Podcasts about while bill

Bill Ham is an author, a real estate investor, a sought-after speaker, and a coach and mentor to future titans of Multifamily Housing. In his current role as the Chief Operating Officer of Broadwell Property Group and his many years of experience in owning, managing, and operating large and small Apartments throughout the Southeast United States, there is very little that he has not experienced. While Bill spends much of his time identifying, acquiring, operating, and divesting assets for Broadwell Property Group, his real passion lies in education. He has been a coach and mentor to hundreds of students who have gone on to close countless millions of dollars in their own deals, many crediting Bill with their success.

The crew goes over the moves made during the MLB Trade Deadline. While Bill, Old Ops Guy, and Reg are all giddy about their teams becoming contenders, Patchy mourns over his Nationals breaking up the club for prospects. Plus, NBA free agency is underway, Simone Biles shows some courage, and FOOTBALL IS BACK BABY! As the Steelers & Cowboys get ready for their preseason game in Canton, the Buffalo Bills threaten to move.....to Austin, TX! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/sports-insanity-podcast/support

In The Season 4 finale, Bayn has some exciting news to share with Bill. While Bill shares the importance of a good diet in your Pro Wrestling career. --- Send in a voice message: https://anchor.fm/noholdsbarredbb/message Support this podcast: https://anchor.fm/noholdsbarredbb/support

In the last 18 months, aerospace and defense have undergone changes and dealt with challenges few of us could have anticipated. The question is, what now?   What can we expect to see in the industry in the near future? Are there new developments we need to be aware of?   In this episode, Founder and President of Alderman & Company and one of the most respected “Sell Side” investment bankers, Bill Alderman shares his views on where our business is headed.   "When the boardroom is diversified, you get better collective thinking." -Bill Alderman     Three Things You'll Learn In This Episode   The impact of greater inclusivity on aerospace and defense How is diversity in the boardroom driving positive change in the industry?   How PPP programs have affected aviation Has government assistance done more to help or hinder the aerospace business?   What to expect from industry behemoths in the near future What's in store for big players like Raytheon and Lockheed Martin?   Guest Bio-    William ‘Bill' Alderman is the Founder and President of Alderman & Company. While Bill started his career as an Investment Banker, he never felt like a banker at heart. As a commercial pilot and owner of an aircraft, Bill's real passion lies in aviation, and today he uses both his strength and interests to represent Middle Market Sellers in the Aerospace and Defense industry.    To find out more, go to: https://aldermanco.com/    Learn More About Your Host:   Co-founder and Managing Partner for Northstar Group, Craig is focused on recruiting senior-level leadership, sales, and operations executives for some of the most prominent companies in the aviation and aerospace industry. Clients include well-known aircraft OEM's, aircraft operators, leasing / financial organizations, and Maintenance / Repair / Overhaul (MRO) providers.    Since 2009 Craig has personally concluded more than 150 executive searches in a variety of disciplines. As the only executive recruiter who has flown airplanes, sold airplanes, AND run a business, Craig is uniquely positioned to build deep, lasting relationships with both executives and the boards and stakeholders they serve. This allows him to use a detailed, disciplined process that does more than pair the ideal candidate with the perfect opportunity and hit the business goals of the companies he serves.

Today, Josh Kerber from the Minnesota Department of Health will talk about radon gas. He is a research scientist who does applied research in building construction, specifically with indoor air. Tessa checks the statistics of existing vs newly constructed homes that have radon. Reuben clarifies the action level to which one is encouraged to do something to fix it. While Bill confirms the licensure requirement for proper radon testing and installment of mitigation systems. Josh shares that 45% of Minnesota homes will have elevated levels of radon and the various safe levels that are identified by WHO, USA, and Canada. Further, he shares about the Radon Awareness Act. They also discuss the common defects in the installed radon mitigation systems and the alarm system that is required in the state. Reuben shares a technical question about where to terminate the radon height and the need to have radon fans installed outside of the house. Josh shares the historical background where radon came to fruition. Reuben extends appreciation for the feedback raised, especially from homeowners. He assures them that the podcast format will be retained. However, there will be episodes that are home inspector-focused.

While Bill was working we celebrated the Fourth of July. --- Send in a voice message: https://anchor.fm/winniebill/message

Thinking back to your childhood and adolescent years, was mental health or therapy ever discussed in your household?    On this episode, Dewey kicks it with Autumn & Bill, two people who not only believe in the importance of therapy in the Black community but who also had their share of experiences in therapy. Autumn, who is currently studying to be a therapist, talks about her journey through therapy as a teenager & during her pregnancy as an adult. While Bill, who wear many hats, shares the impact therapy had on his personal growth and his marriage. They also shared the trial and error that comes with seeking professional help and exactly what made them hit their breaking point. After listening to this candid dialogue, you may find yourself going online to find a therapist that’s right for you! Tap in as we prescribe with you a dose of realness. Guests: Autumn: @autyfrancisco Bill: @revbillb Follow on Instagram: @prescribeddr_ https://www.instagram.com/prescribeddr_/ Follow on Twitter: @PrescribedDr https://twitter.com/PrescribedDR Subscribe on YouTube: https://youtu.be/x8enc9GYIyc MAKE SURE YOU CHECK OUT THE WEBSITE AND COP SOME MERCHANDISE! www.prescribedwithdr.com

For decades, audiences of all ages have enjoyed Bill Farmer’s standout work in vehicles and venues as diverse as his talents - from clubs to conventions, broadcasts to podcasts, and TV screens to movie screens. What began in the standup comedy clubs of America’s heartland has become one of the most colorful careers in Hollywood, with a seemingly endless list of live and recorded performances engaging fans of every demographic. While Bill has famously performed as the official voice of Disney’s Goofy and Pluto since 1986, his sterling voice-acting resume includes thousands of leading and supporting roles in film, television, advertising, consumer products and more. For his unparalleled body of animation-voice work with such leading studios as Pixar, Warner Brothers, Universal and MGM, Bill became the first voice actor to receive the prestigious Friz Freleng Lifetime Achievement Award for Excellence in Animation. Equally distinguished is the immortalizing Disney Legend Award (recognizing individuals whose unique talents have helped shape the Disney legacy), which Bill received with entertainment icons Robin Williams and Betty White. Further adding to Bill’s many honors is the 2015 Annie Award for best acting in a television series and an Emmy nomination for his memorable performances in the hit animated series “Mickey Mouse Clubhouse.” Bill  can currently be seen on television in Disneys Mickey Mouse Clubhouse, Amphibia, The Wonderful World of Mickey Mouse, and as host and executive producer on It’s a Dog’s Life with Bill Farmer on Disney Plus, to name a few.  To help others reach their performance potential, Bill teaches voice-acting students, produces voice-actor demos and offers private coaching through his own production company, Toonhouse, Inc.

While Bill is delegated to the treadmill a lot lately Caitlin is getting much stronger in slightly better West coast weather.  They both find success with their retest of the 5k and 1 mile trial.  We also talk hydration details for longer upcoming efforts. 

Greg and Darren are joined by investor, speaker, coach, mentor and author Bill Ham to talk about Bill’s new book Creative Cash - The Complete Guide to Master Lease Options & Seller Financing for Investing in Real Estate, a how-to manual to creative and seller financing. Bill’s book helps investors of all levels work through the challenges of financing a deal outside the traditional route of bank financing. Just because you can do creative financing, doesn’t mean you should, and this book will help you navigate that decision.One great takeaway – Don’t assume someone else’s problem, solve it. To order Bill’s book or enroll in his master class, Seller Financing & Master Lease Options visit Creative Apartment Deals – Your Source for Creative Apartment Deals Bill may be reached through his website – broadwellpropertygroup.com – or by email at bill@gobroadwell.com Bill Ham is an author, a real estate investor, a sought-after speaker, and a coach and mentor to future titans of Multifamily Housing. In his current role as the Chief Operating Officer of Broadwell Property Group and his many years of experience in owning, managing, and operating large and small Apartments throughout the Southeast United States, there is very little that he has not experienced. While Bill spends much of his time identifying, acquiring, operating, and divesting assets for Broadwell Property Group, his real passion lies in education. He has been a coach and mentor to hundreds of students who have gone on to close countless millions of dollars in their own deals, many crediting Bill with their success. Sign up for our newsletter HERE. Greg ScullyGreg@realwealth.solutions or schedule a call - https://calendly.comDarren LightDarren@realwealth.solutions or schedule a call - https://calendly.com Or reach us on any of the following links:Real Wealth Solutions - Facebook - LinkedIn -YouTubeThanks for listening and, as always, a positive review or share is greatly appreciated.

