American folk and blues musician
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30 episodes with leadbelly
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8 episodes with leadbelly
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9 episodes with leadbelly
5 episodes with leadbelly
3 episodes with leadbelly
2 episodes with leadbelly
3 episodes with leadbelly
6 episodes with leadbelly
The iconic folk duo met at an audition for the only country music band at a prestigious jazz school in Boston. They immediately clicked, and joined the rich lineage of Americana artists that stretches back centuries.In their 20s, Gillian Welch and David Rawlings discovered they had something special when they sang together, a sort of eerie emotional resonance that is usually confined to the blood harmonies produced when siblings sing together.Ever since they've been making music together which draws on the bluegrass, country and folk traditions they love.In their historic recording studio in Nashville, Tennessee (which has withstood three tornadoes in the last century), they craft haunting songs about the ugly and beautiful parts of humanity.For Gill and Dave, the DNA of folk music is something we can all contribute to, and which contributes to all of us.Gillian Welch and David Rawlings are currently touring Australia's eastern states. You can find information about where and when they are playing on their website.Their seventh studio album is called Woodland, named after their indestructible studio.This episode of Conversations was produced by Meggie Morris. Executive Producer is Nicola Harrison.This episode of Conversations was produced by Meggie Morris. Executive Producer is Nicola Harrison.It explores music, recording, career musicians, Woody Guthrie, The Carter Family, Lead Belly, revival folk, Bob Dylan, Joan Baez, Simon & Garfunkel, Joni Mitchell, Emmy Lou, Dolly Parton, Southern America, United States, Pete Seeger, Love, relationship, natural disaster, Neil Young, Gordon Lightfoot, Leonard Cohen, Odetta, Harry Belafonte, Rhiannon Giddens, banjo, guitar, mandolin, true crime, murder ballad, Revival, Time (The Revelator), Soul Journey, The Harrow & The Harvest, All the Good Times (Are Past & Gone), Grammy Awards, Grammys, songwriting, Coen Brothers, O Brother, Where Art Thou?To binge even more great episodes of the Conversations podcast with Richard Fidler and Sarah Kanowski go the ABC listen app (Australia) or wherever you get your podcasts. There you'll find hundreds of the best thought-provoking interviews with authors, writers, artists, politicians, psychologists, musicians, and celebrities.
The legacy of this internationally renowned ensemble, innovators of the "jubilee" singing style which influenced the national sound of quartets in the black community before World War II. The most popular of the Jubilee quartets, the Golden Gate Quartet started singing as the Golden Gate Jubilee Quartet in the mid-'30s when they were students at Booker T. Washington High School in Norfolk, VA. The membership included Willie Johnson (baritone and narrator), Henry Owens (first tenor) William Langford (second tenor), and Orlandus Wilson (bass). Their harmonies became very sophisticated, laced with a heavy dose of jazz and a Mills Brothers influence right down to their vocal imitation of instruments. In fact, next to the Mills Brothers, they were probably the best at the "sounding like instruments" technique. They built their reputation through performing on local radio shows and in churches. In 1937 the Gates signed to Victor's Bluebird affiliate and applied their unique jazz-swing sound to gospel titles like "Go Where I Send Thee," "The Preacher and the Bear," and "When the Saints Go Marchin' In." On Aug. 4, 1937, they recorded an amazing 14 songs in two hours at the Charlotte Hotel in North Carolina. They performed in the same year on NBC Radio's "Magic Key Hour." In June 1940, they recorded several sides with the legendary folk singer Leadbelly, released in 1941 on Bluebird's parent label, Victor. By now they had dropped the Jubilee portion of their name, presenting themselves strictly as the Golden Gate Quartet. Though their recorded repertoire from 1937 to 1940 includes mostly gospel and Jubilee songs, they did record two pop-jazz 78s: "Stormy Weather" and "My Prayer." One of the highlights of this period was a performance for President Franklin Roosevelt's inauguration, which led to a number of appearances at the White House at the request of Eleanor Roosevelt. In 1941 they moved to Columbia's Okeh affiliate, and their entire recorded output during the war years was on that label. The most successful of these