Podcasts about these boots

These Boots are made for walking [acf field="serie"] - S[acf field="staffel"]E[acf field="episode"]   Der Beitrag RT #182 – Sind wir denn ANDORs (Recap Staffel 2 Folgen 7-9) erschien zuerst auf Weltenfunk.

These Boots are made for walking [acf field="serie"] - S[acf field="staffel"]E[acf field="episode"]   Der Beitrag RT #182 – Sind wir denn ANDORs (Recap Staffel 2 Folgen 7-9) erschien zuerst auf Weltenfunk.

Send us a textOn this episode, Tom and Bert discuss their TOP 10 of the Greatest Make Out Songs of the decades (1950's-1960's) also with a sampling of the songs.From "Our Day will Come" by Ruby and the Romantics (1:05); to "Cupid" by Sam Cooke (2:55); "Since I fell for You"  by Lenny Welch (3:30); To "Hey Girl" by Freddie Scott (6:52); then "Under The Boardwalk" by the Drifters (7:20); they keep things rolling. Then some "classics" like "Louie, Louie" by the Kingsmen (12:00); Mel Carter's "Hold Me, Thrill Me, Kiss Me" (15:06); and The Rolling Stones "Satisfaction" (17:00);We continue on with these and many other hit songs that set the mood for the "Make Out" songs genre like "These Boots are made for Walking"  by Nancy SInatra (31:41); " Groovin' " by the Young Rascals (37:54);  "Everlasting Love" by Robert Knight (42:30); and "The Stripper" by David Rose (54:50); to close out the podcast.Enjoy the show!You can email us at reeldealzmoviesandmusic@gmail.com or visit our Facebook page, Reel Dealz Podcast: Movies & Music Thru The Decades to leave comments and/or TEXT us at 843-855-1704 as well.

Date: September 18th, 2024Name of podcast: Backstage Pass RadioS7: E6: Payton Riley: Crafting Songs and Shaping Dreams  SHOW SUMMARY:Do you ever wonder what sparks the journey of a young artist? Meet Payton Riley, the sensational singer-songwriter from Montgomery, Texas, whose musical odyssey began with voice lessons at just seven years old. Listen as Payton reminisces about her initial ventures into songwriting inspired by Bible verses, and the pivotal moments that steered her away from sports and fully into the embrace of music. Her heartfelt recollections of family trips filled with country tunes and her early focus on Christian music offer a tapestry of influences that shaped her unique sound.  Tune in to uncover Payton's songwriting secrets and inspirations. Despite not being a stellar English student, Payton finds her true voice in crafting songs from personal experiences and imaginative stories. You'll hear about her ambition to use music as a beacon of hope, manifesting in the heartfelt track "These Boots," where she likens her life's journey to a well-worn pair. Payton's dedication to her craft is evident as she recounts her American Idol audition experience, sharing the lessons learned and the encouraging feedback that fuels her drive to succeed.  Finally, this episode offers a glimpse into the exciting prospects for young artists like Payton. From a transformative music industry retreat to a bustling summer camp, the opportunities are endless. Payton also shares her aspirations, including winning major awards and gracing the stage of the Grand Ole Opry. With a sneak peek at upcoming projects, collaborations, and international plans, this conversation is a treasure trove of musical insights and future possibilities. Join us on Backstage Pass Radio for an inspiring episode filled with dreams, determination, and the vibrant spirit of a rising star.Sponsor Link:WWW.ECOTRIC.COMWWW.SIGNAD.COMWWW.RUNWAYAUDIO.COM Backstage Pass Radio Social Media Handles:Facebook - @backstagepassradiopodcast @randyhulseymusicInstagram - @Backstagepassradio @randyhulseymusicTwitter - @backstagepassPC @rhulseymusicWebsite - backstagepassradio.com and randyhulsey.comArtist(s) Web PagePayton Riley Music Call to actionWe ask our listeners to like, share, and subscribe to the show and the artist's social media pages. This enables us to continue pushing great content to the consumer.   Thank you for being a part of Backstage Pass Radio  Your Host, Randy Hulsey 

This week Reid and Dan Isbell sit down with Music Row legend, Michael Heeney. He's the man behind some of your favorite songs, including "These Boots" and "Love Your Love The Most" by Eric Church. The guys dive in with Heeney on the current status of music row, an epic story that includes him passing out with a few country music legends, and what it has been like having a hit song, every decade, for the last five decades. The episode ends with the "Isbell Twin" world debut, a song written by Michael Heeney himself honoring Reid and Dan. God's Country on Instagram MeatEater on Instagram, Facebook, Twitter, Youtube, and Youtube Clips Subscribe to The MeatEater Podcast Network on YouTube Shop God's Country Merch Shop MeatEater Merch More from MeatEaterSee omnystudio.com/listener for privacy information.

