Podcasts about Revolver

This week on the Roach Koach podcast it's all about Who's Tweeting, as Lorin and Matt go over your feedback, questions, and Roachamendations. Topics this week include:-Revolver dot com-Bands pick the greatest nu-metal song of all time-Baroness, you got got-Mega Who's Festing-Rocklahoma-Aftershock Festival-Louder Than Life 2023-Tech Q's-A Zebrahead push?-And Andrew Wolfe's Roachamendations Part 3Take a listen!Rate and review Roach Koach on iTunes! We'd appreciate it! Questions about the show? Have album recommendations? Just want to say hi? We'd love to hear from you! Contact the show @RoachKoach on Twitter, Roach Koach on Facebook , Roach Koach on Instagram, or send an email to RoachKoachPodcast at Gmail. Support the show over on our Patreon.

The Leader of the Insurrection in action, worse than 9/11 and Pearl Harbor combinedhttps://twitter.com/greg_price11/status/1632912031882805250Someone at the top of the DOJ did not want Americans to see the surveillance videos. Despite intense media obsession, despite an act of despicable violence we were told was domestic terrorism, despite the possibility that more eyes viewing the evidence might find more clues, despite the requirement that exonerating or mitigating evidence be turned over to the defense, someone at the top of the DOJ did not want Americans to see the surveillance footage of . . . The Oklahoma City Bombing. Ten years after the deadly murders and the convictions of Timothy McVeigh and Terry Nichols the DOJ still didn't want Americans to see McVeigh getting out of the Ryder truck he rented. Or, was it that they didn't want Americans to see McVeigh and the Third Terrorist exiting the truck? One person certainly knows the answer to that and his name is Merrick Garland, who Revolver.News Senior Editor Darrin Beattie calls “the ‘Regime Janitor.'” The same Merrick Garland who runs the DOJ that told Americans Officer Brian Sidnick was murdered on J6, that the so-called Q'Anon Shaman broken and entered and committed property destruction--both of which were absolute lies--didn't want Americans to see the video footage that proves they are lies. They told us Trump caused this just like they said Rush Limbaugh--God rest the Maha--caused Oklahoma City. In the Episode we look at the commonalities between the J6 lies and the Oklahoma City narrative. Some questions: how on earth did the FBI complete an investigation of Terry Nichols when, years after he was in prison, they suddenly found a cache of explosives and blasting camps in his house? Why did the FBI try to talk witnesses into changing their minds about seeing the Third Terrorist who whom the FBI had launched a massive search . . . a search they then dropped with no explanation?What does God say? I find an increasing amount of comfort remembering The Lord sees all and Jesus will come again to judgeHebrews 4:13Nothing in all creation is hidden from God's sight. Everything is uncovered and laid bare before the eyes of him to whom we must give account2 Corinthians 5:10For we must all appear before the judgment seat of Christ, so that each of us may receive what is due us for the things done while in the body, whether good or bad. 01:37, Darren Beattie on Merrick GarlandCongressional Transcript: Degree of skepticism surrounding investigation of Oklahoma City Bombing. The Third Terrorist, Revised Edition, by Jayna Davis (who seems to have disappeared) BREAKING: Never before seen January 6 footage shows Capitol Police Officer Brian Sicknick walking around the building after the time media outlets claimed he was killed by protesters.The J6 Committee had access to this tape but refused to release it.McConnell said it was a "mistake" for Tucker Carlson to show January 6 footage that the government fought to keep hidden.Schumer: "Rupert Murdoch has a special obligation to stop Tucker Carlson from going on tonight [and] from letting him go on again and again and again [because] our democracy depends on it."I was told the QAnon shaman was leading an insurrection not the one who is being led by police throughout the capital building. No wonder all the footage was kept from us for 2 years. As always they lied to us all!SEN SCHUMER: "[Tucker's] going to come back tonight with another segment. Fox News should tell him NOT to. Fox News, Rupert Murdoch, tell Carlson NOT to run a second segment of lies!"Well, well, well… CNN (inadvertently?) resurrects gruesome skeleton from Merrick Garland's closet…KFOR Channel 4 Jayna Davis coverage of OKC bombing with bomb scares4Patriotshttps://4patriots.comNever be in the dark with the Patriot Power Solar Generator. Use code TODD to save 10% on your first order.Alan's Soapshttps://alanssoaps.com/TODDUse coupon code ‘TODD' to save an additional 10% off the bundle price. Bonefroghttps://bonefrog.usEnter promo code TODD at checkout to receive 5% off your subscription. Bulwark Capitalhttps://knowyourriskradio.comGet your free copy of “Common Cents Investing” Call 866-779-RISK or visit the website. Healthycellhttps://healthycell.com/toddJourney to better health and save 20% off your first order with promo code TODD.My Pillowhttps://mypillow.comUse code TODD for BOGO free on the new MyPillow 2.0RuffGreenshttps://ruffgreens/toddGet your FREE Jumpstart Trial Bag of Ruff Greens, simply cover shipping. SOTA Weight Losshttps://sotaweightloss.comSOTA Weight Loss is, say it with me now, STATE OF THE ART!GreenHaven Interactivehttps://greenhaveninteractive.comGet more business from Google and your website!Texas Superfoodshttps://texassuperfoods.comTexas Super Foods is whole food nutrition at its best.

Hello and welcome to Handgun Radio! I'm your host Ryan Michad from the wild woods of Central Maine, and this is your home for all the news, information and discussion in the handgunning world! This week, we talk about modern production .22 Revolvers! Please check out the Patriot Patch Company for their awesome patches and … Handgun Radio 378 – My H&R .22 Revolver & Modern .22 Revolvers! Read More »

Hello and welcome to Handgun Radio! I'm your host Ryan Michad from the wild woods of Central Maine, and this is your home for all the news, information and discussion in the handgunning world! This week, we talk about modern production .22 Revolvers! Please check out the Patriot Patch Company for their awesome patches and … Handgun Radio 378 – My H&R .22 Revolver & Modern .22 Revolvers! Read More »

2:25:08 – Shambles Constant!! Rob from the Paunch Stevenson Show!! Frank Edward Nora!! Multifaceted looks at the Beatles albums continues with their 6th effort, Rubber Soul!! PQ Ribber is your interlocutor!! Join us and participate in this series of shows with your own thoughts and commentary!! The topic next time is the Revolver album. Details […]

In This Hour: -- Gun Rights are under attack in many states, but we are winning in the courtroom.  Alan Gottlieb of the Second Amendment Foundation delivers updates on several big decisions. --   Today marks 28 years on the air for Gun Talk Radio. --   Pros and cons of a .410 revolver for personal protection. Tom Gresham's Gun Talk          03.05.23 Hour 2

The riots at the Capitol on January 6, 2021 will forever be a controversial, embarrassing, and disturbing mark on American politics and a sign of the disintegration of civility between both sides of the aisle. But are the right people being held responsible for the mayhem that day? Darren Beattie of Revolver.News joins the program to discuss Ray Epps, an individual many believe to be directly responsible for helping whip the agitated crowd into a frenzy that day, instigating one of the most infamous days of civil unrest in modern history. Why has Epps not faced charges for his prominent role in the fiasco, and could he be getting protection from someone high on the government food chain? ***** TOP STORIES California's Councilman's Massive Mail-in Ballot Vote Scam Is Revealed West Coast, Messed Coast™ Report: Too Much Snow, Too Few Workers Washington State Dems Want 'Minority Report' Commission to Destroy Conservative Wrong-Think White House Panics After Wuhan Lab Leak Story ID'd as 'Most Likely' Theory for COVID Where Does Comedian Jon Stewart Go to Get His Lefty Credentials Back After COVID Report Vindicates Him? First the Kids, Now the Dog: Spain's Socialists Show Who the Left's Perverts Are Coming for Next Why I Don't Trust Sneering FBI Director Chris Wray on Admitting COVID Lab Leak ***** MORE INFO VictoriaTaft.com Victoria Taft @ PJ Media --- Support this podcast: https://anchor.fm/victoria-taft/support

In this episode of MSOM, Darren Beattie destroys the mainstream narrative about January 6th and explores why America is in controlled decline. Next, Chris Paul digs into the story of corruption in Arizona and the mainstreaming of counter-narratives on SNL and Twitter.Revolver.Newshttps://imyourmoderator.substack.com/Get Breaking News Updates: https://SeanMorganReport.comhttps://www.buymeacoffee.com/jasonbermasSUBSCRIBE TO AMPINSIDER FOR EXCLUSIVE CONTENT, BACKSTAGE PASSES, EVENTS, AND MORE!https://ampinsider.us/sign-upBUY GOLD: https://bit.ly/PHDMorganBUY A SAT PHONE: https://bit.ly/ampsatphonesMyPatriotSupply: https://bit.ly/amppatriotsupplyNearly 60% of Americans are concerned about running out of money.RECEIVE A FREE CONSULTATION & A FREE E-BOOK ABOUT ANNUITIEShttps://www.americanmediaperiscope.net/clevelandSave up to 66% off at https://MyPillow.com with AMP888RNCstore.com Use Promo Code AMP888https://GrillBlazer.com Save 10 Percent with AMP888AMPNEWS.USSupport the show

