Podcasts about slidin

Chuck Edwards - "Downtown Soulville" - 45 Music behind DJ: Edgar Blanchard - "Steppin' High" - 45 Ben Hughes - "Sack" - 45 Little Lee and the Streetlighters - "Later for the Twist" - 45 The Flares - "Truck and Trailer" - 45 Ervin (Big Boy) Groves - "You Can't Beat the Horses" - 45 Nite Riders - "Begging for Love" - 45 Music behind DJ: The Supertones - "Slippin' and Slidin' (Pt. 1)" - 45 Paul Sindab - "I Was a Fool" - 45 Felix Lark and the Jack Hart Trio - "Little Tender Love" - 45 Ann Perry - "That's the Way He Is" - 45 The Contours - "Determination" - 45 Linda Jones - "Take the Boy Out of the Country" - 45 Music behind DJ: The Strides - "The Stride" - 45 Ruby Johnson - "Come Back to Me" - 45 Bobby Barnes - "Times Are Bad" - 45 Gospel Travelers featuring Ray Shackelford - "There Are Times" - 45 Jimmy Scott - "It Rained 40 Days & Nights" - 45 Music behind DJ: No artist listed - "Friendship Train" - 45 Donald Lee Richardson - "You Got Me in the Palm of Your Hand" - 45 Jeany Reynolds - "Down on Me" - 45 Vernon Garrett - "I Had a Dream" - 45 The Johnson Brothers - "I'm Takin' a Train" - 45 Angela Davis & the Mighty Chevelles - "My Love (Is So Strong)" - 45 Little Daddy Walton & Sons - "I'm Leaving" - 45 Music behind DJ: Kachers in the Rye - "Rye Bread" - 45 https://www.wfmu.org/playlists/shows/152157

We're in Hebrews chapter 2 today. Join us!

Superkompiuteriai vis daugiau naudojami kuriant automobilius, lėktuvus, gaminant vaistus, numatant orų pasikeitimus ir kitose srityje. Kaip veikia šie galingi įrankiai, atliekantys sudėtingus skaičiavimus?Vilnius švenčia 702-ąjį gimtadienį. Sostinės gyventojų bei svečių laukia įvairūs renginiai, taip pat dalyje gatvių bus ribojamas ir eismas.Dėl neįprastai šiltų oro sąlygų ir menko sniego kiekio, kai kurie Europos slidinėjimo kurortai buvo priversti užsidaryti. Pliki besniegiai kalnų šlaitai ir slidinėjimo trasos vėl sukėlė nuogąstavimų dėl klimato kaitos poveikio daugeliui kalnų miestelių, kurie yra priklausomi nuo žiemos turizmo.Naujausi reprezentatyvaus šalies gyventojų tyrimo rezultatai rodo, kad kone kas antras lietuvis neturi pakankamo finansinio bagažo ir negalėtų padengti netikėtai atsiradusių išlaidų.Šiauliuose antrą dešimtmetį neapsisprendžiama dėl paminklo Tautos laisvei. Atrankos komisija išrinko geriausią idėją, liko užsakyti obeliską, bet procesas įstrigo. Miesto vadovai nusprendė, kad paminklo kaina per didelė, todėl prašoma žmonių aukų.Ved. Paulius Selezniovas

We are back at it! Again! LOTS goin on! Slidin in them ear holes, talkin greazy on the state of things! Enjoy!

Thin sheens of ice made the footing treacherous today. I talked about Wandering Inn (some more), the new Kaweco Sport fountain pen, and boring ink.

 Obama and Pelosi are secretly stabbing Biden in the back. Can Biden hold on to power or will we see the 25th amendment for the first time in 50 years? 

And we're back! Joe Biden isn't going anywhere fast. Donald Trump is going mum on Project 2025, which is actually Secret Rule #57461 of Project 2025. And a horse gets loose on Independence Day, and we're going to stop you right there: despite what you might be thinking, it is absolutely not a metaphor.

Ep 272 – One Night Only Only Europe and Canada got this one 0:28 - Welcome 16:53 - ONO Opening 18:20 - Hunter Hearst Helmsley (w/ Chyna) vs Dude Love 24:41 - Leif Cassidy vs Tiger Ali Singh (w/ Tiger Jeet Singh) 27:50 - Los Boricuas (Savio Vega and Miguel Perez vs the Headbangers (Mosh/Thrasher) for the WWF Tag Team Championships 32:38 - Flash Funk vs the Patriot 36:06 - The Godwinns (Henry O/Phineas I Godwinn) vs the Legion of Doom (Road Warrior Hawk/Road Warrior Animal) 44:33 - Vader vs Owen Hart 50:37 - The Undertaker vs Bret “Hitman” Hart for the WWF Championship 1:01:07 - “The Heartbreak Kid” Shawn Michaels vs British Bulldog for the WWF European Championship 1:11:10 - Overall Thoughts 1:17:57 - Smarking It Up 1:28:32 - The Dusty Finish 1:30:23 - Goodbyes Music from this week's show is “Slippin' and Slidin'” by Nigel Pulsford and “Sexy Boy” by Jimmy Hart and JJ Maguire Rate and review us on iTunes, Spotify, GooglePlay, or wherever you find your podcasts Email – WrestlingHistoryX@gmail.com X – WrestlingHistoX

Slidin' with Biden. A snappy snarkfest. Enjoy the show:

Start your your engines for Episode 27!

