Podcasts about We Shall Overcome

Story of the Week (DR):Berkshire board names Greg Abel as CEO, Buffett to remain chairWarren Buffett says he'll propose Greg Abel take over as Berkshire Hathaway CEO at year-endWarren Buffett makes surprise announcement: He's stepping down as Berkshire Hathaway CEOOpenAI backs off push to become for-profit companyIn a nutshell, with help from its chatbot: “OpenAI has restructured into a hybrid model with a nonprofit parent company, OpenAI Inc., and a for-profit subsidiary now called a Public Benefit Corporation (PBC). This shift allows for investment while keeping a focus on its mission of developing AGI for the benefit of humanity. The change responds to previous criticism about reducing nonprofit oversight.”OpenAI's nonprofit mission fades further into the rearviewSam Altman urges lawmakers against regulations that could ‘slow down' U.S. in AI race against ChinaKohl's CEO Fired After Investigation Finds 'Highly Unusual' Business Deal with Former Romantic PartnerKohl's CEO Ashley Buchanan was fired after an internal investigation revealed he violated the company's conflict-of-interest policies. The probe found that Buchanan directed business to a former romantic partner, Chandra Holt, who is the CEO of Beyond Inc. and founder of Incredibrew. Holt secured a multimillion-dollar consulting deal with Kohl's under unusually favorable terms, which Buchanan failed to disclose.As a result, Buchanan was dismissed for cause, forfeiting equity awards and required to repay a portion of his $2.5 million signing bonus.This marks the third CEO departure at Kohl's in just three years, highlighting ongoing leadership instability amid declining sales.Proxy Firms Split on Harley-Davidson Board Shake-Up MMGlass Lewis= Withhold; ISS = What's happening at Harley exactly?We have a fun twist at the proxy cage match between Harley Davidson and H Partners, who are 9% shareholders and have started a withhold vote campaign against long-tenured directors Jochen Zeitz, Thomas Linebarger, and Sara Levinson: Glass Lewis says “withhold” but ISS says “support”?Through lackluster reasoning based on hunches and not performance analytics, ISS revealed, without satire, that "[T]here are compelling reasons to believe that as a group [the targeted directors] still have a perspective that can be valuable” and, in discussing the candidacy of departing CEO Jochen Zeitz: “[I]t appears that his time in the role has been more positive than negative, which makes it hard to argue that his vote on a successor is worthless.”Testimony in House Hearing: “Exposing the Proxy Advisory Cartel: How ISS & Glass Lewis Influence Markets”A 2015 study found that 25 percent of institutional investors vote “indiscriminately” with ISS [1].In 2016, a study estimated that a negative recommendation from ISS leads to a 25-percentage point reduction in voting support for say-on-pay proposals [2].A 2018 study demonstrated that a negative recommendation from ISS was associated with a reduction in support of 17 percentage points for equity-plan proposals, 18 points for uncontested director elections, and 27 points for say-on-pay [3].In 2021, a study examining “robo-voting”—the practice of fund managers voting in lockstep with the recommendations of ISS—identified 114 financial institutions managing $5 trillion in assets that automated their votes in a manner aligned with ISS recommendations 99.5% of the time [4].A 2022 study provided further evidence that institutional investors are highly sensitive to an opposing recommendation from a proxy advisory firm. Opposition from ISS was associated with a 51 percent difference in institutional voting support compared with only a 2 percent difference among retail investors [5].During the 12 months ending June 30, 2024, negative recommendations from the two proxy advisory firms were associated with (1) a 17-percentage point difference in support for directors in uncontested elections at the S&P 500 (96.9% with the firms' support vs. 79.7% without); (2) a 35-percentage point gap for say-on-pay proposals (92.8% vs. 58.0%); and (3) a 36-percentage point difference for shareholder proposals (42.4% vs. 6.6%)Why Leo XIV? Pope's chosen name suggests commitment to social justicePope NamesLeo: Many Pope Leos were reformers or defenders of Church teachings.John: often linked to pastoral care and modernization.Paul: Reflects missionary zeal and intellectual work.Gregory: Reform, liturgy, and missionary outreach.Benedict: Benedict XVI emphasized faith and reason in a skeptical age.Pius: Emphasis on traditional piety and Church authority.Clement: Reconciliation and peacemaking.Innocent: Ironically, several Popes named Innocent wielded immense political power.Urban: Engagement with worldly and civic matters.Francis: Poverty, simplicity, ecological concern.CEO NamesWarren: cuddly billionaires who control everything, put family members on board, and say pithy thingsJamie: blowhard control freaks bankers who think they should be President and have something to say about everythingMark: college dropout social media dictators who have no oversight while charting humanity's demiseElon: arrogant and childish Wizard of Ozzian leaders who pretend to be company founders with world domination delusionsSundar: East Asian stewards meant to distract from actual Tech dictatorsTim: Genteel Southern cruise ship captains who keep a steady hand after replacing legendsEtc.Goodliest of the Week (MM/DR):DR: Bill Gates to give away $200 billion by 2045, says Musk is 'killing' world's poorest childrenDR: This Subaru has an external airbag to protect cyclists: The design helps protect both pedestrians and cyclists in a crash MM DRMM: Proxy Firms Split on Harley-Davidson Board Shake-UpThe other major proxy firm, Glass Lewis, reached a different conclusion. It said Tuesday that the directors had “overseen starkly suboptimal shareholder returns,” and that removing them from the eight-person board likely wouldn't create any problems.MM: 80% of Gen Z, Millennials Plan to Increase Allocations to Sustainable Investments: Morgan Stanley SurveyAssholiest of the Week (MM):All Zuckerberg editionCertified watch guy ZuckMark Zuckerberg is a certified watch guy. Here are some of his standout timepieces, from a $120 Casio to a $900,000 Greubel Forse.These are the stories as Trump, whose ass Zuck's lips are firmly planted on, says you should only have 3 dolls - Zuck's watches, C.E.O. Pay Raise Sparks Outrage Among Teachers and Public Officers, 58 crypto wallets have made millions on Trump's meme coin. 764,000 have lost money, data shows, The best and worst looks billionaires wore to the 2025 Met GalaFriend maker Zuck DRMark Zuckerberg wants you to have more friends — but AI friendsMark Zuckerberg destroyed friendship. Now he wants to replace it with AI.Meanwhile, no wonder: Mark Zuckerberg says his management style involves no 1-on-1s, few direct reports, and a 'core army' of 30 running MetaMan with no friends says you need more and will provide fake ones?Human picker ZuckZuck's version of human friends probably the reason he wants to make you fake ones - hand-selected fake friends on the board (Patrick Collison and Dina Powell McCormick to Join Meta Board of Directors):4 tech bro dictators (Tan, Houston, Collison, Xu)3 tech bro suck ups (Andreessen, Alford, Songhurst)1 nepo baby dictator (Elkann)1 family dictator suck up (Travis)2 DJT suck ups (White, Powell McCormick)2 US govt suck ups (Killefer, Kimmitt)Prediction - Zuck to have the first true AI board member?Empathetic ZuckGaslighting, golden handcuffs, and toxicity: Former Meta employees shared what it was like to be laid off as low performersA former senior machine learning engineer at Meta described the shock of being laid off, only for a Meta recruiter to invite her to reapply three days later and skip the interview process.Two weeks before the layoffs, he said, his new manager told the team everyone was "safe." Then came the termination email — and a performance rating of "Meets Some Expectations," low on Meta's end-of-year rating scale. "How could they evaluate my performance when I'd only worked 10 weeks in 2024?" he said, adding that an HR director had said he was "too new to evaluate."An engineer was laid off after five months of leave for a serious health crisis while in the middle of disability-related negotiations.Meta exec apologizes to conservative activist Robby StarbuckLover ZuckMark Zuckerberg's Wife Was Weirded Out by His Strange Gift to HerHe made it for her not out of love, but because…The billionaire is apparently a huge fan of the sculptor behind the statue, the pop artist Daniel Arsham, but decided to go with his wife's likeness, he said on the podcast, because a statue of himself would have been "crazy."Academic ZuckMark Zuckerberg says college isn't preparing students for the job marketHeadliniest of the WeekDR: Olivia and John Randal Tyson Named to Tyson Foods Board of DirectorsDR: This new mental health service targets burned-out content creators: CreatorCare offers affordable therapy tailored to influencers and digital creators—addressing the rising mental health toll of life online.DR: Costco co-founder still goes into the office weekly at age 89: ‘To be successful, you've got to be pretty focused'Costco co-founder Jim Sinegal stepped down from his role in 2012. But Sinegal still goes to the office some TuesdaysDR: Billionaire KKR cofounders say 'emotional intelligence' should be a focus for young investorsKKR leadership page:1 of 8 are women: It HAS to be head of marketing, head of people, or head of legal stuff: so which is it? It's Chief Legal Officer Kathryn SudolBoard is 14:4F; no F in leadership role MM: Elon Musk's Urgent Concern: That the Earth Is Going to Get Swallowed by the Sun"Mars is life insurance for life collectively," Musk said. "So, eventually, all life on Earth will be destroyed by the Sun. The Sun is gradually expanding, and so we do at some point need to be a multi-planet civilization because Earth will be incinerated."It is slated to happen in 6 billion yearsMM: Elon Musk is responsible for “killing the world's poorest children,” says Bill GatesWho Won the Week?DR: Pope #-267, duh. The world's greatest vampire CEO. And Villanova students (who are not openly gay or have vaginas), who all suddenly now believe they will eventually be the pope. MM: Your shitty washer/dryer, which no longer looks horrible: E.P.A. Plans to Shut Down the Energy Star ProgramPredictionsDR: Open AI's CEO, Mark VII, creates a deepfake video showing the country of China eating his baby at one of his homes in Hawaii causing the Trump administration to completely dismantle the SEC.MM: Sit tight for this, I have two: Euronext rebrands ESG in drive to help European defence firms - “energy, security, and geo-strategy” flops, so to LSEG rebrands its ESG Scores to “Emitting, Smoking, Gambling” so that investors can finally do ESG investing and feel good about itMusk gets his Texas wish. SpaceX launch site is approved as the new city of Starbase - I predict in 12 months, Musk is offering SpaceX employees that live in Starbase (a company town) crypto tokens instead of pay that are redeemable at stores in Starbase. To avoid them being called scrips, which were outlawed in the US in 1938 but still used anyway through the 1960s, Musk will list them on crypto exchanges that can be used to trade for dollars (but are totally worthless). Eventually, so indebted to the space plantation and Musk, there is a new renaissance of “resistance music” (a la “We Shall Overcome” and “Sixteen Tons”) with a song ranking number 1 in the US by the end of 2026.

The Jackson Home, originally in Selma, Alabama was a crucial place in the fight for true freedom for African-Americans.  It's been moved here to Metro Detroit at Greenfield Village in The Henry Ford, so that it can be preserved, celebrated, and the story told. So I went to Dearborn and talked with the Curator of Black History at The Henry Ford, Amber Mitchell.  Dr. Sullivan Jackson and Mrs. Richie Jean Sherrod Jackson offered their home as a sanctuary and strategic hub for Dr. Martin Luther King Jr. and other Civil Rights leaders as they planned the marches that ultimately changed America.  From the Jackson's living room, Dr. King and others watched the “We Shall Overcome” speech by President Lyndon B Johnson… publicly backed voting rights.  The Selma to Montogomery March was planned there, and all of this culminated with the passage of the Voting Rights Act in 1965.  So get all the details. Why it's here. What's happening with the progress. What kinds of programming are they thinking, and of course, the importance of this work being done today. More at the Henry Ford: https://www.thehenryford.org/visit/greenfield-village/jackson-home/ And you can find a full transcript on our website, Daily Detroit. Thanks to our members on Patreon… who got this conversation yesterday. Local media requires local support, and thanks to Kate and Jade for supporting us recently. You can join them.. Get early access to episodes, our off the record, off the rails podcast, swag and more at patreon.com/dailydetroit. We even have an easy, one-time annual option now. Daily Detroit shares what to know and where to go in Detroit every day. Find us on Apple Podcasts: https://podcasts.apple.com/us/podcast/daily-detroit/id1220563942  Or sign up for our newsletter: https://www.dailydetroit.com/newsletter/  

If you enjoy these history lessons please follow, like, share, and subscribe for future videos. My YouTube channel is Sunny Sharma‪@IndiaInsightMovement‬ and my podcast is “India Insight with Sunny Sharma”This short era of immense change began with the critical case of Brown vs Board of Education in 1954 that established separate but not equal is unconstitutional. This marked a significant constitutional victory in favor of an integrationist approach which led to the beginning of the Civil Rights Movement which was launched through the Montgomery Bus Boycott in Alabama in 1955-1956. The revolutionary approach, depending upon who you ask, of active nonviolent Civil Disobedience led by such figures as Rosa Parks, Ella Baker, Fannie Lou Hamer, Dr. King, Ralph Abernathy, Reverend James Lawson, and Bayard Rustin was the leading philosophical and practical approach to integrate public institutions in America including restaurants, schools, and public transportation. This period was characterized by immense grassroots movements led by coalitions of very diverse groups of people welcomed by a more inclusive approach. The Southern Christian Leadership Conference (SCLC) founded by Dr. King in 1957 revolved around nonviolent civil disobedience as a protest strategy and the goal of achieving full democratic participation through legal protections for the vote. The young John Lewis and Ella Baker, major leaders in the Student Nonviolent Coordinating Committee (SNCC), demanded not just more radical change and group centered leadership while also endorsing Dr. King's methods, but they also represented a cognitive and philosophical shift that many leaders such as Dr. King would take after 1966. These shifts occurred due to frustrations from the inability to change the fundamental political and economic conditions of African Americans despite legislative victories such as the 1964 Civil Rights Act and the 1965 Voting Rights Act. This tension resulted in the rise of black nationalism, cultural nationalism, and black power movements which influenced many young people to leave the integrationist fold. However, the two most influential black power groups the Black Panthers and partly Black Electoral Politics were not as comprehensive systems compared to the moral tactics and philosophy of Dr. King. Nonetheless, these black power movements, along with Malcolm X who will be discussed in part 2 of We Shall Overcome, have certainly captured the imagination of many young people while inspiring a black artistic and cultural movement to contribute to black expression and excellence even if their approach was somewhat limited when compared to integration. Still, integration was meant for the meaningful realization of full equality and equity with whites and it was clear that Western civilization not only has structural political and economic barriers to the advancement of colored people, it was also in a crisis. This is why, after 1966, Dr. King viewed that black people were in danger of “integrating into a burning house.” However, his Letter from a Birmingham Jail of 1963 stood the test of time as still relevant today to freedom fighters around the globe of the need to break unjust laws, force the moderates into action against perceived injustice, the reclamation of the social justice function of institutions or to see their degeneration, and so much more. In the next section, I will discuss some of the major movements to shift black consciousness later in the period from 1954-1975 such as Malcolm X, the black panthers, and the movement to elect black political figures many of whom were freedom fighters in the 1970s. The question is why did Malcolm X shift to a black nationalist international perspective and were these movement's goal to protect, enrich the black community, and form an independent black politics successful in hindsight?

