Podcast appearances and mentions of Roy Harper

In this episode, the hosts dive into the world of Teen Titans, discussing their personal introductions to the characters, the dynamics of the original lineup, and the importance of characters like Robin/Nightwing, Donna Troy, Cyborg and Roy Harper. They explore the relationships between the characters, their development, and the impact of the animated series on their perceptions. The conversation also touches on the erasure of certain characters in the fandom and the complexities of character backstories, particularly focusing on Donna Troy's confusing origins. In this conversation, the hosts delve into the intricate dynamics of personality and relationships within the Teen Titans, exploring the impact of creators like Marv Wolfman and George Perez on the comic book landscape. They discuss the legacy of George Perez, the complexities of character development, particularly focusing on Raven and Wally West, and the evolution of Nightwing's character. The conversation culminates in a deep analysis of the Judas Contract storyline, its implications for the Titans, and the lasting effects on character relationships. In this conversation, the hosts delve into various aspects of the Teen Titans, discussing creative talents in comics, the significance of the Judas Contract, and the evolution of the Teen Titans from their inception to the 2003 series. They explore character dynamics, leadership roles, and the impact of significant story arcs like Identity Crisis. The discussion also touches on the future of the Teen Titans and the importance of diversifying character representation and storytelling within the DC universe.What Do You Love About The Teen Titans? Share your thoughts in the comments!You can follow Comic Talkers on:Instagram: https://www.instagram.com/comictalkers?igsh=NTc4MTIwNjQ2YQ%3D%3D&utm_source=qrFacebook: https://www.facebook.com/comictalkers?mibextid=wwXIfr&mibextid=wwXIfrTikTok: www.tiktok.com/@comictalkersBlueSky: https://bsky.app/profile/comictalkers.bsky.socialClapper: https://clapperapp.com/ComicTalkers?is_invite=1&r=x6vN1GD26K&c=in&m=coListen to the podcast on these platforms as well:Spotify For Podcasters: ⁠https://creators.spotify.com/pod/show/comictalkers⁠Apple Podcasts: ⁠https://podcasts.apple.com/us/podcast/comic-talkers/id1560772306⁠Spotify: https://open.spotify.com/show/0mLHZQajx81j0iFDqD1vGE?si=cZqBxw7yQ_WC3vr6Q1X8eA#teentitans #dccomics #comicbooks #nightwing #wallywest #royharper #cyborg #beastboy #starfire #raven #wondergirl #donnatroy #marvwolfman #georgeperez #geoffjohns

Esta semana, en Islas de Robinson, clásicos en coordenadas de Folk-Rock británico entre 1971 y 1974. Canciones que hablan por sí solas. Suenan: ALAN HULL - "MONEY GAME" ("PIPEDREAM", 1973) / KEVIN COYNE - "BLAME IT ON THE NIGHT" ("BLAME IT ON THE NIGHT", 1974) / MICHAEL CHAPMAN - "ANOTHER SEASON SONG" ("DEAL GONE DOWN", 1974) / ROY HARPER - "TWELVE HOURS OF SUNSET" ("VALENTINE", 1974) / DUNCAN BROWNE - "MIGNON" (1973) / PETER HAMMILL - "AGAIN" (IN CAMERA", 1974) / JOHN CALE - "EMILY" ("FEAR", 1974) / RICHARD AND LINDA THOMPSON - "THE GREAT VALERIO" ("I WANT TO SEE THE BRIGHT LIGHTS TONIGHT", 1974) / TIR NA NOG - "TEESSIDE" ("STRONG IN THE SUN", 1973) / INCREDIBLE STRING BAND - "DREAMS OF NO RETURN" ("HARD ROPE & SILKEN TWINE", 1974) / C.O.B. - "OH BRIGHT EYED ONE" ("MOYSHE MCSTIFF AND THE TARTAN LANCERS OF THE SACRED HEART", 1972) / STRAWBS - "IN AMONGST THE ROSES" ("FROM THE WITCHWOOD", 1971) / LAL & MIKE WATERSON - "FINE HORSEMAN" ("BRIGHT PHOEBUS", 1972) Escuchar audio

Esta semana, en Islas de Robinson, despedimos al fin el plomizo mes de enero. Lo hacemos con enormes clásicos, entre 1969 y 1974. Suenan: RICHARD & LINDA THOMPSON - "CALVARY CROSS" ("I WANT TO SEE THE BRIGHT LIGHTS TONIGHT", 1974) / NICK DRAKE - "THINGS BEHIND THE SUN" ("PINK MOON", 1972) / JOHN MARTYN - "SOLID AIR" ("SOLID AIR", 1973) / VAN MORRISON - "TWILIGHT ZONE (ALTERNATIVE TAKE)" (1974) / JONI MITCHELL - "COURT AND SPARK" ("COURT AND SPARK", 1974) / GRATEFUL DEAD - "CHINA DOLL" ("FROM MARS HOTEL", 1974) / TIM BUCKLEY - "CHASE THE BLUES AWAY" ("BLUE AFTERNOON", 1969) / PETER HAMMILL - "DROPPING THE TORCH" ("CHAMELEON IN THE SHADOW OF THE NIGHT", 1973) / ROY HARPER - "HORS D'OEUVRES" ("STORMCOCK", 1971) / DAVID ACKLES - "LOVE'S ENOUGH" ("AMERICAN GOTHIC", 1972) / TOWNES VAN ZANDT - "HIGH, LOW AND IN BETWEEN" ("HIGH, LOW AND IN BETWEEN", 1972) /Escuchar audio

Jimmy Page was in rough shape by the end of Led Zeppelin. His addictions had ravaged his body and he didn't contribute nearly as much to 1979's In Through The Out Door as he did all previous Zeppelin records. After the death of John Bonham, Jimmy fulfilled his obligations to release Coda, provided the soundtrack to Death Wish 2 as a favor to his neighbor and embarked on a brief fundraiser tour with lots of legends - The ARMS Tour. But he hadn't been very creative and wasn't keeping himself in match shape. After spending some time with his Swan Song brother Paul Rodgers (Free, Bad Company), he concocted a plan to put together a new supergroup for the 80s. WIth Rodgers handling vocal and primary songwriter duties, Jimmy also enlisted Chris Slade (Tom Jones, Manfred Mann's Earth Band, AC/DC, UAWIL #91 guest) and "The Fretless Monster" Tony Franklin who he worked with on Roy Harper's album Whatever Happened to Jugula? This powerful lineup was to be the vehicle that would rejuvenate Jimmy Page and put him back on the road to superstardom. However, Page's contributions weren't what fans had come to expect from the guitar hero and it seemed that Jimmy was a bit out of place in a world dominated by MTV. Single Radioactive was an AOR hit and showcased a bit of what the band could do, ultimately helping their self-titled debut to gold status in the US. But most of the album is uneven and Page isn't showing up with the killer solos that were his calling card. However, Tony Franklin is an absolute monster on this record, filling in the gaps that Page leaves between his flourishes and playing well off the ever steady Slade. While Rodgers vocals are as strong as ever, his songwriting doesn't quite live up to the standard of his previous bands. It was a solid debut which led to a strong sophomore effort in Mean Business (1986) but because it celebrates it's 40th on February 11, 2025, we thought we'd take a hard look at The Firm and why it didn't hit the heights we all hoped it would Check out our new website: Ugly American Werewolf in London Website Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Jimmy Page was in rough shape by the end of Led Zeppelin. His addictions had ravaged his body and he didn't contribute nearly as much to 1979's In Through The Out Door as he did all previous Zeppelin records. After the death of John Bonham, Jimmy fulfilled his obligations to release Coda, provided the soundtrack to Death Wish 2 as a favor to his neighbor and embarked on a brief fundraiser tour with lots of legends - The ARMS Tour. But he hadn't been very creative and wasn't keeping himself in match shape. After spending some time with his Swan Song brother Paul Rodgers (Free, Bad Company), he concocted a plan to put together a new supergroup for the 80s. WIth Rodgers handling vocal and primary songwriter duties, Jimmy also enlisted Chris Slade (Tom Jones, Manfred Mann's Earth Band, AC/DC, UAWIL #91 guest) and "The Fretless Monster" Tony Franklin who he worked with on Roy Harper's album Whatever Happened to Jugula? This powerful lineup was to be the vehicle that would rejuvenate Jimmy Page and put him back on the road to superstardom. However, Page's contributions weren't what fans had come to expect from the guitar hero and it seemed that Jimmy was a bit out of place in a world dominated by MTV. Single Radioactive was an AOR hit and showcased a bit of what the band could do, ultimately helping their self-titled debut to gold status in the US. But most of the album is uneven and Page isn't showing up with the killer solos that were his calling card. However, Tony Franklin is an absolute monster on this record, filling in the gaps that Page leaves between his flourishes and playing well off the ever steady Slade. While Rodgers vocals are as strong as ever, his songwriting doesn't quite live up to the standard of his previous bands. It was a solid debut which led to a strong sophomore effort in Mean Business (1986) but because it celebrates it's 40th on February 11, 2025, we thought we'd take a hard look at The Firm and why it didn't hit the heights we all hoped it would Check out our new website: Ugly American Werewolf in London Website Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

El pasado 13 de noviembre falleció Shel Talmy a los 87 años de edad. El productor discográfico estadounidense que ayudó a moldear el sonido de la música británica de los 60, la persona que capturó en el estudio numerosos momentos históricos en la historia del rock’n’roll por bandas como The Kinks, The Who, The Creation o The Easybeats. He aquí nuestro pequeño homenaje al padrino del freakbeat, orfebre del sonido de estudio cuyo legado perdurará mientras su música siga con nosotros.Playlist;THE KINKS “You really got me” (agosto 1964)THE WHO “Anyway anyhow anywhere” (mayo 1965)THE FIRST GEAR “Leave my kitten alone” (1964) (octubre 1964)THE SNEEKERS “Bald headed woman” (octubre 1964)THE MICKEY FINN “Night comes down” (marzo 1965)GOLDIE and THE GINGERBREADS “Look for me baby” (inédita, grabada en 1965)THE ROKES “La mia città” (1965)DAVY JONES (DAVID BOWIE) “You’ve got the habit of leaving” (agosto 1965)THE CREATION “Making time” (junio 1966)THE EASYBEATS “Friday on my mind” (octubre 1966)MANFRED MANN “Semi-Detached, Suburban Mr. James” (octubre 1966)THE NASHVILLE TEENS “I’m coming home” (octubre 1967)ROY HARPER “Ageing raver” (1968)LEE HAZLEWOOD “Bye baby” (1969)THE KINKS “Sunny afternoon” (junio 1966)Escuchar audio

Juliet and Terence on: the glory of The Supremes; new bands with old ties; the troubled lives of Christine McVie and Luther Vandross; BBC Radio Three Unwind; and farewell to Shel Talmy. {luncheon with Roy Harper}

Progresszív és pszichedelikus zenei est Gerdesits "Faszi" Ferenc (QUIMBY) 55. születésnapja alkalmából, Lead Zeppelin és Marlboro Man tagokkal, valamint különleges vendégekkel.A cím arra utal, hogy a legkésőbbi dal is 1976- ból való, egy utazás a 60-as, 70-es évek progresszív és pszichedelikus zenei világába: a JETHRO TULL, a LED ZEPPELIN, ARTHUR BROWN, a HAWKWIND, ROY HARPER és a CAMEL zenéjével. A koncert további különlegessége, hogy a közel öt évtizeddel ezelőtt működő, népszerű NON STOP együttes dalai is elhangzanak egykori tagok részvételével. Néhány órára éljünk a múltban!Mindenkit szeretettel várnak a közreműködők: Sipeki Zoltán (Zorán, Lead Zeppelin), Körmendi Roland (Lead Zeppelin, Heep Freedom), Gyöngyösi Gábor (Hooligans), Kaminszki Szergej (Cry Free, Celebration Days, Marlboro Man, Heep Freedom), Mayer Norbert (Marlboro Man), Lieber Zoltán (Marlboro Man, Pink Pills), Vörös Gábor (Lead Zeppelin, Piramis), exkluzív vendégként Gerdesits Máté - basszusgitár (ex hiperkarma), Gerdesits Pál - gitár (Görbe Bögre, Black Nose & Purple Hands), valamint Gerdesits Ferenc (ének) és Joseph Angyal (fuvola, saxofon) az egykori Non Stop zenekarból.Bátran és büszkén jelenthetjük ki, hogy ez a produkció tematikájában és színvonalában is egyedülálló Magyarországon!Belépő/Ticket: 3600 HUF (elővételben) | 4000 HUF (a koncert napján)Jegyek kaphatók a HELYSZÍNEN (hétköznapokon 15–21 óráig, fizetés kizárólag készpénzzel), valamint a TIXA rendszerében: https://tixa.hu/gerdesits-55Jegyek ELŐVÉTELI ÁRON az adott koncert dátumát megelőző napig válthatók, a koncert napján lép életbe a teljes áras jegyvásárlási lehetőség.// A koncertterem elrendezése: ÁLLÓKONCERT. Általában a pénteki és szombati koncerteknél nem áll módunkban – a várható teltház miatt – ülőhelyek biztosítására. Kérjük a megértésüket! //Dátum, helyszín:2024.10.12. (szombat), 20:00Muzikum Klub & Bisztró1088 Budapest, Múzeum u. 7.www.muzikum.huTovábbi koncertjeink: https://tixa.hu/muzikum_klub

