Podcast appearances and mentions of rob bowman

Today Bill and Eric interview Dr. Robert Bowman about his new book on Jesus, The Incarnate Christ and His Critics: A Biblical Defense. This is a thorough book and would be a great resource for anyone interesting in supporting the Personhood of Jesus. Available on Amazon at https://www.amazon.com/dp/B0DNRNGD51?ref_=k4w_oembed_3qcRCpbSxocAqo&tag=kpembed-20&linkCode=kpd

Today Bill and Eric interview Dr. Robert Bowman about his new book on Jesus, The Incarnate Christ and His Critics: A Biblical Defense. This is a thorough book and would be a great resource for anyone interesting in supporting the Personhood of Jesus. Available on Amazon at https://www.amazon.com/dp/B0DNRNGD51?ref_=k4w_oembed_3qcRCpbSxocAqo&tag=kpembed-20&linkCode=kpd

Today Bill and Eric interview Dr. Robert Bowman about his new book on Jesus, The Incarnate Christ and His Critics: A Biblical Defense. This is a thorough book and would be a great resource for anyone interesting in supporting the Personhood of Jesus.

Today Bill and Eric interview Dr. Robert Bowman about his new book on Jesus, The Incarnate Christ and His Critics: A Biblical Defense. This is a thorough book and would be a great resource for anyone interesting in supporting the Personhood of Jesus.

Today Bill and Eric interview Dr. Robert Bowman about his new book on Jesus, The Incarnate Christ and His Critics: A Biblical Defense. This is a thorough book and would be a great resource for anyone interesting in supporting the Personhood of Jesus. Available on Amazon at https://www.amazon.com/Incarnate-Christ-His-Critics-Biblical/dp/0825445795/ref=sr_1_1?crid=3CMGMRBR5W2W7&dib=eyJ2IjoiMSJ9.MF2lsgv6f8UUSBtIWd7M9dcPiMqOr7rst9J0D7fk91hVYGNikqILN8gHQGFx41iU.oyi4LoVpTQRaoqQJd3WvSohUxeKHjMHvvXa7yzBUBm0&dib_tag=se&keywords=rob+bowman+the+incarnate+christ&qid=1746728784&sprefix=rob+bowman%2Caps%2C143&sr=8-1

Today Bill and Eric take a look at an LDS article on the Jesus as believed in Mormonism, priming the pump for an 8-day interview with Rob Bowman about his new book on Jesus, The Incarnate Christ and His Critics: A Biblical Defense.

Today and tomorrow, Bill and Eric take a look at an LDS article on the Jesus as believed in Mormonism, priming the pump for an 8-day interview with Rob Bowman about his new book on Jesus, The Incarnate Christ and His Critics: A Biblical Defense.

This week Brian with a B and Amferny talk about two extreme sports classic movies: Airborne (1993) and RAD (1986). Airborne is a fish out of water story about a surfer who moves to Cincinnati to finish the school year and struggles to gain acceptance at a new school. This movie is directed by Rob Bowman and stars Shane McDermott, Seth Green, Brittney Powell, Chris Conrad and Jack Black. RAD is the story of a local BMX racer who enters Helltrack (a professional BMX race) and fights the odds to compete against Bart Conner, the star racer. This movie is directed by Hal Needham and stars Bill Allen, Lori Loughlin, Talia Shire, Ray Walston and Alfie Wise. Airborne is available on Google Play and YouTube. RAD is available on Prime Video, Apple TV, Google Play and YouTube. Instagram Links: Follow Shane McDermott @shanefmcdermott Follow Seth Green @sethgreen Follow Brittney Powell @brittneypowell9444 Follow Jack Black @jackblack Follow Bill Allen @billsmallen The podcast art is by @delasernaxtattoos on Instagram and has been revised by rodrick_booker on Fiverr. If you like what you're hearing subscribe and comment on our Instagram @berated_b_rated_movies, Facebook @Berated B RatedMovies and Tik Tok @berated_b_rated_movies. Check out our website at Beratedbratedmovies.com. If you have any comments or movie suggestions please send them to beratedbratedmovies@gmail.com RATED G®, RATED PG®, RATED PG-13®, RATED NC-17®, and RATED R® are certification marks owned by the Motion Picture Association, Inc. This podcast has not been rated or certified pursuant to the Motion Picture Association, Inc.'s film rating system nor is this podcast authorized by, endorsed by, or affiliated with the Motion Picture Association, Inc.

What do the Muslims, Unitarians, Progressive Christians, and skeptics believe about Jesus Christ and Christianity? How are we to respond to these critics? Dr. Bowman will answer these questions on this edition of the Bible and Theology Matters podcast.In this episode, Dr. Rob Bowman delves into the criticisms of Christ from various groups, including skeptics, Muslims, progressive Christians, and Unitarians. They explore the beliefs of each group, the historical evidence supporting the deity of Christ, and how Christians can respond to these criticisms. The conversation emphasizes the importance of understanding the arguments of the critics and responding to them, particularly as it relates to the resurrection and the divine nature of Jesus.

Colossians tells us that all things were made through Christ and for Christ. John tells us that all things came into being through the Word who was and is God incarnate, the second Person of the Trinity, our Lord and Savior Jesus Christ. Through what God has made, Romans 1 tells us, the whole world knows something of God's invisible attributes - His "eternal power and divine nature," for example. But critics of Christianity deny that Jesus is God in the flesh. How can we as Christians be better equipped to respond to the critics of the incarnate Christ? This week we continue our discussion with Dr. Rob Bowman, Jr.,, president of the Institute for Religious Research about his new book The Incarnate Christ and His Critics.  Rob will give us more insights from his "HANDS" acronym  about how we can known Jesus is both Lord and God and how we can give an intelligent defense of what the Bible says of Jesus to non-Christians. Dr. Rob Bowman Jr.,  is an evangelical Christian apologist, biblical scholar, author, editor, and lecturer. He has lectured on biblical studies, religion, and apologetics at Biola University, Cornerstone University, and New Orleans Baptist Theological Seminary. Rob is the author of over sixty articles and the author or co-author of fifteen books including Jesus' Resurrection and Joseph's Visions: Examining the Foundations of Christianity and Mormonism, Putting Jesus in His Place: The Case for the Deity of Christ, co-authored with J. Ed Komoszewski, and Faith Has Its Reasons: Integrative Approaches to Defending the Christian Faith, co-authored with Kenneth D. Boa. Dr. Bowman holds the M.A. and Ph.D. degrees in biblical studies from Fuller Theological Seminary and South African Theological Seminary. He is widely regarded as the leading evangelical scholar addressing the uses and interpretations of the Bible by such religious groups as Jehovah's Witnesses and Mormons.Related Links: FREE Four-Page Profile Articles from Watchman Fellowship! Atheist New Testament scholar Dr. Bart D. Ehrman. https://www.watchman.org/ProfileBartEhrman.pdf Atheism https://www.watchman.org/profiles/pdf/atheismprofile.pdf Latter-day Saints https://www.watchman.org/profiles/pdf/ldsprofile.pdf Watchtower Bible and Tract Society https://www.watchman.org/profiles/pdf/watchtowerprofile.pdf Islam https://www.watchman.org/profiles/pdf/islamprofile.pdf Additional ResourcesFREE: We are also offering a subscription to our 4-page bimonthly Profiles here: www.watchman.org/FreePROFILE NOTEBOOK: Order the complete collection of Watchman Fellowship Profiles (around 700 pages -- from Astrology to Zen Buddhism) in either printed or PDF formats here: www.watchman.org/NotebookSUPPORT: Help us create more content like this. Make a tax-deductible donation here: www.watchman.org/GiveApologetics Profile is a ministry of Watchman Fellowship For more information, visit www.watchman.org © 2025 Watchman Fellowship, Inc.