records was a version of "Comin' in on a Wing and a Prayer" in 1943. Their biggest record success came in 1947 with the song "Shadrack," and in 1948 the group appeared in the RKO musical "A Song Is Born," starring Benny Goodman, Danny Kaye, and Louis Armstrong. In 1959 the Golden Gate Quartet moved to Paris and landed a two-year deal to perform at the Casino de Paris. While based in Europe, they recorded for EMI-UK, Pathe Marconi in France, and EMI-Germany, creating more than 50 LPs. Over the years the group amassed a travelogue of 76 countries performed in. One of the truly great vocal groups, the Gates were cited as an inspiration to many rhythm and blues groups of the era. 00:00 PAR Intro 00:18 NPR Wade In The Water Ep. 10: The Legacy Of The Golden Gate Quartet 58:43 JGH Commentary 01:04:14 PAR Outro #fba #freedmen #negro #blackamericanheritage #virginia #florida #npr #spiritualjubilee #negrospiritual #worldwar2 #blackamericanfreedmen #rap #1930s #thegoldengatequartet #blackhistory
Guy Davis to perform at Towne Crier in Beacon Guy Davis knows how to have fun. One of his favorite jokes as he tunes his guitar is, "Sorry, I'm having trouble with my G string." But once he sinks into a song, the room is transported. "Playing is a personal thing that hits my soul," he says. "The music takes me on a trip to the country, where there's rivers, grass, rocks, trees; come with me, and I'm a happier camper." Davis also travels back in time to a specific place, evoking the 1920s and 1930s Mississippi Delta blues and ragtime era, when guitarists mimicked the piano by playing multiple parts at a time using a thumb pick to drive the rhythm and either bare fingers or metal banjo picks to pluck the chords and melodic lines. "People watched Blind Blake play and asked him, 'Where's the other guy hiding?'" Davis says. The son of prominent actors and activists Ossie Davis and Ruby Dee — who befriended Pete Seeger during the Civil Rights era — Davis will bring a Towne Crier audience into the wilderness and back to the past on Feb. 15. Davis has done plenty of acting, including in the 1984 hip-hop film Beat Street, and in 2023 produced incidental music for the Broadway revival of his father's play Purlie Victorious, which received six Tony Award nominations. After hearing a didgeridoo in Australia, "I fell in love immediately," he says, and learned the circular breathing technique required to maintain the wind instrument's drone; the sound is like Tuvan throat singing. "It helps with my harmonica playing," says Davis, who squeezes out exquisite notes on the harp. Routinely covered by guitar media outlets, he also has two Grammy Award nominations. Although Davis gravitated toward acoustic blues and began recording regularly in 1993, he still tours while juggling acting gigs and other projects. Playing harmonica, putting a metallic slide on the ring finger of his left hand and using a 12-string guitar expand his sonic palette. The repertoire mixes originals and covers of the old-timers. His own work, delivered in a raspy voice, fits the period's vibe. Davis crossed paths with Pete Seeger as a kid at Camp Killooleep in Vermont, a magnet for the folk music community, and learned banjo from one of Seeger's brothers, John. "We lived in Mount Vernon and, one day, Pete was hanging out in our living room," he says. "When we moved to New Rochelle, there he was again." Davis often tagged along when his parents visited Beacon, picking out Leadbelly tunes and listening to recorded relics, some of which seeped into his playing style. "It was low-key; we weren't trying to accomplish anything," he says. "He influenced all the songs on my 1978 Folkways album Dreams About Life" and sang backup on one track. Davis sailed on the Clearwater, Woody Guthrie and Sojourner Truth many times. In the 1970s, he participated in fundraisers to finish the boats and often opened for the folk bard. "Once, in Poughkeepsie, we got there early and we were hanging out at a fountain," he says. "Soon enough, there's Pete with his pants rolled up, splashing around in the water, pushing the garbage to the side and getting all the kids in the area to take it away." After a 2019 concert in Albany, one newspaper reported that the bluesman had reflected Seeger's "greatest gift," which was not his singing or songwriting but "his ability to turn an audience of strangers into close friends by getting them to sing along. Davis had just accomplished the same thing." The Towne Crier is located at 379 Main St. in Beacon. Tickets for the Feb. 15 show, which begins at 7 p.m., are $25 online or $30 at the door. See dub.sh/TC-guy-davis. To download or order music, see guydavis.com.