This week we take another swing of the hammer of the Gods with Led Zeppelin's 3rd release, Led Zeppelin III. Our guest Karen Haglof came up in the Minneapolis indie music scene in the late 70s, eventually moving to NYC and playing in several of no wave pioneer Rys Chatham's guitar ensembles and later with Band Of Susans, before taking a break to earn a medical degree and join the hematology / oncology department of New York University Hospital.  Recently retired and back at music again, Karen freely credits receiving Jimmy Page and co's eclectic 1970 release at the age of 15 as being pivotal to her future musical explorations. Songs discussed in this episode: Since I've Been Loving You - Corinne Bailey Rae (Live at St. Lukes); The Pursuit Of Happiness - Band Of Susans; One Hand Up, Slinky 66, You're Not Where I Am - Karen Haglof; Whole Lotta Love, Immigrant Song - Led Zeppelin; Carry On - Crosby Stills Nash and Young; Friends - Led Zeppelin; Guitar Trio Pt. 1 - Rhys Chatham & His Guitar Trio; Celebration Day, Since I've Been Loving You, Out On The Tiles - Led Zeppelin; Gallows Pole - Fred Gerlach; Gallows Pole - Led Zeppelin; Knowing That I'm Losing You - The Yardbirds; Tangerine, That's The Way, Bron-Y-Aur Stomp - Led Zeppelin; Have A Cigar - Pink Floyd; Shake 'Em On Down - Booker (Bukka) White; Hats Off To (Roy) Harper - Led Zeppelin; Rte 66 Revisited - Karen Haglof Check out Karen's music: https://karenhaglof.bandcamp.com/

Can the portrayal of depression in an animated series be both authentic and compelling? Join us as we uncover the layers of character dynamics and development in DC's Young Justice, contrasting it with the iconic Teen Titans! Kali Hakaishin brings her fervor for DC's animated universe to the table, dissecting the intricate relationships and growth of characters like Robin, Aqualad, Kid Flash, Superboy, Miss Martian, and Artemis. We highlight the profound impact of pivotal events such as Kid Flash's disappearance and dig into Beast Boy's leadership journey and the nuanced portrayal of his depression.We scrutinize missed opportunities and the show's inconsistencies—like the lack of emotional payoff in Beast Boy's reaction to Superboy's return and the complexities of Miss Martian's evolving appearance. Black Canary's therapy sessions offer a window into the team's personal struggles and the potential for deeper storytelling that the series sometimes fails to fully embrace. We also critique the overwhelming introduction of numerous villains, which can detract from character development and make it difficult for viewers unfamiliar with the comic lore to connect.From the anticlimactic resolution of Kid Flash's feelings for Miss Martian to the handling of Roy Harper's storyline, we leave no stone unturned. We also contrast Robin's leadership styles in Young Justice and Teen Titans, noting how each series handles his relationship with Batman. Our discussion extends to the portrayal of Starfire in Teen Titans, juxtaposing her simpler arc with the more complex narratives of her teammates. Tune in as we express our frustrations with Young Justice's storytelling while still celebrating the series for its compelling moments and overall enjoyment!Text us for feedback and recommendations for future episodes!Support the Show.We thank everyone for listening to our podcast! We hope to grow even bigger to make great things happen, such as new equipment for higher-quality podcasts, a merch store & more! If you're interested in supporting us, giving us feedback and staying in the loop with updates, then follow our ZONE Social Media Portal!DISCLAIMER: The thoughts and opinions shared within are those of the speaker. We encourage everyone to do their own research and to experience the content mentioned at your own volition. We try not to reveal spoilers to those who are not up to speed, but in case some slips out, please be sure to check out the source material before you continue listening!Stay nerdy and stay faithful,- J.B.Subscribe to "Content for Creators" on YouTube to listen to some of the music used for these episodes!

Send us a Text Message.Musicians love to collaborate. We thought we'd have a look at some that are just great, some that are weird, and some that are simply awful! As usual, you'll know some, and some you won't.  This month, we farewell Graham Webb, an Australian pioneer of music videos – and Blind Date!  We also say goodbye to Ignatius Jones, of Jimmy and the Boys, along with a series of more conventional roles, and Steve Albini, producer of The Pixies, PJ Harvey and Nirvana. Vale! Our “Album You Must Hear Before You Die” is Pet Sounds, by The Beach Boys (1966). Long revered by musicians including The Rolling Stones and The Beatles, this album is a masterpiece of production and innovation.   How do we fit it all into an hour?  References:  Brian Wilson, Beach Boys, Pet Sounds, Capitol Records, Billboard, Sgt Pepper, Rubber Soul, LSD, “Good Vibrations”, Led Zeppelin, Sandy Denny, The Battle of Evermore, Aerosmith/Run-DMC, Walk This Way, Rick Rubin, Confessions of Dr Dream and other stories, Kevin Ayers, Nico, “Irreversible Neural Damage”, “With a Little Help From my Friends”, Joe Cocker, Jimmy Page, Matthew Sweet & Susanna Hoffs, Bing Crosby, David Bowie, “Little Drummer Boy”, Kylie Minogue, Nick Cave, “Where The Wild Roses Grow”, Robert Plant, Alison Krauss, “Raising Sand”, “Raise the Roof”, “Sentimental Hygiene”, Warren Zevon, Neil Young, The Party Boys, Peter Gabriel, “Don't give Up”, Kate Bush, “So”, Melt, “Games without Frontiers”, “Screaming Jets”, Johnny Warman, The Sex Pistols, Ronnie Biggs, “No One Is Innocent”, The Great Rock'N'Roll Swindle, Pink Floyd, Roy Harper, “Have A Cigar”, Wish You Were Here, Nick Cave & Shane McGowan, “What a Wonderful World”, Freddie Mercury, Montserrat Caballe, “Barcelona", U2, Brian Eno, The Joshua Tree, “Miss Sarajevo”, “Passengers”, Johnny Cash, “Under Pressure”, Queen, Vanilla Ice, “Dancing in the Street”, Mick Jagger, Mike Garson, Aladdin Sane, Pete Townshend, “Because You're Young”, Ann & Nancy Wilson (Heart) & Lisa Simpson, The Simpsons, REM, “End of the World”, Sesame Street, “Shiny Happy People”, Ozzy Osbourne & Miss Piggy, “Born to Be Wild”  Playlist - You'll really enjoy this one!!

In the second part of our deep dive into 1985, we discuss which established artists stayed relevant and which ones struggled to adapt to the new musical landscapes of the 1980s. Amongst those discussed are podcast favourites Joni Mitchell, Roy Harper and Miles Davis, while the zeitgeist conscious guises adopted by Rush and Robert Plant also go under the microscope. Meanwhile, Brian Eno continued to innovate by creating the very first album made specifically for the shiny new compact disc format. Watch this episode on our YouTube channel! Learn more about your ad choices. Visit megaphone.fm/adchoices

Lance and Kevonte discuss Thea Queen and Roy Harper! They talk both characters' histories, their relationship, being Oliver's sidekicks, their multiple returns after officially leaving Arrow, and how them each leaving us wanting more was ultimately a good thing.BULLSEYE, OFF THE MARK, MISS, or FAILED THIS CITY?Lance: BULLSEYEKevonte: BULLSEYEArtwork by Tom Gehrke: https://tomsart.threadless.com/PATREON: https://www.patreon.com/alwaysmallvilleTWITTER: https://twitter.com/donotfailourpodFACEBOOK: https://www.facebook.com/alwaysmallvilleEMAIL: alwaysarow@gmail.com

Lance and Kevonte discuss "Doppelgänger" and "The Thanatos Guild"! They talk the return of "Laurel Lance," Roy Harper and Nyssa al Ghul, Diggle continuing to be salty about not being the Green Arrow, and if Team Arrow is killing villains or not this season.BULLSEYE, OFF THE MARK, MISS, or FAILED THIS CITY?Lance: OFF THE MARKKevonte: OFF THE MARKArtwork by Tom Gehrke: https://tomsart.threadless.com/PATREON: https://www.patreon.com/alwaysmallvilleTWITTER: https://twitter.com/donotfailourpodFACEBOOK: https://www.facebook.com/alwaysmallvilleEMAIL: alwaysarow@gmail.com

This week on Hero or Zero we're chatting about a man who's had one of the hardest lives in DC Comics!...If you want to support the show: https://www.patreon.com/heroesforhirepodcastTo get Heroes for Hire merch: https://www.heroesforhire.ie/shopFollow us on Twitter: @Heroes4hirepod , @conlawler , @shaunmeighanFollow us on Facebook:  Det. Divilment's Discussion GroupFollow us on Instagram: heroesforhirepodcastEmail any questions or queries to: HeroesforHire_@outlook.com  Big thanks to our Patrons:Róisín and Baby Ben PalmerJoe BernieRyan Komatsu Dozer Enthusiast EvansonWaffles Loves you and hopes you have a good dayDavid ClarkeShaun Chuck it in the wash and it'll be grand JamiesonDominicAnna Irish Walrus Forever and congrats Roisin on your baby HjelmroosDanny McLaughlinLordsmishMichelle BrowneMichaela Doughtyfrost (overwhelmed by uni and other bad choices)Ed BallConor and Lorraine are certain you COULD kill someone with a compass just aim for the carotid arteryRuss- is thinking of trying out a new nickname its Russ Man Hell Yeah-ParfittJackson Brueheim has released a new episode of Can Columbo Crack the CaseLiz had a few too many on st paddy's day and tipsily subscribed to the patreonCiara LawlerJudge LeahyThe Amazing World of KezzaMikey the Leinster ledgbag chair's number 1 fanKyle BarowskyRuairiSean subbed to the patreon after 10 creamy pintsPete can't wait to hear his name read out on the podcast so definitely won't make it too long.Jack Markham Get exclusive access all our extra movie reviews here Hosted on Acast. See acast.com/privacy for more information.

We conclude the Crimson break period discussing Wetton and Bruford's various projects together and apart like UK, Bruford, Uriah Heep, Roxy Music, Genesis, Roy Harper and more!email: framebyframepod@gmail.com

Esta semana, en Islas de Robinson, regresamos a uno de nuestros territorios más apreciados. Entre 1970 y 1973, en clave de folk británico, con un puñado de clásicos fascinantes. Suenan: GARY HIGGINS - "I CAN'T SLEEP AT NIGHT" ("RED HASH", 1973) / ROY HARPER - "ALL IRELAND" ("LIFEMASK", 1973) / WIZZ JONES - "AMERICAN LAND" ("RIGHT NOW", 1972) / ROBIN WILLIAMSON - "WILL WE OPEN THE HEAVENS" ("MYRRH", 1972) / C.O.B. - "HEART DANCER" ("MOYSHE MCSTIFF AND THE TARTAN LANCERS OF THE SACRED HEART", 1972) / LAL & MIKE WATERSON - "TO MAKE YOU STAY" ("BRIGHT PHOEBUS", 1972) / PENTANGLE - "NO LOVE IS SORROW" ("SOLOMON'S SEAL", 1972) / STEELEYE SPAN - "LOVELY ON THE WATER" ("PLEASE TO SEE THE KING", 1971) / FOREST - "GRAVEYARD" ("THE FULL CIRCLE", 1970) / TIR NA NOG - "GOODBYE MY LOVE" ("A TEAR AND A SMILE", 1972) / SPIROGYRA - "AN EVERYDAY CONSUMPTION SONG" ("BELLS, BOOTS & SHAMBLES", 1973) / MAGNET - "WILLOW'S SONG" ("WICKER MAN", 1973) /Escuchar audio

On this week's episode of The Album Years podcast, find out why Tim calls 'The Beach Boys Love You' an album that is 'mad as a hatter'. Have you got an album which fits that description? Learn more about your ad choices. Visit megaphone.fm/adchoices

We stuck a coin in this week's jukebox of news and cranked up the volume and these were the tracks that got played … … fond memories of Annie Nightingale at Radio One and Whistle Test. … the delicious melancholy of Sunday night pop radio. … how David Gilmour writes songs. … sex, clothes, gangsters: the eternal allure of Bonnie & Clyde. … how the first Police album (including three hit singles) was recorded by a former doctor in a four-track studio above a dairy in Leatherhead for £1,500, and the band's touching tribute when he died. … the British Library hijack hack. … the fantasy theme of so many ‘60s movies: ‘escape'. … Ridley Scott's Hovis ad. … Blind Willie Johnson, Chuck Berry … Blodwyn Pig? The five tracks you'd send into space to represent life on earth. … how future wars will be started. … plus birthday guest Sandra Austin on the best use of choirs on records among them Aretha Franklin's You've Got A Friend, Blur's Tender, the Stones' You Can't Always Get What You Want, Roy Harper's When An Old Cricketer Leaves The Crease.Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content!: https;//www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

We stuck a coin in this week's jukebox of news and cranked up the volume and these were the tracks that got played … … fond memories of Annie Nightingale at Radio One and Whistle Test. … the delicious melancholy of Sunday night pop radio. … how David Gilmour writes songs. … sex, clothes, gangsters: the eternal allure of Bonnie & Clyde. … how the first Police album (including three hit singles) was recorded by a former doctor in a four-track studio above a dairy in Leatherhead for £1,500, and the band's touching tribute when he died. … the British Library hijack hack. … the fantasy theme of so many ‘60s movies: ‘escape'. … Ridley Scott's Hovis ad. … Blind Willie Johnson, Chuck Berry … Blodwyn Pig? The five tracks you'd send into space to represent life on earth. … how future wars will be started. … plus birthday guest Sandra Austin on the best use of choirs on records among them Aretha Franklin's You've Got A Friend, Blur's Tender, the Stones' You Can't Always Get What You Want, Roy Harper's When An Old Cricketer Leaves The Crease.Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content!: https;//www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

