Podcast appearances and mentions of Mary Travers

“The first thing you noticed about her was her face. It was an amazing face; fast and funny and beautiful. She was a big, eat-the-world, pass-the-bourbon, soft kind of woman.” - Denny Doherty, on his Mamas and The Papas bandmate Cass ElliotYou can call her fancy, you can call her plain, but don't call her Mama anymore! Trish, AKA DJ Flower Power of The Hippie Hour, joins Emma and Abby for an episode dedicated to the one she loves: heart and soul of the Mamas and the Papas and Laurel Canyon queen, Cass Elliot. Plus: Abby's got some important Holy Land USA developments and Trish shares some of her favorite highway attractions. Only a little bit of hair was harmed in the making of this special episode of the Dolls Podcast, available wherever you stream your podcasts

CTL Script/ Top Stories of November 9th Publish Date: November 9th   From the Ingles Studio Welcome to the Award-Winning Cherokee Tribune Ledger Podcast    Today is Saturday, November 9th and Happy Birthday to the late Mary Travers ***11.09.24 - BIRTHDAY – MARY TRAVERS*** I'm Keith Ippolito and here are the stories Cherokee is talking about, presented by Credit Union of Georgia.  1. Cherokee County Approves Engineering Services for Old Highway 5 2.Taste of Woodstock Raises $7,000 for Wolverines Band Boosters 3. Woodstock Midday Optimist Club Donates $14,000 to Homeless Vets Program   We'll have all this and more coming up on the Cherokee Tribune-Ledger Podcast, and if you're looking for Community news, we encourage you to listen and subscribe!    Commercial: CU of GA   STORY 1:  Cherokee County Approves Engineering Services for Old Highway 5 Cherokee County has hired Keck and Wood for engineering services to improve the Old Highway 5 Corridor, following a unanimous approval by the Board of Commissioners. The $72,430 agreement includes traffic counts, a traffic engineering report, and concept layouts. This project builds on a 2022 study by the same firm. Costs are shared with Holly Springs and Woodstock, with Cherokee County covering $32,993.33, and the other cities each contributing $19,718.33. The project is expected to be completed in three to four months. STORY 2:  Taste of Woodstock Raises $7,000 for Wolverines Band Boosters The City of Woodstock's Office of Economic Development donated $7,000 to the Woodstock Wolverines Band Boosters from the proceeds of the annual Taste of Woodstock event. Held in mid-September, the event featured local restaurants offering small bites, with ticket sales benefiting the Woodstock High School band program. The Wolverines Marching Band performed, and judges awarded Best Appetizer to Primo's Pizza, Best Entrée to Prime 120, and Best Dessert to D'Floridian Cuban Cuisine. A tie for the People's Choice Award went to A&M Kitchen and D'Floridian. The event will return in September 2025. STORY 3:  Woodstock Midday Optimist Club Donates $14,000 to Homeless Vets Program Woodstock Midday Optimist Club President Maia Mahlum presented a $14,000 check to the Cherokee County Homeless Veterans Program, accepted by Executive Director Jim Lindenmayer. The club expressed gratitude to businesses for donating prizes and to citizens for their support, which made the raffle and fundraiser successful. The presentation included club members Maia Mahlum, Jim Lindenmayer, Carol Brown, Ale Elliott, Betty Turlley, Martha Reed, Doug Breckenridge, Maureen Walker, and Susan Beavers.   We have opportunities for sponsors to get great engagement on these shows. Call 770.874.3200 for more info.    Back in a moment  Break: DRAKE   STORY 4:  CCSD Teachers and Leaders Recognized as Microsoft Innovative Educator Experts  Forty-three educators from the Cherokee County School District have been recognized as Microsoft Innovative Educator Experts, the highest number in any Georgia district. This title honors educators who excel in using technology to enhance learning. Among them, Merry Hofmeister, an Instructional Technology Specialist, has also been named a Microsoft Innovative Educator Fellow for the sixth year, one of only 26 in the U.S. The honorees will be recognized at the school board meeting on November 21. This recognition provides access to new resources and a global network for sharing best practices. STORY 5:  Woodstock Arts Presenting 'The Many Disguises of Robin Hood' Woodstock Arts is presenting "The Many Disguises of Robin Hood" as part of its "Season of Wonder," featuring third to eighth graders. The play tells the classic tale of Robin Hood, who steals from the rich to help the overtaxed townspeople, with exciting elements like sword fights, puppetry, and music. Artistic Director Zach Stolz highlights its appeal to all ages. Performances run from November 8 to 17, with shows at 7:30 p.m. on Fridays and 2:30 p.m. on weekends at 8534 Main St., Woodstock. Tickets range from $16 to $20. More details are available at woodstockarts.org/events/robin. Commercial: INGLES 3   STORY 6: Biden urges Americans to 'bring down temperature' after Trump win In a conciliatory address, President Joe Biden urged Americans to lower political tensions following Donald Trump's election victory over Kamala Harris. Biden emphasized the integrity of the U.S. election system and assured a peaceful transition of power. He congratulated Trump and invited him to the White House, marking their first meeting since Biden's debate exit. Despite concerns over Trump's "America First" policies, world leaders pledged cooperation. Trump's victory, making him the first convicted felon elected president, signals potential reversals of Biden's policies, including military aid to Ukraine and climate initiatives. STORY 7:  Marria Voted Week 12 POW Ean Marria of Sequoyah was named Cherokee County's Week 12 Player of the Week after a standout performance in a 21-14 win over Creekview, securing the No. 2 seed in Region 6AAAAA. Marria excelled on both offense and defense, with a 57-yard run, a 37-yard reception, and a crucial sack in the fourth quarter. He totaled 104 yards in the game and was a key player throughout the season, with 406 rushing yards, 190 receiving yards, and leading the team with seven sacks. Sequoyah finished the regular season 9-1, with playoffs starting November 15-16 after a delay due to Hurricane Helene.   We'll have closing comments after this.    COMMERCIAL:   SIGN OFF –   Thanks again for hanging out with us on today's Cherokee Tribune Ledger Podcast. If you enjoy these shows, we encourage you to check out our other offerings, like the Cherokee Tribune Ledger Podcast, the Marietta Daily Journal, or the Community Podcast for Rockdale Newton and Morgan Counties. Read more about all our stories and get other great content at www.tribuneledgernews.com Did you know over 50% of Americans listen to podcasts weekly? Giving you important news about our community and telling great stories are what we do. Make sure you join us for our next episode and be sure to share this podcast on social media with your friends and family. Add us to your Alexa Flash Briefing or your Google Home Briefing and be sure to like, follow, and subscribe wherever you get your podcasts. Produced by the BG Podcast Network   Show Sponsors: ·         www.ingles-markets.com  ·         www.drakerealty.com ·         cuofga.org ·         www.jeffhellerlaw.com ·         www.etowahmill.com   #NewsPodcast #CurrentEvents #TopHeadlines #BreakingNews #PodcastDiscussion #PodcastNews #InDepthAnalysis #NewsAnalysis #PodcastTrending #WorldNews #LocalNews #GlobalNews #PodcastInsights #NewsBrief #PodcastUpdate #NewsRoundup #WeeklyNews #DailyNews #PodcastInterviews #HotTopics #PodcastOpinions #InvestigativeJournalism #BehindTheHeadlines #PodcastMedia #NewsStories #PodcastReports #JournalismMatters #PodcastPerspectives #NewsCommentary #PodcastListeners #NewsPodcastCommunity #NewsSource #PodcastCuration #WorldAffairs #PodcastUpdates #AudioNews #PodcastJournalism #EmergingStories #NewsFlash #PodcastConversations   See omnystudio.com/listener for privacy information.

National scrapple day. Entertainment from 1961. Norad computer glich almost started WW3, Jack the rippers 5th victim, Teddy Roosevelt 1st Pres. to visit a foreign country. Todays birthdays - Hedy Lamarr, Dorthy Dandridge, Mary Travers, Lou Ferrigno, Pepa, Eric Dane, Nick Lachey, Sisquo. Art Carney died.Intro - Pour some sugar on me - Def Leppard     http://defleppard.com/The scrapple song - Robbie FulksBig bad John - Jimmy DeanWalk on bye - Leroy Van DykeBirthdays - In da club - 50 Cent    http://50cent.com/You do something to me - Dorthy DandridgePuff the magic dragon - Peter Paul & MaryIncredible Hulk TV openingPush it - Salt n PepaBecause of you - 98 DegreesThong song - SisquoExit - It's not love - Dokken     http://dokken.net/Follow Jeff Stampka on facebook, LinkedIn and cooolmedia.com

On the October 15 edition of the Music History Today podcast, Chuck Berry gives his final performance, as does CBGB, plus Rick Nelson gets booed & writes a song about it. Also, happy birthday to Chris de Burgh. For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday On this date: In 1937, singer Jo Stafford married singer John Huddleston. * In 1955, the Grand Ole Opry TV show premiered on ABC TV. * In 1956, Little Richard recorded the song Good Golly Miss Molly. * In 1958, Jackie Wilson recorded his smash hit Lonely Teardrops. * In 1960, the Beatles, with Ringo Starr on drums instead of Pete Best, recorded together for the first time. * In 1963 Mary Travers of Peter, Paul, & Mary married photographer Barry Feinstein. * In 1965, Jimi Hendrix signed his first recording contract. * In 1966, The Four Tops hit #1 with the song Reach Out I'll Be There. * In 1966, The Monkees recorded the Neil Diamond - written song I'm a Believer. * In 1968, Led Zeppelin performed together for the first time, in England. * In 1971, Rick Nelson was booed at Madison Square Garden when he tried to perform newer songs instead of old hits during his concert. The experience went on to inspire him to write his comeback song Garden Party. * In 1973, Elvis entered the hospital for treatment of respiratory problems, which is where his doctor realized that Elvis was addicted to Demerol. * In 1977, Debbie Boone hit #1 with the song You Light Up My Life. * In 1981, Metallica formed. * In 1988, UB40 hit #1 with a cover version of Neil Diamond's song Red Red Wine. * In 1992, Madonna held her infamous Sex party in Manhattan to promote her Sex photo book. * In 2000, Dave Edmunds had triple bypass heart surgery. * In 2001, Slash of Guns N Roses married his wife Perla Ferrar. * In 2003, the Louis Armstrong House Museum opened in Queens, NY. * In 2006, Patti Smith was the final performer at the original New York City club CBGB. * In 2014, Chuck Berry played his final performance. It was at the Blueberry Hill Club in St Louis. * In 2016, the Lifetime Channel music docu-movie Surviving Compton: Dre, Suge, & Michel'le premiered. * In 2016, Winston Marshall of Mumford & Sons married singer and actress Dianna Agron. * In 2017, the music documentary series The Platinum Life premiered on the E! TV channel. In the world of classical music: * In 1886, Modest Mussorgsky's classical piece Night on Bald Mountain premiered in St. Petersburg, Russia. It would later become famous to an entire generation of kids in the Disney movie Fantasia. * In 1905, classical composer Claude Debussey's La Mer premiered. In 1925, the opera Beatrice from Willem Landre was performed for the first time. In 1994, Philip Glass premiered his Symphony No. 2 for string orchestra. In award ceremonies held on this date: * In 1969, Tammy Wynette & Johnny Cash won at the Country Music Association awards. * In 1973, Roy Clark won at the Country Music Association awards. --- Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support

On the July 6 edition of Music History Today, John meets Paul, disco hits number one, and Manfred Mann gets a lead singer. Also, happy birthday to 50 Cent and Bill Haley. For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY  PODCAST NETWORK LINKS - ⁠https://allmylinks.com/musichistorytoday⁠  On this date: In 1953, singer Dorothy Squires married actor Roger Moore.In 1957, John Lennon met Paul McCartney and one of the greatest musical partnerships was born. In 1963, Chubby Checker performed at a concert before the Mets baseball game in New York City. In 1964, the film A Hard Day's Night by the Beatles premiered in London. In 1965, Marty Balin started forming the group Jefferson Airplane. In 1966, Elvis Presley's movie Paradise Hawaiian Style opened. In 1966, Mike D'abo became the lead singer for Manfred Mann. In 1967, Pink Floyd performed on British TV's Top of the Pops music show for the first time. In 1969, Mick Jagger started filming the movie Ned Kelly. In 1971, Bjorn Ulvaeus & Agnetha Faitskog of ABBA were married. In 1972, David Bowie created controversy in England when he put his arms around guitarist Mick Ronson during his performance of his song Starman on the British TV show Top of the Pops. In 1974, the Hues Corporation became the first disco group to hit number one on the Billboard singles chart with Rock the Boat. In 1977, the event that inspired Pink Floyd's album The Wall happened when Roger Waters yelled at the crowd during Pink Floyd's concert in Montreal for setting off fireworks & being unruly. In 1978, Tammy Wynette married record producer George Richey. In 1984, the Jacksons started their Victory tour, which was the last time that Michael toured with his brothers. In 1988, Neil Young's video for his song This Note's For You, about music artists selling their songs to corporations for commercials, was banned by MTV because it mentioned corporate brands like Coke & Pepsi. The video ended up winning video of the year at that year's MTV Video Music Awards. In 1990, the animated movie Jetsons the Movie, co-starring the voice of singer Tiffany premiered. In 1991, BB King & James Brown performed in Zagreb, Croatia. In 1991, Mary Travers of Peter, Paul, & Mary married restaurant owner Ethan Robbins. In 1994, the movie Forest Gump opened. The movie spawned a hit soundtrack of songs from the 1950s - 1970s. In 1999, Richie Havens published the book They Can't Hide Us Anymore, which was his autobiography. In 2009, Ryan Ross & Jon Walker left the group Panic! at the Disco. In 2009, Alanis Morissette started her acting role on the TV show Weeds. In 2016, singer Ciara married football player Russell Wilson. In 2019, Lil Nas X's song Old Town Road with Billy Ray Cyrus broke the record set by 3 other songs for longest hip hop song at #1 when it started its 13th straight week at #1 on Billboard's hot 100 singles chart. The song would eventually break the record for longest #1 reign on that chart, regardless of genre, & still holds the record at 19 consecutive weeks. In classical music: In 1877, Pyotr Tchaikovsky married wife Antonina Miliukova. In 1975, Dmitri Shostakovich finished his Sonate for Alto Opus 147. In theater:  In 1946, the Broadway show St Louis Woman closed. In 1997, the Broadway musical Dream, the Johnny Mercer Musical closed. --- Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support

