Podcasts about Paul Cohen

Paul Cohen was born in the Netherlands in 1963. After finishing High School he went to live in Israel and spent a brief period in a Yeshiva (Jewish Theological College) in Jerusalem. Paul met his wife Sue in Israel and later immigrated to Australia where Sue had grown up. Sue became a believer in Jesus in 1984 and was instrumental in Paul becoming a believer in February 1987. He has attended various Bible Schools and since 1992 Paul volunteered or worked for several prominent ministries to the Jewish people. He has a heart to see his people know the love and grace of their true Messiah and desire to share the Biblical stories from a Jewish perspective. Paul and Sue were the founders of Brit Chadashah (the Celebrate Messiah Congregation in Sydney) in 2013, which Paul led for 10 years, today known as Beit Shalom. Paul gives lectures in Biblical theology and Jewish studies at the Western Sydney Bible School, and gives online courses at the Messianic Training Centre. Grace Buckman Caught up with Paul to hear his story, listen in! https://www.celebratemessiah.com.auSupport the show: http://historymakersradio.com/See omnystudio.com/listener for privacy information.

Paul Cohen was born in the Netherlands in 1963. After finishing High School he went to live in Israel and spent a brief period in a Yeshiva (Jewish Theological College) in Jerusalem. Paul met his wife Sue in Israel and later immigrated to Australia where Sue had grown up. Sue became a believer in Jesus in 1984 and was instrumental in Paul becoming a believer in February 1987. He has attended various Bible Schools and since 1992 Paul volunteered or worked for several prominent ministries to the Jewish people. He has a heart to see his people know the love and grace of their true Messiah and desire to share the Biblical stories from a Jewish perspective. Paul and Sue were the founders of Brit Chadashah (the Celebrate Messiah Congregation in Sydney) in 2013, which Paul led for 10 years, today known as Beit Shalom. Paul gives lectures in Biblical theology and Jewish studies at the Western Sydney Bible School, and gives online courses at the Messianic Training Centre. Grace Buckman Caught up with Paul to hear his story, listen in!

In this podcast Paul Cohen preached on Luke 24:13-32

To celebrate the holidays Will wants one thing for the podcast.  To chat with his friend Paul Cohen and recap their favorite pop punk moments of 2024.  The discuss favorite albums, the return of Warped Tour, When We Were Young Fest, and the number of times Will saw Green Day each in a different city.   Paul on Instagram. https://www.instagram.com/therealpaulcory/ Will's Website: www.awesomedisaster.com Podcast Merch: https://teespring.com/stores/between-awesome-and-disaster Awesome Disaster Highlights! https://open.spotify.com/playlist/4T5fT0Sc8bipvHWFaBEY2J?si=5f8ad01818404d07 Will's Band: https://www.instagram.com/skiplagnyc/

Join Billy Hubbard and his wife Sarah on this part 2 special episode with Singer Songwriter John Smith Presley, a man who has presented DNA and other convincing evidence to prove he is the son of Elvis Presley, and his attorney friend/band mate Tony Petty. John was born in 1961 and adopted and raised by an uncle and aunt of Elvis, Ira Dee and Etta Smith.John is the subject of a film about his life currently in the works based on Rich Carlburg's book Let The Boy Sing. John is also part of a new Netflix documentary currently in production which is where we caught up with him today. Paul Cohen, a noted Hollywood investigator, has spent the last eight years collecting new and corroborating evidence John already possessed including verification of his birth certificate. The state of Texas had a systems glitch in 1961 the year John was born that caused the “D” in the word "Date" to show up as an “O.” This was the only year this occurred. Most importantly Paul has obtained DNA comparisons to several verified members of the Presley family, including a first cousin to Elvis, and they match.John was subsequently adopted by an aunt and uncle of Elvis, Ira Dee and Etta Smith at about 18 months old. Along with John, Ira Dee and Etta also adopted his two older half sisters at the same time to provide a loving stable home for the children. Ira Dee and Etta had no children of their own. John's birth mom Zona was a cousin to Elvis by marriage, not by blood. The book title Let The Boy Sing is from a message that was passed on to John's birth mother Zona, and some 30 years later Zona passed the message to John. Gladys Presley was illiterate and didn't write the message "Let the boy Sing" herself. Gladys had a maid named Hattie that wrote down what Gladys told her to write. Gladys passed away in 1958 several years before John was born. The message was intended for Elvis and the future mother of his child based on the feeling Gladys had about her future grandson. When Gladys asked Hattie to write this, the events of John's birth had not taken place. Hattie years later was sent to the house of Ira Dee and Etta Smith to help raise John, just as she helped raise Elvis for Gladys. Hear part 1 of John's story at https://www.buzzsprout.com/1300885/episodes/15646481 and read FAQ's and learn more about John's story at http://lettheboysing.coPodcast producer/cohost Billy Hubbard is a Singer/Songwriter and former Regional Director of A&R for a company that published a Grammy winning song. Billy is a signed artist with Spectra Music Group and co-founder of the iconic venue "The Station" in East TN. Billy's album was released by Spectra Records 10/2023 on all major outlets! Learn more about Billy at http://www.BillyHubbard.comSupport the showIf you'd like to support My Backstage Pass you can make a donation to Billy & Lee's coffee fund at this link https://www.buymeacoffee.com/MyBackstagePassMy Backstage Pass is sponsored by The Alternate Root Magazine! Please subscribe to their newsletter, read the latest music reviews and check out their weekly Top Ten songs at this link http://www.thealternateroot.com

Try Leadfeeder today and turn pageviews into pipeline! - https://bit.ly/3xMPOV5Join Dots Oyebolu as he speaks with Paul Cohen, Partner and CEO North America at milkandhoneypr.com. Paul shares his extensive experience in the PR industry, spanning three decades and three continents. He discusses the origins and growth of Milk & Honey, emphasizing the importance of nurturing reputations and the impact of a purpose-driven approach. Paul also provides insights into brand storytelling, leveraging social channels, and the critical role of reputation in both good and bad times.Key Takeaways:(02:17) The founding story of Milk & Honey and its global expansion.(04:08) Milk & Honey's achievement as the highest-scoring B Corp PR firm.(12:01) The critical role of consistent reputation management.(18:18) Paul Cohen's expertise in reputation management over crisis communication.(22:06) Utilizing social media to map the day's conversations and insert client perspectives.(24:00) Engaging clients in conversation during pitches to drive business success.(26:45) The vital role of employees as brand ambassadors in sharing the company's story.Resources Mentioned:Paul Cohen - https://www.linkedin.com/in/paul-cohen-/https://milkandhoneypr.com/ | Website Insightful Links:https://www.digitalsilk.com/digital-trends/brand-storytelling/https://neilpatel.com/blog/create-authentic-brand-story/https://gathercontent.com/blog/brand-storytelling-exampleshttps://toaststudio.com/en/pg-volvo-and-other-examples-of-strong-brand-storytelling/Thanks for listening to the Marketing Leadership podcast, brought to you by Listen Network. If you enjoyed this episode, leave a review to help get the word out about the show. And be sure to subscribe so you never miss another insightful conversation.#PodcastMarketing #PerformanceMarketing #BrandMarketing #MarketingStrategy #MarketingIntelligence #GTM #B2BMarketing #D2CMarketing #PodcastAds

In this week's episode, find out what happens when you put Greg on the phone with one of his childhood friends of over 20 years. When Paul texted Greg saying “I have opinions”… that's it all took to make this episode happen! Listen in as they cover everything from concerts, to the Mets, to wrestling, to MTV's The Challenge. Paul also gives us some info on his big return to The Backdoor BBQ comedy show which him and his team has been running for the last 8 years in NYC! Make sure you get out there and have a great time as we will be there to support our good friend Paul!

In this week's episode we're featuring Kentucky's Hugh X. Lewis' fourth album for Kapp Records: "Country Fever" (1968). A high school buddy and his songwriting chops lead him to Nashville in 1963 and after Paul Cohen signed him to Kapp, Lewis cut some super material through our feature album's release (which was his last for the label). Lewis' wrote or co-wrote nine of his fifteen charting singles so it's no surprise his hand is prolific on "Country Fever" (particularly the B-side) and it's a better album for it.

What is genocide and is it a term that describes what's happening in the war between Israel and Hammas? Debra Fitzgerald is joined by Lawrence University Professor Emeritus Paul Cohen, who talks about writer and philosopher, Hannah Arendt, and her brilliant book, Eichmann in Jerusalem: A Report on the Banality of Evil, in the context of today's war. Cohen will host a Björklunden Zoom seminar book discussion on the topic: “Is Evil Really Banal: Hannah Arendt and The Question of Genocide,” April 4 - May 2.

Paul Cohen runs Milk & Honey PR's North American business and brings three decades of experience shaping vital conversations in ways that matter. A trusted communications advisor to executives and teams across three continents, Paul has represented multinational corporations, start-ups, industry associations, sovereign governments, and non-profit organizations. Here, he talks about Milk and Honey's viral vase story, working in important halls of government, and the importance of “nurturing” brands. Key Takeaways:· How to influence altruism· The PR behind a viral vase story· How to nurture a brand Episode Timeline:1:20 What brought Paul to some of the world's most prestigious halls of government?4:15 How to persuade the public to support environmental issues6:00 The state of journalism in 20248:45 Milk and Honey's viral vase story12:45 The client's take on the vase story 14:30 You can't force things to go viral15:20 The importance of “nurturing” brands17:30 How do you hit the zeitgeist “right on the nose”?19:10 Do all brands need a purpose?21:50 Are brands pulling back from social justice activism? This episode's guest: · Email Paul Cohen at Paul@MilkandHoney.com· Paul Cohen on LinkedIn· Paul Cohen on X Subscribe and leave a 5-star review:https://pod.link/1496390646 Contact Us!· Join the conversation by leaving a comment!· Drop us a line at pr360@globalresultspr.com.· Follow Global Results Communications on Facebook, X (formerly Twitter), Instagram, and LinkedIn! Thanks for listening! Hosted on Acast. See acast.com/privacy for more information.

It's Christmas day which means it's time for Paul Cohen of Backdoor BBQ and Will to talk the year of Pop Punk.  From a year of amazing tours, long anticipated reunions, amazing new bands, and excellent new records from established bands.  There is a lot of great music in 2023 to talk about!   Will and Paul's 2023 Playlist: https://open.spotify.com/playlist/3pp2CsW12Bqb8FohgXdiwc?si=a3ffa769f7de40d9 Paul on Instagram. https://www.instagram.com/therealpaulcory/ Will's Website: www.awesomedisaster.com Podcast Merch: https://teespring.com/stores/between-awesome-and-disaster Get exclusive music and videos at Patreon: https://www.patreon.com/awesomedisaster Listen to Will's band on Spotify: https://open.spotify.com/album/6diGYyCyFjJZNOZ0Madqrl?si=T0jg3j1bS9iXQ47rHekvgg Listen to Will's Solo EP: https://open.spotify.com/album/3jMCe7S0qxESZaXEcfR1Cj?si=9h8vYhNKT5qmQX5g8QvWlw Awesome Disaster Highlights! https://open.spotify.com/playlist/4T5fT0Sc8bipvHWFaBEY2J?si=5f8ad01818404d07  

This week we are giving away a small NHL wall-art piece of your choosing from Ultimate Hockey Fans. Join us as we sit down with Paul Cohen, former professional hockey goaltender and the founder of the business, who has taken his passion for the game and built a way to share it with others.Innovating and upgrading your fan space is an ongoing journey. Paul Cohen, owner of Ultimate Hockey Fans explains how his love and passion for the game led him to create some very unique pieces that are the perfect compliment for any NHL or sports fan.In our short episode, Paul will walk you through his range of products, including the customizable puck lights, NHL ceiling fans, goalie mask illumination, and NHL and personalized LED backlit wall art, which are perfect for any hockey enthusiast.Listen for the secret code in this episode and enter the giveaway on https://hockeywraparound.com/blogs/the-wraparound-roundtable/ultimatehockeyfans for a chance to win a piece of officially licensed NHL wall art.Don't miss our extended interview with Paul Cohen, where we delve deeper into the world of Ultimate Hockey Fans, Paul's experience as a hockey player, why he chose this line of work, and how you can use your own images to create a completely exclusive piece for your home. Make sure to visit www.ultimatehockeyfans.com to explore their full range of hockey-themed home decor.-- Our Kids Play Hockey is proud to be sponsored by Game Seven Group and Hockey Wraparound.At Game Seven Group our mission is to Transform Individuals Into Teams Capable Of The Extraordinary using Lee MJ Elias' proven team bonding strategy for sports teams, business teams, and anything & everything in between. If your team or organization is hungry to win a championship or take things to the next level, reach out to our team to see how we can help you reach your goal. Click this link to learn more or reach out to Katelynn@GameSevenGroup.com for more information.--Over the last ten years Hockey Wraparound , the #1 Off-Ice Training Product of the Decade (via Hockey Tutorial), has afforded hockey players at every level the opportunity to train off-ice while maintaining the integrity of their hockey stick blades. Our stick blade protectors are made of a privately formulated material that is flexible to fit most stick blades & curves, while hardwearing and long lasting protection.Order now to take your off-ice training to the next level.

Paul Cohen was born in the Netherlands and lived in Israel before moving to Australia years ago. He and his wife (whom he met in Israel) are very involved in the subject of Jews and Jesus and Israel. His perspectives include a desire for peace and sitting down to honestly talk about issues. His irenic nature unfolds clearly in this 3rd of 5 episodes on the subject of the Israel/ Hamas war. The historical marker includes the establishment of the Republic of Turkey (now Turkeye) by Ataturk,  the famous Black Tuesday in the US, and the invasion by Israel in the Sinai peninsula in 1956. Support the showThanks for listening. Please share the pod with your mates, and feel free to comment right here! Write to Bob on his email -- bobmendo@AOL.comLink to https://www.facebook.com/profile.php?id=100078996765315 on Facebook. Bobs Your Uncle features the opinions of Bob Mendelsohn and any of his guests.To financially support the podcast, go to the Patreon site and choose Gold, Silver or Bronze levels. Thanks for that! https://www.patreon.com/BobsYourUncle To read Bob's 1999 autobiography, click this link https://bit.ly/StoryBob To see photos of any of Bob's guests, they are all on an album on his Flickr site click here: https://www.flickr.com/photos/bobmendo/albums/72177720296857670

¿Puede una computadora ver el futuro en una partida de ajedrez y memorizar quintillones de posibles estrategias para ganar? ¿Un hormiguero puede inspirar a un algoritmo? ¿Será posible que un robot resuelva un problema matemático sin ni siquiera leerlo? La INTELIGENCIA ARTIFICIAL y las MATEMÁTICAS tienen, ahora, una inquietante y prometedora historia común. ¿Podrán amistarse las investigaciones tradicionales más reacias con el infinito universo numérico de las máquinas? Escucha este episodio de Explora con la Academia Colombiana de Ciencias Exactas, Físicas y Naturales. Una conversación entre DOS MATEMÁTICOS que se preguntan por los AVANCES logrados en esta extraña relación entre máquinas y CIENCIA y que se debate si tantas inteligencias artificiales finalmente dejarán OBSOLETAS a las más avezadas mentes humanas. Fue a finales del siglo pasado que algunas ideas y predicciones sobre el estudio de los números empezaron a incluir a la TECNOLOGÍA: en la década de 1950, el matemático Alan Turing sentó las bases del machine learning o del aprendizaje automático. Allí planteaba que las máquinas pueden aprender y deducir datos incluso sin estar programadas para ello. En 1970, el matemático Paul Cohen expresó que los matemáticos se volverían obsoletos entre las computadoras. El también matemático Paul Halmos opinó que la IA no tendría ningún papel en las matemáticas puras. Invitados Whady Felipe Flórez, PhD. Ingeniero mecánico con doctorado en Computational Mechanics, profesor de la Facultad de Ingeniería mecánica de la Universidad Pontificia Bolivariana, coordinador de grupo de investigación en Energía y Termodinámica, fellow Wessex Institute of Technology, profesor invitado de la Universidad Politécnica de Cataluña, secretario general de la Academia Colombiana de Ciencias Exactas, Fisica y Naturales, capítulo Antioquia. Roberto Carlos Hincapie, PhD. Ingeniero electrónico, doctor de Ingeniería en Telecomunicaciones. Decano de la Escuela de Ingenierías de la Universidad Pontificia Bolivariana e investigador del Ministerio de Ciencia, Tecnología e Innovación.

