Podcasts about Tell Me How

Tomorrow night at Oblong Books in Rhinebeck, NY they will be having a thriller night with bestselling authors Marshall Karp and Eric Rickstad. Marshall Karp is the author of the book “Don't Tell Me How to Die” and Eric Rickstad of the author of the book “Remote: The Six.”

Today, Gare and I talk with Marshall Karp about his book that we all loved (Gare, Steph and me) Don't Tell Me How To Die. He shares the inspiration for the book and how his determination to get the story right delivered us one of our new favorite books!SynopsisI have one thing to do before I die.And time is running out.I had it all: a fantastic husband, two great kids, an exciting career. And then, at the age of forty-three, I found out I would be dead before my next birthday.My mother also died at forty-three. I was seventeen, and she warned me that women would flock to my suddenly single father like stray cats to an overturned milk truck. They did. And one absolutely evil woman practically destroyed his life, mine, and my sister's.I am not letting that happen to my family.I have three months, and I plan to spend every waking minute searching for the perfect woman to take my place as Alex's wife, and mother to Kevin and Katie.You're probably thinking, she'll never do it. Did I mention that in high school I was voted “Most Likely to Kill Someone to Get What She Wants”?From thriller writer Marshall Karp (cocreator with James Patterson of the #1 New York Times bestselling NYPD Red series), and rich with Karp's deft array of three-dimensional characters and his signature biting humor, Don't Tell Me How to Die has so many twists and turns, you'd swear he wrote it with a corkscrew. Check out the Bookwild Community on PatreonCheck out the Imposter Hour Podcast with Liz and GregFollow @imbookwild on Instagram

Fred Reggie is the author of the soon-to-be-released book, Tell Me: How to Initiate and Nurture Meaningful Conversations with Anyone, Anywhere, Anytime. Throughout his career, Fred has worked with Fortune 500 companies and service organizations across the U.S., helping leaders cultivate meaningful connections and drive success. Fred Reggie an executive coach, international speaker, and expert in leadership and service culture development. He is well-known in our community and for years spent his time building funding resources for  St. Jude Children's Research Hospital, a cause dear to many of our hearts. The Power of Communication Fred believes that genuine communication stems from an internal motivation to share a message with others. However, many people struggle with seeing the value they bring to conversations, often due to deep-seated self-doubt and imposter syndrome. He explores how, from an early age, we are celebrated for speaking but later conditioned to limit our expressions, being told to quiet down or avoid talking to strangers. This conditioning, Fred explains, creates subconscious barriers. As adults, many of us hesitate to speak up because we question whether our words have value. Moreover, societal norms and technology have reshaped how we communicate, further distancing us from authentic, face-to-face interactions. The Disruption of Conversation Fred discusses how technology has altered human connection. Younger generations, he notes, often prefer texting over direct conversation, avoiding phone calls altogether. "Cocooned communication," as Fred calls it, has been evolving for decades—beginning with the automobile, which removed people from their porches and into isolated vehicles, and continuing with the rise of television, personal computers, and smartphones. Today, many people live in bubbles of self-communication, limiting the organic conversations that once thrived in everyday life. The Art of "Tell Me" At the heart of Fred's book is a simple yet profound concept: using the phrase "Tell me" to invite others into meaningful conversations. Rather than asking closed-ended questions, this approach encourages people to share freely, fostering deeper connections. He recalls a powerful moment when James Earl Jones, upon meeting an adoring fan, responded not with a simple "Who are you?" but with "Tell me your name." That small shift in language made the woman feel seen and valued. Fred encourages using this technique in all conversations, whether personal or professional, to create an environment of trust and engagement. The Neuroscience of Connection Fred emphasizes that engaging conversations have a physiological impact. When we participate in meaningful discussions, our brains release oxytocin, dopamine, and serotonin—chemicals that enhance emotional intelligence, empathy, and overall well-being. Conversely, negative or disconnected conversations can leave us feeling drained and isolated. The Legacy of Storytelling Growing up in a Lebanese family, Fred was surrounded by master storytellers who didn't just recount events but embodied the characters they spoke about. He believes that storytelling is fundamental to great conversation—it transforms the exchange of information into a compelling, memorable experience. Fred encourages people to embrace storytelling in their daily interactions, whether through professional networking or personal relationships. He also urges listeners to recognize the ripple effect of their words, as every interaction has the power to uplift or deflate another person. A Call to Action: Create Conversational Moments Fred concludes with a simple yet powerful challenge: create conversational moments. He encourages listeners to step outside their comfort zones, engage with strangers, and make genuine connections. By doing so, we can break the cycle of disconnected communication and bring back the lost art of conversation.

#1 New York Times bestselling author MARSHALL KARP joins BOOKSTORM Podcast to discuss his newest release Don't Tell Me How to Die! Love, betrayal, murder, revenge – we explore it all in our fantastic interview with Marshall. Have you ever thought about what would happen to your spouse if you died? Would you go to the extreme of choosing a replacement? We talk about generational trauma, including a fear a mother instills in her daughters. Is that what drives Maggie to want to control who her husband chooses to marry after Maggie is gone? Maggie's mother told her you're as “sick as your secrets.” Is that true? And what about that powerful force of shame? Does it lead to self-sabotage for some? Marshall shares incredible wisdom about a host of other subjects – we talk about birth order, writing to ourselves and our children, why he was willing to die on the hill of this book … and wait until you hear about his visit to a maximum security prison. We laughed and teared up during this incredible interview with a master storyteller – join us!You can find more of your favorite bestselling authors at BOOKSTORM Podcast! We're also on Instagram, TikTok, Facebook, and YouTube!

Marshall Karp's new book is "Don't Tell Me How to Die." It is out tomorrow. As one blurb writer wrote: A razor-sharp domestic thriller about a dying woman's desperate mission to handpick her husband's next wife and she'll stop at nothing to get the job done. Darkly funny and relentlessly suspenseful, Karp displays every skill as one of the greatest storytellers of our generation.

This week, Gare, Steph and I talk about 2025 thrillers we are excited about!Glitter in the DarkCount My LiesThis Book Will Bury MeImmaculate ConceptionThe Death of UsWhispers of Dead GirlsA Thousand Natural ShocksThe Missing HalfDon't Tell Me How to DieThe Memory CollectorsOne in FourTheir Double Lives Check out the Bookwild Community on PatreonCheck out the Imposter Hour Podcast with Liz and GregFollow @imbookwild on Instagram

This week, Gare, Steph and I share books that you can easily escape into!Books We Talked AboutWatch Out for HerDon't Tell Me How to DieNotes On Your Sudden DisappearanceThe Real DealCross My HeartLenny Marks Gets Away with MurderThe Paradox HotelA Killer's MindCackle Check out the Bookwild Community on PatreonCheck out the Imposter Hour Podcast with Liz and GregFollow @imbookwild on Instagram

"Marshall Karp's ‘Don't Tell Me How to Die'—A Must-Read?" #MarshallKarp #BestSellingauthor #nytimes Get ready for a literary thrill ride! In this video, we're diving into the buzzworthy novel "DON'T TELL ME HOW TO DIE" and exploring whether it lives up to the hype as the most thrilling book of 2025. From heart-pumping twists to mind-bending plot reveals, we're examining what makes this book tick and whether it's worth adding to your reading list.

There is no slowing down viral hitmaker Ben Rodrigues as he drops his latest single, Tell Me How a raw and vibrant track that dives into the complexities of a toxic relationship. Following the success of his breakout hit Was It Real, which amassed over 16 million streams. Tell Me How showcases another layer of Ben’s songwriting depth, blending emotional storytelling with the energy of nostalgic pop-rock.See omnystudio.com/listener for privacy information.

Welcome to the 7th Episode of "The A to Z of Rock with Matt and Brian" Every week, we pick a letter randomly and feature artists, bands, songs and albums from that chosen letter.  On this episode we feature the letter "M" . We have some new tunes and some classics to kick off this episode :  The Show Playlist Deep Purple - Highway Star Metallica - Lux Æternal  Massive Wagons - Missing on TV  Judas Priest - Metal Gods Mötley Crüe - Dr. Feelgood  Megadeth - Symphony of Destruction Moggs Motel - Apple Pie Roxanne - Man in the Moon Mountain - Mississippi Queen Mammoth WVH - Distance Blackfoot - Diary of a Workingman Mott The Hoople - The Golden Age of Rock n Roll  Monster Truck - Don't Tell Me How to Live  Manic Street Preachers - Slash 'n' Burn Mud - Dyna-Mite  The  Quireboys - Mona Lisa Smile  Gary Moore - Over The Hills And Far Away Mama's Boys - Gentleman Rogues Montrose - Rock Candy  Manic Eden - Can You Feel It Hope you enjoy it !!!

Kindred know-it-alls Deon and Jay kick knowledge…f#@% it, you know where this is going. In the early 1970s, legendary collaborator and self-proclaimed non-musician Brian Eno famously designed a deck of 115 cards containing elliptical imperatives to spark in the user creative connections unobtainable through regular modes of work. He called his creation "Oblique Strategies." For the past half century, countless artists and professionals across the globe have benefited from utilizing the oblique strategies technique when attempting to overcome a lull in creative output. In 2024, kooky, knuckleheaded yet somehow still award-winning* hobby podcasters and self-proclaimed Lightnin' Lickers Jay and Deon found themselves uninspired when contemplating the potential theme of their upcoming thirty-ninth episode. Together, they decided... to default back to the alphabet. Because they have a reasonably solid grasp of the alphabet and how it works. They had previously utilized the letters A thru J, so naturally, they went with K. Our favorite selections from the K section in outr collections mixtape: [SIDE ONE] (1) Al Gromer Khan – Konya (2) John Krautner – I Need Sugar (3) Rahsaan Roland Kirk – Freaks for the Festival Part One (4) Kitchens of Distinction – Railwayed (5) Khruangbin featuring Nina Simone – Black is the Color of my True Love's Hair [SIDE TWO] (1) The Kingbees – Man Made for Love (2) Key-Matic – Breakin' in Space (3) Klark Kent – Away From Home (4) Kris Kristofferson – Please Don't Tell Me How the Story Goes (5) The Korgis – Perfect Hostess Sonic contributors to LLR podcast episode 39 include: Holland-Dozier-Holland, Brothers Johnson, Head Hunters, Sault, Blues Brothers, Donald Trump, The Alkoholiks, Dave Matthews Band, Pearl Jam, Dreamville, J. Cole, Dr. Dre, Kermit, Grover, Thief, Rahsaan Roland Kirk, Lionel Richie, Billie Holiday, the Kingbees, Trouble Boys, Pendletons, DJ Shadow, Pace Salsa, Pete Seeger, Raleigh Symphony Orchestra, Herbie Hancock, Newcleus, Key-Matic, L.A. Dream Team, Freestyle, Egyptian Lover, Midnight Star, The Korgis, Beck, Liverpool Express, Sad Café, Khruangbin, Nina Simone, MN8, The Beatles, Joji, Kitchens of Distinction, Bronski Beat, Kriss Kristofferson, Paul Reubens, Danny Elfman, The Champs, John Krautner, The Go, Ohio Express, Vernal Equinox, Chasman, Al Groper Kahn, Yanni, the Police, Stuart Copeland, Klark Kent, Al Pacino, Third Company Syndicate, and The Clockers.   *REVIEW Magazine Readers' Choice 2022

Chris Bray is a journalist, historian, former soldier, that runs a popular substack called Tell Me How this Ends. We talk his most recent article titled “Centrifuge,” how the Houthis are in control of the Red Sea, supply chain collapsing, his article “Andy Kaufman in a Wrestling Match,” RFK speech, Calley/Casey Means on Tucker, and much more. PLEASE SUBSCRIBE LIKE AND SHARE THIS PODCAST!!!    Video Version of Show Rumble- https://rumble.com/v5cis2d-coffee-and-a-mike-chris-bray-rfk-speech-was-water-in-the-desert.html   Follow Chris Substack- https://chrisbray.substack.com/?utm_source=substack&utm_medium=web&utm_campaign=substack_profile Article referenced- https://chrisbray.substack.com/p/centrifuge Article referenced- https://open.substack.com/pub/chrisbray/p/andy-kaufman-in-a-wrestling-match?r=22f90w&utm_campaign=post&utm_medium=web X- https://x.com/a_chrisbray   Follow Me Twitter/X- https://twitter.com/CoffeeandaMike Instagram- https://www.instagram.com/coffeeandamike/ Facebook- https://www.facebook.com/CoffeeandaMike/ Truth Social- https://truthsocial.com/@coffeeandamike Gettr- https://gettr.com/user/coffeeandamike Rumble- https://rumble.com/search/all?q=coffee%20and%20a%20mike Apple Podcasts- https://podcasts.apple.com/us/podcast/coffee-and-a-mike/id1436799008 Gab- https://gab.com/CoffeeandaMike Website- www.coffeeandamike.com Email- info@coffeeandamike.com   Support My Work Venmo- https://venmo.com/code?user_id=3570365208987017385&created=1658667789.4661531&printed=1 Locals- https://coffeeandamike.locals.com/ Cash App- https://cash.app/$coffeeandamike Mail Check or Money Order- P.O. Box 25383 Scottsdale, AZ 85255-9998   Sponsors Independence Ark Natural Farming- https://www.independenceark.com/  

I wanted to sell my Salon 5 times!It's normal for Salon Owners to feel like selling when times are tough because it can be a huge load on your mental health… even at the best of times. When you have a list of shiny objects that you want to pick up, but can't even tick off the basics… you feel terrible. But I'm so glad I didn't sell when I thought I wanted to! Yes, it can feel tough to be a Salon Owner right now, but you can and will push through… success is waiting for you on the other side. This feeling of ‘I'm ready to give up' came up in my Salon Mastery Program group recently and I thought it was a topic we should share on the Podcast!In today's episode of the Salon Owners Collective Podcast, Salon Mastery Boardroom coach, Joel, will be breaking down what to do when you feel like you want to sell… Here is I Want to Sell My SalonHere is why you should listen to the full episode:Learn why you can get feelings of wanting to sell your SalonUnderstand how to manage the mental loadKnow how to lead your team to successSalon MasteryAchieve Salon Growth without being overwhelmed or overworking - it is possible! Salon Mastery is a coaching program that provides you with the tools & support you need to build a profitable & successful Salon. Together, we'll build a 9-part business strategy for your salon with your own dedicated success coach to lead you toward success. Apply Now to Salon Mastery Coaching now.Resources CLICK HERE Join over 6,000 industry experts and Salon Owners in my Profitable & Successful Salon Owners Facebook group.This episode of the Salon Owners Collective Podcast is sponsored by Shortcuts, your leading Salon Software provider. Click the link below to learn Shortcuts 3 Magic Numbers to boost your revenue!Tell Me How to boost my revenue now!

“Clients are spending less (or not coming at all) and the clients that do come… never rebook!” Have you ever looked at your team's column and it's empty but then suddenly, almost overnight, they're fully booked? It feels like those ‘Last Minute Appointment' Instagram stories are the only thing bringing clients through the door.  But… what if told you that clients not rebooking isn't completely your teams fault?  As Salon Owners we need to pay attention to the changing trends of our clients and adapt of booking systems to suit. I mean… we can't have a Salon without clients coming through the door which is why it's up to us to make a change.  Clients are still rebooking appointments and many of them, are still willing to spend a little extra too on products or upgrades! In today's episode of the Salon Owners Collective Podcast, I'm chatting with Shortcuts co-founder Jo Burgess about why it feels like clients aren't rebooking… and what to do about it! Here is The Secret to Rebooking Clients. Here is why you should listen to the full episode: Learn the changes in clients spending habits Understand why it feels like no one is rebooking Know how to create an effective rebooking plan Salon Mastery Achieve Salon Growth without being overwhelmed or overworking - it is possible!  Salon Mastery is a coaching program that provides you with the tools & support you need to build a profitable & successful Salon. Together, we'll build a 9-part business strategy for your salon with your own dedicated success coach to lead you toward success.  Apply Now to Salon Mastery Coaching now. Resources  CLICK HERE Join over 6,000 industry experts and Salon Owners in my Profitable & Successful Salon Owners Facebook group. Click the link below to learn Shortcuts 3 Magic Numbers to boost your revenue! Tell Me How to boost my revenue now!  Connect with Shortcuts  Shortcuts Website: https://www.shortcuts.com.au/  Shortcuts Instagram: https://www.instagram.com/shortcuts_anz/  Shortcuts Facebook: https://www.facebook.com/ShortcutsSoftware  Jo's LinkedIn: https://www.linkedin.com/in/joanna-burgess?originalSubdomain=au

My Salon just won't grow… Have you ever felt stuck in your Salon's growth? You feel like you're doing all the right things… you're hiring rockstar stylists and therapists, you're posting on social media, you're hitting KPIs… but the needle just won't move? So you begin to feel lost and not sure what to do next because you're doing everything ‘right', it's just not working! A Salon Owner recently said to me “Larissa, I thought I knew how to grow my business but since covid… I've been stuck at $500k! How do I grow?”. But, it's important to remember that what got you her, won't get you to where you want to be! It's time to go back to basics and get some reps in! Sometimes, a little more practice in nailing the basics is what you need to push you and your Salon on the right path to becoming a $1 Million+ Salon. In today's episode of the Salon Owners Collective Podcast, I'm chatting with Salon Mastery The Boardroom Coach, Joel, about what it takes to grow your Salon to $1 Million. Here is How She Grew Her Salon to $1 Million. Here is why you should listen to the full episode: Learn why your business isn't growing Understand why it's important to nail the basics  Know when you can lead your team to success! This episode of the Salon Owners Collective Podcast is sponsored by Shortcuts, your leading Salon Software provider. Click the link below to learn Shortcuts 3 Magic Numbers to boost your revenue! Tell Me How to boost my revenue now!  Salon Mastery Achieve Salon Growth without being overwhelmed or overworking - it is possible!  Salon Mastery is a coaching program that provides you with the tools & support you need to build a profitable & successful Salon. Together, we'll build a 9-part business strategy for your salon with your own dedicated success coach to lead you toward success.  Apply Now to Salon Mastery Coaching now. Resources  CLICK HERE Join over 6,000 industry experts and Salon Owners in my Profitable & Successful Salon Owners Facebook group. Connect with Joel Joel's Instagram: https://www.instagram.com/joelbouzaid/ 

Everyone is going solo… As an industry, we've seen a huge shift in stylists and therapists leaving to go solo. Why wouldn't they? They get to make their own hours, pay themselves whatever they want AND they can work out of their own home! But the grass isn't always greener on the other side… And yes, sometimes when our team leave to go Solo they come back… but there are actually a few things we can do BEFORE they even consider leaving! Sometimes, just talking to your team about what their goals are can be enough to make them stay in your Salon. Team-based Salons are what keep our industry alive. It's up to us as Salon Owners to make sure we create an environment where our team feel like they can grow and succeed. I'm excited to share this conversation I had with James and Lynden from Vivo, who know all about The Rise and Fall of Solo Salon's. Here is why you should listen to the full episode: Learn what Solo Salon's mean for the industry Understand why our team sometimes leave to go Solo Know the conversations you need to have before your team ever considers leaving This episode of the Salon Owners Collective Podcast is sponsored by Shortcuts, your leading Salon Software provider. Click the link below to learn Shortcuts 3 Magic Numbers to boost your revenue! Tell Me How to boost my revenue now! Salon Mastery Achieve Salon Growth without being overwhelmed or overworking - it is possible! Salon Mastery is a coaching program that provides you with the tools & support you need to build a profitable & successful Salon. Together, we'll build a 9-part business strategy for your salon with your own dedicated success coach to lead you toward success. Apply Now to Salon Mastery Coaching now. Resources CLICK HERE Join over 6,000 industry experts and Salon Owners in my Profitable & Successful Salon Owners Facebook group. Connect with Vivo Website: https://www.vivo.co.nz/   Instagram: https://www.instagram.com/vivohairnz/?hl=en Facebook: https://www.facebook.com/vivohairnz  James' LinkedIn: https://www.linkedin.com/in/james-carlisle-6524822/  Lynden's LinkedIn: https://www.linkedin.com/in/lynden-mason-91769757/

Fairview Community Church's Sunday Service on May 26, 2024.   John 3:1-17   Sermon by Dr. Rev. Monica Corsaro: "Teacher, Tell Me How"

As Salon Owners, we always do our best to make our clients feel relaxed and welcome in our Salon… right?  But, we might've missed something. Have you ever asked a client if they would prefer to chat or just sit quietly with a magazine? Or, if they would prefer to sit in the far corner that's away from all the other chairs? And… have you asked your team these questions too? We want everyone to feel safe and included in our Salons, but first we need to start having a conversation with everyone in our Salon about what they NEED. You won't know what someone needs until you ask!  If you're not thinking about inclusion, diversity and mental health… it's time to start. It doesn't need to feel like a big rock, you can even start with one small change…  In today's episode of the Salon Owners Collective Podcast, I'm chatting with Shortcuts co-founder Jo Burgess about mental health in the Salon (for your clients AND your team!). Here is Your Salon Wasn't Comfortable…  Here is why you should listen to the full episode: Learn the questions you need to be asking your clients and team Understand why mental health is important for your Salon Know how make everyone feel comfortable Salon Mastery Achieve Salon Growth without being overwhelmed or overworking - it is possible!  Salon Mastery is a coaching program that provides you with the tools & support you need to build a profitable & successful Salon. Together, we'll build a 9-part business strategy for your salon with your own dedicated success coach to lead you toward success.  Apply Now to Salon Mastery Coaching now. Resources  CLICK HERE Join over 6,000 industry experts and Salon Owners in my Profitable & Successful Salon Owners Facebook group. Click the link below to learn Shortcuts 3 Magic Numbers to boost your revenue! Tell Me How to boost my revenue now!  Connect with Shortcuts  Shortcuts Website: https://www.shortcuts.com.au/  Shortcuts Instagram: https://www.instagram.com/shortcuts_anz/  Shortcuts Facebook: https://www.facebook.com/ShortcutsSoftware  Jo's LinkedIn: https://www.linkedin.com/in/joanna-burgess?originalSubdomain=au

Life is over at 30…  It can feel like that sometimes, right? You're suddenly struggling with mood swings, changes to your metabolism, a lack of energy, feeling less productive and unable to focus… it's tough. But it doesn't need to feel like that, in fact, knowing this one thing can actually help you regain control of your life and your Salon… let's talk about hormones!  Life doesn't need to be over at 35… it's just beginning! There may just be a few adjustments you need to make to your life. Hormones are part of who we are but they shouldn't get in the way of you and your Salon's success!  Hormones aren't a topic that should be avoided because the changes to hormones are something we all experience (men and women!). It's time we start welcoming conversations about our health and hormones so we can become better Salon Owners.  I wanted to share with you the key to navigating changes in your hormones to help you feel sharp and energised.  In today's episode, I'm chatting to Anastasia Bennett from Life Hack Coaching to talk about How Hormones Impact Salon Success.  Here is why you should listen to the full episode: Learn how your hormones change in your 30s Understand why it's important to recognise hormonal changes Know how to manage hormonal changes so you can be a successful Salon Owner This episode of the Salon Owners Collective Podcast is sponsored by Shortcuts, your leading Salon Software provider. Click the link below to learn Shortcuts 3 Magic Numbers to boost your revenue! Tell Me How to boost my revenue now!  Salon Mastery Achieve Salon Growth without being overwhelmed or overworking - it is possible!  Salon Mastery is a coaching program that provides you with the tools & support you need to build a profitable & successful Salon. Together, we'll build a 9-part business strategy for your salon with your own dedicated success coach to lead you toward success.  Apply Now to Salon Mastery Coaching now. Resources  CLICK HERE Join over 6,000 industry experts and Salon Owners in my Profitable & Successful Salon Owners Facebook group. Connect with Anastasia Website: https://www.lifehackcoaching.co.nz/  Facebook: https://www.facebook.com/Lifehackcoaching22/  Instagram: https://www.instagram.com/perimenopause_health_coach/

Get the whole show on my Patreon with a 7 day FREE trial.Tracks:Bad Motor Scooter – MontroseBest of Both Worlds - Van HalenWhen the Levee Breaks - Playing for ChangeTime Was - Canned HeatLet's Make it - John Lee Hooker, Canned HeatThe Wrong Thing to Do – MudcrutchBring it on Home - Led ZeppelinFool in the Rain - Led ZeppelinThe Bar's on Fire - The Bottle RocketsDon't Tell Me How to Live - Monster TruckSomething to Burn - Quaker City Night HawksProtection - Graham ParkerDown the Honkytonk - Frankie MillerPraying for Rain – JunkousePeace Pipe - Cry of LoveHighway Jones - Cry of LoveDying On Your Feet - The GraveltonesFleeting Trust - The TrewsOne More Astronaut - I Mother EarthGreen Light Girl - Doyle Bramhall II & SmokestackIf I Had My Way - Big SugarI'm Adult Now - The Pursuit of HappinessMusic That Will Lift Me - Rich RobinsonOur Sponsors:* Check out Factor 75 and use my code zane50 for a great deal: https://www.factor75.com/Support this podcast at — https://redcircle.com/the-eric-zane-show-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

I was taking a look back at 2022, reflecting on all of the major milestones I experienced, and out of all the amazing things that happened, one thing stood out to me in particular - In the course of a year, I raised the price of my one-on-one private coaching container from $2,000 to $20,000.    In less than a year!!!!  Like... WHAT?! That's insane.     Now if I heard someone tell me that they raised their price that much in a year, I'd want them to spill the tea immediately.  Like, TELL ME HOW!! So of course you know I've got you!     I'm breaking down exactly what I did to raise my one-on-one coaching price from $2,000 to $20,000…in less than a year!    Get ready to hear:    -The big milestone in 2022 that really stood out to me   -The backstory of how I decided what to charge my very first one-on-one client    -The thing that helped me feel comfortable in making that first big price increase    -Why investing in yourself is so freaking powerful   -How often you should evaluate where you are in your business, where your clients are, who you want to work with and your prices    -How to find people who want to work with you no matter how much you charge    PS. Is your head spinning with allllll the things you feel like you're “supposed to be doing” to grow your business? Mine was too. Get my FREE checklist of the 5 tasks I do every single day to build and run a 6-figure business working ~ 25 hours a week.   Looking for more? Connect with me at my website www.dustinmcoaching.com or on Instagram at @dustinmushinski.