Henry Gross is a hit singer-songwriter. He was a founding member of Sha Na Na, the extraordinarily successful 1950s cover band. He had a huge solo hit in 1976 with “Shannon”. He's written songs like "In My Own Sweet Time" and “Waltz Of The Toreadors” as part of his long and successful solo career. As a session musician he played guitar on Jim Croce's breakthrough album “I've Got A Name”, and on albums by Judy Collins and Andy Kim. His songs have been recorded by Mary Travers, Cyndi Lauper, Jonathan Edwards and others. And he was in the show “Pump Boys and Dinettes”.My featured song is “A Lover's Plea” from my 2023 album Bobby M and the Paisley Parade. Spotify link. ---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“MILES BEHIND”, Robert's first album, was recorded in 1994 but was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------‘THE SINGLES PROJECT” is Robert's new EP, featuring five of his new songs. The songs speak to the ups and downs of life. From the blissful, joyous “Saturday Morning” to the darker commentary of “Like Never Before” and “The Ship”. “This is Robert at his most vulnerable” (Pop Icon Magazine)Reviews: “Amazing!” (Top Buzz Magazine)“Magical…A Sonic Tour De Force!” (IndiePulse Music)“Fabulously Enticing!” (Pop Icon Magazine)“A Home Run!” (Hollywood Digest)Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with Henry:www.thehenrygross.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

MDJ Script/ Top Stories for Nov 9th      Publish Date:  Nov 8th    Commercial: Henssler :15   From the Henssler Financial Studio, Welcome to the Marietta Daily Journal Podcast.  Today is Thursday, November 9th and Happy heavenly Birthday to musician Mary Travers.  ***Leaving on a Jet Plane*** I'm Dan Radcliffe and here are the stories Cobb is talking about, presented by Credit Union of Georgia.  Kennesaw Man Gets Federal Prison Time for Attempting Sex with Minor Suspect in Custody After Hotel Employee Shot Early Monday   And Duck Season Opens Nov. 18 Plus, Bruce Jenkins sits down with Leah McGrath from Ingles Markets to discuss snacking for teens. All of this and more is coming up on the Marietta Daily Journal Podcast, and if you are looking for community news, we encourage you to listen and subscribe!  BREAK: CU of GA  STORY 1: Kennesaw Man Gets Federal Prison Time for Attempting Sex with Minor Joshua Herrera, a Kennesaw man, has been sentenced to nearly 20 years in federal prison for attempting to entice a minor girl for sex. Herrera, 29, planned to meet with an undercover FBI special agent, expressing interest in engaging in illegal sexual activity with a minor girl, requesting pictures, and arranging a meeting. The FBI arrested him upon his arrival at the pre-arranged location in metro Atlanta. The case is part of Project Safe Childhood, a nationwide initiative to protect children from online exploitation and abuse. U.S. Attorney Ryan Buchanan encourages parents to monitor their children's electronic device use and report suspicious activity. STORY 2: Police: Suspect in Custody After Hotel Employee Shot Early Monday An employee at the Quality Inn hotel on Cobb Place Boulevard near Town Center mall in Cobb County was shot multiple times around 2 a.m. The overnight clerk called 911, and the victim was treated at the scene before being transported to Wellstar Kennestone Hospital. The victim is expected to survive. Police used dogs and drones to search for a suspect and later arrested a suspicious individual reported by a concerned citizen. The investigation is ongoing, and anyone with information is urged to contact the Cobb County Police Department Major Crimes Unit. The identities of the victim and suspect have not been released.     STORY 3: Waterfowl Hunters: Duck Season Opens Nov. 18 Georgia waterfowl hunters are gearing up for the duck hunting season starting on November 18. A significant change this year is the suspension of quota waterfowl hunts on Butler Island for the 2023 season due to weather-related delays in scheduled repairs. However, the Champney waterfowl hunts will proceed as scheduled. Duck season spans from November 18 to 26 and December 9 to January 28. Youth, active military, and veterans have an early hunting opportunity on November 11-12, allowing them to hunt specific migratory birds. The necessary licenses can be conveniently purchased through the Waterfowl Hunter Package at GoOutdoorsGeorgia.com. We have opportunities for sponsors to get great engagement on these shows. Call 770.799.6810 for more info.    We'll be right back  Break: ESOG – ELON – DAYCO STORY 4: Life University Receives Mortar Board Charter and Initiates Students and Honorary Members Life University was awarded the official charter from the Mortar Board Honor Society, a prestigious organization recognizing academic achievement, leadership, and service among college seniors. The charter was presented by Dr. Cassandra Lucas, the Mortar Board National President, and Dr. Kirsten Fox, the Executive Director from the National Mortar Board office. Life U is recognized as the 235th chapter, and during the installation, eight students were initiated, receiving their Mortar Board pin and certificate. The university has committed to providing mentors to the Advancement Via Individual Determination Program in the Cobb County School District as part of Mortar Board's capstone service experience. STORY 5: Southern Museum of Civil War and Locomotive History to have Holiday Event On December 9th, the Southern Museum of Civil War and Locomotive History will host a holiday event from 9:30 a.m. to 5 p.m., featuring free activities for all ages with regular museum admission. Antique toys will be displayed, including hand-lathed wooden toys by the Atlanta Woodworkers Guild, antique dolls and toys by the Peachtree Doll Collectors, and dioramas by the Atlanta Miniature Society. Performances by First Presbyterian Church of Marietta's bell choir and the Big Chicken Chorus, along with visits and photos with Santa, readings of the Polar Express, and various crafts, will be available throughout the day. We'll be back in a moment  Break: DRAKE – INGLES 9   STORY 6: LEAH MCGRATH And now here is Bruce Jenkins' conversation with Leah McGrath from Ingles Markets to discuss snacking for teens.   STORY 7: LEAH INTERVIEW   Break: Henssler :60  Signoff-   Thanks again for hanging out with us on today's Marietta Daily Journal podcast. If you enjoy these shows, we encourage you to check out our other offerings, like the Cherokee Tribune Ledger Podcast, the Gwinnett Daily Post, the Community Podcast for Rockdale Newton and Morgan Counties, or the Paulding County News Podcast. Read more about all our stories and get other great content at MDJonline.com.     Did you know over 50% of Americans listen to podcasts weekly? Giving you important news about our community and telling great stories are what we do. Make sure you join us for our next episode and be sure to share this podcast on social media with your friends and family. Add us to your Alexa Flash Briefing or your Google Home Briefing and be sure to like, follow, and subscribe wherever you get your podcasts.    www.henssler.com  www.inglesmarkets.com  www.cuofga.org  www.drakerealty.com  www.daycosystems.com  www.powerselectricga.com  www.esogrepair.com  www.elonsalon.com  www.jrmmanagement.com    #NewsPodcast #CurrentEvents #TopHeadlines #BreakingNews #PodcastDiscussion #PodcastNews #InDepthAnalysis #NewsAnalysis #PodcastTrending #WorldNews #LocalNews #GlobalNews #PodcastInsights #NewsBrief #PodcastUpdate #NewsRoundup #WeeklyNews #DailyNews #PodcastInterviews #HotTopics #PodcastOpinions #InvestigativeJournalism #BehindTheHeadlines #PodcastMedia #NewsStories #PodcastReports #JournalismMatters #PodcastPerspectives #NewsCommentary #PodcastListeners #NewsPodcastCommunity #NewsSource #PodcastCuration #WorldAffairs #PodcastUpdates #AudioNews #PodcastJournalism #EmergingStories #NewsFlash #PodcastConversations #podcast #podcasts #podcaster #podcastlife #podcastshow #podcasting #podcasters #podcastersofinstagram #itunes #applepodcasts #spotifypodcast #soundcloud #youtube #radio #radioshow #comedy #music #hiphop #art #entrepreneur #covid #motivation #interview #repost #loveSee omnystudio.com/listener for privacy information.

National scrapple day. Entertainment from 2009. Norad computer glich almost started WW3, Jack the rippers 5th victim, Teddy Roosevelt 1st Pres. to visit a foreign country. Todays birthdays - Hedy Lamarr, Dorthy Dandridge, Mary Travers, Lou Ferrigno, Pepa, Eric Dane, Nick Lachey, Sisquo. Art Carney died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/The scrapple song - Robbie FulksFireflies - Owl CityToes - Zac Brown BandBirthdays - In da club - 50 Cent http://50cent.com/You do something to me - Dorthy DandridgePuff the magic dragon - Peter Paul & MaryIncredible Hulk TV openingPush it - Salt n PepaBecause of you - 98 DegreesThong song - SisquoExit - It's not love - Dokken http://dokken.net/https://coolcasts.cooolmedia.com/

Maybe you won't recognize the name Mary Travers, but if after you hear the songs she recorded with her trio I'm sure it will your ears will get perky. Peter, Paul, and Mary had six top 10 hits on the Billboard charts from 1962 to 1970. The three hitmakers shared a manager with Bob Dylan and recorded his song “Don't Think Twice, It's All Right.”  They broke up shortly after their biggest hit “Leaving on a Jet Plane,” written by Bob Denver. Peter, Paul, and Mary reunited for some tours in 1978 and were inducted into the Vocal Group Hall of Fame in 1999.

Here's a reboot of a fan favorite: Noel Paul Stookey, the Paul of Peter, Paul & Mary. He not only rode the folk wave of the early 1960s with such indelible songs like "Puff the Magic Dragon," "If I Had a Hammer" and helping popularize a young Minnesotan bard who went by the stage name of Bob Dylan, but helped created it. He shares the iconic trio's origin story as well as his own, and the many memories of a life, well lived, in music. Peter, Paul & Mary's long, legendary career was cut short with Mary Travers' tragic death in 2009, but their place in the cultural zeitgeist is eternal. Noel, a part-time Ojai resident, joins us to talk about his new album, "Fazz: Now & Then" and to reflect on the experience of collaborating with fellow musicians during the pandemic to create this nuanced, wide-ranging collection of 20 original songs with talented musicians such as Kent Palmer, Paul Winter, Paul Sullivan, David LaPlante and Edward Mottau. Fazz, as Noel explains, was christened by Paul Desmond of the Dave Brubeck Quartet to explain Peter, Paul & Mary's distinct fusion of jazz and folk. Noel picks up the resident Ojai podcast guitar (be still, my heart) to explain the shadings of alternate chord structures that inform much of the color of the album, as illustrated by the A Major, and the A Major 7th, its "smoky, mysterious cousin." Noel talks about writing "The Wedding Song: There is Love" - for Peter Yarrow's wedding, and his reluctance to perform it again until urged by Peter, and how it has made many, if not most, of the lists of most beautiful songs of all time, right up there with fellow Ojai resident Amanda McBroom's "The Rose." He also discusses his Christian faith and the epiphany he had at age 30 after a decade of fame, and the toll it took on his well-being. There's relevant folk music news: Noel's good friend John McCutcheon just released “Ukraine Now.” We did not talk about Ron DeSantis' fading aspirations, the Buffalo Bills abysmal overtime record or the enduring mystery of who ordered the hit on Tupac Shakur.

National Scrapple day. Pop culture from 1977. Teddy Roosevelt 1st president to visit a foreign country, computer snafu almost led to WW3, Andrew Jackson fights for White Stick Creek Indians. Todays birthdays- Dorthy Dandridge, Hedy Lamar, Mary Travers, Eric Dane, Lou Ferrigno, Sandra Denton, Nick Lachey, Sisqo. Art Carney died.

Peter Yarrow is one of our better angels.  He's been a voice of conscience, peacemaking, love and decency, for three quarters of a century!  Peter, Paul (Stookey) & Mary (Travers) gave voice to generations of children and adults around the … More ... The post Peter Yarrow – Where Have All Our Children Gone? appeared first on Paradigms Podcast.

Noel Paul Stookey, the Paul of Peter, Paul & Mary, not only rode the folk wave of the early 1960s with such indelible songs like "Puff the Magic Dragon," "If I Had a Hammer" and helping popularize a young Minnesotan bard who went by the stage name of Bob Dylan, but helped created it. He shares the iconic trio's origin story as well as his own, and the many memories of a life, well lived, in music. Peter, Paul & Mary's long, legendary career was cut short with Mary Travers' tragic death in 2009, but their place in the cultural zeitgeist is eternal. Noel, a part-time Ojai resident, joins us to talk about his new album, "Fazz: Now & Then" and to reflect on the experience of collaborating with fellow musicians during the pandemic to create this nuanced, wide-ranging collection of 20 original songs with talented musicians such as Kent Palmer, Paul Sullivan, David LaPlante and Edward Mottau. Fazz, as Noel explains, was christened by Paul Desmond of the Dave Brubeck Quartet to explain Peter, Paul & Mary's distinct fusion of jazz and folk. Noel picks up the resident Ojai podcast guitar (be still, my heart) to explain the shadings of alternate chord structures that inform much of the color of the album, as illustrated by the A Major, and the A Major 7th, its "smoky, mysterious cousin." Noel talks about writing "The Wedding Song: There is Love" - for Peter Yarrow's wedding, and his reluctance to perform it again until urged by Peter, and how it has made many, if not most, of the lists of most beautiful songs of all time, right up there with fellow Ojai resident Amanda McBroom's "The Rose." He also discusses his Christian faith and the epiphany he had at age 30 after a decade of fame, and the toll it took on his well-being. We did not talk about whirling dervishes, James Beard or "The Slap Heard 'Round the World."

