Podcasts about Roulettes

Willkommen zur neuen Ausgabe des Gesprächsthemen-Roulettes. Der Name ist wieder einmal Programm:Paul erzählt von seiner Vergangenheit als Schweinsaugen-Weitschlatzer, Gabi vom schönsten Kompliment der Welt und Philipp klärt auf, was es mit seiner Farbassoziationsgabe aus der letzten Live-Folge in Horn auf sich hat.Wenn ihr Themen, Ideen oder andere Fragen an Gabi, Paul & Philipp habt, einfach eine Mail an hallo@hawidehre.at schreiben. :)WERBUNGReiters Supreme Hotel im Burgenland:Adults Only Wellness auf höchstem Niveau. Mit SupremeHawi 10% auf Deinen nächsten Aufenthalt. Buchungscode: SupremeHawiRabatt: -10% auf ALLE RatentypenAb 2 Nächten einlösbar auf https://www.supremehotel.at/Der Bonuscode ist nicht auf bestehende Buchungen übertragbar.Pro Buchung kann nur ein Bonuscode eingelöst werden.Limitiertes Angebot. Keine Barablöse möglich.

Années 1960, les premiers skateboards fabriqués en série font leur apparition en Californie. Permettant aux surfeur.euses de sʹémanciper des hasards de la houle et de prolonger les plaisirs de la glisse sur le bitume, ils conquièrent rapidement un jeune public avide de liberté, de mode de vie alternatif et de nouveaux espaces urbains à découvrir : les surfeur.euses dʹasphalte sont nés et inspirent la jeunesse du monde entier. En 2028, le skateboard fera son entrée comme discipline officielle aux Jeux Olympiques de Los Angeles. Aujourdʹhui, de quoi le skateboard est-il le nom : de sport, de business, de loisir, dʹart de vivre ? De la pratique marginale à la reconnaissance, retour sur une discipline dite urbaine qui sʹest banalisée et institutionnalisée mais qui nʹa pas dit son dernier mot. Reportages de Christophe Canut Réalisation : Jonathan Haslebacher Production : Laurence Difélix Les invité.es: Helen Wyss, architecte et chercheuse en cultures urbaines, spécialiste du skate & Oli Bürgin, pionnier du skate en Suisse, organisateur dʹévénements et concepteur de skateparks

Jason Barnard is joined by music writer and artist Chris Wade to talk about The Kinks Are the Village Green Preservation Society. They discuss how the US tour ban pushed Ray Davies inward, the extraordinary run of Kinks singles, and what it means to preserve an England that probably never existed in the first place. Davies kept returning to the village green and its characters into the early 70s with the Preservation albums. The record’s influence spread slowly, and today it is treasured as one of the greatest British albums ever made. Further information Recorded at The CAT Club in July 2025 Chris Wade website Podcasts also available: The Kinks 1940-71, Shel Talmy, Bob Henrit – The Kinks, Argent, The Roulettes, The Kinks – Strange Brew tribute, Philip Norman on the Beatles, Bee Gees' Main Course with Bob Stanley This podcast is also available on Apple Podcasts, YouTube, Spotify, Google apps and all usual platforms The post The Kinks Are the Village Green Preservation Society appeared first on The Strange Brew .

Andrew Sandoval talks about THE KINKS – ALL DAY AND ALL OF THE NIGHT, The Day-By-Day Story Pt 1: 1940-1971, the new book he co-authored with the Doug Hinman. This is the most comprehensive record of the Kinks’ early career ever assembled. Andrew and Jason Barnard cover what it actually took to document The Kinks, from chasing down Shel Talmy’s original studio invoices (Pye Records kept almost no paperwork). They dig into Ray Davies’ songwriting arc, the commercial failure of Village Green Preservation Society and Arthur, the on-stage fight in Cardiff that nearly ended the band in 1965, and the years of visa problems that kept the Kinks out of America. There’s also a discussion of Ray’s unreleased material that were better than most bands’ released work, why Ray refused to release ‘Pictures in the Sand’ for decades, and how the Granada Television deal that funded Arthur eventually fell apart. Further information beatlandbooks.com Podcasts also available: Shel Talmy, Bob Henrit – The Kinks, Argent, The Roulettes, The Kinks – Strange Brew tribute, Philip Norman on the Beatles, Bee Gees' Main Course with Bob Stanley This podcast is also available on Apple Podcasts, YouTube, Spotify, Google apps and all usual platforms The post The Kinks 1940 to 1971 appeared first on The Strange Brew .

Bob Henrit is a prominent English rock drummer best known for his long-term memberships in the bands Argent and The Kinks * Early Years: He first gained attention in the 1960s with The Roulettes, who served as the backing band for singer Adam Faith. * Argent (1969–1976): As a founding member, he played on hits like "Hold Your Head Up" and remained with the group until they disbanded. * The Kinks (1984–1996): Henrit replaced original drummer Mick Avory and performed with the band until their split in the mid-90s. * Session Work: He has a prolific session history, contributing to tracks such as Unit 4 + 2's "Concrete and Clay" and working with artists like Roger Daltrey and Dave Davies.  * Author & Historian: In 2013, he published his autobiography, Banging On, and has written extensively for music publications like International Musician. * Business: He owned Henrit's Drum Store in London, a famous hub frequented by legendary drummers including Ringo Starr and Keith Moon. * Recent Years: Henrit has been open about his Parkinson's disease diagnosis, discussing how he manages the condition while staying active in the music community.  Bob is without doubt one of my favourite people and a fabulous drummer, he has so many remarkable stories to share and is always happy to do so! if you are lucky enough to see Bob at a drum show or event go and have a chat with him, you won't regret it! Thanks for your time Bob!

