Podcasts about smithsonian institute

Welcome Class of 2025 to Kermencement! In honor of Kermit the Frog's commencement speech at his, and your hosts' alma mater, the University of Maryland, Courtney and Emily read Kermit's book, “Before You Leap: A Frog's-Eye View of Life's Greatest Lessons.” Kermit has 70 years of wisdom to share with graduates and readers and in honor of the Muppet Anniversary, Kermit published a third edition of his book and used it to help create his commencement speech. In this episode, Courtney and Emily reminisce about their own UMD graduation, talk about Kermit's speech in tandem with the book, and pay tribute to Muppet Vision 3D . Review Book of the Mouse Club on iTunes and Google Play and send any questions, comments, or suggestions to the hosts at bookofthemouseclub@gmail.com Follow Our Reading Journey On Social Media! Official Twitter and Instagram: @BookoftheMouse Courtney: Instagram @greatguthsby and Goodreads Emily: Instagram @emily_mickde  and Goodreads Other Resources Links: Supporting PBS:https://www.pbs.org/viewers-like-me/ Muppets at the Smithsonian Institute: https://www.si.edu/spotlight/puppets-muppets-jim-henson  Next Book: The 55ers: The Pioneers Who Settled Disneyland by David Koenig

This week on Breaking Battlegrounds, Congressman Mike Simpson of Idaho joins the show for a wide-ranging conversation that begins with his shocking discovery of the scale of missing and murdered Indigenous women—over 6,000 annually—and how Congress is finally taking action on justice and jurisdictional reform. He also breaks down the future of nuclear power, America's path to energy independence, and the urgent need to end our reliance on hostile nations for critical minerals and pharmaceuticals. Then, Newsweek's Josh Hammer returns to discuss his new book Israel and Civilization, where he argues that Israel—and the Jewish people—are the West's first line of defense against rising global threats. He also tackles the disturbing surge of anti-Semitism on college campuses, exposes the failures of higher education, and calls for revoking tax-exempt status for elite universities like Harvard. Don't miss Kiley's Corner, where she dives into the chilling mystery of 11 dead women found in New England over the last 60 days—is it the work of a serial killer or 11 separate psychopaths? Tune in now!www.breakingbattlegrounds.voteTwitter: www.twitter.com/Breaking_BattleFacebook: www.facebook.com/breakingbattlegroundsInstagram: www.instagram.com/breakingbattlegroundsLinkedIn: www.linkedin.com/company/breakingbattlegroundsTruth Social: https://truthsocial.com/@breakingbattlegroundsShow sponsors:Invest Yrefy - investyrefy.com4Freedom MobileExperience true freedom with 4Freedom Mobile, the exclusive provider offering nationwide coverage on all three major US networks (Verizon, AT&T, and T-Mobile) with just one SIM card. Our service not only connects you but also shields you from data collection by network operators, social media platforms, government agencies, and more.Use code ‘Battleground' to get your first month for $9 and save $10 a month every month after.Learn more at: 4FreedomMobile.comDot VoteWith a .VOTE website, you ensure your political campaign stands out among the competition while simplifying how you reach voters.Learn more at: dotvote.voteAbout our guest:An Idaho native, Mike Simpson was born in Burley and raised in Blackfoot. Mike graduated from Utah State University and earned his DMD from Washington University School of Dental Medicine in St. Louis, Missouri. After graduation, Mike joined his father and uncle at the Simpson Family Dental Practice in Blackfoot before serving in the Blackfoot City Council and State Legislature.Mike's political career began in 1980, when he was elected to the Blackfoot City Council. In 1984, he was elected to the Idaho Legislature where he served until 1998, the last six years serving as Speaker. Mike is currently serving his fourteenth term in the House of Representatives for Idaho's Second Congressional District.Mike serves as Chairman of the House Interior and Environment Subcommittee on Appropriations. His position gives him the unique opportunity to fight for Idaho's priorities and ensure Idahoans' hard-earned tax dollars come back to Idaho instead of going to states like New York or California.Mike also serves on the House Energy and Water Development Subcommittee and the Labor, Health and Human Services, Education Subcommittee on Appropriations. The committees Mike serves on have jurisdiction over funding for several agencies and programs critical to Idaho, including the Department of Energy, the Department of the Interior, the Forest Service, the National Parks Service, the National Endowment for the Arts, the Smithsonian Institute, and the Department of Labor.Mike and his wife Kathy have been married for 50 years and have called Idaho home all their lives. The two enjoy spending time with their poodle, Charley, and enjoying Idaho's beautiful scenery.-Josh Hammer is a friend of the show and the senior editor-at-large at Newsweek. He's the host of The Josh Hammer Show and the author of a new book, Israel and Civilization: The Fate of the Jewish Nation and the Destiny of the West, which recently reached as high as No. 3 on all of Amazon. You can follow him on X @josh_hammer. Get full access to Breaking Battlegrounds at breakingbattlegrounds.substack.com/subscribe

Welcome to Media in the Mix, the only podcast produced and hosted by the School of Communication at American University. Join us as we create a safe space to explore topics and communication at the intersection of social justice, tech, innovation & pop culture. This week on Media in the Mix, we're joined by none other than, Jamie Sisley! Jamie Sisley is an Emmy Award-winning filmmaker who recently wrote and directed "Stay Awake," a narrative feature film that premiered at the 2022 Berlin Film Festival, where it won the AG Kino Gilde Auteur Award and was Honorable Mention for the Crystal Bear. Starring Chrissy Metz ("This Is Us"), Wyatt Oleff (“IT," Netflix's “I Am Not Okay With This," Apple's “City on Fire”), and Fin Argus (Max's “Queer As Folk,” “The Other Two”), "Stay Awake" is a personal exploration of the roller coaster ride that families go on while trying to help their loved ones battle addiction. The feature is based off a short film of the same name that Jamie also wrote and directed. The short film premiered at the 2015 Berlin Film Festival, won both the National Board of Review Film Prize and Slamdance Grand Jury Prize, and played over 120 film festivals around the world.In addition, Jamie received an Emmy Nomination for his feature documentary, "Farewell Ferris Wheel." Shot over the course of six years, "Farewell Ferris Wheel" explores how the U.S. Carnival industry fights to keep itself alive by legally employing Mexican migrant workers with the controversial H-2B guestworker visa. The film won the Creative Promise Award from the Tribeca Film Institute, received an Imagen Award Nomination for the positive portrayal of Latinos in entertainment, and was nationally broadcast on PBS and Netflix.Jamie's work has been supported by the Sundance Institute, SFFILM, Tribeca Film Institute, Film Independent, ITVS, and The Smithsonian Institute. Prior to film, Jamie was an artist manager in the music industry at Red Light Management.Learn more about SOC in the links below. Graduate Admissions:http://www.american.edu/soc/admissions/index.cfmUndergraduate Admission:https://www.american.edu/admissions/ Follow us on Facebook: https://www.facebook.com/ausoc/Follow us on Twitter: https://twitter.com/au_socFollow us on Instagram: https://www.instagram.com/ausoc/?hl=en

As the Trump administration targets the Smithsonian Institute for "divisive narratives" and "improper ideology," it got us thinking about how we preserve our history and everything that builds it, like language. So we're revisiting an episode from last year from the Lakota Nation in South Dakota over language — who preserves it, who has the right to the stories told in it, and who (literally) owns it.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Efter en fråga om mångfald stängdes P1 Kulturs reporter Emma Engström av från intervjun med Hollywoodstjärnan Viola Davis, som spelar svart kvinnlig president i nya filmen G20. Lyssna på alla avsnitt i Sveriges Radio Play. Tonläget blir allt skarpare i kulturlivet i USA. Den amerikanska myndigheten FCC har börjat en utredning mot Disney och ABC angående deras mångfaldsprogram. Samtidigt har Donald Trump utfärdat en presidentorder mot Smithsonian Institute i Washington, för att ta bort ”anti-amerikansk ideologi” från museikedjan, samt återupprätta monument och statyer som tagit bort under de senaste fem åren. Vad innebär detta? Sveriges Radios Washingtonkorrespondent Ginna Lindberg gästar P1 Kultur.KLASSIKERN: ”DET NYA LANDET” – BIRROS OCH MOODYSSONS FLYKTINGDRAMAHistorien om Ali, Massoud och Louise fick miljonpublik då den visades på SVT i mars 2000. Men deras öde fångade inte bara publikens hjärtan. Den visade också en ny sida av Sverige, som inte skildrats tidigare i svensk drama och som skapade en debatt där manusförfattarna också fick svara på frågor om flyktingpolitik och Sverigebilden. Men framför allt var det en serie som fick sin publik att både skratta och gråta. Där rollfigurerna fick vara komplexa. Och som kom under en tid då ord som mångfald och mångkultur precis hade börjat användas för att beskriva Sverige. Men det finns delar av både serien och den efterföljande debatten som är kusligt lik dagens samhälle, en kvarts sekel senare. P1 Kulturs Saman Bakhtiari har sett om ”Det nya landet” och pratat med manusförfattaren Peter Birro.REPORTAGE: MÖT LYSSNARJURYN SOM UTSER VINNAREN AV SVERIGES RADIOS ROMANPRISFem bokslukare från hela landet röstar fram vinnaren av Sveriges Radios Romanpris i nästa vecka. P1 Kulturs reporter Nina Asarnoj låter oss bekanta oss med den så kallade Lyssnarjuryn: Alma Martinsson, Jan Unga, Cristina von Schéele, Teodor Fridén och Benigna Polonyi. Det visar sig att böcker är en stor del av deras liv och ger möjlighet att både fly och förstå verkligheten.SÅ KÄNNS DET ATT ”GÅ IN I VÄGGEN” PÅ TEATERSCENEN?Diagnosen ”utmattningssyndrom” ska tas bort i Sverige 2028. Men än finns tid. På torsdagskvällen var det premiär för ”Funeral of Lady Sapiens – Välkommen in i väggen” på Uppsala stadsteater. Dramatikern och regissören Helle Rossing har utgått från sina egna erfarenheter av utbrändhet och vill ge en både mörk och komisk inblick i hur livet kan kännas både innan och mitt i ”den ökända väggen”. Vår teaterkritiker Jenny Teleman var på premiären och kommer till studion för att berätta mer.Programledare: Lisa BergströmProducent: Henrik Arvidsson

Effective communication is the foundation of every strong relationship, yet so many of us struggle to truly be heard and understood. Renowned relationship experts and authors Harville Hendrix and Helen LaKelly Hunt return to share their groundbreaking insights on how dialogue can transform the way we connect. Drawing from their latest book, How to Talk with Anyone about Anything: The Practice of Safe Conversations, they break down the power of Imago Dialogue, the role of safety in communication, and why curiosity is the key to bridging differences. From deepening intimacy in romantic relationships to fostering understanding in a divided world, this conversation is packed with powerful tools to help you listen, connect, and create lasting change in the way you relate to others. Harville Hendrix Ph.D. and Helen LaKelly Hunt Ph.D. are co-creators of Imago Relationship Therapy and a social movement called Safe Conversations. Internationally respected as couple's therapists, educators, speakers, activists, and New York Times bestselling authors, their 10 books, including the timeless classic, Getting the Love You Want: A Guide for Couples, have sold more than 4 million copies. Harville appeared on the Oprah Winfrey television program 17 times! Helen was installed in the Women's Hall of Fame and the Smithsonian Institute. They have six children and eight grandchildren. —Harville & Helen's Previous Episode: https://markgroves.com/episode/the-couple-who-changed-how-i-relate-lessons-from-the-godparents-of-love/  —Harville & Helen's Instagram: https://www.instagram.com/harvilleandhelen/  —Harville & Helen's Website: https://harvilleandhelen.com/ —Harville & Helen's Website | Safe Conversations: https://quantumconnections.com  —Harville & Helen's Website | Imago Relationship: https://imagorelationships.org/  —Harville & Helen's Book: How to Talk with Anyone about Anything: https://harvilleandhelen.com/books/how-to-talk-with-anyone-about-anything/  Resources: — Deepen your connections and spark meaningful conversations with the Create The Love card deck — designed to inspire self-reflection, vulnerability, and deeper intimacy in your relationships. https://createthelove.com/getcards  —Ready to transform your relationships? Download The Relationship Toolkit for free and learn the 5 essential skills to thrive in love and life! https://go.markgroves.com/relationship-toolkit-podcast   —Ready to stop chasing emotionally unavailable people? Download your free guide to break the cycle and call in the relationship you crave: https://go.markgroves.com/unavailable-people-opt-in-podcast  —Learn the connection between Attachment Styles, how it affects the Nervous System, AND how you can heal it: .https://go.markgroves.com/nervous-system-opt-in-podcast  If you want to dive deeper into Mark's content, search through every episode, find specific topics we've covered, and ask him questions, go to his Dexa page: https://ask.markgroves.com This episode is sponsored by: —Cozy Earth: Use code MARK for 40% off sitewide at http://www.cozyearth.com —IIN: Use code MARKGROVES20 for 20% off ALL courses from IIN & Chopra at http://bit.ly/MARKIIN —Mighty Networks: Go to http://www.markgroves.com/mightynetworks to learn how you can create your own community! Contact us at podcast@markgroves.com for sponsor product support, questions, comments, or just to say hello! Learn more about your ad choices. Visit megaphone.fm/adchoices

Our latest guest on The One Way Ticket Show is world-renowned Garden Designer, Madison Cox. The interview was conducted in September 2024 in the Willis Pavilion, beside the house today known as Villa Oasis which was built by French Orientalist painter, Jacques Majorelle in the 1920s, and later owned by Yves Saint Laurent & Pierre Bergé. Adjacent to the home is the famed Majorelle Garden. Madison was born September 23, 1958, in Bellingham, Washington, and raised in San Francisco and Marin County, California.  As a garden designer and author of books about gardens, he has traveled extensively across the United States and Europe as well as to Japan, China, Russia, India, North Africa, and Australia.  Madison's passion for garden design has also extended to lecturing, leading garden tours in France and Italy, and book publications.  He has lectured across the United States and Canada: at the Smithsonian Institute in Washington, D.C. and the Art Institute of Chicago, as well as at the Portland Garden Club and the Art Gallery of Ontario in Toronto. Madison Cox is the author of Private Gardens of Paris (Harmony Books, 1989), co-author of Gardens of the World (Macmillan, 1991), and with photographer Erica Lennard, of Artists' Gardens: from Claude Monet to Jennifer Bartlett (Abrams, 1993), and Majorelle: A Moroccan Oasis (Vendome Press, 1999). Cox wrote the preface for The Gardener's Garden (Phaidon, 2014). He was the first American to design a garden at the Chelsea Flower Show in London in 1997, and won a Silver-Gilt Medal.  Madison is a member of the following institutions:  - President, Fondation Pierre Berge – Yves Saint Laurent, Paris, France - President, Foundation Jardin Majorelle, Marrakech, Morocco - Co-Chairman of the American Schools of Tangier and Marrakech in Morocco - Advisory Board Member, The Aangan Trust, Mumbai, India - Patron, American Friends of Blérancourt, France - Board of Directors TALIM (The American Legation in Morocco)  In our conversation, Madison shares his one way ticket destination of choice is to Morocco. His first visit to the country was in 1979.  While he was a student in Paris, Yves Saint Laurent and Pierre Bergé invited him as part of a small group down to Marrakech for a long weekend. During our sit-down, Madison covers: - The difference between Marrakech in the 1970s and today - The nostalgia for Tangier (where Madison has a home) - The rich backstory behind Villa Oasis and the Majorelle Garden - Yves Saint Laurent's love for Morocco (he first visited in 1966) and how the country significantly impacted his work - The Pierre Bergé Museum of Berber Arts which is housed in the former painting studio of Jacques Majorelle, in the garden - The Yves Saint Laurent Museum in Marrakech - How Morocco has impacted his own approach to designing gardens. Plus, J. Paul Getty, Edith Wharton, Winston Churchill, FDR, and the photographer Horst, all make appearances in the interview.  

"Value you. Value me. Together we value the earth." - DeWayne Barton DeWayne is a native of Asheville, N.C. He grew up in Washington, D.C. and is a Gulf War Veteran. He is the author two books of poetry and has been involved in community and youth development for over 30 years.  As a visual and performing artist, he is involved in environmental justice issues—both through his art and his community involvement.  His mixed-media, found-art installations have been featured at Duke University, Smithsonian Institute's Museum of African American History and Culture, and the August Wilson Museum. He is co-founder of both Peace Gardens & Market and Green Opportunities. In 2019, he was selected as a Robert Woods Johnson Culture of Health Leader.  He is the founder and CEO of Hood Huggers Intl. and Hood Tours - building communication, connection, and wealth using the arts, environment, and social enterprise. DeWayne was appointed by the governor to the board of the NC Arts Council, is the current President of the Burton Street Community Association, and a 2022 Fellow with the Appalachian Regional Commission's Leadership Institute. His latest endeavor, the Blue Note Junction, is a community health and business incubator and will serve as a climate resiliency hub as part of the NC Climate Justice Collective.