“Jazz: Now & Then” Noel Paul Stookey became a household name as the Paul part of the Peter Paul and Mary equation. The landmark folk trio formed in New York in the '60s and went on to lead the American folk music revival with massive hits like If I Had A Hammer, Puff The Magic Dragon, and Leaving On A Jet Plane. Hammer, of course was written by Pete Seeger and Jet Plane John Denver, but that was the thing about Peter Paul and Mary—they were incredible interpreters of American song. Their readings of Dylan tracks like Blowin' in the Wind, and the Times They Are A Changin' are further evidence that they could not only interpret but in many ways make those songs their own in the process. Peter Paul and Mary put out nearly twenty albums in their career, including 2003's In These Times and the band ceased to be when Mary Travers passed away in 2009. As for Stookey, he remains a pretty active guy both in and out of music. From founding the non-profit Music To Life with his daughter to producing artists like Dave Mallet and Gordon Bok to playing at Dartmouth in honor of Martin Luther King Day, Stookey is still out there, doing the work. And speaking of work, his new album has just hit shelves. Titled Fazz: Now & Then, the staggering 20-track collection mixes new compositions with folk, jazz, gospel, classical, and world music. It's been germinating in Stookey's head for almost 25 years and it was well worth the wait. Filled with folky precision, poetic finesse and clever wordplay, Fazz: Now & Then is a refreshing blast of musical fusion commandeered by one of the greatest songwriters in American Music. A singer, a father, a husband, an artist and and an activist, Stookey is the real deal. www.noelpaulstookey.com www.bombshellradio.com www.alexgreenonline.com Stereo Embers: Twitter: @emberseditor Instagram: @emberspodcast Email: Email: Editor@stereoembersmagazine.com

Peter, Paul and Mary 1963 Peter, Paul and Mary (también llamado PP&M) fue uno de los grupos musicales estadounidenses de música folk más exitosos de la década de 1960. Estaba compuesto por Peter Yarrow, Paul Stookey y Mary Travers. Discográfica(s): Warner Bros. Records Género(s): Folk, Folk rock, Folk Pop Origen: Ciudad de Nueva York, Nueva York, Estados Unidos. ,

Thursday, 2 December 2021, 7 – 8:30pm 'Novel approaches to Dublin History: Historic Fiction and the City' is an online panel discussion organised by Dublin History Research Network and supported by the Trinity Long Room Hub. Historians of Dublin use primary research to write the story of the city but many readers learn Dublin's story from historical fiction. The two forms of writing are distinct but related. Is history writing creative? Must historical fiction be accurate? ‘Novel approaches to Dublin History' tackles these and related questions. How does a historian using research to portray a vision of Dublin differ from a creative writer conjuring up the city from the same historical sources? While their aims and audiences may be different, can each learn from the other's approach? What about the reader's response to well-crafted history writing, or to well-informed historical fiction? Are they two different Dublins? Does it matter? In a conversation between historians and creative writers, using some recent works of Dublin historical fiction as a starting point this event will consider both approaches and how they inform each other to form our understanding of Dublin's story. About the speakers Dr Juliana Adelman is a lecturer in History at Dublin City University. Her recent work Civilised by Beasts: animals and urban change in nineteenth-century Dublin (2020) conjures up an unfamiliar city through an imaginative use of historical sources. Among her earlier publications 'Second City of science?: Dublin as a center of calculation in the British imperial context, 1886-1912' (2018) presents yet another view of Dublin. Dr Gillian O'Brien, Reader in Modern Irish History at Liverpool John Moores University, has co-edited Georgian Dublin (2008) and Portraits of the City: Dublin and the Wider World (2012). Her research for The Darkness Echoing: Exploring Ireland's Places of Famine, Death and Rebellion (2020) examines the powerful emotional resonances which key historical moments can create today. Dr Éibhear Walshe is Director of Creative Writing in the School of English at University College Cork. Dublin features significantly in his historical fiction writing. The mid-twentieth century city in The Last Day at Bowen's Court (2020), the city which Handel encountered in The Trumpet Shall Sound (2019) and nineteenth-century Dublin in The Diary of Mary Travers (2014) all employ historical research to create imaginative fiction. The conversation will be facilitated by Dr Lisa Marie Griffith, Digital Repository of Ireland, an historian and keen reader of historic fiction, who has written and edited numerous works on Dublin history, and who has explored reading in the city through her tours and podcasts on Dublin's Independent Bookshops and Dublin's book clubs.

This episode our guest is a man well known as one of the most prolific forces behind the early ‘60s folk revival and a champion of civil rights during the decades that came after. His name is Noel Paul Stookey, the "Paul" who was an essential part of the trio known throughout the world as Peter, Paul and Mary. Always served on the front lines when it comes to advocacy and education, he, along with Peter Yarrow and the late Mary Travers, helped bring those populist precepts into the modern era in the midst of a tidal wave of social change that swept across America and the world throughout the iconic era of the 1960s. The group also played a critical role as part of the transition to modern music, sharing the songs of Bob Dylan, John Denver and Pete Seeger with audiences that were, up until that point, often unawares. Following the death of Mary Travers in 2009, Stookey doubled down on a solo career he intimated in 1971 with his Paul And album, and he's been at it ever since. His latest album, the aptly titled Just Causes, consists of a collection of his songs that span the past 50 years, and, as the title implies, continues to share his commitment to concerns he's focused on since early on. Please join us as we revisit the history of this major musical mainstay. Learn more about Noel Paul Stookey and his music at http://www.noelpaulstookey.com/ and you can even add your own selfie to his music video at https://www.revolution1x1.orgHost Lee Zimmerman is a freelance music writer whose articles have appeared in several leading music industry publications. A former promotions representative for ABC and Capital Records and director of communications for various CBS - affiliated television stations. Lee, who currently lives in East Tennessee, recently authored "Americana Music - Voices, Visionaries & Pioneers of an Honest Sound" which is now available on Amazon and other outlets. You can contact Lee at lezim@bellsouth.netCohost/Producer Billy Hubbard is a Tennessee based Americana Singer/Songwriter and former Regional Director of A&R for a Grammy winning company, as well as a music and podcast producer. Billy is also the venue developer and booking manager of The Station in East TN. As an artist Billy is endorsed by Godin's Simon & Patrick Guitars. You can find Billy Hubbard online at http://www.BillyHubbard.com 

Pete Seeger was an American folk singer and social activist. A fixture on nationwide radio in the 1940s, he also had a string of hit records during the early 1950s as a member of the Weavers, most notably the recording of Lead Belly's “Good Night Irene.” Peter, Paul, and Mary was an American folk group formed in New York City in 1961, during the American folk music revival phenomenon. The trio was composed of tenor Peter Yarrow, baritone Noel Paul Stookey, and alto Mary Travers.Time to answer a quick 4-question survey? Click to answer; thank you!https://docs.google.com/forms/d/1pfdA_6_7YzUnyolusOJy0lJeU0gNm07HIOMFyM2YCT4/editIf you like the Podcast please do three simple things for me: rate, subscribe, and write a review. Thank you!Amazon Associate ID is thedoctorofdi-20

Huzzah, it's Definitely Dylan's 100th radio episode! That's 100 hours of us playing and enthusiastically discussing Bob Dylan's songs: the lyrics, the themes, and of course the music and performance!To celebrate, I asked our lovely listeners to tell us what songs they'd like to hear, and we received many, many fantastic requests, out of which we've chosen a few for this hour.If you enjoy this, and you have a particular song or performance you'd like to hear on the show, tell us in the comments, maybe we can play it in an upcoming episode.A few notes on this week's programme: if you'd like to listen to the very early episode in which I talk about the evolution of several Dylan songs on the stage (including “One Too Many Mornings”), you can find that here. I also thought I'd share the bootleg recording of the slightly earlier 1976 performance of the song that I mention in the episode. This version comes from 1 May, so it is almost a month before the Hard Rain version (I incorrectly remembered it only being a few days earlier). This is a stunning version, but I think you'll agree with me that the version on Hard Rain is a much more confident vocal performance.Also, “Too Much Of Nothing” was covered by Peter, Paul & Mary. Mary Travers does a terrific job on lead vocal and the song features, as you might expect, some wonderful harmonies. For better or worse, their version also rid the song of pretty much all of its chaotic energy.If you like, you can support Definitely Dylan on Patreon.Playlist:One Too Many Mornings (Hard Rain)When He Returns (Live in Toronto, Canada, 18 April, 1980)Too Much Of NothingBorn In Time (live in Newark, NJ, 1 February, 1998)It's All Over Now, Baby Blue (Take 1)It Takes A Lot To Laugh It' Takes A Train To Cry (Newport Folk Festival, 25 July 1965)Girl from the North Country feat Johnny Cash (with The Royal Philharmonic Orchestra)

Rock Around The Blog juhlii Bob Dylanin 80-vuotispäivää erikoislähetyksellä. Rockin tärkeimmän runoilijan uraa ja merkitystä ruotivat Sami Ruokangas, Pauli Kauppila ja Juha Kakkuri. Jakson soittolista: https://open.spotify.com/playlist/4iHR8kgmVimDtjNcK9KZHp?si=de5ec58d2bf248df Syntymäpäivillä mukana ovat Chris Morris, The Band, Van Morrison, Ronnie Wood, Muddy Waters, Dr. John, Justin Sandercoe, Justin Guitar, Tom Petty and the Heartbreakers, Clinton Heylin, Martin Luther King, Mihail Gorbatšov, Austin ”Chumlee” Russell, Rolling Stones, Eki-setä, Mikko Kuustonen, Little Richard, Mark Knopfler, David Crosby, Stephen Stills, Grateful Dead, Jerry Garcia, Bob Weir, Blind Willie McTell, Leo Kottke, Doc Watson, Robbie Robertson, Rob Fraboni, Jimi Hendrix, Rubin ”Hurricane” Carter, Emmylou Harris, Eric Clapton, The Pretenders, Chrissie Hynde, Mick Taylor, Tom Russell, Tom Morello, Bruce Springsteen, Jim Weider, Rick Danko, Levon Helm, Richard Manuel, Garth Hudson, Sakari Kukko, Piirpauke, Southside Johnny, Little Steven, The White Stripes, The Allman Brothers Band, Wentus Blues Band, Mary Travers, Anton Tšehov, Norman Raeben, Bob Rafelson, Jack Nicholson, Wanda Jackson, Jack White, Elvis, Janis Joplin, Bob Marley, Steve Earle, Queens Of the Stone Age ja Ritchie Blackmore.

The books and songs discussed in this episode include:O Sanctissima performed by the Daughters of Saint Paul, 2010The Battle Hymn of the Republic by Julia Ward Howe, performed by the Canadian BrassThe History of We Shall Overcome uploaded to YouTube by creator Genie Deez, June 15, 2020I’ll be Alright performed by The Angelic Gospel SingersI’ll Be Alright Someday performed by Rev. Gary Davis, reissued 1972Pete Seeger Talks about the History of We Shall Overcome, uploaded to YouTube by folkarchivist, Dec 29, 2010We Shall Overcome (Live) performed by Pete Seeger, 1963We Shall Overcome performed by the Freedom Singers, Sing For Freedom Smithsonian Folkways Recordings (1990)We Shall Overcome (Live) performed by Mahalia JacksonThe Nashville Sit-In Story from Smithsonian Folkways Recordings (1960) We Shall Overcome, Jail SequenceWe Shall Overcome performed by Peter Yarrow, Mary Travers, Paul Stookey, Joan Baez, Bob Dylan, Bernice Reagon, Cordell Reagon, Charles Neblett, Rutha Harris, Pete Seeger, and Theodore Bikel, Newport Folk Festival, July 1963Blowin’ in the Wind by Bob Dylan, performed by Cliff Richards (1966)Malcolm X, The Ballot or the Bullet, from Say It Plain, Say It Loud: A Century of Great African American Speeches (original recording King Solomon Baptist Church, Detroit, Michigan - April 12, 1964)We Gonna Be Alright Crowd Chanting, Black Lives Matter, Downtown Los Angeles July 7, 2016 #AltonSterling #PhilandoCastileMaking Movement Sounds: The Cultural Organizing Behind the Freedom Songs of the Civil Rights Movement by Elizabeth Davis-Cooper (2017)Digital Access to Scholarship at Harvard http://nrs.harvard.edu/urn-3:HUL.InstRepos:39987965Sit In, Stand Up and Sing Out!: Black Gospel Music and the Civil Rights Movement by Michael Castellini (2013) Georgia State Universityhttps://scholarworks.gsu.edu/history_theses/76From Sit-ins to SNCC : The Student Civil Rights Movement in the 1960s, edited by Iwan Morgan and Philip Davies. 2014. Thanks, as always, to Aaron P and Jeffrey Christian for reviewing the episode.

