Podcasts about susie q

Constance Vaughn tells the story of SUSIE Q, a flight attendant from the golden age of flight, Jo Co COmmissioner Baertschiger joins me to discuss challenges for Donald Trump in the 2025 economy.

Send us a textEveryone knows and loves Creedence Clearwater Revival. Their run of hits at the end of the '60's, and their enduring popularity, has rarely been equaled. Not so well-known is the story of the clashes that caused their run to end so abruptly. We take a look at how the band split and the many personal and legal issues that led to it.  It ain't pretty! Well, we also kept our promise and listened to the new Coldplay album, “Moon Music”.  How did it sound to us? Regular listeners won't be surprised at our reaction! In Rock News, we look some more at the issues surrounding Diddy, and look at the problems with the "stage hole" in Melbourne. Our Album You Must Listen to Before You Die is 1977's “Bat Out of Hell” by Meat Loaf.  Such a great album!!  References:  Houston Bernard, “Dancing in the Dirt”, Puff Daddy, Sean 'Diddy' Combs, Chris Martin, Marvel Stadium, Music of the Spheres, Olivia Rodrigo, Donald Trump sneakers, Meat Loaf, Bat Out of Hell, Todd Rundgren, You took the Words Right Out of My Mouth, Two Out of Three Ain't Bad, Jim Steinman, Rocky Horror Picture Show, car sex, El Cerruto California, Doug Clifford, Stu Cook, The Blue Velvets, Tom Fogerty, Fantasy Records, Casey Kasem, Credence Newball, Olympia beer, CCR, Dale Hawkins' Susie Q, Apocalypse Now, Woodstock, Bad Moon Rising, Proud Mary, "Have You Ever Seen The Rain?", Hammond B3 organ, Booker T. & the M.G.'s, “Fortunate Son”, Trump (the) fortunate son, An American Werewolf in London, Evan Almighty, Keith Richards, Saul Zaentz, Allen Klein, “The Royal Albert Hall Concert”, Concord Records, Rockin' All Over the World, Status Quo, Asylum, Warner Bros, Centerfield, Zanz Kan't Dance, Mr. Greed, “Mardi Gras”, Rolling Stone (Jon Landau), “Classic Album Review”, “The 10 Worst Albums Ever”, Rock & Roll Hall of Fame, Pop, Chronicle, US Top 200, Glenn Barros, The Long Road Home Playlist  We play all the music/artists discussed during this episode 

This week on The 1 Girl Revolution Podcast, we welcome the incredible Dr. Mary Welsh, co-founder of Susie Q's Kids. Dr. Mary is a compassionate visionary who has turned her personal experiences and the loss of her daughter Susie into a nonprofit organization and movement that brings joy, comfort, and support to children and teens in need. Susie Q's Kids is a nonprofit organization dedicated to providing comfort bags filled with essential items and uplifting messages to children facing serious challenges, illness, mental health difficulties, foster care transitions, and poverty. These bags are more than just a bag of items—they are a tangible reminder to kids that they are seen, loved, and supported. In this episode, Dr. Mary shares her own inspiring journey, the story behind Susie Q's Kids, and how this incredible organization has touched the lives of so many children and their families. She also discusses the heartwarming impact of these comfort bags, the power of small acts of kindness, and how anyone can get involved in making a difference. In this episode, you'll hear: Dr. Mary's personal story and what inspired her to start Susie Q's Kids; The incredible legacy of her daughter Susie and how it fuels her mission; How comfort bags are made and the impact they have on children's lives; Heartwarming stories of children and families touched by Susie Q's Kids; How the community has rallied around this cause to amplify its reach; How you can get involved and help Susie Q's Kids continue their mission; And so much more! For more information on Susie Q's Kids, please visit: www.1GirlRevolution.com/susieqskids  Listen and Subscribe: Don't miss this inspiring episode – and so many others! Listen to The 1 Girl Revolution Podcast on #ApplePodcasts, #Spotify, #YouTube, and subscribe to stay up-to-date with our latest episodes. Join the movement to empower girls and change the world, one story at a time!  

754. Celebrating guitar legend James Burton's 85th birthday with a slew of his signature riff-strewn songs -thrill to James & Dale Hawkins' immortal "Susie-Q" licks, his legendary Ricky Nelson hits, Bob Luman rockers and even some killer 60's era instrumentals you may have never heard! Plenty of NEW rockin' material to display in the show including Glam Parson, Charlie Thompson, Darrel Higham, The Centuries, The Surfrajettes, Jared Petteys, The Honky Tonk Wranglers, Dixie Fried and MORE! "Go Kat, GO! The Rock-A-Billy Show!" broadcast LIVE, exclusively from the Motorbilly Studios on www.RockabillyRadio.net -tune in every Wednesday nite, won't you please? Always great and always... good to the last bop!™Please follow on FaceBook, Instagram & Twitter!

Prom didn't really go as she planned… Will and Sabrina are watching “Susie Q” starring Amy Jo Johnson and Justin Wahlin.  This film premiered in 1996 as a Disney Channel Premiere Film, followed by its debut as a Disney Channel Original Movie in 1997. See omnystudio.com/listener for privacy information.

Prom didn't really go as she planned… Will and Sabrina are watching “Susie Q” starring Amy Jo Johnson and Justin Wahlin.  This film premiered in 1996 as a Disney Channel Premiere Film, followed by its debut as a Disney Channel Original Movie in 1997. See omnystudio.com/listener for privacy information.

On this episode, Derek sits with Vilan Trub.  Vilan is an accomplished filmmaker.  I asked Vilan to come on the show as part of the “Derek Duvall Show 9/11 Outreach Program” as at the age of 14, he narrowly avoided injury from the wreckage of United Airlines Flight 175 crashing into the South Tower of the World Trade Center while he was walking to Stuyvesant High School.  After the events of 9/11, Vilan returned to class next to Ground Zero after being told by the CDC that the air was safe to breathe, which has led to health complications to himself and his classmates over the years.  Vilan will also be discussing his incredible film career and some highlights in his filmography such as "Susie Q", "Suburban Pimp" & "The Dirty Kind".  Vilan is a firecracker of a New Yorker who speaks his mind and might go down as one of my all time favorite guests. Website: https://www.trubfilmco.com/IMDB: https://www.imdb.com/name/nm2826538/LinkedIn: https://www.linkedin.com/in/vilantrub/Facebook: https://www.facebook.com/VilanTrub/Twitter/X: https://twitter.com/TrubFilmCoInstagram: https://www.instagram.com/trubfilmcoSPONSOR - Go to https://betterhelp.com/derekduvallshow for 10% off your first month of therapy with @betterhelp and get matched with a therapist who will listen and help #sponsored

In this episode, we will learn from Susie Touchinsky, OTR/L, SCDCM, CDRS, an occupational therapist who specializes in Driver Rehabilitation. Susie is certified driver rehabilitation specialist who has achieved her Specialty Certification in Driving and Community Mobility from the American Occupational Therapy Association and her certification as a driver rehabilitation specialist from the Association of Driver Rehabilitation Specialists. Susie offers extensive clinical and professional knowledge with over 20 years of experience as an OT & driver rehabilitation specialist. While she started her career at Johns Hopkins Hospital, she now owns and operates her own private driver rehabilitation practice, Adaptive Mobility Services, LLC. In her practice, she evaluates and treats drivers with medical conditions impacting cognitive, motor, and visual skills. She works closely with her drivers and their families to help determine the highest and safest level of engagement in mobility. Susie also is the leading educator for occupational therapy practitioners entering the field of driver rehabilitation. She is an active volunteer with CarFit, a published author, adjunct professor, lecturer, & mentor. Contact:Please come visit me! Adaptivemobility.thinkific.com - I offer free CE that is approved by AOTA. Who doesn't love free CE! On Facebook - join us on Driving for the OTP.LinkedIn - Susan Touchinsky.https://adaptivemobility.thinkific.com/ FREE COURSE - OT's Role with Driving - https://adaptivemobility.thinkific.com/courses/1-2023 Mini Podcast - Quick Q&A - OT Driving with Susie Q https://podcasters.spotify.com/pod/show/drivingotAs always, I welcome any feedback & ideas from all of you or if you are interested in being a guest on future episodes, please do not hesitate to contact Patricia Motus at transitionsot@gmail.com or DM via Instagram @transitionsotTHANK YOU for LISTENING, FOLLOWING, DOWNLOADING, RATING, REVIEWING & SHARING “The Uncommon OT Series” Podcast with all your OTP friends and colleagues!Full Episodes and Q & A only available at:https://www.wholistic-transitions.com/the-uncommon-ot-seriesSign Up NOW for the Transitions OT Email List to Receive the FREE Updated List of Uncommon OT Practice Settingshttps://www.wholistic-transitions.com/transitionsotFor Non-Traditional OT Practice Mentorship w/ Patricia:https://docs.google.com/forms/d/e/1FAIpQLSeC3vI5OnK3mLrCXACEex-5ReO8uUVPo1EUXIi8FKO-FCfoEg/viewformBIG THANKS to our sponsors Picmonic & TruelearnUSE DISCOUNT CODE “TransitionsOT” to Score 20% OFF Your Membership Today!Happy Listening Friends!Big OT Love!All views are mine and guests own.