Episode 163 of A History of Rock Music in Five Hundred Songs looks at “(Sittin' on) The Dock of the Bay", Stax Records, and the short, tragic, life of Otis Redding. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Soul Man" by Sam and Dave. 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 No Mixcloud this week, as there are too many songs by Redding, even if I split into multiple parts. The main resource I used for the biographical details of Redding was Dreams to Remember: Otis Redding, Stax Records, and the Transformation of Southern Soul by Mark Ribowsky. Ribowsky is usually a very good, reliable, writer, but in this case there are a couple of lapses in editing which make it not a book I can wholeheartedly recommend, but the research on the biographical details of Redding seems to be the best. Information about Stax comes primarily from two books: Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. There are two Original Album Series box sets which between them contain all the albums Redding released in his life plus his first few posthumous albums, for a low price. Volume 1, volume 2. 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 ends with a description of a plane crash, which some people may find upsetting. There's also a mention of gun violence. In 2019 the film Summer of Soul came out. If you're unfamiliar with this film, it's a documentary of an event, the Harlem Cultural Festival, which gets called the "Black Woodstock" because it took place in the summer of 1969, overlapping the weekend that Woodstock happened. That event was a series of weekend free concerts in New York, performed by many of the greatest acts in Black music at that time -- people like Stevie Wonder, David Ruffin, Mahalia Jackson, B.B. King, the Staple Singers, Sly and the Family Stone, Nina Simone, and the Fifth Dimension. One thing that that film did was to throw into sharp relief a lot of the performances we've seen over the years by legends of white rock music of the same time. If you watch the film of Woodstock, or the earlier Monterey Pop festival, it's apparent that a lot of the musicians are quite sloppy. This is easy to dismiss as being a product of the situation -- they're playing outdoor venues, with no opportunity to soundcheck, using primitive PA systems, and often without monitors. Anyone would sound a bit sloppy in that situation, right? That is until you listen to the performances on the Summer of Soul soundtrack. The performers on those shows are playing in the same kind of circumstances, and in the case of Woodstock literally at the same time, so it's a fair comparison, and there really is no comparison. Whatever you think of the quality of the *music* (and some of my very favourite artists played at Monterey and Woodstock), the *musicianship* is orders of magnitude better at the Harlem Cultural Festival [Excerpt: Gladys Knight and the Pips “I Heard it Through the Grapevine (live)”] And of course there's a reason for this. Most of the people who played at those big hippie festivals had not had the same experiences as the Black musicians. The Black players were mostly veterans of the chitlin' circuit, where you had to play multiple shows a day, in front of demanding crowds who wanted their money's worth, and who wanted you to be able to play and also put on a show at the same time. When you're playing for crowds of working people who have spent a significant proportion of their money to go to the show, and on a bill with a dozen other acts who are competing for that audience's attention, you are going to get good or stop working. The guitar bands at Woodstock and Monterey, though, hadn't had the same kind of pressure. Their audiences were much more forgiving, much more willing to go with the musicians, view themselves as part of a community with them. And they had to play far fewer shows than the chitlin' circuit veterans, so they simply didn't develop the same chops before becoming famous (the best of them did after fame, of course). And so it's no surprise that while a lot of bands became more famous as a result of the Monterey Pop Festival, only three really became breakout stars in America as a direct result of it. One of those was the Who, who were already the third or fourth biggest band in the UK by that point, either just behind or just ahead of the Kinks, and so the surprise is more that it took them that long to become big in America. But the other two were themselves veterans of the chitlin' circuit. If you buy the Criterion Collection Blu-Ray of Monterey Pop, you get two extra discs along with the disc with the film of the full festival on it -- the only two performances that were thought worth turning into their own short mini-films. One of them is Jimi Hendrix's performance, and we will talk about that in a future episode. The other is titled Shake! Otis at Monterey: [Excerpt: Otis Redding, "Shake! (live at Monterey Pop Festival)"] Otis Redding came from Macon, Georgia, the home town of Little Richard, who became one of his biggest early influences, and like Richard he was torn in his early years between religion and secular music -- though in most other ways he was very different from Richard, and in particular he came from a much more supportive family. While his father, Otis senior, was a deacon in the church, and didn't approve much of blues, R&B, or jazz music or listen to it himself, he didn't prevent his son from listening to it, so young Otis grew up listening to records by Richard -- of whom he later said "If it hadn't been for Little Richard I would not be here... Richard has soul too. My present music has a lot of him in it" -- and another favourite, Clyde McPhatter: [Excerpt: Billy Ward and the Dominoes, "Have Mercy Baby"] Indeed, it's unclear exactly how much Otis senior *did* disapprove of those supposedly-sinful kinds of music. The biography I used as a source for this, and which says that Otis senior wouldn't listen to blues or jazz music at all, also quotes his son as saying that when he was a child his mother and father used to play him "a calypso song out then called 'Run Joe'" That will of course be this one: [Excerpt: Louis Jordan, "Run Joe"] I find it hard to reconcile the idea of someone who refused to listen to the blues or jazz listening to Louis Jordan, but then people are complex. Whatever Otis senior's feelings about secular music, he recognised from a very early age that his son had a special talent, and encouraged him to become a gospel singer. And at the same time he was listening to Little Richard, young Otis was also listening to gospel singers. One particular influence was a blind street singer, Reverend Pearly Brown: [Excerpt: Reverend Pearly Brown, "Ninety Nine and a Half Won't Do"] Redding was someone who cared deeply about his father's opinion, and it might well have been that he would eventually have become a gospel performer, because he started his career with a foot in both camps. What seems to have made the difference is that when he was sixteen, his father came down with tuberculosis. Even a few years earlier this would have been a terminal diagnosis, but thankfully by this point antibiotics had been invented, and the deacon eventually recovered. But it did mean that Otis junior had to become the family breadwinner while his father was sick, and so he turned decisively towards the kind of music that could make more money. He'd already started performing secular music. He'd joined a band led by Gladys Williams, who was the first female bandleader in the area. Williams sadly doesn't seem to have recorded anything -- discogs has a listing of a funk single by a Gladys Williams on a tiny label which may or may not be the same person, but in general she avoided recording studios, only wanting to play live -- but she was a very influential figure in Georgia music. According to her former trumpeter Newton Collier, who later went on to play with Redding and others, she trained both Fats Gonder and Lewis Hamlin, who went on to join the lineup of James Brown's band that made Live at the Apollo, and Collier says that Hamlin's arrangements for that album, and the way the band would segue from one track to another, were all things he'd been taught by Miss Gladys. Redding sang with Gladys Williams for a while, and she took him under her wing, trained him, and became his de facto first manager. She got him to perform at local talent shows, where he won fifteen weeks in a row, before he got banned from performing to give everyone else a chance. At all of these shows, the song he performed was one that Miss Gladys had rehearsed with him, Little Richard's "Heeby Jeebies": [Excerpt: Little Richard, "Heeby Jeebies"] At this time, Redding's repertoire was largely made up of songs by the two greats of fifties Georgia R&B -- Little Richard and James Brown -- plus some by his other idol Sam Cooke, and those singers would remain his greatest influences throughout his career. After his stint with Williams, Redding went on to join another band, Pat T Cake and the Mighty Panthers, whose guitarist Johnny Jenkins would be a major presence in his life for several years. The Mighty Panthers were soon giving Redding top billing, and advertising gigs as featuring Otis "Rockin' Robin" Redding -- presumably that was another song in his live repertoire. By this time Redding was sounding enough like Little Richard that when Richard's old backing band, The Upsetters, were looking for a new singer after Richard quit rock and roll for the ministry, they took Redding on as their vocalist for a tour. Once that tour had ended, Redding returned home to find that Johnny Jenkins had quit the Mighty Panthers and formed a new band, the Pinetoppers. Redding joined that band, who were managed by a white teenager named Phil Walden, who soon became Redding's personal manager as well. Walden and Redding developed a very strong bond, to the extent that Walden, who was studying at university, spent all his tuition money promoting Redding and almost got kicked out. When Redding found this out, he actually went round to everyone he knew and got loans from everyone until he had enough to pay for Walden's tuition -- much of it paid in coins. They had a strong enough bond that Walden would remain his manager for the rest of Redding's life, and even when Walden had to do two years in the Army in Germany, he managed Redding long-distance, with his brother looking after things at home. But of course, there wasn't much of a music industry in Georgia, and so with Walden's blessing and support, he moved to LA in 1960 to try to become a star. Just before he left, his girlfriend Zelma told him she was pregnant. He assured her that he was only going to be away for a few months, and that he would be back in time for the birth, and that he intended to come back to Georgia rich and marry her. Her response was "Sure you is". In LA, Redding met up with a local record producer, James "Jimmy Mack" McEachin, who would later go on to become an actor, appearing in several films with Clint Eastwood. McEachin produced a session for Redding at Gold Star studios, with arrangements by Rene Hall and using several of the musicians who later became the Wrecking Crew. "She's All Right", the first single that came from that session, was intended to sound as much like Jackie Wilson as possible, and was released under the name of The Shooters, the vocal group who provided the backing vocals: [Excerpt: The Shooters, "She's All Right"] "She's All Right" was released on Trans World, a small label owned by Morris Bernstein, who also owned Finer Arts records (and "She's All Right" seems to have been released on both labels). Neither of Bernstein's labels had any great success -- the biggest record they put out was a single by the Hollywood Argyles that came out after they'd stopped having hits -- and they didn't have any connection to the R&B market. Redding and McEachin couldn't find any R&B labels that wanted to pick up their recordings, and so Redding did return to Georgia and marry Zelma a few days before the birth of their son Dexter. Back in Georgia, he hooked up again with the Pinetoppers, and he and Jenkins started trying local record labels, attempting to get records put out by either of them. Redding was the first, and Otis Redding and the Pinetoppers put out a single, "Shout Bamalama", a slight reworking of a song that he'd recorded as "Gamma Lamma" for McEachin, which was obviously heavily influenced by Little Richard: [Excerpt: Otis Redding and the Pinetoppers, "Shout Bamalama"] That single was produced by a local record company owner, Bobby Smith, who signed Redding to a contract which Redding didn't read, but which turned out to be a management contract as well as a record contract. This would later be a problem, as Redding didn't have an actual contract with Phil Walden -- one thing that comes up time and again in stories about music in the Deep South at this time is people operating on handshake deals and presuming good faith on the part of each other. There was a problem with the record which nobody had foreseen though -- Redding was the first Black artist signed to Smith's label, which was called Confederate Records, and its logo was the Southern Cross. Now Smith, by all accounts, was less personally racist than most white men in Georgia at the time, and hadn't intended that as any kind of statement of white supremacy -- he'd just used a popular local symbol, without thinking through the implications. But as the phrase goes, intent isn't magic, and while Smith didn't intend it as racist, rather unsurprisingly Black DJs and record shops didn't see things in the same light. Smith was told by several DJs that they wouldn't play the record while it was on that label, and he started up a new subsidiary label, Orbit, and put the record out on that label. Redding and Smith continued collaborating, and there were plans for Redding to put out a second single on Orbit. That single was going to be "These Arms of Mine", a song Redding had originally given to another Confederate artist, a rockabilly performer called Buddy Leach (who doesn't seem to be the same Buddy Leach as the Democratic politician from Louisiana, or the saxophone player with George Thorogood and the Destroyers). Leach had recorded it as a B-side, with the slightly altered title "These Arms Are Mine". Sadly I can't provide an excerpt of that, as the record is so rare that even websites I've found by rockabilly collectors who are trying to get everything on Confederate Records haven't managed to get hold of copies. Meanwhile, Johnny Jenkins had been recording on another label, Tifco, and had put out a single called "Pinetop": [Excerpt: Johnny Jenkins and the Pinetoppers, "Pinetop"] That record had attracted the attention of Joe Galkin. Galkin was a semi-independent record promoter, who had worked for Atlantic in New York before moving back to his home town of Macon. Galkin had proved himself as a promoter by being responsible for the massive amounts of airplay given to Solomon Burke's "Just Out of Reach (of My Two Open Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (of My Two Open Arms)"] After that, Jerry Wexler had given Galkin fifty dollars a week and an expense account, and Galkin would drive to all the Black radio stations in the South and pitch Atlantic's records to them. But Galkin also had his own record label, Gerald Records, and when he went to those stations and heard them playing something from a smaller label, he would quickly negotiate with that smaller label, buy the master and the artist's contract, and put the record out on Gerald Records -- and then he would sell the track and the artist on to Atlantic, taking ten percent of the record's future earnings and a finder's fee. This is what happened with Johnny Jenkins' single, which was reissued on Gerald and then on Atlantic. Galkin signed Jenkins to a contract -- another of those contracts which also made him Jenkins' manager, and indeed the manager of the Pinetops. Jenkins' record ended up selling about twenty-five thousand records, but when Galkin saw the Pinetoppers performing live, he realised that Otis Redding was the real star. Since he had a contract with Jenkins, he came to an agreement with Walden, who was still Jenkins' manager as well as Redding's -- Walden would get fifty percent of Jenkins' publishing and they would be co-managers of Jenkins. But Galkin had plans for Redding, which he didn't tell anyone about, not even Redding himself. The one person he did tell was Jerry Wexler, who he phoned up and asked for two thousand dollars, explaining that he wanted to record Jenkins' follow-up single at Stax, and he also wanted to bring along a singer he'd discovered, who sang with Jenkins' band. Wexler agreed -- Atlantic had recently started distributing Stax's records on a handshake deal of much the same kind that Redding had with Walden. As far as everyone else was concerned, though, the session was just for Johnny Jenkins, the known quantity who'd already released a single for Atlantic. Otis Redding, meanwhile, was having to work a lot of odd jobs to feed his rapidly growing family, and one of those jobs was to work as Johnny Jenkins' driver, as Jenkins didn't have a driving license. So Galkin suggested that, given that Memphis was quite a long drive, Redding should drive Galkin and Jenkins to Stax, and carry the equipment for them. Bobby Smith, who still thought of himself as Redding's manager, was eager to help his friend's bandmate with his big break (and to help Galkin, in the hope that maybe Atlantic would start distributing Confederate too), and so he lent Redding the company station wagon to drive them to the session.The other Pinetoppers wouldn't be going -- Jenkins was going to be backed by Booker T and the MGs, the normal Stax backing band. Phil Walden, though, had told Redding that he should try to take the opportunity to get himself heard by Stax, and he pestered the musicians as they recorded Jenkins' "Spunky": [Excerpt: Johnny Jenkins, "Spunky"] Cropper later remembered “During the session, Al Jackson says to me, ‘The big tall guy that was driving Johnny, he's been bugging me to death, wanting me to hear him sing,' Al said, ‘Would you take some time and get this guy off of my back and listen to him?' And I said, ‘After the session I'll try to do it,' and then I just forgot about it.” What Redding didn't know, though Walden might have, is that Galkin had planned all along to get Redding to record while he was there. Galkin claimed to be Redding's manager, and told Jim Stewart, the co-owner of Stax who acted as main engineer and supervising producer on the sessions at this point, that Wexler had only funded the session on the basis that Redding would also get a shot at recording. Stewart was unimpressed -- Jenkins' session had not gone well, and it had taken them more than two hours to get two tracks down, but Galkin offered Stewart a trade -- Galkin, as Redding's manager, would take half of Stax's mechanical royalties for the records (which wouldn't be much) but in turn would give Stewart half the publishing on Redding's songs. That was enough to make Stewart interested, but by this point Booker T. Jones had already left the studio, so Steve Cropper moved to the piano for the forty minutes that was left of the session, with Jenkins remaining on guitar, and they tried to get two sides of a single cut. The first track they cut was "Hey Hey Baby", which didn't impress Stewart much -- he simply said that the world didn't need another Little Richard -- and so with time running out they cut another track, the ballad Redding had already given to Buddy Leach. He asked Cropper, who didn't play piano well, to play "church chords", by which he meant triplets, and Cropper said "he started singing ‘These Arms of Mine' and I know my hair lifted about three inches and I couldn't believe this guy's voice": [Excerpt: Otis Redding, "These Arms of Mine"] That was more impressive, though Stewart carefully feigned disinterest. Stewart and Galkin put together a contract which signed Redding to Stax -- though they put the single out on the less-important Volt subsidiary, as they did for much of Redding's subsequent output -- and gave Galkin and Stewart fifty percent each of the publishing rights to Redding's songs. Redding signed it, not even realising he was signing a proper contract rather than just one for a single record, because he was just used to signing whatever bit of paper was put in front of him at the time. This one was slightly different though, because Redding had had his twenty-first birthday since the last time he'd signed a contract, and so Galkin assumed that that meant all his other contracts were invalid -- not realising that Redding's contract with Bobby Smith had been countersigned by Redding's mother, and so was also legal. Walden also didn't realise that, but *did* realise that Galkin representing himself as Redding's manager to Stax might be a problem, so he quickly got Redding to sign a proper contract, formalising the handshake basis they'd been operating on up to that point. Walden was at this point in the middle of his Army service, but got the signature while he was home on leave. Walden then signed a deal with Galkin, giving Walden half of Galkin's fifty percent cut of Redding's publishing in return for Galkin getting a share of Walden's management