Podcasts about Sugar Ray Robinson

Nicolino Locche fue un artista del boxeo, un genio bohemio, una figura única, irrepetible e inimitable. Nadie ha boxeado ni boxeará jamás como Locche. Fue el ídolo del Luna Park de Buenos Aires. El público le adoraba porque era capaz de emocionarles y al mismo tiempo hacerles reír con sus desplantes y sus extravagantes genialidades. Protagonizó noches inolvidables para la historia del boxeo argentino, como la gran noche en Japón en la que se proclamó campeón mundial. Muhammad Ali, Willie Pep, Sugar Ray Robinson, Pernell Whitaker han sido auténticos genios del boxeo. Pero dentro de su heterodoxia y su genialidad, ninguno de ellos ha sido tan atrevido ni tan distinto, ni tan imprevisible como Nicolino Locche. Nicolino es el boxeador de los insólitos reflejos, el rey de la esquiva y el engaño, el más genial y diferente de toda la historia del boxeo. Corte 1: “Violencia en el parque”, Aquelarre Corte 2: Tequila “Mr Jones” Corte 3: Chico Novarro “Un sabado mas” Corte 4: Moris – “Zapatos de gamuza azul” Corte 5: Sergio Makaroff - “Explorador Celeste” Corte 6: Rubi y los Casino – “Yo tenía un novio” Corte 7: The Kinks – “Father Christmas”

Dmitry Salita immigrated from Ukraine to the USA where he became an international champion in the boxing ring and a Shabbos observant Jew. Follow him on Instagram (@dmitriy_salita) Facebook (Dmitriy Salita) and LinkedIn Dmitriy Salita. ----- To sponsor an episode: JewsShmoozeMarketing@gmail.com Listen on the phone!! UK: 44-333-366-0589 IL: 972-79-579-5005 USA: 712-432-2903 Check out the Jews Shmooze T-shirts and mug: https://rb.gy/qp543

Walker Smith Jr. was one the greatest boxers of all time. You know him as Sugar Ray Robinson, who was inducted into the International Boxing Hall of Fame in 1990. He started fighting in 1940, using the name of Robinson because he was underage. From 1943 to 1951 Robinson went on a 91-fight winning streak, the third-longest in professional boxing history. Robinson also became the first boxer to win a divisional world championship five times. After his boxing career ended, Robinson became an entertainer, singing, dancing, and acting on TV shows and a few movies. Hear the story of Sugar Ray Robinson, presented in a 1950 edition of Destination Freedom, and the inside story of his 6th match with the legendary Jake LaMotta, which was called the St. Valentines Day Massacre, on the CBS radio news magazine Hear It Now, in 1951.  More at KRobCollection.com

 In this episode of History Ignited, we dive into the story of Sugar Ray Robinson, one of the greatest boxers of all time, as mentioned in Billy Joel's We Didn't Start the Fire. Born Walker Smith Jr., Robinson revolutionized the sport of boxing with his speed, power, and "sweet as sugar" fighting style. Beyond the ring, he made a lasting impact as a civil rights advocate, using his platform to speak against racial injustice. Tune in to learn about his legendary rivalry with Jake LaMotta, his life outside of boxing, and his enduring influence on sports and society Send us a text

Podcast Description for The NJ Podcast:In this exciting episode of The NJ Podcast, host Njabulo James Nkosi and co-host Mkundi dive into the hotly debated question: Who is the greatest boxer of all time? From Muhammad Ali's legendary fights to Floyd Mayweather's undefeated legacy, we rank our top 10 greatest boxers of all time and explore their unique contributions to the sport. We also break down how boxing works, discussing the rules, fighting styles, and strategies that make it the "sweet science." Join us as we celebrate the legends of the ring and the art of boxing!Our Top 10 Boxers:Muhammad AliSugar Ray RobinsonJoe LouisRocky MarcianoFloyd Mayweather Jr.Mike TysonManny PacquiaoHenry ArmstrongRoberto DuránJulio César ChávezIf you enjoyed this episode, don't forget to subscribe, share with your fellow boxing fans, and leave a comment letting us know who you think the greatest boxer of all time is! We love hearing your thoughts, so join the conversation and help us grow our community!#TheNJPodcast #GreatestBoxer #MuhammadAli #FloydMayweather #BoxingGOAT #BoxingDebate #TopBoxers #SweetScience #BoxingHistory #BoxingPodcast #SportsDebate #BoxingLegends #Mkundi #BoxingDiscussion #GOATBoxer #Top10Boxers #Subscribe #Share #CommentThe NJ Podcast, Greatest Boxer, Top 10 Boxers, Boxing GOAT, Muhammad Ali, Floyd Mayweather, Mike Tyson, Manny Pacquiao, Sugar Ray Robinson, Joe Louis, Boxing History, Boxing Legends, Boxing Discussion, Boxing Podcast, Mkundi, Boxing Debate, Subscribe, Share, Comment

In this episode of The NJ Podcast, we're back with another deep dive discussion with Mukundi Mudau as we explore the greatest athletes of all time across various sports. From boxing legend Muhammad Ali to football maestro Lionel Messi, tennis giants Novak Djokovic and Rafael Nadal, and NFL icon Tom Brady, we break down what makes these athletes the GOATs in their respective fields. We also dive into the greatness of Tiger Woods in golf, LeBron James in basketball, Floyd Mayweather in boxing, Usain Bolt on the track, and Serena Williams and Simone Biles in their respective sports. Plus, we revisit the legacy of boxing legend Sugar Ray Robinson. Whether you're a sports enthusiast or just curious about what it takes to be considered the greatest, this episode is packed with engaging insights, lively debate, and career-defining moments from the best athletes to ever compete.#GOATs #GreatestAthletes #MuhammadAli #LionelMessi #NovakDjokovic #RafaelNadal #TomBrady #TigerWoods #LeBronJames #FloydMayweather #UsainBolt #SerenaWilliams #SimoneBiles #SugarRayRobinson #SportsLegends #TheNJPodcast #GOATDebate

