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The Joint Readiness Training Center is pleased to present the one-hundredth-and-third episode to air on ‘The Crucible - The JRTC Experience.' Hosted by COL Ricky Taylor, the Commander of Ops Group (COG). The COG is joined by the Aviation Task Force's TF Senior, LTC Amoreena “Ammo” York. Today's guest is Deputy Commanding General for Support of the 101st Airborne Division (Air Assault), BG Travis McIntosh (Eagle 09). The 101st Airborne Division (Air Assault), known as the “Screaming Eagles” and bearing the callsign “Eagle,” is one of the most storied and combat-proven divisions in U.S. Army history. Activated in 1942, the division gained immortal fame during World War II with combat jumps into Normandy and Holland and its heroic defense of Bastogne during the Battle of the Bulge. Since then, it has served with distinction from Vietnam to the Global War on Terror, transforming from parachute infantry to the Army's only air assault division. With its motto “Rendezvous with Destiny,” the 101st continues to lead from the front—now as the Army's premier Transformation-in-Contact division. As part of the Army's mobility and modernization focus, the 101st is pioneering the integration of multi-domain capabilities, advanced sUAS platforms, electronic warfare, and the next-generation squad weapons within highly mobile infantry formations. Their next rendezvous with destiny will not just be defined by historic legacy—but by shaping how the Army fights and wins in large-scale combat operations on tomorrow's battlefield. In this episode we discuss the re-emergence of large-scale, long-range air assaults as a possibly decisive form of maneuver in the 21st-century fight and the some of the capabilities required to achieve success. Our guest highlights that the 101st Airborne Division (Air Assault) is reclaiming its mantle as America's premier vertical envelopment force. These operations extend deep into contested terrain, often beyond traditional fire support coverage, and demand precision planning, synchronized fires, and an adaptive joint team. The division's air assault capabilities, when executed at echelon, enable rapid massing of combat power across extended distances to seize key terrain, disrupt enemy formations, and establish lodgments for follow-on operations. However, these assaults cannot succeed without Joint Suppression of Enemy Air Defenses (JSEAD). The ability to suppress, deceive, or destroy enemy integrated air defense systems is foundational to aviation survivability and mission success. Airspace must be contested—and then cleared—through layered fires and effects across domains. As BG McIntosh and Task Force Bastogne demonstrated during recent large-scale exercises, air assault isn't just a legacy tactic—it's a modern instrument of tempo and shock when paired with precision intelligence, hardened command posts, and rapid sustainment. The 101st's renewed focus on scale, range, and survivability represents its next Rendezvous with Destiny. Gone are the days of low-intensity, air corridor-based insertions. Today's battlefield requires lift platforms operating in low-signature modes, digitally integrated with maneuver elements, and prepared to operate inside denied or degraded electromagnetic environments. With the introduction of the Future Vertical Lift (FVL) ecosystem on the horizon, and the ongoing proliferation of UAS and electronic warfare, Army aviation must evolve from just being “mobility” to becoming a key component of multi-domain convergence. Under McIntosh's vision, the division is shaping the doctrine and culture necessary to fight and win in LSCO: aggressively training mission command at distance, investing in distributed planning tools, and adapting air-ground integration to incorporate SOF, cyber, and space enablers. The air assault is no longer just an insertion method—it's a high-risk, high-reward maneuver enabled by fires, intelligence, and the ironclad trust between aviators and ground commanders. Part of S08 “The Aviator's Corner” series. For additional information and insights from this episode, please check-out our Instagram page @the_jrtc_crucible_podcast. Be sure to follow us on social media to keep up with the latest warfighting TTPs learned through the crucible that is the Joint Readiness Training Center. Follow us by going to: https://linktr.ee/jrtc and then selecting your preferred podcast format. Again, we'd like to thank our guests for participating. Don't forget to like, subscribe, and review us wherever you listen or watch your podcasts — and be sure to stay tuned for more in the near future. “The Crucible – The JRTC Experience” is a product of the Joint Readiness Training Center.
Members of the Screaming Eagles from the Port au Port Peninsula held a peaceful protest at the Energy NL conference in St. John's this week. They wanted to draw attention to the impact of World Energy GH2 wind-to-hydro development projects. We spoke with a couple of of them outside the St. John's Convention Centre on Wednesday. (Krissy Holmes with Cornie Torte and Sandra Woolridge from Picadilly)
Idag ses han som en gullig liten rockgubbe som vägrar gå i pension, men en gång i tiden var han farligast av alla. Lyssna på alla avsnitt i Sveriges Radio Play. En senig man med blont stripigt hår rör sig stapplande över den stora scenen. Till publikens stora förtjusning, är han sin vana trogen barbröstad. Det är slutet av mars 2025 och den 77-årige amerikanen headlinar festivalen Punkspring i Tokyo, vilket fångas på film av youtubekontot Toshi Aizawa.Han haltar och den solbrända huden - på den en gång så tajta torson - har börjat rynka sig rejält. Men dom svarta jeansen är lika lågt skurna som alltid. Samtidigt som körsbärsblommorna slagit ut i den japanska huvudstaden river han av låt efter låt. Det har gått över ett halvt sekel sen han väckte ramaskri som gränslös frontman i The Stooges, genom att bland annat skära upp sitt bröst under var och varannan spelning. Sen dess har han hunnit uppfinna stage dive:n, kräkas rakt ut över sin publik, gripas för att ha visat kuken på scen och både börjat och slutat med heroin - flera gånger. Det är helt enkelt ett mirakel att punkrockens gudfader fortfarande står på benen.Medverkande: Patrik Arve, Lena Nordlund och Markus LarssonProgrammet är gjort och programlett av Joanna Korbutiak våren 2025Producent Robin JonssonExekutiv producent Lars TruedsonSlutmix Fredrik NilssonP3 Musikdokumentär produceras av Tredje Statsmakten MediaLjudklippen i programmet kommer från Lena Nordlunds dokumentär Den långa jakten på Iggy Pop (Sveriges Radio, 2022), Vetenskapsradion hälsa (Sveriges Radio, 2022), Hitlåtens historia (SVT, 2017), Behind the Music (VH1, 1999), Late Show with David Letterman (CBS, 1982), 90 Minutes Live (CBC, 1977), Much Music TV (Much, 1997),”The Screaming Eagles in Vietnam” (C-span, 1967), Dinah! (20th Century Fox, 1977) och youtubekontot Toshi Aizawa.
Coach Bob Lovell starts the show after a Brendan King scoreboard update, Coach talks with Brendan King about sports around the state and his call of IU Indy recently. Coach then talks with Steve Drabyn the HC of Bethel University, as they discuss their 86-69 win over Goshen. Coach then discusses the Southern Indiana win with Ray Simmons of the Director of Athletic Communications as the Screaming Eagles won beat Eastern Illinois 64-60. Coach closes the hour out talking with Andrew Smith of NewPalRadio.com to talk the 66-64 win over Franklin community. See omnystudio.com/listener for privacy information.
Making a Scene Presents Gerry Casey's Interview with Chris Chalmers of The 2:19Belfast has produced more than its fair share of musical legends, Gary Moore Van Morrison, Gerry McAvoy , Snow Patrol, The Screaming Eagles, and many more. Another name that's certainly on everyone's lips at the moment is Belfast's latest rising stars The 2:19.led by Chris Chalmers. In tonight's interview Chris gives us the back story on the band's new album Keep My Will Strong. So once again this is another interview you will not want to miss. http://www.makingascene.org
It's a week after the thrilling 125th Army-Navy Game, but even after the game, we still love hearing stories from our fellow Soldiers and Sailors. During our time on USAA's Media Row, we had fascinating conversations with military vets and senior military leaders.We start with Maj. General Brett Sylvia, Commanding General of the Army's mighty 101st Airborne (Air Assault). He shared some history from this legendary unit and offered a glimpse at the lethal capability they're bringing into the future.We also had a good time talking with Army Special Forces veteran, football player and filmmaker Nate Boyer. He discussed his "late bloomer" path to the Army and football, and how his organization “Merging Vets and Players” brings vets together with former NFL athletes.He was joined by American Legion, Executive Director of Government Affairs Director and Marine Corps veteran Mario Marquez. who shared how The American Legion is not your grandfathers pub, but remains an awesome organization for veterans from every generation.We wrap our time on Media Row, with two vets and Senior Executives from the Army Navy Game's proud sponsor, USAA. Former Army Major Rob Braggs shared how service has become a family tradition and former Navy Captain Bill White shares some of his favorite military memories, including how we actually served on the same ship back in the 90s. Plus how USAA offers services that can truly help our nation's veterans live their best life. For more on the Screaming Eagles of 101st Airborne (Air Assault):https://www.army.mil/101stAirborne For more on a great organization for veterans, check out The American Legion:https://www.legion.org/ See Special Forces vet Nate Boyer's organization MVP, a collaboration with FOX Sports' Jay Glazer here:https://vetsandplayers.org/ Follow Nate @NateBoyer37 Contact CBS Eye on Veterans Host, Phil Briggsphil@connectingvets.com Follow on X@philbriggsVet@EyeOnVeterans@connectingvetsSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
In this thought-provoking episode of Veteran Made, host Carey Kight interviews author David Rose about his latest novel published by Dead Reckoning Collective, Screaming Eagles Wings, and delves into the deeper cultural implications of storytelling rooted in personal experience. Rose, a former Marine who served in Iraq, discusses how his book aims to counter the prevailing narrative about the Iraq War by highlighting the heroic aspects and the sense of brotherhood that many veterans fondly remember. The conversation takes a critical turn as Rose and Kight explore the concept of cultural decline in America. They argue that the current societal shift towards a “victim culture” has negatively impacted veterans, creating a self-fulfilling prophecy of struggle and victimhood. Rose emphasizes the importance of recognizing the extraordinary achievements of their generation and rejecting the notion that veterans are inherently victims of their experiences. Both Kight and Rose advocate for a return to personal responsibility and reconnection with the broader civilian community. They stress the value of specific, experience-based storytelling as an antidote to the superficial, high-level perspectives that dominate modern discourse. By sharing authentic, deeply personal narratives, they believe veterans can contribute to a more nuanced understanding of their experiences and help combat the cultural decline they perceive. This episode is sponsored by Go Pills. Use "VM15" at checkout for 15% off your order. Intro Song composed and produced by Cleod9. SOCIALS: https://www.instagram.com/veteranmade.ck/ http://x.com/veteranmade.ck https://www.instagram.com/__davidrose__/ https://www.instagram.com/deadreckoningcollective/
Coach Bob Lovell starts the show, after a Corbin Lingenfelter scoreboard update, with a conversation on the annual Sneakers for Santa event at Brownsburg High School. Kurt Darling of the ISC Sports Network had 3 of the 6 games on the west side and gives a full recap of the extravaganza. Then, USI's Ray Simmons joins to talk about the Screaming Eagles' 73-70 loss at SIU Carbondale this afternoon. See omnystudio.com/listener for privacy information.
In dieser Episode begrüßt Pia die Zuhörer herzlich im Time for Metal Podcast! Die Runde startet mit der beliebten Rubrik "Perle Der Woche", in der jeder Host einen besonderen Song vorstellt.
The Screaming Eagles of the 101st Airborne have a storied history in American combat operations. Now they're testing out ideas for how the Army can adapt to a new era of warfare. Plus the local news for September 5, 2024 and how zero tolerance for threats in Tennessee schools is really working out. Credits:This is a production of Nashville Public RadioHost/producer: Nina CardonaEditor: Miriam KramerAdditional support: Mack Linebaugh, Tony Gonzalez, Rachel Iacovone, LaTonya Turner and the staff of WPLN and WNXP
In 1970-71, John Podlaski spent twelve months in Vietnam — seven with the Wolfhounds of the 25th Infantry Division, and five with the Screaming Eagles of the 101st Airborne Division. John never dreamed that he'd become a writer, but his first novel, Cherries, led to five more books and a hugely popular website (cherrieswriter.com) that is a community chest of first-person stories, information, and imagery from the Vietnam War.