proceeds. By this point everyone was on the same page -- Otis Redding was going to be a big star, and he became everyone's prime focus. Johnny Jenkins remained signed to Walden's agency -- which quickly grew to represent almost every big soul star that wasn't signed to Motown -- but he was regarded as a footnote. His record came out eventually on Volt, almost two years later, but he didn't release another record until 1968. Jenkins did, though, go on to have some influence. In 1970 he was given the opportunity to sing lead on an album backed by Duane Allman and the members of the Muscle Shoals studio band, many of whom went on to form the Allman Brothers Band. That record contained a cover of Dr. John's "I Walk on Guilded Splinters" which was later sampled by Beck for "Loser", the Wu-Tang Clan for "Gun Will Go" and Oasis for their hit "Go Let it Out": [Excerpt: Johnny Jenkins, "I Walk on Guilded Splinters"] Jenkins would play guitar on several future Otis Redding sessions, but would hold a grudge against Redding for the rest of his life for taking the stardom he thought was rightfully his, and would be one of the few people to have anything negative to say about Redding after his early death. When Bobby Smith heard about the release of "These Arms of Mine", he was furious, as his contract with Redding *was* in fact legally valid, and he'd been intending to get Redding to record the song himself. However, he realised that Stax could call on the resources of Atlantic Records, and Joe Galkin also hinted that if he played nice Atlantic might start distributing Confederate, too. Smith signed away all his rights to Redding -- again, thinking that he was only signing away the rights to a single record and song, and not reading the contract closely enough. In this case, Smith only had one working eye, and that wasn't good enough to see clearly -- he had to hold paper right up to his face to read anything on it -- and he simply couldn't read the small print on the contract, and so signed over Otis Redding's management, record contract, and publishing, for a flat seven hundred dollars. Now everything was legally -- if perhaps not ethically -- in the clear. Phil Walden was Otis Redding's manager, Stax was his record label, Joe Galkin got a cut off the top, and Walden, Galkin, and Jim Stewart all shared Redding's publishing. Although, to make it a hit, one more thing had to happen, and one more person had to get a cut of the song: [Excerpt: Otis Redding, "These Arms of Mine"] That sound was becoming out of fashion among Black listeners at the time. It was considered passe, and even though the Stax musicians loved the record, Jim Stewart didn't, and put it out not because he believed in Otis Redding, but because he believed in Joe Galkin. As Stewart later said “The Black radio stations were getting out of that Black country sound, we put it out to appease and please Joe.” For the most part DJs ignored the record, despite Galkin pushing it -- it was released in October 1962, that month which we have already pinpointed as the start of the sixties, and came out at the same time as a couple of other Stax releases, and the one they were really pushing was Carla Thomas' "I'll Bring it Home to You", an answer record to Sam Cooke's "Bring it On Home to Me": [Excerpt: Carla Thomas, "I'll Bring it Home to You"] "These Arms of Mine" wasn't even released as the A-side -- that was "Hey Hey Baby" -- until John R came along. John R was a Nashville DJ, and in fact he was the reason that Bobby Smith even knew that Redding had signed to Stax. R had heard Buddy Leach's version of the song, and called Smith, who was a friend of his, to tell him that his record had been covered, and that was the first Smith had heard of the matter. But R also called Jim Stewart at Stax, and told him that he was promoting the wrong side, and that if they started promoting "These Arms of Mine", R would play the record on his radio show, which could be heard in twenty-eight states. And, as a gesture of thanks for this suggestion -- and definitely not as payola, which would be very illegal -- Stewart gave R his share of the publishing rights to the song, which eventually made the top twenty on the R&B charts, and slipped into the lower end of the Hot One Hundred. "These Arms of Mine" was actually recorded at a turning point for Stax as an organisation. By the time it was released, Booker T Jones had left Memphis to go to university in Indiana to study music, with his tuition being paid for by his share of the royalties for "Green Onions", which hit the charts around the same time as Redding's first session: [Excerpt: Booker T. and the MGs, "Green Onions"] Most of Stax's most important sessions were recorded at weekends -- Jim Stewart still had a day job as a bank manager at this point, and he supervised the records that were likely to be hits -- so Jones could often commute back to the studio for session work, and could play sessions during his holidays. The rest of the time, other people would cover the piano parts, often Cropper, who played piano on Redding's next sessions, with Jenkins once again on guitar. As "These Arms of Mine" didn't start to become a hit until March, Redding didn't go into the studio again until June, when he cut the follow-up, "That's What My Heart Needs", with the MGs, Jenkins, and the horn section of the Mar-Keys. That made number twenty-seven on the Cashbox R&B chart -- this was in the period when Billboard had stopped having one. The follow-up, "Pain in My Heart", was cut in September and did even better, making number eleven on the Cashbox R&B chart: [Excerpt: Otis Redding, "Pain in My Heart"] It did well enough in fact that the Rolling Stones cut a cover version of the track: [Excerpt: The Rolling Stones, "Pain in My Heart"] Though Redding didn't get the songwriting royalties -- by that point Allen Toussaint had noticed how closely it resembled a song he'd written for Irma Thomas, "Ruler of My Heart": [Excerpt: Irma Thomas, "Ruler of My Heart"] And so the writing credit was changed to be Naomi Neville, one of the pseudonyms Toussaint used. By this point Redding was getting steady work, and becoming a popular live act. He'd put together his own band, and had asked Jenkins to join, but Jenkins didn't want to play second fiddle to him, and refused, and soon stopped being invited to the recording sessions as well. Indeed, Redding was *eager* to get as many of his old friends working with him as he could. For his second and third sessions, as well as bringing Jenkins, he'd brought along a whole gang of musicians from his touring show, and persuaded Stax to put out records by them, too. At those sessions, as well as Redding's singles, they also cut records by his valet (which was the term R&B performers in those years used for what we'd now call a gofer or roadie) Oscar Mack: [Excerpt: Oscar Mack, "Don't Be Afraid of Love"] For Eddie Kirkland, the guitarist in his touring band, who had previously played with John Lee Hooker and whose single was released under the name "Eddie Kirk": [Excerpt: Eddie Kirk, "The Hawg, Part 1"] And Bobby Marchan, a singer and female impersonator from New Orleans who had had some massive hits a few years earlier both on his own and as the singer with Huey "Piano" Smith and the Clowns, but had ended up in Macon without a record deal and been taken under Redding's wing: [Excerpt: Bobby Marchan, "What Can I Do?"] Redding would continue, throughout his life, to be someone who tried to build musical careers for his friends, though none of those singles was successful. The changes in Stax continued. In late autumn 1963, Atlantic got worried by the lack of new product coming from Stax. Carla Thomas had had a couple of R&B hits, and they were expecting a new single, but every time Jerry Wexler phoned Stax asking where the new single was, he was told it would be coming soon but the equipment was broken. After a couple of weeks of this, Wexler decided something fishy was going on, and sent Tom Dowd, his genius engineer, down to Stax to investigate. Dowd found when he got there that the equipment *was* broken, and had been for weeks, and was a simple fix. When Dowd spoke to Stewart, though, he discovered that they didn't know where to source replacement parts from. Dowd phoned his assistant in New York, and told him to go to the electronics shop and get the parts he needed. Then, as there were no next-day courier services at that time, Dowd's assistant went to the airport, found a flight attendant who was flying to Memphis, and gave her the parts and twenty-five dollars, with a promise of twenty-five more if she gave them to Dowd at the other end. The next morning, Dowd had the equipment fixed, and everyone involved became convinced that Dowd was a miracle worker, especially after he showed Steve Cropper some rudimentary tape-manipulation techniques that Cropper had never encountered before. Dowd had to wait around in Memphis for his flight, so he went to play golf with the musicians for a bit, and then they thought they might as well pop back to the studio and test the equipment out. When they did, Rufus Thomas -- Carla Thomas' father, who had also had a number of hits himself on Stax and Sun -- popped his head round the door to see if the equipment was working now. They told him it was, and he said he had a song if they were up for a spot of recording. They were, and so when Dowd flew back that night, he was able to tell Wexler not only that the next Carla Thomas single would soon be on its way, but that he had the tapes of a big hit single with him right there: [Excerpt: Rufus Thomas, "Walking the Dog"] "Walking the Dog" was a sensation. Jim Stewart later said “I remember our first order out of Chicago. I was in New York in Jerry Wexler's office at the time and Paul Glass, who was our distributor in Chicago, called in an order for sixty-five thousand records. I said to Jerry, ‘Do you mean sixty-five hundred?' And he said, ‘Hell no, he wants sixty-five thousand.' That was the first order! He believed in the record so much that we ended up selling about two hundred thousand in Chicago alone.” The record made the top ten on the pop charts, but that wasn't the biggest thing that Dowd had taken away from the session. He came back raving to Wexler about the way they made records in Memphis, and how different it was from the New York way. In New York, there was a strict separation between the people in the control room and the musicians in the studio, the musicians were playing from written charts, and everyone had a job and did just that job. In Memphis, the musicians were making up the arrangements as they went, and everyone was producing or engineering all at the same time. Dowd, as someone with more technical ability than anyone at Stax, and who was also a trained musician who could make musical suggestions, was soon regularly commuting down to Memphis to be part of the production team, and Jerry Wexler was soon going down to record with other Atlantic artists there, as we heard about in the episode on "Midnight Hour". Shortly after Dowd's first visit to Memphis, another key member of the Stax team entered the picture. Right at the end of 1963, Floyd Newman recorded a track called "Frog Stomp", on which he used his own band rather than the MGs and Mar-Keys: [Excerpt: Floyd Newman, "Frog Stomp"] The piano player and co-writer on that track was a young man named Isaac Hayes, who had been trying to get work at Stax for some time. He'd started out as a singer, and had made a record, "Laura, We're On Our Last Go-Round", at American Sound, the studio run by the former Stax engineer and musician Chips Moman: [Excerpt: Isaac Hayes, "Laura, We're On Our Last Go-Round"] But that hadn't been a success, and Hayes had continued working a day job at a slaughterhouse -- and would continue doing so for much of the next few years, even after he started working at Stax (it's truly amazing how many of the people involved in Stax were making music as what we would now call a side-hustle). Hayes had become a piano player as a way of getting a little extra money -- he'd been offered a job as a fill-in when someone else had pulled out at the last minute on a gig on New Year's Eve, and took it even though he couldn't actually play piano, and spent his first show desperately vamping with two fingers, and was just lucky the audience was too drunk to care. But he had a remarkable facility for the instrument, and while unlike Booker T Jones he would never gain a great deal of technical knowledge, and was embarrassed for the rest of his life by both his playing ability and his lack of theory knowledge, he was as great as they come at soul, at playing with feel, and at inventing new harmonies on the fly. They still didn't have a musician at Stax that could replace Booker T, who was still off at university, so Isaac Hayes was taken on as a second session keyboard player, to cover for Jones when Jones was in Indiana -- though Hayes himself also had to work his own sessions around his dayjob, so didn't end up playing on "In the Midnight Hour", for example, because he was at the slaughterhouse. The first recording session that Hayes played on as a session player was an Otis Redding single, either his fourth single for Stax, "Come to Me", or his fifth, "Security": [Excerpt: Otis Redding, "Security"] "Security" is usually pointed to by fans as the point at which Redding really comes into his own, and started directing the musicians more. There's a distinct difference, in particular, in the interplay between Cropper's guitar, the Mar-Keys' horns, and Redding's voice. Where previously the horns had tended to play mostly pads, just holding chords under Redding's voice, now they were starting to do answering phrases. Jim Stewart always said that the only reason Stax used a horn section at all was because he'd been unable to find a decent group of backing vocalists, and the function the horns played on most of the early Stax recordings was somewhat similar to the one that the Jordanaires had played for Elvis, or the Picks for Buddy Holly, basically doing "oooh" sounds to fatten out the sound, plus the odd sax solo or simple riff. The way Redding used the horns, though, was more like the way Ray Charles used the Raelettes, or the interplay of a doo-wop vocal group, with call and response, interjections, and asides. He also did something in "Security" that would become a hallmark of records made at Stax -- instead of a solo, the instrumental break is played by the horns as an ensemble: [Excerpt: Otis Redding, "Security"] According to Wayne Jackson, the Mar-Keys' trumpeter, Redding was the one who had the idea of doing these horn ensemble sections, and the musicians liked them enough that they continued doing them on all the future sessions, no matter who with. The last Stax single of 1964 took the "Security" sound and refined it, and became the template for every big Stax hit to follow. "Mr. Pitiful" was the first collaboration between Redding and Steve Cropper, and was primarily Cropper's idea. Cropper later remembered “There was a disc jockey here named Moohah. He started calling Otis ‘Mr. Pitiful' 'cause he sounded so pitiful singing his ballads. So I said, ‘Great idea for a song!' I got the idea for writing about it in the shower. I was on my way down to pick up Otis. I got down there and I was humming it in the car. I said, ‘Hey, what do you think about this?' We just wrote the song on the way to the studio, just slapping our hands on our legs. We wrote it in about ten minutes, went in, showed it to the guys, he hummed a horn line, boom—we had it. When Jim Stewart walked in we had it all worked up. Two or three cuts later, there it was.” [Excerpt: Otis Redding, "Mr. Pitiful"] Cropper would often note later that Redding would never write about himself, but that Cropper would put details of Redding's life and persona into the songs, from "Mr. Pitiful" right up to their final collaboration, in which Cropper came up with lines about leaving home in Georgia. "Mr Pitiful" went to number ten on the R&B chart and peaked at number forty-one on the hot one hundred, and its B-side, "That's How Strong My Love Is", also made the R&B top twenty. Cropper and Redding soon settled into a fruitful writing partnership, to the extent that Cropper even kept a guitar permanently tuned to an open chord so that Redding could use it. Redding couldn't play the guitar, but liked to use one as a songwriting tool. When a guitar is tuned in standard tuning, you have to be able to make chord shapes to play it, because the sound of the open strings is a discord: [demonstrates] But you can tune a guitar so all the strings are the notes of a single chord, so they sound good together even when you don't make a chord shape: [demonstrates open-E tuning] With one of these open tunings, you can play chords with just a single finger barring a fret, and so they're very popular with, for example, slide guitarists who use a metal slide to play, or someone like Dolly Parton who has such long fingernails it's difficult to form chord shapes. Someone like Parton is of course an accomplished player, but open tunings also mean that someone who can't play well can just put their finger down on a fret and have it be a chord, so you can write songs just by running one finger up and down the fretboard: [demonstrates] So Redding could write, and even play acoustic rhythm guitar on some songs, which he did quite a lot in later years, without ever learning how to make chords. Now, there's a downside to this -- which is why standard tuning is still standard. If you tune to an open major chord, you can play major chords easily but minor chords become far more difficult. Handily, that wasn't a problem at Stax, because according to Isaac Hayes, Jim Stewart banned minor chords from being played at Stax. Hayes said “We'd play a chord in a session, and Jim would say, ‘I don't want to hear that chord.' Jim's ears were just tuned into one, four, and five. I mean, just simple changes. He said they were the breadwinners. He didn't like minor chords. Marvell and I always would try to put that pretty stuff in there. Jim didn't like that. We'd bump heads about that stuff. Me and Marvell fought all the time that. Booker wanted change as well. As time progressed, I was able to sneak a few in.” Of course, minor chords weren't *completely* banned from Stax, and some did sneak through, but even ballads would often have only major chords -- like Redding's next single, "I've Been Loving You Too Long". That track had its origins with Jerry Butler, the singer who had been lead vocalist of the Impressions before starting a solo career and having success with tracks like "For Your Precious Love": [Excerpt: Jerry Butler, "For Your Precious Love"] Redding liked that song, and covered it himself on his second album, and he had become friendly with Butler. Butler had half-written a song, and played it for Redding, who told him he'd like to fiddle with it, see what he could do. Butler forgot about the conversation, until he got a phone call from Redding, telling him that he'd recorded the song. Butler was confused, and also a little upset -- he'd been planning to finish the song himself, and record it. But then Redding played him the track, and Butler decided that doing so would be pointless -- it was Redding's song now: [Excerpt: Otis Redding, "I've Been Loving You Too Long"] "I've Been Loving You Too Long" became Redding's first really big hit, making number two on the R&B chart and twenty-one on the Hot One Hundred. It was soon being covered by the Rolling Stones and Ike & Tina Turner, and while Redding was still not really known to the white pop market, he was quickly becoming one of the biggest stars on the R&B scene. His record sales were still not matching his live performances -- he would always make far more money from appearances than from records -- but he was by now the performer that every other soul singer wanted to copy. "I've Been Loving You Too Long" came out just after Redding's second album, The Great Otis Redding Sings Soul Ballads, which happened to be the first album released on Volt Records. Before that, while Stax and Volt had released the singles, they'd licensed all the album tracks to Atlantic's Atco subsidiary, which had released the small number of albums put out by Stax artists. But times were changing and the LP market was becoming bigger. And more importantly, the *stereo* LP market was becoming bigger. Singles were still only released in mono, and would be for the next few years, but the album market had a substantial number of audiophiles, and they wanted stereo. This was a problem for Stax, because they only had a mono tape recorder, and they were scared of changing anything about their setup in case it destroyed their sound. Tom Dowd, who had been recording in eight track for years, was appalled by the technical limitations at the McLemore Ave studio, but eventually managed to get Jim Stewart, who despite -- or possibly because of -- being a white country musician was the most concerned that they keep their Black soul sound, to agree to a compromise. They would keep everything hooked up exactly the same -- the same primitive mixers, the same mono tape recorder -- and Stax would continue doing their mixes for mono, and all their singles would come directly off that mono tape. But at the same