Penguin awareness day. Entertainment from 1984. 1st Opium war-Britian gets Hong Kong, Spearfish South Dakota wild weather, Iranian hostage crisis ended, Ozzy Osbourne bites head off a real bat. Todays birthdays - Lead Belly, George Burns, Deforest Kelly, Slim Whitman, Buzz Aldin, Paul Stanley, Bill Maher, Lorenzo Lamas, John Michael Montgomery, Skeet Ulrich. Audrey Hepburn died.Intro - God did good - Dianna Corcoran Dianna on SpotifyThe penguin dance - PinkfongSay say say = Paul McCartney and Michael JacksonIn my eyes - John ConleeBirthdays - In da club - 50 Cent 50cent.comThe midnight special - Lead BellyI wish I was 18 again - George BurnsI remember you - Slim WhitmanKrazy crazy night - KISSLife's a dance - John MIchael MontgomeryExit - Heartfelt - Jennie Angel Jennie on Spotifycountryundergroundradio.comhttps://www.coolcasts.cooolmedia.com/show/history-factoids-about-today/cooolmedia.com
Participants: John Steppling, John Bower, Hiroyuki Hamada, and Dennis Riches. Topics covered: US proxy war in Ukraine more likely a war against Europe (F. the EU from beginning to end), deaths in custody of people seized by ICE agents, Israel's conflicting messages in its attempt to polish its image, Pirates of the Caribbean: US seizure of a Venezuelan oil tanker, Belgium says no to the EU plan to seize Russian assets, hospitals disappearing from US counties, the films of Jean-Marie Straub, neocons never were the sharpest knives in the drawer, Ikkyu Sojun (1394–1481), Zen monk of the 15th century. See Aesthetic Resistance on Substack for the links related to this episode. Music track: “Where did you sleep last night?” by Leadbelly (public domain).
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: The River by Garth Brooks (1991)Song 1: River of Fools by Los Lobos (1987)Song 2: Synthetic World by Swamp Dog (1970)Song 3: Stand by R.E.M. (1988)Song 4: River of Dreams by Billy Joel (1993)Song 5: Where'd All the Time Go by Dr. Dog (2010)Song 6: Rock Island Line by Lead Belly (1948/1994)Song 7: Rivers of Babylon by The Melodians (1970)Song 8: Drop It Like It's Hot by Snoop Dogg (feat. Pharrell Williams) (2004)Song 9: I've Got Drugs (Out of the Mist) by The Frogs (1989)Song 10: River of Jordan by The Louvin Brothers (1959)
On today's Labor Radio Podcast Daily: America's Work Force explores the haunting legacy of John Henry and the songs born from the pain and pride of Black railroad workers. In labor history, trade unions formed the Federation of Organized Trades and Labor Organizations, which became the AFL in 1881. Quote of the day: Leadbelly. @wpfwdc @AFLCIO #1u #UnionStrong #LaborRadioPod Proud founding member of the Labor Radio Podcast Network
Brad, Jay and Travis are coming to you from HorrorHound Weekend for their semi annual Blood & BBQ! They are joined by 3 of the fantastic filmmakers from the weekend to talk about their films. Jim Gleason takes us through a dentist appointment gone wrong in the short film Baby Blues - Going Dark. Local filmmaker Seth Daly takes us on a mysterious chase through the corn fields in The Rows. Lastly Stephen King Simmons gives us a family story with a dark twist in Lead Belly. All 3 of these films and so many more played at HorrorHound Weekend. Hope you enjoy this look behind the curtain of these films and the film festival itself! Join us at the next HorrorHound Weekend March 20-22 in Cincinnati, Ohio https://horrorhoundweekend.com/ Have a feature, short or script? Submit to the festival. Spring Show https://filmfreeway.com/HorrorHoundWeekendFilmFestival Fall Show https://filmfreeway.com/HorrorHoundFilmFestivalFall
Set sail with us as we welcome Pressgang Mutiny, the Toronto-born crew keeping the spirit of sea shanties alive in the modern world. With voices that echo across oceans and hearts rooted in tradition, the band returns with a bold new take on the classic “Haul Away Joe” — inspired by The Clancy Brothers and Lead Belly, and reimagined with fresh energy and modern production.In this episode, we dive into the living legacy of maritime folk music, the power of collective singing, and how old songs can still chart new horizons. Hoist the sails — this is a voyage you don't want to miss.Discover more on https://www.pressgangmutiny.com/
Words such as 'woke', 'emotional labour' and 'gaslighting' get bandied around a lot, especially in online discourse. And as they get bandied around, their meaning can change over time. Of course, changes in the meaning of words are natural, inevitable and, usually harmless. However, Robbie Morgan, back for his record-setting third appearance on Ethics Untangled, thinks we should be worried about these changes in meaning, at least sometimes. This isn't just pedantry - it's a concern about the way changes in meaning can rob us of the means to express important concepts, and also about the way these moves can serve political motivations in an illegitimate way.Here's Robbie's paper on the topic:Morgan, Robert (2025), "Hermeneutical Disarmament", The Philosophical Quarterly 75(3): 1071-1093.Here's Robbie's website.And here are the other sources we discuss in the episode:Beck, Julie (2018), “The Concept Creep of ‘Emotional Labor'”, The Atlantic.Bloomfield, Leonard (1983), Introduction to the Study of Language. Amsterdam/Philidelphia: John Benjamins Publishing Company, p.240.Brownmiller, Susan (1990), In Our Time: Memoir of a Revolution. 