The 36 million who watched President Donald Trump's address to Congress also watched as Congressional Black Caucus member, Rep. Al Green, shook his cane and shouted at the president. When he refused to desist, Speaker Mike Johnson ordered him removed from the chamber. Two days later, in a bipartisan vote, the House censured Green. The Congressional Black Caucus stood in firm support of Green's actions and, in their own move to disrupt, Congressional Black Caucus members sang “We Shall Overcome,” an anthem of the Civil Rights Movement, as Johnson read the censure on the House floor. When they refused to...Article Link

Scott Turow is a writer and attorney. He is the author of fourteen works of fiction, including Presumed Innocent, and most recently, Presumed Guilty, which hit the shelves in January of this year. All of his novels have been New York Times bestsellers. His works have been the basis for film and television projects…last year Apple TV+ released an eight-part limited series based on Presumed Innocent, starring Jake Gyllenhaal. From 1978 until 1986, Mr. Turow worked as Assistant United States Attorney for the Northern District of Illinois prosecuting several high-profile public corruption cases. He has also served on a number of public bodies, including the Illinois Commission on Capital Punishment, which proposed reforms to Illinois’ death penalty system, and he was the first Chair of Illinois’ Executive Ethics Commission, created in 2004 to regulate executive branch employees in Illinois. SONG 1: “We Shall Overcome”...this is a 1962 live recording that’s been remastered…and re-released on the album Every Morning at Half Past Four in 2020. https://youtu.be/KUbkld3Rq2A?si=Xvtm-4JB5lhXLuGF SONG 2: Kermit the Frog singing "Rainbow Connection" - in the 1979 film The Muppet Movie. https://youtu.be/YRPBUeVOimU?si=Uz2a2ICgc1zf_c7a SONG 3: "Runaway" by Del Shannon released in 1961 on his debut album Runaway with Del Shannon. https://youtu.be/0S13mP_pfEc?si=YPul_1R6i_CpLfZLSee omnystudio.com/listener for privacy information.

Dave Rubin of “The Rubin Report” talks to Abigail Shrier and Clay Travis about the backlash Gavin Newsom is getting from Democrats after admitting to Charlie Kirk on his “This Is Gavin Newsom” podcast that it's unfair to have trans athletes competing in women's sports; Newsom telling Charlie Kirk that his 13 year-old son is a massive fan of his and that there is a growing number of young Republicans as younger people turn away from the Democratic Party; Rep. Byron Donalds' epic grilling of liberal city mayors Brandon Johnson, Eric Adams,and Michelle Wu over the massive amount of money they are allocating to helping illegal migrants in their cities; Rep. Anna Paulina Luna telling Chicago mayor Brandon Johnson that he will be referred to the DOJ for his assisting illegal migrants evade the significant scale ICE arrests; Justin Trudeau being brought to tears over Trump's tariffs against Canada and the ensuing trade war; Democrat's theatrical singing of “We Shall Overcome” after Speaker Mike Johnson officially censured Al Green; and much more. WATCH the MEMBER-EXCLUSIVE segment of the show here: https://rubinreport.locals.com/ Check out the NEW RUBIN REPORT MERCH here: https://daverubin.store/ ---------- Today's Sponsors: Byrna - Byrna Less-Lethal ensures that safety is never out of reach. Whether you're protecting your home or loved ones, Byrna powerful less-lethal kinetic and tear gas ammunition can incapacitate attackers for up to 30 minutes Go to: https://Byrna.com/rubin to receive 10% off my curated Byrna bundles. 1775 Coffee - 1775 Coffee isn't just coffee—it's brain fuel for patriots. Handpicked Bolivian beans, roasted in the USA, delivering pure, single-origin brilliance without a hint of deceit. The best part? Every dollar you spend enters you to win a blacked-out 2024 Tesla Cybertruck plus $30,000 cash! Rubin Report viewers get 15% off their order. Go to: https://1775coffee.com/RUBIN and use code RUBIN Wrinkle Filler - Take years, or even decades off your appearance in under 2-minutes. Watch Dr. Layke's step-by-step video free and uninterrupted. Go to: https://BHMD1.com/Rubin Learn more about your ad choices. Visit megaphone.fm/adchoices

It's Friday, March 7th, A.D. 2025. This is The Worldview in 5 Minutes heard on 125 radio stations and at www.TheWorldview.com. I'm Adam McManus. (Adam@TheWorldview.com) By Adam McManus Nigerian states close all schools for Muslim Ramadan fast Northern Nigerian governments of Bauchi, Katsina, Kano, and Kebbi States issued a directive to close all schools — public and private — for up to five weeks during the Muslim Ramadan fast. It has ignited strong reactions from the Christian Association of Nigeria and the Middle Belt Forum. The groups argue that the closures, which affect millions of students, pose serious threats to education, fairness, and national unity, reports International Christian Concern. John 4:24 underscores the importance of worshiping the one true God, not the false Muslim deity. It says, “God is spirit, and those who worship Him must worship in spirit and truth.” Trump chastises Democrats for not applauding anything good On Tuesday night, President Donald Trump smartly confronted Democrats early on with their refusal to celebrate any good news. Listen. TRUMP: “This is my fifth such speech to Congress, and once again, I look at the Democrats in front of me, and I realize there is absolutely nothing I can say to make them happy or to make them stand or smile or applaud. Nothing I can do.   “I could find a cure to the most devastating disease, a disease that would wipe out entire nations, or announce the answers to the greatest economy in history, or the stoppage of crime to the lowest levels ever recorded. And these people, sitting right here, will not clap, will not stand, and certainly will not cheer for these astronomical achievements. They won't do it no matter what. Five, five times I've been up here. It's very sad, and it just shouldn't be this way. (applause) “So, Democrats sitting before me for just this one night, why not join us in celebrating so many incredible wins for America? For the good of our nation, let's work together and let's truly make America great again.” Despite his plea, Democrats, without exception, sat on their hands as he announced the acceptance by West Point of Jason Hartley, a high school senior in the gallery, the awarding of the honorary title of Secret Service Agent to D.J. Daniel, a 13-year-old brain cancer survivor in the gallery who aspires to be a law enforcement officer, and the naming of a national wildlife refuge in the Houston area after Jocelyn Nungary, the 12-year-old girl who was brutally killed by two Venezuelan illegal aliens.  Jocelyn's mother was in the gallery. Rep. Al Green kicked out of Trump's congressional speech As he waved his cane, 73-year-old Democratic Congressman Al Green of Texas interrupted Trump by yelling, "You don't have a mandate."  Despite House Speaker Mike Johnson's patient pleas for Rep. Green to stop, he continued, prompting Johnson to have him removed. TRUMP: “Small business optimism …” GREEN: “You don't have a mandate.” TRUMP: “So, it's the single largest one month gain ever recorded, a 41-point jump.” CONGRESSMAN: “Sit down!” JOHNSON: “Members are directed to uphold and maintain decorum in the house and to cease any further disruptions. That's your warning. “Members are engaging in willful and continuing breach of decorum, and the chair is prepared to direct the Sergeant at Arms to restore order to the joint session. (applause) “Mr. Green, take your seat. Take your seat, sir.” GREEN: “No mandate.” JOHNSON: “Take your seat. Finding that members continue to engage in willful and concerted disruption of proper decorum, the Chair now directs the Sergeant at Arms to restore order. Remove this gentleman from the chamber.” House censured Rep. Al Green for disruption of Trump speech Two days later, the U.S. House of Representatives considered a resolution to censure Rep. Green for his disruptive behavior. CLERK: “House Resolution 189: Resolution censuring Representative Al Green of Texas.” After five minutes, House Speaker Mike Johnson announced the vote results. JOHNSON: “On this vote, the yeas are 224, the nays are 198, with two answering present. The resolution is adopted.” The censure of Democratic Congressman Al Green of Texas passed largely along party lines, with 10 Democrats voting with Republicans in favor of the resolution and two lawmakers, including Green, voting "present," reports USA Today. JOHNSON: “Will Representative Green present himself to the well? By its adoption of House Resolution 189, the House has resolved that Representative Al Green be censured. That Representative Al Green forthwith present himself in the well of the House of Representatives for the pronouncement of censure, and that Representative Al Green be censured with public reading of this resolution by the Speaker.” DEMOCRATS: (sing “We Shall Overcome”) After the vote, instead of standing silently while the censure was read, the Texas Democrat led a group of colleagues in a rendition of “We Shall Overcome,” a song long associated with civil rights protests, suggesting that somehow the censuring of Green for his disruptive behavior was racist, reports Roll Call. JOHNSON: (Banging of gavel) “The House will come to order. The House will come to order.” After the Democrats refused to stop singing “We Shall Overcome,” House Speaker Johnson was forced to impose a break called recess. JOHNSON: “Pursuant to clause 12a of rule one, the House will stand in recess subject to the call of the chair.” A censure is considered a severe public rebuke of a legislator brought by other members of Congress, a form of punishment second only to expulsion. The U.S. Constitution allows for Congress to "punish its members for disorderly behavior." Censure is a formal disapproval intended to discipline members of the House. Sen. Fetterman: Democrats are metaphorical car alarms nobody pays attention to Democratic Senator John Fetterman of Pennsylvania had some of the harshest criticism for his party's protests from the chamber, reports RollCall. On Wednesday, Fetterman tweeted, “A sad cavalcade of self and unhinged petulance. It only makes Trump look more presidential and restrained. We're becoming the metaphorical car alarms that nobody pays attention to — and it may not be the winning message.” In 1 Corinthians 13:11, the Apostle Paul wrote, “When I was a child, I spoke as a child, I understood as a child, I thought as a child; but when I became a man, I put away childish things.” Falling just as flat as Congressman Green's babbling were the Democratic congresswomen who staged a silent protest by wearing pink and other Democrats who held up little paddles emblazoned with lines including “FALSE”, “MUSK STEALS”, and “SAVE MEDICAID.” Plus, some Democrats walked out in the middle of the speech, revealing t-shirts with messages after they removed their jackets. Oil prices dropped to lowest levels in 3 years Oil prices have dropped to their lowest levels in over three years, driven by uncertainties related to the ongoing trade war, which is impacting the global economy and energy demand outlook. Gold up And finally, gold prices rose on Wednesday, supported by a weaker dollar, as investors awaited the release of the U.S. payrolls data later this week for additional insights into the Federal Reserve's monetary policy, reports CNBC. U.S. gold futures rose by 0.2% to $2,927.50 per ounce. Close And that's The Worldview on this Friday, March 7th, in the year of our Lord 2025. Subscribe by Amazon Music or by iTunes or email to our unique Christian newscast at www.TheWorldview.com. Or get the Generations app through Google Play or The App Store. I'm Adam McManus (Adam@TheWorldview.com). Seize the day for Jesus Christ.

The floor of Congress turned into a Broadway musical stage, as Democrats rallied together in support of Rep. Al Green, who was censured by House members. As the censure was read, Green led his colleagues in a song, "We Shall Overcome". Leave it to these clowns to grandstand in front of the cameras. Also on the show, Hunter Biden is back in the headlines. This time, he said he is broke because his art isn't selling, thus not being able to afford to pay for his laptop data lawsuit. Jake also talks to syndicated columnist Ron Hart about his latest column on president Zelenskyy. See omnystudio.com/listener for privacy information.

Democrats break out in singing “We Shall Overcome” after the House voted to censure Rep. Al Green for interrupting President Trump's address. See omnystudio.com/listener for privacy information.

Comprehensive coverage of the day's news with a focus on war and peace; social, environmental and economic justice. Representative Al Green censured by Congress for disrupting Trump speech, Dems sing “We Shall Overcome” as House speaker reads censure resolution California attorney general sues Trump administration for 6th time in 6 days, this time over $148 million cut to education grants Producers of Broadway musical Hamilton cancel next year's performance at Kennedy Center,citing Trump take-over and purge of staff at the cultural center Democratic lawmakers say Republican budget-cutting plan would devastate Medicaid health care for millions World Health Organization says US aid cuts threaten decades of progress against Tuberculosis, world's deadliest communicable disease The post Democrats say Republican budget-cutting plan would devastate Medicaid; AG Bonta sues Trump admin for 6th time in 6 weeks – March 6, 2025 appeared first on KPFA.

“The House has resolved that Representative Al Green be censured.” House Republicans, along with 10 Democrats, joined together on Thursday to censure Rep. Al Green for protesting during President Donald Trump's address to a joint session of Congress, where he shouted that the president has no mandate to cut Medicaid. Fellow Democrats joined him in the well as they sang, “We Shall Overcome.” Democrats continued singing, and Republicans eventually cut the feed to the House floor, preventing the public from seeing it. On Tuesday night, Green said this is why he spoke out: “I was making it clear to the president that he has no mandate to cut Medicaid. I have people who are very fearful, these are poor people, and they have only Medicaid in their lives when it comes to their healthcare.” “I don't know. Whatever the punishment is, I'm not fighting the punishment.” Learn more about your ad choices. Visit megaphone.fm/adchoices

Subscribe for more Videos: http://www.youtube.com/c/PlantationSDAChurchTV Deeper Dive Theme: Pastor Rose breaks down the difference between prejudice and racism and why each of us is called to overcome any prejudices in our lives. Episode Title: The Struggle Continues Host: Dawn Williams Guest: Pastor N. Abraham Rose Date: February 26, 2025 Tags: #psdapodcast #psdatv #faith #fuel #fight #equity #equality #struggle #wrestle #battle #justice #ItIsASpirtualThing #TheStruggleContinues #FatherhoodOfGod #BrotherhoodOfMan #LoveTrumpsHate #WeShallOverCome For more life lessons and inspirational content, please visit us at http://www.plantationsda.tv. Church Copyright License (CCLI): 1659090 CCLI Streaming Plus License: 21338439Support the show: https://adventistgiving.org/#/org/ANTBMV/envelope/startSee omnystudio.com/listener for privacy information.