time, they would *also* have a two-track tape recorder plugged in to the mixer, with half the channels going on one track and half on the other. So while they were making the mix, they'd *also* be getting a stereo dump of that mix. The limitations of the situation meant that they might end up with drums and vocals in one channel and everything else in the other -- although as the musicians cut everything together in the studio, which had a lot of natural echo, leakage meant there was a *bit* of everything on every track -- but it would still be stereo. Redding's next album, Otis Blue, was recorded on this new equipment, with Dowd travelling down from New York to operate it. Dowd was so keen on making the album stereo that during that session, they rerecorded Redding's two most recent singles, "I've Been Loving You Too Long" and "Respect" (which hadn't yet come out but was in the process of being released) in soundalike versions so there would be stereo versions of the songs on the album -- so the stereo and mono versions of Otis Blue actually have different performances of those songs on them. It shows how intense the work rate was at Stax -- and how good they were at their jobs -- that apart from the opening track "Ole Man Trouble", which had already been recorded as a B-side, all of Otis Blue, which is often considered the greatest soul album in history, was recorded in a twenty-eight hour period, and it would have been shorter but there was a four-hour break in the middle, from 10PM to 2AM, so that the musicians on the session could play their regular local club gigs. And then after the album was finished, Otis left the session to perform a gig that evening. Tom Dowd, in particular, was astonished by the way Redding took charge in the studio, and how even though he had no technical musical knowledge, he would direct the musicians. Dowd called Redding a genius and told Phil Walden that the only two other artists he'd worked with who had as much ability in the studio were Bobby Darin and Ray Charles. Other than those singles and "Ole Man Trouble", Otis Blue was made up entirely of cover versions. There were three versions of songs by Sam Cooke, who had died just a few months earlier, and whose death had hit Redding hard -- for all that he styled himself on Little Richard vocally, he was also in awe of Cooke as a singer and stage presence. There were also covers of songs by The Temptations, William Bell, and B.B. King. And there was also an odd choice -- Steve Cropper suggested that Redding cut a cover of a song by a white band that was in the charts at the time: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] Redding had never heard the song before -- he was not paying attention to the white pop scene at the time, just to his competition on the R&B charts -- but he was interested in doing it. Cropper sat by the turntable, scribbling down what he thought the lyrics Jagger was singing were, and they cut the track. Redding starts out more or less singing the right words: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] But quickly ends up just ad-libbing random exclamations in the same way that he would in many of his live performances: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] Otis Blue made number one on the R&B album chart, and also made number six on the UK album chart -- Redding, like many soul artists, was far more popular in the UK than in the US. It only made number seventy-five on the pop album charts in the US, but it did a remarkable thing as far as Stax was concerned -- it *stayed* in the lower reaches of the charts, and on the R&B album charts, for a long time. Redding had become what is known as a "catalogue artist", something that was almost unknown in rock and soul music at this time, but which was just starting to appear. Up to 1965, the interlinked genres that we now think of as rock and roll, rock, pop, blues, R&B, and soul, had all operated on the basis that singles were where the money was, and that singles should be treated like periodicals -- they go on the shelves, stay there for a few weeks, get replaced by the new thing, and nobody's interested any more. This had contributed to the explosive rate of change in pop music between about 1954 and 1968. You'd package old singles up into albums, and stick some filler tracks on there as a way of making a tiny bit of money from tracks which weren't good enough to release as singles, but that was just squeezing the last few drops of juice out of the orange, it wasn't really where the money was. The only exceptions were those artists like Ray Charles who crossed over into the jazz and adult pop markets. But in general, your record sales in the first few weeks and months *were* your record sales. But by the mid-sixties, as album sales started to take off more, things started to change. And Otis Redding was one of the first artists to really benefit from that. He wasn't having huge hit singles, and his albums weren't making the pop top forty, but they *kept selling*. Redding wouldn't have an album make the top forty in his lifetime, but they sold consistently, and everything from Otis Blue onward sold two hundred thousand or so copies -- a massive number in the much smaller album market of the time. These sales gave Redding some leverage. His contract with Stax was coming to an end in a few months, and he was getting offers from other companies. As part of his contract renegotiation, he got Jim Stewart -- who like so many people in this story including Redding himself liked to operate on handshake deals and assumptions of good faith on the part of everyone else, and who prided himself on being totally fair and not driving hard bargains -- to rework his publishing deal. Now Redding's music was going to be published by Redwal Music -- named after Redding and Phil Walden -- which was owned as a four-way split between Redding, Walden, Stewart, and Joe Galkin. Redding also got the right as part of his contract negotiations to record other artists using Stax's facilities and musicians. He set up his own label, Jotis Records -- a portmanteau of Joe and Otis, for Joe Galkin and himself, and put out records by Arthur Conley: [Excerpt: Arthur Conley, "Who's Fooling Who?"] Loretta Williams [Excerpt: Loretta Williams, "I'm Missing You"] and Billy Young [Excerpt: Billy Young, "The Sloopy"] None of these was a success, but it was another example of how Redding was trying to use his success to boost others. There were other changes going on at Stax as well. The company was becoming more tightly integrated with Atlantic Records -- Tom Dowd had started engineering more sessions, Jerry Wexler was turning up all the time, and they were starting to make records for Atlantic, as we discussed in the episode on "In the Midnight Hour". Atlantic were also loaning Stax Sam and Dave, who were contracted to Atlantic but treated as Stax artists, and whose hits were written by the new Stax songwriting team of Isaac Hayes and David Porter: [Excerpt: Sam and Dave, "Soul Man"] Redding was not hugely impressed by Sam and Dave, once saying in an interview "When I first heard the Righteous Brothers, I thought they were colored. I think they sing better than Sam and Dave", but they were having more and bigger chart hits than him, though they didn't have the same level of album sales. Also, by now Booker T and the MGs had a new bass player. Donald "Duck" Dunn had always been the "other" bass player at Stax, ever since he'd started with the Mar-Keys, and he'd played on many of Redding's recordings, as had Lewie Steinberg, the original bass player with the MGs. But in early 1965, the Stax studio musicians had cut a record originally intending it to be a Mar-Keys record, but decided to put it out as by Booker T and the MGs, even though Booker T wasn't there at the time -- Isaac Hayes played keyboards on the track: [Excerpt: Booker T and the MGs, "Boot-Leg"] Booker T Jones would always have a place at Stax, and would soon be back full time as he finished his degree, but from that point on Duck Dunn, not Lewie Steinberg, was the bass player for the MGs. Another change in 1965 was that Stax got serious about promotion. Up to this point, they'd just relied on Atlantic to promote their records, but obviously Atlantic put more effort into promoting records on which it made all the money than ones it just distributed. But as part of the deal to make records with Sam and Dave and Wilson Pickett, Atlantic had finally put their arrangement with Stax on a contractual footing, rather than their previous handshake deal, and they'd agreed to pay half the salary of a publicity person for Stax. Stax brought in Al Bell, who made a huge impression. Bell had been a DJ in Memphis, who had gone off to work with Martin Luther King for a while, before leaving after a year because, as he put it "I was not about passive resistance. I was about economic development, economic empowerment.” He'd returned to DJing, first in Memphis, then in Washington DC, where he'd been one of the biggest boosters of Stax records in the area. While he was in Washington, he'd also started making records himself. He'd produced several singles for Grover Mitchell on Decca: [Excerpt: Grover Mitchell, "Midnight Tears"] Those records were supervised by Milt Gabler, the same Milt Gabler who produced Louis Jordan's records and "Rock Around the Clock", and Bell co-produced them with Eddie Floyd, who wrote that song, and Chester Simmons, formerly of the Moonglows, and the three of them started their own label, Safice, which had put out a few records by Floyd and others, on the same kind of deal with Atlantic that Stax had: [Excerpt: Eddie Floyd, "Make Up Your Mind"] Floyd would himself soon become a staff songwriter at Stax. As with almost every decision at Stax, the decision to hire Bell was a cause of disagreement between Jim Stewart and his sister Estelle Axton, the "Ax" in Stax, who wasn't as involved in the day-to-day studio operations as her brother, but who was often regarded by the musicians as at least as important to the spirit of the label, and who tended to disagree with her brother on pretty much everything. Stewart didn't want to hire Bell, but according to Cropper “Estelle and I said, ‘Hey, we need somebody that can liaison between the disc jockeys and he's the man to do it. Atlantic's going into a radio station with six Atlantic records and one Stax record. We're not getting our due.' We knew that. We needed more promotion and he had all the pull with all those disc jockeys. He knew E. Rodney Jones and all the big cats, the Montagues and so on. He knew every one of them.” Many people at Stax will say that the label didn't even really start until Bell joined -- and he became so important to the label that he would eventually take it over from Stewart and Axton. Bell came in every day and immediately started phoning DJs, all day every day, starting in the morning with the drivetime East Coast DJs, and working his way across the US, ending up at midnight phoning the evening DJs in California. Booker T Jones said of him “He had energy like Otis Redding, except he wasn't a singer. He had the same type of energy. He'd come in the room, pull up his shoulders and that energy would start. He would start talking about the music business or what was going on and he energized everywhere he was. He was our Otis for promotion. It was the same type of energy charisma.” Meanwhile, of course, Redding was constantly releasing singles. Two more singles were released from Otis Blue -- his versions of "My Girl" and "Satisfaction", and he also released "I Can't Turn You Loose", which was originally the B-side to "Just One More Day" but ended up charting higher than its original A-side. It's around this time that Redding did something which seems completely out of character, but which really must be mentioned given that with very few exceptions everyone in his life talks about him as some kind of saint. One of Redding's friends was beaten up, and Redding, the friend, and another friend drove to the assailant's house and started shooting through the windows, starting a gun battle in which Redding got grazed. His friend got convicted of attempted murder, and got two years' probation, while Redding himself didn't face any criminal charges but did get sued by the victims, and settled out of court for a few hundred dollars. By this point Redding was becoming hugely rich from his concert appearances and album sales, but he still hadn't had a top twenty pop hit. He needed to break the white market. And so in April 1966, Redding went to LA, to play the Sunset Strip: [Excerpt: Otis Redding, "Respect (live at the Whisky A-Go-Go)"] Redding's performance at the Whisky A-Go-Go, a venue which otherwise hosted bands like the Doors, the Byrds, the Mothers of Invention, and Love, was his first real interaction with the white rock scene, part of a process that had started with his recording of "Satisfaction". The three-day residency got rave reviews, though the plans to release a live album of the shows were scuppered when Jim Stewart listened back to the tapes and decided that Redding's horn players were often out of tune. But almost everyone on the LA scene came out to see the shows, and Redding blew them away. According to one biography of Redding I used, it was seeing how Redding tuned his guitar that inspired the guitarist from the support band, the Rising Sons, to start playing in the same tuning -- though I can't believe for a moment that Ry Cooder, one of the greatest slide guitarists of his generation, didn't already know about open tunings. But Redding definitely impressed that band -- Taj Mahal, their lead singer, later said it was "one of the most amazing performances I'd ever seen". Also at the gigs was Bob Dylan, who played Redding a song he'd just recorded but not yet released: [Excerpt: Bob Dylan, "Just Like a Woman"] Redding agreed that the song sounded perfect for him, and said he would record it. He apparently made some attempts at rehearsing it at least, but never ended up recording it. He thought the first verse and chorus were great, but had problems with the second verse: [Excerpt: Bob Dylan, "Just Like a Woman"] Those lyrics were just too abstract for him to find a way to connect with them emotionally, and as a result he found himself completely unable to sing them. But like his recording of "Satisfaction", this was another clue to him that he should start paying more attention to what was going on in the white music industry, and that there might be things he could incorporate into his own style. As a result of the LA gigs, Bill Graham booked Redding for the Fillmore in San Francisco. Redding was at first cautious, thinking this might be a step too far, and that he wouldn't go down well with the hippie crowd, but Graham persuaded him, saying that whenever he asked any of the people who the San Francisco crowds most loved -- Jerry Garcia or Paul Butterfield or Mike Bloomfield -- who *they* most wanted to see play there, they all said Otis Redding. Redding reluctantly agreed, but before he took a trip to San Francisco, there was somewhere even further out for him to go. Redding was about to head to England but before he did there was another album to make, and this one would see even more of a push for the white market, though still trying to keep everything soulful. As well as Redding originals, including "Fa-Fa-Fa-Fa (Sad Song)", another song in the mould of "Mr. Pitiful", there was another cover of a contemporary hit by a guitar band -- this time a version of the Beatles' "Day Tripper" -- and two covers of old standards; the country song "Tennessee Waltz", which had recently been covered by Sam Cooke, and a song made famous by Bing Crosby, "Try a Little Tenderness". That song almost certainly came to mind because it had recently been used in the film Dr. Strangelove, but it had also been covered relatively recently by two soul greats, Aretha Franklin: [Excerpt: Aretha Franklin, "Try a Little Tenderness"] And Sam Cooke: [Excerpt: Sam Cooke, "Live Medley: I Love You For Sentimental Reasons/Try a Little Tenderness/You Send Me"] This version had horn parts arranged by Isaac Hayes, who by this point had been elevated to be considered one of the "Big Six" at Stax records -- Hayes, his songwriting partner David Porter, Steve Cropper, Duck Dunn, Booker T. Jones, and Al Jackson, were all given special status at the company, and treated as co-producers on every record -- all the records were now credited as produced by "staff", but it was the Big Six who split the royalties. Hayes came up with a horn part that was inspired by Sam Cooke's "A Change is Gonna Come", and which dominated the early part of the track: [Excerpt: Otis Redding, "Try a Little Tenderness"] Then the band came in, slowly at first: [Excerpt: Otis Redding, "Try a Little Tenderness"] But Al Jackson surprised them when they ran through the track by deciding that after the main song had been played, he'd kick the track into double-time, and give Redding a chance to stretch out and do his trademark grunts and "got-ta"s. The single version faded out shortly after that, but the version on the album kept going for an extra thirty seconds: [Excerpt: Otis Redding, "Try a Little Tenderness"] As Booker T. Jones said “Al came up with the idea of breaking up the rhythm, and Otis just took that and ran with it. He really got excited once he found out what Al was going to do on the drums. He realized how he could finish the song. That he could start it like a ballad and finish it full of emotion. That's how a lot of our arrangements would come together. Somebody would come up with something totally outrageous.” And it would have lasted longer but Jim Stewart pushed the faders down, realising the track was an uncommercial length even as it was. Live, the track could often stretch out to seven minutes or longer, as Redding drove the crowd into a frenzy, and it soon became one of the highlights of his live set, and a signature song for him: [Excerpt: Otis Redding, "Try a Little Tenderness (live in London)"] In September 1966, Redding went on his first tour outside the US. His records had all done much better in the UK than they had in America, and they were huge favourites of everyone on the Mod scene, and when he arrived in the UK he had a limo sent by Brian Epstein to meet him at the airport. The tour was an odd one, with multiple London shows, shows in a couple of big cities like Manchester and Bristol, and shows in smallish towns in Hampshire and Lincolnshire. Apparently the shows outside London weren't particularly well attended, but the London shows were all packed to overflowing. Redding also got his own episode of Ready! Steady! Go!, on which he performed solo as well as with guest stars Eric Burdon and Chris Farlowe: [Excerpt: Otis Redding, Chris Farlowe and Eric Burdon, "Shake/Land of a Thousand Dances"] After the UK tour, he went on a short tour of the Eastern US with Sam and Dave as his support act, and then headed west to the Fillmore for his three day residency there, introducing him to the San Francisco music scene. His first night at the venue was supported by the Grateful Dead, the second by Johnny Talbot and De Thangs and the third by Country Joe and the Fish, but there was no question that it was Otis Redding that everyone was coming to see. Janis Joplin turned up at the Fillmore every day at 3PM, to make sure she could be right at the front for Redding's shows that night, and Bill Graham said, decades later, "By far, Otis Redding was the single most extraordinary talent I had ever seen. There was no comparison. Then or now." However, after the Fillmore gigs, for the first time ever he started missing shows. The Sentinel, a Black newspaper in LA, reported a few days later "Otis Redding, the rock singer, failed to make many friends here the other day when he was slated to appear on the Christmas Eve show[...] Failed to draw well, and Redding reportedly would not go on." The Sentinel seem to think that Redding was just being a diva, but it's likely that this was the first sign of a problem that would change everything about his career -- he was developing vocal polyps that were making singing painful. It's notable though that the Sentinel refers to Redding as a "rock" singer, and shows again how different genres appeared in the mid-sixties to how they appear today. In that light, it's interesting to look at a quote from Redding from a few months later -- "Everybody thinks that all songs by colored people are rhythm and blues, but that's not true. Johnny Taylor, Muddy Waters, and B.B. King are blues singers. James Brown is not a blues singer. He has a rock and roll beat and he can sing slow pop songs. My own songs "Respect" and "Mr Pitiful" aren't blues songs. I'm speaking in terms of the beat and structure of the music. A blues is a song that goes twelve bars all the way through. Most of my songs are soul songs." So in Redding's eyes, neither he nor James Brown were R&B -- he was soul, which was a different thing from R&B, while Brown was rock and roll and pop, not soul, but journalists thought that Redding was rock. But while the lines between these things were far less distinct than they are today, and Redding was trying to cross over to the white audience, he knew what genre he was in, and celebrated that in a song he wrote with his friend Art