In an (unintentionally) very musical episode, comedian Ashley Bezgin joins the guys to talk about how her college a cappella group APC Rhythm -- which she was in with Eliot at NYU -- made her kinda gay. Plus, Brent, Eliot and H. Alan celebrate President Biden nominating transgender woman Rachel Levine for Asst. Secretary of Health, which hopefully signals a reversal of Trump's OBSESSION with erasing the trans community. And the guys take a deep dive into the history behind Brent's obsession with Mary Travers of Peter, Paul and Mary, and how the brassy alto inspired him to not just sing, but to sing like her ...and ONLY like her. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode one hundred and nine of A History of Rock Music in Five Hundred Songs looks at “Blowin’ in the Wind”, Peter, Paul and Mary, Bob Dylan, the UK folk scene and the civil rights movement. Those of you who get angry at me whenever I say anything that acknowledges the existence of racism may want to skip this one. 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 “Santa Claus is Coming to Town” by the Crystals. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.   This compilation contains all Peter, Paul and Mary’s hits. I have used *many* books for this episode, most of which I will also be using for future episodes on Dylan: The Mayor of MacDougal Street by Dave Van Ronk and Elijah Wald is the fascinating and funny autobiography of Dylan’s mentor in his Greenwich Village period, including his interactions with Albert Grossman. Chronicles Volume 1 by Bob Dylan is a partial, highly inaccurate, but thoroughly readable autobiography. 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. Only one book exists on Peter, Paul, and Mary themselves, and it is a hideously overpriced coffee table book consisting mostly of photos, so I wouldn’t bother with it.  Roots, Radicals, and Rockers: How Skiffle Changed the World by Billy Bragg has some great information on the British folk scene of the fifties and sixties. And Singing From the Floor is an oral history of British folk clubs, including a chapter on Dylan’s 1962 visit to London.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   Today we’re going to look at the first manufactured pop band we will see in this story, but not the last — a group cynically put together by a manager to try and cash in on a fad, but one who were important enough that in a small way they helped to change history. We’re going to look at the March on Washington and the civil rights movement, at Bob Dylan blossoming into a songwriter and the English folk revival, and at “Blowin’ in the Wind” by Peter, Paul, and Mary: [Excerpt: Peter, Paul and Mary, “Blowin’ in the Wind”] Albert Grossman was an unusual figure in the world of folk music. The folk revival had started out as an idealistic movement, mostly centred on Pete Seeger, and outside a few ultra-commercial acts like the Kingston Trio, most of the people involved were either doing it for the love of the music, or as a means of advancing their political goals. No doubt many of the performers on the burgeoning folk circuit were also quite keen to make money — there are very few musicians who don’t like being able to eat and have a home to live in — but very few of the people involved were primarily motivated by increasing their income. Grossman was a different matter. He was a businessman, and he was interested in money more than anything else — and for that he was despised by many of the people in the Greenwich Village folk scene. But he was, nonetheless, someone who was interested in making money *from folk music* specifically. And in the late fifties and early sixties this was less of a strange idea than it might have seemed. We talked back in the episode on “Drugstore Rock and Roll” about how rock and roll music was starting to be seen as the music of the teenager, and how “teenager” was, for the first time, becoming a marketing category into which people could be segmented. But the thing about music that’s aimed at a particular age group is that once you’re out of that age group you are no longer the target audience for that music. Someone who was sixteen in 1956 was twenty in 1960, and people in their twenties don’t necessarily want to be listening to music aimed at teenagers. But at the same time, those people didn’t want to listen to the music that their parents were listening to.  There’s no switch that gets flipped on your twentieth birthday that means that you suddenly no longer like Little Richard but instead like Rosemary Clooney. So there was a gap in the market, for music that was more adult than rock and roll was perceived as being, but which still set itself apart from the pop music that was listened to by people in their thirties and forties. And in the late fifties and early sixties, that gap seemed to be filled by a commercialised version of the folk revival.  In particular, Harry Belafonte had a huge run of massive hit albums with collections of folk, calypso, and blues songs, presented in a way that was acceptable to an older, more settled audience while still preserving some of the rawness of the originals, like his version of Lead Belly’s “Midnight Special”, recorded in 1962 with a young Bob Dylan on harmonica: [Excerpt: Harry Belafonte, “Midnight Special”] Meanwhile, the Kingston Trio had been having huge hits with cleaned-up versions of old folk ballads like “Tom Dooley”: [Excerpt: The Kingston Trio, “Tom Dooley”] So Grossman believed that there was a real market out there for something that was as clean and bright and friendly as the Kingston Trio, but with just a tiny hint of the bohemian Greenwich Village atmosphere to go with it. Something that wouldn’t scare TV people and DJs, but which might seem just the tiniest bit more radical than the Kingston Trio did. Something mass-produced, but which seemed more authentic. So Grossman decided to put together what we would now call a manufactured pop group. It would be a bit like the Kingston Trio, but ever so slightly more political, and rather than being three men, it would be two men and a woman. Grossman had very particular ideas about what he wanted — he wanted a waifish, beautiful woman at the centre of the group, he wanted a man who brought a sense of folk authenticity, and he wanted someone who could add a comedy element to the performances, to lighten them.  For the woman, he chose Mary Travers, who had been around the folk scene for several years at this point, starting out with a group called the Song Swappers, who had recorded an album of union songs with Pete Seeger back in 1955: [Excerpt: Pete Seeger and the Song Swappers, “Solidarity Forever”] Travers was chosen in part because of her relative shyness — she had never wanted to be a professional singer, and her introverted nature made her perfect for the image Grossman wanted — an image that was carefully cultivated, to the point that when the group were rehearsing in Florida, Grossman insisted Travers stay inside so she wouldn’t get a tan and spoil her image. As the authentic male folk singer, Grossman chose Peter Yarrow, who was the highest profile of the three, as he had performed as a solo artist for a number of years and had appeared on TV and at the Newport Folk Festival, though he had not yet recorded. And for the comedy element, he chose Noel Stookey, who regularly performed as a comedian around Greenwich Village — in the group’s very slim autobiography, Stookey compares himself to two other comedians on that circuit, Bill Cosby and Woody Allen, comparisons that were a much better look in 2009 when the book was published than they are today. Grossman had originally wanted Dave Van Ronk to be the low harmony singer, rather than Stookey, but Van Ronk turned him down flat, wanting no part of a Greenwich Village Kingston Trio, though he later said he sometimes looked at his bank account rather wistfully. The group’s name was, apparently, inspired by a line in the old folk song “I Was Born About 10,000 Years Ago”, which was recorded by many people, but most famously by Elvis Presley in the 1970s: [Excerpt: Elvis Presley, “I Was Born About 10,000 Years Ago”] The “Peter, Paul, and Moses” from that song became Peter, Paul and Mary — Stookey started going by his middle name, Paul, on stage, in order to fit the group name, though he still uses Noel in his daily life. While Peter, Paul, and Mary were the front people of the group, there were several other people who were involved in the creative process — the group used a regular bass player, Bill Lee, the father of the filmmaker Spike Lee, who played on all their recordings, as well as many other recordings from Greenwich Village folk musicians. They also had, as their musical director, a man named Milt Okun who came up with their arrangements and helped them choose and shape the material. Grossman shaped this team into a formidable commercial force. Almost everyone who talks about Grossman compares him to Colonel Tom Parker, and the comparison is a reasonable one. Grossman was extremely good at making money for his acts, so long as a big chunk of the money came to him. There’s a story about him signing Odetta, one of the great folk artists of the period, and telling her “you can stay with your current manager, and make a hundred thousand dollars this year, and he’ll take twenty percent, or you can come with me, and make a quarter of a million dollars, but I’ll take fifty percent”. That was the attitude that Grossman took to everyone. He cut himself in to every contract, salami-slicing his artists’ royalties at each stage. But it can’t be denied that his commercial instincts were sound. Peter, Paul, and Mary’s first album was a huge success. The second single from the album, their version of the old Weavers song “If I Had a Hammer”, written by Pete Seeger and Lee Hays, went to number ten on the pop charts: [Excerpt: Peter, Paul and Mary, “If I Had a Hammer”] And the album itself went to number one and eventually went double-platinum — a remarkable feat for a collection of songs that, however prettily arranged, contained a fairly uncompromising selection of music from the folk scene, with songs by Seeger, Dave van Ronk, and Rev. Gary Davis mixing with traditional songs like “This Train” and originals by Stookey and Yarrow. Their second album was less successful at first, with its first two singles flopping. But the third, a pretty children’s song by Yarrow and his friend Leonard Lipton, went to number two on the pop charts and number one on the Adult Contemporary charts: [Excerpt: Peter, Paul, and Mary, “Puff the Magic Dragon”] Incidentally, Leonard Lipton, who wrote that lyric, became independently wealthy from the royalties from the song, and used the leisure that gave him to pursue his passion of inventing 3D projection systems, which eventually made him an even wealthier man — if you’ve seen a 3D film in the cinema in the last couple of decades, it’s almost certainly been using the systems Lipton invented. So Peter, Paul, and Mary were big stars, and having big hits. And Albert Grossman was constantly on the lookout for more material for them. And eventually he found it, and the song that was to make both him, his group, and its writer, very, very rich, in the pages of Broadside magazine. When we left Bob Dylan, he was still primarily a performer, and not really known for his songwriting, but he had already written a handful of songs, and he was being drawn into the more political side of the folk scene. In large part this was because of his girlfriend, Suze Rotolo, with whom Dylan was very deeply in love, and who was a very political person indeed. Dylan had political views, but wasn’t particularly driven by them — Rotolo very much was, and encouraged him to write songs about politics. For much of early 1962, Dylan was being pulled in two directions at once — he was writing songs inspired by Robert Johnson, and trying to adapt Johnson’s style to fit himself, but at the same time he was writing songs like “The Death of Emmett Till”, about the 1955 murder of a Black teenager which had galvanised the civil rights movement, and “The Ballad of Donald White”, about a Black man on death row. Dylan would later be very dismissive of these attempts at topicality, saying “I realize now that my reasons and motives behind it were phony, I didn’t have to write it; I was bothered by many other things that I pretended I wasn’t bothered by, in order to write this song about Emmett Till, a person I never even knew”. But at the time they got him a great deal of attention in the small US folk-music scene, when they were published in magazines like Broadside and Sing Out, which collected political songs. Most of these early songs are juvenilia, with a couple of exceptions like the rather marvellous anti-bomb song “Let Me Die in My Footsteps”, but the song that changed everything for Dylan was a different matter.  “Blowin’ in the Wind” was inspired by the melody of the old nineteenth century song “No More Auction Block”, a song that is often described as a “spiritual”, though in fact it’s a purely secular song about slavery: [Excerpt: Odetta, “No More Auction Block”] That song had seen something of a revival in folk circles in the late fifties, especially because part of its melody had been incorporated into another song, “We Shall Overcome”, which had become an anthem of the civil rights movement when it was revived and adapted by Pete Seeger: [Excerpt: Pete Seeger, “We Shall Overcome”] Dylan took this melody, with its associations with the fight for the rights of Black people, and came up with new lyrics, starting with the line “How many roads must a man walk down, before you call him a man?” He wrote two verses of the song — the first and last verses — in a short burst of inspiration, and a few weeks later came back to it and added another verse, the second, which incorporated allusions to the Biblical prophet Ezekiel, and which is notably less inspired than those earlier verses. In later decades, many people have looked at the lyrics to the song and seen it as the first of what would become a whole subgenre of non-protest protest songs — they’ve seen the abstraction of “How many roads must a man walk down before you call him a man?” as being nice-sounding rhetoric that doesn’t actually mean anything, in much the same way as something like, say, “Another Day in Paradise” or “Eve of Destruction”, songs that make nonspecific complaints about nonspecific bad things. But while “Blowin’ in the Wind” is a song that has multiple meanings and can be applied to multiple situations, as most good songs can, that line was, at the time in which it was written, a very concrete question. The civil rights movement was asking for many things — for the right to vote, for an end to segregation, for an end to police brutality, but also for basic respect and acknowledgment of Black people’s shared humanity. We’ve already heard in a couple of past episodes Big Bill Broonzy singing “When Do I Get to Be Called a Man?”: [Excerpt: Big Bill Broonzy, “When Do I Get to Be Called a Man?”] Because at the time, it was normal for white people to refer to Black men as “boy”. As Dr. Martin Luther King said in his “Letter From Birmingham Jail”, one of the greatest pieces of writing of the twentieth century, a letter in large part about how white moderates were holding Black people back with demands to be “reasonable” and let things take their time: “when you have seen hate-filled policemen curse, kick, brutalize, and even kill your black brothers and sisters with impunity; when you see the vast majority of your twenty million Negro brothers smothering in an airtight cage of poverty in the midst of an affluent society… when your first name becomes“ and here Dr. King uses a racial slur which I, as a white man, will not say, “and your middle name becomes “boy” (however old you are) and your last name becomes “John,” and when your wife and mother are never given