Bryony Angell writes about birding culture and lifestyle. Her latest exploration into our relationship with birds is bird-friendly comestibles. In this episode, we talk about cocoa grown by Zorzal in the Dominican Republic, a bird reserve and farm certified as 100% bird-friendly by the Smithsonian Institute. Three chocolatiers based in the U.S. use Zorzal's cocoa in their bars and other chocolate products: Raaka Chocolate, Dandelion Chocolate , and Fruition Chocolate. Georgia has eaten bars by Raaka and Fruition--two thumbs up.  Eat sweetly for bird conservation!! — You can find Bryony Angell on the web at https://www.bryonyangell.com and on Instagram as @ bryonyangell.   — Creator and Host: Georgia Silvera Seamans Producer and Editor: Pod for the People Vocalizations:  Bicknell's Thrush song https://macaulaylibrary.org/asset/195711 Bicknell's Thrush in Independencia, Dominican Republic  https://macaulaylibrary.org/asset/96097 Bicknell's Thrush call https://macaulaylibrary.org/asset/197068

James Little (b. 1952, Memphis, TN) holds a BFA from the Memphis Academy of Art and an MFA from Syracuse University. He is a 2009 recipient of the Joan Mitchell Foundation Award for Painting. In addition to being featured prominently in the 2022 Whitney Biennial at the Whitney Museum of American Art in New York, his work has been exhibited extensively in solo and group exhibitions around the world, including at MoMA P.S.1, New York; Crystal Bridges Museum of American Art, Bentonville; Studio Museum in Harlem, New York; St. Louis Art Museum, St. Louis; Virginia Museum of Fine Arts, Richmond; and the Smithsonian Institute, Washington, D.C. In 2022, Little participated in a historic collaboration for Duke Ellington's conceptual Sacred Concerts series at the Lincoln Center, New York, with the New York Choral Society at the New School for Social Research and the Schomburg Center in New York. Recent solo exhibitions include: Petzel, New York (2024); Kavi Gupta, Chicago (2022); Dixon Gallery and Gardens, Memphis (2022); Louis Stern Fine Arts, West Hollywood (2020); and June Kelly Gallery, New York (2018). His paintings are represented in the collections of numerous public and private collections, including the Whitney Museum of American Art, New York; Virginia Museum of Fine Art, Richmond; The Studio Museum, Harlem, New York; The Menil Collection, Houston; Library of Congress, Washington, D.C.; Memphis Brooks Museum of Art, Memphis; Maatschappij Arti Et Amicitiae, Amsterdam; Saint Louis Art Museum, Saint Louis; Everson Museum of Art, Syracuse; New Jersey State Museum, Trenton; Tennessee State Museum, Nashville; and the Newark Museum, Newark. James Little Trophy Wives, 2024 Photo: Thomas Barratt Courtesy the artist and Petzel, New York James Little The Problem with Segregation, 2024 Photo: Thomas Barratt Courtesy the artist and Petzel, New York James Little Mahalia's Wings, 2024 Photo: Thomas Barratt Courtesy the artist and Petzel, New York

You picked them through your listening trends! The Top 3, but actually 4, most listened to episodes in their first 2 weeks after airing!Were you part of the audience when Adriana Erin Rivera shared her award winning author journey for 'Paloma's Song for Puerto Rico: A Diary From 1898', a Smithsonian Institute collaboration inspired by Adriana's summer visits to her abuelo's finca on the island? Thank you for placing her at the Top 3 for 2024!Our eclectic tie for 2nd most listened episode goes to Writer, Director, Filmmaker Chloe Caudillo sharing how her risk taking lead to her big chance; the making of 'Development', funded by Netflix and awarded by LALIFF Immersion Fellowship. The movie stars Helskira Valezquez and Sal Lopez, plus a special role for her dear friend, Raquel McPeek Rodriguez, representing the hard of hearing community. And certified athletic trainer and cultural practitioner of Curanderismo, Monica Islas and Founder of Body Wellness, LLC to ensure that we can heal ourselves naturally and truly heal from injury and pain. Her glam job of being the Dodgers' Athletic Trainer gave way to something much more important: Caring for the workers in the comunidad that were left without medical resources at their workplaces. You chose Fabiola Santiago, Indigenous Zapoteca of the Central Valley of Oaxaca as your top listen in 2024! Fabiola is Founder of Mi Oaxaca, an educational organization set to archive the food and beverage culture of Oaxaca to preserve its ancestral origins and give respect to the community. So much gratitude for your support, interest and enthusiasm for our guests, their stories and the living archive of our Diaspora!Get ready for next year as we kick off with empowering Latina guests in 2025 with a month of 'New Year, New You'! Consuelo is a First Gen Peruvian, structural engineer, mother and Scorpio fired Latina out to hold the mic and shine the light for amazing Latinas and advocates who share their journey from ancestry to authenticity in their most genuine voice. Connect with Consuelo on IG @Consuelo_Ends_in_ODiscover Encuentras Your Voice podcast on IG @EncuentrasYourVoice and join the comunidad of amazing Latinas!Listen to every episode on Spotify, Apple Podcast or any of your favorite streaming platforms. Watch the full videos on our YouTube channel @EncuentrasYourVoice

Neil Marcus described himself as “a poet, humorist, writer, actor, and adventurer-a fantastic spastic creatively endowed with disability.” He is best known for his groundbreaking autobiographical play, Storm Reading, which he performed nationwide from the Kennedy Center in Washington DC to the Doolittle Theater in Los Angeles. He was commissioned to write a poem on disability by the Smithsonian Institute. He is the author of his autobiography with the contribution of S.H. Chambers. S.H. Chambers is the contributor of I, Spastic.  They is a cis-gender Euroamerican writer, cartoonist, and composer.  Currently they is the editorial cartoonist for the Coast News. The post The Life of Neil Marcus: Society, Arts, and Disability appeared first on KPFA.

"History is written by the victors" ~ Repeated by Winston ChurchillAnd the True story remains untold... until now! Award winning author, Adriana Erin Rivera, shares her intimate story of cultural identity, love of heritage, and determination to become a published author of Latine stories.She was selected by the Smithsonian Institute to highlight the true history of Puerto Rico through a children's chapter book based on archival history notes within the Institute. 'Paloma's Song for Puerto Rico: A Diary From 1989' weaves history with creative mastery through the eyes of a 12 year old girl named Paloma. But, what brings 'Paloma's Song' to life are the heartwarming details inspired by Adriana's own childhood spent visiting her abuelo's finca on the island. Learn how Adriana's destiny started at 6 years old with her first written book. Her journey traveled through musicals, theater, acting and songwriting with her songs performed in NYC! The inside scoop is jaw dropping and listeners will agree with the Smithsonian; no one could have written this book better than Adriana Erin Rivera. Reach out on her social media platforms like Instagram TikTok and ThreadsTakeaways:

In 2004, Smithsonian Institute scientist Dr. Richard Sternberg was cancelled for daring to publish a paper by Dr. Stephen Meyer supportive of intelligent design in a peer-reviewed journal. On this ID The Future, writer and teacher Daniel Witt joins us to reflect on the controversy. Witt explains the rhetorical strategies Darwinists have used to deride intelligent design. He also reports on an encouraging trend of scientists willing to stand up to the censors and bullies who get in the way of pursuing the evidence where it leads. Source

Success - like perfection - is subjective, and often depends on who you ask, when you ask, and the metrics you use. Today we're going to talk about the definition of success—and failure—as well as how to look at what you are currently doing with a new context. We'll also talk about Jesse's latest venture and the challenges of digital identify. To help me discuss this topic, I'd like to welcome Jesse Tayler, Founder of TruAnon and inventor of the App Store. Jesse Tayler built a storied career in Silicon Valley as the startup, crypto inventor of the first App Store (which he personally demonstrated to Steve Jobs in 1993). His work spans many pioneering firsts to the latest identity verification solutions. His work includes the first-ever private equity trading platform on the web and pioneering the first geo-coded food delivery, (also a Steve Jobs related startup and curated in the Smithsonian Institute under inventions of the 20th century). Jesse's lifelong contributions are widely recognized for changing the world of computing, with popular inventions showcasing the impact of his larger-than-life role. Jesse is a book author relating to expert software process and is retained for talks on technology, training, and coaching for startups in their early and growth phase. Jesse is also a musician with a composition currently streamed on Spotify and iTunes. RESOURCES Truanon website: https://www.truanon.com Wix Studio is the ultimate web platform for creative, fast-paced teams at agencies and enterprises—with smart design tools, flexible dev capabilities, full-stack business solutions, multi-site management, advanced AI and fully managed infrastructure. https://www.wix.com/studio   Attend the Mid-Atlantic MarCom Summit, the region's largest marketing communications conference. Register with the code "Agile" and get 15% off. Register now for HumanX 2025. This AI-focused event which brings some of the most forward-thinking minds in technology together. Register now with the code "HX25p_tab" for $250 off the regular price. Connect with Greg on LinkedIn: https://www.linkedin.com/in/gregkihlstrom Don't miss a thing: get the latest episodes, sign up for our newsletter and more: https://www.theagilebrand.show Check out The Agile Brand Guide website with articles, insights, and Martechipedia, the wiki for marketing technology: https://www.agilebrandguide.com The Agile Brand podcast is brought to you by TEKsystems. Learn more here: https://www.teksystems.com/versionnextnow The Agile Brand is produced by Missing Link—a Latina-owned strategy-driven, creatively fueled production co-op. From ideation to creation, they craft human connections through intelligent, engaging and informative content. https://www.missinglink.company

This Week In Wrestling History hosted by Don Tony aired back in 2018-2019 and spanned two seasons. These retro episodes return remastered and are filled with hundreds of hours of original wrestling clips & stories. Enjoy this deep dive into pro wrestling's awesome history. SYNOPSIS: Episode 39 (9/23 – 9/29)RUNNING TIME: 3 Hours 17 Minutes WWWF Championship Belt stolen from Bruno Sammartino's car. First WWWF Showdown At Shea Stadium featuring a 75 Minute main event match between Bruno vs Pedro Morales. Audio: Jim Cornette makes his managerial debut. Audio: Memorable Memphis match ends in a brawl: Stan Hansen & Jesse Ventura vs Jerry Lawler & Austin Idol. Looking back at AWA Superclash '85: Night Of Champions. First time ever: Randy Savage vs Hulk Hogan Rick McGraw's last feud (vs Roddy Piper) before his death begins. Audio: Battle Of The Talk Shows: Pipers Pit vs The Flower Shop. Audio: Ronnie Garvin def Ric Flair for NWA Heavyweight Title. Bonus Audio: Ronnie Garvin speaks candidly on the title win, and Ric Flair's first promo after losing the title. Kerry Von Erich sentenced in prescription forgery arrest. Tatanka loses USWA Title back to Jerry Lawler, then loses his undefeated streak against Ludvig Borga, then is 'injured' by Yokozuna. Not a good week. Audio: Vince McMahon sends Macho Man to take out Jerry Lawler and USWA Title. (Promos by Macho Man and Vince). Shawn Michaels walks out of WWF and is stripped of IC Title. Bonus Audio: Shawn Michaels speaks on walking out of WWF in 1993. Brian Christopher and The Rock 'n Roll Express make their WWF debuts. Audio: Terry Funk vs Jimmy Snuka for ECW TV Title main event's first NWA/ECW event booked by Paul Heyman. Audio: Fake Razor Ramon and Fake Diesel in ring WWF debut, with Jim Ross on commentary. Scott Hall arrested outside a strip club which leads to ex wife Dana ripping WCW for using him while battling serious alcohol problems. Looking back at WWF In Your House: Breakdown PPV (1998). Audio: Christian makes his WWF debut. Audio: Kane and Undertaker def Steve Austin for WWF Title. Audio: Steve Austin and a Zamboni ruin Vince McMahon, Kane, and Undertaker's Title Award Ceremony. Audio: Vince backs out his deal with Kane and Undertaker, gets caught giving them the finger, then has his leg broken. Audio: First time and only time ever 1 on 1 match: Hulk Hogan vs Bret Hart main event Nitro. Looking back at WWF Unforgiven PPV (1999) Audio: Remembering the disaster: Al Snow vs Big Boss Man 'Kennel From Hell Match'. 'This Is Your Life: The Rock' hosted by Mick Foley scores a record 8.4 rating. Audio: '1, 2, It Doesn't Matter If The Rock Counts To 3!' Vince Russo and Ed Ferrara leave WWF for WCW just days after Austin/Zamboni, The Rock This Is Your Life segments. WCW airs a Sprite Soda commercial featuring Sting 'beating up' a 10 year old kid at home. Psychosis loses a Mask vs Hair Match against Kidman on Nitro. Audio: Sid Vicious finds his rental car crushed by Goldberg. First episode of Raw on TNN (previously USA Network) airs. Audio: Vince Russo wins WCW Heavyweight Title from Booker T on Nitro. Looking back at the last ECW PPV while under TNN TV deal: Anarchy Rulz 2000. Released from WWE: Mike Awesome, Justin Credible, Shawn Stasiak, Horace Hogan, Kid Kash, Jillian Hall, Danny Inferno, Kevin Matthews and others. TNA stars Andy Douglas and Johnny Devine stabbed outside a Nashville Nightclub. Last episode of Raw airs on Spike TV (before jump back to USA Network). Dolph Ziggler makes his first WWE appearance as the caddy for Kerwin White. Cowboy Bob Orton wrestles on Smackdown; first match since 1987. Audio: CM Punk debut match in Ohio Valley Wrestling (OVW). TNA makes their debut on Spike TV. Bob Holly needs 24 stiches to his back after ECW (WWF) Extreme Rules match against Rob Van Dam. Vickie Guerrero vacates and retires the Cruiserweight Title held by Hornswoggle. Smackdown airs for the last time on CW Network (before the move to MyNetworkTV). Looking back at WWE Smackdown Special: Decade Of Smackdown. Ric Flair Robe becomes first ever pro wrestling item to enter the Smithsonian Institute. Audio: Drew McIntyre makes his WWE in ring debut. Bryan Danielson makes his last ROH appearance before jumping to WWE. Bret Hart wrestles last ever match in MSG. WWE introduces the new Tag Team Titles: 'The Penny Belts'. Edge destroys the annoying Anonymous Raw GM Laptop. Smackdown debuts on Syfy Network. WWE signs Miroslav Barnyashev (Rusev), Pac (Neville), and Sara del Rey. The shortest Hell In The Cell Match in history happens post Raw (5 Minutes) and CM Punk isn't thrilled about it. Audio: Hulk Hogan quits Dixie Carter and TNA. Asuka makes her NXT debut. The night after Enzo Amore winning the Cruiserweight Title from Neville, Raw had Neville, Braun Strowman and the entire Cruiserweight division, destroy Enzo. Neville wrestles last 205 Live match before walking out company. And so much more! RIGHT CLICK AND SAVE to download the AUDIO episode of THIS WEEK IN WRESTLING HISTORY S1 E39 (9/23 – 9/29)  === Remember: DON TONY AND KEVIN CASTLE SHOW streams LIVE every MONDAY NIGHT at 11:15PM after WWE RAW at DTKCDiscord.com.   ==== DON TONY AND KEVIN CASTLE *PATREON* AND *YOUTUBE CHANNEL MEMBERSHIPS* Since we don't use sponsors, you can send additional support for Don Tony And Kevin Castle and help grow the brand, by becoming a member of DT/KC PATREON and/or YOUTUBE CHANNEL MEMBERSHIP FAMILY. Don Tony and Kevin Castle's PATREON has been around for over seven years! You can access all seven years of BONUS CONTENT right now including: Ad-Free episodes of all of weekly shows Weekly live Patreon podcasts hosted by Don Tony and Kevin Castle Thousands of Hours of Patreon exclusive shows never released publicly! (Over 7 Years of Patreon Exclusive Content!) Retro episodes of The Don Tony And Kevin Castle Show going back as early as 2004 (Retro Episodes added each week!) Predictions Contests, Giveaways and more! CLICK HERE to access now! YOUTUBE CHANNEL MEMBERSHIPS: Another option is to become a CHANNEL MEMBER over at YouTube. Get exclusive enhanced ad-free versions of weekly Don Tony and Kevin Castle Show, access to DT's weekly Patreon show, retro DTKC Show episodes, every pro wrestling daily news update, giveaways and more. CLICK HERE for more details and to join The Family! ==== CHECK OUT DON TONY AND KEVIN SHOW CONTENT ACROSS THESE PLATFORMS: CLICK HERE FOR APPLE PODCASTS CLICK HERE FOR SPOTIFY CLICK HERE FOR ANDROID CLICK HERE FOR AMAZON MUSIC CLICK HERE FOR GOOGLE PODCASTS CLICK HERE FOR PANDORA CLICK HERE FOR PODBEAN CLICK HERE FOR IHEARTRADIO CLICK HERE FOR DON TONY MERCHANDISE! ==== DON TONY AND KEVIN CASTLE: UPCOMING WEEKLY SHOW SCHEDULE (ET): DON TONY AND KEVIN CASTLE SHOW: LIVE Mondays 11:15PM on DTKCDiscord.com PRO WRESTLING DAILY NEWS UPDATES: Pro Wrestling news updates posted every day! DT VIPATREON: Patreon Exclusive Show hosted by Don Tony LIVE Tuesdays 8:30PM on Patreon Channel at DTKCDiscord.com THIS WEEK IN WRESTLING HISTORY: Posted Thursdays 4PM at DonTony.com CASTLE/KNT CHRONICLES: Patreon Exclusive Show hosted by Kevin Castle and Trez LIVE Thursdays 8:30PM on Patreon Channel at DTKCDiscord.com THE SIT-DOWN w/DON TONY: LIVE Sundays at 8PM on YouTube WWE/AEW PPV REVIEWS: (Airdates/Airtimes vary) THE DON TONY SHOW: Special Episodes (Airdates/Airtimes vary) ==== SOCIAL MEDIA / WEBSITE / CONTACT INFO: Twitter: https://twitter.com/dontonyd Patreon: https://www.patreon.com/dontony Facebook: https://facebook.com/DTKCShow YouTube: https://www.youtube.com/dontony Website: https://www.wrestling-news.com Email: dontony@dontony.com

"Every day is an opportunity to learn something, to challenge yourself. It doesn't end - especially in a business like ours." In this episode, WomenHeard: Changemakers host Georgia Galanoudis speaks with Daisy Expósito-Ulla, 2018 inductee of the Advertising Hall of Fame by the American Advertising Federation (AAF) and CEO of d exposito & partners. A former Matrix Awards winner, she supports several scholarships including NYWICI's The Esperanza.  Daisy's strategic approach has reshaped the advertising industry - helping clients engage today's multicultural consumers and diverse segments of Hispanics and Latinos. Some of Daisy's current clients include the Smithsonian Institute, McDonald's, Nielsen, and the U.S. Food & Drug Administration. Prior to founding d expósito & Partners, she was Chairman/CEO of Young & Rubicam/WPP's The BravoGroup.  In 1964, Daisy immigrated with her family to the US as a political refugee from Cuba. To acclimate to American culture, her "window to the world" was television. "Realidades" was the first bilingual program she saw; she was so inspired that she followed the credits at the end of the show and found the producers' office to (successfully!) land a job. Since then, she's put to work her expansive knowledge of communities of color in media and advertising, setting her on a fascinating leadership trajectory. Listen to this episode for how to educate your audience and why Daisy believes advertising is "not just about language - it's about culture." 

