Podcasts about lonesome death

The Lonesome Death of Jordy Verrill is all about a lunkhead rural farmer who discovers a meteor that crashed on his land. He thinks he has hit the jackpot, his luck finally turning around, but all that happens is a strange moss grows out of the meteor and all over this poor guy. Based on King's previously published short story "Weeds."

Aoife O'Donovan “All My Friends”:”All My Friends””Crisis””War Measure””Someone to Follow””The Right Time””Daughters””America, Come””Over the Finish Line” (feat. Anaïs Mitchell)”The Lonesome Death of Hattie Carroll”Alejandro Escovedo “Echo Dancing”:”MC Overload””Inside This Dance””Wave”Escuchar audio

שעה ראשונה:לירון עמרם - יד ענוגה + פעם פעם קרולינה, שי צברי - בעבר היו זמניםברי סחרוף, אילן פלד - ומה נשארPa'am, תמר אפק, יובל בנאי - נגעה בשמייםLes Dynamites - Sea Gullימי ויסלר, יובל חבקין, ניתאי הרשקוביץ - The Lonesome Death of Sylvia Bumperסבבה 5, יערה שאוליאן - חלומות על אהבהישראל ברייט - בגן השחורItzhak Ventura - Doosh Doosh דודו טסה - עת לאהובטונה, נינט טייב - ככה זההדג נחש - ואלס עם שאנןעידו מימון, אברי ג׳י - רוקדים לאינסוף שעה שניה:Prefuse 73 - The End Of AirSuper Tomorrow - Sand and SnakesThe Offline - Plage des CasernesQuantic - Westbound TrainAssaf Spector - Big ShotTorgny Elgstrand - SundanceGeorge Bloomfield - HeadwayHermanos Gutierrez - Tres HermanosKatzroar - Pomegranate SeedsMenahan Street Band - The TraitorTanhai Collective - Sal's GrooveGlass Beams - MahalOffthewally - A dance under the SunKhruangbin - A Love InternationalArc De Soleil - The Thief in MarrakeshRobohands - Wholeשמוליק קראוס, קותימן, רונה קינן - כל הנחליםYuuf - Silky Spring

שעה ראשונה:שלומי שבן - קדישמן (רישומון)יפעת בלסיאנו - אסור להסתכל למטהשמוליק קראוס, קותימן, רונה קינן - כל הנחליםישראל ברייט - בגן השחוריהוא ירון - קנזס סיטי רסיסי חייםיסמין מועלם - יום כיפורדודו טסה - עת לאהובהילל גוטמן, Westside Gravy - Eyze yom (Remix)(עיליי אשדות - ארמון (אהבה שמזיזה את השמשעידו מימון, אברי ג׳י - רוקדים לאינסוףיונתן ליפיץ - אהבה נשגבתLes Dynamites - Sea Gullימי ויסלר, יובל חבקין, ניתאי הרשקוביץ - The Lonesome Death of Sylvia Bumperשי חזן - A Bite Of Sand שעה שניה:Holly Herndon - FearMoses Sumney - ColouourOneohtrix Point Never - Nothing's SpecialShlohmo - PlacesYoung Fathers - See HowDua Saleh - smutBurial, Four Tet, Thom Yorke - His RopeCaribou - cloud songFlying Lotus - Land Of HoneyFKA twigs - Home With YouJames Blake - Into The RedRob Grant - Lost at SeaKing Krule - AloneThe Smile - Wall Of EyesKelsey Lu - KINDRED I

Step right up to the macabre carnival of "Creepshow," where the echoes of Stephen King and George A. Romero's genius reverberate through the chilling anthology that's the star of our latest gabfest. With the flicker of the screen, I'll guide you down memory lane, injecting fresh blood into the twisted tales that have claimed their spot in the horror hall of fame. From the dark hilarity of "Father's Day" to King's own quirky turn in "The Lonesome Death of Jordy Verrill," you're in for a ride as we dissect the ghoulish glory that has bound "Creepshow" to the hearts of fans.As we crack open the coffin on the Grantham family drama, we'll sip some whiskey and raise the dead with a nod to literary greats and the cultural threads woven into "Father's Day." If you thought meteorites and regrettably green thumbs were only the stuff of B-movies, think again; King's on-screen exploits and the mayhem of makeup mishaps will have you in stitches. And before we venture to the sinister sands of "Something to Tide You Over" with the formidable Leslie Nielsen, we'll take a moment to applaud the craft behind the creeping dread.Raise your lighters for the crescendo as we toast to the dynamic duo of King and Romero, whose collaboration sparked a box office inferno with its comic book panache, reviving the spirit of 1950s horror. The enthusiasm is palpable as we cap off our time together, so don't be shy—reach out with your curiosities and picks for future fright-fests on Instagram. Whether you're a "Creepshow" connoisseur or peeling back the cover for the first time, this is one conversation that promises to leave you with an insatiable hunger for more.Support the show

Greil Marcus is perhaps the world's foremost interpreter of Bob Dylan. This podcast focuses on Marcus' latest Dylan book, Folk Music: A Bob Dylan Biography in Seven Songs (Yale University Press, 2022). Marcus begins his book with a 2001 quote from Dylan: “I can see myself in others.” In this sense, Marcus writes, “the engine of his songs is empathy.” We begin our conversation with “Murder Most Foul,” from 2020, on the assassination of John F. Kennedy, with Dylan “putting on Kennedy's bloody suit.” We discuss, too, “Desolation Row,” from 1965. The opening line— “They're selling postcards of the hanging…”— could be a reference, Marcus suggests, to a lynching of three black circus workers in Duluth, Minnesota in 1920, just over twenty years before Dylan was born there. And Marcus offers insights on the five other songs covered in this volume: “Blowin' in the Wind”/1962; “The Lonesome Death of Hattie Caroll”/1964; “The Times They Are A-Changin'”/1964; “Jim Jones”/1992; and “Ain't Talkin'”/2006. Veteran journalist Paul Starobin is a former Moscow bureau chief for Business Week and a former contributing editor of The Atlantic. He has written for The New York Times, The Washington Post, The Wall Street Journal and many other publications. His latest book, Putin's Exiles: Their Fight for a Better Russia (Columbia Global Reports) will be published in January. 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

