Podcasts about spaniels

This episode comes to you straight from the heart of the action at the 5 Regions Charity Working Test, a special event where handlers and their brilliant Spaniels gather not just to compete, but to raise awareness for a vital cause, mental health in the countryside.Glynn Evans, BASC's head of game and wildlife management, joins us to break down the key differences between Gundog Scurries, Working Tests, and Field Trials, and explains what each discipline offers for handlers at every level of experience.It was a fantastic day filled with an incredible mix of people, from passionate first-time handlers to seasoned international competitors. A perfect introduction to the exciting and rewarding world of gundog competition.

Patrick Berry is the new President and CEO of Back Country Hunters and Anglers and a life long outdoorsman.  For those of you that are unfamiliar with BHA ( one of my favorite conservation groups) they are a passionate public land advocate and do a great job of tracking anti public land legislation. They also work on things that benifit all of us on a more local level. Such as stream clean up, fence removal, and habitat projects. I really hope you all enjoy this episode. Im sure I am not alone in struggling with the confusion that is going on right now in the political arena. Trying to figure out what is real and what isnt is a full time job. Thats why I was thrilled to sit down and talk some of it through with Patrick.

Show Notes To celebrate Pet Dental Health Month, the Skin Flints team looked a bit further afield this month, exploring gum health and Canine Chronic Ulcerative Stomatitis with Hannah van Velzen. Chapter 1 – Understanding the Oral Mucosa and Inflammation (02:53) John welcomes Hannah, who introduces herself and her journey into veterinary dentistry, from her studies in the Netherlands to her current role leading the dentistry referral service at Fitzpatrick Referrals. She highlights the small but growing number of veterinary dentistry specialists in the UK. (05:46) Sue asks for a basic overview of the oral mucosa, as it plays a key role in CCUS. Hannah explains that gingiva surrounds and seals the teeth, preventing bacteria from entering the body, while mucosa covers the rest of the mouth. The mucogingival junction marks the boundary between the two and helps differentiate between gingivitis and mucositis. She describes the different types of mucosa, including lingual (tongue), palatal (roof of the mouth), alveolar (bone covering), vestibular (cheek and lip folds), buccal (cheeks), and labial (lips). These structures vary in thickness and function, with keratinized areas like the tongue and hard palate providing protection, while thinner, non-keratinized areas aid in saliva flow and bacterial clearance. (13:24) John then asks Hannah to define common inflammatory conditions affecting the mouth, including: Gingivitis – Inflammation limited to the gingiva, without mucosal involvement. Mucositis (stomatitis) – Inflammation affecting the mucosa, which is central to CCUS. Periodontitis – Inflammation of the structures supporting the tooth, which can lead to tooth loss. Hannah emphasises the importance of accurately defining oral lesions to guide diagnosis and treatment.    Chapter 2 – What is CCUS? How Can It Be Diagnosed? (18:43) John introduces Canine Chronic Ulcerative Stomatitis (CCUS), asking how it relates to previous terms like CUPS (Canine Ulcerative Paradental Stomatitis) or contact mucositis. Hannah explains that CCUS was formerly known as CUPS, but the name changed as research showed that 40% of lesions occurred in areas without teeth, making the term "paradental" inaccurate. The condition is chronic, meaning it develops gradually rather than suddenly. (23:22) Sue asks how a primary care vet should determine whether a dog with oral ulcerations has CCUS or another condition, such as pemphigus vulgaris, lupus, or uremic stomatitis. Hannah acknowledges that many inflammatory and autoimmune diseases look similar and that no single exam finding confirms CCUS. She advises vets to follow key diagnostic steps: Perform a thorough dental cleaning and radiographs to rule out periodontal disease. Differentiate gingivitis (gum inflammation) from mucositis (mucosal inflammation). Take a biopsy if mucosal inflammation is present, as periodontal disease should not cause mucositis. Look for "lymphoplasmacytic infiltrates" on biopsy, which strongly suggest CCUS. If the biopsy findings suggest CCUS, referral to a dentistry specialist is recommended. If results are inconclusive, a dermatologist may need to investigate potential autoimmune conditions. (27:33) Sue asks whether "kissing lesions" (ulcerative lesions where mucosa touches the teeth) strongly indicate CCUS. Hannah agrees that they are a key sign, but notes that plaque build-up can also cause similar inflammation. A dental clean should be performed first—if inflammation persists despite clean teeth, CCUS is more likely. (28:31) Sue then asks if certain breeds are predisposed to CCUS. Hannah confirms that small breeds and terriers are overrepresented, particularly: Cavaliers, Labradors, Maltese, and Greyhounds. Greyhounds are prone due to poor dental health and periodontal disease. Spaniels may also be affected, though this is not yet confirmed in literature. Some affected dogs have severe gingivitis and mucosal inflammation despite excellent dental hygiene, making CCUS harder to recognise. (31:33) John asks how easy biopsies in the mouth are Hannah stresses that biopsies should always be done under general anaesthesia for pain control and a thorough oral exam. She typically uses a punch biopsy, ensuring a portion of normal tissue is included to help distinguish inflammatory from autoimmune causes. She highlights the importance of sending clear photos and case details to assist pathologists in interpreting results. Additional tests like immunohistochemistry may sometimes be useful.   Chapter 3 – Treating CCUS: What Are the Options? (35:44) John asks how CCUS is treated and whether treatment varies by severity. Hannah explains that CCUS treatment is multi-step and includes: Dental Cleaning & Plaque Management: Full dental cleaning is the first step. Extractions are considered only for teeth that contribute to inflammation. In mild cases, cleaning + home care (brushing, antiseptics) may suffice. Home Management & Pain Control: Some owners can maintain oral hygiene, others cannot. Pain relief options include NSAIDs, paracetamol, gabapentin, or amitriptyline. Feeding tubes may be used in extreme cases for pain-free nutrition. Medical Management for Severe Cases: Two main protocols exist: Cyclosporine + Metronidazole (immune modulation & bacterial control). Doxycycline (low dose), Pentoxifylline (ulcer management), and Niacinamide (vitamin B3). The choice depends on vet preference and patient response. Long-Term Management & Research Gaps: Some dogs may eventually stop medication once inflammation is controlled. More research is needed to determine which cases respond best to which treatments. Avoiding full-mouth tooth extractions remains a key goal. (45:14) Sue highlights the lack of published research on CCUS and urges vets to seek specialist advice before extracting all teeth.

Frome – hier wird niemand allein gelassen – In Frome, einem Ort in Südengland, gibt es verschiedene Initiativen, die Menschen unterstützen, die einsam sind oder an einer Depression erkrankt sind. Bei einer von ihnen spielen Hunde eine wesentliche Rolle.

Send us a textTony and Tristan are back with another episode! This time, they chat with Chris Midgette AKA "The Hunting Traveller" Chris is an avid outdoorsman, write, and photographer with a passion for Boykin Spaniels!We hope you enjoy!Companies we LOVE | Ways to Support the Podcast ↓froggtoggs - USE CODE ZD315 FOR 15 PERCENT OFF @ www.froggtoggs.com *Cannot be used in combination with any other promo code. Offer only available at www.froggtoggs.com.*Valid 8/30/2023 thru 12/31/2024Williamson Outfitters (Coastal Florida Waterfowl Hunts, Fishing, Gator Hunts and Much more!)https://floridaducks.com/Code Duck30 for 20 percent off Huntwise!https://huntwise.com/pro/checkout?code=DUCK30Looking to waterfowl hunt in Arkansas? Give our good friend Kade Weatherford, Owner of Delta Thunder Outfitters a call at (870)-926-7944You can use code ZeroDuck30 for 20 percent off all products at https://ackleyoutdoors.com/ !Code Zeroduck15 for 15 percent off https://dirtyduckcoffee.com/Special shout out to  @Gavin Powell for letting us use his song "The End" in our videos

A sleepy time themed collection this week as we take a deep dive into classic sounds from the past and present, all with a blend of sentiments we hold close as midnight approaches. We'll have some old doo wop and early rock chestnuts from Jesse Belvin, The Fleetwoods, The Valentines and The Spaniels with just the right amount of rock, R&B and country. That means a little bit of Fats Domino, some rockabilly from Charline Arthur and Sonny Burgess, middling pop from Doris Day, Jimmy Durant and Dean Martin in store. Little Jimmy Dickens, Milton Brown and Swamp Dogg will also fill the air with country and blues. Friday mornings are the time to tune in for a fresh dose of America's music from the past 100 years hear on KOWS-LP, Occidental, streaming to all of Planet Earth on kowsfm.com/listen. Be sure to install the Radio Rethink app on your Apple device and look us up. We'd be glad to have you.

Jared and Matt learn talk with Chris Maurer and learn about Boykin Spaniels. For more information on Boykin Spaniels, check out the Boykin Spaniel Society at http://boykinspaniel.org. Go Flush Yourself is an upland hunting podcast focusing on hunting with flushing dogs. On top of hunting, training, and living with flushers, we also discuss shotguns, upland hunting in general, and gear. If you want to hear more about labradors, cockers, goldens, springers, and the rest of the flushing breeds (including Boykins!) check us out! We are also an ad-free podcast and are supported purely by our listeners. If you want to help support us, please consider becoming a Patreon member. Hosted by Jared Kirk and Matt Millbauer Browse and purchase Go Flush Yourself merch. Check us out on Instagram, Facebook, and X/Twitter or email us.

Listen in as Dr. Judy chats with Dr. Alexia Tsakiris, owner of Naturopawthic Veterinary Wellness Center and a holistic veterinarian specializing in herbal treatments for behavioral issues in pets. Dr. Tsakiris emphasizes the importance of diet, gut health, and individualized herbal protocols in managing behavior problems. She discusses the limitations of traditional pharmaceutical approaches and the benefits of using herbs and flower essences to address anxiety, aggression, and other behavioral issues. She also highlights the role of the microbiome and the need for personalized treatment plans as well as her experience with successful cases and the challenges of managing behavior cases in veterinary practice. Fascinating info that could help your pet! Websites www.naturopawthicvet.com www.zoabotanicals.com Social Media URLs or Tags Instagram: www.instagram.com/naturopawthic_vet Facebook: www.facebook.com/naturopawthicvet LinkedIn: www.linkedin.com/alexiatsakiris OFFER: Use code DRJUDY on either www.naturopawthicvet.com or www.zoabotanicals.com and get 15% off of your purchased PRODUCT SPOTLIGHT #1: TREATING HEART DISEASE IN DOGS SHORT COURSE A heart disease diagnosis doesn't mean your pup has to stop living the vibrant life they deserve. There's hope. As both an integrated veterinarian of 40 years and a lover of rescue Spaniels with heart disease, Dr Judy Morgan has first hand experience dealing with heart disease holistically. She's included the essentials in her Treating Heart Disease in Dogs short one hour course. Learn how heart disease is diagnosed, how to manage medications, supplements and diet as well as how to monitor and deal with emergencies. Feel confident that you're equipped with the knowledge to advocate for the best possible care for your dog. Save 15% with code PODCAST47 when ordering on DrJudyU.com PRODUCT SPOTLIGHT #2: DR. JUDY MORGAN'S PEADoes your pet need PEA? Dr Judy is a huge fan, because PEA is a naturally occurring fatty acid compound found in plants and animals that has anti inflammatory, neuro protective and pain killing properties. An alternative to NSAIDs, opioids and steroids. She even has her own brand. Podcast listeners can take advantage of 15% off with the code PODCAST47. Get your own Dr Judy's PEA today at NaturallyHealthyPets.com And for large dogs and equines save money with the bulk sized PEA

The Cherry Tree Memorial - How A Group of Gun Dogs Taught Us About Loyalty, Loss and HopeWhy was I standing by a freshly dug hole in the park, surrounded by a small group of my friends and their dogs? The answer lay in the cherry sapling nearby, its thin bare twigs reaching towards the sky like fingers grasping for hope. The air in the park that morning was heavy with the smell of soil and sadness. If given time, nature could work her mysterious miracles. Season after season, year after year, the beauty of the pink blossom would come to the tree's barrenness. All it would take is time. But I had no time. ‘Go on Pete, say some words.'Words can feel futile when standing by a hole in the ground. But words often are all that's left to express how we feel. It's in moments like these, the sacred is close if we would stop and notice. These are the moments when the very essence of our limited time here on earth seems so precious. We can feel them heavy like velvet, but barbed with the pain of loss. I glanced at the surrounding faces, looking to me to speak words which might have seeds of hope within them. Words that, too, given time, might make some sense of the loss and confusion we all felt. For among us, our good friend, time had ended. For all of us, one day, time will end too.So I began. Shelagh would have loved this. All of us, and all our dogs together...A Pack of Friends: The Dog Walkers' Daily RitualTwenty years have passed since I was standing with a group of dog walkers around a hole in the park. The council that morning dug the hole to make room for the cherry tree that was about to be planted. The earth from the hole piled high next to us all. A pack of dogs laid down in twos and threes or sat next to their owners.For over three years, every day, same time, same paths of the park, we had walked together. I was the only man in the group. Gentle teasing and cheeky banter oiled smooth daily strolls with our dogs. The pack comprised only gun dogs - Labradors, Spaniels and Golden Retrievers, mine included. Not a pheasant in sight, to scurry or aim for. The odd squirrel would dare a run from cover now and then. The only thing we would shoot would be the breeze.Shelagh: The Heart of the GroupIn her early sixties, Shelagh's short grey hair was as spiky as her wit. Her curious, enthusiastic character overflowed like the Angel Falls, rushing over us with wonder at the ever-changing natural world, her black lab always at her heels. Sarah wouldn't leave her side, save for a swim in the brook, returning like a slick oiled otter.When Spring came to the park, the trails of pink and white blossoms would hang like leftover Christmas baubles. Our dogs would romp through the petal rain with unbridled abandonment, aware of only the present moment as dogs teach us that vital truth about living. What joy to live unconcerned with what anyone thinks, only to be lost in a moment's beauty. That was Shelagh. Shelagh was full of the joy of life and living, and forever making it overflow with laughter. The joker and storyteller of the dog walkers. Tales of her mishaps, the wry observation of one of us, her humour never with malice, just fun.Shelagh was forthright and direct, more like a Terrier than a gundog. It would cut through the small talk on our walks. She stood no nonsense, and we loved her all the more for it. As a self appointed organiser of our group, she brought coffee and cake for us and the dogs to celebrate the bandstand opening. She always included everyone in everything.When Laughter Fades: Shelagh's Battle with CancerShelagh's once spritely walks around the park slowed as her back ‘played her up.' As time marched on, Shelagh's effervescent vitality faded from spring to winter.They had found cancer in her spine. Shelagh was a fighter. She had guts. Shelagh bravely never hid the truth from anybody. Her determination to fight was as unrelenting as her sinister enemy within.One day, she didn't turn up. And, as the days passed on, Shelagh and Sarah the lab never walked with us and our dogs again. I wish I had known the day when it was the last time we would have walked together. I'd have taken more time to notice the moments, to listen with more attention, to see the eternal in the temporal. I suppose we should treat each moment as the last, as someday it will be. The last thank you, the last kiss, the last, ‘I love you.' But we don't. We imagine life will continue on. We missed Shelagh's vitality, vigour and vim for brightening even the darkest and dankest of dog walking days. The park was much the same. The cherry trees bloomed in spring. But something then on was always missing.I kept in touch with Shelagh and visited her. Taking my dog, we'd chat. She kept optimistic, and hopeful, waiting for the days when she could join us again. Wanting to know the latest news, and what the trees in the park looked like.The dogs would play, and we would chat. She was renowned for her love of conversation.We talked about eternity, and what it might be like. Shelagh bravely asked the questions about life you only ask when you're facing death. To sit with someone and ask those questions is to dwell in a sacred space. In such moments hangs eternity.A few times, I have had the honour of sharing the space between life and death with someone, knowing that I will stand next to a coffin and speak words of eulogy and legacy about them. It is a profoundly spiritual place. It's what Celtic Christians call a ‘Thin Place.' A physical space where the spiritual distance between heaven and earth feels is at its closest. You do not find these so often in a cathedral or temple, more on mountains or when you act like a dog dancing through cherry blossom rain with abandonment.Shelagh decided she wanted a ‘living funeral.' ‘I don't want people to say nice things about me when I am dead. I want to hear them!' I want laughter and love, music and dancing. ‘I don't know if I would have ever known how many people loved me, if it hadn't been for this,' was her brave expression of gratitude for life.Shelagh and her family chose a date. Her prognosis was six months at best. A favoured venue picked, caterers arranged, band booked, the date close to her wedding anniversary only a couple of weeks ahead.With her family and friends, including our group of dog walkers, however the dogs absent this time, we joined in the magnificence of that memorial I will never forget. The music played till the early hours, Shelagh dancing with her husband in a wheelchair all night.Shelagh died unexpectedly a few days later. As if completing her course, Shelagh no longer needed the body that had held her, so she let it set off, skipping through the cherry blossoms into eternity. I imagine and hope so.A Final Farewell: Planting Memories And A Dog's TributeThe park keeper lifted and planted the cherry tree into the hole. The dog walkers stood around. I said a few words.At the moment I finished, Shelagh's dog, Sarah, padded towards the mound of earth, stooped, and paid tribute to her owner in dog fashion. Then, as we all watched in amazement, one by one, all the other dogs lined up and forming a queue, each cocking a leg or stooping on the mound of earth waiting to cover the roots.The pile of earth next to us, it too, became a ‘Thin Place,' and at the same moment, eternity became temporal again.I forget the words I said. But I won't forget Shelagh. We'd paid for a memorial plaque placed under the cherry tree where the blossom rain falls on it every spring. Now, it's forever a memorial to Shelagh, and a ‘Thin Place' in the park. Twenty Years On: The Blossoming of RemembranceI pass ‘Shelagh's tree' every day. The tree's branches are thick and strong now, twenty seasons of rain and sun have seen to that. And every spring I stand underneath the raining blossoms, kicking the petals for Shelagh, and in that moment hangs eternity. I've never taken the blossom in the park for granted since. It is with grateful thanks to Shelagh's family and their permission to be able to share this story and photo of the memorial. Thank you. Sundial Wisdom - In This Moment Hangs EternityLife Story Writing Prompts* What's been a ‘thin place' in your life - a space where you feel closest to something greater than yourself? Do you return their often? * If you could leave behind a single piece of wisdom, like the sundial's ‘In this moment hangs eternity,' what would it be?* How has a loss in your life changed the way you appreciate everyday moments?* If you could choose a living memorial like the cherry tree, what would it be and why?* What's a story about you that you hope your friends will tell long after you're gone?The Sundial Series FREE Worksheets. Do you want to create a collection of your thoughts, memories and stories? Download a free worksheet to keep for this post - Paws and Petals: The Touching Story Behind a Dog's Walker's Memorial. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit theartofmemorialising.substack.com

In this episode, Jared and Matt are joined by Julie and Bob Wickwire of Creswick Clumbers where we talk about the rare flushing breed, the Clumber Spaniel.   You can find Julie and Bob on Facebook and Instagram at @creswickclumbers. You can also contact them by email at riwick@comcast.net They are also on Good Dog and gundogbreeders.com. Go Flush Yourself is an upland hunting podcast focusing on bird hunting with flushing dogs. On top of hunting, training, and living with flushers, we also discuss shotguns, upland hunting in general, and gear. If you want to hear more about labradors, cockers, goldens, springers, and the rest of the flushing breeds check us out! We are also an ad-free podcast and are supported purely by our listeners. If you want to help support us, please consider becoming a Patreon member. Hosted by Jared Kirk and Matt Millbauer Browse and purchase Go Flush Yourself merch. Check us out on Instagram, Facebook, and X/Twitter or email us.

