Podcasts about Viridiana

What happens when a lavish dinner party refuses to end? Mike is joined by filmmaker Miguel Llansó and critic Rob St. Mary to unpack the surreal social satire of Luis Buñuel's The Exterminating Angel (1962). In this sharp and strange masterwork, a group of upper-crust guests find themselves mysteriously unable to leave a post-opera gathering—days pass, civility erodes, and Buñuel's absurdist lens skewers class, ritual, and the thin veneer of order.From sheep in the parlor to the creeping dread of inaction, we discuss the film's dream logic, religious and political interpretations, and its place in Buñuel's legendary career. Whether you're trapped by tradition, status, or just polite company, The Exterminating Angel remains one of cinema's most biting allegories—and we're not letting you leave until we've talked it through.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

What happens when a lavish dinner party refuses to end? Mike is joined by filmmaker Miguel Llansó and critic Rob St. Mary to unpack the surreal social satire of Luis Buñuel's The Exterminating Angel (1962). In this sharp and strange masterwork, a group of upper-crust guests find themselves mysteriously unable to leave a post-opera gathering—days pass, civility erodes, and Buñuel's absurdist lens skewers class, ritual, and the thin veneer of order.From sheep in the parlor to the creeping dread of inaction, we discuss the film's dream logic, religious and political interpretations, and its place in Buñuel's legendary career. Whether you're trapped by tradition, status, or just polite company, The Exterminating Angel remains one of cinema's most biting allegories—and we're not letting you leave until we've talked it through.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

Viri Ríos: Acordeones restaron legitimidad/ Falla profunda en maquinaria de MorenaEnlace para apoyar vía Patreon:https://www.patreon.com/julioastilleroEnlace para hacer donaciones vía PayPal:https://www.paypal.me/julioastilleroCuenta para hacer transferencias a cuenta BBVA a nombre de Julio Hernández López: 1539408017CLABE: 012 320 01539408017 2Tienda:https://julioastillerotienda.com/ Hosted on Acast. See acast.com/privacy for more information.

In this episode of the Say Hola Well podcast, hosts Luzy King and Viridiana Ponce discuss the journey of Latina entrepreneurs, focusing on the importance of financial literacy, access to capital, and the balance between motherhood and business. They share personal stories, insights on pricing strategies, and the mindset shifts necessary for success in entrepreneurship. The conversation emphasizes collaboration among women and the need for community support in achieving financial goals. Episode Highlights: 00:00 Introduction and Connection Between Hosts 01:58 Viridiana's Journey: From Mexico to Entrepreneurship 10:06 The Importance of Financial Literacy in Business 12:09 Accessing Capital: Resources for Small Businesses 16:34 Balancing Motherhood and Business 20:12 Mindset Shifts in Entrepreneurship 22:22 Pricing Strategies and Overcoming Sticker Shock 25:14 Adapting to Market Changes and Learning from Failure 27:37 Financial Success and Future Goals   About our guest Viri: Viridiana Ponce is a Latina Business Consultant and founder of VP Consulting, where she helps food entrepreneurs build profitable, sustainable businesses. With over a decade of experience, she specializes in financial education, pricing strategy, and business planning—empowering Latina business owners to grow with confidence. Her mission is simple: turn passion into profit and build generational wealth through strategy, not hustle. Connect with Viri on Instagram   Apply to be part of Jefas & Wealth Mastermind.   

A listener requested this title quite some time ago and it finally happened! Film critic Nell Minow joins Kerry and Collin to talk about this relatively obscure, but wonderful movie that might just be the first ever in the sub-genre of holiday films where the family returns home for the holiday festivities and slowly start airing their grievances and secrets. Do clergymen really enjoy doing the Christmas sermons? Is there a moment in "Love Actually" that is a tribute to this movie? How does director Mike Leight figure into all of this? All the answers to all of these questions, plus an extended "knitability" segment, as well as three more films from "1,001 Movies You Must See Before You Die." Before any of that, though, you get a chance to win a pair of free movie tickets from the Chicago Critics Film Festival, which runs May 2-8, 2025 at the Music Box Theatre.  Book films covered: "The Wages of Fear" (1953) "Viridiana" (1951) "Secrets & Lies" (1996)

En el primer episodio de la segunda temporada de Empoderadas, entrevistamos a Teresa Rabal, actriz, cantante y presentadora que ha marcado la cultura infantil y familiar en España durante décadas. Hablamos con esta figura icónica sobre su debut en el cine con Viridiana de Luis Buñuel, su evolución como artista infantil de referencia y su capacidad de reinventarse con autenticidad y compromiso.

Muy Lejos es el debut de Gerard Oms en el largo basado en sus propias experiencias. Con Gerard Oms y Mario Casas hablamos de esta historia en la que se habla de la búsqueda de identidad y las segundas oportunidades. La niña de la Cabra nos lleva a la infancia de su directora Ana Asensio en la que toca temas como la amistad, la pérdida y sobre todo el choque cultural, con ella y el actor Javier Pereira charlamos de esta cinta que cautiva.Otra de las películas españolas que llega a salas es Un funeral de locos de Manuel Gómez Pereira cinta con la que regresa a la dirección después de una década y lo hace con el remake de la película inglesa Un funeral de muerte. Con el amplio elenco ha estado Marta Pérez Reinoso. Amateur es la película que nos acerca Elio Castro, un thriller de espías, protagonizado por Rami Malek y Parthenope de Paolo Sorrentino, su carta de amor a su ciudad natal, Nápoles la comentamos con José Fernández. Todo esto además de las series con Pedro Calvo, Luis Alegre nos lleva hasta Viridiana y las secciones habituales.Escuchar audio