In this Bonus episode, we have a special Book Reveal from Jason Hansa!!! He's excited to announce another Screaming Eagles novel set in the thrilling and beloved setting of Far Country, as his sequel, Farther Country reveals for the first time what happened to the Eagles 2nd regiment that misjumped; as well as what happened to Sho-sa Yubari Takuda's DEST team and their Tetatae allies! Special thanks to Jason Hansa for allowing me to be a part of such an awesome book reveal! One of BattleTech's most beloved books is getting the sequel it deserves!! Fun Facts: • Prologue: The DCMS & Birds land on the moon Far Country • They discover descendants of ancient Star League brigade and the semi-sentient alien race Zyrrak, have created warring factions • Their first contacts with the Zyrrak belong to a sect that wants the wars to end, and they lead the DCMS & Tetatae into hiding • 3060 The Screaming Eagles Misjump into the system and ar forced to land on Far Country • The DCMS, with the only working dropship, guide the Eagles in and together they work to end the Far Country wars ForcePack: None – Ideal Farther Country Force Pack Mechs Included • REPOSE – StarSlayer • VARIANT – Battlemaster with Double Cocpit • JUMPING – Javelin • NEW – Snake • VEHICLE/BA/AERO – Tetatea & Zyrrak Infantry Though there is no forcepack, Get your Battletech resources at your local Game shop or online at our sponsor: Fortress Miniatures & Games Fortress Miniatures and Games | Heart of your Battletech gaming needs HAPPY APRIL FOOLS from Jason Hansa, Myself, and all the podcasters & YouTubers involved in making something fun! You can catch many of us on the Valhalla Club Discord! Fortress Miniatures & Games! https://www.fortressminiaturesandgames.com/ Follow the Mercenary Star Podcast on Twitter: @MercStarPodcast Follow the Mercenary Star Podcast on Instagram: Mercenary Star Podcast Follow Seth on twitter: https://twitter.com/WhiteFoxSG Check out the other awesome Battletech Podcasters & Creators in the Valhalla Club discord! https://discord.gg/NjMqnXqPYs Email us at mercenarystarpodcast@gmail.com
In Episode 13, I am thrilled to have BattleTech author Jason Hansa as a guest! We discuss the Screaming Eagles, the mercenary unit in his upcoming novella 'A Skulk of Foxes'. I'd like to thank Jason and Catalyst Game Labs for giving me the EXCLUSIVE reveal of the cover art for the pending book on this episode! I am humbled and honored! Follow Jason on X(Twitter): https://twitter.com/HauptmannHansa Check out our sponsor: Fortress Miniatures & Games! https://www.fortressminiaturesandgames.com/ Follow the Mercenary Star Podcast on Twitter: @MercStarPodcast Follow the Mercenary Star Podcast on Instagram: Mercenary Star Podcast Follow Seth on twitter: https://twitter.com/WhiteFoxSG Check out the other awesome Battletech Podcasters & Creators in the Valhalla Club discord! https://discord.gg/NjMqnXqPYs Email us at mercenarystarpodcast@gmail.com
Faldskærmsoldaterne i Easy-kompagniet i det 506. infanteriregiment fra USA's 101. luftbårne division ”The Screaming Eagles” holdt i 1988 et veterantræf, hvor de mødtes og mindede deres bedrifter under invasionen af Vesteuropa. De blev kastet ned over Normandiet om natten før D-dagen 6. juni 1944, hvor de deltog i de hårde kampe, der sikrede de allierede fremrykning fra invasionsstranden Utah. Siden var Easy-kompagniet med også under Operation Market Garden i Holland og kampen om Bastogne under Ardennerslaget. Det blev også til mere muntre historier om hvordan kompagniet plyndrede Görings vinkælder i Berchtesgaden for 10.000 flasker champagne. Tilstede under træffet var også den berømte historiker Stephen Ambrose, som nedskrev alle beretningerne fra beretninger. Det blev sidenhen til den berømte bog fra 1992 og den endnu mere berømte TV-serie ”Band of Brothers” - på dansk ”Kammerater i krig” fra 2001. En TV-serie, der blev skabt af skuespilleren Tom Hanks og filminstruktøren Stephen Spielberg og som i øvrigt også havde Ambrose både som medproducent og historisk konsulent. I programmet medvirker Jakob Sørensen er en af vores mest vidende historikere om især krigen i Vesteuropa i slutningen af 2. verdenskrig, har selv udgivet flere bøger om både D-dagen og Ardennerslaget og har desuden skrevet forordet til den danske udgave af ”Kammerater i krig”, der udkom første gang i 2005.See omnystudio.com/listener for privacy information.
Screaming Eagles are Back! Ben and Bill back on the podcast after their fact finding mission to Texas
The Duke Blue Devils had a poor effort display against Southern Indiana, but still emerged with the win on Friday night. We recap the game on Episode 561. The Blue Devils had a Black Friday hangover, whether it was too much turkey or not enough intensity, and it showed against the Screaming Eagles. After breaking down all the headlines that listeners sent in, they get to the good and bad of this contest. They focus on some of the great “statless domination” that the team showed at the end of the 1st half, but they also reflect on how the game started, with everyone saying that they didn't have the effort that Duke Basketball requires. We end with our play of the game, which was a dynamite hammer from Tyrese Proctor, and we give out our first Player of the Week honors of the season. We also hit the gridiron, where Duke Gang finished out their regular season with a solid victory over Pitt. Duke finishes the season 7-5 and now turns to where they will end up for their bowl game. Jason and Donald review some of the possible destinations and discuss the ACC's various bowl tie-ins. Make sure you're following us! Head to our Linktree to get all our available social media and links to follow and subscribe to the show. Don't forget, we have affiliate partnerships with Homefield Apparel (use the code DBRPODCAST to save 15%) as well as Fanatics. The Black Friday and Cyber Monday sales are on, so click the affiliate links to save on gear and support the show. Also, follow us on Twitter @DukeRoundup! Learn more about your ad choices. Visit megaphone.fm/adchoices
We're back with a new DBR Bites Episode 27 as we preview Duke's Black Friday game against Southern Indiana! The Southern Indiana Screaming Eagles come to Cameron on Friday night in the finale of the Blue Devil Challenge, and Duke wants to knock off the Thanksgiving food coma with a good showing. Jason and Donald give you a thorough breakdown of what to expect from Southern Indiana, from what they do well to where Duke can take advantage. This is a chance for Duke to get out and run, but they want to take care of the basketball and move it around to get good shots. Hopefully, they're able to get a convincing win against Southern Indiana. Make sure you're following us! Head to our Linktree to get all our available social media and links to follow and subscribe to the show. Don't forget, we have affiliate partnerships with Homefield Apparel (use the code DBRPODCAST to save 15%) as well as Fanatics. The Black Friday sales are on, so click the affiliate links to save on gear and support the show. Also, follow us on Twitter @DukeRoundup! Learn more about your ad choices. Visit megaphone.fm/adchoices
The Final Four Is Not On The Schedule - A Michigan State Basketball Podcast.
November 9, 2023: Michigan State exorcised a few demons Thursday night by beating Southern Indiana 74-51. The Spartans outscored the Screaming Eagles 37-14 in the first half with some suffocating defense. Unfortunately, the defense largely disappeared in the second half. MSU continues to get very spotty performance from its senior point guard, AJ Hoggard, which has led to erratic play and a general lack of smoothness on both sides of the floor. With Duke coming up in a few days, MSU will need its veterans to play their best to keep that game competitive. Are you looking for collegiate apparel including Spartan gear? There's only one place we recommend you go to get your MSU T-shirts, hoodies, sweatshirts — Nudge Printing. (https://www.nudgeprinting.com) Nudge is owned and operated by Gabe and Brittany, two MSU alums. The business is operated out of Michigan and screen prints super high quality products. They also have a large assortment of apparel for other schools as well as stickers for your wall, car, or computer. You can also buy our merchandise to sport around town where all the sales proceeds go to support the show. If you have a home in Michigan you know the importance of clearing water efficiently away from your home off the roof. Unfortunately, the outdoor beauty of Michigan means you have to deal with leaves and debris that pile up in your gutters. Sometimes, those gutters also can't keep up with the rain or leave puddles by your foundation. If you live in the Grand Rapids area (Muskegon to Saugatuck to Rockford to Lowell) contact Kurt Stauffer at the Brothers that Just Do Gutters. (https://www.brothersgutters.com/grand-rapids-mi/). If you're anywhere in the metro Detroit area the Brothers have you covered too! (https://www.brothersgutters.com/metro-detroit-mi/). They are real professionals who will clean, repair, or replace your gutters and protect your home quickly and efficiently with friendly service. Mention Final Four to get 10% off your gutter work. #MSUHoops #MichiganStateBasketball #MichiganState #SouthernIndiana
The Final Four Is Not On The Schedule - A Michigan State Basketball Podcast.
November 9, 2023: Michigan State exorcised a few demons Thursday night by beating Southern Indiana 74-51. The Spartans outscored the Screaming Eagles 37-14 in the first half with some suffocating defense. Unfortunately, the defense largely disappeared in the second half. MSU continues to get very spotty performance from its senior point guard, AJ Hoggard, which has led to erratic play and a general lack of smoothness on both sides of the floor. With Duke coming up in a few days, MSU will need its veterans to play their best to keep that game competitive. Are you looking for collegiate apparel including Spartan gear? There's only one place we recommend you go to get your MSU T-shirts, hoodies, sweatshirts — Nudge Printing. (https://www.nudgeprinting.com) Nudge is owned and operated by Gabe and Brittany, two MSU alums. The business is operated out of Michigan and screen prints super high quality products. They also have a large assortment of apparel for other schools as well as stickers for your wall, car, or computer. You can also buy our merchandise to sport around town where all the sales proceeds go to support the show. If you have a home in Michigan you know the importance of clearing water efficiently away from your home off the roof. Unfortunately, the outdoor beauty of Michigan means you have to deal with leaves and debris that pile up in your gutters. Sometimes, those gutters also can't keep up with the rain or leave puddles by your foundation. If you live in the Grand Rapids area (Muskegon to Saugatuck to Rockford to Lowell) contact Kurt Stauffer at the Brothers that Just Do Gutters. (https://www.brothersgutters.com/grand-rapids-mi/). If you're anywhere in the metro Detroit area the Brothers have you covered too! (https://www.brothersgutters.com/metro-detroit-mi/). They are real professionals who will clean, repair, or replace your gutters and protect your home quickly and efficiently with friendly service. Mention Final Four to get 10% off your gutter work. #MSUHoops #MichiganStateBasketball #MichiganState #SouthernIndiana
Featuring: Monster Squad - https://www.amazon.com/gp/video/detail/B01LW8YH99/ref=atv_dp_share_cu_r Follow the show on IG: https://www.instagram.com/the_2_clouded_minds_show/ Follow Kris on IG: https://www.instagram.com/lilguykris28 Follow DC on IG: https://www.instagram.com/dcinthecity Follow Anthony on IG: https://www.instagram.com/felifel1201 Follow Dakota on IG: https://www.instagram.com/dakotademarest The 2 Clouded Minds Show is for entertainment purposes only. No laws were broken and no harm was done during the recording of this episode, even if it looks like something bad might've happened. DC is very good with special effects. No financial advice is contained in this episode. But let's be honest, if you're taking financial advice from people who refer to themselves as "clouded minds," you kinda deserve whatever you get. Opinions expressed do not necessarily reflect those of sponsors or any reasonable entity on Earth. All facts are at least 50% true, probably.