Scientific Sense ® by Gill Eapen: Dr. Anna Trindade Falcão is Postdoctoral Researcher at the Center for Astrophysics at the Smithsonian Institute of Harvard University. She is interested in multi wavelength studies of active galactic nuclei (AGN), their evolution, and connection to the interstellar medium. Please subscribe to this channel: https://www.youtube.com/c/ScientificSense?sub_confirmation=1 --- Support this podcast: https://podcasters.spotify.com/pod/show/scientificsense/support

To this day, 5% of Americans believe that the Apollo Moon landings were faked - that's more than 16 million people. How did this theory start? And why, even in the face of overwhelming evidence, do some still believe it? This & the Flat Earth conspiracy theory will be discussed today on Found Objects history podcast. Listen wherever you stream podcasts!Follow us on Instagram:https://instagram.com/foundobjectspodcastSOURCES:​​“Apollo 11 Mission Overview.” NASA, NASA, 17 Apr. 2015, www.nasa.gov/history/apollo-11-mission-overview/#:~:text=Armstrong%20and%20Aldrin%20spent%2021,at%20124%20hours%2C%2022%20minutes.Baugh, L. Sue. “Flat Earth.” Encyclopædia Britannica, Encyclopædia Britannica, inc., 22 July 2024, www.britannica.com/topic/flat-Earth.Burdick, Alan. “Looking for Life on a Flat Earth.” The New Yorker, 30 May 2018, www.newyorker.com/science/elements/looking-for-life-on-a-flat-earth.Harvey, Austin. “Inside the Enduring Conspiracy Theory That the Moon Landing Was Fake.” All That's Interesting, All That's Interesting, 22 July 2024, allthatsinteresting.com/moon-landing-fake.“How Do We Know That We Went to the Moon? | Institute of Physics.” Institute of Physics, 2024, www.iop.org/explore-physics/moon/how-do-we-know-we-went-to-the-moon.“July 20, 1969: One Giant Leap for Mankind.” NASA, NASA, 20 July 2019, www.nasa.gov/history/july-20-1969-one-giant-leap-for-mankind/.Launius, Roger. “Why Do People Persist in Denying the Moon Landings?” National Air and Space Museum, The Smithsonian Institute, 1 Apr. 2010, airandspace.si.edu/stories/editorial/why-do-people-persist-denying-moon-landings.The Week Staff. “Apollo 11: The Moon Landing Conspiracy Debunked.” Theweek, The Week, 15 July 2019, theweek.com/102265/apollo-11-the-moon-landing-conspiracy-debunked. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

E367 – "Inner Voice: A Heartfelt Chat with Dr. Foojan." In this episode, Dr. Foojan Zeine chats with Dr. Harville Hendrix and Dr. Helen LaKelly Hunt, Imago Relationship Theory and Therapy co-creators. In 2015, Harville and Helen also co-founded Safe Conversations LLC--a training institute that teaches a relational intervention based on the latest relational sciences that can help anyone shift from conflict to connection. Harville and Helen are co-authors of three New York Times bestsellers, including Getting the Love You Want, which has sold more than four million copies, and multiple other books on relationships. Harville graduated from Mercer University in Macon, Georgia, which awarded him an Honorary Doctorate of Human Letters. He holds a Master of Divinity from Union Theological Seminary in New York and an M.A. and a Ph.D. in Psychology and Religion from The School of Divinity at the University of Chicago. Harville received several honors, including the Outstanding Pastoral Counselor of the Year Award from the American Baptist Churches and the Distinguished Contribution Award from the American Association of Pastoral Counselors. Helen earned her doctorate in Women's History from Union Theological Seminary in NYC. In addition to her partnerships with Harville, Helen is one of a small army of women who helped seed the women's funding movement. She was inducted into the National Women's Hall of Fame in 1994 for her contribution to the global women's movement and into the Smithsonian Institute for creating Women Moving Millions and her leadership in creative women's philanthropy. Today, we will discuss their latest book, "How to Talk with Anyone about Anything." Visit harvilleandhelen.com or quantumconnections.com to learn more about dialogue training and the global social movement. 20 Best California Mental Health Podcasts https://podcasts.feedspot.com/california_mental_health_podcasts/ Check out my website: www.FoojanZeine.com, www.AwarenessIntegration.com, www.Foojan.com

The digitization and curation team from the National Museum of African American History and Culture are helping families and institutions preserve Black history in the St. Louis region. Doretha Williams, director of the Digitization and Curation Center at the Smithsonian Institute and April Brown, director of Internship Management & HR Solutions at Cardinal Ritter College Prep discuss the importance of maintaining personal and community histories and how folks can participate

Joined by MWP Paranormal Experts, Mitch Wonders about the incredible lost body parts, American artifacts, and creepy hauntings of The Smith. You don't want to miss this one! Binge episodes at mitchwonders.com and on every platform! And...THANK YOU!

Dateline: August 23, 2024. Rossifari Zoo News is back with a round up of the latest news in the world of zoos, aquariums, conservation, and animal weirdness!   We start off with the usual recap of my life. I'm playing a show. Yay! We then get into our headline story for the week, which is a tough one about an accredited facility in New Zealand that has a lot of former and current keepers speaking out about problems there. Then it's time for births, featuring a snow leopard at the Toledo Zoo, puffins at Monterey Bay Aquarium, a new fennec fox at Idaho Falls Zoo, and the first ever okapi born at Yokohama Zoo!We also say goodbye to some incredible animals. It starts with two red pandas, but then we go to Ren Howell to tell us about a truly amazing penguin that has passed away. We also say goodbye to one of the rarest animals in human care, an elephant seal at Pittsburgh Zoo and Aquarium. Other obituaries include animals at Edmonton Valley Zoo, Tulsa Zoo, and ABQ BioPark.  We then move on to our other Zoo News stories.  We discuss the current viral video of a woman enticing a tiger. Then we look at the top ten zoos in the US according to Newsweek. Additional stories from Cleveland Metroparks Zoo, the Cincinnati Zoo, and the Louisville Zoo follow. In Conservation News, we talk about a new species being protected by Aussie Ark, an oil spill in South Africa, and an incredibly innovative conservation strategy being proposed by the Smithsonian Institute. In Other News, we talk about a cruise ship for dogs, lobsters of rare colors, and Yo-Yo Ma, as one would expect.  ROSSIFARI LINKS:  www.rossifari.com  patreon.com/rossifari  @rossifari on socials  @rossifaripod on TikTokOne Lagoon, One Voice: The Podcast Scientists, researchers, and community leaders discuss projects and progress in the IRL.Listen on: Apple Podcasts Spotify Wild Times: Wildlife EducationDiscover thrilling wildlife encounters, mysterious animals tales, and daring expeditions!Listen on: Apple Podcasts Spotify

Seriah is joined by author and researcher Camille Sauve. Topics include her recent book “Sorcerers of Stone: Architects of the Three Ages”, history and prehistory of Peru, huacas/wakas sacred sites, things built by the Inca people and things they didn't build, higher megalithic technology predating lower craftsman technology, an incident with a massive stone crushing people, the ancient god Viracocha, Rudolph Steiner and Madam Blavatsky on ancient construction, Lemuria and Mu, Easter Island, lost continents, intuition and speculation, tourism vs archeology and history, academic theory vs Indigenous lore, huge sediment deposits at high altitudes, the strange location of the city of Cusco, the site Saqsaywaman, the vast cavern system throughout Peru, underground cities in Turkey, cave/tunnel systems around the world and their possible uses and origins, the Hopi stories of global catastrophe and the Ant People, the seven sages from Egypt/Mesopotamia, recurring legends from around the world, the Flood and Gilgamesh, unexplained (conventionally) connections between distant cultures, the cosmogony of the three worlds, ideas of Alfredo Gamarra, a vastly different ancient earth, Akashic records, psychic investigations, the Theosophical concept of a race of giants, a massive stone staircase, a monument with human-size and giant thrones, three distinct eras of architecture attributed (rightly or wrongly) to the Incas, legends of giants across the Americas, Brothers of the Serpent, the Smithsonian Institute and giant bones, expanding earth theory, changes in gravity and orbit, Alfredo Gamarra's son Jesus, the apparent spreading of the continents, tectonic plate theory's early rejection by the science of its time, revision in science caused by new data, the outdated Clovis theory of the settlement of the Americas, Grahm Hancock, the TV show “Life After People”, the cosmic cycles of destruction, possible ancient geopolymers, a Russian study of Peruvian stone, Egyptian casing stones as geopolymer, Joseph Davidovits, ancient vs modern structures resilience to earthquakes, “The Feed” TV series on Amazon, colonial Spanish reaction to the structures in the Americas, vitrification of stone, Jan Peter de Jong, electric conductivity in Peruvian caves, earthquake fracture zones and electromagnetic energy, Inca ley lines, Paul Devereux, Greg Little, UFOs and earthquake fault lines, Marian apparitions connection with earthquakes, Incan priests and oracles on fault lines, Peruvian shamans, zig-zag walls in Egypt and Peru, possible pre-colonial electric power generation, running water through limestone and its effects, a study of earth energy and ionization, dating of ancient monuments, bio geometry, Dr. Ibrahim Karim, and much more! This is a fascinating discussion, loaded with information!

Legendary Indie Rock trio BETTY, Alyson Palmer (vocals, bass, guitar), Elizabeth Ziff (vocals, guitar, electronic programming) and her sister, Amy Ziff (vocals and cello), use beguiling melodies, compelling lyrics and signature harmonies to create energetic live shows that mix music, performance art, politics and comedy. BETTY sings of joy, love, longing, sex, food, heartbreak, and the universal hilarity of human existence. More than a band, BETTY uses music to channel their passion for representation, fairness and equality. From the beginning, they've blended their voices for causes they fight for, their talents in collaboration with other artists of every medium, and their time in support of women and girls, worldwide. In addition to creating, performing and recording together as a group of independent artists since 1986, BETTY travels the world as Arts Envoys for the US Department of State. To further their humanitarian outreach and cultural diplomacy, Gloria Steinem advised them to form a non-profit, which they did in 2014. The BETTY Effect's mission is using music and performance techniques to help others communicate and connect for personal power, social progress and peace, especially women and girls and LGBTQIA communities. BETTY has been featured on national and international radio, television – including their iconic theme song for the L Word – and in films, commercials, jingles, recordings, streaming projects and concert venues across five continents. They have contributed as guest artists to dozens of recordings and compilation albums, and their soundscapes can be heard in art installations, like Darren Waterston “Filthy Lucre” at Massachusetts Museum of Contemporary Art (Mass MOCA), The Smithsonian Institute and London's Victoria and Albert Museum. Their Off-Broadway musical, BETTY RULES, was another show in a glittering string of hits directed by Michael Greif (Days of Wine and Roses, Hell's Kitchen, Dear Evan Hanson, Next to Normal, RENT.) Learn more about your ad choices. Visit podcastchoices.com/adchoices

Seriah is joined by author and researcher Camille Sauve. Topics include her recent book “Sorcerers of Stone: Architects of the Three Ages”, history and prehistory of Peru, huacas/wakas sacred sites, things built by the Inca people and things they didn't build, higher megalithic technology predating lower craftsman technology, an incident with a massive stone crushing people, the ancient god Viracocha, Rudolph Steiner and Madam Blavatsky on ancient construction, Lemuria and Mu, Easter Island, lost continents, intuition and speculation, tourism vs archeology and history, academic theory vs Indigenous lore, huge sediment deposits at high altitudes, the strange location of the city of Cusco, the site Saqsaywaman, the vast cavern system throughout Peru, underground cities in Turkey, cave/tunnel systems around the world and their possible uses and origins, the Hopi stories of global catastrophe and the Ant People, the seven sages from Egypt/Mesopotamia, recurring legends from around the world, the Flood and Gilgamesh, unexplained (conventionally) connections between distant cultures, the cosmogony of the three worlds, ideas of Alfredo Gamarra, a vastly different ancient earth, Akashic records, psychic investigations, the Theosophical concept of a race of giants, a massive stone staircase, a monument with human-size and giant thrones, three distinct eras of architecture attributed (rightly or wrongly) to the Incas, legends of giants across the Americas, Brothers of the Serpent, the Smithsonian Institute and giant bones, expanding earth theory, changes in gravity and orbit, Alfredo Gamarra's son Jesus, the apparent spreading of the continents, tectonic plate theory's early rejection by the science of its time, revision in science caused by new data, the outdated Clovis theory of the settlement of the Americas, Grahm Hancock, the TV show “Life After People”, the cosmic cycles of destruction, possible ancient geopolymers, a Russian study of Peruvian stone, Egyptian casing stones as geopolymer, Joseph Davidovits, ancient vs modern structures resilience to earthquakes, “The Feed” TV series on Amazon, colonial Spanish reaction to the structures in the Americas, vitrification of stone, Jan Peter de Jong, electric conductivity in Peruvian caves, earthquake fracture zones and electromagnetic energy, Inca ley lines, Paul Devereux, Greg Little, UFOs and earthquake fault lines, Marian apparitions connection with earthquakes, Incan priests and oracles on fault lines, Peruvian shamans, zig-zag walls in Egypt and Peru, possible pre-colonial electric power generation, running water through limestone and its effects, a study of earth energy and ionization, dating of ancient monuments, bio geometry, Dr. Ibrahim Karim, and much more! This is a fascinating discussion, loaded with information! - Recap by Vincent Treewell Hosted on Acast. See acast.com/privacy for more information.

Happy Spooky Wednesday, folks! It may be summer outside, but we're keeping it creepy here on the podcast. Kala had a special seeeeester birthday request for a haunted museum, and so she covered world's largest museum, education, and research complex, The Smithsonian Institute! Considering how many artifacts these buildings hold, it's no surprise that some ghosts have come along with them. And it's not just visitors who have had experiences, the staff has lots of tales to tell too! And Brittany talks about the legend of The Green Children of Woolpit. Years ago, two children were found next to a pit full of angry, snarling wolves (okay... not really. It was just a pit). What makes this situation even weirder? The kids were green! Where did they come from? Were they fae? Aliens? Sickly humans? Sadly, with this happening so many centuries ago, we may never know for sure.Thank you so much for listening! If you haven't had a chance, we would love it if you could rate and subscribe to our podcast wherever you listen to all your favorite paranormal podcasts! Editor's Note: The Centennial Exposition of 1876 in Philadelphia IS the first World's Fair, but HH Holmes was at the Chicago one in 1893. It was called the World's Columbian Exposition. I was both right and also wrong.