THE BEST BOOK CLUB IN THE MULTIVERSE! This week, Aeric and Malcolm witness the death of a city in volume 4 of GREEN ARROW REBIRTH! The Ninth Circle has haunted Oliver Queen ever since he learned of its existence. From legends and myths to rumors and schemes, this shadowy organization has made the last year of Oliver's life a living hell. But the time for subtlety is over – it's time for ALL OUT WAR. After FINALLY reuniting with former protege Roy Harper – aka Arsenal – Ollie and his team will need to defend Seattle against a grand conspiracy to destroy it. But if the city falls… what will rise in its place? Covers Green Arrow (2016) #18-25 by Benjamin Percy, Juan Ferreyra, Eleonora Carlini, Mirka Andolfo and Otto Schmidt Send us your questions for the Book Club Mailbag! Email: geeksplained@gmail.com Follow us! Twitter: twitter.com/geeksplainedpod?lang=en Instagram: www.instagram.com/geeksplainedpod/?hl=en Music Sampled: "Alive" by Warbly Jets

We head back to a hot London summer at the end of the hippy era, as Jethro Tull's “Nureyev with a flute” Ian Anderson talks vividly about Roy Harper, folk versus rock, musicians versus the music biz, and much more. Plus Andrew Male and Danny Eccleston dig MOJO's compilation of unheard Stax demos, and yet more great Arthur Russell finds.Tracklisting: 1. Locomotive Breath from Aqualung originally released on the Chrysalis label in 19712. In A beautiful rambling Mess, from Come Out Fighting Genghis Smith, originally released on CBS in 19673. The Boy With a Smile, from Picture of Bunny Rabbit LP, written by Arthur Russell, and released on Audio Records originally in 19854. MOJO covermount, Mack Rice's demo of Respect Yourself, written by Mack Rice and Luther Ingram and first covered by The Staple Singers in 1971

The Comic Talkers head to Star City to kick off Green Arrow Month. And what a great way to start this month by creating our own Green Arrow Museums. Tune in as the Comic Talkers create a museum for Oliver Queen, Roy Harper, and Connor Hawke. Tune in as Mari, Brandon, and Bryce discuss their first introductions and origins, powers and abilities, their best team and team-ups, best moments, and essential reads! Special Thanks to our friend Michael Regalo for making our official theme song. Please follow him and his band, Running on Empty on Instagram @emptyonrunning. Join in on the conversation and get the latest updates on the podcast by following Comic Talkers on Instagram, Facebook, and TikTok @comictalkers. Also, let us know who your favorite arrow family member is? You can listen to Comic Talkers on: Spotify For Podcasters - ⁠https://podcasters.spotify.com/pod/show/comictalkers⁠ Apple Podcasts - ⁠⁠⁠https://podcasts.apple.com/.../comic-talkers/id1560772306⁠⁠⁠ Spotify - ⁠⁠⁠https://open.spotify.com/show/0mLHZQajx81j0iFDqD1vGE⁠⁠⁠ Google Podcasts - ⁠⁠⁠https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy81MjQzZDQ2OC9wb2RjYXN0L3Jzcw⁠⁠⁠

Hired as a tape op by EMI in February 1970, Leckie quickly found himself among rock royalty when his career began with work on Ringo's Sentimental Journey, followed quickly after with McCartney. But his major immersion with the cream of rock's musicians soon came with the All Things Must Pass project, placing him at the service of George Harrison and Phil Spector and with a team that included Ringo, Klaus Voormann, Eric Clapton, The Dominoes, Gary Brooker, Peter Frampton, Phil Collins, Gary Wright, Billy Preston and Badfinger, among others.  This conversation focuses on that landmark album. Joining as co-host is author/producer Jerry Hammack (The Beatles Recording Reference Manual series), with a cameo from Luther Russell. Jerry's latest book has just been published: Home Studio Recording - The Complete Guide.  John was a previous guest discussing the making of John and Yoko's respective Plastic Ono Band albums, as well as alongside his previous collaborators Derek Forbes (Simple Minds) and Ian McNabb (Icicle Works) for a conversation on Peter Jackson's Get Back film. His excellent recall of events he witnessed as well as insights as someone with some amazing career achievements (Roy Harper, Be Bop Deluxe, Pink Floyd, Wings, Radiohead, XTC, Stone Roses, and so on) to his credit make this conversation something special.   

Esta semana, en Islas de Robinson, nos mecemos entre apacibles brumas psicodélicas, por una senda que va de 1969 a 1971, con un puñado de melodías hipnóticas y armonías sublimes entregadas de forma tan mágica como sencilla. Todo grandes nombres esta noche... pasen, acomódense... plácidos... serenos... sientan ustedes... Suenan: THE BEATLES - "BECAUSE" ("ABBEY ROAD", 1969) / THE PRETTY THINGS - "PARACHUTE" ("PARACHUTE", 1970) / FAMILY - "SOME POOR SOUL" ("A SONG FOR ME", 1970) / CROSBY STILLS & NASH - "GUINNEVERE" ("CROSBY, STILLS & NASH", 1969) / GRATEFUL DEAD - "ROSEMARY" ("AOXOMOXOA", 1969) / LAMBERT & NUTTYCOMBE - "BIRD SONG" ("AT HOME", 1970) / LINDA PERHACS - "CHIMACUM RAIN" ("PARALLELOGRAMS", 1970) / ROY HARPER - "ANOTHER DAY" ("FLAT, BAROQUE AND BERSERK", 1970) / DAVID BOWIE - "LETTER TO HERMIONE" ("DAVID BOWIE", 1969)/ PINK FLOYD - "A PILLOW OF WINDS" ("MEDDLE", 1971) / GENESIS - "DUSK" ("TRESPASS", 1970) / KING CRIMSON - "MOONCHILD" ("IN THE COURT OF THE CRIMSON KING", 1969) / VAN DER GRAAF GENERATOR - "OUT OF MY BOOK" ("THE LEAST WE CAN DO IS WAVE TO EACH OTHER GOODBYE", 1970) / JETHRO TULL - "WOND'RING ALOUD" ("AQUALUNG", 1971) / THIN LIZZY - "DUBLIN" (1971) Escuchar audio

This week's Prog-Watch is a themed special to mark the tenth anniversary of the program! Hear great music from John Entwistle, Led Zeppelin, Pilot, The Yardbirds, Roy Harper, Paper Lace, Supertramp, IQ, Landmarq, Spring, XTC, Steve Thorne, Kerry Livgren, The Strawbs, The Jelly Jam, and ZZ Top! All in 90 minutes!

Nugget, Episode 1.524, 19.02.2023: Musikradio360 befasst sich diese Woche mit einem der großen Außenseiter der britischen Musikszene. Roy Harper hatte berühmte Freunde, prominente Unterstützung auf seinen Platten und sang auf einem der erfolgreichsten Alben aller Zeiten. Und trotzdem hat der den Durchbruch nie geschafft. Vorsicht, dieser Podcast könnte Spurenelemente von Led Zeppelin und Pink Floyd enthalten.

Clark enters an inescapable conflict. The Unauthorized Biography of Clark Kent continues. Son of El is written and produced by Isaac Bluefoot. The views expressed are not necessarily those held by DC Comics and Warner Media.This telling of Superman is an interpretation of the works of many writers and artists. Clark Kent and Lex Luthor were created by Jerry Siegel and Joe Schuster. Batman was created by Bill Finger and Bob Kane. J'Onn J‘Onzz was created by Joseph Samachson and Joe Certa. John Stewart was created by Dennis O'Neil and Neal Adams. Barry Allen was created by Robert Kanigher and Carmine Infantino. Mr. Terrific was created by John Ostrander and Tom Mandrake. Wonder Woman was created by William Moulton Marston and Harry G. Peter. Vixen was created by Gerry Conway and Bob Oksner. Arthur Curry was created by Mort Weisinger and Paul Norris. Wally West was created by John Broome and Carmine Infantino. Ray Palmer was created by Julius Schwartz, Gardner Fox, and Gil Kane. Oliver Queen was created by Mort Weisinger and George Papp. Vandal Savage was created by Alfred Bester & Martin Nodell. Roy Harper was created by Mort Weisinger and George Papp. Black Canary was created by Dennis O'Neil and Dick Dillon. Richard Grayson was created by Bill Finger and Bob Kane. Jason Todd was created by Gerry Conway and Don Newton. Dr. Fate was created by Gardner Fox and Howard Sherman. The Joker was created by Jerry Robinson, Bill Finger, and Bob Kane.Manuscript Editing assistance by Tricia Riel. Theme Music by Royal Jelly. Additional music licensed through Creative Commons: Itasca by Blue Dot Sessions, Fly a Kite by Spectacular Sound Productions, Maceonectar (Johnny Ripper Mix) by Saxsyndrum, Spring Cleaning by Blue Dot Sessions, Touching Down by Scott Nice, Ginger by Chad Crouch, I Have a Plan by Borrtex, Moon by Borrtex,Loaming Pulse by Podington Bear, Flatlands 3rd by Blue Dot Sessions, Outside (Luzalove Mix) by Luxalove, Animals by Borrtex, Shadow by Evan Shaeffer, The Undertake by Borrtex, There is Always a Reason by Borrtex, Time Passing I by David Hilowitz, Unto the Coven by Plasticine Cowboy.

November 12, 1984 Covent Garden London, Roy Harper & Jimmy Page play an intimate acoustic set, 5 days before the first live appearance of the Firm, and it's wonderful. Hangman, 20th Century Man, and One of Those Days in England are heard. Really cool gig.

Clark retreats to introspect. The Unauthorized Biography of Clark Kent continues. Son of El is written and produced by Isaac Bluefoot. The views expressed are not necessarily those held by DC Comics and Warner Media.This telling of Superman is an interpretation of the works of many writers and artists. Clark Kent, Jor-El, Martha Kent, and Lex Luthor were created by Jerry Siegel and Joe Schuster. Mr. Terrific was created by John Ostrander and Tom Mandrake. Kara Zor-El was created by Otto Binder and Al Plastino. Ray Palmer was created by Julius Schwartz, Gardner Fox, and Gil Kane. The Phantom Zone Projector was Robert Bernstein and George Papp. Vandal Savage was created by Alfred Bester & Martin Nodell. Ra's Al Ghul was created by Dennis O'Neil, Neal Adams, and Julius Schwartz. J'Onn J‘Onzz was created by Joseph Samachson and Joe Certa. Arthur Curry was created by Mort Weisinger and Paul Norris. Wonder Woman was created by William Moulton Marston and Harry G. Peter. Batman was created by Bill Finger and Bob Kane. Richard Grayson was created by Bill Finger and Bob Kane. Jason Todd was created by Gerry Conway and Don Newton. Steve Trevor was created by William Moulton Marston and Harry G. Peter. Etta Candy was created by William Moulton Marston and Harry G. Peter. Barry Allen was created by Robert Kanigher and Carmine Infantino. Wally West was created by John Broome and Carmine Infantino. Roy Harper was created by Mort Weisinger and George Papp. Green Arrow was created by Mort Weisinger and George Papp. Black Canary was created by Dennis O'Neil and Dick Dillon. Sandra Wusan was created by Dennis O'Neal and Ric Estrada.Manuscript Editing assistance by Tricia Riel. Theme Music by Royal Jelly. Additional music licensed through Creative Commons: Feather On the Crest by Blue Dot Sessions, Unialus by Jari Pitkanen, Discovery by Kirk Osamayo, One Little Triumph by Blue Dot Sessions, Above the Clouds by Frequeny Decree, Floatation by Bio Unit, Solitary by Bio Unit, Lady Marie by Blue Dot Sessions, Brotherhood by Monplaisir, An Empire For Your Heart by Eletrólise, Touch Your Breath by Masato Abe, Wave of the Synth by Uncan.

Clark and the league find themselves on the wrong side of the law. The Unauthorized Biography of Clark Kent continues. Son of El is written and produced by Isaac Bluefoot. The views expressed are not necessarily those held by DC Comics and Warner Media.This telling of Superman is an interpretation of the works of many writers and artists. Clark Kent and Lex Luthor were created by Jerry Siegel and Joe Schuster. Kara Zor-El was created by Otto Binder and Al Plastino. Batman was created by Bill Finger and Bob Kane. Task Force X was created by Robert Kanigher and Ross Andru. Wonder Woman was created by William Moulton Marston and Harry G. Peter. Steve Trevor was created by William Moulton Marston and Harry G. Peter. Barry Allen was created by Robert Kanigher and Carmine Infantino. Green Arrow was created by Mort Weisinger and George Papp. Martian Manhunter was created by Joseph Samachson and Joe Certa. John Stewart was created by Dennis O'Neil and Neal Adams. Black Lightning was created by Tony Isabella and Trevor Von Eeden. Mr. Terrific was created by John Ostrander and Tom Mandrake. Vixen was created by Gerry Conway and Bob Oksner. Ray Palmer was created by Julius Schwartz, Gardner Fox, and Gil Kane. Black Lightning was created by Tony Isabella and Trevor Von Eeden. Arthur Curry was created by Mort Weisinger and Paul Norris. Black Canary was created by Dennis O'Neil and Dick Dillon. Roy Harper was created by Mort Weisinger and George Papp. Richard Grayson was created by Bill Finger and Bob Kane. Jason Todd was created by Gerry Conway and Don Newton.Manuscript Editing assistance by Tricia Riel. Theme Music by Royal Jelly. Additional music licensed through Creative Commons: Flashing Runner by Blue Dot Sessions, Going Forward Looking Back by Podington Bear, Rythn by Podington Bear, Ice Where Your Parent's Love Should Be by Kyle Preston, Euphoric by Podington Bear, Part VIII by Jahzzar, Friction Model by Blue Dot Sessions, Animals by Borrtex, Picnic March by Blue Dot Sessions, Look Deep Into Your Eyes by Till Pardiso.