To unlock the full episode go to ⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠ and subscribe at the $5 level to unlock all of our X-Files episodes as well as Bring Me The Axe: Millennium Edition, and Radio Free Haddonfield our bi-weekly DJ and music show.This week we take a look at the first episode of The X-Files to be directed by Rob Bowman, the second-most prolific creative force on the show after Kim Manners. It's a potentially thorny episode about killer Amish people who can change their gender at will that ends up surprising us both with its restraint. When stepping back into a decade like the 90's you get used to a certain insensitivity and still, Gender Bender surprises us.Also, it's a wild week in pop culture as we take a look at the headlines and try and remember some of these absolutely forgettable top 40 songs.

"The whole world has gone after Him" the Pharisees said to one another about Jesus of Nazareth (John 12:19). He healed the sick, cured the lepers, brought sight to the blind, commanded the winds and the waves, fed the hungry, and even raised His friend Lazarus from the dead. Who is this Jesus? Some say He was just a prophet. Some say He was merely a teacher, but others believed Him to be, the Christ, the Son of the living God, Lord, and Savior. This week and next on the Profile we'll be talking to Dr. Rob Bowman, Jr.,, president of the Institute for Religious Research about his new book The Incarnate Christ and His Critics.  What do the critics of Christianity say about Jesus? What does the Bible say of Jesus? Using the pneumonic acronym "HANDS" Rob provides us with invaluable wisdom about answering non-believers' critiques of Jesus. Dr. Rob Bowman Jr., a former staff member at Watchman Fellowship, is an evangelical Christian apologist, biblical scholar, author, editor, and lecturer. He has lectured on biblical studies, religion, and apologetics at Biola University, Cornerstone University, and New Orleans Baptist Theological Seminary. Rob is the author of over sixty articles and the author or co-author of fifteen books including Jesus' Resurrection and Joseph's Visions: Examining the Foundations of Christianity and Mormonism, Putting Jesus in His Place: The Case for the Deity of Christ, co-authored with J. Ed Komoszewski, and Faith Has Its Reasons: Integrative Approaches to Defending the Christian Faith, co-authored with Kenneth D. Boa. Dr. Bowman holds the M.A. and Ph.D. degrees in biblical studies from Fuller Theological Seminary and South African Theological Seminary. He is widely regarded as the leading evangelical scholar addressing the uses and interpretations of the Bible by such religious groups as Jehovah's Witnesses and Mormons.Related Links: FREE Four-Page Profile Articles from Watchman Fellowship! Atheist New Testament scholar Dr. Bart D. Ehrman: www.watchman.org/Ehrman Atheism: www.watchman.org/Atheism Latter-day Saints: www.watchman.org/Mormonism Watchtower Bible and Tract Society: www.watchman.org/Watchtower Islam www.watchman.org/Muslim Additional ResourcesFREE: We are also offering a subscription to our 4-page bimonthly Profiles here: www.watchman.org/FreePROFILE NOTEBOOK: Order the complete collection of Watchman Fellowship Profiles (around 700 pages -- from Astrology to Zen Buddhism) in either printed or PDF formats here: www.watchman.org/NotebookSUPPORT: Help us create more content like this. Make a tax-deductible donation here: www.watchman.org/GiveApologetics Profile is a ministry of Watchman Fellowship For more information, visit www.watchman.org © 2025 Watchman Fellowship, Inc.

Does the Bible Really Say Jesus is God?

There are nearly seven million Latter-day Saints in the United States today. And yet despite the growth of Latter-day Saints in foreign countries, the LDS church in the US continues to see a significant decline in its membership. Since 2021, the LDS church in the US has experienced a decline in membership in 21 states. Through the growth of available information on line, many LDS are discovering for the first time many of the problems with the church's history and theology that have until quite recently been kept secret from members. This week on the Profile President of Watchman Fellowship James K. Walker continues his conversation with Founder of Mormon Research Ministries and the Utah Christian Research Center, Bill McKeever.Bill McKeever founded Mormonism Research Ministry in 1979 with the hope of informing the Body of Christ about the differences between Mormonism and Christianity. He has also made an effort to reach out the many individuals who are members of the LDS Church, desiring to show them in gentleness and respect the truth about God's Word. His writings include In Their own Words: A Collection of Mormon Quotations, Answering Mormons' Questions: Ready Responses for Inquiring Latter-day Saints, and Mormonism 101: Examining the Religion of the Latter-day Saints. Related Links: Get the rest of the story including some of our most popular podcasts on Mormonism, access to some of our key LDS articles and our free, 4-page Watchman Fellowship Profile on the Church of Jesus Christ of Latter-day Saints (Mormonism): Watchman Fellowship articles on Mormonism: www.watchman.org/LDS Watchman Fellowship Profile on the Church of Jesus Christ of Latter-day Saints: www.watchman.org/Mormonism Apologetics Profile podcast What Is the Gospel? with Mormon apologist Scott Gordon and Christian apologist James Walker (YouTube):  www.watchman.org/GordonWalker  Apologetics Profile podcast "Jesus' Resurrection and Joseph's Visions," with Rob Bowman: www.watchman.org/1stVision Apologetics Profile podcast list of all episodes about Latter-day Saints https://www.watchman.org/files/ldspod.htm Additional ResourcesFREE: We are also offering a subscription to our 4-page bimonthly Profiles here: www.watchman.org/FreePROFILE NOTEBOOK: Order the complete collection of Watchman Fellowship Profiles (around 700 pages -- from Astrology to Zen Buddhism) in either printed or PDF formats here: www.watchman.org/NotebookSUPPORT: Help us create more content like this. Make a tax-deductible donation here: www.watchman.org/GiveApologetics Profile is a ministry of Watchman Fellowship For more information, visit www.watchman.org © Watchman Fellowship, Inc.