What's your most loved and least favorite song on Little Richard's debut album, 1957's Here's Little Richard?! We finally delve into the 1950s by talking about the oldest album we've ranked yet. Adam repeatedly circles back to himself, talking about his short European tour with the red-hot Little Richards and interviews two of its main creators: Sparkle Gail Higgins, longtime London/NY/California vintage clothing queen and Heartbreakers road manager who named her San Diego store the Girl Can't Help It and her friend Robert Lopez (El Vez), who started the wild allstar act to play at her store. Listen at WeWillRankYouPod.com, Apple, Spotify and your favorite piano store.  Follow us and weigh in with your favorites on Facebook, Instagram & Threads and Twitter @wewillrankyoupod . Architect of Rock and Roll, Attitude, A-WOOOOOOO, a-wop-bop-a-loo-mop-a-lop-bam-boom, Baby, the beat, the beat, the beat, the Beatles, Pat Boone, Can't Believe You Wanna Leave, choreography, El Vez, energy, the Girl Can't Help It, Good Golly Miss Molly, the Heartbreakers, Sparkle Gail Higgins,  Benny Hill, Jenny, Jenny, Little Adam, Little Richard, Little Robert, the Little Richards, Long Tall Sally, Robert Lopez, Lucille, Dean Martin, Paul McCartney, Miss Ann, my band, my band, my band, Oh Why?, Richard Penniman, piano, Elvis Presley, Ready Teddy, Rip It Up, rock and roll, Rubber Duckie, saxophone solo, She's Got It, shut up, Slippin' and Slidin', Trio, True, Fine Mama, Tutti Frutti, 1957. US: http://www.WeWillRankYouPod.com wewillrankyoupod@gmail.comhttp://www.facebook.com/WeWillRankYouPodhttp://www.instagram.com/WeWillRankYouPodhttps://www.threads.net/@WeWillRankYouPod http://www.twitter.com/WeWillRankYouPo http://www.YourOlderBrother.com (Sam's music page) http://www.YerDoinGreat.com (Adam's music page)https://open.spotify.com/user/dancecarbuzz (Dan's playlists)

Today on Mina AF, Steve is back to chat with Mina about trust, DM slides, and how they maintain good communication in their relationship!  --- Want to leave Mina a question and have it answered on the show? Drop her a voice message here! Hit follow and see you next tuesday! MinaAF is created by AdLarge and editaudio. It's hosted by Mina Starsiak-Hawk, edited, mixed and produced by Megan Hayward, and executive produced by Steph Colbourn. Thank you to Simone Osondu, Melissa Haughton and the entire editaudio team. You can get in touch with us and learn more at link below! editaud.io IG/Twitter: @editaud.io Learn more about your ad choices. Visit podcastchoices.com/adchoices

Monday January 22, 2024 The Dominant Duo – Total Dominance Hour -Icy situation, weather is a bummer in OKC today, NFL Divisional Finals , OU basketball and more. Follow the Sports Animal on Facebook, Instagram and X PLUS Jim Traber on Instagram, Berry Tramel on X and Dean Blevins on X Listen to past episodes HERE! Follow Total Dominance Podcasts on Apple, Google and SpotifySee omnystudio.com/listener for privacy information.

Goodbye, 2023—hello, 2024! We officially wrap up the end of 2023 by discussing our top five song choices of the year and whether they matched up with our Spotify Wrapped, as well as our number one albums! Segments: Lacey's Top 5 (04:16) - tripleS "Rising" (12:33) - NewJeans "Cool With You" (21:05) - Kai "Slidin'" (30:33) - Le Sserafim "Eve, Psyche & The Bluebeard's Wife" (40;43) - Jungkook "Standing Next to You" Rainah's Top 5 (08:14) - Monsta X "Beautiful Liar" (16:23) - Cravity "Baddie" (25:29) - The Boyz "Roar" (36:04) - (G)I-DLE "Queencard" (44:25) - Moonbin & Sanha "Madness" Top Albums Lacey's Choice: (47:05) - ATEEZ "The World EP.2" Rainah's Choice: (52:13) - Joohoney "Lights"

