1958 single by Sheb Wooley
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5 episodes with The Purple People Eater
2 episodes with The Purple People Eater
2 episodes with The Purple People Eater
2 episodes with The Purple People Eater
2 episodes with The Purple People Eater
2 episodes with The Purple People Eater
2 episodes with The Purple People Eater
Small Town News--whose headline is it, anyway? @SmallTownNewsImprov
Time for some country comedy today, courtesy of the legendary Sheb Wooley who was a fine actor and songwriter as well as comic performer. Sheb started out as a rodeo rider, as well as a guitar and fiddle man. When injuries from the rodeo kept him out of the military in WWII, Sheb pivoted to music scoring his first his with a bona-fide rock and roll novelty classic, The Purple People Eater. From there Sheb kept racking up the hits, using the name Ben Colder when contractual issues kept him from issuing new material. He also was a solid western actor with key roles in Rawhide and High Noon and Sheb's theme song for the long-running show Hee Haw became an ear worm in the 1970s (and beyond). So with his singing, songwriting, and acting all winning awards you can say Sheb was a rural renaissance man. As always find extra cuts below and thanks for sharing our shows. Want more Sheb? One bit of Sheb trivia -- he was responsible for recording a scream that was subsequently used in many movies over the years. Known as the Wilhelm scream, Sheb laid it to tape back in 1951. https://youtu.be/rksd5v43zxI?si=ZiKwMhgjmzNQoLMj Sheb's first hit was a rock and roll novelty classic -- The Purple People Eater. Here's Sheb performing the song on The Ed Sullivan Show back in 1958.https://youtu.be/67tKNEsJjTI?si=flFb593sqlzYaWwO When legal issues prevented Sheb from releasing songs under his own name it was no problem -- Sheb simply morphed into Ben Colder -- a parody of a frequently inebriated country songwriter -- who would lampoon the country hits of the day. Sheb continued to release songs under both names for the rest of his career. https://youtu.be/NVGtxbN2yGs?si=7Ah1rXPiCxd0qKeE If you have ever had the theme to the television show Hee Haw stuck in your brain you have Sheb to thank or curse. Besides being a frequent guest, Sheb composed the theme way back in 1969. https://youtu.be/KBEreTkQbds?si=RTvcGJfy6VZom0mr
Would you believe the novelty song “The Purple People Eater" was a number 1 hit? Did you know that 30 years after its release, a movie was made based on the song? And here's something even crazier: songwriter and vocalist Sheb Wooley recorded a stock audio scream that's been used in thousands of films and TV shows! It's Halloween at One Hit Thunder, and we're diving into Mr. Wooley's bizarre and fascinating career! One Hit Thunder is brought to you by DistroKid, the ultimate partner for taking your music to the next level. Our listeners get 30% off your first YEAR with DistroKid by signing up at http://distrokid.com/vip/onehitthunder Learn more about your ad choices. Visit megaphone.fm/adchoices
Hopefully the title doesn't give too much away. Our new (and old) characters aren't ready for what's to come. Curious what Lyra looks like? We have started creating the world map, and you can find it on our website: https://www.slaythestars.com/ Get ready. Things are only getting crazier. Per somnia, ad astra!
Send us a textHere in Episode 192 of the No Name Music Cast, it is Joy's turn to pick the topic and she chooses to talk about Halloween songs!We cover Glen Miller, The Steve Miller Band, Michael Jackson and Alice Cooper to name but a few.We also talk about Ringo, Ghostbusters, The Purple People Eater and Spirit Halloween!https://www.facebook.com/NoNameMusicCast/Support the show
Founder of Floating Doctors Ben LaBrot joins TWiP to solve the case of the 1 year old in northeastern Panama with a fatal leg infection, followed by a discussion of the history and mission of Floating Doctors. Hosts: Vincent Racaniello, Daniel Griffin, and Christina Naula Guest: Ben LaBrot Subscribe (free): Apple Podcasts, Google Podcasts, RSS, email Links for this episode Join the MicrobeTV Discord server Floating Doctors Letters read on TWiP 245 New Case A man in his early 20s comes in reporting pain when he urinates or ejaculates. He reports that he is sexually active. He does confide that he has been in a relationship with a woman but he had a sexual encounter outside this relationship about 2 weeks ago when they were on a break and he did not wear protection. He feels like he needs to urinate more often and describes thin white discharge from the penis. He reports that he has no history of any sexually transmitted infections and had no medical issues prior to this. Become a patron of TWiP Send your questions and comments to twip@microbe.tv Music by Ronald Jenkees
This is where it all started, for Jules and Brad, the Aviation. This is the cocktail that told Brad, “you like gin” and told Jules, “you should make me, and other drinks and put that online. Do this... and you will go far”. Glass: Coupe Garnish: Cherry Directions & Ingredients In shaker add: 0.75 oz Fresh lemon juice 2.0 oz London Dry Gin Scant 0.5oz Maraschino liqueur (you could go with 1/3 oz or 1 tsp. Try it with the scant 0.5 first and adjust) Scant 0.5 oz Creme de Violette (you could go with 1/3 oz or 1 tsp. Try it with the scant 0.5 first and adjust ) 0.25 oz of Simple syrup (very optional) Shake for 20-30 seconds Double strain into coupe glass Add cherry garnish to bottom of the glass The Grim Aviation, or the Purple People Eaters Flight Glass: Coupe Garnish: Food grade harcoal Directions & Ingredients In mixing glass add: 2 oz Tequila blanco, or Mezcal ½ oz creme de violette 1/4 oz orgeat syrup ¾ oz lime juice ¼ oz maraschino liqueur 1 egg white Dry shake for 20 seconds Add ice and shake again Double strain into a coupe glass Use charcoal dusting on top, bonus for a spooky Halloween stencil TIP: don't kill yourself with dry ice Get your Zbiotics Pre-Alcohol Probiotic Drink here: zbiotics.com/ARTOFDRINKING Be sure to enter the code ARTOFDRINKING for 15% off your first order The Art of Drinking IG: @theartofdrinkingpodcast Jules IG: @join_jules TikTok: @join_jules Website: joinjules.com Brad IG: @favorite_uncle_brad This is a Redd Rock Music Podcast IG: @reddrockmusic www.reddrockmusic.com Learn more about your ad choices. Visit megaphone.fm/adchoices
We're one week in to this awesome format and kick things off by talking about the Eldrazi in the room Writhing Chrysalis. Then move on to larger format thoughts, individual cards to discuss, and a draft roundtable to showcase how we're approaching this limited environment! Draft Log Review Sponsored by Miracle Made and BetterHelp
Dzisiaj na Giro byliśmy kilkanaście metrów od zmiany lidera, paru zawodników nafaszerowanych antybiotykami musiało pożegnać się z wyścigiem. Chcesz folołować? – Facebook: https://www.facebook.com/pncastCykChcesz popaczeć? – Instagram: https://www.instagram.com/pncast/Chcesz połoglondać? – YouTube: https://www.youtube.com/channel/UC5hNRM9CimnQAZTho-FBAcQ Chcesz pobiznesować? – e-mail: podnominal@gmail.com Chcesz dać zapomogę? – PATRONITE: https://patronite.pl/pncast/ Buycoffee: www.buycoffee.to/pncastPatroni : HIGROSYSTEM.PLMarek DrÓb
X-Men '97 episode 7, Bright Eyes review! On the menu: grief in all its forms, Roberto's coming out, Emma shines bright like a diamond, Jean & Scott together again, Rogue's rampage, flying purple people eaters, & more! 'Bright Eyes' written by Charley Feldman and JB Ballard and directed by Emi Yonemura. Grief takes on many forms as the X-Men are left cleaning up the wreckage of the Sentinal attack on Genosha. Instead of attending Gambit's funeral, Rogue flies around the world using her brute force to get some answers. With no help from Captain America, she discovers an organization called OZT. Meeting the rest of the X-Men in Madripoor they uncover a plot to create an even more powerful mutant-eliminating machine. The Purple People Eater plays ominously in the background… Let us know your thoughts on 'X-Men 97' or what your current favorite movie, TV, or book obsession is by emailing us at abonibbles@gmail.com or on social media! Check out the links below and connect with us!! INSTAGRAM: https://www.instagram.com/abiteofpod TWITTER: https://twitter.com/ABiteOfPod THREADS: https://www.threads.net/@abiteofpod YOUTUBE: https://www.youtube.com/@ABiteOfPod WEBSITE: https://www.abiteofpod.com/ DISCORD: https://bit.ly/461OOcf --- Send in a voice message: https://podcasters.spotify.com/pod/show/abiteofpod/message
Merriam-Webster's Word of the Day for December 25, 2023 is: envisage • in-VIZ-ij • verb To envisage something is to picture it in your mind, or to view or regard something in a particular way. // She envisages many positive changes and opportunities in the New Year. See the entry > Examples: “Amid all his onscreen work, [Sheb] Wooley never stopped writing songs. And the one that took off … was ‘The Purple People Eater,' which skewered the musical crazes of the time by envisaging a grotesque space invader taking the bait.” — Morgan Enos, UDiscoverMusic.com, 31 Oct. 2023 Did you know? Envisage this: a word is borrowed from French in the mid-17th century and sticks around to be used in the 21st. It's not hard to picture; envisage is not alone in this accomplishment. Used today to mean “to have a mental picture of something, especially in advance of realization” and “to view or regard something in a certain way,” envisage for a time could also mean “to confront or face someone.” That use, which is now archaic, nods to the word's origin: we borrowed envisage from French, but the visage part is from Anglo-French vis, meaning “face.” (It reaches back ultimately to Greek idein, “to see.”) Visage is of course also an English word. It entered English much earlier, in the 14th century, and is typically used today in literary contexts to refer to a person's face. Envisage isn't necessarily restricted to literary contexts, but it does have a formal tone. Its near twin envision (“to picture to oneself”), which has been with us since the 19th century, is interchangeable with envisage in many contexts and is somewhat less formal.
Today (Nov 3) is World Jellyfish Day - a day to celebrate these remarkable sea creatures that have been around for around 500 million years and are older than the dinosaurs! The purple people eater jellyfish (also known as the night-light jellyfish and the mauve stinger) is a little jelly that packs a punch! It has stinging cells all over its body and has been known to wipe out entire fish farms.
It's Halloween time at Every Playlist Tells A Story and we have Todd calling in from the "Highway To Hell" traveling to work another show while Jimmy talks about Sheb Wooley and his Halloween classic "The Purple People Eater". It's all about Monsters, Curses, Demons and Death tonight!
Diving into the Roswell crash and some Jimmy Buffett space themed songs - Purple People Eater, Come to the Moon, and Desdemona's Building a Rocket Ship. Email: songlinesandtanlines@gmail.com Twitter: @zombiebeach Instagram: aparrotheaddad Kofi: ko-fi.com/anthonyrenfro Books and Short Stories: Amazon US Amazon UK Barnes and Noble Apple --- Send in a voice message: https://podcasters.spotify.com/pod/show/thedeepcuts/message
The singer-songwriter-actor is best known for his novelty songs, including the 1958 hit "The Purple People Eater" and under the name Ben Colder. His acting roles include a recurring stint as Pete Nolan on the TV series Rawhide. Among other things, he is credited as the voice of the so-called "Wilhelm scream".
Appetizers: E3 Dead, Summer Games Fest, WGA Strike And Delays, The Boys, Spider-Verse, Smosh, Grimace, Secret Invasion, Musk Vs Zuck. Main Course: Beard To Table: Pumpkin Spice Special K, Jeni's Pop Tarts Frosted Brown Sugar Cinnamon Ice Cream, Doggie Bag: The Awesome's Season 1, Assignments: The Boss Baby: Back In Business, Wandering Witch. Ranking: Most Tedious Side Quests, Half Baked: Fact Or Cap. Desserts:AI South Dakota Velociraptor Heist, Solar Opposites Voice Change. Time Stamps: (04:10) E3 Dead & Summer Games Fest (04:34) WGA Strike And Delays (15:50) The Boys (16:40) Spider-Verse (17:49) Smosh (19:12) Grimace (20:27) Secret Invasion (23:08) Musk Vs Zuck (26:40) Beard To Table: Pumpkin Spice Special K, Jeni's Pop Tarts Frosted Brown Sugar Cinnamon Ice Cream (42:32) Doggie Bag: The Awesome's Season 1 (52:20) Assignments: The Boss Baby: Back In Business, Wandering Witch (56:31) Ranking: Most Tedious Side Quests (1:11:11) Half Baked: Fact Or Cap(1:19:02) AI South Dakota Velociraptor Heist (1:22:34) Solar Opposites Voice Change
Ready for a blast from the past? Join us as we reminisce about the Minnesota Vikings' unforgettable decade of the 1970s. Discover how head coach Bud Grant transformed the team into a powerhouse, and dive into the storied history of the legendary Purple People Eater defense. Learn about the impact of iconic players like Alan Page on the team's performance, and relive some of the most memorable moments in Vikings history, including the controversial Hail Mary against the Dallas Cowboys.Throughout this captivating episode, we'll guide you through the impressive 1973 season with a 12-2 record, the Vikings' participation in four NFC championship games in just five years, and the beginning of their search for a new stadium that led to the construction of the Hubert H. Humphrey Metrodome. Whether you're a die-hard Vikings fan or a football enthusiast looking to learn more about one of the most dominant teams of the 70s, this episode is a must-listen trip down memory lane. Don't miss out!Support the show and hope you enjoy My social media links:Instagram:Steven Gervais (@steveng123456) • Instagram photos and videosTikTok:Steven Gervais (@sgandfriendspodcast) | TikTokFacebook group: Steven Gervais and Friends Podcast | FacebookYouTube Channel: Steven Gervais and Friends Podcast - YouTubeDeluxe Edition Network website: The Deluxe Edition NetworkGoodpods:Profile (goodpods.com)my website: Steven Gervais and Friend's Podcast (www.stevengervaisandfriendspodcast.com)Copper Johns beard: https://lddy.no/1gh13use SGANDFRIENDSPODCAST12 at check out for a 10 % discount on your purchase https://www.buzzsprout.com/1983118/support
Tommy Kramer, Metropolitan Stadion, Chuck Foreman, Eskimos, Skippers, Fran the Man, Bud Grant, Kirk Cousins, Love Boat, Karl Kassulke, Paul Krause, Purple People Eater, Ictidomys tridecemlineatus, The Dutchman, Max Winter, Ragnar, Richard Wagner, Teddy B, Christian Ponder, Leslie Frasier, Randy Moss, Chris Carter, Walker Trade, Jack del Rio, John Randle, Dennis Green,Steve Jordan, The Replacements, Super Bowl……….. Viel Spass bei der XXL Geschichtsstunde rund um die Vikings! Mehr vom Bürgermeister des Waschsalons A. Heddergott findet ihr übrigens hier: https://open.spotify.com/episode/5t9xUohJtr1SX9XDKvmY1G?si=gW1pwilgRhmBGT8beZDs2A WERBUNG MANSCAPED Hol dir 20 % Rabatt und kostenlosen Versand mit dem Code PILLE auf [MANSCAPED.com](https://www.manscaped.com/). Du hast richtig gehört, - 20 % und kostenloser Versand mit dem Code PILLE bei [MANSCAPED.com](https://www.manscaped.com/). Your Balls Will Thank You®
Today in 1921, the birthday of Sheb Wooley, who had a hit song in the 50s called the “Purple People Eater" and is believed to be the guy who gave a scream that's been featured in hundreds of movies: the Wilhelm Scream. Plus: today in 1976, a challenging moment for then-President Gerald Ford and his tamale. Does That Scream Sound Familiar? (ABC News) No one told Ford tamales need to be unwrapped (Houston Chronicle) No need to scream to keep this show going, just contribute $1 a month or more on Patreon --- Send in a voice message: https://podcasters.spotify.com/pod/show/coolweirdawesome/message Support this podcast: https://podcasters.spotify.com/pod/show/coolweirdawesome/support
What happens when a traditional Irish song is rewritten about zombies? And I have CDs!!!! If you didn't say, “You have Cds…”, you'll find out why it's important. It's kind of funny. This is Sci Fi Pub Songs & Stories #268. 0:16 - “Isn't It Grand Boys” from Happy Songs of Death 4:09 - WELCOME TO SCI FI PUB SONGS & STORIES This is the audio edition of my newsletter. I am Marc Gunn. I'm a rhythm and folk Celtic musician living in Atlanta, Georgia. I play traditional Irish and Scottish drinking songs. I'm also a songwriter. I write songs inspired by Celtic culture as well as pop culture, things like Lord of the Rings, Firefly, Star Wars, Star Trek, Doctor Who and more. If you're new to the show, please subscribe. You can do that PubSong.com/free or even better or you can subscribe and download all of my songs in this show. Just send me an email. pubsong@ celtfather You will get an auto responder with a link to download this month's songs. You will also get that subscribe link. It's quick and easy. While you're emailing me to get your free EP, let me know what you're doing while listening to this episode. We kicked off the show… 5:04 - WHAT'S NEW STORY I really should talk more about the stuff I sell in my store. But it feels uncomfortable to do so. That's one of the reasons if you go to any of my live shows, and I say, “I have Cds”. Audience members will shout “you have Cdddsss?!” It's a little gimmick I use to draw attention to my merch. And it's really catchy. I was listening to the last episode of the podcast about writing drinking songs. While I talked about my song “The Cat Came Back… the Cat's Perspective,”. It's from my C-D… And then I paused, just like I do at live shows. When I listened to the episode, I responded, “You have CDs…” It got me thinking. Could we do that same thing through a podcast? I don't know. But we're gonna try. We're gonna make this podcast into a sort of an interactive drinking game. Each time I mention CDs, your job is to audibly respond, “you have CDs…” 6:25 - UPCOMING SHOWS APR 1-9: Sherwood Forest Faire, Paige, TX APR 6: Dragon Con Filk Music Concert with Brobdingnagian Bards @ 7 PM CST APR 20: Cat Drinking Songs on Bandcamp @ 7 PM EAST APR 21-23: Jordan Con, Atlanta, GA APR 29. The Lost Druid Earth Day Biking Concert, Avondale Estates, Ga @ 6:30-9:30 PM JUN 3-10: Celtic Invasion Vacations, County Mayo, Ireland 9:24 - The Celtic Kitchen Party “Covid-19 Shanty” from Last Call 11:11 - COMMENTS I don't get a ton of feedback for this show. But if you send an email to pubsong@celtfather with a short comment about the show… or just mentioning CDs that you love, that's a great way for us to interact and have more of a conversation. In fact, if you need a starter, I'd love it if you would grab your phone. Go to your voice recorder app. Say, “You have Cds”. Then email it to me. Marisa Halvorson emailed: "Hello Marc! I have been listening to your songs practically nonstop this St. Paddy's season (I'm in NOLA and work on Magazine street so season it is) I had to work on the day the Irish Channel parade rolled and definitely enjoyed it more with your songs keeping me company while locked in my building by parade goers. Thank you for always keeping me company and my spirits up with your music." Kennedy Johnson emailed: "Happy St Patricks Day to you Marc. I hope you and your family are well on this day of Green & Orange
Oh, those silly little nonsense songs that we can't seem to get enough of. We talk over some of our favorites including classics like ‘Monster Mash' and ‘The Purple People Eater' as well as some more modern goofiness from Pearl Jam and Weird Al. Also(!) personalized recommendations for listener Al. Don't forget – it's Nerd or Nothin!
The guys celebrate Halloween and talk Vampire facts, Chris' kid being afraid of him in his costume, the Purple People Eater, white nannies, The Weeknd's Horror House, Slipknot, best horror movie villains, favorite candies and much more!See omnystudio.com/listener for privacy information.
The guys celebrate Halloween and talk Vampire facts, Chris' kid being afraid of him in his costume, the Purple People Eater, white nannies, The Weeknd's Horror House, Slipknot, best horror movie villains, favorite candies and much more!See omnystudio.com/listener for privacy information.
Giavanni from the KIDZ BOP Kids shares today's KIDZ BOP Daily update for Monday, October 17. It's Monday – which means it's time for Motivation Monday! Today's kids' song of the day is "Purple People Eater" by the KIDZ BOP Kids!
If aliens were ever to come to this planet, they will find millions of indifferent plants and animals, and a very unpredictable curious bunch of humans. Some humans will gather weapons and prepare for war, some will extend a friendly hand, and some will run around in circles screaming like their hair is on fire. What ATTT plans to do is to beam them this playlist. Songs About Aliens run the gamut in style and approach, and our good friend Gabe Scalone joins the pod for a look at the best songs about those creatures from far far away.Get more ATTT in your life! Subscribe wherever you get podcasts, look us up on Facebook, Twitter and/or Instagram, and go to the website for more details on all the fun stuff we're up to - the archives, the Patreon Thing and more!https://alltimetoptenpod.com
For his third film, Jordan Peele looks to the skies–and what he finds doesn't want to be seen. This week, Paul and Arlo say yup to Nope, Peele's celebration and evisceration of spectacle. The boys discuss the widening of Peele's horizons in the summer blockbuster mode; how the film reveres Spielberg while offering a pointed rebuttal to Jaws; Daniel Kaluuya's quiet intensity; and why first-time viewing Arlo is always the dumbest Arlo. Plus, a tribute to cinematic titan Jean-Luc Godard. NEXT: more spectacle, as Chris Hemsworth and Natalie Portman reunite in Taika Waititi's Thor: Love and Thunder. BREAKDOWN 00:00:56 - Intro / RIP Jean-Luc Godard 00:06:47 - Nope 02:11:52 - Outro / Next LINKS “'Nope' Explores the Horrors of Exploiting Animals for Spectacle” by Molly Kusilka, Collider “Jordan Peele's Nope, explained” by Alissa Wilkinson, Vox “Inside the Eerie UFO Design for Jordan Peele's ‘Nope'” by Emma Stefansky, Thrillist “This Influential Anime Inspired The Final Alien Design In Nope” by Erin Brady, SlashFilm “NOPE'S SCIENCE CONSULTANT REVEALS THE NAME AND INSPIRATION FOR THE MOVIE'S ALIEN” by Melissa T. Miller, Nerdist “Nope VFX Supervisor Guillaume Rocheron on Creating That Spectacular Alien Creature” by Daron James, Motion Picture Association MUSIC “Old Town Road (feat. Billy Ray Cyrus)” by Lil Nas X, 7 (2019) “Purple People Eater” by Sheb Wooley (1958) GOBBLEDYCARES Abortion Funds in Every State: https://bit.ly/AbortionFundsTwitter National Suicide Prevention Lifeline: https://suicidepreventionlifeline.org/ Support AAPI communities and those affected by anti-Asian violence: https://www.gofundme.com/c/act/stop-aapi-hate Support the AAPI Civic Engagement Fund: https://aapifund.org/ Support Black Lives Matter and find anti-racism resources: https://blacklivesmatters.carrd.co/ The Trevor Project provides information and support to LGBTQ youth: thetrevorproject.org Trans Lifeline: https://translifeline.org/ US (877) 565-8860 Canada (877) 330-6366 National Center for Transgender Equality: transequality.org Advocate for writers who might be owed money due to discontinuance of royalties: https://www.writersmustbepaid.org/ Help teachers and classrooms in need: https://www.donorschoose.org/ Do your part to remove the burden of medical debt for individuals, families, and veterans: https://ripmedicaldebt.org/ Register to vote: https://vote.gov/
Welcome back from the long weekend and, in a way, from the summer! We figured you might have some things to say on a day like today, and we've been doing these shows a couple times a month where we don't book any guests, where we fill the hour with your calls. And your calls have been interesting and surprising and amusing. This hour, the conversation winds around to commercial creep on public radio, “The Purple People Eater” and Nope, defenders and detractors of our new radio promos, the Cary Grant movie People Will Talk(which we carelessly left out of our rom-coms show), the circular economy (and Amazon taking its damn boxes back), legendary Connecticut broadcaster Bob Steele, and legendary march maker John Philip Sousa. Anything. (Seemingly) everything. These shows are fun for us, and they seem to be fun for you, too. So we did another one. Join the conversation on Facebook and Twitter. The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Google Podcasts, Stitcher, or wherever you get your podcasts. Subscribe and never miss an episode! Colin McEnroe and Cat Pastor contributed to this show.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.