Retour sur la production du Règne du Feu de Rob Bowman.https://linktr.ee/guillaumecassar Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Stax Records and Special Guest Rob BowmanStax Records, founded in 1957 by Jim Stewart and Estelle Axton in Memphis, Tennessee, played a pivotal role in developing soul and R&B music. Originally called Satellite Records, it was rebranded in 1961, merging the founders' last names. Known for its deep, emotive sound, Stax produced timeless hits through iconic artists like Otis Redding, Isaac Hayes, Booker T. & the MG's, and Sam & Dave. The label's house band, Booker T. & the MG's, contributed immensely to its distinctive grooves. Stax also stood out for its progressive integration of black and white artists and staff, which was rare. After a split with Atlantic Records in 1968 and financial troubles, Stax ceased operations in 1975. Despite its short lifespan, Stax's influence endures. Rob Bowman, a renowned Stax historian, continues to highlight its enduring legacy in shaping soul, R&B, and pop music history. Rob Bowman's book Soulsville, U.S.A.The Story of Stax Records offers an in-depth look at the label's history, detailing its origins, rise, and eventual decline. The book also provides comprehensive biographies of the promoters, producers, and performers who contributed to the label's legacy. In addition to the book, there's an HBO Original four-part documentary series titled STAX: SOULSVILLE U.S.A. -the series delves into the rich history of Stax Records. It premiered on May 20, 2024, and is available for streaming on HBO Max.

(S4-Ep.13) Otis Redding -Live In Europe with guest Rob Bowman Released July 10, 1967 and Recorded March 1967 and Volt/Atco (Stax) Otis Redding's Live in Europe is a landmark live album that captures the soul legend at the peak of his powers. Recorded during his 1967 European tour, the album showcases Redding's incredible stage presence and raw emotional depth, bringing a vibrant energy to the tracks. The album features classic songs like "Try a Little Tenderness" and "I Can't Turn You Loose," with Redding's dynamic vocals and impassioned delivery shining through. The European audience provided a perfect backdrop for Redding's electrifying performance, emphasizing his ability to connect with listeners worldwide. The album also highlights his impeccable backing band, Booker T and M.G.'s, who play with precision and soul. Live in Europe became one of Redding's most cherished records, offering fans a glimpse into his legendary live shows and solidifying his place as one of the greatest soul performers ever.Signature Tracks: "Respect" "(I Can't Get No) Satisfaction"  "Try A Little Tenderness" Full Album:  YouTube, SpotifyPlaylist YouTube, Spotify

279 Reaching Mormons with the Gospel [Part 1] with Bill McKeever and James WalkerThis week and next on the profile President of Watchman Fellowship, James Walker sits down with Bill McKeever, founder of Mormon Research Ministry (MRM) and the Utah Christian Research Center, about many of the challenges facing Latter-day Saints today regarding the church's history and theology. We hope these episodes will better equip you to engage and understand your LDS friends, neighbors, and missionaries that come to your door. Bill McKeever founded Mormonism Research Ministry in 1979 with the hope of informing the Body of Christ about the differences between Mormonism and Christianity. He has also made an effort to reach out the many individuals who are members of the LDS Church, desiring to show them in gentleness and respect the truth about God's Word. His writings include In Their own Words: A Collection of Mormon Quotations (Morris Publishing, 2010), Answering Mormons' Questions: Ready Responses for Inquiring Latter-day Saints (co-authored with Eric Johnson, Kregel, 2013), and Mormonism 101: Examining the Religion of the Latter-day Saints (Baker, 2015). In addition, Bill serves as the editor of Mormonism Researched, a bi-monthly publication distributed free through Mormonism Research Ministry. He is the host of the daily radio program Viewpoint on Mormonism and has been a featured guest on many Christian and secular talk shows throughout the country.Related Links: Get the rest of the story including some of our most popular podcasts on Mormonism, access to some of our key LDS articles and our free, 4-page Watchman Fellowship Profile on the Church of Jesus Christ of Latter-day Saints (Mormonism): Watchman Fellowship articles on Mormonism: www.watchman.org/LDS Watchman Fellowship Profile on the Church of Jesus Christ of Latter-day Saints: www.watchman.org/Mormonism Apologetics Profile podcast What Is the Gospel? with Mormon apologist Scott Gordon and Christian apologist James Walker (YouTube):  www.watchman.org/GordonWalker  Apologetics Profile podcast "Jesus' Resurrection and Joseph's Visions," with Rob Bowman: www.watchman.org/1stVision Apologetics Profile podcast list of all episodes about Latter-day Saints https://www.watchman.org/files/ldspod.htm Additional ResourcesFREE: We are also offering a subscription to our 4-page bimonthly Profiles here: www.watchman.org/FreePROFILE NOTEBOOK: Order the complete collection of Watchman Fellowship Profiles (around 700 pages -- from Astrology to Zen Buddhism) in either printed or PDF formats here: www.watchman.org/NotebookSUPPORT: Help us create more content like this. Make a tax-deductible donation here: www.watchman.org/GiveApologetics Profile is a ministry of Watchman Fellowship For more information, visit www.watchman.org © Watchman Fellowship, Inc.

Jessica and Dini travel back to January 21, 1994! Join us as we discuss our top 5 favorite moments from S1 EP 14, Gender Bender! This episode was written by Larry and Paul Barber. Directed by Rob Bowman. Mulder and Scully investigate a series of murders linked by sexual encounters. Their investigation leads them to the Kindred, an isolated, Amish-like community in Massachusetts.The agents discover that the Kindred possess a unique ability to change between male and female forms, and that they may be responsible for the murders. The episode delves into themes of sexuality, identity, and the clash between modern society and secluded communities, leaving the agents with more questions than answers about the true nature of the Kindred.Do you have any X-Files-related theories, stories, key points, or podcast feedback? Please email us at TheXFilesChatRoomPodcast@gmail.com We'd love to hear from you. Please tell us how we can improve!You can find us on:Bluesky, TikTok, and Instagram @TXFChatRoomPodResources: X-Files WikiIMDBnative-land.ca

This movie was a starting point for so many great actors. We discuss how good the CGI effects are for a 20-year-old movie and how it feels like some CGI has not gotten any better. We get into the wonky logic of this film and Matthew McConaughey's badass bald head. Enjoy!Two ordinary brothers discussing extraordinary ideas... and some random shit.Email- thebrothersrandomv@gmail.comCheck us out on YouTube- https://www.youtube.com/@thebrothersrandom 