A kidnapping, a political murder, a prison break – it was supposed to be simple. Prison warden Vito barters with the mob to exchange his stolen wife for Milo, a low-level thug locked up in Vito's prison. Vito's decision to keep Milo until the handoff proves wise: Not only is the mob in no hurry to let loose ends stay loose, but Vito begins to develop a certain consideration for Milo during their time on the lam. Find Kelly… - On Twitter at https://twitter.com/kransekage_ - On Letterboxd at https://letterboxd.com/luckyhoss/ - On Trylove episodes about WINGS OF DESIRE (1987), ARREBATO (1979), and PHANTOM OF THE PARADISE (1974) “Some disorganized thoughts about poliziotteschi films” by John Moret for Perisphere, the Trylon blog: https://www.perisphere.org/2023/02/06/some-disorganized-thoughts-about-poliziotteschi-films-from-the-trylon-programmer/ Follow us on Twitter at https://twitter.com/trylovepodcast and email us at trylovepodcast@gmail.com to get in touch! Buy tickets and support the Trylon at https://www.trylon.org/. Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters. Outro music: "Un amico (Titoli)" by Ennio Morricone from the REVOLVER soundtrack. Timestamps 0:00 - Episode 215: REVOLVER (1973) with Kelly Krantz 2:18 - The episode actually starts 6:10 - Kelly's thoughts 9:00 - The first half and poliziotteschi as pulp for the masses 14:17 - Where REVOLVER falls on the poliziotteschi landscape 18:55 - The movie's pacing & pieces falling into place 26:18 - Integrity and the push/pull of Vito and Milo 56:21 - Good Grief, Give Me a GIF! 1:04:58 - Cody's Noteys: Revolv-age Sale

