Podcasts about when charlie

When Charlie started Turning Point USA, the national debt was around $11-12 trillion. Now that number hovers near $30 trillion. Even so, the Biden Administration, aided by RINOs in the Senate, have approved another massive infrastructure bill while Democrats work on passing trillions more through budget reconciliation. All of this spending is being planned as inflation soars and threatens the future financial wellbeing of the nation, its future, and our posterity. Generational theft is infrastructure in Biden's America.  Support the show: http://www.charliekirk.com/support See omnystudio.com/listener for privacy information.

When Charlie, Carson, and Farmer Cobb lend a hand to the hapless wizard, Abacus P. Grumbler, he promises them each a magical gift in return. But the old sorcerer can rarely get one spell right, let alone three! Lessons include: how to show kindness to those in need, and to accept changes (even challenging ones) This episode originally aired 8/21/2017. Join our Patreon for Ad-Free stories, a Shout-Out on the show, bonus audio, a better chance of having your question answered, and more! patreon.com/whatifworld Great merch available at the Imaginarium! Featuring artwork from Ana Stretcu: whatifworld.threadless.com Subscribe to What If World wherever you listen: link.chtbl.com/whatifworld. Share questions via Twitter @whatifworldpod, Facebook @whatifworldpodcast, Instagram @whatifworldpodcast, or email whatifworldpodcast@gmail.com What If World is made by Eric and Karen O'Keeffe. A big thanks to Miss Lynn, helper in What If World and lover of doughnuts. Our podcast art is by Jason O'Keefe and our theme song is by Craig Martinson. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Spybrary Spy Podcast Host Shane Whaley gives us his brush pass spy book review of The Alpha List by Ted Allbeury. 'Truly a classic writer of espionage fiction' - Len Deighton Dave Marsh and Charlie Kelly grew up together on the backstreets of Birmingham. Now Charlie is a Labour MP and Dave an Intelligence agent. When Charlie comes under suspicion of passing secrets to the Russians, Dave is given the task of investigating his old friend. He seems to be able to prove his case soon enough, but as Charlie points out, he doesn't know half of what is really going on. He doesn't know about the Alpha List.

www.DogCastRadio.comWhen Charlie the Shih Tzu got into trouble in the water, brave teenager Connor waded out into the water to rescue him. But Connor couldn't swim. Charlie's distraught owner watched on in horror, her disabilities preventing her form entering the water herself. As Connor got hold of Charlie and fought to get back to land, dog and teenager bobbed up and down in the water.

 “It is remarkable how much long-term advantage people like us have gotten by trying to be consistently not stupid, instead of trying to be very intelligent.” — Charlie Munger Munger is the Vice Chairman of the world’s greatest compound interest machine: Berkshire Hathaway, Inc. In the time of his and Warren Buffett’s reign as the leaders of Berkshire, the company has returned roughly 2,000,000% on its initial value. We can learn a lot from Charlie Munger! Charlie Munger once said that “Coca-Cola is the perfect business because it has this gigantic durable competitive advantage, or moat, which gives it predictable cash flow.” This allows us to figure out what the future cash flow will be and value the company today, so we know whether we can buy it on sale or not. Charlie Munger also once stated that “You don’t make money when you buy and you don’t make money when you sell. You make money when you wait.” That assertion is so powerful that it is easy to overlook how critical it is. The whole idea of Rule #1 Investing is buying a stock low, and selling it high. But, the key here is that you’re doing nothing most of the time. When Charlie says, “Wait” he means, “Wait for 5 years if necessary”. If you’ve been given serious money to invest, waiting five years in cash is not a plan; it is a recipe for disaster. Charlie believes there are only a small number of real opportunities to get very high returns with very low risk. Maybe 20 in a lifetime. He said that if you remove the 10 best deals Warren and he ever did, Berkshire would have average market level performance. The only way to get those kinds of returns is to wait and wait for the right opportunity to come along. In today’s podcast, Phil and Danielle explain some of their favorite Charlie Munger quotes, and cover how many of the Rule #1 Investing principles are based on his teachings. Get inspired to invest like the world's greatest investors like Charlie Munger and Warren Buffett with this free guide: https://bit.ly/3fr7VmB Learn more about your ad choices. Visit megaphone.fm/adchoices

When Charlie and Tom left the table to discuss their futures, Lucy and Troy decided to put an end to Season Quest and do a different podcast instead. Sorry, not sorry... Is this the end of our heroes? Find out on... SEASON QUEST!

In this acclaimed first novel by author and former journalist Wendy Holden, Charlie, a war correspondent turned author who is haunted by her worst journalistic experiences, turns to the history of paper and the materials of JMW Turner to distract her from the ghosts of her past. Her research brings her into contact with Alan, a highly successful artist and Turner scholar. She falls under his seductive spell, only to discover that Alan has plenty of ghosts of his own. A book rich in history and war, love and obsession, yet intertwined with a thriller’s mysterious undercurrent, this novel is designed to wrong-foot the reader time and again...What the Critics SayA superior novel of suspense in a well-plotted debut...(Holden) weaves pages of esoteric paper lore into a tale that involves tenuous mental stability and growing mystery. Readers who are interested in art history and artists' lives will find themselves enthralled by the depth and scope of information - Publishers Weekly“With this appealing debut, journalist Wendy Holden turns to fiction, using Taylor as her first name. Her novel claims historical anchoring with a plot featuring retired war-zone journalist Charlotte (Charlie) Hudson’s research of 19th-century British artist JMW Turner’s relation to paper. But it is really a romance between Charlie and a famous contemporary artist, Sir Alan Matheson, who shares an obsession with Turner’s landscapes..... Charlie is an intriguing figure, haunted by her harsh past and her failed marriage. When Charlie begins investigating the circumstances surrounding the death of her new lover’s daughter, the story loses some of its more turgid claims to art and revels in its ability to suspend us for pages in its own thoroughly diverting obsessions." - Library Journal "(A) lusciously textured novel of suspense and discovery, full of emotional nuance as accurately and delicately rendered as Turner's clouds." - Booklist “Every once in a while I pick up a book by an author totally unknown to me, a book for which there has been no buzz, no recommendation from a friend. Perhaps it’s the cover or the title that influences me to choose this one over that. Maybe it’s just kismet. Whatever it was that drew me to this book, I am forever grateful… [Taylor Holden’s] writing is exquisite—rich and textured… What Holden has done so supremely well… is blend in the rather obscure information about the art of papermaking and the influence this “simple” material had on the artists who used it. This is not a novel that drops in somebody’s latest hobby; this is a fine character-driven suspense story that envelopes the reader in a world where passions run deep and hope and life is renewed. It's books like this one that keep me coming back every time...I have the eternal hope that there is another gem like this out there that I may just stumble across when least expected....” - Mystery News"Journalist Charlotte Hudson, exhausted, is casting around for her next project when she meets famed though reclusive artist Sir Alan Matheson in a Great Russell St. art supply shop and is smitten with the whole idea of paper--and with Alan. Though it unfolds with a lushly detailed pace, you'll find what follows gripping not just for the story and its wringing suspense, but for its art history and its richly detailed story of papermaking, paper in all forms for all purposes but especially its use in the art of JMW Turner, the controversial Romantic landscape/seascape painter whose life had a seamy side." - The Poisoned Pen "A fascinating novel - one that will hold your interest throughout the book. The two main characters are well drawn and the reader will feel the mystique and wonder about each of them as they read (on). For anyone who is an art historian, this book will be a double treat. ..An engrossing read and one that I highly recommend. To top it off, it is Taylor Holde

Don't worry, there is hope, and if nothing else, there is On Target where it's only what's in the grooves that counts. Come on and travel the vinyl tracks with Mod Marty, he's got you. ALL LINKS: linktr.ee/mod.marty ----------------------------------------------- The Playlist Is: "A Kiss To Build A Dream On" Benny Gordon & the Soul Brothers - RCA Victor "Soul is Takin' Over" Henry Lumpkin - Buddah "Just Trying To Please You" Jimmy Thomas - Mirwood "Mickey's Monkey" The Fantasies - Hit "Can You Hear Me" Lee Dorsey - Amy "That's Enough" Roscoe Robinson - Wand "Blazing Fire" Derrick Morgan - Island "What Goes Up" TR-5 - ABC "When Charlie's Doing His Thing" The Phoenix Trolley - Capitol "(They Call Me) Jesse James" The Dreams - Shout "You're No Good For Me" Bongi & Judy - Epic "I Gotta Dance To Keep My Baby" Maurice & The Radients - Chess "I'm Gonna Get To You" The Soulville All-stars - Soulville "The Chase Is On" The Artistics - Brunswick "Little Young Lover" The Five Stairsteps & Cubie - Curtom "Do The Temptaion Walk" Jackie Lee - Mirwood "Everything's Gonna Be Alright" The Alan Bown Set - Pye "Beg, Borrow and Steal" The Demotrons - Cameo "Bad Or Good" Them - Them Again (LP only) "Go On" Vinley Gayle - Black Swan "Punch You Down" Joe White & Chuck Barry - Ska Beat "Boss Bag" Sammie John - Stateside