Joining us this week on the show is the original teenager with an attitude Kimberly Hart AKA the Pink Ranger from Mighty Morphin Power Rangers. She also starred in films like the Disney Channel original movie Susie Q, the hit show Felicity as Julie Emerick, and Constable Callaghan on Flashpoint. More recently, she has teamed up with her co-writer Matt Hotson and artist Nico Leon on the hit BOOM! Studios series Mighty Morphin Power Rangers: The Return.It is our honor to welcome Amy Jo Johnson onto The Oblivion Bar Podcast!Follow us on InstagramFollow us on TwitterFollow us on ThreadsFollow us on BlueSkyLike us on FacebookConsider supporting us over on PatreonDownload the BEST digital comic book reader OmnibusStock up on G Fuel (CODE: OBP)Thank you DreamKid for our Oblivion Bar musicThank you Kevin Zeigler for our Oblivion Bar artSend us a Text Message.

Chuck Berry, Bo Diddley, Dale Hawkins, Howlin’ Wolf, Muddy Waters y Little Walter protagonizan los seis EPs “Alternatively Chess” lanzados por el sello barcelonés El Toro Records en donde se rescatan tomas alternativas de grandes canciones grabadas por estos artistas en los años 50 para la disquera Chess Records.Playlist (todas las canciones de los discos “Alternatively Chess”);BO DIDDLEY “Bo Diddley”BO DIDDLEY “Bring it to Jerome”BO DIDDLEY “Little girl”CHUCK BERRY “Beautiful Delilah”CHUCK BERRY “Reelin’ and rockin’”CHUCK BERRY “Sweet Little sixteen”DALE HAWKINS “Susie-Q”DALE HAWKINS “Take my heart”DALE HAWKINS “My babe”HOWLIN’ WOLF “Moanin’ for my baby”HOWLIN’ WOLF “Poor boy”HOWLIN’ WOLF “Howlin’ blues”MUDDY WATERS “Baby please don’t go”MUDDY WATERS “She’s all right”MUDDY WATERS “Hoochie Coochie man”LITTLE WALTER “Juke”LITTLE WALTER “Off the wall”Escuchar audio

From our 01-02 March 2024 show, offering a glimpse into a variety of scenarios and conversations. In “The Extinguisher,” Akspa, BigBoyFarts666, and Luxapol are likely discussing firefighting or fire safety. “Herobrine” involves Anonymongous, dragonmere, Luxapol, and possibly others, possibly discussing a gaming topic. “Susie Q” brings Anonymongous and BigBoyFarts666 together, suggesting a conversation about a […]

Get ready to dive headfirst into iconic grooves with the legends themselves, Kenny Aronoff and Paul Shaffer! In this special Bonus Episode, these two music superstars are jamming and talking classic hits like The Stones' "Honky Tonk Woman", CCR's "Susie Q", and John Bonham's thunderous rock anthems that shook the world. But that's not all! They're also spilling all the 'inside music' secrets behind the addictive rhythms of such stars as Ray Charles, James Brown, The Supremes, and even the late-night magic of The Letterman Show! Beat a path to the download button and put this Bonus Episode at #1 on your Top 10 List today!

In this episode, we chat with Dinesh Dutt, a network expert and author, the founder and CEO of Susie Q, a network management app that uses network observability.Dinesh shares his journey from Cisco to Cumulus Networks, where he worked on network disaggregation and open source. He also introduces his latest project, Susie Q, and how it revolutionizes network management and monitoring.We learn how Dinesh juggles his passion for network innovation with his role as a business owner, a parent, and a lifelong learner. He reveals the challenges and motivations that inspire him to make an impact in the world.We'll dive into Dinesh's insights on network design, network observability, network disaggregation, and network automation. Join us and listen to his stories of learning from failures and successes and growing as a network professional and a human being.-Be humble. Make your life about learning, not about knowing, and every day can be so enriching. -Dinesh's Links: LinkedInTwitterBlog (Elegant NetworkGitHub(Most Recent) BookCompany (Stardust Systems)--Thanks for being an imposter - a part of the Imposter Syndrome Network (ISN)! We'd love it if you connected with us at the links below: The ISN LinkedIn group (community): https://www.linkedin.com/groups/14098596/ The ISN on Twitter: https://twitter.com/ImposterNetwork Zoë on Twitter: https://twitter.com/RoseSecOps Chris on Twitter: https://twitter.com/ChrisGrundemann Make it a great day.

If you don't recognize the name Susie Righetti, you might recognize her two iconic businesses: she is the founder of Susie Q Brand, a purveyor of Santa Maria Style barbecue seasonings, pinquito beans, salsas and jerky; and along with her family members, she is co-owner of the Far Western Tavern in Santa Maria. I chose Susie as one of this season's legends because she grew up hanging out in the Far Western's dining room and kitchens, and she knows both Santa Maria and barbecue. Also, family lore says that her family line dates back to the De Anza Expedition along the California coastline and predates the Declaration of Independence—if that doesn't make her a legend, I don't know what does. We talked about what makes Santa Maria Style Barbecue different, important, and delicious, and we discussed the evolution of the Far Western Tavern, too, which moved from its original building in Guadalupe to its new location in Orcutt just a few years ago. Websites: farwesterntavern.com / susieqbrand.com Instagram: @susieqbrand / @farwesterntavern

Bethany & Crystal discuss Susie Q - the 1996 kid's movie about dead teens and property lawFind us all over the internet:thebombdcom.com@thebombdcom on TikTok and Instagramthebombdcom@gmail.comThank you to DJ Quads for our theme musice: https://www.youtube.com/c/DjQuadsOfficial

Find a pink headband, favorite pair of white sneaks and get ready because we're discussing Susie Q! Liz and Mike talk about always listening to your grandpa, secret rooms in old houses, Susie's boobs in a bustier, and whether or not a 1975 basketball book would help in today's game.