Show #1033 Blues Masters 01. Big Bill Broonzy - Where The Blues Began (2:56) (78 RPM Shellac, Columbia Records(?), 1945) 02. Magic Sam - Love Me With A Feeling (2:07) (45 RPM Single, Cobra Records, 1957). 03. JB Lenore & His Combo - I'll Die Tryin' (3:04) (45 RPM Single, JOB Records, 1953) 04. John Lee Hooker - Sugar Mama [1952] (3:15) (House Of The Blues, Chess Records, 1959) 05. Little Walter - Flying Saucer [1956] (3:04) (Boss Blues Harmonica, Chess Records, 1972) 06. Koko Taylor - Love You Like A Woman (2:10) (Koko Taylor, Chess Records, 1969) 07. Muddy Waters - She's 19 Years Old [1971] (11:00) (The Lost Tapes, Blind Pig Records, 1999) 08. Buddy Guy - I Smell A Rat [1979] (9:11) (Stone Crazy!, Alligator Records, 1981) 09. George 'Harmonica' Smith - Blues In The Dark [1955] (2:55) (Oopin' Doopin' Doopin', Ace Records, 1982) 10. Bessie Smith - Gin House Blues [1926] (3:13) (St. Louis Blues CD+DVD, Musicpro/Unforgettable, 2005) 11. BB King - Walking Dr. Bill (3:36) (My Kind Of Blues, Crown Records, 1961) 12. Tommy McClennan - Bottle It Up And Go (2:47) (78 RPM Shellac, Bluebird Records, 1939) 13. Junior Wells - You Say You Love Me (3:15) (Southside Blues Jam, Delmark Records, 1970) 14. Otis Spann - It Must Have Been the Devil (2:39) (45 RPM Single, Checker Records, 1954) 15. John Lee "Sonny Boy" Williamson - Apple Tree Swing [1948] (2:29) (The Original Sonny Boy, Saga Blues, 2004) 16. Sonny Boy Williamson II - Peach Tree [1960] (2:27) (In Memoriam, Chess Records, 1965) 17. Lowell Fulson - Reconsider Baby [1954] (3:11) (Chess Chartbusters Vol.6, Chess Records, 2008) 18. Freddie King - Reconsider Baby (4:01) (Texas Cannonball, Shelter Records, 1972) 19. Memphis Slim - Living Like A King [1952] (2:48) (Boogie Uproar-Gems from the Peacock Vaults, One Day Music, 2014) 20. Howlin' Wolf - Moanin' At Midnight [1951] (2:53) (Chess Chartbusters Vol.1, Chess Records, 2008) 21. Elmore James - Whose Muddy Shoes [1953] (3:16) (Slidin'-A Collection Of Blues 'Slide' Guitar, Chess/Charly Records, 1991) 22. Champion Jack Dupree - Can't Kick The Habit (3:43) (Blues From The Gutter, Atco Records, 1959) 23. Walter Horton - Groove Walk (3:15) (The Soul Of Blues Harmonica, Argo Records, 1964) 24. T-Bone Walker - Evenin' (2:36) (T-Bone Blues, Atlantic Records, 1959) 25. The Big Three Trio - Big Three Stomp [1949] (3:05) (Poet Of The Blues, Columbia Records, 1998) 26. Robert Johnson - Cross Road Blues [1936] (2:40) (The Complete Recordings, Columbia Records, 1996) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Oh; Atlanta Public Schools' doled out $1000 bonuses before Gov. Brian Kemp announced he was going to do so for teachers, and now APS says "yeah, we already gave y'all that, so we're keeping what he sends us to send y'all." Teachers feel let down. The state superintendent ain't happy, either. Yikes. Rudy Giuliani's filed for bankruptcy, so is there any juice in that berry for Ruby & Shaye? Polls show Americans approve of what a Colorado Supreme Court ruling says about Trump's candidacy. Speaking of polls, Politico's Jack Schafer penned an op/ed yesterday that surmises why President Biden's poll numbers are so low and why he may be able to do nothing to improve them no matter how good his presidency looks on paper - save for one move he could make. Lastly, who among us is surprised MAGA's from Georgia to Colorado (and likely in between) are using veiled and overtly threatening language towards elected officials and judges?

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Slidin in to chop it up on whats been going down! Lots happening. And life is good. So much love! SUPPORT THE SHOW! www.skullshaver.com/discount/Spkn2U PROMO CODE- Spkn2U www.chemicalfreebody.com PROMO CODE- ItsMe for discounts! www.preparewithitsme.com www.paypal.com/paypalme/Spkn2U Charlie Robinson-https://tntradio.live/shows/the-charlie-robinson-show/ https://theoctopusofglobalcontrol.com/ What IFUS Does!-https://www.youtube.com/watch?v=E8_q5TpwkMU IFUS-https://www.marketwatch.com/investing/stock/ifus The Dossier Podcast-https://podcasts.apple.com/us/podcast/the-dossier/id1530050718 Matthew Lacroix-https://thestageoftime.com/

Greg Warren in studio today, shoutout Plowboy for booking him. We are a rigid show, buttoned up, and scripted to the minute so last-minute bookings are frowned upon. Brianna Coppage was on Plug Talk with Adam22 and Lena The Plug. She talked about her appearance on TMA that got her husband fired. Did they have sex? Blues lose last night. Need to pick up some points against the Coyotes. Unseasonable warmth. Iggy's move. Giveaways at sporting events. Iggy's swap meet. Rizz show audio about Rafe being late from break. The boys try to find who was the culprit that made Rafe late. Was it Iggy? Cross examinations begin. Rafe comes into the studio to give us the straight skinny. Mad Dog goes crazy about analytics in baseball. Cardinals talk. Plowsy vs. Analytics. Noot. Slidin' Billy Hamilton. Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Greg Warren in studio today, shoutout Plowboy for booking him. We are a rigid show, buttoned up, and scripted to the minute so last-minute bookings are frowned upon. Brianna Coppage was on Plug Talk with Adam22 and Lena The Plug. She talked about her appearance on TMA that got her husband fired. Did they have sex? Blues lose last night. Need to pick up some points against the Coyotes. Unseasonable warmth. Iggy's move. Giveaways at sporting events. Iggy's swap meet. Rizz show audio about Rafe being late from break. The boys try to find who was the culprit that made Rafe late. Was it Iggy? Cross examinations begin. Rafe comes into the studio to give us the straight skinny. Mad Dog goes crazy about analytics in baseball. Cardinals talk. Plowsy vs. Analytics. Noot. Slidin' Billy Hamilton. Learn more about your ad choices. Visit megaphone.fm/adchoices

