Podcasts about wrapping paper

Jesus is the centerpiece of Christmastime! And all that goes along with this season is for Him! Garlands. Lights. Tinsel. Bows. Wrapping Paper. It's all for Him! Songs and Symphonies. Parties and Caroling. Ugly Christmas sweaters. Goofy Office Gift Swaps. Classic door decorations. Cheesy Christmas movies. Even when we don't know it – even when we don't mean to celebrate Jesus – all of it is in celebration of the Arrival of Jesus!

December 12th: Wayne Greavette Killed (1996) December is a time for holiday cheer. A time where gifts from loved ones have a knack for showing up on your porch. On December 12th 1996 a man became the victim of a horrifying crime that all began with a Christmas package. https://www.insidehalton.com/news-story/10222941-behind-the-crimes-who-mailed-the-bomb-that-killed-wayne-greavette-/, https://www.cbc.ca/radio/sks/season4/the-crime-scene-1.4509014?fbclid=IwAR2qJa-WPntNEsEBdeAXXH2W2SkK4Bi-2I2_7FOwHU73bOSRMo-ggr_Lk9w, https://unsolvedmurders.ca/greavette.htm, https://truecrimediva.com/wayne-greavette/ Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Michelle and Lauren explore the holiday season with a twist—focusing on mindful gift-giving, personal well-being, and the joy (and chaos) of celebrating during the most wonderful time of the year. From eco-friendly gift-wrapping ideas to philosophical musings on youth, wealth, and societal issues, this conversation is packed with thoughtful insights, lighthearted banter, and a dash of humor. If you want to make this holiday season more meaningful without losing your mind (or your holiday spirit), this episode is for you! Get tips on being more mindful with your gift-giving, hear some real talk on wellness practices, and laugh along with Michelle and Lauren's reflections on what truly matters—both during the holidays and in life. Hot Topics: The Christmas Guest (novella), Our Little Secret (Netflix), and Anne Patchett Resources: Netgame Cozy AF Candles Our Weekly Newsletter @thesisterproj Thank you to our sponsor, Curaleaf Dispensaries --- Support this podcast: https://podcasters.spotify.com/pod/show/cozy-conversations/support

Highlights include KFC UK's innovative launch of chicken-flavored lickable wrapping paper, controversy over Coca-Cola's AI-generated Christmas ad, and the heartwarming survival of a Christmas tree from Hurricane Helene, now displayed in the White House. Also featured are President Biden's pardoning of two turkeys, a 'Hot Santa' sighting in a Target ad, and a generous act by a mystery man who paid for everyone's breakfast in a cafe. The episode wraps up with expert advice on whether you should wash your Christmas tree before bringing it indoors. 00:24 KFC's Lickable Wrapping Paper01:40 Coca-Cola's AI Christmas Commercial Controversy02:21 White House Christmas Tree and Turkey Pardon02:54 Target's Hot Santa Ad03:26 Heartwarming Cafe Gesture04:14 Debate on Washing Christmas TreesUnlock an ad-free podcast experience with Caloroga Shark Media! Get all our shows on any player you love, hassle free! For Apple users, hit the banner on your Apple podcasts app. For Spotify or other players, visit caloroga.com/plus. No plug-ins needed! 

Lisa was out today with a migraine, as I'm posting this she's feeling a lot better, so should be back tomorrow morning!

KFC has launched Lickable Wrapping Paper for the Holiday Season -Tastes like chicken Are you ok GIFTING second hand clothes?-Most of us are  To subscribe to The Pete McMurray Show Podcast just click here

Is it too early to put up a Christmas tree? KFC launches Christmas wrapping paper that tastes like chicken. Pizza Hut in China introduced a controversial ‘Goblin Pizza' that is topped with frog. Indonesia is short on cows, so they're using fish milk. Fish with nipple tassels needs to be a thing. At least 71 million people are expected to drive to Thanksgiving destinations around the nation this year — an estimated 1.3 million more people than in 2023, according to AAA. Foods to avoid this Thanksgiving. Topless protests in France have fans of breasts attention.

KFC launched a lickable wrapping paper that tastes like one of their chicken burgers. Source: https://kfcshop.co.uk/products/lickable-wrapping-paper

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Apparently there's a delicious way to wrap presents.

In this episode of the Lifecentral Podcast, Andy sits down with Allison Evans and Sam Hughes as they share their own personal strategies for coping with the chaos that comes at Christmas time.

11/19/24: Jen Pickett is the Recycling Coordinator for the City of Fargo, and Mary Aldrich is the Sales Manager at MinnKota EnviroServices. They join Joel Heitkamp for another monthly conversation about what to and not to recycle in the city of Fargo. See omnystudio.com/listener for privacy information.

Teri was out shopping with her nieces/nephews when she came across a wrapping paper that wasn't too appropriate... at least for kids!

