Podcasts about star club

Morgens um zehn in der „Ritze“. Am Stammtisch hinten links sitzt eine kleine Frau mit langen blondierten Haaren unter einem stylischen Strick-Beanie. Rote Lederhose, schwarze Lederjacke, Stiefel in Leopardenoptik. „Geilo-scheilo Bootis, oder? Ich bin nicht so der Faltenrocktyp“, sagt Carmen schmunzelnd. Müde ist sie. Die Nacht war kurz. Mal wieder. Den Abend zuvor war die Frau bei einer Geburtstagsparty. Einen draufmachen – das kann sie noch immer gut mit ihren, wie sie selber sagt, „knackigen 75“. Seit mehr als 60 Jahren ist Carmen Doose auf dem Kiez unterwegs. Schon im zarten Alter von 14 Jahren ging sie im legendären „Star-Club“ auf „Männerjagd“ und verdrehte so manch bekanntem Musiker den Kopf. Die flippige Frau berichtet von den „Leckerchen“ im „Star Club“. Wie sie auf „Männerjagd“ ging und es trotz ihres zarten Alters von 14 Jahren schaffte, nicht ein einziges Mal rauszufliegen. Mit großen Gesten und ständig in Bewegung spricht sie von den Stars, die sie in dem legendären Musikclub erlebte und vom Aus des Ladens. Wie es danach für sie an der Seite ihres Verlobten weiterging – seinem Vater gehörte St. Paulis ältestes Bordell. Carmen berichtet, wie sie einmal eine Prostituierte zusammenschlug und was das für Folgen hatte. Sie erzählt von ihrem luxuriösen Leben an der Seite verschiedener Männer, dem Moment, als ihr Mann in den Knast wanderte, von einer Nacht mit „Depeche Mode“ und dem großen Bruch. Und sie spricht über ihr nach wie vor buntes Leben auf dem Kiez.

Wie konnte aus einer mittelmäßigen Rock and Roll-Tanzkapelle aus Liverpool die wichtigste Band der Welt werden - The Beatles? Ohne Hamburg – keine Beatles, da sind sich die Fachleute sicher. Zwischen August 1960 und Silvester 1962 sind die Beatles fünf Mal für längere Zeit in Hamburg gewesen. Sie haben auf den Bühnen der Musikclubs im Rotlichtviertel gespielt: Rock and Roll zur Unterhaltung, nächtelang, monatelang. Im NDR Kultur Podcast „Becoming The Beatles - Die Hamburger Jahre” zeichnet Ocke Bandixen, NDR Kulturredakteur und Host von „Urban Pop“, die Geschichte in sechs Teilen nach: die schwierigen Anfänge im „Indra“, die langen Nächte im „Kaiserkeller“, dann die strenge Lehrzeit neben Tony Sheridan im „Top Ten“ und schließlich die letzten gefeierten Auftritte im „Star Club“, den Peter Urban selbst noch von Besuchen Ende der 60er kennt. Bei "Urban Pop: Making of “Becoming The Beatles”" erzählt Ocke Bandixen im Gespräch mit Peter Urban, wie er für den Podcast vorgegangen ist, wie er Zeitzeugen und unbekanntes Archivmaterial gefunden hat. Die Beraterin des Podcasts, die Hamburger Beatles-Expertin Stefanie Hempel, ist außerdem zu Gast in dieser besonderen Ausgabe von „Urban Pop“. Musikliste: The early Tapes of the Beatles with Tony Sheridan, 1993 Live at the BBC – The Beatles, 1994 Anthology 1 – The Beatles, 1995 Please please me (remastered), 2009 On Air – Live at the BBC Volume 2 – The Beatles, 2013 The Many Faces of the Beatles – The Beatles, 2016 Unsere Podcast-Tipps in dieser Folge: Fuck you very very much / https://1.ard.de/FYVVM https://www.ardaudiothek.de/episode/urban-pop-musiktalk-mit-peter-urban/urban-pop-beatles-63-please-please-me/ndr-kultur/13468723/ https://www.ardaudiothek.de/episode/urban-pop-musiktalk-mit-peter-urban/urban-pop-beatles-63-with-the-beatles/ndr-kultur/13495423/

Fortgesetzt wird die Podcast-Retro-Show "ALS FUSSBALL NOCH ROCK'N'ROLL WAR" mit Episode 87. Hier beginnt nun das Kapitel Musik mit Folge 72 und Die Ära der handgemachten Musik: Von Rock bis Rebellion.Es beginnt eine musikalische Zeitreise durch sechs Jahrzehnte Rock'n'Roll eine Ära voll ungebändigter Energie, revolutionärer Rhythmen und prägender Persönlichkeiten, die Musikgeschichte schrieben. Damals war Musik noch echte Handarbeit und verkörperte puren Ausdruck und Leidenschaft. In Deutschland wurden Orte wie der legendäre Star-Club in Hamburg, das Savoy in Hannover und der Kieler Star-Palast zum Schmelztiegel der neuen Musik für mich. Im Star-Club hinterließen die Beatles ...Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude.Gern unterstützen wir dich bei deiner Podcast-Produktion. ?>

Fortgesetzt wird die Podcast-Retro-Show "ALS FUSSBALL NOCH ROCK'N'ROLL WAR" mit Episode 87. Hier beginnt nun das Kapitel Musik mit Folge 72 und Die Ära der handgemachten Musik: Von Rock bis Rebellion.Es beginnt eine musikalische Zeitreise durch sechs Jahrzehnte Rock'n'Roll eine Ära voll ungebändigter Energie, revolutionärer Rhythmen und prägender Persönlichkeiten, die Musikgeschichte schrieben. Damals war Musik noch echte Handarbeit und verkörperte puren Ausdruck und Leidenschaft. In Deutschland wurden Orte wie der legendäre Star-Club in Hamburg, das Savoy in Hannover und der Kieler Star-Palast zum Schmelztiegel der neuen Musik für mich. Im Star-Club hinterließen die Beatles ...Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude.Gern unterstützen wir dich bei deiner Podcast-Produktion. ?>

Fortgesetzt wird die Podcast-Retro-Show "ALS FUSSBALL NOCH ROCK'N'ROLL WAR" mit Episode 87. Hier beginnt nun das Kapitel Musik mit Folge 72 und Die Ära der handgemachten Musik: Von Rock bis Rebellion.Es beginnt eine musikalische Zeitreise durch sechs Jahrzehnte Rock'n'Roll eine Ära voll ungebändigter Energie, revolutionärer Rhythmen und prägender Persönlichkeiten, die Musikgeschichte schrieben. Damals war Musik noch echte Handarbeit und verkörperte puren Ausdruck und Leidenschaft. In Deutschland wurden Orte wie der legendäre Star-Club in Hamburg, das Savoy in Hannover und der Kieler Star-Palast zum Schmelztiegel der neuen Musik für mich. Im Star-Club hinterließen die Beatles ...Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude.Gern unterstützen wir dich bei deiner Podcast-Produktion. ?>

durée : 00:02:53 - Léo, membre du Black Star, club d'ultimate de Poitiers

What if your Amazon packages could talk? What if they had palpitating, expectant hearts as they sped to your house? And, what a let down, after you'd ripped them open, shredded them, and left them for the recycler. What ingratitude, after their selfless commitment to your happiness.Tool-maker, turned bassist Gary Unwin brings this anthropomorphic idea to life, abetted by lead singer and Vox Continental organist Brian Bennett. Here, courtesy of the Hi Fi's, a busy, up and coming band of wannabe British invaders plying their rock n roll trade in Germany (as the Silver Beetles had done before them) - you get all the cringy, crooning drama (along with thumping timpani) you could want - and it's TNT.I discovered this diamond on an obscure Star-Club singles vinyl collection that Rich sent me after I bought my new turntable, and it captivated me from the first play. Of all the possible lyrical manifestations, a monologue delivered by a cardboard box, once lovingly wrapped and sent by one ardent lover to another via “the parcel farm,” and then abandoned, was beyond unexpected… and, just what I needed.

Do you have goals as you close this July? Like closing Star Club to earn those Nike shoes? Increasing to a new rank? Earning points towards the VIP Elite Incentive Trip? Regional Sales Manager Mindy Trimble joins with Platinum Elite Key Coordinator Kellie Gimenez whose message is designed to help you make the most of the 3 days left this month to reach and exceed those goals!

Do you have goals as you close this July? Like closing Star Club to earn those Nike shoes? Increasing to a new rank? Earning points towards the VIP Elite Incentive Trip? Regional Sales Manager Mindy Trimble joins with Platinum Elite Key Coordinator Kellie Gimenez whose message is designed to help you make the most of the 3 days left this month to reach and exceed those goals!

The story writer, experimental musician, and cultural instigator, Erica Dawn Lyle (Scam Zine, Chickenhead)Join us as Erica Dawn Lyle takes a journey down memory lane, revisiting her time in Florida from 1987-1993 and 1995-1997. She shares stories of her early days in Boca Raton, her experiences at the Punk House in Ft. Lauderdale, and squatting in Miami. Erica reminisces about attending shows at venues like the Cameo Theatre, The Deaf Club, Churchill's, and the Star Club. She also discusses her creation and involvement with the Scam Zine, her time with punk band Chickenhead, and generator shows. Additionally, Erica reflects on the South Florida punk scene of the era, sharing memories of Ivy Jeane, Kreamy 'Lectric Santa, Harry Pussy, freight hopping, and so much more! [Recorded: 06/01/24]Music:Chickenhead - Everything Must Go (Live from WFMU) (1993)Erica Dawn Lyle & Vice Cooler - Never Was w/ Ivy Jeanne & Mike Watt (from Land Trust: Benefit For NEFOC) (2022)☞ Follow Florida Sound Archive on Instagram! @floridasoundarchive Follow Erica Dawn Lyle on Instagram @kyaniteeyeWebsite - https://www.ericadawnlyle.info/...Related Episodes:Extended Cut! The Story of CHUCK LOOSE (The Crumbs, Drug Czars, Chickenhead, Iron Forge Press)- https://youtu.be/_Ieek4sSdkw?si=HTjqB7hkBtlzIFV_The Story of Kreamy 'Lectric Santa (KLS) with Robert Price & Priya Ray - https://youtu.be/Fzo_by24Agc?si=6Kia0w9kkyGeKSQdThe Story of JEFF HODAPP (Roach Motel, Drug Czars) https://youtu.be/WFl1-3CzzLg?si=UAfm_OhlT5ScsRvX

Heute vor 60 Jahren protestierten Jugendliche im Hamburger Stadtteil St. Pauli gegen die Schließung des legendären Musikclubs "Star-Club" und blockierten die Große Freiheit.

This episode of the 2nd Swing Thoughts podcast features Larry Bobka, a master club fitter at 2nd Swing Golf, sharing some insight on a few of his recent club fittings that feature some of the biggest names in golf. Larry recently hosted club fittings at 2nd Swing for Tom Lehman, Rocco Mediate, and Jennifer Huber. During this episode, Larry shares his perspective on fitting each of those ambassadors of the game. 0:00 Intro, 3:47 Club Fittings: Tom Lehman, 14:52 Club Fittings: Rocco Mediate,  26:31 Club Fittings: Jennifer Huber, 36:20 Wedge Fittings. The 2nd Swing Thoughts podcast, presented by 2nd Swing Golf, covers anything and everything in golf equipment and club fitting. The 2nd Swing Thoughts will feature experts in the golf industry sharing insights and latest trends in golf clubs and club fittings. 2nd Swing Thoughts will also cover the latest in professional golf.    DOWNLOAD and SUBSCRIBE! 

Spurs Chat: Discussing all Things Tottenham Hotspur: Hosted by Chris Cowlin: The Daily Tottenham/Spurs Podcast Hosted on Acast. See acast.com/privacy for more information.

Episode 456: Madame Web Review -- Tyler starts off the episode by discussing the new Netflix true crime film Lover, Stalker, Killer! Pat shares his thoughts on the new Amazon Prime series Mr. and Mrs. Smith. Tyler leads the discussion of the latest "Nerd News"...including the Borderlands trailer. The Nerd then review the new Sony Spider-verse film Madame Web! They end the episode with a "Nerd Favorite"...favorite movie premiere swag?   Timestamps:   What We are Into: 11:40-34:00   Nerd News: 34:00-46:15   Madame Web Review: 46:15-1:13   Nerd Favorite: 1:13-1:21

Regisseur Peter Jackson is een geschenk voor de Beatles-wereld. Als groot fan en kenner rust hij niet voordat hij goud gevonden heeft in de Apple-archieven. Door die vastberadenheid krijgt hij bijzondere dingen voor elkaar. Luister naar de waanzinnige verhalen die schuil gaan achter oa. de videoclip en het originele cassettebandje van Now And Then, de Star Club-tapes en zijn revolutionaire computerprogramma MAL, dat hij uitsluitend inzet voor The Beatles. Wil je ons financieel ondersteunen? Word dan Vriend Van Fab4Cast en luister naar exclusieve afleveringen die je alleen als donateur kunt beluisteren! Kijk op petjeaf.com/fab4cast voor de mogelijkheden. We zouden je heel dankbaar zijn voor je steun.

This is Early Kick Off from the Men in Blazers Media Network, all your global football stories straight from the back pages of Europe's newspapers in around 10 minutes.On today's episode: Arsenal win at Nottingham Forest to push themselves up to second in the Premier League table; Newcastle smash Aston Villa's unbeaten home record; Luton Town climb out of the relegation zone thanks to a hat-trick from Elijah Adebayo; South Africa knock out the favourites Morocco at AFCON; there's late drama in the Women's Champions League; PSG are interested in Marcus Rashford; Virgil van Dijk clears up his comments; and Robbie Williams fronts a bid for his beloved Port Vale - to make a documentary like Welcome to Wrexham!Football don't sleep, and neither do we.This episode was made in the UK for Men In Blazers by…Host: Betty Glover Producer: Sammy James Researcher: Jack CollinsSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We're recasting Nate's 2019 interview with  Joe Bonomo about his book "Jerry Lee Lewis: Lost and Found." Buy the book and support the show. CHECK OUT THE NEW LET IT ROLL WEB SITE -- We've got all 350+ episodes listed, organized by mini-series, genre, era, co-host, guest and more. Please sign up for the email list on the site and get music essays from Nate as well as (eventually) transcriptions of every episode. Also if you can afford it please consider becoming a paid subscriber to support the show. Thanks! Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.com Follow us on Twitter. Follow us on Facebook. Let It Roll is proud to be part of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

No less an authority than Mark Lewisohn knows that the skiing scene in "Help!" was filmed in Stowe VT, during the 1997 Winter X-Games, exclusively on ESPN. But before (ahem, #apres) skiing was a very Beatles activity, Stowe was known as a small British boys school (Ringo! Ringo!), where the Beatles gave one of their longer and most interesting concerts whilst on the cusp of British fame. Recently, a tape surfaced of the mostly complete show, and like the Star Club release in 1970's, this one is truly a mammoth moment in Beatles history. Tony & T.J. gab fab on the concert, the set list, and the immense historical significance. And because they're morons, they also ponder:

Till skillnad från sin amerikanske namne sålde Robert Johnson från Solna aldrig sin själ till Satan för att bli framgångsrik. Kanske borde han ha gjort det. "Fy fan vad det har gått dåligt", säger han hemma hos Strage när han sammanfattar sina 30 år i det fuzzade, instrumentala surf-garage-punk-bandet Robert Johnson and Punchdrunks. Han pratar också om varför han äger 58 exemplar av Jerry Lee Lewis album "Live at the Star Club", om när han slutade med musiken och sålde sin fina Bo Diddley-gitarr till Dregen, om när han ångrade sig och köpte tillbaka den, om varför han har tatuerat en bild av den amerikanska protosynthduon Suicide på bröstet, om hur det kändes att hyllas av Iggy Pop och om när han som taxichaufför skjutsade Johnny Thunders gitarr från Arlanda till Hägerstensåsen. Dessutom dissar han skandalöst nog Strages idoler Quentin Tarantino och Daft Punk! Hosted on Acast. See acast.com/privacy for more information.

