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There's an unsettling number of unfortunate flags on this trip to the Southern USA. It's The Fine Ale Countdown! "Neil Fitzpatrick is personally responsible for all content on this show. Thanks to Sentinel Audio for giving us a home.

After a long trip to the Southern USA, Mark has returned.  He drove for 108 hours, 8135KM over 3 weeks.  He visited 7 National Parks, State Parks and Monuments.  This was after he went to see Dave Matthews at the Gorge in Washington State and then attended a conference in Las Vegas on Dog Photography (Shutterhound). Mark debriefs Jeff on where he went and what he saw.  There is some salty language at the beginnning

Eric Snodgrass with Nutrien Ag Solutions looks at how some dry regions are hoping for some moisture from the extensive hurricane activity this year. The Southern USA is experiencing the driest year since they started collecting data in 1892, and El Nino predicts a moisture filled winter. Join Eric and Mike as they discuss these predictions, and much more.   Sign up for Eric's daily weather updates: https://info.nutrien.com/snodgrass_weather   Current weather maps: https://ag-wx.com/   To discover the latest crop nutrition research visit nutrien-eKonomics.com.

Brendan Chisholm is a General Partner on four properties totaling 287 units. His focus is on Value Add Multifamily Properties in the Southern USA. Crendan's core focus is Capital Raising and Asset ManagementMain Points:Discuss real estate journeyEvolution of capital raisingJumping right into syndicationsI will let you steer the conversationConnect with Brendon Chisholm:brendan@bkcholding.comhttp://www.bkcholding.comhttps://www.facebook.com/BPChisholmhttps://www.instagram.com/brendan.chisholm/https://www.linkedin.com/in/brendanchisholm/Fairfield County Multifamily & More MeetupThe Value Add Real Estate Show with Brendan Chisholm

The Go Gopher Podcast with Mike Grimm - Episode #74 catches up with Darrell Thompson who is on a Hot Rod Tour through the Southern USA, and Ryan Burns of Gopher Illustrated who gets us a summertime football recruiting updateThanks to Sunbelt Business Advisors and True North Mergers and Acquisitions (https://www.sunbeltminnesota.com/ & https://www.tnma.com), Affinity Plus Federal Credit Union (https://www.affinityplus.org/gogophers), & State Farm Agent Tony Hoaglund (https://www.champlininsurance.com/).

The Go Gopher Podcast with Mike Grimm - Episode #74 catches up with Darrell Thompson who is on a Hot Rod Tour through the Southern USA, and Ryan Burns of Gopher Illustrated who gets us a summertime football recruiting updateThanks to Sunbelt Business Advisors and True North Mergers and Acquisitions (https://www.sunbeltminnesota.com/ & https://www.tnma.com), Affinity Plus Federal Credit Union (https://www.affinityplus.org/gogophers), & State Farm Agent Tony Hoaglund (https://www.champlininsurance.com/).

Trey Hudson joins me to discuss The Meadow Project, his book about the Southern USA's area with activity similar to Skinwalker Ranch!

What does the chess board look like for WW 3 if the prediction from the U.S. military comes to fruition?  Mr. Beast curing blindness is under scrutiny by the internet, the Winnipeg Jets lost a legend and The Southern USA is getting their own taste of winter.@TylerCarrfm@JasminLaine@Energy106fmTyler Carr on Tik Tok

Discover fun and effective ways to easily engage children aged 4–11 in topics such as Southern USA, agriculture, fair trade, and more, with the Southern United States' most famous trickster...Sharing their ideas with you are Helen (a teacher for ages 4–7), Toria (a teacher for ages 7–11 and host of the Tiny Voice Talks podcast), and Epic Storyteller Chip.Listen to the full story via our sister podcast Fables & Fairy Tales. For additional resources – including lesson plans, story books, storytelling videos, classroom challenges and more – visit epictales.co.ukPlus join the community at facebook.com/groups/teachhappily, or find us on Twitter using @teachhappily – let us know what subjects or stories you need us to cover!Cover art: Heather Zeta RoseMentioned in this episode:Get 16 Free Books to Entrance Your Learners!Between now and 6 Jan, if you pay the annual price for Epic Learning membership, you'll get 16 FREE books! That's every story to go with all our free lesson plans – then you'll have a year getting two NEW stories every month! Illustrated by award-winning Korky Paul and friends, these books will make your lessons effective, memorable, and enjoyable all at the same time. To claim your free books, just follow the link and sign up for either annual membership or an Epic Educator course.Epic Educators

“A More Perfect Union" Hour 1 with Nii-Quartelai Quartey | @drniiquartelai| Podcast Hosted by changemaker, journalist, educator, and KBLA Talk 1580 Chief National Political Analyst Dr. Nii-Quartelai Quartey, “A More Perfect Union” promises to deliver national news of consequence, informed opinion, and analysis beyond the headlines. In this episode, listen to my conversation with Desmond Meade, President Of The Florida Rights Restoration Coalition. He's Building a more perfect union Starting with an imperfect Florida election system,, made worse by arrests made by Florida's new Elections Police Force. We'll get Desmond's take on this voter suppression tactic and learn what we can do to ensure every eligible voter in Florida, exercises their constitutional right without fear or intimidation. Then during our Changemakers Roundtable don't miss highlights from my recent conversation on Fox Soul's Black Report about existing and emerging midterm election trends with veteran Political Strategist Fred Hicks and Stacy Abrams Campaign Senior Advisor Nina Smith.

Luke 18:1-8  seems straight forward. It even says what it is about. But it turns out not so much. There is a lot going on here.Luke is asking how we encounter God – acting for justice in the world, or slow to act like the judge.  And I wonder what the invitation to pray incessantly for justice really invites us into:  a passive praying, an praying like the Negroes of Southern USA, or pestering active praying like Greta.So how do we pray in this time of peril?What do we pray for?And how is our praying changing us?You can read the notes for this sermon here

In this episode we explore how Elvis Presley crossed cultural divides and embraced the black culture of 1950's and 60's Southern USA. He embraced their music, dance, and expressive dress and style as he brought it to teenage white America. Even when the cultural forces conspired against him, Elvis remained true to his craft and his conviction of equality. --- Support this podcast: https://anchor.fm/jeffrey-skopak/support

Oklahoma has become the packaging and transshipment hub for narcotics and human trafficking from across the Southern USA and it now faces an invasion that is seeing the Triads of the CCP. Massive land purchases from China not for agriculture or livestock but for narcotic production. Low-cost noi interest loans maybe in use similar to what the CCP does with its belt and road control projects to finance massive Pot farms which are legal but far beyond the consumption needs of locals meaning someone wants to transship illegally narcotics across the USA from Oklahoma. Dr. Mark Sherwood was born in Tulsa, Oklahoma and raised in nearby Berryhill. His time spent in law enforcement, as well as helping thousands of patients at the Functional Medical Institute he founded with his wife, have shaped in him the principled leadership that Oklahoma needs. He sees all too clearly the suffocating socialist agenda that is sweeping the nation and making its way to Oklahoma. Dr. Mark is not naive enough to believe that Oklahoma will be exempt from the marxist strategy to destroy families, silence the church, and push for a totalitarian regime. In critical times such as these, the need for strong and bold leadership - instead of self-serving politics - is crucial. Dr. Mark has risen to the task of filling this void in the governor's office. He is running to challenge and replace Kevin Stitt, and provide Oklahoma with the proactive leader it needs. The Oklahoma governor's office must be willing to face controversial issues head on. Unfortunately, Stitt has not demonstrated a willingness to be that leader. It is no longer enough to be a moderate conservative, focusing on business and economics. Our children are being taught to hate people based solely on the color of their skin. Our hospitals are enforcing medical protocols that are killing people who otherwise could recover, and legal abortions are claiming 10,000 lives each year in Oklahoma alone. Again, it is no longer enough to be a MODERATE conservative. If elected, Dr. Mark is ready and willing to exercise his full constitutional authority as governor to preemptively protect Oklahoma's sovereign borders against threats both within and without. ​ Dr. Mark is a certified Naturopathic Doctor (ND) and both he and his wife Michele L. Neil-Sherwood, Doctor of Osteopathy (DO) founded the Functional Medical Institute, a full-time wellness-based medical practice in Tulsa, Oklahoma. Dr. Sherwood and his wife have adopted a whole-person approach, which is outcome-based and looks at each individual's unique needs. Their goal is to lead people down a pathway of true healing. To that end, there are two purposes: First, to eradicate all self-imposed, choice-driven disease conditions. Second, to eliminate the usage of unnecessary medications. Through their unique clinic, various diagnostic tests are used, healing and prevention of common disease patterns are the norm. He firmly believes that “each person has an awesome destiny and purpose in life, which can be revealed only through the pursuit of total wellness.” --- Support this podcast: https://anchor.fm/mike-k-cohen/support

For the first episode of That's How I Remember It, I spoke to Patterson Hood, one of my all-time favorite songwriters. Patterson's work with the Drive-By Truckers has examined life in the Southern USA and beyond, lyrically tearing down old monuments while constructing new ones to more worthy recipients. We talked about turning memories into mythology, honoring deceased friends, and how his classic song "18 Wheels of Love" might be built on a shaky foundation. We also reminisce a bit on the Drive-By Truckers/The Hold Steady “Rock and Roll Means Well” Tour from 2008. Huge thanks to Patterson for being my first guest. I'll be talking to Brian Koppelman, Fred Armisen, and other great guests in weeks to come, so please subscribe and keep listening to That's How I Remember It. 