VP S4 Ep158: WRAPPING PAPER? Flashback video! Thanks so much for being here :) Sincerely, Pam and Fam :) MY PODCAST!: The Paper Outpost Podcast! The Joy of Junk Journals! Free to Listen Anytime! Every Tuesday & Thursday! New audio material! Junk Journals, Paper Crafting, life of a crafter, answering crafty questions! Come have a listen on Apple Podcast, Spotify, Google Podcast or go to https://anchor.fm/the-paper-outpost You can make your own Podcast! It's easy at Anchor: Here is how!: anch.co/outpost Grab a FUNDLE! Now available in my Etsy Shop!: 100 pieces! A mix of antique/vintage ledger pages, hand-dyed papers, old postcards, tea cards, handwritten paper, awesome book pages and so much more! Wonderful to use in your junk journal creations! Free Priority Shipping in the USA! :) Limited supply! :) Want to see a Fundle? Video!: https://youtu.be/KJnWd9RSpOQ Want to Buy a Fundle? Etsy Shop: https://www.etsy.com/listing/1007331616/antique-vintage-ephemera-paper?ref=shop_home_active_6&frs=1&crt=1 NEW! PRINT & MAIL Option for Vintage Digikits! :) I heard your call :) No Printer? No Problem! :) I will print & mail 10 Digikits to you! Free Priority Shipping in the USA! :) 1. Select 10 names of digikits, & send me the list via Etsy message or email to pam@thepaperoutpost.com or simply say "Surprise me!" :) 2. Then buy the Print & Mail Digikit option in my Etsy shop! :) Direct Link here: https://www.etsy.com/listing/1071078687/printed-mailed-digikits-no-printer?ref=shop_home_active_1&frs=1&crt=1 That's 50 Pages total on lightweight cardstock! See All My Digikits! https://www.etsy.com/shop/ThePaperOutpost Sincerely, Pam at The Paper Outpost :)!! I am currently buried in paper and covered in glue ;) And I am in heaven! :) Remember that Fun Can Be Simple! Go Forth and Create with Reckless Abandon! :) VINTAGE DIGIKITS! Amazing images to download & print out at home on your printer!: Etsy Shop: https://www.etsy.com/shop/ThePaperOutpost MY AMAZON STORE!: My Personal Favorite Products & Tools!: Click here to see all my items in one click with pictures in my Amazon Store! https://www.amazon.com/shop/thepaperoutpost NEWSLETTER!: Free Monthly Emailed Newsletter from The Paper Outpost! Sign Up here: https://bit.ly/paperoutpostnewsletter - Free Monthly Digital Printable! - Free Checklist of Junk Journal Supplies! - Free The Note From The Book Maker explaining what a junk journal is and how to use it! - Junk Journal Tips & Updates from Pam at The Paper Outpost! MY PODCAST!: The Paper Outpost Podcast! The Joy of Junk Journals! Free to Listen Anytime! Every Tuesday & Thursday! New audio material! Junk Journals, Paper Crafting, life of a crafter, answering crafty questions! Come have a listen on Apple Podcast, Spotify, Google Podcast or go to https://anchor.fm/the-paper-outpost You can make your own Podcast! It's easy at Anchor: Here is how!: anch.co/outpost COME FIND ME AT :) ETSY Shop: https://www.thepaperoutpost.com INSTAGRAM: https://www.instagram.com/thepaperoutpost FACEBOOK: https://www.facebook.com/ThePaperOutpost The Paper Outpost Facebook Group: https://www.facebook.com/ThePaperOutpost/ The Paper Outpost Podcast!: https://anchor.fm/the-paper-outpost AMAZON STORE: https://www.amazon.com/shop/thepaperoutpost PINTEREST: https://www.pinterest.com/thepaperoutpost TWITTER: https://twitter.com/thepaperoutpost YOUTUBE: https://www.youtube.com/ThePaperOutpost #thepaperoutpost #paperoutpost #thepaperoutpost #digikits #junkjournal #junkjournals #howtomakeajunkjournal #junkjournalpodcast #thepaperoutpostpodcast #thejoyofjunkjournals #fundle --- Support this podcast: https://podcasters.spotify.com/pod/show/the-paper-outpost/support

If you've been frustrated with difficult or chronic health issues, there may be a lesson that can bring a solution to you. Symptoms of the body represent a deeper code of the mind. In today's show, Sandra's special guest, Dr. Darren Weissman will help you discover and transform the core limiting beliefs that live within the symptoms and dis-ease of your body. It's never too late to heal Connect with Sandra Anne Taylor here Events Dr. Darren Weissman and The Lifeline Center Learn more about your ad choices. Visit megaphone.fm/adchoices

Deuxième Partie: The Cream. PLAYLIST  The Graham Bond Organisation, "Tammy"  The Graham Bond Organisation, "Train Time"  The Graham Bond Organisation, "Lease on Love"  Winston G, "Please Don't Say"   Graham Bond organisation, "Baby Can it Be True ?"  The Yardbirds, "Got to Hurry"  John Mayall, "I'm Your Witchdoctor"  Jimmy Page et Eric Clapton, "Draggin' My Tail"  John Mayall's Bluesbreakers with Jack Bruce, "Hoochie Coochie Man"  Manfred Mann, "If You Gotta Go, Go Now"  Manfred Mann, "(I Can't Get No) Satisfaction"  Jack Bruce, "Drinkin' and Gamblin'"  Manfred Mann, "Pretty Flamingo"  John Mayall et Eric Clapton, "Bernard Jenkins"  John Mayall avec Eric Clapton, "Ramblin' On My Mind"  John Mayall avec Eric Clapton, "Hideaway"  The Who, "Substitute"  The Who Orchestra, "Waltz For a Pig"  The Hollies avec Peter Sellers, "After the Fox"  The Powerhouse, "Crossroads"  Robert Johnson, "Terraplane Blues"  Muddy Waters, "32-20 Blues"  Robert Johnson, "Preaching Blues"  The Powerhouse, "Crossroads"  John Mayall's Bluesbreakers, "Dust My Blues"  Manfred Mann "The Mighty Quinn"  Oscar, "Over the Wall We Go"  Cream, "NSU"  Cream, "Wrapping Paper"  The Merseys, "Sorrow"  The Who, "I'm a Boy"  Jimi Hendrix, "Killing Floor"  The Cream, "I Feel Free"  Billy J Kramer - 'Town of Tuxley Toymaker ".  The Bee Gees, "New York Mining Disaster 1941"  The Youngbloods, "Get Together"  Cream, "Strange Brew"  Cream, "Sunshine of Your Love"  Cream, "Sunshine of Your Love"  Crazy Blue, "Stone Crazy"  Aretha Franklin, "Good to Me as I Am to You"  The Mothers of Invention, "Are You Hung Up ?"  Cream, "Crossroads"  Cream, "Crossroads"  Bob Dylan and the Band, "The Mighty Quinn"  Bob Dylan and the Band, "This Wheel's on Fire"  The Band, "The Weight"  Cream, "Anyone For Tennis"  Cream, "White Room"  Cream, "Badge"  Cream, "Sittin' on Top of the World (live Albert Hall)"

From the November/December 2022 edition of The Scottish Rite Journal. Any accompanying photographs or citations for this article can be found in the corresponding print edition.Make sure to like and subscribe to the channel! Freemasons, make sure you shout out your Lodge, Valley, Chapter or Shrine below!OES, Job's Daughter's, Rainbow, DeMolay? Drop us a comment too!To learn how to find a lodge near you, visit www.beafreemason.comTo learn more about the Scottish Rite, visit www.scottishrite.orgVisit our YouTube Page: Youtube.com/ScottishRiteMasonsVisit our new stores:Bookstore: https://www.srbookstore.myshopify.com/Merch Store: http://www.shopsrgifts.com/

Pastor Paul Irminger. In a world that often feels fast-paced and disconnected, we invite you to find your way home. Home is where love, joy, and community abounds. Even when you are far from where you grew up, anyone can experience the warmth of being 'Home for Christmas.' In week 3 of our series, Pastor Paul challenges us from 2 Corinthians 4:18 to focus on what really matters this Christmas.

Pastor Hannah invites us to take a look at the “wrapping paper” of life that has hidden the gifts God has given us, and unwrap what He has underneath!

12-6 Adam and Jordana 9a hour

What do you mean no one else picks out specific wrapping paper for everyone in their family at Christmas?

Hello internet! This week's episode is all about the history and etiquette of wrapping your gifts with WRAPPING PAPER! Enjoy and be sure to share with a friend!