In conversation with Wil Haygood Paul Hendrickson's books include Sons of Mississippi, winner of the National Book Critics Circle Award; Hemingway's Boat: Everything He Loved in Life, and Lost, 1934–1961, a National Book Critics Circle Award finalist; and The Living and the Dead: Robert McNamara and Five Lives of a Lost War, a National Book Award finalist. A creative writing teacher at the University of Pennsylvania for more than 25 years and a feature writer at The Washington Post for the two decades before that, he is the recipient of writing fellowships from the Guggenheim Foundation, the National Endowment for the Arts, and the Lyndhurst Foundation, among other institutions. In Fighting the Night, Hendrickson tells the story of his father's World War II service as a nighttime fighter pilot and the sacrifices he, his family, and his generation made on behalf of their country. Pulitzer Prize-nominated journalist Wil Haygood has, over a storied 30-year career, worked at the Boston Globe, The Washington Post, and as a globetrotting investigative reporter. He is most famous for his 2008 Washington Post article, ''A Butler Well Served by This Election,'' about the White House steward who bore witness to some of 20th century America's most notable events and figures. He later expanded the article into a bestselling book that was adapted into the critically acclaimed film The Butler, starring Forest Whitaker. Haygood is also the author of Colorization: One Hundred Years of Black Films in a White World and popular biographies of Adam Clayton Powell Jr., Sugar Ray Robinson, Thurgood Marshall, and Sammy Davis, Jr.  Because you love Author Events, please make a donation to keep our podcasts free for everyone. THANK YOU! (recorded 5/16/2024)

Damian Hughes is an international speaker and best-selling author who combines his practical and academic background within sport, organisational development and change psychology, to help organisations and teams to create a high performing culture. He is the author of eight best-selling business books which have been translated into ten languages, including The Five Steps to a Winning Mindset and How to Change Absolutely Anything . Damian has recently  co-authored the Sunday Times bestseller, High Performance, and he was  nominated for the 2007 William Hill Sports book of the year award for Peerless, his biography of boxing great Sugar Ray Robinson. Damian has also co-authored two other critically acclaimed biography of boxing legends, Thomas Hearns in Hitman: the Thomas Hearns Story and his biography of Marvelous Marvin Hagler, which became the UK's best-selling sports biography. He was appointed as a Visiting  Professor of Organisational Behaviour for Manchester Metropolitan University in September 2010. Damian is the co-host of The High Performance Podcast, an acclaimed series of interviews with elite performers from business, sport and the arts, exploring the psychology and behaviours behind sustained high performance. He has served as a member of the coaching team for England Rugby League, Scotland Rugby Union and a wide range of international and national sporting teams. His innovative and exciting approach has been praised by Sir Richard Branson, Muhammad Ali, Sir Terry Leahy, Sir Roger Bannister, Tiger Woods, Jonny Wilkinson and Sir Alex Ferguson.

This week the boys go back to April 1989 and WCW's Ragin Cajun! Sugar Ray Robinson passes, something about a microchip from Intel (nerd), and we eulogize Joe C in the best possible way... All that while Flair and Steamboat tear the house down in front of 87 people! So come back to 1989 with us this week on FFP!www.patreon.com/ramnetwork

In today's episode, we're celebrating World Compliment Day; I find myself reflecting on the profound impact that giving compliments can have—not just on the recipients but on us as givers. It's a journey of noticing the beauty in everyday interactions, whether the strength we see in others, like the resilience Johnny Cash found through June Carter's encouragement or the wisdom in Martin Luther King Jr.'s words about the power of love and strength. Giving a compliment isn't about grand gestures but the simple, genuine moments of connection—acknowledging someone's effort, as Ludwig van Beethoven did through his music or the encouragement Sugar Ray Robinson offered to a young Flojo, igniting a dream. As we dive into the art of giving compliments, remember that this is about sharing small pieces of kindness that can brighten someone's day and when you do, you might just notice a big smile on your own face. Let's do this! Show notes and full transcript: https://www.coolcatteacher.com/e839 

Chris and Adam share stories of recent unprofessional encounters in the service industry and the tipping phenomenon, they discuss the incredible story of Sugar Ray Robinson and Jimmy Doyle's title fight from 1947, Adam goes to a comedy show alone, the Mount Rushmore of pretzels, and the newest comedy special from Mike Epps.

Bob gives a family update, talks about a PAB report, the Bloomfield trooper body cam, Nicki Haley and Sugar Ray Robinson.

In a special episode of the Royal Blue podcast, the ECHO's Everton reporter Chris Beesley travels to the home and studio of world-renowned sports artist Paul Trevillion. Dubbed ‘The Master of Movement', the title of an exhibition of his work showcased at The Strand Gallery in London back in 2014, Trevillion has immortalised the likenesses of some of the biggest names in sport over his stunning career that spans over 70 years. With his unrivalled ability to capture elite athletes in action, he's produced illustrations of the likes of Pele, Bobby Moore, Lionel Messi, Cristiano Ronaldo, Johan Cruyff, Franz Beckenbauer, Sir Ian Botham, Sachin Tendulkar, Andy Murray, Jack Nicklaus, Tiger Woods, Michael Jordan, Sugar Ray Robinson and Oscar De La Hoya to name just an illustrious few. It's his first and most-enduring football idol Dixie Dean who we're concerned with today though. Paul, who celebrates his 90th birthday on March 11, was transfixed by Dixie ever since he was taken to his first ever game on February 22, 1937, shortly before he turned three, to watch a then Second Division Tottenham Hotspur defeat Everton 4-3 in an FA Cup fifth round replay. Over two decades later, he'd be reunited with the Blues' most-prolific marksman as he met up with his boyhood hero to produce the legendary centre-forward's life story for the Liverpool Echo. This incredible series ran in our newspaper for a marathon 21 weeks during the 1960/61 season. Still razor sharp and a larger-than-life character and raconteur, Trevillion talks us through his incredible memories of an Everton legend. #EFC #EvertonFC #EvertonFootballClub Everton FC podcasts from the Liverpool ECHO's Royal Blue YouTube channel. Get exclusive Everton FC content - including podcasts, live shows and videos - everyday.  Subscribe to the Royal Blue Everton FC YouTube Channel and watch daily live shows HERE: https://bit.ly/3aNfYav Listen and subscribe to the Royal Blue Podcast for all your latest Everton FC content via Apple and Spotify: APPLE: https://bit.ly/3HbiY1E SPOTIFY: https://bit.ly/47xwdnY Visit the Liverpool ECHO website: https://www.liverpoolecho.co.uk/all-about/everton-fc Follow us on Twitter: https://twitter.com/LivEchoEFC Follow us on TikTok: https://www.tiktok.com/@royal.blue.everto Follow us on Facebook: https://www.facebook.com/LiverpoolEchoEFC Learn more about your ad choices. Visit megaphone.fm/adchoices

La vita e la carriera del Toro del Bronx, Jake Lamotta. Dall'infanzia vissuta in povertà ai combattimenti nei vicoli per sopravvivere. Dal riformatorio all'incontro con la boxe. La rivalità con Sugar Ray Robinson che culminerà nel Massacro di San Valentino.