Live from the Heart of America—I'm Steve Gruber— Your Soldier of Truth—the Tip of the Spear against socialists—here ready to fight for you from the Foxhole of Freedom—AND—please my friends REMEMBER TO THINK while its still legal—this is the Steve Gruber Show—   Here are 3 big things you need to know right now—   Number One— The UAW strike has gone nationwide—with dozens of facilities in some 20 states now idled by the walkout that began one week ago—if its not settled soon—inventory could soon be impacted—   Number Two— Democrat Senator Bob Menendez of New Jersey—appears to be in a world of hurt—after he was indicted along with his wife on bribery and other serious crimes by a federal grand jury—   Number Three— SLIDIN WITH BIDEN—That is the headline that Democrats should be looking at very closely today—   A brand new Washington Post ABC Poll gives former President Donald Trump a commanding lead over the guy in The White House currently—and when you dig into the numbers deeper—it gets far worse for Joe Biden—   The reasons are many— and the polling is getting worse for Biden on an almost daily basis—   You see Americans get it when Joe Slurs through a speech or wanders around lost on stage—they can see it and they know he is not in charge of himself—so how can he run a country?   The brand-new Poll puts Bidens approval 19 points underwater—with just 37 percent of the people asked approving of the way he does his job—that is a new low—and it doesn't look like they have found the bottom yet—   Biden who will turn 81 in December is already the oldest and weakest President in American history—and the across the board failures are not going to be rewarded by voters in 2024—   Trust me when I tell you—Democrats are in a full blown panic right now—because they are caught in a no-win situation—they know Joe Biden's chances of winning re-election get smaller by the day— but if he pulls out now he becomes a lame duck—if he leaves that leaves them with Kamala Harris as the standard bearer—unless you want to allow a wild primary fight between Harris and likely challengers from California and Michigan—   Like I said the reasons for Joe Biden's dismal numbers are many—the wide-open border that everyone sees on the news everyday—while the Democrats keep telling us the ‘border is secure' when it absolutely is not—   In fact, today the Democrat Mayor of El Paso Texas says that city is on the verge of collapse because of the invasion—and that doesn't poll well anywhere in the country— Energy policy has made the cost of filling up your car or truck far more expensive than it was 32 months ago—   Which brings me to Bidenomics—which is an utter failure—what is stunning about the Washington Post poll—is that the paper tried to distance itself from its own numbers—writing that the poll is so bad it could be an outlier—   I have a news flash for the WaPo staff – the poll is not an outlier— in fact you should expect to see even worse numbers in the days to come—   Here is the ongoing response from every member of the Administration—you just don't understand—everything is great and so is the economy—    However, that kind of flippant response from cabinet members like Pete Buttigieg doesn't go over well—it is the kind of pat on the head that really angers people—   I mean you know what its like to go shopping for groceries—compared to what it was like during Donald Trumps first term as President—and people are not buying it—  And all the network Sunday shows were focused on the bombing poll numbers—and the biggest reasons driving the numbers down are all about how expensive everything is—and it really is the common denominator—pushing people away from Joe Biden and back to Donald Trump— However instead of trying to tack to the middle—or ease up in the attacks on energy for example—Joe Biden continues to govern from the far left— Bill Clinton learned his lesson—Joe Biden has not—or cannot comprehend what is happening—so they just keep repeating the same worn out catch phrases—and themes—   It makes it pretty clear as to why Americans are so angry right now—   However—Republicans are having challenges of their own right now—  

Steve Bailey and The Blue Flames (Playing The Greats); Big Daddy Wilson and The Goosebump Bros. (Dance Little Momma); Ross Cirri (Livin In A House Of Blues); Nick Wade (When You Bury My Body); Martin Simpson (See That My Grave Is Kept Clean); The Ken Saydak Band (Don't Blame The Messenger); Bernie Marsden (Tore Down); Rory Gallagher (Can't Be Satisfied); Gene Gilmore (Brown Skin Woman); Papa Harvey Hull and Long "Cleve" Reed (Gang Of Brown Skin Women); Ole Lonesome (The Fool); Charles Caldwell (Alone For A Long Time); Slidin' Charlie and Boo Shake (A Long Time Ago); Coco Montoya (Save It For The Next Fool); Eliana Cargnelutti (Freedom). 

Theme From Squeakers Sea Castle Theme Old Spice - The Mariner The Omegamen - Sack O'Woe Outlaws - Crazy Drums Hot 8 Brass Band - Give Me The Night The Surfaders - Showdown At The Tumbleweed Inn Booker T & The MG's - Slidin' Belmont Playboys - Caravan Reverend Horton Heat - I Can't Surf The Astronauts - Quiet Village The Budos Band - Devil Doesn't Dance George Benson & Earl Klugh - Mimosa Mimosa - Psychedelic Stereo The Mullet Monster Mafia - Goats Eyes The Sadies - Dying Is Easy The Surf Dawgs - Tequila The Jokers - Umoresco Cameronoise - Beautiful Human Los Straitjackets - Sloppy Joe Laika & The Cosmonauts - The Man From H.U.A.C.Delvon Lamarr Organ Trio - Ain't It Funky Now