You are being watched. What does it feel like? Do you enjoy know that someone can see everything about you?----------Episode 48: “We See Your Face.”Those who know me, know that I love technology.I am absolutely fascinated with the things that man has created through the years.Cars, planes, phones, refrigerators, radio, TV, spaceships, and even social media.I can remember watching TV as Neil Armstrong walked around on the moon. It was a live broadcast! Of course it was delayed a few seconds because of the distance and because it had to be relayed from earth stations that had massive antennas. But it was live!In my lifetime, I've seen the development of microwave ovens, wireless phones (which are more powerful than the computers NASA used for the moon missions), heart transplants, and …The list could go on and on.In case you don't know, man did not evolve from a primordial soup (I'll save my evolution talk for another day).The Bible clearly teaches that man was created in God's image and he was intelligent from the beginning.If you know the story of the Tower of Babel, you'll know that God chose to confuse the languages and scatter the people around the world because man was so intelligent.“And the LORD said, “Behold, they are one people, and they have all one language, and this is only the beginning of what they will do. And nothing that they propose to do will now be impossible for them. Come, let us go down and there confuse their language, so that they may not understand one another's speech.”Genesis 11:6-7Think about that.God said since they could speak the same language “nothing that they propose to do will now be impossible for them.”We've seen that demonstrated through the centuries of human history.ARTIFICIAL BODY PARTS“… nothing that they propose to do will now be impossible for them.”I am reminded of that truth with every step I take.Walking was almost an impossibility for me because my knees hurt so much.Then a doctor put me to sleep, cut out my bad knees, and put in new ones.Now I walk without pain.I love technology.HOME SECURITY SYSTEMS“… nothing that they propose to do will now be impossible for them.”I am also reminded of that truth every time I leave my house.Before I go out the door, I turn on my home security system.It can tell if someone opens a door or breaks a window.Its motion detector can even tell if someone just moves inside my house.And if my system detects an intrusion, my security system will contact the police.I know the system works because I was taking care of my daughter's dog one day and I left the house, forgetting to set system to allow for the dog's presence.Well, my security system's motion detector picked up on the dog's movement and when I returned home there were a couple of police officers at my door.They wouldn't even let me enter the premises until they had checked the house.Still, I love technology.TALKING TO ALEXA“… nothing that they propose to do will now be impossible for them.”And then there's my personal assistant — Alexa.I think Alexa is a “she” because she sounds like a she, but then I'm not very woke so I could be terribly wrong and needing to grovel before the truly woke and beg for forgiveness … which probably wouldn't be given, but that's another story.Not wanting to become a phobic something or other, I asked Alexa what her personal pronoun was and she responded, “I'm an AI so I don't have a preference.”Since she doesn't have a preference and since I bought her … she is a she.Back to Alexa and how I use her.If I wonder what the definition of a word is, I just ask Alexa and she tells me.If I want to translate a phrase into another language, I just ask Alexa and she gives me the translation.If I want to know if a local store is open, I just ask Alexa and she tells me the hours of operation and offers to call the store for me.My wife and I have devotions each morning and one of the things we do is read a section from the Bible. We have our Bibles open and then I ask Alexa to read aloud to us. She does.One script I am working on is set in the 1920's and 30's. To help get me get a feel for the time period, I ask to Alexa play songs from those years. It's the music my characters would have listened to.During the day I often ask Alexa to play “inspirational hymns.”Sometimes I just run through a list of songs I remember from my younger days — classics like “Purple People Eater,” “Beep, Beep,” “Love Letters in the Sand,” “When I Fall in Love,” “Itsy, Bitsy, Teenie Weenie Yellow Polkadot Bikini.”You know, the really good stuff.And sometimes I'll ask Alexa to play the songs from a musical — Oklahoma, Man of La Mancha, Fiddler on the Roof, or one of the other musicals I remember from my youth – back in the time when I was considering acting as a possible career.At night, my wife and I like to read a book together. We get comfortable and I ask Alexa to read the current Audible selection we are working through. Alexa picks right up where she left off the previous night.Before I go to bed, I ask Alexa to turn off the lights in the house and set the alarm for the next day. When the alarm goes off in the morning, Alexa gives me an encouraging phrase and tells me the weather report for the day.It's amazing.Yep. I love technology.But … there are some concerns with Alexa.She listens all the time. To everything.Now Amazon promises that she only listens when she “hears” the keyword. But that means she has to be listening all the time to hear the keyword.Which begs the question, what does she do with what she hears?Amazon says not to worry. And I can trust Amazon … can't I?Which brings me to today's topic.WE SEE YOUR FACE“… nothing that they propose to do will now be impossible for them.”You've probably heard of facial recognition, but it is amazing how far that technology has come in recent years.A camera — and there are cameras everywhere — captures a picture of you and almost immediately knows who you are and a lot of stuff about you, some of it very personal.Perhaps your phone requires you to take a picture of yourself so you can access its features.Perhaps you have to take a picture of yourself and submit it online in order to use certain products, especially those dealing with your finances.Perhaps you work in a place where facial recognition is used to allow you to enter certain parts of the building.Some of the uses of facial recognition seem helpful.WE SEE YOU COMINGOne company, Cloudastructure, has a product that was particularly useful during the pandemic. Not only would it recognize who was heading into a business, it also would detect if the individual was wearing a mask, maintaining social distancing, and it also used a thermal camera to detect the individual's temperature.Pretty nifty, huh?(NOTE: I did invest in the company.)GOTTCHA!“… nothing that they propose to do will now be impossible for them.”Another company, Clearview AI, has used it's tools to scrape more than 20 billion images from the internet and tied them to names of individuals. The company sells its services to several thousand agencies - mostly law enforcement - around the world.In the U.S. that includes the FBI and the U.S. Department of Homeland Security.Suppose a local police department has a fuzzy picture of a crime being committed that was captured on a business' security camera.If the department is a user of Clearview AI, they submit the image and, if the individual in the picture is in one of those 20 billion images it gathered from the internet, the police department would receive back information about the person in the picture.You can see why law enforcement agencies like this product, but some people are concerned this technology puts our individual privacy at great risk.If you would like to find out more about this company, there is an interview with the founder on YouTube, “Controversial Facial Recognition Founder Opens Up - Clearview A.I.” It's about an hour and one-half, so it's only for those of you who have a lot of time.MAKING TRAVEL EASIER“… nothing that they propose to do will now be impossible for them.”And it's not just identifying bad guys.In Moscow's Metro system, they are testing a face recognition system to pay for a ride. All a traveler has to do is look at the camera near the entry gate, their credit card is charged, and they can board the Metro.Check out the 7 minute video below.Convenient isn't it?No credit cards to pull out of your pocket, or passes that you have to display. Just look at the camera and board the Metro.Isn't technology wonderful?Which brings up the question.WHAT COULD POSSIBLY GO WRONG?Well, China is using the technology to monitor their entire population. Check out the 6 minute video below. This video is almost four years old so you can be certain the technology has become much more powerful.Notice what kind of control facial recognition gives to a government.“… nothing that they propose to do will now be impossible for them.”They know when you leave your house, who you hang around with, if you leave an area where you have been told to stay, if you belong to a certain group, when you go to the market.The technology has developed so it can even read a person's emotions.The citizens are under constant surveillance.“If you have nothing to hide, you have nothing to fear,” the government reassures its citizens.But one writer who was fired from his job says, “You can't do anything the government dislikes.”The government even uses the technology to name and shame individuals who break any law.How would you like your name and photo displayed on a large monitor on a building for everyone to see because you took more toilet paper than you were allowed to use at a restroom, or if you jay walked?That's one of the ways the government tries to discourage crime.STOP AND THINKIt's time to stop and think now.If a government, any government, has access to facial recognition technology, do you think it would use the technology to control the population?“Population” is just another word for you.I don't care if you are Republican or Democrat or Independent.Would the government use such a tool against you?I may have mentioned that I love technology.But I am also terrified about technology as I see the power it can give to a government.TRANSITION for ReviewsI have a recommendation for you. “Created Equal” is a documentary about Clarence Thomas. Most people only know what the media has told them about Clarence Thomas, which is just another way of saying they know very little that is true, if anything at all.Whether you like or dislike Justice Thomas, I would encourage you to watch the movie or read the book or listen to the audible book and learn from Clarence Thomas' own words what it was like for him to grow up in a poor neighborhood, what it was like to experience racism, and many of the experiences that helped him develop as a young man, a lawyer, and eventually a Supreme Court Justice.I love to share some of the articles I read with you. Here are some stories I found interesting recently. I have links to the original sources in the show notes.“War on words: Left seeks to redefine terms like female, pedophile and even recession” by Natalia Mittelstadt. We see this almost daily. If a word makes a “politically correct” action look disgusting, you can solve the problem by changing the definition of the word.“Multiple-Abortion Survivor Says God Helped Her Forgive Birth Parents Who Did Everything to Abort Her” by Louise Chambers. An adopted girl sets out to find her birth parents and why they didn't want her.“Why College Degrees Are Working Against Many Job-Seekers” by Isaac Morehouse. As a former high school administrator, I've counseled many students about their post-high school plans. If you or a friend or family member is considering college, you might want to read this article.Before I go I'd like to share a blessing with you from the Old Testament.“May the Lord bless and protect you; may the Lord's face radiate with joy because of you; may he be gracious to you, show you his favor, and give you his peace.”Numbers 6:24-26 (The Living Bible)Until next time … be the reason someone smiles today!Clint This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit clintmorey.substack.com
Can the Minnesota Vikings' new defensive scheme under Ed Donatell get back to a place where it is consistently stout against the run? Kwesi Adofo-Mensah signed a young Harrison Phillips to answer that. “Horrible Harry” as he is known is coming off his rookie contract and hitting free agency. The big plug in the middle should be hitting his prime with the Vikings much like Lineal Joseph and Pat Williams did years before him. Can he uphold that standard that both of them created and continue to be that immovable object in the middle and stop the run? That's the idea! The roster is full right now as everyone finishes their vacations and is prepping for training camp at the end of the month. We all know the team will have just over a month to decide on who will be on the final 53. Darren saw what Kevin Seifert of ESPN wrote and wants to see if we agree. Will you? Who will be cut, especially knowing that the new regime heading up the Vikings has no ties to them other than to provide them the best opportunity for a free and fair evaluation since they took over? Can those 3rd rounders from last year get a chance to prove themselves, or will they be passed by Kwesi's and Kevin O'Connell's draftees from this year's class? As most Vikings fans know, especially those of us with a grey hair or two, the one Purple People Eater that has yet to make the Hall of Fame has made the finalist list of 25 players to be selected for the class of '23. Is 2023 the year that the great Jim Marshall gets finally selected? Oh, we hope so! You can join us in discussing why he deserves to be there. Will he make it? Darren Campbell and David Stefano are the Two Old Bloggers. Both started their public commentary on the Vikings two decades ago on various blogs. They now do it via live streams on YouTube and Facebook. We appreciate your team fandom and that you take the time to enjoy it with us. Here are the themes for the show: Theme #1 – Can Harrison Phillips fix the Vikings run defense all by himself? Theme #2 – Projecting the Vikings roster in 2022 Theme #3 – Is 2023 Jim Marshall's year? Join us for your Minnesota Vikings talk amongst Two Old Bloggers and join the conversation! Fan with us!!! Come join the @Climb_ThePocket 's & @DailyNorseman's blogger show with Darren @KickassblogVike and Dave @Luft_Krigare, and enjoy an OUTSTANDING brew from @LakeMonsterBrew. _____________________________________________________________________________________ Subscribe to us here! - https://www.youtube.com/climbingthepocket Watch the live show here: https://youtu.be/nxUqJ8P3-HE At Facebook: https://www.facebook.com/climbingthepocket/ https://www.facebook.com/thedailynorseman/ For your beer and food needs: https://www.lakemonsterbrewing.com/ Learn more about your ad choices. Visit podcastchoices.com/adchoices
This might be the best LCA cigar since the Death Bucket
Hello, kaiju lovers! Our season three theme, Ameri-kaiju, “creeps and leaps and slides and glides” along when MIFV MAX member Eric Anderson joins Nate to discuss 1958's The Blob. This was Steve McQueen's debut as a 30-year-old teenager dating the future TV wife of Andy Griffith. This classic of 1950s sci-fi cinema was an independent film produced by a studio known for making religious and educational films, which makes it doubly appropriate that the founder of Nerd Chapel (who's also a substitute teacher) is on today's episode. Being an influential indie film is also probably why, believe it or not. it's in the Criterion Collection. The Toku Topic is a phenomenon related to the true story that inspired this kooky film: star jelly. Check out all things Nerd Chapel here: http://nerdchapel.com/. The “See the Goo” promo was written by The Monster Island Board of Directors. The epilogue, “Ozaki's Message,” was written by Nathan Marchand. Additional music: “The Blob” by The Five Blobs “Pacific Rim” by Niall Stenson “Chant My Name!” by Masaaki Endo “Numbness & Knives” by HoboKa Sound effects sourced from Freesound.org, including those by InspectorJ. Check out Nathan's spinoff podcasts, The Henshin Men and The Power Trip. We'd like to give a shout-out to our MIFV MAX patrons Travis Alexander and Michael Hamilton (co-hosts of Kaiju Weekly); Danny DiManna (author/creator of the Godzilla Novelization Project); Eli Harris (elizilla13); Chris Cooke (host of One Cross Radio); Bex from Redeemed Otaku; Damon Noyes, The Cel Cast, TofuFury, Eric Anderson of Nerd Chapel, and Ted Williams! Thanks for your support! You, too, can join MIFV MAX on Patreon to get this and other perks starting at only $3 a month! Buy official MIFV merch on TeePublic! This episode is approved by Cameron Winter and the Monster Island Board of Directors. Timestamps: Prologue: 0:00-0:47 Intro: 0:47-8:01 Entertaining Info Dump: 8:01-15:12 Toku Talk: 15:12-1:05:11 Promo: 1:05:11-1:05:49 Toku Topic: 1:05:49-1:25:13 Housekeeping & Outro: 1:25:13-1:37:39 Epilogue: 1:37:39-end Podcast Social Media: Twitter (https://twitter.com/TheMonsterIsla1) Facebook (https://www.facebook.com/MonsterIslandFilmVault/) Instagram (https://www.instagram.com/monsterislandfilmvault/) Follow Jimmy on Twitter: @NasaJimmy (https://twitter.com/nasajimmy?lang=en) Follow the Monster Island Board of Directors on Twitter: @MonsterIslaBOD (https://twitter.com/MonsterIslaBOD) Follow the Raymund Martin and the MIFV Legal Team on Twitter: @MIFV_LegalTeam Follow Crystal Lady Jessica on Twitter: @CystalLadyJes1 (https://twitter.com/CrystalLadyJes1) Follow Dr. Dourif on Twitter: @DrDorif (https://twitter.com/DrDoriff) www.MonsterIslandFilmVault.com #JimmyFromNASALives #MonsterIslandFilmVault #Amerikaiju #kaiju #giantmonsters © 2022 Moonlighting Ninjas Media Bibliography/Further Reading: Commentary on The Blob by Jack Harris and Bruce Eder. Criterion Collection blu-ray. Commentary on The Blob by Irwin S. Yeaowrth Jr. and Robert Fields. Criterion Collection blu-ray. Hendershot, Cyndy. “Monster at the Soda Shop: Teenager and Fifties Horror Films.” Images Journal, http://www.imagesjournal.com/issue10/features/monster/text.htm. Kershner, Kate. “What is star jelly?” How Stuff Works, https://science.howstuffworks.com/science-vs-myth/unexplained-phenomena/angel-hair-phenomenon.htm. Marquart, Sarah. “Strange & Unexplained Things in Science: Star Jelly.” Futurism, 27 April 2015, https://futurism.com/strange-unexplained-things-science-star-jelly. Newman, Kim. “It Creeps, It Leaps.” Criterion Collection (blu-ray booklet). Patowary, Kaushik. “Star Jelly: The Mysterious Phenomenon That Inspired ‘The Blob'.” Amusing Planet, 22 Nov. 2019, https://www.amusingplanet.com/2019/11/star-jelly-mysterious-phenomenon-that.html. “Purple People Eater, The.” Wikipedia. (https://en.wikipedia.org/wiki/The_Purple_People_Eater). Schoell, William. Creature Features: Nature Turned Nasty in the Movies. McFarland & Company, Inc., Jefferson, NC, 2008. “Star Jelly.” New Cryptozoology Wiki. (https://new-cryptozoology.fandom.com/wiki/Star_Jelly). “Star Jelly.” Wikipedia. (https://en.wikipedia.org/wiki/Star_jelly). Thomas, Archie. “What is Star Jelly?” Plantlife, 29 Oct. 2019, https://www.plantlife.org.uk/uk/blog/what-is-star-jelly. Warren, Bill. Keep Watching the Skies! American Science Fiction Movies of the Fifties. McFarland & Company, Inc., Jefferson, NC, 2010. “How ‘The Blob' Popularized Teen Horror Film.” Screenhub Entertainment, 2019 Oct. 23, https://tinyurl.com/3sxkbnh2. Wiki Pages on The Blob (1958): IMDB (https://www.imdb.com/title/tt0051418/) Wikipedia (https://en.wikipedia.org/wiki/The_Blob)
A highly enjoyable sift through the mountain of emails you've sent in over the last few weeks with some absolutely corking questions to answer. In this week's footage we lurch from poaching to doughnuts (or should that be donuts?), we separate our vets from our vets, and we discover the meaning of ‘lief'. There are also musical interludes from hungry monsters, limericks, and a handsome trio of words to add to your arsenal. A Somethin' Else production. We love answering your wordy questions on the show so please do keep sending them in to purple@somethinelse.com To buy SRWP mugs and more head to.... https://kontraband.shop/collections/something-rhymes-with-purple If you would like to join the Purple Plus Club on Apple Subs please follow this link https://podcasts.apple.com/gb/podcast/something-rhymes-with-purple/id1456772823 and make sure that you are running the most up-to-date IOS on your computer/device otherwise it won't work. Susie's Trio Polylogise – to talk too much Witzelsucht – a feeble attempt at humour Siffilate – to speak in whispers Learn more about your ad choices. Visit megaphone.fm/adchoices
Denim and Pearls - Purple People Eater - S05E04 Purple is the combination of red and blue. Our emotions and reactions tend be just as mixed. It's your choice. This show brought to you by: https://iBuildSeo.com | https://A2Promos.com | https://Ink182.com | https://EmbellishedButterfly.com | https://europeanheels.com/discount/marcell Please subscribe to their podcast at: iTunes:https://tinyurl.com/2p8cbu55 iHeart: https://tinyurl.com/4d8rn525 Follow them at: Website: https://denimandpearlslive.com YouTube: DenimAndPearlsLive Facebook: @denimandpearlslive Instagram: @denimandpearlslive LinkedIn:@denimandpearlslive
In this very special episode, Phil and Keith talk about Season 4, Episode 6 of Family Ties. They discuss college, Sears, sculpture, Nick, Podchaser, comics, Purple People Eater, bullies, 80s fashion, a guest star, and more.
I said Mr. Purple People Eater, don't eat meI heard him say in a voice so gruff"I wouldn't eat you 'cause you're so tough" Thank you Sheb Wooley for the visual, but @deacon_ayurveda has something else to say about it. Also, this week we do another deep dive into a listener question, and it prompted us to dream up a new, much-needed app. Listen in to find out more. Also, if you want us to talk about something that you wonder about, email us at info@imnotgonnalie.comTopics covered:-Girls night out recap-The "Boyfriend Experience"-Who doesn't love The Chase?-There's no place for slut-shaming-What is between pain and joy?This episode was produced by audio ephemera. I'm Not Gonna Lie is a proud member of the NorCal Pods podcast network.
The CLO knows toys and Shirley is shocked! Learn more about your ad-choices at https://www.iheartpodcastnetwork.com
Episode 522 The album has been getting some positive feedback. New Facebook like. Sports - Jim Rome fields emails about Kansas and Halloween. A rant against "Let's Go Brandon". "Snowflake Song". The ridiculous rules from PETA. Blind Justice - Poptarts and Alec Baldwin. "The Facebook Wall". Black Tuesday as described by Weird History. More sexual misconduct from Andrew Cuomo. "Andrew Cuomo Song". A reading of "The Ravin" as done by Christopher Walken closes the show. Break music - "Halloween On Military Street" by Insane Clown Posse Rejoiner music - "Purple People Eater" by Sheb Wooley --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/lawrence-ross9/message
This week, Ana's momma, Rebecca, makes a guest appearance to tell the girls all about her trip to Cincinnati, OH, Covington, KY, and Louisville, KY! There are bridges that are walked across, restaurants hidden underneath, frisbee golf, the Bourbon trail, a flea market, and a refreshed connection with a partner. Follow Just a Little Detour on Instagram at @little.detour.podcast! Follow Just a Little Detour on Twitter at @littledetourpod for updates and early quotes from our unreleased episodes that might be the title! Follow us on Tiktok at @littledetourpod for some video antics! Send us an email with questions about our trips, tips we have, app suggestions and the like at little.detour.podcast@gmail.com. You can find us on Facebook at facebook.com/justalittledetour. Every Friday, we will be recapping a previous episode and linking all of our app suggestions, hostel/hotel recommendations, as well as restaurant and food places, so head to our page for that! Find Ana Heermann on Instagram at @anabanana625 and on Twitter at @madcowsmoo2! Find Lizbeth De Los Reyes on Instagram at @lizbeth_delosreyes and on Twitter at @lizdelosreyes31! Intro and Outro Music by Caleb Raman. Artwork by Hannah Hull. Find her on Instagram at @hannah.b.hull! Mid-Music by John_Sib from Pixabay Mid-Music by John_Yasutis from Pixabay
Many of our listeners have asked to present more pop songs. So we first decided to define the term “Pop Songs”. Having established that, we'll take you on a grand tour of decades of Pop songs ranging from the standard to the bizarre. Ones that rock the house and ones that touch the heart -- ones that went all the way to the top of the charts and ones that never got off the ground -- but certainly should have. And ones from famous movie scores and ones from Hit New York Musicals. So if ya' like Pop Songs, you're not allowed to miss this Episode!Scattershot Symphony is presented by Watchfire Music watchfiremusic.com
The space race and rock ‘n' roll launched at the same time, so it's no surprise musicians marketed UFOs and the skies for inspiration. While some tunes have focused on rocket men and space cowboys, others have ruminated on the idea of extraterrestrial beings invading earth's orbit. Early rock hits went the route of the novelty song, “Flying Saucers Rock and Roll” and “The Purple People Eater,” while classic rock artists such as David Bowie wrote about UFOs in a grander context.Please consider buying "The Purple People Eater," by Sheb Wooley.
Today Tess and Hannah take a break from the sex talk and instead chat about how Hannah drugged Barry, Tess' inability to learn song lyrics, what magazine cover they want to be on, and decide if a Reddit father is the asshole. Grab and icy cold Purple People Eater (or not), it's Happiness Hour! Take the Toxic Trait Quiz Hannah's Happy 3: The Seven Husbands of Evelyn Hugo https://amzn.to/3DWr2R9 Blue Light Glasses https://amzn.to/3DVHNvH CosRX Pimple Patches https://amzn.to/2YspZrJ Tess' Happy 3: Backyard Bar Wars https://www.trutv.com/shows/backyard-bar-wars NFL Kickoff The Happiness Lab https://www.happinesslab.fm/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/happinesshour/message Support this podcast: https://podcasters.spotify.com/pod/show/happinesshour/support
Show 127 comes at you from the Black Husky Tap Room in Riverwest where Joe Schueller is our guest. We chat about a few topics but how cycling saved Joe's life has to be the best! Talkin' Schmack Charlie WattsMayor Barrett Ambassador to LuxembourgAztalan Flat Out Friday Takeover - https://www.flickr.com/photos/gasmith/albums/72157719731521727 Chewey's Post SSUSA Podcast is the bomb!Stevil and Robot's PodcastTony APe - First and last Teesdale built Schlick??BabyMaker 2.0No Daikaiju for Greg?????https://podcastmke.org - Coming soon in the new spacePlease make sure to check out the show notes at fullspectrumcycling.com Show Guests - Joe Schueller Call in to our Voice Mail at 717-727-2453 and ask the guys a question or leave a comment! Show Beer - Black Husky Elite Trials #692 - Limited Run of a special brew! Shit Worth Doin' Today! - Milwaukee By Bike's 1st Anniversary Party/Ride - The Cooperage at 5:30 - https://www.facebook.com/events/672130710416267/Tomorrow - August 28th - Steel is Real - Milwaukee - https://www.facebook.com/events/2861108800810803 September 10th-12th - Levis Mound Fat-Tire Festival set for at the Levis Trow Mountain Bike Trails! - https://www.facebook.com/events/487540975642339/ September 18th - Daikaiju at XRay Arcade - Milwaukee, WISeptember 25th - Shawano, WI - 9th Annual Bike the Barn Quilts - http://shawanopathways.org Please consider getting something nice for yourself from the Everyday Cycles store! eBikeifying this hand trike! JK's Purple People Eater is back prowling the streets Bikes! On the stand, The Last Medium, Purple APe that Teesdale Made. Likely going to Tony!New Build - Large Schlick Tatanka, Orange.Schlick FatbikesChumba USA Stella Ti V3 Medium DemoTeesdale Road Frame and Fork - 56cm - Currently bare frame ready for paint or powderRoll C:1 British Racing Green - LargeA bunch of Schlick Growler (Zen Bicycle Fabrications AR 45) frames for custom builds - Al bought one!29+ Schlick Cycles frames for custom buildsContact info@everydaycycles.com Haven't had a photo of Sven for a while. Call-in to 717-727-2453 and leave us a message about how cycling is making your life better! Disclosure: Some of the links on this page are affiliate links. Clicking these and making a purchase will directly support Full Spectrum Cycling. Thanks!
When you think of "man-eater" a few animals come to mind: Lions, Tigers, and Bears....but what about an Eagle that regularly takes down 300 pound prey? Oh my! ..In this episode of Dirty Bird Podcast, I talk with Tim about the now extinct but still terrifying Haast's Eagle, the largest Eagle to ever exist. According to Maori legend, this bird was known to prey on humans. We also talk about another extinct giant: Eyles's Harrier, the largest Harrier to ever exist. Why did New Zealand produce so many giant bird species? How did the Maori combat these fearsome creatures? And how crazy of a coincidence is it that the Eagles from Lord of the Rings actually seemed to exist on the very place where the movies were filmed?! Find out answers to these questions and more on Dirty Bird Podcast!....Reproduction of Haast's Eagle call made by Piers Gilbertson and is from McPherson Natural History Unit Sound Archive. Other sounds from Freesound.org: Wind, synthesized, A by InspectorJ, Digging1 by cameronmusic , Maori Dawn Ceremony to from Te Atatū Sound Project recorded by simongray, Steps on wooden branch by julius_galla, Stabbing sound by Podcapocalipsis..Intro music by Ricky Pistone and Outro music by the Sidewalk Slammers. Check them out where ever you get your music. ..Send listener mail, recordings, or really anything to dirtybirdpodcast@gmail.com and follow on instagram @dirtybirdpodcast for some great bird pics! ..Cover art from wpclipart.com and is in the public domain.
We finally say adios to one of the catfishes and remain amused on Joey's wholesome lack of knowledge about the eggplant emoji. Also, two new players enter the arena as the credits roll! Like and Subscribe here and on: YouTube - http://youtube.com/c/theangiechuSpotify - https://open.spotify.com/show/5cpN7te6IumEd78olqcuVkApple Pods - https://podcasts.apple.com/us/podcast/bananas-toast/id1507615062Google Pods - https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5idXp6c3Byb3V0LmNvbS8xMDA0ODk2LnJzcw==Follow us on Twitter!:@TheAngieChu@PapaD618
The show features audio from After Earth 2013, Raya and the Last Dragon 2021, Phylis Diller comedy, The Purple People Eater by Sheb Wooley. Honest review of Disney's new animated film. Email: seriesoflivesinc@gmail.com Facebook: https://www.facebook.com/kiarakaihorowitzwriter
We have one last jam for the night to send off Mike's purple Grote!!! It gets a little crazy. Warning Volume is all over the place!!!!
“Spell It M-A-N” (January 6, 1993) You might be surprised to learn that Doogie Howser M.D. only lasted four seasons and 97 episodes, but perhaps because Neil Patrick Harris has continued to be famous ever since, the show casts a lot longer of a shadow than it might otherwise. This fourth-season episode deals with Vinnie (Max Casella) being horrified to learn that his college roommate is gay, and because NPH is himself an out gay man, it plays out a lot different today. All this plus a special appearance by Teen Witch herself, Robyn Lively! Listen to the episode of Smart Mouth explains the history of Pocky to food writer Tien Nguyen. Listen to Monday Afternoon Movie’s special tribute to the late, great Cloris Leachman. Listen to Drew’s 80s music podcast and its new episode about South African synthop. Drew was on this week’s Talking Simpsons, discusses Sophie Krustofsky and Drew Barrymore. And finally, if you want to know what the hell Drew was talking about at the end of this one, listen to Astonishing Legends’ series on the Black-Eyed Kids... if you dare. You can actually watch the entirety of Neil Patrick Harris cinematic masterpiece Purple People Eater right now on YouTube. Check out the cover art they picked for the very not gay third season of Doogie Howser. There is not a single accepted explanation for what prostitutes have to do with pasta puttanesca, and don’t believe anyone who tells you otherwise. Before there were The Croods, there was Cro. This is the Drider of which Glen speaks. Watch Drew’s video compilation of every LGBT joke ever on the history of The Simpsons. Buy Glen’s movie, Being Frank. Support us on Patreon! Follow: GEE on Facebook • GEE’s Facebook Group • GEE on Twitter • GEE on Instagram • Drew on Twitter • Glen on Twitter Listen: iTunes • Spotify • Stitcher • Google Play • Google Podcasts • Himalaya • TuneIn This episode’s outro track is “Song of Arabia” by Clad, which is actually not available on any streaming service but maybe just listen to it on YouTube?
Lista de emisión de Fabuloseando!! n.º 15 (06/02/2005). La semana pasada se rompió el programa, y estos días intenté recomponerlo, al final conseguí reducir los añicos a dos mitades, que si bien encajan a la perfección, no se mantienen totalmente unidas. En la primera parte de hoy recordamos a Richie Valens, Big Bopper y Buddy Holly que fallecieron el 3 de febrero de 1959 en un accidente de avión, lo que se conoció como "el día que la música murió". 01. Don McLean. American Pie. 02. Richie Valens. La Bamba. 03. Richie Valens. Oh, Donna. 04. Richie Valens. Come on Let's go 05. Big Bopper. Chantilly Lace. 06. Big Bopper. Little Red Riding Hood. 07. Big Bopper. Purple People Eater. 08. Buddy Holly. Purple People Eater 09. Buddy Holly. That'll Be the Day 10. Buddy Holly. Oh, Boy 11. Weezer. Buddy Holly. A mi no me gusta mucho hacer promesas porque soy inconstante, y mi, antes prodigiosa memoria, ya no es lo que era. La memoria es muy importante para cumplirlas, es necesario no olvidar que las hemos hecho. 12. Los Piratas. Promesas que no valen nada. 13. P.J. Harvey. This is Love. 14. Marvin Gaye. Me and Mrs. Jones. 15. Charly García. Promesas sobre el bidet. 16. Los Tigres del Norte. My Promise/Mi Promesa. 17. UB 40. Promises And Lies. 18. Carlinhos Brown. Yaba.
"Trekking through the Forlorn Forests of Anundiel, the party have stumbled across the base of operations for the Brigade of Blood, where Ogden's father Latimer, and sister Neola have been captured and forced to fight in the fighting pits." ---Dungeon Master - Justin (@JWRosss on Twitter)Ash (Changeling Path of the Ancestral Guardian Barbarian) - Played by Sam (@D_n_D_n_D)Eclipse of the Moon (Tabaxi Swashbuckler Rogue) - Played by Kate (@_Kate_Russell_)Kisonk (Noose) (Goblin Trickery Domain Cleric) - Played by Garrett (@bliffnut on Twitter) Ogden Boon (Half-Elf Divination Wizard) - Played by CalebLea Greenwood (Halfling Circle of Spores Druid) - Played by Brittany Huge thanks to Blizzard Entertainment and CD Projekt Red for allowing us the use of the soundtracks of their games on our streams.---Mimics & Monstrosities Twitch - https://www.twitch.tv/mimicsnmonstros...Mimics & Monstrosities Twitter - @MimicsNMonstros Mimics & Monstrosities Discord - https://discord.gg/kMyeYRtMimics & Monstrosities Patreon - https://www.patreon.com/mimicsnmonstr...Donate to help us keep this up! - https://streamlabs.com/mimicsnmonstro..You can check out "Sorrow on the Sea" a gothic/cosmic horror adventure set in the Sea of Sorrows in the Ravenloft campaign setting here - Click here
Hey, hi, hello, and WELCOME to the FIRST EVER episode of History of the MCU. Today, Jake and Jenny break down what we saw in the first 2 Marvel Legends episodes and dive into what they predict we will see from WandaVision (premiering January 15th). As we are beginning with our WandaVision watch series, we will release an episode every weekend talking about what went down with our MOST dynamic duo and guessing what may come to pass in Wanda's reality. We expect this show to be a doozy.
