Podcast appearances and mentions of terry scott

"Do you want a taste of the lash?""No thanks, I've just had some cocoa."In 1974 the BBC issued the first Goon Show Classics LP. On one side was The Dreaded Batter Pudding Hurler of Bexhill-on-Sea and on the other side was the show we're talking about today: The Histories of Pliny the Elder, Spike Milligan's attempt to pen a sword-and-sandals Goonish epic.It has become one the most beloved Goon Shows ever, with some highly memorable gags and an end-of-term looseness about it. They all sounded like they were just having a lot of fun. Joining Tyler is returning guest James Page and as well as discussing the show itself pay tribute to a couple of the backroom boys, examine the difference between Cyril and Lew and give mention to Mark Kermode, Terry Scott and the Asterix books.

Hey Bikers drop us a line and lets us know how we are doing!This week Big E chats with Wyld Stallions builder Terry Scott

Terry Scott from Georgia is elected the new NTEU National Executive Vice President, Hatch Act reminders and Larry is a grandfather again. That and more on this episode of the Chapter 49 Podcast with Duncan Giles & Larry Lannan

In this episode we look at the brilliant fifth radio series episode The Unexploded Bomb.  Tim, James, Jon and Martin consider how brilliant Kenneth Williams is in this episode with his two contrasting voices of the vicar and the bomb disposal expert and also look at the excellent contribution from Hattie Jacques.The Gang of Four discuss the great characters played by Alan Simpson, the edits made to the earlier vinyl and cassette release and their views on the final scene.  The four also discuss pyjama parties and how many they have been invited to and debate, in detail, how to cook a five course meal with just one saucepan.As always, the team get side tracked, this time by the Fawlty Towers vinyl box set, comedy records by Bernard Cribbins, Terry Scott, June Whitfield and Frankie Howerd and conclude with a look at the Hancock connection with The Wombles!Don't forget to rate and subscribe to the podcast. And, if you haven't done so already, why not join the Tony Hancock Appreciation Society - full details of how to join are at www. tonyhancock.org.uk We have an event planned to celebrate what would have Hancock's 100th birthday in May 2024 and our annual reunion dinner in September; we'd love to welcome you as a member and see you at our events. We'll be back in a couple of weeks with a review of The New Nose from the fourth television series. Hope to see you then.

On this episode, we talk to Thomasville City Councilmembers Scott Chastain, Terry Scott, and new Mayor Todd Mobley. We ask them about their connections to Thomasville, and what plans they have to make our community stronger. Thanks for tuning in!

When it comes to keeping our instruments sterile, Terry Scott, director central sterile supply, is practically royalty.   In this episode of "Here for Good: Inside Edition," Dennis and Terry chat about the importance of sterile processing, his impressive career at Virtua, and the process of earning "The Golden Crown," a highly coveted distinction in his field.  