We meet SciART and 12 Blueprints colour analyst, Mary Steele Lawler of Luminosity in Mississippi. A wonderful storyteller, Mary Steele shares personal and professional insights about colour in a warm climate. Mary Steele's journey as a colour analyst and upcoming business relaunch (1.27 min) How Mary Steele never stops thinking about colour (6.25) The importance of being happy in our colours (9.48) The wellbeing of being surrounded by our colours in our homes(13.01) Shopping for colours and neutrals (and black!) in the Southern USA (18.37) How 'normal' in appearance is influenced by climate, traditions, and place (23.14) The PCA Seasons we see most often (44.36) The Southern approach to makeup and hair colour (53.28) Mary Steele's favourite products and wearing her colours today (58.23) A bit more about interior paint colours and Season (1.09) Where in Mississippi is Indianola? (1.13) Duration total: 1hr 16  min    SHOW NOTES   Contact: The website will be live April 1/22. (You may see a redirect from the previous, Luminosity.) https://luminousme.com   - 3 eye products discussed in the episode with notes from Mary Steele: 1. Amazon.com : essence | Lash Princess False Lash Waterproof Mascara | Cruelty Free (Pack of 1) : Beauty & Personal Care This is the mascara I refer to as Dance Recital mascara. Do you all have dance recitals? In Mississippi, little girls who take dancing lessons have a big performance at the end of the year. They wear tons of stage makeup for this gala event. Hence - Dance Recital mascara. It really does look like false eyelashes. I love it. For reference, see, Celia Rivenbark, Chapter 3, “Sorry I Can't Make it to the Recital (I'm Planning on Poking Myself in the Eye With a Sharp Stick That Night.)” . In, We're Just Like You, Only Prettier. (A note from Christine, I looked this one up. Less than $10 in Canada (Amazon and Shoppers Drug Mart), cruelty free, vegan.  Several types, the False Lash (not waterproof) is the one that's so popular. 2 and 3. Amazon.com : Isehan Kiss Me Heroine Make Long & Curl & Super Water Proof Mascara + Kiss Me Speedy Mascara Remover : Beauty & Personal Care Here is the Concrete mascara. I include the remover because you truly cannot get it off with regular mascara remover. The mascara isn't volumizing, but it covers each lash and totally stays put. As in, doesn't even think about budging. You can sleep in it and go out the door the next day looking as put-together as when you first applied it. (Not that I would ever do this!). The remover is in a tube like the mascara. The wand makes it surround each lash to thoroughly melt all the mascara, while somehow being gentle on the eyes. 4, the brow product. Dior Diorshow Brow Styler Ultrafine Precision Brow Pencil | Nordstrom This is my favorite eyebrow pencil. I am very fair and have invisible eyebrows. Estee Lauder has non-orange eyebrow pencils for pale persons, but this one has such a fine tip I don't know why anyone with sparse brows would use anything else. The blonde color is subtle, yet noticeable. I love trying new makeup, but I"m sticking with this one. 5, a bonus product: Amazon.com : marcelle bb cream golden glow We didn't talk about this one, but I'm including it because it is such a find. I don't know the difference between a BB cream and a CC cream - not sure anyone does - but this is a beautiful sheer foundation. I wear it and I'm True Spring, my sister-in-law who is Light Spring wears it, and my Soft Summer niece wears it. I like it better than a highly-recommended Armani foundation I have. I now force myself to use the Armani, because I feel guilty about  not using something that was such a splurge. The Golden Glow gives the skin a soft, warm polish.    Comments or Questions? Please visit Chrysalis Colour to find each episode in the Podcast directory and add your thoughts in the Comments box. We'd love to talk!    

This episode of the

Media Confirmation : Deadly tornadoes hit central and southern USA – December 12, 2021 – seen through the eyes of US President Joe Biden – predicted by Clairvoyant Dimitrinka Staikova in her book published November 29, 2021 and her youtube promoting the book published October 31, 2021 – Part of the Book : The Future of Joe Biden and USA 2021/2024 Clairvoyant/Psychic readings to Joe Biden – cabinet, advisors, health , enemies. Problems in the US Democratic and Republican party . Donald Trump and US Election 2024 PUBLISHED : November 29 , 2021 By Clairvoyants : Dimitrinka Staikova, Stoyanka Staikova, Ivelina Staikova Buy the Paperback Book from Amazon : ——https://www.amazon.com/dp/B09MCCZBFS/ ——https://www.amazon.com/dp/B09MC6FHWK/ ORDER THE EBOOK WITH PAYPAL : BUY EBOOKS WITH CLAIRVOYANT/PSYCHIC PREDICTIONS FROM OUR EBOOK STORE : https://dimitrinkastaikova.wordpress.com/2021/11/29/new-book-the-future-of-joebiden-and-usa-2021-2024-clairvoyant-psychic-readings-to-joe-biden-cabinet-advisors-health-enemies-problems-in-the-us-democratic-and-republicanparty/ https://clairvoyantdimitrinkastaikova.weebly.com/hottestnewspredictions/december-01st-2021 *********************** Only a small part of Clairvoyant/Psychic reading : 2. Joe Biden ( US President ) – His talks and meetings with Pope Francis ; What happens now ; USA begins year 2022 a war – internal and external ; financial collapses of US States ; A war and guests coming from the Space. Who will help USA ? – Clairvoyant / Psychic reading October 30th , 2021 – by Clairvoyant House ” Dimitrinka Staikova and daughters Stoyanka and Ivelina Staikova ” – from Europe , Bulgaria , Varna http://clairvoyantdimitrinkastaikova.weebly.com https://dimitrinkastaikova.wordpress.com http://clairvoyant-dimitrinka-staikova.mystrikingly.com http://sites.google.com/site/dimitrinkastaikova Joe Biden is seeing black fog which is affecting the brain and the central nerve system of the people. Winds that begin from the low – close to the ground and they are bringing that black fog towards USA. The winds are slowly going upwards…..I see the expanding of a storm that has heavy tornadoes and winds. (MEDIA CONFIRMATION) A door is opened to the parallel world – the Space of the opening at the northwestern side is a black fog, at the eastern side (it has a shape of a half moon) – I see light – the both worlds are merging. Media Confirmation : In pictures: Deadly tornadoes hit central and southern US – December 12, 2021 https://edition.cnn.com/2021/12/11/weather/gallery/midwest-tornadoes-damage/index.html Click here to read more : https://dimitrinkastaikova.wordpress.com/2021/12/12/media-confirmation-deadly-tornadoes-hit-central-and-southern-usa-december-12-2021-seen-through-the-eyes-of-uspresident-joebiden-predicted-by-clairvoyant-dimitrinkastaikova-in-her-boo/

Interviews with The Best Indie Artists and Music Business professionals all over the World. Drew Southern learned to play music the old-school way, by taking his guitar to blues clubs up and down the California coast. Drew sharped his skill and created his own unique style of rock n roll. Listen Drew Southern last single "Roll Down" on "BATES MOTEL" Spotify Playlist: https://spoti.fi/3FY6qrK

Episode 29 of Undebatable will have you crying from laughter, you know, the kind where your belly hurts. Join the cast as we discuss this weeks hot topics. We look at the flu-like virus (not covid-19) spreading through the southern, USA, Also a look at a small town called Roswell, New Mexico, know as UFO capitol of the world and why they are eager for the new Department of Defense report being released this month.  Also, should sharing your salary with co-workers be an acceptable practice in the work place. And this week in weird news two stories, one a Lobster diver was swallowed by a whale and A fire department was called to rescue a woman after her TikTok Sex Stunt Goes Awry.  All that and more on this weeks episode of Undebatable.We want to hear from you!! We love to interact with our audience. Please be sure to join the conversation and give us your thoughts on these hot topics. Tell us your thoughts on these Hot Topics Here: https://www.undebatable.show/1-step-forward-3-steps-back/#commentsWe are so incredibly grateful and blessed to own our very own podcast studio! www.marinaviewstudio.comInstacart - Groceries delivered in as little as 1 hour. Free delivery on your first order over $35.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show (https://www.patreon.com/Undebatable)

Tie on your bibs, y’all, because we’re fixin’ to take you on a live, rambling discussion of all kinds of classic dishes from the Southern USA. Audio version: Video version: Please support us on Patreon! Don’t forget to subscribe to our YouTube channel, like us on Facebook, and follow us on Twitter and Instagram. And check out our cool merch at … Continue reading On The Menu LIVE: Southern Food

Matt Moldenhauer, CEO of Bellwether Forest Products in South Carolina. (Carolinabellwetherfp.com) They are a service provider in the timber industry doing safe, sustainable, and responsible timber procurement, logging, and hauling services.

Hola my little prickly pears! Thank you for joining me as we take a trip to Mexico to explore one of the world’s favourite fruits and today’s word: . I’m sure you’re familiar - avocado is a fruit with a soft, squishy centre, often mushed to make guacamole or spread on toast with a smattering of feta and offered for an increasingly high price by small cafe owners. The word ‘avocado’ is from the Spanish ‘aguacate’, which in turn comes from the Nahuatl word ‘āhuacatl’. This Nahuatl word could also mean ‘testicle’, likely due to the similarities between the fruit and the body part in shape and appearance. This word can be combined with other words - for example ‘ahuacamolli’, meaning avocado soup or sauce, from which the word guacamole derives. Today’s English word ‘avocado’ comes from a rendering of the Spanish ‘aguacate’ as ‘avogato’, first written in English in 1697 as ‘avogato pear’. This was later corrupted to ‘alligator pear’, a term still used by many to describe avocados in the Southern USA and the Caribbean. Some guess that ‘alligator’ also refers to the likeness of texture or rough green skin of both alligators and avocados. Because the first translation ‘avogato’ sounds like ‘advocate’, many languages reinterpreted the word avocado to share this meaning. The French word for avocado is ‘avocat’, which also means lawyer, comparable to the Dutch word ‘advocaatpeer’. In India, the avocado is referred to as ‘butter fruit’. In Australia, avocado is commonly shortened to ‘avo’, a colloquialism that has also become popular in South Africa in the United Kingdom, but one that also causes confusion between the regularly used ‘arvo’ - an Australian abbreviation for afternoon. Afternoon on toast anyone?Isn’t language wonderful?Written by Taylor Davidson, Read by Zane C WeberSubscribe to us on ITUNES, STITCHER, SPOTIFY, or your podcatcher of choice.Find us on FACEBOOK or TWITTERBecome a Patron of That’s Not Canon Productions at Patreon!Email us at Grandiloquentspodcast@gmail.com See acast.com/privacy for privacy and opt-out information.