Tell Me How does it feel to sit with yourself Episode 258

In this 1121st episode of Toronto Mike'd, Mike is joined by Jon Harvey from Monster Truck as they discuss the origin of the band, having their song by the Leafs goal song for a spell, and whether he has any regrets about their collaboration with Kid Rock on "Don't Tell Me How to Live". Toronto Mike'd is proudly brought to you by Great Lakes Brewery, Palma Pasta, Canna Cabana, StickerYou, Ridley Funeral Home and Electronic Products Recycling Association.

Shane & Ronnie sat down with frontman Jon Harvey of Canadian Rockers Monster Truck.They discussed the upcoming Uk tour that kicks off in Dover on the 29th September and new album 'Warriors' released on the 30th September.Monster Truck's 2011 EP The Brown EP found success for them in Canada. The single "Seven Seas Blues" charted in the top ten of both the active rock airplay chart and the alternative rock airplay chart in the spring of 2012. After the release of two EPs, their debut album Furiosity was released on Dine Alone Records on May 28, 2013 and distributed on Universal.The band's second studio album entitled Sittin' Heavy was released on Mascot Records on February 19, 2016.The band won the 2013 Juno Award for Breakthrough Group of the Year.They played the Download Festival in 2013 and supported Vista Chino on their European tour in October and November 2013. The band started recording the Sittin' Heavy album in January 2015 after touring with Alice in Chains, opening for them on their 2014 North American tour.Their track "Sweet Mountain River" was included in Ubisoft's music game Rocksmith 2014, "Seven Seas Blues" in EA Sports' NHL 13, and "Old Train" was used in an episode of Orphan Black, "Variable and Full of Perturbation". The first single from their second studio album was released on October 19, 2015, a track called "Don't Tell Me How to Live".A song, "The Enforcer", was also available only when pre-ordering the album. Their song "Righteous Smoke" is featured in EA Sports' NHL 17. The song "The Enforcer" was also used as the goal song for the Toronto Maple Leafs after every goal scored with a "Go Leafs Go" chant added to the song.The band's third studio album, True Rockers, was announced on June 1, 2018, upon the release of the lead single "Evolution".The title track featuring Dee Snider was released as a promotional single the following week. The album was released on September 14, 2018.In November 2021, Monster Truck was featured in Kid Rock's re-recording of their song "Don't Tell Me How To Live", released as the first single from Kid Rock's triple album. Kid Rock's recording features a rap rock sound. On March 14, 2022, it was announced that drummer Steve Kiely had departed from the band.This has been edited from an episode from our weekly show that streams LIVE @ 9pm Every Tuesday on Facebook LIVE, TWITCH and YOUTUBE.https://www.thosedamncrows.com/crowcastvideo Hosted on Acast. See acast.com/privacy for more information.

The StclairSpeaksshow is an interview format podcast show where I highlight and showcase professionals in business from across the world, we discuss topics from within their industry expertise and dive into their backstory on how they got to where they are today. http://thestclairspeaksshowpodcast.com/ About the guest George began his career in front of the camera as a newscaster, sportscaster, weathercaster, and feature reporter. He worked in markets from San Antonio Texas to Detroit, Los Angeles, San Francisco, and Seattle. In 2001 he formed J.E.L. Productions, a video production company that produces commercials, infomercials, television programs, and documentary films. The company also created its own original programming, which included a Texas Travel Program and a building and remodeling show. George is most proud of his latest venture, forming the documentary film company Move the World Films, Inc. He wrote, directed, and produced the award-winning documentary films The Last House Standing and License to Parent. George started the Tell Me How to Make It Better podcast for people frustrated with all the noise back and forth about how something needs to be fixed but don't see any action. Our podcast shows that if people work towards a common goal, amazing things can happen. George, his wife Nancy, and their children live in Tampa, Florida. Contact info https://www.movetheworldfilms.org/ https://www.facebook.com/thelasthousestanding --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/stclairspeaksshow/support

The StclairSpeaksshow is an interview format podcast show where I highlight and showcase professionals in business from across the world, we discuss topics from within their industry expertise and dive into their backstory on how they got to where they are today. http://thestclairspeaksshowpodcast.com/ https://www.linkedin.com/in/yahavystclair/ Shop StclairSpeaksShow Merchhttps://stclairspeaksshow.myshopify.com/ About the guest George began his career in front of the camera as a newscaster, sportscaster, weathercaster, and feature reporter. He worked in markets from San Antonio Texas to Detroit, Los Angeles, San Francisco, and Seattle. In 2001 he formed J.E.L. Productions, a video production company that produces commercials, infomercials, television programs, and documentary films. The company also created its own original programming, which included a Texas Travel Program and a building and remodeling show. George is most proud of his latest venture, forming the documentary film company Move the World Films, Inc. He wrote, directed, and produced the award-winning documentary filmsThe Last House Standing and License to Parent. George started the Tell Me How to Make It Better podcast for people frustrated with all the noise back and forth about how something needs to be fixed but don't see any action. Our podcast shows that if people work towards a common goal, amazing things can happen. George, his wife Nancy, and their children live in Tampa, Florida.Contact info https://www.movetheworldfilms.org/https://www.facebook.com/thelasthousestanding See acast.com/privacy for privacy and opt-out information.

Track listing for the full show available on my Patreon.Don't Tell Me How to Live – Monster TruckDown the Honky Tonk – Frankie MillerSoap on a Rope - ChickenfootGreen Light Girl - Doyle Bramhall II & SmokestackGone Shootin' – ACDCFleeting Trust – The TrewsDying On Your Feet - The GraveltonesMy Old School – Steely DanIf I Had My Way - Big SugarHear About it Later – Van HalenHighway Jones – Cry of LovePraying for Rain – JunkhouseUp to Me – Jethro TullSuperman – The KinksOne More Astronaut – I Mother EarthWasted Words – Allman Brothers BandStandard America – Gunnar and the Grizzly BoysHarlan County Line – Dave AlvinThe Moon is Full – John Mayall, Larry McCrayGoin' Down to Mexico – ZZ TopTrain Yard – Ray Wylie HubbardSupport this podcast at — https://redcircle.com/the-eric-zane-show-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This week the crew has an extended GFTS segment, Blaze gives us 90-86 on his Holy Grails list, and we round out the show with a venting segment via "Tell Me How you Really feel".  Enjoy!!--- Send in a voice message: https://anchor.fm/kickci/messageSupport this podcast: https://anchor.fm/kickci/support

In this episode we talk about Kid Rock's reaction to the critics, especially those who have been saying bad things about his new song Don't Tell Me How to Live. Kid Rock has not been shy about telling us his views on everything from President Trump to the quote unquote WOKE MEDIA. This time, he took to his Facebook page to tell everyone exactly what he thinks about everyone trashing his song! Don't forget to subscribe to the MalcoCast for more great content.

On this episode of Roger the Wild Child Show, we are joined by former Nashville recording Artist, Chad Brock, and singer/songwriter Tom Yankton!CHAD BROCK In high school, Brock played football & was offered a post-secondary scholarship to play sports. He turned down the scholarship, however, as his experiences in the school choir had convinced him to pursue a singing career. Brock moved to Nashville, Tennessee, to follow this dream, but he met with little success at first. In 1994, he signed a record deal with Warner Bros. Records, but he did not release any music for over three years.Warner Brothers and WCW got together to cross-promote Brock, and he trained at World Championship Wrestling's training facility, the WCW Power Plant. Chad wrestled for WCW from 1994 -1996, until an injury forced him to retire. He also appeared at several WCW events in 1999, where he was briefly involved in an angle with Curt Hennig.In 1998, Brock released his debut single, "Evangeline", which peaked at number 51 on the Billboard Hot Country Singles & Tracks (now Hot Country Songs) charts. That song's follow-up, the ballad "Ordinary Life", went on to become Brock's first major hit,[1] peaking at number 3 on the same chart, as well as number 39 on the Billboard Hot 100. Following that song's success, Brock released his self-titled debut album. Its third and final single, "Lightning Does The Work", reached number 19 in 1999.Brock's fourth chart single was a rewrite of Hank Williams, Jr.'s signature song "A Country Boy Can Survive", a number 2 hit for Williams in 1981. Chad's version, which featured Williams and George Jones, was entitled "A Country Boy Can Survive (Y2K Version)", was re-written with lyrics pertaining to the Year 2000 problem (abbreviated Y2K). The song served as the first single from Brock's 2000 album Yes!. Its second single was the title track, which went on to become Brock's only number-one Billboard hit,[1] as well as a number 22 hit on the Hot 100 chart. The third and last single from Yes! ("The Visit") peaked at number 21.2001 saw the release of Brock's 3rd and final album for Warner Bros.. Entitled III, it was less successful than its predecessor. III had only one chart entry in "Tell Me How", which failed to make the Top 40. This album also reprised Brock's three highest-charting singles ("Yes!", "Ordinary Life" and "Lightning Does The Work"). Shortly thereafter, he signed to Broken Bow Records, then a newly formed independent label. Although he released five singles for Broken Bow, four of which made the charts, he never put out a full album.TOM YANKTONTom Yankton's rowdy, high-energy, multi-million streaming, wildly-talented brand of award-winning, party crowd entertainment wouldn't be complete without, 1.) The back story that starts in Hot Springs, Arkansas and 2.) The extensive resume that includes opening for Luke Bryan, The Brothers Osborne, Walker Hayes, and Riley Green, performing on Jimmy Kimmell Live, The Today Show, The Grand Ole Opry, The Academy Of Country Music Awards, The Rolling Stones “Zip Code” Tour, and writing songs for “Bad Moms Christmas,” Lifetime Network's "Love At First Flight," and Netflix's “Sex Education,” and working with Legendary artists, such as Rock & Roll Hall Of Famers-Chicago, along with Christina Aguilera, Collin Raye, RaeLynn, Rascal Flatts, Doug Supernaw, Waylon Payne, Russ Taff, and Jason Crabb. The 2021 PEPSI Southern Original Champion, Yankton has been featured on Spotify curated playlists logging MILLIONS of streams on the platform. As of 2021, Yankton has signed an exclusive distribution deal with Red Street Records, is working with producer Jimmy Ritchey and manager Dewayne Brown, and also plays guitar and shares lead vocals in supergroup Generation Radio along with Jay DeMarcus of Rascal Flatts, Jason Scheff of Chicago, Deen Castronovo of Journey, and Steve Ferrone of Tom Petty and The Heartbreakers.

QUESTIONS + TIME STAMPS1. How's The Body Feeling After Playing Winterball? (0:01)2. Have I ever Considered Playing Baseball Overseas in Europe, Africa, Asia, or Australia? (2:01)3. I'm Striding Out Farther and it Helped Command But I'm Not Bringing My Back Leg Thru (3:52)4. Counter Rotation is Helping Me Get Separation but Making it Hard to See Target. Tips? (6:36)5. Could Hips Not Being Rotated at Landing Cause Poor Lead Leg Block? (9:41)6. I Bought an Analysis From You, Could I Send you a Video of Me Now and Tell Me How it Looks? (11:24)7. What's The Most Difficult Pitch to Throw (12:06)8. Have you Found That Backfoot Sliders to LHB's are as Lethal as a CH These Days? (12:26)9. Are You Trying To Get to The Big Leagues? (14:05)10. What's a Good Way To Not Open So Early? (14:42)11. I Need Tips For Sliders, I Feel Like I Lost Mine Recently + Can't Find it. (16:22)12. What is The Key To Throwing Hard? (18:59)THE ROBBY ROW SHOW WEBSITEWho is Robby Rowland?https://therobbyrowshow.com/about/Robby Rowland's Social Channelshttps://therobbyrowshow.com/follow-me/The Robby Row Show VLOGhttps://therobbyrowshow.com/vlog/Ask Robby Row Pagehttps://therobbyrowshow.com/ask/ Website Search Enginehttps://therobbyrowshow.com/search/ Partnerships + Discounts on Products I Usehttps://therobbyrowshow.com/productdiscounts/ Robby Row's Content Library https://therobbyrowshow.com/content-library/ The Robby Row Show Baseball Podcasthttps://therobbyrowshow.com/podcast/ Content Creation Products + Podcast Equipmenthttps://therobbyrowshow.com/content-creation/ WHERE YOU CAN FIND ROBBY ROWRobby Row's Social Mediahttps://therobbyrowshow.com/follow-me/ Websitehttps://therobbyrowshow.com YouTube https://youtube.com/c/RobbyRowland Instagram https://www.instagram.com/robbyrow12/ Twitter https://twitter.com/RobbyRow_12 TikTok www.tiktok.com/@robbyrow12Facebook https://www.facebook.com/robbyrow12/ Podcasthttps://therobbyrowshow.com/podcast/ LinkedInwww.linkedin.com/in/robbyrow12 SUBSCRIBE TO MY PODCASTApple Podcast https://itunes.apple.com/us/podcast/the-robby-row-show/id1341507777?mt=2 Spotify Podcast https://open.spotify.com/show/2AEEhbkL1P4YUS4yzpNXOK?si=Qyc6K0JgTO-_LmGX19mwtg iHeart Radio Podcast https://www.iheart.com/podcast/256-the-robby-row-show-30930836/ Stitcherhttps://www.stitcher.com/podcast/robby-rowland/the-robby-row-show DONATIONSPayPalhttps://paypal.me/robbyrow VenmoRobbyrow12

In Episode 33 of Book Talk, Etc. Tina and Renee share books with family drama. They also share what they've been loving lately, their latest reads, shelf additions, and have book talk about why they love to read about drama and conflict within families.  **Support us on Patreon ! We would love for you to join our Book Talk community! We have great bonus episode content including: Books we DNFed, Books we disagreed on, Even more best of the year, Backlist Book Club, Mood Reader/Latest Read Happy Hour, an engaging private Facebook group where you can interact with other listeners, and more- all for just $5 a month! *The book titles listed are linked to Amazon Affiliates, where we make a small commission from qualifying purchases (at no cost to you). Thanks for your support!Loving Lately 4:25 American Scandal Podcast (T) 6:05 Kindle Oasis (R) Latest Reads8:34 Tobacco Wives | Adele Myers (T)12:43 One Step Too Far |Lisa Gardner (R) 13:35 Before She Disappeared |Lisa Gardner

Cambridge based Singer-Songwriter, Choreographer, Youth Educator and Founder of Soca Fusion LLC, Ms. Ella, discusses how her artistry has helped heal her inner child as an adoptee, the value of prioritizing joy in ones relationship with Self, naming ones needs in the practice of personal accountability, and the meaning behind her most recent music videos "They Wanna Know", "Tell Me How" and "Needing You". #breaktheboxes | breaktheboxes.org/btbstories | breaktheboxes.us@gmail.com View Ms. Ella's visual work: Tell Me How: https://www.youtube.com/watch?v=hoJvPegBi6M They Wanna Know: https://www.youtube.com/watch?v=txkhuw3LhRc Needing You: https://www.youtube.com/watch?v=MqodzXDlHBs

In this week's episode, comedian and actor Jon Reep and his COUNTRY-ish crew talk about Christmas decorations and celebrate National Mason Jar Day, National Personal Space Day, and National Meth Awareness Day, Then, in BEST TRENDS, Jon shares the new song and music video from Kid Rock - "Don't Tell Me How to Live" - and talks about some of his favorite lyrics. Jon then welcomes back his comedian buddy RENO COLLIER for a new trivia segment:  "This Day in Sports History... is it Legit or Bullshit?"  Can you listen to the facts Reno shares and pick out the lie? Jon jumps in the Zoom room to talk with new online celebrities the Hillbillies in the Holler, zooming in from Boogertown talk about the Redneck Bus, Hee Haw, and Sunday Morning Gospel Jubilee. And finally, in SMALL TOWN NEWS, a New Zealand city is taking its official "wizard" off the payroll after over two decades due to some inoffensive comments he made. It's a slippery, sharp, smart, and hard show this week! See omnystudio.com/listener for privacy information.

This week we're gossin' 'bout a certain timely set of shoes, ghosts of friends with Christmas past, the evolution/unchanging beast that is Hallmark Christmas movies, how many tears we shed for the Norwegian Postal Service Santa ad, the unlikely team up of Mariah Carey and McDonald's, Keanu continuing to be Keanu, Rhianna's new National Hero status, Lindsay Lohan's engagement, more Kim and Pete news, the Kid Rock (NOT WEIRD AL) newest abomination 'Don't Tell Me How to Live', and in celeb conspiracy corner; Did Taylor Swift write Harry Potter fanfic!? Plus an (almost) killer list, them blinds, and THE SHOUTZ!Want even more Page 7? Support us on Patreon! Patreon.com/Page7PodcastKevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License creativecommons.org/licenses/by/3.0

In this emergency episode the gang breaks down Kid Rock's new single "Don't Tell Me How to Live".

We kick things off on this edition talking a lot about the controversial Kid Rock song "Don't Tell Me How to Live." We talk about a weird video Kid Rock and Sean Penn shot a few years ago. We discuss the news that Spotify disabled the shuffle button on albums and we play a fun edition of Thrash it Or Trash It. Join our Patreon to watch the video version and get a bonus episode each month, and other behind-the-scenes goodies. More info here. Follow us on: Instagram, Facebook, Twitter, Youtube and our Discord Chat We are bringing back an old favorite with a twist, the music break – now as a Spotify playlist to listen to whenever you want. Make sure to follow the playlist. This week's tracks are Opeth – Deliverance Mastodon – Oblivion The Jesus and Mary Chain – Head On See omnystudio.com/listener for privacy information.

The hilarious Hannah Boone joins Keith and Chemda to celebrate the Aumaud Arbery verdict, discuss Aaron Rodgers' Covid Toe, and the new series Dopesick. They discuss Tucker Carlson's “documentary” Patriot Purge, Kid Rock's “song” Don't Tell Me How to Live, and Louis C.K.'s 2021 Grammy nomination. In personal news, we learn about Hannah Boone's after-relapse relationships, literally not being able to cry, and social media. HAPPY THANKSGIVING!

