Podcasts about our take

One of the best songs written about West Virginia in the past half century was created by a man who was nicknamed for a state two time zones away.Bruce “U. Utah” Phillips wrote “The Green Rolling Hills of West Virginia” in 1971 while reflecting on a visit to the Mountain State years earlier."We were driving in an old car that had a bad leak in the radiator,” Phillips recalled in a story on his website. “We stopped every now and then in these hollers to get water and to talk to the people.“In one place, there was a woman about 50 years old who let us use her pump. I commented to her that down in the town, it seemed that everybody I ran into wanted to get out, wanted to go north or go west and find some decent work…."But, back in the hollers,” Phillips added, “it seemed like the people were rooted to the land, didn't want to go anywhere, even though there wasn't any work.”She gave him many reasons, some of which he didn't fathom, “but she gave me one I could understand, because I have a great affection for the mountains in my state, and I miss them when I spend a lot of time in the east. “She said to me, 'It's these hills. They keep you. And when they've got you, they won't let you go.' "Her comment inspired the key line in the chorus of the song that Phillips would later compose: The green rolling hills of West Virginia Are the nearest thing to heaven that I know. Though the times are sad and drear And I cannot linger here, They'll keep me and never let me go.The Hazel and Alice ContributionIn 1973, when Hazel Dickens and Alice Gerrard recorded their first album together, they wanted to include Utah Phillips' lovely ode to their home. However, they felt the song needed a better ending, one that offered not only a bit of hope, but also a call to join the fight to preserve those green rolling hills. They added a new last verse: Someday I'll go back to West Virginia, To the green rolling hills I love so well. Yes, someday I'll go home And I know I'll right the wrong. These troubled times will follow me no more.EmmyLou Steps UpEmmylou Harris, who recorded the song on her classic 1978 album Quarter Moon in a Ten Cent Town, said she loved how the song was about homesickness and displacement.But she added that it took on new meaning when she learned about the menace of mountaintop removal, decapitating hundreds of peaks and poisoning thousands of miles of streams in Kentucky, West Virginia, Virginia and in her home state of Tennessee.“It seems like artists today, particularly country artists, tend to play it safe,” Harris said, “and I count myself in there. I've never been that comfortable with overtly political songs. But mountaintop removal is based on pure greed and it's doing such incredible damage.”That's why, she said, Phillips' stark tune so resonated with her.Our Take on the TuneFifty years ago, The Flood's dear friends H. David Holbrook, Bill Hoke and Susan Lewis formed the core of the best local string band, The Kentucky Foothill Ramblers, and, gee, but they taught everyone a slew of wonderful tunes.The group used to sing “Green Rolling Hills of West Virginia” at nearly every show. The Ramblers are long-gone now, but home recordings preserve a lot of the band's repertoire as performed at those parties where The Flood was born back in the ‘70s.Nowadays "Green Rolling Hills of West Virginia" is always on the playlist whenever Floodster Emerita Michelle Hoge is in the room, as she was one night last month.More West Virginia Tunes?Finally, if you'd like more of The Flood's Mountain State melodies, check out the playlist the guys put together a few years ago to celebrate West Virginia Day. Click the link below: This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Hokum bands of the 1920s and '30s created a brand of urban folk tunes called “jug band music” that famously blended the sounds of the plantation and the church with those of the swing, swerve and sway of nascent jazz.And no one did it better than those Flood heroes The Memphis Jug Band, formed in 1927 by Beale Street guitar/harmonica player Will Shade. Shade was also known as Son Brimmer, a nickname given to him by his grandmother Annie Brimmer (“son” being short for grandson). The name stuck when other members of the band noticed how the sun bothered him and he used the brim of a hat to shade his eyes.The Ohio Valley InfluenceIncidentally, Will Shade first heard jug band music in our part of the country, on the 1925 recordings by Louisville's Dixieland Jug Blowers, and he wanted to take that sound south.“He was excited by what he heard,” Wikipedia notes, “and felt that bringing this style of music to his hometown of Memphis could be promising. He persuaded a few local musicians, though still reluctant, to join him in creating one of the first jug bands in Memphis.”While Shade was the constant, the rest of his band's personnel varied from day to day, as he booked gigs and arranging recording sessions.Some players remained a long time. For instance, Charlie Burse (nicknamed "Laughing Charlie," "Uke Kid Burse" and "The Ukulele Kid”) recorded some 60 sides with the MJB. Others — like Memphis Minnie and Hattie Hart — used the band as a training ground before going on to make careers of their own.Street MusicThe Memphis Jug Band's venues, as The Corner Jug Store web site noted, included “street corners, juke joints, city nightclubs, political rallies, private parties, hotel ballrooms, medicine shows and riverboats,” and it cut many styles and repertoires to suit its varied audiences.Most of all, the MJB's sound was the music of the street, as demonstrated in the open lines of their wonderful “4th Street Mess Around,” recorded in May 1930 for Victor by Ralph Peer: Go down Fourth until you get to Vance, Ask anybody about that brand new dance. The girls all say, “You're going my way, It's right here for you, here's your only chance.”And what was that “brand new dance?” Shoot, take your pick! The Eagle Rock, the turkey trot and fox trot, camel walk and Castle Walk, the Charleston and the Lindy Hop were all stirring the feet and wiggling the hips of listeners and players in the ‘20 and ‘30s.But Mess Around?But what's a “mess around?” Well, as we reported here earlier, New Orleans jazzman Wingy Manone in his wonderful autobiography called Trumpet on the Wing, talked about watching people dance the mess-around at the fish fries of his youth in the Crescent City at the beginning of the 20th century.“The mess-around,” said Wingy, “was a kind of dance where you just messed around with your feet in one place, letting your body do most of the work, while keeping time by snapping fingers with one hand and holding a slab of fish in the other!” Now, that's an image.Our Take on the TuneThe Flood first started messing around jug band tunes nearly 50 Springs ago, when the band was still a youngster. Before their juncture with juggery, the guys played mainly old folk songs and some Bob Dylan and John Prine and a smattering of radio tunes from folks like James Taylor and The Eagles. But then they discovered some fine old recordings by Tampa Red and Georgia Tom, by groups like The Mississippi Sheiks and Gus Cannon's Jug Stompers, and most especially the great Memphis Jug Band. Ever since then, The Flood's musical buffet table has been a lot bigger, with tunes like this one from the warmup at last week's rehearsal.More Jugginess?Of course, The Flood's jug band music mission has continued. If today's song and story have you ready to join the campaign, check out The Hokum channel on the free Radio Floodango music streaming service which has dozens of jug band tunes ready to rock you. Click here to tune it in and you'll be ready to sing along at the next Flood fest. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Texan Cindy Walker already was a well-established songwriter in the fall of 1955 when she attended Nashville's annual disc jockey convention.By then, she had worked with Bing Crosby, not to mention Gene Autry and Bob Wills. She had even scored her own hit in 1944 with her recording of Wiley Walker and Gene Sullivan's "When My Blue Moon Turns to Gold Again."But Cindy Walker's greatest contribution to American pop music was only now about to happen.How the Song Came to BeYears later, Walker would recall that day. She was leaving the Nashville conference when she was approached by country singing star Eddy Arnold.“He said, 'I've been wanting to see you. I've got a song title,'” she remembered. “He said, ‘I've showed it around a little bit and I haven't had any luck, but I know it's a good title.'” Walker liked the title Arnold suggested — “You Don't Know Me” — but at first she couldn't figure out what to do with it. Back home, though, “I was just sitting there and all of a sudden, here comes, 'You give your hand to me and then you say hello'.” "But I couldn't find any way to finish it,” she told a writer decades later during her Grammy Foundation Living History interview. “Maybe two or three weeks went by and nothing happened. Then one day, I thought, 'You give your hand to me and then you say goodbye' and when I said that, I knew exactly where it was going. I couldn't wait to get to the phone to call Eddy."Crossover GoldWalker's resulting song was a definitive crossover hit. The first rendition of “You Don't Know Me” was released by pop singer Jerry Vale, who in early 1956 carried it to #14 on Billboard's pop chart. Two months later, it entered the country music world when Eddy Arnold's version made it to #10.Then along came Brother Ray. In 1962, Ray Charles included the tune on his #1 pop album Modern Sounds in Country and Western Music. His single of “You Don't Know Me” (the song's overall biggest-selling version ever) went all the way to #2 on Billboard's “Hot 100.” That same year it also topped the Easy Listening chart for three weeks.Later the song was used in the 1993 comedy film Groundhog Day, and it was the 12th No. 1 country hit for Mickey Gilley in 1981.Walker's fellow Texan Willie Nelson honored her with his album You Don't Know Me: The Songs of Cindy Walker in 2006, the year she died at age 88. In her obituary, The New York Times noted that Walker had Top 10 hits in every decade from the 1940s to the 1980s.Our Take on the TuneMichelle Hoge brought her band mates this song about a decade ago. It immediately found a place on the next album they were working on and it became a standard feature in most of The Flood's shows. These days, the guys don't see Michelle so often — she and her husband Rich live more than two hours away — but whenever she rambles back this way, as she did last week, this enduring classic is sure to make an appearance.More from MichelleFinally, if you would like to fill your Friday with little more from the one whom the late Joe Dobbs lovingly dubbed “The Chick Singer,” tune in the Michelle Channel in the free Radio Floodango music streaming service.Click here to give it a spin. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

For a half dozen years beginning in the late 1990s, The Flood always greeted March's arrival with an annual road trip into the mountains. Providing an evening of music, jokes and stories, the band would entertain a roomful of visiting volunteers, kindly students who had come more than 600 miles from Milwaukee's Marquette University to use their spring break helping with assorted post-winter chores around the little mining town of Rhodell on Tams Mountain about 20 miles south of Beckley.As reported here earlier, from 1997 to 2002 The Flood's original three amigos — Joe Dobbs, David Peyton and Charlie Bowen — shared this weird, wonderful way to celebrate the coming of spring. To read more about these Tams Mountain adventures, click here.But, Hey, This is About a Song…Each year, party hostess Martha Thaxton never failed to ask the guys to play one particular tune before they left for their two-hour journey back to Huntington. It was a song that seemed to speak to Martha's own rambling soul as a die-hard folkie, a beloved Tom Paxton composition from his 1964 debut album for Elektra Records.“I Can't Help But Wonder Where I'm Bound” was a song Dave and Charlie knew well — they had played it with Roger Samples back in the old Bowen Bash days — so they were happy to dust it off for Martha and her visiting good samaritans.In the past 60 years Paxton's song has been recorded by everyone from The Mitchell Trio and The Kingston Trio to Tiny Tim and Dion (no, really!), from The Country Gentlemen and Country Joe to Doc Watson and Nanci Griffith.But surely the most touching rendition was Johnny Cash's recording of the song in his final session in February 2010.In a recent interview, Paxton noted that Cash used to come in The Gaslight back in the early 60s “in what we now know was his worst period. “He was skinny as a rail because of all the pills he was doing. He had not had his renaissance yet. But he was a gentle man. He was a direct man and he took you as you were. I just liked this man.”Paxton said he was “absolutely thrilled … to hear him sing the song. That's just a once in a lifetime kind of thrill.”Elijah Wald Blazed the TrailSpeaking of being thrilled, members of The Flood's crack research department are always overjoyed whenever they discover the blazed trails and rambling footprints of the incomparable Elijah Wald on some musical terrain they've come to explore.For nine years now, Wald's online “Songbiography” has been his musical memoir, giving history and personal reflection on some of his favorite songs, which often turn out to be Flood favorites too. Elijah's site was barely a month old when he took up “I Can't Help But Wonder Where I'm Bound.”It is a tune he loved as a young man, but, he writes, he couldn't “help noticing that Paxton himself got married back when he was writing these songs, and the marriage lasted, and he moved out to the country and raised a family, and all in all has had one of the most settled and stable lives of anyone on the folk scene.“It's as if he actually meant the last verse, where he sings that anyone who sees the ramblin' boy goin' by and wants to be like him should just ‘nail your shoes to the kitchen floor, lace 'em up and bar the door/Thank your stars for the roof that's over you.'”In retrospect, Wald said, “I think it's a nice touch that the singer keeps bemoaning his sad ‘n' ramblin' ways, but it's the girl, rather than him, who leaves on the morning train.”Our Take on the TuneSo this is an evergreen song, and that word has special meaning in The Flood band room. It is reserved for tunes that are timeless. This Tom Paxton classic might be 60 years old, but it feels it could have been written last week — or, well, a century ago. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

In this episode, Toni and I discuss whether starting a podcast is really worth it in 2025. With the podcasting scene booming and also becoming saturated, it’s the perfect time to weigh the pros and cons before diving in. Join us as we share our insights on the opportunities and challenges that come with launching your own show! What You’ll Learn Discover the latest trends in podcasting and what listenership is like in 2025 How to stand out in a crowded market and grow your audience Hear our take on the potential challenges you might face Sponsors SellersSummit.com – The […] The post 580: Is Starting A Podcast Worth It In 2025? Here’s Our Take appeared first on MyWifeQuitHerJob.com.