The straight shooter gives us a six shooter.

News From Florida - Old Lady Killed By Gator & Revolver PoolSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

022123 13 Min Guest Darren Beatty Revolver News J6 Lies Newest Info FBI Lies by Kate Dalley

Nightmare on Sedgwick Avenue || Horror Podcast || Season 5 Episode 2| Chino XL & Gift Revolver In this episode of Nightmare on Sedgwick Avenue join me as I sit down with the legendary lyricist Chino XL and dope Hip Hop Comic book artist Gift Revolver! We talk about their Graphic Novel series, horror, hip hop and more!!! Hosted by: 7 Octoberz Follow: https://www.instagram.com/7octoberz/ Special Guests: Chino XL & Gift Revolver Follow: https://instagram.com/chinoxl https://instagram.com/giftrevolver Intro Track: Satanico Pandemonium - 7 Octoberz Outro Animation: ODM Productions --- Support this podcast: https://anchor.fm/7octoberz/support

The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT I spent a few days in London, UK ahead of Integrated Systems Europe - in part to break up the trip and flights, but much more so to meet with several companies and see some projects that I'd only been able to see in photos and videos. The one I particularly wanted to see was Outernet London, a very ambitious, multi-faceted development in the city's center that has, as its visual centerpiece, a huge set of wall and ceiling LED screens that are fully open to the public and positioned in such a way that they can't be missed as people flow from a main exit of the busy Tottenham Court Road Underground station. I assumed, wrongly, that this exists primarily to run Digital Out Of Home advertising and compete with big screens like those in nearby Leicester Square and Piccadilly Circus. But there is much more to Outernet, as I learned walking and talking with the developments Chief Commercial Officer, Ben Maher. The audio may be a bit hit and miss, as we did this on the go and in the crowds that were there even on a chilly January afternoon. Subscribe to this podcast: iTunes * Google Play * RSS TRANSCRIPT Ben Maher: We have this incredibly famous set of assets on this side of the district, which is Denmark Street. So as a business, we've been a landlord on Denmark Street for over 25 years looking after the music stores and we've made, as we said, a huge number of acquisitions, meaning that we own nearly all of the property there by Parcel two or three, and we run a baker for Baker Policy. So if we lose a music store, we replace it with music because we wanna maintain it, sorry, I don't know how familiar you're with Denmark Street, but as an asset, we wanna maintain this as one of the nice, iconic music streets in the world.  The first music store opened in 1911, Charlie Chaplin wrote the song, Smile here in 1926. The Melody Maker was founded here in 1954. The Enemy was found here. The owner of the Enemy went around the street with a ledger of all of the music that was sold, and that became the first-ever music chart, which was compiled on this street. Elton John had his first job as a runner here, and it was the home of the labels, the writers, it was the home of the lawyers, and the management, so people would hang out here in the hope of being discovered. But importantly, talent would wanna be discovered and they'd hang out in the cafe here, this was called the Gioconda Cafe and you'll see Tim Hannaly, the home of British music. But importantly it would be people like Marc Bolan, it would be Jimmy Hendrick, and David Bowie moved and converted an ambulance onto the street and lived here. So it really was an incredible, authentic crucible for music. We've maintained the music stores. We put in a 55-room luxury hotel residence, so you stay in the rooms where Frankie Fraser, the Richardson, the Gangland fame, their bar, which was called the Pannaly Bar. Number six Here, out the back is the News House that Malcolm McLaren rented for the Sex Pistols. So you can now stay in that, that's the Anarchy Suite. It's complete with their original graffiti.  Did big pressure wash it down?  Ben Maher: No. For better or worse, it's there and it's good. It has a great two listings on it now, but again, in a building like this, incredible history, and Hypnosis were based here. They were the world leading album cover designers. So they created album covers for the likes of Led Zeppelin and Pink Floyd, Dark Side of the Moon was created in that room. When you stay in the rooms, they have names. Like Hypnotized for that room, and then Kiss the Sky is the name of the room where Hendrick used to jam. This is the store where Bob Marley bought his most famous guitar, which was destined for a dustbin for a car mechanic from Essex. This is where the Stones did some of their first-ever recordings and people recorded here all the way through to the likes of the Brit Brats, Adele, and other incredible artists. So all of this is part of the district, and as I said, we've not tried to Disney-fy this area. We've tried to preserve it. The area dates back all the way to about the 7th century when the church was created to support the Hospital. But once you build infrastructure, communities develop, so this became one of the first slums in London. It was home to 3000 residencies, and over 500 distilleries and this is where Hogarth depicted the Gin riots. So when you see things like that's where that occurred, and this is where it's depicted. You have elements like Dickens who live down the road in Bloomsbury, wrote Oliver Twist here, and Robert Stevenson. There's incredible history to the area. That is all really important when you're creating platforms and telling stories so that you understand the context within which you exist, not just the recent history. I'll come to some of the other music venues. So now we're going to enter the district. Importantly, we have 30,000 square feet of offices, we have 18 retail units, we have popups. We have 13 bars and restaurants and we obviously have screen-enabled spaces. So this first space is the arcade, The Now Arcade. As you can see, it's a full-screen enabled, three-mill pixel-pitched laden environment. All are equipped with acoustic audio. So we have venue-quality audio in all our spaces.  And the audio is on the bars down below?  Ben Maher: The district as a whole, through all the spaces, is made up of 230 million pixels. It has 192 kilometers of CAT6 table enabling this and I think it is really important, we have positioned this as a canvas. We've positioned this as a storytelling platform, and that's really important to start with content first so that you can establish the context and the interest of the audience to allow you to tell better brand stories and deliver brand messages. So that has always been the ethos of what we're doing. We don't stand with one editorial voice or polarizing thought around what we say. We try to democratize access to the platform. So we try to provide as many different interest groups and users to create for the platform because, in all honesty, screens are relatively cheap against the cost of actually feeding them, and creating environments that remain interesting all the time is the biggest challenge we have. So again, one of the things we want to do by using multi-sensory environments is to hand back some of that control to the audiences, not only to create for the platform but also to control their experiences. So although we start with audio-visual, we're on a sort of a technical journey on a path to bleed out new technologies and ensure that people can then interact and control generative experiences for themselves.  All of the spaces have cameras in them, for example, which will allow for interactivity. So you can come into this space, you might receive a standing ovation or trigger a Mexican wave. The joy of technology as it stands at the moment, and you won't hear talk of Covid. But the reality is people now understand better the reasons to be utilizing QR codes. So these screens can become a launchpad or anything: to commerce, obviously AR experiences, or anything else that we wanna leave. It makes data exchange a much cleaner and more natural sort of methodology. So really important for us to be able to control all of those elements. As we head down, this provides a queuing function for our venue as well, we have a 1500-person capacity music venue underground, which is the largest new music venue built in central London in the 1940s. This is load in, load out, for the venue. So again, we've configured the streets so that we can have a clean, easy ecological load in, and load out so vehicles can come and jack power straight from the main rather than running their engines and things like that, which is smart. As we come into the district now, you'll see that we have what was a very traditional maze of News Street. So this was Denmark Place, and we've got here the ability to gate and control the environment so we can create all sorts of experiences and fields and allow people to have events or dress a district in any interesting manner. So five different egress and ingress points across the district. On this side, we've got 14 more hotel rooms because the residences are based in 16 different buildings. So a really different unique point for the hotel.  Here we have what will be the Denmark Street Recording Studio which will be a pro bono recording studio, again, adding to the ecosystem that we have, bringing people and rewarding talent, just as Denmark Street always did. This is the more historical and music side of the district. This is the more modern screen-enabled place. On the rooftop here. We have an 8000-square-foot modern Chinese restaurant called Tattoo. We have another restaurant on the fourth floor, which will open later this quarter that's called Cavo. They have a rooftop garden here which is joined by a glass bridge, which leads over to the fourth-floor restaurant. So what you'll see here is we have 2600 LEDs across the runway here. So when we create a red carpet leading to the venue, we can light it up through LED color hues so that we can control those environments.  So you've got show control, so you can orchestrate the whole thing? Ben Maher: Brand colors, mood, you name it. We've obviously lifted up causes such as Holocaust Memorial and also for the Ukraine crisis and things like that, that's really important. We understand our environment, we understand the mood.  If you think of the context of certainly out-of-home and. storytelling, smart cities, and IoT play a big part in city planning now, and our environment should be able to adjust to those needs and requirements. We shouldn't just be screaming at audiences. We should be creating dialogue and also understanding the context within which we sit. So for example, or within GDPR, if somebody comes in, I know if they're looking for WiFi, where their SIM card originates. I know what their default language is. I don't need to invade their privacy. But I can assume when the 50th Dutch person or the 200th Canadian crosses the threshold, I might play the national anthem and change the color of the district. So that creates incredible surprise and delight.  And that would be data triggered?  Ben Maher: Completely. We can utilize a custom stack, which controls all of the programs for the district, and that proprietary technology allows us to configure different environments, to configure the different spaces, either in unison or alternatively to have them operate autonomously. And I think it's really important, our point of difference is having that versatility of space. It doesn't just do one thing. We do four core things. We can hold events in our spaces, so that could be a private or public events. We have 32s spots in our spaces, which is, essentially a standard TVC, monetization. We can do sponsorship. BMW has been a sponsor of our art program. We've presented our wellness program in association with Panadol and importantly, this new stage is gonna be about branded content, telling stories in a slightly longer form in an audiovisual sense in the public domain, and I think it was one of the most incredible moments I've had since being here, reaffirming that we've got an environment that has that versatility and what we wanna do is bring that longer storytelling moment to the form because brands are doing things with brand advocates, with talent. They're doing things based on purpose or the craft that they create. So we've had driving stories. We've had the launch of the Beatle's actual master Revolver album, the videos that went with that, and again, that creates a different environment. It creates a different context. We've done interactive games, so again, as I said, what you don't wanna be in any environment is a terrible magician. If you do your best trick on the first day, or second day, it's diminishing returns. You're not doing anything innovative or different.  That's a mistake made over and over again? Ben Maher: Yeah, and I think it's also quite been quite cathartic knowing that we don't know everything about this space because no one's ever done this anywhere in the world. So to say that we don't fully understand how the public reacts to work, we have to embrace versatility. So knowing, for example, on the left here we have popup two. On the back corner of the building, we have another popup, which is about twice the size. These spaces are fully screen-enabled and audio enabled as you see here. If they're not being used for an event, they'll be programmed with our content so that they're relevant. TMP, for example, Take More Photos is a grassroots creative collective. They release briefs on social media and people can submit their photographs and then it curates an exhibition based on the brief. So they do one on Welcome to London. So this one's Welcome to Love in London. They'll do one for International Women's Month, or they'll do one for Black History Month. They did one for the World Cup, for example. Now these are organizations that don't have budgets typically. So this is pro bono stuff, right?  Ben Maher: Very much, but again, it exactly comes down to what I said before, which is we want to give access to the platform. We wanna hear different voices to be representative and inclusive of our communities. Was that part of the pitch as well to Westminster Town Council or something like that? Look, we're building, but it's going to have all sorts of community involvement?  Ben Maher: Good question. So importantly, when we were talking before, when I showed you everything in front of us, that's Westminster, the road here literally the line down the middle is Camden. So Camden has a very different approach to Westminster. They're just different borrows and it's what you expect, different councils. So we were applying to Camden for our licenses. This area historically had a number of late licenses and bar licenses for the different premises that were here previously and have historically been a musical district. So again, it's quite an entertainment-based space.  Yeah, I was gonna say they'd be in the mindset anyways for this.  Ben Maher: Importantly, they have embraced what we're doing, but they have also gone on the journey of understanding what we're doing. Because it's very new. So that is always a challenge. The building and its main purpose of it though is an interesting public space. So if we had created a new private, totally private and shut environment, I don't think we would've been received in the same manner.  If you've got a second, you might want to stop for a second only because we're gonna watch the Summer Palace and it's about two and a half minutes long and you'll want to see this, but this is a good example of our house content. Something we commissioned to play in the public domain, which allows brands to sit alongside incredible experiences, and as you can see, people naturally get their phones out to record. I'll tell you the story about how it began. So we ran a camp home for Italian Airways before Christmas, they were one of the first brands to use the space for a commercial message, and they made us nervous. We didn't know what was gonna come cause no one had we've got best practice guides. We've got creative specs, and they created an experience where planes fly over the head of amazing landmarks in Italy and people applauded. For somebody who's worked for 25 years in advertising, yeah, that's an incredible thing to be able to say, quite a lovely experience. But this was part of the commission that we did or RFP that we did for people to create for the space, and it's an ethereal journey through space-time. But interesting it uses the ceiling as the main communication plan.  I'm a big fan of these kinds of environments where you look at it and there will be any number of people here who will assume that that's real. Ben Maher: Oh yeah, and the joy is we're using a 3mm pixel pitch so you can create that depth of illusion. The total resolution size here is about 6k, so it's not without its challenges, and we have found it unforgiving for things like raw photo footage because it's just so unforgiving on talent so then we can use templating and things like that to accommodate lower resolution assets, but still have them looking credible in the space. The use of negative space. So not always trying to fill every pixel is also incredibly powerful, so we're trying to utilize that as well. For this, I used to present this in VR, so people are presenting on teams and zoom in VR during the lockdown, trying to explain what we're doing because it's one. It's one thing explaining a new ad format, but it's a different thing explaining a new environment altogether.  Yeah, I'm somebody who's been around this medium, if you wanna call it the technology for 20+ years now and not seen something like this before, particularly the way it's stitched together with everything else, quite honestly, not just, here's this big screen. Be excited! Ben Maher: Yes, and I think we have to create, as I said, multipurpose and interesting use environments because cities deserve them. You've got, as I said, as many on the weekends as 350,000 people coming through this area and it is becoming an attraction. You, we have six to eight hours of free art programming in this building on a Sunday. And people email and go, can I see this? When is this happening? And that I think is a good testament to doing things the right way. It's new. We are learning. When we first opened the now trending space, which is the smallest of the spaces, that silver Line proved an incredibly challenging threshold for some people. Because it was like an anthropological experiment. They didn't know whether they could step in. They didn't know what the transaction was. Because they'd never seen a free public entertainment space like that, and as you'd expect children and people who'd had a drink were the first ones to cross the threshold. But then interestingly put seating in there and people act completely differently. So the psychology of the spaces is also important. Another thing that may be of interest is that this hero screen here on the south wall and the east wall here is permanent deployments, as you can see the slight lines between the wall here, these screens on the north and west are on rails and they can completely retract ah, and the building can open up. So it's one of the first buildings in the world with kinetic staging built in.  You do have doors too, so you can close the area off for private events?  Ben Maher: You can see better with the white there. You can see the slacks between how they work. So we'll be bringing new appointments to view to city centers where you'll come with a real-time of day to actually see something happen. You can see, in fact, these ones are usually completely closed and they've been open today for windows. The small area here can operate as a retail unit. It's been a trainer store for Puma. It was a classroom for Mercedes F1 MG with Toto Wolff. It was a studio for the photographer ranking. It was a red carpet zone for Sky. It's been a party for Apple, and NBCU. So again, having addressable spaces that can do a lot, this pixel pitch at 3mm is akin to what they use in the Unreal Engine SFX studios. So that's essentially the backdrop that they shoot. White, shiny floor shows content. The resolution there, as I say, is 3mm-5mm pitch on the outside here because up higher which is still the highest resolution out of in Europe currently certainly at that scale.  Yeah, I've heard a few 6mm in New York, but not 5mm.  Ben Maher: So we're really pleased with it. But at that resolution, it's interesting. We do need higher-quality content. Because of that pitch, it can be unforgiving. You'll see Netflix is doing an incredible job. They're a very frequent client of ours, but the animation on here will always look incredible cause it obviously scales infinitely almost. But they produce beautiful output and the resolution is incredible.  That space, is it also leasable for if BMW wanted to launch a new electric vehicle or something, you could block off this? Ben Maher: Absolutely. So we held the launch of the new FIFA 23 there and did the FIFA Women's Summit. We've done live boxing with DAZN and Matchroom, so we've held boxing there. We've done events for UNICEF. We've done events for Mothers of Gucci, which is a Gala event. So yeah, we can do private things, but the best way we like the district is having the public in because the more spaces that you privatize, the less inviting the world is, and we want people to come in, experience things free, be entertained, and create moments that ultimately they wanna share and create a destination In the cities we're in. What would you do if there was a big England football match and I remember Lester Square got kinda destroyed, would you just close this off? Ben Maher: So we face the challenges that any public destination would face, and we have to manage the environment. So we do risk assessments on anything. We have a really good security team and we do all of the listening and monitoring of those feeds to know what's happening. We get advice from our partners like TFL, which are local. We've got Camden, and then we liaise with the greater London authorities and also the Emergency response services. So we got a good understanding of what's happening. But yes, we'll make a call based on what's going on to decide how we manage the district because we wanna keep people safe.  How many people work on this, setting aside security and all that, working with the canvas, and everything else? Ben Maher: So the Outernet team as a whole is around 80 people. So that'll divide up between everything from the scheduling to the sales teams to the data and center people, creative teams, et cetera. When did it open? Ben Maher: Officially, the arcade and the trending spaces opened around late August, and what they're now building came online from midday each day in November. So it's not been open for long, we're still very much in our infancy but it's nice as I said, to see the behavior of the public and have been here just over four years, to see it come to fruition is very rewarding.  Did it go through a lot of revisions?  Ben Maher: Yes, in terms of what you were good at? I think there were about 11 years of planning before I was even anywhere near this, and then once the planning is in place, you have to then reinterpret it as an experience as a platform, both for how stories are told, how stories are configured, how content is rendered out, how content is served and then how it can be taken to market for brands, storytellers, creators, you name it. So yes, a lot of revisions, and we're still revising.  There's a number of businesses, operating hotels, everything else. Is this element of it or its own business unit with its own P&L? Ben Maher: Outernet is a media business, and we control the screen-enabled spaces that you see above ground here.  I'm gonna assume that you're not plugged into programmatic or anything like that because it's a very distinct kinda canvas. Ben Maher: That is correct. We're not plugged into programmatic. It's not to say that we would never do it, but the reality is the way that the content needs to be served today, it is very unique. As I said, it's a proprietary stack. It uses lots of familiar techs but it's more programmed like a channel like a traditional broadcast channel as opposed to a media. There's a little bit of rendering that's required, let's just say.  I assume you know who was the LED supplier? Ben Maher: The screens are from AOTO. We went and did an analysis globally of the best screen providers and for what we needed AOTO had a great product, and this is certainly the biggest one of the first in, certainly the biggest deployment that they've done of this product. We're running one triple GPS and are now building a load. We did go as far as doing a sort of quality assessment. We visited factories. We even went as far as looking at where raw materials were mined, because of the importance of having single-batch silicon on a canvas of this scale to ensure that you didn't get that different, particularly obviously on the reds within this car, within this canvas was really important. Another important thing about the LEDs, we degrade panels at the same pace that they are running, so that if we need to replace them, we're replacing them either from our own environments or right into the environment. So again, they're in the same life stage of the panels to ensure high quality.  You have a pretty big spares pool, I would imagine? Ben Maher: We try our best, it's a revolving. If you look at this, this is a drone shoot done by one of the Wrigley Scott Associate directors that we met, and he shot it on an Icelandic beach and it is a music video. But if you look at how some of the B rolls so creating doesn't need all new assets, it can come from existing architecture. The supplier of this kind of creativity told you, here's what we would like you to do with it, or do they give you a license to say, look we'd like to do an edit, this is how it's gonna look?  Ben Maher: It depends on the creator, and it depends on where they are with them. If they're shooting for us, then we'd say, this is the brand kit and this is what you need to produce and this is how you need to play it out. We're always updating our learnings. We get new challenges and new opportunities and we learn from those. But as we see these mega canvases across the world. These sorts of fantastic pieces become more relevant because they'll play out across networks. Across other major cities. I think one of the questions you posed was, is London a model for elsewhere? It is, and we're in discussions in New York, LA, the Middle East, and Asia, at launching these networks and then sharing experiences, interestingly, might always be this exact look and feel. This was put together over 26 years across a horizontal plane. If you go to Manhattan, you're probably gonna have to use a vertical plane, and so it becomes a completely different onboarding process and journey. So it's gonna be interesting how we take our learnings and then we utilize those in other environments.  If you're gonna take this to other locations, does it have to be multifaceted in the same way, and that there's a retail component, there's a hospitality component, there's a restaurant component? Ben Maher: Every case is different. So if you look at environments creating a campus or a district in other cities, particularly New York, or more challenging real estate payment tables or even the planning commissions. So we have to look at them in each case often partnering with other established institutions is wise. We're lucky enough to have a huge foot here. In places like Manhattan, you have those big footfalls. In the other cities, you don't necessarily have this natural footfall. So you have to create a different style of destination or with another key destination to ensure the right sort of, so yeah each case on its own and understanding the needs and nuances of those cities and audiences as well. Yeah, because there are a lot of immersive attractions popping up now. They're almost all projection, but they're very much ticketed locations and it's programmed and it starts at this time and you're there for 45 minutes and exit through the gift shop.  Ben Maher: We're very happy to have you exit through the gift shop here as well. And don't get me wrong, there is some incredible projection technology out there. We've looked at it in our venues and in other places. We have other locations with theaters and other things and, we would certainly consider projection there, but for the kinda canvas and certainly some of the gaming engines and things and future-proofing, we wanted to do this pixel pitch to create a very unique and beautiful canvas that to be fair, I don't think we could have achieved in the same way with projection.  Yeah, it's very interesting. I've written about it and but it's so much more interesting to see it in person, but I think more than anything else, to kinda understand the macro idea as opposed to, oh look, a very big set of screens.  Ben Maher: What are these guys doing?  Why did they do that? Ben Maher: Which again, isn't a difficult question always, and I think just seeing the way the public interacts with it has been enough of a validation that cities deserve these interesting cultural spaces and they deserve to be free and in the public domain.  We're early in our journey. We need more brands coming and telling their stories as well, but telling them in a way that will ingratiate themselves to the public and, out-of-home has done an incredible job at providing public utility forever, in major cities. If we can this model out, certainly for multisensory spaces delivering that as well, I think it sets a good precedent for other cities and other developers across world. Are you affected at all by energy conservation requirements or requests?  Ben Maher: Yes, of course. We are obviously subject to the rising costs of energy as anyone naturally would be, but we have developed the most energy-efficient product that was available on the market. So the sort of coolness and the control of the environment, importantly, isn't prohibitive to doing this. We're not creating a huge carbon footprint that we cannot manage. We have all the relevant ESG scorecards. We're working with the ISO qualifications for energy and for our social corporate responsibilities. But it's also this sort of magnet or those people who are concerned about all the voice energy on these things, do they really need them versus other stuff that's drawing way more energy, but it's not anything you think about? Ben Maher: I think the fact that we're providing a storytelling platform and we're not just screaming at people in the public domain. We're supporting arts and culture everywhere. We have a charitable foundation that donates time, and money for different projects. So we've done projects around sustainability with Unger. We're doing things around social mobility. We've done things for AIDS charities, so we work with lots of different interest groups to provide them with platforms. We even audit the popups so that when we're looking at the brands we're working with, we're not just working with the same generic brands that you get on every high street in the world, right? We wanna ensure that these spaces are different and unique. So whether it's non-white owned businesses, whether it's LGBTQ+ owned business, female-owned, sustainable business, so again, being a conscious member of society, we don't just wanna be a bastian for people who want a big ass billboard.  So I think we've gone around things in a very different way. There is some incredible landmark out home structures in the UK and across Europe. But I do think we have good USPs and we do complement what is already in the market but with enough points of difference, yeah. We wanna attract people to this space and not cannibalize out-of-home budgets by sticking the same offering up. So if we can get more AV budget and that encourages people to do better and more in out-of-home, then that's a fantastic thing.  That's very impressive. Obviously, people like it.  Ben Maher: We're getting there. There's a piece called Heaven's Gate that is the new art exhibition and it is on Sunday and it was absolutely crackers in here, it was just crazy to see how people enjoyed it and it just says conceiving something and then seeing it come to fruition is such a unique and pleasurable thing to be able to do. So we're very proud of what we've done here.