Clyde Otis nació el 11 de septiembre de 1924. Con motivo de su cien cumpleaños dedicamos nuestro tiempo de radio a picotear en el inabarcable legado de uno de los grandes compositores del siglo XX. Más de 800 canciones registradas a su nombre que han sido interpretadas por muchas de las grandes voces del jazz, el soul o el R&B. Esto es tan solo una pequeña porción de la punta del iceberg de la obra que nos dejó.Playlist;(sintonía) CLYDE OTIS and HIS ORCHESTRA “Jungle drums” (1961)NAT “KING” COLE and THE FOUR KNIGHTS “That’s all there is to that” (1956)ELVIS PRESLEY “Dontcha think it’s time” (1958)THE DIAMONDS “The stroll” (1957)JACK SCOTT “Patsy” (1960)EDDIE RIFF “Ain’t that lovin’ you baby” (1956)THE DEL VIKINS “Flat tire” (1958)THE ELLIS BROTHERS “Sneaky alligator” (1958)LAVERN BAKER “Substitute” (1958)IVORY JOE HUNTER “I just want to love you” (1959)BROOK BENTON “Kiddio” (1960)BROOK BENTON and DINAH WASHINGTON “Baby (You've got what it takes)” (1960)PRISCILLA BOWMAN feat THE SPANIELS “A rockin' good way (to mess around and fall in love)” (1958)ROOSEVELT GRIER “Lover set me free” (1963)SARAH VAUGHAN “Smooth operator” (1959)TIMI YURO “What’s a matter baby (Is it hurtin’ you)” (1962)ARETHA FRANKLIN “A change” (1968)TOM JONES “Endlessly” (1965)CONWAY TWITTY “Looking back” (1963)Escuchar audio

A complete guide to finding a dog to perfectly match your personality and lifestyle. With hundreds of dog breeds to choose from, which one would perfectly suit you and your needs? Dogs are the funniest, cutest and friendliest ever! They're not called “man's best friend” for nothing, right? But with hundreds of breeds to choose from, which one would perfectly suit your lifestyle and needs? Let's find out! But first, while you're searching for your perfect canine companion, also keep an eye out for 3 Bright Side lightbulbs hidden throughout this video. Once you've found all of them, comment the time stamps down below! Good luck! Guard dogs 0:42 Family-friendly dogs 1:22 Athletic dogs 2:00 Lap dogs 2:34 Dogs for busy singles 3:06 Dogs for seniors 3:56 Dogs for an apartment 4:27 Dogs for multi-pet households 5:00 Dogs that do well in hot climates 5:36 Dogs that do well in cold climates 6:15 Hypoallergenic dogs 6:44 Dogs for a newbie 7:40 SUMMARY - If you're one of these people and you want your pooch to look after your home, you should probably consider a Rottweiler, Doberman Pinscher, or German Shepherd. - If you have a big family full of kids or just welcomed a newborn into this world, it can seem challenging to pick the perfect dog breed. But this is the territory where a Labrador or Golden Retriever would be completely unbeatable! - Consider getting a Pointer or a Setter since they're pretty much built for running. If you want something a bit smaller, a Jack Russell Terrier can be a good choice as well. - If you're looking for a furry cuddle buddy who will always be happy to laze around on the sofa with you, a French Bulldog or a Maltese is your perfect fit. - Some breeds deal with being home alone better than others: think about getting a Shar Pei or a Basset Hound. - If you're retired and have decided to welcome a dog into your home, a good option for you would be a Boston Terrier, a Pug, or a Cavalier King Charles Spaniel. - . If the dog is small, it doesn't necessarily mean that it'll be happy living in smaller space. Consider getting a Yorkshire Terrier or a Bulldog for a small apartment. - Retrievers, Collies, and Spaniels are always happy to have company to play with, so they'll likely make a great match with your other pets. Terriers or breeds typically used in dogfighting can sometimes be a bit complicated. - Most Terriers can take the heat, and they come in lots of sizes. At the same time, St. Bernards, Samoyeds, and Boxers won't feel good in hot weather. - Breeds that prefer a colder climate normally have a thick double coat and more body fat. So, as you can probably guess, a good choice is a St. Bernard, Malamute, Husky, or Samoyed. - German Shepherds aren't a good breed for you due to their dry skin, which results in a lot of dander built-up. The same goes for long-haired breeds as well. - Getting a dog for the first time ever is both exciting and nerve-racking. There are so many breeds to choose from, and they're all so cute and adorable! If you're new to the dog-owning world, then a Labrador, Border Collie, or Poodle will be perfect for you. Do you already have a dog, or are you considering getting one? Tell us in the comments section below. Subscribe to Bright Side : https://goo.gl/rQTJZz ---------------------------------------------------------------------------------------- Our Social Media: Facebook:   / brightside   Instagram:   / brightgram   SMART Youtube: https://goo.gl/JTfP6L 5-Minute Crafts Youtube: https://www.goo.gl/8JVmuC Have you ever seen a talking slime? Here he is – Slick Slime Sam: https://goo.gl/zarVZo ---------------------------------------------------------------------------------------- For more videos and articles visit: http://www.brightside.me/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Todd Agnew and Craney Hill Kennel are a big presence in the Spaniel world. I'm glad to have him on the podcast talking about the handlers and experiences beyond the usual training topics. This conversation would be a great fit in camp lounging around the dinner table. Thank you to our sponsors Aspen Thicket Grouse Dogs aspenthicketgrousedogs.com Pine Hill Gun Dogs phkscllc@gmail.com Second Chance Bird dogs Field Armor fieldarmorusa.com Collar Clinic collarclinic.com Wild Card Outfitters and Guide Service wildcardoutdoors.com --- Support this podcast: https://podcasters.spotify.com/pod/show/birdcamp/support

Glen Blackwood stops over to the kennel to catch up on our season and the Woodcock Society's Birthday. 

In this episode we cover more upland bird hunting and dog training as well as overcoming shooting challenges with seasoned hunting guide and dog trainer, Matty Rawlinson. Additionally, we cover the significance of gun fitting for wing shooting success, sharing insights into how a custom-fitted gun can enhance shooting accuracy. The episode also details Matty's eye dominance discovery in shooting, revealing how switching shooting shoulders improved performance. Moreover, it introduces a new podcast focused on Spaniel field trials to foster interest in the discipline, covering topics from puppy development to field trial strategies. Show Highlights: Listener's Question: Training Young Pups for Hunting Matty Rawlinson's Hunting Season Recap and Dog Training Philosophy Choosing the Right Dog Breed for Hunting Personal Experiences and Preferences in Dog Breeds The Importance of Dog Breed Selection Based on Hunting Style Exploring Forest Grouse Hunting Techniques The Significance of Gun Fitting for Hunters Launching a Spaniel-Focused Podcast: Spaniels in the Field Final Thoughts and Upcoming Plans LEARN MORE | heritagegundogs.com FOLLOW | @heritage.gundogs SUPPORT | patreon.com/birdshot Follow us | @birdshot.podcast Use Promo Code | BSP20 to save 20% with onX Hunt The Birdshot Podcast is Presented By: onX Hunt, Final Rise and Upland Gun Company Learn more about your ad choices. Visit megaphone.fm/adchoices

An in-depth discussion with Matty Rawlinson of Heritage Gundogs and Outfitters, a dog trainer, hunting guide, and upland hunter from California, covering his extensive experience in bird hunting and dog training across challenging environments, notably South Texas. The conversation spans the importance of field trials, adaptation strategies for dogs in tough terrains, and intricacies of working with pointing dogs and flushers. Rawlinson also shares compelling stories from his adventures, underscoring the critical role of understanding dog behavior in various hunting scenarios. Show Highlights: Birdshot Podcast Inbox: A boot recommendation Catching Up with Matty Rawlinson: Dog Trainer and Upland Hunter Matty's Adventures and Insights on Upland Bird Hunting The Intricacies of Training Spaniels for Field Trials The Constant Training Journey with Spaniels The Art of Hunting with Pointing and Flushing Dogs The Dynamics of Dog Hunting Styles Learning from the Pros: Insights on Pointing Dogs Challenges and Strategies in South Texas Hunting The Importance of Letting Dogs 'Get Loose' Navigating the Unexpected: Stories from the Field LEARN MORE | heritagegundogs.com FOLLOW | @heritage.gundogs SUPPORT | patreon.com/birdshot Follow us | @birdshot.podcast Use Promo Code | BSP20 to save 20% with onX Hunt The Birdshot Podcast is Presented By: onX Hunt, Final Rise and Upland Gun Company Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to this episode of the Sexier than a Squirrel podcast, the podcast that brings you real-life dog training results, and sometimes human training ones too! In this episode, we're excited to welcome back rock star elite operational and specialist dog trainer, Dave, who is joining us to tackle the often guarded topic of dog aggression and how we as owners, caregivers, and trainers can manage and overcome reactive and aggressive dogs, while empowering ourselves with the right training tools for success!With over 40 years of combined experience in training all kinds of dogs, from Malinois and German Shepherds, to Pointers, Collies and Labradors, as well as Spaniels, Terriers, mixed-breed and rescue dogs, Lauren and Dave are not just talking the talk; they're walking you through troubleshooting tips, practical training techniques and empowering lifestyle strategies in this episode! We're diving into our best solutions to help you reduce or avoid reactivity and dog aggression, such as:

On this episode of the Ducks Unlimited podcast, host John Gordon interviews English Cocker Spaniel specialist Jordan Horak. He shares insights into the these dynamic little dogs capabilities, highlighting their skills both as upland bird flushers and waterfowl retrievers. Learn more about the unique traits and hunting abilities of English Cockers, and flushing dogs in general for those more familiar with the retriever breeds.www.ducks.org/DUPodcast

In this episode of the Ducks Unlimited podcast, host John Gordon sits down with Ray Voigt, former professional retriever trainer and current Purina senior specialist, and Karl Gunzer, Purina Sporting Dog Group Director, discussing all things dogs. They talk about their love for sporting breeds, canine nutrition, training tips, and the Bird Dog Hall of Fame. If you're a dog lover, this episode is a must-listen as they dive into the history and importance of sporting dogs.www.ducks.org/DUPodcast

GRAMMY®  Hall of Fame Honoree Iconic Hit Writer: "At The Hop", "Rockn Roll is Here to Stay", "You Don't Own Me" "1-2-3" & MoreJohn Madara was born & grew up in Philadelphia, PA at a time when the city was teeming with groups and artists such as The Spaniels, the Clovers, Harvey and the Moonglows, Billy Ward and the Dominos and the great Jackie Wilson. Rock and Roll was starting to take root and John Madara was destined to make rock and roll history. In 1957, John launched his solo career, with his first record, "Be My Girl," reaching the national charts. That same year, John co-wrote with Dave White a song called “Do The Bop." On the advice of Dick Clark, whose local show, American Bandstand, had just gone national, the title and lyrics were changed to “At The Hop." Danny and the Juniors, recorded it, and by Christmas of 1957, it had reached the top of the pop and R&B charts worldwide. “At The Hop” remained #1 for an astounding 7 weeks, the first record ever to reach that success, and it has remained a rock and roll classic to this day. Following “At The Hop," John produced and co-wrote with Dave such mega-hits as “The Fly” (Chubby Checker)“You Don't Own Me” (Lesley Gore) among other smash hits. He also produced for Danny and The Juniors, “Rock and Roll Is Here To Stay." He also discovered one of the most prolific duos of all time, Daryl Hall and John Oates. With them he produced two albums. John moved to L.A. in the ‘70s, where he found success writing and producing for movies and television. He produced the soundtrack for the James Caan/Marsha Mason movie, “Cinderella Liberty," and also produced the title song for the Cliff Robertson movie “Ace Eli and Roger of the Sky.” In the mid ‘70s, he was music supervisor for the hugely successful “Sid and Marty Kroft Comedy Hour." This was in conjunction with an ABC Comedy Hour and network special which launched the new ABC season Madara/White songs have reached millions of people through radio, films and television. Worldwide sales of their songs and productions have reached over 2 hundred million records. Their songs have appeared on some of the biggest grossing soundtrack albums of all time, including “American Graffiti” and “Woodstock” (At The Hop), “Grease” (Rock and Roll is Here to Stay), “Hairspray” (The Fly and You Don't Own Me), “Mr. Holland's Opus” (1-2-3), and “Dirty Dancing” and “The First Wives Club” (You Don't Own Me). It was the 1996 hit film, “The First Wives Club," that paid the contemporary power of their talent the ultimate compliment by not only featuring “You Don't Own Me” but by making it the theme of the movie. John has continued to write and produce music, working with young, up-and-coming artists. At The Hop” was voted by the Recording Industry Association of America as one of the top 100 songs of the century. The soundtrack album, “Grease," was voted one of the top albums of the century. “Rock and Roll Is Here To Stay” is featured on that album. John recently finished producing an album with Tony Danza, following a hugely successful radio hit single that he also produced, “The House I Live In.” He is also working on a feature film, “At The Hop.” In 2016, his song with the late singer ,songwriter Dave White "You Don't Own Me" was made a #1 Hit all over again  19 year old Australian singer " Grace" and features G-EAZY. It was Produced by Quincy Jones.~ thatphillysound.com© 2024 Building Abundant Success!!2024 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

Water spaniels are but a vestige of what they once were. Originally developed in the British Isles for waterfowl retrieving, today only three breeds remain. The American Water Spaniel and its close cousin, the Boykin, are joined by the Irish Water Spaniel as remnants of what was once a broad spectrum of water dogs.  The origin of water spaniels can be traced to Great Britain. Similar dogs were developed on the European continent, such as the Épagneul de Pont-Audemer or the Frisian Water Dog, but their exact relationship to the true water spaniels developed in the British Isles—and later in America—is not exactly clear.  What is clear is that a close relationship exists between water spaniels and the retriever breeds. Indeed, recent genome-wide analysis has revealed that the Curly-Coated Retriever and the Irish Water Spaniel are more closely related to each other than to any other breed. The Curly-Coated Retriever—the largest and perhaps oldest of the retrievers—is thought to have descended from crosses between the St. John's Water Dog and English Water Spaniels, but apparently the amount of water spaniel blood in the breed was largely underestimated. Similarly, the Golden Retriever lineage that began with the Marjoribanks family in Scotland included crosses to at least two Tweed Water Spaniels.

In this week's episode, join Jo as she sits down with LWDG Group Expert Jemma Martin for an engaging conversation about the thrilling world of working tests. Jemma, with her wealth of experience and passion, shares insightful stories and valuable tips from her journey competing with her working cocker spaniels. Tune in to gain a better understanding of the sport, learn how to prepare for competitions, and hear firsthand what it takes to succeed in working tests with cocker spaniels.Thank you for joining me, Joanne Perrott, on this episode of Fount It, Fetched It - Your weekly dose of gundog wisdom, brought to you by the Ladies Working Dog Group. If you're ready to take your dog training to the next level and connect with a passionate, like-minded community, it's time to consider joining the LWDG. Don't just visit us - join us! Head over to www.thelwdg.com and seize the opportunity to become a part of our ever-growing family. By joining our group, you'll gain access to expert training resources and a supportive community of dog lovers who are eager to learn and grow together. If you've enjoyed this episode, make sure to subscribe so you don't miss any future insights. And, we would greatly appreciate it if you could take a moment to leave a review - your feedback makes a huge difference! Until next time, continue the journey of training, learning, and creating unforgettable moments with your best friend. I'll see you at our next episode - and hopefully, in our LWDG community soon!

To my delight, my time spent on Duolingo, a popular language-learning application, came in handy while reading Craig Koshyk's Pointing Dogs Volume I: The Continentals. Although I am an utter noob with hunting dogs specifically, I cherished a dog breed encyclopedia as a child. As a result, I was familiar enough with French dogs to know breeds like French Brittanies and Papillons exist. However, I had never heard of the gorgeous Épagneul Français (aye-pan-YUL fran-SAY) or French Spaniel. “I don't know what it is about the French Spaniel,” writes Koshyk, “but every time I try to capture that ‘special some-thing' about the way they look and the way they move, I feel that I come up short.” It's easy to see where Craig is coming from. His images depict gleaming, feathery-coated dogs with bright eyes, balanced features, and fluid movements. Although his photos are still, I can only imagine how visually pleasing this hard-working bird dog is when working in the field or bringing a bird to hand.