Sean & Lukie sit down and reflect upon the contrast in the careers of Sugar Ray Robinson & Carmen Basilio which led to their two memorable fights. Subscribe Apple Podcasts https://podcasts.apple.com/gb/podcast/legendary-nights/id1493845050 Spotify https://open.spotify.com/show/2QyYCjXipHAfAPTAUUKQDO We are also available on Player FM, Spreaker, and all other major podcasting apps Follow us at: https://twitter.com/legendnightpod https://www.facebook.com/btrboxingpodcast Become A Patron patreon.com/btrboxingpodcastnetwork Learn more about your ad choices. Visit megaphone.fm/adchoices

Sugar Ray Robinson, regarded by many as pound-for-pound the greatest boxer of all time, rarely found himself the underdog, but that all changed when he stepped into the ring with “The Onion Farmer,” the ever-tough and tenacious Carmen Basilio. Sean & Johnston present the stories around both of the Robinson vs Basilio clashes that were magnificently savage wars, contested at the highest level between now legendary champions, and that also deserve their status as two of the greatest fifteen-round struggles in middleweight history. Subscribe Apple Podcasts https://podcasts.apple.com/gb/podcast/legendary-nights/id1493845050 Spotify https://open.spotify.com/show/2QyYCjXipHAfAPTAUUKQDO We are also available on Player FM, Spreaker, and all other major podcasting apps Follow us at: https://twitter.com/legendnightpod https://www.facebook.com/btrboxingpodcast Become A Patron patreon.com/btrboxingpodcastnetwork Learn more about your ad choices. Visit megaphone.fm/adchoices

Sugar Ray Robinson, regarded by many as pound-for-pound the greatest boxer of all time, rarely found himself the underdog, but that all changed when he stepped into the ring with “The Onion Farmer,” the ever-tough and tenacious Carmen Basilio. Sean & Johnston present the stories around both of the Robinson vs Basilio clashes that were magnificently savage wars, contested at the highest level between now legendary champions, and that also deserve their status as two of the greatest fifteen-round struggles in middleweight history. Subscribe Apple Podcasts https://podcasts.apple.com/gb/podcast/legendary-nights/id1493845050 Spotify https://open.spotify.com/show/2QyYCjXipHAfAPTAUUKQDO We are also available on Player FM, Spreaker, and all other major podcasting apps Follow us at: https://twitter.com/legendnightpod https://www.facebook.com/btrboxingpodcast Become A Patron patreon.com/btrboxingpodcastnetwork Learn more about your ad choices. Visit megaphone.fm/adchoices

As you know by now, Roger's had some amazing experiences in show business, the arts and theater. But this is the first time he talks about sports. He remembers watching the great Sugar Ray Robinson box as well as what eventually turned him off about the sport. Roger also explains why even though he lives in New York, he's not a Mets or Yankees fan. He also tells how he helped bring soccer legend Pele to the Big Apple and Roger goes on to explain his father's rules for betting on horses Learn more about your ad choices. Visit megaphone.fm/adchoices

A big Saturday of heavyweight action has culminated with Ukranian Oleksandr Usyk defending his three titles, American heavyweight contender Jared Anderson looking good and more. And, we are ready to analyze it all on the newest "Fight Freaks Unite Recap Podcast!"Host T.J. Rives is back with insider Dan Rafael of BigFightWeekend.com to go over it all starting with overcoming a serous low blow against Britain's Daniel Dubois to skill KO him later in the bout. The guys disect the supposed controversy and how Usyk's reaction verified that the punch was low and not a borderline body shot that could have given Dubois the win. Dan has insight from the WBA about their thoughts on Dubois' complaning? And, wlll we see Usyk fight again late in the year while waiting for Tyson Fury and an undisputed shot?Then, the subject of "fighter safety" comes back up, as lightweight Anthony Yigit was beaten up, cut up, but then not medically taken care of after his fight in Poland on the Usyk-Dubois undercard. The boys want some answers about the crappy safety standards for K2 Promotions and the Polish boxing authorities for this situation.Next, the attention turns to Jared "Real Big Baby" Anderson and the unbeaten heavyweight scoring his latest TKO in a Top Rank Boxing main event in Tulsa, OK. Anderson is back on track with the 15th KO in 16 fights for him and what's next on the contender horizon for him?Then, some fight news involving a potential Shakur Stevenson next bout, Robert Helenius' positive drug test prior to getting kayoed by Anthony Joshua, Jaime Munguia has switched to a new hall of fame trainer and more.And, finally, some birthday nostalgia for hall of famer Raul Marquez and a nugget on the great Sugar Ray Robinson too.Hear it all on the "Fight Freaks Unite Recap Podcast" and make sure to follow/subscribe on Apple Podcasts, Spotify, Google, Spreaker, etc.!!

A big Saturday of heavyweight action has culminated with Ukranian Oleksandr Usyk defending his three titles, American heavyweight contender Jared Anderson looking good and more. And, we are ready to analyze it all on the newest "Fight Freaks Unite Recap Podcast!"Host T.J. Rives is back with insider Dan Rafael of BigFightWeekend.com to go over it all starting with overcoming a serous low blow against Britain's Daniel Dubois to skill KO him later in the bout. The guys disect the supposed controversy and how Usyk's reaction verified that the punch was low and not a borderline body shot that could have given Dubois the win. Dan has insight from the WBA about their thoughts on Dubois' complaning? And, wlll we see Usyk fight again late in the year while waiting for Tyson Fury and an undisputed shot?Then, the subject of "fighter safety" comes back up, as lightweight Anthony Yigit was beaten up, cut up, but then not medically taken care of after his fight in Poland on the Usyk-Dubois undercard. The boys want some answers about the crappy safety standards for K2 Promotions and the Polish boxing authorities for this situation.Next, the attention turns to Jared "Real Big Baby" Anderson and the unbeaten heavyweight scoring his latest TKO in a Top Rank Boxing main event in Tulsa, OK. Anderson is back on track with the 15th KO in 16 fights for him and what's next on the contender horizon for him?Then, some fight news involving a potential Shakur Stevenson next bout, Robert Helenius' positive drug test prior to getting kayoed by Anthony Joshua, Jaime Munguia has switched to a new hall of fame trainer and more.And, finally, some birthday nostalgia for hall of famer Raul Marquez and a nugget on the great Sugar Ray Robinson too.Hear it all on the "Fight Freaks Unite Recap Podcast" and make sure to follow/subscribe on Apple Podcasts, Spotify, Google, Spreaker, etc.!!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4124899/advertisement