Subscribe for more Videos: http://www.youtube.com/c/PlantationSDAChurchTV Deeper Dive Theme: Pastor Rose breaks down the difference between prejudice and racism and why each of us is called to overcome any prejudices in our lives. Episode Title: The Struggle Continues Host: Dawn Williams Guest: Pastor N. Abraham Rose Date: February 26, 2025 Tags: #psdapodcast #psdatv #faith #fuel #fight #equity #equality #struggle #wrestle #battle #justice #ItIsASpirtualThing #TheStruggleContinues #FatherhoodOfGod #BrotherhoodOfMan #LoveTrumpsHate #WeShallOverCome For more life lessons and inspirational content, please visit us at http://www.plantationsda.tv. Church Copyright License (CCLI): 1659090 CCLI Streaming Plus License: 21338439Support the show: https://adventistgiving.org/#/org/ANTBMV/envelope/startSee omnystudio.com/listener for privacy information.

Subscribe for more Videos: http://www.youtube.com/c/PlantationSDAChurchTV Theme: The faith of our forefathers provided for them not only respite and relief, but it also served to fuel their determination in the fight for equity and equality. They understood the spiritual nature of the struggle for social and racial justice. Speaker: Pastor N. Abraham Rose Title: The Struggle Continues Key text: https://www.bible.com/bible/59/EPH.6.12.esv Bulletin/Notes: http://bible.com/events/49393530 Date: February 22, 2025 Tags: #psdatv #faith #fuel #fight #equity #equality #struggle #wrestle #battle #justic #ItIsASpirtualThing #TheStruggleContinues #FatherhoodOfGod #BrotherhoodOfMan #LoveTrumpsHate #WeShallOverCome For more life lessons and inspirational content, please visit us at http://www.plantationsda.tv. Church Copyright License (CCLI): 1659090 CCLI Streaming Plus License: 21338439Support the show: https://adventistgiving.org/#/org/ANTBMV/envelope/startSee omnystudio.com/listener for privacy information.

The Reverend Dr. Martin Luther King Jr. once described the freedom songs of the civil rights movement as “the soul of the movement.” What would the civil rights movement, the anti-war movement, the Black Lives Matter movement be like without iconic songs like “We Shall Overcome,” the Plastic Ono Band's “Give Peace A Chance” and Kendrick Lamar's “Alright”? In celebration of Martin Luther King Jr. Day, we're diving into the history of protest music in America.

Send us a textLegendary folk singer, songwriter and multi-instrumentalist John McCutcheon kicks off 2025 on You, Me and An Album by introducing Al to Pete Seeger's 1963 live album We Shall Overcome. John talks about how it was the first album he had ever bought and how it has shaped life and his work as a musician. He also discusses his personal relationship with Seeger and what made Seeger such an important and unique figure in folk music. John and Al wrap up by discussing John's new album, Field of Stars, his baseball fandom and his upcoming touring and recording plans.You can find out more about John's music at his website, folkmusic.com. Also be sure to give him a follow on Instagram at @appalseed.Al is on Bluesky at @almelchior.bsky.social. This show has an account on Instagram at @youmealbum. Subscribe for free to You, Me and An Album: The Newsletter! https://youmealbum.substack.com/. You can also support the show on Buzzsprout at https://www.buzzsprout.com/1542814/episodes or at the link at the bottom of these show notes.As Al mentioned on the show, here is a list of organizations that are helping those who need assistance due to the fires in the Los Angeles area. Please consider donating to these organizations or helping in whatever way you may be able to.American Red Cross of the Los Angeles Region: https://www.redcross.org/local/california/los-angeles/about-us/our-work/california-wildfires-response-january-2025.htmlLos Angeles Fire Department Foundation: https://supportlafd.kindful.com/?campaign=1040812Musicares: https://donor.musicares.org/page/lafirereliefCA Community Foundation's Wildlife Recovery Fund: https://www.calfund.org/funds/wildfire-recovery-fund/California Fire Foundation: https://www.cafirefoundation.org/Habitat for Humanity of Greater Los Angeles: https://www.habitatla.org/World Central Kitchen: https://wck.org/1:31 John joins the show2:41 John's copy of We Shall Overcome is incredibly well-preserved4:32 John did not buy the album because of Pete Seeger9:10 We Shall Overcome was different from other music that John had heard13:01 John talks about his first Seeger concert19:17 John explains why he thinks a rift developed in the folk community during the ‘60s21:50 Seeger took care in how he orchestrated his setlists25:45 We Shall Overcome was John's first taste of what a concert experience was like31:36 John talks about Seeger's courage as an artist34:33 John recounts the first time he met Seeger and his relationship with him over the years39:54 John discusses Field of Stars and being inspired by Henry Aaron45:49 John talks about his upcoming plansOutro music is from "Field of Stars" by John McCutcheon.Support the show

Episode 318, Songs With Stories, presents the stories behind eight iconic 20th century songs: That's All Right Mama, Foggy Mountain Breakdown, We Shall Overcome, La Bamba, Alexander's Ragtime Band, Ain't That A Shame, In The... Read More The post Episode 318, Songs With Stories appeared first on Sam Waldron.

She is known as the voice of a generation. The Queen of Folk. A legend. An icon, the one who sang “We Shall Overcome” alongside Martin Luther King Jr. at the 1963 March on Washington. As much as anyone, Joan Baez embodied the spirit of that decade of soaring dreams and songs and dramas set in motion that echo through this world of ours. Meanwhile, her love affair with a young Minnesota singer-songwriter calling himself Bob Dylan, whose career she pivotally helped launch, is also reentering the public imagination with a big new movie. And her classic heartbreak hit about him, “Diamonds and Rust,” is topping global charts anew.But Joan Baez at 83 is so much more intriguing than her projection as a legend. She grew up the daughter of a Mexican physicist father and a Scottish mother in a seemingly idyllic family. But even at the height of her fame, she was struggling mightily with mysterious interior demons. She and her beloved sisters finally reckoned in midlife with a truth of abuse they had buried, even in memory, at great cost. She has reckoned with fracture inside herself and been on an odyssey of wholeness. She is frank and funny, irreverent and wise. Among other gifts, she offers a refreshing way in to what it means to sing and live the reality of “overcoming,” personal and civilizational.Krista spoke with Joan on stage at the 2024 Chicago Humanities Festival.Joan Baez published her first (wonderful) book of poetry at the age of 83: When You See My Mother, Ask Her to Dance. She was one of the leading artists of the 1960s folk revival, and brought her voice to the Civil Rights and anti-war movements of that decade. She performed for over 60 years, releasing more than 30 albums. She has won scores of awards and was inducted into the Rock & Roll Hall of Fame in 2017. In addition to her poetry, she has published a book of drawings, Am I Pretty When I Fly?: An Album of Upside Down Drawings, and painted a series of portraits called Mischief Makers. You can find the links for her books here.Find the transcript for this show at onbeing.org.______Sign up for The Pause — a monthly Saturday morning companion to all things On Being, with heads-up on new episodes, special offerings, event invitations, recommendations, and reflections from Krista all year round.

In our first episode of Season 2, we discuss Pete Seeger's participation in the civil rights movement between 1962 and 1965. We discuss his early involvements singing in Georgia, his affiliation with the Student NonViolent Coordinating Committee, and his We Shall Overcome concert at Carnegie Hall. We also evaluate Seeger's participation in Mississippi's Freedom Summer in 1964, and his attendance in the Selma march in 1965 along with his encountering of the folk process of the singing of Freedom Songs. We conclude with the internal racial shift that happens within the movement, and how that influences Seeger's gradual separation from singing from SNCC and singing for civil rights.

I woke up today and my wife told me the news. I went for a walk in the woods and found myself thinking about We Shall Overcome and singing it by myself surrounded by fallen leaves and pine trees. I put on Dawn Landes' new album: The Liberated Woman's Songbook, I thought about women of the past and how they found their strength. I started posting clips of women who appeared on Basic Folk this year. As I was listening, I wanted to put these voices together all in one spot because I found strength and comfort here. I hope it helps you, wherever you are, whoever you voted for.Take care today. We'll be here for you. Featuring voices of: lizzie no, Sarah Jarosz, Aoife O'Donovan, Dawn Landes, Amy Helm, Missy Raines, Peggy Seeger, Michaela Anne, Ana Egge, Denitia, Liv Greene, Kaïa Kater, Humbird, Leyla McCalla.Feedback? Email us: basicfolkpod@gmail.com

Val is fulfilling a promise to her son, Joshua, by auditioning for "The Voice." Joshua has been a passionate fan of "The Voice" and has long believed in his mother's star quality. Val has had an impressive career, providing vocal direction and background vocals for renowned gospel and mainstream music artists. Her musical journey began in church at a young age, leading her to pursue music at the University of Alabama at Birmingham. In addition to her work as a background vocalist, Val released her first gospel single in 2011 and independently launched her album "Dream" in 2016, which reached #18 on the Gospel Albums Billboard Chart. A highlight of her career was performing at the World Games' opening and closing ceremonies in 2022, where her rendition of "We Shall Overcome" reached millions worldwide. Val is also a devoted wife and mother of three children, with two stepdaughters.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

June has been designated a month of awareness for several civil rights causes and constituencies. From LGBTQ Pride and Stonewall to Caribbean American Heritage and Juneteenth, the month reminds us of our ongoing efforts to achieve an America as good as its ideals. And as June is also designated Black Music Appreciation Month, we know that whatever the civil rights fight, music has been the soundtrack and a catalyst for change. Gospel's freedom songs like "We Shall Overcome" gave voice to the struggle for racial equality in the 1950s and 60s, accompanying marches, rallies, and sit-ins. Today, hip hop music has become a powerful medium for championing the underserved and holding the powerful accountable on issues like police violence. This episode will explore music as a tool for resilience, solidarity, and activism as we advance all movements for justice and equality.

Val is fulfilling a promise to her son, Joshua, by auditioning for "The Voice." Joshua has been a passionate fan of "The Voice" and has long believed in his mother's star quality. Val has had an impressive career, providing vocal direction and background vocals for renowned gospel and mainstream music artists. Her musical journey began in church at a young age, leading her to pursue music at the University of Alabama at Birmingham. In addition to her work as a background vocalist, Val released her first gospel single in 2011 and independently launched her album "Dream" in 2016, which reached #18 on the Gospel Albums Billboard Chart. A highlight of her career was performing at the World Games' opening and closing ceremonies in 2022, where her rendition of "We Shall Overcome" reached millions worldwide. Val is also a devoted wife and mother of three children, with two stepdaughters.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

We Shall Overcome!

In the 1960s civil rights movement, some concluded that non-violence and the focus on integration had failed -- their cry was "Black Power" rather than "We Shall Overcome." One of the most prominent of these groups was the Black Panther Party, and it was also perhaps one of the most misunderstood and vilified by the white establishment. We take a closer look for our "Hidden Histories" series. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

In the 1960s civil rights movement, some concluded that non-violence and the focus on integration had failed -- their cry was "Black Power" rather than "We Shall Overcome." One of the most prominent of these groups was the Black Panther Party, and it was also perhaps one of the most misunderstood and vilified by the white establishment. We take a closer look for our "Hidden Histories" series. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

Today, we bring you part 2 of the Big Sur Folk Festival, 1969. The BSFF occurred at Esalen Institute on September 13th and 14th of 1969, just about a month after Woodstock. As related in part one of this two part series, the festival was captured in a documentary called "Celebration at Big Sur," directed by Baird Bryant and Johanna Demetrakas - available on YouTube, a great watch. Set list for part 2: -John Sebastian, formerly of the Lovin Spoonful, with “Rainbows All Over Yours Blues" -"Woodstock" by Joni Mitchell, who accompanies herself on piano. -Some audio of an audience member, a school teacher who identifies as "a freak." - ”Red-Eye Express" performed by John Sebastian with Stephen Stills - “Malagueña Salerosa" by Carol Ann Cisneros - an extended ”Down By the River" by Crosby Stills Nash and Young. -“Sweet Sir Galahad" by Joan Baez - to end the show, "Oh Happy Day" by Dorothy Combs Morrison and the Combs Sisters, accompanied by Joan Baez. Some trivia about some of the musicians: -Joni Mitchell was dating a member of Crosby Stills Nash and Young at the time, Graham Nash. -Joni's song “Woodstock” was in fact inspired by the famous music festival, but she did not attend. Instead she opted to stay in New York City and appear on the Dick Cavett show. -John Sebastian: He was a founding member of the Lovin' Spoonful, known for hits like "Do You Believe in Magic?" and “Summer in the City." The Spoonful imploded after a 1967 marijuana bust. In the 80's Sebastian began writing and recording music for children's TV, including 1983's "Strawberry Shortcake: Housewarming Surprise" and 1985's "Strawberry Shortcake Meets the Berrykins." -Stephen Stills: a founding member of Buffalo Springfield who wrote one of the most recognizable songs of the 1960s, "For What It's Worth." Buffalo Springfield broke up in 1968, and Stills joined with David Crosby of the Byrds and Graham Nash of the Hollies to form early supergroup Crosby Stills and Nash. Neil Young wouldn't join them until August 1969, just a few short weeks before the performance that you're about to listen to. -Dorothy Combs Morrison won a Grammy in 1969 for her song "Oh Happy Day," which ends this episode - it reached #4 in the US and #1 in France that year. It was recorded in a church in Berkeley, California, a couple hours away from Big Sur. George Harrison stated that "Oh Happy Day" was a primary influence for his 1970 hit “My Sweet Lord.” -Joan Baez dated Steve Jobs in the 1980s. He was in his mid twenties and she was in her 40's. DIdn't matter. She was Joan Baez. At the time that Big Sur Folk Festival occurred she was married to an activist named David Harris, who was in prison in 1969 for refusing to serve in the armed forces. (In part one, we hear “Song for David,” written to her man behind bars.) During this performance, Baez is actually seven months pregnant; her son, Gabriel, was born in December 1969. Baez's performance of Pete Seeger's We Shall Overcome during the 1963 March on Washington is one of the most enduring images of the 1960s. In 1964, she publicly endorsed resisting taxes by withholding 60 % of her income. In 1972, Baez traveled to North Vietnam, to address human rights in the region, and was caught in a bombing of Hanoi, North Vietnam, during which the city was bombed for eleven straight days. Al Capp, the cartoonist for the strip Li'l Abner, created a character called "Joanie Phoanie" based on Baez - a communist radical who sang songs about class warfare but also rode in a limousine and charged outrageous performance fees to impoverished orphans. Beyond all of this, Baez is a genius songwriter and performer with a magical voice. She performed at each of the Big Sur Folk Festivals, beginning in 1964 and going until 1971. She still can occasionally be seen in the Carmel and Big Sur area. Ms. Baez, if you're listening now - come on back. There's a space at the Esalen baths with your name on it.