Welcome back to Not A Bomb! This is the podcast where we explore some of cinema's biggest box failures and decide if they deserve a second chance. January has become an impromptu Matthew McConaughey month or “McConaughthon.” Last week, the guys tackled Tiptoes. This week, they had to do a hard turn into science-fiction with 2002's post-apocalyptic film - Reign of Fire. Both a financial and critical disappointment, Reign of Fire finds a stellar early 2000's cast fighting fire-breathing dragons. The film has become somewhat of a cult classic, but do Troy and Brad agree? Download to find out! Reign of Fire is directed by Rob Bowman and stars Matthew McConaughey, Christian Bale, Izabella Scorupco, and Gerald Butler. Head over to the Not A Bomb Tee Public store and check them out. Special thanks to Ted Blair for the amazing designs! We're committed to hearing your feedback and suggestions. If there's a cinematic flop you'd like us to delve into, please reach out to us at NotABombPod@gmail.com or through our contact page. Your reviews and feedback are what drive us. If you enjoy our content, consider leaving a review on Apple Podcast or Spotify. Cast: Brad, Troy

Jessica and Dini travel back to March 10, 1995! Join us as we discuss our top 5 from S2 EP19, Død Kalm! This episode was written by Howard Gordon and Alex Gansa. Directed by Rob Bowman. In “Død Kalm,” Mulder and Scully investigate a Navy ship whose crew mysteriously aged decades in weeks. Aboard the eerie vessel, they too begin to rapidly age, with Scully blaming contaminated water and Mulder suspecting time displacement.The ghost ship setting amplifies isolation and dread, drawing on maritime lore and legends like the Mary Celeste. Themes of mortality and survival deepen as they race to uncover the truth and save themselves.Blending science, folklore, and conspiracy theories, “Død Kalm” is a haunting exploration of human fragility and one of The X-Files' most atmospheric episodes. Do you have any X-Files-related theories, stories, key points, or podcast feedback? Please email us at TheXFilesChatRoomPodcast@gmail.com We'd love to hear from you. Please tell us how we can improve!You can find us on:Bluesky, TikTok, and Instagram @TXFChatRoomPodResources: X-Files WikiIMDBnative-land.ca

THIS VOYAGE, the Treksperts,  MARK A. ALTMAN (author, The Fifty Year Mission, writer/producer, Pandora, Agent X, The Librarians, writer/producer Free Enterprise), DAREN DOCHTERMAN (associate producer, Star Trek: The Motion Picture) and ASHLEY E. MILLER (showrunner; DOTA: Dragon's Blood, writer, X-Men: First Class, Thor) are joined by a slugger's row of STAR TREK's greatest directors in this live and lively panel from STLV featuring ROB BOWMAN (TNG), PAUL LYNCH (TNG), DAVID CARSON (TNG, DS9, Generations), DAVID LIVINGSTON (TNG, DS9, VOY, ENT) and JORDAN CANNING (SNW). Join us for an all-new Inglorious Treksperts live on tape from #STLV. Now on You Tube! **TREKSPERTS+ SUBSCRIBERS NOW GET COMMERCIAL FREE EPISODES ONE WEEK EARLY! SUBSCRIBE TODAY AT TREKSPERTSPLUS.COM** **Join us on our new INGLORIOUS TREKSPERTS DISCORD Channel at: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://discord.gg/7kgmJSExeh⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Don't miss us as the TREKSPERTS INGLORIOUS TOUR 2024 LIVE TOUR continues as we beam down to Galaxycon Columbus, OH!  For more information, go to galaxycon.com. Learn all that is learnable about Star Trek in Mark A. Altman & Edward Gross' THE FIFTY-YEAR MISSION, available in hardcover, paperback, digital and audio from St. Maritn's Press.  Follow Inglorious Treksperts at @inglorioustrek on Twitter, Facebook and at @inglorioustreksperts on Instagram. And now follow the Treksperts Briefing Room at @trekspertsBR, an entirely separate Twitter & Instagram feed. "Mark A. Altman is the world's foremost Trekspert" - Los Angeles Times

Hello and welcome to the 128th episode of Film Freakz, the podcast about movies! In this episode we talk about the movie Reign of Fire from 2002. This podcast features YemmytheFerret (Yemmy), RaeofPositivity (Rae), Taymation Studios (Tay), and GreedyWaffle (Nick). This movie was recommended by Tay who LOVES dragons. In present-day London, 12-year-old Quinn watches as his mother wakes an enormous fire-breathing beast from its centuries-long slumber. Twenty years later, much of the world has been scarred by the beast and its offspring. As a fire chief, Quinn is responsible for warding off the beasts and keeping a community alive as they eke out a meager existence. Into their midst comes a hotshot American, Van Zan, who says he has a way to kill the beasts. Directed by Rob Bowman. Thanks for listening on all platforms! We want YOUR recommendations for the FAN VOTE! Send them in by commenting on the YouTube version, messaging us on our social medias, or sending us an email! Twitch: https://www.twitch.tv/yemmytheferret Twitter: https://twitter.com/YemmyTheFerret Join my Discord: https://discord.gg/b9NaNgp

Who was Joseph Smith? Even after nearly 200 years since the first Book of Mormon was published in 1830, Smith remains something of an enigma. He is viewed as a charismatic farm-boy prophet and martyr by Latter-day Saints and a public enemy, adulterer, and charlatan by many others. How did Smith write the Book of Mormon and convince his followers he had received another testament of Jesus Christ? This week and next on the Profile, we feature Mormonism Research Ministry (www.MRM.org) staff member Eric Johnson. Our two-part broadcast is an exclusive training presentation Eric gave our Watchman Fellowship's Utah Mission Team this past July about Joseph Smith and how the Book of Mormon came to be. This training took place at MRM's new Utah Christian Research Center in Draper, Utah (www.utahchristianresearchcenter.com).Eric Johnson has been a student of Mormonism since 1987 when he first served as a summer missionary to Utah. Eric graduated from San Diego State University as well as at Bethel Seminary San Diego. Eric cohosts the daily radio program Viewpoint on Mormonism and writes for MRM's Mormonism Researched newsletter.  He is the co-author of Answering Mormons' Questions: Ready Responses for Inquiring Latter-day Saints (Kregel, 2013),  Mormonism 101: Examining the Religion of the Latter-day Saints (Baker Book, 2015) and Introducing Christianity to Mormons (Harvest House, 2022).Related Links: Get the rest of the story including some of our most popular podcasts on Mormonism, access to some of our key LDS articles and our free, 4-page Watchman Fellowship Profile on the Church of Jesus Christ of Latter-day Saints (Mormonism): Watchman Fellowship articles on Mormonism: watchman.org/LDS Watchman Fellowship Profile on the Church of Jesus Christ of Latter-day Saints: watchman.org/Mormonism Apologetics Profile podcast What Is the Gospel? with Mormon apologist Scott Gordon and Christian apologist James Walker (YouTube):  watchman.org/GordonWalker  Apologetics Profile podcast "Jesus' Resurrection and Joseph's Visions," with Rob Bowman: watchman.org/1stVision Additional ResourcesFREE: We are also offering a subscription to our 4-page bimonthly Profiles here: www.watchman.org/Free.PROFILE NOTEBOOK: Order the complete collection of Watchman Fellowship Profiles (over 600 pages -- from Astrology to Zen Buddhism) in either printed or PDF formats here: watchman.org/notebook. SUPPORT: Help us create more content like this. Make a tax-deductible donation here: www.watchman.org/give.Apologetics Profile is a ministry of Watchman Fellowship For more information, visit www.watchman.org © Watchman Fellowship, Inc.