Jeannette talks to Jesse Tayler, an inventor, lifelong startup entrepreneur and founder of TruAnon, about his experience with creating the App Store and pitching it to Steve Jobs. Jesse reflects on the challenges faced during the early days of electronic distribution and the importance of perseverance in the face of scepticism. He delves into the impact of AI on businesses, sharing practical advice on integrating language models into software development. KEY TAKEAWAYS The importance of timing is crucial, as well as the need to adapt and evolve ideas over time to fit changing circumstances. We must listen to one's inner self and trust one's instincts as a valuable tool in decision-making and pursuing entrepreneurial endeavours. The concept of failure as a learning opportunity shouldn't be discounted. In Jesse's case they have contributed to his growth and success. The lasting impact of Jesse's inventions, such as the App Store, is acknowledged, showcasing how even perceived failures can lead to significant contributions to the tech industry. BEST MOMENTS "I think the critical driver is really a desire to change the world in a way that matters. And it doesn't have to be an idea that comes from me." “The capacity of that language model to help you create, perhaps not to give you any intention, to perhaps not to give you advice, you know, that makes sense in the larger application design." "I don't know where the passion comes from, but without it, you're not going to be able to get that over the hump. It is too scary and it is too difficult." "Well, it was a failure, but it wasn't a failure because now all these years later, what you started back then is now part and parcel of everyday life."   This is the perfect time to get focused on what YOU want to really achieve in your business, career, and life. It's never too late to be BRAVE and BOLD and unlock your inner BRILLIANT. Visit our new website https://brave-bold-brilliant.com/ - there you'll find a library of FREE resources and downloadable guides and e-books to help you along your journey. If you'd like to jump on a free mentoring session just DM Jeannette at info@brave-bold-brilliant.com. VALUABLE RESOURCES Brave Bold Brilliant - https://brave-bold-brilliant.com/ Brave, Bold, Brilliant podcast series - https://podcasts.apple.com/gb/podcast/brave-bold-brilliant-podcast/id1524278970    ABOUT THE GUEST Jesse Tayler has a storied career in Silicon Valley as the startup, crypto inventor of the first App Store which he personally demonstrated to Steve Jobs in 1993. His work spans digital solutions from pioneering early-web solutions to modern online identity verification, marking him as one of the most generally prolific software inventors of his time. His work includes the first ever private equity trading platform on the web and pioneering the first geo-coded food delivery, also a Steve Jobs related startup and curated in the Smithsonian Institute under inventions of the 20th century. Jesse's lifelong contributions are widely recognized for changing the world of computing, with popular inventions showcasing the impact of his larger-than-life role. Jesse is a book author relating to expert software process and is retained for talks on technology, training and coaching for startups in their early and growth phase. Jesse is also a musician with a composition currently streamed on Spotify and iTunes. ABOUT THE HOST Jeannette Linfoot is a highly regarded senior executive, property investor, board advisor, and business mentor with over 30 years of global professional business experience across the travel, leisure, hospitality, and property sectors. Having bought, ran, and sold businesses all over the world, Jeannette now has a portfolio of her own businesses and also advises and mentors other business leaders to drive forward their strategies as well as their own personal development. Jeannette is a down-to-earth leader, a passionate champion for diversity & inclusion, and a huge advocate of nurturing talent so every person can unleash their full potential and live their dreams. CONTACT THE HOST Jeannette's linktree - https://linktr.ee/JLinfoot https://www.jeannettelinfootassociates.com/ YOUTUBE - https://www.youtube.com/@braveboldbrilliant LinkedIn - https://uk.linkedin.com/in/jeannettelinfoot Facebook - https://www.facebook.com/jeannette.linfoot/ Instagram - https://www.instagram.com/jeannette.linfoot/ Tiktok - https://www.tiktok.com/@jeannette.linfoot Podcast Description Jeannette Linfoot talks to incredible people about their experiences of being Brave, Bold & Brilliant, which have allowed them to unleash their full potential in business, their careers, and life in general. From the boardroom tables of ‘big' international businesses to the dining room tables of entrepreneurial start-ups, how to overcome challenges, embrace opportunities and take risks, whilst staying ‘true' to yourself is the order of the day.Travel, Bold, Brilliant, business, growth, scale, marketing, investment, investing, entrepreneurship, coach, consultant, mindset, six figures, seven figures, travel, industry, ROI, B2B, inspirational: https://linktr.ee/JLinfoot

On the twenty- second episode of ATFT, film historian/ author/ lecturer Max Alvarez joins me in celebrating the 50th anniversary of Chinatown! This episode is spoiler- filled. Chinatown, a neo- noir thriller directed by Roman Polanski, is widely considered one of the greatest films of all time. The film is set in 1937 Los Angeles and follows J.J. “Jake” Gittes, a private investigator played brilliantly by Jack Nicholson, as he is, initially, hired by a woman to uncover the details of her husband's, Hollis Mulwray, affair, a man who is the head of the water department. From there, the story unfolds in unanticipated ways. What started as an investigation into an affair leads to the uncovering of a deceitful plot involving Mulwray's former partner as co- head of the water department, Noah Cross (John Huston). Chinatown deals with corruption, greed, and the advantages of having money, which by extension, comes with power. The film also stars Faye Dunaway who plays Evelyn Mulwray, Hollis Mulwray's wife and Jake's “partner- in crime” in solving this expansive and disturbing case. Chinatown won one Oscar, for Robert Towne's famously masterful screenplay, and earned ten nominations.  This is Max's second guest appearance on ATFT! He was the guest on the very first episode of the “wide- release” of ATFT. I was so honored that Max agreed to be my first interview and I am just as honored that he agreed to return to discuss this excellent film! Since our interview, we have maintained a consistent correspondence via e-mail where we keep each other updated on our projects as well as discuss certain films. This episode was recorded on June 6, 2024.  Max Alvarez is a guest lecturer at both New Plaza Cinema in NYC and the Smithsonian Institute. On the day this episode releases, Max will be giving a Zoom lecture on “The Cinema of Billy Wilder” and the next day, he will be giving another Zoom lecture on Wilder's film, Sunset Boulevard. Stay updated on Max's upcoming lectures for New Plaza Cinema by going to the “Lectures” tab on newplazacinema.org. Max has also written three books, two of which, The Crime Films of Anthony Mann and The Cinephile's Guide to the Great Age of Cinema, are available for purchase on Barnes and Noble's website.  In this episode, Max shares some history about the making of Chinatown from Robert Towne's screenplay, which is often regarded as “the greatest screenplay of all time” to Jerry Goldsmith's score. I compared Chinatown to two films: one that was recently Oscar- nominated and the other being an Italian film from the 60s. Max and I also analyze the film's mysteries as well as characters Jake Gittes and Noah Cross and discuss the famous ending of the film, including the drastic last minute changes made to Chinatown's original ending. All this and more on the latest episode of All the Film Things! Background music created and used with permission by the Copyright Free Music - Background Music for Videos channel on YouTube.

Rappin' With ReefBum is a LIVE talk show with host Keith Berkelhamer and guests from the reef keeping community. In this episode I chat with Chris Wood from Captiv8 Aquaculture. Chris is a marine biogeochemist and the Chief Science Officer of Captiv8 Aquaculture. He is also the founder and sole owner of Captiv8. The company's R&D draws from Chris' experience and two additional scientists, with a total of four PhDs.Chris entered the aquatics industry in 2000 as a marine scientist and product development and support specialist, and since that time has worked with aquarists and organizations throughout the world to improve outcomes with aquarium systems and recirculating aquatic ecosystems. Some of the organizations that have used his formulations include the Smithsonian Institute, Disney, NASA, and the Israeli Government, as well as several aquaculture operations in the U.S, including ACI Aquaculture.

In this episode, I have the absolute honor of welcoming legendary relationship experts Harville Hendrix & Helen LaKelly Hunt. I had to pinch myself when I met them – it was a full circle moment for me. I found Harville and Helen's work at a time in my life when I was deeply confused about relationships. I didn't know why I was so good at talking about everything but my feelings. I didn't know why I chose the people I chose or was the way I was. Harville and Helen's work and their book gave me context to my personal relational patterns and a framework for relating better. In this episode, Harville and Helen discuss the transformative power of dialogue in relationships and the importance of curiosity and open-mindedness. We explore the complexities of emotional healing and self-awareness in relationships, the concept of unconscious attraction in romantic partnerships, and how childhood needs and experiences shape adult behaviors and relationships. Tune in for a profound conversation that will surely impact the way you relate in your life moving forward. Harville Hendrix Ph.D. and Helen LaKelly Hunt Ph.D. are co-creators of Imago Relationship Therapy and a social movement called Safe Conversations. Internationally respected as couple's therapists, educators, speakers, activists, and New York Times bestselling authors, their 10 books, including the timeless classic, Getting the Love You Want: A Guide for Couples, have sold more than 4 million copies. Harville appeared on the Oprah Winfrey television program 17 times! Helen was installed in the Women's Hall of Fame and the Smithsonian Institute. They have six children and eight grandchildren. —Harville & Helen's Instagram: https://www.instagram.com/harvilleandhelen/ —Harville & Helen's Website: https://harvilleandhelen.com/ —Harville & Helen's Website | Safe Conversations: https:/quantumconnections.com —Harville & Helen's Website | Imago Relationship: https://imagorelationships.org/ —Harville & Helen's Book: Getting the Love You Want: https://harvilleandhelen.com/books/getting-the-love-you-want/ —Still Face Experiment: Dr. Edward Tronick: https://youtu.be/vmE3NfB_HhE?si=QivHWP9_jREexK3s&t=34 If you want to dive deeper into Mark's content, search through every episode, find specific topics we've covered, and ask him questions, go to his Dexa page: https://dexa.ai/markgroves Themes: Authenticity, Belonging, Breakups, Relationships, Boundaries, Self-Worth, Self-Love, Health, Codependency, Dating, Attachment Theory, Transformation, Conflict, Parenting, Mental Health, Dialogue, Curiosity, Childhood Experiences, Unconscious Attraction, Relationship Development, Self-Awareness, Self-Care, Collaboration This episode is sponsored by BON CHARGE: Use code MARKGROVES to save 15% at http://boncharge.com/MARKGROVES Contact us at podcast@markgroves.com for sponsor product support, questions, comments, or just to say hello! Learn more about your ad choices. Visit megaphone.fm/adchoices

It's almost FESTIVAL SEASON in Appalachia!!! In this episode Will and (sans) Neil sit down with Pineville Schools.  Through the Innovative Approaches to Literacy (IAL) Program Samantha North and Shannon Elliott applied for a grant through the Smithsonian Institute to allow a group of students to produce a documentary about the Kentucky Mountain Laurel Festival (the oldest festival on record in the Commonwealth of Kentucky).  Speaking to nostalgia for the guys, here how Shannon and Samantha guided the students, not only through the process but through the significance of the festival itself.  For a lot of people from Pineville the KMLF is more than just a festival, it's a sense of belonging, a sense of place.  Take a listen to hear what it now means to Shannon and Samantha and how that carried over to the students.  It proved to provide a sense of purpose for the students, one that they could learn to appreciate where they're from.  Also, don't forget about the #AppBiz(s) of the week (for Youth Apprenticeship Week): DataSeam; and Cornett Farm Fresh! Smithsonian Museum on Main Street - https://museumonmainstreet.org  "When the Mountain Laurel Blooms: Embracing Tradition in Pineville, KY" - https://museumonmainstreet.org/content/when-mountain-laurel-blooms-embracing-tradition-pineville-kentucky  Mountain Lion News - www.youtube.com/@Mtnlionnews/videos  Kentucky Mountain Laurel Festival - www.kmlf.org  App News: Mother's Day (in Appalachia) - www.history.com/topics/holidays/mothers-day  Foxfire Mother's of Appalachia Book: Article (Garden and Gun) - https://gardenandgun.com/articles/why-foxfire-still-resonates/  Appalachian Sustainable Finance Hub Launch Event - www.heartlandfinancehub.org/launch?emci=20b528c3-a908-ef11-96f3-7c1e521b07f9&emdi=ea000000-0000-0000-0000-000000000001&ceid=%7B%7BContactsEmailID%7D%7D  ARC Arise $1.7 Million - www.arc.gov/news/arc-awards-nearly-1-7-million-to-grow-workforces-in-cybersecurity-infrastructure-and-housing-capacity-across-six-appalachian-states/  Youth Apprenticeship Week - https://blog.dol.gov/2024/05/06/youth-apprenticeship-week-is-here  Festival (State) Guide - https://festivalguidesandreviews.com  #AppBiz: DataSeam - www.kydataseam.com  Cornett Farm Fresh - www.cornettfarmfresh.com 

Welcome back to ARTMATTERS: The Podcast for Artists!Back today is my guest Anne Harris. She is a painter, a curator, a writer, and professor at the Art Institute of Chicago. In today's conversation Anne speaks about Paul's pisco sour, the artist spouse, therapy, loneliness, momentum, the Zone, music in the art studio and why painting is a vocation, not a career. Lot's more too. Check it out!About Anne Harris:Anne Harris has exhibited at venues ranging from Alexandre Gallery and DC Moore Gallery in New York to the National Portrait Gallery at the Smithsonian Institute and many more besides.  She is also the originator of The Mind's I, a drawing project done with other artists which has traveled and exhibited nationally and internationally. As for her studio practice, in Anne's own words she wants her paintings to, "function like an eyelid, veering from dry to wet, inside to outside, opaque to transparent, form to formless, mute to aggressive, space curved outward toward the viewer, held in by fragile surface tension, the picture plane as membrane, the entire painting an eyelid.”This is a two-parter folks, so don't forget to listen to part one from last week if you haven't already. Thanks for listening! You can now support this podcast by clicking HERE where you can donate using PATREON or PayPal!If you're enjoying the podcast so far, please rate, review, subscribe and SHARE ON INSTAGRAM! If you have an any questions you want answered, write in to artmatterspodcast@gmail.com host: Isaac Mann www.isaacmann.cominsta: @isaac.mann guest: Anne Harris www.anneharrispainting.com insta: @anneharris.painting 

Welcome back to ARTMATTERS: The Podcast for Artists. My guest today is Anne Harris. She is a painter, a curator, a writer, and professor at the Art Institute of Chicago. She has exhibited at venues ranging from Alexandre Gallery and DC Moore Gallery in New York to the National Portrait Gallery at the Smithsonian Institute and many more besides.  She is also the originator of The Mind's I, a drawing project done with other artists which has traveled and exhibited nationally and internationally.On today's episode we discuss routine, productively, working slow, numb panic, depression, relevance, on trend/off trend, contracts, royalties, a culture that values art but not artists, drawing, invisible labor, how art develops it's meaning over time and the Venus of Willendorf. As for her studio practice, well, in Anne's own words she wants her “paintings to function like an eyelid, veering from dry to wet, inside to outside, opaque to transparent, form to formless, mute to aggressive, space curved outward toward the viewer, held in by fragile surface tension, the picture plane as membrane, the entire painting an eyelid.”Anne Harris was a blast to talk to, eloquent, honest and insightful. This is a two-parter folks, here's part one. Enjoy. You can now support this podcast by clicking HERE where you can donate using PATREON or PayPal!If you're enjoying the podcast so far, please rate, review, subscribe and SHARE ON INSTAGRAM!  If you have an any questions you want answered, write in to artmatterspodcast@gmail.com host: Isaac Mann www.isaacmann.cominsta: @isaac.mann guest: Anne Harris www.anneharrispainting.com insta: @anneharris.painting 

Composer and pipa virtuoso, Ms. Min Xiao-Fen is our guest this week to talk about her recently released album Metta, which features the scores of 2 Chinese silent films, The Romance of the Fruits Peddler and Romance of the Western Chamber. These scores were commissioned by the Smithsonian Institute in 2023. We also discuss:Growing up in a musical familyGoing from a classical background to collaborating with jazz greats like John Zorn, Derek Bailey and Wadada Leo SmithCollaborating with Bjork on "I See Who You Are" from the album VoltaLearning to improvise and learning the Chinese connection to jazz For More Information about Min Xiao-Fen:Website: http://minbluepipa.com/newsIG: https://www.instagram.com/minxiaofenFB: https://www.facebook.com/min.xiaofen/An NPR interview with Ms. Min from 2021:https://www.npr.org/2021/07/03/1012832047/the-traditional-chinese-pipa-meets-guitar-in-min-xiao-fens-white-lotusIf you'd like to support Soundtrack Your Life, we have a Patreon, where you'll get bonus episodes and more!This podcast uses the following third-party services for analysis: Podscribe - https://podscribe.com/privacySpotify Ad Analytics - https://www.spotify.com/us/legal/ad-analytics-privacy-policy/Chartable - https://chartable.com/privacy

Could the ocean's murky depths be hiding artifacts of advanced ancient civilizations or evidence of extraterrestrial visitations? Open your mind to the enigmatic wonders that are possibly submerges beneath the waves.  We journey to unravel the secrets of the Baltic Sea Anomaly, discovered in 2011 by marine geologists Peter Lindberg and Dennis Ashberg, and compare it to other mysterious underwater features, like the Yonaguni Monument and the Bimini Road. Strap in for a voyage through history and speculation, where formations found on the ocean floor spark debates over natural phenomena versus otherworldly creations, and ancient lore intersects with modern UFO sighting.This episode isn't just a dive into the ocean's mysteries; it's an excavation of the truth, as we examine behind the Smithsonian Institute's rumored concealment of discoveries that could rewrite history. Nordic, Celtic, and Baltic mythologies speak of deities traversing the skies in celestial chariots. Could these myths preserve memories of historical events, such as aerial conflicts, that left behind artifacts like the Baltic Sea Anomaly? Our conversation spans to the awe-inspiring and the controversial, from considering the existence of secret underwater bases to the eerie 1997 "bloop" detected by naval research hydrophones throughout the South Pacific. From there, we ponder the existence alien craft capable of not only of interstellar travel, but also of underwater excursion.   This notion is found to be bolstered by modern-day reports of phenomena, such as the Tic-Tac UFO and unidentified submersible objects.  Findings that are as profound as they are perplexing are hidden in the depths of our planet's most formidable frontier. We ask the questions about such clues that lead to a better understanding of civilizations, both past and present.Genes, Giants, Monsters and Men," The Surviving Elites of the Cosmic War and Their Hidden Agenda. J. P. Farrell, p 178-187. Feral House (2011) Port Townsend, WA.   https://malibutimes.com/article_eda95e50-33b4-11e4-b284-0019bb2963f4  "Calls from The Deep," D. Wolman, New Scientist. June 15, 2002, (archived from the original on January 6, 2013). https://en.m.wikipedia.org/wiki/Dyeushttps://en.m.wikipedia.org/wiki/Divine_Twins"Space Journey" by Geoff HarveyCopyright © 2021 Melody Loops LPFull License Royalty-Free Music https://www.melodyloops.com Support the showVisit our website

Looking 4 Healing Radio with Dr. Bryan Ardis – Listen along as my daughter reads articles and highlights about the dangers and toxicities of this Gila monster lizard, venom-laced drug. You may be shocked that she was to learn all the deadly side effects of that drug. And listen along as my daughter Sierra reads what the Smithsonian Institute published this week about Gila monster venom and its toxicity being similar to a very deadly snake...