Welcome back to another episode of Rock is Lit, the podcast where we dive into the powerful intersection of rock music, literature, and pop culture. Today, we're stepping outside the realm of fiction as we embark on a fascinating journey into the 1960s with acclaimed author Frye Gaillard and his nonfiction book ‘A Hard Rain: America in the 1960s', which captures the heartbeat of an era, an era that has inspired so many of the rock novels featured on the podcast. In Frye's extraordinary book he not only delves into the tragic and hopeful narratives of civil rights, black power, women's liberation, and the Vietnam War but also unveils the cultural manifestations of change. From the Brothers Kennedy to Janis Joplin, Johnny Cash to Bob Dylan, and everything in between, ‘A Hard Rain' introduces us to the influential figures who shaped this iconic American decade. Listen to Episode 14, featuring Michael Amos Cody's novel ‘Gabriel's Songbook, with special guests Frye Gaillard and Peter Cooper: https://www.christyalexanderhallberg.com/rockislitpodcast/michaelamoscodyandfryegaillardandpetercooper Listen to my bonus uncut interview with Frye Gaillard and Peter Cooper: https://www.christyalexanderhallberg.com/podcast-vault-feed/petercoopertribute Or watch it on YouTube: https://www.youtube.com/watch?v=MGYwFdmrt8c&list=PLMlm_N-Z1yVrwPKpSnVZnH_twxo78eW8A&index=38   PLAYLIST Royalty-free 60s 70s psychedelic rock n roll music and visuals: https://www.youtube.com/watch?v=sGVRph0Dj1c&t=3s Rock is Lit theme music Clip from Season 3 Announcement/'Duck Tales'/Disney Channel [Guitar Instrumental Beat] Sad Rock [Free Use Music] Punch Deck—“I Can't Stop” Royalty-free 60s 70s psychedelic rock n roll music and visuals: https://www.youtube.com/watch?v=sGVRph0Dj1c&t=3s “We Shall Overcome” by Pete Seeger “Chain Gang” by Sam Cooke “Abilene” by George Hamilton, IV “A Hard Rain's A-Gonna Fall” by Bob Dylan “Only the Lonely” by Roy Orbison “A Change is Gonna Come” by Sam Cooke “Different Drum” by The Stone Poneys (with Linda Ronstadt) “Bad Moon Rising” by Creedence Clearwater Revival “Mississippi Goddamn” by Nina Simone “Abraham, Martin, and John” by Dion “Like a Rolling Stone” by Bob Dylan “Helter Skelter” by The Beatles “The Star Spangled Banner” by Jimi Hendrix (Live at Woodstock 1969) “If I Can Dream” by Elvis Presley Rock is Lit theme music   LINKS: Leave a rating and comment for Rock is Lit on Goodpods: https://goodpods.com/podcasts/rock-is-lit-212451 Leave a rating and comment for Rock is Lit on Apple Podcasts: https://podcasts.apple.com/us/podcast/rock-is-lit/id1642987350 Frye Gaillard's website: https://fryegaillardauthor.com/ Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com/rockislit Christy Alexander Hallberg on Instagram, Twitter, YouTube: @ChristyHallberg Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome back to another episode of Rock is Lit, the podcast where we dive into the powerful intersection of rock music, literature, and pop culture. Today, we're stepping outside the realm of fiction as we embark on a fascinating journey into the 1960s with acclaimed author Frye Gaillard and his nonfiction book ‘A Hard Rain: America in the 1960s', which captures the heartbeat of an era, an era that has inspired so many of the rock novels featured on the podcast. In Frye's extraordinary book he not only delves into the tragic and hopeful narratives of civil rights, black power, women's liberation, and the Vietnam War but also unveils the cultural manifestations of change. From the Brothers Kennedy to Janis Joplin, Johnny Cash to Bob Dylan, and everything in between, ‘A Hard Rain' introduces us to the influential figures who shaped this iconic American decade. Listen to Episode 14, featuring Michael Amos Cody's novel ‘Gabriel's Songbook, with special guests Frye Gaillard and Peter Cooper: https://www.christyalexanderhallberg.com/rockislitpodcast/michaelamoscodyandfryegaillardandpetercooper Listen to my bonus uncut interview with Frye Gaillard and Peter Cooper: https://www.christyalexanderhallberg.com/podcast-vault-feed/petercoopertribute Or watch it on YouTube: https://www.youtube.com/watch?v=MGYwFdmrt8c&list=PLMlm_N-Z1yVrwPKpSnVZnH_twxo78eW8A&index=38   PLAYLIST Royalty-free 60s 70s psychedelic rock n roll music and visuals: https://www.youtube.com/watch?v=sGVRph0Dj1c&t=3s Rock is Lit theme music Clip from Season 3 Announcement/'Duck Tales'/Disney Channel [Guitar Instrumental Beat] Sad Rock [Free Use Music] Punch Deck—“I Can't Stop” Royalty-free 60s 70s psychedelic rock n roll music and visuals: https://www.youtube.com/watch?v=sGVRph0Dj1c&t=3s “We Shall Overcome” by Pete Seeger “Chain Gang” by Sam Cooke “Abilene” by George Hamilton, IV “A Hard Rain's A-Gonna Fall” by Bob Dylan “Only the Lonely” by Roy Orbison “A Change is Gonna Come” by Sam Cooke “Different Drum” by The Stone Poneys (with Linda Ronstadt) “Bad Moon Rising” by Creedence Clearwater Revival “Mississippi Goddamn” by Nina Simone “Abraham, Martin, and John” by Dion “Like a Rolling Stone” by Bob Dylan “Helter Skelter” by The Beatles “The Star Spangled Banner” by Jimi Hendrix (Live at Woodstock 1969) “If I Can Dream” by Elvis Presley Rock is Lit theme music   LINKS: Leave a rating and comment for Rock is Lit on Goodpods: https://goodpods.com/podcasts/rock-is-lit-212451 Leave a rating and comment for Rock is Lit on Apple Podcasts: https://podcasts.apple.com/us/podcast/rock-is-lit/id1642987350 Frye Gaillard's website: https://fryegaillardauthor.com/ Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com/rockislit Christy Alexander Hallberg on Instagram, Twitter, YouTube: @ChristyHallberg Learn more about your ad choices. Visit megaphone.fm/adchoices

On this Martin Luther King Jr. Day, let us look back at how Dr. King took a non-violent approach during the civil rights movement, the Biblical values he based his life on, and how we should live our lives today. The Reverend Kahlil Carmichael begins in Ezra 8:21-23 with his message, “We Shall Overcome.” Live Well meets every Sunday at 11 a.m. at 51 Church Street, Robbinsville, Windsor, NJThank you for your givingpushpay.com/g/itiswellchurchVisit our website at livewellchurch.orgFollow us on Facebook @pastorkahlilFind us on Instagram @livewellwithpastorkahlil

It’s time once again for America’s annual sing-along of “We Shall Overcome,” in celebration of Rev. Martin Luther King Jr.’s birthday. As even school children know, he famously had a dream. His dream was that over the long arc of history, America will someday achieve racial harmony –

Award winning director Niels Arden Oplev's latest film, ROSE, takes place over the course of an eventful week that focuses on the depth of the relationship between two sisters, Inger and Ellen, and how their connection will be tested on a highly anticipated coach trip to Paris. When Inger announces her struggles with mental health to the group, the sisters are faced with pity from some and downright discrimination from others. On arrival in Paris, it soon becomes clear that Inger has a hidden agenda concerning a figure from her past, ultimately involving the entire group in her hunt for answers. The film stars Sofie Gråbøl (star of the hit Danish drama series, “The Killing”) and Lena Maria Christensen. ROSE is a film about love and care for each other, in spite of our differences, as much as it is a film about not judging a book by its cover. After its release in Denmark, ROSE received a number of nominations and accolades from the Danish Film Association and Denmark's Bodil Awards, including Best Actress at the Bodil Awards and Best Supporting Actress at both the Bodil Awards and Danish Film Association Awards. Director and writer Niels Arden Oplev (The Girl With the Dragon, We Shall Overcome) joins us for a conversation on how a personal inspiration for making ROSE helped him meet the challenge of creating an empathetic and entertaining film about mental illness, and why securing the acting duo Sofie Gråbøl (“Forbrydelsen”/”The Killing”) and Lena Maria Christensen (The Legacy) was crucial to critical and commercial success of the film. For more go to: gametheoryfilms.com/rose Opening in LA at the Laemmle Santa Monica on December 8th, 2023 Available Digitally Beginning December 26th, 2023