We take a look at one of the greatest upsets in boxing history: Randy Turpin's shocking defeat of Sugar Ray Robinson, including a watch along & play by play reenactment. YOUTUBE LINK FOR THE WATCH ALONG https://youtu.be/3qAjPu3XcHQ #ASKROBSILVA on Twitter for any questions you want answered on the pod Any voicenotes or comments on the show, email me ROBERTSILVA57@HOTMAIL.COM --- Send in a voice message: https://podcasters.spotify.com/pod/show/robert-silva5/message

Teddy Atlas and co-host Ken Rideout talk with legendary sports journalist Jerry Izenberg about boxing, with Jerry telling stories of boxing greats like Joe Louis, Muhammad Ali, Roberto Duran, and Sugar Ray Robinson. Jerry Izenberg's New Book: https://amzn.to/46oWohA "Baseball, Nazis & Nedick's Hot Dogs: Growing up Jewish in the 1930s in Newark" Thanks for being with us. The best way to support is to subscribe, share the episode and check out our sponsors: Athletic Greens - https://athleticgreens.com/atlas SUBSCRIBE TO OUR WEEKLY NEWSLETTER HERE: https://teddyatlas.com Timestamps: 00:00 - Intro 05:00 - Joe Louis vs Max Schmeling 2 15:45 - Muhammad Ali 23:20 - Greatest Fighter of All-Time 36:05 - Mafia & Boxing 41:20 - Korean War 43:50 - Olympics & Corruption 49:35 - Ray Arcel & Roberto Duran TEDDY'S AUDIOBOOK Amazon/Audible: https://amzn.to/32104DR iTunes/Apple: https://apple.co/32y813r THE FIGHT T-SHIRTS https://teddyatlas.com TEDDY'S SOCIAL MEDIA Twitter - http://twitter.com/teddyatlasreal Instagram - http://instagram.com/teddy_atlas THE FIGHT WITH TEDDY ATLAS SOCIAL MEDIA Instagram - http://instagram.com/thefightWTA Twitter - http://twitter.com/thefightwta Facebook - https://www.facebook.com/TheFightwithTeddyAtlas Big thanks to VHS collection for intro music. More on VHS Collection here: http://www.vhscollection.com. Thanks for tuning in. Please be sure to subscribe! Hosted on Acast. See acast.com/privacy for more information.

Teddy Atlas and co-host Ken Rideout talk with legendary sports journalist Jerry Izenberg about boxing, with Jerry telling stories of boxing greats like Joe Louis, Muhammad Ali, Roberto Duran, and Sugar Ray Robinson. Jerry Izenberg's New Book: https://amzn.to/46oWohA "Baseball, Nazis & Nedick's Hot Dogs: Growing up Jewish in the 1930s in Newark" Thanks for being with us. The best way to support is to subscribe, share the episode and check out our sponsors: Athletic Greens - https://athleticgreens.com/atlas SUBSCRIBE TO OUR WEEKLY NEWSLETTER HERE: https://teddyatlas.com Timestamps: 00:00 - Intro 05:00 - Joe Louis vs Max Schmeling 2 15:45 - Muhammad Ali 23:20 - Greatest Fighter of All-Time 36:05 - Mafia & Boxing 41:20 - Korean War 43:50 - Olympics & Corruption 49:35 - Ray Arcel & Roberto Duran TEDDY'S AUDIOBOOK Amazon/Audible: https://amzn.to/32104DR iTunes/Apple: https://apple.co/32y813r THE FIGHT T-SHIRTS https://teddyatlas.com TEDDY'S SOCIAL MEDIA Twitter - http://twitter.com/teddyatlasreal Instagram - http://instagram.com/teddy_atlas THE FIGHT WITH TEDDY ATLAS SOCIAL MEDIA Instagram - http://instagram.com/thefightWTA Twitter - http://twitter.com/thefightwta Facebook - https://www.facebook.com/TheFightwithTeddyAtlas Big thanks to VHS collection for intro music. More on VHS Collection here: http://www.vhscollection.com. Thanks for tuning in. Please be sure to subscribe! Hosted on Acast. See acast.com/privacy for more information.

In this episode Professor Damian Hughes reveals the five steps to a winning mindset that has propelled countless elite performers to the pinnacle of their fields.Drawing from his vast experience as a high-performance coach, Damian breaks down the key components of a successful mindset: simplicity, space, emotional intelligence, language, and stories. Are you struggling to reach your full potential? Discover how the strategies employed by top athletes, musicians, and business leaders can help you overcome obstacles and achieve greatness.About Prof. Damian HughesProfessor Damian Hughes, a bestselling author, merges his practical and academic expertise in sports, organizational development, and change psychology to foster high-performing cultures in teams and organizations.With eight bestsellers like "Liquid Thinking" and "How to Think Like Sir Alex Ferguson," his latest book, "High Performance: Lessons from the Best on Becoming Your Best," soared on the Sunday Times list. He's also renowned for biographies of boxing greats like Sugar Ray Robinson and Marvelous Marvin Hagler, published in multiple languages.Appointed as a visiting Professor at Manchester Metropolitan University, Damian Hughes co-hosts "The High-Performance Podcast," exploring psychology behind excellence. His coaching roles include England Rugby League, England Roses, and Scotland Rugby Union, cementing his influential career in performance enhancement.Please click here to learn more about Damian Hughes.About Brad SugarsInternationally known as one of the most influential entrepreneurs, Brad Sugars is a bestselling author, keynote speaker, and the #1 business coach in the world. Over the course of his 30-year career as an entrepreneur, Brad has become the CEO of 9+ companies and is the owner of the multimillion-dollar franchise ActionCOACH®. As a husband and father of five, Brad is equally as passionate about his family as he is about business. That's why, Brad is a strong advocate for building a business that works without you – so you can spend more time doing what really matters to you. Over the years of starting, scaling and selling many businesses, Brad has earned his fair share of scars. Being an entrepreneur is not an easy road. But if you can learn from those who have gone before you, it becomes a lot easier than going at it alone.Please click here to learn more about Brad Sugars: https://bradsugars.com/Learn the Fundamentals of Success for free:The Big Success Starter: https://results.bradsugars.com/thebigsuccess-starter