the respected title “Mrs.”; when you are harried by day and haunted by night by the fact that you are a Negro, living constantly at tiptoe stance, never knowing what to expect next, and plagued with inner fears and outer resentments; when you are forever fighting a degenerating sense of “nobodyness”—then you will understand why we find it difficult to wait. There comes a time when the cup of endurance runs over and men are no longer willing to be plunged into an abyss of injustice where they experience the bleakness of corroding despair.” King’s great letter was written in 1963, less than a year after Dylan was writing his song but before it became widely known. In the context of 1962, the demand to call a man a man was a very real political issue, not an aphorism that could go in a Hallmark card. Dylan recorded the song in June 1962, during the sessions for his second album, which at the time was going under the working title “Bob Dylan’s Blues”: [Excerpt: Bob Dylan, “Blowin’ in the Wind”] By the time he recorded it, two major changes had happened to him. The first was that Suze Rotolo had travelled to Spain for several months, leaving him bereft — for the next few months, his songwriting took a turn towards songs about either longing for the return of a lost love, like “Tomorrow is a Long Time”, one of his most romantic songs, or about how the protagonist doesn’t even need his girlfriend anyway and she can leave if she likes, see if he cares, like “Don’t Think Twice It’s Alright”. The other change was that Albert Grossman had become his manager, largely on the strength of “Blowin’ in the Wind”, which Grossman thought had huge potential. Grossman signed Dylan up, taking twenty percent of all his earnings — including on the contract with Columbia Records Dylan already had — and got him signed to a new publisher, Witmark Publishing, where the aptly-named Artie Mogull thought that “Blowin’ in the Wind” could be marketed. Grossman took his twenty percent of Dylan’s share of the songwriting money as his commission from Dylan — and fifty percent of Witmark’s share of the money as his commission from Witmark, meaning that Dylan was getting forty percent of the money for writing the songs, while Grossman was getting thirty-five percent. Grossman immediately got involved in the recording of Dylan’s second album, and started having personality clashes with John Hammond. It was apparently Grossman who suggested that Dylan “go electric” for the first time, with the late-1962 single “Mixed-Up Confusion”: [Excerpt: Bob Dylan, “Mixed-Up Confusion”] Neither Hammond nor Dylan liked that record, and it seemed clear for the moment that the way forward for Dylan was to continue in an acoustic folk vein. Dylan was also starting to get inspired more by English folk music, and incorporate borrowings from English music into his songwriting. That’s most apparent in “A Hard Rain’s A-Gonna Fall”, written in September 1962. Dylan took the structure of that song from the old English ballad, “Lord Randall”: [Excerpt: Ewan MacColl, “Lord Randall”] He reworked that structure into a song of apocalypse, again full of the Biblical imagery he’d tried in the second verse of  “Blowin’ in the Wind”, but this time more successfully incorporating it: [Excerpt: Bob Dylan, “A Hard Rain’s A-Gonna Fall”] His interest in English folk music was to become more important in his songwriting in the following months, as Dylan was about to travel to the UK and encounter the British folk music scene. A TV director called Philip Saville had seen Dylan performing in New York, and had decided he would be perfect for the role of a poet in a TV play he was putting on, Madhouse in Castle Street, and got Dylan flown over to perform in it. Unfortunately, no-one seems to have told Dylan what would be involved in this, and he proved incapable of learning his lines or acting, so the show was rethought — the role of the poet was given to David Warner, later to become one of Britain’s most famous screen actors, and Dylan was cast in a new role as a singer called “Bobby”, who had few or no lines but did get to sing a few songs, including “Blowin’ in the Wind”, which was the first time the song was heard by anyone outside of the New York folk scene. Dylan was in London for about a month, and while he was there he immersed himself in the British folk scene. This scene was in some ways modelled on the American scene, and had some of the same people involved, but it was very different. The initial spark for the British folk revival had come in the late 1940s, when A.L. Lloyd, a member of the Communist Party, had published a book of folk songs he’d collected, along with some Marxist analysis of how folk songs evolved. In the early fifties, Alan Lomax, then in the UK to escape McCarthyism, put Lloyd in touch with Ewan MacColl, a songwriter and performer from Manchester, who we heard earlier singing “Lord Randall”. MacColl, like Lloyd, was a Communist, but the two also shared a passion for older folk songs, and they began recording and performing together, recording traditional songs like “The Handsome Cabin Boy”: [Excerpt: Ewan MacColl and A.L. Lloyd, “The Handsome Cabin Boy”] MacColl and Lloyd latched on to the skiffle movement, and MacColl started his own club night, Ballads and Blues, which tried to push the skifflers in the direction of performing more music based in English traditional music. This had already been happening to an extent with things like the Vipers performing “Maggie May”, a song about a sex worker in Liverpool: [Excerpt: The Vipers Skiffle Group, “Maggie May”] But this started to happen a lot more with MacColl’s encouragement. At one point in 1956, there was even a TV show hosted by Lomax and featuring a band that included Lomax, MacColl, Jim Bray, the bass player from Chris Barber’s band, Shirley Collins — a folk singer who was also Lomax’s partner — and Peggy Seeger, who was Pete Seeger’s sister and who had also entered into a romantic relationship with MacColl, whose most famous song, “The First Time Ever I Saw Your Face”, was written both about and for her: [Excerpt: Peggy Seeger, “The First Time Ever I Saw Your Face”] It was Seeger who instigated what became the most notable feature at the Ballads and Blues club and its successor the Singer’s Club. She’d burst out laughing when she saw Long John Baldry sing “Rock Island Line”, because he was attempting to sing in an American accent. As someone who had actually known Lead Belly, she found British imitations of his singing ludicrous, and soon there was a policy at the clubs that people would only sing songs that were originally sung with their normal vowel sounds. So Seeger could only sing songs from the East Coast of the US, because she didn’t have the Western vowels of a Woody Guthrie, while MacColl could sing English and Scottish songs, but nothing from Wales or Ireland. As the skiffle craze died down, it splintered into several linked scenes. We’ve already seen how in Liverpool and London it spawned guitar groups like the Shadows and the Beatles, while in London it also led to the electric blues scene. It also led to a folk scene that was very linked to the blues scene at first, but was separate from it, and which was far more political, centred around MacColl. That scene, like the US one, combined topical songs about political events from a far-left viewpoint with performances of traditional songs, but in the case of the British one these were mostly old sea shanties and sailors’ songs, and the ancient Child Ballads, rather than Appalachian country music — though a lot of the songs have similar roots.  And unlike the blues scene, the folk scene spread all over the country. There were clubs in Manchester, in Liverpool (run by the group the Spinners), in Bradford, in Hull (run by the Waterson family) and most other major British cities. The musicians who played these venues were often inspired by MacColl and Lloyd, but the younger generation of musicians often looked askance at what they saw as MacColl’s dogmatic approach, preferring to just make good music rather than submit it to what they saw as MacColl’s ideological purity test, even as they admired his musicianship and largely agreed with his politics. And one of these younger musicians was a guitarist named Martin Carthy, who was playing a club called the King and Queen on Goodge Street when he saw Bob Dylan walk in. He recognised Dylan from the cover of Sing Out! magazine, and invited him to get up on stage and do a few numbers. For the next few weeks, Carthy showed Dylan round the folk scene — Dylan went down great at the venues where Carthy normally played, and at the Roundhouse, but flopped around the venues that were dominated by MacColl, as the people there seemed to think of Dylan as a sort of cut-rate Ramblin’ Jack Elliot, as Elliot had been such a big part of the skiffle and folk scenes. Carthy also taught Dylan a number of English folk songs, including “Lord Franklin”: [Excerpt: Martin Carthy, “Lord Franklin”] and “Scarborough Fair”: [Excerpt: Martin Carthy, “Scarborough Fair”] Dylan immediately incorporated the music he’d learned from Carthy into his songwriting, basing “Bob Dylan’s Dream” on “Lord Franklin”, and even more closely basing “GIrl From the North Country” on “Scarborough Fair”: [Excerpt: Bob Dylan, “Girl From The North Country”] After his trip to London, Dylan went over to Europe to see if he could catch up with Suze, but she had already gone back to New York — their letters to each other crossed in the post. On his return, they reunited at least for a while, and she posed with him for the photo for the cover of what was to be his second album.  Dylan had thought that album completed when he left for England, but he soon discovered that there were problems with the album — the record label didn’t want to release the comedy talking blues “Talking John Birch Society Paranoid Blues”, because they thought it might upset the fascists in the John Birch Society. The same thing would later make sure that Dylan never played the Ed Sullivan Show, because when he was booked onto the show he insisted on playing that song, and so they cancelled the booking. In this case, though, it gave him an excuse to remove what he saw as the weaker songs on the album, including “Tomorrow is a Long Time”, and replace them with four new songs, three of them inspired by traditional English folk songs — “Bob Dylan’s Dream”,  “Girl From the North Country”, and “Masters of War” which took its melody from the old folk song “Nottamun Town” popularised on the British folk circuit by an American singer, Jean Ritchie: [Excerpt: Jean Ritchie, “Nottamun Town”] These new recordings weren’t produced by John Hammond, as the rest of the album was. Albert Grossman had been trying from the start to get total control over Dylan, and didn’t want Hammond, who had been around before Grossman, involved in Dylan’s career. Instead, a new producer named Tom Wilson was in charge. Wilson was a remarkable man, but seemed an odd fit for a left-wing folk album. He was one of the few Black producers working for a major label, though he’d started out as an indie producer. He was a Harvard economics graduate, and had been president of the Young Republicans during his time there — he remained a conservative all his life — but he was far from conservative in his musical tastes. When he’d left university, he’d borrowed nine hundred dollars and started his own record label, Transition, which had put out some of the best experimental jazz of the fifties, produced by Wilson, including the debut albums by Sun Ra: [Excerpt: Sun Ra, “Brainville”] and Cecil Taylor: [Excerpt: Cecil Taylor, “Bemsha Swing”] Wilson later described his first impressions of Dylan: “I didn’t even particularly like folk music. I’d been recording Sun Ra and Coltrane … I thought folk music was for the dumb guys. This guy played like the dumb guys, but then these words came out. I was flabbergasted.” Wilson would soon play a big part in Dylan’s career, but for now his job was just to get those last few tracks for the album recorded. In the end, the final recording session for Dylan’s second album was more than a year after the first one, and it came out into a very different context from when he’d started recording it. Because while Dylan was putting the finishing touches on his second album, Peter Paul and Mary were working on their third, and they were encouraged by Grossman to record three Bob Dylan songs, since that way Grossman would make more money from them. Their version of “Blowin’ in the Wind” came out as a single a few weeks after The Freewheelin’ Bob Dylan came out, and sold 300,000 copies in the first week: [Excerpt: Peter, Paul, and Mary, “Blowin’ in the Wind”] The record went to number two on the charts, and their followup, “Don’t Think Twice it’s Alright”, another Dylan song, went top ten as well.  “Blowin’ in the Wind” became an instant standard, and was especially picked up by Black performers, as it became a civil rights anthem. Mavis Staples of the Staple Singers said later that she was astonished that a white man could write a line like “How many roads must a man walk down before you call him a man?”, saying “That’s what my father experienced” — and the Staple Singers recorded it, of course: [Excerpt: The Staple Singers, “Blowin’ in the Wind”] as did Sam Cooke: [Excerpt: Sam Cooke, “Blowin’ in the Wind”] And Stevie Wonder: [Excerpt: Stevie Wonder, “Blowin’ in the Wind”] But the song’s most important performance came from Peter, Paul and Mary, performing it on a bill with Dylan, Odetta, Joan Baez, and Mahalia Jackson in August 1963, just as the song had started to descend the charts. Because those artists were the entertainment for the March on Washington, in which more than a quarter of a million people descended on Washington both to support President Kennedy’s civil rights bill and to speak out and say that it wasn’t going far enough. That was one of the great moments in American political history, full of incendiary speeches like the one by John Lewis: [Excerpt: John Lewis, March on Washington speech] But the most memorable moment at that march  came when Dr. King was giving his speech. Mahalia Jackson shouted out “Tell them about the dream, Martin”, and King departed from his prepared words and instead improvised based on themes he’d used in other speeches previously, coming out with some of the most famous words ever spoken: [Excerpt: Martin Luther King, “I Have a Dream”] The civil rights movement was more than one moment, however inspiring, and white people like myself have a tendency to reduce it just to Dr. King, and to reduce Dr. King just to those words — which is one reason why I quoted from Letter From Birmingham Jail earlier, as that is a much less safe and canonised piece of writing. But it’s still true to say that if there is a single most important moment in the history of the post-war struggle for Black rights, it was that moment, and because of “Blowin’ in the Wind”, both Dylan and Peter, Paul and Mary were minor parts of that event. After 1963, Peter, Paul and Mary quickly became passe with the British Invasion, only having two more top ten hits, one with a novelty song in 1967 and one with “Leaving on a Jet Plane” in 1969. They split up in 1970, and around that time Yarrow was arrested and convicted for a sexual offence involving a fourteen-year-old girl, though he was later pardoned by President Carter. The group reformed in 1978 and toured the nostalgia circuit until Mary’s death in 2009. The other two still occasionally perform together, as Peter and Noel Paul. Bob Dylan, of course, went on to bigger things after “Blowin’ in the Wind” suddenly made him into the voice of a generation — a position he didn’t ask for and didn’t seem to want. We’ll be hearing much more from him. And we’ll also be hearing more about the struggle for Black civil rights, as that’s a story, much like Dylan’s, that continues to this day.