In the aftermath of the slaughter of 11 Jews inside the Tree of Life Synagogue in Pittsburgh, the deadliest antisemitic attack in U.S. history, American Jewish Committee (AJC) drew up a plan to galvanize Jewish communities and their allies across the world in an expression of unity and defiance: #ShowUpForShabbat. The campaign, which reached hundreds of millions of people, urged those of all faiths to attend synagogue services during the Shabbat following the attack to show solidarity with the Jewish community. In this third episode of our Remembering Pittsburgh series, hear from some of those who showed up to that Shabbat five years ago on what the experience meant to them and how the events of that week altered their perspective on antisemitism in America. *The views and opinions expressed by guests do not necessarily reflect the views or position of AJC.  Episode Lineup:  (0:40) Belle Yoeli, Anne Jolly, Rachel Ain, Sharif Street, Jennifer Mendelsohn Show Notes: Listen: Remembering Pittsburgh Part 1: Behind the Scenes at the Reimagined Tree of Life Remembering Pittsburgh Part 2: What the Family of Tree of Life Victim Joyce Fienberg Wants You to Know About Her Legacy Take Action: Urge Congress to Stand Against Rising Antisemitism Music credits: Shloime Balsam - Lo Lefached Follow People of the Pod on your favorite podcast app, and learn more at AJC.org/PeopleofthePod You can reach us at: peopleofthepod@ajc.org If you've appreciated this episode, please be sure to tell your friends, and review us on Apple Podcasts. Episode Transcript: Manya Brachear Pashman:  This month, AJC set out to mark the five-year anniversary of the Pittsburgh Synagogue Shooting at the Tree of Life with a series of episodes exploring this turning point for the American Jewish community. Our first installment aired October 5. Two days later, the Jewish people faced another unprecedented deadly antisemitic attack, this time in Israel. Synagogues stepped up security and families tamped down their fears to take their children to Hebrew school or attend Shabbat services. In the second episode of our series, we sat down with Howard and Marnie Fienberg, who paid tribute to their mother Joyce. In this third installment, we look back at how horror drew people to solidarity. May we see that same solidarity today.  Belle Yoeli: We saw hundreds of thousands of people show up. And we saw pictures later, after the fact, and videos, and people making speeches, and just so much solidarity. This was captured on the news. I think it really stands out as one of the most amazing responses to antisemitism that we've seen in modern history. Manya Brachear Pashman: On October 27, 2018, Americans witnessed the deadliest antisemitic attack in this nation's history. Eleven worshipers inside the Tree of Life Synagogue in Pittsburgh were murdered just for being Jewish. The senseless slaughter inside a house of worship devastated and shocked American senses because it was simply unAmerican. But the aftermath of the atrocity became an American moment when so many people showed up – showed up with hugs, showed up with flowers, showed up with prayers for their Jewish neighbors.  The most visible expression of this came a week after the massacre with the unprecedented turnout of people of all faiths at synagogues across the nation as part of AJC's #ShowUpForShabbat campaign. Together, Americans sent a message that hate will not prevail. Belle Yoeli: Everyone wanted to do something, and the entire Jewish community mobilized to make this happen with the understanding that as AJC has always said that antisemitism is not just about the Jewish community. It starts with the Jewish community, but it's a threat to democracy, and the murder of Jews in their religious institution is such a breaking, a fracturing of everything that the United States stands for, everything that democratic society stands for. Manya Brachear Pashman: Today, Belle Yoeli is the chief advocacy officer for AJC. In 2018, she worked as the chief of staff for then AJC CEO David Harris. David had spent nearly 20 years counseling European leaders on the rise of antisemitism in their midst, calling their attention to violent crimes against Jews when conflict erupted between Israel and their Arab neighbors. Belle was on her way to a nephew's birthday party when she got the call on October 27 about what had happened in Pittsburgh. She remembers sobbing in the car on the phone with colleagues as they all grappled with the reality that whether they were regular shul-goers or had just happened to go to synagogue to celebrate a friend's bar mitzvah that day – it just as easily could've been them. For many, what they needed now was to go to shul and not be afraid, and to see others, not just their own community, but others of all faiths in the pews alongside them. What they needed most now was to know they were not alone. So they drew up a plan. Belle Yoeli: A couple members of our staff actually kind of simultaneously came up with a similar idea, which was that we need to, more than anything, rally non-Jews to come and support the Jewish community at this time, and what better time to do that than the following Shabbat. Manya Brachear Pashman: Dubbed #ShowUpForShabbat, the social media-based campaign called on both Jews and those of other faiths to flock to synagogues that coming Shabbat on the weekend of November 2 in support of the Pittsburgh Jewish community and all of American Jewry. The response across 80 countries was astounding. More than 250 million people spread the message on social media, including celebrities Andy Cohen, Itzhak Perlman, and Mayim Bialik, and politicians Paul Ryan, Kamala Harris, and Sadiq Kahn. And hundreds of synagogues across the country and around the world, from Tokyo to Santiago to London to San Francisco, welcomed people of all faiths into their sanctuaries. Those who walked through the doors included diplomats from dozens of countries, federal, state, and local elected officials, and Christian, Muslim, Hindu clergy. Synagogues across the country reported massive crowds rivaling or exceeding those seen at High Holy Day services. Belle Yoeli: There are some times, I think before Pittsburgh, and before Tree of Life and after, where the Jewish community doesn't always feel like we are seen, and that we need defense too. When it comes to antisemitism, because Jews are viewed as white or for other reasons, or when it comes to us attacks against Israel, we don't feel like our partners are necessarily always there for us, although many are. Seeing with such clarity how people were showing up for the Jewish community, we all really needed that. And honestly, society needed that and to see that. That we will not let this stand. I think it shook everyone to their core and not just the Jewish community. That's what struck a chord with people that could have been me, that could have been hatred towards African Americans, that could have been hatred towards the Muslim community. Every single community who has a piece of them, an identity that's so strong resonated with that. Manya Brachear Pashman: We connected with people who showed up that Shabbat five years ago, and asked them what the experience meant to them, whether the events of that week altered their perspective on antisemitism in America, or changed how they show support to their Jewish neighbors. Anne Jolly: An important part of what we proclaim is love God, love your neighbor, change the world. And so we believe that means we show up for each other. We can't love each other without being present with each other. So we have to be together. You have to show up. Manya Brachear Pashman: Episcopal Bishop of Ohio Anne Jolly was serving as the rector of St. Gregory Episcopal Church in Deerfield, Illinois in October 2018. A former hospital chaplain, she was sitting in her office when she heard the news break that Saturday morning. Her first call was to her friend and colleague Rabbi Karyn Kedar down the road at the Reform temple commonly known as Congregation BJBE. Rabbi Kedar had recently preached at St. Gregory and then-Pastor Jolly was scheduled to deliver the guest sermon at BJBE the following Friday night. Anne Jolly: I called her and we talked and we prayed. And I said to Karyn, I think probably you need to preach on the Shabbat following the shooting at your temple and she said, ‘I want you to do it.' She said ‘I think I think we need to hear your voice and that the congregation needs to hear you. Rabbi Kedar I think thought that to hear a voice of someone who is not Jewish saying aloud, We love you, we care for you. We believe we are all created in God's image together. And that means we need to show up for each other. It means we need to be present with each other, that to hear that from someone who was not part of their community might be more powerful, more impactful, and more important for the community here at that time. Manya Brachear Pashman: When Bishop Jolly arrived that following Friday she did not expect her sudden sense of fear when she encountered armed guards. Anne Jolly: I didn't realize I was afraid until I walked in the door. And I stopped and had to take a deep breath and realize that I was afraid because I was entering into a space of people who have long been afraid. And that I had never had to experience that before in that way. And I wasn't really afraid for my congregation the same way I was for my beloveds in the synagogue, that they had more of a reason to be afraid than I did. And that was all the more reason for me to be there, and to be present with them. Manya Brachear Pashman: Bishop Jolly credits that night at BJBE for the deep connection that formed with the congregation. In fact, she returned to BJBE many more times to celebrate Shabbat. Precisely a year later, the members of the Jewish congregation showed up at her door after a pumpkin patch at St. Gregory had been destroyed by vandals. Anne Jolly: There were a bunch of them that came to our patch and we were talking about it and they said, ‘We just wanted to show you that we are supporting you. And they were worried that that vandalism had been an act of aggression against us. And I just thought it was kids. And that was a really clear distinction of how our worldviews are different. For them, a vandalism thing would, of course, of course, be something hateful against them. In this case, it was children, it was just teenagers being dumb. But it reinforced that understanding that for them, fear is always in the background because of the violence perpetrated to them – again and again and again. Rabbi Rachel Ain: It was not a wake-up call that hate existed and already the hate was being felt. And at the same time, the love with my neighbors was being felt. So I was able to hold on to both emotions. But really, as I look back at these five years. Pittsburgh to Poway to Colleyville to Jersey City. I mean, I can sort of think back to all of these moments. It's here. And we need to both be proudly Jewish, and strongly protected. Manya Brachear Pashman: For Rabbi Rachel Ain, the spiritual leader of Sutton Place Synagogue, a conservative synagogue in New York City, the massacre at Tree of Life was not her first encounter with antisemitism. She knew it was simmering. A year earlier, almost to the day, vandals had spray painted swastikas across the entrance of her synagogue on the East Side of Manhattan. She knew how powerful it had been to have members of the wider community come support the congregation after that incident. Whether to invite members of the community to #ShowUpForShabbat was never a question in her mind. Rabbi Rachel Ain: It's not only that I felt supported by my neighbors, especially those that weren't Jewish. But more than anything, it was that so many of our congregation members who were not, let's say Shabbat regulars, felt the importance and the value of showing up for Shabbat and they knew that they had an address to come to both physically and spiritually to place their pain and their needs. Manya Brachear Pashman: That same weekend marked the bar mitzvah celebration of a young man in the congregation. Rabbi Ain wrestled with how to balance the sadness and shock of the prior weekend with the joy and celebration of his milestone. And a few years later, that same young man and his brother stepped up to lead the synagogue's Holocaust Remembrance event, in which teens interviewed the children of Holocaust survivors and shared the stories that have been passed down to them. She wonders if that moving show of solidarity when he was 13 and the formational years that followed had an impact. Rabbi Rachel Ain: What I really keep thinking about is how some of our teenagers who at that point, were in sixth grade or seventh grade. And now here they are seniors in high school and freshmen in college, how their teen experience has been shaped by showing up for Shabbat and showing up for shul when bad things have happened. So what I've also tried to do is, how do we ensure that our young people's experiences aren't only about the challenges of being Jewish, but the joys of being Jewish? Sharif Street: I just remember the massive amount of people that showed up and the diversity of the folks. I mean, I don't think I'd seen that many people show up for an evening Shabbat at Rodef Shalom in, well, maybe ever.” Manya Brachear Pashman: Pennsylvania State Sen. Sharif Street had been in Pittsburgh the day before the shooting at the Tree of Life building. When he heard the news that Saturday morning, he scrambled to find out if his friends and colleagues were OK. He was not oblivious to hatred and its potential to lead to violence. His father had been active in the civil rights movement and Sen. Street had sponsored legislation to curb hate crimes, but he had hoped to get ahead of the trend. This seemed unfathomable. Sharif Street: I didn't really contemplate that in the Commonwealth of Pennsylvania, it was within the realm of reasonable possibility that someone was gonna walk into a synagogue, and commit such a vicious, horrible act of hate. I didn't see that.” I thought we had moved beyond that stage of antisemitism and bigotry. And I was reminded of what my friends, older folks, and black and Jewish community always said, which is, we have to remain constantly vigilant. Because these things have a way of coming back. It took on a new air, a new level of seriousness to me. Because this is not the idea that people could be killed because of antisemitism in America. It's not just something of a bygone era. But I realized we were living in that era today. Manya Brachear Pashman: Sen. Street accompanied a friend to Temple Rodef Sholom in Philadelphia a week later and he has a few indelible memories from that night.  Sharif Street: People from every walk of life. Some people who were obviously maybe were not Jewish, who just wanted to express their support and their solidarity. And the look on the faces of people who are members, who were just, who felt so troubled, so shaken. And to see all the support from people, I think, made people feel like even in this world that seems so cruel in that moment that there were many people who are good, who stood with them. And I think a lot of times, folks who are doing these kinds of acts of hate and terror want to make folks, in this case Jewish people, feel isolated and alone. And I think that the service allow people to recognize you're not alone. And that people from all walks of life stand with you and stand against these horrible acts of hate. I think those of us who were, I would say the under-50 crowd and the younger you got, the more there was a level of shock, found it more disturbing because I guess we were further removed from an era when things like this when vicious acts of violence against people for antisemitism, racism and other forms of bigotry were more commonplace. People were wanting to make sure that this is not the beginning of a new chapter. Hopefully in our lifetimes we'll remember this as a disturbing outlier, not the beginning of an era. Jennifer Mendelsohn: What really struck me about it was how simple it was, all we asked people to do was quite literally show up. You didn't have to wave a protest flag. You didn't have to donate money somewhere. You didn't have to go on a march. It was literally just saying, ‘Come be with us this evening. We're hurting. And to have that answered so resoundingly was incredibly inspiring. Manya Brachear Pashman: Jennifer Mendelsohn helped create the DNA reunion project at the Center for Jewish History, which uses the power of genetic genealogy to reconnect Holocaust survivors and their children to relatives from whom they were separated. While she did not regularly attend Shabbat services, she and her husband thought it was important to show up at Fulton Street Synagogue in Baltimore on November 2, 2018.  Jennifer Mendelsohn: I walked in, and there's just no way to express what it was like. There were probably 300 people there. And you know, we normally do a potluck dinner. And I looked and there was, you know, there was no room to put down all the food, there was no prayer books, there were people, you know, just packed in. And I remember seeing the faces of neighbors of ours, non Jewish neighbors, and I immediately just got so overcome, and they just sort of smiled at me. And just to know that they had taken the time on a Friday night just to say, we care, and we're here with you. It was unbelievably powerful. Manya Brachear Pashman: Clergy and congregants from across different religious traditions helped light memorial candles for the 11 victims in Pittsburgh and the congregation sang “We Shall Overcome.” Jennifer Mendelsohn: I feel like every time I go back, I remember how nice it feels to be at synagogue. You always think like, Oh, it's so much easier to just, you know, sit on your couch with your fuzzy slippers. But it's, you know, it's always nice to be there. And all of the rituals are so familiar, you know, lighting candles, and, you know, welcoming the Sabbath bride and all of that, and the songs and it just reminded me that, you know, I'm not a particularly religious person in terms of practice or ritual. But it reminded me that, you know, that's where I come from, those are my people. And it was just very comforting to be in that environment at a time of such tragedy to just be around familiar sounds and smells and sights and all of that.” Manya Brachear Pashman: For Mendelsohn, 2018 had already been fraught and eye-opening, as she had become the target of online antisemitism because of a political project on Twitter. As someone who deals with the Holocaust on a daily basis, her shock surprised her. Jennifer Mendelsohn: This event sort of crystallized the sense that, you know, antisemitism was still around and perhaps, you know, coming back with a new fearsome edge… It was very hard to fathom. You know you you spend this much time thinking about the Holocaust and dealing with families shattered by genocide that was, you know, spurred by just hatred. And you think, ‘Well, surely this will never happen again, because everyone understands, and clearly people don't. So it was a very sobering experience to feel threatened again, as an American Jew. Manya Brachear Pashman: But #ShowUpForShabbat also crystallized that regardless of ideology, color or creed, most of America stood beside the Jewish community in this moment. Jennifer Mendelsohn: The crowd inside that synagogue was exactly the America that my ancestors came to the U.S. to be a part of, you know, they escaped political discrimination in Eastern Europe, and that's really for me what it was all about and to reinforce that that America exists that helping, kind, inclusive America, in the face of this horrific act of violence and hatred was just really the balm that my soul needed at that moment.  

Joan Baez needs no introduction. The legendary artist and peace icon has been inspiring generations of activists for decades to stand up against war, poverty and injustice.While at the UN in Geneva, she sat down with UN News's Daniel Johnson to talk about her earliest encounter with the UN and which of the Sustainable Development Goals (SDGs) resonates the most with her. She pointed to the climate crisis as today's most pressing struggle, warning that “if we don't get it, it's going to get us”.The performer famous for her era-defining rendition of the protest song “We Shall Overcome” also spoke about why in the face of conflict and despair, she continues to choose action and “do her part”.