Historically Speaking-Uncommon History with an Unconventional Pair
Frequency Hopping Spread Spectrum was invented by one of Hollywood’s greatest beauties. An Associate Justice of the Minnesota State Supreme Court was also known by millions as a Purple People Eater. A record 11 Academy Awards were given to a film based on a book written by a Civil War general. Who were these people? In this episode, we explore 6 individuals who had surprising hidden talents that were wildly different from what they were ultimately known for.Episode Edits: Alan Page played in the NFL for 14 seasons. Ben-Hur was nominated for 12 Academy Awards and won 11. Episode Resources: Books Hedy’s Folly by Richard Rhodes Ecstasy and Me: My Life as a Woman by Hedy Lamarr Painting as a Pastime by Winston Churchill Sir Winston Churchill: His Life and His Paintings by David Coombs and Minnie Churchill Lewis Carroll: A Biography by Morton N. Cohen Alice in Wonderland: All Four Books by Lewis Carroll All Rise: The Remarkable Journey of Alan Page by Bill McGrane Hirohito: A Life From Beginning to End by Hourly History The Sword and The Pen: A Life of Lew Wallace by Ray E. Boomhower Ben-Hur: A Tale of The Christ by Lew Wallace Film Bombshell: The Hedy Lamarr Story Samson and Delilah (1949) – with Hedy LamarrAlice in Wonderland (2010) – Tim Burton Version Ben-Hur (1959) - with Charlton Heston
Wonka style --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/brian-vogel/support
He's a one-eyed, one-horned, flyin' Purple People Eater and he's here to help Neil Patrick Harris save some old peoples' homes on this week's new Monster Mondays! Find new episodes every Wednesday at www.filmseizure.com Follow us on Facebook: www.facebook.com/filmseizure/ Follow us on Twitter: twitter.com/FilmSeizure Follow us on Instagram: www.instagram.com/filmseizure/ You can now find us on YouTube as well! The Film Seizure Channel can be found here: www.youtube.com/channel/UC76z5r6ci71xQnlCs-fzhvQ
Get ready for our Halloween special! We're going to be talkin' and playin' some of our favorite Halloweeny novelty tunes and we're avoiding stuff like Monster Mash, Purple People Eater and others of their ilk. Not that we don't love them too.. it's just that we're giving some love to lesser known classics on this episode. Put on you're dancing boots and join Luis and Glenn on the very first Very Suspect Podcast about Halloween Novelty Tunes !! Featuring awesome clips from ghoul-istic tunes:Kac-Ties "Mr. Werewolf"Terry Teen "The Hearse"Jackie Morningstar "Rockin' In The Graveyard"Richard Delvy "The Green Slime" ThemeKip Tyler "She's My Witch"Albert DeSalvo "Strangler In The Night"Boots Walker "They're Here"Billy Lee Riley "Nightmare Mash"Round Robin "I'm The Wolfman"The Crewnecks "Rockin' Zombie"The Symbols "Do The Zombie"P.S. Become a patron here: https://www.patreon.com/SuspectVideo?fan_landing=trueCool audio clips abound including:Opening introduction and closing announcement is by GCOpening and closing music by Trigger Warning. Check them out on Facebook here: https://www.facebook.com/TriggerWarningOfficialBand/Or on Bandcamp here:https://triggerwarningofficialband.bandcamp.com/Support the show (https://www.patreon.com/SuspectVideo)Podcast Image: Jack Davis' monster musicians on the cover of 'Monster Rally' by Hans Conried and Alice Pearce, 1959. Source: eBaySupport the show (https://www.patreon.com/SuspectVideo)
It's Halloween Week! To celebrate the spookiest holiday on the calendar, Michael and Phillip discuss John Carpenter's HALLOWEEN (1978) as well as Halloween, its history, and much more!Topics include: the spooky origins of Halloween (the Holiday) the frightening (not really) origins of Halloween (the movie) A special show-within-a-show all about Halloween candies Facts From Beyond the Scenes!Get a free SMPN Coffee Mug! Just Rate & Review, screenshot the review and email it to us here!The OFFICIAL Slasher Movie Podcast NOW THAT'S WHAT I CALL A HALLOWEEN PLAYLIST:1. Monster Mash by Bobby Pickett & the Crypt-Kickers 2. The Purple People Eater by Sheb Wooley 3. Halloween by Misfits Special thanks to this week's special guest (and executive producer) Alejandro Espinoza. You can check out his art here.--- Send in a voice message: https://anchor.fm/slasher-movie-podcast-now/messageSupport this podcast: https://anchor.fm/slasher-movie-podcast-now/supportSupport the show (https://www.patreon.com/pmtm)
In episode 37, it's more of our Halloween Spooktacular!! We have a few scary urban legends for your listening pleasure! One of our stories this evening is one we have actually experienced, of course embellished but its an experience we will never forget. We have a listeners ghostly story along with pictures on our Facebook and Instagram for you to check out! Our drink of the evening, The Purple People Eater was absolutely amazing! Five skulls for that one! So go listen to this episode and make this drink, you'll thank us!
You know the song, but you definitely don't know what it's actually about; but did the artist even? We dive into the history of the hit novelty song "The Purple People Eater" on this week's episode, and along the way Mike provides an extensive history on the life of both Sheb Wooley and the monster itself, including scenes from the JAW-DROPPING 1988 movie based on the song.
The film "Walk the Line" won Oscars for both its leads, Joaquin Phoenix and Reese Witherspoon, as it chronicled a dark period in the Man in Black's life. The film doesn't mention Ojai by name, but he lived five years in the Ojai Valley, high above Casitas Springs. I spend an hour talking with the superb writer Mark Lewis about Cash's many Ojai stories, starting fires in the Sespe, drinking at the Inn, getting drunk with Sheb Woolley of "Purple People Eater" fame. Meanwhile, we unravel another strange strand of Ojai lore; about how Cash left the Ojai Valley to make the famous "Live at Folsom Prison" album in one of his comebacks that led to another wave of fame for the singer-songwriter. Unlike Cash, Earl Green was an authentic outlaw and murderer, who killed a man with a baseball bat in Ojai. Earl Green narrowly escaped death row and ended up becoming the Folsom prison DJ, where he reached out through prison minister Rev. Floyd Gressett, who, in another small-world turn, knew Johnny Cash as one of his parishioners at his Ventura church. And so Cash's comeback monster success took place, selling 3 million records and returning him to the spotlight. Earl Green's granddaughter knew nothing about her grandfather until she stumbled upon Mark's story about Cash in the Ojai Valley Museum, and was able to learn about his colorful past, rounding out the story. Mark also talks about his taking over from Ilona Saari as the chair of the Ojai Art Center's Literary Branch. We bemoan the social distancing era, and how critical Ojai's sense of community is in our gathering. We also talk about how Eve Babitz makes the case that Los Angeles gives away nothing to New York in the sense of cultural achievement, in which she puts forth the Ojai Music Festival as "Exhibit A." We do not talk about Jackie Robinson, Ed Ruscha or Russian slap fighting.
Episode eighty-six of A History of Rock Music in Five Hundred Songs looks at "LSD-25" by the Gamblers, the first rock song ever to namecheck acid, and a song by a band so obscure no photos exist of them. (The photo here is of the touring lineup of the Hollywood Argyles. Derry Weaver, the Gamblers' lead guitarist, is top left). Patreon backers also have a fifteen-minute bonus episode, on "Papa Oom Mow Mow" by the Rivingtons. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Resources As usual, I have put together a Mixcloud mix with every song excerpted in this podcast. This episode, more than most, required tiny bits of information from dozens of sources. Among those I used were the one existing interview with Derry Weaver I have been able to find, Dean Torrence's autobiography , a book about John Dolphin by his son, and He's A Rebel, a biography of Phil Spector by Mark Ribkowsky. But more than anything else, I used the self-published books by Stephen McParland, who is the premier expert on surf music, and which you can buy in PDF form here. The ones I used the most were The Beach Boys: Inception and Conception, California Confidential, and Surf & Hot-Rod Music Chronicles: Bull Sessions With the Big Daddy. "LSD-25" is on numerous various-artists compilations of surf music, of which this two-CD set looks like the best value for the casual listener. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript On the sixteenth of April, 1943, Albert Hoffman, a research scientist in Zurich, had a curious experience after accidentally touching a tiny speck of the chemical he was experimenting with at the pharmaceutical lab in which he worked, and felt funny afterwards. Three days later, he decided to experiment on himself, and took a tiny dose of the chemical, to see if anything happened. He felt fine at first, but asked a colleague to escort him as he rode home on his bicycle. By the time he got home, he was convinced that his neighbour was a witch and that he had been poisoned. But a few hours later, he felt a little better, though still unusual. As he would later report, "Little by little I could begin to enjoy the unprecedented colors and plays of shapes that persisted behind my closed eyes. Kaleidoscopic, fantastic images surged in on me, alternating, variegated, opening and then closing themselves in circles and spirals, exploding in colored fountains, rearranging and hybridizing themselves in constant flux". The chemical he had taken was a derivative of ergotamine that had been discovered about five years earlier and mostly ignored up until that time, a chemical called D-lysergic acid diethylamide tartrate. Sandoz, the company he worked for, were delighted with this unusual chemical and its effects. They came up with some variants of the molecule without those effects, but which still affected the brain, and marketed those as migraine treatments. The chemical itself, they decided to make available as an experimental drug for psychiatrists and psychologists who wanted to investigate unusual states of consciousness. It found some uptake, among experimenters who wished to experience psychotic symptoms in a controlled environment in order to get a better understanding of their patients, or who wanted to investigate neurochemistry, and it had some promise as a treatment for alcoholism and various other psychiatric illnesses, and throughout the 1950s it was the subject of much medical research, under the trade name Sandoz came up with for it, Delysid. But in the sixties, it became better known as LSD-25: [Excerpt: The Gamblers, "LSD-25"] There are some records that one can look back at retrospectively and see that while they seemed unimportant at the time, they signalled a huge change in the musical culture. The single "Moon Dawg", backed by "LSD-25", by the Gamblers, is one of those records. Unfortunately, everything about the Gamblers is shrouded in mystery. The story I am going to tell here is the one that I've been able to piece together from stray fragments of recollection from the main participants over the years, but it could very well be wrong. Put it this way, on the record, there are two guitarists, bass, drums, and keyboards. I have seen fifteen people credited as having been members of the group that recorded the track. Obviously, those credits can't all be true, so I'm going to go here with the stories of the people who are most commonly credited, but with the caveat that the people I'm talking about could very easily not have been the people on the record. I have also made mistakes about this single before -- there are a couple of errors in the piece on it in my book California Dreaming. Part of the problem is that almost everyone who has laid claim to being involved in the record is -- or was, as many of them have died -- a well-known credit thief, someone who will happily place themselves at the centre of the story, happily put their name on copyright forms for music with which they had no involvement, and then bitterly complain that they were the real unsung geniuses behind other records, but that some evil credit thief stole all their work. The other people involved -- those who haven't said that everything was them and they did everything -- were for the most part jobbing musicians who, when asked about the record, would not even be sure if they'd played on it, because they played on so many records, and weren't asked about them for decades later. Just as one example, Nik Venet, who is generally credited as the producer of this record, said for years that Derry Weaver, the credited co-composer of the song and the person who is generally considered to have played lead guitar on it, was a pseudonym for himself. Later, when confronted with evidence that Derry Weaver was a real person, he admitted that Weaver *had* been a real person, but claimed that it was still a pseudonym for himself. Venet claimed that Weaver had died in a car crash years earlier, and that as a result he had been able to use his social security number on forms to claim himself extra money he wasn't entitled to as a staff producer. The only problem with that story is that Venet died in 1998, while the real Derry Weaver died in 2013, but Weaver only ever did one interview I've been able to track down, in 2001, so Venet's lies went unchallenged, and many books still claim that Weaver never existed. So today, I'm going to tell the story of a music scene, and use a few people as a focus, with the understanding that they may not be the people on the record we're talking about. I'm going to look at the birth of the surf and hot-rod studio scene in LA, and at Bruce Johnston, Kim Fowley, Derry Weaver, Nik Venet, Sandy Nelson, Elliot Ingber, Larry Taylor, Howard Hirsch, and Rod Schaffer, some or all of whom may or may not have been the Gamblers: [Excerpt: The Gamblers, "Moon Dawg"] Possibly the best place to start the story is at University High School, Los Angeles, in the late 1950s. University High had always had more than its fair share of star students over the years -- Judy Garland, Marilyn Monroe, and Elizabeth Taylor had all attended in previous years, and over the succeeding decades members of Sonic Youth, the Doors, Black Flag, the Foo Fighters and the Partridge Family would all attend the school, among many others. But during the period in the late fifties, it had a huge number of students who would go on to define the California lifestyle in the pop culture of the next few years. There was Sandra Dee, who starred in Gidget, the first Beach Party film; Anette Funicello, who starred in most of the other Beach Party films; Randy Newman, who would document another side of California life a few years later; and Nancy Sinatra, who was then just her famous father's daughter, but who would go on to make a series of magnificent records in the sixties with Lee Hazelwood. And there was a vocal group at the school called the Barons, one of the few interracial vocal groups around at the time. They had a black lead singer, Chuck Steele, a Japanese tenor, Wally Yagi, two Jewish boys, Arnie Ginsburg and John Saligman, and two white kids, Jan Berry -- who was the leader of the group, and Dean Torrence, his friend who could sing a little falsetto. As they were all singers, they were backed by three instrumentalists who also went to the school -- Berry's neighbour Bruce Johnston on piano, Torrence's neighbour Sandy Nelson on drums, and Nelson's friend Dave Shostac on saxophone. This group played several gigs together, but slowly split apart as people's mothers wanted them to concentrate on school, or they got cars that they wanted to fix up. In Sandy Nelson's case he was sacked by Berry for playing his drums so loud -- as he packed up his kit for the last time, he told Berry, "You'll see, I'm going to have a hit record that's *only* drums". Slowly they were whittled down to three people -- Berry, Torrence, and Ginsburg, with occasional help from Berry's friend Don Altfeld. The Barons cut a demo tape of a song about a prominent local stripper, named Jennie Lee, but then Torrence decided to sign up with the Army. He'd discovered that if he did six months' basic training and joined the Army Reserves, he would be able to avoid being drafted a short while later. He thought that six months sounded a lot better than two years, so signed up, and he was on basic training when he heard a very familiar sounding record on the radio: [Excerpt: Jan and Arnie, "Jennie Lee"] He was surprised to hear it, and also surprised to hear it credited to "Jan and Arnie" rather than "the Barons". He called Berry, who told him that no, it was a completely new recording -- though Torrence was absolutely certain that he could hear his own voice on there as well. What had happened, according to Jan, was that there'd been a problem with the tape, and he and Arnie had decided to rerecord it. He'd then gone into a professional studio to get the tape cut into an acetate, so he could play it at parties, and someone in the next room had happened to hear it -- and that someone happened to be Joe Lubin. Lubin was the Vice President of Arwin Records, a label owned by Marty Melcher, Doris Day's husband. He told Berry that he would make Jan and Arnie bigger than the Everly Brothers, but Jan didn't believe him, though he let him have a copy of the disc. Jan took his copy to play at a friend's party, where it went down well. That friend was Craig Bruderlin, who later changed his name to James Brolin and became a major film star. Presumably Bruderlin's best friend Ryan O'Neal, who also went to University High, was there as well. I told you, University High School had a lot of future stars. And Jan and Arnie became two more of those stars. Joe Lubin overdubbed extra instruments on the track and released it. He didn't quite make them bigger than the Everly Brothers, but for a while they were almost as big -- at one point, the Everly Brothers were at number one in the charts, number two was Sheb Wooley with "The Purple People Eater", and number three was Jan and Arnie with "Jennie Lee". And Dean Torrence was off in the Army, regretting his choices. We'll be picking up on what happened with those three in a few months' time... But what of the other Barons? The instrumentalists, Bruce Johnston, Dave Shostac, and Sandy Nelson, formed their own band, the Sleepwalkers, with various guitarists sitting in, often a young blues player called Henry Vestine, who had already started taking LSD at this time, though none of the other band members indulged. They would often play parties organised by another University High student, Kim Fowley. Now, Fowley is the person who spoke most about this time on the record, but he was also possibly the least honest person involved in this episode (and, if the accusations made about him since his death are true, also one of the most despicable people in this episode, which is quite a high bar...), so take this with a grain of salt. But Fowley claimed in later years that these parties were his major source of income -- that he would hire sex workers to take fellow University High students who had big houses off to a motel to have sex with them. While the students were otherwise occupied, Fowley would break into their house and move all the furniture, so people could dance, he'd get the band in, and he'd invite everyone to come to the party. Then dope dealers would sell dope to the partygoers, giving Fowley a cut, and meanwhile friends of Fowley's would be outside breaking into the partygoers' cars and stealing their stuff. But then Fowley got arrested -- according to him, for stealing wine from a liquor store owned by a girlfriend who was twice his age, and selling it to other students at the school. He was given a choice of joining the Army or going to prison, and he chose the Army, on the same deal as Dean Torrence, who he ended up going through some of his training with. Meanwhile, Johnston, Shostac, and Nelson were trying to get signed as a band. They went to see John Dolphin on February the first, 1958. We've talked about Dolphin before, in the episodes on Gene and Eunice and the Penguins. Dolphin owned Dolphin's of Hollywood, the biggest black-owned record store in the LA area, and was responsible for a large part of the success of many of the records we've covered, through getting them played on radio shows broadcast from his station. He also owned a series of small labels which would put out one or two singles by an artist before the artist was snapped up by a bigger label. For example, he owned Cash Records, which had put out "Walkin' Stick Boogie", by Jerry Capehart and Eddie and Hank Cochran: [Excerpt: Jerry Capehart and the Cochran Brothers, "Walkin' Stick Boogie"] He also owned a publishing company, which owned the publishing on "Buzz Buzz Buzz" by the Hollywood Flames: [Excerpt: The Hollywood Flames, "Buzz Buzz Buzz"] Johnston, Shostac, and Nelson hoped that maybe they could get signed to one of Dolphin's labels, but they chose the worst possible day to do it. While they were waiting to see Dolphin, they got talking to an older man, Percy Ivy, who started to tell them that Dolphin couldn't be trusted and that he owed Ivy a lot of money. They were used to hearing this kind of thing about people in the music business, and decided they'd go in to see Dolphin anyway. When they did, Ivy came in with them. What happened next is told differently by different people. What's definitely the case is that Ivy and Dolphin got into a heated row. Ivy claimed that Dolphin pulled a knife on him. Witness statements seem confused on the matter, but most say that all that Dolphin had in his hand was a cigar. Ivy pulled out a gun and shot Dolphin -- one shot also hit Shostac in the leg. Sandy Nelson ran out of the room to get help. Johnston comforted the dying Dolphin, but by the time Nelson got back, he was busily negotiating with Ivy, talking about how they were going to make a record together when Ivy got out of jail. One presumes he was trying to humour Ivy, to make sure nobody else got shot. Obviously, with John Dolphin having died, he wasn't going to be running a record company any more. The shop part of his business was, from then on, managed by his assistant, a failed singer called Rudy Ray Moore who later went on to become famous playing the comedy character Dolemite. Then the Sleepwalkers got a call from another acquaintance. Kip Tyler had a band called the Flips who had had some moderate success with rockabilly records produced by Milt Gabler. And this is one of the points where the conflicting narratives become most confusing. According to every one of the few articles I can find about Tyler, before forming the Flips he was the lead singer of the Sleepwalkers, the toughest rock and roll band in the school, when he was at Union High School. According to those same articles, he was born in 1929. So either there were two bands at Union High School, a decade apart, called the Sleepwalkers, one of which was a rock and roll band before the term had been coined; or Tyler was still at high school aged twenty-eight; or someone is deeply mistaken somewhere. Kip and the Flips didn't have much recording success, and kept moving to smaller and smaller labels, but they were considered a hot band in LA -- in particular, they were the house band at Art Laboe's regular shows at El Monte stadium -- the shows which would later be immortalised by the Penguins in "Memories of El Monte". [Excerpt: The Penguins, "Memories of El Monte"] But then the group's piano player, Larry Knechtel, saxophone player, Steve Douglas, and drummer, Mike Bermani, all left to join Duane Eddy's group. Kim Fowley was by this point a roadie and general hanger-on for the Flips, and he happened to know a piano player, a saxophone player, and a drummer who were looking for a gig, and so the Sleepwalkers joined Kip Tyler and guitarist Mike Deasy in the Flips, and took over that role performing at El Monte, performing themselves but also backing other musicians, like Ritchie Valens, who played at these shows. Sandy Nelson didn't stay long in the Flips, though -- he was replaced by another drummer, Jim Troxel, and it was this lineup, with extra sax from Duane Eddy's sax player Jim Horn, that recorded "Rumble Rock": [Excerpt: Kip Tyler, "Rumble Rock"] Nelson's departure from the group coincided with him starting to get a great deal of session work from people who had seen him play live. One of those people was a young man named Harvey Philip Spector, who went by his middle name. Spector went to Fairfax High, a school which had a strong rivalry with University High and produced a similarly ludicrous list of famous people, and he'd got his own little clique of people around him with whom he was making music. These included his best friend Marshall Leib, and sometimes also Leib's girlfriend's younger brother Russ Titelman. Spector and Leib had formed a vocal group, the Teddy Bears, with a girl they knew who then went by a different name but is now called Carol Connors. Their first single was called "To Know Him Is To Love Him", inspired by the epitaph on Spector's father's grave: [Excerpt: The Teddy Bears, "To Know Him is to Love Him"] Sandy Nelson played the drums on that, and the track went to number one. I've also seen some credits say that Bruce Johnston played the bass on it, but at the time Johnston wasn't a bass player, so this seems unlikely. Even though Nelson's playing on the track is absolutely rudimentary, it gave him the cachet to get other gigs, for example playing on Gene Vincent's "Crazy Times" LP: [Excerpt: Gene Vincent, "She She Little Sheila"] Another record Nelson played on reunited him with Bruce Johnston. Kim Fowley was by this point doing some work for American International Pictures, and was asked to come up with an instrumental for a film called Ghost of Dragstrip Hollow, a film about a drag-racing club that have a Halloween party inside a deserted mansion but then discover a real monster has shown up. It's not as fun as it sounds. A songwriter friend of Fowley's named Nik Venet is credited with writing "Geronimo", although Richie Polodor, the guitarist and bass player on the session says he came up with it. Polodor said "There are three guys in the business who really have no scruples whatsoever. They are Bruce Johnston, Kim Fowley and Sandy Nelson. And I was Mr. Scruples... I wrote both Geronimo and Charge, but they were taken away from me. It was all my stuff, but between Nik Venet, Kim Fowley and Bruce Johnston I had no chance. It was cut in my studio. I did all the guitars. I wrote it all and Nik Venet walked away with the credit." Venet did the howls on the track, Johnston played piano, Nelson drums, Polodor guitar and bass, and Fowley produced: [Excerpt: The Renegades, "Geronimo"] Meanwhile, Phil Spector had become disenchanted with being in the Teddy Bears, and had put together a solo instrumental single, under the name Phil Harvey: [Excerpt: Phil Harvey, "Bumbershoot"] Spector wanted a band to play a gig to promote that single, and he put together the Phil Harvey band from the members of another band that Marshall Leib had been in before joining the Teddy Bears. The Moon Dogs had consisted of a singer called Jett Power, guitarists Derry Weaver and Elliot Ingber, and bass player Larry Taylor, along with Leib. Taylor and Ingber joined the Phil Harvey band, along with keyboard player Howard Hirsch, and drummer Rod Schaffer. The Phil Harvey band only played one gig -- the band's concept was apparently a mix of Duane Eddy style rock guitar instrumentals and complex jazz, with the group all dressed as mobsters -- but Kim Fowley happened to be there and liked what he saw, and made a note of some of those musicians as people to work with. Spector, meanwhile, had decided to use his connection with Lester Sill to go and work with Leiber and Stoller, and we'll be picking up that story in a couple of months. Meanwhile, Derry Weaver from the Moon Dogs had started to date Mary Jo Sheeley, the sister of Sharon Sheeley, and Sharon started to take an interest in her little sister's boyfriend and his friends. She suggested that Jett Power change his name to P.J. Proby, and she would regularly have him sing on the demos of her songs in the sixties: [Excerpt: P.J. Proby, "The Other Side of Town"] And she introduced Weaver to Eddie Cochran and Jerry Capehart. Cochran taught Weaver several of the guitar licks he used, and Capehart produced a session for Weaver with Cochran on guitar, Jim Stivers on piano, Guybo Smith on bass and Gene Riggio on drums: [Excerpt: Derry Weaver, "Bad Baby Doll"] That track was not released until decades later, but several other songs by Weaver, with no Cochran involvement, were released on Capehart's own label (under the misspelled name Darry Weaver), and Capehart was Weaver's manager for a little while. Weaver was actually living at the Sheeley residence when they received the phone call saying that Eddie had died and Sharon was in hospital, and it haunted him deeply for the rest of his life. Another record on which Guybo Smith played at this time was one by Sandy Nelson. The Flips had split up by this point -- Mike Deasy had gone on to join Eddie Cochran's backing band, and Bruce Johnston was playing on random sessions, so he was here for what was going to be Nelson's "single that was only drums". It wasn't quite only drums -- as well as Nelson on drums, there was Smith on bass, Johnston on piano, and Polodor on guitar. The musicians on the record have said they all deserved songwriting credit for it, but the writing credit went to Art Laboe and Nelson: [Excerpt: Sandy Nelson, "Teen Beat"] "Teen Beat" went to number four on the charts, and Nelson had a handful of other hits under his own name, including "Let There Be Drums". Less successful was a ballad released under the name "Bruce and Jerry", released on Arwin records after the owner's son, Terry Melcher, had remembered seeing the Sleepwalkers, and was desperate for some more rock and roll success on the label like Jan and Arnie, even though Melcher was a student at Beverly High and, like Fairfax, everyone at Beverly hated people at University High. "Take This Pearl" was sung by Johnston and Jerry Cooper, with backing by Johnston, Shostac, Deasy, Nelson, and bass player Harper Cosby, who would later play for Sam Cooke: [Excerpt: Bruce and Jerry, "Take This Pearl"] "Take This Pearl" by Bruce and Jerry did nothing, but Terry Melcher did think that name sounded good, except maybe it should be Terry instead of Jerry... Meanwhile, Nik Venet had got a production role at World Pacific Records, and he wanted to put together yet another studio group. And this is where some of the confusion comes in. Because this record was important, and everyone later wanted a piece of the credit. According to Nik Venet, the Gamblers were originally going to be called Nik and the Gamblers, and consisted of himself, Bruce Johnston, Sandy Nelson, Larry Taylor, and the great guitarist James Burton, with Richie Polodor engineering, and Kim Fowley involved somehow. Meanwhile, Fowley says he was not involved at all -- and given that this is about the only record in the history of the world that Fowley ever said he *wasn't* on, I tend to believe him. Elliot Ingber said that the group was Ingber, Taylor, Derry Weaver, Howard Hirsch, and Rod Schaffer. Bruce Johnston says he has no memory of the record. I don't know if anyone's ever asked James Burton about it, but it doesn't sound like him playing. Given that the A-side is called "Moon Dawg", that Weaver and Taylor were in a band called The Moondogs that used to play a song called "Moon Dog", and that Weaver is credited as the writer, I think we can assume that the lead guitar is Derry Weaver, and that Elliot Ingber's list of credits is mostly correct. But on the other hand, one of the voices singing the wordless harmonies sounds *very* much like Bruce Johnston to me, and he has a very distinctive voice that I know extremely well. so my guess is that the Gamblers on this occasion were Derry Weaver, Larry Taylor, Elliot Ingber, Bruce Johnston, and either Rod Schaffer or Sandy Nelson -- probably Schaffer, since no-one other than Venet has credited Nelson with being there. I suspect Ingber is understandably misremembering Howard Hirsch being there because Hirsch *did* play on the second Gamblers single. The B-side of the record is credited as written by Weaver and Taylor: [Excerpt: The Gamblers, "LSD-25"] That song is called "LSD-25", and while we have said over and over that there is no first anything in rock music, this is an exception -- that is, without any doubt whatsoever, the first rock and roll record to mention LSD, and so in its way a distant ancestor of psychedelic music. Weaver and Taylor have said in later years that neither of them knew anything about the drug (and it's very clear that Johnston, who takes a very hardline anti-drugs stance, never indulged) -- they've said they read a magazine article about acid and liked the name. On the other hand, Henry Vestine was part of the same circle and he was apparently already taking acid by then, though details are vague (every single article I can find about it uses the same phrasing that Wikipedia does, talking of having taken it with "a close musician friend" -- who might have been one of the Gamblers, but who might not). So the B-side was a milestone in rock music history, and in a different way so was the A-side, just written by Weaver: [Excerpt: The Gamblers, "Moon Dawg"] "Moon Dawg" was a local hit, but sold nothing anywhere outside Southern California, and there were a couple of follow-ups by different lineups of Gamblers, featuring some but never all of the same musicians, along with other people we've mentioned like Fowley. The Gamblers stopped being a thing, and Derry Weaver went off to join another group. Kim Fowley and his friend Gary Paxton had put together a novelty record, "Alley Oop", under the name The Hollywood Argyles, which featured Gaynel Hodge on piano and Sandy Nelson banging a bin lid: [Excerpt: The Hollywood Argyles, "Alley Oop"] That became a hit, and they had to put together a band to tour as the Hollywood Argyles, and Weaver became one of them, as did Marshall Leib. After that Weaver hooked up again with Nik Venet, who started getting him regular session work, as Venet had taken a job at Capitol Records. And Venet doing that suddenly meant that "Moon Dawg" became very important indeed. Even though it had been only a minor success, because Venet owned the rights to the master tape, and also the publishing rights, he got "Moon Dawg" stuck on a various-artists compilation album put out on Capitol, Golden Gassers, which featured big acts like Sam Cooke and the Four Preps, and which exposed the song to a wider audience. Cover versions of it started to sprout up, by people like the Ventures, the Surfaris, and the Beach Boys -- Larry Taylor's brother Mel was the drummer for the Ventures, which might have helped bring the track to their attention, while Nik Venet was the Beach Boys' producer. Indeed, some have claimed that Derry Weaver played on the Beach Boys' version -- he's credited on the session sheets, but nobody involved with the session has ever said if it was actually him, or whether that was just Venet putting down a friend's name to claim some extra money: [Excerpt: The Beach Boys, "Moon Dawg"] While there had been twangy guitar instrumentals before "Moon Dawg", and as I said, there's never a first anything, historians of the surf music genre now generally point to it as the first surf music record ever, and it's as good a choice as any. We won't be seeing anything more from Derry Weaver, who fell into obscurity after a few years of session work, but Bruce Johnston, Larry Taylor, Elliot Ingber, Henry Vestine, Nik Venet, Kim Fowley, Phil Spector, Jan Berry, Terry Melcher, and Dean Torrence will be turning up throughout the sixties, and in some cases later. The records we looked at today were the start of a California music scene that would define American pop music in the sixties. As a final note, I mentioned Gaynel Hodge as the piano player on "Alley Oop". As I was in the middle of writing this episode, I received word that Hodge had died earlier this week. As people who've listened to earlier episodes of this podcast will know, Gaynel Hodge was one of the most important people in the fifties LA vocal group scene, and without him there would have been no Platters, Penguins, or Jesse Belvin. He was also one of the few links between that fifties world of black R&B musicians and the white-dominated sixties LA pop music scene of surf, hot rods, folk rock, and sunshine. He's unlikely to turn up again in more than minor roles in future episodes, but I've made this week's Patreon episode be on another classic record he played on. As well as being an important musician in his own right, Hodge was someone without whom almost none of the music made in LA in the fifties or sixties would have happened. He'll be missed.
