Podcasts about Paul Kane

Would you pay £1608 to sample some of the world's finest whiskies? Frank spoke to Paul Kane, founder of Belfast Whiskey Week, about the continued popularity of the spirit and the worldwide appeal of Irish whiskey Hosted on Acast. See acast.com/privacy for more information.

Today's proceedings saw three witnesses take the stand. Two of the witnesses, Paul Kane and Dr. Rocchio weren't in the box for long, but the third, Epstein's longtime butler/housekeeper Jaun Alessi sure was.Join me as I dive in!(commercial at 26:13)To contact me:bobbycapucci@protonmail.comsource:https://twitter.com/innercitypress

I haven't yet said this, but my intention with this and the previous three recordings was a hopscotch survey of Pacific Coast soundscapes. To recollect now, these have been Yoakam Point on the Oregon Coast, Copalis Ghost Forest on the Washington Coast, Keahou on the Big Island of Hawaii and now Preston Island in Crescent City, on the Northern California Coast.This reflection on Preston Island leads me to ponder sites along the lower Columbia River at length, for reasons which will soon reveal themselves.Preston Island is weird. For starters, it's not what anyone would call an island. You can walk right out onto its strange rocky surface from the mainland. The view from the island is breathtaking though, and I thought it made a better album cover than the island itself: The island is relatively flat, but also boulder-strewn and cracked. When I visited, it was foggy, and I felt like I was on the surface of another planet. Something about it seemed unnatural:It all clicked when I found this historical photo:Preston Island was carted off. It was mined down to a nub. Let's get our bearings. Here's an 1880's Crescent City map, and a modern satellite photo. (I guess cardinal north pointing up wasn't yet the rule.)On the map you'll see Preston Island clearly drawn as a landmass, and Hall's Bluff, appearing much less prominently than it does today. I outlined the locations on the satellite image. Here, all the rock contained in those geographical features was mined and dumped in the ocean to create the jetty you see on the upper right of the satellite image. They really moved mountains.This is what Preston Island used to look like, and here it is today, courtesy of Google Street View:Our soundwalk takes us from West 5th Street in Crescent City, over to the beach and up over what's now called Half Butte, to about where this old photo of Hall's Bluff (aka Lover's Rock) was taken in 1876. Look at the tiny figures on top for a sense of scale:The massive Lover's Rock headland, was also carted off to build the jetty. It's harder to match the original photo vantage point with Street View, but it's also just completely gone. But let's get back to Preston Island, that weird scab-land of a place. Let's take a closer look at it, because it gives our soundwalk such unique character about 17 minutes in. At a glance, it seems lifeless. A green hue, coming from chalky veins in the rock, adds to the otherworldliness of the landscape.Tide pools form on the perimeter, among the cracks and fissures in the rock substrate. It's here that I place my recording hat down and the soundscape is instantly transformed. The skitter of crabs and the capillary clicking sounds of tiny shellfish erupt to fill the high frequencies, while the surf sound is attenuated by the topography of the rocks.It's another world. A 2021 article in the Bandon Western World states, “Preston Island has a long history in Crescent City. Originally Preston Peak, the area was a sacred site for the Tolowa Nation.” It is not well known, but the Tolowa were the subject of the most persistent and possibly worst massacres of Native Americans in the USA, starting in 1853, in the Crescent City area. Now, I couldn't corroborate the name “Preston Peak”, but I have to admit I was not surprised to hear that a sacred place to Native Americans was destroyed. There have been others.Pillar RockConsider Pillar Rock (briefly “Pilot Rock”) in the Columbia River. Once a monolith upwards of 75 feet tall, it was dynamited and flattened at the 25 foot level to install a navigation light:The Chinookan name for the monolith was Talapus. A cannery built nearby in 1877 used a likeness similar to Talapus for its canned salmon label, Pillar Rock brand. The rock was dynamited by 1922 when, according to the shipping news, a red navigation light was established. Like Talapus, the spring Chinook fishery in the Columbia was a diminished remnant of what it once was when Pillar Rock Cannery suspended operations in 1947.In a surprising epilogue Pillar Rock is still an actively used trade mark today, in 2025. The company now fishes the waters of Alaska for wild Sockeye to fill the modern day tins.It's remarkable how Euro-Americans changed the landscape and practically wiped out the fishery, but the brand is the thing that perseveres. What does it say about us that this is the way things are?Let's consider the intriguing story of Mount Coffin, up the Columbia River about 40 river miles.Mount CoffinThe geological feature that was first described to the historical record by Lieutenant William R. Broughton in 1792, and given the name “Mount Coffin”, was a Chinookan canoe burial ground. It would have appeared much the same a half century later, when Charles Wilkes visited in 1841, but quite different than the 1900 image above. Imagine, if you will, thousands of dugout cedar canoes perched in the trees on the prominent outcrop, about five feet above ground, in varying states of decay, all with bows pointed more or less toward the ocean. Within these canoes lay the interned bodies of Chinookans of the Skilloot tribe, wrapped in cedar blankets with their belongings placed beside them. That scene came to a swift end in 1841.The U.S. Exploring Expedition, led by Charles Wilkes, camped on Mount Coffin in 1841. When the men accidentally let a campfire spread, it destroyed an estimated 3,000 burial canoes. The Chinookan Indians were distressed to discover that their burial site had been destroyed by the negligence of whites and, according to visiting artist Paul Kane, “would no doubt have sought revenge had they felt themselves strong enough to do so.” (Stealing from The Dead, Oregon Historical Quarterly)Many Upper Chinookan villages were by 1841 entirely depopulated following devastating waves of malaria in the early 1830's, so Paul Kane's observation rings true.Within a century this lowland was completely transformed. The largest lumber mill in the world was built upriver from Mount Coffin.Mount Coffin was completely dynamited and quarried, beginning in 1929. The site is a now home to a chemical plant. Flat as a pancake.Finally let's consider the monolith in the heart of the Columbia Gorge that few realize barely escaped dynamite. So we are told…Beacon RockTo the natives it was Che-che-op-tin. When Lewis & Clark mapped the area in 1805 it was referred to as “Beaten Rock” and on return a year later “Beacon Rock”. Later, the 1841 Wilkes Exploring Expedition labelled it “Castle Rock”, which stuck for the better part of a century. Since 1916, it's been Beacon Rock.Just west of Beacon Rock was a large village Captain Lewis in 1806 called Wah-clel-lah (a Watlala winter village):This village appears to be the winter station of the Wah-clel-lahs and Clahclellars…14 houses remain entire but are at this time but thinly inhabited, nine others appear to have been lately removed, and the traces of ten or twelve others of ancient date were to be seen in the rear of their present village. There was also another village at the very foot of beacon rock. Traces of it remained visible to the trained eye into the 1950's.“BIG BLAST WILL WRECK IT”“Castle Rock to Go” and “Whole Rock is Doomed” read the subheadings in a March 16th, 1906 article in The Oregonian. The article outlined how the owners, a coterie of eight businessmen including Dan Kerns, acting as the Columbia Construction Company, had already cut three 20 to 30 ft. tunnels under the southern aspect of the monolith in preparations to dynamite “the shoulder” of the rock and quarry the stone for building material, eventually removing it entirely. A Wikipedia entry states (without citation), “The United States Army Corps of Engineers planned to destroy the rock to supply material for the jetty at the mouth of the Columbia.” This appears to be incorrect. The Army Corps didn't have that plan. The Columbia Construction Company purported to have a plan to mine an initial two million tons for building material (possibly to include jetty material—there were no contracts) in 1906. Columbia jetty work began 20 years prior to that. The Columbia Construction Company was taken to court, and a jury sided with Portland & Seattle Railway, who argued the tunnels were part of an elaborate ruse to “claim damages from $100,000 to $500,000” from lost mining activity due to the rail line going through their intended quarry site. According to the plaintiffs, it was just a scheme to get the railway to pay dearly for the right of way. The jurors dashed that plan, stipulating a $5000 settlement. Was it an elaborate ruse? Or was the jury predisposed not to trust city businessmen? What was clear, according to The Oregonian, was that, “clergymen, leading citizens, women, teachers, and all classes in Portland and throughout the state were horrified as the proposed destruction of such a majestic landmark.” “I should judge Castle Rock contains 10 million tons of first class building stone,” Kerns said in 1906. Interestingly, that wouldn't have been enough for the massive Columbia jetty system, which ultimately required 13 million tons of rock, when competed in 1939, after half century of construction. Henry J. Biddle took ownership of Beacon Rock from the Columbia Construction Company in 1915, under the condition it would be preserved, and set about realizing his dream to build a trail to the summit.Henry J. Biddle purchased the rock in 1915 for $1 and during the next three years constructed a trail with 51 switchbacks, handrails and bridges. The three-quarter mile trail to the top, completed in April 1918, leads to views in all directions. (Wikipedia)Thanks for listening and reading. I'm thankful for your attention. Preston Island Soundwalk is available on all streaming platforms (Spotify, Apple, Tidal, Amazon, YouTube…) on Friday, February 21st.Thanks for reading Soundwalk! This post is public so feel free to share it. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit chadcrouch.substack.com/subscribe

Today's proceedings saw three witnesses take the stand. Two of the witnesses, Paul Kane and Dr. Rocchio weren't in the box for long, but the third, Epstein's longtime butler/housekeeper Jaun Alessi sure was.Join me as I dive in!(commercial at 26:13)To contact me:bobbycapucci@protonmail.comsource:https://twitter.com/innercitypressBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

Aaron Blake, senior political reporter and author of The Campaign Moment newsletter, sits down with senior congressional correspondent Paul Kane and White House reporter Matt Viser to talk about what Biden is trying to do with his last few weeks in office. They also talk about Time magazine's person of the year interview with Trump and what two GOP Senate appointments could mean for Trump's ability to get his agenda through Congress.Today's show was produced by Laura Benshoff. It was edited by Lucy Perkins and mixed by Justin Gerrish. Subscribe to Aaron's newsletter, The Campaign Moment, here. Subscribe to The Washington Post here.