The COVID-19 pandemic merely accelerated something that has been going on behind the scenes for many years – the radical disruption of business as we know it, a revolutionary transformation that calls for disruptive innovation from every business owner if they are to survive…and thrive. Through Success Club, the legendary Bill Walsh does his share in making a difference in the world by giving out free content to inspire 10 million entrepreneurs to carve their way to success in this time of accelerated change. While Bill now proudly wears the distinction of being a top success coach and America’s small business expert, he didn’t start out with a silver pacifier up his mouth. He, too, knows what it’s like for most of us who have to work our souls off just to keep our heads above the water. Listen intently as he generously shares his incredible wisdom about the makings of success in this conversation with Mitch Russo.Love the show? Subscribe, rate, review, and share!Here’s How »Join Your First Thousand Clients Community today:mitchrusso.comMitch Russo LinkedIn

The COVID-19 pandemic merely accelerated something that has been going on behind the scenes for many years – the radical disruption of business as we know it, a revolutionary transformation that calls for disruptive innovation from every business owner if they are to survive…and thrive. Through Success Club, the legendary Bill Walsh does his share in making a difference in the world by giving out free content to inspire 10 million entrepreneurs to carve their way to success in this time of accelerated change. While Bill now proudly wears the distinction of being a top success coach and America’s small business expert, he didn’t start out with a silver pacifier up his mouth. He, too, knows what it’s like for most of us who have to work our souls off just to keep our heads above the water. Listen intently as he generously shares his incredible wisdom about the makings of success in this conversation with Mitch Russo. Love the show? Subscribe, rate, review, and share! Here’s How » Join Your First Thousand Clients Community today: mitchrusso.com Mitch Russo LinkedIn Learn more about your ad choices. Visit megaphone.fm/adchoices

While Bill and Wendy were waiting for their flight to take off, they broadcasted live from Charlotte Douglas Airport. They will be attending the Trusted Advisor Event for Freedom Founders. Wendy actually calls this event “Mastermind on Steroids” because they are joined by other trusted advisors that are also members of Freedom Founders.  Carolina Capital is a hard money lender serving the needs of the “Real Estate Investor” and the "Small Builder" borrower who is striving to build wealth and generate income for themselves and their families. We offer “hard money rehab loans” and "Ground-up Construction Loans" for investors only in NC, SC, GA, VA, and TN (some areas of FL, as well). As part of our business practices, we also serve as consultants for investors guiding them to network with other investors and educating them in locating and structuring transactions. Rarely, if ever, will you find a hard money lender willing to invest in your success like Carolina Capital Management. Listen to our Podcast: https://thealternativeinvestor.libsyn.com/ Subscribe: http://thealternativeinvestor.libsyn.com/rss Visit our website: https://carolinahardmoney.com YouTube Channel: https://www.youtube.com/channel/UCYzCFOvEt2n9TchgECLwpww/ Facebook: https://www.facebook.com/CarolinaHardMoney/ #Northcarolinahardmoneylenders #Southcarolinahardmoneylenders #HardMoney #RealEstateInvesting #realestatefinancing #mortgage #privatelending

Today's guest is Bill Giovanetti - who I just met a few months ago as he started in the Flipped Lifestyle Blueprint! He was completely lost. He had all the pieces of the puzzle scattered around the table but he had lost the box top. He didn't know how to put all the pieces together to start, build, and grow a successful membership site. Bill jumped into a Flipped Lifestyle Community workshop and we taught him how to set up a sales funnel, how to re-work what he was doing in there. Then, he took major action on the Membership Masters Monthly Newsletter! Bill did exactly what the November edition said and he had a promotion that generated over $33K in a single week!!!     What You'll Learn: Why use the membership model? (11:00) When do you pull the trigger? (18:30) People who pay, pay attention. (23:00) How to go one to masses. (27:00) How to build your team! (30:00)   Show Notes Bill leads the Veritas School of Biblical Ministry, an unaccredited Master's level program in theology. For him, the month of November was the breakthrough he needed to keep with his membership. At $33K in a single week - it's pretty easy to understand how! While Bill doesn't like to talk about how much money he made it's important to note: Bill has an important mission and the money makes his mission possible!   Why the membership model? No other business model can help you impact the world like this! When you have a business, especially one aimed at serving others like Bill's, you can cast that stone of yours and make money at the same time! Just like Bill's kids, the membership will flavor their decisions and can impact the rest of their lives!   When do you pull the trigger? Bill had to come to a decision where he realized that he can't pastor a person unless he pastors their wallets. This is because asking for money was a huge mindset he struggled with at first. He can talk about all the things - but money is hard for pastors. The spiritual use of money is just as important to talk about as the others aspects of life. He came as a professor to TEACH - just like in other types of schools. He could not teach the way he does without the recurring revenue - the money makes the mission possible! Another issue he struggled with was wondering if there was a need for his knowledge in the marketplace. YES! Do your research. All you need is a small percentage of people in the entire world to join your membership!   People who pay, pay attention. When people vote with their wallets it makes them pay attention better and faster than if they didn't! We've seen it first-hand many times. If you do not invest your treasure - your heart is not in it!   Going one to masses. When you start going one to masses and create a movement you have to: Stop being outcome focused. Start being opportunity focused. If you are so worried about every single person's outcome, you're going to hit a cap of the people you can influence. All you can do is invest, all people to invest in themselves, and connect people that can help them grow! Your job is faith, God's job is outcomes!   How to build your team! To grow your team we always recommend: The Book, “WHO,” by Geoff Smart. Focus on your monthly membership growth. Be as people-focused as possible! Think of what you need to accomplish - not what you want to get rid of! Know what your roles are first.   Find us on: Apple Podcasts Spotify YouTube Facebook Twitter The Official Flipped Lifestyle Podcast Facebook Group Join the Flip Your Life Community! We would love to have you as a member of The Flip Your Life Community! We believe you have God-give talents and experiences you can use to start an online business! All you need is 100 people to pay you $50/m online to make $5,000/m, $60,000/y! Let us help you start build and grow a membership of your own.

Before we jump into this episode of Immigration Law for Tech Startups, I am thrilled to announce that DACA is back—100% back! On Dec. 4, a federal judge ordered the Department of Homeland Security, which oversees U.S. Citizenship and Immigration Services (USCIS), to resume approval of new DACA applications and work permits and granting them in two-year increments.   In this podcast episode, I’m thrilled to discuss the ideal immigration system for the U.S. with Professor Bill Ong Hing, one of my heroes in the immigration law field.   Bill is a professor of law and migration studies at the University of San Francisco. He teaches a lot of really cool classes about immigration policy, rebellious lawyering, negotiation. He is also the director of the Immigration and Deportation Defense Clinic at USF, which is currently helping more than 400 asylum clients with their cases free of change. In 1979, Bill founded the Immigrant Legal Resource Center (ILRC), a national nonprofit based in San Francisco that provides legal training, technical assistance, and educational materials, and engages in advocacy and immigrant civic engagement to advance immigrant rights. He continues to volunteer at ILRC as general counsel.   While Bill is pleased by the incoming Biden administration, his outlook remains tempered as to prospects for comprehensive immigration reform in Congress. “If it had been a landslide victory for Biden, I would be more confident,” he says. Still, he remains hopeful for more positive changes ahead for U.S. immigration policy—even more than what came out of the Obama administration, such as DACA and some prosecutorial discretion moves.   Bill talks in more detail about the prospects and benefits of a startup visa—or at least the reinstatement of the International Entrepreneur Rule—shifting to a first-come, first-served green card allocation process, creating immigrant enterprise zones, reforming the asylum system, and more.   We’ve been able to successfully navigate the immigration landscape during last four years under the Trump administration, so now, even more opportunities are open under the incoming Biden administration. We are looking forward to seeing more people being able to live their dreams of living, creating, and innovating in the U.S.  Please share this episode with investors, companies, startup founders, or anyone who can benefit from it. Reach out to us. We can help you determine your best immigration options whether you’re in the U.S. or abroad.   In this episode, you’ll hear about: Bill’s assessment of where things stand with immigration now, and how that may change under the incoming Biden administration Why he hopes the Biden administration will achieve more in immigration reform than President Obama Rebellious lawyering—what it is and what it means Why immigrants create jobs, and why a variety of job skills are needed in the U.S. Why Bill sees the good news about DACA as tempered by a potential legal challenge by the state of Texas to work permits under DACA Bill’s thoughts on the prospects of a startup visa or the reinstatement of the International Entrepreneur Rule Why immigrants significantly contribute to the economy, particularly the Social Security system The benefits of making the green card process based on first come, first served; creating immigrant enterprise zones; and things to think about when creating a fair point-based immigration system Where things stand with asylum system in the U.S., and where should it go from here Where Bill draws inspiration and his advice to listeners   Don’t miss my upcoming conversations with other top Silicon Valley venture capitalists, startup founders, professors, futurists, and thought leaders on Immigration Law for Tech Startups. Subscribe to this podcast here or on Apple Podcasts, Google Podcasts, Spotify, Stitcher, or whatever your favorite platform is. As always, we welcome your rating and review of this podcast. We appreciate your feedback!   Resources: To donate to Bill’s program, the Immigration and Deportation Defense Clinic at the University of San Francisco Law School, click here and make sure to designate your donation to the Immigration and Deportation Defense Clinic.   Sophie mentioned a book that offers a positive alternative from the “drama triangle” trap of victims, persecutors, and rescuers to something more freeing and positive. Check out The Power of TED (The Empowerment Dynamic) to understand how to transform your relationships into those of creators, challengers, and coaches.   Immigration Options Chart   All About H-1Bs   Immigration Law for Tech Startups Episode 43: What a Biden Victory Means for Immigration   Tech Crunch Dear Sophie columns “What does Biden’s win mean for tech immigration?”   Register for Alcorn’s Extraordinary Ability Bootcamp to learn the best practices for securing the O-1A visa, EB-1A green card, or the EB-2 NIW (National Interest Waiver) green card—the top options for startup founders. Use promotion code ILTS for 20% off the enrollment fee.   Get Alcorn’s Immigration Law for Tech Startups eBook   ***   EPISODE CREDITS: If you like this podcast and are thinking of creating your own, consider talking to my producer, Danny Ozment. He helps thought leaders, influencers, executives, HR professionals, recruiters, lawyers, realtors, bloggers, coaches, and authors create, launch, and produce podcasts that grow their business and impact the world. Find out more at https://emeraldcitypro.com  

Erica Ehm gets personal with Bill Welychka about his journey from behind the scenes editor to becoming one of MuchMusic’s longest serving hosts, how he manages to put himself in the right place at the right time, and how an interview with David Bowie was the catalyst to make him leave MuchMusic. Bill Welychka has a knack for reinventing. He talks about the power of networking and how he continues to order thrive as a broadcaster in the current climate. While Bill’s latest reinvention is as a morning show host in Kingston, Ontario, he tells Erica why it was rock n' roll that pulled him there. Please rate, review and follow the podcast! You can be apart of the show! Please leave your memories, questions and guest suggestions by calling 1-833-972-7272 See omnystudio.com/listener for privacy information.

