Podcasts about red sails

Interview by Kris PetersSydney punk/rock outfit Crash & The Crapenters have become well known since their 2016 debut for their signature immature but experienced psychedelic rock that touches on themes of mental health, addiction, and burnout, and their latest EP Species Du Faeces is a showcase of their sound.This four-track journey - which is out now - is packed with homages to their musical influences, the first of which is the album name, a reference toSpecies Deceases, the 1985 Midnight Oil EP.HEAVY caught up with singer/songwriter Chris Carpenter to go more in-depth."We honestly feel, at this point in time, creatively it's a turning point for us," Carpenter voiced. "We're already looking forward to what we do next. The working title for our next album which is in pre-production at the moment is Surpass, and we'd like to think that we're going to be able to surpass everything that we've done before with what we do. When you look back at Midnight Oil's career, they pretty much were able to do that and achieve their greatest creativity and their greatest successes after having used Species Deceases as that sort of bridging that gap between Red Sails and Diesel and Dust."In the full interview, Chris provided an overview of his band, Crash & The Crapenters, and their new EP, Species Du Faeces, which features four thematically linked tracks addressing drug abuse and its consequences. The title pays homage to Midnight Oil's Species Deceases, reflecting the band's influences.We explored individual tracks, including All Geared Up, which narrates personal experiences with drugs and party culture, and Depression, (Smells Like Middle-Aged Spirit), which delves into mental health struggles, plans for the rest of 2025 moving forward plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

What pairs well with the story of an identity-shifting murderess who burned her house down to cover up a crime? A fiery jalapeño cocktail (or mocktail), of course. How about the Charles Dickens super-fan who took things a bit too far? That one's less obvious, so you'll have to consult page 44. From poison to pirates, identity theft to art heists, KILLER COCKTAILS has a cocktail - and mocktail option - to pair with 144 of the wildest, wackiest historical crimes that co-authors Holly Frey and Maria Trimarchi could dig up. A small sampling of the menu: The Legend of Locusta, the Imperial Poison Maker of Ancient Rome (p20) and cocktail: The Botanist's Latte (p22)This Just In: Elizabeth "Betty" Bigley Was Not Really the Daughter of Andrew Carnegie (71) and cocktail: The Calling Card (74)Jeanne de Clisson and Her Bloodthirsty Revenge (108) and cocktail: Red Sails (110)William Cunningham, the "Bogeyman" of Cincinnati (163) and cocktail: Corpse Juice (165)The Day the Dali Escaped From Prison (240) and cocktail: Dali's Antics (242) Why the combo of baddies and booze? The authors explain: "In some instances, the cocktail is a way to lighten the mood after a particularly grueling or grisly tale. In others, it's about celebrating someone who bypasses the law for the common good, or even someone who has transitioned from villainous to . . . less villainous? More than anything, it's about finding ways to give stories from the past a festive, exciting, and new spin-and have fun doing it." The beloved co-hosts of iHeartPodcasts' "Criminalia" (both) and "Stuff You Missed in History Class" (Frey) bring their trademark humor and deep research - as well as their mixology skills - to the project. But as they write in the introduction, "It's OK to play. Tweak your drinks to your tastes! If you make a bad drink you'll only mourn the wasted ingredients. There's no such thing as cocktail jail and the family will not seek revenge. usually."Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

What pairs well with the story of an identity-shifting murderess who burned her house down to cover up a crime? A fiery jalapeño cocktail (or mocktail), of course. How about the Charles Dickens super-fan who took things a bit too far? That one's less obvious, so you'll have to consult page 44. From poison to pirates, identity theft to art heists, KILLER COCKTAILS has a cocktail - and mocktail option - to pair with 144 of the wildest, wackiest historical crimes that co-authors Holly Frey and Maria Trimarchi could dig up. A small sampling of the menu: The Legend of Locusta, the Imperial Poison Maker of Ancient Rome (p20) and cocktail: The Botanist's Latte (p22)This Just In: Elizabeth "Betty" Bigley Was Not Really the Daughter of Andrew Carnegie (71) and cocktail: The Calling Card (74)Jeanne de Clisson and Her Bloodthirsty Revenge (108) and cocktail: Red Sails (110)William Cunningham, the "Bogeyman" of Cincinnati (163) and cocktail: Corpse Juice (165)The Day the Dali Escaped From Prison (240) and cocktail: Dali's Antics (242) Why the combo of baddies and booze? The authors explain: "In some instances, the cocktail is a way to lighten the mood after a particularly grueling or grisly tale. In others, it's about celebrating someone who bypasses the law for the common good, or even someone who has transitioned from villainous to . . . less villainous? More than anything, it's about finding ways to give stories from the past a festive, exciting, and new spin-and have fun doing it." The beloved co-hosts of iHeartPodcasts' "Criminalia" (both) and "Stuff You Missed in History Class" (Frey) bring their trademark humor and deep research - as well as their mixology skills - to the project. But as they write in the introduction, "It's OK to play. Tweak your drinks to your tastes! If you make a bad drink you'll only mourn the wasted ingredients. There's no such thing as cocktail jail and the family will not seek revenge. usually."Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

“Black skies at night, sailors last fight Red Sails in the morning, sailors final warning.” -Atebean Adage Welcome back, friends! Did you miss us? We've been hard at work getting this new manifest ready! We rejoin the story with Jesse and a few new folks this season so let's begin the second Manifest! Won't you join us? Notes from the Narrator This podcast is proudly endorsed by Chaosium Inc. Visit www.chaosiuminc.com/7thsea for more information and use the code WRITER10 for 10% off your next site-wide purchase! [Limit one per customer] Support The Writer's Room: https://linktr.ee/writersroom7thsea Support Emory Kjelsberg, our official artist: https://www.emorykj.com/ Cast Zoé Jackson (Narrator) Evan Ackley (Captain Jesse Nkansa) Guest Voices Paul Spanagel (Cultist 2) Armani Marquez-Chaves (Cultist 3) Sponsors Ten Quills Dice [https://tenquillsdice.com/] The Crafty Gamer [https://www.thecraftygamer.com/?dt_id=273468] Use code WRITERSROOM for 10% off! Ko-Fi Officers Raven, V, Nightingale, Covington, Stewart, Tarquin, Cheshire, Thryth, Ders, Melloette, Spin, Merlin and Armani. Music Arcane Anthems (https://www.patreon.com/arcaneanthems) [The Writer's Room, La Rosa Blanca] Bonn Fields (https://www.epidemicsound.com/artists/bonn-fields/) [A Bad Place to Be]Niklas Johansson (https://www.epidemicsound.com/artists/niklas-johansson/) [End of All Things {The Devil's Theme}] Serpent Studios - Alexander Nakarada (https://www.serpentsoundstudios.com/) [Seven Seas] ASKII (https://askii.bandcamp.com/) [Sails, Reach, Transcendence] Daniel Kaede (https://www.epidemicsound.com/artists/daniel-kaede/) [Lost Tales of Catalonia] Silver Maple (https://www.epidemicsound.com/artists/silver-maple/) [Residuum] Samuel Orson (https://samuelorson.bandcamp.com/music) [Ancient Ones {Jesse Contemplates}] Ethan Sloan (https://www.epidemicsound.com/artists/ethan-sloan/) [Corrivation] Isobel O'Connor (https://www.epidemicsound.com/artists/isobel-oconnor/) [Empty Streets] Bonnie Grace (https://www.epidemicsound.com/artists/bonnie-grace/) [For Queen and Country {Roland's Theme}] SFX Epidemic Sound (https://www.epidemicsound.com/) Motion Array (https://motionarray.com/)Fusehive Interactive Media LTD (http://www.fusehive.com/) --- Support this podcast: https://podcasters.spotify.com/pod/show/writersroom7th/support

Dennis Schmelz is an award-winning filmmaker and photographer known for his exploration of cold destinations. He is a successful NFT artist with a sold-out 1/1 series on Sloika and is featured in the "Infinite Unbound" exhibition on Montage, a SuperRare Space operated by Sloika. Dennis's work includes the captivating NFT video "The Ice Has Broken" and the stunning photograph "Red Sails," both capturing the beauty of Greenland. He is an innovator in NFT storytelling and has built a vibrant community around his art. Dennis's future focuses on creating high-quality collections while providing enriching experiences for his audience. Visit Dennis Schmelz's NFTs on Sloika and Montage, a SuperRare Space: https://sloika.xyz/schmelz.eth/antarctica-the-last-continent https://sloika.xyz/concurrence.eth/reflections/6 https://superrare.com/0xa077d3016c19a4d7c971f193a372f9f0d65f5d3e/the-ice-has-broken-7 https://superrare.com/0xa077d3016c19a4d7c971f193a372f9f0d65f5d3e/red-sails-6 Our show, 1/1: Conversations with Artists, highlights great artists venturing into the web3 space. Sloika is a curated photography NFT marketplace, focusing on the community, code and design. Our mission is to empower creators to build meaningful connections with fans. With Sloika, you can collect and own genuine photo art from limited series by amazing photographers around the world. ------------------------------------------ Website: https://sloika.xyz Twitter: https://twitter.com/sloikaxyz Discord: https://discord.gg/FJpYyVPBY2 Instagram: https://instagram.com/sloika.xyz Newsletter: https://sloika.xyz/subscribe

We read aloud Che Guevara's 1954 essay "The American Working Class: Friend or Foe?", originally published in Casa de las Américas magazine, Jan-Feb 1988: biblioteca.clacso.edu.ar Thanks to Red Sails for translating this essay: https://redsails.org/amiga-o-enemiga/#fn:inline1 --- Support this podcast: https://podcasters.spotify.com/pod/show/cadre-journal/support

On this week's Good Growing podcast, we welcome horticulture educator Emily Swihart to share the new and strange seed we have ordered for our vegetable gardens for the 2023 growing season. Plus, Chris has a monumental task of narrowing down his list of shade trees to only one for his front yard. We tease talking about sunflowers and ornamentals for the yard, but we don't get to them this week. So look for that episode next week. Watch us on YouTube! https://youtu.be/hww7vEXP3_0 Skip to what you want to know: 0:20 Hey Ken 1:20 Welcome Emily - lamenting on the warm winter weather (mud) 2:11 Ken taps his silver maple for maple syrup 3:27 What are we growing this year? 4:30 Ken - Shiso 6:40 Emily - Porcelain Doll Pumpkin 8:51 Chris - German Butterball Potato 11:21 Ken - Cardoon 12:39 Emily - Heirloom Tomato Collection (Brandywine, Striped German, Cherokee purple, Amish paste) plus a hybrid slicer tomato (Mountain Merit) 16:16 Chris - Sikkim Cucumber 18:40 Ken - Parsnip, and lots of different lettuce types - red iceberg, Blackhawk, Red Sails, Continuity, Devil's Tongue, Deer Tongue, Drunken Woman Frizzy 20:48 Emily - Chamomile and celery (Kelvin) 23:39 Chris - Poblano peppers (Trident and Capitan) and Chris' rant about green peppers 26:03 Ken - Corn (Hooker's Sweet, Painted Mountain, Painted Hill, Silverqueen - for the corn smut) 29:39 Emily - Artisan tomatoes (Blush, Gold Nugget, Indigo Cherry Drops) 31:27 Chris' shade tree decision to replace an ash tree (Black gum, Kentucky Coffeetree, hackberry, or tulip poplar?) 40:12 Thank yous and so long! Stay tuned for our show where we select flowering and ornamental plants for 2023. Contact us! Chris Enroth: cenroth@illinois.edu Ken Johnson: kjohnso@illinois.edu Emily Swihart: eswihart@illinois.edu Check out the Good Growing Blog: htps://go.illinois.edu/goodgrowing Subscribe to the weekly Good Growing email: https://go.illinois.edu/goodgrowingsubscribe Any products or companies mentioned during the podcast are in no way a promotion or endorsement of these products or companies. -- You can find us on most podcast platforms. SoundCloud https://soundcloud.com/user-555304573 iTunes https://podcasts.apple.com/us/podcast/good-growing/id1446630377 Stitcher https://www.stitcher.com/show/good-growing Tunein https://tunein.com/podcasts/Gardening/Good-Growing-p1187964/ Spotify https://open.spotify.com/show/202u3siWExE1tTqrVgtmCR Vurbl https://vurbl.com/station/good-growing-4pljnNlUtyG/ Listen notes https://www.listennotes.com/podcasts/good-growing-chris-enroth-cHLPMWpvEOG/ Ivy https://ivy.fm/podcast/good-growing-167902 Castbox https://castbox.fm/channel/Good-Growing-id4302614?country=us Google podcasts https://bit.ly/3AiYjTD

Music by Dr. Thomas W. Smith

Welcome To The NFT Jungle is a podcast dedicated to NFTs as well as navigating the NFT space so that you can be equipped to make good decisions in this crazy world of NFTs! ❤️ Welcome To The NFT Jungle is the OFFICIAL podcast for “MetaJungle”. The MetaJungle team is developing platform tools to make your NFT experiences better. Join the MetaJungle Discord for free access to information, tools, and resources that will make your NFT collecting a success!