The following message Pinchas (Phineas): and the Sin of Baal-Peor Numbers 25:1-18 & Psalm 106:28-31 is given free of charge if you gained a deeper appreciation of the scriptures, Please consider supporting Paul via Celebrate Messiah https://www.celebratemessiah.com.au/donate/  Please select missionary - Paul Cohen ..... The background is found in Numbers 22-24 When Israel come out of the 40 years in the wilderness, they arrived on the borders of Moab, and the king of Moab called for Balaam from Mesopotamia. Now Balaam was called a seer, one who sees the future, people with this gift are called a prophet later. And Balaam is called to curse Israel. Balaam enquires of God and is told not to go with the men to curse Israel. When he is offered more money, he keeps enquiring of the Lord, and his desire for money is exposed. And so he arrives on the mountain peak to curse Israel and God takes over his tongue and is unable to do. It is likely that he then looked at Israel's history and realised every time they sinned God brought corrective punishment. And so Balaam is able to get his money by getting Israel to worship false gods.  The Sin: Numbers 25:12 1&2 “While Israel remained at Shittim, the people began to play the harlot with the daughters of Moab. For they invited the people to the sacrifices of their gods, and the people ate and bowed down to their gods.

Dr Glenn McConell chats with Dr Paul Cohen from Translational Research Institute for Metabolism and Diabetes, AdventHealth Orlando, Florida, USA. He has a very strong track record of research examining muscle mitochondria in health and disease and in particular the effects of exercise in attenuating the reductions in mitochondrial function with age. A very interesting chat. Twitter: @CoenPM 0:00. Introduction/Paul's exercise research training 3:10. Exercise, aging and inflammation markers etc 5:55. Bret Goodpaster/Advent Health 8:53. Muscle mitochondria functions 10:15. Mitochondria: energetics, function, biogenesis 13:11. Effects of aging on mitochondria 16:15. Mitochondria energetics, VO2 max and muscle power with age 22:30. Isolated mito vs fibers vs in vivo measures of mito 24:52. Changes with aging per se vs inactivity with aging 28:40. Can mimic exercise using isolated mito measures? 32:03. Time course of mito changes with age vs physical activity 34:00. Is walking enough to maintain mitochondrial volume etc? 35:40. The body and the response to exercise is very integrative 37:25. Lipids in muscle and mitochondrial function 39:00. Subcellular vs intramyofibullar mitochondria 42:55. Mitochondrial energetics and mobility as age etc 44:45. Medications vs exercise 46:08. Aging, mitochondria respiration and leg power 47:40. Aging, mitochondrial energetics and fatigue 49:10. Sex differences in mitochondrial energetics 50:25. Aging vs physical inactivity with aging 52:00. Aging, mitochondria, gait speed and mortality 54:08. If do one thing best to do aerobic or weight training? 56:12. The best exercise is the exercise that people will do 56:10. Social interaction 57:20. Exercise for health span vs life span/“Stop aging” 1:00:12. Healthy aging when have a well managed disease? 1:01:52. Markers of healthy aging 1:03:05. Inherited and acquired mito DNA sequence variations 1:06:10. Nitrate supplementation, mitochondria and aging 1:09:05. Bed rest, diabetes, muscle mass and mitochondrial 1:13:15. Takeaway messages 1:14:43. Links between mitochondrial function and insulin sensitivity? 1:18:43. Outro (9 seconds) Inside Exercise brings to you the who's who of research in exercise metabolism, exercise physiology and exercise's effects on health. With scientific rigor, these researchers discuss popular exercise topics while providing practical strategies for all. The interviewer, Emeritus Professor Glenn McConell, has an international research profile following 30 years of Exercise Metabolism research experience while at The University of Melbourne, Ball State University, Monash University, the University of Copenhagen and Victoria University. He has published over 120 peer reviewed journal articles and recently edited an Exercise Metabolism eBook written by world experts on 17 different topics (https://link.springer.com/book/10.1007/978-3-030-94305-9). Connect with Inside Exercise and Glenn McConell at: Twitter: @Inside_exercise and @GlennMcConell1 Instagram: insideexercise Facebook: Glenn McConell LinkedIn: Glenn McConell https://www.linkedin.com/in/glenn-mcconell-83475460 ResearchGate: Glenn McConell Email: glenn.mcconell@gmail.com Subscribe to Inside exercise: Spotify: shorturl.at/tyGHL Apple Podcasts: shorturl.at/oFQRU YouTube: https://www.youtube.com/@insideexercise Anchor: https://anchor.fm/insideexercise Google Podcasts: shorturl.at/bfhHI Anchor: https://anchor.fm/insideexercise Podcast Addict: https://podcastaddict.com/podcast/4025218 Not medical advice

Podcastarama : Avis des auditeurs :⭐⭐⭐⭐⭐ Avis de la presse :⭐⭐⭐⭐   Paul est heureux de son parcours. Sa vie professionnelle a été un cadeau me glisse t-il. En parlant de cadeaux, on lui a proposé à plusieurs reprises d'être coaché sur différentes thématiques managériales. Si on choisit bien son coach et si on est prêt à accepter de voir en face ses difficultés, alors un coaching est l'un des plus beaux cadeaux qu'une entreprise puisse vous faire. Le fil rouge de sa carrière ? Accompagner des entreprises dans leurs transformations digitales et dans le changement de leurs business.  C'est ainsi qu'il a accompagné plus de 10 ans  Bouygues Telecom depuis le stade startup jusqu'à cette grande entreprise mature à forte culture managériale. Il aura pu accompagner des transformations majeures : le passage de la voix à la Data, l'apparition des premiers services basés sur les SMS, MMS… Le PMU au moment de l'ouverture à la concurrence sur les paris sportifs en ligne et du poker. Et puis, un jour, un samedi,... un samedi noir, un samedi de crise sera la catalyseur d'un très très gros projet qu'il mènera jusqu'au bout avec ses équipes : décomissionner leur mainframe.  Aujourd'hui il accompagne la Sacem. Créée en 1851, elle a la particularité d'être une société à but non lucratif et d'appartenir à ses sociétaires. Son objectif est de rémunérer au mieux les auteurs, les compositeurs et éditeurs de musique. Ces dernières décennies la Sacem a dû s'adapter à des mutations énormes comme l'arrivée du CD/DVD, du streaming qui ont eu des impacts énormes. Paul évoque les mutations, les réflexions d'aujourd'hui et de demain : le Metaverse, le Web 3, l'utilisation de la blockchain pour la protection des œuvres.  Vous découvrirez dans cet épisode un DSI qui se soucie peu “d'imprimer sa marque” lorsqu'il prend un poste. L'important est avant tout le service rendu.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Covering Part 8 of Alain Badiou's Being and Event on “Theory of the Subject,” Alex and Andrew discuss the theory of subject and the event, and Badiou's wider work. Guest Andrei Rodin contextualizes Badiou's project through its relation to the wider philosophy of mathematics. Rodin is a mathematician and philosopher with affiliations in France, including the University of Lorraine and the University Paris-Cité, and in Russia at the Russian Academy of Sciences, Saint-Petersburgh State University, as well as the Russian Society for History and Philosophy of Science. He is the author of Axiomatic Method and Category Theory. Concepts related to the Theory of the Subject Badiou's Theory of the Subject, the Future Anterior of Truth, Paul Cohen's Forcing, Comments on Lacan, Event versus Language, Subject, The Outside, The Undocumented Family, State as Preventing the Event, Decolonize Badiou. Recap of Being and Event (Parts 1-3) normal and natural, being qua being, entities multiples sets void, ordinal chains, infinity (natural and real), being is the state and state of situation (form through set theory) (Part 4) turning point, there will always be sites that are presented but whose members are represented, gap, normal and abnormal, un- in- ex-, (Second Half of the Book) how things work, fidelity as a procedure that assigning belonging (temporal), quasi existentialism of the decision, against a construction which is an internal model that grinds through itself, construction always hits an impasse (errancy of the excess of the situation), external model, excess (End of the Book), fidelity to the event, not an act of construction, subtraction, the subtractive procedure is forcing (Cohen), the generic is a product of forcing (Cohen), the four truth procedures (love, art, science, politics) are for subjects, the subject is local configuration of event, fidelity, force, generic. Further Reading Manifesto for Philosophy (BE Explainer), Number and Numbers (math notes for BE), Conditions (Four Truth Procedures); BE Trilogy: (1) BE is both abstract and set theoretical, (2) LW is in the world and takes the perspective from world that truth interrupts, and IT (3) takes the perspective of truth to asks where everything else comes from (in favor of infinite against finite); Logic of Worlds is less heroic, undoes the eureka theory of event, more temporality and history, subjectivity as process, phenomenology, additional math theories, category theory; Immanence of Truths, back to set theory, transfinite mathematics and large cardinals, in the Gödel-Cohen debate “I choose Cohen” Interview with Andrei Rodin WVO Quine, Set Theory, Meta-Mathematics, Category Theory, Computation, ZFC and Paul Cohen, Constructivist Mathematics, Infinities and Georg Cantor, Euclid and Numbers, Big Numbers, Non-Countable Sets, Axioms, David Hilbert, Generic, Forcing Links Rodin page, http://philomatica.org/ Rodin papers, https://varetis.academia.edu/AndreiRodin Rodin texts, http://philomatica.org/my-stuff/my-texts/ Rodin, Review of Badiou's “Mathematics of the Transcendental,” http://philomatica.org/wp-content/uploads/2013/01/braspublished.pdf Rodin, Axiomatic Method and Category Theory, https://link.springer.com/book/10.1007/978-3-319-00404-4

Covering Part 6 of Alain Badiou's Being and Event on “The Impasse of Ontology,” Alex and Andrew discuss Badiou's critique of the discernible and constructible as foreclosures of the event. Guest Calvin Warren thinks the catastrophe through the post-metaphysics of anti-math and the problem of the one. Warren is a professor of African American Studies at Emory University. His research interests include Continental Philosophy (particularly post-Heideggerian and nihilistic philosophy), Lacanian psychoanalysis, queer theory, Black Philosophy, Afro-pessimism, and theology. He is the author of Ontological Terror: Blackness, Nihilism, and Emancipation (Duke University Press).   Concepts related to The Impasse of Ontology The Cantor-Gödel-Cohen-Easton Symptom, Events as Decisions, James C Scott's Seeing Like a State, The Impasse of Ordinality/Cardinality Set/Number Situation/State and Belonging/Inclusion, Errancy and the Immeasurable, Cardinality, Diagonalization and Cantor/Continuum Hypothesis, Kurt Gödel and Paul Cohen, Jacques Lacan and the Impasse of Formalization, The Power Set and the Size of the State, The Subject and the Abyss, Critiques of Leibniz's Discernible and Constructible Worlds (and Analytic Philosophy's Symbolic Thought), Rousseau's General and Undifferentiated  Being of Truth (and Paul Cohen's Absolutization of Errancy), and all Classic Metaphysics that includes Communist Eschatology (and Large Cardinals, the Virtual Being of Theology, and Transcendence).   Interview with Calvin Warren Qui Parle on The Catastrophe, Ontological Terror, Alain Badiou and the One as Anti-Black, Denise Ferreira da Silva, Pure Form as Pure Violence, Black aesthetics, Katherine McKittrick, The Ledger as Both the Inclusion of Black Death and the Concealment of Black Life, Catastrophe, Abyss, Nihilism, Nothingness, Pessimism, Post-Metaphysics, Martin Heidegger, Jacques Lacan, Jean-Paul Sartre, Frantz Fanon and the Zone of Non-Being, Subtraction, Aesthetics, Romanticism, Afrofuturism   Links Warren profile, https://aas.emory.edu/people/bios/warren-calvin.html Warren papers, https://emory.academia.edu/calvinwarren Warren, Ontological Terror: Blackness, Nihilism, and Emancipation, https://www.dukeupress.edu/ontological-terror Warren, "The Catastrophe: Black Feminist Poethics, (Anti)form, and Mathematical Nihilism," https://muse.jhu.edu/article/749148/pdf

Listen to this episode if you want to unlock some incredible insight into what goes on between the pipes.

In this podcast Paul Cohen preached on Psalm 8

DCD Rights' Nicky Davies Williams and Hat Trick International's Sarah Tong on the 2023 London TV Screenings; and Cineflix Rights' Tim Mutimer, Newen Connect's Rodolphe Buet, Hat Trick Productions' Paul Cohen and Federation Studios' Guillaume Pommier on the changing role of distributors in programme finance.