Around campfires North and South, many of the tunes played and sung during the Civil War were the work of a 35-year-old Pennsylvanian who was America's first full-time professional songwriter.By the time the war started, Stephen Collins Foster — who as a youth taught himself to play the clarinet, guitar, flute and the piano — had published more than 200 songs.His best ones — “Oh Susannah,” “Camptown Races,” “Old Folks at Home (Swanee River),” “My Old Kentucky Home,” “Jeanie with the Light Brown Hair,” “Hard Times Comes Again No More” — already were widely known throughout the country to amateur and professional musicians alike.About “Angelina Baker”This song, though, was not one of the famous ones. Foster wrote “Angelina Baker,” sometimes performed as “Angeline the Baker,” in 1850 for use by the theater world's Christy Minstrels troupe.Today folks know it primarily as an instrumental dance tunes performed by old-time and bluegrass bands, almost always with a lively fiddle leading the way. An early version was recorded for Victor in 1928 by Uncle Eck Dunford of Galax, Va. Meanwhile, West Virginia fiddler Franklin George called it "Angeline" and played it with Scottish overtones.Foster's original, though, was a bit slower and had lyrics that lamented the loss of a woman slave, sent away by her owner.Huntington-born music historian Ken Emerson — who in 1997 wrote a definitive biography called Doo-Dah!: Stephen Foster and the Rise of American Popular Culture — said that “Angelina Baker” entered the American consciousness during a period of great controversy between free and slave states. The Fugitive Slave Act of 1850 was among the hotly debated topics at the time of the song's composition, and, Emerson noted, Foster's lyrics obliquely acknowledge these controversies. (Angelina likes th' boys as far as she can see ‘em / She used to run old Massa round to ask him for to free ‘em…. Angelina Baker, Angelina Baker's gone / She left me here to weep a tear and beat on de old jawbone… )Our Take on the TuneThe Flood has always celebrated diversity. The guys often follow a folk blues with a swing tune or chase a 1950s jazz standard with some 1920s jug band stuff. And deep in The Flood's DNA are the fiddle tunes learned from Joe Dobbs and Doug Chaffin. This Civil War-era tune the band learned from fiddlin' Jack Nuckols, their newest band mate.From the Archives: How We Met AngelinaAs reported earlier, Dave Peyton and Charlie Bowen started 50 years ago trying to draw Nuckols into the band. On an April evening back in 1974, Peyton and Bowen trekked over to Jack and Susie's place in South Point, Ohio, for a jam session. It was during that session that they first heard “Angelina Baker.” Here from the fathomless Flood files is that specific archival moment. Click the button below to travel back 51 years and hear Jack on fiddle, Dave on Autoharp and Charlie on guitar:More Instrumentals?Finally, if all this has you wanting some more wordlessness in your Friday Floodery, tune in the Instrumentals channel in the free Radio Floodango music streaming service. There you'll have a randomized playlist of everything from folksy fiddle tunes to sultry jazz numbers without a lyric or vocal in sight! Click here to give a try. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Send us a textINTRODUCTION:In this episode of the 'Sex, Drugs, and Jesus' podcast, host De'Vannon engages in a detailed discussion with Dr. Paul Gittens, a urologist and sexual health expert. The conversation covers various topics related to sexual medicine, including fertility, erectile dysfunction, and innovations in male enhancement procedures. Dr. Gittens explains his approach to patient care, emphasizing the importance of a holistic and compassionate perspective. The episode also explores the role of masturbation in sexual health, commenting on a recent statement by Jimmy Kimmel, and delves into the physical and psychological aspects of erectile dysfunction. Both host and guest stress the complementarity of medical and spiritual approaches to sexual health. The discussion is rounded off with a light-hearted segment of dad jokes.Jimmy Kimmel: https://tinyurl.com/2x75hx6mPlaylists: https://music.apple.com/profile/DeVannonSeraphinoWebsite: https://www.SexDrugsAndJesus.comINCLUDED IN THIS EPISODE (But not limited to):·      Sexual Health Medicine.·      Our Take on Jimmy Kimmel's HuffPost Article.·      Penile Girth Enhancement.·      Self Image Implications.·      The Whole Person Concept.·      The Convergence of Science and Religion.·      Masturbation vs. Marriage.·      Positive/Negative Use of Sexual Energy.·      Train Your Children Early About Sex.·      Erectile Dysfunction as a Leading Indicator.  CONNECT WITH DR. PAUL GITTENS:Website: https://centersforsexualmedicine.com/IN: https://www.instagram.com/drgittens/CONNECT WITH DE'VANNON SERÁPHINO:TikTok: https://shorturl.at/nqyJ4YouTube: https://bit.ly/3daTqCMLinkedIn: https://www.linkedin.com/in/devannonEmail: SDJPodcastNewYork@Gmail.comThanks for listening!!! Please follow us on YouTube + TikTok @SexDrugsAndJesusPodcast

For the past month, the world has been fascinated by a new movie about a 20-year-old with a head full of ideas rolling from the North Country into New York City in 1961 and changing music forever. The Bob Dylan biopic A Complete Unknown just yesterday scored eight Oscar nominations, including nods for best picture, best director, best lead and supporting actors, best sound and more.It already had garnered awards and nominations, from the Golden Globes and Screen Actors Guild, from BAFTA and Critics Choice.Our Tribute This week's podcast, a tribute to this wonderful film, features a tune from that same time period in the Dylan story. It's our version of Bob's version of “Corrina, Corrina.”As reported here earlier, most of Dylan's earliest fans know this song as a track on the Freewheelin' album, but it also was the flipside of his first single, a 45 rpm that appeared ever so briefly in record stores in the early 1960s.It's curious that “Corrina, Corrina” is not among the tunes covered in A Complete Unknown, since the movie is all about Bob going electric. As most diehard Dylanologists know, that 1962 track was the young singer's first recorded work with a band (albeit the barest bones of a band, just a bit of light drumming, bass and some tasteful solo electric guitar).That solo guitar was famously played by Bruce Langhorne, the same Bruce Langhorne who three years later reappeared in the Dylan orbit on the Bringing It All Back Home album, whose tunes famously are much featured in the film. Heeeey, Mister Tambourine Man….Our Take on the TuneOn this Flood track from last week's rehearsal, the guitars seem to be dancing together. Just listen to Danny Cox's big, warm solos over Charlie Bowen's subtle slides on his resonator.A Bigger Batch of BobMeanwhile, hey, if you've detected a Dylan deficiency lately in your daily diet, The Flood has a cure: An entire Bob-centric playlist is ready for a spin in the free Radio Floodango music streaming service.Click here to read all about it. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

www.marktreichel.comhttps://www.linkedin.com/in/mark-treichel/Our most downloaded episode of the year:  Our Take on the NCUA Supervisory Priority Letter.

One of the most curious and complicated characters on the great American musical landscape is Thomas A. Dorsey.A deeply religious man, Dorsey often is called “the father of gospel music,” because he inspired a movement that popularized bluesy gospel songs in churches across America starting in the mid-20th century.Some 3,000 songs — a third of them gospel — were written by Dorsey in his 90 years, including “Take My Hand, Precious Lord” and “Peace in the Valley.” Now, then, about those other 2,000 songs ….Recording as “Georgia Tom,” Dorsey also was instrumental in the early days of secular blues. With his partner “Tampa Red,” he helped popularize the sexy, happy hokum music of the 1920s and ‘30s with tunes like “Somebody's Been Using That Thing,” “Dead Cat on the Line.” and “The Duck — Yas, Yas, Yas.”In the Beginning….Born in the rural Georgia town of Villa Rica, Dorsey grew up in a religious family, but gained most of his musical experience playing blues piano at barrelhouses and rowdy parties in and around Atlanta, where the family moved when Thomas was eight years old. As a young man, Dorsey began attending vaudeville theater shows that featured blues musicians, with whom he informally studied. Despite being meagerly compensated for his efforts, Thomas played at rent parties, house parties and brothels.Seeking a greater challenge, in 1919 Dorsey moved to Chicago, where he discovered that his brand of playing was unfashionable compared to jazz's newer uptempo styles. Faced with more competition for jobs, Dorsey turned to composing. In 1920 he published his first piece, called "If You Don't Believe I'm Leaving, You Can Count the Days I'm Gone,” making him one of the first musicians to copyright blues music.Dorsey also copyrighted his first religious piece in 1922 (a song called “If I Don't Get There"), but he quickly found that sacred music could not financially sustain him, at least not in the Roarin' Twenties, so he continued working the dives and playing the blues.Enter Ma RaineyDorsey's big break came in 1923 when he was hired as the pianist and leader of The Wild Cats Jazz Band accompanying Ma Rainey, a charismatic and bawdy blues shouter who by then had been performing professionally for 20 years.When Rainey and The Wild Cats opened at Chicago's largest black theater, Dorsey remembered the night as "the most exciting moment in my life,” according to his biographer Michael W. Harris.Dorsey worked with Rainey and her band for two years, composing and arranging her music in the blues style as well as vaudeville and jazz to please audiences' tastes. Often at his side was a new member of the band, Hudson “Tampa Red” Whitaker, a blues guitarist who in 1928 would become Dorsey's recording partner for five years.Rainey enjoyed enormous popularity touring with her hectic schedule, singing about lost loves and hard times. She interacted with her audiences, who were often so enthralled they stood up and shouted back at her while she sang.But Dorsey increasingly had misgivings about the suggestive lyrics of the songs he and Red were writing. Finally, Thomas left the tour and tried to market his new sacred music. He printed thousands of copies of his songs to sell directly to churches and publishers, even going door to door, but he still couldn't make it work.About This SongDorsey returned to the blues in 1928, but this time in the recording studios in the persona of “Georgia Tom.” The first Paramount sessions for him and Tampa Red were the last ones for Ma Rainey. In fact, one of the last things the great blues singer ever recorded was this new Thomas Dorsey composition.Nowadays for vinyl collectors, Rainey's “Black Eye Blues” is a rare find. That's because Ma's September 1928 recording of the song wasn't released until July 1930. By then, the Great Depression was raging. Rainey had left the business (retiring to her Columbus, Ga., home). Paramount was ending too; the studio ceased operation in 1932.While audio of the record was later preserved on blues compilation albums (and now on YouTube), the song itself has had a sketchy history. Over the years, the controversial subject matter — domestic violence — has made it uncomfortable for many singers to tackle, especially when dealing with Dorsey's no-compromise lyrics: You low-down alligator, you watch and sooner or later I'm gonna catch you with your britches down!When folkie Judy Henske recorded it in 1964, for instance, her producers at Elektra changed the title to "Low Down Alligator.” Similarly, when Odetta recorded the song two years earlier, she also found the title a bit too much for early 1960s sensibilities. On the Riverside label, instead of “Black Eye Blues,” the song was listed as “Hogan's Alley,” based on Dorsey's opening line (Down in Hogan's Alley lived Miss Nancy Ann….)Hogan's AlleyWhich raises a question. Where is “Hogan's Alley,” anyway?Many cities (from Vancouver to Virginia) have one, but historian Robert Lewis Miesen writes, “Rather than being the name of a person, ‘Hogan's Alley' was a derogatory 19th century label, much as one might use ‘skid row,' ‘ghetto' or ‘hood' today.”He noted that in the same spirit back in 1895, artist Richard F. Outcault — father of the modern comic strip — placed his “Yellow Kid” character in his “Hogan's Alley” cartoons, which appeared weekly in The New York World, starring rambunctious slum kids in the streets.Our Take on the TuneMeanwhile in Floodlandia, when the whole band can't get together — like last week, when it was just Danny, Randy and Charlie — it's an opportunity to lay back and explore tunes not usually on the practice list.In Flood years, this song dates back nearly a half century, to when the fellows were first starting to fool with the hokum tunes of the 1920s and ‘30s.Here's “Black Eye Blues” from last week's gathering. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Hoagy Carmichael was not quite 28 years old when he wrote what music historians consider THE song of the 20th century.Just how big is “Stardust” in the Great American Songbook?* Well, for starters, this is a song that has been recorded as an instrumental or a vocal more than 1,500 times. * Forty years after its publication in 1928, it was still earning more than $50,000 annually in royalties. * The lyrics that Mitchell Parish later brought to Hoagy's song have been translated into 30 languages.“Stardust” simply is “the most-recorded song in the history of the world,” music curator John Edward Hasse of the Smithsonian Institution once told John Barbour of The Associated Press, “and that right there qualifies it as it as the song of the century.”The closest competitor, he said, is “Yesterday” by John Lennon and Paul McCartney, and, at No. 3, W.C. Handy's “St. Louis Blues.”Young Hoagy and His SongLate summer 1927 found Hoagy Carmichael back home in Indiana after a romp in Florida; the young man was hanging out near the campus of Indiana University, from which he had graduated a few years earlier.As he related in his first autobiography, The Stardust Road, in 1946:It was a hot night, sweet with the death of summer and the hint and promise of fall. A waiting night, a night marking time, the end of a season. The stars were bright, close to me, and the North Star hung low over the trees.I sat down on the “spooning wall” at the edge of the campus and all the things that the town and the university and the friends I had flooded through my mind. Beautiful Kate (Cameron), the campus queen... and Dorothy Kelly. But not one girl — all the girls — young and lovely. Was Dorothy the loveliest? Yes. The sweetest? Perhaps. But most of them had gone their ways. Gone as I'd gone mine....Never to be 21 again; so in love again. Never feel the things I'd felt. The memory of love's refrain....Carmichael wrote that he then looked up at the sky, whistling softly, and that the melody flowing from his feelings was “Stardust.” Excited, he ran to a campus hangout where the owner was ready to close. Hoagy successfully begged for a few minutes of piano time so he could solidify that theme in his head.True?Is that really how it happened? “What can I say?” historian Hasse told the AP decades later. “It is truly a thing of legend.”The same year, Carmichael recorded an upbeat instrumental version of the song for Gennett Records. The next year, he left Indiana for New York City after Mills Music hired him as a composer. The Reception WidensWest Virginian Don Redman recorded the song in the same year, and by 1929 it was performed regularly by Duke Ellington at the Cotton Club; however, it was Isham Jones' 1930 rendition that made the song popular on radio, prompting multiple acts to record it.For instance, in 1936, RCA released double-sided versions of “Stardust,” Tommy Dorsey on one side and Benny Goodman on the other.Then 1940 was a banner year, with releases of the song by Frank Sinatra, Artie Shaw and Glenn Miller. Since then, “Stardust” has entered the repertoire of every serious jazz singer and instrumentalist around the world.Willie's VersionIn 1978, country superstar Willie Nelson surprised fans with his release of his Star Dust album, which went golden after staying on the best-seller charts for more than 135 weeks.Nelson recalled singing it in the Austin, Texas, Opera House. “There was a kind of stunned silence in the crowd for a moment, and then they exploded with cheering and whistling and applauding. The kids thought ‘Stardust' was a new song I had just written….”Our Take on the TuneSince its composition nearly a hundred years ago now, this song has been performed by many folks as a slow, romantic ballad, drawing out the words and the melody. Good for them. However, when Hoagy wrote this classic, he performed it with a bit of the sass and sway that characterized the jazz of his day, and we in The Flood like to carry on that tradition. The song has some of the best chords of anything in our repertoire and in this take from last week's rehearsal you'll hear two solos in which Danny Cox is finding all kinds of interesting ideas. Click here to come along on his quest.More from Year 2024?It's been a busy, interesting year in the Floodisphere, with lots of new tunes as well as re-imaginings of old ones from The Flood's songbag.If you'd like to join us in a little auld-lang-synery, our free Radio Floodango music streaming features a randomized playlist built around the tunes in all the weekly podcasts of the year. Click here to give Year 2024 a re-listen. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