Greil Marcus is perhaps the world's foremost interpreter of Bob Dylan. This podcast focuses on Marcus' latest Dylan book, Folk Music: A Bob Dylan Biography in Seven Songs (Yale University Press, 2022). Marcus begins his book with a 2001 quote from Dylan: “I can see myself in others.” In this sense, Marcus writes, “the engine of his songs is empathy.” We begin our conversation with “Murder Most Foul,” from 2020, on the assassination of John F. Kennedy, with Dylan “putting on Kennedy's bloody suit.” We discuss, too, “Desolation Row,” from 1965. The opening line— “They're selling postcards of the hanging…”— could be a reference, Marcus suggests, to a lynching of three black circus workers in Duluth, Minnesota in 1920, just over twenty years before Dylan was born there. And Marcus offers insights on the five other songs covered in this volume: “Blowin' in the Wind”/1962; “The Lonesome Death of Hattie Caroll”/1964; “The Times They Are A-Changin'”/1964; “Jim Jones”/1992; and “Ain't Talkin'”/2006. Veteran journalist Paul Starobin is a former Moscow bureau chief for Business Week and a former contributing editor of The Atlantic. He has written for The New York Times, The Washington Post, The Wall Street Journal and many other publications. His latest book, Putin's Exiles: Their Fight for a Better Russia (Columbia Global Reports) will be published in January. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Greil Marcus is perhaps the world's foremost interpreter of Bob Dylan. This podcast focuses on Marcus' latest Dylan book, Folk Music: A Bob Dylan Biography in Seven Songs (Yale University Press, 2022). Marcus begins his book with a 2001 quote from Dylan: “I can see myself in others.” In this sense, Marcus writes, “the engine of his songs is empathy.” We begin our conversation with “Murder Most Foul,” from 2020, on the assassination of John F. Kennedy, with Dylan “putting on Kennedy's bloody suit.” We discuss, too, “Desolation Row,” from 1965. The opening line— “They're selling postcards of the hanging…”— could be a reference, Marcus suggests, to a lynching of three black circus workers in Duluth, Minnesota in 1920, just over twenty years before Dylan was born there. And Marcus offers insights on the five other songs covered in this volume: “Blowin' in the Wind”/1962; “The Lonesome Death of Hattie Caroll”/1964; “The Times They Are A-Changin'”/1964; “Jim Jones”/1992; and “Ain't Talkin'”/2006. Veteran journalist Paul Starobin is a former Moscow bureau chief for Business Week and a former contributing editor of The Atlantic. He has written for The New York Times, The Washington Post, The Wall Street Journal and many other publications. His latest book, Putin's Exiles: Their Fight for a Better Russia (Columbia Global Reports) will be published in January. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Greil Marcus is perhaps the world's foremost interpreter of Bob Dylan. This podcast focuses on Marcus' latest Dylan book, Folk Music: A Bob Dylan Biography in Seven Songs (Yale University Press, 2022). Marcus begins his book with a 2001 quote from Dylan: “I can see myself in others.” In this sense, Marcus writes, “the engine of his songs is empathy.” We begin our conversation with “Murder Most Foul,” from 2020, on the assassination of John F. Kennedy, with Dylan “putting on Kennedy's bloody suit.” We discuss, too, “Desolation Row,” from 1965. The opening line— “They're selling postcards of the hanging…”— could be a reference, Marcus suggests, to a lynching of three black circus workers in Duluth, Minnesota in 1920, just over twenty years before Dylan was born there. And Marcus offers insights on the five other songs covered in this volume: “Blowin' in the Wind”/1962; “The Lonesome Death of Hattie Caroll”/1964; “The Times They Are A-Changin'”/1964; “Jim Jones”/1992; and “Ain't Talkin'”/2006. Veteran journalist Paul Starobin is a former Moscow bureau chief for Business Week and a former contributing editor of The Atlantic. He has written for The New York Times, The Washington Post, The Wall Street Journal and many other publications. His latest book, Putin's Exiles: Their Fight for a Better Russia (Columbia Global Reports) will be published in January. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Greil Marcus is perhaps the world's foremost interpreter of Bob Dylan. This podcast focuses on Marcus' latest Dylan book, Folk Music: A Bob Dylan Biography in Seven Songs (Yale University Press, 2022). Marcus begins his book with a 2001 quote from Dylan: “I can see myself in others.” In this sense, Marcus writes, “the engine of his songs is empathy.” We begin our conversation with “Murder Most Foul,” from 2020, on the assassination of John F. Kennedy, with Dylan “putting on Kennedy's bloody suit.” We discuss, too, “Desolation Row,” from 1965. The opening line— “They're selling postcards of the hanging…”— could be a reference, Marcus suggests, to a lynching of three black circus workers in Duluth, Minnesota in 1920, just over twenty years before Dylan was born there. And Marcus offers insights on the five other songs covered in this volume: “Blowin' in the Wind”/1962; “The Lonesome Death of Hattie Caroll”/1964; “The Times They Are A-Changin'”/1964; “Jim Jones”/1992; and “Ain't Talkin'”/2006. Veteran journalist Paul Starobin is a former Moscow bureau chief for Business Week and a former contributing editor of The Atlantic. He has written for The New York Times, The Washington Post, The Wall Street Journal and many other publications. His latest book, Putin's Exiles: Their Fight for a Better Russia (Columbia Global Reports) will be published in January. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Greil Marcus is perhaps the world's foremost interpreter of Bob Dylan. This podcast focuses on Marcus' latest Dylan book, Folk Music: A Bob Dylan Biography in Seven Songs (Yale University Press, 2022). Marcus begins his book with a 2001 quote from Dylan: “I can see myself in others.” In this sense, Marcus writes, “the engine of his songs is empathy.” We begin our conversation with “Murder Most Foul,” from 2020, on the assassination of John F. Kennedy, with Dylan “putting on Kennedy's bloody suit.” We discuss, too, “Desolation Row,” from 1965. The opening line— “They're selling postcards of the hanging…”— could be a reference, Marcus suggests, to a lynching of three black circus workers in Duluth, Minnesota in 1920, just over twenty years before Dylan was born there. And Marcus offers insights on the five other songs covered in this volume: “Blowin' in the Wind”/1962; “The Lonesome Death of Hattie Caroll”/1964; “The Times They Are A-Changin'”/1964; “Jim Jones”/1992; and “Ain't Talkin'”/2006. Veteran journalist Paul Starobin is a former Moscow bureau chief for Business Week and a former contributing editor of The Atlantic. He has written for The New York Times, The Washington Post, The Wall Street Journal and many other publications. His latest book, Putin's Exiles: Their Fight for a Better Russia (Columbia Global Reports) will be published in January. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

With one week left to go in our 31 Days of Halloween celebration, we begin our final franchise with the 1982 classic, Creepshow. Is this the best horror anthology? How good is Adrienne Barbeau in this? And is “The Lonesome Death of Jordy Verrill” better than I remembered? Let's chat about it with plenty of red gel lights and screeching soundtracks to accompany us. If you're not there already, join the discussion on our Facebook group, Twitter, Instagram, or Discord. You all are the absolute best! You can hear the show exclusively on Legion Podcasts, so be sure to subscribe on Apple Podcasts, Google, Spotify, Android, Pandora, iHeartRadio, PocketCasts, Podchaser, or wherever podcasts are found. ★ Support this podcast on Patreon ★

With one week left to go in our 31 Days of Halloween celebration, we begin our final franchise with the 1982 classic, Creepshow. Is this the best horror anthology? How good is Adrienne Barbeau in this? And is “The Lonesome Death of Jordy Verrill” better than I remembered? Let's chat about it with plenty of red gel lights and screeching soundtracks to accompany us. If you're not there already, join the discussion on our Facebook group, Twitter, Instagram, or Discord. You all are the absolute best! You can hear the show exclusively on Legion Podcasts, so be sure to subscribe on Apple Podcasts, Google, Spotify, Android, Pandora, iHeartRadio, PocketCasts, Podchaser, or wherever podcasts are found. The post Legion Podcasts 31 Days of Halloween: Day 24 – Creepshow first appeared on Legion.

