Podcasts about Taj Mahal

Do you know all the New Seven Wonders of the World? The list was officially finished in 2007 because there is just one wonder currently still standing from the old list: the Pyramids of Giza. The new wonders have their secrets. The mighty Taj Mahal, for example, can change color. And more than half of all the construction in Machu Picchu was done underground, so you can't even see it. Learn more about your ad choices. Visit megaphone.fm/adchoices

Did you expect to hear this about Black people? We have a discussion about equality in housing. First, if you close your eyes and wake up in 10 years, where do you want to find yourself? I explore. For some reason, investors want to time the real estate market, yet they dollar cost average into stocks.  1% down payment mortgages are here. Learn about the latest AI development. The maker of ChatGPT is developing “Worldcoin”. It would verify if you're human by scanning your eyeballs.  Finally, there's a long history of racial discrimination in both society and housing. The Fair Housing Act—part of the Civil Rights Act of 1968—helped break down discrimination. The Fair Housing Act protects people from discrimination on the basis of race, religion, national origin, sex, handicap, and family status when they are renting or buying a home, getting a mortgage, or seeking housing financial assistance. Learn the difference between equality of opportunity and equality of outcome. The latter is difficult to administer. Providing equal opportunity in housing is not just the law. It's the right thing to do. I explain why it actually benefits you. Resources mentioned: Show Notes: www.GetRichEducation.com/451 Get mortgage loans for investment property: RidgeLendingGroup.com or call 855-74-RIDGE  or e-mail: info@RidgeLendingGroup.com Find cash-flowing Jacksonville property at: www.JWBrealestate.com/GRE Invest with Freedom Family Investments. You get paid first: Text ‘FAMILY' to 66866 Will you please leave a review for the show? I'd be grateful. Search “how to leave an Apple Podcasts review”  Top Properties & Providers: GREmarketplace.com Best Financial Education: GetRichEducation.com Get our wealth-building newsletter free—text ‘GRE' to 66866 Our YouTube Channel: www.youtube.com/c/GetRichEducation Follow us on Instagram: @getricheducation Keith's personal Instagram: @keithweinhold   Complete transcript:   Welcome to GRE! I'm your host, Keith Weinhold.    If you close your eyes and wake up in 10 years… where do you REALLY want to be? 1% down payment mortgages are here, profound AI impacts in your life…   Then, some contentious and even volatile discussion about racial discrimination and Black people… in housing. You'll get my opinion on equality of opportunity. Today, on Get Rich Education. ____________   Welcome to GRE! From Allentown, PA to Glen Allen, VA and across 188 nations worldwide, I'm Keith Weinhold and this is Episode 451 of Get Rich Education… where we don't live below our means. We grow our means.    If you're being told that you're crazy or that things aren't going to work out… you know… hearing that right there can actually be a prerequisite to you being successful.    Are people raising their eyebrows at what you're doing?    Yeah that could actually be some positive feedback on your direction, as long as your head tells you that it's right and your gut backs it up.    Don't trade away your authenticity for approval.   Look, if you close your eyes and wake up in 10 years, what do you want to see when you open your eyes? Awards for work?    I doubt it. Or is it kids, family and relationship-oriented?    Or is it, invisible footprints that you've left behind all over earth because you traveled or explored that much?    You DID raft the Grand Canyon, visit the Taj Mahal, see the Eiffel Tower, or dive the Great Barrier Reef?   Yeah, it's probably those types of things.   Well then, why are you putting 90% of your effort into career-oriented stuff… if that doesn't help you achieve that goal 10 years from now?    That's a better set of questions for you to ask yourself.   That's why we talk about generating residual income when you're actually young enough to enjoy it here.   Rich people play the money game to win - that's what we do here. While most people play the money game not to lose.   Real estate is not always easy. It's not OVERNIGHT wealth, you'll have your problems. But it can be amazing when you have a strategy and stick to it.   If you want me to make your financial life better in 30 days, maybe I can in some cases but that's really not what we're doing here, probably not even in a few months.   But in a few years… yes, definitely.   And I think it helps to remember something simple. The only place that you get money is from other people.   All your life, the only way that dollars have come into your hands or into your bank account is because it came.. from other people.   For many, that's just one person - one employer that the money comes from.   With each rental property that you add, that is one more person that is paying you…   … that's of tangible benefit to you in a world where the only place that you get money is from other people.    Now, as we dip into the mechanics about how to achieve that…   What would be different if you HADN'T taken action in RE?   Now, I don't know what it is, but for some reason, people are trained to TIME THE MARKET in RE.    Yet people might put 10% of their salary - up to $22,500 is allowed this year - $30K if you're over 50. They put that in their 401(k) - dollar-cost averaging - which is NOT timing the market.   I don't know why that is. Why some people are predisposed to time the market in RE but yet they DCA in stocks - which is the opposite of timing the market.   Maybe it's the cost of the property?   Treat RE the same way - DCA there too. Keep adding 1 or 2 a year or whatever you can.   When you consider 401(k)'s low returns and low liquidity, you might not even be putting money into it anymore.   You've got the wherewithal to know that very dollar you lock in a 401(k) is a dollar that can't use OPM.   And it gets even worse.    Because with a 401(k), you are HOPING TO DIE before the money runs out. What kind of a retirement plan or life plan is that?   Doesn't sound like diving the Great Barrier Reef to me. Ha!   Rocket Mortgage introduced a new 1% down home loan program. This is a new product for them. But some people to think it's the first.    It's not the first. It comes on the heels of rival United Wholesale Mortgage rolling out a similar program.   But this particular program is expected to reach a lot of people.   And here's the thing. It also eliminates the monthly mortgage insurance fee. It deletes monthly PMI.   Now, even if we're just talking about primary residences here, this affects you in the rental property market. I'll tell you why in a moment.    But with this 1% down payment program, a buyer using this program who's purchasing a single-family home, well, their income can be no more than 80% of their area's median income…   … they are only required to make a down payment of 1% of the purchase price.    Then the lender covers the remaining 2% needed to reach the required 3% threshold for conventional loans.   So it's not only going to reduce upfront costs, but that monthly mortgage insurance fee for the borrower is gone, which is typically a few hundred dollars a month… That what they had to pay traditionally, if the buyer puts less than 20% down on their purchase. That's going to help affordability. So with 3% down being reduced to 1% down, then a homebuyer of a $250,000 home would only need a $2,500 down payment instead of $7,500. Now, strict underwriting guidelines are still in place - you need income and credit and assets. There aren't really as many mortgage borrowers that put 20% down on a home as you might think. In fact, the average new purchase down payment amount in America is only between 6 and 7%. But this 1% option, which it's estimated that 90 million Americans will qualify for - over the long-term, that is just going to increase the available pool of buyers, of course, because more people that were on the edge of affordability can now qualify. Now, in a normal market, a few of your tenants that were on the brink of qualification might be able to run off - and buy. But you've still got those erstwhile strict underwriting guidelines and there's still just such a lack of supply of this entry-level housing - like I updated you on last week. You can't move into what doesn't exist. So this could create some tenant attrition, but it should be pretty limited for those reasons.   But, yeah, with this larger pool of buyers that now qualify, that puts more upward pressure on property prices.    When you make any good or any commodity MORE affordable in the short-term like this, with more buyers & more bidders, it makes that much LESS affordable long-term because that competition pushes prices up.   It's just like decades ago, as soon as financial assistance came to the college enrollment world with Stafford loans and Pell grants and all that stuff, what did it do?   More people could afford to PAY MORE with more & better loan types and that made college costs skyrocket.   The same effect is happening here when you lower down payment requirements to just 1%.    Though, that factor alone shouldn't make home prices skyrocket. They shouldn't shoot up. But it's just another tailwind on upward price momentum.   Typically when a tech CEO goes in front of a Senate committee, it gets embarrassing. Like, they end up explaining how to use email.  OK, Senate committees are not known for being tech savvy.  Not so a couple weeks ago, when Sam Altman, CEO of ChatGPT-maker OpenAI, testified on Capitol Hill on the future of AI and how the field should be regulated. Now Sam Altman has a lot more going on than just ChatGPT. It's possible that he's the future wealthiest man in the world. Now, this is where it gets scary. He's about to secure a $100 million funding round for an eye scan-accessible global cryptocurrency project, Worldcoin. That's what the Financial Times told us. Worldcoin is not totally unrelated to his signature project. The company's goal is to verify whether users are human by scanning their irises to disburse universal basic income… to workers displaced by AI. Now, I've explained before how technology actually creates jobs, not destroys them.  But the hearing continued with a discussion of the dangers of an unpredictable, evolving technology that can generate and spread misleading information without us even realizing it's fake- like those famous fake images of the Pope in a puffer jacket or Trump running from police. Well, for his cryptocurrency, Worldcoin, Sam Altman has already released a World App crypto wallet that can be downloaded to your mobile phone. And he's got big plans for Worldcoin as the first-ever cryptocurrency to be held by every person on the planet.   It runs on the Ethereum blockchain. You don't need to know what that means. In practical terms, Worldcoin will look (and trade) a lot like the cryptocurrencies that you're already familiar with. So in that regard, Worldcoin isn't breaking any new ground.   What makes Worldcoin stand out is the fact that it has aspirations to be both a cryptocurrency and a global identification system. With a tag line of "the global economy belongs to everyone," Sam Altman plans to distribute Worldcoin tokens to every single human on planet Earth.   And this is where things get really creepy. To pick up your free Worldcoin crypto token and sign up for a Worldcoin ID, you will need to give Sam Altman a scan of your eyeballs.    Yes, you heard that right -- Worldcoin has created a proprietary iris-scanning tool known as the Orb. Once you've had your eyeballs scanned with the Orb, you're good to go.    Altman says this step is necessary to verify that you are a real human and is not meant to be an invasion of your privacy. He won't even ask you for your name.   Yeah… I don't know if people are going to go for that, especially Americans. Americans are more suspicious and have more resistance to authority than most places.    We'll see what develops with WorldCoin but expect to hear more about Sam Altman.   If you want more real estate education, your source is GetRichEducation.com   For actually physical property addresses conducive to financial freedom, create one login one time like thousands of others have. You can get started there at GREmarketplace.com   More straight ahead, including a discussion and some contention about racism. I'm Keith Weinhold. You're listening to Get Rich Education.   ________   Welcome back to GRE. I'm your host, Keith Weinhold. As we're about to get to racism, now, first…    It's no secret that I prefer investing directly in single-family rental homes and apartment buildings.   But when I look for real estate investments that are even more passive than turnkey...   ... I just thought you might like to know that I personally invest my own money through a company called Freedom Family Investments.   Right from the beginning, they've always provided me with exactly their stated return, paid on time.   You might wonder, what makes their funds any better than, say, a Wall Street REIT or a 401(k)? Well, for starters…  It's being paid passive cash flow today, not when I'm age 65+. And Tax benefits that offset W-2 job income and capital gains. This part itself can be life-changing. It might be hard to rake in as much money as Taylor Swift's Eras Tour when you're young enough to enjoy it. But this can get you closer.   The fund invests in real estate projects that make an impact. So consider becoming an insider along with me.   We get preferred returns of 10% to 12%. That means we get paid first. Cash flow is paid quarterly.   You can join us with as little as $50K. It is for accredited investors only.   Freedom Family Investments they ARE THE experienced partner on the most PASSIVE portion of my real estate holdings.   If this sounds interesting, text FAMILY to 66866 and ask about the Real Estate Insider Fund.   Again, text FAMILY to 66866   Let's discuss racism and discrimination in America.   It's a topic that I think some people don't want to discuss. But I will today, because, here we are, Episode 451 and it's the first time.   This was recently published on our Get Rich Education YouTube Channel, so expect some sound effects as we're about to play this for you here.   The first voice that you hear is 60 Minutes interviewer Mike Wallace with Morgan Freeman, then Denzel Washington, and finally, Dr. Jordan Peterson.    This is about 10 minutes in length, and then I'll come back to wrap it up for you.   **PLAY VIDEO**   We'll end it there. If you'd like to see more, check that out on our Get Rich Education YouTube Channel.   I'll tell ya. Practicing equanimity, it was kinda difficult for me to discuss a sensitive topic. I'm not sure if you can tell in the video, but my forehead is sweating by the end of it.   The least that you need to know is that 1968's Civil Rights Act includes the Fair Housing Act.   This is a piece of landmark legislation is something that any citizen should know the basics about, and even moreso for a real estate investor.   The Fair Housing Act protects people from discrimination on the basis of race, religion, national origin, sex, handicap, and family status...   ...when they are renting or buying a home, getting a mortgage, or seeking housing financial assistance.    So it's not just when you're renting to someone, it's when you're lending to someone.   You shouldn't steer your advertising in an exclusionary way. Even terms like "cozy bachelor pad" or "ideal for young couples" should be avoided.   And equal opportunity is simply better for you as a landlord.   Say that you excluded a rental applicant group that comprised 30% of the population.   Then your available renter pool would shrink by that amount, reducing your income potential, reducing your occupancy rate, and reducing your tenant quality. So keep that in mind.   Next week here on the show we are talking about some big problems and really… the toxicity in the apartment market, the commercial real estate market… and how 2022's sudden spike in interest rates is causing syndications to fail.    Apartment building owners are getting foreclosed on. More of that is coming as their VARIABLE interest rate debt resets to WAY higher levels.   How bad is it going to get? What are you supposed to do as an investor if you're IN a syndication? What's it look like if you're a real estate syndicator yourself?   Who is safe and who is going to go… under?   All that and more will be answered next week when Ken McElroy returns to the show here with us.    I really appreciate you being here this week.    But as always, you weren't here for me, you were here for you. I'm Keith Weinhold. DQYD!  

Learn about the building of the Taj Mahal in India and other architecture built in the name of love such as the Swallow's Nest, Mystery Castle, and UFO House.