Looking 4 Healing Radio with Dr. Bryan Ardis – Listen along as my daughter reads articles and highlights about the dangers and toxicities of this Gila monster lizard, venom-laced drug. You may be shocked that she was to learn all the deadly side effects of that drug. And listen along as my daughter Sierra reads what the Smithsonian Institute published this week about Gila monster venom and its toxicity being similar to a very deadly snake...

The Hope Diamond has lived through its own veritable Odyssey. From the time of its first sale in London at the beginning of the 18th century, all the way to its sudden appearance in Washington, hidden in a brown paper envelope with a two dollar postmark …This fabulous blue diamond is now at home under high-security glass in the Smithsonian Institute. And yet, this heavenly-colored gem still oozes with secrets and mysteries that have yet to be brought to light.Voice of Jewels, a podcast from L'ÉCOLE, School of Jewelry Arts supported by Van Cleef & Arpels. Unveiling the stories and secrets behind History's most fascinating jewels.With Lætitia Gilles-Guéry, Gemologist and Lecturer at L'ÉCOLE, School of Jewelry Arts.Written by Martin Quenehen and Aram Kebabdjian, performed by Edoardo Ballerini and produced by Bababam. Hosted on Acast. See acast.com/privacy for more information.

In this episode, artist Christy Kill and host Lauren Steed talk about: the joys of life with a puppy, turning discouragement into opportunity and using frequent moves as an inspiration for new creative pursuits. Given the time and space to pursue something new, Christy found her professional identity in painting. She experiments with different mediums and materials, and and finds inspiration in nature and the environment, She honestly shares about her experiences as an artist, including both successes and failures, and how she believes in saying yes to opportunities that come her way. Like many EFMs, she finds her unexpected success by stepping out of her comfort zone.Christy Kill is an award-winning abstract painter. She has exhibited in numerous locations in the DC area; and a pair of her paintings “On the Shores of Iceland” were featured in a slideshow during ArtBasel Miami in December 2017. They are now on permanent display at the Ocean Cluster in Reykjavík, Iceland. She has given proceeds and paintings to several NGO's and charities serving children and the environment.Christy creates custom statement pieces of art and is inspired by the people she meets, in the countries she has lived - Norway, Costa Rica, Nicaragua, Iceland, and now Uruguay - and will always be influenced by her native roots of the Southern U.S. In 2023, Christy was awarded the U.S. Department of State's Professional Development Fellowship, and is currently taking a masterclass for artists as well as online courses through the Smithsonian Institute.You can find out more by visiting her website: www.christykill.com or following her on Instagram or Facebook @christykillartThis episode is sponsored by Fierce After 45, Rediscover your energy and vitality with the support of health coach and personal trainer Patricia Linderman! She managed her own recovery from a tendency to a sedentary lifestyle, overweight, shame and self-blame. An EFM for 31 years, she offers affordable coaching in any time zone, using the power of self-love and compassion to transform your habits. Say goodbye to discomfort and hello to a more vibrant you. Visit Fierce After 45 to schedule your free Zoom consultation today.Find Patricia atWebsite and blog: www.fierceafter45.comFacebook: https://www.facebook.com/FierceAfter45Instagram: https://www.instagram.com/fierceafter45/LinkedIn: https://www.linkedin.com/in/patricia-linderman-63a83213/

The Smithsonian Institute is the world's largest museum and is located in Washington, D.C. There are dozens of museums that are a part of the Smithsonian and together they showcase the history and culture of America and the world. And this is also the world's foremost research center. Priceless art, collections featuring memorabilia, fossils, animals, ancient Chinese bronzes, stamps, flags, posters and even Kermit the Frog call the Smithsonian home. The Institute is also cloaked in mystery and legends and it is quite possible that several spirits call this place home. Join us as we explore the history and hauntings of the Smithsonian! The Moment in Oddity features a heart shaped lead casket with embalmed heart and This Month in History features premiere of Happy Days. Check out the website: http://historygoesbump.com Show notes can be found here: https://historygoesbump.blogspot.com/2024/01/hgb-ep-521-haunted-smithsonian.html Become an Executive Producer: http://patreon.com/historygoesbump Music used in this episode:  Main Theme: Lurking in the Dark by Muse Music with Groove Studios (Moment in Oddity) Vanishing by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4578-vanishing License: https://filmmusic.io/standard-license (This Month in History) In Your Arms by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3906-in-your-arms License: https://filmmusic.io/standard-license Outro Music: Happy Fun Punk by Muse Music with Groove Studios The following music was used for this media project licensed under CC BY 4.0: https://filmmusic.io/standard-license: Ominous Padded Tension 2 by Tim Kulig Free download: https://filmmusic.io/song/11271-ominous-padded-tension-2

The Smithsonian Institute wanted to know about Jerry Eisterhold. So much so, the featured an article on what one might say is a long shot at best. The idea to repropagate vines of yesteryear in America would be fruitless (pun intended). But it is quite the opposite.  In this episode, you will hear the history of wine grapes in America that I would easily put down even money that the most advanced academics in the world of wine would not have a notion of the significance. It was so intriguing, that Wine Talks immediately purchased a sampling of the wines and bought the book recited in the show.  Jerry Eisterhold took it upon himself to scour the United States grape nurseries and study the history of wine grapes in America to a point where he has reintroduced a dozen indigenous grape varieties back into the soil. And then comes the fun part... Making wine from these new varietals with all the moving parts that go into making wine without any of the experience of any predecessor is proving to be a task of geometric proportions. Have a listen and hear the answers to all these headwinds.   PK

The real liquid solid for adults turned into Silly Putty for the kid inside all of us. Natural rubber was hard to get and Silly Putty was the mistake that created an empire. Dave Young: Welcome to the Empire Builders podcast, teaching business owners the not-so-secret techniques that took famous businesses from mom and pop to major brands. Stephen Semple is a marketing consultant, story collector, and storyteller. I'm Stephen's sidekick and business partner Dave Young. Before we get into today's episode, a word from our sponsor, which is, well, it's us, but we're highlighting ads we've written and produced for our clients. So here's one of those. [Irock Plumbing Ad] Dave Young: Welcome back to the Empire Builders podcast, Dave Young here alongside Stephen Simple. Stephen just whispered the name of today's topic into my ear, and it's one that I've certainly heard of. It's one that I have vast amounts of experience with as a child. We're going to find out if they're even still around because they must be, they built an empire. I think I know a little bit of the back story. It's sort of an accidental product called Silly Putty. Stephen Semple: Yes, Silly Putty. To give you an idea of how big Silly Putty is, there's been 350 million eggs sold, which would account to about 4,500 tons of Silly Putty in the world. It's in the National Toy Hall of Fame, and it's in the Smithsonian Institute. Dave Young: One of my favorite things to do with Silly Putty is probably not something that today's kids can do much with it because nobody buys newspapers anymore, but used to be able to smash the Silly Putty onto the comic strips. It would lift a little bit of the ink off, and that would be kind of fun. Stephen Semple: You could stretch it. Dave Young: Yeah. Kind of a goofy product. There's no legit purpose for it other than just to play with it in your hands. Stephen Semple: Invention of Silly Putty is disputed, actually. Some say Earl Warrick from Dow Corning, some say that was the inventor. Most including Crayola, who are now the owners of Silly Putty attribute it to James Wright at GE Labs in New Haven, Connecticut. So most say it was James Wright. So we're going to go with it being James Wright. Any case, whichever one was the inventor, it was invented in 1943 and today it's one of the best-selling toys in the world. As we're talking about, it's in the National Toy Hall of Fame, in the Smithsonian Institute. Dave Young: So 1943 puts it right in the middle of World War II, and we're fighting to stop the Axis and the Nazi powers. If I recall, if I heard a story once, it was like they were trying to invent something that was part of the war effort. Stephen Semple: Yes. In fact, that's exactly what it was. Again, just give you an idea of Peter Hodgson is the person who ran with Silly Putty and popularized it. In 1976, when he died, his estate was worth $140 million, which is probably in today's dollars 600 million. He did really well. He did really well by this. You're right. It was a year after he passed away that it was sold to Crayola. Back to GE Labs in 1941, Japan invades the rubber producing countries at the beginning of World War II creating all sorts of shortages. If you take a look at the countries that they invaded at the beginning, they were all basically countries that were the source of natural rubber because at the time, rubber came from the sap of trees, rubber was used in tires and rafts and aircraft products, and they were all made from natural rubber. That was the only rubber that was around. So basically companies like GE with the war effort were looking for a substitute. They were trying to find a substitution for natural rubber. James Wright was working on the problem, and he came up with a compound that was soft, sticky, stretchable. What made it unusual is that it can be compressed and it's a solid that can be cut, but when it's balled up, it bounces.

While struggling in the great depression, Margaret Rudkin was brave enough to offer her healthy bread, made for her son, to the local baker. Dave Young: Welcome to the Empire Builders Podcast, teaching business owners the not-so-secret techniques that took famous businesses from mom and pop to major brands. Stephen Semple is a marketing consultant, story collector, and storyteller. I'm Stephen's sidekick and business partner, Dave Young. Before we get into today's episode, a word from our sponsor, which is, well, it's us, but we're highlighting ads we've written and produced for our clients. So here's one of those. [Armadura Ad] Dave Young: Welcome back to the Empire Builders Podcast. Dave Young here with Stephen Semple talking about empire building. Stephen Semple: We have another remarkable female entrepreneur that we're highlighting. Dave Young: Oh, cool. So I don't know much about this one other than I've seen a lot of their marketing over the years and they've become a meme. There's a meme called Pepperidge Farms Remembers. And so we're going to talk about Pepperidge Farms, probably not the meme, but that was a throwback to their marketing campaign. How did they start, Stephen? Stephen Semple: Well, when you become a meme, you know you're a big deal. Dave Young: Oh, yeah. Stephen Semple: Pepperidge Farm was founded in 1937 by Margaret Rudkin in Fairfield, Connecticut, and she went on to sell the business to Campbell's Soup in 1961 for $28 million in 1961 money and became the first woman to sit on the board of directors of Campbell's Soup. She also later wrote a cookbook, The Margaret Pepperidge Farm Cookbook in 1963, and it was the first cookbook to make the New York Times bestsellers list. Dave Young: Wow. All right. Stephen Semple: So she's a big deal. She's a big, big, big deal. And Pepperidge Farm, they lived on this 123 acre farm and it was named for the Pepperidge tree that was on the property. Margaret was a mother of three, smart lady. She was valedictorian of her high school and had a career and worked as a bookkeeper for nine years, and we're talking in the early 1920s before marrying Henry Rudkin. So took a very different path. And Henry was a stockbroker and they went on to have three children, and in 1929, they moved to this farm in Connecticut right when the crash happened. Now, her husband's a stockbroker, and while they were not wiped out by many, times were still tight for them. Now, her son, John, had developed asthma and a number of allergies, and their doctor who was way ahead of his time recommended staying away from processed food. So again, this is like 1930. And one of the things that she realized that she needed to do was make a better bread for her son, John. She wanted to make this whole wheat bread and she had never baked before. So she pulled out these recipes from her Irish grandmother and it took time and their early results were not great. In Margaret's words, the first loaf should have been sent to the Smithsonian Institute as a sample of Stone Age bread. It was hard as a rock and about one inch thick. Dave Young: I like her sense of humor, Stone Age bread. Stephen Semple: Stone Age bread. So after trying a few recipes, she finds one that is nutritional and her son likes. The doctor also liked it and saw the results, and so he wanted to buy it for other patients. And since they could use some extra cash, market crash, husband is a stockbroker, they decide to sell it to Dr. Donaldson, and he recommends it to his patients and other doctors. Margaret also decides to see if she can sell it to a local grocer. So here was the challenge. Dave Young: We go from Stone Age bread to prescription-strength bread. Stephen Semple: I didn't think about it that way, but here's an interesting challenge and here's where I give Margaret a lot of chops. A lot of chops on that.

Welcome back to DW Conspiracy Shack, in this episode Daniel and Wilbur dive deep into the Grand Canyon to uncover the mysteries allegedly discovered and covered up by the powerful Smithsonian Institute. Are these stories actually real? Why are there so many features in the canyon named after religious figures from around the globe? It truly makes one wonder. Let us know what you think by the time this one is over.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Smithsonian Institution in Washington, D.C. has a fake crystal skull. And so does the British Museum in London, as does Paris's Quai Branly Museum. As of 2019, it was estimated there are more than a dozen crystal skulls known to exist. Long considered pre-Columbian relics, they've also inspired theories about the occult, aliens, and psychic abilities. But the reality is, none of it's true. Meet Eugène Boban, the real provenance of crystal skulls.  See omnystudio.com/listener for privacy information.

Throughout history, on just about every continent there is folklore, mythology, and even historical recordings of giant human beings often credited as builders of greatness, cannibals, and titans of old. There are over 1,000 reports by credible newspapers reporting the finding of huge human skeletons, some reports as tall as 32 feet in height. A large portion of these reports tie credible university scientists, the Smithsonian Institute, and other organizations to these dig sites. Science who once claimed “Fairy Tale Giants existed,” now refutes this evidence even though the Library of Congress is saturated with these reports. Tonight, join Kristan T. Harris and giantologists, Jim Vieira, Hugh Newman, and Brad Olson as we discuss the Giant coverup! #GroundZero #ClydeLewis #Giants #HiddenHistory https://groundzeromedia.org/7-26-23-when-giants-roamed.../ Ground Zero with Clyde Lewis is live M-F from 7-10pm, pacific time, and streamed for free at groundzero.radio and talkstreamlive.com. There is a delayed broadcast on our local Portland radio station, KPAM 860, from 9pm-12am, pacific time. To leave a message, call our toll-free line at 866-536-7469. To listen by phone: 717-734-6922. To call the live show: 503-225-0860. For Android and iPhones, download the Paranormal Radio app. For additional show information, go to groundzeromedia.org. In order to access Ground Zero's exclusive digital library which includes webinars, archived shows/podcasts, research groups, videos, documents, and more, you need to sign up at aftermath.media. Subscriptions start at $7/month. Check out the yearly specials!

The first half of this episode is another Seneca story about a herd of buffalo (bison) and how you should choose who you follow carefully. In the second half of the episode Andrew shares a very short history of the American Bison. Sources: Skunny Wundy: Seneca Indian Tales by Arthur C. Parker Brown-Headed Cowbirds: From Buffalo Birds to Modern Scourge by Lisa Petit https://nationalzoo.si.edu/migratory-birds/news/brown-headed-cowbirds-buffalo-birds-modern-scourge American bison by the Smithsonian Institute https://nationalzoo.si.edu/animals/american-bison