For those who haven't heard the announcement I just posted , songs from this point on will sometimes be split among multiple episodes, so this is the second part of a multi-episode look at the Byrds in 1966-69 and the birth of country rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode, on "With a Little Help From My Friends" by Joe Cocker. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud at this time as there are too many Byrds songs in the first chunk, but I will try to put together a multi-part Mixcloud when all the episodes for this song are up. My main source for the Byrds is Timeless Flight Revisited by Johnny Rogan, I also used Chris Hillman's autobiography, the 331/3 books on The Notorious Byrd Brothers and The Gilded Palace of Sin, I used Barney Hoskyns' Hotel California and John Einarson's Desperadoes as general background on Californian country-rock, Calling Me Hone, Gram Parsons and the Roots of Country Rock by Bob Kealing for information on Parsons, and Requiem For The Timeless Vol 2 by Johnny Rogan for information about the post-Byrds careers of many members. Information on Gary Usher comes from The California Sound by Stephen McParland. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. The International Submarine Band's only album can be bought from Bandcamp. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we begin, a brief warning – this episode contains brief mentions of suicide, alcoholism, abortion, and heroin addiction, and a brief excerpt of chanting of a Nazi slogan. If you find those subjects upsetting, you may want to read the transcript rather than listen. As we heard in the last part, in October 1967 Roger McGuinn and Chris Hillman fired David Crosby from the Byrds. It was only many years later, in a conversation with the group's ex-manager Jim Dickson, that Crosby realised that they didn't actually have a legal right to fire him -- the Byrds had no partnership agreement, and according to Dickson given that the original group had been Crosby, McGuinn, and Gene Clark, it would have been possible for Crosby and McGuinn to fire Hillman, but not for McGuinn and Hillman to fire Crosby. But Crosby was unaware of this at the time, and accepted a pay-off, with which he bought a boat and sailed to Florida, where saw a Canadian singer-songwriter performing live: [Excerpt: Joni Mitchell, "Both Sides Now (live Ann Arbor, MI, 27/10/67)"] We'll find out what happened when David Crosby brought Joni Mitchell back to California in a future story... With Crosby gone, the group had a major problem. They were known for two things -- their jangly twelve-string guitar and their soaring harmonies. They still had the twelve-string, even in their new slimmed-down trio format, but they only had two of their four vocalists -- and while McGuinn had sung lead on most of their hits, the sound of the Byrds' harmony had been defined by Crosby on the high harmonies and Gene Clark's baritone. There was an obvious solution available, of course, and they took it. Gene Clark had quit the Byrds in large part because of his conflicts with David Crosby, and had remained friendly with the others. Clark's solo album had featured Chris Hillman and Michael Clarke, and had been produced by Gary Usher who was now producing the Byrds' records, and it had been a flop and he was at a loose end. After recording the Gene Clark with the Gosdin Brothers album, Clark had started work with Curt Boettcher, a singer-songwriter-producer who had produced hits for Tommy Roe and the Association, and who was currently working with Gary Usher. Boettcher produced two tracks for Clark, but they went unreleased: [Excerpt: Gene Clark, "Only Colombe"] That had been intended as the start of sessions for an album, but Clark had been dropped by Columbia rather than getting to record a second album. He had put together a touring band with guitarist Clarence White, bass player John York, and session drummer "Fast" Eddie Hoh, but hadn't played many gigs, and while he'd been demoing songs for a possible second solo album he didn't have a record deal to use them on. Chisa Records, a label co-owned by Larry Spector, Peter Fonda, and Hugh Masekela, had put out some promo copies of one track, "Yesterday, Am I Right", but hadn't released it properly: [Excerpt: Gene Clark, "Yesterday, Am I Right"] Clark, like the Byrds, had left Dickson and Tickner's management organisation and signed with Larry Spector, and Spector was wanting to make the most of his artists -- and things were very different for the Byrds now. Clark had had three main problems with being in the Byrds -- ego clashes with David Crosby, the stresses of being a pop star with a screaming teenage fanbase, and his fear of flying. Clark had really wanted to have the same kind of role in the Byrds that Brian Wilson had with the Beach Boys -- appear on the records, write songs, do TV appearances, maybe play local club gigs, but not go on tour playing to screaming fans. But now David Crosby was out of the group and there were no screaming fans any more -- the Byrds weren't having the kind of pop hits they'd had a few years earlier and were now playing to the hippie audience. Clark promised that with everything else being different, he could cope with the idea of flying -- if necessary he'd just take tranquilisers or get so drunk he passed out. So Gene Clark rejoined the Byrds. According to some sources he sang on their next single, "Goin' Back," though I don't hear his voice in the mix: [Excerpt: The Byrds, "Goin' Back"] According to McGuinn, Clark was also an uncredited co-writer on one song on the album they were recording, "Get to You". But before sessions had gone very far, the group went on tour. They appeared on the Smothers Brothers TV show, miming their new single and "Mr. Spaceman", and Clark seemed in good spirits, but on the tour of the Midwest that followed, according to their road manager of the time, Clark was terrified, singing flat and playing badly, and his guitar and vocal mic were left out of the mix. And then it came time to get on a plane, and Clark's old fears came back, and he refused to fly from Minneapolis to New York with the rest of the group, instead getting a train back to LA. And that was the end of Clark's second stint in the Byrds. For the moment, the Byrds decided they were going to continue as a trio on stage and a duo in the studio -- though Michael Clarke did make an occasional return to the sessions as they progressed. But of course, McGuinn and Hillman couldn't record an album entirely by themselves. They did have several tracks in a semi-completed state still featuring Crosby, but they needed people to fill his vocal and instrumental roles on the remaining tracks. For the vocals, Usher brought in his friend and collaborator Curt Boettcher, with whom he was also working at the time in a band called Sagittarius: [Excerpt: Sagittarius, "Another Time"] Boettcher was a skilled harmony vocalist -- according to Usher, he was one of the few vocal arrangers that Brian Wilson looked up to, and Jerry Yester had said of the Modern Folk Quartet that “the only vocals that competed with us back then was Curt Boettcher's group” -- and he was more than capable of filling Crosby's vocal gap, but there was never any real camaraderie between him and the Byrds. He particularly disliked McGuinn, who he said "was just such a poker face. He never let you know where you stood. There was never any lightness," and he said of the sessions as a whole "I was really thrilled to be working with The Byrds, and, at the same time, I was glad when it was all over. There was just no fun, and they were such weird guys to work with. They really freaked me out!" Someone else who Usher brought in, who seems to have made a better impression, was Red Rhodes: [Excerpt: Red Rhodes, "Red's Ride"] Rhodes was a pedal steel player, and one of the few people to make a career on the instrument outside pure country music, which is the genre with which the instrument is usually identified. Rhodes was a country player, but he was the country pedal steel player of choice for musicians from the pop and folk-rock worlds. He worked with Usher and Boettcher on albums by Sagittarius and the Millennium, and played on records by Cass Elliot, Carole King, the Beach Boys, and the Carpenters, among many others -- though he would be best known for his longstanding association with Michael Nesmith of the Monkees, playing on most of Nesmith's recordings from 1968 through 1992. Someone else who was associated with the Monkees was Moog player Paul Beaver, who we talked about in the episode on "Hey Jude", and who had recently played on the Monkees' Pisces, Aquarius, Capricorn & Jones, Ltd album: [Excerpt: The Monkees, "Star Collector"] And the fourth person brought in to help the group out was someone who was already familiar to them. Clarence White was, like Red Rhodes, from the country world -- he'd started out in a bluegrass group called the Kentucky Colonels: [Excerpt: The Kentucky Colonels, "Clinch Mountain Backstep"] But White had gone electric and formed one of the first country-rock bands, a group named Nashville West, as well as becoming a popular session player. He had already played on a couple of tracks on Younger Than Yesterday, as well as playing with Hillman and Michael Clarke on Gene Clark's album with the Gosdin Brothers and being part of Clark's touring band with John York and "Fast" Eddie Hoh. The album that the group put together with these session players was a triumph of sequencing and production. Usher had recently been keen on the idea of crossfading tracks into each other, as the Beatles had on Sgt Pepper, and had done the same on the two Chad and Jeremy albums he produced. By clever crossfading and mixing, Usher managed to create something that had the feel of being a continuous piece, despite being the product of several very different creative minds, with Usher's pop sensibility and arrangement ideas being the glue that held everything together. McGuinn was interested in sonic experimentation. He, more than any of the others, seems to have been the one who was most pushing for them to use the Moog, and he continued his interest in science fiction, with a song, "Space Odyssey", inspired by the Arthur C. Clarke short story "The Sentinel", which was also the inspiration for the then-forthcoming film 2001: A Space Odyssey: [Excerpt: The Byrds, "Space Odyssey"] Then there was Chris Hillman, who was coming up with country material like "Old John Robertson": [Excerpt: The Byrds, "Old John Robertson"] And finally there was David Crosby. Even though he'd been fired from the group, both McGuinn and Hillman didn't see any problem with using the songs he had already contributed. Three of the album's eleven songs are compositions that are primarily by Crosby, though they're all co-credited to either Hillman or both Hillman and McGuinn. Two of those songs are largely unchanged from Crosby's original vision, just finished off by the rest of the group after his departure, but one song is rather different: [Excerpt: The Byrds, "Draft Morning"] "Draft Morning" was a song that was important to Crosby, and was about his -- and the group's -- feelings about the draft and the ongoing Vietnam War. It was a song that had meant a lot to him, and he'd been part of the recording for the backing track. But when it came to doing the final vocals, McGuinn and Hillman had a problem -- they couldn't remember all the words to the song, and obviously there was no way they were going to get Crosby to give them the original lyrics. So they rewrote it, coming up with new lyrics where they couldn't remember the originals: [Excerpt: The Byrds, "Draft Morning"] But there was one other contribution to the track that was very distinctively the work of Usher. Gary Usher had a predilection at this point for putting musique concrete sections in otherwise straightforward pop songs. He'd done it with "Fakin' It" by Simon and Garfunkel, on which he did uncredited production work, and did it so often that it became something of a signature of records on Columbia in 1967 and 68, even being copied by his friend Jim Guercio on "Susan" by the Buckinghams. Usher had done this, in particular, on the first two singles by Sagittarius, his project with Curt Boettcher. In particular, the second Sagittarius single, "Hotel Indiscreet", had had a very jarring section (and a warning here, this contains some brief chanting of a Nazi slogan): [Excerpt: Sagittarius, "Hotel Indiscreet"] That was the work of a comedy group that Usher had discovered and signed to Columbia. The Firesign Theatre were so named because, like Usher, they were all interested in astrology, and they were all "fire signs".  Usher was working on their first album, Waiting For The Electrician or Someone Like Him, at the same time as he was working on the Byrds album: [Excerpt: The Firesign Theatre, "W.C. Fields Forever"] And he decided to bring in the Firesigns to contribute to "Draft Morning": [Excerpt: The Byrds, "Draft Morning"] Crosby was, understandably, apoplectic when he heard the released version of "Draft Morning". As far as Hillman and McGuinn were concerned, it was always a Byrds song, and just because Crosby had left the band didn't mean they couldn't use material he'd written for the Byrds. Crosby took a different view, saying later "It was one of the sleaziest things they ever did. I had an entire song finished. They just casually rewrote it and decided to take half the credit. How's that? Without even asking me. I had a finished song, entirely mine. I left. They did the song anyway. They rewrote it and put it in their names. And mine was better. They just took it because they didn't have enough songs." What didn't help was that the publicity around the album, titled The Notorious Byrd Brothers minimised Crosby's contributions. Crosby is on five of the eleven tracks -- as he said later, "I'm all over that album, they just didn't give me credit. I played, I sang, I wrote, I even played bass on one track, and they tried to make out that I wasn't even on it, that they could be that good without me." But the album, like earlier Byrds albums, didn't have credits saying who played what, and the cover only featured McGuinn, Hillman, and Michael Clarke in the photo -- along with a horse, which Crosby took as another insult, as representing him. Though as McGuinn said, "If we had intended to do that, we would have turned the horse around". Even though Michael Clarke was featured on the cover, and even owned the horse that took Crosby's place, by the time the album came out he too had been fired. Unlike Crosby, he went quietly and didn't even ask for any money. According to McGuinn, he was increasingly uninterested in being in the band -- suffering from depression, and missing the teenage girls who had been the group's fans a year or two earlier. He gladly stopped being a Byrd, and went off to work in a hotel instead. In his place came Hillman's cousin, Kevin Kelley, fresh out of a band called the Rising Sons: [Excerpt: The Rising Sons, "Take a Giant Step"] We've mentioned the Rising Sons briefly in some previous episodes, but they were one of the earliest LA folk-rock bands, and had been tipped to go on to greater things -- and indeed, many of them did, though not as part of the Rising Sons. Jesse Lee Kincaid, the least well-known of the band, only went on to release a couple of singles and never had much success, but his songs were picked up by other acts -- his "Baby You Come Rollin' 'Cross My Mind" was a minor hit for the Peppermint Trolley Company: [Excerpt: The Peppermint Trolley Company, "Baby You Come Rollin' 'Cross My Mind"] And Harry Nilsson recorded Kincaid's "She Sang Hymns Out of Tune": [Excerpt: Harry Nilsson, "She Sang Hymns Out of Tune"] But Kincaid was the least successful of the band members, and most of the other members are going to come up in future episodes of the podcast -- bass player Gary Marker played for a while with Captain Beefheart and the Magic Band, lead singer Taj Mahal is one of the most respected blues singers of the last sixty years, original drummer Ed Cassidy went on to form the progressive rock band Spirit, and lead guitarist Ry Cooder went on to become one of the most important guitarists in rock music. Kelley had been the last to join the Rising Sons, replacing Cassidy but he was in the band by the time they released their one single, a version of Rev. Gary Davis' "Candy Man" produced by Terry Melcher, with Kincaid on lead vocals: [Excerpt: The Rising Sons, "Candy Man"] That hadn't been a success, and the group's attempt at a follow-up, the Goffin and King song "Take a Giant Step", which we heard earlier, was blocked from release by Columbia as being too druggy -- though there were no complaints when the Monkees released their version as the B-side to "Last Train to Clarksville". The Rising Sons, despite being hugely popular as a live act, fell apart without ever releasing a second single. According to Marker, Mahal realised that he would be better off as a solo artist, but also Columbia didn't know how to market a white group with a Black lead vocalist (leading to Kincaid singing lead on their one released single, and producer Terry Melcher trying to get Mahal to sing more like a white singer on "Take a Giant Step"), and some in the band thought that Terry Melcher was deliberately trying to sink their career because they refused to sign to his publishing company. After the band split up, Marker and Kelley had formed a band called Fusion, which Byrds biographer Johnny Rogan describes as being a jazz-fusion band, presumably because of their name. Listening to the one album the group recorded, it is in fact more blues-rock, very like the music Marker made with the Rising Sons and Captain Beefheart. But Kelley's not on that album, because before it was recorded he was approached by his cousin Chris Hillman and asked to join the Byrds. At the time, Fusion were doing so badly that Kelley had to work a day job in a clothes shop, so he was eager to join a band with a string of hits who were just about to conclude a lucrative renegotiation of their record contract -- a renegotiation which may have played a part in McGuinn and Hillman firing Crosby and Clarke, as they were now the only members on the new contracts. The choice of Kelley made a lot of sense. He was mostly just chosen because he was someone they knew and they needed a drummer in a hurry -- they needed someone new to promote The Notorious Byrd Brothers and didn't have time to go through a laborious process of audtioning, and so just choosing Hillman's cousin made sense, but Kelley also had a very strong, high voice, and so he could fill in the harmony parts that Crosby had sung, stopping the new power-trio version of the band from being *too* thin-sounding in comparison to the five-man band they'd been not that much earlier. The Notorious Byrd Brothers was not a commercial success -- it didn't even make the top forty in the US, though it did in the UK -- to the presumed chagrin of Columbia, who'd just paid a substantial amount of money for this band who were getting less successful by the day. But it was, though, a gigantic critical success, and is generally regarded as the group's creative pinnacle. Robert Christgau, for example, talked about how LA rather than San Francisco was where the truly interesting music was coming from, and gave guarded praise to Captain Beefheart, Van Dyke Parks, and the Fifth Dimension (the vocal group, not the Byrds album) but talked about three albums as being truly great -- the Beach Boys' Wild Honey, Love's Forever Changes, and The Notorious Byrd Brothers. (He also, incidentally, talked about how the two songs that Crosby's new discovery Joni Mitchell had contributed to a Judy Collins album were much better than most folk music, and how he could hardly wait for her first album to come out). And that, more or less, was the critical consensus about The Notorious Byrd Brothers -- that it was, in Christgau's words "simply the best album the Byrds have ever recorded" and that "Gone are the weak--usually folky--tracks that have always flawed their work." McGuinn, though, thought that the album wasn't yet what he wanted. He had become particularly excited by the potentials of the Moog synthesiser -- an instrument that Gary Usher also loved -- during the recording of the album, and had spent a lot of time experimenting with it, coming up with tracks like the then-unreleased "Moog Raga": [Excerpt: The Byrds, "Moog Raga"] And McGuinn had a concept for the next Byrds album -- a concept he was very excited about. It was going to be nothing less than a grand sweeping history of American popular music. It was going to be a double album -- the new contract said that they should deliver two albums a year to Columbia, so a double album made sense -- and it would start with Appalachian folk music, go through country, jazz, and R&B, through the folk-rock music the Byrds had previously been known for, and into Moog experimentation. But to do this, the Byrds needed a keyboard player. Not only would a keyboard player help them fill out their thin onstage sound, if they got a jazz keyboardist, then they could cover the jazz material in McGuinn's concept album idea as well. So they went out and looked for a jazz piano player, and happily Larry Spector was managing one. Or at least, Larry Spector was managing someone who *said* he was a jazz pianist. But Gram Parsons said he was a lot of things... [Excerpt: Gram Parsons, "Brass Buttons (1965 version)"] Gram Parsons was someone who had come from a background of unimaginable privilege. His maternal grandfather was the owner of a Florida citrus fruit and real-estate empire so big that his mansion was right in the centre of what was then Florida's biggest theme park -- built on land he owned. As a teenager, Parsons had had a whole wing of his parents' house to himself, and had had servants to look after his every need, and as an adult he had a trust fund that paid him a hundred thousand dollars a year -- which in 1968 dollars would be equivalent to a little under nine hundred thousand in today's money. Two events in his childhood had profoundly shaped the life of young Gram. The first was in February 1956, when he went to see a new singer who he'd heard on the radio, and who according to the local newspaper had just recorded a new song called "Heartburn Motel".  