Let's Talk Trash! Us Humans celebrating Christmas is not so kind to Mother Earth. what can we switch and what can we ditch? The Earthy Girls want to encourage, inform & inspire you to take that small step, make that 2 degree pivot towards loving your planet not just living on it. It's a Mindset! Flip that Script. Reduce, Reuse and then Recycle.  Consider it this way, It's Not just an inconvenience, it's an investment in the future generations. Find us on Instagram @earthygirl.co or on Facebook as Earthy Girls. To purchase one of our Earthy Girl Giftboxes click on this link. https://www.rlovefloral.com/product/earthygirlgiftbox/ If you want to support our show, donate to the cause, please click on the Venmo Link. https://account.venmo.com/u/Rebecca-Behnke https://anchor.fm/rebecca-behnke/subscribe https://kite.link/earthy-girls https://link.chtbl.com/Grg4n6-Xhttps: https://podvine.com/podcast/earthy-girls-3sM6ta9A9 --- Send in a voice message: https://podcasters.spotify.com/pod/show/rebecca-behnke/message

Former President Donald Trump's campaign has revealed new Christmas wrapping paper, this time themed around his mug shot from earlier this year. Trump hints at expanded role for the military within the US and legacy law gives him few guardrails. University of Southern California (USC) economics professor John Strauss, who is Jewish, has been barred from campus because of a doctored video circulated by anti-Israel activists who claim he said all Palestinians should be killed. President Joe Biden privately apologized to Muslim leaders last month after expressing doubt about the number of people the Hamas-run Gaza Health Ministry said had been killed in the war between Israel and Hamas. Del Rio Sector Border Patrol agents arrested 21 criminal aliens with prior convictions for sex offenses. Many of these offenses included sex crimes against children.See omnystudio.com/listener for privacy information.

Every week we'll 3D print designs from the community and showcase slicer settings, use cases and of course, Time-lapses! This Week: Wrapping Paper Cutter By makerboz https://www.thingiverse.com/thing:3226136 CR10S Pro V2 Rainbow PLA 05hr 10mins X:255 Y:180 Z:84mm .2mm layer / .4mm Nozzle 6% Infill / 1mm Retraction 200C / 60C 51g 60mm/s ----------------------------------------- LIVE CHAT IS HERE! http://adafru.it/discord Adafruit on Instagram: https://www.instagram.com/adafruit Shop for parts to build your own DIY projects http://adafru.it/3dprinting 3D Printing Projects Playlist: https://www.youtube.com/playlist?list=PLjF7R1fz_OOWD2dJNRIN46uhMCWvNOlbG 3D Hangout Show Playlist: https://www.youtube.com/playlist?list=PLjF7R1fz_OOVgpmWevin2slopw_A3-A8Y Layer by Layer CAD Tutorials Playlist: https://www.youtube.com/playlist?list=PLjF7R1fz_OOVsMp6nKnpjsXSQ45nxfORb Timelapse Tuesday Playlist: https://www.youtube.com/playlist?list=PLjF7R1fz_OOVagy3CktXsAAs4b153xpp_ Connect with Noe and Pedro on Social Media: Noe's Twitter / Instagram: @ecken Pedro's Twitter / Instagram: @videopixil ----------------------------------------- Visit the Adafruit shop online - http://www.adafruit.com/?utm_source=youtube&utm_medium=videodescrip&utm_campaign=3dprinting Subscribe to Adafruit on YouTube: http://adafru.it/subscribe Adafruit Monthly Deals & FREE Specials https://www.adafruit.com/free?utm_source=youtube&utm_medium=videodescrip&utm_campaign=3dprinting Join our weekly Show & Tell on G+ Hangouts On Air: http://adafru.it/showtell Watch our latest project videos: http://adafru.it/latest?utm_source=youtube&utm_medium=videodescrip&utm_campaign=3dprinting 3DThursday Posts: https://blog.adafruit.com/category/3d-printing?utm_source=youtube&utm_medium=videodescrip&utm_campaign=3dprinting New tutorials on the Adafruit Learning System: http://learn.adafruit.com/?utm_source=youtube&utm_medium=videodescrip&utm_campaign=3dprinting Music by Bartlebeats https://soundcloud.com/adafruit -----------------------------------------

Is there such a thing as green wrapping paper or eco-friendly holiday cards? Join hosts Tiff and Kat on this sleigh ride of an episode to learn the answer, and how to avoid becoming 25% more wasteful during the holiday season. They discuss DIY wrapping paper and holiday cards, or if you ain't got time for that, more eco-friendly options from the store. And learn how to lumberjack it up by cutting down your holiday tree from a U.S. national forest in this zany sustainability podcast!Products we coveredWrappilyShiki WrapPlantable gift cardsSourcesNew York Times on wrapping paperGoingZeroWaste.comWBUR's Here and NowWildlife and Countryside LinkUpstate.edu on paper wasteOregon Environmental CouncilGreenpeace on less-waste wrapping paperZero-waste card ideas from Trash Is For TossersBrightly on greeting card wasteTree cutting at a U.S. National ForestInstagram: @greeningupmyactFacebook: Greening Up My ActEmail us with questions: greeningupmyact@gmail.comYouTube: Greening Up My Act

Every week, Cut-the-Cost offers tips and advice on how to save on everything from energy and the weekly shop to modern essentials like broadband and phone contracts.This time, Aoife Kearns joined Jess to unwrap the cost of wrapping paper ahead of Christmas.

Chris thinks Joe is being rude by not ordering a coworkers wrapping paper for a school fundraiser. Meanwhile, Joe thinks Chris is crazy for planning a surprise party for one of her friends. Are suprise parties overrated? One of our listeners thinks her boyfriend is throwing her a party this weekend & she's dreading it!