In this podcast we discuss the history of Gundogs including Weimaraners, Spaniels, Pointers and more. Craig Koshyk is a dog historian and author of Pointing Dogs Volume 1 and 2. He is also the co-host of Hunting Dog Confidential podcast and writes regularly at Project Upland Magazine.

Scholarly communications librarian Hillary Miller joins Nia and Aughie to debate the issues in the recent case before the Supreme Court, Jack Daniel's Properties, Inc. v. VIP Products LLC.

On this part one episode with Todd Agnew from Spaniel Journal we talk spanials (cockers and springes) and a lot of development, training and field trials.  ------------ Subscribe to the Upland Rookie YouTube Channel by clicking here.  As a reminder, if you are enjoying the podcast, please go leave a rating and review on whichever podcast platform you listen on. Much appreciated.  ----------- Inukshuk Professional Dog Food is a Canadian business, providing professional mushers, sporting dog handlers and kennels around the world with the highest quality dog food on the market.  Final Rise - Preimum upland gear for the serious bird hunter. Check out the new Sidekick fest for ultra slim design and light weight. Every product is made in the USA and is durable season after season.   OnX Hunt - Leading the way in digital mapping systems and a must have for any upland bird hunter. Save 20% off your subscription today by using promo code TUR20  ---------- CONNECT WITH ME:  Email: uplandbritts@gmail.com Instagram: @upland_britts or @theuplandrookiepodcast Facebook: The Upland Rookie Podcast

Please join the Boston Bar Association's Intellectual Property Section as we hear from leading industry professionals in a discussion on the Jack Daniel's Properties, Inc., v. VIP Products LLC case which was argued in front of the Supreme Court on March 22, 2023. Our panelists will provide an overview of the case and the Supreme Court oral arguments, discuss the possible effects and implications of the Supreme Court decision, and highlight other similar cases that have been decided in the past. (4/27/2023) Questions? Inquiries about program materials? Contact Alan I. Johnson at ajohnson@bostonbar.org