Parsons had tried to persuade his friends that this new singer was about to become a big star -- one of his friends had said "I'll wait til he becomes famous!" As it turned out, the day Parsons and the couple of friends he did manage to persuade to go with him saw Elvis Presley was also the day that "Heartbreak Hotel" entered the Billboard charts at number sixty-eight. But even at this point, Elvis was an obvious star and the headliner of the show. Young Gram was enthralled -- but in retrospect he was more impressed by the other acts he saw on the bill. That was an all-star line-up of country musicians, including Mother Maybelle and the Carter Sisters, and especially the Louvin Brothers, arguably the greatest country music vocal duo of all time: [Excerpt: The Louvin Brothers, "The Christian Life"] Young Gram remained mostly a fan of rockabilly music rather than country, and would remain so for another decade or so, but a seed had been planted. The other event, much more tragic, was the death of his father. Both Parsons' parents were functioning alcoholics, and both by all accounts were unfaithful to each other, and their marriage was starting to break down. Gram's father was also, by many accounts, dealing with what we would now call post-traumatic stress disorder from his time serving in the second world war. On December the twenty-third 1958, Gram's father died of a self-inflicted gunshot wound. Everyone involved seems sure it was suicide, but it was officially recorded as natural causes because of the family's wealth and prominence in the local community. Gram's Christmas present from his parents that year was a reel-to-reel tape recorder, and according to some stories I've read his father had left a last message on a tape in the recorder, but by the time the authorities got to hear it, it had been erased apart from the phrase "I love you, Gram." After that Gram's mother's drinking got even worse, but in most ways his life still seemed charmed, and the descriptions of him as a teenager are about what you'd expect from someone who was troubled, with a predisposition to addiction, but who was also unbelievably wealthy, good-looking, charming, and talented. And the talent was definitely there. One thing everyone is agreed on is that from a very young age Gram Parsons took his music seriously and was determined to make a career as a musician. Keith Richards later said of him "Of the musicians I know personally (although Otis Redding, who I didn't know, fits this too), the two who had an attitude towards music that was the same as mine were Gram Parsons and John Lennon. And that was: whatever bag the business wants to put you in is immaterial; that's just a selling point, a tool that makes it easier. You're going to get chowed into this pocket or that pocket because it makes it easier for them to make charts up and figure out who's selling. But Gram and John were really pure musicians. All they liked was music, and then they got thrown into the game." That's not the impression many other people have of Parsons, who is almost uniformly described as an incessant self-promoter, and who from his teens onwards would regularly plant fake stories about himself in the local press, usually some variant of him having been signed to RCA records. Most people seem to think that image was more important to him than anything. In his teens, he started playing in a series of garage bands around Florida and Georgia, the two states in which he was brought up. One of his early bands was largely created by poaching the rhythm section who were then playing with Kent Lavoie, who later became famous as Lobo and had hits like "Me and You and a Dog Named Boo". Lavoie apparently held a grudge -- decades later he would still say that Parsons couldn't sing or play or write. Another musician on the scene with whom Parsons associated was Bobby Braddock, who would later go on to co-write songs like "D-I-V-O-R-C-E" for Tammy Wynette, and the song "He Stopped Loving Her Today", often considered the greatest country song ever written, for George Jones: [Excerpt: George Jones, "He Stopped Loving Her Today"] Jones would soon become one of Parsons' musical idols, but at this time he was still more interested in being Elvis or Little Richard. We're lucky enough to have a 1962 live recording of one of his garage bands, the Legends -- the band that featured the bass player and drummer he'd poached from Lobo. They made an appearance on a local TV show and a friend with a tape recorder recorded it off the TV and decades later posted it online. Of the four songs in that performance, two are R&B covers -- Little Richard's "Rip It Up" and Ray Charles' "What'd I Say?", and a third is the old Western Swing classic "Guitar Boogie Shuffle". But the interesting thing about the version of "Rip it Up" is that it's sung in an Everly Brothers style harmony, and the fourth song is a recording of the Everlys' "Let It Be Me". The Everlys were, of course, hugely influenced by the Louvin Brothers, who had so impressed young Gram six years earlier, and in this performance you can hear for the first time the hints of the style that Parsons would make his own a few years later: [Excerpt: Gram Parsons and the Legends, "Let it Be Me"] Incidentally, the other guitarist in the Legends, Jim Stafford, also went on to a successful musical career, having a top five hit in the seventies with "Spiders & Snakes": [Excerpt: Jim Stafford, "Spiders & Snakes"] Soon after that TV performance though, like many musicians of his generation, Parsons decided to give up on rock and roll, and instead to join a folk group. The group he joined, The Shilos, were a trio who were particularly influenced by the Journeymen, John Phillips' folk group before he formed the Mamas and the Papas, which we talked about in the episode on "San Francisco". At various times the group expanded with the addition of some female singers, trying to capture something of the sound of the New Chrisy Minstrels. In 1964, with the band members still in school, the Shilos decided to make a trip to Greenwich Village and see if they could make the big time as folk-music stars. They met up with John Phillips, and Parsons stayed with John and Michelle Phillips in their home in New York -- this was around the time the two of them were writing "California Dreamin'". Phillips got the Shilos an audition with Albert Grossman, who seemed eager to sign them until he realised they were still schoolchildren just on a break. The group were, though, impressive enough that he was interested, and we have some recordings of them from a year later which show that they were surprisingly good for a bunch of teenagers: [Excerpt: The Shilos, "The Bells of Rhymney"] Other than Phillips, the other major connection that Parsons made in New York was the folk singer Fred Neil, who we've talked about occasionally before. Neil was one of the great songwriters of the Greenwich Village scene, and many of his songs became successful for others -- his "Dolphins" was recorded by Tim Buckley, most famously his "Everybody's Talkin'" was a hit for Harry Nilsson, and he wrote "Another Side of This Life" which became something of a standard -- it was recorded by the Animals and the Lovin' Spoonful, and Jefferson Airplane, as well as recording the song, included it in their regular setlists, including at Monterey: [Excerpt: Jefferson Airplane, "The Other Side of This Life (live at Monterey)"] According to at least one biographer, though, Neil had another, more pernicious, influence on Parsons -- he may well have been the one who introduced Parsons to heroin, though several of Parsons' friends from the time said he wasn't yet using hard drugs. By spring 1965, Parsons was starting to rethink his commitment to folk music, particularly after "Mr. Tambourine Man" became a hit. He talked with the other members about their need to embrace the changes in music that Dylan and the Byrds were bringing about, but at the same time he was still interested enough in acoustic music that when he was given the job of arranging the music for his high school graduation, the group he booked were the Dillards. That graduation day was another day that would change Parsons' life -- as it was the day his mother died, of alcohol-induced liver failure. Parsons was meant to go on to Harvard, but first he went back to Greenwich Village for the summer, where he hung out with Fred Neil and Dave Van Ronk (and started using heroin regularly). He went to see the Beatles at Shea Stadium, and he was neighbours with Stephen Stills and Richie Furay -- the three of them talked about forming a band together before Stills moved West. And on a brief trip back home to Florida between Greenwich Village and Harvard, Parsons spoke with his old friend Jim Stafford, who made a suggestion to him -- instead of trying to do folk music, which was clearly falling out of fashion, why not try to do *country* music but with long hair like the Beatles? He could be a country Beatle. It would be an interesting gimmick. Parsons was only at Harvard for one semester before flunking out, but it was there that he was fully reintroduced to country music, and in particular to three artists who would influence him more than any others. He'd already been vaguely aware of Buck Owens, whose "Act Naturally" had recently been covered by the Beatles: [Excerpt: Buck Owens, "Act Naturally"] But it was at Harvard that he gained a deeper appreciation of Owens. Owens was the biggest star of what had become known as the Bakersfield Sound, a style of country music that emphasised a stripped-down electric band lineup with Telecaster guitars, a heavy drumbeat, and a clean sound. It came from the same honky-tonk and Western Swing roots as the rockabilly music that Parsons had grown up on, and it appealed to him instinctively.  In particular, Parsons was fascinated by the fact that Owens' latest album had a cover version of a Drifters song on it -- and then he got even more interested when Ray Charles put out his third album of country songs and included a version of Owens' "Together Again": [Excerpt: Ray Charles, "Together Again"] This suggested to Parsons that country music and the R&B he'd been playing previously might not quite be so far apart as he'd thought. At Harvard, Parsons was also introduced to the work of another Bakersfield musician, who like Owens was produced by Ken Nelson, who also produced the Louvin Brothers' records, and who we heard about in previous episodes as he produced Gene Vincent and Wanda Jackson. Merle Haggard had only had one big hit at the time, "(My Friends Are Gonna Be) Strangers": [Excerpt: Merle Haggard, "(My Friends are Gonna Be) Strangers"] But he was about to start a huge run of country hits that would see every single he released for the next twelve years make the country top ten, most of them making number one. Haggard would be one of the biggest stars in country music, but he was also to be arguably the country musician with the biggest influence on rock music since Johnny Cash, and his songs would soon start to be covered by everyone from the Grateful Dead to the Everly Brothers to the Beach Boys. And the third artist that Parsons was introduced to was someone who, in most popular narratives of country music, is set up in opposition to Haggard and Owens, because they were representatives of the Bakersfield Sound while he was the epitome of the Nashville Sound to which the Bakersfield Sound is placed in opposition, George Jones. But of course anyone with ears will notice huge similarities in the vocal styles of Jones, Haggard, and Owens: [Excerpt: George Jones, "The Race is On"] Owens, Haggard, and Jones are all somewhat outside the scope of this series, but are seriously important musicians in country music. I would urge anyone who's interested in them to check out Tyler Mahan Coe's podcast Cocaine and Rhinestones, season one of which has episodes on Haggard and Owens, as well as on the Louvin Brothers who I also mentioned earlier, and season two of which is entirely devoted to Jones. When he dropped out of Harvard after one semester, Parsons was still mostly under the thrall of the Greenwich Village folkies -- there's a recording of him made over Christmas 1965 that includes his version of "Another Side of This Life": [Excerpt: Gram Parsons, "Another Side of This Life"] But he was encouraged to go further in the country direction by John Nuese (and I hope that's the correct pronunciation – I haven't been able to find any recordings mentioning his name), who had introduced him to this music and who also played guitar. Parsons, Neuse, bass player Ian Dunlop and drummer Mickey Gauvin formed a band that was originally called Gram Parsons and the Like. They soon changed their name though, inspired by an Our Gang short in which the gang became a band: [Excerpt: Our Gang, "Mike Fright"] Shortening the name slightly, they became the International Submarine Band. Parsons rented them a house in New York, and they got a contract with Goldstar Records, and released a couple of singles. The first of them, "The Russians are Coming, The Russians are Coming" was a cover of the theme to a comedy film that came out around that time, and is not especially interesting: [Excerpt: The International Submarine Band, "The Russians are Coming, The Russians are Coming"] The second single is more interesting. "Sum Up Broke" is a song by Parsons and Neuse, and shows a lot of influence from the Byrds: [Excerpt: The international Submarine Band, "Sum Up Broke"] While in New York with the International Submarine Band, Parsons made another friend in the music business. Barry Tashian was the lead singer of a band called the Remains, who had put out a couple of singles: [Excerpt: The Remains, "Why Do I Cry?"] The Remains are now best known for having been on the bill on the Beatles' last ever tour, including playing as support on their last ever show at Candlestick Park, but they split up before their first album came out. After spending most of 1966 in New York, Parsons decided that he needed to move the International Submarine Band out to LA. There were two reasons for this. The first was his friend Brandon DeWilde, an actor who had been a child star in the fifties -- it's him at the end of Shane -- who was thinking of pursuing a musical career. DeWilde was still making TV appearances, but he was also a singer -- John Nuese said that DeWilde sang harmony with Parsons better than anyone except Emmylou Harris -- and he had recorded some demos with the International Submarine Band backing him, like this version of Buck Owens' "Together Again": [Excerpt: Brandon DeWilde, "Together Again"] DeWilde had told Parsons he could get the group some work in films. DeWilde made good on that promise to an extent -- he got the group a cameo in The Trip, a film we've talked about in several other episodes, which was being directed by Roger Corman, the director who worked a lot with David Crosby's father, and was coming out from American International Pictures, the company that put out the beach party films -- but while the group were filmed performing one of their own songs, in the final film their music was overdubbed by the Electric Flag. The Trip starred Peter Fonda, another member of the circle of people around David Crosby, and another son of privilege, who at this point was better known for being Henry Fonda's son than for his own film appearances. Like DeWilde, Fonda wanted to become a pop star, and he had been impressed by Parsons, and asked if he could record Parsons' song "November Nights". Parsons agreed, and the result was released on Chisa Records, the label we talked about earlier that had put out promos of Gene Clark, in a performance produced by Hugh Masekela: [Excerpt: Peter Fonda, "November Nights"] The other reason the group moved West though was that Parsons had fallen in love with David Crosby's girlfriend, Nancy Ross, who soon became pregnant with his daughter -- much to Parsons' disappointment, she refused to have an abortion. Parsons bought the International Submarine Band a house in LA to rehearse in, and moved in separately with Nancy. The group started playing all the hottest clubs around LA, supporting bands like Love and the Peanut Butter Conspiracy, but they weren't sounding great, partly because Parsons was more interested in hanging round with celebrities than rehearsing -- the rest of the band had to work for a living, and so took their live performances more seriously than he did, while he was spending time catching up with his old folk friends like John Phillips and Fred Neil, as well as getting deeper into drugs and, like seemingly every musician in 1967, Scientology, though he only dabbled in the latter. The group were also, though, starting to split along musical lines. Dunlop and Gauvin wanted to play R&B and garage rock, while Parsons and Nuese wanted to play country music. And there was a third issue -- which record label should they go with? There were two labels interested in them, neither of them particularly appealing. The offer that Dunlop in particular wanted to go with was from, of all people, Jay Ward Records: [Excerpt: A Salute to Moosylvania] Jay Ward was the producer and writer of Rocky & Bullwinkle, Peabody & Sherman, Dudley Do-Right and other cartoons, and had set up a record company, which as far as I've been able to tell had only released one record, and that five years earlier (we just heard a snippet of it). But in the mid-sixties several cartoon companies were getting into the record business -- we'll hear more about that when we get to song 186 -- and Ward's company apparently wanted to sign the International Submarine Band, and were basically offering to throw money at them. Parsons, on the other hand, wanted to go with Lee Hazlewood International. This was a new label set up by someone we've only talked about in passing, but who was very influential on the LA music scene, Lee Hazlewood. Hazlewood had got his start producing country hits like Sanford Clark's "The Fool": [Excerpt: Sanford Clark, "The Fool"] He'd then moved on to collaborating with Lester Sill, producing a series of hits for Duane Eddy, whose unique guitar sound Hazlewood helped come up with: [Excerpt: Duane Eddy, "Rebel Rouser"] After splitting off from Sill, who had gone off to work with Phil Spector, who had been learning some production techniques from Hazlewood, Hazlewood had gone to work for Reprise records, where he had a career in a rather odd niche, producing hit records for the children of Rat Pack stars. He'd produced Dino, Desi, and Billy, who consisted of future Beach Boys sideman Billy Hinsche plus Desi Arnaz Jr and Dean Martin Jr: [Excerpt: Dino, Desi, and Billy, "I'm a Fool"] He'd also produced Dean Martin's daughter Deana: [Excerpt: Deana Martin, "Baby I See You"] and rather more successfully he'd written and produced a series of hits for Nancy Sinatra, starting with "These Boots are Made for Walkin'": [Excerpt: Nancy Sinatra, "These Boots are Made for Walkin'"] Hazlewood had also moved into singing himself. He'd released a few tracks on his own, but his career as a performer hadn't really kicked into gear until he'd started writing duets for Nancy Sinatra. She apparently fell in love with his demos and insisted on having him sing them with her in the studio, and so the two made a series of collaborations like the magnificently bizarre "Some Velvet Morning": [Excerpt: Lee Hazlewood and Nancy Sinatra, "Some Velvet Morning"] Hazlewood is now considered something of a cult artist, thanks largely to a string of magnificent orchestral country-pop solo albums he recorded, but at this point he was one of the hottest people in the music industry. He wasn't offering to produce the International Submarine Band himself -- that was going to be his partner, Suzi Jane Hokom -- but Parsons thought it was better to sign for less money to a label that was run by someone with a decade-long string of massive hit records than for more money to a label that had put out one record about a cartoon moose. So the group split up. Dunlop and Gauvin went off to form another band, with Barry Tashian -- and legend has it that one of the first times Gram Parsons visited the Byrds in the studio, he mentioned the name of that band, The Flying Burrito Brothers, and that was the inspiration for the Byrds titling their album The Notorious Byrd Brothers. Parsons and Nuese, on the other hand, formed a new lineup of The International Submarine Band, with bass player Chris Ethridge, drummer John Corneal, who Parsons had first played with in The Legends, and guitarist Bob Buchanan, a former member of the New Christy Minstrels who Parsons had been performing with as a duo after they'd met through Fred Neil. The International Submarine Band recorded an album, Safe At Home, which is now often called the first country-rock album -- though as we've said so often, there's no first anything. That album was a mixture of cover versions of songs by people like Johnny Cash and Merle Haggard: [Excerpt: The International Submarine Band, "I Must Be Somebody Else You've Known"] And Parsons originals, like "Do You Know How It Feels To Be Lonesome?", which he cowrote with Barry Goldberg of the Electric Flag: [Excerpt: The International Submarine Band, "Do You Know How It Feels To Be Lonesome?"] But the recording didn't go smoothly. In particular, Corneal realised he'd been hoodwinked. Parsons had told him, when persuading him to move West, that he'd be able to sing on the record and that some of his songs would be used. But while the record was credited to The International Submarine Band, everyone involved agrees that it was actually a Gram Parsons solo album by any other name -- he was in charge, he wouldn't let other members' songs on the record, and he didn't let Corneal sing as he'd promised. And then, before the album could be released, he was off. The Byrds wanted a jazz keyboard player, and Parsons could fake being one long enough to get the gig. The Byrds had got rid of one rich kid with a giant ego who wanted to take control of everything and thought his undeniable talent excused his attempts at dominating the group, and replaced him with another one -- who also happened to be signed to another record label. We'll see how well that worked out for them in two weeks' time.  