Episode 108 of A History of Rock Music in Five Hundred Songs looks at "I Wanna Be Your Man" by the Rolling Stones and how the British blues scene of the early sixties was started by a trombone player. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have an eight-minute bonus episode available, on "The Monkey Time" by Major Lance. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. i used a lot of resources for this episode. Information on Chris Barber comes from Jazz Me Blues: The Autobiography of Chris Barber by Barber and Alyn Shopton. Information on Alexis Korner comes from Alexis Korner: The Biography by Harry Shapiro. Two resources that I've used for this and all future Stones episodes -- The Rolling Stones: All The Songs by Phillipe Margotin and Jean-Michel Guesden is an invaluable reference book, while Old Gods Almost Dead by Stephen Davis is the least inaccurate biography. I've also used Andrew Loog Oldham's autobiography Stoned, and Keith Richards' Life, though be warned that both casually use slurs. This compilation contains Alexis Korner's pre-1963 electric blues material, while this contains the earlier skiffle and country blues music. The live performances by Chris Barber and various blues legends I've used here come from volumes one and two of a three-CD series of these recordings. And this three-CD set contains the A and B sides of all the Stones' singles up to 1971.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to look at a group who, more than any other band of the sixties, sum up what "rock music" means to most people. This is all the more surprising as when they started out they were vehemently opposed to being referred to as "rock and roll". We're going to look at the London blues scene of the early sixties, and how a music scene that was made up of people who thought of themselves as scholars of obscure music, going against commercialism ended up creating some of the most popular and commercial music ever made. We're going to look at the Rolling Stones, and at "I Wanna Be Your Man": [Excerpt: The Rolling Stones, "I Wanna Be Your Man"] The Rolling Stones' story doesn't actually start with the Rolling Stones, and they won't be appearing until quite near the end of this episode, because to explain how they formed, I have to explain the British blues scene that they formed in. One of the things people asked me when I first started doing the podcast was why I didn't cover people like Muddy Waters and Howlin' Wolf in the early episodes -- after all, most people now think that rock and roll started with those artists. It didn't, as I hope the last hundred or so episodes have shown. But those artists did become influential on its development, and that influence happened largely because of one man, Chris Barber. We've seen Barber before, in a couple of episodes, but this, even more than his leading the band that brought Lonnie Donegan to fame, is where his influence on popular music really changes everything. On the face of it, Chris Barber seems like the last person in the world who one would expect to be responsible, at least indirectly, for some of the most rebellious popular music ever made. He is a trombone player from a background that is about as solidly respectable as one can imagine -- his parents were introduced to each other by the economist John Maynard Keynes, and his father, another economist, was not only offered a knighthood for his war work (he turned it down but accepted a CBE), but Clement Atlee later offered him a safe seat in Parliament if he wanted to become Chancellor of the Exchequer. But when the war started, young Chris Barber started listening to the Armed Forces Network, and became hooked on jazz. By the time the war ended, when he was fifteen, he owned records by Louis Armstrong, Bessie Smith, Duke Ellington, Jelly Roll Morton and more -- records that were almost impossible to find in the Britain of the 1940s. And along with the jazz records, he was also getting hold of blues records by people like Cow Cow Davenport and Sleepy John Estes: [Excerpt: Sleepy John Estes, "Milk Cow Blues"] In his late teens and early twenties, Barber had become Britain's pre-eminent traditional jazz trombonist -- a position he held until he retired last year, aged eighty-nine -- but he wasn't just interested in trad jazz, but in all of American roots music, which is why he'd ended up accidentally kick-starting the skiffle craze when his guitarist recorded an old Lead Belly song as a track on a Barber album, as we looked at back in the episode on "Rock Island Line". If that had been Barber's only contribution to British rock and roll, he would still have been important -- after all, without "Rock Island Line", it's likely that you could have counted the number of British boys who played guitar in the fifties and sixties on a single hand. But he did far more than that. In the mid to late fifties, Barber became one of the biggest stars in British music. He didn't have a breakout chart hit until 1959, when he released "Petit Fleur", engineered by Joe Meek: [Excerpt: Chris Barber, "Petit Fleur"] And Barber didn't even play on that – it was a clarinet solo by his clarinettist Monty Sunshine. But long before this big chart success he was a huge live draw and made regular appearances on TV and radio, and he was hugely appreciated among music lovers. A parallel for his status in the music world in the more modern era might be someone like, say, Radiohead -- a band who aren't releasing number one singles, but who have a devoted fanbase and are more famous than many of those acts who do have regular hits. And that celebrity status put Barber in a position to do something that changed music forever. Because he desperately wanted to play with his American musical heroes, and he was one of the few people in Britain with the kind of built-in audience that he could bring over obscure Black musicians, some of whom had never even had a record released over here, and get them on stage with him. And he brought over, in particular, blues musicians. Now, just as there was a split in the British jazz community between those who liked traditional Dixieland jazz and those who liked modern jazz, there was a similar split in their tastes in blues and R&B. Those who liked modern jazz -- a music that was dominated by saxophones and piano -- unsurprisingly liked modern keyboard and saxophone-based R&B. Their R&B idol was Ray Charles, whose music was the closest of the great R&B stars to modern jazz, and one stream of the British R&B movement of the sixties came from this scene -- people like the Spencer Davis Group, Georgie Fame and the Blue Flames, and Manfred Mann all come from this modernist scene. But the trad people, when they listened to blues, liked music that sounded primitive to them, just as they liked primitive-sounding jazz. Their tastes were very heavily influenced by Alan Lomax -- who came to the UK for a crucial period in the fifties to escape McCarthyism -- and they paralleled those of the American folk scene that Lomax was also part of, and followed the same narrative that Lomax's friend John Hammond had constructed for his Spirituals to Swing concerts, where the Delta country blues of people like Robert Johnson had been the basis for both jazz and boogie piano. This entirely false narrative became the received wisdom among the trad scene in Britain, to the extent that two of the very few people in the world who had actually heard Robert Johnson records before the release of the King of the Delta Blues Singers album were Chris Barber and his sometime guitarist and banjo player Alexis Korner. These people liked Robert Johnson, Big Bill Broonzy, Lead Belly, and Lonnie Johnson's early recordings before his later pop success. They liked solo male performers who played guitar. These two scenes were geographically close -- the Flamingo Club, a modern jazz club that later became the place where Georgie Fame and Chris Farlowe built their audiences, was literally across the road from the Marquee, a trad jazz club that became the centre of guitar-based R&B in the UK. And there wasn't a perfect hard-and-fast split, as we'll see -- but it's generally true that what is nowadays portrayed as a single British "blues scene" was, in its early days, two overlapping but distinct scenes, based in a pre-existing split in the jazz world. Barber was, of course, part of the traditional jazz wing, and indeed he was so influential a part of it that his tastes shaped the tastes of the whole scene to a large extent. But Barber was not as much of a purist as someone like his former collaborator Ken Colyer, who believed that jazz had become corrupted in 1922 by the evil innovations of people like Louis Armstrong and Fletcher Henderson, who were too modern for his tastes. Barber had preferences, but he could appreciate -- and more importantly play -- music in a variety of styles. So Barber started by bringing over Big Bill Broonzy, who John Hammond had got to perform at the Spirituals to Swing concerts when he'd found out Robert Johnson was dead. It was because of Barber bringing Broonzy over that Broonzy got to record with Joe Meek: [Excerpt: Big Bill Broonzy, "When Do I Get to Be Called a Man?"] And it was because of Barber bringing Broonzy over that Broonzy appeared on Six-Five Special, along with Tommy Steele, the Vipers, and Mike and Bernie Winters, and thus became the first blues musician that an entire generation of British musicians saw, their template for what a blues musician is. If you watch the Beatles Anthology, for example, in the sections where they talk about the music they were listening to as teenagers, Broonzy is the only blues musician specifically named. That's because of Chris Barber. Broonzy toured with Barber several times in the fifties, before his death in 1958, but he wasn't the only one. Barber brought over many people to perform and record with him, including several we've looked at previously. Like the rock and roll stars who visited the UK at this time, these were generally people who were past their commercial peak in the US, but who were fantastic live performers. The Barber band did recording sessions with Louis Jordan: [Excerpt: Louis Jordan and the Chris Barber band, "Tain't Nobody's Business"] And we're lucky enough that many of the Barber band's shows at the Manchester Free Trade Hall (a venue that would later host two hugely important shows we'll talk about in later episodes) were recorded and have since been released. With those recordings we can hear them backing Sister Rosetta Tharpe: [Excerpt: Sister Rosetta Tharpe and the Chris Barber band, "Peace in the Valley"] Sonny Terry and Brownie McGhee: [Excerpt: Sonny Terry, Brownie McGhee and the Chris Barber band, "This Little Light of Mine"] And others like Champion Jack Dupree and Sonny Boy Williamson. But there was one particular blues musician that Barber brought over who changed everything for British music. Barber was a member of an organisation called the National Jazz Federation, which helped arrange transatlantic musician exchanges. You might remember that at the time there was a rule imposed by the musicians' unions in the UK and the US that the only way for an American musician to play the UK was if a British musician played the US and vice versa, and the National Jazz Federation helped set these exchanges up. Through the NJF Barber had become friendly with John Lewis, the American pianist who led the Modern Jazz Quartet, and was talking with Lewis about what other musicians he could bring over, and Lewis suggested Muddy Waters. Barber said that would be great, but he had no idea how you'd reach Muddy Waters -- did you send a postcard to the plantation he worked on or something? Lewis laughed, and said that no, Muddy Waters had a Cadillac and an agent. The reason for Barber's confusion was fairly straightfoward -- Barber was thinking of Waters' early recordings, which he knew because of the influence of Alan Lomax. Lomax had discovered Muddy Waters back in 1941. He'd travelled to Clarksdale, Mississippi hoping to record Robert Johnson for the Library of Congress -- apparently he didn't know, or had forgotten, that Johnson had died a few years earlier. When he couldn't find Johnson, he'd found another musician, who had a similar style, and recorded him instead. Waters was a working musician who would play whatever people wanted to listen to -- Gene Autry songs, Glenn Miller, whatever -- but who was particularly proficient in blues, influenced by Son House, the same person who had been Johnson's biggest influence. Lomax recorded him playing acoustic blues on a plantation, and those recordings were put out by the Library of Congress: [Excerpt: Muddy Waters, "I Be's Troubled"] Those Library of Congress recordings had been hugely influential among the trad and skiffle scenes -- Lonnie Donegan, in particular, had borrowed a copy from the American Embassy's record-lending library and then stolen it because he liked it so much.  But after making those recordings, Waters had travelled up to Chicago and gone electric, forming a band with guitarist Jimmie Rodgers (not the same person as the country singer of the same name, or the 50s pop star), harmonica player Little Walter, drummer Elgin Evans, and pianist Otis Spann.  Waters had signed to Chess Records, then still named Aristocrat, in 1947, and had started out by recording electric versions of the same material he'd been performing acoustically: [Excerpt: Muddy Waters, "I Can't Be Satisfied"] But soon he'd partnered with Chess' great bass player, songwriter, and producer Willie Dixon, who wrote a string of blues classics both for Waters and for Chess' other big star Howlin' Wolf. Throughout the early fifties, Waters had a series of hits on the R&B charts with his electric blues records, like the great "Hoochie Coochie Man", which introduced one of the most copied blues riffs ever: [Excerpt: Muddy Waters, "Hoochie Coochie Man"] But by the late fifties, the hits had started to dry up. Waters was still making great records, but Chess were more interested in artists like Chuck Berry, Bo Diddley, and the Moonglows, who were selling much more and were having big pop hits, not medium-sized R&B ones. So Waters and his pianist Otis Spann were eager to come over to the UK, and Barber was eager to perform with them. Luckily, unlike many of his trad contemporaries, Barber was comfortable with electric music, and his band quickly learned Waters' current repertoire. Waters came over and played one night at a festival with a different band, made up of modern jazz players who didn't really fit his style before joining the Barber tour, and so he and Spann were a little worried on their first night with the group when they heard these Dixieland trombones and clarinets. But as soon as the group blasted out the riff of "Hoochie Coochie Man" to introduce their guests, Waters and Spann's faces lit up -- they knew these were musicians they could play with, and they fit in with Barber's band perfectly: [Excerpt: Muddy Waters, Otis Spann, and the Chris Barber band, "Hoochie Coochie Man"] Not everyone watching the tour was as happy as Barber with the electric blues though -- the audiences were often bemused by the electric guitars, which they associated with rock and roll rather than the blues. Waters, like many of his contemporaries, was perfectly willing to adapt his performance to the audience, and so the next time he came over he brought his acoustic guitar and played more in the country acoustic style they expected. The time after that he came over, though, the audiences were disappointed, because he was playing acoustic, and now they wanted and expected him to be playing electric Chicago blues. Because Muddy Waters' first UK tour had developed a fanbase for him, and that fanbase had been cultivated and grown by one man, who had started off playing in the same band as Chris Barber. Alexis Korner had started out in the Ken Colyer band, the same band that Chris Barber had started out in, as a replacement for Lonnie Donegan when Donegan was conscripted. After Donegan had rejoined the band, they'd played together for a while, and the first ever British skiffle group lineup had been Ken and Bill Colyer, Korner, Donegan, and Barber. When the Colyers had left the group and Barber had taken it over, Korner had gone with the Colyers, mostly because he didn't like the fact that Donegan was introducing country and folk elements into skiffle, while Korner liked the blues. As a result, Korner had sung and played on the very first ever British skiffle record, the Ken Colyer group's version of "Midnight Special": [Excerpt: The Ken Colyer Skiffle Group, "Midnight Special"] After that, Korner had also backed Beryl Bryden on some skiffle recordings, which also featured a harmonica player named Cyril Davies: [Excerpt: Beryl Bryden Skiffle Group, "This Train"] But Korner and Davies had soon got sick of skiffle as it developed -- they liked the blues music that formed its basis, but Korner had never been a fan of Lonnie Donegan's singing -- he'd even said as much in the liner notes to an album by the Barber band while both he and Donegan were still in the band -- and what Donegan saw as eclecticism, including Woody Guthrie songs and old English music-hall songs, Korner saw as watering down the music. Korner and Donegan had a war of words in the pages of Melody Maker, at that time the biggest jazz periodical in Britain. Korner started with an article headlined "Skiffle is Piffle", in which he said in part: "It is with shame and considerable regret that I have to admit my part as one of the originators of the movement...British skiffle is, most certainly, a commercial success. But musically it rarely exceeds the mediocre and is, in general, so abysmally low that it defies proper musical judgment". Donegan replied pointing out that Korner was playing in a skiffle group himself, and then Korner replied to that, saying that what he was doing now wasn't skiffle, it was the blues. You can judge for yourself whether the “Blues From the Roundhouse” EP, by Alexis Korner's Breakdown Group, which featured Korner, Davies on guitar and harmonica, plus teachest bass and washboard, was skiffle or blues: [Excerpt: Alexis Korner's Breakdown Group, "Skip to My Lou"] But soon Korner and Davies had changed their group's name to Blues Incorporated, and were recording something that was much closer to the Delta and Chicago blues Davies in particular liked. [Excerpt: Alexis Korner's Blues Incorporated feat. Cyril Davies, "Death Letter"] But after the initial recordings, Blues Incorporated stopped being a thing for a while, as Korner got more involved with the folk scene. At a party hosted by Ramblin' Jack Elliot, he met the folk guitarist Davey Graham, who had previously lived in the same squat as Lionel Bart, Tommy Steele's lyricist, if that gives some idea of how small and interlocked the London music scene actually was at this time, for all its factional differences. Korner and Graham formed a guitar duo playing jazzy folk music for a while: [Excerpt: Alexis Korner and Davey Graham, "3/4 AD"] But in 1960, after Chris Barber had done a second tour with Muddy Waters, Barber decided that he needed to make Muddy Waters style blues a regular part of his shows. Barber had entered into a partnership with an accountant, Harold Pendleton, who was secretary of the National Jazz Federation. They co-owned a club, the Marquee, which Pendleton managed, and they were about to start up an annual jazz festival, the Richmond festival, which would eventually grow into the Reading Festival, the second-biggest rock festival in Britain. Barber had a residency at the Marquee, and he wanted to introduce a blues segment into the shows there. He had a singer -- his wife, Ottilie Patterson, who was an excellent singer in the Bessie Smith mould -- and he got a couple of members of his band to back her on some Chicago-style blues songs in the intervals of his shows. He asked Korner to be a part of this interval band, and after a little while it was decided that Korner would form the first ever British electric blues band, which would take over those interval slots, and so Blues Incorporated was reformed, with Cyril Davies rejoining Korner. The first time this group played together, in the first week of 1962, it was Korner on electric guitar, Davies on harmonica, and Chris Barber plus Barber's trumpet player Pat Halcox, but they soon lost the Barber band members. The group was called Blues Incorporated because they were meant to be semi-anonymous -- the idea was that people might join just for a show, or just for a few songs, and they never had the same lineup from one show to the next. For example, their classic album R&B From The Marquee, which wasn't actually recorded at the Marquee, and was produced by Jack Good, features Korner, Davies, sax player Dick Heckstall-Smith, Keith Scott on piano, Spike Heatley on bass, Graham Burbridge on drums, and Long John Baldry on vocals: [Excerpt: Blues Incorporated, "How Long How Long Blues"] But Burbridge wasn't their regular drummer -- that was a modern jazz player named Charlie Watts. And they had a lot of singers. Baldry was one of their regulars, as was Art Wood (who had a brother, Ronnie, who wasn't yet involved with these players). When Charlie quit the band, because it was taking up too much of his time, he was replaced with another drummer, Ginger Baker. When Spike Heatley left the band, Dick Heckstall-Smith brought in a new bass player, Jack Bruce. Sometimes a young man called Eric Clapton would get up on stage for a number or two, though he wouldn't bring his guitar, he'd just sing with them. So would a singer and harmonica player named Paul Jones, later the singer with Manfred Mann, who first travelled down to see the group with a friend of his, a guitarist named Brian Jones, no relation, who would also sit in with the band on guitar, playing Elmore James numbers under the name Elmo Lewis. A young man named Rodney Stewart would sometimes join in for a number or two. And one time Eric Burdon hitch-hiked down from Newcastle to get a chance to sing with the group. He jumped onto the stage when it got to the point in the show that Korner asked for singers from the audience, and so did a skinny young man. Korner diplomatically suggested that they sing a duet, and they agreed on a Billy Boy Arnold number. At the end of the song Korner introduced them -- "Eric Burdon from Newcastle, this is Mick Jagger". Mick Jagger was a middle-class student, studying at the London School of Economics, one of the most prestigious British universities. He soon became a regular guest vocalist with Blues Incorporated, appearing at almost every show. Soon after, Davies left the group -- he wanted to play strictly Chicago style blues, but Korner wanted to play other types of R&B. The final straw for Davies came when Korner brought in Graham Bond on Hammond organ -- it was bad enough that they had a saxophone player, but Hammond was a step too far. Sometimes Jagger would bring on a guitar-playing friend for a song or two -- they'd play a Chuck Berry song, to Davies' disapproval. Mick Jagger and Keith Richards had known each other at primary school, but had fallen out of touch for years. Then one day they'd bumped into each other at a train station, and Richards had noticed two albums under Jagger's arm -- one by Muddy Waters and one by Chuck Berry, both of which he'd ordered specially from Chess Records in Chicago because they weren't out in the UK yet. They'd bonded over their love for Berry and Bo Diddley, in particular, and had soon formed a band themselves, Little Boy Blue and the Blue Boys, with a friend, Dick Taylor, and had made some home recordings of rock and roll and R&B music: [Excerpt: Little Boy Blue and the Blue Boys, "Beautiful Delilah"] Meanwhile, Brian Jones, the slide player with the Elmore James obsession, decided he wanted to create his own band, who were to be called The Rollin' Stones, named after a favourite Muddy Waters track of his. He got together with Ian Stewart, a piano player who answered an ad in Jazz News magazine. Stewart had very different musical tastes to Jones -- Jones liked Elmore James and Muddy Waters and Howlin' Wolf and especially Jimmy Reed, and very little else, just electric Chicago blues. Stewart was older, and liked boogie piano like Albert Ammons and Pete Johnson, and jump band R&B like Wynonie Harris and Louis Jordan, but he could see that Jones had potential. They tried to get Charlie Watts to join the band, but he refused at first, so they played with a succession of other drummers, starting with Mick Avory. And they needed a singer, and Jones thought that Mick Jagger had genuine star potential. Jagger agreed to join, but only if his mates Dick and Keith could join the band. Jones was a little hesitant -- Mick Jagger was a real blues scholar like him, but he did have a tendency to listen to this rock and roll nonsense rather than proper blues, and Keith seemed even less of a blues purist than that. He probably even listened to Elvis. Dick, meanwhile, was an unknown quantity. But eventually Jones agreed -- though Richards remembers turning up to the first rehearsal and being astonished by Stewart's piano playing, only for Stewart to then turn around to him and say sarcastically "and you must be the Chuck Berry artist". Their first gig was at the Marquee, in place of Blues Incorporated, who were doing a BBC session and couldn't make their regular gig. Taylor and Avory soon left, and they went through a succession of bass players and drummers, played several small gigs, and also recorded a demo, which had no success in getting them a deal: [Excerpt: The Rollin' Stones, "You Can't Judge a Book By its Cover"] By this point, Jones, Richards, and Jagger were all living together, in a flat which has become legendary for its squalour. Jones was managing the group (and pocketing some of the money for himself) and Jones and Richards were spending all day every day playing guitar together, developing an interlocking style in which both could switch from rhythm to lead as the song demanded. Tony Chapman, the drummer they had at the time, brought in a friend of his, Bill Wyman, as bass player -- they didn't like him very much, he was older than the rest of them and seemed to have a bad attitude, and their initial idea was just to get him to leave his equipment with them and then nick it -- he had a really good amplifier that they wanted -- but they eventually decided to keep him in the band.  They kept pressuring Charlie Watts to join and replace Chapman, and eventually, after talking it over with Alexis Korner's wife Bobbie, he decided to give it a shot, and joined in early 1963. Watts and Wyman quickly gelled as a rhythm section with a unique style -- Watts would play jazz-inspired shuffles, while Wyman would play fast, throbbing, quavers. The Rollin' Stones were now a six-person group, and they were good. They got a residency at a new club run by Giorgio Gomelsky, a trad jazz promoter who was branching out into R&B. Gomelsky named his club the Crawdaddy Club, after the Bo Diddley song that the Stones ended their sets with. Soon, as well as playing the Crawdaddy every Sunday night, they were playing Ken Colyer's club, Studio 51, on the other side of London every Sunday evening, so Ian Stewart bought a van to lug all their gear around. Gomelsky thought of himself as the group's manager, though he didn't have a formal contract, but Jones disagreed and considered himself the manager, though he never told Gomelsky this. Jones booked the group in at the IBC studios, where they cut a professional demo with Glyn Johns engineering, consisting mostly of Bo Diddley and Jimmy Reed songs: [Excerpt: The Rollin' Stones, "Diddley Daddy"] Gomelsky started getting the group noticed. He even got the Beatles to visit the club and see the group, and the two bands hit it off -- even though John Lennon had no time for Chicago blues, he liked them as people, and would sometimes pop round to the flat where most of the group lived, once finding Mick and Keith in bed together because they didn't have any money to heat the flat. The group's live performances were so good that the Record Mirror, which as its name suggested only normally talked about records, did an article on the group. And the magazine's editor, Peter Jones, raved about them to an acquaintance of his, Andrew Loog Oldham. Oldham was a young man, only nineteen, but he'd already managed to get himself a variety of jobs around and with famous people, mostly by bluffing and conning them into giving him work. He'd worked for Mary Quant, the designer who'd popularised the miniskirt, and then had become a freelance publicist, working with Bob Dylan and Phil Spector on their trips to the UK, and with a succession of minor British pop stars. Most recently, he'd taken a job working with Brian Epstein as the Beatles' London press agent. But he wanted his own Beatles, and when he visited the Crawdaddy Club, he decided he'd found them. Oldham knew nothing about R&B, didn't like it, and didn't care -- he liked pure pop music, and he wanted to be Britain's answer to Phil Spector. But he knew charisma when he saw it, and the group on stage had it. He immediately decided he was going to sign them as a manager. However, he needed a partner in order to get them bookings -- at the time in Britain you needed an agent's license to get bookings, and you needed to be twenty-one to get the license. He first offered Brian Epstein the chance to co-manage them -- even though he'd not even talked to the group about it. Epstein said he had enough on his plate already managing the Beatles, Gerry and the Pacemakers, and his other Liverpool groups. At that point Oldham quit his job with Epstein and looked for another partner. He found one in Eric Easton, an agent of the old school who had started out as a music-hall organ player before moving over to the management side and whose big clients were Bert Weedon and Mrs. Mills, and who was letting Oldham use a spare room in his office as a base. Oldham persuaded Easton to come to the Crawdaddy Club, though Easton was dubious as it meant missing Sunday Night at the London Palladium on the TV, but Easton agreed that the group had promise -- though he wanted to get rid of the singer, which Oldham talked him out of. The two talked with Brian Jones, who agreed, as the group's leader, that they would sign with Oldham and Easton. Easton brought traditional entertainment industry experience, while Oldham brought an understanding of how to market pop groups. Jones, as the group's leader, negotiated an extra five pounds a week for himself off the top in the deal. One piece of advice that Oldham had been given by Phil Spector and which he'd taken to heart was that rather than get a band signed to a record label directly, you should set up an independent production company and lease the tapes to the label, and that's what Oldham and Easton did. They formed a company called Impact, and went into the studio with the Stones and recorded the song they performed which they thought had the most commercial potential, a Chuck Berry song called "Come On" -- though they changed Berry's line about a "stupid jerk" to being about a "stupid guy", in order to make sure the radio would play it: [Excerpt: The Rolling Stones, "Come On"] During the recording, Oldham, who was acting as producer, told the engineer not to mic up the piano. His plans didn't include Ian Stewart. Neither the group nor Oldham were particularly happy with the record -- the group because they felt it was too poppy, Oldham because it wasn't poppy enough. But they took the recording to Decca Records, where Dick Rowe, the man who had turned down the Beatles, eagerly signed them. The conventional story is that Rowe signed them after being told about them by George Harrison, but the other details of the story as it's usually told -- that they were judging a talent contest in Liverpool, which is the story in most Stones biographies, or that they were appearing together on Juke Box Jury, which is what Wikipedia and articles ripped off from Wikipedia say -- are false, and so it's likely that the story is made up. Decca wanted the Stones to rerecord the track, but after going to another studio with Easton instead of Oldham producing, the general consensus was that the first version should be released. The group got new suits for their first TV appearance, and it was when they turned up to collect the suits and found there were only five of them, not six, that Ian Stewart discovered Oldham had had him kicked out of the group, thinking he was too old and too ugly, and that six people was too many for a pop group. Stewart was given the news by Brian Jones, and never really forgave either Jones or Oldham, but he remained loyal to the rest of the group. He became their road manager, and would continue to play piano with them on stage and in the studio for the next twenty-two years, until his death -- he just wasn't allowed in the photos or any TV appearances.  That wasn't the only change Oldham made -- he insisted that the group be called the Rolling Stones, with a g, not Rollin'. He also changed Keith Richards' surname, dropping the s to be more like Cliff, though Richards later changed it back again. "Come On" made number twenty-one in the charts, but the band were unsure of what to do as a follow-up single. Most of their repertoire consisted of hard blues songs, which were unlikely to have any chart success. Oldham convened the group for a rehearsal and they ran through possible songs -- nothing seemed right. Oldham got depressed and went out for a walk, and happened to bump into John Lennon and Paul McCartney. They asked him what was up, and he explained that the group needed a song. Lennon and McCartney said they thought they could help, and came back to the rehearsal studio with Oldham. They played the Stones an idea that McCartney had been working on, which they thought might be OK for the group. The group said it would work, and Lennon and McCartney retreated to a corner, finished the song, and presented it to them. The result became the Stones' second single, and another hit for them, this time reaching number twelve. The second single was produced by Easton, as Oldham, who is bipolar, was in a depressive phase and had gone off on holiday to try to get out of it: [Excerpt: The Rolling Stones, "I Wanna Be Your Man"] The Beatles later recorded their own version of the song as an album track, giving it to Ringo to sing -- as Lennon said of the song, "We weren't going to give them anything great, were we?": [Excerpt: The Beatles, "I Wanna Be Your Man"] For a B-side, the group did a song called "Stoned", which was clearly "inspired" by "Green Onions": [Excerpt: The Rolling Stones, "Stoned"] That was credited to a group pseudonym, Nanker Phelge -- Nanker after a particular face that Jones and Richards enjoyed pulling, and Phelge after a flatmate of several of the band members, James Phelge. As it was an original, by at least some definitions of the term original, it needed publishing, and Easton got the group signed to a publishing company with whom he had a deal, without consulting Oldham about it. When Oldham got back, he was furious, and that was the beginning of the end of Easton's time with the group. But it was also the beginning of something else, because Oldham had had a realisation -- if you're going to make records you need songs, and you can't just expect to bump into Lennon and McCartney every time you need a new single. No, the Rolling Stones were going to have to have some originals, and Andrew Loog Oldham was going to make them into writers. We'll see how that went in a few weeks' time, when we pick up on their career.  