On the 3rd Episode of Shout It Out Loudcast's sidecast, The Zeppelin Chronicles, our hosts, Tom & Zeus, along with SIOL sidekick Murph and Jay Scott from The Hook Rocks podcast, review the 1970 album, "Led Zeppelin III." Led Zeppelin III often referrred to as the "acoustic album," has been often misunderstood. Filled with many acoustic offerings, the album still boasts several hard hitting classic Led Zeppelin songs, like Immigrant Song, Celebration Day and Out On The Tiles. After a grueling tour schedule Robert Plant and Jimmy Page decided to go to a cottage without running water or electicity in Bron-Yr-Aur, Wales. The two work on their songwriting with only acoustic guitars and a tape recorded. The results are the classic acoustic numbers on Led Zeppelin and other songs that would filter onto future Led Zeppelin releases. The band felt free to do whatever music they so desired. Led Zeppelin III was not only filled with rockers, but folk songs, ballads and perhaps their signature blues song, the classic, "Since I've Been Loving You." Although Led Zeppelin III went to Number 1 in the USA and the UK and went 6 times platinum in the United States, the album is still overlooked and definitely underratted, Led Zeppelin III is an album from a band with no limits to their musicianship or their lyrics and still on the ascension! The Zeppelin Chronicles breaks down Led Zeppelin III SIOL style. The guys discuss their connection with the album, the background of the album, the album cover and finally the songs. They rank the songs, then rank the album and album cover against the two previous Led Zeppelin albums reviewed. So tune in, follow, download and subscribe or face the "Hammer Of The Gods!" For all things Shout It Out Loudcast check out our amazing website by clicking below: www.ShoutItOutLoudcast.com Interested in more Shout It Out Loudcast content?  Care to help us out?  Come join us on Patreon by clicking below: SIOL Patreon Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store Please go to Klick Tee Shop for all your Shout It Out Loudcast Merchandise by clicking below:SIOL Merchandise at Klick Tee Shop Please Email us comments or suggestions by clicking below:ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below:iTunesPodchaserStitcheriHeart RadioSpotify  Please follow us and like our social media pages clicking below:TwitterFacebook PageFacebook Group Page Shout It Out LoudcastersInstagramYouTube Proud Member of the Pantheon Podcast click below to see the website:Pantheon Podcast Network

On the 3rd Episode of Shout It Out Loudcast's sidecast, The Zeppelin Chronicles, our hosts, Tom & Zeus, along with SIOL sidekick Murph and Jay Scott from The Hook Rocks podcast, review the 1970 album, "Led Zeppelin III." Led Zeppelin III often referrred to as the "acoustic album," has been often misunderstood. Filled with many acoustic offerings, the album still boasts several hard hitting classic Led Zeppelin songs, like Immigrant Song, Celebration Day and Out On The Tiles. After a grueling tour schedule Robert Plant and Jimmy Page decided to go to a cottage without running water or electicity in Bron-Yr-Aur, Wales. The two work on their songwriting with only acoustic guitars and a tape recorded. The results are the classic acoustic numbers on Led Zeppelin and other songs that would filter onto future Led Zeppelin releases. The band felt free to do whatever music they so desired. Led Zeppelin III was not only filled with rockers, but folk songs, ballads and perhaps their signature blues song, the classic, "Since I've Been Loving You." Although Led Zeppelin III went to Number 1 in the USA and the UK and went 6 times platinum in the United States, the album is still overlooked and definitely underratted, Led Zeppelin III is an album from a band with no limits to their musicianship or their lyrics and still on the ascension! The Zeppelin Chronicles breaks down Led Zeppelin III SIOL style. The guys discuss their connection with the album, the background of the album, the album cover and finally the songs. They rank the songs, then rank the album and album cover against the two previous Led Zeppelin albums reviewed. So tune in, follow, download and subscribe or face the "Hammer Of The Gods!" For all things Shout It Out Loudcast check out our amazing website by clicking below: www.ShoutItOutLoudcast.com Interested in more Shout It Out Loudcast content?  Care to help us out?  Come join us on Patreon by clicking below: SIOL Patreon Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store Please go to Klick Tee Shop for all your Shout It Out Loudcast Merchandise by clicking below:SIOL Merchandise at Klick Tee Shop Please Email us comments or suggestions by clicking below:ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below:iTunesPodchaserStitcheriHeart RadioSpotify  Please follow us and like our social media pages clicking below:TwitterFacebook PageFacebook Group Page Shout It Out LoudcastersInstagramYouTube Proud Member of the Pantheon Podcast click below to see the website:Pantheon Podcast Network

Clark does his best to avoid politics. The Unauthorized Biography of Clark Kent continues. Son of El is written and produced by Isaac Bluefoot. The views expressed are not necessarily those held by DC Comics and Warner Media.This telling of Superman is an interpretation of the works of many writers and artists. Clark Kent, Lois Lane, Lex Luthor, and Martha Kent were created by Jerry Siegel and Joe Schuster. Peacemaker was created by Joe Gill and Pat Boyette. Lana Lang was created by Bill Finger and John Sikela. Steve Trevor was created by William Moulton Marston and Harry G. Peter. Etta Candy was created by William Moulton Marston and Harry G. Peter. Green Arrow was created by Mort Weisinger and George Papp. Black Canary was created by Dennis O'Neil and Dick Dillon. Roy Harper was created by Mort Weisinger and George Papp. Richard Grayson was created by Bill Finger and Bob Kane. The Flash was created by Robert Kanigher and Carmine Infantino. Ray Palmer was created by Julius Schwartz, Gardner Fox, and Gil Kane. Black Lightning was created by Tony Isabella and Trevor Von Eeden. Hal Jordan was created by John Broome and Gil Kane. Bizarro was created by George Papp and Otto Binder. Martian Manhunter was created by Joseph Samachson and Joe Certa. Prometheus was created by Grant Morrison and Arnie Jorgensen. Wonder Woman was created by William Moulton Marston and Harry G. Peter. Weather Wizard was created by John Broome and Carmine Infantino. The Toyman was created by Don Cameron and Ed Debrotka.Manuscript Editing assistance by Tricia Riel. Theme Music by Royal Jelly. Additional music licensed through Creative Commons: Trundle by Podington Bear, Gradual Sunrise by David Hilowitz, Fjord by Bio Unit, Ancora Dolcemente by Jari Pitkanen, Three Colors by Podington Bear, Last Day of High School by Borrtex, Donnalee by Blue Dot Sessions, Show Me by Borrtex, Night Vision by Podington Bear, Lady Marie by Blue Dot Sessions, Low Horizon by Kai Engel, Emu in the Bass by Gorowski, A Soul the Same by Audralic, Counting Lights by Kai Engel, Coming Home by Borrtex, Memory Wind by Podington Bear, Evermore by Jari Pitkanen, New England is Interesting by BOPD, Outside (Luxalove remix) by Luxalove, Big Feeling Man by Blue Dot Sessions, Boadicee (Johnny Ripper Mix) by Phasme, Rising Out of Stagnant Water by Jack Anderton, Swollen Clouds by Podington Bear, You Make My Heart Sing by Will Bangs, Flatlands 3rd by Blue Dot Sessions, Ashes by Jahzzar.

Clark is invited to a debate. The Unauthorized Biography of Clark Kent continues. Son of El is written and produced by Isaac Bluefoot. The views expressed are not necessarily those held by DC Comics and Warner Media.This telling of Superman is an interpretation of the works of many writers and artists. Clark Kent, Lois Lane, Lex Luthor, Martha Kent, and Jonathan Kent were created by Jerry Siegel and Joe Schuster. Deadshot was created by David Vern Reed and Lew Sayre Schwartz. Ray Palmer was created by Julius Schwartz, Gardner Fox, and Gil Kane. Green Arrow was created by Mort Weisinger and George Papp. Roy Harper was created by Mort Weisinger and George Papp. Richard Grayson was created by Bill Finger and Bob Kane. Prometheus was created by Grant Morrison and Arnie Jorgensen. Knightfall was created by Gail Simone and Alitha Martinez. Electrocutioner was created by Marv Wolfman, Michael Fleisher, and Irv Novick. Reaper was created by Mike W. Barr and Alan Davis. Javelin was created by Len Wein and Dave Gibbons. Peacemaker was created by Joe Gill and Pat Boyette. Bloodsport was created by John Byrne. Steve Trevor was created by William Moulton Marston and Harry G. Peter. Wonder Woman was created by William Moulton Marston and Harry G. Peter. Metallo was created by Robert Bernstein and Al Plastino. Martian Manhunter was created by Joseph Samachson and Joe Certa. The Flash was created by Robert Kanigher and Carmine Infantino. Iris West was created by Robert Kanigher and Carmine Infantino. Mr. Terrific was created by John Ostrander and Tom Mandrake. Black Canary was created by Dennis O'Neil and Dick Dillon. Black Lightning was created by Tony Isabella and Trevor Von Eeden. Hal Jordan was created by John Broome and Gil Kane. Vixen was created by Gerry Conway and Bob Oksner. Arthur Curry was created by Mort Weisinger and Paul Norris.Manuscript Editing assistance by Tricia Riel. Theme Music by Royal Jelly. Additional music licensed through Creative Commons: Gradual Sunrise by David Hilowitz, Headlights/Moutain Road by Blue Dot Sessions, …and Degeneracy by Abstract Nostalgic Fractal Systems, Curious Process by Podington Bear, Donnalee by Blue Dot Sessions, Starlight by Chad Crouch, Great is the Contessa by Blue Dot Sessions, The Dawn Chorus (Instrumental) by Chad Crouch, Good Ideas Poorly Executed by Steve Combs, Flatlands 3rd by Blue Dot Sessions, Chicane by Bio Unit, Intro by Baucheamp, A Sea Change by Kyle Preston, Calm and Collected by Blue Dot Sessions, Dutiligi by Mello C, Roundpine by Blue Dot Sessions, Stress by Audiobinger.

Nightwing News Ep #169: Nightwing - Renegade Welcome back to Nightwing News!  In this episode Phil, Lilith and a sick Kristen review “Renegade” from Nightwing  #112-#117 (November 2005-April 2006) featuring Nightwing's time as Deathstroke's “Renegade”, the end of Bludhaven, and the road to Infinite Crisis. Guest starring Roy Harper, Superman, and Batman. Tune in today and don't forget to review the show on Apple Podcasts, Spotify, YouTube, and anywhere else you can!   Nightwing News Links  → Twitter https://www.twitter.com/NightwingNews → Instagram https://www.instagram.com/clsidekicks → Facebook https://www.facebook.com/NightwingNewsPodcast → YouTube https://www.youtube.com/c/CapesandLunatics ==================

Sector 2814 Ep #89: Green Lantern #125-#128 Welcome back to Sector 2814, the Green Lantern podcast. In this episode Phil and Will review Green Lantern #125-#128 (June-September 2000) featuring the last issue of Ron Marz's original run on Green Lantern and 3 issues by Jay Faerber featuring a prison riot, a battle with Effigy and Killer Frost, and a team-up with Roy Harper. Tune in today and don't forget to review the show on Apple Podcasts, Spotify, YouTube, and anywhere else you can!    Sector 2814's Links  → Twitter https://www.twitter.com/GreenLanternPod → Instagram https://www.instagram.com/clsidekicks → Facebook https://www.facebook.com/GreenLanternPod → YouTube https://www.youtube.com/c/CapesandLunatics ==================

Sesión "náufrago-veraniega" de Islas de Robinson, con grandes clásicos del rock entre 1976 y 1977 "esquivando contrapié" la irrupción del punk. Suenan: JETHRO TULL - "SONGS FROM THE WOOD" ("SONGS FROM THE WOOD", 1977) / PETER GABRIEL - "SLOWDOWN" ("PETER GABRIEL I", 1977) / UTOPIA - "CRAZY LADY BLUE" ("OOPS, WRONG PLANET", 1977) / PINK FLOYD - "PIGS (THREE DIFFERENT ONES)" ("ANIMALS", 1977) / LED ZEPPELIN - "HOTS ON FOR NOWHERE" ("PRESENCE", 1976) / ROY HARPER - "CHERISHING THE LONESOME" ("BULLINAMINGVASE", 1977) / PETER HAMMILL - "TIME HEALS" ("OVER", 1977) / DAVID BOWIE - "WORD ON A WING" ("STATION TO STATION", 1976) Escuchar audio