In the latest episode of Hootworthy, we had the incredible opportunity to sit down with The BoykinZ, a sensational country music group that's been taking TikTok by storm. What sets them apart? Well, they're not just any band—they're four talented sisters, three of whom graduated from Georgia Cyber Academy (GCA), with one still making her way through GCA high school. In our chat, we uncovered how attending GCA influenced their extraordinary journey and the unique bond that makes their music so special.For The BoykinZ, the GCA experience has been more than just academics— a journey that strengthened their sisterly bond. They leaned on each other, collaborated, and made each other feel at ease, ultimately enhancing their chemistry and musical harmony. Being able to spend more time together, thanks to the flexibility provided by GCA, was a game-changer. It allowed them to take their schoolwork with them as they embarked on their musical adventures, striking a harmonious balance between their studies and budding careers.The BoykinZ have already graced numerous stages across the country, but a few performances hold a special place in their hearts. One standout memory was their trip to New York, where they performed at a school. To their surprise, the students had learned the choreography to their hit single "Girls Night" and performed it for them.Their Texas trip was another highlight, where they performed during a rodeo's halftime show. Singing and dancing in the dirt under the Texas sky, they embraced the true spirit of country music. Also, singing the national anthem at a Miami Heat game was an unforgettable experience. Lastly, performing with Shania Twain during the Queen of Me Tour was a whirlwind experience. Though it felt quick, they shared the stage with a country music legend and sang two songs to a huge crowd.While The BoykinZ have ventured far and wide, they hold a special place in their hearts for the moments they enjoyed at GCA. From receiving art kits to hopping on the mic during live classes, these experiences added a unique flavor to their education. Interacting with their peers and teachers was equally cherished, providing them with childhood memories and a profound connection to their school. When asked which singers they'd love to swap voices with, The BoykinZ had an impressive list. From Stevie Wonder's soulful tones to Anita Baker's smooth melodies, Whitney Houston's powerhouse vocals, Jasmine Sullivan's soul-stirring voice, Rihanna's captivating sound, and Luther Vandross's timeless tunes, their choices reflect their deep appreciation for a wide range of musical styles.The BoykinZ had some words of wisdom for current GCA students: Actively participate in live classesBe presentStay on camera. But most importantly, they encouraged everyone to dream big. Their own journey from GCA to the big stage is a testament to what's possible when you set your sights high.To give us a taste of their musical talent, The BoykinZ sang the chorus of "These Boots are Made for Walking" right in the studio. Their voices blended harmoniously, leaving us wanting more.If you're eager to discover more about The BoykinZ and their captivating music, head over to their website at theboykinz.com. You can also follow them on various social media platforms @theboykinZ.Before wrapping up our chat, The BoykinZ wanted to express their gratitude to their parents, their loving family, GCA, their dedicated teachers, and all the GCA alumni who have supported them along their remarkable journey.Tune in to Hootworthy for the full interview and get ready to be charmed by the harmonious voices and incredible journey of The BoykinZ!