Aaron Blake, senior political reporter and author of The Campaign Moment newsletter, sits down with senior congressional correspondent Paul Kane and White House reporter Matt Viser to talk about what Biden is trying to do with his last few weeks in office. They also talk about Time magazine's person of the year interview with Trump and what two GOP Senate appointments could mean for Trump's ability to get his agenda through Congress.Today's show was produced by Laura Benshoff. It was edited by Lucy Perkins and mixed by Justin Gerrish. Subscribe to Aaron's newsletter, The Campaign Moment, here. Subscribe to The Washington Post here.

In the Clive Barker Podcast, long-time fans Ryan and Jose interview guests, bring you the news, and take deep dives into Barker-related stuff.  In Episode 471, We've got some movie release news as well as some sad news.   Sponsor : Don Bertram's Celebrate Imagination | Pinterest | ETSY Store Take a look at “The Truth Behind It All, ” “The Sun Watchers” and  “The Descendant“ Check Out his videos going over the original painting “The Bug Brothers” and his intro to the 35th Anniversary screening of Hellraiser.  Patreon Members Shout-Out (Become a Patron) David Anderson Erik Van T' Holt Daniel Elven Amanda Stewart Returning Sponsor: Don Bertram's Celebrate Imagination  What's New for our Patreon Subscribers News From The Reef Some Autographed Copies of Hellbound Hearts available from Paul Kane LSF Met their fundraising goal for Death World New Thief of Always Adaptation? We're sad to report Tony Todd Passed Away  Feedback, Discussion and Questions From Sareth Nay: “Clive mentioned he was working on a part two of the book at Spooky too.” From reddit: “What is [sic] Clive Barker's top selling HORROR novels?“ Two Truths and a Lie re: The Thief of Always Show Notes Director Jennifer Kent Tony Todd as Myrkul in Baldur's Gate 3 Episode 406 : Our Interview With Bernard Rose Episode 7 : Mad Monster Party (Tony Todd) Episode 331 : 31 Projects The Analogue 3D Coming Next Hellraiser Quartet of Torment Disc 4 Collector's Corner: Nightbreed More  Jericho Squad 77 More Interviews Book Club of Blood: The Midnight Meat Train And this podcast, having no beginning will have no end.  web www.clivebarkercast.com iOS App| Android App, Apple Podcasts, Google Podcasts, Android, Stitcher, Spotify, Pandora, Libsyn, Tunein, iHeart Radio, Pocket Casts, Google Play, Radio.com, DoubleTwist and YouTube and Join the Occupy Midian group Twitter: @BarkerCast| @OccupyMidian Support the show, Buy a T-Shirt All Links and show notes in their Entirety can be found at http://www.clivebarkercast.com Music is by Ray Norrish            

Nicole O'Byrne talks to Ian MacLaren about his four-volume set, Paul Kane's Travels in Indigenous North America. An all-encompassing exploration of the nineteenth-century painter's documentary record and controversial place in Indigenous studies in North America. Paul Kane has been called the founding father of Canadian art, and Wanderings of an Artist among the Indians of North America a classic of Canadian literature. Yet his studio canvases are stereotypically generic, and his book is infamous: in word and in image, it depicts vain, vengeful, vicious, violent, and vanishing Indigenous people, disregarding its subjects' lived experiences and providing little of ethnohistorical significance. Paul Kane's Travels in Indigenous North America rediscovers the primary fieldwork underlying Kane's studio art and book and the process by which his sketches and field writings evolved into damaging stereotypes with significant authority in the nineteenth century, in both popular and learned circles. A painstaking, panoramic exploration, Paul Kane's Travels in Indigenous North America also studies the artist's oeuvre in terms of his contemporaries, his technique, and the complicated history of the provenance of the works. The whole lays the groundwork for future discussions of the pertinence of Paul Kane's documentary record to Indigenous studies in North America. I.S. MacLaren is professor emeritus of history and English at the University of Alberta. Image Credit: MQUP If you like our work, please consider supporting it: bit.ly/support_WTY. Your support contributes to the Champlain Society's mission of opening new windows to directly explore and experience Canada's past.

This week was supposed to be all about the GOP as delegates rally in Milwaukee for the Republican National Convention. However, Democratic infighting has taken center stage.While an effort is brewing to secure President Biden's spot on the ticket weeks before the Democrats' convention, congressional leaders within his own party have told Biden his candidacy could imperil down-ballot Democrats. Meanwhile, the president seems committed to pushing forward despite ominous polling. Can Biden's endorsement of liberal ideas garner support from within the party and woo voters? Senior political reporter Aaron Blake talks through all of this with senior congressional correspondent and columnist Paul Kane.Today's show was produced by Charla Freeland and Laura Benshoff. It was mixed by Sam Bair and edited by Lucy Perkins and Mary Jo Murphy. Subscribe to The Washington Post here.

Danny Weidler, Michael Chammas & Adam Peacock join you to discuss Danny's Selwyn Cobbo story and the claims of 'fake news' by Queensland coach Billy Slater, the vibe from the Blues camp ahead of the Decider, Jason Ryles linking up with Parramatta and his calls on the roster and which halfback the boys are most interested in seeing return this weekend. Subscribe on LiSTNR: https://www.listnr.com/podcasts/footy-talk-rugby-league-podcast Subscribe on Apple Podcasts: https://link.chtbl.com/FootyTalkRLApplePodcasts Subscribe on Spotify: https://link.chtbl.com/FootyTalkRLSpotifySee omnystudio.com/listener for privacy information.

Sen. John Fetterman (D-Pa.) joins Washington Post senior congressional correspondent and columnist Paul Kane to discuss why he is standing by Biden's candidacy, the divisions in the Democratic Party and how he sees the stakes for the presidential contest. Conversation recorded on Friday, July 12, 2024.