What to do to organize gift wrap supplies and how much should you have on hand? Get the FREE Practical Purging Projects - 10 Day Challenge & Refresh & Restock Worksheets Simple Home Habits - A 5 week challenge with one decluttering project per week and implement a new routine to make sure the decluttering lasts.  Start simplifying your home with easy routines! Simplified Home Masterclass - A self-paced program that takes you through every step of decluttering and organizing your home and setting up systems and routines that allow for long term organization and simplicity for everything!  Meal Planning - The only meal plan you need to simplify dinners and get dinner on the table most nights.  Learn how to make a reusable meal plan and grocery list that is custom to your life.  Save time and money with this meal planning system.  Join the Facebook group for The Intentional Edit Podcast Listeners Q & A - Leave Lauren a Voice Message with your questions to be answered in a future episode. Shop My favorite organizing products and Amazon Storefront! Connect with Lauren @intentionaledit on Instagram, Pinterest, Facebook and TikTok If you are struggling with daily tasks, clutter, organization, and finding any sort of work/life balance, The Intentional Edit Podcast is for you.  It's time to stop the chaos and create a life you love by implementing systems that put an end to the overwhelming, unorganized parts of life and finally, bring simplicity to your life and home. Now is the time to say goodbye to overwhelm, get organized and create systems so that you can live your best life at home and beyond.  Simplify your life and home by creating routines, maximizing systems and decluttering!  Make sure you subscribe so that you never miss an episode of The Intentional Edit Podcast Sign up for Intentional Edit emails here Everything is at www.intentionaledit.com

When the Pactiv Evergreen paper mill sounded its final whistle on June 8, 115 years of continuous operation in Canton came to an end. 1,100 jobs were lost and some heavy questions remain about what will happen to those people, along with the 185-acre site and its buildings. Cory Vaillancourt and Holly Kays, reporters with the Smoky Mountain News in Waynesville, have led local coverage of the plant's closure. We talk about the business trends that led to the closure,  the environmental impacts and outlook for the site, along with how people in Canton are weathering the closure. We'll also talk about possible next-lives for the facilities, the stakes for Canton and, perhaps, for people priced-out of Asheville.Get five news headlines from around Asheville in your morning inbox. No ads, no spam—simple as that. Subscribe for free to the First Look newsletter from The Overlook. Support The Overlook by joining our Patreon campaign!Advertise your event on The Overlook.Instagram: AVLoverlook | Facebook: AVLoverlook | Twitter: AVLoverlookListen and Subscribe: All episodes of The OverlookThe Overlook theme song, "Maker's Song," comes courtesy of the Asheville band The Resonant Rogues.Podcast Asheville © 2023