Episode eighty-six of A History of Rock Music in Five Hundred Songs looks at “LSD-25” by the Gamblers, the first rock song ever to namecheck acid, and a song by a band so obscure no photos exist of them. (The photo here is of the touring lineup of the Hollywood Argyles. Derry Weaver, the Gamblers’ lead guitarist, is top left). Patreon backers also have a fifteen-minute bonus episode, on “Papa Oom Mow Mow” by the Rivingtons. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources As usual, I have put together a Mixcloud mix with every song excerpted in this podcast. This episode, more than most, required tiny bits of information from dozens of sources. Among those I used were the one existing interview with Derry Weaver I have been able to find, Dean Torrence’s autobiography , a book about John Dolphin by his son, and He’s A Rebel, a biography of Phil Spector by Mark Ribkowsky. But more than anything else, I used the self-published books by Stephen McParland, who is the premier expert on surf music, and which you can buy in PDF form here. The ones I used the most were The Beach Boys: Inception and Conception, California Confidential, and Surf & Hot-Rod Music Chronicles: Bull Sessions With the Big Daddy. “LSD-25” is on numerous various-artists compilations of surf music, of which this two-CD set looks like the best value for the casual listener. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript On the sixteenth of April, 1943, Albert Hoffman, a research scientist in Zurich, had a curious experience after accidentally touching a tiny speck of the chemical he was experimenting with at the pharmaceutical lab in which he worked, and felt funny afterwards. Three days later, he decided to experiment on himself, and took a tiny dose of the chemical, to see if anything happened. He felt fine at first, but asked a colleague to escort him as he rode home on his bicycle. By the time he got home, he was convinced that his neighbour was a witch and that he had been poisoned. But a few hours later, he felt a little better, though still unusual. As he would later report, “Little by little I could begin to enjoy the unprecedented colors and plays of shapes that persisted behind my closed eyes. Kaleidoscopic, fantastic images surged in on me, alternating, variegated, opening and then closing themselves in circles and spirals, exploding in colored fountains, rearranging and hybridizing themselves in constant flux”. The chemical he had taken was a derivative of ergotamine that had been discovered about five years earlier and mostly ignored up until that time, a chemical called D-lysergic acid diethylamide tartrate. Sandoz, the company he worked for, were delighted with this unusual chemical and its effects. They came up with some variants of the molecule without those effects, but which still affected the brain, and marketed those as migraine treatments. The chemical itself, they decided to make available as an experimental drug for psychiatrists and psychologists who wanted to investigate unusual states of consciousness. It found some uptake, among experimenters who wished to experience psychotic symptoms in a controlled environment in order to get a better understanding of their patients, or who wanted to investigate neurochemistry, and it had some promise as a treatment for alcoholism and various other psychiatric illnesses, and throughout the 1950s it was the subject of much medical research, under the trade name Sandoz came up with for it, Delysid. But in the sixties, it became better known as LSD-25: [Excerpt: The Gamblers, “LSD-25”] There are some records that one can look back at retrospectively and see that while they seemed unimportant at the time, they signalled a huge change in the musical culture. The single “Moon Dawg”, backed by “LSD-25”, by the Gamblers, is one of those records. Unfortunately, everything about the Gamblers is shrouded in mystery. The story I am going to tell here is the one that I’ve been able to piece together from stray fragments of recollection from the main participants over the years, but it could very well be wrong. Put it this way, on the record, there are two guitarists, bass, drums, and keyboards. I have seen fifteen people credited as having been members of the group that recorded the track. Obviously, those credits can’t all be true, so I’m going to go here with the stories of the people who are most commonly credited, but with the caveat that the people I’m talking about could very easily not have been the people on the record. I have also made mistakes about this single before — there are a couple of errors in the piece on it in my book California Dreaming. Part of the problem is that almost everyone who has laid claim to being involved in the record is — or was, as many of them have died — a well-known credit thief, someone who will happily place themselves at the centre of the story, happily put their name on copyright forms for music with which they had no involvement, and then bitterly complain that they were the real unsung geniuses behind other records, but that some evil credit thief stole all their work. The other people involved — those who haven’t said that everything was them and they did everything — were for the most part jobbing musicians who, when asked about the record, would not even be sure if they’d played on it, because they played on so many records, and weren’t asked about them for decades later. Just as one example, Nik Venet, who is generally credited as the producer of this record, said for years that Derry Weaver, the credited co-composer of the song and the person who is generally considered to have played lead guitar on it, was a pseudonym for himself. Later, when confronted with evidence that Derry Weaver was a real person, he admitted that Weaver *had* been a real person, but claimed that it was still a pseudonym for himself. Venet claimed that Weaver had died in a car crash years earlier, and that as a result he had been able to use his social security number on forms to claim himself extra money he wasn’t entitled to as a staff producer. The only problem with that story is that Venet died in 1998, while the real Derry Weaver died in 2013, but Weaver only ever did one interview I’ve been able to track down, in 2001, so Venet’s lies went unchallenged, and many books still claim that Weaver never existed. So today, I’m going to tell the story of a music scene, and use a few people as a focus, with the understanding that they may not be the people on the record we’re talking about. I’m going to look at the birth of the surf and hot-rod studio scene in LA, and at Bruce Johnston, Kim Fowley, Derry Weaver, Nik Venet, Sandy Nelson, Elliot Ingber, Larry Taylor, Howard Hirsch, and Rod Schaffer, some or all of whom may or may not have been the Gamblers: [Excerpt: The Gamblers, “Moon Dawg”] Possibly the best place to start the story is at University High School, Los Angeles, in the late 1950s. University High had always had more than its fair share of star students over the years — Judy Garland, Marilyn Monroe, and Elizabeth Taylor had all attended in previous years, and over the succeeding decades members of Sonic Youth, the Doors, Black Flag, the Foo Fighters and the Partridge Family would all attend the school, among many others. But during the period in the late fifties, it had a huge number of students who would go on to define the California lifestyle in the pop culture of the next few years. There was Sandra Dee, who starred in Gidget, the first Beach Party film; Anette Funicello, who starred in most of the other Beach Party films; Randy Newman, who would document another side of California life a few years later; and Nancy Sinatra, who was then just her famous father’s daughter, but who would go on to make a series of magnificent records in the sixties with Lee Hazelwood. And there was a vocal group at the school called the Barons, one of the few interracial vocal groups around at the time. They had a black lead singer, Chuck Steele, a Japanese tenor, Wally Yagi, two Jewish boys, Arnie Ginsburg and John Saligman, and two white kids, Jan Berry — who was the leader of the group, and Dean Torrence, his friend who could sing a little falsetto. As they were all singers, they were backed by three instrumentalists who also went to the school — Berry’s neighbour Bruce Johnston on piano, Torrence’s neighbour Sandy Nelson on drums, and Nelson’s friend Dave Shostac on saxophone. This group played several gigs together, but slowly split apart as people’s mothers wanted them to concentrate on school, or they got cars that they wanted to fix up. In Sandy Nelson’s case he was sacked by Berry for playing his drums so loud — as he packed up his kit for the last time, he told Berry, “You’ll see, I’m going to have a hit record that’s *only* drums”. Slowly they were whittled down to three people — Berry, Torrence, and Ginsburg, with occasional help from Berry’s friend Don Altfeld. The Barons cut a demo tape of a song about a prominent local stripper, named Jennie Lee, but then Torrence decided to sign up with the Army. He’d discovered that if he did six months’ basic training and joined the Army Reserves, he would be able to avoid being drafted a short while later. He thought that six months sounded a lot better than two years, so signed up, and he was on basic training when he heard a very familiar sounding record on the radio: [Excerpt: Jan and Arnie, “Jennie Lee”] He was surprised to hear it, and also surprised to hear it credited to “Jan and Arnie” rather than “the Barons”. He called Berry, who told him that no, it was a completely new recording — though Torrence was absolutely certain that he could hear his own voice on there as well. What had happened, according to Jan, was that there’d been a problem with the tape, and he and Arnie had decided to rerecord it. He’d then gone into a professional studio to get the tape cut into an acetate, so he could play it at parties, and someone in the next room had happened to hear it — and that someone happened to be Joe Lubin. Lubin was the Vice President of Arwin Records, a label owned by Marty Melcher, Doris Day’s husband. He told Berry that he would make Jan and Arnie bigger than the Everly Brothers, but Jan didn’t believe him, though he let him have a copy of the disc. Jan took his copy to play at a friend’s party, where it went down well. That friend was Craig Bruderlin, who later changed his name to James Brolin and became a major film star. Presumably Bruderlin’s best friend Ryan O’Neal, who also went to University High, was there as well. I told you, University High School had a lot of future stars. And Jan and Arnie became two more of those stars. Joe Lubin overdubbed extra instruments on the track and released it. He didn’t quite make them bigger than the Everly Brothers, but for a while they were almost as big — at one point, the Everly Brothers were at number one in the charts, number two was Sheb Wooley with “The Purple People Eater”, and number three was Jan and Arnie with “Jennie Lee”. And Dean Torrence was off in the Army, regretting his choices. We’ll be picking up on what happened with those three in a few months’ time… But what of the other Barons? The instrumentalists, Bruce Johnston, Dave Shostac, and Sandy Nelson, formed their own band, the Sleepwalkers, with various guitarists sitting in, often a young blues player called Henry Vestine, who had already started taking LSD at this time, though none of the other band members indulged. They would often play parties organised by another University High student, Kim Fowley. Now, Fowley is the person who spoke most about this time on the record, but he was also possibly the least honest person involved in this episode (and, if the accusations made about him since his death are true, also one of the most despicable people in this episode, which is quite a high bar…), so take this with a grain of salt. But Fowley claimed in later years that these parties were his major source of income — that he would hire sex workers to take fellow University High students who had big houses off to a motel to have sex with them. While the students were otherwise occupied, Fowley would break into their house and move all the furniture, so people could dance, he’d get the band in, and he’d invite everyone to come to the party. Then dope dealers would sell dope to the partygoers, giving Fowley a cut, and meanwhile friends of Fowley’s would be outside breaking into the partygoers’ cars and stealing their stuff. But then Fowley got arrested — according to him, for stealing wine from a liquor store owned by a girlfriend who was twice his age, and selling it to other students at the school. He was given a choice of joining the Army or going to prison, and he chose the Army, on the same deal as Dean Torrence, who he ended up going through some of his training with. Meanwhile, Johnston, Shostac, and Nelson were trying to get signed as a band. They went to see John Dolphin on February the first, 1958. We’ve talked about Dolphin before, in the episodes on Gene and Eunice and the Penguins. Dolphin owned Dolphin’s of Hollywood, the biggest black-owned record store in the LA area, and was responsible for a large part of the success of many of the records we’ve covered, through getting them played on radio shows broadcast from his station. He also owned a series of small labels which would put out one or two singles by an artist before the artist was snapped up by a bigger label. For example, he owned Cash Records, which had put out “Walkin’ Stick Boogie”, by Jerry Capehart and Eddie and Hank Cochran: [Excerpt: Jerry Capehart and the Cochran Brothers, “Walkin’ Stick Boogie”] He also owned a publishing company, which owned the publishing on “Buzz Buzz Buzz” by the Hollywood Flames: [Excerpt: The Hollywood Flames, “Buzz Buzz Buzz”] Johnston, Shostac, and Nelson hoped that maybe they could get signed to one of Dolphin’s labels, but they chose the worst possible day to do it. While they were waiting to see Dolphin, they got talking to an older man, Percy Ivy, who started to tell them that Dolphin couldn’t be trusted and that he owed Ivy a lot of money. They were used to hearing this kind of thing about people in the music business, and decided they’d go in to see Dolphin anyway. When they did, Ivy came in with them. What happened next is told differently by different people. What’s definitely the case is that Ivy and Dolphin got into a heated row. Ivy claimed that Dolphin pulled a knife on him. Witness statements seem confused on the matter, but most say that all that Dolphin had in his hand was a cigar. Ivy pulled out a gun and shot Dolphin — one shot also hit Shostac in the leg. Sandy Nelson ran out of the room to get help. Johnston comforted the dying Dolphin, but by the time Nelson got back, he was busily negotiating with Ivy, talking about how they were going to make a record together when Ivy got out of jail. One presumes he was trying to humour Ivy, to make sure nobody else got shot. Obviously, with John Dolphin having died, he wasn’t going to be running a record company any more. The shop part of his business was, from then on, managed by his assistant, a failed singer called Rudy Ray Moore who later went on to become famous playing the comedy character Dolemite. Then the Sleepwalkers got a call from another acquaintance. Kip Tyler had a band called the Flips who had had some moderate success with rockabilly records produced by Milt Gabler. And this is one of the points where the conflicting narratives become most confusing. According to every one of the few articles I can find about Tyler, before forming the Flips he was the lead singer of the Sleepwalkers, the toughest rock and roll band in the school, when he was at Union High School. According to those same articles, he was born in 1929. So either there were two bands at Union High School, a decade apart, called the Sleepwalkers, one of which was a rock and roll band before the term had been coined; or Tyler was still at high school aged twenty-eight; or someone is deeply mistaken somewhere. Kip and the Flips didn’t have much recording success, and kept moving to smaller and smaller labels, but they were considered a hot band in LA — in particular, they were the house band at Art Laboe’s regular shows at El Monte stadium — the shows which would later be immortalised by the Penguins in “Memories of El Monte”. [Excerpt: The Penguins, “Memories of El Monte”] But then the group’s piano player, Larry Knechtel, saxophone player, Steve Douglas, and drummer, Mike Bermani, all left to join Duane Eddy’s group. Kim Fowley was by this point a roadie and general hanger-on for the Flips, and he happened to know a piano player, a saxophone player, and a drummer who were looking for a gig, and so the Sleepwalkers joined Kip Tyler and guitarist Mike Deasy in the Flips, and took over that role performing at El Monte, performing themselves but also backing other musicians, like Ritchie Valens, who played at these shows. Sandy Nelson didn’t stay long in the Flips, though — he was replaced by another drummer, Jim Troxel, and it was this lineup, with extra sax from Duane Eddy’s sax player Jim Horn, that recorded “Rumble Rock”: [Excerpt: Kip Tyler, “Rumble Rock”] Nelson’s departure from the group coincided with him starting to get a great deal of session work from people who had seen him play live. One of those people was a young man named Harvey Philip Spector, who went by his middle name. Spector went to Fairfax High, a school which had a strong rivalry with University High and produced a similarly ludicrous list of famous people, and he’d got his own little clique of people around him with whom he was making music. These included his best friend Marshall Leib, and sometimes also Leib’s girlfriend’s younger brother Russ Titelman. Spector and Leib had formed a vocal group, the Teddy Bears, with a girl they knew who then went by a different name but is now called Carol Connors. Their first single was called “To Know Him Is To Love Him”, inspired by the epitaph on Spector’s father’s grave: [Excerpt: The Teddy Bears, “To Know Him is to Love Him”] Sandy Nelson played the drums on that, and the track went to number one. I’ve also seen some credits say that Bruce Johnston played the bass on it, but at the time Johnston wasn’t a bass player, so this seems unlikely. Even though Nelson’s playing on the track is absolutely rudimentary, it gave him the cachet to get other gigs, for example playing on Gene Vincent’s “Crazy Times” LP: [Excerpt: Gene Vincent, “She She Little Sheila”] Another record Nelson played on reunited him with Bruce Johnston. Kim Fowley was by this point doing some work for American International Pictures, and was asked to come up with an instrumental for a film called Ghost of Dragstrip Hollow, a film about a drag-racing club that have a Halloween party inside a deserted mansion but then discover a real monster has shown up. It’s not as fun as it sounds. A songwriter friend of Fowley’s named Nik Venet is credited with writing “Geronimo”, although Richie Polodor, the guitarist and bass player on the session says he came up with it. Polodor said “There are three guys in the business who really have no scruples whatsoever. They are Bruce Johnston, Kim Fowley and Sandy Nelson. And I was Mr. Scruples… I wrote both Geronimo and Charge, but they were taken away from me. It was all my stuff, but between Nik Venet, Kim Fowley and Bruce Johnston I had no chance. It was cut in my studio. I did all the guitars. I wrote it all and Nik Venet walked away with the credit.” Venet did the howls on the track, Johnston played piano, Nelson drums, Polodor guitar and bass, and Fowley produced: [Excerpt: The Renegades, “Geronimo”] Meanwhile, Phil Spector had become disenchanted with being in the Teddy Bears, and had put together a solo instrumental single, under the name Phil Harvey: [Excerpt: Phil Harvey, “Bumbershoot”] Spector wanted a band to play a gig to promote that single, and he put together the Phil Harvey band from the members of another band that Marshall Leib had been in before joining the Teddy Bears. The Moon Dogs had consisted of a singer called Jett Power, guitarists Derry Weaver and Elliot Ingber, and bass player Larry Taylor, along with Leib. Taylor and Ingber joined the Phil Harvey band, along with keyboard player Howard Hirsch, and drummer Rod Schaffer. The Phil Harvey band only played one gig — the band’s concept was apparently a mix of Duane Eddy style rock guitar instrumentals and complex jazz, with the group all dressed as mobsters — but Kim Fowley happened to be there and liked what he saw, and made a note of some of those musicians as people to work with. Spector, meanwhile, had decided to use his connection with Lester Sill to go and work with Leiber and Stoller, and we’ll be picking up that story in a couple of months. Meanwhile, Derry Weaver from the Moon Dogs had started to date Mary Jo Sheeley, the sister of Sharon Sheeley, and Sharon started to take an interest in her little sister’s boyfriend and his friends. She suggested that Jett Power change his name to P.J. Proby, and she would regularly have him sing on the demos of her songs in the sixties: [Excerpt: P.J. Proby, “The Other Side of Town”] And she introduced Weaver to Eddie Cochran and Jerry Capehart. Cochran taught Weaver several of the guitar licks he used, and Capehart produced a session for Weaver with Cochran on guitar, Jim Stivers on piano, Guybo Smith on bass and Gene Riggio on drums: [Excerpt: Derry Weaver, “Bad Baby Doll”] That track was not released until decades later, but several other songs by Weaver, with no Cochran involvement, were released on Capehart’s own label (under the misspelled name Darry Weaver), and Capehart was Weaver’s manager for a little while. Weaver was actually living at the Sheeley residence when they received the phone call saying that Eddie had died and Sharon was in hospital, and it haunted him deeply for the rest of his life. Another record on which Guybo Smith played at this time was one by Sandy Nelson. The Flips had split up by this point — Mike Deasy had gone on to join Eddie Cochran’s backing band, and Bruce Johnston was playing on random sessions, so he was here for what was going to be Nelson’s “single that was only drums”. It wasn’t quite only drums — as well as Nelson on drums, there was Smith on bass, Johnston on piano, and Polodor on guitar. The musicians on the record have said they all deserved songwriting credit for it, but the writing credit went to Art Laboe and Nelson: [Excerpt: Sandy Nelson, “Teen Beat”] “Teen Beat” went to number four on the charts, and Nelson had a handful of other hits under his own name, including “Let There Be Drums”. Less successful was a ballad released under the name “Bruce and Jerry”, released on Arwin records after the owner’s son, Terry Melcher, had remembered seeing the Sleepwalkers, and was desperate for some more rock and roll success on the label like Jan and Arnie, even though Melcher was a student at Beverly High and, like Fairfax, everyone at Beverly hated people at University High. “Take This Pearl” was sung by Johnston and Jerry Cooper, with backing by Johnston, Shostac, Deasy, Nelson, and bass player Harper Cosby, who would later play for Sam Cooke: [Excerpt: Bruce and Jerry, “Take This Pearl”] “Take This Pearl” by Bruce and Jerry did nothing, but Terry Melcher did think that name sounded good, except maybe it should be Terry instead of Jerry… Meanwhile, Nik Venet had got a production role at World Pacific Records, and he wanted to put together yet another studio group. And this is where some of the confusion comes in. Because this record was important, and everyone later wanted a piece of the credit. According to Nik Venet, the Gamblers were originally going to be called Nik and the Gamblers, and consisted of himself, Bruce Johnston, Sandy Nelson, Larry Taylor, and the great guitarist James Burton, with Richie Polodor engineering, and Kim Fowley involved somehow. Meanwhile, Fowley says he was not involved at all — and given that this is about the only record in the history of the world that Fowley ever said he *wasn’t* on, I tend to believe him. Elliot Ingber said that the group was Ingber, Taylor, Derry Weaver, Howard Hirsch, and Rod Schaffer. Bruce Johnston says he has no memory of the record. I don’t know if anyone’s ever asked James Burton about it, but it doesn’t sound like him playing. Given that the A-side is called “Moon Dawg”, that Weaver and Taylor were in a band called The Moondogs that used to play a song called “Moon Dog”, and that Weaver is credited as the writer, I think we can assume that the lead guitar is Derry Weaver, and that Elliot Ingber’s list of credits is mostly correct. But on the other hand, one of the voices singing the wordless harmonies sounds *very* much like Bruce Johnston to me, and he has a very distinctive voice that I know extremely well. so my guess is that the Gamblers on this occasion were Derry Weaver, Larry Taylor, Elliot Ingber, Bruce Johnston, and either Rod Schaffer or Sandy Nelson — probably Schaffer, since no-one other than Venet has credited Nelson with being there. I suspect Ingber is understandably misremembering Howard Hirsch being there because Hirsch *did* play on the second Gamblers single. The B-side of the record is credited as written by Weaver and Taylor: [Excerpt: The Gamblers, “LSD-25”] That song is called “LSD-25”, and while we have said over and over that there is no first anything in rock music, this is an exception — that is, without any doubt whatsoever, the first rock and roll record to mention LSD, and so in its way a distant ancestor of psychedelic music. Weaver and Taylor have said in later years that neither of them knew anything about the drug (and it’s very clear that Johnston, who takes a very hardline anti-drugs stance, never indulged) — they’ve said they read a magazine article about acid and liked the name. On the other hand, Henry Vestine was part of the same circle and he was apparently already taking acid by then, though details are vague (every single article I can find about it uses the same phrasing that Wikipedia does, talking of having taken it with “a close musician friend” — who might have been one of the Gamblers, but who might not). So the B-side was a milestone in rock music history, and in a different way so was the A-side, just written by Weaver: [Excerpt: The Gamblers, “Moon Dawg”] “Moon Dawg” was a local hit, but sold nothing anywhere outside Southern California, and there were a couple of follow-ups by different lineups of Gamblers, featuring some but never all of the same musicians, along with other people we’ve mentioned like Fowley. The Gamblers stopped being a thing, and Derry Weaver went off to join another group. Kim Fowley and his friend Gary Paxton had put together a novelty record, “Alley Oop”, under the name The Hollywood Argyles, which featured Gaynel Hodge on piano and Sandy Nelson banging a bin lid: [Excerpt: The Hollywood Argyles, “Alley Oop”] That became a hit, and they had to put together a band to tour as the Hollywood Argyles, and Weaver became one of them, as did Marshall Leib. After that Weaver hooked up again with Nik Venet, who started getting him regular session work, as Venet had taken a job at Capitol Records. And Venet doing that suddenly meant that “Moon Dawg” became very important indeed. Even though it had been only a minor success, because Venet owned the rights to the master tape, and also the publishing rights, he got “Moon Dawg” stuck on a various-artists compilation album put out on Capitol, Golden Gassers, which featured big acts like Sam Cooke and the Four Preps, and which exposed the song to a wider audience. Cover versions of it started to sprout up, by people like the Ventures, the Surfaris, and the Beach Boys — Larry Taylor’s brother Mel was the drummer for the Ventures, which might have helped bring the track to their attention, while Nik Venet was the Beach Boys’ producer. Indeed, some have claimed that Derry Weaver played on the Beach Boys’ version — he’s credited on the session sheets, but nobody involved with the session has ever said if it was actually him, or whether that was just Venet putting down a friend’s name to claim some extra money: [Excerpt: The Beach Boys, “Moon Dawg”] While there had been twangy guitar instrumentals before “Moon Dawg”, and as I said, there’s never a first anything, historians of the surf music genre now generally point to it as the first surf music record ever, and it’s as good a choice as any. We won’t be seeing anything more from Derry Weaver, who fell into obscurity after a few years of session work, but Bruce Johnston, Larry Taylor, Elliot Ingber, Henry Vestine, Nik Venet, Kim Fowley, Phil Spector, Jan Berry, Terry Melcher, and Dean Torrence will be turning up throughout the sixties, and in some cases later. The records we looked at today were the start of a California music scene that would define American pop music in the sixties. As a final note, I mentioned Gaynel Hodge as the piano player on “Alley Oop”. As I was in the middle of writing this episode, I received word that Hodge had died earlier this week. As people who’ve listened to earlier episodes of this podcast will know, Gaynel Hodge was one of the most important people in the fifties LA vocal group scene, and without him there would have been no Platters, Penguins, or Jesse Belvin. He was also one of the few links between that fifties world of black R&B musicians and the white-dominated sixties LA pop music scene of surf, hot rods, folk rock, and sunshine. He’s unlikely to turn up again in more than minor roles in future episodes, but I’ve made this week’s Patreon episode be on another classic record he played on. As well as being an important musician in his own right, Hodge was someone without whom almost none of the music made in LA in the fifties or sixties would have happened. He’ll be missed.