While Bill provides an iconic sound bite about “on to Cincinnati,” Mickey takes us back 29 years to this week in Cowboys history while Everson remembers those woebegone days of the late ‘80s when the Cowboys were struggling just as they are this 2020 season.

While Bill is *still* on vacation, Frank and Brad talk about stuff like movie theaters and upcoming movies, entertainers and artists making a living in the time of Covid, John Mulaney, and Mick Jagger.

While Bill is *still* on vacation, Frank and Brad talk about stuff like movie theaters and upcoming movies, entertainers and artists making a living in the time of Covid, John Mulaney, and Mick Jagger.

While Bill is on vacation, Frank and Brad talk about stuff like dating in the time of Covid, Brad's back, home improvement projects, food, and Half Hour Wasted bingo.

While Bill is on vacation, Frank and Brad talk about stuff like dating in the time of Covid, Brad's back, home improvement projects, food, and Half Hour Wasted bingo.

While Bill was out of town this week visiting family, Podcast Rock City's Joe Polo joined Allen and Dennis to talk about the late, great Eddie Van Halen. #EddieVanHalen #VanHalen #RIPEddie #RIPEddieVanHalen

This story was penned by Jim B. who got sober in 1938, and was an member of Bill W’s original New York Group that met on Tuesday nights in Brooklyn. It was published in the Second, Third, and Fourth Editions of the Big Book, but not in the First Edition. However, Jim’s involvement in the program during the writing of Alcoholics Anonymous, is sometimes credited with having influenced Bill W’s references to God in the 12 steps. The agnostically-inclined Jim B. and Hank P., one of the earliest members of AA, insisted that the word “God” be less theologically-specific, more general, and less objectionable to agnostics, atheists, and those who had dissenting views toward religion. As a compromise, Bill W. appended the qualifying phrase “as we understood him” to the word God in the 3rd and 11th Steps. In subsequent years, Jim B. often spoke of having a role in the development of the 12 Steps, by insisting that the phrase be used. Over the years, as stories diverged from memories, Bill W. was sometimes asked about Jim B’s actual influence on the ultimate use of the expression, “God as we understood him". While Bill never attributed the term directly to Jim B. (or Hank P. for that matter), he did acknowledge Jim B’s indirect impact on the Steps by virtue of the agnosticism Jim frequently expressed during discussions in early meetings. Irrespective of whose recollection is more accurate, it’s clear that the expression “God, as we understood him” was a singularly important addition to the Big Book, keeping the doors of AA open to all, while alienating no one to the idea of a power greater than one’s self. Howard L, sober since January 1, 1988, presents this inspired reading of the Big Book and encourages listeners to revisit earlier podcast episodes that feature the main chapters and stories in the First Edition of the Big Book. Enjoy listening on our website, BigBookPodcast.com, or download and subscribe to the podcast for free at Apple Podcasts or wherever you get your podcasts. If you have a minute, please leave a rating and review on Apple Podcasts. Also join our facebook group, Big Book Podcast Listeners, where you can share your thoughts and experiences with fellow listeners.

While Bill and Ted get to Face The Music, Cliff and Jason are stuck at home with the Fandango, Today Show, Access, and E News Film Correspondent Nikki Novak...Excellent! And we get to talk about Bill and Ted! Be Excellent to each other and join us for a most triumphant conversation about our favorite Time Travelers.

While Bill takes a day off...Kerry, Gina, Caity, and Todd cover Boner of the Day, Best Question of the week, X-Poll, and more! Special guests include Jimmy the Wine Guy, Mayor Jenny Wilson, and District Attorney Sim Gill.

While Bill is fighting zombies in a shopping mall, Jay and Jessica take over the show to interview the hilarious and super-talented Jaclyn Marfuggi.  We discuss her free instagram workout classes, her podcast (What's Your Jersey?), and at some point, Jessica's dog runs away!   

On a very special episode, KRIS KAIZEN joins via satellite to talk about not wanting to be "ladylike", playing in an illegal rock band in China and the philosophy behind her lyrics.While BILL is away on family matters, RAZ reveals the origin story behind the relationship behind KRIS KAIZEN and ArtSchool Records and how a simple phrase opened new possibilities.See Kris' Illegal Rock Band on YOUTUBEGet KRIS KAIZEN MERCH HEREGet The Official "On the Green Couch" Coffee mug HERE. Help support our podcast one delicious cup of coffee at a time. Listen to past and future guests on our SPOTIFY PLAYLIST.Follow us on Instagram: @artschoolrecordsALSO ON TWITTER: @artschoolrecordYoutube: ArtSchool RecordsAll other links: ArtSchool Records LinkTree

When it was announced that Orlando Jones was fired as Mr. Nancy for American Gods, Noelle pitched a fit and we knew what our topic was going to be about. We brought in Alpha Riff to join us in a podcast that was already in progress (because as soon as craig came in Noelle was off to the races). While Bill was talking on the website about Harry Potter and how you can fight the TERF known as JK Rowling, Noelle had to talk about her other love, American Gods, and the outrage of the removal of Orlando Jones as Mr. Nancy. Lizzo was also brought up because of things that have been targeted at her after her exuberant performance during a Lakers vs Timberwolves game, and the distaste of society for anything for people with color. This is a messy AF podcast that also includes discussion about POC tropes, about POC being forced to "act white", much about Fremantle and the link to the Gabrielle Union also being fired.Visit us at http://www.xchromosomepodcast.com where we also write shit.Contact us at writeus@xchromosomepodcast.com we want to hear your stories. We want to discuss what is on your mind. We may even drag you on as a guest.We record the podcast live on Discord. Our Discord server is at https://discord.gg/w4PtpWK … feel free to chat us up there. Bill will talk about editing the podcast while he’s editing it too.We are constantly bombarding our facebook page at https://www.facebook.com/weallhaveanxchromosome/Bill cries on twitter at @xchromosomepod and shares memes and graphics on instagram @xchromosomepodPlease Like, Review, Rate, and Subscribe on all podcast platforms you have… it helps us to try to get sponsors so we can afford to give a better podcast by bringing down paywalls and investing in technology so it doesn’t sound like crap.You can help us at patreon at https://www.patreon.com/xchromosomepodcast ... all of our news rants will now be going to Patreon only so if you want to continue to hear Noelle and Bill scream at the news, that's where you can go. Seriously this week we had 21 minutes of extra footage.Merchandise https://xchromosomepodcast.threadless.com/ - We have a new design available to remind people to Stop Sending N.U.D.E.S.Music provided by Alpha Riff http://www.patreon.com/AlphaRiffPodcast Name by Emma TaylorPodcast graphics done by Ilea Hamrick https://www.behance.net/ileaWe All Have an X-Chromosome is a xchromosomepodcast.com ProductionCo-Executive Producers are Noelle Dial (she/her) and Bill Malvasi (he/him)Executive Director is Bill MalvasiAssociate Technical Director is Huey Algol (they/them)Associate News Director is Brian Grimes (he/him)Hosted by Noelle Dial and Bill MalvasiLinkshttps://ew.com/tv/2019/11/21/danny-trejo-american-gods-season-3-julia-sweeney-wale/https://www.cheatsheet.com/entertainment/american-gods-season-3-these-gods-were-just-added-to-the-cast.html/https://ew.com/tv/2019/12/16/american-gods-orlando-jones-firing-interview/https://www.thedailybeast.com/american-gods-delivers-a-powerful-black-lives-matter-messagehttps://twitter.com/jackallisonLOL/status/1206048812713725953https://www.williston.com/news/convocation-speaker-chic-eglee-70-to-students-move-forward/https://deadline.com/2019/12/orlando-jones-american-gods-firing-lawsuit-racism-fremantle-gabirielle-union-starz-1202810221/https://allhiphop.com/news/lizzo-s-thong-outfit-draws-comparisons-to-wwe-wrestler-rikishi-S4qhras5QEOlI0Zu9MQMWg/https://twitter.com/neilhimself/status/1206336143731707905https://tvtropes.org/pmwiki/pmwiki.php/Main/MagicalNegrohttps://tvtropes.org/pmwiki/pmwiki.php/Main/Mammyhttps://www.billboard.com/articles/columns/pop/8528216/lizzo-today-show-sequined-leotard-twerkinghttps://www.foxnews.com/entertainment/christina-aguilera-recalls-being-hurt-when-she-was-pitted-against-britney-spearshttps://time.com/entertainer-of-the-year-2019-lizzo/https://www.nbcnews.com/news/nbcblk/actresses-cite-lack-hollywood-stylists-who-get-black-hair-n1075761https://variety.com/2019/tv/news/sag-aftra-orlando-jones-american-gods-garbrielle-union-1203449742/amp/https://thegrio.com/2019/12/20/orlando-jones-showrunner-culture-vulture/ See acast.com/privacy for privacy and opt-out information.

