Podcast appearances and mentions of Sonny Boy

Today on another brand new episode of the Rarified Heir Podcast, we bring you part one of two episodes with Rodd Bland, son of the genius blues, soul, gospel & rhythm & blues singer Bobby “Blue” Bland. Best friends with B.B. King, & called the Frank Sinatra of the Blues – Bobby has more inductions into more museums and Hall of Fame's than an Amana Radar Range. Known for his soulful voice and his signature phrasing, Bobby was truly one of the greats. He also was also known for a guttural sound he made while singing that we get into on this episode. What started as a cue from a preacher became a sound that the ladies loved. No one did it like Bobby. Our conversation with Rodd dovetailed into many topics, including musicians such as ZZ Top to Pearl Jam, Taylor Hawkins to Jay-Z who were all influenced by “Blue.” We also talk about his father's late career resurgence thanks to films and television. From Spiderman the Animated Movie, to The Lincoln Lawyer and American Gangster, all roads seemed to lead back to “Blue”'s tunes in trailers, opening scenes in films and the like. Rodd tells us a rather touching story about when his father first heard one of his songs in a film that left us misty eyed. Along the way, we discuss what it was like touring in the Chitlin' Circuit, we touch on – albeit briefly – Don Robey and the Duke / Peacock years at the beginning of his career and a little known fact about Bobby that perhaps makes this episode an unleavened experience with a singer nicknamed as Sonny Boy that even Rodd didn't know. We had to call his mom to confirm it and she pretty much did. So sit back, take a listen to this episode of the Rarified Heir Podcast with Rodd Bland discussing everything from “Ain't No Love in the Heart of the City,” and “Further Up The Road” “Cry, Cry, Cry” & “I Pity The Fool.” But not, “Member's Only.” That one we saved for our Patreon page where we hear an exclusive, bonus episode, you won't hear anywhere else. Another child of a celebrity, interviewed by a child of a celebrity. Everyone has a story.  

We are back and this time we are talking about 2021's Sonny Boy.

We're back from MTAC Another World, and we've got a bevy of interviews for you all! Today, we've got our interview we did alongside The Side Quest Podcast for Alexis Tipton! Here's what MTAC had on their webpage about her:Alexis Tipton has been voice acting since 2008 and has loved every minute of it! She can be heard in over 450 anime, video game, and foreign live action film dub projects.Some of her most notable anime and video game roles include Mei Hatsume in My Hero Academia, Kaguya Shinomiya in Kaguya-Sama: Love is War, Reze in Chainsaw Man, Moka Akashiya in Rosario+Vampire, Kid Trunks in Dragonball Super, Kurumi Tokisaki in Date A Live, Hinata Sakaguchi in That Time I got Reincarnated as a Slime, Lupisregina in Overlord, Reiju Vinsmoke and Fukurou in One Piece, Sister Iris in Fire Force, Alisha Diphda in Tales of Zestiria, Musse Egret in Trails of Cold Steel, Lucina/Clair/Palla in the Fire Emblem franchise, Yuni and Yan in Nikke: Goddess of Victory, and Pascal in NieR: Automata. She also provided the English voice for Kaoru Kamiya in the live action Rurouni Kenshin film franchise.Alexis is also a contract ADR director and has directed shows such as Masamune's Revenge, World End, Restaurant to Another World, Magical Girl Spec Ops-Asuka, Sonny Boy, Dragon Goes House Hunting, and more. She is also currently serving as co-director on Zenless Zone Zero.https://mtac.net/guests/alexis-tipton/ OSMnotesWe want to thank Alexis and once again for taking the time to chat with us! And you can find all the places where Alexis is by checking out her online at:On her website: https://www.alexistipton.com/On Instagram: https://www.instagram.com/alexistiptonactress/On TikTok: https://www.tiktok.com/@alexistiptonvaOn Twitter: https://x.com/alexistiptonvaOn IMDb: https://www.imdb.com/name/nm3470960/Plus, a big thank you to MTAC for both letting us have the chance to chat, but also credit for the convention logo used.We also have YouTube Channels now! Both for OSMcast proper and The Carbuncle Chronicle! Please subscribe, hit the bell, and share amongst your friends.And as always, feel free to leave us a review on Apple Podcasts! Oh, and if you still use Spotify, go ahead and get on that mobile device and throw us some five stars there too. Tell your friends! As well, just like we mentioned when we do the OSMplugs, you can also join the Discord and support us on Patreon! PS If you have ever wanted some OSMmerch, feel free to check out our TeePublic page! PPS We appreciate you.

Spéciale Al Pacino, à l'occasion de la sortie de l'édition française de ses mémoires intitulées "Sonny Boy" (Seuil). On en parle avec Dick Tomasovic, chargé de cours en histoire et esthétique du cinéma et des arts du spectacle à l'ULg. Par l'un des acteurs les plus emblématiques de l'histoire du cinéma, le récit étonnant, jalonné de révélations, d'une vie entièrement consacrée à la création. Pour le grand public, Al Pacino explose sur la scène telle une supernova. Il décroche son premier rôle dans Panique à NeedlePark, en 1971, et en 1975 il a déjà été la tête d'affiche de quatre films – Le Parrain et Le Parrain 2, Serpico et Un après-midi de chien– qui ne sont pas seulement des succès mais des monuments de l'histoire du cinéma. Ses interprétations deviennent légendaires, et changent à jamais sa vie. Depuis Marlon Brando et James Dean à la fin des années 1950, aucun acteur n'a eu un tel impact culturel. À trente-cinq ans, Pacino a alors déjà vécu plusieurs vies. Figure du théâtre d'avant-garde à New York, il a mené une existence bohème, vivant de petits boulots pour financer sa passion. Après le départ de son père quand il est petit, il est élevé par une mère farouchement affectueuse mais souffrant de troubles mentaux. Il grandit dans les rues du South Bronx, au milieu de la troupe de jeunes copains rebelles et déchaînés avec qui il traîne et dont le souvenir ne le quittera jamais. Le sort en est jeté le jour où une enseignante se rend compte que sa présence sur scène est prometteuse et l'envoie au célèbre lycée des Performing Arts. Jouer la comédie est devenu sa ligne de vie, sa communauté est devenue sa tribu, au cours de périodes fastes et moins fastes, de phases de pauvreté et de richesse, de moments de douleur et de joie. « Sonny Boy » est l'autobiographie d'un homme qui n'a plus rien à craindre et plus rien à cacher. Merci pour votre écoute Entrez sans Frapper c'est également en direct tous les jours de la semaine de 16h à 17h30 sur www.rtbf.be/lapremiere Retrouvez l'ensemble des épisodes et les émission en version intégrale (avec la musique donc) de Entrez sans Frapper sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/8521 Abonnez-vous également à la partie "Bagarre dans la discothèque" en suivant ce lien: https://audmns.com/HSfAmLDEt si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Vous pourriez également apprécier ces autres podcasts issus de notre large catalogue: Le voyage du Stradivarius Feuermann : https://audmns.com/rxPHqEENoir Jaune Rouge - Belgian Crime Story : https://feeds.audiomeans.fr/feed/6e3f3e0e-6d9e-4da7-99d5-f8c0833912c5.xmlLes Petits Papiers : https://audmns.com/tHQpfAm Des rencontres inspirantes avec des artistes de tous horizons. Galaxie BD: https://audmns.com/nyJXESu Notre podcast hebdomadaire autour du 9ème art.Nom: Van Hamme, Profession: Scénariste : https://audmns.com/ZAoAJZF Notre série à propos du créateur de XII et Thorgal. Franquin par Franquin : https://audmns.com/NjMxxMg Ecoutez la voix du créateur de Gaston (et de tant d'autres...) Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Excerpt of the 24 Feb 1949 Kraft Music Hall, starring Al Jolson with Oscar Levant and guest star The Andrews Sisters. During this segment, Al Jolson and The Andrews Sisters sing two songs, Way Down Yonder In New Orleans and Sonny Boy The complete broadcast circulates with other Jolson radio shows on the Official Al Jolson Website at www.jolson.org.

Al Pacino is way different than you'd think. Excellent book called 'Sonny Boy' all about his upbringing in South Bronx.

Excerpt of the 27 Jan 1949 Kraft Music Hall starring Al Jolson with guest star arthur Treacher. After some classic comedy between Al and Arthur, Al Jolson sings a heartfelt version of "Brother Can You Spare A Dime" rewritten for the March of Dimes, concluding with "Sonny Boy." The complete broadcast circulates with other Jolson radio shows on the Official Al Jolson Website at www.jolson.org.

Al Pacino is a screen and stage actor. Emerging from New York's underground theater scene in the 1960s, he refined his craft under mentors including Lee Strasberg and Charlie Laughton. Best known for his iconic portrayals in The Godfather trilogy, Scarface, and more recently, House of Gucci, he is cited as one of the most respected actors of his generation. In his career spanning over five decades, Pacino has earned an Academy Award for Scent of a Woman, two Tony Awards for his stage work, and two Emmy Awards for his television roles. In addition to his on-screen appearances in television and film, Pacino has also taken on various directorial and production roles, and he currently serves as co-president of The Actors Studio alongside Ellen Burstyn and Alec Baldwin. His New York Times bestselling memoir, Sonny Boy, serves as a reflection of his life, craft, and the roles that shaped his extraordinary career.   ------ Thank you to the sponsors that fuel our podcast and our team: Squarespace https://squarespace.com/tetra Use code 'TETRA' ------ Vivo Barefoot http://vivobarefoot.com/tetra Use code 'TETRA25' ------ LMNT Electrolytes https://drinklmnt.com/tetra Use code 'TETRA' ------ Athletic Nicotine https://www.athleticnicotine.com/tetra Use code 'TETRA' ------ Sign up to receive Tetragrammaton Transmissions https://www.tetragrammaton.com/join-newsletter

2024 has come and gone. Leah and Leah are together for the first TMBDOS! of 2025 to talk about their best and worst first-time watches during the past year. Lee also has some honourable mentions to get through as well. Of note, this episode was recorded during a live stream, so there's some brief moments where the hosts are interacting with the chat as well. It made for a long but fun show! Lee's Honourable Mentions: 6. "Strange Darling" (2023) 5. "The Beach Bum" (2019) 4. "Sonny Boy" (1989) 3. "Infested" (2023) 2. "Run and Kill" (1993) 1. "Enter the Clones of Bruce" (2023) Leah's Best-of: 10. "Safe" (2012) 9. "Deadpool and Wolverine" (2024) 8. "Carry-On" (2024) 7. "Dungeons & Dragons: Honor Among Thieves" (2023) 6. "The Passion of Joan of Arc" (1928) 5. "Alien" (1979) 4. "Wait Until Dark" (1967) 3. "Persepolis" (2007) 2. "Last Night in Soho" (2021) 1. "Wicked" (2024) Lee's Best-of: 10. "Love Lies Bleeding" (2024) 9. "Day of the Cobra" (1980) 8. "A Haunted Turkish Bathhouse" (1975) 7. "Targets" (1968) 6. "Wolf Guy" (1975) 5. "Wait Until Dark" (1967) 4. "Ace in the Hole" (1951) 3. "Persepolis" (2007) 2. "Exhuma" (2024) 1. "I Saw the TV Glow" (2024) Leah's Worst-of: 9. "The Misfits" (2021) 8. "My Big Fat Greek Wedding 3" (2023) 7. "Red One" (2024) 6. "Hard Target 2" (2016) 5. "The Babysitters" (2007) 4. "Something Borrowed" (2011) 3. "Beetlejuice Beetlejuice" (2024) 2. "Marry Me" (2022) 1. "Solomon Kane" (2009) Lee's Worst-of: 9. "The Sea Serpent" (1985) 8. "The Swamp of the Ravens" (1974) 7. "Renfield" (2023) 6. "Evils of the Night" (1985) 5. "America 3000" (1986) 4. "Snake Eater II: The Drug Buster" (1989) 3. "Joker: Folie à Deux" (2024) 2. "Terrifier 2" (2022) 1. "Terrifier" (2016) Featured Music: Excerpts from "Gonna Fly Now" by Bill Conti; "Tell Me Something Good" by Chaka Khan & Rufus; & "You're the Best" by Joe Esposito. "The Silent Screen" & "At the Movies" by Hot Butter, and "In the Year 2525 (Exordium & Terminus)" by Zager & Evans.

 | Stefan Grossman  | Hambone Rag  | Yazoo Basin Boogie  |   |   | Duke Robillard  | Ukulele Swing  | The Acoustic Blues & Roots Of Duke Robillard  | Geiger von Muller (album)  | Blue Moon Frequency #5  | Geiger Von Muller- Slide Sonatas II  | Rev Gary Davis  | Yes Sir, That's My Baby Now  | See What The Lord Has Done For Me. The Ernie Hawkins Session CD  | Memphis Slim  | John Henry  | American Folk Blues Festival 1962-1965  CD2  | Memphis Slim  | Memphis Boogie  | American Folk Blues Festival 1962-1965  CD2  | Memphis Slim  | The Blues Is Everywhere  | American Folk Blues Festival 1962-1965  CD2  | Memphis Slim  | Wish Me Well  | American Folk Blues Festival 1962-1965  CD2  | Muddy Waters  | Blow Wind, Blow  | American Folk Blues Festival 1962-1965  CD2  | Muddy Waters  | Catfish Blues  | American Folk Blues Festival 1962-1965  CD2  | Muddy Waters  | Five Long Years  | American Folk Blues Festival 1962-1965  CD2  | Muddy Waters  | My Captain  | American Folk Blues Festival 1962-1965  CD2  | Muddy Waters  | My Home Is in the Delta  | American Folk Blues Festival 1962-1965  CD2  | Otis Spann  | Goin' Down Slow  | American Folk Blues Festival 1962-1965  CD2| Sonny Boy Williamson  | Don't Misuse Me  | American Folk Blues Festival 1962-1965  CD2  | Sonny Boy Williamson  | I Don't Know  | American Folk Blues Festival 1962-1965  CD2 | Sonny Boy Williamson  | Sonny Boy's Harmonica Blues  | American Folk Blues Festival 1962-1965  CD2  | Sonny Boy Williamson  | That's All I Want, Baby  | American Folk Blues Festival 1962-1965  CD2

MDR KULTUR-Literaturredakteurin Katrin Schumacher stellt vor: "Das weiße Album" von Diana Feuerbach, Roger de Weck: "Das Prinzip Trotzdem" und Al Pacinos Autobiografie "Sonny Boy".