We are screaming " Nooooo not the bees!" on episode 126 of The Horror Stans Podcast! For this one we are diving into 1998's TV adaption of the iconic The X-Files! Listen as we discuss if this film works for newbies and the fans, if we ourselves believe in aliens, the hotness level of queen Scully, third act disappointments, director Rob Bowman's other film aka the masterpiece Elektra, Matt's fear of bees and The XXX-Files porno?! We hope you enjoy! Instagram and Twitter: @horrorstans Tiktok: @horrorstanspodcast Steve: @screamsteve/@stesta621 Matt: @mcavo92 If you could please give us a follow and a 5 star rating it helps out so much! We appreciate you all!

It's like” Freaky Friday” but with UFOs. Jessica and Dini travel back to November 29, 1998! Join us as we discuss our top 5 favorite moments from S6 EP4, Dreamland!While on a road trip to meet an informant near the infamous Area 51, Mulder and Scully experience a strange event involving a UFO that eventually causes Mulder to bodyswap with a Man In Black named Morris Fletcher. This episode was written by Vince Gilligan, John Shiban, and Frank Spotniz. Directed by Rob Bowman? Kim Manners? Do you have any X-Files-related theories, stories, key points, or podcast feedback? Please email us at TheXFilesChatRoomPodcast@gmail.com We'd love to hear from you. Please tell us how we can improve!You can find us on:Twitter, TikTok, and Instagram @TXFChatRoomPodResources: X-Files WikiIMDBnative-land.ca

Abdu and Derek get asked a lot about what they read to stay informed about the world and grounded in their faith. Today, they answer those questions in detail, highlighting a series of books that explore many relevant topics in our society today, including what atheism really is, the historical battles between science and religion, how to read the Bible, and so much more.     Resources mentioned in this episode:  Did Jesus only sacrifice his weekend? S2E24 | "Twisted Logic"? Is Michael Shermer Right about the Cross!?  Morality without God? S2E12 | Objection, Matt Dillahunty! Asked and Answered! and https://embracethetruth.org/blog/is-morality-based-on-evolutionary-ethics/   Is Jesus God? https://embracethetruth.org/blog/is-jesus-god/   Science DESTROYED Faith? The Curious Case of Nicholas Copernicus https://embracethetruth.org/blog/science-destroyed-faith-the-truth-about-nicolaus-copernicus/   Did Curiosity Kill the Christian? https://embracethetruth.org/blog/did-curiosity-kill-the-christian/   Rob Bowman responds to Bart Ehrman S2E27 | Rob Bowman Refutes Bart Ehrman's Arguments Against Jesus' Divinity, Part 1 and S2E28 | Rob Bowman Refutes Bart Ehrman's Arguments Against Jesus' Divinity, Part 2     Facebook https://www.facebook.com/abdumurray  Instagram https://www.instagram.com/abdumurray12  Twitter https://twitter.com/abdumurray  TikTok https://www.tiktok.com/@abdumurray  Keep in touch with Abdu and be notified when he is in a town near you by signing up for his monthly newsletter at https://embracethetruth.org/sign-up/.   Embrace the Truth is a donor-supported ministry that seeks to answer PEOPLE, not questions. Consider partnering with us in this important mission by visiting https://embracethetruth.org/donations/.   

Let's go to Memphis in the meantime, baby!   Our featured interview is with Rob Bowman, the Toronto based academic scholar and Grammy Award-winning professor of ethnomusicology. Notably, Rob is a recognized authority on Stax Records, and has produced numerous Stax box sets in addition to writing an exhaustively researched book, Soulsville USA: The Story of Stax Records. He is also an executive producer and main source for Jamila Wignot's fantastic four part HBO Max documentary series, STAX: Soulsville, U.S.A.   We also speak with Eric Friedl and Zac Ives from contemporary Memphis record store, Goner Records, who tell us about their store, their label, and their annual fall festival, Gonerfest.   The Record Store Day Podcast is a weekly music chat show written, produced, engineered and hosted by Paul Myers, who also composed the theme music and selected interstitial music.    Executive Producers (for Record Store Day) Michael Kurtz and Carrie Colliton. For the most up-to-date news about all things RSD, visit RecordStoreDay.com)   Sponsored by Dogfish Head Craft Brewery (dogfish.com), Tito's Handmade Vodka (titosvodka.com), RSDMRKT.com, and Furnace Record Pressing, the official vinyl pressing plant of Record Store Day.   Please consider subscribing to our podcast wherever you get podcasts, and tell your friends, we're here every week and we love making new friends.  

For this episode I interview Music Professor from York University (Toronto ON, Canada), Grammy Award winner and author of the book Soulsville USA: The History of Stax Records Rob Bowman. This conversation is for the music lover as we dive into Stax Records, Stax Soulsville USA documentary that was just released on HBO/Max, Canadian pop music, Black music history, music industry and everything else in between. You don't want to miss this!!!! Follow Beyond The Album Cover wherever you stream podcasts, Official YouTube channel at Youtube.com/BeyondTheAlbumCover and on Facebook at Facebook.com/BeyondTheAlbumCover

Jessica and Dini travel back to February 23, 1996 - where cerulean blue and whammies are all the rage! Join us as we discuss our top 5 favorite moments from S3 EP17, Pusher!When Mulder and Scully investigate the mysterious death of a police officer, they piece together clues left behind by a contract killer named Robert Patrick Modell, who calls himself “Pusher” because of his apparent ability to talk his victims into killing themselves. This episode was written by Vince Gilligan and directed by Rob Bowman.Do you have any X-Files related theories, stories, key points or podcast feedback? Please email us at TheXFilesChatRoomPodcast@gmail.com We'd love to hear from you. Please tell us how we can improve!You can find us on:Twitter @TXFChatRoomPodInstagram @TXFChatRoomPodTikTok @TXFChatRoomPodResources: X-Files Wiki