Without a brand, your business is already dead. But what is your brand doing for you? This is a great time to develop your brand into something that will bring in a consistent stream of clients.ResourceCheck out Laura's WebsiteReal Estate Marketing DudeThe Listing Advocate (Earn more listings!)REMD on YouTubeREMD on InstagramTranscript:00:00:02:05 - 00:00:28:13UnknownLaura, go ahead and tell my editor for Shownotes name website. All of your social handles, stuff like that. And so it's Laura Griffin and the website is groups within us to leads within Ask.com and the same social media handle. Or you can also do for Instagram. It's Laura Griffin Rail, a tour that's set up while we're talking here.00:00:28:15 - 00:01:59:11UnknownAll right. You ready to rock? Yeah. So you said groups to leads like the number two. No. To gay. I mean, just see. So some visuals and it'll be good to go. Ready, Rock? Yeah. All right. Three, two and one.00:01:59:13 - 00:02:18:11UnknownSo how do you attract new business? You constantly don't have to chase it. Hi, I'm Mike Webmaster Real Estate Marketing in this podcast is all about building a strong personal brand. People have come to know like trust and most importantly, refer. But remember, it is not their job to remember what you do for a living. It's your job to remind them.00:02:18:15 - 00:02:30:14UnknownLet's get started.00:02:30:16 - 00:02:54:03UnknownWhat's up? Ladies and gentlemen, welcome. Another episode of the Real Estate Marketing Dude. Podcast books should It's hitting the fan. There are things happening in the marketplace. Mortgage apps are the lowest they've ever been in the history of mortgage apps. What are you going to do? I see nothing but giant opportunity in this marketplace because as agents continue to dwindle and whatnot, it's just a reality of the situation.00:02:54:05 - 00:03:11:19UnknownThe amount of agents leaving the industry is not as large as the number of homes still being transacted. So there's actually a large opportunity there. However, you need to know how to capitalize on that opportunity and anytime there's a shift. Brands are built, all right, Brands are built, and without a brand, you will not survive in this fucking space.00:03:11:19 - 00:03:28:05UnknownI don't care what you say. You need a brand to continue going forward because no one's hiring the realtor for what they do. You're it's a commodity in the consumer's eyes, but they're hiring. You force how you do it, but you have to be thought of first. You have to be top of mind first, and you have to be able to connect with people because you're no longer a real estate agent.00:03:28:05 - 00:03:55:11UnknownYour damn media company been screaming this since 2014 and I've been damn right we have probably Today show one of the best brands I've seen and we just met like, I don't know, Laura, we haven't talked before. We've met for what? Laura At 4 minutes? Yeah. 30. But I could tell you just from browsing on her website right here, her brand is one of the best I've ever seen positioned wise, especially for a real estate agent.00:03:55:13 - 00:04:15:24UnknownAnd she positions herself as a mom. And I bet you Laura can probably charge me an 8% commission and I wouldn't give a shit. I'd probably still hire her because I could connect with her so much. And there's a difference between people. Like when people are hiring you, they're hiring you for how you do things and more importantly, what you stand for.00:04:15:24 - 00:04:34:24UnknownBut it's ultimately the way you make them feel. And your brand is the direct reflection of that. The reason why I'm harping on this so much is because right now, developing your brand is going to be easier than when the market's hot. So when you're when people are like, look how many realtors stop doing video in the last time, I'm telling you, I used to do videos for hundreds of realtors.00:04:34:24 - 00:04:54:03UnknownI lost over 75% of my business in the shift and the amount of people leaving, that just it's a vacuum for attention on social media. It's a vacuum to get your face out there, because regardless of what happens when people are pulling back on their budgets, this is when you double down. But if you don't have a brand to go with it, it's going to fall on deaf ears.00:04:54:05 - 00:05:12:06UnknownSo what I want to focus this show on is how to really develop your brand and what a better example than to have Laura Griffin here today and share with us exactly how she I don't think Laura sells real estate. I think she's a mom that happens to sell real estate on the side. At least that's the way her brand is positioned.00:05:12:06 - 00:05:35:15UnknownAnd this is an unbelievable way that she's doing it from her fonts to whatever the colors are really good or sharp, but she's doing it. She did this in a cold market because she literally went to a brand new cold market, new Nobody didn't buy any leads but focused on her own personal brand, adapted that to her business, built a Facebook group and now she's talking, crushing it.00:05:35:17 - 00:05:58:14UnknownWithout further ado, let's go ahead and introduce our guests, Ms.. Laura Griffin. Laura, once say hello to everybody and tell us a little bit about who is Laura. Quick story. Where'd you go? Where you at? Where are you from? Hi, everybody. Thank you so much for that introduction when he was Laura Griffin, I'm a real estate agent, and then the Northern Virginia areas, which is my inside Washington, D.C., we moved to this area, Oh, gosh, almost 12 years ago.00:05:58:14 - 00:06:18:19UnknownMy husband was military, retired and worked for the government. And so we moved from Northern California to Northern Virginia. I didn't know anybody. I was in the corporate world, in the banking industry as a bank manager. I had my daughter that I got to be a stay at home mom. This is going to be great. And I failed at it.00:06:18:21 - 00:06:34:12UnknownAfter a few months, I was like, I think I need something to do. And I had been in the real estate industry in California in a different capacity and called the who's now my broker, who sold us our house. And they said, have they contacted real estate? How does this work? What I need to do a lot, a lot.00:06:34:14 - 00:06:55:23UnknownAnd so he hired me and said, Hey, I'm hiring my team, which later turned into a brokerage and up a thousand plus agents in our area. And I was on his team. He was our team lead, and they gave us some online Zillow and Zillow and Facebook ads, all these different things. And I quickly realized that was not my jam.00:06:56:00 - 00:07:13:23UnknownAnd if you ask him, I probably lost him thousands of dollars. And with a young child, I couldn't pick up the phone. It was like speed delete, right? And I'd always fail because there was no way I could call that Lee. The first second it came in and keep calling. And, you know, my daughter was little and and all these things and I hated it.00:07:14:00 - 00:07:31:08UnknownAnd I hated doing open houses on Sundays because I had a little child. And that was the day my husband was off to his job. And so it was like, I don't want to give up my weekends. And so I start going to mommy me classes. And I was like, I really like this networking thing. And ended up starting a Facebook group in our area for local moms.00:07:31:08 - 00:07:45:06UnknownAnd it's county wide because there are areas the county made more sense when you started that not to interrupt you, but when you started that group was real estate in mind or you just wanted to connect with other moms, just wanted other moms to go coffee with you. Because I was born, I didn't know anybody. We had no family.00:07:45:06 - 00:08:04:10UnknownWe no friends. Like it was more self-serving. It sounds really bad, but it was self-serving. I wanted I wanted friends. Okay. I'm going to bring that up in a minute. Write that down. Okay. So I wanted to friends and I had like a handful of friends I'd meet at a hospital, mom's group, and I ended up into the group and it was just like night, you know, like my kids aren't sleeping.00:08:04:10 - 00:08:21:08UnknownWhat do I do? Kind of things. And I thought, no one's going to join this group, and my friends join a few their friends over and a whole bunch of people started joining and it kind of snowballed into this thing. We're just about it. I have little mini groups too, so if you count the mini groups, we're out over 12 are over 12,000 members.00:08:21:10 - 00:08:40:12UnknownAnd I slowly realized I was better placed to face connecting and people thought I was some sort of a local celebrity. Like people will stop me at Target or the farmer's market. My kids just go, Oh my God, I please stop. And these people want to talk to me because I'm a celebrity. And I was realizing that they already knew, liked and trusted me and they were comfortable with me.00:08:40:12 - 00:08:59:16UnknownAnd so I was getting all clients that were moms with little children because they could relate to me. And I can relate to them. And their transaction with children is a little bit different than if you're downsizing or you're a first time home buyer. And most of them are trade up clients because they've little kids. They outgrew their house and they're buying a bigger home.00:08:59:16 - 00:09:24:02UnknownAnd so I started realizing that my group was powerful and I started utilizing that as my lead source and threw in a few events here. And I have a Santa event and things like that that started leveraging my group and growing it and putting in content that would not let me like stand up and say, Hey, I'm a real estate agent every 5 minutes in my group, but it's weaved into it and it's weaved into my weekly nurture system that they all get every week.00:09:24:04 - 00:09:41:00UnknownSo that way they know that I'm a realtor and it's easy. They call when someone wants to buy or sell a house, they call me and it's a nice feeling. I'm not chasing the lead like I was with the online leads. This sounds so easy and would unpack a couple of things. First, I want to deal with everyone's objections and it's free.00:09:41:02 - 00:10:00:09UnknownYeah, it's a free leads are store, which is something that is unique. So let's focus and let's unpack this because you're sitting on your treadmill right now. You're like 12,000 people. I'm not that interesting, right? That's the first thing that people say. I'm not that interesting. No one's going to pay attention to me. Well, everyone says the same thing about video, too, but I've yet to see an agent that does video consistently.00:10:00:09 - 00:10:19:08UnknownThat's not crushing it. And the reason for that is just a matter of attention. And this entire industry is based upon attention. It's a popularity contest. The best agent doesn't get the damn deal. The most popular one does. Yeah, that's nine times out of ten. 9.5. I would say 9.9 times out of ten. It's no differently in any other industry like the best lawyer.00:10:19:08 - 00:10:39:15UnknownI'm doing a ton of attorney work right now on a ton of videos with the attorneys, and the best attorney doesn't get the job, the best marketed one does. And it's the same in every single industry, you guys. But marketing without a brand falls on deaf ears. You're just a salesperson chasing a truck and you're pitching someone on your services about why they should buy or sell you, which is why the key to this whole brand that you did.00:10:39:15 - 00:10:56:23UnknownAnd I don't know if you knew what you were really onto, but it's genius because she didn't like develop this. If you look back at her story really quick, she in developed this like on a whim. She's like, I want to create a group of people that I connect with first right now, most real estate agents will come out first objection.00:10:56:23 - 00:11:15:02UnknownThey're going to have their income on say, Oh, if I'm going to position myself as a mom, well, I'm going to turn off the fucking dads. That's the first thing that agents are going to say, right? No, doesn't happen. Or hey, if I'm just working for just a mom, then I'm going to turn off this group or I'm going to do this.00:11:15:04 - 00:11:37:11UnknownLook, guys, I called myself a marketing dude and I fucking crushed it. And it's because I connected with people on a level. And the reality is, is that your brand should turn some people off. And if it's not meant to connect with every single person, because if it was, you would call yourself God. Yeah, true. So so like she she identifies.00:11:37:11 - 00:11:54:20UnknownSo what's your tribe? Look at your own business. Who do you connect with? See the brand and your content strategy. Really, what she's developing is she developed a content strategy formulated within a group, but it first starts by who's group entry? Who do I really connect with? What are you what do you do on the weekends? What do you really do on the weekends