Episode one hundred and fifty-six of A History of Rock Music in Five Hundred Songs looks at “I Was Made to Love Her", the early career of Stevie Wonder, and the Detroit riots of 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Groovin'" by the Young Rascals. 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/ Resources As usual, I've put together a Mixcloud playlist of all the recordings excerpted in this episode. The best value way to get all of Stevie Wonder's early singles is this MP3 collection, which has the original mono single mixes of fifty-five tracks for a very reasonable price. For those who prefer physical media, this is a decent single-CD collection of his early work at a very low price indeed. As well as the general Motown information listed below, I've also referred to Signed, Sealed, and Delivered: The Soulful Journey of Stevie Wonder by Mark Ribowsky, which rather astonishingly is the only full-length biography of Wonder, to Higher Ground: Stevie Wonder, Aretha Franklin, Curtis Mayfield, and the Rise and Fall of American Soul by Craig Werner, and to Detroit 67: The Year That Changed Soul by Stuart Cosgrove. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier's autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers'. Standing in the Shadows of Motown: The Life and Music of Legendary Bassist James Jamerson by "Dr Licks" is a mixture of a short biography of the great bass player, and tablature of his most impressive bass parts. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I begin -- this episode deals with disability and racism, and also deals from the very beginning with sex work and domestic violence. It also has some discussion of police violence and sexual assault. As always I will try to deal with those subjects as non-judgementally and sensitively as possible, but if you worry that anything about those subjects might disturb you, please check the transcript. Calvin Judkins was not a good man. Lula Mae Hardaway thought at first he might be, when he took her in, with her infant son whose father had left before the boy was born. He was someone who seemed, when he played the piano, to be deeply sensitive and emotional, and he even did the decent thing and married her when he got her pregnant. She thought she could save him, even though he was a street hustler and not even very good at it, and thirty years older than her -- she was only nineteen, he was nearly fifty. But she soon discovered that he wasn't interested in being saved, and instead he was interested in hurting her. He became physically and financially abusive, and started pimping her out. Lula would eventually realise that Calvin Judkins was no good, but not until she got pregnant again, shortly after the birth of her second son. Her third son was born premature -- different sources give different numbers for how premature, with some saying four months and others six weeks -- and while he apparently went by Stevland Judkins throughout his early childhood, the name on his birth certificate was apparently Stevland Morris, Lula having decided not to give another child the surname of her abuser, though nobody has ever properly explained where she got the surname "Morris" from. Little Stevland was put in an incubator with an oxygen mask, which saved the tiny child's life but destroyed his sight, giving him a condition called retinopathy of prematurity -- a condition which nowadays can be prevented and cured, but in 1951 was just an unavoidable consequence for some portion of premature babies. Shortly after the family moved from Saginaw to Detroit, Lula kicked Calvin out, and he would remain only a peripheral figure in his children's lives, but one thing he did do was notice young Stevland's interest in music, and on his increasingly infrequent visits to his wife and kids -- visits that usually ended with violence -- he would bring along toy instruments for the young child to play, like a harmonica and a set of bongos. Stevie was a real prodigy, and by the time he was nine he had a collection of real musical instruments, because everyone could see that the kid was something special. A neighbour who owned a piano gave it to Stevie when she moved out and couldn't take it with her. A local Lions Club gave him a drum kit at a party they organised for local blind children, and a barber gave him a chromatic harmonica after seeing him play his toy one. Stevie gave his first professional performance when he was eight. His mother had taken him to a picnic in the park, and there was a band playing, and the little boy got as close to the stage as he could and started dancing wildly. The MC of the show asked the child who he was, and he said "My name is Stevie, and I can sing and play drums", so of course they got the cute kid up on stage behind the drum kit while the band played Johnny Ace's "Pledging My Love": [Excerpt: Johnny Ace, "Pledging My Love"] He did well enough that they paid him seventy-five cents -- an enormous amount for a small child at that time -- though he was disappointed afterwards that they hadn't played something faster that would really allow him to show off his drumming skills. After that he would perform semi-regularly at small events, and always ask to be paid in quarters rather than paper money, because he liked the sound of the coins -- one of his party tricks was to be able to tell one coin from another by the sound of them hitting a table. Soon he formed a duo with a neighbourhood friend, John Glover, who was a couple of years older and could play guitar while Stevie sang and played harmonica and bongos. The two were friends, and both accomplished musicians for their age, but that wasn't the only reason Stevie latched on to Glover. Even as young as he was, he knew that Motown was soon going to be the place to be in Detroit if you were a musician, and Glover had an in -- his cousin was Ronnie White of the Miracles. Stevie and John performed as a duo everywhere they could and honed their act, performing particularly at the talent shows which were such an incubator of Black musical talent at the time, and they also at this point seem to have got the attention of Clarence Paul, but it was White who brought the duo to Motown. Stevie and John first played for White and Bobby Rodgers, another of the Miracles, then when they were impressed they took them through the several layers of Motown people who would have to sign off on signing a new act. First they were taken to see Brian Holland, who was a rising star within Motown as "Please Mr. Postman" was just entering the charts. They impressed him with a performance of the Miracles song "Bad Girl": [Excerpt: The Miracles, "Bad Girl"] After that, Stevie and John went to see Mickey Stevenson, who was at first sceptical, thinking that a kid so young -- Stevie was only eleven at the time -- must be some kind of novelty act rather than a serious musician. He said later "It was like, what's next, the singing mouse?" But Stevenson was won over by the child's talent. Normally, Stevenson had the power to sign whoever he liked to the label, but given the extra legal complications involved in signing someone under-age, he had to get Berry Gordy's permission. Gordy didn't even like signing teenagers because of all the extra paperwork that would be involved, and he certainly wasn't interested in signing pre-teens. But he came down to the studio to see what Stevie could do, and was amazed, not by his singing -- Gordy didn't think much of that -- but by his instrumental ability. First Stevie played harmonica and bongos as proficiently as an adult professional, and then he made his way around the studio playing on every other instrument in the place -- often only a few notes, but competent on them all. Gordy decided to sign the duo -- and the initial contract was for an act named "Steve and John" -- but it was soon decided to separate them. Glover would be allowed to hang around Motown while he was finishing school, and there would be a place for him when he finished -- he later became a staff songwriter, working on tracks for the Four Tops and the Miracles among others, and he would even later write a number one hit, "You Don't Have to be a Star (to be in My Show)" for Marilyn McCoo and Billy Davis Jr -- but they were going to make Stevie a star right now. The man put in charge of that was Clarence Paul. Paul, under his birth name of Clarence Pauling, had started his career in the "5" Royales, a vocal group he formed with his brother Lowman Pauling that had been signed to Apollo Records by Ralph Bass, and later to King Records. Paul seems to have been on at least some of the earliest recordings by the group, so is likely on their first single, "Give Me One More Chance": [Excerpt: The "5" Royales, "Give Me One More Chance"] But Paul was drafted to go and fight in the Korean War, and so wasn't part of the group's string of hit singles, mostly written by his brother Lowman, like "Think", which later became better known in James Brown's cover version, or "Dedicated to the One I Love", later covered by the Shirelles, but in its original version dominated by Lowman's stinging guitar playing: [Excerpt: The "5" Royales, "Dedicated to the One I Love"] After being discharged, Clarence had shortened his name to Clarence Paul, and had started recording for all the usual R&B labels like Roulette and Federal, with little success: [Excerpt: Clarence Paul, "I'm Gonna Love You, Love You Til I Die"] He'd also co-written "I Need Your Lovin'", which had been an R&B hit for Roy Hamilton: [Excerpt: Roy Hamilton, "I Need Your Lovin'"] Paul had recently come to work for Motown – one of the things Berry Gordy did to try to make his label more attractive was to hire the relatives of R&B stars on other labels, in the hopes of getting them to switch to Motown – and he was the new man on the team, not given any of the important work to do. He was working with acts like Henry Lumpkin and the Valladiers, and had also been the producer of "Mind Over Matter", the single the Temptations had released as The Pirates in a desperate attempt to get a hit: [Excerpt: The Pirates, "Mind Over Matter"] Paul was the person you turned to when no-one else was interested, and who would come up with bizarre ideas. A year or so after the time period we're talking about, it was him who produced an album of country music for the Supremes, before they'd had a hit, and came up with "The Man With the Rock and Roll Banjo Band" for them: [Excerpt: The Supremes, "The Man With The Rock and Roll Banjo Band"] So, Paul was the perfect person to give a child -- by this time twelve years old -- who had the triple novelties of being a multi-instrumentalist, a child, and blind. Stevie started spending all his time around the Motown studios, partly because he was eager to learn everything about making records and partly because his home life wasn't particularly great and he wanted to be somewhere else. He earned the affection and irritation, in equal measure, of people at Motown both for his habit of wandering into the middle of sessions because he couldn't see the light that showed that the studio was in use, and for his practical joking. He was a great mimic, and would do things like phoning one of the engineers and imitating Berry Gordy's voice, telling the engineer that Stevie would be coming down, and to give him studio equipment to take home. He'd also astonish women by complimenting them, in detail, on their dresses, having been told in advance what they looked like by an accomplice. But other "jokes" were less welcome -- he would regularly sexually assault women working at Motown, grabbing their breasts or buttocks and then claiming it was an accident because he couldn't see what he was doing. Most of the women he molested still speak of him fondly, and say everybody loved him, and this may even be the case -- and certainly I don't think any of us should be judged too harshly for what we did when we were twelve -- but this kind of thing led to a certain amount of pressure to make Stevie's career worth the extra effort he was causing everyone at Motown. Because Berry Gordy was not impressed with Stevie's vocals, the decision was made to promote him as a jazz instrumentalist, and so Clarence Paul insisted that his first release be an album, rather than doing what everyone would normally do and only put out an album after a hit single. Paul reasoned that there was no way on Earth they were going to be able to get a hit single with a jazz instrumental by a twelve-year-old kid, and eventually persuaded Gordy of the wisdom of this idea. So they started work on The Jazz Soul of Little Stevie, released under his new stagename of Little Stevie Wonder, supposedly a name given to him after Berry Gordy said "That kid's a wonder!", though Mickey Stevenson always said that the name came from a brainstorming session between him and Clarence Paul. The album featured Stevie on harmonica, piano, and organ on different tracks, but on the opening track, "Fingertips", he's playing the bongos that give the track its name: [Excerpt: Little Stevie Wonder, "Fingertips (studio version)"] The composition of that track is credited to Paul and the arranger Hank Cosby, but Beans Bowles, who played flute on the track, always claimed that he came up with the melody, and it seems quite likely to me that most of the tracks on the album were created more or less as jam sessions -- though Wonder's contributions were all overdubbed later. The album sat in the can for several months -- Berry Gordy was not at all sure of its commercial potential. Instead, he told Paul to go in another direction -- focusing on Wonder's blindness, he decided that what they needed to do was create an association in listeners' minds with Ray Charles, who at this point was at the peak of his commercial power. So back into the studio went Wonder and Paul, to record an album made up almost entirely of Ray Charles covers, titled Tribute to Uncle Ray. (Some sources have the Ray Charles tribute album recorded first -- and given Motown's lax record-keeping at this time it may be impossible to know for sure -- but this is the way round that Mark Ribowsky's biography of Wonder has it). But at Motown's regular quality control meeting it was decided that there wasn't a single on the album, and you didn't release an album like that without having a hit single first. By this point, Clarence Paul was convinced that Berry Gordy was just looking for excuses not to do anything with Wonder -- and there may have been a grain of truth to that. There's some evidence that Gordy was worried that the kid wouldn't be able to sing once his voice broke, and was scared of having another Frankie Lymon on his hands. But the decision was made that rather than put out either of those albums, they would put out a single. The A-side was a song called "I Call it Pretty Music But the Old People Call it the Blues, Part 1", which very much played on Wonder's image as a loveable naive kid: [Excerpt: Little Stevie Wonder, "I Call it Pretty Music But the Old People Call it the Blues, Part 1"] The B-side, meanwhile, was part two -- a slowed-down, near instrumental, version of the song, reframed as an actual blues, and as a showcase for Wonder's harmonica playing rather than his vocals. The single wasn't a hit, but it made number 101 on the Billboard charts, just missing the Hot One Hundred, which for the debut single of a new artist wasn't too bad, especially for Motown at this point in time, when most of its releases were flopping. That was good enough that Gordy authorised the release of the two albums that they had in the can. The next single, "Little Water Boy", was a rather baffling duet with Clarence Paul, which did nothing at all on the charts. [Excerpt: Clarence Paul and Little Stevie Wonder, "Little Water Boy"] After this came another flop single, written by Brian Holland, Lamont Dozier, and Janie Bradford, before the record that finally broke Little Stevie Wonder out into the mainstream in a big way. While Wonder hadn't had a hit yet, he was sent out on the first Motortown Revue tour, along with almost every other act on the label. Because he hadn't had a hit, he was supposed to only play one song per show, but nobody had told him how long that song should be. He had quickly become a great live performer, and the audiences were excited to watch him, so when he went into extended harmonica solos rather than quickly finishing the song, the audience would be with him. Clarence Paul, who came along on the tour, would have to motion to the onstage bandleader to stop the music, but the bandleader would know that the audiences were with Stevie, and so would just keep the song going as long as Stevie was playing. Often Paul would have to go on to the stage and shout in Wonder's ear to stop playing -- and often Wonder would ignore him, and have to be physically dragged off stage by Paul, still playing, causing the audience to boo Paul for stopping him from playing. Wonder would complain off-stage that the audience had been enjoying it, and didn't seem to get it into his head that he wasn't the star of the show, that the audiences *were* enjoying him, but were *there* to see the Miracles and Mary Wells and the Marvelettes and Marvin Gaye. This made all the acts who had to go on after him, and who were running late as a result, furious at him -- especially since one aspect of Wonder's blindness was that his circadian rhythms weren't regulated by sunlight in the same way that the sighted members of the tour's were. He would often wake up the entire tour bus by playing his harmonica at two or three in the morning, while they were all trying to sleep. Soon Berry Gordy insisted that Clarence Paul be on stage with Wonder throughout his performance, ready to drag him off stage, so that he wouldn't have to come out onto the stage to do it. But one of the first times he had done this had been on one of the very first Motortown Revue shows, before any of his records had come out. There he'd done a performance of "Fingertips", playing the flute part on harmonica rather than only playing bongos throughout as he had on the studio version -- leaving the percussion to Marvin Gaye, who was playing drums for Wonder's set: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] But he'd extended the song with a little bit of call-and-response vocalising: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] After the long performance ended, Clarence Paul dragged Wonder off-stage and the MC asked the audience to give him a round of applause -- but then Stevie came running back on and carried on playing: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] By this point, though, the musicians had started to change over -- Mary Wells, who was on after Wonder, was using different musicians from his, and some of her players were already on stage. You can hear Joe Swift, who was playing bass for Wells, asking what key he was meant to be playing in: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] Eventually, after six and a half minutes, they got Wonder off stage, but that performance became the two sides of Wonder's next single, with "Fingertips Part 2", the part with the ad lib singing and the false ending, rather than the instrumental part one, being labelled as the side the DJs should play. When it was released, the song started a slow climb up the charts, and by August 1963, three months after it came out, it was at number one -- only the second ever Motown number one, and the first ever live single to get there. Not only that, but Motown released a live album -- Recorded Live, the Twelve-Year-Old Genius (though as many people point out he was thirteen when it was released -- he was twelve when it was recorded though) and that made number one on the albums chart, becoming the first Motown album ever to do so. They followed up "Fingertips" with a similar sounding track, "Workout, Stevie, Workout", which made number thirty-three. After that, his albums -- though not yet his singles -- started to be released as by "Stevie Wonder" with no "Little" -- he'd had a bit of a growth spurt and his voice was breaking, and so marketing him as a child prodigy was not going to work much longer and they needed to transition him into a star with adult potential. In the Motown of 1963 that meant cutting an album of standards, because the belief at the time in Motown was that the future for their entertainers was doing show tunes at the Copacabana. But for some reason the audience who had wanted an R&B harmonica instrumental with call-and-response improvised gospel-influenced yelling was not in the mood for a thirteen year old singing "Put on a Happy Face" and "When You Wish Upon a Star", and especially not when the instrumental tracks were recorded in a key that suited him at age twelve but not thirteen, so he was clearly straining. "Fingertips" being a massive hit also meant Stevie was now near the top of the bill on the Motortown Revue when it went on its second tour. But this actually put him in a precarious position. When he had been down at the bottom of the bill and unknown, nobody expected anything from him, and he was following other minor acts, so when he was surprisingly good the audiences went wild. Now, near the top of the bill, he had to go on after Marvin Gaye, and he was not nearly so impressive in that context. The audiences were polite enough, but not in the raptures he was used to. Although Stevie could still beat Gaye in some circumstances. At Motown staff parties, Berry Gordy would always have a contest where he'd pit two artists against each other to see who could win the crowd over, something he thought instilled a fun and useful competitive spirit in his artists. They'd alternate songs, two songs each, and Gordy would decide on the winner based on audience response. For the 1963 Motown Christmas party, it was Stevie versus Marvin. Wonder went first, with "Workout, Stevie, Workout", and was apparently impressive, but then Gaye topped him with a version of "Hitch-Hike". So Stevie had to top that, and apparently did, with a hugely extended version of "I Call it Pretty Music", reworked in the Ray Charles style he'd used for "Fingertips". So Marvin Gaye had to top that with the final song of the contest, and he did, performing "Stubborn Kind of Fellow": [Excerpt: Marvin Gaye, "Stubborn Kind of Fellow"] And he was great. So great, it turned the crowd against him. They started booing, and someone in the audience shouted "Marvin, you should be ashamed of yourself, taking advantage of a little blind kid!" The crowd got so hostile Berry Gordy had to stop the performance and end the party early. He never had another contest like that again. There were other problems, as well. Wonder had been assigned a tutor, a young man named Ted Hull, who began to take serious control over his life. Hull was legally blind, so could teach Wonder using Braille, but unlike Wonder had some sight -- enough that he was even able to get a drivers' license and a co-pilot license for planes. Hull was put in loco parentis on most of Stevie's tours, and soon became basically inseparable from him, but this caused a lot of problems, not least because Hull was a conservative white man, while almost everyone else at Motown was Black, and Stevie was socially liberal and on the side of the civil rights and anti-Vietnam movements. Hull started to collaborate on songwriting with Wonder, which most people at Motown were OK with but which now seems like a serious conflict of interest, and he also started calling himself Stevie's "manager" -- which did *not* impress the people at Motown, who had their own conflict of interest because with Stevie, like with all their artists, they were his management company and agents as well as his record label and publishers. Motown grudgingly tolerated Hull, though, mostly because he was someone they could pass Lula Mae Hardaway to to deal with her complaints. Stevie's mother was not very impressed with the way that Motown were handling her son, and would make her opinion known to anyone who would listen. Hull and Hardaway did not get on at all, but he could be relied on to save the Gordy family members from having to deal with her. Wonder was sent over to Europe for Christmas 1963, to perform shows at the Paris Olympia and do some British media appearances. But both his mother and Hull had come along, and their clear dislike for each other was making him stressed. He started to get pains in his throat whenever he sang -- pains which everyone assumed were a stress reaction to the unhealthy atmosphere that happened whenever Hull and his mother were in the same room together, but which later turned out to be throat nodules that required surgery. Because of this, his singing was generally not up to standard, which meant he was moved to a less prominent place on the bill, which in turn led to his mother accusing the Gordy family of being against him and trying to stop him becoming a star. Wonder started to take her side and believe that Motown were conspiring against him, and at one point he even "accidentally" dropped a bottle of wine on Ted Hull's foot, breaking one of his toes, because he saw Hull as part of the enemy that was Motown. Before leaving for those shows, he had recorded the album he later considered the worst of his career. While he was now just plain Stevie on albums, he wasn't for his single releases, or in his first film appearance, where he was still Little Stevie Wonder. Berry Gordy was already trying to get a foot in the door in Hollywood -- by the end of the decade Motown would be moving from Detroit to LA -- and his first real connections there were with American International Pictures, the low-budget film-makers who have come up a lot in connection with the LA scene. AIP were the producers of the successful low-budget series of beach party films, which combined appearances by teen heartthrobs Frankie Avalon and Annette Funicello in swimsuits with cameo appearances by old film stars fallen on hard times, and with musical performances by bands like the Bobby Fuller Four. There would be a couple of Motown connections to these films -- most notably, the Supremes would do the theme tune for Dr. Goldfoot and the Bikini Machine -- but Muscle Beach Party was to be the first. Most of the music for Muscle Beach Party was written by Brian Wilson, Roger Christian, and Gary Usher, as one might expect for a film about surfing, and was performed by Dick Dale and the Del-Tones, the film's major musical guests, with Annette, Frankie, and Donna Loren [pron Lorren] adding vocals, on songs like "Muscle Bustle": [Excerpt: Donna Loren with Dick Dale and the Del-Tones, "Muscle Bustle"] The film followed the formula in every way -- it also had a cameo appearance by Peter Lorre, his last film appearance before his death, and it featured Little Stevie Wonder playing one of the few songs not written by the surf and car writers, a piece of nothing called "Happy Street". Stevie also featured in the follow-up, Bikini Beach, which came out a little under four months later, again doing a single number, "Happy Feelin'". To cash in on his appearances in these films, and having tried releasing albums of Little Stevie as jazz multi-instrumentalist, Ray Charles tribute act, live soulman and Andy Williams-style crooner, they now decided to see if they could sell him as a surf singer. Or at least, as Motown's idea of a surf singer, which meant a lot of songs about the beach and the sea -- mostly old standards like "Red Sails in the Sunset" and "Ebb Tide" -- backed by rather schlocky Wrecking Crew arrangements. And this is as good a place as any to take on one of the bits of disinformation that goes around about Motown. I've addressed this before, but it's worth repeating here in slightly more detail. Carol Kaye, one of the go-to Wrecking Crew bass players, is a known credit thief, and claims to have played on hundreds of records she didn't -- claims which too many people take seriously because she is a genuine pioneer and was for a long time undercredited on many records she *did* play on. In particular, she claims to have played on almost all the classic Motown hits that James Jamerson of the Funk Brothers played on, like the title track for this episode, and she claims this despite evidence including notarised statements from everyone involved in the records, the release of session recordings that show producers talking to the Funk Brothers, and most importantly the evidence of the recordings themselves, which have all the characteristics of the Detroit studio and sound like the Funk Brothers playing, and have absolutely nothing in common, sonically, with the records the Wrecking Crew played on at Gold Star, Western, and other LA studios. The Wrecking Crew *did* play on a lot of Motown records, but with a handful of exceptions, mostly by Brenda Holloway, the records they played on were quickie knock-off album tracks and potboiler albums made to tie in with film or TV work -- soundtracks to TV specials the acts did, and that kind of thing. And in this case, the Wrecking Crew played on the entire Stevie at the Beach album, including the last single to be released as by "Little Stevie Wonder", "Castles in the Sand", which was arranged by Jack Nitzsche: [Excerpt: Little Stevie Wonder, "Castles in the Sand"] Apparently the idea of surfin' Stevie didn't catch on any more than that of swingin' Stevie had earlier. Indeed, throughout 1964 and 65 Motown seem to have had less than no idea what