It's the Holidays and that means it's time for Paul Cohen to return to the show and recap the year in pop punk.  He and Will discuss their recent sketch shows with Backdoor BBQ at the Pit in NYC, New Found Glory's 20th anniversary tour for Sticks and Stones, Their upcoming Acoustic record, Tom Delonge Rejoining Blink-182 and the upcoming reunion tour, Sad Summer Fest, The Blame Canada Tour with Sum 41 and Simple Plan, State Champs, Their album or the year and an exclusive performance of Paul's original pop punk/ emo Hanukkah song 8 Reasons.   Paul on Instagram. https://www.instagram.com/therealpaulcory/ Will's Linktree:  https://linktr.ee/WillCarey Will's Website: www.awesomedisaster.com Podcast Merch: https://teespring.com/stores/between-awesome-and-disaster Get exclusive music and videos at Patreon: https://www.patreon.com/awesomedisaster Listen to Will's band on Spotify: https://open.spotify.com/album/6diGYyCyFjJZNOZ0Madqrl?si=T0jg3j1bS9iXQ47rHekvgg Listen to Will's Solo EP: https://open.spotify.com/album/3jMCe7S0qxESZaXEcfR1Cj?si=9h8vYhNKT5qmQX5g8QvWlw   

Part II is here! And this time, Americans are involved. Digressions include: We Are the World (For Haiti), Teenage Boys, the Scramble for Africa and Fence Sitting Sources Amy Goodman, Westenley Alcenat, Juan González, Gerald Horne, Kim Ives, Debt, Coups & Colonialism in Haiti: France & U.S. Urged to Pay Reparations for Destroying Nation (2021) Bob Corbett, Review of "FROM DESSALINES TO DUVALIER" by David Nicholls and "HAITI IN THE WORLD ECONOMY: CLASS, RACE, AND UNDERDEVELOPMENT SINCE 1700" by Alex Dupuy, Webster University, (1990) Catherine Porter, Constant Méheut, Matt Apuzzo and Selam Gebrekidan, The Ransom – The Root of Haiti's Misery: Reparations to Enslavers, The New York Times (2022) Colin Mckey, The Economic Consequences of The Haitian Revolution (2016) Constant Méheut and Selam Gebrekidan, A magnet for exploitation: Haiti over the centuries, The New York Times (2021) Daphney Pascal, Crisis in Haiti: The American Occupation 1915-1934, (2010) Elizabeth Abbott, The Ghosts of Duvalier, Foreign Policy (2011) Eric Nagourney, 6 Takeaways About Haiti's Reparations to France, The New York Times (2021) Fran Quigley, From cradle to grave, United States protected Jean-Claude Duvalier, IndyStar (2014) Greg Rosalsky, 'The Greatest Heist In History': How Haiti Was Forced To Pay Reparations For Freedom, NPR, (2021) Hossein Azadi and Eric Vanhaute, Mutual Effects of Land Distribution and Economic Development: Evidence, Land Journal (2019) Khalil Gibran Muhammad, The Barbaric History of Sugar in America, The New York Times (2019) Matt Apuzzo, Constant Méheut, Selam Gebrekidan and Catherine Porter, How a French Bank Captured Haiti – The Ransom, The New York Times (2022) Merima Ali, Odd-Helge Fjeldstad, Abdulaziz B. Shif, Did British colonial rule in Africa foster a legacy of corruption among local elites?, London School of Economics (2020) Patrick Scheld, Who Really Controls Haiti's Destiny? An examination of Haiti's Historical Underdevelopment, Endless Poverty, and the Role played by Non-Governmental Organizations (NGOs), (2018) Paul Cohen, On the Relationship Between Journalism and History: Thoughts on The New York Times Haiti Ransom Project, Age of Revolutions (2022) Rocio Cara Labrador and Diana Roy, Haiti's Troubled Path to Development, Council on Foreign Relation (2021) Siri Schubert, Haiti: The Long Road to Recovery, FrontLine World - PBS (n.d.) University of Missouri – St Louis, A New Institutional Economics Analysis of Duvalierism (n.d.)

What happened to Haiti? And was it inevitable? Join Aileen and Kariithi as they discuss who fucked with Haiti, and how they benefitted while Haitians suffered unequivocally. Digressions include: Mike Posner, Sauti Sol and Hades Sources Amy Goodman, Westenley Alcenat, Juan González, Gerald Horne, Kim Ives, Debt, Coups & Colonialism in Haiti: France & U.S. Urged to Pay Reparations for Destroying Nation (2021) Bob Corbett, Review of FROM DESSALINES TO DUVALIER by David Nicholls and HAITI IN THE WORLD ECONOMY: CLASS, RACE, AND UNDERDEVELOPMENT SINCE 1700 by Alex Dupuy, Webster University, (1990) Catherine Porter, Constant Méheut, Matt Apuzzo and Selam Gebrekidan, The Ransom – The Root of Haiti's Misery: Reparations to Enslavers, The New York Times (2022) Colin Mckey, The Economic Consequences of The Haitian Revolution (2016) Constant Méheut and Selam Gebrekidan, A magnet for exploitation: Haiti over the centuries, The New York Times (2021) Daphney Pascal, Crisis in Haiti: The American Occupation 1915-1934, (2010) Elizabeth Abbott, The Ghosts of Duvalier, Foreign Policy (2011) Eric Nagourney, 6 Takeaways About Haiti's Reparations to France, The New York Times (2021) Fran Quigley, From cradle to grave, United States protected Jean-Claude Duvalier, IndyStar (2014) Greg Rosalsky, 'The Greatest Heist In History': How Haiti Was Forced To Pay Reparations For Freedom, NPR, (2021) Hossein Azadi and Eric Vanhaute, Mutual Effects of Land Distribution and Economic Development: Evidence, Land Journal (2019) Khalil Gibran Muhammad, The Barbaric History of Sugar in America, The New York Times (2019) Matt Apuzzo, Constant Méheut, Selam Gebrekidan and Catherine Porter, How a French Bank Captured Haiti – The Ransom, The New York Times (2022) Merima Ali, Odd-Helge Fjeldstad, Abdulaziz B. Shif, Did British colonial rule in Africa foster a legacy of corruption among local elites?, London School of Economics (2020) Patrick Scheld, Who Really Controls Haiti's Destiny? An examination of Haiti's Historical Underdevelopment, Endless Poverty, and the Role played by Non-Governmental Organizations (NGOs), (2018) Paul Cohen, On the Relationship Between Journalism and History: Thoughts on The New York Times Haiti Ransom Project, Age of Revolutions (2022) Rocio Cara Labrador and Diana Roy, Haiti's Troubled Path to Development, Council on Foreign Relation (2021) Siri Schubert, Haiti: The Long Road to Recovery, FrontLine World - PBS (n.d.) University of Missouri – St Louis, A New Institutional Economics Analysis of Duvalierism (n.d.)

It's time to "Swing Hard" with Coach Denny Barrett! Coach Denny has been coaching at the high school and collegiate level for almost thirty years. He has also recruited and coached some of the top collegiate and professional athletes. Throughout his career, Denny has also been involved in all aspects of the athletics programs including recruiting, coordinating programs, budgeting, staffing and maintenance. And, with his successful BATRS program, he and his staff provide preparation for young players to succeed at the high school level and beyond! In this week's episode Denny goes toe to toe and face to face with Legendary College and High School umpire Paul Cohen. It's a great behind the scenes look at what makes umpires tick. Plus, Denny and Paul share great stories about life, relationships and of course Baseball!

Today, we're doing things a little bit differently. We had such a wonderful time with previous guest Stephanie Gilezan on TCP, so we sent our National Sales Director Paul Cohen to join her show CRE Power Hour. Stephanie, Paul, and cohost Lisamarie Wand cover topics ranging from: Time-tested property marketing strategies.How streamlined technology is changing the CRE landscape.The entrepreneurial edge needed to successfully scale your business.And much more! It's a conversation you will not want to miss. The CRE Power Hour has graciously shared this episode with us so we could share it with you. We hope you enjoy!If you enjoyed this episode, please subscribe to our newsletter to receive the very next one delivered straight to your inbox. For show notes, past guests, and more CRE content, please check out Crexi Insights.Ready to find your next CRE property? Visit Crexi and immediately browse hundreds of thousands of available commercial properties.Follow Crexi:https://www.crexi.com/​ https://www.crexi.com/instagram​ https://www.crexi.com/facebook​ https://www.crexi.com/twitter​ https://www.crexi.com/linkedin​ https://www.youtube.com/crexiAbout Paul Cohen:Paul is the US Director for Crexi where he utilizes his experience in assisting brokers in getting deals done. Paul is widely recognized as a market expert in Commercial Real Estate and has represented numerous private owners with underwriting and developing marketing strategies and has over $1 Billion in total transaction valuation.About Stephanie Gilezan:At the age of 25, Stephanie Gilezan was the first and youngest realtor in Kentucky to be awarded one of the top 30 agents under thirty years old in the country by the National Association of Realtors. Stephanie moved her brokerage to eXp Realty in 2018 and has held many titles since. Last year she launched eXp Commercial in all 50 states. One of her many current roles is the Director of Growth at eXp Commercial where she recruits agents to join the fastest growing brokerage in America. Stephanie recruits, trains, and supports commercial real estate professionals across the country in a company wide effort to transform the commercial real estate industry. With over 24 years of experience as a licensed broker, Stephanie has become an expert in all aspects of Commercial Real Estate, Business Brokerage, Business Development, and Commercial Investments. She is also a land developer, builder, owns and operates a real estate team in the top 5% of producers in Kentucky and Indiana.About Lisamarie Wand:Lisamarie truly believes “we rise by lifting others,” and this guides everything she does. Whether speaking at local or national events, coaching new and experienced real estate agents, Lisamarie is always sharing her knowledge and experience to inspire others. As Commercial Designated Managing Broker for eXp Commercial, she oversees all commercial real estate agents and transactions in the State of Nevada. As Senior Advisor of Agent Development at eXp Commercial, she coaches and mentors commercial real estate agents across the country. In 2021, Lisamarie's dynamic & engaging mentoring style was recognized by eXp University when she was awarded the Commercial Instructor of the Year. Today, as founder and CEO of Lisamarie Wand Group, she has become one of Nevada's most influential brokers working with business owners, investors, landlords, tenants as well as brokering business sales.

In this episode of the Arbitration Conversation Amy discusses arbitration in the metaverse with Paul Cohen, President of the Silicon Valley Arbitration & Mediation Center (SVAMC). Paul also heads the international group at 4-5 Gray's Inn Square Chambers. He is among the world's foremost international arbitration practitioners. Paul is well-known for his work in international anti-bribery and fraud, as well as in the energy, financial, and technology sectors. He practiced for many years with the late Arthur Mariott QC, one of the founding fathers of modern international arbitration, with whom he co-founded a group of lawyers devoted to international arbitration and global dispute resolution.

From the Intro: “In the 1970's, long before podcasts like our own, there were radio shows whose reach was perhaps more limited, but whose impact was still powerful. Among the best of those shows was “In the Spirit” on WBAI in New York City, in which Lex Hixon interviewed some of the best, most interesting spiritual teachers and thinkers of the 1970s—Alan Watts, Tarthang Tulku, Rabbi Zalman Schachter, Ram Dass. But what made the show really special was Hixon himself, a deep spiritual thinker and practitioner who would soon make his own mark, and whose insight and sincere questions made the show far more interesting. In 2016, Paul Cohen of Monkfish Publishing, published these interviews in a book edited by Sheila Hixon called Conversations in the Spirit: Lex Hixon's WBAI “In the Spirit” Interviews: A Chronicle of the Seventies Spiritual Revolution. We will be using the book, with permission from Monkfish, to look at some of these interviews in the context of where we are today.The first interview we want to examine is from October 8, 1978, with Sufi master Pir Vilayat Inayat Khan (1916-2004), who is the son of Hazrat Inayat Khan (1882-1927), the first Sufi master in the West and the founder of Inayati or Universalist Sufism. This interview, unlike many others, was recorded on-location at the Abode of the Message, Pir Vilayat's Sufi spiritual community in New Lebanon, New York.”Using the interview as a jumping-off point, our dialogue explores the ongoing tension between universalism and particularism, ‘pure' and ‘syncretic' religions, and how to honor a tradition, such as Islamic Sufism, in the face of changes in spiritual perspective, some of which are embodied in Universalist Sufism. Along the way, we reflect on the life and legacy of these two spiritual giants, who were both a part of a larger web of figures on the forefront of the 1970's ‘spiritual revolution' in America, and its impulse towards interspirituality, unity, and spiritual freedom.To supplement our dialogue and exploration, we use samples from the original recording of this interview, which may be found here.If you are interested in the book, Conversations in the Spirit: Lex Hixon's WBAI “In the Spirit” Interviews: A Chronicle of the Seventies Spiritual Revolution edited by Sheila Hixon, it may be purchased here.Links:Charis Foundation for New Monasticism and InterSpiritualityGolden Turtle SoundSupport the show