Episode 108 of A History of Rock Music in Five Hundred Songs looks at “I Wanna Be Your Man” by the Rolling Stones and how the British blues scene of the early sixties was started by a trombone player. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have an eight-minute bonus episode available, on “The Monkey Time” by Major Lance. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. i used a lot of resources for this episode. Information on Chris Barber comes from Jazz Me Blues: The Autobiography of Chris Barber by Barber and Alyn Shopton. Information on Alexis Korner comes from Alexis Korner: The Biography by Harry Shapiro. Two resources that I’ve used for this and all future Stones episodes — The Rolling Stones: All The Songs by Phillipe Margotin and Jean-Michel Guesden is an invaluable reference book, while Old Gods Almost Dead by Stephen Davis is the least inaccurate biography. I’ve also used Andrew Loog Oldham’s autobiography Stoned, and Keith Richards’ Life, though be warned that both casually use slurs. This compilation contains Alexis Korner’s pre-1963 electric blues material, while this contains the earlier skiffle and country blues music. The live performances by Chris Barber and various blues legends I’ve used here come from volumes one and two of a three-CD series of these recordings. And this three-CD set contains the A and B sides of all the Stones’ singles up to 1971.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we’re going to look at a group who, more than any other band of the sixties, sum up what “rock music” means to most people. This is all the more surprising as when they started out they were vehemently opposed to being referred to as “rock and roll”. We’re going to look at the London blues scene of the early sixties, and how a music scene that was made up of people who thought of themselves as scholars of obscure music, going against commercialism ended up creating some of the most popular and commercial music ever made. We’re going to look at the Rolling Stones, and at “I Wanna Be Your Man”: [Excerpt: The Rolling Stones, “I Wanna Be Your Man”] The Rolling Stones’ story doesn’t actually start with the Rolling Stones, and they won’t be appearing until quite near the end of this episode, because to explain how they formed, I have to explain the British blues scene that they formed in. One of the things people asked me when I first started doing the podcast was why I didn’t cover people like Muddy Waters and Howlin’ Wolf in the early episodes — after all, most people now think that rock and roll started with those artists. It didn’t, as I hope the last hundred or so episodes have shown. But those artists did become influential on its development, and that influence happened largely because of one man, Chris Barber. We’ve seen Barber before, in a couple of episodes, but this, even more than his leading the band that brought Lonnie Donegan to fame, is where his influence on popular music really changes everything. On the face of it, Chris Barber seems like the last person in the world who one would expect to be responsible, at least indirectly, for some of the most rebellious popular music ever made. He is a trombone player from a background that is about as solidly respectable as one can imagine — his parents were introduced to each other by the economist John Maynard Keynes, and his father, another economist, was not only offered a knighthood for his war work (he turned it down but accepted a CBE), but Clement Atlee later offered him a safe seat in Parliament if he wanted to become Chancellor of the Exchequer. But when the war started, young Chris Barber started listening to the Armed Forces Network, and became hooked on jazz. By the time the war ended, when he was fifteen, he owned records by Louis Armstrong, Bessie Smith, Duke Ellington, Jelly Roll Morton and more — records that were almost impossible to find in the Britain of the 1940s. And along with the jazz records, he was also getting hold of blues records by people like Cow Cow Davenport and Sleepy John Estes: [Excerpt: Sleepy John Estes, “Milk Cow Blues”] In his late teens and early twenties, Barber had become Britain’s pre-eminent traditional jazz trombonist — a position he held until he retired last year, aged eighty-nine — but he wasn’t just interested in trad jazz, but in all of American roots music, which is why he’d ended up accidentally kick-starting the skiffle craze when his guitarist recorded an old Lead Belly song as a track on a Barber album, as we looked at back in the episode on “Rock Island Line”. If that had been Barber’s only contribution to British rock and roll, he would still have been important — after all, without “Rock Island Line”, it’s likely that you could have counted the number of British boys who played guitar in the fifties and sixties on a single hand. But he did far more than that. In the mid to late fifties, Barber became one of the biggest stars in British music. He didn’t have a breakout chart hit until 1959, when he released “Petit Fleur”, engineered by Joe Meek: [Excerpt: Chris Barber, “Petit Fleur”] And Barber didn’t even play on that – it was a clarinet solo by his clarinettist Monty Sunshine. But long before this big chart success he was a huge live draw and made regular appearances on TV and radio, and he was hugely appreciated among music lovers. A parallel for his status in the music world in the more modern era might be someone like, say, Radiohead — a band who aren’t releasing number one singles, but who have a devoted fanbase and are more famous than many of those acts who do have regular hits. And that celebrity status put Barber in a position to do something that changed music forever. Because he desperately wanted to play with his American musical heroes, and he was one of the few people in Britain with the kind of built-in audience that he could bring over obscure Black musicians, some of whom had never even had a record released over here, and get them on stage with him. And he brought over, in particular, blues musicians. Now, just as there was a split in the British jazz community between those who liked traditional Dixieland jazz and those who liked modern jazz, there was a similar split in their tastes in blues and R&B. Those who liked modern jazz — a music that was dominated by saxophones and piano — unsurprisingly liked modern keyboard and saxophone-based R&B. Their R&B idol was Ray Charles, whose music was the closest of the great R&B stars to modern jazz, and one stream of the British R&B movement of the sixties came from this scene — people like the Spencer Davis Group, Georgie Fame and the Blue Flames, and Manfred Mann all come from this modernist scene. But the trad people, when they listened to blues, liked music that sounded primitive to them, just as they liked primitive-sounding jazz. Their tastes were very heavily influenced by Alan Lomax — who came to the UK for a crucial period in the fifties to escape McCarthyism — and they paralleled those of the American folk scene that Lomax was also part of, and followed the same narrative that Lomax’s friend John Hammond had constructed for his Spirituals to Swing concerts, where the Delta country blues of people like Robert Johnson had been the basis for both jazz and boogie piano. This entirely false narrative became the received wisdom among the trad scene in Britain, to the extent that two of the very few people in the world who had actually heard Robert Johnson records before the release of the King of the Delta Blues Singers album were Chris Barber and his sometime guitarist and banjo player Alexis Korner. These people liked Robert Johnson, Big Bill Broonzy, Lead Belly, and Lonnie Johnson’s early recordings before his later pop success. They liked solo male performers who played guitar. These two scenes were geographically close — the Flamingo Club, a modern jazz club that later became the place where Georgie Fame and Chris Farlowe built their audiences, was literally across the road from the Marquee, a trad jazz club that became the centre of guitar-based R&B in the UK. And there wasn’t a perfect hard-and-fast split, as we’ll see — but it’s generally true that what is nowadays portrayed as a single British “blues scene” was, in its early days, two overlapping but distinct scenes, based in a pre-existing split in the jazz world. Barber was, of course, part of the traditional jazz wing, and indeed he was so influential a part of it that his tastes shaped the tastes of the whole scene to a large extent. But Barber was not as much of a purist as someone like his former collaborator Ken Colyer, who believed that jazz had become corrupted in 1922 by the evil innovations of people like Louis Armstrong and Fletcher Henderson, who were too modern for his tastes. Barber had preferences, but he could appreciate — and more importantly play — music in a variety of styles. So Barber started by bringing over Big Bill Broonzy, who John Hammond had got to perform at the Spirituals to Swing concerts when he’d found out Robert Johnson was dead. It was because of Barber bringing Broonzy over that Broonzy got to record with Joe Meek: [Excerpt: Big Bill Broonzy, “When Do I Get to Be Called a Man?”] And it was because of Barber bringing Broonzy over that Broonzy appeared on Six-Five Special, along with Tommy Steele, the Vipers, and Mike and Bernie Winters, and thus became the first blues musician that an entire generation of British musicians saw, their template for what a blues musician is. If you watch the Beatles Anthology, for example, in the sections where they talk about the music they were listening to as teenagers, Broonzy is the only blues musician specifically named. That’s because of Chris Barber. Broonzy toured with Barber several times in the fifties, before his death in 1958, but he wasn’t the only one. Barber brought over many people to perform and record with him, including several we’ve looked at previously. Like the rock and roll stars who visited the UK at this time, these were generally people who were past their commercial peak in the US, but who were fantastic live performers. The Barber band did recording sessions with Louis Jordan: [Excerpt: Louis Jordan and the Chris Barber band, “Tain’t Nobody’s Business”] And we’re lucky enough that many of the Barber band’s shows at the Manchester Free Trade Hall (a venue that would later host two hugely important shows we’ll talk about in later episodes) were recorded and have since been released. With those recordings we can hear them backing Sister Rosetta Tharpe: [Excerpt: Sister Rosetta Tharpe and the Chris Barber band, “Peace in the Valley”] Sonny Terry and Brownie McGhee: [Excerpt: Sonny Terry, Brownie McGhee and the Chris Barber band, “This Little Light of Mine”] And others like Champion Jack Dupree and Sonny Boy Williamson. But there was one particular blues musician that Barber brought over who changed everything for British music. Barber was a member of an organisation called the National Jazz Federation, which helped arrange transatlantic musician exchanges. You might remember that at the time there was a rule imposed by the musicians’ unions in the UK and the US that the only way for an American musician to play the UK was if a British musician played the US and vice versa, and the National Jazz Federation helped set these exchanges up. Through the NJF Barber had become friendly with John Lewis, the American pianist who led the Modern Jazz Quartet, and was talking with Lewis about what other musicians he could bring over, and Lewis suggested Muddy Waters. Barber said that would be great, but he had no idea how you’d reach Muddy Waters — did you send a postcard to the plantation he worked on or something? Lewis laughed, and said that no, Muddy Waters had a Cadillac and an agent. The reason for Barber’s confusion was fairly straightfoward — Barber was thinking of Waters’ early recordings, which he knew because of the influence of Alan Lomax. Lomax had discovered Muddy Waters back in 1941. He’d travelled to Clarksdale, Mississippi hoping to record Robert Johnson for the Library of Congress — apparently he didn’t know, or had forgotten, that Johnson had died a few years earlier. When he couldn’t find Johnson, he’d found another musician, who had a similar style, and recorded him instead. Waters was a working musician who would play whatever people wanted to listen to — Gene Autry songs, Glenn Miller, whatever — but who was particularly proficient in blues, influenced by Son House, the same person who had been Johnson’s biggest influence. Lomax recorded him playing acoustic blues on a plantation, and those recordings were put out by the Library of Congress: [Excerpt: Muddy Waters, “I Be’s Troubled”] Those Library of Congress recordings had been hugely influential among the trad and skiffle scenes — Lonnie Donegan, in particular, had borrowed a copy from the American Embassy’s record-lending library and then stolen it because he liked it so much.  But after making those recordings, Waters had travelled up to Chicago and gone electric, forming a band with guitarist Jimmie Rodgers (not the same person as the country singer of the same name, or the 50s pop star), harmonica player Little Walter, drummer Elgin Evans, and pianist Otis Spann.  Waters had signed to Chess Records, then still named Aristocrat, in 1947, and had started out by recording electric versions of the same material he’d been performing acoustically: [Excerpt: Muddy Waters, “I Can’t Be Satisfied”] But soon he’d partnered with Chess’ great bass player, songwriter, and producer Willie Dixon, who wrote a string of blues classics both for Waters and for Chess’ other big star Howlin’ Wolf. Throughout the early fifties, Waters had a series of hits on the R&B charts with his electric blues records, like the great “Hoochie Coochie Man”, which introduced one of the most copied blues riffs ever: [Excerpt: Muddy Waters, “Hoochie Coochie Man”] But by the late fifties, the hits had started to dry up. Waters was still making great records, but Chess were more interested in artists like Chuck Berry, Bo Diddley, and the Moonglows, who were selling much more and were having big pop hits, not medium-sized R&B ones. So Waters and his pianist Otis Spann were eager to come over to the UK, and Barber was eager to perform with them. Luckily, unlike many of his trad contemporaries, Barber was comfortable with electric music, and his band quickly learned Waters’ current repertoire. Waters came over and played one night at a festival with a different band, made up of modern jazz players who didn’t really fit his style before joining the Barber tour, and so he and Spann were a little worried on their first night with the group when they heard these Dixieland trombones and clarinets. But as soon as the group blasted out the riff of “Hoochie Coochie Man” to introduce their guests, Waters and Spann’s faces lit up — they knew these were musicians they could play with, and they fit in with Barber’s band perfectly: [Excerpt: Muddy Waters, Otis Spann, and the Chris Barber band, “Hoochie Coochie Man”] Not everyone watching the tour was as happy as Barber with the electric blues though — the audiences were often bemused by the electric guitars, which they associated with rock and roll rather than the blues. Waters, like many of his contemporaries, was perfectly willing to adapt his performance to the audience, and so the next time he came over he brought his acoustic guitar and played more in the country acoustic style they expected. The time after that he came over, though, the audiences were disappointed, because he was playing acoustic, and now they wanted and expected him to be playing electric Chicago blues. Because Muddy Waters’ first UK tour had developed a fanbase for him, and that fanbase had been cultivated and grown by one man, who had started off playing in the same band as Chris Barber. Alexis Korner had started out in the Ken Colyer band, the same band that Chris Barber had started out in, as a replacement for Lonnie Donegan when Donegan was conscripted. After Donegan had rejoined the band, they’d played together for a while, and the first ever British skiffle group lineup had been Ken and Bill Colyer, Korner, Donegan, and Barber. When the Colyers had left the group and Barber had taken it over, Korner had gone with the Colyers, mostly because he didn’t like the fact that Donegan was introducing country and folk elements into skiffle, while Korner liked the blues. As a result, Korner had sung and played on the very first ever British skiffle record, the Ken Colyer group’s version of “Midnight Special”: [Excerpt: The Ken Colyer Skiffle Group, “Midnight Special”] After that, Korner had also backed Beryl Bryden on some skiffle recordings, which also featured a harmonica player named Cyril Davies: [Excerpt: Beryl Bryden Skiffle Group, “This Train”] But Korner and Davies had soon got sick of skiffle as it developed — they liked the blues music that formed its basis, but Korner had never been a fan of Lonnie Donegan’s singing — he’d even said as much in the liner notes to an album by the Barber band while both he and Donegan were still in the band — and what Donegan saw as eclecticism, including Woody Guthrie songs and old English music-hall songs, Korner saw as watering down the music. Korner and Donegan had a war of words in the pages of Melody Maker, at that time the biggest jazz periodical in Britain. Korner started with an article headlined “Skiffle is Piffle”, in which he said in part: “It is with shame and considerable regret that I have to admit my part as one of the originators of the movement…British skiffle is, most certainly, a commercial success. But musically it rarely exceeds the mediocre and is, in general, so abysmally low that it defies proper musical judgment”. Donegan replied pointing out that Korner was playing in a skiffle group himself, and then Korner replied to that, saying that what he was doing now wasn’t skiffle, it was the blues. You can judge for yourself whether the “Blues From the Roundhouse” EP, by Alexis Korner’s Breakdown Group, which featured Korner, Davies on guitar and harmonica, plus teachest bass and washboard, was skiffle or blues: [Excerpt: Alexis Korner’s Breakdown Group, “Skip to My Lou”] But soon Korner and Davies had changed their group’s name to Blues Incorporated, and were recording something that was much closer to the Delta and Chicago blues Davies in particular liked. [Excerpt: Alexis Korner’s Blues Incorporated feat. Cyril Davies, “Death Letter”] But after the initial recordings, Blues Incorporated stopped being a thing for a while, as Korner got more involved with the folk scene. At a party hosted by Ramblin’ Jack Elliot, he met the folk guitarist Davey Graham, who had previously lived in the same squat as Lionel Bart, Tommy Steele’s lyricist, if that gives some idea of how small and interlocked the London music scene actually was at this time, for all its factional differences. Korner and Graham formed a guitar duo playing jazzy folk music for a while: [Excerpt: Alexis Korner and Davey Graham, “3/4 AD”] But in 1960, after Chris Barber had done a second tour with Muddy Waters, Barber decided that he needed to make Muddy Waters style blues a regular part of his shows. Barber had entered into a partnership with an accountant, Harold Pendleton, who was secretary of the National Jazz Federation. They co-owned a club, the Marquee, which Pendleton managed, and they were about to start up an annual jazz festival, the Richmond festival, which would eventually grow into the Reading Festival, the second-biggest rock festival in Britain. Barber had a residency at the Marquee, and he wanted to introduce a blues segment into the shows there. He had a singer — his wife, Ottilie Patterson, who was an excellent singer in the Bessie Smith mould — and he got a couple of members of his band to back her on some Chicago-style blues songs in the intervals of his shows. He asked Korner to be a part of this interval band, and after a little while it was decided that Korner would form the first ever British electric blues band, which would take over those interval slots, and so Blues Incorporated was reformed, with Cyril Davies rejoining Korner. The first time this group played together, in the first week of 1962, it was Korner on electric guitar, Davies on harmonica, and Chris Barber plus Barber’s trumpet player Pat Halcox, but they soon lost the Barber band members. The group was called Blues Incorporated because they were meant to be semi-anonymous — the idea was that people might join just for a show, or just for a few songs, and they never had the same lineup from one show to the next. For example, their classic album R&B From The Marquee, which wasn’t actually recorded at the Marquee, and was produced by Jack Good, features Korner, Davies, sax player Dick Heckstall-Smith, Keith Scott on piano, Spike Heatley on bass, Graham Burbridge on drums, and Long John Baldry on vocals: [Excerpt: Blues Incorporated, “How Long How Long Blues”] But Burbridge wasn’t their regular drummer — that was a modern jazz player named Charlie Watts. And they had a lot of singers. Baldry was one of their regulars, as was Art Wood (who had a brother, Ronnie, who wasn’t yet involved with these players). When Charlie quit the band, because it was taking up too much of his time, he was replaced with another drummer, Ginger Baker. When Spike Heatley left the band, Dick Heckstall-Smith brought in a new bass player, Jack Bruce. Sometimes a young man called Eric Clapton would get up on stage for a number or two, though he wouldn’t bring his guitar, he’d just sing with them. So would a singer and harmonica player named Paul Jones, later the singer with Manfred Mann, who first travelled down to see the group with a friend of his, a guitarist named Brian Jones, no relation, who would also sit in with the band on guitar, playing Elmore James numbers under the name Elmo Lewis. A young man named Rodney Stewart would sometimes join in for a number or two. And one time Eric Burdon hitch-hiked down from Newcastle to get a chance to sing with the group. He jumped onto the stage when it got to the point in the show that Korner asked for singers from the audience, and so did a skinny young man. Korner diplomatically suggested that they sing a duet, and they agreed on a Billy Boy Arnold number. At the end of the song Korner introduced them — “Eric Burdon from Newcastle, this is Mick Jagger”. Mick Jagger was a middle-class student, studying at the London School of Economics, one of the most prestigious British universities. He soon became a regular guest vocalist with Blues Incorporated, appearing at almost every show. Soon after, Davies left the group — he wanted to play strictly Chicago style blues, but Korner wanted to play other types of R&B. The final straw for Davies came when Korner brought in Graham Bond on Hammond organ — it was bad enough that they had a saxophone player, but Hammond was a step too far. Sometimes Jagger would bring on a guitar-playing friend for a song or two — they’d play a Chuck Berry song, to Davies’ disapproval. Mick Jagger and Keith Richards had known each other at primary school, but had fallen out of touch for years. Then one day they’d bumped into each other at a train station, and Richards had noticed two albums under Jagger’s arm — one by Muddy Waters and one by Chuck Berry, both of which he’d ordered specially from Chess Records in Chicago because they weren’t out in the UK yet. They’d bonded over their love for Berry and Bo Diddley, in particular, and had soon formed a band themselves, Little Boy Blue and the Blue Boys, with a friend, Dick Taylor, and had made some home recordings of rock and roll and R&B music: [Excerpt: Little Boy Blue and the Blue Boys, “Beautiful Delilah”] Meanwhile, Brian Jones, the slide player with the Elmore James obsession, decided he wanted to create his own band, who were to be called The Rollin’ Stones, named after a favourite Muddy Waters track of his. He got together with Ian Stewart, a piano player who answered an ad in Jazz News magazine. Stewart had very different musical tastes to Jones — Jones liked Elmore James and Muddy Waters and Howlin’ Wolf and especially Jimmy Reed, and very little else, just electric Chicago blues. Stewart was older, and liked boogie piano like Albert Ammons and Pete Johnson, and jump band R&B like Wynonie Harris and Louis Jordan, but he could see that Jones had potential. They tried to get Charlie Watts to join the band, but he refused at first, so they played with a succession of other drummers, starting with Mick Avory. And they needed a singer, and Jones thought that Mick Jagger had genuine star potential. Jagger agreed to join, but only if his mates Dick and Keith could join the band. Jones was a little hesitant — Mick Jagger was a real blues scholar like him, but he did have a tendency to listen to this rock and roll nonsense rather than proper blues, and Keith seemed even less of a blues purist than that. He probably even listened to Elvis. Dick, meanwhile, was an unknown quantity. But eventually Jones agreed — though Richards remembers turning up to the first rehearsal and being astonished by Stewart’s piano playing, only for Stewart to then turn around to him and say sarcastically “and you must be the Chuck Berry artist”. Their first gig was at the Marquee, in place of Blues Incorporated, who were doing a BBC session and couldn’t make their regular gig. Taylor and Avory soon left, and they went through a succession of bass players and drummers, played several small gigs, and also recorded a demo, which had no success in getting them a deal: [Excerpt: The Rollin’ Stones, “You Can’t Judge a Book By its Cover”] By this point, Jones, Richards, and Jagger were all living together, in a flat which has become legendary for its squalour. Jones was managing the group (and pocketing some of the money for himself) and Jones and Richards were spending all day every day playing guitar together, developing an interlocking style in which both could switch from rhythm to lead as the song demanded. Tony Chapman, the drummer they had at the time, brought in a friend of his, Bill Wyman, as bass player — they didn’t like him very much, he was older than the rest of them and seemed to have a bad attitude, and their initial idea was just to get him to leave his equipment with them and then nick it — he had a really good amplifier that they wanted — but they eventually decided to keep him in the band.  They kept pressuring Charlie Watts to join and replace Chapman, and eventually, after talking it over with Alexis Korner’s wife Bobbie, he decided to give it a shot, and joined in early 1963. Watts and Wyman quickly gelled as a rhythm section with a unique style — Watts would play jazz-inspired shuffles, while Wyman would play fast, throbbing, quavers. The Rollin’ Stones were now a six-person group, and they were good. They got a residency at a new club run by Giorgio Gomelsky, a trad jazz promoter who was branching out into R&B. Gomelsky named his club the Crawdaddy Club, after the Bo Diddley song that the Stones ended their sets with. Soon, as well as playing the Crawdaddy every Sunday night, they were playing Ken Colyer’s club, Studio 51, on the other side of London every Sunday evening, so Ian Stewart bought a van to lug all their gear around. Gomelsky thought of himself as the group’s manager, though he didn’t have a formal contract, but Jones disagreed and considered himself the manager, though he never told Gomelsky this. Jones booked the group in at the IBC studios, where they cut a professional demo with Glyn Johns engineering, consisting mostly of Bo Diddley and Jimmy Reed songs: [Excerpt: The Rollin’ Stones, “Diddley Daddy”] Gomelsky started getting the group noticed. He even got the Beatles to visit the club and see the group, and the two bands hit it off — even though John Lennon had no time for Chicago blues, he liked them as people, and would sometimes pop round to the flat where most of the group lived, once finding Mick and Keith in bed together because they didn’t have any money to heat the flat. The group’s live performances were so good that the Record Mirror, which as its name suggested only normally talked about records, did an article on the group. And the magazine’s editor, Peter Jones, raved about them to an acquaintance of his, Andrew Loog Oldham. Oldham was a young man, only nineteen, but he’d already managed to get himself a variety of jobs around and with famous people, mostly by bluffing and conning them into giving him work. He’d worked for Mary Quant, the designer who’d popularised the miniskirt, and then had become a freelance publicist, working with Bob Dylan and Phil Spector on their trips to the UK, and with a succession of minor British pop stars. Most recently, he’d taken a job working with Brian Epstein as the Beatles’ London press agent. But he wanted his own Beatles, and when he visited the Crawdaddy Club, he decided he’d found them. Oldham knew nothing about R&B, didn’t like it, and didn’t care — he liked pure pop music, and he wanted to be Britain’s answer to Phil Spector. But he knew charisma when he saw it, and the group on stage had it. He immediately decided he was going to sign them as a manager. However, he needed a partner in order to get them bookings — at the time in Britain you needed an agent’s license to get bookings, and you needed to be twenty-one to get the license. He first offered Brian Epstein the chance to co-manage them — even though he’d not even talked to the group about it. Epstein said he had enough on his plate already managing the Beatles, Gerry and the Pacemakers, and his other Liverpool groups. At that point Oldham quit his job with Epstein and looked for another partner. He found one in Eric Easton, an agent of the old school who had started out as a music-hall organ player before moving over to the management side and whose big clients were Bert Weedon and Mrs. Mills, and who was letting Oldham use a spare room in his office as a base. Oldham persuaded Easton to come to the Crawdaddy Club, though Easton was dubious as it meant missing Sunday Night at the London Palladium on the TV, but Easton agreed that the group had promise — though he wanted to get rid of the singer, which Oldham talked him out of. The two talked with Brian Jones, who agreed, as the group’s leader, that they would sign with Oldham and Easton. Easton brought traditional entertainment industry experience, while Oldham brought an understanding of how to market pop groups. Jones, as the group’s leader, negotiated an extra five pounds a week for himself off the top in the deal. One piece of advice that Oldham had been given by Phil Spector and which he’d taken to heart was that rather than get a band signed to a record label directly, you should set up an independent production company and lease the tapes to the label, and that’s what Oldham and Easton did. They formed a company called Impact, and went into the studio with the Stones and recorded the song they performed which they thought had the most commercial potential, a Chuck Berry song called “Come On” — though they changed Berry’s line about a “stupid jerk” to being about a “stupid guy”, in order to make sure the radio would play it: [Excerpt: The Rolling Stones, “Come On”] During the recording, Oldham, who was acting as producer, told the engineer not to mic up the piano. His plans didn’t include Ian Stewart. Neither the group nor Oldham were particularly happy with the record — the group because they felt it was too poppy, Oldham because it wasn’t poppy enough. But they took the recording to Decca Records, where Dick Rowe, the man who had turned down the Beatles, eagerly signed them. The conventional story is that Rowe signed them after being told about them by George Harrison, but the other details of the story as it’s usually told — that they were judging a talent contest in Liverpool, which is the story in most Stones biographies, or that they were appearing together on Juke Box Jury, which is what Wikipedia and articles ripped off from Wikipedia say — are false, and so it’s likely that the story is made up. Decca wanted the Stones to rerecord the track, but after going to another studio with Easton instead of Oldham producing, the general consensus was that the first version should be released. The group got new suits for their first TV appearance, and it was when they turned up to collect the suits and found there were only five of them, not six, that Ian Stewart discovered Oldham had had him kicked out of the group, thinking he was too old and too ugly, and that six people was too many for a pop group. Stewart was given the news by Brian Jones, and never really forgave either Jones or Oldham, but he remained loyal to the rest of the group. He became their road manager, and would continue to play piano with them on stage and in the studio for the next twenty-two years, until his death — he just wasn’t allowed in the photos or any TV appearances.  That wasn’t the only change Oldham made — he insisted that the group be called the Rolling Stones, with a g, not Rollin’. He also changed Keith Richards’ surname, dropping the s to be more like Cliff, though Richards later changed it back again. “Come On” made number twenty-one in the charts, but the band were unsure of what to do as a follow-up single. Most of their repertoire consisted of hard blues songs, which were unlikely to have any chart success. Oldham convened the group for a rehearsal and they ran through possible songs — nothing seemed right. Oldham got depressed and went out for a walk, and happened to bump into John Lennon and Paul McCartney. They asked him what was up, and he explained that the group needed a song. Lennon and McCartney said they thought they could help, and came back to the rehearsal studio with Oldham. They played the Stones an idea that McCartney had been working on, which they thought might be OK for the group. The group said it would work, and Lennon and McCartney retreated to a corner, finished the song, and presented it to them. The result became the Stones’ second single, and another hit for them, this time reaching number twelve. The second single was produced by Easton, as Oldham, who is bipolar, was in a depressive phase and had gone off on holiday to try to get out of it: [Excerpt: The Rolling Stones, “I Wanna Be Your Man”] The Beatles later recorded their own version of the song as an album track, giving it to Ringo to sing — as Lennon said of the song, “We weren’t going to give them anything great, were we?”: [Excerpt: The Beatles, “I Wanna Be Your Man”] For a B-side, the group did a song called “Stoned”, which was clearly “inspired” by “Green Onions”: [Excerpt: The Rolling Stones, “Stoned”] That was credited to a group pseudonym, Nanker Phelge — Nanker after a particular face that Jones and Richards enjoyed pulling, and Phelge after a flatmate of several of the band members, James Phelge. As it was an original, by at least some definitions of the term original, it needed publishing, and Easton got the group signed to a publishing company with whom he had a deal, without consulting Oldham about it. When Oldham got back, he was furious, and that was the beginning of the end of Easton’s time with the group. But it was also the beginning of something else, because Oldham had had a realisation — if you’re going to make records you need songs, and you can’t just expect to bump into Lennon and McCartney every time you need a new single. No, the Rolling Stones were going to have to have some originals, and Andrew Loog Oldham was going to make them into writers. We’ll see how that went in a few weeks’ time, when we pick up on their career.  