Jessica and Dini travel back to March 19, 2000! Buckle up for the road trip from hell! Join us as we discuss our top 5 moments from S7 EP15, En Ami! When a terminally ill young boy in Virginia claims he was healed by angels, Mulder and Scully receive anonymous tips about the case. After Scully speaks to the boy and his family, she discovers CSM is behind the tips and the child's miraculous recovery. CSM then convinces Scully to go on a road trip with him, claiming he wants her to inherit the science that can cure cancer. This episode was written by William B. Davis and directed by Rob Bowman.  Do you have any X-Files related theories, stories, key points or podcast feedback? Please email us at TheXFilesChatRoomPodcast@gmail.com We'd love to hear from you. Please tell us how we can improve!You can find us on:Twitter @TXFChatRoomPodInstagram @TXFChatRoomPodTikTok @TXFChatRoomPodResources: X-Files Wiki

Reign of Fire is directed by Rob Bowman and starring Matthew McConaughey and Christian Bale, with the screenplay written by Matt Greenberg, Gregg Chabot, and Kevin Peterka. The film also features Izabella Scorupco and Gerard Butler.

Jessica and Dini travel back to February 9, 1997! Pick out something black and sexy and prepare to do some funky poaching. Join us as we discuss our top 5 favorite moments from S4 EP14, Memento Mori! After Scully reveals her cancer diagnosis to Mulder, they revisit an old case involving multiple women, purported abductees, who've developed similar symptoms after having a metal implant removed from the base of their necks. When Scully meets with the remaining survivor, Penny Northern, she decides to begin treatment in search of the truth. Meanwhile, Mulder, Skinner, and The Lone Gunmen take action to find a way to save Scully's life. This episode was written by Chris Carter, Vince Gilligan, John Shiban, and Frank Spotnitz. Directed by Rob Bowman. Do you have any X-Files related theories, stories, key points or podcast feedback? Please email us at TheXFilesChatRoomPodcast@gmail.com We'd love to hear from you. Please tell us how we can improve!You can find us on:Twitter @TXFChatRoomPodInstagram @TXFChatRoomPodTikTok @TXFChatRoomPodResources: X-Files WikiIMDBnative-land.ca

Dr. Rob Bowman is an apologist, biblical scholar, author, editor, and lecturer. He is also President of the Institute for Religions Research, which researches and responds to some of the most difficult objections leveled against Christianity by other religious or anti-religious movements.  If you would like to watch the YouTube clip we responded to, you can check that out on Alex O'Connor's channel, or go to Jesus Never Claimed to be God ( https://www.youtube.com/watch?v=C96FPHRTuQU ) . For the full interview, go to Did Jesus Even Claim to be God? Bart Ehrman Says No.... ( https://www.youtube.com/watch?v=2STiabRV8TE ) A few of Dr. Bowman's books were mentioned during this episode. These included his book co-authored with J. Ed Komoszewski, Putting Jesus in His Place: The Case for the Deity of Christ (Kregel, 2007), Jesus' Resurrection and Joseph's Visions: Examining the Foundations of Christianity and Mormonism (Deward Publishing, 2020), and Faith Has Its Reasons (IVP, 2006), co-authored with Ken Boa.

Jessica and Dini travel back to April 12, 1996! Listeners, be thou not afraid. No harm will come unto thee. Join us as we discuss our top 5 favorite moments from S3 EP20, Jose Chung's 'From Outer Space'! Aliens are abducted, Scully fangirls out, and Mulder eats an entire sweet potato pie. Mulder and Scully investigate a case involving the alleged alien abduction of two teenagers. Local law enforcement, Mulder, and Scully struggle to get to the truth of the matter after each of the witnesses recalls a different version of the same event. Tasked with writing a book about the story, author, Jose Chung, meets with Scully to get her version of the truth. This episode was written by Darin Morgan and directed by Rob Bowman. Do you have any X-Files related theories, stories, key points or podcast feedback? Please email us at TheXFilesChatRoomPodcast@gmail.com We'd love to hear from you. Please tell us how we can improve!You can find us on:Twitter @TXFChatRoomPodInstagram @TXFChatRoomPodTikTok @TXFChatRoomPodResources: X-Files WikiIMDBnative-land.ca

Jess and Dini travel back to January 26, 1996! Welcome to the land of the horny beast. Join us as we discuss our top 5 favorite moments from S3 EP13, Syzygy! Evil teenage girls, a cosmic “G” spot, and the world's most disgusting screwdriver. Mulder and Scully go to New Hampshire to assist a local detective with a case involving the mysterious murders of high school boys. Uncorroborated eyewitness accounts of demonic rituals being conducted usher in a panic, which leads the townspeople to believe the murders are being committed by Satanists. To further complicate matters, a rare planetary alignment is causing everyone in the town, including Mulder and Scully, to act abnormally. This episode was written by Chris Carter and directed by Rob Bowman. Do you have any X-Files related theories, stories, key points or podcast feedback? Please email us at TheXFilesChatRoomPodcast@gmail.com We'd love to hear from you. Please tell us how we can improve!You can find us on:Twitter @TXFChatRoomPodInstagram @TXFChatRoomPodTikTok @TXFChatRoomPodResources: X-Files WikiIMDBnative-land.ca

Recently, Dr. Bart Ehrman sat down and attempted to refute cherished Christian beliefs about the divinity of Jesus. Did he succeed? Dr. Rob Bowman says no! Join us for the first half of this exhilarating conversation as Dr. Bowman and Abdu discuss whether Jesus identified himself as God in the Gospels of Matthew, Mark, and Luke, and whether those Gospels contradict the Gospel of John on this matter. Dr. Rob Bowman is an apologist, biblical scholar, author, editor, and lecturer. He is also President of the Institute for Religions Research, which researches and responds to some of the most difficult objections leveled against Christianity by other religious or anti-religious movements. If you would like to watch the YouTube clip we responded to, you can check that out on Alex O'Connor's channel, or go to Jesus Never Claimed to be God. For the full interview, go to Did Jesus Even Claim to be God? Bart Ehrman Says No.... (https://www.youtube.com/watch?v=2STiabRV8TE) A few of Dr. Bowman's books were mentioned during this episode. These included his book co-authored with J. Ed Komoszewski, Putting Jesus in His Place: The Case for the Deity of Christ (Kregel, 2007), Jesus' Resurrection and Joseph's Visions: Examining the Foundations of Christianity and Mormonism (Deward Publishing, 2020), and Faith Has Its Reasons (IVP, 2006), co-authored with Ken Boa. All Rise is a listener and donor-supported presentation from Embrace the Truth. If you would like to see more content like this, prayerfully consider supporting us by visiting https://embracethetruth.org/ and clicking on the "Donate" button #AbduMurray #EmbraceTheTruth #Christianity #Apologetics #AllRisePodcast #RobBowman #BartEhrman #Jesus

