Podcast appearances and mentions of noah johnson

Subscribe to Throwing Fits on Substack. Our interview with Noah Johnson is a throwback. Our old pal Noah—the editor-in-chief of Highsnobiety—makes his glorious return to the show for a couple of beers and a catch-up on his new gig and the pitch that got him on board, generalists vs. specifics and rizz vs. aura, EIC more like CEO, watercooler politics, fixing his notoriously sour attitude, nuclear op-ed rage clicks, lessons from working at GQ, if Gen Z should aspire to work in media and if they're qualified, the outpouring of love he got, the paradox of everything being cool now which in turn kinda sucks, what's exciting in menswear and his favorite brands, he thinks he deserves credit for a lot of things to be honest, how to fix social media, trend du jours and -cores, A.PRESSE is putting asses in seats, AI, his media diet is Substack heavy, jumping to the defense of his bestie Evan Kinori getting ripped off by Zara, wearing a burlap sack to date night and much more on Noah Johnson's interview with The Only Podcast That Matters™.

Join Dr. Pamela, special co-host Bella, and guest Noah Johnson for the second part of an inspiring journey of faith, obedience, and personal growth. In this episode, Noah dives deeper into his story, sharing powerful experiences of trusting God, letting go of past identities, and finding freedom through obedience.

Join Dr. Pamela Henkel and special co-host Bella on "Purpose by Design" as they welcome Noah Johnson from VSM for a heartwarming and inspiring conversation on faith, purpose, and healing.