Happy #Juneteenth! We are celebrating Freedom and hope you are too! This special episode of the BJE Podcast honors the ideals and pursuit of freedom in the United States and is dedicated to every ancestor who survived and fought for freedom✊

From Woody Guthrie to We Shall Overcome! Watch https://www.facebook.com/transformationtalkradio/live_videos/

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Dr. E. MICHAEL HARRINGTON: composer, musician, consultant, professor, is a course author and professor at Berklee Online.  Harrington served as expert at the U.S. Copyright Office and World Intellectual Property Organization's symposium “Copyright in the Age of Artificial Intelligence” at the Library of Congress on February 5, 2020.  He created the Coursera / Berklee College of Music Copyright Law In The Music Business class/MOOC which has been taken by students from 171 countries from Afghanistan to Malaysia to Zimbabwe, the Berklee Online Music Business Capstone course, and  the Berklee Online Graduate Music Business Law class.  He  has taught courses in music business law, music entrepreneurship, licensing, music business capstone and the future of the music industry at Berklee Online (2012-present).  He was Music Business Program Faculty Chair at SAE Institute Nashville from 2014-2017.  He taught intellectual property law and courses in music, music and entertainment industry, social media and technology at William Paterson University (2008-2012).  He was Professor of Entertainment & Music Business in The Mike Curb College of Entertainment & Music Business at Belmont University (2000-2008), and Professor of Music Theory, Composition & Ethnomusicology in the College of Visual and Performing Arts (1985-2000) at Belmont University.  He was the 1995 Jemison Distinguished Professor of The Humanities at the University of Alabama-Birmingham, an endowed chair funded by the National Endowment for the Humanities, the Jemison Family and UAB.  He is a member of the Leadership Music Class of 2007 and has also taught at the University of Miami, the University of Pittsburgh and The Ohio State University.  Eight (8) interviews of Harrington were selected as Shockwaves NME Awards 2010 Videos and are posted and streamed from NME.com.On January 25, 2019 at the 2019 NAMM in Anaheim, he served as an Expert Witness for both defendants and plaintiffs in two trials:  Marvin Gaye “Let's Get It On” v. Ed Sheeran “Thinking Out Loud” and Radiohead “Creep” v. Lana Del Rey “Get Free” with superstar attorneys Mark Rifkin (Happy Birthday; We Shall Overcome) and Bill Loaf (Lucasfilms) interrogating him.  Jerry Harrison (Talking Heads), Bob Clearmountain (Rolling Stones, Bruce Springsteen), Andrew Scheps (Metallica, Red Hot Chili Peppers) and Czarina Russell (Hans Zimmer) served as judges.Host - Trey Mitchelltreymitchellphotography IGfeeding_the_senses_unsensored on IGtrey mitchell: facebook.com/profile.php?id=100074368084848Sponsorship Information or submitting for interviews -  ftsunashville@gmail.comTheme Song - Damien HorneTake It From Me @damienhorne

Sergio Chavez

Happy Monday and a Happy MLK Day from YOUR KC Morning Show!On the show today, we celebrate the Radical, Revolutionary life of, Dr. Martin Luther King, Jr.A Good Day To Be A Kansas Citian. Always.Together, "We Shall Overcome."xoxo - @hartzell965, @holeyhearts, @kcmorningshow

Welcome to GLIDE Memorial Church's “Tiny Celebrations,” the mini-podcast highlighting the inspirational words and music from our Sunday Celebration.In this episode Associate Musical Director Zoe Ellis and The Glide Ensemble sing us out with "Encourage My Soul" and We Shall Overcome."Please support the music, the art, and the message of GLIDE Memorial Church. Please donate today. https://www.glide.org/igive/

Trio Svin - Trump Stomp Dropkick Murphys - We Shall Overcome Pat Chessell - Leave Her Johnny CANCON Celtic Kitchen Party - Big Break CANCON The Paul McKenna Band - Daylight Firkin - Loch Lomond Johnny Kalsi & The Dhol Foundation - After The Rain INST Homeland - Pipe Song INST Yoko Pwno - Tourmalet Dom DufF - Dorn D'ar Vann Grumpy O Sheep - Tipping It Up To Nancy Sver - Love Boat INST The Dreadnoughts - The Rodney Rocket CANCON John Doyle - Coolaney Reel INST Protest songs from Denmark's heavy folk artists Trio Svin. Put the boots to the Trump Stomp. Plus, Dropkick Murphys with a hymn of defiance, We Shall Overcome and we take our first ride on The Rodney Rocket from The Dreadnoughts. Celtic with attitude from Celt In A Twist!

Today, I'm going to make a few people really happy because this is the Bruce Springsteen Niche Episode that more than a handful of you have been waiting for. The episode where I explain the long-lasting appeal of Bruce Springsteen as told through select Springsteen tracks arranged in order of progressive maturity of narrative voice. The journey takes us from frustrated youth in a small town, to emergent adult getting into trouble, an adult desire for love and reconciliation with the past, deepening radicalization as the hardships of life are revealed to be so often caused by oppressive systems of class and hierarchy, and finally a swell of hope and resilience as a more mature voice of elderhood emerges. Features 15 of his 60+ albums.   I have created this playlist in Tidal but I'm going to add a list of each track and the specific album it appears on - because the specific recording matters. This is a musician who is known for tireless touring having played over 2,600 concerts since he signed with Columbia Records in 1972. But of course, he had a career before that - Bruce Springsteen has been the front man of a rock and roll band since his first gig as a 17 year old with his band called The Castiles in 1965 and he's never had any other job since. Never had a workin man job. Not a day. But his dad did. His dad had lots of jobs, it was hard for him to keep jobs. Partially because of declining industrial jobs around New Jersey intensifying in the mid-60s, but also because Bruce's dad struggled with alcoholism and undiagnosed depression and schizophrenia, and that became a defining feature of Bruce's life and his music, wrestling with intergenerational demons and the mirroring of one family's life in the larger decline of America as a country and an idea at the end of the 20th century. Follow along with the songs with a free trial on Tidal (credit card required) or search the following recordings wherever you get your music, (possibly even YouTube). Playlist Growin' Up, Greetings from Asbury Park, N.J. (1973) Born to Run, Born To Run, (1975) Thunder Road, Bruce Springsteen and the E Street Band Live 1975-1985 The River, The River (1980) Working on the Highway, Born In The USA (1984) Johnny 99, Bruce Springsteen and the E Street Band Live 1975-1985 (1985) Badlands, Darkness on the Edge of Town (1978) Dancing In The Dark, Born in the USA (1984) I'm on Fire, Born In The USA (1984) Human Touch, Human Touch (1992) Brilliant Disguise, Tunnel of Love (1987) My Hometown, Born In The USA (1984) Born In the USA, Born In The USA (1984) Bring ‘Em Home, We Shall Overcome: The Seeger Sessions (2006) The Ghost of Tom Joad, The Ghost of Tom Joad (1995) Devils & Dust, Devils & Dust (2005) Shenandoah, We Shall Overcome (2006) Blood Brothers, Greatest Hits (1995) O Mary Don't You Weep, We Shall Overcome (2006) Pay Me My Money Down, We Shall Overcome (2006) We Shall Overcome, We Shall Overcome (2006) This Land Is Your Land, Bruce Springsteen and the E Street Band Live 1975 - 1985 (1986) Reason To Believe, Bruce Springsteen and the E Street Band Live 1975 - 1985 (1986) Better Days, Lucky Town (1992) Hello Sunshine, Western Stars (2019) References Covers and Springsteen Songs by Other Artists Blinded By The Light, Mannfred Mann's Earth Band (1976) Because The Night, Patti Smith (1978) Because The Night, 10,000 Maniacs (1993) Because the Night, Co.Ro (1992) Movie: Blinded By The Light, Gurinder Chadha (2019) Netflix: Springsteen on Broadway Album: Traveling Wilburys, Vol.1 Pete Seeger on the Johnny Cash Show: Bring Them Home (1970) Santa Claus Is Comin' To Town, Bruce Springsteen and the E Street Band Live at C.W.Post College, Greenvale NY (1975) Autobiography: Born To Run (2016)