Professor Damian Hughes is a bestselling author who combines his practical and academic background within sport, organizational development and change psychology, to help organizations and teams to create a high performing culture.He is the author of eight best-selling business books, including Liquid Thinking, Liquid Leadership, How to Change Absolutely Anything, How to Think Like Sir Alex Ferguson and The Five STEPS to a Winning Mindset.His latest book, High Performance: Lessons from the Best on Becoming Your Best, has been a number one Sunday Times best seller. His work has been translated into ten languages.He has also been nominated for the 2007 William Hill Sports book of the year award for Peerless, his biography of boxing great Sugar Ray Robinson. In 2009, he co-authored a critically acclaimed biography of boxing legend, Thomas Hearns in Hitman: the Thomas Hearns Story. In 2013, his latest biography, Marvelous Marvin Hagler became the UK's best-selling sports biography.He was appointed as a visiting Professor of Organizational Behavior and Change for Manchester Metropolitan University in September 2010.He is the co-host of The High-Performance Podcast, an acclaimed series of interviews with elite performers from business, sport and the arts, exploring the psychology behind sustained high performance.He has served as a member of the coaching team for England Rugby League, England Roses, Scotland Rugby Union and a wide range of international and national sporting teams.Please click here to learn more about Damian Hughes.About Brad Sugars Internationally known as one of the most influential entrepreneurs, Brad Sugars is a bestselling author, keynote speaker, and the #1 business coach in the world. Over the course of his 30-year career as an entrepreneur, Brad has become the CEO of 9+ companies and is the owner of the multimillion-dollar franchise ActionCOACH®. As a husband and father of five, Brad is equally as passionate about his family as he is about business. That's why, Brad is a strong advocate for building a business that works without you – so you can spend more time doing what really matters to you. Over the years of starting, scaling and selling many businesses, Brad has earned his fair share of scars. Being an entrepreneur is not an easy road. But if you can learn from those who have gone before you, it becomes a lot easier than going at it alone. That's why Brad has created 90 Days To Revolutionize Your Life – It's 30 minutes a day for 90 days, teaching you his 30 years experience on investing, business and life.Please click here to learn more about Brad Sugars.Learn the Fundamentals of Success for free: The Big Success Starter: https://results.bradsugars.com/thebigsuccess-starter Join Brad's programs here: 30X Life: https://results.bradsugars.com/30xlifechallenge 30X Business: https://results.bradsugars.com/30xbusinesschallenge 30X Wealth: https://results.bradsugars.com/30xwealthchallenge 90X – Revolutionize Your Life: https://30xbusiness.com/90daystorevolutionize Brad Sugars' Entrepreneur University: https://results.bradsugars.com/entrepreneuruniversity For more information, visit Brad Sugars' website: www.bradsugars.comFollow Brad on Social Media:YouTube: @bradleysugars Instagram: @bradleysugars Facebook: Bradley J SugarsLinkedIn: Brad SugarsTikTok: @bradleysugarsTwitter: BradSugars The Big Success Podcast https://businessinnovatorsradio.com/the-big-success-podcast/Source: https://businessinnovatorsradio.com/ep-21-professor-damian-hughes-the-big-success-podcast-with-brad-sugars

 LA BALA MENDOZA NOQUEA A DUNDORA!BRANDUN LEE SE IMPUSO POR DECISIÓN UNÁNIME A PEDRO CAMPA. LEE SE IMPUSO POR 97-93, 98-92 Y 99-91.SHAKUR STEVENSON APRUEBA EL EXAMEN!YA CASI EST LISTA LA CARTELERA PARA LA CANELO VS RYDERREY MARTINEZ TENDRA RIVAL EMERGENTE!RYAN GARCIA Y GERVONTA DAVIS CIERRAN PREPARACION

On February 14th 1951, two of boxing's historical figures met for the sixth and final time in an epic match called the St. Valentine's Day Massacre. "Sugar" Ray Robinson x Jake LaMotta aka "The Raging Bull" fought in Chicago and LaMotta left a bloody mess in one of the most brutal fights in history. We talk about it. Subscribe/Rate/Review to Up On Game Presents on the iHeartRadio App, Apple Podcasts, or wherever you get your podcasts! WATCH FULL EPISODES ON THE UP ON GAME NETWORK YOUTUBE CHANNEL JUST SEARCH UP ON GAME NETWORK Support the show: https://www.upongame.network/ This Episode Is Powered By Pace-O-Matic https://www.paceomatic.com/ ++++++++++++ SOCIAL MEDIA ++++++++++++ ►Twitter: https://twitter.com/prittylefthook ►Instagram: https://www.instagram.com/prittylefthook ►Twitter: https://twitter.com/UpOnGameNetwork ►Instagram: https://www.instagram.com/upongamenet... ►Tik Tok: https://www.tiktok.com/@upongamenetwo...Support the show: https://www.upongame.network/See omnystudio.com/listener for privacy information.

Jaime Ugarte y Jorge Lera rememoran la mítica pelea entre La Motta y Sugar Ray Robinson

A couple of wild championship fights kicked off February as Emanuel Navarrete became a champion in a third weight division and Amanda Serrano became the women's undisputed featherweight champ. And, we're ready to go over it all on the latest "Fight Freaks Unite Recap" podcast. Host T.J. Rives and insider Dan Rafael of BigFightWeekend.com return with their insight and analysis, plus, some news off the weekend and a little nostalgia off the weekend too. First the guys discuss Serrano's bloody win by decision over Erika Cruz Saturday night at the Hulu Theater next to Madison Square Garden. Dan and T.J. have thoughts on the battle and whether the fight should have been stopped due to the blood loss for Cruz and the fact she was clearly hopelessly behind on the cards for the 9th and 10th rounds? Also, Serrano will now meet women's lightweight champ Katie Taylor in a rematch in May. The boys have more on that and the rest of the Matchroom Boxing card that saw Alycia Baumgardner become undisputed at women's junior lightweight and Richardson Hitchins score a lopsided win that should have been halted earlier. Next, the guys go over the thrilling, early "fight of the year" candidate as Navarrete got off the canvas for the first time in his career to rally and beat a valiant Aussie fighter Liam Wilson by TKO. Wilson score a knockdown in the fourth round and had the Mexican in serous trouble, but controversy happened with the referee delaying the restarting of the fight after his 8 count. That delay clearly cost Wilson a good chance to finish a stunned Navarrete immediately. Then, Navarrete showed great fortitude and out-slugged Wilson for his ninth title fight win in the last 11 bouts by KO. They also go over the rest of the Top Rank Arizona card, including Arnold Barboza and former Olympic Silver Medalist Richard Torrez winning their bouts. There is some news of the week and then, some anniversaries of Oscar De La Hoya's 50th birthday, Sugar Ray Leonard's pro debut and "the Raging Bull" beating the legendary Sugar Ray Robinson more than half a century ago. It's all all on the "Fight Freaks Unite Recap" and make sure to follow/subscribe on Apple Podcasts, Spotify, Google, etc.!! Support this podcast at — https://redcircle.com/big-fight-weekend/donations Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy

A couple of wild championship fights kicked off February as Emanuel Navarrete became a champion in a third weight division and Amanda Serrano became the women's undisputed featherweight champ. And, we're ready to go over it all on the latest "Fight Freaks Unite Recap" podcast. Host T.J. Rives and insider Dan Rafael of BigFightWeekend.com return with their insight and analysis, plus, some news off the weekend and a little nostalgia off the weekend too. First the guys discuss Serrano's bloody win by decision over Erika Cruz Saturday night at the Hulu Theater next to Madison Square Garden. Dan and T.J. have thoughts on the battle and whether the fight should have been stopped due to the blood loss for Cruz and the fact she was clearly hopelessly behind on the cards for the 9th and 10th rounds? Also, Serrano will now meet women's lightweight champ Katie Taylor in a rematch in May. The boys have more on that and the rest of the Matchroom Boxing card that saw Alycia Baumgardner become undisputed at women's junior lightweight and Richardson Hitchins score a lopsided win that should have been halted earlier. Next, the guys go over the thrilling, early "fight of the year" candidate as Navarrete got off the canvas for the first time in his career to rally and beat a valiant Aussie fighter Liam Wilson by TKO. Wilson score a knockdown in the fourth round and had the Mexican in serous trouble, but controversy happened with the referee delaying the restarting of the fight after his 8 count. That delay clearly cost Wilson a good chance to finish a stunned Navarrete immediately. Then, Navarrete showed great fortitude and out-slugged Wilson for his ninth title fight win in the last 11 bouts by KO. They also go over the rest of the Top Rank Arizona card, including Arnold Barboza and former Olympic Silver Medalist Richard Torrez winning their bouts. There is some news of the week and then, some anniversaries of Oscar De La Hoya's 50th birthday, Sugar Ray Leonard's pro debut and "the Raging Bull" beating the legendary Sugar Ray Robinson more than half a century ago. It's all all on the "Fight Freaks Unite Recap" and make sure to follow/subscribe on Apple Podcasts, Spotify, Google, etc.!! Support this podcast at — https://redcircle.com/big-fight-weekend/donations Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacyThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4124899/advertisement

This week I'll talk about the September 23rd, 1957 world middleweight title fight between Sugar Ray Robinson and Carmen Basilio. Discussing the greatest boxing controversies throughout history, Lou Eisen offers his opinions and insights in this fantastic live-streamed series of episodes. Watch live on TalkinFight.com every Sunday at 2pm ET. @People&History @HISTORY @HistoryBoxingChannel @HistoryofBoxingEN @TheWorldofBoxing! @BoxingLegendsTV @BoxingLegends @InternetHistorian @TheRingMagazine @GoldenBoyBoxing @DAZNBoxing @TopRankBoxing @FOTAFightOfTheAges #TalkinFight #RingTalk #LouEisen #Boxing #BoxingHistory

This episode is dedicated to who many call the greatest pound-for-pound fighter of all time, Sugar Ray Robinson. 

Episode Title:​ "From Rock N' Roll To The Answers Within Our SoulEpisode summary:​  Steven Machat has a deep understanding of life and what the purpose of life is. Love. The answer is love. He knows that we are here on Earth to love, experience joy, and help others. We are dreamers and we are meant to achieve our dreams. In order to do that, we need to do what we want and disregard what others tell us what to do, and follow our hearts. We have the choice to create our heaven by living freely or choosing to live in our hell by the following fear. Steven knows that every person can live in their own heaven, but it's up to them to create that. Guest Name & Bio: Steven Machat has had an incredible life. Born and raised in NY City, through his entertainment lawyer father, Marty Machat, he met some of the biggest names in the industry; Frank Sinatra, James Brown, Elvis, Sam Cooke, The Rolling Stones, Clyde Otis and Sugar Ray Robinson to name but a few. Steven has worked with the likes of Genesis, Phil Collins, Phil Spector, Peter Gabriel, Leonard Cohen and the Electric Light Orchestra. His management company represented Colonel Abrams, Soft Cell, John Waite, Bobby Brown and New Edition. After being diagnosed with Type 1 Diabetes, Steven was forced to assess his rock n' roll lifestyle and was quick to realize this fabricated world was not serving him well. His vision changed, and he realized that life is not to accumulate more money or be the boss of everyone else, but about learning how to share and to live in a society where we all work and live together. Contact Info: LinkedIn: https://www.linkedin.com/in/steven-machat-a8ba1114/Instagram: @stevenmachat_officialWebsite: https://theschoolofsacredknowledge.com/ Other Info: Machat has been a worldwide entertainment attorney, music publisher, manager of music talent, and record label owner as well as film producer, among other commercial endeavors. His clients have included Electric Light Orchestra, Genesis, Peter Gabriel, Phil Collins, Ready for the World, Leonard Cohen, Phil Spector, Stacey Jackson, Snoop Dogg, New Edition, Bobby Brown, Manu DiBango, Rita Lee, and new artists from Sweden, Yung Lean and The Sad Boys. Thank you for listening!Please subscribe on iTunes and give us a 5-Star review! https://podcasts.apple.com/us/podcast/the-mindset-and-self-mastery-show/id1604262089Listen to other episodes here: www.TheMindsetAndSelfMasteryShow.comLearn more about your host:  www.NickMcGowan.comWatch Clips and highlights: www.youtube.com/channel/UCk1tCM7KTe3hrq_-UAa6GHAGuest Inquiries right here: www.TheMindsetAndSelfMasteryShow.comShare your thoughts here: nick@nickmcgowan.com- Your Friends at “The Mindset & Self-Mastery Show”