  Episode sixty-two of A History of Rock Music in Five Hundred Songs looks at “Jailhouse Rock” by Elvis Presley, and at his relationships with Colonel Tom Parker, Leiber and Stoller, his band members, and the film industry. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on Santa Claus is Back in Town, also by Elvis, which ties in more than most to this episode.  —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz tells Leiber and Stoller’s side of the story well. There are many, many books about Elvis Presley out there, but the one I’m using as my major resource for information on him, and which has guided my views as to the kind of person he was, is Last Train to Memphis by Peter Guralnick, generally considered the best biography of him.  The Colonel by Alanna Nash is a little more tabloidy than those two, but is the only full-length biography I know of of Colonel Tom Parker. This box set contains all the recordings, including outtakes, for Elvis’ 1950s films, while this one contains just the finished versions of every record he made in the fifties. And Jailhouse Rock itself is well worth watching. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Colonel Tom Parker, from the very first, had wanted Elvis to move into films. Indeed, even before he met Elvis, he had tried grooming the other stars he’d managed — and non-stars like Tommy Sands — for film roles. In particular, he wanted to work with Hal Wallis at MGM, who had become something of an idee fixe for him after the first time he saw a film being made and was told that Wallis was the man in charge of it all. In particular, Parker was interested in film as a mass medium that nonetheless required people to pay. While Elvis had become famous by taking advantage of television’s newfound ubiquity, Colonel Parker didn’t like the idea that people could just watch Elvis for free. If they could watch him for nothing in their own home, why would they pay to see his shows, or pay for his records? But the cinema was different. People paid to go to the cinema, and you could get millions of people paying money to see the same performance. For the Colonel, that was the key — a way to maximise paying customers. Even if you made more money from the TV than from the cinema in the short term, cultivating a paying audience was clearly the best thing to do in the medium term. And so, from late 1956, Elvis’ career had started to be focussed on films, which were themselves focussed on his music. His first film, a Western originally titled The Reno Brothers, had been intended to have him in a small part, trying to be a straight actor, without any singing at all, and that was how Elvis had been persuaded to do it. Instead, at the last minute, four songs had been added to the film, and it had been retitled from The Reno Brothers to Love Me Tender. Elvis’ part — which was originally a relatively minor part — had been beefed up, though in terms of actual plot involvement he was still not the main star, and the film became an uneasy compromise between being a serious Western drama and a rock and roll vehicle, not really managing to do either well. The film after that, “Loving You”, had been different: [Excerpt: Elvis Presley, “Loving You”] That one had been a more straight ahead rock and roll film — it was basically a fictionalised version of Elvis’ own life to that point, with him playing Deke Rivers, a singer who is discovered by the manager of a fading country star. The manager in this case is a woman, and she also becomes the love interest in the film, but the broad outlines are about what you’d expect from a fictionalised biopic — Elvis was  clearly playing himself. But the soundtrack to “Loving You” had been a huge improvement on the soundtrack to “Love Me Tender”, and had included some of Elvis’ very best songs, including a title song written for him by Leiber and Stoller. The pair had been called on almost straight away after their “Hound Dog” had become a hit for Elvis, to see if they had any more songs for him. At the time, they hadn’t been hugely impressed by Elvis’ version of “Hound Dog”, and so rather than give him anything new, they suggested he record a song they had written for the duo Willy and Ruth: [Excerpt: Willy and Ruth, “Love Me”] That song had been written as a parody of country songs, and they hadn’t taken it seriously at all, but there had been all sorts of cover versions of it, by everyone from Georgia Gibbs to Hank Snow’s son Jimmie Rodgers Snow. None of them had been hits, but the song obviously had some commercial potential. So Leiber and Stoller suggested that Elvis try it, and they were very impressed with his performance of the song, which unlike them he *did* take seriously: [Excerpt: Elvis Presley, “Love Me”] From that point on, they had a certain amount of respect for Elvis as a performer, and so they were happy to write “Loving You” for the film. But at this point they still hadn’t even met him, and regarded him as, in their words, “an idiot savant” — someone who just happened to have a marketable talent, rather than an actual artist like the people they worked with. But Elvis was so impressed with the songs that Leiber and Stoller were writing that they soon got the call to write more songs for his next film. The original plan was that they were to write all of the songs for the film, but there was a snag. They’d been flown back to New York from LA, and they had a suite at an expensive hotel, and Miles Davis and Count Basie and Thelonius Monk all had gigs in the city that week, and there were a few good plays on at the theatre, and they had some friends who wanted to take them out for meals, and… well, there’s a lot of stuff to do in New York that’s more interesting than work. Eventually, Jean Aberbach from Hill and Range publishing came round to see them in their hotel suite, and ask them where his songs were. They told him he would have them soon, and he replied that he knew he would, because he wasn’t going to let them leave until he did. He pushed the sofa in front of the door so they couldn’t get out, and went to sleep on it. In the next five hours, Leiber and Stoller wrote four songs together, which was just about enough for the film, which was padded out with two other songs by other writers — both of them co-written by Aaron Schroeder. There was “Don’t Leave Me Now”, which had been recorded but not used for “Loving You”,  but which had still already appeared on that film’s soundtrack album, and a new ballad called “Young and Beautiful”. But neither of those songs were particularly strong, and so it was the Leiber and Stoller songs that would be the musical spine of the film — the credits at the beginning of the film said “songs mostly by Mike Stoller and Jerry Leiber”, clearly showing that they knew which songs it was that people would actually care about. It was only in April 1957 that Leiber and Stoller actually met the man who had already had hits with two of their songs and used a third as the title song for one of his films. Coincidentally, they met him in Radio Recorders Annex, the same studio where five years earlier they had recorded the original version of “Hound Dog” with Big Mama Thornton. They went in not knowing what to expect, but were struck, in order, by three different things. The first was that Elvis was extremely physically beautiful, far more so in person than in photos. The second was how shy and quiet he was — but how these things actually gave him an extra presence. And the third was how much he knew about R&B music, and how much he loved it. Leiber and Stoller had believed themselves to be the only white people of their own generation to really know or care about R&B or the blues, and here was someone enthusing to them about B.B. King, Big Bill Broonzy, and Arthur Crudup, and also about their own songs. He particularly liked one they’d written for Ray Charles, “The Snow is Falling”: [Excerpt: Ray Charles, “The Snow is Falling”] He ended up sitting at the piano playing a four-handed blues with Mike Stoller. The three men were getting on well enough that even though Leiber and Stoller had only intended to visit the sessions for a short while to meet Elvis, they ended up essentially producing the session — Leiber was in the control room, and would show Elvis how he wanted the songs to be phrased, while Stoller was on the studio floor, working with the musicians, and playing piano on one track. The two were particularly impressed by Elvis’ determination in the studio. They were having to record multiple versions of almost every song, because the plot of the film would have Elvis’ character, Vince Everett, learning songs, trying them out in different arrangements, trying different vocal styles on them, and so on. As well as recording the songs properly, the way he’d like to sing them, Elvis had to do tentative versions, versions with wrong notes, and so forth. And Elvis happily worked, take after take, to get all these different versions of the songs done exactly right.  In fact, he ended up not just singing on the tracks, but playing bass on one of them.  Up until these sessions, Bill Black had been playing double bass on all Elvis’ sessions — the double bass was the standard bass instrument in country music, and had become so in rockabilly as well. But around this time it became clear that the new Fender bass guitars, which had been introduced to the market a couple of years earlier and had quickly taken off in the jazz and blues worlds, were going to become the standard instrument for studio work for everyone. Black was far from being the most accomplished musician in the world — what he brought to Elvis’ sessions was more about his enthusiasm and attitude than his ability to play — and the switch to the bass guitar was an uncomfortable one. If you don’t know, a double bass is played standing up, like a cello, and has no frets, while a bass guitar is played like a guitar. They’re very different instruments, and Black had trouble switching from one to the other. He was also getting annoyed with the whole Presley organisation. Tom Parker was determined to isolate Elvis from anyone else in the business, including his band members. And not only that, Bill and Scotty were on what they both considered was a miserably low salary. So when Bill messed up the intro to “(You’re So Square) Baby, I Don’t Care” repeatedly, he threw the bass across the room and stormed out of the session. Elvis just picked up the bass and played the part himself, and it’s him you can hear playing it on the finished record, doing a rather decent job of it: [Excerpt: Elvis Presley, “(You’re So Square) Baby I Don’t Care”] While Bill had left the session, it didn’t stop him appearing in the film — “Jailhouse Rock” featured Scotty, Bill, and D.J., miming their instruments. They didn’t have any lines — they weren’t members of the Screen Actors’ Guild, so they couldn’t — but they appeared throughout the last half of the film, as did Mike Stoller on the piano. It was actually meant to be Jerry Leiber miming the piano parts — someone from the film studio had come into the recording studio while they were making the records, and had said that Leiber looked like a piano player. Elvis had said that no, it was Stoller who was the piano player, and the filmmaker had said it didn’t matter — Leiber looked like a piano player, and so if he wanted to be in the film miming the piano parts he could. Leiber agreed, but then on the day he was meant to go into the studio, he developed a terrible toothache. He called up Stoller and said “I can’t go, you go instead”.  Stoller pointed out that they were expecting Leiber, and Leiber told him that they wouldn’t know the difference anyway. So Stoller went along, and the only thing he was told was that he would have to shave off his goatee beard, as it would be a scene-stealer and distract people from Elvis. So Mike Stoller was there with Scotty, Bill, and D.J. as they filmed most of what is generally considered to be Elvis’ best film.  The film almost got stopped before it was started, though. The first thing to be filmed was the big dance sequence to one of the songs Leiber and Stoller had written, “Jailhouse Rock”: [excerpt: Elvis Presley, “Jailhouse Rock”] That was going to be the centrepiece of the whole film, and the dance sequence involved dozens of men dressed as convicts. Some have argued that the song and the sequence were inspired by the bit in The Girl Can’t Help It in which a parody of rock and roll is sung by a group dressed as convicts. There might even be some truth to that as far as the version in the film goes, as the film has extra orchestration and an intro section added which isn’t on the record, and which doesn’t really fit very well. Compare the film version of “Jailhouse Rock”: [Excerpt: Elvis Presley, “Jailhouse Rock”, film version] With “Rock Around the Rockpile”: [Excerpt: “Jerri Jordan”, “Rock Around the Rockpile”] But the thing is, that’s only a partial explanation. The song itself is clearly in a long line of Leiber and Stoller songs about the judicial system, like “Framed”: [Excerpt: The Robins, “Framed”] and “Riot in Cell Block #9”: [Excerpt: The Robins, “Riot in Cell Block #9”] It also contains a lot of the humour that Leiber and Stoller were noted for. Many comedians have made fun of this section: [Excerpt: Elvis Presley, “Jailhouse Rock”] and pointed out the homoerotic implications of those lines. Given Leiber and Stoller’s other work, I think it’s fairly clear they were perfectly aware of those implications — and given that this is a film that also features shots of Elvis shirtless, tied up, being whipped by another man, I suspect they weren’t the only ones who were dropping little coded hints to gay fans at that time. But, as I said, the dance sequence nearly ended the film — and nearly ended Elvis’ singing career along with it. Elvis had some trouble learning to dance with a choreographed troupe, at first — he was a natural mover, and not used to the way trained dancers moved. Luckily, the choreographer, Alex Romero, came up with a solution to that problem. He got Elvis to just perform in front of him, miming to his own records, moving like he would on stage.  Romero then took Elvis’ normal stage movements and worked them into the dance routine, choreographing it so it still worked with the large dance troupe, but Elvis was able to move in ways that were comfortable for him. (The claim on Wikipedia that Elvis himself choreographed the dance sequence is absolutely mythical, incidentally. It was Alex Romero.) That solved the immediate problem, but there was a larger problem when, on the first day of shooting, Elvis hit his mouth and dislodged a crown. Elvis insisted that it had gone into his chest. At first, people thought he was being overly dramatic, but after a few more takes of bits of the sequence, they noticed a whistling sound when he was breathing. He had inhaled his crown.  It required major surgery to remove the crown from his lung, and to do it they had to separate his vocal cords to get into his lungs. This was a weird case of life imitating art, as a crucial plot point in the film was Elvis’ character having to have throat surgery and worrying whether he would be able to sing again. Fortunately, just as in the film, he made a full recovery and was able to carry on. The film itself was surprisingly good, given the depths to which Elvis would sink in some of his later films. Elvis plays a very unsympathetic character, with a chip on his shoulder after being imprisoned after accidentally killing a man in a bar fight, who (of course) becomes a famous singer. It’s no cinematic masterpiece, but it’s a very decent film of its type. The film sadly had a tragic coda — just days after the film finished shooting, Judy Tyler, Elvis’ love interest in the film, died in a car accident. As a result, Elvis refused to ever watch the film in full — he couldn’t bear to. But in the short term, the film’s main effect was to draw Elvis and Mike Stoller closer together. As Stoller was on the set all the time, he had a chance to get close to Elvis, and at one point they were having a game of pool, and one of the songs Leiber and Stoller had written for the Drifters came on: [Excerpt: The Drifters, “Ruby Baby”] Elvis started singing along, and asking Stoller how he and Leiber wrote so many great songs together. But then, a few minutes later, Elvis was dragged out of the room, and came back in telling Stoller that he had to leave — the Colonel didn’t want Elvis hanging round with people who were in the music industry, unless those people worked for the Colonel. Indeed, at one point around this time, the Colonel tried to become Leiber and Stoller’s manager. He sent them blank pieces of paper for them to sign, with a promise that he would fill out the rest later and give them a very good deal. Perhaps unsurprisingly, their response was not one I could repeat on a podcast that isn’t in the adult section. But Elvis had still taken to Leiber and Stoller. He started calling them his “good luck charms”, and decided that he wanted them at every recording session. The Colonel agreed to have them involved in everything. For the moment. But Leiber and Stoller weren’t dependent on Elvis and the Colonel. During 1957, while they were working with Elvis, they also wrote hits for Perry Como: [Excerpt: Perry Como, “Dancin'”] Ruth Brown: [Excerpt: Ruth Brown, “Lucky Lips”] The Drifters: [Excerpt: The Drifters, “Fools Fall in Love”] And of course those Coasters records we looked at a few weeks ago — and will be looking at again in a month or so. And that independence was bothering people in the Colonel’s group of business people. In particular, Freddy Bienstock, who worked at Hill and Range and controlled what songs Elvis performed, became apoplectic when the duo gave the song “Don’t” directly to Elvis: [Excerpt: Elvis Presley, “Don’t”] Stoller explained to Bienstock that the song had been commissioned directly *by* Elvis. Elvis had said, “I want you to write a real pretty ballad for me,” they’d gone away and written him a real pretty ballad, he’d liked it, what was the problem? The problem, Bienstock explained, was that you don’t just give songs to Elvis. There was no contract for the song. What if they couldn’t come to a contract agreement, but Elvis wanted to record the song anyway? What if all the money ended up just going to Leiber and Stoller because they refused to cut Hill and Range, Elvis, and the Colonel in on the royalties? That wasn’t a problem, they said. They’d written songs for Elvis before. They knew the drill. They assumed that the contract would be the same one they always had to sign when writing for Elvis. Bienstock insisted that none of that mattered. You brought the song to Bienstock, or to Jean Aberbach. If they liked it for Elvis, *then* they got the contracts sorted, and *then* Elvis got to hear it. That was the way things worked around here. You don’t just go bringing Elvis a song. That was going behind the Colonel’s back, and the Colonel didn’t like people going behind his back. As far as Leiber and Stoller were concerned, they weren’t going behind anyone’s back.  So by September 1957, when Jailhouse Rock came out, things were a lot more precarious for Elvis than they looked from the outside. The Colonel had weakened the bonds between him and his backing musicians, by insisting that they get paid a small salary rather than a percentage; he had control over what songs Elvis could sing; Sam Phillips was no longer in the picture; and so Leiber and Stoller were the only people involved in Elvis’ life who had any real independence — everyone at Hill and Range, the film studios, and RCA was involved in a complex network of kickbacks which meant that they all stood or fell together with the Colonel.  If the Colonel could just get those good luck charms out of Elvis’ life again, he’d be all set to make sure Elvis’ career was run exactly as he wanted it. And as luck would have it, Elvis was going to become eligible for the draft in January 1958. All the Colonel had to do was wait a few months…  