Message from Noah Johnson on July 23, 2023

Episode 166 of A History of Rock Music in Five Hundred Songs looks at “Crossroads", Cream, the myth of Robert Johnson, and whether white men can sing the blues. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-eight-minute bonus episode available, on “Tip-Toe Thru' the Tulips" by Tiny Tim. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I talk about an interview with Clapton from 1967, I meant 1968. I mention a Graham Bond live recording from 1953, and of course meant 1963. I say Paul Jones was on vocals in the Powerhouse sessions. Steve Winwood was on vocals, and Jones was on harmonica. Resources As I say at the end, the main resource you need to get if you enjoyed this episode is Brother Robert by Annye Anderson, Robert Johnson's stepsister. There are three Mixcloud mixes this time. As there are so many songs by Cream, Robert Johnson, John Mayall, and Graham Bond excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here -- one, two, three. This article on Mack McCormick gives a fuller explanation of the problems with his research and behaviour. The other books I used for the Robert Johnson sections were McCormick's Biography of a Phantom; Up Jumped the Devil: The Real Life of Robert Johnson, by Bruce Conforth and Gayle Dean Wardlow; Searching for Robert Johnson by Peter Guralnick; and Escaping the Delta by Elijah Wald. I can recommend all of these subject to the caveats at the end of the episode. The information on the history and prehistory of the Delta blues mostly comes from Before Elvis by Larry Birnbaum, with some coming from Charley Patton by John Fahey. The information on Cream comes mostly from Cream: How Eric Clapton Took the World by Storm by Dave Thompson. I also used Ginger Baker: Hellraiser by Ginger Baker and Ginette Baker, Mr Showbiz by Stephen Dando-Collins, Motherless Child by Paul Scott, and  Alexis Korner: The Biography by Harry Shapiro. The best collection of Cream's work is the four-CD set Those Were the Days, which contains every track the group ever released while they were together (though only the stereo mixes of the albums, and a couple of tracks are in slightly different edits from the originals). You can get Johnson's music on many budget compilation records, as it's in the public domain in the EU, but the double CD collection produced by Steve LaVere for Sony in 2011 is, despite the problems that come from it being associated with LaVere, far and away the best option -- the remasters have a clarity that's worlds ahead of even the 1990s CD version it replaced. And for a good single-CD introduction to the Delta blues musicians and songsters who were Johnson's peers and inspirations, Back to the Crossroads: The Roots of Robert Johnson, compiled by Elijah Wald as a companion to his book on Johnson, can't be beaten, and contains many of the tracks excerpted in this episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick note that this episode contains discussion of racism, drug addiction, and early death. There's also a brief mention of death in childbirth and infant mortality. It's been a while since we looked at the British blues movement, and at the blues in general, so some of you may find some of what follows familiar, as we're going to look at some things we've talked about previously, but from a different angle. In 1968, the Bonzo Dog Band, a comedy musical band that have been described as the missing link between the Beatles and the Monty Python team, released a track called "Can Blue Men Sing the Whites?": [Excerpt: The Bonzo Dog Band, "Can Blue Men Sing the Whites?"] That track was mocking a discussion that was very prominent in Britain's music magazines around that time. 1968 saw the rise of a *lot* of British bands who started out as blues bands, though many of them went on to different styles of music -- Fleetwood Mac, Ten Years After, Jethro Tull, Chicken Shack and others were all becoming popular among the kind of people who read the music magazines, and so the question was being asked -- can white men sing the blues? Of course, the answer to that question was obvious. After all, white men *invented* the blues. Before we get any further at all, I have to make clear that I do *not* mean that white people created blues music. But "the blues" as a category, and particularly the idea of it as a music made largely by solo male performers playing guitar... that was created and shaped by the actions of white male record executives. There is no consensus as to when or how the blues as a genre started -- as we often say in this podcast "there is no first anything", but like every genre it seems to have come from multiple sources. In the case of the blues, there's probably some influence from African music by way of field chants sung by enslaved people, possibly some influence from Arabic music as well, definitely some influence from the Irish and British folk songs that by the late nineteenth century were developing into what we now call country music, a lot from ragtime, and a lot of influence from vaudeville and minstrel songs -- which in turn themselves were all very influenced by all those other things. Probably the first published composition to show any real influence of the blues is from 1904, a ragtime piano piece by James Chapman and Leroy Smith, "One O' Them Things": [Excerpt: "One O' Them Things"] That's not very recognisable as a blues piece yet, but it is more-or-less a twelve-bar blues. But the blues developed, and it developed as a result of a series of commercial waves. The first of these came in 1914, with the success of W.C. Handy's "Memphis Blues", which when it was recorded by the Victor Military Band for a phonograph cylinder became what is generally considered the first blues record proper: [Excerpt: The Victor Military Band, "Memphis Blues"] The famous dancers Vernon and Irene Castle came up with a dance, the foxtrot -- which Vernon Castle later admitted was largely inspired by Black dancers -- to be danced to the "Memphis Blues", and the foxtrot soon overtook the tango, which the Castles had introduced to the US the previous year, to become the most popular dance in America for the best part of three decades. And with that came an explosion in blues in the Handy style, cranked out by every music publisher. While the blues was a style largely created by Black performers and writers, the segregated nature of the American music industry at the time meant that most vocal performances of these early blues that were captured on record were by white performers, Black vocalists at this time only rarely getting the chance to record. The first blues record with a Black vocalist is also technically the first British blues record. A group of Black musicians, apparently mostly American but led by a Jamaican pianist, played at Ciro's Club in London, and recorded many tracks in Britain, under a name which I'm not going to say in full -- it started with Ciro's Club, and continued alliteratively with another word starting with C, a slur for Black people. In 1917 they recorded a vocal version of "St. Louis Blues", another W.C. Handy composition: [Excerpt: Ciro's Club C**n Orchestra, "St. Louis Blues"] The first American Black blues vocal didn't come until two years later, when Bert Williams, a Black minstrel-show performer who like many Black performers of his era performed in blackface even though he was Black, recorded “I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,” [Excerpt: Bert Williams, "I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,”] But it wasn't until 1920 that the second, bigger, wave of popularity started for the blues, and this time it started with the first record of a Black *woman* singing the blues -- Mamie Smith's "Crazy Blues": [Excerpt: Mamie Smith, "Crazy Blues"] You can hear the difference between that and anything we've heard up to that point -- that's the first record that anyone from our perspective, a hundred and three years later, would listen to and say that it bore any resemblance to what we think of as the blues -- so much so that many places still credit it as the first ever blues record. And there's a reason for that. "Crazy Blues" was one of those records that separates the music industry into before and after, like "Rock Around the Clock", "I Want to Hold Your Hand", Sgt Pepper, or "Rapper's Delight". It sold seventy-five thousand copies in its first month -- a massive number by the standards of 1920 -- and purportedly went on to sell over a million copies. Sales figures and market analysis weren't really a thing in the same way in 1920, but even so it became very obvious that "Crazy Blues" was a big hit, and that unlike pretty much any other previous records, it was a big hit among Black listeners, which meant that there was a market for music aimed at Black people that was going untapped. Soon all the major record labels were setting up subsidiaries devoted to what they called "race music", music made by and for Black people. And this sees the birth of what is now known as "classic blues", but at the time (and for decades after) was just what people thought of when they thought of "the blues" as a genre. This was music primarily sung by female vaudeville artists backed by jazz bands, people like Ma Rainey (whose earliest recordings featured Louis Armstrong in her backing band): [Excerpt: Ma Rainey, "See See Rider Blues"] And Bessie Smith, the "Empress of the Blues", who had a massive career in the 1920s before the Great Depression caused many of these "race record" labels to fold, but who carried on performing well into the 1930s -- her last recording was in 1933, produced by John Hammond, with a backing band including Benny Goodman and Jack Teagarden: [Excerpt: Bessie Smith, "Give Me a Pigfoot and a Bottle of Beer"] It wouldn't be until several years after the boom started by Mamie Smith that any record companies turned to recording Black men singing the blues accompanied by guitar or banjo. The first record of this type is probably "Norfolk Blues" by Reese DuPree from 1924: [Excerpt: Reese DuPree, "Norfolk Blues"] And there were occasional other records of this type, like "Airy Man Blues" by Papa Charlie Jackson, who was advertised as the “only man living who sings, self-accompanied, for Blues records.” [Excerpt: Papa Charlie Jackson, "Airy Man Blues"] But contrary to the way these are seen today, at the time they weren't seen as being in some way "authentic", or "folk music". Indeed, there are many quotes from folk-music collectors of the time (sadly all of them using so many slurs that it's impossible for me to accurately quote them) saying that when people sang the blues, that wasn't authentic Black folk music at all but an adulteration from commercial music -- they'd clearly, according to these folk-music scholars, learned the blues style from records and sheet music rather than as part of an oral tradition. Most of these performers were people who recorded blues as part of a wider range of material, like Blind Blake, who recorded some blues music but whose best work was his ragtime guitar instrumentals: [Excerpt: Blind Blake, "Southern Rag"] But it was when Blind Lemon Jefferson started recording for Paramount records in 1926 that the image of the blues as we now think of it took shape. His first record, "Got the Blues", was a massive success: [Excerpt: Blind Lemon Jefferson, "Got the Blues"] And this resulted in many labels, especially Paramount, signing up pretty much every Black man with a guitar they could find in the hopes of finding another Blind Lemon Jefferson. But the thing is, this generation of people making blues records, and the generation that followed them, didn't think of themselves as "blues singers" or "bluesmen". They were songsters. Songsters were entertainers, and their job was to sing and play whatever the audiences would want to hear. That included the blues, of course, but it also included... well, every song anyone would want to hear.  They'd perform old folk songs, vaudeville songs, songs that they'd heard on the radio or the jukebox -- whatever the audience wanted. Robert Johnson, for example, was known to particularly love playing polka music, and also adored the records of Jimmie Rodgers, the first country music superstar. In 1941, when Alan Lomax first recorded Muddy Waters, he asked Waters what kind of songs he normally played in performances, and he was given a list that included "Home on the Range", Gene Autry's "I've Got Spurs That Jingle Jangle Jingle", and Glenn Miller's "Chattanooga Choo-Choo". We have few recordings of these people performing this kind of song though. One of the few we have is Big Bill Broonzy, who was just about the only artist of this type not to get pigeonholed as just a blues singer, even though blues is what made him famous, and who later in his career managed to record songs like the Tin Pan Alley standard "The Glory of Love": [Excerpt: Big Bill Broonzy, "The Glory of Love"] But for the most part, the image we have of the blues comes down to one man, Arthur Laibley, a sales manager for the Wisconsin Chair Company. The Wisconsin Chair Company was, as the name would suggest, a company that started out making wooden chairs, but it had branched out into other forms of wooden furniture -- including, for a brief time, large wooden phonographs. And, like several other manufacturers, like the Radio Corporation of America -- RCA -- and the Gramophone Company, which became EMI, they realised that if they were going to sell the hardware it made sense to sell the software as well, and had started up Paramount Records, which bought up a small label, Black Swan, and soon became the biggest manufacturer of records for the Black market, putting out roughly a quarter of all "race records" released between 1922 and 1932. At first, most of these were produced by a Black talent scout, J. Mayo Williams, who had been the first person to record Ma Rainey, Papa Charlie Jackson, and Blind Lemon Jefferson, but in 1927 Williams left Paramount, and the job of supervising sessions went to Arthur Laibley, though according to some sources a lot of the actual production work was done by Aletha Dickerson, Williams' former assistant, who was almost certainly the first Black woman to be what we would now think of as a record producer. Williams had been interested in recording all kinds of music by Black performers, but when Laibley got a solo Black man into the studio, what he wanted more than anything was for him to record the blues, ideally in a style as close as possible to that of Blind Lemon Jefferson. Laibley didn't have a very hands-on approach to recording -- indeed Paramount had very little concern about the quality of their product anyway, and Paramount's records are notorious for having been put out on poor-quality shellac and recorded badly -- and he only occasionally made actual suggestions as to what kind of songs his performers should write -- for example he asked Son House to write something that sounded like Blind Lemon Jefferson, which led to House writing and recording "Mississippi County Farm Blues", which steals the tune of Jefferson's "See That My Grave is Kept Clean": [Excerpt: Son House, "Mississippi County Farm Blues"] When Skip James wanted to record a cover of James Wiggins' "Forty-Four Blues", Laibley suggested that instead he should do a song about a different gun, and so James recorded "Twenty-Two Twenty Blues": [Excerpt: Skip James, "Twenty-Two Twenty Blues"] And Laibley also suggested that James write a song about the Depression, which led to one of the greatest blues records ever, "Hard Time Killing Floor Blues": [Excerpt: Skip James, "Hard Time Killing Floor Blues"] These musicians knew that they were getting paid only for issued sides, and that Laibley wanted only blues from them, and so that's what they gave him. Even when it was a performer like Charlie Patton. (Incidentally, for those reading this as a transcript rather than listening to it, Patton's name is more usually spelled ending in ey, but as far as I can tell ie was his preferred spelling and that's what I'm using). Charlie Patton was best known as an entertainer, first and foremost -- someone who would do song-and-dance routines, joke around, play guitar behind his head. He was a clown on stage, so much so that when Son House finally heard some of Patton's records, in the mid-sixties, decades after the fact, he was astonished that Patton could actually play well. Even though House had been in the room when some of the records were made, his memory of Patton was of someone who acted the fool on stage. That's definitely not the impression you get from the Charlie Patton on record: [Excerpt: Charlie Patton, "Poor Me"] Patton is, as far as can be discerned, the person who was most influential in creating the music that became called the "Delta blues". Not a lot is known about Patton's life, but he was almost certainly the half-brother of the Chatmon brothers, who made hundreds of records, most notably as members of the Mississippi Sheiks: [Excerpt: The Mississippi Sheiks, "Sitting on Top of the World"] In the 1890s, Patton's family moved to Sunflower County, Mississippi, and he lived in and around that county until his death in 1934. Patton learned to play guitar from a musician called Henry Sloan, and then Patton became a mentor figure to a *lot* of other musicians in and around the plantation on which his family lived. Some of the musicians who grew up in the immediate area around Patton included Tommy Johnson: [Excerpt: Tommy Johnson, "Big Road Blues"] Pops Staples: [Excerpt: The Staple Singers, "Will The Circle Be Unbroken"] Robert Johnson: [Excerpt: Robert Johnson, "Crossroads"] Willie Brown, a musician who didn't record much, but who played a lot with Patton, Son House, and Robert Johnson and who we just heard Johnson sing about: [Excerpt: Willie Brown, "M&O Blues"] And Chester Burnett, who went on to become known as Howlin' Wolf, and whose vocal style was equally inspired by Patton and by the country star Jimmie Rodgers: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] Once Patton started his own recording career for Paramount, he also started working as a talent scout for them, and it was him who brought Son House to Paramount. Soon after the Depression hit, Paramount stopped recording, and so from 1930 through 1934 Patton didn't make any records. He was tracked down by an A&R man in January 1934 and recorded one final session: [Excerpt, Charlie Patton, "34 Blues"] But he died of heart failure two months later. But his influence spread through his proteges, and they themselves influenced other musicians from the area who came along a little after, like Robert Lockwood and Muddy Waters. This music -- or that portion of it that was considered worth recording by white record producers, only a tiny, unrepresentative, portion of their vast performing repertoires -- became known as the Delta Blues, and when some of these musicians moved to Chicago and started performing with electric instruments, it became Chicago Blues. And as far as people like John Mayall in Britain were concerned, Delta and Chicago Blues *were* the blues: [Excerpt: John Mayall and the Bluesbreakers, "It Ain't Right"] John Mayall was one of the first of the British blues obsessives, and for a long time thought of himself as the only one. While we've looked before at the growth of the London blues scene, Mayall wasn't from London -- he was born in Macclesfield and grew up in Cheadle Hulme, both relatively well-off suburbs of Manchester, and after being conscripted and doing two years in the Army, he had become an art student at Manchester College of Art, what is now Manchester Metropolitan University. Mayall had been a blues fan from the late 1940s, writing off to the US to order records that hadn't been released in the UK, and by most accounts by the late fifties he'd put together the biggest blues collection in Britain by quite some way. Not only that, but he had one of the earliest home tape recorders, and every night he would record radio stations from Continental Europe which were broadcasting for American service personnel, so he'd amassed mountains of recordings, often unlabelled, of obscure blues records that nobody else in the UK knew about. He was also an accomplished pianist and guitar player, and in 1956 he and his drummer friend Peter Ward had put together a band called the Powerhouse Four (the other two members rotated on a regular basis) mostly to play lunchtime jazz sessions at the art college. Mayall also started putting on jam sessions at a youth club in Wythenshawe, where he met another drummer named Hughie Flint. Over the late fifties and into the early sixties, Mayall more or less by himself built up a small blues scene in Manchester. The Manchester blues scene was so enthusiastic, in fact, that when the American Folk Blues Festival, an annual European tour which initially featured Willie Dixon, Memhis Slim, T-Bone Walker, Sonny Terry & Brownie McGhee, and John Lee Hooker, first toured Europe, the only UK date it played was at the Manchester Free Trade Hall, and people like Mick Jagger, Keith Richards, Brian Jones and Jimmy Page had to travel up from London to see it. But still, the number of blues fans in Manchester, while proportionally large, was objectively small enough that Mayall was captivated by an article in Melody Maker which talked about Alexis Korner and Cyril Davies' new band Blues Incorporated and how it was playing electric blues, the same music he was making in Manchester. He later talked about how the article had made him think that maybe now people would know what he was talking about. He started travelling down to London to play gigs for the London blues scene, and inviting Korner up to Manchester to play shows there. Soon Mayall had moved down to London. Korner introduced Mayall to Davey Graham, the great folk guitarist, with whom Korner had recently recorded as a duo: [Excerpt: Alexis Korner and Davey Graham, "3/4 AD"] Mayall and Graham performed together as a duo for a while, but Graham was a natural solo artist if ever there was one. Slowly Mayall put a band together in London. On drums was his old friend Peter Ward, who'd moved down from Manchester with him. On bass was John McVie, who at the time knew nothing about blues -- he'd been playing in a Shadows-style instrumental group -- but Mayall gave him a stack of blues records to listen to to get the feeling. And on guitar was Bernie Watson, who had previously played with Screaming Lord Sutch and the Savages. In late 1963, Mike Vernon, a blues fan who had previously published a Yardbirds fanzine, got a job working for Decca records, and immediately started signing his favourite acts from the London blues circuit. The first act he signed was John Mayall and the Bluesbreakers, and they recorded a single, "Crawling up a Hill": [Excerpt: John Mayall and the Bluesbreakers, "Crawling up a Hill (45 version)"] Mayall later called that a "clumsy, half-witted attempt at autobiographical comment", and it sold only five hundred copies. It would be the only record the Bluesbreakers would make with Watson, who soon left the band to be replaced by Roger Dean (not the same Roger Dean who later went on to design prog rock album covers). The second group to be signed by Mike Vernon to Decca was the Graham Bond Organisation. We've talked about the Graham Bond Organisation in passing several times, but not for a while and not in any great detail, so it's worth pulling everything we've said about them so far together and going through it in a little more detail. The Graham Bond Organisation, like the Rolling Stones, grew out of Alexis Korner's Blues Incorporated. As we heard in the episode on "I Wanna Be Your Man" a couple of years ago, Blues Incorporated had been started by Alexis Korner and Cyril Davies, and at the time we're joining them in 1962 featured a drummer called Charlie Watts, a pianist called Dave Stevens, and saxophone player Dick Heckstall-Smith, as well as frequent guest performers like a singer who called himself Mike Jagger, and another one, Roderick Stewart. That group finally found themselves the perfect bass player when Dick Heckstall-Smith put together a one-off group of jazz players to play an event at Cambridge University. At the gig, a little Scottish man came up to the group and told them he played bass and asked if he could sit in. They told him to bring along his instrument to their second set, that night, and he did actually bring along a double bass. Their bluff having been called, they decided to play the most complicated, difficult, piece they knew in order to throw the kid off -- the drummer, a trad jazz player named Ginger Baker, didn't like performing with random sit-in guests -- but astonishingly he turned out to be really good. Heckstall-Smith took down the bass player's name and phone number and invited him to a jam session with Blues Incorporated. After that jam session, Jack Bruce quickly became the group's full-time bass player. Bruce had started out as a classical cellist, but had switched to the double bass inspired by Bach, who he referred to as "the guv'nor of all bass players". His playing up to this point had mostly been in trad jazz bands, and he knew nothing of the blues, but he quickly got the hang of the genre. Bruce's first show with Blues Incorporated was a BBC recording: [Excerpt: Blues Incorporated, "Hoochie Coochie Man (BBC session)"] According to at least one source it was not being asked to take part in that session that made young Mike Jagger decide there was no future for him with Blues Incorporated and to spend more time with his other group, the Rollin' Stones. Soon after, Charlie Watts would join him, for almost the opposite reason -- Watts didn't want to be in a band that was getting as big as Blues Incorporated were. They were starting to do more BBC sessions and get more gigs, and having to join the Musicians' Union. That seemed like a lot of work. Far better to join a band like the Rollin' Stones that wasn't going anywhere. Because of Watts' decision to give up on potential stardom to become a Rollin' Stone, they needed a new drummer, and luckily the best drummer on the scene was available. But then the best drummer on the scene was *always* available. Ginger Baker had first played with Dick Heckstall-Smith several years earlier, in a trad group called the Storyville Jazzmen. There Baker had become obsessed with the New Orleans jazz drummer Baby Dodds, who had played with Louis Armstrong in the 1920s. Sadly because of 1920s recording technology, he hadn't been able to play a full kit on the recordings with Armstrong, being limited to percussion on just a woodblock, but you can hear his drumming style much better in this version of "At the Jazz Band Ball" from 1947, with Mugsy Spanier, Jack Teagarden, Cyrus St. Clair and Hank Duncan: [Excerpt: "At the Jazz Band Ball"] Baker had taken Dobbs' style and run with it, and had quickly become known as the single best player, bar none, on the London jazz scene -- he'd become an accomplished player in multiple styles, and was also fluent in reading music and arranging. He'd also, though, become known as the single person on the entire scene who was most difficult to get along with. He resigned from his first band onstage, shouting "You can stick your band up your arse", after the band's leader had had enough of him incorporating bebop influences into their trad style. Another time, when touring with Diz Disley's band, he was dumped in Germany with no money and no way to get home, because the band were so sick of him. Sometimes this was because of his temper and his unwillingness to suffer fools -- and he saw everyone else he ever met as a fool -- and sometimes it was because of his own rigorous musical ideas. He wanted to play music *his* way, and wouldn't listen to anyone who told him different. Both of these things got worse after he fell under the influence of a man named Phil Seaman, one of the only drummers that Baker respected at all. Seaman introduced Baker to African drumming, and Baker started incorporating complex polyrhythms into his playing as a result. Seaman also though introduced Baker to heroin, and while being a heroin addict in the UK in the 1960s was not as difficult as it later became -- both heroin and cocaine were available on prescription to registered addicts, and Baker got both, which meant that many of the problems that come from criminalisation of these drugs didn't affect addicts in the same way -- but it still did not, by all accounts, make him an easier person to get along with. But he *was* a fantastic drummer. As Dick Heckstall-Smith said "With the advent of Ginger, the classic Blues Incorporated line-up, one which I think could not be bettered, was set" But Alexis Korner decided that the group could be bettered, and he had some backers within the band. One of the other bands on the scene was the Don Rendell Quintet, a group that played soul jazz -- that style of jazz that bridged modern jazz and R&B, the kind of music that Ray Charles and Herbie Hancock played: [Excerpt: The Don Rendell Quintet, "Manumission"] The Don Rendell Quintet included a fantastic multi-instrumentalist, Graham Bond, who doubled on keyboards and saxophone, and Bond had been playing occasional experimental gigs with the Johnny Burch Octet -- a group led by another member of the Rendell Quartet featuring Heckstall-Smith, Bruce, Baker, and a few other musicians, doing wholly-improvised music. Heckstall-Smith, Bruce, and Baker all enjoyed playing with Bond, and when Korner decided to bring him into the band, they were all very keen. But Cyril Davies, the co-leader of the band with Korner, was furious at the idea. Davies wanted to play strict Chicago and Delta blues, and had no truck with other forms of music like R&B and jazz. To his mind it was bad enough that they had a sax player. But the idea that they would bring in Bond, who played sax and... *Hammond* organ? Well, that was practically blasphemy. Davies quit the group at the mere suggestion. Bond was soon in the band, and he, Bruce, and Baker were playing together a *lot*. As well as performing with Blues Incorporated, they continued playing in the Johnny Burch Octet, and they also started performing as the Graham Bond Trio. Sometimes the Graham Bond Trio would be Blues Incorporated's opening act, and on more than one occasion the Graham Bond Trio, Blues Incorporated, and the Johnny Burch Octet all had gigs in different parts of London on the same night and they'd have to frantically get from one to the other. The Graham Bond Trio also had fans in Manchester, thanks to the local blues scene there and their connection with Blues Incorporated, and one night in February 1963 the trio played a gig there. They realised afterwards that by playing as a trio they'd made £70, when they were lucky to make £20 from a gig with Blues Incorporated or the Octet, because there were so many members in those bands. Bond wanted to make real money, and at the next rehearsal of Blues Incorporated he announced to Korner that he, Bruce, and Baker were quitting the band -- which was news to Bruce and Baker, who he hadn't bothered consulting. Baker, indeed, was in the toilet when the announcement was made and came out to find it a done deal. He was going to kick up a fuss and say he hadn't been consulted, but Korner's reaction sealed the deal. As Baker later said "‘he said “it's really good you're doing this thing with Graham, and I wish you the best of luck” and all that. And it was a bit difficult to turn round and say, “Well, I don't really want to leave the band, you know.”'" The Graham Bond Trio struggled at first to get the gigs they were expecting, but that started to change when in April 1963 they became the Graham Bond Quartet, with the addition of virtuoso guitarist John McLaughlin. The Quartet soon became one of the hottest bands on the London R&B scene, and when Duffy Power, a Larry Parnes teen idol who wanted to move into R&B, asked his record label to get him a good R&B band to back him on a Beatles cover, it was the Graham Bond Quartet who obliged: [Excerpt: Duffy Power, "I Saw Her Standing There"] The Quartet also backed Power on a package tour with other Parnes acts, but they were also still performing their own blend of hard jazz and blues, as can be heard in this recording of the group live in June 1953: [Excerpt: The Graham Bond Quartet, "Ho Ho Country Kicking Blues (Live at Klooks Kleek)"] But that lineup of the group didn't last very long. According to the way Baker told the story, he fired McLaughlin from the group, after being irritated by McLaughlin complaining about something on a day when Baker was out of cocaine and in no mood to hear anyone else's complaints. As Baker said "We lost a great guitar player and I lost a good friend." But the Trio soon became a Quartet again, as Dick Heckstall-Smith, who Baker had wanted in the band from the start, joined on saxophone to replace McLaughlin's guitar. But they were no longer called the Graham Bond Quartet. Partly because Heckstall-Smith joining allowed Bond to concentrate just on his keyboard playing, but one suspects partly to protect against any future lineup changes, the group were now The Graham Bond ORGANisation -- emphasis on the organ. The new lineup of the group got signed to Decca by Vernon, and were soon recording their first single, "Long Tall Shorty": [Excerpt: The Graham Bond Organisation, "Long Tall Shorty"] They recorded a few other songs which made their way onto an EP and an R&B compilation, and toured intensively in early 1964, as well as backing up Power on his follow-up to "I Saw Her Standing There", his version of "Parchman Farm": [Excerpt: Duffy Power, "Parchman Farm"] They also appeared in a film, just like the Beatles, though it was possibly not quite as artistically successful as "A Hard Day's Night": [Excerpt: Gonks Go Beat trailer] Gonks Go Beat is one of the most bizarre films of the sixties. It's a far-future remake of Romeo and Juliet. where the two star-crossed lovers are from opposing countries -- Beatland and Ballad Isle -- who only communicate once a year in an annual song contest which acts as their version of a war, and is overseen by "Mr. A&R", played by Frank Thornton, who would later star in Are You Being Served? Carry On star Kenneth Connor is sent by aliens to try to bring peace to the two warring countries, on pain of exile to Planet Gonk, a planet inhabited solely by Gonks (a kind of novelty toy for which there was a short-lived craze then). Along the way Connor encounters such luminaries of British light entertainment as Terry Scott and Arthur Mullard, as well as musical performances by Lulu, the Nashville Teens, and of course the Graham Bond Organisation, whose performance gets them a telling-off from a teacher: [Excerpt: Gonks Go Beat!] The group as a group only performed one song in this cinematic masterpiece, but Baker also made an appearance in a "drum battle" sequence where eight drummers played together: [Excerpt: Gonks Go Beat drum battle] The other drummers in that scene included, as well as some lesser-known players, Andy White who had played on the single version of "Love Me Do", Bobby Graham, who played on hits by the Kinks and the Dave Clark Five, and Ronnie Verrell, who did the drumming for Animal in the Muppet Show. Also in summer 1964, the group performed at the Fourth National Jazz & Blues Festival in Richmond -- the festival co-founded by Chris Barber that would evolve into the Reading Festival. The Yardbirds were on the bill, and at the end of their set they invited Bond, Baker, Bruce, Georgie Fame, and Mike Vernon onto the stage with them, making that the first time that Eric Clapton, Ginger Baker, and Jack Bruce were all on stage together. Soon after that, the Graham Bond Organisation got a new manager, Robert Stigwood. Things hadn't been working out for them at Decca, and Stigwood soon got the group signed to EMI, and became their producer as well. Their first single under Stigwood's management was a cover version of the theme tune to the Debbie Reynolds film "Tammy". While that film had given Tamla records its name, the song was hardly an R&B classic: [Excerpt: The Graham Bond Organisation, "Tammy"] That record didn't chart, but Stigwood put the group out on the road as part of the disastrous Chuck Berry tour we heard about in the episode on "All You Need is Love", which led to the bankruptcy of  Robert Stigwood Associates. The Organisation moved over to Stigwood's new company, the Robert Stigwood Organisation, and Stigwood continued to be the credited producer of their records, though after the "Tammy" disaster they decided they were going to take charge themselves of the actual music. Their first album, The Sound of 65, was recorded in a single three-hour session, and they mostly ran through their standard set -- a mixture of the same songs everyone else on the circuit was playing, like "Hoochie Coochie Man", "Got My Mojo Working", and "Wade in the Water", and originals like Bruce's "Train Time": [Excerpt: The Graham Bond Organisation, "Train Time"] Through 1965 they kept working. They released a non-album single, "Lease on Love", which is generally considered to be the first pop record to feature a Mellotron: [Excerpt: The Graham Bond Organisation, "Lease on Love"] and Bond and Baker also backed another Stigwood act, Winston G, on his debut single: [Excerpt: Winston G, "Please Don't Say"] But the group were developing severe tensions. Bruce and Baker had started out friendly, but by this time they hated each other. Bruce said he couldn't hear his own playing over Baker's loud drumming, Baker thought that Bruce was far too fussy a player and should try to play simpler lines. They'd both try to throw each other during performances, altering arrangements on the fly and playing things that would trip the other player up. And *neither* of them were particularly keen on Bond's new love of the Mellotron, which was all over their second album, giving it a distinctly proto-prog feel at times: [Excerpt: The Graham Bond Organisation, "Baby Can it Be True?"] Eventually at a gig in Golders Green, Baker started throwing drumsticks at Bruce's head while Bruce was trying to play a bass solo. Bruce retaliated by throwing his bass at Baker, and then jumping on him and starting a fistfight which had to be broken up by the venue security. Baker fired Bruce from the band, but Bruce kept turning up to gigs anyway, arguing that Baker had no right to sack him as it was a democracy. Baker always claimed that in fact Bond had wanted to sack Bruce but hadn't wanted to get his hands dirty, and insisted that Baker do it, but neither Bond nor Heckstall-Smith objected when Bruce turned up for the next couple of gigs. So Baker took matters into his own hands, He pulled out a knife and told Bruce "If you show up at one more gig, this is going in you." Within days, Bruce was playing with John Mayall, whose Bluesbreakers had gone through some lineup changes by this point. Roger Dean had only played with the Bluesbreakers for a short time before Mayall had replaced him. Mayall had not been impressed with Eric Clapton's playing with the Yardbirds at first -- even though graffiti saying "Clapton is God" was already starting to appear around London -- but he had been *very* impressed with Clapton's playing on "Got to Hurry", the B-side to "For Your Love": [Excerpt: The Yardbirds, "Got to Hurry"] When he discovered that Clapton had quit the band, he sprang into action and quickly recruited him to replace Dean. Clapton knew he had made the right choice when a month after he'd joined, the group got the word that Bob Dylan had been so impressed with Mayall's single "Crawling up a Hill" -- the one that nobody liked, not even Mayall himself -- that he wanted to jam with Mayall and his band in the studio. Clapton of course went along: [Excerpt: Bob Dylan and the Bluesbreakers, "If You Gotta Go, Go Now"] That was, of course, the session we've talked about in the Velvet Underground episode and elsewhere of which little other than that survives, and which Nico attended. At this point, Mayall didn't have a record contract, his experience recording with Mike Vernon having been no more successful than the Bond group's had been. But soon he got a one-off deal -- as a solo artist, not with the Bluesbreakers -- with Immediate Records. Clapton was the only member of the group to play on the single, which was produced by Immediate's house producer Jimmy Page: [Excerpt: John Mayall, "I'm Your Witchdoctor"] Page was impressed enough with Clapton's playing that he invited him round to Page's house to jam together. But what Clapton didn't know was that Page was taping their jam sessions, and that he handed those tapes over to Immediate Records -- whether he was forced to by his contract with the label or whether that had been his plan all along depends on whose story you believe, but Clapton never truly forgave him. Page and Clapton's guitar-only jams had overdubs by Bill Wyman, Ian Stewart, and drummer Chris Winter, and have been endlessly repackaged on blues compilations ever since: [Excerpt: Jimmy Page and Eric Clapton, "Draggin' My Tail"] But Mayall was having problems with John McVie, who had started to drink too much, and as soon as he found out that Jack Bruce was sacked by the Graham Bond Organisation, Mayall got in touch with Bruce and got him to join the band in McVie's place. Everyone was agreed that this lineup of the band -- Mayall, Clapton, Bruce, and Hughie Flint -- was going places: [Excerpt: John Mayall's Bluesbreakers with Jack Bruce, "Hoochie Coochie Man"] Unfortunately, it wasn't going to last long. Clapton, while he thought that Bruce was the greatest bass player he'd ever worked with, had other plans. He was going to leave the country and travel the world as a peripatetic busker. He was off on his travels, never to return. Luckily, Mayall had someone even better waiting in the wings. A young man had, according to Mayall, "kept coming down to all the gigs and saying, “Hey, what are you doing with him?” – referring to whichever guitarist was onstage that night – “I'm much better than he is. Why don't you let me play guitar for you?” He got really quite nasty about it, so finally, I let him sit in. And he was brilliant." Peter Green was probably the best blues guitarist in London at that time, but this lineup of the Bluesbreakers only lasted a handful of gigs -- Clapton discovered that busking in Greece wasn't as much fun as being called God in London, and came back very soon after he'd left. Mayall had told him that he could have his old job back when he got back, and so Green was out and Clapton was back in. And soon the Bluesbreakers' revolving door revolved again. Manfred Mann had just had a big hit with "If You Gotta Go, Go Now", the same song we heard Dylan playing earlier: [Excerpt: Manfred Mann, "If You Gotta Go, Go Now"] But their guitarist, Mike Vickers, had quit. Tom McGuinness, their bass player, had taken the opportunity to switch back to guitar -- the instrument he'd played in his first band with his friend Eric Clapton -- but that left them short a bass player. Manfred Mann were essentially the same kind of band as the Graham Bond Organisation -- a Hammond-led group of virtuoso multi-instrumentalists who played everything from hardcore Delta blues to complex modern jazz -- but unlike the Bond group they also had a string of massive pop hits, and so made a lot more money. The combination was irresistible to Bruce, and he joined the band just before they recorded an EP of jazz instrumental versions of recent hits: [Excerpt: Manfred Mann, "(I Can't Get No) Satisfaction"] Bruce had also been encouraged by Robert Stigwood to do a solo project, and so at the same time as he joined Manfred Mann, he also put out a solo single, "Drinkin' and Gamblin'" [Excerpt: Jack Bruce, "Drinkin' and Gamblin'"] But of course, the reason Bruce had joined Manfred Mann was that they were having pop hits as well as playing jazz, and soon they did just that, with Bruce playing on their number one hit "Pretty Flamingo": [Excerpt: Manfred Mann, "Pretty Flamingo"] So John McVie was back in the Bluesbreakers, promising to keep his drinking under control. Mike Vernon still thought that Mayall had potential, but the people at Decca didn't agree, so Vernon got Mayall and Clapton -- but not the other band members -- to record a single for a small indie label he ran as a side project: [Excerpt: John Mayall and Eric Clapton, "Bernard Jenkins"] That label normally only released records in print runs of ninety-nine copies, because once you hit a hundred copies you had to pay tax on them, but there was so much demand for that single that they ended up pressing up five hundred copies, making it the label's biggest seller ever. Vernon eventually convinced the heads at Decca that the Bluesbreakers could be truly big, and so he got the OK to record the album that would generally be considered the greatest British blues album of all time -- Blues Breakers, also known as the Beano album because of Clapton reading a copy of the British kids' comic The Beano in the group photo on the front. [Excerpt: John Mayall with Eric Clapton, "Ramblin' On My Mind"] The album was a mixture of originals by Mayall and the standard repertoire of every blues or R&B band on the circuit -- songs like "Parchman Farm" and "What'd I Say" -- but what made the album unique was Clapton's guitar tone. Much to the chagrin of Vernon, and of engineer Gus Dudgeon, Clapton insisted on playing at the same volume that he would on stage. Vernon later said of Dudgeon "I can remember seeing his face the very first time Clapton plugged into the Marshall stack and turned it up and started playing at the sort of volume he was going to play. You could almost see Gus's eyes meet over the middle of his nose, and it was almost like he was just going to fall over from the sheer power of it all. But after an enormous amount of fiddling around and moving amps around, we got a sound that worked." [Excerpt: John Mayall with Eric Clapton, "Hideaway"] But by the time the album cane out. Clapton was no longer with the Bluesbreakers. The Graham Bond Organisation had struggled on for a while after Bruce's departure. They brought in a trumpet player, Mike Falana, and even had a hit record -- or at least, the B-side of a hit record. The Who had just put out a hit single, "Substitute", on Robert Stigwood's record label, Reaction: [Excerpt: The Who, "Substitute"] But, as you'll hear in episode 183, they had moved to Reaction Records after a falling out with their previous label, and with Shel Talmy their previous producer. The problem was, when "Substitute" was released, it had as its B-side a song called "Circles" (also known as "Instant Party -- it's been released under both names). They'd recorded an earlier version of the song for Talmy, and just as "Substitute" was starting to chart, Talmy got an injunction against the record and it had to be pulled. Reaction couldn't afford to lose the big hit record they'd spent money promoting, so they needed to put it out with a new B-side. But the Who hadn't got any unreleased recordings. But the Graham Bond Organisation had, and indeed they had an unreleased *instrumental*. So "Waltz For a Pig" became the B-side to a top-five single, credited to The Who Orchestra: [Excerpt: The Who Orchestra, "Waltz For a Pig"] That record provided the catalyst for the formation of Cream, because Ginger Baker had written the song, and got £1,350 for it, which he used to buy a new car. Baker had, for some time, been wanting to get out of the Graham Bond Organisation. He was trying to get off heroin -- though he would make many efforts to get clean over the decades, with little success -- while Bond was starting to use it far more heavily, and was also using acid and getting heavily into mysticism, which Baker despised. Baker may have had the idea for what he did next from an article in one of the music papers. John Entwistle of the Who would often tell a story about an article in Melody Maker -- though I've not been able to track down the article itself to get the full details -- in which musicians were asked to name which of their peers they'd put into a "super-group". He didn't remember the full details, but he did remember that the consensus choice had had Eric Clapton on lead guitar, himself on bass, and Ginger Baker on drums. As he said later "I don't remember who else was voted in, but a few months later, the Cream came along, and I did wonder if somebody was maybe believing too much of their own press". Incidentally, like The Buffalo Springfield and The Pink Floyd, Cream, the band we are about to meet, had releases both with and without the definite article, and Eric Clapton at least seems always to talk about them as "the Cream" even decades later, but they're primarily known as just Cream these days. Baker, having had enough of the Bond group, decided to drive up to Oxford to see Clapton playing with the Bluesbreakers. Clapton invited him to sit in for a couple of songs, and by all accounts the band sounded far better than they had previously. Clapton and Baker could obviously play well together, and Baker offered Clapton a lift back to London in his new car, and on the drive back asked Clapton if he wanted to form a new band. Clapton was as impressed by Baker's financial skills as he was by his musicianship. He said later "Musicians didn't have cars. You all got in a van." Clearly a musician who was *actually driving a new car he owned* was going places. He agreed to Baker's plan. But of course they needed a bass player, and Clapton thought he had the perfect solution -- "What about Jack?" Clapton knew that Bruce had been a member of the Graham Bond Organisation, but didn't know why he'd left the band -- he wasn't particularly clued in to what the wider music scene was doing, and all he knew was that Bruce had played with both him and Baker, and that he was the best bass player he'd ever played with. And Bruce *was* arguably the best bass player in London at that point, and he was starting to pick up session work as well as his work with Manfred Mann. For example it's him playing on the theme tune to "After The Fox" with Peter Sellers, the Hollies, and the song's composer Burt Bacharach: [Excerpt: The Hollies with Peter Sellers, "After the Fox"] Clapton was insistent. Baker's idea was that the band should be the best musicians around. That meant they needed the *best* musicians around, not the second best. If Jack Bruce wasn't joining, Eric Clapton wasn't joining either. Baker very reluctantly agreed, and went round to see Bruce the next day -- according to Baker it was in a spirit of generosity and giving Bruce one more chance, while according to Bruce he came round to eat humble pie and beg for forgiveness. Either way, Bruce agreed to join the band. The three met up for a rehearsal at Baker's home, and immediately Bruce and Baker started fighting, but also immediately they realised that they were great at playing together -- so great that they named themselves the Cream, as they were the cream of musicians on the scene. They knew they had something, but they didn't know what. At first they considered making their performances into Dada projects, inspired by the early-twentieth-century art movement. They liked a band that had just started to make waves, the Bonzo Dog Doo-Dah Band -- who had originally been called the Bonzo Dog Dada Band -- and they bought some props with the vague idea of using them on stage in the same way the Bonzos did. But as they played together they realised that they needed to do something different from that. At first, they thought they needed a fourth member -- a keyboard player. Graham Bond's name was brought up, but Clapton vetoed him. Clapton wanted Steve Winwood, the keyboard player and vocalist with the Spencer Davis Group. Indeed, Winwood was present at what was originally intended to be the first recording session the trio would play. Joe Boyd had asked Eric Clapton to round up a bunch of players to record some filler tracks for an Elektra blues compilation, and Clapton had asked Bruce and Baker to join him, Paul Jones on vocals, Winwood on Hammond and Clapton's friend Ben Palmer on piano for the session. Indeed, given that none of the original trio were keen on singing, that Paul Jones was just about to leave Manfred Mann, and that we know Clapton wanted Winwood in the band, one has to wonder if Clapton at least half-intended for this to be the eventual lineup of the band. If he did, that plan was foiled by Baker's refusal to take part in the session. Instead, this one-off band, named The Powerhouse, featured Pete York, the drummer from the Spencer Davis Group, on the session, which produced the first recording of Clapton playing on the Robert Johnson song originally titled "Cross Road Blues" but now generally better known just as "Crossroads": [Excerpt: The Powerhouse, "Crossroads"] We talked about Robert Johnson a little back in episode ninety-seven, but other than Bob Dylan, who was inspired by his lyrics, we had seen very little influence from Johnson up to this point, but he's going to be a major influence on rock guitar for the next few years, so we should talk about him a little here. It's often said that nobody knew anything about Robert Johnson, that he was almost a phantom other than his records which existed outside of any context as artefacts of their own. That's... not really the case. Johnson had died a little less than thirty years earlier, at only twenty-seven years old. Most of his half-siblings and step-siblings were alive, as were his son, his stepson, and dozens of musicians he'd played with over the years, women he'd had affairs with, and other assorted friends and relatives. What people mean is that information about Johnson's life was not yet known by people they consider important -- which is to say white blues scholars and musicians. Indeed, almost everything people like that -- people like *me* -- know of the facts of Johnson's life has only become known to us in the last four years. If, as some people had expected, I'd started this series with an episode on Johnson, I'd have had to redo the whole thing because of the information that's made its way to the public since then. But here's what was known -- or thought -- by white blues scholars in 1966. Johnson was, according to them, a field hand from somewhere in Mississippi, who played the guitar in between working on the cotton fields. He had done two recording sessions, in 1936 and 1937. One song from his first session, "Terraplane Blues", had been a very minor hit by blues standards: [Excerpt: Robert Johnson, "Terraplane Blues"] That had sold well -- nobody knows how well, but maybe as many as ten thousand copies, and it was certainly a record people knew in 1937 if they liked the Delta blues, but ten thousand copies total is nowhere near the sales of really successful records, and none of the follow-ups had sold anything like that much -- many of them had sold in the hundreds rather than the thousands. As Elijah Wald, one of Johnson's biographers put it "knowing about Johnson and Muddy Waters but not about Leroy Carr or Dinah Washington was like knowing about, say, the Sir Douglas Quintet but not knowing about the Beatles" -- though *I* would add that the Sir Douglas Quintet were much bigger during the sixties than Johnson was during his lifetime. One of the few white people who had noticed Johnson's existence at all was John Hammond, and he'd written a brief review of Johnson's first two singles under a pseudonym in a Communist newspaper. I'm going to quote it here, but the word he used to talk about Black people was considered correct then but isn't now, so I'll substitute Black for that word: "Before closing we cannot help but call your attention to the greatest [Black] blues singer who has cropped up in recent years, Robert Johnson. Recording them in deepest Mississippi, Vocalion has certainly done right by us and by the tunes "Last Fair Deal Gone Down" and "Terraplane Blues", to name only two of the four sides already released, sung to his own guitar accompaniment. Johnson makes Leadbelly sound like an accomplished poseur" Hammond had tried to get Johnson to perform at the Spirituals to Swing concerts we talked about in the very first episodes of the podcast, but he'd discovered that he'd died shortly before. He got Big Bill Broonzy instead, and played a couple of Johnson's records from a record player on the stage. Hammond introduced those recordings with a speech: "It is tragic that an American audience could not have been found seven or eight years ago for a concert of this kind. Bessie Smith was still at the height of her career and Joe Smith, probably the greatest trumpet player America ever knew, would still have been around to play obbligatos for her...dozens of other artists could have been there in the flesh. But that audience as well as this one would not have been able to hear Robert Johnson sing and play the blues on his guitar, for at that time Johnson was just an unknown hand on a Robinsonville, Mississippi plantation. Robert Johnson was going to be the big surprise of the evening for this audience at Carnegie Hall. I know him only from his Vocalion blues records and from the tall, exciting tales the recording engineers and supervisors used to bring about him from the improvised studios in Dallas and San Antonio. I don't believe Johnson had ever worked as a professional musician anywhere, and it still knocks me over when I think of how lucky it is that a talent like his ever found its way onto phonograph records. We will have to be content with playing two of his records, the old "Walkin' Blues" and the new, unreleased, "Preachin' Blues", because Robert Johnson died last week at the precise moment when Vocalion scouts finally reached him and told him that he was booked to appear at Carnegie Hall on December 23. He was in his middle twenties and nobody seems to know what caused his death." And that was, for the most part, the end of Robert Johnson's impact on the culture for a generation. The Lomaxes went down to Clarksdale, Mississippi a couple of years later -- reports vary as to whether this was to see if they could find Johnson, who they were unaware was dead, or to find information out about him, and they did end up recording a young singer named Muddy Waters for the Library of Congress, including Waters' rendition of "32-20 Blues", Johnson's reworking of Skip James' "Twenty-Two Twenty Blues": [Excerpt: Muddy Waters, "32-20 Blues"] But Johnson's records remained unavailable after their initial release until 1959, when the blues scholar Samuel Charters published the book The Country Blues, which was the first book-length treatment ever of Delta blues. Sixteen years later Charters said "I shouldn't have written The Country Blues when I did; since I really didn't know enough, but I felt I couldn't afford to wait. So The Country Blues was two things. It was a romanticization of certain aspects of black life in an effort to force the white society to reconsider some of its racial attitudes, and on the other hand it was a cry for help. I wanted hundreds of people to go out and interview the surviving blues artists. I wanted people to record them and document their lives, their environment, and their music, not only so that their story would be preserved but also so they'd get a little money and a little recognition in their last years." Charters talked about Johnson in the book, as one of the performers who played "minor roles in the story of the blues", and said that almost nothing was known about his life. He talked about how he had been poisoned by his common-law wife, about how his records were recorded in a pool hall, and said "The finest of Robert Johnson's blues have a brooding sense of torment and despair. The blues has become a personified figure of despondency." Along with Charters' book came a compilation album of the same name, and that included the first ever reissue of one of Johnson's tracks, "Preaching Blues": [Excerpt: Robert Johnson, "Preaching Blues"] Two years later, John Hammond, who had remained an ardent fan of Johnson, had Columbia put out the King of the Delta Blues Singers album. At the time no white blues scholars knew what Johnson looked like and they had no photos of him, so a generic painting of a poor-looking Black man with a guitar was used for the cover. The liner note to King of the Delta Blues Singers talked about how Johnson was seventeen or eighteen when he made his recordings, how he was "dead before he reached his twenty-first birthday, poisoned by a jealous girlfriend", how he had "seldom, if ever, been away from the plantation in Robinsville, Mississippi, where he was born and raised", and how he had had such stage fright that when he was asked to play in front of other musicians, he'd turned to face a wall so he couldn't see them. And that would be all that any of the members of the Powerhouse would know about Johnson. Maybe they'd also heard the rumours that were starting to spread that Johnson had got his guitar-playing skills by selling his soul to the devil at a crossroads at midnight, but that would have been all they knew when they recorded their filler track for Elektra: [Excerpt: The Powerhouse, "Crossroads"] Either way, the Powerhouse lineup only lasted for that one session -- the group eventually decided that a simple trio would be best for the music they wanted to play. Clapton had seen Buddy Guy touring with just a bass player and drummer a year earlier, and had liked the idea of the freedom that gave him as a guitarist. The group soon took on Robert Stigwood as a manager, which caused more arguments between Bruce and Baker. Bruce was convinced that if they were doing an all-for-one one-for-all thing they should also manage themselves, but Baker pointed out that that was a daft idea when they could get one of the biggest managers in the country to look after them. A bigger argument, which almost killed the group before it started, happened when Baker told journalist Chris Welch of the Melody Maker about their plans. In an echo of the way that he and Bruce had been resigned from Blues Incorporated without being consulted, now with no discussion Manfred Mann and John Mayall were reading in the papers that their band members were quitting before those members had bothered to mention it. Mayall was furious, especially since the album Clapton had played on hadn't yet come out. Clapton was supposed to work a month's notice while Mayall found another guitarist, but Mayall spent two weeks begging Peter Green to rejoin the band. Green was less than eager -- after all, he'd been fired pretty much straight away earlier -- but Mayall eventually persuaded him. The second he did, Mayall turned round to Clapton and told him he didn't have to work the rest of his notice -- he'd found another guitar player and Clapton was fired: [Excerpt: John Mayall's Bluesbreakers, "Dust My Blues"] Manfred Mann meanwhile took on the Beatles' friend Klaus Voorman to replace Bruce. Voorman would remain with the band until the end, and like Green was for Mayall, Voorman was in some ways a better fit for Manfred Mann than Bruce was. In particular he could double on flute, as he did for example on their hit version of Bob Dylan's "The Mighty Quinn": [Excerpt: Manfred Mann "The Mighty Quinn"] The new group, The Cream, were of course signed in the UK to Stigwood's Reaction label. Other than the Who, who only stuck around for one album, Reaction was not a very successful label. Its biggest signing was a former keyboard player for Screaming Lord Sutch, who recorded for them under the names Paul Dean and Oscar, but who later became known as Paul Nicholas and had a successful career in musical theatre and sitcom. Nicholas never had any hits for Reaction, but he did release one interesting record, in 1967: [Excerpt: Oscar, "Over the Wall We Go"] That was one of the earliest songwriting attempts by a young man who had recently named himself David Bowie. Now the group were public, they started inviting journalists to their rehearsals, which were mostly spent trying to combine their disparate musical influences --