Get ready as we dissect "Elektra" (2005) on the Bad Movies Rule Podcast. Directed by Rob Bowman, this flick promises more ninja action, but my step dad made promises too and look where that got us.Join us as we follow Jennifer Garner's portrayal of Elektra Natchios (not Nachos, sadly), an assassin with supernatural skills that she rarely uses, on a mission that's part NPC escort quest, part fighting F List characters, and all parts perplexing. With villains so dumb, they make you question why you're watching, and a plot trying so hard, it rivals a tween at a sleepover.But here's the million-dollar question: Does "Elektra" shine as an unintentional comedy gem in the superhero genre, or is it just a punchline in the grand joke of cinematic history? Join us as we slice and dice our way through the madness, delivering our verdict on whether "Elektra" is a hilariously electrifying hit or a super-powered "seriously, what were they thinking?" miss.Bad Movies Rule is a movie podcast about the movies you love even if no one else does.You can support Bad Movies Rule on Patreon here.You can join our community on Facebook and TikTok.You can email the show any movie-related questions for our mailbag episodes here.

This week we pick up in part two of our conversation with author and missionary to Latter-Day Saints Bill McKeever. Bill continues to share with the Watchman Fellowship 2023 mission team to Utah more difficulties about the official LDS Church accounts of the gold plates as well as some historical and textual difficulties with the LDS Book of Abraham. Bill McKeever founded Mormonism Research Ministry in 1979 with the hope of informing the Body of Christ about the differences between Mormonism and Christianity. He has also made an effort to reach out the many individuals who are members of the LDS Church, desiring to show them in gentleness and respect the truth about God's Word. His writings include In Their own Words: A Collection of Mormon Quotations (Morris Publishing, 2010), Answering Mormons' Questions: Ready Responses for Inquiring Latter-day Saints (co-authored with Eric Johnson, Kregel, 2013), and Mormonism 101: Examining the Religion of the Latter-day Saints (Baker, 2015). Related Links: Free links to some of our most popular podcasts on Mormonism, access to some of our key LDS articles and our free, 4-page Watchman Fellowship Profile on the Church of Jesus Christ of Latter-day Saints: Watchman Fellowship articles on Mormonism: watchman.org/LDS Watchman Fellowship Profile on the Church of Jesus Christ of Latter-day Saints: watchman.org/Mormonism Bill McKeever's ministry - Mormonism Research Ministry: MRM.org Apologetics Profile podcast What Is the Gospel? with Mormon apologist Scott Gordon and Christian apologist James Walker (YouTube):  watchman.org/GordonWalker  Apologetics Profile podcast "Jesus' Resurrection and Joseph's Visions," with Rob Bowman: watchman.org/1stVision Additional ResourcesFREE: We are also offering a subscription to our 4-page bimonthly Profiles here: www.watchman.org/Free.PROFILE NOTEBOOK: Order the complete collection of Watchman Fellowship Profiles (over 600 pages -- from Astrology to Zen Buddhism) in either printed or PDF formats here: watchman.org/notebook. SUPPORT: Help us create more content like this. Make a tax-deductible donation here: www.watchman.org/give.Apologetics Profile is a ministry of Watchman Fellowship For more information, visit www.watchman.org © Watchman Fellowship, Inc.

The Church of Jesus Christ of Latter-Day Saints is founded upon the Book of Mormon. But from where did the Book of Mormon originate? According to Joseph Smith, the founder of the LDS Church, the Book of Mormon comes from sacred gold plates he uncovered in 1827 near his home in Manchester, New York. What were these plates? How did Smith obtain them? How did he bring them back to his home? Where are they now? Find out this week and next as the Watchman Fellowship 2023 mission team to Utah sat down with author and missionary to LDS, Bill McKeever, of Mormon Research Ministry (mrm.org) to discuss these and other questions. Bill shares with us the history and stories behind the gold plates.Bill McKeever founded Mormonism Research Ministry in 1979 with the hope of informing the Body of Christ about the differences between Mormonism and Christianity. He has also made an effort to reach out the many individuals who are members of the LDS Church, desiring to show them in gentleness and respect the truth about God's Word. His writings include In Their own Words: A Collection of Mormon Quotations (Morris Publishing, 2010), Answering Mormons' Questions: Ready Responses for Inquiring Latter-day Saints (co-authored with Eric Johnson, Kregel, 2013), and Mormonism 101: Examining the Religion of the Latter-day Saints (Baker, 2015). Related Links: Free links to some of our most popular podcasts on Mormonism, access to some of our key LDS articles and our free, 4-page Watchman Fellowship Profile on the Church of Jesus Christ of Latter-day Saints: Watchman Fellowship articles on Mormonism: watchman.org/LDS Watchman Fellowship Profile on the Church of Jesus Christ of Latter-day Saints: watchman.org/Mormonism Bill McKeever's ministry - Mormonism Research Ministry: MRM.org Apologetics Profile podcast What Is the Gospel? with Mormon apologist Scott Gordon and Christian apologist James Walker (YouTube):  watchman.org/GordonWalker  Apologetics Profile podcast "Jesus' Resurrection and Joseph's Visions," with Rob Bowman: watchman.org/1stVision Additional ResourcesFREE: We are also offering a subscription to our 4-page bimonthly Profiles here: www.watchman.org/Free.PROFILE NOTEBOOK: Order the complete collection of Watchman Fellowship Profiles (over 600 pages -- from Astrology to Zen Buddhism) in either printed or PDF formats here: watchman.org/notebook. SUPPORT: Help us create more content like this. Make a tax-deductible donation here: www.watchman.org/give.Apologetics Profile is a ministry of Watchman Fellowship For more information, visit www.watchman.org © Watchman Fellowship, Inc.

A scorched Earth with nothing to live for - no, not reflections on our modern lives, but a look back at the 2002 dragon flick Reign of Fire, directed by Rob Bowman. Joe & Adam reflect on the proto-serious Christian Bale and scenery-chewing Matthew McConaughey (but have most time for the diamond in the rough Gerard Butler). They also dig into the post-apocalyptic genre, and Joe gets his size-14s stuck in an I-am-Legend shaped hole.