  Episode sixty-two of A History of Rock Music in Five Hundred Songs looks at “Jailhouse Rock” by Elvis Presley, and at his relationships with Colonel Tom Parker, Leiber and Stoller, his band members, and the film industry. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on Santa Claus is Back in Town, also by Elvis, which ties in more than most to this episode.  —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Hound Dog: The Leiber and Stoller Autobiography by Jerry Leiber, Mike Stoller, and David Ritz tells Leiber and Stoller’s side of the story well. There are many, many books about Elvis Presley out there, but the one I’m using as my major resource for information on him, and which has guided my views as to the kind of person he was, is Last Train to Memphis by Peter Guralnick, generally considered the best biography of him.  The Colonel by Alanna Nash is a little more tabloidy than those two, but is the only full-length biography I know of of Colonel Tom Parker. This box set contains all the recordings, including outtakes, for Elvis’ 1950s films, while this one contains just the finished versions of every record he made in the fifties. And Jailhouse Rock itself is well worth watching. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Colonel Tom Parker, from the very first, had wanted Elvis to move into films. Indeed, even before he met Elvis, he had tried grooming the other stars he’d managed — and non-stars like Tommy Sands — for film roles. In particular, he wanted to work with Hal Wallis at MGM, who had become something of an idee fixe for him after the first time he saw a film being made and was told that Wallis was the man in charge of it all. In particular, Parker was interested in film as a mass medium that nonetheless required people to pay. While Elvis had become famous by taking advantage of television’s newfound ubiquity, Colonel Parker didn’t like the idea that people could just watch Elvis for free. If they could watch him for nothing in their own home, why would they pay to see his shows, or pay for his records? But the cinema was different. People paid to go to the cinema, and you could get millions of people paying money to see the same performance. For the Colonel, that was the key — a way to maximise paying customers. Even if you made more money from the TV than from the cinema in the short term, cultivating a paying audience was clearly the best thing to do in the medium term. And so, from late 1956, Elvis’ career had started to be focussed on films, which were themselves focussed on his music. His first film, a Western originally titled The Reno Brothers, had been intended to have him in a small part, trying to be a straight actor, without any singing at all, and that was how Elvis had been persuaded to do it. Instead, at the last minute, four songs had been added to the film, and it had been retitled from The Reno Brothers to Love Me Tender. Elvis’ part — which was originally a relatively minor part — had been beefed up, though in terms of actual plot involvement he was still not the main star, and the film became an uneasy compromise between being a serious Western drama and a rock and roll vehicle, not really managing to do either well. The film after that, “Loving You”, had been different: [Excerpt: Elvis Presley, “Loving You”] That one had been a more straight ahead rock and roll film — it was basically a fictionalised version of Elvis’ own life to that point, with him playing Deke Rivers, a singer who is discovered by the manager of a fading country star. The manager in this case is a woman, and she also becomes the love interest in the film, but the broad outlines are about what you’d expect from a fictionalised biopic — Elvis was  clearly playing himself. But the soundtrack to “Loving You” had been a huge improvement on the soundtrack to “Love Me Tender”, and had included some of Elvis’ very best songs, including a title song written for him by Leiber and Stoller. The pair had been called on almost straight away after their “Hound Dog” had become a hit for Elvis, to see if they had any more songs for him. At the time, they hadn’t been hugely impressed by Elvis’ version of “Hound Dog”, and so rather than give him anything new, they suggested he record a song they had written for the duo Willy and Ruth: [Excerpt: Willy and Ruth, “Love Me”] That song had been written as a parody of country songs, and they hadn’t taken it seriously at all, but there had been all sorts of cover versions of it, by everyone from Georgia Gibbs to Hank Snow’s son Jimmie Rodgers Snow. None of them had been hits, but the song obviously had some commercial potential. So Leiber and Stoller suggested that Elvis try it, and they were very impressed with his performance of the song, which unlike them he *did* take seriously: [Excerpt: Elvis Presley, “Love Me”] From that point on, they had a certain amount of respect for Elvis as a performer, and so they were happy to write “Loving You” for the film. But at this point they still hadn’t even met him, and regarded him as, in their words, “an idiot savant” — someone who just happened to have a marketable talent, rather than an actual artist like the people they worked with. But Elvis was so impressed with the songs that Leiber and Stoller were writing that they soon got the call to write more songs for his next film. The original plan was that they were to write all of the songs for the film, but there was a snag. They’d been flown back to New York from LA, and they had a suite at an expensive hotel, and Miles Davis and Count Basie and Thelonius Monk all had gigs in the city that week, and there were a few good plays on at the theatre, and they had some friends who wanted to take them out for meals, and… well, there’s a lot of stuff to do in New York that’s more interesting than work. Eventually, Jean Aberbach from Hill and Range publishing came round to see them in their hotel suite, and ask them where his songs were. They told him he would have them soon, and he replied that he knew he would, because he wasn’t going to let them leave until he did. He pushed the sofa in front of the door so they couldn’t get out, and went to sleep on it. In the next five hours, Leiber and Stoller wrote four songs together, which was just about enough for the film, which was padded out with two other songs by other writers — both of them co-written by Aaron Schroeder. There was “Don’t Leave Me Now”, which had been recorded but not used for “Loving You”,  but which had still already appeared on that film’s soundtrack album, and a new ballad called “Young and Beautiful”. But neither of those songs were particularly strong, and so it was the Leiber and Stoller songs that would be the musical spine of the film — the credits at the beginning of the film said “songs mostly by Mike Stoller and Jerry Leiber”, clearly showing that they knew which songs it was that people would actually care about. It was only in April 1957 that Leiber and Stoller actually met the man who had already had hits with two of their songs and used a third as the title song for one of his films. Coincidentally, they met him in Radio Recorders Annex, the same studio where five years earlier they had recorded the original version of “Hound Dog” with Big Mama Thornton. They went in not knowing what to expect, but were struck, in order, by three different things. The first was that Elvis was extremely physically beautiful, far more so in person than in photos. The second was how shy and quiet he was — but how these things actually gave him an extra presence. And the third was how much he knew about R&B music, and how much he loved it. Leiber and Stoller had believed themselves to be the only white people of their own generation to really know or care about R&B or the blues, and here was someone enthusing to them about B.B. King, Big Bill Broonzy, and Arthur Crudup, and also about their own songs. He particularly liked one they’d written for Ray Charles, “The Snow is Falling”: [Excerpt: Ray Charles, “The Snow is Falling”] He ended up sitting at the piano playing a four-handed blues with Mike Stoller. The three men were getting on well enough that even though Leiber and Stoller had only intended to visit the sessions for a short while to meet Elvis, they ended up essentially producing the session — Leiber was in the control room, and would show Elvis how he wanted the songs to be phrased, while Stoller was on the studio floor, working with the musicians, and playing piano on one track. The two were particularly impressed by Elvis’ determination in the studio. They were having to record multiple versions of almost every song, because the plot of the film would have Elvis’ character, Vince Everett, learning songs, trying them out in different arrangements, trying different vocal styles on them, and so on. As well as recording the songs properly, the way he’d like to sing them, Elvis had to do tentative versions, versions with wrong notes, and so forth. And Elvis happily worked, take after take, to get all these different versions of the songs done exactly right.  In fact, he ended up not just singing on the tracks, but playing bass on one of them.  