In this highly anticipated debate, Joe and Breno sit down for a frank and unfiltered discussion about huge dumbasses. First up, it's a retrospective of Brent from Mastodon's dumbest moments. There's a lot to go through. It's like half the episode. Then, we discuss Kid Rock's latest single, "Don't Tell Me How to Live". It's, unironically, the best thing he's done since Devil Without a Cause. It's also bone-crushingly stupid. Finally, we're talking about some of our favorite recent jams and the pains of being alive. Music featured on this ‘sode: Andrew Lee's Heavy Metal Shrapnel – Maybe Don't forget to rate, review, and subscribe to Toilet Radio on iTunes so you'll get new episodes automatically. Or use Stitcher if you don't fuck with Apple

In Episode 23 of Book Talk, Etc. Tina and Renee are talking about bookstagram and sharing November & December releases they can't wait to read! They share what they're loving lately, their latest reads, a shelf addition, and have book talk about bookstagram and book reviews.**We've launched our new Patreon and would love for you to join us! We have some very fun bonus content planned and look forward to sharing as we build our Book Talk, etc community *The book titles listed are linked to Amazon Affiliates, where we make a small commission from qualifying purchases (at no cost to you). Thanks for your support! Loving Lately 5:30 Drybar Detox Dry Shampoo (T)8:37 The Mysterious Bookshop in NYC (R)Latest Reads11:20 You Got Anything Stronger | Gabrielle Union (T)15:00 When You Look Like Us | Pamela Harris (R) 20:57 Book Talk 32:46 Dava Shastri's Last Day | Kirthana Ramisetti (T) (mentioned) 32:53 All Her Little Secrets | Wanda Morris (T)  (mentioned) 33:08 Our Country Friends | Gary Shteyngart (T) 35:58 Comfort Me With Apples: A Novella | Catherynne Valente (R)37:56 A Little Hope | Ethan Joella (T) 40:00 The Sentence | Louise Erdrich (R) 42:15 Tell Me How to Be | Neel Patel (T) 45:05 The Library: A Fragile History | Andrew Pettegree, Arthur Der Weduwen (R)47:10 48 Hours to Kill | Andrew Bourelle (T) 49:09 Do I Know You? | Sarah Strohmeyer (R) Shelf Additions51:36 Out of Love | Hazel Hayes (T) 54:26 Last Girl Ghosted | Lisa Unger (R)Other Mentions A Little Life | Hanya Yanigahara The Nickel Boys | Colson Whitehead The Heart's Invisible Furies | John Boyne The Book That Matters the Most | Ann Hood * Helpful Podcast Quick Links Where You Can Listen to Us Apple    Spotify    Google Podcast *Check out our Chapter Markers for Images! Connect with us on social media! On Instagram, Tina @Tbretc, Renee  @Itsbooktalk, and the podcast is @booktalketcYou can also email us directly at booktalketc@gmail.com. Support the show (https://www.patreon.com/booktalketc)

Links: “I Trust AWS IAM to Secure my Applications. I Don't Trust the IAM Docs to Tell Me How”: https://ben11kehoe.medium.com/i-trust-aws-iam-to-secure-my-applications-i-dont-trust-the-iam-docs-to-tell-me-how-f0ec4c119e79 “Introduction to Zero Trust on AWS ECS Fargate”: https://omerxx.com/identity-aware-proxy-ecs/ Threat Stack Aquired by F5: https://techcrunch.com/2021/09/20/f5-acquires-cloud-security-startup-threat-stack-for-68-million/ AWS removed from CVE-2021-38112: https://rhinosecuritylabs.com/aws/cve-2021-38112-aws-workspaces-rce/ Ransomware that encrypts the contents of S3 buckets: https://rhinosecuritylabs.com/aws/s3-ransomware-part-1-attack-vector/ TranscriptCorey: This is the AWS Morning Brief: Security Edition. AWS is fond of saying security is job zero. That means it's nobody in particular's job, which means it falls to the rest of us. Just the news you need to know, none of the fluff.Corey: This episode is sponsored in part by Thinkst Canary. This might take a little bit to explain, so bear with me. I linked against an early version of their tool, canarytokens.org, in the very early days of my newsletter, and what it does is relatively simple and straightforward. It winds up embedding credentials, files, or anything else like that that you can generate in various parts of your environment, wherever you want them to live. It gives you fake AWS API credentials, for example, and the only thing that these things do is alert you whenever someone attempts to use them. It's an awesome approach to detecting breaches. I've used something similar for years myself before I found them. Check them out. But wait, there's more because they also have an enterprise option that you should be very much aware of: canary.tools. You can take a look at this, but what it does is it provides an enterprise approach to drive these things throughout your entire environment and manage them centrally. You can get a physical device that hangs out on your network and impersonates whatever you want to. When it gets Nmap scanned, or someone attempts to log into it, or access files that it presents on a fake file store, you get instant alerts. It's awesome. If you don't do something like this, instead you're likely to find out that you've gotten breached the very hard way. So, check it out. It's one of those few things that I look at and say, “Wow, that is an amazing idea. I am so glad I found them. I love it.” Again, those URLs are canarytokens.org and canary.tools. And the first one is free because of course it is. The second one is enterprise-y. You'll know which one of those you fall into. Take a look. I'm a big fan. More to come from Thinkst Canary weeks ahead.Corey: This podcast seems to be going well. The Meanwhile in Security podcast has been fully rolled over and people are chiming in with kind things, which kind of makes me wonder, is this really a security podcast? Because normally people in that industry are mean.Let's dive into it. What happened last week in security? touching AWS, Ben Kehoe is on a security roll lately. His title of the article in full reads,  “I Trust AWS IAM to Secure My Applications. I Don't Trust the IAM Docs to Tell Me How”, and I think he's put his finger on the pulse of something that's really bothered me for a long time. IAM feels arcane and confusing. The official doc just made that worse For me. My default is assuming that the problem is entirely with me, But that's not true at all. I suspect I'm very far from the only person out there who feels this way.An “Introduction to Zero Trust on AWS ECS Fargate” is well-timed. Originally when Fargate launched, the concern was zero trust of AWS ECS Fargate, But we're fortunately past that now. The article is lengthy and isn't super clear as to the outcome that it's driving for and also forgets that SSO was for humans and not computers, But it's well documented and it offers plenty of code to implement such a thing yourself. It's time to move beyond static IAM roles for everything.Threat Stack has been a staple of the Boston IT scene for years; they were apparently acquired by F5 for less money than they'd raised, which seems unfortunate. I'm eagerly awaiting to see how they find F5 for culture. I bet it's refreshing.and jealous of Azure as attention in the past few episodes of this podcast, VMware wishes to participate by including a critical severity flaw that enables ransomware in vCenter or vSphere. I can't find anything that indicates whether or not VMware on AWS is affected, So those of you running that thing you should probably validate that everything's patched. reach out to your account manager, which if you're running something like that, you should be in close contact with anyway.Corey: Now from AWS themselves, what do they have to say? not much last week on the security front, their blog was suspiciously silent. scuttlebutt on Twitter has it that they're attempting to get themselves removed from an exploit, a CVE-2021-38112, which is a remote code execution vulnerability. If you have the Amazon workspaces client installed, update it because a malicious URL could cause code to be executed in the client's machine. It's been patched, but I think AWS likes not having public pointers to pass security lapses lurking around. I don't blame them, I mean, who wants that? The reason I bring it up is Not to shame them for it, but to highlight that all systems have faults in them. AWS is not immune to security problems, nor is any provider. It's important, to my mind, to laud companies for rapid remediation and disclosure and to try not to shame them for having bugs in the first place. I don't always succeed at it, But I do try. But heaven help you if you try to blame an intern for a security failure.And instead of talking about a tool, Let's do a tip of the week. Ransomware is in the news a lot, But so far, all that I've seen with regard to ransomware that encrypts the contents of S3 buckets is theoretical proofs—or proves—of concept. That said, for the data you can't afford to lose, you've got a few options that stack together neatly. The approach distills down to some combination of enabling MFA delete, enabling versioning on the bucket, and setting up replication rules to environments that are controlled by different credential sets entirely. This will of course become both maintenance-intensive and extremely expensive for some workloads, But it's always a good idea to periodically review your use of S3 and back up the truly important things.Announcer: Have you implemented industry best practices for securely accessing SSH servers, databases, or Kubernetes? It takes time and expertise to set up. Teleport makes it easy. It is an identity-aware access proxy that brings automatically expiring credentials for everything you need, including role-based access controls, access requests, and the audit log. It helps prevent data exfiltration and helps implement PCI and FedRAMP compliance. And best of all, Teleport is open-source and a pleasure to use. Download Teleport at goteleport.com. That's goteleport.com.Corey: I have been your host, Corey Quinn, and if you remember nothing else, it's that when you don't get what you want, you get experience instead. Let my experience guide you with the things you need to know in the AWS security world, so you can get back to doing your actual job. Thank you for listening to the AWS Morning Brief: Security Editionwith the latest in AWS security that actually matters. Please follow AWS Morning Brief on Apple Podcast, Spotify, Overcast—or wherever the hell it is you find the dulcet tones of my voice—and be sure to sign up for the Last Week in AWS newsletter at lastweekinaws.com.Announcer: This has been a HumblePod production. Stay humble.

Sis, we've all been there. It is soooo painful. We just wish it would end. Let's talk about some strategies to get you through to the other side, in this week's podcast. TELL ME: How do you comfort yourself when life is absolutely horrible? “[Then] Nebuchadnezzar spake, and said, Blessed [be] the God of Shadrach, Meshach, and Abednego, who hath sent his angel, and delivered his servants that trusted in him, and have changed the king's word, and yielded their bodies, that they might not serve nor worship any god, except their own God. ” ~Daniel 3:28 KJV ⚡ Connect with Leslie on Social Media: Instagram: @fan_into_flames YouTube: https://www.youtube.com/channel/UCeQxZ2eUg5LjavmLcsTc7Yg/featured Email: contact@fanintoflames.com www.fanintoflames.com ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Rebuilding Your Self-Confidence Course https://fanintoflames.kartra.com/page/tCF144 30-Daily Affirmations for Single Moms https://fanintoflames.kartra.com/page/MgU134 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Are you a single mom who is completely lost and overwhelmed? Let's set up a free consultation to see if coaching is right for you: https://fanintoflames.kartra.com/calendar/xYewMQk8uia4

It's a hard road. It's dirty. It's messy. But if you keep walking, and do the hard work needed to keep walking, At the end of the road is a stronger, more courageous, more wise version of yourself. Keep going. TELL ME: How did you recover from infidelity? “And be ye kind one to another, tenderhearted, forgiving one another, even as God for Christ's sake hat forgiven you.” ~Ephesians 4:32 KJV ⚡ Connect with Leslie on Social Media: Instagram: @fan_into_flames YouTube: https://www.youtube.com/channel/UCeQxZ2eUg5LjavmLcsTc7Yg/featured Email: contact@fanintoflames.com www.fanintoflames.com ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Rebuilding Your Self-Confidence Course https://fanintoflames.kartra.com/page/tCF144 30-Daily Affirmations for Single Moms https://fanintoflames.kartra.com/page/MgU134 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Are you a single mom who is completely lost and overwhelmed? Let's set up a free consultation to see if coaching is right for you: https://fanintoflames.kartra.com/calendar/xYewMQk8uia4

TELL ME HOW ya'll always trying to fix what is not broke. But on a more serious note, we all have insecurities. Not only do we lack confidence in our looks and bodies, but in our careers, relationships, parenting, black blah blah. We all got issues. Today we talked about what our insecurities looked like growing up, dealing with them, finding confidence in the most random things, and understanding that we're made just like how we are for a reason. Being confidence in where we stand in our paths and being proud. And you should be too! Sometimes looking at two people like us, you would assume where confidence lies, but there's always something beneath. We want everyone especially WOMEN, to understand that it's a lot more to this journey than what we can see with our eyes. You don't need to fix your face or body you need to fix your HEART and SOUL.

TELL ME HOW you think I'm a house wife?! On this episode we talked about how you don't have to feel like you need to earn the title you was given. For that matter you don't need to have that title. You just have to be YOU. We discussed how we felt like we did not have to be a certain way as a partner or even as a girl. It took us some time to understand what that meant and how we took those "titles" and made them to be. We are women but we are so much more capable than just cooking and cleaning. And if that's what you want to do, DO IT. Do what YOU want as a HUMAN. That's the only title that matters!

Tyler, the Creator's latest album, Call Me If You Get Lost, drops June 25th. Tyler, the Creator has released a short new song, “Lumberjack,” along with an accompanying video, which he directed under his Wolf Haley alias. The track — which clocks in at just over a minute — opens with a lazy spoken-word bit that finds Tyler talking about plans for a snowy weekend in Utah over woozy synths. “Lumberjack” transforms when the drums kick in, and Tyler proceeds to peel off punchlines like, “Rolls Royce pull up, black boy hop out/Shout out to my mother and my father, didn't pull out.” The “Lumberjack” video is classic Tyler as well: A series of surreal vignettes as he reads old car magazines in bed, raps on top of a stack of suitcases, gets his nails done, and finds himself trapped in a blizzard. “Lumberjack” marks Tyler's second release of the year, following “Tell Me How,” which officially arrived in March, but appeared first in a Coca-Cola commercial released a month prior. At the time, “Tell Me How” marked his first proper solo release since 2019, although in the interim he collaborated with Westside Gunn, Freddie Gibbs and the Alchemist, Lil Yachty, and Brent Faiyaz Tyler, the Creator's most recent album, the Grammy-winning Igor, was released in 2019. At the end of that year, he dropped a pair of loose singles, “Best Interest” and “Group B.” What's going on Internet, Analytic here aka Dreamz and I would like to welcome you to mine, which I call the Notorious Mass Effect Podcast! I am your Hip-Hop / Gaming News source with a little bit of R&B mixed in. FOR EPISODE 55: “TYLER, THE CREATOR - LUMBERJACK” “H.E.R. - BACK OF MY MIND" “E3 2021” & “LOGIC - INTRO” But before that make sure to Click my Linktree in my bio to access my social medias and follow, to keep up with my latest activities, if you want to financially support the show click my cash app link located towards the top of my linktree as it helps the show overall, also make sure to share this podcast as this helps the show reach more people so we can grow together and effect the masses! --- Support this podcast: https://anchor.fm/masseffect/support

Episode 114 The Lunar Saloon Every Friday from 10P - 12A PST 99.1 FM Long Beach Streaming at KLBP.org Air date : June 4, 2021 -=-=-=-=-=-=-=-=-=- Daniel Grau, Tren Del Espacio, El Sonido Magico De Daniel Grau Dooley Silverspoon, Mr Deluxe (Part I + Part II) (Bill Brewster Edit), Tribal Rites Uneda Dennard, Fantasy Ride, Fantasy Ride Choker Campbell, Carioca (Mark Grusane Edit), The Real Sound Of Mark Grusane Uta Bella, Nassa Nassa, Nassa Nassa Rebbie Jackson, Come Alive It's Saturday Night, Centipede Parbleu, Pas De Saints Au Paradis, Danse Cette Zik Arundhati Bhaumik, Turbotito, Ragz, Kaga Bole Mera (Turbotito & Ragz Rework), Kaga Bole Mera (Rework) Midnight Runners, Ithailo Disco, Siam Mutant Dance 01 Danger Zone, Lunar Tropics, Jovian Planet, Other Worlds EP ARREDO, Breakpoint, Night Attraction Myriadd, House Of Babel, True Will Jens Grajcer, Hydro Comodo, Hydro Comodo My Life with the Thrill Kill Kult, A Continental Touch, Sexplosion! Romain FX, Summer Smurf, Heart Sphere, Heart Sphere - E.R. (Emergency Relief) (Piano Mix), E.R. (Emergency Relief) Dirty Merlin vs. Vanity Pressure System, Tell Me How ft. .rael_one, VANITY PRESSURE SYSTEM (GG069) Lunar Tropics, Other Worlds, Other Worlds EP Tendts, Dust [Exclusive], LaGaSta Late Summer Compilation Vol.10 (Part II) Moon Wiring Club, Dark Stone Paving, Ghastly Garden Centres Proto Droids, Drooged Doper, Cybernetic World El Michels Affair, Life of Pablo, Adult Themes Pizzicato Five, Rain Song, Bossa Nova 2001 Psychemagik, Chimera, I Feel How This Night Should Look Joker, Digidesign, 5: Five Years Of Hyperdub Neneh Cherry, Woman (La Funk Mob Remix), Remixes Eli Gras, Flu, La Ola Interior (Spanish Ambient & Acid Exotism : 1983-1990)

What does it mean to be free? What does your heart desire? Why are there so many rules and restrictions and should we listen to them? Continuing in our sermon series confronting difficult questions about faith and life, this week we explore: "What Gives God the Right to Tell Me How to Live My Life?" We're thrilled to be joined by guest speaker Pastor Vinh Doan, Young Adults Pastor at Northview Community Church. He leads us through Psalm 46:1-11 to dig into what freedom is, who God is and how it all may intersect with our lives. --------- If you have questions or need support and prayer, please email us at hello@lordslovechurch.com or prayer@lordslovechurch.com. We would love to connect further, follow us on Instagram @lordslovechurch Please join us for live service on Zoom, every Sunday at 11:15am PST www.lordslovechurch.com/livestream

Show Notes and Links to Rowena Galavitz's Work and Allusions/Texts from Episode 46         On Episode 46, Pete talks with Rowena Galavitz about her varied and engrossing interests, including literature and arts of many kinds. The two delve deep into Rowena's vocation as an editor and translator, as Rowena shares some of her translations, as well as her process for doing said translation.         Rowena Galavitz worked as a typesetter/proofreader in New York City in the 80s, when she created art books for museums such as the Metropolitan Museum of Art and educational books for publishers such as Scholastic and while she enjoyed the art and punk rock scene of the city. When she moved to Oaxaca, Mexico, she edited, translated, or oversaw the production of coffee table art books and art catalogues about Mexican art. In Mexico City, she worked as a subtitle editor doing closed captioning for films and TV series. In the literary world, her experience includes the translation of Latin American short stories and poetry. Some of her poetry translation won a World Literature Today Prize in 2018. In her current editing and translation work, she focuses broadly on the arts and humanities and specifically on contemporary Mexican and early modern Spanish culture.           Enthusiastic and knowledgeable about literary and religious texts in the early modern world, her scholarly pursuits about women writing in Spanish have entailed archival research in Mexico and Spain, which resulted in a master's thesis on Hipólita de Jesús (1551-1624), a Barcelona nun who wrote over twenty books. Her archival research in Peru manifested in multiple presentations on a collage by Rosa de Lima (1586-1617), about which she is currently writing a journal article. Her theoretical interests include gender and sexuality, intersectional feminism, and translation theory.        She has taught classes at the university level in English as a Second Language, English composition, and Intermediate Spanish. And she has developed syllabi on courses such as: Women Who Wrote: Literature and Religion in the Premodern World, The Long History of the End of the World, and Radical Women. She loves to teach students about how language and literature work, and she is particularly at ease when she teaches about a wide range of texts on a single theme from different historical periods.       Parallel to her editorial and educational work, she created literature-inspired art in a variety of media for three decades, mostly in Mexico, where she held five one-woman exhibits, and she participated in over 60 group shows.    At around 4:55, Rowena talks about growing up in a small town, and her grandparents' influence on her, as they were big patrons of the library; Rowena also talks about the artistic sensibility that has been with her from an early age   At around 6:20, Rowena talks about how her Spanish learning and interest blossomed   At around 8:30, Rowena talks about her days living, researching, translating, learning, and creating in Oaxaca and México City   At around 11:30, Rowena talks about writers who have thrilled her through the years, including Richard Wright and his Native Son, A Journal of The Plague Year by Daniel DeFoe, Valeria Luiselli's Tell Me How it Ends, Merce Redoreda's Mirall Trencat, and Manuel Astur's San, El Libro de los Milagros.   At around 14:40, Rowena talks about her schedule as a translator/editor   At around 16:05, Rowena talks about the process, art, and science of translating and the “decisions” she makes   At around 22:15, Rowena talks about how she researches and uses historical context in her translation, including things that may not match up with 2021's societal norms   At around 26:30, Rowena talks about balancing the different forms of spoken Spanish as she does her translations   At around 29:00, Rowena talks about some of her favorite genres to work with in translation   At around 31:00, Rowena talks about how she reads other translator's work and working with closed captioning and subtitles   At around 33:10, Rowena talks about the Catalan language and her learning of the language    At around 35:00, Pete and Rowena read an excerpt of the English and Spanish translation done by Rowena of “La Ciudad Lucía” by Paula Ilabaca Nuñez, also discussing Rowena's thought process in doing the translation as she highlights alliteration, enjambments, etc.    At around 41:15, Rowena talks about her future projects, including translating some work by the great Sor Juana Inés de la Cruz and Elena Poniatowska and Javier Sicilia   At around 43:00, Pete and Rowena talks about the subtleties of “tú” and “Ud.” and its peculiarities in translation as seen in the great story by Juan Rulfo, “No Oyes Ladrar los Perros”-check out Pete's earlier episode about this story   You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Spotify and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm convinced is a unique and spirited look at an often-ignored art form. The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.

Monster Truck are a Canadian rock band from Hamilton, Ontario. Members include lead singer and bassist Jon Harvey, guitarist Jeremy Widerman, keyboardist Brandon Bliss and drummer Steve Kiely. Monster Truck's 2011 EP The Brown EP found success for them in Canada. The single "Seven Seas Blues" charted in the top ten of the both the active rock airplay chart and the alternative rock airplay chart in the spring of 2012. After the release of two EPs, their debut album Furiosity was released on Dine Alone Records on May 28, 2013 and distributed on Universal. The band's second studio album entitled Sittin' Heavy was released on Mascot Records on February 19, 2016. The band won the 2013 Juno Award for Breakthrough Group of the Year.They played the Download Festival in 2013 and supported Vista Chino on their European tour in October and November 2013. The band started recording the Sittin' Heavy album in January 2015 after touring with Alice in Chains, opening for them on their 2014 North American tour. Their track "Sweet Mountain River" was included in Ubisoft's music game Rocksmith 2014,"Seven Seas Blues" in EA Sports' NHL 13, and "Old Train" was used in an episode of Orphan Black, "Variable and Full of Perturbation". The first single from their second studio album was released on October 19, 2015, a track called "Don't Tell Me How to Live". A song, "The Enforcer", was also available only when pre-ordering the album. Their song "Righteous Smoke" is featured in EA Sports' NHL 17. The song "The Enforcer" was also used as the goal song for the Toronto Maple Leafs after every goal scored with a "Go Leafs Go" chant added to the song. The band's third studio album, True Rockers, was announced on June 1, 2018, upon the release of the lead single "Evolution". The title track featuring Dee Snider was released as a promotional single the following week. The album was released on September 14, 2018.

Welcome back to the second episode of Tell Me How! Family is always first in our eyes. It's the foundation of who we are and how we live our lives on a day to day basis. Sometimes because family is everything, we lose ourselves in that. Because they're family, we allow things that make us uncomfortable. We go above and beyond for them. Whatever they need, we got it. Don't even worry, I GOTCHU! And vice versa. However, sometimes(or many times) some people don't realize how much is done for them. Or how their behavior and their words can truly affect who we are. Today we're hanging out with Tiny's niece, Lisette (NOT Lizette, sorry..) and how she took care of her family as the oldest sibling because that's her family, and it's only right, RIGHT? But who's taking care of her? And do they even deserve it? Thank you for listening and please leave a review. Catch yah on the next one!

Welcome to the first episode of Tell Me How. Let me TELL YOU HOW we are so excited to be here to share our story, experiences, opinions and all that good stuff. We want to be the thing you need. A friend to about elevating your life in many different aspects: work, kids, & goals. Come join us to talk real shit and give opinions, all while we laugh, cry and probably argue. Go tell them how you joined a new podcast!

Jawad Ahsan, CFO of Axon, the significant technology & weapons company, has found incredible success despite not following the expected path toward it. This week on AMP we discuss his new leadership book and his thoughts on team building, tasers, and tackling diversity. As a first-generation Pakistani-American raised outside Boston, Jawad entered college with the intention of pursuing medicine, right up until his C in chemistry. From thereon in he decided to forge his own path, leading to a series of esteemed management programs and CFO roles for major companies. With an atypical finance background, Jawad became incredibly passionate about leadership development, regularly presenting on the topic. Last December he made good on the frequent suggestion that he write a book, publishing What They Didn't Tell Me: How to Be a Resilient Leader and Build Teams You Can Trust. We dissect the book with Jawad, honing in on the idea of defining one's North Star. Are you one of the few people that can clearly articulate what your path in life is, or do you go on autopilot and rely on serendipity to advance? He outlines the four uncoachable traits essential for building strong teams, fanboys over MBAs with Asad, and gives his 21-year-old self some advice on open-mindedness, cultivating mentorship, and dispassionately filtering feedback. Even feedback like being told—not once, but twice—that there is something wrong with the way you learn. As an executive of a company primarily producing tasers, body cameras, and software for law enforcement, we ask why he wrote this book now, in this political climate. He feels strongly that the lessons he's sharing can change people's lives. Too, he's proud of the achievements at Axon, whose mission is to protect life and eventually make the bullet obsolete. Founded after two of CEO Rick Smith's high school classmates were murdered in a road rage incident, Axon has saved over 200,000 lives with its products. Jawad shares two remarkable stories about de-escalation: that of an armed teenage girl in the midst of a very public mental health crisis, and of a young Black Axon engineer remotely activating the body cam of the officer who pulled him over. Axon has also developed programs that track when officers repeatedly ignore policy and now conducts empathy training via VR by putting officers in the “offender's” shoes. In addition to CFO, Jawad is Axon's chief diversity & inclusion officer. He speaks about the importance of giving platforms to minorities, his preference for plurality over diversity, and how a unique American meritocracy offers myriad opportunities, as long as you're really good at what you do. Next up? With their body cams being used in some of the most high-profile cases in 2020, Axon is trying to find a way to serve as a bridge between our communities and law enforcement. This interview was recorded in January 2021. Check out what Jawad or Axon are up to on social media, and find out more about What They Didn't Tell Me here. American Muslim Project is a production of Rifelion, LLC. Writer and Researcher: Lindsy Gamble Show Edited by Mark Annotto and Asad Butt Music by Simon Hutchinson Hosted by Asad Butt Learn more about your ad choices. Visit podcastchoices.com/adchoices

Tell Me How, Tell Me Why. iRadio in the Afternoon with Dave & Fionnuala Weekdays from 3 pm. See acast.com/privacy for privacy and opt-out information.