In dieser Episode freue ich mich, »Dem Pudels Kern« gemeinsam mit Thomas Pisar auf den Grund zu gehen. Worum es gehen wird, wird klar, wenn wir Thomas kurz vorstellen: Thomas ist Physiker, Keynote-Speaker, Executive Advisor und Autor zweier Bücher: Die Pisar Studien und Komplexität als Stärke. Fokus in diesem Gespräch ist hauptsächlich Letzteres. Er ist auch Gastkolumnist in „Die Presse“. Er hat viele Jahre Erfahrung als Manager und zum Schluss als Director in der A1 Telekom Austria gemacht. Ein Umfeld, das reichhaltig zum Sammeln von Erfahrungen rund um das Thema Komplexität ist, besonders eben im unternehmerischen Umfeld. Hexenmeister oder Zauberlehrling? Die Wissensgesellschaft in der Krise Das Buch zum Podcast!  Heute steht Komplexität und wie wir damit umgehen können, wenn die Dinge unsicher und nicht mehr berechenbar sind, im Zentrum seiner Keynotes, Beratungen, Bücher und Trainings. Und genau darüber werden wir auch in der Episode sprechen. Sein Anliegen ist es, einen Weg aufzuzeigen, wie man zusätzlich zum Effizienzgedanken in der komplizierten auch in der komplexen Domäne erfolgreich handlungsfähig bleiben kann. In dieser Episode wird ein leitender Gedanke sein: vom Teil zum Ganzen und zurück. Wie kann man komplizierte Teile eines Systems verbessern, ohne das komplexe Ganze zu kompromittieren? Sind Naturwissenschaften (als Studium) eine gute Grundlage für verschiedenste Aufgaben, Jobs? Zumindest um strukturiertes, rationales Denken zu lernen? Verwechseln wir Wissen und Expertise – Techne/Ars vs. Episteme/Scientia? Heute spricht man auch häufig von tacit (implizitem) und explicit knowledge – was sind die Folgen davon? Besonders auch im Unternehmen? »Der Inhalt definiert die Form und nicht umgekehrt. Die Methodik ist wichtig, aber sollte dem Inhalt folgen.« Aus welchen Teilen besteht ein Unternehmen eigentlich? Wie ist das Wechselspiel zwischen Business Model und Operating Model? Was hat implizites und explizites Wissen damit zu tun? Warum könnten hier Grenzen der KI liegen? Was lernt KI eigentlich? Wie sehen Machtstrukturen im Unternehmen aus? Welche Rolle spielt das Organigramm in der Praxis? Wie geht man mit dem Unterschied zwischen expliziten und impliziten Hierarchien um? Suchen wir den Schlüssel unter der Laterne, wo das Licht brennt und nicht dort, wo wir ihn verloren haben? Warum scheitert das Naheliegende so häufig: Nach einem Problem wird die politische Spitze oder der Vorstand ausgetauscht – aber es ändert sich nichts. »Die Struktur prägt das Verhalten in der Organisation.« Hat nicht die Kybernetik der 1960er- und 1970er-Jahre viele der Fragen aufgegriffen und richtig beschrieben, oder wenigstens die richtigen Fragen aufgeworfen? Was ist aus der Kybernetik geworden? »Kompliziert kann ich berechnen, komplex kann ich nicht berechnen, kann ich nur ausprobieren.« Was passiert dann, wenn die Prognose selbst das System beeinflusst? »Das Modell verändert die Realität und umgekehrt.« Damit werden Modelle komplexer adaptiver Systeme noch problematischer als Modelle von »nur« komplexen Systemen. Lässt sich dies aber positiv, konstruktiv nutzen? »Wer spricht über Mut? Die Leute, die Angst haben.« Warum fallen wir in Europa mit jedem Jahr international weiter zurück? »Innovation entsteht nicht dadurch, dass ich eine Innovationsabteilung gründe.« … sondern eher das Gegenteil dürfte der Fall sein. Wodurch aber entsteht Innovation? Aspirin als Beispiel der Überschneidung von Innovation und explizitem sowie implizitem Wissen. Was ist Exaptation? Stuart Kauffman spricht dabei von Darwinian Preadaptations. Was ist Assembly Theory und warum kann diese auch für das Verständnis von Innovation relevant sein? »Ein komplexes System steuerst du nicht, indem du noch mehr Regeln daraufpackst. Es gibt immer viel mehr Möglichkeiten als du jemals Regeln definieren kannst.« Das kann zu durchaus kurios wirkenden Erkenntnissen führen, wie Rory Sutherland es ausdrückt: »The opposite of a good idea can also be a good idea.«, »If there would be a logical answer we would have already found it« Wie gehen wir im Unternehmen damit um? »Best Practice ist völlig unangebracht in einer komplexen Fragestellung« Warum die Suche nach dem Beleg der eigenen Idee keine Wissenschaft ist, leider aber in der Fachliteratur immer häufiger wird. Wenn 10.000 Menschen einen Russisch-Roulette-Wettbewerb starten und einmal pro Woche »spielen« – bleibt nach rund neun Monaten also ca. 40 Wochen ein »Gewinner« über. Darf dieser »Meister des russischen Roulettes« genannt werden, weil er das Spiel am besten beherrscht? Warum machen wir aber genau das regelmäßig in Politik und Wirtschaft? »Viele Probleme werden rational verstanden, ändern aber das Verhalten in keiner Weise.« Soziale und andere nicht-rationale Gründe treiben oftmals das Verhalten von Organisationen – auch wenn Rationalität »gespielt« wird. Hat sich ab Mitte des 20. Jahrhunderts etwas Grundsätzliches verändert, eine Managerial Class entwickelt, die Unternehmen grundsätzlich anders denken? Wird die pseudo-rationale Begründung (des Scheiterns) erfolgreicher als richtig zu entscheiden? »Die Struktur fördert dieses Verhalten und bringt auch entsprechende Charaktere nach oben.« Und dieses Verhalten ist bemerkenswert vorhersehbar: »Show me the incentives and I show you the outcome«, Charlie Munger Warum also ins persönliche Risiko gehen und das tun, was man für richtig hält, wenn man den einfacheren und für die eigene Person (jedenfalls kurzfristig) sichereren Weg gehen kann? Sind die Erwartungen an CEOs unterschiedlich in Europa und in anderen Nationen? Was sind die Rahmenbedingungen, dass eine Organisation weder in der Erstarrung noch im Chaos landet? Wäre Management das Talent, eine Organisation »on the edge of chaos« zu halten – um mit Stuart Kauffman zu sprechen? »Alles optimiert, kein Gramm Fett mehr, aber dann ändert sich die Umwelt.« Was nun? »Wenn ich Komplexität ständig reduziere, dann kann ich nicht mehr auf die Komplexität mit der ich konfrontiert bin, reagieren. […] Nur Komplexität kann Komplexität aus dem Außen absorbieren.« Was bedeutet dies ganz konkret im Unternehmen? By Cruccone - Own work, CC BY 3.0 Einschub: Justo Gallego Martínez, der Mann, der ein Leben lang alleine eine Kathedrale baut, ist eindrucksvoll, aber kaum ein Modell für unsere moderne Welt. »Unternehmen überleben, wenn sie in einem gesunden, dynamischen Gleichgewicht mit ihrer Umwelt stehen. […] Man muss sich nicht anpassen, man muss aber auch nicht überleben« Aussterben ist Teil der Evolution und staatliche und andere zentralisierte Eingriffe ändern das nicht, machen es nur schwerer, teurer und schmerzhafter. Was ist die Rolle und die Gefahr, die in Key Performance Indicators (KPIs) liegen? Anders gesagt: Wie kann Leistung in der Praxis gemessen und bewertet werden? »Wenn es leichter ist, die Kennzahl zu gamen, als tatsächlich das, was dahintersteht, zu erfüllen, dann wird das System immer den Weg der geringeren Energie suchen.« Welche Beispiele gibt es dafür? Accountability Sink als (implizit) gewünschtes Ergebnis mancher oder vieler Organisationen? Darf man mit KPIs Leistung messen? Besonders individuelle? »Jede Messung ist eine Intervention.« Wie kann Verantwortung zugeordnet werden? Ohne persönliche Verantwortung entgleist jedes System. Was bedeutet Resilienz, Fragilität, Antifragilität und Robustheit unter diesen Rahmenbedingungen? Also, wie reagieren Systeme auf Störungen? Wie kann man verhindern, nur Beifahrer der Geschichte zu werden? Muss Fragilität immer vermieden werden? Ein Produkt zu entwickeln bedarf völlig anderer Fähigkeiten als es zu skalieren. Wie geht man mit dieser zeitlichen Dimension erfolgreich um? Was waren die »Wild Ducks« der IBM? »Manchmal kann man auch mit Verschlafen gewinnen.« Wie steht es mit Europa? »Es ist keine Frage des Könnens – es geht meines Erachtens darum, aus der Vollkaskomentalität herauszukommen.« Kein Risiko einzugehen ist das größte Risiko. Referenzen Andere Episoden Episode 144: Was ist Fortschritt? Ein Gespräch mit Dr. Daniel Stelter aus ökonomischer Perspektive Episode 141: Passagier oder Steuermann? Ein Gespräch mit Markus Raunig Episode 139: Komfortable Disruption Episode 138: Im Windschatten der Narrative, ein Gespräch mit Ralf M. Ruthardt Episode 137: Alles Leben ist Problemlösen Episode 135: Friedrich Hayek und die Beschränktheit der menschlichen Vernunft. Ein Gespräch mit Nickolas Emrich Episode 129: Rules, A Conversation with Prof. Lorraine Daston Episode 128: Aufbruch in die Moderne — Der Mann, der die Welt erfindet! Episode 125: Ist Fortschritt möglich? Ideen als Widergänger über Generationen Episode 123: Die Natur kennt feine Grade, Ein Gespräch mit Prof. Frank Zachos Episode 122: Komplexitätsillusion oder Heuristik, ein Gespräch mit Gerd Gigerenzer Episode 121: Künstliche Unintelligenz Episode 111: Macht. Ein Gespräch mit Christine Bauer-Jelinek Episode 109: Was ist Komplexität? Ein Gespräch mit Dr. Marco Wehr Episode 99: Entkopplung, Kopplung, Rückkopplung Episode 90: Unintended Consequences (Unerwartete Folgen) Thomas Pisar Homepage von Thomas Pisar Führungsstil in komplizierten und komplexen Prozessen, confare Thomas Pisar, Die Pisar Studien (2025) Thomas Pisar, Komplexität als Stärke, Wiley (2026)   Fachliche Referenzen Dejan Stojanovic, Fuckup Nights  Royston M. M. Roberts, Serendipity: Accidental Discoveries in Science, Wiley (1989) Nobelprice for their discoveries concerning “prostaglandins and related biologically active substances”. (Aspirin) (1982) Stuart Kauffman, Reinventing the Sacred: A New View of Science, Reason, and Religion, Basic Books (2010) Abhishek Sharma et al, Assembly theory explains and quantifies selection and evolution, Nature (2023) William Ross Ashby, An Introduction to Cybernetics, Wiley (1956) Six Sigma Dave Snowden, Making Sense of Complexity Rory Sutherland, 10 Rules of Alchemy (2020) Eric Ries, The Lean Startup: How Today's Entrepreneurs Use Continuous Innovation to Create Radically Successful Businesses Taschenbuch, Crown (2017) Frederic Laloux, Reinventing Organisations, Nelson Parker (2016) Malcolm Gladwell (keine Empfehlung) Russian Roulette: Nassim Taleb, The Precautionary Principle (2014) James Burnham, The Managerial Revolution; What is Happening in the World, John Day Company (1941) Charlie Munger, The Power of Incentives  Stuart Kauffman, At Home in the Universe: The Search for the Laws of Self-Organization and Complexity, Oxford University Press (1996) The man who built a cathedral with his own hands, BBC (2022) Dan Davies, The Unaccountability Machine, Why Big Systems Make Terrible Decisions - and How The World Lost its Mind, Profile Books (2024) Clayton M. Christensen, The Innovator's Dilemma, with a New Foreword: When New Technologies Cause Great Firms to Fail, Harvard Business Press (2024)

Tous les matins à 8H10, on vous donne des infos aléatoires du monde.

Ecoutez RTL Matin avec Thomas Sotto du 23 février 2026.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

The light will win is the theme of today's National Day of Mourning to honour the victims of the Bondi terrorist attack. In this edition of The Conversation Hour we meet an artist for whom the theme has special resonance. Joel Adler is the artist behind a behind a sculptural Hanukkiah titled 'Sunnukiah' being used as a temporary memorial at Bondi and he joined the program to discuss the meaning and significance of the piece. We are also joined later in the program by Lynda Ben-Menashe, president of the National Council of Jewish Women Australia who shared her reflections on the day and the notion of mitzvah.Also in this edition we talk why Gen X might need a rebrand, hear what it is to fly The Roulettes and get all the latest from the tennis.

durée : 00:03:33 - Le Billet de Daniel Morin - par : Daniel Morin - Le championnat du monde de frites, ça, ça intéresse Daniel Morin ! Le vélo et la moto par contre... non ! Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:03:33 - Le Billet de Daniel Morin - par : Daniel Morin - Le championnat du monde de frites, ça, ça intéresse Daniel Morin ! Le vélo et la moto par contre... non ! Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Matchweek 3 of the Singapore Premier League had it all - red cards, refereeing controversy, and late late drama. From Balestier’s last-gasp winner to the Sailors’ seven-goal showcase, plus a standout performance from Ong Yu En, Sports Minutes breaks down the biggest talking points.Got a story to tell? Get in touch!raushan@sph.com.sgSee omnystudio.com/listener for privacy information.

Miss JB For Breakfast?JB caught up with Kevin Anderson, Member for Tamworth, about a reversal on arts funding throughout the state. Find out more here!Plus, dancers from the Tamworth Stars competition, The Roulettes, joined JB for a chat about an exciting fundraising event they have coming up on Friday night. Find out all about that and more in this edition of the JB For Breakfast Catch Up!

À Kiruna, en Laponie suédoise, se déroule un déménagement spectaculaire : celui d'une église. Ce déplacement s'inscrit dans le cadre du déménagement progressif de la ville, entamé il y a 20 ans, en raison de l'exploitation d'une mine de fer qui fragilise le sol. L'église, un édifice en bois rouge de 40 mètres de haut et pesant plus de 700 tonnes, est transportée sur une plateforme à roulettes sur 5 kilomètres.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

June 18th, 2025. Tommy Unit LIVE!! #632 – Tonight we took a little preview at the bands you’ll see at the Oh Bondage, Up Yours festival this weekend at Our Wicked Lady in Brooklyn, NY. Brought to you by Fear City Fun Fest! Female and female fronted bands Friday AND Saturday! DETAILS HERE! Turn it … Continue reading Tommy Unit LIVE!! #632 →

Jusqu'u 14 septembre 2025, le Design Museum Brussels présente l'exposition itinérante « Skateboard », un projet du Design Museum de Londres. L'exposition explore le développement du design du skateboard sur sept décennies, en se concentrant sur son évolution technologique, performative et esthétique. C'est l'occasion pour Nicolas Bogaerts de se replonger dans ses souvenirs d'enfance en planche à roulette et de rencontrer Arnaud Bozzini, directeur du Design Museum de Bruxelles, pour retracer l'histoire du Skateboard et de son impact culturel. Sujets traités : Skateboard, Londres, roulettes, planche Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

durée : 00:15:15 - Bienvenue chez vous : on passe en cuisine, ici Alsace - Envie d'une pause gourmande et ludique ? Holly's Diner à Strasbourg, vous accueille dans une ambiance vintage avec des plats faits maison et un service original.

