb about his research for the score, his work voicing the main character, Zagreus, and recording in Abbey Road. These two interviews are from before Hades' release, looking at the history of Korb's work with Supergiant. The second is after Hades' release.
"Por la carretera me voy hacia un mundo desconocido. Ahora estoy preocupado, pero la preocupación no durará mucho". Lo cantaba Charlie Patton hace 90 años, un blues de carretera que suena en esta banda sonora que hemos preparado para recorrer caminos oscuros y polvorientos, pero con la esperanza de llegar hasta la luz que nos espera al final.Playlist;(sintonía) CREEDENCE CLEARWATER REVIVAL “Side o’ the road”CHARLIE PATTON “Down the dirty road blues”LEADBELLY “The midnight special”WILL BRADLEY TRIO “Down the road a piece”SISTER ROSETTA THARPE “The lonesome road”WOODY GUTHRIE “Going down the road (I ain't gonna be treated this way)”BOB DYLAN “On the road again”MAC CURTIS “The low road”EILEN JEWELL “That’s where I’m going”BUFFALO SPRINGFIELD “Hot dusty roads”SCOTS “Dirt road”HUGO RACE and THE TRUE SPIRIT “Dirt road”DEAD MOON “Down the road”THE JACOBITES “Road of broken dreams”THE 5 ROYALES “I’m on the right road now”VAN MORRISON “Bright side of the road”RAY CHARLES “Take me home country roads”Escuchar audio
Episode 11 of Fragile Juggernaut concerns the Communist Party and its complex role in the creation of the CIO. Andrew and Ben trace the strategic zigzags of America's far-left, recount their pioneering role in organizing drives, and measure the Party's own accounts of its politics against the often ambiguous, even contradictory realities of its practice. Did Communists merely supply the shock troops for someone else's political ambitions, or did they put their stamp on the CIO, in ways that were durable and lasting? Did their practice of unionism conform to the mainstream of the labor movement, or did it contain the germs of another kind of CIO? What, ultimately, did the CIO do to the Communist Party? We discuss this and more amongst our co-hosts, and with our special guest, the historical sociologist Judith Stepan-Norris, co-author of Left Out and Talking Union (our interview begins around 1:25:00).Featured music: “The Bourgeois Blues” by Lead Belly; “The United Front” by New Singers; “Our Line's Been Changed Again” by Joe Glazer; “Internationale” by New Singers)Archival audio credits: Seeing Red: Stories of American Communists (1983)Fragile Juggernaut is a Haymarket Originals podcast exploring the history, politics, and strategic lessons of the Congress of Industrial Organizations and the rank and file insurgency that produced it. Support Fragile Juggernaut on Patreon and receive our exclusive bimonthly newsletter, full of additional insights, reading recommendations, and archival materials we've amassed along the way. Buy Rank and File, 20% Off: https://www.haymarketbooks.org/books/396-rank-and-file Read Gabriel Winant on the Popular Front in The London Review of Books: https://www.lrb.co.uk/the-paper/v46/n15/gabriel-winant/we-can-breathe
Passing the baton of discourse on the rock and roll racetrack, our Olympian hosts sprint in the following direction … … watching Toumani Diabaté play in the pitch-black Malian night. … Laurel Canyon, the Brain Damage Club and the great fire of ‘79. … the Kinks in Fortis Green Road, the Beatles in Chiswick House and other alternative London rock landmarks. … is Cerrone's Supernature nicked from the Days Of Pearly Spencer? … lower-level graduates from the John Mayall Academy – Jon Hiseman, Keef Hartley, Larry Taylor, Aynsley Dunbar – and how being sacked from the Bluesbreakers was a badge of honour. … why do songwriters value suffering over joy? … “the more seriously someone takes musical taste, the more you should disregard them”. … what connects Bob Dylan and the Life of Brian? … a blueser from Preston in a Sioux headdress and one from Macclesfield pretending to hop a freight train. … and why “song and dance man” Leadbelly had to play “complaining songs”. Plus Birthday guest Gianluca Tramontana. The Beatles at Chiswick House:https://www.youtube.com/watch?v=kvvVNaU_qa8Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Passing the baton of discourse on the rock and roll racetrack, our Olympian hosts sprint in the following direction … … watching Toumani Diabaté play in the pitch-black Malian night. … Laurel Canyon, the Brain Damage Club and the great fire of ‘79. … the Kinks in Fortis Green Road, the Beatles in Chiswick House and other alternative London rock landmarks. … is Cerrone's Supernature nicked from the Days Of Pearly Spencer? … lower-level graduates from the John Mayall Academy – Jon Hiseman, Keef Hartley, Larry Taylor, Aynsley Dunbar – and how being sacked from the Bluesbreakers was a badge of honour. … why do songwriters value suffering over