they were doing with Stevie Wonder, and he himself refers to all his recordings from this period as an embarrassment, saving particular scorn for the second single from Stevie at the Beach, "Hey Harmonica Man", possibly because that, unlike most of his other singles around this point, was a minor hit, reaching number twenty-nine on the charts. Motown were still pushing Wonder hard -- he even got an appearance on the Ed Sullivan Show in May 1964, only the second Motown act to appear on it after the Marvelettes -- but Wonder was getting more and more unhappy with the decisions they were making. He loathed the Stevie at the Beach album -- the records he'd made earlier, while patchy and not things he'd chosen, were at least in some way related to his musical interests. He *did* love jazz, and he *did* love Ray Charles, and he *did* love old standards, and the records were made by his friend Clarence Paul and with the studio musicians he'd grown to know in Detroit. But Stevie at the Beach was something that was imposed on Clarence Paul from above, it was cut with unfamiliar musicians, Stevie thought the films he was appearing in were embarrassing, and he wasn't even having much commercial success, which was the whole point of these compromises. He started to get more rebellious against Paul in the studio, though many of these decisions weren't made by Paul, and he would complain to anyone who would listen that if he was just allowed to do the music he wanted to sing, the way he wanted to sing it, he would have more hits. But for nine months he did basically no singing other than that Ed Sullivan Show appearance -- he had to recover from the operation to remove the throat nodules. When he did return to the studio, the first single he cut remained unreleased, and while some stuff from the archives was released between the start of 1964 and March 1965, the first single he recorded and released after the throat nodules, "Kiss Me Baby", which came out in March, was a complete flop. That single was released to coincide with the first Motown tour of Europe, which we looked at in the episode on "Stop! In the Name of Love", and which was mostly set up to promote the Supremes, but which also featured Martha and the Vandellas, the Miracles, and the Temptations. Even though Stevie had not had a major hit in eighteen months by this point, he was still brought along on the tour, the only solo artist to be included -- at this point Gordy thought that solo artists looked outdated compared to vocal groups, in a world dominated by bands, and so other solo artists like Marvin Gaye weren't invited. This was a sign that Gordy was happier with Stevie than his recent lack of chart success might suggest. One of the main reasons that Gordy had been in two minds about him was that he'd had no idea if Wonder would still be able to sing well after his voice broke. But now, as he was about to turn fifteen, his adult voice had more or less stabilised, and Gordy knew that he was capable of having a long career, if they just gave him the proper material. But for now his job on the tour was to do his couple of hits, smile, and be on the lower rungs of the ladder. But even that was still a prominent place to be given the scaled-down nature of this bill compared to the Motortown Revues. While the tour was in England, for example, Dusty Springfield presented a TV special focusing on all the acts on the tour, and while the Supremes were the main stars, Stevie got to do two songs, and also took part in the finale, a version of "Mickey's Monkey" led by Smokey Robinson but with all the performers joining in, with Wonder getting a harmonica solo: [Excerpt: Smokey Robinson and the Motown acts, "Mickey's Monkey"] Sadly, there was one aspect of the trip to the UK that was extremely upsetting for Wonder. Almost all the media attention he got -- which was relatively little, as he wasn't a Supreme -- was about his blindness, and one reporter in particular convinced him that there was an operation he could have to restore his sight, but that Motown were preventing him from finding out about it in order to keep his gimmick going. He was devastated about this, and then further devastated when Ted Hull finally convinced him that it wasn't true, and that he'd been lied to. Meanwhile other newspapers were reporting that he *could* see, and that he was just feigning blindness to boost his record sales. After the tour, a live recording of Wonder singing the blues standard "High Heeled Sneakers" was released as a single, and barely made the R&B top thirty, and didn't hit the top forty on the pop charts. Stevie's initial contract with Motown was going to expire in the middle of 1966, so there was a year to get him back to a point where he was having the kind of hits that other Motown acts were regularly getting at this point. Otherwise, it looked like his career might end by the time he was sixteen. The B-side to "High Heeled Sneakers" was another duet with Clarence Paul, who dominates the vocal sound for much of it -- a version of Willie Nelson's country classic "Funny How Time Slips Away": [Excerpt: Stevie Wonder and Clarence Paul, "Funny How Time Slips Away"] There are a few of these duet records scattered through Wonder's early career -- we'll hear another one a little later -- and they're mostly dismissed as Paul trying to muscle his way into a revival of his own recording career as an artist, and there may be some truth in that. But they're also a natural extension of the way the two of them worked in the studio. Motown didn't have the facilities to give Wonder Braille lyric sheets, and Paul didn't trust him to be able to remember the lyrics, so often when they made a record, Paul would be just off-mic, reciting the lyrics to Wonder fractionally ahead of him singing them. So it was more or less natural that this dynamic would leak out onto records, but not everyone saw it that way. But at the same time, there has been some suggestion that Paul was among those manoeuvring to get rid of Wonder from Motown as soon as his contract was finished -- despite the fact that Wonder was the only act Paul had worked on any big hits for. Either way, Paul and Wonder were starting to chafe at working with each other in the studio, and while Paul remained his on-stage musical director, the opportunity to work on Wonder's singles for what would surely be his last few months at Motown was given to Hank Cosby and Sylvia Moy. Cosby was a saxophone player and staff songwriter who had been working with Wonder and Paul for years -- he'd co-written "Fingertips" and several other tracks -- while Moy was a staff songwriter who was working as an apprentice to Cosby. Basically, at this point, nobody else wanted the job of writing for Wonder, and as Moy was having no luck getting songs cut by any other artists and her career was looking about as dead as Wonder's, they started working together. Wonder was, at this point, full of musical ideas but with absolutely no discipline. He's said in interviews that at this point he was writing a hundred and fifty songs a month, but these were often not full songs -- they were fragments, hooks, or a single verse, or a few lines, which he would pass on to Moy, who would turn his ideas into structured songs that fit the Motown hit template, usually with the assistance of Cosby. Then Cosby would come up with an arrangement, and would co-produce with Mickey Stevenson. The first song they came up with in this manner was a sign of how Wonder was looking outside the world of Motown to the rock music that was starting to dominate the US charts -- but which was itself inspired by Motown music. We heard in the last episode on the Rolling Stones how "Nowhere to Run" by the Vandellas: [Excerpt: Martha and the Vandellas, "Nowhere to Run"] had inspired the Stones' "Satisfaction": [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] And Wonder in turn was inspired by "Satisfaction" to come up with his own song -- though again, much of the work making it into an actual finished song was done by Sylvia Moy. They took the four-on-the-floor beat and basic melody of "Satisfaction" and brought it back to Motown, where those things had originated -- though they hadn't originated with Stevie, and this was his first record to sound like a Motown record in the way we think of those things. As a sign of how, despite the way these stories are usually told, the histories of rock and soul were completely and complexly intertwined, that four-on-the-floor beat itself was a conscious attempt by Holland, Dozier, and Holland to appeal to white listeners -- on the grounds that while Black people generally clapped on the backbeat, white people didn't, and so having a four-on-the-floor beat wouldn't throw them off. So Cosby, Moy, and Wonder, in trying to come up with a "Satisfaction" soundalike were Black Motown writers trying to copy a white rock band trying to copy Black Motown writers trying to appeal to a white rock audience. Wonder came up with the basic chorus hook, which was based around a lot of current slang terms he was fond of: [Excerpt: Stevie Wonder, "Uptight"] Then Moy, with some assistance from Cosby, filled it out into a full song. Lyrically, it was as close to social comment as Motown had come at this point -- Wonder was, like many of his peers in soul music, interested in the power of popular music to make political statements, and he would become a much more political artist in the next few years, but at this point it's still couched in the acceptable boy-meets-girl romantic love song that Motown specialised in. But in 1965 a story about a boy from the wrong side of the tracks dating a rich girl inevitably raised the idea that the boy and girl might be of different races -- a subject that was very, very, controversial in the mid-sixties. [Excerpt: Stevie Wonder, "Uptight"] "Uptight" made number three on the pop charts and number one on the R&B charts, and saved Stevie Wonder's career. And this is where, for all that I've criticised Motown in this episode, their strategy paid off. Mickey Stevenson talked a lot about how in the early sixties Motown didn't give up on artists -- if someone had potential but was not yet having hits or finding the right approach, they would keep putting out singles in a holding pattern, trying different things and seeing what would work, rather than toss them aside. It had already worked for the Temptations and the Supremes, and now it had worked for Stevie Wonder. He would be the last beneficiary of this policy -- soon things would change, and Motown would become increasingly focused on trying to get the maximum returns out of a small number of stars, rather than building careers for a range of artists -- but it paid off brilliantly for Wonder. "Uptight" was such a reinvention of Wonder's career, sound, and image that many of his fans consider it the real start of his career -- everything before it only counting as prologue. The follow-up, "Nothing's Too Good For My Baby", was an "Uptight" soundalike, and as with Motown soundalike follow-ups in general, it didn't do quite as well, but it still made the top twenty on the pop chart and got to number four on the R&B chart. Stevie Wonder was now safe at Motown, and so he was going to do something no other Motown act had ever done before -- he was going to record a protest song and release it as a single. For about a year he'd been ending his shows with a version of Bob Dylan's "Blowin' in the Wind", sung as a duet with Clarence Paul, who was still his on stage bandleader even though the two weren't working together in the studio as much. Wonder brought that into the studio, and recorded it with Paul back as the producer, and as his duet partner. Berry Gordy wasn't happy with the choice of single, but Wonder pushed, and Gordy knew that Wonder was on a winning streak and gave in, and so "Blowin' in the Wind" became Stevie Wonder's next single: [Excerpt: Stevie Wonder and Clarence Paul, "Blowin' in the Wind"] "Blowin' in the Wind" made the top ten, and number one on the R&B charts, and convinced Gordy that there was some commercial potential in going after the socially aware market, and over the next few years Motown would start putting out more and more political records. Because Motown convention was to have the producer of a hit record produce the next hit for that artist, and keep doing so until they had a flop, Paul was given the opportunity to produce the next single. "A Place in the Sun" was another ambiguously socially-aware song, co-written by the only white writer on Motown staff, Ron Miller, who happened to live in the same building as Stevie's tutor-cum-manager Ted Hull. "A Place in the Sun" was a pleasant enough song, inspired by "A Change is Gonna Come", but with a more watered-down, generic, message of hope, but the record was lifted by Stevie's voice, and again made the top ten. This meant that Paul and Miller, and Miller's writing partner Bryan Mills, got to work on his next  two singles -- his 1966 Christmas song "Someday at Christmas", which made number twenty-four, and the ballad "Travellin' Man" which made thirty-two. The downward trajectory with Paul meant that Wonder was soon working with other producers again. Harvey Fuqua and Johnny Bristol cut another Miller and Mills song with him, "Yester-Me, Yester-You, Yesterday": [Excerpt: Stevie Wonder, "Yester-Me, Yester-You, Yesterday"] But that was left in the can, as not good enough to release, and Stevie was soon back working with Cosby. The two of them had come up with an instrumental together in late 1966, but had not been able to come up with any words for it, so they played it for Smokey Robinson, who said their instrumental sounded like circus music, and wrote lyrics about a clown: [Excerpt: The Miracles, "The Tears of a Clown"] The Miracles cut that as album filler, but it was released three years later as a single and became the Miracles' only number one hit with Smokey Robinson as lead singer. So Wonder and Cosby definitely still had their commercial touch, even if their renewed collaboration with Moy, who they started working with again, took a while to find a hit. To start with, Wonder returned to the idea of taking inspiration from a hit by a white British group, as he had with "Uptight". This time it was the Beatles, and the track "Michelle", from the Rubber Soul album: [Excerpt: The Beatles, "Michelle"] Wonder took the idea of a song with some French lyrics, and a melody with some similarities to the Beatles song, and came up with "My Cherie Amour", which Cosby and Moy finished off. [Excerpt: Stevie Wonder, "My Cherie Amour"] Gordy wouldn't allow that to be released, saying it was too close to "Michelle" and people would think it was a rip-off, and it stayed in the vaults for several years. Cosby also produced a version of a song Ron Miller had written with Orlando Murden, "For Once in My Life", which pretty much every other Motown act was recording versions of -- the Four Tops, the Temptations, Billy Eckstine, Martha and the Vandellas and Barbra McNair all cut versions of it in 1967, and Gordy wouldn't let Wonder's version be put out either. So they had to return to the drawing board. But in truth, Stevie Wonder was not the biggest thing worrying Berry Gordy at this point. He was dealing with problems in the Supremes, which we'll look at in a future episode -- they were about to get rid of Florence Ballard, and thus possibly destroy one of the biggest acts in the world, but Gordy thought that if they *didn't* get rid of her they would be destroying themselves even more certainly. Not only that, but Gordy was in the midst of a secret affair with Diana Ross, Holland, Dozier, and Holland were getting restless about their contracts, and his producers kept bringing him unlistenable garbage that would never be a hit. Like Norman Whitfield, insisting that this track he'd cut with Marvin Gaye, "I Heard it Through the Grapevine", should be a single. Gordy had put his foot down about that one too, just like he had about "My Cherie Amour", and wouldn't allow it to be released. Meanwhile, many of the smaller acts on the label were starting to feel like they were being ignored by Gordy, and had formed what amounted to a union, having regular meetings at Clarence Paul's house to discuss how they could pressure the label to put the same effort into their careers as into those of the big stars. And the Funk Brothers, the musicians who played on all of Motown's hits, were also getting restless -- they contributed to the arrangements, and they did more for the sound of the records than half the credited producers; why weren't they getting production credits and royalties? Harvey Fuqua had divorced Gordy's sister Gwen, and so became persona non grata at the label and was in the process of leaving Motown, and so was Mickey Stevenson, Gordy's second in command, because Gordy wouldn't give him any stock in the company. And Detroit itself was on edge. The crime rate in the city had started to go up, but even worse, the *perception* of crime was going up. The Detroit News had been running a campaign to whip up fear, which it called its Secret Witness campaign, and running constant headlines about rapes, murders, and muggings. These in turn had led to increased calls for more funds for the police, calls which inevitably contained a strong racial element and at least implicitly linked the perceived rise in crime to the ongoing Civil Rights movement. At this point the police in Detroit were ninety-three percent white, even though Detroit's population was over thirty percent Black. The Mayor and Police Commissioner were trying to bring in some modest reforms, but they weren't going anywhere near fast enough for the Black population who felt harassed and attacked by the police, but were still going too fast for the white people who were being whipped up into a state of terror about supposedly soft-on-crime policies, and for the police who felt under siege and betrayed by the politicians. And this wasn't the only problem affecting the city, and especially affecting Black people. Redlining and underfunded housing projects meant that the large Black population was being crammed into smaller and smaller spaces with fewer local amenities. A few Black people who were lucky enough to become rich -- many of them associated with Motown -- were able to move into majority-white areas, but that was just leading to white flight, and to an increase in racial tensions. The police were on edge after the murder of George Overman Jr, the son of a policeman, and though they arrested the killers that was just another sign that they weren't being shown enough respect. They started organising "blu flu"s -- the police weren't allowed to strike, so they'd claim en masse that they were off sick, as a protest against the supposed soft-on-crime administration. Meanwhile John Sinclair was organising "love-ins", gatherings of hippies at which new bands like the MC5 played, which were being invaded by gangs of bikers who were there to beat up the hippies. And the Detroit auto industry was on its knees -- working conditions had got bad enough that the mostly Black workforce organised a series of wildcat strikes. All in all, Detroit was looking less and less like somewhere that Berry Gordy wanted to stay, and the small LA subsidiary of Motown was rapidly becoming, in his head if nowhere else, the more important part of the company, and its future. He was starting to think that maybe he should leave all these ungrateful people behind in their dangerous city, and move the parts of the operation that actually mattered out to Hollywood. Stevie Wonder was, of course, one of the parts that mattered, but the pressure was on in 1967 to come up with a hit as big as his records from 1965 and early 66, before he'd been sidetracked down the ballad route. The song that was eventually released was one on which Stevie's mother, Lula Mae Hardaway, had a co-writing credit: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] "I Was Made to Love Her" was inspired by Wonder's first love, a girl from the same housing projects as him, and he talked about the song being special to him because it was true, saying it "kind of speaks of my first love to a girl named Angie, who was a very beautiful woman... Actually, she was my third girlfriend but my first love. I used to call Angie up and, like, we would talk and say, 'I love you, I love you,' and we'd talk and we'd both go to sleep on the phone. And this was like from Detroit to California, right? You know, mother said, 'Boy, what you doing - get off the phone!' Boy, I tell you, it was ridiculous." But while it was inspired by her, like with many of the songs from this period, much of the lyric came from Moy -- her mother grew up in Arkansas, and that's why the lyric started "I was born in Little Rock", as *her* inspiration came from stories told by her parents. But truth be told, the lyrics weren't particularly detailed or impressive, just a standard story of young love. Rather what mattered in the record was the music. The song was structured differently from many Motown records, including most of Wonder's earlier ones. Most Motown records had a huge amount of dynamic variation, and a clear demarcation between verse and chorus. Even a record like "Dancing in the Street", which took most of its power from the tension and release caused by spending most of the track on one chord, had the release that came with the line "All we need is music", and could be clearly subdivided into different sections. "I Was Made to Love Her" wasn't like that. There was a tiny section which functioned as a middle eight -- and which cover versions like the one by the Beach Boys later that year tend to cut out, because it disrupts the song's flow: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] But other than that, the song has no verse or chorus, no distinct sections, it's just a series of lyrical couplets over the same four chords, repeating over and over, an incessant groove that could really go on indefinitely: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] This is as close as Motown had come at this point to the new genre of funk, of records that were just staying with one groove throughout. It wasn't a funk record, not yet -- it was still a pop-soul record, But what made it extraordinary was the bass line, and this is why I had to emphasise earlier that this was a record by the Funk Brothers, not the Wrecking Crew, no matter how much some Crew members may claim otherwise. As on most of Cosby's sessions, James Jamerson was given free reign to come up with his own part with little guidance, and what he came up with is extraordinary. This was at a time when rock and pop basslines were becoming a little more mobile, thanks to the influence of Jamerson in Detroit, Brian Wilson in LA, and Paul McCartney in London.  But for the most part, even those bass parts had been fairly straightforward technically -- often inventive, but usually just crotchets and quavers, still keeping rhythm along with the drums rather than in dialogue with them, roaming free rhythmically. Jamerson had started to change his approach, inspired by the change in studio equipment. Motown had upgraded to eight-track recording in 1965, and once he'd become aware of the possibilities, and of the greater prominence that his bass parts could have if they were recorded on their own track, Jamerson had become a much busier player. Jamerson was a jazz musician by inclination, and so would have been very aware of John Coltrane's legendary "sheets of sound", in which Coltrane would play fast arpeggios and scales, in clusters of five and seven notes, usually in semiquaver runs (though sometimes in even smaller fractions -- his solo in Miles Davis' "Straight, No Chaser" is mostly semiquavers but has a short passage in hemidemisemiquavers): [Excerpt: Miles Davis, "Straight, No Chaser"] Jamerson started to adapt the "sheets of sound" style to bass playing, treating the bass almost as a jazz solo instrument -- though unlike Coltrane he was also very, very concerned with creating something that people could tap their feet to. Much like James Brown, Jamerson was taking jazz techniques and repurposing them for dance music. The most notable example of that up to this point had been in the Four Tops' "Bernadette", where there are a few scuffling semiquaver runs thrown in, and which is a much more fluid part than most of his playing previously: [Excerpt: The Four Tops, "Bernadette"] But on "Bernadette", Jamerson had been limited by Holland, Dozier, and Holland, who liked him to improvise but around a framework they created. Cosby, on the other hand, because he had been a Funk Brother himself, was much more aware of the musicians' improvisational abilities, and would largely give them a free hand. This led to a truly remarkable bass part on "I Was Made to Love Her", which is somewhat buried in the single mix, but Marcus Miller did an isolated recreation of the part for the accompanying CD to a book on Jamerson, Standing in the Shadows of Motown, and listening to that you can hear just how inventive it is: [Excerpt: Marcus Miller, "I Was Made to Love Her"] This was exciting stuff -- though much less so for the touring musicians who went on the road with the Motown revues while Jamerson largely stayed in Detroit recording. Jamerson's family would later talk about him coming home grumbling because complaints from the touring musicians had been brought to him, and he'd been asked to play less difficult parts so they'd find it easier to replicate them on stage. "I Was Made to Love Her" wouldn't exist without Stevie Wonder, Hank Cosby, Sylvia Moy, or Lula Mae Hardaway, but it's James Jamerson's record through and through: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] It went to number two on the charts, sat between "Light My Fire" at number one, and "All You Need is Love" at number three, with the Beatles song soon to overtake it and make number one itself. But within a few weeks of "I Was Made to Love Her" reaching its chart peak, things in Detroit would change irrevocably. On the 23rd of July, the police busted an illegal drinking den. They thought they were only going to get about twenty-five people there, but there turned out to be a big party on. They tried to arrest seventy-four people, but their wagon wouldn't fit them all in so they had to call reinforcements and make the arrestees wait around til more wagons arrived. A crowd of hundreds gathered while they were waiting. Someone threw a brick at a squad car window, a rumour went round that the police had bayonetted someone, and soon the city was in flames. Riots lasted for days, with people burning down and looting businesses, but what really made the situation bad was the police's overreaction. They basically started shooting at young Black men, using them as target practice, and later claiming they were snipers, arsonists, and looters -- but there were cases like the Algiers Motel incident, where the police raided a motel where several Black men, including the members of the soul group The Dramatics, were hiding out along with a few white women. The police sexually assaulted the women, and then killed three of the men for associating with white women, in what was described as a "lynching with bullets". The policemen in question were later acquitted of all charges. The National Guard were called in, as were Federal troops -- the 82nd Airborne Division, and the 101st Airborne from Clarksville, the division in which Jimi Hendrix had recently served. After four days of rioting, one of the bloodiest riots in US history was at an end, with forty-three people dead (of whom thirty-three were Black and only one was a policeman). Official counts had 1,189 people injured, and over 7,200 arrests, almost all of them of Black people. A lot of the histories written later say that Black-owned businesses were spared during the riots, but that wasn't really the case. For example, Joe's Record Shop, owned by Joe Von Battle, who had put out the first records by C.L. Franklin and his daughter Aretha, was burned down, destroying not only the stock of records for sale but the master tapes of hundreds of recordings of Black artists, many of them unreleased and so now lost forever. John Lee Hooker, one of the artists whose music Von Battle had released, soon put out a song, "The Motor City is Burning", about the events: [Excerpt: John Lee Hooker, "The Motor City is Burning"] But one business that did remain unburned was Motown, with the Hitsville studio going untouched by flames and unlooted. Motown legend has this being down to the rioters showing respect for the studio that had done so much for Detroit, but it seems likely to have just been luck. Although Motown wasn't completely unscathed -- a National Guard tank fired a shell through the building, leaving a gigantic hole, which Berry Gordy saw as soon as he got back from a business trip he'd been on during the rioting. That was what made Berry Gordy decide once and for all that things needed to change. Motown owned a whole row of houses near the studio, which they used as additional office space and for everything other than the core business of making records. Gordy immediately started to sell them, and move the admin work into temporary rented space. He hadn't announced it yet, and it would be a few years before the move was complete, but from that moment on, the die was cast. Motown was going to leave Detroit and move to Hollywood.