Episode 391...  History in the making over here at the BGP! Mad Ax goes solo for the first time and gives you a Star Wars themed set (May the 4th Be With You) only the nerdiest and dorkiest Star Wars freaks would be proud of! Check out the Star Wars set on the YouTube Channel. And check out all the Coruscants (Star Wars) covers and more Nobodys covers on Archive. Plenty of newer stuff from Bandcamp as usual and a lick sent in from Pittsburgh's Navin and The Jerks! Enjoy!Download and stream here (iTunes and Google Podcasts as well):BROS STAR WARS 391 Airing Wednesdays 7pm PST on PUNK ROCK DEMONSTRATION & Fridays/Saturdays 7pm PST on RIPPER RADIO.Send us stuff to brothersgrimpunk@gmail.com.Punkinous punkitude...Berlin To Old To Shred 0:42 Turtle Rage Split with ill! Finland The Human Demise 1:15 DISPAIR Heading for the Void, 12" LP (14 tracks) Slow Death Recs Brit Col Dead to Me 0:40 Obedient I'm Tired of Being... Portland Running in the Dark 2:34 Claustrophobic Distorted Reflection These Boots (bkgrd) 3:42 Megadeth Killing is My Business...And Business is Good! Pittsburgh Suckin' Dick for Crack 1:35 Navin and the Jerks Voluminous Screamitude Easily Sedated 1:56 Germ Attak Crux Shadow Huurwaanzin 1:14 Seein Red SeeinRed/Under Attack split raw noise drunkard 1:53 Affect fucked reality We're Not Jealous 2:00 Concrete Sox 1989 - Sewerside (Lp) France Rough On Rats 2:34 Veuve Scarron Deal With It Kick You To The Curb 1:37 The Lickers Get Licker'd I'm Destroying The World 1:59 Guttermouth Covered With Ants Punk Almost All 2023..Star Wars (bkgrd) 3:52 Courtesy Clerks Bloodstains Across Eugene 2003 France La France de Futur 1:40 MENTALITÉ 81 Demo 2023 Song Book Recs Schemer 1:33 RAT-NIP My Pillow AU SMOKE BOMB 1:06 SNITCH TRIAL SWEATIN BULLETS Destruir (destroy) 1:56 Esstörbö Esstörbö - Demo 2022 Chile Eres(?) 1:04 Sindrome De Abstinencia Tiempo Muerto e.p. Norway Feast Row 0:46 Tower Vestfold Fight Music  Boston Fentanyl 2:26 Treasure Club Demo II Sac Prescribed 1:40 OXY Single Dose Star Wars  (bkgrd) 3:11 Civilised Society? Violence Still Sucks - Scrap Metal Anthology May 4, 2020: Star Wars Day (May the Fourth Be with You) 0:58 The Pissed Alpacas Hardcore.Cal, Vol. 5 Just Because I Own 900 Dollars Worth Of Star Wars Toys 1:19 Killed In Action Demos - EPs - Singles Collection I Love Star Wars More Than I Love You 1:05 Potbelly Test Of Time The Force Awakens 1:09 The Prople Revenge Lando Sold Me Out 1:20 Coruscants Nobodys Tribute Stormtrooper Tactics 1:44 Impact 80-84 Demos Run Run Don't Die (R2D2) 2:15 Gone Ape Shit I'd Rather Be Skating The Phantom Menace (bkgrd) 3:26 Active Minds Religion Is Nonsense Star Wars March 1:11 Groove Stain Live at the Alamo Newnan, GA 