Pete's back with the usual mix of old and new, with some classic Soul coming your way today. New music comes from Calibro 35, Aphrose, Silky Steps plus 2 from The Allergies' brand new album, Tear The Place Up. There are also birthday celebrations for Grace Jones, Taj Mahal and for the great man himself, Mr Stevie Wonder.Tune into new broadcasts of the Superfly Funk & Soul Show, LIVE, Friday from 10 AM - 12 PM EST / 3 - 5 PM GMT.For more info visit: https://thefaceradio.com/superfly-funk-and-soul-show///Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Coming up on this morning's show…. Esther and Giles make their long-awaited pitch to replace Holly and Phil on daytime TV. They prove their worth by tackling serious subjects such as long-term sickness. They tug on the heartstrings with an emotional story about Giles' late father; they make the effortless gear change to a personal struggle about ADHD, before finally a bit of bouncy mid-morning relief as they demolish the wine tasting industry.A minor problem with a few indiscreet name drops, but nothing some tweety birds can't fix.Hope you enjoy the show. We'll be back next week with a man who built a replica of the Taj Mahal out of orange peel. If you enjoy the podcast, please hit subscribe. Thank you. Hosted on Acast. See acast.com/privacy for more information.

There are doors in the world that have been shut for centuries and for a good reason. The Taj Mahal, for example, is hiding some crazy secrets. There are sealed rooms all over the place that nobody is allowed to enter. The Great Sphinx of Giza is shrouded in mystery. The real secrets of the Sphinx lie underground, near its paws, behind doors that should not be opened. Learn more about your ad choices. Visit megaphone.fm/adchoices

The phrase, "There's a sucker born every minute," is attributed to P.T. Barnum, but it could be about this episode: We're talking about con artists who swindled people into buying some really famous landmarks. George C. Parker sold the Brooklyn Bridge. Among Victor Lustig's most audacious scams was when he sold the Eiffel Tower. And a man known as Natwarlal made a name for himself selling the Taj Mahal among other famous landmarks in India. Let's look at what happened when each of these guys dipped a toe into real estate.See omnystudio.com/listener for privacy information.

What do you know about India? Yeah, sacred cows, the Land of Spices, the Taj Mahal, and all that jazz. But what about all the bizarre world records held in this country? From the world's longest mustache to the fastest nose-typer on the planet and every oddity in between! Learn more about your ad choices. Visit megaphone.fm/adchoices

If you have plans to visit some of the most famous landmarks in the world in your lifetime, you might want to hurry up. That's because they have a chance of disappearing in the foreseeable future. The Eiffel Tower was only meant to stand for 20 years, so rust is taking over it. Due to yearly exposure to harsh weather, the Colosseum is also getting weaker. As for the Taj Mahal, it might eventually get destroyed by the growing pollution. Learn more about your ad choices. Visit megaphone.fm/adchoices

Are you and your significant other close enough to flip upside down and race other couples? In this episode Kyle and Jheisson haul their way across wikipedia as they explore the relatively new sport of wife carrying, dabble in slap contests, learn about Swaffelen, the Netherlands word of the year in 2008, before finishing their journey by visiting the Seven Wonders of the World.--For more Wiki U content follow along on YouTube, Instagram, and TikTok @wikiuniversity 

Drummer David Uosikkinen, is one of the founding members of Philadelphia's own, The Hooters. In 2010, David formed his own band, David Uosikkinen's "In The Pocket" to bring awareness to music education and to pay homage to all of the great music that has come out of Philadelphia. In The Pocket brings together all-star Philly musicians to cover classic Philadelphia tunes. David has played drums with The Hooters for over 40 years. He has also recorded and performed with Alice Cooper, Rod Stewart, Cyndi Lauper, Taj Mahal and Patty Smyth, as well as with many other emerging artists. In addition, David has performed on extensive international tours, including Live Aid, Amnesty International and Roger Waters' The Wall in Berlin. David is the subject of an upcoming documentary and records drum tracks for clients from all over the world.  Things That Came Up:  -1:00 Nailing the Finnish accent  -5:00 Live Aid -6:00 Yellow drum set because of Tony Williams  -7:15 Setups, Lib, Charlie, Ringo  -8:40 Bob Marley, Peter Tosh -9:00 Clicks and tempo control  -10:00 FutureSonics in ear monitors. Only drummer at Live Aid with in ears -12:20 Studying at The Modern Drum Shop in NYC with Joe Cusatis -14:00 Starting the band with Eric Bazilian and Rob Hyman -16:30 Full, Half and Quarter Strokes with Joe Cusatis -21:00 Kicking butt with Patty Smyth, Scandal, Tommy Price -23:00 The upcoming documentary -24:00 Gall Bladder Surgery  -31:00 Learning new skills -33:45 Marrying childhood friend -35:00 The horrors of modern air travel  -37:00 Hair color and AquaNet -38:00 Rumors of a U.S. tour  -40:33 Managed music for mp3.com for a bit  -46:30 Live feel. Clicks helping consistency of vocals  -49:00 Signature Sound of the Melodica -50:20 The cross-stick sound  -52:00 Greg Morrow  -53:20 David Raymond as the Philly Fanatic -53:50 Anatomy of the Cheesesteak. Barry's, The White House. Fried peppers, onions and the BREAD!  -56:15 www.daveudrums.com…Smash Palace, Kenny Aaronson, John Eddie.  -59:00 Tour dates at www.hootersmusic.com         Follow: www.daveudrums.com www.hootersmusic.com www.songsinthepocket.org IG: @daviduosikkinen Twitter: @DavidUosikkinen       The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 25 of which have been #1 hits!   Rich can also be seen in several films and TV shows and has also written an Amazon Best-Selling book, "CRASH! Course for Success: 5 Ways to Supercharge Your Personal and Professional Life" currently available at:   https://www.amazon.com/CRASH-Course-Success-Supercharge-Professional/dp/B07YTCG5DS/ref=sr_1_1?keywords=crash+redmond&qid=1576602865&sr=8-1   One Book: Three Ways to consume....Physical (delivered to your front door, Digital (download to your kindle, ipad or e-reader), or Audio (read to you by me on your device...on the go)!   Buy Rich's exact gear at www.lessonsquad.com/rich-redmond   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.jimmccarthyvoiceovers.com

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The Taj Mahal is one of the most beautiful man-made structures in the world. It is a UNESCO world heritage site considered to be one of the modern wonders of the world. The story behind its construction is equally beautiful as it is a tale of love and devotion between Shah Jahan and his wife Mumtaz Mahal who passed away shortly after giving birth to their fourteenth child. The Taj Mahal has a massive dome stretching 240 feet covered in marble. The are four thin white marble minarets to mark the four corners. Of course without cranes, getting giant slabs of marble to such heights was no easy task. A ramp would be constructed to bring the pieces up, and to keep the incline manageable the ramp used for this construction had to be about 10 miles long.  Shah Jahan never really got over the loss of his wife. He remained in mourning for years before his position was usurped by his fourth son. He was imprisoned in a fort in Agra in 1658. He was forbidden to leave and spent the final 8 years of his life in the fort looking out the window at the Taj Mahal. When he died in 1666, Shah Jahan was reunited with his beloved wife Mumtaz Mahal in the crypt beneath the Taj Mahal. Check out my other podcast Art Smart | Rainbow Putty Science Lab Who ARTed is an Airwave Media Podcast. If you are interested in advertising on this or any other Airwave Media show, email: advertising@airwavemedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this refreshing episode of the Shut Up & Sit Down Podcast, Tom and Quinns are chatting about a smattering of great old games that they played ‘Just For Fun'! We're starting with two classic Knizias in Taj Mahal and Samurai, before alighting to the pub for some small box gems - Mundus Novus and Parade. Have a great weekend, everybody! Timestamps: 05:53 - Taj Mahal 15:58 - Samurai 26:30 - Mundus Novus 36:22 - Parade

Usnea [00:37] "Lying in Ruin" Random Cosmic Violence Relapse Records RR7280 2014 Sophomore outing from this Portland-based death/doom metal band, on lovely bone white & blue splatter vinyl. Disc one, side one, track one. Named after everyone's favorite fruticose lichen (https://en.wikipedia.org/wiki/Usnea). Stray Cats [13:32] "Something's Wrong with My Radio" Rant n' Rave with the Stray Cats EMI America SO-17102 1983 Whole lotta pickin goin on. The waning days of that particular rockabilly revival. Ray Charles [16:07] "I Got a Woman" The Ray Charles Story Volume One Atlantic 8063 1962 An early 60s Ray Charles comp. "I've Got a Woman" lays the groundwork for "What I'd Say". Ray Charles [19:01] "Rockhouse" The Ray Charles Story Volume Two Atlantic 8064 1962 A fine instrumental demonstrating some excellent r&b chops. Mariyu Takeuchi [23:00] "ドリーム・オブ・ユー～レモンライムの青い風～" Re-Collection RCA RHL-8816 1984 If Google Translate isn't steering me wrong, this track translates to "Dream of You - Lemon Lime Blue Wind". Seems like 7-Up might want to look into a new flavor. Boris Karloff [27:55] "The Princess and the Pea" Reads The Ugly Duckling and other Tales by Hans Christian Andersen. Caedmon Records TC 1109 1959 Delightfully read by Mr. Karloff of course. First published in May of 1835. John Lee Hooker [30:16] "Boom Boom" The Real Blues Tradition Everest TR 2089 1970 Arguably the canonical John Lee Hooker song. Taj Mahal [32:50] "Going Up To The Country And Paint My Mailbox Blue" The Real Thing Columbia G 30619 1971 Recorded live in New York at the Fillmore East on February 13, 1971. Featuring not one not two not three but four... four tubas! Igor Stravinsky [36:07] "Fanfare for Two Trumpets/The Owl and the Pussy-Cat" Recent Stravinsky Conducted by the Composer Columbia Masterworks ML 6454 1967 Featuring a cover illustation of the maestro by one of my favorite artists, Alberto Giacometti. R.E.M. [41:12] "Harborcoat" Reckoning I.R.S. Records SP70044 1984 Please. Find my harborcoat. I can't go outside without it. The bands second full length album and their last with the excellent producer Mitch Easter. The Records [45:06] "Starry Eyes" The Records Virgin VA 13130 1979 _Power pop doesn't get much better than this. Skinny ties and all. (https://youtu.be/8TUepa0yfyw) Originally released in the UK as Shades in Bed, but retitled and reordered as The Records for North America. _ Willie Nelson [49:27] "Time of the Preacher" Red Headed Stranger Columbia KC 33482 1975 (1979 Terre Haute repress) Side one track ones don't get much better than this. New York Dolls [51:54] "Ain't Got No Home/Dizzy Miss Lizzy" Red Patent Leather Earmark 40018 2003 (originally released in 1984 on Fan Club.) The beautiful chaos of the live Dolls. Recorded live at the Little Hippodrome Club in NYC on March 2, 1975. Not only is there a wonderful documentary on bassist Arthur Kane (https://youtu.be/7j89-oIszO0), Martin Scorcese has just released a documentary on David Johansen (https://youtu.be/qu8oFJ-eu2c) which I can't wait to watch. Music behind the DJ: "Hang 'Em High" by Booker T and the MGs

We welcome a titan of media, the incomparable George Veras. A former Chief Operating Officer, Chief of Staff & Executive Producer of the Pro Football Hall of Fame, among many other achievements. Prior to joining the Pro Football Hall of Fame, his production company Veras Commuications Inc produced and managed world-renown musician Yanni. He produced and directed the PBS record breaking television specials, “Yanni Live at the Acropolis” and then for the first and only time in history, “Yanni Live at the Taj Mahal” and “Yanni Live at the Forbidden City”, the first time ever a Western artist performed at both venues. He managed and promoted Yanni worldwide, including “Live at the Taj Mahal” and “Live at the Forbidden City”, which launched a 100-city, two-year tour “Tribute” grossing more than $150 million. He produced for NBC Sports 2 Winter Olympics and the 2004 Summer Olympics in Athens, awarded two National Sports Emmys. VCI produced and marketed over 100 hours of entertainment, sports and documentary programming for seven networks. Veras is also an Adjunct Professor of Sports Business at Case Western Reserve University, a judge for play by play and studio analysts for the National Sports Emmys, an Archon of the Ecumenical Patriarchate Order of Saint Andrew (https://www.archons.org/, a member of St. Demetrios Greek Orthodox Church, Rocky River, Ohio and an Ellis Island Gold Medalist Recipient. Past associations include member of 1996 Athens Olympic Bid Committee for Broadcasting and Television, Board membership for the Cleveland Pops Orchestra and Anatolia College, Thessaloniki. He has been honored four times as Man of the Year by the Greek-American community. The Hellenic Spirit Foundation 1994 (https://hellenicspiritfoundationstl.org/) the Elios Society 1999 (https://elios.org/) , the American Hellenic Institute 2005 (https://www.ahiworld.org/) and Leadership 100 (http://www.l100.org/) 2018. We could go on and on, but instead please watch our amazing interview with this amazing human! Winning 10 Emmys to the Pro Football Hall of Fame.

We welcome Christina Fuller, Festival Director for Waterfront Blues Festival, taking place July 1 -4 in  Portland, Oregon. The Waterfront Blues Festival is one of the most renowned celebrations of the blues in the world. Founded in 1988, the festival has welcomed over 2,000 acts including Gregg Allman, Buddy Guy, Lucinda Williams, Taj Mahal, Gary Clark Jr., Robert Plant, Mavis Staples and Trombone Shorty, garnering international acclaim and raising over $10 million dollars to fight hunger. For more information and tickets visit: www.waterfrontbluesfest.com

This year's festival will feature more than 50 local, regional and national acts. Chris Hansen, executive director of the Kranzberg Arts Foundation, discusses the lineup and the festival's special tribute to the 50th anniversary of hip-hop.