AU SECOURS !!! Mirage est en danger ! Mais heureusement, Artis et Gousse sont là pour l'aider. Mais pour cela, ils vont devoir faire une course plutôt... inattendue ! -- UN NOUVEL ÉPISODE TOUS LES MERCREDIS !Artis et Gousse d'ail est un podcast pour les 6-10 ans, réalisé et interprété par Simon Lauris et écrit par Thomas Le Petit-Corps.Pour soutenir Artis et Gousse d'ail dans leurs aventures, vous pouvez laisser un commentaire et 5 étoiles sur toutes les plateformes d'écoute.Et, si vous voulez leur écrire, vous pouvez leur envoyer un message sur Facebook ou Instagram ou à l'adresse suivante :artisetgoussedail@gmail.comÀ très vite ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Nuevo episodio de esta serie en donde rescatamos singles que llegaron a su puesto más alto en las listas pop de EEUU en este mismo mes de hace 60 años.Playlist;(sintonía) THE VENTURES “Diamond head” (top 70)THE RIGHTEOUS BROTHERS “You’ve lost that lovin feelin” (top 1)GARY LEWIS and THE PLAYBOYS “The diamond ring” (top 1)THE KINKS “All day and all of the night” (top 7)THE ROLLING STONES “Heart of Stone” (top 19)ADAM FAITH and THE ROULETTES “It’s alright” (top 31)THE ZOMBIES “Tell her no” (top 6)ALVIN CASH and THE CRAWLERS “Twine time” (top 14)DOBIE GRAY “The “In” Crowd” (top 13)SAM COOKE “Shake” (top 7)OTIS REDDING “That’s how strong my love is” (top 74)THE AD LIBS “The boy from New York City” (top 8)THE DRIFTERS “At the club” (top 43)THE BEAU BRUMMELS “Laugh laugh” (top 15)THE FOUR SEASONS “Bye, Bye, Baby (Baby, Goodbye)” (top 12)SUE THOMPSON “Paper tiger” (top 23)TIMI YURO “You can have him” (top 96)BRENDA LEE “Thanks a lot” (top 45)BOBBY DARIN “Hello Dolly” (top 79)Escuchar audio

Le revival des rollers et patins à roulettes Merci pour votre écoute N'hésistez pas à vous abonner également aux podcasts des séquences phares de Matin Première: L'Invité Politique : https://audmns.com/LNCogwPL'édito politique « Les Coulisses du Pouvoir » : https://audmns.com/vXWPcqxL'humour de Matin Première : https://audmns.com/tbdbwoQRetrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Retrouvez également notre offre info ci-dessous : Le Monde en Direct : https://audmns.com/TkxEWMELes Clés : https://audmns.com/DvbCVrHLe Tournant : https://audmns.com/moqIRoC5 Minutes pour Comprendre : https://audmns.com/dHiHssrEt si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

[SPONSORISÉ] A la fin de l'année 2012, un mystérieux financier débarque à Paris pour réaliser son plus grand rêve : implanter un village gastronomique, en plein cœur de la capitale.Dans cet épisode, vous avez entendu les voix de Manon Provost et Antonin BonnetLa Jeune Rue est une production Nouvelles Écoutes et Everybody on DeckUn podcast écrit et interprété par Paul-Henry BizonRéalisé par Aurore MahieuProduit par Julien NeuvilleProducteurs associés Joé Baudot et Didier CresteMontage et mixage de Tim DornbuschDirectrice générale adjointe : Nora HissemDirectrice des productions : Marion GourdonDirectrice artistique : Aurore MahieuChargée de développement : Pietra ReginatoChargée de production : Lila Bordelais avec l'aide de Jeanne ParavertResponsable marketing et distribution : Nicolas ProkopiadisAssistante de production : Bérénice ZaphiniCover : Victoria Mame Enregistrements chez Motif Studio par Arthur Kern et Jeanne BylMusique de Universal Music ProductionArchives INA :19/20 Edition nationale, France 3, 8 février 202319/20 Edition Paris Ile de France, France 3 Région, 7 février 2015Extraits du Supplément de Canal + du 13 avril 2014Tous droits réservés

[SPONSORISÉ] A la fin de l'année 2012, un mystérieux financier débarque à Paris pour réaliser son plus grand rêve : implanter un village gastronomique, en plein cœur de la capitale.Dans cet épisode, vous avez entendu les voix de Manon Provost et Antonin BonnetLa Jeune Rue est une production Nouvelles Écoutes et Everybody on DeckUn podcast écrit et interprété par Paul-Henry BizonRéalisé par Aurore MahieuProduit par Julien NeuvilleProducteurs associés Joé Baudot et Didier CresteMontage et mixage de Tim DornbuschDirectrice générale adjointe : Nora HissemDirectrice des productions : Marion GourdonDirectrice artistique : Aurore MahieuChargée de développement : Pietra ReginatoChargée de production : Lila Bordelais avec l'aide de Jeanne ParavertResponsable marketing et distribution : Nicolas ProkopiadisAssistante de production : Bérénice ZaphiniCover : Victoria Mame Enregistrements chez Motif Studio par Arthur Kern et Jeanne BylMusique de Universal Music ProductionArchives INA :19/20 Edition nationale, France 3, 8 février 202319/20 Edition Paris Ile de France, France 3 Région, 7 février 2015Extraits du Supplément de Canal + du 13 avril 2014Tous droits réservés

Tous les matins, à 6h10 et 6h50 sur Chérie FM, Tiffany Bonvoisin nous présente une info qui l'a marquée, dont on va tous parler dans la journée !

For today's episode, I chat with Brooklyn-based riot grrrl veterans The Roulettes about reuniting and recording their brand new upcoming EP 'Mommy Comes Back' after a 20-year hiatus. We also discuss our favorite diner-themed movies and how the band randomly ended up in a scene in Carrie Brownstein's memoir.  ✨ MORE ABOUT THE ROULETTES ✨ The Roulettes are a three-piece riot grrrl surf punk band with a girl group essence from Brooklyn, New York. They were featured in Kathleen Hanna's documentary The Punk Singer and also helped organize the Kathleen Hanna tribute show that was featured in the film. After a 20-year hiatus, the band has reunited and are set to release their new EP Mommy Comes Back in October.  ✨ KEEP UP TO DATE WITH THE ROULETTES ✨ Instagram: ⁠instagram.com/theroulettesnyc⁠ Bandcamp: ⁠https://theroulettesnyc.bandcamp.com⁠ Facebook: ⁠https://www.facebook.com/theroulettes/⁠ Spotify: ⁠https://open.spotify.com/artist/0N4HjTy⁠ ✨ CONNECT WITH IZZY ✨ YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠youtube.com/channel/UCv6SBgiYCpYbx9BOYNefkIg⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠agrrrlstwosoundcents.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠instagram.com/agrrrlstwosoundcents/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠twitter.com/grrrlsoundcents⁠⁠⁠⁠

Encore une belle tentative d'arnaque dans l'appel trop con d'aujourd'hui. Les ambulances Martin ont décidé d'escroquer la sécurité sociale, en allant emprunter des chaises de bureau, puis en les déclarant comme des fauteuils roulants. Vous sentez l'embrouille ? Imaginez : si vous vendiez du matériel de bureau, que le téléphone se mettait à sonner dans le magasin, ça pourrait donner ça...

Encore une belle tentative d'arnaque dans l'appel trop con d'aujourd'hui. Les ambulances Martin ont décidé d'escroquer la sécurité sociale, en allant emprunter des chaises de bureau, puis en les déclarant comme des fauteuils roulants. Vous sentez l'embrouille ? Imaginez : si vous vendiez du matériel de bureau, que le téléphone se mettait à sonner dans le magasin, ça pourrait donner ça.

In an electrifying episode of "Champion This," Chelsie Hill, founder of the Roulettes, shares her journey from a life-altering spinal cord injury to pioneering the largest wheelchair dance team. Her engrossing narrative encompasses empowerment, representation, and community impact. Discover how her vision led to groundbreaking initiatives like the Rollette's Experience and Boundless Babes mentorship program. Join Brianna Salvatore Dueck and Chelsea Poppens as they delve into the awe-inspiring world of disability representation and female empowerment with the exceptional Chelsie Hill.   ABOUT OUR GUEST: Chelsie Hill is a professional dancer, community leader, content creator, influencer, wife, mother, and serial entrepreneur. She is the founder of Roulettes, a Los Angeles-based wheelchair dance team committed to promoting education, disability representation, and female empowerment. Additionally, Chelsie founded the Roulettes Experience, the largest women's empowerment weekend for women and children with disabilities, and the Boundless Talent Showcase, a competition for talents of all genders and disabilities. YouTube Apple Podcast Spotify FOLLOW CHAMPION THIS:  Instagram Facebook TikTok CHELSIE'S SOCIALS:  Instagram TikTok YouTube REFERENCES: The Rollettes Website Chelsie's Website World of Dance Performance    

Welcome to Episode #446 - Today we discuss POSTAL TAGS and the Kansas City Roulettes.

La roue, voilà une invention fondamentale et déterminante dans l'évolution de l'humanité. Alors qui l'a inventée? Un indice, c'est pas monsieur Wheel, ni Madame Roue. Elle est tellement devenue essentielle qu'on pourrait même se demander aussi: comment on faisait, avant la roue, ou dans des civilisations comme chez les Mayas où la roue ne s'était pas encore rendue? Avec Baptiste Zapirain et Charles Trahan Une production QUB, Mai 2024Pour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

Le secteur de la bagagerie a connu une hausse de 17% l'an dernier, porté par le retour des touristes et des voyages en avion ou en croisière. On achète aussi des valises un peu plus chères pour qu'elles durent plus longtemps. Ecoutez L'éco & You avec Martial You du 30 avril 2024

Le secteur de la bagagerie a connu une hausse de 17% l'an dernier, porté par le retour des touristes et des voyages en avion ou en croisière. On achète aussi des valises un peu plus chères pour qu'elles durent plus longtemps. Ecoutez L'éco & You avec Martial You du 30 avril 2024

Encore une belle tentative d'arnaque dans l'appel trop con d'aujourd'hui. Les ambulances Martin ont décidé d'escroquer la sécurité sociale en allant emprunter des chaises de bureau, puis en les déclarant comme des fauteuils roulants. Vous sentez l'embrouille ? Ben imaginez : si vous vendiez du matériel de bureau, que le téléphone se mettait à sonner dans le magasin, ça pourrait donner ça.

Encore une belle tentative d'arnaque dans l'appel trop con d'aujourd'hui. Les ambulances Martin ont décidé d'escroquer la sécurité sociale en allant emprunter des chaises de bureau, puis en les déclarant comme des fauteuils roulants. Vous sentez l'embrouille ? Ben imaginez : si vous vendiez du matériel de bureau, que le téléphone se mettait à sonner dans le magasin, ça pourrait donner ça...

Regarding Americana music singer-songwriters, do you enjoy discovering and being moved by stories that include love, eclectic music, tragic loss of friends, banjos and amputations? Who doesn't? Well, Angie Heimann and Cas Sochacki, share such stories in this interview as The Blushin' Roulettes. Oh, did I mention they saved their dog's life the morning of the interview? Angie and Cas, both beautiful humans,  have been making Americana and Bluegrass music and traveling for a while now,  separately and together. In the process they have collaborated with other beautiful humans in creating and curating a collection of songs that entertain as well as offer healing.Mentioned in our conversation were quite a few names of musical friends and collaborators. You can learn more about them with these links:The Blushin' Rouletteshttps://blushinroulettes.com/Michael McNevinhttps://michaelmcnevin.com/Pacific Songwriting Camphttps://songcamps.org/Jay Brownhttps://jaybrownmusic.com/Aditi Sethihttps://aditimusic.com/The Ladleshttps://www.theladles.com/The Appalalucianshttps://theappalucians.com/The Lazybirdshttps://lazybirds.net/

Chaque samedi, retrouvez une histoire pour tout apprendre d'un personnage, d'un objet iconique, d'un monument. Certains ont changé le monde, et dans tous les cas ils sont tous entrés dans la légende. Dans cet épisode, Laurent Marsick raconte l'histoire de Zinédine Zidane, le roi des roulettes.

durée : 00:03:56 - Les P'tits Bateaux - par : Camille Crosnier - Valentine se demande s'il y a une différence entre les patins à roulettes et les rollers ? Pour lui répondre, Alexandre Chartier, un passionné de roller, fondateur et webmaster du site rollerenligne.com. - réalisé par : Stéphanie TEXIER

Join Ian and Sven for a one off Voices of Russ Ballard special featuring the legendary drummer Bob Henrit (Kinks, Argent, Unit 4 Plus 2, Adam Faith and the Roulettes).  Bob talks about his new project “Borough Beats” which is a local exhibition celebrating many of the talented musicians who grew up in the Borough of Broxbourne including Cliff Richard, The Shadows, The Roulettes, Russ Ballard and of course, Bob himself.The exhibition runs until June 2024. 