Andrée Harris Productions, an independent multi-award-winning production company, will screen their feature film, “My Soulmate, the Move” on Saturday, February 4th, 2023, from 1- 3 pm.The screening will take place at the Old Greenbelt Theater located at 129 Centerway Greenbelt, MD 20770 from 1-3 pm. “My Soulmate the Movie” is a romantic comedy that was filmed in the Washington, DC area. The Executive Producer, Washington D.C.'s own Andree Harris, and her associate Pamela Edwards would often share their dating app experiences, and together came up with a storyline. The writer Robert “Blayze” Murray of New Jersey stated “Writing this story gave me nothing short of sheer pleasure. I enjoyed every moment of it.”This film is about Stephanie Bell, (played by the Iconic Recording Artist Marva King, best known for Tyler Perrys' hit stage play, Diary of a Mad Black Woman), a divorced single mother and a rigid attorney, who focus only on her son and winning tough cases. Stephanie's protégé Jalissa (played by Jeanetta Talbert) signs her up for a trial subscription to the My Soulmate dating app. Upon doing so, Stephanie becomes open to dating and the possibility of finding love. “It's been years since I've been on a film set and to be honest, I was sceptical about it, but, when Andree sent the script, I knew that I could pull this off. The cast and crew were amazing.” Says, King.Other cast members are Nakia Dillard, Derrick, (known for the Wire, Black Lightening and Wonder Years), West Barrington Artope, and Michael (known for Lola, Knockout Game and Marshmallow Mystery Tour). Brilliance Hall (known for Gehenna, Broken Trust, For My Man, the Light between Us, etc.), Noah Johnson as eh son to Stephanie, Nyah Imani Jean-Pierre, AaLeyah Pegus and many more. The Executive Producer, Andree Harris, is also a multi-award-winning self-taught screenwriter and actress who plays Cookie. “Online dating seems to be the norm these days and I really wanted a movie that was a mixture of both romance and laughter. This is my first ever Romcom film.” Say, Andree Hosted on Acast. See acast.com/privacy for more information.