Before They Were Beatles Episode 21: Suits and Star Club The Beatles make their radio debut, change leather for suits, and make a return to Hamburg. The music heard in this episode includes: The Beatles - Money (Intro from Decca auditions) The Beatles - Dream Baby (How Long Must I Dream) Royal Waterford Showband - Hucklebuck Emile Ford & The Checkmates - What Do You Want To Make Those Eyes At Me For? Roy Young - Hey Little Girl Gene Vincent - Be Bop Lula ‘62 Tony Sheridan  & The Beat Brothers - Sweet Georgia Brown  Tony Sheridan - Swanee River  Tony Sheridan  - Skinnie Minny You can find full versions of the music heard in this episode in the dedicated Before They Were Beatles Podcast YouTube channel at:  https://youtube.com/playlist?list=PLP0CDQdLe-G141LlqyBu8rC8ap6voBhZe If you would like to make a comment or ask a question you can follow the podcast Twitter account at @BeforeBeatles, or email me at alan@beforetheywerebeatles.com You can also find copies of the original Before They Were Beatles book on Amazon in hardcover, paperback, and Kindle editions #BeforeTheyWereBeatles Let us know what you think! Email the show at contact@longboxcrusade.com This podcast is a member of the LONGBOX CRUSADE NETWORK: LINKTREE: https://linktr.ee/longboxcrusade Visit the WEBSITE: http://www.longboxcrusade.com/ Follow on TWITTER:  https://twitter.com/BeforeBeatles https://twitter.com/LongboxCrusade Follow on INSTAGRAM: https://www.instagram.com/longboxcrusade Like the FACEBOOK page: https://www.facebook.com/LongboxCrusade Subscribe to the YouTube Channel: https://goo.gl/4Lkhov Subscribe to the main LBC network podcast feed on Apple Podcasts at: https://itunes.apple.com/us/podcast/the-longboxcrusade/id1118783510?mt=2 Or the single podcast feed for Before They Were Beatles at: https://podcasts.apple.com/us/podcast/before-they-were-beatles/id1561234606 Thank you for listening and we hope you have enjoyed this episode of Before They Were Beatles. --- Send in a voice message: https://podcasters.spotify.com/pod/show/longbox-crusade/message

Seit mehr als 50 Jahren betreibt sie "Rosi's Bar" auf St. Pauli in einer Nebenstraße der Reeperbahn. Mit 19 stand Rosi Sheridan das erste Mal hinterm Tresen auf dem Kiez, erst im "Kaiserkeller", dann im "Star Club". Später übernahm sie den Laden ihres Vaters. Die Kiez-Wirtin hat in ihrem Leben viel erlebt: Sie war mit dem legendären Musiker Tony Sheridan verheiratet und auch gut bekannt mit den jungen Beatles, die Anfang der 60er Jahre monatelang auf der Reeperbahn auftraten. Freuen Sie sich auf das Gespräch von Hubertus Meyer-Burckhardt mit einem echten Hamburger Original!

Joe Cardon comes on board to remind us of everything you have to ensure that you close this month, the first of Q2, strong!  Then, Senior Coordinator Taryn Garsik shares how she and her team use the Shaklee incentives - Star Club, Quarterly Incentive, VIP Elite Program - as a focus and a structure for daily activity, helping to build a powerful organization!

Joe Cardon comes on board to remind us of everything you have to ensure that you close this month, the first of Q2, strong!  Then, Senior Coordinator Taryn Garsik shares how she and her team use the Shaklee incentives - Star Club, Quarterly Incentive, VIP Elite Program - as a focus and a structure for daily activity, helping to build a powerful organization!

Musician and Musicologist Mike Daley joins host Paul Romanuk to talk about The Beatles much bootlegged and sort of, kind of, semi-officially released live recordings from The Star-Club in Hamburg, West Germany in 1962.SHOW NOTES:-we talk about it, but for a much more detailed account of the Star-Club tapes and how this whole mess came to be, check out this page-there are several versions of these tapes, the one we talk about was a Canadian release called Pickwick Star Club, Vol. 2. Here is a YouTube playlist that Mike put together of the version we talk about in this episode and the corresponding track order.-here's a page of images of The Star-Club from "back in the day". The building it was in burned down in 1987.-we talk about the so-called de-mixing technology that might be used to restore the audio that exists from the Star-Club shows. The best version of this technology as of this writing is the one that was used by director Peter Jackson for The Beatles Get Back film from 2021. It was also used to de-mix the instruments on the recent re-issue of Revolver, that were locked in on one track. Here's an article that explains how the technology works.-Here's Mike Daley's website: https://mikedaleymusic.com/

Probably not the most recognizable album we have or will cover on this podcast, but it's importance towards heavier rock can't be overstated. During his exile from the US, The Killer toured with a Scouse band known as the Nashville Teens and in Spring 1964, they played a legendary show at the Beatles' old haunt. Will the theater kids enjoy this or will it just bring back Stooges flashbacks for them? Let's find out with Jerry Lee Lewis' “Live at the Star-Club, Hamburg”!

Qualify for the VIP Elite Program at the Bronze Tier or higher to earn a magical experience overlooking the golden sand beaches of Puerto Vallarta at the Dreams Bahia Mita Surf & Spa Resort.

Qualify for the VIP Elite Program at the Bronze Tier or higher to earn a magical experience overlooking the golden sand beaches of Puerto Vallarta at the Dreams Bahia Mita Surf & Spa Resort.

Welcome back to Artbeat Radio!  Today, CECA's Star Club takes us through the holiday season. Listen in as they discuss holiday treats, movies, and Disneyland before sharing some of their favorite winter songs. At the end of this episode, you'll get a glimpse into the world of Neurologic Music Therapy, as some of our service users share what they've been working on in sessions.Thanks for listening and tune in next time! For more information about our organization, please visit our website www.ableartswork.org  Audio Transcription: (Please listen on Podomatic or Spotify to view the full transcript) *Intro music by Artbeat Radio staff*  Music, stories, and more! You're listening to Artbeat Radio, a program of Able ARTS Work. ALL: Welcome to CECA's Star Club. Jenny: With ArtBeat Radio. *Instrumental variation of Feliz Navidad plays in the background* Juliet: claps Mollie: Hey, Maria, Johnny, what are your favorite winter traditions? Maria: Vocalizes.  Mollie: Johnny, what's your favorite winter tradition? Juliet: claps Mollie: Juliet's sharing hers. Do you like baking? Johnny: vocalizes Mollie: And Maria, do you like eating during Christmas? Maria: vocalizes Mollie: Ah! Jesus: yawns Mollie: So, the other day we talked about what a perfect ice cream sandwich for the winter would be Michael: OO Johnny: vocalizes Mollie: Oh, I'm hearing some yeses.  Michael: vocalizes Mollie: What about a peppermint, date, and chocolate cookie for the base? Michael: Yeah! Mollie: Alright, I'm hearing some yeses. And for the ice cream, just plain vanilla? Maria: vocalizes Mollie: Yeah, Johnny? Michael: Chocolate. Mollie: Oh, or chocolate. Michael: Yeah.  Mollie: Yeah. So, you heard it here first, folks, Able Arts at CECA's star club recommends if you're making an ice cream sandwich this winter, that is going to have peppermint, date, and chocolate chip cookies and vanilla or chocolate ice cream based on your preference! Juliet: claps Mollie: That's something to clap about right, Juliet?  Juliet: claps Mollie: Wow, that sounds good. What is your favorite winter tradition, Jesus?  Jesus: squeals Mollie: What is it?  Jesus: vocalizes Mollie: Where do you go, Jesus? Jesus: Disneyland. Mollie: can you spell that for our audience? Jesus: D-I-S-N-E-L-A-N-D. Mollie: Disneyland! Wow, and what do you like about Disneyland during this time of the year? Jesus: S-T-A-R W-A-R-S Mollie: Star Wars? Jesus: Yeah.  Mollie: laughs Alright. What do you think about that Maria? Maria: vocalizes Mollie: Okay, and what is your favorite part about Disneyland during this time of the year?  Maria: vocalizes Mollie: Is it the rides? Ah, I see you nodding.  Maria: vocalizes Mollie: Is your favorite ride the Haunted Mansion ride? Maria: vocalizes Mollie: Yeah? During this time of year? Maria: vocalizes Mollie: And that's because you like the decorations and like all the different fun parts of it? Maria: vocalizes Mollie: Do you think it's fun? Maria: vocalizes Mollie: Cool. And I know you like something else about Disneyland-- Jesus: squeals Mollie: --all times of year but also this time of the year, and what is that? Maria: vocalizes Jesus: vocalizes Johnny: vocalizes Mollie: Does everyone want to say it at the same time? Would that be good? Okay—1, 2, 3! Michael, Maria, Jesus: Pizza! Johnny: squeals Mollie: Maria loves the pizza at Disneyland. Awesome! Thank you for sharing, Maria. Jesus: Me, me, yes.  Mollie: Oh, and Jesus likes it too. Kyuta: vocalizes Mollie: And Kyuta! So, I heard Michael say you like the movies like Christmas movies or holiday movies, so Michael what's your favorite holiday movie? Michael: I like Home Alone. Mollie: You like Home Alone? Michael: Yeah. Mollie: Cool. Home Alone! Does anyone else like home alone? Jesus: Home, home.  Mollie: Yeah.  Juliet: claps Mollie: Oh, and Juliet, very good. So, Johnny what is your favorite part about the holidays is it Disneyland as well? Yes or no. Johnny: gestures Mollie: Yes, and as we're talking to Johnny right now he's wearing a jumper with Mickey Mouse with a Santa hat on and snowflakes. Jesus: Oh no no, oh no.  Mollie: So, I would say that's confirmed. Okay, Kyuta, what is your favorite part about this time of year? Do you like the music? Kyuta: vocalizes Mollie: And right now he's signing music in American Sign Language. Do you like the music, Kyuta? Kyuta: vocalizes Mollie: For ‘yes' you can clap, for ‘no' you can put your hands down. Do you like the music? Kyuta: vocalizes and claps Mollie: Very good, Kyuta! Alright! Speaking of music let's play the people some of our winter holiday and Christmas recordings. *Instrumental variation of Feliz Navidad finished*  *Instrumental It's the Most Wonderful Time of the Year original arrangement plays* PJ: DJ PJ! *All I Want for Christmas is You original arrangement plays in the background*  “All I Want for Christmas is You” lyrics I don't want a lot for Christmas There is just one thing I need I don't care about the presents underneath the Christmas tree I just want you for my own More than you could ever know Make my wish come true All I want for Christmas is you Yeah I don't want a lot for Christmas There is just one thing I need (and I) Don't care about the presents underneath the Christmas tree I don't need to hang my stocking there upon the fireplace Santa Claus won't make me happy with a toy on Christmas Day I just want you for my own More than you could ever know Make my wish come true All I want for Christmas is you You, baby  Mollie: And for our last winter holiday song, here is Santa Claus is Comin' to Town.  *Santa Claus is Comin' to Town original arrangement plays in the background* “Santa Claus is Comin' to Town” lyrics You better watch out You better not cry You better not pout I'm telling you why Santa Claus is coming to town He's making a list He's checking it twice He's gonna find out who's naughty or nice Santa Claus is coming to town He sees you when you're sleeping And he knows when you're awake He knows if you've been bad or good So be good for goodness sake You better watch out You better not cry You better not pout I'm telling you why 'Cause Santa Claus is coming to town 'Cause Santa Claus is coming to town  Mollie: Wow, incredible work! Thank you all for sharing your traditions! Another nice thing to do around this time of year is think of classic, beloved stories. We will be reading excerpts of “How the Grinch Stole Christmas” and an original Letter to Santa. Please enjoy the students' creativity and the speech group's hard work!  *Excerpts from “How the Grinch Stole Christmas”* *Instrumental You're a Mean One, Mr. Grinch plays in the background on electric guitar* (Target words underlined) And then They'd do something He liked least of all! Every Who down in Who-ville, the tall and the small,  Would stand close together, with Christmas bells ringing. They'd stand hand-in-hand. And the Whos would start singing!  They'd sing! And they'd sing! AND they'd SING! SING! SING! SING! And the more the Grinch thought of this Who-Christmas-Sing,  The more the Grinch thought, “I must stop this whole thing! “Why for fifty-three years I've put up with it now! “I MUST stop this Christmas from coming! …But HOW?”  And the Grinch grabbed the tree, and he started to shove When he heard a small sound like the coo of a dove. He turned around fast, and he saw a small Who! Little Cindy-Lou Who, who not more than two.   The Grinch had been caught by this tiny Who daughter Who'd got out of bed for a cup of cold water. She stared at the Grinch and said, “Santy Claus, why, “Why are you taking our Christmas tree? WHY?”  And the Grinch, with his grinch-feet ice-cold in the snow,  Stood puzzling and puzzling: “How could it be so? “It came without packages, boxes or bags!” And he puzzled three hours, till his puzzler was sore.  Then the Grinch thought of something he hadn't before! “Maybe Christmas,” he thought, “doesn't come from a store. “Maybe Christmas…perhaps…means a little bit more!”  And what happened then…? Well…in Who-ville they say That the Girnch's small heart Grew three sizes that day! And the minute his heart didn't feel quite so tight,  He whizzed with his load through the bright morning light And he brought back the toys! And the food for the feast! And he… …HE HIMSELF…! The Grinch carved the roast beast!  *Instrumental You're a Mean One, Mr. Grinch finishes*  Jenny: Here's our Letter to Santa. *Letter to Santa with background music featuring bells plays* (Target words underlined) Nanako: Dear Santa, Hey! My name is Michael Hinckley, and I am writing to you with my friends Chuy and PJ. Come to my house! It would make me happy. I know you, Mrs. Claus, and the elves work very hard. I will listen out for you when you say, “Ho ho ho” (three ho's). May I please have two shirts, an iPhone, and one DVD (choose between “Dumb and Dumber” and “South Park: The Movie”). Thank you and Happy Holidays! Love, Chuy, Michael, and PJ  Mollie: Thank you again for listening to CECA Star Club's episode of ArtBeat Radio. We hope you enjoyed and wish you joy and good health over the holidays and into the new year.  *Auld Lang Syne plays on piano*  *Outro music by Artbeat Radio staff*  We hope you enjoyed this episode of Artbeat Radio. For more information, please go to our website. Ableartswork.org. Thanks for listening and tune in next time! 

In addition to some great reminders of all there is to share this month, Regional Manager Chris Bartholomew brings us a very special guest. Someone who joined Shaklee in May of this year and since that time has...built to Director, earned mega Star Club bonuses, earned the Star Club Incentive Trip and...get this. She's a practicing physician as well as an author. We are excited and honored to introduce you to New Director Dr. Kelechi Uduhiri who shares her inspiring story with all of us. We guarantee you will leave this call more motivated than ever to share health and to live your truth.

In addition to some great reminders of all there is to share this month, Regional Manager Chris Bartholomew brings us a very special guest. Someone who joined Shaklee in May of this year and since that time has...built to Director, earned mega Star Club bonuses, earned the Star Club Incentive Trip and...get this. She's a practicing physician as well as an author. We are excited and honored to introduce you to New Director Dr. Kelechi Uduhiri who shares her inspiring story with all of us. We guarantee you will leave this call more motivated than ever to share health and to live your truth.

Welcome back to Artbeat Radio! Listen in as CECA's Star Club shares 3 karaoke songs that are guaranteed to bring the house down! Thanks for listening and tune in next time! For more information about our organization, please visit our website www.ableartswork.org   Audio Transcription: (Please listen on Podomatic or Spotify to view the full transcript) *Intro music by Artbeat Radio staff*  Music, stories, and more! You're listening to Artbeat Radio, a program of Able ARTS Work.  ALL: Welcome to CECA's Star Club. Jenny: With ArtBeat Radio. Jenny: Nothing says Fall like karaoke.  PJ: What? Jesus: Why you! Jenny: Even so, there's never a bad time for karaoke. CECA presents three of the best songs to sing for karaoke. Remember to have fun, and give it some soul!  Lyrics for “Your Love” by The Outfield below.  Josie's on a vacation far away Come around and talk it over So many things that I want to say You know I like my girls a little bit older I just want to use your love tonight I don't want to lose your love tonight I ain't got many friends left to talk to Nowhere to run when I'm in trouble You know I'd do anything for you Stay the night but keep it undercover I just want to use your love tonight (whoa) I don't want to lose your love tonight Try to stop my hands from shaking But something in my mind's not making sense It's been a while since we were all alone I can't hide the way I'm feeling As you're leaving, please would you close the door? And don't forget what I told you Just 'cause you're right that don't mean I'm wrong Another shoulder to cry upon I just want to use your love tonight (yeah) I don't want to lose your love tonight (yeah) I just want to use your love tonight I don't want to lose your love tonight   Lyrics for “Sweet Child O' Mine” by Guns N' Roses below She's got a smile that it seems to me Reminds me of childhood memories Where everything was as fresh as the bright blue sky Now and then when I see her face She takes me away to that special place And if I stare too long, I'd probably break down and cry Whoa, oh, oh Sweet child o' mine Whoa, oh, oh, oh Sweet love of mine   Lyrics for “Livin' on a Prayer” by Bon Jovi below Tommy used to work on the docks, union's been on strike He's down on his luck, it's tough, so tough Gina works the diner all day working for her man She brings home her pay, for love, for love She says, we've got to hold on to what we've got It doesn't make a difference if we make it or not We've got each other and that's a lot for love We'll give it a shot Woah, we're half way there Woah, livin' on a prayer Take my hand, we'll make it I swear Woah, livin' on a prayer Tommy's got his six-string in hock Now he's holding in what he used to make it talk So tough, it's tough Gina dreams of running away When she cries in the night, Tommy whispers Baby, it's okay, someday We've got to hold on to what we've got It doesn't make a difference if we make it or not We've got each other and that's a lot for love We'll give it a shot Woah, we're half way there Woah, livin' on a prayer Take my hand, we'll make it I swear Woah, livin' on a prayer Livin' on a prayer  Jenny: I hope you enjoyed the show. Thanks for listening to ArtBeatRadio!  *Outro music by Artbeat Radio staff*  We hope you enjoyed this episode of Artbeat Radio. For more information, please go to our website. Ableartswork.org. Thanks for listening and tune in next time! 

Alex and Mike pay tribute to The Killer, Jerry Lee Lewis. In closing of this episode, we included what is considered one of the greatest live recordings of all time. Jerry Lee Lewis Live at The Star Club. We hope you enjoy this as much as we have. 