Écoutez "Lis-moi une histoire vraie" du 28 juillet 2023 avec Laurent Marsick. Dans cet épisode, l'histoire de Zinédine Zidane, racontée par Éric Silvestro. En partenariat avec Gallimard Jeunesse, Laurent Marsick vous propose chaque jour une histoire vraie pour les enfants à retrouver sur RTL et en podcast sur RTL.fr. Chaque histoire est lue par un ou une journaliste de la rédaction de RTL.

Focusmate link: https://www.focusmate.com/?_from=anna66A little outtake: "I wonder if anyone has the right to give advice without being asked. There are so many advice-givers out there it can be extremely overwhelming. An information overload can be mentally exhausting and costs a lot of time. Sometimes it confuses one more than it helps. That's why I try to stick to my one and only best advice giver: myself. And what I mean with myself is the combination of my intuition, mind and heart. I put them in a boat together, let them discuss the topic, and when they are on the same page: I get the answer. The answer shall always be obvious. A 100% yes - that's when I do it. If there is 99% yes - well, that's not enough for me. No matter the consequences, I will not do it."Duration: 13 minutes Enjoy!Hugs, AnnA

Certaines inventions sont tellement ancrées dans notre quotidien que nous ne les voyons plus comme des innovations. C'est le cas, entre bien d'autres, du téléphone portable ou...de la valise à roulettes.En effet, nous avons oublié le temps où le seul moyen de transporter sa valise était de la tenir par la poignée. Porter cet objet parfois très lourd sur un quai de gare provoquait des douleurs au dos et nécessitait des arrêts fréquents, au risque de rater son train.Et voilà qu'en 1970, l'Américain Bernard Sadow invente la valise à roulettes. C'est dans un aéroport qu'il en a l'idée. Il y voit un employé déplacer une charge volumineuse sur un chariot à roulettes. Pourquoi une valise n'en serait-elle pas équipée elle aussi ?Bernard Sadow pense que son idée, très ingénieuse, aidera à soulager les voyageurs. Il croit qu'elle sera donc acceptée sans difficulté. En quoi il se trompe.En effet, les professionnels ne veulent pas de ce nouveau type de valise. Ils sont persuadés qu'ils ne pourraient la vendre qu'à leur clientèle féminine. Jamais un homme d'accepterait de tirer une valise de la sorte.S'il le faisait, sa force serait remise en question, donc sa virilité. Malgré tout, la valise à roulettes a fini par s'imposer. Ce qui n'empêche pas les stéréotypes machistes d'avoir la vie dure, puisque, dans une publicité de 2004 vantant un nouveau modèle de valise à roulettes, c'est encore une femme qui la tire.Cette valise a d'ailleurs évolué. Au départ, elle était placée debout, puis tirée au moyen d'une sorte de laisse. Ce qui obligeait les passagers trop grands à marcher le dos courbé.Aujourd'hui, la plupart des modèles sont pourvus d'une tige télescopique, qui s'adapte à chaque voyageur. On doit l'invention de cette valise à un pilote de ligne, qui en a d'abord réservé la primeur à ses collègues.Il existe des variantes, puisque certains modèles de valises sont équipés, non pas de deux, mais de quatre roulettes. Ce qui, du moins aux yeux de certains, facilite encore leur transport. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Certaines inventions sont tellement ancrées dans notre quotidien que nous ne les voyons plus comme des innovations. C'est le cas, entre bien d'autres, du téléphone portable ou...de la valise à roulettes. En effet, nous avons oublié le temps où le seul moyen de transporter sa valise était de la tenir par la poignée. Porter cet objet parfois très lourd sur un quai de gare provoquait des douleurs au dos et nécessitait des arrêts fréquents, au risque de rater son train. Et voilà qu'en 1970, l'Américain Bernard Sadow invente la valise à roulettes. C'est dans un aéroport qu'il en a l'idée. Il y voit un employé déplacer une charge volumineuse sur un chariot à roulettes. Pourquoi une valise n'en serait-elle pas équipée elle aussi ? Bernard Sadow pense que son idée, très ingénieuse, aidera à soulager les voyageurs. Il croit qu'elle sera donc acceptée sans difficulté. En quoi il se trompe. En effet, les professionnels ne veulent pas de ce nouveau type de valise. Ils sont persuadés qu'ils ne pourraient la vendre qu'à leur clientèle féminine. Jamais un homme d'accepterait de tirer une valise de la sorte. S'il le faisait, sa force serait remise en question, donc sa virilité. Malgré tout, la valise à roulettes a fini par s'imposer. Ce qui n'empêche pas les stéréotypes machistes d'avoir la vie dure, puisque, dans une publicité de 2004 vantant un nouveau modèle de valise à roulettes, c'est encore une femme qui la tire. Cette valise a d'ailleurs évolué. Au départ, elle était placée debout, puis tirée au moyen d'une sorte de laisse. Ce qui obligeait les passagers trop grands à marcher le dos courbé. Aujourd'hui, la plupart des modèles sont pourvus d'une tige télescopique, qui s'adapte à chaque voyageur. On doit l'invention de cette valise à un pilote de ligne, qui en a d'abord réservé la primeur à ses collègues. Il existe des variantes, puisque certains modèles de valises sont équipés, non pas de deux, mais de quatre roulettes. Ce qui, du moins aux yeux de certains, facilite encore leur transport. Learn more about your ad choices. Visit megaphone.fm/adchoices

Happy New Year! For this weeks episode I selected some of my favorite interviews from 2022. From The Blushin' Roulettes, an Appalachian swing duo who got their start on a farm in Mendocino, CA eventually making their way to the hills of NC-to Dr. Bacon, an Appalachian grass six-piece from Asheville, NC-down to Atlanta with Small Reactions, a new age soul, exotica inspired quartet, then up to Forest, VA with Karlee Raye, a country soul singer-songwriter and finally to St. Louis with The Hooten Hallers, an amalgamation of influences including pre-war jazz, Chicago blues with hints of punk. Happy New Years! Thank you to my guests throughout 2022, thank you to WNCW for sharing Appalachian Vibes on their air waves, a special thanks to you, the listener, for joining me live on air or on your fav podcasting platform. Your support truly means the world to me and the artists who share their talents.Thanks to Galax Tourism for for being our sponsor for these past few months. Appalachian Vibes is brought to you by Galax Tourism, made possible by Virginia is for Lovers. Galax Tourism, building our future while celebrating our past. You can learn more about Galax at https://visitgalax.com/Sending y'all love and joy through the holiday season. Email me anytime at appalachianvibes@gmail.com Love,Amanda Bocchi Appalachian Vibes Radio Show from WNCW is listener nominated, you can nominate an artist by emailing Amanda at appalachianvibes@gmail.com. Appalachian Vibes Radio Show is created and produced by Amanda Bocchi, a neo soul singer-songwriter, multi instrumentalist and journalist hailing from the Appalachian Mountains of Virginia.

Alors que les Grosses Têtes se questionnaient dans l'émission du 26 septembre sur l'augmentation des ventes d'un produit particulier, Jeanfi Janssens en a profité pour expliquer qu'il allait faire ses courses avec son cabas à roulettes si pratique... Découvrez la page Facebook Officielle des "Grosses Têtes" : https://www.facebook.com/lesgrossestetesrtl/ Retrouvez vos "Grosses Têtes" sur Instagram : https://bit.ly/2hSBiAo Découvrez le compte Twitter Officiel des "Grosses Têtes" : https://bit.ly/2PXSkkz Toutes les vidéos des "Grosses Têtes" sont sur YouTube : https://bit.ly/2DdUyGg

Flight Lieutenant Ben Price, 34, grew up on the Mornington Peninsula in Victoria. From a young age, Ben had dreamed of being a pilot. However in the years following Year 12, he started and completed an apprenticeship as an electrician. After seven years in the electrical industry, Ben decided to chase his long-term dream of becoming a pilot in the Air Force. With no aviation experience, Ben was accepted into the Air Force and began his new career as a Pilot in 2015.Ben graduated on 246 Pilots Course in 2017 on the Pilatus PC-9/A and was posted to No. 33 Squadron to fly the KC-30A out of RAAF Base Amberley in Queensland. During his time on the tanker aircraft, Ben was involved in two Middle East region deployments, VIP tasking and various operations and exercises both domestically and internationally.This is Ben's first season with the Roulettes and first posting to Central Flying School. Away from work Ben enjoys time with his fiancé, young son, family and friends. Ben enjoys everything AFL, the beach, the snow and a good laugh with friends.Air Force RoulettesThe Roulettes are the Royal Australian Air Force's aerobatic display team. They were established in 1970 following the success of earlier teams, the Red Sales and Telstars.The Roulettes had their first public display at RAAF Base Point Cook in 1970. The team flew a Macchi MB-326 aircraft, which was replaced by the Pilatus PC-9/A (the Air Force's new pilot training aircraft) in 1989. Since then, the Roulettes have become a six aircraft, seven member team which completes two display seasons each year (a season runs for six months).The Pilatus PC-9/A retired from Roulettes operations in March 2019 and was replaced by Pilatus PC-21 – one of the most advanced training aircraft in the world.Roulette displays are flown all around Australia and consist of a number of manoeuvres flown in various formations at low level. They are an extension of formation, aerobatics, low level flying, and airmanship skills, taught to Air Force pilots and developed throughout their career.The Roulettes fly as low as 250 feet (80 m) at speeds of up to 370 knots to 685km/h and pilots can experience up to 6 ‘G', or 6 times, the force of gravity during a display. Flying as close as three metres apart, the team showcases the level of visual judgement and hand-eye coordination that pilots in the Air Force are able to achieve.Roulette pilots are Qualified Flying Instructors who work at the Central Flying School, based at RAAF Base East Sale in Victoria. Between displays, they teach other Air Force pilots to become instructors.Socials:About Ben Price: https://www.airforce.gov.au/displays/roulette-sevenRoulettes: https://www.airforce.gov.au/roulettesFB: Airforce Roulettes https://www.facebook.com/AirForceRoulettesInsta: Airforce Roulettes @airforceroulettes https://www.instagram.com/airforceroulettes/Mentions:https://www.defencejobs.gov.auEnjoy the visual here on Youtube

Hello you beautiful people, This week I'm featuring some unaired segments from recent guests. I never seem to have quite enough time to include the entire interview, so I'm sharing important, relevant, or fun parts of our interviews that didn't make it in the first episode. My first guest is  ShadowGrass, a bluegrass band from SW Virginia,  we continue our conversation from last weeks interview (S3E11). Learn more about ShadowGrass at https://shadowgrass.band/My second guest is Dave Hedeman & The Gone Ghosts, an alt country band from Carrboro, NC. Learn more at: https://thegoneghosts.com/ My last guests share the story of Easter Lightening, a horse struck by lightening and the song that was born from this horses life. By Blushin' Roulettes. Learn more at: https://blushinroulettes.com/ Appalachian Vibes is listener nominated, you can nominate an artist at appalachianvibes.netAppalachian Vibes Radio Show from WNCW is listener nominated, you can nominate an artist by emailing Amanda at appalachianvibes@gmail.com. Appalachian Vibes Radio Show is created and produced by Amanda Bocchi, a neo soul singer-songwriter, multi instrumentalist and journalist hailing from the Appalachian Mountains of Virginia.