We’re always thankful for Vivian Howard, the chef, restaurateur, author, and Emmy and Peabody-award winning television host. She just published another great cookbook, This Will Make It Taste Good, a unique series of recipes built around key flavor “heroes,” as she describes them. Vivian also has two new eateries in Charleston: the Handy & Hot coffee shop, now open, and Lenore restaurant, scheduled to open in December. She walks host Kerry Diamond through the particulars of the spaces and the menus. Vivian also shares what her Thanksgiving 2020 menu will include, from a deep-fried turkey to her mom’s pecan pie. Thank you to the folks at Kerrygold for supporting today’s shows. Plus, stick around to hear who Rani Cheema, culinary travel specialist at Cheema’s Travel, thinks is the Bombe. 

According to American Songwriter Magazine, "Abe Partridge has established himself as one of the most respected songwriters and visual folk artists in the southeast." Karen talks with this rising creative artist about how he has turned his passion for songwriting, painting, and storytelling into a career, a brand, and a way of life. Abe has released two full-length records to rave reviews and sells his outsider art all over the country with his Alabama Astronaut Art Club. On this episode, he will tell us his journey from the Baptist preacher to the Air Force and the music stages and art gallery walls all over the Southern USA. Plus, Abe will give us some tips and steps for others who want to turn their talents and passions into purpose and a business. Listen to Abe Partridge on Spotify >>> Key Takeaways - Create art for yourself first before you try to appease a market or a specific audience. - Be yourself. Don't try to be someone else. - Create multi-streams of revenue so that you can be adaptive and flexible in uncertain times and markets.   Resources Abe Partridge   |   Website    |    Facebook     Learn More About DocRX DocRx is a family-oriented company dedicated to tailor operational solutions for patient health and compliance programs that increases the quality and efficiency of patient-centered care and always with the mission of the patient's health 1st. With over ten years of experience helping doctors and their patients with diagnostic testing, patient monitoring, medical supplies, compliance, wholesale pharmacy, physician dispensing billing, and more. DocRx is your patient and health compliance solution, both under one roof. To find out how DocRx can help your hospital, pharmacy, or physicians office see all their services at docrx.com. Learn More About Karen Simmons & CFO Consulting Karen C. Simmons, P.C. CFO Consulting Services    

On May 15, 1916 one of America's most savage crimes occurred in Waco, Texas.  A 17 year old, mentally challenged black boy was tortured to death by a crowd of over 15,000 people. His name was Jesse Washington. This crime was then memorialized in photographs and celebrated nationwide as a victory over "barbarism."   This was not a solitary occurrence. Thousands of black people were lynched in similar ways through the Southern USA. Today, the details of these lynchings are purposefully obscured. To begin to heal any wound (especially one of this magnitude) the first step must always be awareness and acknowledgement.  Join us in Season 2 of Tapes from the Darkside, as we unflinchingly examine one of the most brutal crimes in American history: The Waco Horror. | Rate the Show: https://ratethispodcast.com/darkside | Bonus Content: https://www.patreon.com/tapesfromthedarkside | Aftershow: http://wavve.link/darkside-aftershow | Show Notes: https://www.patreon.com/posts/season-2-episode-43270452 Podcast Promo: True Crime Horror Story True Crime Horror Story is a true crime podcast designed like an anthology horror movie. Sometimes truth is more brutal than fiction. | Website: https://www.truecrimehorrorstory.com/ | Facebook: https://www.facebook.com/truecrimehs Support Tapes from the Darkside: a true crime podcast by donating to their Tip Jar: https://tips.pinecast.com/jar/tapes-from-the-darkside

An honest conversation with Regina Hanson (on the phone) about her life and growing up in the South surrounded by racism. Regina G. Hanson has a B.A. in American History from Armstrong Atlantic University (now Georgia Southern), and a M.A. in American Studies from Kennesaw State University. As a writer, she incorporates a conversational tone […]

An honest conversation with Regina Hanson (on the phone) about her life and growing up in the South surrounded by racism.Regina G. Hanson has a B.A. in American History from Armstrong Atlantic University (now Georgia Southern), and a M.A. in American Studies from Kennesaw State University.  As a writer, she incorporates a conversational tone that affords the reader a more intimate experience. Her writing genres include historical documentaries, cultural studies, children's books, memoirs, blogs, and general content.  Regina is a music lover and nature observer. She finds inspiration in both, as well as, cultural circumstances and societal needs.  This author is also a dynamic public speaker and activist. Promoting equality for all and cultural appreciation is the foremost of her agenda. Having founded Personal Empowerment Publishing, it is Regina's hope that each work published will empower her readers to grow and evolve into their best selves.Website: www.personalempowermentpublishing.comLinkedIn: https://www.linkedin.com/in/reginahanson1970Twitter: https://twitter.com/ReginaHanson?s=09