NOTE: This episode went up before the allegations about Dylan, in a lawsuit filed on Friday, were made public on Monday night. Had I been aware of them, I would at least have commented at the beginning of the episode. Episode one hundred and thirty of A History of Rock Music in Five Hundred Songs looks at “Like a Rolling Stone" by Bob Dylan, and the 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 ten-minute bonus episode available, on "Hold What You've Got" by Joe Tex. 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/ Erratum A couple of times I refer to “CBS”. Dylan's label in the US was Columbia Records, a subsidiary of CBS Inc, but in the rest of the world the label traded as “CBS Records”. I should probably have used “Columbia” throughout... Resources No Mixcloud this week, as there are too many songs by Dylan. Much of the information in this episode comes from 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. I've used these books for all the episodes involving Dylan: 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. The New Yorker article by Nat Hentoff I talk about is here. And for the information about the writing of "Like a Rolling Stone", I relied on yet another book by Heylin, All the Madmen. Dylan's albums up to 1967 can all be found in their original mono mixes on this box set. And Dylan's performances at Newport from 1963 through 1965 are on this DVD. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There's a story that everyone tells about Bob Dylan in 1965, the story that has entered into legend. It's the story that you'll see in most of the biographies of him, and in all those coffee-table histories of rock music put out by glossy music magazines. Bob Dylan, in this story, was part of the square, boring, folk scene until he plugged in an electric guitar and just blew the minds of all those squares, who immediately ostracised him forever for being a Judas and betraying their traditionalist acoustic music, but he was just too cool and too much of a rebel to be bound by their rules, man. Pete Seeger even got an axe and tried to cut his way through the cables of the amplifiers, he was so offended by the desecration of the Newport Folk Festival. And like all these stories, it's an oversimplification but there's an element of truth to it too. So today, we're going to look at what actually happened when Dylan went electric. We're going to look at what led to him going electric, and at the truth behind the legend of Seeger's axe. And we're going to look at the masterpiece at the centre of it all, a record that changed rock songwriting forever. We're going to look at Bob Dylan and "Like a Rolling Stone": [Excerpt: Bob Dylan, "Like a Rolling Stone"] While we've seen Dylan turn up in all sorts of episodes -- most recently the episode on "Mr. Tambourine Man", the last time we looked at him in detail was in the episode on "Blowin' in the Wind", and when we left him there he had just recorded his second album, The Freewheelin' Bob Dylan, but it had not yet been released. As we'll see, Dylan was always an artist who moved on very quickly from what he'd been doing before, and that had started as early as that album. While his first album, produced by John Hammond, had been made up almost entirely of traditional songs and songs he'd learned from Dave van Ronk or Eric von Schmidt, with only two originals, The Freewheelin' Bob Dylan had started out being produced by Hammond, but as Hammond and Dylan's manager Albert Grossman had come to find it difficult to work together, the last few tracks had been produced by Tom Wilson. We've mentioned Wilson briefly a couple of times already, but to reiterate, Wilson was a Black Harvard graduate and political conservative whose background was in jazz and who had no knowledge of or love for folk music. But Wilson saw two things in Dylan -- the undeniable power of his lyrics, and his vocals, which Wilson compared to Ray Charles. Wilson wanted to move Dylan towards working with a backing band, and this was something that Dylan was interested in doing, but his first experiment with that, with John Hammond, hadn't been a particular success. Dylan had recorded a single backed with a band -- "Mixed-Up Confusion", backed with "Corrina, Corrina", a version of an old song that had been recorded by both Bob Wills and Big Joe Turner, but had recently been brought back to the public mind by a version Phil Spector had produced for Ray Peterson. Dylan's version of that song had a country lope and occasional breaks into Jimmie Rodgers style keening that foreshadow his work of the late sixties: [Excerpt: Bob Dylan, "Corrina, Corrina (single version)"] A different take of that track was included on The Freewheelin' Bob Dylan, an album that was made up almost entirely of originals. Those originals fell into roughly two types -- there were songs like "Masters of War", "Blowin' in the Wind", and "A Hard Rain's Gonna Fall" which dealt in some way with the political events of the time -- the fear of nuclear war, the ongoing conflict in Vietnam, the Civil Rights movement and more -- but did so in an elliptical, poetic way; and there were songs about distance in a relationship -- songs like "Don't Think Twice, It's Alright", which do a wonderful job at portraying a young man's conflicted feelings -- the girl has left him, and he wants her back, but he wants to pretend that he doesn't.  While it's always a bad idea to look for a direct autobiographical interpretation of Dylan's lyrics, it seems fairly safe to say that these songs were inspired by Dylan's feelings for his girlfriend, Suze Rotolo, who had gone travelling in Europe and not seen him for eight months, and who he was worried he would never see again, and he does seem to have actually had several conflicting feelings about this, ranging from desperation for her to come back through to anger and resentment. The surprising thing about The Freewheelin' Bob Dylan is that it's a relatively coherent piece of work, despite being recorded with two different producers over a period of more than a year, and that recording being interrupted by Dylan's own travels to the UK, his separation from and reconciliation with Rotolo, and a change of producers. If you listened to it, you would get an impression of exactly who Dylan was -- you'd come away from it thinking that he was an angry, talented, young man who was trying to merge elements of both traditional English folk music and Robert Johnson style Delta blues with poetic lyrics related to what was going on in the young man's life. By the next album, that opinion of Dylan would have to be reworked, and it would have to be reworked with every single album that came out.  But The Freewheelin' Bob Dylan came out at the perfect time for Dylan to step into the role of "spokesman for a generation" -- a role which he didn't want, and to which he wasn't particularly suited. Because it came out in May 1963, right at the point at which folk music was both becoming hugely more mainstream, and becoming more politicised. And nothing showed both those things as well as the Hootenanny boycott: [Excerpt: The Brothers Four, “Hootenanny Saturday Night”] We've talked before about Hootenanny, the folk TV show, but what we haven't mentioned is that there was a quite substantial boycott of that show by some of the top musicians in folk music at the time. The reason for this is that Pete Seeger, the elder statesman of the folk movement, and his old band the Weavers, were both blacklisted from the show because of Seeger's Communist leanings. The Weavers were --- according to some sources -- told that they could go on if they would sign a loyalty oath, but they refused. It's hard for those of us who weren't around at the time to really comprehend both just how subversive folk music was considered, and how seriously subversion was taken in the USA of the early 1960s. To give a relevant example -- Suze Rotolo was pictured on the cover of The Freewheelin' Bob Dylan. Because of this, her cousin's husband, who was in the military, lost his security clearance and didn't get a promotion he was in line for. Again,  someone lost his security clearance because his wife's cousin was pictured on the cover of a Bob Dylan album. So the blacklisting of Seeger and the Weavers was considered a serious matter by the folk music community, and people reacted very strongly. Joan Baez announced that she wouldn't be going on Hootenanny until they asked Seeger on, and Dylan, the Kingston Trio, Dave van Ronk, Ramblin' Jack Elliott, and Peter, Paul, and Mary, among many others, all refused to go on the show as a result. But the odd thing was, whenever anyone *actually asked* Pete Seeger what he thought they should do, he told them they should go on the TV show and use it as an opportunity to promote the music. So while the Kingston Trio and Peter, Paul, and Mary, two of the biggest examples of the commercialisation of folk music that the serious purists sneered at, were refusing to go on the TV in solidarity with a Communist, that Communist's brother, Mike Seeger, happily went on Hootenanny with his band the New Lost City Ramblers, and when the Tarriers were invited on to the show but it clashed with one of their regular bookings, Pete Seeger covered their booking for them so they could appear. Dylan was on the side of the boycotters, though he was not too clear on exactly why. When he spoke about  the boycott on stage, this is what he had to say: [Excerpt: Dylan talks about the boycott. Transcript: "Now a friend of mine, a friend of all yours I'm sure, Pete Seeger's been blacklisted [applause]. He and another group called the Weavers who are around New York [applause] I turned down that television show, but I got no right [applause] but . . . I feel bad turning it down, because the Weavers and Pete Seeger can't be on it. They oughta turn it down. They aren't even asked to be on it because they are blacklisted. Uh—which is, which is a bad thing. I don't know why it's bad, but it's just bad, it's bad all around."] Hootenanny started broadcasting in April 1963, just over a month before The Freewheelin' Bob Dylan came out, and so it would have been a good opportunity for publicity for him -- but turning the show down was also good publicity. Hootenanny wouldn't be the only opportunity to appear on TV that he was offered. It would also not be the only one he turned down. In May, Dylan was given the opportunity to appear on the Ed Sullivan Show, but he agreed on one condition -- that he be allowed to sing "Talking John Birch Paranoid Blues". For those who don't know, the John Birch Society is a far-right conspiratorial organisation which had a huge influence on the development of the American right-wing in the middle of the twentieth century, and is responsible for perpetuating almost every conspiracy theory that has exerted a malign influence on the country and the world since that time. They were a popular punching bag for the left and centre, and for good reason -- we heard the Chad Mitchell Trio mocking them, for example, in the episode on "Mr. Tambourine Man" a couple of weeks ago.  So Dylan insisted that if he was going to go on the Ed Sullivan Show, it would only be to perform his song about them: [Excerpt: Bob Dylan, "Talking John Birch Paranoid Blues"] Now, the Ed Sullivan Show was not interested in having Dylan sing a song that would upset a substantial proportion of its audience, on what was after all meant to be an entertainment show, and so Dylan didn't appear on the show -- and he got a big publicity boost from his principled refusal to make a TV appearance that would have given him a big publicity boost. It's interesting to note in this context that Dylan himself clearly didn't actually think very much of the song -- he never included it on any of his albums, and it remained unreleased for decades. By this point, Dylan had started dating Joan Baez, with whom he would have an on-again off-again relationship for the next couple of years, even though at this point he was also still seeing Suze Rotolo. Baez was one of the big stars of the folk movement, and like Rotolo she was extremely politically motivated. She was also a fan of Dylan's writing, and had started recording versions of his songs on her albums: [Excerpt: Joan Baez, "Don't Think Twice, It's All Right"] The relationship between the two of them became much more public when they appeared together at the Newport Folk Festival in 1963. The Newport Folk Festival had started in 1959, as a spinoff from the successful Newport Jazz Festival, which had been going for a number of years previously. As there was a large overlap between the jazz and folk music fanbases -- both musics appealed at this point to educated, middle-class, liberals who liked to think of themselves as a little bit Bohemian -- the Jazz Festival had first started putting on an afternoon of folk music during its normal jazz programme, and then spun that off into a whole separate festival, initially with the help of Albert Grossman, who advised on which acts should be booked (and of course included several of the acts he managed on the bill). Both Newport festivals had been shut down after rioting at the 1960 Jazz Festival, as three thousand more people had turned up for the show than there was capacity for, and the Marines had had to be called in to clear the streets of angry jazz fans, but the jazz  festival had returned in 1962, and in 1963 the folk festival came back as well. By this time, Albert Grossman was too busy to work for the festival, and so its organisation was taken over by a committee headed by Pete Seeger.  At that 1963 festival, even though Dylan was at this point still a relative unknown compared to some of the acts on the bill, he was made the headliner of the first night, which finished with his set, and then with him bringing Joan Baez, Peter, Paul and Mary, Pete Seeger and the Freedom Singers out to sing with him on "Blowin' in the Wind" and "We Shall Overcome".  To many people, Dylan's appearance in 1963 was what launched him from being "one of the rising stars of the folk movement" to being the most important musician in the movement -- still just one of many, but the first among equals. He was now being talked of in the same terms as Joan Baez or Pete Seeger, and was also starting to behave like someone as important as them -- like he was a star. And that was partly because Baez was promoting Dylan, having him duet with her on stage on his songs -- though few would now argue that the combination of their voices did either artist any favours, Baez's pure, trained, voice, rubbing up against Dylan's more idiosyncratic phrasing in ways that made both sound less impressive: [Excerpt: Joan Baez and Bob Dylan, "With God On Our Side (live at Newport 1963)"] At the end of 1963, Dylan recorded his third album, which came out in early 1964. The Times They Are A-Changin' seems to be Dylan's least personal album to this point, and seems to have been written as a conscious attempt to write the kind of songs that people wanted and expected from him -- there were songs about particular recent news events, like "The Lonesome Death of Hattie Carroll",  the true story of the murder of a Black woman by a white man, and  "Only a Pawn in Their Game", about the murder of the Civil Rights activist Medgar Evers. There were fictional dramatisations of the kind of effects that real-world social problems were having on people, like "North Country Blues", in which the callous way mining towns were treated by capital leads to a woman losing her parents, brother, husband, and children, or "The Ballad of Hollis Brown", about a farmer driven to despair by poverty who ends up killing his whole family and himself. As you can imagine, it's not a very cheery album, but it's one that impressed a lot of people, especially its title track, which was very deliberately written as an anthem for the new social movements that were coming up: [Excerpt: Bob Dylan, "The Times They Are A-Changin'"] But it was a bleak album, with none of the humour that had characterised Dylan's first two albums. Soon after recording the album, Dylan had a final split with Rotolo, went travelling for a while, and took LSD for the first time. He also started to distance himself from Baez at this point, though the two would remain together until mid 1965. He seems to have regarded the political material he was doing as a mistake, as something he was doing for other people, rather than because that was what he wanted to do.  He toured the UK in early 1964, and then returned to the US in time to record his fourth album, Another Side of Bob Dylan. It can be argued that this is the point where Dylan really becomes himself, and starts making music that's the music he wants to make, rather than music that he thinks other people want him to make.  The entire album was recorded in one session, along with a few tracks that didn't make the cut -- like the early version of "Mr. Tambourine Man" with Ramblin' Jack Elliott that we heard in the episode on that song. Elliott was in attendance, as were a number of Dylan's other friends, though the album features only Dylan performing. Also there was the journalist Nat Hentoff, who wrote a full account of the recording session for the New Yorker, which I'll link in the show notes.  Dylan told Hentoff "“There aren't any finger-pointing songs in here, either. Those records I've already made, I'll stand behind them, but some of that was jumping into the scene to be heard and a lot of it was because I didn't see anybody else doing that kind of thing. Now a lot of people are doing finger-pointing songs. You know—pointing to all the things that are wrong. Me, I don't want to write for people anymore. You know—be a spokesman. Like I once wrote about Emmett Till in the first person, pretending I was him. From now on, I want to write from inside me, and to do that I'm going to have to get back to writing like I used to when I was ten—having everything come out naturally." Dylan was right to say that there were no finger-pointing songs. The songs on Another Side of Bob Dylan were entirely personal -- "Ballad in Plain D", in particular, is Dylan's take on the night he split up with Suze Rotolo, laying the blame -- unfairly, as he would later admit -- on her older sister. The songs mostly dealt with love and relationships, and as a result were ripe for cover versions. The opening track, in particular, "All I Really Want to Do", which in Dylan's version was a Jimmie Rodgers style hillbilly tune, became the subject of duelling cover versions. The Byrds' version came out as the follow-up to their version of "Mr. Tambourine Man": [Excerpt: The Byrds, "All I Really Want to Do"] But Cher also released a version -- which the Byrds claimed came about when Cher's husband Sonny Bono secretly taped a Byrds live show where they performed the song before they'd released it, and he then stole their arrangement: [Excerpt: Cher, "All I Really Want to Do"] In America, the Byrds' version only made number forty on the charts, while Cher made number fifteen. In the UK, where both artists were touring at the time to promote the single, Cher made number nine but the Byrds charted higher at number four.  