if you don't have to work?00:11:54:20 - 00:12:06:18UnknownAnd if you won the lottery but you can't move anywhere you're living in, you're stuck in a town you live in. That's the answer with whom you communicate with those 5 to 10 people you put yourself in a room with, hang out with them for the rest of your life because you don't need to worry about money anymore.00:12:06:21 - 00:12:29:10UnknownWell, that's what you build your basis about. What would you guys talk about? There's your content strategy 100%. And if you look at my group's demographics through the insights, because I'll be honest, I'm 41 and my group mainly is 35 to 44 age group. We're all moms. Most of us have two children. Most of our children under ten, which is me.00:12:29:10 - 00:12:53:04UnknownI have a ten and a seven and a half year old. And I, I will say I speak their language. And what I'm yes, the reason I'll get the call oftentimes is I understand this is going to be a shit show of us selling our own small townhome, upgrading to a bigger house. We got kids and dogs and there's like toy throw up all of our house and yeah, like we don't know what to do, but they call me because I understand it and I've lived it.00:12:53:04 - 00:13:14:07UnknownI mean, we've moved nine times this year to military. I'm going to gas you guys are up like Quantico or not. Yeah, no. As it's medically retired now, but and then I have two children and I'll say one has ADHD and autism and my other son is has ADHD as well. But it's like, I understand this like, yeah, it's going to be a shitshow.00:13:14:09 - 00:13:33:06UnknownYes, it is, but I can help you with it. And they feel comfortable with me and, and, and I will say it's always the wife that calls me, never the husband. But also when people are relocating into the area, the name of my group, the secret sauce to it is if you're going to start a group, it has to be your city, town, county, neighborhood in the name.00:13:33:06 - 00:13:49:13UnknownSo mine is loud and moms because I live in London County. So whether you're Dallas, Texas or Sacramento or whatever, you know, it should be moms or community group or whatever. But what happens is people that are relocating to our area, which we have a lot of government here near D.C., so people are relooking all the time. The first thing is the white kids on the computer.00:13:49:15 - 00:14:09:19UnknownShe searches for Moms group in our area. So I get all the relocation people because smart because they know they're they're searching this area and they find my moms group so I'm super smart. And what are the first questions that somebody who's moving into an area asks where the schools, how are the neighborhoods? Because my kids go outside and play at the park.00:14:09:21 - 00:14:27:09UnknownIs it safe? Daycare? Yeah. Where's the daycare? How much does it cost? Right. So like you could see the content strategy, but that's just stuff you're talking about anyways, isn't it? As you live lives, are you really thinking that hard or are you really just being you? Yeah. And a percent and I have content, I have a kind of a calendar and I have a content strategy.00:14:27:09 - 00:14:46:20UnknownAnd I will say I rotate my question. I have questions that I will post in a group. So stay active and there are questions that I'll post like I want. And some of them I'll do just a data data mine, my group, because I want to know. So sometimes I'll post what's the one thing in your town today, whether it's here that you want to change?00:14:46:20 - 00:15:07:09UnknownIf you could change anything about your home today, what's the one thing you would change? And it's so golden because people will comment, Oh, we're having a new baby and he knows how to get kind of smile. Okay, There's a lead. Yeah, you're just like ending. And if I know your name, I probably got your email when you joined the group with you gave it to me and or and, or I can kind of look you up in the database with our MLS.00:15:07:10 - 00:15:25:24UnknownI can find you. And so it's, it's positioning it's you're able to data mine and find people in your group that will be leads for you. Yep. Which is really easy to do. So let's get we get the group and let's get into contact now I'm the folks by okay so we have a you know you have a group, you have a group people.00:15:25:24 - 00:15:48:07UnknownNow can you tell them why forming a group is so important versus just posting them on your personal page or a business page first? Yeah. And so about it was in June of this year. I had Home Depot on the first weekend, I think Lowe's as the first Saturday of every month, they do a kids workshop. I was on my way and I posted this on my Facebook business pages.00:15:48:07 - 00:16:03:18UnknownI'm on my way to a listening appointment. It's the first Saturday my kids want. I forget what it was, I think was like a treasure box or something. We go to many times in a year and I'm hanging out with my kids, make it a treasure box on my way to a listing appointment. And I took pictures of me and the kids at Home Depot putting this thing together, and my husband did most of the work, I'll be honest.00:16:03:20 - 00:16:19:10UnknownAnd I posted on my business page, I think 100 people saw it if even I posted it in the group. So first of all, they were saying, I'm a mom, I'm relatable. There's a free activity going on right now which is giving value. Number three is he she's a real estate agent because she's going to a let's an appointment in Ashburn on her way.00:16:19:10 - 00:16:44:01UnknownThis is what she's doing in my group. Over 6000 people saw it. So 6000 people saw it. A ton of people commented and interacted with the post versus a hundred people on my business page. And the reason why is Facebook is pushing more people towards groups. They're putting a ton of money towards community and building community. And yeah, I could have put on my page and boosted it or didn't add to it, but this was organic free traffic.00:16:44:02 - 00:16:59:16UnknownAnd so people not only know I'm a mom, I'm relatable, but I'm a real estate agent. So it was free advertising, love it, ongoing content, like there's 30 days in a month, guys. So when you're creating a content calendar, it's on an annual and it's 30 times 12. It's a lot more easier to like, get your head around that right?00:16:59:16 - 00:17:17:11UnknownDon't don't fucking don't put yourself out the window before you even get in the car right. So walk me through like how you do your content strategy. Like, what do I post? What's the best stuff to post and groups? What's the cadence? Frequency all the above. Go ahead and spill the beans. So I look at my insights, right?00:17:17:11 - 00:17:31:12UnknownAnd I look at it a month that it's time I have some posts that I know are really popular and I'll and I keep a it's not fancy. It doesn't have to be fantastic. I have a Google sheet. It's like a word doc in Google and I keep track of like what was really popular and I'll put an asterisk around it.00:17:31:17 - 00:17:49:20UnknownSometimes it's it's community based, right? So hey, there is this reactivity or this, this new pizza parlor that's opening. Some of it is just engagement post like drop your like drop your favorite gif of how your morning went with your kids. People love that. Like, who doesn't have their favorite gift of a you know, because no one's morning ever goes great.00:17:49:20 - 00:18:09:00UnknownI mean, my house never does. And so I sprinkle in a little bit that spring on a little bit of real estate and I also one thing in my group is I have guides. So if you're relocating to the area, there's a relocation guide. If you're looking to buy a house, there's a buyer's guide and it's linked to my My idea site.00:18:09:02 - 00:18:27:20UnknownIf you're thinking of selling, there's a seller's guide and it's linked to my What's your homework that my broker gives us. So I get all those leads. I have guides for even more community based things like the ten things. You know, when you're interviewing a daycare in the area different and things like best parks, best firework locations, best going into fall, best pumpkin patches, stuff like that.00:18:27:20 - 00:18:48:05UnknownAnd I'll post that stuff in there, not only excuse me as a content, but it's also giving back to your community and providing value. Yep. And every single like here's the thing with like you guys years are real estate agents, right? You sell houses, but you don't sell the house before you sell the community. The house like is on, right?00:18:48:05 - 00:19:00:21UnknownSo that when it comes to content strategy, it's really just be a fucking tour guide. Like, let's not overthink this. Like literally just be a tour guide in this case, like, I'm looking at like you could be on a showing and just to give you guys some ideas, as a mom, how does the mob go to market it?00:19:01:02 - 00:19:22:17UnknownWell, showcase take pictures of yourself in the cutest kids rooms. The next houses you're going in, right? Focus on how far the communities are. You know, when when you sell a house, it's no longer just listed, just sold. It's going to be more like probably, hey, the Jones family just moved in here and their kids are just about to start Carillo Elementary School for the first time and they're relocating them.00:19:22:17 - 00:19:44:23UnknownHey, guys, can you give them a warm welcome like it's about if you realize everything she's doing is just storytelling and stuff she's already doing, and she's just taken this little six inch device out of her purse and snapping it and documenting it. That's what social media is, isn't it? It is. And you know, it like even just like the pumpkin patches.00:19:44:23 - 00:19:56:07UnknownI don't know how many moms are relocating or moving or in our area. And they're like, oh my God, thank you so much for this thing. It's like it's like my AM and five minute to Google research all. We just update it once a year. I've done it. We did it one year and we just kind of recycle it.00:19:56:07 - 00:20:12:24UnknownObviously, we have to tweak a few things, but it's providing value and they appreciate it and they know that I know what I'm talking about, right? So it builds up that know like and trust factor within the group. And then like I said, yeah, it's a little bit of real estate, but not raising my hand like I'm a real estate.00:20:13:01 - 00:20:28:06UnknownIt's real estate, it's value based like community things and it's a little bit of fun and engagement. I like to have a little bit of fun. That's why we do it. Like drop your favorite gift or, you know, my morning was a shit show when I was your and people do. That's the best you to get the region.00:20:28:08 - 00:20:43:10UnknownYeah, the best the best contents. Probably like when you're before your shower, your hair is all over the place. You got bags underneath your eyes. You look like shit and you're in your pajamas, right? That's going to be the video or the content that performs the best. And the reason is because everyone can relate to it. We all been there, and that's the key.00:20:43:10 - 00:20:59:13UnknownI was like, Authenticity is what always attracts. And if you can't find a way to be authentic, you just have the wrong brand or you need to dial it in, right? Like you have to be able to be you to do this successfully because if you weren't a mom, would. How hard would this be to do like you could it?00:20:59:15 - 00:21:14:23UnknownI can't run house group Yeah I can't wear on your mom's group before you even though I get it, I understand exactly what you're doing. I would be a fraud. Yeah, and there is some ages I've seen Start them in like you're not a mom and you're in a No offense, but it's like you're early. 