'Muy lejos' es el debut de Gerard Oms en el largo basado en sus propias experiencias. Con Gerard Oms y Mario Casas hablamos de esta historia en la que se habla de la busca de identidad y las segundas oportunidades. 'La niña de la cabra' nos lleva a la infancia de su directora, Ana Asensio, en la que toca temas como la amistad, la pérdida y sobre todo el choque cultural, con ella y con el actor Javier Pereira charlamos de esta cinta que cautiva.Otra de las películas españolas que llega a salas es 'Un funeral de locos' de Manuel Gómez Pereira, cinta con la que regresa a la dirección después de una década y lo hace con el remake de la película inglesa Un funeral de muerte. Con el amplio elenco ha estado Marta Pérez Reinoso.'Amateur' es la película a la que nos acerca Elio Castro, un thriller de espías, protagonizado por Rami Malek y 'Parthenope' de Paolo Sorrentino, su carta de amor a su ciudad natal, Nápoles, la comentamos con José Fernández. Todo esto además de las series con Pedro Calvo, Luis Alegre nos lleva hasta 'Viridiana' y las secciones habituales.Escuchar audio

Alain Defremont chroniqueur cinématographique de l'UFAL vous présente les films :« Baby doll », « Les amants », « Viridiana », « Théorème », « Le dernier tango à Paris », « Quand on a 17 ans », « L'inconnu du lac ».Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Acaba de publicarse la biografía de la actriz Lola Gaos, 'Lola Gaos: la firmeza de una actriz' de Margarita Ibáñez (Bala Perdida)  que nos ha servido de base para este viaje de ida a una mujer que no solo fue una intérprete. De entrada pertenece a una familia de intelectuales valencianos, nueve hermanos en los que había filósofos, poetas, dramaturgos, músicos o ella , Lola,  actriz y poeta. Si no llegan a ser perdedores de la guerra tendrían una película y la tendrían todavía tras el drama sufrido con la guerra. El padre , José Gaos, era un notario de prestigio en la Valencia de los años 20 y 30 del pasado siglo. Pero a la vez un gran activista blasquista, republicano y anticlerical. Sus hijos siguieron su estela y tras la guerra se divide la familia. El padre muere en un campo de concentración francés, la mitad de los hermanos se exilian a México, otro termina encarcelado y los más pequeños, entre los que se encuentra Lola, se quedan con la madre en Valencia. Pero Lola Gaos, que de niña soñaba con ser médico, con todo perdido decide venir al Madrid de Postguerra para ser actriz. Se casa con el abogado antifranquista Gonçal Castelló, se rodea de amigos valencianos en Madrid entre los que están Bardem o Berlanga y se hace socia de la productora UNINCI de la que surgen grandes títulos del cine español desde "Bienvenido Mr Marshal" de Berlanga a la 'Viridiana' de Luis Buñuel. Lola que empezó con papeles de figurante termina están en repartos como "Una pareja feliz", "Tristana", "Viridiana" , "Mi querida señorita", en televisión española hace varios estudios 1, protagoniza la "Medea" que inagura el segundo canal de televisión , hasta tocar el cielo con "Furtivos" de José Luis Borau. Más de cien título en su biografía, pero siempre como secundarias y papeles muy encasillados de mujer osca, desagradable, bruja...nada que ver con su personalidad que agradable, de gran sentido del humor y gran compromiso social y político.  Su casa de Ríos Rosas, 54, donde compartía vecindad con Camilo José Cela, González Sinde o Cesar González Ruano entre otros, era un nido de actores y directores, pero a la vez de rojos, porque por allí pasaban todos los comunistas que necesitaban la defensa jurídica de su marido. Pero es que la productora UNINCI también era una tapadera del PCE para llegar al mundo del cine y de los intelectuales. Lola Gaos siempre fue fiel a sus principios republicanos y de izquierda, más allá de que en España hubiese un dictador. Y con la transición se convierte en la gran líder de los actores en su primera huelga,  la voz feminista más reconocible y participa en mítines, junto al cantautor Luis Pastor, en las primeras elecciones de 1977, donde sobre el escenario, nos cuenta Pastor, se mostraba con la misma fuerza que La Pasionaria. En los ochenta llega su decadencia. Se separa, dejan de llamarla y una negligencia médica le deja sin una de sus cuerdas vocales y su principal herramienta de trabajo,  su voz. Hemos recorrido su vida con la ayuda de su biógrafa Margarita Ibáñez, su sobrina Elena Salcedo Gaos, su mejor amigo , el actor Abel Vitón, con Manuel Gutiérrez Aragón que escribió para ella, a petición de Borau, el guion de 'Furtivos', su compañero de mítines Luis Pastor y su compañera de activismo feminista  Paca Sauquillo. También agrademos su participación a los compañeros de la SER Juan Magraner (Radio Valencia)  e Iñaki Pascualena y Alejandra Rohr de Hoy por Hoy. A ellos sumamos la colaboración de Cristina Boscá , directora de Anda Ya (Los 40) que nos ha descrito la Playa de Gandía donde veraneaba Lola Gaos y el Departamento de Documentación de la SER por sus aportaciones de documentos sonoros con la voz de Lola Gaos. 