Episode Notes The Spits - IV - Live In A Van Benny The Jet Rodriguez - Home Run - Heart Attack Toys That Kill - Fambly 42 - Stye Screeching Weasel - Some Freaks of Atavism - Back of Your Head Bent Outta Shape - Stray Dog Town - Tell Me Why Off With Their Heads - Don't Tell Me How to (Live) - Shirts Recess Japan くるぴの - かえるの歌 Fuze - Stolen Son The Doodles - Trick or Treat Erasers - Picnic Slaughterhouse - Fun Factory - Fun Factory Clown Keys - Opening The Caskets Support Terminal Island Lockdown by donating to their Tip Jar: https://tips.pinecast.com/jar/terminal-island-lockdown Find out more at https://terminal-island-lockdown.pinecast.co

Hoy comenzamos TOMA UNO con “Lucky Strike”, la canción más escuchada en las emisoras de Texas que viene de la mano de Seth Ward & The Silence, dando continuidad al Ep que editaron el pasado año. Lo hacemos antes de irnos a la televisión para fijarnos en dos series con bandas sonoras muy recomendables. Una de ellas tiene que ver con el piloto de una especie de curiosa remake de Walker Texas Ranger que protagonizó Chuck Norris en la segunda mitad de los 90 y primeros 2000 y que subraya la importancia de Turnpike Troubadours como emblema de la Red Dirt Music. La segunda es Yellowstone, dirigida y creada por Taylor Sheridan y con Kevin Costner encabezando su cartel. Descubriendo a músicos como Zach Bryan y dando un mayor impulso a Ryan Bingham, en su doble vertiente de músico y actor. Corb Lund acaba de lanzar una edición de lujo de su emblemático álbum Cabin Fever, uno de los más destacados de 2012, especialmente en su Canadá natal. La pandemia le ha ayudado a buscar en sus archivos algunos temas que quedaron ocultos de aquellas sesiones. Por contra, Ward Davis un experto compositor de Monticello, en Arkansas, ha decidido dar el paso definitivo de ser un compositor reconocido a lanzar un álbum tan poderoso como Black Cats and Crows, haciéndose eco de la angustia ambiental, esa que no va a ninguna parte. Uno de los EPs del momento es el de Wade Bowen. Hablamos de The Waiting, una sorpresa que reúne seis canciones que el músico tejano solía interpretar en directo, entre las que es preciso destacar “Who I Am”, una balada que solía tocar en el Blue Light junto a su banda, West 84. Y hemos tenido la sorpresa de saber que Rory Feek, que perdió a su mujer Joey debido al cáncer hace cinco años, ha decidido lanzar su primer álbum en solitario, Gentle Man, el próximo mes de junio. Su anticipo es una versión a "The Times They Are A-Changin'" de Bob Dylan en una especial significación personal. El veterano Kris Kristofferson ha confirmado que su retirada de los escenarios y de las pantallas tuvo lugar hace un año, cuando intervino en la quinta edición del Outlaw Country Cruise, aunque tiene en mente algunos proyectos especiales que comenzarán muy posiblemente el próximo mes de junio, en el que celebrará su cumpleaños número 85. Estaremos muy atentos mientras hemos recordado que la última canción que interpretó en directo fue “Please Don’t Tell Me How the Story Ends”, que originalmente cantó con su entonces mujer Rita Coolidge en 1978. También hemos resaltado el homenaje final de sus compañeros de pasaje de enero de 2020 cantando con él "Why Me". Para despedir este primer mes de 2021 hemos saltado el charco y nos hemos encontrado con el dúo irlandés como The Lost Brothers y el granjero escocés Colin Macleod. Son otras dos muestras de la capacidad que la Americana tiene para saltar todas las fronteras.Hoy comenzamos TOMA UNO con “Lucky Strike”, la canción más escuchada en las emisoras de Texas que viene de la mano de Seth Ward & The Silence, dando continuidad al Ep que editaron el pasado año. Lo hacemos antes de irnos a la televisión para fijarnos en dos series con bandas sonoras muy recomendables. Una de ellas tiene que ver con el piloto de una especie de curiosa remake de Walker Texas Ranger que protagonizó Chuck Norris en la segunda mitad de los 90 y primeros 2000 y que subraya la importancia de Turnpike Troubadours como emblema de la Red Dirt Music. La segunda es Yellowstone, dirigida y creada por Taylor Sheridan y con Kevin Costner encabezando su cartel. Descubriendo a músicos como Zach Bryan y dando un mayor impulso a Ryan Bingham, en su doble vertiente de músico y actor. Corb Lund acaba de lanzar una edición de lujo de su emblemático álbum Cabin Fever, uno de los más destacados de 2012, especialmente en su Canadá natal. La pandemia le ha ayudado a buscar en sus archivos algunos temas que quedaron ocultos de aquellas sesiones. Por contra, Ward Davis un experto compositor de Monticello, en Arkansas, ha decidido dar el paso definitivo de ser un compositor reconocido a lanzar un álbum tan poderoso como Black Cats and Crows, haciéndose eco de la angustia ambiental, esa que no va a ninguna parte. Uno de los EPs del momento es el de Wade Bowen. Hablamos de The Waiting, una sorpresa que reúne seis canciones que el músico tejano solía interpretar en directo, entre las que es preciso destacar “Who I Am”, una balada que solía tocar en el Blue Light junto a su banda, West 84. Y hemos tenido la sorpresa de saber que Rory Feek, que perdió a su mujer Joey debido al cáncer hace cinco años, ha decidido lanzar su primer álbum en solitario, Gentle Man, el próximo mes de junio. Su anticipo es una versión a "The Times They Are A-Changin'" de Bob Dylan en una especial significación personal. El veterano Kris Kristofferson ha confirmado que su retirada de los escenarios y de las pantallas tuvo lugar hace un año, cuando intervino en la quinta edición del Outlaw Country Cruise, aunque tiene en mente algunos proyectos especiales que comenzarán muy posiblemente el próximo mes de junio, en el que celebrará su cumpleaños número 85. Estaremos muy atentos mientras hemos recordado que la última canción que interpretó en directo fue “Please Don’t Tell Me How the Story Ends”, que originalmente cantó con su entonces mujer Rita Coolidge en 1978. También hemos resaltado el homenaje final de sus compañeros de pasaje de enero de 2020 cantando con él "Why Me". Para despedir este primer mes de 2021 hemos saltado el charco y nos hemos encontrado con el dúo irlandés como The Lost Brothers y el granjero escocés Colin Macleod. Son otras dos muestras de la capacidad que la Americana tiene para saltar todas las fronteras. Escuchar audio

In today’s short

Tell Me How, Tell Me Why with Dave & Fionnuala on iRadioEvery weekday from 3pm See acast.com/privacy for privacy and opt-out information.

Perfecting his craft in Rocky Mountain ski lodges and Nashville’s Honky Tonks, Teddy Robb has a laid back voice that grabs you like the Colorado winter air and wraps you up in a blanket with someone you love next to a warm fire.A native of Akron, Ohio, Teddy grew up loving the outdoors. He fished, hiked, and played football through college at Kent State. It was during college when his passion turned to music the moment he heard George Strait’s “Troubadour”. That was it, the decision was made. He called his parents, packed his bags and hit the road. Teddy spent time in Vail playing music to support his snowboarding habit before making the final move to Nashville.Teddy’s debut track “Lead Me On,” was co-written with Ryan Beaver, Matt McGinn and Aaron Eshuis. His second offering, “Really Shouldn’t Drink Around You” was written by GRAMMY Award-winning songwriters Shane McAnally and Josh Osborne, along with chart-topping songwriter and Old Dominion bandmember, Trevor Rosen. Teddy’s third track, “Tell Me How,” was co-written by Teddy, Blake Chaffin, Aaron Eshuis.Support the show (http://www.patreon.com/skiphappens)

Jenny welcomes a new guest - Tina - and we chat about reading more books from our own shelves and great books we've read recently. Jenny also asks about Tina's knitting, a new hobby she enjoys alongside reading.Download or listen via this link: Reading Envy 206: Black Sheep Subscribe to the podcast via this link: FeedburnerOr subscribe via Apple Podcasts by clicking: SubscribeOr listen through TuneIn Or listen on Google Play Or listen via StitcherOr listen through Spotify New! Listen through Google Podcasts Books discussed:The House of Broken Angels by Luis Alberto UrreaSilences So Deep by John Luther AdamsA River in Darkness by Masaji Ishikawa, translated by Risa KobayashiBeowulf: A New Translation by Maria Dahvana HeadleyTwo Wings to Fly Away by Penny MickelburyThe Shadow King by Maaza MengisteOther mentions:#audioknittingRizzoli & Isles novels by Tess GerritsenI Contain Multitudes by Ed YongThe Gene by Siddhartha Mukherjee2 Knit Lit Chicks (podcast)RavelryRBG dissent sweater and Empower cowl#yarnbombingInto the Beautiful North by Luis Alberto UrreaThe Devil's Highway by Luis Alberto UrreaThe Hummingbird's Daughter by Luis Alberto UrreaQueen of America by Luis Alberto UrreaPBS Reads July 2019Urrea Facebook pageThe Writer's Library edited by Nancy Pearl and Jeff SchwagerPachinko by Min Jin LeeConvenience Store Woman by Sayaka Murata, translated by Ginny Tapley TakemoriMimi Patterson books by Penny MickelburySmart Podcast, Trashy Books - Beverly Jenkins, episode 421Burnt Sugar by Avni DoshiBeneath the Lion's Gaze by Maaza MengisteLost Children Archive by Valeria LuiselliTell Me How it Ends: An Essay in 40 Questions by Valeria LuiselliNew York Society Library - Maaza MengisteCelestial Bodies by Jokha AlharthiMagic Lessons by Alice HoffmanRelated episodes:Episode 088 - Author Head Space with Sara MooreEpisode 133 - To Understand the World with Lauren WeinholdEpisode 160 - Reading Plays with Elizabeth Episode 161 - Women in Translation Month Recommendations with LaurenEpisode 183 - Birthing Rabbits with JessicaEpisode 189 - Surreal Superpowers with TimEpisode 203 - Backlist with Marion Stalk us online: Tina at GoodreadsTina is @godmotherx5 on Instagram and LitsyJenny at GoodreadsJenny on TwitterJenny is @readingenvy on Instagram and Litsy All links to books are through Bookshop.org, where I am an affiliate. I wanted more money to go to the actual publishers and authors.

Music Producer, Musician, Voice Over Artist, Multi Award Winning Broadcaster and the host of Dara Quilty's Different Podcast, Dara Quilty is an Irish man, making it in America.On this Election Special of Tell Me How, Tell Me Why he tells us about his experiences living in 'Trump's America' during a pandemic and in the height of election season.LISTEN to Dara Quilty's Different Podcast here - linktr.ee/daraquiltyThe Lift with Dave & FionnualaWeekdays on iRadio3 to 6pm See acast.com/privacy for privacy and opt-out information.

Perfecting his craft in Rocky Mountain ski lodges and Nashville’s Honky Tonks, Teddy Robb has a laid-back voice that grabs you like the Colorado winter air and wraps you up in a blanket with someone you love next to a warm fire. A native of Akron, Ohio, Teddy grew up loving the outdoors. He fished, hiked, and played football through college in Ohio, however, his passion turned to music the moment he heard George Strait’s “Troubadour.” That was it, the decision was made. He called his parents, packed his bags and hit the road. Teddy spent time in Colorado playing music to support his snowboarding habit before making the final move to Nashville.  Teddy’s debut single, “Really Shouldn't Drink Around You,” written by multi-GRAMMY Award-winning songwriters Shane McAnally and Josh Osborne, along with chart-topping songwriter and Old Dominion bandmember, Trevor Rosen, has over 50 million worldwide streams to date and shipped to country radio last year. Teddy performed the song to a national audience on NBC’s TODAY Show and his music has been written about in the pages of Rolling Stone, Billboard and more. In April 2020 Teddy released his self-titled, debut EP. The five song project includes “Really Shouldn’t Drink Around You,” as well as previously released tracks “Lead Me On” and “Tell Me How,” which have collectively been streamed over 80 million times. 

Budget 2021MORE DETAILS HERE – https://www.iradio.ie/budget2021/Tell Me HowTell Me WhyTuesdays at 4pm on The Lift on iRadioFollow Sean Defoe on Twitter – twitter.com/SeanDefoeThe post Tell Me How, Tell Me Why – Budget 2021 appeared first on iRadio. See acast.com/privacy for privacy and opt-out information.

Tell Me HowTell Me WhyPart of The Lift on iRadio with Dave & FionnualaWeekdays from 3pmFollow Ciara on Twitter – twitter.com/ciaraobrienThe post EP2 – Tell Me How, Tell Me Why – Phone Addiction appeared first on iRadio. See acast.com/privacy for privacy and opt-out information.

Tell Me How,Tell Me Why.Part of The Lift on iRadio with Dave & FionnualaWeekdays from 3pmManna Aero – www.manna.aero/The post EP1 – Tell Me How, Tell Me Why – Drone Deliveries appeared first on iRadio. See acast.com/privacy for privacy and opt-out information.

No, Karen, You Don’t Get to Tell Me How to Vote | Elitist Dem Voters Are the True Problem Howell Underground on Youtube https://www.youtube.com/c/HowellUnderground/videos #NoKaren #ComfyDems No, Karen, You Don’t Get to Tell Me How to Vote https://medium.com/@adventuresinthefreeworld/no-karen-you-dont-get-to-tell-me-how-to-vote-126da4f689d8 Contact me directly: https://www.facebook.com/allen.kit.howell https://twitter.com/HwlUnderground --- Support this podcast: https://anchor.fm/allen-c-howell/support

Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Bi-elijah by Y2K92 on The Songs for the NOT-YETs 5′30″ 悪夢 (Nightmare) by lIlI（リリ） on S.D.S =零= (Subscription Double Suicide =Zero=) 7′10″ Puff-Puff by Gaijin Blues 11′50″ WHAT WE DREW 우리가 그려왔던 by Yaeji on WHAT WE DREW 우리가 그려왔던 15′40″ Like this by park hye jin on How Can I 19′10″ Are U Down by Jayda G on Both of Us / Are U Down 23′51″ That Beat by Quavius on Find Ready 28′40″ It’s Around Us, It’s Everywhere by Soela on Genuine Silk 34′55″ Vmeste by OMMA on 1905 39′50″ Escape the Night by Jun Kamoda on Escape the Night 43′30″ Remember When by Wndwsun 47′10″ MutuaI FeeIin’ by Somethin' Sanctified 54′00″ Lebaron (Side 2 Side) [feat. Coco] by Clone Suspect on Harsh Riddims VoL. 4 58′20″ Come 2 Me ft. Mat/Matix by Jamma-Dee on Jamma-Dee - Vol.3 63′05″ Dont Be Afraid by Knxwledge on 1988 64′55″ Trust the Order (feat. Shabazz Palaces) by BSA Gold on Saturn Return 69′00″ INTERNAL THREATS [prod: BIGFLOWERS] by NAPPYNAPPA, BIG FLOWERS on OBSOLETE 71′00″ Stuck by OSHUN 74′50″ Sing by Kara on Colors 76′40″ 24-7 (feat. Ego Ella May) by Nubiyan Twist 80′00″ Oxygen by Fousheé on Oxygen X Late Night 82′40″ Blue Zones_feat_Zola Aminah by Sporting Life on labplex.eco 84′30″ Sapphire (Gleam Eyes) by Porter Ray on Eye of the Beholder 87′45″ Fast Learner (feat. Purple Tape Nate) by Shabazz Palaces on The Don of Diamond Dreams 93′00″ Change Up by Danny Brown on uknowhatimsayin¿ 95′40″ Black Diamond (feat Deem Spencer) by Sporting Life on Black Diamond 98′50″ Pullup by Pink Siifu on I'm Still. 102′00″ Black Moses (feat. JPEGMAFIA) by Channel Tres 106′00″ Tell Me How by Taphari 109′00″ Theme Song (feat. Jacks) by Suzi Analogue on ZONEZ V.4: Love Me Louder 111′00″ Ridin by Luz1e on Ridin 117′00″ EKG(club mix) by fleet.dreams

You are now listening to Sipping on the Rocks Vol.21Hosted By WhoKilldKennyFollow us on Instagram: @Whokilldkenny88 @passmycupradio @passmycup @passmycupusaFollow us on Twitter: @passmycupradioFollow us on Facebook: Pass My Cup RadioTRACK LIST1. 77- Gimme A Dollar2. AC/DC- Jailbreak3. The Lazys- All Fired Up4. Limp Bizket- Rollin5. Kidd Rock- Bawitdaba6. Linkin Park- In the End7. Black Mirrors- Burning Warriors8. Monster Truck- Don't Tell Me How to Live9. Hannah Wicklund- Bomb Thru the Breeze10. GATC- Rock n Roll is Here to Stay11. Tyketto- Forever Young12. Soft Cell- Tainted Love13. Black Coffee- I Barely Know Her14. My Chemical Romance- Black Parade

Muchas Gracias to my sugary sweet, bibliophile buddy, Alea for being my first guest!!! Alea has a book youtube channel and loves dem big books. Today we discuss books of all genres, that we enjoy muchly and would wanna see a movie or TV show of! If you want more Alea (duh, you do), follow her on twitter and Insta @AleaUncharted and check out her youtube at Alea Uncharted. If you wanna look up the books we discussed here are our lists: Alea's List 1. Vicious by VE Schwab 2. Tell Me How you Really Feel by Aminah Mae Safi 3. My Sister, the Serial Killer by Oyinkan Braithwaite 4. If I was your Girl by Meredith Russo 5. Sawkill Girls by Claire Legrand Kat's list 1. The Wish List Eoin Colfer 2. The Witch Series (Beginning with The Witch's Sister) by Phyllis Reynolds Naylor 3. The Book of Joe by Jonathan Tropper 4. Boy Meets Boy by David Levithan 5. The Language of Flowers by Vanessa Diffenbaugh Thanks for listening my sweets! Have a beautiful Bunday -Kat

Cõvco - CONSCIENTEOFTHESOUL - INTRO Björk - Headphones Yoko Kanno & The Seatbelts - Piano Black (Episode 03) Nailah Hunter - Nacre Meadow Lechuga Zafiro - Oração (Pense & Dance) (feat. Linn da Quebrada) Nuyorican Soul - Taita Cañeme Elysia Crampton - Grove (feat. Embaci) DJ GRAN SPORT - Three Sides (Smoking Hay) dj shshunj - butterfly gg. mothra - Tell Me How Totems - Stunt 151 LION DIXON - TOURM4LIN zeroh - Mudblood Kraus - A Golden Brain Nada Labyrinth - Kraus Narin Elysia Crampton - Amaru-Otorongo (Dried Pine) Eartheater - Below The Clavicle Dean Blunt - Funktion Dave Quam - Ghost Cuts  Elysia Crampton - Dog (feat. Jeremy Rojas) Miles Davis - Robot  Ryan Hendricks - JAZZ IS NOW  Bill Evans Trio - Peace Piece ana roxanne - In a Small Valley Elysia Crampton - Spring of Wound