Born in Lubbock, Texas, on September 7, 1936, Charles Hardin  Holley (he later dropped the "e"), after both grandfathers    the fourth child of Lawrence Odell "L.O." Holley and Ella Pauline Drake.    older siblings were Larry, Travis, and Patricia Lou.    nicknamed Buddy from a young age, and it stuck with him throughout his life.    Oddly enough, the newspaper announcement claimed that Buddy was actually a little girl. “A daughter weighing 8.5 lbs”, the Lubbock evening journal wrote. He was also only 6.5 pounds. And a boy. Buddy's family was mainly of English and Welsh descent and had some native American ancestry. During the Great Depression, the Holleys frequently moved residences within Lubbock; 17 in all.    His father changed jobs several times.    The Holley family were a musical household.  Except for Buddy's father, all family members could play an instrument or sing. His older brothers frequently entered local talent shows, and one time, his brothers signed up and Buddy wanted to play violin with them. However, Buddy couldn't play the violin.  Not wanting to break little Buddy's heart, his older brothers greased up the strings so it wouldn't make a sound. Buddy started singing his heart out and the three ended up winning the contest!  When WWII started, the U.S. government called his brothers into service. His brother Larry brought back a guitar he bought from a shipmate, and that guitar set Buddy's off. At 11 years old, Buddy started taking piano lessons.  Nine months later, he quit piano lessons and switched to guitar after seeing a classmate playing and singing on the school bus.    His parents initially bought him a steel guitar, but Buddy insisted he wanted a guitar like his brothers. They bought him a guitar, a gold top Gibson acoustic, from a pawn shop, and his brother Travis taught him to play it.  By 15, Buddy was proficient on guitar, banjo, and mandolin. During his early childhood, Holley was influenced by Hank Williams, Jimmie Rodgers, Hank Snow, Bob Wills, and the Carter Family.  He started writing songs and working with his childhood friend Bob Montgomery. The two jammed together, practicing songs by the Louvin Brothers and Johnnie & Jack. They frequently listened to Grand Ole Opry's radio programs on WSM, Louisiana Hayride on KWKH (which they once drove 600 miles to okay just to be turned away), and Big D Jamboree.  If you're not familiar with the Grand Ol Opry, it's a weekly American country music stage concert in Nashville, Tennessee, founded on November 28, 1925, by George D. Hay as a one-hour radio "barn dance" on Clearchannel's WSM, which first hit the airwaves on October 5, 1925. Its the longest-running radio broadcast in U.S. history.    At the same time he was practicing with Bob, Holley played with other musicians he met in high school, including Sonny Curtis and Jerry Allison.    In 1952 Holley and Jack Neal participated as a duo billed as "Buddy and Jack" in a talent contest on a local television show.    After Neal left, he was replaced by his buddy Bob, and they were billed as "Buddy and Bob." By the mid-'50s, Buddy & Bob played their style of music called "western and bop ."    Holley was influenced by late-night radio stations that played the blues and rhythm and blues. Holley would sit in his car with Sonny Curtis and tune to distant “black” radio stations that could only be received at night when bigger stations turned off local transmissions.    Holley then changed his music by blending his earlier country and western influence with Rhythm and Blues. After seeing the legendary Elvis perform, Holly decided to pursue his career in music full-time once he graduated high school. By mid-1955, Buddy & Bob, who already worked with an upright bass player (played by Larry Welborn), added drummer Jerry Allison to their lineup. After seeing Elvis Presley performing live in Lubbock, who Pappy Dave Stone of KDAV booked, Buddy really wanted to get after it. In February, he opened for Elvis at the Fair Park Coliseum, in April at the Cotton Club, then again in June at the Coliseum. Elvis significantly influenced the group to turn more towards Rock n Roll. Buddy and the king became friends, with Buddy even driving Elvis around when he was in town. Eventually, Bob Montgomery, who leaned toward a traditional country sound, left the group, though they continued writing and composing songs together. Holly kept pushing his music toward a straight-ahead rock & roll sound, working with Allison, Welborn, and other local musicians, including his pal and guitarist Sonny Curtis and bassist Don Guess. In October, Holly was booked as the opener for Bill Haley & His Comets (Rock Around the Clock), to be seen by Nashville scout Eddie Crandall. Obviously impressed, Eddie Crandall talked Grand Ole Opry manager Jim Denny into finding a recording contract for Holley. Pappy Stone sent Denny a demo tape, which Denny forwarded to Paul Cohen. Cohen signed the band to Decca Records in February 1956.    In the contract, Decca accidentally misspelled Holley's surname as "Holly," From that point forward, he was known as "Buddy Holly." On January 26, 1956, Holly went to his first professional recording session with producer Owen Bradley. He was a part of two more sessions in Nashville.    the producer selected the session musicians and arrangements, Holly became frustrated by his lack of creative control. In April 1956, Decca released "Blue Days, Black Nights" as a single and "Love Me" on the B-side.    "B-sides" were secondary songs that were sent out with single records. They were usually just added to have something on the flip side. Later they became songs that bands would either not release or wait to release.  Jim Denny added Holly on tour as the opening act for Faron Young. While on this tour, they were promoted as "Buddy Holly and the Two Tones." Decca then called them "Buddy Holly and the Three Tunes." The label released Holly's second single, "Modern Don Juan," along with "You Are My One Desire."    Unfortunately, neither one of these singles tickled anyone's fancy. On January 22, 1957, Decca informed Holly that they wouldn't re-sign him and insisted he could not record the same songs for anyone else for five years. The same shit happened to Universal and me. A couple of classics, like "Midnight Shift" and "Rock Around with Ollie Vee," did come out of those Decca sessions, but nothing issued at the time went anywhere. It looked as though Holly had missed his shot at stardom.  Holly was disappointed with his time with Decca. inspired by Buddy Knox's "Party Doll" and Jimmy Bowen's "I'm Stickin' with You" he decided to visit Norman Petty, who produced and promoted both of those successful records.    Buddy, Jerry Allison, bassist Joe B. Mauldin, and rhythm guitarist Niki Sullivan pulled together and headed to Petty's studio in Clovis, New Mexico. The group recorded a demo of the now-classic, "That'll Be the Day," which they had previously recorded in Nashville. Now rockin' that lead guitar, Holly finally achieved the sound he wanted. They got the song nailed down and recorded. Along with Petty's help, the group got it picked up by Murray Deutsch, a publishing associate of Petty's, and Murray got it to Bob Thiele, an executive at Coral Records. Thiele loved it. Ironically, Coral Records was a subsidiary of Decca, the company Holly had signed with before. On a side note, a subsidiary is a smaller label under the major label's umbrella. For instance, Universal signed my band to Republic, a subsidiary of Universal Music that dealt primarily with rock genres, like Godsmack. Norman Petty saw the potential in Buddy and became his manager. He sent the record to Brunswick Records in New York City. Thiele saw the record as a potential hit, but there were some significant hurdles to overcome before it could be released.  According to author Philip Norman, in his book Rave On, Thiele would only get the most reluctant support from his record company. Decca had lucked out in 1954 when they'd signed Bill Haley & His Comets and saw their "Rock Around the Clock" top the charts. Still, very few of those in charge at Decca had a natural feel or appreciation for Rock & Roll, let alone any idea of where it might be heading or whether the label could (or should) follow it down that road. Also, remember that although Buddy had been dropped by Decca the year before, the contract that Holly signed explicitly forbade him from re-recording anything he had recorded for them, released or not, for five years. However, Coral was a subsidiary of Decca, and Decca's Nashville office could hold up the release and possibly even haul Holly into court.  "That'll Be the Day" was issued in May of 1957 mainly as an indulgence to Thiele, to "humor" him. The record was put out on the Brunswick label, more of jazz and R&B label, and credited to the Crickets. The group chose this name to prevent the suits at Decca -- and more importantly, Decca's Nashville office -- from finding out that this new release was from the guy they had just dropped. The name “The Crickets” was inspired by a band that Buddy and his group followed, called “the Spiders” and they initially thought about calling themselves “The Beetles”, with two E's, but Buddy said he was afraid people would want to “squash them.” So, they picked “The Crickets.” Petty also became the group's manager and producer, signing the Crickets, identified as Allison, Sullivan, and Mauldin, to a contract. Unfortunately, Holly wasn't listed as a member in the original document to keep his involvement with "That'll Be the Day" a secret. This ruse would later become the source of severe legal and financial problems for Buddy.    The song shot to #1 on the national charts that summer. But, of course, Decca knew Holly was in the band by then. So, with Thiele's persuasion and realizing they had a hit on their hands, the company agreed to release Holly from the five-year restriction on his old contract. This release left him free to sign any recording contract he wanted. While sorting out the ins and outs of Holly's legal situation, Thiele knew that Buddy was far more than a one-hit-wonder and that he could potentially write more and different types of hits. So, Holly found himself with two recording contracts, one with Brunswick as a member of the Crickets and the other with Coral Records as Buddy Holly, all thanks to Thiele's ingenious strategy to get the most out of Buddy and his abilities. By releasing two separate bodies of work, the Crickets could keep rockin' while allowing its apparent leader and "star" to break out on his own.    Petty, whose name seems fitting as we go through this, acted as their manager and producer. He handed out writing credits at random, gifting Niki Sullivan and Joe B. Mauldin (and himself) the co-authorship of the song, "I'm Gonna Love You Too," while leaving Holly's name off of "Peggy Sue." at first. The song title, “Peggy Sue” was named after Buddy's biggest fan. Petty usually added his own name to the credit line, something the managers and producers who wanted a more significant piece of the pie did back in the '50s. To be somewhat fair, Petty made some suggestions, which were vital in shaping certain Holly songs. However, he didn't contribute as much as all of his credits allow us to believe. Some confusion over songwriting was exacerbated by problems stemming from Holly's contracts in 1956. Petty had his own publishing company, Nor Va Jak Music, and Buddy signed a contract to publish his new songs. However, Holly had signed an exclusive agreement with another company the year before. To reduce his profile as a songwriter until a settlement could be made with Petty and convince the other publisher that they weren't losing too much in any compensation, buddy copyrighted many of his new songs under the pseudonym "Charles Hardin." So many names!   The dual recording contracts allowed Holly to record a crazy amount of songs during his short-lived 18 months of fame. Meanwhile, his band -- billed as Buddy Holly & the Crickets -- became one of the top attractions of the time. Holly was the frontman, singing lead and playing lead guitar, which was unusual for the era, and writing or co-writing many of their songs. But the Crickets were also a great band, creating a big and exciting sound (which is lost to history, aside from some live recordings from their 1958 British tour). Allison was a drummer ahead of his time and contributed to the songwriting more often than his colleagues, and Joe B. Mauldin and Niki Sullivan provided a solid rhythm section.   The group relied on originals for their singles, making them unique and years ahead of their time. In 1957-1958, songwriting wasn't considered a skill essential to a career in rock & Roll; the music business was still limping along the lines it had followed since the '20s. Songwriting was a specialized profession set on the publishing side of the industry and not connected to performing and recording. A performer might write a song or, even more rarely, like Duke Ellington (It Don't Mean A Thing), count composition among his key talents; however, this was generally left to the experts. Any rock & roller wanting to write songs would also have to get past the image of Elvis. He was set to become a millionaire at the young age of 22. He never wrote his songs, and the few songwriting credits he had resulted from business arrangements rather than writing anything.   Buddy Holly & the Crickets changed that seriously by hitting number one with a song they'd written and then reaching the Top Ten with originals like "Oh, Boy" and "Peggy Sue," They were regularly charging up the charts based on their songwriting. This ability wasn't appreciated by the public at the time and wouldn't be noticed widely until the '70s. Still, thousands of aspiring musicians, including John Lennon and Paul McCartney, from some unknown band called "The Beatles," took note of their success, and some of them decided to try and tried to be like Buddy. Also unknown at the time, Holly and his crew changed the primary industry method of recording, which was to bring the artist into the label's studio, working on their timetable. If an artist were highly successful, they got a blank check in the studio, and any union rules were thrown out, but that was rare and only happened to the highest bar of musicians. Buddy Holly & the Crickets, however, did their thing, starting with "That'll Be the Day," in Clovis, New Mexico, at Petty's studio. They took their time and experimented until they got the sound they were looking for. No union told them when to stop or start their work, and they delivered terrific records; not to mention, they were albums that sounded different than anything out there. The results changed the history of rock music. The group worked out a new sound that gave shape to the next wave of rock & Roll. Most definitely influenced was British rock & Roll and the British Invasion beat, with the lead and rhythm guitars working together to create a fuller, more complex sound. On songs such as "Not Fade Away," "Everyday," "Listen to Me," "Oh Boy!," "Peggy Sue," "Maybe Baby," "Rave On," "Heartbeat," and "It's So Easy," Holly took rock & roll's range and sophistication and pushed it without abandoning its excitement and, most importantly, it's fun. Holly and the band weren't afraid to push the envelope and try new things, even on their singles. "Peggy Sue" used changes in volume and timbre on the guitar that was usually only used in instrumental albums. "Words of Love" was one of the earliest examples of double-tracked vocals in rock & Roll, and the Beatles would jump on that train the following decade. Buddy Holly & the Crickets were extremely popular in America. Still, in England, they were even more significant; their impact was compared to Elvis and, in some ways, was even bigger. This success was because they toured England; Elvis didn't. They spent a month there in 1958, playing a list of shows that were still talked about 30 years later. It also had to do with their sound and Holly's persona on stage. The group's heavy use of rhythm guitar fit right in with the sound of skiffle music, a mix of blues, folk, country, and jazz elements that most of the younger British were introduced to playing music and their first taste of rock & Roll. Also, Holly looked a lot less likely a rock & roll star than Elvis. He was tall, skinny, and wore glasses; he looked like an ordinary dude who was good at music. Part of Buddy's appeal as a rock star was how he didn't look like one. He inspired tens of thousands of British teenagers who couldn't compare themselves to Elvis or Gene Vincent. (Be Bop A Lula) In the '50s, British guitarist Hank Marvin of the Shadows owed his look and that he wore his glasses proudly on-stage to Holly, and it was brought into the '70s by Elvis Costello.  Buddy may have played several different kinds of guitars but, he was specifically responsible for popularizing the Fender Stratocaster, especially in England. For many wannabe rock & rollers in the UK, Holly's 1958 tour was the first chance they'd had to see or hear this iconic guitar in action, and it quickly became the guitar of choice for anyone wanting to be a guitarist in England. In fact, Marvin is said to have had the first Stratocaster ever brought into England.   The Crickets became a trio with Sullivan dipping out in late 1957, right after the group's appearance on The Ed Sullivan Show, but a lot more would transpire over the next year or so. The group consolidated its success with the release of two L.P.s, The Chirping Crickets, and Buddy Holly. They had two successful international tours and performed more in the United States. Holly had also started to have different ideas and aspirations than Allison and Mauldin. They never thought of leaving Texas as their home, and they continued to base their lives there, while Buddy wanted to be in New York, not just to do business but to live. His marriage to Maria Elena Santiago, a receptionist in Murray Deutsch's office, made the decision to move to New York that much easier. By this time, Holly's music had become more sophisticated and complex, and he passed off the lead guitar duties in the studio to session player Tommy Alsup. He had done several recordings in New York using session musicians such as King Curtis. It was around this time that the band started to see a slight decline in sales. Singles such as "Heartbeat" didn't sell nearly as well as the 45s of 1957 that had rolled out of stores. It's said that Buddy might even have advanced further than most of the band's audience was willing to accept in late 1958. Critics believe that the song "Well...All Right" was years ahead of its time.   Buddy split with the group -- and Petty -- in 1958. This departure left him free to chase some of those newer sounds, which also left him low on funds. In the course of the split, it became clear to Holly and everyone else that Petty had been fudging the numbers and probably taken a lot of the group's income for himself. Unfortunately, there was almost no way of proving his theft because he never seemed to finish his "accounting" of the money owed to anyone. His books were ultimately found to be so screwed up that when he came up with various low five-figure settlements to the folks he robbed, they took it.   Holly vacationed with his wife in Lubbock, TX, and hung out in Waylin Jennings's radio station in December 1958. With no money coming in from Petty, Holly decided to earn some quick cash by signing to play the Midwest's Winter Dance Party package tour. For the start of the Winter Dance Party tour, he assembled a band consisting of Waylon Jennings (on bass), Tommy Allsup (on guitar), and Carl Bunch (on drums). Holly and Jennings left for New York City, arriving on January 15, 1959. Jennings stayed at Holly's apartment by Washington Square Park on the days before a meeting scheduled at the headquarters of the General Artists Corporation, the folks who organized the tour. They then traveled by train to Chicago to meet up with the rest of the band. The Winter Dance Party tour began in Milwaukee, Wisconsin, on January 23, 1959. The amount of travel involved created problems because whoever booked the tour dates didn't consider the distance between venues. On top of the scheduling conflicts, the unheated tour buses broke down twice in the freezing weather. In addition, Holly's drummer Carl Bunch was hospitalized for frostbite to his toes while aboard the bus, so Buddy looked for different transportation.  Buddy actually sat in on drums for the local bands while Richie Valenz played drums for Buddy.    On February 2, before their appearance in Clear Lake, Iowa, Holly chartered a four-seat Beechcraft Bonanza airplane for Jennings, Allsup, and himself, from Dwyer Flying Service in Mason City, Iowa, for $108.  Holly wanted to leave after the performance at the Surf Ballroom in Clear Lake and fly to their next venue, in Moorhead, Minnesota, through Fargo, North Dakota. This plan would allow them time to rest, wash their clothes and avoid being on that crappy bus. The Clear Lake Show ended just before midnight, and Allsup agreed to flip a coin for the seat with Richie Valens. Valens called heads, and when he won, he reportedly said, "That's the first time I've ever won anything in my life" On a side note, Allsup later opened a restaurant in Fort Worth, Texas called Heads Up, in memory of this statement. Waylon Jennings voluntarily gave up his seat to J. P. Richardson (the Big Bopper), who had the flu and complained that the tour bus was too cold and uncomfortable for a man of his stature. When Buddy heard Waylon wouldn't be flying with him, he jokingly said, “I hope your old bus freezes up!” Then Waylon responded, “well, I hope your old plane crashes!” The last thing he would ever say to his friend. Roger Peterson, the pilot and only 21, took off in pretty nasty weather, although he wasn't certified to fly by instruments alone, failing an instrument test the year before. He was a big fan of Buddy's and didn't want to disappoint, so he called a more seasoned pilot to fly the trio to their destination. “I'm more of a Lawrence Welk fan.”  Sadly, shortly after 12:55 am on February 3, 1959, Holly, Valens, Richardson, and Peterson were killed instantly when the plane crashed into a frozen cornfield five miles northwest of Mason City, Iowa, airport shortly after takeoff. Buddy was in the front, next to the pilot. He loved flying and had been taking flying lessons. The three musicians were ejected from the plane upon impact, suffering severe head and chest injuries. Holly was 22 years old.   Holly's funeral was held on February 7, 1959, at the Tabernacle Baptist Church in Lubbock, TX. It was officiated by Ben D. Johnson, who married the Hollys' just months earlier. Jerry Allison, Joe B. Mauldin, Niki Sullivan, Bob Montgomery, and Sonny Curtis were pallbearers. Some sources say that Phil Everly, the one half of The Everly Brothers, was also the pallbearer, but he said at one time that he attended the funeral but was not a pallbearer. In addition, Waylon Jennings was unable to participate because of his commitment to the still-touring Winter Dance Party. Holly's body was buried in the City of Lubbock Cemetery, in the city's eastern part. His headstone has the correct spelling of his last name (Holley) and a carving of his Fender Stratocaster guitar. His wife, María Elena, had to see the first reports of her husband's death on T.V. She claimed she suffered a miscarriage the following day. Holly's mother, who heard the news on the radio in Lubbock, Texas, screamed and collapsed. Because of Elena's miscarriage, the authorities implemented a policy against announcing victims' names until the families were informed. As a result, Mary did not attend the funeral and has never visited the gravesite. She later told the Avalanche-Journal, "In a way, I blame myself. I was not feeling well when he left. I was two weeks pregnant, and I wanted Buddy to stay with me, but he had scheduled that tour. It was the only time I wasn't with him. And I blame myself because I know that, if only I had gone along, Buddy never would have gotten into that airplane."    The accident wasn't considered a significant piece of news at the time, although sad. Most news outlets were run by out-of-touch older men and didn't think rock & Roll was anything more than to be exploited to sell newspapers or grab viewing audiences. However, Holly was clean-cut and scandal-free, and with the news of his recent marriage, the story contained more misery than other music stars of the period. For the teens of the time, it was their first glimpse of a public tragedy like this, and the news was heartbreaking. Radio station D.J.s were also traumatized. The accident and sudden way it happened, along with Holly and Valens being just 22 and 17, made it even worse. Hank Williams Sr had died at 29, but he was a drug user and heavy drinker, causing some to believe his young death was inevitable. The blues guitarist Johnny Ace had passed in 1954 while backstage at a show. However, that tragedy came at his hand in a game of Russian roulette. Holly's death was different, almost more personal to the public.     Buddy left behind dozens of unfinished recordings — solo transcriptions of his new compositions, informal jam sessions with bandmates, and tapes with songs intended for other musicians. Buddy recorded his last six original songs in his apartment in late 1958 and were his most recent recordings. In June 1959, Coral Records overdubbed two of the songs with backing vocals by the Ray Charles Singers and hired guns to emulate the Crickets sound. Since his death, the finished tracks became the first singles, "Peggy Sue Got Married"/"Crying, Waiting, Hoping." The new release was a success, and the fans and industry wanted more. As a result, all six songs were included in The Buddy Holly Story, Vol. 2 in 1960 using the other Holly demos and the same studio personnel. The demand for Holly records was so great, and Holly had recorded so many tracks that his record label could release new Holly albums and singles for the next ten years. Norman Petty, the alleged swindler, produced most of these new songs, using unreleased studio masters, alternative takes, audition tapes, and even amateur recordings (a few from 1954 with recorded with low-quality vocals). The final Buddy Holly album, "Giant," was released in 1969 with the single, "Love Is Strange," taking the lead.   These posthumous records did well in the U.S. but actually charted in England. New recordings of his music, like the Rolling Stones' rendition of "Not Fade Away" and the Beatles' rendition of "Words of Love," kept Buddy's name and music in the hearts and ears of a new generation of listeners. In the States, the struggle was a little more challenging. The rock & roll wave was constantly morphing, with new sounds, bands, and listeners continuously emerging, and the general public gradually forgot about Buddy and his short-lived legacy. Holly was a largely forgotten figure in his own country by the end of the '60s, except among older fans (then in their twenties) and hardcore oldies listeners. Things began to shift toward the end of the '60s with the start of the oldies boom. Holly's music was, of course, a part of this movement. But, as people listened, they also learned about the man behind the music. Even the highly respected rock zine Rolling Stone went out of its way to remind people who Buddy was. His posing images from 1957 and 1958, wearing his glasses, a jacket, and smiling, looked like a figure from another age. The way he died also set him apart from some of the deaths of rockers like Brian Jones, Jimi Hendrix, Janis Joplin, and Jim Morrison, musicians who, at the time, overindulged in the rock in roll lifestyle. Holly was different. He was eternally innocent in all aspects of his life. Don McLean, a relatively unknown singer/songwriter, who proudly considered himself a Buddy Holly fan, wrote and released a song called "American Pie," in 1971, catapulting him into the musical ethos. Although listeners assumed McLean wrote the song about President Kennedy, he let it be known publicly that he meant February 3, 1959, the day Holly died. Maclean was a holly fan and his death devastated him when he was only 11. The song's popularity led to Holly suddenly getting more press exposure than he'd ever had the chance to enjoy in his lifetime.     The tragic plane accident launched a few careers in the years after. Bobby Vee became a star when his band took over Holly's spot on the Winter Dance Party tour.  Holly's final single, "It Doesn't Matter Anymore," hit the British charts in the wake of his death and rose to number one. Two years after the event, producer Joe Meek and singer Mike Berry got together to make "Tribute to Buddy Holly," a memorial single. But, unfortunately, rumor has it that Meek never entirely got over Holly's death, and he killed himself on the anniversary of the plane accident.   The Rock and Roll Hall of Fame included Holly among its first class in 1986. Upon his induction, the Hall of Fame basked about the large quantity of material he produced during his short musical career. Saying, "He made a major and lasting impact on popular music ." Calling him an "innovator" for writing his own material, experimenting with double-tracking, and using orchestration. He was also revered for having "pioneered and popularized" the use of two guitars, bass, and drums by rock bands. He was also inducted into the Songwriters Hall of Fame in 1986, saying his contributions "changed the face of Rock' n' Roll." Along with Petty, Holly developed techniques like overdubbing and reverb and other innovative instrumentation. As a result, according to the Songwriters Hall of Fame, Holly became "one of the most influential pioneers of rock and roll" who had a "lasting influence" on genre performers of the 1960s.   Paul McCartney bought the rights to Buddy Holly's entire song catalog on July 1, 1976.   Lubbock TX's Walk of Fame has a statue honoring Buddy of him rocking his Fender, which Grant Speed sculpted in 1980. There are other memorials to Buddy Holly, including a street named in his honor and the Buddy Holly Center, which contains a museum of memorabilia and fine arts gallery. The Center is located on Crickets Avenue, one street east of Buddy Holly Avenue.  There was a musical about Buddy. Buddy: The Buddy Holly Story, a “pioneering jukebox musical which worked his familiar hits into a narrative,” debuted in the West End in 1989. It ran until 2008, where it also appeared on Broadway, as well as in Australia and Germany, not to mention touring companies in the U.K. and U.S.   In 1994 "Buddy Holly" became a massive hit from the band Weezer, paying homage to the fallen rocker and is still played on the radio and whenever MTV decides to play videos on one of their side stations. Again, in ‘94, Holly's style also showed up in Quentin Tarantino's abstract and groundbreaking film Pulp Fiction, which featured Steve Buscemi playing a waiter impersonating Buddy.   In 1997, Buddy received the Lifetime Achievement Award from the National Academy of Recording Arts and Sciences. He was inducted into the Iowa Rock 'n' Roll Hall of Fame in 2000, as well. In 2010, Grant Speed's statue of Buddy and his guitar was taken down for repairs, and construction of a new Walk of Fame began. On May 9, 2011, the City of Lubbock held a ribbon-cutting ceremony for the Buddy and Maria Elena Holly Plaza, the new home of the statue and the Walk of Fame. The same year, on why would be Buddy's 75th birthday, a star with his name was placed on the Hollywood Walk of Fame.   There were two tribute albums released in 2011: Verve Forecast's Listen to Me: Buddy Holly,  featuring Stevie Nicks, Brian Wilson, and Ringo Starr plus 13 other artists, and Fantasy/Concord's Rave on Buddy Holly, which had tracks from Paul McCartney, Patti Smith, the Black Keys, and Nick Lowe, among others.  Pat DiNizio of the Smithereens released his own Holly tribute album in 2009. Universal released True Love Ways, an album where original Holly recordings were overdubbed by the Royal Philharmonic Orchestra in 2018, just in time for Christmas. That album debuted at number 10 on the U.K. charts. Groundbreaking was held on April 20, 2017, to construct a new performing arts center in Lubbock, TX, dubbed the Buddy Holly Hall of Performing Arts and Sciences, a $153 million project in downtown Lubbock completed in 2020 located at 1300 Mac Davis Lane.   Recently, on May 5, 2019, an article on gearnews.com had a pretty cool story, if it's true.   The famous Fender Stratocaster played and owned by Buddy Holly that disappeared after his death in 1959 has been found, according to a new video documentary called "The '54".   Gill Matthews is an Australian drummer, producer, and collector of old Fender guitars. According to the documentary, he may have stumbled upon Buddy Holly's legendary guitar. The film is The '54 and tells the history of one particular 1954 Fender Stratocaster Gil purchased two decades after the plane crash that claimed Buddy's life. Experts cited in the film say there is a good chance that the guitar in Matthews' possession is indeed Buddy Holly's actual original '54 Fender Stratocaster. If this is true, it is possibly one of the most significant finds in guitar history. You can watch the video at gearnews.com and see all the evidence presented during the film.     Sources: A biography on allmusic.com written by Bruce Eder was the main source of information here with other info coming from the following Rave on: The Biography of Buddy Holly written by Phillip Norman   Buddy Holly : Rest In Peace by Don Mclean "Why Buddy Holly will never fade away" an article on The Telegraph website written by Phillip Norman   Various other articles were used and tidbits taken from wikipedia.   And Adam Moody   Consider becoming a producer of the show. www.accidentaldads.com www.iconsandoutlaws.com       