Hosts Jim DeRogatis and Greg Kot are joined by indie rock stalwarts Superchunk for a live performance and interview at the Goose Island Tap Room in Chicago. The hosts also pay tribute to Jerry Lee Lewis. Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah  Mobile: sayhi.chat/soundops Featured Songs:Superchunk, "Endless Summer," Wild Loneliness, Merge, 2022Jerry Lee Lewis, "Great Balls of Fire," Great Balls of Fire (Single), Sun, 1957Jerry Lee Lewis and the Nashville Teens, "Good Golly, Miss Molly (Live 1964)," Live at the Star Club, Hamburg, Philips, 1964Jerry Lee Lewis, "Middle Age Crazy," Country Memories, Mercury, 1977Superchunk, "This Night," Wild Loneliness, Merge, 2022Superchunk, "Wild Loneliness," Wild Loneliness, Merge, 2022Superchunk, "City of the Dead," Wild Loneliness, Merge, 2022Superchunk, "Endless Summer (Live on Sound Opinions)," Wild Loneliness, Merge, 2022Superchunk, "If You're Not Dark," Wild Loneliness, Merge, 2022Superchunk, "Learned to Surf (Live on Sound Opinions)," Majesty Shredding, Merge, 2010

Brian and Murdock remember "the last one" - The Killer, Jerry Lee Lewis - and discuss the time he went to blows with a certain member of the 27 Club. SHOW NOTES: https://en.wikipedia.org/wiki/Jerry_Lee_Lewis https://www.factinate.com/people/facts-jerry-lee-lewis/ https://musicoholics.com/best-of-the-best/the-wild-life-of-jerry-lee-lewis-aka-the-killer/ https://www.vulture.com/2022/10/jerry-lee-lewis-obituary-1935-2022.html https://en.wikipedia.org/wiki/Boogie-woogie https://www.npr.org/transcripts/366614537 https://en.wikipedia.org/wiki/Eddie_Kilroy https://en.wikipedia.org/wiki/Janis_Joplin https://www.latimes.com/entertainment/music/la-et-ms-1968-the-doors-at-the-forum-20180420-story.html https://www.smh.com.au/culture/music/janis-joplin-s-scrapbooks-reveal-the-flipside-of-a-rock-n-roll-tragedy-20210326-p57efd.html https://tasteofcountry.com/did-jerry-lee-lewis-set-a-piano-on-fire/ 1001 Album Club podcast: https://www.1001albumclub.com/episodes/048-jerry-lee-lewis-live-at-the-star-club-hamburg/

… in which we remember the luminous music and diabolical life of the last of the old rock and roll guard standing. And this includes … the weird old America he came from (backwoods country, religious sects with their transporting songs), the career-cancelling British tour in 1958, the electrifying Live at The Star Club album, the Steve Allen Show breakthrough and the Seven Wives of Jerry Lee Lewis. Much to applaud, much to deplore. … and some of his deathless lyrics eg ‘39 And Holding' – ‘Dim lights hide the mileage line/ Clairol hides the grey/ And he won't mention anything to give his old age away'. Stevie Wonder's ‘Talking Book' was released 50 years ago this week. How did it change the landscape of electronic music forever? Jockstrap, First Aid Kit, Dry Cleaning, Small Feet, Thermos and Diarrhea Planet. One of these is not a real band. But which? The new ‘Revolver' remix. A technological masterpiece but don't we prefer music to sound the way we first heard it on the equipment at the time?   The Giles Fraser parlour game. You have to go back to school and can appoint all the staff yourself but they have to be from the music world. Who's headmistress (Dolly Parton? Annie Lennox?). Head of Art (Ferry? Eno?). Head of English (Richard Thompson?). Head of Science (Tom Dolby?). Matron (Clare Grogan? Lulu?). Plus birthday guests Giles Fraser and Ian Martin and new patrons recast as TV presenters. Jerry Lee Lewis on the Steve Allen Show in 1957: https://www.youtube.com/watch?v=Fw7SBF-35EsSubscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world - with full visuals!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

… in which we remember the luminous music and diabolical life of the last of the old rock and roll guard standing. And this includes … the weird old America he came from (backwoods country, religious sects with their transporting songs), the career-cancelling British tour in 1958, the electrifying Live at The Star Club album, the Steve Allen Show breakthrough and the Seven Wives of Jerry Lee Lewis. Much to applaud, much to deplore. … and some of his deathless lyrics eg ‘39 And Holding' – ‘Dim lights hide the mileage line/ Clairol hides the grey/ And he won't mention anything to give his old age away'. Stevie Wonder's ‘Talking Book' was released 50 years ago this week. How did it change the landscape of electronic music forever? Jockstrap, First Aid Kit, Dry Cleaning, Small Feet, Thermos and Diarrhea Planet. One of these is not a real band. But which? The new ‘Revolver' remix. A technological masterpiece but don't we prefer music to sound the way we first heard it on the equipment at the time?   The Giles Fraser parlour game. You have to go back to school and can appoint all the staff yourself but they have to be from the music world. Who's headmistress (Dolly Parton? Annie Lennox?). Head of Art (Ferry? Eno?). Head of English (Richard Thompson?). Head of Science (Tom Dolby?). Matron (Clare Grogan? Lulu?). Plus birthday guests Giles Fraser and Ian Martin and new patrons recast as TV presenters. Jerry Lee Lewis on the Steve Allen Show in 1957: https://www.youtube.com/watch?v=Fw7SBF-35EsSubscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world - with full visuals!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

… in which we remember the luminous music and diabolical life of the last of the old rock and roll guard standing. And this includes … the weird old America he came from (backwoods country, religious sects with their transporting songs), the career-cancelling British tour in 1958, the electrifying Live at The Star Club album, the Steve Allen Show breakthrough and the Seven Wives of Jerry Lee Lewis. Much to applaud, much to deplore. … and some of his deathless lyrics eg ‘39 And Holding' – ‘Dim lights hide the mileage line/ Clairol hides the grey/ And he won't mention anything to give his old age away'. Stevie Wonder's ‘Talking Book' was released 50 years ago this week. How did it change the landscape of electronic music forever? Jockstrap, First Aid Kit, Dry Cleaning, Small Feet, Thermos and Diarrhea Planet. One of these is not a real band. But which? The new ‘Revolver' remix. A technological masterpiece but don't we prefer music to sound the way we first heard it on the equipment at the time?   The Giles Fraser parlour game. You have to go back to school and can appoint all the staff yourself but they have to be from the music world. Who's headmistress (Dolly Parton? Annie Lennox?). Head of Art (Ferry? Eno?). Head of English (Richard Thompson?). Head of Science (Tom Dolby?). Matron (Clare Grogan? Lulu?). Plus birthday guests Giles Fraser and Ian Martin and new patrons recast as TV presenters. Jerry Lee Lewis on the Steve Allen Show in 1957: https://www.youtube.com/watch?v=Fw7SBF-35EsSubscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world - with full visuals!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Welcome back to Artbeat Radio!  Today we hear CECA's Star Club! Listen in as CECA shares about how to throw the best Halloween party! Many students participated in the creation of this podcast. Below are the following with media consent.  Andy, Mila, Maria D, Maria G, Johnny, Satchel, Michael, Harry, Jenny, Nanako, Jesus, Juliet, Kyuta, Drea, and PJ.   Thanks for listening and tune in next time! For more information about our organization, please visit our website www.ableartswork.org   Audio Transcription: (Please listen on Podomatic or Spotify to view the full transcript) *Intro music by Artbeat Radio staff*  Music, stories, and more! You're listening to Artbeat Radio, a program of Able ARTS Work.  ALL: Welcome to CECA's Star Club. Jenny: With ArtBeat Radio.  Halloween music intro starts with Jesus' scary laugh.    Mollie: Based on that spooky soundtrack, can you guess what holiday is coming up on October 31st? Jenny & PJ: It's Halloween! Mollie: It's Halloween! Exactly.     Halloween piece composed by Drea on acoustic guitar, keyboard, and Soundtrap loops plays.   Mollie: Today, our experts will tell you how to throw the best Halloween party you've ever been to.   PJ: Now there's a few things you'll need.   Jenny & PJ: Venue, guest list, decorations, activities, food, DJ.  Jenny: Let's get into it! Firstly, you need a venue with enough space to move around. For our example, we will be hypothetically throwing the best party ever right here at CECA.   Mollie: So, what are some good recommendations for a venue, DJ PJ?  PJ: Burgers and burritos.  Mollie: A venue? Not a menu, a venue! Laughs. Why you! So for a venue, do you think maybe a house?  PJ: Yes.   Mollie: A family member's house?  PJ: Yes.   Mollie: A park?  Organ music begins played in a minor key.   PJ: Yes.   Mollie: A bowling alley?  PJ: No.   Mollie: Oh, okay, what about the beach?  PJ: No.  Mollie: Not the beach either?  PJ: No.   Mollie: Okay, so just a house or a park.   PJ: Yeah.   Mollie: Alright. You heard it here first, folks. A house or a park is the ideal venue.   Mollie: Now who to invite? HOW to invite them? Call your friends and family!  PJ: Send out invitations to all the programs: EPI, San Diego, Art Center, and Long Beach. Maybe send out secret invisible invitations!  Jenny: The place has to look FANTASTIC if you are inviting all your favorite people! We would suggest your Halloween party has…  Jenny: …Halloween lights,   PJ: …a spooky graveyard,   PJ: 5 spiders, spider webs,   Jenny & PJ: orange and black streamers,   Jenny: …2 eye balls,  PJ: 4 monsters, and a   Jenny & PJ: …fog machine.  Jenny: Every good party needs some action! That's why at CECA, we would have a costume contest, pumpkin carving, dance party, a haunted house, and spooky movie showings!   Jenny & PJ: Try to guess these famous films by the popular song. We would watch films like…  Theme song sequence plays. Everyone at CECA played their part.   Jenny: The Addams Family  ALL:  Day-o, day-o,  daylight comes and I wanna go home.  Day-isa-day-isa-day-isa-day-isa-day-isa-day-o.  Daylight come and I wanna go home  Jenny: Beetlejuice  ALL:  When there's something strange  in the neighborhood Who you gonna call?  Ghostbusters! If there's something weird,  and it don't look good.  Who you gonna call?  Ghostbusters?  Jenny: Ghostbusters  ALL:  I put a spell on you And now you're mine You can't stop the things I do I ain't lying  It's been three hundred years Right down to the day Now the witch is back And there's hell to pay  I put a spell on you And now you're mine!  I put a spell on you And now you're gone Gone, gone, gone so long   My whammy fell on you And it was strong So strong, so strong, so strong!  Your wretched little lives Have all been cursed 'Cause of all the witches working I'm the worst  I put a spell on you And now you're mine  I put a spell on you And now you're mine  Jenny: Hocus Pocus  Jenny: It sounds like the place is decked out! Won't people get hungry doing so much fun stuff?  Organ music plays in a minor key.  JQ: Oh yes!  PJ: We recommend serving…   Jenny: Eyeball cupcakes, chocolate dirt cups with gummy worms, spooky punch with Hawaiian punch, eyeballs, gummy worms, gummy brains, dry ice, and 5 gummy ghosts in a witch's cauldron.  Mollie : Wow, that sounds like the deliciousness of that food would only be enhanced by creepy music! Be sure to secure a DJ to create the perfect frightening atmosphere. For our party, we would hire DJ PJ and DJ Michael.   Intro to CECA's rendition of “Thriller” by Michael Jackson plays.   Jenny: This is our rendition of “Thriller” by Michael Jackson.  CECA's rendition of “Thriller” by Michael Jackson continues to play.   ALL:  It's close to midnight Something evil's lurking in the dark Under the moonlight You see a sight that almost stops your heart You try to scream But terror takes the sound before you make it You start to freeze As horror looks you right between the eyes You're paralyzed  'Cause this is thriller, thriller night And no one's gonna save you From the beast about to strike You know it's thriller, thriller night You're fighting for your life inside a killer, thriller, ow  You hear the door slam And realize there's nowhere left to run You feel the cold hand And wonder if you'll ever see the sun You close your eyes And hope that this is just imagination (Girl) But all the while You hear a creature creepin' up behind You're out of time  'Cause this is thriller, thriller night And no one's gonna save you From the beast about to strike You know it's thriller, thriller night You're fighting for your life inside a killer, thriller, ow  Halloween music with organ and sounds of dogs barking and cats purring plays.  Mollie: Now not everything has to be in theme with Halloween. Our resident DJs recommend any music that gets people up and dancing! They prefer rap music like…  PJ: Snoop Dogg, Tupac, Biggie, and Wiz Khalifa…  Mollie: and Latin music like…  PJ: Selena, Ricky Martin, and banda music. It is important to note the Cha Cha slide and Cupid shuffle are undeniable American classics.    Lines from “Cha Cha Slide” and “Cupid Shuffle” play on organ.  Organ music continues in a minor key.  Mollie: We would recommend non-scary foods like candy, cake, Tres leches, chicken fingers, French fries, tacos with mole, coke, pizza with pepperoni, and rice.  PJ: Oh, yes!  Mollie: Jenny do you know what you are going to dress up as for Halloween?  Jenny: A cow.  Mollie: Ooo! Excellent!  Mollie: And PJ what will you be for Halloween?  PJ: I wanna be, like… I was SpongeBob last year.   Mollie: And will you be SpongeBob again this year?  PJ: I need to go buy a new costume.   Mollie: And where are you going to buy a new costume?  PJ: Grocer—Ah! I was about to say grocery store.   Mollie: laughs Don't buy your Halloween costume from a grocery store!  PJ: No!  Mollie: You're going to be dressed as a potato sack!  PJ: Target is better to buy Halloween costumes.   Mollie: Right on. On that note, we hope you have a great Halloween! See you next time with CECA's Star Club on   Jenny: ArtBeat Radio!  Instrumental guitar piece plays composed by virtual class.  *Outro music by Artbeat Radio staff*  We hope you enjoyed this episode of Artbeat Radio. For more information, please go to our website. Ableartswork.org. Thanks for listening and tune in next time! 

Description Today with CECA's Star Club, we are making enchiladas! Please enjoy the original Latin-inspired music and follow along with our audio instructions on Spotify or with the audio and video on YouTube. Many students at CECA were involved in the virtual making of the enchiladas and accompanying music with vocals featuring Jesus, DJ PJ, Maria, and Satchel. Enjoy this tasty episode.   *0:00-0:26 Energetic original Latin music plays in the background*Voice: Uno, dos, tres, cuatro.All: Welcome to CECA's Star Club on Art Beat Radio! Mollie: Today with CECA's Star Club, we will be making enchiladas. So, follow along with the audio or video.  *0:36-4:28 Enchilada recipe song*Jesus: Yeehaw. Mollie: Have you made enchiladas, Maria?Maria: No!PJ: Preheat the oven to 395.Jesus: Dice 5 tomatoes.PJ: Cook on medium heat for 5 minutes.Mollie: Stir, stir, stir the tomatoes.PJ: Add half a cup of diced onion.PJ: A tablespoon of--Jesus: Garlic.PJ: Quarter cup of oil. A tablespoon of the following…PJ & Jesus: Tomato paste, pepper--Jesus: Cumin, paprika, oregano--PJ, Maria, Jesus: CayennePJ: A teaspoon of sugar, salt, and--PJ & Maria: chili powder.PJ: Mix mix in the spices.PJ: Add a cup of --Jesus: --agua and simmer--PJ: --for 10 minutesPJ: Cool and puree.PJ and Jesus: One, two, three!Mollie: Boil the following in 4 cups of water...Satchel: Chicken, chicken--Satchel, PJ, & Maria: Chicken!Mollie: Half a cup onions, quarter cup cilantro, one tablespoon pepper, one tablespoon garlic, one teaspoon salt. Mix it. Bring to a boil, and place on the lid.Jesus: Boil for 20 minutes.Maria: VocalizesMollie: Shred the cheese and chicken. Add a spoon of sauce to the chicken and mix. Add mozzarella cheese and red onions and cheddar cheese. Grab a tortilla, put the chicken in, then the cheese, and onions, roll. Add sauce to the tray, place the enchiladas in the tray. Make about 5 or 6. Maria: Yes!Mollie: Add sauce on top; sprinkle cheese on top; then bake at 392 degrees Fahrenheit-- Jesus: Hot hot hot!Mollie: --for 15 minutes. Jesus: Ha ha.Mollie: Take out of the oven, then turn off the oven. Enjoy.Anonymous: VocalizesMollie: Tomato paste, and a bunch of different spices, but we need to add--PJ: Tomato paste.Mollie: What did you say?PJ: It's tomato paste.Mollie: Oh, not tomato?Pj: No, why you! Tomato. Mollie: We hope you enjoyed our enchilada audio or video as you followed along making your own delicious enchilada. Please enjoy this next enchilada song as you eat your first bite of your enchilada *4:44-5:27 enchilada song plays*Satchel: Enchilada, yum.  Mollie: Thank you, and we'll see you next time at CECA's Star Club with ArtBeatRadio. Click here to WATCH "An Enchilada Recipe" https://www.youtube.com/watch?v=B8PwCXC6v_0 

In this episode, Brit, Sam, Cork, and Peaches discuss a trip down to DC with a dull 0-0 result and look at the incoming players and ahead to the upcoming match against Orlando

Description: For CECA's Star Club's July addition of ArtBeatRadio, we wanted to celebrate the Fourth of July with what we consider to be patriotic songs. We recorded our voices and our instruments, rewrote lyrics, and discussed and altered the creative direction of various songs. We hope this episode makes you feel at home and ready to P-A-R-T-Y.  Your hosts and producers, Jenny, Jesus, PJ, Kyuta, Michael, Maria, Drea, and the CECA groupTranscription:ALL: Welcome to CECA's Star Club.  JENNY: On ArtBeatRadio.JESUS & PJ: You are listening to CECA's American Birthday Episode.MICHAEL: We hope you had a nice 4th of July.MOLLIE: We do hope you had a nice 4th of July filled with good food--JESUS: I ate some Chicken tacos and S-O-D-A, mmmmmmm.MOLLIE: And maybe fireworks. KYUTA: Wow fireworks! JENNY: We wrote some fun songs for America that we're excited to share with everyone! MOLLIE: Our first song is an acappella Version of the  MICHAEL: Star Spangled Banner!  MOLLIE: We hope you enjoy!  KYUTA: Enjoy! STAR SPANGLED BANNER PLAYS JESUS: Wow! Fun! PJ: Up next is our version of “America” by Simon and Garfunkel  AMERICA PLAYSAH: Fine. MOLLIE: That was fine! Up next, we have Surfin' USA by the Beach Boys! SURFIN' USA PLAYSPJ: Fun in the sun! Our last song for you guys is our rendition of “Friends in Low Places” by Garth Brooks  FRIENDS IN LOW PLACES PLAYSMICHAEL: I love that song.MARIA: Wow! JENNY: Thank you all for listening! We hope you enjoyed our songs. Until next time!  PJ & JESUS: Goodbye!