Episode one hundred and nine of A History of Rock Music in Five Hundred Songs looks at "Blowin' in the Wind", Peter, Paul and Mary, Bob Dylan, the UK folk scene and the civil rights movement. Those of you who get angry at me whenever I say anything that acknowledges the existence of racism may want to skip this one. 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 "Santa Claus is Coming to Town" by the Crystals. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.   This compilation contains all Peter, Paul and Mary's hits. I have used *many* books for this episode, most of which I will also be using for future episodes on Dylan: The Mayor of MacDougal Street by Dave Van Ronk and Elijah Wald is the fascinating and funny autobiography of Dylan's mentor in his Greenwich Village period, including his interactions with Albert Grossman. Chronicles Volume 1 by Bob Dylan is a partial, highly inaccurate, but thoroughly readable autobiography. 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. Only one book exists on Peter, Paul, and Mary themselves, and it is a hideously overpriced coffee table book consisting mostly of photos, so I wouldn't bother with it.  Roots, Radicals, and Rockers: How Skiffle Changed the World by Billy Bragg has some great information on the British folk scene of the fifties and sixties. And Singing From the Floor is an oral history of British folk clubs, including a chapter on Dylan's 1962 visit to London.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   Today we're going to look at the first manufactured pop band we will see in this story, but not the last -- a group cynically put together by a manager to try and cash in on a fad, but one who were important enough that in a small way they helped to change history. We're going to look at the March on Washington and the civil rights movement, at Bob Dylan blossoming into a songwriter and the English folk revival, and at "Blowin' in the Wind" by Peter, Paul, and Mary: [Excerpt: Peter, Paul and Mary, "Blowin' in the Wind"] Albert Grossman was an unusual figure in the world of folk music. The folk revival had started out as an idealistic movement, mostly centred on Pete Seeger, and outside a few ultra-commercial acts like the Kingston Trio, most of the people involved were either doing it for the love of the music, or as a means of advancing their political goals. No doubt many of the performers on the burgeoning folk circuit were also quite keen to make money -- there are very few musicians who don't like being able to eat and have a home to live in -- but very few of the people involved were primarily motivated by increasing their income. Grossman was a different matter. He was a businessman, and he was interested in money more than anything else -- and for that he was despised by many of the people in the Greenwich Village folk scene. But he was, nonetheless, someone who was interested in making money *from folk music* specifically. And in the late fifties and early sixties this was less of a strange idea than it might have seemed. We talked back in the episode on "Drugstore Rock and Roll" about how rock and roll music was starting to be seen as the music of the teenager, and how "teenager" was, for the first time, becoming a marketing category into which people could be segmented. But the thing about music that's aimed at a particular age group is that once you're out of that age group you are no longer the target audience for that music. Someone who was sixteen in 1956 was twenty in 1960, and people in their twenties don't necessarily want to be listening to music aimed at teenagers. But at the same time, those people didn't want to listen to the music that their parents were listening to.  There's no switch that gets flipped on your twentieth birthday that means that you suddenly no longer like Little Richard but instead like Rosemary Clooney. So there was a gap in the market, for music that was more adult than rock and roll was perceived as being, but which still set itself apart from the pop music that was listened to by people in their thirties and forties. And in the late fifties and early sixties, that gap seemed to be filled by a commercialised version of the folk revival.  In particular, Harry Belafonte had a huge run of massive hit albums with collections of folk, calypso, and blues songs, presented in a way that was acceptable to an older, more settled audience while still preserving some of the rawness of the originals, like his version of Lead Belly's "Midnight Special", recorded in 1962 with a young Bob Dylan on harmonica: [Excerpt: Harry Belafonte, "Midnight Special"] Meanwhile, the Kingston Trio had been having huge hits with cleaned-up versions of old folk ballads like "Tom Dooley": [Excerpt: The Kingston Trio, "Tom Dooley"] So Grossman believed that there was a real market out there for something that was as clean and bright and friendly as the Kingston Trio, but with just a tiny hint of the bohemian Greenwich Village atmosphere to go with it. Something that wouldn't scare TV people and DJs, but which might seem just the tiniest bit more radical than the Kingston Trio did. Something mass-produced, but which seemed more authentic. So Grossman decided to put together what we would now call a manufactured pop group. It would be a bit like the Kingston Trio, but ever so slightly more political, and rather than being three men, it would be two men and a woman. Grossman had very particular ideas about what he wanted -- he wanted a waifish, beautiful woman at the centre of the group, he wanted a man who brought a sense of folk authenticity, and he wanted someone who could add a comedy element to the performances, to lighten them.  For the woman, he chose Mary Travers, who had been around the folk scene for several years at this point, starting out with a group called the Song Swappers, who had recorded an album of union songs with Pete Seeger back in 1955: [Excerpt: Pete Seeger and the Song Swappers, "Solidarity Forever"] Travers was chosen in part because of her relative shyness -- she had never wanted to be a professional singer, and her introverted nature made her perfect for the image Grossman wanted -- an image that was carefully cultivated, to the point that when the group were rehearsing in Florida, Grossman insisted Travers stay inside so she wouldn't get a tan and spoil her image. As the authentic male folk singer, Grossman chose Peter Yarrow, who was the highest profile of the three, as he had performed as a solo artist for a number of years and had appeared on TV and at the Newport Folk Festival, though he had not yet recorded. And for the comedy element, he chose Noel Stookey, who regularly performed as a comedian around Greenwich Village -- in the group's very slim autobiography, Stookey compares himself to two other comedians on that circuit, Bill Cosby and Woody Allen, comparisons that were a much better look in 2009 when the book was published than they are today. Grossman had originally wanted Dave Van Ronk to be the low harmony singer, rather than Stookey, but Van Ronk turned him down flat, wanting no part of a Greenwich Village Kingston Trio, though he later said he sometimes looked at his bank account rather wistfully. The group's name was, apparently, inspired by a line in the old folk song "I Was Born About 10,000 Years Ago", which was recorded by many people, but most famously by Elvis Presley in the 1970s: [Excerpt: Elvis Presley, "I Was Born About 10,000 Years Ago"] The "Peter, Paul, and Moses" from that song became Peter, Paul and Mary -- Stookey started going by his middle name, Paul, on stage, in order to fit the group name, though he still uses Noel in his daily life. While Peter, Paul, and Mary were the front people of the group, there were several other people who were involved in the creative process -- the group used a regular bass player, Bill Lee, the father of the filmmaker Spike Lee, who played on all their recordings, as well as many other recordings from Greenwich Village folk musicians. They also had, as their musical director, a man named Milt Okun who came up with their arrangements and helped them choose and shape the material. Grossman shaped this team into a formidable commercial force. Almost everyone who talks about Grossman compares him to Colonel Tom Parker, and the comparison is a reasonable one. Grossman was extremely good at making money for his acts, so long as a big chunk of the money came to him. There's a story about him signing Odetta, one of the great folk artists of the period, and telling her "you can stay with your current manager, and make a hundred thousand dollars this year, and he'll take twenty percent, or you can come with me, and make a quarter of a million dollars, but I'll take fifty percent". That was the attitude that Grossman took to everyone. He cut himself in to every contract, salami-slicing his artists' royalties at each stage. But it can't be denied that his commercial instincts were sound. Peter, Paul, and Mary's first album was a huge success. The second single from the album, their version of the old Weavers song "If I Had a Hammer", written by Pete Seeger and Lee Hays, went to number ten on the pop charts: [Excerpt: Peter, Paul and Mary, "If I Had a Hammer"] And the album itself went to number one and eventually went double-platinum -- a remarkable feat for a collection of songs that, however prettily arranged, contained a fairly uncompromising selection of music from the folk scene, with songs by Seeger, Dave van Ronk, and Rev. Gary Davis mixing with traditional songs like "This Train" and originals by Stookey and Yarrow. Their second album was less successful at first, with its first two singles flopping. But the third, a pretty children's song by Yarrow and his friend Leonard Lipton, went to number two on the pop charts and number one on the Adult Contemporary charts: [Excerpt: Peter, Paul, and Mary, "Puff the Magic Dragon"] Incidentally, Leonard Lipton, who wrote that lyric, became independently wealthy from the royalties from the song, and used the leisure that gave him to pursue his passion of inventing 3D projection systems, which eventually made him an even wealthier man -- if you've seen a 3D film in the cinema in the last couple of decades, it's almost certainly been using the systems Lipton invented. So Peter, Paul, and Mary were big stars, and having big hits. And Albert Grossman was constantly on the lookout for more material for them. And eventually he found it, and the song that was to make both him, his group, and its writer, very, very rich, in the pages of Broadside magazine. When we left Bob Dylan, he was still primarily a performer, and not really known for his songwriting, but he had already written a handful of songs, and he was being drawn into the more political side of the folk scene. In large part this was because of his girlfriend, Suze Rotolo, with whom Dylan was very deeply in love, and who was a very political person indeed. Dylan had political views, but wasn't particularly driven by them -- Rotolo very much was, and encouraged him to write songs about politics. For much of early 1962, Dylan was being pulled in two directions at once -- he was writing songs inspired by Robert Johnson, and trying to adapt Johnson's style to fit himself, but at the same time he was writing songs like "The Death of Emmett Till", about the 1955 murder of a Black teenager which had galvanised the civil rights movement, and "The Ballad of Donald White", about a Black man on death row. Dylan would later be very dismissive of these attempts at topicality, saying "I realize now that my reasons and motives behind it were phony, I didn’t have to write it; I was bothered by many other things that I pretended I wasn’t bothered by, in order to write this song about Emmett Till, a person I never even knew". But at the time they got him a great deal of attention in the small US folk-music scene, when they were published in magazines like Broadside and Sing Out, which collected political songs. Most of these early songs are juvenilia, with a couple of exceptions like the rather marvellous anti-bomb song "Let Me Die in My Footsteps", but the song that changed everything for Dylan was a different matter.  "Blowin' in the Wind" was inspired by the melody of the old nineteenth century song "No More Auction Block", a song that is often described as a "spiritual", though in fact it's a purely secular song about slavery: [Excerpt: Odetta, "No More Auction Block"] That song had seen something of a revival in folk circles in the late fifties, especially because part of its melody had been incorporated into another song, "We Shall Overcome", which had become an anthem of the civil rights movement when it was revived and adapted by Pete Seeger: [Excerpt: Pete Seeger, "We Shall Overcome"] Dylan took this melody, with its associations with the fight for the rights of Black people, and came up with new lyrics, starting with the line "How many roads must a man walk down, before you call him a man?" He wrote two verses of the song -- the first and last verses -- in a short burst of inspiration, and a few weeks later came back to it and added another verse, the second, which incorporated allusions to the Biblical prophet Ezekiel, and which is notably less inspired than those earlier verses. In later decades, many people have looked at the lyrics to the song and seen it as the first of what would become a whole subgenre of non-protest protest songs -- they've seen the abstraction of "How many roads must a man walk down before you call him a man?" as being nice-sounding rhetoric that doesn't actually mean anything, in much the same way as something like, say, "Another Day in Paradise" or "Eve of Destruction", songs that make nonspecific complaints about nonspecific bad things. But while "Blowin' in the Wind" is a song that has multiple meanings and can be applied to multiple situations, as most good songs can, that line was, at the time in which it was written, a very concrete question. The civil rights movement was asking for many things -- for the right to vote, for an end to segregation, for an end to police brutality, but also for basic respect and acknowledgment of Black people's shared humanity. We've already heard in a couple of past episodes Big Bill Broonzy singing "When Do I Get to Be Called a Man?": [Excerpt: Big Bill Broonzy, "When Do I Get to Be Called a Man?"] Because at the time, it was normal for white people to refer to Black men as "boy". As Dr. Martin Luther King said in his "Letter From Birmingham Jail", one of the greatest pieces of writing of the twentieth century, a letter in large part about how white moderates were holding Black people back with demands to be "reasonable" and let things take their time: "when you have seen hate-filled policemen curse, kick, brutalize, and even kill your black brothers and sisters with impunity; when you see the vast majority of your twenty million Negro brothers smothering in an airtight cage of poverty in the midst of an affluent society... when your first name becomes“ and here Dr. King uses a racial slur which I, as a white man, will not say, "and your middle name becomes “boy” (however old you are) and your last name becomes “John,” and when your wife and mother are never given the respected title “Mrs.”; when you are harried by day and haunted by night by the fact that you are a Negro, living constantly at tiptoe stance, never knowing what to expect next, and plagued with inner fears and outer resentments; when you are forever fighting a degenerating sense of “nobodyness”—then you will understand why we find it difficult to wait. There comes a time when the cup of endurance runs over and men are no longer willing to be plunged into an abyss of injustice where they experience the bleakness of corroding despair." King's great letter was written in 1963, less than a year after Dylan was writing his song but before it became widely known. In the context of 1962, the demand to call a man a man was a very real political issue, not an aphorism that could go in a Hallmark card. Dylan recorded the song in June 1962, during the sessions for his second album, which at the time was going under the working title "Bob Dylan's Blues": [Excerpt: Bob Dylan, "Blowin' in the Wind"] By the time he recorded it, two major changes had happened to him. The first was that Suze Rotolo had travelled to Spain for several months, leaving him bereft -- for the next few months, his songwriting took a turn towards songs about either longing for the return of a lost love, like "Tomorrow is a Long Time", one of his most romantic songs, or about how the protagonist doesn't even need his girlfriend anyway and she can leave if she likes, see if he cares, like "Don't Think Twice It's Alright". The other change was that Albert Grossman had become his manager, largely on the strength of "Blowin' in the Wind", which Grossman thought had huge potential. Grossman signed Dylan up, taking twenty percent of all his earnings -- including on the contract with Columbia Records Dylan already had -- and got him signed to a new publisher, Witmark Publishing, where the aptly-named Artie Mogull thought that "Blowin' in the Wind" could be marketed. Grossman took his twenty percent of Dylan's share of the songwriting money as his commission from Dylan -- and fifty percent of Witmark's share of the money as his commission from Witmark, meaning that Dylan was getting forty percent of the money for writing the songs, while Grossman was getting thirty-five percent. Grossman immediately got involved in the recording of Dylan's second album, and started having personality clashes with John Hammond. It was apparently Grossman who suggested that Dylan "go electric" for the first time, with the late-1962 single "Mixed-Up Confusion": [Excerpt: Bob Dylan, "Mixed-Up Confusion"] Neither Hammond nor Dylan liked that record, and it seemed clear for the moment that the way forward for Dylan was to continue in an acoustic folk vein. Dylan was also starting to get inspired more by English folk music, and incorporate borrowings from English music into his songwriting. That's most apparent in "A Hard Rain's A-Gonna Fall", written in September 1962. Dylan took the structure of that song from the old English ballad, "Lord Randall": [Excerpt: Ewan MacColl, "Lord Randall"] He reworked that structure into a song of apocalypse, again full of the Biblical imagery he'd tried in the second verse of  "Blowin' in the Wind", but this time more successfully incorporating it: [Excerpt: Bob Dylan, "A Hard Rain's A-Gonna Fall"] His interest in English folk music was to become more important in his songwriting in the following months, as Dylan was about to travel to the UK and encounter the British folk music scene. A TV director called Philip Saville had seen Dylan performing in New York, and had decided he would be perfect for the role of a poet in a TV play he was putting on, Madhouse in Castle Street, and got Dylan flown over to perform in it. Unfortunately, no-one seems to have told Dylan what would be involved in this, and he proved incapable of learning his lines or acting, so the show was rethought -- the role of the poet was given to David Warner, later to become one of Britain's most famous screen actors, and Dylan was cast in a new role as a singer called "Bobby", who had few or no lines but did get to sing a few songs, including "Blowin' in the Wind", which was the first time the song was heard by anyone outside of the New York folk scene. Dylan was in London for about a month, and while he was there he immersed himself in the British folk scene. This scene was in some ways modelled on the American scene, and had some of the same people involved, but it was very different. The initial spark for the British folk revival had come in the late 1940s, when A.L. Lloyd, a member of the Communist Party, had published a book of folk songs he'd collected, along with some Marxist analysis of how folk songs evolved. In the early fifties, Alan Lomax, then in the UK to escape McCarthyism, put Lloyd in touch with Ewan MacColl, a songwriter and performer from Manchester, who we heard earlier singing "Lord Randall". MacColl, like Lloyd, was a Communist, but the two also shared a passion for older folk songs, and they began recording and performing together, recording traditional songs like "The Handsome Cabin Boy": [Excerpt: Ewan MacColl and A.L. Lloyd, "The Handsome Cabin Boy"] MacColl and Lloyd latched on to the skiffle movement, and MacColl started his own club night, Ballads and Blues, which tried to push the skifflers in the direction of performing more music based in English traditional music. This had already been happening to an extent with things like the Vipers performing "Maggie May", a song about a sex worker in Liverpool: [Excerpt: The Vipers Skiffle Group, "Maggie May"] But this started to happen a lot more with MacColl's encouragement. At one point in 1956, there was even a TV show hosted by Lomax and featuring a band that included Lomax, MacColl, Jim Bray, the bass player from Chris Barber's band, Shirley Collins -- a folk singer who was also Lomax's partner -- and Peggy Seeger, who was Pete Seeger's sister and who had also entered into a romantic relationship with MacColl, whose most famous song, "The First Time Ever I Saw Your Face", was written both about and for her: [Excerpt: Peggy Seeger, "The First Time Ever I Saw Your Face"] It was Seeger who instigated what became the most notable feature at the Ballads and Blues club and its successor the Singer's Club. She'd burst out laughing when she saw Long John Baldry sing "Rock Island Line", because he was attempting to sing in an American accent. As someone who had actually known Lead Belly, she found British imitations of his singing ludicrous, and soon there was a policy at the clubs that people would only sing songs that were originally sung with their normal vowel sounds. So Seeger could only sing songs from the East Coast of the US, because she didn't have the Western vowels of a Woody Guthrie, while MacColl could sing English and Scottish songs, but nothing from Wales or Ireland. As the skiffle craze died down, it splintered into several linked scenes. We've already seen how in Liverpool and London it spawned guitar groups like the Shadows and the Beatles, while in London it also led to the electric blues scene. It also led to a folk scene that was very linked to the blues scene at first, but was separate from it, and which was far more political, centred around MacColl. That scene, like the US one, combined topical songs about political events from a far-left viewpoint with performances of traditional songs, but in the case of the British one these were mostly old sea shanties and sailors' songs, and the ancient Child Ballads, rather than Appalachian country music -- though a lot of the songs have similar roots.  And unlike the blues scene, the folk scene spread all over the country. There were clubs in Manchester, in Liverpool (run by the group the Spinners), in Bradford, in Hull (run by the Waterson family) and most other major British cities. The musicians who played these venues were often inspired by MacColl and Lloyd, but the younger generation of musicians often looked askance at what they saw as MacColl's dogmatic approach, preferring to just make good music rather than submit it to what they saw as MacColl's ideological purity test, even as they admired his musicianship and largely agreed with his politics. And one of these younger musicians was a guitarist named Martin Carthy, who was playing a club called the King and Queen on Goodge Street when he saw Bob Dylan walk in. He recognised Dylan from the cover of Sing Out! magazine, and invited him to get up on stage and do a few numbers. For the next few weeks, Carthy showed Dylan round the folk scene -- Dylan went down great at the venues where Carthy normally played, and at the Roundhouse, but flopped around the venues that were dominated by MacColl, as the people there seemed to think of Dylan as a sort of cut-rate Ramblin' Jack Elliot, as Elliot had been such a big part of the skiffle and folk scenes. Carthy also taught Dylan a number of English folk songs, including "Lord Franklin": [Excerpt: Martin Carthy, "Lord Franklin"] and "Scarborough Fair": [Excerpt: Martin Carthy, "Scarborough Fair"] Dylan immediately incorporated the music he'd learned from Carthy into his songwriting, basing "Bob Dylan's Dream" on "Lord Franklin", and even more closely basing "GIrl From the North Country" on "Scarborough Fair": [Excerpt: Bob Dylan, "Girl From The North Country"] After his trip to London, Dylan went over to Europe to see if he could catch up with Suze, but she had already gone back to New York -- their letters to each other crossed in the post. On his return, they reunited at least for a while, and she posed with him for the photo for the cover of what was to be his second album.  Dylan had thought that album completed when he left for England, but he soon discovered that there were problems with the album -- the record label didn't want to release the comedy talking blues "Talking John Birch Society Paranoid Blues", because they thought it might upset the fascists in the John Birch Society. The same thing would later make sure that Dylan never played the Ed Sullivan Show, because when he was booked onto the show he insisted on playing that song, and so they cancelled the booking. In this case, though, it gave him an excuse to remove what he saw as the weaker songs on the album, including "Tomorrow is a Long Time", and replace them with four new songs, three of them inspired by traditional English folk songs -- "Bob Dylan's Dream",  "Girl From the North Country", and "Masters of War" which took its melody from the old folk song "Nottamun Town" popularised on the British folk circuit by an American singer, Jean Ritchie: [Excerpt: Jean Ritchie, "Nottamun Town"] These new recordings weren't produced by John Hammond, as the rest of the album was. Albert Grossman had been trying from the start to get total control over Dylan, and didn't want Hammond, who had been around before Grossman, involved in Dylan's career. Instead, a new producer named Tom Wilson was in charge. Wilson was a remarkable man, but seemed an odd fit for a left-wing folk album. He was one of the few Black producers working for a major label, though he'd started out as an indie producer. He was a Harvard economics graduate, and had been president of the Young Republicans during his time there -- he remained a conservative all his life -- but he was far from conservative in his musical tastes. When he'd left university, he'd borrowed nine hundred dollars and started his own record label, Transition, which had put out some of the best experimental jazz of the fifties, produced by Wilson, including the debut albums by Sun Ra: [Excerpt: Sun Ra, "Brainville"] and Cecil Taylor: [Excerpt: Cecil Taylor, "Bemsha Swing"] Wilson later described his first impressions of Dylan: "I didn’t even particularly like folk music. I’d been recording Sun Ra and Coltrane … I thought folk music was for the dumb guys. This guy played like the dumb guys, but then these words came out. I was flabbergasted." Wilson would soon play a big part in Dylan's career, but for now his job was just to get those last few tracks for the album recorded. In the end, the final recording session for Dylan's second album was more than a year after the first one, and it came out into a very different context from when he'd started recording it. Because while Dylan was putting the finishing touches on his second album, Peter Paul and Mary were working on their third, and they were encouraged by Grossman to record three Bob Dylan songs, since that way Grossman would make more money from them. Their version of "Blowin' in the Wind" came out as a single a few weeks after The Freewheelin' Bob Dylan came out, and sold 300,000 copies in the first week: [Excerpt: Peter, Paul, and Mary, "Blowin' in the Wind"] The record went to number two on the charts, and their followup, "Don't Think Twice it's Alright", another Dylan song, went top ten as well.  "Blowin' in the Wind" became an instant standard, and was especially picked up by Black performers, as it became a civil rights anthem. Mavis Staples of the Staple Singers said later that she was astonished that a white man could write a line like "How many roads must a man walk down before you call him a man?", saying "That's what my father experienced" -- and the Staple Singers recorded it, of course: [Excerpt: The Staple Singers, "Blowin' in the Wind"] as did Sam Cooke: [Excerpt: Sam Cooke, "Blowin' in the Wind"] And Stevie Wonder: [Excerpt: Stevie Wonder, "Blowin' in the Wind"] But the song's most important performance came from Peter, Paul and Mary, performing it on a bill with Dylan, Odetta, Joan Baez, and Mahalia Jackson in August 1963, just as the song had started to descend the charts. Because those artists were the entertainment for the March on Washington, in which more than a quarter of a million people descended on Washington both to support President Kennedy's civil rights bill and to speak out and say that it wasn't going far enough. That was one of the great moments in American political history, full of incendiary speeches like the one by John Lewis: [Excerpt: John Lewis, March on Washington speech] But the most memorable moment at that march  came when Dr. King was giving his speech. Mahalia Jackson shouted out "Tell them about the dream, Martin", and King departed from his prepared words and instead improvised based on themes he'd used in other speeches previously, coming out with some of the most famous words ever spoken: [Excerpt: Martin Luther King, "I Have a Dream"] The civil rights movement was more than one moment, however inspiring, and white people like myself have a tendency to reduce it just to Dr. King, and to reduce Dr. King just to those words -- which is one reason why I quoted from Letter From Birmingham Jail earlier, as that is a much less safe and canonised piece of writing. But it's still true to say that if there is a single most important moment in the history of the post-war struggle for Black rights, it was that moment, and because of "Blowin' in the Wind", both Dylan and Peter, Paul and Mary were minor parts of that event. After 1963, Peter, Paul and Mary quickly became passe with the British Invasion, only having two more top ten hits, one with a novelty song in 1967 and one with "Leaving on a Jet Plane" in 1969. They split up in 1970, and around that time Yarrow was arrested and convicted for a sexual offence involving a fourteen-year-old girl, though he was later pardoned by President Carter. The group reformed in 1978 and toured the nostalgia circuit until Mary's death in 2009. The other two still occasionally perform together, as Peter and Noel Paul. Bob Dylan, of course, went on to bigger things after "Blowin' in the Wind" suddenly made him into the voice of a generation -- a position he didn't ask for and didn't seem to want. We'll be hearing much more from him. And we'll also be hearing more about the struggle for Black civil rights, as that's a story, much like Dylan's, that continues to this day.