Episode 164 of A History of Rock Music in Five Hundred Songs looks at "White Light/White Heat" and the career of the Velvet Underground. This is a long one, lasting three hours and twenty minutes. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Why Don't You Smile Now?" by the Downliners Sect. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I say the Velvet Underground didn't play New York for the rest of the sixties after 1966. They played at least one gig there in 1967, but did generally avoid the city. Also, I refer to Cale and Conrad as the other surviving members of the Theater of Eternal Music. Sadly Conrad died in 2016. Resources No Mixcloud this week, as there are too many songs by the Velvet Underground, and some of the avant-garde pieces excerpted run to six hours or more. I used a lot of resources for this one. Up-Tight: The Velvet Underground Story by Victor Bockris and Gerard Malanga is the best book on the group as a group. I also used Joe Harvard's 33 1/3 book on The Velvet Underground and Nico. Bockris also wrote one of the two biographies of Reed I referred to, Transformer. The other was Lou Reed by Anthony DeCurtis. Information on Cale mostly came from Sedition and Alchemy by Tim Mitchell. Information on Nico came from Nico: The Life and Lies of an Icon by Richard Witts. I used Draw a Straight Line and Follow it by Jeremy Grimshaw as my main source for La Monte Young, The Roaring Silence by David Revill for John Cage, and Warhol: A Life as Art by Blake Gopnik for Warhol. I also referred to the Criterion Collection Blu-Ray of the 2021 documentary The Velvet Underground.  The definitive collection of the Velvet Underground's music is the sadly out-of-print box set Peel Slowly and See, which contains the four albums the group made with Reed in full, plus demos, outtakes, and live recordings. Note that the digital version of the album as sold by Amazon for some reason doesn't include the last disc -- if you want the full box set you have to buy a physical copy. All four studio albums have also been released and rereleased many times over in different configurations with different numbers of CDs at different price points -- I have used the "45th Anniversary Super-Deluxe" versions for this episode, but for most people the standard CD versions will be fine. Sadly there are no good shorter compilation overviews of the group -- they tend to emphasise either the group's "pop" mode or its "avant-garde" mode to the exclusion of the other. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I begin this episode, there are a few things to say. This introductory section is going to be longer than normal because, as you will hear, this episode is also going to be longer than normal. Firstly, I try to warn people about potentially upsetting material in these episodes. But this is the first episode for 1968, and as you will see there is a *profound* increase in the amount of upsetting and disturbing material covered as we go through 1968 and 1969. The story is going to be in a much darker place for the next twenty or thirty episodes. And this episode is no exception. As always, I try to deal with everything as sensitively as possible, but you should be aware that the list of warnings for this one is so long I am very likely to have missed some. Among the topics touched on in this episode are mental illness, drug addiction, gun violence, racism, societal and medical homophobia, medical mistreatment of mental illness, domestic abuse, rape, and more. If you find discussion of any of those subjects upsetting, you might want to read the transcript. Also, I use the term "queer" freely in this episode. In the past I have received some pushback for this, because of a belief among some that "queer" is a slur. The following explanation will seem redundant to many of my listeners, but as with many of the things I discuss in the podcast I am dealing with multiple different audiences with different levels of awareness and understanding of issues, so I'd like to beg those people's indulgence a moment. The term "queer" has certainly been used as a slur in the past, but so have terms like "lesbian", "gay", "homosexual" and others. In all those cases, the term has gone from a term used as a self-identifier, to a slur, to a reclaimed slur, and back again many times. The reason for using that word, specifically, here is because the vast majority of people in this story have sexualities or genders that don't match the societal norms of their times, but used labels for themselves that have shifted in meaning over the years. There are at least two men in the story, for example, who are now dead and referred to themselves as "homosexual", but were in multiple long-term sexually-active relationships with women. Would those men now refer to themselves as "bisexual" or "pansexual" -- terms not in widespread use at the time -- or would they, in the relatively more tolerant society we live in now, only have been in same-gender relationships? We can't know. But in our current context using the word "homosexual" for those men would lead to incorrect assumptions about their behaviour. The labels people use change over time, and the definitions of them blur and shift. I have discussed this issue with many, many, friends who fall under the queer umbrella, and while not all of them are comfortable with "queer" as a personal label because of how it's been used against them in the past, there is near-unanimity from them that it's the correct word to use in this situation. Anyway, now that that rather lengthy set of disclaimers is over, let's get into the story proper, as we look at "White Light, White Heat" by the Velvet Underground: [Excerpt: The Velvet Underground, "White Light, White Heat"] And that look will start with... a disclaimer about length. This episode is going to be a long one. Not as long as episode one hundred and fifty, but almost certainly the longest episode I'll do this year, by some way. And there's a reason for that. One of the questions I've been asked repeatedly over the years about the podcast is why almost all the acts I've covered have been extremely commercially successful ones. "Where are the underground bands? The alternative bands? The little niche acts?" The answer to that is simple. Until the mid-sixties, the idea of an underground or alternative band made no sense at all in rock, pop, rock and roll, R&B, or soul. The idea would have been completely counterintuitive to the vast majority of the people we've discussed in the podcast. Those musics were commercial musics, made by people who wanted to make money and to  get the largest audiences possible. That doesn't mean that they had no artistic merit, or that there was no artistic intent behind them, but the artists making that music were *commercial* artists. They knew if they wanted to make another record, they had to sell enough copies of the last record for the record company to make another, and that if they wanted to keep eating, they had to draw enough of an audience to their gigs for promoters to keep booking them. There was no space in this worldview for what we might think of as cult success. If your record only sold a thousand copies, then you had failed in your goal, even if the thousand people who bought your record really loved it. Even less commercially successful artists we've covered to this point, like the Mothers of Invention or Love, were *trying* for commercial success, even if they made the decision not to compromise as much as others do. This started to change a tiny bit in the mid-sixties as the influence of jazz and folk in the US, and the British blues scene, started to be felt in rock music. But this influence, at first, was a one-way thing -- people who had been in the folk and jazz worlds deciding to modify their music to be more commercial. And that was followed by already massively commercial musicians, like the Beatles, taking on some of those influences and bringing their audience with them. But that started to change around the time that "rock" started to differentiate itself from "rock and roll" and "pop", in mid 1967. So in this episode and the next, we're going to look at two bands who in different ways provided a model for how to be an alternative band. Both of them still *wanted* commercial success, but neither achieved it, at least not at first and not in the conventional way. And both, when they started out, went by the name The Warlocks. But we have to take a rather circuitous route to get to this week's band, because we're now properly introducing a strand of music that has been there in the background for a while -- avant-garde art music. So before we go any further, let's have a listen to a thirty-second clip of the most famous piece of avant-garde music ever, and I'll be performing it myself: [Excerpt, Andrew Hickey "4'33 (Cage)"] Obviously that won't give the full effect, you have to listen to the whole piece to get that. That is of course a section of "4'33" by John Cage, a piece of music that is often incorrectly described as being four minutes and thirty three seconds of silence. As I've mentioned before, though, in the episode on "Papa's Got a Brand New Bag", it isn't that at all. The whole point of the piece is that there is no such thing as silence, and it's intended to make the listener appreciate all the normal ambient sounds as music, every bit as much as any piece by Bach or Beethoven. John Cage, the composer of "4'33", is possibly the single most influential avant-garde artist of the mid twentieth century, so as we're properly introducing the ideas of avant-garde music into the story here, we need to talk about him a little. Cage was, from an early age, torn between three great vocations, all of which in some fashion would shape his work for decades to come. One of these was architecture, and for a time he intended to become an architect. Another was the religious ministry, and he very seriously considered becoming a minister as a young man, and religion -- though not the religious faith of his youth -- was to be a massive factor in his work as he grew older. He started studying music from an early age, though he never had any facility as a performer -- though he did, when he discovered the work of Grieg, think that might change. He later said “For a while I played nothing else. I even imagined devoting my life to the performance of his works alone, for they did not seem to me to be too difficult, and I loved them.” [Excerpt: Grieg piano concerto in A minor] But he soon realised that he didn't have some of the basic skills that would be required to be a performer -- he never actually thought of himself as very musical -- and so he decided to move into composition, and he later talked about putting his musical limits to good use in being more inventive. From his very first pieces, Cage was trying to expand the definition of what a performance of a piece of music actually was. One of his friends, Harry Hay, who took part in the first documented performance of a piece by Cage, described how Cage's father, an inventor, had "devised a fluorescent light source over which Sample" -- Don Sample, Cage's boyfriend at the time -- "laid a piece of vellum painted with designs in oils. The blankets I was wearing were white, and a sort of lampshade shone coloured patterns onto me. It looked very good. The thing got so hot the designs began to run, but that only made it better.” Apparently the audience for this light show -- one that predated the light shows used by rock bands by a good thirty years -- were not impressed, though that may be more because the Santa Monica Women's Club in the early 1930s was not the vanguard of the avant-garde. Or maybe it was. Certainly the housewives of Santa Monica seemed more willing than one might expect to sign up for another of Cage's ideas. In 1933 he went door to door asking women if they would be interested in signing up to a lecture course from him on modern art and music. He told them that if they signed up for $2.50, he would give them ten lectures, and somewhere between twenty and forty of them signed up, even though, as he said later, “I explained to the housewives that I didn't know anything about either subject but that I was enthusiastic about both of them. I promised to learn faithfully enough about each subject so as to be able to give a talk an hour long each week.” And he did just that, going to the library every day and spending all week preparing an hour-long talk for them. History does not relate whether he ended these lectures by telling the housewives to tell just one friend about them. He said later “I came out of these lectures, with a devotion to the painting of Mondrian, on the one hand, and the music of Schoenberg on the other.” [Excerpt: Schoenberg, "Ode to Napoleon Buonaparte"] Schoenberg was one of the two most widely-respected composers in the world at that point, the other being Stravinsky, but the two had very different attitudes to composition. Schoenberg's great innovation was the creation and popularisation of the twelve-tone technique, and I should probably explain that a little before I go any further. Most Western music is based on an eight-note scale -- do, re, mi, fa, so, la, ti, do -- with the eighth note being an octave up from the first. So in the key of C major that would be C, D, E, F, G, A, B, C: [demonstrates] And when you hear notes from that scale, if your ears are accustomed to basically any Western music written before about 1920, or any Western popular music written since then, you expect the melody to lead back to C, and you know to expect that because it only uses those notes -- there are differing intervals between them, some having a tone between them and some having a semitone, and you recognise the pattern. But of course there are other notes between the notes of that scale. There are actually an infinite number of these, but in conventional Western music we only look at a few more -- C# (or D flat), D# (or E flat), F# (or G flat), G# (or A flat) and A# (or B flat). If you add in all those notes you get this: [demonstrates] There's no clear beginning or end, no do for it to come back to. And Schoenberg's great innovation, which he was only starting to promote widely around this time, was to insist that all twelve notes should be equal -- his melodies would use all twelve of the notes the exact same number of times, and so if he used say a B flat, he would have to use all eleven other notes before he used B flat again in the piece. This was a radical new idea, but Schoenberg had only started advancing it after first winning great acclaim for earlier pieces, like his "Three Pieces for Piano", a work which wasn't properly twelve-tone, but did try to do without the idea of having any one note be more important than any other: [Excerpt: Schoenberg, "Three Pieces for Piano"] At this point, that work had only been performed in the US by one performer, Richard Buhlig, and hadn't been released as a recording yet. Cage was so eager to hear it that he'd found Buhlig's phone number and called him, asking him to play the piece, but Buhlig put the phone down on him. Now he was doing these lectures, though, he had to do one on Schoenberg, and he wasn't a competent enough pianist to play Schoenberg's pieces himself, and there were still no recordings of them. Cage hitch-hiked from Santa Monica to LA, where Buhlig lived, to try to get him to come and visit his class and play some of Schoenberg's pieces for them. Buhlig wasn't in, and Cage hung around in his garden hoping for him to come back -- he pulled the leaves off a bough from one of Buhlig's trees, going "He'll come back, he won't come back, he'll come back..." and the leaves said he'd be back. Buhlig arrived back at midnight, and quite understandably told the strange twenty-one-year-old who'd spent twelve hours in his garden pulling the leaves off his trees that no, he would not come to Santa Monica and give a free performance. But he did agree that if Cage brought some of his own compositions he'd give them a look over. Buhlig started giving Cage some proper lessons in composition, although he stressed that he was a performer, not a composer. Around this time Cage wrote his Sonata for Clarinet: [Excerpt: John Cage, "Sonata For Clarinet"] Buhlig suggested that Cage send that to Henry Cowell, the composer we heard about in the episode on "Good Vibrations" who was friends with Lev Termen and who created music by playing the strings inside a piano: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell offered to take Cage on as an assistant, in return for which Cowell would teach him for a semester, as would Adolph Weiss, a pupil of Schoenberg's. But the goal, which Cowell suggested, was always to have Cage study with Schoenberg himself. Schoenberg at first refused, saying that Cage couldn't afford his price, but eventually took Cage on as a student having been assured that he would devote his entire life to music -- a promise Cage kept. Cage started writing pieces for percussion, something that had been very rare up to that point -- only a handful of composers, most notably Edgard Varese, had written pieces for percussion alone, but Cage was: [Excerpt: John Cage, "Trio"] This is often portrayed as a break from the ideals of his teacher Schoenberg, but in fact there's a clear continuity there, once you see what Cage was taking from Schoenberg. Schoenberg's work is, in some senses, about equality, about all notes being equal. Or to put it another way, it's about fairness. About erasing arbitrary distinctions. What Cage was doing was erasing the arbitrary distinction between the more and less prominent instruments. Why should there be pieces for solo violin or string quartet, but not for multiple percussion players? That said, Schoenberg was not exactly the most encouraging of teachers. When Cage invited Schoenberg to go to a concert of Cage's percussion work, Schoenberg told him he was busy that night. When Cage offered to arrange another concert for a date Schoenberg wasn't busy, the reply came "No, I will not be free at any time". Despite this, Cage later said “Schoenberg was a magnificent teacher, who always gave the impression that he was putting us in touch with musical principles,” and said "I literally worshipped him" -- a strong statement from someone who took religious matters as seriously as Cage. Cage was so devoted to Schoenberg's music that when a concert of music by Stravinsky was promoted as "music of the world's greatest living composer", Cage stormed into the promoter's office angrily, confronting the promoter and making it very clear that such things should not be said in the city where Schoenberg lived. Schoenberg clearly didn't think much of Cage's attempts at composition, thinking -- correctly -- that Cage had no ear for harmony. And his reportedly aggressive and confrontational teaching style didn't sit well with Cage -- though it seems very similar to a lot of the teaching techniques of the Zen masters he would later go on to respect. The two eventually parted ways, although Cage always spoke highly of Schoenberg. Schoenberg later gave Cage a compliment of sorts, when asked if any of his students had gone on to do anything interesting. At first he replied that none had, but then he mentioned Cage and said “Of course he's not a composer, but an inventor—of genius.” Cage was at this point very worried if there was any point to being a composer at all. He said later “I'd read Cowell's New Musical Resources and . . . The Theory of Rhythm. I had also read Chavez's Towards a New Music. Both works gave me the feeling that everything that was possible in music had already happened. So I thought I could never compose socially important music. Only if I could invent something new, then would I be useful to society. But that seemed unlikely then.” [Excerpt: John Cage, "Totem Ancestor"] Part of the solution came when he was asked to compose music for an abstract animation by the filmmaker Oskar Fischinger, and also to work as Fischinger's assistant when making the film. He was fascinated by the stop-motion process, and by the results of the film, which he described as "a beautiful film in which these squares, triangles and circles and other things moved and changed colour.” But more than that he was overwhelmed by a comment by Fischinger, who told him “Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration.” Cage later said “That set me on fire. He started me on a path of exploration of the world around me which has never stopped—of hitting and stretching and scraping and rubbing everything.” Cage now took his ideas further. His compositions for percussion had been about, if you like, giving the underdog a chance -- percussion was always in the background, why should it not be in the spotlight? Now he realised that there were other things getting excluded in conventional music -- the sounds that we characterise as noise. Why should composers work to exclude those sounds, but work to *include* other sounds? Surely that was... well, a little unfair? Eventually this would lead to pieces like his 1952 piece "Water Music", later expanded and retitled "Water Walk", which can be heard here in his 1959 appearance on the TV show "I've Got a Secret".  It's a piece for, amongst other things, a flowerpot full of flowers, a bathtub, a watering can, a pipe, a duck call, a blender full of ice cubes, and five unplugged radios: [Excerpt: John Cage "Water Walk"] As he was now avoiding pitch and harmony as organising principles for his music, he turned to time. But note -- not to rhythm. He said “There's none of this boom, boom, boom, business in my music . . . a measure is taken as a strict measure of time—not a one two three four—which I fill with various sounds.” He came up with a system he referred to as “micro-macrocosmic rhythmic structure,” what we would now call fractals, though that word hadn't yet been invented, where the structure of the whole piece was reflected in the smallest part of it. For a time he started moving away from the term music, preferring to refer to the "art of noise" or to "organised sound" -- though he later received a telegram from Edgard Varese, one of his musical heroes and one of the few other people writing works purely for percussion, asking him not to use that phrase, which Varese used for his own work. After meeting with Varese and his wife, he later became convinced that it was Varese's wife who had initiated the telegram, as she explained to Cage's wife "we didn't want your husband's work confused with my husband's work, any more than you'd want some . . . any artist's work confused with that of a cartoonist.” While there is a humour to Cage's work, I don't really hear much qualitative difference between a Cage piece like the one we just heard and a Varese piece like Ionisation: [Excerpt: Edgard Varese, "Ionisation"] But it was in 1952, the year of "Water Music" that John Cage made his two biggest impacts on the cultural world, though the full force of those impacts wasn't felt for some years. To understand Cage's 1952 work, you first have to understand that he had become heavily influenced by Zen, which at that time was very little known in the Western world. Indeed he had studied with Daisetsu Suzuki, who is credited with introducing Zen to the West, and said later “I didn't study music with just anybody; I studied with Schoenberg, I didn't study Zen with just anybody; I studied with Suzuki. I've always gone, insofar as I could, to the president of the company.” Cage's whole worldview was profoundly affected by Zen, but he was also naturally sympathetic to it, and his work after learning about Zen is mostly a continuation of trends we can already see. In particular, he became convinced that the point of music isn't to communicate anything between two people, rather its point is merely to be experienced. I'm far from an expert on Buddhism, but one way of thinking about its central lessons is that one should experience things as they are, experiencing the thing itself rather than one's thoughts or preconceptions about it. And so at Black Mountain college came Theatre Piece Number 1: [Excerpt: Edith Piaf, "La Vie En Rose" ] In this piece, Cage had set the audience on all sides, so they'd be facing each other. He stood on a stepladder, as colleagues danced in and around the audience, another colleague played the piano, two more took turns to stand on another stepladder to recite poetry, different films and slides were projected, seemingly at random, onto the walls, and the painter Robert Rauschenberg played scratchy Edith Piaf records on a wind-up gramophone. The audience were included in the performance, and it was meant to be experienced as a gestalt, as a whole, to be what we would now call an immersive experience. One of Cage's students around this time was the artist Allan Kaprow, and he would be inspired by Theatre Piece Number 1 to put on several similar events in the late fifties. Those events he called "happenings", because the point of them was that you were meant to experience an event as it was happening rather than bring preconceptions of form and structure to them. Those happenings were the inspiration for events like The 14 Hour Technicolor Dream, and the term "happening" became such an integral part of the counterculture that by 1967 there were comedy films being released about them, including one just called The Happening with a title track by the Supremes that made number one: [Excerpt: The Supremes, "The Happening"] Theatre Piece Number 1 was retrospectively considered the first happening, and as such its influence is incalculable. But one part I didn't mention about Theatre Piece Number 1 is that as well as Rauschenberg playing Edith Piaf's records, he also displayed some of his paintings. These paintings were totally white -- at a glance, they looked like blank canvases, but as one inspected them more clearly, it became apparent that Rauschenberg had painted them with white paint, with visible brushstrokes. These paintings, along with a visit to an anechoic chamber in which Cage discovered that even in total silence one can still hear one's own blood and nervous system, so will never experience total silence, were the final key to something Cage had been working towards -- if music had minimised percussion, and excluded noise, how much more had it excluded silence? As Cage said in 1958 “Curiously enough, the twelve-tone system has no zero in it.” And so came 4'33, the piece that we heard an excerpt of near the start of this episode. That piece was the something new he'd been looking for that could be useful to society. It took the sounds the audience could already hear, and without changing them even slightly gave them a new context and made the audience hear them as they were. Simply by saying "this is music", it caused the ambient noise to be perceived as music. This idea, of recontextualising existing material, was one that had already been done in the art world -- Marcel Duchamp, in 1917, had exhibited a urinal as a sculpture titled "Fountain" -- but even Duchamp had talked about his work as "everyday objects raised to the dignity of a work of art by the artist's act of choice". The artist was *raising* the object to art. What Cage was saying was "the object is already art". This was all massively influential to a young painter who had seen Cage give lectures many times, and while at art school had with friends prepared a piano in the same way Cage did for his own experimental compositions, dampening the strings with different objects. [Excerpt: Dana Gillespie, "Andy Warhol (live)"] Duchamp and Rauschenberg were both big influences on Andy Warhol, but he would say in the early sixties "John Cage is really so responsible for so much that's going on," and would for the rest of his life cite Cage as one of the two or three prime influences of his career. Warhol is a difficult figure to discuss, because his work is very intellectual but he was not very articulate -- which is one reason I've led up to him by discussing Cage in such detail, because Cage was always eager to talk at great length about the theoretical basis of his work, while Warhol would say very few words about anything at all. Probably the person who knew him best was his business partner and collaborator Paul Morrissey, and Morrissey's descriptions of Warhol have shaped my own view of his life, but it's very worth noting that Morrissey is an extremely right-wing moralist who wishes to see a Catholic theocracy imposed to do away with the scourges of sexual immorality, drug use, hedonism, and liberalism, so his view of Warhol, a queer drug using progressive whose worldview seems to have been totally opposed to Morrissey's in every way, might be a little distorted. Warhol came from an impoverished background, and so, as many people who grew up poor do, he was, throughout his life, very eager to make money. He studied art at university, and got decent but not exceptional grades -- he was a competent draughtsman, but not a great one, and most importantly as far as success in the art world goes he didn't have what is known as his own "line" -- with most successful artists, you can look at a handful of lines they've drawn and see something of their own personality in it. You couldn't with Warhol. His drawings looked like mediocre imitations of other people's work. Perfectly competent, but nothing that stood out. So Warhol came up with a technique to make his drawings stand out -- blotting. He would do a normal drawing, then go over it with a lot of wet ink. He'd lower a piece of paper on to the wet drawing, and the new paper would soak up the ink, and that second piece of paper would become the finished work. The lines would be fractured and smeared, broken in places where the ink didn't get picked up, and thick in others where it had pooled. With this mechanical process, Warhol had managed to create an individual style, and he became an extremely successful commercial artist. In the early 1950s photography was still seen as a somewhat low-class way of advertising things. If you wanted to sell to a rich audience, you needed to use drawings or paintings. By 1955 Warhol was making about twelve thousand dollars a year -- somewhere close to a hundred and thirty thousand a year in today's money -- drawing shoes for advertisements. He also had a sideline in doing record covers for people like Count Basie: [Excerpt: Count Basie, "Seventh Avenue Express"] For most of the 1950s he also tried to put on shows of his more serious artistic work -- often with homoerotic themes -- but to little success. The dominant art style of the time was the abstract expressionism of people like Jackson Pollock, whose art was visceral, emotional, and macho. The term "action paintings" which was coined for the work of people like Pollock, sums it up. This was manly art for manly men having manly emotions and expressing them loudly. It was very male and very straight, and even the gay artists who were prominent at the time tended to be very conformist and look down on anything they considered flamboyant or effeminate. Warhol was a rather effeminate, very reserved man, who strongly disliked showing his emotions, and whose tastes ran firmly to the camp. Camp as an aesthetic of finding joy in the flamboyant or trashy, as opposed to merely a descriptive term for men who behaved in a way considered effeminate, was only just starting to be codified at this time -- it wouldn't really become a fully-formed recognisable thing until Susan Sontag's essay "Notes on Camp" in 1964 -- but of course just because something hasn't been recognised doesn't mean it doesn't exist, and Warhol's aesthetic was always very camp, and in the 1950s in the US that was frowned upon even in gay culture, where the mainstream opinion was that the best way to acceptance was through assimilation. Abstract expressionism was all about expressing the self, and that was something Warhol never wanted to do -- in fact he made some pronouncements at times which suggested he didn't think of himself as *having* a self in the