28 year ago.00:21:14:23 - 00:21:34:07UnknownYou haven't lived this life. You don't understand this. And when clients talk to you about selling their house with children, you're not going to be able to have that conversation. Like I can with. Yeah, I know there's 23 up in every room of my house and you have to hide it, like shove it in something. So when people are showing your house, they don't see it everywhere and you know, it's it's been relatable.00:21:34:07 - 00:21:49:19UnknownAnd so whether I mean, maybe you're not a mom, maybe you're, you know, your military spouse or maybe you there was another agent I talked to recently. They have a foodie group in their area. They just love food. That's love. That's great. A ton of people joining that group and they're just and different restaurants because they're a foodie.00:21:49:22 - 00:22:04:19UnknownBut I'm not a flipside. Yeah. Yeah, yeah, yeah. But I mean, that's like, you know, we do a ton of business owner interviews and they lead to a ton of business, offer a lot of referrals just because it's not about telling people what you do, it's about reminding them what you do and when people are going to buy or sell.00:22:04:19 - 00:22:26:16UnknownLike, let's just do the numbers on your group. All right? Out of those 12,000 members you have, how many of them are local to Is it London and louder, It's a Virgin Virginia. Get loud moms like that would be fun. You got the loud and moms That's cool and that and that one yeah How many are local in the area would you guess?00:22:26:22 - 00:22:46:06Unknown12,000 members in our county. There's a little over 500,000 people. Okay. So out of these 12,000 members are. You think they're all live in this area? I'm listening to a few are relocation. So maybe they're outside of the state and they're just getting digesting content And what's the county about that almost, I would say probably 95% live here.00:22:46:08 - 00:23:12:08UnknownSo here's an an I don't know if you mind sharing these, but like what type of how many how much business is coming out of this thing. Last year did $22 million in sales. Damn. I mean, what's the average sales price for single family? About seven 5800. And then like a townhome about 500,000. So out of those 12,000 members, these are the stats because none of the stuff is theory that we're talking about a lot of people's big oh, branding is theory.00:23:12:08 - 00:23:36:05UnknownHow do you measure it? You'll never be able to exactly measure it, but 10 to 15% of those 12,000 members are moving this year. Most don't know it as she stated earlier, some of them are going to get pregnant, have to upgrade their house. Some are working to get relocated out of the area. But 100% of the people within that group, all 12,000 members of them, have the ability to refer you at least one deal per year.00:23:36:07 - 00:23:55:14UnknownSo it's never about trying to reach 300,000 people. That's the mentality that happens when you go to like the Mike vary conference isn't like oh go sell cold pork all and then until you're blue in the face right and just want to shoot yourself but out of these you don't need a large database. You need an engaged one guys, because 100% of the 12,000 people know someone who's moving.00:23:55:18 - 00:24:13:03UnknownBut just out of those 12,000 people, 10 to 15% of them are moving themselves and most of them don't even know it. Yeah, those are the industry stats. So it's not a matter of if people move, it's a matter of when because it's a life event. And despite whether the interest rates are going to at 8%, 7%, 12%, 20%, who cares?00:24:13:05 - 00:24:33:06UnknownPeople are still going to have life events that cause them to move. And the easiest way and the least expensive way is to attract them. Exactly. And I nurture that. And you have to nurture these people, too. I mean, I had a client this year that called me. Is it I mean, getting your emails once a week for three years, but now we're ready to sell our buy one.00:24:33:06 - 00:24:48:16UnknownAnd so it's it's staying in front of them because they may not be buying or selling today, but they will. And if you keep saying in front of them, they're going to they're going to realize it's all it is. How long how much does it cost you to stay in an email, contact with them, and then it cost you any extra time over that three year period.00:24:48:18 - 00:25:04:04UnknownSo I just so this last 15 months, I started doing a weekly email and I had to be honest, I am not the best writer, so I had a copywriter help me with it. I came up with the content what I wanted. I mean, anyone could use like chat, CBT or something like that if you really wanted to.00:25:04:06 - 00:25:25:21UnknownSo I paid the the copywriter. It was about $1,000 for the emails. Not bad. And then I have them in a we use active campaigns, I've got them in an email system. And so I mean, we're talking it's an hour maybe it costs me $1,000 to stay in front end to do that. And those e-mails are going to get kind of recycled after the 15 months is over.00:25:25:21 - 00:25:43:23UnknownSo it's not that expensive. And then I just throw one event per year. It's not that expensive. So let's break these two down email. It's emails. So many people don't nurture an email like we we nurture one. Our whole our whole system is one video email month with your face talking just about community events, local news and whatnot.00:25:43:23 - 00:26:01:21UnknownRight. And it's not it's just about the the reminding touch but emails another channel because you can't assume there's so many people who are just on social media like, oh, I'm just on Facebook. That's all I need. I just need Facebook. No, you don't. You're missing a lot of other opportunity are using direct mail to by any chance.00:26:01:23 - 00:26:18:03UnknownYes. So I have an email. All right. I'm sorry, a postcard that goes out once a month and then I kind of tweak it every once if I see people having like so I see people having life events and things. We start having my and then my son will go through and look at the tax roll and kind of go, okay, well, I know they live in this town.00:26:18:03 - 00:26:37:02UnknownSo this, you know, Susie Q has got to be that Susie Q in this town. And then we start mailing them content like it air, land and sea. And I might as well just take a commercial break because that is exactly what referral suite does. We help market your database through video email, direct mail and give you all the social media content each month so you can stay in front of them and take an omnipresent approach.00:26:37:02 - 00:26:58:13UnknownSo people stop forgetting you're in real estate. Back to show. So this is really, really, really interesting. I love it. This is my entire business model. Always has been. I love what you're doing. Like this is I just it's fantastic. And I wish more people would implement exactly what you're doing because it's not rocket science, is it now?00:26:58:13 - 00:27:18:04UnknownAnd it's free. You don't need to pay to do is a Facebook group and backed it. The last few years I've been getting asked from a lot of agents around the country like, how do you do this? Can you help me set up a group and things like that? So I actually just transitioned into doing I have a course on how to set up your Facebook group, how to grow your Facebook group, because that's what everyone's scared about.00:27:18:04 - 00:27:34:05UnknownLike no one's going to join. They will join if it's set up right and you have good content and it's named appropriately. And then I talk about how to nurture your group and how to utilize it to get leads, because ultimately that's that's why you're setting up the group is you're building your know like and trust factor so that you can get leads and they'll call you to help them buy or sell a house or rent.00:27:34:07 - 00:28:02:04UnknownYeah, it's just a matter of when they do. I mean, literally, guys, it is. And the bigger the group goes, the more engaged is, the better. But I want you to catch one other thing that she said and then we could get this week wrapped up a she's she's disciplined and building an audience you guys and you have to you don't know when the person on that list or the individual senior email is ever ever even going to return the favor.00:28:02:04 - 00:28:21:03UnknownIt's not about that but it's about and it's not also about trying to sell them something with every bit of communication. It's about trying to add value with every bit of communication and just sort of small little jab. Hey, don't forget I'm in real estate. Don't forget I'm in real estate. Hey, guess what? I'm in real estate. Don't forget to say you don't need to say it right.00:28:21:03 - 00:28:41:12UnknownYou could do this stuff just by simply inferring it. And you can't always talk about work with your list, with your database. You can't talk about work all the time with social media. Your wife will divorce you if you do, and you need to actually, like, go out and nurture people with human related content. So my point is, is cut the commission breath stuff off.00:28:41:12 - 00:29:09:22UnknownIt's not going to work. It doesn't work. Commission breath is contagious. We feel it. We see it. People see it. More importantly, like it looks desperate. You don't need to do it, though. What other any other tips you want to add to this? Because this is. I think you nailed it. Yeah. I mean, if anything, I am always happy if anyone wants to figure out how to how to set up a group or has passions about it, they can go to groups to lead WSJ.com.00:29:09:24 - 00:29:25:16UnknownAnd I can you know, they can there's a free webinar. It's groups to leads back slash webinar, and you can get a little bit of information. And then we've I've also got the course if you want to dive into a little bit further and how do I nurture people and how do I data them by my groups who didn't get leads?00:29:25:18 - 00:29:44:24UnknownThat's on there as well. Script Slate.com. And because like I said, you know, I see so often real estate is like, I knew, I don't know what I'm doing and blah, blah, blah. And I don't have a lot of money to put towards marketing. I get it. I was there to start a Facebook or it's free, it's easy, and if you nurture it, it'll grow and you know, it may not it's not going to be one of the things.00:29:45:00 - 00:30:08:06UnknownBut you start today and you're these leads. It's the long game, right? Yeah. And I think so often we get distracted with shiny penny things, but if you play the long game and you're not standing up every time and saying, I'm a real estate agent and using it as a billboard, but using it smartly as a billboard for your business, the leads will come to you because people will see the genuine person and they get to know.00:30:08:06 - 00:30:23:00UnknownThey get to know you better, like people know and they know my kids. Like when they stop and see me on the street, they know that's great and or that's Madison. Creepy as it is, but or they'll say, Hey, you know, my son has the same vision thing that your son has, and they'll ask me questions, which leads into the conversation of real estate.00:30:23:02 - 00:30:43:08UnknownSo it's used, you know, using my own way. I'm using my children to get business, but it's because they know and like and trust me and I'm a mom and I'm relatable. And I'm also not that scary, right? I you know, I oftentimes will see, you know, people real estate they're really Salesians up. That may be something that's scary to some of these people, whereas I'm just more approachable in my jeans, just hanging out.00:30:43:08 - 00:31:04:02UnknownThey can come and approach me and ask me questions. So it's about being relatable to your target audience. And my target audience is a mirror of me. Yeah, well put. That's a that's a really good way to look at your target audience is a mirror of yourself because people hang out with people just like them. It's just the way we're wired, you know, You don't go out and hang out with someone completely opposite of you.00:31:04:02 - 00:31:21:09UnknownLike you don't see me on Friday nights hanging out with the dude, with the shaved head, tats, earrings and doing drugs all night, you know, like, that's not my crowd. So it's like, Come on, guys, I pick your crowd. You know what your crowd is? Just be you love it. This is a really good episode. And folks, if you like exactly what should go check her out.00:31:21:13 - 00:31:44:00UnknownIt's groups two leads dot com. Check out the Facebook group and whatnot and we appreciate you listening Another episode if you really liked the content we talked about, I want you to go visit referral suite dot com as referral sweet e-comm and it's a database referral marketing system. All it is, it's very simple. It takes about an hour, 2 hours, maybe maximum to utilize and it'll keep you in front of your databases through direct mail, video, email and social media.00:31:44:00 - 00:31:59:23UnknownAnd you won't have to think about what to say because we even give you that to build the audience. It's the only recession proof business model there is. I've been in I gave you this with the last 20 years of experience, guys, so go visit that and check out Laura stuff. She shared a lot of valuable content today.00:32:00:00 - 00:32:19:06UnknownThanks. Listen other up, so don't forget to subscribe like CUBIT and visit us on the rest of our social channel and we'll see you guys next week. Picks. Thank you for watching another episode of the Real Estate Marketing Do Podcast. If you need help with video or finding out what your brand is. Visit our website at WW w dot real estate marketing dude dot com.00:32:19:09 - 00:32:34:23UnknownWe make branding and video content creation simple and do everything for you. So if you have any additional questions, visit the site, download the training and then schedule time to speak with the dude and get you rolling in your local marketplace. Thanks for watching another episode of the podcast. We'll see you next time.