Blake Clark is a veteran of the Vietnam War, having served as a first lieutenant in the United States Army with the 5th Infantry Division.[2][3] During his time in the army, Clark was also a member of the 101st Airborne Division known as the "Screaming Eagles." Blake has been cast in numerous Adam Sandler films including The Waterboy, Little Nicky, Mr. Deeds, Eight Crazy Nights, 50 First Dates, I Now Pronounce You Chuck & Larry, Bedtime Stories, Grown Ups, and That's My Boy. He has also made guest appearances in numerous television series, including Home Improvement, Boy Meets World, The Jamie Foxx Show, The Drew Carey Show, Girl Meets World, and Community. He was also Fred the chauffeur in Remington Steele. Starting with Toy Story 3, Clark has voiced Slinky Dog in the Toy Story franchise, in place of his close friend Jim Varney, Slinky's original voice actor in the first two films, who died of lung cancer. When Toy Story 3 was still in production after Varney had died, Pixar searched for someone who sounded like Varney and fortunately found Clark, who "very much captures the essence and spirit of Slinky Dog's character. Blake is a very funny guy and still to date, has the longest applause break as a comic on the Tonight Show. (Johnny Carson era)
We say that the best part of footy traveling is meeting and connecting with fellow footy travelers from all over the world, and when we connect with a like-minded FFT who's out there doing the damn thing in their own unique way, you know we're gonna get them on the pod! Today's guest is just that kind of footy traveler. In this 2-part episode, Colin & Mike got together (physically, not biblically) to chat with Cheyenne Foster, an FFT out of the D.C. area who shares her MLS, NWSL, & US Soccer fandom as an avid vlogger, content creator, & fellow podcaster! The boys talk to Cheyenne about all sorts of fun footy travel topics: beer showers at Audi cross-country travel to El Traficos that get canceled experiencing World Cup 2022 in 'non-traditional' ways traveling as a woman & Cheynne's favorite US soccer cities to visit Foot(y)notes: You can check out Cheyenne's work (@btwncleansheets, unless otherwise noted) on all your favorite social media platforms: YouTube (@BetweenCleanSheets) Instagram TikTok Twitter **OUR FIRST PROMOTIONAL OFFER - from Laird Superfood** Are you ready to feel more energized, focused, and supported? Go to https://zen.ai/ftp and add nourishing, plant-based foods to fuel you from sunrise to sunset. 15% OFF!! ********************************
This is Part 2 of our conversation with American superfan, Cheyenne Foster - aka @btwnCleanSheets. If you haven't listened to Part 1 yet, do that first. If you have aready, well... enjoy! ;-) Foot(y)notes: You can check out Cheyenne's work (@btwncleansheets, unless otherwise noted) on all your favorite social media platforms: YouTube (@BetweenCleanSheets) Instagram TikTok Twitter **OUR FIRST PROMOTIONAL OFFER - from Laird Superfood** Are you ready to feel more energized, focused, and supported? Go to https://zen.ai/ftp and add nourishing, plant-based foods to fuel you from sunrise to sunset. 15% OFF!! ********************************
KC and Andy are sharing two great "Not So New" games in this episode! * KC will tell you about his favorite 2-player game Jaipur! * Andy will explain the amazing game of spaceships and gravity - Gravwell! Both games use cards...thus the name of the episode ;) AND... The gamer bros reminisce about a game they grew up playing in "Vintage View" - the great jet fighter battle game - Screaming Eagles! Please tell your friends about the podcast! Whether they are brand new to board gaming or big geeky gamer nerds like these guys! And please subscribe and like the pages on Facebook and Instagram https://www.facebook.com/AnyonesGamewithKCandAndy https://www.instagram.com/anyonesgamewithkcandandy/ Or visit them online at: www.anyonesgamepodcast.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/anyonesgame/message
Huge win by the Sea Eagles and we break it all down with the help of a special guest. Cyrus joins the podcast to give his hot takes on the team and the up coming season.
Manly hand Parra their 3 loss in a row and massive signing news for both teams.
Please stay safe and healthy! If you can afford it and love what we do, please consider supporting our show by becoming a BTT Podcast Patreon Member! Also, purchase a BTT Podcast t-shirt or two from our Pro Wrestling Tees Store! This week's Time Stamps for our WCW Saturday Night on TBS recap from October 12, 1991 review are as follows: Opening Shenanigans and we talk about the BTT Wildkat X-Rated Weekend in New Orleans! ( 0:01:08 ) Apple Podcast and PodcastAddict 5-star reviews! Submit your very own 5-star review on PodcastAddict or Apple Podcasts and we will read it on air! ( 0:20:40 ) Harper doesn't know what the Franchise Tag means in the NFL. ( 0:21:34 ) New Patreon Shoutouts! ( 0:26:34 ) If you want access to the Clashes or WCW PPVs, and over 400 Patreon show, become a patreon member at https://www.patreon.com/BookingTheTerritory or tinyurl.com/PatreonBTT! You can sign up monthly or annual. When signing up for an annual plan you get 10% off which is a MONTH FREE!! WCW Saturday Night on TBS recap from October 12, 1991! ( 0:27:36 ) Reverse Ratings and Reverse Rolex Time and become a BTT Patreon member! ( 1:18:20 ) Don't forget to become a BTT Patreon member https://www.patreon.com/BookingTheTerritory Information on Harper's Video Shoutout, Life and Relationship. ( 1:20:45 ) 1. First things first, email Harper with the details of what you want in your video shoutout or who the shoutout is too. His email address is ChrisHarper16Wildkat@gmail.com . Also in that email tell him what your paypal address is. 2. Paypal him $20. Harper's PayPal is, get your pen and paper out, cc30388cc@yahoo.com . 3. Harper will then send you the video to the email address that you emailed him from requesting your video shoutout. That's it! Don't email the show email address. Email Harper. If you missed any of those directions, hit rewind and listen again. Official BTT Facebook Page: https://www.facebook.com/BookingTheTerritory BTT Facebook Group! (WARNING: Join at your own risk) https://www.facebook.com/groups/281458405926389/ Pay Pal: https://www.paypal.me/BTTPod Follow us on Twitter @BTT_Podcast, @Mike504Saints, @CJHWhoDat and Like us on Facebook.
On this episode of ARN, Arn and Paul discuss October 1991 as they continue their walk through Arn's career. Arn and Larry Zbyszko spend much of the month involved in a feud with the Fabulous Freebirds (or their alter ego the Screaming Eagles). They spend the bulk of the episode discussing all things Halloween Havoc, including the infamous Chamber of Horrors match with Abdullah being "electrocuted”, the unveiling of the "Halloween Phantom" - Rick Rude, and slamming Barry Windham's hand in a car door. SleepMe - Head over to sleep.me/ARN to learn more and save 25% off the purchase of any new Dock Pro, OOLER or Cube Sleep System. SAVE WITH CONRAD - If you have credit card debt or in a 30-year loan? Well, we can help you get out of that pinch and save money at the same time! Head over to SaveWithConrad.com for a quick quote. Arn can be found on ADFREESHOWS.com, the largest collection of wrestling legends on one channel. www.ADFREESHOWS.com will have every podcast ad free and early, plus bonus content you won't get anywhere else. Join today www.ADFREESHOWS.com Now you can enjoy ARN on YouTube! Turn on your notifications at http://www.ArnShowOnYouTube.com If your business targets 25–54-year-old men, there's no better place to advertise than right here with us on the Arn Show. You've heard us do ads for some of the same companies for years...why? Because it works! And with our super targeted audience, there's very little waste. Go to www.AdvertiseWithArn.com now and find out more about advertising with the Arn Show. Get all of your Arn Anderson merchandise at https://boxofgimmicks.com/collections/arn Learn more about your ad choices. Visit podcastchoices.com/adchoices
Screaming Eagles Ep131- Century Of Excellence by thescreamingeagles
At the dawn of a new season we talk through Team list Tuesday and the Penns bold new profit making strategy.
First Trials are Done. Manly sit on top of the ladder and a new cult hero has emerged.
We break down the teams top 30 squads for 2023 and finish up with what can only be described as the greatest poem ever written.
Back for the 8th season of the Screaming Eagles Podcast. We start off the season with an emotional retelling of Bills 2022 GF experience.
The 11 o'clock hour starts with USI HC Stan Gouard talking about the Screaming Eagles win over Southern Illinois University- Edwardsville and his journey building this now-DI program. Coach talks about his 4-way tie for 1st place in the Ohio Valley Conference. Back to high school hoops as WAXL's Steve Kolb calls to talk about Castle's 73-65 win over Heritage Hills. After Kolb, David Deaton joins Coach Lovell to talk about Corydon Central's 81-76 win over Charleston. Next up is Noblesville Head Coach Scott McClellan who calls in about the Miller's 75-47 win over Hamilton Heights. DII Basketball is the next topic as IST's own Nathaniel Finch hops on the mic to talk UIndy's 75-50 win over McKendree and their standings within the GLVC and the Midwest Region. Next, Coach Bob Burke of Lake Station has a conversation with Coach Lovell about Fighting Eagles 55-51 victory over Hanover Central and where they stand in the 4A class. Staying on the topic of high school ball, Brendan King joins for the final segment to discuss Eastern Hancock's 68-38 win over Shenandoah to close out the show. See omnystudio.com/listener for privacy information.
Pick Up & Deliver 489: The Adventures of Robin Hood, Screaming Eagles, Bali (1954) - Brendan shares his early thoughts on some games he played for the first time recently. Join us, won't you?
US military forces 'fully prepared' to cross into Ukraine False flag? Russia says Ukraine plans to detonate a ‘dirty bomb' U.S. military forces are "fully prepared" to cross into Ukraine at a moment's notice to fight a war against Russia. The Army's 101st Airborne Division, who boast the "Screaming Eagles" moniker, have been deployed to Europe for the first time since World War II. Brig. Gen. John Lubas, the division's deputy commander, stressed this is "not a training deployment" but rather a "combat deployment". Russia has accused Ukraine of planning to detonate a radioactive dirty bomb and blame it on Moscow. Defence Minister Sergei Shoigu discussed the “rapidly deteriorating situation” in the Ukraine war in calls with NATO nations on Sunday. Without providing evidence, Shoigu said Ukraine could escalate the conflict with a dirty bomb — a device that uses explosives to scatter radioactive waste. It does not have the devastating effect of a nuclear explosion, but it could expose broad areas to radioactive contamination. “If anyone can use nuclear weapons in this part of Europe — it can be only one source — and that source is the one that has ordered comrade Shoigu to telephone here or there,” Ukrainian President Volodymyr Zelenskyy said in his nightly video message. US President Joe Biden has warned that the world is closer to “armageddon” than at any time since the 1962 Cuban Missile Crisis. This is just my opinion. PS: If you enjoy my content, I will think of you while drinking my coffee. – Buy Me a Coffee The Slippery Slope Spotify J Fallon Apple Music J Fallon Spotify J Fallon YouTube The Slippery Slope Apple Podcasts The Slippery Slope YouTube The Slippery Slope Stitcher --- Send in a voice message: https://anchor.fm/jason-fallon/message
The 101st airborne division has been deployed near Ukraine. CBS News has more: The U.S. Army's 101st Airborne Division has been deployed to Europe for the first time in almost 80 years amid soaring tension between Russia and the American-led NATO military alliance. The light infantry unit, nicknamed the "Screaming Eagles," is trained to deploy on any battlefield in the world within hours, ready to fight. CBS News joined the division's Deputy Commander, Brigadier General John Lubas, and Colonel Edwin Matthaidess, Commander of the 2nd Brigade Combat Team, on a Black Hawk helicopter for the hour-long ride to the very edge of NATO territory — only around three miles from Romania's border with Ukraine. From the moment Russian President Vladimir Putin launched his full-scale invasion of Ukraine on February 24, his forces have advanced northward from the Crimean Peninsula, a Ukrainian region that Moscow illegally seized control of in 2014. For more than seven months, Russian troops have tried to push along the Black Sea coast into the Kherson region, aiming to capture the key Ukrainian port cities of Mykolaiv and Odesa. Also, Transformation Tuesday. See omnystudio.com/listener for privacy information.
The financial infrastructure of the Great Reset has arrived as Rishi Sunak was named the next U.K. Prime Minister without a vote - welcome, global currency. The U.S. began ‘practicing for war' near the Ukraine border, utilizing the 101st Airborne Division, the Screaming Eagles. Next, massive protests erupted in Paris after a 12-year-old girl was ritualistically murdered by a female illegal immigrant. Finally, the Biden administration warned about cyber attacks on the U.S. election systems by China, Russia, and other non-state actors ahead of midterms; but wait, that kind of talk gets you censored…right?Here's your Daily dose of Human Events with @JackPosobiec Save up to 65% on MyPillow products by going to MyPillow.com/POSO and use code POSO Buy three boxers and get one free by going to GETUNDERTAC.COM with offer code POSODownload PublicSq for free at https://publicsq.com/welcome?path=/marketplace/online
We hit the beaches and make a dash for the sea wall this week as we talk Normandy on Film with Paul Woodage of WW2TV. Paul is a historian and battlefield guide who lives and works in Normandy and is the perfect guest for this run through some cinematic depictions of D-Day on screen. We cover early attempts such as 1956's Screaming Eagles right through to 1998's Saving Private Ryan. Do these films create a stable beach head or do they end up floundering in the channel? Join us to find out. Follow us on Twitter @FightingOnFilm and on Facebook. For more check out our website www.fightingonfilm.com Thanks for listening!