Happy Holidays from The B-Side! Here we talk about movie stars! Not the movies that made them famous or kept them famous, but the ones that they made in between. Today we discuss the incomparable Al Pacino with the returning Mitchell Beaupre! Our B-Sides today include Bobby Deerfield, Revolution, Frankie & Johnny, and Danny Collins. We discuss Pacino's legacy (is he our greatest living actor?), his Oscar win for Scent of a Woman (what a silly plot that movie has!), and his deeply earnest autobiography Sonny Boy.  We dish on what doesn't work about Bobby Deerfield (for one, it's too quiet), what does work about Revolution (hint: it's the production design), how Michelle Pfeiffer was unfairly criticized for Frankie & Johnny, and why Danny Collins is much better than you think. Conor asks: Is Adam Sandler the new Pacino? Mitchell asks: Was Pacino's smallness in Bobby Deerfield and its failure a primary reason he stayed big for so long? Dan asks: Hey Baby Doll, what's going on? There's a reflection on Dan's problematic review of Jack & Jill from over thirteen years ago (yikes!), a tacit comparison between Pacino and Kenneth Branagh (whose recent King Lear production has been criticized, though we thoroughly enjoyed it), and a recollection of Jerry Weintraub helping Ellen Barkin with Ocean's Thirteen. Be sure to give us a follow on social at @TFSBSide. Also enter our giveaways, get access to our private Slack channel, and support new episodes by becoming a Patreon contributor.

Al Pacino es uno de los actores más reconocidos de Hollywood. A sus 84 años publica "Sonny Boy", una biografía de su vida donde echa la vista atrás para contarnos sus inicios en el teatro y el papel que lo convirtió en una estrella en “El Padrino”. Hoy repasamos su vida.

As a special holiday gift to The Film Stage podcast feed, listen to a new Box Office Bonanza! Here we talk about random box office weekends and where they fit into our lives. The movies, the memories! This episode features Dan Mecca, Conor O'Donnell, Mitchell Beaupre, Jordan Raup, and Cory Everett. The box office weekend in question is July 21, 2000. The number one movie in the country was the Robert Zemeckis-directed, Clark Gregg-scripted, Harrison Ford and Michelle Pfeiffer-starring supernatural thriller What Lies Beneath. The number three movie was the second Pokémon feature film, Pokémon 2000. Gladiator was still in theaters, so was U-571. But at the start, we mount a passionate defense of the new Zemeckis epic Here, which has now arrived digitally. After that, we talk about Martin Lawrence movies. We talk about how horrible Greg Kinnear's character is in Amy Heckerling's Loser. We talk about Al Pacino's new autobiography Sonny Boy. The sport doc Michael Jordan to the Max gets some discussion. An Office Space reference is completely ignored! There are too many 9/11 jokes! How many? You'll have to listen to find out. We remember that great bit with Ben Stiller and Tom Cruise from the MTV Movie Awards (“He's Harmless”). There's an appreciation of Jesus' Son as well.  There's a Saving Silverman reference, talk of yo-yos and Yu-Gi-Oh! There's a remembrance of that time The Perfect Storm and The Patriot came out the same weekend. Finally, for a few moments I'm convinced that nobody has been recording the podcast!  There's a lot here, people! We're thankful for you listening to us have fun! We hope you have some fun too! Check out The Film Stage's 2024 Holiday Gift Guide and Cory Everett's slew of Cinephile books and games!  Enjoy this episode and we welcome other interesting box office weekends to cover in the future. Stay tuned in 2025 for more podcast news from The Film Stage!

This is my classic talk with Beverly D'Angelo. Bev and I were texting last week and decided it's time to record a new talk, especially since she's been up to a lot since we first recorded this talk in 2019. But we're having some trouble coordinating our schedules, so I'm running this one now because it's a fun one with juicy stories and it's entirely possible we won't get that new one on the books anytime soon. And since Bev's ex, Al Pacino, who's also the father of her twins, has a new memoir out, called Sonny Boy, I thought, yeah, let's also hear from Bev, who has quite a few stories of her own. National Lampoon's Vacation turned actress Beverly D'Angelo into an American icon. She played Ellen Griswold, Chevy Chase's wife, of course. But that's just part of the story. I sit down with Bev at her Los Angeles home to talk about all the other things in her life. (And let's not forget Annie Hall, Any Which Way But Loose, Coal Miner's Daughter, Entourage, Shooter, Insatiable, etc., but more on that later.) Yes, we talk about how Vacation happened and how it changed things, and we get into SO MUCH MORE, like: Podcasts (hers + mine + other people's) Bev's background Bev's family Growing up in Columbus, Ohio Conformity Authenticity Sex, drugs and rock 'n roll Getting pregnant at age 48 Meeting, falling in love, and having kids with Al Pacino Al Pacino's mystique and how his fame has grown Addictive behavior Why she did Vacation after at first saying 'No.' Chevy Chase Why I should talk to Chevy now (and PS I really, really want to) Getting shunned by Hollywood Insecurity in Hollywood Other love stories   BONUS VIDEO! Beverly D'Angelo + I laugh and get real - on film! Subscribe now to my YouTube channel:  YouTube.com/reallyfamous     Work with me as a therapist, personal consultant, coach or mental health consultant ➤ hollywoodwellness.org/    Follow me on social media for behind-the-scenes photos and clips ➤  YouTube ➤ youtube.com/channel/UCbR3_S40FqVaWfKhYOTneSQ?sub_confirmation=1 Instagram ➤instagram.com/karamayerrobinson/  TikTok ➤ tiktok.com/@karamayerrobinson  Facebook ➤ facebook.com/karamayerrobinson/  Check out my sizzle reel ➤ https://really-famous.com/kmr-reel Share your thoughts ➤ reallyfamouspodcast@gmail.com   Subscribe on YouTube for all my interview videos ➤ https://www.youtube.com/channel/UCbR3_S40FqVaWfKhYOTneSQ?sub_confirmation=1 Shop with my Amazon Influencer link: https://www.amazon.com/shop/reallyfamous Get a Really Famous mug ➤ https://really-famous.myspreadshop.com/really+famous-A5d211932162c5f1ba0e0ae33?productType=949&sellable=xrOAqlvEk1UqmOlaDVqJ-949-32&size=29 Share your thoughts ➤ really-famous.com    Celebrity interview by Kara Mayer Robinson Music: Take a Chance by Kevin MacLeod - Incompetech - Creative Commons

On this edition of our series about celebrity memoirs, we review four more superstar tell-all's that are well worth your time, whether you enjoy them on the page or listen to the audiobooks: Connie, by Connie Chung, Taste by Stanley Tucci, Kitchen Confidential by Anthony Bourdain, and Sonny Boy, by Al Pacino.  See omnystudio.com/listener for privacy information.

Oscar-winning actor Al Pacino talks with Terry Gross about growing up in the South Bronx with a single mother and The Godfather, and why he almost passed on Part II. His new memoir is Sonny Boy.Also, we hear from Saoirse Ronan. She stars in two new films: The Outrun, about a young woman struggling to get sober, and the World War II drama, Blitz. She spoke with contributor Ann Marie Baldonado about the roles, as well as the most intense on set experience she's ever had — birthing lambs.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Oscar-winning actor Al Pacino talks with Terry Gross about growing up in the South Bronx with a single mother and The Godfather, and why he almost passed on Part II. His new memoir is Sonny Boy.Also, we hear from Saoirse Ronan. She stars in two new films: The Outrun, about a young woman struggling to get sober, and the World War II drama, Blitz. She spoke with contributor Ann Marie Baldonado about the roles, as well as the most intense on set experience she's ever had — birthing lambs.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

A Memoir.Get all the news you need by listening to WBZ NewsRadio 1030 on the free #iHeartRadio app! Or ask Alexa to play WBZ NewsRadio on #iHeartRadio.

Say hello to our little friend Al! Al Pacino has been in some of the most legendary movies of all time and somehow, through years of struggling through New York's theater scene and trying to discover the ins and outs of Hollywood, he remains a goof.  SHOP MERCH!!!!!! https://shop.celebritymemoirbookclub.biz/ If you want to host a CMBC meetup here's a meetup 101 packet to help you plan! Keep up with all the latest:  https://celebritymemoirbookclub.biz/ Join our Geneva Community to chat with the other worms!!!!  Join the Patreon for new episodes every Thursday! https://www.patreon.com/celebritymemoirbookclub  Follow us on Twitter @cmbc_podcast and Instagram @celebritymemoirbookclub  Art by @adrianne_manpearl and theme song by @ashleesimpsonross Learn more about your ad choices. Visit podcastchoices.com/adchoices

Oscar-winning actor Al Pacino talks with Terry Gross about growing up in the South Bronx with a single mother, getting his start in Greenwich Village performing in avant-garde theater, nearly dying of COVID, and his life today. We'll also talk about The Godfather, and why he almost passed on Part II. His new memoir is Sonny Boy.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Oscar-winning actor Al Pacino talks with Terry Gross about growing up in the South Bronx with a single mother, getting his start in Greenwich Village performing in avant-garde theater, nearly dying of COVID, and his life today. We'll also talk about The Godfather, and why he almost passed on Part II. His new memoir is Sonny Boy.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Al Pacino's childhood was spent in a tough neighborhood in the South Bronx. But he grew up among a crew of wild kids who often found themselves on adventures rivaling those of Huckleberry Finn. Those childhood antics proved foundational for Pacino, who details these stories and more in a new memoir, Sonny Boy. In today's episode, Pacino speaks with NPR's Ari Shapiro about the experiences that ignited and fed his love of acting, like a performance of Chekhov's The Seagull that changed his life. They also discuss the influence of the actor's mother and grandfather on his upbringing and whether Pacino still feels like a nonconformist at 84 years old.To listen to Book of the Day sponsor-free and support NPR's book coverage, sign up for Book of the Day+ at plus.npr.org/bookofthedayLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Episode 40In this episode we talk about the Yankees struggles and puzzling managerial moves in the World Series.  We also talk about Al Pacino's new book and Ben Folds at the Kennedy Center. Timestamps:00:00 - Game Start and GAME 1 Thoughts26:00 - Game 2 Thoughts 42:51 - Ben Folds Concert at Kennedy Center49:57 - Thoughts on Al Pacino's New Book "Sonny Boy"https://www.youtube.com/ @powellnotfound https://www.instagram.com/powellnotfoundpodcasthttps://www.tiktok.com/@powellnotfound https://twitter.com/powellnotfoundhttps://www.facebook.com/powellnotfound/Like, subscribe, and leave a comment. - Mark

Sonny Boy: A Memoir review - Your Own Dark Shadow: A Selection of Irish Horror Stories - An Taibhse

Perdemos mucho tiempo rememorando las obras vetustas de los culturetas muertos y embalsamados. Dejémonos sorprender por un debut deslumbrante, bajemos la ventanilla para que corra literatura fresca que nos despeine y nos inspire. Para el Criticón de La Cultureta Gran Reserva es una alegría recomendar vivamente ‘El limo', la novela primeriza de Rosa Jiménez en Tusquets que parece dispuesta a convertirse en el título revelación number one de su otoño lector. Si hablamos más bien de prosa crepuscular, asomémonos al abismo de los grandes de verdad, visitemos su leyenda, devoremos hoy mejor que mañana ‘Sonny Boy', las muy nutritivas memorias de Al Pacino en Libros Cúpula que van a hacernos feliz y triste a la vez. Feliz porque fue, triste porque se acaba. Música: recomendamos el arte de ‘Solomon', autor de la BSO de esta pieza semanal con el tema ‘Phases'. Buen provecho. 