Leute, da hat euch die cholerische Kampfkatze aus Hamburg City mal wieder ein ordentliches Brett vor die Tür gelegt! Weil hier drei Alptraumtänzer zu Kraftwerk-Klängen und Rammstein-Pyro mal eben so derbe über den Bundesliga-Dancefloor gehottet sind, als wären wir eine Menschmaschine im Körper des noch jungen Campino. Aber es gab ja auch genug Schlagzeilen zum Mitschunkeln und Engtanzen, echte Gassenhauer im Süden und feinste Emo-Schmonzetten im Westen. Bisschen Heimat, bisschen Heintje, sehr viel Hardcore. Dazu noch ein paar Freiwild-Riffs aus dem Mutterland der Volksmusik. So klingt er dann also, der Soundtrack der Sommerpause. Dieses Radio Gaga, Mittelwellenbrecher. Und so wischten wir, angemessen taktlos aber überraschend textsicher, über das Parkett der Peinlichkeiten, fesch in Lederhosen, immer ein Auge auf's Geschäft, immer eins im Plattenkasten, dabei die Quetschkommode im Anschlag. Dabei ordentlich Punk in der Hüfte. Wir würden ja, das wisst ihr doch, nie zum FC Bayern geh'n, und doch jeden beglückwünschen, der es tut. Weil dort in München jede Aufstellung eine Hitparade ist, selbst wenn der Schlager jetzt in Leipzig läuft. Und weil sich einer aus Liverpool überhaupt nur deshalb bei den Bayern auf die Bühne stellt, weil sie der letzte echte Star-Club sind. (Auch wenn sie zuletzt, Help!, vom gelben U-Boot versenkt wurden, aber das ist eine andere Geschichte.) Nun ja. Während in Sirnitz also vor allem das weiße Album auf dem Grammophon liegt und in Frankfurt ein vermeintliches One-Hit-Wonder sein Comeback feiern darf, haben wir, Schellackaffen mit dickem Fell, im Studio einfach den nächsten Kracher eingesungen. Unter dem Motto: Ton, Scheine, sterben. Ohne Roth zu kassieren. Also dreht die Regler nach rechts und lasst die Puppen tanzen. Viel Spaß!

In March of 1957, John Winston Lennon formed a "skiffle" group called The Quarrymen. What is "skiffle," you may be asking? It's a kind of folk music with a blues or jazz flavor that was popular in the 1950s, played by a small group and often incorporating improvised instruments such as washboards. On July 6, '57, Lennon met a guy named James. James Paul McCartney, while playing at the Woolton Parish church fete. In Britain, fêtes are traditional public festivals held outdoors and organized to raise funds for a charity. On February 6, 1958, the young up-and-coming guitarist George Harrison was invited to watch the group perform at Wilson Hall, Garston, Liverpool. He was soon brought in as a regular player. During this period, members continually joined and left the lineup. Finally, Lennon, McCartney, Harrison, and Stuart Sutcliffe (a classmate of Lennon at Liverpool Art College) emerged as the only constant members. One day, the members showed up to a gig wearing different colored shirts, so they decided to call themselves 'The Rainbows.' In a talent show they did in 1959, they called themselves 'Johnny and the Moondogs.' Once again, changing their name to "The Silver Beatles," they eventually decided, on August 17, 1960, on the moniker "The Beatles." Why did they choose the Beatles, Logan? They were huge fans of Buddy Holly and The Crickets – as a way of emulating their heroes, they called themselves after an insect. Right?   Well, According to John Lennon, "It came in a vision – a man appeared on a flaming pie and said unto them, 'from this day forward you are the Beatles with an 'A'! Thank you, mister man, they said, thanking him," he said.   Most of the accounts claim that Lennon's love of wordplay led them to adopt the 'a' eventually. Lennon would explain in a 1964 interview: "It was beat and beetles, and when you said it, people thought of crawly things, and when you read it, it was beat music."   After Lennon died in 1980, George Harrison claimed that the name came about differently in the Beatles' Anthology documentary (as is usually the case).   Harrison claimed that the name, 'The Beatles', came from the 1953 Marlon Brando film, The Wild One. In the film, Brando played a character called 'Johnny' and was in a gang called 'The Beetles.'   This answer would add up considering that the group also flirted with the name of 'Johnny and the Beetles', as well as 'Long John and the Silver Beetles.' Their unofficial manager, Allan Williams, arranged for them to perform in clubs on the Reeperbahn in Hamburg, Germany. On August 16, 1960, McCartney invited a guy named Pete Best to become the group's permanent drummer after watching Best playing with The Blackjacks in the Casbah Club. The Casbah Club was a cellar club operated by Best's mother Mona in West Derby, Liverpool, where The Beatles had played and often visited. They started in Hamburg by playing in the Indra and Kaiserkeller bars and the Top Ten club. George, who was only seventeen years old, had lied about his age, and when this little fact was discovered, he was deported by the German authorities. Paul and Pete thought it was good to start a small fire by lighting an unused condom in their living quarters while leaving it for more luxurious rooms. Arrested and charged for arson, they too were both deported. Lennon and Sutcliffe followed suit and returned to Liverpool in December. While in Germany, they stayed in a small room with bunkbeds. George Harrison admitted in The Beatles Anthology that this made things especially awkward when he crawled under the sheets with a woman for the first time — Lennon, McCartney, and then-drummer Pete Best actually applauded for him after the deed was done. Harrison joked, "At least they kept quiet while I was doing it."   They went back a second time and played the Top Ten Club for three months (April-June 1961). Stuart Sutcliffe decided to remain in Germany to concentrate on painting and left the group during this time. Sutcliffe's departure led McCartney to switch from playing rhythm guitar to bass guitar. While they were playing at the Top Ten, they were recruited by singer Tony Sheridan to act as his "backing band" on a series of recordings for the German Polydor Records label, produced by famed bandleader Bert Kaempfert ("Strangers in the Night", "Danke Schoen"). Kaempfert signed the group to its own Polydor contract at the first session on June 22, 1961. On October 31, Polydor released the recording, My Bonnie (Mein Herz ist bei dir nur), which made it into the German charts under Tony Sheridan and The Beat Brothers. Around 1962, My Bonnie was mentioned in Cashbox as the debut of a "new rock and roll team, Tony Sheridan and the Beatles," and a few copies were also pressed for U.S. disc jockeys. Cashbox, also known as Cash Box, was a music industry trade magazine published initially weekly from July 1942 to November 1996. Ten years after its dissolution, it was revived and continues as Cashbox Magazine, an online magazine with weekly charts and occasional special print issues. The band's third stay in Hamburg was from April 13–May 31, 1962, when they opened The Star Club. However, that stay was dampened when Astrid Kirchherr informed them upon their arrival of Sutcliffe's death from a brain hemorrhage. Astrid, a German photographer, and friend of the Beatles, revealed that her fiancé (and former Beatles bass player) Stuart Sutcliffe had died. No one was more shocked than John Lennon, who reportedly broke out in a fit of hysterical laughter at the idea of losing his art school buddy.   Upon their return from Hamburg, the group was enthusiastically promoted by local promoter Sam Leach, who presented them for the next year and a half on various stages in Liverpool forty-nine times. Brian Epstein (no relation to a particular disgusting human being), took over as the group's manager in 1962 and led The Beatles' quest for a British recording contract. In one now-famous exchange, a senior Decca Records A&R executive named Dick Rowe turned Epstein down flat and informed him that "The Decca audition for guitar groups are on the way out, Mr. Epstein." Remember Decca? They were Buddy Holly's first record label that thought "rock n roll was a fad." Strike two, Decca. Strike two. Epstein eventually met with producer George Martin of EMI's Parlophone label. Martin expressed an interest in hearing the band in the studio. So he invited the band to London's Abbey Road studios to audition on June 6. Martin wasn't particularly impressed by the band's demo recordings but instantly liked them when they met. He concluded that they had raw musical talent but said (in later interviews) that what made the difference for him that fateful day was their wit and humor in the studio.   Martin privately suggested to Brian Epstein that the band use another drummer in the studio. Yikes. Pete Best had some popularity and was considered attractive by many fans. Still, the three founding members had become increasingly unhappy with his popularity and personality, and Epstein had become exasperated with his refusal to adopt the distinctive hairstyle as part of their unified look. So Epstein sacked Best on August 16, 1962. Lennon and McCartney immediately asked their friend Richard Starkey, the drummer for one of the top Merseybeat groups, Rory Storm and the Hurricanes, to join the band. Unfortunately, Rory Storm didn't want to release Starkey but let Starkey out of his contract. Oh... Richard Starkey would eventually be known as "Ringo Starr." He chose Ringo because of the rings he wore, and it also had a cowboy feel to it. His drum solos were referred to as Starr Time.   The Beatles' first EMI session on June 6 did not yield any releasable recordings, but the September sessions produced the minor U.K. hit, "Love Me Do," which peaked on the charts at number 17. The single reached the top of the United States singles chart more than 18 months later in May 1964. This single was swiftly followed by their second single, "Please Please Me." They recorded their first album (also titled Please Please Me) three months later. George Martin capitalized on the wild, live energy the boys perfected in Hamburg and recorded the entire Please Please Me LP in less than 13 hours — saving "Twist and Shout" for last so the taxing vocals wouldn't ruin Lennon's voice before the other songs were done. That's fourteen songs. Luckily, the longest song on the album was only 2 minutes and 54 seconds long. The shortest was a minute and 47 seconds.   The band's first televised performance was on a program called People and Places, transmitted live from Manchester by Granada Television on October 17, 1962. The band experienced massive popularity on the record charts in the U.K. from early 1963. However, Parlophone's American counterpart, Capitol Records (owned by EMI), refused to issue their singles "Love Me Do," "Please Please Me," and "From Me to You" in the United States. Mainly because no British act had ever had a sustained commercial impact on American audiences.   Vee-Jay Records, a small Chicago label, is said by some to have been pressured into issuing these initial singles. Allegedly it was part of a deal for the rights to another performer's masters. Art Roberts, music director of Chicago powerhouse radio station WLS, placed "Please Please Me" into radio rotation in late February 1963, making it possibly the first time the American people heard a Beatles record on American radio. In August 1963, the Philadelphia-based Swan Records tried again with The Beatles' "She Loves You," which failed to receive airplay.   After The Beatles' massive success in 1964, Vee-Jay Records and Swan Records took advantage of their previously secured rights to The Beatles' early recordings and reissued the songs they had rights to, which all reached the top ten of the charts the second time around. Then, in a shifty move, Vee-Jay Records issued some weird L.P. repackaging of the Beatles' material they had and released "Introducing… The Beatles," which was basically The Beatles' debut British album with some minor alterations. Andi Lothian, a former Scottish music promoter, laid claim to the term in that he coined 'Beatlemania" while speaking to a reporter on October 7, 1963 at the Caird Hall in Dundee at a Beatles concert that took place during The Beatles' 1963 Mini-Tour of Scotland. Beatlemania was taking over the world.   In early November 1963, Brian Epstein persuaded Ed Sullivan to commit to presenting The Beatles on three editions of his show in February. He turned this guaranteed exposure into a record deal with Capitol Records. Capitol agreed to a mid-January 1964 release for "I Want to Hold Your Hand." Still, unexpected circumstances triggered premature airplay of an imported copy of the single on a Washington D.C. radio station in mid-December. Capitol brought forward the release of the record on December 26, 1963.   Bob Dylan introduced The Beatles to the cannabis drug in 1964 in a New York hotel room. He offered the "Fab Four" marijuana as a consequence of his misconception that the lyrics in their hit song "I Want to Hold Your Hand" from Meet the Beatles! were "I get high" instead of "I can't hide." This initial partaking in drugs grew into heavier experimentation with LSD and other substances whose psychedelic effects were commonly thought to have manifested themselves in the band's music. The Beatles, in turn, would influence Dylan's move into an electrified rock sound in his music.   Several New York City radio stations—first WMCA, then WINS, and finally, WABC began playing "I Want to Hold Your Hand" on its release day. The Beatlemania that had started in Washington was duplicated in New York and quickly spread to other markets. The record sold one million copies in just ten days. By January 16, Cashbox Magazine had certified The Beatle's record as number one in the edition published with the cover-date January 23, 1964.   This widespread phenomenon contributed to the near-hysterical fan reaction on February 7, 1964 at John F. Kennedy International Airport (which had been renamed in December 1963 from Idlewild Airport). A record-breaking seventy-three million viewers, approximately 40 percent of the U.S. population at the time, tuned in to the first Ed Sullivan Show appearance two days later on February 9. During the week of April 4, The Beatles held the top five places on the Billboard Hot 100, a feat that has never been repeated. They had an additional seven songs at lower positions. That's twelve songs on the Billboard charts at once. Of all the music acts on the charts, 12 percent of the entries consisted of Beatles songs. They were so unaware of their popularity in America that, on their arrival, they initially thought the crowds were there to greet someone else.   Oh, and their Concerts Often Smelled Like Urine Apparently, the masses of young girls who turned up for their concerts, movie premieres, or to wave hello as the Beatles walked off the plane in a new city were apparently too distracted by their love for the band to care about whether or not their bladders were full. DSo, they'd pee themselves.  In 1964, the band undertook their first appearances outside of Europe and North America, touring Australia and New Zealand, notably without Ringo Starr, who was ill and was temporarily replaced by session drummer Jimmy Nicol. When they arrived in Adelaide, The Beatles were greeted by what is reputed to be the largest crowd of their touring career, when over 300,000 people turned out to see them at the Adelaide Town Hall. Yeah, Adelaide's population was only right around 200,000. In September of that year, baseball owner Charles O. Finley paid the band the unheard-of sum of $150,000 to play in Kansas City, Missouri. That's $1,398,914.52 today and utterly unheard of at that time.   In 1965, Queen Elizabeth II of the United Kingdom bestowed the band the Member of the Order of the British Empire or MBE, a civil honor nominated by Prime Minister Harold Wilson.   On August 15, that year, The Beatles performed in the first stadium rock concert in the history of Rock n roll, playing at Shea Stadium in New York to a crowd of 55,600. The stadium's capacity is 57,333. The band later admitted that they had mainly been unable to hear themselves play or sing due to the volume of screaming and cheering. This concert is generally considered when they started disliking playing live shows.   In 1965, recently interested in Indian music, George Harrison purchased a sitar. He played it in the song Norwegian Wood (This Bird Has Flown), the first instance of such an instrument being used on a rock record. He later took sitar lessons from maestro Ravi Shankar, and implemented additional elements of Eastern music and spirituality into his songs, notably Love You To and Within You Without You. These musical decisions significantly increased the influence of Indian music on popular culture in the late 1960s.   In July 1966, when The Beatles toured the Philippines, they unintentionally snubbed the nation's first lady, Imelda Marcos, who had expected the group to attend a breakfast reception at the Presidential Palace. Manager Brian Epstein was forced to give back all the money that the band had earned while there before being allowed to leave the country.   Upon returning from the Philippines, an earlier comment by John Lennon back in March of that year launched a backlash against The Beatles. In an interview with British reporter Maureen Cleave, Lennon had offered his opinion that Christianity was dying and that The Beatles were "more popular than Jesus now." Oops!   There was an immediate response, starting with an announcement by two radio stations in Alabama and Texas that they had banned Beatles' music from their playlists. WAQY DJ, Tommy Charles said: "We just felt it was so absurd and sacrilegious that something ought to be done to show them that they can't get away with this sort of thing." Around two dozen other stations followed suit with similar announcements. Some stations in the South (shocker) went further, organizing demonstrations with bonfires, drawing hordes of teenagers to burn their Beatles' records and other memorabilia publicly. Many people affiliated with churches in the American South took the suggestion seriously.   The Memphis, TN city council, aware that a Beatles' concert was scheduled at the Mid-South Coliseum during the group's upcoming U.S. tour, voted to cancel it. Rather than have "municipal facilities be used as a forum to ridicule anyone's religion" and said, "The Beatles are not welcome in Memphis." On August 13, The Ku Klux Klan nailed a Beatles' album to a wooden cross and subsequently burned it, vowing "vengeance," with conservative groups staging further public burnings of Beatles' records.   Young people across the United States and South Africa burned Beatles records in protest. Then, under tremendous pressure from the American media, John Lennon apologized for his remarks at a press conference in Chicago on August 11, the eve of the first performance of what turned out to be their final tour.   The Beatles performed their last concert at Candlestick Park in San Francisco on August 29, 1966. From that point forward, they focused on recording music. They ended up pioneering more advanced, multi-layered arrangements in popular and pop music. After three months away from each other, they returned to Abbey Road Studios on November 24, 1966, to begin a 129-day recording period in making their eighth album: Sgt. Pepper's Lonely Hearts Club Band, was released on June 1, 1967.   Along with studio tricks such as sound effects, unconventional microphone placements, automatic double-tracking, and vari-speed recording, The Beatles began to augment their recordings with unconventional instruments for rock music at the time. These instruments included string and brass ensembles, Indian instruments such as the sitar and the "swarmandel," tape loops, and early electronic devices, including the "Mellotron," which was used with flute voices on the intro to "Strawberry Fields Forever." McCartney once asked Martin what a guitar would sound like if played underwater and was serious about trying it. Lennon also wondered what his vocals would sound like if he was hanging upside down from the ceiling. Unfortunately, their ideas were ahead of the available technology at the time.   Beginning with the use of a string quartet (arranged by George Martin) on Yesterday in 1965, The Beatles pioneered a modern form of art-rock and art song, exemplified by the double-quartet string arrangement on "Eleanor Rigby" (1966), "Here, There and Everywhere" (1966), and "She's Leaving Home" (1967). In addition, Lennon and McCartney's interest in the music of Johann Sebastian Bach led them to use a piccolo trumpet on the arrangement of "Penny Lane" and a Mellotron at the start of "Strawberry Fields Forever."   On June 25, 1967, the Beatles became the first band globally transmitted on television, in front of an estimated 400 million people worldwide, in a segment within the first-ever worldwide T.V. satellite hook-up, a show entitled Our World. The Beatles were transmitted live from Abbey Road Studios, and their new song "All You Need Is Love" was recorded live during the show.   Following the triumphs of the Sgt. Pepper album and the global broadcast, The Beatles' situation seemingly got worse. First, their manager Brian Epstein died of an overdose of sleeping pills on August 27, 1967, at 32, and the band's business affairs began to unravel. Next, at the end of 1967, they received their first major negative press criticism in the U.K., with disparaging reviews of their surrealistic T.V. film Magical Mystery Tour. The public wasn't a fan, either.   The group spent the early part of 1968 in Rishikesh, Uttar Pradesh, India, studying transcendental meditation with the Maharishi Mahesh Yogi. Upon their return, Lennon and McCartney formed Apple Corps, initially a philanthropic business venture they described as an attempt at "western communism." The middle part of 1968 saw the guys busy recording the double album, The Beatles, popularly known as "The White Album" due to its stark white cover. These sessions saw deep divisions beginning within the band, including John Lennon's new girlfriend, Yoko Ono, being at his side through much of the sessions and the feeling that Paul McCartney was becoming too dominating. Paul McCartney gradually took more control of the group. Internal divisions within the band had been a small but growing problem during their earlier career. Most notably, this was reflected in the difficulty that George Harrison experienced in getting his songs onto Beatles' albums, and in the growing artistic and personal differences between John and Paul.   On the business side, Paul wanted Lee Eastman, the father of his wife, Linda Eastman, to manage The Beatles, but the other guys wanted New York manager Allen Klein to represent them. All of the band's decisions in the past were unanimous, but this time the four could not agree on a manager. Lennon, Harrison, and Starr felt the Eastmans would look after McCartney's well-being before the group's. Paul was quoted years later during the Anthology interviews, saying, "Looking back, I can understand why they would feel that was biased against them." Afterward, the band kicked themselves in the ass for the Klein decision, as Klein embezzled millions from their earnings.   Their final live performance was on the rooftop of the Apple building in Savile Row, London, on January 30, 1969, the next-to-last day of the problematic Get Back sessions. Mainly due to Paul McCartney's efforts, they recorded their final album, Abbey Road, in the summer of 1969.   John Lennon announced his departure to the rest of the group on September 20, 1969. The rest of the band talked him out of saying anything publicly. In March 1970, the band gave the "Get Back" session tapes to American producer Phil Spector, whose "Wall of Sound" production was in direct opposition to the record's original intent to appear as a stripped-down live studio performance. McCartney announced the breakup on April 10, 1970, a week before releasing his first solo album, McCartney. On May 8, 1970, the Spector-produced version of Get Back was released as the album Let It Be, followed by the documentary film of the same name. The Beatles' partnership was legally dissolved after McCartney filed a lawsuit on December 31, 1970. Following the group's dissolution, the BBC marketed an extensive collection of Beatles recordings, mainly of original studio sessions from 1963 to 1968. Much of this material formed the basis for a 1988 radio documentary series, The Beeb's Lost Beatles Tapes. Later, in 1994, the best of these sessions were given an official EMI, released on Live at the BBC.   On the evening of December 8 1980, John Lennon was shot and fatally wounded in the archway of the Dakota, his home in New York City. His killer was Mark David Chapman, an American Beatles fan incensed by Lennon's lavish lifestyle and his 1966 comment that the Beatles were "more popular than Jesus." Chapman said he was inspired by the fictional character Holden Caulfield from J. D. Salinger's novel The Catcher in the Rye, a "phony-killer" who despised hypocrisy. Chapman planned the killing over several months and waited for John at the Dakota on the morning of December 8. Early in the evening, Chapman met Lennon, who signed his copy of the album Double Fantasy and subsequently left for a recording session. Later that night, Lennon and his wife, Yoko Ono, returned to the Dakota. As Lennon and Ono approached the building's entrance, Chapman fired five hollow-point bullets from a .38 special revolver, four of which hit John in the back. Chapman remained at the scene reading The Catcher in the Rye until the police arrested him. John Lennon was rushed to Roosevelt Hospital in a police car, where he was pronounced dead on arrival at around 11:15 p.m.   In February 1994, the then-three surviving Beatles reunited to produce and record additional music for a few of John Lennon's old unfinished demos, almost as if reuniting the Beatles. "Free As A Bird" premiered as part of The Beatles Anthology, a series of television documentaries, and was released as a single in December 1995, with "Real Love" following in March 1996. These songs were also included in the three Anthology collections of C.D.s released in 1995 and 1996, each consisting of two C.D.s of never-before-released Beatles material.   On November 29 2001, George Harrison died at a property belonging to Paul McCartney, on Heather Road in Beverly Hills, California. He was 58 years old. As relayed in a statement by his wife Olivia and son Dhani, his final message to the world was: "Everything else can wait, but the search for God cannot wait, and love one another." The Beatles were the best-selling popular musical act of the twentieth century. EMI estimated that by 1985, the band had sold over one billion discs or tapes worldwide. In addition, the Recording Industry Association of America has certified The Beatles as the top-selling artists of all time in the United States based on U.S. sales of singles and albums.   The Beatles have spent 132 weeks at No. 1 on the Billboard 200 chart – by far the most of any artist. Garth Brooks occupied the top spot for 52 weeks, the second most.   The Beatles are one of only two musical acts to have eight consecutive albums on the Billboard 200 all hit No. 1.  – the other being Eminem –   Anthology 1 sold 450,000 copies on its first day of release, reaching the highest volume of single-day sales ever for an album. In 2000, a compilation album named one was released, containing almost every number-one single released by the band from 1962 to 1970. The collection sold 3.6 million copies in its first week and more than 12 million in three weeks worldwide, becoming the fastest-selling album of all time and the biggest-selling album of 2000. The collection also reached number one in the United States and 33 other countries. In 1988, every Beatles member (including Pete Best and Stuart Sutcliffe) was inducted into the Rock and Roll Hall of Fame. www.iconsandoutlaws.com www.accidentaldads.com  