The discovery of the Empty Tomb has meant more that mankind than any other discovery in history. After all the disciples had witnessed, the empty tomb was almost beyond their understanding. Jesus had told them what would happen, but seeing it in person baffled them. They believed in resurrection but could not comprehend that it would happen now. Jesus left four things in the grave that are notable. First, our text from Matthew describes the sealed tomb. The seal guaranteed that no one tampered with the grave under penalty of law. But that morning, Peter and John discovered that Jesus had risen despite the efforts and guarantees of the government. Jesus can break any seal or binding that life may have on us. The second thing to note is that Jesus left the tomb empty. The pyramids have bodies of deceased pharaohs and kings. Westminster Abby has the remains of many notable people. The Taj Mahal was built to hold the body of the ruler’s wife. But the tomb we recognize today was empty. He is not here, just like He said, He has risen. The third thing to note is that the grave clothes were there. The Bible describes how they were arranged and folded in detail and that they retained the body's shape. The only difference was that Jesus was not bound up inside them. The final thing left behind was the spices. The burial custom at the time was to wrap the body in linens and then would lay the spices (up to 100 lbs) on top of the body to help preserve the body and embalm the body as best they could at the time. These spices have a particular smell that reminds us that our lives should have a distinct aroma that separates us from the world.

The discovery of the Empty Tomb has meant more that mankind than any other discovery in history. After all the disciples had witnessed, the empty tomb was almost beyond their understanding. Jesus had told them what would happen, but seeing it in person baffled them. They believed in resurrection but could not comprehend that it would happen now. Jesus left four things in the grave that are notable. First, our text from Matthew describes the sealed tomb. The seal guaranteed that no one tampered with the grave under penalty of law. But that morning, Peter and John discovered that Jesus had risen despite the efforts and guarantees of the government. Jesus can break any seal or binding that life may have on us. The second thing to note is that Jesus left the tomb empty. The pyramids have bodies of deceased pharaohs and kings. Westminster Abby has the remains of many notable people. The Taj Mahal was built to hold the body of the ruler’s wife. But the tomb we recognize today was empty. He is not here, just like He said, He has risen. The third thing to note is that the grave clothes were there. The Bible describes how they were arranged and folded in detail and that they retained the body's shape. The only difference was that Jesus was not bound up inside them. The final thing left behind was the spices. The burial custom at the time was to wrap the body in linens and then would lay the spices (up to 100 lbs) on top of the body to help preserve the body and embalm the body as best they could at the time. These spices have a particular smell that reminds us that our lives should have a distinct aroma that separates us from the world.

JESUS IS LAID IN THE TOMB – Jesus Walking in the Way of the Cross (VIDEO)   LYRICS TO MUSIC: Go on brothers lay him down Go on brothers lay him down Wrap his body with a clean white shroud Roll that stone leave him in the ground Go on brothers lay him down   Go on sisters cry for him Go on sisters cry for him But wipe your eyes and dry your skin The crying will be done in three mornings Go on sisters cry for him   Hold on children wait and see Hold on children wait and see The death that's come is a death too weak Can't take my Jesus cannot take my King So hold on children wait and see   Oh glory glory won't you come for me Glory glory won't you come for me I know your slumber is a momentary sleep I feel you rising up from the deep Oh glory glory you will come for me   MESSAGE SUMMARY:  Some of the most expensive, elaborate, and impressive structures in history are tombs. Throughout humanity great energy has been spent constructing a final resting place for the prestigious and powerful. The Taj Mahal in Agra, India, the pyramids of Egypt, and the terra cotta army in Xi'an, China are some of the most notorious. They stand as feats of architecture, design, and craftsmanship - each fueled by countless hours of work by a vast number of humans. Some of these structures are still visited today by hundreds of thousands each year. Jesus too was laid in a tomb. And though purchased by a wealthy disciple, it seems to have been no more than a small, man-made cave. When Joseph of Arimethea asked Pilate for Jesus' body, his request was surprisingly granted. After being wrapped in linen, Jesus was placed into a room ‘cut in the rock, one in which no one had yet been laid' (Luke 23:53). Today, there remains uncertainty as to which specific site held the body of Jesus. Notwithstanding this fact, many travelers still seek out Christ's tomb. Unlike many of the famous burial monuments however, those who make this journey do not come to be amazed by the architecture or awed by the craftsmanship. The spectacle itself is rather unimpressive - no more than a small hole cut into the side of a hill, void of any adornment. Despite Jesus' position, despite his seat ‘at the right hand of God' (Mark 16:19), he was buried in a common tomb. Despite the ‘riches' of his glory and grace (Colossians 1:27, Ephesians 2:7), Jesus' body was laid to rest in a cave. How he continually clothed himself in humility! So why then do countless Christians travel across the world each year to see where Jesus walked? Why spend the time and effort to visit a hole in the ground, that quite possibly Jesus' body never actually entered? People come because of who Jesus was, not any place where he may have laid. They come to gain perspective. They come to refresh their spirits. They come because Jesus was real, and most critically, that three days after his death, the tomb stood empty. Hallelujah! Death was beaten as God's perfect plan for his Messiah was fulfilled. The tomb could not hold him. “He has risen, just as he said,” (Matthew 28:6), and he is alive now and forever! Written by Jesse Braswell Roberts / Poor Bishop Hooper golgothamusic.com // poorbishophooper.com // Second edition ©2022 Jesse Braswell Roberts / Poor Bishop Hooper   TODAY'S PRAYER: Praise Jesus for his death and resurrection. Ask Jesus for a fresh revelation of what the empty tomb means for you today. Thank him for how he has saved you. Pray for those who do not yet know the One who has conquered death, and do not understand what Jesus' resurrection means for their lives. Give thanks that God's perfect plan was fulfilled in Jesus Christ, and that his love for you is unfailing and everlasting Today's Affirmation: I affirm that because of what God has done for me in His Son, Jesus, I AM FILLED WITH THE HOLY SPIRIT: If you then, though you are evil, know how to give good gifts to your children, how much more will your Father in heaven give the Holy Spirit to those who ask him! (Luke 11:13). SCRIPTURE REFERENCE (ESV): Mark 15:42-47: “It was Preparation Day (that is, the day before the Sabbath). So as evening approached, Joseph of Arimathea, a prominent member of the Council, who was himself waiting for the kingdom of God, went boldly to Pilate and asked for Jesus' body. Pilate was surprised to hear that he was already dead. Summoning the centurion, he asked him if Jesus had already died. When he learned from the centurion that it was so, he gave the body to Joseph. So Joseph bought some linen cloth, took down the body, wrapped it in the linen, and placed it in a tomb cut out of rock. Then he rolled a stone against the entrance of the tomb. Mary Magdalene and Mary the mother of Joseph saw where he was laid.”. Further Reading: Matthew 27:57-61; Luke 23:50-56; John 19:38-42; Isaiah 53:9-12. A WORD FROM THE LORD WEBSITE: www.AWFTL.org. THIS SUNDAY'S AUDIO SERMON: You can listen to Archbishop Beach's Current Sunday Sermon: “Contemplating the Mighty Acts – Palm Sunday and Holy Week”, at our Website: https://awtlser.podbean.com/ DONATE TO AWFTL: https://mygiving.secure.force.com/GXDonateNow?id=a0Ui000000DglsqEAB

Las esencias más puras no siempre se almacenan en frascos pequeños. La prueba está en el estado norteño de Uttar Pradesh, un vastísimo territorio en torno a las llanuras fluviales del Ganges y el Yamuna, los dos ríos más sagrados de India. En su capital, Lucknow, conocemos a Shubhangi Verma, una diseñadora gráfica casada con el periodista español Ángel L. Martínez Cantera. Su libro 'Al sur del Himalaya. Crónicas asiáticas' (editorial Kailas) nos permite adentrarnos en el alma de esta bulliciosa urbe. Además de conocer monumentos como Rumi Darwaza o Bara Imambara, recordamos la lucha por la independencia en el recinto de La Residencia. El guía local y youtuber Rizwan Khan nos muestra esa dura parte de la historia india antes de animarnos a conocer la artesanía y la rica gastronomía de su ciudad. Abandonamos Lucknow rumbo a Agra, Benarés y Allahabad, otros destinos imprescindibles de Uttar Pradesh. El director de la Casa de la India, Guillermo Rodríguez, la profesora de danza kathak Núria Cabo y el gerente del touroperador receptivo Diva India, Shariq Jamil, guían nuestros pasos por la región del Taj Mahal. Escuchar audio

On today's episode of All Ears at Child's Voice: A Hearing Loss Podcast, Wendy and Colleen are joined by guest Scott Murray. Scott is a member of the MED-EL HearPeers family, receiving his MED-EL implant in 2015. Scott's professional background includes a wide range of experience in aviation, airlines, and construction. Personally, Scott is an avid traveler with 30 countries visited, and experiences ranging from a solo trip to the Taj Mahal, to a backpacking excursion deep into the Alaskan backcountry. Scott loves to share his passion for travel and expanding one's perspective. Scott lives in Colorado with his fiance Emily. Wendy and Colleen talk to Scott all about traveling with hearing loss: the challenges, the joys and the hacks he's discovered along the way!

The wonder of its generation according to Gustaf Eiffel. The one immediately and internationally recognised Scottish landmark according to Collins Encyclopaedia of Scotland. The Forth Bridge is a UNESCO World Heritage Site enjoying the same status as the Taj Mahal and Great Wall of China. In this episode we look at the challenges of construction and the place it enjoys in Scottish culture

We end Season 3 talking about hustle, passion, courage, and leadership with industry icon, IG influencer, and successful entrepreneur, Shelby Miller, DNP, FNP-C. In The Leadership Manifesto, the RUMA Aesthetics & RUMA Academy Founder, CEO & Medical Director gives us an intimate look at everything from the childhood experiences that shaped her and the lessons she's learned in business and in life as her career has taken off in a meteoric fashion since opening her own practice in 2018. If you have even one conversation with Shelby, it's immediately apparent that she has a passion for learning, for growing others, and for providing the best care possible for her Patients. That passion is equally matched by her work ethic- she's not shy about doing the hard things. Whether it's long hours, doing her own construction, putting in the time to learn and work on herself, or balancing multiple business and a family, she somehow makes it all look effortless. Despite how it may appear on the Gram, she's quick to tell you, it's not without its challenges and sacrifices! Lucky for us, her original desire to be a CRNA didn't fulfill her need to care for and be involved with patients, and it lacked the fast pace she's accustomed to. She worked for a few medical spas early on and a facial plastic surgeon, a role she credits with helping her to really master anatomy, but came to realize her internal mission, vision and values didn't jive with the culture of these locations. And with that realization, RUMA was born in a single room, a few hundred square feet, located inside a beauty bar. It didn't take long for her to outgrow that space move into her second RUMA location which was 10X the size! It was here she expanded her team and really solidified the identify of RUMA Aesthetics. Shelby shares that RUMA is typically a premium option compared to the local market, but she and her team have created an environment that provides a high-end experience, superior results, and a patient-centered approach that includes modern technology like ultrasound. She attracts patients who fit the RUMA DNA: high-end, high expectations, and high-value. Fast forward 2 short years, and she grew out of that location, and has now moved into what she calls “The Mothership,” a 10,000 square foot Taj Mahal that has not only grown her RUMA Aesthetics business but has opened an entirely new opportunity to expand RUMA Academy and continue her mission to teach and train others. When she's not running RUMA Aesthetics or RUMA Academy, she and her COO/CFO husband and RUMA Air pilot, Jordan, are jet setting around the US to private trainings (don't worry..their plane has a parachute!). It may seem excessive to some and genius to others, but their investment in a plane has given her an opportunity to carve out time for her marriage, a great tax benefit, and a timesaving, efficient way to travel without demanding so many nights away from her 2 little girls! Throughout this episode, she shares countless tips for how to spend your time wisely, invest in help along the way, and to know how to stack your schedule and be okay with saying no. That's been an evolution as she's grown into her leadership role, something she takes very seriously. She talks about the lid effect- if the leader hits the lid and stops growing, the organization and team are stifled as well. Because of this, she's been a student of leadership for several years, devouring books, working on herself, and leaning into the role with courage and connection. As she says in the episode, more is required of leaders- they must see things first, have more courage, take more risks, own more responsibility, but when done right, great leaders receive more. There's no doubt she's manifesting an empire and receiving the fruits of her hard-earned labor. We also venture into her role as a Provider and the insane skills she's acquired over the years. What's her best advice for doing the same? • Always ask why. Just because it was taught in a training or is a popular opinion, peel the layers back and ask why it's done that way. When you do this, then your skills can begin to evolve. • Take the risk, pay for the training, commit to learning. She went to an ultrasound course, realized she was in over her head, and then buckled down and learned as much as she could, and went back and tried again. • It's okay to do things differently. Find what appeals to you, then go train with the people who are producing those results. There is no one-size-fits-all approach when it comes to artistry. • There is no part-time if you want to achieve greatness. The industry is a grind, and becoming a great injector requires discipline and commitment. To see what Shelby's accomplished as a business owner in only a handful of years is nearly impossible to imagine. It's a testament to her leadership and her passion to stay true to what she believes and why she started RUMA, and to bring her team along on that journey. She sees patients 4 days a week, runs a staff of 30, conducts frequent trainings at RUMA Academy and travels around the US to train. And in all that, she says it doesn't feel like work at all. She still finds joy in the day-to-day and has the excitement to continue growing and evolving herself and her businesses. If you are just starting out as a new business owner or you're struggling to hold on to your culture and core vision as your business grows, this podcast is for you! It's an action-packed sit down showcasing the hard lessons and gratifying rewards from someone who is doing it all (and making it look effortless on Instagram!) Learn more about RUMA Aesthetics: https://ruma.com/ Book Training at RUMA Academy: https://rumaacademy.com/ Follow Shelby on Instagram: https://www.instagram.com/aesthetic_injector/ Follow RUMA Aesthetics on Instagram: https://www.instagram.com/rumaaesthetics/ Follow RUMA Academy on Instagram: https://www.instagram.com/rumaacademy/

The Lives of Harry Lime starring Orson Welles, originally broadcast March 21, 1952, Faith, Lime, and Charity. Frauds and orphans-in-need in India by the beautiful Taj Mahal. Also Part 3 of a 5 part Yours Truly Johnny Dollar story The Jolly Roger Fraud Matter, originally broadcast March 21, 1956. A dead man talks, but there's murder in the Coast Guard too.Visit my web page - http://www.classicradio.streamWe receive no revenue from YouTube. If you enjoy our shows, listen via the links on our web page or if you're so inclined, Buy me a coffee! https://www.buymeacoffee.com/wyattcoxelAHeard on almost 100 radio stations from coast to coast. Classic Radio Theater features great radio programs that warmed the hearts of millions for the better part of the 20th century. Host Wyatt Cox brings the best of radio classics back to life with both the passion of a long-time (as in more than half a century) fan and the heart of a forty-year newsman. But more than just “playing the hits”, Wyatt supplements the first hour of each day's show with historical information on the day and date in history including audio that takes you back to World War II, Korea, and Vietnam. FDR, Eisenhower, JFK, Reagan, Carter, Nixon, LBJ. It's a true slice of life from not just radio's past, but America's past.Wyatt produces 21 hours a week of freshly minted Classic Radio Theater presentations each week, and each day's broadcast is timely and entertaining!