With one week left to go in our 31 Days of Halloween celebration, we begin our final franchise with the 1982 classic, Creepshow. Is this the best horror anthology? How good is Adrienne Barbeau in this? And is “The Lonesome Death of Jordy Verrill” better than I remembered? Let’s chat about it with plenty of red gel lights and screeching soundtracks to accompany us. If you're not there already, join the discussion on our Facebook group, Twitter, Instagram, or Discord. You all are the absolute best! You can hear the show exclusively on Legion Podcasts, so be sure to subscribe on Apple Podcasts, Google, Spotify, Android, Pandora, iHeartRadio, PocketCasts, Podchaser, or wherever podcasts are found. The post Legion Podcasts 31 Days of Halloween: Day 24 – Creepshow first appeared on Legion.

Gary looks ahead to a range of live events across the central belt of Scotland as we reach the sharp end of the piping season with Piping Live in Glasgow and the Fringe in Edinburgh. There's  new music from Mark Saul, and timeless tunes from Angus MacColl, Gordon Duncan, Gordon Mooney, and Polkemmet Grorud Pipe Band. And Westie's Wildcard returns with an imaginary trip to the Yukon in the company of the Lochee Bard himself, the late Michael Marra.Support the showTracksMark Saul with A' Dol Suas from ThrenodyThe Polkemmet Grorud Pipe Band with Irish Air and Reels Set from From Celtic RootsAngus MacColl with The Highland Wedding and the Abercairney Highlanders from A Tradition of ExcellenceGordon Duncan with Wing Commander Donald MacKenzie, Ash City, The Inverness Incident and the High Drive from Just for GordonMichael Marra with The Lonesome Death of Francis Clarke from High Sobriety (Live at the Bonar Hall)Mark Saul  with Gordon's Reel from ThrenodyGordon Mooney with Terribus Ye Terioden from O'er the BorderLinksPiping Live!  Lowland and Border Pipers' Society (LBPS)Thunderstruck (the play) Support the show

לכבוד יום הולדתו המתקרב של בוב דילן נ"י נחזור ונעיין מחדש בשנת 1975. 1. The Ballad of Ira Hayes (S.I.R. Studio Rehearsals) 2. Dark as a Dungeon (S.I.R. Studio Rehearsals) 3. Romance In Durango (Live at Boston Music Hall, Boston, MA - November 21, 1975 - Evening) 4. The Lonesome Death of Hattie Carroll (Live at Memorial Auditorium, Worcester, MA - November 1975) 5. Isis (Live at Memorial Auditorium, Worcester, MA - November 1975) 6. Knockin' on Heaven's Door (Live at Memorial Auditorium, Worcester, MA - November 1975)7. The Water Is Wide (Live at Boston Music Hall, Boston, MA - November 21, 1975 - Evening)8. Ballad of a Thin Man (Seacrest Motel Rehearsals)9. Idiot Wind (05-16-76) 

Thank you to our power producers who keep In The Gutter in the gutter! Support Chipperish on PatreonLearn more about Joshua's books.Get your copy of Lani's How Story Works.“Who the hell is Bucky?”Lani and Josh pick up with Cap with issue #8 in Ed Brubaker's “Captain America: Winter Soldier.”Comic book and credits:Captain America: Winter Soldier by Ed BrubakerWriter: Ed BrubakerArtists for Out of Time: Steve Epting and Michael LarkArtist for Lonesome Death of Jack Monroe: John Paul Leon and Tom PalmerLetterers: VC's Randy Gentile, Chris Eliopoulos & Joe CaramagnaAssistant Editors: NicoleWiley, Molly LAzer, Andy Schmidt and Aubrey SittersonEditor: Tom BrevoortCaptain America created by Joe Simon and Jack Kirby Get your copy of “How Story Works” Support Chipperish on Patreon! Support Chipperish by shopping on Amazon using this link! Find out more about Lani Find out more about Josh In The Gutter is a Chipperish Media production by Lani Diane Rich and Joshua Unruh, and is released under a Creative Commons Attribution-NonCommercial-Sharealike license.

Kick back with some sauce as Creepshow vol. 2, The Lonesome Death of Jordy Verrill, crashes into us! Here to help us pry open this meteoric segment of the movie with us is another one of the gang from We Hate Movies and a Returning Champion to Kill By Kill, the one the only Eric Szyszka!! Along the way, we discuss medical-grade cleavers, imagine a nu-metal Joker, rank Stephen King's onscreen performances (sorry Uncle Steve), expose the special relationship between ghosts and aliens, tout the benefit of free-roaming skeletons, and debate the fair market value of broken space rocks. All this, plus a version of Choose Your Own Deathventure that's bound to grow on you, consider good luck Greedos, and we pitch ways to rehabilitate the image of everyone's least favorite fortified wine, Ripple!! A truly evergreen edition of Kill By Kill awaits, dear listener - check it out!! Never fear - new episodes of Kill By Kill are made available every other Friday! Dish By Dish: A Hannibal Rewatch on the Fridays in-between.  Our linker.ee Our TeePublic shop for killer merch is right here: https://www.teepublic.com/stores/kill-by-kill-podcast?utm_campaign=18042&utm_medium=affiliate&utm_source=Kill%2BBy%2BKill%2Bpodcast%2B      Have something to say? Find us on Twitter @KillByKillPod Join the conversation about any episode on the Facebook Group! Follow us on IG @killbykillpodcast  Check out the films we've covered & what might come soon on Letterboxd! Get even more episodes exclusively on Patreon!   Follow our station on vurbl: https://vurbl.com/station/2bdTISeI3X/ Artwork by Josh Hollis: joshhollis.com Kill By Kill theme by Revenge Body. For the full-length version and more great music, head to revengebodymemphis.bandcamp.com today!

Thank you to our power producers who keep In The Gutter in the gutter! Support Chipperish on PatreonLearn more about Joshua's books.Get your copy of Lani's How Story Works.“I know your secret.”Things get dark in a fun, superhero way as Lani and Joshua fall backwards into the constantly escalating neon-colored churn that is Grant Morrison's JLA.Comic book and credits:Captain America: Winter Soldier by Ed BrubakerWriter: Ed BrubakerArtists for Out of Time: Steve Epting and Michael LarkArtist for Lonesome Death of Jack Monroe: John Paul Leon and Tom PalmerLetterers: VC's Randy Gentile, Chris Eliopoulos & Joe CaramagnaAssistant Editors: NicoleWiley, Molly LAzer, Andy Schmidt and Aubrey SittersonEditor: Tom BrevoortCaptain America created by Joe Simon and Jack Kirby Get your copy of “How Story Works” Support Chipperish on Patreon! Support Chipperish by shopping on Amazon using this link! Find out more about Lani Find out more about JoshIn The Gutter is a Chipperish Media production by Lani Diane Rich and Joshua Unruh, and is released under a Creative Commons Attribution-NonCommercial-Sharealike license. 