Hoy dedicamos nuestro programa al inigualable Sugar Ray Robinson, para muchos el mejor boxeador de la historia. Y lo hacemos centrándonos en un período mágico y fundamental en su carrera. Diez frenéticos meses que incluyen dos inimaginables giras por Europa, cuatro viajes transoceánicos en barco, 16 combates en siete países diferentes, que incluyen tres de sus más célebres campeonatos del mundo. Un programa lleno de anécdotas que definen la personalidad de nuestro inimitable protagonista y que incluyen un entourage con peluquero, profesor de golf, guardaespaldas enano y, por supuesto… un Cadillac Eldorado color rosa flamingo, el coche más molón libra por libra de todos los tiempos. Corte 1: “Pretty flamingo”, Manfred Mann Corte 2: “Hey hey sugar Ray”, Jimmy Binkley Corte 3: “C'est pas la mer a boire”, Les Negresses Vertes Corte 4: “Walk me home”: Sugar Ray and the Bluetones Corte 5: “The Sugar Ray Robinson / Randolph Turpin Fight”: Steve Benbow Corte 6: “Sugar, sugar”, The Cadillacs

Lou discusses the first great Robinson vs Basilio battle which saw welterweight king Carmen Basilio outpoint middleweight champ Sugar Ray Robinson after 15 brutal rounds. Discussing the greatest boxing controversies throughout history, Lou Eisen offers his opinions and insights in this fantastic live-streamed series of episodes. Watch live on TalkinFight.com every Sunday at 2pm ET. @People & History @HISTORY @History Boxing Channel @History of Boxing EN @The World of Boxing! @Boxing Legends TV @Boxing Stars @Internet Historian @The Ring Magazine @historias #TalkinFight #RingTalk #LouEisen

Lou discusses the 1952 fight against Joey Maxim and Sugar Ray Robinson. In boxing, as in other avenues of life, it is possible to be too good for your own good. Sugar Ray Robinson is regarded by many as the greatest boxer of all time, but on at least one occasion, his immense talent proved a liability. By 1952, Robinson's place in boxing history was more than secure. He had dominated both the welterweight and middleweight divisions like few before and on the way established himself as the finest all-round boxer since Benny Leonard. But, like every other great competitor, Robinson was not satisfied to just bask in the glow of universal admiration. Discussing the greatest boxing controversies throughout history, Lou Eisen offers his opinions and insights in this fantastic live-streamed series of episodes. Watch live on TalkinFight.com every Sunday at 2pm ET.  @People & History   @History Boxing Channel   @History of Boxing EN   @HISTORY   @Boxing Stars   @HISTORIAS   @Internet Historian   @The Ring Magazine  #TalkinFight #RingTalk #LouEisen

This week I'd like to talk about the February 14th, 1951 world middleweight title fight between champion Jake LaMotta and challenger Sugar Ray Robinson. Discussing the greatest boxing controversies throughout history, Lou Eisen offers his opinions and insights in this fantastic live-streamed series of episodes. Watch live on TalkinFight.com every Sunday at 2pm ET. @sweetfighters @boxinghistoria #TalkinFight #RingTalk #LouEisen #LaMottaRobinson

The Far Middle episode 57 is dedicated to boxer, Carmen “The Upstate Onion Farmer” Basilio. “If you’re going to fight this guy in the ring, you better be ready for a war,” says Nick as he reflects on the fighter’s career; which featured a marquee win over middleweight champion Sugar Ray Robinson in 1957. Nick explains that Basilio lost a couple of crucial fights due to questionable split decisions, and whether or not organized crime was involved, the expert judges got it wrong at the worst time on the biggest stages.Nick connects the idea of expert judges getting it wrong, to the often-heard phrases of “studies show” and “experts agree.” These phrases typically justify many damaging policies and regulations. Nick then introduces us to Sturgeon’s Law that says “90 percent of everything is crap,” and considers if 90 percent of studies and experts are crap, then that leads to results (i.e. public policies) that are crap. “Sturgeon’s Law might be the most crucial theory you never heard of, but not anymore,” says Nick.On the topic of experts, Nick delves into a recent comment by a friend that we should listen to experts but not follow them, and we should all be the captains of our own ships. Subsequently Nick examines the numerous regulations governing being the captain of your own ship. The takeaway is that we’re not captains of our own ship, but rather a “food source for the bureaucrat.”Also, in this installment Nick stresses the importance of capitalism and the free market; and, he examines government’s current foreign policy formula that runs counter to America’s playbook that’s been successful for the past 200 years—using energy policy as an example of government creating scarcity, reducing supply, and increasing prices. Nick concludes with offering summer reading selections, all of which are part of the “10 percent that is great, genius, and awesome.”

Billy C, Alex P and Daxx K talk about Former World Welterweight Champion, World Middleweight Champion and boxing hall of famer, Sugar Ray Robinson and the impact he made on the sport of professional boxing.

Para muchos, Fritzie Zivic ha pasado a la historia como el boxeador más sucio. Pero en su carrera hay mucho más que eso. Se enfrentó, y en la mayoría de los casos más de en una ocasión, a los mejores boxeadores de su época. Sus batallas con Sugar Ray Robinson, Henry Armstrong o Jake LaMotta fueron acontecimientos que abarrotaron los más importantes escenarios. En este programa os contaremos sus orígenes, sus curiosísimas anécdotas, su increíble carrera de más de 230 combates, sus grandes batallas. Pero si Zivic era un terror sobre el ring, fuera de él era un personaje carismático y divertidísimo. Os hablaremos de sus trucos y sus tretas y de su particular filosofía del boxeo. "Aprendí más en mis dos combates con Zivic que en el resto de combates de mi carrera juntos", recordaba Sugar Ray Robinson. Corte 1: “Dirty Old Town”, The Pogues Corte 2: “Twist español”, Bill Haley y sus Cometas Corte 3: “Hard to handle”, Black Crowes Corte 4: “I fought the law” Bobby Fuller Four Corte 5: “Under my thumb”, Rolling Stones Corte 6: “Stagger Lee”, Lloyd Price Corte 6: “Abba”, The Cynics

O Programa Homenagem é produzido pela equipe da Web Rádio Nós Na Fita com a intenção de homenagear personalidades, que de forma positiva, deixaram seu nome na história da arte, cultura, esporte, ciências e outras áreas afins. Nesta semana, falamos sobre Walker Smith Jr, mais conhecido como Sugar Ray Robinson. É considerado um dos maiores pugilistas de todos os tempos, se não o melhor. Como boxeador amador conseguiu um recorde de 85 vitórias, sendo 69 por nocaute e 40 destas terminaram no primeiro round. Em 1940 já era profissional na idade de 19 anos, e em 1951 já detinha um recorde de 128 vitórias e apenas uma derrota (diante de Jake LaMotta), com 84 nocauts. Manteve seu título mundial de 1946 até 1951 e ganhou o título de peso-médio, também em 1951. Sua única derrota foi para Jake LaMotta, a quem venceu cinco vezes. Robinson foi eleito o maior lutador do século XX pelo Associated Press, e o maior pugilista da história pela ESPN.com em 2007. The Ring revista nominal, o elegeu melhor lutador peso-por-peso de todos os tempos, em 1997, e "lutador da década" (anos 50). Rodrigues classificou como o maior pugilista de todos os tempos. Outros boxeadores do Hall da Fama, como Joe Louis, Sugar Ray Leonard e Muhammad Ali disseram a mesma coisa. Acompanhe!