Episode seventy-four of A History of Rock Music in Five Hundred Songs looks at “It Doesn’t Matter Any More” by Buddy Holly, and at the reasons he ended up on the plane that killed him. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Chantilly Lace” by the Big Bopper.  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/—-more—- Before I get to the resources and transcript, a quick apology. This one is up more than a day late. I’ve not been coping very well with all the news about coronavirus outbreak (I’m one of those who’s been advised by the government to sel-isolate for three months) and things are taking longer than normal. Next week’s should be up at the normal time. Also, no Mixcloud this week — I get a server error when uploading the file to Mixcloud’s site. Erratum I mention that Bob Dylan saw the first show on the Winter Dance Party tour with no drummer. He actually saw the last one with the drummer, who was hospitalised that night after the show, not before the show as I had thought.  Resources   I’ve used two biographies for the bulk of the information here — Buddy Holly: Learning the Game, by Spencer Leigh, and Rave On: The Biography of Buddy Holly by Philip Norman. I also used  Beverly Mendheim’s book on Ritchie Valens. There are many collections of Buddy Holly’s work available, but many of them are very shoddy, with instrumental overdubs recorded over demos after his death. The best compilation I am aware of is The Memorial Collection, which contains almost everything he issued in his life, as he issued it (for some reason two cover versions are missing) along with the undubbed acoustic recordings that were messed with and released after his death. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   Before I begin, this episode will deal with both accidental bereavement and miscarriage, so if you think those subjects might be traumatising, you may want to skip this one. Today, we’re going to look at a record that holds a sad place in rock and roll’s history, because it’s the record that is often credited as “the first posthumous rock and roll hit”. Now, that’s not strictly true — as we’ve talked about before in this podcast, there is rarely, if ever, a “first” anything at all, and indeed we’ve already looked at an earlier posthumous hit when we talked about “Pledging My Love” by Johnny Ace. But it is a very sad fact that “It Doesn’t Matter Any More” by Buddy Holly ended up becoming the first of several posthumous hit records that Holly had, and that there would be many more posthumous hit records by other performers after him than there had been before him. Buddy Holly’s death is something that hangs over every attempt to tell his story. More than any other musician of his generation, his death has entered rock and roll mythology. Even if you don’t know Holly’s music, you probably know two things about him — that he wore glasses, and that he died in a plane crash. You’re likely also to know that Ritchie Valens and the Big Bopper died in the same crash, even if you don’t know any of the songs that either of those two artists recorded. Normally, when you’re telling a story, you’d leave that to the end, but in the case of Holly it overshadows his life so much that there’s absolutely no point trying to build up any suspense — not to mention that there’s something distasteful about turning a real person’s tragic death into entertainment. I hope I’ve not done so in episodes where other people have died, but it’s even more important not to do so here. Because while the death of Buddy Holly, Ritchie Valens, and the Big Bopper is always portrayed as an accident, the cause of their death has its roots in exploitation of young, vulnerable, people, and a pressure to work no matter what. So today, we’re going to look at how “It Doesn’t Matter Any More” became Buddy Holly’s last single: [Excerpt: Buddy Holly, “It Doesn’t Matter Any More”] People often talk about how Buddy Holly’s career was short, but what they don’t mention is that his chart career was even shorter. Holly’s first chart single, “That’ll Be the Day”, was released in May 1957. His last top thirty single during his lifetime, “Think it Over”, was released in May 1958. By the time he went on the Winter Dance Party, the tour that led to his death, in January 1959, he had gone many months without a hit, and his most recent record, “Heartbeat”, had only reached number eighty-two. He’d lost every important professional relationship in his life, and had split from the group that had made him famous. To see how this happened, we need to pick up where we left off with him last time. You’ll remember that when we left the Crickets, they’d released “That’ll Be the Day”, and it hadn’t yet become a hit, and they’d also released “Words of Love” as a Buddy Holly solo single. While there were different names on them, the same people would make the records, whether it was a solo or group record — Buddy Holly on vocals and lead guitar, Niki Sullivan on rhythm guitar, Jerry Allison on drums, Joe Mauldin on bass, and producer Norman Petty and his wife sometimes adding keyboards. They didn’t distinguish between “Buddy Holly” and “Crickets” material when recording — rather they separated it out later. The more straight-ahead rock and roll records would have backing vocals overdubbed on them, usually by a vocal group called the Picks, and would be released as Crickets records, while the more experimental ones would be left with only Holly’s vocal on, and would be released as solo records. (There were no records released as by “Buddy Holly and the Crickets” at the time, because the whole idea of the split was that DJs would play two records instead of one if they appeared to be by different artists). And they were recording *a lot*. Two days after “That’ll be the Day” was released, on the twenty-seventh of May 1957, they recorded “Everyday” and “Not Fade Away”. Between then and the first of July they recorded “Tell Me How”, “Oh Boy”, “Listen to Me”, “I’m Going to Love You Too”, and cover versions of Fats Domino’s “Valley of Tears” and Little Richard’s “Ready Teddy”. Remember, this was all before they’d had a single hit — “That’ll Be the Day” and “Words of Love” still hadn’t charted. This is quite an astonishing outpouring of songs, but the big leap forward came on the second of July, when they made a second attempt at a song they’d attempted to record back in late 1956, and had been playing in their stage show since then. The song had originally been titled “Cindy Lou”, after Buddy’s niece, but Jerry Allison had recently started dating a girl named Peggy Sue Gerrison, and they decided to change the lyrics to be about her. The song had also originally been played as a Latin-flavoured number, but when they were warming up, Allison started playing a fast paradiddle on his snare drum. Holly decided that they were going to change the tempo of the song and have Allison play that part all the way through, though this meant that Allison had to go out and play in the hallway rather than in the main studio, because the noise from his drums was too loud in the studio itself. The final touch came when Petty decided, on the song’s intro, to put the drums through the echo chamber and keep flicking the switch on the echo from “on” to “off”, so it sounded like there were two drummers playing: [Excerpt: Buddy Holly, “Peggy Sue”] Someone else was flicking a switch, too — Niki Sullivan was already starting to regret joining the Crickets, because there really wasn’t room for his rhythm guitar on most of the songs they were playing. And on “Peggy Sue” he ended up not playing at all. On that song, Buddy had to switch between two pickups — one for when he was singing, and another to give his guitar a different tone during the solo. But he was playing so fast that he couldn’t move his hand to the switch, and in those days there were no foot pedals one could use for the same sort of effect. So Niki Sullivan became Holly’s foot pedal. He knelt beside Holly and waited for the point when the solo was about to start, and flicked the switch on his guitar. When the solo came to an end again, Sullivan flicked the switch again and it went back to the original sound. [Excerpt: Buddy Holly, “Peggy Sue”] It’s a really strange sounding record, if you start to pay attention to it. Other than during the solo, Holly’s guitar is so quiet that you can hear the plectrum as loudly as you can hear the notes. He just keeps up a ram-a-ram-a quaver downstrum throughout the whole song, which sounds simple until you try to play it, at which point you realise that you start feeling like your arm’s going to fall off about a quarter of the way through. And there’s just that, those drums (playing a part which must be similarly physically demanding) with their weird echo, and Holly’s voice. In theory, Joe Mauldin’s bass is also in there, but it’s there at almost homeopathic levels. It’s a record that is entirely carried by the voice, the drums, and the guitar solo. Of course, Niki Sullivan wasn’t happy about being relegated to guitar-switch-flicker, and there were other tensions within the group as well. Holly was having an affair with a married woman at the time — and Jerry Allison, who was Holly’s best friend as well as his bandmate, was also in love with her, though not in a relationship with her, and so Holly had to keep his affair hidden from his best friend. And not only that, but Allison and Sullivan were starting to have problems with each other, too. To help defuse the situation, Holly’s brother Larry took him on holiday, to go fishing in Colorado. But even there, the stress of the current situation was showing — Buddy spent much of the trip worried about the lack of success of “That’ll Be the Day”, and obsessing over a new record by a new singer, Paul Anka, that had gone to number one: [Excerpt: Paul Anka, “Diana”] Holly was insistent that he could do better than that, and that his records were at least as good. But so far they were doing nothing at all on the charts. But then a strange thing happened. “That’ll Be the Day” started getting picked up by black radio stations. It turned out that there had been another group called the Crickets — a black doo-wop group from about five years earlier, led by a singer called Dean Barlow, who had specialised in smooth Ink Spots-style ballads: [Excerpt The Crickets featuring Dean Barlow, “Be Faithful”] People at black radio stations had assumed that this new group called the Crickets was the same one, and had then discovered that “That’ll Be the Day” was really rather good. The group even got booked on an otherwise all-black tour headlined by Clyde McPhatter and Otis Rush, booked by people who hadn’t realised they were white. Before going on the tour, they formally arranged to have Norman Petty be their manager as well as their producer. They were a success on the tour, though when it reached the Harlem Apollo, which had notoriously hostile audiences, the group had to reconfigure their sets, as the audiences didn’t like any of Holly’s original material except “That’ll Be the Day”, but did like the group’s cover versions of R&B records like “Bo Diddley”: [Excerpt: Buddy Holly, “Bo Diddley (Undubbed Version)”] Some have said that the Crickets were the first white act to play the Apollo. That’s not the case — Bobby Darin had played there before them, and I think so had the jazz drummer Buddy Rich, and maybe one or two others. But it was still a rarity, and the Crickets had to work hard to win the audience around. After they finished that tour, they moved on to a residency at the Brooklyn Paramount, on an Alan Freed show that also featured Little Richard and Larry Williams — who the Crickets met for the first time when they walked into the dressing room to find Richard and Williams engaged in a threesome with Richard’s girlfriend. During that engagement at the Paramount, the tensions within the group reached boiling point. Niki Sullivan, who was in an awful mood because he was trying to quit smoking, revealed the truth about Holly’s affair to Allison, and the group got in a fist-fight. According to Sullivan — who seems not to have always been the most reliable of interviewees — Sullivan gave Jerry Allison a black eye, and then straight away they had to go to the rooftop to take the photo for the group’s first album, The “Chirping” Crickets. Sullivan says that while the photo was retouched to hide the black eye, it’s still visible, though I can’t see it myself. After this, they went into a three-month tour on a giant package of stars featuring Chuck Berry, Fats Domino, Paul Anka, the Everly Brothers, the Bobbettes, the Drifters, LaVern Baker, and many more. By this point, both “That’ll Be the Day” and “Peggy Sue” had risen up the charts — “That’ll Be the Day” eventually went to number one, while “Peggy Sue” hit number three — and the next Crickets single, “Oh Boy!” was also charting. “Oh Boy!” had originally been written by an acquaintance of the band, Sonny West, who had recorded his own version as “All My Love” a short while earlier: [Excerpt: Sonny West, “All My Love”] Glen Hardin, the piano player on that track, would later join a lineup of the Crickets in the sixties (and later still would be Elvis’ piano player and arranger in the seventies). Holly would later also cover another of West’s songs, “Rave On”. The Crickets’ version of “Oh Boy!” was recorded at a faster tempo, and became another major hit, their last top ten: [Excerpt: The Crickets, “Oh Boy!”] Around the time that came out, Eddie Cochran joined the tour, and like the Everly Brothers he became fast friends with the group. The group also made an appearance on the Ed Sullivan Show, with Holly, Mauldin, and Allison enthusiastically performing “That’ll Be the Day” and “Peggy Sue”, and Sullivan enthusiastically miming and playing an unplugged guitar. Sullivan was becoming more and more sidelined in the group, and when they returned to Lubbock at the end of the tour — during which he’d ended up breaking down and crying — he decided he was going to quit the group. Sullivan tried to have a solo career, releasing “It’s All Over” on Dot Records: [Excerpt: Niki Sullivan, “It’s All Over”] But he had no success, and ended up working in electronics, and in later years also making money from the Buddy Holly nostalgia industry. He’d only toured as a member of the group for a total of ninety days, though he’d been playing with them in the studio for a few months before that, and he’d played on a total of twenty-seven of the thirty-two songs that Holly or the Crickets would release in Holly’s lifetime. While he’d been promised an equal share of the group’s income — and Petty had also promised Sullivan, like all the other Crickets, that he would pay 10% of his income to his church — Sullivan got into endless battles with Petty over seeing the group’s accounts, which Petty wouldn’t show him, and eventually settled for getting just $1000, ten percent of the recording royalties just for the single “That’ll Be the Day”, and co-writing royalties on one song, “I’m Going to Love You Too”. His church didn’t get a cent. Meanwhile, Petty was busy trying to widen the rifts in the group. He decided that while the records would still be released as either “Buddy Holly” or “the Crickets”, as a live act they would from now on be billed as “Buddy Holly and the Crickets”, a singer and his backing group, and that while Mauldin and Allison would continue to get twenty-five percent of the money each, Holly would be on fifty percent. This was an easy decision, since Petty was handling all the money and only giving the group pocket money rather than giving them their actual shares of the money they’d earned. The group spent all of 1958 touring, visiting Hawaii, Australia, the UK, and all over the US, including the famous last ever Alan Freed tour that we looked at recently in episodes on Chuck Berry and Jerry Lee Lewis. They got in another guitarist, Tommy Allsup, who took over the lead role while Buddy played rhythm, and who joined them on tour, though he wasn’t an official member of the group. The first recording Allsup played on was “It’s So Easy”: [Excerpt: The Crickets, “It’s So Easy”] But the group’s records were selling less and less well. Holly was getting worried, and there was another factor that came into play. On a visit to New York, stopping in to visit their publisher in the Brill Building, all three of the Crickets became attracted to the receptionist, a Puerto Rican woman named Maria Elena Santiago who was a few years older than them. They all started to joke about which of them would ask her out, and Holly eventually did so. It turned out that while Maria Elena was twenty-five, she’d never yet been on a date, and she had to ask the permission of her aunt, who she lived with, and who was also the head of the Latin-American division of the publishing company. The aunt rang round every business contact she had, satisfied herself that Buddy was a nice boy, and gave her blessing for the date. The next day, she was giving her blessing for the two to marry — Buddy proposed on the very first date. They eventually went on a joint honeymoon with Jerry Allison and Peggy Sue. But Maria Elena was someone who worked in the music industry, and was a little bit older, and she started saying things to Buddy like “You need to get a proper accounting of the money that’s owed you”, and “You should be getting paid”. This strained his relationship with Petty, who didn’t want any woman of colour butting her nose in and getting involved in his business. Buddy moved to a flat in Greenwich Village with Maria Elena, but for the moment he was still working with Petty, even after Petty used some extremely misogynistic slurs I’m not going to repeat here against his new wife. But he was worried about his lack of hits, and they tried a few different variations on the formula. The Crickets recorded one song, a cover version of a song they’d learned on the Australian tour, with Jerry Allison singing lead. It was released under the name “Ivan” — Allison’s middle name — and became a minor hit: [Excerpt: Ivan, “Real Wild Child”] They tried more and more different things, like getting King Curtis in to play saxophone on “Reminiscing”, and on one occasion dispensing with the Crickets entirely and having Buddy cut a Bobby Darin song, “Early in the Morning”, with other musicians. They were stockpiling recordings much faster than they could release them, but the releases weren’t doing well at all. “It’s So Easy” didn’t even reach the top one hundred. Holly was also working with other artists. In September, he produced a session for his friend Waylon Jennings, who would later become a huge country star. It was Jennings’ first ever session, and they turned out an interesting version of the old Cajun song “Jole Blon”, which had earlier been a hit for Moon Mullican. This version had Holly on guitar and King Curtis on saxophone, and is a really interesting attempt at blending Cajun music with R&B: [Excerpt: Waylon Jennings, “Jole Blon”] But Holly’s biggest hope was placed in a session that was really breaking new ground. No rock and roll singer had ever recorded with a full string section before — at least as far as he was aware, and bearing in mind that, as we’ve seen many times, there’s never truly a first anything. In October 1958, Holly went into the studio with the Dick Jacobs Orchestra, with the intention of recording three songs — his own “True Love Ways”, a song called “Moondreams” written by Petty, and one called “Raining in My Heart” written by Felice and Boudleaux Bryant, who’d written many hits for his friends the Everly Brothers. At the last minute, though, he decided to record a fourth song, which had been written for him by Paul Anka, the same kid whose “Diana” had been so irritating to him the year before. He played through the song on his guitar for Dick Jacobs, who only had a short while to write the arrangement, and so stuck to the simplest thing he could think of, basing it around pizzicato violins: [Excerpt: Buddy Holly, “It Doesn’t Matter Any More”] At that point, everything still seemed like it could work out OK. Norman Petty and the other Crickets were all there at the recording session, cheering Buddy on. That night the Crickets appeared on American Bandstand, miming to “It’s So Easy”. That would be the last time they ever performed together, and soon there would be an irreparable split that would lead directly to Holly’s death — and to his posthumous fame. Holly was getting sick of Norman Petty’s continual withholding of royalties, and he’d come up with a plan. The Crickets would, as a group, confront Petty, get him to give them the money he owed them, and then all move to New York together to start up their own record label and publishing company. They’d stop touring, and focus on making records, and this would allow them the time to get things right and try new things out, which would lead to them having hits again, and they could also produce records for their friends like Waylon Jennings and Sonny Curtis. It was a good plan, and it might have worked, but it relied on them getting that money off Norman Petty. When the other two got back to Texas, Petty started manipulating them. He told them they were small-town Texas boys who would never be able to live in the big city. He told them that they didn’t need Buddy Holly, and that they could carry on making Crickets records without him. He told them that Maria Elena was manipulating Buddy, and that if they went off to New York with him it would be her who was in charge of the group from that point on. And he also pointed out that he was currently the only signatory on the group’s bank account, and it would be a real shame if something happened to all that money. By the time Buddy got back to Texas, the other two Crickets had agreed that they were going to stick with Norman Petty. Petty said it was fine if Buddy wanted to fire him, but he wasn’t getting any money until a full audit had been done of the organisation’s money. Buddy was no longer even going to get the per diem pocket money or expenses he’d been getting. Holly went back to New York, and started writing many, many, more songs, recording dozens of acoustic demos for when he could start his plan up: [Excerpt: Buddy Holly, “Crying, Waiting, Hoping”] It was a massive creative explosion for the young man. He was not only writing songs himself, but he was busily planning to make an album of Latin music, and he was making preparations for two more projects he’d like to do — an album of duets on gospel songs with Mahalia Jackson, and an album of soul duets with Ray Charles. He was going to jazz clubs, and he had ambitions of following Elvis into films, but doing it properly — he enrolled in courses with Lee Strasberg’s Actors Studio, to learn Method Acting. Greenwich Village in 1958 was the perfect place for a young man with a huge amount of natural talent and appetite for learning, but little experience of the wider world and culture. But the young couple were living off Maria Elena’s aunt’s generosity, and had no income at all of their own. And then Maria Elena revealed that she was pregnant. And Norman Petty revealed something he’d kept hidden before — by the terms of Buddy’s contract, he hadn’t really been recording for Brunswick or Coral, so they didn’t owe him a penny. He’d been recording for Petty’s company, who then sold the masters on to the other labels, and would get all the royalties. The Crickets bank account into which the royalties had supposedly been being paid, and which Petty had refused to let the band members see, was essentially empty. There was only one thing for it. He had to do another tour. And the only one he could get on was a miserable-seeming affair called the Winter Dance Party. While most of the rock and roll package tours of the time had more than a dozen acts on, this one had only five. There was an opening act called Frankie Sardo, and then Dion and the Belmonts, who had had a few minor hits, and had just recorded, but not yet released, their breakthrough record “Teenager in Love”: [Excerpt: Dion and the Belmonts, “Teenager in Love”] Then there was the Big Bopper, who was actually a fairly accomplished songwriter but was touring on the basis of his one hit, a novelty song called “Chantilly Lace”: [Excerpt: the Big Bopper, “Chantilly Lace”] And Ritchie Valens, whose hit “Donna” was rising up the charts in a way that “It Doesn’t Matter Any More” was notably failing to do: [Excerpt: Ritchie Valens, “Donna”] Buddy put together a new touring band consisting of Tommy Allsup on guitar, Waylon Jennings on bass — who had never played bass before starting the tour — and a drummer called Carl Bunch. For a while it looked like Buddy’s friend Eddie Cochran was going to go on tour with them as well, but shortly before the tour started Cochran got an offer to do the Ed Sullivan Show, which would have clashed with the tour dates, and so he didn’t make it. Maria Elena was very insistent that she didn’t want Buddy to go, but he felt that he had no choice if he was going to support his new child. The Winter Dance Party toured Wisconsin, Iowa, and Minnesota, through the end of January and the beginning of February 1959, and the conditions were miserable for everyone concerned. The tour had been put together with no thought of logistics, and it zig-zagged wildly across those three states, with gigs often four hundred miles away from each other. The musicians had to sleep on the tour bus — or buses. The tour was being run on a shoe-string, and they’d gone with the cheapest vehicle-hire company possible. They went through, according to one biography I’ve read, eight different buses in eleven days, as none of the buses were able to cope with the Midwestern winter, and their engines kept failing and the heating on several of the buses broke down. I don’t know if you’ve spent any time in that part of America in the winter, but I go there for Christmas every year (my wife has family in Minnesota) and it’s unimaginably cold in a way you can’t understand unless you’ve experienced it. It’s not unusual for temperatures to drop to as low as minus forty degrees, and to have three feet or more of snow. Travelling in a bus, with no heating, in that weather, all packed together, was hell for everyone. The Big Bopper and Valens were both fat, and couldn’t fit in the small seats easily. Several people on the tour, including Bopper and Valens, got the flu. And then finally Carl Bunch got hospitalised with frostbite. Buddy’s band, which was backing everyone on stage, now had no drummer, and so for the next three days of the tour Holly, Dion, and Valens would all take it in turns playing the drums, as all of them were adequate drummers. The shows were still good, at least according to a young man named Robert Zimmerman, who saw the first drummerless show, in Duluth Minnesota, and who would move to Greenwich Village himself not that long afterwards. After a show in Clear Lake, Iowa, Buddy had had enough. He decided to charter a plane to take him to Fargo, North Dakota, which was just near Moorhead, Minnesota, where they were planning on playing their next show. He’d take everyone’s laundry — everyone stank and had been wearing the same clothes for days — and get it washed, and get some sleep in a real bed. The original plan was to have Allsup and Jennings travel with him, but eventually they gave up their seats to the two other people who were suffering the most — the Big Bopper and Valens. There are different stories about how that happened, most involving a coin-toss, but they all agree that when Buddy found out that Waylon Jennings was giving up his seat, he jokingly said to Jennings “I hope your old bus freezes”, and Jennings replied, “Yeah, well I hope your ol’ plane crashes”. The three of them got on the plane in the middle of the night, on a foggy winter’s night, which would require flying by instruments. Unfortunately, while the pilot on the plane was rated as being a good pilot during the day, he kept almost failing his certification for being bad at flying by instrument. And the plane in question had an unusual type of altitude meter. Where most altitude meters would go up when the plane was going up and down when it was going down, that particular model’s meter went down when the plane was going up, and up when it was going down. The plane took off, and less than five minutes after takeoff, it plummeted straight down, nose first, into the ground at top speed, killing everyone on board instantly. As soon as the news got out, Holly’s last single finally started rising up the charts. It ended up going to number thirteen on the US charts, and number one in many other countries. The aftermath shows how much contempt the music industry — and society itself — had for those musicians at that time. Maria Elena found out about Buddy’s death not from the police, but from the TV — this later prompted changes in how news of celebrity deaths was to be revealed. She was so upset that she miscarried two days later. She was too distraught to attend the funeral, and to this day has still never been able to bring herself to visit her husband’s grave. The grief was just too much. The rest of the people on the tour were forced to continue the remaining thirteen days of the tour without the three acts anyone wanted to go and see, but were also not paid their full wages, because the bill wasn’t as advertised. A new young singer was picked up to round out the bill on the next gig, a young Minnesotan Holly soundalike called Bobby Vee, whose first single, “Suzy Baby”, was just about to come out: [Excerpt: Bobby Vee, “Suzy Baby”] When Vee went on tour on his own, later, he hired that Zimmerman kid we mentioned earlier as his piano player. Zimmerman worked under the stage name Elston Gunn, but would later choose a better one. After that date Holly, Valens, and the Bopper were replaced by Fabian, Frankie Avalon, and Jimmy Clanton, and the tour continued. Meanwhile, the remaining Crickets picked themselves up and carried on. They got Buddy’s old friend Sonny Curtis on guitar, and a succession of Holly-soundalike singers, and continued playing together until Joe Mauldin died in 2015. Most of their records without Buddy weren’t particularly memorable, but they did record one song written by Curtis which would later become a hit for several other people, “I Fought the Law”: [Excerpt: The Crickets, “I Fought the Law”] But the person who ended up benefiting most from Holly’s death was Norman Petty. Suddenly his stockpile of unreleased Buddy Holly recordings was a goldmine — and not only that, he ended up coming to an agreement with Holly’s estate that he could take all those demos Holly had recorded and overdub new backing tracks on them, turning them into full-blown rock and roll songs. Between overdubbed versions of the demos, and stockpiled full-band recordings, Buddy Holly kept having hit singles in the rest of the world until 1965, though none charted in the US, and he made both Petty and his estate very rich. Norman Petty died in 1984. His last project was a still-unreleased “updating” of Buddy’s biggest hits with synthesisers. These days, Buddy Holly is once again on tour, or at least something purporting to be him is. You can now go and see a “hologram tour”, in which an image of a look-not-very-alike actor miming to Holly’s old recordings is projected on glass, using the old Victorian stage trick Pepper’s Ghost, while a live band plays along to the records. Just because you’ve worked someone to death aged twenty-two, doesn’t mean that they can’t still keep earning money for you when they’re eighty-three. And a hologram will never complain about how cold the tour bus is, or want to wash his laundry.