The Novel:Holidate (Dating #3)The Author: Monica MurphyThe Noobies: Alanna ReganThe Synopsis:Candice Gaines loves Christmas. Not only does she bask in the twinkling lights, sing Christmas carols and go crazy with the decorations, she’s also in the giving spirit, donating much of her time and wealth to various charities in the local area.Charlie Sullivan despises Christmas. Though it keeps his family afloat, considering they own Sullivan Family Christmas Tree Farm, the main provider for Christmas trees on the Monterey peninsula. He’d much rather work among the trees versus have to deal with people.But Charlie’s parents are taking on more philanthropic projects—and as their oldest child, they want him to be their official public representative. He just has to play nice and convince everyone he’s not a total holiday hater.When Charlie’s mom asks Candice to accompany him to a variety of holiday parties and events, she reluctantly agrees. She thinks Charlie is a big ol’ Grinch, but is determined to change his mindset and help him spread Christmas cheer. Charlie finds Candice too chatty, too sweet, too much. Do people like her really exist?Why yes, yes they do. The more time they spend together—along with a few kisses under the mistletoe—the more they start to like each other. Hopefully Charlie can convince Candice he doesn’t have a heart that’s two sizes too small before the ball drops on New Year’s Eve.Show Notes: - The 2nd Day of Boobsmas is here!- Remembering the emo 2000's with my guest, Alanna- Middle school fashion faux-pas...- The struggle of celebrating the holidays with multiple families in multiple places (00:05:34)- Traveling during the 2020 Holiday Season- Hallmark movie rec: "The Most Wonderful Time of the Year"- Creating new holiday traditions during the pandemic- The great debate on holiday music (00:12:31)- Kelly's favorite "winter cafe jams" - Introducing Holidate by Monica Murphy - NOT the Netflix movie (00:15:36)- Holidate vs. "Holidate" (Netflix)- The not-so-quick synopsis (and a potential drinking game?)- A California Christmas story- Wall Street billionaire meets Christmas tree lot owner?- Serial killers can own Christmas tree farms, too... (00:38:09)- Surprise amnesia?!?- Opposites attract- A few flirty KISScerpts (00:50:05)- Heart, Humor, Heat and Holidays (00:55:11)- Wrapping up with Alanna- The 2nd Day of Boobsmas giveaway (01:02:30)- The 2nd Day of Boobsmas jingle courtesy of Cooper BaldwinGiveaway Winner:Facebook: Nicole BoedeckerFollow Boobies & Noobies on Twitter, Instagram, & Facebook @boobiespodcast and check out our blog, merch, and more on our brand new Boobies & Noobies website.*Boobies & Noobies is part of the Frolic Podcast Network. You can find more outstanding podcasts to subscribe to at Frolic.media/podcasts*