The detailed, nuanced, highly....serious discussion of the fifth chapter of Kendall & Kylie's critically ignored YA novel Rebels: City of Indra: The Story of Lex and Livia (yes that is the title), with your hosts Claribel A. Ortega and Ryan La Sala! Listen, then join us on discord to discuss! New episodes of BABC drop every Wednesday :) Come chat with us on the BABC discord: ⁠⁠⁠⁠⁠⁠⁠https://discord.gg/Mhw92TUdMG⁠⁠⁠⁠⁠⁠⁠ Buy our books: ⁠⁠⁠⁠⁠⁠⁠Witchlings⁠⁠⁠⁠⁠⁠⁠ (and join the ⁠⁠⁠⁠⁠⁠⁠Witchlings discord⁠⁠⁠⁠⁠⁠⁠!) ⁠⁠⁠⁠⁠⁠⁠Ghost Squad ⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠Reverie ⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠Be Dazzled ⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠The Honeys⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠Find us online!  ⁠⁠⁠⁠⁠⁠⁠ Follow Us on Social Media: Ryan:⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠ |⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠ Claribel:⁠⁠⁠⁠⁠⁠⁠ Twitter⁠⁠⁠⁠⁠⁠⁠ |⁠⁠⁠⁠⁠ ⁠⁠Instagram⁠⁠ | ⁠⁠Tiktok⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/badauthorbookclub/support

Learn more about your ad choices. Visit megaphone.fm/adchoices

Somewhere over the rainbow, skies are blue and the shoes are red. When the pricey and contentious ruby slippers from The Wizard of Oz were stolen from a museum, all hope was lost. But hope never dies. And for the slippers, there was no place like home. See omnystudio.com/listener for privacy information.

This week the Sibz celebrate the birth of their new niece, making them an Aunt and Gunkle. And even though their brother didn't choose any of the names Francesca picked out on her unsolicited spreadsheet of baby names, they couldn't be more excited. The Sibz also take time to reintroduce themselves and welcome new listeners while addressing the controversy of their most recent viral video on Tiktok. Other noteworthy topics: counterfeit "medicines" from Mexico, The King of the Furniture Jungle aka Jake Jabs, and waterpark horrors. Add us on Instagram:https://www.instagram.com/thesaucysibz/ And TikTok!https://www.tiktok.com/@saucysibz?lang=enSubscribe to us on YouTube for Full length videos of each episode:https://www.youtube.com/@saucysibz

Nick reveals this secret...plus Martha Stewart model?  And "Rocky" says Adele has something that belonged to hiim!

Praying for America: Slidin' Biden & Letters from President Trump by Priests for Life

The crew is back this week with another episode! Tardi B actually on time this week, talks about cutting grass and somehow "Rent-Free" comes back in the conversation. Special guest Kayla joins us later in the episode to give her take on the GOAT Achraf Hakimi and his divorce. Like, share, and subscribe on all podcast platforms. Don't forget to follow our socials @MnrtyMnds. --- Send in a voice message: https://podcasters.spotify.com/pod/show/mnrtymnds/message Support this podcast: https://podcasters.spotify.com/pod/show/mnrtymnds/support

SUMMARY AKOM talks with the fabulous May Pang about “The Lost Weekend: A Love Story” and a variety of big and small topics including: John praising Cynthia's parenting, meeting Paul and Linda in the 1980s, visiting David Bowie w/ Paul and Linda, and the ride John abstained from at Disney World. PLAYLIST Surprise Surprise JOHN LENNON (1974) Real Love (demo) JOHN LENNON (1977) #9 Dream JOHN LENNON (1974) Tennessee (Take 5) JOHN LENNON (1975) (Forgive Me) My Little Flower Princess JOHN LENNON (1980) Young Americans DAVID BOWIE (1975) Waiting for the Sun to Shine (demo) PAUL McCARTNEY (1975) Slippin' and Slidin' JOHN LENNON (1975) Stand By Me JOHN LENNON (1975)