PBC #6- Carpe Diem Carpe Diem. Seize the day.  How many times have we all heard that line, or maybe even said it ourselves? What does it mean, to seize the day? Not to just drift through the day? Jonathon “Morgs” Morgan flew P3 Orions for the Royal Australian Air Force with Melon back in the day. Morgs was one of Melon's co-pilots in combat operations over Iraq. He went on to command his own crew, and later streamed onto Flying Instructors Course. Morgs was selected for the Australian aerobatic display team- the Roulettes- and completed 3 years as a display pilot. An amazing career was unfolding.  And then life dealt out some of the toughest cards to Morgs and his wife.  Listen in to hear how Morgs “Seized the Day”, when he was confronted by an extremely challenging health diagnosis. His positivity and openness when talking about his life are an inspiration for all of us to use when our own challenging days arrive.  Carpe diem. All of us have limited time. Make yours count.  #PBC #PushingBackChaos #Podcast #HMG #HeroesMediaGrp #Veterans #parkinsonsdisease #challenge #carpediem #seizetheday Check us out on: Facebook Instagram Apple podcasts Spotify Linked In Amazon Music IHeart Radio Heroes Media Group Goals for the rest of 2022:  -100  Ratings on Apple Podcasts  -50 Written reviews on Apple Podcasts  -500 followers on FB and IG!

This Appalachian Vibes mini features The Blushin' Roulettes, a swing, Americana, 5 piece from Asheville. I speak with Cas and Angie about the farm where they got their start in Northern California, ghostly happenings and a horse named Easter Lightening. Plus we get to hear their latest single, 9-5which was just released Friday June 17. Learn more about The Blushin' Roulettes on https://blushinroulettes.com/Appalachian Vibes Radio Show from WNCW is listener nominated, you can nominate an artist by emailing Amanda at appalachianvibes@gmail.com. Appalachian Vibes Radio Show is created and produced by Amanda Bocchi, a neo soul singer-songwriter, multi instrumentalist and journalist hailing from the Appalachian Mountains of Virginia.

Hello beautiful listeners, This week on Appalachian Vibes my guest is Josh Daniel a singer-songwriter from Charlotte, NC AKA Fernlandia, with an interesting journey. His music exploded during the pandemic when he committed to performing live on social media every day for 2 hours. His fanbase jumped from 5K to 40K (currently hovering closer to 50K) but for Josh, it's all about gratitude and humility. In my interview with Josh it beacame clear the story, or the other part of the story could only be told by the Jamily community members. The self named, self proclaimed avid fan base of 5K people from all over the US and abroad that claim their lives have changed because of Josh and his music. People are getting what one ought to find in church from this artist, I had to dig in to find out why. Learn more about Josh Daniel at https://www.joshdanielmusic.com/ My second guests are the Blushin' Roulette's from Asheville NC. Think old timey, swing twang country. The perfect counterpoint to Angie's voice is her husband Cas. Their latest single, 9-5 dropped Friday. Learn more about The Blushin' Roulettes at https://blushinroulettes.com/Appalachian Vibes is listener nominated, you can nominate an artist at appalachianvibes.net or email me (Amanda Bocchi) directly at appalachianvibes@gmail.comAs always thank you to Palmyra the band for providing the intro music. Learn more about Palmyra at https://www.palmyratheband.com/Appalachian Vibes from WNCW is created in Clifton Forge, VA by Amanda Bocchi. Thanks to everyone listening, I hope you feel love and peace today. -AmandaAppalachian Vibes Radio Show from WNCW is listener nominated, you can nominate an artist by emailing Amanda at appalachianvibes@gmail.com. Appalachian Vibes Radio Show is created and produced by Amanda Bocchi, a neo soul singer-songwriter, multi instrumentalist and journalist hailing from the Appalachian Mountains of Virginia.