joy? … “the more seriously someone takes musical taste, the more you should disregard them”. … what connects Bob Dylan and the Life of Brian? … a blueser from Preston in a Sioux headdress and one from Macclesfield pretending to hop a freight train. … and why “song and dance man” Leadbelly had to play “complaining songs”. Plus Birthday guest Gianluca Tramontana. The Beatles at Chiswick House:https://www.youtube.com/watch?v=kvvVNaU_qa8Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Passing the baton of discourse on the rock and roll racetrack, our Olympian hosts sprint in the following direction … … watching Toumani Diabaté play in the pitch-black Malian night. … Laurel Canyon, the Brain Damage Club and the great fire of ‘79. … the Kinks in Fortis Green Road, the Beatles in Chiswick House and other alternative London rock landmarks. … is Cerrone's Supernature nicked from the Days Of Pearly Spencer? … lower-level graduates from the John Mayall Academy – Jon Hiseman, Keef Hartley, Larry Taylor, Aynsley Dunbar – and how being sacked from the Bluesbreakers was a badge of honour. … why do songwriters value suffering over joy? … “the more seriously someone takes musical taste, the more you should disregard them”. … what connects Bob Dylan and the Life of Brian? … a blueser from Preston in a Sioux headdress and one from Macclesfield pretending to hop a freight train. … and why “song and dance man” Leadbelly had to play “complaining songs”. Plus Birthday guest Gianluca Tramontana. The Beatles at Chiswick House:https://www.youtube.com/watch?v=kvvVNaU_qa8Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Known worldwide as Lead Belly, Huddie Ledbetter (1889-1949) is an American icon whose influence on modern music was tremendous - as was, according to legend, the temper that landed him in two of the South's most brutal prisons, while his immense talent twice won him pardons. But, as Bring Judgment Day: Reclaiming Lead Belly's Truths from Jim Crow's Lies (Cambridge UP, 2024) shows, these stories were shaped by the white folklorists who 'discovered' Lead Belly and, along with reporters, recording executives, and radio and film producers, introduced him to audiences beyond the South. Through a revelatory examination of arrest, trial, and prison records; sharecropping reports; oral histories; newspaper articles; and more, author Sheila Curran Bernard replaces myth with fact, offering a stunning indictment of systemic racism in the Jim Crow era of the United States and the power of narrative to erase and distort the past. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies
Known worldwide as Lead Belly, Huddie Ledbetter (1889-1949) is an American icon whose influence on modern music was tremendous - as was, according to legend, the temper that landed him in two of the South's most brutal prisons, while his immense talent twice won him pardons. But, as Bring Judgment Day: Reclaiming Lead Belly's Truths from Jim Crow's Lies (Cambridge UP, 2024) shows, these stories were shaped by the white folklorists who 'discovered' Lead Belly and, along with reporters, recording executives, and radio and film producers, introduced him to audiences beyond the South. Through a revelatory examination of arrest, trial, and prison records; sharecropping reports; oral histories; newspaper articles; and more, author Sheila Curran Bernard replaces myth with fact, offering a stunning indictment of systemic racism in the Jim Crow era of the United States and the power of narrative to erase and distort the past. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Known worldwide as Lead Belly, Huddie Ledbetter (1889-1949) is an American icon whose influence on modern music was tremendous - as was, according to legend, the temper that landed him in two of the South's most brutal prisons, while his immense talent twice won him pardons. But, as Bring Judgment Day: Reclaiming Lead Belly's Truths from Jim Crow's Lies (Cambridge UP, 2024) shows, these stories were shaped by the white folklorists who 'discovered' Lead Belly and, along with reporters, recording executives, and radio and film producers, introduced him to audiences beyond the South. Through a revelatory examination of arrest, trial, and prison records; sharecropping reports; oral histories; newspaper articles; and more, author Sheila Curran Bernard replaces myth with fact, offering a stunning indictment of systemic racism in the Jim Crow era of the United States and the power of narrative to erase and distort the past. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