In anticipation of our Stephen King film festival this weekend in Chicago, The Creepshow, we're unlocking one of our older Patreon exclusive episodes from the Derry Private Library. It's a volume of the Stephen King Archives, which sees Randall, Mike, and Jenn discussing King's unpublished short stories, long-forgotten interviews, dusty manuscripts, and alternate versions of your favorite tales. This particular chapter is dedicated to the uncollected stories from the Creepshow franchise. Specifically, 1976's "Weeds" that inspired "The Lonesome Death of Jordy Verrill"; 1979's "The Crate" that inspired, well, "The Crate"; and the unused "Pinfall" segment that should have been in Creepshow 2. Want more episodes like this? Join The Barrens at www.patreon.com/thebarrens. Next week, we'll see you with a brand new episode charting the last five years of The New Stephen King Renaissance.Follow us on Facebook | Twitter | Instagram | Patreon Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Thank you to our power producers who keep In The Gutter in the gutter! Support Chipperish on PatreonLearn more about Joshua's books.Get your copy of Lani's How Story Works.“Aren't I just a double myself?”It's unreliable narrator week on In the Gutter as Lani and Joshua spend some time with the various identities of Jack Monroe.Comic book and credits:Captain America: Winter Soldier by Ed BrubakerWriter: Ed BrubakerArtists for Out of Time: Steve Epting and Michael LarkArtist for Lonesome Death of Jack Monroe: John Paul Leon and Tom PalmerLetterers: VC's Randy Gentile, Chris Eliopoulos & Joe CaramagnaAssistant Editors: NicoleWiley, Molly LAzer, Andy Schmidt and Aubrey SittersonEditor: Tom BrevoortCaptain America created by Joe Simon and Jack Kirby Get your copy of “How Story Works” Support Chipperish on Patreon! Support Chipperish by shopping on Amazon using this link! Find out more about Lani Find out more about Josh In The Gutter is a Chipperish Media production by Lani Diane Rich and Joshua Unruh, and is released under a Creative Commons Attribution-NonCommercial-Sharealike license. 

Thank you to our power producers who keep In The Gutter in the gutter! Support Chipperish on PatreonLearn more about Joshua's books.Get your copy of Lani's How Story Works.“This is where I died.”It's all about messed-up memories and expendable exes as we finish up our first Captain America arc!Comic book credits:Captain America: Winter Soldier by Ed BrubakerWriter: Ed BrubakerArtists for Out of Time: Steve Epting and Michael LarkArtist for Lonesome Death of Jack Monroe: John Paul Leon and Tom PalmerLetterers: VC's Randy Gentile, Chris Eliopoulos & Joe CaramagnaAssistant Editors: NicoleWiley, Molly LAzer, Andy Schmidt and Aubrey SittersonEditor: Tom BrevoortCaptain America created by Joe Simon and Jack Kirby Get your copy of “How Story Works” Support Chipperish on Patreon! Support Chipperish by shopping on Amazon using this link! Find out more about Lani Find out more about Josh In The Gutter is a Chipperish Media production by Lani Diane Rich and Joshua Unruh, and is released under a Creative Commons Attribution-NonCommercial-Sharealike license.

Thank you to our power producers who keep In The Gutter in the gutter! Support Chipperish on PatreonLearn more about Joshua's books.Get your copy of Lani's How Story Works.“We have nothing but our winter.”The dark realities of war combined with superhero bombast have Lani and Joshua swooning over Ed Brubaker's Captain America: Winter Soldier #5.Comic book and credits:Captain America: Winter Soldier by Ed BrubakerWriter: Ed BrubakerArtists for Out of Time: Steve Epting and Michael LarkArtist for Lonesome Death of Jack Monroe: John Paul Leon and Tom PalmerLetterers: VC's Randy Gentile, Chris Eliopoulos & Joe CaramagnaAssistant Editors: NicoleWiley, Molly LAzer, Andy Schmidt and Aubrey SittersonEditor: Tom BrevoortCaptain America created by Joe Simon and Jack Kirby Get your copy of “How Story Works” Support Chipperish on Patreon! Support Chipperish by shopping on Amazon using this link! Find out more about Lani Find out more about Josh In The Gutter is a Chipperish Media production by Lani Diane Rich and Joshua Unruh, and is released under a Creative Commons Attribution-NonCommercial-Sharealike license. 

Thank you to our power producers who keep In The Gutter in the gutter! Support Chipperish on PatreonLearn more about Joshua's books.Get your copy of Lani's How Story Works.“Get it straight, Star Man. I'm here for one thing… revenge!”The action is tight and the exposition is heavy as Lani and Joshua take a look at Ed Brubaker's Captain America: Winter Soldier #4.Comic book and credits:Captain America: Winter Soldier by Ed BrubakerWriter: Ed BrubakerArtists for Out of Time: Steve Epting and Michael LarkArtist for Lonesome Death of Jack Monroe: John Paul Leon and Tom PalmerLetterers: VC's Randy Gentile, Chris Eliopoulos & Joe CaramagnaAssistant Editors: NicoleWiley, Molly LAzer, Andy Schmidt and Aubrey SittersonEditor: Tom BrevoortCaptain America created by Joe Simon and Jack Kirby Get your copy of “How Story Works” Support Chipperish on Patreon! Support Chipperish by shopping on Amazon using this link! Find out more about Lani Find out more about Josh In The Gutter is a Chipperish Media production by Lani Diane Rich and Joshua Unruh, and is released under a Creative Commons Attribution-NonCommercial-Sharealike license. 

This is Play That Rock'n'Roll's interview with Howard Sounes, the author of "DOWN THE HIGHWAY: THE LIFE OF BOB DYLAN", which has a New Updated edition that brings the reader up to Bob's 80th birthday. In this interview, we discuss the challenges Howard faced when he originally wrote the book, Howard's interactions with the notorious William Zanzinger, and how he discovered Bob had been secretly married in the 1980's. We also talk about his thoughts on Bob's most recent output, his war of words with fellow Dylan author Clinton Heylin, and what Bob's music still means to him today. BBC 4's "The Lonesome Death of Hattie Carroll" (2010): https://www.bbc.co.uk/sounds/play/b00s77wp Follow us on Twitter at: https://twitter.com/playthatpodcast​​ Find us on facebook at: https://www.facebook.com/playthatpodcast

Thank you to our power producers who keep In The Gutter in the gutter! Support Chipperish on PatreonLearn more about Joshua's books.Get your copy of Lani's How Story Works.“Whatever's going on, this is all just the beginning.”Lani and Joshua talk second acts and the way comics just love a bad acronym in Issue #3 of Captain America: Winter Soldier.Comic book and credits:Captain America: Winter Soldier by Ed BrubakerWriter: Ed BrubakerArtists for Out of Time: Steve Epting and Michael LarkArtist for Lonesome Death of Jack Monroe: John Paul Leon and Tom PalmerLetterers: VC's Randy Gentile, Chris Eliopoulos & Joe CaramagnaAssistant Editors: NicoleWiley, Molly Lazer, Andy Schmidt and Aubrey SittersonEditor: Tom BrevoortCaptain America created by Joe Simon and Jack Kirby View the image of Union Jack that Joshua wanted us to see. Get your copy of “How Story Works” Support Chipperish on Patreon! Support Chipperish by shopping on Amazon using this link! Find out more about Lani Find out more about Josh In The Gutter is a Chipperish Media production by Lani Diane Rich and Joshua Unruh, and is released under a Creative Commons Attribution-NonCommercial-Sharealike license. 