Perdemos mucho tiempo rememorando las obras vetustas de los culturetas muertos y embalsamados. Dejémonos sorprender por un debut deslumbrante, bajemos la ventanilla para que corra literatura fresca que nos despeine y nos inspire. Para el Criticón de La Cultureta Gran Reserva es una alegría recomendar vivamente ‘El limo', la novela primeriza de Rosa Jiménez en Tusquets que parece dispuesta a convertirse en el título revelación number one de su otoño lector. Si hablamos más bien de prosa crepuscular, asomémonos al abismo de los grandes de verdad, visitemos su leyenda, devoremos hoy mejor que mañana ‘Sonny Boy', las muy nutritivas memorias de Al Pacino en Libros Cúpula que van a hacernos feliz y triste a la vez. Feliz porque fue, triste porque se acaba. Música: recomendamos el arte de ‘Solomon', autor de la BSO de esta pieza semanal con el tema ‘Phases'. Buen provecho. 

MUSIC During a Jonas Brothers show in Prague on Tuesday, someone aimed a laser pointer at Nick. So he made the "time out" sign with his hands, and fled the stage. Luckily, nobody was training a gun on Nick, and the show went on. A Diddy Update:As of October, Sean "Diddy" Combs has 13 different lawsuits being pressed against him, and this is the latest in them: A woman named Ashley Parham claims Combs raped her at a California apartment in 2018.Your weekly Jelly Roll news: Henry Winkler is such a big Jelly Roll fan that he wrote him a note telling him that he's great. Jelly framed the letter and sent him a video saying, "Thank you. I'm absolutely honored. I can't wait to see you and hopefully give you a hug. I'm a big hugger. I'll squeeze you."Metallica and Stern have teamed up for a new edition of their 2013 pinball machine with "Metallica Remastered". They've "elevated the game to the modern era with gameplay, electronics, and presentation improvements." The $13,000 "Limited Edition" game is already sold out, but the "Premium" model, which costs $9700, is still up for sale at Metallica's websiteJay-Z has extended his deal with the NFL. So I guess no Weird Al Halftime Show for a while.RIP: Former One Direction singer Liam Payne died Wednesday after falling from his hotel balcony in Argentina, TMZ reports. He was 31. MOVING ON INTO MOVIE NEWS:Remember the toy you had growing up called the View-Master? This was that little thing you would look at pictures through and it would present them in 3-D? Well, that toy has been around since 1939 and now somebody's finally getting around to make a movie about it. Mattel is teaming up with Sony for what they're calling, quote, "a four-quadrant family adventure," whatever that means. And it'll be live-action.One of the worst Adam Sandler movies of all time is ‘Jack and Jill' – and now we can all rest knowing that the only reason Al Pacino was in that movie was to get out of being broke. He explains that he once had $50 million in the bank. Then, in his 70s, he discovered that he was BROKE. In his new book "Sonny Boy", Pacino says a corrupt accountant mismanaged his money for YEARS. He also never had as much money on hand as he thought he did. Quote, "In this business, when you make $10 million for a film, it's not $10 million. Because after the lawyers, and the agents, and the publicist, and the government, it's not $10 million, it's $4.5 million in your pocket. But you're living above that because you're high on the hog. And that's how you lose it. It's very strange, the way it happens. The more money you make, the less you have."And finally some news for your Disney AdultsDisney fans have what they have asked for. On Wednesday, Disney Parks introduced the Lightning Lane Premier Pass. Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams > Check out King Scott's band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows http://www.1057thepoint.com/Rizz  Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

MUSIC  During a Jonas Brothers show in Prague on Tuesday, someone aimed a laser pointer at Nick. So he made the "time out" sign with his hands, and fled the stage. Luckily, nobody was training a gun on Nick, and the show went on.  A Diddy Update: As of October, Sean "Diddy" Combs has 13 different lawsuits being pressed against him, and this is the latest in them: A woman named Ashley Parham claims Combs raped her at a California apartment in 2018. Your weekly Jelly Roll news: Henry Winkler is such a big Jelly Roll fan that he wrote him a note telling him that he's great. Jelly framed the letter and sent him a video saying, "Thank you. I'm absolutely honored. I can't wait to see you and hopefully give you a hug. I'm a big hugger. I'll squeeze you." Metallica and Stern have teamed up for a new edition of their 2013 pinball machine with "Metallica Remastered". They've "elevated the game to the modern era with gameplay, electronics, and presentation improvements." The $13,000 "Limited Edition" game is already sold out, but the "Premium" model, which costs $9700, is still up for sale at Metallica's website Jay-Z has extended his deal with the NFL. So I guess no Weird Al Halftime Show for a while. RIP: Former One Direction singer Liam Payne died Wednesday after falling from his hotel balcony in Argentina, TMZ reports. He was 31.  MOVING ON INTO MOVIE NEWS: Remember the toy you had growing up called the View-Master? This was that little thing you would look at pictures through and it would present them in 3-D? Well, that toy has been around since 1939 and now somebody's finally getting around to make a movie about it. Mattel is teaming up with Sony for what they're calling, quote, "a four-quadrant family adventure," whatever that means. And it'll be live-action. One of the worst Adam Sandler movies of all time is ‘Jack and Jill' – and now we can all rest knowing that the only reason Al Pacino was in that movie was to get out of being broke. He explains that he once had $50 million in the bank. Then, in his 70s, he discovered that he was BROKE. In his new book "Sonny Boy", Pacino says a corrupt accountant mismanaged his money for YEARS. He also never had as much money on hand as he thought he did. Quote, "In this business, when you make $10 million for a film, it's not $10 million. Because after the lawyers, and the agents, and the publicist, and the government, it's not $10 million, it's $4.5 million in your pocket. But you're living above that because you're high on the hog. And that's how you lose it. It's very strange, the way it happens. The more money you make, the less you have." And finally some news for your Disney Adults Disney fans have what they have asked for. On Wednesday, Disney Parks introduced the Lightning Lane Premier Pass. Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams > Check out King Scott's band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows http://www.1057thepoint.com/Rizz   Learn more about your ad choices. Visit podcastchoices.com/adchoices

Happy publication day to Sonny Boy by Al Pacino! Listen to editor Scott Moyers share backstory on the book, and stay tuned for a reading from the audiobook.About the book: From one of the most iconic actors in the history of film, an astonishingly revelatory account of a creative life in full.Read more: https://www.penguinrandomhouse.com/books/730575/sonny-boy-by-al-pacino/Follow us online—Website: https://www.penguin.com/penguin-press-overview/ Instagram: https://www.instagram.com/penguinpress/ Twitter: https://twitter.com/penguinpress TikTok: https://www.tiktok.com/@thepenguinpress Facebook: https://www.facebook.com/PenguinPress/ LinkedIn: https://www.linkedin.com/showcase/10489701/admin/feed/posts/

Actor Al Pacino feels hopeful about being Conan O'Brien's friend. Al sits down with Conan to discuss his new memoir Sonny Boy, developing his iconic onscreen portrayals of Michael Corleone and Tony Montana, the last piece of advice he got from Marlon Brando, and much more. Later, Conan revolutionizes the podcast industry once again with an innovative new piece of gear. For Conan videos, tour dates and more visit TeamCoco.com.Got a question for Conan? Call our voicemail: (669) 587-2847. Get access to all the podcasts you love, music channels and radio shows with the SiriusXM App! Get 3 months free using this show link: https://siriusxm.com/conan.

Cindy Pearlman, senior writer for the New York Times and entertainment columnist for the Las Vegas Review-Journal, joins Bob Sirott to talk about the weekend box office numbers and stories in Al Pacino’s new memoir, “Sonny Boy.” She also shares details about her interview with Cate Blanchett and when we could get some new releases […]

Hosted by Jane Pauley. In our cover story, David Pogue looks at technology aimed at reducing collisions between whales and ships. Also: Ben Mankiewicz interviews Al Pacino about his new memoir, “Sonny Boy”; David Martin talks with veteran Washington Post reporter Bob Woodward about his latest book, “War”; Lee Cowan sits down with actress Shirley MacLaine, whose latest book, “The Wall of Life,” is a photographic memoir of her brilliant career; Tracy Smith visits music producer and Bleachers lead singer Jack Antonoff; and Faith Salie examines how baseball pitchers have increasingly used “Tommy John surgeries” to repair repetitive sports injuries.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

What makes an original work stand out as opposed to an adaptation? Ionatan and Ravi discuss their love of original projects where artists can creatively express themselves before giving their personal recommendations for the best original anime that the medium has to offer. They cover various original titles including popular entries such as 'Death Parade' and 'Lycoris Recoil' and idiosyncratic experiences from directors like Shingo Natsume and Kunihiko Ikuhara in 'Sonny Boy' and 'Mawaru Penguindrum.'

Myself & Ramrod in the  Season One finale of our “60 Minutes into” series of shows. We watch 1989's Sonny Boy and make our predictions after watching 1 hour of it. With Ramrod going into the final game of season one leading by 5 and a half points, can he hold on to his lead and not only claim victory, but also keep the trophy forever? Are you #TeamDave or #TeamRamrod ? Also make sure to listen to our short introduction show for all the rules and points scoring if you don't already know them. Thanks for listening and please send any written comments and thoughts HERE.

Sonny Boy Terry, born Terry Jerome in Van Wert, Ohio, is a bluesman recognized as one of Texas' - if not one of America's - top harmonica players. After learning the basics, he moved to Houston, Texas in 1981 and began building his experience with the likes of Uncle John Turner, TC and the Cannonballs, and more, and later played in bands and toured domestically and internationally with Jerry Lightfoot, Kinney Abair, and Joe Guitar Hughes. In the 1990s, he founded the 501(C)3 non-profit Houston Blues Society and started building his own band. Now the biggest selling artist on Doc Blue Records, he has been featured on countless songs and has released multiple albums of his own. Terry makes his home in Houston, Texas.

Als der 1. FC Saarbrücken 92/93 letztmals in der 1. Bundesliga spielt ist er der große Held: Eric Wynalda, der Sonnyboy aus Kalifornien. Die Geschichte eines Höhenfluges, der leider in der Tristesse endete. Auch wenn Wynalda immer wieder seine Phasen hatte, die ihn gar bei internationalen Topteams in die Notizbücher geschrieben haben.   Wo findet man mich auf Social Media? Footballjessy (Twitter) Footballjessy (BlueSky) BundesligaCards (Twitter) BundesligaCards (BlueSky) Retroball (Instagram)   Meine Football-Podcasts: HUT - Huddle Up Talk - wöchentlicher Podcast zum NFL-Geschehen. Touchdown Trivia - unregelmäßiger Podcast zu Football-Geschichte auf und neben dem Platz.   Danke an @HerrMoosbach (zu finden auf den geläufigen Plattformen) für seine Einsprecher! Intro & Outro: Funk in Kingdom von ...Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude.Gern unterstützen wir dich bei deiner Podcast-Produktion.

Happy Gizmo day!!!! This week the Plummet boys get an inside look into our favorite German host and his top 20 anime. Find out what Gizmo truly loves and listen in to all the hate we give him. We timed stamped this episode in case you want to skip spoilers. Enjoy! (00:06:52) Steins;Gate (00:14:44) Anohana (00:19:01) Hinamatsuri (00:22:31) Sonny Boy (00:26:09) Domestic Girlfriend (00:28:44) Cyberpunk Edgerunners (00:33:28) Kimi Ni Todoke (00:37:22) Welcome to the Ballroom (00:43:55) Made in Abyss (00:49:18) Kaguya-Sama (00:51:56) Food Wars (00:56:16) Chihayafuru (01:02:41) Frieren (01:06:04) Vinland Saga (01:09:13) Haikyu (01:13:03) March comes in like a lion (01:21:07) Naruto (01:30:07) Attack on Titan (01:35:02) Death Note (01:41:05) Your Lie in April Theme Song: Toilet Paper by ⁠⁠Danya Vodovoz --- Send in a voice message: https://podcasters.spotify.com/pod/show/anime-plummet/message

Today we visit Tales From Tech Support with 3 IT based stories! Join us for OP in a call center dealing with someon who has been given the run around and OP in a repair shop who has to deal with a grumpy elderly customer wanting his cell phone fixed!We're officially changing our name from the previous "Karma Comment Chameleon" to the new "Karma Stories". We'll still have the same content, the same selection of subreddits and I'll still be here doing the narrating!Karma Stories originated on YouTube under the Karma Comment Chameleon name and covers stories from popular Reddit Subreddits like Entitled Parents, Tales From Tech Support, Pro Revenge and Malicious Compliance. You can find new uploads here every single day of the week!Become a supporter of this podcast: https://www.spreaker.com/podcast/karma-stories-formerly-kcc--5098578/support.