Join me today as I welcome Brandon Gerson & Paul Cohen who represent the #AquaOceanfrontResort in #Nicaragua. How did they get involved with this project? Did they choose Hospitality or did Hospitality choose them? They welcome Corporate Buyouts, Bleisure Travel & they're Family friendly. Did I say they are offering a Russell of Hotels Rate? Yes use Code RH10 when making a reservation. #HospitalityUnplugged

Paul Cohen-Scali nous partage son expérience en tant que DSI de la SACEM. Il évoque notamment la gestion des données, qui sont présentes en très grand nombre dans le secteur musical. Il nous parle également des diverses actions menée par son organisation en faveur de la population.   

Reinaldo Marcus Green is a writer, director, and producer. He most recently directed the critically acclaimed Warner Brothers film King Richard starring Will Smith. The film is nominated for Best Picture at the Critics Choice Awards, was named one of the Top 10 Films of the Year by both AFI, the National Board of Review and an Academy Award® nomination for Best Picture.[presto_player id=110177]Based on the true story that will inspire the world, Warner Bros. Pictures' “King Richard follows the journey of Richard Williams, an undeterred father instrumental in raising two of the most extraordinarily gifted athletes of all time, who will end up changing the sport of tennis forever. Two-time Oscar nominee Will Smith (“Ali,” “The Pursuit of Happyness,” “Bad Boys for Life”) stars as Richard, under the direction of Reinaldo Marcus Green (“Monsters and Men”).Driven by a clear vision of their future and using unconventional methods, Richard has a plan that will take Venus and Serena Williams from the streets of Compton, California to the global stage as legendary icons. The profoundly moving film shows the power of family, perseverance and unwavering belief as a means to achieve the impossible and impact the world.Aunjanue Ellis (“If Beale Street Could Talk,” TV's “Quantico”) plays the girls' mom, Oracene “Brandi” Williams, Saniyya Sidney (“Hidden Figures,” “Fences”) stars as Venus Williams, Demi Singleton (TV's “Godfather of Harlem”) stars as Serena Williams, with Tony Goldwyn (the “Divergent” series, TV's “Scandal”) as coach Paul Cohen and Jon Bernthal (upcoming “The Many Saints of Newark,” “Ford v Ferrari”) as coach Rick Macci.The ensemble also includes Andy Bean (“IT Chapter Two”), Kevin Dunn (the “Transformers” films, HBO's “Veep”) and Craig Tate (“Greyhound”).Green directed “King Richard” from a screenplay written by Zach Baylin. The producers were Tim White and Trevor White under their Star Thrower Entertainment banner, and Will Smith under his Westbrook banner.Isha Price, Serena Williams, Venus Williams, James Lassiter, Jada Pinkett Smith, Adam Merims, Lynn Harris, Allan Mandelbaum, Jon Mone and Peter Dodd served as the executive producers.The behind-the-scenes creative team includes Oscar-winning director of photography Robert Elswit (“There Will Be Blood”), production designers Wynn Thomas (“Da 5 Bloods,” “Hidden Figures”) and William Arnold (“The Hate U Give”), Oscar-nominated editor Pamela Martin (“The Fighter”), and two-time Oscar-nominated costume designer Sharen Davis (“Dreamgirls,” “Ray”).[presto_player id=110180]His first feature, Monsters and Men had its world premiere at the 2018 Sundance Film Festival. The film received a Special Jury Prize for Outstanding First Feature. Reinaldo directed the first three episodes of the Netflix series, Top Boy, executive produced by Drake and SpringHill Entertainment.His sophomore feature Joe Bell, starring Mark Wahlberg, premiered at TIFF 2020 and was distributed by Amazon and Roadside Attractions. He is currently in post-production on the upcoming HBO Limited Series We Own This City. Reinaldo directed all of the episodes of the series, written and executive produced by David Simon and George Pelecanos. Following, Reinaldo is attached to write and direct the upcoming Bob Marley biopic at Paramount.Enjoy my conversation with Reinaldo Marcus Green.

Paul Cohen is one of America's most sought-after saxophonists for orchestral and chamber concerts and solo recitals.  Dr. Paul Cohen has rediscovered and performed lost saxophone literature, including works for saxophone and orchestra by Loeffler, Florio and Dahl as well as chamber works by Grainger, Ornstein, Sousa, Cowell, Siegmeister, and Loeffler.  He has published more […]

Paul Cohen is one of America's most sought-after saxophonists for orchestral and chamber concerts and solo recitals.  He has appeared as soloist with the San Francisco Symphony, New Jersey Symphony,  and the Charleston Symphony.   His many solo orchestra performances include works by Debussy, Creston, Ibert, Glazunov, Martin, Loeffler, Husa, Dahl, Still, Villa-Lobos, Tomasi, and Cowell.  […]

Paul Cohen, partner at Curtin & Heefner, LLP, talks about how owners of small businesses can benefit from estate planning.

Kelly chats with Dr. Paul Cohen, Medical Director at Rosedale Dermatology Clinic in Toronto. See omnystudio.com/listener for privacy information.