Charlie Live helps entrepreneurs amplifying their impact and income by growing their personal brands. He is part of the iLegendz team where they all practice what they preach. Everybody in the team has a personal brand and one of the things that Charlie enjoys talking about is personal development.In Charlie Live's story, he wanted to become successful as he tried different business models such as creating his own social media marketing agency. He believes that everything in the world happens for a reason and that if you have a flow of energy within you, you'll attract others with that same energy.When Charlie met the owner of iLegendz, Marco Champion, he knew that he wanted to be on his team to learn and grow as an entrepreneur. Under his wing, Charlie is learning a lot more about business, marketing, and personal development. That's why it is so important to surround yourself with people who are successful.If you would like to check out Charlie Live, you can find him here:InstagramCheck out Get The Bag Life and Hit us up!InstagramTik TokLinkedInTwitterFacebookBlogPinterest

When Charlie discovers a time travelling chair in the attic the race is on to go back in time to the year 1990 and save their Mum from the life threatening flu. Will they make it in time and return back to 2020 together?! See omnystudio.com/listener for privacy information.

Description: Charlie Plumb graduated from the Naval Academy and went on to be a fighter pilot on 74 successful combat missions over Vietnam. However, on his 75th mission, with only five days before he was scheduled to return home, Charlie was shot down, captured, tortured, and imprisoned in an 8x8 foot cell. He spent 6 years as a POW in Vietnam and during his time there, he learned about forgiveness, personal responsibility, and leadership. He shares his story with you today.    Continue On Your Journey Charlieplumb.com Charlie on Facebook Charlie on Twitter   JRmartinez.com J.R. on Instagram J.R. on Facebook J.R. on Twitter J.R. Youtube Channel   Did you enjoy today’s episode? If so, please head over to iTunes and leave a review. Help others discover the REBIRTH podcast so they, too, can be inspired and motivated by the stories shared in these episodes.   Key Takeaways Imagine spending 2,103 days in an 8x8 foot cell as a prisoner of war.  When the Vietnam war ended, there was a big sigh of relief for everyone. They welcomed everyone back and treated the military as if they were heroes, but Charlie didn’t feel like a hero.  J.R. has physical wounds from war and people elevate him for it, but what about all the people out there with invisible wounds? With PTSD? They need a voice, too.  When Charlie came home, he wanted to change his name and disappear to forget his experience as a POW.  Charlie found out through sharing his story that he was giving people hope. This sparked a new purpose for him.  Why did Charlie join the military?  Charlie shares his story of how he got captured in Vietnam.  Charlie went through 6 different prison camps and at times shared his 8x8 cell with 3 other people.  Charlie finds it quite funny that people were afraid of running out of toilet paper during Covid-19. For the longest time, Charlie was mad at everyone. The president, the aircraft mechanics, everyone… until he read this note by Mark Twain. That’s when he found forgiveness.  When you point your fingers at someone else, you give up your own control.  Charlie felt incredibly guilty for being captured, for not being strong enough under torture.  Guys are afraid to reach out for help. Charlie believes this is why the suicide rates are so high. “Acid does more harm in the vessel it’s stored, than on the subject it's poured”. The hate you hold inside does more harm to you than it does to the enemy.  You’re the only one who has control over your life. The secret to success is the choices you make about the environment around you.  Charlie survived because he chose not to be bitter.  What got Charlie through the six years of being a POW?  “Return with Honor” was the mantra Charlie held in his heart. When a friend is going through a hard time, it can be difficult to come up with the words to comfort them. Sometimes, there are no words, but just being there for someone is enough. Leadership is critical in times of uncertainty, stress, and torture. The leadership in Charlie’s team kept everyone together and focused on the bigger mission.  Of everyone who came back from the Vietnam war, 36% of them had PTSD. Those who came back as POWs, only 4% had PTSD. Why is that?  Charlie and his unit were ready to cause an international incident for not leaving the prison camps when instructed to. Despite 6 years there, it was an easy decision to make. It was about principles.  When Charlie came back, he found out that his wife was divorcing him. Despite the lessons he learned in the prison camp, he didn’t learn them well enough when he was in the ‘real world’. He was ready to blame people all over again.  Everything happens for a reason. "Adversity is a horrible thing to waste" Continue On Your Journey Charlieplumb.com Charlie on Facebook Charlie on Twitter   JRmartinez.com J.R. on Instagram J.R. on Facebook J.R. on Twitter J.R. Youtube Channel Did you enjoy today’s episode? If so, please head over to iTunes and leave a review. Help others discover the REBIRTH podcast so they, too, can be inspired and motivated by the stories shared in these episodes.  

When Charlie is on the radio he gets things rocking and rollingwith the '50s & '60s Classic Hits Want to hear your favoriteE-Mail Charlie yoursuperx4u2@yahoo.com

Charlie Dolan is the founder of Sequoia Waste Solutions, a technology company aimed at modernizing waste management.   When Charlie first looked at the waste management industry, he saw business still being run on paper with enormous inefficiencies needing to be addressed. So, he started building.   Today, the firm employs more than a dozen people and offers a suite of software and hardware solutions that drastically reduce costs associated with billing for and hauling away garbage.   In this conversation, Aaron and Charlie discuss the evolution of the company, the benefits of bootstrapping, and when to ‘build’ vs ‘buy’.   Pittsburgh’s best conference to Expand your Mind & Fill your Heart happens once a year.   Charlie Dolan’s Challenge; Realize most of the world around you was designed by another human. Use that to build confidence in your own ability to make an impact.   Connect with Charlie Dolan Linkedin Twitter SequoiaWaste.com Discoveryapp.io   If you liked this interview, check out more interviews with entrepreneurs and leaders that have vision, patience, and work ethic.   Text Me What You Think of This Episode 412-278-7680 Underwritten by Piper Creative Piper Creative creates podcasts, vlogs, and videos for companies.    Our clients become better storytellers.    How? Click here and Learn more.   We work with Fortune 500s, medium-sized companies, and entrepreneurs.   Follow Piper as we grow YouTube TikTok Instagram Subscribe on iTunes | Stitcher | Overcast | Spotify

Machines Like Me occurs in an alternative 1980s London. Charlie, drifting through life and dodging full-time employment, is in love with Miranda, a bright student who lives with a terrible secret. When Charlie comes into money, he buys Adam, one of the first batch of synthetic humans. With Miranda’s assistance, he co-designs Adam’s personality. This near-perfect human is beautiful, strong and clever - a love triangle soon forms. These three beings will confront a profound moral dilemma. Ian McEwan’s subversive and entertaining new novel poses fundamental questions: what makes us human? Our outward deeds or our inner lives? Could a machine understand the human heart? This provocative and thrilling tale warns of the power to invent things beyond our control. The introduction was given by lead producer in audio at the Guardian, Max Sanderson. Sign up to future book clubs at: academyofideas.org.uk/forums/book_club Donate to the Academy of Ideas at: academyofideas.org.uk/donate

Zari wakes up in Nate’s bed on the Waverider. Memories of Zari’s previous timeline life popping up in this Zari’s head are increasing in frequency. Behrad says that she should commune with the totem and talk to previous totem bearers. As they prepare for that the Constantine tries to convince the rest of the Legends to continue to find the pieces of the Loom of Fate. Charlie isn’t interested at the moment because she is dealing with learning that her old band mates, The Smell, have been killed be her sister, who is know looking for Charlie. Constantine takes off on his own to find the next price which takes him to present day forests in British Columbia which is also serving as a filming location for Supernatural. Sara and Charlie follow him as does Charlie’s sister. Charlie separates from the two of them to encounter her sister and is so afraid of what might happen that she almost takes the offer to go with her. Sara and Constantine show up to fight her and get Charlie away but she is more than a match for them. Sara is able to get Charlie away while Constantine distracts Atropos but he falls and Atropos disguises herself as Constantine to get Charlie to take her to the piece of the Loom of Fate. When Charlie retrieves the piece Atropos reveals herself and pins Charlie against tree and gets that ring of fate. Sara tries time stop her and Atropos reveals her true self to her. While that is supposed to be certain death, she survives. The Waverider arrives to help and Atropos tracks the other ring of fate onto the ship. The only people left on board are Zari and Behrad. Zari is in a trance communicating with her previous timeline self inside the totem. Behrad tries to stop Atropos who instead draws of the sting of fate of his life and cuts it short ending his life. Before Atropos can leave the ship Sara and Charlie are able to push her into the time stream while retrieving the rings of fate. Zari asks Constantine if the Loom of Fate can bring back Behrad. He says it can and Zari says she will be right next to him until that is done. Also in the episode Ava helps Mick try to repair the relationship with his daughter by traveling in time and planting himself in key moments of her life. When that doesn’t work, Mick is ready to go back and time and stop himself from sleeping with Lita’s mom. Ava suggest what is needed is to apologize for not being around instead. Frank Moran (@happygojackie) Dave Child (@MrDaveChild)-- Production Team AfterBuzz TV NetworksFollow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV For more After Shows for your favorite TV shows and the latest news in TV, Film, and exclusive celebrity interviews, visit http://www.AfterBuzzTV.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