Show #992 Detour Thru The Past Once More Spinner produced another episode with only very old blues music. Every track is at least 60 years old and a lot of it is even much older. 01. Mamie Smith - Goin' Crazy With The Blues [1931] (3:02) (Bill Wyman's Blues Odyssey, Document Records, 2001) 02. Otis Rush - I Can't Quit You Baby (3:04) (45 RPM Single, Cobra Records, 1956) 03. Rosa Henderson - Can't Be Bothered With No Sheik [1931] (3:27) (Blue Ladies, Fat Boy Records, 1995) 04. 'Roosevelt' Antrim - Station Boy Blues [1937] (3:06) (Carolina Blues Guitar 1936-1939, Old Tramp Records, 1994) 05. Sonny Boy Williamson II - Do It If You Wanta (2:30) (78 RPM Shellac, Trumpet Records, 1951) 06. Red Nelson - Detroit Special [1935] (2:55) (Red Nelson 1935-1947, Old Tramp Records, 1995) 07. Buster Brown - I Get The Blues When It Rains [1959] (2:17) (The Sky Is Crying-The Fire Records Story, One Day Music, 2014) 08. Bo Carter - Pin In Your Cushion (3:04) (78 RPM Shellac, Okey Records, 1931) 09. James De Berry & his Memphis Playboys - Zugity Zugity Stomp [1939] (2:39) (Complete Recordings 1939, Old Tramp, 1993) 10. Earl Hooker - Tanya [1962] (2:56) (Slidin'-A Collection Of The Blues 'Slide' Guitar, Chess/Charlie, 1991) 11. Charlie Spand - Rock And Rye [1940] (2:40) (Charlie Spand / Big Maceo 1940-1952, Old Tramp Records, 1994) 12. Riff Ruffin - All My Life [1959] (2:17) (The Sky Is Crying-The Fire Records Story, One Day Music, 2014) 13. Barrel House Annie - If It Don't Fit Don't Force It [1937] (2:53) (Blue Ladies, Fat Boy Records, 1995) 14. Elmore James - My Best Friend [1953] (2:44) (Slidin'-A Collection Of The Blues 'Slide' Guitar, Chess/Charlie, 1991) 15. Doctor Clayton - Angels In Harlem [1946] (3:09) (Complete Recordings 1946-1947, Old Tramp Records, 1995) 16. Larry Davis - Angels In Houston [1959] (2:23) (I Pity The Fool-The Duke Records Story, One Day Music, 2013) 17. Jimmie Gordon - Little Red Dress (Mary Usta Wear) [1936] (2:49) (The Remaining Titles 1934-1938, Old Tramp, 1993) 18. Sarah Vaughan - Black Coffee [1949] (3:17) (Lady Sings The Blues, Virgin/Circa Records, 2002) 19. Cedar Creek Sheik - Don't Credit My Stuff [1936] (2:52) (Carolina Blues Guitar 1936-1939, Old Tramp Records, 1994) 20. Little Sonny - I Gotta Find My Baby [1958] (2:34) (I Pity The Fool-The Duke Records Story, One Day Music, 2013) 21. Jimmy Reed - Boogie In The Dark [1954] (2:32) (You Got Me Dizzy, Charly Records, 1981) 22. Eddie Boyd - Got Lonesome Here [1951] (3:17) (Blues Roots Vol. 20, Chess Records, 1982) 23. Charlie Burse & his Memphis Mudcats - It's Against The Rule [1939] (2:34) (Complete Recordings 1939, Old Tramp, 1993) 24. Memphis Slim -  Sitting And Thinking [1952] (2:59) (Boogie Uproar-Gems from the Peacock Vaults, One Day Music, 2014) 25. Joe Turner - Teenage Letter [1957] (2:26) (Jumpin' With Joe, Charlie Records, 1984) 26. Big Maceo - It's All Up To You [1941] (2:22) (Charlie Spand / Big Maceo 1940-1952, Old Tramp, 1994) 27. Edgar Blanchard & the Gondoliers - Creole Gal Blues [1950] (2:30) (Boogie Uproar-Gems from the Peacock Vaults, One Day Music, 2014) 28. John Lee 'Sonny Boy' Williamson - Sloppy Drunk Blues [1941] (3:17) (The Original Sonny Boy, Saga Records, 2004) 29. Willie Mabon - I Don't Know (3:05) (78 RPM Shellac, Parrot Records, 1952) 30. Lonnie Johnson - Playing With The Strings (3:09) (78 RPM Shellac, Okey Records, 1928) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Gal norite ekskursijos po LDK plytinę ir senoviškai išsidegti plytų? Kojomis ar rankomis suplakti molį? Dzūkijos miške su kalnų slidėmis nusileisti nuo įvairaus sudėtingumo trasų?Tai tik menka dalis to, ką galima patirti Krūminių kaime Gintaro ir Tatjanos Kniežų sodyboje.Nuotaika ir mintimis dalijasi Anastasija Rein su sūneliu Oskaru ir Laura Černiauskienė.Ved. Jolanta Jurkūnienė

Darkness Radio presents: Slip Slidin' Away With The Slipstream Shaman with Author/Healer/Paranormal Investigator, Todd Wilcox! Todd Wilcox is an interesting individual. He is a healer, but always looking for a faster, more efficient way to get someone healed.  He is a paranormal investigator, but one that is looking for the quickest, painless, most efficient way to solve a family's problems. Todd also does something that most Shaman don't do, he uses science, and quantum healing, he even has a quantum room in his domicile! Todd joins Darkness Radio today to talk about his gifts and abilities, how he is able to diagnose and heal someone more easily and efficiently, and how those gifts and abilities crossover to paranormal investigating and help those who are suffering with spiritual infestation, get rid of the problem efficiently! Todd also weighs in on his opinion on different phenomena and even tells us how he got a Sasquatch to be his spirit guide!  Check out Todd Wilcox's podcast, "My Side Of The Universe" and website:  https://slipstreamshaman.com/ #paranormal  #supernatural  #metaphysical  #paranormalpodcasts  #darknessradio  #timdennis #slipstreamshaman #toddwilcox #shaman #shamanism #ayahuasca #ghosts  #spirits  #spectres #hauntings #hauntedhouses #haunteddolls #demons #deliverances #exorcisms #angels #guardianangels #spiritguides #Psychics #mediums #tarot  #ouija  #Aliens  #UFO #UAP #Extraterrestrials #alienhumanhybrid #alienabduction #alienimplant #Alienspaceships #shadowpeople #Cryptids #Cryptozoology #bigfoot #sasquatch #yeti #neardeatheexperience 

Darkness Radio presents: Slip Slidin' Away With The Slipstream Shaman with Author/Healer/Paranormal Investigator, Todd Wilcox! Todd Wilcox is an interesting individual. He is a healer, but always looking for a faster, more efficient way to get someone healed.  He is a paranormal investigator, but one that is looking for the quickest, painless, most efficient way to solve a family's problems. Todd also does something that most Shaman don't do, he uses science, and quantum healing, he even has a quantum room in his domicile! Todd joins Darkness Radio today to talk about his gifts and abilities, how he is able to diagnose and heal someone more easily and efficiently, and how those gifts and abilities crossover to paranormal investigating and help those who are suffering with spiritual infestation, get rid of the problem efficiently! Todd also weighs in on his opinion on different phenomena and even tells us how he got a Sasquatch to be his spirit guide!  Check out Todd Wilcox's podcast, "My Side Of The Universe" and website:  https://slipstreamshaman.com/ #paranormal  #supernatural  #metaphysical  #paranormalpodcasts  #darknessradio  #timdennis #slipstreamshaman #toddwilcox #shaman #shamanism #ayahuasca #ghosts  #spirits  #spectres #hauntings #hauntedhouses #haunteddolls #demons #deliverances #exorcisms #angels #guardianangels #spiritguides #Psychics #mediums #tarot  #ouija  #Aliens  #UFO #UAP #Extraterrestrials #alienhumanhybrid #alienabduction #alienimplant #Alienspaceships #shadowpeople #Cryptids #Cryptozoology #bigfoot #sasquatch #yeti #neardeatheexperience 