The Jazz Session No.268 from RaidersBroadcast.com as aired in July 2022, featuring the superb collaboration between Cal Tjader and Stan Getz, in the 1958 sextet. TRACK LISTING: Downside Up -  Allan Holdsworth; Cause We're Ended As Lovers - Jeff Beck; Jazz Me Blues - Bix Beiderbecke; Mahogany Hall Stomp - Louis Armstrong & His Savoy Ballroom Five; Crow's Nest - Stan Getz with Cal Tjader; My Buddy - Stan Getz with Cal Tjader; Set Free - Dinosaur (Laura Jurd); In the Treetops - Mammal Hands; Morning Tide - Kohsuke Mine; Argentina - Sebastian Spanache Trio; Red Sails on the Sunset - Errol Garner; Stardust - Artie Shaw ; Streaking - Jo Quilano Y Su Orquestra; Canto de Ossanha - Paula Morelenbaum; Big Bear - Stan Getz with Cal Tjader; Ginza Samba - Stan Getz with Cal Tjader; Confirm or Deny - Favourite Animals; Humpty Dumpty - Ornette Coleman; Suite Sioux - Freddie Hubbard; Brum Doing A Wheelie - Fat-Suit.

Hey Wicked Hunters,  Welcome back to The Art of Photography Podcast, this week we have one of the most respected travel photographers joining us. He was one of the first photographers in this space. Daniel started his journey as a photographer back when he was still a PhD student. It took him 8-10 years until he could pursue his passion in photography full time. Since then he has become one of the most respected travel, landscape and adventure photographers. He has taught thousands of students and he's an official Nikon, Gitzo and Lucroit ambassador. He has been published in many magazines such as National Geographic, Digital SLR Magazine, etc. His photos were purchased by leading worldwide brands like Apple, RedBull, HSBC, etc.   If you want to learn more about Daniel's work, you can find it here: Link to social media: https://www.instagram.com/Danielkordan/ https://twitter.com/daniel_kordan https://danielkordan.com/  Link to NFT https://opensea.io/collection/red-sails    Other ways to listen and subscribe to the podcast: • Spotify - http://bit.ly/twhspotify   • Apple Podcast - https://bit.ly/Theartofphotography   • Google Podcast: https://bit.ly/TheArtOfPhotographyWithStanleyAr   • Website: https://podcast.thewickedhunt.com      • Tune In (Alexa) - https://bit.ly/TuneInTheArtOfPhotographyPodcastWithStanleyAr     For those of you who want to learn more about The Wicked Hunt Photography by Stanley Aryanto: • Instagram: https://www.instagram.com/thewickedhunt/    • Facebook: https://www.facebook.com/thewickedhunt/  • Masterclass: https://www.TheWickedHuntPhotography.com      • Photo print: https://www.TheWickedHunt.com/   Don't forget to leave a review on the podcast if you enjoy this conversation. It would help us to get found and help to inspire other photographers.  ---------------------------- Transcription: Daniel Kordan  0:00   This is how you can build your own style. And this is how you can learn in a really fast way. Because the process that I undertake, it took me about eight years to 10 years Stanley Aryanto - The Wicked Hunt  0:20   Hey wiki hunters Welcome back to The Art of Photography podcast where we share photographers journey and passion and how photography gives them hope represent happiness. And today we have someone very special to be part of this podcast, someone who have done this for a long, long time and have been an inspiration to my journey as well. Daniel Corden, how are you Daniel, welcome to Bali. I know you just settling in here in in the island of gods. But very good to have you in the island. How are you? Yeah, hey, Daniel Kordan  0:53   Stanley, good actually settled already getting used to live in Bali in the tropics, and continue exploring Indonesia. I was here first time in 2019. And I really loved it here and the family loved it here. Well, it's the sun, the ocean, and so many beautiful places like almost 17 plus 1000 islands in Indonesia. So I have to explore lots of them and exploring Southeast Asia in general, it was a long lasting dream for me as well, because I covered a lot Europe and America but in Asia is still a lot to explore it a photograph. So I think it's a good base for me for coming here, at least for my nomadic life supplants the here for one year. And yeah, to inspire you more with some photos from Indonesia, and well, Southeast Asia in general. Yeah, Stanley Aryanto - The Wicked Hunt  1:47   I mean, I saw some of your brothers from the island already. And, you know, around in Asia, and, you know, you covered it very quickly. So, you know, that's, that's awesome to see some of those places to be taken by someone like you with a different perspective. It's always refreshing. So you've been in this industry a very long time, you know, but what really started your journey, have you always been wanted to be a photographer? Or is there a story behind that? Daniel Kordan  2:19   Well, of course, there is always a story behind some long way. And the story for me started, of course, with my house in my neighbourhood, I think most of photographers, they do the same, they just start exploring from the backyard, in general. Yeah, they go to the forest, they go to the mountains, whatever they have near their house. And this is how I started, when I was 17 years old, 17, maybe 16 years old, that was just wandering in the wild in nature. I was a grown up in Russia in Moscow region. So it was beautiful forests and beautiful lakes. It was a nice playground. So it was just taught by myself or photography. I was also attending the painting school at the time when I was a student. And I guess it's helped us a lot to just understand the colour with colour management in photography later as well to be bold with colours not to be afraid to use some colours and editing in my landscapes and travel photography as well. So I guess many photographers will do the same they just start with a backyard start practising and then they build career build portfolio and start travelling outside as well. Yep, yeah, so Stanley Aryanto - The Wicked Hunt  3:33   it's actually very different for me i i started photography because of travels it's actually land away from my home that got me started. So that's really interesting. And you know, like that the back back, your back your own backyard inspired to be a photographer because most people take that for granted. So I think that's really cool. Was there like a particular moment within you know that that time where you feel you know that photography makes you happy? And you know, you want to do that for longer? Or is it just you know, you just kind of know ever since you started photography, like I know you share a little bit about exploring the backyard but how do you start photography itself? Daniel Kordan  4:18   Well, it's always kind of struggle of course, because the first steps will make you can't really earn your photography more like investors so you buying new cameras buying the gear you just investing in the in the flight so just yeah, go somewhere. Yes, the first steps. You basically spend more money than you're earning on photography say it was always just a hobby, a passion for me, and it's still a hobby, passion, I can even now I can tell that it's kind of professional or it becomes like a routine work. And also it's still a passion until now and well there was a certain moment when I started earning a little bit on photography, but more was more Some commercial projects like portrait studio, maybe even some wedding. So how was this, like mark on my history with wedding photography as well. So it was just the student and earning some money, but that give me some good practice, how to choose all the settings, compositions help edit images just was really, really good practice for me. But yep, slowly, I started organising some workshops around the world and was one of the first persons who actually make the workshops were just it was not mainstream at all. We just knew all the people actually who make workshops, photography workshops that time. So it was around 11 years ago, 11 or 10 years. Now there are just literally 1000s of people and influencers who are making this. But since then, it's grown up in a huge business. I'm partnering with Iceland photo tours with my good friend UDB Gorski and we have about 45 destinations in our portfolio. So before pandemic, we had about 4000 clients per year, so 4000 photographers per year joining our photography tours, but pandemic hit. And then we change the bit the things I make online courses, online education. So now I have 16,000 students in my online courses. So it's also grown up quite a lot when people join the metaverse and joined online courses. So who knows? Where next year this year will take us but Stanley Aryanto - The Wicked Hunt  6:36   we'll see that that's awesome. Wow, that's a lot of students. You've taught a lot of people that's that's crazy. You know, it's, I mean, this just goes to show you know, how, how great and how much people love your photography and how inspiring they are. It is, you know, otherwise, there won't be that many people following your footsteps, you know, as far as being inspired by your photography, what do you love the most about photography, in general, or in landscape photography. And actually, I forgot to say, I would love to see your wedding for like wedding photography, photos Daniel Kordan  7:16   on the website and everything, but I can try to dig specially for you, if you come to mandolin Valley, I will show you in private, you know. Just kidding. But I can try to find, if you surely want wanted, Stanley Aryanto - The Wicked Hunt  7:32   I can imagine, you know, because every time I see that, even when you should landscape, a lot of them are very intimate landscape, you know, very clean. People in human figure, you have some of those as well. But yeah, so it'd be interesting, I would love to see them Daniel Kordan  7:50   actually build quite a big business on that. Because I was doing that for like three or four years. And last years, I was shooting weddings in France and Italy. So when I was like 20 to 23 years old, I was still in university on my PhD and was just sneaking out, like France to the wedding to shoot for like four or 5000 bucks. It was a good addition, though. My salary as a PhD student at around $200 per month. Really fine. Stanley Aryanto - The Wicked Hunt  8:21   So what makes you love photography? You know, if there is, is there a one thing that makes you love photography? Or is there a lot of things that make you fall in love with photography in general? Daniel Kordan  8:31   Well, in general, what I like about photography and landscape in particular is the people. So you can ask me why people in landscape? Yeah, but it's the people who are joining my workshops, the people who I meet, while we talk with you right now. So we also kind of inspiring each other, right? So it's a community of people that just come together. There's not just, I can myself a lonely wolf now it's just like, I'm making fun for myself. All the time, I'm turning entertaining myself and the people around and educating them as well. So you always meet with some amazing people and you have something in common. You have in common the passion to the nature to photography compositions. So this is what I love about landscape. It's just inspiring each other. Yeah. That's awesome. Stanley Aryanto - The Wicked Hunt  9:19   Yeah, I mean, like, you know, if I didn't come across your profile back then I might not be where I am today. So you definitely have inspired, you know, other photographer. So, you know, you've been to a lot of places in the world, right? Have you have you ever counted how many how many countries have you ever been Daniel Kordan  9:40   really not counting countries, but I have favourite places that I return all the time, like Indonesia, right? Stanley Aryanto - The Wicked Hunt  9:51   Like is there like you know, any particular place that really hits home and keep taking you back to those place? Daniel Kordan  10:03   There are so many of them. But there are a few places in particular that really return every year. It's like Patagonia or Greenland or Antarctica. So all of this replaces, it's something that may be part of my soul, my heart is left there. And while always taking workshops, this places like Italy, Tuscany as well. I love it a lot just because you feel amazing there, because landscape is always beautiful. Or you always struggle in Patagonia with the conditions. But eventually you just get rewarded by just some fantastic lenticular clouds and flying skies and, I don't know, beautiful Puma or going like as in the frame against the mountains. And the same from Greenland. And we didn't want we developed absolutely amazing tour with Red Sails, Red Sails in Greenland, and become kind of viral. It just it's one of my most favourite tourism portfolio. Let's say this summer, we sell ready 16 tours 16 tours from June to September, they're fully booked. We just started accepting people for next year. But that's pretty much 16 tours per 16 people each tour. So that's more than 250 people this summer, I need to guide some of them. And we already have some guides for workshops. In late August, September. I just, I can't just guide all of them myself. But we have local guides and some good friends that help us a lot. Educating people in the stores as well. But it's really romantic when you have read sales and you just going among all the icebergs and midnight sun, the sun just never sets there and just throws from horizon for like, five, six hours. So it can imagine like six hours nonstop with the flaming skies. Reflections of the iceberg some whales and seals on the ice. It's pretty incredible place just can go there forever. Stanley Aryanto - The Wicked Hunt  12:06   That is amazing. You know, and just you explaining it. I know you have a collection that I have checked out your NFT collection on the Red Sails, and they're just so breathtaking. But you know, just listen that listening to that. It's so Sunday already breathtaking without looking at that photo. But yeah, I highly encourage those who listen, you know, to check out his NFT collection on open sea and on the Red Sails, and the link will be on the description. It's just absolutely incredible. How does how does that come about? Is it is it is the other boat? If you have like two kinds of boats, or is it most of the boats there have Red Sails or how does that work? And yeah, yeah, this Daniel Kordan  12:49   boats, they belong to the tour company. So these are all boats, basically. And we're using to sailing boats and make specifically for them. Red Sails, and well, just bringing them for every season for every summer. Stanley Aryanto - The Wicked Hunt  13:05   And it's cool. Yeah, so you know great Greenland is actually one of my top bucket lists to go to I really want to export the Greenland sound so amazing. So you've been to a lot of these places multiple times, right? Like you say, Patagonia, you go there almost every year while you save every year as well as the other two places. You know, when you go to the same place over and over again, it can be kind of really like boring and you know, you feel like you know it all and doesn't excite you anymore, because it's predictable, you know what's going to happen, but I feel like every time you you take a photo of those new places or I should say of those old places that you've been to you manage to come up with something different something unique, something fresh, something exciting, how how does take us through how do you come up with that you know, so that people who are photographers who kind of feel like they've been to this place over and over again and get bored with it can get inspired and learn from what you've done as well as what you do in travel photography. Daniel Kordan  14:20   Well, first of all, you're completely right that let's see if you go to the same place and make let's say workshop after workshop, it's also becomes quite boring. Like I just decided for myself, I will not go myself myself to the places but I will just put my guides or local photography guides who can take people in the company so you just don't need to be caught on the hook. You know, you got like a fish and you just keep doing the kinds of job so it becomes more like not using passion yeah becomes like office work. Let's see. I love like example Am I love to a lot Provence in France for the first visit, but already the second, the third visit in Provence, it's the same conditions as the blue sky, the same blue sky, the same lavender fields, the same like hordes of tourists in the fields, and becomes really boring. So I just decided, okay, we'll just we'll go there. Yeah, so I'm going to the places where conditions are always different. Let's say this way, I'm going to Greenland to Patagonia. Because every time you go there, conditions are totally different. And Patagonia, you have all these lenticular clouds, they have storms, and the light is really, really different all the time. And you're just adapting to changing the light. And this challenging, so without any challenges, it becomes quite boring, as well. So you're hunting for the light. It may be it's the same compositions that you've seen already the previous visit, but the light may be different, and conditions different. Yeah, also, how not to lose passion in this work. Basically, I tried to make, let's say, one workshop, and after workshop, there will be exploration. So let's say I make one week of education, because during workshops, I just barely have time for myself, I'm always with people, just communicating with them. And another week after workshop might be exploration of some new places around this area. Let's say, next year, I can go to Patagonia, I can guide some workshops. And after that, I go to Patagonian fjords to the other side of Torresdale. Pine, and say, Yeah, so it's a new place for me new area, and just excited to explore it. So all this keeps, keeps me excited as well. Stanley Aryanto - The Wicked Hunt  16:45   So, you know, you you take you do workshops, you do online course, and you also do exploration. And you've just, by the way, congratulations on your new board. And if you have kids and family, how do you find the time and balance all that? And I know as a photographer as well, you know, that's not it, right? You still have to do all your accounting or your other marketing, social media. So how do you find all that and have time for each single one of them? Daniel Kordan  17:17   Yeah, it's just all about balancing, as you mentioned, this word balance, right. So let's say I can go for two or three weeks outside, and some other workshops and other exploration. And then I spend the same time with family like two or three weeks, with family. But this is kind of quality time. So you know, just outside in the office and just come tired, exhausted in the evening. But it's a quality time. So you go hanging out somewhere, you just playing some games. So this, this is much better than actually having the permanent job and coming back absolutely exhausted, of the office work. So this is how it is it is trying to balance the whole year. And I can put myself my time. So I'm the owner of my time. So there is no one just head of me telling me okay, you must work two or three months, nonstop, you must go for three months out there. So I can easily just check my calendar and book all the next year, just very carefully balancing week by week, day by day, where I'm going how much time staying back at home with family. And yeah, it's all about balance, like the same with composition of photography, the same as your composition of your Stanley Aryanto - The Wicked Hunt  18:30   life. That's awesome. Yeah, I love how you draw, you know, metaphor to photography, because I feel like you know, from photography days, a lot of life lessons. So you know, one of the things that I learned from photography is being able to have a pay out passions, patients, I should say no. As well as patient, of course. But yeah, it's cool. That balance is something that's really difficult to find, and you seem to be doing very well. So before you started photography, you mentioned you were a student as well. And you're studying PhD as well. What what what were they on? What were you studying to become before photography? Daniel Kordan  19:10   Yeah, so before photography, I was studied physics, actually. And I was studied quantum physics, in particular, in my university in Moscow. So I actually didn't finish the PhD. So on the third year, already, I was doing a lot of photography, a lot of commercial projects and had a family. So it just didn't work out for me to finish it because it's some complications in Russia about the science. It's just people didn't pay paid. They're not paid enough to sustain the living. So you have the choice either you making some business or you just going out of the country in Switzerland, USA, and it was hard with already little kids at the moment. Stanley Aryanto - The Wicked Hunt  19:57   Wow, that's that's really interesting to see fit. agraphia is not really, you know, a job that people think you know, would jump into to make a living, because it is a difficult way to make a living. What made you decide to, you know, do that full time instead of sticking with your PhD, Daniel Kordan  20:18   that was not really a decision in one day like this, I was slowly going to this point where I can abandon the work the job that I do, I have some small businesses like in website design, and website programming as well, that helped me a bit to invest in photography, as well. But at a certain moment, I just see that I had portfolio already, I had some workshops going on, and they started bringing more money. So I just see it and decided to make a little bit more workshops, and in adding a little bit more tours every year. And well, this is how I started building all the workshop portfolio. This