In this episode we take a look at a series 8 episode of the British sit-com, Terry and June (1979-1987) called "One Arabian Night". Sir Dennis asks the Medfords to host Middle Eastern prince Abdul Aziz with whom he hopes to do a deal. Initially they try to observe protocol with June wearing long Arab robes but when she changes into a revealing short dress the prince offers to buy her for fifty camels. When Terry stands up to him he is impressed that he is not fawning like Sir Dennis and agrees to sign the deal. Terry Scott...Terry Medford June Whitfield...June Medford Reginald Marsh...Sir Dennis Hodge Derek Griffiths...Prince Abdul Aziz John Warner...Reverend Austin Doyle Nicholas McArdle...Mr. Dobson Ron Tarr...McMahon Dave Cooper...Man in Nightclub Listen, Rate and Share the show!!! Find us at all2reeltoo.com Listen to Mike on The Family Fright Night Horror Podcast ... https://open.spotify.com/episode/7kstbpDOnLQeI8BQGLzina Check out some cool music by host Matthew Haase at https://youtu.be/5E6TYm_4wIE Check out cool merchandise related to our show at http://tee.pub/lic/CullenPark Become a Patron of the show here.... https://www.patreon.com/CullenPark Listen to Mike on The Nerdball Podcast.... https://pod.fo/e/ba2aa Check out some cool music from Jason Quick at www.jasonquickmusic.com TO HELP WRITERS AND ACTORS ON THE PICKET LINES YOU CAN DONATE HERE: ENTERTAINMENT COMMUNITY FUND If you can during these troubling times make a donation to one of the following charities to help out. https://www.thetrevorproject.org/ https://www.hrc.org/hrc-story/hrc-foundation https://pointfoundation.org/ https://www.directrelief.org/ https://www.naacpldf.org/ https://www.blackvotersmatterfund.org https://www.tahirih.org/ https://www.monafoundation.org/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 166 of A History of Rock Music in Five Hundred Songs looks at “Crossroads", Cream, the myth of Robert Johnson, and whether white men can sing the blues. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-eight-minute bonus episode available, on “Tip-Toe Thru' the Tulips" by Tiny Tim. 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/ Errata I talk about an interview with Clapton from 1967, I meant 1968. I mention a Graham Bond live recording from 1953, and of course meant 1963. I say Paul Jones was on vocals in the Powerhouse sessions. Steve Winwood was on vocals, and Jones was on harmonica. Resources As I say at the end, the main resource you need to get if you enjoyed this episode is Brother Robert by Annye Anderson, Robert Johnson's stepsister. There are three Mixcloud mixes this time. As there are so many songs by Cream, Robert Johnson, John Mayall, and Graham Bond excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here -- one, two, three. This article on Mack McCormick gives a fuller explanation of the problems with his research and behaviour. The other books I used for the Robert Johnson sections were McCormick's Biography of a Phantom; Up Jumped the Devil: The Real Life of Robert Johnson, by Bruce Conforth and Gayle Dean Wardlow; Searching for Robert Johnson by Peter Guralnick; and Escaping the Delta by Elijah Wald. I can recommend all of these subject to the caveats at the end of the episode. The information on the history and prehistory of the Delta blues mostly comes from Before Elvis by Larry Birnbaum, with some coming from Charley Patton by John Fahey. The information on Cream comes mostly from Cream: How Eric Clapton Took the World by Storm by Dave Thompson. I also used Ginger Baker: Hellraiser by Ginger Baker and Ginette Baker, Mr Showbiz by Stephen Dando-Collins, Motherless Child by Paul Scott, and  Alexis Korner: The Biography by Harry Shapiro. The best collection of Cream's work is the four-CD set Those Were the Days, which contains every track the group ever released while they were together (though only the stereo mixes of the albums, and a couple of tracks are in slightly different edits from the originals). You can get Johnson's music on many budget compilation records, as it's in the public domain in the EU, but the double CD collection produced by Steve LaVere for Sony in 2011 is, despite the problems that come from it being associated with LaVere, far and away the best option -- the remasters have a clarity that's worlds ahead of even the 1990s CD version it replaced. And for a good single-CD introduction to the Delta blues musicians and songsters who were Johnson's peers and inspirations, Back to the Crossroads: The Roots of Robert Johnson, compiled by Elijah Wald as a companion to his book on Johnson, can't be beaten, and contains many of the tracks excerpted in this episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick note that this episode contains discussion of racism, drug addiction, and early death. There's also a brief mention of death in childbirth and infant mortality. It's been a while since we looked at the British blues movement, and at the blues in general, so some of you may find some of what follows familiar, as we're going to look at some things we've talked about previously, but from a different angle. In 1968, the Bonzo Dog Band, a comedy musical band that have been described as the missing link between the Beatles and the Monty Python team, released a track called "Can Blue Men Sing the Whites?": [Excerpt: The Bonzo Dog Band, "Can Blue Men Sing the Whites?"] That track was mocking a discussion that was very prominent in Britain's music magazines around that time. 1968 saw the rise of a *lot* of British bands who started out as blues bands, though many of them went on to different styles of music -- Fleetwood Mac, Ten Years After, Jethro Tull, Chicken Shack and others were all becoming popular among the kind of people who read the music magazines, and so the question was being asked -- can white men sing the blues? Of course, the answer to that question was obvious. After all, white men *invented* the blues. Before we get any further at all, I have to make clear that I do *not* mean that white people created blues music. But "the blues" as a category, and particularly the idea of it as a music made largely by solo male performers playing guitar... that was created and shaped by the actions of white male record executives. There is no consensus as to when or how the blues as a genre started -- as we often say in this podcast "there is no first anything", but like every genre it seems to have come from multiple sources. In the case of the blues, there's probably some influence from African music by way of field chants sung by enslaved people, possibly some influence from Arabic music as well, definitely some influence from the Irish and British folk songs that by the late nineteenth century were developing into what we now call country music, a lot from ragtime, and a lot of influence from vaudeville and minstrel songs -- which in turn themselves were all very influenced by all those other things. Probably the first published composition to show any real influence of the blues is from 1904, a ragtime piano piece by James Chapman and Leroy Smith, "One O' Them Things": [Excerpt: "One O' Them Things"] That's not very recognisable as a blues piece yet, but it is more-or-less a twelve-bar blues. But the blues developed, and it developed as a result of a series of commercial waves. The first of these came in 1914, with the success of W.C. Handy's "Memphis Blues", which when it was recorded by the Victor Military Band for a phonograph cylinder became what is generally considered the first blues record proper: [Excerpt: The Victor Military Band, "Memphis Blues"] The famous dancers Vernon and Irene Castle came up with a dance, the foxtrot -- which Vernon Castle later admitted was largely inspired by Black dancers -- to be danced to the "Memphis Blues", and the foxtrot soon overtook the tango, which the Castles had introduced to the US the previous year, to become the most popular dance in America for the best part of three decades. And with that came an explosion in blues in the Handy style, cranked out by every music publisher. While the blues was a style largely created by Black performers and writers, the segregated nature of the American music industry at the time meant that most vocal performances of these early blues that were captured on record were by white performers, Black vocalists at this time only rarely getting the chance to record. The first blues record with a Black vocalist is also technically the first British blues record. A group of Black musicians, apparently mostly American but led by a Jamaican pianist, played at Ciro's Club in London, and recorded many tracks in Britain, under a name which I'm not going to say in full -- it started with Ciro's Club, and continued alliteratively with another word starting with C, a slur for Black people. In 1917 they recorded a vocal version of "St. Louis Blues", another W.C. Handy composition: [Excerpt: Ciro's Club C**n Orchestra, "St. Louis Blues"] The first American Black blues vocal didn't come until two years later, when Bert Williams, a Black minstrel-show performer who like many Black performers of his era performed in blackface even though he was Black, recorded “I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,” [Excerpt: Bert Williams, "I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,”] But it wasn't until 1920 that the second, bigger, wave of popularity started for the blues, and this time it started with the first record of a Black *woman* singing the blues -- Mamie Smith's "Crazy Blues": [Excerpt: Mamie Smith, "Crazy Blues"] You can hear the difference between that and anything we've heard up to that point -- that's the first record that anyone from our perspective, a hundred and three years later, would listen to and say that it bore any resemblance to what we think of as the blues -- so much so that many places still credit it as the first ever blues record. And there's a reason for that. "Crazy Blues" was one of those records that separates the music industry into before and after, like "Rock Around the Clock", "I Want to Hold Your Hand", Sgt Pepper, or "Rapper's Delight". It sold seventy-five thousand copies in its first month -- a massive number by the standards of 1920 -- and purportedly went on to sell over a million copies. Sales figures and market analysis weren't really a thing in the same way in 1920, but even so it became very obvious that "Crazy Blues" was a big hit, and that unlike pretty much any other previous records, it was a big hit among Black listeners, which meant that there was a market for music aimed at Black people that was going untapped. Soon all the major record labels were setting up subsidiaries devoted to what they called "race music", music made by and for Black people. And this sees the birth of what is now known as "classic blues", but at the time (and for decades after) was just what people thought of when they thought of "the blues" as a genre. This was music primarily sung by female vaudeville artists backed by jazz bands, people like Ma Rainey (whose earliest recordings featured Louis Armstrong in her backing band): [Excerpt: Ma Rainey, "See See Rider Blues"] And Bessie Smith, the "Empress of the Blues", who had a massive career in the 1920s before the Great Depression caused many of these "race record" labels to fold, but who carried on performing well into the 1930s -- her last recording was in 1933, produced by John Hammond, with a backing band including Benny Goodman and Jack Teagarden: [Excerpt: Bessie Smith, "Give Me a Pigfoot and a Bottle of Beer"] It wouldn't be until several years after the boom started by Mamie Smith that any record companies turned to recording Black men singing the blues accompanied by guitar or banjo. The first record of this type is probably "Norfolk Blues" by Reese DuPree from 1924: [Excerpt: Reese DuPree, "Norfolk Blues"] And there were occasional other records of this type, like "Airy Man Blues" by Papa Charlie Jackson, who was advertised as the “only man living who sings, self-accompanied, for Blues records.” [Excerpt: Papa Charlie Jackson, "Airy Man Blues"] But contrary to the way these are seen today, at the time they weren't seen as being in some way "authentic", or "folk music". Indeed, there are many quotes from folk-music collectors of the time (sadly all of them using so many slurs that it's impossible for me to accurately quote them) saying that when people sang the blues, that wasn't authentic Black folk music at all but an adulteration from commercial music -- they'd clearly, according to these folk-music scholars, learned the blues style from records and sheet music rather than as part of an oral tradition. Most of these performers were people who recorded blues as part of a wider range of material, like Blind Blake, who recorded some blues music but whose best work was his ragtime guitar instrumentals: [Excerpt: Blind Blake, "Southern Rag"] But it was when Blind Lemon Jefferson started recording for Paramount records in 1926 that the image of the blues as we now think of it took shape. His first record, "Got the Blues", was a massive success: [Excerpt: Blind Lemon Jefferson, "Got the Blues"] And this resulted in many labels, especially Paramount, signing up pretty much every Black man with a guitar they could find in the hopes of finding another Blind Lemon Jefferson. But the thing is, this generation of people making blues records, and the generation that followed them, didn't think of themselves as "blues singers" or "bluesmen". They were songsters. Songsters were entertainers, and their job was to sing and play whatever the audiences would want to hear. That included the blues, of course, but it also included... well, every song anyone would want to hear.  They'd perform old folk songs, vaudeville songs, songs that they'd heard on the radio or the jukebox -- whatever the audience wanted. Robert Johnson, for example, was known to particularly love playing polka music, and also adored the records of Jimmie Rodgers, the first country music superstar. In 1941, when Alan Lomax first recorded Muddy Waters, he asked Waters what kind of songs he normally played in performances, and he was given a list that included "Home on the Range", Gene Autry's "I've Got Spurs That Jingle Jangle Jingle", and Glenn Miller's "Chattanooga Choo-Choo". We have few recordings of these people performing this kind of song though. One of the few we have is Big Bill Broonzy, who was just about the only artist of this type not to get pigeonholed as just a blues singer, even though blues is what made him famous, and who later in his career managed to record songs like the Tin Pan Alley standard "The Glory of Love": [Excerpt: Big Bill Broonzy, "The Glory of Love"] But for the most part, the image we have of the blues comes down to one man, Arthur Laibley, a sales manager for the Wisconsin Chair Company. The Wisconsin Chair Company was, as the name would suggest, a company that started out making wooden chairs, but it had branched out into other forms of wooden furniture -- including, for a brief time, large wooden phonographs. And, like several other manufacturers, like the Radio Corporation of America -- RCA -- and the Gramophone Company, which became EMI, they realised that if they were going to sell the hardware it made sense to sell the software as well, and had started up Paramount Records, which bought up a small label, Black Swan, and soon became the biggest manufacturer of records for the Black market, putting out roughly a quarter of all "race records" released between 1922 and 1932. At first, most of these were produced by a Black talent scout, J. Mayo Williams, who had been the first person to record Ma Rainey, Papa Charlie Jackson, and Blind Lemon Jefferson, but in 1927 Williams left Paramount, and the job of supervising sessions went to Arthur Laibley, though according to some sources a lot of the actual production work was done by Aletha Dickerson, Williams' former assistant, who was almost certainly the first Black woman to be what we would now think of as a record producer. Williams had been interested in recording all kinds of music by Black performers, but when Laibley got a solo Black man into the studio, what he wanted more than anything was for him to record the blues, ideally in a style as close as possible to that of Blind Lemon Jefferson. Laibley didn't have a very hands-on approach to recording -- indeed Paramount had very little concern about the quality of their product anyway, and Paramount's records are notorious for having been put out on poor-quality shellac and recorded badly -- and he only occasionally made actual suggestions as to what kind of songs his performers should write -- for example he asked Son House to write something that sounded like Blind Lemon Jefferson, which led to House writing and recording "Mississippi County Farm Blues", which steals the tune of Jefferson's "See That My Grave is Kept Clean": [Excerpt: Son House, "Mississippi County Farm Blues"] When Skip James wanted to record a cover of James Wiggins' "Forty-Four Blues", Laibley suggested that instead he should do a song about a different gun, and so James recorded "Twenty-Two Twenty Blues": [Excerpt: Skip James, "Twenty-Two Twenty Blues"] And Laibley also suggested that James write a song about the Depression, which led to one of the greatest blues records ever, "Hard Time Killing Floor Blues": [Excerpt: Skip James, "Hard Time Killing Floor Blues"] These musicians knew that they were getting paid only for issued sides, and that Laibley wanted only blues from them, and so that's what they gave him. Even when it was a performer like Charlie Patton. (Incidentally, for those reading this as a transcript rather than listening to it, Patton's name is more usually spelled ending in ey, but as far as I can tell ie was his preferred spelling and that's what I'm using). Charlie Patton was best known as an entertainer, first and foremost -- someone who would do song-and-dance routines, joke around, play guitar behind his head. He was a clown on stage, so much so that when Son House finally heard some of Patton's records, in the mid-sixties, decades after the fact, he was astonished that Patton could actually play well. Even though House had been in the room when some of the records were made, his memory of Patton was of someone who acted the fool on stage. That's definitely not the impression you get from the Charlie Patton on record: [Excerpt: Charlie Patton, "Poor Me"] Patton is, as far as can be discerned, the person who was most influential in creating the music that became called the "Delta blues". Not a lot is known about Patton's life, but he was almost certainly the half-brother of the Chatmon brothers, who made hundreds of records, most notably as members of the Mississippi Sheiks: [Excerpt: The Mississippi Sheiks, "Sitting on Top of the World"] In the 1890s, Patton's family moved to Sunflower County, Mississippi, and he lived in and around that county until his death in 1934. Patton learned to play guitar from a musician called Henry Sloan, and then Patton became a mentor figure to a *lot* of other musicians in and around the plantation on which his family lived. Some of the musicians who grew up in the immediate area around Patton included Tommy Johnson: [Excerpt: Tommy Johnson, "Big Road Blues"] Pops Staples: [Excerpt: The Staple Singers, "Will The Circle Be Unbroken"] Robert Johnson: [Excerpt: Robert Johnson, "Crossroads"] Willie Brown, a musician who didn't record much, but who played a lot with Patton, Son House, and Robert Johnson and who we just heard Johnson sing about: [Excerpt: Willie Brown, "M&O Blues"] And Chester Burnett, who went on to become known as Howlin' Wolf, and whose vocal style was equally inspired by Patton and by the country star Jimmie Rodgers: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] Once Patton started his own recording career for Paramount, he also started working as a talent scout for them, and it was him who brought Son House to Paramount. Soon after the Depression hit, Paramount stopped recording, and so from 1930 through 1934 Patton didn't make any records. He was tracked down by an A&R man in January 1934 and recorded one final session: [Excerpt, Charlie Patton, "34 Blues"] But he died of heart failure two months later. But his influence spread through his proteges, and they themselves influenced other musicians from the area who came along a little after, like Robert Lockwood and Muddy Waters. This music -- or that portion of it that was considered worth recording by white record producers, only a tiny, unrepresentative, portion of their vast performing repertoires -- became known as the Delta Blues, and when some of these musicians moved to Chicago and started performing with electric instruments, it became Chicago Blues. And as far as people like John Mayall in Britain were concerned, Delta and Chicago Blues *were* the blues: [Excerpt: John Mayall and the Bluesbreakers, "It Ain't Right"] John Mayall was one of the first of the British blues obsessives, and for a long time thought of himself as the only one. While we've looked before at the growth of the London blues scene, Mayall wasn't from London -- he was born in Macclesfield and grew up in Cheadle Hulme, both relatively well-off suburbs of Manchester, and after being conscripted and doing two years in the Army, he had become an art student at Manchester College of Art, what is now Manchester Metropolitan University. Mayall had been a blues fan from the late 1940s, writing off to the US to order records that hadn't been released in the UK, and by most accounts by the late fifties he'd put together the biggest blues collection in Britain by quite some way. Not only that, but he had one of the earliest home tape recorders, and every night he would record radio stations from Continental Europe which were broadcasting for American service personnel, so he'd amassed mountains of recordings, often unlabelled, of obscure blues records that nobody else in the UK knew