Noah (“Nomich”) Johnson started his family games company, Nomich Games, back in 2020 and he wears many other hats, such as: game design, graphic and web design, customer service, marketing, networking and sales. Nomich Games' mission is to promote community through simple, quick-to-learn, addictively-fun games that get people interacting and laughing together. Read the audio transcript here: https://tabletopgamesblog.com/2022/12/14/noah-johnson-let-me-illustrate/ If you want to support this podcast financially, please check out the links below: Patreon: https://www.patreon.com/tabletopgamesblog Ko-Fi: https://ko-fi.com/TabletopGamesBlog PayPal: https://paypal.me/pools/c/8hovaYouKD Website: https://tabletopgamesblog.com/ --- Send in a voice message: https://anchor.fm/tabletopgamesblog/message

Having spent his career pushing for progress in the government and non-profit sectors, Noah is a mission-driven leader and partner with a strong drive for results. Learn all about Project Lyme. Learn how they help people in the Lyme community and what they are doing to help advocate for those in this community. They have so many amazing programs. Find out more about Project Lyme here https://projectlyme.org/ And get my Cooking Series, Real Cooking for Real Life here. https://www.discoveringhealthfdn.com/ --- Send in a voice message: https://anchor.fm/lymebossheathergray/message Support this podcast: https://anchor.fm/lymebossheathergray/support

This week, Michael and Clay rank their favorite (and least favorite) T-Swift songs with the help of noted Swiftie experts Noah Johnson and Elke Beaumont. Things will get heated as we debate one of the world's biggest pop stars!Follow us on Instagram! @topfivemandc

In this video, I talk with Noah Johnson. We talk about fringe things along with epistemological and existential skepticism. I wanted to talk to him because he has a podcast, called "The Seminary Podcast," and is from the same small rural Idaho town as I am. Noah's podcast: https://anchor.fm/roahn-mccallum/episodes/Noah-Johnson-e1b6qpp This was recorded on May 29th, 2022. My YouTube: https://www.youtube.com/channel/UC6Tvr9mBXNaAxLGRA_sUSRAThere is an audio version of my videos (on all podcast platforms): https://anchor.fm/coltonkirbyAbout Me: https://coltonkirby.substack.com/aboutTwitter: https://twitter.com/_coltonkirbyFacebook: https://www.facebook.com/officialcoltonkirbyGoodreads: https://www.goodreads.com/user/show/129883782-colton-kirbyInstagram: https://www.instagram.com/officialcoltonkirby/Pinterest: https://www.pinterest.com/coltonjkirby/_saved/Odysee: https://odysee.com/@ColtonKirbyBooks Wish List: https://docs.google.com/document/d/19GTqvKmd3Ter2WCpBwU2DkuD-Qse6xiLAqJFGZzWToo/editIf you want to financially support what I'm doing, you can give one-off donations here (thank you): https://www.paypal.me/ColtonKirby Get full access to Colton Kirby at coltonkirby.substack.com/subscribe

In this video, I talk with Noah Johnson. We talk about fringe things along with epistemological and existential skepticism. I wanted to talk to him because he has a podcast, called "The Seminary Podcast," and is from the same small rural Idaho town as I am. Noah's podcast: https://anchor.fm/roahn-mccallum/episodes/Noah-Johnson-e1b6qpp This was recorded on May 29th, 2022. My YouTube: https://www.youtube.com/channel/UC6Tvr9mBXNaAxLGRA_sUSRA My writing: my writing: https://coltonkirby.substack.com/ About Me: https://coltonkirby.substack.com/about Twitter: https://twitter.com/_coltonkirby Facebook: https://www.facebook.com/officialcoltonkirby Goodreads: https://www.goodreads.com/user/show/129883782-colton-kirby Instagram: https://www.instagram.com/officialcoltonkirby/ Pinterest: https://www.pinterest.com/coltonjkirby/_saved/ Odysee: https://odysee.com/@ColtonKirby Books Wish List: https://docs.google.com/document/d/19GTqvKmd3Ter2WCpBwU2DkuD-Qse6xiLAqJFGZzWToo/edit If you want to financially support what I'm doing, you can give one-off donations here (thank you): https://www.paypal.me/ColtonKirby

Economist Noah Johnson joins Lindsay and Aron to consider:What's your price to never use a knife again?What's your price to tattoo your phone number on your forehead (must remain for 2 years)?What's your price to rob a Starbucks?—We want to know YOUR prices! Fill out our audience poll and sign up for newsletter updates at humanvaluespodcast.com

Noah Johnson, Owner of Ark Remediation, joins the CLEANUP Restoration Business Podcast today to discuss how hard work in "the middle" is what matters most when it comes to restoration success. --- Send in a voice message: https://anchor.fm/cleanuprestorationpodcast/message

Yeah we already did this as a regular draft, but why not dedicate a full episode to it? We have 5 NBA GM stand-ins here to draft our NBA All Time teams: Luke Rapert, Will McCombs, Andrew Moore, Noah Johnson, and Ty Langston. Audio not the best because someone screwed up their individual recording (I'm not naming names) (it was Ty). But it's solid enough, and you can watch this one on YouTube: https://youtu.be/kUF60zRwz-Y

Yo yo yo back again recording virtually. Noah Johnson joins Luke, Cole, and Will once again, this time to discuss parrot upkeep, sort through some questionable fake news headlines, and draft the elements to create our own NFL expansion teams (draft idea credit to John Mark). If you've got any questions you want answered or draft ideas to submit, let us know here: https://forms.gle/7suRuxwqRrmuSHZ9A Follow us on socials @WasteofTime_Pod.

This week on our holiday roundtable we discuss the future of equipped lifting in the USAPL.  Wade and Chris have several guests on the episode including Eric Cordeiro, Dale McLaren, Jason Johnson, Noah Johnson, Kim Johnson, and James Vang. 

This week on our holiday roundtable we discuss the future of equipped lifting in the USAPL.  Wade and Chris have several guests on the episode including Eric Cordeiro, Dale McLaren, Jason Johnson, Noah Johnson, Kim Johnson, and James Vang. 

We catch up with the number one Madden player in the world, WVU's Noah Johnson.