This week, Emily Bazelon, John Dickerson, and David Plotz continue to debate if Joe Biden should stay in the presidential race and who might replace him if he goes; discuss Project 2025; and ponder if Supreme Court Justice Amy Coney Barrett deserves a strange, new respect.   Here are some notes and references from this week's show:  George Clooney in The New York Times: I Love Joe Biden. But We Need a New Nominee. Franklin Foer for The Atlantic: Biden Has Fallen Into a Psychological Trap Leigh Ann Caldwell, Marianna Sotomayor, Jacqueline Alemany, and Paul Kane for The Washington Post: Pelosi opens the door, subtly, to replacing Biden Merriam-Webster Dictionary: coronate and ideate Tim Alberta for The Atlantic: Trump Is Planning For A Landslide Win Ryan Teague Beckwith for MSNBC: What is Project 2025? The plans for Trump's second term, explained Judd Legum for Popular Information: What Trump doesn't want you to know about Project 2025 and The alarming new power Trump will claim in a second term James Taranto for The Wall Street Journal: Strange New Respect Ann E. Marimow for The Washington Post: Justice Amy Coney Barrett is charting her own path on the bench Stephen I. Vladeck in The New York Times: The Most Interesting Justice on the Supreme Court Is Also the Loneliest James LaRock and Jacob Hammond for Balls and Strikes: The Hollow Originalism of Amy Coney Barrett Oyez: Amy Coney Barrett Here are this week's chatters:  John: Joshua Hammer for Smithsonian Magazine: Pablo Escobar's Abandoned Hippos Are Wreaking Havoc in the Columbia Jungle Emily: Andrea Robin Skinner for the Toronto Star: My stepfather sexually abused me when I was a child. My mother, Alice Munro, chose to stay with him David: Natasha Singer for The New York Times: Students Target Teachers in Group TikTok Attack, Shaking Their School and City Cast DC Live Podcast Taping on Saturday, July 13 Listener chatter from Researcher Julie: Alexandra Alter for The New York Times: Romance Bookstores Are Booming, Dishing ‘All the Hot Stuff You Can Imagine' and Elisabeth Egan: Emily Henry on Writing Best-Sellers Without Tours and TikTok; Jeffrey A. Trachtenberg, Ellen Gamerman, and Isabella Simonetti for The Wall Street Journal: How Dragons, Magic and Steamy Sex Took Over the Book World; and Bridgerton on Netflix   For this week's Slate Plus bonus episode, David, John, and Emily talk with Professor Emily Wilson about her translation of Homer's Iliad. See The Iliad by Homer, translated by Emily Wilson. See also The Odyssey by Homer, translated by Emily Wilson.   In the latest Gabfest Reads, David talks with Sierra Greer about her new book, Annie Bot: A Novel. And Gabfest Reads now has its own site! Email your chatters, questions, and comments to gabfest@slate.com. (Messages may be referenced by name unless the writer stipulates otherwise.)   Podcast production by Cheyna Roth and Ethan Oberman Research by Julie Huygen Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Emily Bazelon, John Dickerson, and David Plotz continue to debate if Joe Biden should stay in the presidential race and who might replace him if he goes; discuss Project 2025; and ponder if Supreme Court Justice Amy Coney Barrett deserves a strange, new respect.   Here are some notes and references from this week's show:  George Clooney in The New York Times: I Love Joe Biden. But We Need a New Nominee. Franklin Foer for The Atlantic: Biden Has Fallen Into a Psychological Trap Leigh Ann Caldwell, Marianna Sotomayor, Jacqueline Alemany, and Paul Kane for The Washington Post: Pelosi opens the door, subtly, to replacing Biden Merriam-Webster Dictionary: coronate and ideate Tim Alberta for The Atlantic: Trump Is Planning For A Landslide Win Ryan Teague Beckwith for MSNBC: What is Project 2025? The plans for Trump's second term, explained Judd Legum for Popular Information: What Trump doesn't want you to know about Project 2025 and The alarming new power Trump will claim in a second term James Taranto for The Wall Street Journal: Strange New Respect Ann E. Marimow for The Washington Post: Justice Amy Coney Barrett is charting her own path on the bench Stephen I. Vladeck in The New York Times: The Most Interesting Justice on the Supreme Court Is Also the Loneliest James LaRock and Jacob Hammond for Balls and Strikes: The Hollow Originalism of Amy Coney Barrett Oyez: Amy Coney Barrett Here are this week's chatters:  John: Joshua Hammer for Smithsonian Magazine: Pablo Escobar's Abandoned Hippos Are Wreaking Havoc in the Columbia Jungle Emily: Andrea Robin Skinner for the Toronto Star: My stepfather sexually abused me when I was a child. My mother, Alice Munro, chose to stay with him David: Natasha Singer for The New York Times: Students Target Teachers in Group TikTok Attack, Shaking Their School and City Cast DC Live Podcast Taping on Saturday, July 13 Listener chatter from Researcher Julie: Alexandra Alter for The New York Times: Romance Bookstores Are Booming, Dishing ‘All the Hot Stuff You Can Imagine' and Elisabeth Egan: Emily Henry on Writing Best-Sellers Without Tours and TikTok; Jeffrey A. Trachtenberg, Ellen Gamerman, and Isabella Simonetti for The Wall Street Journal: How Dragons, Magic and Steamy Sex Took Over the Book World; and Bridgerton on Netflix   For this week's Slate Plus bonus episode, David, John, and Emily talk with Professor Emily Wilson about her translation of Homer's Iliad. See The Iliad by Homer, translated by Emily Wilson. See also The Odyssey by Homer, translated by Emily Wilson.   In the latest Gabfest Reads, David talks with Sierra Greer about her new book, Annie Bot: A Novel. And Gabfest Reads now has its own site! Email your chatters, questions, and comments to gabfest@slate.com. (Messages may be referenced by name unless the writer stipulates otherwise.)   Podcast production by Cheyna Roth and Ethan Oberman Research by Julie Huygen Learn more about your ad choices. Visit megaphone.fm/adchoices

In a regular election cycle, Presidents often employ what is called the "coattails effect" to help elect down ballot candidates in their party. Their influence and campaign presence can help sway voters to vote for their endorsed candidate. However, very little is regular about this upcoming election. And this time, democrats are using their popularity in their respective states to push voters to vote for President Biden, in a "reverse coattails" effect. How will this impact 2024 in November? Paul Kane from the Washington Post joins the show.

Dig deep into Wednesday’s headlines with Boyd Matheson. Talk about the reverse “coattails effect” that Democrats are using to push voters towards Biden’s re-election with Paul Kane. Allie Volpe joins Boyd to discuss third places and how they could be the solution to loneliness people are looking for. Learn about Biden’s scramble to pass regulation before the end of his term with Marcia Brown and More!

This month Tim is joined by Paul Kane (author of 'The Hellraiser Films and their Legacy') to open the Lament Configuration and dive into Clive Barker's HELLRAISER... For exclusive bonus episodes sign up to our Patreon. Listen to our sister podcast The Top 100. Theme music by The Gideon Complex - recorded by FrEQ Audio Recordings. Follow us on: Facebook Facebook Discussion Group Twitter Instagram Letterboxd www.movingpicturesfilmclub.com Email: movingpicturesfilmclub@gmail.com

In the final All Of Us Black History Month Discussion, Co-founder and Schenectady School Board Member, Jamaica Miles, hosts a roundtable on black representation. The guests include Troy educator, artist, activist and 2021 City Council Candidate, Danielle Colin ; Albany Community Police Review Board Member, Paul Kane aka Paul “Batman” Collins-Hackett; Schenectady City Council Member, Damonni Farley; and Schenectady City Council President Marion Porterfield. Miles begins by asking Kane to place current events in the context of black representation during Reconstruction.

In this week's show, we continue catching up with some of our regulars about their summer roadies... This week it's Paul Kane.

Former House Speaker Paul Ryan speaks with Washington Post senior congressional correspondent Paul Kane about how he sees 2024 Republican front-runner Donald Trump's hold on the Republican Party, the future of the GOP and the issues at stake this election cycle. Conversation recorded on Wednesday, February 21, 2024.

Today's proceedings saw three witnesses take the stand. Two of the witnesses, Paul Kane and Dr. Rocchio weren't in the box for long, but the third, Epstein's longtime butler/housekeeper Jaun Alessi sure was.Join me as I dive in!(commercial at 28:49)To contact me:bobbycapucci@protonmail.comsource:https://twitter.com/innercitypress

Today's proceedings saw three witnesses take the stand. Two of the witnesses, Paul Kane and Dr. Rocchio weren't in the box for long, but the third, Epstein's longtime butler/housekeeper Jaun Alessi sure was.Join me as I dive in!(commercial at 20:22)To contact me:bobbycapucci@protonmail.comsource:https://twitter.com/innercitypress

Today's proceedings saw three witnesses take the stand. Two of the witnesses, Paul Kane and Dr. Rocchio weren't in the box for long, but the third, Epstein's longtime butler/housekeeper Jaun Alessi sure was.Join me as I dive in!To contact me:bobbycapucci@protonmail.comsource:https://twitter.com/innercitypress

Today's proceedings saw three witnesses take the stand. Two of the witnesses, Paul Kane and Dr. Rocchio weren't in the box for long, but the third, Epstein's longtime butler/housekeeper Jaun Alessi sure was.Join me as I dive in!(commercial at 24:32)To contact me:bobbycapucci@protonmail.comsource:https://twitter.com/innercitypress

Join The Post Political Roundtable as campaign editor Sean Sullivan speaks with Paul Kane, Colby Itkowitz and Meryl Kornfield about a new Iowa caucus poll showing Trump with a commanding lead, Liz Cheney's possible third party run for president, and Dean Phillip's challenge to President Joe Biden. Conversations recorded on Monday, Dec. 11, 2023.

In this week's show, Ray Heron catches up with Paul Kane from IAM RoadSmart. Talking about Forgotten World Highway being sealed, Slow Speed Skills and general motorcycle stuff.

Washington faces a House without a speaker, a war in Israel and a crisis at the southern border. Ryan Nobles, NBC News Capitol Hill correspondent and Paul Kane, Washington Post senior congressional correspondent, talk about a confluence of events that sound like “a ‘West Wing' plot.”

Senate stalwart Dianne Feinstein died Thursday at the age of 90. Today, we talk about her legacy — and the existential crisis for Democrats that comes with her vacant Senate seat. Read more:Sen. Dianne Feinstein, centrist stalwart of the U.S. Senate, died Thursday. At age 90, she was the chamber's oldest sitting member and its longest-serving woman.Although the question of her fitness to serve received increasing scrutiny after she was hospitalized in February, Feinstein worked in politics for more than 50 years. She started in local politics in her home city of San Francisco and eventually became the city's mayor. Then, in 1992, Feinstein became the first woman elected to the Senate from the state of California.Today, senior congressional correspondent Paul Kane discusses the late senator's life, legacy and the big question on the minds of many on Capitol Hill: What will happen to her vacant Senate seat?A previous version of this episode incorrectly stated, upon second reference, the year in which San Francisco's mayor and city supervisor Harvey Milk were killed. It was November of 1978, not 1979. The audio has been updated to remove the error.