Episode ninety-five of A History of Rock Music in Five Hundred Songs looks at “You Better Move On”, and the sad story of Arthur Alexander. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Mother-In-Law” by Ernie K-Doe. 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/ —-more—- Resources As always, I’ve created Mixcloud playlists with full versions of all the songs in the episode. This week it’s been split into two parts because of the number of songs by Arthur Alexander. Part one. Part two. This compilation collects the best of Alexander’s Dot work. Much of the information in this episode comes from Richard Younger’s biography of Alexander. It’s unfortunately not in print in the UK, and goes for silly money, though I believe it can be bought cheaply in the US. And a lot of the background on Muscle Shoals comes from Country Soul by Charles L. Hughes.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   Before we start, a warning for those who need it. This is one of the sadder episodes we’re going to be doing, and it deals with substance abuse, schizophrenia, and miscarriage. One of the things we’re going to see a lot of in the next few weeks and months is the growing integration of the studios that produced much of the hit music to come out of the Southern USA in the sixties — studios in what the writer Charles L. Hughes calls the country-soul triangle: Nashville, Memphis, and Muscle Shoals. That integration produced some of the greatest music of the era, but it’s also the case that with few exceptions, narratives about that have tended to centre the white people involved at the expense of the Black people. The Black musicians tend to be regarded as people who allowed the white musicians to cast off their racism and become better people, rather than as colleagues who in many cases somewhat resented the white musicians — there were jobs that weren’t open to Black musicians in the segregated South, and now here were a bunch of white people taking some of the smaller number of jobs that *were* available to them.  This is not to say that those white musicians were, individually, racist — many were very vocally opposed to racism — but they were still beneficiaries of a racist system. These white musicians who loved Black music slowly, over a decade or so, took over the older Black styles of music, and made them into white music. Up to this point, when we’ve looked at R&B, blues, or soul recordings, all the musicians involved have been Black people, almost without exception. And for most of the fifties, rock and roll was a predominantly Black genre, before the influx of the rockabillies made it seem, briefly, like it could lead to a truly post-racial style of music. But over the 1960s, we’re going to see white people slowly colonise those musics, and push Black musicians to the margins. And this episode marks a crucial turning point in the story, as we see the establishment of Muscle Shoals, Alabama, as a centre of white people making music in previously Black genres. But the start of that story comes with a Black man making music that most people at the time saw as coded as white. Today we’re going to look at someone whose music is often considered the epitome of deep soul, but who worked with many of the musicians who made the Nashville Sound what it was, and who was as influenced by Gene Autry as he was by many of the more obvious singers who might influence a soul legend. Today, we’re going to look at Arthur Alexander, and at “You Better Move On”: [Excerpt: Arthur Alexander, “You’d Better Move On”] Arthur Alexander’s is one of the most tragic stories we’ll be looking at. He was a huge influence on every musician who came up in the sixties, but he never got the recognition for it. He was largely responsible for the rise of Muscle Shoals studios, and he wrote songs that were later covered by the Beatles, and Bob Dylan, and the Rolling Stones, as well as many, many more. The musician Norbert Putnam told the story of visiting George Harrison in the seventies, and seeing his copy of Alexander’s hit single “You Better Move On”. He said to Harrison, “Did you know I played bass on that?” and Harrison replied, “If I phoned Paul up now, he’d come over and kiss your feet”. That’s how important Arthur Alexander was to the Beatles, and to the history of rock music. But he never got to reap the rewards his talent entitled him to. He spent most of his life in poverty, and is now mostly known only to fans of the subgenre known as deep soul. Part of this is because his music is difficult to categorise. While most listeners would now consider it soul music, it’s hard to escape the fact that Alexander’s music has an awful lot of elements of country music in it. This is something that Alexander would point out himself — in interviews, he would talk about how he loved singing cowboys in films — people like Roy Rogers and Gene Autry — and about how when he was growing up the radio stations he would listen to would “play a Drifters record and maybe an Eddy Arnold record, and they didn’t make no distinction. That’s the way it was until much later”. The first record he truly loved was Eddy Arnold’s 1946 country hit “That’s How Much I Love You”: [Excerpt: Eddy Arnold, “That’s How Much I Love You”] Alexander grew up in Alabama, but in what gets described as a relatively integrated area for the time and place — by his own account, the part of East Florence he grew up in had only one other Black family, and all the other children he played with were white, and he wasn’t even aware of segregation until he was eight or nine. Florence is itself part of a quad-city area with three other nearby towns – Muscle Shoals, Sheffield, and Tuscumbia. This area as a whole is often known as either “the Shoals”, or “Muscle Shoals”, and when people talk about music, it’s almost always the latter, so from this point on, I’ll be using “Muscle Shoals” to refer to all four towns. The consensus among people from the area seems to have been that while Alabama itself was one of the most horribly racist parts of the country, Muscle Shoals was much better than the rest of Alabama. Some have suggested that this comparative integration was part of the reason for the country influence in Alexander’s music, but as we’ve seen in many previous episodes, there were a lot more Black fans of country music than popular myth would suggest, and musicians like Fats Domino, Chuck Berry, and Bo Diddley were very obviously influenced by country singers. Alexander’s father was also called Arthur, and so for all his life the younger Arthur Alexander was known to family and friends as “June”, for Junior. Arthur senior had been a blues guitarist in his youth, and according to his son was also an excellent singer, but he got very angry the one time June picked up his guitar and tried to play it — he forbade him from ever playing the guitar, saying that he’d never made a nickel as a player, and didn’t want that life for his son. As Arthur was an obedient kid, he did as his father said — he never in his life learned to play any musical instrument. But that didn’t stop him loving music and wanting to sing. He would listen to the radio all the time, listening to crooners like Patti Page and Nat “King” Cole, and as a teenager he got himself a job working at a cafe owned by a local gig promoter, which meant he was able to get free entry to the R&B shows the promoter put on at a local chitlin circuit venue, and get to meet the stars who played there. He would talk to people like Clyde McPhatter, and ask him how he managed to hit the high notes — though he wasn’t satisfied by McPhatter’s answer that “It’s just there”, thinking there must be more to it than that. And he became very friendly with the Clovers, once having a baseball game with them, and spending a lot of time with their lead singer, Buddy Bailey, asking him details of how he got particular vocal effects in the song “One Mint Julep”: [Excerpt: The Clovers, “One Mint Julep”] He formed a vocal group called the Heartstrings, who would perform songs like “Sixty Minute Man”, and got a regular spot on a local TV show, but according to his account, after a few weeks one of the other members decided he didn’t need to bother practising any more, and messed up on live TV. The group split up after that. The only time he got to perform once that group split up was when he would sit in in a band led by his friend George Brooks, who regularly gigged around Muscle Shoals. But there seemed no prospect of anything bigger happening — there were no music publishing companies or recording studios in Alabama, and everyone from Alabama who had made an impact in music had moved away to do it — W.C. Handy, Hank Williams, Sam Phillips, they’d all done truly great things, but they’d done them in Memphis or Nashville, not in Montgomery or Birmingham. There was just not the music industry infrastructure there to do anything. That started to change in 1956, when the first record company to set up in Muscle Shoals got its start. Tune Records was a tiny label run from a bus station, and most of its business was the same kind of stuff that Sam Phillips did before Sun became big — making records of people’s weddings and so on. But then the owner of the label, James Joiner, came up with a song that he thought might be commercial if a young singer he knew named Bobby Denton sang it. “A Fallen Star” was done as cheaply as humanly possible — it was recorded at a radio station, cut live in one take. The engineer on the track was a DJ who was on the air at the time — he put a record on, engineered the track while the record was playing, and made sure the musicians finished before the record he was playing did, so he could get back on the air. That record itself wasn’t a hit, and was so unsuccessful that I’ve not been able to find a copy of it anywhere, but it inspired hit cover versions from Ferlin Husky and Jimmy C. Newman: [Excerpt: Jimmy C. Newman, “A Fallen Star”] Off the back of those hit versions, Joiner started his own publishing company to go with his record company. Suddenly there was a Muscle Shoals music scene, and everything started to change. A lot of country musicians in the area gravitated towards Joiner, and started writing songs for his publishing company. At this point, this professional music scene in the area was confined to white people — Joiner recalled later that a young singer named Percy Sledge had auditioned for him, but that Joiner simply didn’t understand his type of music — but a circle of songwriters formed that would be important later. Jud Phillips, Sam’s brother, signed Denton to his new label, Judd, and Denton started recording songs by two of these new songwriters, Rick Hall and Billy Sherrill. Denton’s recordings were unsuccessful, but they started getting cover versions. Roy Orbison’s first single on RCA was a Hall and Sherrill song: [Excerpt: Roy Orbison, “Sweet and Innocent”] Hall and Sherrill then started up their own publishing company, with the help of a loan from Joiner, and with a third partner, Tom Stafford. Stafford is a figure who has been almost written out of music history, and about whom I’ve been able to find out very little, but who seems in some ways the most intriguing person among these white musicians and entrepreneurs. Friends from the time describe him as a “reality-hacking poet”, and he seems to have been a beatnik, or a proto-hippie, the only one in Muscle Shoals and maybe the only one in the state of Alabama at the time. He was the focal point of a whole group of white musicians, people like Norbert Puttnam, David Briggs, Dan Penn, and Spooner Oldham. These musicians loved Black music, and wanted to play it, thinking of it as more exciting than the pop and country that they also played. But they loved it in a rather appropriative way — and in the same way, they had what they *thought* was an anti-racist attitude. Even though they were white, they referred to themselves collectively as a word I’m not going to use, the single most offensive slur against Black people. And so when Arthur Alexander turned up and got involved in this otherwise-white group of musicians, their attitudes varied widely. Terry Thompson, for example, who Alexander said was one of the best players ever to play guitar, as good as Nashville legends like Roy Clark and Jerry Reed, was also, according to Alexander, “the biggest racist there ever was”, and made derogatory remarks about Black people – though he said that Alexander didn’t count. Others, like Dan Penn, have later claimed that they took an “I don’t even see race” attitude, while still others were excited to be working with an actual Black man. Alexander would become close friends with