is how I started to make it full time. But at first stage, I guess for most of us, it will be really challenging and hard to earn on photography, it just needs to keep trying. And there are many possibilities. Now. It's not like it was 10 years ago without social media, then now we have online education have NF T's you have work with brands, hotels, with air companies, whatever. So now possibilities that they're just much, much better than it was 10 years ago in photography. But still there is a lot of competition, like good competition as well with young travellers, young people who are willing to travel, so just need to be very active. And well keep it going keep it running every day. That's it. Stanley Aryanto - The Wicked Hunt  21:46   Yeah. I love how you mentioned that. Because I know a lot of people can ask me, you know, it's like, how do you do this? I was like, man, there's literally so many ways to make a living, you know, be just travelling or being a photographer. It's just a matter of which one you want to do. So I'm glad that you mentioned that, because I think that that is a confirmation for a lot of people that it's possible to do this. So that's really cool. And you know how this this journey that you had so far, what would be the hardest time of your journey? Is there a time where you felt like you want to give up and you know, you want to either go back to your physics degree or try something else at all? Daniel Kordan  22:34   Well, of course, there are some ups and downs like for all the people. And there are many in my career as well. Because sometimes, you just travelled for moms, and you get so exhausted. And then there are crazy times like pandemic or nowadays a war between Russia and Ukraine. And well, I was living in Russia and needed basically to abandon my country, we still have the dog there in my house. And well back grandparents are still looking for our animals, the dog, the cat, and we're thinking how to move them as well to barley, but in some terrible things going on in the world, as well. And sometimes it's just sad to think about these things, but you can do, you can do much you can help me be I have some also, some charity projects, as well, it was a few years ago, it was about climate change, but also have campaign prints for the planet, also where we donated for growing, growing up the trees, as well. And now also have some empty project for the help there Ukrainian refuges, as well. So just trying to help little by little to the world as well, maybe just a small drop in the ocean. But if everyone will make a small drop, maybe we'll bring the water back again. Yeah, Stanley Aryanto - The Wicked Hunt  24:03   totally. I love how you say that. I know, a lot of people can say, you know, someone else can do it for me. But you're right. You know, if everyone just give a little bit of drop in, you know, it will make a lot more difference. So, I'm glad that you say that, and I'm sorry, you have to go through that. But it's really good that you are giving back to the community as well as to the world with your successes. So you know, I think that's, that's that's a really good thing to see from someone who made that you're who who already become successful in what you do. So that's, that's really cool. And all right, this, this might be really hard for you because I'm sure you have a lot of successes. If there was one moment of your journey that you're most proud of, what would that be and why? Daniel Kordan  24:56   We'll hold it I think from the beginning There are a lot of moments like this when you're just starting photography, because even, let's say I remember my first kind of salary for my first photo shoot, I was shooting some concerts in university and organisers, they presented me a cake. So I was so happy, I get paid by the cake. Yeah, for this job. And then they're just the first image that you actually sell for money. And then the first contract you get for some bigger project. And then the thing that really makes me happy. Also, it's the first international, one of the first actual international job because Apple bought some of my images for MacBook Pro presentations and desktops are still I was out in USA and I see my image on every billboard, when Apple just released the new MacBook Pro, it was like 2015 or so. So about nine years ago, so I it was just kind of big achievement, then I don't do much of the photography competitions, myself, just don't have much time for that. But I feel really proud of my students right now. Because there are a lot of people visiting my workshops, and I see their success. And it really makes me happy. Let's say some person can be just some office worker, and maybe some banking. And then he visits workshop got inspired and changed his life. So I already have a few students guiding workshops and blending some amazing deals, so they quit their job. And well, they do what they love to do now, photography and also guiding also educating people. So I'm really proud of this people. Also lots of students that make some exhibitions as well, some charity exhibitions in London and New York, New York recently, so it was very nice. They're proud of them Stanley Aryanto - The Wicked Hunt  27:01   at a scale that is really cool. I think that's the one thing that I really love about teaching others is when they can, you know, succeed and get inspired by you. And you know, I mean, your photography are just such an inspiration. Like, every time I look at your photo, right, I would try to dissect it, and I would go like, Man, I wouldn't have thought, you know, you seeing that grass that just looked like a bush that's, you know, annoyed the hell out of me as a foregone. And I was just like, how did you make that look good, you make the simplest thing look good. And that's just incredible. Is there any photography workflow, when you know when you when you go explore, right, you don't really know what your, what's going to come up in front of you. Is there any workflow or, like you know, things that you go through when you try to compress your photography. Daniel Kordan  28:03   The main tip I can give here is, when you're at location, you just need to look under your feet. So you already have some amazing landscape. Let's say it can be waterfall, it can be an amount Brahma is in Java, but then okay, you can make this postcard without any foregrounds without this three dimensional thing, but it makes a difference if you just frame it with some really stunning three dimensional and interesting foreground. And as you say, It must not be called Ticket must be simple, must be easily readable. That's why I'm trying to get a bit closer to the foreground. Let's say it might be some flowers might the leaves may be some just bullsh of grass, but you must be really close to that object on the foreground. Sometimes I'm just as close as about 3040 centimetres even closer. And this helps to simplify the composition as well because you're not including let's say the whole bush of flowers like hundreds of flowers, but you come there you look carefully you find like three five flowers maybe just one flower. Yeah, and be really close to them. This is how you compose Stanley Aryanto - The Wicked Hunt  29:11   Yeah, I definitely mean level one. I definitely learned that a lot from watching you you know your photography and you know that forgotten just managed to find the coolest foreground so that's that's really cool to hear from you as an instructor and when you looking at the you know the photography and you say get really close. Does that mean you really like a wide angle lens and you do a lot of focus stacking on your ship on your photography. Daniel Kordan  29:42   Yeah, I do a lot of focus stacking and a lot of wide angle but of course I'm just taking with me all the three lenses I have with switching 2424 710 So Instagram it sometimes you also need to be like director of the movie right? Not just the way the angles things but some details. So mole nature buttons. And it's kind of boring goals if you have the same just wide angle shots everywhere, but you also need to just concentrate on details small things. And then drone photography is my passion as well. I just got myself on the road that maybe 30 to 40% of my portfolio now is made with a drone. It's just another dimension, especially in Indonesia, it's like paradise for the drone rules. Very easy here. I can fly almost everywhere in Indonesia. So I'm using a DJI Mavic pre cine combo for my flights already. I'm pretty happy with it. Stanley Aryanto - The Wicked Hunt  30:39   In Asia is definitely the drone paradise. I remember when I left Indonesia, I just sold my drone coming to Canada, it's just too difficult. Yes, yeah. So you've got a lot of gear, you know, with just mentioned about four lenses, a body and a drone? How do you prioritise what you bring on your back? Or do you always have a massive back on your back? Daniel Kordan  31:06   To always, that's a big problem. This is my cross I'm carrying through all these years. It has nothing to do even switching to mirrorless. Two years ago, I didn't help much because the weight is pretty much the same as it was before. Stanley Aryanto - The Wicked Hunt  31:20   Yeah. Is that right? Yeah, I know that feeling because I've never hiked Well, I think there's only one hike, which is my very first fight before I got into photography, not actually even that I'd never hiked without a camera and you know, massive bag, so I know exactly what you mean. That's yeah, it's it is. It's a good workout, though. For us. Going forward, what are you know, what are your project? Or do you have any project or any exploration that you want to do coming forward? Is there anything that are on top of your bucket list? Yeah, in Daniel Kordan  32:03   particular, I moved to Indonesia. This like a paradise for me as well. So I'm planning to explore Southeast Asia. There are a lot of countries I've never been to like Vietnam or Thailand. I've been there like family vacations. But let's say for photography, I've never been to Vietnam, Thailand. I've never been to Australia, as well for landscape photography. And well, blank from Belize. It's really easy to all of these countries, even flying to India or Pakistan. It's Japan it's relatively easy. From the side of the world. So this is where I'm I will try to concentrate on the next year. And Indonesia itself is like so many islands Yeah, so many places the sea to explore. Just after tomorrow, I'm actually going for two day trip to lampoon shortcut Guinea here, and the sharks of beach, because it will be also pretty amazing. No two way out there. So next two days will be normal in the night, and we'll try to shoot both sunset sunrise in the Milky Way the Shakti fish. Stanley Aryanto - The Wicked Hunt  33:09   That's awesome. Yeah. lampoon, I actually never been there myself. So that's, that's really cool. What What are your, you know, workflow on finding these places? Is there any particular things that you look or that excites you to go to those places? Because you know, lampoon might be beautiful, but I'm sure there's going to be a whole lot other places that just like lampoon that's beautiful, as well. What would make you choose some of these places that we go for exploration? Daniel Kordan  33:41   Well, let's kind of some places that kind of epic. Yeah, so I feel like edu lampoon, they offering a lot of compositions, and just, the result might be quite amazing. But it's nice question about where the inspiration comes from yet to make a choice. And most of the inspiration comes from local photographers. So you just what they do is just sign up for local photographers, and which they feed and trying to communicate with them make friends. Let's see. I went already in Denpasar a few times just to meet and hang out with local photography community. Well, they kind of let's say spoiled with the photography in Bali, but they can always suggest some new places some different places outside. So when you talk to them, you they show some locations, places that can suggest you some local drivers. And this is also how our workshops working so we're not just kind of aliens in in totally different world. Yeah, but I'm trying to hire, always hire local photographers, local drivers, local guides, so giving also back to photography, local photography community and involving them in the work with international clients as well. So I think it's kind of good ideas better idea than that. just inviting photographers from Europe, USA to guide in Bali. So let's say my workshops in June, in Indonesia, there will be also just with local guides, local licenced divers, so everything is kind of official and just giving people well needed job after the pandemic Stanley Aryanto - The Wicked Hunt  35:19   salutely I think that's really awesome that you did that, or doing that. Because, you know, a lot of times, the local community doesn't really get a lot of from that, you know, from the tours and stuff. So I think it's really cool that you give that job opportunities to this local people, especially in places like Bali, where you know, it's been hit really hard. So, you did a lot of workshop in I mean, you know, what, one of your main stream of income is workshop? I assume, I assume, is that correct? Daniel Kordan  35:59   Well, it depends, because you need to be like a Swiss knife, man. And your income just comes from different things like workshops, and online education, then also work with brands as brand ambassador, or some contracts with also to these boards of different countries. So you always need to be responsive, open for just new opportunities, and just work in totally different way, like MFTs, also worked out pretty well, in the beginning of the year, last year, it's a little bit slowing down, but I hope it will come back to life. Soon. So NFT might be also the future of photography and art in general. So I'm trying to be active in the community. It's hard to sustain, of course, all the fields, like education workshops, and NF T's, but still trying to be everywhere, just just a little bit. And that's cool. Stanley Aryanto - The Wicked Hunt  36:59   You know, I was gonna ask how, how the pandemic connect impacted your, your photography, but I think you've answered that really well by you know, having different ways of income. And, you know, it's I think that's important for people to consider not to put their eggs in one basket. So that's, that's really cool to hear. And talking about NFT it's something that's very hit something that's very coming up, right, something that just got popularised how what's what's your thought of NFT? And why did you start an NFT collection or got into NXT? In the first place? Daniel Kordan  37:35   Well, I think in the future is the future of everything we have. Because looking at what's happening, people are ready to start selling and buying houses with NFC, smart contracts, houses, cars, and I think air companies and just booking companies will also soon implement NF T's is the form of payment and the form of really, really amazing and simple smart contract. Yeah, and even now people buy for my tours and include that. So there is an option to just also transfer money transfer payments for the tour in encrypt as well. Just open for it. And yeah, regarding photography, it's also quite amazing. I see that even people who just started photography last year or two years ago, if they're active in the community, community, they're quite successful in the earning quite good money. So the only thing you just need to be super open, active and well, you will succeed. Stanley Aryanto - The Wicked Hunt  38:36   That's a really good advice. All right. Well, you know, we've talked for quite some time now. And, you know, I know you're a busy man and you have family as well. So I'm not going to keep you out much longer. But something that I always ask my you know, my guess in the podcast is if there is one advice whether it's live advice or photography advice that you could give to other that you know, that you learn yourself through this journey, what would that be? Daniel Kordan  39:09   I think it will be the advice that I actually myself didn't take in attention the first steps because it was almost not poseability about that. This advice will be to learn from online courses, or maybe workshops from other photographers because now most of photographers like Master photographers, they are releasing their courses, online courses, online education, and put a lot in there like let's say myself, I'm released a few courses and really put there everything the person needs to know like from composing shots to editing the pictures. And if you studied these courses, if you let's say try to repeat the style on some of the samples and some of your own images. Let's say you can repeat for like 50 times 100 times Okay, then you download that you remember that, and then you switch to another course, another course another photographer, you can take something from him as well. And then this is how you can build your own style. And this is how you can learn in a really fast way. Because the process that I undertake, it took me about eight years to 10 years to build a career when I'm paid when I'm just staying with leaving with photography. But now I see that people who really invest in this online courses, which are not very expensive, like, just the one course can be, like, just part of the filter for your camera, right. But what matters most is not the equipment, it's your knowledge. Yeah, it doesn't matter which camera you use, as most people at the beginning, they ask about that. But what matters is your knowledge and your education. So to get faster than eight to nine years, like I did, which is dreamt of having just watched some of the courses of my fellow friends, my fellow photographers, as well. And this is how you can accelerate this process, maybe up to one year or two years. And I see really, like life examples of people who invested the time and little bit of money and the knowledge and they succeeded really fast. I guess that's it. Stanley Aryanto - The Wicked Hunt  41:22   That's, that's a really good advice. You know, even for myself, when I first started, I didn't know where to start. And, you know, I don't have I don't have any other photographers to follow or to ask questions to but there was, you know, fortunately, already YouTube, which YouTube wasn't out there, back then. So that already accelerated my journey. And I see that, you know, I like for example, for business and internet marketing, I just took the courses because it really shortcut your learning curve. So you're absolutely right. And I think it is the best advice that you can give other is to learn from other photographers or whatever their expertise may be. Because, yeah, I mean, you know, what is $100 or $200, or $2,000? Right? That's, that's their camera, like literally, and, you know, you can save years and years, like you say, you know, you spend at least eight years to get to a level where you are happy with So, wow, eight years is a long, long time. Daniel Kordan  42:27   I mean, people, they also they started, let's say, watching YouTube, and they get lost, because there's so much information out there, it doesn't have any system in there. And it works totally opposite. For the people, if they say, Okay, I have time this pandemic, many people did this and they start wishing non stop, information just comes in one year comes out from another year, because it doesn't have any system in there. So the difference of the courses that usually photographers make that there is a system and the make where the love the passion, and just step by step. So this is the main difference. Yeah, Stanley Aryanto - The Wicked Hunt  43:06   it really well. Because I think, you know, now like you could find anything anywhere, right? But it's just how to find it. So you're right, people, a lot of people get overwhelmed and quit altogether. So that's really good advice. But Daniel, it's been, you know, a really good conversation, love hearing your journey. I love hearing your perspective and the way you see the world through your lens. So for people who want to learn more about you or want to get in touch with you, or even join your workshop, or buy your online course, where can they find you? What's the best way to get in touch with you? Daniel Kordan  43:45   Well, there are two links. The link to my website is Daniel gordon.com. I have some tools to set guide myself then Iceland photo tools. Its main company for my photography business, Iceland for the tourists.com. And for online courses. Its cordon landscapes.com. This is main website for the courses, there are presets, there are online workshops or editing courses. So there's already quite a lot to see out there. Stanley Aryanto - The Wicked Hunt  44:12   Fantastic. Well, they know thanks a lot for your time. You know, it's been a good conversation. And it's been very inspiring to hear your journey. So thanks a lot to be you know, for coming and be part of this podcast and inspiring other peoples who may be in their journey or just get started in photography. Daniel Kordan  44:32   That's my pleasure. So always happy to talk about my passion. Yeah, that's fantastic. Stanley Aryanto - The Wicked Hunt  44:36   All right, we kill hunters. Well, thank you very much for tuning in. If you haven't subscribed, so feel, make sure you hit the subscribe button. But also don't forget to check out Daniel's profile as well as his work. I know most of you would already know him. But if for whatever reason you've been in a cave and haven't heard of Daniel Cornyn, then go check out his work you will be blown away I promise you but thanks a lot for listening and make sure again hit the subscribe button and I'll see you guys on the next podcast  