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

Susie Q is a movie about a ghost who helps a kid start playing basketball again after he helps her as the whistleblower for a huge real estate scam in a small town in Washington State.  Cameron and Hannah discuss the five stages of grief, the bizarre narrative choices of the filmmakers, and the unintentionally hilarious scenes of this 1996 made-for-TV movie. 

EPISODE 138 – SUSIE Q “We're all very, very mean to old people in this episode.” We're kicking off Small Screen Summer! This week, Ashley “coaches” basketball; Brian gets an ill-timed ad; Brandon gets unlimited breadsticks; and Chris writes some better endings. BTW: WHAT ARE THE GHOST RULES?!?!?! Starring: Amy Jo Johnson, Justin Whalin, Shelley Long, Andrea Libman, Garwin Sanford, Chris William Martin, Dale Wilson, and Will Sasso Directed by John Blizek FOLLOW US:Patreon (https://www.patreon.com/trashwatch)Instagram (@trashwatchpodcast)Twitter (@trashwatchcast)TikTok (@trashwatchpodcast)Facebook (https://www.facebook.com/trashwatch/)YouTube (https://www.youtube.com/channel/UC5YpPcNIBmqNvvLvxa3WTLA)Email (trashwatchpodcast@gmail.com)Listen to Brian's music at (https://www.brianhorne.com)Support the show

We sat down with the newly formed Arkansas House Trio, Haus of Untz to talk about this new project! Learn about why they came together and about their upcoming events in Northwest Arkansas!

Miss Heard celebrates Season 4, Episode 195 with Creedence Clearwater Revival's “Have You Ever Seen the Rain?” You will learn how they came up with their band name and what they used to be called before CCR as well as their connection to Woodstock. You can find Episode 194 at https://pod.co/miss-heard-song-lyrics/season-4-episode-194-ugly-as-she-1  You can listen to all our episodes at our website at: https://pod.co/miss-heard-song-lyrics Or iTunes, Stitcher, Spotify and many more platforms under Podcast name “Miss Heard Song Lyrics” Don't forget to subscribe/rate/review to help our Podcast in the ratings. Please consider supporting our little podcast via Patreon at https://www.patreon.com/MissHeardSongLyrics or via PayPal at https://www.paypal.com/paypalme/MissHeardSongLyrics #missheardsonglyrics #missheardsongs #missheardlyrics #misheardsonglyrics #misheardsongs        #misheardlyrics #CCR #CreedenceClearwaterRevival #HaveYouEverSeentheRain #HaveYouEverSeenLorraine #JohnFogerty #TomFogerty   https://www.youtube.com/watch?v=Gu2pVPWGYMQ https://en.wikipedia.org/wiki/Have_You_Ever_Seen_the_Rain%3F https://en.wikipedia.org/wiki/John_Fogerty https://en.wikipedia.org/wiki/Tom_Fogerty https://en.wikipedia.org/wiki/Creedence_Clearwater_Revival https://en.wikipedia.org/wiki/Susie_Q_(song) https://rockandrollgarage.com/the-sad-story-of-tom-fogertys-death/

In this episode of Reinvention Warrior, we have the pleasure of sitting down with the dynamic and passionate Susie Q, Founder of Reinvention Warrior, a Coaching and Consulting agency based in Knoxville, TN. Susie is a former corporate professional who discovered her true calling in empowering high-achieving women to create transition plans and escape unfulfilling corporate careers on their own terms. Join us as Susie shares her personal journey of leaving her toxic job and the challenges she faced along the way. With a knack for numbers, strategy development, and a gift for simplifying complex issues, Susie developed a blueprint that led her to successfully transition into entrepreneurship. She searched tirelessly for resources specifically tailored to women who desired to pivot from secure careers to entrepreneurship but found limited information available. Not one to be discouraged, she took matters into her own hands and designed her own roadmap. As a certified Maxwell Coach, Speaker, and Trainer, Susie brings a wealth of knowledge and expertise to her coaching programs and the Reinvention Warrior podcast. With her Bachelor's in Business Management and Master's in Organizational Leadership, she equips ambitious women with the tools and guidance they need to redefine themselves and build their own corporate exit plan. Susie's personal story is one of resilience and determination. From becoming a single mother while four months pregnant, surviving cancer, to nearly losing her life, she understands the curveballs life can throw and how to push forward despite the obstacles. Her ability to find the silver lining and her passion for helping others do the same shines through in her coaching and mentorship. In this episode, you'll gain valuable insights into: The importance of redefining success on your own terms Strategies for creating a transition plan to leave a corporate career Unleashing your inner warrior and embracing your own reinvention journey Overcoming challenges and finding the silver lining in difficult situations The power of mentorship and support in achieving your goals Prepare to be inspired and empowered as Susie Q shares her wisdom, experiences, and infectious enthusiasm for helping women unleash their inner warrior. Get ready for a candid and engaging conversation filled with laughter, sass, and a touch of Latina flair. Tune in to this episode of Reinvention Warrior, and embark on a transformative journey to redefine success and make bold pivots in your own life. Connect with Susie Q https://www.linkedin.com/in/susie-aguilar/

​In this episode of Reinvention Warrior, we have the pleasure of sitting down with the dynamic and passionate Susie Q, Founder of Reinvention Warrior, a Coaching and Consulting agency based in Knoxville, TN. Susie is a former corporate professional who discovered her true calling in empowering high-achieving women to create transition plans and escape unfulfilling corporate careers on their own terms. Join us as Susie shares her personal journey of leaving her toxic job and the challenges she faced along the way. With a knack for numbers, strategy development, and a gift for simplifying complex issues, Susie developed a blueprint that led her to successfully transition into entrepreneurship. She searched tirelessly for resources specifically tailored to women who desired to pivot from secure careers to entrepreneurship but found limited information available. Not one to be discouraged, she took matters into her own hands and designed her own roadmap. As a certified Maxwell Coach, Speaker, and Trainer, Susie brings a wealth of knowledge and expertise to her coaching programs and the Reinvention Warrior podcast. With her Bachelor's in Business Management and Master's in Organizational Leadership, she equips ambitious women with the tools and guidance they need to redefine themselves and build their own corporate exit plan. Susie's personal story is one of resilience and determination. From becoming a single mother while four months pregnant, surviving cancer, to nearly losing her life, she understands the curveballs life can throw and how to push forward despite the obstacles. Her ability to find the silver lining and her passion for helping others do the same shines through in her coaching and mentorship. In this episode, you'll gain valuable insights into: The importance of redefining success on your own terms Strategies for creating a transition plan to leave a corporate career Unleashing your inner warrior and embracing your own reinvention journey Overcoming challenges and finding the silver lining in difficult situations The power of mentorship and support in achieving your goals Prepare to be inspired and empowered as Susie Q shares her wisdom, experiences, and infectious enthusiasm for helping women unleash their inner warrior. Get ready for a candid and engaging conversation filled with laughter, sass, and a touch of Latina flair. Tune in to this episode of Reinvention Warrior, and embark on a transformative journey to redefine success and make bold pivots in your own life. Connect with Susie Q

Here it is...season 2 of Lost in Blockbuster...We are watching the Disney Channel Original Movies in order, starting with our first episode Susie Q. The movies are different, but your boys are the same. Enjoy Lost in Blockbuster season 2: Dbags and DCOMs!

"Middle Ground with JLE L.L.C." Podcast "Where We Treat You Like Family" welcomes back Susie Q's Kids Author, President/Co-Founder Dr. Mary Welsh, SPHR, SCP as she gives update of becoming winner of Mona Lisa Lyrics LLC MomPreneur Award, Partnering with schools and other to make comfort bags for kids that are in Hospitals, Foster Care, Lost Loved Ones.

Grab a glass, grab a friend & let's dive into the rein of terror on June 3rd of 1985 lead by Frederick "Fritz" Klenner Jr & Susie Lynch. Join the SOC girls over a bottle of Iced Gingerbread while we talk about our current reads.Kandi's Book of the Month Club referral link:https://www.bookofthemonth.com/referCode?referCode=yi0bx9kfaqFollow us on Good Reads:Michellehttps://www.goodreads.com/user/show/136522928-michelle-cash?fbclid=PAAaam6tbPiADCLtRsThISvf_bE7zOKQG2Eov1V1Yzz_OWGql4Axov6dQZg1IKandihttps://www.goodreads.com/user/show/138947606-kandi-daye?fbclid=PAAabOK0XjpIZc5rcYCBMD3bnv-e7-gLWynGfd1fQFuk0lCJ6tYV57KzSEsdI Help us get our podcast out there!Follow, like, share, rate & review.You can find all the photos from this episode on both Instagram & Facebook.Instagram: https://www.instagram.com/sipsofcrime/Facebook: https://www.facebook.com/sipsofcrimeOfficial Website: https://www.sipsofcrime.comPlease email your personal paranormal or true crime stories to sipsofcrime@gmail.com or submit them via the form on our website linked above.Shop our podcast merch at:https://www.sipsofcrime.com/merch Fill out your "If I Go Missing Folder"https://crimejunkiepodcast.com/if-i-go-missing/In Home DNA Banking Kit - Store your DNA at homehttps://www.ibdna.com/tests/home-dna-banking/Kandi's Book of the Month Club referral link:https://www.bookofthemonth.com/referCode?referCode=yi0bx9kfaqFollow us on Good Reads:Michelle...