some of them, would remain at arm’s length with most, but appreciated the one thing that they all had in common – that they, like him, wanted to perform R&B *and* country *and* pop. For Hall, Sherrill, and Stafford’s fledgling publishing company FAME, Alexander and one of his old bandmates from the Heartstrings, Henry Lee Bennett, wrote a song called “She Wanna Rock”, which was recorded in Nashville by the rockabilly singer Arnie Derksen, at Owen Bradley’s studio with the Nashville A-Team backing him: [Excerpt: Arnie Derksen, “She Wanna Rock”] That record wasn’t a success, and soon after that, the partnership behind FAME dissolved. Rick Hall was getting super-ambitious and wanted to become a millionaire by the time he was thirty, Tom Stafford was content with the minor success they had, and wanted to keep hanging round with his friends, watching films, and occasionally helping them make a record, and Billy Sherrill had a minor epiphany and decided he wanted to make country music rather than rock and roll. Rick Hall kept the FAME name for a new company he was starting up and Sherrill headed over to Nashville and got a job with Sam Phillips at Sun’s Nashville studio. Sherrill would later move on from Sun and produce and write for almost every major country star of the sixties and seventies – most notably, he co-wrote “Stand By Your Man” with Tammy Wynette, and produced “He Stopped Loving Her Today” for George Jones. And Stafford kept the studio and the company, which was renamed Spar. Arthur Alexander stuck with Tom Stafford, as did most of the musicians, and while he was working a day job as a bellhop, he would also regularly record demos for other writers at Stafford’s studio. By the start of 1960, 19-year-old June had married another nineteen-year-old, Ann. And it was around this point that Stafford came to him with a half-completed lyric that needed music. Alexander took Stafford’s partial lyric, and finished it. He added a standard blues riff, which he had liked in Brook Benton’s record “Kiddio”: [Excerpt: Brook Benton, “Kiddio”] The resulting song, “Sally Sue Brown”, was a mixture of gutbucket blues and rockabilly, with a soulful vocal, and it was released under the name June Alexander on Judd Records: [Excerpt: June Alexander, “Sally Sue Brown”] It’s a good record, but it didn’t have any kind of success. So Arthur started listening to the radio more, trying to see what the current hits were, so he could do something more commercial. He particularly liked the Drifters and Ben E. King, and he decided to try to write a song that fit their styles. He eventually came up with one that was inspired by real events — his wife, Ann, had an ex who had tried to win her back once he’d found out she was dating Arthur. He took the song, “You Better Move On”, to Stafford, who knew it would be a massive hit, but also knew that he couldn’t produce the record himself, so they got in touch with Rick Hall, who agreed to produce the track. There were multiple sessions, and after each one, Hall would take the tapes away, study them, and come up with improvements that they would use at the next session. Hall, like Alexander, wanted to get a sound like Ben E. King — he would later say, “It was my conception that it should have a groove similar to ‘Stand By Me’, which was a big record at the time. But I didn’t want to cop it to the point where people would recognise it was a cop. You dig? So we used the bass line and modified it just a little bit, put the acoustic guitar in front of that.”: [Excerpt: Arthur Alexander, “You Better Move On”] For a B-side, they chose a song written by Terry Thompson, “A Shot of Rhythm and Blues”, which would prove almost as popular as the A-side: [Excerpt: Arthur Alexander, “A Shot of Rhythm and Blues”] Hall shopped the record around every label in Nashville, with little success. Eventually, in February 1961, the record was released by Dot Records, the label that Pat Boone was on. It went to number twenty-four on the pop charts, becoming the first ever hit record to be made in Alabama. Rick Hall made enough money from it that he was able to build a new, much better, studio, and Muscle Shoals was set to become one of the most important recording centres in the US. As Norbert Puttnam, who had played bass on “You Better Move On”, and who would go on to become one of the most successful session bass players and record producers in Nashville, later said “If it wasn’t for Arthur Alexander, we’d all be at Reynolds” — the local aluminium factory. But Arthur Alexander wouldn’t record much at Muscle Shoals from that point on. His contracts were bought out — allegedly, Stafford, a heavy drug user, was bought off with a case of codeine — and instead of working with Rick Hall, the perfectionist producer who would go on to produce a decade-long string of hits, he was being produced by Noel Ball, a DJ with little production experience, though one who had a lot of faith in Alexander’s talent, and who had been the one to get him signed to Dot. His first album was a collection of covers of current hits. The album is widely regarded as a failure, and Alexander’s heart wasn’t in it — his father had just died, his wife had had a miscarriage, and his marriage was falling apart. But his second single for Dot was almost as great as his first. Recorded at Owen Bradley’s studio with top Nashville session players, the A-side, “Where Have You Been?” was written by the Brill Building team of Barry Mann and Cynthia Weill, and was very much in the style of “You Better Move On”: [Excerpt: Arthur Alexander, “Where Have You Been?”] While the B-side, “Soldiers of Love” (and yes, it was called “Soldiers of Love” on the original label, rather than “Soldier”), was written by Buzz Cason and Tony Moon, two members of Brenda Lee’s backing band, The Casuals: [Excerpt: Arthur Alexander, “Soldiers of Love”] The single was only a modest hit, reaching number fifty-eight, but just like his first single, both sides became firm favourites with musicians in Britain. Even though he wasn’t having a huge amount of commercial success, music lovers really appreciated his music, and bands in Britain, playing long sets, would pick up on Arthur’s songs. Almost every British guitar group had Arthur Alexander songs in their setlists, even though he was unaware of it at the time. For his third Dot single, Arthur was in trouble. He’d started drinking a lot, and taking a lot of speed, and his marriage was falling apart. Meanwhile, Noel Ball was trying to get him to record all sorts of terrible songs. He decided he’d better write one himself, and he’d make it about the deterioration of his marriage to Ann — though in the song he changed her name to Anna, because it scanned better: [Excerpt: Arthur Alexander, “Anna (Go To Him)”] Released with a cover version of Gene Autry’s country classic “I Hang My Head and Cry” as the B-side, that made the top ten on the R&B chart, but it only made number sixty-eight on the pop charts. His next single, “Go Home Girl”, another attempt at a “You Better Move On” soundalike, only made number 102. Meanwhile, a song that Alexander had written and recorded, but that Dot didn’t want to put out, went to number forty-two when it was picked up by the white singer Steve Alaimo: [Excerpt: Steve Alaimo, “Every Day I Have To Cry”] He was throwing himself into his work at this point, to escape the problems in his personal life. He’d often just go to a local nightclub and sit in with a band featuring a bass player called Billy Cox, and Cox’s old Army friend, who was just starting to get a reputation as a musician, a guitarist they all called Marbles but who would later be better known as Jimi Hendrix. He was drinking heavily, divorced, and being terribly mismanaged, as well as being ripped off by his record and publishing companies. He was living with a friend, Joe Henderson, who had had a hit a couple of years earlier with “Snap Your Fingers”: [Excerpt: Joe Henderson, “Snap Your Fingers”] Henderson and Alexander would push each other to greater extremes of drug use, enabling each other’s addiction, and one day Arthur came home to find his friend dead in the bathroom, of what was officially a heart attack but which everyone assumes was an overdose. Not only that, but Noel Ball was dying of cancer, and for all that he hadn’t been the greatest producer, Arthur cared deeply about him. He tried a fresh start with Monument Records, and he was now being produced by Fred Foster, who had produced Roy Orbison’s classic hits, and his arrangements were being done by Bill Justis, the saxophone player who had had a hit with “Raunchy” on a subsidiary of Sun a few years earlier. Some of his Monument recordings were excellent, like his first single for the label, “Baby For You”: [Excerpt: Arthur Alexander, “Baby For You”] On the back of that single, he toured the UK, and appeared on several big British TV shows, and was generally feted by all the major bands who were fans of his work, but he had no more commercial success at Monument than he had at the end of his time on Dot. And his life was getting worse and worse. He had a breakdown, brought on by his constant use of amphetamines and cannabis, and started hallucinating that people he saw were people from his past life — he stopped a taxi so he could get out and run after a man he was convinced was his dead father, and assaulted an audience member he was convinced was his ex-wife. He was arrested, diagnosed with schizophrenia, and spent several months in a psychiatric hospital. Shortly after he got out, Arthur visited his friend Otis Redding, who was in the studio in Memphis, and was cutting a song that he and Arthur had co-written several years earlier, “Johnny’s Heartbreak”: [Excerpt: Otis Redding, “Johnny’s Heartbreak”] Otis asked Arthur to join him on a tour he was going to be going on a couple of weeks later, but fog grounded Arthur’s plane so he was never able to meet up with Otis in Atlanta, and the tour proceeded without him — and so Arthur was not on the plane that Redding was on, on December 10 1967, which crashed and killed him. Arthur saw this as divine intervention, but he was seeing patterns in everything at this point, and he had several more breakdowns. He ended up getting dropped by Monument in 1970. He was hospitalised again after a bad LSD trip led to him standing naked in the middle of the road, and he spent several years drifting, unable to have a hit, though he was still making music. He kept having bad luck – for example, he recorded a song by the songwriter Dennis Linde, which was an almost guaranteed hit, and could have made for a comeback for him: [Excerpt: Arthur Alexander, “Burning Love”] But between him recording it and releasing it as a single, Elvis Presley released his version, which went to number two on the charts, and killed any chance of Arthur’s version being a success: [Excerpt: Elvis Presley, “Burning Love”] He did, though, have a bit of a comeback in 1975, when he rerecorded his old song “Every Day I Have To Cry”, as “Every Day I Have To Cry Some”, in a version which many people think likely inspired Bruce Springsteen’s “Hungry Heart” a few years later: [Excerpt: Arthur Alexander, “Every Day I Have To Cry Some”] That made number forty-five, but unfortunately his follow-up, “Sharing the Night Together”, was another song where multiple people released versions of it at the same time, without realising, and so didn’t chart – Dr. Hook eventually had a hit with it a year later. Arthur stepped away from music. He managed to get himself more mentally well, and spent the years from 1978 through 1993 working a series of blue-collar jobs in Cleveland — construction worker, bus driver, and janitor. He rarely opened up to people about ever having been a singer. He suffered through more tragedy, too, like the murder of one of his sons, but he remained mentally stable. But then, in March 1993, he made a comeback. The producer Ben Vaughn persuaded him into the studio, and he got a contract with Elektra records. He made his first album in twenty-two years, a mixture of new songs and reworkings of his older ones. It got great reviews, and he was rediscovered by the music press as a soul pioneer. He got a showcase spot at South by Southwest, he was profiled by NPR on Fresh Air, and he was playing to excited crowds of new, young fans. He was in the process of getting his publishing rights back, and might finally start to see some money from his hits. And then, three months after that album came out, in the middle of a meeting with a publisher about the negotiations for his new contracts, he had a massive heart attack, and died the next day, aged fifty-three. His bad luck had caught up with him again.