Up until these sessions, Bill Black had been playing double bass on all Elvis’ sessions — the double bass was the standard bass instrument in country music, and had become so in rockabilly as well. But around this time it became clear that the new Fender bass guitars, which had been introduced to the market a couple of years earlier and had quickly taken off in the jazz and blues worlds, were going to become the standard instrument for studio work for everyone. Black was far from being the most accomplished musician in the world — what he brought to Elvis’ sessions was more about his enthusiasm and attitude than his ability to play — and the switch to the bass guitar was an uncomfortable one. If you don’t know, a double bass is played standing up, like a cello, and has no frets, while a bass guitar is played like a guitar. They’re very different instruments, and Black had trouble switching from one to the other. He was also getting annoyed with the whole Presley organisation. Tom Parker was determined to isolate Elvis from anyone else in the business, including his band members. And not only that, Bill and Scotty were on what they both considered was a miserably low salary. So when Bill messed up the intro to “(You’re So Square) Baby, I Don’t Care” repeatedly, he threw the bass across the room and stormed out of the session. Elvis just picked up the bass and played the part himself, and it’s him you can hear playing it on the finished record, doing a rather decent job of it: [Excerpt: Elvis Presley, “(You’re So Square) Baby I Don’t Care”] While Bill had left the session, it didn’t stop him appearing in the film — “Jailhouse Rock” featured Scotty, Bill, and D.J., miming their instruments. They didn’t have any lines — they weren’t members of the Screen Actors’ Guild, so they couldn’t — but they appeared throughout the last half of the film, as did Mike Stoller on the piano. It was actually meant to be Jerry Leiber miming the piano parts — someone from the film studio had come into the recording studio while they were making the records, and had said that Leiber looked like a piano player. Elvis had said that no, it was Stoller who was the piano player, and the filmmaker had said it didn’t matter — Leiber looked like a piano player, and so if he wanted to be in the film miming the piano parts he could. Leiber agreed, but then on the day he was meant to go into the studio, he developed a terrible toothache. He called up Stoller and said “I can’t go, you go instead”.  Stoller pointed out that they were expecting Leiber, and Leiber told him that they wouldn’t know the difference anyway. So Stoller went along, and the only thing he was told was that he would have to shave off his goatee beard, as it would be a scene-stealer and distract people from Elvis. So Mike Stoller was there with Scotty, Bill, and D.J. as they filmed most of what is generally considered to be Elvis’ best film.  The film almost got stopped before it was started, though. The first thing to be filmed was the big dance sequence to one of the songs Leiber and Stoller had written, “Jailhouse Rock”: [excerpt: Elvis Presley, “Jailhouse Rock”] That was going to be the centrepiece of the whole film, and the dance sequence involved dozens of men dressed as convicts. Some have argued that the song and the sequence were inspired by the bit in The Girl Can’t Help It in which a parody of rock and roll is sung by a group dressed as convicts. There might even be some truth to that as far as the version in the film goes, as the film has extra orchestration and an intro section added which isn’t on the record, and which doesn’t really fit very well. Compare the film version of “Jailhouse Rock”: [Excerpt: Elvis Presley, “Jailhouse Rock”, film version] With “Rock Around the Rockpile”: [Excerpt: “Jerri Jordan”, “Rock Around the Rockpile”] But the thing is, that’s only a partial explanation. The song itself is clearly in a long line of Leiber and Stoller songs about the judicial system, like “Framed”: [Excerpt: The Robins, “Framed”] and “Riot in Cell Block #9”: [Excerpt: The Robins, “Riot in Cell Block #9”] It also contains a lot of the humour that Leiber and Stoller were noted for. Many comedians have made fun of this section: [Excerpt: Elvis Presley, “Jailhouse Rock”] and pointed out the homoerotic implications of those lines. Given Leiber and Stoller’s other work, I think it’s fairly clear they were perfectly aware of those implications — and given that this is a film that also features shots of Elvis shirtless, tied up, being whipped by another man, I suspect they weren’t the only ones who were dropping little coded hints to gay fans at that time. But, as I said, the dance sequence nearly ended the film — and nearly ended Elvis’ singing career along with it. Elvis had some trouble learning to dance with a choreographed troupe, at first — he was a natural mover, and not used to the way trained dancers moved. Luckily, the choreographer, Alex Romero, came up with a solution to that problem. He got Elvis to just perform in front of him, miming to his own records, moving like he would on stage.  Romero then took Elvis’ normal stage movements and worked them into the dance routine, choreographing it so it still worked with the large dance troupe, but Elvis was able to move in ways that were comfortable for him. (The claim on Wikipedia that Elvis himself choreographed the dance sequence is absolutely mythical, incidentally. It was Alex Romero.) That solved the immediate problem, but there was a larger problem when, on the first day of shooting, Elvis hit his mouth and dislodged a crown. Elvis insisted that it had gone into his chest. At first, people thought he was being overly dramatic, but after a few more takes of bits of the sequence, they noticed a whistling sound when he was breathing. He had inhaled his crown.  It required major surgery to remove the crown from his lung, and to do it they had to separate his vocal cords to get into his lungs. This was a weird case of life imitating art, as a crucial plot point in the film was Elvis’ character having to have throat surgery and worrying whether he would be able to sing again. Fortunately, just as in the film, he made a full recovery and was able to carry on. The film itself was surprisingly good, given the depths to which Elvis would sink in some of his later films. Elvis plays a very unsympathetic character, with a chip on his shoulder after being imprisoned after accidentally killing a man in a bar fight, who (of course) becomes a famous singer. It’s no cinematic masterpiece, but it’s a very decent film of its type. The film sadly had a tragic coda — just days after the film finished shooting, Judy Tyler, Elvis’ love interest in the film, died in a car accident. As a result, Elvis refused to ever watch the film in full — he couldn’t bear to. But in the short term, the film’s main effect was to draw Elvis and Mike Stoller closer together. As Stoller was on the set all the time, he had a chance to get close to Elvis, and at one point they were having a game of pool, and one of the songs Leiber and Stoller had written for the Drifters came on: [Excerpt: The Drifters, “Ruby Baby”] Elvis started singing along, and asking Stoller how he and Leiber wrote so many great songs together. But then, a few minutes later, Elvis was dragged out of the room, and came back in telling Stoller that he had to leave — the Colonel didn’t want Elvis hanging round with people who were in the music industry, unless those people worked for the Colonel. Indeed, at one point around this time, the Colonel tried to become Leiber and Stoller’s manager. He sent them blank pieces of paper for them to sign, with a promise that he would fill out the rest later and give them a very good deal. Perhaps unsurprisingly, their response was not one I could repeat on a podcast that isn’t in the adult section. But Elvis had still taken to Leiber and Stoller. He started calling them his “good luck charms”, and decided that he wanted them at every recording session. The Colonel agreed to have them involved in everything. For the moment. But Leiber and Stoller weren’t dependent on Elvis and the Colonel. During 1957, while they were working with Elvis, they also wrote hits for Perry Como: [Excerpt: Perry Como, “Dancin'”] Ruth Brown: [Excerpt: Ruth Brown, “Lucky Lips”] The Drifters: [Excerpt: The Drifters, “Fools Fall in Love”] And of course those Coasters records we looked at a few weeks ago — and will be looking at again in a month or so. And that independence was bothering people in the Colonel’s group of business people. In particular, Freddy Bienstock, who worked at Hill and Range and controlled what songs Elvis performed, became apoplectic when the duo gave the song “Don’t” directly to Elvis: [Excerpt: Elvis Presley, “Don’t”] Stoller explained to Bienstock that the song had been commissioned directly *by* Elvis. Elvis had said, “I want you to write a real pretty ballad for me,” they’d gone away and written him a real pretty ballad, he’d liked it, what was the problem? The problem, Bienstock explained, was that you don’t just give songs to Elvis. There was no contract for the song. What if they couldn’t come to a contract agreement, but Elvis wanted to record the song anyway? What if all the money ended up just going to Leiber and Stoller because they refused to cut Hill and Range, Elvis, and the Colonel in on the royalties? That wasn’t a problem, they said. They’d written songs for Elvis before. They knew the drill. They assumed that the contract would be the same one they always had to sign when writing for Elvis. Bienstock insisted that none of that mattered. You brought the song to Bienstock, or to Jean Aberbach. If they liked it for Elvis, *then* they got the contracts sorted, and *then* Elvis got to hear it. That was the way things worked around here. You don’t just go bringing Elvis a song. That was going behind the Colonel’s back, and the Colonel didn’t like people going behind his back. As far as Leiber and Stoller were concerned, they weren’t going behind anyone’s back.  So by September 1957, when Jailhouse Rock came out, things were a lot more precarious for Elvis than they looked from the outside. The Colonel had weakened the bonds between him and his backing musicians, by insisting that they get paid a small salary rather than a percentage; he had control over what songs Elvis could sing; Sam Phillips was no longer in the picture; and so Leiber and Stoller were the only people involved in Elvis’ life who had any real independence — everyone at Hill and Range, the film studios, and RCA was involved in a complex network of kickbacks which meant that they all stood or fell together with the Colonel.  If the Colonel could just get those good luck charms out of Elvis’ life again, he’d be all set to make sure Elvis’ career was run exactly as he wanted it. And as luck would have it, Elvis was going to become eligible for the draft in January 1958. All the Colonel had to do was wait a few months…  