It's the week of Christmas and that means it's time for Will and Paul Cohen to discuss the year in pop punk that was 2021.  It the 4th edition of a holiday tradition on the podcast Will and Paul discuss their favorite EPs, Singles, Full lengths, and in a welcome addition, live shows they were able to attend/ perform this year. Will and Paul's Playlist https://open.spotify.com/playlist/0IKq2vSG9W0Gdmkq2pEMY3?si=9b35fc519ed94d83 Paul on Instagram. https://www.instagram.com/therealpaulcory/ Paul's year end recap list Grayscale - Umbra Better luck. - Summer of Pain Chunk! No, Captain Chunk! - Gone Are The Good Days Mod Sun - Internet Killed the Rockstar Between You & Me - Armageddon Settle Your Scores - Retrofit A Day to Remember - You're Welcome Rise Against - Nowhere Generation   New Pop Punk Trend Mod Sun/Lil Huddy/KennyHoopla Comeback Album - Real Friends (new singer, new EP) Legend Album - Joey Cape  Live Concerts New Found Glory/Less Than Jake Bright Ugly Covers Punk Rock Factory - 2 releases (Masters of the Uniwurst, Scene This!) Alex Melton (Youtube) - If Blink 182 wrote “1,000 Miles (and more) State Champs - Chicago is So Two Years Ago   Singles  State Champs - Just Sound Stand Atlantic - Molotov, Deathwish All Time Low - Once in a Lifetime MXPX - Say Yes Mayday Parade - Kings of Summer EPs Young Culture - Godspeed Hot Mulligan - I Won't Reach out to You Real Friends Torn In Two Lolo - Overkill Kenny Hoopla & Travis Barker - Survivors Guilt: The Mixtape//