This week on Echoes of Indiana Avenue, learn about the life and music of Enoch “Sonny Boy” Williams, a rhythm & blues pianist and vocalist from Indianapolis.  Williams cut a series of popular R&B recordings for Decca Records during the early 1940s. He's best remembered for his 1943 single “Reverse the Charges”. That song was a minor hit for Williams and was covered by artists including Bud Powell and Etta Jones.  Williams was born in London, Kentucky in 1917, but he was raised in Indianapolis. Williams began performing in 1935. He appeared often at Avenue venues, including The Cotton Club, The Rhumboogie, and Sunset Terrace.

The story so far: After getting trapped in a well in the middle of the woods without cell service, the boys try tunneling their way out, only to stumble on a secret underground bunker labeled "Moleman's Movie Hole" decorated and stocked like an 80s VHS rental store. After dealing with a bee attack and fixing their food shortage, they discover a magic box with a button that, when pressed, kills a random person somewhere in the world but materializes whatever item you're thinking about into the bunker...A week after discovering the magic box things in the movie hole are getting out of hand. While the guys wrestle with their new hoarding problem, they discuss 1989's dark drama Sonny Boy and, to lighten things back up a bit, revisit 1984's satire classic Top Secret! Also Greg has a green army man problem, Eric tells Boy Scouts stories, and Dan's surprised how ripped people could be in the 80's.Leave us a 30 second voicemail and if we like it we'll play it on the show: (949) 4-STABBY (949-478-2229)Next movie announced every Wednesday. New episodes every Monday. Follow us on the things: Linktree: https://www.linktr.ee/stabbystabbyInstagram:  @stabbypod  https://www.instagram.com/stabbypod/Letterboxd:   https://boxd.it/dp1ACMerch: https://www.big-other.com/shop/stabby-stabby

Vaughn, Lee, Bobby, and Mike discuss a family film about a kidnapped boy who has his tongue cut out and is raised to be a criminal by his adopted parents David Carradine and Paul L. Smith. It's as wild as it sounds and is a movie (and an episode) worth checking out. 

February 29, 1948 - Jack's Girlfriend Gladys Comes To Studio References include the songs "Near You", "The Freedom Train", and "South America Take it Away", the songwriter Stephen Foster, movie star Errol Flynn, former President Grover Cleveland, and for the commercials the Sportsmen spoof Al Jolson singing "Sonny Boy".

When you think of babies and horror, you probably think of being stuck next to one on a long flight. But sometimes they can be raised to kill for you. Sometimes they're born with the head of a lamb. We're discussing Sonny Boy, Lamb, and Inside on this newborn episode of Attack of the Killer Podcast. Listen & subscribe wherever you get your podcasts or go to http://www.aotkp.com Connect with the show: Become an Official Attacker: http://jointheattackers.com/ Visit our website: http://www.attackofthekillerpodcast.com/ Like us on https://www.facebook.com/attackofthekillerpodcast Follow us on https://twitter.com/AotKP Follow us on https://www.instagram.com/attackofthekillerpodcast/ Follow us on https://www.threads.net/@attackofthekillerpodcast Subscribe on https://www.youtube.com/attackofthekillerpodcast Support the show at https://www.patreon.com/aotkp/posts Lastly, check out all the amazing shows at http://thepfpn.com

Acteur Tarikh Janssen speelde, al voordat hij in 2013 afstudeerde van de toneelacademie Maastricht, bij Toneelgroep Maastricht en films als Cabo en Smoorverliefd. Sindsdien verscheen hij in onder andere Taal is zeg maar echt mijn ding, Mannen van Mars en Brasserie Valentijn. Ook was hij te zien in televisieseries Ik ook van jou en Orpheus. Nu speelt hij de hoofdrol in Sonny Boy van Solo Stories, een voorstelling van Solo Stories naar het gelijknamige boek van Annejet van der Zijl. Femke van der Laan gaat met Tarikh Janssen in gesprek.

Watch/Listen to this and all episodes ad free by joining the ITBR Patreon and get a free trial for the ITBR Professor level!  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/ivorytowerboilerroom⁠⁠ TQ Sims, an author who loves to center Queer characters in supernormal situations, joins Dr. Andrew Rimby in the ITBR to talk all about Season 1, Ep. 9 of QAF and their new queer book "Godspeed Lovers." When an episode of QAF begins with a vigorous J*RK OFF and CYBER S*X fantasy sequence, you know this is going to be quite a conversation! TQ opens up about his complicated relationship with his father and how much he related to Brian's complex dynamic with his father. TQ and Andrew explore whether or not queer men have more complex father-son relationships than straight men. Do straight fathers have patriarchal expectations that complicate their relationship with their queer son? TQ says that these relationships often cause trauma that is explored in their new book "Godspeed Lovers." Then, TQ and Andrew delve into Emmett's cyber fantasies and whether the fantasy is sometimes more fulfilling than the real-life experience? Also, why isn't "Queer as Folk" a new Broadway play or musical? TQ and Andrew are ready to write it! Just to remind you all here's a brief description about the "Daddy Dearest (Sonny Boy)" episode: Michael decides to break up with Dr. David, who surprises Michael by asking him to move in with him; Lindsay and Melanie ask Brian to relinquish his parental rights to Gus; Emmett becomes addicted to cyber-s*x. Make sure you re-watch all of the episodes with us on Showtime: ⁠⁠⁠⁠⁠⁠⁠⁠https://www.sho.com/queer-as-folk/season/1⁠⁠⁠⁠ Be sure to check out TQ's website for more info about "Godspeed Lovers": ⁠⁠ https://www.godspeedlovers.com/ Follow TQ on IG: @t.q.sims⁠⁠⁠ and TikTok: ⁠@t.q.sims Be sure to follow The SoapBox on IG, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@thesoapboxny⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and TikTok, ⁠⁠⁠⁠⁠⁠⁠⁠@thesoapboxny⁠⁠⁠⁠⁠⁠⁠⁠ and call or message them to get your hands on their luxurious bath and body products! To subscribe to The Gay and Lesbian Review visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠glreview.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Click Subscribe, and enter promo code ITBR50 to receive 50% off any print or digital subscription. Follow them on IG, ⁠⁠⁠⁠⁠⁠⁠⁠@theglreview⁠⁠⁠⁠⁠⁠⁠⁠. Head to Broadview Press, an independent academic publisher, for all your humanities related books. Use code ivorytower for 20% off your⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ broadviewpress.com ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠order. Follow them on IG, ⁠⁠⁠⁠⁠⁠⁠⁠@broadviewpress⁠⁠⁠⁠⁠⁠⁠⁠. Order and follow ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@mandeemadeit⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (on IG) mention ITBR, and with your first order you'll receive a free personalized gift! Follow That Ol' Gay Classic Cinema on IG, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@thatolgayclassiccinema⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and listen here: ⁠⁠⁠⁠⁠⁠⁠⁠https://podcasts.apple.com/us/podcast/that-ol-gay-classic-cinema/id1652125150⁠⁠⁠⁠⁠⁠⁠⁠ Follow ITBR on IG, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@ivorytowerboilerroom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, TikTok, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@ivorytowerboilerroom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and X, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@IvoryBoilerRoom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! Thanks to the ITBR team! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Andrew Rimby⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (Host/Director) and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Mary DiPipi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (Chief Contributor) --- Send in a voice message: https://podcasters.spotify.com/pod/show/ivorytowerboilerroom/message Support this podcast: https://podcasters.spotify.com/pod/show/ivorytowerboilerroom/support

On the 2nd August 2023, Jerhode Jemboy Baltazar and his friend, Sonny Boy, planned a fishing trip to earn a couple of bucks. The boys set out to first clean their boats before sailing out but as they were minding their business, a group of police officers approached their area in Navotas and opened fire.Sonny Boy saw his friend fall into the water, only to never surface alive anymore. Another young soul taken by the very authorities tasked to protect and serve Filipinos.Jemboy's killing ignited discussions around the culture of corruption, violence and impunity within the PNP and how after Duterte's war on drugs, killings of unarmed, mostly poor Filipinos continue. Despite showing themselves as remorseful and willing to prioritise Jemboy's case, cracks would soon be seen that would expose how the police would always protect their own first instead of taking responsibility for their crimes.Listen now to learn more about this case.List of sources is here:Support me:https://www.buymeacoffee.com/juzewobaLAGIM is on social media, so make sure to check me out:https://www.instagram.com/lagimpodcast/https://twitter.com/LagimPodhttps://facebook.com/lagimpodcast/https://www.tiktok.com/@lagimpodcastLagim is now also on Threads! Just search for "lagimpodcast".Subscribe to LAGIM's YouTube channel:https://bit.ly/3rFdWCgFollow, rate and review LAGIM on Apple Podcasts and Spotify:https://spoti.fi/3qamBxlhttps://apple.co/3r3XjzT

Episode 31 and Marcus is back in the host seat! They couldn't decide on Lord of the Flies, or just something weird, so they decided to do both and assign Sonny Boy. Will Dan and Nick be caught up in the mystery? Or will they find themselves DRIFTING to sleep? If you enjoyed the show, please subscribe for future episodes every Wednesday. Additionally, we'd appreciate you following the podcast on Twitter @TheAnimeBacklog or leaving us a review on iTunes, Spotify, Stitcher, or wherever you get your podcasts. If you want to follow us individually on Twitter, our handles are - Dan: @Avarice77, Marcus: @Marcus R, Nick: @NickSpartz. Any questions or comments feel free to email us at TheAnimeBacklogPodcast@gmail.com Music: "Kawaii Friends" by Alexander Lisenkov

Episode 79 of Streets & Scholars with host Alex Alonso and guest Sonny Boy from Burbank (Barrio Elmwood Rifa aka Burbank Elmwood Rifa)In this episode we talk about: -moving to mostly White Burbank in the 1970s-going to prison-his health and dealing with rhematoid arthritis-his falling out with Gil (American Cholo) -the future of Black & Brown relations in Los AngelesFIND us on INSTAGRAM* Streets & Scholars: http://www.instagram.com/streets.and.scholars * Alex Alonso: http://www.instagram.com/alexalonso101 * FG: https://www.instagram.com/fgeneral1/FIND us on Youtube:* Street TV: http://www.youtube.com/streetgangs* Street TV Flix: https://www.youtube.com/channel/UCwof1NALLNj3owdHJTM4YVw* Alex Alonso: https://www.youtube.com/c/AlexAlonso101-----* StreetGangs website: http://www.streetgangs.com