En este último episodio de los cinco que hemos preparado en esta primera semana de Donald Trump de vuelta en la Casa Blanca hemos querido acabar con un poco de esperanza: la de la resistencia de aquellas personas que se están organizando para plantar cara contra sus políticas más reaccionarias. Una de esas personas es Viridiana Hernández. Es mexicana y forma parte de Poder en Acción, uno de los muchos grupos organizados en una sociedad acostumbrada a movilizarse. Son personas que, como Viridiana, normalmente vienen de otras luchas. Porque todo esto no ha empezado con Trump. Este es solo un ejemplo del estado de ánimo de muchos colectivos ante la llegada de Trump. Una vigilancia que ya se ha transformado en protestas, esta misma semana. ¿Cómo se va a canalizar todo esto? ¿Cómo lo va a hacer, por ejemplo, el Partido Demócrata? Lo hablamos con la corresponsal internacional de elDiario.es María Ramírez y con la periodista Antònia Crespí, que colabora con elDiario.es desde Estados Unidos. *** Episodios relacionados: Nuevo mundo Trump (I): El poder Nuevo mundo Trump (II): Las víctimas Nuevo mundo Trump (II): La mentira Nuevo mundo Trump (IV): La guerra *** Envíanos una nota de voz por Whatsapp contándonos alguna historia que conozcas o algún sonido que tengas cerca y que te llame la atención. Lo importante es que sea algo que tenga que ver contigo. Guárdanos en la agenda como “Un tema Al día”. El número es el 699 518 743See omnystudio.com/listener for privacy information.

En este episodio conversamos con la antropóloga social Viridiana Hernández del Departamento de Promoción de Publicaciones del Instituto Nacional de Antropología e Historia sobre cómo llegan los libros de antropología a las manos de la gente. Así como una hoja en el viento, estas son ideas transmitidas a la memoria. #CultivamosMemorias

Desde el teatro independiente hasta el éxito en el Foro Shakespeare, Viridiana Monteagudo deslumbra con “Lucrecia: él regresó”. Hablamos de su valentía, creatividad y cómo transforma el desamor en carcajadas y reflexión. ¡Descubre por qué su talento merece ovaciones de pie!

Une nouvelle loi, adoptée ce jeudi (28 novembre 2024) par le Parlement du Venezuela, punit de plusieurs dizaines d'années de prison le soutien au sanctions internationales qui visent le pays. Les contrevenants risquent aussi plus d'un million de dollars d'amende, une peine de 60 ans d'inéligibilité… La « Loi libérateur Simon Bolivar » menace de 25 à 30 ans de prison ceux qui soutiennent les sanctions internationales. La presse est elle aussi visée, souligne El Periodiquito : si des médias contreviennent au nouveau texte, en plus de l'amende, ils peuvent se voir privés de circulation ou d'antenne. La loi, qualifiée de « progressiste » par le président Nicolas Maduro écrit Efecto Cocuyo, a été adoptée en une semaine et « sans consultation publique », souligne le quotidien. Il faut dire qu'elle répond à un projet de loi adopté, il y a à peine dix jours, par les États-Unis, qui interdit au gouvernement américain de signer des contrats avec des personnes faisant des affaires avec le gouvernement Maduro. Une loi a rendu furieux le président vénézuélien à double titre : déjà parce qu'elle a reçu pour nom l'acronyme BOLIVAR - « une offense historique contre la mémoire du libérateur », a estimé le président vénézuélien ; ensuite, rappelle Ultimas Noticias, journal proche du pouvoir, parce que l'opposition vénézuélienne l'a soutenue. En Haïti, l'école malgré les gangsL'éducation plutôt que la délinquance, l'école comme lieu de résistance : dans Port-au-Prince ravagée par les gangs, certains établissements scolaires privés des quartiers défavorisés restent ouverts malgré les défis et les balles qui résonnent parfois tout près. Comme dans la 3ème circonscription de Port-au-Prince, près du quartier de Gran Ravin, à l'École mixte Frère Vital, où s'est rendu le correspondant de RFI Peterson Luxama. « Beaucoup de gens considèrent les quartiers défavorisés comme des zones de non-droit », explique Frantz Mildort, professeur de chimie : « mais pour moi, c'est un honneur de jouer ma partition. Si nous ne faisons rien pour sauver ces jeunes, il sera difficile d'avoir le pays dont nous rêvons tous ».Entre les arriérés de salaires des enseignants et l'incapacité des parents à payer les frais de scolarité, les écoles fonctionnent avec les moyens du bord : « Souvent, les parents nous appellent pour nous dire qu'ils ne peuvent pas envoyer leurs enfants à l'école, faute de ressources financières », raconteSaintil Nézak, directeur du Collège mixte Frère Saintil. Malgré ces difficultés économiques, les directeurs d'école entendent bien continuer, pour épargner les enfants du banditisme et de la délinquance juvénile qui fait rage dans la zone.À écouter aussiHaïti : une rentrée des classes toujours difficile Jair Bolsonaro compte sur Donald TrumpOn le sait, l'ancien président brésilien Jair Bolsonaro a interdiction de se présenter à la présidentielle jusqu'à 2030, pour avoir critiqué le système électoral brésilien avant l'élection de 2022, qu'il a perdue – il est aussi accusé d'avoir fomenté un coup d'État. Mais dans une interview accordée au Wall Street Journal, Jair Bolsonaro affirme qu'il va se présenter de toutes façons, et il espère que le président américain élu Donald Trump va l'y aider, peut-être en utilisant des sanctions économiques contre l'actuel président brésilien Lula : « Trump est de retour, et c'est le signe que nous allons revenir nous aussi », affirme l'ancien président d'extrême-droite. Le Wall Street Journal rappelle que Jair Bolsonaro a été un des plus proches alliés de Donald Trump, lorsque leurs deux présidences ont coïncidé entre 2019 et 2020.À lire aussiTentative d'insurrection au Brésil: le rôle et l'influence des trumpistes dans l'assaut bolsonariste Des « lois incendiaires » en BolivieLa Bolivie fait face à des incendies en série : cette année 2024, plus de 10 millions d'hectares de forêts et de terres agricoles sont partis en fumée - en septembre, les autorités avaient même déclaré le pays en état de «catastrophe nationale». Mais ces feux ne sont pas que le fruit du hasard : des lois controversées, appelées lois incendiaires, encouragent indirectement l'expansion agricole aux dépens de l'Amazonie. Promulguées depuis 2013, elles permettent le défrichement - sous prétexte de soutenir l'agriculture, mais sans réelle protection écologique : elles ont donc favorisé la propagation des feux, explique la correspondante de RFI Camille Bouju.Exemple avec la loi 337 qui, en supprimant certaines amendes, a entraîné une hausse des brûlis en Amazonie. Or, avec les sécheresses prolongées liées au changement climatique, ils deviennent souvent incontrôlables.Ces destructions ont des conséquences sur la santé, l'accès à la nourriture, l'accès à l'eau et l'accès au travail. Et à long terme, les gens, ne trouvant pas de nourriture ou les moyens de subsistance qu'ils avaient traditionnellement, seront forcés de se déplacer vers les grandes villes.À lire aussiBolivie: l'urgence nationale déclarée face aux incendies qui ravagent le pays Mort de l'actrice mexicaine Silvia Pinal, muse de Luis BunuelToutes les Unes de la presse mexicaine sont consacrées à la comédienne, morte à l'âge de 93 ans : « Silvia Pinal, muse et diva éternelle » - El Universal ; « Silvia Pinal, une histoire à l'intérieur de notre histoire » - La Jornada ; « Déesse en transit » - Milenio. Silvia Pinal « est considérée comme l'une des artistes les plus importantes du monde du spectacle mexicain », souligne le quotidien : « sa beauté incomparable a fait tomber plus d'un homme à ses pieds. Et son talent lui a permis de travailler avec des réalisateurs comme Luis Buñuel et jouer dans des films comme l'emblématique Viridiana. » Silvia Pinal, qui aura joué dans 84 films et 42 pièces de théâtre, « excellait non seulement dans la comédie, mais aussi dans la conduite automobile et s'est même aventurée en politique, elle a été députée et sénatrice », rappelle Excelsior. La présidente mexicaine Claudia Sheinbaum a salué la mémoire de l'artiste, souligne La Razon : « De nombreuses générations de Mexicains et de Mexicaines ont grandi en l'admirant (…) son talent cinématographique et théâtral fait partie de la mémoire culturelle du Mexique ». Le Journal de La PremièreDirection la Martinique, pour parler de bienveillance en milieu hospitalier et de lutte contre le trafic de drogue.