about. He was also an accomplished pianist and guitar player, and in 1956 he and his drummer friend Peter Ward had put together a band called the Powerhouse Four (the other two members rotated on a regular basis) mostly to play lunchtime jazz sessions at the art college. Mayall also started putting on jam sessions at a youth club in Wythenshawe, where he met another drummer named Hughie Flint. Over the late fifties and into the early sixties, Mayall more or less by himself built up a small blues scene in Manchester. The Manchester blues scene was so enthusiastic, in fact, that when the American Folk Blues Festival, an annual European tour which initially featured Willie Dixon, Memhis Slim, T-Bone Walker, Sonny Terry & Brownie McGhee, and John Lee Hooker, first toured Europe, the only UK date it played was at the Manchester Free Trade Hall, and people like Mick Jagger, Keith Richards, Brian Jones and Jimmy Page had to travel up from London to see it. But still, the number of blues fans in Manchester, while proportionally large, was objectively small enough that Mayall was captivated by an article in Melody Maker which talked about Alexis Korner and Cyril Davies' new band Blues Incorporated and how it was playing electric blues, the same music he was making in Manchester. He later talked about how the article had made him think that maybe now people would know what he was talking about. He started travelling down to London to play gigs for the London blues scene, and inviting Korner up to Manchester to play shows there. Soon Mayall had moved down to London. Korner introduced Mayall to Davey Graham, the great folk guitarist, with whom Korner had recently recorded as a duo: [Excerpt: Alexis Korner and Davey Graham, "3/4 AD"] Mayall and Graham performed together as a duo for a while, but Graham was a natural solo artist if ever there was one. Slowly Mayall put a band together in London. On drums was his old friend Peter Ward, who'd moved down from Manchester with him. On bass was John McVie, who at the time knew nothing about blues -- he'd been playing in a Shadows-style instrumental group -- but Mayall gave him a stack of blues records to listen to to get the feeling. And on guitar was Bernie Watson, who had previously played with Screaming Lord Sutch and the Savages. In late 1963, Mike Vernon, a blues fan who had previously published a Yardbirds fanzine, got a job working for Decca records, and immediately started signing his favourite acts from the London blues circuit. The first act he signed was John Mayall and the Bluesbreakers, and they recorded a single, "Crawling up a Hill": [Excerpt: John Mayall and the Bluesbreakers, "Crawling up a Hill (45 version)"] Mayall later called that a "clumsy, half-witted attempt at autobiographical comment", and it sold only five hundred copies. It would be the only record the Bluesbreakers would make with Watson, who soon left the band to be replaced by Roger Dean (not the same Roger Dean who later went on to design prog rock album covers). The second group to be signed by Mike Vernon to Decca was the Graham Bond Organisation. We've talked about the Graham Bond Organisation in passing several times, but not for a while and not in any great detail, so it's worth pulling everything we've said about them so far together and going through it in a little more detail. The Graham Bond Organisation, like the Rolling Stones, grew out of Alexis Korner's Blues Incorporated. As we heard in the episode on "I Wanna Be Your Man" a couple of years ago, Blues Incorporated had been started by Alexis Korner and Cyril Davies, and at the time we're joining them in 1962 featured a drummer called Charlie Watts, a pianist called Dave Stevens, and saxophone player Dick Heckstall-Smith, as well as frequent guest performers like a singer who called himself Mike Jagger, and another one, Roderick Stewart. That group finally found themselves the perfect bass player when Dick Heckstall-Smith put together a one-off group of jazz players to play an event at Cambridge University. At the gig, a little Scottish man came up to the group and told them he played bass and asked if he could sit in. They told him to bring along his instrument to their second set, that night, and he did actually bring along a double bass. Their bluff having been called, they decided to play the most complicated, difficult, piece they knew in order to throw the kid off -- the drummer, a trad jazz player named Ginger Baker, didn't like performing with random sit-in guests -- but astonishingly he turned out to be really good. Heckstall-Smith took down the bass player's name and phone number and invited him to a jam session with Blues Incorporated. After that jam session, Jack Bruce quickly became the group's full-time bass player. Bruce had started out as a classical cellist, but had switched to the double bass inspired by Bach, who he referred to as "the guv'nor of all bass players". His playing up to this point had mostly been in trad jazz bands, and he knew nothing of the blues, but he quickly got the hang of the genre. Bruce's first show with Blues Incorporated was a BBC recording: [Excerpt: Blues Incorporated, "Hoochie Coochie Man (BBC session)"] According to at least one source it was not being asked to take part in that session that made young Mike Jagger decide there was no future for him with Blues Incorporated and to spend more time with his other group, the Rollin' Stones. Soon after, Charlie Watts would join him, for almost the opposite reason -- Watts didn't want to be in a band that was getting as big as Blues Incorporated were. They were starting to do more BBC sessions and get more gigs, and having to join the Musicians' Union. That seemed like a lot of work. Far better to join a band like the Rollin' Stones that wasn't going anywhere. Because of Watts' decision to give up on potential stardom to become a Rollin' Stone, they needed a new drummer, and luckily the best drummer on the scene was available. But then the best drummer on the scene was *always* available. Ginger Baker had first played with Dick Heckstall-Smith several years earlier, in a trad group called the Storyville Jazzmen. There Baker had become obsessed with the New Orleans jazz drummer Baby Dodds, who had played with Louis Armstrong in the 1920s. Sadly because of 1920s recording technology, he hadn't been able to play a full kit on the recordings with Armstrong, being limited to percussion on just a woodblock, but you can hear his drumming style much better in this version of "At the Jazz Band Ball" from 1947, with Mugsy Spanier, Jack Teagarden, Cyrus St. Clair and Hank Duncan: [Excerpt: "At the Jazz Band Ball"] Baker had taken Dobbs' style and run with it, and had quickly become known as the single best player, bar none, on the London jazz scene -- he'd become an accomplished player in multiple styles, and was also fluent in reading music and arranging. He'd also, though, become known as the single person on the entire scene who was most difficult to get along with. He resigned from his first band onstage, shouting "You can stick your band up your arse", after the band's leader had had enough of him incorporating bebop influences into their trad style. Another time, when touring with Diz Disley's band, he was dumped in Germany with no money and no way to get home, because the band were so sick of him. Sometimes this was because of his temper and his unwillingness to suffer fools -- and he saw everyone else he ever met as a fool -- and sometimes it was because of his own rigorous musical ideas. He wanted to play music *his* way, and wouldn't listen to anyone who told him different. Both of these things got worse after he fell under the influence of a man named Phil Seaman, one of the only drummers that Baker respected at all. Seaman introduced Baker to African drumming, and Baker started incorporating complex polyrhythms into his playing as a result. Seaman also though introduced Baker to heroin, and while being a heroin addict in the UK in the 1960s was not as difficult as it later became -- both heroin and cocaine were available on prescription to registered addicts, and Baker got both, which meant that many of the problems that come from criminalisation of these drugs didn't affect addicts in the same way -- but it still did not, by all accounts, make him an easier person to get along with. But he *was* a fantastic drummer. As Dick Heckstall-Smith said "With the advent of Ginger, the classic Blues Incorporated line-up, one which I think could not be bettered, was set" But Alexis Korner decided that the group could be bettered, and he had some backers within the band. One of the other bands on the scene was the Don Rendell Quintet, a group that played soul jazz -- that style of jazz that bridged modern jazz and R&B, the kind of music that Ray Charles and Herbie Hancock played: [Excerpt: The Don Rendell Quintet, "Manumission"] The Don Rendell Quintet included a fantastic multi-instrumentalist, Graham Bond, who doubled on keyboards and saxophone, and Bond had been playing occasional experimental gigs with the Johnny Burch Octet -- a group led by another member of the Rendell Quartet featuring Heckstall-Smith, Bruce, Baker, and a few other musicians, doing wholly-improvised music. Heckstall-Smith, Bruce, and Baker all enjoyed playing with Bond, and when Korner decided to bring him into the band, they were all very keen. But Cyril Davies, the co-leader of the band with Korner, was furious at the idea. Davies wanted to play strict Chicago and Delta blues, and had no truck with other forms of music like R&B and jazz. To his mind it was bad enough that they had a sax player. But the idea that they would bring in Bond, who played sax and... *Hammond* organ? Well, that was practically blasphemy. Davies quit the group at the mere suggestion. Bond was soon in the band, and he, Bruce, and Baker were playing together a *lot*. As well as performing with Blues Incorporated, they continued playing in the Johnny Burch Octet, and they also started performing as the Graham Bond Trio. Sometimes the Graham Bond Trio would be Blues Incorporated's opening act, and on more than one occasion the Graham Bond Trio, Blues Incorporated, and the Johnny Burch Octet all had gigs in different parts of London on the same night and they'd have to frantically get from one to the other. The Graham Bond Trio also had fans in Manchester, thanks to the local blues scene there and their connection with Blues Incorporated, and one night in February 1963 the trio played a gig there. They realised afterwards that by playing as a trio they'd made £70, when they were lucky to make £20 from a gig with Blues Incorporated or the Octet, because there were so many members in those bands. Bond wanted to make real money, and at the next rehearsal of Blues Incorporated he announced to Korner that he, Bruce, and Baker were quitting the band -- which was news to Bruce and Baker, who he hadn't bothered consulting. Baker, indeed, was in the toilet when the announcement was made and came out to find it a done deal. He was going to kick up a fuss and say he hadn't been consulted, but Korner's reaction sealed the deal. As Baker later said "‘he said “it's really good you're doing this thing with Graham, and I wish you the best of luck” and all that. And it was a bit difficult to turn round and say, “Well, I don't really want to leave the band, you know.”'" The Graham Bond Trio struggled at first to get the gigs they were expecting, but that started to change when in April 1963 they became the Graham Bond Quartet, with the addition of virtuoso guitarist John McLaughlin. The Quartet soon became one of the hottest bands on the London R&B scene, and when Duffy Power, a Larry Parnes teen idol who wanted to move into R&B, asked his record label to get him a good R&B band to back him on a Beatles cover, it was the Graham Bond Quartet who obliged: [Excerpt: Duffy Power, "I Saw Her Standing There"] The Quartet also backed Power on a package tour with other Parnes acts, but they were also still performing their own blend of hard jazz and blues, as can be heard in this recording of the group live in June 1953: [Excerpt: The Graham Bond Quartet, "Ho Ho Country Kicking Blues (Live at Klooks Kleek)"] But that lineup of the group didn't last very long. According to the way Baker told the story, he fired McLaughlin from the group, after being irritated by McLaughlin complaining about something on a day when Baker was out of cocaine and in no mood to hear anyone else's complaints. As Baker said "We lost a great guitar player and I lost a good friend." But the Trio soon became a Quartet again, as Dick Heckstall-Smith, who Baker had wanted in the band from the start, joined on saxophone to replace McLaughlin's guitar. But they were no longer called the Graham Bond Quartet. Partly because Heckstall-Smith joining allowed Bond to concentrate just on his keyboard playing, but one suspects partly to protect against any future lineup changes, the group were now The Graham Bond ORGANisation -- emphasis on the organ. The new lineup of the group got signed to Decca by Vernon, and were soon recording their first single, "Long Tall Shorty": [Excerpt: The Graham Bond Organisation, "Long Tall Shorty"] They recorded a few other songs which made their way onto an EP and an R&B compilation, and toured intensively in early 1964, as well as backing up Power on his follow-up to "I Saw Her Standing There", his version of "Parchman Farm": [Excerpt: Duffy Power, "Parchman Farm"] They also appeared in a film, just like the Beatles, though it was possibly not quite as artistically successful as "A Hard Day's Night": [Excerpt: Gonks Go Beat trailer] Gonks Go Beat is one of the most bizarre films of the sixties. It's a far-future remake of Romeo and Juliet. where the two star-crossed lovers are from opposing countries -- Beatland and Ballad Isle -- who only communicate once a year in an annual song contest which acts as their version of a war, and is overseen by "Mr. A&R", played by Frank Thornton, who would later star in Are You Being Served? Carry On star Kenneth Connor is sent by aliens to try to bring peace to the two warring countries, on pain of exile to Planet Gonk, a planet inhabited solely by Gonks (a kind of novelty toy for which there was a short-lived craze then). Along the way Connor encounters such luminaries of British light entertainment as Terry Scott and Arthur Mullard, as well as musical performances by Lulu, the Nashville Teens, and of course the Graham Bond Organisation, whose performance gets them a telling-off from a teacher: [Excerpt: Gonks Go Beat!] The group as a group only performed one song in this cinematic masterpiece, but Baker also made an appearance in a "drum battle" sequence where eight drummers played together: [Excerpt: Gonks Go Beat drum battle] The other drummers in that scene included, as well as some lesser-known players, Andy White who had played on the single version of "Love Me Do", Bobby Graham, who played on hits by the Kinks and the Dave Clark Five, and Ronnie Verrell, who did the drumming for Animal in the Muppet Show. Also in summer 1964, the group performed at the Fourth National Jazz & Blues Festival in Richmond -- the festival co-founded by Chris Barber that would evolve into the Reading Festival. The Yardbirds were on the bill, and at the end of their set they invited Bond, Baker, Bruce, Georgie Fame, and Mike Vernon onto the stage with them, making that the first time that Eric Clapton, Ginger Baker, and Jack Bruce were all on stage together. Soon after that, the Graham Bond Organisation got a new manager, Robert Stigwood. Things hadn't been working out for them at Decca, and Stigwood soon got the group signed to EMI, and became their producer as well. Their first single under Stigwood's management was a cover version of the theme tune to the Debbie Reynolds film "Tammy". While that film had given Tamla records its name, the song was hardly an R&B classic: [Excerpt: The Graham Bond Organisation, "Tammy"] That record didn't chart, but Stigwood put the group out on the road as part of the disastrous Chuck Berry tour we heard about in the episode on "All You Need is Love", which led to the bankruptcy of  Robert Stigwood Associates. The Organisation moved over to Stigwood's new company, the Robert Stigwood Organisation, and Stigwood continued to be the credited producer of their records, though after the "Tammy" disaster they decided they were going to take charge themselves of the actual music. Their first album, The Sound of 65, was recorded in a single three-hour session, and they mostly ran through their standard set -- a mixture of the same songs everyone else on the circuit was playing, like "Hoochie Coochie Man", "Got My Mojo Working", and "Wade in the Water", and originals like Bruce's "Train Time": [Excerpt: The Graham Bond Organisation, "Train Time"] Through 1965 they kept working. They released a non-album single, "Lease on Love", which is generally considered to be the first pop record to feature a Mellotron: [Excerpt: The Graham Bond Organisation, "Lease on Love"] and Bond and Baker also backed another Stigwood act, Winston G, on his debut single: [Excerpt: Winston G, "Please Don't Say"] But the group were developing severe tensions. Bruce and Baker had started out friendly, but by this time they hated each other. Bruce said he couldn't hear his own playing over Baker's loud drumming, Baker thought that Bruce was far too fussy a player and should try to play simpler lines. They'd both try to throw each other during performances, altering arrangements on the fly and playing things that would trip the other player up. And *neither* of them were particularly keen on Bond's new love of the Mellotron, which was all over their second album, giving it a distinctly proto-prog feel at times: [Excerpt: The Graham Bond Organisation, "Baby Can it Be True?"] Eventually at a gig in Golders Green, Baker started throwing drumsticks at Bruce's head while Bruce was trying to play a bass solo. Bruce retaliated by throwing his bass at Baker, and then jumping on him and starting a fistfight which had to be broken up by the venue security. Baker fired Bruce from the band, but Bruce kept turning up to gigs anyway, arguing that Baker had no right to sack him as it was a democracy. Baker always claimed that in fact Bond had wanted to sack Bruce but hadn't wanted to get his hands dirty, and insisted that Baker do it, but neither Bond nor Heckstall-Smith objected when Bruce turned up for the next couple of gigs. So Baker took matters into his own hands, He pulled out a knife and told Bruce "If you show up at one more gig, this is going in you." Within days, Bruce was playing with John Mayall, whose Bluesbreakers had gone through some lineup changes by this point. Roger Dean had only played with the Bluesbreakers for a short time before Mayall had replaced him. Mayall had not been impressed with Eric Clapton's playing with the Yardbirds at first -- even though graffiti saying "Clapton is God" was already starting to appear around London -- but he had been *very* impressed with Clapton's playing on "Got to Hurry", the B-side to "For Your Love": [Excerpt: The Yardbirds, "Got to Hurry"] When he discovered that Clapton had quit the band, he sprang into action and quickly recruited him to replace Dean. Clapton knew he had made the right choice when a month after he'd joined, the group got the word that Bob Dylan had been so impressed with Mayall's single "Crawling up a Hill" -- the one that nobody liked, not even Mayall himself -- that he wanted to jam with Mayall and his band in the studio. Clapton of course went along: [Excerpt: Bob Dylan and the Bluesbreakers, "If You Gotta Go, Go Now"] That was, of course, the session we've talked about in the Velvet Underground episode and elsewhere of which little other than that survives, and which Nico attended. At this point, Mayall didn't have a record contract, his experience recording with Mike Vernon having been no more successful than the Bond group's had been. But soon he got a one-off deal -- as a solo artist, not with the Bluesbreakers -- with Immediate Records. Clapton was the only member of the group to play on the single, which was produced by Immediate's house producer Jimmy Page: [Excerpt: John Mayall, "I'm Your Witchdoctor"] Page was impressed enough with Clapton's playing that he invited him round to Page's house to jam together. But what Clapton didn't know was that Page was taping their jam sessions, and that he handed those tapes over to Immediate Records -- whether he was forced to by his contract with the label or whether that had been his plan all along depends on whose story you believe, but Clapton never truly forgave him. Page and Clapton's guitar-only jams had overdubs by Bill Wyman, Ian Stewart, and drummer Chris Winter, and have been endlessly repackaged on blues compilations ever since: [Excerpt: Jimmy Page and Eric Clapton, "Draggin' My Tail"] But Mayall was having problems with John McVie, who had started to drink too much, and as soon as he found out that Jack Bruce was sacked by the Graham Bond Organisation, Mayall got in touch with Bruce and got him to join the band in McVie's place. Everyone was agreed that this lineup of the band -- Mayall, Clapton, Bruce, and Hughie Flint -- was going places: [Excerpt: John Mayall's Bluesbreakers with Jack Bruce, "Hoochie Coochie Man"] Unfortunately, it wasn't going to last long. Clapton, while he thought that Bruce was the greatest bass player he'd ever worked with, had other plans. He was going to leave the country and travel the world as a peripatetic busker. He was off on his travels, never to return. Luckily, Mayall had someone even better waiting in the wings. A young man had, according to Mayall, "kept coming down to all the gigs and saying, “Hey, what are you doing with him?” – referring to whichever guitarist was onstage that night – “I'm much better than he is. Why don't you let me play guitar for you?” He got really quite nasty about