Today's proceedings saw three witnesses take the stand. Two of the witnesses, Paul Kane and Dr. Rocchio weren't in the box for long, but the third, Epstein's longtime butler/housekeeper Jaun Alessi sure was.Join me as I dive in!(commercial at 26:13)To contact me:bobbycapucci@protonmail.comsource:https://twitter.com/innercitypressThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5080327/advertisement

Today's proceedings saw three witnesses take the stand. Two of the witnesses, Paul Kane and Dr. Rocchio weren't in the box for long, but the third, Epstein's longtime butler/housekeeper Jaun Alessi sure was.Join me as I dive in!(commercial at 26:13)To contact me:bobbycapucci@protonmail.comsource:https://twitter.com/innercitypressThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5003294/advertisement

Welcome to Episode 44 of Thrillers by the Bookclub Podcast! Join your hosts Chelsea and Olivia as we talk about the latest in thrillers including shout outs for Pub Day and a deep dive into two books we love. Chelsea's Book: I HAVE SOME QUESTIONS FOR YOU by Rebecca Makkai (OUT NOW!) - Similar Suggestions: Notes on an Execution by Danya Kukafka, The Night Swim by Megan Goldin, A Good Girls Guide to Murder by Holly Jackson Olivia's Book: HE STARTED IT by Samantha Downing (OUT NOW!) - Similar Suggestions: Knives Out? Dennis's Books: DELICATE CONDITION by Danielle Valentine and THE SEPTEMBER HOUSE by Carissa Orlando - Similar Suggestions: The Push by Ashley Audrain, Rosemary's Baby by Ira Levin, Bloodline by Jess Lourey AND Ghosts the TV Show, Sign Here by Claudia Lux Contact Us! Email: thrillersbythebookclubpod@gmail.com Instagram: ⁠⁠⁠⁠⁠⁠⁠@thrillersbythebookclubpod⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠@thrillersbythebookclub⁠⁠⁠⁠⁠⁠⁠ Chelsea:⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠@thrillerbookbabe⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠   Olivia:⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠@oliviadaywallace⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠     Dennis: ⁠⁠⁠⁠⁠@scaredstraightreads Happy Pub Day! 23 1/2 LIES by James Patterson THE STRANGER UPSTAIRS by Lisa M. Matlin WHAT KIND OF MOTHER by Clay McLeod Chapman THE DEATH I GAVE HIM by Em X Lui 9 PERFECTLY NICE NEIGHBORS by Kia Abdullah IN THESE HALLOWED HALLS (edited by Marie O'Regan and Paul Kane from Titan Books)

Last month we heard about the Irish-Canadian artist Paul Kane and the Métis bison hunt he witnessed in 1846 in what is now North Dakota. While the hunt sounded thrilling, Kane's journey back to Upper Fort Garry near present-day Winnipeg was horrific, with terrible mosquitoes, runaway horses and a gooey trail!

Bryan and Joe check out Hellbound Hearts, an anthology of 23 Hellraiser stories edited by Paul Kane and Marie O'Regan. Some are good, some...are not!We're talking about our faves (a European Cenobite coming of age! A slut shamed nun! A puzzle solving vigilante!), as well as the mixed ones that intrigued (Prey comparisons? Stockholm Syndrome? Gay installation art?). It's a mixed bag, but we had a lot of fun with this collection.Wanna connect with the show?Bryan: @eviltaylorhicksJoe: @bstolemyremoteMusic Credit: Hellraiser Theme by Christopher YoungIf you like the podcast, please rate, review, and subscribe!Check out Anatomy of a Scream for more great content and the other Network pods Hosted on Acast. See acast.com/privacy for more information.

Several renowned artists of the 19th century visited what is now North Dakota. Their portraits and paintings depict Native Americans, wildlife and scenery. One such artist was Paul Kane.

The Washington Post'sSee omnystudio.com/listener for privacy information.

Washington Post senior congressional correspondent and columnist Paul Kane speaks with Rep. David Joyce about the latest with the negotiations in Congress over the debt ceiling and the role of moderates in forging compromise in a narrowly divided House.

Dark Side of the Library Podcast Episode #124: Dark Adult Fiction Released in May 2023 (Disclosure: Some of the links in this post are affiliate links. This means if you click on the link and purchase the item, we will receive an affiliate commission at no extra cost to you)   Broken Light, by Joanne Harris (May 11) https://amzn.to/3HPldsg   The Chateau, by Jaclyn Goldis (May 23) https://amzn.to/3KVUZFo   City of Last Chances, by Adrian Tchaikovsky (May 2) https://amzn.to/44GFsC2   Even if Everything Ends, by Jens Liljestrand (May 9) https://amzn.to/3LHnlU0   The Ferryman, by Justin Cronin (May 2) https://amzn.to/3LLFsbm   Graveyard of Lost Children: A Novel, by Katrina Monroe (May 9) https://amzn.to/44BPnsP   Human Sacrifices, by María Fernanda Ampuero (Author), Frances Riddle (May 16) https://amzn.to/42wrm4u Killing Me, by Michelle Gagnon (May 16)  https://amzn.to/43BDQcy   Magician and Fool, by Susan Wands (May 2) https://amzn.to/3nygMeB   Momenticon, by Andrew Caldecott (May 2) https://amzn.to/3GEfchA   The Night Flowers, by Sara Herchenroether (May 2) https://amzn.to/3GBXpaK   On the Nature of Magic, by Marian Womack (May 23) https://amzn.to/3TqKMED   The Other Side of Never: Dark Tales from the World of Peter & Wendy, by Muriel Gray, A.C. Wise , A. J. Elwood, Paul Kane , Marie O'Regan (May 9) https://amzn.to/3JKhIVj   Our Hideous Progeny, by C.E. McGill (May 9) https://amzn.to/3ZYmIe2   The Salt Grows Heavy, by Cassandra Kaw (May 2) https://amzn.to/42xrelo   Scarlet, by Genevieve Cogman (May 9) https://amzn.to/40h9I3z   Silenced, by Ann Claycomb (May 9) https://amzn.to/3JtfjNm   Titanium Noir, by Nick Harkaway (May 16) https://amzn.to/3XtlxCN   Witch King, by Martha Wells (May 30) https://amzn.to/3G3oVOc   Follow Dark Side of the Library on Facebook and on Instagram! And our Amazon Live Channel! Dark Side of the Library Website

On Washington Post Live's “First Look,” associate editor Jonathan Capehart speaks with The Post's Paul Kane, Danielle Allen and Robert Kagan about talks to raise the nation's borrowing limit, the stakes over the debt ceiling standoff and the latest with Russia's war in Ukraine.

On Washington Post Live's “First Look,” associate editor Jonathan Capehart speaks with The Post's Paul Kane, Danielle Allen and Robert Kagan about talks to raise the nation's borrowing limit, the stakes over the debt ceiling standoff and the latest with Russia's war in Ukraine.

Bryan and Joe venture back in time for Paul Kane's Sherlock Holmes and the Servants of Hell, a Sherlock Holmes and Hellraiser cross-over novel that's surprisingly fun!What impresses us the most isn't how knowledgeable Kane is, but how integrated his homages to the franchise are in the central plot. This is a proper story that utilizes both mythologies in a smart, satisfying way!Plus: surprises from Hell on Earth and Bloodline, why Sherlock vs the Order of the Gash makes sense, new Cenobites, IP concerns, and why we wish the Epilogue wasn't included.Wanna connect with the show?Bryan: @eviltaylorhicksJoe: @bstolemyremoteMusic Credit: Hellraiser Theme by Christopher YoungIf you like the podcast, please rate, review, and subscribe!Check out Anatomy of a Scream for more great content and the other Network pods Hosted on Acast. See acast.com/privacy for more information.

Today's proceedings saw three witnesses take the stand. Two of the witnesses, Paul Kane and Dr. Rocchio weren't in the box for long, but the third, Epstein's longtime butler/housekeeper Jaun Alessi sure was.Join me as I dive in!(commercial at 24:32)To contact me:bobbycapucci@protonmail.comsource:https://twitter.com/innercitypress

A small group of Republican hardliners set out to block Kevin McCarthy, their party's leader in the House of Representatives, from becoming Speaker. That same faction has taken on GOP leaders before.We speak to Paul Kane, senior Congressional correspondent and columnist for the Washington Post, about the history behind this week's standoff in the House and what it means for Congress.In participating regions, you'll also hear a local news segment to help you make sense of what's going on in your community.Email us at considerthis@npr.org.

Kyrsten Sinema left the Democratic party this week and registered as an independent. CSPAN's Jesse Holland, the Washington Post's Paul Kane and Alejandra Gomez, co-director of grassroots political organization LUCHA, join us. And, Berta Rojas just won a Latin Grammy for her new album, "Legado." On it, the classical guitarist pays tribute to two early-20th-century musicians Ida Presti and Maria Luisa Anido. Rojas joins us to talk about her work.

Last week, House Speaker Nancy Pelosi announced she would step down from Democratic leadership. Today on the show, we discuss Pelosi's legacy and the new era of Democrats in line to take her place.Read more:Nancy Pelosi has spent 35 years in Congress. Last week, she stepped down as speaker of the House, ending her historic tenure as the first woman to serve as speaker. “She has been an incredibly powerful figure that has ruled the House of Representatives in this sort of iron-fisted way that is the stuff of legends,” says Paul Kane, The Post's senior congressional correspondent. On today's episode, we talk to Kane about Pelosi's rise to power, the highlights of her career, and what the future holds for the new era of Democrats looking to take over leadership positions. The Post is running a Black Friday all-access digital subscription deal. For just $0.99 for four weeks, that will cover you for your first 12 weeks. You'll get our groundbreaking interactive stories, the most in-depth breaking news, our fantastic Well + Being and Climate coverage and so much more.

In this conversation recorded during Washington Post Live's Global Women's Summit, The Post's senior congressional correspondent Paul Kane speaks with Rep. Liz Cheney (R-Wyo.) about her political career, the Republican Party, her work on the January 6th committee and holding Donald Trump accountable. Conversation recorded on Nov. 15, 2022.