Thank you to our power producers who keep In The Gutter in the gutter! Support Chipperish on PatreonLearn more about Joshua's books.Get your copy of Lani's How Story Works.I was created because of him… in a way.It's another day in New York with Captain Traumatica as Lani and Josh talk about dark reflections, the everlasting freshness of old trauma, and the 616's love of acronyms. AID? Really?Comic book and credits:Captain America: Winter Soldier by Ed BrubakerWriter: Ed BrubakerArtists for Out of Time: Steve Epting and Michael LarkArtist for Lonesome Death of Jack Monroe: John Paul Leon and Tom PalmerLetterers: VC's Randy Gentile, Chris Eliopoulos & Joe CaramagnaAssistant Editors: NicoleWiley, Molly LAzer, Andy Schmidt and Aubrey SittersonEditor: Tom BrevoortCaptain America created by Joe Simon and Jack Kirby Get your copy of “How Story Works” Support Chipperish on Patreon! Support Chipperish by shopping on Amazon using this link! Find out more about Lani Find out more about Josh In The Gutter is a Chipperish Media production by Lani Diane Rich and Joshua Unruh, and is released under a Creative Commons Attribution-NonCommercial-Sharealike license. 

Join us as we kick off this year's "Summer Of Stephen" series with Stephen King's short story "Weeds" and the adaption for CREEPSHOW, "The Lonesome Death of Jordy Verrill."

The gospel-fed daughter of one of Ray Charles's Raelettes had no idea who this Bob Dylan character was when she was called to audition for his band. Within a few years, she would be his wife and mother to his daughter—both of them hidden from the public, as Dylan converted to Christianity and tried to find his identity as a man and as an artist. A Look Back At Bob Dylan's First Album Carolyn Dennis: The Secret Wife of Bob Dylan Madelyn Quebec Carol Dennis: Who Is Bob Dylan Bob Dylan Sings "Changing of the Guards" On His Alimony Tour Dylan's Secret Wife Talks A Simple Twist of Faith: Reconsidering Bob Dylan's Christian Period Hot Minute With Carol Dennis The Young Americans Bob Dylan With Carolyn Dennis—Farm Aid Rehearsals Bob Dylan: A Spiritual Life Down The Highway: The Life of Bob Dylan by Howard Sounes I Love Carolyn Dennis (blog) The Lonesome Death of Richard Manuel See omnystudio.com/listener for privacy information.

#142-140Intro/Outro: Everybody's Changing by Keane142. Magical Mystery Tour by The Beatles (The Fool on the Hill & Hello, Goodbye & Penny Lane & All You Need is Love & Your Mother Should Know & I Am the Walrus & Strawberry Fields Forever)141. Say You Will by Fleetwood Mac (Say You Will & Peacekeeper & Steal Your Heart Away & Bleed to Love Her)140. The Times They Are A-Changin' by Bob Dylan (The Times They Are A-Changin' & Boots of Spanish Leather & The Lonesome Death of Hattie Carroll)Magical Mystery Tour album artSay You Will album artThe Times They Are A-Changin' album artVote on Today's Album ArtHave you voted on Week 7 Round 1 winners yet? If so, no further action needed. If not:Week 7 Round 1 Winners (episodes 331-335)Vote on Week 7 Round 2 Album Art