Episode one hundred and thirty-eight of A History of Rock Music in Five Hundred Songs looks at “I Fought the Law", and at the mysterious death of Bobby Fuller. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Hanky Panky" by Tommy James and the Shondells. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com No Mixcloud this week due to the large number of tracks by the Bobby Fuller Four Resources Information about the Crickets' post-Holly work comes from Buddy Holly: Learning the Game, by Spencer Leigh. There are two books available about Bobby Fuller -- the one I consulted most is Rock and Roll Mustangs by Stephen McParland, which can be bought as a PDF from https://payhip.com/cmusicbooks I also consulted I Fought the Law: The Life and Strange Death of Bobby Fuller by Miriam Linna and Randell Fuller. One minor note -- both these books spell Bob Keane's name Keene. Apparently he spelled it multiple ways, but I have chosen to use the spelling he used on his autobiography, which is also the spelling I have used for him previously. There are several compilations available of the Bobby Fuller Four's material, but the best collection of the hit singles is Magic Touch: The Complete Mustang Singles Collection.  And this is an expanded edition of the Crickets' In Style album. Erratum I say Sonny Curtis wrote "Oh Boy!" -- I meant Sonny West. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A warning, before I begin. This episode, more than most, deals with events you may find disturbing, including graphic descriptions of violent death. Please check the transcript on the podcast website at 500songs.com if you are worried that you might be upset by this. This episode will not be a pleasant listen. Now on with the episode... More than anything, Bobby Fuller wanted desperately to be Buddy Holly. His attitude is best summed up in a quote from Jim Reese, the guitarist with the Bobby Fuller Four, who said "Don't get me wrong, I thought the world of Bobby Fuller and I cared a lot for him, so I say this with the best intentions -- but he was into Buddy Holly so much that if Buddy Holly decided to wear one red sock and one blue sock and Bobby Fuller found out about it, Bobby Fuller would've had one red sock and one blue sock. He figured that the only way to accomplish whatever Buddy Holly had accomplished was to be as much like Buddy Holly as possible." And Reese was right -- Bobby Fuller really was as much like Buddy Holly as possible. Buddy Holly was from Texas, so was Bobby Fuller. Buddy Holly played a Fender Stratocaster, Bobby Fuller played a Fender Stratocaster. Buddy Holly performed with the Crickets, Bobby Fuller's biggest hit was with a Crickets song. Buddy Holly recorded with Norman Petty, Bobby Fuller recorded with Norman Petty. Of course, there was one big difference. Buddy Holly died in an accident when he was twenty-two. Bobby Fuller lived to be twenty-three. And his death was no accident... [Excerpt: The Bobby Fuller Four, "I Fought the Law"] After Buddy Holly quit the Crickets in 1958, they continued recording with Norman Petty, getting in guitarist Sonny Curtis, who had been an associate of the band members even before they were a band, and who had been a frequent collaborator with Buddy, and vocalist Earl Sinks. But while they kept recording, Petty didn't release any of the recordings, and the group became convinced that he wasn't really interested in doing so. Rather, they thought that he was just using them as leverage to try to get Buddy back. "Love's Made a Fool of You" was the record that made the Crickets lose their faith in Norman Petty. The song was one that Buddy Holly and Bob Montgomery had written way back in 1954, and Holly had revived it for a demo in 1958, recording it not as a potential song for himself but to give to the Everly Brothers, reworked in their style, though they never recorded it: [Excerpt: Buddy Holly, "Love's Made a Fool of You"] When Holly and the Crickets had parted ways, the Crickets had recorded their own version of the song with Petty producing, which remained unreleased like everything they'd recorded since Buddy left. But on the very day that Buddy Holly died, Petty shipped a copy of the tape to Decca, express mail, so that a single could be released as soon as possible: [Excerpt: The Crickets, "Love's Made a Fool of You"] The Crickets never worked with Norman Petty again after that, they were so disgusted at his determination to cash in on the death of their friend and colleague. Petty continued to exploit Holly's work, getting in a band called the Fireballs to add new instrumental backing to Holly's old demos so they could be released as new singles, but the split between Petty and Holly's living colleagues was permanent. But the Crickets didn't give up performing, and continued recording new material, mostly written either by Sonny Curtis or by the group's drummer Jerry Allison, who had co-written several of the group's earlier hits with Holly. "More Than I Can Say" was written by Curtis and Allison, and didn't make the top forty in the US, but did become a top thirty hit in the UK: [Excerpt: The Crickets, "More Than I Can Say"] That was later also covered in hit versions by Bobby Vee and Leo Sayer. The B-side, "Baby My Heart", wasn't a hit for the Crickets, but was covered by the Shadows on their first album, which made number one on the UK charts. That performance was one of the few Shadows records at this point to have vocals: [Excerpt: The Shadows, "Baby My Heart"] The group's first post-Holly album collected all their singles without Holly to that point, plus a few new filler tracks. The album, In Style With the Crickets, didn't chart in the US, but was a success in the UK. Around the time that album was released, Earl Sinks quit the group, and became a songwriter. He collaborated with Buddy Holly's old musical partner Bob Montgomery on a variety of hits for people like Brenda Lee, and in the seventies went back into performing for a while, having minor solo country hits as Earl Richards, and then bought a chain of abbatoirs. Allison and Curtis supplemented their income from the Crickets with session work -- Allison backed the Everly Brothers on "Til I Kissed You": [Excerpt: The Everly Brothers, "Til I Kissed You"] and both of them played on Eddie Cochran's last studio session, playing on "Three Steps to Heaven", with Curtis playing the electric lead while Cochran played the acoustic: [Excerpt: Eddie Cochran, "Three Steps to Heaven"] After that, the group went on tour in the UK as the backing band for the Everly Brothers, where they coincidentally bumped into Cochran, who told them "If I knew you guys were coming, I'd have asked you to bring me a bottle of American air.” They would never see Cochran again. Shortly after that tour, Sonny Curtis was drafted -- though while he was in the army, he wrote "Walk Right Back" for the Everly Brothers, as we discussed in the episode on "Cathy's Clown": [Excerpt: The Everly Brothers, "Walk Right Back"] Joe Mauldin gave up on music for a while, and so for a while The Crickets consisted of just Jerry Allison, new singer Jerry Naylor, and guitarist Tommy Allsup, who had played with Holly after Holly left the Crickets. That lineup recorded the "Bobby Vee Meets the Crickets" album, with Bobby Vee singing lead: [Excerpt: Bobby Vee and the Crickets, "Well... All Right"] Curtis would return once his time in the army was over, and eventually, in the 1970s, the group would stabilise on a lineup of Curtis, Mauldin, and Allison,  who would play together more or less consistently until 2015. But for a few years in the early sixties there was a lot of lineup shuffling, especially as Allison got drafted not long after Curtis got out of the Army -- there was one UK tour where there were no original members at all, thanks to Allison's absence. When Curtis was out of the group around the time of the Bobby Vee album, Snuff Garrett tried to get a friend of his to join as the group's new lead singer, and brought him to LA, but it didn't work out. Garrett later said "He and Jerry didn't hit it off in the way I imagined. After a few months, it was over and the guy started playing clubs around LA. I did demos with him and took them to my boss, the president of Liberty, and he said, ‘You've got enough of your friends signed to the label. You've signed the Crickets and Buddy Knox and they're not doing much business, and this guy can hardly speak English.' I said, ‘Well, I think he's going to be something.' ‘Okay,' he said, ‘Drop one of the acts you've got and you can sign him.' I said, ‘Forget it.' A year later, he was an international star and his name was Trini Lopez" Lopez's big hit, "If I Had a Hammer", was recorded in a live show at a club called PJs: [Excerpt: Trini Lopez, "If I Had a Hammer"] PJs was owned by a gangster named Eddie Nash, who is now best known as the prime suspect in a notorious case known as the Wonderland Murders, when in 1981 four people were horribly beaten to death, either with the assistance of or to send a message to the porn star John Holmes, depending on which version of the story you believe. If you're unfamiliar with the case, I advise you not to google it, as it's very far from pretty. I bring this up because PJs would soon play a big part in the career of the Bobby Fuller Four. Bobby Fuller was born in the Gulf Coast of Texas, but his family moved about a lot during his formative years, mostly in the Southwestern US, living in Lubbock, Texas, Hobbs, New Mexico, and Salt Lake City, Utah, among other places, before finally settling down in El Paso. El Paso is a border town, right up close to the border with Mexico, and that meant that it had a complicated relationship with Juarez, the nearest large town on the Mexican side of the border. Between 1919 and 1933, the selling and consumption of alcohol had been made illegal in the United States, a period known as Prohibition, but of course it had not been criminalised in Mexico, and so during those years any time anyone from El Paso wanted to get drunk they'd travel to Juarez. Even after Prohibition ended, Juarez had a reputation as a party town, and Randy Fuller, Bobby's brother, would later tell a teen magazine "You can grow up in El Paso and get really bad -- it's Juarez that makes it that way. Whatever personality you have, you have it 100%. You can go to Juarez and get drunk, or stay in El Paso and get religion" Of course, from the outside, that sounds a whole lot like "now look what YOU made ME do". It's not the fault of those white people from Texas that they travel to someone else's city in someone else's country and get falling-down drunk and locked up in their jails every weekend, but it's the fault of those tempting Mexicans. And when Bobby and Randy Fuller's older brother Jack disappeared in 1961, while Bobby was off at university, that was at first what everyone thought had happened -- he'd gone to Juarez, got drunk, and got locked up until he could sleep it off. But when he didn't reappear after several days, everyone became more concerned. It turned out that Jack had met a man named Roy Handy at a bus depot and started chatting with him. They'd become friendly, and had gone off to do some target shooting together in the desert. But Handy had seen what looked like a wad of thousand-dollar bills in Jack's sun visor, and had decided to turn the gun on Jack rather than the target, killing him. The thousand-dollar bills had been play money, a gift bought for a small child who lived nearby. Because of the murder, Bobby Fuller moved back to El Paso from Denton in North Texas, where he had been studying music at university. He did enroll in a local college, but gave up his studies very quickly. Bobby had been something of a musical prodigy -- his original plan before going to North Texas State University had actually been to go to Juilliard, where he was going to study jazz drumming. Instead, while Bobby continued his drumming, he started living a party lifestyle, concentrating on his car, on women -- he got multiple women pregnant in his late teens and early twenties -- and on frequent trips to Juarez, where he would spend a lot of time watching a local blues musician, Long John Hunter: [Excerpt: Long John Hunter, "El Paso Rock"] Meanwhile, a music scene had been growing in El Paso since the late 1950s. A group called the Counts were at the forefront of it, with instrumentals like "Thunder": [Excerpt: The Counts, "Thunder"] The Counts splintered into various groups, and one of them became The Embers, who Bobby Fuller joined on drums. Fuller was also one of a tiny number of people at this time who actually had a home studio. Fuller had started out with a simple bedroom studio, but thanks to his parents' indulgence he had repurposed a big chunk of their house as a studio, including building, with his brother Randy, an echo chamber (though it didn't work very well and he stuck with tape echo). It was in that home studio that the Embers recorded their first single, "Jim's Jive", with Fuller on drums and Jim Reese on lead guitar: [Excerpt: Jerry Bright and The Embers, "Jim's Jive"] That was released on a tiny local label, Yucca Records, which also released the Embers' second single -- and also released two Bobby Fuller solo singles, starting with "You're in Love": [Excerpt: Bobby Fuller, "You're in Love"] That was recorded at Fuller's home studio, with the Embers backing him, and became the number one single locally, but Yucca Records had no national distribution, and the record didn't get a wider release. Fuller's second single, though, was the first time his Buddy Holly fixation came to the forefront. Fuller was, by many accounts, *only* interested in sounding like Buddy Holly -- though his musical tastes were broad enough that he also wanted to sound like Eddie Cochran, Ritchie Valens, and the Crickets. But that was the extent of Fuller's musical world, and so obviously he wanted to work with the people who had worked with Holly. So his second single was recorded at Norman Petty's studio in Clovis, New Mexico, with Petty's wife Vi, who had played keyboards on some Buddy Holly records, on keyboards and backing vocals: [Excerpt: Bobby Fuller, "Gently My Love"] But as it turned out, Fuller was very underwhelmed by the experience of working with Petty, and decided that he was going to go back to recording in his home studio. Fuller left the Embers and started performing on his own, playing rhythm guitar rather than drums, with a band that initially consisted of his brother Randy on bass, Gaylord Grimes on drums, and Jim Reese on lead guitar, though there would be constant lineup changes. Two of the many musicians who drifted in and out of Fuller's revolving band lineup, Larry Thompson and Jerry Miller, were from the Pacific Northwest, and were familiar with the scene that I talked about in the episode on "Louie, Louie". Thompson was a fan of one of the Pacific Northwest bands, the Frantics, who had hits with tracks like "Werewolf": [Excerpt: The Frantics, "Werewolf"] Thompson believed that the Frantics had split up, and so Fuller's group took on that name for themselves. When they found out that the group *hadn't* split up, they changed their name to the Fanatics, though the name on their bass drum still read "The Frantics" for quite a while. Jerry Miller later moved back to Seattle, where he actually joined the original Frantics, before going on to become a founder member of Moby Grape. Fuller started his own record label, Eastwood Records, and put out another solo single, which covered the full breadth of his influences. The B-side was "Oh Boy!", the song Sonny Curtis had written for Buddy Holly, while the A-side was "Nervous Breakdown", which had originally been recorded by Eddie Cochran: [Excerpt: Bobby Fuller, "Nervous Breakdown"] Everything was very fluid at this point, with musicians coming and going from different lineups, and none of these musicians were only playing in one band. For example, as well as being lead guitarist in the Fanatics, Jim Reese also played on "Surfer's Paradise" by Bobby Taylor and the Counts: [Excerpt: Bobby Taylor and the Counts, "Surfer's Paradise"] And Bobby's record label, renamed from Eastwood to Exeter, was releasing records  by other artists as well as Bobby and the Fanatics, though none of these records had any success. In early 1963 Fuller and his latest lineup of Fanatics -- Randy, drummer Jimmy Wagnon, and guitarist Tex Reed -- travelled to LA to see if they could become successful outside El Paso. They got a residency at the Hermosa Biltmore, and also regularly played the Rendezvous Ballroom in Balboa, where the Beach Boys and Dick Dale had both played not long before, and there they added some surf instrumentals to their repertoire. Bobby soon became almost as keen on surf music as he was on rockabilly. While in LA, they tried all the record companies, with no success. The most encouragement they got came from Bob Keane at Del-Fi, the label that had previously been Ritchie Valens' label, who told him that the tapes they brought him of their El Paso recordings sounded good but they needed better songs, and to come back to him when they had a hit song. Bobby determined to do just that. On their return to El Paso, Bobby Fuller and the Fanatics recorded "Stringer" for Todd Records, a small label owned by Paul Cohen, the former Decca executive who had signed Buddy Holly but not known what to do with him: [Excerpt: Bobby Fuller and the Fanatics, "Stringer"] Fuller also opened his own teen nightclub, the Teen Rendezvous, which he named after the Balboa ballroom. The Fanatics became the regular band there, and at this point they started to build up a serious reputation as live performers. The Teen Rendezvous only stayed open for a few months, though -- there were complaints about the noise, and also they booked Bobby Vee as a headliner one night. Vee charged a thousand dollars for his appearance, which the club couldn't really afford, and they didn't make it back on the doors. They'd hoped that having a prestigious act like Vee play there might get more people to come to the club regularly, but it turned out that Vee gave a sub-par performance, and the gamble didn't pay off. It was around this time that Fuller made his first recording of a song that would eventually define him, though it wasn't his idea. He was playing the Crickets In Style album to his brother Randy, and Randy picked up on one song, a Sonny Curtis composition which had never been released as a single: [Excerpt: The Crickets, "I Fought the Law"] Randy thought the Crickets' actual record sounded horrible, but he also thought the song had the potential to be a really big hit. He later explained "The James Dean movie Rebel Without a Cause had made a big impression on me, and I told Bobby, 'Man, let's do that one... it oughta sell a million copies'. Everyone was into the whole rebel thing, with switchblades and stuff like that. It just seemed like a natural thing for us to do." Fuller recorded his own version of the song, which once again became a local hit: [Excerpt: Bobby Fuller, "I Fought The Law (El Paso version)"] But even though the record did get some national distribution, from VeeJay Records, it didn't get any airplay outside the Southwest, and Fuller remained a local star with absolutely no national profile. Meanwhile, he was still trying to do what Bob Keane had asked and come up with a hit song, but he was stuck in a musical rut. As Jim Reese would later say, "Bobby was a great imitator. He could sing just like Holly, McCartney, Lennon, or Eddie Cochran. And he could imitate on the guitar, too. But Bobby never did Bobby". To make matters worse, the Beatles came on to the American musical scene, and caused an immediate shift in the public taste. And Bobby Fuller had a very complicated relationship with the Beatles. He had to play Beatles songs live because that's what the audiences wanted, but he felt that rock and roll was *American* music, and he resented British people trying to play it. He respected them as songwriters, but didn't actually like their original material. He could tell that they were huge Buddy Holly fans, like him, and he respected that, but he loathed Motown, and he could tell they were listening to that too. He ended up trying to compromise by playing Buddy Holly songs on stage but introducing them by talking about how much the Beatles loved Buddy Holly. Another person who was negatively affected by the British Invasion was Bob Keane, the man who had given Fuller some encouragement. Keane's Del-Fi Records had spent the previous few years making a steady income from churning out surf records like "Surf Rider" by the Lively Ones: [Excerpt: The Lively Ones, "Surf Rider"] And the Surfer's Pajama Party album by the Bruce Johnston Surfing Band: [Excerpt: Bruce Johnston, "The Surfer Stomp"] But as surf music had suddenly become yesterday's news, Del-Fi were in financial trouble, and Keane had had to take on a partner who gave the label some financial backing, Larry Nunes. Now, I am going to be very, very, careful about exactly what I say about Nunes here. I am aware that different people give very, very, different takes on Nunes' personality -- Barry White, for example, always said that knowing Nunes was the best thing that ever happened to him, credited Nunes with everything good in his career, and gave him credit on all his albums as his spiritual advisor. However, while White made Nunes out to be pretty much a saint, that is not the impression one gets from hearing Bob Keane or any of Bobby Fuller's circle talk about him. Nunes had started out in the music business as a "rack jobber", someone who ran a small distribution company, selling to small family-owned shops and to secondary markets like petrol stations and grocery stores. The business model for these organisations was to get a lot of stock of records that hadn't sold, and sell them at a discount, to be sold in discount bins. But they were also a perfect front for all sorts of criminal activity. Because these were bulk sales of remaindered records, dead stock, the artists weren't meant to get royalties on them, and no real accounting was done of the sales. So if a record label "accidentally" pressed up a few thousand extra copies of a hit record and sold it on to a rack jobber, the artists would never know. And if the Mafia made a deal with the record pressing plant to press up a few thousand extra copies, the *record label* would never know. And so very, very, quickly this part of the distribution system became dominated by organised crime. I have seen no proof, only rumours, that Nunes was directly involved in organised crime, but Bob Keane in particular later became absolutely convinced he was. Keane would later write in his autobiography: “I wondered if I had made a deal with the Devil. I had heard that Larry had a reputation for being associated with the Mob, and as it turned out three years later our relationship ended in deception, dishonesty, and murder. I consider myself very lucky to have come out of my relationship with Nunes in one piece, virtually unscathed." Again, this is Keane's interpretation of events. I am not saying that Larry Nunes was a mobster, I am saying that Bob Keane repeatedly made that accusation many times, and that other people in this story have said similar things. By late 1964, Bobby Fuller had come up with a song he was pretty sure *would* be a successful single, like Keane had wanted, a song called "Keep on Dancing" he'd written with Randy: [Excerpt: Bobby Fuller, “Keep On Dancing”] After some discussion he managed to persuade Randy, Jim Reese, and drummer DeWayne Quirico to move with him to LA -- Bobby and Randy's mother also moved with them, because after what had happened to her eldest son she was very protective of her other children. Jim Reese was less keen on the move than the others, as he thought that Fuller was only interested in himself, not in the rest of the Fanatics. As Reese would later say, "Bobby wanted us all to go to California, but I was leery because it always had been too one-sided with Bobby. He ran everything, hired and fired at the least whim, and didn't communicate well with other people. He was never able to understand that a musician, like other people, needs food, gasoline, clothes, a place to live, etc. I often felt that Bobby thought we should be following him anywhere just for the thrill of it." Eventually, Fuller got them to go by agreeing that when they got to LA, everything would be split equally -- one for all and all for one, though when they finally made a deal with Keane, Fuller was the only one who ended up receiving royalties. The rest of the group got union scale. Keane agreed that "Keep on Dancing" could be a hit, but that wasn't the first record the group put out through one of Keane's labels. The first was an instrumental titled "Thunder Reef": [Excerpt: The Shindigs, "Thunder Reef"] That wasn't released as by the Fanatics, but as by The Shindigs -- Keane had heard that Shindig! needed a house band and thought that naming the group after the show might be a way to get them the position. As it happened, the TV show went with another group, led by James Burton, who they called the Shindogs, and Keane's plan didn't work out. The Shindigs single was released on a new Del-Fi subsidiary, Mustang, on which most future records by the group would be released. Mustang was apparently set up specifically for the group, but the first record released on that label was actually by a studio group called The Surfettes: [Excerpt: The Surfettes, "Sammy the Sidewalk Surfer"] The Surfettes consisted of Carol Connors, the former lead singer of the Teddy Bears and writer of "Hey Little Cobra", and her sister Cheryl. Carol had written the single with Buzz Cason, of Brenda Lee's band, and the session musicians on that single included several other artists who were recording for Del-Fi at the time -- David Gates, Arthur Lee, and Johnny Echols, all of whom we'll be hearing more about in future episodes. Almost simultaneously with the Shindigs single, another single by the Fanatics was released, "Those Memories of You": [Excerpt: Bobby Fuller and the Fanatics, "Those Memories of You"] That single, backed by a surf instrumental called "Our Favourite Martian", was released on Donna Records, another Del-Fi subsidiary, as by Bobby Fuller and the Fanatics, which made the other group members furious -- what had happened to one for all and all for one? Randy Fuller, who was a very aggressive young man, was so annoyed that he stormed into Bob Keane's office and frisbeed one of the singles at his head. They didn't want to be Bobby's backing band, they wanted to be a proper group, so it was agreed the group's name would be changed. It was changed to The Bobby Fuller Four. Jim Reese claimed that Keane and Fuller formed The Bobby Fuller Four Inc, without the other three members having participation, and made them employees of the corporation. Reese said "this didn't fit in with my concept of the verbal agreement I had with Bobby, but at least it was better than nothing". The group became the house band at the Rendezvous, playing their own sets and backing people like Sonny and Cher. They then got a residency at the Ambassador Hotel in Hollywood, and then Jim Reese quit the band. Fuller phoned him and begged him to come back, and as Reese said later "I again repeated my conditions about equal treatment and he agreed, so I went back -- probably the biggest mistake I ever made." The group's first single as the Bobby Fuller Four, released on Mustang as all their future records were, was "Take My Word": [Excerpt: The Bobby Fuller Four, "Take My Word"] The record was unsuccessful -- Keane's various labels, while they were better distributed than Bobby's own labels back in El Paso, still only had spotty distribution, and Mustang being a new label it was even more difficult to get records in stores. But the group were getting a reputation as one of the best live acts in the LA area at the time. When the club Ciro's, on the Sunset Strip, closed and reopened under its new name It's Boss, the group were chosen to perform at its grand reopening, and they played multiple four- to six-week residencies at PJ's. The next record the group released, "Let Her Dance", was a slight rewrite of "Keep on Dancing", the song the Fuller brothers had written together, though Bobby was the only credited writer on the label: [Excerpt: The Bobby Fuller Four, "Let Her Dance"] That was the first single they recorded at a new state-of-the-art studio Keane had opened up. That studio had one of the first eight-track machines in LA, and a truly vast echo chamber, made up from a couple of unused vaults owned by a bank downstairs from the studio. But there were big arguments between Fuller and Keane, because Fuller wanted only to make music that could be reproduced live exactly as it was on the record, while Keane saw the record as the important thing. Keane put a percussion sound on the record, made by hitting a bottle, which Fuller detested as they couldn't do it live, and the two would only end up disagreeing more as they continued working together. There's a lot of argument among Fuller fans about this -- personally I can see both sides, but there are people who are very much Team Bobby and think that nothing he recorded for Mustang is as good as the El Paso recordings, because of Bob Keane diluting the raw power of his live sound. But in an era  where studio experimentation was soon to lead to records like "Strawberry Fields Forever" or "Good Vibrations", I think a bit of extra percussion is hardly an unforgivable dilution: [Excerpt: The Bobby Fuller Four, "Let Her Dance"] KRLA radio started playing "Let Her Dance" every hour, at the instigation of Larry Nunes -- and most of the people talking about this have implied that he bribed people in order to get this to happen, or that it was through his alleged Mob connections. Certainly, he knew exactly when they would start playing the record, and how frequently, before they did. As a result of this exposure, "Let Her Dance" became a massive local hit, but they still didn't have the distribution to make it a hit outside California. It did, though, do well enough that Liberty Records asked about putting the record out nationally. Keane came to a verbal agreement, which he thought was an agreement for Liberty to distribute the Mustang Records single, and Liberty thought was an agreement to put out the single on their own label and have an option on future Fuller recordings. Liberty put the record out on their own label, without Keane having signed anything, and Keane had to sue them. The result was that the record was out on two different labels, which were suing each other, and so it hardly had any chance at any kind of success. The legal action also affected the next single, "Never to Be Forgotten": [Excerpt: The Bobby Fuller Four, "Never to Be Forgotten"] That's often considered the best of the band's originals for Mustang, and was written by the Fuller brothers -- and both of them were credited this time -- but Liberty sued Keane, claiming that because they'd released "Let Her Dance", they also had an option on the next single. But even though the group still weren't selling records, they were getting other opportunities for exposure, like their appearance in a film which came out in April 1966. Though admittedly, this film was hardly A Hard Day's Night. Indeed, a lot of people have claimed that The Ghost in the Invisible Bikini was cursed. The film, which went through the working titles Pajama Party in a Haunted House, Slumber Party in a Haunted House, Bikini Party in a Haunted House, and Ghost in a Glass Bikini, was made by the cheapy exploitation company American International Pictures, and several people involved in it would die in the next four years, starting with Buster Keaton, who was meant to appear in the film, but had to back out due to his health problems and died before the film came out. Then on the first day of filming, a grip fell to his death. In the next four years, two of the film's young stars, Sue Hamilton and John Macchia, would die, as would Philip Bent, an actor with a minor role who died in July 1966 in a plane crash which also took the life of Peter Sachse, an extra on the film who was married to a cast member. Three more stars of the film, Francis X Bushman, Basil Rathbone, and Boris Karloff would also all be dead within a handful of years, but they were all elderly and unwell when filming started. I don't believe in curses myself, but it is a horrible run of bad luck for a single film. To make matters worse, the group weren't even playing their own music in the film, but lipsynching to tracks by other musicians. And they had to play Vox instruments in the film, because of a deal the filmmakers had made, when the group all hated Vox instruments, which Jim Reese thought of as only good for starting bonfires. For the next single, Keane had discussed with Fuller what songs the group had that were "different", but Fuller apparently didn't understand what he meant. So Keane went to the rest of the group and asked them what songs always went over well in live performances. All three band members said that "I Fought the Law" should be the next single. Bobby disagreed, and almost got into a fistfight with his brother over it -- they'd already released it as a single once, on his own label, and he didn't want to do it again. He also wanted to record his own material not cover versions. But the others prevailed, and "I Fought the Law" became the record that would define the group: [Excerpt: The Bobby Fuller Four, "I Fought the Law"] "I Fought the Law" became the group's breakthrough hit. It made the top ten, and turned the song, which had previously been one of the Crickets' most obscure songs, into a rock and country standard. In the seventies, the song would be recorded by Hank Williams Jr, the Clash, the Dead Kennedys and more, and all of them would be inspired by the Bobby Fuller Four's version of the song, not the Crickets' original. Around this time, the group also recorded a live album at PJs, in the hope of duplicating Trini Lopez's success with his earlier album. The album was shelved, though, because it didn't capture the powerhouse live act of the group's reputation, instead sounding rather dull and lifeless, with an unenthused audience: [Excerpt: The Bobby Fuller Four, "Oh Boy!"] While "I Fought the Law" was a huge success, it started a period of shifts within the band. Shortly after the PJs album was recorded, DeWayne Quirico quit the band and moved back to El Paso. He was temporarily replaced by Johnny Barbata, who would later become a member of the Turtles, before Fuller's preferred replacement Dalton Powell was able to get to LA to join the band. There seems to have been some shuffling about, as well, because as far as I can tell, Powell joined the band, then quit and was replaced by Barbata returning, and then rejoined again, all in about a six month period. Given the success of "I Fought the Law", it only made sense that at their first recording session with Powell, the group would record more tracks that had originally been on the Crickets' In Style album. One of these, their version of "Baby My Heart", went unreleased at the time, though to my taste it's the best thing the group ever did: [Excerpt: The Bobby Fuller Four, "Baby My Heart"] The other, "Love's Made a Fool of You", became the group's next single: [Excerpt: The Bobby Fuller Four, "Love's Made a Fool of You"] "Love's Made a Fool of You" was also a success, making number twenty-six in the charts, but the group's next session, which would produce their last single, was the cause of some conflict. Keane had noticed that soul music was getting bigger, and so he'd decided to open up a sister label to Mustang, Bronco, which would release soul and R&B music. As he didn't know much about that music himself, though of course he had worked with Sam Cooke, he decided to hire an A&R man to deal with that kind of music. The man he chose was a piano player named Barry White, still several years from making his own hit records. White had had some success as an arranger and producer already, having arranged "The Harlem Shuffle" for Bob and Earl, on which he also played piano: [Excerpt: Bob and Earl, "The Harlem Shuffle"] Despite White's remit, the records he produced for Bronco and Mustang weren't especially soulful. "Back Seat 38 Dodge" by Opus 1, for example, is a psychedelic updating of the kind of car songs that the Beach Boys and Jan and Dean had been doing a couple of years earlier: [Excerpt: Opus 1, "Back Seat 38 Dodge"] White was present at what became the final Bobby Fuller Four session, though accounts differ as to his involvement. Some have him arranging "The Magic Touch”, others have him playing drums on the session, some have him co-producing. Bob Keane always said that the record had no involvement from White whatsoever, that he was there but not participating, but various band members, while differing on other things, have insisted that White and Fuller got into huge rows, as Fuller thought that White was trying to turn his music into Motown, which he despised. The finished record does sound to me like it's got some of White's fingerprints on it: [Excerpt: The Bobby Fuller Four, "The Magic Touch"] But "The Magic Touch" flopped -- it departed too far from the updated Buddy Holly sound of the group's hit singles, and audiences weren't responding. “The Ghost in the Invisible Bikini” came out and was an embarrassment to the band – and on July the eleventh the next in that horrible series of deaths linked to the film happened, the plane crash that killed Philip Bent and Peter Sachse. On July the sixteenth, William Parker, the long-serving chief of the LAPD, had died. If, hypothetically, someone wanted to commit a crime in LA and not have it investigated too closely, the few days after Parker's death, when the entire department was in mourning and making preparations for a massive public funeral, would have been a good time to do so. Two days after Parker's death, July the eighteenth 1966, was going to be the crunch point for the Bobby Fuller Four. They had a recording session scheduled for 8:30AM, but they also were planning on having a band meeting after the session, at which it was likely the group were going to split up. Jim Reese had just got his draft notice, Bobby and Randy were getting on worse, and nobody was happy with the music they were making. They were going to finish the album they were working on, and then Bobby was going to go solo. Or at least that was what everyone assumed -- certainly Ahmet Ertegun had been sniffing round Bobby as a solo artist, though Bobby kept saying publicly he wanted to continue working with the band. There were also later rumours that Morris Levy had been after Bobby, and had even signed him to a deal, though no documentary evidence of such a deal has surfaced. It seemed that if there was to be a group at all, it would just be a name for any random musicians Bobby hired. Bobby also wanted to become a pure recording artist, and not tour any more -- he hated touring, thought people weren't listening to the band properly, and that being away from home meant he didn't have time to write songs, which in turn meant that he had to record what he thought of as substandard material by other people rather than his own original material. He wanted to stay in LA, play clubs, and make records. But even though making records was what he wanted to do, Bobby never turned up for the recording session, and nor did he turn up for the group meeting afterwards. The group's next single had been announced as "It's Love Come What May": [Excerpt: Randy Fuller, "It's Love Come What May"] When that was released, it was released as a Randy Fuller solo single, with Randy's voice overdubbed on top of Bobby's. Because there was no use putting out a record by a dead man. Here's what we actually know about Bobby Fuller's death, as far as I can tell. There are a lot of conflicting claims, a lot of counternarratives, and a lot of accusations that seek to tie in everyone from Charles Manson to Frank Sinatra, but this is as close as I can get to the truth. Bobby and Randy were living together, with their mother, though Randy was out a lot of the time, and the two brothers at that point could barely stand to be in the same room with each other, as often happens in bands where brothers work together. On the night of July the seventeenth, Bobby Fuller left the house for a couple of hours after getting a phone call -- some people who were around said he was going to see a girlfriend named Melody to buy some acid from her, but she says he didn't see her that night. Melody was a sex worker, who was also reputedly the girlfriend of a local nightclub owner who had Mob connections and was jealous of her attachments to other men -- though she denies this. Nobody has ever named which club owner, but it's generally considered to be Eddie Nash, the owner of PJs. Melody was also friends with Larry Nunes, and says she acted as a go-between for Nunes and Fuller. Fuller got back in around 2:30 AM and spent some time having beer with the building manager.  Then at some point he went out again -- Bobby was a night owl. When his mother, Lorraine, woke up, she noticed her car, which Bobby often used to borrow, wasn't there. She had a terrible bad feeling about her son's whereabouts -- though she often had such feelings, after the murder of her eldest son. She kept checking outside every half hour or so to see if he was coming home. At 5PM, two musicians from El Paso, Ty Grimes and Mike Ciccarelli, who'd come to LA to see Fuller, pulled into the parking lot near his apartment block. There were no other cars nearby. A car pulled in beside them, but they didn't pay any attention. They went up the stairs and rang the doorbell. While they were ringing the doorbell, Lorraine Fuller was out checking the mail, and noticed her car, which hadn't been there earlier. She opened the door. Ty Grimes later said "When we walked back to Mike's car, Bobby's car was now parked next to Mike's, and he was laying in the front seat already dead. We also saw his mom being helped toward the apartment." Fuller had been dead long enough for rigor mortis to have set in. While Lorraine Fuller later said that his hand had been on the ignition key, there was actually no key found in the car. He had apparently died from inhaling petrol. His body was covered in bruises, and the slippers he was wearing looked like they'd been dragged across the ground. His body was covered in petrol, and his right index finger was broken. Bob Keane has later said that Larry Nunes knew some details of the crime scene before he was told them. According to the other members of the band, there was an eight hundred thousand dollar life insurance policy on Bobby's life, held by the record company. Keane didn't get any money from any such policy, and stated that if such a policy existed it must have been taken out by Nunes, who soon stopped working with Keane, as Keane's labels collapsed without their one remaining star. The death was initially ruled a suicide, which would not pay out on an insurance claim, and later changed to accidental death, which would. Though remember, of course, we have only the word of Bobby's other band members that any insurance policy existed. No real police investigation was ever carried out, because it was such an open-and-shut case. At no point was it ever considered a murder by the famously corrupt LAPD. Bob Keane hired private investigators to investigate the case. One of them was shot at, and the others gave up on the investigation, scared to continue. The autopsy report that was issued months after the fact bore no resemblance to what any of the witnesses said they saw of the state of Fuller's body. More than thirty years later, Keane tried to get the information the LAPD held about the case, and was told that it could only be accessed by a family member. Keane contacted Randy Fuller, who was then told that the entire case file was missing. So all we can go on as far as the official records go is the death certificate. Which means that I lied to you at the start of the episode. Because officially, no matter what impression you might have got from everything I just said, Bobby Fuller's death *was* an accident.