it, so finally, I let him sit in. And he was brilliant." Peter Green was probably the best blues guitarist in London at that time, but this lineup of the Bluesbreakers only lasted a handful of gigs -- Clapton discovered that busking in Greece wasn't as much fun as being called God in London, and came back very soon after he'd left. Mayall had told him that he could have his old job back when he got back, and so Green was out and Clapton was back in. And soon the Bluesbreakers' revolving door revolved again. Manfred Mann had just had a big hit with "If You Gotta Go, Go Now", the same song we heard Dylan playing earlier: [Excerpt: Manfred Mann, "If You Gotta Go, Go Now"] But their guitarist, Mike Vickers, had quit. Tom McGuinness, their bass player, had taken the opportunity to switch back to guitar -- the instrument he'd played in his first band with his friend Eric Clapton -- but that left them short a bass player. Manfred Mann were essentially the same kind of band as the Graham Bond Organisation -- a Hammond-led group of virtuoso multi-instrumentalists who played everything from hardcore Delta blues to complex modern jazz -- but unlike the Bond group they also had a string of massive pop hits, and so made a lot more money. The combination was irresistible to Bruce, and he joined the band just before they recorded an EP of jazz instrumental versions of recent hits: [Excerpt: Manfred Mann, "(I Can't Get No) Satisfaction"] Bruce had also been encouraged by Robert Stigwood to do a solo project, and so at the same time as he joined Manfred Mann, he also put out a solo single, "Drinkin' and Gamblin'" [Excerpt: Jack Bruce, "Drinkin' and Gamblin'"] But of course, the reason Bruce had joined Manfred Mann was that they were having pop hits as well as playing jazz, and soon they did just that, with Bruce playing on their number one hit "Pretty Flamingo": [Excerpt: Manfred Mann, "Pretty Flamingo"] So John McVie was back in the Bluesbreakers, promising to keep his drinking under control. Mike Vernon still thought that Mayall had potential, but the people at Decca didn't agree, so Vernon got Mayall and Clapton -- but not the other band members -- to record a single for a small indie label he ran as a side project: [Excerpt: John Mayall and Eric Clapton, "Bernard Jenkins"] That label normally only released records in print runs of ninety-nine copies, because once you hit a hundred copies you had to pay tax on them, but there was so much demand for that single that they ended up pressing up five hundred copies, making it the label's biggest seller ever. Vernon eventually convinced the heads at Decca that the Bluesbreakers could be truly big, and so he got the OK to record the album that would generally be considered the greatest British blues album of all time -- Blues Breakers, also known as the Beano album because of Clapton reading a copy of the British kids' comic The Beano in the group photo on the front. [Excerpt: John Mayall with Eric Clapton, "Ramblin' On My Mind"] The album was a mixture of originals by Mayall and the standard repertoire of every blues or R&B band on the circuit -- songs like "Parchman Farm" and "What'd I Say" -- but what made the album unique was Clapton's guitar tone. Much to the chagrin of Vernon, and of engineer Gus Dudgeon, Clapton insisted on playing at the same volume that he would on stage. Vernon later said of Dudgeon "I can remember seeing his face the very first time Clapton plugged into the Marshall stack and turned it up and started playing at the sort of volume he was going to play. You could almost see Gus's eyes meet over the middle of his nose, and it was almost like he was just going to fall over from the sheer power of it all. But after an enormous amount of fiddling around and moving amps around, we got a sound that worked." [Excerpt: John Mayall with Eric Clapton, "Hideaway"] But by the time the album cane out. Clapton was no longer with the Bluesbreakers. The Graham Bond Organisation had struggled on for a while after Bruce's departure. They brought in a trumpet player, Mike Falana, and even had a hit record -- or at least, the B-side of a hit record. The Who had just put out a hit single, "Substitute", on Robert Stigwood's record label, Reaction: [Excerpt: The Who, "Substitute"] But, as you'll hear in episode 183, they had moved to Reaction Records after a falling out with their previous label, and with Shel Talmy their previous producer. The problem was, when "Substitute" was released, it had as its B-side a song called "Circles" (also known as "Instant Party -- it's been released under both names). They'd recorded an earlier version of the song for Talmy, and just as "Substitute" was starting to chart, Talmy got an injunction against the record and it had to be pulled. Reaction couldn't afford to lose the big hit record they'd spent money promoting, so they needed to put it out with a new B-side. But the Who hadn't got any unreleased recordings. But the Graham Bond Organisation had, and indeed they had an unreleased *instrumental*. So "Waltz For a Pig" became the B-side to a top-five single, credited to The Who Orchestra: [Excerpt: The Who Orchestra, "Waltz For a Pig"] That record provided the catalyst for the formation of Cream, because Ginger Baker had written the song, and got £1,350 for it, which he used to buy a new car. Baker had, for some time, been wanting to get out of the Graham Bond Organisation. He was trying to get off heroin -- though he would make many efforts to get clean over the decades, with little success -- while Bond was starting to use it far more heavily, and was also using acid and getting heavily into mysticism, which Baker despised. Baker may have had the idea for what he did next from an article in one of the music papers. John Entwistle of the Who would often tell a story about an article in Melody Maker -- though I've not been able to track down the article itself to get the full details -- in which musicians were asked to name which of their peers they'd put into a "super-group". He didn't remember the full details, but he did remember that the consensus choice had had Eric Clapton on lead guitar, himself on bass, and Ginger Baker on drums. As he said later "I don't remember who else was voted in, but a few months later, the Cream came along, and I did wonder if somebody was maybe believing too much of their own press". Incidentally, like The Buffalo Springfield and The Pink Floyd, Cream, the band we are about to meet, had releases both with and without the definite article, and Eric Clapton at least seems always to talk about them as "the Cream" even decades later, but they're primarily known as just Cream these days. Baker, having had enough of the Bond group, decided to drive up to Oxford to see Clapton playing with the Bluesbreakers. Clapton invited him to sit in for a couple of songs, and by all accounts the band sounded far better than they had previously. Clapton and Baker could obviously play well together, and Baker offered Clapton a lift back to London in his new car, and on the drive back asked Clapton if he wanted to form a new band. Clapton was as impressed by Baker's financial skills as he was by his musicianship. He said later "Musicians didn't have cars. You all got in a van." Clearly a musician who was *actually driving a new car he owned* was going places. He agreed to Baker's plan. But of course they needed a bass player, and Clapton thought he had the perfect solution -- "What about Jack?" Clapton knew that Bruce had been a member of the Graham Bond Organisation, but didn't know why he'd left the band -- he wasn't particularly clued in to what the wider music scene was doing, and all he knew was that Bruce had played with both him and Baker, and that he was the best bass player he'd ever played with. And Bruce *was* arguably the best bass player in London at that point, and he was starting to pick up session work as well as his work with Manfred Mann. For example it's him playing on the theme tune to "After The Fox" with Peter Sellers, the Hollies, and the song's composer Burt Bacharach: [Excerpt: The Hollies with Peter Sellers, "After the Fox"] Clapton was insistent. Baker's idea was that the band should be the best musicians around. That meant they needed the *best* musicians around, not the second best. If Jack Bruce wasn't joining, Eric Clapton wasn't joining either. Baker very reluctantly agreed, and went round to see Bruce the next day -- according to Baker it was in a spirit of generosity and giving Bruce one more chance, while according to Bruce he came round to eat humble pie and beg for forgiveness. Either way, Bruce agreed to join the band. The three met up for a rehearsal at Baker's home, and immediately Bruce and Baker started fighting, but also immediately they realised that they were great at playing together -- so great that they named themselves the Cream, as they were the cream of musicians on the scene. They knew they had something, but they didn't know what. At first they considered making their performances into Dada projects, inspired by the early-twentieth-century art movement. They liked a band that had just started to make waves, the Bonzo Dog Doo-Dah Band -- who had originally been called the Bonzo Dog Dada Band -- and they bought some props with the vague idea of using them on stage in the same way the Bonzos did. But as they played together they realised that they needed to do something different from that. At first, they thought they needed a fourth member -- a keyboard player. Graham Bond's name was brought up, but Clapton vetoed him. Clapton wanted Steve Winwood, the keyboard player and vocalist with the Spencer Davis Group. Indeed, Winwood was present at what was originally intended to be the first recording session the trio would play. Joe Boyd had asked Eric Clapton to round up a bunch of players to record some filler tracks for an Elektra blues compilation, and Clapton had asked Bruce and Baker to join him, Paul Jones on vocals, Winwood on Hammond and Clapton's friend Ben Palmer on piano for the session. Indeed, given that none of the original trio were keen on singing, that Paul Jones was just about to leave Manfred Mann, and that we know Clapton wanted Winwood in the band, one has to wonder if Clapton at least half-intended for this to be the eventual lineup of the band. If he did, that plan was foiled by Baker's refusal to take part in the session. Instead, this one-off band, named The Powerhouse, featured Pete York, the drummer from the Spencer Davis Group, on the session, which produced the first recording of Clapton playing on the Robert Johnson song originally titled "Cross Road Blues" but now generally better known just as "Crossroads": [Excerpt: The Powerhouse, "Crossroads"] We talked about Robert Johnson a little back in episode ninety-seven, but other than Bob Dylan, who was inspired by his lyrics, we had seen very little influence from Johnson up to this point, but he's going to be a major influence on rock guitar for the next few years, so we should talk about him a little here. It's often said that nobody knew anything about Robert Johnson, that he was almost a phantom other than his records which existed outside of any context as artefacts of their own. That's... not really the case. Johnson had died a little less than thirty years earlier, at only twenty-seven years old. Most of his half-siblings and step-siblings were alive, as were his son, his stepson, and dozens of musicians he'd played with over the years, women he'd had affairs with, and other assorted friends and relatives. What people mean is that information about Johnson's life was not yet known by people they consider important -- which is to say white blues scholars and musicians. Indeed, almost everything people like that -- people like *me* -- know of the facts of Johnson's life has only become known to us in the last four years. If, as some people had expected, I'd started this series with an episode on Johnson, I'd have had to redo the whole thing because of the information that's made its way to the public since then. But here's what was known -- or thought -- by white blues scholars in 1966. Johnson was, according to them, a field hand from somewhere in Mississippi, who played the guitar in between working on the cotton fields. He had done two recording sessions, in 1936 and 1937. One song from his first session, "Terraplane Blues", had been a very minor hit by blues standards: [Excerpt: Robert Johnson, "Terraplane Blues"] That had sold well -- nobody knows how well, but maybe as many as ten thousand copies, and it was certainly a record people knew in 1937 if they liked the Delta blues, but ten thousand copies total is nowhere near the sales of really successful records, and none of the follow-ups had sold anything like that much -- many of them had sold in the hundreds rather than the thousands. As Elijah Wald, one of Johnson's biographers put it "knowing about Johnson and Muddy Waters but not about Leroy Carr or Dinah Washington was like knowing about, say, the Sir Douglas Quintet but not knowing about the Beatles" -- though *I* would add that the Sir Douglas Quintet were much bigger during the sixties than Johnson was during his lifetime. One of the few white people who had noticed Johnson's existence at all was John Hammond, and he'd written a brief review of Johnson's first two singles under a pseudonym in a Communist newspaper. I'm going to quote it here, but the word he used to talk about Black people was considered correct then but isn't now, so I'll substitute Black for that word: "Before closing we cannot help but call your attention to the greatest [Black] blues singer who has cropped up in recent years, Robert Johnson. Recording them in deepest Mississippi, Vocalion has certainly done right by us and by the tunes "Last Fair Deal Gone Down" and "Terraplane Blues", to name only two of the four sides already released, sung to his own guitar accompaniment. Johnson makes Leadbelly sound like an accomplished poseur" Hammond had tried to get Johnson to perform at the Spirituals to Swing concerts we talked about in the very first episodes of the podcast, but he'd discovered that he'd died shortly before. He got Big Bill Broonzy instead, and played a couple of Johnson's records from a record player on the stage. Hammond introduced those recordings with a speech: "It is tragic that an American audience could not have been found seven or eight years ago for a concert of this kind. Bessie Smith was still at the height of her career and Joe Smith, probably the greatest trumpet player America ever knew, would still have been around to play obbligatos for her...dozens of other artists could have been there in the flesh. But that audience as well as this one would not have been able to hear Robert Johnson sing and play the blues on his guitar, for at that time Johnson was just an unknown hand on a Robinsonville, Mississippi plantation. Robert Johnson was going to be the big surprise of the evening for this audience at Carnegie Hall. I know him only from his Vocalion blues records and from the tall, exciting tales the recording engineers and supervisors used to bring about him from the improvised studios in Dallas and San Antonio. I don't believe Johnson had ever worked as a professional musician anywhere, and it still knocks me over when I think of how lucky it is that a talent like his ever found its way onto phonograph records. We will have to be content with playing two of his records, the old "Walkin' Blues" and the new, unreleased, "Preachin' Blues", because Robert Johnson died last week at the precise moment when Vocalion scouts finally reached him and told him that he was booked to appear at Carnegie Hall on December 23. He was in his middle twenties and nobody seems to know what caused his death." And that was, for the most part, the end of Robert Johnson's impact on the culture for a generation. The Lomaxes went down to Clarksdale, Mississippi a couple of years later -- reports vary as to whether this was to see if they could find Johnson, who they were unaware was dead, or to find information out about him, and they did end up recording a young singer named Muddy Waters for the Library of Congress, including Waters' rendition of "32-20 Blues", Johnson's reworking of Skip James' "Twenty-Two Twenty Blues": [Excerpt: Muddy Waters, "32-20 Blues"] But Johnson's records remained unavailable after their initial release until 1959, when the blues scholar Samuel Charters published the book The Country Blues, which was the first book-length treatment ever of Delta blues. Sixteen years later Charters said "I shouldn't have written The Country Blues when I did; since I really didn't know enough, but I felt I couldn't afford to wait. So The Country Blues was two things. It was a romanticization of certain aspects of black life in an effort to force the white society to reconsider some of its racial attitudes, and on the other hand it was a cry for help. I wanted hundreds of people to go out and interview the surviving blues artists. I wanted people to record them and document their lives, their environment, and their music, not only so that their story would be preserved but also so they'd get a little money and a little recognition in their last years." Charters talked about Johnson in the book, as one of the performers who played "minor roles in the story of the blues", and said that almost nothing was known about his life. He talked about how he had been poisoned by his common-law wife, about how his records were recorded in a pool hall, and said "The finest of Robert Johnson's blues have a brooding sense of torment and despair. The blues has become a personified figure of despondency." Along with Charters' book came a compilation album of the same name, and that included the first ever reissue of one of Johnson's tracks, "Preaching Blues": [Excerpt: Robert Johnson, "Preaching Blues"] Two years later, John Hammond, who had remained an ardent fan of Johnson, had Columbia put out the King of the Delta Blues Singers album. At the time no white blues scholars knew what Johnson looked like and they had no photos of him, so a generic painting of a poor-looking Black man with a guitar was used for the cover. The liner note to King of the Delta Blues Singers talked about how Johnson was seventeen or eighteen when he made his recordings, how he was "dead before he reached his twenty-first birthday, poisoned by a jealous girlfriend", how he had "seldom, if ever, been away from the plantation in Robinsville, Mississippi, where he was born and raised", and how he had had such stage fright that when he was asked to play in front of other musicians, he'd turned to face a wall so he couldn't see them. And that would be all that any of the members of the Powerhouse would know about Johnson. Maybe they'd also heard the rumours that were starting to spread that Johnson had got his guitar-playing skills by selling his soul to the devil at a crossroads at midnight, but that would have been all they knew when they recorded their filler track for Elektra: [Excerpt: The Powerhouse, "Crossroads"] Either way, the Powerhouse lineup only lasted for that one session -- the group eventually decided that a simple trio would be best for the music they wanted to play. Clapton had seen Buddy Guy touring with just a bass player and drummer a year earlier, and had liked the idea of the freedom that gave him as a guitarist. The group soon took on Robert Stigwood as a manager, which caused more arguments between Bruce and Baker. Bruce was convinced that if they were doing an all-for-one one-for-all thing they should also manage themselves, but Baker pointed out that that was a daft idea when they could get one of the biggest managers in the country to look after them. A bigger argument, which almost killed the group before it started, happened when Baker told journalist Chris Welch of the Melody Maker about their plans. In an echo of the way that he and Bruce had been resigned from Blues Incorporated without being consulted, now with no discussion Manfred Mann and John Mayall were reading in the papers that their band members were quitting before those members had bothered to mention it. Mayall was furious, especially since the album Clapton had played on hadn't yet come out. Clapton was supposed to work a month's notice while Mayall found another guitarist, but Mayall spent two weeks begging Peter Green to rejoin the band. Green was less than eager -- after all, he'd been fired pretty much straight away earlier -- but Mayall eventually persuaded him. The second he did, Mayall turned round to Clapton and told him he didn't have to work the rest of his notice -- he'd found another guitar player and Clapton was fired: [Excerpt: John Mayall's Bluesbreakers, "Dust My Blues"] Manfred Mann meanwhile took on the Beatles' friend Klaus Voorman to replace Bruce. Voorman would remain with the band until the end, and like Green was for Mayall, Voorman was in some ways a better fit for Manfred Mann than Bruce was. In particular he could double on flute, as he did for example on their hit version of Bob Dylan's "The Mighty Quinn": [Excerpt: Manfred Mann "The Mighty Quinn"] The new group, The Cream, were of course signed in the UK to Stigwood's Reaction label. Other than the Who, who only stuck around for one album, Reaction was not a very successful label. Its biggest signing was a former keyboard player for Screaming Lord Sutch, who recorded for them under the names Paul Dean and Oscar, but who later became known as Paul Nicholas and had a successful career in musical theatre and sitcom. Nicholas never had any hits for Reaction, but he did release one interesting record, in 1967: [Excerpt: Oscar, "Over the Wall We Go"] That was one of the earliest songwriting attempts by a young man who had recently named himself David Bowie. Now the group were public, they started inviting journalists to their rehearsals, which were mostly spent trying to combine their disparate musical influences --