Toomey and Akin start the show with some talk about their respective Wednesday 13 interviews. The Ronnie vs Bach vs Trunk saga continues. Mustaine talks wanting to write new tunes with Hetfield. Toomey has thoughts on the classic Megadeth cover of These Boots.  There is a study that shows extreme metal guitarists are more apt to impress other extreme metal guitarists. Bloodywood talks about coming to the states for the first time. Rage Against the Machine tour is cancelled due to injury. 

These Boots are made for walking (all over).  Chicago's best morning radio show now has a podcast! Don't forget to rate, review, and subscribe wherever you listen to podcasts and remember that the conversation always lives on the Q101 Facebook page.  Brian, Ali, & Justin are live every morning from 6a-10a on Q101.  See omnystudio.com/listener for privacy information.

These Boots are made for walking (all over).  Chicago's best morning radio show now has a podcast! Don't forget to rate, review, and subscribe wherever you listen to podcasts and remember that the conversation always lives on the Q101 Facebook page.  Brian, Ali, & Justin are live every morning from 6a-10a on Q101.  See omnystudio.com/listener for privacy information.

Support Topic Lords on Patreon and get episodes a week early! (https://www.patreon.com/topiclords) Lords: * Nate * http://mommysbestgames.com/ * https://twitter.com/MommysBestGames/ * Fred * https://twitter.com/brobbeh Topics: * Why do rice cookers play music but not microwaves? * https://twitter.com/_LucasRizzotto/status/1516205625662836739 * If all your needs are met in a utopian society will we still need sports and competition? * Hot Ice, Cool Sounds * Goblin Time by Emma * https://mastodon.art/@emmajuettner/108103474257806186 * Esper says: "My long-held suspicion has always been that humans are generally way less prone to salt-related health issues than suggested by nutritional science. I think a lot of that stuff was ginned up by cigarette companies trying to deflect blame. But I try not to go full-on conspiracy theory about it." * Nerds candy has a Dungeons and Dragons themed box. Is this good for D&D? * If the four horsemen of the apocalypse were recruiting for a fifth member, how would you convince them to hire you? Microtopics: * A shmup about how Microsoft screwed up their Xbox 360 dashboard. * Screaming for 24 hours straight and having a heart attack, or vice versa. * Remastering your obscure protest game and needing to build a museum explaining the context for the protest. * An educational title about how to find games on the new Xbox 360 dashboard. * An infinite runner with extremely awkward horse controls. * Using all the right dark patterns. * Meeting an indie game developer in San Francisco and recognizing him because he's a white guy with a beard and glasses who likes Dark Souls. * A pot that's specifically for rice and it knows when to school cooking the rice. * Only rice cookers get to sing a song. * Installing an AI in your microwave so your microwave can try to murder you. * A codependent washing machine. * Landlords in California doing an end run around renter's rights. * The keyless entry system on your apartment that has a battery backup just so it can play "These Boots are Made for Walking" when it can't let you in because the power is out. * 3D printing some laundry to fold because people are bored in your Utopia. * Extremely soporific TV. * A mashup of music and sports. * Gathering to watch a live band play while a chef makes crepes. * Whether you can be bored while watching two things at the same time. * An orchestra trying to live-score a basketball game. * Trying to listen to an arcade game in the arcade. * Goblins in our community. * A bullet point list of how you can help a goblin. * Spicy radish waffles. * Blackwheat crepes and whether they're really black. * Lemonade crepes. * Dipping a sandwich in mustard. * The pros and cons of salting food. * Chickens laying pre-salted eggs. * Paying a monthly subscription to Monsanto to keep up the injections that make your tongue exude its own salt. * Getting in line to hate Monsanto. * Whether nerds are more or less likely to eat Nerds candy. * A candy for people who forgot D&D exists. * Candy&D. * A series of Nerds-themed D&D campaigns. * Hiring people and paying them. * Star Trek Jeopardy where 70% of the answers are 1980s pop culture because the federation is obsessed with the 80s. * Seeing yet another college sports question in the New York Times crossword and deciding whether to get irrationally angry at Will Shortz. * What Jim embodies that is the worst thing. * Death, war, famine, pestilence, crypto and late-onset melatonin. * John Cleese teaching sex ed in a boarding school. * Starting with death and going downhill from there. * Convincing Death to not kill anyone and Death just rides off and mopes. * Whether the four horsemen listen to podcasts or if the internet is down during the apocalypse. * The four new horsemen of the new apocalypse: crypto, gaslighting, late-onset melatonin and Elon Musk. * How to find people to follow on Mastodon. * How to be a part of a human-sized community. * The Topic Lords subreddit. * The photo of a middle school basketball team that somebody posted to the Topic Lords subreddit. * How to keep spam bots out of your Discord. * Batbarian.

These Boots

We close out 2021 with a song that defined the sound for its genre, and gets taken to a polar opposite place. These Boots are Made for Walkin', originally by Nancy Sinatra, covered by KMFDM. Outro music is I Don't Mind The Thorns (If You're the Rose), by Lee Greenwood.

These Boots are made for walkin'

Veteran Jeremy Welch talks about his experience as a soldier, and his struggles with addiction, suicidality, and depression. Songwriter Maia Sharp talks about meeting Jeremy at a Songwriting With: retreat, and they describe the process of writing their song, "These Boots."

Justin & Gurdip are busy toodling away at something different for a bonus episode you'll get later this week, but never fear! Golden Songs of the Week are here! Whether you're revisiting these or hadn't gone back and listened to them yet, here are the Songs of the Week from Episodes 26-30. Normally, we wouldn't have a compilation be this long but since #30 ends with "I'm Leavin'" and we discuss Joe Var Veri's cover in detail during it, and we just had Joe guest on the show, we thought it was the most fitting end for this one! Featured Songs of the Week include: Lover Doll, Run On, Wear My Ring Around Your Neck, It Hurts Me, Bossa Nova Baby, Steppin' Out of Line, I'm Leavin' as well as Eddie Cochran's Summertime Blues, Nancy Sinatra's These Boots are Made for Walkin', and Fire Down Below, the song Elvis' band cut in 1976 with the hopes Elvis might put a vocal down, but never quite got to. We hope you enjoy this look back at some of our earlier Songs of the Week from our first year!

Today on The Covers Face Off we are looking at These Boots are made for Walkin' orginally covered by Nancy Sinatra and covered by Parquet Courts and Operation Ivy. For more information please follow us on twitter as well as our YouTube Channel. There you will be able to take part in polls, suggest albums, and let us know what track you would scratch.Happy Scratching!!Links:https://twitter.com/scratchatrackhttps://www.youtube.com/channel/UC1y5SBLxt4V187J6CKGswgA/https://www.facebook.com/Scratch-A-Track-100105891679603/https://www.instagram.com/scratchatrack/Apple Podcasts: https://podcasts.apple.com/us/podcast/scratch-a-track-presented-by-the-dude-and-grimm-show/id1507247887Spotify: https://open.spotify.com/show/0qBOg1wkxPu5EY0FQQaMgOGoogle Podcast: https://podcasts.google.com/?feed=aHR0cHM6Ly9mZWVkcy5idXp6c3Byb3V0LmNvbS85ODIyMDQucnNzAll music on this podcast has been provided and used with permission by:...more https://soundcloud.com/user-122188109The Timnz https://soundcloud.com/the-timnz

What is better? Old Brown Show or These Boots are Made for Walking? Footloose or Blue Seude Shoes? That's what we tried to figure out on this list!

Pure Hell special with Kenny Gordon in conversation with David Eastaugh Among the pioneers of the post-garage rock, post-acid rock, glam-theater era of the late 1960s and early 1970s, Pure Hell was among the first of its kind, comparable to the MC5, Sex Pistols, Dead Boys. Commercially, the band had little success and only released one single ("These Boots are Made for Walking" b/w "No Rules") and one album (Noise Addiction), which was unreleased for 28 years. Founding member writer/vocalist Kenny Gordon and drummer Spider of Pure Hell also has an unreleased album produced in the mid-1990s by former members of L.A. Guns, Nine Inch Nails and Lemmy Kilmister of Motörhead, entitled The Black Box. This album has Kilmister singing background vocals in a rare song titled "The Call". In 2012, Pure Hell reformed to play their first gig since 1979 at the Rebellion Festival at the Empress Ballroom in Blackpoolalongside Rancid, Buzzcocks, Public Image Ltd and Social Distortion. One of the first African-American proto-punk bands, Pure Hell formed in Philadelphia in 1974 and spent time playing in New York City as well, eventually becoming friendly with the New York Dolls and even playing with Sid Vicious in 1978 when he moved to New York City. Curtis Knight (former R&B singer in the Squires, which also featured a young Jimi Hendrix on guitar) became their manager and oversaw their career for better and for worse – the reason these recordings didn’t see the light of day until many years after being put on tape was at Knight’s insistence. Along with managing the band, he also produced one of the two sessions presented on the CD part of this package – the other at the end of 1978 in London was amazingly recorded by the Groundhogs main man Tony McPhee. This London jaunt turned out to be the last hurrah for Pure Hell as Knight fell out badly with them and refused to release their album. Even a well-received UK tour and an appearance alongside the ascendant Subs at the Lyceum couldn’t stop them splitting on their return stateside.