A few weeks before his death in November 1966, Mississippi John Hurt's rendition of “Payday” was released as the opening track on his Today album for Vanguard Records.At the time, many fans believed the 74-year-old bluesman wrote the song, despite his introduction in which he characterized it as “an old tune… a ‘bandit tune.'” And we now know that a quarter of a century earlier, folklorist John Lomax recorded a version of “Payday” by lesser-known blues artists Willie Ford and Lucious Curtis in Natchez, Mississippi.Still, it is the John Hurt version that has become loved among syncopated fingerpicking guitarists; to this day his take on “Payday” is taught in classes and on YouTube videos.The John Hurt Odyssey: Part IThe Today album, hitting record stores in October 1966, marked the end of a remarkable three years for the venerable blues artist, who was born the son of freed slaves around 1892 in Teoc, Mississippi. John Smith Hurt grew up in the Mississippi Delta, living in Avalon, which sits midway between Greenwood and Holcomb just west of Highway 51.He left school at age 10 to be a farm hand and was taught guitar by a local songster and family friend. Hurt lived most of his life without electricity, did hard labor of all sorts and played music as a hobby at local dances. In the late 1920s, performing with local fiddler Willie Narmour, he won a competition and a chance to record with Okeh Records in two sessions, one in Memphis and another in New York City. John Hurt: Part IIThe resulting records were not a great commercial success — John went back to farming and raising a family that would grow to 14 children — but a quarter of a century later, his music entered the folk music canon. That's when two of those 1928 tracks were included in the holy grail of American music, Harry Smith's 1952 Anthology of American Folk Music, considered one of the main catalysts for the folk and blues revival of the 1960s and ‘70s. A decade later, in 1962, the presence of those old cuts — “Frankie” and “Spike Driver Blues” — on in the Smith anthology prompted musicologist Dick Spottswood and his friend, Tom Hoskins, to track Hurt down. Hoskins persuaded him to perform several songs for his tape recorder to make sure he was the genuine article. Quickly convinced — in fact, folkies found Hurt even more proficient than he had been in his younger Okeh recording days — Hoskins encouraged him to move to Washington, D.C., to perform for a broader audience.For the last three years of his life, Hurt performed extensively at colleges, concert halls and coffeehouses, appearing on television shows ranging from “The Tonight Show” with Johnny Carson to Pete Seeger's “Rainbow Quest” on public TV. Much of Hurt's repertoire also was recorded for the Library of Congress, and his final tunes, recorded in 1964 and released two years later, are on Today.He also developed a delightful friendship with a young folksinger named Patrick Sky who produced that final album for Vanguard, where “Payday” is the opening track.Deeper Roots of “Payday”By the way, in the brand new book, Jelly Roll Blues: Censored Songs & Hidden Histories, published last spring, author Elijah Wald finds a much longer tail on the tune, not to mention a possible connection to another Flood favorite.Wald notes that back in 1908, Missouri pianist Blind Boone published a pair of “Southern Rag” medleys that African Americans were singing in that region around the turn of the century.“Medley number one was subtitled ‘Strains from the Alleys',” Wald writes, and included the first publication of “Making Me a Pallet on the Floor.'” Wald says the medley also featured “a song that probably reaches back to slavery times and would be recorded in later years as ‘Pay Day,' ‘Reuben,' and various other names.”Our Take on the TunePurists say this doesn't sound much like Mississippi John Hurt's original, but that's pretty much by design. Once The Flood folks learn a song, they usually stop listening to the original so it is free to find its own form in the Floodisphere. That's their take on what Pete Seeger's folklorist father Charles called “the folk process.”And in this instance, “Payday” has been processing in Floodlandia for more than 20 years now, ever since its inclusion on the band's first studio album back in 2001.Here's the current state of its evolution, taken from a recent rehearsal. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

A century ago this year, the fledgling record industry's first supergroup walked into a New York studio and waxed one of its greatest hit.The first time much of the world ever heard a rocking spiritual called “I'm a Pilgrim,” it was on the Oct. 4, 1924, Paramount Record release by the jazzy Norfolk Jubilee Quartet.Starting with its birth in 1919, the Norfolk Quartet offered a unique sound, characterized by a scat-like rhythmic pattern performed by founder Len Williams, the bass singer, while the rest of the group sang the melodies.In 20 years ending in 1940, the quartet recorded nearly 150 sides for Paramount, Okeh and Decca. A third of those songs were secular, for which the group tweaked its name to become the Norfolk Jazz Quartet.And the group was welcomed in that burgeoning jazz community. Soon after their first record in 1921, for instance, the guys were invited to appear with blues singer Mamie Smith in Baltimore and then to do a summer stint on stage in “The Flat Below,” a three-part play by vaudeville's Flournoy Eakin Miller and Aubrey Lyles.The Norfolk group continued to be an immense success in shows across the country, laying the foundation for all the jubilee quartets that followed them.Of course, the song “I Am a Pilgrim” is even more famous than the first group to record it. To today's listeners, in fact, the song is more likely associated with famous performances by the fabulous Kentuckian Merle Travis in the 1940s and beyond. That story is covered in an earlier Flood Watch article. Click here for that deeper dive into the tune's history.Our Take on the TuneThis great old song is often performed with mellow reverence by country and folk artists as well as by many gospel groups. However, The Flood guys, ever since they started doing the tune a couple of years ago, have taken their cue to the song's original recording a hundred years ago. Like the Norfolk Jubilee Quartet, The Flood likes to put a little cut its strut and a glide in its stride. Here's a track from last week's rehearsal. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Singer/songwriter Bob Gibson was a defining figure in the folk music revival starting in the late 1950s, but a crushing dependence on heroin and other drugs sank his career, his marriage and many of his long-time friendships.Gibson — who wrote songs like “Abilene” and “There's a Meeting Here Tonight” that were performed by artists such as Peter, Paul and Mary, The Limeliters and Simon and Garfunkel, as well as The Byrds, The Smothers Brothers and others — hit rock bottom in the late '60s.The Road Down“I left the business in '66,” Gibson wrote in his autobiography, I Come for to Sing. “It seemed to me working in clubs, being on the road, being in show business and around musicians caused me to use drugs. I thought if I got away from that, everything would be fine.”To that end, he spent almost three years in a country hideaway with his young family trying to get clean, but ultimately, he wrote, the hiatus failed its mission.The early 1970s found Gibson relocating again, this time to the West Coast, commuting for occasional gigs in clubs in Chicago and Los Angeles. “I was just hanging in,” he wrote, “doing the same set of songs, and I wasn't writing or learning.”Enter ShelBut then he reconnected with an old friend — writer/artist Shel Silverstein — who helped “in jarring me out of this,” Gibson said. “Shel would come up there and we'd write songs.”Meanwhile, what he called “a classic music business snafu” torpedoed his last major label release, so in 1974 — re-energized by the songs he had written with Shel — Gibson started one of the country's first-ever artist-owned record companies. In those days, his new Legend Enterprises label was a novel approach to making records.Bob's Funky In The Country was its first release, recorded live at the legendary Amazingrace Coffeehouse in Evanston, Ill., near Chicago.Buoyed by a rave review in Billboard magazine, the album gave the fledgling label a fine start, but it was quickly undermined by Gibson himself: The first stop on the road to promote his new album was a few months in rehab. By the time Bob was ready to travel again, the momentum had moved on.The SongA highlight of that lovely album — “Two Nineteen Blues” — is built around Gibson's imaginative reworking of several long-standing blues motifs.His chorus (“I'm going down to the river / Gonna take along my rocking chair”) comes from well-known versions of “Trouble in Mind” as sung by everyone from folkie Cisco Houston to soulful Sam Cooke to country's Johnny Cash.And the song's hook (“Gonna lay my head down on some lonesome railroad line / And let the two-nineteen come along and pacify my mind”) has even deeper blues roots.No less an authority than the great Jelly Roll Morton said “Mamie's Blues” — from which the line comes — was “no doubt the first blues I heard in my life. Mamie Desdunes, this was her favorite blues. She hardly could play anything else more, but she really could play this number.”Desdunes (sometimes written Desdoumes) was a well-known singer and pianist in “The District,” as New Orleanians called the area now generally remembered as “Storyville.”What's in a Name?Blues historian Elijah Wald notes the old song's title is often given as “2:19 Blues,” as if referring to a train time; however, jazz historian Charles Edward Smith recalled Morton explaining that the 219 was the train that “took the gals out on the T&P (Texas and Pacific railroad) to the sporting houses on the Texas side of the circuit.”Despite all its lyrical borrowings from blues antiquity, “Two Nineteen Blues” is unmistakably a Bob Gibson creation. He brought to it a completely new melody and fresh lyrics brimming with his trademark sass and winking understatement. For example, Bob sealed the deal in a final verse that finds his antagonist in a small-town jail, where: I hit the judge and I run like hell And the sheriff he's still askin' ‘round ‘bout me.Our Take on the TuneFor folks who know The Flood only from its studio albums, this is the first tune they may have ever heard from the band.That's because this rollicking composition was what the guys played on the opening track of their very first commercial album nearly a quarter of a century ago now. And speaking of names, because of a design error, the song was erroneously listed on that inaugural album as “Rocking Chair,” a name it has retained in the Floodisphere ever since.A lot changes in a band over the decades, but good old tunes — under whatever name — are like cherished letters from home. Here's a version from a recent rehearsal. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