Episode one hundred and sixty-seven of A History of Rock Music in Five Hundred Songs looks at “The Weight" by the Band, the Basement Tapes, and the continuing controversy over Dylan going electric. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode available, on "S.F. Sorrow is Born" by the Pretty Things. 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/ Also, a one-time request here -- Shawn Taylor, who runs the Facebook group for the podcast and is an old and dear friend of mine, has stage-three lung cancer. I will be hugely grateful to anyone who donates to the GoFundMe for her treatment. Errata At one point I say "when Robertson and Helm travelled to the Brill Building". I meant "when Hawkins and Helm". This is fixed in the transcript but not the recording. Resources There are three Mixcloud mixes this time. As there are so many songs by Bob Dylan and the Band 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. I've used these books for all the episodes involving Dylan: Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties by Elijah Wald, which is recommended, as all Wald's books are. Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. Chronicles Volume 1 by Bob Dylan is a partial, highly inaccurate, but thoroughly readable autobiography. Information on Tiny Tim comes from Eternal Troubadour: The Improbable Life of Tiny Tim by Justin Martell. Information on John Cage comes from The Roaring Silence by David Revill Information on Woodstock comes from Small Town Talk by Barney Hoskyns. For material on the Basement Tapes, I've used Million Dollar Bash by Sid Griffin. And for the Band, I've used This Wheel's on Fire by Levon Helm with Stephen Davis, Testimony by Robbie Robertson, The Band by Craig Harris and Levon by Sandra B Tooze. I've also referred to the documentaries No Direction Home and Once Were Brothers. The complete Basement Tapes can be found on this multi-disc box set, while this double-CD version has the best material from the sessions. All the surviving live recordings by Dylan and the Hawks from 1966 are on this box set. There are various deluxe versions of Music From Big Pink, but still the best way to get the original album is in this twofer CD with the Band's second album. Transcript Just a brief note before I start – literally while I was in the middle of recording this episode, it was announced that Robbie Robertson had died today, aged eighty. Obviously I've not had time to alter the rest of the episode – half of which had already been edited – with that in mind, though I don't believe I say anything disrespectful to his memory. My condolences to those who loved him – he was a huge talent and will be missed. There are people in the world who question the function of criticism. Those people argue that criticism is in many ways parasitic. If critics knew what they were talking about, so the argument goes, they would create themselves, rather than talk about other people's creation. It's a variant of the "those who can't, teach" cliche. And to an extent it's true. Certainly in the world of rock music, which we're talking about in this podcast, most critics are quite staggeringly ignorant of the things they're talking about. Most criticism is ephemeral, published in newspapers, magazines, blogs and podcasts, and forgotten as soon as it has been consumed -- and consumed is the word . But sometimes, just sometimes, a critic will have an effect on the world that is at least as important as that of any of the artists they criticise. One such critic was John Ruskin. Ruskin was one of the preeminent critics of visual art in the Victorian era, particularly specialising in painting and architecture, and he passionately advocated for a form of art that would be truthful, plain, and honest. To Ruskin's mind, many artists of the past, and of his time, drew and painted, not what they saw with their own eyes, but what other people expected them to paint. They replaced true observation of nature with the regurgitation of ever-more-mannered and formalised cliches. His attacks on many great artists were, in essence, the same critiques that are currently brought against AI art apps -- they're just recycling and plagiarising what other people had already done, not seeing with their own eyes and creating from their own vision. Ruskin was an artist himself, but never received much acclaim for his own work. Rather, he advocated for the works of others, like Turner and the pre-Raphaelite school -- the latter of whom were influenced by Ruskin, even as he admired them for seeing with their own vision rather than just repeating influences from others. But those weren't the only people Ruskin influenced. Because any critical project, properly understood, becomes about more than just the art -- as if art is just anything. Ruskin, for example, studied geology, because if you're going to talk about how people should paint landscapes and what those landscapes look like, you need to understand what landscapes really do look like, which means understanding their formation. He understood that art of the kind he wanted could only be produced by certain types of people, and so society had to be organised in a way to produce such people. Some types of societal organisation lead to some kinds of thinking and creation, and to properly, honestly, understand one branch of human thought means at least to attempt to understand all of them. Opinions about art have moral consequences, and morality has political and economic consequences. The inevitable endpoint of any theory of art is, ultimately, a theory of society. And Ruskin had a theory of society, and social organisation. Ruskin's views are too complex to summarise here, but they were a kind of anarcho-primitivist collectivism. He believed that wealth was evil, and that the classical liberal economics of people like Mill was fundamentally anti-human, that the division of labour alienated people from their work. In Ruskin's ideal world, people would gather in communities no bigger than villages, and work as craftspeople, working with nature rather than trying to bend nature to their will. They would be collectives, with none richer or poorer than any other, and working the land without modern technology. in the first half of the twentieth century, in particular, Ruskin's influence was *everywhere*. His writings on art inspired the Impressionist movement, but his political and economic ideas were the most influential, right across the political spectrum. Ruskin's ideas were closest to Christian socialism, and he did indeed inspire many socialist parties -- most of the founders of Britain's Labour Party were admirers of Ruskin and influenced by his ideas, particularly his opposition to the free market. But he inspired many other people -- Gandhi talked about the profound influence that Ruskin had on him, saying in his autobiography that he got three lessons from Ruskin's Unto This Last: "That 1) the good of the individual is contained in the good of all. 2) a lawyer's work has the same value as the barber's in as much as all have the same right of earning their livelihood from their work. 3) a life of labour, i.e., the life of the tiller of the soil and the handicraftsman is the life worth living. The first of these I knew. The second I had dimly realized. The third had never occurred to me. Unto This Last made it clear as daylight for me that the second and third were contained in the first. I arose with the dawn, ready to reduce these principles to practice" Gandhi translated and paraphrased Unto this Last into Gujurati and called the resulting book Sarvodaya (meaning "uplifting all" or "the welfare of all") which he later took as the name of his own political philosophy. But Ruskin also had a more pernicious influence -- it was said in 1930s Germany that he and his friend Thomas Carlyle were "the first National Socialists" -- there's no evidence I know of that Hitler ever read Ruskin, but a *lot* of Nazi rhetoric is implicit in Ruskin's writing, particularly in his opposition to progress (he even opposed the bicycle as being too much inhuman interference with nature), just as much as more admirable philosophies, and he was so widely read in the late nineteenth and early twentieth centuries that there's barely a political movement anywhere that didn't bear his fingerprints. But of course, our focus here is on music. And Ruskin had an influence on that, too. We've talked in several episodes, most recently the one on the Velvet Underground, about John Cage's piece 4'33. What I didn't mention in any of the discussions of that piece -- because I was saving it for here -- is that that piece was premiered at a small concert hall in upstate New York. The hall, the Maverick Concert Hall, was owned and run by the Maverick arts and crafts collective -- a collective that were so called because they were the *second* Ruskinite arts colony in the area, having split off from the Byrdcliffe colony after a dispute between its three founders, all of whom were disciples of Ruskin, and all of whom disagreed violently about how to implement Ruskin's ideas of pacifist all-for-one and one-for-all community. These arts colonies, and others that grew up around them like the Arts Students League were the thriving centre of a Bohemian community -- close enough to New York that you could get there if you needed to, far enough away that you could live out your pastoral fantasies, and artists of all types flocked there -- Pete Seeger met his wife there, and his father-in-law had been one of the stonemasons who helped build the Maverick concert hall. Dozens of artists in all sorts of areas, from Aaron Copland to Edward G Robinson, spent time in these communities, as did Cage. Of course, while these arts and crafts communities had a reputation for Bohemianism and artistic extremism, even radical utopian artists have their limits, and legend has it that the premiere of 4'33 was met with horror and derision, and eventually led to one artist in the audience standing up and calling on the residents of the town around which these artistic colonies had agglomerated: “Good people of Woodstock, let's drive these people out of town.” [Excerpt: The Band, "The Weight"] Ronnie Hawkins was almost born to make music. We heard back in the episode on "Suzie Q" in 2019 about his family and their ties to music. Ronnie's uncle Del was, according to most of the sources on the family, a member of the Sons of the Pioneers -- though as I point out in that episode, his name isn't on any of the official lists of group members, but he might well have performed with them at some point in the early years of the group. And he was definitely a country music bass player, even if he *wasn't* in the most popular country and western group of the thirties and forties. And Del had had two sons, Jerry, who made some minor rockabilly records: [Excerpt: Jerry Hawkins, "Swing, Daddy, Swing"] And Del junior, who as we heard in the "Susie Q" episode became known as Dale Hawkins and made one of the most important rock records of the fifties: [Excerpt: Dale Hawkins, "Susie Q"] Ronnie Hawkins was around the same age as his cousins, and was in awe of his country-music star uncle. Hawkins later remembered that after his uncle moved to Califormia to become a star “He'd come home for a week or two, driving a brand new Cadillac and wearing brand new clothes and I knew that's what I wanted to be." Though he also remembered “He spent every penny he made on whiskey, and he was divorced because he was running around with all sorts of women. His wife left Arkansas and went to Louisiana.” Hawkins knew that he wanted to be a music star like his uncle, and he started performing at local fairs and other events from the age of eleven, including one performance where he substituted for Hank Williams -- Williams was so drunk that day he couldn't perform, and so his backing band asked volunteers from the audience to get up and sing with them, and Hawkins sang Burl Ives and minstrel-show songs with the band. He said later “Even back then I knew that every important white cat—Al Jolson, Stephen Foster—they all did it by copying blacks. Even Hank Williams learned all the stuff he had from those black cats in Alabama. Elvis Presley copied black music; that's all that Elvis did.” As well as being a performer from an early age, though, Hawkins was also an entrepreneur with an eye for how to make money. From the age of fourteen he started running liquor -- not moonshine, he would always point out, but something far safer. He lived only a few miles from the border between Missouri and Arkansas, and alcohol and tobacco were about half the price in Missouri that they were in Arkansas, so he'd drive across the border, load up on whisky and cigarettes, and drive back and sell them at a profit, which he then used to buy shares in several nightclubs, which he and his bands would perform in in later years. Like every man of his generation, Hawkins had to do six months in the Army, and it was there that he joined his first ever full-time band, the Blackhawks -- so called because his name was Hawkins, and the rest of the group were Black, though Hawkins was white. They got together when the other four members were performing at a club in the area where Hawkins was stationed, and he was so impressed with their music that he jumped on stage and started singing with them. He said later “It sounded like something between the blues and rockabilly. It sort of leaned in both directions at the same time, me being a hayseed and those guys playing a lot funkier." As he put it "I wanted to sound like Bobby ‘Blue' Bland but it came out sounding like Ernest Tubb.” Word got around about the Blackhawks, both that they were a great-sounding rock and roll band and that they were an integrated band at a time when that was extremely unpopular in the southern states, and when Hawkins was discharged from the Army he got a call from Sam Phillips at Sun Records. According to Hawkins a group of the regular Sun session musicians were planning on forming a band, and he was asked to front the band for a hundred dollars a week, but by the time he got there the band had fallen apart. This doesn't precisely line up with anything else I know about Sun, though it perhaps makes sense if Hawkins was being asked to front the band who had variously backed Billy Lee Riley and Jerry Lee Lewis after one of Riley's occasional threats to leave the label. More likely though, he told everyone he knew that he had a deal with Sun but Phillips was unimpressed with the demos he cut there, and Hawkins made up the story to stop himself losing face. One of the session players for Sun, though, Luke Paulman, who played in Conway Twitty's band among others, *was* impressed with Hawkins though, and suggested that they form a band together with Paulman's bass player brother George and piano-playing cousin Pop Jones. The Paulman brothers and Jones also came from Arkansas, but they specifically came from Helena, Arkansas, the town from which King Biscuit Time was broadcast. King Biscuit Time was the most important blues radio show in the US at that time -- a short lunchtime programme which featured live performances from a house band which varied over the years, but which in the 1940s had been led by Sonny Boy Williamson II, and featured Robert Jr. Lockwood, Robert Johnson's stepson, on guiitar: [Excerpt: Sonny Boy Williamson II "Eyesight to the Blind (King Biscuit Time)"] The band also included a drummer, "Peck" Curtis, and that drummer was the biggest inspiration for a young white man from the town named Levon Helm. Helm had first been inspired to make music after seeing Bill Monroe and his Blue Grass Boys play live when Helm was eight, and he had soon taken up first the harmonica, then the guitar, then the drums, becoming excellent at all of them. Even as a child he knew that he didn't want to be a farmer like his family, and that music was, as he put it, "the only way