Maya Washington is a filmmaker (writer/director/producer), actress, writer, poet, Creative Director, and arts educator. She received a BA in Dramatic Arts from the University of Southern California and an MFA in Creative Writing from Hamline University. Her work has garnered awards from Jerome Foundation, Minnesota State Arts Board, Minnesota Film and Television, and others. Maya is dedicated to projects that have a sense of “purpose” in the world, selecting stories that illuminate some aspect of the human experience that is untold, rarely seen, or might benefit from new approaches to issues of diversity and inclusion, primarily in America. On this podcast we discuss her film Through the Banks of the Red Cedar! The story unfolds through the eyes of Maya Washington, Gene's youngest daughter, as she uncovers her father's journey and the impact of this legacy on the present generation. Maya traces her father's footsteps from the segregated South to the North, over the course of a modern football season. As she uncovers both the triumphs and defeats of her father's team, she develops a newly formed appreciation for the game and a deeper connection to her father, just in time to witness MSU Spartan Football team ascend to national prominence 50 years later. The racial demographics seen on the field today are due in large part to Hall of Fame coach Duffy Daugherty’s innovative approach to recruiting African American men from the South to MSU in the 1960s, known as the “Underground Railroad” of college football. The success of MSU’s 1965 and 1966 back-to-back Big Ten and National Champion teams forces America to re-think prejudices that previously kept African American players from earning scholarships or starting positions. The story delves into the triumphs and defeats of Daugherty's integrated team as they finish the season with the historic 1966 "Game of the Century," a 10-10 tie against Notre Dame. Teammates Gene Washington, Bubba Smith , Clinton Jones, and George Webster make history as first round picks in the 1967 draft. Gene Washington and Clinton Jones bring momentum to the Minnesota Vikings, playing in the 1969 Super Bowl alongside legendary teammates Joe Kapp, Alan Page, Carl Eller, Jim Marshall, John Henderson, Oscar Reed, Dave Osborn and Mick Tingelhoff. Maya's interviews with former players recall the highlights of the Minnesota Vikings' "Purple People Eater" years, as well as the racial discrimination black players faced in the league, speaking to the overall impact African American pioneers had on players' rights, including free agency and the right to negotiate salaries. Her appreciation and gratitude for her father grows deeper as together they reveal how what happened 50 years ago is still relevant today. visit www.redcedarmovie.com Awards Minnesota Film & TV LACH Production Reimbursement Grant || Minnesota State Arts Board Artist Initiative Grant || Minnesota State Arts Board Arts Tour Grant || Jerome Foundation MN/NYC Film, Video, and Digital Production Grant || Audience Choice Honorable Mention – MN Made Documentary Feature – MSPIFF || Curated in “Best of Fest” screening for MSPIFF 2018 Official Selection Detroit Free Press Freep Film Festival Louisiana International Film Festival Minneapolis St. Paul International Film Festival Rochester International Film Festival Bentonville Film festival Color of Conversation Film Series, AFI Silver Theatre and Cultural Center Martha’s Vineyard African American Film Festival If you liked this podcast, shoot me an e-mail at filmmakingconversations@mail.com Also, you can check out my documentary The People of Brixton, on Kwelitv here: www.kweli.tv/programs/the-peopl…xton?autoplay=true Damien Swaby Social Media Links: Instagram www.instagram.com/damien_swaby_video_producer/ Twitter twitter.com/DamienSwaby?ref_src…erp%7Ctwgr%5Eauthor Facebook www.facebook.com/Damien-Swaby-213805135363397/
Maya Washington is a filmmaker (writer/director/producer), actress, writer, poet, Creative Director, and arts educator. She received a BA in Dramatic Arts from the University of Southern California and an MFA in Creative Writing from Hamline University. Her work has garnered awards from Jerome Foundation, Minnesota State Arts Board, Minnesota Film and Television, and others.Maya is dedicated to projects that have a sense of “purpose” in the world, selecting stories that illuminate some aspect of the human experience that is untold, rarely seen, or might benefit from new approaches to issues of diversity and inclusion, primarily in America.On this podcast we discuss her film Through the Banks of the Red Cedar! The story unfolds through the eyes of Maya Washington, Gene's youngest daughter, as she uncovers her father's journey and the impact of this legacy on the present generation. Maya traces her father's footsteps from the segregated South to the North, over the course of a modern football season. As she uncovers both the triumphs and defeats of her father's team, she develops a newly formed appreciation for the game and a deeper connection to her father, just in time to witness MSU Spartan Football team ascend to national prominence 50 years later.The racial demographics seen on the field today are due in large part to Hall of Fame coach Duffy Daugherty's innovative approach to recruiting African American men from the South to MSU in the 1960s, known as the “Underground Railroad” of college football. The success of MSU's 1965 and 1966 back-to-back Big Ten and National Champion teams forces America to re-think prejudices that previously kept African American players from earning scholarships or starting positions.The story delves into the triumphs and defeats of Daugherty's integrated team as they finish the season with the historic 1966 "Game of the Century," a 10-10 tie against Notre Dame. Teammates Gene Washington, Bubba Smith , Clinton Jones, and George Webster make history as first round picks in the 1967 draft. Gene Washington and Clinton Jones bring momentum to the Minnesota Vikings, playing in the 1969 Super Bowl alongside legendary teammates Joe Kapp, Alan Page, Carl Eller, Jim Marshall, John Henderson, Oscar Reed, Dave Osborn and Mick Tingelhoff. Maya's interviews with former players recall the highlights of the Minnesota Vikings' "Purple People Eater" years, as well as the racial discrimination black players faced in the league, speaking to the overall impact African American pioneers had on players' rights, including free agency and the right to negotiate salaries. Her appreciation and gratitude for her father grows deeper as together they reveal how what happened 50 years ago is still relevant today.visit www.redcedarmovie.com AwardsMinnesota Film & TV LACH Production Reimbursement Grant || Minnesota State Arts Board Artist Initiative Grant || Minnesota State Arts Board Arts Tour Grant || Jerome Foundation MN/NYC Film, Video, and Digital Production Grant || Audience Choice Honorable Mention – MN Made Documentary Feature – MSPIFF || Curated in “Best of Fest” screening for MSPIFF 2018Official Selection Detroit Free Press Freep Film Festival Louisiana International Film FestivalMinneapolis St. Paul International Film FestivalRochester International Film FestivalBentonville Film festivalColor of Conversation Film Series, AFI Silver Theatre and Cultural CenterMartha's Vineyard African American Film Festival If you liked this podcast, shoot me an e-mail at filmmakingconversations@mail.comAlso, you can check out my documentary The People of Brixton, on Kwelitv here: www.kweli.tv/programs/the-peopl…xton?autoplay=trueDamien Swaby Social Media Links:Instagram www.instagram.com/damien_swaby_video_producer/Twittertwitter.com/DamienSwaby?ref_src…erp%7Ctwgr%5EauthorFacebookwww.facebook.com/Damien-Swaby-213805135363397/
Episode sixty-nine of A History of Rock Music in Five Hundred Songs looks at "Fujiyama Mama" by Wanda Jackson, and the first rock and roller to become "big in Japan" 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 "Purple People Eater" by Sheb Wooley. ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. I have two main sources for this eposode. One is Wanda Jackson's autobiography, Every Night is Saturday Night. The other is this article on "Fujiyama Mama", which I urge everyone to read, as it goes into far more detail about the reasons why the song had the reception it did in Japan. And this compilation collects most of Jackson's important early work. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we begin this episode, a minor content note. I am going to be looking at a song that is, unfortunately, unthinkingly offensive towards Japanese people and culture. If that – or flippant lyrics about the bombings of Hiroshima or Nagasaki – are likely to upset you, be warned. When we left Wanda Jackson six months ago, it looked very much like she might end up being a one-hit wonder. "I Gotta Know" had been a hit, but there hadn't been a successful follow-up. In part this was because she was straddling two different genres -- she was trying to find a way to be successful in both the rock and roll and country markets, and neither was taking to her especially well. In later years, it would be recognised that the music she was making combined some of the best of both worlds -- she was working with a lot of the musicians on the West Coast who would later go on to become famous for creating the Bakersfield Sound, and changing the whole face of country music, and her records have a lot of that sound about them. And at the same time she was also making some extremely hot rockabilly music, but she was just a little bit too country for the rock market, and a little bit too rock for the country market. Possibly the place where she fit in best was among the Sun records acts, and so it's not surprising that she ended up towards the bottom of the bill on the long tour that Jerry Lee Lewis, Carl Perkins and Johnny Cash did over much of North America in early 1957 -- the tour on which Jerry Lee Lewis moved from third billed to top of the bill by sheer force of personality. But it says quite a bit about Jackson that while everyone else talking about that tour discusses the way that some of the men did things like throwing cherry bombs at each other's cars, and living off nothing but whisky, Wanda's principal recollection of the tour in her autobiography is of going to church and inviting all the men along, but Jerry Lee being the only one who would come with her. To a great extent she was shielded from the worst aspects of the men's behaviour by her father, who was still looking after her on the road, and acted as a buffer between her and the worst excesses of her tourmates, but she seems to have been happy with that situation -- she didn't seem to have much desire to become one of the boys, the way many other female rock and roll stars have. She enjoyed making wild-sounding music, but she saw that mostly as a kind of acting -- she didn't think that her onstage persona had to match her offstage behaviour at all. And one of the wildest records she made was "Fujiyama Mama": [Excerpt: Wanda Jackson, "Fujiyama Mama"] "Fujiyama Mama" was written by the rockabilly and R&B songwriter Jack Hammer (whose birth name was the more prosaic Earl Burroughs), who is best known as having been the credited co-writer of "Great Balls of Fire". We didn't talk about him in the episode on that song, because apparently Hammer's only contribution to the song was the title -- he wrote a totally different song with the same title, which Paul Case, who was the music consultant on the film "Jamboree", liked enough to commission Otis Blackwell to write another song of the same name, giving Hammer half the credit. But Hammer did write some songs on his own that became at least moderate successes. For example, he wrote "Rock and Roll Call", which was recorded by Louis Jordan: [Excerpt: Louis Jordan, "Rock and Roll Call"] And "Milkshake Mademoiselle" for Jerry Lee Lewis: [Excerpt, Jerry Lee Lewis, "Milkshake Mademoiselle"] And in 1954, when Hammer was only fourteen, he wrote "Fujiyama Mama", which was originally recorded by Annisteen Allen: [Excerpt: Annisteen Allen, "Fujiyama Mama"] This was a song in a long line of songs about black women's sexuality which lie at the base of rock and roll, though of course, as with several of those songs, it's written by a man, and it's mostly the woman boasting about how much pleasure she's going to give the man -- while it's a sexually aggressive record, this is very much a male fantasy as performed by a woman. Allen was yet another singer in the early days of R&B and rock and roll to have come out of Lucky Millinder's orchestra -- she had been his female singer in the late forties, just after Rosetta Tharpe had left the group, and while Wynonie Harris was their male singer. She'd sung lead on what turned out to be Millinder's last big hit, "I'm Waiting Just For You": [Excerpt: Lucky Millinder and his orchestra, "I'm Waiting Just For You"] After she left Millinder's band, Allen recorded for a variety of labels, with little success, and when she recorded "Fujiyama Mama" in 1954 she was on Capitol -- this was almost unique at the time, as her kind of R&B would normally have come out on King or Apollo or Savoy or a similar small label. In its original version, "Fujiyama Mama" wasn't a particularly successful record, but Wanda Jackson heard it on a jukebox and fell in love with the record. She quickly learned the song and added it to her own act. In 1957, Jackson was in the studio recording a country song called "No Wedding Bells for Joe", written by a friend of hers called Marijohn Wilkin, who would later go on to write country classics like "Long Black Veil": [Excerpt: Wanda Jackson, "No Wedding Bells For Joe"] For the B-side, Jackson wanted to record "Fujiyama Mama", but Ken Nelson was very concerned -- the lyrics about drinking, smoking, and shooting were bad enough for a girl who was not yet quite twenty, the blatant female sexuality was not something that would go down well at all in the country market, and lyrics like "I've been to Nagasaki, Hiroshima too/The things I did to them I can do to you" were horribly tasteless -- and remember, this was little more than a decade after the bombs were dropped on those cities. Nelson really, really, disliked the song, and didn't want Jackson to record it, and while I've been critical of Nelson for making poor repertoire choices for his artists -- Nelson was someone with a great instinct for performers, but a terrible instinct for material -- I can't say I entirely blame him in this instance. But Wanda overruled him -- and then, when he tried to tone down her performance in the studio, she rebelled against that, with the encouragement of her father, who told her "You're the one who wanted to do it, so you need to do it your way". In the last episode about Jackson, we talked about how she'd tried to do her normal growling roar on "Hot Dog! That Made Him Mad!" but was let down by having drunk milk before recording the song. This time, she had no problem, and for the first time in the studio she sang in the voice that she used for her rock and roll songs on stage: [Excerpt: Wanda Jackson, "Fujiyama Mama"] To my ears, Jackson's version of the song is still notably inferior to Allen's version, but it's important to note that this isn't a Georgia Gibbs style white person covering a black artist for commercial success at the instigation of her producer, and copying the arrangement precisely, this is a young woman covering a record she loved, and doing it as a B-side. There's still the racial dynamic at play there, but this is closer to Elvis doing "That's All Right" than to Georgia Gibbs ripping off LaVern Baker or Etta James. It's also closer to Elvis than it is to Eileen Barton, who was the second person to have recorded the song. Barton was a novelty singer, whose biggest hit was "If I Knew You Were Coming I'd Have Baked a Cake" from 1950: [Excerpt: Eileen Barton, "If I Knew You Were Coming I'd Have Baked a Cake"] Barton's version of "Fujiyama Mama" was the B-side to a 1955 remake of "If I Knew You Were Coming I'd Have Baked a Cake", redone as a blues. I've not actually been able to track down a copy of that remake, so I can't play an excerpt -- I'm sure you're all devastated by that. Barton's version, far more than Jackson's, was a straight copy of the original, though the arranger on her version gets rid of most of the Orientalisms in Allen's original recording: [Excerpt: Eileen Barton, "Fujiyama Mama"] I think the difference between Barton's and Jackson's versions simply comes down to their sincerity. Barton hated the song, and thought of it as a terrible novelty tune she was being forced to sing. She did a competent professional job, because she was a professional vocalist, but she would talk later in interviews about how much she disliked the record. Jackson, on the other hand, pushed to do the song because she loved it so much, and she performed the song as she wanted it to be done, and against the wishes of her producer. For all the many, many problematic aspects of the song, which I won't defend at all, that passion does show through in Jackson's performance of it. Jackson's single was released, and did absolutely nothing sales-wise, as was normal for her records at this point. Around this time, she also cut her first album, and included on it a cover version of a song Elvis had recently recorded, "Party", which in her version was retitled "Let's Have a Party": [Excerpt: Wanda Jackson, "Let's Have a Party"] That album also did essentially nothing, and while Jackson continued releasing singles throughout 1958, none of them charted. Ken Nelson didn't even book her in for a single recording session in 1959 -- by that point they'd got enough stuff already recorded that they could keep releasing records by her until her contract ran out, and they didn't need to throw good money after bad by paying for more studio sessions to make records that nobody was going to buy. And then something really strange happened. "Fujiyama Mama" became hugely successful in Japan. Now, nobody seems to have adequately explained quite how this happened. After all, this record was... not exactly flattering about Japanese people, and its first couple of lines seem to celebrate the bombings of Hiroshima and Nagasaki. And it's not as if they didn't know what was being sung. While obviously Jackson was singing in English and most listeners in Japan couldn't speak English, there was a Japanese translation of the lyrics printed on the back sleeve of the single, so most people would at least have had some idea what she was singing about. Yet somehow, the record made number one in Japan. In part, this may just have been simply because any recognition of Japanese culture from an American artist at all might have been seen as a novelty. But also, while in the USA pretty much all the rock and roll hits were sung by men, Japan was developing its own rock and roll culture, and in Japan, most of the big rock and roll stars were teenage girls, of around the same age as Wanda Jackson. Now, I am very far from being an expert on post-war Japanese culture, so please don't take anything I say on the subject as being any kind of definitive statement, but from the stuff I've read (and in particular from a very good, long, article on this particular song that I'm going to link in the liner notes and which I urge you all to read, which goes into the cultural background a lot more than I can here) it seems as if these girls were, for the most part, groomed as manufactured pop stars, and that many of them were recording cover versions of songs in English, which they learned phonetically from the American recordings. For example, here's Izumi Yukimura's version of "Ko Ko Mo": [Excerpt: Izumi Yukimura, "Ko Ko Mo"] In many of these versions, they would sing a verse in the original English, and then a verse in Japanese translation, as you can again hear in that recording: [Excerpt: Izumi Yukimura, "Ko Ko Mo"] Izumi Yuklmura also recorded a version of "Fujiyama Mama", patterned after Jackson's: [Excerpt: Izumi Yukimura, "Fujiyama Mama"] There are many, many things that can be said about these recordings, but the thing that strikes me about them, just as a music listener, and separate from everything else, is how comparatively convincing a rock and roll recording that version of "Fujiyama Mama" actually is. When you compare it to the music that was coming out of places like the UK or Australia or France, it's far more energetic, and shows a far better understanding of the idiom. It's important to note though that part of the reason for this is the peculiar circumstances in Japan at the time. Much of the Japanese entertainment industry in the late forties and fifties had grown up around the US occupying troops who were stationed there after the end of World War II, and those servicemen were more interested in seeing pretty young girls than in seeing male performers. But this meant two things -- it firstly meant that young women were far more likely to be musical performers in Japan than in the US, and it also meant that the Japanese music industry was geared to performers who were performing in American styles -- and so Japanese listeners were accustomed to hearing things like this: [Excerpt: Chiemi Eri, "Rock Around the Clock"] So when a recording by a young woman singing about Japan, however offensively, in a rock and roll style, was released in Japan, the market was ready for it. While in America rock and roll was largely viewed as a male music, in Japan, they were ready for Wanda Jackson. And Jackson, in turn, was ready for Japan. In her autobiography she makes clear that she was the kind of person who would nowadays be called a weeb -- having a fascination with Japanese culture, albeit the stereotyped version she had learned from pop culture. She had always wanted to visit Japan growing up, and when she got there she was amazed to find that they were organising a press conference for her, and that wherever she went there were fans wanting her autograph. Jackson, of course, had no idea about the complex relationship that Japan was having at the time with American culture -- though in her autobiography she talks about visiting a bar over there where Japanese singers were performing country songs -- she just knew that they had latched on, for whatever reason, to an obscure B-side and given her a second chance at success. When Jackson got back from Japan, she put together her own band for the first time -- and unusually for country music at the time, it was an integrated band, with a black pianist. She had to deal with some resistance from her mother, who was an older Southern white woman, but eventually managed to win her round. That pianist, Big Al Downing, later went on to have his own successful career, including a hit single duetting with Esther Phillips: [Excerpt Big Al Downing and Little Esther Phillips, "You'll Never Miss Your Water Until The Well Runs Dry"] Downing also had disco hits in the early seventies, and later had a run of hits on the country charts. Jackson also took on a young guitarist named Roy Clark, who would go on to have a great deal of success himself, as one of the most important instrumentalists in country music, and Clark would later co-star in the hit TV show Hee-Haw, with Buck Owens (who had played on many of Jackson's earlier records). In 1960, Jackson returned to the studio. While she'd not had much commercial success in the US yet, her records were now selling well enough to justify recording more songs with her. But Ken Nelson had a specific condition for any future recordings -- he pointed out that while she'd been recording both rock and roll and country music in her previous sessions, she had only ever charted in the US as a country artist, and she'd been signed as a country artist to Capitol. All her future sessions were going to be purely country, to avoid diluting her brand. Jackson agreed, and so she went into the studio and recorded a country shuffle, "Please Call Today": [Excerpt: Wanda Jackson, "Please Call Today"] But a few weeks later she got a call from Ken Nelson, telling her that she was in the charts -- not with "Please Call Today", but with "Party", the album track she'd recorded three years earlier. She was obviously confused by this, but Nelson explained that a DJ in Iowa had taken up the song and used it as the theme song for his radio show. So many people had called the DJ asking about it that he in turn had called Ken Nelson at Capitol and convinced him to put the track out as a single, and it had made the pop top forty. As a result, Capitol rushed out an album of her previous rockabilly singles, and then got her back into the studio, with her touring band, to record her first proper rock and roll album -- as opposed to her first album, which was a mixture of country and rock, and her second, which was a compilation of previously-released singles. This album was full of cover versions of rock and roll hits from the previous few years, like Elvis' "Hard-Headed Woman", LaVern Baker's "Tweedle Dee", and Buddy Holly's "It Doesn't Matter Any More". And she also recorded a few rock and roll singles, like a cover version of the Robins' "Riot in Cell Block #9". Those sessions also produced what became Jackson's biggest hit single to that point. At the time, Brenda Lee was a big star, and a friend of Jackson. The two had had parallel careers, and Lee was someone else who straddled the boundaries between rockabilly and country, but at the time she had just had a big hit with "I'm Sorry": [Excerpt: Brenda Lee, "I'm Sorry"] That was one of the first recordings in what would become known as "the Nashville Sound", a style of music that was somewhere between country music and middle-of-the-road pop. Wanda had written a song in that style, and since she was now once again being pushed in a rock and roll direction, she thought she would give it to Lee to record. However, she mentioned the song to Ken Nelson when she was in the studio, and he insisted that she let him hear it -- and once he heard it, he insisted on recording it with her, saying that Brenda Lee had enough hits of her own, and she didn't need Wanda Jackson giving her hers. The result was "Right or Wrong", which became her first solo country top ten hit, and all of a sudden she had once again switched styles -- she was now no longer Wanda Jackson the rock and roller, but she was Wanda Jackson the Nashville Sound pop-country singer: [Excerpt: Wanda Jackson, "Right or Wrong"] Unfortunately, Jackson ended up having to give up the songwriting royalties on that record, as she was sued by the company that owned "Wake the Town and Tell the People", which had been a hit in 1955 and had an undeniably similar melody: [Excerpt: Mindy Carson, "Wake the Town and Tell the People"] Even so, her switch to pure country music ended up being good for Jackson. While she would have peaks and troughs in her career, she managed to score another fifteen country top forty hits over the next decade -- although her biggest hit was as a writer rather than a performer, when she wrote "Kickin' Our Hearts Around" for Buck Owens, who had played on many of her sessions early in his career before he went on to become the biggest star in country music: [Excerpt: Buck Owens, "Kickin' Our Hearts Around"] Like almost everything Owens released in the sixties, that went top ten on the country charts. Jackson was a fairly major star in the country field through the sixties, even having her own TV show, but she was becoming increasingly unhappy, and suffering from alcoholism. In the early seventies she and her husband had a religious awakening, and became born-again Christians, and she once again switched her musical style, this time from country music to gospel -- though she would still sing her old secular hits along with the gospel songs on stage. Unfortunately, Capitol weren't interested in putting out gospel material by her, and she ended up moving to smaller and smaller labels, and by the end of the seventies she was reduced to rerecording her old hits for mail-order compilations put out by K-Tel records. But then her career got a second wind. In Europe in the early 1980s there was something of a rockabilly revival, and a Swedish label, Tab Records, got in touch with Jackson and asked her to record a new album of rockabilly music, which led to her touring all over Europe playing to crowds of rockabilly fans. By the nineties, American rockabilly revivalists were taking notice of her as well, and Rosie Flores, a rockabilly artist who would later produce Janis Martin's last sessions, invited Jackson to duet with her on a few songs and tour North America with her: [Excerpt: Wanda Jackson and Rosie Flores, "His Rockin' Little Angel"] In 2003, she recorded her first new album of secular music for the American market for several decades, featuring several of her younger admirers, like the Cramps and Lee Rocker of the Stray Cats. But the most prominent guest star was Elvis Costello, who duetted with her on a song by her old friend Buck Owens: [Excerpt: Elvis Costello and Wanda Jackson, "Crying Time"] After duetting with her, Costello discovered that she wasn't yet in the rock and roll hall of fame, and started lobbying for her inclusion, writing an open letter that says in part: "For heaven's sake, the whole thing risks ridicule and having the appearance of being a little boy's club unless it acknowledges the contribution of one of the first women of rock and roll. “It might be hard to admit, but the musical influence of several male pioneers is somewhat obscure today. Even though their records will always be thrilling, their sound is not really heard in echo. Look around today and you can hear lots of rocking girl singers who owe an unconscious debt to the mere idea of a girl like Wanda. She was standing up on stage with a guitar in her hands and making a sound that was as wild as any rocker, man or woman, while other gals were still asking 'How much is that doggy in the window'" Thanks in large part to Costello's advocacy, Jackson finally made it into the hall of fame in 2009, and that seems to have spurred another minor boost to her career, as she released two albums in the early part of last decade, produced by young admirers -- one produced by Justin Townes Earle, and the other by Jack White. Jackson has been having some health problems recently, and her husband and manager of fifty-six years died in 2017, so she finally retired from live performance in March last year, but she's apparently still working on a new album, produced by Joan Jett, which should be out soon. With luck, she will have a long and happy retirement.