Episode 166 of A History of Rock Music in Five Hundred Songs looks at “Crossroads", Cream, the myth of Robert Johnson, and whether white men can sing the blues. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-eight-minute bonus episode available, on “Tip-Toe Thru' the Tulips" by Tiny Tim. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I talk about an interview with Clapton from 1967, I meant 1968. I mention a Graham Bond live recording from 1953, and of course meant 1963. I say Paul Jones was on vocals in the Powerhouse sessions. Steve Winwood was on vocals, and Jones was on harmonica. Resources As I say at the end, the main resource you need to get if you enjoyed this episode is Brother Robert by Annye Anderson, Robert Johnson's stepsister. There are three Mixcloud mixes this time. As there are so many songs by Cream, Robert Johnson, John Mayall, and Graham Bond excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here -- one, two, three. This article on Mack McCormick gives a fuller explanation of the problems with his research and behaviour. The other books I used for the Robert Johnson sections were McCormick's Biography of a Phantom; Up Jumped the Devil: The Real Life of Robert Johnson, by Bruce Conforth and Gayle Dean Wardlow; Searching for Robert Johnson by Peter Guralnick; and Escaping the Delta by Elijah Wald. I can recommend all of these subject to the caveats at the end of the episode. The information on the history and prehistory of the Delta blues mostly comes from Before Elvis by Larry Birnbaum, with some coming from Charley Patton by John Fahey. The information on Cream comes mostly from Cream: How Eric Clapton Took the World by Storm by Dave Thompson. I also used Ginger Baker: Hellraiser by Ginger Baker and Ginette Baker, Mr Showbiz by Stephen Dando-Collins, Motherless Child by Paul Scott, and  Alexis Korner: The Biography by Harry Shapiro. The best collection of Cream's work is the four-CD set Those Were the Days, which contains every track the group ever released while they were together (though only the stereo mixes of the albums, and a couple of tracks are in slightly different edits from the originals). You can get Johnson's music on many budget compilation records, as it's in the public domain in the EU, but the double CD collection produced by Steve LaVere for Sony in 2011 is, despite the problems that come from it being associated with LaVere, far and away the best option -- the remasters have a clarity that's worlds ahead of even the 1990s CD version it replaced. And for a good single-CD introduction to the Delta blues musicians and songsters who were Johnson's peers and inspirations, Back to the Crossroads: The Roots of Robert Johnson, compiled by Elijah Wald as a companion to his book on Johnson, can't be beaten, and contains many of the tracks excerpted in this episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick note that this episode contains discussion of racism, drug addiction, and early death. There's also a brief mention of death in childbirth and infant mortality. It's been a while since we looked at the British blues movement, and at the blues in general, so some of you may find some of what follows familiar, as we're going to look at some things we've talked about previously, but from a different angle. In 1968, the Bonzo Dog Band, a comedy musical band that have been described as the missing link between the Beatles and the Monty Python team, released a track called "Can Blue Men Sing the Whites?": [Excerpt: The Bonzo Dog Band, "Can Blue Men Sing the Whites?"] That track was mocking a discussion that was very prominent in Britain's music magazines around that time. 1968 saw the rise of a *lot* of British bands who started out as blues bands, though many of them went on to different styles of music -- Fleetwood Mac, Ten Years After, Jethro Tull, Chicken Shack and others were all becoming popular among the kind of people who read the music magazines, and so the question was being asked -- can white men sing the blues? Of course, the answer to that question was obvious. After all, white men *invented* the blues. Before we get any further at all, I have to make clear that I do *not* mean that white people created blues music. But "the blues" as a category, and particularly the idea of it as a music made largely by solo male performers playing guitar... that was created and shaped by the actions of white male record executives. There is no consensus as to when or how the blues as a genre started -- as we often say in this podcast "there is no first anything", but like every genre it seems to have come from multiple sources. In the case of the blues, there's probably some influence from African music by way of field chants sung by enslaved people, possibly some influence from Arabic music as well, definitely some influence from the Irish and British folk songs that by the late nineteenth century were developing into what we now call country music, a lot from ragtime, and a lot of influence from vaudeville and minstrel songs -- which in turn themselves were all very influenced by all those other things. Probably the first published composition to show any real influence of the blues is from 1904, a ragtime piano piece by James Chapman and Leroy Smith, "One O' Them Things": [Excerpt: "One O' Them Things"] That's not very recognisable as a blues piece yet, but it is more-or-less a twelve-bar blues. But the blues developed, and it developed as a result of a series of commercial waves. The first of these came in 1914, with the success of W.C. Handy's "Memphis Blues", which when it was recorded by the Victor Military Band for a phonograph cylinder became what is generally considered the first blues record proper: [Excerpt: The Victor Military Band, "Memphis Blues"] The famous dancers Vernon and Irene Castle came up with a dance, the foxtrot -- which Vernon Castle later admitted was largely inspired by Black dancers -- to be danced to the "Memphis Blues", and the foxtrot soon overtook the tango, which the Castles had introduced to the US the previous year, to become the most popular dance in America for the best part of three decades. And with that came an explosion in blues in the Handy style, cranked out by every music publisher. While the blues was a style largely created by Black performers and writers, the segregated nature of the American music industry at the time meant that most vocal performances of these early blues that were captured on record were by white performers, Black vocalists at this time only rarely getting the chance to record. The first blues record with a Black vocalist is also technically the first British blues record. A group of Black musicians, apparently mostly American but led by a Jamaican pianist, played at Ciro's Club in London, and recorded many tracks in Britain, under a name which I'm not going to say in full -- it started with Ciro's Club, and continued alliteratively with another word starting with C, a slur for Black people. In 1917 they recorded a vocal version of "St. Louis Blues", another W.C. Handy composition: [Excerpt: Ciro's Club C**n Orchestra, "St. Louis Blues"] The first American Black blues vocal didn't come until two years later, when Bert Williams, a Black minstrel-show performer who like many Black performers of his era performed in blackface even though he was Black, recorded “I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,” [Excerpt: Bert Williams, "I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,”] But it wasn't until 1920 that the second, bigger, wave of popularity started for the blues, and this time it started with the first record of a Black *woman* singing the blues -- Mamie Smith's "Crazy Blues": [Excerpt: Mamie Smith, "Crazy Blues"] You can hear the difference between that and anything we've heard up to that point -- that's the first record that anyone from our perspective, a hundred and three years later, would listen to and say that it bore any resemblance to what we think of as the blues -- so much so that many places still credit it as the first ever blues record. And there's a reason for that. "Crazy Blues" was one of those records that separates the music industry into before and after, like "Rock Around the Clock", "I Want to Hold Your Hand", Sgt Pepper, or "Rapper's Delight". It sold seventy-five thousand copies in its first month -- a massive number by the standards of 1920 -- and purportedly went on to sell over a million copies. Sales figures and market analysis weren't really a thing in the same way in 1920, but even so it became very obvious that "Crazy Blues" was a big hit, and that unlike pretty much any other previous records, it was a big hit among Black listeners, which meant that there was a market for music aimed at Black people that was going untapped. Soon all the major record labels were setting up subsidiaries devoted to what they called "race music", music made by and for Black people. And this sees the birth of what is now known as "classic blues", but at the time (and for decades after) was just what people thought of when they thought of "the blues" as a genre. This was music primarily sung by female vaudeville artists backed by jazz bands, people like Ma Rainey (whose earliest recordings featured Louis Armstrong in her backing band): [Excerpt: Ma