By Davy Crockett  Charlie Trayer, of Reading, Pennsylvania, was one of the greatest “short-range” American ultrarunners of the 1980s.  During his ultrarunning career, he accumulated at least fifteen ultra wins from 1981-1990, including several national championships. He was known for bolting out into the lead like a “wild banshee” at the start of a race with a “kamikaze attitude” no matter what the distance. It was a winning strategy that he used very effectively. Trayer went from running in the Olympic Marathon Trials to ultrarunning. He was one of the very few elite American ultrarunners of the 1980s who competed against the best runners in the world internationally. He is credited for bringing American ultrarunning to the world stage, and became both feared and greatly respected by runners in the ultrarunners in Europe. He was definitely a runner to watch. In 1987 he was named the Ultrarunner of the year by Ultrarunning Magazine and was honored also in 1987 as the first recipient of the TAC Ted Corbitt Award. He was easy to pick out and known for his bright red hair and beard. At one time he was described as a cross between a leprechaun and Yosemite Sam. Raymond Trayer - 1936 Dorothy Trayer - 1941 Charles Anthony Trayer was born September 14, 1954 in Richmond, Indiana. His father was Raymond Steiger Trayer (1916-2012), and mother was Dorothy M. Coldren Trayer (1922-1971). His ancestors lived for generations in Pennsylvania. Charlie’s father, Ray was highly educated with a degree in philosophy and religion. As he studied religions, he decided to join the The Religious Society of Friends, commonly called the "Quakers." In 1941, Ray married Dorothy of Hershey Pennsylvania. She was employed at a local doctor’s office and studying as a laboratory technician. Ray believed in nonviolence and during the World War II years, the young couple moved to North Carolina where Ray served in a civilian public service camp and Dorothy worked as a secretary at a nearby college. In 1951, the Trayers moved to Richmond, Indiana, where Ray was employed as the manager of a farm at Earlham College, a private Quaker school. The Trayers lived on the farm, which was stocked with pigs, cattle, horses, and used for teaching agricultural science. Charlie’s childhood Charlie was born into the family in 1954, joining his older siblings, Susan, Alex and Tim. Always in a hurry, he arrived six weeks early, and spent the first few weeks of life in an incubator. In 1955 Ray left his position as manager of the farm, taking a teaching position in the college’s school of agricultural science. The Trayers moved to their own 45-acre farm northwest of Richmond. Charlie was raised in the Quaker religion. Susan and Alex Trayer - 1960 When Charlie was four years old, a fire devastated the Trayer farm, destroying their large barn and a hog house. Two fire trucks came to battle the flames. They had difficulty getting to the fire because of all the spectators who came to watch the flames. It was reported, “No livestock was lost. Quick thinking by Alex Trayer, the 11-year-old son, saved a truck which was parked in the barn. Young Trayer drove the truck out of the burning barn as soon as he noticed the fire.” When Charlie was about age seven, in 1961, the Trayer family sold their farm and  moved to a farm at Hershey, Pennsylvania. Hershey is the home of the famous chocolate company. Milton S. Hershey built his famous company there, and in 1905 and a well-planned city was built there. Living on a farm, Charlie was very active and had a newspaper route, delivering by foot and by bicycle. He worked hard on the farm and had to keep up with the baler on foot. All this contributed to building up his running strength as a child. As a Quaker, meditation also taught him how to focus, be stronger, and to endure. As a child, he went by the name of "Tony Trayer," using his middle name and he was very active in cub scouts.

Welcome to episode 23. I find myself in a pensive mood as I record this episode.  The 31st January was a very difficult day for me and millions of others, and the 3rd of February - today - marks the 10 year anniversary of one of the most traumatic days in my family’s life.   At this point, I need to give you a trigger warning: If you have suffered a bereavement you may find parts of this podcast episode difficult to listen to.   Regardless where you live, you’re almost certainly aware that the UK left the EU on Friday 31st January.  I’m not going to get all political in this podcast, though I make no secret of the fact that I see Brexit as a mistake of unprecedented proportions and I am devastated that it has come to this. This weekend has therefore been emotionally difficult for me, and my mood is all over the place, compounded by today’s anniversary. On the morning of 3rd of February 2010, my then 12-year-old eldest daughter Charlie suffered a sudden cardiac arrest in her bed. For eight days we didn’t know whether she would survive at all.  She then spent another eight days in hospital while they first worked out how to prevent it happening again, then operated on her to insert a state-of-the-art defibrillator to keep her safe in future. 16 days after a cardiac arrest she wasn’t supposed to survive, let alone survive unscathed, she came home.  Today she is a happy 22-year-old woman doing a job she loves, living independently of her parents, and I am grateful every single day for the way things worked out. I am telling you about my political inclinations and current state of loss, and my experience in 2010 when we nearly lost our daughter, because I’ve been reflecting on my methods of coping, and how these are reflected in positive psychology.  As a teacher, you are a human being first and foremost and you, too, will go through seemingly impossibly difficult challenges from time to time.  You, too, will suffer setbacks, disappointments and loss.  And so will your students. I hope my reflections today on how I deal with these can help you cope with your own personal circumstances or in supporting your students through theirs. On Friday night, when the moment I had campaigned so hard to prevent for the past few years was upon us, I was at a party.  The grassroots campaign group I am chair of held a #ThankEU party with European food, drink and music.  I gave a speech just before 11pm - the time when the UK left the EU - and at 11pm we sang ‘Ode to Joy’ together.  There were a few tears at that point, but for the most part, the event was joyful.  It celebrated all that we valued about the UK’s EU membership, the contribution of EU citizens - of which I am one - to UK life, and we focused on being together to help each other through this difficult time.  In my speech, I talked of what we had gained, as well as what we had lost: The discovery of strengths and skills (and in my case courage!) many of us didn’t know we possessed, new friendships and even romantic relationships in some cases forged through our shared campaign activities, and the creation of a national pro-European movement unprecedented in this country and unparalleled in the rest of Europe. When Charlie, my daughter, nearly died ten years ago, I remember sitting by her side, hopeful on one hand, while silently planning her funeral in my head on the other.  Yet I remember very clearly that even in those darkest days, I found myself thinking how grateful I was for the twelve years we’d had with her and the joy she had brought us.  The old saying “it’s better to have loved and lost than never to have loved at all” had never rung so true.  Except I’d been in a similarly terrifying situation years before, when our youngest daughter, Hannah, stopped breathing in my arms as a result of bronchiolitis when she was just 10 days old.  We had been initially advised to have a termination halfway through my pregnancy, due to the severity of her heart condition, so when she stopped breathing and her heart subsequently stopped, I didn’t even think it could be linked to the bad cold she had.  I thought it was her heart. In those moments before my wonderful midwife Angela arrived for what had been planned as a routine check-up and revived Hannah on my living room floor before the ambulance arrived, I remember thinking “I’m so thankful for these ten days we’ve had with Hannah.  I’m so glad we got to know her.” Hannah is also thriving now, as a 20-year-old 2nd year medical student, working hard and enjoying the wonderful friendships that student life can bring. Throughout the difficult times I have described to you today, there is a common thread that got me through: Hope that things would get better, the love of friends and family that I could wrap around myself like a warm comforting blanket, and a deep sense of gratitude for what I’d had, even if I was about to lose it.  I’ve also grown stronger and more resilient through each of these experiences, and there is interesting research emerging from the field of positive psychology on post-traumatic growth. So, this has been a slightly longer than usual episode and I hope you will forgive me for this, but I hope you have found my deeply personal musings useful in helping you in your own life and when supporting your own students.  Whatever is happening in your or their lives, you can get through it with the loving support of others, by holding on to a sense of hope, and by focusing on things you can still be grateful for.  And it is possible for you to come out stronger and more resilient than you were before.  As always, I look forward to catching up with you next week and, until we speak again, For Flourishing’s Sake, have a great week! Everyday Hero - 60 second version (Corporate, motivational, you tube, podcast) Music by Pond5

MEP EP#195: Mach 5 Sandpaper - MIT Rocket TeamEpisode 200 is Coming Up! Question / Answer setup like Episode 100 Send them via Audio Format to podcast@macrofab.com Charlie Garcia Attended space camp as a kid every year he could and became one of the counselors Enjoys sharing his love of space exploration with people of all ages and walks of life through various mediums In 2018 he lead the MIT Rocket Team as President to launch Project Hermes to 32,400 f Now, as the Publicity Chair of the MIT Rocket Team, Charlie hopes to inspire others to explore the heavens When Charlie isn’t building rockets, he is using his telescope, tinkering with his 3D printer, or enjoying a fantasy novel Luka Govedič Is a 20y old sophomore from Slovenia Majoring in Electrical engineering and Computer science Joined the MIT Rocket Team last fall Currently the leader of the avionics subteam Also part of the MIT varsity soccer team Likes to play frisbee, drums, and compose music What is the MIT Rocket Team? History Goals Current Projects Rocket Design Staging Important things to remember Testing Approvals? Who do you let know that you are launching a rocket? Accidents? What kind of electronic hardware do you run? Design considerations Microcontrollers Power? Batteries? YouTube Channel Twitter Account

Music Credit: OurMusicBox (Jay Man) Track Name: "Flights Of Fantasy" Music By: Jay Man @ https://ourmusicbox.com/ Official "OurMusicBox" YouTube Channel: http://www.youtube.com/c/ourmusicbox License for commercial use: Creative Commons Attribution 4.0 International (CC BY 4.0) https://creativecommons.org/licenses/... Music promoted by NCM https://goo.gl/fh3rEJSocial Media: Facebook: Faith Trust and Pixie Dust - Podcast Email: 1stgeek411@gmail.com Twitter: @FTPD_PodcastPersonal Twitters: @Sparkle_Fists @SpilledXWater @deanna790Check us out on iTunes, Stitcher, Google Podcasts, and Spotify!!!This episode of Faith, Trust, and Pixie Dust is sponsored by Thy Geekdom Come.When mandalorians invade your time with God, don’t run from it, embrace it. And let your geek and faith flags fly together with Thy Geekdom Come: a 42-day devotional that merges the geeky things you love with the God you love. Get your copy today at Amazon or use the promo code PIXIEDUST to get 25% off the e-book at mythosink.com. ● “Feature Film” – Charlie the Lonesome Cougar● Charlie the Lonesome cougar is the story of an orphaned cougar cub found and raised by logger Jess Bradley. Charlie grows up in the logging cap begging scraps from cook Potlatch and dodging his nemesis, the fox terrier Chainsaw. Good-natured Charlie is friendly and curious, but this gets him into a lot of trouble, destroying multiple kitchens and just causing general mayhem because of his size and not understanding that he is a cougar not a person.When Charlie’s misbehavior causes too much trouble in the logging camp, Jess has to keep him penned up, but bored Charlie manages to escape and meet up with a young “cougarette”. Charlie gets lost, and has to spend time out in the wild, learning to survive and to fear humans after a farmer takes a couple shots at him. When Charlie returns to the logging camp and behaves aggressively, Jess calms him down, but realizes that Charlie can’t live among humans anymore. He takes Charlie to live in a wildlife sanctuary, where he once again meets the lady cougar and settles into a happy, wild-life with her.○ Trivia: i. Last project approved by Disney himself ii. First project without any assistance from Disney iii. Four cougars played Charlie iv. The “log rolling” scene was added later, after inspiration from a real cougar v. The “log flume ride” wasn’t a real cougar, and you can tell if you look closely○ Disney's Wild Animal Ranch - 50s-72● Segment: News/Announcements “The Newsies Banner”○ Toy Story 4 is out! We are all bad!○ July 2nd - Far From Home ○ Big Changes to Parks Coming - no details yet, but probably Tiki Room and Country Bear Jamboree.○ Segment: Top 4 Ranking “Let’s get down to business” Happy Tears!!○ 1. The Lion King: Simba ascending Pride Rock○ 2. UP: Thanks for the Adventure○ 3. Tangled: Rapunzel reunited with her parents○ 4. Fox and the Hound: Copper saving ToddTease Next Week (2 weeks): Toy Story 4Top 4: Toy Story (all films and shows) CharactersContact info: Social Media: Facebook: Faith Trust and Pixie Dust - Podcast Email: 1stgeek411@gmail.com Twitter: @FTPD_PodcastPersonal Twitters: @Sparkle_Fists @SpilledXWater @deanna790Check us out on iTunes, Stitcher, Google Podcasts, and Spotify!!!

Charles McGhee is the band director at Double Peak School in the San Marcos Unified School District, just North of San Diego. This is Charlie’s final year as a band director and he joins the show to share some of the wisdom he's learned in 30 years of teaching. Topics: Charlie’s background as a percussionist and his choice to go to college in his 20’s to earn his teaching credential. A long discussion about some of the skills required to be a successful middle school music educator including topics such as discipline and motivational tools. Charlie’s current gig at Double Peak and the interesting way that his students are introduced to instrumental music. To offer saxophone or not in beginning band day one? This is Charlie’s retirement year and we talk about his feelings as he approaches the end of his time as a full time music teacher. Links: Double Peak Music Del Borgo: Shaker Variants Balmages: Industrial Loops Basic Training for Concert Band Piazzola, arr. Longfield: Street Tango Biography: Charlie McGhee is in his 30th year as a Middle School music teacher. He began his career in Escondido Union School District and for the last 25 years he has been teaching in the San Marcos Unified School District. During his tenure as a music teacher, Charlie has had the privilege of starting music programs in 5 different North County schools; Rincon Middle, L.R. Green, Woodland Park Middle, San Elijo Middle and Double Peak K-8 School. Charlie’s current assignment is Double Peak K-8 School where he was able to design an intensive music program for all the students Kinder thru 8th grade, which involves music classes twice a week for the younger grades. Then, in the upper grades everyone gets class instruction on recorders, violin, Clarinet, and finally on trumpet before starting their career in Beginning Band. Although Charlie teaches Beginning, Intermediate and Advanced Band, his passion has always been for Jazz band, which he also started at each of his school assignments. In fact, ten years ago, while he was at San Elijo Middle School, he started his own Jazz Festival where, after the students perform and are graded with comments by professionals, the judges and the teachers get up on stage and perform for the students! There is nothing more exciting than for these students to see their director’s play jazz. Charlie’s philosophy of Music Education stems from the conviction that students need to feel connected to school. Music Education addresses the needs of many students who have not found a connection in their other classes. Therefore, the cornerstone of his philosophy is to first, involve the students in music, then, support and encourage them through “the difficult things like, the rigor of playing an instrument”, and finally instill in them a passion for a lifetime. Charlie’s Bands consistently score superior ratings at festivals as he holds the highest expectations for his students. During his career, Charlie has been awarded “Teacher of the Year” at four different schools and once was the District Teacher of the Year” for San Marcos Unified. Over the years, he has been sought after as an Honor Band Director and he has presented several Jazz clinics for both CMEA and SCSBOA conferences. Most recently, Charlie was awarded the “Educator of the year” award by the San Diego Youth Symphony at the California Center for the Arts in Escondido. Charlie incorporates a Parent Band Booster organization to assist him in making the musical experience more exciting and special for the students. Charlie’s students regularly attend festivals and clinics at Disneyland and Knotts Berry Farm. He always has his eye out for new places for his students to perform! Performances always make the experience of playing music fresh and exciting! Charlie has played professionally his entire life on drums and percussion. Among the many bands that Charlie regularly plays with is the Ira Liss Big Band Jazz Machine from San Diego. He has recorded 5 CDs with this organization. Charlie is from San Diego and lives with his wife Jane in Encinitas. When Charlie is not at school or playing music you can find him jogging on the beach or with a fishing pole in his hand.