Episode sixty-nine of A History of Rock Music in Five Hundred Songs looks at “Fujiyama Mama” by Wanda Jackson, and the first rock and roller to become “big in Japan” 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 “Purple People Eater” by Sheb Wooley. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. I have two main sources for this eposode. One is Wanda Jackson’s autobiography, Every Night is Saturday Night. The other is this article on “Fujiyama Mama”, which I urge everyone to read, as it goes into far more detail about the reasons why the song had the reception it did in Japan. And this compilation collects most of Jackson’s important early work. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we begin this episode, a minor content note. I am going to be looking at a song that is, unfortunately, unthinkingly offensive towards Japanese people and culture. If that – or flippant lyrics about the bombings of Hiroshima or Nagasaki – are likely to upset you, be warned. When we left Wanda Jackson six months ago, it looked very much like she might end up being a one-hit wonder. “I Gotta Know” had been a hit, but there hadn’t been a successful follow-up. In part this was because she was straddling two different genres — she was trying to find a way to be successful in both the rock and roll and country markets, and neither was taking to her especially well. In later years, it would be recognised that the music she was making combined some of the best of both worlds — she was working with a lot of the musicians on the West Coast who would later go on to become famous for creating the Bakersfield Sound, and changing the whole face of country music, and her records have a lot of that sound about them. And at the same time she was also making some extremely hot rockabilly music, but she was just a little bit too country for the rock market, and a little bit too rock for the country market. Possibly the place where she fit in best was among the Sun records acts, and so it’s not surprising that she ended up towards the bottom of the bill on the long tour that Jerry Lee Lewis, Carl Perkins and Johnny Cash did over much of North America in early 1957 — the tour on which Jerry Lee Lewis moved from third billed to top of the bill by sheer force of personality. But it says quite a bit about Jackson that while everyone else talking about that tour discusses the way that some of the men did things like throwing cherry bombs at each other’s cars, and living off nothing but whisky, Wanda’s principal recollection of the tour in her autobiography is of going to church and inviting all the men along, but Jerry Lee being the only one who would come with her. To a great extent she was shielded from the worst aspects of the men’s behaviour by her father, who was still looking after her on the road, and acted as a buffer between her and the worst excesses of her tourmates, but she seems to have been happy with that situation — she didn’t seem to have much desire to become one of the boys, the way many other female rock and roll stars have. She enjoyed making wild-sounding music, but she saw that mostly as a kind of acting — she didn’t think that her onstage persona had to match her offstage behaviour at all. And one of the wildest records she made was “Fujiyama Mama”: [Excerpt: Wanda Jackson, “Fujiyama Mama”] “Fujiyama Mama” was written by the rockabilly and R&B songwriter Jack Hammer (whose birth name was the more prosaic Earl Burroughs), who is best known as having been the credited co-writer of “Great Balls of Fire”. We didn’t talk about him in the episode on that song, because apparently Hammer’s only contribution to the song was the title — he wrote a totally different song with the same title, which Paul Case, who was the music consultant on the film “Jamboree”, liked enough to commission Otis Blackwell to write another song of the same name, giving Hammer half the credit. But Hammer did write some songs on his own that became at least moderate successes. For example, he wrote “Rock and Roll Call”, which was recorded by Louis Jordan: [Excerpt: Louis Jordan, “Rock and Roll Call”] And “Milkshake Mademoiselle” for Jerry Lee Lewis: [Excerpt, Jerry Lee Lewis, “Milkshake Mademoiselle”] And in 1954, when Hammer was only fourteen, he wrote “Fujiyama Mama”, which was originally recorded by Annisteen Allen: [Excerpt: Annisteen Allen, “Fujiyama Mama”] This was a song in a long line of songs about black women’s sexuality which lie at the base of rock and roll, though of course, as with several of those songs, it’s written by a man, and it’s mostly the woman boasting about how much pleasure she’s going to give the man — while it’s a sexually aggressive record, this is very much a male fantasy as performed by a woman. Allen was yet another singer in the early days of R&B and rock and roll to have come out of Lucky Millinder’s orchestra — she had been his female singer in the late forties, just after Rosetta Tharpe had left the group, and while Wynonie Harris was their male singer. She’d sung lead on what turned out to be Millinder’s last big hit, “I’m Waiting Just For You”: [Excerpt: Lucky Millinder and his orchestra, “I’m Waiting Just For You”] After she left Millinder’s band, Allen recorded for a variety of labels, with little success, and when she recorded “Fujiyama Mama” in 1954 she was on Capitol — this was almost unique at the time, as her kind of R&B would normally have come out on King or Apollo or Savoy or a similar small label. In its original version, “Fujiyama Mama” wasn’t a particularly successful record, but Wanda Jackson heard it on a jukebox and fell in love with the record. She quickly learned the song and added it to her own act. In 1957, Jackson was in the studio recording a country song called “No Wedding Bells for Joe”, written by a friend of hers called Marijohn Wilkin, who would later go on to write country classics like “Long Black Veil”: [Excerpt: Wanda Jackson, “No Wedding Bells For Joe”] For the B-side, Jackson wanted to record “Fujiyama Mama”, but Ken Nelson was very concerned — the lyrics about drinking, smoking, and shooting were bad enough for a girl who was not yet quite twenty, the blatant female sexuality was not something that would go down well at all in the country market, and lyrics like “I’ve been to Nagasaki, Hiroshima too/The things I did to them I can do to you” were horribly tasteless — and remember, this was little more than a decade after the bombs were dropped on those cities. Nelson really, really, disliked the song, and didn’t want Jackson to record it, and while I’ve been critical of Nelson for making poor repertoire choices for his artists — Nelson was someone with a great instinct for performers, but a terrible instinct for material — I can’t say I entirely blame him in this instance. But Wanda overruled him — and then, when he tried to tone down her performance in the studio, she rebelled against that, with the encouragement of her father, who told her “You’re the one who wanted to do it, so you need to do it your way”. In the last episode about Jackson, we talked about how she’d tried to do her normal growling roar on “Hot Dog! That Made Him Mad!” but was let down by having drunk milk before recording the song. This time, she had no problem, and for the first time in the studio she sang in the voice that she used for her rock and roll songs on stage: [Excerpt: Wanda Jackson, “Fujiyama Mama”] To my ears, Jackson’s version of the song is still notably inferior to Allen’s version, but it’s important to note that this isn’t a Georgia Gibbs style white person covering a black artist for commercial success at the instigation of her producer, and copying the arrangement precisely, this is a young woman covering a record she loved, and doing it as a B-side. There’s still the racial dynamic at play there, but this is closer to Elvis doing “That’s All Right” than to Georgia Gibbs ripping off LaVern Baker or Etta James. It’s also closer to Elvis than it is to Eileen Barton, who was the second person to have recorded the song. Barton was a novelty singer, whose biggest hit was “If I Knew You Were Coming I’d Have Baked a Cake” from 1950: [Excerpt: Eileen Barton, “If I Knew You Were Coming I’d Have Baked a Cake”] Barton’s version of “Fujiyama Mama” was the B-side to a 1955 remake of “If I Knew You Were Coming I’d Have Baked a Cake”, redone as a blues. I’ve not actually been able to track down a copy of that remake, so I can’t play an excerpt — I’m sure you’re all devastated by that. Barton’s version, far more than Jackson’s, was a straight copy of the original, though the arranger on her version gets rid of most of the Orientalisms in Allen’s original recording: [Excerpt: Eileen Barton, “Fujiyama Mama”] I think the difference between Barton’s and Jackson’s versions simply comes down to their sincerity. Barton hated the song, and thought of it as a terrible novelty tune she was being forced to sing. She did a competent professional job, because she was a professional vocalist, but she would talk later in interviews about how much she disliked the record. Jackson, on the other hand, pushed to do the song because she loved it so much, and she performed the song as she wanted it to be done, and against the wishes of her producer. For all the many, many problematic aspects of the song, which I won’t defend at all, that passion does show through in Jackson’s performance of it. Jackson’s single was released, and did absolutely nothing sales-wise, as was normal for her records at this point. Around this time, she also cut her first album, and included on it a cover version of a song Elvis had recently recorded, “Party”, which in her version was retitled “Let’s Have a Party”: [Excerpt: Wanda Jackson, “Let’s Have a Party”] That album also did essentially nothing, and while Jackson continued releasing singles throughout 1958, none of them charted. Ken Nelson didn’t even book her in for a single recording session in 1959 — by that point they’d got enough stuff already recorded that they could keep releasing records by her until her contract ran out, and they didn’t need to throw good money after bad by paying for more studio sessions to make records that nobody was going to buy. And then something really strange happened. “Fujiyama Mama” became hugely successful in Japan. Now, nobody seems to have adequately explained quite how this happened. After all, this record was… not exactly flattering about Japanese people, and its first couple of lines seem to celebrate the bombings of Hiroshima and Nagasaki. And it’s not as if they didn’t know what was being sung. While obviously Jackson was singing in English and most listeners in Japan couldn’t speak English, there was a Japanese translation of the lyrics printed on the back sleeve of the single, so most people would at least have had some idea what she was singing about. Yet somehow, the record made number one in Japan. In part, this may just have been simply because any recognition of Japanese culture from an American artist at all might have been seen as a novelty. But also, while in the USA pretty much all the rock and roll hits were sung by men, Japan was developing its own rock and roll culture, and in Japan, most of the big rock and roll stars were teenage girls, of around the same age as Wanda Jackson. Now, I am very far from being an expert on post-war Japanese culture, so please don’t take anything I say on the subject as being any kind of definitive statement, but from the stuff I’ve read (and in particular from a very good, long, article on this particular song that I’m going to link in the liner notes and which I urge you all to read, which goes into the cultural background a lot more than I can here) it seems as if these girls were, for the most part, groomed as manufactured pop stars, and that many of them were recording cover versions of songs in English, which they learned phonetically from the American recordings. For example, here’s Izumi Yukimura’s version of “Ko Ko Mo”: [Excerpt: Izumi Yukimura, “Ko Ko Mo”] In many of these versions, they would sing a verse in the original English, and then a verse in Japanese translation, as you can again hear in that recording: [Excerpt: Izumi Yukimura, “Ko Ko Mo”] Izumi Yuklmura also recorded a version of “Fujiyama Mama”, patterned after Jackson’s: [Excerpt: Izumi Yukimura, “Fujiyama Mama”] There are many, many things that can be said about these recordings, but the thing that strikes me about them, just as a music listener, and separate from everything else, is how comparatively convincing a rock and roll recording that version of “Fujiyama Mama” actually is. When you compare it to the music that was coming out of places like the UK or Australia or France, it’s far more energetic, and shows a far better understanding of the idiom. It’s important to note though that part of the reason for this is the peculiar circumstances in Japan at the time. Much of the Japanese entertainment industry in the late forties and fifties had grown up around the US occupying troops who were stationed there after the end of World War II, and those servicemen were more interested in seeing pretty young girls than in seeing male performers. But this meant two things — it firstly meant that young women were far more likely to be musical performers in Japan than in the US, and it also meant that the Japanese music industry was geared to performers who were performing in American styles — and so Japanese listeners were accustomed to hearing things like this: [Excerpt: Chiemi Eri, “Rock Around the Clock”] So when a recording by a young woman singing about Japan, however offensively, in a rock and roll style, was released in Japan, the market was ready for it. While in America rock and roll was largely viewed as a male music, in Japan, they were ready for Wanda Jackson. And Jackson, in turn, was ready for Japan. In her autobiography she makes clear that she was the kind of person who would nowadays be called a weeb — having a fascination with Japanese culture, albeit the stereotyped version she had learned from pop culture. She had always wanted to visit Japan growing up, and when she got there she was amazed to find that they were organising a press conference for her, and that wherever she went there were fans wanting her autograph. Jackson, of course, had no idea about the complex relationship that Japan was having at the time with American culture — though in her autobiography she talks about visiting a bar over there where Japanese singers were performing country songs — she just knew that they had latched on, for whatever reason, to an obscure B-side and given her a second chance at success. When Jackson got back from Japan, she put together her own band for the first time — and unusually for country music at the time, it was an integrated band, with a black pianist. She had to deal with some resistance from her mother, who was an older Southern white woman, but eventually managed to win her round. That pianist, Big Al Downing, later went on to have his own successful career, including a hit single duetting with Esther Phillips: [Excerpt Big Al Downing and Little Esther Phillips, “You’ll Never Miss Your Water Until The Well Runs Dry”] Downing also had disco hits in the early seventies, and later had a run of hits on the country charts. Jackson also took on a young guitarist named Roy Clark, who would go on to have a great deal of success himself, as one of the most important instrumentalists in country music, and Clark would later co-star in the hit TV show Hee-Haw, with Buck Owens (who had played on many of Jackson’s earlier records). In 1960, Jackson returned to the studio. While she’d not had much commercial success in the US yet, her records were now selling well enough to justify recording more songs with her. But Ken Nelson had a specific condition for any future recordings — he pointed out that while she’d been recording both rock and roll and country music in her previous sessions, she had only ever charted in the US as a country artist, and she’d been signed as a country artist to Capitol. All her future sessions were going to be purely country, to avoid diluting her brand. Jackson agreed, and so she went into the studio and recorded a country shuffle, “Please Call Today”: [Excerpt: Wanda Jackson, “Please Call Today”] But a few weeks later she got a call from Ken Nelson, telling her that she was in the charts — not with “Please Call Today”, but with “Party”, the album track she’d recorded three years earlier. She was obviously confused by this, but Nelson explained that a DJ in Iowa had taken up the song and used it as the theme song for his radio show. So many people had called the DJ asking about it that he in turn had called Ken Nelson at Capitol and convinced him to put the track out as a single, and it had made the pop top forty. As a result, Capitol rushed out an album of her previous rockabilly singles, and then got her back into the studio, with her touring band, to record her first proper rock and roll album — as opposed to her first album, which was a mixture of country and rock, and her second, which was a compilation of previously-released singles. This album was full of cover versions of rock and roll hits from the previous few years, like Elvis’ “Hard-Headed Woman”, LaVern Baker’s “Tweedle Dee”, and Buddy Holly’s “It Doesn’t Matter Any More”. And she also recorded a few rock and roll singles, like a cover version of the Robins’ “Riot in Cell Block #9”. Those sessions also produced what became Jackson’s biggest hit single to that point. At the time, Brenda Lee was a big star, and a friend of Jackson. The two had had parallel careers, and Lee was someone else who straddled the boundaries between rockabilly and country, but at the time she had just had a big hit with “I’m Sorry”: [Excerpt: Brenda Lee, “I’m Sorry”] That was one of the first recordings in what would become known as “the Nashville Sound”, a style of music that was somewhere between country music and middle-of-the-road pop. Wanda had written a song in that style, and since she was now once again being pushed in a rock and roll direction, she thought she would give it to Lee to record. However, she mentioned the song to Ken Nelson when she was in the studio, and he insisted that she let him hear it — and once he heard it, he insisted on recording it with her, saying that Brenda Lee had enough hits of her own, and she didn’t need Wanda Jackson giving her hers. The result was “Right or Wrong”, which became her first solo country top ten hit, and all of a sudden she had once again switched styles — she was now no longer Wanda Jackson the rock and roller, but she was Wanda Jackson the Nashville Sound pop-country singer: [Excerpt: Wanda Jackson, “Right or Wrong”] Unfortunately, Jackson ended up having to give up the songwriting royalties on that record, as she was sued by the company that owned “Wake the Town and Tell the People”, which had been a hit in 1955 and had an undeniably similar melody: [Excerpt: Mindy Carson, “Wake the Town and Tell the People”] Even so, her switch to pure country music ended up being good for Jackson. While she would have peaks and troughs in her career, she managed to score another fifteen country top forty hits over the next decade — although her biggest hit was as a writer rather than a performer, when she wrote “Kickin’ Our Hearts Around” for Buck Owens, who had played on many of her sessions early in his career before he went on to become the biggest star in country music: [Excerpt: Buck Owens, “Kickin’ Our Hearts Around”] Like almost everything Owens released in the sixties, that went top ten on the country charts. Jackson was a fairly major star in the country field through the sixties, even having her own TV show, but she was becoming increasingly unhappy, and suffering from alcoholism. In the early seventies she and her husband had a religious awakening, and became born-again Christians, and she once again switched her musical style, this time from country music to gospel — though she would still sing her old secular hits along with the gospel songs on stage. Unfortunately, Capitol weren’t interested in putting out gospel material by her, and she ended up moving to smaller and smaller labels, and by the end of the seventies she was reduced to rerecording her old hits for mail-order compilations put out by K-Tel records. But then her career got a second wind. In Europe in the early 1980s there was something of a rockabilly revival, and a Swedish label, Tab Records, got in touch with Jackson and asked her to record a new album of rockabilly music, which led to her touring all over Europe playing to crowds of rockabilly fans. By the nineties, American rockabilly revivalists were taking notice of her as well, and Rosie Flores, a rockabilly artist who would later produce Janis Martin’s last sessions, invited Jackson to duet with her on a few songs and tour North America with her: [Excerpt: Wanda Jackson and Rosie Flores, “His Rockin’ Little Angel”] In 2003, she recorded her first new album of secular music for the American market for several decades, featuring several of her younger admirers, like the Cramps and Lee Rocker of the Stray Cats. But the most prominent guest star was Elvis Costello, who duetted with her on a song by her old friend Buck Owens: [Excerpt: Elvis Costello and Wanda Jackson, “Crying Time”] After duetting with her, Costello discovered that she wasn’t yet in the rock and roll hall of fame, and started lobbying for her inclusion, writing an open letter that says in part: “For heaven’s sake, the whole thing risks ridicule and having the appearance of being a little boy’s club unless it acknowledges the contribution of one of the first women of rock and roll. “It might be hard to admit, but the musical influence of several male pioneers is somewhat obscure today. Even though their records will always be thrilling, their sound is not really heard in echo. Look around today and you can hear lots of rocking girl singers who owe an unconscious debt to the mere idea of a girl like Wanda. She was standing up on stage with a guitar in her hands and making a sound that was as wild as any rocker, man or woman, while other gals were still asking ‘How much is that doggy in the window'” Thanks in large part to Costello’s advocacy, Jackson finally made it into the hall of fame in 2009, and that seems to have spurred another minor boost to her career, as she released two albums in the early part of last decade, produced by young admirers — one produced by Justin Townes Earle, and the other by Jack White. Jackson has been having some health problems recently, and her husband and manager of fifty-six years died in 2017, so she finally retired from live performance in March last year, but she’s apparently still working on a new album, produced by Joan Jett, which should be out soon. With luck, she will have a long and happy retirement.
Episode sixty-nine of A History of Rock Music in Five Hundred Songs looks at “Fujiyama Mama” by Wanda Jackson, and the first rock and roller to become “big in Japan” 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 “Purple People Eater” by Sheb Wooley. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. I have two main sources for this eposode. One is Wanda Jackson’s autobiography, Every Night is Saturday Night. The other is this article on “Fujiyama Mama”, which I urge everyone to read, as it goes into far more detail about the reasons why the song had the reception it did in Japan. And this compilation collects most of Jackson’s important early work. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we begin this episode, a minor content note. I am going to be looking at a song that is, unfortunately, unthinkingly offensive towards Japanese people and culture. If that – or flippant lyrics about the bombings of Hiroshima or Nagasaki – are likely to upset you, be warned. When we left Wanda Jackson six months ago, it looked very much like she might end up being a one-hit wonder. “I Gotta Know” had been a hit, but there hadn’t been a successful follow-up. In part this was because she was straddling two different genres — she was trying to find a way to be successful in both the rock and roll and country markets, and neither was taking to her especially well. In later years, it would be recognised that the music she was making combined some of the best of both worlds — she was working with a lot of the musicians on the West Coast who would later go on to become famous for creating the Bakersfield Sound, and changing the whole face of country music, and her records have a lot of that sound about them. And at the same time she was also making some extremely hot rockabilly music, but she was just a little bit too country for the rock market, and a little bit too rock for the country market. Possibly the place where she fit in best was among the Sun records acts, and so it’s not surprising that she ended up towards the bottom of the bill on the long tour that Jerry Lee Lewis, Carl Perkins and Johnny Cash did over much of North America in early 1957 — the tour on which Jerry Lee Lewis moved from third billed to top of the bill by sheer force of personality. But it says quite a bit about Jackson that while everyone else talking about that tour discusses the way that some of the men did things like throwing cherry bombs at each other’s cars, and living off nothing but whisky, Wanda’s principal recollection of the tour in her autobiography is of going to church and inviting all the men along, but Jerry Lee being the only one who would come with her. To a great extent she was shielded from the worst aspects of the men’s behaviour by her father, who was still looking after her on the road, and acted as a buffer between her and the worst excesses of her tourmates, but she seems to have been happy with that situation — she didn’t seem to have much desire to become one of the boys, the way many other female rock and roll stars have. She enjoyed making wild-sounding music, but she saw that mostly as a kind of acting — she didn’t think that her onstage persona had to match her offstage behaviour at all. And one of the wildest records she made was “Fujiyama Mama”: [Excerpt: Wanda Jackson, “Fujiyama Mama”] “Fujiyama Mama” was written by the rockabilly and R&B songwriter Jack Hammer (whose birth name was the more prosaic Earl Burroughs), who is best known as having been the credited co-writer of “Great Balls of Fire”. We didn’t talk about him in the episode on that song, because apparently Hammer’s only contribution to the song was the title — he wrote a totally different song with the same title, which Paul Case, who was the music consultant on the film “Jamboree”, liked enough to commission Otis Blackwell to write another song of the same name, giving Hammer half the credit. But Hammer did write some songs on his own that became at least moderate successes. For example, he wrote “Rock and Roll Call”, which was recorded by Louis Jordan: [Excerpt: Louis Jordan, “Rock and Roll Call”] And “Milkshake Mademoiselle” for Jerry Lee Lewis: [Excerpt, Jerry Lee Lewis, “Milkshake Mademoiselle”] And in 1954, when Hammer was only fourteen, he wrote “Fujiyama Mama”, which was originally recorded by Annisteen Allen: [Excerpt: Annisteen Allen, “Fujiyama Mama”] This was a song in a long line of songs about black women’s sexuality which lie at the base of rock and roll, though of course, as with several of those songs, it’s written by a man, and it’s mostly the woman boasting about how much pleasure she’s going to give the man — while it’s a sexually aggressive record, this is very much a male fantasy as performed by a woman. Allen was yet another singer in the early days of R&B and rock and roll to have come out of Lucky Millinder’s orchestra — she had been his female singer in the late forties, just after Rosetta Tharpe had left the group, and while Wynonie Harris was their male singer. She’d sung lead on what turned out to be Millinder’s last big hit, “I’m Waiting Just For You”: [Excerpt: Lucky Millinder and his orchestra, “I’m Waiting Just For You”] After she left Millinder’s band, Allen recorded for a variety of labels, with little success, and when she recorded “Fujiyama Mama” in 1954 she was on Capitol — this was almost unique at the time, as her kind of R&B would normally have come out on King or Apollo or Savoy or a similar small label. In its original version, “Fujiyama Mama” wasn’t a particularly successful record, but Wanda Jackson heard it on a jukebox and fell in love with the record. She quickly learned the song and added it to her own act. In 1957, Jackson was in the studio recording a country song called “No Wedding Bells for Joe”, written by a friend of hers called Marijohn Wilkin, who would later go on to write country classics like “Long Black Veil”: [Excerpt: Wanda Jackson, “No Wedding Bells For Joe”] For the B-side, Jackson wanted to record “Fujiyama Mama”, but Ken Nelson was very concerned — the lyrics about drinking, smoking, and shooting were bad enough for a girl who was not yet quite twenty, the blatant female sexuality was not something that would go down well at all in the country market, and lyrics like “I’ve been to Nagasaki, Hiroshima too/The things I did to them I can do to you” were horribly tasteless — and remember, this was little more than a decade after the bombs were dropped on those cities. Nelson really, really, disliked the song, and didn’t want Jackson to record it, and while I’ve been critical of Nelson for making poor repertoire choices for his artists — Nelson was someone with a great instinct for performers, but a terrible instinct for material — I can’t say I entirely blame him in this instance. But Wanda overruled him — and then, when he tried to tone down her performance in the studio, she rebelled against that, with the encouragement of her father, who told her “You’re the one who wanted to do it, so you need to do it your way”. In the last episode about Jackson, we talked about how she’d tried to do her normal growling roar on “Hot Dog! That Made Him Mad!” but was let down by having drunk milk before recording the song. This time, she had no problem, and for the first time in the studio she sang in the voice that she used for her rock and roll songs on stage: [Excerpt: Wanda Jackson, “Fujiyama Mama”] To my ears, Jackson’s version of the song is still notably inferior to Allen’s version, but it’s important to note that this isn’t a Georgia Gibbs style white person covering a black artist for commercial success at the instigation of her producer, and copying the arrangement precisely, this is a young woman covering a record she loved, and doing it as a B-side. There’s still the racial dynamic at play there, but this is closer to Elvis doing “That’s All Right” than to Georgia Gibbs ripping off LaVern Baker or Etta James. It’s also closer to Elvis than it is to Eileen Barton, who was the second person to have recorded the song. Barton was a novelty singer, whose biggest hit was “If I Knew You Were Coming I’d Have Baked a Cake” from 1950: [Excerpt: Eileen Barton, “If I Knew You Were Coming I’d Have Baked a Cake”] Barton’s version of “Fujiyama Mama” was the B-side to a 1955 remake of “If I Knew You Were Coming I’d Have Baked a Cake”, redone as a blues. I’ve not actually been able to track down a copy of that remake, so I can’t play an excerpt — I’m sure you’re all devastated by that. Barton’s version, far more than Jackson’s, was a straight copy of the original, though the arranger on her version gets rid of most of the Orientalisms in Allen’s original recording: [Excerpt: Eileen Barton, “Fujiyama Mama”] I think the difference between Barton’s and Jackson’s versions simply comes down to their sincerity. Barton hated the song, and thought of it as a terrible novelty tune she was being forced to sing. She did a competent professional job, because she was a professional vocalist, but she would talk later in interviews about how much she disliked the record. Jackson, on the other hand, pushed to do the song because she loved it so much, and she performed the song as she wanted it to be done, and against the wishes of her producer. For all the many, many problematic aspects of the song, which I won’t defend at all, that passion does show through in Jackson’s performance of it. Jackson’s single was released, and did absolutely nothing sales-wise, as was normal for her records at this point. Around this time, she also cut her first album, and included on it a cover version of a song Elvis had recently recorded, “Party”, which in her version was retitled “Let’s Have a Party”: [Excerpt: Wanda Jackson, “Let’s Have a Party”] That album also did essentially nothing, and while Jackson continued releasing singles throughout 1958, none of them charted. Ken Nelson didn’t even book her in for a single recording session in 1959 — by that point they’d got enough stuff already recorded that they could keep releasing records by her until her contract ran out, and they didn’t need to throw good money after bad by paying for more studio sessions to make records that nobody was going to buy. And then something really strange happened. “Fujiyama Mama” became hugely successful in Japan. Now, nobody seems to have adequately explained quite how this happened. After all, this record was… not exactly flattering about Japanese people, and its first couple of lines seem to celebrate the bombings of Hiroshima and Nagasaki. And it’s not as if they didn’t know what was being sung. While obviously Jackson was singing in English and most listeners in Japan couldn’t speak English, there was a Japanese translation of the lyrics printed on the back sleeve of the single, so most people would at least have had some idea what she was singing about. Yet somehow, the record made number one in Japan. In part, this may just have been simply because any recognition of Japanese culture from an American artist at all might have been seen as a novelty. But also, while in the USA pretty much all the rock and roll hits were sung by men, Japan was developing its own rock and roll culture, and in Japan, most of the big rock and roll stars were teenage girls, of around the same age as Wanda Jackson. Now, I am very far from being an expert on post-war Japanese culture, so please don’t take anything I say on the subject as being any kind of definitive statement, but from the stuff I’ve read (and in particular from a very good, long, article on this particular song that I’m going to link in the liner notes and which I urge you all to read, which goes into the cultural background a lot more than I can here) it seems as if these girls were, for the most part, groomed as manufactured pop stars, and that many of them were recording cover versions of songs in English, which they learned phonetically from the American recordings. For example, here’s Izumi Yukimura’s version of “Ko Ko Mo”: [Excerpt: Izumi Yukimura, “Ko Ko Mo”] In many of these versions, they would sing a verse in the original English, and then a verse in Japanese translation, as you can again hear in that recording: [Excerpt: Izumi Yukimura, “Ko Ko Mo”] Izumi Yuklmura also recorded a version of “Fujiyama Mama”, patterned after Jackson’s: [Excerpt: Izumi Yukimura, “Fujiyama Mama”] There are many, many things that can be said about these recordings, but the thing that strikes me about them, just as a music listener, and separate from everything else, is how comparatively convincing a rock and roll recording that version of “Fujiyama Mama” actually is. When you compare it to the music that was coming out of places like the UK or Australia or France, it’s far more energetic, and shows a far better understanding of the idiom. It’s important to note though that part of the reason for this is the peculiar circumstances in Japan at the time. Much of the Japanese entertainment industry in the late forties and fifties had grown up around the US occupying troops who were stationed there after the end of World War II, and those servicemen were more interested in seeing pretty young girls than in seeing male performers. But this meant two things — it firstly meant that young women were far more likely to be musical performers in Japan than in the US, and it also meant that the Japanese music industry was geared to performers who were performing in American styles — and so Japanese listeners were accustomed to hearing things like this: [Excerpt: Chiemi Eri, “Rock Around the Clock”] So when a recording by a young woman singing about Japan, however offensively, in a rock and roll style, was released in Japan, the market was ready for it. While in America rock and roll was largely viewed as a male music, in Japan, they were ready for Wanda Jackson. And Jackson, in turn, was ready for Japan. In her autobiography she makes clear that she was the kind of person who would nowadays be called a weeb — having a fascination with Japanese culture, albeit the stereotyped version she had learned from pop culture. She had always wanted to visit Japan growing up, and when she got there she was amazed to find that they were organising a press conference for her, and that wherever she went there were fans wanting her autograph. Jackson, of course, had no idea about the complex relationship that Japan was having at the time with American culture — though in her autobiography she talks about visiting a bar over there where Japanese singers were performing country songs — she just knew that they had latched on, for whatever reason, to an obscure B-side and given her a second chance at success. When Jackson got back from Japan, she put together her own band for the first time — and unusually for country music at the time, it was an integrated band, with a black pianist. She had to deal with some resistance from her mother, who was an older Southern white woman, but eventually managed to win her round. That pianist, Big Al Downing, later went on to have his own successful career, including a hit single duetting with Esther Phillips: [Excerpt Big Al Downing and Little Esther Phillips, “You’ll Never Miss Your Water Until The Well Runs Dry”] Downing also had disco hits in the early seventies, and later had a run of hits on the country charts. Jackson also took on a young guitarist named Roy Clark, who would go on to have a great deal of success himself, as one of the most important instrumentalists in country music, and Clark would later co-star in the hit TV show Hee-Haw, with Buck Owens (who had played on many of Jackson’s earlier records). In 1960, Jackson returned to the studio. While she’d not had much commercial success in the US yet, her records were now selling well enough to justify recording more songs with her. But Ken Nelson had a specific condition for any future recordings — he pointed out that while she’d been recording both rock and roll and country music in her previous sessions, she had only ever charted in the US as a country artist, and she’d been signed as a country artist to Capitol. All her future sessions were going to be purely country, to avoid diluting her brand. Jackson agreed, and so she went into the studio and recorded a country shuffle, “Please Call Today”: [Excerpt: Wanda Jackson, “Please Call Today”] But a few weeks later she got a call from Ken Nelson, telling her that she was in the charts — not with “Please Call Today”, but with “Party”, the album track she’d recorded three years earlier. She was obviously confused by this, but Nelson explained that a DJ in Iowa had taken up the song and used it as the theme song for his radio show. So many people had called the DJ asking about it that he in turn had called Ken Nelson at Capitol and convinced him to put the track out as a single, and it had made the pop top forty. As a result, Capitol rushed out an album of her previous rockabilly singles, and then got her back into the studio, with her touring band, to record her first proper rock and roll album — as opposed to her first album, which was a mixture of country and rock, and her second, which was a compilation of previously-released singles. This album was full of cover versions of rock and roll hits from the previous few years, like Elvis’ “Hard-Headed Woman”, LaVern Baker’s “Tweedle Dee”, and Buddy Holly’s “It Doesn’t Matter Any More”. And she also recorded a few rock and roll singles, like a cover version of the Robins’ “Riot in Cell Block #9”. Those sessions also produced what became Jackson’s biggest hit single to that point. At the time, Brenda Lee was a big star, and a friend of Jackson. The two had had parallel careers, and Lee was someone else who straddled the boundaries between rockabilly and country, but at the time she had just had a big hit with “I’m Sorry”: [Excerpt: Brenda Lee, “I’m Sorry”] That was one of the first recordings in what would become known as “the Nashville Sound”, a style of music that was somewhere between country music and middle-of-the-road pop. Wanda had written a song in that style, and since she was now once again being pushed in a rock and roll direction, she thought she would give it to Lee to record. However, she mentioned the song to Ken Nelson when she was in the studio, and he insisted that she let him hear it — and once he heard it, he insisted on recording it with her, saying that Brenda Lee had enough hits of her own, and she didn’t need Wanda Jackson giving her hers. The result was “Right or Wrong”, which became her first solo country top ten hit, and all of a sudden she had once again switched styles — she was now no longer Wanda Jackson the rock and roller, but she was Wanda Jackson the Nashville Sound pop-country singer: [Excerpt: Wanda Jackson, “Right or Wrong”] Unfortunately, Jackson ended up having to give up the songwriting royalties on that record, as she was sued by the company that owned “Wake the Town and Tell the People”, which had been a hit in 1955 and had an undeniably similar melody: [Excerpt: Mindy Carson, “Wake the Town and Tell the People”] Even so, her switch to pure country music ended up being good for Jackson. While she would have peaks and troughs in her career, she managed to score another fifteen country top forty hits over the next decade — although her biggest hit was as a writer rather than a performer, when she wrote “Kickin’ Our Hearts Around” for Buck Owens, who had played on many of her sessions early in his career before he went on to become the biggest star in country music: [Excerpt: Buck Owens, “Kickin’ Our Hearts Around”] Like almost everything Owens released in the sixties, that went top ten on the country charts. Jackson was a fairly major star in the country field through the sixties, even having her own TV show, but she was becoming increasingly unhappy, and suffering from alcoholism. In the early seventies she and her husband had a religious awakening, and became born-again Christians, and she once again switched her musical style, this time from country music to gospel — though she would still sing her old secular hits along with the gospel songs on stage. Unfortunately, Capitol weren’t interested in putting out gospel material by her, and she ended up moving to smaller and smaller labels, and by the end of the seventies she was reduced to rerecording her old hits for mail-order compilations put out by K-Tel records. But then her career got a second wind. In Europe in the early 1980s there was something of a rockabilly revival, and a Swedish label, Tab Records, got in touch with Jackson and asked her to record a new album of rockabilly music, which led to her touring all over Europe playing to crowds of rockabilly fans. By the nineties, American rockabilly revivalists were taking notice of her as well, and Rosie Flores, a rockabilly artist who would later produce Janis Martin’s last sessions, invited Jackson to duet with her on a few songs and tour North America with her: [Excerpt: Wanda Jackson and Rosie Flores, “His Rockin’ Little Angel”] In 2003, she recorded her first new album of secular music for the American market for several decades, featuring several of her younger admirers, like the Cramps and Lee Rocker of the Stray Cats. But the most prominent guest star was Elvis Costello, who duetted with her on a song by her old friend Buck Owens: [Excerpt: Elvis Costello and Wanda Jackson, “Crying Time”] After duetting with her, Costello discovered that she wasn’t yet in the rock and roll hall of fame, and started lobbying for her inclusion, writing an open letter that says in part: “For heaven’s sake, the whole thing risks ridicule and having the appearance of being a little boy’s club unless it acknowledges the contribution of one of the first women of rock and roll. “It might be hard to admit, but the musical influence of several male pioneers is somewhat obscure today. Even though their records will always be thrilling, their sound is not really heard in echo. Look around today and you can hear lots of rocking girl singers who owe an unconscious debt to the mere idea of a girl like Wanda. She was standing up on stage with a guitar in her hands and making a sound that was as wild as any rocker, man or woman, while other gals were still asking ‘How much is that doggy in the window'” Thanks in large part to Costello’s advocacy, Jackson finally made it into the hall of fame in 2009, and that seems to have spurred another minor boost to her career, as she released two albums in the early part of last decade, produced by young admirers — one produced by Justin Townes Earle, and the other by Jack White. Jackson has been having some health problems recently, and her husband and manager of fifty-six years died in 2017, so she finally retired from live performance in March last year, but she’s apparently still working on a new album, produced by Joan Jett, which should be out soon. With luck, she will have a long and happy retirement.