Episode ninety-five of A History of Rock Music in Five Hundred Songs looks at "You Better Move On", and the sad story of Arthur Alexander. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Mother-In-Law" by Ernie K-Doe. 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/ ----more---- Resources As always, I've created Mixcloud playlists with full versions of all the songs in the episode. This week it's been split into two parts because of the number of songs by Arthur Alexander. Part one. Part two. This compilation collects the best of Alexander's Dot work. Much of the information in this episode comes from Richard Younger's biography of Alexander. It's unfortunately not in print in the UK, and goes for silly money, though I believe it can be bought cheaply in the US. And a lot of the background on Muscle Shoals comes from Country Soul by Charles L. Hughes.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   Before we start, a warning for those who need it. This is one of the sadder episodes we're going to be doing, and it deals with substance abuse, schizophrenia, and miscarriage. One of the things we're going to see a lot of in the next few weeks and months is the growing integration of the studios that produced much of the hit music to come out of the Southern USA in the sixties -- studios in what the writer Charles L. Hughes calls the country-soul triangle: Nashville, Memphis, and Muscle Shoals. That integration produced some of the greatest music of the era, but it's also the case that with few exceptions, narratives about that have tended to centre the white people involved at the expense of the Black people. The Black musicians tend to be regarded as people who allowed the white musicians to cast off their racism and become better people, rather than as colleagues who in many cases somewhat resented the white musicians -- there were jobs that weren't open to Black musicians in the segregated South, and now here were a bunch of white people taking some of the smaller number of jobs that *were* available to them.  This is not to say that those white musicians were, individually, racist -- many were very vocally opposed to racism -- but they were still beneficiaries of a racist system. These white musicians who loved Black music slowly, over a decade or so, took over the older Black styles of music, and made them into white music. Up to this point, when we've looked at R&B, blues, or soul recordings, all the musicians involved have been Black people, almost without exception. And for most of the fifties, rock and roll was a predominantly Black genre, before the influx of the rockabillies made it seem, briefly, like it could lead to a truly post-racial style of music. But over the 1960s, we're going to see white people slowly colonise those musics, and push Black musicians to the margins. And this episode marks a crucial turning point in the story, as we see the establishment of Muscle Shoals, Alabama, as a centre of white people making music in previously Black genres. But the start of that story comes with a Black man making music that most people at the time saw as coded as white. Today we're going to look at someone whose music is often considered the epitome of deep soul, but who worked with many of the musicians who made the Nashville Sound what it was, and who was as influenced by Gene Autry as he was by many of the more obvious singers who might influence a soul legend. Today, we're going to look at Arthur Alexander, and at "You Better Move On": [Excerpt: Arthur Alexander, "You'd Better Move On"] Arthur Alexander's is one of the most tragic stories we'll be looking at. He was a huge influence on every musician who came up in the sixties, but he never got the recognition for it. He was largely responsible for the rise of Muscle Shoals studios, and he wrote songs that were later covered by the Beatles, and Bob Dylan, and the Rolling Stones, as well as many, many more. The musician Norbert Putnam told the story of visiting George Harrison in the seventies, and seeing his copy of Alexander's hit single "You Better Move On". He said to Harrison, "Did you know I played bass on that?" and Harrison replied, "If I phoned Paul up now, he'd come over and kiss your feet". That's how important Arthur Alexander was to the Beatles, and to the history of rock music. But he never got to reap the rewards his talent entitled him to. He spent most of his life in poverty, and is now mostly known only to fans of the subgenre known as deep soul. Part of this is because his music is difficult to categorise. While most listeners would now consider it soul music, it's hard to escape the fact that Alexander's music has an awful lot of elements of country music in it. This is something that Alexander would point out himself -- in interviews, he would talk about how he loved singing cowboys in films -- people like Roy Rogers and Gene Autry -- and about how when he was growing up the radio stations he would listen to would "play a Drifters record and maybe an Eddy Arnold record, and they didn't make no distinction. That's the way it was until much later". The first record he truly loved was Eddy Arnold's 1946 country hit "That's How Much I Love You": [Excerpt: Eddy Arnold, "That's How Much I Love You"] Alexander grew up in Alabama, but in what gets described as a relatively integrated area for the time and place -- by his own account, the part of East Florence he grew up in had only one other Black family, and all the other children he played with were white, and he wasn't even aware of segregation until he was eight or nine. Florence is itself part of a quad-city area with three other nearby towns – Muscle Shoals, Sheffield, and Tuscumbia. This area as a whole is often known as either “the Shoals”, or “Muscle Shoals”, and when people talk about music, it's almost always the latter, so from this point on, I'll be using “Muscle Shoals” to refer to all four towns. The consensus among people from the area seems to have been that while Alabama itself was one of the most horribly racist parts of the country, Muscle Shoals was much better than the rest of Alabama. Some have suggested that this comparative integration was part of the reason for the country influence in Alexander's music, but as we've seen in many previous episodes, there were a lot more Black fans of country music than popular myth would suggest, and musicians like Fats Domino, Chuck Berry, and Bo Diddley were very obviously influenced by country singers. Alexander's father was also called Arthur, and so for all his life the younger Arthur Alexander was known to family and friends as "June", for Junior. Arthur senior had been a blues guitarist in his youth, and according to his son was also an excellent singer, but he got very angry the one time June picked up his guitar and tried to play it -- he forbade him from ever playing the guitar, saying that he'd never made a nickel as a player, and didn't want that life for his son. As Arthur was an obedient kid, he did as his father said -- he never in his life learned to play any musical instrument. But that didn't stop him loving music and wanting to sing. He would listen to the radio all the time, listening to crooners like Patti Page and Nat "King" Cole, and as a teenager he got himself a job working at a cafe owned by a local gig promoter, which meant he was able to get free entry to the R&B shows the promoter put on at a local chitlin circuit venue, and get to meet the stars who played there. He would talk to people like Clyde McPhatter, and ask him how he managed to hit the high notes -- though he wasn't satisfied by McPhatter's answer that "It's just there", thinking there must be more to it than that. And he became very friendly with the Clovers, once having a baseball game with them, and spending a lot of time with their lead singer, Buddy Bailey, asking him details of how he got particular vocal effects in the song "One Mint Julep": [Excerpt: The Clovers, "One Mint Julep"] He formed a vocal group called the Heartstrings, who would perform songs like "Sixty Minute Man", and got a regular spot on a local TV show, but according to his account, after a few weeks one of the other members decided he didn't need to bother practising any more, and messed up on live TV. The group split up after that. The only time he got to perform once that group split up was when he would sit in in a band led by his friend George Brooks, who regularly gigged around Muscle Shoals. But there seemed no prospect of anything bigger happening -- there were no music publishing companies or recording studios in Alabama, and everyone from Alabama who had made an impact in music had moved away to do it -- W.C. Handy, Hank Williams, Sam Phillips, they'd all done truly great things, but they'd done them in Memphis or Nashville, not in Montgomery or Birmingham. There was just not the music industry infrastructure there to do anything. That started to change in 1956, when the first record company to set up in Muscle Shoals got its start. Tune Records was a tiny label run from a bus station, and most of its business was the same kind of stuff that Sam Phillips did before Sun became big -- making records of people's weddings and so on. But then the owner of the label, James Joiner, came up with a song that he thought might be commercial if a young singer he knew named Bobby Denton sang it. "A Fallen Star" was done as cheaply as humanly possible -- it was recorded at a radio station, cut live in one take. The engineer on the track was a DJ who was on the air at the time -- he put a record on, engineered the track while the record was playing, and made sure the musicians finished before the record he was playing did, so he could get back on the air. That record itself wasn't a hit, and was so unsuccessful that I've not been able to find a copy of it anywhere, but it inspired hit cover versions from Ferlin Husky and Jimmy C. Newman: [Excerpt: Jimmy C. Newman, “A Fallen Star”] Off the back of those hit versions, Joiner started his own publishing company to go with his record company. Suddenly there was a Muscle Shoals music scene, and everything started to change. A lot of country musicians in the area gravitated towards Joiner, and started writing songs for his publishing company. At this point, this professional music scene in the area was confined to white people -- Joiner recalled later that a young singer named Percy Sledge had auditioned for him, but that Joiner simply didn't understand his type of music -- but a circle of songwriters formed that would be important later. Jud Phillips, Sam's brother, signed Denton to his new label, Judd, and Denton started recording songs by two of these new songwriters, Rick Hall and Billy Sherrill. Denton's recordings were unsuccessful, but they started getting cover versions. Roy Orbison's first single on RCA was a Hall and Sherrill song: [Excerpt: Roy Orbison, "Sweet and Innocent"] Hall and Sherrill then started up their own publishing company, with the help of a loan from Joiner, and with a third partner, Tom Stafford. Stafford is a figure who has been almost written out of music history, and about whom I've been able to find out very little, but who seems in some ways the most intriguing person among these white musicians and entrepreneurs. Friends from the time describe him as a "reality-hacking poet", and he seems to have been a beatnik, or a proto-hippie, the only one in Muscle Shoals and maybe the only one in the state of Alabama at the time. He was the focal point of a whole group of white musicians, people like Norbert Puttnam, David Briggs, Dan Penn, and Spooner Oldham. These musicians loved Black music, and wanted to play it, thinking of it as more exciting than the pop and country that they also played. But they loved it in a rather appropriative way -- and in the same way, they had what they *thought* was an anti-racist attitude. Even though they were white, they referred to themselves collectively as a word I'm not going to use, the single most offensive slur against Black people. And so when Arthur Alexander turned up and got involved in this otherwise-white group of musicians, their attitudes varied widely. Terry Thompson, for example, who Alexander said was one of the best players ever to play guitar, as good as Nashville legends like Roy Clark and Jerry Reed, was also, according to Alexander, “the biggest racist there ever was”, and made derogatory remarks about Black people – though he said that Alexander didn't count. Others, like Dan Penn, have later claimed that they took an “I don't even see race” attitude, while still others were excited to be working with an actual Black man. Alexander would become close friends with some of them, would remain at arm's length with most, but appreciated the one thing that they all had in common – that they, like him, wanted to perform R&B *and* country *and* pop. For Hall, Sherrill, and Stafford's fledgling publishing company FAME, Alexander and one of his old bandmates from the Heartstrings, Henry Lee Bennett, wrote a song called “She Wanna Rock”, which was recorded in Nashville by the rockabilly singer Arnie Derksen, at Owen Bradley's studio with the Nashville A-Team backing him: [Excerpt: Arnie Derksen, "She Wanna Rock"] That record wasn't a success, and soon after that, the partnership behind FAME dissolved. Rick Hall was getting super-ambitious and wanted to become a millionaire by the time he was thirty, Tom Stafford was content with the minor success they had, and wanted to keep hanging round with his friends, watching films, and occasionally helping them make a record, and Billy Sherrill had a minor epiphany and decided he wanted to make country music rather than rock and roll. Rick Hall kept the FAME name for a new company he was starting up and Sherrill headed over to Nashville and got a job with Sam Phillips at Sun's Nashville studio. Sherrill would later move on from Sun and produce and write for almost every major country star of the sixties and seventies – most notably, he co-wrote "Stand By Your Man" with Tammy Wynette, and produced "He Stopped Loving Her Today" for George Jones. And Stafford kept the studio and the company, which was renamed Spar. Arthur Alexander stuck with Tom Stafford, as did most of the musicians, and while he was working a day job as a bellhop, he would also regularly record demos for other writers at Stafford's studio. By the start of 1960, 19-year-old June had married another nineteen-year-old, Ann. And it was around this point that Stafford came to him with a half-completed lyric that needed music. Alexander took Stafford's partial lyric, and finished it. He added a standard blues riff, which he had liked in Brook Benton's record “Kiddio”: [Excerpt: Brook Benton, “Kiddio”] The resulting song, “Sally Sue Brown”, was a mixture of gutbucket blues and rockabilly, with a soulful vocal, and it was released under the name June Alexander on Judd Records: [Excerpt: June Alexander, "Sally Sue Brown"] It's a good record, but it didn't have any kind of success. So Arthur started listening to the radio more, trying to see what the current hits were, so he could do something more commercial. He particularly liked the Drifters and Ben E. King, and he decided to try to write a song that fit their styles. He eventually came up with one that was inspired by real events -- his wife, Ann, had an ex who had tried to win her back once he'd found out she was dating Arthur. He took the song, "You Better Move On", to Stafford, who knew it would be a massive hit, but also knew that he couldn't produce the record himself, so they got in touch with Rick Hall, who agreed to produce the track. There were multiple sessions, and after each one, Hall would take the tapes away, study them, and come up with improvements that they would use at the next session. Hall, like Alexander, wanted to get a sound like Ben E. King -- he would later say, "It was my conception that it should have a groove similar to 'Stand By Me', which was a big record at the time. But I didn't want to cop it to the point where people would recognise it was a cop. You dig? So we used the bass line and modified it just a little bit, put the acoustic guitar in front of that.": [Excerpt: Arthur Alexander, "You Better Move On"] For a B-side, they chose a song written by Terry Thompson, "A Shot of Rhythm and Blues", which would prove almost as popular as the A-side: [Excerpt: Arthur Alexander, "A Shot of Rhythm and Blues"] Hall shopped the record around every label in Nashville, with little success. Eventually, in February 1961, the record was released by Dot Records, the label that Pat Boone was on. It went to number twenty-four on the pop charts, becoming the first ever hit record to be made in Alabama. Rick Hall made enough money from it that he was able to build a new, much better, studio, and Muscle Shoals was set to become one of the most important recording centres in the US. As Norbert Puttnam, who had played bass on "You Better Move On", and who would go on to become one of the most successful session bass players and record producers in Nashville, later said "If it wasn't for Arthur Alexander, we'd all be at Reynolds" -- the local aluminium factory. But Arthur Alexander wouldn't record much at Muscle Shoals from that point on. His contracts were bought out -- allegedly, Stafford, a heavy drug user, was bought off with a case of codeine -- and instead of working with Rick Hall, the perfectionist producer who would go on to produce a decade-long string of hits, he was being produced by Noel Ball, a DJ with little production experience, though one who had a lot of faith in Alexander's talent, and who had been the one to get him signed to Dot. His first album was a collection of covers of current hits. The album is widely regarded as a failure, and Alexander's heart wasn't in it -- his father had just died, his wife had had a miscarriage, and his marriage was falling apart. But his second single for Dot was almost as great as his first. Recorded at Owen Bradley's studio with top Nashville session players, the A-side, "Where Have You Been?" was written by the Brill Building team of Barry Mann and Cynthia Weill, and was very much in the style of "You Better Move On": [Excerpt: Arthur Alexander, "Where Have You Been?"] While the B-side, "Soldiers of Love" (and yes, it was called "Soldiers of Love" on the original label, rather than "Soldier"), was written by Buzz Cason and Tony Moon, two members of Brenda Lee's backing band, The Casuals: [Excerpt: Arthur Alexander, "Soldiers of Love"] The single was only a modest hit, reaching number fifty-eight, but just like his first single, both sides became firm favourites with musicians in Britain. Even though he wasn't having a huge amount of commercial success, music lovers really appreciated his music, and bands in Britain, playing long sets, would pick up on Arthur's songs. Almost every British guitar group had Arthur Alexander songs in their setlists, even though he was unaware of it at the time. For his third Dot single, Arthur was in trouble. He'd started drinking a lot, and taking a lot of speed, and his marriage was falling apart. Meanwhile, Noel Ball was trying to get him to record all sorts of terrible songs. He decided he'd better write one himself, and he'd make it about the deterioration of his marriage to Ann -- though in the song he changed her name to Anna, because it scanned better: [Excerpt: Arthur Alexander, "Anna (Go To Him)"] Released with a cover version of Gene Autry's country classic "I Hang My Head and Cry" as the B-side, that made the top ten on the R&B chart, but it only made number sixty-eight on the pop charts. His next single, "Go Home Girl", another attempt at a "You Better Move On" soundalike, only made number 102. Meanwhile, a song that Alexander had written and recorded, but that Dot didn't want to put out, went to number forty-two when it was picked up by the white singer Steve Alaimo: [Excerpt: Steve Alaimo, "Every Day I Have To Cry"] He was throwing himself into his work at this point, to escape the problems in his personal life. He'd often just go to a local nightclub and sit in with a band featuring a bass player called Billy Cox, and Cox's old Army friend, who was just starting to get a reputation as a musician, a guitarist they all called Marbles but who would later be better known as Jimi Hendrix. He was drinking heavily, divorced, and being terribly mismanaged, as well as being ripped off by his record and publishing companies. He was living with a friend, Joe Henderson, who had had a hit a couple of years earlier with "Snap Your Fingers": [Excerpt: Joe Henderson, "Snap Your Fingers"] Henderson and Alexander would push each other to greater extremes of drug use, enabling each other's addiction, and one day Arthur came home to find his friend dead in the bathroom, of what was officially a heart attack but which everyone assumes was an overdose. Not only that, but Noel Ball was dying of cancer, and for all that he hadn't been the greatest producer, Arthur cared deeply about him. He tried a fresh start with Monument Records, and he was now being produced by Fred Foster, who had produced Roy Orbison's classic hits, and his arrangements were being done by Bill Justis, the saxophone player who had had a hit with "Raunchy" on a subsidiary of Sun a few years earlier. Some of his Monument recordings were excellent, like his first single for the label, "Baby For You": [Excerpt: Arthur Alexander, "Baby For You"] On the back of that single, he toured the UK, and appeared on several big British TV shows, and was generally feted by all the major bands who were fans of his work, but he had no more commercial success at Monument than he had at the end of his time on Dot. And his life was getting worse and worse. He had a breakdown, brought on by his constant use of amphetamines and cannabis, and started hallucinating that people he saw were people from his past life -- he stopped a taxi so he could get out and run after a man he was convinced was his dead father, and assaulted an audience member he was convinced was his ex-wife. He was arrested, diagnosed with schizophrenia, and spent several months in a psychiatric hospital. Shortly after he got out, Arthur visited his friend Otis Redding, who was in the studio in Memphis, and was cutting a song that he and Arthur had co-written several years earlier, "Johnny's Heartbreak": [Excerpt: Otis Redding, "Johnny's Heartbreak"] Otis asked Arthur to join him on a tour he was going to be going on a couple of weeks later, but fog grounded Arthur's plane so he was never able to meet up with Otis in Atlanta, and the tour proceeded without him -- and so Arthur was not on the plane that Redding was on, on December 10 1967, which crashed and killed him. Arthur saw this as divine intervention, but he was seeing patterns in everything at this point, and he had several more breakdowns. He ended up getting dropped by Monument in 1970. He was hospitalised again after a bad LSD trip led to him standing naked in the middle of the road, and he spent several years drifting, unable to have a hit, though he was still making music. He kept having bad luck – for example, he recorded a song by the songwriter Dennis Linde, which was an almost guaranteed hit, and could have made for a comeback for him: [Excerpt: Arthur Alexander, “Burning Love”] But between him recording it and releasing it as a single, Elvis Presley released his version, which went to number two on the charts, and killed any chance of Arthur's version being a success: [Excerpt: Elvis Presley, “Burning Love”] He did, though, have a bit of a comeback in 1975, when he rerecorded his old song "Every Day I Have To Cry", as "Every Day I Have To Cry Some", in a version which many people think likely inspired Bruce Springsteen's "Hungry Heart" a few years later: [Excerpt: Arthur Alexander, "Every Day I Have To Cry Some"] That made number forty-five, but unfortunately his follow-up, “Sharing the Night Together”, was another song where multiple people released versions of it at the same time, without realising, and so didn't chart – Dr. Hook eventually had a hit with it a year later. Arthur stepped away from music. He managed to get himself more mentally well, and spent the years from 1978 through 1993 working a series of blue-collar jobs in Cleveland -- construction worker, bus driver, and janitor. He rarely opened up to people about ever having been a singer. He suffered through more tragedy, too, like the murder of one of his sons, but he remained mentally stable. But then, in March 1993, he made a comeback. The producer Ben Vaughn persuaded him into the studio, and he got a contract with Elektra records. He made his first album in twenty-two years, a mixture of new songs and reworkings of his older ones. It got great reviews, and he was rediscovered by the music press as a soul pioneer. He got a showcase spot at South by Southwest, he was profiled by NPR on Fresh Air, and he was playing to excited crowds of new, young fans. He was in the process of getting his publishing rights back, and might finally start to see some money from his hits. And then, three months after that album came out, in the middle of a meeting with a publisher about the negotiations for his new contracts, he had a massive heart attack, and died the next day, aged fifty-three. His bad luck had caught up with him again.