Screaming Eagles Ep126 - Running Up That Hill by thescreamingeagles
S35 EP08 “SGT. SAVAGE and HIS SCREAMING EAGLES: GI JOE” COUCHPILOTSPODCAST.COM * PATREON **THIS WEEK: SGT. SAVAGE, AND HIS SCREAMING EAGLES: GI JOE*** The Captains review ”SGT. SAVAGE and HIS SCREAMING EAGLES. This was a failed spin off cartoon from GI JOE. The captains talk about Jason's trip to Portland, Air Supply, credit ratings and Cripto-Christ. We break down the pilot, give you some facts, and of course our final rating. **NEXT WEEK: THE BUNNY HOUSE**
Slow news week, nothing much has happened at Manly
After 2 month forced hiatus, we are back! Discussing all the big news from Manly and Parra.
Tom Rice grew up in the military community of Coronado, California, and joined the U.S. Army in November 1942. He then went through the rigorous training for airborne troops at Camp Toccoa and Ft. Benning. He was assigned to the Screaming Eagles of the 101st Airborne Division and would see action in three major campaigns in the European theater of World War II.In this edition of "Veterans Chronicles," Rice takes along on his jump into Normandy on D-Day and his first combat against the Germans. Then he describes his experiences as part of Operation Market Garden, the ultimately ill-fated Allied effort to cross the Rhine in September 1944. And he details the very difficult conditions at the Battle of the Bulge. Finally, Rice explains why he's made additional parachute jumps for the 75th anniversary of D-Day and for his 100th birthday.
I Kissed Alcohol Goodbye: Let’s Break Up With Booze Together!
Austen and I have had another hell of a week, including me checking myself into the VA to seek inpatient treatment for PTSD for a few days. In this brief bonus episode (which is taking place on Memorial Day weekend), I reflect on a variety of topics from a drunk golfer who donated booze to our sons' backyard golf ball fundraiser to military trauma and whatever else came to mind while the birds chirped and the sun came up. This episode is dedicated to all the "Screaming Eagles" of the 101st Airborne Division (Air Assault), with whom I had the honor of deploying to Iraq as an infantry officer and to Afghanistan as a chaplain. The episode closes abruptly when my phone's alarm went off to tell me it's time to head to our son's soccer tournament. Stay tuned for Ep16, which will hopefully be coming this week -- Austen and I will get back to the second installment of the "Itty Bitty Shitty Committee" -- this time it's that bastard Gil, a.k.a. the Treasurer of the Committee who stores up all the guilt from the stupid shit we did before, during and after drinking. Thanks so much for listening to IKAGB — if you have feedback, please contact Dana & Owl @ikissedalcoholgoodbye (Instagram) or ikissedalcoholgoodbye@gmail.com. Much love and peace! --Dana & Owl Become a Premium Member of IKAGB Podcast and get 6 perks for just $6/month -- it only takes two clicks at https://ikissedalcoholgoodbye.supercast.com/ Join now!
Ok so, we intended to give y'all an unreleased episode to the feed....but Ray grabbed one of his favorites that was....already on the feed.RAAAAAAAAAAY!!!!!!!!!!Here though is one that has not, and it directly ties into GIJoe Extreme! It's the pilot for Sgt. Savage on his own show!We did this one back around Season 2 when we had no idea what GIJoe Extreme even was, so this should be a weird listen.Enjoy!!! Support this podcast at — https://redcircle.com/knowing-is-half-the-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Join me, Daniel & Tom from the Screaming Eagles tailgate for the 1st ever in person show! Don't forget to subscribe to the podcast to be kept up to date on all new shows. All things DCUK - https://bio.link/dcunitedkingdom New DCUK Cherry Blossom Jersey - https://bit.ly/DCUKCherry2 Membership – http://bit.ly/DCUKmember Merchandise - https://dcuk-merch.creator-spring.com/ Intro Song - Mike Stringer - Shake The Rattle - https://www.epidemicsound.com/track/jltVgYTQvn Outro - Mike Stringer - Hit and Run - https://www.epidemicsound.com/track/1eKcv02Vyf/ MLS 101 Theme - https://www.epidemicsound.com/track/UhiPA5VzUG/ ExpressVPN offer - https://xvuslink.com?offer=3monthsfree&a_fid=DCUK --- Send in a voice message: https://anchor.fm/dcunitedukfans/message
Episode one hundred and forty-seven of A History of Rock Music in Five Hundred Songs looks at “Hey Joe" by the Jimi Hendrix Experience, and is the longest episode to date, at over two hours. Patreon backers also have a twenty-two-minute bonus episode available, on "Making Time" by The Creation. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud mix containing all the music excerpted in this episode. For information on the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. Information on Arthur Lee and Love came from Forever Changes: Arthur Lee and the Book of Love by John Einarson, and Arthur Lee: Alone Again Or by Barney Hoskyns. Information on Gary Usher's work with the Surfaris and the Sons of Adam came from The California Sound by Stephen McParland, which can be found at https://payhip.com/CMusicBooks Information on Jimi Hendrix came from Room Full of Mirrors by Charles R. Cross, Crosstown Traffic by Charles Shaar Murray, and Wild Thing by Philip Norman. Information on the history of "Hey Joe" itself came from all these sources plus Hey Joe: The Unauthorised Biography of a Rock Classic by Marc Shapiro, though note that most of that book is about post-1967 cover versions. Most of the pre-Experience session work by Jimi Hendrix I excerpt in this episode is on this box set of alternate takes and live recordings. And "Hey Joe" can be found on Are You Experienced? Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just a quick note before we start – this episode deals with a song whose basic subject is a man murdering a woman, and that song also contains references to guns, and in some versions to cocaine use. Some versions excerpted also contain misogynistic slurs. If those things are likely to upset you, please skip this episode, as the whole episode focusses on that song. I would hope it goes without saying that I don't approve of misogyny, intimate partner violence, or murder, and my discussing a song does not mean I condone acts depicted in its lyrics, and the episode itself deals with the writing and recording of the song rather than its subject matter, but it would be impossible to talk about the record without excerpting the song. The normalisation of violence against women in rock music lyrics is a subject I will come back to, but did not have room for in what is already a very long episode. Anyway, on with the show. Let's talk about the folk process, shall we? We've talked before, like in the episodes on "Stagger Lee" and "Ida Red", about how there are some songs that aren't really individual songs in themselves, but are instead collections of related songs that might happen to share a name, or a title, or a story, or a melody, but which might be different in other ways. There are probably more songs that are like this than songs that aren't, and it doesn't just apply to folk songs, although that's where we see it most notably. You only have to look at the way a song like "Hound Dog" changed from the Willie Mae Thornton version to the version by Elvis, which only shared a handful of words with the original. Songs change, and recombine, and everyone who sings them brings something different to them, until they change in ways that nobody could have predicted, like a game of telephone. But there usually remains a core, an archetypal story or idea which remains constant no matter how much the song changes. Like Stagger Lee shooting Billy in a bar over a hat, or Frankie killing her man -- sometimes the man is Al, sometimes he's Johnny, but he always done her wrong. And one of those stories is about a man who shoots his cheating woman with a forty-four, and tries to escape -- sometimes to a town called Jericho, and sometimes to Juarez, Mexico. The first version of this song we have a recording of is by Clarence Ashley, in 1929, a recording of an older folk song that was called, in his version, "Little Sadie": [Excerpt: Clarence Ashley, "Little Sadie"] At some point, somebody seems to have noticed that that song has a slight melodic similarity to another family of songs, the family known as "Cocaine Blues" or "Take a Whiff on Me", which was popular around the same time: [Excerpt: The Memphis Jug Band, "Cocaine Habit Blues"] And so the two songs became combined, and the protagonist of "Little Sadie" now had a reason to kill his woman -- a reason other than her cheating, that is. He had taken a shot of cocaine before shooting her. The first recording of this version, under the name "Cocaine Blues" seems to have been a Western Swing version by W. A. Nichol's Western Aces: [Excerpt: W.A. Nichol's Western Aces, "Cocaine Blues"] Woody Guthrie recorded a version around the same time -- I've seen different dates and so don't know for sure if it was before or after Nichol's version -- and his version had himself credited as songwriter, and included this last verse which doesn't seem to appear on any earlier recordings of the song: [Excerpt: Woody Guthrie, "Cocaine Blues"] That doesn't appear on many later recordings either, but it did clearly influence yet another song -- Mose Allison's classic jazz number "Parchman Farm": [Excerpt: Mose Allison, "Parchman Farm"] The most famous recordings of the song, though, were by Johnny Cash, who recorded it as both "Cocaine Blues" and as "Transfusion Blues". In Cash's version of the song, the murderer gets sentenced to "ninety-nine years in the Folsom pen", so it made sense that Cash would perform that on his most famous album, the live album of his January 1968 concerts at Folsom Prison, which revitalised his career after several years of limited success: [Excerpt: Johnny Cash, "Cocaine Blues (live at Folsom Prison)"] While that was Cash's first live recording at a prison, though, it wasn't the first show he played at a prison -- ever since the success of his single "Folsom Prison Blues" he'd been something of a hero to prisoners, and he had been doing shows in prisons for eleven years by the time of that recording. And on one of those shows he had as his support act a man named Billy Roberts, who performed his own song which followed the same broad outlines as "Cocaine Blues" -- a man with a forty-four who goes out to shoot his woman and then escapes to Mexico. Roberts was an obscure folk singer, who never had much success, but who was good with people. He'd been part of the Greenwich Village folk scene in the 1950s, and at a gig at Gerde's Folk City he'd met a woman named Niela Miller, an aspiring songwriter, and had struck up a relationship with her. Miller only ever wrote one song that got recorded by anyone else, a song called "Mean World Blues" that was recorded by Dave Van Ronk: [Excerpt: Dave Van Ronk, "Mean World Blues"] Now, that's an original song, but it does bear a certain melodic resemblance to another old folk song, one known as "Where Did You Sleep Last Night?" or "In the Pines", or sometimes "Black Girl": [Excerpt: Lead Belly, "Where Did You Sleep Last Night?"] Miller was clearly familiar with the tradition from which "Where Did You Sleep Last Night?" comes -- it's a type of folk song where someone asks a question and then someone else answers it, and this repeats, building up a story. This is a very old folk song format, and you hear it for example in "Lord Randall", the song on which Bob Dylan based "A Hard Rain's A-Gonna Fall": [Excerpt: Ewan MacColl, "Lord Randall"] I say she was clearly familiar with it, because the other song she wrote that anyone's heard was based very much around that idea. "Baby Please Don't Go To Town" is a question-and-answer song in precisely that form, but with an unusual chord progression for a folk song. You may remember back in the episode on "Eight Miles High" I talked about the circle of fifths -- a chord progression which either increases or decreases by a fifth for every chord, so it might go C-G-D-A-E [demonstrates] That's a common progression in pop and jazz, but not really so much in folk, but it's the one that Miller had used for "Baby, Please Don't Go to Town", and she'd taught Roberts that song, which she only recorded much later: [Excerpt: Niela Miller, "Baby, Please Don't Go To Town"] After Roberts and Miller broke up, Miller kept playing that melody, but he changed the lyrics. The lyrics he added had several influences. There was that question-and-answer folk-song format, there's the story of "Cocaine Blues" with its protagonist getting a forty-four to shoot his woman down before heading to Mexico, and there's also a country hit from 1953. "Hey, Joe!" was originally recorded by Carl Smith, one of the most popular country singers of the early fifties: [Excerpt: Carl Smith, "Hey Joe!"] That was written by Boudleaux Bryant, a few years before the songs he co-wrote for the Everly Brothers, and became a country number one, staying at the top for eight weeks. It didn't make the pop chart, but a pop cover version of it by Frankie Laine made the top ten in the US: [Excerpt: Frankie Laine, "Hey Joe"] Laine's record did even better in the UK, where it made number one, at a point where Laine was the biggest star in music in Britain -- at the time the UK charts only had a top twelve, and at one point four of the singles in the top twelve were by Laine, including that one. There was also an answer record by Kitty Wells which made the country top ten later that year: [Excerpt: Kitty Wells, "Hey Joe"] Oddly, despite it being a very big hit, that "Hey Joe" had almost no further cover versions for twenty years, though it did become part of the Searchers' setlist, and was included on their Live at the Star Club album in 1963, in an arrangement that owed a lot to "What'd I Say": [Excerpt: The Searchers, "Hey Joe"] But that song was clearly on Roberts' mind when, as so many American folk musicians did, he travelled to the UK in the late fifties and became briefly involved in the burgeoning UK folk movement. In particular, he spent some time