conventional sense. The combination of not wanting to express himself and of wanting to work more efficiently as a commercial artist led to some interesting results. For example, he was commissioned in 1957 to do a cover for an album by Moondog, the blind street musician whose name Alan Freed had once stolen: [Excerpt: Moondog, "Gloving It"] For that cover, Warhol got his mother, Julia Warhola, to just write out the liner notes for the album in her rather ornamental cursive script, and that became the front cover, leading to an award for graphic design going that year to "Andy Warhol's mother". (Incidentally, my copy of the current CD issue of that album, complete with Julia Warhola's cover, is put out by Pickwick Records...) But towards the end of the fifties, the work for commercial artists started to dry up. If you wanted to advertise shoes, now, you just took a photo of the shoes rather than get Andy Warhol to draw a picture of them. The money started to disappear, and Warhol started to panic. If there was no room for him in graphic design any more, he had to make his living in the fine arts, which he'd been totally unsuccessful in. But luckily for Warhol, there was a new movement that was starting to form -- Pop Art. Pop Art started in England, and had originally been intended, at least in part, as a critique of American consumerist capitalism. Pieces like "Just what is it that makes today's homes so different, so appealing?" by Richard Hamilton (who went on to design the Beatles' White Album cover) are collages of found images, almost all from American sources, recontextualised and juxtaposed in interesting ways, so a bodybuilder poses in a room that's taken from an advert in Ladies' Home Journal, while on the wall, instead of a painting, hangs a blown-up cover of a Jack Kirby romance comic. Pop Art changed slightly when it got taken up in America, and there it became something rather different, something closer to Duchamp, taking those found images and displaying them as art with no juxtaposition. Where Richard Hamilton created collage art which *showed* a comic cover by Jack Kirby as a painting in the background, Roy Lichtenstein would take a panel of comic art by Kirby, or Russ Heath or Irv Novick or a dozen other comic artists, and redraw it at the size of a normal painting. So Warhol took Cage's idea that the object is already art, and brought that into painting, starting by doing paintings of Campbell's soup cans, in which he tried as far as possible to make the cans look exactly like actual soup cans. The paintings were controversial, inciting fury in some and laughter in others and causing almost everyone to question whether they were art. Warhol would embrace an aesthetic in which things considered unimportant or trash or pop culture detritus were the greatest art of all. For example pretty much every profile of him written in the mid sixties talks about him obsessively playing "Sally Go Round the Roses", a girl-group single by the one-hit wonders the Jaynettes: [Excerpt: The Jaynettes, "Sally Go Round the Roses"] After his paintings of Campbell's soup cans, and some rather controversial but less commercially successful paintings of photographs of horrors and catastrophes taken from newspapers, Warhol abandoned painting in the conventional sense altogether, instead creating brightly coloured screen prints -- a form of stencilling -- based on photographs of celebrities like Elvis Presley, Elizabeth Taylor and, most famously, Marilyn Monroe. That way he could produce images which could be mass-produced, without his active involvement, and which supposedly had none of his personality in them, though of course his personality pervades the work anyway. He put on exhibitions of wooden boxes, silk-screen printed to look exactly like shipping cartons of Brillo pads. Images we see everywhere -- in newspapers, in supermarkets -- were art. And Warhol even briefly formed a band. The Druds were a garage band formed to play at a show at the Washington Gallery of Modern Art, the opening night of an exhibition that featured a silkscreen by Warhol of 210 identical bottles of Coca-Cola, as well as paintings by Rauschenberg and others. That opening night featured a happening by Claes Oldenburg, and a performance by Cage -- Cage gave a live lecture while three recordings of his own voice also played. The Druds were also meant to perform, but they fell apart after only a few rehearsals. Some recordings apparently exist, but they don't seem to circulate, but they'd be fascinating to hear as almost the entire band were non-musician artists like Warhol, Jasper Johns, and the sculptor Walter de Maria. Warhol said of the group “It didn't go too well, but if we had just stayed on it it would have been great.” On the other hand, the one actual musician in the group said “It was kind of ridiculous, so I quit after the second rehearsal". That musician was La Monte Young: [Excerpt: La Monte Young, "The Well-Tuned Piano"] That's an excerpt from what is generally considered Young's masterwork, "The Well-Tuned Piano". It's six and a half hours long. If Warhol is a difficult figure to write about, Young is almost impossible. He's a musician with a career stretching sixty years, who is arguably the most influential musician from the classical tradition in that time period. He's generally considered the father of minimalism, and he's also been called by Brian Eno "the daddy of us all" -- without Young you simply *do not* get art rock at all. Without Young there is no Velvet Underground, no David Bowie, no Eno, no New York punk scene, no Yoko Ono. Anywhere that the fine arts or conceptual art have intersected with popular music in the last fifty or more years has been influenced in one way or another by Young's work. BUT... he only rarely publishes his scores. He very, very rarely allows recordings of his work to be released -- there are four recordings on his bandcamp, plus a handful of recordings of his older, published, pieces, and very little else. He doesn't allow his music to be performed live without his supervision. There *are* bootleg recordings of his music, but even those are not easily obtainable -- Young is vigorous in enforcing his copyrights and issues takedown notices against anywhere that hosts them. So other than that handful of legitimately available recordings -- plus a recording by Young's Theater of Eternal Music, the legality of which is still disputed, and an off-air recording of a 1971 radio programme I've managed to track down, the only way to experience Young's music unless you're willing to travel to one of his rare live performances or installations is second-hand, by reading about it. Except that the one book that deals solely with Young and his music is not only a dense and difficult book to read, it's also one that Young vehemently disagreed with and considered extremely inaccurate, to the point he refused to allow permissions to quote his work in the book. Young did apparently prepare a list of corrections for the book, but he wouldn't tell the author what they were without payment. So please assume that anything I say about Young is wrong, but also accept that the short section of this episode about Young has required more work to *try* to get it right than pretty much anything else this year. Young's musical career actually started out in a relatively straightforward manner. He didn't grow up in the most loving of homes -- he's talked about his father beating him as a child because he had been told that young La Monte was clever -- but his father did buy him a saxophone and teach him the rudiments of the instrument, and as a child he was most influenced by the music of the big band saxophone player Jimmy Dorsey: [Excerpt: Jimmy Dorsey, “It's the Dreamer in Me”] The family, who were Mormon farmers, relocated several times in Young's childhood, from Idaho first to California and then to Utah, but everywhere they went La Monte seemed to find musical inspiration, whether from an uncle who had been part of the Kansas City jazz scene, a classmate who was a musical prodigy who had played with Perez Prado in his early teens, or a teacher who took the class to see a performance of Bartok's Concerto for Orchestra: [Excerpt: Bartok, "Concerto for Orchestra"] After leaving high school, Young went to Los Angeles City College to study music under Leonard Stein, who had been Schoenberg's assistant when Schoenberg had taught at UCLA, and there he became part of the thriving jazz scene based around Central Avenue, studying and performing with musicians like Ornette Coleman, Don Cherry, and Eric Dolphy -- Young once beat Dolphy in an audition for a place in the City College dance band, and the two would apparently substitute for each other on their regular gigs when one couldn't make it. During this time, Young's musical tastes became much more adventurous. He was a particular fan of the work of John Coltrane, and also got inspired by City of Glass, an album by Stan Kenton that attempted to combine jazz and modern classical music: [Excerpt: Stan Kenton's Innovations Orchestra, "City of Glass: The Structures"] His other major musical discovery in the mid-fifties was one we've talked about on several previous occasions -- the album Music of India, Morning and Evening Ragas by Ali Akhbar Khan: [Excerpt: Ali Akhbar Khan, "Rag Sindhi Bhairavi"] Young's music at this point was becoming increasingly modal, and equally influenced by the blues and Indian music. But he was also becoming interested in serialism. Serialism is an extension and generalisation of twelve-tone music, inspired by mathematical set theory. In serialism, you choose a set of musical elements -- in twelve-tone music that's the twelve notes in the twelve-tone scale, but it can also be a set of tonal relations, a chord, or any other set of elements. You then define all the possible ways you can permute those elements, a defined set of operations you can perform on them -- so you could play a scale forwards, play it backwards, play all the notes in the scale simultaneously, and so on. You then go through all the possible permutations, exactly once, and that's your piece of music. Young was particularly influenced by the works of Anton Webern, one of the earliest serialists: [Excerpt: Anton Webern, "Cantata number 1 for Soprano, Mixed Chorus, and Orchestra"] That piece we just heard, Webern's "Cantata number 1", was the subject of some of the earliest theoretical discussion of serialism, and in particular led to some discussion of the next step on from serialism. If serialism was all about going through every single permutation of a set, what if you *didn't* permute every element? There was a lot of discussion in the late fifties in music-theoretical circles about the idea of invariance. Normally in music, the interesting thing is what gets changed. To use a very simple example, you might change a melody from a major key to a minor one to make it sound sadder. What theorists at this point were starting to discuss is what happens if you leave something the same, but change the surrounding context, so the thing you *don't* vary sounds different because of the changed context. And going further, what if you don't change the context at all, and merely *imply* a changed context? These ideas were some of those which inspired Young's first major work, his Trio For Strings from 1958, a complex, palindromic, serial piece which is now credited as the first work of minimalism, because the notes in it change so infrequently: [Excerpt: La Monte Young, "Trio for Strings"] Though I should point out that Young never considers his works truly finished, and constantly rewrites them, and what we just heard is an excerpt from the only recording of the trio ever officially released, which is of the 2015 version. So I can't state for certain how close what we just heard is to the piece he wrote in 1958, except that it sounds very like the written descriptions of it I've read. After writing the Trio For Strings, Young moved to Germany to study with the modernist composer Karlheinz Stockhausen. While studying with Stockhausen, he became interested in the work of John Cage, and started up a correspondence with Cage. On his return to New York he studied with Cage and started writing pieces inspired by Cage, of which the most musical is probably Composition 1960 #7: [Excerpt: La Monte Young, "Composition 1960 #7"] The score for that piece is a stave on which is drawn a treble clef, the notes B and F#, and the words "To be held for a long Time". Other of his compositions from 1960 -- which are among the few of his compositions which have been published -- include composition 1960 #10 ("To Bob Morris"), the score for which is just the instruction "Draw a straight line and follow it.", and Piano Piece for David  Tudor #1, the score for which reads "Bring a bale of hay and a bucket of water onto the stage for the piano to eat and drink. The performer may then feed the piano or leave it to eat by itself. If the former, the piece is over after the piano has been fed. If the latter, it is over after the piano eats or decides not to". Most of these compositions were performed as part of a loose New York art collective called Fluxus, all of whom were influenced by Cage and the Dadaists. This collective, led by George Maciunas, sometimes involved Cage himself, but also involved people like Henry Flynt, the inventor of conceptual art, who later became a campaigner against art itself, and who also much to Young's bemusement abandoned abstract music in the mid-sixties to form a garage band with Walter de Maria (who had played drums with the Druds): [Excerpt: Henry Flynt and the Insurrections, "I Don't Wanna"] Much of Young's work was performed at Fluxus concerts given in a New York loft belonging to another member of the collective, Yoko Ono, who co-curated the concerts with Young. One of Ono's mid-sixties pieces, her "Four Pieces for Orchestra" is dedicated to Young, and consists of such instructions as "Count all the stars of that night by heart. The piece ends when all the orchestra members finish counting the stars, or when it dawns. This can be done with windows instead of stars." But while these conceptual ideas remained a huge part of Young's thinking, he soon became interested in two other ideas. The first was the idea of just intonation -- tuning instruments and voices to perfect harmonics, rather than using the subtly-off tuning that is used in Western music. I'm sure I've explained that before in a previous episode, but to put it simply when you're tuning an instrument with fixed pitches like a piano, you have a choice -- you can either tune it so that the notes in one key are perfectly in tune with each other, but then when you change key things go very out of tune, or you can choose to make *everything* a tiny bit, almost unnoticeably, out of tune, but equally so. For the last several hundred years, musicians as a community have chosen the latter course, which was among other things promoted by Bach's Well-Tempered Clavier, a collection of compositions which shows how the different keys work together: [Excerpt: Bach (Glenn Gould), "The Well-Tempered Clavier, Book II: Fugue in F-sharp minor, BWV 883"] Young, by contrast, has his own esoteric tuning system, which he uses in his own work The Well-Tuned Piano: [Excerpt: La Monte Young, "The Well-Tuned Piano"] The other idea that Young took on was from Indian music, the idea of the drone. One of the four recordings of Young's music that is available from his Bandcamp, a 1982 recording titled The Tamburas of Pandit Pran Nath, consists of one hour, thirteen minutes, and fifty-eight seconds of this: [Excerpt: La Monte Young, "The Tamburas of Pandit Pran Nath"] Yes, I have listened to the whole piece. No, nothing else happens. The minimalist composer Terry Riley describes the recording as "a singularly rare contribution that far outshines any other attempts to capture this instrument in recorded media". In 1962, Young started writing pieces based on what he called the "dream chord", a chord consisting of a root, fourth, sharpened fourth, and fifth: [dream chord] That chord had already appeared in his Trio for Strings, but now it would become the focus of much of his work, in pieces like his 1962 piece The Second Dream of the High-Tension Line Stepdown Transformer, heard here in a 1982 revision: [Excerpt: La Monte Young, "The Second Dream of the High-Tension Line Stepdown Transformer"] That was part of a series of works titled The Four Dreams of China, and Young began to plan an installation work titled Dream House, which would eventually be created, and which currently exists in Tribeca, New York, where it's been in continuous "performance" for thirty years -- and which consists of thirty-two different pure sine wave tones all played continuously, plus purple lighting by Young's wife Marian Zazeela. But as an initial step towards creating this, Young formed a collective called Theatre of Eternal Music, which some of the members -- though never Young himself -- always claim also went by the alternative name The Dream Syndicate. According to John Cale, a member of the group, that name came about because the group tuned their instruments to the 60hz hum of the fridge in Young's apartment, which Cale called "the key of Western civilisation". According to Cale, that meant the fundamental of the chords they played was 10hz, the frequency of alpha waves when dreaming -- hence the name. The group initially consisted of Young, Zazeela, the photographer Billy Name, and percussionist Angus MacLise, but by this recording in 1964 the lineup was Young, Zazeela, MacLise, Tony Conrad and John Cale: [Excerpt: "Cale, Conrad, Maclise, Young, Zazeela - The Dream Syndicate 2 IV 64-4"] That recording, like any others that have leaked by the 1960s version of the Theatre of Eternal Music or Dream Syndicate, is of disputed legality, because Young and Zazeela claim to this day that what the group performed were La Monte Young's compositions, while the other two surviving members, Cale and Conrad, claim that their performances were improvisational collaborations and should be equally credited to all the members, and so there have been lawsuits and countersuits any time anyone has released the recordings. John Cale, the youngest member of the group, was also the only one who wasn't American. He'd been born in Wales in 1942, and had had the kind of childhood that, in retrospect, seems guaranteed to lead to eccentricity. He was the product of a mixed-language marriage -- his father, William, was an English speaker while his mother, Margaret, spoke Welsh, but the couple had moved in on their marriage with Margaret's mother, who insisted that only Welsh could be spoken in her house. William didn't speak Welsh, and while he eventually picked up the basics from spending all his life surrounded by Welsh-speakers, he refused on principle to capitulate to his mother-in-law, and so remained silent in the house. John, meanwhile, grew up a monolingual Welsh speaker, and didn't start to learn English until he went to school when he was seven, and so couldn't speak to his father until then even though they lived together. Young John was extremely unwell for most of his childhood, both physically -- he had bronchial problems for which he had to take a cough mixture that was largely opium to help him sleep at night -- and mentally. He was hospitalised when he was sixteen with what was at first thought to be meningitis, but turned out to be a psychosomatic condition, the result of what he has described as a nervous breakdown. That breakdown is probably connected to the fact that during his teenage years he was sexually assaulted by two adults in positions of authority -- a vicar and a music teacher -- and felt unable to talk to anyone about this. He was, though, a child prodigy and was playing viola with the National Youth Orchestra of Wales from the age of thirteen, and listening to music by Schoenberg, Webern, and Stravinsky. He was so talented a multi-instrumentalist that at school he was the only person other than one of the music teachers and the headmaster who was allowed to use the piano -- which led to a prank on his very last day at school. The headmaster would, on the last day, hit a low G on the piano to cue the assembly to stand up, and Cale had placed a comb on the string, muting it and stopping the note from sounding -- in much the same way that his near-namesake John Cage was "preparing" pianos for his own compositions in the USA. Cale went on to Goldsmith's College to study music and composition, under Humphrey Searle, one of Britain's greatest proponents of serialism who had himself studied under Webern. Cale's main instrument was the viola, but he insisted on also playing pieces written for the violin, because they required more technical skill. For his final exam he chose to play Hindemith's notoriously difficult Viola Sonata: [Excerpt: Hindemith Viola Sonata] While at Goldsmith's, Cale became friendly with Cornelius Cardew, a composer and cellist who had studied with Stockhausen and at the time was a great admirer of and advocate for the works of Cage and Young (though by the mid-seventies Cardew rejected their work as counter-revolutionary bourgeois imperialism). Through Cardew, Cale started to correspond with Cage, and with George Maciunas and other members of Fluxus. In July 1963, just after he'd finished his studies at Goldsmith's, Cale presented a festival there consisting of an afternoon and an evening show. These shows included the first British performances of several works including Cardew's Autumn '60 for Orchestra -- a piece in which the musicians were given blank staves on which to write whatever part they wanted to play, but a separate set of instructions in *how* to play the parts they'd written. Another piece Cale presented in its British premiere at that show was Cage's "Concerto for Piano and Orchestra": [Excerpt: John Cage, "Concerto for Piano and Orchestra"] In the evening show, they performed Two Pieces For String Quartet by George Brecht (in which the musicians polish their instruments with dusters, making scraping sounds as they clean them),  and two new pieces by Cale, one of which involved a plant being put on the stage, and then the performer, Robin Page, screaming from the balcony at the plant that it would die, then running down, through the audience, and onto the stage, screaming abuse and threats at the plant. The final piece in the show was a performance by Cale (the first one in Britain) of La Monte Young's "X For Henry Flynt". For this piece, Cale put his hands together and then smashed both his arms onto the keyboard as hard as he could, over and over. After five minutes some of the audience stormed the stage and tried to drag the piano away from him. Cale followed the piano on his knees, continuing to bang the keys, and eventually the audience gave up in defeat and Cale the performer won. After this Cale moved to the USA, to further study composition, this time with Iannis Xenakis, the modernist composer who had also taught Mickey Baker orchestration after Baker left Mickey and Sylvia, and who composed such works as "Orient Occident": [Excerpt: Iannis Xenakis, "Orient Occident"] Cale had been recommended to Xenakis as a student by Aaron Copland, who thought the young man was probably a genius. But Cale's musical ambitions were rather too great for Tanglewood, Massachusetts -- he discovered that the institute had eighty-eight pianos, the same number as there are keys on a piano keyboard, and thought it would be great if for a piece he could take all eighty-eight pianos, put them all on different boats, sail the boats out onto a lake, and have eighty-eight different musicians each play one note on each piano, while the boats sank with the pianos on board. For some reason, Cale wasn't allowed to perform this composition, and instead had to make do with one where he pulled an axe out of a single piano and slammed it down on a table. Hardly the same, I'm sure you'll agree. From Tanglewood, Cale moved on to New York, where he soon became part of the artistic circles surrounding John Cage and La Monte Young. It was at this time that he joined Young's Theatre of Eternal Music, and also took part in a performance with Cage that would get Cale his first television exposure: [Excerpt: John Cale playing Erik Satie's "Vexations" on "I've Got a Secret"] That's Cale playing through "Vexations", a piece by Erik Satie that wasn't published until after Satie's death, and that remained in obscurity until Cage popularised -- if that's the word -- the piece. The piece, which Cage had found while studying Satie's notes, seems to be written as an exercise and has the inscription (in French) "In order to play the motif 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities." Cage interpreted that, possibly correctly, as an instruction that the piece should be played eight hundred and forty times straight through, and so he put together a performance of the piece, the first one ever, by a group he called the Pocket Theatre Piano Relay Team, which included Cage himself, Cale, Joshua Rifkin, and several other notable musical figures, who took it in turns playing the piece. For that performance, which ended up lasting eighteen hours, there was an entry fee of five dollars, and there was a time-clock in the lobby. Audience members punched in and punched out, and got a refund of five cents for every twenty minutes they'd spent listening to the music. Supposedly, at the end, one audience member yelled "Encore!" A week later, Cale appeared on "I've Got a Secret", a popular game-show in which celebrities tried to guess people's secrets (and which is where that performance of Cage's "Water Walk" we heard earlier comes from): [Excerpt: John Cale on I've Got a Secret] For a while, Cale lived with a friend of La Monte Young's, Terry Jennings, before moving in to a flat with Tony Conrad, one of the other members of the Theatre of Eternal Music. Angus MacLise lived in another flat in the same building. As there was not much money to be made in avant-garde music, Cale also worked in a bookshop -- a job Cage had found him -- and had a sideline in dealing drugs. But rents were so cheap at this time that Cale and Conrad only had to work part-time, and could spend much of their time working on the music they were making with Young. Both were string players -- Conrad violin, Cale viola -- and they soon modified their instruments. Conrad merely attached pickups to his so it could be amplified, but Cale went much further. He filed down the viola's bridge so he could play three strings at once, and he replaced the normal viola strings with thicker, heavier, guitar and mandolin strings. This created a sound so loud that it sounded like a distorted electric guitar -- though in late 1963 and early 1964 there were very few people who even knew what a distorted guitar sounded like. Cale and Conrad were also starting to become interested in rock and roll music, to which neither of them had previously paid much attention, because John Cage's music had taught them to listen for music in sounds they previously dismissed. In particular, Cale became fascinated with the harmonies of the Everly Brothers, hearing in them the same just intonation that Young advocated for: [Excerpt: The Everly Brothers, "All I Have to Do is Dream"] And it was with this newfound interest in rock and roll that Cale and Conrad suddenly found themselves members of a manufactured pop band. The two men had been invited to a party on the Lower East Side, and there they'd been introduced to Terry Phillips of Pickwick Records. Phillips had seen their long hair and asked if they were musicians, so they'd answered "yes". He asked if they were in a band, and they said yes. He asked if that band had a drummer, and again they said yes. By this point they realised that he had assumed they were rock guitarists, rather than experimental avant-garde string players, but they decided to play along and see where this was going. Phillips told them that if they brought along their drummer to Pickwick's studios the next day, he had a job for them. The two of them went along with Walter de Maria, who did play the drums a little in between his conceptual art work, and there they were played a record: [Excerpt: The Primitives, "The Ostrich"] It was explained to them that Pickwick made knock-off records -- soundalikes of big hits, and their own records in the style of those hits, all played by a bunch of session musicians and put out under different band names. This one, by "the Primitives", they thought had a shot at being an actual hit, even though it was a dance-craze song about a dance where one partner lays on the floor and the other stamps on their head. But if it was going to be a hit, they needed an actual band to go out and perform it, backing the singer. How would Cale, Conrad, and de Maria like to be three quarters of the Primitives? It sounded fun, but of course they weren't actually guitarists. But as it turned out, that wasn't going to be a problem. They were told that the guitars on the track had all been tuned to one note -- not even to an open chord, like we talked about Steve Cropper doing last episode, but all the strings to one note. Cale and Conrad were astonished -- that was exactly the kind of thing they'd been doing in their drone experiments with La Monte Young. Who was this person who was independently inventing the most advanced ideas in experimental music but applying them to pop songs? And that was how they met Lou Reed: [Excerpt: The Primitives, "The Ostrich"] Where Cale and Conrad were avant-gardeists who had only just started paying attention to rock and roll music, rock and roll was in Lou Reed's blood, but there were a few striking similarities between him and Cale, even though at a glance their backgrounds could not have seemed more different. Reed had been brought up in a comfortably middle-class home in Long Island, but despised the suburban conformity that surrounded him from a very early age, and by his teens was starting to rebel against it very strongly. According to one classmate “Lou was always more advanced than the rest of us. The drinking age was eighteen back then, so we all started drinking at around sixteen. We were drinking quarts of beer, but Lou was smoking joints. He didn't do that in front of many people, but I knew he was doing it. While we were looking at girls in Playboy, Lou was reading Story of O. He was reading the Marquis de Sade, stuff that I wouldn't even have thought about or known how to find.” But one way in which Reed was a typical teenager of the period was his love for rock and roll, especially doo-wop. He'd got himself a guitar, but only had one lesson -- according to the story he would tell on numerous occasions, he turned up with a copy of "Blue Suede Shoes" and told the teacher he only wanted to know how to play the chords for that, and he'd work out the rest himself. Reed and two schoolfriends, Alan Walters and Phil Harris, put together a doo-wop trio they called The Shades, because they wore sunglasses, and a neighbour introduced them to Bob Shad, who had been an A&R man for Mercury Records and was starting his own new label. He renamed them the Jades and took them into the studio with some of the best New York session players, and at fourteen years old Lou Reed was writing songs and singing them backed by Mickey Baker and King Curtis: [Excerpt: The Jades, "Leave Her For Me"] Sadly the Jades' single was a flop -- the closest it came to success was being played on Murray the K's radio show, but on a day when Murray the K was off ill and someone else was filling in for him, much to Reed's disappointment. Phil Harris, the lead singer of the group, got to record some solo sessions after that, but the Jades split up and it would be several years before Reed made any more records. Partly this was because of Reed's mental health, and here's where things get disputed and rather messy. What we know is that in his late teens, just after he'd gone off to New