Known worldwide as Lead Belly, Huddie Ledbetter (1889-1949) is an American icon whose influence on modern music was tremendous - as was, according to legend, the temper that landed him in two of the South's most brutal prisons, while his immense talent twice won him pardons. But, as Bring Judgment Day: Reclaiming Lead Belly's Truths from Jim Crow's Lies (Cambridge UP, 2024) shows, these stories were shaped by the white folklorists who 'discovered' Lead Belly and, along with reporters, recording executives, and radio and film producers, introduced him to audiences beyond the South. Through a revelatory examination of arrest, trial, and prison records; sharecropping reports; oral histories; newspaper articles; and more, author Sheila Curran Bernard replaces myth with fact, offering a stunning indictment of systemic racism in the Jim Crow era of the United States and the power of narrative to erase and distort the past. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography
Known worldwide as Lead Belly, Huddie Ledbetter (1889-1949) is an American icon whose influence on modern music was tremendous - as was, according to legend, the temper that landed him in two of the South's most brutal prisons, while his immense talent twice won him pardons. But, as Bring Judgment Day: Reclaiming Lead Belly's Truths from Jim Crow's Lies (Cambridge UP, 2024) shows, these stories were shaped by the white folklorists who 'discovered' Lead Belly and, along with reporters, recording executives, and radio and film producers, introduced him to audiences beyond the South. Through a revelatory examination of arrest, trial, and prison records; sharecropping reports; oral histories; newspaper articles; and more, author Sheila Curran Bernard replaces myth with fact, offering a stunning indictment of systemic racism in the Jim Crow era of the United States and the power of narrative to erase and distort the past. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies
Known worldwide as Lead Belly, Huddie Ledbetter (1889-1949) is an American icon whose influence on modern music was tremendous - as was, according to legend, the temper that landed him in two of the South's most brutal prisons, while his immense talent twice won him pardons. But, as Bring Judgment Day: Reclaiming Lead Belly's Truths from Jim Crow's Lies (Cambridge UP, 2024) shows, these stories were shaped by the white folklorists who 'discovered' Lead Belly and, along with reporters, recording executives, and radio and film producers, introduced him to audiences beyond the South. Through a revelatory examination of arrest, trial, and prison records; sharecropping reports; oral histories; newspaper articles; and more, author Sheila Curran Bernard replaces myth with fact, offering a stunning indictment of systemic racism in the Jim Crow era of the United States and the power of narrative to erase and distort the past. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music
New Orleans based artist Sonny Gullage, whose new album ‘Go Be Free' is out 8/23 on Blind Pig records. With a musical heritage tracing back to Lead Belly, Sonny's debut is a vibrant celebration of new blues, featuring a guest appearance by Christone ‘Kingfish' Ingram, who like Sonny, is 25-years-old. Here are the first two singles, a recent performance, and a recent interview with WBGO, who said "The blues are alive and well…It's artists like Sonny Gullage that are carrying the torch." At just 25, Sonny Gullage has crafted a debut that reflects a lifetime immersed in the richness of blues and gospel, influenced deeply by his New Orleans roots and a family steeped in musical tradition. Born with what you might call “blues wisdom,” a mixture of empathy, sensitivity, and keen observational foresight, Sonny has always been an old soul, but he brings a fresh perspective to the blues. His national emergence on American Idol catapulted him into the spotlight, and he's since enthralled global audiences with his formidable voice, masterful keyboard skills, and a refined, engaging style. See less
What does it mean to be 'woke'? What did the bluesman Leadbelly mean when he coined the phrase? And what does a story set in Victorian London have to do with the term gaslighting?Joining Kate today is Robbie Morgan, Lecturer and Consultant in Applied Ethics at Leeds University, to chat about the buzzwords we use and how their meanings have changed for better and worse since they were first coined.This episode was edited and produced by Stuart Beckwith. The senior producer was Charlotte Long.Voting is open for the Listener's Choice Award at the British Podcast Awards, so if you enjoy what we're doing, we'd love it if you took a quick follow this link and click on Betwixt the Sheets: https://www.britishpodcastawards.com/votingEnjoy unlimited access to award-winning original documentaries that are released weekly and AD-FREE podcasts. Sign here for up to 50% for 3 months using code BETWIXT.You can take part in our listener survey here.Betwixt the Sheets: History of Sex, Scandal & Society is a History Hit podcast.