This episode is part of Pledge Week 2022. Every day this week, I'll be posting old Patreon bonus episodes of the podcast which will have this short intro. These are short, ten- to twenty-minute bonus podcasts which get posted to Patreon for my paying backers every time I post a new main episode -- there are well over a hundred of these in the archive now. If you like the sound of these episodes, then go to patreon.com/andrewhickey and subscribe for as little as a dollar a month or ten dollars a year to get access to all those bonus episodes, plus new ones as they appear. Click below for the transcript Transcript Before I start, a warning. Even though this episode is short it deals with many, many, upsetting subjects. If you're likely to be upset by a story dealing with the death and disfigurement of small children, disability, mental illness, gun violence and eye injuries, you're probably best off skipping this episode altogether, as it deals with these subjects right from after the first excerpt of music until the end. It's not a happy story. In this week's main episode we talk briefly about a record that Paul Simon produced while he was in Britain, before "The Sound of Silence" became a big hit. The performer whose record he produced only released that one album in his lifetime, but it's a record that had an outsized influence on the British folk-music scene. So today, we're going to have a look at the tragic life of Jackson C Frank, and at "Blues Run the Game": [Excerpt: Jackson C Frank, "Blues Run the Game"] Jackson C Frank's life started to go badly, irrevocably, wrong, when he was just eleven years old. His family lived in Buffalo, New York, where the winters are long and cold, and Jackson was a Baby Boomer. Because of the tremendous number of new children going through the school system, the brick schoolhouse at the school he attended had been augmented with an annexe, made out of wood, and he was in that annexe, in a music lesson, when the boiler exploded and set fire to it. Jackson was one of the lucky ones. That fire took the life of fifteen of his classmates, and spurred a national movement towards banning timber buildings for schools and the institution of fire drills, which up to that point had not been a thing. Jackson got thrown out of a window by a teacher, and the snow put out the flames on his back, meaning he "only" suffered burns over sixty percent of his body, scarring him for life. He had to spend a year in hospital, have a tracheotomy, and have a metal plate put in his head. He developed thyroid problems, got calcium deposits that built up over the years and frequently left him in agony, and always walked with a limp and only had limited movement in his arms. Many celebrities did things to comfort the children, who became nationally known. Kirk Douglas came to the hospital to visit them, and later in his childhood Jackson was able to go and meet Elvis, who became a big inspiration for the young man. He spent his teenage years going around the local music scene, including spending a long time with a friend who later became known as John Kay of Steppenwolf, but then when he turned twenty-one he got a massive insurance payout that had been held in trust for him. I've seen different numbers for this -- it was either fifty or a hundred thousand dollars, and in modern terms that would be about ten times that much. Being a young man, he didn't want to invest it, he wanted to buy expensive cars. He wanted an Aston Martin and a Bentley, and Britain was where they made Aston Martins and Bentleys, so he caught a boat to England, and on the trip over started writing songs, including the one that would become his best known: [Excerpt: Jackson C Frank, "Blues Run the Game"] Once he was in the UK, Frank moved into Judith Piepe's flat, where he started a relationship with an eighteen-year-old nurse, who was also trying to be a singer. Frank encouraged her to follow her dreams and become a professional, and Sandy Denny would later record some of his songs, and wrote the song "Next Time Around" about him: [Excerpt: Sandy Denny, "Next Time Around"] While he was in London, he became well known on the folk circuit, regularly playing Les Cousins, and as Ralph McTell put it, "EVERYONE" sang 'Blues Run the Game'". Over the years, the song has been performed by everyone from Bert Jansch: [Excerpt: Bert Jansch, "Blues Run the Game"] to Counting Crows: [Excerpt: Counting Crows, "Blues Run the Game"] Frank's own version of the song was recorded on his one and only album,  which was produced by Paul Simon, as we heard in the main episode. That album also included songs like "Carnival", which has now possibly become the song of Frank's that has been heard by most people, as it was featured both on the soundtrack and in the dialogue of the 2019 film Joker: [Excerpt: Jackson C Frank, "Carnival"] The album didn't sell, and Frank returned to the US, after marrying Elaine Sedgwick, the cousin of Edie Sedgwick. He was missed when he left, and Roy Harper, another folk musician who played the same circuit, wrote "My Friend" about his departure: [Excerpt: Roy Harper, "My Friend"] When he came back in 1968 to do a couple of shows, though, his depression, which had always been bad since the fire, had worsened. Al Stewart said "He proceeded to fall apart before our very eyes. His style that everyone loved was melancholy, very tuneful things. He started doing things that were completely impenetrable. They were basically about psychological angst, played at full volume with lots of thrashing. I don't remember a single word of them – it just did not work. There was one review that said he belonged on a psychologist's couch." He was withdrawn, and wouldn't speak to people, and he had writer's block. To make matters worse, his home life was also going awfully. His insurance money had all run out, but Paul Simon had given him a loan of three thousand dollars, with Simon taking Frank's publishing as surety, so he could start a business, but the business failed and Simon kept the publishing. In 1971, when Art Garfunkel was recording his first solo album, he asked Frank if he had a song that might be suitable. Frank had actually written a new song, "Juliette": [Excerpt: Jackson C Frank, "Juliette"] Unfortunately, when he turned up to see Garfunkel, he brought along a few hippy friends, who all made fun of Garfunkel for being a sell-out, and so Garfunkel didn't record the song, though he did give Frank a new guitar. By the early seventies, Frank was in a very bad way. He and his wife had had two children, but one had died of cystic fibrosis, and the marriage had ended. He spent periods of time in psychiatric hospitals, and was diagnosed with paranoid schizophrenia, though he always said himself that he wasn't schizophrenic, he was suffering from depression because of the loss of his son. He was living off handouts from friends, even as his songs were inspiring new artists like Nick Drake, who recorded four of his songs: [Excerpt: Nick Drake, "Here Comes the Blues"] In the early eighties he was living with his parents, but then in 1984 while his mother was in hospital he got an idea -- he could go to New York and find his old friend Paul, and ask him for his publishing back, or maybe just for some money. He didn't leave a note, and his parents had no idea where he'd gone. He did go to New York, but he couldn't find his friend, and he ended up homeless, living on the streets, and in and out of psychiatric institutions. In the early nineties, a fan tracked him down and helped sort out some accommodation for him in Woodstock, where he'd lived in his twenties. By this time he was in an awful physical and mental state, and the fan described him as looking like the Elephant man because of the bloating from his thyroid problems and his joint issues affecting his posture (though I have to say that from the couple of photos I've seen of him at this time, that's quite an exaggeration). But just to rub salt in the wound, after the accommodation had been arranged, but before he'd had a chance to move, he was sat on a park bench in Queens, and some kids, shooting randomly with a pellet gun, hit him in his left eye, permanently blinding him in that eye. His rediscovery got a bit of publicity, and led to his album being reissued on CD. He also started writing again, and recorded some demos on a cheap cassette recorder in 1997, many of which have since been released on various compilations: [Excerpt: Jackson C Frank, "(Tumble) in the Wind"] But 1997 was also the year that Frank moved into a care home, and he wouldn't record any more after that. In 1998, Paul Simon finally returned his publishing to him, presumably having given up on ever getting his three thousand dollars back. And on March the third, 1999, one day after his fifty-sixth birthday, Jackson C Frank died of pneumonia. His game had finally run to its end.

Colton Haynes is an actor, famous for roles Jackson Whittemore in MTV's Teen Wolf and Roy Harper in CW's Arrow. He's adding a new title to his list of accomplishments, Author. His memoir titled "Miss Memory Lane" takes you on his beautifully raw and honest journey from Kansas to Hollywood.

Guitarist and singer-songwriter Andy Roberts talks about his journey in music and his 50 year collaboration with Iain Matthews and Plainsong. In this extensive podcast we also cover his time with The Scaffold and Liverpool Scene in the 1960s and as well as playing with The Bonzo Dog Band, Pink Floyd, Roy Harper and Cat […] The post Andy Roberts appeared first on The Strange Brew  .

This week, Mike is joined by Julia Delbel, as well as Black and Latinx delegates Randy and Carlos, to discuss nerd news from Cinema-Con, as well as the Racial Draft business from the past week, as they gear up for the Strange Madness ahead. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/racial-draft-podcast/support

Nightwing News Ep #140: Nightwing - One Year Later Part 3 Welcome back to Nightwing News!  This episode Phil and Kristen review Nightwing #123 & #124 (October-November 2006) featuring the conclusion of the Bruce Jones One Year Later issues featuring the final appearances of the Piece Brothers and Cheyenne, new meta human villains, Roy Harper stops by, and plenty of Nightwing butt shots. Show notes: Nightwing News Ep #140: Nightwing - One Year Later Part 3 Find all of our Social Media here: https://linktr.ee/capesandlunatics Find Kristen's book Dick Grayson, Boy Wonder here: https://www.amazon.com/Dick-Grayson-Boy-Wonder-Nightwing/dp/0786497882/ref=sr_1_1?ie=UTF8&qid=1540958908&sr=8-1&keywords=dick+grayson+boy+wonder Follow Phil Perich on Twitter: https://twitter.com/nightwingpdp Follow Nightwing News on Facebook: https://www.facebook.com/pg/NightwingNewsPodcast Follow Nightwing News on Twitter: https://twitter.com/NightwingNews Produced by: Capes and Lunatics Sidekicks Podcast Production Team: Phil Perich Support the Capes and Lunatics Podcast on Patreon www.patreon.com/capesandlunatics Cash App: $CapesandLunatics

And now we come to the final collaboration and the final episode for the Sensual World season.Roy Harper is a critically acclaimed English singer/songwriter who has been around since the 60s and whose music has been a bit part of Kate's life. We've talked about him before on the podcast when Kate covered his song Another Day in the Lionheart season, and when Kate sang on Roy's original song You (The Game Part II) in the Never For Ever season.Now we get to talk about a third time when his name comes up in her musical history!The song Once is the title track for Roy's 1990 album and it's a song that our lovely Kate sang harmonies and background vocals on. Listen as we talk about this slow grower of a song and also about Kate Bush championing lesser-known artists!If you love the show, come support us on Patreon!You can also follow on Twitter and Facebook!Also come join other Kate fans on the Kate Bush subreddit and Discord server!This show is a proud member of the Pantheon Podcast Network, the podcast network for music lovers!