to get off that stinking tractor  and out of that one hundred and five degree heat.” Sonny Boy Williamson and the King Biscuit Boys would perform in the open air in Marvell, Arkansas, where Helm was growing up, on Saturdays, and Helm watched them regularly as a small child, and became particularly interested in the drumming. “As good as the band sounded,” he said later “it seemed that [Peck] was definitely having the most fun. I locked into the drums at that point. Later, I heard Jack Nance, Conway Twitty's drummer, and all the great drummers in Memphis—Jimmy Van Eaton, Al Jackson, and Willie Hall—the Chicago boys (Fred Belew and Clifton James) and the people at Sun Records and Vee-Jay, but most of my style was based on Peck and Sonny Boy—the Delta blues style with the shuffle. Through the years, I've quickened the pace to a more rock-and-roll meter and time frame, but it still bases itself back to Peck, Sonny Boy Williamson, and the King Biscuit Boys.” Helm had played with another band that George Paulman had played in, and he was invited to join the fledgling band Hawkins was putting together, called for the moment the Sun Records Quartet. The group played some of the clubs Hawkins had business connections in, but they had other plans -- Conway Twitty had recently played Toronto, and had told Luke Paulman about how desperate the Canadians were for American rock and roll music. Twitty's agent Harold Kudlets booked the group in to a Toronto club, Le Coq D'Or, and soon the group were alternating between residencies in clubs in the Deep South, where they were just another rockabilly band, albeit one of the better ones, and in Canada, where they became the most popular band in Ontario, and became the nucleus of an entire musical scene -- the same scene from which, a few years later, people like Neil Young would emerge. George Paulman didn't remain long in the group -- he was apparently getting drunk, and also he was a double-bass player, at a time when the electric bass was becoming the in thing. And this is the best place to mention this, but there are several discrepancies in the various accounts of which band members were in Hawkins' band at which times, and who played on what session. They all *broadly* follow the same lines, but none of them are fully reconcilable with each other, and nobody was paying enough attention to lineup shifts in a bar band between 1957 and 1964 to be absolutely certain who was right. I've tried to reconcile the various accounts as far as possible and make a coherent narrative, but some of the details of what follows may be wrong, though the broad strokes are correct. For much of their first period in Ontario, the group had no bass player at all, relying on Jones' piano to fill in the bass parts, and on their first recording, a version of "Bo Diddley", they actually got the club's manager to play bass with them: [Excerpt: Ronnie Hawkins, "Hey Bo Diddley"] That is claimed to be the first rock and roll record made in Canada, though as everyone who has listened to this podcast knows, there's no first anything. It wasn't released as by the Sun Records Quartet though -- the band had presumably realised that that name would make them much less attractive to other labels, and so by this point the Sun Records Quartet had become Ronnie Hawkins and the Hawks. "Hey Bo Diddley" was released on a small Canadian label and didn't have any success, but the group carried on performing live, travelling back down to Arkansas for a while and getting a new bass player, Lefty Evans, who had been playing in the same pool of musicians as them, having been another Sun session player who had been in Conway Twitty's band, and had written Twitty's "Why Can't I Get Through to You": [Excerpt: Conway Twitty, "Why Can't I Get Through to You"] The band were now popular enough in Canada that they were starting to get heard of in America, and through Kudlets they got a contract with Joe Glaser, a Mafia-connected booking agent who booked them into gigs on the Jersey Shore. As Helm said “Ronnie Hawkins had molded us into the wildest, fiercest, speed-driven bar band in America," and the group were apparently getting larger audiences in New Jersey than Sammy Davis Jr was, even though they hadn't released any records in the US. Or at least, they hadn't released any records in their own name in the US. There's a record on End Records by Rockin' Ronald and the Rebels which is very strongly rumoured to have been the Hawks under another name, though Hawkins always denied that. Have a listen for yourself and see what you think: [Excerpt: Rockin' Ronald and the Rebels, "Kansas City"] End Records, the label that was on, was one of the many record labels set up by George Goldner and distributed by Morris Levy, and when the group did release a record in their home country under their own name, it was on Levy's Roulette Records. An audition for Levy had been set up by Glaser's booking company, and Levy decided that given that Elvis was in the Army, there was a vacancy to be filled and Ronnie Hawkins might just fit the bill. Hawkins signed a contract with Levy, and it doesn't sound like he had much choice in the matter. Helm asked him “How long did you have to sign for?” and Hawkins replied "Life with an option" That said, unlike almost every other artist who interacted with Levy, Hawkins never had a bad word to say about him, at least in public, saying later “I don't care what Morris was supposed to have done, he looked after me and he believed in me. I even lived with him in his million-dollar apartment on the Upper East Side." The first single the group recorded for Roulette, a remake of Chuck Berry's "Thirty Days" retitled "Forty Days", didn't chart, but the follow-up, a version of Young Jessie's "Mary Lou", made number twenty-six on the charts: [Excerpt: Ronnie Hawkins and the Hawks, "Mary Lou"] While that was a cover of a Young Jessie record, the songwriting credits read Hawkins and Magill -- Magill was a pseudonym used by Morris Levy. Levy hoped to make Ronnie Hawkins into a really big star, but hit a snag. This was just the point where the payola scandal had hit and record companies were under criminal investigation for bribing DJs to play their records. This was the main method of promotion that Levy used, and this was so well known that Levy was, for a time, under more scrutiny than anyone. He couldn't risk paying anyone off, and so Hawkins' records didn't get the expected airplay. The group went through some lineup changes, too, bringing in guitarist Fred Carter (with Luke Paulman moving to rhythm and soon leaving altogether)  from Hawkins' cousin Dale's band, and bass player Jimmy Evans. Some sources say that Jones quit around this time, too, though others say he was in the band for  a while longer, and they had two keyboards (the other keyboard being supplied by Stan Szelest. As well as recording Ronnie Hawkins singles, the new lineup of the group also recorded one single with Carter on lead vocals, "My Heart Cries": [Excerpt: Fred Carter, "My Heart Cries"] While the group were now playing more shows in the USA, they were still playing regularly in Canada, and they had developed a huge fanbase there. One of these was a teenage guitarist called Robbie Robertson, who had become fascinated with the band after playing a support slot for them, and had started hanging round, trying to ingratiate himself with the band in the hope of being allowed to join. As he was a teenager, Hawkins thought he might have his finger on the pulse of the youth market, and when Hawkins and Helm travelled to the Brill Building to hear new songs for consideration for their next album, they brought Robertson along to listen to them and give his opinion. Robertson himself ended up contributing two songs to the album, titled Mr. Dynamo. According to Hawkins "we had a little time after the session, so I thought, Well, I'm just gonna put 'em down and see what happens. And they were released. Robbie was the songwriter for words, and Levon was good for arranging, making things fit in and all that stuff. He knew what to do, but he didn't write anything." The two songs in question were "Someone Like You" and "Hey Boba Lou": [Excerpt: Ronnie Hawkins and the Hawks, "Hey Boba Lou"] While Robertson was the sole writer of the songs, they were credited to Robertson, Hawkins, and Magill -- Morris Levy. As Robertson told the story later, “It's funny, when those songs came out and I got a copy of the album, it had another name on there besides my name for some writer like Morris Levy. So, I said to Ronnie, “There was nobody there writing these songs when I wrote these songs. Who is Morris Levy?” Ronnie just kinda tapped me on the head and said, “There are certain things about this business that you just let go and you don't question.” That was one of my early music industry lessons right there" Robertson desperately wanted to join the Hawks, but initially it was Robertson's bandmate Scott Cushnie who became the first Canadian to join the Hawks. But then when they were in Arkansas, Jimmy Evans decided he wasn't going to go back to Canada. So Hawkins called Robbie Robertson up and made him an offer. Robertson had to come down to Arkansas and get a couple of quick bass lessons from Helm (who could play pretty much every instrument to an acceptable standard, and so was by this point acting as the group's musical director, working out arrangements and leading them in rehearsals). Then Hawkins and Helm had to be elsewhere for a few weeks. If, when they got back, Robertson was good enough on bass, he had the job. If not, he didn't. Robertson accepted, but he nearly didn't get the gig after all. The place Hawkins and Helm had to be was Britain, where they were going to be promoting their latest single on Boy Meets Girls, the Jack Good TV series with Marty Wilde, which featured guitarist Joe Brown in the backing band: [Excerpt: Joe Brown, “Savage”] This was the same series that Eddie Cochran and Gene Vincent were regularly appearing on, and while they didn't appear on the episodes that Hawkins and Helm appeared on, they did appear on the episodes immediately before Hawkins and Helm's two appearances, and again a couple of weeks after, and were friendly with the musicians who did play with Hawkins and Helm, and apparently they all jammed together a few times. Hawkins was impressed enough with Joe Brown -- who at the time was considered the best guitarist on the British scene -- that he invited Brown to become a Hawk. Presumably if Brown had taken him up on the offer, he would have taken the spot that ended up being Robertson's, but Brown turned him down -- a decision he apparently later regretted. Robbie Robertson was now a Hawk, and he and Helm formed an immediate bond. As Helm much later put it, "It was me and Robbie against the world. Our mission, as we saw it, was to put together the best band in history". As rockabilly was by this point passe, Levy tried converting Hawkins into a folk artist, to see if he could get some of the Kingston Trio's audience. He recorded a protest song, "The Ballad of Caryl Chessman", protesting the then-forthcoming execution of Chessman (one of only a handful of people to be executed in the US in recent decades for non-lethal offences), and he made an album of folk tunes, The Folk Ballads of Ronnie Hawkins, which largely consisted of solo acoustic recordings, plus a handful of left-over Hawks recordings from a year or so earlier. That wasn't a success, but they also tried a follow-up, having Hawkins go country and do an album of Hank Williams songs, recorded in Nashville at Owen Bradley's Quonset hut. While many of the musicians on the album were Nashville A-Team players, Hawkins also insisted on having his own band members perform, much to the disgust of the producer, and so it's likely (not certain, because there seem to be various disagreements about what was recorded when) that that album features the first studio recordings with Levon Helm and Robbie Robertson playing together: [Excerpt: Ronnie Hawkins and the Hawks, "Your Cheatin' Heart"] Other sources claim that the only Hawk allowed to play on the album sessions was Helm, and that the rest of the musicians on the album were Harold Bradley and Hank Garland on guitar, Owen Bradley and Floyd Cramer on piano, Bob Moore on bass, and the Anita Kerr singers. I tend to trust Helm's recollection that the Hawks played at least some of the instruments though, because the source claiming that also seems to confuse the Hank Williams and Folk Ballads albums, and because I don't hear two pianos on the album. On the other hand, that *does* sound like Floyd Cramer on piano, and the tik-tok bass sound you'd get from having Harold Bradley play a baritone guitar while Bob Moore played a bass. So my best guess is that these sessions were like the Elvis sessions around the same time and with several of the same musicians, where Elvis' own backing musicians played rhythm parts but left the prominent instruments to the A-team players. Helm was singularly unimpressed with the experience of recording in Nashville. His strongest memory of the sessions was of another session going on in the same studio complex at the time -- Bobby "Blue" Bland was recording his classic single "Turn On Your Love Light", with the great drummer Jabo Starks on drums, and Helm was more interested in listening to that than he was in the music they were playing: [Excerpt: Bobby "Blue" Bland, "Turn On Your Love Light"] Incidentally, Helm talks about that recording being made "downstairs" from where the Hawks were recording, but also says that they were recording in Bradley's Quonset hut.  