It's the final Friday of the month, and you know what that means. Dr. Matt, the official veterinarian of The Howie Carr Show, enters the studio to answer all of your pet questions. This week, Dr. Matt helps Howie in his big announcement: he's getting a new pug! Then, the doc covers Chihuahua seizures and Spaniels with sinus problems. Tune in!

Welcome to the Boozebuddy Update. For you Boozebuddies today I have - Level Up Wine, Daniels vs Spaniels, & Best Breweries Level Up your red wine drinking with these tips to get the most flavor out of your bottle. It's actually pretty amazing how flat red wine can taste if it's too chilled, you tried to drink it without aeration, and you have it in the wrong glass. Let thatwine breathe, allow the temperature to come up, and have it in the proper glass - it could be your favorite wine. Click the link to get more from your reds https://sonomawinegarden.com/how-to-make-red-wine-taste-better/ Daniels vs Spaniels! Jack Daniels, who believes they are defending the trademark of their Old No 7 brand. This battle began when VIP products came out with their Bad Spaniels squeaky toy that used a similar shape, font, and black label on their dog toy to parody the whiskey with some low-brow humor. Parody is usually protected, but did this one go too far? Get up to speed at the link https://www.cnn.com/2023/03/21/politics/jack-daniels-bad-spaniels-dog-toy-supreme-court/index.html - Sponsor - The Boozebuddy Update is brought to you by Green Mountain Payments - helping local business owners save thousands of dollars by providing complimentary credit card processing equipment and zero cost credit card processing. Visit greenmountainpayments.com or posandzero.com today! Best Breweries, ranked. This is a list of the 20 best breweries in the US, and they're ranked for your convenience. Vermont's own Hill Farmstead made it to #10 on this list, along with Bell's Brewery, Russian River, Ommegang, and Treehouse. There are 4 breweries on here I haven't had yet. Sante Adairius, Alpine Beer Company, Bottle Logic, & Alesmith. If you want to get your hands on a great beer, this list indeed looks full of the best. Get the full list at the link https://www.tastingtable.com/1236862/best-breweries-in-the-us-ranked/ Find all the show notes, links, and suggest a story at https://BoozebuddyUpdate.com *Affiliate links below* El Gato Retractable Green Screen - https://amzn.to/3gKm4jr LED Streaming Key Light Desktop - https://amzn.to/3TYfV10 Canon 80D - https://amzn.to/3JwYpiB MOMAN MA6 Lavalier Mic - https://amzn.to/3ZktFHf #theboozebuddyupdate #boozebuddy #boozebuddyupdate #beerindustry #boozenews #booze #redwine #decanter #wine #wineglass #winelovers #winetime #levelup #improvement #jackdaniels #lawsuit #law #parody #trademark #trademarks #dogtoys #dogtoy #best #brewery #usamade #beerindustry #beer #beerus #craftbeer #craftbeerlover the boozebuddy update, beer industry, global news, booze news, booze, red wine, wine, wine lover, wine time, wine down, decanter, improving wine, aerate wine, wine glass, red wines, Jack Daniels v Bad Spaniels, Jack Daniels Trademark, trademark lawsuit, legal battle, whiskey vs dog toy, Best US craft beer breweries, Alesmith, Bell's Brewery, Russian River, Ommegang, Treehouse, Hill Farmstead, --- Support this podcast: https://podcasters.spotify.com/pod/show/boozebuddy/support

Get your engines running and get ready to take off with this week's exciting edition of The Radcast: buckle up while Ryan and Christina provide you with the latest business info, innovative marketing strategies, sizzling hot insights - even social media trends! Take your business to the next level and towards success by harnessing your knowledge for the fourth week of March 2023 – don't miss it!Small talkJack Daniel's Lawsuit Against A Dog Toy Maker Is Going To The Supreme Court (02:29)https://www.delish.com/food-news/a43387016/jack-daniels-dog-toy-maker-supreme-court/Bushmills unleashes sheep on NY bar for St. Patrick's Day campaign (04:46)https://www.marketingdive.com/news/bushmills-st-patricks-day-marketing-sheep/645287/RadnewsLast week: Bedros Keuilian (06:00)Next week: Another “best of” episode (06:55)SponsorGood Ranchers (07:51)Only 100% American farm-raised meatNo added hormones or antibioticSuper steakhouse quality delivered to your door - upper choice and prime cuts. 6 billion lbs of beef were imported to the US last year.For a limited time, you'll receive a year's worth of Bacon with your subscription!Support family-run American business!Code RADCAST - get $30 off the first orderWIN FREE MEAT FOR A YEAREvery purchase in March gets you 10 entries into our biggest raffle ever! You could win over $2000 of high-quality meat. Checkout and use code MARCHMEATNESS for $20 off and 10 raffle entriesMake mealtime simple and flavorful with these 3 easy steps:First, choose from our top-notch selection of pasture-raised meat and fresh wild-caught seafood - pick your boxes!Then decide how often you want those goodies delivered right to your door with no extra charge for shipping.Lastly, lock in the price so you don't have any unexpected expenses on that next grocery list. Get ready to elevate every meal without breaking the bank.www.goodranchers.comSocial Media NewsMozilla launches a new startup focused on ‘trustworthy' AI (10:30)https://techcrunch.com/2023/03/22/mozilla-launches-a-new-startup-focused-on-trustworthy-ai/Apple iPhone 15 Pro Renders Reveal New Buttons (13:00)https://hypebeast.com/2023/3/apple-iphone-15-pro-leaked-renders-new-buttons-infoSponsorVaycay - Best 3rd-party lab tested CBD (15:50)Disposables - Delta 8 & THCDelta 8 gummiesMarketing NewsOpera browser adds ChatGPT and AI summarization features (17:30)https://techcrunch.com/2023/03/22/opera-browser-adds-chatgpt-and-ai-summarization-features/Northwestern Mutual, Pinterest team to give free financial advice to Gen Z (20:20)https://www.marketingdive.com/news/northwestern-mutual-pinterest-gen-z-financial-marketing/645202/Ford shifts toward purpose in latest ‘Built Ford Proud' installment (21:53)https://www.marketingdive.com/news/ford-purpose-marketing-campaign-built-ford-proud/645294/Learn more by visiting our website at www.theradcast.comSubscribe to our YouTube channel https://www.youtube.com/c/RadicalHomeofTheRadcastIf you enjoyed this episode of The Radcast, Like, Share, and leave us a review! 

Let's boogie oogie oogie over to today's legal news.The US Supreme Court heard arguments in a case involving a parody dog toy named "Bad Spaniels," which resembles a Jack Daniel's whiskey bottle. Jack Daniel's is appealing a lower court's ruling that the toy is protected by the First Amendment as an "expressive work," while also raising trademark infringement concerns. The justices were cautious about scrapping the Rogers test, which allows artists to lawfully use another's trademark when it has artistic relevance to their work and would not mislead consumers about its source. Some justices, however, questioned whether the Rogers test struck the right balance between a company's interest in protecting its corporate image against free speech protections. The Biden administration's lawyer urged the justices to adopt the likelihood-of-confusion test, which considers whether the acts would likely cause marketplace confusion, in place of the Rogers test. The decision is expected to be made by the end of June.By way of very brief background on the Rogers test: The Rogers test is a legal test used in trademark law to determine whether the use of a trademark in a creative work, such as a book or movie or dog toy, is protected by the First Amendment's guarantee of free speech. The test was established by the Second Circuit Court of Appeals in Rogers v. Grimaldi in 1989 and has since been adopted by other courts. The case centered on a movie, Ginger and Fred, that saw two characters emulating the dancing style of Ginger Rogers and Fred Astaire. Ginger Rogers took umbrage with, among other things, her name being used in the title. Under the Rogers test, a trademark use in a creative work is protected by the First Amendment if it has some artistic relevance to the work and does not explicitly mislead consumers as to the source of the work. This means that if a trademark is used in a creative work in a way that is relevant to the work and not likely to confuse consumers as to its source, the use is protected by the First Amendment.The Rogers test strikes a balance between the interests of trademark owners in protecting their marks and the interests of creators in expressing themselves through their works. It recognizes that the use of trademarks in creative works can be a legitimate form of artistic expression and that trademark law should not be used to restrict such expression unless it would cause consumer confusion or other harm to the trademark owner.U.S. Supreme Court chews on Jack Daniel's fight against parody dog toy  Rogers v. Grimaldi Wikipedia SynopsisThe Federal Trade Commission (FTC) has proposed a new rule, known as the "Click to Cancel" rule, which would require companies to offer online cancellation options that are as easy as the online sign-up process for subscriptions. This proposal would affect various companies, including fitness and media companies, and would also require companies to send reminders before automatic renewals are billed. The FTC's chair, Lina Khan, stated that companies should not be able to manipulate consumers into paying for subscriptions they don't want. The proposal comes as more companies have shifted to a subscription-based business model, creating greater opportunities for mischief. While some companies, such as Netflix, Peloton, and Spotify, already offer easy cancellation options, others, such as cable-television companies and Adobe, make it harder. The subscription market is expected to expand into a $1.5 trillion market by 2025, up from $650 billion in 2020, and the average American spent $273 a month on subscription services in 2021, according to a consulting firm. The proposed rule is the latest from the FTC, which has taken a more aggressive approach under Khan, proposing rules to curb online data collection and ban nationwide non-compete clauses.FTC's ‘Click to Cancel' Rule to Make Quitting Subscriptions Easy FTC aims to making cancelling recurring charges easier with Click to CancelFederal Trade Commission Proposes Rule Provision Making it Easier for Consumers to “Click to Cancel” Recurring Subscriptions and Memberships The US National Labor Relations Board (NLRB) prosecutors in Brooklyn have found merit in charges filed against Amazon by the Amazon Labor Union that the company engaged in illegal union busting. The charges include allegations that Amazon refused to bargain with the union, restricted access to facilities, disciplined a union leader and committed other unfair labor practices. The new allegations stem from a unionization vote at an Amazon warehouse in Staten Island in April 2022, which triggered the company's obligation to negotiate a first contract with workers. In January, an administrative law judge found Amazon guilty of violating federal labor law in its attempt to resist unionization at Staten Island facilities. This is the latest in a string of labor issues at Amazon warehouses across the country. Amazon Faces Labor Board Charges of Illegal Union Busting (1) NLRB Prosecutors Eye Revised Amazon Access Rule A U.S. District Judge in New York has ordered Iran's central bank and a European intermediary, Clearstream Banking SA, to pay $1.68 billion to the families of troops killed in the 1983 bombing of the U.S. Marine Corps barracks in Lebanon. The lawsuit, which was filed by the victims and their families, sought to enforce a judgment against Iran for providing material support to the attackers. Bank Markazi, the Iran central bank, and Clearstream were named in the lawsuit. Clearstream, which is holding the assets in a client account, said that it is considering appealing the decision. Deutsche Boerse AG, Clearstream's parent company, said that it does not view the ruling as increasing the risk from the lawsuit in a way that would require the companies to make financial provisions. The Oct. 23, 1983, bombing at the Marine Corps barracks killed 241 U.S. service members. In 2007, the victims and their families won a $2.65 billion judgment against Iran in federal court over the attack. They sought to seize bond proceeds allegedly owned by Bank Markazi and processed by Clearstream to partially satisfy the court judgment. In January 2020, the U.S. Supreme Court overturned a lower court ruling in the families' favor, and ordered the case to be reconsidered in light of a new law adopted a month earlier as part of the National Defense Authorization Act.U.S. judge orders $1.68 bln payout to families over 1983 Beirut bombing Get full access to Minimum Competence - Daily Legal News Podcast at www.minimumcomp.com/subscribe

In this pick-me-up episode, we introduce you to the characters, companions, clowns, and survivors that are the dogs of the Toy group. Once seen as symbols of royalty and aristocracy, dogs of the Toy group were often the coveted spoils of revolutions, war, and palace coups. The refined elegance and charm of these compact dogs assisted in their survival and solidified their place in many decidedly non-royal homes of today. Join us as we look at how favorite breeds of kings, queens, monarchs, and fashionistas both plummeted and soared in popularity.   Bonafide Bits: Chihuahuas, originally named Techichis, were kept by the Toltecs to guide their human companions into the afterlife. Both Pekingese and Maltese are referred to as “lion dogs.” Aristotle called the elegant Maltese perfectly proportioned. In 1926, Roswell Eldridge Esquire offered a hefty purse to breeders who could replicate toy Spaniels of King Charles' time. In the 1500s, Dutch traders smuggled Pugs out of China where they would become mascots in Holland's House of Orange.   Featured Breeds: Pekingese Pekingese are compact, stocky toy dogs weighing up to 14 pounds. The coat is longest at the neck and shoulders, giving Pekes their famous “lion's mane.” Coats come in various reds, from golden red to darker shades. The large, short-muzzled head is a wider-than-long, envelope-shaped rectangle, and the eyes are large, dark, and sparkly. A unique feature of Pekes is their effortless “rolling” gait. Pekes are charming, confident companions who develop a tight bond with their favorite human. Bred to live in palaces, they can be as serenely independent as the emperors who owned them. (They're “opinionated,” Peke people say.) Ever alert, they make good watchdogs. Pekes will tolerate kids but won't stand for a lot of roughhousing. Discover more about Pekingese at AKC's Pekingese Breed Biography.   Chihuahua The Chihuahua is a balanced, graceful dog of terrier-like demeanor, weighing no more than six pounds. The rounded “apple” head is a breed hallmark. The erect ears and full, luminous eyes are acutely expressive. Coats come in many colors and patterns and can be long or short. The varieties are identical except for the coat. Chihuahuas possess loyalty, charm, and a big-dog attitude. Even tiny dogs require training, and without it, this clever scamp will rule your household like a little Napoleon. Compact and confident, Chihuahuas are ideal city pets. They are too small for roughhousing with kids, and special care must be taken in cold weather, but Chihuahuas are adaptable as long as they get lots of quality time in their preferred lap. Discover more about Chihuahuas at AKC's Chihuahua Breed Biography.   Maltese The tiny Maltese, “Ye Ancient Dogge of Malta,” has been sitting in the lap of luxury since the Bible was a work in progress. Famous for their show-stopping, floor-length coat, Maltese are playful, charming, and adaptable toy companions. Discover more about Malteses at AKC's Maltese Breed Biography.   Papillon The quick, curious Papillon is a toy dog of singular beauty and upbeat athleticism. Despite his refined appearance, the Pap is truly a “doggy dog” blessed with a hardy constitution. Papillon fanciers describe their breed as happy, alert, and friendly. A tiny dog, measuring 8 to 11 inches at the shoulder, you can still spot a Papillon a block away thanks to the large, wing-shaped ears that give the breed its name (“papillon” is French for “butterfly”). Some Paps have erect ears; in others, known as the Phalene type, the ears are down. Paps are dainty and elegant, with a plumed tail, and a long, silky coat of several color combinations, the base color being white. More robust than they look, Paps are little dogs for all seasons and reasons. They thrive in warm or cool climates, in town or country, and are eager to join the family fun. They are excellent agility dogs and are consistent winners at the sport's highest levels; less ambitious owners can train them to do all kinds of tricks. Discover more about Papillons at AKC's Papillon Breed Biography.   Cavalier King Charles Spaniel The Cavalier King Charles Spaniel wears his connection to British history in his breed's name. Cavaliers are the best of two worlds, combining the gentle attentiveness of a toy breed with the verve and athleticism of a sporting spaniel. Discover more about Cavalier King Charles Spaniels at AKC's King Charles Spaniel Breed Biography.   English Toy Spaniel The ETS is a square, snub-nosed toy weighing no more than 14 pounds. The large domed head with its long and lush ears, dark melting eyes, and chubby cheeks is a famous breed trait. The profuse coat comes in four varieties, each with its own proper name: red and white (Blenheim); black and tan (King Charles); white, black, and tan (Prince Charles); and a solid red (Ruby). Blenheims often have a red mark, the 'Blenheim Spot,' on top of the head. The ETS, like many toy breeds kept by royals, came to assume the personalities of their aristocratic owners. They can be proud and willful, and extremely discriminating in their choice of friends. With their favored humans, they are affectionate at home and exuberant and curious at play. Discover more about English Toy Spaniels at AKC's English Toy Spaniel Breed Biography.   Pug Once the mischievous companion of Chinese emperors, and later the mascot of Holland's royal House of Orange, the small but solid Pug is today adored by his millions of fans around the world. Pugs live to love and to be loved in return. The Pug's motto is the Latin phrase “multum in parvo” (a lot in a little), an apt description of this small but muscular breed. They come in three colors: silver or apricot-fawn with a black face mask, or all black. The large round head, the big, sparkling eyes, and the wrinkled brow give Pugs a range of human-like expressions, such as surprise, happiness, and curiosity that have delighted owners for centuries. Pug owners say their breed is the ideal house dog. Pugs are happy in the city or country, with kids or old folks, as an only pet, or in a pack. They enjoy their food, and care must be taken to keep them trim. They do best in moderate climates “not too hot, not too cold” but, with proper care, Pugs can be their adorable selves anywhere. Discover more about Pugs at AKC's Pug Breed Biography.   Italian Greyhound A true Greyhound in miniature, the elegant Italian Greyhound is an alert, playful, and highly affectionate toy companion. IGs make decorative couch dogs, but at heart, they are flash-and-dash coursing hounds with an instinct for pursuit. Discover more about Italian Greyhounds at AKC's Italian Greyhound Breed Biography.   Silky Terrier Small but not fragile, feisty but not yappy, pretty but not sculpted, Silkys are 10-inch-tall dynamos animated by curiosity and high spirits. The glorious blue-and-tan coat is straight and glossy, and it feels and behaves much like human hair. The wedge-shaped head is topped by profuse hair parted down the middle, and erect V-shaped ears draw attention to the keen, piercing expression of the almond-shaped eyes. Silky Terriers are more refined than typical ratting terriers, but they should still look and behave like a true earth dog. Discover more about Silky Terriers at AKC's Silky Terrier Breed Biography.   Yorkshire Terrier Beneath the dainty, glossy, floor-length coat of a Yorkshire Terrier beats the heart of a feisty, old-time terrier. Yorkies earned their living as ratters in mines and mills long before they became the beribboned lapdogs of Victorian ladies. The Yorkshire Terrier is a compact, toy-size terrier of no more than seven pounds whose crowning glory is a floor-length, silky coat of steel blue and a rich golden tan. Don't let the Yorkie's daintiness fool you. Tenacious, feisty, brave, and sometimes bossy, the Yorkie exhibits all the traits of a true terrier. Often named the most popular dog breed in various American cities, Yorkies pack lots of big-town attitude into a small but self-important package. They are favorites of urbanites the world over. Yorkies are long-lived and hypoallergenic (the coat is more like human hair than animal fur), and they make fine little watchdogs. This is a true “personality breed,” providing years of laughs, love, and close companionship. Discover more about Yorkshire Terriers at AKC's Yorkshire Terrier Breed Biography.   Pomeranian The tiny Pomeranian, long a favorite of royals and commoners alike, has been called the ideal companion. The glorious coat, smiling, foxy face, and vivacious personality have helped make the Pom one of the world's most popular toy breeds. Discover more about Pomeranians at AKC's Pomeranian Breed Biography.   For more information about a specific breed visit the breed's parent club or AKC.org.   Shareables: If you see a pack of Pugs, you have seen a grumble. During a storm at sea, King James II of England requested his Spaniels be saved before adding that the rescuers should also save his son. As a symbol of affluence in ancient Rome, upper-crust Patrician women flaunted Maltese as fashion accessories.