Nicolás Alvarado –escritor y promotor cultural– habla de la partida de la primera actriz Silvia Pinal y comenta: “Su punto de quiebre fue Luis Buñuel, quien venía huyendo de España y llega a México a hacer películas, destacando Viridiana, donde Silvia Pinal trascendió como un icono buñueliano. A partir de ahí, Silvia se traduce en hacer los que le da la gana. Era una mujer de quitar la respiración” Programa transmitido el 29 de noviembre de 2024. Escucha el Noticiero de Nacho Lozano, en vivo de lunes a viernes de 1:00 p.m. a 2:00 p.m. por el 105.3 de FM. Esta es una producción de Radio Chilango.

Silvia Pinal, diva del cine mexicano, reconocida por filmes como 'El Ángel Exterminador', Viridiana, 'El inocente' y Un rincón cerca del cielo, entre muchas más, falleció este jueves, en la Ciudad de México. Su legado artístico incluye más de 84 películas, 33 producciones de televisión, entre ellas el programa Mujer Casos de la Vida Real, y 42 obras de teatro, como el musical Ring, Ring llama el amor. Uno de sus grandes proyectos que produjo y protagonizó fue el musical de Broadway Mame, que logró llevar al escenario en tres ocasiones.See omnystudio.com/listener for privacy information.

Silvia Pinal, diva del cine mexicano, reconocida por filmes como 'EL Ángel Exterminador', Viridiana, 'El Inocente' y Un Rincón Cerca del Cielo, entre muchas más, falleció este jueves, en la Ciudad de México.See omnystudio.com/listener for privacy information.

Esta mañana en #Noticias7AM entrevistamos a Cuauhtémoc Ruelas, Crítico y Experto en Cine.   Tema: Trayectoria y legado de Silvia Pinal. Multifacética, actriz de cine (Buñuel, Viridiana, El Ángel Exterminador, Simón del desierto), televisión teatro y teatro musical (Hello Dolly), productora, cantante, presentadora, política.   #Uniradioinforma

Historias Compartidas son las cápsulas informativas que nos presentan relatos biográficos de talleres literarios de mujeres. En esta cápsula escucharemos "El viaje inesperado" de Viridiana Hernández.

El cine aragonés goza de una excelente salud, de hecho, el Festival de Cine de Fuentes de Ebro lo demuestra. Desde el pasado jueves y hasta el 9 de noviembre, la localidad zaragozana se convierte en el epicentro del séptimo arte. Además, Jesús Arbués, director de la compañía Viridiana pasa por el programa para hablar de su próxima obra, que se representará en el Teatro Olimpia de Huesca, ‘Restos del Naufragio'. Sin olvidarnos del ciclo de monólogos cuyo protagonista es el pintor de Fuendetodos, Francisco de Goya.