Democrats clinched a majority in the Senate after Nevada Sen. Catherine Cortez Masto pulled ahead in the pivotal race. Now, all eyes are on Georgia where Senator Raphael Warnock and Republican Herschel Walker face each other in a December runoff race. Meanwhile, control of the House remains a tossup with 20 seats still uncalled.  Plus, as some Republicans blame former President Trump for their midterm losses, potential 2024 challengers emerge.  And Gen Z in the House -- Maxwell Alejandro Frost makes history as the first member of Gen Z elected to Congress.  On today's panel: Paul Kane of the Washington Post, CNN's Eva McKend, Rachael Bade of Politico, CNN's Melanie Zanona. To learn more about how CNN protects listener privacy, visit cnn.com/privacy

Today's proceedings saw three witnesses take the stand. Two of the witnesses, Paul Kane and Dr. Rocchio weren't in the box for long, but the third, Epstein's longtime butler/housekeeper Jaun Alessi sure was.Join me as I dive in!(commercial at 26:13)To contact me:bobbycapucci@protonmail.comsource:https://twitter.com/innercitypress

Welcome to the second episode of "Transmissions From the Void", our series of horror audio dramas! Each installment will adapt a story from a different author, and for our second episode, we're featuring "Bounty", by Paul Kane From award-winning author Paul Kane comes the story of Campbell Tate, a bounty hunter tired of the trail and in hot pursuit of a murderer whose reward will allow him to hang up his spurs forever. But what Campbell doesn't know is that another hunter is on the way, and he will not stop until the job is done. "Bounty" was written by Paul Kane and adapted for audio by Brennan Storr. Starring: Anthony Germain as Campbell Tate Aidan German as Jesse Bartlett James Kennedy as The Stranger Luke Greensmith as Bartender Mike Thorn as Cowboy Original Music by Faustbot Additional Music by Rainy Days For Ghosts Direction, Sound Design & Editing by Brennan Storr "Transmissions From the Void" is a Ghost Story Guys production.

In their prime-time hearing Thursday night the January 6 committee outlined their allegation: former President Trump was at the heart of a coordinated conspiracy to steal the presidency. Now the committee is gearing up for two more weeks of hearings, with all eyes are on the Justice Department as it considers criminal charges against Trump. Plus, a bipartisan group of Senators say they're close to an agreement on a bill that aims to stop gun violence. Can they seal the deal? And the White House fights inflationary headwinds as they contend with record-breaking gas prices and the rising cost of food. On today's panel: Zolan Kanno-Youngs of the New York Times, Margaret Talev of Axios, CNN's Gabby Orr and Paul Kane of the Washington Post. To learn more about how CNN protects listener privacy, visit cnn.com/privacy

Today's proceedings saw three witnesses take the stand. Two of the witnesses, Paul Kane and Dr. Rocchio weren't in the box for long, but the third, Epstein's longtime butler/housekeeper Jaun Alessi sure was.Join me as I dive in!To contact me:bobbycapucci@protonmail.comsource:https://twitter.com/innercitypress