The Jack Daniel's brand is at the heart of the US Supreme Court's latest intellectual property dispute that pits free speech protections against trademark concerns. Debevoise & Plimpton's Megan K. Bannigan joins “Cases and Controversies” in search of a middle ground for the justices ahead of arguments March 22. The Tennessee whiskey company says pet toy maker VIP Products is tarnishing its brand with potty-themed dog toys called “Bad Spaniels.” “Jack Daniel's loves dogs and appreciates a good joke as much as anyone,” the company said in its brief. “But Jack Daniel's likes its customers even more, and doesn't want them confused or associating its fine whiskey with dog poop.” Hosts: Kimberly Robinson and Greg Stohr Guest: Megan K. Bannigan, Debevoise & Plimpton Producer: Matthew S. Schwartz

This week on Cultural Manifesto we'll celebrate Black History Month by looking back at the work of Calvin Carter, an unsung figure in Indiana music, Carter was born in Gary, Indiana on May 27 of 1925. He's best known for his work with Vee-Jay Records, a label founded in Gary, Indiana in 1953 by his sister Vivian Carter. Carter worked as a songwriter, producer, arranger, and A&R manager for the label.  We'll focus on Carter's work as a songwriter.  Carter wrote, or co-wrote many classic rock and R&B hits - including The Spaniels' "Goodnite, Sweetheart, Goodnite", and Jerry Butler's "He Will Break Your Heart". Over the years, Carter's songs have been performed by a wide range of artists, from Dolly Parton, to Aerosmith. 

This week on Cultural Manifesto we'll celebrate Black History Month by looking back at the work of Calvin Carter, an unsung figure in Indiana music, Carter was born in Gary, Indiana on May 27 of 1925. He's best known for his work with Vee-Jay Records, a label founded in Gary, Indiana in 1953 by his sister Vivian Carter. Carter worked as a songwriter, producer, arranger, and A&R manager for the label.  We'll focus on Carter's work as a songwriter.  Carter wrote, or co-wrote many classic rock and R&B hits - including The Spaniels' "Goodnite, Sweetheart, Goodnite", and Jerry Butler's "He Will Break Your Heart". Over the years, Carter's songs have been performed by a wide range of artists, from Dolly Parton, to Aerosmith. 

I think you're Sinema, Herschel Walker in the transfer portal and JPV Oliver on Living the Louche Life--

Episode 79, In this podcast I get to speak with a Springer and Working Cocker Spaniel breeder Josh Riddle of Rockey's Kennel. Josh and his father have been breeders of Field Champion Springer and Working Cocker Spaniels.  Over the past 2 years I have been going to Josh and his father to select, raise and train many of the Spaniels we own and have trained and sold as Detection Dogs.  The Spaniel breed has been a popular choice as a detection dog in the UK and Europe, now they are starting to gain popularity here in the USA.  Like in the past when the detection industry changes breeds it is important to handlers and trainers to know the breed they work with so that we can maximize the communication and working relationship between this breed and the handlers. We discuss how this breed operates and what makes them unique and some take aways if you are considering this breed in the future. You can find find Josh on Facebook @RockeysKennels Show Sponsors: Sci K9 Home of the TADD and NOTA http://www.scik9.com Getxent: Training absorbent tubes for all your odor needs http://www.getxent.com Precision Explosives: Get all your safe and REAL training odors (no permits needed) http://www.pre-exp.com Sheepdog Guardian: All your K9 Legal information and updates. http://www.sheepdogguardian.com Ford K9: All your Detection Dog learning needs at one spot. http://www.fordk9.com

Due to Gareth and The Boys playin' on Sunday, there wasn't a show. Instead of leaving with nothing, here's a "classic" from the vaults. Enjoy!------------------------------------------------------------------Off the cuff all 7" vinyl special. No Steve this week, so Paul came in solo armed with a large bag of 45s left over from the previous show. A couple of skips here and there - it's a live radio show so there you go... Low levels of mundane chat, and plenty of killer records from the likes of ATCQ, Grace Jones, Horace Andy, Barrington Levy, Fela Kuti, The Spaniels, Howlin' Wolf, Ike Turner, KRS-One, Iggy & The Stooges, Tricky, and David Axelrod.------------------------------------------------------------------

Irene Cara passed away, Olivia Wilde and Harry Styles broke up, a Squid Game actor has been indicted for sexual assault, Jay Leno is already getting back to work, the world's largest active volcano erupted, Jack Daniels whiskey is taking issue with a dog toy, a guy robbed a bank for 754 dollars and got caught in the craziest way, and Vinnie reads your texts! 

Air Week: November 21-27, 2022 Pookie Hudson (The Spaniels) Pookie Hudson spent his entire life close to the music he loved. Growing up in Gary, Indiana, he spent his younger days trying to emulate the sound of BIlly Williams, the leader of the Charioteers. In high school, he began to develop his own style using […]

GREAT GOOGLEY MOO! Crashing 101 is upon us and we are rarin' to go. Join hosts Marc and Miriam as we venture into an all new show of mashers an' maulers fr0m the original world of vocal groupdom , Kicksville style. Big announcements this month so stay tuned! Oh, and let's all hail the Spaniels or hail nothin' at all!

Ron Ausman joins the show on his way to the World Skeet Championship to talk about bird hunting with his spaniels and competition skeet shooting. Show Highlights: How many Basset hounds to a pack? Running rabbits and scent theory Ron's first bird dog, Robbie the wonder dog! 100,000 registered skeet targets Skeet World Championship WATCH | Re-loading .410 shells with Ron Become a Patreon Support | patreon.com/birdshot Follow us | @birdshot.podcast Use Promo Code | BSP20 to save 20% with onX Hunt The Birdshot Podcast is Presented By: onX Hunt, Final Rise and Upland Gun Company Learn more about your ad choices. Visit megaphone.fm/adchoices

Tonight's show is jam packed with all sorts of training advice for building one heck of a dog. We chat with our buddy Ray Voigt from Purina about his time as a dog man. Ray worked alongside & learned from some of the greatest trainers of our generation (you'll hear who in the show). We hear how Ray gives corrections, how he handles dogs who do not give effort and what he considers "effort." We talk in depth about increasing effort on down the shore blinds and other difficult scenarios. We hear a very detailed explanation of Ray's methods for teaching hold and transitioning throughout force fetch and walking fetch and we learn how to oversimplify training for dogs. Many people ask us about 3 handed casting and well, we chat about that, too. One of my favorite quotes from this show was when Ray said to coach dogs by making the right thing to do, easy , and making the wrong thing to do, hard. We have such a highly detailed conversation about such intense training that we almost run out of time to chat about Purina. We dig into Ray's work with herding dogs and Spaniels and 3 products from Purina that you may not know about... Lone Duck's Gun Dog Chronicles is part of the Waypoint Podcast Crew.... check out our other shows.

Why women make the best bird-dog trainers ... and other wisdom from a long-time trainer, trialer, judge and hunter Jerry Ray Cacchio. He's the Gun Dog magazine "Flush" columnist, too, and we'll cover everything from thinking like a dog to why so many trials gunners wait too long to pull the trigger. While we celebrate flushing breeds, much of what Cacchio says is valuable to any bird dog trainer and hunter. Use of e-collars, keeping a dog close, training tips and hunting advice are all part of a fascinating discussion with this spaniel guru. The Upland Nation Glossary hits letter "K," and we cover your comments on what to do when your dog trespasses. Plus, the new "Road Trip" feature puts another public-access wild bird destination on your map. Please visit our sponsors: Sage & Braker Mercantile, Dr. Tim's performance dog food, Pointer shotguns, RuffLand performance Kennels, the Ringneck Nation of Huron, SD, Mid Valley Clays and Shooting School, your online shotgun shopping resource; AudioCardio.com, the Ringneck Nation of Huron, SD, and FindBirdHuntingSpots.com.

Baked snacks! Whiskey! Sweatiness! Naked arses! Mr. Byrite 100% nylon turtle necks! Spaniels! Dropping Kane (deep - don't panic!) Ricky, Milo, James and Steff have the ANSWERS to ALL your top 4 questions in the ONLY pod that also finds time to briefly eulogize non-Spur Fitz 'One Size' Hall. Press 'play' now!Website: https://thegameisaboutglory.co.uk/Twitter: https://twitter.com/GameIsGloryPodInstagram: https://www.instagram.com/thegameisaboutglory/ See acast.com/privacy for privacy and opt-out information.

Chase (Bremen?) proclaims that goblins are the topic of the week. The beans tackle it with their usual rigour and in no time at all are back on the deck of the RMS Titanic. Spaniels get an honourable mention and we learn about Mike's lesser known sub-specialty within the movie-making industry.Get in touch:threebeansaladpod@gmail.com@beansaladpodJoin our PATREON for ad-free episodes and a monthly bonus episode: www.patreon.com/threebeansaladMusic"That's Alright"Podington Bear soundofpicture.com