Out of the Kentucky musical melting pot comes the blues based, rock 'n' roll band OTIS. With Boone Froggett on guitar and vocals, John Seeley on bass, Alex Wells on guitar, and Dale Myers on drums, the members of The Otis Band are staying connected to their Kentucky roots. Growing up around traditional instruments like piano, fiddle, and guitar instilled in them an appreciation for country-rock, bluegrass, gospel, and folk music. Kentucky's rich musical heritage led them to discover the Rock and Blues heroes that continue to influence the bands original material today. While it would be easy to categorize the work of OTIS as Southern Rock, being from Kentucky, their musical background is much broader. In addition to being guided by the classic rock giants of the 1960s and 70s era, the members of OTIS draw inspiration from true greats—people like Muddy Waters, Leadbelly, and the artists of Motown—to create their own unique rock and roll sound. After releasing Tough Times: A Tribute to John Brim,—Former Chess Records Blues Recording Artist— in 2014, OTIS joined Cleopatra Records in 2017, with the release of their second album Eyes of the Sun. A chance meeting with ZZ Top's Billy F. Gibbons led to the legend listening to Otis and becoming a fan—even handing their albums off to the likes of Buddy Guy and Jeff Beck! Four songs from Eyes of the Sun were also included in the soundtrack of the 2020 film Street Survivors. --- Support this podcast: https://podcasters.spotify.com/pod/show/tophillrecording/support
In this episode, we learn a little about Blind Lemon and LeadBelly who were influential Blues and guitarists in the United States. They were the OG influencers for Blues music.
OTIS drops by The City's Backyard this week...The Commonwealth of Kentucky has a storied music history and a large catalog of renowned artists. While it's most famous for producing more country music stars per capita than anywhere else in the United States, musicians all across the spectrum —from bluegrass to rock and roll—have called Kentucky home. Out of this musical melting pot comes the blues based, rock 'n' roll band OTIS. With Boone Froggett on guitar and vocals, John Seeley on bass, Alex Wells on guitar, and Dale Myers on drums, the members of The Otis Band are staying connected to their Kentucky roots. Growing up around traditional instruments like piano, fiddle, and guitar instilled in them an appreciation for country-rock, bluegrass, gospel, and folk music. Kentucky's rich musical heritage led them to discover the Rock and Blues heroes that continue to influence the bands original material today. While it would be easy to categorize the work of OTIS as Southern Rock, being from Kentucky, their musical background is much broader. In addition to being guided by the classic rock giants of the 1960s and 70s era, the members of OTIS draw inspiration from true greats—people like Muddy Waters, Leadbelly, and the artists of Motown—to create their own unique rock and roll sound. After releasing Tough Times: A Tribute to John Brim,—Former Chess Records Blues Recording Artist— in 2014, OTIS joined Cleopatra Records in 2017, with the release of their second album Eyes of the Sun. A chance meeting with ZZ Top's Billy F. Gibbons led to the legend listening to Otis and becoming a fan—even handing their albums off to the likes of Buddy Guy and Jeff Beck! Four songs from Eyes of the Sun were also included in the soundtrack of the 2020 film Street Survivors.OTIS comes to The Iridium July 13th!https://theotisband.com