Thank you for joining us for a Sunday Service at Lincoln Park ALWC! “Slip Slidin' Away” - Pastor Tom Berninger | February 12, 2023 Connect with us! Facebook: /LincolnParkALWC Instagram: @lpabundantlife www.alwclp.org

The Bengals dealt a brutal blow to Bills Mafia everywhere, with a no-doubt-about-it defeat in the snowy Upstate New York night. So where do they go from here? A weekend recap of the four NFL games, plus thoughts on Shannon Sharpe and the Pro Wrestle-i-fication of modern sports media. My usual Monday rodeo partner, ANDY POLLIN joins me!Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Si cuando juega en Europa no se dan esos problemas... Si cuando compite en el Mundial tampoco... Si los problemas sólo aparecen en las competiciones españolas... ¿Es posible que el problema no radique en él, sino en un sistema viciado en todos sus estamentos? Becarios: @ArkansasDe3 @AngelRiaza @PedroPabloMrtn @RafaRNMJ Min. 01 Seg. 45 - Intro Min. 07 Seg. 08 - Radiografía del periodismo deportivo Min. 11 Seg. 16 - A ver si el problema no está en él Min. 16 Seg. 13 - Hay que reflexionar, pero todos Min. 21 Seg. 14 - Muchas faltas, sí, pero con castigo Min. 24 Seg. 37 - Ahora si cuanta el rival Min. 29 Seg. 21 - Ganarán, pero no enamoran Min. 32 Seg. 58 - Hay que verles exigidos Min. 37 Seg. 12 - Palabras en la zona mixta Min. 40 Seg. 47 - Un ridículo falso directo Min. 44 Seg. 51 - Protagonismo del fútbol español Min. 48 Seg. 12 - Despedida Wilko Johnson (Kawasaki 25/10/1992) Paradise Keep It To Myself Dr. Dupree She's Good Like That Back In The Night Barbed Wire Blues When I'm Gone Route 66 Sneaking Suspicion Slippin' & Slidin' Tim Buckley - Song To The Siren

Today on the St Canard Files Mike is finally back! What has he been up to? How was his Halloween? What does he think of what we've seen of the Dynamite Comics Darkwing series so far? All will be answered. Then Mike and Stan talk about another Disney Adventures comic - "Slip Slidin' Away", featuring one of Darkwing's most nuanced enemies ever. Did this one race its way into our hearts, or did it falter at the starting line? Listen and find out. Links- https://linktr.ee/StCanardFiles DW #DarkwingDuck #DisneyAdventures #DisneyAfternoon This podcast is powered by Pinecast.

Slidin', dicin', mixin' & scratchin' – that's whats happennin'. We're all up in the cut curb serving your earholes like you know we have to. Ben Vera bringing the party to your face every single weekend. You know how we do!!! Thank you for tuning in & be sure to GIVE US A ‘LIKE' ONREAD MORE

Neezy, Skeet and London, give a recap of their trip back home to Detroit, their thoughts on Sesame Street being accused of discriminating against black children and more... Featured Independent Music: 1. Russ Hall "WhereYaFrom" 2. Alex Kane " Slidin" 3. Tony Del Freshco "Everything" 4. Keeng Cut "Satin" Merch Links: Inaudibleraucous.com/shop Inaudibleraucous.com/naturally-nae Inaudibleraucous.com/bingeflix-and-chill midnightclubmerch.com YouTube: www.youtube.com/channel/UCuFWfKoAZkeHtca_z-nLHIQ

Biden Slidin', Bill Maher, Callers Speak!

01 Slidin' Delta – Hans Theesink – Baby Wants To Boogie02 D'où Venez-Vous – De Temps Antan – Pesant03 Mrs Saggs – Will Pound – A Cut Above04 Miles Weatherhill and Sara Bell – Hannah Sanders – Charms Against Sorrow05 Oakley Strike Evictions – Dom Prag – Needle & Thread06 My Johnny Was A Shoemaker – Bryony Griffith & Alice Jones – A Year Too Late And A Month Too Soon07 British Man Of War – Jenny McCormick – Sweet Demon08 Bows Of London – Stick In The Wheel – From Here09 Steppy Downs Road – Sam Sweeney – Unearth Repeat10 Banks Of The Sweet Primroses – Vic Legg – I've Come To Sing A Song 11 Ripple Of The Teign – The Dartmoor Pixie Band – Stepping It Out!12 Jig And Reel/The Pipe On The Hob/The Colliers' Reel – Dennis Cahill – Masters Of The Irish Guitar13 The Thrifty Wife – Damien O'Kane & Ron Block – Banjophonics14 Hares On The Mountain – Fern Maddie – Ghost Story15 Duelling Banjos – Tim Edey – Live From T-Pot Studios Scotland16 Georgie- Janice Burns And Jon Doran – Janice Burns and Jon Doran Ep17 Old Rafferty's Apple / Rosie's Wedding – Pat Walsh – Simply Whistle18 Chickens In The Garden – Carthy Hardy Farrell Young – Laylam19 The Garden – Ruth Moody – The Garden20 A Fair Maid Walking All In Her Garden – Robin and Barry Dransfield – Rout Of The Blues21 Sally In The Garden – Tony Elman – Swinging On A Gate22 The Fatal Flower Garden – Rayna Gellert – Old Light: Songs From My Childhood & Other Gone Worlds23 Proper Sort Of Gardener – June Tabor – Aleyn24 There's A Black Hole In My Back Garden – Commoners Choir – Commoners Choir25 The Sally Gardens – Mairi Campbell – Revenge Of The Folk Singers26 Whose Garden Was This – Tom Paxton – #627 Adam And Eve In The Garden Of Eden – Bogus Ben Covington – Good For What Ails You (Music Of The Medicine Shows)28 The Sally Gardens/The Ships Are Sailing/The Wild Irishman/TheCoalminer/The Skylark – Frankie Gavin & Paul Brock with Charlie Lennon – Ómós Do Joe Cooley