In this episode of Streamed and Screened, we dive deep into the latest entertainment offerings, from new movies and TV series. A trio of musicals are dropping, including "Schmigadoon!" on Apple TV+, "Up Here" on Hulua and "Grease: Rise of the Pink Ladies" on Paramount+. New movies like "Dungeons & Dragons: Honor Among Thieves" and "The Super Mario Bros. Movie" are in theaters and no gaming knowledge is required. We also chat about the return of HBO's hit show "Succession," which is back for its forth and final season, discuss the early success of "The Night Agent" on Netflix and talk with actor Jesse Metcalfe about his role in the film "On a Wing and a Prayer," which will get a limited theatrical release and is streaming now on Amazon's Prime Video platform, just in time for Easter. Where to Watch "Succession" on HBO "The Night Agent" on Netflix "On a Wing and a Prayer" on Amazon Prime Video "Dungeons & Dragons: Honor Among Thieves" in theaters "Grease: Rise of the Pink Ladies" on Paramount+ "Schmigadoon!" on Apple TV+ "Up Here" on Hulu "The Super Mario Bros. Movie" in theaters About the show Streamed & Screened is a podcast about movies and TV hosted by Bruce Miller, a longtime entertainment reporter who is now the editor of the Sioux City Journal in Iowa and Terry Lipshetz, a senior producer for Lee Enterprises based in Madison, Wisconsin. Episode transcript Note: The following transcript was created by Podium.page and may contain misspellings and other inaccuracies as it was generated automatically: Transcript generated by Podium.pageHelp us spread the word by tweeting about us at @PodiumDotPage and including us in your shownotes! https://podium.page 0:00:03Welcome everyone to another episode of streamed and screened and entertainment podcast about movies and TV from Lee Enterprises. Rises. I'm Terry Lipshetz, a senior producer at Lee and cohost of the program with Bruce Miller, editor of the Sioux City Journal and a longtime entertainment reporter. Bruce, Spring is here. Weather is getting better, but it it seems like we might be heading back to the movie soon. A lot of good stuff coming out. You know, we're in that period now. Where you're gonna see new stuff that maybe won't be Oscar bait, and it isn't quite holiday fair, you know, like, or it's lie is big time, Memorial Day is a big time, Labor Day is a big time. They all have tentpole, which are kind of considered the big money grabbers. Features, but there will all be also be a lot of these ones that, you know, there's a place for them and they'll make money. So we're starting to get into that era. And we're also seeing, like because of the holiday period, there will be a lock out there so that everybody has something. You will find something for grandma, something for mom, something for dad, something for the kids, and if you hold a bunch to the theater, you'd say, well, that's just all those separate ways and see what we wanna see. So there are enough enough movies out there to keep us kind of interested, but there are also TV series that are are popping now too. And I don't know why this kind of Third season is rising up, but there are a lot of things that are happening. In fact, it's odd. There are three new musical series. That are popping right now. What what is that a second season? But Schmigadoon!, did you see Schmigadoon! last year? I did not know. 0:01:42This spoof of Broadway musicals. So last year, they did forties and fifties. This year, they're doing sixties and seventies. And it was supposed to be called Shnicago but they realized that they couldn't change the name without, you know, kind of confusing people. So it's called Schmigadoon!, but it's said in Chicago. Okay. 0:02:02It spoofs musicals for, like, a pippin, a hair, Jesus Christ superstar, and it's about this couple that kind of wander into this goofy town where they all will act like characters from these shows. He and Michael Key and essentially strong are the are the two who enter into the world. And then it's just a herd of Broadway people. Then the people who are behind the cameras on Broadway or behind the scenes rather have made a thing called up here. And Up Here is kind of a What would it be like if musical set in New York City? And it's big names, the people who did Frozen hamilton, you name it, they are doing something, and it was their big pandemic project. And so they did this whole thing, wrote this whole thing, got it all together, and now it's finally premiering. 0:02:56And then finally, the the last of the three big musical shows coming out is Grease Rise of the Pink Ladies. And that's a prequel to the grease that you see as a movie. So it set four years earlier and how did those pink ladies kind of come to be a a gang, if you will, and what do they represent? It's a way for them to kind of correct some of the myopic views of the movie. So you're going to see a much more diverse cast. You're not going to hear the songs from Greece except the title song. And then you'll see other characters. And there is hope that at some point you will see Sandy and Danny come into the thing in, like, your three or your four if it lasts that long. 0:03:41So it'd be, like, freshman kinda coming into Right. So you say who is that one? Yeah. I don't think he would hire John Travolta to come in and play himself as a high school freshman. But, you know, strange or things have happened. Could they bring in John Travolta to play like a teacher, kind of. But it would also be bringing him back kind of because he started on Welcome Back, Kotter. And he could almost turn the tables on him career wise. 0:04:10I like the way you think. Doesn't matter how that goes. Yeah. And they can get them to do a cameo or a thing. Huge. But I think it's got a built in audience as it is because kids love to sing those songs and it's filled with a lot of original content. A lot of original songs that were written just for this. So those are just three musicals that we've got coming on streaming and television networks. 0:04:36And then you get all of the the kind of the creepy ones that are out there. There's a bunch of creepy shows HAR does really well. And for some odd reason, at last night, I watched a preview of a horror film that's how do I explain it? It's a gay bachelor party where they go to an old mansion and they are gonna have a say odds to call on a mother who killed her son in the house. The concept. I mean, how do they come up with this stuff? It was another pandemic project, but you're gonna see a lot of horror films around this time as well. So those are the big things itself. And then the big ones that we've got, duchess and dragons, honor among thieves, that's already in theaters. And it'll do really well because it's very adventurous. It's like an Indiana Jones film. So I never play dungeons and dragons. Did you ever Nor will I. 0:05:33I think it has too many pieces, too many characters, too many things to learn. And this is very good at kind if it's like the the game at all, it pulls you through it, and it makes you understand what they're doing and where they're going. And it's kind of a dumb down version, I would assume. But it does allow you to kind of laugh with them and add them. And then there's a Hugh Grant. Remember how we talked about Hugh Grant at the Oscars and how he was kinda snarky with one of the interviewers? Well, that's That's the character. He was he was probably just coming off the set or whatever because he's very kind of Pattington too in his approach to this, but he's the villain, and he's trying to steal this daughter away from Chris Pine And they've got to try and rescue her. That's all it is. It's just to rescue, search and destroy. So it's some so it almost sounds like even though I'm not a Dungeons and Dragons person and you aren't It's entertaining. It's something that you don't have to be into it. Yeah. And Mario brothers is another game that they are are throwing out there this time. 0:06:41And I think it's finding how you can make something that really has no plot have a plot. That's the the goal of all these things. Yeah. I could give you, you know, sorry or scrabble or something as a series or a movie. But what's the plot? You know? And at least with these are adventures of some sort where they're getting to somewhere, they're always on levels. We're always going to another level. With this. And I think that's what you'll find with these. They're realizing they've got to have a plot. 0:07:12Imagine if they did monopoly the the TV show. It would be twenty hours long, and you would just be frustrated and hate yourself at the end of it. At some point, somebody tips the the gameboard. That's how it always I've never finished a game of monopoly ever because somebody gets mad at the person who buys up all of the properties and puts hotels on them and you have no money and so you're just bankrupt. And then they leave and they're mad. They're sitting in another room. And then you've got two people as well. Do we really wanna continue this if it's not we're not having everybody else? And then you just throw the table away. I've never finished it. I've never figured out who is the winner of a monopoly. It's such a frustrating game. 0:07:50I'll I'll play it. My kids love to play it and then I'll get rope and Sure. Sure. That sounds like a grand idea. And I'll be the banker fourteen hours later. I'm just like, why are we doing this? This is the worst decision of by weekend. Right. You need something like Yatze, where it's done after a few roles, and then you're even gonna move by any more. That'll be a good Yatze, the movie. Yatze, the movie. 0:08:13So I've been watching some shows too. Were you a fan or a fan at all of succession on HBO that is back? I well, you know, this is the last year. Right? I was not a hardcore succession person because it reminded me too much of reality. It is. It's like what's going on in the media world beyond us, way beyond us. But you see these it's very fox news ish, I think. It's like the the family that's running all of that. And that's all it is. It's you know, Logan Roy, who's played by Brian Cox, is the head of Waystar RoyCo. 0:08:50And this fourth season just kinda picks up a few months after the end of the third season. So if if you watch the end of the third season, there was a lot of drama his the three younger kids who were looking to kinda up him up end him, the plot was turned, the tables were turned because Shiv's husband, Tom, kind of played the other side, Logan Roy. So it kind of picks up at that point. You know, the three kids are trying to make a deal for a company. The question is, is will they kind of hold him hostage he looks on load, but he's also gonna hold on to his Fox News channel, ATN. He's gonna hold on to that, and he's looking to make a move And then Connor, who's the older son, who's played by Allan Rock, who was Cameron Fry and Ferris Bueller's day off. He's looking to get married, but he's also running for president, and he's polling at, like, one percent. So that's not going well. 0:09:50You know, we're back in the thick of things to session. It's one of my favorite shows that they've done in recent years. It's part of the reason it it's is is succession the best show ever to come off of HBO. No, but it feels like it's just another in a long line of very good programs. Do you see where I will end? I mean, can you see kind of hints that this is the end. Yeah. I mean, my assumption is that we'll get a resolution on the company in somebody's gotta come out on top. You know, whether he sells and the kids take over or or what. 0:10:25But who knows? It could be just you know, like, reality is reality, and sometimes it's just, you know, something will happen at the end, and we're gonna be, like, what happened to Tony Saprano? We'll just cut to black really hard. And and like you know something will happen after it, you're just not gonna do a season five. It it could be, you know, if you may remember Rupert Murdoch just stopped a paper in London. It had so many lawsuits and everything and they just said, we're done. And maybe the ones that they do is they just you know, or somebody gets sent to prison. And then, you know, it's left open. So if they wanted to do a movie, they could do a movie, then you figure out who actually is the one that's running the place. 0:11:02So who knows? Well, I'm glad it's good. It's it's one of those ones that I started watching and I was just too nervous by it because it reminded me too much of everything. And so I just let it go and I'm okay with that. I don't need it, but I know that those who love it are clearly devoted, hopelessly devoted. I am hopelessly devoted. I love it. And I I will I'm gonna be sad when it's off the air because it's just it's one of those programs that It had it even had large gaps in between c's and not just because of the pandemic, but because of the locations they were filming at. 0:11:35So it always felt like season one ended, when is season two coming? Season two ended, when is season three coming? Because it wasn't on that traditional twelve months later, it's coming back. It's coming back at weird intervals. So it just feels good that it's back, and then I'll I'll be sad to see it go It's just great drama. And, you know, it it is the reality, you know, that that, I guess, you don't like. You you wanna get away from the reality. But I I kind of find it fun in just this context of of media and what's going on in the world today. And it's watching entitled people get annoyed about things that, like, what who how is this even a problem in somebody's life? I would love to have that when you're having. 0:12:17Do you like the way they just drop an episode or do you really like when you could binge it? I go back and forth. I mean, I I like the binging concept because it just especially if it's a show that I'm watching with my wife, which is kinda going on right now with Netflix in the night age which I'll I'll mention in a moment. But for a show like this, I I just watched it by myself. She watched season one with me and kinda liked it, and then tapped out in season two. Just really didn't want to keep going with it. So from that perspective as a weekly program, I'm fine with it because we'll watch things together during the week. And then, you know, she goes to bed early and I might stay up a little bit. I'll watch it on my own. So I I don't need to have all ten episodes right there. So I like I like both concepts. 0:13:03It just depends on the program. Do you feel like I've gotta see it right away when they drop it on Sunday night? Or Oh, yeah. Like, kids go to bed. Daddy go to bed. Everybody go to bed. It's Terry Scott. Watching his show now. Right? Everybody leave me alone to tuning into succession. Speaking of, you know, those bingible programs, Netflix dropped one. Kinda out of the blue. I wasn't really looking for it or paying attention for it, but it's called the night agent. And it's trending on Netflix right now. It seems to be pretty popular. It's got some good write ups on rotten tomatoes from from fans and reviewers. 0:13:44So it takes place, like the concept of this, is that there is a FBI agent. He's played by Gabriel Basso. And at the very beginning of it, he prevents a bunch of deaths on a subway explosion. He finds a bomb. Right? But what happens is there's some accusations by conspiracy nutjobs and, you know, was he involved with it? So he kinda has to take a year off and and they fast forward a year to where he's working in the basement of the White House, sitting in a room with a telephone that probably will never ring, but one day it rings. And it's to to take a call from a like a devout agent in the secret agent and to kinda help them through a situation. Meanwhile, you have this other character Lucy Ann Buchanan, who's kind of a newcomer to acting, doesn't really have a whole lot of credits where whereas Gabe Gabbasa, he played J. D. Vance and Hillbelly, LG. So he's been out there before But Lucy Anne, a little bit more of a newcomer, she plays a cybersecurity person entrepreneur who loses her company, you know, so she's got this company at the start, fast forward a year, and she's staying with her relatives, her her aunt and uncle. 0:14:57Who are all of a sudden murdered and she has to make the phone call. They're like, you gotta call this number, get help. And that number goes to Gabriel Baso in the basement. So it's it's a spy thriller. It's pretty intense. You know, it's who's playing? Who? There's the the thought that there's, you know, some some bad actors in the White House. What's gonna happen? It also stars Hung Chow. She plays Diane Far, the White House chief of staff. You would of course know her. She was nominated for best supporting actress in the whale. 0:15:30So we've got a few names in this program. It's pretty good. I I've we've gotten roped in only a couple episodes in I'm not gonna drop any real spoilers. That's just the basic plot development to get you going through the first ten minutes of of episode one. But, yeah, it's it's a pretty good show and and we're gonna keep coming back to it. Did you ever see the Knight Manager Tom Houston. He played the manager of a very high end hotel, and he was also an agent where he was trying to dupe a lot of people that come into the hotel, basically. He had all this access to stuff fascinating series. They're gonna do another season of it. So if you happen to see that floating around, don't confuse the two, but it's very much that kind of duplicity that you wonder about. What's going on here? This is this is kind of fascinating. I'm I'm intrigued. 0:16:22Let me rail for a minute about Netflix. Because they have the worst way of letting people know about something that's coming on. I mean, until you hear people talking about it, you have no clue that these things are popping. And they just will drop and they'll get foreign language series that were huge hits in, you know, whatever is Slavia. And they'll just drop it on there. And then you'll hear everybody talking about this. And maybe that's their their method. But I find it's really kind of undercutting because then you think, well, I'm missing out on something. How come I don't know about this? And then sometimes they'll do way too much where you'll see Adam Sandler on every talk show there is talking about the movie he did and it's okay. So I really wish they would be either a little more discriminating about what they push or help us through it a bit. 0:17:18I don't remember ever getting any messaging because I'll get those emails maybe on a weekly basis saying, you know, based on the shows you've watched, hear something coming to Netflix that you might be interested in. I don't remember ever seeing anything for the night agent. You know, I've seen plenty of other things out there, but that one just we're we're literally out of things to watch because we kind of finished up one show looking for something new and we're just skimming through the Netflix and what's out there and we we kinda got sucked in by a trailer and thought, okay, well, let's let's give it a whirl. The categories that they have and that, you know, when you go to that kind of the directory page, you might like. And then you're thinking, what have I watched that they think I would like this crap? And there's a whole bunch of, like, goofy films that you think, I this is not me. Are you profiling me somehow? I don't know what you're doing. I don't know where you came up that I wanted to see elf part three, but, you know, it's on there. So I that's another thing that just throws me. And then you keep scrolling down because they have different different categories for things. 0:18:24Shows people are talking about. Shows nobody's talking about. Shows you could talk about comedies that you haven't seen in a long time. You want to watch this. Now maybe you want to watch it again. You know what? It just keeps going. You think, oh, please. Please. Please. Please. So be careful what you watch because it might come back to haunt you. Yeah. There's my rant. Was that my rant for the day? That's your that's your rant for the day. But yeah. And, you know, it's funny how Prime Video, which used to be called Amazon Prime, but it's now called Prime Video, have been putting out an awful lot of product. In fact, I've been inundated with a lot of interviews. You'll see as we go along, but they have air coming out this this weekend, which will be huge in theaters. And that's the story of Nike when they pitched Michael Jordan to be their standard bearer for basketball shoes. And fascinating look at a true story with Ben and Matt. That'll be big. But they've got a lot of these other series too where they're remaking things, re kind of molding things. 0:19:31And one of the things that I actually saw was a what they they consider a faith based film. Faith based film. Now, I don't know what that means to most people. I always think, oh, it's a religious film. You're trying to show me a religious film. Is that what it is? But it's not necessarily that. It's it just says that people believe in some kind of higher power. And this one is called on a wing and a prayer. 0:19:59And it's a true story about a a businessman who takes a couple of lessons of flying lessons, but doesn't really, you know, think much of it, and then ends up in a plane with his family and the pilot dies. And he's gotta figure out how do I land this plane. Because I really wasn't paying attention that much when I was, you know, in classes. Because I figured I wouldn't need this. Right? So they get the dead body in the back of the plane, and then he gets behind the in the cockpit and starts trying to figure out how do we land this. And they bring in help from the outside. One of the people they find is somebody who actually flew one of those planes and he's played by Jesse Metcalf. 0:20:47Jesse Metcalfe, you may remember was the gardener, the hunky gardener that Eva Longoria fell for in desperate housewives. And this is his way of trying to move into a different layer of filmmaking. So for him, it was a good move to let people see him as something other than the hunky garter. And then he was on a long time on hallmark channel. He he's been in every Christmas iteration you could find, and he was also in Chesapeake Shores, which was a series that they had on the Hallmark Channel. So I was able to talk to him and we have us his interview, I believe. 0:21:25And you'll find out about what actually happened with on a wing and a prayer. I guess faith based, there's there's that element of Is there divine intervention to perhaps intercede? I think they're pitch on this is there are angels among us who help us through these kinds of situations. And the angels could be even the person on the ground that tells you what button to press at the right time. Gotcha. And the film also, it stars Dennis Quade. Correct? Dennis Quade, Heather Graham. So there are some some big names in this. Yeah. 0:21:55Dennis Quinn plays the the guy who has to pilot the plane. Okay. Heather, the name is his wife. I replaced his wife. And, yeah, and you'll find other you know, they do a little bit before we get into the plane, they do a bit of back story. So you get to see what he's kind of a, I think, a very swaggerish businessman. You know, they're kind of or if you will would say they're kind of full of themselves. So I think it's a humbling experience for him when he gets up in the plane and realizes, hey, I don't know how to do this. He thinks he's a big barbecue guy and He wins barbecue contests and but not they have a huge in the film. They have a huge house that looks impressive, very impressive. And if he's going flying private, come on. He's gonna have a buck or two. Right? Right. End of the film, you get to see the real guy and the real people who helped him out. Okay. 0:22:48So Dennis Quinn, he's it's interesting because he it feels like he's in these types of feel good movies he's done it before. He was in that movie, the rookie, that Disney movie, where he he was a a baseball pitcher. It it was a true story where, you know, he came back at ages like forty, whatever, and made it to the big leagues despite, you know, our injury. So it feels like he likes to do these feel good movies now. He likes to make money too. So I could be behind it. But I'm I'm tired of seeing him in these kinds of roles, to be honest. I'd like to see him as a good old villain because I think he's really good at playing a villain. And you know, maybe he doesn't have to be the star. Maybe he's like the third build, who always is a villain, by the way. If you ever look at a movie, Which one is the villain? Look who's third in the villain? They're always the one who's the villain. So maybe now with your when you're looking at the night agent -- Mhmm. We can see his third build. That's your problem at all right there. But yeah. And he gonna it's it's a feel good one for the holiday weekend and the holiday week. 0:23:56It will be in some theaters and it will also be on Prime Video. So you'll see it on your Amazon Prime channel if you have that. If you bought enough crap on Amazon and you have the free shipping, you'll get this show. So you'll be able to see it. But it's it's nothing complex. It's something that you could watch while you're doing something else. And then you go, okay, that's good. I I understand what was going on there. It's a happy movie for this time of the season. So We have an interview with Jesse Metcalfe, so let's go ahead and listen to that. 0:24:34Have you ever been in an emergency like this in any kind of transportation thing or not? I was on a private plane once where there were some concerns. I wouldn't say it had really gotten to this level. I certainly didn't have to crawl into the cockpit and lay on the plane. But I I understand people's fear of flying. I mean, I started flying at a very early age. My mom would ship me off to my grandparents at, like, six or seven. So I I don't have a fear of flying, like, at all. And actually, you know, after the experience I had, the wonderful experience I had on this home. I'm considering getting my pilot's license. I think it'd be really, really amazing. 0:25:18Yeah. Look how good you are. You can help somebody. Yeah. What is that like when you're going through things and what is this? I don't know what these words are, what they mean. How do you you know, get a grasp on that so that you can convey it in the right way. That's that's a great point. You know, I had to look basically everything up. There's a lot of aviation jargon specifically for my character. And I definitely had to at least have a cursory understanding of what I was talking about. Certainly walked away from this movie with a greater appreciation for aviation and for pilots. 0:25:53When you're sitting there and you're like giving them instructions, who are you talking to? Is somebody else reading the lines of things to you? Or I mean, because you're very into you're good at being intense in those situations. I'm like, Who is he talking to? I'm sure they're not there. Thank you. That's a that's a high compliment. I appreciate that. 0:26:11Generally talking to, you know, either the assistant director or sometimes like you're standing. Really, anyone who's available to read the dialogue off camera and You know, I'll be honest with you. Not a lot of care is is taken when, you know, someone's reading this dialogue off camera. It's usually pretty flat and monotone. You know, you can you can ask them to pump it up a little bit. But it's really, you know, it's our job to bring all that emotion and energy to to our performance, you know. I mean, that's that's what we do as active guy. 0:26:46I didn't get to meet I didn't get to meet Carrie, unfortunately. Hopefully, I'll get to meet him in the future, but I just basically looked up everything I could find on him, print interviews, what little video there was of him out there, I mean, the picture that was painted of him within our script was more than enough for me to grab hold of as an actor. Sure. You know, this coming at this time in your career, what is that telling you? Is it are you going in another direction? Is there something new that we're seeing with this film? Well, it's funny that you asked that. I mean, that's the plan. I mean, you know, I definitely want want to move away from the matinee Idol and move into more serious roles and, you know, work with you know, more producers and directors that I that I really respect. I mean, such a great team on this project with Roman Downey, Autumn Bailey Ford, Sean McNamara, who I I had previously worked with, and I was really excited to get the opportunity to work with again. I think it was just it was the right team on this one with the right script and I'm really proud of what they produced. 0:27:54I mean, it's a very watchable movie that really keeps you on the edge of your seat. You know, they talk about this being a faith film or a faith based film. And I don't think that it's you know, I wouldn't use those terms for it. I think the faith is is underlying. Absolutely. But it isn't something that hits you over the head. You know what I mean? We're a lot of those things, they're like, oh, I'm not going to that. No. No. I I agree with you completely. I mean, honestly, I don't I don't consider this faith based movie at all. And I I think this this movie is of the caliber that, you know, could have gotten a theatrical release. I mean, it's just it's It's a different landscape these days. Very happy to have been picked up by Amazon Prime Video. They're really behind the movie. Yeah. I mean, you know, when people believe in a project and they know that the the the the content is good, I mean, it's just it's a it's a good feeling, you know, to have to have that kind of momentum. 0:28:51Take me back to those days of desperate housewives. How how really unreal was that? I was it was incredibly unreal. I didn't anticipate the success of that show at all. Coming off of daytime television, moving into a nighttime show, but that felt very daytime. It was a easy transition. I mean, look, it wasn't the most challenging role in the world, but I tried to bring, you know, your vulnerability and and depth to the role. But, I mean, it was a it was a whirlwind, you know, that just, like, kinda swept me right off my feet. I didn't anticipate the success. 0:29:30And to still be talking about the show twenty years later, I mean, I guess it's achieved some level of, you know, iconic television status which is something I'm, you know, I'm I'm proud to have been part of. Did it did it just kind of throw you coming so early in your career? Or was it You know, I I I had been in the business for for five years on daytime television, but, I mean, you know, daytime television and primetime are just, you know, their their night and day. Right. They they really are. You can we can work on daytime your entire career and he, you know, the average person might might not know your name. You know, so to to become a household name pretty much overnight was was definitely interesting. 0:30:17Was it good to learn those lessons early on? Or do you say, oh, I'd be much more prepared now if I had that, like, real heat? Well, hindsight is twenty twenty, you know. So I I'd be much more prepared now, definitely. And I'd like to think you know, I'll I'll have some of those big opportunities again. I I mean, I'd like to believe that that the best of my career is is still ahead of me here. You know? Yeah. I I know I know I know I'm ready for it now. That's for sure. All we need to look at is this year's best picture winner and you look at those people and you say, all of them were at some point told you're out of the game and look at them now. They're on top of the game. So it's just It's very it's very only one project away, you know? Right. This could be yours. You never know. 0:31:06Then you you have your kind of I I I love to see these different periods that you've had. You have your hallmark period. What is that world like? Well, I mean, the hallmark channel was very very good to me. They allowed me to executive produce some projects with them and kinda, you know, be involved in the creative and the casting of those projects. I really learned a lot during my hallmark period. And, you know, I'm I'm proud of a a lot of the work that I created during that period as well with this show that I did for them called Chesapeake shores where I played, performed, and wrote some of the music for the show. Right. I mean, you know, I I give a hundred and ten percent to everything that I do. I mean, I I'm one of those actors that really cares. Maybe I care a little too much, but, you know, I like to look back at different periods, as you say, and and be proud of those periods. So, you know, that that was a great time in my career. 0:32:06In the learning process, do you go, oh, that's something I'll never do again? Or is it, okay, this is how I would change those things up if I did this again? Well, there's always lessons. You have to find the lessons in everything you do in life. But specifically in this business, You know? I mean, you wanna continue to become a better actor. You know, I I am very interested in doing more producing and executive producing. So you know, you have to learn those lessons, but it's really about it's it's it's it's about relationships and it's a it's a it's a very people oriented business. It's a collaborative art form and you have to work well with others. And, you know, I mean, those are the best lessons, I think. 0:32:50What is it like when you wanna create something? Is it hard to actually get others on board with you? Or what do you to me, it'd be a big sales job. I'd have to sell others on my vision and I don't know that I could do it. While producing is a big sales job, isn't it? You know, I mean, generally, you're trying to find financing for ideas that you have. And that that can be a little soul sucking at times because as artists, you know, we don't wanna be, you know, making phone calls and sending emails begging people for money. You know, but there's also some great facets to executive producing or producing as well, you know, kind of like being in charge of the entire picture. 0:33:33Which sometimes, you know, when you're just an actor on a project, you know, hire to do one specific thing, it can be a little limiting. Specifically when you see things that could be better or, you know, maybe, you know, holes in a story that could be patched up and you have ideas for that, you're not always you're not always in the position to share those ideas. Would would you ever not act? Would that ever be in the cards? Would I ever not act? Yeah. Yeah. I think I think that could be in the cards. I I think I would like to move behind the camera, you know, specifically in producing roles. And and and I have I have an interest in directing. I mean, I went to New York University for writing and directing teach school of the arts But over the over the years, I've seen how much work directing is. I mean, you're literally, you know, the first person on the set, the last person to leave and up all night preparing. So, you know, I I think producing might be my lane. Better. Yeah. Is another thing. 0:34:36You know, and how they I forgive me for not knowing what this is like, but when they're judging you to to cast you in a role, based on a look, how how do you deal with that? I I would find that very difficult. Well, a lot of people say that there's a lot of rejection in our business, but I think you can't look at not getting a role as rejection. Because getting a role is like finding a needle in a haystack. You know, there's so many variables as to what our producers and directors and casting directors are looking or for a specific role. So I think, you know, you have to just put yourself out there, give the best audition possible, and if it doesn't go your way, just let it go. I mean, easier said than done, but dealing with the rejection would be the very difficult thing. Well, why wasn't I right for this. Exactly. I mean, hey, nobody likes dealing with with rejection, but that's life. It's life. Right? 0:35:32What's next then after this? Are you already working on something? Well, I have two other films coming out this year. I mean, three, actually. One's called the comic shop. Which is kind of like a Kevin Smith esque story about a disgruntled comic book store owner who had some trials and tribulations in his life. It's kind of a interesting story. Then I have another one that's on the festival circuit right now called the Latin from Manhattan. And then I have a a a a a VC Andrew series of movies coming out on a lifetime where I I play dad in the early sixties. So it's it's my first dad role, so I'm kind of excited about that. 0:36:13See, I've seen -- Oh. -- I've seen -- Oh. -- I've seen -- Oh. -- I've seen -- Oh. -- I've seen -- I've seen -- I've seen -- -- I've seen -- -- I've seen -- I've seen -- I've seen -- wonk long. I've I've seen some of the footage actually doing a ADR for the for the movies and I I play opposite this adorable you know, effervescent actor of Breck Bassinger, who's from from the series star girl. I play her father And it's very, very charming actually. I'm I was really, really pleased with it. I'm excited for people to see it. 0:36:40Well, you know, if we're ever on a plane together and something happens, I'm calling you into action here. You're gonna be helping land the plane Okay. I know nothing about that. You might wanna call Dennis, but hey, you know. Yeah. I would run up and down the aisles going, no, we can't do this. This is not good. This is terrible, but it was very fun to watch you in this. I enjoyed it. Thank you so much. Alright, Bruce. Thank you for that interview. What else do we have on top? Coming up. Big big big kind of surprising thing. Rachel vice, Oscar winner, Rachel vice. 0:37:16Is in a new adaptation of dead rangers. It's about twins who are in the birthing business, if you will, and if you may remember Jeremy Irons started in this film in the nineties. It was a David Cronenburg film Well, now, Rachel has the part where she plays two characters. And she's trying to get this clinic off the ground, a birthing center. And she has to appeal to various and sundry people and how it's a very kind of political world to be in the medical field, but it's also really, really creepy. So when you see this, you'll see the creep factor. One of the people we talk to is Poppy Lou who plays their kind of assistant, and she has a big handle on the differences between Beverly and Elliot Mantel. So we'll have that next week and we'll talk about some other kind of creepy ones that aren't coming. Alright. That sounds good. So we'll look forward to that. Thank you everyone for listening to another episode of streamed and screened.See omnystudio.com/listener for privacy information.