Adrian Belew is a legendary guitarist well-known for his diverse travels around the musical map. He is a multi-instrumentalist whose solo records are critically acclaimed. His moving singing voice and prolific songwriting has endeared a loyal fan base of music lovers. His music is being discovered everyday by more and more listeners thirsty for great music with a creative standard not often pushed by the commercial music industry. Adrian has signed with Bliss Entertainment, distributed exclusively by Ingrooves Music Group. “Elevator” will be the first Adrian Belew solo recording released through streaming. Adrian and management chose the Ingrooves Music Group channel based on the Ingrooves technology and the Universal global distribution channel. As with all artists, the optimization of music sales revenue is key to picking their distribution and marketing partners. The first single “a13” is now available! Elevator will feature 12 brand new Belew compositions, all completely written, performed and produced by Belew and which cover ballads to art rock to avant-pop music. It will also feature 38 of Adrian's recent digital paintings as well as the lyrics to the songs.   WATCH FOR THE RELEASE  OF THE BRAND-NEW ALBUM  BY ADRIAN BELEW Entitled ELEVATOR The New single A13 IS OUT NOW! Adrian Belew is the world's greatest experimental whammy twang bar, czar rhino and stunt guitarist extraordinaire. With a resume that features some of the biggest names in music including David Bowie, Nine Inch Nails, King Crimson, Talking Heads, Paul Simon and Tori Amos, Adrian is famous for pushing the boundaries of the guitar in both technical and tonal exploration. 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Burlington, VT – Higher Ground 08.04.22 Plymouth, NH – The Flying Monkey 08.05.22 Boston, MA – City Winery 08.06.22 Newton, NJ – The Newton Theatre 08.12.22 Woodstock, NY – Bearsville Theater w/Tony Levin, Pat Mastelotto & Friends 08.14.22 Homer, NY – Center for the Arts of Homer 08.16.22 Philadelphia, PA – City Winery 08.18.22 New York, NY – City Winery 08.19.22 Albany, NY – The Egg 08.20.22 Ridgefield, CT – Ridgefield Playhouse   ADRIAN BELEW DISCOGRAPHY Studio albums Lone Rhino (1982) Twang Bar King (1983) Desire Caught By the Tail (1986) Mr. Music Head (1989) Young Lions (1990) Inner Revolution (1992) The Acoustic Adrian Belew (1993) Here (1994) The Experimental Guitar Series Volume 1: The Guitar as Orchestra (1995) Op Zop Too Wah (1996) Belew Prints: The Acoustic Adrian Belew, Vol. 2 (1998) Salad Days (1999) Side One (2004) Side Two (2005) Side Three (2006) e (2009) Pop-Sided (2019) Elevator (2021)   Live albums Side Four (2007) Live Overseas (2009)   Contributions with Frank Zappa 1979: Sheik Yerbouti ("Flakes", "Jones Crusher", "City of Tiny Lites") 1983: Baby Snakes Soundtrack 1992: You Can't Do That on Stage Anymore, Vol. 6 [2CD] ("The Poodle Lecture", "Is That Guy Kidding Or What?", "White Person", "Tryin' To Grow A Chin") 2008: One Shot Deal ("Heidelberg", recorded Feb. 24, 1978) 2010: Hammersmith Odeon (recorded Jan-Feb 1978) [3CD] with David Bowie 1978: Stage (recorded Apr-May 1978) [2CD] 1979: Lodger ("Fantastic Voyage", "Move On", "Red Sails", "DJ", "Boys Keep Swinging", "Repetition", "Red Money") with Talking Heads & David Byrne 1980: Remain in Light 1981: The Catherine Wheel 1982: The Name of This Band Is Talking Heads with King Crimson 1981: Discipline 1982: Beat 1984: Three of a Perfect Pair 1994: Vrooom EP 1995: Thrak 1996: Thrakattak 2000: the construKction of light 2001: Vrooom Vrooom 2003: The Power to Believe with Herbie Hancock 1981: Magic Windows with Tom Tom Club 1981: Tom Tom Club with Ryuichi Sakamoto 1981: Left-Handed Dream 1990: The Arrangement 1994: Soundbytes with Joe Cocker 1982: Sheffield Steel with Jean Michel Jarre 1984: Zoolook with Laurie Anderson 1984: Mister Heartbreak 1986: Home of the Brave (soundtrack) 1994: Bright Red with Cyndi Lauper 1986: True Colors with Paul Simon 1986: Graceland 1990: The Rhythm of the Saints with The Bears 1987: The Bears 1988: Rise and Shine 2001: Car Caught Fire 2007: Eureka! with Mike Oldfield 1989: Earth Moving with Nine Inch Nails 1994: The Downward Spiral 1999: The Fragile 2008: Ghosts I-IV 2013: Hesitation Marks with Sara Hickman 1998 Two Kinds of Laughter with Béla Fleck & the Flecktones 2000: Outbound with William Shatner 2004: Has Been with Porcupine Tree 2005: Deadwing with Tony Levin 2006: Resonator with N.y.X 2016: The News with Gizmodrome 2017: Gizmodrome   Order while supplies last! RAY'S BEST-SELLING BOOK ENTITLED THE ROCK STAR CHRONICLES SERIES ONE   CHRONICLES, TRUTHS, CONFESSIONS AND WISDOM FROM THE MUSIC LEGENDS THAT SET US FREE!  …Order yours today on (Collector edition) Hardcover or E-book  at bookbaby.com and amazon.com Featuring over 45 intimate conversations with some of the greatest rock legends the world will ever know. CHRIS SQUIRE... DR. JOHN... GREG LAKE... HENRY MCCULLOUGH... JACK BRUCE … JOE LALA…  JOHNNY WINTER... KEITH EMERSON... PAUL KANTNER...  RAY THOMAS... RONNIE MONTROSE... TONY JOE WHITE... DAVID CLAYTON-THOMAS… MIKE LOVE... TOMMY ROE... BARRY HAY... CHRIS THOMPSON... JESSE COLIN YOUNG... JOHN KAY... JULIAN LENNON... MARK LINDSAY... MICKY DOLENZ… PETER RIVERA ...TOMMY JAMES… TODD RUNDGREN... DAVE MASON... EDGAR WINTER... FRANK MARINO... GREGG ROLIE... IAN ANDERSON... JIM “DANDY” MANGRUM... JON ANDERSON... LOU GRAMM... MICK BOX... RANDY BACHMAN… ROBIN TROWER...  ROGER FISHER... STEVE HACKETT... ANNIE HASLAM… ‘MELANIE' SAFKA... 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Welcome To The NFT Jungle is a podcast dedicated to NFTs as well as navigating the NFT space so that you can be equipped to make good decisions in this crazy world of NFTs! ❤️ Welcome To The NFT Jungle is the OFFICIAL podcast for “MetaJungle”. The MetaJungle team is developing platform tools to make your NFT experiences better. Join the MetaJungle Discord for free access to information, tools, and resources that will make your NFT collecting a success!