Nick is joined by ITV and Racing TV broadcaster Rishi Persad to discuss the news and events from around the racing world. In this specially extended edition, Nick talks to the PJA's Dale Gibson, jockey and PJA Flat Racing President and Safety Officer PJ McDonald and Goodwood Clerk Ed Arkell in a bid to understand what is happening on Britain's racecourses to have caused 4 abandonments for slippery and unsafe surfaces in the last 5 racing days. Nick and Rishi consider the economic impact of this crisis and the responsibilities now on the racecourses and the BHA to prevent this happening again. They also examine the reactions from the tracks themselves and wonder whether the political tensions within the sport's power structures are simmering to the surface through this issue. Later in the show, Nick talks to Bruce Raymond, racing manager to Saeed Suhail, owner of the Derby favourite Desert Crown, while Kevin Sommerville from South Africa's prestigious Drakenstein Stud is this week's Weatherbys Bloodstock Guest.

Nick is joined by ITV and Racing TV broadcaster Rishi Persad to discuss the news and events from around the racing world. In this specially extended edition, Nick talks to the PJA's Dale Gibson, jockey and PJA Flat Racing President and Safety Officer PJ McDonald and Goodwood Clerk Ed Arkell in a bid to understand what is happening on Britain's racecourses to have caused 4 abandonments for slippery and unsafe surfaces in the last 5 racing days. Nick and Rishi consider the economic impact of this crisis and the responsibilities now on the racecourses and the BHA to prevent this happening again. They also examine the reactions from the tracks themselves and wonder whether the political tensions within the sport's power structures are simmering to the surface through this issue. Later in the show, Nick talks to Bruce Raymond, racing manager to Saeed Suhail, owner of the Derby favourite Desert Crown, while Kevin Sommerville from South Africa's prestigious Drakenstein Stud is this week's Weatherbys Bloodstock Guest.

Slip-Slidin' Away: The Progressive Left Now Gets Thrashed on Every Issue, Everywhere by Bill Whittle Network

Welcome to the Talk Show segment of the d4 network! Come Slide Into My DMs as today we discuss:Quick Ruling: Can Cantrips with a duration simply be "always on"?Deep Dive: Is it ok for DMs to fudge numbers once in awhile? If so, can players too?I'd appreciate it if you'd consider supporting the channel by becoming a member!https://www.youtube.com/channel/UC9jQ2IsZj_CAS0bZgA6O2pA/joinMerch Store! https://www.etsy.com/shop/d4DnDDeepDiveAlso: if you'd like to purchase D&D content through my Amazon affiliate link, it would be another way to help support us :) - https://www.amazon.com/shop/d4dddeepdive?listId=MFEYK9W51D9K&ref=idea_share_infFollow us here:https://www.reddit.com/r/DnDoptimized/https://www.facebook.com/dnddeepdivehttps://twitter.com/ColbyPoulsonIntro:(0:00)Quick Ruling: Cantrips with a Duration:(3:46)Who Gets to Fudge Numbers?:(11:33)No One!:(16:59)DMs Can!:(23:56)Players Can Too!:(35:22)Final Thoughts:(48:15)Outtakes:(54:43)

Welcome to the Talk Show segment of the d4 network! Come Slide Into My DMs as today we discuss:Quick Ruling: Can Tortles benefit in *any* way from armor?Deep Dive: A look at the recent Unearthed Arcana - The Heroes of Krynn!I'd appreciate it if you'd consider supporting the channel by becoming a member!https://www.youtube.com/channel/UC9jQ2IsZj_CAS0bZgA6O2pA/joinMerch Store! https://www.etsy.com/shop/d4DnDDeepDiveAlso: if you'd like to purchase D&D content through my Amazon affiliate link, it would be another way to help support us :) - https://www.amazon.com/shop/d4dddeepdive?listId=MFEYK9W51D9K&ref=idea_share_infFollow us here:https://www.reddit.com/r/DnDoptimized/https://www.facebook.com/dnddeepdivehttps://twitter.com/ColbyPoulsonIntro/Update:(0:00)Quick Ruling: Tortles and Armor:(5:41)Krynn/Dragonlance Overview:(13:14)Kenders:(18:46)Lunar Sorcerer:(29:02)New Backgrounds:(46:17)New Feats:(50:36)Outtakes:(1:16:55)

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