Episode seventy-four of A History of Rock Music in Five Hundred Songs looks at "It Doesn't Matter Any More" by Buddy Holly, and at the reasons he ended up on the plane that killed him. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Chantilly Lace" by the Big Bopper.  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/----more---- Before I get to the resources and transcript, a quick apology. This one is up more than a day late. I've not been coping very well with all the news about coronavirus outbreak (I'm one of those who's been advised by the government to sel-isolate for three months) and things are taking longer than normal. Next week's should be up at the normal time. Also, no Mixcloud this week -- I get a server error when uploading the file to Mixcloud's site. Erratum I mention that Bob Dylan saw the first show on the Winter Dance Party tour with no drummer. He actually saw the last one with the drummer, who was hospitalised that night after the show, not before the show as I had thought.  Resources   I've used two biographies for the bulk of the information here -- Buddy Holly: Learning the Game, by Spencer Leigh, and Rave On: The Biography of Buddy Holly by Philip Norman. I also used  Beverly Mendheim's book on Ritchie Valens. There are many collections of Buddy Holly's work available, but many of them are very shoddy, with instrumental overdubs recorded over demos after his death. The best compilation I am aware of is The Memorial Collection, which contains almost everything he issued in his life, as he issued it (for some reason two cover versions are missing) along with the undubbed acoustic recordings that were messed with and released after his death. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   Before I begin, this episode will deal with both accidental bereavement and miscarriage, so if you think those subjects might be traumatising, you may want to skip this one. Today, we're going to look at a record that holds a sad place in rock and roll's history, because it's the record that is often credited as "the first posthumous rock and roll hit". Now, that's not strictly true -- as we've talked about before in this podcast, there is rarely, if ever, a "first" anything at all, and indeed we've already looked at an earlier posthumous hit when we talked about "Pledging My Love" by Johnny Ace. But it is a very sad fact that "It Doesn't Matter Any More" by Buddy Holly ended up becoming the first of several posthumous hit records that Holly had, and that there would be many more posthumous hit records by other performers after him than there had been before him. Buddy Holly's death is something that hangs over every attempt to tell his story. More than any other musician of his generation, his death has entered rock and roll mythology. Even if you don't know Holly's music, you probably know two things about him -- that he wore glasses, and that he died in a plane crash. You're likely also to know that Ritchie Valens and the Big Bopper died in the same crash, even if you don't know any of the songs that either of those two artists recorded. Normally, when you're telling a story, you'd leave that to the end, but in the case of Holly it overshadows his life so much that there's absolutely no point trying to build up any suspense -- not to mention that there's something distasteful about turning a real person's tragic death into entertainment. I hope I've not done so in episodes where other people have died, but it's even more important not to do so here. Because while the death of Buddy Holly, Ritchie Valens, and the Big Bopper is always portrayed as an accident, the cause of their death has its roots in exploitation of young, vulnerable, people, and a pressure to work no matter what. So today, we're going to look at how "It Doesn't Matter Any More" became Buddy Holly's last single: [Excerpt: Buddy Holly, "It Doesn't Matter Any More"] People often talk about how Buddy Holly's career was short, but what they don't mention is that his chart career was even shorter. Holly's first chart single, "That'll Be the Day", was released in May 1957. His last top thirty single during his lifetime, "Think it Over", was released in May 1958. By the time he went on the Winter Dance Party, the tour that led to his death, in January 1959, he had gone many months without a hit, and his most recent record, "Heartbeat", had only reached number eighty-two. He'd lost every important professional relationship in his life, and had split from the group that had made him famous. To see how this happened, we need to pick up where we left off with him last time. You'll remember that when we left the Crickets, they'd released "That'll Be the Day", and it hadn't yet become a hit, and they'd also released "Words of Love" as a Buddy Holly solo single. While there were different names on them, the same people would make the records, whether it was a solo or group record -- Buddy Holly on vocals and lead guitar, Niki Sullivan on rhythm guitar, Jerry Allison on drums, Joe Mauldin on bass, and producer Norman Petty and his wife sometimes adding keyboards. They didn't distinguish between "Buddy Holly" and "Crickets" material when recording -- rather they separated it out later. The more straight-ahead rock and roll records would have backing vocals overdubbed on them, usually by a vocal group called the Picks, and would be released as Crickets records, while the more experimental ones would be left with only Holly's vocal on, and would be released as solo records. (There were no records released as by "Buddy Holly and the Crickets" at the time, because the whole idea of the split was that DJs would play two records instead of one if they appeared to be by different artists). And they were recording *a lot*. Two days after “That'll be the Day” was released, on the twenty-seventh of May 1957, they recorded "Everyday" and "Not Fade Away". Between then and the first of July they recorded "Tell Me How", "Oh Boy", "Listen to Me", "I'm Going to Love You Too", and cover versions of Fats Domino's "Valley of Tears" and Little Richard's "Ready Teddy". Remember, this was all before they'd had a single hit -- "That'll Be the Day" and "Words of Love" still hadn't charted. This is quite an astonishing outpouring of songs, but the big leap forward came on the second of July, when they made a second attempt at a song they'd attempted to record back in late 1956, and had been playing in their stage show since then. The song had originally been titled "Cindy Lou", after Buddy's niece, but Jerry Allison had recently started dating a girl named Peggy Sue Gerrison, and they decided to change the lyrics to be about her. The song had also originally been played as a Latin-flavoured number, but when they were warming up, Allison started playing a fast paradiddle on his snare drum. Holly decided that they were going to change the tempo of the song and have Allison play that part all the way through, though this meant that Allison had to go out and play in the hallway rather than in the main studio, because the noise from his drums was too loud in the studio itself. The final touch came when Petty decided, on the song's intro, to put the drums through the echo chamber and keep flicking the switch on the echo from "on" to "off", so it sounded like there were two drummers playing: [Excerpt: Buddy Holly, "Peggy Sue"] Someone else was flicking a switch, too -- Niki Sullivan was already starting to regret joining the Crickets, because there really wasn't room for his rhythm guitar on most of the songs they were playing. And on "Peggy Sue" he ended up not playing at all. On that song, Buddy had to switch between two pickups -- one for when he was singing, and another to give his guitar a different tone during the solo. But he was playing so fast that he couldn't move his hand to the switch, and in those days there were no foot pedals one could use for the same sort of effect. So Niki Sullivan became Holly's foot pedal. He knelt beside Holly and waited for the point when the solo was about to start, and flicked the switch on his guitar. When the solo came to an end again, Sullivan flicked the switch again and it went back to the original sound. [Excerpt: Buddy Holly, "Peggy Sue"] It's a really strange sounding record, if you start to pay attention to it. Other than during the solo, Holly's guitar is so quiet that you can hear the plectrum as loudly as you can hear the notes. He just keeps up a ram-a-ram-a quaver downstrum throughout the whole song, which sounds simple until you try to play it, at which point you realise that you start feeling like your arm's going to fall off about a quarter of the way through. And there's just that, those drums (playing a part which must be similarly physically demanding) with their weird echo, and Holly's voice. In theory, Joe Mauldin's bass is also in there, but it's there at almost homeopathic levels. It's a record that is entirely carried by the voice, the drums, and the guitar solo. Of course, Niki Sullivan wasn't happy about being relegated to guitar-switch-flicker, and there were other tensions within the group as well. Holly was having an affair with a married woman at the time -- and Jerry Allison, who was Holly's best friend as well as his bandmate, was also in love with her, though not in a relationship with her, and so Holly had to keep his affair hidden from his best friend. And not only that, but Allison and Sullivan were starting to have problems with each other, too. To help defuse the situation, Holly's brother Larry took him on holiday, to go fishing in Colorado. But even there, the stress of the current situation was showing -- Buddy spent much of the trip worried about the lack of success of "That'll Be the Day", and obsessing over a new record by a new singer, Paul Anka, that had gone to number one: [Excerpt: Paul Anka, "Diana"] Holly was insistent that he could do better than that, and that his records were at least as good. But so far they were doing nothing at all on the charts. But then a strange thing happened. "That'll Be the Day" started getting picked up by black radio stations. It turned out that there had been another group called the Crickets -- a black doo-wop group from about five years earlier, led by a singer called Dean Barlow, who had specialised in smooth Ink Spots-style ballads: [Excerpt The Crickets featuring Dean Barlow, "Be Faithful"] People at black radio stations had assumed that this new group called the Crickets was the same one, and had then discovered that "That'll Be the Day" was really rather good. The group even got booked on an otherwise all-black tour headlined by Clyde McPhatter and Otis Rush, booked by people who hadn't realised they were white. Before going on the tour, they formally arranged to have Norman Petty be their manager as well as their producer. They were a success on the tour, though when it reached the Harlem Apollo, which had notoriously hostile audiences, the group had to reconfigure their sets, as the audiences didn't like any of Holly's original material except "That'll Be the Day", but did like the group's cover versions of R&B records like "Bo Diddley": [Excerpt: Buddy Holly, "Bo Diddley (Undubbed Version)"] Some have said that the Crickets were the first white act to play the Apollo. That's not the case -- Bobby Darin had played there before them, and I think so had the jazz drummer Buddy Rich, and maybe one or two others. But it was still a rarity, and the Crickets had to work hard to win the audience around. After they finished that tour, they moved on to a residency at the Brooklyn Paramount, on an Alan Freed show that also featured Little Richard and Larry Williams -- who the Crickets met for the first time when they walked into the dressing room to find Richard and Williams engaged in a threesome with Richard's girlfriend. During that engagement at the Paramount, the tensions within the group reached boiling point. Niki Sullivan, who was in an awful mood because he was trying to quit smoking, revealed the truth about Holly's affair to Allison, and the group got in a fist-fight. According to Sullivan -- who seems not to have always been the most reliable of interviewees -- Sullivan gave Jerry Allison a black eye, and then straight away they had to go to the rooftop to take the photo for the group's first album, The "Chirping" Crickets. Sullivan says that while the photo was retouched to hide the black eye, it's still visible, though I can't see it myself. After this, they went into a three-month tour on a giant package of stars featuring Chuck Berry, Fats Domino, Paul Anka, the Everly Brothers, the Bobbettes, the Drifters, LaVern Baker, and many more. By this point, both "That'll Be the Day" and "Peggy Sue" had risen up the charts -- "That'll Be the Day" eventually went to number one, while "Peggy Sue" hit number three -- and the next Crickets single, "Oh Boy!" was also charting. "Oh Boy!" had originally been written by an acquaintance of the band, Sonny West, who had recorded his own version as "All My Love" a short while earlier: [Excerpt: Sonny West, "All My Love"] Glen Hardin, the piano player on that track, would later join a lineup of the Crickets in the sixties (and later still would be Elvis' piano player and arranger in the seventies). Holly would later also cover another of West's songs, "Rave On". The Crickets' version of “Oh Boy!” was recorded at a faster tempo, and became another major hit, their last top ten: [Excerpt: The Crickets, "Oh Boy!"] Around the time that came out, Eddie Cochran joined the tour, and like the Everly Brothers he became fast friends with the group. The group also made an appearance on the Ed Sullivan Show, with Holly, Mauldin, and Allison enthusiastically performing "That'll Be the Day" and "Peggy Sue", and Sullivan enthusiastically miming and playing an unplugged guitar. Sullivan was becoming more and more sidelined in the group, and when they returned to Lubbock at the end of the tour -- during which he'd ended up breaking down and crying -- he decided he was going to quit the group. Sullivan tried to have a solo career, releasing "It's All Over" on Dot Records: [Excerpt: Niki Sullivan, "It's All Over"] But he had no success, and ended up working in electronics, and in later years also making money from the Buddy Holly nostalgia industry. He'd only toured as a member of the group for a total of ninety days, though he'd been playing with them in the studio for a few months before that, and he'd played on a total of twenty-seven of the thirty-two songs that Holly or the Crickets would release in Holly's lifetime. While he'd been promised an equal share of the group's income -- and Petty had also promised Sullivan, like all the other Crickets, that he would pay 10% of his income to his church -- Sullivan got into endless battles with Petty over seeing the group's accounts, which Petty wouldn't show him, and eventually settled for getting just $1000, ten percent of the recording royalties just for the single "That'll Be the Day", and co-writing royalties on one song, "I'm Going to Love You Too". His church didn't get a cent. Meanwhile, Petty was busy trying to widen the rifts in the group. He decided that while the records would still be released as either "Buddy Holly" or "the Crickets", as a live act they would from now on be billed as "Buddy Holly and the Crickets", a singer and his backing group, and that while Mauldin and Allison would continue to get twenty-five percent of the money each, Holly would be on fifty percent. This was an easy decision, since Petty was handling all the money and only giving the group pocket money rather than giving them their actual shares of the money they'd earned. The group spent all of 1958 touring, visiting Hawaii, Australia, the UK, and all over the US, including the famous last ever Alan Freed tour that we looked at recently in episodes on Chuck Berry and Jerry Lee Lewis. They got in another guitarist, Tommy Allsup, who took over the lead role while Buddy played rhythm, and who joined them on tour, though he wasn't an official member of the group. The first recording Allsup played on was "It's So Easy": [Excerpt: The Crickets, "It's So Easy"] But the group's records were selling less and less well. Holly was getting worried, and there was another factor that came into play. On a visit to New York, stopping in to visit their publisher in the Brill Building, all three of the Crickets became attracted to the receptionist, a Puerto Rican woman named Maria Elena Santiago who was a few years older than them. They all started to joke about which of them would ask her out, and Holly eventually did so. It turned out that while Maria Elena was twenty-five, she'd never yet been on a date, and she had to ask the permission of her aunt, who she lived with, and who was also the head of the Latin-American division of the publishing company. The aunt rang round every business contact she had, satisfied herself that Buddy was a nice boy, and gave her blessing for the date. The next day, she was giving her blessing for the two to marry -- Buddy proposed on the very first date. They eventually went on a joint honeymoon with Jerry Allison and Peggy Sue. But Maria Elena was someone who worked in the music industry, and was a little bit older, and she started saying things to Buddy like "You need to get a proper accounting of the money that's owed you", and "You should be getting paid". This strained his relationship with Petty, who didn't want any woman of colour butting her nose in and getting involved in his business. Buddy moved to a flat in Greenwich Village with Maria Elena, but for the moment he was still working with Petty, even after Petty used some extremely misogynistic slurs I'm not going to repeat here against his new wife. But he was worried about his lack of hits, and they tried a few different variations on the formula. The Crickets recorded one song, a cover version of a song they'd learned on the Australian tour, with Jerry Allison singing lead. It was released under the name "Ivan" -- Allison's middle name -- and became a minor hit: [Excerpt: Ivan, "Real Wild Child"] They tried more and more different things, like getting King Curtis in to play saxophone on "Reminiscing", and on one occasion dispensing with the Crickets entirely and having Buddy cut a Bobby Darin song, "Early in the Morning", with other musicians. They were stockpiling recordings much faster than they could release them, but the releases weren't doing well at all. "It's So Easy" didn't even reach the top one hundred. Holly was also working with other artists. In September, he produced a session for his friend Waylon Jennings, who would later become a huge country star. It was Jennings' first ever session, and they turned out an interesting version of the old Cajun song "Jole Blon", which had earlier been a hit for Moon Mullican. This version had Holly on guitar and King Curtis on saxophone, and is a really interesting attempt at blending Cajun music with R&B: [Excerpt: Waylon Jennings, "Jole Blon"] But Holly's biggest hope was placed in a session that was really breaking new ground. No rock and roll singer had ever recorded with a full string section before -- at least as far as he was aware, and bearing in mind that, as we've seen many times, there's never truly a first anything. In October 1958, Holly went into the studio with the Dick Jacobs Orchestra, with the intention of recording three songs -- his own "True Love Ways", a song called "Moondreams" written by Petty, and one called "Raining in My Heart" written by Felice and Boudleaux Bryant, who'd written many hits for his friends the Everly Brothers. At the last minute, though, he decided to record a fourth song, which had been written for him by Paul Anka, the same kid whose "Diana" had been so irritating to him the year before. He played through the song on his guitar for Dick Jacobs, who only had a short while to write the arrangement, and so stuck to the simplest thing he could think of, basing it around pizzicato violins: [Excerpt: Buddy Holly, "It Doesn't Matter Any More"] At that point, everything still seemed like it could work out OK. Norman Petty and the other Crickets were all there at the recording session, cheering Buddy on. That night the Crickets appeared on American Bandstand, miming to "It's So Easy". That would be the last time they ever performed together, and soon there would be an irreparable split that would lead directly to Holly's death -- and to his posthumous fame. Holly was getting sick of Norman Petty's continual withholding of royalties, and he'd come up with a plan. The Crickets would, as a group, confront Petty, get him to give them the money he owed them, and then all move to New York together to start up their own record label and publishing company. They'd stop touring, and focus on making records, and this would allow them the time to get things right and try new things out, which would lead to them having hits again, and they could also produce records for their friends like Waylon Jennings and Sonny Curtis. It was a good plan, and it might have worked, but it relied on them getting that money off Norman Petty. When the other two got back to Texas, Petty started manipulating them. He told them they were small-town Texas boys who would never be able to live in the big city. He told them that they didn't need Buddy Holly, and that they could carry on making Crickets records without him. He told them that Maria Elena was manipulating Buddy, and that if they went off to New York with him it would be her who was in charge of the group from that point on. And he also pointed out that he was currently the only signatory on the group's bank account, and it would be a real shame if something happened to all that money. By the time Buddy got back to Texas, the other two Crickets had agreed that they were going to stick with Norman Petty. Petty said it was fine if Buddy wanted to fire him, but he wasn't getting any money until a full audit had been done of the organisation's money. Buddy was no longer even going to get the per diem pocket money or expenses he'd been getting. Holly went back to New York, and started writing many, many, more songs, recording dozens of acoustic demos for when he could start his plan up: [Excerpt: Buddy Holly, "Crying, Waiting, Hoping"] It was a massive creative explosion for the young man. He was not only writing songs himself, but he was busily planning to make an album of Latin music, and he was making preparations for two more projects he'd like to do -- an album of duets on gospel songs with Mahalia Jackson, and an album of soul duets with Ray Charles. He was going to jazz clubs, and he had ambitions of following Elvis into films, but doing it properly -- he enrolled in courses with Lee Strasberg's Actors Studio, to learn Method Acting. Greenwich Village in 1958 was the perfect place for a young man with a huge amount of natural talent and appetite for learning, but little experience of the wider world and culture. But the young couple were living off Maria Elena's aunt's generosity, and had no income at all of their own. And then Maria Elena revealed that she was pregnant. And Norman Petty revealed something he'd kept hidden before -- by the terms of Buddy's contract, he hadn't really been recording for Brunswick or Coral, so they didn't owe him a penny. He'd been recording for Petty's company, who then sold the masters on to the other labels, and would get all the royalties. The Crickets bank account into which the royalties had supposedly been being paid, and which Petty had refused to let the band members see, was essentially empty. There was only one thing for it. He had to do another tour. And the only one he could get on was a miserable-seeming affair called the Winter Dance Party. While most of the rock and roll package tours of the time had more than a dozen acts on, this one had only five. There was an opening act called Frankie Sardo, and then Dion and the Belmonts, who had had a few minor hits, and had just recorded, but not yet released, their breakthrough record "Teenager in Love": [Excerpt: Dion and the Belmonts, "Teenager in Love"] Then there was the Big Bopper, who was actually a fairly accomplished songwriter but was touring on the basis of his one hit, a novelty song called "Chantilly Lace": [Excerpt: the Big Bopper, "Chantilly Lace"] And Ritchie Valens, whose hit "Donna" was rising up the charts in a way that "It Doesn't Matter Any More" was notably failing to do: [Excerpt: Ritchie Valens, "Donna"] Buddy put together a new touring band consisting of Tommy Allsup on guitar, Waylon Jennings on bass -- who had never played bass before starting the tour -- and a drummer called Carl Bunch. For a while it looked like Buddy's friend Eddie Cochran was going to go on tour with them as well, but shortly before the tour started Cochran got an offer to do the Ed Sullivan Show, which would have clashed with the tour dates, and so he didn't make it. Maria Elena was very insistent that she didn't want Buddy to go, but he felt that he had no choice if he was going to support his new child. The Winter Dance Party toured Wisconsin, Iowa, and Minnesota, through the end of January and the beginning of February 1959, and the conditions were miserable for everyone concerned. The tour had been put together with no thought of logistics, and it zig-zagged wildly across those three states, with gigs often four hundred miles away from each other. The musicians had to sleep on the tour bus -- or buses. The tour was being run on a shoe-string, and they'd gone with the cheapest vehicle-hire company possible. They went through, according to one biography I've read, eight different buses in eleven days, as none of the buses were able to cope with the Midwestern winter, and their engines kept failing and the heating on several of the buses broke down. I don't know if you've spent any time in that part of America in the winter, but I go there for Christmas every year (my wife has family in Minnesota) and it's unimaginably cold in a way you can't understand unless you've experienced it. It's not unusual for temperatures to drop to as low as minus forty degrees, and to have three feet or more of snow. Travelling in a bus, with no heating, in that weather, all packed together, was hell for everyone. The Big Bopper and Valens were both fat, and couldn't fit in the small seats easily. Several people on the tour, including Bopper and Valens, got the flu. And then finally Carl Bunch got hospitalised with frostbite. Buddy's band, which was backing everyone on stage, now had no drummer, and so for the next three days of the tour Holly, Dion, and Valens would all take it in turns playing the drums, as all of them were adequate drummers. The shows were still good, at least according to a young man named Robert Zimmerman, who saw the first drummerless show, in Duluth Minnesota, and who would move to Greenwich Village himself not that long afterwards. After a show in Clear Lake, Iowa, Buddy had had enough. He decided to charter a plane to take him to Fargo, North Dakota, which was just near Moorhead, Minnesota, where they were planning on playing their next show. He'd take everyone's laundry -- everyone stank and had been wearing the same clothes for days -- and get it washed, and get some sleep in a real bed. The original plan was to have Allsup and Jennings travel with him, but eventually they gave up their seats to the two other people who were suffering the most -- the Big Bopper and Valens. There are different stories about how that happened, most involving a coin-toss, but they all agree that when Buddy found out that Waylon Jennings was giving up his seat, he jokingly said to Jennings "I hope your old bus freezes", and Jennings replied, "Yeah, well I hope your ol' plane crashes". The three of them got on the plane in the middle of the night, on a foggy winter's night, which would require flying by instruments. Unfortunately, while the pilot on the plane was rated as being a good pilot during the day, he kept almost failing his certification for being bad at flying by instrument. And the plane in question had an unusual type of altitude meter. Where most altitude meters would go up when the plane was going up and down when it was going down, that particular model's meter went down when the plane was going up, and up when it was going down. The plane took off, and less than five minutes after takeoff, it plummeted straight down, nose first, into the ground at top speed, killing everyone on board instantly. As soon as the news got out, Holly's last single finally started rising up the charts. It ended up going to number thirteen on the US charts, and number one in many other countries. The aftermath shows how much contempt the music industry -- and society itself -- had for those musicians at that time. Maria Elena found out about Buddy's death not from the police, but from the TV -- this later prompted changes in how news of celebrity deaths was to be revealed. She was so upset that she miscarried two days later. She was too distraught to attend the funeral, and to this day has still never been able to bring herself to visit her husband's grave. The grief was just too much. The rest of the people on the tour were forced to continue the remaining thirteen days of the tour without the three acts anyone wanted to go and see, but were also not paid their full wages, because the bill wasn't as advertised. A new young singer was picked up to round out the bill on the next gig, a young Minnesotan Holly soundalike called Bobby Vee, whose first single, "Suzy Baby", was just about to come out: [Excerpt: Bobby Vee, "Suzy Baby"] When Vee went on tour on his own, later, he hired that Zimmerman kid we mentioned earlier as his piano player. Zimmerman worked under the stage name Elston Gunn, but would later choose a better one. After that date Holly, Valens, and the Bopper were replaced by Fabian, Frankie Avalon, and Jimmy Clanton, and the tour continued. Meanwhile, the remaining Crickets picked themselves up and carried on. They got Buddy's old friend Sonny Curtis on guitar, and a succession of Holly-soundalike singers, and continued playing together until Joe Mauldin died in 2015. Most of their records without Buddy weren't particularly memorable, but they did record one song written by Curtis which would later become a hit for several other people, "I Fought the Law": [Excerpt: The Crickets, "I Fought the Law"] But the person who ended up benefiting most from Holly's death was Norman Petty. Suddenly his stockpile of unreleased Buddy Holly recordings was a goldmine -- and not only that, he ended up coming to an agreement with Holly's estate that he could take all those demos Holly had recorded and overdub new backing tracks on them, turning them into full-blown rock and roll songs. Between overdubbed versions of the demos, and stockpiled full-band recordings, Buddy Holly kept having hit singles in the rest of the world until 1965, though none charted in the US, and he made both Petty and his estate very rich. Norman Petty died in 1984. His last project was a still-unreleased "updating" of Buddy's biggest hits with synthesisers. These days, Buddy Holly is once again on tour, or at least something purporting to be him is. You can now go and see a "hologram tour", in which an image of a look-not-very-alike actor miming to Holly's old recordings is projected on glass, using the old Victorian stage trick Pepper's Ghost, while a live band plays along to the records. Just because you've worked someone to death aged twenty-two, doesn't mean that they can't still keep earning money for you when they're eighty-three. And a hologram will never complain about how cold the tour bus is, or want to wash his laundry.