The quintessential moment of a jazz funeral is the playing of “Just a Closer Walk to Thee.” Some say this custom goes all the back to early days of the New Orleans music scene nearly a century and half ago. It's a lovely story… and, well, untrue.The jazzman most associated with playing this beautiful song — New Orleans' legendary clarinetist George Lewis — revealed the tune actually has a much more recent history, one in which a barroom jukebox plays a prominent role.“The first time I played it was in the The Eureka Band” in 1942, Lewis told his biographer Tom Bethell. “We heard it on a music box, and a woman asked us to play it for a funeral” for her murdered husband.The MurderThe victim in this story, said Lewis, was in an uptown bar in one of New Orleans' rougher neighborhoods known as “The Battlefield.” He was just putting a nickel in the jukebox when someone stabbed him in the back.When the widow later learns that the song the poor man wanted to hear on that fateful evening was the new Sister Rosetta Tharpe recording of “Just a Closer Walk with Thee,” she asked George Lewis's band to play it at his funeral.Before that time, Lewis said, the tune was not known in New Orleans; however, after The Eureka Brass Band's performance, bands have been playing it at funerals ever since.The Song's Story“Just a Closer Walk with Thee” is a surprisingly modern song. It was published in 1940 in Chicago by Kenneth Morris, though Morris never claimed to have actually written the melody. In his book The Golden Age of Gospel, Horace Clarence Boyer tells how Morris was riding a train from Kansas City to Chicago. Along the way, he stepped off at one of the stops for some fresh air; while there, Morris heard a station porter singing a song. “He paid little attention at first,” Boyer wrote, “but after he re-boarded the train, the song remained with him. It became so prominent in his mind that at the next stop, he left the train, took another train back to the earlier station and asked the porter to sing the song again.”Morris wrote down the words and music — later adding a few lyrics of his own to provide more breadth — and published “Just a Closer Walk with Thee” that same year.RecordingsThe first known recording was by the Selah Jubilee Singers for Decca Records on Oct. 8, 1941.It didn't take long, though, for the song to get a jazzier treatment. Two months later, also for Decca, Rosetta Tharpe waxed the disc that would wind up on a jukebox in New Orleans and change George Lewis's life. After Lewis recorded it on his 1943 New Orleans Stompers album, “Just a Closer Walk with Thee” became his most requested tune for the remaining 25 years of his life.Our Take on the TuneRecently when Danny Cox read here how The Flood played “Just a Closer Walk with Thee” at a friend's memorial service 20 years ago, he said, “Why don't we do that song anymore?” Well, why indeed? So lately the guys have been dusting it off and just listen to the soulful, sassy spin the lads have put on it. Here's a take from last week's rehearsal.More Churchy Stuff, You Say?If this week's selection has you in the mood for a little more of The Flood's brand of reverence, you might enjoy the “Gospel Hour” playlist on the free Radio Floodango music streaming service.Click here to read all about it. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Johnny Cash had a long-time affinity for the work of — and for his friendship with — Bob Dylan.In his book Cash: The Autobiography, Johnny wrote of being on the road in the early ‘60s. “I had a portable record player that I'd take along on the road, and I'd put on Freewheelin' Bob Dylan backstage, then go out and do my show, then listen again as soon as I came off.“After a while at that, I wrote Bob a letter telling him how much of a fan I was,” he said. “He wrote back almost immediately, saying he'd been following my music since I Walk the Line, and so we began a correspondence.” The two finally met in person during the 1964 Newport Folk Festival. They remained close friends for the remaining 40 years of John's life. When his friend died in 2003, Dylan wrote, “In plain terms, Johnny was — and is — the North Star; you could guide your ship by him, the greatest of the greats, then and now.”“Truly he is what the land and country is all about,” continued Dylan, “the heart and soul of it personified and what it means to be here; and he said it all in plain English. I think we can have recollections of him, but we can't define him, any more than we can define a fountain of truth, light and beauty.”Despite their mutual admiration, Dylan and Cash collaborated only one time. That was on Dylan's landmark 1969 recording of the Nashville Skyline album, produced by Bob Johnston.Johnston also had produced Cash's At Folsom Prison the year earlier, and he hoped he could get the two artists to record an entire album together. To that end, Cash and Dylan recorded 15 songs together at the Nashville sessions, but ended up keeping only one of those tracks, “Girl from the North Country.”About This SongAmong those 15 tracks was one of Cash's all-time favorite Dylan compositions, the wistful “One Too Many Mornings,” which Bob wrote for his third studio album, The Times They Are a-Changin'.As noted here recently, the song was famously among a series of tunes Dylan wrote after his breakup with his lover Suze Rotolo. After its album release in 1964, the song sometimes pops up on Dylan's set lists, notably during his 1966 world tour and then, 10 years later, in his second Rolling Thunder Revue tour.But Johnny Cash embraced the song even more, covering it numerous times, including on the album Johnny & June in 1978.He recorded it again in 1986 as a duet with Waylon Jennings for their Heroes album. In 2012, a remix combining Cash's original vocals with new recordings by the Avett Brothers was included on the benefit album Chimes of Freedom: The Songs of Bob Dylan Honoring 50 Years of Amnesty International.Meanwhile, Johnny and Waylon's vocals on that original Heroes rendition later were augmented by Willie Nelson and Kris Kristofferson when the four of them created the supergroup The Highwaymen in the 1990s.Our Take on the TuneCharlie Bowen started doing this song back in college to have something to sing and play to the jam sessions in the dorms. It then was one of the songs Charlie brought along in that summer and fall of 1974 when Dave Peyton, Roger Samples and he started The Flood. And this lonely, lovely Dylan tune is still welcome at Flood gatherings, as you can heard on this track from last week's rehearsal.Want More Bob?By the way, if you'd like a little more Dylan in your diet, The Flood has an entire Bob-centric playlist set in up the free Radio Floodango music streaming service. Click here to read all about it. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Send us a textIn this episode  we step into the seedy streets of Gotham City to review HBO Max's gripping crime drama The Penguin. With Colin Farrell reprising his role as Oswald Cobblepot, we dissect his transformation from a clever gangster into one of Gotham's most feared crime lords, picking up where The Batman (2022) left off.Drawing from our teacher instincts, we use our trusty "Post Observation Questions" to analyze the show's gritty atmosphere, standout performances, and jaw-dropping moments. From the “Senior Quote” best lines to the most “Google Slides perfect” rewatchable scenes, we highlight what makes The Penguin a dark gem in Gotham's lore.  Plus, we debate the pacing and ponder the show's future in “Are we teaching this again next year?”Tune in for a final grade on this critically acclaimed series and our thoughts on whether Oswald Cobblepot's story deserves a Season 2. It's a lesson in villainy, power struggles, and why Gotham's underworld is as captivating as ever!Email: Thefandaloriansmailbag@gmail.comText us at…‪(631) 494-36323:14 Unfiltered Studios Upcoming Shows3:24 Mr. Richardson owes an apology 4:48 Mr. McDonald Battles a Bug5:36 Mr. G in the land of Oz10:24 Behind the Iceberg: The Penguin's Origins and Setup11:24 Our Take on The Penguin27:01 Unexpected Laughs: Funniest Moments in The Penguin35:56 Plot Holes That Left Us Scratching Our Heads41:25 What Happens The Next Day 43:12 Star Student: The Standout Character or Performance48:29 Who Ate My Lunch? The Props We'd Love to Steal from The Penguin48:55 Season 2? Should The Penguin Return to Gotham?54:36 Last Thoughts: The Surprising Questions We're Left With57:54 Final Grade: What We're Giving The PenguinSPONSOR: The Adla Real Estate TeamBuying or selling a home from Manhattan to Montauk? Look no further than the Adla Real Estate Team! Mention The Fandalorians, and you'll score up to $2,000 back at closing. Talk about a deal! Visit adlarealestateteam.com to get started.SPONSOR: Kanopy King Party RentalsGot a party on the horizon and need to impress? Kanopy King Party Rentals is Long Island's #1 spot for tents, tables, chairs, and even portable bars! Whether you're throwing a backyard bash or a big event, they've got you covered (literally). Call (631) 345-9752 for a free consultation, or visit kanopyking.net and

The word hokum originated in vaudeville to mean a risqué performance laced with wordplay, euphemisms and double entendre.When it appeared on the label of a 1928 hit for Vocalion Records by a new group called Tampa Red's Hokum Jug Band, the term rapidly entered the jazzy lexicon of The Roarin' Twenties.When the group moved on to Paramount Records as The Famous Hokum Boys, it quickly picked up imitators at other studios, often using variations on the same word in their own names. Eventually “hokum” came to describe an entire species of novelty tunes, all those sexy, silly blues of the 1920s and '30s.About Tampa RedHokum's first star, Tampa Red, was one of the most prolific blues artists of his era, recording some 335 songs, 75 percent between 1928 and 1942. Tampa Red was born Hudson Woodbridge in Smithville, Georgia, near Albany in the first decade of the 20th century. When their parents died, he and his older brother Eddie moved to Tampa, Florida, to be reared by their aunt and their grandmother. There he also adopted their surname, Whittaker.Emulating Eddie, Hudson Whittaker played guitar around the Tampa area, especially inspired by an old street musician called Piccolo Pete, who taught the youngster his first blues licks.After perfecting a slide guitar technique, he moved to Chicago in 1925 and began working as a street musician himself. He took the name "Tampa Red" to celebrate to his childhood home.Enter TomRed's big break came when he was hired to accompany established blues star Ma Rainey. There he also met pianist/composer Thomas A. Dorsey, who as working as “Georgia Tom.” Red and Tom became fast friends and music partners.Tom introduced Red to records exec J. Mayo Williams, who arranged a studio session in 1928. Their first effort was a dud, but their next song — the cheeky “It's Tight Like That” — became a national sensation, selling a million copies. Red later recalled seeing people standing outside of record stores just waiting to buy the disc. Since the song was composed by both Red and Tom, they shared $4,000 in royalties from that single song. (That would be about $75,000 today.)While his partnership with Dorsey ended in 1932, Red remained much in demand in recording studios throughout the ‘30s and ‘40s. He was later "rediscovered" in the blues revival of the late 1950s, along with other early blues artists, like Son House and Skip James. Red made his last recordings in 1960.About the SongTampa Red recorded “Somebody's Been Using That Thing” in 1934, but unlike so many of the tunes he waxxed, he didn't write this one.Instead, the song was composed and recorded five years earlier by a curious genre-blending mandolinist named Al Miller.Starting in 1927, Miller played and sang in a style that combined elements of country, blues and jazz on sides for Black Patti records. His eclectic mix of sounds and material gave way to a heavy concentration on bawdry once he arrived at Brunswick for a series of recordings with his Market Street Boys. Miller recorded his “Somebody's Been Using That Thing” on March 8, 1929. It was his big seller. Five years later, after Tampa Red also scored with it, the song even started attracting the attention of artists in the fledgling country and western genre. In 1937, for instance, Milton Brown, called by some “the father of Western swing,” did a rendition for Decca. The following year, The Callahan Brothers (Walter and Homer) of Madison County, Ky., recorded it on the Conqueror label.Our Take on the TuneIf there's such a thing as a "standard" in jug band music, ”Somebody's Been Using That Thing” is certainly one of them. While The Flood's heroes recorded it 90 years ago, the band didn't get around to doing it until back in 2009 when Joe Dobbs recommended it. That was right after he received a recording of it by our old buddy, Ed Light, and his DC-area band with one great name: The All New Genetically Altered Jug Band. We've been Floodifying the tune ever since, as this track from a recent rehearsal demonstrates. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Our Take on Converge Technology Solutions (CTS:TSX) after its collapse in share price! Should you invest in Super Micro Computer (SMCI:NASDAQ) after its fallen 78% from its peak? Does the dividend aristocrat Toromont Industries (TIH:TSX) offer an appealing long term investment opportunity?