C'est l'anniversaire de la capitale haïtienne, fondée en 1749. Le Nouvelliste en fait sa Une, avec un constat accablant : assaillie par les gangs, Port-au-Prince a vu ses lieux de pouvoir se vider, ses commerçants partir… Ses rues sont désertes. ► Le Nouvelliste.Le Nouvelliste propose ce vendredi (14 juin 2024) toute une série d'articles sur la capitale haïtienne.À « Port-au-Prince, l'une des villes francophones les plus peuplées de l'Amérique », note le quotidien, « l'État à travers ses institutions, tous comme les riverains et les entreprises, ont fui ou ont été contraints de fuir la ville. Pour laisser la place aux gangs criminels qui imposent leur loi ». Le Nouvelliste égrène tous les lieux de pouvoir désertés : depuis la Primature, siège du Premier ministre, et première institution à fuir le centre-ville, en 2019 – jusqu'au Champ de Mars, siège du pouvoir politique et judiciaire devenu un no-man's land en 2024 – et le théâtre d'affrontements entre policiers et bandits armés.Pour ce qui est du nord de la capitale, il est totalement tombé sous le contrôle des gangs et offre, écrit Le Nouvelliste, l'image d'une région totalement livrée à elle-même, comme « fraîchement frappée par un séisme de grande magnitude ».Port-au-Prince est donc une « capitale à reconquérir » - titre de l'éditorial de Frantz Duval. Une capitale à reconquérir, déjà parce qu'elle a grandi au fil des siècles comme bon lui semble : « la capitale n'était plus aménagée, elle défiait les règles de l'urbanisme » ; et aujourd'hui « la guerre des gangs contre la ville lui a donné le coup de grâce ». L'éditorialiste décrit « des rues vides de piétons » qui succèdent « à des avenues occupées par des immondices », des arbustes qui « percent le béton bitumeux de la chaussée ». Frantz Duval conclut : « Bonne fête Port-au-Prince ! Ton passé te fuit, ton avenir t'attend ».La vie reprend à Pétion-VillePar contre à Pétion-Ville, en banlieue de Port-au-Prince, la vie reprend. C'est ce qu'a pu constater la correspondante de RFI Marie-André Bélange, qui a pu se rendre dans cette commune très éprouvée par la violence des gangs au début de l'année 2024.Elle a ainsi assisté à un match de foot du lycée national de la commune, pendant lequel un élève lui a dit sa joie d'avoir pu reprendre les cours, « les examens officiels approchent et on va donner le meilleur de nous-même pour réussir ».Pour les y aider, le Lycée national de Pétion-Ville s'organise. Il s'agit de leur faire rattraper les heures de cours ratées, explique le directeur Jean Marc Charles, qui confirme : « tous nos enfants sont retournés à l'école ». Il ajoute que des enfants d'autres lycées confrontés à des problèmes de sécurité, et qui sont venus habiter à Pétion-Ville, sont eux aussi accueillis pour préparer leur Bac.Notre correspondante a également croisé un homme qui a pu quitter son domicile de Fontamara, quartier situé au sud de la capitale, pour se rendre à Livres Solidaires, une libraire installée au cœur de Pétion-Ville : « Lors des dernières vagues de violences à Pétion-Ville, on rapportait des tirs, des cadavres laissés dans les rues. J'ai donc dû attendre que tout se calme et que les routes soient débloquées pour pouvoir venir. On m'avait dit que Livres Solidaires avait fermé ses portes aussi. Mais maintenant que cela a rouvert, je suis venu. » Paul explique « se sentir bien entouré de livres ». Aux États-Unis, le plein accès à la pilule abortive est maintenuAux États-Unis, la décision de la Cour suprême – prise à l'unanimité - de maintenir le plein accès à la pilule abortive fait la Une du New York Times et du Washington Post. Rappel des faits : des associations de praticiens hostiles à l'IVG voulaient sévèrement restreindre l'accès à la Mifepristone. Et, raconte USA Today, pour forcer la Cour suprême à statuer sur la légalité de la pilule abortive, ils ont affirmé qu'en la rendant largement disponible, l'Agence américaine des médicaments a augmenté le risque de complications - et donc la probabilité qu'un médecin conservateur doive pratiquer un avortement d'urgence.Le quotidien note qu'ils ne sont jamais parvenus à fournir un seul exemple d'une situation de ce genre. Et ce jeudi, la Cour suprême s'est donc « débarrassée de la patate chaude », analyse USA Today, c'est-à-dire d'un dossier politiquement explosif, en jugeant que, puisque les plaignants ne prescrivent pas, ne vendent pas et ne fabriquent pas le médicament, l'assouplissement des règles permettant d'obtenir le médicament ne leur a fait subir aucun préjudice