Increible Taj Mahal

Épisode 938 : Pour certains il ne fait pas de doute, depuis plusieurs années, la qualité de nos échanges s'est dégradée. Ou du moins, radicalisé. Fini le débat construit et argumenté, chacun campe sur ses positions, et les réseaux sociaux s'en délectent.Vegans vs Viandards. Serpantard ou Griffon d'or. Retraites à 64 ans : pour ou contre ?Pour certains il ne fait pas de doute, depuis plusieurs années, la qualité de nos échanges s'est dégradée. Ou du moins, radicalisé. Fini le débat construit et argumenté, chacun campe sur ses positions, et les réseaux sociaux s'en délectent.Le conflit est il la seule source de conversationnelle efficace sur les réseaux ? —Si la discussion est philosophique, elle est aussi et surtout algorithmiqueOui, c'est vrai le clivage créent de l'engagement. Oui aujourd'hui les algorithmes ne tiennent pas compte de la teneur des interactions.Bonnes interactions, mauvaises, positives ou négatives… tout ça c'est de l'engagement et donc selon les algorithmes de la portée additionnelle !—Deux forces s'opposent : la majorité silencieuse vs. minorité bruyanteOn entend toujours plus ceux qui crient. Oui.Plus globalement sur les réseaux sociaux, la majorité silencieuse représente une part massive des audiences. Si on veut la mesurer, c'est simple il faut faire un peu de math. C'est l'inverse du taux d'engagement. Par exemple, si le taux d'engagement d'Elon Musk sur son compte Twitter est de 1%. Et bien 99% de ses 130 millions d'abonnés constitue une majorité silencieuse. C'est massif ! Le paradoxe c'est que ce sont ces 1% qui vont avoir un impact sur la performance des posts d'Elon. Ils lisent, comment, partagent… Ils donnent une résonance. Et forcément, ils influent aussi sur la ligne éditoriale des comptes. Un créateur, un media ou une marque cherche à augmenter sa portée, à toucher plus de monde.—Toucher la minorité bruyante est un moyen efficace de viraliser et de faire du reach organiqueDans cette guerre à l'attention, on le sait, tucher les minorités bruyantes est une tactique bien rodée pour émerger en ligne.Tout est question d'angle, ou de capacité jouer les oppositions extrêmes : pro apple vs. anti apple.Xbox vs PlaystationGauche vs DroiteEt si on parlait 2 secondes d'Oussama Amar. Le roi des mythos qui aurait loué la Taj Mahal pour passer ses vacances d'été… Evidement tout ça est tactique et fait parie d'une stratégie de clivage bien bossée.—La bascule des algorithmes vers les centres d'intérêt communautaires renforce les phénomènes d'entre soiJ'ai lu quelque extraits du bouquin « homo numericus » de l'économiste Daniel Cohen. Objectivement j'ai pas tout lu, l'angle était un peu trop pessimiste à mon gout. Ceci étant, j'y ai trouvé un point de vu intéressant. Selon lui, les réseaux sociaux cultive « un entre-soi » propice aux clivages.Quand vous êtes sur les réseaux sociaux vous ne cherchez pas des informations, mais la confirmation de ce que vous pensez déjà. C'est ce que les psychologues appellent eux « le biais de confirmation ». Et ce « biais de confirmation » est nettement entretenu par le phénomène de bulle algorithmiques.—Dans ce contexte, les marques et les annonceurs doivent marcher sur des oeufsJe suis retombée sur une étude Pinterest datant de 2020 qui souligne l'impact des interactions sociales sur l'image des marques. 6 personnes sur 10 concèdent que :Elles se rappellent mieux d'une marque qui communique positivementElles ont confiance dans les marques qu'elles ont rencontré dans un contexte positifElles achètent plus facilement quand la marque donne une image positiveSi l'environnement est pollué par la négativité, la mémorisation de marque est moindre et le chemin vers l'acte d'achat se complique.Pour les annonceurs, c'est un vrai sujet. Mon message de marque doit être diffusé dans un environnement « brand safe ».https://assets.ctfassets.net/h67z7i6sbjau/1kYi8ct6aqGgAo7mZ7cyXN/c43bdeb5e5e9c153a677aa9a23204e3f/It-pays-to-be-positive-Pinterest-2020.pdfN'en déplaise à Elon Musk, c'est sans doute l'une des raisons majeures du désamour des annonceurs et des marques pour les solutions publicitaires de Twitter. L'environnement est loin d'être positif.—L'altruisme, l'entraide et la bienveillance sur les réseaux sociaux existentC'est même sur ce principe que certaines plateformes sociales se sont créée de toute pièce. L'application Gas lancée il ya quelques mois aux Etats-Unis connait un franc succès avec un angle très différent. L'idée de Gas, répondre à des questionnaires bienveillants en votant pour ses amis sur la plate-forme. Les questions vont de la plus belle personne que j'ai jamais rencontré à qui j'admire secrètement. Tout ça anonymement. —Autre exemple de bienveillance et d'altruisme, le media animé par Hugo décrypte. On peut parler actualité, sujets de société sans avoir recours au clivage.. . . Le Super Daily est le podcast quotidien sur les réseaux sociaux. Il est fabriqué avec une pluie d'amour par les équipes de Supernatifs.Nous sommes une agence social media basée à Lyon : https://supernatifs.com/. Ensemble, nous aidons les entreprises à créer des relations durables et rentables avec leurs audiences. Ensemble, nous inventons, produisons et diffusons des contenus qui engagent vos collaborateurs, vos prospects et vos consommateurs.

This week, singer, multi-instrumentalist, podcaster, story teller and musicologist Nicholas Edward Williams recorded live at Ozark Folk Center State Park. “Host of the popular roots music history podcast American Songcatcher, Nicholas Edward Williams is a multi-instrumentalist and storyteller who is dedicated to 'playing it forward' by preserving the songs and styles that have shaped our country: ragtime, Piedmont blues, traditional folk, old time and early country. Williams has spent the last 15 years touring around the US, the UK, Western Europe and Australia, blending the roots music spectrum in his own style. He's opened for Taj Mahal, The Wood Brothers, Dom Flemons, CAAMP, John Paul White, Town Mountain, John Craigie, Rachel Baiman and Lucy Daucus, and has performed at festival stages on three continents. William's debut record As I Go Ramblin' Around made the International Folk Radio DJ Charts in 2019 with the #6 Top Album, #7 Top Song. His critically acclaimed sophomore release Folk Songs For Old Times' Sake unveiled in November of 2021 and has been heralded by the likes of Grammy-winning musician David Holt who said: ‘With tasteful guitar arrangements and a voice that draws you right in, Nicholas' recordings roll along like a mountain stream.” https://nicholasedwardwilliams.com/about/ In this week's “From the Vault” segment, OHR producer Jeff Glover offers a 1981 archival recording of Ozark original Sam Younger performing the tune “Mississippi Sawyer,” from the Ozark Folk Center State Park archives. In his segment “Back in the Hills,” writer, professor, and historian Dr. Brooks Blevins investigates the history of tourism in the entertainment Mecca of the Ozarks: Branson, Missouri.

Two of Nashville's finest musicians have teamed up once again for a new album. On the recently released  'Living In A Song,' Dobro master Rob Ickes and guitarist Trey Hensley perform a collection of tunes that showcase their songwriting chops. On this week's podcast, we talk about the making of the album, Rob's background (he's a rare Dobro player who didn't start out on guitar!), the art of co-writing, working with Taj Mahal, the gear they use, Doc Watson, and much more. Watch Rob Ickes and Trey Hensley perform "Moonshine Run": https://www.youtube.com/watch?v=MZZMtb5iv98 https://www.robandtrey.com/ Subscribe to our print magazine here to support all that we do (and get the world's greatest guitar magazine in your mailbox every few months).  Register for our 2023 Chicago Fretboard Summit (August 24-26, 2023) here: https://fretboardsummit.org/ The Fretboard Summit is a one-of-a-kind festival where you can connect with some of your favorite musicians, brands, and luthiers, including many you've read about in the pages of our magazine or heard on this podcast. Tickets are limited and going fast. Our podcast is sponsored by Retrofret Vintage Guitars; Deering Banjos; Peghead Nation (use the promo code FRETBOARD and get your first month free or $20 off any annual subscription); Izotope (use the coupon code FRET10 to save 10% off their plug-ins); and Stringjoy Strings.