Sam McGee — called by some “the granddad of country guitar pickers” — got his start in April 1926 when he traveled to New York City for his first recording session, backing up the legendary Uncle Dave Macon on eight sides at the Brunswick studios.Thirty-year-old McGee met Macon two years earlier when the banjoist played a show near Sam's Franklin, Tennessee, home. Sam was a blacksmith in those days, but he had played guitar and banjo for many years.Following the show, McGee invited Macon home and, after hearing Sam pick “Missouri Waltz,” Uncle Dave invited him to play a few dates with him. By the following year, McGee was playing regularly with Macon and fiddler Sid Harkreader at Loew's Bijou Theater in Birmingham, appearing on stage in a rural outfit.Later Macon teamed with Sam and his younger brother Kirk McGee to form an act that was billed as “Uncle Dave Macon and his Sons from Billygoat Hill,” capitalizing on that same backwoods image. “I never did learn much about playing from him,” Sam said, “but I did learn a lot about handling an audience.”About the SongOne of the eight songs Dave and Sam recorded in their April 14, 1926, session in New York was “Last Night When My Willie Come Home,” a song that seemed to be making the rounds in the South at the time.About a year later in Atlanta, for instance, Frank Blevins' Tar Heel Rattlers cut the tune for Columbia. Three years after that in Knoxville, Vocalion recorded it by The Smoky Mountain Ramblers, basically a pickup group backing steel guitarist Walt McKinney.One of the more interesting early covers of the song was blues singer Skip James' rendition, which Paramount Records released in 1932 as “Drunken Spree.” Those first records, waxxed in Grafton, Wisconsin, formed the basis of James' musical reputation.Folkies Find ItAfter that, the Willie-coming-home song seems to have drifted away from music's collective memory for a few decades, until it was reborn in the folk music boom 30 years later.The extraordinary New Lost City Ramblers were the first to give “Late Last Night When Willie Came Home” new energy when the group included it on the second volume of its tunes for Folkways in 1960, inspiring other old-time outfits to follow suit.Enter Doc WatsonThe song launched higher into the folk music stratosphere two years later.That's when Doc Watson recorded it with Clint Howard and Fred Price on an influential Folkways' album of various artists called Old Time Music at Clarence Ashley's.From then on, Doc more or less adopted the tune — which he famously re-dubbed “Way Downtown” — as a favorite vehicle for his virtuosity. Watson's rendition with The Nitty Gritty Dirt Band is one of the standout tracks on the seminal 1972 Will the Circle Be Unbroken album. Over the next few years he and his friends played it at many urban folk festivals.In the last dozen years of his life, Doc was still digging it. He played “Way Downtown” live on his 1999 An Evening with Doc Watson and David Holt album. Along the way, the song also has been covered by Tony Rice, Jody Stecher, Billy Strings and many others.Our Take on the TuneIt's funny how songs come in and out of The Flood's life. A half century ago when the band was just thinking about being born, Dave Peyton and Charlie Bowen would get together on weekends to pick and sing, just the two of them, and among the tunes they'd play was “Way Downtown," which they learned from that old Doc Watson record. After the band came together — as Roger Samples and Joe Dobbs, Bill Hoke and Stewart Schneider joined up — "Way Downtown" was a regular. The song has drifted in and out over the years, and whenever it rambles back in, it's just as comfortable as an old shoe. This is a take on the tune from a recent rehearsal.Audio ExtraOh, and here's a snippet from The Flood archives. Click the button below to hear Charlie at a gig urging folks to sing along on the chorus and explaining how harmonicat Sam St. Clair was promoting a special pronunciation: This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Josephine Baker was only 20 years old when she recorded the song “Dinah” at her first studio session 98 years ago this fall. That was just a year after the provocative dancer/singer arrived in Paris, immediately setting the town on fire with her risqué shows at the Théâtre des Champs-Élysées.And a West Virginian was right there to help her light those blazes.Ada “ Bricktop” Smith, a young Alderson, WV, native, was in Paris several years ahead of Baker, entertaining at composer Cole Porter's famous parties, often teaching his guests the latest dance crazes, such as the Charleston and the Black Bottom. Josephine Baker always acknowledged she was one Ada Smith's protégés in those heady early days of The Jazz Age.“I didn't get my first break on Broadway,” Baker told London's Guardian a half century later. No, she was just a nameless hoofer in the chorus line in those New York shows, she said, but “I became famous first in France in the Twenties.”“Oh yes,” she added, “Bricktop was there. Me and her were the only two, and we had a marvelous time. Of course, everyone who was anyone knew Bricky. And they got to know Miss Baker as well."Ada Smith became one of 1920s' best known American singers/dancers, owning the famed “Chez Bricktop” in Paris from 1924 to 1961. She even got a shout-out in Woody Allen's hit film, Midnight in Paris, in 2011 when the character of Zelda Fitzgerald proposes an evening's escapade:In the next scene, Cole Porter, the Fitzgeralds and their fabulous friends pile into a period open car and tear down Parisian streetd into the night.Ending up at Chez Bricktop, they watch Josephine Baker dance (and the Fitzgeralds drink…)Back to the Song“Dinah,” considered an anthem of the Roarin' Twenties, was not quite two years old when Josephine Baker recorded it that autumn day in 1926 in Paris.It was back in The States that she learned the hot number when she sang it at New York's Plantation Club on Broadway as the understudy to Ethel Waters.Obviously, the song was still much on Baker's mind when she strolled into the Odeon studio for her first recording session. The band recruited to accompany her on the date is thought to be members of a group called “Olivier's Jazz Boys.”“Dinah” by then had been introduced to the world by Waters within a year of its composition in 1925. After it was recorded by Waters for Columbia in 1926, the song went on to be waxxed by everyone from Fletcher Henderson and Cab Calloway to Bing Crosby, the Mills Brothers and the Boswell Sisters to Chet Baker, Thelonious Monk and Django Reinhardt and Stéphane Grappelli.And, as noted in an earlier Flood Watch article, the tune was famously among the favorites of trumpeter Louis Armstrong, who perform it in most of his numerous live shows and his radio appearances for decades after initially recording it in 1930.Our Take on the TuneWhenever the guys haven't seen each other for a couple of weeks, there's always a special joy when they all get back together again. That was certainly the case at last week's rehearsal. Add to that the fact that Floodster Emeritus Paul Martin dropped by to sit in. That always cranks up the energy level in the room. And you can just hear in this first tune of the evening. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Music's most famous breakup in the late 20th century was surely the failed love affair of youngsters Suze Rotolo and Bob Dylan. Or at least it was the most productive parting on record.Following their split, 20-year-old Dylan wrote some his most plaintive songs of the era. “Don't Think Twice, It's All Right” and “Boots of Spanish Leather,” “Tomorrow is a Long Time” and “One Too Many Mornings, “Ballad in Plain D” and more were all clearly about Suze.One of the lesser known of Bob's breakup ballads from the same period was “Mama, You Been on My Mind.” EuropeIn mid-May 1964, Dylan completed a concert tour of England, afterward vacationing in France, Germany and Greece. During his ramble abroad, he wrote several songs for his upcoming album, Another Side of Bob Dylan.Then back in the States, he went into Columbia's Studio A and in a single night (June 9, 1964) he recorded 14 new songs, including one take of "Mama, You Been on My Mind.” When the album was released two months later, though, the song was not included. However, a few years later, “Mama, You Been on My Mind” became one of the earliest outtakes widely circulated on bootleg albums. The boots documented the two drafts of "Mama, You Been on My Mind" that Dylan wrote on notepaper from the May Fair Hotel where he had stayed in London during the tour.Dylan biographer Howard Sounes called it "one of the finest love songs he ever wrote.” Saying Dylan took responsibility for making a mess of his relationship with Rotolo, Sounes said the song showed Bob “could express himself with delicacy and maturity.”PerformancesIn concerts over the years, Dylan has performed the song hundreds of times, most notably in duets with his erstwhile post-Suze squeeze, Joan Baez. Their first duet was at Baez's concert at Forest Hills tennis stadium in Queens, NY, on Aug. 8, 1964. It was repeated a couple of months later, on Oct. 31, during Dylan's show at New York City's Philharmonic Hall. The two reprised their performance a decade later during Bob's 1975-76 Rolling Thunder Revue tour.Baez put a solo version — as “Daddy, You Been on My Mind” — on her 1965 Farewell, Angelina album.Meanwhile, the song has had some superstar coverage over the years, by the likes of Judy Collins and by Johnny Cash, by Rick Nelson and by George Harrison, by Linda Ronstadt and by Rod Stewart, and by everyone from The Kingston Trio to Dion and The Belmonts.Our Take on the TuneFlood founders Dave Peyton, Roger Samples and Charlie Bowen all started listening to the music of Bob Dylan 60 years ago, so it is little wonder that his songs are deeply woven in the band's fabric. Still today, whenever The Flood gets feeling folkie — as the guys were at this rehearsal a week or so ago — it's likely a Dylan tune will be the first to come to mind.Do More Dylan?Evidence of the band's delight in doing Dylan is the fact that one of the first special playlists created for the free Radio Floodango music streaming service a few years ago was this one done to celebrate Bobby's birthday. For more of The Flood's spin on Dylan tunes, give it a listen by clicking here. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