Rainey, "See See Rider Blues"] And Bessie Smith, the "Empress of the Blues", who had a massive career in the 1920s before the Great Depression caused many of these "race record" labels to fold, but who carried on performing well into the 1930s -- her last recording was in 1933, produced by John Hammond, with a backing band including Benny Goodman and Jack Teagarden: [Excerpt: Bessie Smith, "Give Me a Pigfoot and a Bottle of Beer"] It wouldn't be until several years after the boom started by Mamie Smith that any record companies turned to recording Black men singing the blues accompanied by guitar or banjo. The first record of this type is probably "Norfolk Blues" by Reese DuPree from 1924: [Excerpt: Reese DuPree, "Norfolk Blues"] And there were occasional other records of this type, like "Airy Man Blues" by Papa Charlie Jackson, who was advertised as the “only man living who sings, self-accompanied, for Blues records.” [Excerpt: Papa Charlie Jackson, "Airy Man Blues"] But contrary to the way these are seen today, at the time they weren't seen as being in some way "authentic", or "folk music". Indeed, there are many quotes from folk-music collectors of the time (sadly all of them using so many slurs that it's impossible for me to accurately quote them) saying that when people sang the blues, that wasn't authentic Black folk music at all but an adulteration from commercial music -- they'd clearly, according to these folk-music scholars, learned the blues style from records and sheet music rather than as part of an oral tradition. Most of these performers were people who recorded blues as part of a wider range of material, like Blind Blake, who recorded some blues music but whose best work was his ragtime guitar instrumentals: [Excerpt: Blind Blake, "Southern Rag"] But it was when Blind Lemon Jefferson started recording for Paramount records in 1926 that the image of the blues as we now think of it took shape. His first record, "Got the Blues", was a massive success: [Excerpt: Blind Lemon Jefferson, "Got the Blues"] And this resulted in many labels, especially Paramount, signing up pretty much every Black man with a guitar they could find in the hopes of finding another Blind Lemon Jefferson. But the thing is, this generation of people making blues records, and the generation that followed them, didn't think of themselves as "blues singers" or "bluesmen". They were songsters. Songsters were entertainers, and their job was to sing and play whatever the audiences would want to hear. That included the blues, of course, but it also included... well, every song anyone would want to hear.  They'd perform old folk songs, vaudeville songs, songs that they'd heard on the radio or the jukebox -- whatever the audience wanted. Robert Johnson, for example, was known to particularly love playing polka music, and also adored the records of Jimmie Rodgers, the first country music superstar. In 1941, when Alan Lomax first recorded Muddy Waters, he asked Waters what kind of songs he normally played in performances, and he was given a list that included "Home on the Range", Gene Autry's "I've Got Spurs That Jingle Jangle Jingle", and Glenn Miller's "Chattanooga Choo-Choo". We have few recordings of these people performing this kind of song though. One of the few we have is Big Bill Broonzy, who was just about the only artist of this type not to get pigeonholed as just a blues singer, even though blues is what made him famous, and who later in his career managed to record songs like the Tin Pan Alley standard "The Glory of Love": [Excerpt: Big Bill Broonzy, "The Glory of Love"] But for the most part, the image we have of the blues comes down to one man, Arthur Laibley, a sales manager for the Wisconsin Chair Company. The Wisconsin Chair Company was, as the name would suggest, a company that started out making wooden chairs, but it had branched out into other forms of wooden furniture -- including, for a brief time, large wooden phonographs. And, like several other manufacturers, like the Radio Corporation of America -- RCA -- and the Gramophone Company, which became EMI, they realised that if they were going to sell the hardware it made sense to sell the software as well, and had started up Paramount Records, which bought up a small label, Black Swan, and soon became the biggest manufacturer of records for the Black market, putting out roughly a quarter of all "race records" released between 1922 and 1932. At first, most of these were produced by a Black talent scout, J. Mayo Williams, who had been the first person to record Ma Rainey, Papa Charlie Jackson, and Blind Lemon Jefferson, but in 1927 Williams left Paramount, and the job of supervising sessions went to Arthur Laibley, though according to some sources a lot of the actual production work was done by Aletha Dickerson, Williams' former assistant, who was almost certainly the first Black woman to be what we would now think of as a record producer. Williams had been interested in recording all kinds of music by Black performers, but when Laibley got a solo Black man into the studio, what he wanted more than anything was for him to record the blues, ideally in a style as close as possible to that of Blind Lemon Jefferson. Laibley didn't have a very hands-on approach to recording -- indeed Paramount had very little concern about the quality of their product anyway, and Paramount's records are notorious for having been put out on poor-quality shellac and recorded badly -- and he only occasionally made actual suggestions as to what kind of songs his performers should write -- for example he asked Son House to write something that sounded like Blind Lemon Jefferson, which led to House writing and recording "Mississippi County Farm Blues", which steals the tune of Jefferson's "See That My Grave is Kept Clean": [Excerpt: Son House, "Mississippi County Farm Blues"] When Skip James wanted to record a cover of James Wiggins' "Forty-Four Blues", Laibley suggested that instead he should do a song about a different gun, and so James recorded "Twenty-Two Twenty Blues": [Excerpt: Skip James, "Twenty-Two Twenty Blues"] And Laibley also suggested that James write a song about the Depression, which led to one of the greatest blues records ever, "Hard Time Killing Floor Blues": [Excerpt: Skip James, "Hard Time Killing Floor Blues"] These musicians knew that they were getting paid only for issued sides, and that Laibley wanted only blues from them, and so that's what they gave him. Even when it was a performer like Charlie Patton. (Incidentally, for those reading this as a transcript rather than listening to it, Patton's name is more usually spelled ending in ey, but as far as I can tell ie was his preferred spelling and that's what I'm using). Charlie Patton was best known as an entertainer, first and foremost -- someone who would do song-and-dance routines, joke around, play guitar behind his head. He was a clown on stage, so much so that when Son House finally heard some of Patton's records, in the mid-sixties, decades after the fact, he was astonished that Patton could actually play well. Even though House had been in the room when some of the records were made, his memory of Patton was of someone who acted the fool on stage. That's definitely not the impression you get from the Charlie Patton on record: [Excerpt: Charlie Patton, "Poor Me"] Patton is, as far as can be discerned, the person who was most influential in creating the music that became called the "Delta blues". Not a lot is known about Patton's life, but he was almost certainly the half-brother of the Chatmon brothers, who made hundreds of records, most notably as members of the Mississippi Sheiks: [Excerpt: The Mississippi Sheiks, "Sitting on Top of the World"] In the 1890s, Patton's family moved to Sunflower County, Mississippi, and he lived in and around that county until his death in 1934. Patton learned to play guitar from a musician called Henry Sloan, and then Patton became a mentor figure to a *lot* of other musicians in and around the plantation on which his family lived. Some of the musicians who grew up in the immediate area around Patton included Tommy Johnson: [Excerpt: Tommy Johnson, "Big Road Blues"] Pops Staples: [Excerpt: The Staple Singers, "Will The Circle Be Unbroken"] Robert Johnson: [Excerpt: Robert Johnson, "Crossroads"] Willie Brown, a musician who didn't record much, but who played a lot with Patton, Son House, and Robert Johnson and who we just heard Johnson sing about: [Excerpt: Willie Brown, "M&O Blues"] And Chester Burnett, who went on to become known as Howlin' Wolf, and whose vocal style was equally inspired by Patton and by the country star Jimmie Rodgers: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] Once Patton started his own recording career for Paramount, he also started working as a talent scout for them, and it was him who brought Son House to Paramount. Soon after the Depression hit, Paramount stopped recording, and so from 1930 through 1934 Patton didn't make any records. He was tracked down by an A&R man in January 1934 and recorded one final session: [Excerpt, Charlie Patton, "34 Blues"] But he died of heart failure two months later. But his influence spread through his proteges, and they themselves influenced other musicians from the area who came along a little after, like