Joey Gabe and  CJ talk..   Creepshow is a 1982 American horror comedy anthology film directed by George A. Romero and written by Stephen King, making this film his screenwriting debut. The film's ensemble cast includes Hal Holbrook, Adrienne Barbeau, Fritz Weaver, Leslie Nielsen, Carrie Nye, E. G. Marshall, and Viveca Lindfors as well as King himself (King's acting debut actually came a year prior in the Romero film Knightriders). The film was primarily shot on location in Pittsburgh and its suburbs, including Monroeville, where Romero leased an old boys academy (Penn Hall) to build extensive sets for the film.   Prologue A young boy named Billy Hopkins[a] (Joe Hill) gets disciplined by his abusive father Stan (Tom Atkins) for reading a horror comic titled Creepshow. After swiping the comic from Billy and throwing it in the garbage, Stan tells his wife (Iva Jean Saraceni) that he has to be hard on Billy because he does not want their son to read it, calling it "horror crap". As Billy sits upstairs, wishing that his father rots in Hell, he hears a sound at the window. The source of the noise turns out to be the Creep, the host of the comic book, beckoning him to come closer. The film transitions to animation as the Creep removes the lid from the trash can, transitioning to the first story. "Father's Day" The first story, "Father's Day," is an original story by King written for the film. Sylvia Grantham (Carrie Nye) gathers with her nephew Richard (Warner Shook), niece Cass (Elizabeth Regan), and Cass's new husband Hank (Ed Harris) at their estate for their annual dinner on the third Sunday in June. They proceed to tell Hank about the current family matriarch, Great Aunt Bedelia (Viveca Lindfors) and about her father, the former patriarch, the miserly and domineering Nathan Grantham (Jon Lormer), who accumulated the family's fortune through bootlegging, fraud, extortion and murder-for-hire. Seven years earlier, Bedelia was rendered an unstable spinster as the result of a lifetime spent putting up with her father's incessant demands and emotional abuse, which only got worse after he suffered a stroke and she was made to nurse him full time. The abuse culminated in his orchestrating the murder of her sweetheart Peter Yarbro (Peter Messer) to keep her under his thumb. That Father's Day, Bedelia, having been driven into a murderous rage by his constant demanding for his cake, bludgeons her father to death with a marble ashtray (that is hidden throughout the other stories). In the present, Bedelia arrives at 6 p.m. and stops in the cemetery outside the family house to lay a flower at the grave site. There, she drunkenly reminisces about how she murdered her overbearing father and how Sylvia helped stage it as an accident to steal and distribute his fortune to the rest of the family. After she accidentally spills her whiskey bottle in front of the headstone, Nathan's putrefied, maggot-infested corpse (John Amplas) emerges from the burial plot in the form of a revenant, still demanding the Father's Day cake he never got. Grantham slowly avenges himself on Bedelia, strangling her to death. He moves on to kill the rest of the Granthams, murdering Hank with a falling gravestone, murdering Mrs. Danvers (Nann Mogg) the cook, and twisting Sylvia's neck. As a gruesome final joke, Nathan surprises Cass and Richard by presenting his Father's Day cake, topped with Sylvia's severed head. While the ending is left ambiguous in the film with Nathan gloating over a terrified Cass and Richard in freeze-frame, the comic book based on the film has the Creep giving a vague hint that Nathan's next act was to "blow out their candles". Returning to animation, the Creep turns the comic's page to the next story. "The Lonesome Death of Jordy Verrill" This section of the film is based on King's short story "Weeds". Jordy Verrill (Stephen King), a dimwitted backwoods yokel, watches a meteorite crash land near his farm. Observing the crash site, Jordy gets his fingers burned when he tries to touch the meteorite. In a fantasy sequence, Jordy imagines selling the meteor to the local college's "Department of Meteors", hoping the sale will provide enough money to pay off his $200 bank loan. Taking precautions, he douses it with a bucket of water, causing it to crack open and spill a glowing blue liquid. In another fantasy sequence, Jordy imagines the Department of Meteors refusing to purchase the broken meteorite. Resolving to try and glue the halves together in the morning, Jordy nonchalantly dumps the liquid inside the meteor into the soil, but not before it makes contact with his skin. As time passes, Jordy finds his fingers being overcome by a rapidly spreading plant-like organism. He attempts to call a doctor (Bingo O'Malley), but stops when he imagines (in another fantasy sequence) that the doctor will end up chopping the afflicted fingers off without anesthetic. Over time, the plants continue to grow all over Jordy's farm, everything Jordy has touched, and on Jordy's body, causing him to itch furiously. In a panic, Jordy pours himself a bottle of vodka, mixes it with orange juice, and falls asleep in a drunken stupor. He wakes up sometime later, believing it to have been a dream. But his hopes are dashed when he sees that the plants have managed to grow inside the house and discovering in a mirror that he has now grown a beard of plants. He starts to draw a bath to relieve the itching, but he is visited by the ghost of his deceased father (Bingo O'Malley) who appears in his mirror and warns him against doing so by quoting "You ain't going to get in that tub, are ya? It's the water that it wants, Jordy. Don't you know that? You get in that tub Jordy, you might as well sign your death warrant!" Jordy, grimly rationalizing that not getting in would only delay the inevitable, laments on how "[he's] a goner already." When the itching from the growth on his skin becomes unbearable, Jordy succumbs to temptation and collapses into the bathwater. The next morning, Jordy's farm has been completely covered with dense layers of the alien vegetation, with Jordy himself now transformed into a plant monster. In despair, he reaches for a shotgun, prays to God, and blows the top of his head off, thus killing himself. Immediately afterwards, a TV weather forecast announces that moderate temperatures and heavy rains are predicted, the implication being that this will accelerate the spread of the extraterrestrial plant growth to surrounding areas to the point where the Earth may be terraformed into an entirely green planet. Returning to animation, a gust of wind turns the comic book's page (briefly passing over an advertisement for a voodoo doll that is missing its order form) to the next story. "Something to Tide You Over" This story was also written specifically for the film. Richard Vickers (Leslie Nielsen), a vicious, wealthy, ruthless man whose spry jocularity belies his cold-blooded murderousness, pays a visit to Harry Wentworth (Ted Danson), the man his wife Becky (Gaylen Ross) is having an affair with. Rather than confront him with violence, Richard plays a recording of Becky's voice tearfully begging Harry to help her. Richard and Harry travel to Comfort Point, Richard's private beach house, where Richard points out what appears to be a burial mound in the sand, Harry runs to it, whereupon Richard holds him at gunpoint, telling him to jump into the hole and bury himself. Richard finishes burying Harry up to his neck in the sand below the high-tide line. He also sets up a closed-circuit TV camera, a VCR to record Harry, and a monitor that displays Becky, who is also buried up to her neck further down the beach and already having the tide wash over her face. Richard explains that the two of them have a chance of survival: if they can hold their breath long enough for the sand to loosen once the seawater covers them, they could break free and escape. With that, Richard abandons Harry and returns to Comfort Station where he watches Harry and Becky die in comfort and luxury. Before he is completely submerged by the advancing tide, Harry looks directly into the camera and vows revenge on Richard. Hours later, Richard returns to the spot he buried Harry to collect the tape. He finds the ruined monitor, but no sign of Harry's corpse, though he writes this off as the body being carried away by the current. Later that night, Richard seems to hear voices calling his name as well as observing some unseen force bypassing the many security measures he has in place. The culprits happen to be Harry and Becky, the two lovers returning as a pair of waterlogged, seaweed-covered zombies intent on revenge. Richard tries to shoot them, but the bullets have no effect. Richard attempts to barricade himself in his bedroom, but they manage to appear inside. All the while, the couple taunt Richard with the same words he said to them as Richard laughs with insanity. Richard soon finds himself on the beach, buried up to his neck, facing both the approaching tide and the sight of two sets of footprints disappearing into the surf. With the same seaweed-covered camera he used to record Harry's death recording him, Richard laughs insanely and screams how he can hold his breath "for a long time" as the rising tide begins to wash over him. Returning to animation, a stronger gust of wind blows the comic book out of the trash can and onto the street, where it opens to the next story. "The Crate" This section of the film is based on the short story of the same name. Mike Latimer (Don Keefer), a janitor at the prestigious Horlicks University, drops a quarter which rolls behind a grate under a basement staircase. While attempting to retrieve it, he comes across a wooden storage crate marked "Ship to Horlicks University via Julia Carpenter - Arctic Expedition - June 19, 1834" hidden underneath the staircase. He calls Dexter Stanley (Fritz Weaver), a biology professor, to notify him of the find, drawing Dexter away from a faculty social gathering. Also at the gathering is Dexter's good friend and colleague, the mild-mannered Professor Henry Northrup (Hal Holbrook), who witnesses his perpetually drunk, obnoxious, and emotionally abusive wife Wilma (Adrienne Barbeau), whom he often daydreams of killing, annoy the guests and embarrass both herself and Henry at the gathering. Meeting Mike at Amberson Hall, Stanley helps him remove the crate and move it into a nearby lab. While attempting to open it, Mike sticks his hand inside the crate and begins yelling in pain. The crate briefly opens to reveal that it contains a shaggy, ape-like creature with sharp fangs (Darryl Ferrucci). Despite its diminutive size, the creature promptly kills and entirely devours Mike, leaving behind only his mangled boot. Running from the lab, Dexter bumps into graduate student Charlie Gereson (Robert Harper), who he frantically tells about what has happened. While skeptical, Charlie agrees to investigate. The two return to the lab to find it covered in blood, with both the crate and the creature gone. They find that the crate has been moved back under the stairs, where they also find Mike's boot. Wanting to measure the bite marks on the boot, Charlie examines the crate closer. Unfortunately, the creature pounces on Charlie, killing him as Dexter flees and takes the boot with him. Traumatized and hysterical, Dexter runs to Henry's house after Wilma leaves for the evening. He relates everything that has happened since the crate was discovered, and argues that the monster must be disposed of somehow. Seeing the creature as a way to rid himself of his wife, Henry appears to believe Dexter's story. To that end, Henry concocts a scheme to lure Wilma near the crate. He spikes Dexter's drink with sleeping pills, writes a note describing the fake assault of a college student by Dexter to lure Wilma into Amberson Hall, and cleans up all evidence of blood from the lab. When Wilma arrives, Henry lures her under the basement stairs where the monster seems to be unresponsive. When Wilma begins ranting at Henry for his stunt, the beast mauls and eats her. The next morning, Henry describes to Dexter how he secured the beast back inside its crate, then dumped the crate into a nearby quarry where it sinks to the bottom. He assures Dexter that the creature has drowned and they will let the authorities handle the disappearances. However, it is subsequently revealed to the audience that the beast is still alive, and is last seen tearing the crate apart. Returning to animation, it begins raining as the comic book turns to the next page, beginning the final story. "They're Creeping Up on You!" This last story was also written specifically for the film. Upson Pratt (E.G. Marshall) is a cruel, wealthy, and ruthless business mogul who suffers from mysophobia, which has him living in a luxurious, futuristic, and hermetically-sealed penthouse apartment outfitted with electric locks and surveillance cameras. His apparent contacts with the outside world are primarily through the telephone and are mostly made to put-upon employees. One stormy night, Pratt receives a call from George Gendron, one of his subordinates, about the fact that his company (Pratt International) has recently bought the Pacific Aerodyne company in a corporate takeover. Gendron also informs Mr. Pratt that the takeover caused a business rival, Norman Castonmeyer, to commit suicide, much to Pratt's delight. During the call, Pratt slowly begins finding cockroaches around his apartment. A fanatical insect hater, Pratt arms himself with bug spray in an attempt to rectify the situation. Before long, someone manages to get through on Pratt's private line. The caller turns out to be Norman Castonmeyer's widow Lenore (Ann Muffly) who tearfully recalls her husband's final moments and hysterically curses out Pratt for causing his death. After finding pieces of cockroaches in his food processor, Pratt receives a call from his building's landlord Carl Reynolds (Mike Tierno). Despite calling during his vacation in Orlando, Florida, Pratt forces Reynolds to send handyman Mr. White to call an exterminator under the threat of firing him. Soon after, Pratt discovers more cockroaches in a box of cereal, trying and failing to crush any that he can. Mr. White (David Early) soon arrives outside Pratt's door, mockingly speaking in a stereotypical minstrel voice while talking to Pratt to mention that he is calling fumigators. Afterwards, a rolling blackout heads towards the building. During the blackout, cockroaches numbering in the hundreds of thousands begin pouring out of every nook and cranny in Pratt's apartment. As the situation rapidly becomes worse, Pratt activates the emergency power and attempts to call the police for assistance. Unfortunately, the police are unable to be of any help because of the blackout, nor is Mr. White who is stuck in the elevator. At his wit's end, Pratt locks himself inside a climate-controlled panic room to escape the growing swarm of cockroaches only to get another call from Lenore who continues to curse at him. Pratt also discovers that the cockroaches have already infested the panic room as well. With no way to escape, he is overwhelmed by the cockroaches, which induces a fatal heart attack. When electricity returns to the building, the apartment is now devoid of cockroaches. Pratt's corpse is shown in the panic room, where Mr. White calls in to report, but gets no answer. Mr. White mockingly quotes "What's the matter, Mr. Pratt? Bugs got your tongue?" However, Pratt's body soon begins to contort as cockroaches burst out of his mouth and body, re-enveloping the panic room. Mr. White continues to call his name to get a response and then quotes "bastard". Returning to animation, a final gust of wind blows the comic book further down the street, where it lands on a nearby curb. Epilogue The following morning, two garbage collectors (Marty Schiff and Tom Savini) find the Creepshow comic book on the curb. They look at the ads in the book for X-ray specs and a Charles Atlas bodybuilding course. They also see the advertisement for the voodoo doll that was briefly glimpsed earlier, but lament that the order form has already been redeemed. Inside the house, Stan complains to his wife that he is suffering from neck pain, figuring that he must have sprained it. Upstairs, Billy is revealed to have sent away for the voodoo doll seen earlier and has decorated it with a piece of his father's clothing and some of his hair. Stan clutches his throat in Pain as Billy repeatedly and gleefully jabs the voodoo doll with a pin, finally getting revenge on his father for his past abuse. Transitioning to animation for a final time, the images of Billy jabbing the doll becomes the cover of the next issue of Creepshow. The Creep is seen holding the same comic book, laughing sinisterly as a candle goes out.      