Viridiana Álvarez: Climbing Her WayIn the latest episode of The Travel Wins, we sit down with the incredible Viridiana Álvarez, a world-renowned alpinist from Mexico who's redefining the limits of human endurance and ambition. A driven athlete and Electrolit ambassador, Álvarez is on the verge of completing an unprecedented climbing feat: becoming the first woman to conquer both the "Seven Summits" challenge and all 14 peaks over 8,000 meters.What makes Álvarez's story even more compelling is her late start in the sport. Growing up in Aguascalientes, Mexico, far from the high mountains she now calls home, she never envisioned a future in mountaineering. It wasn't until the age of 30 that she discovered her passion for climbing—a revelation that would lead her to some of the world's most formidable peaks. Since then, her ascent has been nothing short of meteoric.In 2019, Álvarez set the Guinness World Record for the fastest ascent by a woman of the three highest mountains—Everest, K2, and Kangchenjunga—using supplementary oxygen. This monumental achievement only scratched the surface of her potential, as she became the first Latin American woman to summit K2, the notoriously treacherous second-highest mountain on Earth.Most recently, Álvarez summited Denali, the highest peak in North America, in a mere 19 days—a mountain where fewer than 52% of climbers reach the top. Now, she has just one more peak to go: Carstensz Pyramid in Indonesia. Though the climb itself takes only a day, Álvarez explains that the real challenge lies in the arduous journey to the base of the remote mountain. Once she conquers this final summit, she will secure her place in the record books forever.Beyond the physical demands of her pursuit, Álvarez emphasizes the power of mental resilience. Her disciplined training regimen includes running, cycling, and mountain biking, ensuring that both body and mind are honed for the trials ahead.As Álvarez continues to climb, she shares her story with the world in the hopes of inspiring others to chase their own lofty dreams. Her tenacity and focus are contagious, and as she prepares for her final climb, the entire mountaineering community—and beyond—waits with bated breath. By this fall, she aims to claim the title of the first woman to have completed the "Seven Summits" and all 14 peaks over 8,000 meters. It's a goal within reach, and Álvarez is more determined than ever to achieve it.Don't miss this awe-inspiring conversation with a true trailblazer. Viridiana Álvarez's story is a testament to what can be accomplished when passion meets perseverance, and her journey is far from over. Tune in to The Travel Wins to follow the last steps of her path to mountaineering immortality.

Conversamos con Viridiana Álvarez,  la Primer mujer del continente americano en escalar las 4 montañas más altas del mundo. Repasamos con ella sus mejores momentos como alpinista y también nos compartió algunos de sus mejores "hacks" para triunfar en los negocios y en la vida por muy alta que sea la montaña de retos y responsabilidades. Su próximo proyecto, nos dijo, será un libro. ¿Cuándo estará disponible y qué sigue ahora para la exitosa mexicana? Escúchanos ahora y date cuenta. ▶️ Un episodio ya disponible en Amazon Music, Apple Podcast, Pandora y en nuestro canal de Youtube: https://youtu.be/1_W0l0cnbZk ➡️ Síguenos también en: Instagram: ⁠⁠⁠https://www.instagram.com/blogruta5/⁠⁠⁠ Facebook: ⁠⁠⁠https://www.facebook.com/Ruta5.Blog/⁠⁠⁠ Linkedin: ⁠⁠⁠https://www.linkedin.com/in/blogruta5/⁠⁠⁠ Tik Tok: ⁠⁠ ⁠⁠https://www.tiktok.com/@blogruta5 Ruta5 Podcast es una producción del Blog de Talento Latino, Ruta5. Todos los Derechos Reservados. 2024.

Viridiana Saavedra es Life Coach Sherpa certificada y nos va a explicar la Ley de Género que nos dice que toda persona emite dos tipos de energía sin importar su genero: femenina y masculina y que de nosotros depende aprender a manejar ambas energías a placer para manifestar exactamente lo que queremos.   Esta ley es poco analizada en el proceso de manifestación pero una vez que hagas consciencia de cómo ella está influyendo tu vida, la ocuparás a tu favor para acelerar la manifestación de todo lo que quieres.  

Wondering if your small business is ready to scale and how to smoothly transition into e-commerce? Just ask Val Fishbain, co-founder of Spread the Love Foods, who successfully took her business from the local farmer's market to the online world, all while staying true to her community roots. Val shares her experience selling at farmer's markets, what it took to make the leap to e-commerce, and the importance of giving back as her business grew. You'll also hear from Viridiana Ponce, a business consultant and food industry expert, who dives into how to leverage farmer's markets to enhance your business and the crucial steps for expanding beyond your local market while staying connected to your community.Learn the essential steps for scaling up like maintaining product quality, engaging with your community, and conducting market research to confidently take your business online.In this episode, you'll hear: (2:28) How Val's thoughtful wedding favor quickly turned into a full-blown business.(4:22) Thinking of starting a food business from home? Learn the preparation and licenses to make sure you do it right!(5:41) Val's first experience selling her products at a farmer's market.(9:34) The benefits that come with starting at a farmer's market.(10:44) How tracking sales at a farmer's market can help you get funding.(11:40) When should you consider expanding? Viridiana lists what you should be looking for to make sure you're ready for that next step. (15:02) Three essential strategies for a successful transition to e-commerce.(18:58) How giving back through your business can help your business grow and succeed.

Cada vez que la veo sobre un escenario, no deja de sorprenderme. Y es que Viridiana Monteagudo es multifacética y una mujer preparada. Es una actriz todo terreno, pues. La he visto en dramas, acá, bien intensos, y la he visto hacer cabaret con su personaje “Lucrecia” y ahora acaba e dejarme boquiabierto al interpretar a Daria, a Sophie, a Daniela y a Alejandra en el montaje de “¿Qué es el amor?”, un divertimento escénico escrito, producido y dirigido por André Santaella, que se presentará todos los sábados de junio en el “Espacio urgente 2”, perteneciente al “Foro Shakespeare” (Zamora 7, colonia Condesa) en punto de las 17:00 horas.See omnystudio.com/listener for privacy information.

Writer, producer and teacher. Born in Madrid, the son of film director Carlos Saura and film teacher and journalist Adela Medrano, brother of film director Saura Medrano.Either as executive of the film companies LolaFilms and Iberoamericana Films, or as executive producer for the film production companies Zebra Producciones and La Fiera Corrupia, Antonio Saura has produced many films in recent years, including Carlos Saura's Salomé (2002) (Best Artistic contribution Montreal 2002), Antonio Hernandez's En la ciudad sin límites (2002) (Berlin 2002, best film Toulouse 2002) and Miguel Albadalejo's Rencor (2002).He has been actively involved in training activities both as founder and director of the Media Business School, and as teacher of audio-visual and development economics for programs such as EMAM, MEGA, Universidad de Navarra, Instituto de Empresa of Madrid and Universidad de Valencia. As a scriptwriter, his credits include "Lisa", "El arbol del manzano", and "Dos tipos Duros".Antonio Saura has also written for some of the most prestigious newspapers in Spain, including El Pais, El Mundo and Diario 16, and has contributed analyses on film aspects to "la Gaceta de los Negocios", "Viridiana" and other publications. He is member of the European and the Spanish Film Academies.