Episode one hundred and thirty-five of A History of Rock Music in Five Hundred Songs looks at “The Sound of Silence" by Simon and Garfunkel, and the many records they made, together and apart, before their success. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Blues Run the Game" by Jackson C. Frank. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I talk about a tour of Lancashire towns, but some of the towns I mention were in Cheshire at the time, and some are in Greater Manchester or Merseyside now. They're all very close together though. I say Mose Rager was Black. I was misremembering, confusing Mose Rager, a white player in the Muhlenberg style, with Arnold Schultz, a Black player who invented it. I got this right in the episode on "Bye Bye Love". Also, I couldn't track down a copy of the Paul Kane single version of “He Was My Brother” in decent quality, so I used the version on The Paul Simon Songbook instead, as they're basically identical performances. Resources As usual, I've created a Mixcloud playlist of the music excerpted here. This compilation collects all Simon and Garfunkel's studio albums, with bonus tracks, plus a DVD of their reunion concert. There are many collections of the pre-S&G recordings by the two, as these are now largely in the public domain. This one contains a good selection. I've referred to several books for this episode: Simon and Garfunkel: Together Alone by Spencer Leigh is a breezy, well-researched, biography of the duo. Paul Simon: The Life by Robert Hilburn is the closest thing there is to an authorised biography of Simon. And What is it All But Luminous? is Art Garfunkel's memoir. It's not particularly detailed, being more a collection of thoughts and poetry than a structured narrative, but gives a good idea of Garfunkel's attitude to people and events in his life. Roots, Radicals, and Rockers: How Skiffle Changed the World by Billy Bragg has some great information on the British folk scene of the fifties and sixties. And Singing From the Floor is an oral history of British folk clubs, including a chapter on Dylan's 1962 visit to London. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we're going to take a look at a hit record that almost never happened -- a record by a duo who had already split up, twice, by the time it became a hit, and who didn't know it was going to come out. We're going to look at how a duo who started off as an Everly Brothers knockoff, before becoming unsuccessful Greenwich Village folkies, were turned into one of the biggest acts of the sixties by their producer. We're going to look at Simon and Garfunkel, and at "The Sound of Silence": [Excerpt: Simon and Garfunkel, "The Sound of Silence"] The story of Simon and Garfunkel starts with two children in a school play.  Neither Paul Simon or Art Garfunkel had many friends when they met in a school performance of Alice in Wonderland, where Simon was playing the White Rabbit and Garfunkel the Cheshire Cat. Simon was well-enough liked, by all accounts, but he'd been put on an accelerated programme for gifted students which meant he was progressing through school faster than his peers. He had a small social group, mostly based around playing baseball, but wasn't one of the popular kids. Art Garfunkel, another gifted student, had no friends at all until he got to know Simon, who he described later as his "one and only friend" in this time period. One passage in Garfunkel's autobiography seems to me to sum up everything about Garfunkel's personality as a child -- and indeed a large part of his personality as it comes across in interviews to this day. He talks about the pleasure he got from listening to the chart rundown on the radio -- "It was the numbers that got me. I kept meticulous lists—when a new singer like Tony Bennett came onto the charts with “Rags to Riches,” I watched the record jump from, say, #23 to #14 in a week. The mathematics of the jumps went to my sense of fun." Garfunkel is, to this day, a meticulous person -- on his website he has a list of every book he's read since June 1968, which is currently up to one thousand three hundred and ten books, and he has always had a habit of starting elaborate projects and ticking off every aspect of them as he goes. Both Simon and Garfunkel were outsiders at this point, other than their interests in sport, but Garfunkel was by far the more introverted of the two, and as a result he seems to have needed their friendship more than Simon did. But the two boys developed an intense, close, friendship, initially based around their shared sense of humour. Both of them were avid readers of Mad magazine, which had just started publishing when the two of them had met up, and both could make each other laugh easily. But they soon developed a new interest, when Martin Block on the middle-of-the-road radio show Make Believe Ballroom announced that he was going to play the worst record he'd ever heard. That record was "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Paul Simon later said that that record was the first thing he'd ever heard on that programme that he liked, and soon he and Garfunkel had become regular listeners to Alan Freed's show on WINS, loving the new rock and roll music they were discovering. Art had already been singing in public from an early age -- his first public performance had been singing Nat "King" Cole's hit "Too Young" in a school talent contest when he was nine -- but the two started singing together. The first performance by Simon and Garfunkel was at a high school dance and, depending on which source you read, was a performance either of "Sh'Boom" or of Big Joe Turner's "Flip, Flop, and Fly": [Excerpt: Big Joe Turner, "Flip, Flop, and Fly"] The duo also wrote at least one song together as early as 1955 -- or at least Garfunkel says they wrote it together. Paul Simon describes it as one he wrote. They tried to get a record deal with the song, but it was never recorded at the time -- but Simon has later performed it: [Excerpt: Paul Simon, "The Girl For Me"] Even at this point, though, while Art Garfunkel was putting all his emotional energy into the partnership with Simon, Simon was interested in performing with other people. Al Kooper was another friend of Simon's at the time, and apparently Simon and Kooper would also perform together. Once Elvis came on to Paul's radar, he also bought a guitar, but it was when the two of them first heard the Everly Brothers that they realised what it was that they could do together. Simon fell in love with the Everly Brothers as soon as he heard "Bye Bye Love": [Excerpt: The Everly Brothers, "Bye Bye Love"] Up to this point, Paul hadn't bought many records -- he spent his money on baseball cards and comic books, and records just weren't good value. A pack of baseball cards was five cents, a comic book was ten cents, but a record was a dollar. Why buy records when you could hear music on the radio for free? But he needed that record, he couldn't just wait around to hear it on the radio. He made an hour-long two-bus journey to a record shop in Queens, bought the record, took it home, played it... and almost immediately scratched it. So he got back on the bus, travelled for another hour, bought another copy, took it home, and made sure he didn't scratch that one. Simon and Garfunkel started copying the Everlys' harmonies, and would spend hours together, singing close together watching each other's mouths and copying the way they formed words, eventually managing to achieve a vocal blend through sheer effort which would normally only come from familial closeness. Paul became so obsessed with music that he sold his baseball card collection and bought a tape recorder for two hundred dollars. They would record themselves singing, and then sing back along with it, multitracking themselves, but also critiquing the tape, refining their performances. Paul's father was a bass player -- "the family bassman", as he would later sing -- and encouraged his son in his music, even as he couldn't see the appeal in this new rock and roll music. He would critique Paul's songs, saying things like "you went from four-four to a bar of nine-eight, you can't do that" -- to which his son would say "I just did" -- but this wasn't hostile criticism, rather it was giving his son a basic grounding in song construction which would prove invaluable. But the duo's first notable original song -- and first hit -- came about more or less by accident. In early 1956, the doo-wop group the Clovers had released the hit single "Devil or Angel". Its B-side had a version of "Hey Doll Baby", a song written by the blues singer Titus Turner, and which sounds to me very inspired by Hank Williams' "Hey, Good Lookin'": [Excerpt: The Clovers, "Hey, Doll Baby"] That song was picked up by the Everly Brothers, who recorded it for their first album: [Excerpt: The Everly Brothers, "Hey Doll Baby"] Here is where the timeline gets a little confused for me, because that album wasn't released until early 1958, although the recording session for that track was in August 1957. Yet that track definitely influenced Paul Simon and Art Garfunkel to record a song that they released in November 1957. All I can imagine is that they heard the brothers perform it live, or maybe a radio station had an acetate copy. Because the way everyone has consistently told the story is that at the end of summer 1957, Simon and Garfunkel had both heard the Everly Brothers perform "Hey Doll Baby", but couldn't remember how it went. The two of them tried to remember it, and to work a version of it out together, and their hazy memories combined to reconstruct something that was completely different, and which owed at least as much to "Wake Up Little Suzie" as to "Hey Doll Baby". Their new song, "Hey Schoolgirl", was catchy enough that they thought if they recorded a demo of it, maybe the Everly Brothers themselves would record the song. At the demo studio they happened to encounter Sid Prosen, who owned a small record label named Big Records. He heard the duo perform and realised he might have his own Everly Brothers here. He signed the duo to a contract, and they went into a professional studio to rerecord "Hey Schoolgirl", this time with Paul's father on bass, and a couple of other musicians to fill out the sound: [Excerpt: Tom and Jerry, "Hey Schoolgirl"] Of course, the record couldn't be released under their real names -- there was no way anyone was going to buy a record by Simon and Garfunkel. So instead they became Tom and Jerry. Paul Simon was Jerry Landis -- a surname he chose because he had a crush on a girl named Sue Landis. Art became Tom Graff, because he liked drawing graphs. "Hey Schoolgirl" became a local hit. The two were thrilled to hear it played on Alan Freed's show (after Sid Prosen gave Freed two hundred dollars), and were even more thrilled when they got to perform on American Bandstand, on the same show as Jerry Lee Lewis. When Dick Clark asked them where they were from, Simon decided to claim he was from Macon, Georgia, where Little Richard came from, because all his favourite rock and roll singers were from the South. "Hey Schoolgirl" only made number forty-nine nationally, because the label didn't have good national distribution, but it sold over a hundred thousand copies, mostly in the New York area. And Sid Prosen seems to have been one of a very small number of independent label owners who wasn't a crook -- the two boys got about two thousand dollars each from their hit record. But while Tom and Jerry seemed like they might have a successful career, Simon and Garfunkel were soon to split up, and the reason for their split was named True Taylor. Paul had been playing some of his songs for Sid Prosen, to see what the duo's next single should be, and Prosen had noticed that while some of them were Everly Brothers soundalikes, others were Elvis soundalikes. Would Paul be interested in recording some of those, too? Obviously Art couldn't sing on those, so they'd use a different name, True Taylor. The single was released around the same time as the second Tom and Jerry record, and featured an Elvis-style ballad by Paul on one side, and a rockabilly song written by his father on the other: [Excerpt: True Taylor, "True or False"] But Paul hadn't discussed that record with Art before doing it, and the two had vastly different ideas about their relationship. Paul was Art's only friend, and Art thought they had an indissoluble bond and that they would always work together. Paul, on the other hand, thought of Art as one of his friends and someone he made music with, but he could play at being Elvis if he wanted, as well as playing at being an Everly brother. Garfunkel, in his memoir published in 2017, says "the friendship was shattered for life" -- he decided then and there that Paul Simon was a "base" person, a betrayer. But on the other hand, he still refers to Simon, over and over again, in that book as still being his friend, even as Simon has largely been disdainful of him since their last performance together in 2010. Friendships are complicated. Tom and Jerry struggled on for a couple more singles, which weren't as successful as "Hey Schoolgirl" had been, with material like "Two Teenagers", written by Rose Marie McCoy: [Excerpt: Tom and Jerry, "Two Teenagers"] But as they'd stopped being friends, and they weren't selling records, they drifted apart and didn't really speak for five years, though they would occasionally run into one another. They both went off to university, and Garfunkel basically gave up on the idea of having a career in music, though he did record a couple of