with a twelve-string guitar player from Edinburgh called Len Partridge, who was also a mentor to Bert Jansch, and who was apparently an extraordinary musician, though I know of no recordings of his work. Partridge helped Roberts finish up the song, though Partridge is about the only person in this story who *didn't* claim a writing credit for it at one time or another, saying that he just helped Roberts out and that Roberts deserved all the credit. The first known recording of the completed song is from 1962, a few years after Roberts had returned to the US, though it didn't surface until decades later: [Excerpt: Billy Roberts, "Hey Joe"] Roberts was performing this song regularly on the folk circuit, and around the time of that recording he also finally got round to registering the copyright, several years after it was written. When Miller heard the song, she was furious, and she later said "Imagine my surprise when I heard Hey Joe by Billy Roberts. There was my tune, my chord progression, my question/answer format. He dropped the bridge that was in my song and changed it enough so that the copyright did not protect me from his plagiarism... I decided not to go through with all the complications of dealing with him. He never contacted me about it or gave me any credit. He knows he committed a morally reprehensible act. He never was man enough to make amends and apologize to me, or to give credit for the inspiration. Dealing with all that was also why I made the decision not to become a professional songwriter. It left a bad taste in my mouth.” Pete Seeger, a friend of Miller's, was outraged by the injustice and offered to testify on her behalf should she decide to take Roberts to court, but she never did. Some time around this point, Roberts also played on that prison bill with Johnny Cash, and what happened next is hard to pin down. I've read several different versions of the story, which change the date and which prison this was in, and none of the details in any story hang together properly -- everything introduces weird inconsistencies and things which just make no sense at all. Something like this basic outline of the story seems to have happened, but the outline itself is weird, and we'll probably never know the truth. Roberts played his set, and one of the songs he played was "Hey Joe", and at some point he got talking to one of the prisoners in the audience, Dino Valenti. We've met Valenti before, in the episode on "Mr. Tambourine Man" -- he was a singer/songwriter himself, and would later be the lead singer of Quicksilver Messenger Service, but he's probably best known for having written "Get Together": [Excerpt: Dino Valenti, "Get Together"] As we heard in the "Mr. Tambourine Man" episode, Valenti actually sold off his rights to that song to pay for his bail at one point, but he was in and out of prison several times because of drug busts. At this point, or so the story goes, he was eligible for parole, but he needed to prove he had a possible income when he got out, and one way he wanted to do that was to show that he had written a song that could be a hit he could make money off, but he didn't have such a song. He talked about his predicament with Roberts, who agreed to let him claim to have written "Hey Joe" so he could get out of prison. He did make that claim, and when he got out of prison he continued making the claim, and registered the copyright to "Hey Joe" in his own name -- even though Roberts had already registered it -- and signed a publishing deal for it with Third Story Music, a company owned by Herb Cohen, the future manager of the Mothers of Invention, and Cohen's brother Mutt. Valenti was a popular face on the folk scene, and he played "his" song to many people, but two in particular would influence the way the song would develop, both of them people we've seen relatively recently in episodes of the podcast. One of them, Vince Martin, we'll come back to later, but the other was David Crosby, and so let's talk about him and the Byrds a bit more. Crosby and Valenti had been friends long before the Byrds formed, and indeed we heard in the "Mr. Tambourine Man" episode how the group had named themselves after Valenti's song "Birdses": [Excerpt: Dino Valenti, "Birdses"] And Crosby *loved* "Hey Joe", which he believed was another of Valenti's songs. He'd perform it every chance he got, playing it solo on guitar in an arrangement that other people have compared to Mose Allison. He'd tried to get it on the first two Byrds albums, but had been turned down, mostly because of their manager and uncredited co-producer Jim Dickson, who had strong opinions about it, saying later "Some of the songs that David would bring in from the outside were perfectly valid songs for other people, but did not seem to be compatible with the Byrds' myth. And he may not have liked the Byrds' myth. He fought for 'Hey Joe' and he did it. As long as I could say 'No!' I did, and when I couldn't any more they did it. You had to give him something somewhere. I just wish it was something else... 'Hey Joe' I was bitterly opposed to. A song about a guy who murders his girlfriend in a jealous rage and is on the way to Mexico with a gun in his hand. It was not what I saw as a Byrds song." Indeed, Dickson was so opposed to the song that he would later say “One of the reasons David engineered my getting thrown out was because I would not let Hey Joe be on the Turn! Turn! Turn! album.” Dickson was, though, still working with the band when they got round to recording it. That came during the recording of their Fifth Dimension album, the album which included "Eight Miles High". That album was mostly recorded after the departure of Gene Clark, which was where we left the group at the end of the "Eight Miles High" episode, and the loss of their main songwriter meant that they were struggling for material -- doubly so since they also decided they were going to move away from Dylan covers. This meant that they had to rely on original material from the group's less commercial songwriters, and on a few folk songs, mostly learned from Pete Seeger The album ended up with only eleven songs on it, compared to the twelve that was normal for American albums at that time, and the singles on it after "Eight Miles High" weren't particularly promising as to the group's ability to come up with commercial material. The next single, "5D", a song by Roger McGuinn about the fifth dimension, was a waltz-time song that both Crosby and Chris Hillman were enthused by. It featured organ by Van Dyke Parks, and McGuinn said of the organ part "When he came into the studio I told him to think Bach. He was already thinking Bach before that anyway.": [Excerpt: The Byrds, "5D"] While the group liked it, though, that didn't make the top forty. The next single did, just about -- a song that McGuinn had written as an attempt at communicating with alien life. He hoped that it would be played on the radio, and that the radio waves would eventually reach aliens, who would hear it and respond: [Excerpt: The Byrds, "Mr. Spaceman"] The "Fifth Dimension" album did significantly worse, both critically and commercially, than their previous albums, and the group would soon drop Allen Stanton, the producer, in favour of Gary Usher, Brian Wilson's old songwriting partner. But the desperation for material meant that the group agreed to record the song which they still thought at that time had been written by Crosby's friend, though nobody other than Crosby was happy with it, and even Crosby later said "It was a mistake. I shouldn't have done it. Everybody makes mistakes." McGuinn said later "The reason Crosby did lead on 'Hey Joe' was because it was *his* song. He didn't write it but he was responsible for finding it. He'd wanted to do it for years but we would never let him.": [Excerpt: The Byrds, "Hey Joe"] Of course, that arrangement is very far from the Mose Allison style version Crosby had been doing previously. And the reason for that can be found in the full version of that McGuinn quote, because the full version continues "He'd wanted to do it for years but we would never let him. Then both Love and The Leaves had a minor hit with it and David got so angry that we had to let him do it. His version wasn't that hot because he wasn't a strong lead vocalist." The arrangement we just heard was the arrangement that by this point almost every group on the Sunset Strip scene was playing. And the reason for that was because of another friend of Crosby's, someone who had been a roadie for the Byrds -- Bryan MacLean. MacLean and Crosby had been very close because they were both from very similar backgrounds -- they were both Hollywood brats with huge egos. MacLean later said "Crosby and I got on perfectly. I didn't understand what everybody was complaining about, because he was just like me!" MacLean was, if anything, from an even more privileged background than Crosby. His father was an architect who'd designed houses for Elizabeth Taylor and Dean Martin, his neighbour when growing up was Frederick Loewe, the composer of My Fair Lady. He learned to swim in Elizabeth Taylor's private pool, and his first girlfriend was Liza Minelli. Another early girlfriend was Jackie DeShannon, the singer-songwriter who did the original version of "Needles and Pins", who he was introduced to by Sharon Sheeley, whose name you will remember from many previous episodes. MacLean had wanted to be an artist until his late teens, when he walked into a shop in Westwood which sometimes sold his paintings, the Sandal Shop, and heard some people singing folk songs there. He decided he wanted to be a folk singer, and soon started performing at the Balladeer, a club which would later be renamed the Troubadour, playing songs like Robert Johnson's "Cross Roads Blues", which had recently become a staple of the folk repertoire after John Hammond put out the King of the Delta Blues Singers album: [Excerpt: Robert Johnson, "Cross Roads Blues"] Reading interviews with people who knew MacLean at the time, the same phrase keeps coming up. John Kay, later the lead singer of Steppenwolf, said "There was a young kid, Bryan MacLean, kind of cocky but nonetheless a nice kid, who hung around Crosby and McGuinn" while Chris Hillman said "He was a pretty good kid but a wee bit cocky." He was a fan of the various musicians who later formed the Byrds, and was also an admirer of a young guitarist on the scene named Ryland Cooder, and of a blues singer on the scene named Taj Mahal. He apparently was briefly in a band with Taj Mahal, called Summer's Children, who as far as I can tell had no connection to the duo that Curt Boettcher later formed of the same name, before Taj Mahal and Cooder formed The Rising Sons, a multi-racial blues band who were for a while the main rivals to the Byrds on the scene. MacLean, though, firmly hitched himself to the Byrds, and particularly to Crosby. He became a roadie on their first tour, and Hillman said "He was a hard-working guy on our behalf. As I recall, he pretty much answered to Crosby and was David's assistant, to put it diplomatically – more like his gofer, in fact." But MacLean wasn't cut out for the hard work that being a roadie required, and after being the Byrds' roadie for about thirty shows, he started making mistakes, and when they went off on their UK tour they decided not to keep employing him. He was heartbroken, but got back into trying his own musical career. He auditioned for the Monkees, unsuccessfully, but shortly after that -- some sources say even the same day as the audition, though that seems a little too neat -- he went to Ben Frank's -- the LA hangout that had actually been namechecked in the open call for Monkees auditions, which said they wanted "Ben Franks types", and there he met Arthur Lee and Johnny Echols. Echols would later remember "He was this gadfly kind of character who knew everybody and was flitting from table to table. He wore striped pants and a scarf, and he had this long, strawberry hair. All the girls loved him. For whatever reason, he came and sat at our table. Of course, Arthur and I were the only two black people there at the time." Lee and Echols were both Black musicians who had been born in Memphis. Lee's birth father, Chester Taylor, had been a cornet player with Jimmie Lunceford, whose Delta Rhythm Boys had had a hit with "The Honeydripper", as we heard way back in the episode on "Rocket '88": [Excerpt: Jimmie Lunceford and the Delta Rhythm Boys, "The Honeydripper"] However, Taylor soon split from Lee's mother, a schoolteacher, and she married Clinton Lee, a stonemason, who doted on his adopted son, and they moved to California. They lived in a relatively prosperous area of LA, a neighbourhood that was almost all white, with a few Asian families, though the boxer Sugar Ray Robinson lived nearby. A year or so after Arthur and his mother moved to LA, so did the Echols family, who had known them in Memphis, and they happened to move only a couple of streets away. Eight year old Arthur Lee reconnected with seven-year-old Johnny Echols, and the two became close friends from that point on. Arthur Lee first started out playing music when his parents were talked into buying him an accordion by a salesman who would go around with a donkey, give kids free donkey rides, and give the parents a sales pitch while they were riding the donkey, He soon gave up on the accordion and persuaded his parents to buy him an organ instead -- he was a spoiled child, by all accounts, with a TV in his bedroom, which was almost unheard of in the late fifties. Johnny Echols had a similar experience which led to his parents buying him a guitar, and the two were growing up in a musical environment generally. They attended Dorsey High School at the same time as both Billy Preston and Mike Love of the Beach Boys, and Ella Fitzgerald and her then-husband, the great jazz bass player Ray Brown, lived in the same apartment building as the Echols family for a while. Ornette Coleman, the free-jazz saxophone player, lived next door to Echols, and Adolphus Jacobs, the guitarist with the Coasters, gave him