We meet our next guest Terry in the courtyard by Marriott I'm staying at. It's a brisk New England day, man it's cold. But still the sun is out and it's a beautiful day in the end. Terry Scott, is that you know classic Irish, Catholic Northeast kind of a guy, just a real down-to-earth person. He's got that very corporate experienced professional vibe about him while also being very creative and open and down to earth kind of to people in one body but actually he's really true to himself in both places, and it's a great conversation about somebody who performs on a high level in a number of different places. He's got a very interesting journey, and he remarks that his dad kicked him out of the house when he was 19 and here he is finding him self back at the same place 40 years later, his journey is a great story and he shares what brought him home, and the kind of person that he's become along the way. I hope you join in to learn a whole bunch more about Terry and his journey through the jar.  For behind the scenes content of the making of The Jar, meet the guests, see some footage of unreleased podcast episodes and more visit : https://www.youtube.com/channel/UCaTqB1dhDvl0Oh505ysdxTgTo be a guest on the show email us at thejarguest@gmail.com or visit our webpage : https://www.thejar.live/Follow The Jar on Instagram : https://www.instagram.com/thejar_podcast/Follow The Jar on Facebook: https://www.facebook.com/podcast.thejarDisclaimer: The views stated in this episode are our guest's opinions and do not represent the views, beliefs or opinions of The Jar Podcast. Our goal is to provide a platform for everyone no matter what they believe, and we would like to continue to do that while making it clear our guests are not a representation of The Jar Podcast. 