In the mid-1960s, the young British songwriter Barry Gibb was in New York City for the first time when he was visited at the Waldorf Astoria by one of his musical heroes: soul/R&B superstar Otis Redding.Redding reportedly loved Gibb's work and came to urge him to write a song for him to record. Legend has it that immediately after they met, Gibb went downstairs and, on a hotel piano, thrashed out “To Love Somebody,” rushing back to offer it to Otis.Sadly, before getting the opportunity to sing Gibb's ode, Otis Redding was gone. Just months after that happy encounter, Redding was dead at 26, killed in a plane crash in Lake Monona near Madison, WI. The music world still mourns that loss.The Bee GeesThe song ultimately was introduced by Gibb himself, along with brothers Robin and Maurice, on their international debut album, Bee Gees 1st.Curiously, the tune — which years later Barry Gibb called his favorite of everything he had written — initially enjoyed only a lukewarm reception. As The Bee Gees' second single, it reached only No. 17 in the U.S. and a humbling No. 41 on Britain's own charts.However, the song became ever-more popular as it was covered by other artists — more than 200 renditions have been recorded to date — and initially, some of the best versions were by top female artists of the day.Nina Simone and Janis Joplin each recorded “To Love Somebody” within the first year and half of its debut. Roberta Flack waxxed a beautiful re-imagining of the song on her lovely Quiet Fire album in 1971. A decade and a half later, Bonnie Tyler was revisiting the song in the studio and in her live shows around the world.Perhaps the song's most popular cover came in 1992 when Michael Bolton released it as a single from his Timeless: The Classics album. His version reached No. 11 in the US and No. 2 in Canada.“To Love Somebody” even has also had currency in country corners after Hank Williams Jr. put it on his 1979 Family Tradition album.Our Take on the TuneIn the Floodisphere, it was a quarter of a century ago when Joe Dobbs' son, Dale, first used the word “eclectic” to describe The Flood's diverse musical tastes. True, that. The Floodery does tap a wide variety of sources for its tunes, from blues and old-time string band numbers to jazz, jug band and classic rock. But even the guys themselves didn't see this one coming (though you diehard Bee Gees probably knew they'd get to you sooner or later). Here's Randy Hamilton leading the way on Barry Gibb's best composition. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Earning their chops in medicine shows and with minstrel troupes in the late 1890s, brothers Frank and Bert Leighton wrote and/or arranged many ragtime pieces for use in vaudeville.Among their work was a 1912 version of “Frankie and Johnny,” penned with partner Ren Shields, that would set the tone for many future renditions of the song, including a monster hit a decade and half later for Charlie Poole and his North Carolina Ramblers.The song that Poole and his pals released as “Leaving Home” on Columbia Records in May 1927 already was pretty well known by musicians of the day.For instance, on the same label in the same year, popular band leader Ted Lewis recorded the same song with the title "Frankie and Johnny: You'll Miss Me in the Days to Come.” Lewis included only the chorus and not the verses.But it was a half dozen years before that that the first American recording of “Frankie and Johnny” was made by New Orleans-born Al Bernard, one of the first white singers to record blues tunes. (W.C. Handy credited Bernard, in fact, with helping his own career by recording a number of his songs, notably “St. Louis Blues.”)Whew! That's a lot of intersecting stories here, but let's roll it back to Charlie Poole and the Leighton boys. Kinney Rorer, in his seminal biography Rambling Blues: the Life & Songs of Charlie Poole, notes that the banjoist closely follows the version of “Leaving Home” that the Leighton brothers created, though there are some differences in Charlie's chorus.About the LeightonsNow, no one knows just how Poole learned that rendition, but the Leightons were pretty influential. Among the ragtime pieces they wrote was "There's A Dark Man Coming With A Bundle” and "Far Away in Honolulu (They've got the tango craze).” Their most memorable and influential song was "Steamboat Bill" in 1910, a parody of best-selling “Ballad of Casey Jones,” which had itself been based on a song from the Leightons' vaudeville routine. Arthur Collins recorded “Steamboat Bill” in 1911, which would inspire Charles Reisner to write a movie for comedian Buster Keaton called “Steamboat Bill Jr.,” which released as a silent film in 1928.That same year, Walt Disney found inspiration in the movie and in the song to create the first synchronized cartoon with sound, Steamboat Willie.Back to Johnny and His Murderous MistressAll the Frankie and Johnny variations were based on an actual murder. Here are the facts of the case:At 2 in the morning of Oct. 15, 1899, at an apartment building located at 212 Targee Street in St. Louis, 22-year-old Frankie Baker encountered her 17-year-old lover Allen (Albert) Britt as he stumbled back from a cakewalk in the company of a prostitute named Nelly Bly. Albert and Nellie had just won a prize in a slow-dancing contest, but Frankie didn't feel like celebrating. On the contrary, she felt like shooting her lover in the stomach, which she did. Albert died in City Hospital four days later.At trial, Frankie pleaded self-defense at her trial — she claimed Britt had attacked her with a knife prior to the shooting — and she was found not guilty.Weeks after the murder, St. Louis songwriter Bill Dooley composed “Frankie Killed Allen,” a tune that gained some currency. The first published version appeared in 1904, credited to Hughie Cannon (also remembered for his better-known composition “Won't You Come Home Bill Bailey”).That brings up to 1912 and the Frank and Bert Leighton version entitled “Frankie and Johnny” (because, well, “Johnny” apparently flowed better than “Allen” or “Albert”). Since then, there have been more than 250 versions of “Frankie and Johnny” recorded, not to mention several film adaptation over the years.Our Take on the TuneWhen Jack Nuckols switches from drums to fiddle, it often brings back lots of old memories of music parties 50 years ago. This is another song that Dave Peyton, Joe Dobbs and Charlie Bowen first heard at those parties when the good old Kentucky Foothill Ramblers, led by H. David Holbrook, could play a whole evening full of string band songs from the 1920s and ‘30s.This track is from last week's Flood affair, when the group's old band mate Paul Martin and his mandolin sat in with current Floodsters Charlie and Jack, Danny Cox, Randy Hamilton and Sam St. Clair. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

A decade after what fans feared would be the last flight of The Eagles — SoCal's ultimate 1970s soft rockers — band mates Timothy Schmit and Don Felder teamed up with friends to try to create a new band, one they wanted to call “The Malibu Men's Choir.”Well, that effort failed — the new group never got off the ground — but their songwriting collaboration with Jim Capaldi and Paul Carrack did produce a hit for a re-energized Eagles when the band rebounded for its 1994-96 “Hell Freezes Over” Tour.As diehard Eagles enthusiasts know, the tour's name hearkened back a dozen years. Asked in 1982 by People magazine if he'd ever get the band back together, Don Henley was snide. Sure, he said, “When hell freezes over."When the reunion did come to pass — with a lineup of Henley, Felder, Schmit, Glenn Frey and Joe Walsh performing live in April 1994 at Warner Bros. Studios for an MTV special — Frey quipped, "For the record, we never broke up. We just took a 14-year vacation."Here Comes The SongHowever, The Eagles didn't have much new material for the subsequent tour and accompanying album.That brings us to “Love Will Keep Us Alive.” Schmit already knew this song, because Capaldi and Carrack wrote it a few years earlier during that ill-fated Malibu Men's Choir project.On The Eagles' tour album, the song reached No. 1 on the Adult Contemporary chart despite not being released as a single. Critics noted that Schmit's rare lead vocal gave the ballad a tender fragility. The song was nominated at the Grammy Awards for Best Pop Performance by a Duo or Group with Vocals.Meanwhile, Carrack — who may have had his own voice in mind when he co-wrote it — also recorded song on his 1996 album, Blue Views. Then 15 years later, he and Schmit recorded it together in London with the Royal Philharmonic Orchestra for a release on the Carrack label.Our Take on the TuneBack in June, rolling into Huntington's West End to play at a picnic to celebrate the 90th anniversary of the city's beloved Sacred Heart Catholic Church, the band played its then-new cover of The Eagles' first big hit, “Peaceful Easy Feeling.”“That was great!” the hostess said. “Play another Eagles tune.” Uh-oh, there wasn't another Eagles song in the Flood repertoire. Well, not yet, anyway. Then Randy Hamilton stepped up.“I think I got one,” Randy said at a later band rehearsal. It turned out that for years Randy had been singing “Love Will Keep Us Alive,” ever since he had performed it at his sister's wedding. “It's her favorite song,” he added.When he started singing for his Flood brothers, the tune just naturally slipped into a groove. Here from last week's rehearsal is Randy leading the way! This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

The Roarin' Twenties were in full swing and the stock market was reaching new record highs a hundred years ago when vaudevillian Jimmy Cox wrote his cautionary tale about the fickleness of fortune and friendship.“Nobody Knows You When You're Down and Out" was copyrighted in 1923, but it was another four years before the first known publication appeared, with the 1927 recording by a little known jazzman named Bobby Leecan.Two others — an obscure vocal quartet called The Aunt Jemima Novelty Four and boogie-woogie pianist Pinetop Smith — also gave it a spin, but it was Bessie Smith's rendition in 1929 that made the song legendary.Predicting the FutureAs noted here earlier, Smith's treatment of the tune also was oddly prophetic. Columbia released Smith's record on Sept. 13, 1929. Two weeks earlier, The New York stock market had reached an all-time high; two weeks later, it took its most perilous plunge, beginning 10 years of The Great Depression. No song ever seemed more stunningly relevant than this one."Nobody Knows You When You're Down and Out" became one of Smith's biggest hits. In fact, the song was so identified with “The Empress of the Blues” that for another generation or so other female singers were reluctant to record it. By the 1950s, though, it was a blues standard. A version by Nina Simone reached No. 23 on Billboard's R&B charts. Odetta tackled it. So did Janis Joplin. Men also found the song a great vehicle. Louis Jordan and Josh White both had versions. So did Lead Belly and Eric Von Schmidt, Chad Mitchell, Otis Redding and Sam Cooke.The Brit BitMeanwhile, in English, when Eric Clapton was an art student in the early 1960s, he was attracted to the finger-picking acoustic guitar-stylings of bluesman Big Bill Broonzy. "Nobody Knows You When You're Down and Out" was one of the first songs Clapton learned to play that way.In 1970, he recorded a group version with his band Derek and the Dominos for the debut album Layla and Other Assorted Love Songs. (Also on that album, incidentally, on slide guitar, was Duane Allman, who also recorded the song with his brother Greg.)Our Take on the TuneSome nights are just magical, when everything we do — even this hundred-year-old song — seems suddenly fresh and new.Click here to check it out. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Here's a tune that has touched the hearts and minds of more than a hundred years' worth of Flood heroes.At the very start of the 20th century, it was one of the best-loved numbers in the repertoire of jazz legend Buddy Bolden down in the hot, dark streets of New Orleans.A couple decades later up in Memphis, W.C. Handy co-opted it, copyrighting a variation after he heard an old guy singing it in a railroad station.It was one of the first songs waxxed when the recording revolution began in the 1920s. Bessie Smith and a kid named Louis Armstrong had a huge hit with it in 1925.After that, it was recorded by … well, by everybody from Lula Jackson and Lonnie Johnson to Jack Teagarden and The Mills Brothers, from Kid Ory and Baby Dodds to Bunk Johnson and George Lewis.Country versions were done by The Texas Rangers, The Dixie Ramblers and by Riley Puckett, blues versions by Big Joe Turner and Josh White, straight-up jazz takes by Sidney Bechet and Billie Holiday, early rock and pop renditions by Fats Domino and Elvis Presley, Ray Charles and Nat “King” Cole, earnest folk treatments by Jean Ritchie and Pete Seeger, Joan Baez and Dave Van Ronk.The Song's OriginsThe origins of “Careless Love” are obscure indeed, though it is thought to be essentially British, re-made in America with new stylistic influences. In the US, for instance, folklorist Vance Randolph collected a version in 1948 that he was told was learned in 1880.In Father of the Blues, W.C. Handy's 1941 autobiography, the composer acknowledged that the song he copyrighted as “Loveless Love” was “based on the ‘Careless Love' melody that I had played first in Bessemer (Ala.) in 1892 and that has since become popular all over the South.”Meanwhile, uh, What About the Murders? ...Handy's autobiography also introduced a curious twist when a notorious double-murder case glommed onto the “Careless Love” story.While living in Henderson, Ky., with his new wife, Elizabeth, “I was told that the words of ‘Careless Love' were based on a tragedy in a local family,” Hardy wrote, “and one night a gentleman of that city's tobacco-planter aristocracy requested our band to play and sing this folk melody.”The tragedy in question was the April 1895 shooting death of one Archibald Dixon Brown, who happened to be the 32-year-old son of Kentucky Gov. John Young Brown. Newspapers across the country reported the scandal, how the jealous husband of Archie's 28-year-old lover, Nellie Gordon, caught the two of them in a bedroom in a disreputable neighborhood in Louisville and shot each of them to death. Fulton Gordon was captured by police several blocks away, where he confessed to the murders. Soon balladeers were hard at work, singing the news.Our Take on the Tune“Man, I love those chords you found!” Joe Dobbs used to say whenever The Flood played “Careless Love.” It's true that the country version of the song Joe grew up hearing — with its simple I-IV-V structure — made for a pretty boring tune to solo on. That's why when The Flood started doing the tune a couple of decades ago, Charlie Bowen dug around to find what Joe like to call “those Nawlins chords,” the changes favored by early jazz bands when they performed the song.And since then, each iteration of the band over the years has found lots of space for ad-libbing in those roomy chords inherited from the song's sweet Dixieland roots. Just listen, for instance, to all the ideas that Sam St. Clair, Danny Cox and Randy Hamilton come up with in this latest rendition from last week's rehearsal.The FakebookOh, and by the way, if you'd like to pick along on this or other songs in The Flood catalog, visit the band's Fakebook section on its website.There you'll find chord charts for dozens of tunes in The Flood songbag, along with links to the band's renditions over the years. Click here to check it out. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