Now, my understanding here *could* be very wrong -- I've been unable to find a plan or schematic anywhere -- but my understanding is that the Quonset hut was a single-level structure, not a multi-level structure. BUT the original recording facilities run by the Bradley brothers were in Owen Bradley's basement, before they moved into the larger Quonset hut facility in the back, so it's possible that Bland was recording that in the old basement studio. If so, that won't be the last recording made in a basement we hear this episode... Fred Carter decided during the Nashville sessions that he was going to leave the Hawks. As his son told the story: "Dad had discovered the session musicians there. He had no idea that you could play and make a living playing in studios and sleep in your own bed every night. By that point in his life, he'd already been gone from home and constantly on the road and in the service playing music for ten years so that appealed to him greatly. And Levon asked him, he said, “If you're gonna leave, Fred, I'd like you to get young Robbie over here up to speed on guitar”…[Robbie] got kind of aggravated with him—and Dad didn't say this with any malice—but by the end of that week, or whatever it was, Robbie made some kind of comment about “One day I'm gonna cut you.” And Dad said, “Well, if that's how you think about it, the lessons are over.” " (For those who don't know, a musician "cutting" another one is playing better than them, so much better that the worse musician has to concede defeat. For the remainder of Carter's notice in the Hawks, he played with his back to Robertson, refusing to look at him. Carter leaving the group caused some more shuffling of roles. For a while, Levon Helm -- who Hawkins always said was the best lead guitar player he ever worked with as well as the best drummer -- tried playing lead guitar while Robertson played rhythm and another member, Rebel Payne, played bass, but they couldn't find a drummer to replace Helm, who moved back onto the drums. Then they brought in Roy Buchanan, another guitarist who had been playing with Dale Hawkins, having started out playing with Johnny Otis' band. But Buchanan didn't fit with Hawkins' personality, and he quit after a few months, going off to record his own first solo record: [Excerpt: Roy Buchanan, "Mule Train Stomp"] Eventually they solved the lineup problem by having Robertson -- by this point an accomplished lead player --- move to lead guitar and bringing in a new rhythm player, another Canadian teenager named Rick Danko, who had originally been a lead player (and who also played mandolin and fiddle). Danko wasn't expected to stay on rhythm long though -- Rebel Payne was drinking a lot and missing being at home when he was out on the road, so Danko was brought in on the understanding that he was to learn Payne's bass parts and switch to bass when Payne quit. Helm and Robertson were unsure about Danko, and Robertson expressed that doubt, saying "He only knows four chords," to which Hawkins replied, "That's all right son. You can teach him four more the way we had to teach you." He proved himself by sheer hard work. As Hawkins put it “He practiced so much that his arms swoll up. He was hurting.” By the time Danko switched to bass, the group also had a baritone sax player, Jerry Penfound, which allowed the group to play more of the soul and R&B material that Helm and Robertson favoured, though Hawkins wasn't keen. This new lineup of the group (which also had Stan Szelest on piano) recorded Hawkins' next album. This one was produced by Henry Glover, the great record producer, songwriter, and trumpet player who had played with Lucky Millinder, produced Wynonie Harris, Hank Ballard, and Moon Mullican, and wrote "Drowning in My Own Tears", "The Peppermint Twist", and "California Sun". Glover was massively impressed with the band, especially Helm (with whom he would remain friends for the rest of his life) and set aside some studio time for them to cut some tracks without Hawkins, to be used as album filler, including a version of the Bobby "Blue" Bland song "Farther On Up the Road" with Helm on lead vocals: [Excerpt: Levon Helm and the Hawks, "Farther On Up the Road"] There were more changes on the way though. Stan Szelest was about to leave the band, and Jones had already left, so the group had no keyboard player. Hawkins had just the replacement for Szelest -- yet another Canadian teenager. This one was Richard Manuel, who played piano and sang in a band called The Rockin' Revols. Manuel was not the greatest piano player around -- he was an adequate player for simple rockabilly and R&B stuff, but hardly a virtuoso -- but he was an incredible singer, able to do a version of "Georgia on My Mind" which rivalled Ray Charles, and Hawkins had booked the Revols into his own small circuit of clubs around Arkanasas after being impressed with them on the same bill as the Hawks a couple of times. Hawkins wanted someone with a good voice because he was increasingly taking a back seat in performances. Hawkins was the bandleader and frontman, but he'd often given Helm a song or two to sing in the show, and as they were often playing for several hours a night, the more singers the band had the better. Soon, with Helm, Danko, and Manuel all in the group and able to take lead vocals, Hawkins would start missing entire shows, though he still got more money than any of his backing group. Hawkins was also a hard taskmaster, and wanted to have the best band around. He already had great musicians, but he wanted them to be *the best*. And all the musicians in his band were now much younger than him, with tons of natural talent, but untrained. What he needed was someone with proper training, someone who knew theory and technique. He'd been trying for a long time to get someone like that, but Garth Hudson had kept turning him down. Hudson was older than any of the Hawks, though younger than Hawkins, and he was a multi-instrumentalist who was far better than any other musician on the circuit, having trained in a conservatory and learned how to play Bach and Chopin before switching to rock and roll. He thought the Hawks were too loud sounding and played too hard for him, but Helm kept on at Hawkins to meet any demands Hudson had, and Hawkins eventually agreed to give Hudson a higher wage than any of the other band members, buy him a new Lowry organ, and give him an extra ten dollars a week to give the rest of the band music lessons. Hudson agreed, and the Hawks now had a lineup of Helm on drums, Robertson on guitar, Manuel on piano, Danko on bass, Hudson on organ and alto sax, and Penfound on baritone sax. But these new young musicians were beginning to wonder why they actually needed a frontman who didn't turn up to many of the gigs, kept most of the money, and fined them whenever they broke one of his increasingly stringent set of rules. Indeed, they wondered why they needed a frontman at all. They already had three singers -- and sometimes a fourth, a singer called Bruce Bruno who would sometimes sit in with them when Penfound was unable to make a gig. They went to see Harold Kudlets, who Hawkins had recently sacked as his manager, and asked him if he could get them gigs for the same amount of money as they'd been getting with Hawkins. Kudlets was astonished to find how little Hawkins had been paying them, and told them that would be no problem at all. They had no frontman any more -- and made it a rule in all their contracts that the word "sideman" would never be used -- but Helm had been the leader for contractual purposes, as the musical director and longest-serving member (Hawkins, as a non-playing singer, had never joined the Musicians' Union so couldn't be the leader on contracts). So the band that had been Ronnie Hawkins and the Hawks became the Levon Helm Sextet briefly -- but Penfound soon quit, and they became Levon and the Hawks. The Hawks really started to find their identity as their own band in 1964. They were already far more interested in playing soul than Hawkins had been, but they were also starting to get into playing soul *jazz*, especially after seeing the Cannonball Adderley Sextet play live: [Excerpt: Cannonball Adderley, "This Here"] What the group admired about the Adderley group more than anything else was a sense of restraint. Helm was particularly impressed with their drummer, Louie Hayes, and said of him "I got to see some great musicians over the years, and you see somebody like that play and you can tell, y' know, that the thing not to do is to just get it down on the floor and stomp the hell out of it!" The other influence they had, and one which would shape their sound even more, was a negative one. The two biggest bands on the charts at the time were the Beatles and the Beach Boys, and as Helm described it in his autobiography, the Hawks thought both bands' harmonies were "a blend of pale, homogenised, voices". He said "We felt we were better than the Beatles and the Beach Boys. We considered them our rivals, even though they'd never heard of us", and they decided to make their own harmonies sound as different as possible as a result. Where those groups emphasised a vocal blend, the Hawks were going to emphasise the *difference* in their voices in their own harmonies. The group were playing prestigious venues like the Peppermint Lounge, and while playing there they met up with John Hammond Jr, who they'd met previously in Canada. As you might remember from the first episode on Bob Dylan, Hammond Jr was the son of the John Hammond who we've talked about in many episodes, and was a blues musician in his own right. He invited Helm, Robertson, and Hudson to join the musicians, including Michael Bloomfield, who were playing on his new album, So Many Roads: [Excerpt: John P. Hammond, "Who Do You Love?"] That album was one of the inspirations that led Bob Dylan to start making electric rock music and to hire Bloomfield as his guitarist, decisions that would have profound implications for the Hawks. The first single the Hawks recorded for themselves after leaving Hawkins was produced by Henry Glover, and both sides were written by Robbie Robertson. "uh Uh Uh" shows the influence of the R&B bands they were listening to. What it reminds me most of is the material Ike and Tina Turner were playing at the time, but at points I think I can also hear the influence of Curtis Mayfield and Steve Cropper, who were rapidly becoming Robertson's favourite songwriters: [Excerpt: The Canadian Squires, "Uh Uh Uh"] None of the band were happy with that record, though. They'd played in the studio the same way they played live, trying to get a strong bass presence, but it just sounded bottom-heavy to them when they heard the record on a jukebox. That record was released as by The Canadian Squires -- according to Robertson, that was a name that the label imposed on them for the record, while according to Helm it was an alternative name they used so they could get bookings in places they'd only recently played, which didn't want the same band to play too often. One wonders if there was any confusion with the band Neil Young played in a year or so before that single... Around this time, the group also met up with Helm's old musical inspiration Sonny Boy Williamson II, who was impressed enough with them that there was some talk of them being his backing band (and it was in this meeting that Williamson apparently told Robertson "those English boys want to play the blues so bad, and they play the blues *so bad*", speaking of the bands who'd backed him in the UK, like the Yardbirds and the Animals). But sadly, Williamson died in May 1965 before any of these plans had time to come to fruition. Every opportunity for the group seemed to be closing up, even as they knew they were as good as any band around them. They had an offer from Aaron Schroeder, who ran Musicor Records but was more importantly a songwriter and publisher who  had written for Elvis Presley and published Gene Pitney. Schroeder wanted to sign the Hawks as a band and Robertson as a songwriter, but Henry Glover looked over the contracts for them, and told them "If you sign this you'd better be able to pay each other, because nobody else is going to be paying you". What happened next is the subject of some controversy, because as these things tend to go, several people became aware of the Hawks at the same time, but it's generally considered that nothing would have happened the same way were it not for Mary Martin. Martin is a pivotal figure in music business history -- among other things she discovered Leonard Cohen and Gordon Lightfoot, managed Van Morrison, and signed Emmylou Harris to Warner Brothers records -- but a somewhat unknown one who doesn't even have a Wikipedia page. Martin was from Toronto, but had moved to New York, where she was working in Albert Grossman's office, but she still had many connections to Canadian musicians and kept an eye out for them. The group had sent demo tapes to Grossman's offices, and Grossman had had no interest in them, but Martin was a fan and kept pushing the group on Grossman and his associates. One of those associates, of course, was Grossman's client Bob Dylan. As we heard in the episode on "Like a Rolling Stone", Dylan had started making records with electric backing, with musicians who included Mike Bloomfield, who had played with several of the Hawks on the Hammond album, and Al Kooper, who was a friend of the band. Martin gave Richard Manuel a copy of Dylan's new electric album Highway 61 Revisited, and he enjoyed it, though the rest of the group were less impressed: [Excerpt: Bob Dylan, "Highway 61 Revisited"] Dylan had played the Newport Folk Festival with some of the same musicians as played on his records, but Bloomfield in particular was more interested in continuing to play with the Paul Butterfield Blues Band than continuing with Dylan long-term. Mary Martin kept telling Dylan about this Canadian band she knew who would be perfect for him, and various people associated with the Grossman organisation, including Hammond, have claimed to have been sent down to New Jersey where the Hawks were playing to check them out in their live setting. The group have also mentioned that someone who looked a lot like Dylan was seen at some of their shows. Eventually, Dylan phoned Helm up and made an offer. He didn't need a full band at the moment -- he had Harvey Brooks on bass and Al Kooper on keyboards -- but he did need a lead guitar player and drummer for a couple of gigs he'd already booked, one in Forest Hills, New York, and a bigger gig at the Hollywood Bowl. Helm, unfamiliar with Dylan's work, actually asked Howard Kudlets if Dylan was capable of filling the Hollywood Bowl. The musicians rehearsed together and got a set together for the shows. Robertson and Helm thought the band sounded terrible, but Dylan liked the sound they were getting a lot. The audience in Forest Hills agreed with the Hawks, rather than Dylan, or so it would appear. As we heard in the "Like a Rolling Stone" episode, Dylan's turn towards rock music was *hated* by the folk purists who saw him as some sort of traitor to the movement, a movement whose figurehead he had become without wanting to. There were fifteen thousand people in the audience, and they listened politely enough to the first set, which Dylan played acoustically, But before the second set -- his first ever full electric set, rather than the very abridged one at Newport -- he told the musicians “I don't know what it will be like out there It's going to be some kind of  carnival and I want you to all know that up front. So go out there and keep playing no matter how weird it gets!” There's a terrible-quality audience recording of that show in circulation, and you can hear the crowd's reaction to the band and to the new material: [Excerpt: Bob Dylan, "Ballad of a Thin Man" (live Forest Hills 1965, audience noise only)] The audience also threw things  at the musicians, knocking Al Kooper off his organ stool at one point. While Robertson remembered the Hollywood Bowl show as being an equally bad reaction, Helm remembered the audience there as being much more friendly, and the better-quality recording of that show seems to side with Helm: [Excerpt: Bob Dylan, "Maggie's Farm (live at the Hollywood Bowl 1965)"] After those two shows, Helm and Robertson went back to their regular gig. and in September they made another record. This one, again produced by Glover, was for Atlantic's Atco subsidiary, and was released as by Levon and the Hawks. Manuel took lead, and again both songs were written by Robertson: [Excerpt: Levon and the Hawks, "He Don't Love You (And He'll Break Your Heart)"] But again that record did nothing. Dylan was about to start his first full electric tour, and while Helm and Robertson had not thought the shows they'd played sounded particularly good, Dylan had, and he wanted the two of them to continue with him. But Robertson and, especially, Helm, were not interested in being someone's sidemen. They explained to Dylan that they already had a band -- Levon and the Hawks -- and he would take all of them or he would take none of them. Helm in particular had not been impressed with Dylan's music -- Helm was fundamentally an R&B fan, while Dylan's music was rooted in genres he had little time for -- but he was OK with doing it, so long as the entire band got to. As Mary Martin put it “I think that the wonderful and the splendid heart of the band, if you will, was Levon, and I think he really sort of said, ‘If it's just myself as drummer and Robbie…we're out. We don't want that. It's either us, the band, or nothing.' And you know what? Good for him.” Rather amazingly, Dylan agreed. When the band's residency in New Jersey finished, they headed back to Toronto to play some shows there, and Dylan flew up and rehearsed with them after each show. When the tour started, the billing was "Bob Dylan with Levon and the Hawks". That billing wasn't to last long. Dylan had been booked in for nine months of touring, and was also starting work on what would become widely considered the first double album in rock music history, Blonde on Blonde, and the original plan was that Levon and the Hawks would play with him throughout that time.  