ABOUT KING RICHARD, OPENING IN THEATERS AND ON HBO MAX NOVEMBER 19th Based on the true story that will inspire the world, Warner Bros. Pictures' "King Richard" follows the journey of Richard Williams, an undeterred father instrumental in raising two of the most extraordinarily gifted athletes of all time, who will end up changing the sport of tennis forever. Two-time Oscar nominee Will Smith ("Ali," "The Pursuit of Happyness," "Bad Boys for Life") stars as Richard, under the direction of Reinaldo Marcus Green ("Monsters and Men"). Driven by a clear vision of their future and using unconventional methods, Richard has a plan that will take Venus and Serena Williams from the streets of Compton, California to the global stage as legendary icons. The profoundly moving film shows the power of family, perseverance and unwavering belief as a means to achieve the impossible and impact the world. Aunjanue Ellis ("If Beale Street Could Talk," TV's "Quantico") plays the girls' mom, Oracene "Brandi" Williams, Saniyya Sidney ("Hidden Figures," "Fences") stars as Venus Williams, Demi Singleton (TV's "Godfather of Harlem") stars as Serena Williams, with Tony Goldwyn (the "Divergent" series, TV's "Scandal") as coach Paul Cohen and Jon Bernthal ("The Many Saints of Newark," "Ford v Ferrari") as coach Rick Macci. The ensemble also includes Andy Bean ("IT Chapter Two"), Kevin Dunn (the "Transformers" films, HBO's "Veep"), Layla Crawford ("True Blood," "NCIS: LA") and Craig Tate ("Greyhound"). Green directed "King Richard" from a screenplay written by Zach Baylin. The producers were Tim White and Trevor White under their Star Thrower Entertainment banner, and Will Smith under his Westbrook banner. Isha Price, Serena Williams, Venus Williams, James Lassiter, Jada Pinkett Smith, Adam Merims, Lynn Harris, Allan Mandelbaum, Jon Mone and Peter Dodd served as the executive producers. The behind-the-scenes creative team includes Oscar-winning director of photography Robert Elswit ("There Will Be Blood"), production designers Wynn Thomas ("Da 5 Bloods," "Hidden Figures") and William Arnold ("The Hate U Give"), Oscar-nominated editor Pamela Martin ("The Fighter"), and two-time Oscar-nominated costume designer Sharen Davis ("Dreamgirls," "Ray"). The music is by Oscar-nominated composer Kris Bowers ("Space Jam: A New Legacy," "A Concerto is a Conversation"). A Warner Bros. Pictures Presentation, A Star Thrower Entertainment Production, A Westbrook Production, A Keepin' It Reel Production, "King Richard" is slated for U.S. release on November 19, 2021 in theaters and on HBO Max via the Ad-Free plan; it will be available on HBO Max for 31 days from theatrical release. Here's the trailer: https://www.youtube.com/watch?v=BKP_0z52ZAwhttps://www.bing.com/th?id=OVP.wlW4S7Ja-9thJsj1srpGDgHgFo&pid=ApiKING RICHARD – Official Trailer“All my life I've been waiting for this…a Williams is going to win.” Will Smith is #KingRichard in the inspiring true story of the coach/mentor/father that brought us Venus u0026 Serena Williams. In Theaters and streaming exclusively on HBO Max November 19. https://www.facebook.com/KingRichardFilm https://twitter.com/KingRichardFilm ...www.youtube.com ABOUT LAYLA CRAWFORD Layla Crawford is a 16-year old actress born in Los Angeles, California. Her professional career launched in 2011 when she was cast as Kamran Hanna in NCIS: Los Angeles. Since then she was able to build over 10 years of experience in the industry. She has recurring roles in shows such as NCIS: LA, The First Family, and was even seen in HBO's cult favorite, True Blood

We now return to your regularly scheduled Geek in the Streets with this week's episode on Marvel's What If...? We discuss the comic series as well as the new Disney Plus show. We are also joined by Paul Cohen, a storyboard artist for the series! So join us for the conversation, starting now... 

Our special guest for this week is Paul Cohen, a PR wunderkind with more than two decades of experience in reputation management, media relations, brand development and crisis communications.  Paul was named in PRWeek's “40 Under 40” list and has been a key member of teams that have all major industry awards, including Silver Anvil, PRWeek (US and Asia-Pacific), CIPRA Gold Sabre, Cannes Lions finalist, and PRSA New York Big Apple. He serves on the advisory board for the International Center for Journalists and served as a Director of the Council of Public Relations Firms of Hong Kong. He earned a BA with highest honors in comparative literature from the University of Michigan.  Listen in! --- Connect with The Social Marketing Academy: www.Twitter.com/GoSocialAcademy  https://Apple.co/2KnGM8Z --- Connect with Christopher Tompkins: www.Twitter.com/chrisgoagency  www.Linkedin.com/in/chrisgomedia/  --- Connect with Paul Cohen and Milk & Honey PR: www.facebook.com/milkandhoneypr twitter.com/MilkHoneyPR www.twitter.com/paul_cohen1    www.linkedin.com/in/paul-cohen-/  --- The Social Marketing Academy is powered by The Go! Agency, a full-service marketing and sales agency based in Palm Harbor, Florida. To learn more about us check out the links below: www.GoSalesAndMarketing.com  www.Facebook.com/TheGoAgency  www.Twitter.com/TheGoAgency  www.LinkedIn.com/company/the-go-agency  www.Instagram.com/TheGoAgency

Our special guest for this week is Paul Cohen, a PR wunderkind with more than two decades of experience in reputation management, media relations, brand development and crisis communications.  Paul was named in PRWeek's “40 Under 40” list and has been a key member of teams that have all major industry awards, including Silver Anvil, PRWeek (US and Asia-Pacific), CIPRA Gold Sabre, Cannes Lions finalist, and PRSA New York Big Apple. He serves on the advisory board for the International Center for Journalists and served as a Director of the Council of Public Relations Firms of Hong Kong. He earned a BA with highest honors in comparative literature from the University of Michigan.  Listen in! --- Connect with The Social Marketing Academy: www.Twitter.com/GoSocialAcademy  https://Apple.co/2KnGM8Z --- Connect with Christopher Tompkins: www.Twitter.com/chrisgoagency  www.Linkedin.com/in/chrisgomedia/  --- Connect with Paul Cohen and Milk & Honey PR: www.facebook.com/milkandhoneypr twitter.com/MilkHoneyPR www.twitter.com/paul_cohen1    www.linkedin.com/in/paul-cohen-/  --- The Social Marketing Academy is powered by The Go! Agency, a full-service marketing and sales agency based in Palm Harbor, Florida. To learn more about us check out the links below: www.GoSalesAndMarketing.com  www.Facebook.com/TheGoAgency  www.Twitter.com/TheGoAgency  www.LinkedIn.com/company/the-go-agency  www.Instagram.com/TheGoAgency

It's Mother's Day Weekend and we are celebrating mothers here on TBOU!!!! Also we have Paul Cohen to talk about the music business and Little Jake Mitchell & The Soul Searchers and more here on TBOU!!!!

Drinking BS talking beer! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/wakingupinabrewery/support

Since Slow Flowers Society’s roots were established in 2013, there is a perennial question I’ve been asked over and over: How Do We Know if Consumers Care about Local Flowers?I strongly believe having a statistically-accurate snapshot of people’s attitudes is one important way the Slow Flowers Movement can demonstrate and help move the needle on […] The post Episode 502: New Findings on Consumer Attitudes About Domestic & Locally-Grown Flowers with Dave Whitinger and Paul Cohen of the 2021 National Gardening Survey appeared first on Debra Prinzing.

[Spanish] En este primer episodio conversamos con nuestro Xavier Divi, líder de la práctica de Applied Metrics and Business Analytics sobre su practica y los insights de V2A, también nos acompaña Paul Cohen Engagement Manager de V2A quien nos contará sobre esta iniciativa del V2A podcast. [English] In this first episode we sit down with our very own Xavier Diví, who heads our Applied Metrics and Business Analytics practice, about what his team is working on, including our recurring publications, or V2A Insights. We also talk to Paul Cohen, Engagement Manager at V2A, who will talk about the Podcast itself.

An interview with New York saxophonist Paul Cohen, one of America's most sought-after saxophonists, an avid music historian and collector and teacher at Manhattan School of Music, Rutgers University, Queens College and New York University.

I love picking up a historical monograph in which the footnotes count for a quarter or more of the total pages. Most students don't share this strange love of mine. I'm therefore always trying to figure out ways to bring in other sorts of works that will engage students without giving up anything in terms of historical richness or depth of thought. To this end, I often assign “graphic histories” in my classes (aka comics). One that I recently used in class, and was deeply impressed with, was Gene Luen Yang‘s Boxers & Saints (First Second, 2013). This informative, thought-provoking, and deeply moving graphic history is set during the “Boxer Rebellion” (1898-1900), a massive anti-foreign and anti-Christian movement that rocked northern China. Each of the two volumes of this work focus on a different character, one an anti-Christian and anti-foreign Boxer leader, and the other a Chinese convert to Catholicism. Skillfully weaving these stories together, Gene Luen Yang provides a fascinating meditation on war, the meaning of heroism and sainthood, Chinese identity, and faith, all historically grounded in a careful reading of secondary sources by such great Chinese historians as Joseph Esherick and Paul Cohen. Learn more about your ad choices. Visit megaphone.fm/adchoices