A week into 2020 Michelle opens up this new season of podcasting with a new series called Faith & Power: Understanding the Power of Who Christ Is In You. She begins the series reading Ephesians 1:17-23 from The Passion Translation. Show Transcript: You are listening to the Blooming Inspired Podcast on the Blooming Inspired Podcast Network. We exist to empower the voices of women who live their lives #BloomingAlive through Podcast Community. Now, here is your host. Blooming Inspired Podcast equipping and empowering the voices of women who live their lives Blooming Alive. Introduction Good Morning! This is Michelle Bentham, host of Blooming Inspired Podcast. We are a week deep into 2020 - Can You Believe It? A Brand New Decade! I’ve been sitting with the Lord the last few months, resting and listening. Quieting my heart to hear His truth and His word as I walk out God’s plan and purpose in my life for 2020. I’ll share a bit about this in a future episode, but the short version is God gave me several passages of Scripture from Habakkuk 2:1-3 (NLT), Amos 9:13-15 (MSG), and Isaiah 14:24, 7-8, 4 (tpt). Through these passages He revealed to me that most of my year is beyond “The Finish Line” and that as I walk with the Father - my vision will increase, as I walk with the Son - my victory will increase, and as I walk with the Holy Spirit that velocity will be added to my life. I’m in an entirely new season, seeking intimacy with the Father, Son and Holy Spirit like never before and seeking to run the uncharted path of my race with vision, velocity and victory as I move out of the old season and into the new. How about you? What is your word for 2020? Leave it in the comments or email or send it by direct message to me: for email send to michelle.bentham@bloominginspirednetwork.com or on Facebook DM @BloomingInspired. Everyone who sends in their word will get a photo print of my Word of the Year as a free gift for engaging with the podcast. This week we are beginning a new series called “Faith & Power: Discovering the Power of Who Christ is in You!” Our reading today will be from the book of Ephesians 1 in The Passion Translation. Grab your Bible, your favorite winter beverage and get comfy as we dig into this new study for our new year. This Week’s Reading Let’s Pray, Father God, I ask that you would give each person within the sound of my voice an encounter with You, Your Son and the Holy Spirit this morning as we read Your words of life together. Impart the truth of who You are to our hearts, minds, souls and bodies today - we ask for Holy Spirit revelation to open our eyes to the way You see, open our ears to hear Your majestic voice, and open our hearts to know Your heart in intimacy and truth. I thank you that when we believe in Christ, we are hidden in Him and His blessings, and that same power that raised Him from the dead now lives bodily in us and we have access to it by Faith. Remind us of these truths as we read today and make them real for us! I ask these things in Jesus’ Holy Name, AMEN. The title for this episode is “The Same Power.” We’re looking for what it means that the same power that raised Jesus from the Dead now lives bodily in us. So let’s begin: Verse 17: I pray that the Father of glory, the God of our Lord Jesus Christ, would impart to you the riches of the Spirit of wisdom and the Spirit of revelation to know him through your deepening intimacy with him. Paul has just commended the believers at Ephesus for their love and devotion as well as their strong faith in God. Then He prays for them - as we reread those words, what do you hear God saying to you? I pray that the Father… would impart to you the RICHES of the SPIRIT OF WISDOM and the SPIRIT OF REVELATION to KNOW HIM through your DEEPENING INTIMACY WITH HIM. Last night I was painting bookmarks I will send off to Edna,TX this weekend for the gift bags that will be given to women attending a conference where I’ll be speaking on February 22nd. I am a bit overwhelmed painting bookmarks for 100 women, but I’m also deeply grateful for the opportunity to serve in this way. I love creating gifts for people that spark a desire in their heart to know God more. I went to bed very late and as I laid my head on the pillow I had these sentences running through my mind: “Ministry happens in the culture of relationship. Impartation happens in the culture of intimacy.” My question becomes if Wisdom and Revelation is imparted by Spirit that comes from knowing Him in intimacy - what cultivates intimacy in your life? For me, it’s worship… Hands down. Not just singing songs to God, but focusing my heart on His presence and His goodness. Engaging my heart with what I see the Father doing and hear Him saying. Prayer and Intercession birthed out of the deep ache of my soul drives my heart in longing toward God in intimacy. I want to lean back against His chest and feel His heart beating - then I want my heart to find that rhythm in my own life. I want to be attentive to what He is doing every moment of every day not just in the ministry moments. What I’m realizing is I can know God in a relationship with Jesus Christ and never fully engage or incline my heart toward Him. I can do ministry for God, serve the people of God and never fully know the heart of God because I do not engage His heart in intimacy. Intimacy is a key to experiencing the Wisdom and Revelation that comes only by the Holy Spirit. For many years I read the Bible seeking to understand the words of Scripture with little to know understanding, but then as I learned to listen and hear from God as I read. The more I inclined my heart to deeply know Him, the more He revealed Himself to me through both Scripture and Experience. Encountering the Presence of God - Holy Spirit - will change my heart, my mind and my life. So let me ask you… How engaged is your heart with the presence of God? Moses, David and the disciples and apostles knew God in this way. What would happen if we inclined our heart to know God deeply through intimacy and presence? Father, Son and Holy Spirit. Verse 18: I pray that the light of God will illuminate the eyes of your imagination, flooding you with light, until you experience the full revelation of the hope of his calling—that is, the wealth of God’s glorious inheritances that he finds in us, his holy ones! Paul prayed that the imagination of the believers at Ephesus would have the eyes of their imagination illuminated. Come on… If you love to dream, explore and create then this should get your heart pounding! God wants to light up your imagination and use it for His glory! Isn’t that exciting? I remember being a young girl in third grade and we had to write a story and draw a picture to match it. My momma and daddy loved the oldies music from the 50s and 60s and so we had tons of little 45 records with various songs on them. The Purple People Eater was one of my favorite songs. I wrote my story about this one-eyed, one-horned, flying Purple People Eater and drew a picture of it. My teacher told my parents at the open house that I had a “Very Vivid Imagination.” And I do… When I read fiction I picture myself as one of the characters in the story so I can understand what is happening. The same thing with Scripture - I’ve begun to read Scripture as if I were living it rather than just reading about it. My redeemed imagination has the power to tap into the Holy Spirit’s revelation and wisdom in a way my natural mind and reasoning cannot. Now, I’m not saying we throw logic and reasoning out the window - I’m just saying to truly know God in intimacy we need an integrated approach where our intuition and imagination plays an equal role as we Engage His presence, Read His Word and Encounter His Love. Faith brings us into this relationship with God, but it is all the fascinating ways He created us, and the fact that when we believe in Him by faith all of who He is comes to live inside of us. Paul also writes in this passage that when He floods us with His Light, and we experience that flooding until we are full of revelation of the Hope of His Calling… That somehow, and this is atrue mystery and a wonder, that this revelation of Hope and His calling makes us a full expression of the wealth of God’s glorious inheritance that He finds in us… We are called Saints - His Holy Ones! Christ in You - that is the key. Discovering who Christ is unlocks revelation and wisdom insight into who we are… Then, we need only find the way He wants to express Himself through us to fully realize His purpose in our life. And this comes through intimacy. Verse 19-20: I pray that you will continually experience the immeasurable greatness of God’s power made available to you through faith. Then your lives will be an advertisement of this immense power as it works through you! This is the mighty power that was released when God raised Christ from the dead and exalted him to the place of highest honor and supreme authority in the heavenly realm! C’mon! Not only does Jesus by Holy Spirit come to live inside of us, but the same power that RAISED HIM FROM THE DEAD, Paul writes in Romans 6 & 8 that this same power lives in us and if it raised Jesus from the dead it will give life - more than eternal life, but abundant life here on earth as well. Matthew 10 indicates Jesus commissions His disciples to carry the same power that He carries to heal the sick, raise the dead, cast out demons and cleanse lepers. The SAME POWER - He even says that the signs of healing, casting out demons, and handling deadly poison and snakes should not harm the disciples (poison and snakes both bring death) and in John 14 He says that those who believe in Him and did not see Him will do all the works He has done, He being Jesus, and even greater works because of their Faith in Him. At the end of Matthew, what most believers in the Western Church call “The Great Commission” tells the Apostles and Disciples of Jesus to go into all the world preaching the Gospel, baptizing believers into the name of the Father, Son and Holy Spirit, and to teach them all the things He had imparted through commandment to His disciples. He imparted to His disciples authority and power by the measure of their faith over every evil thing the enemy is empowered to do in this earth. And yet, we live fearing the devil and cowering at death’s door. Faith in what you have not yet seen, but believe in empowers us to do the greater works! Works greater than the signs, wonders and miracles we see Jesus performing in the Gospels. He even told His disciples not to rejoice in the power they had to work miracles, signs and wonders among the people, but rather to rejoice that these things were evidence that their names were written in the Lamb’s book of life. Faith should bring us into revelation, wisdom, and power. Do You Understand? Verse 21: And now he is exalted as first above every ruler, authority, government, and realm of power in existence! He is gloriously enthroned over every name that is ever praised,not only in this age, but in the age that is coming! Do we really live like we believe Jesus has been exalted as first above every ruler, authority, government, and realm of power in existence? DO WE? He is now and forevermore gloriously enthroned over every name that is ever praised! And yet professing believers in the body of Christ believe to live is a Struggle and to Die is to Gain Everything God Promised. But, that is not what Paul said. Paul wrote so eloquently that he would count his suffering with joy, just as Christ endured the cross for the Joy Set Before Him. And Jesus counted it joy, that He would gain us, when we endure suffering and overcome by the power of the Holy Spirit - knowing that as Paul wrote, “To Live is Christ and to Die is Gain…” What if we believed it is true that to live is Christ and die is gain? What would we do with the power and authority that comes to us by faith? What kind of victory could we realize if we only believe Faith and Power belong to us in Christ? They are both brought to us by the Holy Spirit (see Acts 1 and 1 Corinthians 12) and because Jesus, by the Sealing Work of the Holy Spirit, now lives inside of us - so do this faith and power, the authority to act as He acted when He lived upon the earth. He is our archetype and model. Not, the traditions of men we are often taught by well meaning leaders in our church houses today. Verse 22: And he alone is the leader and source of everything needed in the church. God has put everything beneath the authority of Jesus Christ and has given him the highest rank above all others. How would we live differently if we truly believed that Jesus is who Paul prophesses him to be, who the disciples and apostles knew Him to be? How would we live differently if we believed that in Christ we find the lone leader and source of everything we need as His body? Jesus outranks everyone. EVERY. ONE. He alone is sufficient to meet our every need. He alone is the provision and the protection we are looking for - and He alone paid the price that we should live free, empowered and faithful to all He calls us to - especially the work of His Holy Spirit within us. Verse 23: And here’s where we’re going to wrap it up. And now we, his church, are his body on the earth and that which fills him who is being filled by it! I don’t know about you, but the way the Passion Translation transcribes this verse is a bit confusing to me, but I can read it in the NKJV and see how it says, that we as Christ’s body are continually being filled by Him, who fulfills Himself in us. IN OTHER WORDS, as Brian Simmons included in his footnote for this verse in the Passion Translation: “That is, we are those who are filled (completed) by Christ, we also complete (fill) Him. What a wonderful and humbling mystery is revealed by this verse.” What if we REALLY believed this is true!? That our identity is so wrapped up in Christ and who He is that when we fully realize who He is… We fully become who we are supposed to be. That in Him we find ourselves, and our purpose and our destiny… As we allow Him to be fully expressed through us - finite as we are - somehow we complete Him as His body reaching a lost and dying world. What a glorious thing to consider. As I close out today’s show I want to say something a bit strong - to challenge you a bit - and, I hope that is okay! I want to challenge everyone within the sound of my voice to consider this one thing… When you are singing, Waymaker at church on Sunday or are contemplating that prayer request where the outlook is not so lively, and here is what I want you to consider: Either we believe this is true or we don’t. Are we living our lives full of faith and power, believing God for the impossible and the greater works, or are we dumbing down the testimony of Scripture about faith, power and impossibilities to fit our experience and expectations or traditions from a religious perspective? Do we live like Pharisees? Questioning every sign and wonder, warning people off of the devil while dismissing the power of God and holding onto our set of rules, taboos, doctrines and superstitions about God. Do we leave no room for revelation, power or even repentance to have a perfect work at any moment of our lives? Have we studied the Scriptures searching for Him, but miss Him when He shows up in power and moves among us. Where is the bold faith that steps out and risks everything for God, seeking to see His Kingdom come and Will be done on Earth as it is in Heaven? When was the last time you stopped, listened and prayed to know what the Father was saying or doing so you could partner with Him rather than try to talk Him into doing what you thought He should do? And finally… Do we live like the Apostles? Stepping out in risky, unfavorable and downright dangerous circumstances BY FAITH - seeing the impossible not only become possible, but probable as the miraculous becomes mainstream. Do we live by supernatural power imparted by the Holy Spirit or by the whims of our Human Heart? Are we satisfied with our normal religious preferences and failing to step out to take up a cross and follow Jesus with Bold Faith to see His Kingdom become our reality even now? Lord God, I pray that as these words go out penetrating the airwaves through the internet that your will would be accomplished. That they would be guided to the hearts of those who listen and bring with them the HOPE of Your Faith and Power that is waiting for us to step up, step out and step into the Kingdom of God. Saying, “Your Kingdom come Your will be done on earth as it is in Heaven.” Is not a passive wish we speak out, but a promise from Heaven, that when we ask, seek and knock that you will respond and answer, reveal and unlock what we are seeking you for… So Lord we are asking, seeking, and knocking - meet us where we are with your faith and your power and give us the Spirit of Wisdom and Revelation as your light illuminates our imaginations with Your Impossible Possibilities! In Jesus’ Name I pray, Amen. Closing Remarks That's all the time that I have today! Thank you for tuning in with us. I want to ask you if this podcast has been a blessing to you: would you consider subscribing to it and share it with your friends and family? We’d love to partner with you in sharing messages that encourage and inspire. If you’d like to be a guest on this show or get more information about hosting your own podcast on the Blooming Inspired Podcast Network - please reach out to michelle.bentham@bloominginspirednetwork.com. I’d love the opportunity to connect with you and figure out how we can share your voice with the world around us. BIBLE STUDY SEASON IS UPON US! We began our The Gospels: Verse-By-Verse Bible Study in October. We will be reading in person (Granbury, TX) and on Facebook Live at 10 am (Central Time). That’s right - This season our study is found in the book of Luke. We will be reading Luke 8 this week and digging into the life of Christ Verse-By-Verse considering what we would believe if reading the Scriptures was the primary way we inform our faith! You can learn more and catch up on last week’s study by visiting facebook.com/bloominginspired. As I mentioned earlier, I will be speaking at a women’s conference (R.E.A.L. Women Conference) at (The Ranch Cowboy Country Church South) in Edna, TX. Registration is available for $40 through January 10th, and will be $45 after the 10th through the day before the conference. Tickets at the door will be $60. This one day conference is February 22 this year and includes a continental style breakfast, full lunch and dinner provided. I’d love to see some familiar faces attending. If you’d like to register please email or DM at the email listed above or through our FB page for details or visit theranchsouth.org for more information! If you’d like to get this podcast delivered to your smart device, we're available on both Apple and on Google Podcasts - take a moment to Subscribe today! Again, I would like to ask you partner with us. We would love for you to share about our podcast on social media -- share it with your friends your family -- the people within your influence let them know what we're doing at Blooming Inspired Network! Thank you for listening to the Blooming Inspired Podcast on the Blooming Inspired Podcast Network. This show airs weekly on Tuesdays. Please take a moment to like, share and subscribe to this podcast. To learn more about this podcast and it’s network, or the ministries of Blooming Inspired Network please visit BloomingInspiredNetwork.com and click the podcast link at the top of the page.
A week into 2020 Michelle opens up this new season of podcasting with a new series called Faith & Power: Understanding the Power of Who Christ Is In You. She begins the series reading Ephesians 1:17-23 from The Passion Translation. Show Transcript: You are listening to the Blooming Inspired Podcast on the Blooming Inspired Podcast Network. We exist to empower the voices of women who live their lives #BloomingAlive through Podcast Community. Now, here is your host. Blooming Inspired Podcast equipping and empowering the voices of women who live their lives Blooming Alive. Introduction Good Morning! This is Michelle Bentham, host of Blooming Inspired Podcast. We are a week deep into 2020 - Can You Believe It? A Brand New Decade! I’ve been sitting with the Lord the last few months, resting and listening. Quieting my heart to hear His truth and His word as I walk out God’s plan and purpose in my life for 2020. I’ll share a bit about this in a future episode, but the short version is God gave me several passages of Scripture from Habakkuk 2:1-3 (NLT), Amos 9:13-15 (MSG), and Isaiah 14:24, 7-8, 4 (tpt). Through these passages He revealed to me that most of my year is beyond “The Finish Line” and that as I walk with the Father - my vision will increase, as I walk with the Son - my victory will increase, and as I walk with the Holy Spirit that velocity will be added to my life. I’m in an entirely new season, seeking intimacy with the Father, Son and Holy Spirit like never before and seeking to run the uncharted path of my race with vision, velocity and victory as I move out of the old season and into the new. How about you? What is your word for 2020? Leave it in the comments or email or send it by direct message to me: for email send to michelle.bentham@bloominginspirednetwork.com or on Facebook DM @BloomingInspired. Everyone who sends in their word will get a photo print of my Word of the Year as a free gift for engaging with the podcast. This week we are beginning a new series called “Faith & Power: Discovering the Power of Who Christ is in You!” Our reading today will be from the book of Ephesians 1 in The Passion Translation. Grab your Bible, your favorite winter beverage and get comfy as we dig into this new study for our new year. This Week’s Reading Let’s Pray, Father God, I ask that you would give each person within the sound of my voice an encounter with You, Your Son and the Holy Spirit this morning as we read Your words of life together. Impart the truth of who You are to our hearts, minds, souls and bodies today - we ask for Holy Spirit revelation to open our eyes to the way You see, open our ears to hear Your majestic voice, and open our hearts to know Your heart in intimacy and truth. I thank you that when we believe in Christ, we are hidden in Him and His blessings, and that same power that raised Him from the dead now lives bodily in us and we have access to it by Faith. Remind us of these truths as we read today and make them real for us! I ask these things in Jesus’ Holy Name, AMEN. The title for this episode is “The Same Power.” We’re looking for what it means that the same power that raised Jesus from the Dead now lives bodily in us. So let’s begin: Verse 17: I pray that the Father of glory, the God of our Lord Jesus Christ, would impart to you the riches of the Spirit of wisdom and the Spirit of revelation to know him through your deepening intimacy with him. Paul has just commended the believers at Ephesus for their love and devotion as well as their strong faith in God. Then He prays for them - as we reread those words, what do you hear God saying to you? I pray that the Father… would impart to you the RICHES of the SPIRIT OF WISDOM and the SPIRIT OF REVELATION to KNOW HIM through your DEEPENING INTIMACY WITH HIM. Last night I was painting bookmarks I will send off to Edna,TX this weekend for the gift bags that will be given to women attending a conference where I’ll be speaking on February 22nd. I am a bit overwhelmed painting bookmarks for 100 women, but I’m also deeply grateful for the opportunity to serve in this way. I love creating gifts for people that spark a desire in their heart to know God more. I went to bed very late and as I laid my head on the pillow I had these sentences running through my mind: “Ministry happens in the culture of relationship. Impartation happens in the culture of intimacy.” My question becomes if Wisdom and Revelation is imparted by Spirit that comes from knowing Him in intimacy - what cultivates intimacy in your life? For me, it’s worship… Hands down. Not just singing songs to God, but focusing my heart on His presence and His goodness. Engaging my heart with what I see the Father doing and hear Him saying. Prayer and Intercession birthed out of the deep ache of my soul drives my heart in longing toward God in intimacy. I want to lean back against His chest and feel His heart beating - then I want my heart to find that rhythm in my own life. I want to be attentive to what He is doing every moment of every day not just in the ministry moments. What I’m realizing is I can know God in a relationship with Jesus Christ and never fully engage or incline my heart toward Him. I can do ministry for God, serve the people of God and never fully know the heart of God because I do not engage His heart in intimacy. Intimacy is a key to experiencing the Wisdom and Revelation that comes only by the Holy Spirit. For many years I read the Bible seeking to understand the words of Scripture with little to know understanding, but then as I learned to listen and hear from God as I read. The more I inclined my heart to deeply know Him, the more He revealed Himself to me through both Scripture and Experience. Encountering the Presence of God - Holy Spirit - will change my heart, my mind and my life. So let me ask you… How engaged is your heart with the presence of God? Moses, David and the disciples and apostles knew God in this way. What would happen if we inclined our heart to know God deeply through intimacy and presence? Father, Son and Holy Spirit. Verse 18: I pray that the light of God will illuminate the eyes of your imagination, flooding you with light, until you experience the full revelation of the hope of his calling—that is, the wealth of God’s glorious inheritances that he finds in us, his holy ones! Paul prayed that the imagination of the believers at Ephesus would have the eyes of their imagination illuminated. Come on… If you love to dream, explore and create then this should get your heart pounding! God wants to light up your imagination and use it for His glory! Isn’t that exciting? I remember being a young girl in third grade and we had to write a story and draw a picture to match it. My momma and daddy loved the oldies music from the 50s and 60s and so we had tons of little 45 records with various songs on them. The Purple People Eater was one of my favorite songs. I wrote my story about this one-eyed, one-horned, flying Purple People Eater and drew a picture of it. My teacher told my parents at the open house that I had a “Very Vivid Imagination.” And I do… When I read fiction I picture myself as one of the characters in the story so I can understand what is happening. The same thing with Scripture - I’ve begun to read Scripture as if I were living it rather than just reading about it. My redeemed imagination has the power to tap into the Holy Spirit’s revelation and wisdom in a way my natural mind and reasoning cannot. Now, I’m not saying we throw logic and reasoning out the window - I’m just saying to truly know God in intimacy we need an integrated approach where our intuition and imagination plays an equal role as we Engage His presence, Read His Word and Encounter His Love. Faith brings us into this relationship with God, but it is all the fascinating ways He created us, and the fact that when we believe in Him by faith all of who He is comes to live inside of us. Paul also writes in this passage that when He floods us with His Light, and we experience that flooding until we are full of revelation of the Hope of His Calling… That somehow, and this is atrue mystery and a wonder, that this revelation of Hope and His calling makes us a full expression of the wealth of God’s glorious inheritance that He finds in us… We are called Saints - His Holy Ones! Christ in You - that is the key. Discovering who Christ is unlocks revelation and wisdom insight into who we are… Then, we need only find the way He wants to express Himself through us to fully realize His purpose in our life. And this comes through intimacy. Verse 19-20: I pray that you will continually experience the immeasurable greatness of God’s power made available to you through faith. Then your lives will be an advertisement of this immense power as it works through you! This is the mighty power that was released when God raised Christ from the dead and exalted him to the place of highest honor and supreme authority in the heavenly realm! C’mon! Not only does Jesus by Holy Spirit come to live inside of us, but the same power that RAISED HIM FROM THE DEAD, Paul writes in Romans 6 & 8 that this same power lives in us and if it raised Jesus from the dead it will give life - more than eternal life, but abundant life here on earth as well. Matthew 10 indicates Jesus commissions His disciples to carry the same power that He carries to heal the sick, raise the dead, cast out demons and cleanse lepers. The SAME POWER - He even says that the signs of healing, casting out demons, and handling deadly poison and snakes should not harm the disciples (poison and snakes both bring death) and in John 14 He says that those who believe in Him and did not see Him will do all the works He has done, He being Jesus, and even greater works because of their Faith in Him. At the end of Matthew, what most believers in the Western Church call “The Great Commission” tells the Apostles and Disciples of Jesus to go into all the world preaching the Gospel, baptizing believers into the name of the Father, Son and Holy Spirit, and to teach them all the things He had imparted through commandment to His disciples. He imparted to His disciples authority and power by the measure of their faith over every evil thing the enemy is empowered to do in this earth. And yet, we live fearing the devil and cowering at death’s door. Faith in what you have not yet seen, but believe in empowers us to do the greater works! Works greater than the signs, wonders and miracles we see Jesus performing in the Gospels. He even told His disciples not to rejoice in the power they had to work miracles, signs and wonders among the people, but rather to rejoice that these things were evidence that their names were written in the Lamb’s book of life. Faith should bring us into revelation, wisdom, and power. Do You Understand? Verse 21: And now he is exalted as first above every ruler, authority, government, and realm of power in existence! He is gloriously enthroned over every name that is ever praised,not only in this age, but in the age that is coming! Do we really live like we believe Jesus has been exalted as first above every ruler, authority, government, and realm of power in existence? DO WE? He is now and forevermore gloriously enthroned over every name that is ever praised! And yet professing believers in the body of Christ believe to live is a Struggle and to Die is to Gain Everything God Promised. But, that is not what Paul said. Paul wrote so eloquently that he would count his suffering with joy, just as Christ endured the cross for the Joy Set Before Him. And Jesus counted it joy, that He would gain us, when we endure suffering and overcome by the power of the Holy Spirit - knowing that as Paul wrote, “To Live is Christ and to Die is Gain…” What if we believed it is true that to live is Christ and die is gain? What would we do with the power and authority that comes to us by faith? What kind of victory could we realize if we only believe Faith and Power belong to us in Christ? They are both brought to us by the Holy Spirit (see Acts 1 and 1 Corinthians 12) and because Jesus, by the Sealing Work of the Holy Spirit, now lives inside of us - so do this faith and power, the authority to act as He acted when He lived upon the earth. He is our archetype and model. Not, the traditions of men we are often taught by well meaning leaders in our church houses today. Verse 22: And he alone is the leader and source of everything needed in the church. God has put everything beneath the authority of Jesus Christ and has given him the highest rank above all others. How would we live differently if we truly believed that Jesus is who Paul prophesses him to be, who the disciples and apostles knew Him to be? How would we live differently if we believed that in Christ we find the lone leader and source of everything we need as His body? Jesus outranks everyone. EVERY. ONE. He alone is sufficient to meet our every need. He alone is the provision and the protection we are looking for - and He alone paid the price that we should live free, empowered and faithful to all He calls us to - especially the work of His Holy Spirit within us. Verse 23: And here’s where we’re going to wrap it up. And now we, his church, are his body on the earth and that which fills him who is being filled by it! I don’t know about you, but the way the Passion Translation transcribes this verse is a bit confusing to me, but I can read it in the NKJV and see how it says, that we as Christ’s body are continually being filled by Him, who fulfills Himself in us. IN OTHER WORDS, as Brian Simmons included in his footnote for this verse in the Passion Translation: “That is, we are those who are filled (completed) by Christ, we also complete (fill) Him. What a wonderful and humbling mystery is revealed by this verse.” What if we REALLY believed this is true!? That our identity is so wrapped up in Christ and who He is that when we fully realize who He is… We fully become who we are supposed to be. That in Him we find ourselves, and our purpose and our destiny… As we allow Him to be fully expressed through us - finite as we are - somehow we complete Him as His body reaching a lost and dying world. What a glorious thing to consider. As I close out today’s show I want to say something a bit strong - to challenge you a bit - and, I hope that is okay! I want to challenge everyone within the sound of my voice to consider this one thing… When you are singing, Waymaker at church on Sunday or are contemplating that prayer request where the outlook is not so lively, and here is what I want you to consider: Either we believe this is true or we don’t. Are we living our lives full of faith and power, believing God for the impossible and the greater works, or are we dumbing down the testimony of Scripture about faith, power and impossibilities to fit our experience and expectations or traditions from a religious perspective? Do we live like Pharisees? Questioning every sign and wonder, warning people off of the devil while dismissing the power of God and holding onto our set of rules, taboos, doctrines and superstitions about God. Do we leave no room for revelation, power or even repentance to have a perfect work at any moment of our lives? Have we studied the Scriptures searching for Him, but miss Him when He shows up in power and moves among us. Where is the bold faith that steps out and risks everything for God, seeking to see His Kingdom come and Will be done on Earth as it is in Heaven? When was the last time you stopped, listened and prayed to know what the Father was saying or doing so you could partner with Him rather than try to talk Him into doing what you thought He should do? And finally… Do we live like the Apostles? Stepping out in risky, unfavorable and downright dangerous circumstances BY FAITH - seeing the impossible not only become possible, but probable as the miraculous becomes mainstream. Do we live by supernatural power imparted by the Holy Spirit or by the whims of our Human Heart? Are we satisfied with our normal religious preferences and failing to step out to take up a cross and follow Jesus with Bold Faith to see His Kingdom become our reality even now? Lord God, I pray that as these words go out penetrating the airwaves through the internet that your will would be accomplished. That they would be guided to the hearts of those who listen and bring with them the HOPE of Your Faith and Power that is waiting for us to step up, step out and step into the Kingdom of God. Saying, “Your Kingdom come Your will be done on earth as it is in Heaven.” Is not a passive wish we speak out, but a promise from Heaven, that when we ask, seek and knock that you will respond and answer, reveal and unlock what we are seeking you for… So Lord we are asking, seeking, and knocking - meet us where we are with your faith and your power and give us the Spirit of Wisdom and Revelation as your light illuminates our imaginations with Your Impossible Possibilities! In Jesus’ Name I pray, Amen. Closing Remarks That's all the time that I have today! Thank you for tuning in with us. I want to ask you if this podcast has been a blessing to you: would you consider subscribing to it and share it with your friends and family? We’d love to partner with you in sharing messages that encourage and inspire. If you’d like to be a guest on this show or get more information about hosting your own podcast on the Blooming Inspired Podcast Network - please reach out to michelle.bentham@bloominginspirednetwork.com. I’d love the opportunity to connect with you and figure out how we can share your voice with the world around us. BIBLE STUDY SEASON IS UPON US! We began our The Gospels: Verse-By-Verse Bible Study in October. We will be reading in person (Granbury, TX) and on Facebook Live at 10 am (Central Time). That’s right - This season our study is found in the book of Luke. We will be reading Luke 8 this week and digging into the life of Christ Verse-By-Verse considering what we would believe if reading the Scriptures was the primary way we inform our faith! You can learn more and catch up on last week’s study by visiting facebook.com/bloominginspired. As I mentioned earlier, I will be speaking at a women’s conference (R.E.A.L. Women Conference) at (The Ranch Cowboy Country Church South) in Edna, TX. Registration is available for $40 through January 10th, and will be $45 after the 10th through the day before the conference. Tickets at the door will be $60. This one day conference is February 22 this year and includes a continental style breakfast, full lunch and dinner provided. I’d love to see some familiar faces attending. If you’d like to register please email or DM at the email listed above or through our FB page for details or visit theranchsouth.org for more information! If you’d like to get this podcast delivered to your smart device, we're available on both Apple and on Google Podcasts - take a moment to Subscribe today! Again, I would like to ask you partner with us. We would love for you to share about our podcast on social media -- share it with your friends your family -- the people within your influence let them know what we're doing at Blooming Inspired Network! Thank you for listening to the Blooming Inspired Podcast on the Blooming Inspired Podcast Network. This show airs weekly on Tuesdays. Please take a moment to like, share and subscribe to this podcast. To learn more about this podcast and it’s network, or the ministries of Blooming Inspired Network please visit BloomingInspiredNetwork.com and click the podcast link at the top of the page.