Episode 163 of A History of Rock Music in Five Hundred Songs looks at “(Sittin' on) The Dock of the Bay", Stax Records, and the short, tragic, life of Otis Redding. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Soul Man" by Sam and Dave. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Redding, even if I split into multiple parts. The main resource I used for the biographical details of Redding was Dreams to Remember: Otis Redding, Stax Records, and the Transformation of Southern Soul by Mark Ribowsky. Ribowsky is usually a very good, reliable, writer, but in this case there are a couple of lapses in editing which make it not a book I can wholeheartedly recommend, but the research on the biographical details of Redding seems to be the best. Information about Stax comes primarily from two books: Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. There are two Original Album Series box sets which between them contain all the albums Redding released in his life plus his first few posthumous albums, for a low price. Volume 1, volume 2. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I begin -- this episode ends with a description of a plane crash, which some people may find upsetting. There's also a mention of gun violence. In 2019 the film Summer of Soul came out. If you're unfamiliar with this film, it's a documentary of an event, the Harlem Cultural Festival, which gets called the "Black Woodstock" because it took place in the summer of 1969, overlapping the weekend that Woodstock happened. That event was a series of weekend free concerts in New York, performed by many of the greatest acts in Black music at that time -- people like Stevie Wonder, David Ruffin, Mahalia Jackson, B.B. King, the Staple Singers, Sly and the Family Stone, Nina Simone, and the Fifth Dimension. One thing that that film did was to throw into sharp relief a lot of the performances we've seen over the years by legends of white rock music of the same time. If you watch the film of Woodstock, or the earlier Monterey Pop festival, it's apparent that a lot of the musicians are quite sloppy. This is easy to dismiss as being a product of the situation -- they're playing outdoor venues, with no opportunity to soundcheck, using primitive PA systems, and often without monitors. Anyone would sound a bit sloppy in that situation, right? That is until you listen to the performances on the Summer of Soul soundtrack. The performers on those shows are playing in the same kind of circumstances, and in the case of Woodstock literally at the same time, so it's a fair comparison, and there really is no comparison. Whatever you think of the quality of the *music* (and some of my very favourite artists played at Monterey and Woodstock), the *musicianship* is orders of magnitude better at the Harlem Cultural Festival [Excerpt: Gladys Knight and the Pips “I Heard it Through the Grapevine (live)”] And of course there's a reason for this. Most of the people who played at those big hippie festivals had not had the same experiences as the Black musicians. The Black players were mostly veterans of the chitlin' circuit, where you had to play multiple shows a day, in front of demanding crowds who wanted their money's worth, and who wanted you to be able to play and also put on a show at the same time. When you're playing for crowds of working people who have spent a significant proportion of their money to go to the show, and on a bill with a dozen other acts who are competing for that audience's attention, you are going to get good or stop working. The guitar bands at Woodstock and Monterey, though, hadn't had the same kind of pressure. Their audiences were much more forgiving, much more willing to go with the musicians, view themselves as part of a community with them. And they had to play far fewer shows than the chitlin' circuit veterans, so they simply didn't develop the same chops before becoming famous (the best of them did after fame, of course). And so it's no surprise that while a lot of bands became more famous as a result of the Monterey Pop Festival, only three really became breakout stars in America as a direct result of it. One of those was the Who, who were already the third or fourth biggest band in the UK by that point, either just behind or just ahead of the Kinks, and so the surprise is more that it took them that long to become big in America. But the other two were themselves veterans of the chitlin' circuit. If you buy the Criterion Collection Blu-Ray of Monterey Pop, you get two extra discs along with the disc with the film of the full festival on it -- the only two performances that were thought worth turning into their own short mini-films. One of them is Jimi Hendrix's performance, and we will talk about that in a future episode. The other is titled Shake! Otis at Monterey: [Excerpt: Otis Redding, "Shake! (live at Monterey Pop Festival)"] Otis Redding came from Macon, Georgia, the home town of Little Richard, who became one of his biggest early influences, and like Richard he was torn in his early years between religion and secular music -- though in most other ways he was very different from Richard, and in particular he came from a much more supportive family. While his father, Otis senior, was a deacon in the church, and didn't approve much of blues, R&B, or jazz music or listen to it himself, he didn't prevent his son from listening to it, so young Otis grew up listening to records by Richard -- of whom he later said "If it hadn't been for Little Richard I would not be here... Richard has soul too. My present music has a lot of him in it" -- and another favourite, Clyde McPhatter: [Excerpt: Billy Ward and the Dominoes, "Have Mercy Baby"] Indeed, it's unclear exactly how much Otis senior *did* disapprove of those supposedly-sinful kinds of music. The biography I used as a source for this, and which says that Otis senior wouldn't listen to blues or jazz music at all, also quotes his son as saying that when he was a child his mother and father used to play him "a calypso song out then called 'Run Joe'" That will of course be this one: [Excerpt: Louis Jordan, "Run Joe"] I find it hard to reconcile the idea of someone who refused to listen to the blues or jazz listening to Louis Jordan, but then people are complex. Whatever Otis senior's feelings about secular music, he recognised from a very early age that his son had a special talent, and encouraged him to become a gospel singer. And at the same time he was listening to Little Richard, young Otis was also listening to gospel singers. One particular influence was a blind street singer, Reverend Pearly Brown: [Excerpt: Reverend Pearly Brown, "Ninety Nine and a Half Won't Do"] Redding was someone who cared deeply about his father's opinion, and it might well have been that he would eventually have become a gospel performer, because he started his career with a foot in both camps. What seems to have made the difference is that when he was sixteen, his father came down with tuberculosis. Even a few years earlier this would have been a terminal diagnosis, but thankfully by this point antibiotics had been invented, and the deacon eventually recovered. But it did mean that Otis junior had to become the family breadwinner while his father was sick, and so he turned decisively towards the kind of music that could make more money. He'd already started performing secular music. He'd joined a band led by Gladys Williams, who was the first female bandleader in the area. Williams sadly doesn't seem to have recorded anything -- discogs has a listing of a funk single by a Gladys Williams on a tiny label which may or may not be the same person, but in general she avoided recording studios, only wanting to play live -- but she was a very influential figure in Georgia music. According to her former trumpeter Newton Collier, who later went on to play with Redding and others, she trained both Fats Gonder and Lewis Hamlin, who went on to join the lineup of James Brown's band that made Live at the Apollo, and Collier says that Hamlin's arrangements for that album, and the way the band would segue from one track to another, were all things he'd been taught by Miss Gladys. Redding sang with Gladys Williams for a while, and she took him under her wing, trained him, and became his de facto first manager. She got him to perform at local talent shows, where he won fifteen weeks in a row, before he got banned from performing to give everyone else a chance. At all of these shows, the song he performed was one that Miss Gladys had rehearsed with him, Little Richard's "Heeby Jeebies": [Excerpt: Little Richard, "Heeby Jeebies"] At this time, Redding's repertoire was largely made up of songs by the two greats of fifties Georgia R&B -- Little Richard and James Brown -- plus some by his other idol Sam Cooke, and those singers would remain his greatest influences throughout his career. After his stint with Williams, Redding went on to join another band, Pat T Cake and the Mighty Panthers, whose guitarist Johnny Jenkins would be a major presence in his life for several years. The Mighty Panthers were soon giving Redding top billing, and advertising gigs as featuring Otis "Rockin' Robin" Redding -- presumably that was another song in his live repertoire. By this time Redding was sounding enough like Little Richard that when Richard's old backing band, The Upsetters, were looking for a new singer after Richard quit rock and roll for the ministry, they took Redding on as their vocalist for a tour. Once that tour had ended, Redding returned home to find that Johnny Jenkins had quit the Mighty Panthers and formed a new band, the Pinetoppers. Redding joined that band, who were managed by a white teenager named Phil Walden, who soon became Redding's personal manager as well. Walden and Redding developed a very strong bond, to the extent that Walden, who was studying at university, spent all his tuition money promoting Redding and almost got kicked out. When Redding found this out, he actually went round to everyone he knew and got loans from everyone until he had enough to pay for Walden's tuition -- much of it paid in coins. They had a strong enough bond that Walden would remain his manager for the rest of Redding's life, and even when Walden had to do two years in the Army in Germany, he managed Redding long-distance, with his brother looking after things at home. But of course, there wasn't much of a music industry in Georgia, and so with Walden's blessing and support, he moved to LA in 1960 to try to become a star. Just before he left, his girlfriend Zelma told him she was pregnant. He assured her that he was only going to be away for a few months, and that he would be back in time for the birth, and that he intended to come back to Georgia rich and marry her. Her response was "Sure you is". In LA, Redding met up with a local record producer, James "Jimmy Mack" McEachin, who would later go on to become an actor, appearing in several films with Clint Eastwood. McEachin produced a session for Redding at Gold Star studios, with arrangements by Rene Hall and using several of the musicians who later became the Wrecking Crew. "She's All Right", the first single that came from that session, was intended to sound as much like Jackie Wilson as possible, and was released under the name of The Shooters, the vocal group who provided the backing vocals: [Excerpt: The Shooters, "She's All Right"] "She's All Right" was released on Trans World, a small label owned by Morris Bernstein, who also owned Finer Arts records (and "She's All Right" seems to have been released on both labels). Neither of Bernstein's labels had any great success -- the biggest record they put out was a single by the Hollywood Argyles that came out after they'd stopped having hits -- and they didn't have any connection to the R&B market. Redding and McEachin couldn't find any R&B labels that wanted to pick up their recordings, and so Redding did return to Georgia and marry Zelma a few days before the birth of their son Dexter. Back in Georgia, he hooked up again with the Pinetoppers, and he and Jenkins started trying local record labels, attempting to get records put out by either of them. Redding was the first, and Otis Redding and the Pinetoppers put out a single, "Shout Bamalama", a slight reworking of a song that he'd recorded as "Gamma Lamma" for McEachin, which was obviously heavily influenced by Little Richard: [Excerpt: Otis Redding and the Pinetoppers, "Shout Bamalama"] That single was produced by a local record company owner, Bobby Smith, who signed Redding to a contract which Redding didn't read, but which turned out to be a management contract as well as a record contract. This would later be a problem, as Redding didn't have an actual contract with Phil Walden -- one thing that comes up time and again in stories about music in the Deep South at this time is people operating on handshake deals and presuming good faith on the part of each other. There was a problem with the record which nobody had foreseen though -- Redding was the first Black artist signed to Smith's label, which was called Confederate Records, and its logo was the Southern Cross. Now Smith, by all accounts, was less personally racist than most white men in Georgia at the time, and hadn't intended that as any kind of statement of white supremacy -- he'd just used a popular local symbol, without thinking through the implications. But as the phrase goes, intent isn't magic, and while Smith didn't intend it as racist, rather unsurprisingly Black DJs and record shops didn't see things in the same light. Smith was told by several DJs that they wouldn't play the record while it was on that label, and he started up a new subsidiary label, Orbit, and put the record out on that label. Redding and Smith continued collaborating, and there were plans for Redding to put out a second single on Orbit. That single was going to be "These Arms of Mine", a song Redding had originally given to another Confederate artist, a rockabilly performer called Buddy Leach (who doesn't seem to be the same Buddy Leach as the Democratic politician from Louisiana, or the saxophone player with George Thorogood and the Destroyers). Leach had recorded it as a B-side, with the slightly altered title "These Arms Are Mine". Sadly I can't provide an excerpt of that, as the record is so rare that even websites I've found by rockabilly collectors who are trying to get everything on Confederate Records haven't managed to get hold of copies. Meanwhile, Johnny Jenkins had been recording on another label, Tifco, and had put out a single called "Pinetop": [Excerpt: Johnny Jenkins and the Pinetoppers, "Pinetop"] That record had attracted the attention of Joe Galkin. Galkin was a semi-independent record promoter, who had worked for Atlantic in New York before moving back to his home town of Macon. Galkin had proved himself as a promoter by being responsible for the massive amounts of airplay given to Solomon Burke's "Just Out of Reach (of My Two Open Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (of My Two Open Arms)"] After that, Jerry Wexler had given Galkin fifty dollars a week and an expense account, and Galkin would drive to all the Black radio stations in the South and pitch Atlantic's records to them. But Galkin also had his own record label, Gerald Records, and when he went to those stations and heard them playing something from a smaller label, he would quickly negotiate with that smaller label, buy the master and the artist's contract, and put the record out on Gerald Records -- and then he would sell the track and the artist on to Atlantic, taking ten percent of the record's future earnings and a finder's fee. This is what happened with Johnny Jenkins' single, which was reissued on Gerald and then on Atlantic. Galkin signed Jenkins to a contract -- another of those contracts which also made him Jenkins' manager, and indeed the manager of the Pinetops. Jenkins' record ended up selling about twenty-five thousand records, but when Galkin saw the Pinetoppers performing live, he realised that Otis Redding was the real star. Since he had a contract with Jenkins, he came to an agreement with Walden, who was still Jenkins' manager as well as Redding's -- Walden would get fifty percent of Jenkins' publishing and they would be co-managers of Jenkins. But Galkin had plans for Redding, which he didn't tell anyone about, not even Redding himself. The one person he did tell was Jerry Wexler, who he phoned up and asked for two thousand dollars, explaining that he wanted to record Jenkins' follow-up single at Stax, and he also wanted to bring along a singer he'd discovered, who sang with Jenkins' band. Wexler agreed -- Atlantic had recently started distributing Stax's records on a handshake deal of much the same kind that Redding had with Walden. As far as everyone else was concerned, though, the session was just for Johnny Jenkins, the known quantity who'd already released a single for Atlantic. Otis Redding, meanwhile, was having to work a lot of odd jobs to feed his rapidly growing family, and one of those jobs was to work as Johnny Jenkins' driver, as Jenkins didn't have a driving license. So Galkin suggested that, given that Memphis was quite a long drive, Redding should drive Galkin and Jenkins to Stax, and carry the equipment for them. Bobby Smith, who still thought of himself as Redding's manager, was eager to help his friend's bandmate with his big break (and to help Galkin, in the hope that maybe Atlantic would start distributing Confederate too), and so he lent Redding the company station wagon to drive them to the session.The other Pinetoppers wouldn't be going -- Jenkins was going to be backed by Booker T and the MGs, the normal Stax backing band. Phil Walden, though, had told Redding that he should try to take the opportunity to get himself heard by Stax, and he pestered the musicians as they recorded Jenkins' "Spunky": [Excerpt: Johnny Jenkins, "Spunky"] Cropper later remembered “During the session, Al Jackson says to me, ‘The big tall guy that was driving Johnny, he's been bugging me to death, wanting me to hear him sing,' Al said, ‘Would you take some time and get this guy off of my back and listen to him?' And I said, ‘After the session I'll try to do it,' and then I just forgot about it.” What Redding didn't know, though Walden might have, is that Galkin had planned all along to get Redding to record while he was there. Galkin claimed to be Redding's manager, and told Jim Stewart, the co-owner of Stax who acted as main engineer and supervising producer on the sessions at this point, that Wexler had only funded the session on the basis that Redding would also get a shot at recording. Stewart was unimpressed -- Jenkins' session had not gone well, and it had taken them more than two hours to get two tracks down, but Galkin offered Stewart a trade -- Galkin, as Redding's manager, would take half of Stax's mechanical royalties for the records (which wouldn't be much) but in turn would give Stewart half the publishing on Redding's songs. That was enough to make Stewart interested, but by this point Booker T. Jones had already left the studio, so Steve Cropper moved to the piano for the forty minutes that was left of the session, with Jenkins remaining on guitar, and they tried to get two sides of a single cut. The first track they cut was "Hey Hey Baby", which didn't impress Stewart much -- he simply said that the world didn't need another Little Richard -- and so with time running out they cut another track, the ballad Redding had already given to Buddy Leach. He asked Cropper, who didn't play piano well, to play "church chords", by which he meant triplets, and Cropper said "he started singing ‘These Arms of Mine' and I know my hair lifted about three inches and I couldn't believe this guy's voice": [Excerpt: Otis Redding, "These Arms of Mine"] That was more impressive, though Stewart carefully feigned disinterest. Stewart and Galkin put together a contract which signed Redding to Stax -- though they put the single out on the less-important Volt subsidiary, as they did for much of Redding's subsequent output -- and gave Galkin and Stewart fifty percent each of the publishing rights to Redding's songs. Redding signed it, not even realising he was signing a proper contract rather than just one for a single record, because he was just used to signing whatever bit of paper was put in front of him at the time. This one was slightly different though, because Redding had had his twenty-first birthday since the last time he'd signed a contract, and so Galkin assumed that that meant all his other contracts were invalid -- not realising that Redding's contract with Bobby Smith had been countersigned by Redding's mother, and so was also legal. Walden also didn't realise that, but *did* realise that Galkin representing himself as Redding's manager to Stax might be a problem, so he quickly got Redding to sign a proper contract, formalising the handshake basis they'd been operating on up to that point. Walden was at this point in the middle of his Army service, but got the signature while he was home on leave. Walden then signed a deal with Galkin, giving Walden half of Galkin's fifty percent cut of Redding's publishing in return for Galkin getting a share of Walden's management proceeds. By this point everyone was on the same page -- Otis Redding was going to be a big star, and he became everyone's prime focus. Johnny Jenkins remained signed to Walden's agency -- which quickly grew to represent almost every big soul star that wasn't signed to Motown -- but he was regarded as a footnote. His record came out eventually on Volt, almost two years later, but he didn't release another record until 1968. Jenkins did, though, go on to have some influence. In 1970 he was given the opportunity to sing lead on an album backed by Duane Allman and the members of the Muscle Shoals studio band, many of whom went on to form the Allman Brothers Band. That record contained a cover of Dr. John's "I Walk on Guilded Splinters" which was later sampled by Beck for "Loser", the Wu-Tang Clan for "Gun Will Go" and Oasis for their hit "Go Let it Out": [Excerpt: Johnny Jenkins, "I Walk on Guilded Splinters"] Jenkins would play guitar on several future Otis Redding sessions, but would hold a grudge against Redding for the rest of his life for taking the stardom he thought was rightfully his, and would be one of the few people to have anything negative to say about Redding after his early death. When Bobby Smith heard about the release of "These Arms of Mine", he was furious, as his contract with Redding *was* in fact legally valid, and he'd been intending to get Redding to record the song himself. However, he realised that Stax could call on the resources of Atlantic Records, and Joe Galkin also hinted that if he played nice Atlantic might start distributing Confederate, too. Smith signed away all his rights to Redding -- again, thinking that he was only signing away the rights to a single record and song, and not reading the contract closely enough. In this case, Smith only had one working eye, and that wasn't good enough to see clearly -- he had to hold paper right up to his face to read anything on it -- and he simply couldn't read the small print on the contract, and so signed over Otis Redding's management, record contract, and publishing, for a flat seven hundred dollars. Now everything was legally -- if perhaps not ethically -- in the clear. Phil Walden was Otis Redding's manager, Stax was his record label, Joe Galkin got a cut off the top, and Walden, Galkin, and Jim Stewart all shared Redding's publishing. Although, to make it a hit, one more thing had to happen, and one more person had to get a cut of the song: [Excerpt: Otis Redding, "These Arms of Mine"] That sound was becoming out of fashion among Black listeners at the time. It was considered passe, and even though the Stax musicians loved the record, Jim Stewart didn't, and put it out not because he believed in Otis Redding, but because he believed in Joe Galkin. As Stewart later said “The Black radio stations were getting out of that Black country sound, we put it out to appease and please Joe.” For the most part DJs ignored the record, despite Galkin pushing it -- it was released in October 1962, that month which we have already pinpointed as the start of the sixties, and came out at the same time as a couple of other Stax releases, and the one they were really pushing was Carla Thomas' "I'll Bring it Home to You", an answer record to Sam Cooke's "Bring it On Home to Me": [Excerpt: Carla Thomas, "I'll Bring it Home to You"] "These Arms of Mine" wasn't even released as the A-side -- that was "Hey Hey Baby" -- until John R came along. John R was a Nashville DJ, and in fact he was the reason that Bobby Smith even knew that Redding had signed to Stax. R had heard Buddy Leach's version of the song, and called Smith, who was a friend of his, to tell him that his record had been covered, and that was the first Smith had heard of the matter. But R also called Jim Stewart at Stax, and told him that he was promoting the wrong side, and that if they started promoting "These Arms of Mine", R would play the record on his radio show, which could be heard in twenty-eight states. And, as a gesture of thanks for this suggestion -- and definitely not as payola, which would be very illegal -- Stewart gave R his share of the publishing rights to the song, which eventually made the top twenty on the R&B charts, and slipped into the lower end of the Hot One Hundred. "These Arms of Mine" was actually recorded at a turning point for Stax as an organisation. By the time it was released, Booker T Jones had left Memphis to go to university in Indiana to study music, with his tuition being paid for by his share of the royalties for "Green Onions", which hit the charts around the same time as Redding's first session: [Excerpt: Booker T. and the MGs, "Green Onions"] Most of Stax's most important sessions were recorded at weekends -- Jim Stewart still had a day job as a bank manager at this point, and he supervised the records that were likely to be hits -- so Jones could often commute back to the studio for session work, and could play sessions during his holidays. The rest of the time, other people would cover the piano parts, often Cropper, who played piano on Redding's next sessions, with Jenkins once again on guitar. As "These Arms of Mine" didn't start to become a hit until March, Redding didn't go into the studio again until June, when he cut the follow-up, "That's What My Heart Needs", with the MGs, Jenkins, and the horn section of the Mar-Keys. That made number twenty-seven on the Cashbox R&B chart -- this was in the period when Billboard had stopped having one. The follow-up, "Pain in My Heart", was cut in September and did even better, making number eleven on the Cashbox R&B chart: [Excerpt: Otis Redding, "Pain in My Heart"] It did well enough in fact that the Rolling Stones cut a cover version of the track: [Excerpt: The Rolling Stones, "Pain in My Heart"] Though Redding didn't get the songwriting royalties -- by that point Allen Toussaint had noticed how closely it resembled a song he'd written for Irma Thomas, "Ruler of My Heart": [Excerpt: Irma Thomas, "Ruler of My Heart"] And so the writing credit was changed to be Naomi Neville, one of the pseudonyms Toussaint used. By this point Redding was getting steady work, and becoming a popular live act. He'd put together his own band, and had asked Jenkins to join, but Jenkins didn't want to play second fiddle to him, and refused, and soon stopped being invited to the recording sessions as well. Indeed, Redding was *eager* to get as many of his old friends working with him as he could. For his second and third sessions, as well as bringing Jenkins, he'd brought along a whole gang of musicians from his touring show, and persuaded Stax to put out records by them, too. At those sessions, as well as Redding's singles, they also cut records by his valet (which was the term R&B performers in those years used for what we'd now call a gofer or roadie) Oscar Mack: [Excerpt: Oscar Mack, "Don't Be Afraid of Love"] For Eddie Kirkland, the guitarist in his touring band, who had previously played with John Lee Hooker and whose single was released under the name "Eddie Kirk": [Excerpt: Eddie Kirk, "The Hawg, Part 1"] And Bobby Marchan, a singer and female impersonator from New Orleans who had had some massive hits a few years earlier both on his own and as the singer with Huey "Piano" Smith and the Clowns, but had ended up in Macon without a record deal and been taken under Redding's wing: [Excerpt: Bobby Marchan, "What Can I Do?"] Redding would continue, throughout his life, to be someone who tried to build musical careers for his friends, though none of those singles was successful. The changes in Stax continued. In late autumn 1963, Atlantic got worried by the lack of new product coming from Stax. Carla Thomas had had a couple of R&B hits, and they were expecting a new single, but every time Jerry Wexler phoned Stax asking where the new single was, he was told it would be coming soon but the equipment was broken. After a couple of weeks of this, Wexler decided something fishy was going on, and sent Tom Dowd, his genius engineer, down to Stax to investigate. Dowd found when he got there that the equipment *was* broken, and had been for weeks, and was a simple fix. When Dowd spoke to Stewart, though, he discovered that they didn't know where to source replacement parts from. Dowd phoned his assistant in New York, and told him to go to the electronics shop and get the parts he needed. Then, as there were no next-day courier services at that time, Dowd's assistant went to the airport, found a flight attendant who was flying to Memphis, and gave her the parts and twenty-five dollars, with a promise of twenty-five more if she gave them to Dowd at the other end. The next morning, Dowd had the equipment fixed, and everyone involved became convinced that Dowd was a miracle worker, especially after he showed Steve Cropper some rudimentary tape-manipulation techniques that Cropper had never encountered before. Dowd had to wait around in Memphis for his flight, so he went to play golf with the musicians for a bit, and then they thought they might as well pop back to the studio and test the equipment out. When they did, Rufus Thomas -- Carla Thomas' father, who had also had a number of hits himself on Stax and Sun -- popped his head round the door to see if the equipment was working now. They told him it was, and he said he had a song if they were up for a spot of recording. They were, and so when Dowd flew back that night, he was able to tell Wexler not only that the next Carla Thomas single would soon be on its way, but that he had the tapes of a big hit single with him right there: [Excerpt: Rufus Thomas, "Walking the Dog"] "Walking the Dog" was a sensation. Jim Stewart later said “I remember our first order out of Chicago. I was in New York in Jerry Wexler's office at the time and Paul Glass, who was our distributor in Chicago, called in an order for sixty-five thousand records. I said to Jerry, ‘Do you mean sixty-five hundred?' And he said, ‘Hell no, he wants sixty-five thousand.' That was the first order! He believed in the record so much that we ended up selling about two hundred thousand in Chicago alone.” The record made the top ten on the pop charts, but that wasn't the biggest thing that Dowd had taken away from the session. He came back raving to Wexler about the way they made records in Memphis, and how different it was from the New York way. In New York, there was a strict separation between the people in the control room and the musicians in the studio, the musicians were playing from written charts, and everyone had a job and did just that job. In Memphis, the musicians were making up the arrangements as they went, and everyone was producing or engineering all at the same time. Dowd, as