Шеф-редактор The Insider Роман Доброхотов в подкасте «Револьвер» обсудил с экономистом Владимиром Миловым, как скоро в России наступит экономический кризис, где Путин берет деньги на продолжение войны, что нужно, чтобы Запад снял санкции с российских олигархов и многое другое.

Thank goodness we are able to start this episode with a fact from world renowned New Zealand musicologist, Pete G., before we dive into discussions of Becker's poolside swimwear, our guest spots on other podcasts (including Fans on the Run and the upcoming season of Serial based on Tommy), Becker's Steely Dan struggle, pies from Chris W, the Beatles famous Seattle Invasion era work, and the George Harrison-penned "I Want to Tell You."As always, you can find Team Blotto Beatles on Instagram (@blottobeatles) and Twitter (@blottobeatles), by emailing us (blottobeatles@gmail.com), or on the web (blottobeatles.com).  We want to hear from you!Please also take the time to rate and review us on Apple podcasts or wherever you get your podcasts.We have a shop!  Grab some merch.  You can also drunk dial us (tel:+18572339793)  or leave us a tip in our new tip jar (don't forget to include a message telling us what drinks we should drink with the money).See the canonical, argument-ending list of Beatles songs we are assembling here: https://www.blottobeatles.com/list; listen to it on Spotify here.Please remember to enjoy Blotto Beatles responsibly.Peace and Love.Hosts: Becker and TommyExecutive Producer: Scotty C.Additional Musical Supervision: RB (@ryanobrooks)Associate Musical Supervision: Tim Clark (@nodisassemble)#PeteBestGetThatCheck

Шеф-редактор The Insider Роман Доброхотов в рамках подкаста «Револьвер» обсудил с журналистом Александром Невзоровым уголовные сроки для представителей медиа, сценарии конца войны в Украине, психическое здоровье Путина и многое другое.

Good question, and Michael addresses it this week. Depending on the uses you have in mind for your rifle, even an LPVO — low powered variable optic — may be overkill. Also, a rave review for Stephen Hunter's newest, THE BULLET GARDEN. MichaelBane.TV - On the Radio episode # 156. Scroll down for reference links on topics discussed in this episode. Disclaimer: The statements and opinions expressed here are our own and may not represent those of the companies we represent or any entities affiliated to it. Host: Michael Bane Producer: Flying Dragon Ltd. More information and reference links: Taurus 692: A Revolver for All Seasons https://www.michaelbane.tv/taurus-692-a-revolver-for-all-seasons/51560/ https://www.taurususa.com/revolvers/taurus-tracker/taurus-r-692-357-mag-38-spl-p-9mm-luger-matte-black-3-00-in-ribber-grip-r Fink's Custom Gunsmithing Winchester 1895 .405 Winchester Skinner Sights Lucid P8 Primary Arms SlX 3X32mm Burris RT-3 3X THE BULLET GARDEN/Stephen Hunter THIS BOOK SUCKS HARD —DO NOT BUY!!!! The Music of Joca Perpignan The Music of Stefano Mastronardi

Giles Martin may be the son of famed Beatles record producer Sir George Martin, but he's also an acclaimed producer and composer in his own right. He's worked on projects with The Rolling Stones, Elton John and Metallica, and is celebrated for his work remastering albums from The Beatles, including Sgt. Pepper's, Abbey Road, and The White Album. Last October Giles' remaster for Revolver was released along with never-before-heard home demos and outtakes from The Beatles. Giles was able to separate the original 1966 mono recording tracks with the help of director Peter Jackson's audio team, who used AI technology. Giles' resulting mix allows listeners to hear the original recordings with clarity and precision like never before. On today's episode Rick Rubin talks to Giles Martin about his approach to remastering the Beatles and the responsibility that comes along with it. Giles also talks about growing up in the music industry, why he didn't have a stereo in his house as a young boy, and how he became his dad's ears in studio sessions after his father lost his hearing. You can hear a playlist of some of our favorite Beatles songs remastered by Giles Martin HERE.See omnystudio.com/listener for privacy information.

In this episode the Guardian journalist Tania Branigan takes us back to the opening phases of the ‘Cultural Revolution', Mao Zedong's attempt to purge Chinese society of its impurities. Over the course of a few fraught months in the summer of 1966, the transformational movement that would last for a decade, begun. *** In Britain 1966 is remembered as a glittering year. It was the year of the World Cup, of Pet Sounds, Revolver and Andy Warhol. But as Western culture flowered, far away in China something very different was happening. All these years on, today's guest, Tania Branigan points out, the Cultural Revolution remains a difficult event to properly comprehend. It moved through different stages. It was riven by contradictions. Its range was vast, touching people from all parts of society, from top to bottom, east to west. And yet at the heart of much of the action lay the figure of Mao Zedong. By the mid-1960s Mao was regarded as an aging figure. Despite his glorious revolutionary past, it was not certain just what his future would be. But during the spring and summer of 1966 it became increasingly clear that Mao's political ambitions were not at an end. Tania Branigan is the author of Red Memory: Living, Remembering and Forgetting China's Cultural Revolution, which has recently been released by Faber. For more, as ever, visit our website: tttpodcast.com. Show notes Scene One: April 16-24. Politburo standing committee (ie China's top political body) meets in Hangzhou. Scene Two: 16 July. Chairman Mao swims the Yangtze near Wuhan. Scene Three: 18 August. Song Binbin pins the red armband on Mao in Tiananmen Square. Memento: The first big character poster, painted in Beijing, that set off the Cultural Revolution. People/Social Presenter: Peter Moore Guest: Tania Branigan Production: Maria Nolan Podcast partner: Ace Cultural Tours Follow us on Twitter: @tttpodcast_ See where 1966 fits on our Timeline

In which, in honour of Black History Month, Patrick talks to writer and researcher, Professor Carolyn Whitzman about her new book Clara at the Door with a Revolver. A social history of a famous Toronto trial of Clara Ford, a Black cross-dressing woman, the book illuminates an underdiscussed aspect of Canada's working-class history! Find the book here (on sale on Feb. 1, 2023): https://www.ubcpress.ca/clara-at-the-door-with-a-revolver --- Get 2 months of free podcast hosting by going to: https://signup.libsyn.com/?promo_code=CANLIT --- Support: Patreon (https://www.patreon.com/historiacanadiana); Paypal (https://www.paypal.com/paypalme/historiacanadiana); the recommended reading page (https://historiacanadiana.wordpress.com/books/) --- Contact: historiacanadiana@gmail.com, Twitter (@CanLitHistory) & Facebook (https://www.facebook.com/CanLitHistory).              

Packed episode with Lord of Borrel UR/SR review, Varis Level-Up Cards, Duel Skills, and Event, and an Announcement of an Announcement! #YGODuelLinks #YGOMasterDuel #duellinks #yugioh #podcast

In this episode of The Poetry Exchange, poet Rowena Knight talks with us about the poem that has been a friend to her: 'Grief' by Matthew Dickman. Rowena visited us in Durham and is in conversation with Andrea Witzke Slot and Michael Shaeffer. We are hugely grateful to her for sharing her story of connection with Matthew Dickman's poem.Rowena Knight's poetry is influenced by her identity as a queer feminist and her childhood in New Zealand. Her poems have appeared in various publications, including Butcher's Dog, Magma, The Rialto, and The Emma Press Anthology of Love. She was shortlisted for the 2018 Bridport Prize and commended in the 2019 Winchester Poetry Prize. Her first pamphlet, All the Footprints I Left Were Red, was published with Valley Press in 2016. You can find her on Twitter @purple_feminist and Instagram @purple_feminist_You can discover more of Matthew Dickman's stunning, reverberating poetry at www.matthewdickmanpoetry.com. 'Grief' can be found in the collection 'Mayakovsky's Revolver' from W.W. Norton & Company, 2012.The reading of 'Grief' is by Andrea Witzke Slot.*********Griefby Matthew DickmanWhen grief comes to you as a purple gorillayou must count yourself lucky.You must offer her what's leftof your dinner, the book you were trying to finishyou must put asideand make her a place to sit at the foot of your bed,her eyes moving from the clockto the television and back again.I am not afraid. She has been here beforeand now I can recognize her gaitas she approaches the house.Some nights, when I know she's coming,I unlock the door, lie down on my back,and count her stepsfrom the street to the porch.Tonight she brings a pencil and a ream of paper,tells me to write downeveryone I have ever known,and we separate them between the living and the deadso she can pick each name at random.I play her favorite Willie Nelson albumbecause she misses Texasbut I don't ask why.She hums a little,the way my brother does when he gardens.We sit for an hourwhile she tells me how unreasonable I've been,crying in the check-out line,refusing to eat, refusing to shower,all the smoking and all the drinking.Eventually she puts one of her heavypurple arms around me, leansher head against mine,and all of a sudden things are feeling romantic.So I tell her,things are feeling romantic.She pulls another name, this timefrom the dead,and turns to me in that way that parents doso you feel embarrassed or ashamed of something.Romantic? She says,reading the name out loud, slowlyso I am aware of each syllable, each vowelwrapping around the bones like new muscle,the sound of that person's bodyand how reckless it is,how careless that his name is in one pile and not the other.Copyright: Matthew Dickman. 'Grief' by Matthew Dickman, from 'Mayakovsky's Revolver', W.W. Norton & Company, 2012. Hosted on Acast. See acast.com/privacy for more information.

Season 3, Ep 6: Reloading lost episodes from the early Final Word. It's the end of December 2016. Happy New Year! Our first year doing Best & Worst. Admittedly it is a short segment at the end of the show, and we only covered our Best things. But before that we had to talk about a wonderful Boxing Day Test. Mitchell Starc has missed a lot of those, but he reserved his best all-round performance for this one against Pakistan, despite the best efforts of Azhar Ali. This ep also contains what must be our first references to Gusatvo Kuerten, Thomas Muster, and Arantxa Sanchez Vicario, some early work on Steve O'Keefe at Revolver, and what may be the inaugural Final Word use of the Dream Dinner Party concept. Plus with Matthew Wade struggling with the gloves, this foresight: "If we want to go really left field, is Tim Paine starting to lurk again?" This season was originally recorded for the ABC. Send us a Nerd Pledge at patreon.com/thefinalword Find more episodes at finalwordcricket.com 20% off primo WoodstockCricket.co.uk bats with the code TFW20 Learn more about your ad choices. Visit megaphone.fm/adchoices

Right, its a new year and what better way to start it than to discuss the biggest release from LAST YEAR. Yes. This is an in-depth review of the 2022 Revolver box set. In this episode we go through every individual part of the box set, as well as rambling one man discussions on the nature of bonus material, mono vs stereo, and the future of Beatles anniversary rereleases.   Please enjoy. Peace and love, Sam     If you want to support the show, check out our Patreon page at www.patreon.com/mccartneypodcast To get in contact with the show, drop us an email at paulmccartneypod@gmail.com Follow us on Twitter for all Macca updates by searching @mccartneypod.  Check out our YouTube page at https://www.youtube.com/channel/UCXcuhC1jm1wqhUTWhVS-r6A  If you haven't seen the blog, check it out at www.paulmccartneypod.wordpress.com where you can see loads of episodes start out life as a random blog post, before being resculpted into the quality content you are here for today!  Hosted by Sam Whiles.

Feature Performer RAYCHEL REVOLVER talks to Danny Meyers about the upcoming Exotic Dancer Invitationals (EDIs). Learn more about your ad choices. Visit megaphone.fm/adchoices

The cast members of Fab 4 Free 4 All analyze and review the 2022 release of the super deluxe edition of 'Revolver'.