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Abbott and Costello, originally broadcast November 18, 1948,73 years ago. Sam Shovel appears in, "The Case Of The Russian Diplomat Who Took The 6:00 P.M. Boat Back To Russia," or, "Red Sails In The Sunset."

Welcome to the show notes for the ninth episode of the Loathsome Things Podcast! A desperate ex-con shows up at a sweet old lady's house disguised as a plumber. What happens next may shock you… Nah! This little gem went from conception to screening in five weeks, all with no budget. It's an extraordinary little achievement in movie-making. Don't get me wrong, it's not a masterpiece. But then again, neither is this episode! Grab your most Canadian possessions and join us as we watch Matt Mercer and Mike Testin's Dementia: Part II!   If you would like to recommend a movie, complain about Josh's upstairs neighbor ruining things, sing Red Sails in the Sunset directly into our faces, or tell us about the things we failed to get about this movie, you can do so by reaching out to us on Twitter: @LoathsomePod Instagram: @LoathsomePod Facebook: @LoathsomePodcast Please rate and review if you think other people would enjoy our show, or if you feel they should be warned! This episode is brought to you by Reggie's Acting School and Bail Bonds. With RASBB, you can learn how to turn every conversation to your advantage somehow, or just get treated like the worthless piece of human meat that you are. Use promo code YOUWINSOMEYOULOATHSOME for a free fanny pack at check-out.  