Episode 166 of A History of Rock Music in Five Hundred Songs looks at “Crossroads", Cream, the myth of Robert Johnson, and whether white men can sing the blues. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-eight-minute bonus episode available, on “Tip-Toe Thru' the Tulips" by Tiny Tim. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I talk about an interview with Clapton from 1967, I meant 1968. I mention a Graham Bond live recording from 1953, and of course meant 1963. I say Paul Jones was on vocals in the Powerhouse sessions. Steve Winwood was on vocals, and Jones was on harmonica. Resources As I say at the end, the main resource you need to get if you enjoyed this episode is Brother Robert by Annye Anderson, Robert Johnson's stepsister. There are three Mixcloud mixes this time. As there are so many songs by Cream, Robert Johnson, John Mayall, and Graham Bond excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here -- one, two, three. This article on Mack McCormick gives a fuller explanation of the problems with his research and behaviour. The other books I used for the Robert Johnson sections were McCormick's Biography of a Phantom; Up Jumped the Devil: The Real Life of Robert Johnson, by Bruce Conforth and Gayle Dean Wardlow; Searching for Robert Johnson by Peter Guralnick; and Escaping the Delta by Elijah Wald. I can recommend all of these subject to the caveats at the end of the episode. The information on the history and prehistory of the Delta blues mostly comes from Before Elvis by Larry Birnbaum, with some coming from Charley Patton by John Fahey. The information on Cream comes mostly from Cream: How Eric Clapton Took the World by Storm by Dave Thompson. I also used Ginger Baker: Hellraiser by Ginger Baker and Ginette Baker, Mr Showbiz by Stephen Dando-Collins, Motherless Child by Paul Scott, and  Alexis Korner: The Biography by Harry Shapiro. The best collection of Cream's work is the four-CD set Those Were the Days, which contains every track the group ever released while they were together (though only the stereo mixes of the albums, and a couple of tracks are in slightly different edits from the originals). You can get Johnson's music on many budget compilation records, as it's in the public domain in the EU, but the double CD collection produced by Steve LaVere for Sony in 2011 is, despite the problems that come from it being associated with LaVere, far and away the best option -- the remasters have a clarity that's worlds ahead of even the 1990s CD version it replaced. And for a good single-CD introduction to the Delta blues musicians and songsters who were Johnson's peers and inspirations, Back to the Crossroads: The Roots of Robert Johnson, compiled by Elijah Wald as a companion to his book on Johnson, can't be beaten, and contains many of the tracks excerpted in this episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick note that this episode contains discussion of racism, drug addiction, and early death. There's also a brief mention of death in childbirth and infant mortality. It's been a while since we looked at the British blues movement, and at the blues in general, so some of you may find some of what follows familiar, as we're going to look at some things we've talked about previously, but from a different angle. In 1968, the Bonzo Dog Band, a comedy musical band that have been described as the missing link between the Beatles and the Monty Python team, released a track called "Can Blue Men Sing the Whites?": [Excerpt: The Bonzo Dog Band, "Can Blue Men Sing the Whites?"] That track was mocking a discussion that was very prominent in Britain's music magazines around that time. 1968 saw the rise of a *lot* of British bands who started out as blues bands, though many of them went on to different styles of music -- Fleetwood Mac, Ten Years After, Jethro Tull, Chicken Shack and others were all becoming popular among the kind of people who read the music magazines, and so the question was being asked -- can white men sing the blues? Of course, the answer to that question was obvious. After all, white men *invented* the blues. Before we get any further at all, I have to make clear that I do *not* mean that white people created blues music. But "the blues" as a category, and particularly the idea of it as a music made largely by solo male performers playing guitar... that was created and shaped by the actions of white male record executives. There is no consensus as to when or how the blues as a genre started -- as we often say in this podcast "there is no first anything", but like every genre it seems to have come from multiple sources. In the case of the blues, there's probably some influence from African music by way of field chants sung by enslaved people, possibly some influence from Arabic music as well, definitely some influence from the Irish and British folk songs that by the late nineteenth century were developing into what we now call country music, a lot from ragtime, and a lot of influence from vaudeville and minstrel songs -- which in turn themselves were all very influenced by all those other things. Probably the first published composition to show any real influence of the blues is from 1904, a ragtime piano piece by James Chapman and Leroy Smith, "One O' Them Things": [Excerpt: "One O' Them Things"] That's not very recognisable as a blues piece yet, but it is more-or-less a twelve-bar blues. But the blues developed, and it developed as a result of a series of commercial waves. The first of these came in 1914, with the success of W.C. Handy's "Memphis Blues", which when it was recorded by the Victor Military Band for a phonograph cylinder became what is generally considered the first blues record proper: [Excerpt: The Victor Military Band, "Memphis Blues"] The famous dancers Vernon and Irene Castle came up with a dance, the foxtrot -- which Vernon Castle later admitted was largely inspired by Black dancers -- to be danced to the "Memphis Blues", and the foxtrot soon overtook the tango, which the Castles had introduced to the US the previous year, to become the most popular dance in America for the best part of three decades. And with that came an explosion in blues in the Handy style, cranked out by every music publisher. While the blues was a style largely created by Black performers and writers, the segregated nature of the American music industry at the time meant that most vocal performances of these early blues that were captured on record were by white performers, Black vocalists at this time only rarely getting the chance to record. The first blues record with a Black vocalist is also technically the first British blues record. A group of Black musicians, apparently mostly American but led by a Jamaican pianist, played at Ciro's Club in London, and recorded many tracks in Britain, under a name which I'm not going to say in full -- it started with Ciro's Club, and continued alliteratively with another word starting with C, a slur for Black people. In 1917 they recorded a vocal version of "St. Louis Blues", another W.C. Handy composition: [Excerpt: Ciro's Club C**n Orchestra, "St. Louis Blues"] The first American Black blues vocal didn't come until two years later, when Bert Williams, a Black minstrel-show performer who like many Black performers of his era performed in blackface even though he was Black, recorded “I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,” [Excerpt: Bert Williams, "I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,”] But it wasn't until 1920 that the second, bigger, wave of popularity started for the blues, and this time it started with the first record of a Black *woman* singing the blues -- Mamie Smith's "Crazy Blues": [Excerpt: Mamie Smith, "Crazy Blues"] You can hear the difference between that and anything we've heard up to that point -- that's the first record that anyone from our perspective, a hundred and three years later, would listen to and say that it bore any resemblance to what we think of as the blues -- so much so that many places still credit it as the first ever blues record. And there's a reason for that. "Crazy Blues" was one of those records that separates the music industry into before and after, like "Rock Around the Clock", "I Want to Hold Your Hand", Sgt Pepper, or "Rapper's Delight". It sold seventy-five thousand copies in its first month -- a massive number by the standards of 1920 -- and purportedly went on to sell over a million copies. Sales figures and market analysis weren't really a thing in the same way in 1920, but even so it became very obvious that "Crazy Blues" was a big hit, and that unlike pretty much any other previous records, it was a big hit among Black listeners, which meant that there was a market for music aimed at Black people that was going untapped. Soon all the major record labels were setting up subsidiaries devoted to what they called "race music", music made by and for Black people. And this sees the birth of what is now known as "classic blues", but at the time (and for decades after) was just what people thought of when they thought of "the blues" as a genre. This was music primarily sung by female vaudeville artists backed by jazz bands, people like Ma Rainey (whose earliest recordings featured Louis Armstrong in her backing band): [Excerpt: Ma Rainey, "See See Rider Blues"] And Bessie Smith, the "Empress of the Blues", who had a massive career in the 1920s before the Great Depression caused many of these "race record" labels to fold, but who carried on performing well into the 1930s -- her last recording was in 1933, produced by John Hammond, with a backing band including Benny Goodman and Jack Teagarden: [Excerpt: Bessie Smith, "Give Me a Pigfoot and a Bottle of Beer"] It wouldn't be until several years after the boom started by Mamie Smith that any record companies turned to recording Black men singing the blues accompanied by guitar or banjo. The first record of this type is probably "Norfolk Blues" by Reese DuPree from 1924: [Excerpt: Reese DuPree, "Norfolk Blues"] And there were occasional other records of this type, like "Airy Man Blues" by Papa Charlie Jackson, who was advertised as the “only man living who sings, self-accompanied, for Blues records.” [Excerpt: Papa Charlie Jackson, "Airy Man Blues"] But contrary to the way these are seen today, at the time they weren't seen as being in some way "authentic", or "folk music". Indeed, there are many quotes from folk-music collectors of the time (sadly all of them using so many slurs that it's impossible for me to accurately quote them) saying that when people sang the blues, that wasn't authentic Black folk music at all but an adulteration from commercial music -- they'd clearly, according to these folk-music scholars, learned the blues style from records and sheet music rather than as part of an oral tradition. Most of these performers were people who recorded blues as part of a wider range of material, like Blind Blake, who recorded some blues music but whose best work was his ragtime guitar instrumentals: [Excerpt: Blind Blake, "Southern Rag"] But it was when Blind Lemon Jefferson started recording for Paramount records in 1926 that the image of the blues as we now think of it took shape. His first record, "Got the Blues", was a massive success: [Excerpt: Blind Lemon Jefferson, "Got the Blues"] And this resulted in many labels, especially Paramount, signing up pretty much every Black man with a guitar they could find in the hopes of finding another Blind Lemon Jefferson. But the thing is, this generation of people making blues records, and the generation that followed them, didn't think of themselves as "blues singers" or "bluesmen". They were songsters. Songsters were entertainers, and their job was to sing and play whatever the audiences would want to hear. That included the blues, of course, but it also included... well, every song anyone would want to hear.  They'd perform old folk songs, vaudeville songs, songs that they'd heard on the radio or the jukebox -- whatever the audience wanted. Robert Johnson, for example, was known to particularly love playing polka music, and also adored the records of Jimmie Rodgers, the first country music superstar. In 1941, when Alan Lomax first recorded Muddy Waters, he asked Waters what kind of songs he normally played in performances, and he was given a list that included "Home on the Range", Gene Autry's "I've Got Spurs That Jingle Jangle Jingle", and Glenn Miller's "Chattanooga Choo-Choo". We have few recordings of these people performing this kind of song though. One of the few we have is Big Bill Broonzy, who was just about the only artist of this type not to get pigeonholed as just a blues singer, even though blues is what made him famous, and who later in his career managed to record songs like the Tin Pan Alley standard "The Glory of Love": [Excerpt: Big Bill Broonzy, "The Glory of Love"] But for the most part, the image we have of the blues comes down to one man, Arthur Laibley, a sales manager for the Wisconsin Chair Company. The Wisconsin Chair Company was, as the name would suggest, a company that started out making wooden chairs, but it had branched out into other forms of wooden furniture -- including, for a brief time, large wooden phonographs. And, like several other manufacturers, like the Radio Corporation of America -- RCA -- and the Gramophone Company, which became EMI, they realised that if they were going to sell the hardware it made sense to sell the software as well, and had started up Paramount Records, which bought up a small label, Black Swan, and soon became the biggest manufacturer of records for the Black market, putting out roughly a quarter of all "race records" released between 1922 and 1932. At first, most of these were produced by a Black talent scout, J. Mayo Williams, who had been the first person to record Ma Rainey, Papa Charlie Jackson, and Blind Lemon Jefferson, but in 1927 Williams left Paramount, and the job of supervising sessions went to Arthur Laibley, though according to some sources a lot of the actual production work was done by Aletha Dickerson, Williams' former assistant, who was almost certainly the first Black woman to be what we would now think of as a record producer. Williams had been interested in recording all kinds of music by Black performers, but when Laibley got a solo Black man into the studio, what he wanted more than anything was for him to record the blues, ideally in a style as close as possible to that of Blind Lemon Jefferson. Laibley didn't have a very hands-on approach to recording -- indeed Paramount had very little concern about the quality of their product anyway, and Paramount's records are notorious for having been put out on poor-quality shellac and recorded badly -- and he only occasionally made actual suggestions as to what kind of songs his performers should write -- for example he asked Son House to write something that sounded like Blind Lemon Jefferson, which led to House writing and recording "Mississippi County Farm Blues", which steals the tune of Jefferson's "See That My Grave is Kept Clean": [Excerpt: Son House, "Mississippi County Farm Blues"] When Skip James wanted to record a cover of James Wiggins' "Forty-Four Blues", Laibley suggested that instead he should do a song about a different gun, and so James recorded "Twenty-Two Twenty Blues": [Excerpt: Skip James, "Twenty-Two Twenty Blues"] And Laibley also suggested that James write a song about the Depression, which led to one of the greatest blues records ever, "Hard Time Killing Floor Blues": [Excerpt: Skip James, "Hard Time Killing Floor Blues"] These musicians knew that they were getting paid only for issued sides, and that Laibley wanted only blues from them, and so that's what they gave him. Even when it was a performer like Charlie Patton. (Incidentally, for those reading this as a transcript rather than listening to it, Patton's name is more usually spelled ending in ey, but as far as I can tell ie was his preferred spelling and that's what I'm using). Charlie Patton was best known as an entertainer, first and foremost -- someone who would do song-and-dance routines, joke around, play guitar behind his head. He was a clown on stage, so much so that when Son House finally heard some of Patton's records, in the mid-sixties, decades after the fact, he was astonished that Patton could actually play well. Even though House had been in the room when some of the records were made, his memory of Patton was of someone who acted the fool on stage. That's definitely not the impression you get from the Charlie Patton on record: [Excerpt: Charlie Patton, "Poor Me"] Patton is, as far as can be discerned, the person who was most influential in creating the music that became called the "Delta blues". Not a lot is known about Patton's life, but he was almost certainly the half-brother of the Chatmon brothers, who made hundreds of records, most notably as members of the Mississippi Sheiks: [Excerpt: The Mississippi Sheiks, "Sitting on Top of the World"] In the 1890s, Patton's family moved to Sunflower County, Mississippi, and he lived in and around that county until his death in 1934. Patton learned to play guitar from a musician called Henry Sloan, and then Patton became a mentor figure to a *lot* of other musicians in and around the plantation on which his family lived. Some of the musicians who grew up in the immediate area around Patton included Tommy Johnson: [Excerpt: Tommy Johnson, "Big Road Blues"] Pops Staples: [Excerpt: The Staple Singers, "Will The Circle Be Unbroken"] Robert Johnson: [Excerpt: Robert Johnson, "Crossroads"] Willie Brown, a musician who didn't record much, but who played a lot with Patton, Son House, and Robert Johnson and who we just heard Johnson sing about: [Excerpt: Willie Brown, "M&O Blues"] And Chester Burnett, who went on to become known as Howlin' Wolf, and whose vocal style was equally inspired by Patton and by the country star Jimmie Rodgers: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] Once Patton started his own recording career for Paramount, he also started working as a talent scout for them, and it was him who brought Son House to Paramount. Soon after the Depression hit, Paramount stopped recording, and so from 1930 through 1934 Patton didn't make any records. He was tracked down by an A&R man in January 1934 and recorded one final session: [Excerpt, Charlie Patton, "34 Blues"] But he died of heart failure two months later. But his influence spread through his proteges, and they themselves influenced other musicians from the area who came along a little after, like Robert Lockwood and Muddy Waters. This music -- or that portion of it that was considered worth recording by white record producers, only a tiny, unrepresentative, portion of their vast performing repertoires -- became known as the Delta Blues, and when some of these musicians moved to Chicago and started performing with electric instruments, it became Chicago Blues. And as far as people like John Mayall in Britain were concerned, Delta and Chicago Blues *were* the blues: [Excerpt: John Mayall and the Bluesbreakers, "It Ain't Right"] John Mayall was one of the first of the British blues obsessives, and for a long time thought of himself as the only one. While we've looked before at the growth of the London blues scene, Mayall wasn't from London -- he was born in Macclesfield and grew up in Cheadle Hulme, both relatively well-off suburbs of Manchester, and after being conscripted and doing two years in the Army, he had become an art student at Manchester College of Art, what is now Manchester Metropolitan University. Mayall had been a blues fan from the late 1940s, writing off to the US to order records that hadn't been released in the UK, and by most accounts by the late fifties he'd put together the biggest blues collection in Britain by quite some way. Not only that, but he had one of the earliest home tape recorders, and every night he would record radio stations from Continental Europe which were broadcasting for American service personnel, so he'd amassed mountains of recordings, often unlabelled, of obscure blues records that nobody else in the UK knew about. He was also an accomplished pianist and guitar player, and in 1956 he and his drummer friend Peter Ward had put together a band called the Powerhouse Four (the other two members rotated on a regular basis) mostly to play lunchtime jazz sessions at the art college. Mayall also started putting on jam sessions at a youth club in Wythenshawe, where he met another drummer named Hughie Flint. Over the late fifties and into the early sixties, Mayall more or less by himself built up a small blues scene in Manchester. The Manchester blues scene was so enthusiastic, in fact, that when the American Folk Blues Festival, an annual European tour which initially featured Willie Dixon, Memhis Slim, T-Bone Walker, Sonny Terry & Brownie McGhee, and John Lee Hooker, first toured Europe, the only UK date it played was at the Manchester Free Trade Hall, and people like Mick Jagger, Keith Richards, Brian Jones and Jimmy Page had to travel up from London to see it. But still, the number of blues fans in Manchester, while proportionally large, was objectively small enough that Mayall was captivated by an article in Melody Maker which talked about Alexis Korner and Cyril Davies' new band Blues Incorporated and how it was playing electric blues, the same music he was making in Manchester. He later talked about how the article had made him think that maybe now people would know what he was talking about. He started travelling down to London to play gigs for the London blues scene, and inviting Korner up to Manchester to play shows there. Soon Mayall had moved down to London. Korner introduced Mayall to Davey Graham, the great folk guitarist, with whom Korner had recently recorded as a duo: [Excerpt: Alexis Korner and Davey Graham, "3/4 AD"] Mayall and Graham performed together as a duo for a while, but Graham was a natural solo artist if ever there was one. Slowly Mayall put a band together in London. On drums was his old friend Peter Ward, who'd moved down from Manchester with him. On bass was John McVie, who at the time knew nothing about blues -- he'd been playing in a Shadows-style instrumental group -- but Mayall gave him a stack of blues records to listen to to get the feeling. And on guitar was Bernie Watson, who had previously played with Screaming Lord Sutch and the Savages. In late 1963, Mike Vernon, a blues fan who had previously published a Yardbirds fanzine, got a job working for Decca records, and immediately started signing his favourite acts from the London blues circuit. The first act he signed was John Mayall and the Bluesbreakers, and they recorded a single, "Crawling up a Hill": [Excerpt: John Mayall and the Bluesbreakers, "Crawling up a Hill (45 version)"] Mayall later called that a "clumsy, half-witted attempt at autobiographical comment", and it sold only five hundred copies. It would be the only record the Bluesbreakers would make with Watson, who soon left the band to be replaced by Roger Dean (not the same Roger Dean who later went on to design prog rock album covers). The second group to be signed by Mike Vernon to Decca was the Graham Bond Organisation. We've talked about the Graham Bond Organisation in passing several times, but not for a while and not in any great detail, so it's worth pulling everything we've said about them so far together and going through it in a little more detail. The Graham Bond Organisation, like the Rolling Stones, grew out of Alexis Korner's Blues Incorporated. As we heard in the episode on "I Wanna Be Your Man" a couple of years ago, Blues Incorporated had been started by Alexis Korner and Cyril Davies, and at the time we're joining them in 1962 featured a drummer called Charlie Watts, a pianist called Dave Stevens, and saxophone player Dick Heckstall-Smith, as well as frequent guest performers like a singer who called himself Mike Jagger, and another one, Roderick Stewart. That group finally found themselves the perfect bass player when Dick Heckstall-Smith put together a one-off group of jazz players to play an event at Cambridge University. At the gig, a little Scottish man came up to the group and told them he played bass and asked if he could sit in. They told him to bring along his instrument to their second set, that night, and he did actually bring along a double bass. Their bluff having been called, they decided to play the most complicated, difficult, piece they knew in order to throw the kid off -- the drummer, a trad jazz player named Ginger Baker, didn't like performing with random sit-in guests -- but astonishingly he turned out to be really good. Heckstall-Smith took down the bass player's name and phone number and invited him to a jam session with Blues Incorporated. After that jam session, Jack Bruce quickly became the group's full-time bass player. Bruce had started out as a classical cellist, but had switched to the double bass inspired by Bach, who he referred to as "the guv'nor of all bass players". His playing up to this point had mostly been in trad jazz bands, and he knew nothing of the blues, but he quickly got the hang of the genre. Bruce's first show with Blues Incorporated was a BBC recording: [Excerpt: Blues Incorporated, "Hoochie Coochie Man (BBC session)"] According to at least one source it was not being asked to take part in that session that made young Mike Jagger decide there was no future for him with Blues Incorporated and to spend more time with his other group, the Rollin' Stones. Soon after, Charlie Watts would join him, for almost the opposite reason -- Watts didn't want to be in a band that was getting as big as Blues Incorporated were. They were starting to do more BBC sessions and get more gigs, and having to join the Musicians' Union. That seemed like a lot of work. Far better to join a band like the Rollin' Stones that wasn't going anywhere. Because of Watts' decision to give up on potential stardom to become a Rollin' Stone, they needed a new drummer, and luckily the best drummer on the scene was available. But then the best drummer on the scene was *always* available. Ginger Baker had first played with Dick Heckstall-Smith several years earlier, in a trad group called the Storyville Jazzmen. There Baker had become obsessed with the New Orleans jazz drummer Baby Dodds, who had played with Louis Armstrong in the 1920s. Sadly because of 1920s recording technology, he hadn't been able to play a full kit on the recordings with Armstrong, being limited to percussion on just a woodblock, but you can hear his drumming style much better in this version of "At the Jazz Band Ball" from 1947, with Mugsy Spanier, Jack Teagarden, Cyrus St. Clair and Hank Duncan: [Excerpt: "At the Jazz Band Ball"] Baker had taken Dobbs' style and run with it, and had quickly become known as the single best player, bar none, on the London jazz scene -- he'd become an accomplished player in multiple styles, and was also fluent in reading music and arranging. He'd also, though, become known as the single person on the entire scene who was most difficult to get along with. He resigned from his first band onstage, shouting "You can stick your band up your arse", after the band's leader had had enough of him incorporating bebop influences into their trad style. Another time, when touring with Diz Disley's band, he was dumped in Germany with no money and no way to get home, because the band were so sick of him. Sometimes this was because of his temper and his unwillingness to suffer fools -- and he saw everyone else he ever met as a fool -- and sometimes it was because of his own rigorous musical ideas. He wanted to play music *his* way, and wouldn't listen to anyone who told him different. Both of these things got worse after he fell under the influence of a man named Phil Seaman, one of the only drummers that Baker respected at all. Seaman introduced Baker to African drumming, and Baker started incorporating complex polyrhythms into his playing as a result. Seaman also though introduced Baker to heroin, and while being a heroin addict in the UK in the 1960s was not as difficult as it later became -- both heroin and cocaine were available on prescription to registered addicts, and Baker got both, which meant that many of the problems that come from criminalisation of these drugs didn't affect addicts in the same way -- but it still did not, by all accounts, make him an easier person to get along with. But he *was* a fantastic drummer. As Dick Heckstall-Smith said "With the advent of Ginger, the classic Blues Incorporated line-up, one which I think could not be bettered, was set" But Alexis Korner decided that the group could be bettered, and he had some backers within the band. One of the other bands on the scene was the Don Rendell Quintet, a group that played soul jazz -- that style of jazz that bridged modern jazz and R&B, the kind of music that Ray Charles and Herbie Hancock played: [Excerpt: The Don Rendell Quintet, "Manumission"] The Don Rendell Quintet included a fantastic multi-instrumentalist, Graham Bond, who doubled on keyboards and saxophone, and Bond had been playing occasional experimental gigs with the Johnny Burch Octet -- a group led by another member of the Rendell Quartet featuring Heckstall-Smith, Bruce, Baker, and a few other musicians, doing wholly-improvised music. Heckstall-Smith, Bruce, and Baker all enjoyed playing with Bond, and when Korner decided to bring him into the band, they were all very keen. But Cyril Davies, the co-leader of the band with Korner, was furious at the idea. Davies wanted to play strict Chicago and Delta blues, and had no truck with other forms of music like R&B and jazz. To his mind it was bad enough that they had a sax player. But the idea that they would bring in Bond, who played sax and... *Hammond* organ? Well, that was practically blasphemy. Davies quit the group at the mere suggestion. Bond was soon in the band, and he, Bruce, and Baker were playing together a *lot*. As well as performing with Blues Incorporated, they continued playing in the Johnny Burch Octet, and they also started performing as the Graham Bond Trio. Sometimes the Graham Bond Trio would be Blues Incorporated's opening act, and on more than one occasion the Graham Bond Trio, Blues Incorporated, and the Johnny Burch Octet all had gigs in different parts of London on the same night and they'd have to frantically get from one to the other. The Graham Bond Trio also had fans in Manchester, thanks to the local blues scene there and their connection with Blues Incorporated, and one night in February 1963 the trio played a gig there. They realised afterwards that by playing as a trio they'd made £70, when they were lucky to make £20 from a gig with Blues Incorporated or the Octet, because there were so many members in those bands. Bond wanted to make real money, and at the next rehearsal of Blues Incorporated he announced to Korner that he, Bruce, and Baker were quitting the band -- which was news to Bruce and Baker, who he hadn't bothered consulting. Baker, indeed, was in the toilet when the announcement was made and came out to find it a done deal. He was going to kick up a fuss and say he hadn't been consulted, but Korner's reaction sealed the deal. As Baker later said "‘he said “it's really good you're doing this thing with Graham, and I wish you the best of luck” and all that. And it was a bit difficult to turn round and say, “Well, I don't really want to leave the band, you know.”'" The Graham Bond Trio struggled at first to get the gigs they were expecting, but that started to change when in April 1963 they became the Graham Bond Quartet, with the addition of virtuoso guitarist John McLaughlin. The Quartet soon became one of the hottest bands on the London R&B scene, and when Duffy Power, a Larry Parnes teen idol who wanted to move into R&B, asked his record label to get him a good R&B band to back him on a Beatles cover, it was the Graham Bond Quartet who obliged: [Excerpt: Duffy Power, "I Saw