Robert Lockwood and Muddy Waters. This music -- or that portion of it that was considered worth recording by white record producers, only a tiny, unrepresentative, portion of their vast performing repertoires -- became known as the Delta Blues, and when some of these musicians moved to Chicago and started performing with electric instruments, it became Chicago Blues. And as far as people like John Mayall in Britain were concerned, Delta and Chicago Blues *were* the blues: [Excerpt: John Mayall and the Bluesbreakers, "It Ain't Right"] John Mayall was one of the first of the British blues obsessives, and for a long time thought of himself as the only one. While we've looked before at the growth of the London blues scene, Mayall wasn't from London -- he was born in Macclesfield and grew up in Cheadle Hulme, both relatively well-off suburbs of Manchester, and after being conscripted and doing two years in the Army, he had become an art student at Manchester College of Art, what is now Manchester Metropolitan University. Mayall had been a blues fan from the late 1940s, writing off to the US to order records that hadn't been released in the UK, and by most accounts by the late fifties he'd put together the biggest blues collection in Britain by quite some way. Not only that, but he had one of the earliest home tape recorders, and every night he would record radio stations from Continental Europe which were broadcasting for American service personnel, so he'd amassed mountains of recordings, often unlabelled, of obscure blues records that nobody else in the UK knew about. He was also an accomplished pianist and guitar player, and in 1956 he and his drummer friend Peter Ward had put together a band called the Powerhouse Four (the other two members rotated on a regular basis) mostly to play lunchtime jazz sessions at the art college. Mayall also started putting on jam sessions at a youth club in Wythenshawe, where he met another drummer named Hughie Flint. Over the late fifties and into the early sixties, Mayall more or less by himself built up a small blues scene in Manchester. The Manchester blues scene was so enthusiastic, in fact, that when the American Folk Blues Festival, an annual European tour which initially featured Willie Dixon, Memhis Slim, T-Bone Walker, Sonny Terry & Brownie McGhee, and John Lee Hooker, first toured Europe, the only UK date it played was at the Manchester Free Trade Hall, and people like Mick Jagger, Keith Richards, Brian Jones and Jimmy Page had to travel up from London to see it. But still, the number of blues fans in Manchester, while proportionally large, was objectively small enough that Mayall was captivated by an article in Melody Maker which talked about Alexis Korner and Cyril Davies' new band Blues Incorporated and how it was playing electric blues, the same music he was making in Manchester. He later talked about how the article had made him think that maybe now people would know what he was talking about. He started travelling down to London to play gigs for the London blues scene, and inviting Korner up to Manchester to play shows there. Soon Mayall had moved down to London. Korner introduced Mayall to Davey Graham, the great folk guitarist, with whom Korner had recently recorded as a duo: [Excerpt: Alexis Korner and Davey Graham, "3/4 AD"] Mayall and Graham performed together as a duo for a while, but Graham was a natural solo artist if ever there was one. Slowly Mayall put a band together in London. On drums was his old friend Peter Ward, who'd moved down from Manchester with him. On bass was John McVie, who at the time knew nothing about blues -- he'd been playing in a Shadows-style instrumental group -- but Mayall gave him a stack of blues records to listen to to get the feeling. And on guitar was Bernie Watson, who had previously played with Screaming Lord Sutch and the Savages. In late 1963, Mike Vernon, a blues fan who had previously published a Yardbirds fanzine, got a job working for Decca records, and immediately started signing his favourite acts from the London blues circuit. The first act he signed was John Mayall and the Bluesbreakers, and they recorded a single, "Crawling up a Hill": [Excerpt: John Mayall and the Bluesbreakers, "Crawling up a Hill (45 version)"] Mayall later called that a "clumsy, half-witted attempt at autobiographical comment", and it sold only five hundred copies. It would be the only record the Bluesbreakers would make with Watson, who soon left the band to be replaced by Roger Dean (not the same Roger Dean who later went on to design prog rock album covers). The second group to be signed by Mike Vernon to Decca was the Graham Bond Organisation. We've talked about the Graham Bond Organisation in passing several times, but not for a while and not in any great detail, so it's worth pulling everything we've said about them so far together and going through it in a little more detail. The Graham Bond Organisation, like the Rolling Stones, grew out of Alexis Korner's Blues Incorporated. As we heard in the episode on "I Wanna Be Your Man" a couple of years ago, Blues Incorporated had been started by Alexis Korner and Cyril Davies, and at the time we're joining them in 1962 featured a drummer called Charlie Watts, a pianist called Dave Stevens, and saxophone player Dick Heckstall-Smith, as well as frequent guest performers like a singer who called himself Mike Jagger, and another one, Roderick Stewart. That group finally found themselves the perfect bass player when Dick Heckstall-Smith put together a one-off group of jazz players to play an event at Cambridge University. At the gig, a little Scottish man came up to the group and told them he played bass and asked if he could sit in. They told him to bring along his instrument to their second set, that night, and he did actually bring along a double bass. Their bluff having been called, they decided to play the most complicated, difficult, piece they knew in order to throw the kid off -- the drummer, a trad jazz player named Ginger Baker, didn't like performing with random sit-in guests -- but astonishingly he turned out to be really good. Heckstall-Smith took down the bass player's name and phone number and invited him to a jam session with Blues Incorporated. After that jam session, Jack Bruce quickly became the group's full-time bass player. Bruce had started out as a classical cellist, but had switched to the double bass inspired by Bach, who he referred to as "the guv'nor of all bass players". His playing up to this point had mostly been in trad jazz bands, and he knew nothing of the blues, but he quickly got the hang of the genre. Bruce's first show with Blues Incorporated was a BBC recording: [Excerpt: Blues Incorporated, "Hoochie Coochie Man (BBC session)"] According to at least one source it was not being asked to take part in that session that made young Mike Jagger decide there was no future for him with Blues Incorporated and to spend more time with his other group, the Rollin' Stones. Soon after, Charlie Watts would join him, for almost the opposite reason -- Watts didn't want to be in a band that was getting as big as Blues Incorporated were. They were starting to do more BBC sessions and get more gigs, and having to join the Musicians' Union. That seemed like a lot of work. Far better to join a band like the Rollin' Stones that wasn't going anywhere. Because of Watts' decision to give up on potential stardom to become a Rollin' Stone, they needed a new drummer, and luckily the best drummer on the scene was available. But then the best drummer on the scene was *always* available. Ginger Baker had first played with Dick Heckstall-Smith several years earlier, in a trad group called the Storyville Jazzmen. There Baker had become obsessed with the New Orleans jazz drummer Baby Dodds, who had played with Louis Armstrong in the 1920s. Sadly because of 1920s recording technology, he hadn't been able to play a full kit on the recordings with Armstrong, being limited to percussion on just a woodblock, but you can hear his drumming style much better in this version of "At the Jazz Band Ball" from 1947, with Mugsy Spanier, Jack Teagarden, Cyrus St. Clair and Hank Duncan: [Excerpt: "At the Jazz Band Ball"] Baker had taken Dobbs' style and run with it, and had quickly become known as the single best player, bar none, on the London jazz scene -- he'd become an accomplished player in multiple styles, and was also fluent in reading music and arranging. He'd also, though, become known as the single person on the entire scene who was most difficult to get along with. He resigned from his first band onstage, shouting "You can stick your band up your arse", after the band's leader had had enough of him incorporating bebop influences into their trad style. Another time, when touring with Diz Disley's band, he was dumped in Germany with no money and no way to get home, because the band were so sick of him. Sometimes this was because of his temper and his unwillingness to suffer fools -- and he saw everyone else he ever met as a fool -- and sometimes it was because of his own rigorous musical ideas. He wanted to play music *his* way, and wouldn't listen to anyone who told him different. Both of these things got worse after he fell under the influence of a man named Phil Seaman, one of the only