singles, under the name "Artie Garr": [Excerpt: Artie Garr, "Beat Love"] But for the most part, Garfunkel concentrated on his studies, planning to become either an architect or maybe an academic. Paul Simon, on the other hand, while he was technically studying at university too, was only paying minimal attention to his studies. Instead, he was learning the music business. Every afternoon, after university had finished, he'd go around the Brill Building and its neighbouring buildings, offering his services both as a songwriter and as a demo performer. As Simon was competent on guitar, bass, and drums, could sing harmonies, and could play a bit of piano if it was in the key of C, he could use primitive multitracking to play and sing all the parts on a demo, and do it well: [Excerpt: Paul Simon, "Boys Were Made For Girls"] That's an excerpt from a demo Simon recorded for Burt Bacharach, who has said that he tried to get Simon to record as many of his demos as possible, though only a couple of them have surfaced publicly. Simon would also sometimes record demos with his friend Carole Klein, sometimes under the name The Cosines: [Excerpt: The Cosines, "Just to Be With You"] As we heard back in the episode on "Will You Love Me Tomorrow?", Carole Klein went on to change her name to Carole King, and become one of the most successful songwriters of the era -- something which spurred Paul Simon on, as he wanted to emulate her success. Simon tried to get signed up by Don Kirshner, who was publishing Goffin and King, but Kirshner turned Simon down -- an expensive mistake for Kirshner, but one that would end up benefiting Simon, who eventually figured out that he should own his own publishing. Simon was also getting occasional work as a session player, and played lead guitar on "The Shape I'm In" by Johnny Restivo, which made the lower reaches of the Hot One Hundred: [Excerpt: Johnny Restivo, "The Shape I'm In"] Between 1959 and 1963 Simon recorded a whole string of unsuccessful pop singles. including as a member of the Mystics: [Excerpt: The Mystics, "All Through the Night"] He even had a couple of very minor chart hits -- he got to number 99 as Tico and the Triumphs: [Excerpt: Tico and the Triumphs, "Motorcycle"] and number ninety-seven as Jerry Landis: [Excerpt: Jerry Landis, "The Lone Teen Ranger"] But he was jumping around, hopping onto every fad as it passed, and not getting anywhere. And then he started to believe that he could do something more interesting in music. He first became aware that the boundaries of what could be done in music extended further than "ooh-bop-a-loochy-ba" when he took a class on modern music at university, which included a trip to Carnegie Hall to hear a performance of music by the avant-garde composer Edgard Varese: [Excerpt: Edgard Varese, "Ionisation"] Simon got to meet Varese after the performance, and while he would take his own music in a very different, and much more commercial, direction than Varese's, he was nonetheless influenced by what Varese's music showed about the possibilities that existed in music. The other big influence on Simon at this time was when he heard The Freewheelin' Bob Dylan: [Excerpt: Bob Dylan, "Girl From the North Country"] Simon immediately decided to reinvent himself as a folkie, despite at this point knowing very little about folk music other than the Everly Brothers' Songs Our Daddy Taught Us album. He tried playing around Greenwich Village, but found it an uncongenial atmosphere, and inspired by the liner notes to the Dylan album, which talked about Dylan's time in England, he made what would be the first of several trips to the UK, where he was given a rapturous reception simply on the grounds of being an American and owning a better acoustic guitar -- a Martin -- than most British people owned. He had the showmanship that he'd learned from watching his father on stage and sometimes playing with him, and from his time in Tom and Jerry and working round the studios, and so he was able to impress the British folk-club audiences, who were used to rather earnest, scholarly, people, not to someone like Simon who was clearly ambitious and very showbiz. His repertoire at this point consisted mostly of songs from the first two Dylan albums, a Joan Baez record, Little Willie John's "Fever", and one song he'd written himself, an attempt at a protest song called "He Was My Brother", which he would release on his return to the US under yet another stage name, Paul Kane: [Excerpt: Paul Kane, "He Was My Brother"] Simon has always stated that that song was written about a friend of his who was murdered when he went down to Mississippi with the Freedom Riders -- but while Simon's friend was indeed murdered, it wasn't until about a year after he wrote the song, and Simon has confused the timelines in his subsequent recollections. At the time he recorded that, when he had returned to New York at the end of the summer, Simon had a job as a song plugger for a publishing company, and he gave the publishing company the rights to that song and its B-side, which led to that B-side getting promoted by the publisher, and ending up covered on one of the biggest British albums of 1964, which went to number two in the UK charts: [Excerpt: Val Doonican, "Carlos Dominguez"] Oddly, that may not end up being the only time we feature a Val Doonican track on this podcast. Simon continued his attempts to be a folkie, even teaming up again with Art Garfunkel, with whom he'd re-established contact, to perform in Greenwich Village as Kane and Garr, but they went down no better as a duo than Simon had as a solo artist. Simon went back to the UK again over Christmas 1963, and while he was there he continued work on a song that would become such a touchstone for him that of the first six albums he would be involved in, four would feature the song while a fifth would include a snippet of it. "The Sound of Silence" was apparently started in November 1963, but not finished until February 1964, by which time he was once again back in the USA, and back working as a song plugger. It was while working as a song plugger that Simon first met Tom Wilson, Bob Dylan's producer at Columbia. Simon met up with Wilson trying to persuade him to use some of the songs that the publishing company were putting out. When Wilson wasn't interested, Simon played him a couple of his own songs. Wilson took one of them, "He Was My Brother", for the Pilgrims, a group he was producing who were supposed to be the Black answer to Peter, Paul, and Mary: [Excerpt: The Pilgrims, "He Was My Brother"] Wilson was also interested in "The Sound of Silence", but Simon was more interested in getting signed as a performer than in having other acts perform his songs. Wilson was cautious, though -- he was already producing one folkie singer-songwriter, and he didn't really need a second one. But he *could* probably do with a vocal group... Simon mentioned that he had actually made a couple of records before, as part of a duo. Would Wilson be at all interested in a vocal *duo*? Wilson would be interested. Simon and Garfunkel auditioned for him, and a few days later were in the Columbia Records studio on Seventh Avenue recording their first album as a duo, which was also the first time either of them would record under their own name. Wednesday Morning, 3AM, the duo's first album, was a simple acoustic album, and the only instrumentation was Simon and Barry Kornfeld, a Greenwich Village folkie, on guitars, and Bill Lee, the double bass player who'd played with Dylan and others, on bass. Tom Wilson guided the duo in their song selection, and the eventual album contained six cover versions and six originals written by Simon. The cover versions were a mixture of hootenanny staples like "Go Tell it on the Mountain", plus Dylan's "The Times They Are A-Changin'", included to cross-promote Dylan's new album and to try to link the duo with the more famous writer, and one unusual one, "The Sun is Burning", written by Ian Campbell, a Scottish folk singer who Simon had got to know on his trips to the UK: [Excerpt: Simon and Garfunkel, "The Sun is Burning"] But the song that everyone was keenest on was "The Sound of Silence", the first song that Simon had written that he thought would stand up in comparison with the sort of song that Dylan was writing: [Excerpt: Simon and Garfunkel, "The Sound of Silence (Wednesday Morning 3AM version)"] In between sessions for the album, Simon and Garfunkel also played a high-profile gig at Gerde's Folk City in the Village, and a couple of shows at the Gaslight Cafe. The audiences there, though, regarded them as a complete joke -- Dave Van Ronk would later relate that for weeks afterwards, all anyone had to do was sing "Hello darkness, my old friend", for everyone around to break into laughter. Bob Dylan was one of those who laughed at the performance -- though Robert Shelton later said that Dylan hadn't been laughing at them, specifically, he'd just had a fit of the giggles -- and this had led to a certain amount of anger from Simon towards Dylan. The album was recorded in March 1964, and was scheduled for release  in October. In the meantime, they both made plans to continue with their studies and their travels. Garfunkel was starting to do postgraduate work towards his doctorate in mathematics, while Simon was now enrolled in Brooklyn Law School, but was still spending most of his time travelling, and would drop out after one semester. He would spend much of the next eighteen months in the UK. While he was occasionally in the US between June 1964 and November 1965, Simon now considered himself based in England, where he made several acquaintances that would affect his life deeply. Among them were a young woman called Kathy Chitty, with whom he would fall in love and who would inspire many of his songs, and an older woman called Judith Piepe (and I apologise if I'm mispronouncing her name, which I've only ever seen written down, never heard) who many people believed had an unrequited crush on Simon. Piepe ran her London flat as something of a commune for folk musicians, and Simon lived there for months at a time while in the UK. Among the other musicians who stayed there for a time were Sandy Denny, Cat Stevens, and Al Stewart, whose bedroom was next door to Simon's. Piepe became Simon's de facto unpaid manager and publicist, and started promoting him around the British folk scene. Simon also at this point became particularly interested in improving his guitar playing. He was spending a lot of time at Les Cousins, the London club that had become the centre of British acoustic guitar. There are, roughly, three styles of acoustic folk guitar -- to be clear, I'm talking about very broad-brush categorisations here, and there are people who would disagree and say there are more, but these are the main ones. Two of these are American styles -- there's the simple style known as Carter scratching, popularised by Mother Maybelle Carter of the Carter family, and for this all you do is alternate bass notes with your thumb while scratching the chord on the treble strings with one finger, like this: [Excerpt: Carter picking] That's the style played by a lot of country and folk players who were primarily singers accompanying themselves. In the late forties and fifties, though, another style had become popularised -- Travis picking. This is named after Merle Travis, the most well-known player in the style, but he always called it Muhlenberg picking, after Muhlenberg County, where he'd learned the style from Ike Everly -- the Everly Brothers' father -- and Mose Rager, a Black guitarist. In Travis picking, the thumb alternates between two bass notes, but rather than strumming a chord, the index and middle fingers play simple patterns on the treble strings, like this: [Excerpt: Travis picking] That's, again, a style primarily used for accompaniment, but it can also be used to play instrumentals by oneself. As well as Travis and Ike Everly, it's also the style played by Donovan, Chet Atkins, James Taylor, and more. But there's a third style, British baroque folk guitar, which was largely the invention of Davey Graham. Graham, you might remember, was a folk guitarist who had lived in the same squat as Lionel Bart when Bart started working with Tommy Steele, and who had formed a blues duo with Alexis Korner. Graham is now best known for one of his simpler pieces, “Anji”, which became the song that every British guitarist tried to learn: [Excerpt: Davey Graham, "Anji"] Dozens of people, including Paul Simon, would record versions of that. Graham invented an entirely new style of guitar playing, influenced by ragtime players like Blind Blake, but also by Bach, by Moroccan oud music, and by Celtic bagpipe music. While it was fairly common for players to retune their guitar to an open major chord, allowing them to play slide guitar, Graham retuned his to a suspended fourth chord -- D-A-D-G-A-D -- which allowed him to keep a drone going on some strings while playing complex modal counterpoints on others. While I demonstrated the previous two styles myself, I'm nowhere near a good enough guitarist to demonstrate British folk baroque, so here's an excerpt of Davey Graham playing his own arrangement of the traditional ballad "She Moved Through the Fair", recast as a raga and retitled "She Moved Thru' the Bizarre": [Excerpt: Davey Graham, "She Moved Thru' the Bizarre"] Graham's style was hugely influential on an entire generation of British guitarists, people who incorporated world music and jazz influences into folk and blues styles, and that generation of guitarists was coming up