Hello and welcome back to ArtBeat radio!  This week's installment features a variety of music and fun discussions with “CECA's Star Club,” from AAW CECA Center.  The first piece is a parody of Thank You for the Music by ABBA, titled, Welcome to Our Podcast.  Then the Service Users discuss sports (specifically history of the Dodgers), relationship advice, and finally share some fresh tunes including a cover of Ain't No Sunshine by Bill Withers, and a parody of My Girl titled, Parachute.  Welcome to Our Podcast Lyrics: I'M NOTHING SPECIAL EXCEPT I ATTEND CECAUPON JUNE 6TH, IN MUSIC AND ART I WILL SEE YAI HAVE A PROJECT, A WONDERFUL THING, 'CAUSEV'RYONE TUNES IN WHEN I START TO SPEAKI'M SO GRATEFUL AND PROUDALL I WANT IS TO SAY IT OUT LOUD  SO I SAY WELCOME TO OUR PODCAST, WITH CECA'S STAR CLUBMUSIC, ART, A JOYOUS NIGHT CLUBWHO CAN LIVE WITHOUT IT?I ASK IN ALL HONESTY, WHAT WOULD LIFE BEWITHOUT LOVE ADVICE, SPORTS, MUSIC WE GUARANTEEON CECA'S STAR CLUB'S HEHE PODCAST; WHERE YOU'RE WELCOME TO BEON CECA'S STAR CLUB'S HEHE PODCAST; WHERE YOU'RE WELCOME TO BE Verbal IntroductionALL: Welcome to CECA'S STAR CLUB. With our hosts:MiH: Michael.MM: Relationship Expert.MG: Maria.MM: Love Consultant.JQ: Jesus.MM: Dodgers Expert.JQ: Dodgers!LW: DJ PJ, Remix Master. MM: Today, with CECA'S STAR CLUB, Jesus discusses SPORTS. Specifically-- the history of baseball and the Dodgers. Michael and Maria   cover relationship advice, and we'll finish off with DJ PJ showing us some fresh CECA tunes.  DJ PJ: Let's start off with some sports. JQ: Ahem… Uh…Baseball! Dodgers!MM: Alright, Jesus, is it true baseball evolved from an older bat-and-ball game from England in the mid-18th century?JQ:JQ: Ball?MM: Yes, and the ball was originally made by cobblers from the rubber remnants of old shoes—wrapped with yarn and leather. MM: So, your favorite team is the Dodgers?JQ: Oh yeah. MM: Oh yeah, why?JQ: L.A. MM: Oh, because you're from L.A.?JQ: Uh-huh.  MM: Do you know when and where the Dodgers were founded?JQ: Help.MM: I think 1883. JQ: Oh no, man. MM: In Brooklyn.JQ: Wow, why?MM: Why? I don't know. Do you know where Brooklyn is?JQ: No. MM: Is it in New York?JQ: Oh yeah. MM: Yeah—Can you say “New York”?JQ: New York. MM: And who's your favorite player for the Dodgers?JQ: Uh…MM: Tyler Anderson?JQ: Oh, oh, yes! Tyler Anderson. MM: Yeah, is he your favorite?JQ: Yes. 3-5. C-O-D-Y B-E-L-L-I-N-G-E-R.MM: Cody Bellinger?     LW: Hello I'm DJ PJ, and you're listening to ArtBeatRadio. MM: The CECA's Star Club would like to present DJ PJ's Remixes—Presenting two classics with a CECA twist. LW: Our first song—"Ain't No Sunshine” was recorded over Zoom featuring 2 artists' voices. The group was fully engaged in the production and creative process.  Ain't No Sunshine Lyrics:AIN'T NO SUNSHINE WHEN SHE'S GONE IT'S NOT WARM WHEN SHE'S AWAY AIN'T NO SUNSHINE WHEN SHE'S GONE AND SHE'S ALWAYS GONE TOO LONG ANYTIME SHE'S GOES AWAYWONDER THIS TIME WHERE SHE'S GONE WONDER IF SHE'S GONE TO STAY AIN'T NO SUNSHINE WHEN SHE'S GONE AND THIS HOUSE JUST AIN'T NO HOME ANYTIME SHE GOES AWAY I KNOW, I KNOW, I KNOW, IT'S OKAY HEY I OUGHTA LEAVE YOUNG THING ALONE BUT AIN'T NO SUNSHINE WHEN SHE'S GONEAIN'T NO SUNSHINE WHEN SHE'S GONE ONLY DARKNESS EVERY DAY AIN'T NO SUNSHINE WHEN SHE'S GONE AND THIS HOUSE JUST AIN'T NO HOME ANYTIME SHE GOES AWAY LW: Next up is a rewrite of the classic song, “My Girl”—renamed “Parachute”. Parachute Lyrics: BIG ROUND LANTERNS FLOATING ROUND MY HEADWHEN IT'S WINDY OUTSIDE I GOT A PARACHUTESOARIN' FLYIN', TUMBLIN' THROUGH THE AIR I'M TRYIN' PARA-, PARACHUTE DAYDREAM, PARACHUTE I'VE GOT SUCH SWEET TREATS THE DOGS ENVY MEI'VE GOT A SWEETER SONG THAN THE BUGS IN THE TREESI'M FREE FALLIN'; LOOK AT ME I'M BALLIN' PARA-, PARACHUTE DAYDREAM, PARACHUTE Closing LW: Thank you for listening to CECA's Star Club's edition of ArtBeatRadio! Tune in again soon!JQ: Adios!

Members of The Beatles, John and Paul especially, had experienced loss in their young lives. Both had lost their mothers while they were teenagers. John had also lost his Uncle George, who was more like a father to him than his actual father. But as a unit, The Beatles had never had to deal with the level of tragedy that would come in April of 1962. Stuart Sutcliffe's influence on The Beatles started as soon as he joined the group in January of 1960. He helped come up with the band's name and was the first to try on different clothes and hair styles. Not to mention he was John's closest friend. Though he left the band to stay in Hamburg with his fiancée, Astrid Kirchherr, he would be remembered by The Beatles in such ways as a reference in John's “In My Life” as well as being on the cover of the Sgt. Pepper album. Had he lived he would certainly have contributed, if not musically, through his art. After being extremely ill for several months, Stu died on April 10, 1962 in Hamburg just as The Beatles were returning for a residency at The Star Club. That's where this episode of The Beatles60 podcast begins… NOTE! We give you a nice long list of links for each episode. The links are almost as interesting as the podcast! See: https://beatles60.group/blog --- Send in a voice message: https://podcasters.spotify.com/pod/show/beatles60/message