La escudería leridana Guerssen Records reedita dos fabulosas joyas perdidas. Por un lado el segundo álbum de RJ and the Riots, pioneros del rock'n'roll en Filipinas liderados por el emprendedor adolescente Ramón Jacinto. Este disco homónimo de 1964 descubre a una banda sorprendente para su tiempo, con cuidad sonido, composiciones propias y un gran conocimiento de lo que se cocía más allá de los mares. En segundo lugar descubrimos el único álbum de Morgen, banda de la psicodelia neoyorquina de finales de los 60, rompedores, adictivos y con un sonido afilado y poderoso. Playlist; (sintonía) RJ and THE RIOTS “Weightless” RJ and THE RIOTS “Trip to Manila” RJ and THE RIOTS “Girl nice” RJ and THE RIOTS “Advertising man” RJ and THE RIOTS “Fuzzed” RJ and THE RIOTS “Susie Q” RJ and THE RIOTS “Little Honda” RJ and THE RIOTS “Tomorrow” RJ and THE RIOTS “Teenstone” RJ and THE RIOTS “Seems so hard” MORGEN “Of dreams” MORGEN “Welcome to the void” MORGEN “Purple” MORGEN “Love” Escuchar audio

The Mountain Goats "This Year"Wanda Jackson "Whole Lot Of Shakin' Goin' On"Iron & Wine "Sunset Soon Forgotten"The Ronettes "Walking In the Rain"Mississippi John Hurt "Louis Collins"Elvis Costello "Radio Radio"Alex Chilton/Hi Rhythm Section "Lucille"The Bottle Rockets "Indianapolis"Flat Duo Jets "Go Go Harlem Baby"Drag The River "Here's to the Losers"Pavement "Cut Your Hair"Dale Hawkins "Susie-Q"Loretta Lynn "Coal Miner's Daughter"Endless Boogie "Back in '74"Palace Music "Work Hard / Play Hard"The Replacements "Anywhere's Better Than Here"Fontella Bass "Rescue Me"John Hiatt "Slow Turning"Steve Earle & The Dukes "Billy Austin"The Low Anthem "Home I'll Never Be"Cedric Burnside Project "Hard Times"Fela Ransome- Kuti and The Africa '70 "Swegbe And Pako Part II"Cat Power "Nude As The News"Muddy Waters "Southbound Train"Roy Orbison "Only the Lonely (Know the Way I Feel)"Jon Dee Graham & The Fighting Cocks "Beautifully Broken"Clem Snide "Beautiful"Clem Snide "I Love the Unknown"The Clash "Spanish Bombs"Two Cow Garage "Movies"Tom Petty & The Heartbreakers "Southern Accents"The Staple Singers "I'm Willin', Pt. 1"Dr. John "Stealin'"Mitch Ryder & The Detroit Wheels "Devil with the Blue Dress On / Good Golly Miss Molly"Patsy Cline "Walkin' After Midnight"The Box Tops "I Met Her In Church"Solomon Burke "Stepchild"The Shangri-Las "The Train From Kansas City"Kris Kristofferson "The Devil to Pay"Patterson Hood "Better Off Without"Tift Merritt "Good Hearted Man"Little Richard "Baby Don't You Tear My Clothes"The Handsome Family "Far from Any Road"Cory Branan "Miss Ferguson"

Tired of hearing the phrase “New Year, New You”? It's a cliche statement that gets a bad rap. In this light hearted episode, I share my quirky Susie Q style.   I thought of a few fun things you can incorporate to make this term your own. These are simple fun things you can do for yourself that can elevate the way you feel and give you things to look forward to on your journey to reinventing yourself.   Armor up ladies, it's go time!   Susie Q   Connect With Me: hello@reinventionwarrior.com   **Join the Reinvention Revolution emails for exclusive access to bonus strategies, inspiration, upcoming events and programs tailored to help you unleash your inner Warrior! Armor up here.**

On this episode of the Music Jones Podcast Jones is joined by B Eazy(The DJ Blaze Radio Show Podcast) and they get into Ye and his latest antics… They talk New Music from a Griselda favorite and his collab with DJ Drama… Suzie Q is back with another brain teasing Email… Then we get into the anniversary of a classic hip hop movie and a few classic albums from 20 to 25 years ago… Email: themusicjonespodcast@gmail.com IG: @themusicjonespodcast @doogiedarapper @preacher_bp

In this Rant/Rave episode, Conor and Caroline channel the spirits in an entry devoted entirely to ghosts of Disney. Casting a spell with both the light and dark sides of the Force, Conor rants about the revision of Anakin Skywalker's Force Ghost in Star Wars Episode VI: Return of the Jedi. Meanwhile, Caroline's séance manifests the forgotten Disney Television film, Susie Q, in a rave about its worthy contribution to supernatural cinema that has been buried for years. Grab your dowsing rods for a spirited new installment of Poor Unfortunate Podcast!Follow us on Facebook, Instagram, and Twitter for fun content and exciting new updates!Join the Poor Unfortunate Fam, our Facebook Group for listeners who love the podcast and want to keep the discussions going!If you like what you're hearing, help us keep bringing you your favorite Disney content by making a donation to Poor Unfortunate Podcast today!*This podcast is not affiliated with The Walt Disney Company.Support the show

On this episode of the Music Jones Podcast Jones and Doogie and B Eazy(The DJ Blaze Radio Show Podcast) are joined by Family of the show Craig, Renzo, and Darnell and they get into Kanye and his latest antics… They talk the BET Hip Hop awards and the Loud Records highlight… Diddy on The Breakfast Club… Da Baby album sales… Another great email from Susie Q… New Music and a 15 year anniversary that may surprise you Email: themusicjonespodcast@gmail.com IG: @themusicjonespodcast @doogiedarapper @preacher_bp

"Middle Ground with JLE L.L.C." Podcast "Where We Treat You Like Family" welcomes Author, Public Speaker, Grief Session Facilitator, University Professor, Coach and Trainer, Business Strategist, Hr Consultant, Cause Activator, Non-Profit Executive Director/President/Co-Founder of Susie Q's Kids Dr. Mary Welsh, SPHR, SCP as she shares how she turned her grief into a vehicle to help kids abused, bullied, dealing with grief, in/out of foster homes or other issues find their footing with her AMAZING COMFORT BAGS "Susie Q's Kids One Bag At A Time" filled with goodies for any child to help them readjust.

This week, Joey and Eddie are back! Part one consists of the weekly 'Review' segment. This week's special guest is the former WBC & IBF Female Bantamweight world champion, Susie Q Ramadan. Susie talks all about her latest victory over Tomoko Okuda. Susie also reflects on her world title reign's, outlines her plans for the future and tips Skye Nicholson to go a long way in the sport. The show then ends with the weekly 'Preview' segment, along with the latest boxing news. All this and more on the BoxHard Podcast! Stay tuned!

On episode # 142 we interviewed the Founder of the annual all Women DJ showcase Her Set, Her Sound, Robyn Jordan alongside DJ Susie Q & DJ Raquel who make up the EDM DJ duo of QR CODE. This episode we highlight some of the powerful women making waves in the DJ scene in Arkansas and hopefully soon across the country. Episode drops Thursday every where you listen to podcasts!

Aussie Boxing Breakdown Podcast August 2022: BIG J & TstreeT talk Australian Boxing News and rumors for August 2022. Susie Q Ramadan RETURNS against Tomoko Okuda 8/20 on FITE TV | Liam Paro vs Brock Jarvis listed on BoxRec to fight October 15th on DAZN in South Brisbane  same weekend as Devin Haney vs George Kambosos 2 for UNDISPUTED at 135lbs on Main Event Pay-Per-View in Australia & ESPN in the States. Both fights NOT officially confirmed. | IBF orders Ebanie Bridges and Shannon O'Connell to fight by Sept. 26th. Will is happen? | Paul Gallen is set to fight 2 fighters in one night against Justin Hodges and Ben Hannant on Main Event Boxing PPV for $59.95 in Brisbane promoted by No Limit Boxing and BIG J is NOT pleased. Undercard to feature Harry Garside, Jack Bowen, Joseph Goodall, Angel Rushton, & More. *Please Be Sure to SUBSCRIBE to our Boxing Podcast on ALL of your listening platforms and leave a rating and review.  *Follow BIG J on Twitter @OldMateBigJ https://twitter.com/OldmateBigJ*Follow Our Social Media Platforms - https://linktr.ee/TstreeTControversy *Check us out on YouTube - https://www.youtube.com/c/tstreetcontroversy   Support the show

Susie's mother grew concerned when she had not returned home by morning. However, she wouldn't have to wait long to track her professional poker playing daughter down. The remains of Susie's badly burned body were found at 8:05 a.m. on July 13th, 2020 along the edge of the Pontiac Lake Recreation Area. Our Case Sources: detroitnews.com nypost.com pokernews.com/ fox2detroit.com lawandcrime.com freep.com pokertube.com --- Support this podcast: https://anchor.fm/nevertooearlyformurder/support

Our perpetual journey to find the least in demand subjects for our movie podcast has brought us to someone special this week, Susie Q! Hot DCOM summer continues with one of the precursors to the Disney Channel Original Movie, and one of the most bizarre ones at that. Kyle's wife joins us to break down this ghost story that may have scarred her and Scott as kids (and may also have only been seen by her and Scott). Plus we talk about Scott's trip to Chicago and play one of Kyle's demented games! Check out our website www.madefortvpodcast.com and look for us on Twitter, Facebook, and Instagram @made4tvpodcast