On the podcast this time, Steven and Sean are taking back their home from the fire-breathing scourges of the sky. We watched the 2002 film from Rob Bowman, Reign of Fire.Lurking deep below the earth in large pockets of open nothingness, a dark and fearsome brood of monsters lie in wait. Biding their time, or perhaps just snoozing for a long time, they will be the end of this world.The only two people who could possibly save us all from certain doom? Batman and David Wooderson (from Dazed and Confused, of course).When it comes to killing dragons, there's no one finer. They're ready in a moment's notice and are willing to lay their own lives on the line for the good of us all. With them in our corner, we've got nothing to worry about.(Recorded on March 15, 2023)Links to Stuff We Mentioned:Reign of Fire - The Movie Database (TMDB)Reign of Fire trailer - YouTubeBenedict Cumberbatch – Behind-the-Scenes of The Hobbit: Desolation of Smaug - YouTubeChristian Bale — The Movie Database (TMDB)Matthew McConaughey — The Movie Database (TMDB)Izabella Scorupco — The Movie Database (TMDB)Experiment: Coca Cola VS Mentos | MrGear - YouTubeThe Walking Dead (TV Series 2010–2022) — The Movie Database (TMDB)Follow Us:Give us a rating and review on Apple Podcasts!Our Buzzsprout site!Our Instagram profile!Support the show

This month's show honours Jackie Shane as Toronto unveiled a plaque at the location The Saphire Tavern stood where her incredible live album was recorded and declared Friday June 23rd Jackie Shane Day! Interviews with film producer Amanda Burt and grammy award winning ethnomusicologist Rob Bowman.Tune into new broadcasts of Girl About Town,1st, Monday 1 - 2 PM EST / 6 - 7 PM GMT.Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com//For more info visit: https://thefaceradio.com/girl-about-town Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Jess and Dini travel back to November 10, 1995! We discuss our Top 5 favorite moments of season 3 - episode 7, The Walk. Scully brings the heat! Mulder brings… dental x-ray plates? Mulder and Scully go to an Army hospital to investigate a patient with multiple suicide attempts who claims a phantom soldier won't let him die. When other officers and their families are targeted by this phantom soldier, Mulder suspects astral projection is involved. This episode was written by John Shiban (his debut!) and directed by Rob Bowman. Do you have any X-Files related theories, stories, key points or podcast feedback? Please email us at TheXFilesChatRoomPodcast@gmail.com We'd love to hear from you. Please tell us how we can improve!You can find us on:Twitter @TXFChatRoomPodInstagram @TXFChatRoomPodResources: X-Files WikiIMDB

This week Gary and Iain review and discuss, Reign of Fire (2002) by Director, Rob Bowman. Starring, Christian Bale, Matthew McConaughey and Izabella Scorupco. For more Off The Shelf Reviews: https://www.youtube.com/channel/UChWxkAz-n2-5Nae-IDpxBZQ/join Podcasts: https://offtheshelfreviews.podbean.com/ Follow us on Twitter: https://twitter.com/@OTSReviews Youtube: https://www.youtube.com/c/OffTheShelfReviews Facebook: https://www.facebook.com/OffTheShelfReviews Support us: http://www.patreon.com/offtheshelfreviews Twitch: https://www.twitch.tv/offtheshelfreviews Discord: https://discord.gg/Dyw8ctf

Intro: My guest in this episode is Dr. Rob Bowman, an expert on cults and heretical Christian sects. He is also a biblical scholar who has, since 1984, written 14 books and dozens of articles defending the truth of Christianity against error. In this podcast we discuss: How Rob got interested in cults while in college How his background as a biblical scholar helps him evaluate cults Secular and religious cults (or ‘heretical sects') and some examples The warning signs that a group may be a cult The importance of distinguishing between sociological and theological definitions of a cult Mormonism as a case study theologically (especially how they define “God”) and sociologically  The biblical, global, and historic understanding of what constitutes the essentials of the Christian faith An example of a cult becoming a legitimate, biblically grounded denomination and vice-versa Distinguishing strong leadership/authority from cultic leadership/authority How the prophets and Apostles in Scripture model strong but not cultic leadership/authority Good questions to ask to determine if a group is a cult (including the one question you should always start with) How all cults deviate on the nature of Jesus Different things cults mean when they affirm “Jesus is the Son of God” What cults mean by “We only go by the teachings of the Bible”--the role other authoritative texts or unique bible translations in cults Examples of cultic beliefs and practices from Jehovah's Witnesses, Mormonism, and Christian Scientism How most modern-day cults are just repackaged heresies of past centuries Why the three large U.S. cults (Christian heretical sects) arose in the same time and region, the dark side of Revivalism in the Second Great Awakening, and the lesson we should learn How “Restorationism” (the desire to restore the first-century church) lead to the establishment of many cults in the 19th century How “Rationalism” (the desire to only accept what we can fully understand) lead to the establishment of other cults in the 19th century If you discover you are in a cult, how do you get out? The “win-win” question you should ask if you think you are in a cult Websites to help you identify and understand groups that are cults (see websites below) The relationship between biblical illiteracy and a train wreck for your faith The importance of understanding the proper principles of biblical interpretation (hermeneutics) to identify and avoid the errors of cults Resources mentioned during our conversation: Institute for Religion Research - resources on cults, apologetic issues, and how to study the Bible Watchman Fellowship - a comprehensive index of cults Bible.org - helpful for resources for studying the Bible

Jess and Dini travel back to February 3, 1995! We recap Season 2 - Episode 15, Fresh Bones. Strange behaviour, suicide, racism, and torture.  Much like Chester Bonapart's french fries, we wish this episode would disappear.Mulder and Scully investigate the mysterious deaths of two Marines stationed at a refugee camp in North Carolina. While the military has ruled them both as suicides, Mulder suspects voodoo is to blame after he discovers the same ritual symbols were found in both of the scenes. This episode was written by Howard Gordon and directed by Rob Bowman. Do you have any X-Files related theories, stories,  key points or podcast feedback? Please email us at TheXFilesChatRoomPodcast@gmail.com We'd love to hear from you. Please tell us how we can improve!You can find us on:Twitter @TXFChatRoomPodInstagram @TXFChatRoomPodTraditional homeland acknowledgments are gathered from:https://native-land.ca/Resources: X-Files WikiIMDB

Jess and Dini travel back to January 3, 1999! We recap Season 6 - Episode 7, Terms of Endearment. There's a very sentimental demon loose in Virginia who just wants to be a dad and listen to Shirley Manson on his way to work. Mulder ditches his desk duty to investigate a woman's claim that a demon snatched her unborn child from her womb. While Scully suspects foul play from the mother, Mulder zeroes in on the father and believes the man is a demonic being with a long and dark history. This episode was written by David Amann and directed by Rob Bowman. Do you have any X-Files related theories, stories,  key points or podcast feedback? Please email us at TheXFilesChatRoomPodcast@gmail.com We'd love to hear from you. Please tell us how we can improve!You can find us on:Twitter @TXFChatRoomPodInstagram @TXFChatRoomPod

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