A CEC PODCAST  TIER 1 LITERACY AND BEHAVIOR SUPPORTS A high powered panel of guests include Dr. Terry Scott of the University of Louisville, Dr. Michael Coyne of The University of CT and Jenn Bullock of CEC, Director of Professional Development. Please see all we do about equity, access, SEL and teacher retention at ace-ed.org where this podcast will be archived 

A CEC PODCAST  TIER 1 LITERACY AND BEHAVIOR SUPPORTS A high powered panel of guests include Dr. Terry Scott of the University of Louisville, Dr. Michael Coyne of The University of CT and Jenn Bullock of CEC, Director of Professional Development. Please see all we do about equity, access, SEL and teacher retention at ace-ed.org where this podcast will be archived 

Road rage is a problem, and it's growing. A recent study by the National Highway Traffic Safety Commission (NHTSA) found that fatal road rage-related car accidents grew 500% in just nine years between 2006 and 2015. Unfortunately, that number continues to climb. Over 80% of drivers surveyed in 2019 admitted to an outburst of road rage at least once in the previous year. But we're thankful that our guest today proves to be an exception. Terry Scott has learned the art of keeping cool on highways full of bad drivers and worse attitudes. He is passionate about saying that you can't get upset about what you can't control. His mantra is, “You've got to join the club.” To find out what he means by that, tune in to today's episode of the #SixFigureTrucker.Show Notes:A 3-year vet as a Deck driver, Terry talks about the challenges of Deck driving (1:27)Having started as a Hub driver, Terry loves the money and freedom in Driveaway (5:00)From Albuquerque to Omaha to NYC, Terry talks about his favorite places (8:12)“You've gotta join the club”. Terry talks about the importance of patience (11:08)We talk about the state of the Trucking Industry (16:05)Terry Scott, the Family Man (17:50)Hotel beds and parking stalls. The subtle but important details in Driveaway (19:23)Away from the wheel, terry enjoys time with his son, travels with his wife, and running his side hustle (22:30)Even with the Potholes, there's no place like home in Ohio. (29:11)Crazy Stories: A Tractor Trailer barrelling down the wrong side of the Freeway (31:52)Expert Advice - “You can't get upset about what you can't control. You just gotta join the club”. (35:43)Keep Truckin', Terry!The Six Figure Trucker is a weekly conversation that shares the strategies and stories that successful drivers have used to build lucrative careers in the trucking industry. For more information or to subscribe, please visit https://www.six-figuretrucker.com/. 

Escape plans, Tarzan, Terry Scott, the Auf Wiedersehen Pet universe, and Costa Rica. (Rec: 30/11/21) Join the Iron Filings Society: https://www.patreon.com/topflighttimemachine Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Where it all began. We uncover all the shocking stories behind the film that spawned a series, from Terry Scott's racially insensitive turn as a West Indian chef, via the surprising inputs of such luminaries as Danny Kaye, Kingsley Amis and Shostakovich, to the uncredited appearance of a Foetus Behaving Badly... Hosted on Acast. See acast.com/privacy for more information.

Joining Tyler this week is Jon Auty from Behind the Stunts to talk about a 1971 British comedy film featuring some of the biggest names in comedy and light entertainment at the time. The Magnificent Seven Deadly Sins was conceived, directed and produced by Graham Stark and he managed to bring together the likes of Bruce Forsyth, Harry H Corbett, Leslie Phillips, Alfie Bass, June Whitfield, Ronnie Barker and others to appear in a series of interlinked sketches illustrating the titular sins. Notably, it also featured two Goons - Spike Milligan and Harry Secombe - the former writing and appearing in a standout sequence called 'Sloth' while his erstwhile colleague adopts a series of desperate disguises to hoodwink Geoffrey Bayldon in 'Envy'. Things discussed include: On The Buses, recasting with Terry Scott, Paul Hardcastle's The Wizard, walnuts, Keith Flint from The Prodigy, 'Boob Coverage', Bert Kwouk's stunt double, the extremely talented Madeline Smith, the mystery of DB Cooper and much much more! Check out Jon's work: linktr.ee/behindthestunts

A huge thanks to our good friend Cevin Moore for taking over the hosting chair for this episode. Cev has brought along Nigel Patrick, Raquel Welch and Terry Scott this week as he and the Talking Pictures TV viewers give us an insight into what to expect on the nation's favourite archive TV and movie channel over the next three weeks.

Dr Terry Scott, Larcy Douglas, and Dr Kiana Scott react and assess the impact of the Supreme Court's leaked decision that will over-rule the right to an abortion contained in Roe v. Wade. 

Tulsa Memorial Boys Basketball Coach Bobby Allison has his Chargers in position to make a run for the 5A Boys Gold Ball. After coming up a little short last year, the '22 Chargers hope to be playing and winning on the last day of the state tournament. Coach Allison enjoys music and cooking, two interests that may help him orchestrate the performance of his team and get the right mix of ingredients that could result in a state championship. He says his career success is built on the shoulders of coaches like Terry Scott, Robert Sprague and Eric Savage.

Tune in to this weeks 'The Bowls Hour' Tune in to this Episode of 'The Bowls Hour'Miles and Alex talk to Terry Scott, Peter Belliss and Matt Lennan-what a line up! Alex starts off by making a case that the modern game of bowls is more skillful than the game played 30 years ago-send us your feeback on this and we may include it in next weeks show. We always looking for people to chat to on 'The Bowls Hour', if you know anyone that you think would be great on the show, or have an topics you'd like us to discuss, email us at info@bowlsnewzealand.co.nz

On this episode, we continue to get to know our council members. We ask them about what values they learned growing up and their vision for the future of Thomasville. Thanks for tuning in! 

Mr. Terry Scott, MPA, PA-C, DFAAPA is the Program Director and Section Head of MEDEX Northwest, the PA Program at the University of Washington (UW) in Seattle. Terry and I discuss our passion for diversity, equity, and inclusion and the historic roots of the MEDEX Northwest PA Program including some of the historic work their founding father Dr. Richard Smith led in his career. We also talk about the "why" behind the applicant and the importance of knowing your why before applying to any PA program.

The legendary Terry Scott. Native of Cleveland, where he played his high school basketball, college ball at Middle TN State, began coaching college ball at ORU in Tulsa, OK, later became a girls track coach in Tulsa, OK at BTW high school, 22 year reign as head boys basketball coach at Tulsa Central High School and then finally finished his career as head boys basketball coach in Muskogee, OK at Muskogee High School!https://www.youtube.com/channel/UCakGUm31WFmh8UFbqNlYWUA?view_as=subscriberSupport the show (https://paypal.me/SpeakUppod?locale.x=en_US)

On this episode of Ardent Run Club, Tomi speaks with one of the best known vets in British athletics - Terry Scott. Terry tells us about his start to running, his favourite achievements, his training, his ups and downs and gives us an insight into what it's like to be the top of his category. He breaks down how running changed his life and how he keeps going even when motivation wanes. Terry is a part of the LD Crew, a group of high level endurance athletes from the North East of England. Please follow @theldcrew and @tel_scott on Instagram for more insight into the crew and Terry! We hope you learn something, we hope you get inspired and we hope you Find Your Fire.