The ChaperoneLouise Brooks is a rebellious 15-year-old schoolgirl who dreams of fame and fortune in the early 1920s. She soon gets her chance when she travels to New York to study with a leading dance troupe for the summer -- accompanied by a watchful chaperone.Director: Michael EnglerProduced by: Victoria Hill, Rose Ganguzza, Elizabeth McGovern, Kelly Carmichael, Luca Scalisi, Greg ClarkCast: Haley Lu Richardson, Miranda Otto, Elizabeth McGovern, Blythe Danner, Campbell ScottGéza Röhrig, Victoria HillDistributor: PBS DistributionRelease Date: March 29, 2019Runtime: 1 hour 43 minutesGenre: Drama BumblebeeOn the run in the year 1987, Bumblebee the Autobot seeks refuge in a junkyard in a small California beach town. Charlie, on the brink of turning 18 years old and trying to find her place in the world, soon discovers the battle-scarred and broken Bumblebee. When Charlie revives him, she quickly learns that this is no ordinary yellow Volkswagen.Director: Travis KnightProduced by: Lorenzo di Bonaventura, Tom DeSanto, Don Murphy, Michael Bay, Mark VahradianCast: Hailee Steinfeld, John Cena, Jorge Lendeborg Jr., John Ortiz, Jason Drucker,Pamela Adlon, Dylan O'Brien, Angela Bassett, Justin Theroux, Peter CullenDistributor: Paramount PicturesRelease Date: December 21, 2018Runtime: 1 hour 53 minutesGenre: Action, Adventure, Sci-FiRated PG-13 See acast.com/privacy for privacy and opt-out information.

On the run in the year 1987, Bumblebee the Autobot seeks refuge in a junkyard in a small California beach town. Charlie, on the brink of turning 18 years old and trying to find her place in the world, soon discovers the battle-scarred and broken Bumblebee. When Charlie revives him, she quickly learns that this is no ordinary yellow Volkswagen. This is our spoiler free movie review of Bumblebee. Enjoy!

Hello Filmy People! (or Pozdravljeni Filmi Ljudje) Apologies for the delay in getting this pod out. This week we discuss our thoughts on the new Ghostbusters movie in development as well as coming to America. We also spend too much time talking about Brad Bird (not a bad thing). We also review Bumblebee, on the run in the year 1987, Bumblebee the Autobot seeks refuge in a junkyard in a small California beach town. Charlie, on the brink of turning 18 years old and trying to find her place in the world, soon discovers the battle-scarred and broken Bumblebee. When Charlie revives him, she quickly learns that this is no ordinary yellow Volkswagen.   We also have a new game “Talk silly to me” where John takes memorable film quotes and changes the audio in which Flinty has to guess which the film. That and the usual nonsense on the 1000+ followers on podbean have endured.   Stay Filmy. Email: podcast@talkfilmytome.com iTunes | aCast | Podbean | Spotify | Twitter

BumblebeeOn the run in the year 1987, Bumblebee the Autobot seeks refuge in a junkyard in a small California beach town. Charlie, on the brink of turning 18 years old and trying to find her place in the world, soon discovers the battle-scarred and broken Bumblebee. When Charlie revives him, she quickly learns that this is no ordinary yellow Volkswagen.Director: Travis KnightProduced by: Lorenzo di Bonaventura, Tom DeSanto, Don Murphy, Michael Bay, Mark VahradianCast: Hailee Steinfeld, John Cena, Jorge Lendeborg Jr., John Ortiz, Jason Drucker,Pamela Adlon, Dylan O'Brien, Angela Bassett, Justin Theroux, Peter CullenDistributor: Paramount PicturesRelease Date: December 21, 2018Runtime: 1 hour 53 minutesGenre: Action, Adventure, Sci-FiRated PG-13 See acast.com/privacy for privacy and opt-out information.

On the run in the year 1987, Bumblebee finds refuge in a junkyard in a small Californian beach town. Charlie (Hailee Steinfeld), on the cusp of turning 18 and trying to find her place in the world, discovers Bumblebee, battle-scarred and broken. When Charlie revives him, she quickly learns this is no ordinary, yellow VW bug.

When Charlie confidentially confides that he has cancer, it leads to a series of instances of the guys (and their sex doll) manipulating women and one gorgeous transsexual (not a transvestite).

Veteran (seasoned?) Chicago journalist Charlie Meyerson (currently of Chicago Public Square & Rivet, ex- of Chicago Tribune, WGN, WNUA and WXRT) joins me for subs and news talk at Submarine Tender (200 Desplaines Ave, Forest Park, IL 60130.) Just to get it out of the way, the restaurant's name isn't "Submarine Tenders," as wrongly stated early in the episode by your intrepid  host. Chicago Public Square has become an indispensable part of my day. Go sign up for the daily newsletter right now. I'll wait. Discussed this week: The rampant misuse of the word "legendary": "There need to be actual legends about you." The harrowing experience of parking at Submarine Tender. Charlie's brand is "bland." Charlie was a latchkey kid, which informs his dining decisions. For the first time ever, this podcast includes a flute performance. The impact of the current political administration on journalism. When Charlie got the news bug, dating back to Watergate. "Journalists are there to make sure the government does the right thing." Journalists' commitment to the truth: "If I were threatened with jail for doing my job, that'd be kinda cool." Charlie's broadcast news history, including 10 years at WXRT and work at the late WNUA (he even sings the station's theme to jog your memory). Charlie and I hooked up on Tinder. Kinda. Well, not really. The senses-shattering origin story of Chicago Public Square! Charlie offers (real and helpful) advice to aspiring media people. Does bias exist in the news? And how does Charlie feel about it? This might be a better time to break into journalism that it seems on the surface. Starting Chicago Public Square, and the pros & cons of creating a startup media model. We "rightsize" the podcast for your enjoyment. Are Americans more tribal now?  This isn't a music podcast! "Ian Anderson of Jethro Tull came to visit WXRT... " "Of course he did." ROM: SPACEKNIGHT gets a mention! Charlie met his wife in a traffic accident. Charlie treats us to a flute performance! Junior high jokes commence!

Veteran (seasoned?) Chicago journalist Charlie Meyerson (currently of Chicago Public Square & Rivet, ex- of Chicago Tribune, WGN, WNUA and WXRT) joins me for subs and news talk at Submarine Tender (200 Desplaines Ave, Forest Park, IL 60130.) Just to get it out of the way, the restaurant's name isn't "Submarine Tenders," as wrongly stated early in the episode by your intrepid  host. Chicago Public Square has become an indispensable part of my day. Go sign up for the daily newsletter right now. I'll wait. Discussed this week: The rampant misuse of the word "legendary": "There need to be actual legends about you." The harrowing experience of parking at Submarine Tender. Charlie's brand is "bland." Charlie was a latchkey kid, which informs his dining decisions. For the first time ever, this podcast includes a flute performance. The impact of the current political administration on journalism. When Charlie got the news bug, dating back to Watergate. "Journalists are there to make sure the government does the right thing." Journalists' commitment to the truth: "If I were threatened with jail for doing my job, that'd be kinda cool." Charlie's broadcast news history, including 10 years at WXRT and work at the late WNUA (he even sings the station's theme to jog your memory). Charlie and I hooked up on Tinder. Kinda. Well, not really. The senses-shattering origin story of Chicago Public Square! Charlie offers (real and helpful) advice to aspiring media people. Does bias exist in the news? And how does Charlie feel about it? This might be a better time to break into journalism that it seems on the surface. Starting Chicago Public Square, and the pros & cons of creating a startup media model. We "rightsize" the podcast for your enjoyment. Are Americans more tribal now?  This isn't a music podcast! "Ian Anderson of Jethro Tull came to visit WXRT... " "Of course he did." ROM: SPACEKNIGHT gets a mention! Charlie met his wife in a traffic accident. Charlie treats us to a flute performance! Junior high jokes commence!

Fi and Jane head to the Radio Academy’s Radio Festival in the hopes of grabbing the glorious and the good as they queue for a free burrito. In the green room, they corner Radio 1 and 1Xtra’s legendary presenter and DJ, Charlie Sloth. When Charlie reveals his plan to stop work at 40, Fi and Jane are on hand with advice about retirement planning, pensions and getting into gardening. Plus, Jane bumps into a former colleague from her local radio days.

Jeke Tapper "The Hellfire Club": The debut political thriller from Jake Tapper, CNN's chief Washington correspondent and the New York Times bestselling author of The Outpost-- 1950's D.C. intrigue about a secret society and a young Congressman in its grip Charlie Marder is an unlikely Congressman. Thrust into office by his family ties after his predecessor died mysteriously, Charlie is struggling to navigate the dangerous waters of 1950s Washington, DC, alongside his young wife Margaret, a zoologist with ambitions of her own. Amid the swirl of glamorous and powerful political leaders and deal makers, a mysterious fatal car accident thrusts Charlie and Margaret into an underworld of backroom deals, secret societies, and a plot that could change the course of history. When Charlie discovers a conspiracy that reaches the highest levels of governance, he has to fight not only for his principles and his newfound political career...but for his life. 

When Charlie and Rosie had Mark Collett on their show, just before mine, I felt the need to speak out. Do we really want to create a platform for the BNP, spruiking made up immigration numbers?That Saturday Night Thing with Phil Dobbie, LoveSport Radio 558AM and DAB in London, online at lovesportradio.com

Note: This was originally published both at my website and at Tweetspeak Poetry back in 2013. My mom, a journalist, was talking with a friend. She beamed at my brother. “Charlie, he’s the writer of the family. And Annie? She’s…” Here, I felt my mom hesitate. Then, “Annie’s the athlete.” My brother excelled in everything involving words—from composing song lyrics and essays to dominating Scrabble games and inserting witty comments into conversations at just the right moment. I played softball and ran track. And I rode my yellow Schwinn ten-speed down country roads stretching between corn and soybean fields, past herds of Black Angus cattle and silos filled with grain. The labels fit, though deep down, secretly, I wanted to be a writer, too. Journal Three years after Charlie graduated high school, I sat in Miss Thompson’s Senior English class. Miss Thompson told us we would keep a journal chronicling our senior year, creating at least five entries per week. We were to do more than write, however. We were to add our personal touch. Whether we complemented our written words with pasted-in photographs, news clippings and ticket stubs or accented them with watercolor backgrounds and meticulous calligraphy, the key to A-level work was creative expression. She held up three examples of some of the best she’d ever seen—journals from past students whose work she adored. One was Charlie’s. I recognized it immediately, having gazed at it many times while he worked on it during his senior year. She passed them around for students to flip through. When Charlie’s came to me, I opened it, noting his handwriting—a combination of big printed letters and rounded cursive. The content mingled light humor and occasional sarcasm with spot-on descriptions of people and situations. For one page, he cut letters from newspapers to compose an amusing ransom note. I studied the pages, wishing I could copy his techniques. Then I passed it to the person behind me. At the end of my senior year, Miss Thompson didn’t ask to keep my journal. Copy Person I ran track in spring that year, as I had since junior high, training for sprints and the long jump, reinforcing my status as the family athlete. After graduation, I worked during the summer as a copy person, running errands for editors at the newspaper where my dad worked. I hated working in the city. I hated working into the night. I hated the sense of urgency and stress necessary to put out a daily paper. One time I had to drive the company car to fetch a photograph from a family whose son had been shot. I knocked on the door. They barely opened it. I introduced myself and said I was from the newspaper. They reached through the narrow opening and handed me his picture. I told them we would return it and flipped it around to be sure their address was printed on the back. It was. I don’t think they said one word. I said I was very sorry and thanked them for the photo. They nodded and shut the door. I hated invading their grief. College That fall, I started school at a Big Ten University. Not nearly good enough to compete on their elite sports teams, I lost my label. No more was I an athlete, though I did pedal my yellow Schwinn ten-speed across campus, weaving around students who were walking to class. A couple of weeks into my freshman year, I showed up at a tall building where bored grad students served as advisors, looking over undergrad schedules to ensure that our class selections met each major’s requirements. We lined up single-file down a long hallway, waiting our turn. My randomly assigned college advisor asked about my major. Since I had no idea what to study, my mom and dad suggested journalism. I didn’t have any other ideas, so I’d been claiming to be a journalism major on all my school documents and blurted it out to the advisor. He wrote it down, scribbled on some paperwork, approved my class load, and sent me on my way. Survey of Shakespeare

Sunday, 11/5:The Girlfriend ExperienceInspired by Steven Soderbergh's same-named 2009 film, Starz's "The Girlfriend Experience" further develops the original premise of a young attorney in training who leads a double life as a high-end escort. These girlfriends, however, provide far more to their clients than just sex. Season 2 introduces new characters and follows parallel storylines, the first about a former call girl, Bria Jones, who enters the Witness Protection Program to escape an abusive relationship. In the second story, a complex relationship between political fundraiser Erica Myles and confident escort Anna Garner affects every aspect of Erica's life and allows Anna to experience new emotional heights. ShamelessOscar-nominated actor William H. Macy stars as Frank Gallagher, a single father of six who spends much of his free time drinking at bars. The Gallagher children -- led by oldest daughter Fiona (Emmy Rossum), who takes on much of the child-rearing responsibility due to her mother's absence -- manage to raise themselves in spite of Frank's lack of parenting and unusual parenting style when he does choose to act like a father. The drama is an adaptation of the BAFTA Award-winning British show of the same name. SMILFBridgette Bird is a smart, young single mom living in South Boston who is trying to navigate life with a very unconventional family. As she struggles to make ends meet, she strives to create a better life for her son, Larry, and often finds herself making impulsive and immature decisions. The program is a fresh, raw, and honest comedic look at co-parenting, motherhood and female sexuality. "SMILF" is adapted from Frankie Shaw's Sundance Film Festival Jury award-winning short film. Friday, 12/1:EasyFrom director and creator Joe Swanberg, this Netflix-original comedy anthology series explores diverse Chicago characters, modern romance technology and culture. Scenarios include a married couple hoping to reignite their sex life, a couple looking to spice things up with another woman, and middle-aged dating. The series features an impressive array of stars, including Jake Johnson of "New Girl," comic Hannibal Buress, actor Orlando Bloom, actress/model Emily Ratajkowski and actor Dave Franco. Wednesday, 12/6:Shut EyeJeffrey Donovan stars in this Hulu-original drama as Charlie Haverford, a scam artist whose future is controlled by Fonso, a single father who runs a psychic empire belonging to the Marks family. Haverford's wife, Linda (KaDee Strickland), is tired of their mediocre life and yearns for a change. When Charlie suffers a blow to the head at the hands of a client's angry boyfriend, he begins to see and feel very real and fundamental truths -- a big change for a person who had been living a life built on fraud. Isabella Rossellini plays the role of Rita, the Marks' seductive and sadistic matriarch. Happy!Based on the graphic novel of the same name, Nick Sax is a corrupt, intoxicated, ex-cop turned hit man who is adrift in a twilight world of casual murder, soulless sex, and betrayal. After a hit goes wrong, Nick finds a bullet in his side, the cops and the mob on his tail, and a monstrous killer on the loose. But his world is about to be changed forever by a tiny, imaginary, blue-winged horse with a relentlessly positive attitude named Happy. On their journey, they must contend with a laundry list of enemies including angry mobsters, ex-mistresses, ex-wives, and one very bad Santa. KnightfallIn 1306, the Knights Templar are winding down their run as one of the most powerful organizations in the Christian world. Acre, the Templars' last stronghold, has fallen and years later a rumor is heard that the lost Grail is still in that area. The Templars, led by the courageous, headstrong, but noble Templar Knight Landry have shifted their attention to regaining a foothold in the Holy Land. They take their battle back to the Holy Land and their battles become the Crusades. The Templars are now losing allies and gaining new and powerful enemies, including the King of France. The legendary, wealthy and secretive military order of warrior monks are entrusted with protecting the Holy Grail and any secrets that are capable of destroying the Church. Friday, 12/8:The CrownBased on an award-winning play ("The Audience") by showrunner Peter Morgan, this lavish, Netflix-original drama chronicles the life of Queen Elizabeth II (Claire Foy) from the 1940s to modern times. The series begins with an inside look at the early reign of the queen, who ascended the throne at age 25 after the death of her father, King George VI. As the decades pass, personal intrigues, romances, and political rivalries are revealed that played a big role in events that shaped the later years of the 20th century. Apple Tree Yard Apple Tree Yard is a British television thriller, adapted from the novel of the same name by Louise Doughty. The four-part series was commissioned in 2016 and the first episode had its premiere on BBC One on 22 January 2017 See acast.com/privacy for privacy and opt-out information.