Her Standing There"] The Quartet also backed Power on a package tour with other Parnes acts, but they were also still performing their own blend of hard jazz and blues, as can be heard in this recording of the group live in June 1953: [Excerpt: The Graham Bond Quartet, "Ho Ho Country Kicking Blues (Live at Klooks Kleek)"] But that lineup of the group didn't last very long. According to the way Baker told the story, he fired McLaughlin from the group, after being irritated by McLaughlin complaining about something on a day when Baker was out of cocaine and in no mood to hear anyone else's complaints. As Baker said "We lost a great guitar player and I lost a good friend." But the Trio soon became a Quartet again, as Dick Heckstall-Smith, who Baker had wanted in the band from the start, joined on saxophone to replace McLaughlin's guitar. But they were no longer called the Graham Bond Quartet. Partly because Heckstall-Smith joining allowed Bond to concentrate just on his keyboard playing, but one suspects partly to protect against any future lineup changes, the group were now The Graham Bond ORGANisation -- emphasis on the organ. The new lineup of the group got signed to Decca by Vernon, and were soon recording their first single, "Long Tall Shorty": [Excerpt: The Graham Bond Organisation, "Long Tall Shorty"] They recorded a few other songs which made their way onto an EP and an R&B compilation, and toured intensively in early 1964, as well as backing up Power on his follow-up to "I Saw Her Standing There", his version of "Parchman Farm": [Excerpt: Duffy Power, "Parchman Farm"] They also appeared in a film, just like the Beatles, though it was possibly not quite as artistically successful as "A Hard Day's Night": [Excerpt: Gonks Go Beat trailer] Gonks Go Beat is one of the most bizarre films of the sixties. It's a far-future remake of Romeo and Juliet. where the two star-crossed lovers are from opposing countries -- Beatland and Ballad Isle -- who only communicate once a year in an annual song contest which acts as their version of a war, and is overseen by "Mr. A&R", played by Frank Thornton, who would later star in Are You Being Served? Carry On star Kenneth Connor is sent by aliens to try to bring peace to the two warring countries, on pain of exile to Planet Gonk, a planet inhabited solely by Gonks (a kind of novelty toy for which there was a short-lived craze then). Along the way Connor encounters such luminaries of British light entertainment as Terry Scott and Arthur Mullard, as well as musical performances by Lulu, the Nashville Teens, and of course the Graham Bond Organisation, whose performance gets them a telling-off from a teacher: [Excerpt: Gonks Go Beat!] The group as a group only performed one song in this cinematic masterpiece, but Baker also made an appearance in a "drum battle" sequence where eight drummers played together: [Excerpt: Gonks Go Beat drum battle] The other drummers in that scene included, as well as some lesser-known players, Andy White who had played on the single version of "Love Me Do", Bobby Graham, who played on hits by the Kinks and the Dave Clark Five, and Ronnie Verrell, who did the drumming for Animal in the Muppet Show. Also in summer 1964, the group performed at the Fourth National Jazz & Blues Festival in Richmond -- the festival co-founded by Chris Barber that would evolve into the Reading Festival. The Yardbirds were on the bill, and at the end of their set they invited Bond, Baker, Bruce, Georgie Fame, and Mike Vernon onto the stage with them, making that the first time that Eric Clapton, Ginger Baker, and Jack Bruce were all on stage together. Soon after that, the Graham Bond Organisation got a new manager, Robert Stigwood. Things hadn't been working out for them at Decca, and Stigwood soon got the group signed to EMI, and became their producer as well. Their first single under Stigwood's management was a cover version of the theme tune to the Debbie Reynolds film "Tammy". While that film had given Tamla records its name, the song was hardly an R&B classic: [Excerpt: The Graham Bond Organisation, "Tammy"] That record didn't chart, but Stigwood put the group out on the road as part of the disastrous Chuck Berry tour we heard about in the episode on "All You Need is Love", which led to the bankruptcy of  Robert Stigwood Associates. The Organisation moved over to Stigwood's new company, the Robert Stigwood Organisation, and Stigwood continued to be the credited producer of their records, though after the "Tammy" disaster they decided they were going to take charge themselves of the actual music. Their first album, The Sound of 65, was recorded in a single three-hour session, and they mostly ran through their standard set -- a mixture of the same songs everyone else on the circuit was playing, like "Hoochie Coochie Man", "Got My Mojo Working", and "Wade in the Water", and originals like Bruce's "Train Time": [Excerpt: The Graham Bond Organisation, "Train Time"] Through 1965 they kept working. They released a non-album single, "Lease on Love", which is generally considered to be the first pop record to feature a Mellotron: [Excerpt: The Graham Bond Organisation, "Lease on Love"] and Bond and Baker also backed another Stigwood act, Winston G, on his debut single: [Excerpt: Winston G, "Please Don't Say"] But the group were developing severe tensions. Bruce and Baker had started out friendly, but by this time they hated each other. Bruce said he couldn't hear his own playing over Baker's loud drumming, Baker thought that Bruce was far too fussy a player and should try to play simpler lines. They'd both try to throw each other during performances, altering arrangements on the fly and playing things that would trip the other player up. And *neither* of them were particularly keen on Bond's new love of the Mellotron, which was all over their second album, giving it a distinctly proto-prog feel at times: [Excerpt: The Graham Bond Organisation, "Baby Can it Be True?"] Eventually at a gig in Golders Green, Baker started throwing drumsticks at Bruce's head while Bruce was trying to play a bass solo. Bruce retaliated by throwing his bass at Baker, and then jumping on him and starting a fistfight which had to be broken up by the venue security. Baker fired Bruce from the band, but Bruce kept turning up to gigs anyway, arguing that Baker had no right to sack him as it was a democracy. Baker always claimed that in fact Bond had wanted to sack Bruce but hadn't wanted to get his hands dirty, and insisted that Baker do it, but neither Bond nor Heckstall-Smith objected when Bruce turned up for the next couple of gigs. So Baker took matters into his own hands, He pulled out a knife and told Bruce "If you show up at one more gig, this is going in you." Within days, Bruce was playing with John Mayall, whose Bluesbreakers had gone through some lineup changes by this point. Roger Dean had only played with the Bluesbreakers for a short time before Mayall had replaced him. Mayall had not been impressed with Eric Clapton's playing with the Yardbirds at first -- even though graffiti saying "Clapton is God" was already starting to appear around London -- but he had been *very* impressed with Clapton's playing on "Got to Hurry", the B-side to "For Your Love": [Excerpt: The Yardbirds, "Got to Hurry"] When he discovered that Clapton had quit the band, he sprang into action and quickly recruited him to replace Dean. Clapton knew he had made the right choice when a month after he'd joined, the group got the word that Bob Dylan had been so impressed with Mayall's single "Crawling up a Hill" -- the one that nobody liked, not even Mayall himself -- that he wanted to jam with Mayall and his band in the studio. Clapton of course went along: [Excerpt: Bob Dylan and the Bluesbreakers, "If You Gotta Go, Go Now"] That was, of course, the session we've talked about in the Velvet Underground episode and elsewhere of which little other than that survives, and which Nico attended. At this point, Mayall didn't have a record contract, his experience recording with Mike Vernon having been no more successful than the Bond group's had been. But soon he got a one-off deal -- as a solo artist, not with the Bluesbreakers -- with Immediate Records. Clapton was the only member of the group to play on the single, which was produced by Immediate's house producer Jimmy Page: [Excerpt: John Mayall, "I'm Your Witchdoctor"] Page was impressed enough with Clapton's playing that he invited him round to Page's house to jam together. But what Clapton didn't know was that Page was taping their jam sessions, and that he handed those tapes over to Immediate Records -- whether he was forced to by his contract with the label or whether that had been his plan all along depends on whose story you believe, but Clapton never truly forgave him. Page and Clapton's guitar-only jams had overdubs by Bill Wyman, Ian Stewart, and drummer Chris Winter, and have been endlessly repackaged on blues compilations ever since: [Excerpt: Jimmy Page and Eric Clapton, "Draggin' My Tail"] But Mayall was having problems with John McVie, who had started to drink too much, and as soon as he found out that Jack Bruce was sacked by the Graham Bond Organisation, Mayall got in touch with Bruce and got him to join the band in McVie's place. Everyone was agreed that this lineup of the band -- Mayall, Clapton, Bruce, and Hughie Flint -- was going places: [Excerpt: John Mayall's Bluesbreakers with Jack Bruce, "Hoochie Coochie Man"] Unfortunately, it wasn't going to last long. Clapton, while he thought that Bruce was the greatest bass player he'd ever worked with, had other plans. He was going to leave the country and travel the world as a peripatetic busker. He was off on his travels, never to return. Luckily, Mayall had someone even better waiting in the wings. A young man had, according to Mayall, "kept coming down to all the gigs and saying, “Hey, what are you doing with him?” – referring to whichever guitarist was onstage that night – “I'm much better than he is. Why don't you let me play guitar for you?” He got really quite nasty about it, so finally, I let him sit in. And he was brilliant." Peter Green was probably the best blues guitarist in London at that time, but this lineup of the Bluesbreakers only lasted a handful of gigs -- Clapton discovered that busking in Greece wasn't as much fun as being called God in London, and came back very soon after he'd left. Mayall had told him that he could have his old job back when he got back, and so Green was out and Clapton was back in. And soon the Bluesbreakers' revolving door revolved again. Manfred Mann had just had a big hit with "If You Gotta Go, Go Now", the same song we heard Dylan playing earlier: [Excerpt: Manfred Mann, "If You Gotta Go, Go Now"] But their guitarist, Mike Vickers, had quit. Tom McGuinness, their bass player, had taken the opportunity to switch back to guitar -- the instrument he'd played in his first band with his friend Eric Clapton -- but that left them short a bass player. Manfred Mann were essentially the same kind of band as the Graham Bond Organisation -- a Hammond-led group of virtuoso multi-instrumentalists who played everything from hardcore Delta blues to complex modern jazz -- but unlike the Bond group they also had a string of massive pop hits, and so made a lot more money. The combination was irresistible to Bruce, and he joined the band just before they recorded an EP of jazz instrumental versions of recent hits: [Excerpt: Manfred Mann, "(I Can't Get No) Satisfaction"] Bruce had also been encouraged by Robert Stigwood to do a solo project, and so at the same time as he joined Manfred Mann, he also put out a solo single, "Drinkin' and Gamblin'" [Excerpt: Jack Bruce, "Drinkin' and Gamblin'"] But of course, the reason Bruce had joined Manfred Mann was that they were having pop hits as well as playing jazz, and soon they did just that, with Bruce playing on their number one hit "Pretty Flamingo": [Excerpt: Manfred Mann, "Pretty Flamingo"] So John McVie was back in the Bluesbreakers, promising to keep his drinking under control. Mike Vernon still thought that Mayall had potential, but the people at Decca didn't agree, so Vernon got Mayall and Clapton -- but not the other band members -- to record a single for a small indie label he ran as a side project: [Excerpt: John Mayall and Eric Clapton, "Bernard Jenkins"] That label normally only released records in print runs of ninety-nine copies, because once you hit a hundred copies you had to pay tax on them, but there was so much demand for that single that they ended up pressing up five hundred copies, making it the label's biggest seller ever. Vernon eventually convinced the heads at Decca that the Bluesbreakers could be truly big, and so he got the OK to record the album that would generally be considered the greatest British blues album of all time -- Blues Breakers, also known as the Beano album because of Clapton reading a copy of the British kids' comic The Beano in the group photo on the front. [Excerpt: John Mayall with Eric Clapton, "Ramblin' On My Mind"] The album was a mixture of originals by Mayall and the standard repertoire of every blues or R&B band on the circuit -- songs like "Parchman Farm" and "What'd I Say" -- but what made the album unique was Clapton's guitar tone. Much to the chagrin of Vernon, and of engineer Gus Dudgeon, Clapton insisted on playing at the same volume that he would on stage. Vernon later said of Dudgeon "I can remember seeing his face the very first time Clapton plugged into the Marshall stack and turned it up and started playing at the sort of volume he was going to play. You could almost see Gus's eyes meet over the middle of his nose, and it was almost like he was just going to fall over from the sheer power of it all. But after an enormous amount of fiddling around and moving amps around, we got a sound that worked." [Excerpt: John Mayall with Eric Clapton, "Hideaway"] But by the time the album cane out. Clapton was no longer with the Bluesbreakers. The Graham Bond Organisation had struggled on for a while after Bruce's departure. They brought in a trumpet player, Mike Falana, and even had a hit record -- or at least, the B-side of a hit record. The Who had just put out a hit single, "Substitute", on Robert Stigwood's record label, Reaction: [Excerpt: The Who, "Substitute"] But, as you'll hear in episode 183, they had moved to Reaction Records after a falling out with their previous label, and with Shel Talmy their previous producer. The problem was, when "Substitute" was released, it had as its B-side a song called "Circles" (also known as "Instant Party -- it's been released under both names). They'd recorded an earlier version of the song for Talmy, and just as "Substitute" was starting to chart, Talmy got an injunction against the record and it had to be pulled. Reaction couldn't afford to lose the big hit record they'd spent money promoting, so they needed to put it out with a new B-side. But the Who hadn't got any unreleased recordings. But the Graham Bond Organisation had, and indeed they had an unreleased *instrumental*. So "Waltz For a Pig" became the B-side to a top-five single, credited to The Who Orchestra: [Excerpt: The Who Orchestra, "Waltz For a Pig"] That record provided the catalyst for the formation of Cream, because Ginger Baker had written the song, and got £1,350 for it, which he used to buy a new car. Baker had, for some time, been wanting to get out of the Graham Bond Organisation. He was trying to get off heroin -- though he would make many efforts to get clean over the decades, with little success -- while Bond was starting to use it far more heavily, and was also using acid and getting heavily into mysticism, which Baker despised. Baker may have had the idea for what he did next from an article in one of the music papers. John Entwistle of the Who would often tell a story about an article in Melody Maker -- though I've not been able to track down the article itself to get the full details -- in which musicians were asked to name which of their peers they'd put into a "super-group". He didn't remember the full details, but he did remember that the consensus choice had had Eric Clapton on lead guitar, himself on bass, and Ginger Baker on drums. As he said later "I don't remember who else was voted in, but a few months later, the Cream came along, and I did wonder if somebody was maybe believing too much of their own press". Incidentally, like The Buffalo Springfield and The Pink Floyd, Cream, the band we are about to meet, had releases both with and without the definite article, and Eric Clapton at least seems always to talk about them as "the Cream" even decades later, but they're primarily known as just Cream these days. Baker, having had enough of the Bond group, decided to drive up to Oxford to see Clapton playing with the Bluesbreakers. Clapton invited him to sit in for a couple of songs, and by all accounts the band sounded far better than they had previously. Clapton and Baker could obviously play well together, and Baker offered Clapton a lift back to London in his new car, and on the drive back asked Clapton if he wanted to form a new band. Clapton was as impressed by Baker's financial skills as he was by his musicianship. He said later "Musicians didn't have cars. You all got in a van." Clearly a musician who was *actually driving a new car he owned* was going places. He agreed to Baker's plan. But of course they needed a bass player, and Clapton thought he had the perfect solution -- "What about Jack?" Clapton knew that Bruce had been a member of the Graham Bond Organisation, but didn't know why he'd left the band -- he wasn't particularly clued in to what the wider music scene was doing, and all he knew was that Bruce had played with both him and Baker, and that he was the best bass player he'd ever played with. And Bruce *was* arguably the best bass player in London at that point, and he was starting to pick up session work as well as his work with Manfred Mann. For example it's him playing on the theme tune to "After The Fox" with Peter Sellers, the Hollies, and the song's composer Burt Bacharach: [Excerpt: The Hollies with Peter Sellers, "After the Fox"] Clapton was insistent. Baker's idea was that the band should be the best musicians around. That meant they needed the *best* musicians around, not the second best. If Jack Bruce wasn't joining, Eric Clapton wasn't joining either. Baker very reluctantly agreed, and went round to see Bruce the next day -- according to Baker it was in a spirit of generosity and giving Bruce one more chance, while according to Bruce he came round to eat humble pie and beg for forgiveness. Either way, Bruce agreed to join the band. The three met up for a rehearsal at Baker's home, and immediately Bruce and Baker started fighting, but also immediately they realised that they were great at playing together -- so great that they named themselves the Cream, as they were the cream of musicians on the scene. They knew they had something, but they didn't know what. At first they considered making their performances into Dada projects, inspired by the early-twentieth-century art movement. They liked a band that had just started to make waves, the Bonzo Dog Doo-Dah Band -- who had originally been called the Bonzo Dog Dada Band -- and they bought some props with the vague idea of using them on stage in the same way the Bonzos did. But as they played together they realised that they needed to do something different from that. At first, they thought they needed a fourth member -- a keyboard player. Graham Bond's name was brought up, but Clapton vetoed him. Clapton wanted Steve Winwood, the keyboard player and vocalist with the Spencer Davis Group. Indeed, Winwood was present at what was originally intended to be the first recording session the trio would play. Joe Boyd had asked Eric Clapton to round up a bunch of players to record some filler tracks for an Elektra blues compilation, and Clapton had asked Bruce and Baker to join him, Paul Jones on vocals, Winwood on Hammond and Clapton's friend Ben Palmer on piano for the session. Indeed, given that none of the original trio were keen on singing, that Paul Jones was just about to leave Manfred Mann, and that we know Clapton wanted Winwood in the band, one has to wonder if Clapton at least half-intended for this to be the eventual lineup of the band. If he did, that plan was foiled by Baker's refusal to take part in the session. Instead, this one-off band, named The Powerhouse, featured Pete York, the drummer from the Spencer Davis Group, on the session, which produced the first recording of Clapton playing on the Robert Johnson song originally titled "Cross Road Blues" but now generally better known just as "Crossroads": [Excerpt: The Powerhouse, "Crossroads"] We talked about Robert Johnson a little back in episode ninety-seven, but other than Bob Dylan, who was inspired by his lyrics, we had seen very little influence from Johnson up to this point, but he's going to be a major influence on rock guitar for the next few years, so we should talk about him a little here. It's often said that nobody knew anything about Robert Johnson, that he was almost a phantom other than his records which existed outside of any context as artefacts of their own. That's... not really the case. Johnson had died a little less than thirty years earlier, at only twenty-seven years old. Most of his half-siblings and step-siblings were alive, as were his son, his stepson, and dozens of musicians he'd played with over the years, women he'd had affairs with, and other assorted friends and relatives. What people mean is that information about Johnson's life was not yet known by people they consider important -- which is to say white blues scholars and musicians. Indeed, almost everything people like that -- people like *me* -- know of the facts of Johnson's life has only become known to us in the last four years. If, as some people had expected, I'd started this series with an episode on Johnson, I'd have had to redo the whole thing because of the information that's made its way to the public since then. But here's what was known -- or thought -- by white blues scholars in 1966. Johnson was, according to them, a field hand from somewhere in Mississippi, who played the guitar in between working on the cotton fields. He had done two recording sessions, in 1936 and 1937. One song from his first session, "Terraplane Blues", had been a very minor hit by blues standards: [Excerpt: Robert Johnson, "Terraplane Blues"] That had sold well -- nobody knows how well, but maybe as many as ten thousand copies, and it was certainly a record people knew in 1937 if they liked the Delta blues, but ten thousand copies total is nowhere near the sales of really successful records, and none of the follow-ups had sold anything like that much -- many of them had sold in the hundreds rather than the thousands. As Elijah Wald, one of Johnson's biographers put it "knowing about Johnson and Muddy Waters but not about Leroy Carr or Dinah Washington was like knowing about, say, the Sir Douglas Quintet but not knowing about the Beatles" -- though *I* would add that the Sir Douglas Quintet were much bigger during the sixties than Johnson was during his lifetime. One of the few white people who had noticed Johnson's existence at all was John Hammond, and he'd written a brief review of Johnson's first two singles under a pseudonym in a Communist newspaper. I'm going to quote it here, but the word he used to talk about Black people was considered correct then but isn't now, so I'll substitute Black for that word: "Before closing we cannot help but call your attention to the greatest [Black] blues singer who has cropped up in recent years, Robert Johnson. Recording them in deepest Mississippi, Vocalion has certainly done right by us and by the tunes "Last Fair Deal Gone Down" and "Terraplane Blues", to name only two of the four sides already released, sung to his own guitar accompaniment. Johnson makes Leadbelly sound like an accomplished poseur" Hammond had tried to get Johnson to perform at the Spirituals to Swing concerts we talked about in the very first episodes of the podcast, but he'd discovered that he'd died shortly before. He got Big Bill Broonzy instead, and played a couple of Johnson's records from a record player on the stage. Hammond introduced those recordings with a speech: "It is tragic that an American audience could not have been found seven or eight years ago for a concert of this kind. Bessie Smith was still at the height of her career and Joe Smith, probably the greatest trumpet player America ever knew, would still have been around to play obbligatos for her...dozens of other artists could have been there in the flesh. But that audience as well as this one would not have been able to hear Robert Johnson sing and play the blues on his guitar, for at that time Johnson was just an unknown hand on a Robinsonville, Mississippi plantation. Robert Johnson was going to be the big surprise of the evening for this audience at Carnegie Hall. I know him only from his Vocalion blues records and from the tall, exciting tales the recording engineers and supervisors used to bring about him from the improvised studios in Dallas and San Antonio. I don't believe Johnson had ever worked as a professional musician anywhere, and it still knocks me over when I think of how lucky it is that a talent like his ever found its way onto phonograph records. We will have to be content with playing two of his records, the old "Walkin' Blues" and the new, unreleased, "Preachin' Blues", because Robert Johnson died last week at the precise moment when Vocalion scouts finally reached him and told him that he was booked to appear at Carnegie Hall on December 23. He was in his middle twenties and nobody seems to know what caused his death." And that was, for the most part, the end of Robert Johnson's impact on the culture for a generation. The Lomaxes went down to Clarksdale, Mississippi a couple of years later -- reports vary as to whether this was to see if they could find Johnson, who they were unaware was dead, or to find information out about him, and they did end up recording a young singer named Muddy Waters for the Library of Congress, including Waters' rendition of "32-20 Blues", Johnson's reworking of Skip James' "Twenty-Two Twenty Blues": [Excerpt: Muddy Waters, "32-20 Blues"] But Johnson's records remained unavailable after their initial release until 1959, when the blues scholar Samuel Charters published the book The Country Blues, which was the first book-length treatment ever of Delta blues. Sixteen years later Charters said "I shouldn't have written The Country Blues when I did; since I really didn't know enough, but I felt I couldn't afford to wait. So The Country Blues was two things. It was a romanticization of certain aspects of black life in an effort to force the white society to reconsider some of its racial attitudes, and on the other hand it was a cry for help. I wanted hundreds of people to go out and interview the surviving blues artists. I wanted people to record them and document their lives, their environment, and their music, not only so that their story would be preserved but also so they'd get a little money and a little recognition in their last years." Charters talked about Johnson in the book, as one of the performers who played "minor roles in the story of the blues", and said that almost nothing was known about his life. He talked about how he had been poisoned by his common-law wife, about how his records were recorded in a pool hall, and said "The finest of Robert Johnson's blues have a brooding sense of torment and despair. The blues has become a personified figure of despondency." Along with Charters' book came a compilation album of the same name, and that included the first ever reissue of one of Johnson's tracks, "Preaching Blues": [Excerpt: Robert Johnson, "Preaching Blues"] Two years later, John Hammond, who had remained an ardent fan of Johnson, had Columbia put out the King of the Delta Blues Singers album. At the time no white blues scholars knew what Johnson looked like and they had no photos of him, so a generic painting of a poor-looking Black man with a guitar was used for the cover. The liner note to King of the Delta Blues Singers talked about how Johnson was seventeen or eighteen when he made his recordings, how he was "dead before he reached his twenty-first birthday, poisoned by a jealous girlfriend", how he had "seldom, if ever, been away from the plantation in Robinsville, Mississippi, where he was born and raised", and how he had had such stage fright that when he was asked to play in front of other musicians, he'd turned to face a wall so he couldn't see them. And that would be all that any of the members of the Powerhouse would know about Johnson. Maybe they'd also heard the rumours that were starting to spread that Johnson had got his guitar-playing skills by selling his soul to the devil at a crossroads at midnight, but that would have been all they knew when they recorded their filler track for Elektra: [Excerpt: The Powerhouse, "Crossroads"] Either way, the Powerhouse lineup only lasted for that one session -- the group eventually decided that a simple trio would be best for the music they wanted to play. Clapton had seen Buddy Guy touring with just a bass player and drummer a year earlier, and had liked the idea of the freedom that gave him as a guitarist. The group soon took on Robert Stigwood as a manager, which caused more arguments between Bruce and Baker. Bruce was convinced that if they were doing an all-for-one one-for-all thing they should also manage themselves, but Baker pointed out that that was a daft idea when they could get one of the biggest managers in the country to look after them. A bigger argument, which almost killed the group before it started, happened when Baker told journalist Chris Welch of the Melody Maker about their plans. In an echo of the way that he and Bruce had been resigned from Blues Incorporated without being consulted, now with no discussion Manfred Mann and John Mayall were reading in the papers that their band members were quitting before those members had bothered to mention it. Mayall was furious, especially since the album Clapton had played on hadn't yet come out. Clapton was supposed to work a month's notice while Mayall found another guitarist, but Mayall spent two weeks begging Peter Green to rejoin the band. Green was less than eager -- after all, he'd been fired pretty much straight away earlier -- but Mayall eventually persuaded him. The second he did, Mayall turned round to Clapton and told him he didn't have to work the rest of his notice -- he'd found another guitar player and Clapton was fired: [Excerpt: John Mayall's Bluesbreakers, "Dust My Blues"] Manfred Mann meanwhile took on the Beatles' friend Klaus Voorman to replace Bruce. Voorman would remain with the band until the end, and like Green was for Mayall, Voorman was in some ways a better fit for Manfred Mann than Bruce was. In particular he could double on flute, as he did for example on their hit version of Bob Dylan's "The Mighty Quinn": [Excerpt: Manfred Mann "The Mighty Quinn"] The new group, The Cream, were of course signed in the UK to Stigwood's Reaction label. Other than the Who, who only stuck around for one album, Reaction was not a very successful label. Its biggest signing was a former keyboard player for Screaming Lord Sutch, who recorded for them under the names Paul Dean and Oscar, but who later became known as Paul Nicholas and had a successful career in musical theatre and sitcom. Nicholas never had any hits for Reaction, but he did release one interesting record, in 1967: [Excerpt: Oscar, "Over the Wall We Go"] That was one of the earliest songwriting attempts by a young man who had recently named himself David Bowie. Now the group were public, they started inviting journalists to their rehearsals, which were mostly spent trying to combine their disparate musical influences --