The Rockin' Eddy Oldies Radio Show features a Halloween Special with devils, witches, goblins and spooks. The show is jam packed with wacky but spooky favorites like "Werewolf", "The Blob", "My Mummy", "Dinner With Drac Pt. 1", "Devil With The Blue Dress/Good Golly Miss Molly", "Rockin' In The Graveyard", (Twin Spin) Bobby Boris Pickett & The Crypt-Kickers - "Monster Mash" / (B-side) "Monsters' Mash Party", "Haunted House", "Midnight Stroll", "Voodoo Voodoo", "She's My Witch", "Laurie (Strange Things Happen)", "Devil Woman", "Voodoo Woman", "Lucky Devil", "Time Machine", "Little Devil", "Witch Doctor", "Purple People Eater", "The Eggplant That Ate Chicago", "The Snake", "They're Going To Take Me Away Ha Ha", "Martian Hop", "Spooky."
"Purple People Eater..." Real-Time Storytime [Halloween Special] "It began with a doorbell and ended with a mystical butt-plug..." [Yeah this one was fucking weird...] Welcome to the Real-Time Storytime Show by Robert R. Ricks. This is an interactive story experience, where you the viewer can submit Keywords/Phrases and I will try to tell a story with those words as part of the story. Tonight's keywords/phrases: 01) Carolina Reaper Suppository 02) WereRottweiler 03) Purple People Eater 04) Gay is the Way 05) Silver Broom 06) WerePanda 07) Don't touch me priest 08) WereRaindeer 09) WereTiger 10) Butt Plug 11) Divorce 12) Fuck China, I mean... Love China 13) Vampire Zombie http://www.realtimestorytime.com [Real-Time Storytime Official Website] https://anchor.fm/realtimestorytime [Real-Time Storytime Podcast] http://www.noveps.com [NovEps.com Website] http://www.robertrricks.com [Robert R Ricks - Author Website] https://www.tacticoolgeek.com [Tacticool Geek Online Store "Get your G33k On!"] --- Support this podcast: https://anchor.fm/realtimestorytime/support
This week we get passionate about the holding zone! The what? So you have started decluttering and you want to move your things onto their next home (op shop, specialty space, reselling) but you just haven't gotten there yet, what do you do? You create a holding zone of course! But where?In this episode we:● Challenge you to move things on from the holding zone to their next home by making frequent trips to your local op/thrift shop.● Encourage you set space and time limits for the 'holding zone' and not to give into declutter's remorse.● Give you some tips for actually moving these items along to their next home.● And so much more...We hope the conversation inspires you to make a small change and puts a smile on your face!Things mentioned in this episode:● Book a donation pickup from Salvos : https://salvosstores.com.au/free-collection-request● Book a donation pickup from Vinnies :https://www.vinnies.org.au/page/Donate/Donate_Goods/● Book a donation pickup from Diabetes Australia :https://www.diabetesvic.org.au/collection-business● Purple People Eater: https://www.youtube.com/watch?v=X9H_cI_WCnE● Thank you "DFDA10" for your Apple Podcast review and Olivia McMullin for the topic suggestion!Join our community ● Become a Patron with Patreon – your monthly donation makes a huge difference to us being able to producethis podcast. Donations can be as little as $1 a month!● Follow us on Instagram● Follow us on Facebook● Join our Facebook Community group● Leave a review on Apple PodcastThank you to our sound engineer, Jarred from Four4ty Studio Productions. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
This week we get passionate about the holding zone! The what? So you have started decluttering and you want to move your things onto their next home (op shop, specialty space, reselling) but you just haven’t gotten there yet, what do you do? You create a holding zone of course! But where?In this episode we:● Challenge you to move things on from the holding zone to their next home by making frequent trips to your local op/thrift shop.● Encourage you set space and time limits for the 'holding zone' and not to give into declutter's remorse.● Give you some tips for actually moving these items along to their next home.● And so much more...We hope the conversation inspires you to make a small change and puts a smile on your face!Things mentioned in this episode:● The Art of Decluttering Online Course: httpw://www.artofdecluttering.com.au/course● Book a donation pickup from Salvos : https://salvosstores.com.au/free-collection-request● Book a donation pickup from Vinnies :https://www.vinnies.org.au/page/Donate/Donate_Goods/● Book a donation pickup from Diabetes Australia :https://www.diabetesvic.org.au/collection-business● Purple People Eater: https://www.youtube.com/watch?v=X9H_cI_WCnE● Thank you "DFDA10" for your Apple Podcast review and Olivia McMullin for the topic suggestion!Join our community ● Become a Patron with Patreon – your monthly donation makes a huge difference to us being able to producethis podcast. Donations can be as little as $1 a month!● Follow us on Instagram● Follow us on Facebook● Join our Facebook Community group● Leave a review on Apple PodcastThank you to our sound engineer, Jarred from Four4ty Studio Productions. See acast.com/privacy for privacy and opt-out information.
Ben and Trevor dive into the real story behind the Purple People Eater song by Sheb Wooley, as well as many other crazy game ideas, such as: the teenage genius who figured out cold fusion, Mother Nature's favorite forest, the tragic tale of a lifeguard and a trip to 1980's outer eastern suburbs of Melbourne.
The Kills [00:30] a side: "Pull a U" b side: "The Search for Cherry Red" Domino Records RUG165 2003 Nothing like a little stripped down rock and roll. Grace Jones [06:52] a side: "Pull Up to the Bumper" b side: "Breakdown" Island Records IS49697 1981 Funk yeah. Beep beep. Made it number 5 on the R&B charts, and number 2 on the Hot Dance charts. And of course, there's that killer b-side, for which Tom Petty provided a third verse especially for Grace. Sheb Wooley [14:24] a side: "The Purple People Eater" b side: "I Can't Believe You're Gone" MGM Records K12651 1958 So does it only eat purple people or is it purple and eats people? The answer is right in the lyrics: it eats purple people! Jody Miller [19:07] a side: "Queen of the House" b side: "The Greatest Actor" Capitol Records 5402 1965 Ayup, that's an answer song all right. Made it to number 12 on the Hot 100 and number 5 on the Country charts. Not only that, The Supremes even recorded a version of it. B.J. Thomas [25:01] a side: "Raindrops Keep Fallin' on My Head" b side: "Never Had It So Good" Scepter Records SCE-12265 1969 Heckuva Hal David/Burt Bacharach number, heckuva film. Number 1 on the charts of course. Blondie [30:55] a side: "Rapture" b side: "Walk Like Me" Chrysalis CHS 2485 1981 Sadly the b-side is rendered unplayable due to damage. The video features cameos by Fab Five Freddy, Lee Quinones and Jean-Michel Basquiat. Pavement [38:00] a side: "Rattled by the Rush" b side: "False Skorpion/Easily Fooled" Matador Records OLE-134-7 1995 Wowee. Zowee. The first single from Pavement's 1995 album Wowee Zowee. Definitely sounds like the boys are having some fun on the b-side. J.J. Barnes [47:27] a side: "Real Humdinger" b side: "I Ain't Gonna Do It" Ric-Tic Records RT-110 1966 Hot stuff, and a Northern Soul classic from this often overlooked Detroit singer/songwriter. Music behind the DJ: "Ski Chase" by John Barry.
Week-old spoilers abound, Tess, Molly, and Emily are joined by Detective Pikachu (https://www.imdb.com/title/tt5884052/?ref_=nv_sr_1?ref_=nv_sr_1) writer Dan Hernandez to talk Pokemon, toxic nerd culture, and songs about cryptids. PLUS a Night Call about the afterlife. CHECK OUT THE NIGHT CALL PATREON! (https://www.patreon.com/NightCall) Support the show for as little as $1 a month! Call in to Night Call at 240-46-NIGHT This episode is sponsored by: Cheers Health (https://cheershealth.com/) (Code: NIGHTCALL) Risk! Podcast (http://risk-show.com/) Articles and media mentioned this episode: Film, Detective Pikachu (https://www.imdb.com/title/tt5884052/?ref_=nv_sr_1?ref_=nv_sr_1) Film, The Last Samurai (https://www.imdb.com/title/tt0325710/?ref_=nv_sr_1?ref_=nv_sr_1) TV Series, Game of Thrones, "The Long Night" (https://www.imdb.com/title/tt6027912/?ref_=tt_eps_cu_n) Film, Flesh + Blood (https://www.imdb.com/title/tt0089153/?ref_=nv_sr_1?ref_=nv_sr_1) TV Series, Mad Men (https://www.imdb.com/title/tt0804503/?ref_=nv_sr_1?ref_=nv_sr_1) Video Game, Super Smash Bros Melee (https://en.wikipedia.org/wiki/Super_Smash_Bros._Melee) Forum, Something Awful (https://www.somethingawful.com/) Anime, Neon Genesis Evangelion (https://www.imdb.com/title/tt0112159/?ref_=nv_sr_1?ref_=nv_sr_1) Film, Dick Tracy (https://www.imdb.com/title/tt0099422/?ref_=nv_sr_1?ref_=nv_sr_1) Film, Who Framed Roger Rabbit? (https://www.imdb.com/title/tt0096438/?ref_=nv_sr_1?ref_=nv_sr_1) Comic, Dick Tracy Forever (https://www.indiebound.org/book/9781684056026) by Michael Avon Oeming Steve the Tramp controversy (http://www.criminalelement.com/begged-to-be-banned-dick-tracy-steve-the-tramp-action-figure-crime-hq-detective-stories-gangster-kid-friendly-crime/) Film, Beetlejuice (https://www.imdb.com/title/tt0094721/?ref_=nv_sr_2?ref_=nv_sr_2) Song, "Wooly Bully" (https://www.youtube.com/watch?v=uE_MpQhgtQ8&t=3s) by Sam the Sham and the Pharaohs Song, "Purple People Eater" (https://www.youtube.com/watch?v=X9H_cI_WCnE) by Sheb Wooley Song, "Any Major Dude Will Tell You" (https://www.youtube.com/watch?v=kND8TRZap8Y) by Steely Dan Book, Fearsome Creatures of the Lumberwoods (https://www.indiebound.org/book/9780761184614) by Hal Johnson Song, "Little Talks" (https://www.youtube.com/watch?v=ghb6eDopW8I) by Of Monsters and Men Song, "Louie Louie" (https://www.youtube.com/watch?v=1RZJ4ESU52U) by The Kingsmen "Night Call" by 4aStables (https://www.4astables.com/) . Music used is "Cendres" by Kai Engel (https://www.kai-engel.com/) . Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers
What is the craziest thing you have found in the middle of the road? Sex toy?? Parenting struggles, current lifes kinks
Struggles of parenting polar opposite kids, meet BRENDA and learn the D.I.L.D.O song!
The guys take Jake’s classic purple Explorer that squeaks more than “buses in third world countries” for the latest episode. The guys discuss what they have been up to on their hiatus and introduce their newest inspiration, David Goggins, and deliberately doing things that suck. Buckle up buttercup! --- Send in a voice message: https://anchor.fm/roadrants/message
It’s a one-eyed, one-horned flying purple people eater, and it’s barely a movie! Why doesn’t anyone freak out about Purple? Why is NPH so into 50s rock-and-roll? Does anyone else know about Sheb Wooley? Why is the bad guy a … Continue reading →
The Baby Boomer Radio, TV, Movies, Magazines, Music, Comics, Fads, Toys, Fun, and More Show!
It's silly song Sunday here on Galaxy Moonbeam Night Site! Join us as we look back on some of those silly songs from way back when. Novelty songs that in many cases were hits. Such songs as "Monster Mash", "Beep Beep", "Camp Granada", and "Purple People Eater" along with many more, are recalled as being catchy tunes that made us laugh at the same time. We look at this genre of music and how it was once quite popular but really is not around anymore. In the fun-filled days of the 50s and 60s (and actually before that!) no one was afraid to satirize things in daily life, everyone had fun listening to those tunes. But today, sadly, the creative freedom that once was has been hidden away in our politically correct times. However, we have a great treasury of these classic songs to enjoy to this day. Next, we salute our affiliated station KPRI in Pala, California. They have adopted the KPRI call sign as of earlier this year, and those historic call letters bring us to the fascinating topic of early FM Radio. We recall what early FM was, and how it changed the landscape of radio listeners, coinciding with the early years of the high fidelity craze in the 1950s. With the advent of FM radio you could listen to whole sides of albums, and unique music that normally would not be heard on AM radio. It was a fascinating time when FM was developing and we look back to those early days. Finally we remember former CBS Radio Newsman Reid Collins, who passed away on April 19, 2018. Mr. Collins' work on CBS Radio spanned most of the era of the 1960s and 70s. He was heard on the hourly news as well as covering many of the space shots of the era. Later, he worked for CNN as a newscaster and covering many of the historic events of the 80s and 90s. The passing of Reid Collins marks the end of an era in radio journalism. Our Retro-Commercials are for Toastettes Toaster pastries from 1968, and for the 1970 Chrysler, the third in a musical series of commercials from that year. Click here to listen: https://bit.ly/2SL0B9s
This week, Rockin' Eddy is providing a throwback to his show. Relive what Rockin' Eddy sounded like over 20 years ago when he was on the FM dial. On this occasion, he is featured on 106.6 Spectrum FM, broadcasting from some haunted house. It's the Rockin' Eddy Oldies Halloween Special playing the Monster Mash, Spooky, I Put On Spell On You and The Purple People Eater.. Being a special week, we are stretching it a bit cutting off the playlist around the early 70s, so enjoy the show and Happy Halloween!
In this episode Kip & Cody attempt to talk about past events, but can’t even remember what they did in the last 24 hours. If you can provide insight into any of our previous experiences, email us at podcast@stupidmiracles.com.
Meet Alice and the gang as she gets her first office job and fights her first monster, a purple people eater. Alice doesn't know it yet but she's about to get her first lesson in "Adulting" and a small hint as to who she really is: she is the Chosen One, a supernatural demon hunter with super powers (one is born every generation) called the Huntress. She's the college Buffy of the next generation, a woman's coming-of-age story that shows that there's more to growing up than just High School and Boys. Read the chapter - and follow Alice on her adventures here: https://thebooksofalice.wordpress.com/2018/03/30/chapter-1-alice-versus-the-purple-people-eater/
Oh, those silly little nonsense songs that we can't seem to get enough of. We talk over some of our favorites including classics like ‘Monster Mash' and ‘The Purple People Eater' as well as some more modern goofiness from Pearl Jam and Weird Al. Also(!) personalized recommendations for listener Al. Don't forget – it's Nerd […]
Triple Bill Title Word for Episode 008 is PURPLE and we got sexy'licious with the weird and wonderful Purple Rain (1984), ended up emotionally scarred by The Color Purple (1985) and came close to throwing something heavy at the TV because of the Purple People Eater (1988). 0:57 - Purple Rain 32:43 - The Color Purple 1:04:13 - Purple People Eater Please review us over on Apple Podcasts. Got comments or suggestions for new episodes? Email: sddpod@gmail.com. Seek us out via Twitter and Instagram @ sddfilmpodcast Support our Patreon for $3 a month and get access to our exclusive show, Sudden Double Deep Cuts where we talk about our favourite movie soundtracks, scores and theme songs! Episode 009 - DOCTOR STRANGE launches on 3rd November and we'll be doing a bumper episode covering Doctor Zhivago (1965), Doctor Dolittle (1998), The Imaginarium of Doctor Parnassus (2009), Strange Days (1995), Strange Wilderness (2008) and Love is Strange (2014). We'll also be throwing in a review of the brand new Marvel movie Doctor Strange too for good measure so stay tuned!
The Triple Bill Title Word for Episode 007 is VELVET and we were repeatedly shot by Dario Argento's Four Flies on Grey Velvet (1971), got beaten up by Dennis Hopper in David Lynch's Blue Velvet (1986) and got covered in glitter, cocaine and bodily fluids in Todd Haynes' Velvet Goldmine (1998). 0:56 - Four Flies on Grey Velvet 33:07 - Blue Velvet 1:11:36 - Velvet Goldmine Please review us over on Apple Podcasts. Got comments or suggestions for new episodes? Email: sddpod@gmail.com. Seek us out via Twitter and Instagram @ sddfilmpodcast Support our Patreon for $3 a month and get access to our exclusive show, Sudden Double Deep Cuts where we talk about our favourite movie soundtracks, scores and theme songs! Episode 008 - PURPLE launches on 20th October and we will be covering Purple Rain (1984), The Color Purple (1985) and Purple People Eater (1988).
Lifespring! Media: Quality Christian and Family Entertainment Since 2004
Did you ever look at someone famous who is supremely talented, but is not a believer and think, “Just think of the impact they could have if they would live their life for the Lord?” I have, many times. I was born just about the same time as rock & roll. I remember doo wap music playing on the radio, I remember Dave Seville and Alvin and the Chipmunks, I remember The Purple People Eater, Elvis and so many others in the 50s. And then came perhaps the greatest decade of music…the 60s. The Beach Boys, The Beatles, Jefferson Airplane, The Doors, Sir Douglas Quintet, Three Dog Night, Ray Charles, Aretha Franklin. I could go on for hours. Anyway, I’ve often thought, “It’s too bad these guys don’t see that their gift, their talent, is from God. Man, if they would only believe and use that talent for Him! What an impact that would make on the world.” The Apostle Paul, when he was still Saul, was famous in his time. His talent was in studying the Law and persecuting Christians. He was well known as a hater of Christians. Until he met Jesus. Once Jesus changed his life, Paul had the greatest impact of anyone since, besides the Lord Himself. Is there something in your past that you are ashamed of? Something that holds you back from proclaiming your story with boldness? Do you think the people that knew you before will say, “He talks a good talk, but I’ve seen him do some really bad things.” Well guess what. Those things you did before have been forgiven. Sure, they’re part of your history…part of your story…but if Jesus could take a person like Paul and use him, He can surely use you. Paul didn’t hide his past, did he? He acknowledged it, and then he said, “But then I met Jesus!” Your past does not define you. Your relationship with Jesus defines you. Because of that, you are perfect in the sight of God. You have nothing to be ashamed of. Be like Paul. Share your story with confidence. Make an impact in your world.
In this episode of The Striking Corner we continue our conversation with Philadelphia Muay Thai fighter and Stay Fly Muay Thai head coach, Justin "The Purple People Eater" Greskiewicz. We discuss the scary injury he suffered in the Muay Thai in America show a few years back, his fight to get the promoter to help cover the cost of his recovery, and we also talk about his upcoming bout with Ky Hollenbeck at Lion Fight 29! Check it out!
What's the difference between Purple People and White People? Oh, and what's eating the Orthodox these days? (It's memory lane with bases loaded; for some, Lent can't end soon enough.)
In this episode, you’re going to learn what the song the “Purple People Eater” and arguably the most famous scream of all time, used in over 200 major motion pictures (the Wilhelm Scream), have in common. [TRANSCRIPT] As mentioned in the episode, if you’re interested in getting your phone to do the Wilhelm Scream anytime it’s tossed, you can get [...] The post Podcast Episode #199: The Most Famous Scream of All Time appeared first on Today I Found Out.
Gene LaVoy of Minnesota Vikings Memes stops by to chat everything Purple People Eater related.Topics include: The Meme business, the 98 Vikings, 2014 Draft Class, Teddy Bridgewater as the Savior, Anthony Barr = Chris Doleman (fingers crossed), Chad Greenway on his last legs & possibly out the door, Joe Mauer and his failures as a Twin (tangent), Johnny Manziel & what could've been, and.... Christian Ponder (le sigh). Purple FTW! Podcast - Ep 36 - A Conversation with Minnesota Vikings MemesFollow us on Twitter @PurpleForTheWinVisit the Website: http://purpleftw.com/Subscribe to Podcast on iTunes: http://bit.ly/Q6EKaNMusic for the Purple FTW! podcast is created by & produced by deeB.To hear more of his tracks, check out: https://soundcloud.com/deeb
We all know Purple People Eater, the novelty song. But how about Purple People Eater… the movie? Oh, it happened, and we’re spending our 150th episode trying to figure out why. Whether you’re a fan of early rock ‘n’ roll, wacky car wash hijinx, or wiener dogs, there’s sure to be something in this movie […]
Shrunken Head Lounge Surf Radio Show Running Time: 29 minutes 30 seconds Vote For Link Wray For The 2014 Rock-N-Roll Hall Of Fame http://www.rockhall.com/get-involved/interact/poll/ Legions of rock guitarists on every continent testify that the biggest bang of all was the first time they heard “Rumble” by Link Wray (1929-2005), a dangerous slab of reverberating power chords and raw distortion laid down in 1958. In the summer of “Purple People Eater,” “Witch Doctor” and “Patricia,” the rebellious sonic onslaught of “Rumble” cut through Top 40 radio like a steamroller. This was more than a decade before power chords even had a name; a decade after that, in the heat of the punk era, Wray’s collaboration with Robert Gordon left every retro-rockabilly guitarslinger in the dust. The impact of Link Wray, one of Rolling Stone’s "Top 100 Guitarists of All Time," can be heard in generations of American and British metal, punk, grunge, thrash and psychobilly rockers, all of whom have claimed him and “Rumble” (and follow-ups “Raw-Hide” and “Jack The Ripper”) as their own. Jeff Beck, Jimmy Page, Eric Clapton, Jimi Hendrix and Bruce Springsteen head the A-list of Rock and Roll Hall of Fame Inductees who bow to Link Wray’s abiding influence. Pete Townshend simply calls him the King: “If it hadn’t been for Link Wray and ‘Rumble,’ I would never have picked up a guitar.” Even Iggy Pop is an acolyte: “I left school emotionally after hearing ‘Rumble.’” The DIY recordings that North Carolina Native American Link Wray made on his three-track machine in the family’s converted chicken coop are the holiest of six-string grails. “The major modus operandi of modern rock guitarists,” wrote Cob Koda, “the blueprints for heavy metal, thrash, you name it… if Duane Eddy twanged away for white, teenage America, Link Wray played for juvenile delinquent hoods, plain and simple.” The “Rumble” goes on forever.
It's always awesome interviews guys who don't take themselves too seriously but are still one of the best in the game. Justin Greskiewicz might joke around but it dead serious when it comes to his training and passion for Muay Thai. His insights as a fighter, ref and judge is something you can't miss!MTG 028: Justin "The Purple People Eater" GreskiewiczCheck out all the podcast episodes and more of Muay Thai Guy here!
What's the difference between Purple People and White People? Oh, and what's eating the Orthodox these days? (It's memory lane with bases loaded; for some, Lent can't end soon enough.)
News, Crosstalk, a Gear Review, a Featured Performance and we tweak The Stupid Knob! News: Official Digidesign Support For 8-Core Mac Pro MusicRow Drum Queen School Of Audio (SAE) Engineering Ardour Open Source DAW de la Mancha Dynamite Cowbell Plugin FX Plugin Comparison Site #1 FX Plugin Comparison Site #2 Crosstalk: Les Paul Is 92! Stax Records Is 50! Send in your questions for Charles Dye! Send in your questions for a Mastering Engineer! Calling all Cat Box submissions! Here kitty, kitty. Johnny Cash Video Feature: Louis Armstrong and Johnny Cash - Blue Yodel No. 9 Johnny Cash's Last Recorded Performance at the Carter Family Fold July 5, 2003. Gear Review: The Epiphone Valve Jr. See The Amp Head See The Speaker Cabinet Mike's credit card just FLEW out of his wallet for this one. Featured Performance: Al fininshed his work on the french dance/chill song One Step Away. Check out the final master! We'll let you know where you can pick up the album as soon as it's released. The artist is VillaBlue, which is Juanite Grande and Pascal De Falco. VillaBlue On MySpace Juanita Grande's Web Site The Stupid Knob: Moby, The Vegan Vampire! Answer To Last Week's Trivia Question: Q: In spite of the fact that much of his time was devoted to his role on Rawhide, the western TV series, this actor had time to record a major novelty hit. Who was he and what was the song? A: He was Sheb Wooley and the song was Purple People Eater! This week's winner is Patrique Osbourne. Congratulations Patrique, you're taking home a copy of Guitar and Drum Trainer courtesy of Ryan Smith over at GuitarAndDrumTrainer.com. Honorable mention goes out to Jonathan McMillan and Steven Moore. Great job! See you next week! Related Tags: music recording studio home studio project studio mixing protools plugin frappr creative commons digidesign mix it like a record project studio network bob brooks unsung heroes of the music business the stupid knob lane sumner mac pro 8 core musicrow drum queen roland tr 808 roland tr 909 sequencial drumtraks the school of audio engineering ardour de la mancha dynamite cowbell plugin les paul stax records johnny cash epiphone valve junior villablue moby sheb wooley clint eastwood purple people eater rawhide grand ole opry blue velvets golliwogs
Emo version of "One-Eyed One-Horned Flying Purple People Eater"Trust Me It's Worth It!
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