New #Janette's TV episode – In 1969, at 25 years old, Pat Lynch, Founder and CEO of Women's Online Media and Education Network, producers of WomensRadio(R) and AudioAcrobat(R), became the first woman to begin an advertising agency single-handedly in Southern USA. By 1977, she had been listed twice in The World's Who's Who of Women and most recently in the International Who's Who and Strathmore's Who's Who. In 1996, she began WomensRadio to “give women a greater voice!” WomensRadio, a converging medium, had its beginning on the Web as a rich, content Website for women leaders (www.WomensRadio.com). In 2001, her company also began WomensCalendar (www.WomensCalendar.org). Today it is the largest databank of women's events in the world. In 2003, a stronger branding program was implemented with a site and logo redesign and the launch of the SpeakerSpot, a dynamic speaker referral program was launched. In 2005, the company launched AudioAcrobat®, a unique, easy, and inexpensive, Web-based, audio and video production, streaming and podcasting service. (www.AudioAcrobat.com). This year, the company will be launching an all-new and very interactive WomensRadio site, as well as the WR Channel, a syndicated 24/7 talk and music Web radio for women! She joins Janette to discuss how media opened women's voices and creates new communication bridges for the future. Click HERE to subscribe to Janette's TV YouTube Channel and watch this refreshing and informative Janette's TV episode NOW www.youtube.com/YourMarketingMagnet. Learn More About Pat and WomensTalkRadio HERE http://www.womensradio.com/. Pat's included a special Form to invite Janette's TV and Janette's TV Podcast audience to be her guest for a special program on being a Star Guest on Radio. Retail value, $300. Free for Janette's audience. Participate HERE https://form.jotform.com/201700828182955. Janette's TV and Janette's TV Podcast audiences are also welcome to explore AudioAcrobat.com free for 30 days. Please leave your comments in the feed below and share us with all the amazing women and smart men in your life. Kindly also hit the #BELL to be notified of all our upcoming episodes. Thank you!