A chat with Industry Veteran Scott Ritter - From decorator to software developer to trade show owner/manager, Scott Ritter has spent his career in the decorated apparel industry. Aaron and Terry will discuss the industry.... past present and future... with this industry icon. Sponsored by: Impressions Expo. Use the Promo Code RegularGuysIE for a FREE Expo Pass! Our regular listeners know this, but 2 Regular Guys are all about garment decorating, a bit of fun, and no rants or lectures or selling. We are not doing this for our employers, but rather for our industry. Since February 2013, The 2 Regular Guys have been the first and the most listened to garment decorating industry podcast on this planet! We are humbled by all of you tuning in each week. We work hard to bring you information that will make your business better, and our industry better. Take a look at our incredible weekly guest list and you'll understand where this industry goes for news, interviews and the heartbeat of garment decorating. Thanks for listening! News Screen Printing's Rising Stars Awards will honor six young people whose accomplishments in specialty printing have made an indelible impression. The award is open to individuals under the age of 35 who are employed in specialty printing businesses. Third-party nominations will be accepted through November 10th.Dad Joke:  Did you hear how the zombie bodybuilder hurt his back?He was dead lifting. Screen Printing - Then & Now Terry: You might know Scott Ritter as the President of the Decorated Apparel Expo, but did you know that Scott ran his own chain of screen printing & embroidery shops for roughly 25 years, developed the pricing formula that is used by the most successful shops in the industry, is the author of nearly 300 articles that ran in nearly every magazine in the industry, was an early digitizer, and is an expert in hand-color separations for screen printing? Scott has also served on the board of directors for SGIA, and has won the Magnus award, outstanding service award, and a couple dozen other top awards in our industry. Aaron: Scott, talk to us about the early days, your entry into the decorating industry. Terry: What have been the biggest changes you have seen in your years in screen printing that you are pleased to see stick? Aaron: How about the opposite of that, and give us some nostalgia. What do you wish we still did the old way? Terry: I think Aaron and I both first met you from your software business. Talk to us about that. Aaron: Everyone who has ever heard you open or close the DAX Show knows you must have spent some time behind the microphone. Tell us about that part of your life. Terry: Aaron mentioned the DAX Show. Talk to us about how that show came about and it's evolution. Aaron: Covid has impacted all of us, but none as much as trade shows. Talk to us about the impact this year, and your plans for next year. Terry: Scott, how do you think this crazy 2020 year will change the industry going forward? Terry: How can our listeners find you and the DAX Show? Facebook Live Video #5Things 5 Principles of Success 5 Things to Look at in Your Year End Business Review Obviously, sales for the year, and in comparison to the previous year, despite COVIDTake a look at your product mix for the year, and the profitability of each itemLook at your marketing for the year, and determine what worked and what didn'tStudy the bottlenecks that you encountered and consider how to resolve them for next yearImagine where you would like your business to go in the coming year, then make a plan!   Be Part of #5Things If you would like to present your 5 Things, five quick points on any subject whether it be advice or five instructional steps, we would love to hear from you. You can come on the show and present them yourself, or we will share your list with our listeners or even play a recorded video of you sharing 5 things. Whatever is easiest.Reach out to us at info@2regularguys.

Day fifty nine. Life behind the police lines in Lockdown Spain for a British couple and their three good legs cat. Today Bosoms and Birthdays Find out more at: https://www.thesecretspain.com Day 59 bosoms and birthdays   It is Day 59 of our Spanish Lockdown, Wednesday, there is a rumour that Mercadona has masks for sale in its stores, and if so we will buy some.   I notice that the UK Government is encouraging people to make their own out of sticky back plastic and a pair of Val’s old knickers, since the episode with the Blue Peter Advent Calendar where my poor construction of the thing allowed family retainer Reg to be scalded with boiling wax.. I would rather leave surgical mask making to, .. surgical mask makers.   The day is dry and there is some sunshine, enough to clear up the mess of dirty rain that fell last night covering every surface in Sahara sand, three good legs cat is having a bad day, he has had several of his ‘fits’ and horrifying sight where his right back leg comes unjointed and clearly gives him sharp pain that makes him spin around on the floor hissing in agony.   Although the medicine we give him helps with the inflammation, it doesn’t stop the pain. When we enter Phase 1 we will take him to the vet, if he does need an operation at least from Phase 1 there will be staff to look after him, and routine or non-emergency operations should resume then.   Day 59 and our friend Carmen’s birthday in lockdown, but she has treated herself to a new red phone, I think it might by an iPhone, she really wanted a red car, but that will also have to wait.   I messaged Juan the builder, not the gardener or the estate agent.  He says that a plumber will call tomorrow at 4 to 5pm in the evening. The drip drip drip leak in the pool room might finally stop.   I caught a video of Sandi today called cleverly, of course Vox Tox, she was talking about the history of May Day.. social history is one of Sandi Toksvig’s favourite things, when she came to LBC it was my job to find and research at least a couple of ‘facts of the day’ for her.   No mean feat as the internet was really still in its infancy, so a mixture of slogging through Google and her mini book library of information allowed me to piece together the information for her the previous afternoon ready for her to arrive in the morning and turn it into sparkling, funny and interesting radio.   She is an amazing woman, I once brought in a very old Electrical Guide I had found in the loft of our house.  It dated from 1920 and was full of frightening illustrations of gentlemen leaning over a full sink of water to fit an electric razor to the light fitting.  She turned the booklet into twenty minutes of hilarious comedy.. genius.   I never made it to University, but my job at LBC was like being in the middle of a living University with so many guests that came in who were as clever as Sandi.    My first encounter with the Arts show I remember had an eclectic mix of guests there was their regular ballet correspondent and slightly built American lady who was forever going on about the Ballet Rambert, then a drunk comedic actor Terry Scott who arrived flustered and beetroot faced, reeking of Brandy who was probably appearing in a local pantomime, I think by then his TV career had ended except for his role as a voice on Dangermouse.   Then the final hour was the film Director Derek Jarman who had just made a film about the painter Caravaggio, that had a lot of male nudity in it.. one of those films that Channel Four used to show with a little triangle in the corner of the screen.    Indeed we would often sit around in the engineering department watching those films in the hope, for most of the engineers, that they might spot a naked breast.. or worse.   I remember we were casually watching one arts film and a lady with enormous exposed bosoms walked into shot, and we all gasped it was Angela, the Producer of the Arts Show that happened to be on the air down the corridor.    My Shift Leader Tony went galloping down to the studio, swinging the door open he announced to her “Hey Angela we’ve just seen your tits on Channel Four.”  She turned toward him with disinterest “Oh that, I did that film in my modelling days, so what.”  She said.   Just another evening working for LBC.   Day 59 and Chris has once again gone out for the weekly shop, he has returned with gin and cake, but no masks yet.    With the Spanish Government now considering the wearing of masks obligatory, we will probably have to wear one, if it gets us to Phase 1 and onward, then bring it on.              

The University of Washington School of Medicine has MEDEX, a Physician Assistant Training Program, serving Washington, Wyoming, Alaska, Montana and Idaho (the WWAMI medical education region) -- and now it's adding Hawaii!  Dr. Misbah Keen and Mr. Terry Scott, both on the faculty at UW School of Medicine, talk with host Sherry Bracken about the program.  Photo is Sherry with Dr. Keen and Mr. Scott on Jan. 15, 2020. Air date:  March 1, 2020

Our most recent podcast was about the new Physician Assistant Training Program being established in South Kona, with Dr. Misbah Keen and Mr. Terry Scott from University of Washington School of Medicine MEDEX program.  This discussion is the moving story of the program's founder, Dr. Richard Smith, who has longtime Hawaii connections.  Photo:  Dr. Smith with Pres. Barack Obama...courtesy University of Washington School of Medicine Post date:  March 1, 2020

It's time for a creepy treat from the archives as Tim Worthington, Ben Baker and Phil Catterall count down the Top Twenty Five Things That You Were Scared Of As A Youngster That Weren't Supposed To Be Scary! Yes, it's time to hide behind the sofa from Camberwick Green, Return To Oz, Test Card F, Picture Box, Raggerty, World In Action, Professor Yaffle, The Open University, Angie Baby, Ode To Billie Joe, Spitting Image, Vrillon Of Ashtar Galactic Command, The Blue Peter Boat and much, much, terrifyingly more. Along the way we'll be waving cheerfully to some Video Nasties to avoid looking at the Children's section, meeting Parky The Lion, learning why The Muppets aren't frightening but their eyes are, finding out which family friendly cinematic icon was really a man who exploded and went inside out, and in a lighter moment recalling the classic scene where Terry Scott falls through a chair. And right at the end, there's our very own scary broadcast intrusion featuring a dog dressed as an elephant... stitch that, 'Pipes'! You can find more episodes of Looks Unfamiliar at http://timworthington.org/

In a world already filled with remarkable vocalists, Charles E. Salter (pka) Max'C is truly in a class of his own. Originally hailing from Louisville "Dirty South" Kentucky USA, Max is a Multi-Talented Singer/Songwriter/Actor/Entertainer, who has spent a majority of the last decades working and performing in Europe.GAPX the Band The music influences and the stage presence that gave birth to the legendary group “The Gap Band” flows through “Gap Experience The Band” (GapX) founding members. The names recognized by the Gap Band nation - Oliver Scott, Raymond Calhoun, Billy Young, Roman Johnson, Baby Gap and Terry Scott unite to come to the stage once again!! The core group who wrote, recorded and toured the world as The Gap Band are bringing the original rhythm and funk back!.

A warning to all Do-Badders: This Podcast contains useful, relevant information. Terry gives lots of running advice and Jody and David discuss his achievements with him. Having been running for a relatively short period of time, Terry talks about his continual improvement including discussion of his training and thoughts on nutrition. Also there's something special to listen out for at the start and end of this podcast... Enjoy! If you enjoyed this episode please SUBSCRIBE to get every episode delivered to you before everyone else. Join the conversation! If you want to request a guest or chat about this episode with like-minded drunk runners then head over to the Bad Boy Running Podcast Facebook group, here: https://www.facebook.com/groups/1609232602668375/ To join, just answer three questions either correctly or hilariously and we'll realise you're not a spam robot and add you! Here's how to get involved: Follow us on Instagram: www.instagram.com/badboyrunningpodcast Follow us on Twitter: https://twitter.com/badboyrunning1 You can also follow Jody at @Ultrarunnerjody and David at @DavidHellard Email us at letters@badboyrunning.com  Buy merch at the Merch Store at www.badboyrunning.com Lastly, don't forget to subscribe! FYB!

This is another nontraditional but amazing episode of StoryCorps Salem. First hear part 2 of an interview with WWII veterans Earl Kersey, Stanton Rickey, Paul Payne interviewed by Terry Scott from the B-17 Alliance as well has Bill Harper and David Duncan. At the end of this episode is a special bonus story by the famous Doolittle Tokyo Raiders Dick Cole!

The Gap Experience are musicians who recorded,Toured and wrote some of the Gap Bands biggest hits such as "Outstanding,Yearning for your love" etc. These former members are Oliver Scott,Jimi Macon,Raymond Calhoun,Billy Young,Roman Johnson,Terry Scott,and Fred Jenkins. They performed 30+ years along the sides  Charlie Wilson,Ronnie Wilson,Robert Wilson R.I.P. The Gap Band is from Tulsa,Oklahoma. Don't miss it!!!

This week we have a nontraditional but amazing episode of StoryCorps Salem. hear part 1 of a 2 part interview with WWII veterans Earl Kersey, Stanton Rickey, Paul Payne interviewed by Terry Scott from the B-17 Alliance as well has Bill Harper and David Duncan.

Join host Kenny Pugh and special guest Terry Scott discussing his book Available But Not Ready. He also shares insight from his dating experiences before marrying his wife.

At the second time of asking, Phil and Paul are giving it another go with Smith and Jones, the series 3 opener.  This time they are a bit more with it but get easily sidetracked along the way with a discussion on the Doctor kissing his companions - does it still shock or is it old hat now?  Phil also manages to get in an impression of Terry Scott and during the recording Paul is visited by the ghost of Jon Pertwee. And in the news this week, a few items on the 50th Anniversary including events at the BFI next year, Christopher Eccleston being coy about his involvement and what's going on with the good Doctor at Christmas this year with a quick run-down on what ex-Who actors are appearing in panto this year and there's also a brief return to Omega's Tat Corner!!  Just watch out for John Barrowman in panto this year, he'll have your eye out!

The castaway in this week's Desert Island Discs is one of the most familiar and best-loved figures of British comedy over the last 40 years - June Whitfield. Whether as Eth, with her boyfriend Ron, in the Glums in the 1950s, or June, with Terry Scott, in Terry and June, her consummate professionalism has brought laughter and fun to millions of people. She'll be talking to Sue Lawley about her early career as well as her most recent one as what has been described as Britain's answer to Jane Fonda, presenting a keep-fit TV programme for the over-60s.[Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: The Trolley Song by Judy Garland Book: A do-it-yourself manual Luxury: Supply of cocoa butter and hat

The castaway in this week's Desert Island Discs is one of the most familiar and best-loved figures of British comedy over the last 40 years - June Whitfield. Whether as Eth, with her boyfriend Ron, in the Glums in the 1950s, or June, with Terry Scott, in Terry and June, her consummate professionalism has brought laughter and fun to millions of people. She'll be talking to Sue Lawley about her early career as well as her most recent one as what has been described as Britain's answer to Jane Fonda, presenting a keep-fit TV programme for the over-60s. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: The Trolley Song by Judy Garland Book: A do-it-yourself manual Luxury: Supply of cocoa butter and hat

Roy Plomley's castaway is comedian and actor Terry Scott. Favourite track: The Sleeping Beauty by Pyotr Ilyich Tchaikovsky Book: French language course Luxury: Eau de Cologne