The Jazz Session No.201, from RaidersBroadcast.com as aired in Apr 2021, featuring the veteran saxophonist Coleman Hawkins. TRACK LISTING: Canadian Sunset - Wes Montgomery; Red Sails on the Sunset - Erroll Garner; Riverside Blues - Kenny Ball; Some of these Days - Chris Barber; How Strange - Coleman Hawkins; Sophisticated Lady - Coleman Hawkins; To the Earth - Dinosaur; Are We There Yet - Lyle Mays; Boplicity - Miles Davis; Swing to Bop - Charlie Christian, Thelonius Monk, Joe Guy; Unknown Soldier - Weather Report; Sanctuary - Mahavishnu Orchestra w. John McLaughlin; Between the Devil and the Deep Blue Sea - Annie Ross, w. Gerry Mulligan; Devil May Care - Diana Krall; I Surrender Dear - Coleman Hawkins; Dinner for One, Please James - Coleman Hawkins; Someday Sweetheart - The Charleston Chasers; At the Jazz Band Ball - Bix Beiderbecke; Isabelle - Kamasi Washington; Deer Wan - Kenny Wheeler.

Red stains on the carpet, red stains on your knife, oh, Dr Buck Ruxton, you murdered your wife. The nursemaid saw you and threatened to tell, oh, Dr Buck Ruxton, you killed her as well… — Lancashire nursery rhyme, parody of the song ‘Red Sails in the Sunset’, latter half of the 1930s*** LISTENER CAUTION IS ADVISED *** Become a ‘Patreon Producer’ and get exclusive access to Season 1, early ad-free access to episodes, and your name in the podcasts credits. Find out more here: https://www.patreon.com/TheyWalkAmongUs Order our book ‘They Walk Among Us’ here: https://bit.ly/2BZ5STR COURT DOCUMENTS and information from the following news organisations and magazines were referenced in this episode: Aberdeen Press and Journal, Portsmouth Evening News, Birmingham Daily Gazette, Hartlepool Northern Daily Mail, Hull Daily Mail, Sunderland Daily Echo and Shipping Gazette, The Scotsman, Western Daily Press, Western Morning News, Yorkshire Evening Post, Sunday Mirror, Daily Herald, Dundee Evening Telegraph, Leeds Mercury, Sunday Sun (Newcastle), Gloucestershire Echo, Coventry Evening Telegraph, Derby Daily Telegraph, Leeds Mercury, Yorkshire Post and Leeds Intelligencer, Shepton Mallet Journal, Nottingham Evening Post, Sheffield Independent and ‘Murder Casebook’ Magazine. More information and episode references can be found on our website https://theywalkamonguspodcast.com MUSIC: September by Kai EngelGlimpse of Eternity by MeydänCobweb Morning by Kai EngelGreat Expectations by Kai EngelLurking Shadows by MyuuMaestro Tlakaelel by Jesse GallagherGaia in Fog by Dan BodanNo 8 Requiem by Esther AbramiBlue Feather by Kevin MacLeodPlease wake up by MeydänChalet by MeydänDoll Dancing by Puddle of InfinitySergey Cheremisinov by Sleepwalker VAll music used under an Attribution License - http://creativecommons.org/licenses/by/4.0/SOCIAL MEDIA: Twitter - https://twitter.com/TWAU_PodcastFacebook - https://www.facebook.com/theywalkamonguspodcastInstagram - https://www.instagram.com/theywalkamonguspodcastAcast - https://www.acast.com/theywalkamongus Support this show http://supporter.acast.com/theywalkamongus. See acast.com/privacy for privacy and opt-out information.

Wir haben während der E3-Ersatzstreams ca. drölfhundert Trailer geschaut. Zeit über unsere Ersatz-E3 Highlight 2020 im Podcast zu quatschen.   Tobi, Malte und Benja nehmen den etablierten Zeitpunkt der E3, die Massen von Trailern und Neuankündigungen zum Anlass, um vor allem über ihre Highlights zu sprechen. Wir quatschen emotionsgeladen über die Spiele, die uns fasziniert haben, aber auch darüber, ob das bekannte E3-Gefühl aufgekommen ist, Trends erkennbar sind, die Streams eine gute Sache sind und gewöhnliche Presseevents und Messen eventuell ausgedient haben. Falls du die Titel unserer Highlights im Eifer des Gefechts nicht mitbekommen, überhört oder aufgrund unseres Genuschels nicht mitbekommen hast, noch mal einen Trailer oder einen unserer Artikel dazu lesen willst. Hier noch einmal in chronologischer Reihenfolge unsere Ersatz-E3 Highlights 2020: Bugsnax, Art of Rally, Gamedec, Kena Bridge of Spirits, Exo One, Doors of Insanity, Ghostrunner, Red Sails, Maid of Sker, Per Aspera, The Cabbage Effect, Knuckle Sandwich, Carrion, Goodbye Volcano High, Sea of Stars. Alle Verlinkungen zu Artikeln und Trailern findest du im passenden Podcast-Artikel in unserem Magazin auf Welcome To Last Week.  Wir wünschen dir eine gute Zeit mit unserem Indie Game Podcast Tobi, Malte und Benja Welcome To Last Week | Instagram | Twitter | Facebook

📽️ Mira la versión de Youtube, ahora dividida por temas: https://youtu.be/kL5IVx49IVY ~CONTENIDO DEL SHOW~ | (00:00) Intro | (05:40) Blankos | (10:00) Persona 4 Golden | (14:30) In Sound Mind | (18:30) Godfall | (20:20) Werewolf: The Apocalypse - Earthblood | (23:40) Seis Shooters frenéticos de New Blood | (27:00) Trash Sailors | (30:15) Dead Static Drive | (33:40) Blightbound | (36:30) Ghostrunner | (38:40) The Forgotten City | (42:50) The Dungeon of Naheulbeuk | (45:10) Windbound | (49:20) Haven | (56:15) Cris Tales | (01:00:30) Metal: Hellsinger | (01:04:10) Weird West | (01:06:30) Evil Genius 2 | (01:13:30) Surgeon Simulator 2 | (01:19:00) Red Sails | (01:21:40) Torchlight 3 | (01:25:40) Fin 📢 PC Gaming Show finalmente llega al ritmo y la cantidad de lanzamientos para convertirse un evento bastante memorable. Grandes lanzamientos de estudios grandes y pequeños fueron anunciados. 🧡 ¡Apóyanos por Patreon al gusto!: https://www.patreon.com/estadogamer 🕹 Continúa la discución en nuestro chat de Discord: https://bit.ly/DiscordEstadoGamerLA ❓ Envía tus preguntas e historias a preguntaestadogamer@gmail.com. Las escogidas las contestaremos en el episodio siguiente.

David ist mal wieder zu Gast und redet mit Tom über die frisch enthüllte PlayStation 5 und zahlreiche Spieleankündigungen. Außerdem gibt es unsere Eindrücke zur Remastered Collection von Command & Conquer, den Indie-Titeln Huntdown und VirtuaVerse und der Early Access-Version von Torchlight 3. Das alles und mehr jetzt bei Hooked FM! Timestamps für Skipper: 0:00 - Intro 1:28 - Alex Kidd in Miracle World DX 8:07 - Vermissen wir die E3? 10:41 - PlayStation 5 Reveal 19:48 - Ratchet & Clank: Rift Apart, Bugsnax, Godfall 23:12 - Demon's Souls Remake 29:48 - Ghostwire Tokyo, Deathloop, Goodbye Volcano High, Stray 32:56 - Kena: Bridge of Spirits, Project Athia, Solar Ash, Astro's Playroom 35:31 - Horizon Forbidden West 36:27 - Spider-Man: Miles Morales 40:04 - Sackboy: A Big Adventure, GTA 5, Hitman 3 42:52 - Pragmata 44:39 - Resident Evil: Village 47:29 - Little Devil Inside, Returnal 50:34 - Twin Mirror, Ooblets 54:34 - Persona 4 Golden PC, Evil Genius 2, Call of the Sea, Dustborn, Valheim, Red Sails, Mortal Shell 59:40 - XIII Remake Trailer 1:03:51 - Star Wars: Squadrons & Davids Top 3 Star Wars-Spiele, die noch kommen sollen 1:11:16 - Werbung: Audible.de/hooked und Amazon-Affiliate, getshirts-Shop 1:12:00 - Command & Conquer: Remastered Collection 1:25:17 - Torchlight 3 1:36:28 - VirtuaVerse 1:44:40 - Huntdown 1:53:41 - Die Podcast-Produzenten

Nick Launay joins Darren and Robin on the virtual couch to share more stories, this time they get into Red Sails in the Sunset. Chapman stick, Japanese Engineers, Martin Rotsey and the mystery that is Bakerman are discussed. Nick tells some great stories and gives at least one enigmatic answer. Then, he promises to return.

Nick Launay joins Darren and Robin on the virtual couch to share more stories, this time they get into Red Sails in the Sunset. Chapman stick, Japanese Engineers, Martin Rotsey and the mystery that is Bakerman are discussed. Nick tells some great stories and gives at least one enigmatic answer. Then, he promises to return.

Producer Nick Launay is back to tell stories of his time recording Midnight Oil's Earth and Sun and Moon. Join Darren and Robin as the three talk about what shakes, grooves, evokes and moves. Nick tells new stories that these couch-sitters haven't heard or read before about the making of Truganini, building Megaphon recording studios and backwards slide guitar.

Producer Nick Launay is back to tell stories of his time recording Midnight Oil's Earth and Sun and Moon. Join Darren and Robin as the three talk about what shakes, grooves, evokes and moves. Nick tells new stories that these couch-sitters haven't heard or read before about the making of Truganini, building Megaphon recording studios and backwards slide guitar.

The boys are joined on the couch by Nick Launay, producer of Midnight Oil's albums, 10-9-8, Red Sails in the Sunset and Earth and Sun and Moon. Nick shares stories from meeting the Oils, to working at Townhouse studios with them and talks about how he and the band produced some of the most important Oils records of the 1980s.

The boys are joined on the couch by Nick Launay, producer of Midnight Oil's albums, 10-9-8, Red Sails in the Sunset and Earth and Sun and Moon. Nick shares stories from meeting the Oils, to working at Townhouse studios with them and talks about how he and the band produced some of the most important Oils records of the 1980s.

INTRO - 10:30: Hannah shares a wonderful meet-cute she found on a reddit relationships thread about a man who hadn’t previously questioned his sexuality, who genuinely falls in love with another man over a game of darts. It’s frickin’ adorable.11:30 - 38:30: Strap in. Are you strapped in? You ready? You’re not ready… Deanna brings us a swift tale of revenge about our person of the week, Jeanne De Clisson, The Lioness of Brittany.

Join Darren and Robin on the couch as they spin Midnight Oil's 1990 album Blue Sky Mining. They welcome the Oils' longest bass-playing member, the man with the Golden Tones: Bones Hillman, learn about the hard time the band had putting together a follow-up to D and D and speculate on how some of the sound we hear on the blue vinyl reach back to the 10, 9, 8 and Red Sails era of recording. Finally, there's a special treat for listeners who would be curious as to what out hosts sounded like a quarter of a century ago. Here's a hint... they sounded worse.

Join Darren and Robin on the couch as they spin Midnight Oil's 1990 album Blue Sky Mining. They welcome the Oils' longest bass-playing member, the man with the Golden Tones: Bones Hillman, learn about the hard time the band had putting together a follow-up to D and D and speculate on how some of the sound we hear on the blue vinyl reach back to the 10, 9, 8 and Red Sails era of recording. Finally, there's a special treat for listeners who would be curious as to what out hosts sounded like a quarter of a century ago. Here's a hint... they sounded worse.

Join Darren and Robin on the couch as they spin Midnight Oil's Red Sails in the Sunset from 1984. Things get a little silly this episode as the Couch-Sitters take their sweet time talking about the album in detail. Listen in as orchestra hits, disco beats and didgeridoos all get put under the audio-microscope while optimum glasses of Sake and the number of trumpets in Bakerman are counted.

Join Darren and Robin on the couch as they spin Midnight Oil's Red Sails in the Sunset from 1984. Things get a little silly this episode as the Couch-Sitters take their sweet time talking about the album in detail. Listen in as orchestra hits, disco beats and didgeridoos all get put under the audio-microscope while optimum glasses of Sake and the number of trumpets in Bakerman are counted.

The Doctor needs the help of the sparrows to escape some pirates. --- Send in a voice message: https://anchor.fm/bedtime-in-the-public-domain/message

Songs with red in the title, including: Red Sails in the Sunset, Stop, the Red Light's On, How Could Red Riding Hood?, Red Hot Momma, Red Cross and Red Roses For a Blue Lady. Performers include: Louis Armstrong, Sophie Tucker, The Six Jumping Jacks, Vaughn Monroe, Bessie Smith, Charlie Parker and Whispering Jack Smith.

Songs about the Sun including: On the Sunny Side of the Street, Red Sails in the Sunset, Morning Sun Blues and Wait Till the Sun Shines Nellie. Performers include: Louis Armstrong, Harry Richman, Bryon Harlin, the Brox Sisters and John McCormack.