Episode one hundred and forty-seven of A History of Rock Music in Five Hundred Songs looks at “Hey Joe" by the Jimi Hendrix Experience, and is the longest episode to date, at over two hours. Patreon backers also have a twenty-two-minute bonus episode available, on "Making Time" by The Creation. 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 put together a Mixcloud mix containing all the music excerpted in this episode. For information on the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. Information on Arthur Lee and Love came from Forever Changes: Arthur Lee and the Book of Love by John Einarson, and Arthur Lee: Alone Again Or by Barney Hoskyns. Information on Gary Usher's work with the Surfaris and the Sons of Adam came from The California Sound by Stephen McParland, which can be found at https://payhip.com/CMusicBooks Information on Jimi Hendrix came from Room Full of Mirrors by Charles R. Cross, Crosstown Traffic by Charles Shaar Murray, and Wild Thing by Philip Norman. Information on the history of "Hey Joe" itself came from all these sources plus Hey Joe: The Unauthorised Biography of a Rock Classic by Marc Shapiro, though note that most of that book is about post-1967 cover versions. Most of the pre-Experience session work by Jimi Hendrix I excerpt in this episode is on this box set of alternate takes and live recordings. And "Hey Joe" can be found on Are You Experienced? Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just a quick note before we start – this episode deals with a song whose basic subject is a man murdering a woman, and that song also contains references to guns, and in some versions to cocaine use. Some versions excerpted also contain misogynistic slurs. If those things are likely to upset you, please skip this episode, as the whole episode focusses on that song. I would hope it goes without saying that I don't approve of misogyny, intimate partner violence, or murder, and my discussing a song does not mean I condone acts depicted in its lyrics, and the episode itself deals with the writing and recording of the song rather than its subject matter, but it would be impossible to talk about the record without excerpting the song. The normalisation of violence against women in rock music lyrics is a subject I will come back to, but did not have room for in what is already a very long episode. Anyway, on with the show. Let's talk about the folk process, shall we? We've talked before, like in the episodes on "Stagger Lee" and "Ida Red", about how there are some songs that aren't really individual songs in themselves, but are instead collections of related songs that might happen to share a name, or a title, or a story, or a melody, but which might be different in other ways. There are probably more songs that are like this than songs that aren't, and it doesn't just apply to folk songs, although that's where we see it most notably. You only have to look at the way a song like "Hound Dog" changed from the Willie Mae Thornton version to the version by Elvis, which only shared a handful of words with the original. Songs change, and recombine, and everyone who sings them brings something different to them, until they change in ways that nobody could have predicted, like a game of telephone. But there usually remains a core, an archetypal story or idea which remains constant no matter how much the song changes. Like Stagger Lee shooting Billy in a bar over a hat, or Frankie killing her man -- sometimes the man is Al, sometimes he's Johnny, but he always done her wrong. And one of those stories is about a man who shoots his cheating woman with a forty-four, and tries to escape -- sometimes to a town called Jericho, and sometimes to Juarez, Mexico. The first version of this song we have a recording of is by Clarence Ashley, in 1929, a recording of an older folk song that was called, in his version, "Little Sadie": [Excerpt: Clarence Ashley, "Little Sadie"] At some point, somebody seems to have noticed that that song has a slight melodic similarity to another family of songs, the family known as "Cocaine Blues" or "Take a Whiff on Me", which was popular around the same time: [Excerpt: The Memphis Jug Band, "Cocaine Habit Blues"] And so the two songs became combined, and the protagonist of "Little Sadie" now had a reason to kill his woman -- a reason other than her cheating, that is. He had taken a shot of cocaine before shooting her. The first recording of this version, under the name "Cocaine Blues" seems to have been a Western Swing version by W. A. Nichol's Western Aces: [Excerpt: W.A. Nichol's Western Aces, "Cocaine Blues"] Woody Guthrie recorded a version around the same time -- I've seen different dates and so don't know for sure if it was before or after Nichol's version -- and his version had himself credited as songwriter, and included this last verse which doesn't seem to appear on any earlier recordings of the song: [Excerpt: Woody Guthrie, "Cocaine Blues"] That doesn't appear on many later recordings either, but it did clearly influence yet another song -- Mose Allison's classic jazz number "Parchman Farm": [Excerpt: Mose Allison, "Parchman Farm"] The most famous recordings of the song, though, were by Johnny Cash, who recorded it as both "Cocaine Blues" and as "Transfusion Blues". In Cash's version of the song, the murderer gets sentenced to "ninety-nine years in the Folsom pen", so it made sense that Cash would perform that on his most famous album, the live album of his January 1968 concerts at Folsom Prison, which revitalised his career after several years of limited success: [Excerpt: Johnny Cash, "Cocaine Blues (live at Folsom Prison)"] While that was Cash's first live recording at a prison, though, it wasn't the first show he played at a prison -- ever since the success of his single "Folsom Prison Blues" he'd been something of a hero to prisoners, and he had been doing shows in prisons for eleven years by the time of that recording. And on one of those shows he had as his support act a man named Billy Roberts, who performed his own song which followed the same broad outlines as "Cocaine Blues" -- a man with a forty-four who goes out to shoot his woman and then escapes to Mexico. Roberts was an obscure folk singer, who never had much success, but who was good with people. He'd been part of the Greenwich Village folk scene in the 1950s, and at a gig at Gerde's Folk City he'd met a woman named Niela Miller, an aspiring songwriter, and had struck up a relationship with her. Miller only ever wrote one song that got recorded by anyone else, a song called "Mean World Blues" that was recorded by Dave Van Ronk: [Excerpt: Dave Van Ronk, "Mean World Blues"] Now, that's an original song, but it does bear a certain melodic resemblance to another old folk song, one known as "Where Did You Sleep Last Night?" or "In the Pines", or sometimes "Black Girl": [Excerpt: Lead Belly, "Where Did You Sleep Last Night?"] Miller was clearly familiar with the tradition from which "Where Did You Sleep Last Night?" comes -- it's a type of folk song where someone asks a question and then someone else answers it, and this repeats, building up a story. This is a very old folk song format, and you hear it for example in "Lord Randall", the song on which Bob Dylan based "A Hard Rain's A-Gonna Fall": [Excerpt: Ewan MacColl, "Lord Randall"] I say she was clearly familiar with it, because the other song she wrote that anyone's heard was based very much around that idea. "Baby Please Don't Go To Town" is a question-and-answer song in precisely that form, but with an unusual chord progression for a folk song. You may remember back in the episode on "Eight Miles High" I talked about the circle of fifths -- a chord progression which either increases or decreases by a fifth for every chord, so it might go C-G-D-A-E [demonstrates] That's a common progression in pop and jazz, but not really so much in folk, but it's the one that Miller had used for "Baby, Please Don't Go to Town", and she'd taught Roberts that song, which she only recorded much later: [Excerpt: Niela Miller, "Baby, Please Don't Go To Town"] After Roberts and Miller broke up, Miller kept playing that melody, but he changed the lyrics. The lyrics he added had several influences. There was that question-and-answer folk-song format, there's the story of "Cocaine Blues" with its protagonist getting a forty-four to shoot his woman down before heading to Mexico, and there's also a country hit from 1953. "Hey, Joe!" was originally recorded by Carl Smith, one of the most popular country singers of the early fifties: [Excerpt: Carl Smith, "Hey Joe!"] That was written by Boudleaux Bryant, a few years before the songs he co-wrote for the Everly Brothers, and became a country number one, staying at the top for eight weeks. It didn't make the pop chart, but a pop cover version of it by Frankie Laine made the top ten in the US: [Excerpt: Frankie Laine, "Hey Joe"] Laine's record did even better in the UK, where it made number one, at a point where Laine was the biggest star in music in Britain -- at the time the UK charts only had a top twelve, and at one point four of the singles in the top twelve were by Laine, including that one. There was also an answer record by Kitty Wells which made the country top ten later that year: [Excerpt: Kitty Wells, "Hey Joe"] Oddly, despite it being a very big hit, that "Hey Joe" had almost no further cover versions for twenty years, though it did become part of the Searchers' setlist, and was included on their Live at the Star Club album in 1963, in an arrangement that owed a lot to "What'd I Say": [Excerpt: The Searchers, "Hey Joe"] But that song was clearly on Roberts' mind when, as so many American folk musicians did, he travelled to the UK in the late fifties and became briefly involved in the burgeoning UK folk movement. In particular, he spent some time with a twelve-string guitar player from Edinburgh called Len Partridge, who was also a mentor to Bert Jansch, and who was apparently an extraordinary musician, though I know of no recordings of his work. Partridge helped Roberts finish up the song, though Partridge is about the only person in this story who *didn't* claim a writing credit for it at one time or another, saying that he just helped Roberts out and that Roberts deserved all the credit. The first known recording of the completed song is from 1962, a few years after Roberts had returned to the US, though it didn't surface until decades later: [Excerpt: Billy Roberts, "Hey Joe"] Roberts was performing this song regularly on the folk circuit, and around the time of that recording he also finally got round to registering the copyright, several years after it was written. When Miller heard the song, she was furious, and she later said "Imagine my surprise when I heard Hey Joe by Billy Roberts. There was my tune, my chord progression, my question/answer format. He dropped the bridge that was in my song and changed it enough so that the copyright did not protect me from his plagiarism... I decided not to go through with all the complications of dealing with him. He never contacted me about it or gave me any credit. He knows he committed a morally reprehensible act. He never was man enough to make amends and apologize to me, or to give credit for the inspiration. Dealing with all that was also why I made the decision not to become a professional songwriter. It left a bad taste in my mouth.” Pete Seeger, a friend of Miller's, was outraged by the injustice and offered to testify on her behalf should she decide to take Roberts to court, but she never did. Some time around this point, Roberts also played on that prison bill with Johnny Cash, and what happened next is hard to pin down. I've read several different versions of the story, which change the date and which prison this was in, and none of the details in any story hang together properly -- everything introduces weird inconsistencies and things which just make no sense at all. Something like this basic outline of the story seems to have happened, but the outline itself is weird, and we'll probably never know the truth. Roberts played his set, and one of the songs he played was "Hey Joe", and at some point he got talking to one of the prisoners in the audience, Dino Valenti. We've met Valenti before, in the episode on "Mr. Tambourine Man" -- he was a singer/songwriter himself, and would later be the lead singer of Quicksilver Messenger Service, but he's probably best known for having written "Get Together": [Excerpt: Dino Valenti, "Get Together"] As we heard in the "Mr. Tambourine Man" episode, Valenti actually sold off his rights to that song to pay for his bail at one point, but he was in and out of prison several times because of drug busts. At this point, or so the story goes, he was eligible for parole, but he needed to prove he had a possible income when he got out, and one way he wanted to do that was to show that he had written a song that could be a hit he could make money off, but he didn't have such a song. He talked about his predicament with Roberts, who agreed to let him claim to have written "Hey Joe" so he could get out of prison. He did make that claim, and when he got out of prison he continued making the claim, and registered the copyright to "Hey Joe" in his own name -- even though Roberts had already registered it -- and signed a publishing deal for it with Third Story Music, a company owned by Herb Cohen, the future manager of the Mothers of Invention, and Cohen's brother Mutt. Valenti was a popular face on the folk scene, and he played "his" song to many people, but two in particular would influence the way the song would develop, both of them people we've seen relatively recently in episodes of the podcast. One of them, Vince Martin, we'll come back to later, but the other was David Crosby, and so let's talk about him and the Byrds a bit more. Crosby and Valenti had been friends long before the Byrds formed, and indeed we heard in the "Mr. Tambourine Man" episode how the group had named themselves after Valenti's song "Birdses": [Excerpt: Dino Valenti, "Birdses"] And Crosby *loved* "Hey Joe", which he believed was another of Valenti's songs. He'd perform it every chance he got, playing it solo on guitar in an arrangement that other people have compared to Mose Allison. He'd tried to get it on the first two Byrds albums, but had been turned down, mostly because of their manager and uncredited co-producer Jim Dickson, who had strong opinions about it, saying later "Some of the songs that David would bring in from the outside were perfectly valid songs for other people, but did not seem to be compatible with the Byrds' myth. And he may not have liked the Byrds' myth. He fought for 'Hey Joe' and he did it. As long as I could say 'No!' I did, and when I couldn't any more they did it. You had to give him something somewhere. I just wish it was something else... 'Hey Joe' I was bitterly opposed to. A song about a guy who murders his girlfriend in a jealous rage and is on the way to Mexico with a gun in his hand. It was not what I saw as a Byrds song." Indeed, Dickson was so opposed to the song that he would later say “One of the reasons David engineered my getting thrown out was because I would not let Hey Joe be on the Turn! Turn! Turn! album.” Dickson was, though, still working with the band when they got round to recording it. That came during the recording of their Fifth Dimension album, the album which included "Eight Miles High". That album was mostly recorded after the departure of Gene Clark, which was where we left the group at the end of the "Eight Miles High" episode, and the loss of their main songwriter meant that they were struggling for material -- doubly so since they also decided they were going to move away from Dylan covers. This meant that they had to rely on original material from the group's less commercial songwriters, and on a few folk songs, mostly learned from Pete Seeger The album ended up with only eleven songs on it, compared to the twelve that was normal for American albums at that time, and the singles on it after "Eight Miles High" weren't particularly promising as to the group's ability to come up with commercial material. The next single, "5D", a song by Roger McGuinn about the fifth dimension, was a waltz-time song that both Crosby and Chris Hillman were enthused by. It featured organ by Van Dyke Parks, and McGuinn said of the organ part "When he came into the studio I told him to think Bach. He was already thinking Bach before that anyway.": [Excerpt: The Byrds, "5D"] While the group liked it, though, that didn't make the top forty. The next single did, just about -- a song that McGuinn had written as an attempt at communicating with alien life. He hoped that it would be played on the radio, and that the radio waves would eventually reach aliens, who would hear it and respond: [Excerpt: The Byrds, "Mr. Spaceman"] The "Fifth Dimension" album did significantly worse, both critically and commercially, than their previous albums, and the group would soon drop Allen Stanton, the producer, in favour of Gary Usher, Brian Wilson's old songwriting partner. But the desperation for material meant that the group agreed to record the song which they still thought at that time had been written by Crosby's friend, though nobody other than Crosby was happy with it, and even Crosby later said "It was a mistake. I shouldn't have done it. Everybody makes mistakes." McGuinn said later "The reason Crosby did lead on 'Hey Joe' was because it was *his* song. He didn't write it but he was responsible for finding it. He'd wanted to do it for years but we would never let him.": [Excerpt: The Byrds, "Hey Joe"] Of course, that arrangement is very far from the Mose Allison style version Crosby had been doing previously. And the reason for that can be found in the full version of that McGuinn quote, because the full version continues "He'd wanted to do it for years but we would never let him. Then both Love and The Leaves had a minor hit with it and David got so angry that we had to let him do it. His version wasn't that hot because he wasn't a strong lead vocalist." The arrangement we just heard was the arrangement that by this point almost every group on the Sunset Strip scene was playing. And the reason for that was because of another friend of Crosby's, someone who had been a roadie for the Byrds -- Bryan MacLean. MacLean and Crosby had been very close because they were both from very similar backgrounds -- they were both Hollywood brats with huge egos. MacLean later said "Crosby and I got on perfectly. I didn't understand what everybody was complaining about, because he was just like me!" MacLean was, if anything, from an even more privileged background than Crosby. His father was an architect who'd designed houses for Elizabeth Taylor and Dean Martin, his neighbour when growing up was Frederick Loewe, the composer of My Fair Lady. He learned to swim in Elizabeth Taylor's private pool, and his first girlfriend was Liza Minelli. Another early girlfriend was Jackie DeShannon, the singer-songwriter who did the original version of "Needles and Pins", who he was introduced to by Sharon Sheeley, whose name you will remember from many previous episodes. MacLean had wanted to be an artist until his late teens, when he walked into a shop in Westwood which sometimes sold his paintings, the Sandal Shop, and heard some people singing folk songs there. He decided he wanted to be a folk singer, and soon started performing at the Balladeer, a club which would later be renamed the Troubadour, playing songs like Robert Johnson's "Cross Roads Blues", which had recently become a staple of the folk repertoire after John Hammond put out the King of the Delta Blues Singers album: [Excerpt: Robert Johnson, "Cross Roads Blues"] Reading interviews with people who knew MacLean at the time, the same phrase keeps coming up. John Kay, later the lead singer of Steppenwolf, said "There was a young kid, Bryan MacLean, kind of cocky but nonetheless a nice kid, who hung around Crosby and McGuinn" while Chris Hillman said "He was a pretty good kid but a wee bit cocky." He was a fan of the various musicians who later formed the Byrds, and was also an admirer of a young guitarist on the scene named Ryland Cooder, and of a blues singer on the scene named Taj Mahal. He apparently was briefly in a band with Taj Mahal, called Summer's Children, who as far as I can tell had no connection to the duo that Curt Boettcher later formed of the same name, before Taj Mahal and Cooder formed The Rising Sons, a multi-racial blues band who were for a while the main rivals to the Byrds on the scene. MacLean, though, firmly hitched himself to the Byrds, and particularly to Crosby. He became a roadie on their first tour, and Hillman said "He was a hard-working guy on our behalf. As I recall, he pretty much answered to Crosby and was David's assistant, to put it diplomatically – more like his gofer, in fact." But MacLean wasn't cut out for the hard work that being a roadie required, and after being the Byrds' roadie for about thirty shows, he started making mistakes, and when they went off on their UK tour they decided not to keep employing him. He was heartbroken, but got back into trying his own musical career. He auditioned for the Monkees, unsuccessfully, but shortly after that -- some sources say even the same day as the audition, though that seems a little too neat -- he went to Ben Frank's -- the LA hangout that had actually been namechecked in the open call for Monkees auditions, which said they wanted "Ben Franks types", and there he met Arthur Lee