Episode seventy-four of A History of Rock Music in Five Hundred Songs looks at “It Doesn’t Matter Any More” by Buddy Holly, and at the reasons he ended up on the plane that killed him. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Chantilly Lace” by the Big Bopper.  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/—-more—- Before I get to the resources and transcript, a quick apology. This one is up more than a day late. I’ve not been coping very well with all the news about coronavirus outbreak (I’m one of those who’s been advised by the government to sel-isolate for three months) and things are taking longer than normal. Next week’s should be up at the normal time. Also, no Mixcloud this week — I get a server error when uploading the file to Mixcloud’s site. Erratum I mention that Bob Dylan saw the first show on the Winter Dance Party tour with no drummer. He actually saw the last one with the drummer, who was hospitalised that night after the show, not before the show as I had thought.  Resources   I’ve used two biographies for the bulk of the information here — Buddy Holly: Learning the Game, by Spencer Leigh, and Rave On: The Biography of Buddy Holly by Philip Norman. I also used  Beverly Mendheim’s book on Ritchie Valens. There are many collections of Buddy Holly’s work available, but many of them are very shoddy, with instrumental overdubs recorded over demos after his death. The best compilation I am aware of is The Memorial Collection, which contains almost everything he issued in his life, as he issued it (for some reason two cover versions are missing) along with the undubbed acoustic recordings that were messed with and released after his death. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   Before I begin, this episode will deal with both accidental bereavement and miscarriage, so if you think those subjects might be traumatising, you may want to skip this one. Today, we’re going to look at a record that holds a sad place in rock and roll’s history, because it’s the record that is often credited as “the first posthumous rock and roll hit”. Now, that’s not strictly true — as we’ve talked about before in this podcast, there is rarely, if ever, a “first” anything at all, and indeed we’ve already looked at an earlier posthumous hit when we talked about “Pledging My Love” by Johnny Ace. But it is a very sad fact that “It Doesn’t Matter Any More” by Buddy Holly ended up becoming the first of several posthumous hit records that Holly had, and that there would be many more posthumous hit records by other performers after him than there had been before him. Buddy Holly’s death is something that hangs over every attempt to tell his story. More than any other musician of his generation, his death has entered rock and roll mythology. Even if you don’t know Holly’s music, you probably know two things about him — that he wore glasses, and that he died in a plane crash. You’re likely also to know that Ritchie Valens and the Big Bopper died in the same crash, even if you don’t know any of the songs that either of those two artists recorded. Normally, when you’re telling a story, you’d leave that to the end, but in the case of Holly it overshadows his life so much that there’s absolutely no point trying to build up any suspense — not to mention that there’s something distasteful about turning a real person’s tragic death into entertainment. I hope I’ve not done so in episodes where other people have died, but it’s even more important not to do so here. Because while the death of Buddy Holly, Ritchie Valens, and the Big Bopper is always portrayed as an accident, the cause of their death has its roots in exploitation of young, vulnerable, people, and a pressure to work no matter what. So today, we’re going to look at how “It Doesn’t Matter Any More” became Buddy Holly’s last single: [Excerpt: Buddy Holly, “It Doesn’t Matter Any More”] People often talk about how Buddy Holly’s career was short, but what they don’t mention is that his chart career was even shorter. Holly’s first chart single, “That’ll Be the Day”, was released in May 1957. His last top thirty single during his lifetime, “Think it Over”, was released in May 1958. By the time he went on the Winter Dance Party, the tour that led to his death, in January 1959, he had gone many months without a hit, and his most recent record, “Heartbeat”, had only reached number eighty-two. He’d lost every important professional relationship in his life, and had split from the group that had made him famous. To see how this happened, we need to pick up where we left off with him last time. You’ll remember that when we left the Crickets, they’d released “That’ll Be the Day”, and it hadn’t yet become a hit, and they’d also released “Words of Love” as a Buddy Holly solo single. While there were different names on them, the same people would make the records, whether it was a solo or group record — Buddy Holly on vocals and lead guitar, Niki Sullivan on rhythm guitar, Jerry Allison on drums, Joe Mauldin on bass, and producer Norman Petty and his wife sometimes adding keyboards. They didn’t distinguish between “Buddy Holly” and “Crickets” material when recording — rather they separated it out later. The more straight-ahead rock and roll records would have backing vocals overdubbed on them, usually by a vocal group called the Picks, and would be released as Crickets records, while the more experimental ones would be left with only Holly’s vocal on, and would be released as solo records. (There were no records released as by “Buddy Holly and the Crickets” at the time, because the whole idea of the split was that DJs would play two records instead of one if they appeared to be by different artists). And they were recording *a lot*. Two days after “That’ll be the Day” was released, on the twenty-seventh of May 1957, they recorded “Everyday” and “Not Fade Away”. Between then and the first of July they recorded “Tell Me How”, “Oh Boy”, “Listen to Me”, “I’m Going to Love You Too”, and cover versions of Fats Domino’s “Valley of Tears” and Little Richard’s “Ready Teddy”. Remember, this was all before they’d had a single hit — “That’ll Be the Day” and “Words of Love” still hadn’t charted. This is quite an astonishing outpouring of songs, but the big leap forward came on the second of July, when they made a second attempt at a song they’d attempted to record back in late 1956, and had been playing in their stage show since then. The song had originally been titled “Cindy Lou”, after Buddy’s niece, but Jerry Allison had recently started dating a girl named Peggy Sue Gerrison, and they decided to change the lyrics to be about her. The song had also originally been played as a Latin-flavoured number, but when they were warming up, Allison started playing a fast paradiddle on his snare drum. Holly decided that they were going to change the tempo of the song and have Allison play that part all the way through, though this meant that Allison had to go out and play in the hallway rather than in the main studio, because the noise from his drums was too loud in the studio itself. The final touch came when Petty decided, on the song’s intro, to put the drums through the echo chamber and keep flicking the switch on the echo from “on” to “off”, so it sounded like there were two drummers playing: [Excerpt: Buddy Holly, “Peggy Sue”] Someone else was flicking a switch, too — Niki Sullivan was already starting to regret joining the Crickets, because there really wasn’t room for his rhythm guitar on most of the songs they were playing. And on “Peggy Sue” he ended up not playing at all. On that song, Buddy had to switch between two pickups — one for when he was singing, and another to give his guitar a different tone during the solo. But he was playing so fast that he couldn’t move his hand to the switch, and in those days there were no foot pedals one could use for the same sort of effect. So Niki Sullivan became Holly’s foot pedal. He knelt beside Holly and waited for the point when the solo was about to start, and flicked the switch on his guitar. When the solo came to an end again, Sullivan flicked the switch again and it went back to the original sound. [Excerpt: Buddy Holly, “Peggy Sue”] It’s a really strange sounding record, if you start to pay attention to it. Other than during the solo, Holly’s guitar is so quiet that you can hear the plectrum as loudly as you can hear the notes. He just keeps up a ram-a-ram-a quaver downstrum throughout the whole song, which sounds simple until you try to play it, at which point you realise that you start feeling like your arm’s going to fall off about a quarter of the way through. And there’s just that, those drums (playing a part which must be similarly physically demanding) with their weird echo, and Holly’s voice. In theory, Joe Mauldin’s bass is also in there, but it’s there at almost homeopathic levels. It’s a record that is entirely carried by the voice, the drums, and the guitar solo. Of course, Niki Sullivan wasn’t happy about being relegated to guitar-switch-flicker, and there were other tensions within the group as well. Holly was having an affair with a married woman at the time — and Jerry Allison, who was Holly’s best friend as well as his bandmate, was also in love with her, though not in a relationship with her, and so Holly had to keep his affair hidden from his best friend. And not only that, but Allison and Sullivan were starting to have problems with each other, too. To help defuse the situation, Holly’s brother Larry took him on holiday, to go fishing in Colorado. But even there, the stress of the current situation was showing — Buddy spent much of the trip worried about the lack of success of “That’ll Be the Day”, and obsessing over a new record by a new singer, Paul Anka, that had gone to number one: [Excerpt: Paul Anka, “Diana”] Holly was insistent that he could do better than that, and that his records were at least as good. But so far they were doing nothing at all on the charts. But then a strange thing happened. “That’ll Be the Day” started getting picked up by black radio stations. It turned out that there had been another group called the Crickets — a black doo-wop group from about five years earlier, led by a singer called Dean Barlow, who had specialised in smooth Ink Spots-style ballads: [Excerpt The Crickets featuring Dean Barlow, “Be Faithful”] People at black radio stations had assumed that this new group called the Crickets was the same one, and had then discovered that “That’ll Be the Day” was really rather good. The group even got booked on an otherwise all-black tour headlined by Clyde McPhatter and Otis Rush, booked by people who hadn’t realised they were white. Before going on the tour, they formally arranged to have Norman Petty be their manager as well as their producer. They were a success on the tour, though when it reached the Harlem Apollo, which had notoriously hostile audiences, the group had to reconfigure their sets, as the audiences didn’t like any of Holly’s original material except “That’ll Be the Day”, but did like the group’s cover versions of R&B records like “Bo Diddley”: [Excerpt: Buddy Holly, “Bo Diddley (Undubbed Version)”] Some have said that the Crickets were the first white act to play the Apollo. That’s not the case — Bobby Darin had played there before them, and I think so had the jazz drummer Buddy Rich, and maybe one or two others. But it was still a rarity, and the Crickets had to work hard to win the audience around. After they finished that tour, they moved on to a residency at the Brooklyn Paramount, on an Alan Freed show that also featured Little Richard and Larry Williams — who the Crickets met for the first time when they walked into the dressing room to find Richard and Williams engaged in a threesome with Richard’s girlfriend. During that engagement at the Paramount, the tensions within the group reached boiling point. Niki Sullivan, who was in an awful mood because he was trying to quit smoking, revealed the truth about Holly’s affair to Allison, and the group got in a fist-fight. According to Sullivan — who seems not to have always been the most reliable of interviewees — Sullivan gave Jerry Allison a black eye, and then straight away they had to go to the rooftop to take the photo for the group’s first album, The “Chirping” Crickets. Sullivan says that while the photo was retouched to hide the black eye, it’s still visible, though I can’t see it myself. After this, they went into a three-month tour on a giant package of stars featuring Chuck Berry, Fats Domino, Paul Anka, the Everly Brothers, the Bobbettes, the Drifters, LaVern Baker, and many more. By this point, both “That’ll Be the Day” and “Peggy Sue” had risen up the charts — “That’ll Be the Day” eventually went to number one, while “Peggy Sue” hit number three — and the next Crickets single, “Oh Boy!” was also charting. “Oh Boy!” had originally been written by an acquaintance of the band, Sonny West, who had recorded his own version as “All My Love” a short while earlier: [Excerpt: Sonny West, “All My Love”] Glen Hardin, the piano player on that track, would later join a lineup of the Crickets in the sixties (and later still would be Elvis’ piano player and arranger in the seventies). Holly would later also cover another of West’s songs, “Rave On”. The Crickets’ version of “Oh Boy!” was recorded at a faster tempo, and became another major hit, their last top ten: [Excerpt: The Crickets, “Oh Boy!”] Around the time that came out, Eddie Cochran joined the tour, and like the Everly Brothers he became fast friends with the group. The group also made an appearance on the Ed Sullivan Show, with Holly, Mauldin, and Allison enthusiastically performing “That’ll Be the Day” and “Peggy Sue”, and Sullivan enthusiastically miming and playing an unplugged guitar. Sullivan was becoming more and more sidelined in the group, and when they returned to Lubbock at the end of the tour — during which he’d ended up breaking down and crying — he decided he was going to quit the group. Sullivan tried to have a solo career, releasing “It’s All Over” on Dot Records: [Excerpt: Niki Sullivan, “It’s All Over”] But he had no success, and ended up working in electronics, and in later years also making money from the Buddy Holly nostalgia industry. He’d only toured as a member of the group for a total of ninety days, though he’d been playing with them in the studio for a few months before that, and he’d played on a total of twenty-seven of the thirty-two songs that Holly or the Crickets would release in Holly’s lifetime. While he’d been promised an equal share of the group’s income — and Petty had also promised Sullivan, like all the other Crickets, that he would pay 10% of his income to his church — Sullivan got into endless battles with Petty over seeing the group’s accounts, which Petty wouldn’t show him, and eventually settled for getting just $1000, ten percent of the recording royalties just for the single “That’ll Be the Day”, and co-writing royalties on one song, “I’m Going to Love You Too”. His church didn’t get a cent. Meanwhile, Petty was busy trying to widen the rifts in the group. He decided that while the records would still be released as either “Buddy Holly” or “the Crickets”, as a live act they would from now on be billed as “Buddy Holly and the Crickets”, a singer and his backing group, and that while Mauldin and Allison would continue to get twenty-five percent of the money each, Holly would be on fifty percent. This was an easy decision, since Petty was handling all the money and only giving the group pocket money rather than giving them their actual shares of the money they’d earned. The group spent all of 1958 touring, visiting Hawaii, Australia, the UK, and all over the US, including the famous last ever Alan Freed tour that we looked at recently in episodes on Chuck Berry and Jerry Lee Lewis. They got in another guitarist, Tommy Allsup, who took over the lead role while Buddy played rhythm, and who joined them on tour, though he wasn’t an official member of the group. The first recording Allsup played on was “It’s So Easy”: [Excerpt: The Crickets, “It’s So Easy”] But the group’s records were selling less and less well. Holly was getting worried, and there was another factor that came into play. On a visit to New York, stopping in to visit their publisher in the Brill Building, all three of the Crickets became attracted to the receptionist, a Puerto Rican woman named Maria Elena Santiago who was a few years older than them. They all started to joke about which of them would ask her out, and Holly eventually did so. It turned out that while Maria Elena was twenty-five, she’d never yet been on a date, and she had to ask the permission of her aunt, who she lived with, and who was also the head of the Latin-American division of the publishing company. The aunt rang round every business contact she had, satisfied herself that Buddy was a nice boy, and gave her blessing for the date. The next day, she was giving her blessing for the two to marry — Buddy proposed on the very first date. They eventually went on a joint honeymoon with Jerry Allison and Peggy Sue. But Maria Elena was someone who worked in the music industry, and was a little bit older, and she started saying things to Buddy like “You need to get a proper accounting of the money that’s owed you”, and “You should be getting paid”. This strained his relationship with Petty, who didn’t want any woman of colour butting her nose in and getting involved in his business. Buddy moved to a flat in Greenwich Village with Maria Elena, but for the moment he was still working with Petty, even after Petty used some extremely misogynistic slurs I’m not going to repeat here against his new wife. But he was worried about his lack of hits, and they tried a few different variations on the formula. The Crickets recorded one song, a cover version of a song they’d learned on the Australian tour, with Jerry Allison singing lead. It was released under the name “Ivan” — Allison’s middle name — and became a minor hit: [Excerpt: Ivan, “Real Wild Child”] They tried more and more different things, like getting King Curtis in to play saxophone on “Reminiscing”, and on one occasion dispensing with the Crickets entirely and having Buddy cut a Bobby Darin song, “Early in the Morning”, with other musicians. They were stockpiling recordings much faster than they could release them, but the releases weren’t doing well at all. “It’s So Easy” didn’t even reach the top one hundred. Holly was also working with other artists. In September, he produced a session for his friend Waylon Jennings, who would later become a huge country star. It was Jennings’ first ever session, and they turned out an interesting version of the old Cajun song “Jole Blon”, which had earlier been a hit for Moon Mullican. This version had Holly on guitar and King Curtis on saxophone, and is a really interesting attempt at blending Cajun music with R&B: [Excerpt: Waylon Jennings, “Jole Blon”] But Holly’s biggest hope was placed in a session that was really breaking new ground. No rock and roll singer had ever recorded with a full string section before — at least as far as he was aware, and bearing in mind that, as we’ve seen many times, there’s never truly a first anything. In October 1958, Holly went into the studio with the Dick Jacobs Orchestra, with the intention of recording three songs — his own “True Love Ways”, a song called “Moondreams” written by Petty, and one called “Raining in My Heart” written by Felice and Boudleaux Bryant, who’d written many hits for his friends the Everly Brothers. At the last minute, though, he decided to record a fourth song, which had been written for him by Paul Anka, the same kid whose “Diana” had been so irritating to him the year before. He played through the song on his guitar for Dick Jacobs, who only had a short while to write the arrangement, and so stuck to the simplest thing he could think of, basing it around pizzicato violins: [Excerpt: Buddy Holly, “It Doesn’t Matter Any More”] At that point, everything still seemed like it could work out OK. Norman Petty and the other Crickets were all there at the recording session, cheering Buddy on. That night the Crickets appeared on American Bandstand, miming to “It’s So Easy”. That would be the last time they ever performed together, and soon there would be an irreparable split that would lead directly to Holly’s death — and to his posthumous fame. Holly was getting sick of Norman Petty’s continual withholding of royalties, and he’d come up with a plan. The Crickets would, as a group, confront Petty, get him to give them the money he owed them, and then all move to New York together to start up their own record label and publishing company. They’d stop touring, and focus on making records, and this would allow them the time to get things right and try new things out, which would lead to them having hits again, and they could also produce records for their friends like Waylon Jennings and Sonny Curtis. It was a good plan, and it might have worked, but it relied on them getting that money off Norman Petty. When the other two got back to Texas, Petty started manipulating them. He told them they were small-town Texas boys who would never be able to live in the big city. He told them that they didn’t need Buddy Holly, and that they could carry on making Crickets records without him. He told them that Maria Elena was manipulating Buddy, and that if they went off to New York with him it would be her who was in charge of the group from that point on. And he also pointed out that he was currently the only signatory on the group’s bank account, and it would be a real shame if something happened to all that money. By the time Buddy got back to Texas, the other two Crickets had agreed that they were going to stick with Norman Petty. Petty said it was fine if Buddy wanted to fire him, but he wasn’t getting any money until a full audit had been done of the organisation’s money. Buddy was no longer even going to get the per diem pocket money or expenses he’d been getting. Holly went back to New York, and started writing many, many, more songs, recording dozens of acoustic demos for when he could start his plan up: [Excerpt: Buddy Holly, “Crying, Waiting, Hoping”] It was a massive creative explosion for the young man. He was not only writing songs himself, but he was busily planning to make an album of Latin music, and he was making preparations for two more projects he’d like to do — an album of duets on gospel songs with Mahalia Jackson, and an album of soul duets with Ray Charles. He was going to jazz clubs, and he had ambitions of following Elvis into films, but doing it properly — he enrolled in courses with Lee Strasberg’s Actors Studio, to learn Method Acting. Greenwich Village in 1958 was the perfect place for a young man with a huge amount of natural talent and appetite for learning, but little experience of the wider world and culture. But the young couple were living off Maria Elena’s aunt’s generosity, and had no income at all of their own. And then Maria Elena revealed that she was pregnant. And Norman Petty revealed something he’d kept hidden before — by the terms of Buddy’s contract, he hadn’t really been recording for Brunswick or Coral, so they didn’t owe him a penny. He’d been recording for Petty’s company, who then sold the masters on to the other labels, and would get all the royalties. The Crickets bank account into which the royalties had supposedly been being paid, and which Petty had refused to let the band members see, was essentially empty. There was only one thing for it. He had to do another tour. And the only one he could get on was a miserable-seeming affair called the Winter Dance Party. While most of the rock and roll package tours of the time had more than a dozen acts on, this one had only five. There was an opening act called Frankie Sardo, and then Dion and the Belmonts, who had had a few minor hits, and had just recorded, but not yet released, their breakthrough record “Teenager in Love”: [Excerpt: Dion and the Belmonts, “Teenager in Love”] Then there was the Big Bopper, who was actually a fairly accomplished songwriter but was touring on the basis of his one hit, a novelty song called “Chantilly Lace”: [Excerpt: the Big Bopper, “Chantilly Lace”] And Ritchie Valens, whose hit “Donna” was rising up the charts in a way that “It Doesn’t Matter Any More” was notably failing to do: [Excerpt: Ritchie Valens, “Donna”] Buddy put together a new touring band consisting of Tommy Allsup on guitar, Waylon Jennings on bass — who had never played bass before starting the tour — and a drummer called Carl Bunch. For a while it looked like Buddy’s friend Eddie Cochran was going to go on tour with them as well, but shortly before the tour started Cochran got an offer to do the Ed Sullivan Show, which would have clashed with the tour dates, and so he didn’t make it. Maria Elena was very insistent that she didn’t want Buddy to go, but he felt that he had no choice if he was going to support his new child. The Winter Dance Party toured Wisconsin, Iowa, and Minnesota, through the end of January and the beginning of February 1959, and the conditions were miserable for everyone concerned. The tour had been put together with no thought of logistics, and it zig-zagged wildly across those three states, with gigs often four hundred miles away from each other. The musicians had to sleep on the tour bus — or buses. The tour was being run on a shoe-string, and they’d gone with the cheapest vehicle-hire company possible. They went through, according to one biography I’ve read, eight different buses in eleven days, as none of the buses were able to cope with the Midwestern winter, and their engines kept failing and the heating on several of the buses broke down. I don’t know if you’ve spent any time in that part of America in the winter, but I go there for Christmas every year (my wife has family in Minnesota) and it’s unimaginably cold in a way you can’t understand unless you’ve experienced it. It’s not unusual for temperatures to drop to as low as minus forty degrees, and to have three feet or more of snow. Travelling in a bus, with no heating, in that weather, all packed together, was hell for everyone. The Big Bopper and Valens were both fat, and couldn’t fit in the small seats easily. Several people on the tour, including Bopper and Valens, got the flu. And then finally Carl Bunch got hospitalised with frostbite. Buddy’s band, which was backing everyone on stage, now had no drummer, and so for the next three days of the tour Holly, Dion, and Valens would all take it in turns playing the drums, as all of them were adequate drummers. The shows were still good, at least according to a young man named Robert Zimmerman, who saw the first drummerless show, in Duluth Minnesota, and who would move to Greenwich Village himself not that long afterwards. After a show in Clear Lake, Iowa, Buddy had had enough. He decided to charter a plane to take him to Fargo, North Dakota, which was just near Moorhead, Minnesota, where they were planning on playing their next show. He’d take everyone’s laundry — everyone stank and had been wearing the same clothes for days — and get it washed, and get some sleep in a real bed. The original plan was to have Allsup and Jennings travel with him, but eventually they gave up their seats to the two other people who were suffering the most — the Big Bopper and Valens. There are different stories about how that happened, most involving a coin-toss, but they all agree that when Buddy found out that Waylon Jennings was giving up his seat, he jokingly said to Jennings “I hope your old bus freezes”, and Jennings replied, “Yeah, well I hope your ol’ plane crashes”. The three of them got on the plane in the middle of the night, on a foggy winter’s night, which would require flying by instruments. Unfortunately, while the pilot on the plane was rated as being a good pilot during the day, he kept almost failing his certification for being bad at flying by instrument. And the plane in question had an unusual type of altitude meter. Where most altitude meters would go up when the plane was going up and down when it was going down, that particular model’s meter went down when the plane was going up, and up when it was going down. The plane took off, and less than five minutes after takeoff, it plummeted straight down, nose first, into the ground at top speed, killing everyone on board instantly. As soon as the news got out, Holly’s last single finally started rising up the charts. It ended up going to number thirteen on the US charts, and number one in many other countries. The aftermath shows how much contempt the music industry — and society itself — had for those musicians at that time. Maria Elena found out about Buddy’s death not from the police, but from the TV — this later prompted changes in how news of celebrity deaths was to be revealed. She was so upset that she miscarried two days later. She was too distraught to attend the funeral, and to this day has still never been able to bring herself to visit her husband’s grave. The grief was just too much. The rest of the people on the tour were forced to continue the remaining thirteen days of the tour without the three acts anyone wanted to go and see, but were also not paid their full wages, because the bill wasn’t as advertised. A new young singer was picked up to round out the bill on the next gig, a young Minnesotan Holly soundalike called Bobby Vee, whose first single, “Suzy Baby”, was just about to come out: [Excerpt: Bobby Vee, “Suzy Baby”] When Vee went on tour on his own, later, he hired that Zimmerman kid we mentioned earlier as his piano player. Zimmerman worked under the stage name Elston Gunn, but would later choose a better one. After that date Holly, Valens, and the Bopper were replaced by Fabian, Frankie Avalon, and Jimmy Clanton, and the tour continued. Meanwhile, the remaining Crickets picked themselves up and carried on. They got Buddy’s old friend Sonny Curtis on guitar, and a succession of Holly-soundalike singers, and continued playing together until Joe Mauldin died in 2015. Most of their records without Buddy weren’t particularly memorable, but they did record one song written by Curtis which would later become a hit for several other people, “I Fought the Law”: [Excerpt: The Crickets, “I Fought the Law”] But the person who ended up benefiting most from Holly’s death was Norman Petty. Suddenly his stockpile of unreleased Buddy Holly recordings was a goldmine — and not only that, he ended up coming to an agreement with Holly’s estate that he could take all those demos Holly had recorded and overdub new backing tracks on them, turning them into full-blown rock and roll songs. Between overdubbed versions of the demos, and stockpiled full-band recordings, Buddy Holly kept having hit singles in the rest of the world until 1965, though none charted in the US, and he made both Petty and his estate very rich. Norman Petty died in 1984. His last project was a still-unreleased “updating” of Buddy’s biggest hits with synthesisers. These days, Buddy Holly is once again on tour, or at least something purporting to be him is. You can now go and see a “hologram tour”, in which an image of a look-not-very-alike actor miming to Holly’s old recordings is projected on glass, using the old Victorian stage trick Pepper’s Ghost, while a live band plays along to the records. Just because you’ve worked someone to death aged twenty-two, doesn’t mean that they can’t still keep earning money for you when they’re eighty-three. And a hologram will never complain about how cold the tour bus is, or want to wash his laundry.