guitar lessons. Arthur Lee also knew Johnny Otis, who ran a pigeon-breeding club for local children which Arthur would attend. Echols was the one who first suggested that he and Arthur should form a band, and they put together a group to play at a school talent show, performing "Last Night", the instrumental that had been a hit for the Mar-Keys on Stax records: [Excerpt: The Mar-Keys, "Last Night"] They soon became a regular group, naming themselves Arthur Lee and the LAGs -- the LA Group, in imitation of Booker T and the MGs – the Memphis Group. At some point around this time, Lee decided to switch from playing organ to playing guitar. He would say later that this was inspired by seeing Johnny "Guitar" Watson get out of a gold Cadillac, wearing a gold suit, and with gold teeth in his mouth. The LAGs started playing as support acts and backing bands for any blues and soul acts that came through LA, performing with Big Mama Thornton, Johnny Otis, the O'Jays, and more. Arthur and Johnny were both still under-age, and they would pencil in fake moustaches to play the clubs so they'd appear older. In the fifties and early sixties, there were a number of great electric guitar players playing blues on the West Coast -- Johnny "Guitar" Watson, T-Bone Walker, Guitar Slim, and others -- and they would compete with each other not only to play well, but to put on a show, and so there was a whole bag of stage tricks that West Coast R&B guitarists picked up, and Echols learned all of them -- playing his guitar behind his back, playing his guitar with his teeth, playing with his guitar between his legs. As well as playing their own shows, the LAGs also played gigs under other names -- they had a corrupt agent who would book them under the name of whatever Black group had a hit at the time, in the belief that almost nobody knew what popular groups looked like anyway, so they would go out and perform as the Drifters or the Coasters or half a dozen other bands. But Arthur Lee in particular wanted to have success in his own right. He would later say "When I was a little boy I would listen to Nat 'King' Cole and I would look at that purple Capitol Records logo. I wanted to be on Capitol, that was my goal. Later on I used to walk from Dorsey High School all the way up to the Capitol building in Hollywood -- did that many times. I was determined to get a record deal with Capitol, and I did, without the help of a fancy manager or anyone else. I talked to Adam Ross and Jack Levy at Ardmore-Beechwood. I talked to Kim Fowley, and then I talked to Capitol". The record that the LAGs released, though, was not very good, a track called "Rumble-Still-Skins": [Excerpt: The LAGs, "Rumble-Still-Skins"] Lee later said "I was young and very inexperienced and I was testing the record company. I figured if I gave them my worst stuff and they ripped me off I wouldn't get hurt. But it didn't work, and after that I started giving my best, and I've been doing that ever since." The LAGs were dropped by Capitol after one single, and for the next little while Arthur and Johnny did work for smaller labels, usually labels owned by Bob Keane, with Arthur writing and producing and Johnny playing guitar -- though Echols has said more recently that a lot of the songs that were credited to Arthur as sole writer were actually joint compositions. Most of these records were attempts at copying the style of other people. There was "I Been Trying", a Phil Spector soundalike released by Little Ray: [Excerpt: Little Ray, "I Been Trying"] And there were a few attempts at sounding like Curtis Mayfield, like "Slow Jerk" by Ronnie and the Pomona Casuals: [Excerpt: Ronnie and the Pomona Casuals, "Slow Jerk"] and "My Diary" by Rosa Lee Brooks: [Excerpt: Rosa Lee Brooks, "My Diary"] Echols was also playing with a lot of other people, and one of the musicians he was playing with, his old school friend Billy Preston, told him about a recent European tour he'd been on with Little Richard, and the band from Liverpool he'd befriended while he was there who idolised Richard, so when the Beatles hit America, Arthur and Johnny had some small amount of context for them. They soon broke up the LAGs and formed another group, the American Four, with two white musicians, bass player John Fleckenstein and drummer Don Costa. Lee had them wear wigs so they seemed like they had longer hair, and started dressing more eccentrically -- he would soon become known for wearing glasses with one blue lens and one red one, and, as he put it "wearing forty pounds of beads, two coats, three shirts, and wearing two pairs of shoes on one foot". As well as the Beatles, the American Four were inspired by the other British Invasion bands -- Arthur was in the audience for the TAMI show, and quite impressed by Mick Jagger -- and also by the Valentinos, Bobby Womack's group. They tried to get signed to SAR Records, the label owned by Sam Cooke for which the Valentinos recorded, but SAR weren't interested, and they ended up recording for Bob Keane's Del-Fi records, where they cut "Luci Baines", a "Twist and Shout" knock-off with lyrics referencing the daughter of new US President Lyndon Johnson: [Excerpt: The American Four, "Luci Baines"] But that didn't take off any more than the earlier records had. Another American Four track, "Stay Away", was recorded but went unreleased until 2006: [Excerpt: Arthur Lee and the American Four, "Stay Away"] Soon the American Four were changing their sound and name again. This time it was because of two bands who were becoming successful on the Sunset Strip. One was the Byrds, who to Lee's mind were making music like the stuff he heard in his head, and the other was their rivals the Rising Sons, the blues band we mentioned earlier with Taj Mahal and Ry Cooder. Lee was very impressed by them as an multiracial band making aggressive, loud, guitar music, though he would always make the point when talking about them that they were a blues band, not a rock band, and *he* had the first multiracial rock band. Whatever they were like live though, in their recordings, produced by the Byrds' first producer Terry Melcher, the Rising Sons often had the same garage band folk-punk sound that Lee and Echols would soon make their own: [Excerpt: The Rising Sons, "Take a Giant Step"] But while the Rising Sons recorded a full album's worth of material, only one single was released before they split up, and so the way was clear for Lee and Echols' band, now renamed once again to The Grass Roots, to become the Byrds' new challengers. Lee later said "I named the group The Grass Roots behind a trip, or an album I heard that Malcolm X did, where he said 'the grass roots of the people are out in the street doing something about their problems instead of sitting around talking about it'". After seeing the Rolling Stones and the Byrds live, Lee wanted to get up front and move like Mick Jagger, and not be hindered by playing a guitar he wasn't especially good at -- both the Stones and the Byrds had two guitarists and a frontman who just sang and played hand percussion, and these were the models that Lee was following for the group. He also thought it would be a good idea commercially to get a good-looking white boy up front. So the group got in another guitarist, a white pretty boy who Lee soon fell out with and gave the nickname "Bummer Bob" because he was unpleasant to be around. Those of you who know exactly why Bobby Beausoleil later became famous will probably agree that this was a more than reasonable nickname to give him (and those of you who don't, I'll be dealing with him when we get to 1969). So when Bryan MacLean introduced himself to Lee and Echols, and they found out that not only was he also a good-looking white guitarist, but he was also friends with the entire circle of hipsters who'd been going to Byrds gigs, people like Vito and Franzoni, and he could get a massive crowd of them to come along to gigs for any band he was in and make them the talk of the Sunset Strip scene, he was soon in the Grass Roots, and Bummer Bob was out. The Grass Roots soon had to change their name again, though. In 1965, Jan and Dean recorded their "Folk and Roll" album, which featured "The Universal Coward"... Which I am not going to excerpt again. I only put that pause in to terrify Tilt, who edits these podcasts, and has very strong opinions about that song. But P. F. Sloan and Steve Barri, the songwriters who also performed as the Fantastic Baggies, had come up with a song for that album called "Where Where You When I Needed You?": [Excerpt: Jan and Dean, "Where Were You When I Needed You?"] Sloan and Barri decided to cut their own version of that song under a fake band name, and then put together a group of other musicians to tour as that band. They just needed a name, and Lou Adler, the head of Dunhill Records, suggested they call themselves The Grass Roots, and so that's what they did: [Excerpt: The Grass Roots, "Where Were You When I Needed You?"] Echols would later claim that this was deliberate malice on Adler's part -- that Adler had come in to a Grass Roots show drunk, and pretended to be interested in signing them to a contract, mostly to show off to a woman he'd brought with him. Echols and MacLean had spoken to him, not known who he was, and he'd felt disrespected, and Echols claims that he suggested the name to get back at them, and also to capitalise on their local success. The new Grass Roots soon started having hits, and so the old band had to find another name, which they got as a joking reference to a day job Lee had had at one point -- he'd apparently worked in a specialist bra shop, Luv Brassieres, which the rest of the band found hilarious. The Grass Roots became Love. While Arthur Lee was the group's lead singer, Bryan MacLean would often sing harmonies, and would get a song or two to sing live himself. And very early in the group's career, when they were playing a club called Bido Lito's, he started making his big lead spot a version of "Hey Joe", which he'd learned from his old friend David Crosby, and which soon became the highlight of the group's set. Their version was sped up, and included the riff which the Searchers had popularised in their cover version of "Needles and Pins", the song originally recorded by MacLean's old girlfriend Jackie DeShannon: [Excerpt: The Searchers, "Needles and Pins"] That riff is a very simple one to play, and variants of it became very, very, common among the LA bands, most notably on the Byrds' "I'll Feel a Whole Lot Better": [Excerpt: The Byrds, "I'll Feel a Whole Lot Better"] The riff was so ubiquitous in the LA scene that in the late eighties Frank Zappa would still cite it as one of his main memories of the scene. I'm going to quote from his autobiography, where he's talking about the differences between the LA scene he was part of and the San Francisco scene he had no time for: "The Byrds were the be-all and end-all of Los Angeles rock then. They were 'It' -- and then a group called Love was 'It.' There were a few 'psychedelic' groups that never really got to be 'It,' but they could still find work and get record deals, including the West Coast Pop Art Experimental Band, Sky Saxon and the Seeds, and the Leaves (noted for their cover version of "Hey, Joe"). When we first went to San Francisco, in the early days of the Family Dog, it seemed that everybody was wearing the same costume, a mixture of Barbary Coast and Old West -- guys with handlebar mustaches, girls in big bustle dresses with feathers in their hair, etc. By contrast, the L.A. costumery was more random and outlandish. Musically, the northern bands had a little more country style. In L.A., it was folk-rock to death. Everything had that" [and here Zappa uses the adjectival form of a four-letter word beginning with 'f' that the main podcast providers don't like you saying on non-adult-rated shows] "D chord down at the bottom of the neck where you wiggle your finger around -- like 'Needles and Pins.'" The reason Zappa describes it that way, and the reason it became so popular, is that if you play that riff in D, the chords are D, Dsus2, and Dsus4 which means you literally only wiggle one finger on your left hand: [demonstrates] And so you get that on just a ton of records from that period, though Love, the Byrds, and the Searchers all actually play the riff on A rather than D: [demonstrates] So that riff became the Big Thing in LA after the Byrds popularised the Searchers sound there, and Love added it to their arrangement of "Hey Joe". In January 1966, the group would record their arrangement of it for their first album, which would come out in March: [Excerpt: Love, "Hey Joe"] But that wouldn't be the first recording of the song, or of Love's arrangement of it – although other than the Byrds' version, it would be the only one to come out of LA with the original Billy Roberts lyrics. Love's performances of the song at Bido Lito's had become the talk of the Sunset Strip scene, and soon every band worth its salt was copying it, and it became one of those songs like "Louie Louie" before it that everyone would play. The first record ever made with the "Hey Joe" melody actually had totally different lyrics. Kim Fowley had the idea of writing a sequel to "Hey Joe", titled "Wanted Dead or Alive", about what happened after Joe shot his woman and went off. He produced the track for The Rogues, a group consisting of Michael Lloyd and Shaun Harris, who later went on to form the West Coast Pop Art Experimental Band, and Lloyd and Harris were the credited writers: [Excerpt: The Rogues, "Wanted Dead or Alive"] The next version of the song to come out was the first by anyone to be released as "Hey Joe", or at least as "Hey Joe, Where You Gonna Go?", which was how it was titled on its initial release. This was by a band called The Leaves, who were friends of Love, and had picked up on "Hey Joe", and was produced by Nik Venet. It was also the first to have the now-familiar opening line "Hey Joe, where you going with that gun in your hand?": [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] Roberts' original lyric, as sung by