someone with more technical ability than anyone at Stax, and who was also a trained musician who could make musical suggestions, was soon regularly commuting down to Memphis to be part of the production team, and Jerry Wexler was soon going down to record with other Atlantic artists there, as we heard about in the episode on "Midnight Hour". Shortly after Dowd's first visit to Memphis, another key member of the Stax team entered the picture. Right at the end of 1963, Floyd Newman recorded a track called "Frog Stomp", on which he used his own band rather than the MGs and Mar-Keys: [Excerpt: Floyd Newman, "Frog Stomp"] The piano player and co-writer on that track was a young man named Isaac Hayes, who had been trying to get work at Stax for some time. He'd started out as a singer, and had made a record, "Laura, We're On Our Last Go-Round", at American Sound, the studio run by the former Stax engineer and musician Chips Moman: [Excerpt: Isaac Hayes, "Laura, We're On Our Last Go-Round"] But that hadn't been a success, and Hayes had continued working a day job at a slaughterhouse -- and would continue doing so for much of the next few years, even after he started working at Stax (it's truly amazing how many of the people involved in Stax were making music as what we would now call a side-hustle). Hayes had become a piano player as a way of getting a little extra money -- he'd been offered a job as a fill-in when someone else had pulled out at the last minute on a gig on New Year's Eve, and took it even though he couldn't actually play piano, and spent his first show desperately vamping with two fingers, and was just lucky the audience was too drunk to care. But he had a remarkable facility for the instrument, and while unlike Booker T Jones he would never gain a great deal of technical knowledge, and was embarrassed for the rest of his life by both his playing ability and his lack of theory knowledge, he was as great as they come at soul, at playing with feel, and at inventing new harmonies on the fly. They still didn't have a musician at Stax that could replace Booker T, who was still off at university, so Isaac Hayes was taken on as a second session keyboard player, to cover for Jones when Jones was in Indiana -- though Hayes himself also had to work his own sessions around his dayjob, so didn't end up playing on "In the Midnight Hour", for example, because he was at the slaughterhouse. The first recording session that Hayes played on as a session player was an Otis Redding single, either his fourth single for Stax, "Come to Me", or his fifth, "Security": [Excerpt: Otis Redding, "Security"] "Security" is usually pointed to by fans as the point at which Redding really comes into his own, and started directing the musicians more. There's a distinct difference, in particular, in the interplay between Cropper's guitar, the Mar-Keys' horns, and Redding's voice. Where previously the horns had tended to play mostly pads, just holding chords under Redding's voice, now they were starting to do answering phrases. Jim Stewart always said that the only reason Stax used a horn section at all was because he'd been unable to find a decent group of backing vocalists, and the function the horns played on most of the early Stax recordings was somewhat similar to the one that the Jordanaires had played for Elvis, or the Picks for Buddy Holly, basically doing "oooh" sounds to fatten out the sound, plus the odd sax solo or simple riff. The way Redding used the horns, though, was more like the way Ray Charles used the Raelettes, or the interplay of a doo-wop vocal group, with call and response, interjections, and asides. He also did something in "Security" that would become a hallmark of records made at Stax -- instead of a solo, the instrumental break is played by the horns as an ensemble: [Excerpt: Otis Redding, "Security"] According to Wayne Jackson, the Mar-Keys' trumpeter, Redding was the one who had the idea of doing these horn ensemble sections, and the musicians liked them enough that they continued doing them on all the future sessions, no matter who with. The last Stax single of 1964 took the "Security" sound and refined it, and became the template for every big Stax hit to follow. "Mr. Pitiful" was the first collaboration between Redding and Steve Cropper, and was primarily Cropper's idea. Cropper later remembered “There was a disc jockey here named Moohah. He started calling Otis ‘Mr. Pitiful' 'cause he sounded so pitiful singing his ballads. So I said, ‘Great idea for a song!' I got the idea for writing about it in the shower. I was on my way down to pick up Otis. I got down there and I was humming it in the car. I said, ‘Hey, what do you think about this?' We just wrote the song on the way to the studio, just slapping our hands on our legs. We wrote it in about ten minutes, went in, showed it to the guys, he hummed a horn line, boom—we had it. When Jim Stewart walked in we had it all worked up. Two or three cuts later, there it was.” [Excerpt: Otis Redding, "Mr. Pitiful"] Cropper would often note later that Redding would never write about himself, but that Cropper would put details of Redding's life and persona into the songs, from "Mr. Pitiful" right up to their final collaboration, in which Cropper came up with lines about leaving home in Georgia. "Mr Pitiful" went to number ten on the R&B chart and peaked at number forty-one on the hot one hundred, and its B-side, "That's How Strong My Love Is", also made the R&B top twenty. Cropper and Redding soon settled into a fruitful writing partnership, to the extent that Cropper even kept a guitar permanently tuned to an open chord so that Redding could use it. Redding couldn't play the guitar, but liked to use one as a songwriting tool. When a guitar is tuned in standard tuning, you have to be able to make chord shapes to play it, because the sound of the open strings is a discord: [demonstrates] But you can tune a guitar so all the strings are the notes of a single chord, so they sound good together even when you don't make a chord shape: [demonstrates open-E tuning] With one of these open tunings, you can play chords with just a single finger barring a fret, and so they're very popular with, for example, slide guitarists who use a metal slide to play, or someone like Dolly Parton who has such long fingernails it's difficult to form chord shapes. Someone like Parton is of course an accomplished player, but open tunings also mean that someone who can't play well can just put their finger down on a fret and have it be a chord, so you can write songs just by running one finger up and down the fretboard: [demonstrates] So Redding could write, and even play acoustic rhythm guitar on some songs, which he did quite a lot in later years, without ever learning how to make chords. Now, there's a downside to this -- which is why standard tuning is still standard. If you tune to an open major chord, you can play major chords easily but minor chords become far more difficult. Handily, that wasn't a problem at Stax, because according to Isaac Hayes, Jim Stewart banned minor chords from being played at Stax. Hayes said “We'd play a chord in a session, and Jim would say, ‘I don't want to hear that chord.' Jim's ears were just tuned into one, four, and five. I mean, just simple changes. He said they were the breadwinners. He didn't like minor chords. Marvell and I always would try to put that pretty stuff in there. Jim didn't like that. We'd bump heads about that stuff. Me and Marvell fought all the time that. Booker wanted change as well. As time progressed, I was able to sneak a few in.” Of course, minor chords weren't *completely* banned from Stax, and some did sneak through, but even ballads would often have only major chords -- like Redding's next single, "I've Been Loving You Too Long". That track had its origins with Jerry Butler, the singer who had been lead vocalist of the Impressions before starting a solo career and having success with tracks like "For Your Precious Love": [Excerpt: Jerry Butler, "For Your Precious Love"] Redding liked that song, and covered it himself on his second album, and he had become friendly with Butler. Butler had half-written a song, and played it for Redding, who told him he'd like to fiddle with it, see what he could do. Butler forgot about the conversation, until he got a phone call from Redding, telling him that he'd recorded the song. Butler was confused, and also a little upset -- he'd been planning to finish the song himself, and record it. But then Redding played him the track, and Butler decided that doing so would be pointless -- it was Redding's song now: [Excerpt: Otis Redding, "I've Been Loving You Too Long"] "I've Been Loving You Too Long" became Redding's first really big hit, making number two on the R&B chart and twenty-one on the Hot One Hundred. It was soon being covered by the Rolling Stones and Ike & Tina Turner, and while Redding was still not really known to the white pop market, he was quickly becoming one of the biggest stars on the R&B scene. His record sales were still not matching his live performances -- he would always make far more money from appearances than from records -- but he was by now the performer that every other soul singer wanted to copy. "I've Been Loving You Too Long" came out just after Redding's second album, The Great Otis Redding Sings Soul Ballads, which happened to be the first album released on Volt Records. Before that, while Stax and Volt had released the singles, they'd licensed all the album tracks to Atlantic's Atco subsidiary, which had released the small number of albums put out by Stax artists. But times were changing and the LP market was becoming bigger. And more importantly, the *stereo* LP market was becoming bigger. Singles were still only released in mono, and would be for the next few years, but the album market had a substantial number of audiophiles, and they wanted stereo. This was a problem for Stax, because they only had a mono tape recorder, and they were scared of changing anything about their setup in case it destroyed their sound. Tom Dowd, who had been recording in eight track for years, was appalled by the technical limitations at the McLemore Ave studio, but eventually managed to get Jim Stewart, who despite -- or possibly because of -- being a white country musician was the most concerned that they keep their Black soul sound, to agree to a compromise. They would keep everything hooked up exactly the same -- the same primitive mixers, the same mono tape recorder -- and Stax would continue doing their mixes for mono, and all their singles would come directly off that mono tape. But at the same time, they would *also* have a two-track tape recorder plugged in to the mixer, with half the channels going on one track and half on the other. So while they were making the mix, they'd *also* be getting a stereo dump of that mix. The limitations of the situation meant that they might end up with drums and vocals in one channel and everything else in the other -- although as the musicians cut everything together in the studio, which had a lot of natural echo, leakage meant there was a *bit* of everything on every track -- but it would still be stereo. Redding's next album, Otis Blue, was recorded on this new equipment, with Dowd travelling down from New York to operate it. Dowd was so keen on making the album stereo that during that session, they rerecorded Redding's two most recent singles, "I've Been Loving You Too Long" and "Respect" (which hadn't yet come out but was in the process of being released) in soundalike versions so there would be stereo versions of the songs on the album -- so the stereo and mono versions of Otis Blue actually have different performances of those songs on them. It shows how intense the work rate was at Stax -- and how good they were at their jobs -- that apart from the opening track "Ole Man Trouble", which had already been recorded as a B-side, all of Otis Blue, which is often considered the greatest soul album in history, was recorded in a twenty-eight hour period, and it would have been shorter but there was a four-hour break in the middle, from 10PM to 2AM, so that the musicians on the session could play their regular local club gigs. And then after the album was finished, Otis left the session to perform a gig that evening. Tom Dowd, in particular, was astonished by the way Redding took charge in the studio, and how even though he had no technical musical knowledge, he would direct the musicians. Dowd called Redding a genius and told Phil Walden that the only two other artists he'd worked with who had as much ability in the studio were Bobby Darin and Ray Charles. Other than those singles and "Ole Man Trouble", Otis Blue was made up entirely of cover versions. There were three versions of songs by Sam Cooke, who had died just a few months earlier, and whose death had hit Redding hard -- for all that he styled himself on Little Richard vocally, he was also in awe of Cooke as a singer and stage presence. There were also covers of songs by The Temptations, William Bell, and B.B. King. And there was also an odd choice -- Steve Cropper suggested that Redding cut a cover of a song by a white band that was in the charts at the time: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] Redding had never heard the song before -- he was not paying attention to the white pop scene at the time, just to his competition on the R&B charts -- but he was interested in doing it. Cropper sat by the turntable, scribbling down what he thought the lyrics Jagger was singing were, and they cut the track. Redding starts out more or less singing the right words: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] But quickly ends up just ad-libbing random exclamations in the same way that he would in many of his live performances: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] Otis Blue made number one on the R&B album chart, and also made number six on the UK album chart -- Redding, like many soul artists, was far more popular in the UK than in the US. It only made number seventy-five on the pop album charts in the US, but it did a remarkable thing as far as Stax was concerned -- it *stayed* in the lower reaches of the charts, and on the R&B album charts, for a long time. Redding had become what is known as a "catalogue artist", something that was almost unknown in rock and soul music at this time, but which was just starting to appear. Up to 1965, the interlinked genres that we now think of as rock and roll, rock, pop, blues, R&B, and soul, had all operated on the basis that singles were where the money was, and that singles should be treated like periodicals -- they go on the shelves, stay there for a few weeks, get replaced by the new thing, and nobody's interested any more. This had contributed to the explosive rate of change in pop music between about 1954 and 1968. You'd package old singles up into albums, and stick some filler tracks on there as a way of making a tiny bit of money from tracks which weren't good enough to release as singles, but that was just squeezing the last few drops of juice out of the orange, it wasn't really where the money was. The only exceptions were those artists like Ray Charles who crossed over into the jazz and adult pop markets. But in general, your record sales in the first few weeks and months *were* your record sales. But by the mid-sixties, as album sales started to take off more, things started to change. And Otis Redding was one of the first artists to really benefit from that. He wasn't having huge hit singles, and his albums weren't making the pop top forty, but they *kept selling*. Redding wouldn't have an album make the top forty in his lifetime, but they sold consistently, and everything from Otis Blue onward sold two hundred thousand or so copies -- a massive number in the much smaller album market of the time. These sales gave Redding some leverage. His contract with Stax was coming to an end in a few months, and he was getting offers from other companies. As part of his contract renegotiation, he got Jim Stewart -- who like so many people in this story including Redding himself liked to operate on handshake deals and assumptions of good faith on the part of everyone else, and who prided himself on being totally fair and not driving hard bargains -- to rework his publishing deal. Now Redding's music was going to be published by Redwal Music -- named after Redding and Phil Walden -- which was owned as a four-way split between Redding, Walden, Stewart, and Joe Galkin. Redding also got the right as part of his contract negotiations to record other artists using Stax's facilities and musicians. He set up his own label, Jotis Records -- a portmanteau of Joe and Otis, for Joe Galkin and himself, and put out records by Arthur Conley: [Excerpt: Arthur Conley, "Who's Fooling Who?"] Loretta Williams [Excerpt: Loretta Williams, "I'm Missing You"] and Billy Young [Excerpt: Billy Young, "The Sloopy"] None of these was a success, but it was another example of how Redding was trying to use his success to boost others. There were other changes going on at Stax as well. The company was becoming more tightly integrated with Atlantic Records -- Tom Dowd had started engineering more sessions, Jerry Wexler was turning up all the time, and they were starting to make records for Atlantic, as we discussed in the episode on "In the Midnight Hour". Atlantic were also loaning Stax Sam and Dave, who were contracted to Atlantic but treated as Stax artists, and whose hits were written by the new Stax songwriting team of Isaac Hayes and David Porter: [Excerpt: Sam and Dave, "Soul Man"] Redding was not hugely impressed by Sam and Dave, once saying in an interview "When I first heard the Righteous Brothers, I thought they were colored. I think they sing better than Sam and Dave", but they were having more and bigger chart hits than him, though they didn't have the same level of album sales. Also, by now Booker T and the MGs had a new bass player. Donald "Duck" Dunn had always been the "other" bass player at Stax, ever since he'd started with the Mar-Keys, and he'd played on many of Redding's recordings, as had Lewie Steinberg, the original bass player with the MGs. But in early 1965, the Stax studio musicians had cut a record originally intending it to be a Mar-Keys record, but decided to put it out as by Booker T and the MGs, even though Booker T wasn't there at the time -- Isaac Hayes played keyboards on the track: [Excerpt: Booker T and the MGs, "Boot-Leg"] Booker T Jones would always have a place at Stax, and would soon be back full time as he finished his degree, but from that point on Duck Dunn, not Lewie Steinberg, was the bass player for the MGs. Another change in 1965 was that Stax got serious about promotion. Up to this point, they'd just relied on Atlantic to promote their records, but obviously Atlantic put more effort into promoting records on which it made all the money than ones it just distributed. But as part of the deal to make records with Sam and Dave and Wilson Pickett, Atlantic had finally put their arrangement with Stax on a contractual footing, rather than their previous handshake deal, and they'd agreed to pay half the salary of a publicity person for Stax. Stax brought in Al Bell, who made a huge impression. Bell had been a DJ in Memphis, who had gone off to work with Martin Luther King for a while, before leaving after a year because, as he put it "I was not about passive resistance. I was about economic development, economic empowerment.” He'd returned to DJing, first in Memphis, then in Washington DC, where he'd been one of the biggest boosters of Stax records in the area. While he was in Washington, he'd also started making records himself. He'd produced several singles for Grover Mitchell on Decca: [Excerpt: Grover Mitchell, "Midnight Tears"] Those records were supervised by Milt Gabler, the same Milt Gabler who produced Louis Jordan's records and "Rock Around the Clock", and Bell co-produced them with Eddie Floyd, who wrote that song, and Chester Simmons, formerly of the Moonglows, and the three of them started their own label, Safice, which had put out a few records by Floyd and others, on the same kind of deal with Atlantic that Stax had: [Excerpt: Eddie Floyd, "Make Up Your Mind"] Floyd would himself soon become a staff songwriter at Stax. As with almost every decision at Stax, the decision to hire Bell was a cause of disagreement between Jim Stewart and his sister Estelle Axton, the "Ax" in Stax, who wasn't as involved in the day-to-day studio operations as her brother, but who was often regarded by the musicians as at least as important to the spirit of the label, and who tended to disagree with her brother on pretty much everything. Stewart didn't want to hire Bell, but according to Cropper “Estelle and I said, ‘Hey, we need somebody that can liaison between the disc jockeys and he's the man to do it. Atlantic's going into a radio station with six Atlantic records and one Stax record. We're not getting our due.' We knew that. We needed more promotion and he had all the pull with all those disc jockeys. He knew E. Rodney Jones and all the big cats, the Montagues and so on. He knew every one of them.” Many people at Stax will say that the label didn't even really start until Bell joined -- and he became so important to the label that he would eventually take it over from Stewart and Axton. Bell came in every day and immediately started phoning DJs, all day every day, starting in the morning with the drivetime East Coast DJs, and working his way across the US, ending up at midnight phoning the evening DJs in California. Booker T Jones said of him “He had energy like Otis Redding, except he wasn't a singer. He had the same type of energy. He'd come in the room, pull up his shoulders and that energy would start. He would start talking about the music business or what was going on and he energized everywhere he was. He was our Otis for promotion. It was the same type of energy charisma.” Meanwhile, of course, Redding was constantly releasing singles. Two more singles were released from Otis Blue -- his versions of "My Girl" and "Satisfaction", and he also released "I Can't Turn You Loose", which was originally the B-side to "Just One More Day" but ended up charting higher than its original A-side. It's around this time that Redding did something which seems completely out of character, but which really must be mentioned given that with very few exceptions everyone in his life talks about him as some kind of saint. One of Redding's friends was beaten up, and Redding, the friend, and another friend drove to the assailant's house and started shooting through the windows, starting a gun battle in which Redding got grazed. His friend got convicted of attempted murder, and got two years' probation, while Redding himself didn't face any criminal charges but did get sued by the victims, and settled out of court for a few hundred dollars. By this point Redding was becoming hugely rich from his concert appearances and album sales, but he still hadn't had a top twenty pop hit. He needed to break the white market. And so in April 1966, Redding went to LA, to play the Sunset Strip: [Excerpt: Otis Redding, "Respect (live at the Whisky A-Go-Go)"] Redding's performance at the Whisky A-Go-Go, a venue which otherwise hosted bands like the Doors, the Byrds, the Mothers of Invention, and Love, was his first real interaction with the white rock scene, part of a process that had started with his recording of "Satisfaction". The three-day residency got rave reviews, though the plans to release a live album of the shows were scuppered when Jim Stewart listened back to the tapes and decided that Redding's horn players were often out of tune. But almost everyone on the LA scene came out to see the shows, and Redding blew them away. According to one biography of Redding I used, it was seeing how Redding tuned his guitar that inspired the guitarist from the support band, the Rising Sons, to start playing in the same tuning -- though I can't believe for a moment that Ry Cooder, one of the greatest slide guitarists of his generation, didn't already know about open tunings. But Redding definitely impressed that band -- Taj Mahal, their lead singer, later said it was "one of the most amazing performances I'd ever seen". Also at the gigs was Bob Dylan, who played Redding a song he'd just recorded but not yet released: [Excerpt: Bob Dylan, "Just Like a Woman"] Redding agreed that the song sounded perfect for him, and said he would record it. He apparently made some attempts at rehearsing it at least, but never ended up recording it. He thought the first verse and chorus were great, but had problems with the second verse: [Excerpt: Bob Dylan, "Just Like a Woman"] Those lyrics were just too abstract for him to find a way to connect with them emotionally, and as a result he found himself completely unable to sing them. But like his recording of "Satisfaction", this was another clue to him that he should start paying more attention to what was going on in the white music industry, and that there might be things he could incorporate into his own style. As a result of the LA gigs, Bill Graham booked Redding for the Fillmore in San Francisco. Redding was at first cautious, thinking this might be a step too far, and that he wouldn't go down well with the hippie crowd, but Graham persuaded him, saying that whenever he asked any of the people who the San Francisco crowds most loved -- Jerry Garcia or Paul Butterfield or Mike Bloomfield -- who *they* most wanted to see play there, they all said Otis Redding. Redding reluctantly agreed, but before he took a trip to San Francisco, there was somewhere even further out for him to go. Redding was about to head to England but before he did there was another album to make, and this one would see even more of a push for the white market, though still trying to keep everything soulful. As well as Redding originals, including "Fa-Fa-Fa-Fa (Sad Song)", another song in the mould of "Mr. Pitiful", there was another cover of a contemporary hit by a guitar band -- this time a version of the Beatles' "Day Tripper" -- and two covers of old standards; the country song "Tennessee Waltz", which had recently been covered by Sam Cooke, and a song made famous by Bing Crosby, "Try a Little Tenderness". That song almost certainly came to mind because it had recently been used in the film Dr. Strangelove, but it had also been covered relatively recently by two soul greats, Aretha Franklin: [Excerpt: Aretha Franklin, "Try a Little Tenderness"] And Sam Cooke: [Excerpt: Sam Cooke, "Live Medley: I Love You For Sentimental Reasons/Try a Little Tenderness/You Send Me"] This version had horn parts arranged by Isaac Hayes, who by this point had been elevated to be considered one of the "Big Six" at Stax records -- Hayes, his songwriting partner David Porter, Steve Cropper, Duck Dunn, Booker T. Jones, and Al Jackson, were all given special status at the company, and treated as co-producers on every record -- all the records were now credited as produced by "staff", but it was the Big Six who split the royalties. Hayes came up with a horn part that was inspired by Sam Cooke's "A Change is Gonna Come", and which dominated the early part of the track: [Excerpt: Otis Redding, "Try a Little Tenderness"] Then the band came in, slowly at first: [Excerpt: Otis Redding, "Try a Little Tenderness"] But Al Jackson surprised them when they ran through the track by deciding that after the main song had been played, he'd kick the track into double-time, and give Redding a chance to stretch out and do his trademark grunts and "got-ta"s. The single version faded out shortly after that, but the version on the album kept going for an extra thirty seconds: [Excerpt: Otis Redding, "Try a Little Tenderness"] As Booker T. Jones said “Al came up with the idea of breaking up the rhythm, and Otis just took that and ran with it. He really got excited once he found out what Al was going to do on the drums. He realized how he could finish the song. That he could start it like a ballad and finish it full of emotion. That's how a lot of our arrangements would come together. Somebody would come up with something totally outrageous.” And it would have lasted longer but Jim Stewart pushed the faders down, realising the track was an uncommercial length even as it was. Live, the track could often stretch out to seven minutes or longer, as Redding drove the crowd into a frenzy, and it soon became one of the highlights of his live set, and a signature song for him: [Excerpt: Otis Redding, "Try a Little Tenderness (live in London)"] In September 1966, Redding went on his first tour outside the US. His records had all done much better in the UK than they had in America, and they were huge favourites of everyone on the Mod scene, and when he arrived in the UK he had a limo sent by Brian Epstein to meet him at the airport. The tour was an odd one, with multiple London shows, shows in a couple of big cities like Manchester and Bristol, and shows in smallish towns in Hampshire and Lincolnshire. Apparently the shows outside London weren't particularly well attended, but the London shows were all packed to overflowing. Redding also got his own episode of Ready! Steady! Go!, on which he performed solo as well as with guest stars Eric Burdon and Chris Farlowe: [Excerpt: Otis Redding, Chris Farlowe and Eric Burdon, "Shake/Land of a Thousand Dances"] After the UK tour, he went on a short tour of the Eastern US with Sam and Dave as his support act, and then headed west to the Fillmore for his three day residency there, introducing him to the San Francisco music scene. His first night at the venue was supported by the Grateful Dead, the second by Johnny Talbot and De Thangs and the third by Country Joe and the Fish, but there was no question that it was Otis Redding that everyone was coming to see. Janis Joplin turned up at the Fillmore every day at 3PM, to make sure she could be right at the front for Redding's shows that night, and Bill Graham said, decades later, "By far, Otis Redding was the single most extraordinary talent I had ever seen. There was no comparison. Then or now." However, after the Fillmore gigs, for the first time ever he started missing shows. The Sentinel, a Black newspaper in LA, reported a few days later "Otis Redding, the rock singer, failed to make many friends here the other day when he was slated to appear on the Christmas Eve show[...] Failed to draw well, and Redding reportedly would not go on." The Sentinel seem to think that Redding was just being a diva, but it's likely that this was the first sign of a problem that would change everything about his career -- he was developing vocal polyps that were making singing painful. It's notable though that the Sentinel refers to Redding as a "rock" singer, and shows again how different genres appeared in the mid-sixties to how they appear today. In that light, it's interesting to look at a quote from Redding from a few months later -- "Everybody thinks that all songs by colored people are rhythm and blues, but that's not true. Johnny Taylor, Muddy Waters, and B.B. King are blues singers. James Brown is not a blues singer. He has a rock and roll beat and he can sing slow pop songs. My own songs "Respect" and "Mr Pitiful" aren't blues songs. I'm speaking in terms of the beat and structure of the music. A blues is a song that goes twelve bars all the way through. Most of my songs are soul songs." So in Redding's eyes, neither he nor James Brown were R&B -- he was soul, which was a different thing from R&B, while Brown was rock and roll and pop, not soul, but journalists thought that Redding was rock. But while the lines between these things were far less distinct than they are today, and Redding was trying to cross over to the white audience, he knew what genre he was in, and celebrated that in a song he wrote with his friend Art