And now we come to the final collaboration and the final episode for the Sensual World season. Roy Harper is a critically acclaimed English singer/songwriter who has been around since the 60s and whose music has been a bit part of Kate's life. We've talked about him before on the podcast when Kate covered his song Another Day in the Lionheart season, and when Kate sang on Roy's original song You (The Game Part II) in the Never For Ever season. Now we get to talk about a third time when his name comes up in her musical history! The song Once is the title track for Roy's 1990 album and it's a song that our lovely Kate sang harmonies and background vocals on. Listen as we talk about this slow grower of a song and also about Kate Bush championing lesser-known artists! If you love the show, come support us on Patreon! You can also follow on Twitter and Facebook! Also come join other Kate fans on the Kate Bush subreddit and Discord server! This show is a proud member of the Pantheon Podcast Network, the podcast network for music lovers! Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode one hundred and thirty-five of A History of Rock Music in Five Hundred Songs looks at “The Sound of Silence" by Simon and Garfunkel, and the many records they made, together and apart, before their success. 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 "Blues Run the Game" by Jackson C. Frank. 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/ Errata I talk about a tour of Lancashire towns, but some of the towns I mention were in Cheshire at the time, and some are in Greater Manchester or Merseyside now. They're all very close together though. I say Mose Rager was Black. I was misremembering, confusing Mose Rager, a white player in the Muhlenberg style, with Arnold Schultz, a Black player who invented it. I got this right in the episode on "Bye Bye Love". Also, I couldn't track down a copy of the Paul Kane single version of “He Was My Brother” in decent quality, so I used the version on The Paul Simon Songbook instead, as they're basically identical performances. Resources As usual, I've created a Mixcloud playlist of the music excerpted here. This compilation collects all Simon and Garfunkel's studio albums, with bonus tracks, plus a DVD of their reunion concert. There are many collections of the pre-S&G recordings by the two, as these are now largely in the public domain. This one contains a good selection. I've referred to several books for this episode: Simon and Garfunkel: Together Alone by Spencer Leigh is a breezy, well-researched, biography of the duo. Paul Simon: The Life by Robert Hilburn is the closest thing there is to an authorised biography of Simon. And What is it All But Luminous? is Art Garfunkel's memoir. It's not particularly detailed, being more a collection of thoughts and poetry than a structured narrative, but gives a good idea of Garfunkel's attitude to people and events in his life. Roots, Radicals, and Rockers: How Skiffle Changed the World by Billy Bragg has some great information on the British folk scene of the fifties and sixties. And Singing From the Floor is an oral history of British folk clubs, including a chapter on Dylan's 1962 visit to London. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we're going to take a look at a hit record that almost never happened -- a record by a duo who had already split up, twice, by the time it became a hit, and who didn't know it was going to come out. We're going to look at how a duo who started off as an Everly Brothers knockoff, before becoming unsuccessful Greenwich Village folkies, were turned into one of the biggest acts of the sixties by their producer. We're going to look at Simon and Garfunkel, and at "The Sound of Silence": [Excerpt: Simon and Garfunkel, "The Sound of Silence"] The story of Simon and Garfunkel starts with two children in a school play.  Neither Paul Simon or Art Garfunkel had many friends when they met in a school performance of Alice in Wonderland, where Simon was playing the White Rabbit and Garfunkel the Cheshire Cat. Simon was well-enough liked, by all accounts, but he'd been put on an accelerated programme for gifted students which meant he was progressing through school faster than his peers. He had a small social group, mostly based around playing baseball, but wasn't one of the popular kids. Art Garfunkel, another gifted student, had no friends at all until he got to know Simon, who he described later as his "one and only friend" in this time period. One passage in Garfunkel's autobiography seems to me to sum up everything about Garfunkel's personality as a child -- and indeed a large part of his personality as it comes across in interviews to this day. He talks about the pleasure he got from listening to the chart rundown on the radio -- "It was the numbers that got me. I kept meticulous lists—when a new singer like Tony Bennett came onto the charts with “Rags to Riches,” I watched the record jump from, say, #23 to #14 in a week. The mathematics of the jumps went to my sense of fun." Garfunkel is, to this day, a meticulous person -- on his website he has a list of every book he's read since June 1968, which is currently up to one thousand three hundred and ten books, and he has always had a habit of starting elaborate projects and ticking off every aspect of them as he goes. Both Simon and Garfunkel were outsiders at this point, other than their interests in sport, but Garfunkel was by far the more introverted of the two, and as a result he seems to have needed their friendship more than Simon did. But the two boys developed an intense, close, friendship, initially based around their shared sense of humour. Both of them were avid readers of Mad magazine, which had just started publishing when the two of them had met up, and both could make each other laugh easily. But they soon developed a new interest, when Martin Block on the middle-of-the-road radio show Make Believe Ballroom announced that he was going to play the worst record he'd ever heard. That record was "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Paul Simon later said that that record was the first thing he'd ever heard on that programme that he liked, and soon he and Garfunkel had become regular listeners to Alan Freed's show on WINS, loving the new rock and roll music they were discovering. Art had already been singing in public from an early age -- his first public performance had been singing Nat "King" Cole's hit "Too Young" in a school talent contest when he was nine -- but the two started singing together. The first performance by Simon and Garfunkel was at a high school dance and, depending on which source you read, was a performance either of "Sh'Boom" or of Big Joe Turner's "Flip, Flop, and Fly": [Excerpt: Big Joe Turner, "Flip, Flop, and Fly"] The duo also wrote at least one song together as early as 1955 -- or at least Garfunkel says they wrote it together. Paul Simon describes it as one he wrote. They tried to get a record deal with the song, but it was never recorded at the time -- but Simon has later performed it: [Excerpt: Paul Simon, "The Girl For Me"] Even at this point, though, while Art Garfunkel was putting all his emotional energy into the partnership with Simon, Simon was interested in performing with other people. Al Kooper was another friend of Simon's at the time, and apparently Simon and Kooper would also perform together. Once Elvis came on to Paul's radar, he also bought a guitar, but it was when the two of them first heard the Everly Brothers that they realised what it was that they could do together. Simon fell in love with the Everly Brothers as soon as he heard "Bye Bye Love": [Excerpt: The Everly Brothers, "Bye Bye Love"] Up to this point, Paul hadn't bought many records -- he spent his money on baseball cards and comic books, and records just weren't good value. A pack of baseball cards was five cents, a comic book was ten cents, but a record was a dollar. Why buy records when you could hear music on the radio for free? But he needed that record, he couldn't just wait around to hear it on the radio. He made an hour-long two-bus journey to a record shop in Queens, bought the record, took it home, played it... and almost immediately scratched it. So he got back on the bus, travelled for another hour, bought another copy, took it home, and made sure he didn't scratch that one. Simon and Garfunkel started copying the Everlys' harmonies, and would spend hours together, singing close together watching each other's mouths and copying the way they formed words, eventually managing to achieve a vocal blend through sheer effort which would normally only come from familial closeness. Paul became so obsessed with music that he sold his baseball card collection and bought a tape recorder for two hundred dollars. They would record themselves singing, and then sing back along with it, multitracking themselves, but also critiquing the tape, refining their performances. Paul's father was a bass player -- "the family bassman", as he would later sing -- and encouraged his son in his music, even as he couldn't see the appeal in this new rock and roll music. He would critique Paul's songs, saying things like "you went from four-four to a bar of nine-eight, you can't do that" -- to which his son would say "I just did" -- but this wasn't hostile criticism, rather it was giving his son a basic grounding in song construction which would prove invaluable. But the duo's first notable original song -- and first hit -- came about more or less by accident. In early 1956, the doo-wop group the Clovers had released the hit single "Devil or Angel". Its B-side had a version of "Hey Doll Baby", a song written by the blues singer Titus Turner, and which sounds to me very inspired by Hank Williams' "Hey, Good Lookin'": [Excerpt: The Clovers, "Hey, Doll Baby"] That song was picked up by the Everly Brothers, who recorded it for their first album: [Excerpt: The Everly Brothers, "Hey Doll Baby"] Here is where the timeline gets a little confused for me, because that album wasn't released until early 1958, although the recording session for that track was in August 1957. Yet that track definitely influenced Paul Simon and Art Garfunkel to record a song that they released in November 1957. All I can imagine is that they heard the brothers perform it live, or maybe a radio station had an acetate copy. Because the way everyone has consistently told the story is that at the end of summer 1957, Simon and Garfunkel had both heard the Everly Brothers perform "Hey Doll Baby", but couldn't remember how it went. The two of them tried to remember it, and to work a version of it out together, and their hazy memories combined to reconstruct something that was completely different, and which owed at least as much to "Wake Up Little Suzie" as to "Hey Doll Baby". Their new song, "Hey Schoolgirl", was catchy enough that they thought if they recorded a demo of it, maybe the Everly Brothers themselves would record the song. At the demo studio they happened to encounter Sid Prosen, who owned a small record label named Big Records. He heard the duo perform and realised he might have his own Everly Brothers here. He signed the duo to a contract, and they went into a professional studio to rerecord "Hey Schoolgirl", this time with Paul's father on bass, and a couple of other musicians to fill out the sound: [Excerpt: Tom and Jerry, "Hey Schoolgirl"] Of course, the record couldn't be released under their real names -- there was no way anyone was going to buy a record by Simon and Garfunkel. So instead they became Tom and Jerry. Paul Simon was Jerry Landis -- a surname he chose because he had a crush on a girl named Sue Landis. Art became Tom Graff, because he liked drawing graphs. "Hey Schoolgirl" became a local hit. The two were thrilled to hear it played on Alan Freed's show (after Sid Prosen gave Freed two hundred dollars), and were even more thrilled when they got to perform on American Bandstand, on the same show as Jerry Lee Lewis. When Dick Clark asked them where they were from, Simon decided to claim he was from Macon, Georgia, where Little Richard came from, because all his favourite rock and roll singers were from the South. "Hey Schoolgirl" only made number forty-nine nationally, because the label didn't have good national distribution, but it sold over a hundred thousand copies, mostly in the New York area. And Sid Prosen seems to have been one of a very small number of independent label owners who wasn't a crook -- the two boys got about two thousand dollars each from their hit record. But while Tom and Jerry seemed like they might have a successful career, Simon and Garfunkel were soon to split up, and the reason for their split was named True Taylor. Paul had been playing some of his songs for Sid Prosen, to see what the duo's next single should be, and Prosen had noticed that while some of them were Everly Brothers soundalikes, others were Elvis soundalikes. Would Paul be interested in recording some of those, too? Obviously Art couldn't sing on those, so they'd use a different name, True Taylor. The single was released around the same time as the second Tom and Jerry record, and featured an Elvis-style ballad by Paul on one side, and a rockabilly song written by his father on the other: [Excerpt: True Taylor, "True or False"] But Paul hadn't discussed that record with Art before doing it, and the two had vastly different ideas about their relationship. Paul was Art's only friend, and Art thought they had an indissoluble bond and that they would always work together. Paul, on the other hand, thought of Art as one of his friends and someone he made music with, but he could play at being Elvis if he wanted, as well as playing at being an Everly brother. Garfunkel, in his memoir published in 2017, says "the friendship was shattered for life" -- he decided then and there that Paul Simon was a "base" person, a betrayer. But on the other hand, he still refers to Simon, over and over again, in that book as still being his friend, even as Simon has largely been disdainful of him since their last performance together in 2010. Friendships are complicated. Tom and Jerry struggled on for a couple more singles, which weren't as successful as "Hey Schoolgirl" had been, with material like "Two Teenagers", written by Rose Marie McCoy: [Excerpt: Tom and Jerry, "Two Teenagers"] But as they'd stopped being friends, and they weren't selling records, they drifted apart and didn't really speak for five years, though they would occasionally run into one another. They both went off to university, and Garfunkel basically gave up on the idea of having a career in music, though he did record a couple of singles, under the name "Artie Garr": [Excerpt: Artie Garr, "Beat Love"] But for the most part, Garfunkel concentrated on his studies, planning to become either an architect or maybe an academic. Paul Simon, on the other hand, while he was technically studying at university too, was only paying minimal attention to his studies. Instead, he was learning the music business. Every afternoon, after university had finished, he'd go around the Brill Building and its neighbouring buildings, offering his services both as a songwriter and as a demo performer. As Simon was competent on guitar, bass, and drums, could sing harmonies, and could play a bit of piano if it was in the key of C, he could use primitive multitracking to play and sing all the parts on a demo, and do it well: [Excerpt: Paul Simon, "Boys Were Made For Girls"] That's an excerpt from a demo Simon recorded for Burt Bacharach, who has said that he tried to get Simon to record as many of his demos as possible, though only a couple of them have surfaced publicly. Simon would also sometimes record demos with his friend Carole Klein, sometimes under the name The Cosines: [Excerpt: The Cosines, "Just to Be With You"] As we heard back in the episode on "Will You Love Me Tomorrow?", Carole Klein went on to change her name to Carole King, and become one of the most successful songwriters of the era -- something which spurred Paul Simon on, as he wanted to emulate her success. Simon tried to get signed up by Don Kirshner, who was publishing Goffin and King, but Kirshner turned Simon down -- an expensive mistake for Kirshner, but one that would end up benefiting Simon, who eventually figured out that he should own his own publishing. Simon was also getting occasional work as a session player, and played lead guitar on "The Shape I'm In" by Johnny Restivo, which made the lower reaches of the Hot One Hundred: [Excerpt: Johnny Restivo, "The Shape I'm In"] Between 1959 and 1963 Simon recorded a whole string of unsuccessful pop singles. including as a member of the Mystics: [Excerpt: The Mystics, "All Through the Night"] He even had a couple of very minor chart hits -- he got to number 99 as Tico and the Triumphs: [Excerpt: Tico and the Triumphs, "Motorcycle"] and number ninety-seven as Jerry Landis: [Excerpt: Jerry Landis, "The Lone Teen Ranger"] But he was jumping around, hopping onto every fad as it passed, and not getting anywhere. And then he started to believe that he could do something more interesting in music. He first became aware that the boundaries of what could be done in music extended further than "ooh-bop-a-loochy-ba" when he took a class on modern music at university, which included a trip to Carnegie Hall to hear a performance of music by the avant-garde composer Edgard Varese: [Excerpt: Edgard Varese, "Ionisation"] Simon got to meet Varese after the performance, and while he would take his own music in a very different, and much more commercial, direction than Varese's, he was nonetheless influenced by what Varese's music showed about the possibilities that existed in music. The other big influence on Simon at this time was when he heard The Freewheelin' Bob Dylan: [Excerpt: Bob Dylan, "Girl From the North Country"] Simon immediately decided to reinvent himself as a folkie, despite at this point knowing very little about folk music other than the Everly Brothers' Songs Our Daddy Taught Us album. He tried playing around Greenwich Village, but found it an uncongenial atmosphere, and inspired by the liner notes to the Dylan album, which talked about Dylan's time in England, he made what would be the first of several trips to the UK, where he was given a rapturous reception simply on the grounds of being an American and owning a better acoustic guitar -- a Martin -- than most British people owned. He had the showmanship that he'd learned from watching his father on stage and sometimes playing with him, and from his time in Tom and Jerry and working round the studios, and so he was able to impress the British folk-club audiences, who were used to rather earnest, scholarly, people, not to someone like Simon who was clearly ambitious and very showbiz. His repertoire at this point consisted mostly of songs from the first two Dylan albums, a Joan Baez record, Little Willie John's "Fever", and one song he'd written himself, an attempt at a protest song called "He Was My Brother", which he would release on his return to the US under yet another stage name, Paul Kane: [Excerpt: Paul Kane, "He Was My Brother"] Simon has always stated that that song was written about a friend of his who was murdered when he went down to Mississippi with the Freedom Riders -- but while Simon's friend was indeed murdered, it wasn't until about a year after he wrote the song, and Simon has confused the timelines in his subsequent recollections. At the time he recorded that, when he had returned to New York at the end of the summer, Simon had a job as a song plugger for a publishing company, and he gave the publishing company the rights to that song and its B-side, which led to that B-side getting promoted by the publisher, and ending up covered on one of the biggest British albums of 1964, which went to number two in the UK charts: [Excerpt: Val Doonican, "Carlos Dominguez"] Oddly, that may not end up being the only time we feature a Val Doonican track on this podcast. Simon continued his attempts to be a folkie, even teaming up again with Art Garfunkel, with whom he'd re-established contact, to perform in Greenwich Village as Kane and Garr, but they went down no better as a duo than Simon had as a solo artist. Simon went back to the UK again over Christmas 1963, and while he was there he continued work on a song that would become such a touchstone for him that of the first six albums he would be involved in, four would feature the song while a fifth would include a snippet of it. "The Sound of Silence" was apparently started in November 1963, but not finished until February 1964, by which time he was once again back in the USA, and back working as a song plugger. It was while working as a song plugger that Simon first met Tom Wilson, Bob Dylan's producer at Columbia. Simon met up with Wilson trying to persuade him to use some of the songs that the publishing company were putting out. When Wilson wasn't interested, Simon played him a couple of his own songs. Wilson took one of them, "He Was My Brother", for the Pilgrims, a group he was producing who were supposed to be the Black answer to Peter, Paul, and Mary: [Excerpt: The Pilgrims, "He Was My Brother"] Wilson was also interested in "The Sound of Silence", but Simon was more interested in getting signed as a performer than in having other acts perform his songs. Wilson was cautious, though -- he was already producing one folkie singer-songwriter, and he didn't really need a second one. But he *could* probably do with a vocal group... Simon mentioned that he had actually made a couple of records before, as part of a duo. Would Wilson be at all interested in a vocal *duo*? Wilson would be interested. Simon and Garfunkel auditioned for him, and a few days later were in the Columbia Records studio on Seventh Avenue recording their first album as a duo, which was also the first time either of them would record under their own name. Wednesday Morning, 3AM, the duo's first album, was a simple acoustic album, and the only instrumentation was Simon and Barry Kornfeld, a Greenwich Village folkie, on guitars, and Bill Lee, the double bass player who'd played with Dylan and others, on bass. Tom Wilson guided the duo in their song selection, and the eventual album contained six cover versions and six originals written by Simon. The cover versions were a mixture of hootenanny staples like "Go Tell it on the Mountain", plus Dylan's "The Times They Are A-Changin'", included to cross-promote Dylan's new album and to try to link the duo with the more famous writer, and one unusual one, "The Sun is Burning", written by Ian Campbell, a Scottish folk singer who Simon had got to know on his trips to the UK: [Excerpt: Simon and Garfunkel, "The Sun is Burning"] But the song that everyone was keenest on was "The Sound of Silence", the first song that Simon had written that he thought would stand up in comparison with the sort of song that Dylan was writing: [Excerpt: Simon and Garfunkel, "The Sound of Silence (Wednesday Morning 3AM version)"] In between sessions for the album, Simon and Garfunkel also played a high-profile gig at Gerde's Folk City in the Village, and a couple of shows at the Gaslight Cafe. The audiences there, though, regarded them as a complete joke -- Dave Van Ronk would later relate that for weeks afterwards, all anyone had to do was sing "Hello darkness, my old friend", for everyone around to break into laughter. Bob Dylan was one of those who laughed at the performance -- though Robert Shelton later said that Dylan hadn't been laughing at them, specifically, he'd just had a fit of the giggles -- and this had led to a certain amount of anger from Simon towards Dylan. The album was recorded in March 1964, and was scheduled for release  in October. In the meantime, they both made plans to continue with their studies and their travels. Garfunkel was starting to do postgraduate work towards his doctorate in mathematics, while Simon was now enrolled in Brooklyn Law School, but was still spending most of his time travelling, and would drop out after one semester. He would spend much of the next eighteen months in the UK. While he was occasionally in the US between June 1964 and November 1965, Simon now considered himself based in England, where he made several acquaintances that would affect his life deeply. Among them were a young woman called Kathy Chitty, with whom he would fall in love and who would inspire many of his songs, and an older woman called Judith Piepe (and I apologise if I'm mispronouncing her name, which I've only ever seen written down, never heard) who many people believed had an unrequited crush on Simon. Piepe ran her London flat as something of a commune for folk musicians, and Simon lived there for months at a time while in the UK. Among the other musicians who stayed there for a time were Sandy Denny, Cat Stevens, and Al Stewart, whose bedroom was next door to Simon's. Piepe became Simon's de facto unpaid manager and publicist, and started promoting him around the British folk scene. Simon also at this point became particularly interested in improving his guitar playing. He was spending a lot of time at Les Cousins, the London club that had become the centre of British acoustic guitar. There are, roughly, three styles of acoustic folk guitar -- to be clear, I'm talking about very broad-brush categorisations here, and there are people who would disagree and say there are more, but these are the main ones. Two of these are American styles -- there's the simple style known as Carter scratching, popularised by Mother Maybelle Carter of the Carter family, and for this all you do is alternate bass notes with your thumb while scratching the chord on the treble strings with one finger, like this: [Excerpt: Carter picking] That's the style played by a lot of country and folk players who were primarily singers accompanying themselves. In the late forties and fifties, though, another style had become popularised -- Travis picking. This is named after Merle Travis, the most well-known player in the style, but he always called it Muhlenberg picking, after Muhlenberg County, where he'd learned the style from Ike Everly -- the Everly Brothers' father -- and Mose Rager, a Black guitarist. In Travis picking, the thumb alternates between two bass notes, but rather than strumming a chord, the index and middle fingers play simple patterns on the treble strings, like this: [Excerpt: Travis picking] That's, again, a style primarily used for accompaniment, but it can also be used to play instrumentals by oneself. As well as Travis and Ike Everly, it's also the style played by Donovan, Chet Atkins, James Taylor, and more. But there's a third style, British baroque folk guitar, which was largely the invention of Davey Graham. Graham, you might remember, was a folk guitarist who had lived in the same squat as Lionel Bart when Bart started working with Tommy Steele, and who had formed a blues duo with Alexis Korner. Graham is now best known for one of his simpler pieces, “Anji”, which became the song that every British guitarist tried to learn: [Excerpt: Davey Graham, "Anji"] Dozens of people, including Paul Simon, would record versions of that. Graham invented an entirely new style of guitar playing, influenced by ragtime players like Blind Blake, but also by Bach, by Moroccan oud music, and by Celtic bagpipe music. While it was fairly common for players to retune their guitar to an open major chord, allowing them to play slide guitar, Graham retuned his to a suspended fourth chord -- D-A-D-G-A-D -- which allowed him to keep a drone going on some strings while playing complex modal counterpoints on others. While I demonstrated the previous two styles myself, I'm nowhere near a good enough guitarist to demonstrate British folk baroque, so here's an excerpt of Davey Graham playing his own arrangement of the traditional ballad "She Moved Through the Fair", recast as a raga and retitled "She Moved Thru' the Bizarre": [Excerpt: Davey Graham, "She Moved Thru' the Bizarre"] Graham's style was hugely influential on an entire generation of British guitarists, people who incorporated world music and jazz influences into folk and blues styles, and that generation of guitarists was coming up at the time and playing at Les Cousins. People who started playing in this style included Jimmy Page, Bert Jansch, Roy Harper, John Renbourn, Richard Thompson, Nick Drake, and John Martyn, and it also had a substantial influence on North American players like Joni Mitchell, Tim Buckley, and of course Paul Simon. Simon was especially influenced at this time by Martin Carthy, the young British guitarist whose style was very influenced by Graham -- but while Graham applied his style to music ranging from Dave Brubeck to Lutheran hymns to Big Bill Broonzy songs, Carthy mostly concentrated on traditional English folk songs. Carthy had a habit of taking American folk singers under his wing, and he taught Simon several songs, including Carthy's own arrangement of the traditional "Scarborough Fair": [Excerpt: Martin Carthy, "Scarborough Fair"] Simon would later record that arrangement, without crediting Carthy, and this would lead to several decades of bad blood between them, though Carthy forgave him in the 1990s, and the two performed the song together at least once after that. Indeed, Simon seems to have made a distinctly negative impression on quite a few of the musicians he knew in Britain at this time, who seem to, at least in retrospect, regard him as having rather used and discarded them as soon as his career became successful. Roy Harper has talked in liner notes to CD reissues of his work from this period about how Simon used to regularly be a guest in his home, and how he has memories of Simon playing with Harper's baby son Nick (now himself one of the greats of British guitar) but how as soon as he became successful he never spoke to Harper again. Similarly, in 1965 Simon started a writing partnership with Bruce Woodley of the Seekers, an Australian folk-pop band based in the UK, best known for "Georgy Girl". The two wrote "Red Rubber Ball", which became a hit for the Cyrkle: [Excerpt: The Cyrke, "Red Rubber Ball"] and also "Cloudy", which the Seekers recorded as an album track: [Excerpt: The Seekers, "Cloudy"] When that was recorded by Simon and Garfunkel, Woodley's name was removed from the writing credits, though Woodley still apparently received royalties for it. But at this point there *was* no Simon and Garfunkel. Paul Simon was a solo artist working the folk clubs in Britain, and Simon and Garfunkel's one album had sold a minuscule number of copies. They did, when Simon briefly returned to the US in March, record two tracks for a prospective single, this time with an electric backing band. One was a rewrite of the title track of their first album, now titled "Somewhere They Can't Find Me" and with a new chorus and some guitar parts nicked from Davey Graham's "Anji"; the other a Twist-beat song that could almost be Manfred Mann or Georgie Fame -- "We Got a Groovy Thing Goin'". That was also influenced by “Anji”, though by Bert Jansch's version rather than Graham's original. Jansch rearranged the song and stuck in this phrase: [Excerpt: Bert Jansch, “Anji”] Which became the chorus to “We Got a Groovy Thing Goin'”: [Excerpt: Simon and Garfunkel, "We Got a Groovy Thing Goin'"] But that single was never released, and as far as Columbia were concerned, Simon and Garfunkel were a defunct act, especially as Tom Wilson, who had signed them, was looking to move away from Columbia. Art Garfunkel did come to visit Simon in the UK a couple of times, and they'd even sing together occasionally, but it was on the basis of Paul Simon the successful club act occasionally inviting his friend on stage during the encore, rather than as a duo, and Garfunkel was still seeing music only as a sideline while Simon was now utterly committed to it. He was encouraged in this commitment by Judith Piepe, who considered him to be the greatest songwriter of his generation, and who started a letter-writing campaign to that effect, telling the BBC they needed to put him on the radio. Eventually, after a lot of pressure, they agreed -- though they weren't exactly sure what to do with him, as he didn't fit into any of the pop formats they had. He was given his own radio show -- a five-minute show in a religious programming slot. Simon would perform a song, and there would be an introduction tying the song into some religious theme or other. Two series of four episodes of this were broadcast, in a plum slot right after Housewives' Choice, which got twenty million listeners, and the BBC were amazed to find that a lot of people phoned in asking where they could get hold of the records by this Paul Simon fellow. Obviously he didn't have any out yet, and even the Simon and Garfunkel album, which had been released in the US, hadn't come out in Britain. After a little bit of negotiation, CBS, the British arm of Columbia Records, had Simon come in and record an album of his songs, titled The Paul Simon Songbook. The album, unlike the Simon and Garfunkel album, was made up entirely of Paul Simon originals. Two of them were songs that had previously been recorded for Wednesday Morning 3AM -- "He Was My Brother" and a new version of "The Sound of Silence": [Excerpt: Paul Simon, "The Sound of Silence"] The other ten songs were newly-written pieces like "April Come She Will", "Kathy's Song", a parody of Bob Dylan entitled "A Simple Desultory Philippic", and the song that was chosen as the single, "I am a Rock": [Excerpt: Paul Simon, "I am a Rock"] That song was also the one that was chosen for Simon's first TV appearance since Tom and Jerry had appeared on Bandstand eight years earlier. The appearance on Ready, Steady, Go, though, was not one that anyone was happy with. Simon had been booked to appear on  a small folk music series, Heartsong, but that series was cancelled before he could appear. Rediffusion, the company that made the series, also made Ready, Steady, Go, and since they'd already paid Simon they decided they might as well stick him on that show and get something for their money. Unfortunately, the episode in question was already running long, and it wasn't really suited for introspective singer-songwriter performances -- the show was geared to guitar bands and American soul singers. Michael Lindsay-Hogg, the director, insisted that if Simon was going to do his song, he had to cut at least one verse, while Simon was insistent that he needed to perform the whole thing because "it's a story". Lindsay-Hogg got his way, but nobody was happy with the performance. Simon's album was surprisingly unsuccessful, given the number of people who'd called the BBC asking about it -- the joke went round that the calls had all been Judith Piepe doing different voices -- and Simon continued his round of folk clubs, pubs, and birthday parties, sometimes performing with Garfunkel, when he visited for the summer, but mostly performing on his own. One time he did perform with a full band, singing “Johnny B Goode” at a birthday party, backed by a band called Joker's Wild who a couple of weeks later went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] The guitarist from Joker's Wild would later join the other band who'd played at that party, but the story of David Gilmour joining Pink Floyd is for another episode. During this time, Simon also produced his first record for someone else, when he was responsible for producing the only album by his friend Jackson C Frank, though there wasn't much production involved as like Simon's own album it was just one man and his guitar. Al Stewart and Art Garfunkel were also in the control room for the recording, but the notoriously shy Frank insisted on hiding behind a screen so they couldn't see him while he recorded: [Excerpt: Jackson C Frank, "Blues Run the Game"] It seemed like Paul Simon was on his way to becoming a respected mid-level figure on the British folk scene, releasing occasional albums and maybe having one or two minor hits, but making a steady living. Someone who would be spoken of in the same breath as Ralph McTell perhaps. Meanwhile, Art Garfunkel would be going on to be a lecturer in mathematics whose students might be surprised to know he'd had a minor rock and roll hit as a kid. But then something happened that changed everything. Wednesday Morning 3AM hadn't sold at all, and Columbia hadn't promoted it in the slightest. It was too collegiate and polite for the Greenwich Village folkies, and too intellectual for the pop audience that had been buying Peter, Paul, and Mary, and it had come out just at the point that the folk boom had imploded. But one DJ in Boston, Dick Summer, had started playing one song from it, "The Sound of Silence", and it had caught on with the college students, who loved the song. And then came spring break 1965. All those students went on holiday, and suddenly DJs in places like Cocoa Beach, Florida, were getting phone calls requesting "The Sound of Silence" by Simon and Garfunkel. Some of them with contacts at Columbia got in touch with the label, and Tom Wilson had an idea. On the first day of what turned out to be his last session with Dylan, the session for "Like a Rolling Stone", Wilson asked the musicians to stay behind and work on something. He'd already experimented with overdubbing new instruments on an acoustic recording with his new version of Dylan's "House of the Rising Sun", now he was going to try it with "The Sound of Silence". He didn't bother asking the duo what they thought -- record labels messed with people's records all the time. So "The Sound of Silence" was released as an electric folk-rock single: [Excerpt: Simon and Garfunkel, "The Sound of Silence"] This is always presented as Wilson massively changing the sound of the duo without their permission or knowledge, but the fact is that they had *already* gone folk-rock, back in March, so they were already thinking that way. The track was released as a single with “We Got a Groovy Thing Going” on the B-side, and was promoted first in the Boston market, and it did very well. Roy Harper later talked about Simon's attitude at this time, saying "I can remember going into the gents in The Three Horseshoes in Hempstead during a gig, and we're having a pee together. He was very excited, and he turns round to me and and says, “Guess what, man? We're number sixteen in Boston with The Sound of Silence'”. A few days later I was doing another gig with him and he made a beeline for me. “Guess what?” I said “You're No. 15 in Boston”. He said, “No man, we're No. 1 in Boston”. I thought, “Wow. No. 1 in Boston, eh?” It was almost a joke, because I really had no idea what that sort of stuff meant at all." Simon was even more excited when the record started creeping up the national charts, though he was less enthused when his copy of the single arrived from America. He listened to it, and thought the arrangement was a Byrds rip-off, and cringed at the way the rhythm section had to slow down and speed up in order to stay in time with the acoustic recording: [Excerpt: Simon and Garfunkel, "The Sound of Silence"] I have to say that, while the tempo fluctuations are noticeable once you know to look for them, it's a remarkably tight performance given the circumstances. As the record went up the charts, Simon was called back to America, to record an album to go along with it. The Paul Simon Songbook hadn't been released in the US,  and they needed an album *now*, and Simon was a slow songwriter, so the duo took six songs from that album and rerecorded them in folk-rock versions with their new producer Bob Johnston, who was also working with Dylan now, since Tom Wilson had moved on to Verve records. They filled out the album with "The Sound of Silence", the two electric tracks from March, one new song, "Blessed", and a version of "Anji", which came straight after "Somewhere They Can't Find Me", presumably to acknowledge Simon lifting bits of it. That version of “Anji” also followed Jansch's arrangement, and so included the bit that Simon had taken for “We Got a Groovy Thing Going” as well. They also recorded their next single, which was released on the British version of the album but not the American one, a song that Simon had written during a thoroughly depressing tour of Lancashire towns (he wrote it in Widnes, but a friend of Simon's who lived in Widnes later said that while it was written in Widnes it was written *about* Birkenhead. Simon has also sometimes said it was about Warrington or Wigan, both of which are so close to Widnes and so similar in both name and atmosphere that it would be the easiest thing in the world to mix them up.) [Excerpt: Simon and Garfunkel, "Homeward Bound"] These tracks were all recorded in December 1965, and they featured the Wrecking Crew -- Bob Johnston wanted the best, and didn't rate the New York players that Wilson had used, and so they were recorded in LA with Glen Campbell, Joe South, Hal Blaine, Larry Knechtel, and Joe Osborne. I've also seen in some sources that there were sessions in Nashville with A-team players Fred Carter and Charlie McCoy. By January, "The Sound of Silence" had reached number one, knocking "We Can Work it Out" by the Beatles off the top spot for two weeks, before the Beatles record went back to the top. They'd achieved what they'd been trying for for nearly a decade, and I'll give the last word here to Paul Simon, who said of the achievement: "I had come back to New York, and I was staying in my old room at my parents' house. Artie was living at his parents' house, too. I remember Artie and I were sitting there in my car one night, parked on a street in Queens, and the announcer said, "Number one, Simon & Garfunkel." And Artie said to me, "That Simon & Garfunkel, they must be having a great time.""