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

Intro: One More Night – Can                                                     1.  Absolutely Sweet Marie – Bob Dylan (4:56)                                                                                                                               2.  Abandoned Love – Bob Dylan (4:25)                                                                                         3.  All Along the Watchtower – Jimi Hendrix Experience (4:01)                                                                                                                                                                                      4.  Buckets of Rain – Bob Dylan (3:25)                                                                                     5.  Statesboro’ Blues – Blind Willie McTell (2:28)                                                             6.  Blind Willie McTell – Bob Dylan (5:50)                                                  7.  Chimes of Freedom – Youssou N’Dour (4:46)                              8.  Cold Irons Bound – Bob Dylan (7:16)                               9.  Masters of War – Charles Lloyd & the Marvels, with Lucinda Williams (8:00) 10.  Dear Mrs Roosevelt – Bob Dylan & the Band (5:47)                                                                         11.  Don’t Think Twice, It’s All Right – Susanna & the Magical Orchestra (4:43)                                                                           12.  Drifter’s Escape – Patti Smith (3:21)                                          13.  Tomorrow is a Long Time – Elvis Presley (5:22)   14.  Every Grain of Sand – Bob Dylan (4:50)                                                                                   15.  Farewell Angelina – Bob Dylan (2:52)                                           16.  Fourth Time Around – Bob Dylan (4:34)                                                                                                17.  Gates of Eden (Philharmonic Hall Halloween Concert, 1964) – Bob Dylan (8:20)                                        18.  Girl from the North Country – Bob Dylan (3:20)                                                                    19.  The Lonesome Death of Hattie Carroll – Martin Carthy (5:03)                                                     20.  A Hard Rain’s a-Gonna Fall – Bill Frisell (5:30                                                                                                                          21.  Down on Penny’s Farm – Bentley Boys (2:48)                                          22.  Hard Times in New York Town – Bob Dylan (2:17)                                                     23.  High Water Everywhere - Part 1 – Charley Patton (3:08)                           24.  High Water (for Charley Patton) – Bob Dylan                                                                                                                                                                                                       Outro: Pogles Walk – Vernon Elliott Ensemble

Bob Dylan ist unzweifelhaft einer der einflussreichsten Solo-Künstler der Popmusikgeschichte. 80 Jahre alt wird er im Mai 2021, seit 60 Jahren veröffentlicht er seine Musik. Angefangen hat er in den Folk-Clubs von New York. Schnell stieg er auf zum musikalischen Wortführer einer Gegenkultur, auch wenn Dylan selbst dies immer abgelehnt hat und immer wieder die an ihn gestellten Erwartungen enttäuschte. Was macht seine Kunst aus? Wie hat er sich über seine zahlreichen Alben weiterentwickelt? Wie wichtig waren seine Impulse Mitte der 60er Jahre durch die Hinwendung zur Rockmusik? Peter Urban schätzt die Lieder und Entwicklung des wichtigsten Jahrzehnts des Künstlers Bob Dylan ein, er erzählt von ersten Erinnerungen an die Lieder und vom Kauf der Single „Like a rolling stone“ - ein Song, den viele Kritiker für einen der wichtigsten der Rockmusik halten. Peter Urban und Ocke Bandixen im Gespräch über Bob Dylan und die 60er Jahre. Habt Ihr Lob, Kritik oder Anregungen? Schreibt gerne an: Urbanpop@ndr.de Peters Playlist für Bob Dylan (1962-1969) Bob Dylan (1962): Song to Woody The Freewheelin‘ Bob Dylan (1963): Blowin in the Wind, Girl from the North Country, Masters of War, A Hard Rain's a-Gonna Fall, Don't think Twice, It's All Right, Oxford Town, I Shall Be Free The Times They Are a-Changin‘ (1964): The Times They Are a-Changin‘, Ballad of Hollis Brown, With God on Our Side, North Country Blues, Only a Pawn in Their Game, When the Ship Comes In, The Lonesome Death of Hattie Carroll Another Side of Bob Dylan (1964): Chimes of Freedom, My Back Pages, It Ain't Me Babe Bringing It All Back Home (1965): Subterranean Homesick Blues, She Belongs to Me, Maggie's Farm, Love Minus Zero/No Limit, Mr. Tambourine Man, Gates of Eden, It's Alright Ma (I'm Only Bleeding), It's All Over Now, Baby Blue Highway 61 Revisited (1965): Like a Rolling Stone, Tombstone Blues, Ballad of a Thin Man, High 61 Revisited, Desolation Row Blonde on Blonde (1966): Rainy Day Women No. 12 & 35, Visions of Johanna, I Want You, Stuck Inside of Mobile with the Memphis Blues Again, Just Like a Woman, Most Likeley You Go Your Way and I'll Go Mine, Sad-Eyed Lady of the Lowlands John Wesley Harding (1967): John Wesley Harding, I Dreamed I Saw St. Augustine, All Along the Watchtower, The Ballad of Frankie Lee and Judas Priest, I'll Be Your Baby Tonight