1st ed. New York: Dial Press, pp.182, 280-285.Déjacque, Joseph, Hartman, Janine C., and Lause, Mark A. (2012), In the Sphere of Humanity: Joseph Déjacque, Slavery, and the Struggle for Freedom. Cincinnati, Ohio: University of Cincinnati Libraries.Fricker, Miranda (2007), Epistemic Injustice: Power and the Ethics of Knowing. Oxford: Oxford University Press.Hamilton, Patrick (1939, Gas Light. 1st ed. London: Constable.Hochschild, Arlie Russell (2012), The Managed Heart. The Managed Heart: Commercialization of Human Feeling. London: University of California Press.Lead Belly (2015) “Scottsboro Boys.” In Lead Belly: The Smithsonian Folkways Collection, 4:26. MacGuill, Dan (2021), “Did People Refer to Gaslighting During the Era of 'I Love Lucy'?”, Snopes. Norri, Juhani (1998), “Gender-Referential Shifts in English.” English Studies 79 (3): 270–87, p.281.Rothbard, Murray N. (2007), The Betrayal of the American Right. Edited by Thomas E. Woods Jr. Auburn, Alabama: Ludwig von Mises Institute, p.83.Ethics Untangled is produced by IDEA, The Ethics Centre at the University of Leeds.Bluesky: @ethicsuntangled.bsky.socialFacebook: https://www.facebook.com/ideacetlLinkedIn: https://www.linkedin.com/company/idea-ethics-centre/
In Alice's Adventures in Wonderland, Humpty Dumpty scornfully declares that, “When I use a word, it means just what I choose it to mean.”So what does “woke” mean? It's become the pet political aspersion that today's kooky right-wing hucksters hurl at liberals, but the hurlers would be whopperjawed to learn that it's was actually coined by and for progressives! Indeed, it admonishes people to be awake to the dangers posed by hate-filled bigots and reactionaries like… well, like today's right-wing extremists.SURPRISING HISTORICAL TIDBIT: The first person reported to have used the word was Huddie Ledbetter, the legendary Black blues artist known as Lead Belly. Among his many classic songs was “Scottsboro Boys,” about nine Black teenagers falsely accused in 1931 of raping two Alabama white women. As a Black musician who traveled the backroads of the Jim Crow South, Lead Belly warned others to pay attention when in a viciously racist state: “Best stay woke,” he cautioned.But—out of blind ignorance, blind arrogance, or both—today's adaptors of the Jim Crow mentality have perverted common-sense wokeness into a verbal whip to lash African-Americans, immigrants, Democrats, women, LGBTQ+ people and all others they don't like (pretty much everyone who looks, thinks, prays and acts different from them). How kooky? They've declared librarians, science, Mickey Mouse, and Bud Light to be their evil enemies. “Don't be woke,” they bark, demanding autocratic, plutocratic, and theocratic laws to coerce compliance with their own retrogressive bigotries.This is Jim Hightower saying… Bear in mind that this is no longer a fringe cult, but the mainstream of the Republican Party, including its top congressional leaders, presidential wannabes, and state officials. Actually, you can easily comprehend what these Humpty-Dumpties really mean by their “Don't Be Woke” war cry. Just substitute the word “sane” for “woke.”Jim Hightower's Lowdown is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit jimhightower.substack.com/subscribe
The world of music is full of interesting characters, and some of them are unfortunately bad people. In this episode of Prisoners of Rock and Roll, we're following our namesake by talking about musicians who did time in prison. We have a long list of artists from different genres who spent some time behind bars, and we're going to talk about them, their crimes, and the music they made. We've got stories like Lead Belly being discovered while in prison for attempted murder, to Jelly Roll turning his life around after his daughter was born while he was serving time. The singer for Lamb of God was charged with killing a fan. Ike Turner missed his rock and roll hall of fame induction because he was behind bars. Lil Kim chose prison over snitchin', and some of the Norwegian death metal dudes are crazy. We've got all of their stories and a lot more in this wild episode, so let's hit it. Episode Playlist Check out our episode playlist here. Get In Touch Check us out online, on Facebook, Twitter, or YouTube. or drops us an email at show@prisonersofrockandroll.com. Or if you're in Philadelphia, come visit our home base at McCusker's Tavern. Prisoners of Rock and Roll is part of Pantheon Media. We're sponsored by Boldfoot Socks. Learn more about your ad choices. Visit megaphone.fm/adchoices