For complete show notes, links and complete description, visit www.HagmannReport.comThe Hagmann Report is brought to you by EMP Shield - www.EMPshield.com/hagmannUse Promo Code HAGMANN for $50 OFF!IMPORTANT LINKS:DONATE: (www.HagmannReport.com/donate)HAGMANN COFFEE & MORE: (www.HagmannStore.com)The Hagmann Report provides news and information based on a combination of exclusive investigative work, proprietary sources, contacts, qualified guests, open-source material. The Hagmann Report will never be encumbered by political correctness or held hostage to an agenda of revisionist history.Join Doug Hagmann, host of the Hagmann Report, Weekdays @ 3 PM ET.ON THE GO? SUBSCRIBE TO HAGMANN'S PODCASTiTunes: (https://podcasts.apple.com/us/podcast/hagmann-report/id631558915?uo=4)Spotify: (https://open.spotify.com/show/376mkckQHCPYTJssQN794g)iHeart: (https://www.iheart.com/podcast/256-hagmann-report-30926499/)Spreaker: (https://www.spreaker.com/show/hagmann-report)Email: studio@hagmannreport.comFOLLOW HAGMANN AT:Parler: https://parler.com/DouglasHagmannGab: https://gab.com/DougHagmannGettr: https://gettr.com/user/doughagmannTruth Social: https://truthsocial.com/@DougHagmann

Morgan Enos is a professional songwriter, journalist, essayist, and reporter currently working as a staff writer at Grammy.com. He makes music as Other Houses and has written for Fortune, Discogs, Jazztimes, Billboard, Tidal Magazine, Bandcamp Daily, Consequence and more. Morgan's life has been influenced by the Beatles in a fascinating way, and on today's podcast, Morgan and Jack talk about that, his favorite Beatles songs and albums, and the brand new remixes of Revolver.    Check out Morgan's website: https://www.morganenos.com/ Morgan's review of the 2022 "Revolver" remix: https://www.talkhouse.com/eleanor-rigby-remains-a-shocking-work-of-art-and-i-dont-care-if-youre-tired-of-it/   If you like this episode, be sure to subscribe to this podcast! Follow us on Twitter and Instagram. Or click here for more information: Linktr.ee/BeatlesEarth   ----- The Beatles were an English rock band, formed in Liverpool in 1960, that comprised John Lennon, Paul McCartney, George Harrison and Ringo Starr. They are regarded as the most influential band of all timeand were integral to the development of 1960s counterculture and popular music's recognition as an art form. Rooted in skiffle, beat and 1950s rock 'n' roll, their sound incorporated elements of classical music and traditional pop in innovative ways; the band later explored music styles ranging from ballads and Indian music to psychedelia and hard rock. As pioneers in recording, songwriting and artistic presentation, the Beatles revolutionised many aspects of the music industry and were often publicised as leaders of the era's youth and sociocultural movements. Led by primary songwriters Lennon and McCartney, the Beatles evolved from Lennon's previous group, the Quarrymen, and built their reputation playing clubs in Liverpool and Hamburg over three years from 1960, initially with Stuart Sutcliffe playing bass. The core trio of Lennon, McCartney and Harrison, together since 1958, went through a succession of drummers, including Pete Best, before asking Starr to join them in 1962. Manager Brian Epstein moulded them into a professional act, and producer George Martin guided and developed their recordings, greatly expanding their domestic success after signing to EMI Records and achieving their first hit, "Love Me Do", in late 1962.   Lennon, McCartney, Harrison and Starr all released solo albums in 1970. Their solo records sometimes involved one or more of the others; Starr's Ringo (1973) was the only album to include compositions and performances by all four ex-Beatles, albeit on separate songs. With Starr's participation, Harrison staged the Concert for Bangladesh in New York City in August 1971. Other than an unreleased jam session in 1974, later bootlegged as A Toot and a Snore in '74, Lennon and McCartney never recorded together again. Two double-LP sets of the Beatles' greatest hits, compiled by Klein, 1962–1966 and 1967–1970, were released in 1973, at first under the Apple Records imprint. Commonly known as the "Red Album" and "Blue Album", respectively, each has earned a Multi-Platinum certification in the US and a Platinum certification in the UK. Between 1976 and 1982, EMI/Capitol released a wave of compilation albums without input from the ex-Beatles, starting with the double-disc compilation Rock 'n' Roll Music. The only one to feature previously unreleased material was The Beatles at the Hollywood Bowl (1977); the first officially issued concert recordings by the group, it contained selections from two shows they played during their 1964 and 1965 US tours. The music and enduring fame of the Beatles were commercially exploited in various other ways, again often outside their creative control. In April 1974, the musical John, Paul, George, Ringo ... and Bert, written by Willy Russell and featuring singer Barbara Dickson, opened in London. It included, with permission from Northern Songs, eleven Lennon-McCartney compositions and one by Harrison, "Here Comes the Sun". Displeased with the production's use of his song, Harrison withdrew his permission to use it.Later that year, the off-Broadway musical Sgt. Pepper's Lonely Hearts Club Band on the Road opened. All This and World War II (1976) was an unorthodox nonfiction film that combined newsreel footage with covers of Beatles songs by performers ranging from Elton John and Keith Moon to the London Symphony Orchestra. The Broadway musical Beatlemania, an unauthorised nostalgia revue, opened in early 1977 and proved popular, spinning off five separate touring productions. In 1979, the band sued the producers, settling for several million dollars in damages. Sgt. Pepper's Lonely Hearts Club Band (1978), a musical film starring the Bee Gees and Peter Frampton, was a commercial failure and an "artistic fiasco", according to Ingham. Accompanying the wave of Beatles nostalgia and persistent reunion rumours in the US during the 1970s, several entrepreneurs made public offers to the Beatles for a reunion concert.Promoter Bill Sargent first offered the Beatles $10 million for a reunion concert in 1974. He raised his offer to $30 million in January 1976 and then to $50 million the following month. On 24 April 1976, during a broadcast of Saturday Night Live, producer Lorne Michaels jokingly offered the Beatles $3,000 to reunite on the show. Lennon and McCartney were watching the live broadcast at Lennon's apartment at the Dakota in New York, which was within driving distance of the NBC studio where the show was being broadcast. The former bandmates briefly entertained the idea of going to the studio and surprising Michaels by accepting his offer, but decided not to.

Our guest in today's episode is Rob Garland, a guitar player and a great music teacher in a very notable institution. Rob is going to share his thoughts on how to be a successful guitar teacher in 2023 and beyond. This interview is a goldmine of information for any teacher looking to take their guitar teaching skills to the next level. Rob shares a brief background about his career, both as a musician and teacher. The story of how he got a contract with Cherry Lane or getting involved with publishing companies. Why he took the plunge and relocated to the USA. The importance of human connection in building a career in music. How he ended up in LA and teaching in a notable institution. His thoughts on the younger generation of learners coming up less experienced in their ear training. His experience in teaching intermediate and advanced students. Why you need to teach your students something that will set you apart. Tips for teaching your students. One thing that is overlooked in guitar lessons. Advice for teachers in teaching students within 30 minutes Top things you need to do to become a great music teacher in 2023. Guest Links Rob Garland Website Rob Garland Instagram Guitar Teaching Resources Mentioned Free Guitar E-book Resources Today's Guest Rob Garland grew up in England, worked in a diverse array of bands, and later played hundreds of gigs at festivals and clubs in the U.S. with his band The Blue Monks, opening for artists such as B.B. King, Booker T. and Chuck Berry. He now lives in Los Angeles, where he continues to write and record his original music, available to stream/download. He regularly performs at clubs such as The Baked Potato and Alva's Showroom, and has recorded sessions at studios such as The Village Recorder, Revolver and J.J. Abrams' Bad Robot. Rob has been teaching guitar for 25+ years and has taught hundreds of private students across all ability levels and musical genres. He has taught group classes, private lessons and masterclasses for Musicians Institute (G.I.T.) in Hollywood, CA, where he serves on the faculty and has created numerous instructional courses for TrueFire & JamPlay, including the best selling ‘Chord Navigator: CAGED' series. He has written instructional books for Cherry Lane/Hal Leonard, and is currently writing for Fundamental Changes. Musicians Rob has performed with include Steve Vai, Jimmy Haslip (The Yellowjackets), Marco Minnemann (Joe Satriani), Gus Thornton (Albert King), Joel Taylor (Allan Holdsworth) and Tony Newton (Gary Moore). He is endorsed by Bogner amps, Xotic guitars, Curt Mangan strings, ChickenPicks and Moody Leather straps.   Click here to find out more about TopMusicGuitar Membership   Thank you for tuning in! Consider implementing the ideas from this podcast by writing several actionable steps for your teaching practice if it's inspired you. If you enjoyed today's show, please leave us a review on Apple Podcasts, which helps other teachers find our show. Stay updated by subscribing to this show, and get automatic delivery to your device every time a new episode goes live! We publish on Fridays weekly.

Do not act surprised with trying time come upon us, we had plenty of warning from folks who are tuned in. They are talking about a 70% reduction in the U.S. population by 2025

THE THESIS: In my opinion it's blatantly obvious Ray Epps was part of a team of people who entrapped protesters into becoming so-called “trespassers.” That doesn't excuse the vandalism and violence some people perpetrated. But, having our own government help to drive this is far more unsettling and dangerous. If there is a shred of concern for the Republic left in the “GOP”, they will demand and get answers on all of this starting on day one of the new congress. THE SCRIPTURE & SCRIPTURAL RESOURCES: Proverbs 6:16-19There are six things that the Lord hates, seven that are an abomination to him: haughty eyes, a lying tongue, and hands that shed innocent blood, a heart that devises wicked plans, feet that make haste to run to evil, a false witness who breathes out lies, and one who sows discord among brothers.Psalm 101:7 No one who practices deceit shall dwell in my house; no one who utters lies shall continue before my eyes.Luke 8:17 For nothing is hidden that will not be made manifest, nor is anything secret that will not be known and come to light.Revelation 21:8 But as for the cowardly, the faithless, the detestable, as for murderers, the sexually immoral, sorcerers, THE NEWS & COMMENT:Image from Revolver.News: Why is the FBI not interested in finding the man who took down the police fences? Julie Kelly: “Just unbelievable—FBI still investigating and arresting J6 “trespassers” nearly 2 years later. And Senate GOP just handed FBI a half-billion dollar raise and gave DOJ $212 million just to prosecute Trump supporters.”[AUDIO] - It seems that #JamieRaskin KNEW exactly what was in #RayEpps transcript. @RepThomasMassie caught him off guard & Raskin became extremely angry and defensive. J6 committee members were covering up for #RayEpps. Was Epps working for Democrats?Revolver.News has done phenomenal reporting on Epps and J6. They describe, here, a “breach team.”[AUDIO] - EXCLUSIVE - Meet Ray Epps, Part 2: Damning New Details Emerge Exposing Massive Web Of Unindicted Operators At The Heart Of January 6Image from Revolver.News: Why is the FBI not interested in finding this man? [AUDIO] - This explosive story is spreading fast… House GOP members found texts and emails from Pelosi staffers proving they forcefully decreased J6 security measures despite objections from Capitol Police and Sergeants at Arms. It was a setup and they got caught

We start 2023 by looking  back to 2022.      The Revolver box set, Paul and Ringo tours and more!    Happy New Year to everybody listening, and thank you for downloading each week and offering up your support.

Great to be back from vacation, but the power is out in many areas, lots of wind. Later I have a great talk with Darren Beattie, founder of Revolver dot news, former DJT speechwriter - Writes the foreword for the MUST have version of the J6 report!

Musicologist Walter Everett joins professional musicians Cameron Greider and Jack Petruzzelli in a return visit to discuss the latest Beatles reissue set. Revolver is analyzed through the prism of its poetry as well as its musical maturity and what the new set reveals in terms of The Beatles' major artistic advance.     Check out the upcoming Revolver class here: http://www.rpm-school.com    This podcast is sponsored by BetterHelp. Visit http://www.betterhelp.com/satb for 10% off of your first month of treatment. 

On this episode of Our American Stories, Phil Anschutz writes in Out Where The West Begins: “Samuel Colt's life was the American story written in capital letters.” Here to tell the story is Ashley Hlebinsky, the former co-host of Discovery Channel's “Master of Arms,” the former curator in charge of the Cody Firearms Museum, and president of The Gun Code, LLC. Support the show (https://www.ouramericanstories.com/donate)See omnystudio.com/listener for privacy information.

Hunting with handguns is a passion of mine and my guest's today. I have Jon Goodwin and Brandon Houston with me and we are discussing everything you need to know about hunting with handguns. We cover styles of handguns, calibers, optics and hearing protection. We even discuss tactics we use for handgun hunting. It doesnt take long to understand that we love the Taurus Raging Bull and the new Raging hunter revolvers. From the .44 Remington magnum to the .454 Casull and even the .460 S&W, big bore handguns are awesome to shoot and hunt with. This is a great episode for anyone considering handgun hunting. 

In This Hour: -- Is it a myth that you shouldn't dry fire a .22 rimfire? -- Why would you use a black powder revolver for home defense? -- The downside of buying a new gun safe. Tom Gresham's Gun Talk   12.04.22  After Show

In This Hour: -- Paul Spitale reveals the latest news from Colt and CZ gun makers. -- Troubleshooting a revolver with an accuracy problem. -- A range report on the Ruger Wrangler .22 revolver. Tom Gresham's Gun Talk   12.04.22   Hour 3

In This Hour: -- Sheriff Jim Wilson explains the love for classic revolver cartridges.  The great .44 Special and .45 Colt. --  A father and daughter spend six hours at the range! --  Gun safes for cars? Tom Gresham's Gun Talk    12.04.22   Hour 2

New Microsoft 365 additions, Reset this PC, Revolver: Special Edition Windows 11 A quick look at "moments" and what it means for the future of Windows. The October/November update was a moment. There will be big moments and little moments. Also, moments is a terrible name for this. Microsoft issues its last Preview Update for Windows 10/11 of 2022 Windows Insider: New Dev channel build adds VPN status, search design tests  Microsoft 365 Games for Work in Teams Schedule send in Teams Sign language in Teams - update on the conversation from last week Microsoft Create launched - Microsoft's template site for creators  Surface Surface Duo might be getting its own Insider Program  Troubleshooting New phone, message and phone call weirdness Brother-in-law's laptop Daughter's laptop An update on 12th-Gen Intel suspicions. Some Mastodon questions: US English? Notification sounds? Revolver We need to discuss the 2022 remix of The Beatles' Revolver album Xbox Microsoft ready to make concessions on Activision Blizzard Games with Gold titles for December  Tips and picks Tip of the week: Don't be a afraid of Reset this PC App pick of the week: Call of Duty: Modern Warfare II Hosts: Leo Laporte and Paul Thurrott Download or subscribe to this show at https://twit.tv/shows/windows-weekly Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Check out Paul's blog at thurrott.com The Windows Weekly theme music is courtesy of Carl Franklin. Sponsors: itpro.tv/windows use code WW30 UnifyMeeting.com code WW50 for subscription and code WW for displays nordlayer.com/twit