While Bill is stuck at under water, Jay and Jessica take over the show to talk about comedy, and specifically their upcoming shows. Go to www.jayblack.tv for tickets! Subscribe today! Special thanks to our Sponsors: Cafe Gennaro Flemington Car & Truck House of Cupcakes Remember to subscribe, rate, and review us in iTunes!

While Bill is stuck at Chasing, Jay and Jessica take over the show to interview the hilarious and super-talented Jaclyn Marfuggi.  We discuss her journey to LA as an actress and comedian, her podcast (What's Your Jersey?) and her upcoming appearance at SopranosCon. Subscribe today! Special thanks to our Sponsors: Cafe Gennaro Flemington Car & Truck House of Cupcakes Remember to subscribe, rate, and review us in iTunes!

While Bill and Ted are most excellent, this 1992 live action show was not. This week, Ed is joined by Miles from Best Darn Diddly to review the failed attempt at a live action television adaptation of Bill and Ted's Excellent Adventure. Join us as we pitch a crossover into the Nightmare on Elm Street franchise and the duo breaking reality to meet Alex Winter and Keanu Reeves. Check out Best Darn Diddly: http://bestdarndiddly.podbean.com/

While Bill and Raptor are on their hiatus, please enjoy this blast from the past episode, where Bill forgot it was podcast day, and a new unit of time is created for Raptor. Recorded live, from the podcar.--- Send in a voice message: https://anchor.fm/insideyoupodcast/messageSupport this podcast: https://anchor.fm/insideyoupodcast/support

While Bill is busy tending to his brood, Steve and Ryan have found a few things to talk about! This episode we'll discuss the two bonus tracks included on the Collector's Edition of Violent J's solo album Wizard of the Hood. Let's get to it! This week's episode includes the following tracks: 4:43 - My Shine 20:06 - Bloody Bitch Dead 45:48 - Next Week's Assignment

Trillion Dollar Coach: The Leadership Playbook of Silicon Valley’s Bill Campbell was an absolutely gripping read about a legendary coach and business executive, whose mentoring of the likes of Steve Jobs, Larry Page, Eric Schmidt, and Jeff Bezos, amongst other tech luminaries, played a major role in the success of their companies. While Bill was a private person — he passed away in 2016 — who instead preferred to shine the spotlight on the entrepreneurs and executives he worked with, three of his mentees, Eric Schmidt, Jonathan Rosenberg and Alan Eagle, decided that his invaluable teachings needed to be shared far and wide, in order to have the biggest impact that they possibly could; so they captured his wisdom in this easily digestible 191-page book (a welcome reprieve after having previously ground through a series of 400–600 page books). Somewhat surprisingly, Bill took no cash, no stock…and no shit, and until I picked this book up, I didn’t realize people like Bill existed. The book was packed with value bombs and what follows are some excerpts from the book, and my own notes, which I thought I’d publish to, again, amplify the reach of Bill’s teachings. --- --- Employee to Entrepreneur book: www.employeetoentrepreneur.io Listen to Future Squared on Apple Podcasts  goo.gl/sMnEa0 Also available on: Spotify, Google Podcasts, TuneIn, Stitcher and Soundcloud Twitter: www.twitter.com/steveglaveski Instagram: www.instagram.com/@thesteveglaveski Future Squared: www.futuresquared.xyz Steve Glaveski: www.steveglaveski.com  Medium: www.medium.com/@steveglaveski NEW Facebook group: www.facebook.com/groups/futuresquared/  

Philly accents abound to start this episode. The boys get into some well pronounced aluminum. Matt implores everyone to recycle their own aluminum and stop putting it under their arms. The fellas think all the religious 13’s are a bit specious. Elmer’s kin, Bar Mitz Fudd, is welcomed to the show. Imagine two rabbis doing DVD commentary. Bill simplifies religion for everyone. Matt is concerned that his segment is getting lengthy. The boys happen upon a catch phrase for the new age. Bill jumps the gun on Judas’ jersey number. Matt deconstructs the Hammurabi and Swiss sandwich. Bill makes a toothpaste joke that can’t get put back into the tube. Matt likes a “Devil’s Dozen,” While Bill likes a “Long Dozen.” The boys decipher the PG-13 designation. The age of consent and American race relations are tiptoed around. Our heroes bravely and hilariously cast Antonio Banderas. Matt thinks Rugby guys are crummy and scrummy. Bill eschews his recap duties and the boys get into the minute. Rick finds Jim in aisle 13 this week. Ricky likes to “work the issue.” Bill is a targeted shopper while Matt likes to roam the landscape. Trader Joe's, Cosby Show guy gets a shout out. Matt gets “lured” into a discussion. Ricky is not a fan of the Goji. Bill is situationally persistent and he updates us on the Glengarry Glen Ross lady production. The boys speculate that a LuPone and maybe a Pidgeon might be involved. Finally, as always, Matt and Bill wonder and disagree about “What Would David Mamet Think.”Find out more at https://gggrinfinite.pinecast.co