Both those releases came out after the album came out in late 1964, but even before it was released, Dylan was looking for other artists to cover his new songs. He found one at the 1964 Newport Folk Festival, where he met Johnny Cash for the first time. Cash had been a fan of Dylan for some time -- and indeed, he's often credited as being the main reason why CBS persisted with Dylan after his first album was unsuccessful, as Cash had lobbied for him within the company -- and he'd recently started to let that influence show. His most recent hit, "Understand Your Man", owed more than a little to Dylan's "Don't Think Twice, It's All Right", and Cash had also started recording protest songs. At Newport, Cash performed his own version of "Don't Think Twice": [Excerpt: Johnny Cash, "Don't Think Twice, It's All Right"] Cash and Dylan met up, with June Carter and Joan Baez, in Baez's hotel room, and according to later descriptions they were both so excited to meet each other they were bouncing with excitement, jumping up and down on the beds. They played music together all night, and Dylan played some of his new songs for Cash. One of them was "It Ain't Me Babe", a song that seems at least slightly inspired by "She Loves You" -- you can sing the "yeah, yeah, yeah" and "no, no, no" together -- and which was the closing track of Another Side of Bob Dylan. Cash soon released his own version of the song, which became a top five country hit: [Excerpt: Johnny Cash, "It Ain't Me Babe"] But it wasn't long after meeting Cash that Dylan met the group who may have inspired that song -- and his meeting with the Beatles seems to have confirmed in him his decision that he needed to move away from the folk scene and towards making pop records. This was something that Tom Wilson had been pushing for for a while -- Wilson had told Dylan's manager Albert Grossman that if they could get Dylan backed by a good band, they'd have a white Ray Charles on their hands. As an experiment, Wilson took some session musicians into the studio and had them overdub an electric backing on Dylan's acoustic version of "House of the Rising Sun", basing the new backing on the Animals' hit version. The result wasn't good enough to release, but it did show that there was a potential for combining Dylan's music with the sound of electric guitars and drums: [Excerpt: Bob Dylan, “House of the Rising Sun (electric version)”] Dylan was also being influenced by his friend John Hammond Jr, the blues musician son of Dylan's first producer, and a veteran of the Greenwich Village folk scene. Hammond had decided that he wanted to show the British R&B bands what proper American blues sounded like, and so he'd recruited a group of mostly-Canadian musicians to back him on an electric album. His "So Many Roads" album featured three members of a group called Levon and the Hawks -- Levon Helm, Garth Hudson, and Robbie Robertson -- who had recently quit working for the Canadian rockabilly singer Ronnie Hawkins -- plus harmonica player Charlie Musselwhite and Mike Bloomfield, who was normally a guitarist but who is credited on piano for the album: [Excerpt: John Hammond, Jr. "Who Do You Love?"] Dylan was inspired by Hammond's sound, and wanted to get the same sound on his next record, though he didn't consider hiring the same musicians. Instead, for his next album he brought in Bruce Langhorne, the tambourine man himself, on guitar, Bobby Gregg -- a drummer who had been the house drummer for Cameo-Parkway and played on hits by Chubby Checker, Bobby Rydell and others; the session guitarists Al Gorgoni and Kenny Rankin, piano players Frank Owens and Paul Griffin, and two bass players, Joseph Macho and William Lee, the father of the film director Spike Lee. Not all of these played on all the finished tracks -- and there were other tracks recorded during the sessions, where Dylan was accompanied by Hammond and another guitarist, John Sebastian, that weren't used at all -- but that's the lineup that played on Dylan's first electric album, Bringing it All Back Home. The first single, "Subterranean Homesick Blues" actually takes more inspiration than one might imagine from the old-school folk singers Dylan was still associating with. Its opening lines seem to be a riff on "Taking it Easy", a song that had originally been written in the forties by Woody Guthrie for the Almanac Singers, where it had been a song about air-raid sirens: [Excerpt: The Almanac Singers, "Taking it Easy"] But had then been rewritten by Pete Seeger for the Weavers, whose version had included this verse that wasn't in the original: [Excerpt: The Weavers, "Taking it Easy"] Dylan took that verse, and the basic Guthrie-esque talking blues rhythm, and connected it to Chuck Berry's "Too Much Monkey Business" with its rapid-fire joking blues lyrics: [Excerpt: Chuck Berry, "Too Much Monkey Business"] But Dylan's lyrics were a radical departure, a freeform, stream-of-consciousness proto-psychedelic lyric inspired as much by the Beat poets as by any musician -- it's no coincidence that in the promotional film Dylan made for the song, one of the earliest examples of what would become known as the rock video, the Beat poet Allen Ginsberg makes an appearance: [Excerpt: Bob Dylan, "Subterranean Homesick Blues"] "Subterranean Homesick Blues" made the top forty in the US -- it only made number thirty-nine, but it was Dylan's first single to chart at all in the US. And it made the top ten in the UK -- but it's notable that even over here, there was still some trepidation about Dylan's new direction. To promote his UK tour, CBS put out a single of "The Times They Are A-Changin'", and that too made the top ten, and spent longer on the charts than "Subterranean Homesick Blues". Indeed, it seems like everyone was hedging their bets. The opening side of Bringing it All Back Home is all electric, but the B-side is made up entirely of acoustic performances, though sometimes with a little added electric guitar countermelody -- it's very much in the same style as Dylan's earlier albums, and seems to be a way of pulling back after testing the waters, of reassuring people who might have been upset by the change in style on the first side that this was still the same Dylan they knew.  And the old Dylan certainly still had plenty of commercial life in him. Indeed, when Dylan went to the UK for a tour in spring of 1965, he found that British musicians were trying to copy his style -- a young man called Donovan seemed to be doing his best to *be* Dylan, with even the title of his debut hit single seeming to owe something to "Blowing in the Wind": [Excerpt: Donovan, "Catch the Wind (original single version)"] On that UK tour, Dylan performed solo as he always had -- though by this point he had taken to bringing along an entourage. Watching the classic documentary of that tour, Dont Look Back, it's quite painful to see Dylan's cruelty to Joan Baez, who had come along on the expectation that she would be duetting with him occasionally, as he had dueted with her, but who is sidelined, tormented, and ignored. It's even worse to see Bob Neuwirth,  a hanger-on who is very obviously desperate to impress Dylan by copying all his mannerisms and affectations, doing the same. It's unsurprising that this was the end of Dylan and Baez's relationship. Dylan's solo performances on that tour went down well, but some of his fans questioned him about his choice to make an electric record. But he wasn't going to stop recording with electric musicians. Indeed, Tom Wilson also came along on the tour, and while he was in England he made an attempt to record a track with the members of John Mayall's Bluesbreakers -- Mayall, Hughie Flint, Eric Clapton, and John McVie, though it was unsuccessful and only a low-fidelity fragment of it circulates: [Excerpt: Bob Dylan and the Bluesbreakers, "If You Gotta Go, Go Now"] Also attending that session was a young wannabe singer from Germany who Dylan had taken up with, though their dalliance was very brief. During the session Dylan cut a demo of a song he planned to give her, but Nico didn't end up recording "I'll Keep it With Mine" until a couple of years later. But one other thing happened in England. After the UK tour, Dylan travelled over to Europe for a short tour, then returned to the UK to do a show for the BBC -- his first full televised concert. Unfortunately, that show never went ahead -- there was a party the night before, and Dylan was hospitalised after it with what was said to be food poisoning. It might even actually have been food poisoning, but take a listen to the episode I did on Vince Taylor, who was also at that party, and draw your own conclusions. Anyway, Dylan was laid up in bed for a while, and took the opportunity to write what he's variously described as being ten or twenty pages of stream of consciousness vomit, out of which he eventually took four pages of lyrics, a vicious attack on a woman who was originally the protagonist's social superior, but has since fallen. He's never spoken in any detail about what or who the subject of the song was, but given that it was written just days after his breakup with Baez, it's not hard to guess. The first attempt at recording the song was a false start. On June the fifteenth, Dylan and most of the same musicians who'd played on his previous album went into the studio to record it, along with Mike Bloomfield, who had played on that John Hammond album that had inspired Dylan and was now playing in the Paul Butterfield Blues Band. Bloomfield had been surprised when Dylan had told him that he didn't want the kind of string-bending electric blues that Bloomfield usually played, but he managed to come up with something Dylan approved of -- but the song was at this point in waltz time: [Excerpt: Bob Dylan, "Like a Rolling Stone (early version)"] The session ended, but Joe Macho, Al Gorgoni and Bobby Gregg stayed around after the session, when Tom Wilson called in another session guitarist to join them in doing the same trick he'd done on "House of the Rising Sun", overdubbing new instruments on a flop acoustic record he'd produced for a Greenwich Village folk duo who'd already split up. But we'll hear more about "The Sound of Silence" in a few weeks' time. The next day, the same musicians came back, along with one new one. Al Kooper had been invited by Wilson to come along and watch the session, but he was determined that he was going to play on whatever was recorded. He got to the session early, brought his guitar and amp in and got tuned up before Wilson arrived. But then Kooper heard Bloomfield play, realised that he simply couldn't play at anything remotely like the same standard, and decided he'd be best off staying in the control room after all.  But then, before they started recording "Like a Rolling Stone", which by now was in 4/4 time, Frank Owens, who had been playing organ, switched to piano and left his organ on. Kooper saw his chance -- he played a bit of keyboards, too, and the song was in C, which is the easiest key to play in. Kooper asked Wilson if he could go and play, and Wilson didn't exactly say no, so Kooper went into the studio and sat at the organ.  Kooper improvised the organ line that became the song's most notable instrumental part, but you will notice that it's mixed quite low in the track. This is because Wilson was unimpressed with Kooper's playing, which is technically pretty poor -- indeed, for much of the song, Kooper is a beat behind the rest of the band, waiting for them to change chords and then following the change on the next measure. Luckily, Kooper is also a good enough natural musician that he made this work, and it gave the song a distinctive sound: [Excerpt: Bob Dylan, "Like a Rolling Stone"] The finished record came in at around six minutes -- and here I should just mention that most books on the subject say that the single was six minutes and thirteen seconds long. That's the length of the stereo mix of the song on the stereo version of the album. The mono mix on the mono album, which we just heard, is five minutes fifty-eight, as it has a shorter fade. I haven't been able to track down a copy of the single as released in 1965, but usually the single mix would be the same as the mono album mix. Whatever the exact length, it was much, much, longer than the norm for a single -- the Animals' "House of the Rising Sun" had been regarded as ridiculously long at four and a half minutes -- and Columbia originally wanted to split the song over two sides of a single. But eventually it was released as one side, in full: [Excerpt: Bob Dylan, "Like a Rolling Stone"] That's Bruce Langhorne there playing that rather sloppy tambourine part, high in the mix. The record made the top five in the UK, and reached number two in the US, only being held off from the top spot by "Help!" by the Beatles.  It would, however, be the last track that Tom Wilson produced for Dylan. Nobody knows what caused their split after three and a half albums working together -- and everything suggests that on the UK tour in the Spring, the two were very friendly. But they had some sort of disagreement, about which neither of them would ever speak, other than a comment by Wilson in an interview shortly before his death in which he said that Dylan had told him he was going to get Phil Spector to produce his records. In the event, the rest of the album Dylan was working on would be produced by Bob Johnston, who would be Dylan's regular producer until the mid-seventies. So "Like a Rolling Stone" was a major break in Dylan's career, and there was another one shortly after its release, when Dylan played the Newport Folk Festival for the third time, in what has become possibly the single most discussed and analysed performance in folk or rock music. The most important thing to note here is that there was not a backlash among the folk crowd against electric instruments. The Newport Folk Festival had *always* had electric performers -- John Lee Hooker and Johnny Cash and The Staple Singers had all performed with electric guitars and nobody had cared. What there was, was a backlash against pop music. You see, up until the Beatles hit America, the commercial side of folk music had been huge. Acts like the Kingston Trio, Peter, Paul, and Mary, The Chad Mitchell Trio, and so on had been massive. Most of the fans at the Newport Folk Festival actually despised many of these acts as sell-outs, doing watered-down versions of the traditional music they loved. But at the same time, those acts *were* doing watered-down versions of the traditional music they loved, and by doing so they were exposing more people to that traditional music. They were making programmes like Hootenanny possible -- and the folkies didn't like Hootenanny, but Hootenanny existing meant that the New Lost City Ramblers got an audience they would otherwise not have got. There was a recognition, then, that the commercialised folk music that many of them despised was nonetheless important in the development of a thriving scene. And it was those acts, the Kingston Trios and Peter, Paul, and Marys, who were fast losing their commercial relevance because of the renewed popularity of rock music. If Hootenanny gets cancelled and Shindig put on in its place, that's great for fans of the Righteous Brothers and Sam Cooke, but it's not so great if you want to hear "Tom Dooley" or "If I Had a Hammer". And so many of the old guard in the folk movement weren't wary of electric guitars *as instruments*, but they were wary of anything that looked like someone taking sides with the new pop music rather than the old folk music. For Dylan's first performance at the festival in 1965, he played exactly the set that people would expect of him, and there was no problem. The faultlines opened up, not with Dylan's first performance, but with the performance by the Paul Butterfield Blues Band, as part of a history of the blues, presented by Alan Lomax. Lomax had no objection to rock and roll -- indeed, earlier in the festival the Chambers Brothers, a Black electric group from Mississippi, had performed a set of rock and R&B songs, and Lomax had come on stage afterwards and said “I'm very proud tonight that we finally got onto the Newport Folk Festival our modern American folk music: rock 'n' roll!” But Lomax didn't think that the Butterfield band met his criteria of "authenticity". And he had a point. The Paul Butterfield Blues Band were an integrated group -- their rhythm section were Black musicians who had played with Howlin' Wolf -- and they'd gained experience through playing Chicago blues on the South Side of Chicago, but their leader, Butterfield, was a white man, as was Mike Bloomfield, their guitarist, and so they'd quickly moved to playing clubs on the North side, where Black musicians had generally not been able to play. Butterfield and Bloomfield were both excellent musicians, but they were closer to the British blues lovers who were making up groups like the Rolling Stones, Animals, and Manfred Mann. There was a difference -- they were from Chicago, not from the Home Counties -- but they were still scholars coming at the music from the outside, rather than people who'd grown up with the music and had it as part of their culture. The Butterfield Band were being promoted as a sort of American answer to the Stones, and they had been put on Lomax's bill rather against his will -- he wanted to have some Chicago blues to illustrate that part of the music, but why not Muddy Waters or Howlin' Wolf, rather than this new group who had never really done anything? One he'd never even heard -- but who he knew that Albert Grossman was thinking about managing. So his introduction to the Butterfield Blues Band's performance was polite but hardly rapturous. He said "Us white cats always moved in, a little bit late, but tried to catch up...I understand that this present combination has not only caught up but passed the rest. That's what I hear—I'm anxious to find out whether it's true or not." He then introduced the musicians, and they started to play an old Little Walter song: [Excerpt: The Paul Butterfield Blues Band, "Juke"] But after the set, Grossman was furious at Lomax, asking him what kind of introduction that was meant to be. Lomax responded by asking if Grossman wanted a punch in the mouth, Grossman hurled a homophobic slur at Lomax, and the two men started hitting each other and rolling round in the dirt, to the amusement of pretty much everyone around. But Lomax and Grossman were both far from amused. Lomax tried to get the Festival board to kick Grossman out, and almost succeeded, until someone explained that if they did, then that would mean that all Grossman's acts, including huge names like Dylan and Peter, Paul, and Mary, would also be out.  Nobody's entirely sure whose idea it was, but it seems to have been Grossman who thought that since Bloomfield had played on Dylan's recent single, it might be an idea to get the Butterfield Blues Band to back Dylan on stage, as a snub to Lomax. But the idea seems to have cohered properly when Grossman bumped into Al Kooper, who was attending the festival just as an audience member. Grossman gave Kooper a pair of backstage passes, and told him to meet up with Dylan. And so, for Dylan's performance on the Sunday -- scheduled in the middle of the day, rather than as the headliner as most people expected, he appeared with an electric guitar, backed by the Paul Butterfield Blues Band and Al Kooper. He opened with his recent single "Maggie's Farm", and followed it with the new one, "Like a Rolling Stone": [Excerpt: Bob Dylan, "Like a Rolling Stone (live at Newport)"] After those two songs, the group did one more, a song called "Phantom Engineer", which they hadn't rehearsed properly and which was an utter train wreck. And then they left the stage. And there was booing. How much booing, and what the cause was, is hard to say, but everyone agrees there was some. Some people claim that the booing was just because the set had been so short, others say that the audience was mostly happy but there were just a few people booing. And others say that the booing mostly came from the front -- that there were sound problems that meant that while the performance sounded great to people further back, there was a tremendous level of distortion near the front. That's certainly what Pete Seeger said. Seeger was visibly distraught and angry at the sounds coming from the stage. He later said, and I believe him, that it wasn't annoyance at Dylan playing with an electric band, but at the distorted sound. He said he couldn't hear the words, that the guitar was too loud compared to the vocals, and in particular that his father, who was an old man using a hearing aid, was in actual physical pain at the sound. According to Joe Boyd, later a famous record producer but at this time just helping out at the festival, Seeger, the actor Theodore Bikel, and Alan Lomax, all of whom were on the festival board, told Boyd to take a message to Paul Rothchild, who was working the sound, telling him that the festival board ordered him to lower the volume. When Boyd got there, he found Rothchild there with Albert Grossman and Peter Yarrow of Peter, Paul, and Mary, who was also on the board. When Boyd gave his message, Yarrow responded that the board was "adequately represented at the sound controls", that the sound was where the musicians wanted it, and gave Boyd a message to take back to the other board members, consisting of a single raised middle finger. Whatever the cause of the anger, which was far from universal, Dylan was genuinely baffled and upset at the reaction -- while it's been portrayed since, including by Dylan himself at times, as a deliberate act of provocation on Dylan's part, it seems that at the time he was just going on stage with his new friends, to play his new songs in front of some of his old friends and a crowd that had always been supportive of him. Eventually Peter Yarrow, who was MCing, managed to persuade Dylan to go back on stage and do a couple more numbers, alone this time as the band hadn't rehearsed any more songs. He scrounged up an acoustic guitar, went back on, spent a couple of minutes fiddling around with the guitar, got a different guitar because something was wrong with that one, played "It's All Over Now, Baby Blue", spent another couple of minutes tuning up, and then finally played "Mr. Tambourine Man": [Excerpt: Bob Dylan, "Mr. Tambourine Man (live at Newport)"] But that pause while Dylan was off stage scrounging an acoustic guitar from somewhere led to a rumour that has still got currency fifty-six years later. Because Peter Yarrow, trying to keep the crowd calm, said "He's gone to get his axe" -- using musicians' slang for a guitar. But many of the crowd didn't know that slang. But they had seen Pete Seeger furious, and they'd also seen, earlier in the festival, a demonstration of work-songs, sung by people who kept time by chopping wood, and according to some people Seeger had joined in with that demonstration, swinging an axe as he sang. So the audience put two and two together, and soon the rumour was going round the festival -- Pete Seeger had been so annoyed by Dylan going electric he'd tried to chop the cables with an axe, and had had to be held back from doing so. Paul Rothchild even later claimed to have seen Seeger brandishing it. The rumour became so pervasive that in later years, even as he denied doing it, Seeger tried to explain it away by saying that he might have said something like "I wish I had an axe so I could cut those cables". In fact, Seeger wasn't angry at Dylan, as much as he was concerned -- shortly afterwards he wrote a private note to himself trying to sort out his own feelings, which said in part "I like some rock and roll a great deal. Chuck Berry and Muddy Waters. I confess that, like blues and like flamenco music, I can't listen to it for a long time at a stretch. I just don't feel that aggressive, personally. But I have a question. Was the sound at Newport from Bob's aggregation good rock and roll?  I once had a vision of a beast with hollow fangs. I first saw it when my mother-in-law, who I loved very much, died of cancer... Who knows, but I am one of the fangs that has sucked Bob dry. It is in the hope that I can learn that I write these words, asking questions I need help to answer, using language I never intended. Hoping that perhaps I'm wrong—but if I am right, hoping that it won't happen again." Seeger would later make his own electric albums, and he would always continue to be complimentary towards Dylan in public. He even repeatedly said that while he still wished he'd been able to hear the words and that the guitar had been mixed quieter, he knew he'd been on the wrong side, and that if he had the time over he'd have gone on stage and asked the audience to stop booing Dylan. But the end result was the same -- Dylan was now no longer part of the Newport Folk Festival crowd. He'd moved on and was now a pop star, and nothing was going to change that. He'd split with Suze, he'd split with Joan Baez, he'd split with Tom Wilson, and now he'd split with his peer group. From now on Dylan wasn't a spokesman for his generation, or the leader of a movement. He was a young man with a leather jacket and a Stratocaster, and he was going to make rock music. And we'll see the results of that in future episodes.