Au cœur de la nuit, les auditeurs se livrent en toute liberté aux oreilles attentives et bienveillantes de Valérie Darmon. Pas de jugements ni de tabous, une conversation franche, mais aussi des réponses aux questions que les auditeurs se posent. Un moment d'échange et de partage propice à la confidence pour repartir le cœur plus léger.

¡No te pierdas el segundo capítulo de nuestro podcast! En esta ocasión, contamos con la presencia de una invitada muy especial: nuestra madrina Viridiana Ríos. Viridiana es una destacada escritora y autora de uno de los libros esenciales para entender la complejidad de nuestro Mexico: "NO ES NORMAL".En este episodio, abordamos temas cruciales para comprender la realidad mexicana. Discutimos por qué la pobreza no es una elección individual, sino el resultado de profundas desigualdades estructurales en México. Analizamos la situación actual del país en el contexto de las próximas elecciones de 2024, los impuestos que se pagan en Mexico y en que se destinan estos, explorando las propuestas y las estrategias de los candidatos a la presidencia. Además, nos adentramos en el interesante fenómeno de Clauxochitl, una cuestión que ha capturado la atención de muchos.Este capítulo es una oportunidad invaluable para ampliar tu perspectiva sobre los desafíos y las oportunidades que enfrenta México en el futuro próximo. No solo aprenderás sobre los temas que definen la coyuntura actual, sino que también estarás mejor preparado para las decisiones que nos esperan en 2024.¡No te lo pierdas! Acompáñanos, sabemos que te va a encantar

Ingresa aquí para que te puedas registrar en el Newsletter de MUNDO EXPO y recibirlo directo en tu e-mail: https://mundoexpo.substack.com/ Hoy te presento dos pláticas que tuvimos en el marco de INTERMODA con dos de los expositores que estuvieron en este evento. Son dos pláticas, una que tuvimos con Viridiana Jiménez, quien encabeza MXM Collection y otra con Paulino Pérez, quien encabeza a JP Jeans. Los puedes contactar respectivamente en sus redes sociales: Facebook: https://www.facebook.com/MXMCOLLECTIONFABRICANTES/ Instagram: https://www.instagram.com/mxmcollection/?hl=es y a JP Jeanse en su Facebook: https://www.facebook.com/jpvipjeans/ Instagram: https://www.instagram.com/jpvipjeans Contáctanos en nuestra página web: http://mundoexpo.mx/ , también en Facebook: https://www.facebook.com/SomosMundoExpo/ , en Instagram: https://www.instagram.com/somosmundoexpo/ y en LinkedIn como: www.linkedin.com/company/somosmundoexpo , y puedes enviarnos un correo a: hola@mundoexpo.mx .

Viridiana Monteagudo regresa en su faceta como Lucrecia ahora en la 3a Generación de Taller de Cabaret.  Todos los martes en el Fungi bar Condesa del 9 de Abril al 7 de Mayo en un horario de 7pm a 10pm  See omnystudio.com/listener for privacy information.

Era sábado de pasión, era un día de guardar o ir de profesión. Una España que no esperaba que ese día pasara nada merendó con la noticia de la legalización del Partido Comunista después de 40 años operando en la clandestinidad. Y esa misma tarde en los cines Roxy A de Madrid se pudo ver por primera vez una película prohibida, "Viridiana", que no podía ni nombrarse y cuyas cintas ordenó destruir el Régimen cuando se estrenó en 1961. Recordamos qué pasó ese sábado, qué teléfonos sonaron, qué personas sabían que eso sucedería y cómo los que guardaron una cinta clandestina o unos ideales perseguidos pudieron celebrar un paso hacia la libertad.

Celebramos el aniversario del estreno de ‘Viridiana' de Luis Buñuel con Ana Asión y Amparo Martínez y recordamos los vinilos de 45rpm. Además, abrimos las páginas de un volumen de Anabel Vélez que repasa las divas del pop en la historia de la música.

Las historiadoras Ana Asión y Amparo Martínez recuerdan el estreno de 'Viridiana' de Buñuel, un 9 de abril de 1977. ¿Qué impacto tuvo la película en su época y cómo ha llegado hasta nuestros días? ¿Fue Luis Buñuel el que mejor adaptó las historias de Benito Pérez Galdós?

durée : 01:24:12 - Les Nuits de France Culture - par : Albane Penaranda - Fernando Rey a joué dans des films cultes de Luis Buñuel, "Viridiana", "Le Charme discret de la bourgeoisie" ou encore "Cet obscur objet du désir". Deux ans après sa disparition, en 1996, Philippe Garbit propose un numéro des "Mardis du cinéma" pour lui rendre hommage, avec Jean-Claude Carrière. - invités : Jean-Claude Carrière Écrivain, dramaturge, scénariste, traducteur, parolier, metteur en scène, acteur