04.29.20 Wednesday Mary Travers by Think Humanities

04.29.20 Wednesday — Mary Travers by Think Humanities

Meditation: "I've found a song let me sing it with you, let me say it now while meaning is new, but wouldn't be good if we can say it together?" -Mary Travers

Today's guest on the dHarmic evolution podcast is an emerging, independent singer/songwriter, from the San Francisco bay area. She calls her genre Timely Americana (She's inspired to write for the particular time that we live in). Her songs address issues such as; preservation of the natural world, homelessness, the political landscape, friendship and loss, and love of country. So, without further ado, strap up your seat belts, cause we're taking a ride with Kate Magdalena. Timestamps [5:10] Listen to A Larger Dance by Kate Magdalena. [9:55] Is the West a better place for artists to develop? [1:54] Kate gets into her recently released a full album. [21:31] Listen to Take me to the church by Kate [25:12] The story behind Take me to church [26:51] A bit of spiritual talk [31:05] Listen to New Earth by Kate Magdalena [34:55] A little inside tips on how to record with a better voice [40:11] Kate's ritual [46:49] Listen to Kate's Streets of Anytown [52:10] Kate's experience writing and filming the Streets of Anytown [2:27] Kate's new album Kate explains the inspiration and background of some of the songs that she's written. Included in her album are a couple of songs about saving the earth; One is called New Earth. A fantasy, visionary song about the kingdom of God, how the earth should be like it was in the beginning, and how it will be restored. The second is Long Live the Woods. Poetry inspired by Gerald Manly Hopkins, an English Christian poet from the 90s who wrote beautiful love poetry to God. [12:50] Kate's journey towards her Music Career Never really considered herself an artist for the better part of her life, Kate's focus was mostly on her studies and the world as she grew up. She spent her twenties in pursuit of spirituality and working various publication jobs for corporations. Eventually, she ended up being a teacher, a career she very much enjoyed due to her love for children. Despite her love for singing and music, Kate had no idea how to approach the music industry. And especially without the internet at the time, it all seemed pretty impossible. In the end, she had no option but to keep singing just as a hobby. But it all kept coming back. Kate found herself gravitating towards poetry (a niche she actually has a graduate degree in) and she began setting some of it towards music. Despite working with a couple of bands in the early 2000s, she felt that she didn't have enough knowledge on the music career as a whole, and this motivated her to go back to school and study music. Afterward, she spent the next 6 years of teaching music. Later on, she went to Seminary after having a conversion experience in 2009. It wasn't, however, until 2010, when everything globally was just crazy, is when Kate began to write. 2 years later she had written her full album. [17:15] Kate's View on Songwriting Despite taking a songwriting course and dropping it. Kate has never really studied songwriting. In her opinion, it's a creative process of going within and allowing the spirit to move. She also believes that it's a God-given talent, and gives total credit to God for the gift. Kate's creativity and passion for writing began with poetry. With time though, Kate's love for writing poetry slowly fade away, it lost meaning to her and she slowly found herself transitioning to songwriting. [18:17] Kate's icons while growing up To begin with, Kate's opinion on music is that the voice is literally formed through the ear. It's formed through listening to the music. As a child, some of the great musicians that inspired her to sing the way she does, include; Julie Andrews, Mary Travers, Joni Mitchell, and Barbara Streisand. Quotes: [1:00:21] We're living in biblical times, we need to keep our eyes open to see what is occurring, but we should not be afraid. [17:27] Songwriting is a God-given creative talent that involves going within and allowing the spirit to move Follow Kate:*Sign up to her email list to get a free download for her new song, New Earth and also be a part of Kate's family. Website www.katemagdalena.com Facebook @katemagdalenamusic Instagram @kate_magdalena Twitter @KateMagdalen Itunes https://itunes.apple.com/us/artist/kate-magdalena/1245277903 Thanks for joining us, and be sure to connect with us on social media! Follow our Host: www.thejamesoconnoragency.com Facebook Twitter Instagram Follow our Podcast www.dharmicevolution.com Check out our YouTube channel! Join our community on dHarmic Evolution Community Facebook Group  

Mary Travers (Louisville, 9 de noviembre de 1936 - Danbury, 16 de septiembre de 2009) fue una cantante y compositora estadounidense. Mary Travers fue integrante del trío: "Peter, Paul and Mary", un exitoso grupo musical estadounidense de música folk en la década de 1960.

Mary Travers (Louisville, 9 de noviembre de 1936 - Danbury, 16 de septiembre de 2009) fue una cantante y compositora estadounidense. Mary Travers fue integrante del trío: "Peter, Paul and Mary", un exitoso grupo musical estadounidense de música folk en la década de 1960.