I dette første afsnit møder vi Dylan i de helt unge år, hvor han med mundharpe og akustisk guitar træder frem fra dybderne af den gamle amerikanske musiktradition. Bob Dylan fylder 80 år i maj 2021. Sognepræst Kristoffer Garne og Sanger-sangskriver og musiker CS Nielsen gennemgår i seks afsnit Dylans bagkatalog fra begyndelsen til i dag. Sangene i dette afsnit: Song to Woody (Bob Dylan, 1962) Optakt: Blind Willie McTell (outtake fra Infidels, 1983) Hard Rain’s a-Gonna Fall (The Freewheelin’ Bob Dylan, 1963) The Lonesome Death of Hattie Caroll (The Times They  Are a-Changin’, 1964) To Ramona (Another Side of Bob Dylan, 1964) Alle sangene kan høres på playlisten i Spotify og i Apple Music.

Seven Core Values ROI - Return OF Investment ROI - Return ON Investment (Profit) Integrity Discipline Creative Initiative Take responsibility and be accountable for everything Always Learn More " And you who philosophize disgrace and criticize all fears Take the rag away from your face. Now ain't the time for your tears." from "The Lonesome Death of Hattie Carroll" - Bob Dylan Stay safe out there! -k

Blackout. Song of the week: "Lonesome Death of Hattie Carroll"; please vote for "Who Did It Better?" at our Twitter page: https://twitter.com/RainTrains.

  Bem vindos à Zona do Crepúsculo! Angélica Hellish e Marcos Noriega  conversaram sobre o sétimo episódio da série The Twilight Zone “ Not All Men” (Nem Todos Os Homens). Um episódio que discute o machismo e a violência generalizada contra a mulher através de um surto de ódio que contagia somente os homens de uma cidade depois de uma chuva de meteoros. Escute o programa no Anchor ou no Spotify! Se quiser receber nossos podcasts sem falta procure-nos como Além da Imaginação Podcast. Acesse o nosso canal no Ok.Ru ou no nosso canal no Telegram para assistir aos episódios da série clássica. Mencionados: Quadrinhos: Diário de Uma Femem / Crossed de Garth Ennis / Filmes: Creepshow: (1982) Segmento "The Lonesome Death of Jordy Verrill" com Stephen King/ The Crazies (1973) de George Romero / Livro: Rose Madder de Stephen king / Série Masters of Horror - episódio 07 da segunda temporada The Screwfly Solution (nós publicamos no site os podcasts sobre a primeira e segunda temporadas, escutem!) https://opodcastedelas.com.br/ Inscreva-se no nosso canal no Youtube. Os podcasts também estão sendo publicados por lá. Nossos podcasts são publicados às segundas e sextas feiras, assine o feed e não perca nenhum programa! Curta e acesse as nossas páginas no Facebook: Além da Imaginação Podcast e MasmorraCine, Nosso Grupo Fãs de Além da Imaginação. Todos os episódios da série clássica estão sendo publicados por lá. Os episódios da série The Twilight Zone podem ser assistidos em qualquer ordem pois são histórias fechadas! Assista o episódio e escute o podcast. Curta e siga a nossa página com fotos de bastidores da série! The Twilight Zone Behind The Scenes (@tzbehindthescenes) Clique aqui e acesse o melhor grupo dos Fãs de Além da Imaginação no Facebook! IMPORTANTE! Gosta do nosso trabalho e quer que ele continue? Doe via PIX! Nossa chave é pixmasmorracine@gmail.com ou seja nosso padrinho ou madrinha nos apoiando no Padrim ou no Colabora aí.  Ajude a manter os podcasts independentes, como o nosso no ar, apoie. Assista antes de escutar o programa! Episódio disponível com legendas em: http://bit.ly/2JcQLLP Quer pedir um episódio ou comentar o que achou do podcast? Mande um feedback pra gente pelos e-mails: contato.cinemasmorra@gmail.com ou alemdaimaginacaopodcast@gmail.com

Sallah, the true hero of the film, gets Henry off the tank just before Indy and Vogel fall to their deaths. Gordie Adams returns to help us mourn this fallen hero. Support us on Patreon: https://www.patreon.com/indianajonesminute Join us online at: http://www.indianajonesminute.com/ Facebook: https://www.facebook.com/groups/1011918448897040/ 

Today we are re-releasing our review of Creepshow. This was our first episode ever! Nick and I decided this was a great way to start our podcast off with. This episode was lost when we transferred our show over , but I was able to get it back up and I present it to you here.  Creepshow was released in 1982 and was directed by George A. Romero and written by Stephen King. The film consists of five short stories:  “Father's Day” Based on an original story written for the movie by Stephen King. While waiting for Aunt Bedelia at a dinner party, the greedy family recalls that she killed her own father seven years ago. Now her un-dead father returns from the grave as a zombie expecting to eat his cake.  “The Lonesome Death of Jordy Verrill” Based on Stephen King's short story “Weeds”. Stephen King plays the titular Jordy Verrill.  “Something to Tide You Over” Stars Leslie Nelson & Ted Danson in a story about a vengeful, murderous psychopath.  “The Crate” Based on the short story of the same name. A Janitor finds an old wooden crate that contains a small and powerful beast.  “They're Creeping Up on You!” A cruel, ruthless businessman whose mysophobia has him living in a hermetically sealed apartment, but finds himself helpless when his apartment becomes overrun by endless hordes of cockroaches. Follow us on social media: https://twitter.com/NerdsFTC https://www.instagram.com/nerdsftc https://ww.facebook.com/NerdsFTC Get our Merch: bit.ly/NerdsMerch Saul: https://twitter.com/Better_CallMe Greg: https://twitter.com/ThatAmazingTwit https://www.instagram.com/thatamazingtwit David: https://twitter.com/DaveyDave503 https://www.instagram.com/daveydave Theme by: Jake Lionhart https://twitter.com/Jake_Lionheart