It is a two for one show! Two hosts, one show, as we discuss new D&D releases, Batgirl, Fear Street 1994, 1978, and 1966. Plus, we review Infinite Frontier #2 and The Unwritten Volume 1. Show your thanks to Major Spoilers for this episode by becoming a Major Spoilers Patron at http://patreon.com/MajorSpoilers. It will help ensure the Major Spoilers Podcast continues far into the future! Join our Discord server and chat with fellow Spoilerites! (https://discord.gg/jWF9BbF) NEWS https://variety.com/2021/film/news/batgirl-leslie-grace-haley-lu-richardson-1235023013/ https://dnd.wizards.com/products/tabletop-games/rpg-products REVIEWS STEPHEN FEAR STREET 1994 - 1666 Writers: R.L. Stine, Kyle Killen, Phil Graziadei Director Leigh Janiak Stars: Kiana Madeira, Olivia Scot Welch, Benjamin Flores Jr. Studio: Netflix/20th Century Fox A circle of teenage friends accidentally encounter the ancient evil responsible for a series of brutal murders that have plagued their town for over 300 years. Welcome to Shadyside. [rating:4/5] MATTHEW INFINITE FRONTIER #2 Writer: Joshua Willamson Artist: Xermanico/Jesus Merino/Paul Pelletier Publisher: DC Comics Cover Price: $4.99 Release Date: July 13, 2021 What secrets and changes lurk inside the newly expanded Multiverse? The devious Director Bones of the D.E.O. re-forms a ragtag team to keep the new worlds at bay, but was highly skilled agent Cameron Chase recruited because the director needs her help, or because he wants a patsy when things go south? Meanwhile, Alan Scott, the original Green Lantern, takes drastic measures to find his missing daughter. Someone has kidnapped Jade, and Alan's going to find out why and bring her home. Plus, the resurrection of Roy Harper gives the former Teen Titan some unexpected and unpredictable new powers. [rating:3.5/5]  DISCUSSION THE UNWRITTEN VOLUME 1: TOMMY TAYLOR AND THE BOGUS IDENTITY Writer: Mike Carey Artist: Peter Gross Publisher: Vertigo Release Date: January 12, 2010 Cover Price: $14.99 Tom Taylor's life was screwed from go. His father created the Tommy Taylor fantasy series, boy-wizard novels with popularity on par with Harry Potter. The problem is Dad modeled the fictional epic so closely to Tom's real life that fans are constantly comparing him to his counterpart, turning him into the lamest variety of Z-level celebrity. In the final novel, it's even implied that the fictional Tommy will crossover into the real world, giving delusional fans more excuses to harass Tom. When an enormous scandal reveals that Tom might really be a boy-wizard made flesh, Tom comes into contact with a very mysterious, very deadly group that's secretly kept tabs on him all his life. Now, to protect his own life and discover the truth behind his origins, Tom will travel the world, eventually finding himself at locations all featured on a very special map -- one kept by the deadly group that charts places throughout world history where fictions have impacted and tangibly shaped reality, those stories ranging from famous literary works to folktales to pop culture. And in the process of figuring out what it all means, Tom will find himself having to figure out a huge conspiracy mystery that spans the entirety of the history of fiction. CLOSE Contact us at podcast@majorspoilers.com Call the Major Spoilers Hotline at (785) 727-1939. A big Thank You goes out to everyone who downloads, subscribes, listens, and supports this show. We really appreciate you taking the time to listen to our ramblings each week. Tell your friends!