financier direct. Ils n'ont donc pas à porter le dossier devant la justice.Les organisations des professions médicales se sont réjouies de cette décision de la Cour, mais Politico note que le texte de l'arrêt comprend « des indications potentiellement utiles pour les opposants à l'avortement, car il ouvre la voie à d'autres contestations du médicament, et à la limitation de l'accès à l'avortement par d'autres moyens. » En tous cas, à court terme, « le futur de la pilule abortive est entre les mains de Joe Biden ou Donald Trump », note le Washington Post : « une éventuelle administration Trump pourrait choisir unilatéralement de restreindre l'accès à la Mifepristone, ou même de la retirer complètement du marché ».Brésil : manifestations contre une proposition de loi criminalisant l'avortementAu Brésil, des milliers de personnes ont manifesté ce jeudi (13 juin 2024) contre un texte examiné au Congrès qui prévoit de criminaliser l'avortement.Dans le pays, l'avortement n'est déjà autorisé que dans des cas bien précis : viol, risque pour la mère ou problème avec le fœtus. Mais si le projet de loi est adopté, écrit Folha de Sao Paulo, « les victimes de viol qui avortent après 22 semaines pourraient être condamnées à 20 ans de prison pour meurtre. Les peines pour ces femmes seraient plus lourdes que pour les violeurs ».Hier (13 juin 2024), rapporte Estadao, des manifestations ont eu lieu dans 13 villes du pays, dont Sao Paulo, Rio de Janeiro et Brasilia, sous le slogan « les enfants ne sont pas des mères ». O Globo rappelle en effet que « le Brésil est un territoire brutal pour les filles et les femmes » : les derniers chiffres datent de 2022, une année record pour les viols : près de 75 000, 8% de plus que l'année précédente. Et six victimes sur 10 avaient moins de treize ans.Le quotidien parle d'un texte «sordide, qui dévalorise la politique». Et dénonce ces « parlementaires qui évoquent la bible comme supérieure à la Constitution » : « c'est la théocratie qui frappe à la porte ».Selon Folha, le gouvernement Lula est en train d'évaluer le risque qu'il court s'il prend position contre le projet de loi – sachant que « l'approbation du texte est considérée comme presque certaine », et que le gouvernement a déjà essuyé une séries de revers ces dernières semaines lors des votes au Congrès.Les poissons victimes de la sécheresse au MexiqueUn des effets les plus spectaculaires de l'exceptionnelle sécheresse que connaît le Mexique : dans l'État du Chihuahua, dans le nord, des milliers de poissons morts s'entassent sur les bords d'un lac, qui n'est plus qu'à la moitié de sa capacité en eau. Pedro Ortiz, le président du Conseil du bassin du lac de Bustillos, décrit à Stefanie Schüler la gravité de la situation : 9 mois sans une goutte de pluie. Pour éviter la propagation des maladies, les localités des alentours ont commencé à jeter de la chaux sur les milliers de poissons en état de décomposition qui bordent ce lac d'une surface de 3 mille 300 kilomètres carrés. Pedro Ortiz explique que la sécheresse dégrade aussi la qualité de l'eau : « Ce lac a été pollué tout au long de ces dernières années. Les poissons s'étaient adaptés. Mais maintenant que le niveau du lac a baissé, il y a une concentration plus élevée des polluants dans l'eau ». L'élection américaine en musique : la LouisianeComme chaque vendredi jusqu'à l'élection présidentielle du 5 novembre, RFI propose un voyage en musique dans les États-clé, avec l'un des auteurs du livre Rock n' Road Trip. Julien Grossot nous emmène cette semaine en Louisiane.Et commence par la capitale de l'État, Baton Rouge – chantée Guy Clark, figure légendaire de la Country. Baton rouge, un nom hérité de la présence française, quand la Louisiane – ainsi nommée en hommage à Louis XIV – s'étendait du Golfe du Mexique aux Montagnes Rocheuses. En 1803, Napoléon la vend aux États-Unis, mais l'empreinte culturelle française reste indélébile, comme celle des Cajuns – dérivé du terme « Acadiens », d'autres francophones venus du Canada.Coton Fields, la