STORMS IN THE SOUTHERN USA/WHEN WILL THE USA OPEN AGAIN INFO FROM THE UK AND MCH MORE --- Send in a voice message: https://anchor.fm/john3058/message

Suenan las marimbas del Pacífico colombiano, los sones de diversos rincones de África en diversas combinaciones, el sonido "bluegrass" del sur de los Estados Unidos, así como diferentes aires escandinavos y tradiciones balcánicas. We listen to the marimbas from the Pacific coast in Colombia, different African tunes in diverse combinations, bluegrass tunes from the Southern USA states, and also some Scandinavian projects and Balkan traditional tunes. https://archive.org/download/mundofonias2020002/Mundofonias2020002.mp3 · Canalón de Timbiquí - La casa de la compañía (juga) - De mar y río · Dave Sharp Worlds with Ndio Sasa - Nyako matar - Nairobi music · Perrine Fifadji - Rêver - Une goutte d'eau · Grèn Sémé  - Poussière - Poussière · Ben Winship - Shakin down the acorns - Acorns · The SteelDrivers - To be with you again - The SteelDrivers · ClayBank - Shingleton - No escape · Troublesome Hollow - Working on a building - Old school · Vilsevind - Flat white / Elfshot - Dag o natt · Bokan Stankovi? - Srbljanka, osamputka, bu?janka, katanka - Traditional playing on the Svrlijg bagpipes, duduk and okarina from Eastern Serbia · Svetlana Spaji? Group - [Sarajevo field, who ploughs you] - Black horses romped: Serbian traditional singing · Karl Seglem - Rindabotn - Nunatak Imagen / Image: Canalón de Timbiquí

This week on the Fly-Fishing Insider Podcast we speak with Heather Hodson. Heather is a dedicated fly angler, educator / instructor and extremely passionate about the sport and conservation of fly fishing. Heather is also the founder of @unitedwomenonthefly which is an organization empowering woman in fly fishing. In this episode we hear how Heather got her passion started for fly fishing in the early days, as well as the struggles she faced during those days as a new fly fisher. Heather also mentions how she Got real connection with the women in the local Washington fly fishing scene that ultimately became the foundation for united women on the fly. Heather shares her goals with the brand and what the future of the united women on the fly is hoping to achieve, also how anyone who’s interested in this can reach out to heather and look at becoming a part of this organization. Heather talks about her crazy and wild times with friend and cohost Jen Ripple of Dun Magazine in which together they embark on road trips across the Southern USA in search of red fish, beer, and good times (of course there is so much more to this than just that). Like how heather helped test the new women’s Simms waders, start casting with double handers first then try a single hand and of course what’s next for her as a female fly fishing Icon. This episode with Heather Hodson covers so much more that you will not want to miss it, so make sure to subscribe or download now to the Fly-Fishing Insider podcast. Links mentioned: @unitedwomenonthefly United women on the fly @northwestflygirl @dunmagazine Dunmagazine.com @flyfishinginsiderpodcast.com Flyfishinginsiderpodcast.com

Caleb and Jane met at the 2019 IFAJ Conference in Minnesota. Caleb is from Dublin in Alabama and discussed what it was like growing up in a small town in 'the south'. This podcast is produced by Jane Craigie for the Rural Youth Project, a movement to spark positive change for and by young people living in the countryside. The Rural Youth Project is created and run by Jane Craigie Marketing. www.ruralyouthproject.com

Jennifer Lapidus has made a huge mark all over the Southern USA baking scene.  A baker and former bakery owner, Jennifer is the founder of the Carolina Ground mill and a leading advocate for bread wheat production in the South.  She's also one of the lead organizers of the famous Asheville Bread Festival. In this episode, Mark tries his best to keep up with everything going on in Jennifer's life.  They also talk about her early days as a baker, apprenticing with the legendary Alan Scott, the generosity and camaraderie of bakers, how the rise of new stone mills all over North America is a very good thing, and what she's got planned for early 2021.   Some links: @carolinaground on Instagram Asheville Bread Festival Carolina Ground Flour Rise Up! The Baker Podcast website Mark's Blog, with the Bakernomics series Mark on Instagram Credits: Produced and hosted by Mark Dyck Theme song and music by Robyn Dyck Orange Boot Human logo by Fred Reibin

Yorta Yorta soprano and composer Deborah Cheetham's requiem for the Eumeralla wars, Anouk van Dijk's Common Ground at Chunky Move performed by Tara Jade Samaya and Richard Cilli, voice and dialect coach Leith McPherson teaches the accent of the Southern United States, Rory Kinnear summons a wicked Macbeth for the National Theatre, and we meet some young performers from Andrew Lloyd Webber's School of Rock: The Musical.

The Melbourne Theatre Company's Astroman introduces us to a young video game wiz in 1980s Geelong, Victorian Opera's world premiere of Lorelei reimagines the myth of the water spirit who lures sailors to their deaths, voice and dialect coach Leith McPherson helps us with the accent of the Southern United States, and as part of Armistice 100 on RN we look at some of the performing arts events staged near the battlefield during WWI.

UFC fight 229 Khabib Vs Conor. Conor taps out in the forth round. Khabib . . . after getting pulled off Connor hears an insult from Connor’s Team mate. Khabib Leaps over the fence and assaulting Conor’s teammate--a brawl between the two teams break out. And half the world says, “Conor and co. deserved it.” Today we explore the cultural frame work and worldview explaining why Khabib assaulted Conor , and why some in the world (who on every other day of the week talk about love and peace) are defending & justifying the assault. But this episode isn't just about fighting... it is about beliefs, worldview, and cultural underpinning that shape the way the we live.  There is a sea of people out there who promote peace, love, and tolerance--yet cheer on actions that promote fear and intimidation (like Khabib).  If you or I cheer Khabib for standing up for himself, through violence when, mocked--then we are cheering the ideology of an insult-aggression cycle that fuels violence in the Southern United States, and terrorism alike. Listen to find out if your view this situation carries the seeds of love and peace, or seeds of hate and violence.  ---------- Below are the links and sources for this episode. Khabib's interview Joe Rogan's Interview Seppuku - Wikipedia Homicides in USA Insult, aggression, and the southern culture of honor: An "experimental ethnography", Cohen, Dov; Nisbett, Richard; Bowdle, Brian; Schwarz, Norbert. - Journal of Personality and Social Psychology, 1996 Vol. 70 no. 5 945-960, copyright 1996 by the American Psychological association Inc. 0022-3514/96 Charlie Hebdo has had more legal run-ins with Christians than with Muslims (WARNING CRUDE AND GRAPHIC) ------- Thank you for Listening. Follow me on Instagram, LinkedIn, and my Website.

Let The Sunshine In, directed by Claire Denis is a French film starring Juliette Binoche as a divorced Parisienne dealing with love and looking for a relationship that will work for her The latest West End jukebox musical Tina is about the tumultuous life of Tina Turner and her transformation from Anna Mae Bullock - born into rural poverty in the Southern USA - into half of Ike-and-Tina-Turner and a disastrous violent marriage into a world-conquering solo superstar Aminatta Forna's new novel Happiness follows the story of two strangers who bump into each other on Waterloo Bridge in London and their intertwining narratives. An urban wildlife expert and a psychiatrist specialising in PTSD share a lot in common Marina Amaral is a photograph colourisation expert and her work is much admired. She has colourised photographs of prisoners at Auschwitz and gained plaudits from the general public and survivors groups but does altering a historical document change our understanding of its meaning? BBC TV's latest Sunday night series is an adaptation of Wilkie Collins' The Woman In White Tom Sutcliffe's guests are David Olusoga, Shahidha Bari and Maev Kennedy. The producer is Oliver Jones.

These aren't your Hogwarts owls! The only thing they're delivering is TERROR. Follow us to chilly England and chillier Chicago as we cover The Owlman- or is it Owl MEN? Join us as we discuss demons, ley lines, aliens, GAVIN, Mothman, and more as we try to answer the age-old question: What even ARE owls, really? Also, thanks to the results of a Patreon poll ending in a tie, stay tuned for a bonus cryptid: The Beavershark of the Southern USA! It's a wild ride, folks! Come along with us!

Well it's time to bring you some more Brinkin' goodness, this week from the great state of Georgia in the US of A! Ben is joined by good friend Teresa 'T-Bird' Cooper, best known from her time on Survivor Africa but also known as a previous guest on this show and is back to talking all things good and south and Georgia and Atlanta! She also has some pretty amazing stories to tell from her time as a flight attendant as well as closing the show off in another language that we haven't heard from yet! Added to this we bring you our weekly regular segments including a classic live performance from The Blue Mosquitoes, a classic flashback involving Baywatch and a classic 'Forget The Lyrics' from three people. It's fun, it's awesome, it's Brinkalicious. SO LISTEN!

I challenge you … “double dog dare you” as we say in the good old Southern USA … to take one day this week and make a break from your technology. Will you accept my challenge? We’re all addicted to tech. After long work days with eyes glued to glowing computer screens, dazed workers across […] The post #017 – My Challenge to You: Unplugging from Technology [Podcast] appeared first on First Things.

On this special epsoide I will be discussing the different foods and cookings that are known through out the world. As suggested by a loved one, I will be talking about some of the different recipes from that area and explain their origins. I will be talking about Italy, American, Spain, Southern USA, China. I will be going over the origins of chicken parm and marsala as well for my italian show. Also on this show I will be giving out my delicious baked ziti recipe as well as my spanish rice recipe. Tune in and call with your questions.You can call in at 646-716-6458.