In this episode, hosts Barney Hoskyns, Mark Pringle & Jasper Murison-Bowie welcome the one & only Vivien Goldman to join them live & direct from her beloved Jamaica — and to talk about her life as a writer about postpunk, reggae, dub & her other "outernationalist" passions.The "Punk Professor" reminisces about her days on Sounds & the UK's other "inkies", and her fight to make women's voices heard in the '70s music press: her 1977 challenging of George Benson's ingrained male chauvinism; her championing of the Raincoats & other "she-punks" of the period; and her own 1981 indie classic 'Launderette'. She brings her musical odyssey up to date by trailing Next Is Now, the new album she's just finished with producer Youth.After we hear clips from Adam Sweeting's 1988 audio interview with Joe Strummer, Vivien pitches in with her memories of the Clash man — and of the Ladbroke Grove "punky reggae" scene of which she was herself a key part. Mark then talks us through his library highlights from the past fortnight, including a 1966 Melody Maker interview with a young David Bowie; Penny Valentine's Disc review of 'River Deep — Mountain High' from the same year; and Harold Bronson's 1972 Rolling Stone retrospective on Animals/Yardbirds producer Mickie Most. Barney mentions more recent pieces about Britpop, Roy Harper & Willie Nelson, and Jasper wraps things up with a nod to Gary Lucas' memoir of introducing a young Vin Diesel to cult "mixmaster" Arthur Russell.Many thanks to special guest Vivien Goldman; visit her website at viviengoldman.com.Pieces discussed: Vivien Goldman vs. George Benson, Raincoats, Punk Renaissance Woman Vivien Goldman, Joe Strummer audio, David Bowie, Nancy Sinatra, Mahavishnu Orchestra, Robert Wyatt, River Deep – Mountain High, Sly and the Family Stone, Mickie Most, Blondie, Wanda Jackson, Britpop, Roy Harper, Willie and the Weed Factory, Labelle and Vin Diesel meets Arthur Russell.

One time, at band camp, we sat down to read some comics, play some games, and talk about pop culture. This week, we take a look at This One Summer Show your thanks to Major Spoilers for this episode by becoming a Major Spoilers Patron at http://patreon.com/MajorSpoilers. It will help ensure the Major Spoilers Podcast continues far into the future! Join our Discord server and chat with fellow Spoilerites! (https://discord.gg/jWF9BbF) NEWS https://deadline.com/2021/06/tom-spezialy-overall-deal-amazon-studios-silk-marvel-series-showrunner-spinderman-spinoff-1234777807/ https://variety.com/2021/film/news/saban-films-archstone-the-hyperions-cary-elwes-1235001115/ https://bleedingcool.com/comics/coca-cola-to-sponsor-free-comic-book-day-for-2021/ https://variety.com/2021/film/news/transformers-rise-of-the-beasts-anthony-ramos-1235002707/ REVIEWS STEPHEN SPAWN'S UNIVERSE #1 Writer: Todd McFarlane Artist: Jim Cheung, Todd McFarlane, Stephen Segovia, Marcio Takara Publisher: Image Comics Cover Price: $5.99 Release Date: June 23, 2021 IT'S HERE: THE OFFICIAL INTRODUCTION TO THE LONG-AWAITED SPAWN'S UNIVERSE! A double-sized issue that begins a storyline so huge that three NEW SPAWN-related monthly titles will spill out from it, including... A new SPAWN title. GUNSLINGER SPAWN monthly. And a new TEAM book bringing a handful of these characters together in their own book. With this one-shot...the world of SPAWN changes forever! New heroes. New villains, and more importantly, new titles coming to a comic shop near you. Join this list of artists as we unveil a historic moment in the mythology of SPAWN'S UNIVERSE: [rating:3.5/5] MATTHEW INFINITE FRONTIER #1 Writer: Joshua Williamson Artist: Xermanico Publisher: DC Comics Cover Price: $4.99 Release Date: June 22, 2021 When our heroes saved the Multiverse from Perpetua in Dark Nights: Death Metal, everything was put back where it belonged...and we do mean everything. All the damage from all the Crises was undone, and heroes long thought gone returned from whatever exile they had been in. Most of them, at least. Alan Scott, the Green Lantern from the Justice Society of America, has noticed some of his allies are still missing in action and he's determined to find them. There are others, though, who would rather remain hidden than explain themselves, like Roy Harper, a.k.a. Arsenal, a man who should be dead but now is not. Plus, what does all this mean for the DCU's place in the Multiverse? On opposite sides of a dimensional divide, both Barry Allen and President Superman ponder this question. Not to mention the Darkseid of it all! Or a team of Multiversal heroes called Justice Incarnate! [rating:4.5/5] RODRIGO GUILTY GEAR -STRIVE- Designer: Daisuke Ishiwatari Publisher: Arc System Works, Bandai Namco, Entertainment Europe, Sega Cover Price: 59.99 (Deluxe edition available) Release Date: June 11, 2021 Guilty Gear Strive is a fighting video game developed and published by Arc System Works. It is the seventh mainline installment of the Guilty Gear series, and the 25th overall. The game was released worldwide on June 11, 2021 [rating: 4.5/5] ASHLEY LUCA Director: Enrico Casarosa Studio: Disney Pixar Platform: Disney+ Release Date: June 18, 2021 Set in a beautiful seaside town on the Italian Riviera, the original animated feature is a coming-of-age story about one young boy experiencing an unforgettable summer filled with gelato, pasta and endless scooter rides. Luca shares these adventures with his newfound best friend, but all the fun is threatened by a deeply-held secret: he is a sea monster from another world just below the water's surface. [rating: 3/5] DISCUSSION THIS ONE SUMMER Writer: Mariko Tamaki Artist: Jillian Tamaki Publisher: Groundwood Books Every summer, Rose goes with her mom and dad to a lake house in Awago Beach. It's their getaway, their refuge. Rosie's friend Windy is always there, too, like the little sister she never had. But this summer is different. Rose's mom and dad won't stop fighting, and when Rose and Windy seek a distraction from the drama, they find themselves with a whole new set of problems. One of the local teens - just a couple of years older than Rose and Windy - is caught up in something bad... Something life threatening. It's a summer of secrets, and sorrow, and growing up, and it's a good thing Rose and Windy have each other. CLOSE Contact us at podcast@majorspoilers.com Call the Major Spoilers Hotline at (785) 727-1939. A big Thank You goes out to everyone who downloads, subscribes, listens, and supports this show. We really appreciate you taking the time to listen to our ramblings each week. Tell your friends!