En este episodio conversamos con las arqueólogas Andrea Pérez y Viridiana Guzmán sobre su trabajo en Chalco. Así como una hoja en el viento, estas son ideas transmitidas a la memoria. #CultivamosMemorias Síguenos en nuestras redes sociales Libreta Negra Mx TW: https://twitter.com/LibretaNegraMx FB: https://www.facebook.com/LibretaNegraMx/ IG: https://www.instagram.com/libretanegramx/ Apóyanos para continuar la labor de difusión y divulgación cultural. Paypal: https://www.paypal.com/donate/?hosted_button_id=NCGTRH8N57XFE Ko-Fi: https://ko-fi.com/libretanegramx Patreon: https://patreon.com/LibretaNegraMx?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=creatorshare_creator&utm_content=join_link #LaHojaSuelta #Podcast #Cultura --- Send in a voice message: https://podcasters.spotify.com/pod/show/libreta-negra-mx/message

Viridiana Rodriguez is a change-marker, cycle breaker and creates space for self-love and healing. As a Latina Licensed Clinical Social Worker, Viridiana believes self-love transforms lives. It takes a lot of courage to recognize and heal past wounds. She is a trained EMDR therapist, reiki practitioner, healing guide and professor. She is also the founder and owner of Amar Therapy, Amarte Community and co-founder of Healing Connections. Her holistic approach to therapy begins with a focus on the mind-body-soul connection.  In this episode, we explore topics related to breaking cycles, growing up as a child of immigrants, self-compassion throughout the healing process, acknowledging systemic issues and cultural dynamics, EMDR therapy, and more. FOLLOW VIRIDIANA:  WEBSITE: amartherapy.com INSTAGRAM: @amartherapy and @amarte.community  STAY CONNECTED:  INSTA: @trustandthrive  TIKOK:@trustandthrive  TWITTER: @trustandthrive  FACEBOOK: bit.ly/FBtaramont  WEBSITE: www.tara-mont.com EMAIL: trustandthrive@gmail.com 

Here's an episode mostly dedicated to the proposition that piano jazz has a very beautiful future, if we have to judge by what emerging pianists like Micah Thomas, Nitai Hershkovits [pictured], Dexter Goldberg, Joona Toivanen or Fergus McCreadie are putting on record. Before and after this piano segment, thrilling new albums. The playlist also features Koma Saxo; Ethnic Heritage Ensemble; Geri Allen, Kurt Rosenwinkel; Mire III; and Simon Wilsson. Detailed playlist at https://spinitron.com/RFB/pl/18247879/Mondo-Jazz (up to "Viridiana"). Happy listening!

durée : 00:45:00 - Les Nuits de France Culture - par : Philippe Garbit - Par Roger Régent et Jacqueline Adler - Interprétation Francisco Rabal, Fernando Rey et Sylvia Pinol

#entrevista #nayoescobar #viridianachapa

-Escuelas reanudan clases presenciales en Acapulco-Este 2 de diciembre, se realizará el Carnaval de Oruro en Reforma -Sacrifican a más de 11 mil pavos tras brote de la gripe aviar en Alemania-Más información en nuestro podcast

En colaboración con nuestro Club del Libro invitamos a Mariza Lazo emprendedora y empresaria mexicana, para platicar sobre su nuevo libro “La ambición también es dulce”. Hablamos sobre los estereotipos de las mujeres en los negocios, cómo fue que ella le quitó el lado negativo a la ambición al momento de perseguir sus sueños y qué herramientas le han permitido crear negocios exitosos y ocupar posiciones de poder. Además, nos compartió sus aprendizajes y tips para emprender y ser líderes más empáticxs, amables y presentes. Platicamos sobre sus libros favoritos y nos contestó algunas preguntas que le hizo nuestra comunidad. En este episodio encuentras información sobre:¿Por qué está estigmatizada la ambición en las mujeres?Perder el miedo a perseguir tus sueños¿Es algo negativo querer dinero y poder?¿El éxito debe ser aplaudido y validado?Dejar de posponer la felicidad y celebrar tus logros¿Cómo poner en práctica mindfulness en tu negocio?Tips para emprender La importancia de cuidar a la gente que trabaja contigoEl poder de la amabilidadLa clave del éxito o el fracaso en los negociosÚnete a nuestro Club del LibroVe este episodio en YoutubeSi te interesó este episodio, también puedes escuchar:294. Síndrome del Impostor: ¿Cómo empezar a creer en mí? | Marisa Lazo388. Libro: “El viento conoce mi nombre” por Isabel Allende | Episodio Especial x Club de Libro363. Autosabotaje, éxito y llegar a la cima | Viridiana Álvarez7 señales que demuestran que sigues creciendo Parte 1 - Día 144 Año 3Enorgullécete de tu éxito - Día 107 Año 2 Hosted on Acast. See acast.com/privacy for more information.

Can sharing your story change your life?   For this Women of Color Rise episode, Analiza talks with Viridiana (Viri) Carrizales, CEO of ImmSchools. Born in Michoacán, Mexico, Viri didn't realize she was poor until age 11. Her father decided to make the trek to the US for better schools for his four girls. A year later, Viri, her sisters, and mother followed, almost getting lost walking in the desert. In America, Viri's challenges continued. Even after graduating high school with top honors, she could not go to college due to her undocumented status. Despite the risk, she contacted a newspaper who published her picture and story on the front page. Because of that story, one reader reached out and told her, “I'm an undocumented student in college. You can go to college, here's how, here's the law.”   Viri founded ImmSchools, a nonprofit that works with schools to create safe and welcoming classrooms for immigrant and undocumented students. While she gained her US citizenship through her husband, millions of other undocumented students remain in limbo, not able to contribute to the highest of their ability to our country, and at risk of deportation.   Despite the unfavorable political climate for passing laws to support the undocumented, Viri shares advice about what we can do to help:   Break stereotypes of the undocumented. Learn stories of those formerly undocumented and how their change of status are allowing them to contribute to the country as teachers, engineers, and leaders like Viri. Vote. Support candidates with similar values. Educate ourselves. The media's misinformation prevents us from better understanding how undocumented children and people are being hurt. Empathize. What would you do for your loved ones? For parents, what would you be willing to do for your child? If you were in a similar position, what would you do?   Consider supporting Viri and ImmSchools here.   Get full show notes and more information here: https://analizawolf.com/ep-64-share-your-story-to-change-your-life-viridiana-viri-carrizales-ceo-of-immschools