Adam welcomes legendary boxer, Canelo Álvarez, to talk about his upcoming match on Saturday against the undefeated, Dmitry Bivol, for the light heavyweight title. They talk about his only loss to Floyd Meriweather and how Sugar Ray Robinson went on to be a surprisingly great dancer. Adam is then joined by Comedian Chris Distefano who talks about the return of the mob, the politics of Patreon, and his new Netflix special, ‘Speshy Weshy'. THANKS FOR SUPPORTING TODAY'S SPONSORS: SimpliSafe.com/Adam LifeLock.com enter ADAM JBWeld.com XChairAdam.com

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

THIS week the US Treasury Department sanctioned advisor, Daniel Kinahan. Anyone currently doing business with him has been advised they will be involved in criminal activity if they choose to continue. The net would appear to be closing but what does this mean for the sport of boxing?Last weekend, Gennady Golovkin overcame some sticky moments to hammer the resistance out of Ryota Murata in Japan. His performance is reviewed alongside suggestions that old rival Canelo Alvarez could be next.Next weekend, Yordenis Ugas takes on Errol Spence in a quality matchup at welterweight and, in the same division, Conor Benn continues his education against veteran Chris Van Heerden. Both contests are previewed.This Week In History focuses on Sugar Ray Robinson's clash with Rocky Graziano from 1952.Please rate, review and subscribe. Thank you for your support!

It's 5th February 1943 at the Olympia Stadium, Detroit, Michigan. Sugar Ray Robinson enters the ring to face his latest opponent. Robinson has fought 40 professional bouts now, not losing one, and has been dazzling audiences since his amateur days. Tonight is a rematch.  The man standing across from the ring is Jake La Motta. The last time they met it he was described as a “human truck”. Robinson had won the match with what looked like relative ease on the scorecards and the audience had shown their approval. Giving away 10lbs, he had used his superior footwork and exemplified the art of boxing in the eyes of many. However, there were still others who betrayed they primal lust for the gladiatorial roots of pugilism. They saw no entertainment value in a fighter dancing outside of harm's way. The real fight for them occurred in the pocket; the true test of warriors where the battle glory is earned. They asked what would happen if the truck caught up with the dancer.  Tonight they would find out. For this would be like no rematch Sugar Ray Robinson had fought in his career. When it was over, the previously smitten audiences would fall in love with the clash of styles and would clamour for more. Jake La Motta would later remark that he met Robinson so many times that they almost got married. It therefore seems apt that four of these meetings occur in February. Eight years and nine days to this fateful first rematch, the Robinson/LaMotta feud would culminate in dramatic fashion. The fight inspired books, films, articles and boxing lore: Their Bloody Valentine! Shownotes/links: Clubb Chimera WebsiteClubb Chimera Facebook PageClubb Chimera TwitterClubb Chimera YouTubeClubb Chimera InstagramJamie Clubb BooksFinding the Truth - Ben MyersMusic Title: Machinimasound - Queen Of The Night / Rocky theme song, Training, Rock, Workout (No Copyright Music)Video Link: https://youtu.be/l4vdAWSSYV0Genre Music: Rocky theme song - Training - Motivation - Workout - RockFree Vibes  Information on private lessons, seminars, webinars and the many different services offered by Clubb Chimera Martial Arts.

Randolph Turpin, known as the Leamington Licker is considered one of the greatest British fighters in history, his battles with Sugar Ray Robinson have gone down in boxing folklore. Away from the ring he was known as a generous and humble man to many, but there was another side to his persona, a side that only few experienced. Sean & Johnston present the trials & tribulations of Randolph Turpin. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this inaugural episode of Sofa Kingdom we break our own category format and go full Sports from beginning to end discussing the greatest athletes.   Sofa Kingdom, SofaKingdom, sports, athletes, Michael Jordan, Bo Jackson, Sugar Ray Robinson, Shaun White, Tony Hawk, Rodney Mullen, Simone Biles, Khabib Nurmagomedov, Anderson Silva, Travis Pastrana, Ryan Williams, Alexander Karelin, Wayne Gretzky, Morimoto Yusuki, Muhammad Ali, Derek Jeter, Matthew Fraser, Tour de France 2021 crash

Robb Leer was a broadcast journalist at KSTP-TV for more than 23 years. During that time, Robb covered all the major league sports in town, plus special events such as the 1980, 1984, and 1988 Olympic Games. As a young reporter in 1980, Robb had a front row seat for the U.S. Olympic Hockey Team's improbable "Miracle On Ice" gold medal run.  Robb, who also had a 10-year run as a senior investigative reporter for KSTP TV, has long been plugged into the local boxing scene. A passionate fan of the Sweet Science, Robb covered the 1980 heavyweight championship bout between Scott LeDoux and Larry Holmes at the Metropolitan Sports Center in Bloomington, among other big fights.  Robb is currently the owner of Leer Communications, a Minneapolis-based provider of a wide range of media relations services. In that capacity, he serves as the boxing publicist for the historic Minneapolis Armory. Rich in boxing history, the Armory has hosted fights featuring all-time boxing greats such as Sugar Ray Robinson and Henry Armstrong. More recently, it has been the scene of multiple nationally televised fights featuring top local, national and international fistic talent.   In this interview, Robb talks about his broadcast journalism career, shares stories about Minnesota boxing greats such as Scott LeDoux, and explains what it's like to put on a major boxing event.  --- Support this podcast: https://podcasters.spotify.com/pod/show/brian-johnson492/support

This week the Classic Game Club is becoming the Classic Fight Club as we travel back to 1951 to revisit and reassess the 'Valentine's Massacre,' which put an exclamation point on Sugar Ray's dominance in his 6-fight rivalry with the 'Raging Bull,' Jake LaMotta.

I'm burned out from 900 miles of road travel over the weekend, but thankfully Beto Durán (@DuranSports) stops by to talk about the Golden Boy and Thompson Boxing cards taking place this week. Plenty of Vergil Ortiz and Ryan Garcia-Avery Sparrow chatter as well! Finally, I wrap things up solo with previews of Kovlaev-Yarde, Shobox, and PBC on FS1.