This episode we talk about the 6th wonder of the modern world. The Taj Mahal.

"RRR" INTERVIEW: M.M. Keeravani, RRR composer and Lyricist Chandrabose "RRR" INTERVIEW: M.M. Keeravani, RRR composer and Lyricist Chandrabose #rrr #mmkeeravani #chandrabose #naatunaatu M. M. Keeravani (born Koduri Marakathamani Keeravani; 4 July 1961)[1] is an Indian music composer, record producer, singer, and lyricist who predominantly works in Telugu cinema along with a few Hindi and Tamil films (where he is credited as M. M. Kreem and Maragathamani respectively).[2] His accolades include an Academy Award nomination, a Golden Globe Award, a LAFCA Award, a Critics' Choice Movie Award, a National Film Award, eight Filmfare Awards and eleven Nandi Awards Kanukuntla Subhash Chandrabose is an Indian lyricist and playback singer who works in Telugu films. Chandrabose debuted as a lyricist with the 1995 film Taj Mahal.[2] In a career spanning over 25 years, he has written lyrics for about 3600 songs in over 850 films.[3][4] Chandrabose won a Golden Globe Award and received an Academy Award nomination for "Naatu Naatu" song from RRR (2022). He has received two Nandi Awards, two Filmfare Awards, and three SIIMA Awards as a lyricist.