Fire In Paradise Welcome to The Guys Review, where we review media, products and experiences.   **READ APPLE REVIEWS/Fan Mail**Mention Twitter DM group - like pinned tweetRead emailsTwitter Poll Fire In Paradise Directed by: Zackary CanepariDrea Cooper Starring:  Joy BeesonBeth BowersoxAbbie DavisHiyori Kon Released: November 1, 2019 (Netflix) Budget: No Info Box Office: No Info Ratings:   IMDb 7.4/10 Rotten Tomatoes 83%Metacritic NONE Google Users 74% Fire in Paradise premiered at the 2019 Telluride Film Festival. It also showed at the 2019 Hamptons International Film Festival, where it won the Audience Award for Best Short Film. First time you saw the movie? Plot:The film opens with shots of a tranqual forest, and Paradise, California, population 26,561, cut in with home videos of people doing day-to-day activites, while a voice over gives a safety alert for fire conditions. PG&E could cut power for safety. Nov 8, 2018, 6:16am, Ray Johnson, wearing a firefighter shirt, says the news stated it was going to be windy day, and could produce fires. So he stationed himself at the water tender at Station 33, and that he felt the day didn't feel right. Cut to a call center and a woman stating that night shift is 7pm to 7am and that it was quiet that night. Beth Bowersox said a call came in around 5:30am that her supervisor took, from a PG&E employee, about a Pulga Fire. Dacia Wiliams describes laying in bed with her kid, and her mom had taken other children to school, and said they saw smoke. 7:16am, 911 calls are played about the Pulga fire. Fire fighter Sean Norman speaks about hearing calls about a fire, and how he had to get on the road to come help. Beth dispatched the fighers and named it "The Campfire" due to regulations and guidelines...and how it seemed like a normal fire, at first, but her faces drops and follows with, "it got bad, real quick." As we see video of fires and power lines. 7:19am. Driving through town, Mary Ludwig speaks about getting to school and the frenzy it was in, and how quickly the sky turned orange. Sgt. Rob Nichols talks about meeting with his partner, in their car with Ash raining down. 7:29am, calls of smoke everywhere. Beth says it still seems normal for a fire, and more calls play of people reporting smoke and fire, and are told to evacuate. Beth states a co-worker took a call for a house fire in Paradise, and she is suprised. 7:41am: the 911 call for paradise plays. 7:45 minutes start counting up and more 911 calls play of paradise residents calling in fires. S:-I remember hearing about this fire, but to see people who live there talk about it, its obviously very dramatic.  Ofc. Nichols speaks about a spot fire in the middle of town. Cut to a house burning wildly, and flames shooting everywhere with a woman talking about her house being on fire. Dacia speaks about getting stuck in traffic; and waiting over 40 minutes, and that it's not normal. Video of a man and dog waiting in traffic. Ray talks about seeing the ploom of smoke coming at him and how eerie it was, like a monster. Cut to a shot of the smoke, and it is massive. Rays wife Jennifer talks about evacuating and seeing all her neighbors and friends around her, trying to get out, and how unreal it is. Mary speaks about kids being outside and the wind being so strong, branches were falling on fire. The kids are then evacuated on the school bus. Abbie Davis, a teacher, talks about getting on the evac bus with the kids. Mary was scared about getting on the bus with the kids, and even said she didn't want to, but did. And how the first corner they hit, there was fire and they were stuck in treaffic. Cut to video of people driving surrounded by everything on fire. Abbie speaking about being next to McDonalds and it caught on fire. And then it went completely black. Ray talks about his wife scraming and crying, cut over someone filming trying to calm people down surrounded by fire. Madeline Johnson, Ray and Jennifers daughter, talks about trying to stay calm, and being fucking brave, that she wasn't going to die. As Naoh, her brother, talks about praying, all this while showing film of someones car having flaming branches fall on it with someone scraming, and flames all over the road. More 911 calls and Beth telling people to get out, that they don't have anyone to come and help them. Joy Beeson talks about getting out with her son, and how he pushed her out of the way of a falling tree. Beth gets choked up talking about taking calls with people who are afraid and how hard it was to have to hang up and take more calls. S:-The timeline of the story is a little weird here for me, if everyone is evacuating, shouldn't they go get their kids too? And why were kids outside if FLAMING BRANCHES are literally falling from the sky?-That bit with Madeline... man... That got me. Esp with the footage they played. Like, obviously they survived...but my God. The fear. 9:35am. Abbie and Mary speak about the exit ramp being on fire, and the first feeling of deep hopelessness. The kids started falling asleep, so they created some homemade filters. Abbie tells Mary she doesn't think they're going to get out. They prayed, and they prayed to die of smoke inhalation, and went back to work. 10:42am. Nichols talks about getting to Clark and Skyway, and how bad of an intersection it is. Total gridlock. And the firewall is coming straight at them. A video of Nichols talking to a guy in a car telling him they're stuck, and the man looks scared and asks if they're going to be ok. They then start telling everyone to abandon their cars and evacuate on foot. Joy tells of balls of flame, like from the bible, falling around them. They cut to video of a fire tornado. They move everyone to a large parking lot. Sean talks about realizing they're not going to be able to put this fire out. So they start breaking into buildings to put people in them, as the field behind it was a propane strage field, and they started to explode. Sean described it as war. Dacia tells how the fire fighters told them they're surrounded, and the only way to survive would be laying down on the concrete. She speaks about prying with her child under a blanket for hours. Finally, the front passed and they were bussed out. Norman tells of driving around, trying to get people out of their houses, as embers are flying and catching more on fire, and they were refusing. So they took them, and wouldn't let them go back when their dog ran off. He knew he wouldn't make it through the fire front, so he started looked for somewhere to go, but there was nothing. So he drove straight into and through the fire front and survived. He gets choked up talking about surviving, and that those people probably hate him, but they're alive to hate him. S:-Speaking of the part where they prayed they would die of smoke inhalation: have you ever had an instance where you thought you could die?-The people being alive to hate him... How ungrateful Shots of burnt out cars, melted cars, burned homes, and some chairs, as avoice over says its been contained 3 weeks later. A flyover shot of where homes once stood, just burned ashes and some reminants where walls once were; as news casters discuss fatalities, and missing persons. We see video of a man walking to a car, telling how he knew the person inside who died, and we see a skeleton; he says he's sorry, buddy. In a meeting, people are being briefed about going out and finding missing people and giving closure to familes. The largest ever search and rescue operation in California. Norman talks about how it was a very unprecidented fire, and fire behavior. He speaks of all the fires that have occured in California and how bad they've been, mass descrution, not being able to control them, fire fighters being trapped and killed. He said the climate has been part of the problem. Ray is cutting down a burned tree, in front of what used to be his house, with only a chimney standing. Jennifer says it's like death and a greeving process. Ray wants to see everything rebuilt, but that it's not the same. Durham, CA, in a temporary school for Paradise students, Mary is teaching. And speaks about being on the bus for 6 hours. We see some drawings the kids have done, and how sad they are. Mary says shes scared to go back. She walks through the burned out school in awe. We see a burnt out forrest, whit some home videos playing over it of happier times. Dacias kids tell her they just want to go home... but she is afraid of what the road would look like. Nichols talks about how there isn't enough housing for all the residents, and we see Joy in some sort of tent/housing. Beth says she hasn't been back to Paradise because of how many people died and are missing, but trying to figure out where to go and what to do next. She's worried people will forget with more disasters. Shes visably shaken. It cuts to black, and texts that reads: the camp fire killed 85 people, making it the dealiest wildfire in the United States in over 100 years. End title card, cut to black, and roll credits, as they display pictures of what I assume are victims of the fire. S:-There is a shot where Mary is walking out from the burned out school, and a mural on the wall of Where the Sidewalk Ends... Kind of apropos, considering. A lot of things ended, but there can still be life and happiness, like the poems from Shel Silverstien. Where the Sidewalk Ends by Shel SilversteinThere is a place where the sidewalk endsAnd before the street begins,And there the grass grows soft and white,And there the sun burns crimson bright,And there the moon-bird rests from his flightTo cool in the peppermint wind. Let us leave this place where the smoke blows blackAnd the dark street winds and bends.Past the pits where the asphalt flowers growWe shall walk with a walk that is measured and slow,And watch where the chalk-white arrows goTo the place where the sidewalk ends. Yes we'll walk with a walk that is measured and slow,And we'll go where the chalk-white arrows go,For the children, they mark, and the children, they knowThe place where the sidewalk ends.   Top Five Trivia of the movie: 5: The Camp Fire was the deadliest and most destructive wildfire in California's history, and the most expensive natural disaster in the world in 2018 in terms of insured losses. 85 deaths, 18,804 buildings destroyed, $16.65B in 2018.4: Ignited by a faulty electric transmission line on Nov 8, 2018,3: Paradise, which typically sees five inches of autumn rain by November 12, had only received one-seventh of an inch by that date in 2018.2: Burned 153,336 acres or 240 square miles1: The fire reached 100 percent containment after seventeen days on November 25  TOP 5Stephen:1 Breakfast club2 T23 Sandlot4 Back to the Future5 Mail order brides Chris:1. sandlots2. T23. trick r treat4. rocky horror picture show5. hubie halloween Trey:MeatballsBoondocks SaintsMail Order BridesSandlotLone Survivor Tucker:1. Beer review 2. T23. Gross Pointe Blank4. Mail order brides5. Escape rooms    Web: https://theguysreview.simplecast.com/EM: theguysreviewpod@gmail.comIG: @TheGuysReviewPodTW: @The_GuysReviewFB: https://facebook.com/TheGuysReviewPod/YouTube: https://www.youtube.com/channel/UCYKXJhq9LbQ2VfR4K33kT9Q Please, Subscribe, rate and review us wherever you get your podcasts from!! Thank you,-The Guys

This week, Templeton Elliott, Patrick Kigongo, and Mike Munzenrider are joined by Noah Johnson to talk about his Palace Profile in GQ and the 25th anniversary of Welcome To Hell, Trilogy, Mouse, and Eastern Exposure III.

Dr. Noah Johnson & April Mitchell join Dave Vellante to discuss Dasera and cyber security

Back again to waste your time, Luke, Cole, and Will sit down with guest Noah Johnson for an airplane lounging breakdown, a liar liar face-off, and a best cereals draft. Follow us on Instagram @WasteofTime_Pod Listen and follow on Spotify, Apple Podcasts, or YouTube.

Special Guest Noah Johnson - Trust the Process (Philippians 2: 12-18) by Faith Community Church of South Boston, VA

Episode 27 of The Locker Room Podcast features Noah Johnson, aka NoahUpNxt, the Madden 20 Challenge champion and Madden 21 Patriots Club champion. He talks us through his journey from being a regular high school senior to competing at the highest level of madden. The future UMD freshman also offers his feelings on trash talking, competitive changes due to COVID, and much more. 0:00 - 00:25 Introductions 0:26 - 1:45 Madden Beginnings 1:46 - 2:30 School and Gaming Conflict 2:31 - 3:10 Qualifying for a Live Tournament 3:11 - 4:40 First Tournament Preparation 4:41 - 5:05 Advice for Preparing for Tournaments 5:06 - 6:00 Dealing with Nerves 6:01 - 6:55 Pregame Routine 6:56 - 7:35 Stick-work and Film 7:36 - 9:05 Music Pre-Game 9:06 - 9:25 Madden with Friends 9:26 - 11:15 Using Trash Talking to Gain an Advantage 11:16 - 12:15 Mental Health in Competitive Madden 12:16 - 12:35 Hobbies Outside of Madden 12:36 - 15:20 Competitive Madden During COVID 15:21 - 18:45 Madden Teams/Crews 18:46 - 21:50 Moving Towards Streaming and Content as Revenue 21:51 - 25:30 Metas of Madden 25:31 - 27:55 Adjustments in Madden 27:56 - 28:45 Abilities 28:46 - 30:40 Madden Frustration 30:41 - 32:45 The Maryland Minute 32:46 - 33:40 Reliving his Championship Winning Play

The Bulluminati Podcast is back to talk (another) heartbreaking loss after a pleasantly surprising game in all three phases of the ball - until the last five minutes or so. Nate, Seth, and Steeg look for the optimism, outline the pessimism, and discuss how the Bulls can improve as a team moving forward. 0:00: Two weddings, work, and a football game! The guys talk about their weekend and why we didn't have a postgame reaction post. 8:08: OK, let's talk about that game at Memphis. The pleasantly surprising game plan, the epic day from Spencer Shrader, Noah Johnson making plays, and the late-game meltdown. 43:10: We talk about the upcoming game at Houston on ESPN+*. 1:00:24: Prediction time! 1:05:37: Miscellaneous news: Portal news, WBB and MBB have games this month, and do you want to write for TDS? We're hiring for what we anticipate being a stacked #SpringSZN. DM us at @StampedeSBN, email us as dailystampede at gmail dot com, or message us on Facebook.

The Bulluminati Podcast enters November after a soul-searching bye week as USF prepares for a Memphis team that is looking for a bounce back weekend. What could go wrong! Nate, Seth, Steeg, and special guest Senator Giggity join in to discuss what to expect from the Bulls on the road at Memphis. 0:00: We talk about our Halloween and Nick Roberts decision to enter the transfer portal. 10:10: What do you think of the QB situation? Where does USF go from here for the rest of the season? How much does the offense change if Noah Johnson starts? 22:22: What's the reaction from the players and recruits about the state of the program? We also talk attrition on the roster, the previous recruiting classes, and Jeff Scott's classes. 33:50: We discuss the upcoming Memphis game. 45:11: How does USF win this game? 55:09: Predictions!

Bulls Beat 9-15 Part One: Clips from Football Radio Show (Jeff Scott, Pat White, Noah Johnson) by USF

We were able to speak with so many members of the football team (15 in all) that we'll be spreading the talks across several shows. Here Darek speaks with a trio of quarterbacks - returner Jordan McCloud along with transfers Noah Johnson (Armwood) and Cade Fortin.

Skatercon 9 was going down at etnies skatepark in Lake Forest, Ca. We head down to SkaterCon 9 to check out the music line up & the skateboard vendors. We caught up with: Noah Johnson, Steve Caballero, Circus Skateboard, Jughead's Revenge, Sal Barbier, & much more... Host by Tommie Zam film/edit by Tylor Stewart & John Kushner sponsor by: Keen Ramps , Lakai , Speedlab Wheels , Clayer Skateboarding , Remind Insoles , Iris Skateboards , Elsenor, Killah Koffee , Rad Jerky , Yabai http://www.tsmmedia.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/true-skateboard-mag/message

Couple Vandals are eligible to be drafted to the NFL tonight and a few former vandals. We also look at current vandals in the pros and past vandals in the pro. We vent about how to get college football back with COVID going on. we try to talk 09 H bowl for just a little bit..... well we kept swept away with how awesome the game was.