Episode one hundred and forty of A History of Rock Music in Five Hundred Songs looks at “Trouble Every Day" by the Mothers of Invention, and the early career of Frank Zappa. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Christmas Time is Here Again" by the Beatles. 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 I'm away from home as I upload this and haven't been able to do a Mixcloud, but will hopefully edit a link in in a week or so if I remember. The main biography I consulted for this was Electric Don Quixote by Neil Slaven. Zappa's autobiography, The Real Frank Zappa Book, is essential reading if you're a fan of his work. Information about Jimmy Carl Black's early life came from Black's autobiography, For Mother's Sake. Zappa's letter to Varese is from this blog, which also contains a lot of other useful information on Zappa. For information on the Watts uprising, I recommend Johnny Otis' Listen to the Lambs. And the original mix of Freak Out is currently available not on the CD issue of Freak Out itself, which is an eighties remix, but on this "documentary" set. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just a quick note before I begin -- there are a couple of passing references in this episode to rape and child abuse. I don't believe there's anything that should upset anyone, but if you're worried, you might want to read the transcript on the podcast website before or instead of listening. But also, this episode contains explicit, detailed, descriptions of racial violence carried out by the police against Black people, including against children. Some of it is so distressing that even reading the transcript might be a bit much for some people. Sometimes, in this podcast, we have to go back to another story we've already told. In most cases, that story is recent enough that I can just say, "remember last episode, when I said...", but to tell the story of the Mothers of Invention, I have to start with a story that I told sixty-nine episodes ago, in episode seventy-one, which came out nearly two years ago. In that episode, on "Willie and the Hand Jive", I briefly told the story of Little Julian Herrera at the start. I'm going to tell a slightly longer version of the story now. Some of the information at the start of this episode will be familiar from that and other episodes, but I'm not going to expect people to remember something from that long ago, given all that's happened since. The DJ Art Laboe is one of the few figures from the dawn of rock and roll who is still working. At ninety-six years old, he still promotes concerts, and hosts a syndicated radio show on which he plays "Oldies but Goodies", a phrase which could describe him as well as the music. It's a phrase he coined -- and trademarked -- back in the 1950s, when people in his audience would ask him to play records made a whole three or four years earlier, records they had listened to in their youth. Laboe pretty much single-handedly invented the rock and roll nostalgia market -- as well as being a DJ, he owned a record label, Original Sound, which put out a series of compilation albums, Oldies But Goodies, starting in 1959, which started to cement the first draft of the doo-wop canon. These were the first albums to compile together a set of older rock and roll hits and market them for nostalgia, and they were very much based on the tastes of his West Coast teenage listenership, featuring songs like "Earth Angel" by the Penguins: [Excerpt: The Penguins, "Earth Angel"] But also records that had a more limited geographic appeal, like "Heaven and Paradise" by Don Julian and the Meadowlarks: [Excerpt: Don Julian and the Meadowlarks, "Heaven and Paradise"] As well as being a DJ and record company owner, Laboe was the promoter and MC for regular teenage dances at El Monte Legion Stadium, at which Kip and the Flips, the band that featured Sandy Nelson and Bruce Johnston, would back local performers like the Penguins, Don and Dewey, or Ritchie Valens, as well as visiting headliners like Jerry Lee Lewis. El Monte stadium was originally chosen because it was outside the LA city limits -- at the time there were anti-rock-and-roll ordinances that meant that any teenage dance had to be approved by the LA Board of Education, but those didn't apply to that stadium -- but it also led to Laboe's audience becoming more racially diverse. The stadium was in East LA, which had a large Mexican-American population, and while Laboe's listenership had initially been very white, soon there were substantial numbers of Mexican-American and Black audience members. And it was at one of the El Monte shows that Johnny Otis discovered the person who everyone thought was going to become the first Chicano rock star, before even Ritchie Valens, in 1957, performing as one of the filler acts on Laboe's bill. He signed Little Julian Herrera, a performer who was considered a sensation in East LA at the time, though nobody really knew where he lived, or knew much about him other than that he was handsome, Chicano, and would often have a pint of whisky in his back pocket, even though he was under the legal drinking age. Otis signed Herrera to his label, Dig Records, and produced several records for him, including the record by which he's now best remembered, "Those Lonely Lonely Nights": [Excerpt: Little Julian Herrera, "Those Lonely, Lonely, Nights"] After those didn't take off the way they were expected to, Herrera and his vocal group the Tigers moved to another label, one owned by Laboe, where they recorded "I Remember Linda": [Excerpt: Little Julian Herrera and the Tigers, "I Remember Linda"]  And then one day Johnny Otis got a knock on his door from the police. They were looking for Ron Gregory. Otis had never heard of Ron Gregory, and told them so. The police then showed him a picture. It turned out that Julian Herrera wasn't Mexican-American, and wasn't from East LA, but was from Massachusetts. He had run away from home a few years back, hitch-hiked across the country, and been taken in by a Mexican-American family, whose name he had adopted. And now he was wanted for rape. Herrera went to prison, and when he got out, he tried to make a comeback, but ended up sleeping rough in the basement of the stadium where he had once been discovered. He had to skip town because of some other legal problems, and headed to Tijuana, where he was last seen playing R&B gigs in 1963. Nobody knows what happened to him after that -- some say he was murdered, others that he's still alive, working in a petrol station under yet another name, but nobody has had a confirmed sighting of him since then. When he went to prison, the Tigers tried to continue for a while, but without their lead singer, they soon broke up. Ray Collins, who we heard singing the falsetto part in "I Remember Linda", went on to join many other doo-wop and R&B groups over the next few years, with little success. Then in summer 1963, he walked into a bar in Ponoma, and saw a bar band who were playing the old Hank Ballard and the Midnighters song "Work With Me Annie". As Collins later put it, “I figured that any band that played ‘Work With Me Annie' was all right,” and he asked if he could join them for a few songs. They agreed, and afterwards, Collins struck up a conversation with the guitarist, and told him about an idea he'd had for a song based on one of Steve Allen's catchphrases. The guitarist happened to be spending a lot of his time recording at an independent recording studio, and suggested that the two of them record the song together: [Excerpt: Baby Ray and the Ferns, "How's Your Bird?"] The guitarist in question was named Frank Zappa. Zappa was originally from Maryland, but had moved to California as a child with his conservative Italian-American family when his father, a defence contractor, had got a job in Monterey. The family had moved around California with his father's work, mostly living in various small towns in the Mojave desert seventy miles or so north of Los Angeles. Young Frank had an interest in science, especially chemistry, and especially things that exploded, but while he managed to figure out the ingredients for gunpowder, his family couldn't afford to buy him a chemistry set in his formative years -- they were so poor that his father regularly took part in medical experiments to get a bit of extra money to feed his kids -- and so the young man's interest was diverted away from science towards music. His first musical interest, and one that would show up in his music throughout his life, was the comedy music of Spike Jones, whose band combined virtuosic instrumental performances with sound effects: [Excerpt: Spike Jones and his City Slickers, "Cocktails for Two"] and parodies of popular classical music [Excerpt: Spike Jones and his City Slickers, "William Tell Overture"] Jones was a huge inspiration for almost every eccentric or bohemian of the 1940s and 50s -- Spike Milligan, for example, took the name Spike in tribute to him. And young Zappa wrote his first ever fan letter to Jones when he was five or six. As a child Zappa was also fascinated by the visual aesthetics of music -- he liked to draw musical notes on staves and see what they looked like. But his musical interests developed in two other ways once he entered his teens. The first was fairly typical for the musicians of his generation from LA we've looked at and will continue to look at, which is that he heard "Gee" by the Crows on the radio: [Excerpt: The Crows, "Gee"] He became an R&B obsessive at that moment, and would spend every moment he could listening to the Black radio stations, despite his parents' disapproval. He particularly enjoyed Huggy Boy's radio show broadcast from Dolphins of Hollywood, and also would religiously listen to Johnny Otis, and soon became a connoisseur of the kind of R&B and blues that Otis championed as a musician and DJ: [Excerpt: Zappa on the Late Show, “I hadn't been raised in an environment where there was a lot of music in the house. This couple that owned the chilli place, Opal and Chester, agreed to ask the man who serviced the jukebox to put in some of the song titles that I liked, because I promised that I would dutifully keep pumping quarters into this thing so that I could listen to them, and so I had the ability to eat good chilli and listen to 'Three Hours Past Midnight' by Johnny 'Guitar' Watson for most of my junior and senior year"] Johnny “Guitar” Watson, along with Guitar Slim, would become a formative influence on Zappa's guitar playing, and his playing on "Three Hours Past Midnight" is so similar to Zappa's later style that you could easily believe it *was* him: [Excerpt: Johnny "Guitar" Watson, "Three Hours Past Midnight"] But Zappa wasn't only listening to R&B. The way Zappa would always tell the story, he discovered the music that would set him apart from his contemporaries originally by reading an article in Look magazine. Now, because Zappa has obsessive fans who check every detail, people have done the research and found that there was no such article in that magazine, but he was telling the story close enough to the time period in which it happened that its broad strokes, at least, must be correct even if the details are wrong. What Zappa said was that the article was on Sam Goody, the record salesman, and talked about how Goody was so good at his job that he had even been able to sell a record of Ionisation by Edgard Varese, which just consisted of the worst and most horrible noises anyone had ever heard, just loud drumming noises and screeching sounds. He determined then that he needed to hear that album, but he had no idea how he would get hold of a copy. I'll now read an excerpt from Zappa's autobiography, because Zappa's phrasing makes the story much better: "Some time later, I was staying overnight with Dave Franken, a friend who lived in La Mesa, and we wound up going to the hi-fi place -- they were having a sale on R&B singles. After shuffling through the rack and finding a couple of Joe Huston records, I made my way toward the cash register and happened to glance at the LP bin. I noticed a strange-looking black-and-white album cover with a guy on it who had frizzy gray hair and looked like a mad scientist. I thought it was great that a mad scientist had finally made a record, so I picked it up -- and there it was, the record with "Ionisation" on it. The author of the Look article had gotten it slightly wrong -- the correct title was The Complete Works of Edgard Varèse, Volume I, including "Ionisation," among other pieces, on an obscure label called EMS (Elaine Music Store). The record number was 401.I returned the Joe Huston records and checked my pockets to see how much money I had -- I think it came to about $3.75. I'd never bought an album before, but I knew they must be expensive because mostly old people bought them. I asked the man at the cash register how much EMS 401 cost. "That gray one in the box?" he said. "$5.95." I'd been searching for that record for over a year and I wasn't about to give up. I told him I had $3.75. He thought about it for a minute, and said, "We've been using that record to demonstrate hi-fi's with -- but nobody ever buys one when we use it. I guess if you want it that bad you can have it for $3.75."" Zappa took the record home, and put it on on his mother's record player in the living room, the only one that could play LPs: [Excerpt: Edgard Varese, "Ionisation"] His mother told him he could never play that record in the living room again, so he took the record player into his bedroom, and it became his record player from that point on. Varese was a French composer who had, in his early career, been very influenced by Debussy. Debussy is now, of course, part of the classical canon, but in the early twentieth century he was regarded as radical, almost revolutionary, for his complete rewriting of the rules of conventional classical music tonality into a new conception based on chordal melodies, pedal points, and use of non-diatonic scales. Almost all of Varese's early work was destroyed in a fire, so we don't have evidence of the transition from Debussy's romantic-influenced impressionism to Varese's later style, but after he had moved to the US in 1915 he had become wildly more experimental. "Ionisation" is often claimed to be the first piece of Western classical music written only for percussion instruments. Varese was part of a wider movement of modernist composers -- for example he was the best man at Nicolas Slonimsky's wedding -- and had also set up the International Composers' Guild, whose manifesto influenced Zappa, though his libertarian politics led him to adapt it to a more individualistic rather than collective framing. The original manifesto read in part "Dying is the privilege of the weary. The present day composers refuse to die. They have realized the necessity of banding together and fighting for the right of each individual to secure a fair and free presentation of his work" In the twenties and thirties, Varese had written a large number of highly experimental pieces, including Ecuatorial, which was written for bass vocal, percussion, woodwind, and two Theremin cellos. These are not the same as the more familiar Theremin, created by the same inventor, and were, as their name suggests, Theremins that were played like a cello, with a fingerboard and bow. Only ten of these were ever made, specifically for performances of Varese's work, and he later rewrote the work to use ondes martenot instead of Theremin cellos, which is how the work is normally heard now: [Excerpt: Edgard Varese, "Ecuatorial"] But Varese had spent much of the thirties, forties, and early fifties working on two pieces that were never finished, based on science fiction ideas -- L'Astronome, which was meant to be about communication with people from the star Sirius, and Espace, which was originally intended to be performed simultaneously by choirs in Beijing, Moscow, Paris, and New York. Neither of these ideas came to fruition, and so Varese had not released any new work, other than one small piece, Étude pour espace, an excerpt from the  larger work, in Zappa's