PLAYLIST Pacific St Blues & AmericanaFebruary 12, 2023This wee we turn the spotlight on songwriters Dan Penn & Spooner Oldham, The J. Geils Band, OEA Album of the Year by Hector Anchondo, and Grammy awarding winning tracks by Bonnie Raitt as well as Ry Cooder & Taj Mahal. 1. Dann Penn & Spooner Oldham / Cry Like a Baby 2. Aretha Franklin / Do Right Woman, Do Right Man3. Gregg Allman / Dark End of the Street 4. James and Bobby Purify / I'm Your Puppet 5. Johnny Adams / I Only Miss Her, When I Think of Her6. Charles Brown / Driftin' Blues7. BB King / Night Life 8. Ray Charles / A Bit of Soul 9. Dr. John / Such a Night10. Josh Hoyer / Whisper 11. Al Green & Lyle Lovett / Funny How Time Slips Away12. Keb Mo & Lyle Lovett / Till It Shines 13. Christone Kingfish Ingram / 66214. JD Simo / Mortgage on My Soul 15. Taj Mahal & Ry Cooder / Pick a Bale of Cotton16. Hector Anchondo / Legend Upcoming Shows & Events of InterestFeb  14 Bruce Cockburn, Rocco (Lincoln) 15 Kris Lager (solo), The Jewell 16 (BSO) Alastair Greene, Blues Society of Omaha18 Bruce Springsteen in Kansas City 18 Latin Music Series (Nebraska All Stars) and Salsa Dancing, The Jewell19 Music of Johnny Cash @ Soaring Wings21 Josh Hoyer & Soul Colossal, Barnatos22 Susie Thorne, The Jewell23 (BSO) Brandon Santini, The Jewell 24 Latin Music Series: the music of Santana, The Jewell 25 Hector Anchondo, Full Fledged Brewing Company, Council Bluffs28 Hector Anchondo @ Javi's Taco, Elkhorn March 3 Dylan Bloom, Barnato3 Nick Schnebelen @ B. Bar3 Tab Benoit @ Hoyt Sherman4 Bobby Weir & Wolf Bros (Grateful Dead), Orpheum 8 Crash Test Dummies, Waiting Room 9 Kris Lager Conduit, The Benson Theater9 Jarekus Singleton, The Strut10 Lucas Parker Band @ B. Bar 23 Roger Clyne & Peacemakers, Waiting Room 24 Blood Sweat & Tears, Holland24 Smithereens w/ Marshall Crenshaw @ Knuckleheads24 Iris DeMent, Waiting Room 25 Danielle Nicole w/Brandon Miller, Stocks & Bonds 31 Michale Charles @ B.BarApril6 Third Eye Blind, Orpheum6 Pink Floyd Tribute, Holland12 ZZ Top, Orpheum20 Earth Day 22 Record Store Day28 The New Pornographers, Waiting Room (Neko Case) May6 Built to Spill, Waiting Room10 Big Al & The Heavyweights, Philly Sports Bar, LaVista 11 Buddy Guy @ The Holland 15 Beatles Tribute, Orpheum20 Southern Culture on the Skids, Waiting Room26 Blue Venue @ B. BarJuly 8 Orchestra plays music of Dr. Dre15 Tori Amos @ Orpheum28 Diana Krall @ Holland28 Maha Music Festival29 Diana Krall @ Hoyt Sherman, Des MoinesAugust 4 New American Arts Festival, Benson area5 In the Market for Blues31 - 9/4 Kris Lager's Ozark Festival, ArkansasIn the Mood for a Getaway? (Regional Shows: Des Moines, KC, & Iowa City)Upcoming shows at Kansas City's Knuckleheads SaloonFeb 15th, Eddie 9V (nine volt)March 9th, Damn Quails,March 10th, Nick Schnebelen,March 10th, Kentucky HeadHunters w/ Eskimo Brothers,March 24th, Larry Campbell & Teresa Williams w/ Shawn Mullins,March 26th, Cowboy Mouth,April 1st, Roger Clyne & The Peacemakers,April 8th, Chris Cain,April 19th, Rev Peyton's Big Damn BandMay 11th, Brandon Santini,May 20th, Southern Culture on the Skids,May 25, 26, 27, The Mavericks,Upcoming shows at the Hoyt Sherman in Des Moines include...Feb 13th, Bruce Cockburn,March 2nd, Three Dog Night,March 11th, Black Jacket Symphony plays FM's Rumors album,July 29th, Diana KrallThe Englert Theater in Iowa City has some good shows coming up this year.March 2nd, Leo KottkeMarch 3rd, Tab Benoit w/ JD SimoMarch 4th, Gaelic StormMarch 12th, Eric GalesMarch 14th, Drive-By Truckers March 15th, Nitty Gritty Dirt BandApril 21 & 22, David Sedaris

For thousands of years, the same yellow sun has risen over the vast collection of people that we have come to call India in the last century. The term country doesn't seem to capture it. Twenty-eight states — more like Twenty-eight countries — with many traditions, languages, and styles stretching over a geography that varies from the soaring Himalayas to the steamy Bay of Bengal. And yet, within this riot of colour and culture, one building has come to represent India to the world — the Taj Mahal. Today, we will journey into this magnificent masterpiece and discover the magnificent lesson this great building contains. A lesson it shares with the greatest book the world has ever known.

Midge Ure starts a UK tour in April (with Band Electronica) and talks here about bands that left an impression and what he's learnt about live performance. This includes … … audiences “wanting their pound of flesh”. … lessons learned from watching Derek Nimmo in panto. … “cheesy” stage effects - eg Bowie's mirrorball in Space Oddity.   … Stan Webb of Chicken Shack charging offstage at Green's Playhouse in Glasgow with a 100 foot guitar lead. … being “a human jukebox” at Clouds discos playing Jo Jo Gunne and Sparks covers. … seeing “The Marmalade” at a Radio 1 roadshow when he was 14. … memories of Taj Mahal, Skid Row, Colosseum and the Sensational Alex Harvey Band. … 10,000 people blocking Sauchiehall Street to get tickets for Deep Purple. … and headliners who didn't turn up. Midge's tours dates here: https://www.ents24.com/uk/tour-dates/midge-ure@midgeure1 http://www.midgeure.co.uk/Subscribe to Word In Your Ear on Patreon to receive every future Word Podcast before the rest of the world!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

How did the iconic Taj Mahal get turned into a bouncy castle? Artist and winner of the 2022 Sobey Art Award, Divya Mehra explains the meaning behind her art installation and joins the four finalists in a conversation that celebrates where new art is taking us.

Midge Ure starts a UK tour in April (with Band Electronica) and talks here about bands that left an impression and what he's learnt about live performance. This includes … … audiences “wanting their pound of flesh”. … lessons learned from watching Derek Nimmo in panto. … “cheesy” stage effects - eg Bowie's mirrorball in Space Oddity.   … Stan Webb of Chicken Shack charging offstage at Green's Playhouse in Glasgow with a 100 foot guitar lead. … being “a human jukebox” at Clouds discos playing Jo Jo Gunne and Sparks covers. … seeing “The Marmalade” at a Radio 1 roadshow when he was 14. … memories of Taj Mahal, Skid Row, Colosseum and the Sensational Alex Harvey Band. … 10,000 people blocking Sauchiehall Street to get tickets for Deep Purple. … and headliners who didn't turn up. Midge's tours dates here: https://www.ents24.com/uk/tour-dates/midge-ure@midgeure1 http://www.midgeure.co.uk/Subscribe to Word In Your Ear on Patreon to receive every future Word Podcast before the rest of the world!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

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