I feel like I bore the followers I dance with. He has been dancing for 3 months. When he is social dancing he runs out of dance moves. How can he make the dance more interesting for the follow? Followers should understand that everyone was a beginner at some point. A lot of follows do not care about how many skills you know, as long as you're both having fun! If your face looks bored, then it's hard to enjoy. If you're enjoying the dance, so is the follow. Sometimes it's really nice to have a dance with more beginner moves, after you had a couple of advanced dances. The follows need time to breath. Don't worry, keep dancing and HAVE FUN. A lot of beginners believe that it is the amount of patters you know that separates dancers. In my opinion this is not true. People will do 4 or 5 things and just add variations on top of it so it looks and feels different. The pro tip is to focus a lot more on musicality and less on moves; people can appreciate when they see that you are interpreting the song instead of just repeating moves that you memorized. Try to take the moves you have, add variations, break them into pieces, extend them and play with them so it matches the song Some of the most important moves are 1: Staying on beat and on time. If your basic step is IN TIME with the music and you always know how to "find the 1", then that's going to make the dance enjoyable by default. 2: If you execute a: basic steps, cross body leads, reverse cross body lead, around the world, cross body lead turn, cross body lead turn to wraparound. If you can do these you're good.   Shines are a great way to make the dance more interesting. Shines allow you the opportunity to break apart from your dance partner and freestyle this can be very simple, something like a few turns or maybe a Susie Q, or even just your basic step. If you listen for a bridge in a song you can break off and allow the follower to have a bit of fun then link up with a cross body Lead. Side note: Not all follows enjoy shines, some get lost like a deer in headlights. Finally please understand that as a lead you are going to have a hard time at the beginning. There are simply too many things you are learning. This causes you to look stressed and feel stressed and this is what follows are reacting to. It's not the complexity of your patterns. So as others have said, try to relax, don't try too hard, and focus on musicality, shines, interaction with your dance partner. Improve the mood of the experience #Salsa #Bachata #Kizomba #Podcast #BrazilianZouk #Dance #Tarraxinha #Zouk #Passada #RetroZouk #Ginga #Bolero #Forro #Lamba #LambaZouk #Afro #Latin #African #Socialdance #Socialdancing #Partnerdance #Partnerdancing #Pachanga #Lambada #Dance #Dancers 2LF Links _______________________________________________ Twitter: https://twitter.com/Tw0LeftFeet Instagram: tw0_left_feet Website: https://2leftfeet.blog/ Facebook: https://www.facebook.com/groups/2171874589599779/ Reddit: https://www.reddit.com/r/TwoLeftFeetPodcast/ iTunes: https://itunes.apple.com/us/podcast/two-left-feet-podcast/id1454425997 Spotify: https://open.spotify.com/show/5bQSnwKDmHbDQdgnZ0OrC3 Patreon: https://www.patreon.com/Twoleftfeet Youtube: https://www.youtube.com/channel/UCR109vJ4Pbl146Ok1u5vSuA Anchor: https://anchor.fm/twoleftfeetpodcast

Jeepers! This is one of our personal faves! Now, did we have to watch a bootleg version of this film on YouTube (shoutout to @TVMovies for doing the lord's work!)? Yes. But it was WORTH IT to get our eyes back on Susie Q! And we're popping our dear friend Ashley England's DCOM cherry —what a thrill! She brings alllll the insight you could hope for. This movie has everything: a devastating car accident on a bridge in the 1950's, a GHOST coming back to help her parents, a basketball star who finds a charm bracelet, Shelley Long as a whacky weather reporter, and THE PINK POWER RANGER! Now, did we have many, MANY questions about this film? YES! Was it hard to fully get a handle on? Again, YES! But did we enjoy every second? 100% YES!! I hope you all enjoy this horny little movie and that we are able to shed light on really important things like: “what's the truth about heaven?” or “If a ghost can handle, open, hug and catch things, then why can't she SOLVE THE CENTRAL PROBLEM BY PICKING UP SOME PAPERS??!!” This is one for the books! Get into your Thunderbird ( but don't stop in the middle of a bridge!) and get ready for this film!

World Famous boxer Susie Q Ramadan the first woman with 5 workd titles. https://youtu.be/FjIEyUMBNF4

Happy Friday the 13th. As Zach Heltzel once said, "this film is fundamentally misguided in so many ways". Zoogers, get ready to laugh as I force one of my best friends Herjot (who HATED this movie) to watch this faux DCOM! It stars Amy Jo Johnson AKA the pink ranger, its secretly a sports movie and it has the classic little sister is a hacker DCOM trope. My guest may not have enjoyed this episode, but I know I sure did :) Teenager Susie Q dies 1955; in 1995, Zach moves into a haunted house with his mom and kid sister, and Susie Q's ghost asks him for help. Susie Q and her boyfriend were on their way to a dance one night in 1955 when they got into a car crash and fell off a bridge. Years later in 1995, teenager Zach Sands, recovering from his father's death, moves into Susie Q's old house with his mother and sister Penny. One night, Zach discovers that he can see Susie Q's ghost. Susie Q attempts to help Zach's family and sparks a romance along the way

The water lies still... The tale is finally at it's conclusion...  This week is a mashup of all the remaining mic checks, outtakes & lost tangents.  Also we finally let you all hear the lullaby Dragon wrote for T'riss to sing to Stuhl! This will be the final episode of the Abyss series. Thank you for listening. We hope you enjoyed. The Cast: Dragon as "T'riss Nitra" (a drow) Shiraz as "Ishidoro" (a dragonborn) Susie Q as "Thirteen" (a goblin) Tauno as "Rasthikos Thyreon" (a human) Wednesday Le Fey as "Desolation" aka. "Layla" (a tiefling)  And Nikoli as your Storyteller. Hear more from Wednesday as part of the Dum Dum Die Cast at: @DumDumDie Shiraz can be found on Twitter & IG as @DiceDeedsArt Find more from Dragon & Nikoli right here @PenanceRPG Interested in the DM and world building notes? Unlock the bonus "Abyssal Archive" podcast through our Patreon.com/PenanceRPG   Learn more at Penancerpg.com Support us on Ko fi and Patreon Come talk with us on Twitter, Facebook or Instagram Visit our Teespring store Listen on Google Play, Libsyn, Stitcher, Youtube, Podchaser, Podcast Addict   Affiliates: @DnDiceUK 10% @GemhammerGaming 20%   Use “Penancerpg” at checkout for % off your order at DnDiceUK.co.uk & https://shop.gemhammer.com?sca_ref=863642.2WJQWPgDdH

The water lies still... The tale is at an end...  This week we conclude our cast recap. Discussing their experiences and final thoughts with episodes 14-20 of Abyss The Cast: Dragon as "T'riss Nitra" (a drow) Shiraz as "Ishidoro" (a dragonborn) Susie Q as "Thirteen" (a goblin) Tauno as "Rasthikos Thyreon" (a human) Wednesday Le Fey as "Desolation" aka. "Layla" (a tiefling)  And Nikoli as your Storyteller. Hear more from Wednesday as part of the Dum Dum Die Cast at: @DumDumDie Shiraz can be found on Twitter & IG as @DiceDeedsArt Find more from Dragon & Nikoli right here @PenanceRPG Interested in the DM and world building notes? Unlock the bonus "Abyssal Archive" podcast through our Patreon.com/PenanceRPG   Learn more at Penancerpg.com Support us on Ko fi and Patreon Come talk with us on Twitter, Facebook or Instagram Visit our Teespring store Listen on Google Play, Libsyn, Stitcher, Youtube, Podchaser, Podcast Addict   Use "Penancerpg" at checkout for 10% off your order at DnDiceUK.co.uk & https://shop.gemhammer.com?sca_ref=863642.2WJQWPgDdH

The water lies still... The tale is at an end...  This week we continued to ask the cast to recap and discuss their experiences, this time with episodes 7-13 of Abyss The Cast: Dragon as "T'riss Nitra" (a drow) Shiraz as "Ishidoro" (a dragonborn) Susie Q as "Thirteen" (a goblin) Tauno as "Rasthikos Thyreon" (a human) Wednesday Le Fey as "Desolation" aka. "Layla" (a tiefling)  And Nikoli as your Storyteller. Hear more from Wednesday as part of the Dum Dum Die Cast at: @DumDumDie Shiraz can be found on Twitter & IG as @DiceDeedsArt Find more from Dragon & Nikoli right here @PenanceRPG Interested in the DM and world building notes? Unlock the bonus "Abyssal Archive" podcast through our Patreon.com/PenanceRPG   Learn more at Penancerpg.com Support us on Ko fi and Patreon Come talk with us on Twitter, Facebook or Instagram Visit our Teespring store Listen on Google Play, Libsyn, Stitcher, Youtube, Podchaser, Podcast Addict   Use "Penancerpg" at checkout for 10% off your order at DnDiceUK.co.uk & https://shop.gemhammer.com?sca_ref=863642.2WJQWPgDdH

#85-81Intro/Outro: The Train Kept A-Rollin' by Johnny Burnette Trio85. Susie Q by Dale Hawkins84. Dust My Broom by Elmore James83. Lonely Teardrops by Jackie Wilson82. Everyday by Buddy Holly81. Rockin' Pneumonia and the Boogie Woogie Flu by Huey "Piano" Lewis and His ClownsVote on your favorite song from today's episode

Five-time world boxing champion Susie Q Ramadan discusses her inspiring life story from being bullied, to finding resilience and carving her way in a sport dominated by males to become one of the best female boxers of all time.   WANT MORE FROM SUSIE Q? Find out more about Susie Q via her website, here, or Instagram @susieqramadan   WANT MORE BODY + SOUL?  Online: Head to bodyandsoul.com.au for your daily digital dose of health and wellness. On social: Via Instagram at @bodyandsoul_au or Facebook. Got an idea for an episode? DM host Felicity Harley on Instagram @felicityharley.  In print: Each Sunday, grab Body+Soul inside The Sunday Telegraph (NSW), the Sunday Herald Sun (Victoria), The Sunday Mail (Queensland), Sunday Mail (SA) and Sunday Tasmanian (Tasmania). See omnystudio.com/listener for privacy information.

Most people don't think it's even possible to escape the cycle of debt in their lives.  Not to mention the herd mentality of banking that they don't even know they've been brainwashed to follow. Suzie Q and her father (who was a banker) broke free. In a little more than 5 years, Suzie Q had … Continue reading Episode 9 – Waking Up to the Glory of Private Banking Strategies: Susie Q Part 2 →

The first thing we must understand is that most people suffer from the “herd mentality” and have been brainwashed to think they have to use branch banks to store their cash.  When you do things with the herd you remain a slave to the system and generally end up getting slaughtered. What if there was … Continue reading Episode 8 – Breaking Free from the Herd Mentality: Susie Q Part 1 →