The world of music is full of interesting characters, and some of them are unfortunately bad people. In this episode of Prisoners of Rock and Roll, we're following our namesake by talking about musicians who did time in prison. We have a long list of artists from different genres who spent some time behind bars, and we're going to talk about them, their crimes, and the music they made. We've got stories like Lead Belly being discovered while in prison for attempted murder, to Jelly Roll turning his life around after his daughter was born while he was serving time. The singer for Lamb of God was charged with killing a fan. Ike Turner missed his rock and roll hall of fame induction because he was behind bars. Lil Kim chose prison over snitchin', and some of the Norwegian death metal dudes are crazy. We've got all of their stories and a lot more in this wild episode, so let's hit it. Episode Playlist Check out our episode playlist here. Get In Touch Check us out online, on Facebook, Twitter, or YouTube. or drops us an email at show@prisonersofrockandroll.com. Or if you're in Philadelphia, come visit our home base at McCusker's Tavern. Prisoners of Rock and Roll is part of Pantheon Media. We're sponsored by Boldfoot Socks. Learn more about your ad choices. Visit megaphone.fm/adchoices
On a cold night in the early 1930s, a young West Virginian named Tom Kromer huddled in a railway boxcar as it rattled westward across the country.Hungry, sleepless and surrounded by other men just trying to make it through the night, Tom braced himself against the trembling boxcar wall and scribbled a few observations on a scrap of paper. Five years later, those notes — scrawled on Bull Durham papers, in the margins of religious tracts in a hundred rescue missions, upon wastepaper scavenged from the cluttered floors of county jails — would become Waiting for Nothing, Kromer's raw, unflinching autobiographical novel that portrayed America's dispossessed during the Great Depression.From HuntingtonTom Kromer's story begins in Huntington, WV, where he was born in 1906. His father, an immigrant who had spent his boyhood in the coal mines, died young from cancer. His mother dreamed that her children would escape that hard life through education, and for a while, it looked as if Tom might. He attended Marshall College (later University) off and on, but never managed to finish. When the stock market crashed in 1929, Tom's tuition ran dry and so did his prospects.The real turning point came when Kromer left school and set out west, hoping for farm work.Finding no work, Tom slipped into a life “on the fritz,” his phrase for years spent as a hobo moving from one town to the next from his West Virginia hills to the California coast. Unlike the romantic drifter of folklore, Kromer was, in his own words, “a tramp of circumstances.” He begged, starved, took shelter where he could. It was not uncommon for him to go days without food. It was brutal. But it also gave him a voice unlike any other.The Novel was BornIn 1935, he published his acclaimed novel Waiting for Nothing. Written in jagged, stark prose, it asked for no pity, offered no sentimentality. Kromer stripped life down to the details of what it took to survive as a “stiff,” lining up at soup kitchens, hopping freights, making the complicated calculations of what a hungry man might do for a meal. Critics compared Kromer's style to Hemingway. His themes were hunger, fear, endurance, and above all, the cruelty of a system that left millions with nothing. He wasn't interested in prettying up the story.Kromer's second novel, Michael Kohler, would have turned to the struggles of working-class families and the violent West Virginia mine wars, but illness stopped him short. Tuberculosis gnawed away at his health, and by the 1940s, he had retreated to New Mexico with his wife, Janet. After her death in Albuquerque in 1960, Tom returned to Huntington, where his sisters cared for him until his own death in 1969.Our Song about TomFor decades, Tom Kromer's name nearly vanished, even in his hometown of Huntington. But now, through the good works of Marshall University English professor Stefan Schöberlein and his Appalachian literature students, Tom's work has been rediscovered and brought to a new generation of students.Reading a recent reprint of Waiting for Nothing, we in The Flood were struck by how Tom's unsentimental eye fixed on the hungry and the forgotten of the Depression Era. Moved by the novel, the band decided to lend its hand in carrying on the Tom Kromer story by writing and recording this ballad to celebrate Huntington's long-forgotten native son.Following the lead of Woody Guthrie and Pete Seeger and Lead Belly, we set our lyrics to a traditional melody (in this case, a mashup of the thematically appropriate “Tramp on the Street” and the old hymn, “Farther Along”).We hope the song encourages you to learn more about Kromer and his important work. A great way to start learning is to visit the new Thomas Kromer Digital Archive created by Schöberlein and his students, where you can read all of Waiting for Nothing online for free.Click here to reach the archive. And if you'd like to own a printed copy of Tom's novel, that reprint we read is available from Amazon.com. However you choose read Tom Kromer, we think you'll see for yourself that even in the darkest corners, someone can be compassionately paying attention. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com
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.