It's Fed Day, and Lance Roberts previews potential outcomes to be announced Thursday afternoon. Earnings season continues, with MSFT reporting revenue of only 29% for the quarter vs the anticipated 30% growth. Shucks. Our take on what to take from the NASDAQ correction: Opportunity. Markets are "flirting w disaster" around the 50-DMA: what will be the Black Swan Event (and why would anyone wish for it)? The illusion of wealth in America; Lance and Danny discuss the importance of questioning financial assumptions and societal expectations; how these expectations can lead to unnecessary financial strain: Challenging the notion of "have to" when it comes to financial decisions; the pressure to spend large amounts on weddings and college education; questioning the necessity of certain expenses; the importance of evaluating financial priorities; encouraging viewers to make informed financial choices based on their unique circumstances. SEG-1: Fed Day Preview & NASDAQ Correction SEG-2: Flirting w Disaster at the 50-DMA SEC-3: The Illusion of Wealth in America SEG-4: Bankrupting Your Retirement for Your Children? Hosted by RIA Advisors Chief Investment Strategist Lance Roberts, CIO, w Senior Financial Jonathan Penn, CFP Produced by Brent Clanton, Executive Producer ------- Watch today's show video here: https://www.youtube.com/watch?v=B31ZSUJGGJM&list=PLVT8LcWPeAugpcGzM8hHyEP11lE87RYPe&index=1&t=1s ------- Articles mentioned in this report: Bullish Years Often Have Corrections https://realinvestmentadvice.com/bullish-years-often-have-corrections/ "Pullback Doesn't Deter Investor Bullishness" https://realinvestmentadvice.com/newsletter/ ------- The latest installment of our new feature, Before the Bell, "NASDAQ Correction: Here's Our Take" is here: https://www.youtube.com/watch?v=Ea9nQUqvgMw&list=PLwNgo56zE4RAbkqxgdj-8GOvjZTp9_Zlz&index=1 ------- Our previous show is here: "Why Market Comparisons Can Hinder Your Portfolio's Performance " https://www.youtube.com/watch?v=PdP-essdjaM&list=PLVT8LcWPeAugpcGzM8hHyEP11lE87RYPe&index=1&t=5s ------- Get more info & commentary: https://realinvestmentadvice.com/newsletter/ -------- SUBSCRIBE to The Real Investment Show here: http://www.youtube.com/c/TheRealInvestmentShow -------- Visit our Site: https://www.realinvestmentadvice.com Contact Us: 1-855-RIA-PLAN -------- Subscribe to SimpleVisor: https://www.simplevisor.com/register-new -------- Connect with us on social: https://twitter.com/RealInvAdvice https://twitter.com/LanceRoberts https://www.facebook.com/RealInvestmentAdvice/ https://www.linkedin.com/in/realinvestmentadvice/ #FinancialPlanning #FutureFinancialFreedom #WeddingExpenses #CollegeExpenses #FinancialPriorities #Budgeting #FinancialDecisions #FinancialGoals #FinancialResponsibility #MoneyManagement #FinancialIndependence #FinancialSecurity #FinancialStress #FinancialExpectations #FinancialObligations #FinancialTradeOffs #FinancialSacrifices #FinancialChoices #FinancialMindset #Markets #Money #Investing"

It's Fed Day, and Lance Roberts previews potential outcomes to be announced Thursday afternoon. Earnings season continues, with MSFT reporting revenue of only 29% for the quarter vs the anticipated 30% growth. Shucks. Our take on what to take from the NASDAQ correction: Opportunity. Markets are "flirting w disaster" around the 50-DMA: what will be the Black Swan Event (and why would anyone wish for it)? The illusion of wealth in America; Lance and Danny discuss the importance of questioning financial assumptions and societal expectations; how these expectations can lead to unnecessary financial strain: Challenging the notion of "have to" when it comes to financial decisions; the pressure to spend large amounts on weddings and college education; questioning the necessity of certain expenses; the importance of evaluating financial priorities; encouraging viewers to make informed financial choices based on their unique circumstances.  SEG-1: Fed Day Preview & NASDAQ Correction SEG-2: Flirting w Disaster at the 50-DMA SEC-3: The Illusion of Wealth in America SEG-4: Bankrupting Your Retirement for Your Children? Hosted by RIA Advisors Chief Investment Strategist Lance Roberts, CIO, w Senior Financial Jonathan Penn, CFP Produced by Brent Clanton, Executive Producer ------- Watch today's show video here: https://www.youtube.com/watch?v=B31ZSUJGGJM&list=PLVT8LcWPeAugpcGzM8hHyEP11lE87RYPe&index=1&t=1s ------- Articles mentioned in this report: Bullish Years Often Have Corrections https://realinvestmentadvice.com/bullish-years-often-have-corrections/ "Pullback Doesn't Deter Investor Bullishness" https://realinvestmentadvice.com/newsletter/ ------- The latest installment of our new feature, Before the Bell, "NASDAQ Correction: Here's Our Take" is here:  https://www.youtube.com/watch?v=Ea9nQUqvgMw&list=PLwNgo56zE4RAbkqxgdj-8GOvjZTp9_Zlz&index=1 ------- Our previous show is here: "Why Market Comparisons Can Hinder Your Portfolio's Performance " https://www.youtube.com/watch?v=PdP-essdjaM&list=PLVT8LcWPeAugpcGzM8hHyEP11lE87RYPe&index=1&t=5s ------- Get more info & commentary:  https://realinvestmentadvice.com/newsletter/ -------- SUBSCRIBE to The Real Investment Show here: http://www.youtube.com/c/TheRealInvestmentShow -------- Visit our Site: https://www.realinvestmentadvice.com Contact Us: 1-855-RIA-PLAN -------- Subscribe to SimpleVisor: https://www.simplevisor.com/register-new -------- Connect with us on social: https://twitter.com/RealInvAdvice https://twitter.com/LanceRoberts https://www.facebook.com/RealInvestmentAdvice/ https://www.linkedin.com/in/realinvestmentadvice/ #FinancialPlanning #FutureFinancialFreedom #WeddingExpenses #CollegeExpenses #FinancialPriorities #Budgeting #FinancialDecisions #FinancialGoals #FinancialResponsibility #MoneyManagement #FinancialIndependence #FinancialSecurity #FinancialStress #FinancialExpectations #FinancialObligations #FinancialTradeOffs #FinancialSacrifices #FinancialChoices #FinancialMindset  #Markets #Money #Investing"

After running 44.20 in the 400m to break his U18 World Record in the 400m, Quincy Wilson may have earned his Olympic spot. Plus your favorite 2 Black Runners discuss run clubs as the new dating apps and Alexis Ohanian's new women's-only track meet. Watch on YouTube: https://youtu.be/cmsowpeHcnQ Time Stamps 0:00 - Intro 3:27 - Our Olympic Plans 5:35 - Should Quincy Wilson be on the 4x4 Final Team after his 44.20 11:50 - Alexis Ohanian announces ATHLOS 20:24 - Sean Bronsan will be releasing a book 24:31 - Our Take on Running Clubs as New Dating Apps Follow us on Social Media ✔Instagram: https://www.instagram.com/2blackrunners ✔Aaron's IG: https://www.instagram.com/supahotpotts ✔Joshua's IG: https://www.instagram.com/mr.pottsible ✔YouTube: https://www.youtube.com/@2blackrunners ✔Website: https://www.running-report.com/

Is Lightspeed (LSPD:TSX|NYSE) finally turning around? Dissecting VinFast Auto (VFS:NASDAQ) using KeyStone's criteria! Our Take on Canadian Fintech company Mogo (MOGO:TSX|NASDAQ)! Taking another look at Brazilian based potash producer Verde Agritech (NPK:TSX)!

I have nearly 6000 students across 2 courses that I teach over at Profitable Online Store and Profitable Audience.  And recently, I’ve been analyzing the character traits of both successful and unsuccessful students in my courses. What makes one student more likely to succeed over another? In this episode, I reveal what I discovered with my partner Toni.  What You’ll Learn The common patterns between the students who succeed and the ones who struggle What makes students more likely to succeed What makes students more likely to fail Sponsors SellersSummit.com – The Sellers Summit is the ecommerce conference that I’ve […] The post 537: Why Do Some Entrepreneurs Succeed While Others Crash? Here’s Our Take appeared first on MyWifeQuitHerJob.com.

Is Tantalus Systems (GRID:TSX) a tantalizing BUY? Has Perion Network (PERI:NASDAQ) become undervalued? Our Take on graphene product manufacturer NanoXplore (GRA:TSX)! Should you add Major Drilling (MDI:TSX) to your portfolio to capitalize on gold's all-time high price?

In this Roundup for March, Imran and Qiao discuss Memecoins, BlackRock, L3s, and other trends. No BS crypto insight for founders.Timestamps(00:00) Intro(00:56) Welcome to Good Game(01:31) The Good Game Rebrand(02:35) BlackRock Recently Launched Their Tokenized Fund(03:38) Let's Look Through What BlackRock Would See(05:13) The Impact of BlackRock's Tokenized Fund(08:55) What is The Future of Ethereum?(11:35) What is the Role of a Layer 1?(12:52) Let's Talk About Proto-Danksharding Fees(15:45) The Debates Between Eth Maxis and Sol Maxis(17:50) "Ethereum is Really Behind Solana"(19:08) "We Might Have to Talk About Layer 3s"(19:35) The DEGEN Token on Farcaster(25:19) Qiao: When I first heard the term "Layer 3" I was extremely annoyed(28:16) Why is Coinbase's Smart Wallet Interesting?(29:45) Seraphim's (@MacroMate8) Tweet(31:09) What If Every App is Built on Layer 3 10 Years From Now?(33:28) Layer 3 Can Be an EVM(35:09) The Best Index Bet on Base(36:30) We're Seeing a Lot of Memecoins Launch on Base Now(37:32) Could There Be Two Retail Chains? Base & Solana?(38:39) The Munchables Hack(40:29) Farcaster $1 Billion Valuation(41:52) Thoughts on Emad Mushtaq's Pivot To Decentralized AI(45:16) Qiao: I've been dunking on AI crypto for the last few months(47:58) Imran: This is why I like Memecoins(51:24) Are We Actually in a Memecoin Supercycle?(53:23) Imran Tells a Funny Cardano Story(55:39) 25 Years for SBF?(56:34) New Segment: Mailbag - Answering Listener Questions(57:05) What's Our Take on Ordinals?(58:19) NFTs As an Asset Class(01:00:33) What Would Be The Future of NFTs?(01:03:32) Is Retail Really In?(01:08:06) "All Roads Lead to Ansem"(01:11:03) "There are too many coins in this cycle"Spotify: https://spoti.fi/3N675w3Apple Podcast: https://apple.co/3snLsxUWebsite: https://goodgamepod.xyzTwitter: https://twitter.com/goodgamepodxyzWeb3 Founders:Apply to Alliance: https://alliance.xyz/Alliance Twitter: https://twitter.com/alliancedaoDISCLAIMER: The views expressed herein are personal to the speaker(s) and do not necessarily reflect the views of any other person or entity. Discussions and answers to questions are intended as generalized, non-personalized information. Nothing herein should be construed or relied upon as investment, legal, tax, or other advice.

Our Take on Deion Sanders Comment About Drafting His PlayersFanatics.com Sports Apparel, Jerseys, Fan Gear and ClothingDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show

We're not just in your ears anymore, we're coming to your screens!

Plunging into Thematic Investing! Should you invest in Canadian software company Tecsys (TCS:TSX)? Our Take on the unique water solution company BQE Water (BQE:TSXV)! Examining the success and failures of Bill Ackman!

Our Take on if storming the field/court should be banned, 2024 NFL Mock draft 11-20Fanatics.com Sports Apparel, Jerseys, Fan Gear and ClothingDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show

Charlie and Zealeus talk about what gamers really want from: Our Take on Reaction Videos Blizzard's eSports Division Hit Hard By Layoffs KickStarter Updates on Boardgames and FalStaff Books FTL Getting HUGE unofficial Expansion to Game Spec Ops: The Line Getting Delisted from All Platforms Delisted Games… Should They Immediately Cease Functioning, or Keep Living? Website: https://www.alteredconfusion.com Twitter: https://twitter.com/alteredconfusio Facebook: https://www.facebook.com/AlteredConfusion/ YouTube: https://www.youtube.com/AlteredConfusionLLC Instagram: https://www.instagram.com/alteredconfusion/ Patreon: https://www.patreon.com/AlteredConfusion IndieCluster: https://indiecluster.com/ NoodleBoy Media: https://www.facebook.com/NoodleBoyMedia Hero Chiropractic: https://www.herochiropractic.com CrossPad Creative: crosspadcreative@gmail.com Agile Axiom: https://agileaxiom.com

Hey Besties, welcome to season 2!We've revamped, redesigned, and this season we're not holding back! Uncensored Bestie Breakdown convos! S2E1 we cover politics, Covid, Israel/Hamas, ohhh and tune in to find out who the LOSER of the day is! If you're easily offended get ready to get your tinsel in a tangle!

Want to attract raving fans to your story? What about positive reviews and excited endorsements? We've got you covered in this episode of the Author Elevate Podcast. Janeen Ippolito dives into what story elements readers rave about, why your book ending is crucial, and why sometimes it has nothing to do with your writing. Plus, in Our Take we discuss NaNoWriMo - good reasons to do it, and good reasons to skip!