Hoy presentamos a Viridiana Álvarez. Alpinista, Conferencista, Emprendedora, Coach y Primer mujer del continente americano en escalar las 5 montañas más altas del mundo (Everest, K2, Kanchenjunga, Lhotse y Makalu). En el 2018 se convirtió en la primer latinoamericana en escalar el K2 la segunda montaña más alta del mundo y una de las más peligrosas del mundo, ubicada en Pakistan en la cordillera del Karakóum. ¿Cuales son los atributos y lecciones una vez que se llega a la cima? ¿Qué sigue después? ¿Como mantenerse enfocados para poder llegar a la cima? Estas y muchas más preguntas resueltas en el Podcast de hoy con nuestro invitado especial. ¡No olvides subscribirte a nuestro canal! Newsletter de I N S P I R A S:   / .  . Sobre I N S P I R A S: Web: https://www.revistainspiras.com Instagram:   / inspiras   Linkedin:   / insp.  . Twitter: @Inspiras_ Sobre Rafael Sansores Majul: Instagram: @rafasansoresmajul Twitter: @rafasansores Linkedin:   / rafaelsan.  . Sobre Sofía Otero Youtube: @ViridianaAlvarez Instagram: @vivialvarezmx Facebook: ViviAlvarezMx

¡Síguenos o suscríbete y escucha nuevos episodios cada semana a partir del 5 de septiembre!  Pasos Libres es un podcast dedicado a quienes buscan inspiración y un empujoncito para nuevas aventuras. Conducido por la alpinista mexicana Viridiana Álvarez. Una producción de Flexi Country y Sonoro Learn more about your ad choices. Visit megaphone.fm/adchoices

¡Síguenos o suscríbete y escucha nuevos episodios cada semana a partir del 28 de Agosto!  Pasos Libres es un podcast dedicado a quienes buscan inspiración y un empujoncito para nuevas aventuras. Conducido por la alpinista mexicana Viridiana Álvarez. Una producción de Flexi Country y Sonoro

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

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¿Alguna vez has tenido un sueño, una buena idea o el simple antojo de hacer algo nuevo y lo terminas posponiendo “para la próxima” o para cuando “todo sea perfecto”? ¿Te has puesto a pensar en cuántas puertas se cierran cada vez que dejas algo porque aún no estás listo o lista o sientes que “no eres lo suficientemente bueno o buena para eso”? Tal vez el éxito y la felicidad está en esas pequeñas cosas o decisiones que pueden cambiar nuestro rumbo, pero, ¿por dónde empezar?No les queremos contar más, pero como sabemos que las historias les gustan mucho en Se Regalan Dudas, en este episodio invitamos a Viridiana Álvarez, alpinista profesional mexicana, y nos compartió su trayectoria y cómo tomó la decisión de cambiar su vida y convertirse en la primer mujer del continente americano en escalar las 5 montañas más grandes del mundo. La cantidad de cosas que aprendimos de ella no se las podría explicar en breve, pero por eso te invito a que escuches y compartas este episodio.En este episodio encontrarás información sobre:¿Cómo y por qué empezó a escalar montañas?Disfrutar del camino, no solo de la metaSoltar las expectativas¿Cómo enfrentar los retos y obstáculos?Renunciar a tu trabajo y perseguir tu pasión¿Se puede lidiar con la incertidumbre?¿Cómo encontrar tu pasión en la vida?La importancia de conocerte y entender tus emociones¿Qué significa el éxito?Superar el miedo al fracasoSíndrome del impostor/aConstruir vínculos desde la vulnerabilidad¿En dónde se encuentra la felicidad?Dejar de autosabotearteVe a go.podimo.com/dudas para escuchar o ver todos nuestros episodios de martes y jueves con dos semanas de anticipación. Al suscribirte tendrás 45 días para verlos GRATIS y además disfrutar de nuestro ESPECIAL DEL AMOR de 9 episodios.Ve este episodio en YoutubeSi te interesó este episodio, también puedes escuchar: 327. Soñar sin Miedo | María Becerra 316. ¿Tengo que encontrarle un propósito a mi vida? | Azucena Valdovinos326. Cambiar de carrera y encontrar mi pasión | Jueves de Lety & Ash 160. Encontrar tu pasión | Jason Silva | Episodio Especial 311. ¿Se puede cambiar de carrera y de rumbo? | Jueves de Lety & AshConoce más sobre este tema, sobre nuestra invitada y sobre los libros que recomendó gratis aquí Si tú o alguien que conoces necesita ayuda, pueden encontrarla en: seregalandudas.com/ayudaEncuéntranos en: linktr.ee/seregalandudas Hosted on Acast. See acast.com/privacy for more information.

Una cosa es subir el monte Everest que no cualquiera, y otra cosa es muy distinta es romper un récord por subir las 3 montañas en tiempo récord. Pero Rorro, ¿eso solo lo hace gente que tiene demasiada experiencia? Bueno, justo la invitada de hoy demuestra todo lo contrario. Tiene un camino no convencional que estoy seguro de que te va a encantar. Viridiana Álvarez es un gran ejemplo de cómo hacer lo mejor que podemos con lo que tenemos, es una persona que te puede ayudar a cultivar una mentalidad Everest, como lo llama ella, una mentalidad con resiliencia, estoy seguro de que eso es lo que te vas a llevar de este episodio. Colaboraciones: booking@beyond306.com Colony Spaces: https://www.instagram.com/colonyspaces/ Canal de Telegram: https://t.me/+Iffhi3Fss5E3MDcx