A recent article in the New York Times called “Build Build Build Build Build Build Build Build Build Build Build Build Build Build”—that’s fourteen “builds,” by the way—chronicled the drama (and a fair amount of absurdity) surrounding a proposed development in Lafayette, California. Lafayette, a wealthy suburb east of Berkeley, is known for being notoriously anti-development. When a developer proposed to build hundreds of new homes across the street from a BART station—something the land was zoned for—it set off a firestorm of protests. Some people protested that the plans were too big, others that they were too small. At one point, the developer, Dennis O’Brien, found himself in the farcical position of being sued in support of himself. The article by Conor Dougherty is the kind of story that brilliantly illustrates the complexities, controversies, and personalities of the housing crisis. Which also makes it the right kind of article to get the Upzoned treatment. In this week’s episode of Upzoned, host Abby Kinney is joined by Strong Towns president Chuck Marohn and Strong Towns senior editor Daniel Herriges to unpack the Lafayette story. Together, they discuss what the situation in Lafayette says about the degree to which housing policy should be controlled at the state level vs. the local level, the dangers of one-dimensional solutions for complex problems, and whether or not it’s time to reform our laws to simply get more building done. Then on the Downzoned, Chuck Marohn tells the story of how he met Kansas City rapper Kemet the Phantom, whose song, “Get Out (The Streetcar Song),” is the new Upzoned bumper music. That meeting was a reminder to Chuck that the movement to build strong towns goes far beyond built environment professionals: engineers, planners, and architects. Show Notes The New York Times article: “Build Build Build Build Build Build Build Build Build Build Build Build Build Build,” by Conor Dougherty,” Abby Kinney on Twitter Kemet the Phantom on Soundcloud Conor Dougherty on Twitter Recent Strong Towns articles on the housing crisis in California “California Housing Crisis,” by Chuck Marohn “One Important Question About California's Housing Future,” by Daniel Herriges “Best of 2019: California’s Housing Crisis,” by Daniel Herriges “Hey Google, Tell Me How to Make Bay Area Housing More Affordable,” by Daniel Herriges    

In our continuing series of special interviews covering Voices Only 2019, Rachael sits down with The BluesTones to talk about their tune Tell Me How, originally performed by Paramore, which was selected to appear on this year's compilation album. Learn more about the group here: https://www.facebook.com/thejmubluestones.

Making money online is everyone's dream, it sounds like a fairy tale made for the laziest and brightest people who have a product or service they built and don't have to do anything or move a finger. Ah almost like MAGIC. SKKRRRRRT*  The truth is it's very possible for most normal intelligent with average IQ people.  Making money online is a very possible thing to do for all of us, thanks to the internet we all possess that opportunity and the gate is open  but making money online also requires work, it is just making anything you would in real life and giving it a home for people around the world to find and buy. finding costumers, making or providing a service to someone, offering value in any kind emotional, physical or health wise, spiritual, numbers you name it. It's very possible.  The problem is : many people just want to make MONEY, it's like if you asked me " i wanna make mad tips, cash, everyday, what do i do? i would respond with " become a server/waitress" and you're not going to like my answer even though it is TRUE.  I recently "yesterday" i got a Direct message/mail from someone from over seas who was asking me ' I want to make money online, show me how"  i said " okay, what are you focused on, what do you do? , what do you like to do? it was a whole hour of back and forth nothingness just a lot of " I WANT TO MAKE MONEY ONLINE, TELL ME HOW? "! now here is the thing, there is money in EVERYTHING  sell cat litter? make it PURPLE make it , glow in the dark I DUNNO that's probably not safe, but i told this person, listen i am willing to sit down with you and find what your passion is but you have to give me something to work with man. YOU CANNOT NO MATTER WHAT I TELL YOU, YOU WILL NOT PULL OFF MAKING MONEY IF THERE'S NOTHING THAT YOU MAKE OR HAVE THAT SOMEONE ELSE WANTS, WANTING TO MAKE MONEY REQUIRES SOME VALUE IN RETURN '  The last thing i said was this: Everything you want or wish for has in some way or some how been done by someone else before, look at what they did, how they did it and most importantly do it YOUR WAY not their way YOUR WAY. No one like duplicates..  GOOGLE IS FREE, GOOGLE IS YOUR FRIEND.  GUT IS THE MOTHER, AND GOOGLE IS THE FATHER OF ALL ENTREPRENEURS - Hueclouds i am here to help and chat and everything else even as i am very busy but making money online isn't a magic trick, there is somehow ways to automatize it and build softwares for people who need them. Build them once and have them working for you forever.  the problem is YOU STILL HAVE TO LEARN HOW TO BUILD IT AND BECOME A MASTER OR TINY MASTER AT WHAT YOU WANT TO SELL  now this episode is to take the "mythicallity" out of making money online. It is possible but it is NOT for lazy people, and here's why  Enjoy Author: Yitzel J P Hueclouds  Find me and my shop over here : Linktr.ee/Hueclouds --- Send in a voice message: https://anchor.fm/thispoddoesnotexist/message

Tell Me How, Please: Did I Choose Right? (9.15.19, Charles Park) by River NYC Sermons

Tell Me How, Please (9.8.2019, Charles Park) by River NYC Sermons

      We are a little over the midway mark of Season two so we thought now might be good time to highlight some of our most listened to episodes. In other words, LET'S DO IT AGAIN. Enjoy this compilation of clips featuring some of your and our favorite episodes, and if you missed any of them, go back and check out the full episode.  And even if you didn't miss any, check them out again and share them with a friend. Episodes highlighted: Episode 002: Behind the Mask of the Angry Black Woman Episode 005: Trapped in a Bad Relationship Episode 006: Habits That Keep Black Women Stuck Episode 009: I'm My Child's Friend, but I'm Still in Control Episode 011: Sisterhood! They Smile in Your Face Episode 012: Don't Tell Me How to Heal My Pain Period Episode 013: Finding Yourself and Standing in Your Truth Episode 014: Where is God When Life Happens   And when you're finished, we'd love to hear from you.  So, hop on over to  Shades of Strong and  share your story with us via voice message or send us an email at hi@shadesofstrong.com. OR Head on over to FACEBOOK or TWITTER, or INSTAGRAM @shadesofstrong and join the conversation by leaving us a comment or tweet.   If you’re tweeting with us, be sure to use the hashtag #shadesofstrong. Happy listening peeps!   SUBSCRIBE. RATE. REVIEW   If you enjoyed this or previous episodes, head on over to Apple Podcasts and SUBSCRIBE TO THE SHOW! And if you’re moved to do so, kindly leave us a rating and review.  Not sure how to do that?  Click HEREfor a quick how to. Other Ways to subscribe to the Shades of Strong Podcast: Click here to subscribe via Google Podcasts Click here to subscribe via Stitcher   Click here to subscribe via Tunein Click here to subscribe via Spotify Click here to subscribe via e-mail Click here to subscribe via RSS

Aminah Mae Safi is the author of the new novel Tell Me How You Really Feel, which comes out this month and which Bustle already called "the queer hate-to-love story you've been needing in your life." Tell Me How you Really Feel is her second novel after 2018's Not the Girls You're Looking For. Safi was the winner of the We Need Diverse Books short story contest, and that story appears in the anthology Fresh Ink. We talk about writing gay romances for teens, the importance of representation and process.

Aminah Mae Safi is the author of the new novel Tell Me How You Really Feel, which comes out this month and which Bustle already called "the queer hate-to-love story you've been needing in your life." Tell Me How you Really Feel is her second novel after 2018's Not the Girls You're Looking For. Safi was the winner of the We Need Diverse Books short story contest, and that story appears in the anthology Fresh Ink. We talk about writing gay romances for teens, the importance of representation and process.

Amanda and Jenn discuss books about books, houses as characters, female travelers, and more in this week's episode of Get Booked. This episode is sponsored by Book Riot Insiders, The Knitter's Dictionary, and Shades of Wicked by Jeaniene Frost. Subscribe to the podcast via RSS here, or via Apple Podcasts here. The show can also be found on Stitcher here.   Feedback The Iron Druid series by Kevin Hearne The Iron Hunt by Marjorie M. Liu Daughter of Smoke and Bone by Laini Taylor   Questions   1. I like books about books so much that I have a whole shelf on my good reads called books about books about books. I look forward to reading your recommendations for it but I wanted to put my hat in the ring. So in that vein: The Guernsey Literary and Potato Peel Pie Society The Eyre Affair (and really the whole Thursday Next Series) Mister Pip If on a Winters Night a Traveler Cloud Atlas Love the podcast! Best, Miranda   2. Dear Jen and Amanda, I wrote to you a few months ago for book recs to help with my recent break up and boy did you deliver the goods! You helped me out of a sad time and reading slump, and made me push through. I've decided to go travelling through Europe alone (but armed with my kindle) and would love some recommendations on solo travel from a female perspective/women taking over the universe/generally fierce women to accompany me through my travels. Thanks for being two bad ass women and keeping me company throughout my tumultuous but exciting year. Love, Ron   3. Hi Ladies, I love it when houses are characters in books. Some personal favorites are Jane Eyre, du Maurier's Rebecca and The Likeness by Tana French. I've also loved We Have Always Lived in the Castle and The Haunting of Hill House by Shirley Jackson as well as The Woman in Black by Susan Hill. Could you recommend some great books that feature houses as characters? Happy to read any genre. Bonus points if it's haunted! Best, Kristi   4. Hi! I am getting ready to travel to Antarctica in early November and would love some recommendations for books to read either before I go or while I'm there. I've read "Where'd You Go, Bernadette" by Maria Semple and am about to start "Endurance" by Alfred Lansing. I like to go into an adventure with a good historical and scientific background, so I'm open to pretty much anything (fiction or non-fiction) that will get me excited for what I'm about to see and experience! Thank you! Sydney   5. Hi! Hispanic Heritage month (Sept 15-Oct 15) has me wanting to tap into my Mexican-American roots. I want to fill in the gaps of my knowledge. Especially in this political climate that tries to vilify these communities. Can you recommend any nonfiction about Central and South America to tap into the complex history and culture. Bonus points if available on audio.

01-Steve Earle The Dukes-Youre The Best Lover That I Ever Had 02-John Hiatt- Wind Dont Have To Hurry 03-Billy Payne- Country Till I Die 04-Its Just Me Loving You-Wayne Law 05-Allwoods-Borrow My Heart 06-Jason Eady - Calaveras County 07-Jason Eady - Ill Sure Be Glad When Im Gone 08-Joni Harms - Two Steppin' Texas Blues 09-Trinity Seely - Middle of Nowhere 10-Dallas Wayne - You Can Count On Me 11-Jonesin' For Jones-Dallas Watson 12-Arizona Morning-Penny Menze 13-I Walk The Line - Rodney Crowell 14-Johnny Cash - I Got Stripes 15-Stuart Moyles-You Ain't Going Nowhere(Filipo Marco) 16-John Hartford - Gentle on My Mind 17-Bob Dylan- Early Morning Rain 18-Bobby Bare - 500 milles 19-Merle Haggard - Okie From Muskogee 20-Loretta Lynn- For The Good Times 21-Kris Kristofferson - Me and Bobby McGee 22-Kris Kristofferson - Sunday morning coming down 23-Kris Kristofferson-Please Don't Tell Me How the Story Ends

Join us as we say "Bye Felicia" to 2017 and ring in 2018. We decided to recount the books that got us through 2017. So the gang discusses their faves whether they were published this year or not. Amy in her Is It Teen Enough debut discusses Paper Girls by Brian K. Vaughn, Cliff Chiang, and Matt Wilson. (That new Archie Amy talks aobut is by Mark Waid—who did an awesome Daredevil Run—and Fiona Staples). Katie discusses Aristotle and Dante Discover the Secrets of the Universe by Benjamin Alire Sáenz. Molly sent a recording and suggested a barrage of titles: Scythe by Neil Shusterman, The Passion of Dolssa by Julie Berry, The Hate U Give by Angie Thomas, Real Friends by Shannon Hale, Tell Me How it Ends by Valeria Luiselli, The Upside of Unrequited by Becky Albertalli (which we totally did NOT discuss on the podcast; what were we thinking missing out on that one?), and Girl Mans Up by M-E Girard! Kim's favorite of the year was The Hate U Give by Angie Thomas (she also mentions The Gentleman's Guide to Vice and Virtue, which we'll discuss in a future episode, The Rules of Magic by Alice Hoffman (which I think she accidentally calls The Color of Magic because of her love of Terry Pratchett. R.I.P.), and Turtles all the Way Down by John Green. Cash Money discusses the Passion of Dolssa by Julie Berry. Nate discusses You Don't Have to Say You Love Me by Sherman Alexie. Lindsey discusses Far From the Tree by Robin Benway. Nathan discusses All's Faire in Middle School by Victoria Jamieson

Award-winning novelist Valeria Luiselli joins Kate and Medaya to talk about her new book, Tell Me How it Ends: An Essay in Forty Questions, about the flood of children refugees coming to the United States on a harrowing journey through Mexico from Central America. Luiselli reminds us that Trump may exacerbate the problem, but its been a tragic reality for years. Also, Sarah Manguso returns to recommend Amy Fusselman's underappreciated "8: All True: Unbelievable."

This week Grant and Heavey are joined by Eric LeClair, owner and founder of one of the first CrossFit gyms in Southern California. The boys discuss how the sport of fitness has changed over the last 16 years since Eric first encountered CrossFit, and his last decade as an affiliate owner. From the OG days of beer and buddies hanging out at Aromas, to the present day Reebok CrossFit Games, Eric shares his stories and adventures coaching and running a box. [1:38] 2003 Birth of an Affiliate [3:20] Master of Fitness [4:21] Grant and Heavey hit P90X [4:45] Straight up Jane Fonda [6:30] CrossFit Community Then and Now [8:25] Nicole Doesn’t Miss the Boat [9:23] Team 9 Moms [12:05] Who were the Crazy People CrossFitting in 2006? [13:40] How The CrossFit Games Changed Everything [15:15] Selling Beers and Testing Fitness [21:23] Grant Goest Back to the Fundamentals [23:00] Don’t Tell Me How to Run my Business [24:45] Surprise Phone Call from my Realtor [25:15] Open Up in My Backdoor [27:10] The Negative from the Growth of CrossFit [28:20] Hodor!!!! [29:25] Aesthetics vs. Health [31:20] Don’t Kick Out Rad Coaches [32:55] Working With Kids and Masters [34:00] Going Dry, Cause it Feels So Good

The Kansas City City Council just adopted a new $1.5 billion budget for next year.  The budget is the City's blueprint for what's important to voters, but how does the […] The post “Tell Me How to Spend $1.5 Billion” with Jan Marcason appeared first on KKFI.

AHHHHHHHHHHHHHHHHHHH! I am tired of the news of the day being another black man or woman is murdered. I'm tired of hearing the excuse that this is another case of a rouge cop, an over-zealous neighborhood watch person or the excuse of a system that needs to reform. It's the same old "lone gunman theory" they have had us swallow for decades. Can't we open our eyes and call it like it is? TERRORISM! Yes, it is terrorism plan and simple and it doesn't matter if they are in a uniform and wear a badge or cary a flag and scream death of all infidels! Then maybe we can get some funding and the military will fight for OUR freedom! When a black person can't walk, drive, run or jog in any neighborhood without harrasment, inquisition, beating or murder then that's terrorism. Tell Me: How is walking home from the store a death sentence? When has running from the police been a death sentence? When has speeding or talking too loud or questioning authority been a reason for our demise? Since the frist black man and woman came over in the TransAtlantic slave trade we have been targeted for annhililation. Genocide is not just the act it is the idea and the plan then the the inmplimentation. Genocide can be mass extermination like we witnessed in Rwanda or Armenia, or it can be a slow systematic elimination of a hateful and sadisitc society as we see in America. I'm sick of it! We don't need to sit down and sing Kum-Ba-Yah we need to be proactive! What do you think? 661-467-2407 and press 1 to talk  

Phil 'N' the Blanks - "PRL-8-53" - 7" Bobby Conn - "Who's the Paul?" - 7" Quintron - "Untitled" - Bulb/Blackjack split7" Glass Candy - "Crystal Migraine" - Glass Candy/Subtonix split 7" The Shaking Ray Levis Double Keyboard Band - "Untitled" - 7" Tom McTigh - "You Don't Have to Tell Me How to Love My Baby" - 7" Kate Fagan - "I Don't Wanna Be Too Cool" - 7" Tauchen-Prokopetz - "COD" - 7" Algebra Suicide - "Flock of Crows" - 7" Scissor Girls - "No Darling Pets" - 7" Unknown Crusty Anarcho Punk - "Unknown" - 7" Anna Russel - "Dripping with Gore" - 7" Attic Ted - "My Turn Now" - 7" God is My Co-Pilot - "Bicycle Girls" - 7" Monitor Radio - "Halloween" - 7" The Queers - "I'm Nowhere at All" - 7" Raooul - "Anna Joy" - 7" Crack: We Are Rock - "Strawberries" - 7" Capt. 9s & the Knickerbocker Trio - "Goddamnit I'm Pissed!" - Very Small Records 7" comp Many Moods of Marlon Magas - "Malika!" - split 7" with Mr. Velocity Hopkins Pussy Pirates - "Stickboy Lullaby/Die Die Die" - split 7" with Teeth Galen - "The Detective" - 7" Horny Mormons - "Thadicus" - Very Small Records 7" comp Youth Gone Mad - "Porcupine" - split 7" with Sound Bit House Das Hellberg Duo - "Hohe Tannen" - 7" https://www.wfmu.org/playlists/shows/42403

Artist: LamarMusik Track: 01-Tell Me How Album: Love Sounds (Click for download)   Track listing: 01. Tell Me How 5:54 02. You’ve Changed 4:24 03. Love Sounds 5:09 04. I Still Love You 5:12 05. You R 5:21 06. Lost Heart 5:03 07. Love Arena 7:26 08. Last Try 5:18 09. Nothin Like 3:59 10. … Continue reading Tell Me How

Artist: LamarMusik Track: 01-Tell Me How Album: Love Sounds (Click for download)   Track listing: 01. Tell Me How 5:54 02. You’ve Changed 4:24 03. Love Sounds 5:09 04. I Still Love You 5:12 05. You R 5:21 06. Lost Heart 5:03 07. Love Arena 7:26 08. Last Try 5:18 09. Nothin Like 3:59 10. … Continue reading Tell Me How

We back-ack-ack-ack-ack like a heart attack-ack-ack-ack-ack. We're sorry that we missed last week, but hey, distance makes the heart grow fonder. You want us so bad right now, don't you? Well, then, have us. Suggested talking points: The Gregory Hines Calendar, LUDA, Snorgy, Lovescrooge, Silent Mike/Invisible Darlene, Sleep It, National Bath Safety Month, Pyrokinandre, Tell Me How to Touch You