June 28, 2005 is remembered as one of the biggest losses the SF/SO community has endured. We have seen the portrayal of that battle and the rescue missions in the movie Lone Survivor and in documentaries from the Smithsonian Institute. Hundreds of thousands of people have since found inspiration and displayed high levels of patriotism in honor of the bravery and valor these men displayed. Today, we ask you to get to know the men behind the uniform and join us in keeping their memories alive along with those who knew them best. Say their names to a friend or family member and share their stories with those who may not know. It has been said that when a loved one dies, the family experiences two deaths – once when they leave this earth and again when people forget who they were. Please join us and never forget those who gave all during Operation Red Wings.   In this episode, you will hear from: • Laura McGreevy, Surviving Spouse of Lt Michael M. McGreevy, Jr. • Char Westfall, Surviving Spouse of SOC Jacques J. Fontan • Erin Taylor, Surviving Spouse of SO1 Jeffrey S. Taylor • Patsy Dietz, Surviving Spouse of SO2 Danny Dietz • Cindy Axelson, Surviving Spouse of SO2 Matthew Axelson • Rhonda Lucas, Surviving Spouse of SO1 Jeffery A. Lucas • Norminda Healy, Surviving Spouse of SOCS Daniel R. Healy • Chase Patton, Brother to SO2 Shane E. Patton • Judy Goare, Mother of SSG Shamus O. Goare • Maureen Murphy, Mother of Lt Michael P. Murphy • Claudia Suh, Sister to SO2 James E. Suh Note: Not all families were able to participate in the video calls from which this audio was derived. We will always remember them and thank them for their service. Other Soldiers Who Gave All During Operation Red Wings: • CWO3 Corey J. Goodnature • SGT Kip A. Jacoby • LCDR Erik S. Kristensen • SFC Marcus V. Muralles • MSG James W. Ponder, III • MAJ Stephen C. Reich • SFC Michael L. Russell • CWO4 Chris J. Scherkenbach Marcus continues to honor the fallen and asks that you join him never forgetting their bravery and sacrifice. June 28, 2005 – Never Forget.