lifetime. Zappa followed up his interest in Varese's music with his music teacher, one of the few people in the young man's life who encouraged him in his unusual interests. That teacher, Mr Kavelman, introduced Zappa to the work of other composers, like Webern, but would also let him know why he liked particular R&B records. For example, Zappa played Mr. Kavelman "Angel in My Life" by the Jewels, and asked what it was that made him particularly like it: [Excerpt: The Jewels, "Angel in My Life"] The teacher's answer was that it was the parallel fourths that made the record particularly appealing. Young Frank was such a big fan of Varese that for his fifteenth birthday, he actually asked if he could make a long-distance phone call to speak to Varese. He didn't know where Varese lived, but figured that it must be in Greenwich Village because that was where composers lived, and he turned out to be right. He didn't get through on his birthday -- he got Varese's wife, who told him the composer was in Europe -- but he did eventually get to speak to him, and was incredibly excited when Varese told him that not only had he just written a new piece for the first time in years, but that it was called Deserts, and was about deserts -- just like the Mojave Desert where Zappa lived: [Excerpt: Edgard Varese, "Deserts"] As he later wrote, “When you're 15 and living in the Mojave Desert, and you find out that the World's Greatest Composer (who also looks like a mad scientist) is working in a secret Greenwich Village laboratory on a song about your hometown (so to speak), you can get pretty excited.” A year later, Zappa actually wrote to Varese, a long letter which included him telling the story about how he'd found his work in the first place, hoping to meet up with him when Zappa travelled to the East Coast to see family. I'll read out a few extracts, but the whole thing is fascinating for what it says about Zappa the precocious adolescent, and I'll link to a blog post with it in the show notes. "Dear Sir: Perhaps you might remember me from my stupid phone call last January, if not, my name again is Frank Zappa Jr. I am 16 years old… that might explain partly my disturbing you last winter. After I had struggled through Mr. Finklestein's notes on the back cover (I really did struggle too, for at the time I had had no training in music other than practice at drum rudiments) I became more and more interested in you and your music. I began to go to the library and take out books on modern composers and modern music, to learn all I could about Edgard Varese. It got to be my best subject (your life) and I began writing my reports and term papers on you at school. At one time when my history teacher asked us to write on an American that has really done something for the U.S.A. I wrote on you and the Pan American Composers League and the New Symphony. I failed. The teacher had never heard of you and said I made the whole thing up. Silly but true. That was my Sophomore year in high school. Throughout my life all the talents and abilities that God has left me with have been self developed, and when the time came for Frank to learn how to read and write music, Frank taught himself that too. I picked it all up from the library. I have been composing for two years now, utilizing a strict twelve-tone technique, producing effects that are reminiscent of Anton Webern. During those two years I have written two short woodwind quartets and a short symphony for winds, brass and percussion. I plan to go on and be a composer after college and I could really use the counsel of a veteran such as you. If you would allow me to visit with you for even a few hours it would be greatly appreciated. It may sound strange but I think I have something to offer you in the way of new ideas. One is an elaboration on the principle of Ruth Seeger's contrapuntal dynamics and the other is an extension of the twelve-tone technique which I call the inversion square. It enables one to compose harmonically constructed pantonal music in logical patterns and progressions while still abandoning tonality. Varese sent a brief reply, saying that he was going to be away for a few months, but would like to meet Zappa on his return. The two never met, but Zappa kept the letter from Varese framed on his wall for the rest of his life. Zappa soon bought a couple more albums, a version of "The Rite of Spring" by Stravinsky: [Excerpt: Igor Stravinsky, "The Rite of Spring"] And a record of pieces by Webern, including his Symphony opus 21: [Excerpt: Anton Webern, "Symphony op. 21"] (Incidentally, with the classical music here, I'm not seeking out the precise performances Zappa was listening to, just using whichever recordings I happen to have copies of). Zappa was also reading Slonimsky's works of musicology, like the Thesaurus of Scales and Melodic Patterns. As well as this "serious music" though, Zappa was also developing as an R&B musician.  He later said of the Webern album, "I loved that record, but it was about as different from Stravinsky and Varèse as you could get. I didn't know anything about twelve-tone music then, but I liked the way it sounded. Since I didn't have any kind of formal training, it didn't make any difference to me if I was listening to Lightnin' Slim, or a vocal group called the Jewels (who had a song out then called "Angel in My Life"), or Webern, or Varèse, or Stravinsky. To me it was all good music." He had started as a drummer with a group called the Blackouts, an integrated group with white, Latino, and Black members, who played R&B tracks like "Directly From My Heart to You", the song Johnny Otis had produced for Little Richard: [Excerpt: Little Richard, "Directly From My Heart to You"] But after eighteen months or so, he quit the group and stopped playing drums. Instead, he switched to guitar, with a style influenced by Johnny "Guitar" Watson and Guitar Slim. His first guitar had action so bad that he didn't learn to play chords, and moved straight on to playing lead lines with his younger brother Bobby playing rhythm. He also started hanging around with two other teenage bohemians -- Euclid Sherwood, who was nicknamed Motorhead, and Don Vliet, who called himself Don Van Vliet. Vliet was a truly strange character, even more so than Zappa, but they shared a love for the blues, and Vliet was becoming a fairly good blues singer, though he hadn't yet perfected the Howlin' Wolf imitation that would become his stock-in-trade in later years. But the surviving recording of Vliet singing with the Zappa brothers on guitar, singing a silly parody blues about being flushed down the toilet of the kind that many teenage boys would write, shows the promise that the two men had: [Excerpt: Frank Zappa and Captain Beefheart, "Lost in a Whirlpool"] Zappa was also getting the chance to hear his more serious music performed. He'd had the high school band play a couple of his pieces, but he also got the chance to write film music -- his English teacher, Don Cerveris, had decided to go off and seek his fortune as a film scriptwriter, and got Zappa hired to write the music for a cheap Western he'd written, Run Home Slow. The film was beset with problems -- it started filming in 1959 but didn't get finished and released until 1965 -- but the music Zappa wrote for it did eventually get recorded and used on the soundtrack: [Excerpt: Frank Zappa, "Run Home Slow Theme"] In 1962, he got to write the music for another film, The World's Greatest Sinner, and he also wrote a theme song for that, which got released as the B-side of "How's Your Bird?", the record he made with Ray Collins: [Excerpt: Baby Ray and the Ferns, "The World's Greatest Sinner"] Zappa was able to make these records because by the early sixties, as well as playing guitar in bar bands, he was working as an assistant for a man named Paul Buff. Paul Buff had worked as an engineer for a guided missile manufacturer, but had decided that he didn't want to do that any more, and instead had opened up the first independent multi-track recording studio on the West Coast, PAL Studios, using equipment he'd designed and built himself, including a five-track tape recorder. Buff engineered a huge number of surf instrumentals there, including "Wipe Out" by the Surfaris: [Excerpt: The Surfaris, "Wipe Out"] Zappa had first got to know Buff when he had come to Buff's studio with some session musicians in 1961, to record some jazz pieces he'd written, including this piece which at the time was in the style of Dave Brubeck but would later become a staple of Zappa's repertoire reorchestrated in a  rock style. [Excerpt: The PAL Studio Band, "Never on Sunday"] Buff really just wanted to make records entirely by himself, so he'd taught himself to play the rudiments of guitar, bass, drums, piano, and alto saxophone, so he could create records alone. He would listen to every big hit record, figure out what the hooks were on the record, and write his own knock-off of those. An example is "Tijuana Surf" by the Hollywood Persuaders, which is actually Buff on all instruments, and which according to Zappa went to number one in Mexico (though I've not found an independent source to confirm that chart placing, so perhaps take it with a pinch of salt): [Excerpt: The Hollywood Persuaders, "Tijuana Surf"] The B-side to that, "Grunion Run", was written by Zappa, who also plays guitar on that side: [Excerpt: The Hollywood Persuaders, "Grunion Run"] Zappa, Buff, Ray Collins, and a couple of associates would record all sorts of material at PAL -- comedy material like "Hey Nelda", under the name "Ned and Nelda" -- a parody of "Hey Paula" by Paul and Paula: [Excerpt: Ned and Nelda, "Hey Nelda"] Doo-wop parodies like "Masked Grandma": [Excerpt: The PAL Studio Band, "Masked Grandma"] R&B: [Excerpt: The PAL Studio Band, "Why Don't You Do Me Right?"] and more. Then Buff or Zappa would visit one of the local independent label owners and try to sell them the master -- Art Laboe at Original Sound released several of the singles, as did Bob Keane at Donna Records and Del-Fi. The "How's Your Bird" single also got Zappa his first national media exposure, as he went on the Steve Allen show, where he demonstrated to Allen how to make music using a bicycle and a prerecorded electronic tape, in an appearance that Zappa would parody five years later on the Monkees' TV show: [Excerpt: Steve Allen and Frank Zappa, "Cyclophony"] But possibly the record that made the most impact at the time was "Memories of El Monte", a song that Zappa and Collins wrote together about Art Laboe's dances at El Monte Stadium, incorporating excerpts of several of the songs that would be played there, and named after a compilation Laboe had put out, which had included “I Remember Linda” by Little Julian and the Tigers. They got Cleve Duncan of the Penguins to sing lead, and the record came out as by the Penguins, on Original Sound: [Excerpt: The Penguins, "Memories of El Monte"] By this point, though, Pal studios was losing money, and Buff took up the offer of a job working for Laboe full time, as an engineer at Original Sound. He would later become best known for inventing the kepex, an early noise gate which engineer Alan Parsons used on a bass drum to create the "heartbeat" that opens Pink Floyd's Dark Side of the Moon: [Excerpt: Pink Floyd, "Speak to Me"] That invention would possibly be Buff's most lasting contribution to music, as by the early eighties, the drum sound on every single pop record was recorded using a noise gate. Buff sold the studio to Zappa, who renamed it Studio Z and moved in -- he was going through a divorce and had nowhere else to live. The studio had no shower, and Zappa had to just use a sink to wash, and he was surviving mostly off food scrounged by his resourceful friend Motorhead Sherwood. By this point, Zappa had also joined a band called the Soots, consisting of Don Van Vliet, Alex St. Clair and Vic Mortenson, and they recorded several tracks at Studio Z, which they tried to get released on Dot Records, including a cover version of Little Richard's “Slippin' and Slidin'”, and a song called “Tiger Roach” whose lyrics were mostly random phrases culled from a Green Lantern comic: [Excerpt: The Soots, "Tiger Roach"] Zappa also started writing what was intended as the first ever rock opera, "I Was a Teenage Maltshop", and attempts were made to record parts of it with Vliet, Mortenson, and Motorhead Sherwood: [Excerpt: Frank Zappa, "I Was a Teenage Maltshop"] Zappa was also planning to turn Studio Z into a film studio. He obtained some used film equipment, and started planning a science fiction film to feature Vliet, titled "Captain Beefheart Meets the Grunt People". The title was inspired by an uncle of Vliet's, who lived with Vliet and his girlfriend, and used to urinate with the door open so he could expose himself to Vliet's girlfriend, saying as he did so "Look at that! Looks just like a big beef heart!" Unfortunately, the film would not get very far. Zappa was approached by a used-car salesman who said that he and his friends were having a stag party. As Zappa owned a film studio, could he make them a pornographic film to show at the party? Zappa told him that a film wouldn't be possible, but as he needed the money, would an audio tape be acceptable? The used-car salesman said that it would, and gave him a list of sex acts he and his friends would like to hear. Zappa and a friend, Lorraine Belcher, went into the studio and made a few grunting noises and sound effects. The used-car salesman turned out actually to be an undercover policeman, who was better known in the area for his entrapment of gay men, but had decided to branch out. Zappa and Belcher were arrested -- Zappa's father bailed him out, and Zappa got an advance from Art Laboe to pay Belcher's bail. Luckily "Grunion Run" and "Memories of El Monte" were doing well enough that Laboe could give Zappa a $1500 advance. When the case finally came to trial, the judge laughed at the tape and wanted to throw the whole case out, but the prosecutor insisted on fighting, and Zappa got ten days in prison, and most of his tapes were impounded, never to be returned. He fell behind with his rent, and Studio Z was demolished. And then Ray Collins called him, asking if he wanted to join a bar band: [Excerpt: The Mothers, "Hitch-Hike"] The Soul Giants were formed by a bass player named Roy Estrada. Now, Estrada is unfortunately someone who will come up in the story a fair bit over the next year or so, as he played on several of the most important records to come out of LA in the sixties and early seventies. He is also someone about whom there's fairly little biographical information -- he's not been interviewed much, compared to pretty much everyone else, and it's easy to understand why when you realise that he's currently half-way through a twenty-five year sentence for child molestation -- his third such conviction. He won't get out of prison until he's ninety-three. He's one of the most despicable people who will turn up in this podcast, and frankly I'm quite glad I don't know more about him as a person. He was, though, a good bass player and falsetto singer, and he had released a single on King Records, an instrumental titled "Jungle Dreams": [Excerpt, Roy Estrada and the Rocketeers, "Jungle Dreams"] The other member of the rhythm section, Jimmy Carl Black, was an American Indian (that's the term he always used about himself until his death, and so that's the term I'll use about him too) from Texas. Black had grown up in El Paso as a fan of Western Swing music, especially Bob Wills, but had become an R&B fan after discovering Wolfman Jack's radio show and hearing the music of Howlin' Wolf and Sonny Boy Williamson. Like every young man from El Paso, he would travel to Juarez as a teenager to get drunk, see sex shows, and raise hell. It was also there that he saw his first live blues music, watching Long John Hunter, the same man who inspired the Bobby Fuller Four, and he would always claim Hunter as the man whose shows taught him how to play the blues. Black had decided he wanted to become a musician when he'd seen Elvis perform live. In