and Johnny Echols. Echols would later remember "He was this gadfly kind of character who knew everybody and was flitting from table to table. He wore striped pants and a scarf, and he had this long, strawberry hair. All the girls loved him. For whatever reason, he came and sat at our table. Of course, Arthur and I were the only two black people there at the time." Lee and Echols were both Black musicians who had been born in Memphis. Lee's birth father, Chester Taylor, had been a cornet player with Jimmie Lunceford, whose Delta Rhythm Boys had had a hit with "The Honeydripper", as we heard way back in the episode on "Rocket '88": [Excerpt: Jimmie Lunceford and the Delta Rhythm Boys, "The Honeydripper"] However, Taylor soon split from Lee's mother, a schoolteacher, and she married Clinton Lee, a stonemason, who doted on his adopted son, and they moved to California. They lived in a relatively prosperous area of LA, a neighbourhood that was almost all white, with a few Asian families, though the boxer Sugar Ray Robinson lived nearby. A year or so after Arthur and his mother moved to LA, so did the Echols family, who had known them in Memphis, and they happened to move only a couple of streets away. Eight year old Arthur Lee reconnected with seven-year-old Johnny Echols, and the two became close friends from that point on. Arthur Lee first started out playing music when his parents were talked into buying him an accordion by a salesman who would go around with a donkey, give kids free donkey rides, and give the parents a sales pitch while they were riding the donkey, He soon gave up on the accordion and persuaded his parents to buy him an organ instead -- he was a spoiled child, by all accounts, with a TV in his bedroom, which was almost unheard of in the late fifties. Johnny Echols had a similar experience which led to his parents buying him a guitar, and the two were growing up in a musical environment generally. They attended Dorsey High School at the same time as both Billy Preston and Mike Love of the Beach Boys, and Ella Fitzgerald and her then-husband, the great jazz bass player Ray Brown, lived in the same apartment building as the Echols family for a while. Ornette Coleman, the free-jazz saxophone player, lived next door to Echols, and Adolphus Jacobs, the guitarist with the Coasters, gave him guitar lessons. Arthur Lee also knew Johnny Otis, who ran a pigeon-breeding club for local children which Arthur would attend. Echols was the one who first suggested that he and Arthur should form a band, and they put together a group to play at a school talent show, performing "Last Night", the instrumental that had been a hit for the Mar-Keys on Stax records: [Excerpt: The Mar-Keys, "Last Night"] They soon became a regular group, naming themselves Arthur Lee and the LAGs -- the LA Group, in imitation of Booker T and the MGs – the Memphis Group. At some point around this time, Lee decided to switch from playing organ to playing guitar. He would say later that this was inspired by seeing Johnny "Guitar" Watson get out of a gold Cadillac, wearing a gold suit, and with gold teeth in his mouth. The LAGs started playing as support acts and backing bands for any blues and soul acts that came through LA, performing with Big Mama Thornton, Johnny Otis, the O'Jays, and more. Arthur and Johnny were both still under-age, and they would pencil in fake moustaches to play the clubs so they'd appear older. In the fifties and early sixties, there were a number of great electric guitar players playing blues on the West Coast -- Johnny "Guitar" Watson, T-Bone Walker, Guitar Slim, and others -- and they would compete with each other not only to play well, but to put on a show, and so there was a whole bag of stage tricks that West Coast R&B guitarists picked up, and Echols learned all of them -- playing his guitar behind his back, playing his guitar with his teeth, playing with his guitar between his legs. As well as playing their own shows, the LAGs also played gigs under other names -- they had a corrupt agent who would book them under the name of whatever Black group had a hit at the time, in the belief that almost nobody knew what popular groups looked like anyway, so they would go out and perform as the Drifters or the Coasters or half a dozen other bands. But Arthur Lee in particular wanted to have success in his own right. He would later say "When I was a little boy I would listen to Nat 'King' Cole and I would look at that purple Capitol Records logo. I wanted to be on Capitol, that was my goal. Later on I used to walk from Dorsey High School all the way up to the Capitol building in Hollywood -- did that many times. I was determined to get a record deal with Capitol, and I did, without the help of a fancy manager or anyone else. I talked to Adam Ross and Jack Levy at Ardmore-Beechwood. I talked to Kim Fowley, and then I talked to Capitol". The record that the LAGs released, though, was not very good, a track called "Rumble-Still-Skins": [Excerpt: The LAGs, "Rumble-Still-Skins"] Lee later said "I was young and very inexperienced and I was testing the record company. I figured if I gave them my worst stuff and they ripped me off I wouldn't get hurt. But it didn't work, and after that I started giving my best, and I've been doing that ever since." The LAGs were dropped by Capitol after one single, and for the next little while Arthur and Johnny did work for smaller labels, usually labels owned by Bob Keane, with Arthur writing and producing and Johnny playing guitar -- though Echols has said more recently that a lot of the songs that were credited to Arthur as sole writer were actually joint compositions. Most of these records were attempts at copying the style of other people. There was "I Been Trying", a Phil Spector soundalike released by Little Ray: [Excerpt: Little Ray, "I Been Trying"] And there were a few attempts at sounding like Curtis Mayfield, like "Slow Jerk" by Ronnie and the Pomona Casuals: [Excerpt: Ronnie and the Pomona Casuals, "Slow Jerk"] and "My Diary" by Rosa Lee Brooks: [Excerpt: Rosa Lee Brooks, "My Diary"] Echols was also playing with a lot of other people, and one of the musicians he was playing with, his old school friend Billy Preston, told him about a recent European tour he'd been on with Little Richard, and the band from Liverpool he'd befriended while he was there who idolised Richard, so when the Beatles hit America, Arthur and Johnny had some small amount of context for them. They soon broke up the LAGs and formed another group, the American Four, with two white musicians, bass player John Fleckenstein and drummer Don Costa. Lee had them wear wigs so they seemed like they had longer hair, and started dressing more eccentrically -- he would soon become known for wearing glasses with one blue lens and one red one, and, as he put it "wearing forty pounds of beads, two coats, three shirts, and wearing two pairs of shoes on one foot". As well as the Beatles, the American Four were inspired by the other British Invasion bands -- Arthur was in the audience for the TAMI show, and quite impressed by Mick Jagger -- and also by the Valentinos, Bobby Womack's group. They tried to get signed to SAR Records, the label owned by Sam Cooke for which the Valentinos recorded, but SAR weren't interested, and they ended up recording for Bob Keane's Del-Fi records, where they cut "Luci Baines", a "Twist and Shout" knock-off with lyrics referencing the daughter of new US President Lyndon Johnson: [Excerpt: The American Four, "Luci Baines"] But that didn't take off any more than the earlier records had. Another American Four track, "Stay Away", was recorded but went unreleased until 2006: [Excerpt: Arthur Lee and the American Four, "Stay Away"] Soon the American Four were changing their sound and name again. This time it was because of two bands who were becoming successful on the Sunset Strip. One was the Byrds, who to Lee's mind were making music like the stuff he heard in his head, and the other was their rivals the Rising Sons, the blues band we mentioned earlier with Taj Mahal and Ry Cooder. Lee was very impressed by them as an multiracial band making aggressive, loud, guitar music, though he would always make the point when talking about them that they were a blues band, not a rock band, and *he* had the first multiracial rock band. Whatever they were like live though, in their recordings, produced by the Byrds' first producer Terry Melcher, the Rising Sons often had the same garage band folk-punk sound that Lee and Echols would soon make their own: [Excerpt: The Rising Sons, "Take a Giant Step"] But while the Rising Sons recorded a full album's worth of material, only one single was released before they split up, and so the way was clear for Lee and Echols' band, now renamed once again to The Grass Roots, to become the Byrds' new challengers. Lee later said "I named the group The Grass Roots behind a trip, or an album I heard that Malcolm X did, where he said 'the grass roots of the people are out in the street doing something about their problems instead of sitting around talking about it'". After seeing the Rolling Stones and the Byrds live, Lee wanted to get up front and move like Mick Jagger, and not be hindered by playing a guitar he wasn't especially good at -- both the Stones and the Byrds had two guitarists and a frontman who just sang and played hand percussion, and these were the models that Lee was following for the group. He also thought it would be a good idea commercially to get a good-looking white boy up front. So the group got in another guitarist, a white pretty boy who Lee soon fell out with and gave the nickname "Bummer Bob" because he was unpleasant to be around. Those of you who know exactly why Bobby Beausoleil later became famous will probably agree that this was a more than reasonable nickname to give him (and those of you who don't, I'll be dealing with him when we get to 1969). So when Bryan MacLean introduced himself to Lee and Echols, and they found out that not only was he also a good-looking white guitarist, but he was also friends with the entire circle of hipsters who'd been going to Byrds gigs, people like Vito and Franzoni, and he could get a massive crowd of them to come along to gigs for any band he was in and make them the talk of the Sunset Strip scene, he was soon in the Grass Roots, and Bummer Bob was out. The Grass Roots soon had to change their name again, though. In 1965, Jan and Dean recorded their "Folk and Roll" album, which featured "The Universal Coward"... Which I am not going to excerpt again. I only put that pause in to terrify Tilt, who edits these podcasts, and has very strong opinions about that song. But P. F. Sloan and Steve Barri, the songwriters who also performed as the Fantastic Baggies, had come up with a song for that album called "Where Where You When I Needed You?": [Excerpt: Jan and Dean, "Where Were You When I Needed You?"] Sloan and Barri decided to cut their own version of that song under a fake band name, and then put together a group of other musicians to tour as that band. They just needed a name, and Lou Adler, the head of Dunhill Records, suggested they call themselves The Grass Roots, and so that's what they did: [Excerpt: The Grass Roots, "Where Were You When I Needed You?"] Echols would later claim that this was deliberate malice on Adler's part -- that Adler had come in to a Grass Roots show drunk, and pretended to be interested in signing them to a contract, mostly to show off to a woman he'd brought with him. Echols and MacLean had spoken to him, not known who he was, and he'd felt disrespected, and Echols claims that he suggested the name to get back at them, and also to capitalise on their local success. The new Grass Roots soon started having hits, and so the old band had to find another name, which they got as a joking reference to a day job Lee had had at one point -- he'd apparently worked in a specialist bra shop, Luv Brassieres, which the rest of the band found hilarious. The Grass Roots became Love. While Arthur Lee was the group's lead singer, Bryan MacLean would often sing harmonies, and would get a song or two to sing live himself. And very early in the group's career, when they were playing a club called Bido Lito's, he started making his big lead spot a version of "Hey Joe", which he'd learned from his old friend David Crosby, and which soon became the highlight of the group's set. Their version was sped up, and included the riff which the Searchers had popularised in their cover version of  "Needles and Pins", the song originally recorded by MacLean's old girlfriend Jackie DeShannon: [Excerpt: The Searchers, "Needles and Pins"] That riff is a very simple one to play, and variants of it became very, very, common among the LA bands, most notably on the Byrds' "I'll Feel a Whole Lot Better": [Excerpt: The Byrds, "I'll Feel a Whole Lot Better"] The riff was so ubiquitous in the LA scene that in the late eighties Frank Zappa would still cite it as one of his main memories of the scene. I'm going to quote from his autobiography, where he's talking about the differences between the LA scene he was part of and the San Francisco scene he had no time for: "The Byrds were the be-all and end-all of Los Angeles rock then. They were 'It' -- and then a group called Love was 'It.' There were a few 'psychedelic' groups that never really got to be 'It,' but they could still find work and get record deals, including the West Coast Pop Art Experimental Band, Sky Saxon and the Seeds, and the Leaves (noted for their cover version of "Hey, Joe"). When we first went to San Francisco, in the early days of the Family Dog, it seemed that everybody was wearing the same costume, a mixture of Barbary Coast and Old West -- guys with handlebar mustaches, girls in big bustle dresses with feathers in their hair, etc. By contrast, the L.A. costumery was more random and outlandish. Musically, the northern bands had a little more country style. In L.A., it was folk-rock to death. Everything had that" [and here Zappa uses the adjectival form of a four-letter word beginning with 'f' that the main podcast providers don't like you saying on non-adult-rated shows] "D chord down at the bottom of the neck where you wiggle your finger around -- like 'Needles and Pins.'" The reason Zappa describes it that way, and the reason it became so popular, is that if you play that riff in D, the chords are D, Dsus2, and Dsus4 which means you literally only wiggle one finger on your left hand: [demonstrates] And so you get that on just a ton of records from that period, though Love, the Byrds, and the Searchers all actually play the riff on A rather than D: [demonstrates] So that riff became the Big Thing in LA after the Byrds popularised the Searchers sound there, and Love added it to their arrangement of "Hey Joe". In January 1966, the group would record their arrangement of it for their first album, which would come out in March: [Excerpt: Love, "Hey Joe"] But that wouldn't be the first recording of the song, or of Love's arrangement of it – although other than the Byrds' version, it would be the only one to come out of LA with the original Billy Roberts lyrics. Love's performances of the song at Bido Lito's had become the talk of the Sunset Strip scene, and soon every band worth its salt was copying it, and it became one of those songs like "Louie Louie" before it that everyone would play. The first record ever made with the "Hey Joe" melody actually had totally different lyrics. Kim Fowley had the idea of writing a sequel to "Hey Joe", titled "Wanted Dead or Alive", about what happened after Joe shot his woman and went off. He produced the track for The Rogues, a group consisting of Michael Lloyd and Shaun Harris, who later went on to form the West Coast Pop Art Experimental Band, and Lloyd and Harris were the credited writers: [Excerpt: The Rogues, "Wanted Dead or Alive"] The next version of the song to come out was the first by anyone to be released as "Hey Joe", or at least as "Hey Joe, Where You Gonna Go?", which was how it was titled on its initial release. This was by a band called The Leaves, who were friends of Love, and had picked up on "Hey Joe", and was produced by Nik Venet. It was also the first to have the now-familiar opening line "Hey Joe, where you going with that gun in your hand?": [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] Roberts' original lyric, as sung by both Love and the Byrds, had been "where you going with that money in your hand?", and had Joe headed off to *buy* the gun. But as Echols later said “What happened was Bob Lee from The Leaves, who were friends of ours, asked me for the words to 'Hey Joe'. I told him I would have the words the next day. I decided to write totally different lyrics. The words you hear on their record are ones I wrote as a joke. The original words to Hey Joe are ‘Hey Joe, where you going with that money in your hand? Well I'm going downtown to buy me a blue steel .44. When I catch up with that woman, she won't be running round no more.' It never says ‘Hey Joe where you goin' with that gun in your hand.' Those were the words I wrote just because I knew they were going to try and cover the song before we released it. That was kind of a dirty trick that I played on The Leaves, which turned out to be the words that everybody uses.” That first release by the Leaves also contained an extra verse -- a nod to Love's previous name: [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] That original recording credited the song as public domain -- apparently Bryan MacLean had refused to tell the Leaves who had written the song, and so they assumed it was traditional. It came out in November 1965, but only as a promo single. Even before the Leaves, though, another band had recorded "Hey Joe", but it didn't get released. The Sons of Adam had started out as a surf group called the Fender IV, who made records like "Malibu Run": [Excerpt: The Fender IV, "Malibu Run"] Kim Fowley had suggested they change their name to the Sons of Adam, and they were another group who were friends with Love -- their drummer, Michael Stuart-Ware, would later go on to join Love, and Arthur Lee wrote the song "Feathered Fish" for them: [Excerpt: Sons of Adam, "Feathered Fish"] But while they were the first to record "Hey Joe", their version has still to this day not been released. Their version was recorded for Decca, with producer Gary Usher, but before it was released, another Decca artist also recorded the song, and the label weren't sure which one to release. And then the label decided to press Usher to record a version with yet another act -- this time with the Surfaris, the surf group who had had a hit with "Wipe Out". Coincidentally, the Surfaris had just changed bass players -- their most recent bass player, Ken Forssi, had quit and joined Love, whose own bass player, John Fleckenstein, had gone off to join the Standells, who would also record a version of “Hey Joe” in 1966. Usher thought that the Sons of Adam were much better musicians than the Surfaris, who he was recording with more or less under protest, but their version, using Love's arrangement and the "gun in your hand" lyrics, became the first version to come out on a major label: [Excerpt: The Surfaris, "Hey Joe"] They believed the song was in the public domain, and so the songwriting credits on the record are split between Gary Usher, a W. Hale who nobody has been able to identify, and Tony Cost, a pseudonym for Nik Venet. Usher said later "I got writer's credit on it because I was told, or I assumed at the time, the song was Public Domain; meaning a non-copyrighted song. It had already been cut two or three times, and on each occasion the writing credit had been different. On a traditional song, whoever arranges it, takes the songwriting credit. I may have changed a few words and arranged and produced it, but I certainly did not co-write it." The public domain credit also appeared on the Leaves' second attempt to cut the song, which was actually given a general release, but flopped. But when the Leaves cut the song for a *third* time, still for the same tiny label, Mira, the track became a hit in May 1966, reaching number thirty-one: [Excerpt: The Leaves, "Hey Joe"] And *that* version had what they thought was the correct songwriting credit, to Dino Valenti. Which came as news to Billy Roberts, who had registered the copyright to the song back in 1962 and had no idea that it had become a staple of LA garage rock until he heard his song in the top forty with someone else's name on the credits. He angrily confronted Third Story Music, who agreed to a compromise -- they would stop giving Valenti songwriting royalties and start giving them to Roberts instead, so long as he didn't sue them and let them keep the publishing rights. Roberts was indignant about this -- he deserved all the money, not just half of it -- but he went along with it to avoid a lawsuit he might not win. So Roberts was now the credited songwriter on the versions coming out of the LA scene. But of course, Dino Valenti had been playing "his" song to other people, too. One of those other people was Vince Martin. Martin had been a member of a folk-pop group called the Tarriers, whose members also included the future film star Alan Arkin, and who had had a hit in the 1950s with "Cindy, Oh Cindy": [Excerpt: The Tarriers, "Cindy, Oh Cindy"] But as we heard in the episode on the Lovin' Spoonful, he had become a Greenwich Village folkie, in a duo with Fred Neil, and recorded an album with him, "Tear Down the Walls": [Excerpt: Fred Neil and Vince Martin, "Morning Dew"] That song