both Love and the Byrds, had been "where you going with that money in your hand?", and had Joe headed off to *buy* the gun. But as Echols later said “What happened was Bob Lee from The Leaves, who were friends of ours, asked me for the words to 'Hey Joe'. I told him I would have the words the next day. I decided to write totally different lyrics. The words you hear on their record are ones I wrote as a joke. The original words to Hey Joe are ‘Hey Joe, where you going with that money in your hand? Well I'm going downtown to buy me a blue steel .44. When I catch up with that woman, she won't be running round no more.' It never says ‘Hey Joe where you goin' with that gun in your hand.' Those were the words I wrote just because I knew they were going to try and cover the song before we released it. That was kind of a dirty trick that I played on The Leaves, which turned out to be the words that everybody uses.” That first release by the Leaves also contained an extra verse -- a nod to Love's previous name: [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] That original recording credited the song as public domain -- apparently Bryan MacLean had refused to tell the Leaves who had written the song, and so they assumed it was traditional. It came out in November 1965, but only as a promo single. Even before the Leaves, though, another band had recorded "Hey Joe", but it didn't get released. The Sons of Adam had started out as a surf group called the Fender IV, who made records like "Malibu Run": [Excerpt: The Fender IV, "Malibu Run"] Kim Fowley had suggested they change their name to the Sons of Adam, and they were another group who were friends with Love -- their drummer, Michael Stuart-Ware, would later go on to join Love, and Arthur Lee wrote the song "Feathered Fish" for them: [Excerpt: Sons of Adam, "Feathered Fish"] But while they were the first to record "Hey Joe", their version has still to this day not been released. Their version was recorded for Decca, with producer Gary Usher, but before it was released, another Decca artist also recorded the song, and the label weren't sure which one to release. And then the label decided to press Usher to record a version with yet another act -- this time with the Surfaris, the surf group who had had a hit with "Wipe Out". Coincidentally, the Surfaris had just changed bass players -- their most recent bass player, Ken Forssi, had quit and joined Love, whose own bass player, John Fleckenstein, had gone off to join the Standells, who would also record a version of “Hey Joe” in 1966. Usher thought that the Sons of Adam were much better musicians than the Surfaris, who he was recording with more or less under protest, but their version, using Love's arrangement and the "gun in your hand" lyrics, became the first version to come out on a major label: [Excerpt: The Surfaris, "Hey Joe"] They believed the song was in the public domain, and so the songwriting credits on the record are split between Gary Usher, a W. Hale who nobody has been able to identify, and Tony Cost, a pseudonym for Nik Venet. Usher said later "I got writer's credit on it because I was told, or I assumed at the time, the song was Public Domain; meaning a non-copyrighted song. It had already been cut two or three times, and on each occasion the writing credit had been different. On a traditional song, whoever arranges it, takes the songwriting credit. I may have changed a few words and arranged and produced it, but I certainly did not co-write it." The public domain credit also appeared on the Leaves' second attempt to cut the song, which was actually given a general release, but flopped. But when the Leaves cut the song for a *third* time, still for the same tiny label, Mira, the track became a hit in May 1966, reaching number thirty-one: [Excerpt: The Leaves, "Hey Joe"] And *that* version had what they thought was the correct songwriting credit, to Dino Valenti. Which came as news to Billy Roberts, who had registered the copyright to the song back in 1962 and had no idea that it had become a staple of LA garage rock until he heard his song in the top forty with someone else's name on the credits. He angrily confronted Third Story Music, who agreed to a compromise -- they would stop giving Valenti songwriting royalties and start giving them to Roberts instead, so long as he didn't sue them and let them keep the publishing rights. Roberts was indignant about this -- he deserved all the money, not just half of it -- but he went along with it to avoid a lawsuit he might not win. So Roberts was now the credited songwriter on the versions coming out of the LA scene. But of course, Dino Valenti had been playing "his" song to other people, too. One of those other people was Vince Martin. Martin had been a member of a folk-pop group called the Tarriers, whose members also included the future film star Alan Arkin, and who had had a hit in the 1950s with "Cindy, Oh Cindy": [Excerpt: The Tarriers, "Cindy, Oh Cindy"] But as we heard in the episode on the Lovin' Spoonful, he had become a Greenwich Village folkie, in a duo with Fred Neil, and recorded an album with him, "Tear Down the Walls": [Excerpt: Fred Neil and Vince Martin, "Morning Dew"] That song we just heard, "Morning Dew", was another question-and-answer folk song. It was written by the Canadian folk-singer Bonnie Dobson, but after Martin and Neil recorded it, it was picked up on by Martin's friend Tim Rose who stuck his own name on the credits as well, without Dobson's permission, for a version which made the song into a rock standard for which he continued to collect royalties: [Excerpt: Tim Rose, "Morning Dew"] This was something that Rose seems to have made a habit of doing, though to be fair to him it went both ways. We heard about him in the Lovin' Spoonful episode too, when he was in a band named the Big Three with Cass Elliot and her coincidentally-named future husband Jim Hendricks, who recorded this song, with Rose putting new music to the lyrics of the old public domain song "Oh! Susanna": [Excerpt: The Big Three, "The Banjo Song"] The band Shocking Blue used that melody for their 1969 number-one hit "Venus", and didn't give Rose any credit: [Excerpt: Shocking Blue, "Venus"] But another song that Rose picked up from Vince Martin was "Hey Joe". Martin had picked the song up from Valenti, but didn't know who had written it, or who was claiming to have written it, and told Rose he thought it might be an old Appalchian murder ballad or something. Rose took the song and claimed writing credit in his own name -- he would always, for the rest of his life, claim it was an old folk tune he'd heard in Florida, and that he'd rewritten it substantially himself, but no evidence of the song has ever shown up from prior to Roberts' copyright registration, and Rose's version is basically identical to Roberts' in melody and lyrics. But Rose takes his version at a much slower pace, and his version would be the model for the most successful versions going forward, though those other versions would use the lyrics Johnny Echols had rewritten, rather than the ones Rose used: [Excerpt: Tim Rose, "Hey Joe"] Rose's version got heard across the Atlantic as well. And in particular it was heard by Chas Chandler, the bass player of the Animals. Some sources seem to suggest that Chandler first heard the song performed by a group called the Creation, but in a biography I've read of that group they clearly state that they didn't start playing the song until 1967. But however he came across it, when Chandler heard Rose's recording, he knew that the song could be a big hit for someone, but he didn't know who. And then he bumped into Linda Keith, Keith Richards' girlfriend, who took him to see someone whose guitar we've already heard in this episode: [Excerpt: Rosa Lee Brooks, "My Diary"] The Curtis Mayfield impression on guitar there was, at least according to many sources the first recording session ever played on by a guitarist then calling himself Maurice (or possibly Mo-rees) James. We'll see later in the story that it possibly wasn't his first -- there are conflicting accounts, as there are about a lot of things, and it was recorded either in very early 1964, in which case it was his first, or (as seems more likely, and as I tell the story later) a year later, in which case he'd played on maybe half a dozen tracks in the studio by that point. But it was still a very early one. And by late 1966 that guitarist had reverted to the name by which he was brought up, and was calling himself Jimi Hendrix. Hendrix and Arthur Lee had become close, and Lee would later claim that Hendrix had copied much of Lee's dress style and attitude -- though many of Hendrix's other colleagues and employers, including Little Richard, would make similar claims -- and most of them had an element of truth, as Lee's did. Hendrix was a sponge. But Lee did influence him. Indeed, one of Hendrix's *last* sessions, in March 1970, was guesting on an album by Love: [Excerpt: Love with Jimi Hendrix, "Everlasting First"] Hendrix's name at birth was Johnny Allen Hendrix, which made his father, James Allen Hendrix, known as Al, who was away at war when his son was born, worry that he'd been named after another man who might possibly be the real father, so the family just referred to the child as "Buster" to avoid the issue. When Al Hendrix came back from the war the child was renamed James Marshall Hendrix -- James after Al's first name, Marshall after Al's dead brother -- though the family continued calling him "Buster". Little James Hendrix Junior didn't have anything like a stable home life. Both his parents were alcoholics, and Al Hendrix was frequently convinced that Jimi's mother Lucille was having affairs and became abusive about it. They had six children, four of whom were born disabled, and Jimi was the only one to remain with his parents -- the rest were either fostered or adopted at birth, fostered later on because the parents weren't providing a decent home life, or in one case made a ward of state because the Hendrixes couldn't afford to pay for a life-saving operation for him. The only one that Jimi had any kind of regular contact with was the second brother, Leon, his parents' favourite, who stayed with them for several years before being fostered by a family only a few blocks away. Al and Lucille Hendrix frequently split and reconciled, and while they were ostensibly raising Jimi (and for a few years Leon), he was shuttled between them and various family members and friends, living sometimes in Seattle where his parents lived and sometimes in Vancouver with his paternal grandmother. He was frequently malnourished, and often survived because friends' families fed him. Al Hendrix was also often physically and emotionally abusive of the son he wasn't sure was his. Jimi grew up introverted, and stuttering, and only a couple of things seemed to bring him out of his shell. One was science fiction -- he always thought that his nickname, Buster, came from Buster Crabbe, the star of the Flash Gordon serials he loved to watch, though in fact he got the nickname even before that interest developed, and he was fascinated with ideas about aliens and UFOs -- and the other was music. Growing up in Seattle in the forties and fifties, most of the music he was exposed to as a child and in his early teens was music made by and for white people -- there wasn't a very large Black community in the area at the time compared to most major American cities, and so there were no prominent R&B stations. As a kid he loved the music of Bob Wills and the Texas Playboys, and when he was thirteen Jimi's favourite record was Dean Martin's "Memories are Made of This": [Excerpt: Dean Martin, "Memories are Made of This"] He also, like every teenager, became a fan of rock and roll music. When Elvis played at a local stadium when Jimi was fifteen, he couldn't afford a ticket, but he went and sat on top of a nearby hill and watched the show from the distance. Jimi's first exposure to the blues also came around this time, when his father briefly took in lodgers, Cornell and Ernestine Benson, and Ernestine had a record collection that included records by Lightnin' Hopkins, Howlin' Wolf, and Muddy Waters, all of whom Jimi became a big fan of, especially Muddy Waters. The Bensons' most vivid memory of Jimi in later years was him picking up a broom and pretending to play guitar along with these records: [Excerpt: Muddy Waters, "Baby Please Don't Go"] Shortly after this, it would be Ernestine Benson who would get Jimi his very first guitar. By this time Jimi and Al had lost their home and moved into a boarding house, and the owner's son had an acoustic guitar with only one string that he was planning to throw out. When Jimi asked if he could have it instead of it being thrown out, the owner told him he could have it for five dollars. Al Hendrix refused to pay that much for it, but Ernestine Benson bought Jimi the guitar. She said later “He only had one string, but he could really make that string talk.” He started carrying the guitar on his back everywhere he went, in imitation of Sterling Hayden in the western Johnny Guitar, and eventually got some more strings for it and learned to play. He would play it left-handed -- until his father came in. His father had forced him to write with his right hand, and was convinced that left-handedness was the work of the devil, so Jimi would play left-handed while his father was somewhere else, but as soon as Al came in he would flip the guitar the other way up and continue playing the song he had been playing, now right-handed. Jimi's mother died when he was fifteen, after having been ill for a long time with drink-related problems, and Jimi and his brother didn't get to go to the funeral -- depending on who you believe, either Al gave Jimi the bus fare and told him to go by himself and Jimi was too embarrassed to go to the funeral alone on the bus, or Al actually forbade Jimi and Leon from going. After this, he became even more introverted than he was before, and he also developed a fascination with the idea of angels, convinced