chanson de Creedance Clearwater Revival, est l'occasion d'évoquer les champs de coton qui bordent le Mississipi. Le morceau est une reprise du bluesman Leadbelly, né à la fin du XIXème siècle en Louisiane dans une plantation de coton. Ces champs de coton qui restent indissociables de l'esclavage, dont l'État a été une des plaques tournantes pendant un siècle et demi.La Louisiane est donc un creuset culturel où se mélangent les influences africaines, cajuns, françaises, amérindiennes et caribéennes – un creuset culturel mais aussi culinaire, l'occasion d'écouter le Jambalaya (On the Bayou) des Meters. Le Jambalaya est un plat mêlant riz épicé, crustacés, poulet, jambon et saucisses…Pour ce qui est de la prochaine présidentielle, explique Julien Grossot, la Louisiane offre invariablement depuis l'an 2000 ses huit grands électeurs au candidat républicain.Le Journal de la 1èreCrise en cours dans le secteur du BTP en Martinique.
Some folks are born with silver spoon in hand, and some folks are co-hosts on the best podcast about Creedence Clearwater Revival and the 193rd greatest album of all time, Willy and the Poor Boys. But before we get to the album we give you a little treat from Big Daddy when we discuss employment qualifications at the Mustang Ranch, agave distillate subscriptions, and the best movies from 1994. Then we head to the store to buy some travel souvenirs and condoms, and it's all business, like changing a tire. Then at (1:04:00) we take a trip down on the corner to discuss CCR's swamp rock album from 1969, nice. We discuss concept albums, Lead Belly, and get up and down on a list. Next week's episode is Bad, but at least it's the best Michael Jackson podcast.
The Interview begins at 4:49. To follow Tim and his music visit his website - www.timeaston.com. To learn more about the Hall of Fame visit - www.farhof.org.
We are back with a new episode, and this time we dive into the rugged and hard life of musician extraordinaire Huddie "Lead Belly" Ledbetter Warning: May Contain Spoilers Created by: Cristo M. Sanchez Written by: Cristo M. Sanchez and Jason Nemor Harden Hosted by: Jason Nemor Harden Music by: Creature 9, Wood, Cristo M. Sanchez and Jason Nemor Harden Follow us on instagram and facebook for the latest updates and more! And don't hesitate to support us on patreon if you enjoy the show
Biden Censorship Michaels Stand Up and Insights into Comedy Writing This one has it all. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Abby and Patrick are joined by academic, journalist, and critic Sara Marcus, author of the 2023 book Political Disappointment: A Cultural History from Reconstruction to the AIDS Crisis. After recalling their own experiences of political letdowns – infantile, adolescent, and all-too-recent – they explore how Sara's notion of disappointment as “untimely desire” involves something other than disillusionment or a loss of faith. Rather, as Marcus explains, disappointment involves an ongoing relationship towards an object, and can be a simultaneous opportunity for mourning, determination, creativity, and more. They unpack experiences of such disappointment across the twentieth century, tracking in particular their musical and audio archives – from the “Sorrow Songs” studied by W.E.B. DuBois to the exquisite nonverbals of Lead Belly to the monologues and Tracy Chapman bootlegs recorded by the artist and AIDS activist David Wojnarowicz. And they also get into the traps of utopianism, Melanie Klein, and the possibility of a “good enough” political subjectivity, with cameos by Fleetwood Mac, Bon Jovi, Peter Paul & Mary, and more along the way. Have you noticed that Freud is back? Got questions about psychoanalysis? Or maybe you've traversed the fantasy and lived to tell the tale? Leave us a voicemail! 484 775-0107 A podcast about psychoanalysis, politics, pop culture, and the ways we suffer now. New episodes on Saturdays. Follow us on social media: Linktree: https://linktr.ee/OrdinaryUnhappiness Twitter: @UnhappinessPod Instagram: @OrdinaryUnhappiness Patreon: patreon.com/OrdinaryUnhappiness Theme song: Formal Chicken - Gnossienne No. 1 https://open.spotify.com/album/2MIIYnbyLqriV3vrpUTxxO Provided by Fruits Music