In today’s episode, Angela joins Charlie to talk about personal change. Most of the work that’s done at Productive Flourishing is around personal transformation and self-mastery. In Angela’s new coaching role, she’s been doing more and more of this with others. Charlie and Angela share some of the changes they’ve made in their personal lives over the last year, and how their relationship fits into how they navigated these changes. Key Takeaways: [2:05] - For Charlie, the impetus for personal change often comes from something specific that has happened in his life, and figuring out what he can do to fix it. He is constantly changing and working on things, and likes to experiment with them in his own life before he shares them with others. [3:15] - For Angela, she sometimes lets things get really painful (physically or emotionally) before she makes a decision to change and follows through with the decision. [5:32] - Charlie talks about the dynamic in their house; both Angela and Charlie are coaches and empathetic people, so they’ve had to learn how to constructively invite change dialogue into their home life outside of their work. Attentive listening, thoughtful questions, and knowing the right time and context to bring up issues of habits and change help to guide their discussions. [10:00] - One of the most counter-productive things you can do is trying to get someone to change when they aren’t ready, and they don’t want support. [12:50] - Charlie shares a time where his daily work was presenting a type of pain or discomfort. For Charlie, working too much or too long was causing him to feel more and more pain. [17:52] - The Kaizen approach encourages incremental, small changes over time that add up to a big effect. The trick is knowing whether it’s time to take an incremental step or tip over an edge with a big change. [20:25] - When Charlie began noticing pain, he started to incorporate 30 minutes of movement each day, and also invited daily writing into his practice. This spurred some adjustment to his schedule so he’s only working 8 hours a day, which has affected not only him but Angela and the team as well. [28:15] - It is important to consider how the changes will impact those around you. For Charlie, he is still uncertain and nervous about how his new practices might interfere with the relationships he has with people. Being aware of what conversations might need to happen in the face of change is important so that you can create and maintain boundaries. [34:05] - Charlie introduces the five keys to managing change, which will be the focus of the next book he’s writing: intention, awareness, boundaries, courage, and discipline. [37:50] - Angela shares some of the personal changes she has been making throughout the course of the last year. One of the main changes is centered around weight and diet. In February, she made a pretty dramatic change and went on a diet that helped change her metabolism. This was an important change because it would affect not only Angela, but Charlie as well. [42:35] - He started out on the diet with Angela out of solidarity, but also had to learn a balance between encouragement and looking out for Angela’s best interests. [47:50] - When you’re in relationships with people, some of the things that matter the most are the most awkward to talk about. [50:36] - It is important to note that everyone will experience and handle personal change differently, based on your life experiences. Not everyone’s journey is going to be the same when it comes to the difficult, but it is important to make sure you’re on the right road for you. [55:14] - Charlie’s invitation/challenge for this episode: Think about what incremental steps you could start taking today that would make your life a little easier. Starting with a small change can build the foundation for making other changes that could have a big payoff over the course of a year. Is there a big change you could make? 57:28] - Angela’s invitation for this episode: Be gentle - be kind with yourself, and make a purposeful decision about what it is that you want to change. Mentioned in This Episode: Productive Flourishing What Do You Need to Form Healthy Habits that Stick?, by Charlie Gilkey The Two Dynamics of Change, by Charlie Gilkey Leave a Review

When Charlie, Carson, and Farmer Cobb lend a hand to the hapless wizard, Abacus P. Grumbler, he promises them each a magical gift in return. But the old sorcerer can rarely get one spell right, let alone three! Lessons include: showing kindness to those in need, and accepting changes, even the challenging ones

Charlie Gaudet. He’s the best-selling author of The Predictable Profits Playbook. He’s a keynote speaker and creator of predictable profits methodology—the most reliable way to systematically generate predictable profits for small businesses. He’s been an entrepreneur since the age of 4, creating his first multi-million dollar business at 24 and has helped others generate millions through his strategy. He’s received a lot of awards, recognitions and has given business advice around the world including INC, Forbes and Fox Business as well on podcast and radio. He was named one of the American Geniuses Top 50 Industry Influencers. He’s a crossfitter, Brazilian jiu-jitsu fighter and 3-time wrestling state champion. He lives in New Hampshire with his wife, 3 adorable kidpreneurs, and 1 badass dog. Famous Five: Favorite Book? – Losing My Virginity What CEO do you follow? – Richard Branson and Jeff Bezos Favorite online tool? — Infusionsoft How many hours of sleep do you get?— 6 If you could let your 20-year old self, know one thing, what would it be? – Charlie would tell himself to stay in line and pick one particular craft to master   Time Stamped Show Notes: 00:53 – Nathan introduces Charlie to the show 02:08 – Charlie is no longer in real estate 02:38 – Charlie grew his real estate company to $3-4M before getting out of it 02:46 – They built 2 roads and 30 homes 02:54 – Charlie was in Episode 343 03:21 – Charlie wasn’t having fun in real estate so he shifted 03:32 – Charlie has always been growing businesses 03:48 – Someone came to Charlie asking him to help grow his business and paid him $500 an hour 03:54 – It was in 2009 04:18 – Charlie went to $500 from hour to $2500 an hour 04:36 – Charlie realized that there is value in coaching 04:49 – Charlie ended up making 1.1M when he changed his model 05:35 – In 2016, 90% of Charlie’s income was percentage-based 06:05 – Charlie is going to a more scalable model in 2017 06:34 – Having the business that is dependent on Charlie won’t be good in the long run 06:53 – Charlie can build a system around his coaching model 07:40 – Charlie had a client in the financial space 07:44 – Charlie created 4 emails in the financial space for a 12-hour promotion that made $212K 07:56 – The client is a small business company 08:12 – Charlie had a client who was selling to lawyers who also brought in $200K from the 4 emails that Charlie curated 08:32 – In some cases, Charlie would get a percentage of top line revenue and for others, he would still get paid per hour 09:20 – The baseline payment will still depend on the client 09:38 – Charlie is highly recommended by his clients 10:26 – Charlie will also bring outside expertise to help him 10:53 – When Charlie got into a marketing promotion, they controlled the whole promotion 11:30 – Something is always bound to happen and Charlie tries to have a contingency plan 12:00 – Charlie has made most of their money from the incentive-based model 12:20 – Recently, Charlie found out that lost $75K from the incentive-based model 13:33 – Most of Charlie’s clients are using Infusionsoft 13:39 – For every email that they blast out, they have built in tracking 14:331 – Nathan is confused as to why Charlie would switch from the real estate to incentive-based coaching, which is hard to predict 14:37 – Charlie’s company is named Predictable Profits for a reason 15:26 – Charlie has different coaches delivering value 15:56 – Group coaching can work on a scalable format 18:25 – The Famous Five   3 Key Points: If you lose interest in what you are doing; decide if it’s time to take the leap and pivot to something new. Something is always bound to happen, so a contingency plan is necessary. If you focus on just one craft, you can grow consistently and exponentially.   Resources Mentioned: The Top Inbox – The site Nathan uses to schedule emails to be sent later, set reminders in inbox, track opens, and follow-up with email sequences Klipfolio – Track your business performance across all departments for FREE Hotjar – Nathan uses Hotjar to track what you’re doing on this site. He gets a video of each user visit like where they clicked and scrolled to make the site a better experience Acuity Scheduling – Nathan uses Acuity to schedule his podcast interviews and appointments Host Gator– The site Nathan uses to buy his domain names and hosting for the cheapest price possible Audible– Nathan uses Audible when he’s driving from Austin to San Antonio (1.5-hour drive) to listen to audio books Show Notes provided by Mallard Creatives

This week, the randomizer forced upon us the well known (by a certain age group) movie Goodbye Charlie! Charlie is a rat, a fink, a cad, a gross womanizer. Likely he dies in the first 3 minutes of the movie. Sort of. When Charlie comes back to life in a different body, a REALLY different body. Charlie figures out there are few ways he can take advantage of his new "situation", and that is when things get GROSS. I mean, funny gross, but still gross.We announce a contest in this episode! If you tweet about the podcast and include our twitter account in the tweet (@outerspacepod), you will be entered into a drawing to receive free stuff! Please listen until the end of the episode for details!Email: pleasedontpodcast@gmail.comFacebook: facebook.com/pdsmiosTwitter: twitter.com/outerspacepodPatreon: patreon.com/eartrumpet  

Does writing new blog posts always seem to be at the bottom of your to-do list? Are you bored of writing posts that no one reads, which never rank well and make you wonder why you're bothering at all? If so, you are not alone. Blogging is something that most businesses struggle with. They know that they should be doing it, but when the time comes to actually do it, there's always something that feels more important which needs to be done instead. In this episode, Tim interviews experienced blogger and Exposure Ninja's Head of Digital PR, Charlie Marchant. Charlie shares her tips and suggestions to turn any business's blog from a low-priority content dump to an important and thriving source of traffic and sales. You'll discover: How to come up with content ideas that will actually get read and shared How frequently you should be posting Scheduling, clustering and timing your posts for success How creating a content planner can take all the strain out of your topic selection Killer tools for finding the best blog topics How to get people on your team (or outside your team) to help with writing your posts, without damaging your 'brand voice' How to turn blog visitors into buyers or leads for your business When Charlie is not leading Exposure Ninja's 25-strong Digital PR team as they create and promote blogs for businesses, she's blogging for herself though Charlie On Travel, a popular and influential blog documenting her travel around the world.

When Charlie, the owner of the new coworking space on the tropical island of Koh Phangan told me he wanted to give 8 people a free hotel room, free food and a free membership to his coworking space in exchange for just 3 hours of work a day, I thought wow I need to share this on the podcast and want to be involved!  I would have loved to of had an opportunity like this to bootstrap my online business when I first started out!   In your free time in the afternoons you can start a dropshipping store, build your blog or website for affiliate marketing or even start a podcast.  To apply for the internship check out the details and application here.  Apply for the internship here:  Tropical Island Internship Learn how to start a Dropshipping store with Anton's Method. Join my new course here: Earnest Affiliate 

Show Notes Kenny Mittleider from Knights of the Guild, Alien Nation: The Newcomers Podcast & Confessions of a Fanboy Podcast, Simon Meddings from Waffle On Podcast, & Al Kessel from Tales from the Mouse House, Fast Forward & Just Because Podcast discuss one of the most successful and longest running television series in history.. M*A*S*H Today we cover Season 2, Episode #2 - 5 O'Clock Charlie 26th Episode Overall Directed by Norman Tokar Written by Larry Gelbart, Keith Walker & Laurence Marks Production code K403 Original air date September 22, 1973 Set during the Korean War in the 1950’s Plot Summary: For six weeks, an ammunition depot near the camp has been the target of a punctual but inept North Korean bomber pilot. Every day at 5:00 he flies overhead and attempts to hit the depot with a single hand-thrown bomb. The pilot, nicknamed "5 O'Clock Charlie," has been so reliably unsuccessful that the denizens of the 4077th have begun a betting pool based on how far away from the target his bomb will land. Only Frank and Margaret regard "Charlie" as a serious threat. Frank requests an anti-aircraft gun, and Brigadier General Crandall Clayton comes to the camp to assess the situation. Clayton, who has placed the ammo dump near the hospital so that the enemy will leave it alone (a tactic he says he learned from the Germans), is initially skeptical of the need for a gun; on the next raid, though, Charlie destroys not the ammo dump but Gen. Clayton's jeep. He agrees to send the gun, and Frank takes charge of it. Hawkeye and Trapper argue that the presence of the anti-aircraft gun will attract more competent bombers, noting that "fire draws fire," but Frank is more interested in drilling his "platoon" of three Korean soldiers. Eventually, Hawkeye, Trapper and Cardozo conclude that the problem is not the gun, but the ammo dump. They dye sheets and place them on the ammo dump to help Charlie find his target. When Charlie makes his next pass, Hawkeye and Trapper confuse Frank's men into aiming the gun directly at the ammo dump. Charlie misses his target yet again, but when Frank orders his troops to fire the gun, they hit the ammo dump, destroying it Hope you enjoy it, Kenny, Meds & Al Find Us on the Web: Main website - http://MASH4077Podcast.com Twitter - @MASH4077Podcast Facebook Fan Page - http://www.facebook.com/MASH4077Podcast MASH 4077 Podcast Blog - http://www.MASH4077Podcast.blogspot.com MASH 4077 Podcast Merchandise - http://www.zazzle.com/mash4077podcast Email Us - MASH4077Podcast@Gmail.com Podcast promo’s played during the show this week: Alien Nation: The Newcomers Podcast Geek Therapy © Geekyfanboy Productions

Bruce McQuain from Blackfive joined us once again for Someone You Should Know, our weekly tribute to the troops. Bruce spent 28 years in the U.S. Army and he is a veteran of the Vietnam war. He brings a perspective and understanding to these stories that we could never match. This week he told us about Charlie Company of the 1st Battalion, 26th Infantry Regiment, From Stars and Stripes, "In May 2007, Charlie Company of the 1st Battalion, 26th Infantry Regiment patrolled Adhamiyah, a Sunni enclave in northeast Baghdad that was arguably the most dangerous neighborhood in Iraq. No battalion has seen more soldiers fall in a single deployment since Vietnam, and Charlie, with 13 lost, was the hardest-hit company in the battalion. When Charlie was pulled from Adhamiyah a few months later, it was replaced with an entire battalion augmented by a company and specialty platoons." The Someone You Should Know radio collaboration began as an extension of Matt Burden’s series at Blackfive. Bruce does an incredible job with the series every week. What is Pundit Review Radio? On Boston’s Talk Station WRKO since 2005, Pundit Review Radio is where the old media meets the new. Each week we give voice to the work of the most influential leaders in the new media/citizen journalist revolution. Called “groundbreaking” by Talkers Magazine, this unique show brings the best of the blogs to the radio every Sunday evening from 6-8pm on AM680 WRKO, Boston’s Talk Station.

Bruce McQuain from Blackfive joined us once again for Someone You Should Know, our weekly tribute to the troops. Bruce spent 28 years in the U.S. Army and he is a veteran of the Vietnam war. He brings a perspective and understanding to these stories that we could never match. This week he told us about Charlie Company of the 1st Battalion, 26th Infantry Regiment, From Stars and Stripes, "In May 2007, Charlie Company of the 1st Battalion, 26th Infantry Regiment patrolled Adhamiyah, a Sunni enclave in northeast Baghdad that was arguably the most dangerous neighborhood in Iraq. No battalion has seen more soldiers fall in a single deployment since Vietnam, and Charlie, with 13 lost, was the hardest-hit company in the battalion. When Charlie was pulled from Adhamiyah a few months later, it was replaced with an entire battalion augmented by a company and specialty platoons." The Someone You Should Know radio collaboration began as an extension of Matt Burden’s series at Blackfive. Bruce does an incredible job with the series every week. What is Pundit Review Radio? On Boston’s Talk Station WRKO since 2005, Pundit Review Radio is where the old media meets the new. Each week we give voice to the work of the most influential leaders in the new media/citizen journalist revolution. Called “groundbreaking” by Talkers Magazine, this unique show brings the best of the blogs to the radio every Sunday evening from 6-8pm on AM680 WRKO, Boston’s Talk Station.