Pacific St Blues & Americana August 10, 2025 Spotlight on Creedence Clearwater Revival & John Fogerty22. Big Bill Bronzy / Night Time is the Right Time 23. CCR @ Woodstock / Green River24. Emmylou Harris / Bad Moon Rising 25. Southern Culture on the Skids / Tombstone Shadow26. Jerry Lee Lewis w/ Fogerty / Travelin' Band 27. The Kentucky Boys / Cotton Fields28. Lead Belly w/ Golden Gate Quarter / Midnight Special 29. Dave Alvin / Don't Look Now 30. Mike Zito w/ Sonny Landreth / Fortunate Son 31. Arthur 'Big Boy' Crudup / My Baby Left Me32. Ooby Dooby / Roy Orbison33. Marvin Gaye / I Heard It Through the Grapevine34. Who'll Stop the Rain / Duke Robillard 35. Tom Fogerty / Mystic Isle of Avalon36. John Fogerty / Centerfield37. John Fogerty / Weeping in the Promised Land38. John Fogerty / I Will Walk with You
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.
Inside: Everything you ever wanted to know about the 2005 World Series-winning Chicago White Sox. RIP Bobby JenksCard 559 on Becketthttps://marketplace.beckett.com/baseballcardconnection_794/item/1988-topps-559-ken-williams-rc_343269101988 Topps in Sports Illustrated https://www.si.com/collectibles/the-five-essential-baseball-cards-of-1988-topps Leadbelly in Lincoln, NE https://getleaded.com/ SABR Bio by Bill Prudenhttps://sabr.org/bioproj/person/ken-williams/SABR Bio of the other Ken Williams by Joseph Wancho with poemhttps://sabr.org/bioproj/person/ken-williams-2/Base path anticshttps://www.youtube.com/watch?v=4SInxwZTZp8&t=1s2005 ALCS dropped third strike?https://youtu.be/9Tn5CQ9vyYQ?si=fRkkNbwQcxAPRkgiWilliams on race and racism in America in 2020https://www.youtube.com/watch?v=-U9nJ7S9KeI
Join Tony Michas and John Mathews discuss the June 2025 Film Announcement.The June Film Bundle includes Raging Bull, New York, New York, The Man Who Would Be King, The Wind and the Lion, Leadbelly, J.W. Coop and The Onion Field.
A remix from the latest MELONYX single. Soul from Massive Attack and Omar. Original Blues from Lead Belly (including an early use of the term “Woke”). The brilliant anthem from Sampology. An edit of De La Soul with A Tribe Called Quest and others on the classic David Morales Remix. A track from Sly Stone (Rest In Peace). The big tune from Little Simz & Obongjayar. Jungle from Break feat Lorna King remixed by The Sauce and a classic from Doc Scott. A track from Marla Kether's album. Plus plenty more music treats.
The Blues as Black Sonic Folklore: Part 2:"Hard Ground and High Water: The Blues of Survival and Struggle"We continue our Black Music Month series by diving into the Blues as a witness to environmental crisis and class struggle.Featuring music by Bessie Smith, Charley Patton, Blind Lemon Jefferson, and Lead Belly, we explore how songs about flood, drought, and urban segregation serve as time capsules, preserving Black ecological, economic, and emotional history through sound. These are more than Blues, they are survival songs, testimonies of people shaped by both nature and the systems that fail them.
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.
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.
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!
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.
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)
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.
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.
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.
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
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
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.
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
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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