This week we have Moira Smiley on the banjo chat! We talk about how music gives you a sense of transformation and how what she writes on banjo can have an uplift, a melancholy, as well as a sense of belonging. She explains what it's like writing music for choral groups and for other people to sing. Talking about the ballad tradition in folk music, and relating the Turkish Cumbus to the banjo and honoring the folk songs that were the core of her early musicianship and bridging a classical music fascination with a folk tradition. The success of her version of Leadbelly's, “Sylvie” and the fund for supporting a bipoc composer every year. www.moirasmiley.com moirasmiley.com/bandcamp.com Banjochat.com/patreon
In 1934, Buts and Brother Isaac grow closer, driving a wedge between Isaac and his traveling partner Gadabout Jack. When Missus Bestfriend's magical powers are revealed, the three come to a crossroads. Meanwhile in 1957, an older, beaten-down Gadabout Jack is invited to sing at a recording studio eager to capitalize on the recent folk revival. Created and Directed by Paul Pakler and Shane Portman. Executive Produced by Paul Pakler, Shane Portman, and David Switzer. Produced and assistant directed by Ruth Gamble. Produced by Genevieve LeDoux. Our cast includes: Becky Poole, Jake Robertson, Corey Rieger, Bill Pullman, Dave Droxler, Corey Pepper, Dave Colan, Tom Amandes, Shane Portman, and Kyle More. Music by Maesa Pullman and engineered by Jason Hiller at Electrosound Records. Edited by Sam Rhodes. Audio engineering by Kevin Cleland and Erik Nyquist. Audio post-production by One Thousand Birds (OTB). Original sound design and mixing by Jackie! Zhou, Torin Geller and Kal Pipal. OTB executive produced by Guin Frehling. Developmental producers: by Joey Scarillo and Genevieve Gearity. Recorded at LA Digital Recording and QED Studios Astoria.
Dr. Martin Luther King Jr.'s final Sunday sermon was titled, “Remaining Awake Through A Great Revolution.” In other words, he was advising us to stay woke. Today, that term has become a political slur. “Woke” is at the very center of our culture wars – especially as we enter a contentious election year. But like a lot of slang words, woke has an origin story that's got little to do with how it's used now. Host Kai Wright is joined by Alvin Singh, great-great nephew Lead Belly and producer of the documentary Lead Belly: The Man Invented Rock & Roll. Together, they explore the folk singer who popularized the term, and the landmark civil rights case that inspired him to issue a note of caution to Black America. Then, Juliet Hooker, Royce Family Professor of Teaching Excellence in Political Science at Brown University and author of Black Grief/White Grievance: The Politics of Loss, and Maimouna “Mumu Fresh” Youssef, Grammy-nominated Afro-Indigenous singer, songwriter, and activist, join for a conversation about the current sociopolitical landscape and the true motivations behind the co-opting of “wokeness.” Plus, a live audience at the Apollo Theater contributes ideas on what we need to “stay woke” today. This conversation was programmed as part of The Apollo's Uptown Hall series and originally recorded on Sunday, January 14 at 2pm ET. This 18th annual co-production between The Apollo and WNYC, two of New York City's leading media and cultural institutions, has become the city's signature event commemorating the political, cultural, and social legacy of Dr. Martin Luther King, Jr. Tell us what you think. Email us at notes@wnyc.org. Send us a voice message by recording yourself on your phone and emailing us, or record one here. We're on Instagram and X (Twitter) @noteswithkai. Notes from America airs live on Sundays at 6 p.m. ET. The podcast episodes are lightly edited from our live broadcasts.
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