his mother now was one. Jimi started to hang around with a friend called Pernell Alexander, who also had a guitar, and they would play along together with Elmore James records. The two also went to see Little Richard and Bill Doggett perform live, and while Jimi was hugely introverted, he did start to build more friendships in the small Seattle music scene, including with Ron Holden, the man we talked about in the episode on "Louie Louie" who introduced that song to Seattle, and who would go on to record with Bruce Johnston for Bob Keane: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] Eventually Ernestine Benson persuaded Al Hendrix to buy Jimi a decent electric guitar on credit -- Al also bought himself a saxophone at the same time, thinking he might play music with his son, but sent it back once the next payment became due. As well as blues and R&B, Jimi was soaking up the guitar instrumentals and garage rock that would soon turn into surf music. The first song he learned to play was "Tall Cool One" by the Fabulous Wailers, the local group who popularised a version of "Louie Louie" based on Holden's one: [Excerpt: The Fabulous Wailers, "Tall Cool One"] As we talked about in the "Louie Louie" episode, the Fabulous Wailers used to play at a venue called the Spanish Castle, and Jimi was a regular in the audience, later writing his song "Spanish Castle Magic" about those shows: [Excerpt: The Jimi Hendrix Experience, "Spanish Castle Magic"] He was also a big fan of Duane Eddy, and soon learned Eddy's big hits "Forty Miles of Bad Road", "Because They're Young", and "Peter Gunn" -- a song he would return to much later in his life: [Excerpt: Jimi Hendrix, "Peter Gunn/Catastrophe"] His career as a guitarist didn't get off to a great start -- the first night he played with his first band, he was meant to play two sets, but he was fired after the first set, because he was playing in too flashy a manner and showing off too much on stage. His girlfriend suggested that he might want to tone it down a little, but he said "That's not my style". This would be a common story for the next several years. After that false start, the first real band he was in was the Velvetones, with his friend Pernell Alexander. There were four guitarists, two piano players, horns and drums, and they dressed up with glitter stuck to their pants. They played Duane Eddy songs, old jazz numbers, and "Honky Tonk" by Bill Doggett, which became Hendrix's signature song with the band. [Excerpt: Bill Doggett, "Honky Tonk"] His father was unsupportive of his music career, and he left his guitar at Alexander's house because he was scared that his dad would smash it if he took it home. At the same time he was with the Velvetones, he was also playing with another band called the Rocking Kings, who got gigs around the Seattle area, including at the Spanish Castle. But as they left school, most of Hendrix's friends were joining the Army, in order to make a steady living, and so did he -- although not entirely by choice. He was arrested, twice, for riding in stolen cars, and he was given a choice -- either go to prison, or sign up for the Army for three years. He chose the latter. At first, the Army seemed to suit him. He was accepted into the 101st Airborne Division, the famous "Screaming Eagles", whose actions at D-Day made them legendary in the US, and he was proud to be a member of the Division. They were based out of Fort Campbell, the base near Clarksville we talked about a couple of episodes ago, and while he was there he met a bass player, Billy Cox, who he started playing with. As Cox and Hendrix were Black, and as Fort Campbell straddled the border between Kentucky and Tennessee, they had to deal with segregation and play to only Black audiences. And Hendrix quickly discovered that Black audiences in the Southern states weren't interested in "Louie Louie", Duane Eddy, and surf music, the stuff he'd been playing in Seattle. He had to instead switch to playing Albert King and Slim Harpo songs, but luckily he loved that music too. He also started singing at this point -- when Hendrix and Cox started playing together, in a trio called the Kasuals, they had no singer, and while Hendrix never liked his own voice, Cox was worse, and so Hendrix was stuck as the singer. The Kasuals started gigging around Clarksville, and occasionally further afield, places like Nashville, where Arthur Alexander would occasionally sit in with them. But Cox was about to leave the Army, and Hendrix had another two and a bit years to go, having enlisted for three years. They couldn't play any further away unless Hendrix got out of the Army, which he was increasingly unhappy in anyway, and so he did the only thing he could -- he pretended to be gay, and got discharged on medical grounds for homosexuality. In later years he would always pretend he'd broken his ankle parachuting from a plane. For the next few years, he would be a full-time guitarist, and spend the periods when he wasn't earning enough money from that leeching off women he lived with, moving from one to another as they got sick of him or ran out of money. The Kasuals expanded their lineup, adding a second guitarist, Alphonso Young, who would show off on stage by playing guitar with his teeth. Hendrix didn't like being upstaged by another guitarist, and quickly learned to do the same. One biography I've used as a source for this says that at this point, Billy Cox played on a session for King Records, for Frank Howard and the Commanders, and brought Hendrix along, but the producer thought that Hendrix's guitar was too frantic and turned his mic off. But other sources say the session Hendrix and Cox played on for the Commanders wasn't until three years later, and the record *sounds* like a 1965 record, not a 1962 one, and his guitar is very audible – and the record isn't on King. But we've not had any music to break up the narration for a little while, and it's a good track (which later became a Northern Soul favourite) so I'll play a section here, as either way it was certainly an early Hendrix session: [Excerpt: Frank Howard and the Commanders, "I'm So Glad"] This illustrates a general problem with Hendrix's life at this point -- he would flit between bands, playing with the same people at multiple points, nobody was taking detailed notes, and later, once he became famous, everyone wanted to exaggerate their own importance in his life, meaning that while the broad outlines of his life are fairly clear, any detail before late 1966 might be hopelessly wrong. But all the time, Hendrix was learning his craft. One story from around this time sums up both Hendrix's attitude to his playing -- he saw himself almost as much as a scientist as a musician -- and his slightly formal manner of speech. He challenged the best blues guitarist in Nashville to a guitar duel, and the audience actually laughed at Hendrix's playing, as he was totally outclassed. When asked what he was doing, he replied “I was simply trying to get that B.B. King tone down and my experiment failed.” Bookings for the King Kasuals dried up, and he went to Vancouver, where he spent a couple of months playing in a covers band, Bobby Taylor and the Vancouvers, whose lead guitarist was Tommy Chong, later to find fame as one half of Cheech and Chong. But he got depressed at how white Vancouver was, and travelled back down south to join a reconfigured King Kasuals, who now had a horn section. The new lineup of King Kasuals were playing the chitlin circuit and had to put on a proper show, and so Hendrix started using all the techniques he'd seen other guitarists on the circuit use -- playing with his teeth like Alphonso Young, the other guitarist in the band, playing with his guitar behind his back like T-Bone Walker, and playing with a fifty-foot cord that allowed him to walk into the crowd and out of the venue, still playing, like Guitar Slim used to. As well as playing with the King Kasuals, he started playing the circuit as a sideman. He got short stints with many of the second-tier acts on the circuit -- people who had had one or two hits, or were crowd-pleasers, but weren't massive stars, like Carla Thomas or Jerry Butler or Slim Harpo. The first really big name he played with was Solomon Burke, who when Hendrix joined his band had just released "Just Out of Reach (Of My Two Empty Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (Of My Two Empty Arms)"] But he lacked discipline. “Five dates would go beautifully,” Burke later said, “and then at the next show, he'd go into this wild stuff that wasn't part of the song. I just couldn't handle it anymore.” Burke traded him to Otis Redding, who was on the same tour, for two horn players, but then Redding fired him a week later and they left him on the side of the road. He played in the backing band for the Marvelettes, on a tour with Curtis Mayfield, who would be another of Hendrix's biggest influences, but he accidentally blew up Mayfield's amp and got sacked. On another tour, Cecil Womack threw Hendrix's guitar off the bus while he slept. In February 1964 he joined the band of the Isley Brothers, and he would watch the Beatles on Ed Sullivan with them during his first days with the group. Assuming he hadn't already played the Rosa Lee Brooks session (and I think there's good reason to believe he hadn't), then the first record Hendrix played on was their single "Testify": [Excerpt: The Isley Brothers, "Testify"] While he was with them, he also moonlighted on Don Covay's big hit "Mercy, Mercy": [Excerpt: Don Covay and the Goodtimers, "Mercy Mercy"] After leaving the Isleys, Hendrix joined the minor soul singer Gorgeous George, and on a break from Gorgeous George's tour, in Memphis, he went to Stax studios in the hope of meeting Steve Cropper, one of his idols. When he was told that Cropper was busy in the studio, he waited around all day until Cropper finished, and introduced himself. Hendrix was amazed to discover that Cropper was white -- he'd assumed that he must be Black -- and Cropper was delighted to meet the guitarist who had played on "Mercy Mercy", one of his favourite records. The two spent hours showing each other guitar licks -- Hendrix playing Cropper's right-handed guitar, as he hadn't brought along his own. Shortly after this, he joined Little Richard's band, and once again came into conflict with the star of the show by trying to upstage him. For one show he wore a satin shirt, and after the show Richard screamed at him “I am the only Little Richard! I am the King of Rock and Roll, and I am the only one allowed to be pretty. Take that shirt off!” While he was with Richard, Hendrix played on his "I Don't Know What You've Got, But It's Got Me", which like "Mercy Mercy" was written by Don Covay, who had started out as Richard's chauffeur: [Excerpt: Little Richard, "I Don't Know What You've Got, But It's Got Me"] According to the most likely version of events I've read, it was while he was working for Richard that Hendrix met Rosa Lee Brooks, on New Year's Eve 1964. At this point he was using the name Maurice James, apparently in tribute to the blues guitarist Elmore James, and he used various names, including Jimmy James, for most of his pre-fame performances. Rosa Lee Brooks was an R&B singer who had been mentored by Johnny "Guitar" Watson, and when she met Hendrix she was singing in a girl group who were one of the support acts for Ike & Tina Turner, who Hendrix went to see on his night off. Hendrix met Brooks afterwards, and told her she looked like his mother -- a line he used on a lot of women, but which was true in her case if photos are anything to go by. The two got into a relationship, and were soon talking about becoming a duo like Ike and Tina or Mickey and Sylvia -- "Love is Strange" was one of Hendrix's favourite records. But the only recording they made together was the "My Diary" single. Brooks always claimed that she actually wrote that song, but the label credit is for Arthur Lee, and it sounds like his work to me, albeit him trying hard to write like Curtis Mayfield, just as Hendrix is trying to play like him: [Excerpt: Rosa Lee Brooks, "My Diary"] Brooks and Hendrix had a very intense relationship for a short period. Brooks would later recall Little
The week on The Panjwai Podcast we have Davitt joining us to talk about his time as a Company Commander in the 101st Airborne division in 2010. Davitt talks about the 2 month long operation to air assault into the horn of Panjwai and lay the groundwork for what would become the Village Stability Operations in the horn. https://www.objectivezero.org/ Objective Zero is a mental health app/initiative with the goal of reducing veteran suicides https://www.npr.org/templates/story/story.php?storyId=131169555 --------------------------------- The views expressed by the guests and hosts of this podcast do not represent the views of the Department of Defense or United States Government. ——————————————— Also Available on: Apple: https://buff.ly/3gTXet9 Spotify: https://buff.ly/2Kx6cjR Google: https://buff.ly/3b29R4z Podbean: https://buff.ly/2WoN0aF iHeartRadio: https://buff.ly/3nc5Wo1 Check out the video version of the podcast at : https://www.youtube.com/thepanjwaipodcast For maps, photos and more information about Panjwai go to : https://www.thepanjwaipodcast.com/about-panjwai You can donate and support the podcast on Patreon for as little as $3.00 a month. visit www.patreon.com/thepanjwaipodcast to learn more. Direct donations can also be sent via venmo @thepanjwaipodcast Be sure to like, follow, and/or subscribe to the podcast on Apple Podcasts, Spotify, Google Podcasts, iHeartRadio, Youtube, TuneIn, Amazon Music and many more. visit www.thepanjwaipodcast.com/listen for more information. Social Media: Facebook: https://www.facebook.com/thepanjwaipodcast Instagram: @thepanjwaipodcast Twitter: @panjwaipodcast ---------------------------------------------------------------- Podcast Theme Song “Take me with you” by Dustin Gaspard https://www.instagram.com/dusty_muhrie/ https://www.dustingaspardmusic.com/
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