Learning more skills is one of the best ways to level up in your author life and book business. But how do you know which course, book, or program is worth your time? Janeen Ippolito dives into key questions to ask in this episode of the Author Elevate Podcast. Includes how to vet the instructor, how to check the course content will work for you, and how to evaluate if this book, course, or program is right for your budget. Plus, in the weekly Our Take we tackle promoting your book after a rebrand (and when you shouldn't bother). 

Need a side hustle while you're waiting for your books to take off? Enjoy helping authors and doing routine, detail oriented tasks? Then becoming an author assistant might be the right move for you! But before you jump in, Janeen Ippolito discusses the pros and cons of author assistant work in this episode of Author Elevate. Includes key questions to ask yourself before deciding to become an assistant, the differences between author assistance work and other kinds of author services, and how to connect with your ideal clients. Plus, in this week's Our Take we discuss the Messy Middles of stories and how to make sure your story keeps readers riveted all the way to the end!

Feeling the marketing overwhelm? Pared down your admin tasks to bare minimum, and still don't have time to write? My friend, it's time for an author assistant. In this episode we discuss how to find an author assistant, what you need to do to prepare for an author assistant, and the key to handing off the right tasks. I also share my #1 tip for working well with an assistant (hint: dating isn't just for romance). Plus, in the Our Take section we discuss the Writers Strike in Hollywood and what it means for creative workers in general.

In case you missed it, franchises are everywhere. Not solely on theater screens, TV also holds numerous franchises, and that number is only expanding. On this episode of The Hollywood Outsider podcast, take a look at when franchise TV started, why it has continued, and even how it has exploded in recent years, as well as what are the best TV franchises out there.  Also this week, our spoiler-free reviews of Gran Turismo, Bottoms, and The Last Voyage of the Demeter. Lastly we play our new game, HO NO!, where we debate some of the worst Hot Takes we've heard on the internet lately.  Discussed on this episode: (0:00 – 7:02) Opening (07:03 – 46:50) From the Outside In Topic: The Era of TV Franchises (46:51 – 1:07:22) Spoiler-Free Reviews: Bottoms, The Last Voyage of the Demeter, Gran Turismo (1:07:23 – 1:23:09) HO NO! Our Take on the Worst Takes on the Internet Please support The Hollywood Outsider and gain immediate access to bonus content, including Patreon exclusive podcast content like our Bad Movie Night by visiting Patreon.com/ TheHollywoodOutsider Be sure to join our Facebook Group Follow us on X @BuyPopcorn

Today we're welcoming back Ramit Sethi. Ramit is a personal finance expert and author. And this year, he added a new line item to his resume: TV host. His series How to Get Rich debuted on Netflix in April. It features in-depth conversations with individuals about their financial lives. Ramit's first book, I Will Teach You to Be Rich, published in 2009, was a bestseller; a second edition of the book came out in 2019. Ramit is the founder of iwillteachyoutoberich.com, and he's also the host of a podcast called I Will Teach You To Be Rich, which features in-depth conversations with couples about money.BackgroundBioI Will Teach You To Be Rich, by Ramit SethiI Will Teach You To Be Rich podcastHow To Get Rich, Netflix seriesTwitter: @ramit“Ramit Sethi: ‘What Is Your Rich Life?'” The Long View podcast, Morningstar.com, Nov. 10, 2020.“Ramit Sethi: How Can Couples Make Peace Over Money?” The Long View podcast, Morningstar.com, Nov. 30, 2021.Rich Lives“10 Easy-to-Follow Money Rules to Improve Your Financial Health,” by Ramit Sethi, iwillteachyoutoberich.com, Nov. 23, 2020.“‘I Will Teach You to Be Rich' Author: 3 Money Rules I Follow to Build Wealth and Enjoy Life—and How to Create Your Own,” by Kamaron McNair, cnbc.om, April 14, 2023.“How to Live a Rich Life (+Rules That Will Help You ACHIEVE It!),” by Ramit Sethi, iwillteachyoutoberich.com, Feb. 27, 2023.“Ramit Sethi—How to Play Offense With Money, Plan Bucket Lists, Build a Rich Life With Your Partner, and Take a Powerful $100 Challenge (#524),” The Tim Ferriss Show podcast, tim.blog.com, July 26, 2021.Budgeting and Conscious SpendingRamit's Conscious Spending Plan“Conscious Spending Plan: How to Budget by Looking Into the Future,” by Ramit Sethi, iwillteachyoutoberich.com, Feb. 27, 2023.“How to Find all my Debts (& Pay Them Off),” by Ramit Sethi, iwillteachyoutoberich.com, Oct. 3, 2022.“4 Ways to Get Out of Debt Fast (+Mistakes to Avoid),” by Ramit Sethi, iwillteachyoutoberich.com, Aug. 10, 2021.Jobs and Income“Finding the Right Money-Making Ideas (That Anyone Can Do),” by Ramit Sethi, iwillteachyoutoberich.com, March 28, 2023.Homeownership“3 Practical Things Every First-Time Homebuyer Should Know, According to the Star of Netflix's ‘How To Get Rich,'” by Lee Aquino, businessinsider.com, April 25, 2023.“Buying a House in Recession: Pros, Cons, and Expert Advice,” by Ramit Sethi, iwillteachyoutoberich.com, March 20, 2023.“Should I Buy a House Now? (5 Guidelines and Perfect Timing Tips),” by Ramit Sethi, iwillteachyoutoberich.com, Sept. 15, 2021.Investing“How to Trade Stocks (and Find Out if Trading Is Right for You),” by Ramit Sethi, iwillteachyoutoberich.com, Feb. 27, 2023.“Here's Our Take on Day Trading in 2023,” by Ramit Sethi, iwillteachyoutoberich.com, March 3, 2020.“How to Invest in Index Funds (Get Invested in 5 Min),” by Ramit Sethi, iwillteachyoutoberich.com, Feb. 27, 2023.“Diversified Investment Portfolios: How to Build One (+ Examples),” by Ramit Sethi, iwillteachyoutoberich.com, Oct. 27, 2021.“High Risk vs. Low Risk Investing (The Reality),” by Ramit Sethi, iwillteachyoutoberich.com, Dec. 16, 2022.Couples/Relationships“Love and Money: Combining Finances After Marriage,” by Ramit Sethi, iwillteachyoutoberich.com, Feb. 27, 2023.“I've Been Writing About Money for 15 Years, and I Can Tell You Too Many Couples Talk About Money All Wrong,” by Ramit Sethi, businessinsider.com, Feb. 27, 2019.“Episode 65. I Make $200k/Month. He Makes $2k. Who Pays for Dates? (Part 2),” I Will Teach You To Be Rich podcast, iwillteahyoutoberich.com, October 2022.Financial Advice“Do I Need a Financial Advisor? (The ONLY Guide You Need!),” by Ramit Sethi, iwillteachyoutoberich.com, July 7, 2021.(Please stay tuned for important disclosure information at the conclusion of this episode.)

Years later, we take a trip down memory lane and give our verdict on a scale from 1-10 on Mario's 35th anniversary celebration back in 2020. In this episode, we look back at Super Mario 3D All-Stars & Super Mario 3D World + Bowser's Fury - how GREAT were they? We give our thoughts about the massive missed opportunity of Super Mario 35, and answer a fan question from the last episode. All of that and more in the fortieth episode of Nintendo Tonight! 00:00 Intro 03:03 Looking Back At Mario 3D All-Stars 21:13 3D World + Bowser's Fury's Greatness 34:37 Our Take on Mario Kart Live Home Circuit 41:30 Super Mario 35: A Missed Opportunity 47:09 How GOOD Was Mario's 35th Anniversary? 50:00 What other Nintendo franchises deserve an anniversary? 54:25 Fan Questions 01:00:31 How Switch Stop Was Created 01:25:24 Outro

It's easy to keep our cool, accept our children for who they are, and hold boundaries with unconditional love when our kids are behaving well, but what about when their behavior scares us? What do we do when our kids lie? What about when they are feeling extra reserved and we worry they won't be able to navigate social situations? How do we handle when our kids are so easily frustrated for reasons we don't even understand (does it really matter how your socks line up with your heel? In this episode, we draw on Dr. Becky Kennedy's book Good Inside to address these issues. We share many ways of reframing these difficult situations in a way that really helps us as parents see things in a bit more clearly and patiently. Related episodes: 207 // We Are All Good Inside: Parenting Without Using Shame and Repairing When We Do, with Dr. Becky Kennedy Part 1 210 // Navigating Tricky Transitions With Kids Ahead of Time and What to Do When Whining Feels Unbearable: Good Inside by Dr. Becky Kennedy Part 2 202 // Facing Our Fear 203 // Meditation: Letting Fear Go 108 // Using Play to Diffuse Poser Struggles and Connect With Your Child (based on Playful Parenting by Larence J. Cohen) 118 // Become a Child Whisperer / Parenting Your Kids True to Their Nature (based on the work of Carol Tuttle) 41 // Our Take on the Grit Phenomenon Books and links we mentioned: Good Inside // Dr. Becky Kennedy The Child Whisperer // Carol Tuttle Playful parenting // Lawrence J. Cohen Phd Owala water bottle Katelin mentioned Sponsor: GABB WIRELESS We LOVE devices that help our kids stay safe and be able to adventure while still being able to contact us safely and allow us to know where they are without being the kind of technology that steals their mental health and attention. Gabb wireless is an incredible company that we FULLY endorse for just that. Go to https://gabbwireless.com and use code FINDTHEMAGIC to get $50 off any device! Thank you for the kind reviews! We appreciate them so much. Review of the week from Bprause My go to I am inspired literally. Every. Episode. I recommend you to all of my friends. I love my children to pieces and I am so grateful to have found a sound resource that I can turn to, to unfold the best version of myself for them. Until recent years I turned my nose up at all ‘self-help' type resources. Until I discovered one day I don't know more than everyone. Now I want ot learn from the best. I truly feel like you ladies are top tier, and I truly truly thank you. --- Support this podcast: https://anchor.fm/findthemagic/support

The pandemic changed the way most people think about cleaning. Today, homeowners are more concerned with hygiene and cleaning to prevent illness. As such, electrostatic technologies have become the focus in many cleaning business circles.But is it something you should bring into your own business right now?In this episode, we're looking closer at what electrostatic technology is doing in the cleaning industry, including how it will function in a post-pandemic world. We're also looking at potential risks that could be involved, especially those that would impact your customers.Tune in now and learn more about the electrostatic cleaning trend to decide for yourself if it's a bandwagon you should be excited to jump on.And, remember to keep it clean!Highlights:(04:16) Cleaning Protocol During the Pandemic(07:20) Why Being Hyper-Focused Isn't Always a Smart Business Move(09:38) Our Take on Electrostatic Cleaning Technology(10:35) Predictions for the Future of the Cleaning Industry(12:24) Why New Cleaning Equipment Should ALWAYS Be a Part of Your Business PlanLinks or books mentioned: For questions, you may reach out to hello@proficleaners.com. Website: Profit Cleaners

Wins Above Fantasy – Van Burnett (@Van_Verified) and Steve Gesuele (@stav8818) name their first-half fantasy All-Star, both overall and "all-value" teams, and provide insight into buying or selling their performances for the second half. Get 10% off your first month of therapy on us! - BetterHelp.com/pitcherlist 2:35 Our Take on All-Star Break 7:30 All-Star Catchers: Willson Contreras 13:00 Alejandro Kirk 16:52 1st Base: Paul Goldschmidt 21:35 CJ Cron 25:45 2nd Base: Jose Altuve 29:44 Tommy Edman 36:45 Shortstop: Trea Turner 39:55 Dansby Swanson 44:00 3rd Base: Jose Ramirez 46:20 Brandon Drury 51:50 Outfield: Aaron Judge 55:53 Mookie Betts 57:23 Yordan Alvarez 59:33 Kyle Schwarber 1:02:14 Julio Rodriguez 1:03:43 Adolis Garcia 1:06:36 Pitchers: Shane McClanahan 1:09:42 Corbin Burnes & Gerrit Cole 1:10:50 Sandy Alcantara 1:12:16 Justin Verlander 1:14:50 Shohei Ohtani 1:17:35 Value All-Star SPs Subscribe: Apple Podcasts | Spotify | Stitcher | TuneIn | Google Podcasts | Audacy | RSS Connect: Twitter | WinsAboveFantasy@gmail.com | Join PL+ Get PL+ and join our Discord: https://pitcherlist.com/plus