Bonus June Birthday Cover Show1.Intro Mrs.Robinson Tomita2.The Beat Goes On-Screamers3.Help-The Damned4.Waiting for the man-O.M.D.5.These Boots are made for walking-Crispin Glover6.Back in the USSR-Dead Kennedys7.I Did It My Way-Polysics8.My Boyfriend's Back-The Ravonettes9.No Feelings-Bananarama10.Electric Avenue-Servotron11.The Model-The Members12.Time Has Come Today-One + One13.Break On Through-The Reds14.American Woman-Butthole Surfers15.Ring of Fire(Live)-Wall Of Voodoo16.Under The Boardwalk-The Undertones17.Mellow Yellow-Odell Brown and the Organ-Izers18.Falling in Love Again-Techno Twins19.Green Tamborine-Gary Schneider

On this episode, we discuss the endless stream of incredible metal bands doing incredibly metal covers of (often) non-metal songs. JOIN US as we get into the purpose of covers, some of our personal favorites (and some awesome new discoveries!) and a few surprises along the way (including one of the few times in Metal Nerdery History when we ACTUALLY agree with something Milley said!)Be sure to check us out on the Inter-webs:MetalNerdery.comFacebookInstagramVisit www.metalnerdery.com/podcast for more on this episode  00.00: Intro/Metal bands covering non metal songs and the purpose of playing covers (other than irritating the employees at Guitar Center)03:00: Wrathchild America doing Pink Floyd’s “Time” (and their overall musical diversity)/IT’S IN THERE!07.54: Pantera doing Black Sabbath’s “Planet Caravan”/The Perfect ending to Far Beyond Driven/Suicide Paneling, Pt. 110.32: Type-O-Negative doing Black Sabbath’s “Paranoid” (from Origin of the Feces) VERY differently (and VERY brilliantly!)/Other Type-O covers: Black Sabbath, Highway Star (Deep Purple), Hey Joe (Hey Pete), Cinnamon Girl (Neil Young), Summer Breeze (Seals and Crofts)/Type-O-Negative show story and Peter Steele’s marketing genius16.30: Anthrax doing Joe Jackson‘s “Got the Time” (from Persistence of Time)/Kansas “Carry on My Wayward Son” (Nailed it!!!)/One of two ways to do covers/Anthems (very faithful to the originals!): Rush, Boston, Journey, ACDC, Cheap Trick, Thin Lizzy/Joey Belladonna’s versatility (Sabbath Bloody Sabbath) and the Bruce Dickinson/Godspeed version/Nativity in Black Tribute albums/COC/Slayer “Hand of Doom”/Black Slayer Sabbath23.00: Alien Ant Farm doing Michael Jackson’s Smooth Criminal/a non-metal artist doing a metal cover: Tori Amos doing Slayer’s Raining Blood/Slayer doing the “Slayerized” version of In-a-Gadda-Da-Vida (Iron Butterfly)/Hand of Doom/Undisputed Attitude27.16: Exodus metal cover two-fer: Low Rider (War) and Overdose (ACDC) from Fabulous Disaster/Voivod doing Pink Floyd’s “Astronomy Domine”31.21: Korn doing Pink Floyd’s “Another Brick in the Wall”/Life of Agony doing “Don’t you Forget about Me” by Simple Minds and the power of "The Soft Intro"33.44: Therapy? (From Ireland) w/ Bruce Dickinson doing “Black Night” by Deep Purple/*Soft Intro* aftershock35.21: Kreator doing (a KICK ASS version of) “Number of the Beast” by Iron Maiden/Milley’s old tour stories/Black Sabbath doing Evil Woman by “Crow”/W.A.S.P. doing “The Real Me” by The Who and “I don’t need no Doctor” from Inside the Electric Circus/Uriah Heap: Easy Livin’40.30: The Sword doing “Cheap Sunglasses” by ZZ Top and Mastodon doing “Just Got Paid”/Coroner doing “I want you (She’s So Heavy)” by The Beatles46.50: Death doing KISS “God of Thunder” and Judas Priest “Painkiller/Manic Depression by Jimi Hendrix (Carnivore and King’s X)/Megadeth doing “These Boots” by (CENSORED!)/Tool doing “No Quarter” by Led Zeppelin/Crowbar also did “No Quarter”/A special message from Bill… ACTIVATE THE METAL NERDERY TIME TUNNEL (MNTT): late 80’s/early 90’s Decimation (ATL!)

The guys are back to preview this weekend’s newly named PPV, Stomping Grounds. Because Jerry Lee Lewis named shows weren’t hip enough here is one that uses These Boots are Made for Walking. Predictions galore right here on you favorite cynical wrestling podcast. This episode is brought to you by Audible. Be sure to follow Missed […] The post Episode 206 – Stomping Grounds Preview appeared first on Missed Spots Podcast.

Listen to Megadeth's Dave Mustaine, Sebastian Bach & Jack Russell on this episode of Westwood One's Rock Talk With Mitch Lafon. Trixter (and sometimes Def Leppard) guitarist Steve Brown co-hosts.Up front, co-host Steve Brown explains his recent stint with Def Leppard and more. Our first interview (starts approx. 20.06) is with respected Megadeth frontman Dave Mustaine who discusses the band's recent re-release of their debut album. Also, sharing the stage with the SCORPIONS, Uli Jon Roth, being the singer in Megadeth, The Conjuring, the current lineup and the upcoming new album, Slayer's Farewell and a possible Megadeth farewell, Lars Ulrich & The Big 4, These Boots and the recut vocals, the drumming on the new album, the new album's projected release date, their 'huge festival' announcement, and much more. Just before we get over to Sebastian Bach, co-host Steve Brown talks about meeting Dave Mustaine at a Metallica show on their ...And Justice For All Tour and the early days of Skid Row.  Our second interview is with the voice of a generation, Sebastian Bach. We talk Slave To The Grind, his current band, the upcoming new album, the lack of Skid Row deluxe re-issues, Myles Goodwyn & April Wine, the first show he saw, resuming his acting/Broadway career, Axl Rose, AC/DC, finding his own sound as a singer and the advice he got from Jon Bon Jovi, the Subhuman Race album & Metallica's St. Anger, and much more.  Before getting over to our third interview, co-host Steve Brown and Mitch discuss the KISS Revenge tour (which included Trixter & Great White), re-recording your hits and more.  In our third interview, vocalist Jack Russell discusses his plans to re-record a vast majority of the Great White back catalogue (including Once Bitten, Twice Shy & Hooked in full), the re-release of solo album Shelter Me, The Hair Nation tour with Bulletboys & Enuff Z'Nuff, a health update, Once Bitten Acoustic album, his upcoming all Led Zeppelin tour, the movie The Guest List, Potrait Records, his love & respect for guitarist Mark Kendall, his upcoming book - Jack Russell Dancing On The Edge, and more. And to close out the episode, co-host Steve Brown finishes his Def Leppard stories. Help support the show. Please consider a donation: https://www.paypal.me/MitchLafon See omnystudio.com/listener for privacy information.