Another cheap shot on Justice Kavanaugh.......What's next in Iran?.......Impeachment and Democrats......Jerry Parr 1930-2015 and the day that President Reagan was shot....Mary Travers 1936-2009.............and other stories............. Please check our blog or follow me on Twitter.... Check Carlos Guedes' schedule this week in Dallas......

With a recording career that has continued to grow since the 1970s, Jim's songs have been recorded by artists as diverse as Mary Travers and Elmo (from Sesame Street) Jim joined the Navy in 1963. In 1968, he moved to New York City and started playing the coffeehouse circuit. He joined a band called The Good Earth. When Kama Sutra/Buddha records released "Songman" in 1971, The songs from "Songman" received steady airplay on WNEW-FM. "Simple Song" became an anthem for many listeners looking for some healing and gentleness. Jim’s second album "You'll Never Be Lonely with Me" followed the same year and produced some of Jim's most memorable songs. Soon after, Terry Cashman and Tommy West were brought in to produce Jim’s third album. Cashman and West had recently been very successful producing Jim Croce’s hit records. Jim got a new record deal with RCA and they were off and running. The resulting album, simply titled "Jim Dawson", is one of the classic albums in pop music history. Great songs, great singing, great production. The songs from this album still bring cheers at Jim's shows and you can always see lot's of fans singing along. During this time, Jim's popularity continued to grow and he sold out shows at the Bitter End, My Father’s Place and the Schaefer Music Festival in the NYC area. "Elephants in the Rain" was Jim’s fourth album (second on RCA) and was again produced by Cashman and West. A worthy follow up to the "Jim Dawson" album, "Elephants" introduced great new JD songs like "Rainy Sunday" that fans still request today. Today, Jim is performing regularly in the NYC area. A production of LIU Public Radio. Visit us at WCWP.org

With a recording career that has continued to grow since the 1970s, Jim's songs have been recorded by artists as diverse as Mary Travers and Elmo (from Sesame Street)Jim joined the Navy in 1963. In 1968, he moved to New York City and started playing the coffeehouse circuit. He joined a band called The Good Earth.When Kama Sutra/Buddha records released "Songman" in 1971, The songs from "Songman" received steady airplay on WNEW-FM. "Simple Song" became an anthem for many listeners looking for some healing and gentleness.Jim’s second album "You'll Never Be Lonely with Me" followed the same year and produced some of Jim's most memorable songs. Soon after, Terry Cashman and Tommy West were brought in to produce Jim’s third album. Cashman and West had recently been very successful producing Jim Croce’s hit records. Jim got a new record deal with RCA and they were off and running.The resulting album, simply titled "Jim Dawson", is one of the classic albums in pop music history. Great songs, great singing, great production. The songs from this album still bring cheers at Jim's shows and you can always see lot's of fans singing along.During this time, Jim's popularity continued to grow and he sold out shows at the Bitter End, My Father’s Place and the Schaefer Music Festival in the NYC area."Elephants in the Rain" was Jim’s fourth album (second on RCA) and was again produced by Cashman and West. A worthy follow up to the "Jim Dawson" album, "Elephants" introduced great new JD songs like "Rainy Sunday" that fans still request today.Today, Jim is performing regularly in the NYC area.A production of LIU Public Radio. Visit us at WCWP.org

With a recording career that has continued to grow since the 1970s, Jim's songs have been recorded by artists as diverse as Mary Travers and Elmo (from Sesame Street) Jim joined the Navy in 1963. In 1968, he moved to New York City and started playing the coffeehouse circuit. He joined a band called The Good Earth. When Kama Sutra/Buddha records released "Songman" in 1971, The songs from "Songman" received steady airplay on WNEW-FM. "Simple Song" became an anthem for many listeners looking for some healing and gentleness. Jim’s second album "You'll Never Be Lonely with Me" followed the same year and produced some of Jim's most memorable songs. Soon after, Terry Cashman and Tommy West were brought in to produce Jim’s third album. Cashman and West had recently been very successful producing Jim Croce’s hit records. Jim got a new record deal with RCA and they were off and running. The resulting album, simply titled "Jim Dawson", is one of the classic albums in pop music history. Great songs, great singing, great production. The songs from this album still bring cheers at Jim's shows and you can always see lot's of fans singing along. During this time, Jim's popularity continued to grow and he sold out shows at the Bitter End, My Father’s Place and the Schaefer Music Festival in the NYC area. "Elephants in the Rain" was Jim’s fourth album (second on RCA) and was again produced by Cashman and West. A worthy follow up to the "Jim Dawson" album, "Elephants" introduced great new JD songs like "Rainy Sunday" that fans still request today. Today, Jim is performing regularly in the NYC area.

275 - Martin Charnin Martin Charnin has passed away, he was an absolute giant in the world of American theatre. In this interview conducted a few years back, he talked about his life as a lyricist in the American theatre as well as the songs he has written for notable people such as Barbra Streisand, Johnny Mathis, Tony Bennett and Rod McKuen. Charnin was the original lyricist-director of “Annie,” which played 2,377 performances in it's original Broadway run. He went on to write lyrics and direct many musicals.  As an actor, he appeared in over 1,000 appearances of “West Side Story” on Broadway and on the road. He wrote, directed and produced nightclub acts for such personalities as Dionne Warwick, Nancy Wilson, Mary Travers and Leslie Uggams. Martin Charnin was also the Artistic Director of the SHOWTUNES! Theatre Company in Seattle, Washington. Martin Charnin remained vital and active, working until the very end.   It was great to delve into the mind of one of theatre's true icons. I ask that you join me in remembering him. I hope you enjoy listening to our interview. Support The Paul Leslie Hour by donating to their Tip Jar: https://tips.pinecast.com/jar/the-paul-leslie-hour

Au début des années 1930, le Québec est frappé de plein fouet par la Grande Dépression. Le taux de chômage est catastrophique et le moral de la population est au plus bas. C'est à cette époque qu'une femme va atteindre la gloire en chantant des paroles d'espoir à ses contemporains, Mary Travers dite La Bolduc. Patreon: https://www.patreon.com/hndl Avec: Laurent Turcot Recherche: Pierre Lavoie, doctorat en histoire à l'Université de Montréal. Images: Musée de la Gaspésie https://museedelagaspesie.ca/pages/exposition-virtuelle Bibliothèque et Archives Canada: https://www.bac-lac.gc.ca/fra/decouvrez/films-videos-enregistrements-sonores/gramophone-virtuel/Pages/mary-bolduc-bio.aspx Abonnez-vous à ma chaine: https://www.youtube.com/c/LHistoirenousledira Facebook: https://www.facebook.com/histoirenousledira Pour aller plus loin: David Lonergan, La Bolduc : La vie de Mary Travers, Triptyque, 1992. Christine Dufour, La Bolduc. Mary Travers Bolduc, la Turluteuse du peuple, XYZ éditeur, 2001. Monique Leclerc, Les chansons de la Bolduc : manifestation de la culture populaire à Montréal (1928-40), McGill, 1974. #histoire documentaire

L'histoire de Mary Travers, dite La Bolduc, racontée par Steve Normandin.

Today in 1963, the influential American folk music group, The Weavers, gave their farewell concert at Orchestra Hall in Chicago. On today's "A Day in the Life," we learn why Mary Travers of "Peter, Paul, and Mary" credits The Weavers with the very existence of her group and we learn what happens to a group when its two founding members, Pete Seeger and Lee Hays are accused of being Communists.

Peter Yarrow and Noel Paul Stookey of Peter Paul & Mary join host Robin Milling for a little reminiscing, a little music, and fond thoughts of their dear friend Mary Travers. Their new children's book It's Raining, It's Pouring illustrated by Christine Davenier features a CD with three songs performed by the trio, tucked in the back cover.  Peter and Paul serenade Robin with the song, originally recorded for their debut album in 1961, Peter Paul and Mary, along with their classic hit Leaving On A Jet Plane. They tell Robin where they were in the 60s, how Mary inspired the voice of a strong generation of women, and how their legacy will always live on through that wonderful music. They also introduce a new socially conscious song, Puff The Magic Occupier!

This Monday on Women's Magazine, we look back at stories related to women and gender issues which were underreported in both the mainstream and progressive media in 2010.   On Project Censored's Top 25 list for 2010, not one story has to do with women and gender issues. But that doesn't mean there was so much coverage of women's issues; rather, the stories related to women are so censored that even the watchdogs didn't notice them.   Tune in to hear about the Paycheck Fairness Act, cuts to Calworks and In-Home Support Services, radical queer critiques of marriage and the military, the African Feminist Forum, the rise in sexual assault in the U.S. military, shackling of pregnant women in California prisons, and more.   Plus we remember feminist icons Wilma Mankiller, Mary Daly and Dorothy Height and singers Abbey Lincoln and Mary Travers.   Plus the Women's Calendar. The post Womens Magazine – January 3, 2011 appeared first on KPFA.

This week on the Talk Theatre In Chicago podcast Tom Williams talks with Peter Yarrow who is best known from the folk music trio Peter, Paul and Mary. He talks about their upcoming show at Ravinia later this month as well as how they continue after the passing of Mary Travers.

This is a late tribute to Mary Travers of the folk group Peter, Paul & Mary. All songs performed by the group. I Dig Rock And Roll Music If I Had My Way If I Had A Hammer One Tin Soldier Blowin' In The Wind Where Have All The Flowers Gone I'd Like To Teach The World To Sing Leaving On A Jet Plane 500 Miles Day Is Done Puff The Magic Dragon

Movie Meltdown - Episode 41.1 - Aside from this week's top movies and latest news we also give a special tribute to Patrick Swayze. PLUS our exclusive interview with the man himself - BILLY DEE WILLIAMS - If that wasn't cool enough, we also discuss... Halloween 3D, Henry Gibson, Cliff's Edge, the not-so-popular Megan Fox, Patrick Lussier, Jim Carroll, Head Nazi of the Illinoise chapter, Matt Damon, Silent Hill 2, Mary Travers, The Beast, Clint Eastwood, Return to Castle Wolfenstein, Orry Main, Cloudy with a Chance of Meatballs, Lando on Robot Chicken, Aniston vs. Fox, Ridley Scott and an apocalyptic plague of bloodthirsty vampire test subjects. Bodhi's headed out to face the ultimate wave.

Matthew Socey reviews THE INFORMANT!, LOVE HAPPENS and the DVD release of WOLVERINE. He pays tribute to The Swayze, Henry Gibson, Mary Travers, Larry Gelbart and chats with Matthew Altizer of Owl Studios to preview Indy Jazz Fest.

On this very special edition of Subject:CINEMA, we explore the Harry Potter fandom when it comes to book fans vs movie fans! In Addition, we say goodbye to five we lost this week - Mary Travers,Jim Carroll, Henry Gibson, Paul Burke, and the one and only Patrick Swayze! A very BIG THANK YOU goes out to our special guests this week as part of the Subject:CINEMA Roundtable - Steve Gemma, Jenn Ruggeri, and Stacy Prezioso. Also, thank you to contributions by two shows that are good friends, and their hosts - Video Revue's Monica And Johnny Swanson; and Cavebabble's Eric and Amber Lyon! Subject :CINEMA is brought to you by Brookstone , your source for unique gifts and items for the gadget lover in all of us - http://brookstone.com!  Watch for more great Brookstone deals soon! AND BY E-music , with over 3 million choices for great tunes - and by visiting http://emusic.com/cinema , you will get 35 FREE DOWNLOADS during your 14 day trial! Check it out today! AND BY GoDaddy.Com , the world's #1 Domains provider!  You can get the best prices on domains, web space, and dozens of other internet services. And we've got THREE great deals for you: http://godaddy.com/?isc=sc5 - save 10% off your order! http://godaddy.com/?isc=sc6 - $5 off any order $30 or more on any items not already discounted http://godaddy.com/?isc=sc7 - .COM name for just $7.49 http://godaddy.com/?isc=sc20h 10% off 1, 2, &3 year hosting packages AND BY CCS.COM , your source for all the best prices on skateboarding and snowboarding clothes and equipment!  All the top name brands - Volcom, Burton, Vans, DC, and all the rest - we've got 'em all right here!  And look at what ELSE we've got for you: AFCINEMA - Free shipping on orders $30+ AFSUBCIN -  15% off orders $75 or more + Free Shipping Welcome aboard as S:C's latest sponsor! *** E-mail us at subjectcinema@popcornnroses.com Follow us on Twitter at http://twitter.com/popcornnroses Vote for Subject:CINEMA on Podcast Alley at http://podcastalley.com/podcast_details.php?pod_id=40952 We hope you'll spread the word about Subject:CINEMA to your friends - we love having all the listeners we can get!  NEXT WEEK: SUNDAY SEPTEMBER 27 2009 SUBJECT:CINEMA #189 - :"UNDERRATED THE FOURTH" It's our fourth annual Underrated show, when Kim and TC will recommend 12 movies that we think deserve a check even though the critics, the public, or both absolutely crapped on! It's our "Put It On Your Rental Queue, Part One" for 2009! Remember, you can find the complete calendar of upcoming shows on our websites! Our BRAND NEW Google Calendar is available on our main site, and you can add us to your Google Calendar as well! And as always, even more complete show notes are available on our website at http://popcornnroses.com and http://subjectcinema.com !    Keep tuned in throughout the week at PNR for the latest news and commentary, and we'll see you with another brand new edition of S:C in seven days!

RIP Mary Travers. Thanks for the music.

A star-studded promo for On Bleecker Street with Peter Asher, Mary Travers, Chubby Checker, Del Shannon, Screaming Jay Hawkins, Melanie, The Righteous Brothers, James Brown, Dr. Hook, Tiny Tim, John Sebastian, Dr. John, Gary Owens, Mary Wells, Dick Clark, Gary Puckett, Darlene Love, Mary Wells, Lulu, Iron Butterfly, Odetta and Joey Dee all introducing Don. (Be sure to see our whole Sixties Net web site ( www.sixties.net ) and Celebrate Radio too ( www.celebrateradio.com )