For the first time since late February, the guys are back with a socially distanced Bulluminati Podcast from the safety of our zoom machines. Nathan Bond, Robert Steeg, and Seth Varnadore discuss the positive momentum in this strange recruiting time and the affects of missing spring practice and the remainder of the semester due to the COVID-19 pandemic. In case you missed it, check out our decade uniform power rankings with none other than Steven Bench, Chris Oladokun, and Auggie Sanchez offering their opinions on video and audio! 0:00: Intros! And does the cancellation of spring practice level the playing field for the QB room with the addition of grad transfer Noah Johnson? 14:21: The guys discuss the recent news on #ALLTHETRANSFERS 28:12: Let's talk about the forward momentum in #ScottsTots21 and how quarantine has affected recruiting for the class of ‘21 and ‘22. 42:26: A mysterious voice joins the pod! What's the craziest thing you've bought since quarantine has started? 48:24: Did you think #ALLTHETRANSFERS only applied to football? We talk Men's Basketball transfers. 52:14: We talk Women's Basketball news including Kitija Laksa being drafted to the WNBA's Seattle Storm, international recruits, and more transfers! 58:38: The NFL Draft is this week. Who do we anticipate being drafted and signed as UDFAs? 1:07:06: There is a cloud over sports in general today. How do we think COVID-19 affects the NCAA and collegiate athletics? 1:16:45: How does this affect the 2020 football season? Can the season be pushed into the Spring? Do you cancel non-con season? Can you play with no fans in the stands?

In this episode Joey talks with Italian Comedian, John Vincent.  John lives in Milan, Italy and at the time of this recording is on week three of a country wide shelter in place order. Italy is currently the country hardest hit by the corona virus and Milan is the epicenter of the Italy outbreak.  John shares his first hand account of the buildup up to the outbreak, the country's current condition from his point of view and how he is dealing with life in a quarantine enforced by Italy's military.  Joey & John also discuss the impact of the pandemic on standup comedy and their concerns for the longterm effects on the world.  www.FilterFreeAmerika A special thank you to Noah Johnson who created the beat used in this episode. njohnson@cedarville.edu for collaborations  

Hanover Barons forwards Noah Johnson and Tyson Lina join us for the first part of the show. We talk about the Barons, the PJHL in general, rule changes the guys would like to see in the league and hopes for the upcoming PJHL playoffs. Then Steve and Andy discuss, will Alex Ovechkin catch Wayne Gretzky in career goal totals? Plus our weekly Hallman Motors Trivia contest. Listen to learn how you could win some Hanover Barons Tickets. Twitter: @Hockeytalk913

It’s Takeaway Tuesday on the HBCU Football Daily Podcast as Donal taks a more in-depth look at games from Week 6 and some news and notes as well. Click to download or listen to the podcast.

Donal talks about the quarterback situation at Alcorn State and about the Grambling/Prairie View A&M, Southern/Arkansas-Pine Bluff games from Week 5 on this edition of the HBCU Football Daily Podcast w/ Donal Ware. Click to download or listen to the podcast.

WE ARE HERE! Evan hosts Noah Johnson and a couple different beers for the inaugural episode of the show. The guys talk about the latest Apple event, and the saga of Antonio Brown and the impact that has on everything from the NFL today and the future of athlete behavior. BEERS OF THE EPISODE: Preacher's Daughter of Fountain Square Brewing and Samuel Adams Cherry Wheat

The entire Tubs at the club staff is on the podcast. It is long so see timestamps below if you choose. 2:40 Go watch Idaho Vandals beat Boise State Broncos in the Kibbie Dome Aug 22nd & Welcome new athletic director Terry Gawlik 7:25 We discuss the Vandals Big Sky Conferences Coaches & Media Polls, National polls (Hero Sports, Massey & Compughter Vs simulator).. 17:20 We talk about how Cade Coffe & Noah Johnson made both All-American & All-Big Sky teams. We discuss who we think could make the post season lists at the end of the season. 22:50 Brian Marceau's preview 29:35 Run through the schedule and make predictions and season expectations1:18:53 Corner Stool Stakes1:21:10 #AskTatc

BOXTOROW celebrates 14 years on the air as Donal Ware talks about its origins and replays interviews with Kevin Durant, Alea Bliss and Simone Biles. Alcorn State quarterback Noah Johnson and Arkansas Pine Bluff running back Taeyler Porter join the program.

College football training camps are almost here, and in preperation, the guys discuss the best offensive lineman in FCS football. Tune in to hear about Idaho’s Noah Johnson, Rhode Island’s Kyle Murphy, North Dakota’s Zach Johnson, and much more. Music by Rujay

Evan brings on another guest! Noah Johnson comes on and talks about a song that takes him back to the early days of his relationship with his wife, Evan uses the Chicken Dance to explain his feelings towards the track, and there is only reference to a story that you definitely had to be there to laugh at nearly as hard as they do. Please welcome, Noah Johnson!

While you were tucking in to Thanksgiving leftovers, Noah Johnson and Mordechai Rubinstein (AKA Mister Mort) were eating 7/11 karaage in between Corporate Lunch scouting missions in the most fashion-obsessed country in the world: Japan. Now, Noah and Mordechai are back and ready to reveal where you need to shop in Tokyo, which Japanese brands are popping, why Japanese laundry is in another league, and why it's ok to wear sweats on airplanes. Plus, witness the triumphant return of 13 VIBES. Check out Mordechai's Tokyo street style report here: https://www.gq.com/story/mister-mort-tokyo-street-style-report Learn more about your ad choices. Visit podcastchoices.com/adchoices

While you were tucking in to Thanksgiving leftovers, Noah Johnson and Mordechai Rubinstein (AKA Mister Mort) were eating 7/11 karaage in between Corporate Lunch scouting missions in the most fashion-obsessed country in the world: Japan. Now, Noah and Mordechai are back and ready to reveal where you need to shop in Tokyo, which Japanese brands are popping, why Japanese laundry is in another league, and why it’s ok to wear sweats on airplanes. Plus, witness the triumphant return of 13 VIBES. Check out Mordechai's Tokyo street style report here: https://www.gq.com/story/mister-mort-tokyo-street-style-report Learn more about your ad choices. Visit podcastchoices.com/adchoices

That's right, folks: the long-awaited Naomi Fry episode is finally here!!! The New Yorker staff writer joins Noah Johnson in the content studio to talk about her fascination with fashion, her theory that Bieber was in on the infamous sideways burrito hoax, her lost dreams of being a skater, how she convinced the New Yorker to let her write about Online Ceramics, and so much more... Follow Naomi on Twitter here: https://twitter.com/frynaomifry Learn more about your ad choices. Visit podcastchoices.com/adchoices

That's right, folks: the long-awaited Naomi Fry episode is finally here!!! The New Yorker staff writer joins Noah Johnson in the content studio to talk about her fascination with fashion, her theory that Bieber was in on the infamous sideways burrito hoax, her lost dreams of being a skater, how she convinced the New Yorker to let her write about Online Ceramics, and so much more... Follow Naomi on Twitter here: https://twitter.com/frynaomifry Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week, Will Welch comes in hot with a high level rant about how much random clothing he's accumulated over the years, which he's discovered as he prepares to move. So he and Noah Johnson have an honest reckoning about what should be in your closet, and name drop the core brands they believe in. They also discuss why all the free stuff fashion editors get sent is a double-edged sword, and how Will is dismantling his all-black uniform. Plus Noah declares that there is a correct inseam for shorts. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week, Will Welch comes in hot with a high level rant about how much random clothing he’s accumulated over the years, which he's discovered as he prepares to move. So he and Noah Johnson have an honest reckoning about what should be in your closet, and name drop the core brands they believe in. They also discuss why all the free stuff fashion editors get sent is a double-edged sword, and how Will is dismantling his all-black uniform. Plus Noah declares that there is a correct inseam for shorts. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome to the most contentious episode of Corporate Lunch yet: the travel episode. International fashion superstars Will Welch and Noah Johnson talk packing, flying, hotel entry and management, and how to not play yourself when assembling a luggage kit. Plus Will talks about why he's so into the new Sies Marjan menswear. Grab your Supreme Rimowa and let's go. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome to the most contentious episode of Corporate Lunch yet: the travel episode. International fashion superstars Will Welch and Noah Johnson talk packing, flying, hotel entry and management, and how to not play yourself when assembling a luggage kit. Plus Will talks about why he's so into the new Sies Marjan menswear. Grab your Supreme Rimowa and let’s go. Learn more about your ad choices. Visit podcastchoices.com/adchoices

New York fashion legend Mordechai Rubinstein—AKA Mister Mort—makes his podcast debut this week on Corporate Lunch. He and Noah Johnson discuss the origins of Mordechai's clothing obsession, dad style, why being a hater is too easy, whether Sam Hine Productions is wearing women's pants, and much more. Learn more about your ad choices. Visit podcastchoices.com/adchoices

New York fashion legend Mordechai Rubinstein—AKA Mister Mort—makes his podcast debut this week on Corporate Lunch. He and Noah Johnson discuss the origins of Mordechai's clothing obsession, dad style, why being a hater is too easy, whether Sam Hine Productions is wearing women's pants, and much more. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week, we let Noah Johnson monologue about rare Japanese T-shirt packs for 12 hours. Unfortunately, Sam Hine Productions forgot to press record, so we had to do another take in which Noah and Will Welch break down the finer details of the T-shirt landscape—dropping knowledge on the best blanks in the universe, which graphic tees they can't stop collecting, and the theory of “apparel compatibility.” Plus, Will announces a crucial Corporate Lunch Call To Action during 13 Vibes. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week, we let Noah Johnson monologue about rare Japanese T-shirt packs for 12 hours. Unfortunately, Sam Hine Productions forgot to press record, so we had to do another take in which Noah and Will Welch break down the finer details of the T-shirt landscape—dropping knowledge on the best blanks in the universe, which graphic tees they can’t stop collecting, and the theory of “apparel compatibility.” Plus, Will announces a crucial Corporate Lunch Call To Action during 13 Vibes. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Certified friend of the pod and Vogue fashion editor Steff Yotka joins Noah Johnson this week to talk New York Fashion Week. Which NY-based designers are actually cool? How can fashion shows remain relevant in 2018? Who ate popcorn off the ground at the Calvin Klein show? Plus, Noah fesses up to a legendary shopping brick. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Certified friend of the pod and Vogue fashion editor Steff Yotka joins Noah Johnson this week to talk New York Fashion Week. Which NY-based designers are actually cool? How can fashion shows remain relevant in 2018? Who ate popcorn off the ground at the Calvin Klein show? Plus, Noah fesses up to a legendary shopping brick. Learn more about your ad choices. Visit podcastchoices.com/adchoices

How do you get dressed in 2018, a time when every style is fair game, fashion is a leisure activity, and everything is cool all at once? Will Welch and Noah Johnson discuss what to wear now. They also preview the spring issue of GQ Style, and Erehwon Don Jonah Hill gets shouted out in 13 Vibes. Learn more about your ad choices. Visit podcastchoices.com/adchoices

How do you get dressed in 2018, a time when every style is fair game, fashion is a leisure activity, and everything is cool all at once? Will Welch and Noah Johnson discuss what to wear now. They also preview the spring issue of GQ Style, and Erehwon Don Jonah Hill gets shouted out in 13 Vibes. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Will Welch is back from Paris, where the fashion rumor mill was working overtime. He and Noah Johnson get into the juiciest bits: Hedi Slimane's move to Céline, Kim Jones's departure from Louis Vuitton, and Virgil Abloh's jump to ??. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Will Welch is back from Paris, where the fashion rumor mill was working overtime. He and Noah Johnson get into the juiciest bits: Hedi Slimane's move to Céline, Kim Jones’s departure from Louis Vuitton, and Virgil Abloh's jump to ??. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Lawrence and James turn "Fuck With Not Fuck With" (Working title) on themselves this week, and then reluctantly ask Jay and Chuck as well. Then, Senior Editor of GQ Style Noah "Narc Dad" Johnson returns to FU to talk about getting Yelawolf hooked on meth, James eventually fucking Noah's dad, and what it's like to get your titties sucked by a baby. Then on "Captain's Log/Letters To Home" THE INTERNS FINALLY GET PAID BABYYYYYYYYYY. YERRRRRRRRR. Well technically the whole crew got paid, but everybody has jobs already except Producer Jay, so he was the only one that was actually excited. This summary is brought to you by the newly wealthy but still incompetent Intern Chuck, because James and Lawrence dropped the ball. Fire mixtape cover though, we will give him that. HOPE YOU'RE ENJOYING SEASON FOUR YOU SHMUCKS, TWO BANGERS IN A ROW.