A business won't last if its products or services are not up to scratch. Justin goes over how to define quality control in your business, how to attain it, and procedures to maintain it. Don't forget to subscribe, and let us know how we are doing by leaving a review. Thanks for listening! ARTICLE TRANSCRIPT:  BLOG: Quality Control in a Startup Business... Is it Too Early to Think About?   TIME INDEX: 00:30 - Quality Control of Your Product or Service 00:39 - These Boots are Made for Life 04:09 - What is Quality Control? 06:35 - Identifying the “Sight Lines” 07:09 - Establishing the Right Environment 09:00 - Knowing What the Perfect Product or Service is 10:31 - Training Your Team 14:32 - Testing 16:09 - Tracking Quality Standards 19:32 - In Conclusion   USEFUL LINKS: Financially Simple Financially Simple on YouTube Financially Simple on Facebook Financially Simple on Twitter Quality Control _________ BIO: Justin A. Goodbread, CFP®, CEPA, CVGA, is a nationally recognized financial planner, business educator, wealth manager, author, speaker, and entrepreneur. He has 20+ years of experience teaching small business owners how to start, buy, grow, and sell businesses. He is a multi-year recipient of the Investopedia Top 100 Advisor and 2018 Exit Planning Institute's Exit Planner Leader of the Year.DISCLOSURES:This podcast is distributed for informational purposes only. Statements made in the podcast are not to be construed as personalized investment or financial planning advice, may not be suitable for everyone, and should not be considered a solicitation to engage in any particular investment or planning strategy. Listeners should conduct their own review and exercise judgment or consult with their own professional financial advisor to see how the information contained in this podcast may apply to their own individual circumstances. All investing involves the risk of loss, including the possible loss of principal. Past performance does not guarantee future results and nothing in this podcast should be construed as a guarantee of any specific outcome or profit. All market indices discussed are unmanaged, do not incur management fees, costs and expenses, and cannot be invested into directly. Investment advisory services offered by WealthSource Partners, LLC. Neither WealthSource Partners, LLC nor its representatives provide legal or accounting advice. The content of this podcast represents the views and opinions of Justin Goodbread and/or the podcast's guests and do not necessarily represent the views and/or opinions of WealthSource Partners, LLC. Statements made in this podcast are subject to change without notice. Neither WealthSource Partners, LLC nor its representatives, the podcast's hosts, or its guests have an obligation to provide revised statements in the event of changed circumstances. Certified Financial Planner Board of Standards, Inc. (CFP Board) owns the CFP® certification mark, the CERTIFIED FINANCIAL PLANNER™ certification mark, and the CFP® certification mark (with plaque design) logo in the United States, which it authorizes the use of by individuals who successfully complete CFP Board's initial and ongoing certification requirements.   Advisors who wished to be ranked in Investopedia's Top 100 Financial Advisors list either self-submitted answers to questions compiled by Investopedia or were nominated by peers.  Rankings were determined based on the number of followers and engagement on social media, primary contribution to professional industry websites, and their focus on financial literacy.  Neither performance nor client experience, however, were considered.  No compensation was paid by WealthSource Partners, LLC or Justin Goodbread to secure placement on Investopedia's Top 100 Financial Advisors List.   The Exit Planning Institute's Leader of the Year is awarded to a nominee who is a CEPA credential holder who has made a significant impact or contribution to the exit planning profession or overall community through innovation and influence and is viewed by the Exit Planning Institute as a thought leader, risk-taker and specialist while showing characteristics of collaboration.   This podcast might recommend products or services that offer Financially Simple compensation when you use them. This compensation is used to help offset the cost of creating the content. We will, however, never suggest products/services solely for the compensation we receive.

Actor Phil Daniels joins Aasmah and Richard in the studio. Since his first big role aged 19 as the lead in cult The Who film Quadrophenia, he hasn't stopped working in film, theatre or TV including Eastenders; Chicken Run; Les Miserables; Shakespeare; and the voice in Blur's Park Life. Now actor Phil Daniels is putting his versatility to good use in a new production of Dr Jekyll and Mr Hyde. Stefanie Reid is a five-time world record holder, reigning world champion in long jump, and triple Paralympic medallist in the long jump and 200m sprint. She'll be talking about her journey and the future. Fashion historian author and vintage clothes expert Amber Butchart joins us to talk about the significance of clothes in our lives, as explored in her new show 'A Stitch in Time', which fuses biography, art and the history of fashion to explore the lives of historical figures through the clothes they wore. A couple of years ago, after hearing a talk by a colleague, listener and teacher Helen Brace decided to set herself a new year challenge, but instead of choosing something to give up, she wanted to add something to her life. Last year she decided to walk a 1000 miles, raise a 1000 pounds for charity and read 1000 pages for pleasure each month. What has she challenged herself to this year? Texas singer and songwriter Sharleen Spiteri chooses her inheritance tracks. She chooses Rock the Casbah by The Clash and These Boots are Made for Walking by Nancy Sinatra. Our reporter Anna Bailey meets Cyril and his barber Peter. Dr Jekyll and Mr Hyde opens on 14 February at Rose Theatre Kingston and then tours the country A Stitch in Time with Amber Butchart is on BBC4 on Wednesday evenings from 3rd January Barber Shop Chronicles runs at the National Theatre until 9th January Producer: Corinna Jones Editor: Eleanor Garland.

Maxwell Lewis Harrison – Joe Bordenaro Joe Bordenaro is a young up-and-coming rock n roller from the Chicago suburbs, the latest teenager coming into the roster of the current Chicago rock revolution. Everyday – Diane Coffee Foxygen drummer Shaun Fleming’s “psychedelic Motown” solo project is a ton of modern glam pop-rock fun. Ca Plane – American Breakfast American Breakfast is a current local Chicago rock n roll sensation blending a gritty 60s-style garage sound with lead vocals by a French woman – what more do you need? Don’t Let Me Be Misunderstood – Lana Del Rey The queen of dark indie pop continues exploring her retro influences with a cover of The Animals’ classic. Wonder Woman – LION BABE A hot new neo-soul duo, LION BABE’s singer is the daughter of Vanessa Williams and the group is on the verge of blowing up with a full debut album soon. Over You (Live 1969 San Francisco) – The Velvet Underground A sweet live version of one of Lou Reed and the Velvet Underground’s quieter ballads that never found its way onto their studio albums. What – BRONCHO Another Midwestern rock n roll band, hailing from Oklahoma, BRONCHO helps to prove that most of the best garage rock today is emanating from the middle of the US. Enemy Destruct – Thee Oh Sees California garage-punk legends Thee Oh Sees are a sonic assault – the good kind. These Boots are Made For Walkin’ – Parquet Courts Parquet Courts are one of today’s best indie rock bands and take on this Nancy Sinatra classic with modern punk swagger (and a horn section). Is That All About Money? – Mountain Bike Mountain Bike is a current garage rock band from Brussels, Belgium with songs mostly in English and great energy.

  SELF-DEFENSE WORKOUT FOR SISSIES AND WHORES - JANUARY 2010 - compiled by Nina Ramone LIGHT STRETCHING, WARM-UP 1. Don’t Worry / The B-52’s PUSH-UPS 2. Shitlist / L7 CRUNCHES 3. Aerobicide / Julie Ruin DYNAMIC STRETCHES, LAPS or SPRINTS 4. You Think You’re A Man / The Vaselines SHAKEDOWN! - GET PSYCHED 5. No Te Debo Nada / Los Crudos BREATHE > LIGHT CALISTHENICS 6. Credit in the Straight World / Ssion FLOOR AEROBICS 7. Off Our Backs / MEN STEP AEROBICS 8. Athene / Hercules and Love Affair BASIC DEFENSE - AWARENESS, DISARMING, STUNNING 9. Too Many Creeps / Bush Tetras EXTENDED SHAKEDOWN > REST, GET LIMBER 10. Crazy / Pylon DANCERCIZE! 11. Loba / Shakira DANCERCIZE WITH WEIGHTS 12. Work / Ciara feat. Missy Elliott BREATHE > INTERMEDIATE DEFENSE - GRAPPLING, TAKEDOWNS 13. None of Your Business / Salt-N-Pepa LIGHT CARDIO COOLDOWN 14. These Boots are Made for Walking / Nancy Sinatra SHAKEDOWN! 15. NO / Vivian Girls MORE DANCERCIZE! 16. Listen Up! / Gossip DANCERCIZE WITH WEIGHTS 17. Nu-di-ty / Kylie Minogue ADVANCED DEFENSE - COMBINATIONS & FIGHTING SEQUENCES 18. Crimewave / Crystal Castles RUN SOME LAPS 19. Small Town Boy / Bronski Beat SHAKEDOWN! - PUNCHING BAG 20. Nervous Breakdown / Black Fag COOL DOWN 21. Complaint Department / Lykke Li download full CD jacket here

The second episode of Glitch Radio is now available! This episode actually took place through another nine hour long block of Glitch Radio. The nine hours is a definate plus, because this is the last week that WMTU will be transmitting, and as such, the last OFFICIAL week for Glitch. However, What I have decided to do is split the nine hour long block into three, three hour shows, which I will post over the next couple weeks. These two additional shows, combined with a separate 3 hour long sub slot I did, and the special Final Exam edition of Glitch Radio, should keep the podcasts rolling in for the next four weeks. I would also like to apologize for my delay in getting this posted. It is the final week before exams, so I've been a little bit bogged down. However, We tried to do something new during this episode, the results of which you will soon hear. At the end of it you may be wondering "Christ! What the hell just happened?!" and to that, I simply reply that you will have to wait until next week's post to find out. Furthermore, no members of WMTU were harmed in the making of this broadcast. Enjoy the show! Here's this weeks playlist. Eiffel 65 - Europop Caramell - Caramelldancen Crazy Loop - Crazy Loop (Mm-ma-ma) DJ Icey - Castles in the Sky Punkrockerz - Punkrocker Oomph! - Traumst Du Digital Droo - Monkey Developers Bond - Explosive Andrew W.K. - Party Hard Haddaway - What is Love DJ Anonymous - So I Herd You Liek Musics Rammstein Feat Alec Empire - Amerika [Digital Hardcore Mix] Manish - Series of Tubes Bond - Samba 2PM - Tetris Trance Remix REDAliCE - Motteke! Sailor Fuku Portal - Still Alive Aphex Twin - Come to Daddy [Pappy Mix] HouseMasta - Tetris [Dirty Remix] RageVI - Tailspin Tetris Stage 3-1 - The Legend of Zelda K.M.F.D.M. - These Boots are Made for Walkin DJ Sharpnel - Pretty Green Onions RaverRose - Star (Long Edit) Celldweller - Switchback DarkMateria - The Picard Song Lazy Town - You are a Pirate Aqua - Candyman m477zorz - Break the Targets 2 Also, just so you guys are aware, this episode of Glitch has destroyed what little remaining storage space that I have left on Podomatic, and because of this, each subsequent post will require me to archive one previous podcast, starting, of course, with the earliest. However, never fear, they will be archived and available for download through a file hosting site such as mediafire or rapidshare. Just wanted to give you guys a heads up.