we just heard, "Morning Dew", was another question-and-answer folk song. It was written by the Canadian folk-singer Bonnie Dobson, but after Martin and Neil recorded it, it was picked up on by Martin's friend Tim Rose who stuck his own name on the credits as well, without Dobson's permission, for a version which made the song into a rock standard for which he continued to collect royalties: [Excerpt: Tim Rose, "Morning Dew"] This was something that Rose seems to have made a habit of doing, though to be fair to him it went both ways. We heard about him in the Lovin' Spoonful episode too, when he was in a band named the Big Three with Cass Elliot and her coincidentally-named future husband Jim Hendricks, who recorded this song, with Rose putting new music to the lyrics of the old public domain song "Oh! Susanna": [Excerpt: The Big Three, "The Banjo Song"] The band Shocking Blue used that melody for their 1969 number-one hit "Venus", and didn't give Rose any credit: [Excerpt: Shocking Blue, "Venus"] But another song that Rose picked up from Vince Martin was "Hey Joe". Martin had picked the song up from Valenti, but didn't know who had written it, or who was claiming to have written it, and told Rose he thought it might be an old Appalchian murder ballad or something. Rose took the song and claimed writing credit in his own name -- he would always, for the rest of his life, claim it was an old folk tune he'd heard in Florida, and that he'd rewritten it substantially himself, but no evidence of the song has ever shown up from prior to Roberts' copyright registration, and Rose's version is basically identical to Roberts' in melody and lyrics. But Rose takes his version at a much slower pace, and his version would be the model for the most successful versions going forward, though those other versions would use the lyrics Johnny Echols had rewritten, rather than the ones Rose used: [Excerpt: Tim Rose, "Hey Joe"] Rose's version got heard across the Atlantic as well. And in particular it was heard by Chas Chandler, the bass player of the Animals. Some sources seem to suggest that Chandler first heard the song performed by a group called the Creation, but in a biography I've read of that group they clearly state that they didn't start playing the song until 1967. But however he came across it, when Chandler heard Rose's recording, he knew that the song could be a big hit for someone, but he didn't know who. And then he bumped into Linda Keith, Keith Richards' girlfriend,  who took him to see someone whose guitar we've already heard in this episode: [Excerpt: Rosa Lee Brooks, "My Diary"] The Curtis Mayfield impression on guitar there was, at least according to many sources the first recording session ever played on by a guitarist then calling himself Maurice (or possibly Mo-rees) James. We'll see later in the story that it possibly wasn't his first -- there are conflicting accounts, as there are about a lot of things, and it was recorded either in very early 1964, in which case it was his first, or (as seems more likely, and as I tell the story later) a year later, in which case he'd played on maybe half a dozen tracks in the studio by that point. But it was still a very early one. And by late 1966 that guitarist had reverted to the name by which he was brought up, and was calling himself Jimi Hendrix. Hendrix and Arthur Lee had become close, and Lee would later claim that Hendrix had copied much of Lee's dress style and attitude -- though many of Hendrix's other colleagues and employers, including Little Richard, would make similar claims -- and most of them had an element of truth, as Lee's did. Hendrix was a sponge. But Lee did influence him. Indeed, one of Hendrix's *last* sessions, in March 1970, was guesting on an album by Love: [Excerpt: Love with Jimi Hendrix, "Everlasting First"] Hendrix's name at birth was Johnny Allen Hendrix, which made his father, James Allen Hendrix, known as Al, who was away at war when his son was born, worry that he'd been named after another man who might possibly be the real father, so the family just referred to the child as "Buster" to avoid the issue. When Al Hendrix came back from the war the child was renamed James Marshall Hendrix -- James after Al's first name, Marshall after Al's dead brother -- though the family continued calling him "Buster". Little James Hendrix Junior didn't have anything like a stable home life. Both his parents were alcoholics, and Al Hendrix was frequently convinced that Jimi's mother Lucille was having affairs and became abusive about it. They had six children, four of whom were born disabled, and Jimi was the only one to remain with his parents -- the rest were either fostered or adopted at birth, fostered later on because the parents weren't providing a decent home life, or in one case made a ward of state because the Hendrixes couldn't afford to pay for a life-saving operation for him. The only one that Jimi had any kind of regular contact with was the second brother, Leon, his parents' favourite, who stayed with them for several years before being fostered by a family only a few blocks away. Al and Lucille Hendrix frequently split and reconciled, and while they were ostensibly raising Jimi (and for a  few years Leon), he was shuttled between them and various family members and friends, living sometimes in Seattle where his parents lived and sometimes in Vancouver with his paternal grandmother. He was frequently malnourished, and often survived because friends' families fed him. Al Hendrix was also often physically and emotionally abusive of the son he wasn't sure was his. Jimi grew up introverted, and stuttering, and only a couple of things seemed to bring him out of his shell. One was science fiction -- he always thought that his nickname, Buster, came from Buster Crabbe, the star of the Flash Gordon serials he loved to watch, though in fact he got the nickname even before that interest developed, and he was fascinated with ideas about aliens and UFOs -- and the other was music. Growing up in Seattle in the forties and fifties, most of the music he was exposed to as a child and in his early teens was music made by and for white people -- there wasn't a very large Black community in the area at the time compared to most major American cities, and so there were no prominent R&B stations. As a kid he loved the music of Bob Wills and the Texas Playboys, and when he was thirteen Jimi's favourite record was Dean Martin's "Memories are Made of This": [Excerpt: Dean Martin, "Memories are Made of This"] He also, like every teenager, became a fan of rock and roll music. When Elvis played at a local stadium when Jimi was fifteen, he couldn't afford a ticket, but he went and sat on top of a nearby hill and watched the show from the distance. Jimi's first exposure to the blues also came around this time, when his father briefly took in lodgers, Cornell and Ernestine Benson, and Ernestine had a record collection that included records by Lightnin' Hopkins, Howlin' Wolf, and Muddy Waters, all of whom Jimi became a big fan of, especially Muddy Waters. The Bensons' most vivid memory of Jimi in later years was him picking up a broom and pretending to play guitar along with these records: [Excerpt: Muddy Waters, "Baby Please Don't Go"] Shortly after this, it would be Ernestine Benson who would get Jimi his very first guitar. By this time Jimi and Al had lost their home and moved into a boarding house, and the owner's son had an acoustic guitar with only one string that he was planning to throw out. When Jimi asked if he could have it instead of it being thrown out, the owner told him he could have it for five dollars. Al Hendrix refused to pay that much for it, but Ernestine Benson bought Jimi the guitar. She said later “He only had one string, but he could really make that string talk.” He started carrying the guitar on his back everywhere he went, in imitation of Sterling Hayden in the western Johnny Guitar, and eventually got some more strings for it and learned to play. He would play it left-handed -- until his father came in. His father had forced him to write with his right hand, and was convinced that left-handedness was the work of the devil, so Jimi would play left-handed while his father was somewhere else, but as soon as Al came in he would flip the guitar the other way up and continue playing the song he had been playing, now right-handed. Jimi's mother died when he was fifteen, after having been ill for a long time with drink-related problems, and Jimi and his brother didn't get to go to the funeral -- depending on who you believe, either Al gave Jimi the bus fare and told him to go by himself and Jimi was too embarrassed to go to the funeral alone on the bus, or Al actually forbade Jimi and Leon from going.  After this, he became even more introverted than he was before, and he also developed a fascination with the idea of angels, convinced his mother now was one. Jimi started to hang around with a friend called Pernell Alexander, who also had a guitar, and they would play along together with Elmore James records. The two also went to see Little Richard and Bill Doggett perform live, and while Jimi was hugely introverted, he did start to build more friendships in the small Seattle music scene, including with Ron Holden, the man we talked about in the episode on "Louie Louie" who introduced that song to Seattle, and who would go on to record with Bruce Johnston for Bob Keane: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] Eventually Ernestine Benson persuaded Al Hendrix to buy Jimi a decent electric guitar on credit -- Al also bought himself a saxophone at the same time, thinking he might play music with his son, but sent it back once the next payment became due. As well as blues and R&B, Jimi was soaking up the guitar instrumentals and garage rock that would soon turn into surf music. The first song he learned to play was "Tall Cool One" by the Fabulous Wailers, the local group who popularised a version of "Louie Louie" based on Holden's one: [Excerpt: The Fabulous Wailers, "Tall Cool One"] As we talked about in the "Louie Louie" episode, the Fabulous Wailers used to play at a venue called the Spanish Castle, and Jimi was a regular in the audience, later writing his song "Spanish Castle Magic" about those shows: [Excerpt: The Jimi Hendrix Experience, "Spanish Castle Magic"] He was also a big fan of Duane Eddy, and soon learned Eddy's big hits "Forty Miles of Bad Road", "Because They're Young", and "Peter Gunn" -- a song he would return to much later in his life: [Excerpt: Jimi Hendrix, "Peter Gunn/Catastrophe"] His career as a guitarist didn't get off to a great start -- the first night he played with his first band, he was meant to play two sets, but he was fired after the first set, because he was playing in too flashy a manner and showing off too much on stage. His girlfriend suggested that he might want to tone it down a little, but he said "That's not my style".  This would be a common story for the next several years. After that false start, the first real band he was in was the Velvetones, with his friend Pernell Alexander. There were four guitarists, two piano players, horns and drums, and they dressed up with glitter stuck to their pants. They played Duane Eddy songs, old jazz numbers, and "Honky Tonk" by Bill Doggett, which became Hendrix's signature song with the band. [Excerpt: Bill Doggett, "Honky Tonk"] His father was unsupportive of his music career, and he left his guitar at Alexander's house because he was scared that his dad would smash it if he took it home. At the same time he was with the Velvetones, he was also playing with another band called the Rocking Kings, who got gigs around the Seattle area, including at the Spanish Castle. But as they left school, most of Hendrix's friends were joining the Army, in order to make a steady living, and so did he -- although not entirely by choice. He was arrested, twice, for riding in stolen cars, and he was given a choice -- either go to prison, or sign up for the Army for three years. He chose the latter. At first, the Army seemed to suit him. He was accepted into the 101st Airborne Division, the famous "Screaming Eagles", whose actions at D-Day made them legendary in the US, and he was proud to be a member of the Division. They were based out of Fort Campbell, the base near Clarksville we talked about a couple of episodes ago, and while he was there he met a bass player, Billy Cox, who he started playing with. As Cox and Hendrix were Black, and as Fort Campbell straddled the border between Kentucky and Tennessee, they had to deal with segregation and play to only Black audiences. And Hendrix quickly discovered that Black audiences in the Southern states weren't interested in "Louie Louie", Duane Eddy, and surf music, the stuff he'd been playing in Seattle. He had to instead switch to playing Albert King and Slim Harpo songs, but luckily he loved that music too. He also started singing at this point -- when Hendrix and Cox started playing together, in a trio called the Kasuals, they had no singer, and while Hendrix never liked his own voice, Cox was worse, and so Hendrix was stuck as the singer. The Kasuals started gigging around Clarksville, and occasionally further afield, places like Nashville, where Arthur Alexander would occasionally sit in with them. But Cox was about to leave the Army, and Hendrix had another two and a bit years to go, having enlisted for three years. They couldn't play any further away unless Hendrix got out of the Army, which he was increasingly unhappy in anyway, and so he did the only thing he could -- he pretended to be gay, and got discharged on medical grounds for homosexuality. In later years he would always pretend he'd broken his ankle parachuting from a plane. For the next few years, he would be a full-time guitarist, and spend the periods when he wasn't earning enough money from that leeching off women he lived with, moving from one to another as they got sick of him or ran out of money. The Kasuals expanded their lineup, adding a second guitarist, Alphonso Young, who would show off on stage by playing guitar with his teeth. Hendrix didn't like being upstaged by another guitarist, and quickly learned to do the same. One biography I've used as a source for this says that at this point, Billy Cox played on a session for King Records, for Frank Howard and the Commanders, and brought Hendrix along, but the producer thought that Hendrix's guitar was too frantic and turned his mic off. But other sources say the session Hendrix and Cox played on for the Commanders wasn't until three years later, and the record *sounds* like a 1965 record, not a 1962 one, and his guitar is very audible – and the record isn't on King. But we've not had any music to break up the narration for a little while, and it's a good track (which later became a Northern Soul favourite) so I'll play a section here, as either way it was certainly an early Hendrix session: [Excerpt: Frank Howard and the Commanders, "I'm So Glad"] This illustrates a general problem with Hendrix's life at this point -- he would flit between bands, playing with the same people at multiple points, nobody was taking detailed notes, and later, once he became famous, everyone wanted to exaggerate their own importance in his life, meaning that while the broad outlines of his life are fairly clear, any detail before late 1966 might be hopelessly wrong. But all the time, Hendrix was learning his craft. One story from around this time  sums up both Hendrix's attitude to his playing -- he saw himself almost as much as a scientist as a musician -- and his slightly formal manner of speech.  He challenged the best blues guitarist in Nashville to a guitar duel, and the audience actually laughed at Hendrix's playing, as he was totally outclassed. When asked what he was doing, he replied “I was simply trying to get that B.B. King tone down and my experiment failed.” Bookings for the King Kasuals dried up, and he went to Vancouver, where he spent a couple of months playing in a covers band, Bobby Taylor and the Vancouvers, whose lead guitarist was Tommy Chong, later to find fame as one half of Cheech and Chong. But he got depressed at how white Vancouver was, and travelled back down south to join a reconfigured King Kasuals, who now had a horn section. The new lineup of King Kasuals were playing the chitlin circuit and had to put on a proper show, and so Hendrix started using all the techniques he'd seen other guitarists on the circuit use -- playing with his teeth like Alphonso Young, the other guitarist in the band, playing with his guitar behind his back like T-Bone Walker, and playing with a fifty-foot cord that allowed him to walk into the crowd and out of the venue, still playing, like Guitar Slim used to. As well as playing with the King Kasuals, he started playing the circuit as a sideman. He got short stints with many of the second-tier acts on the circuit -- people who had had one or two hits, or were crowd-pleasers, but weren't massive stars, like Carla Thomas or Jerry Butler or Slim Harpo. The first really big name he played with was Solomon Burke, who when Hendrix joined his band had just released "Just Out of Reach (Of My Two Empty Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (Of My Two Empty Arms)"] But he lacked discipline. “Five dates would go beautifully,” Burke later said, “and then at the next show, he'd go into this wild stuff that wasn't part of the song. I just couldn't handle it anymore.” Burke traded him to Otis Redding, who was on the same tour, for two horn players, but then Redding fired him a week later and they left him on the side of the road. He played in the backing band for the Marvelettes, on a tour with Curtis Mayfield, who would be another of Hendrix's biggest influences, but he accidentally blew up Mayfield's amp and got sacked. On another tour, Cecil Womack threw Hendrix's guitar off the bus while he slept. In February 1964 he joined the band of the Isley Brothers, and he would watch the Beatles on Ed Sullivan with them during his first days with the group. Assuming he hadn't already played the Rosa Lee Brooks session (and I think there's good reason to believe he hadn't), then the first record Hendrix played on was their single "Testify": [Excerpt: The Isley Brothers, "Testify"] While he was with them, he also moonlighted on Don Covay's big hit "Mercy, Mercy": [Excerpt: Don Covay and the Goodtimers, "Mercy Mercy"] After leaving the Isleys, Hendrix joined the minor soul singer Gorgeous George, and on a break from Gorgeous George's tour, in Memphis, he went to Stax studios in the hope of meeting Steve Cropper, one of his idols. When he was told that Cropper was busy in the studio, he waited around all day until Cropper finished, and introduced himself. Hendrix was amazed to discover that Cropper was white -- he'd assumed that he must be Black -- and Cropper was delighted to meet the guitarist who had played on "Mercy Mercy", one of his favourite records. The two spent hours showing each other guitar licks -- Hendrix playing Cropper's right-handed guitar, as he hadn't brought along his own. Shortly after this, he joined Little Richard's band, and once again came into conflict with the star of the show by trying to upstage him. For one show he wore a satin shirt, and after the show Richard screamed at him “I am the only Little Richard! I am the King of Rock and Roll, and I am the only one allowed to be pretty. Take that shirt off!” While he was with Richard, Hendrix played on his "I Don't Know What You've Got, But It's Got Me", which like "Mercy Mercy" was written by Don Covay, who had started out as Richard's chauffeur: [Excerpt: Little Richard, "I Don't Know What You've Got, But It's Got Me"] According to the most likely version of events I've read, it was while he was working for Richard that Hendrix met Rosa Lee Brooks, on New Year's Eve 1964. At this point he was using the name Maurice James, apparently in tribute to the blues guitarist Elmore James, and he used various names, including Jimmy James, for most of his pre-fame performances. Rosa Lee Brooks was an R&B singer who had been mentored by Johnny "Guitar" Watson, and when she met Hendrix she was singing in a girl group who were one of the support acts for Ike & Tina Turner, who Hendrix went to see on his night off. Hendrix met Brooks afterwards, and told her she looked like his mother -- a line he used on a lot of women, but which was true in her case if photos are anything to go by. The two got into a relationship, and were soon talking about becoming a duo like Ike and Tina or Mickey and Sylvia -- "Love is Strange" was one of Hendrix's favourite records. But the only recording they made together was the "My Diary" single. Brooks always claimed that she actually wrote that song, but the label credit is for Arthur Lee, and it sounds like his work to me, albeit him trying hard to write like Curtis Mayfield, just as Hendrix is trying to play like him: [Excerpt: Rosa Lee Brooks, "My Diary"] Brooks and Hendrix had a very intense relationship for a short period. Brooks would later recall Little

The Gold Star Club is the need for approval and validation. The Gold Star Club is our way of making ourselves likeable to others. We earn gold stars by pleasing others and being what we think we are supposed to be. On today's episode I talk about the ways in which I earned gold stars and how I unknowingly inducted my children into the gold star club. Connect with Diane: https://www.dianesorensen.net/beautyinbehavior Instagram @beauty.in.behavior

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