Friend of GQ Style Chris Black—AKA Twitterati member @donetodeath—joins Noah Johnson to talk corduroy, boutique fitness, Pitti Uomo, Dansko clogs, and going to see The Killers solo. Do you have a question for Corporate Lunch? Email Corporate_Lunch@condenast.com and we’ll respond on a future episode. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Friend of GQ Style Chris Black—AKA Twitterati member @donetodeath—joins Noah Johnson to talk corduroy, boutique fitness, Pitti Uomo, Dansko clogs, and going to see The Killers solo. Do you have a question for Corporate Lunch? Email Corporate_Lunch@condenast.com and we'll respond on a future episode. Learn more about your ad choices. Visit podcastchoices.com/adchoices

It's a new year, which means it's time to buy less (but buy better), assess how jawnz are affecting your sex life, figure out how to judge the sincerity of outfit compliments, and shake up your Instagram feed. That's right: it's time to make some style resolutions with Will Welch and Noah Johnson. Do you have a question for Corporate Lunch? Email Corporate_Lunch@condenast.com and we'll respond on a future episode. Learn more about your ad choices. Visit podcastchoices.com/adchoices

It’s a new year, which means it’s time to buy less (but buy better), assess how jawnz are affecting your sex life, figure out how to judge the sincerity of outfit compliments, and shake up your Instagram feed. That’s right: it’s time to make some style resolutions with Will Welch and Noah Johnson. Do you have a question for Corporate Lunch? Email Corporate_Lunch@condenast.com and we’ll respond on a future episode. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome to the first annual Corporate Lunch Awards. In this year-ending episode, Will Welch and Noah Johnson hand out hardware in the following categories: Best Fashion House of 2017, Best Brand, Best Show, Best Purchase, and Best Issue of GQ Style. They also discuss who's going to take 2018, and name the 13 Vibes of the year. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome to the first annual Corporate Lunch Awards. In this year-ending episode, Will Welch and Noah Johnson hand out hardware in the following categories: Best Fashion House of 2017, Best Brand, Best Show, Best Purchase, and Best Issue of GQ Style. They also discuss who’s going to take 2018, and name the 13 Vibes of the year. Learn more about your ad choices. Visit podcastchoices.com/adchoices

GQ Style fashion director and living legend Mobolaji Dawodu finally joins Corporate Lunch on this special episode, where he talks to Will Welch and Noah Johnson about how he got into fashion, styling Brad Pitt, and Shazam-ing in the club. Learn more about your ad choices. Visit podcastchoices.com/adchoices

GQ Style fashion director and living legend Mobolaji Dawodu finally joins Corporate Lunch on this special episode, where he talks to Will Welch and Noah Johnson about how he got into fashion, styling Brad Pitt, and Shazam-ing in the club. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week, Will Welch and Noah Johnson examine what's been going down in the fashion world recently. Topics include: Yeezy Season 6, sole units, whether anyone cares about fashion award shows, Diet Prada, fashion brand hashtags, graphic T-shirts at Art Basel, and more. Plus, in “13 Vibes,” Noah explains why you should embrace totally reckless social media habits. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week, Will Welch and Noah Johnson examine what’s been going down in the fashion world recently. Topics include: Yeezy Season 6, sole units, whether anyone cares about fashion award shows, Diet Prada, fashion brand hashtags, graphic T-shirts at Art Basel, and more. Plus, in “13 Vibes,” Noah explains why you should embrace totally reckless social media habits. Learn more about your ad choices. Visit podcastchoices.com/adchoices

"The thing about a great-looking suit is there's a reason not everyone has one." In this week's episode, GQ Style editor-in-chief Will Welch and senior editor Noah Johnson discuss the most essential—and pitfall-ridden—part of your wardrobe: the suit. They discuss the ways tailoring has changed from the aughts to now, name the suit brands they're feeling, and discuss Noah's Adam Kimmel profile. Learn more about your ad choices. Visit podcastchoices.com/adchoices

"The thing about a great-looking suit is there's a reason not everyone has one." In this week's episode, GQ Style editor-in-chief Will Welch and senior editor Noah Johnson discuss the most essential—and pitfall-ridden—part of your wardrobe: the suit. They discuss the ways tailoring has changed from the aughts to now, name the suit brands they're feeling, and discuss Noah's Adam Kimmel profile. Learn more about your ad choices. Visit podcastchoices.com/adchoices

It's nearly Thanksgiving. And if you're going home for the holidays, you're probably asking yourself what you should wear around your family and high school friends. GQ Style editor-in-chief Will Welch and senior editor Noah Johnson have a few answers and one challenge to all Corporate Lunch listeners: get fitted for Thanksgiving dinner. Learn more about your ad choices. Visit podcastchoices.com/adchoices

It’s nearly Thanksgiving. And if you’re going home for the holidays, you’re probably asking yourself what you should wear around your family and high school friends. GQ Style editor-in-chief Will Welch and senior editor Noah Johnson have a few answers and one challenge to all Corporate Lunch listeners: get fitted for Thanksgiving dinner. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Pants tell you everything you need to know about a dude's style. GQ Style editor-in-chief Will Welch and senior editor Noah Johnson tell you everything you need to know about pants. Welcome to the #pantresistance. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Pants tell you everything you need to know about a dude’s style. GQ Style editor-in-chief Will Welch and senior editor Noah Johnson tell you everything you need to know about pants. Welcome to the #pantresistance. Learn more about your ad choices. Visit podcastchoices.com/adchoices

André 3000. Kurt Cobain. Sinead O'Connor & Winona Ryder. This week GQ Style editor-in-chief Will Welch and senior editor Noah Johnson discuss enduring style icons, starting with 3 Stacks, whose GQ Style interview lit up the internet this week. They also discuss who will be considered style icons from our era, and why contemporary artists don't stack up to their fly predecessors. Learn more about your ad choices. Visit podcastchoices.com/adchoices

André 3000. Kurt Cobain. Sinead O'Connor & Winona Ryder. This week GQ Style editor-in-chief Will Welch and senior editor Noah Johnson discuss enduring style icons, starting with 3 Stacks, whose GQ Style interview lit up the internet this week. They also discuss who will be considered style icons from our era, and why contemporary artists don't stack up to their fly predecessors. Learn more about your ad choices. Visit podcastchoices.com/adchoices

GQ Style senior editor Noah Johnson interviews editor-in-chief Will Welch about what goes into making a magazine in the digital era. Will explains how our A$AP Rocky cover story went down, from why Rocky landed the cover to what happened at the shoot and interview. Learn more about your ad choices. Visit podcastchoices.com/adchoices

GQ Style senior editor Noah Johnson interviews editor-in-chief Will Welch about what goes into making a magazine in the digital era. Will explains how our A$AP Rocky cover story went down, from why Rocky landed the cover to what happened at the shoot and interview. Learn more about your ad choices. Visit podcastchoices.com/adchoices

What drives men’s fashion culture? Is it magazines? Is it advertising? Is it social media? Is it celebrities? Is it fashion shows? Is it… #influencers? GQ Style editor-in-chief Will Welch and senior editor Noah Johnson talk all things influence on this episode of Corporate Lunch. Learn more about your ad choices. Visit podcastchoices.com/adchoices

What drives men's fashion culture? Is it magazines? Is it advertising? Is it social media? Is it celebrities? Is it fashion shows? Is it… #influencers? GQ Style editor-in-chief Will Welch and senior editor Noah Johnson talk all things influence on this episode of Corporate Lunch. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today GQ Style editor-in-chief Will Welch and senior editor Noah Johnson talk shopping. How you buy clothes, why you buy clothes, and what it says about you as a person. Will also shares intel from his Corporate Lunch shopping recon mission, and Noah reveals his Japanese proxy connect. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today GQ Style editor-in-chief Will Welch and senior editor Noah Johnson talk shopping. How you buy clothes, why you buy clothes, and what it says about you as a person. Will also shares intel from his Corporate Lunch shopping recon mission, and Noah reveals his Japanese proxy connect. Learn more about your ad choices. Visit podcastchoices.com/adchoices

It's the ERA OF LOUD BRANDING. GQ Style editor-in-chief Will Welch and senior editor Noah Johnson break it down and discuss how it relates to your personal brand. Noah also gives away some high-level fashion recs for free, and Will introduces a tasty new country-rock jam. Learn more about your ad choices. Visit podcastchoices.com/adchoices

It's the ERA OF LOUD BRANDING. GQ Style editor-in-chief Will Welch and senior editor Noah Johnson break it down and discuss how it relates to your personal brand. Noah also gives away some high-level fashion recs for free, and Will introduces a tasty new country-rock jam. Learn more about your ad choices. Visit podcastchoices.com/adchoices

GQ Style editor-in-chief Will Welch and senior editor Noah Johnson discuss fashion nostalgia, their personal style histories, and why they love regular-ass restaurants. Learn more about your ad choices. Visit podcastchoices.com/adchoices

GQ Style editor-in-chief Will Welch and senior editor Noah Johnson discuss fashion nostalgia, their personal style histories, and why they love regular-ass restaurants. Learn more about your ad choices. Visit podcastchoices.com/adchoices

GQ Style editor-in-chief Will Welch joins senior editor Noah Johnson to discuss German magazine-turned-streetwear brand 032c; the insiders, outsiders, and Rihannas of fashion week; and Raf Simons' spooky, brilliant second collection for Calvin Klein. Learn more about your ad choices. Visit podcastchoices.com/adchoices

GQ Style editor-in-chief Will Welch joins senior editor Noah Johnson to discuss German magazine-turned-streetwear brand 032c; the insiders, outsiders, and Rihannas of fashion week; and Raf Simons’ spooky, brilliant second collection for Calvin Klein. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode of Corporate Lunch, GQ Style senior editor Noah Johnson and digital editor Lili Göksenin debate V-neck T-shirts, gold jewelry for men, comfort shoes, G-Wagens, and other controversial matters of taste. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode of Corporate Lunch, GQ Style senior editor Noah Johnson and digital editor Lili Göksenin debate V-neck T-shirts, gold jewelry for men, comfort shoes, G-Wagens, and other controversial matters of taste. Learn more about your ad choices. Visit podcastchoices.com/adchoices

GQ Style senior editor Noah Johnson is joined by Garage Mag fashion editor Rachel Tashjian (AKA @theprophetpizza). They discuss Leonardo DiCaprio's style squad, Princess Diana, the low-key cult of A.P.C., and the developing cowboy-boot trend. Learn more about your ad choices. Visit podcastchoices.com/adchoices

GQ Style senior editor Noah Johnson is joined by Garage Mag fashion editor Rachel Tashjian (AKA @theprophetpizza). They discuss Leonardo DiCaprio’s style squad, Princess Diana, the low-key cult of A.P.C., and the developing cowboy-boot trend. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome to Corporate Lunch, GQ Style's new weekly podcast, hosted by editor-in-chief Will Welch and senior editor Noah Johnson. In episode one they discuss our Aziz Ansari cover story, going to Africa with Diplo, and visiting skate legend Tony Hawk and his son Riley at home in Southern California. You'll also hear their thoughts on Vogue's September cover painted by friend of the pod John Currin. Plus a special closing segment called “13 Vibes” highlighting all the best fashions, art, and pieces of cultural ephemera they're feeling right now. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome to Corporate Lunch, GQ Style’s new weekly podcast, hosted by editor-in-chief Will Welch and senior editor Noah Johnson. In episode one they discuss our Aziz Ansari cover story, going to Africa with Diplo, and visiting skate legend Tony Hawk and his son Riley at home in Southern California. You’ll also hear their thoughts on Vogue’s September cover painted by friend of the pod John Currin. Plus a special closing segment called “13 Vibes” highlighting all the best fashions, art, and pieces of cultural ephemera they’re feeling right now. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Lawrence and James are joined by GQ Style editor Noah Johnson aka Narc Dad. They talk men's fashion, posers, skateboarding, broing down at Coachella, becoming a real dad and cool guy gardening. As always, if you have any money you'd like to give us or any constructive criticism you'd like us to 360 degree tomahawk slam dunk into the trash can please email us: failingupwardspod@gmail.com.

Robert Leroy Johnson was born on May 8, 1911 to Julia Major Dodds and Noah Johnson in Hazelhurst, Mississippi. Until his late adolescence, his name was Robert Spencer after his stepfather, who had to change his name from Dodds to Spencer when he ran from Mississippi after a personal vandetta with the Marchetti Brothers (Lavere 7). Johnson took the name of his natural father as a teenager, even though he had not met him. Music was a long-time interest for Johnson, and his first instruments were the Jew's harp and the harmonica. Before he became seriously involved with the guitar, he married Virginia Travis in February 1929, and the young couple soon became expectant parents. But tragedy struck when Virginia, only sixteen years old, died in childbirth in 1930. Around June of 1930, blues musician Son House came to Mississippi. His music deeply affected Johnson, for it was the "rawest, most direct pure emotion Robert had ever heard, and he followed House and [Willie] Brown wherever they went" (Lavere 11). But Johnson did not appear to be gifted with a musician's talent for guitar, as Son House asserts, "Such another racket you never heard! It'd make people mad, you know. They'd come out and say, "Why don't y'all go in there and get that guitar from that boy!" (Cobb 289).