Black's memory, this was a gig where Elvis was an unknown support act for Faron Young and Wanda Jackson, but he was almost certainly slightly misremembering -- it's most likely that what he saw was Elvis' show in El Paso on the eleventh of April 1956, where Young and Jackson were also on the bill, but supporting Elvis who was headlining. Either way, Black had decided that he wanted to make girls react to him the same way they reacted to Elvis, and he started playing in various country and R&B bands. His first record was with a group called the Keys, and unfortunately I haven't been able to track down a copy (it was reissued on a CD in the nineties, but the CD itself is now out of print and sells for sixty pounds) but he did rerecord the song with a later group he led, the Mannish Boys: [Excerpt: Jimmy Carl Black and the Mannish Boys, "Stretch Pants"] He spent a couple of years in the Air Force, but continued playing music during that time, including in a band called The Exceptions which featured Peter Cetera later of the band Chicago, on bass. After a brief time working as lineman in Wichita, he moved his family to California, where he got a job teaching drums at a music shop in Anaheim, where the bass teacher was Jim Fielder, who would later play bass in Blood, Sweat, and Tears. One of Fielder's friends, Tim Buckley, used to hang around in the shop as well, and Black was at first irritated by him coming in and playing the guitars and not buying anything, but eventually became impressed by his music. Black would later introduce Buckley to Herb Cohen, who would become Buckley's manager, starting his professional career. When Roy Estrada came into the shop, he and Black struck up a friendship, and Estrada asked Black to join his band The Soul Giants, whose lineup became Estrada, Black, a sax player named Davey Coronado, a guitarist called Larry and a singer called Dave. The group got a residency at the Broadside club in Ponoma, playing "Woolly Bully" and "Louie Louie" and other garage-band staples. But then Larry and Dave got drafted, and the group got in two men called Ray -- Ray Collins on vocals, and Ray Hunt on guitar. This worked for a little while, but Ray Hunt was, by all accounts, not a great guitar player -- he would play wrong chords, and also he was fundamentally a surf player while the Soul Giants were an R&B group. Eventually, Collins and Hunt got into a fistfight, and Collins suggested that they get in his friend Frank instead. For a while, the Soul Giants continued playing "Midnight Hour" and "Louie Louie", but then Zappa suggested that they start playing some of his original material as well. Davy Coronado refused to play original material, because he thought, correctly, that it would lose the band gigs, but the rest of the band sided with the man who had quickly become their new leader. Coronado moved back to Texas, and on Mother's Day 1965 the Soul Giants changed their name to the Mothers. They got in Henry Vestine on second guitar, and started playing Zappa's originals, as well as changing the lyrics to some of the hits they were playing: [Excerpt: The Mothers, "Plastic People"] Zappa had started associating with the freak crowd in Hollywood centred around Vito and Franzoni, after being introduced by Don Cerveris, his old teacher turned screenwriter, to an artist called Mark Cheka, who Zappa invited to manage the group. Cheka in turn brought in his friend Herb Cohen, who managed several folk acts including the Modern Folk Quartet and Judy Henske, and who like Zappa had once been arrested on obscenity charges, in Cohen's case for promoting gigs by the comedian Lenny Bruce. Cohen first saw the Mothers when they were recording their appearance in an exploitation film called Mondo Hollywood. They were playing in a party scene, using equipment borrowed from Jim Guercio, a session musician who would briefly join the Mothers, but who is now best known for having been Chicago's manager and producing hit records for them and Blood, Sweat, and Tears. In the crowd were Vito and Franzoni, Bryan Maclean, Ram Dass, the Harvard psychologist who had collaborated with Timothy Leary in controversial LSD experiments that had led to both losing their jobs, and other stalwarts of the Sunset Strip scene. Cohen got the group bookings at the Whisky A-Go-Go and The Trip, two of the premier LA nightclubs, and Zappa would also sit in with other bands playing at those venues, like the Grass Roots, a band featuring Bryan Maclean and Arthur Lee which would soon change its name to Love. At this time Zappa and Henry Vestine lived together, next door to a singer named Victoria Winston, who at the time was in a duo called Summer's Children with Curt Boettcher: [Excerpt: Summer's Children, "Milk and Honey"] Winston, like Zappa, was a fan of Edgard Varese, and actually asked Zappa to write songs for Summer's Children, but one of the partners involved in their production company disliked Zappa's material and the collaboration went no further. Zappa at this point was trying to incorporate more ideas from modal jazz into his music. He was particularly impressed by Eric Dolphy's 1964 album "Out to Lunch": [Excerpt: Eric Dolphy, "Hat and Beard"] But he was also writing more about social issues, and in particular he had written a song called "The Watts Riots Song", which would later be renamed "Trouble Every Day": [Excerpt: The Mothers of Invention, "Trouble Every Day"] Now, the Watts Uprising was one of the most important events in Black American history, and it feels quite wrong that I'm covering it in an episode about a band made up of white, Latino, and American Indian people rather than a record made by Black people, but I couldn't find any way to fit it in anywhere else. As you will remember me saying in the episode on "I Fought the Law", the LA police under Chief William Parker were essentially a criminal gang by any other name -- they were incompetent, violent, and institutionally racist, and terrorised Black people. The Black people of LA were also feeling particularly aggrieved in the summer of 1965, as a law banning segregation in housing had been overturned by a ballot proposition in November 1964, sponsored by the real estate industry and passed by an overwhelming majority of white voters in what Martin Luther King called "one of the most shameful developments in our nation's history", and which Edmund Brown, the Democratic governor said was like "another hate binge which began more than 30 years ago in a Munich beer hall". Then on Wednesday, August 11, 1965, the police pulled over a Black man, Marquette Frye, for drunk driving. He had been driving his mother's car, and she lived nearby, and she came out to shout at him about drinking and driving. The mother, Rena Price, was hit by one of the policemen; Frye then physically attacked one of the police for hitting his mother, one of the police pulled out a gun, a crowd gathered, the police became violent against the crowd, a rumour spread that they had kicked a pregnant woman, and the resulting protests were exacerbated by the police carrying out what Chief Parker described as a "paramiltary" response. The National Guard were called in, huge swathes of south central LA were cordoned off by the police with signs saying things like "turn left or get shot". Black residents started setting fire to and looting local white-owned businesses that had been exploiting Black workers and customers, though this looting was very much confined to individuals who were known to have made the situation worse. Eventually it took six days for the uprising to be put down, at a cost of thirty-four deaths, 1032 injuries, and 3438 arrests. Of the deaths, twenty-three were Black civilians murdered by the police, and zero were police murdered by Black civilians (two police were killed by other police, in accidental shootings). The civil rights activist Bayard Rustin said of the uprising, "The whole point of the outbreak in Watts was that it marked the first major rebellion of Negroes against their own masochism and was carried on with the express purpose of asserting that they would no longer quietly submit to the deprivation of slum life." Frank Zappa's musical hero Johnny Otis would later publish the book Listen to the Lambs about the Watts rebellion, and in it he devotes more than thirty pages to eyewitness accounts from Black people. It's an absolutely invaluable resource. One of the people Otis interviews is Lily Ford, who is described by my copy of the book as being the "lead singer of the famous Roulettes". This is presumably an error made by the publishers, rather than Otis, because Ford was actually a singer with the Raelettes, as in Ray Charles' vocal group. She also recorded with Otis under the name "Lily of the Valley": [Excerpt: Lily of the Valley, "I Had a Sweet Dream"] Now, Ford's account deserves a large excerpt, but be warned, this is very, very difficult to hear. I gave a content warning at the beginning, but I'm going to give another one here. "A lot of our people were in the street, seeing if they could get free food and clothes and furniture, and some of them taking liquor too. But the white man was out for blood. Then three boys came down the street, laughing and talking. They were teenagers, about fifteen or sixteen years old. As they got right at the store they seemed to debate whether they would go inside. One boy started a couple of times to go. Finally he did. Now a cop car finally stops to investigate. Police got out of the car. Meanwhile, the other two boys had seen them coming and they ran. My brother-in-law and I were screaming and yelling for the boy to get out. He didn't hear us, or was too scared to move. He never had a chance. This young cop walked up to the broken window and looked in as the other one went round the back and fired some shots and I just knew he'd killed the other two boys, but I guess he missed. He came around front again. By now other police cars had come. The cop at the window aimed his gun. He stopped and looked back at a policeman sitting in a car. He aimed again. No shot. I tried to scream, but I was so horrified that nothing would come out of my throat. The third time he aimed he yelled, "Halt", and fired before the word was out of his mouth. Then he turned around and made a bull's-eye sign with his fingers to his partner. Just as though he had shot a tin can off a fence, not a human being. The cops stood around for ten or fifteen minutes without going inside to see if the kid was alive or dead. When the ambulance came, then they went in. They dragged him out like he was a sack of potatoes. Cops were everywhere now. So many cops for just one murder." [Excerpt: The Mothers of Invention, "Trouble Every Day"] There's a lot more of this sort of account in Otis' book, and it's all worth reading -- indeed, I would argue that it is *necessary* reading. And Otis keeps making a point which I quoted back in the episode on "Willie and the Hand Jive" but which I will quote again here -- “A newborn Negro baby has less chance of survival than a white. A Negro baby will have its life ended seven years sooner. This is not some biological phenomenon linked to skin colour, like sickle-cell anaemia; this is a national crime, linked to a white-supremacist way of life and compounded by indifference”. (Just a reminder, the word “Negro” which Otis uses there was, in the mid-sixties, the term of choice used by Black people.) And it's this which inspired "The Watts Riot Song", which the Mothers were playing when Tom Wilson was brought into The Trip by Herb Cohen: [Excerpt: The Mothers of Invention, "Trouble Every Day"] Wilson had just moved from Columbia, where he'd been producing Dylan and Simon and Garfunkel, to Verve, a subsidiary of MGM which was known for jazz records but was moving into rock and roll. Wilson was looking for a white blues band, and thought he'd found one. He signed the group without hearing any other songs. Henry Vestine quit the group between the signing and the first recording, to go and join an *actual* white blues band, Canned Heat, and over the next year the group's lineup would fluctuate quite a bit around the core of Zappa, Collins, Estrada, and Black, with members like Steve Mann, Jim Guercio, Jim Fielder, and Van Dyke Parks coming and going, often without any recordings being made of their performances. The lineup on what became the group's first album, Freak Out! was Zappa, Collins, Estrada, Black, and Elliot Ingber, the former guitarist with the Gamblers, who had joined the group shortly before the session and would leave within a few months. The first track the group recorded, "Any Way the Wind Blows", was straightforward enough: [Excerpt: The Mothers of Invention, "Any Way the Wind Blows"] The second song, a "Satisfaction" knock-off called "Hungry Freaks Daddy", was also fine. But it was when the group performed their third song of the session, "Who Are The Brain Police?", that Tom Wilson realised that he didn't have a standard band on his hands: [Excerpt: The Mothers of Invention, "Who Are the Brain Police?"] Luckily for everyone concerned, Tom Wilson was probably the single best producer in America to have discovered the Mothers. While he was at the time primarily known for his folk-rock productions, he had built his early career on Cecil Taylor and Sun Ra records, some of the freakiest jazz of the fifties and early sixties. He knew what needed to be done -- he needed a bigger budget. Far from being annoyed that he didn't have the white blues band he wanted, Wilson actively encouraged the group to go much, much further. He brought in Wrecking Crew members to augment the band (though one of them. Mac Rebennack, found the music so irritating he pretended he needed to go to the toilet, walked out, and never came back). He got orchestral musicians to play Zappa's scores, and allowed the group to rent hundreds of dollars of percussion instruments for the side-long track "Return of the Son of Monster Magnet", which features many Hollywood scenesters of the time, including Van Dyke Parks, Kim Fowley, future Manson family member Bobby Beausoleil, record executive David Anderle, songwriter P.F. Sloan, and cartoonist Terry Gilliam, all recording percussion parts and vocal noises: [Excerpt: The Mothers of Invention, "Return of the Son of Monster Magnet"] Such was Wilson's belief in the group that Freak Out! became only the second rock double album ever released -- exactly a week after the first, Blonde on Blonde, by Wilson's former associate Bob Dylan. The inner sleeve included a huge list of people who had influenced the record in one way or another, including people Zappa knew like Don Cerveris, Don Vliet, Paul Buff, Bob Keane, Nik Venet, and Art Laboe,  musicians who had influenced the group like Don & Dewey, Johnny Otis, Otis' sax players Preston Love and Big Jay McNeely, Eric Dolphy, Edgard Varese, Richard Berry, Johnny Guitar Watson, and Ravi Shankar, eccentric performers like Tiny Tim, DJs like Hunter Hancock and Huggy Boy, science fiction writers like Cordwainer Smith and Robert Sheckley, and scenesters like David Crosby, Vito, and Franzoni. The list of 179 people would provide a sort of guide for many listeners, who would seek out those names and find their ways into the realms of non-mainstream music, writing, and art over the next few decades. Zappa would always remain grateful to Wilson for taking his side in the record's production, saying "Wilson was sticking his neck out. He laid his job on the line by producing the album. MGM felt that they had spent too much money on the album". The one thing Wilson couldn't do, though, was persuade the label that the group's name could stay as it was. "The Mothers" was a euphemism, for a word I can't say if I want this podcast to keep its clean rating, a word that is often replaced in TV clean edits of films with "melon farmers", and MGM were convinced that the radio would never play any music by a band with that name -- not realising that that wouldn't be the reason this music wouldn't get played on the radio. The group needed to change their name. And so, out of necessity, they became the Mothers of Invention.