at the time and playing at Les Cousins. People who started playing in this style included Jimmy Page, Bert Jansch, Roy Harper, John Renbourn, Richard Thompson, Nick Drake, and John Martyn, and it also had a substantial influence on North American players like Joni Mitchell, Tim Buckley, and of course Paul Simon. Simon was especially influenced at this time by Martin Carthy, the young British guitarist whose style was very influenced by Graham -- but while Graham applied his style to music ranging from Dave Brubeck to Lutheran hymns to Big Bill Broonzy songs, Carthy mostly concentrated on traditional English folk songs. Carthy had a habit of taking American folk singers under his wing, and he taught Simon several songs, including Carthy's own arrangement of the traditional "Scarborough Fair": [Excerpt: Martin Carthy, "Scarborough Fair"] Simon would later record that arrangement, without crediting Carthy, and this would lead to several decades of bad blood between them, though Carthy forgave him in the 1990s, and the two performed the song together at least once after that. Indeed, Simon seems to have made a distinctly negative impression on quite a few of the musicians he knew in Britain at this time, who seem to, at least in retrospect, regard him as having rather used and discarded them as soon as his career became successful. Roy Harper has talked in liner notes to CD reissues of his work from this period about how Simon used to regularly be a guest in his home, and how he has memories of Simon playing with Harper's baby son Nick (now himself one of the greats of British guitar) but how as soon as he became successful he never spoke to Harper again. Similarly, in 1965 Simon started a writing partnership with Bruce Woodley of the Seekers, an Australian folk-pop band based in the UK, best known for "Georgy Girl". The two wrote "Red Rubber Ball", which became a hit for the Cyrkle: [Excerpt: The Cyrke, "Red Rubber Ball"] and also "Cloudy", which the Seekers recorded as an album track: [Excerpt: The Seekers, "Cloudy"] When that was recorded by Simon and Garfunkel, Woodley's name was removed from the writing credits, though Woodley still apparently received royalties for it. But at this point there *was* no Simon and Garfunkel. Paul Simon was a solo artist working the folk clubs in Britain, and Simon and Garfunkel's one album had sold a minuscule number of copies. They did, when Simon briefly returned to the US in March, record two tracks for a prospective single, this time with an electric backing band. One was a rewrite of the title track of their first album, now titled "Somewhere They Can't Find Me" and with a new chorus and some guitar parts nicked from Davey Graham's "Anji"; the other a Twist-beat song that could almost be Manfred Mann or Georgie Fame -- "We Got a Groovy Thing Goin'". That was also influenced by “Anji”, though by Bert Jansch's version rather than Graham's original. Jansch rearranged the song and stuck in this phrase: [Excerpt: Bert Jansch, “Anji”] Which became the chorus to “We Got a Groovy Thing Goin'”: [Excerpt: Simon and Garfunkel, "We Got a Groovy Thing Goin'"] But that single was never released, and as far as Columbia were concerned, Simon and Garfunkel were a defunct act, especially as Tom Wilson, who had signed them, was looking to move away from Columbia. Art Garfunkel did come to visit Simon in the UK a couple of times, and they'd even sing together occasionally, but it was on the basis of Paul Simon the successful club act occasionally inviting his friend on stage during the encore, rather than as a duo, and Garfunkel was still seeing music only as a sideline while Simon was now utterly committed to it. He was encouraged in this commitment by Judith Piepe, who considered him to be the greatest songwriter of his generation, and who started a letter-writing campaign to that effect, telling the BBC they needed to put him on the radio. Eventually, after a lot of pressure, they agreed -- though they weren't exactly sure what to do with him, as he didn't fit into any of the pop formats they had. He was given his own radio show -- a five-minute show in a religious programming slot. Simon would perform a song, and there would be an introduction tying the song into some religious theme or other. Two series of four episodes of this were broadcast, in a plum slot right after Housewives' Choice, which got twenty million listeners, and the BBC were amazed to find that a lot of people phoned in asking where they could get hold of the records by this Paul Simon fellow. Obviously he didn't have any out yet, and even the Simon and Garfunkel album, which had been released in the US, hadn't come out in Britain. After a little bit of negotiation, CBS, the British arm of Columbia Records, had Simon come in and record an album of his songs, titled The Paul Simon Songbook. The album, unlike the Simon and Garfunkel album, was made up entirely of Paul Simon originals. Two of them were songs that had previously been recorded for Wednesday Morning 3AM -- "He Was My Brother" and a new version of "The Sound of Silence": [Excerpt: Paul Simon, "The Sound of Silence"] The other ten songs were newly-written pieces like "April Come She Will", "Kathy's Song", a parody of Bob Dylan entitled "A Simple Desultory Philippic", and the song that was chosen as the single, "I am a Rock": [Excerpt: Paul Simon, "I am a Rock"] That song was also the one that was chosen for Simon's first TV appearance since Tom and Jerry had appeared on Bandstand eight years earlier. The appearance on Ready, Steady, Go, though, was not one that anyone was happy with. Simon had been booked to appear on  a small folk music series, Heartsong, but that series was cancelled before he could appear. Rediffusion, the company that made the series, also made Ready, Steady, Go, and since they'd already paid Simon they decided they might as well stick him on that show and get something for their money. Unfortunately, the episode in question was already running long, and it wasn't really suited for introspective singer-songwriter performances -- the show was geared to guitar bands and American soul singers. Michael Lindsay-Hogg, the director, insisted that if Simon was going to do his song, he had to cut at least one verse, while Simon was insistent that he needed to perform the whole thing because "it's a story". Lindsay-Hogg got his way, but nobody was happy with the performance. Simon's album was surprisingly unsuccessful, given the number of people who'd called the BBC asking about it -- the joke went round that the calls had all been Judith Piepe doing different voices -- and Simon continued his round of folk clubs, pubs, and birthday parties, sometimes performing with Garfunkel, when he visited for the summer, but mostly performing on his own. One time he did perform with a full band, singing “Johnny B Goode” at a birthday party, backed by a band called Joker's Wild who a couple of weeks later went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] The guitarist from Joker's Wild would later join the other band who'd played at that party, but the story of David Gilmour joining Pink Floyd is for another episode. During this time, Simon also produced his first record for someone else, when he was responsible for producing the only album by his friend Jackson C Frank, though there wasn't much production involved as like Simon's own album it was just one man and his guitar. Al Stewart and Art Garfunkel were also in the control room for the recording, but the notoriously shy Frank insisted on hiding behind a screen so they couldn't see him while he recorded: [Excerpt: Jackson C Frank, "Blues Run the Game"] It seemed like Paul Simon was on his way to becoming a respected mid-level figure on the British folk scene, releasing occasional albums and maybe having one or two minor hits, but making a steady living. Someone who would be spoken of in the same breath as Ralph McTell perhaps. Meanwhile, Art Garfunkel would be going on to be a lecturer in mathematics whose students might be surprised to know he'd had a minor rock and roll hit as a kid. But then something happened that changed everything. Wednesday Morning 3AM hadn't sold at all, and Columbia hadn't promoted it in the slightest. It was too collegiate and polite for the Greenwich Village folkies, and too intellectual for the pop audience that had been buying Peter, Paul, and Mary, and it had come out just at the point that the folk boom had imploded. But one DJ in Boston, Dick Summer, had started playing one song from it, "The Sound of Silence", and it had caught on with the college students, who loved the song. And then came spring break 1965. All those students went on holiday, and suddenly DJs in places like Cocoa Beach, Florida, were getting phone calls requesting "The Sound of Silence" by Simon and Garfunkel. Some of them with contacts at Columbia got in touch with the label, and Tom Wilson had an idea. On the first day of what turned out to be his last session with Dylan, the session for "Like a Rolling Stone", Wilson asked the musicians to stay behind and work on something. He'd already experimented with overdubbing new instruments on an acoustic recording with his new version of Dylan's "House of the Rising Sun", now he was going to try it with "The Sound of Silence". He didn't bother asking the duo what they thought -- record labels messed with people's records all the time. So "The Sound of Silence" was released as an electric folk-rock single: [Excerpt: Simon and Garfunkel, "The Sound of Silence"] This is always presented as Wilson massively changing the sound of the duo without their permission or knowledge, but the fact is that they had *already* gone folk-rock, back in March, so they were already thinking that way. The track was released as a single with “We Got a Groovy Thing Going” on the B-side, and was promoted first in the Boston market, and it did very well. Roy Harper later talked about Simon's attitude at this time, saying "I can remember going into the gents in The Three Horseshoes in Hempstead during a gig, and we're having a pee together. He was very excited, and he turns round to me and and says, “Guess what, man? We're number sixteen in Boston with The Sound of Silence'”. A few days later I was doing another gig with him and he made a beeline for me. “Guess what?” I said “You're No. 15 in Boston”. He said, “No man, we're No. 1 in Boston”. I thought, “Wow. No. 1 in Boston, eh?” It was almost a joke, because I really had no idea what that sort of stuff meant at all." Simon was even more excited when the record started creeping up the national charts, though he was less enthused when his copy of the single arrived from America. He listened to it, and thought the arrangement was a Byrds rip-off, and cringed at the way the rhythm section had to slow down and speed up in order to stay in time with the acoustic recording: [Excerpt: Simon and Garfunkel, "The Sound of Silence"] I have to say that, while the tempo fluctuations are noticeable once you know to look for them, it's a remarkably tight performance given the circumstances. As the record went up the charts, Simon was called back to America, to record an album to go along with it. The Paul Simon Songbook hadn't been released in the US,  and they needed an album *now*, and Simon was a slow songwriter, so the duo took six songs from that album and rerecorded them in folk-rock versions with their new producer Bob Johnston, who was also working with Dylan now, since Tom Wilson had moved on to Verve records. They filled out the album with "The Sound of Silence", the two electric tracks from March, one new song, "Blessed", and a version of "Anji", which came straight after "Somewhere They Can't Find Me", presumably to acknowledge Simon lifting bits of it. That version of “Anji” also followed Jansch's arrangement, and so included the bit that Simon had taken for “We Got a Groovy Thing Going” as well. They also recorded their next single, which was released on the British version of the album but not the American one, a song that Simon had written during a thoroughly depressing tour of Lancashire towns (he wrote it in Widnes, but a friend of Simon's who lived in Widnes later said that while it was written in Widnes it was written *about* Birkenhead. Simon has also sometimes said it was about Warrington or Wigan, both of which are so close to Widnes and so similar in both name and atmosphere that it would be the easiest thing in the world to mix them up.) [Excerpt: Simon and Garfunkel, "Homeward Bound"] These tracks were all recorded in December 1965, and they featured the Wrecking Crew -- Bob Johnston wanted the best, and didn't rate the New York players that Wilson had used, and so they were recorded in LA with Glen Campbell, Joe South, Hal Blaine, Larry Knechtel, and Joe Osborne. I've also seen in some sources that there were sessions in Nashville with A-team players Fred Carter and Charlie McCoy. By January, "The Sound of Silence" had reached number one, knocking "We Can Work it Out" by the Beatles off the top spot for two weeks, before the Beatles record went back to the top. They'd achieved what they'd been trying for for nearly a decade, and I'll give the last word here to Paul Simon, who said of the achievement: "I had come back to New York, and I was staying in my old room at my parents' house. Artie was living at his parents' house, too. I remember Artie and I were sitting there in my car one night, parked on a street in Queens, and the announcer said, "Number one, Simon & Garfunkel." And Artie said to me, "That Simon & Garfunkel, they must be having a great time.""