The initial recording sessions for the album produced nothing suitable for release -- the closest was "I Wanna Be Your Lover", a semi-parody of the Beatles' "I Want to be Your Man": [Excerpt: Bob Dylan with Levon and the Hawks, "I Wanna Be Your Lover"] But shortly into the tour, Helm quit. The booing had continued, and had even got worse, and Helm simply wasn't in the business to be booed at every night. Also, his whole conception of music was that you dance to it, and nobody was dancing to any of this. Helm quit the band, only telling Robertson of his plans, and first went off to LA, where he met up with some musicians from Oklahoma who had enjoyed seeing the Hawks when they'd played that state and had since moved out West -- people like Leon Russell, J.J. Cale (not John Cale of the Velvet Underground, but the one who wrote "Cocaine" which Eric Clapton later had a hit with), and John Ware (who would later go on to join the West Coast Pop Art Experimental Band). They started loosely jamming with each other, sometimes also involving a young singer named Linda Ronstadt, but Helm eventually decided to give up music and go and work on an oil rig in New Orleans. Levon and the Hawks were now just the Hawks. The rest of the group soldiered on, replacing Helm with session drummer Bobby Gregg (who had played on Dylan's previous couple of albums, and had previously played with Sun Ra), and played on the initial sessions for Blonde on Blonde. But of those sessions, Dylan said a few weeks later "Oh, I was really down. I mean, in ten recording sessions, man, we didn't get one song ... It was the band. But you see, I didn't know that. I didn't want to think that" One track from the sessions did get released -- the non-album single "Can You Please Crawl Out Your Window?" [Excerpt: Bob Dylan, "Can You Please Crawl Out Your Window?"] There's some debate as to exactly who's playing drums on that -- Helm says in his autobiography that it's him, while the credits in the official CD releases tend to say it's Gregg. Either way, the track was an unexpected flop, not making the top forty in the US, though it made the top twenty in the UK. But the rest of the recordings with the now Helmless Hawks were less successful. Dylan was trying to get his new songs across, but this was a band who were used to playing raucous music for dancing, and so the attempts at more subtle songs didn't come off the way he wanted: [Excerpt: Bob Dylan and the Hawks, "Visions of Johanna (take 5, 11-30-1965)"] Only one track from those initial New York sessions made the album -- "One Of Us Must Know (Sooner or Later)" -- but even that only featured Robertson and Danko of the Hawks, with the rest of the instruments being played by session players: [Excerpt: Bob Dylan (One of Us Must Know (Sooner or Later)"] The Hawks were a great live band, but great live bands are not necessarily the same thing as a great studio band. And that's especially the case with someone like Dylan. Dylan was someone who was used to recording entirely on his own, and to making records *quickly*. In total, for his fifteen studio albums up to 1974's Blood on the Tracks, Dylan spent a total of eighty-six days in the studio -- by comparison, the Beatles spent over a hundred days in the studio just on the Sgt Pepper album. It's not that the Hawks weren't a good band -- very far from it -- but that studio recording requires a different type of discipline, and that's doubly the case when you're playing with an idiosyncratic player like Dylan. The Hawks would remain Dylan's live backing band, but he wouldn't put out a studio recording with them backing him until 1974. Instead, Bob Johnston, the producer Dylan was working with, suggested a different plan. On his previous album, the Nashville session player Charlie McCoy had guested on "Desolation Row" and Dylan had found him easy to work with. Johnston lived in Nashville, and suggested that they could get the album completed more quickly and to Dylan's liking by using Nashville A-Team musicians. Dylan agreed to try it, and for the rest of the album he had Robertson on lead guitar and Al Kooper on keyboards, but every other musician was a Nashville session player, and they managed to get Dylan's songs recorded quickly and the way he heard them in his head: [Excerpt: Bob Dylan, "Most Likely You Go Your Way and I'll Go Mine"] Though Dylan being Dylan he did try to introduce an element of randomness to the recordings by having the Nashville musicians swap their instruments around and play each other's parts on "Rainy Day Women #12 & 35", though the Nashville players were still competent enough that they managed to get a usable, if shambolic, track recorded that way in a single take: [Excerpt: Bob Dylan, "Rainy Day Women #12 & 35"] Dylan said later of the album "The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It's that thin, that wild mercury sound. It's metallic and bright gold, with whatever that conjures up." The album was released in late June 1966, a week before Freak Out! by the Mothers of Invention, another double album, produced by Dylan's old producer Tom Wilson, and a few weeks after Pet Sounds by the Beach Boys. Dylan was at the forefront of a new progressive movement in rock music, a movement that was tying thoughtful, intelligent lyrics to studio experimentation and yet somehow managing to have commercial success. And a month after Blonde on Blonde came out, he stepped away from that position, and would never fully return to it. The first half of 1966 was taken up with near-constant touring, with Dylan backed by the Hawks and a succession of fill-in drummers -- first Bobby Gregg, then Sandy Konikoff, then Mickey Jones. This tour started in the US and Canada, with breaks for recording the album, and then moved on to Australia and Europe. The shows always followed the same pattern. First Dylan would perform an acoustic set, solo, with just an acoustic guitar and harmonica, which would generally go down well with the audience -- though sometimes they would get restless, prompting a certain amount of resistance from the performer: [Excerpt: Bob Dylan, "Just Like a Woman (live Paris 1966)"] But the second half of each show was electric, and that was where the problems would arise. The Hawks were playing at the top of their game -- some truly stunning performances: [Excerpt: Bob Dylan and the Hawks, "Just Like Tom Thumb's Blues (live in Liverpool 1966)"] But while the majority of the audience was happy to hear the music, there was a vocal portion that were utterly furious at the change in Dylan's musical style. Most notoriously, there was the performance at Manchester Free Trade Hall where this happened: [Excerpt: Bob Dylan, "Like a Rolling Stone (live Manchester 1966)"] That kind of aggression from the audience had the effect of pushing the band on to greater heights a lot of the time -- and a bootleg of that show, mislabelled as the Royal Albert Hall, became one of the most legendary bootlegs in rock music history. Jimmy Page would apparently buy a copy of the bootleg every time he saw one, thinking it was the best album ever made. But while Dylan and the Hawks played defiantly, that kind of audience reaction gets wearing. As Dylan later said, “Judas, the most hated name in human history, and for what—for playing an electric guitar. As if that is in some kind of way equitable to betraying our Lord, and delivering him up to be crucified; all those evil mothers can rot in hell.” And this wasn't the only stress Dylan, in particular, was under. D.A. Pennebaker was making a documentary of the tour -- a follow-up to his documentary of the 1965 tour, which had not yet come out. Dylan talked about the 1965 documentary, Don't Look Back, as being Pennebaker's film of Dylan, but this was going to be Dylan's film, with him directing the director. That footage shows Dylan as nervy and anxious, and covering for the anxiety with a veneer of flippancy. Some of Dylan's behaviour on both tours is unpleasant in ways that can't easily be justified (and which he has later publicly regretted), but there's also a seeming cruelty to some of his interactions with the press and public that actually reads more as frustration. Over and over again he's asked questions -- about being the voice of a generation or the leader of a protest movement -- which are simply based on incorrect premises. When someone asks you a question like this, there are only a few options you can take, none of them good. You can dissect the question, revealing the incorrect premises, and then answer a different question that isn't what they asked, which isn't really an option at all given the kind of rapid-fire situation Dylan was in. You can answer the question as asked, which ends up being dishonest. Or you can be flip and dismissive, which is the tactic Dylan chose. Dylan wasn't the only one -- this is basically what the Beatles did at press conferences. But where the Beatles were a gang and so came off as being fun, Dylan doing the same thing came off as arrogant and aggressive. One of the most famous artifacts of the whole tour is a long piece of footage recorded for the documentary, with Dylan and John Lennon riding in the back of a taxi, both clearly deeply uncomfortable, trying to be funny and impress the other, but neither actually wanting to be there: [Excerpt Dylan and Lennon conversation] 33) Part of the reason Dylan wanted to go home was that he had a whole new lifestyle. Up until 1964 he had been very much a city person, but as he had grown more famous, he'd found New York stifling. Peter Yarrow of Peter, Paul, and Mary had a cabin in Woodstock, where he'd grown up, and after Dylan had spent a month there in summer 1964, he'd fallen in love with the area. Albert Grossman had also bought a home there, on Yarrow's advice, and had given Dylan free run of the place, and Dylan had decided he wanted to move there permanently and bought his own home there. He had also married, to Sara Lowndes (whose name is, as far as I can tell, pronounced "Sarah" even though it's spelled "Sara"), and she had given birth to his first child (and he had adopted her child from her previous marriage). Very little is actually known about Sara, who unlike many other partners of rock stars at this point seemed positively to detest the limelight, and whose privacy Dylan has continued to respect even after the end of their marriage in the late seventies, but it's apparent that the two were very much in love, and that Dylan wanted to be back with his wife and kids, in the country, not going from one strange city to another being asked insipid questions and having abuse screamed at him. He was also tired of the pressure to produce work constantly. He'd signed a contract for a novel, called Tarantula, which he'd written a draft of but was unhappy with, and he'd put out two single albums and a double-album in a little over a year -- all of them considered among the greatest albums ever made. He could only keep up this rate of production and performance with a large intake of speed, and he was sometimes staying up for four days straight to do so. After the European leg of the tour, Dylan was meant to take some time to finish overdubs on Blonde on Blonde, edit the film of the tour for a TV special, with his friend Howard Alk, and proof the galleys for Tarantula, before going on a second world tour in the autumn. That world tour never happened. Dylan was in a motorcycle accident near his home, and had to take time out to recover. There has been a lot of discussion as to how serious the accident actually was, because Dylan's manager Albert Grossman was known to threaten to break contracts by claiming his performers were sick, and because Dylan essentially disappeared from public view for the next eighteen months. Every possible interpretation of the events has been put about by someone, from Dylan having been close to death, to the entire story being put up as a fake. As Dylan is someone who is far more protective of his privacy than most rock stars, it's doubtful we'll ever know the precise truth, but putting together the various accounts Dylan's injuries were bad but not life-threatening, but they acted as a wake-up call -- if he carried on living like he had been, how much longer could he continue? in his sort-of autobiography, Chronicles, Dylan described this period, saying "I had been in a motorcycle accident and I'd been hurt, but I recovered. Truth was that I wanted to get out of the rat race. Having children changed my life and segregated me from just about everybody and everything that was going on. Outside of my family, nothing held any real interest for me and I was seeing everything through different glasses." All his forthcoming studio and tour dates were cancelled, and Dylan took the time out to recover, and to work on his film, Eat the Document. But it's clear that nobody was sure at first exactly how long Dylan's hiatus from touring was going to last. As it turned out, he wouldn't do another tour until the mid-seventies, and would barely even play any one-off gigs in the intervening time. But nobody knew that at the time, and so to be on the safe side the Hawks were being kept on a retainer. They'd always intended to work on their own music anyway -- they didn't just want to be anyone's backing band -- so they took this time to kick a few ideas around, but they were hamstrung by the fact that it was difficult to find rehearsal space in New York City, and they didn't have any gigs. Their main musical work in the few months between summer 1966 and spring 1967 was some recordings for the soundtrack of a film Peter Yarrow was making. You Are What You Eat is a bizarre hippie collage of a film, documenting the counterculture between 1966 when Yarrow started making it and 1968 when it came out. Carl Franzoni, one of the leaders of the LA freak movement that we've talked about in episodes on the Byrds, Love, and the Mothers of Invention, said of the film “If you ever see this movie you'll understand what ‘freaks' are. It'll let you see the L.A. freaks, the San Francisco freaks, and the New York freaks. It was like a documentary and it was about the makings of what freaks were about. And it had a philosophy, a very definite philosophy: that you are free-spirited, artistic." It's now most known for introducing the song "My Name is Jack" by John Simon, the film's music supervisor: [Excerpt: John Simon, "My Name is Jack"] That song would go on to be a top ten hit in the UK for Manfred Mann: [Excerpt: Manfred Mann, "My Name is Jack"] The Hawks contributed backing music for several songs for the film, in which they acted as backing band for another old Greenwich Village folkie who had been friends with Yarrow and Dylan but who was not yet the star he would soon become, Tiny Tim: [Excerpt: Tiny Tim, "Sonny Boy"] This was their first time playing together properly since the end of the European tour, and Sid Griffin has noted that these Tiny Tim sessions are the first time you can really hear the sound that the group would develop over the next year, and which would characterise them for their whole career. Robertson, Danko, and Manuel also did a session, not for the film with another of Grossman's discoveries, Carly Simon, playing a version of "Baby Let Me Follow You Down", a song they'd played a lot with Dylan on the tour that spring. That recording has never been released, and I've only managed to track down a brief clip of it from a BBC documentary, with Simon and an interviewer talking over most of the clip (so this won't be in the Mixcloud I put together of songs): [Excerpt: Carly Simon, "Baby Let Me Follow You Down"] That recording is notable though because as well as Robertson, Danko, and Manuel, and Dylan's regular studio keyboard players Al Kooper and Paul Griffin, it also features Levon Helm on drums, even though Helm had still not rejoined the band and was at the time mostly working in New Orleans. But his name's on the session log, so he must have m