Episode 124 of A History of Rock Music in Five Hundred Songs looks at “People Get Ready", the Impressions, and the early career of Curtis Mayfield.  Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "I'm Henry VIII I Am" by Herman's Hermits. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've created a Mixcloud playlist, with full versions of all the songs excerpted in this episode. A lot of resources were used for this episode. Sing for Freedom: The Story of the Civil Rights Movement Through Its Songs by Guy and Candie Carawan is a combination oral history of the Civil Rights movement and songbook. Move On Up: Chicago Soul Music and Black Cultural Power by Aaron Cohen is a history of Chicago soul music and the way it intersected with politics. Traveling Soul: The Life of Curtis Mayfield  by Todd Mayfield with Travis Atria is a biography of Mayfield by one of his sons, and rather better than one might expect given that. Higher Ground: Stevie Wonder, Aretha Franklin, Curtis Mayfield, and the Rise and Fall of American Soul by Craig Werner looks at the parallels and divergences in the careers of its three titular soul stars. This compilation has a decent selection of recordings Mayfield wrote and produced for other artists on OKeh in the early sixties. This single-CD set of Jerry Butler recordings contains his Impressions recordings as well as several songs written or co-written by Mayfield. This double-CD of Major Lance's recordings contains all the hits Mayfield wrote for him. And this double-CD collection has all the Impressions' singles from 1961 through 1968. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A couple of episodes ago we had a look at one of the first classic protest songs of the soul genre. Today we're going to look at how Sam Cooke's baton was passed on to another generation of soul singer/songwriters, and at one of the greatest songwriters of that generation. We're going to look at the early career of Curtis Mayfield, and at "People Get Ready" by the Impressions: [Excerpt: The Impressions, "People Get Ready"] A quick note before I start this one -- there is no way in this episode of avoiding dealing with the fact that the Impressions' first hit with a Curtis Mayfield lead vocal has, in its title, a commonly used word for Romany people beginning with "g" that many of those people regard as a slur -- while others embrace the term for themselves. I've thought long and hard about how to deal with this, and the compromise I've come up with is that I will use excerpts from the song, which will contain that word, but I won't use the word myself. I'm not happy with that compromise, but it's the best I can do. It's unfortunate that that word turns up a *lot* in music in the period I'm covering -- it's basically impossible to avoid. Anyway, on with the show... Curtis Mayfield is one of those musicians who this podcast will almost by definition underserve -- my current plan is to do a second episode on him, but if this was a thousand-song podcast he would have a *lot* more than just two episodes. He was one of the great musical forces of the sixties and seventies, and listeners to the Patreon bonus episodes will already have come across him several times before, as he was one of those musicians who becomes the centre of a whole musical scene, writing and producing for most of the other soul musicians to come out of Chicago in the late fifties and early 1960s. Mayfield grew up in Chicago, in the kind of poverty that is, I hope, unimaginable to most of my listeners. He had to become "the man of the house" from age five, looking after his younger siblings as his mother went out looking for work, as his father abandoned his family, moved away, and changed his name. His mother was on welfare for much of the time, and Mayfield's siblings have talked about how their special Christmas meal often consisted of cornbread and syrup, and they lived off beans, rice, and maybe a scrap of chicken neck every two weeks. They were so hungry so often that they used to make a game of it -- drinking water until they were full, and then making sloshing noises with their bellies, laughing at them making noises other than rumbling. But while his mother was poor, Mayfield saw that there was a way to escape from poverty. Specifically, he saw it in his paternal grandmother, the Reverend A.B. Mayfield, a Spiritualist priest, who was the closest thing to a rich person in his life. For those who don't know what Spiritualism is, it's one of the many new religious movements that sprouted up in the Northeastern US in the mid to late nineteenth centuries, like the Holiness Movement (which became Pentecostalism), the New Thought, Christian Science, Mormonism, and the Jehovah's Witnesses. Spiritualists believe, unlike mainstream Christianity, that it is possible to communicate with the spirits of the dead, and that those spirits can provide information about the afterlife, and about the nature of God and angels. If you've ever seen, either in real life or in a fictional depiction, a medium communicating with spirits through a seance, that's spiritualism. There are numbers of splinter spiritualist movements, and the one Reverend Mayfield, and most Black American Spiritualists at this time, belonged to was one that used a lot of elements of Pentecostalism and couched its teachings in the Bible -- to an outside observer not conversant with the theology, it might seem no different from any other Black church of the period, other than having a woman in charge. But most other churches would not have been funded by their presiding minister's winnings from illegal gambling, as she claimed to have the winning numbers in the local numbers racket come to her in dreams, and won often enough that people believed her. Reverend Mayfield's theology also incorporated elements from the Nation of Islam, which at that time was growing in popularity, and was based in Chicago. Chicago was also the home of gospel music -- it was where Sister Rosetta Tharpe had got her start and where Mahalia Jackson and Thomas Dorsey and the Soul Stirrers were all based -- and so of course Reverend Mayfield's church got its own gospel quartet, the Northern Jubilee Singers. They modelled themselves explicitly on the Soul Stirrers, who at the time were led by Sam Cooke: [Excerpt: The Soul Stirrers, "Jesus Gave Me Water"] Curtis desperately wanted to join the Northern Jubilee Singers, and particularly admired their lead singer, Jerry Butler, as well as being a huge fan of their inspiration Sam Cooke. But he was too young -- he was eight years old, and the group members were twelve and thirteen, an incommensurable gap at that age. So Curtis couldn't join the Jubilee singers, but he kept trying to perform, and not just with gospel -- as well as gospel, Chicago was also the home of electric blues, being where Chess Records was based, and young Curtis Mayfield was surrounded by the music of people like Muddy Waters: [Excerpt: Muddy Waters, "Rollin' and Tumblin'"] And so as well as singing gospel songs, he started singing and playing the blues, inspired by Waters, Little Walter, and other Chess acts. His first instrument was the piano, and young Curtis found that he naturally gravitated to the black keys -- he liked the sound of those best, and didn't really like playing the white keys. I won't get into the music theory too much here, but the black keys on a piano make what is called a pentatonic scale -- a five-note scale that is actually the basis for most folk music forms, whether Celtic folk, Indian traditional music, the blues, bluegrass, Chinese traditional music... pentatonic scales have been independently invented by almost every culture, and you might think of them as the "natural" music, what people default to. The black notes on the piano make that scale in the key of F#: [Excerpt: pentatonic scale in F#] The notes in that are F#, G#, A#, C#, and D#. When young Curtis found a guitar in his grandmother's closet, he didn't like the way it sounded -- if you strum the open strings of a guitar they don't make a chord (well, every combination of notes is a chord, but they don't make one most people think of as pleasant) -- the standard guitar tuning is E, A, D, G, B, E. Little Curtis didn't like this sound, so he retuned the guitar to F#, A#, C#, F#, A#, F# -- notes from the chord of F#, and all of them black keys on the piano. Now, tuning a guitar to open chords is a fairly standard thing to do -- guitarists as varied as Keith Richards, Steve Cropper, and Dolly Parton tune their guitars to open chords -- but doing it to F# is something that pretty much only Mayfield ever did, and it meant his note choices were odd ones. He would later say with pride that he used to love it when other guitarists picked up his guitar, because no matter how good they were they couldn't play on his instrument. He quickly became extremely proficient as a blues guitarist, and his guitar playing soon led the Northern Jubilee Singers to reconsider having him in the band. By the time he was eleven he was a member of the group and travelling with them to gospel conventions all over the US. But he had his fingers in multiple musical pies -- he formed a blues group, who would busk outside the pool-hall where his uncle was playing, and he also formed a doo-wop group, the Alphatones, who became locally popular. Jerry Butler, the Jubilee Singers' lead vocalist, had also joined a doo-wop group -- a group called the Roosters, who had moved up to Chicago from Chattanooga. Butler was convinced that to make the Roosters stand out, they needed a guitarist like Mayfield, but Mayfield at first remained uninterested -- he already had his own group, the Alphatones. Butler suggested that Mayfield should rehearse with both groups, three days a week each, and then stick with the group that was better. Soon Mayfield found himself a full-time member of the Roosters. In 1957, when Curtis was fifteen, the group entered a talent contest at a local school, headlined by the Medallionaires, a locally-popular group who had released a single on Mercury, "Magic Moonlight": [Excerpt: The Medallionaires, "Magic Moonlight"] The Medallionaires' manager, Eddie Thomas, had been around the music industry since he was a child – his stepfather had been the great blues pianist Big Maceo Merriweather, who had made records like "Worried Life Blues": [Excerpt: Big Maceo Merriweather, "Worried Life Blues"] Thomas hadn't had any success in the industry yet, but at this talent contest, the Roosters did a close-harmony version of Sam Cooke's "You Send Me", and Thomas decided that they had potential, especially Mayfield and Butler. He signed them to a management contract, but insisted they changed their name. They cast around for a long time to find something more suitable, and eventually decided on The Impressions, because they'd made such an impression on Thomas. The group were immediately taken by Thomas on a tour of the large indie labels, and at each one they sang a song that members of the group had written, which was inspired by a song called "Open Our Eyes" by the Gospel Clefs: [Excerpt: The Gospel Clefs, "Open Our Eyes"] Herman Lubinsky at Savoy liked the song, and suggested that Jerry speak-sing it, which was a suggestion the group took up, but he passed on them. So did Ralph Bass at King. Mercury Records gave them some session work, but weren't able to sign the group themselves -- the session was with the big band singer Eddie Howard, singing backing vocals on a remake of "My Last Goodbye", a song he'd recorded multiple times before. Unfortunately, I haven't been able to track down a copy of that recording, the Impressions' first, only Howard's other recordings of the song. Eventually, the group got the interest of a tiny label called Bandera, whose owner Vi Muszynski was interested -- but she had to get the approval of Vee-Jay Records, the larger label that distributed Bandera's records. Vee-Jay was a very odd label. It was one of a tiny number of Black-owned record labels in America at the time, and possibly the biggest of them, and it's interesting to compare them to Chess Records, which was based literally across the road. Both put out R&B records, but Chess was white-owned and specialised in hardcore Chicago electric blues -- Muddy Waters, Howlin' Wolf, Little Walter and so on. Vee-Jay, on the other hand, certainly put out its fair share of that kind of music, but they also put out a lot of much smoother doo-wop and early soul, and they would have their biggest hits a few years after this, not with blues artists, but with the Four Seasons, and with their licensing of British records by Frank Ifield and the Beatles. Both Vee-Jay and Chess were aiming at a largely Black market, but Black-owned Vee-Jay was much more comfortable with white pop acts than white-owned Chess. Muszynski set up an audition with Calvin Carter, the head of A&R at Vee-Jay, and selected the material the group were to perform for Carter -- rather corny songs the group were not at all comfortable with. They ran through that repertoire, and Carter said they sounded good but didn't they have any originals? They played a couple of originals, and Carter wasn't interested in those. Then Carter had a thought -- did they have any songs they felt ashamed of playing for him? Something that they didn't normally do? They did -- they played that song that the group had written, the one based on "Open Our Eyes". It was called "For Your Precious Love", and Carter immediately called in another group, the Spaniels, who were favourites of the Impressions and had had hits with records like "Goodnite Sweetheart Goodnite": [Excerpt: The Spaniels, "Goodnite, Sweetheart, Goodnite"] Carter insisted on the Impressions singing their song for the Spaniels, and Butler in particular was very worried -- he assumed that Carter just wanted to take their song and give it to the bigger group. But after they played the song again, the Spaniels all enthused about how great the Impressions were and what a big hit the Impressions were going to have with the song. They realised that Carter just *really liked* them and the song, and wanted to show them off. The group went into the studio, and recorded half a dozen takes of "For Your Precious Love", but none of them came off correctly. Eventually Carter realised what the problem was -- Mayfield wasn't a member of the musicians' union, and so Carter had hired session guitarists, but they couldn't play the song the way Mayfield did. Eventually, Carter got the guitarists to agree to take the money, not play, and not tell the union if he got Mayfield to play on the track instead of them. After that, they got it in two takes: [Excerpt: Jerry Butler and the Impressions, "For Your Precious Love"] When it came out, the record caused a major problem for the group, because they discovered when they saw the label that it wasn't credited to "The Impressions", but to "Jerry Butler and the Impressions". The label had decided that they were going to follow the strategy that had worked for so many acts before -- put out records credited to "Singer and Group", and then if they were successful develop that into two separate acts. To his credit, Butler immediately insisted that the record company get the label reprinted, but Vee-Jay said that wasn't something they could do. It was too late, the record was going out as Jerry Butler and the Impressions and that was an end to it. The group were immediately put on the promotional circuit -- there was a rumour that Roy Hamilton, the star who had had hits with "Unchained Melody" and "Ebb Tide", was going to put out a cover version, as the song was perfectly in his style, and so the group needed to get their version known before he could cut his cover. They travelled to Philadelphia, where they performed for the DJ Georgie Woods. We talked about Woods briefly last episode -- he was the one who would later coin the term "blue-eyed soul" to describe the Righteous Brothers -- and Woods was also the person who let Dick Clark know what the important Black records were, so Clark could feature them on his show. Woods started to promote the record, and suddenly Jerry Butler and the Impressions were huge -- "For Your Precious Love" made number three on the R&B charts and number eleven on the pop charts. Their next session produced another hit, "Come Back My Love", although that only made the R&B top thirty and was nowhere near as big a hit: [Excerpt: Jerry Butler and the Impressions, "Come Back My Love"] That would be the last time the original lineup of the Impressions would record together. Shortly afterwards, before a gig in Texas, Jerry Butler called the President of the record label to sort out a minor financial problem. Once the problem had been sorted out, the president put the phone down, but then one of the other Impressions, Arthur Brooks, asked if he could have a word. Butler explained that the other person had hung up, and Brooks went ballistic, saying that Butler thought he was in charge, and thought that he could do all the talking for the group. Well, if he thought that, he could do all the singing too. Brooks and his brother Richard weren't going on stage. Sam Gooden said he wasn't going on either -- he'd been an original Rooster with the Brooks brothers before Butler had joined the group, and he was siding with them. That left Curtis Mayfield. Mayfield said he was still going on stage, because he wanted to get paid. The group solidarity having crumbled, Gooden changed his mind and said he might as well go on with them, so Butler, Mayfield, and Gooden went on as a trio. Butler noticed that the audience didn't notice a difference -- they literally didn't know the Brooks brothers existed -- and that was the point at which he decided to go solo. The Impressions continued without Butler, with Mayfield, Gooden, and the Brooks brothers recruiting Fred Cash, who had sung with the Roosters when they were still in Tennessee. Mayfield took over the lead vocals and soon started attracting the same resentment that Butler had. Vee-Jay dropped the Impressions, and they started looking round for other labels and working whatever odd jobs they could. Mayfield did get some work from Vee-Jay, though, working as a session player on records by people like Jimmy Reed. There's some question about which sessions Mayfield actually played -- I've seen conflicting information in different sessionographies -- but it's at least possible that Mayfield's playing on Reed's most famous record, "Baby What You Want Me to Do": [Excerpt: Jimmy Reed, "Baby What You Want Me to Do"] And one of Mayfield's friends, a singer called Major Lance, managed to get himself a one-off single deal with Mercury Records after becoming a minor celebrity as a dancer on a TV show. Mayfield wrote that one single, though it wasn't a hit: [Excerpt: Major Lance, "I Got a Girl"] Someone else who wasn't having hits was Jerry Butler. By late 1960 it had been two years since "For Your Precious Love" and Butler hadn't made the Hot One Hundred in that time, though he'd had a few minor R&B hits. He was playing the chitlin' circuit, and in the middle of a tour, his guitarist quit. Butler phoned Mayfield, who had just received a four hundred dollar tax bill he couldn't pay -- a lot of money for an unemployed musician in 1960. Mayfield immediately joined Butler's band to pay off his back taxes, and he also started writing songs with Butler. "He Will Break Your Heart", a collaboration between the two (with Calvin Carter also credited), made the top ten on the pop chart and number one on the R&B chart: [Excerpt: Jerry Butler, "He Will Break Your Heart"] Even more important for Mayfield than writing a top ten hit, though, was his experience playing for Butler at the Harlem Apollo. Not because of the shows themselves, but because playing a residency in New York allowed him to hang out at the Turf, a restaurant near the Brill Building where all the songwriters would hang out. Or, more specifically, where all the *poorer* songwriters would hang out -- the Turf did roast beef sandwiches for fifty cents if you ate standing at the counter rather than seated at a table, and it also had twenty payphones, so all those songwriters who didn't have their own offices would do their business from the phone booths. Mayfield would hang out there to learn the secrets of the business, and that meant he learned the single most important lesson there is -- keep your own publishing. These writers, some of whom had written many hit songs, were living off twenty-five-dollar advances while the publishing companies were making millions. Mayfield also discovered that Sam Cooke, the man he saw as the model for how his career should go, owned his own publishing company. So he did some research, found out that it didn't actually cost anything to start up a publishing company, and started his own, Curtom, named as a portmanteau of his forename and the surname of Eddie Thomas, the Impressions' manager. While the Impressions' career was in the doldrums, Thomas, too, had been working for Butler, as his driver and valet, and he and Mayfield became close, sharing costs and hotel rooms in order to save money. Mayfield not only paid his tax bill, but by cutting costs everywhere he could he saved up a thousand dollars, which he decided to use to record a song he'd written specifically for the Impressions, not for Butler. (This is the song I mentioned at the beginning with the potential slur in the title. If you don't want to hear that, skip forward thirty seconds now): [Excerpt: The Impressions, "Gypsy Woman"] That track got the Impressions signed to ABC/Paramount records, and it made the top twenty on the pop charts and sold half a million copies, thanks once again to promotion from Georgie Woods. But once again, the follow-ups flopped badly, and the Brooks brothers quit the group, because they wanted to be doing harder-edged R&B in the mould of Little Richard, Hank Ballard, and James Brown, not the soft melodic stuff that Mayfield was writing. The Impressions continued as a three-piece group, and Mayfield would later say that this had been the making of them. A three-part harmony group allowed for much more spontaneity and trading of parts, for the singers to move freely between lead and backing vocals and to move into different parts of their ranges, where when they had been a five-piece group everything had been much more rigid, as if a singer moved away from his assigned part, he would find himself clashing with another singer's part. But as the group were not having hits, Mayfield was still looking for other work, and he found it at OKeh Records, which was going through something of a boom in this period thanks to the producer Carl Davis. Davis took Mayfield on as an associate producer and right-hand man,  primarily in order to get him as a guitarist, but Mayfield was also a valuable talent scout, backing vocalist, and especially songwriter. Working with Davis and arranger Johnny Pate, between 1963 and 1965 Mayfield wrote and played on a huge number of R&B hits for OKeh, including "It's All Over" by Walter Jackson: [Excerpt: Walter Jackson, "It's All Over"] "Gonna Be Good Times" for Gene Chandler: [Excerpt: Gene Chandler, "Gonna Be Good Times"] And a whole string of hits for Jerry Butler's brother Billy and his group The Enchanters, starting with "Gotta Get Away": [Excerpt: Billy Butler and the Enchanters, "Gotta Get Away"] But the real commercial success came from Mayfield's old friend Major Lance, who Mayfield got signed to OKeh. Lance had several minor hits written by Mayfield, but his big success came with a song that Mayfield had written for the Impressions, but decided against recording with them, as it was a novelty dance song and he didn't think that they should be doing that kind of material. The Impressions sang backing vocals on Major Lance's "The Monkey Time", written by Mayfield, which became a top ten pop hit: [Excerpt: Major Lance, "The Monkey Time"] Mayfield would write several more hits for Major Lance, including the one that became his biggest hit, "Um Um Um Um Um Um", which went top five pop and made number one on the R&B charts: [Excerpt: Major Lance, "Um Um Um Um Um Um (Curious Mind)"] So Mayfield was making hits for other people at a furious rate, but he was somehow unable to have hits with his own group. He was still pushing the Impressions, but they had to be a weekend commitment -- the group would play gigs all over the country at weekends, but Monday through Friday Mayfield was in the studio cutting hits for other people -- and he was also trying to keep up a relationship not only with his wife and first child, but with the woman who would become his second wife, with whom he was cheating on his first. He was young enough that he could just about keep this up -- he was only twenty at this point, though he was already a veteran of the music industry -- but it did mean that the Impressions were a lower priority than they might have been. At least, they were until, in August 1963, between those two huge Major Lance hits, Curtis Mayfield finally wrote another big hit for the Impressions -- their first in their new three-piece lineup. Everyone could tell "It's All Right" was a hit, and Gene Chandler begged to be allowed to record it, but Mayfield insisted that his new song was for his group: [Excerpt: The Impressions, "It's All Right"] "It's All Right" went to number four on the pop chart, and number one R&B. And this time, the group didn't mess up the follow-up.  Their next two singles, "Talking About My Baby" and "I'm So Proud", both made the pop top twenty, and the Impressions were now stars. Mayfield also took a trip to Jamaica around this time, with Carl Davis, to produce an album of Jamaican artists, titled "The Real Jamaica Ska", featuring acts like Lord Creator and Jimmy Cliff: [Excerpt: Jimmy Cliff, "Ska All Over the World"] But Mayfield was also becoming increasingly politically aware. As the Civil Rights movement in the US was gaining steam, it was also starting to expose broader systemic problems that affected Black people in the North, not just the South. In Chicago, while Black people had been able to vote for decades, and indeed were a substantial political power block, all that this actually meant in practice was that a few powerful self-appointed community leaders had a vested interest in keeping things as they were. Segregation still existed -- in 1963, around the time that "It's All Right" came out, there was a school strike in the city, where nearly a quarter of a million children refused to go to school. Black schools were so overcrowded that it became impossible for children to learn there, but rather than integrate the schools and let Black kids go to the less-crowded white schools, the head of public education in Chicago decided instead to make the children go to school in shifts, so some were going ridiculously early in the morning while others were having to go to school in the evening. And there were more difficult arguments going on around segregation among Black people in Chicago. The issues in the South seemed straightforward in comparison -- no Black person wanted to be lynched or to be denied the right to vote. But in Chicago there was the question of integrating the two musicians' union chapters in the city. Some Black proponents of integration saw merging the two union chapters as a way for Black musicians to get the opportunity to play lucrative sessions for advertising jingles and so on, which only went to white players. But a vocal minority of musicians were convinced that the upshot of integrating the unions would be that Black players would still be denied those jobs, but white players would start getting some of the soul and R&B sessions that only Black players were playing, and thought that the end result would be that white people would gentrify those areas of music and culture where Black people had carved out spaces for themselves, while still denying Black people the opportunity to move into the white spaces. Mayfield was deeply, deeply, invested in the Civil Rights movement, and the wider discourse as more radical voices started to gain strength in the movement. And he was particularly inspired by his hero, Sam Cooke, recording "A Change is Gonna Come".  As the rhetoric of the Civil Rights movement was so deeply rooted in religious language, it was natural that Mayfield would turn to the gospel music he'd grown up on for his own first song about these issues, "Keep on Pushing": [Excerpt: The Impressions, "Keep on Pushing"] That became another huge hit, making the top ten on the pop chart and number one on the R&B chart. It's instructive to look at reactions to the Impressions, and to Mayfield's sweet, melodic, singing. White audiences were often dismissive of the Impressions, believing they were attempting to sell out to white people and were therefore not Black enough -- a typical reaction is that of Arnold Shaw, the white music writer, who in 1970 referred to the Impressions as Oreos -- a derogatory term for people who are "Black on the outside, white inside". Oddly, though, Black audiences seem not to have recognised the expertise of elderly white men on who was Black enough, and despite white critics' protestations continued listening to and buying the Impressions' records, and incorporating Mayfield's songs into their activism. For example, Sing For Freedom, a great oral-history-cum-songbook which collects songs sung by Civil Rights activists, collected contemporaneously by folklorists, has no fewer than four Impressions songs included, in lightly adapted versions, as sung by the Chicago Freedom Movement, the group led by Martin Luther King, Jesse Jackson and others, who campaigned for an end to housing segregation in Chicago. It quotes Jimmy Collier, a Black civil rights activist and folk singer, saying "There's a rock 'n' roll group called the Impressions and we call them ‘movement fellows' and we try to sing a lot of their songs. Songs like ‘Keep On Pushin',' ‘I Been Trying,' ‘I'm So Proud,' ‘It's Gonna Be a Long, Long Winter,' ‘People Get Ready, There's a Train a-Comin',' ‘There's a Meeting Over Yonder' really speak to the situation a lot of us find ourselves in." I mention this discrepancy because this is something that comes up throughout music history -- white people dismissing Black people as not being "Black enough" and trying to appeal to whites, even as Black audiences were embracing those artists in preference to the artists who had white people's seal of approval as being authentically Black. I mention this because I am myself a white man, and it is very important for me to acknowledge that I will make similar errors when talking about Black culture, as I am here. "Keep on Pushing" was the Impressions' first political record, but by no means the most important. In 1965 the Civil Rights movement seemed to be starting to unravel, and there were increasing ruptures between the hardliners who would go on to form what would become the Black Power movement and the more moderate older generation. These ruptures were only exacerbated by the murder of Malcolm X, the most powerful voice on the radical side. Mayfield was depressed by this fragmentation, and wanted to write a song of hope, one that brought everyone together. To see the roots of the song Mayfield came up with we have to go all the way back to episode five, and to "This Train", the old gospel song which Rosetta Tharpe had made famous: [Excerpt: Sister Rosetta Tharpe, "This Train (live)"] The image of the train leading to freedom had always been a powerful one in Black culture, dating back to the Underground Railroad -- the network of people who helped enslaved people flee their abusers and get away to countries where they could be free. It was also a particularly potent image for Black people in the northern cities, many of whom had travelled there by train from the South, or whose parents had. Mayfield took the old song, and built a new song around it. His melody is closer than it might seem to that of "This Train", but has a totally different sound and feeling, one of gentle hope rather than fervent excitement. And there's a difference of emphasis in the lyrics too. "This Train", as befits a singer like Tharpe who belonged to a Pentecostal "holiness" sect which taught the need for upright conduct at all times, is mostly a list of those sinners who won't be allowed on the train. Mayfield, by contrast, had been brought up in a Spiritualist church, and one of the nine affirmations of Spiritualism is "We affirm that the doorway to reformation is never closed against any soul here or hereafter". Mayfield's song does talk about how "There ain't no room for the hopeless sinner, Whom would hurt all mankind just to save his own", but the emphasis is on how "there's hope for *all*, among those loved the most", and how "you don't need no baggage", and "don't need no ticket". It's a song which is fundamentally inclusive, offering a vision of hope and freedom in which all are welcome: [Excerpt: The Impressions, "People Get Ready"] The song quickly became one of the most important songs to the Civil Rights movement -- Doctor King called it "the unofficial anthem of the Civil Rights movement" -- as well as becoming yet another big hit. We will continue to explore the way Mayfield and the Impressions reacted to, were inspired by, and themselves inspired Black political movements when we look at them again, and their political importance was extraordinary. But this is a podcast about music, and so I'll finish with a note about their musical importance. As with many R&B acts, the Impressions were massive in Jamaica, and they toured there in 1966. In the front row when they played the Carib Theatre in Kingston were three young men who had recently formed a group which they had explicitly modelled on the Impressions and their three-part harmonies. That group had even taken advantage of Jamaica's nonexistent copyright laws to incorporate a big chunk of "People Get Ready" into one of their own songs, which was included on their first album: [Excerpt: The Wailers, "One Love (1965 version)"] Bob Marley and the Wailers would soon become a lot more than an Impressions soundalike group, but that, of course, is a story for a future episode...