In this episode of the Mastering Life Podcast, Paul reads to you From Bridges & Ballet… to Butterflies, which was written by Bill and Jenni Burridge, the owners of New Insights - offering personal development & coaching services in South Africa and in the UK. There will be two parts that Paul will be reading, so make sure to tune in till the end. Bill and Jenni both share their stories on how their lives were transformed before they even started the company. They go back to when they first met at the University of Cape Town. From then on, their lives transitioned from one place to another and to one milestone to another. Bill and Jenni claim that there are indifferences between them. But instead, of getting hindered by it, they are joyed by at how it brings new perspectives to the business side of things. Discover these and more when you listen to Paul read this fascinating story from the Burridges! KEY TAKEAWAYS Bill shares her relationship with his partner, Jenni since he met her. He first met her in college. He recalled how awkward it was meeting the love of his life dress in drag. After graduation, Jenni moved to Mauritius. Bill then planned to chase after her and propose. But life can be a paradox. While the whole Mauritius was being wrecked by Typhoon Claudette, their bond became stronger and indestructible. Jenni accepted, and they got married. The newly-weds moved to South Coast of Kwa Zulu-Natal and lived their normal lives. He worked for a construction team, and she opened up a fitness studio for ladies. At home, they try hard to reconcile their differences – while one opts for form, the other one chooses for function. As time grew, he felt that he could not do this his entire life – moving from one place to another. Bill, then, decided to be a full-time student for a year to finish an MBA degree. This is after he did introspection and found his inner voice that has long been muted. Jenni, on the other hand, found a job as an aerobics instructor. Years passed, he joined a multinational company in the sales division. On their 10th anniversary, they finally decided to have a family. Their eldest, Bianca, was born in UK. Then four years later, their sweet boy, Casey, was born. Bill’s job afterwards focused on distribution, project management, and technology. His position requires a lot of travelling and thus taking his time away from his family. Jenni was at home taking care of the kids. Unfortunately, the dotcom collapse happened, so he lost his job. But as quick as he lost one, he landed on a Senior Management role in IT. His career has completely u-turned from his passion which is working with people. But opportunities come when you least expect it. Just when he thought he was about to leave; his IT company started a program that needed an internal communications manager to bridge the employees and the executives. It was perfect. He was able to inspire people.  After 3 years, he was handling the internal communications of the entire organisation. While Bill was busy growing his career, his role as a father and a husband was on the rocks. Their family has stayed in UK for 6 years with him, but it was already time to go home, to South Africa. Since they were having familial problems, it was time to get a life coach. He enjoyed it a lot and saw improvements in his life. This gave him an idea to bring the life coaching business and its benefits to South Africa. Neil and Sharon helped and guided him about the coaching programme. New Insights Africa… this is the new company of Bill and Jenni that offers life coaching for everyone. BEST MOMENTS “Unlike, opposite poles attract.” “In wanting to ‘do the right thing’, I had suppressed my inner voice and allowed myself to be guided by peer pressure and the advice of others. Now my inner voice began to speak up. I reflected that whereas my working life had always revolved around things, my heart desired to experience working with something infinitely more challenging and exciting –people.” “I learnt a salutary lesson. It was finally time to start playing my own ‘game’, doing what I loved rather than what I thought was expected of me.” VALUABLE RESOURCES https://www.amazon.co.uk/Speaking-our-Hearts-Mastering-game/dp/1781332819 https://itunes.apple.com/gb/podcast/mastering-life/id1421271122?mt=2 https://www.life-coach-training-sa.com/ ABOUT THE HOST Something that’s never been attached to Paul is the label ‘normal’ – for which he is immensely proud.  He definitely subscribes to being one of those mentioned – in the Steve Jobs quote: “Here's to the crazy ones, the misfits, the rebels, the troublemakers, the round pegs in the square holes... the ones who see things differently -- they're not fond of rules... You can quote them, disagree with them, glorify or vilify them, but the only thing you can't do is ignore them because they change things... they push the human race forward, and while some may see them as the crazy ones, we see genius, because the ones who are crazy enough to think that they can change the world, are the ones who do.” Paul Lowe is the founder of PaulLoweHEARTS – which has a three-fold purpose.  Firstly, to help you make the transition from Pain to Purpose; secondly, to get your inspirational messages and stories out into the world and thirdly, to support charitable organisations in their development & fund-raising. We achieve this by: Delivering our empowering Mindset For Success programmes Sharing your true-life inspirational messages and stories through our Mastering Life Podcast and our Speaking From Our HEARTS book series Utilising our significant charitable knowledge and experience. Find Your Purpose – Make  A Difference Paul is totally committed to his HEARTS brand vision (an acronym) of: ‘Helping Everyone Achieve Results Towards Success’. He has a long and distinguished track-record of raising significant funds for a multitude of good causes; positively changing the lives of many disadvantaged children within the UK and globally – drawing on his colourful and wide-ranging life’s experiences to help others do the same and achieve success in the game of life. “Remember – Mastering Life Starts, By Embracing Our HEARTS!” CONTACT METHOD Email: paul@paul-lowe.org http://www.paullowehearts.com/ https://www.facebook.com/PaulLoweHEARTS/ https://twitter.com/PaulLoweHEARTS https://www.instagram.com/paullowehearts/ https://www.youtube.com/channel/UCqmznF8VCcZKEdSfE7VlwUA

While Bill is vacationing with his wife and celebrating their wedding anniversary, Brian has decided to gaze shoe-ward with longtime friend Dan Drago of the , and producer, engineer, studio owner Alex Santilli of . Together, we unpack My Bloody Valentine's 1991 opus Loveless. Alex offers insight into how an album that is technically incorrect can still sound wonderful, while Dan makes us believe that soulmates may actually exist!   This weeks sponsor:

A slice of life from the whimsical 80's, Matt and Mark review Bill & Ted! Not the first time travelling comedy by any stretch, it un-apologetically plays with the "fish out of water" routine to full affect. While Bill & Ted may be SoCal caricatures of the proto "dudebro" aesthetic, they are played by Alex Winter and Keanu Reeves as fully fleshed out 3D characters. Are the historical figures cartoonish? Very much so. But that serves the point in the end. Hidden within the obvious gags are tinges of subtle comedic moments. Before the pastiche of Wayne's World and the dynasty of Beavis and Butthead, there was Bill & Ted! Most Excellent! Party on!Download: 276 Bill & Ted's Excellent Adventure

While Bill was covering the NBA Draft in NYC, Donovan, Miniya and Isaiah took over the pod. They discussed draft picks - surprises and let downs and redrafted the 2017 class. (spoiler: Fultz didn't do so well). Then they broke down on the ongoing beef between Drake and Jay Z, and their new albums

Original Release Date: June 5, 2016 Welcome to Tooning Japanese, a podcast where three dudes in their 30s talk about Japanese anime! This week we tackle the world of teenage problems (as if Andy hasn’t dealt with his fair share of that already).  This week Bill trudges through Episode 11 of Excel Saga, “Butt Out, Youth!”  While Bill isn’t a fan, Josh and Andy really love this one!  Excel and Hyatt become teachers and go back to the high school from Episode 1.  They become teachers of a class of roughians, and they also try to help the baseball team make it to Koshien.  A zany episode all around! Follow along by watching episodes of Excel Saga on Funimation! If you enjoy this episode, know that we're in the process of moving our current feed over from Podomatic to Podbean so that we can provide all of our previous episodes to our fans once again. Stick with us as this process may take a little bit of time. For now, you can find our episodes on Podomatic and on our website. You can also find our show and other great podcasts on The Questionable Endeavor Network. To help support our move to Podbean, become a Patron today!

Fae, Esther, and Mohammed have a conversation with a woman who is definitely more than she seems. While Bill, Ren, and Linda do some investigating in the secret downstairs of the Fat Tony's Pizzeria. Our Patreon: https://www.patreon.com/mistconceptionspod Music In This Episode: Fight Scene by Audionautix is licensed under a Creative Commons Attribution license (https://creativecommons.org/licenses/by/4.0/) Artist: http://audionautix.com/ Don’t Change A Thing by Silent Partner Hit the Streets (Version 2) by Kevin MacLeod is licensed under a Creative Commons Attribution license (https://creativecommons.org/licenses/by/4.0/) Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100882 Artist: http://incompetech.com/ rchmöd by xuiqen moiré by xuiqen

This week we welcome Bill from the Wicked Theory Podcast and Preacher Vs Preacher along with his theme, "Better Than Expected". While Bill plays tracks from a surprisingly good comedy album (24:47, 1:03:18, 1:36:24, 2:19:00), Palmer selects songs from a hard rock outfit trying to reclaim the sounds of their predecessors (38:50, 1:12:08, 1:51:30) and Chris gives us cuts from from a late blooming hip hop album (51:41, 1:24:40, 2:03:25). Reach Us: @WickedTheory  @agentpalmer  @chrismaierbc  @olinernotes  @pmaier001

While Bill was away on assignment, Matt Hunsworth thought it would be a good time to join Scott and Paul to dive into some random back issues! After all, what's the use of an order of protection if you don't use it? Matt even stole Bill's schtick of not bringing a book! C'mon along for the ride.Feedback for this show can be sent to: bins@twotruefreaks.comTwo True Freaks! is a proud member of BOTH the Comics Podcast Network (http://www.comicspodcasts.com/) and the League of Comic Book Podcasts (http://www.comicbooknoise.com/league/)!! Follow the fun on Facebook at https://www.facebook.com/groups/113051642052970/ THANK YOU for listening to Two True Freaks!!

While Bill was away on assignment, Matt Hunsworth thought it would be a good time to join Scott and Paul to dive into some random back issues! After all, what's the use of an order of protection if you don't use it? Matt even stole Bill's schtick of not bringing a book! C'mon along for the ride.Feedback for this show can be sent to: bins@twotruefreaks.comTwo True Freaks! is a proud member of BOTH the Comics Podcast Network (http://www.comicspodcasts.com/) and the League of Comic Book Podcasts (http://www.comicbooknoise.com/league/)!! Follow the fun on Facebook at https://www.facebook.com/groups/113051642052970/ THANK YOU for listening to Two True Freaks!!

Bill Kelsey, N8ET, has a long and interesting amateur radio career beginning in 1962. From his interest in QRP and QRP kits, Bill founded the Kanga Kit Company, creating radio and test equipment kits for the ham community for many years. While Bill is recovering from a recent stroke, he still has projects on his workbench, now using Arduino processors, pursuing UHF moon bounce, and finds time to operate the Digital modes. Bill joins Eric, 4Z1UG, in this QSO Today.

In this episode, the Vintage Vault makes its triumphal return! While Bill shines the spotlight on vintage figures, Mike shares a new Amazon exclusive and Phil cracks open the latest Smuggler's Bounty box. And believe it or not, we even manage to finish one of our giveaways. (Are you a winner? Listen to find out!)

While Bill and Brian come in and quickly cover Tip's song, "Let's Ride," from the album Amplified (1999, Arista), things suddenly go awry as the audience is treated to a little bit of the outtakes that don't always make the final cut. We touch on the Grisworld family Christmas and attempt to answer the age old question: Who would you rather go out with, Billy Joel or Phil Colins?

While Bill coaches his t-ball team Brad and Frank talk about the latest DC re-launch news. Also Final Crisis comes up for some reason.

While Bill coaches his t-ball team Brad and Frank talk about the latest DC re-launch news. Also Final Crisis comes up for some reason.