drummers that Baker respected at all. Seaman introduced Baker to African drumming, and Baker started incorporating complex polyrhythms into his playing as a result. Seaman also though introduced Baker to heroin, and while being a heroin addict in the UK in the 1960s was not as difficult as it later became -- both heroin and cocaine were available on prescription to registered addicts, and Baker got both, which meant that many of the problems that come from criminalisation of these drugs didn't affect addicts in the same way -- but it still did not, by all accounts, make him an easier person to get along with. But he *was* a fantastic drummer. As Dick Heckstall-Smith said "With the advent of Ginger, the classic Blues Incorporated line-up, one which I think could not be bettered, was set" But Alexis Korner decided that the group could be bettered, and he had some backers within the band. One of the other bands on the scene was the Don Rendell Quintet, a group that played soul jazz -- that style of jazz that bridged modern jazz and R&B, the kind of music that Ray Charles and Herbie Hancock played: [Excerpt: The Don Rendell Quintet, "Manumission"] The Don Rendell Quintet included a fantastic multi-instrumentalist, Graham Bond, who doubled on keyboards and saxophone, and Bond had been playing occasional experimental gigs with the Johnny Burch Octet -- a group led by another member of the Rendell Quartet featuring Heckstall-Smith, Bruce, Baker, and a few other musicians, doing wholly-improvised music. Heckstall-Smith, Bruce, and Baker all enjoyed playing with Bond, and when Korner decided to bring him into the band, they were all very keen. But Cyril Davies, the co-leader of the band with Korner, was furious at the idea. Davies wanted to play strict Chicago and Delta blues, and had no truck with other forms of music like R&B and jazz. To his mind it was bad enough that they had a sax player. But the idea that they would bring in Bond, who played sax and... *Hammond* organ? Well, that was practically blasphemy. Davies quit the group at the mere suggestion. Bond was soon in the band, and he, Bruce, and Baker were playing together a *lot*. As well as performing with Blues Incorporated, they continued playing in the Johnny Burch Octet, and they also started performing as the Graham Bond Trio. Sometimes the Graham Bond Trio would be Blues Incorporated's opening act, and on more than one occasion the Graham Bond Trio, Blues Incorporated, and the Johnny Burch Octet all had gigs in different parts of London on the same night and they'd have to frantically get from one to the other. The Graham Bond Trio also had fans in Manchester, thanks to the local blues scene there and their connection with Blues Incorporated, and one night in February 1963 the trio played a gig there. They realised afterwards that by playing as a trio they'd made £70, when they were lucky to make £20 from a gig with Blues Incorporated or the Octet, because there were so many members in those bands. Bond wanted to make real money, and at the next rehearsal of Blues Incorporated he announced to Korner that he, Bruce, and Baker were quitting the band -- which was news to Bruce and Baker, who he hadn't bothered consulting. Baker, indeed, was in the toilet when the announcement was made and came out to find it a done deal. He was going to kick up a fuss and say he hadn't been consulted, but Korner's reaction sealed the deal. As Baker later said "‘he said “it's really good you're doing this thing with Graham, and I wish you the best of luck” and all that. And it was a bit difficult to turn round and say, “Well, I don't really want to leave the band, you know.”'" The Graham Bond Trio struggled at first to get the gigs they were expecting, but that started to change when in April 1963 they became the Graham Bond Quartet, with the addition of virtuoso guitarist John McLaughlin. The Quartet soon became one of the hottest bands on the London R&B scene, and when Duffy Power, a Larry Parnes teen idol who wanted to move into R&B, asked his record label to get him a good R&B band to back him on a Beatles cover, it was the Graham Bond Quartet who obliged: [Excerpt: Duffy Power, "I Saw Her Standing There"] The Quartet also backed Power on a package tour with other Parnes acts, but they were also still performing their own blend of hard jazz and blues, as can be heard in this recording of the group live in June 1953: [Excerpt: The Graham Bond Quartet, "Ho Ho Country Kicking Blues (Live at Klooks Kleek)"] But that lineup of the group didn't last very long. According to the way Baker told the story, he fired McLaughlin from the group, after being irritated by McLaughlin complaining about something on a day when Baker was out of cocaine and in no mood to hear anyone else's complaints. As Baker said "We lost a great guitar player and I lost a good friend." But the Trio soon became a Quartet again, as Dick Heckstall-Smith, who Baker had wanted in the band from the start, joined on saxophone to replace McLaughlin's guitar. But they were no longer called the Graham Bond Quartet. Partly because Heckstall-Smith joining allowed Bond to concentrate just on his keyboard playing, but one suspects partly to protect against any future lineup changes, the group were now The Graham Bond ORGANisation -- emphasis on the organ. The new lineup of the group got signed to Decca by Vernon, and were soon recording their first single, "Long Tall Shorty": [Excerpt: The Graham Bond Organisation, "Long Tall Shorty"] They recorded a few other songs which made their way onto an EP and an R&B compilation, and toured intensively in early 1964, as well as backing up Power on his follow-up to "I Saw Her Standing There", his version of "Parchman Farm": [Excerpt: Duffy Power, "Parchman Farm"] They also appeared in a film, just like the Beatles, though it was possibly not quite as artistically successful as "A Hard Day's Night": [Excerpt: Gonks Go Beat trailer] Gonks Go Beat is one of the most bizarre films of the sixties. It's a far-future remake of Romeo and Juliet. where the two star-crossed lovers are from opposing countries -- Beatland and Ballad Isle -- who only communicate once a year in an annual song contest which acts as their version of a war, and is overseen by "Mr. A&R", played by Frank Thornton, who would later star in Are You Being Served? Carry On star Kenneth Connor is sent by aliens to try to bring peace to the two warring countries, on pain of exile to Planet Gonk, a planet inhabited solely by Gonks (a kind of novelty toy for which there was a short-lived craze then). Along the way Connor encounters such luminaries of British light entertainment as Terry Scott and Arthur Mullard, as well as musical performances by Lulu, the Nashville Teens, and of course the Graham Bond Organisation, whose performance gets them a telling-off from a teacher: [Excerpt: Gonks Go Beat!] The group as a group only performed one song in this cinematic masterpiece, but Baker also made an appearance in a "drum battle" sequence where eight drummers played together: [Excerpt: Gonks Go Beat drum battle] The other drummers in that scene included, as well as some lesser-known players, Andy White who had played on the single version of "Love Me Do", Bobby Graham, who played on hits by the Kinks and the Dave Clark Five, and Ronnie Verrell, who did the drumming for Animal in the Muppet Show. Also in summer 1964, the group performed at the Fourth National Jazz & Blues Festival in Richmond -- the festival co-founded by Chris Barber that would evolve into the Reading Festival. The Yardbirds were on the bill, and at the end of their set they invited Bond, Baker, Bruce, Georgie Fame, and Mike Vernon onto the stage with them, making that the first time that Eric Clapton, Ginger Baker, and Jack Bruce were all on stage together. Soon after that, the Graham Bond Organisation got a new manager, Robert Stigwood. Things hadn't been working out for them at Decca, and Stigwood soon got the group signed to EMI, and became their producer as well. Their first single under Stigwood's management was a cover version of the theme tune to the Debbie Reynolds film "Tammy". While that film had given Tamla records its name, the song was hardly an R&B classic: [Excerpt: The Graham Bond Organisation, "Tammy"] That record didn't chart, but Stigwood put the group out on the road as part of the disastrous Chuck Berry tour we heard about in the episode on "All You Need is Love", which led to the bankruptcy of  Robert Stigwood Associates. The Organisation moved over to Stigwood's new company, the Robert Stigwood Organisation, and Stigwood continued to be the credited producer of their records, though after the "Tammy" disaster they decided they were going to take charge themselves of the actual music. Their first album, The Sound of 65, was recorded in a single three-hour session, and they mostly ran through their standard set -- a mixture of the same songs everyone else on the circuit was playing, like "Hoochie Coochie Man", "Got My Mojo Working", and "Wade in the Water", and originals like Bruce's "Train Time": [Excerpt: The Graham Bond Organisation, "Train Time"] Through 1965 they kept working. They released a non-album single, "Lease on Love", which is generally considered to be the first pop record to feature a Mellotron: [Excerpt: The Graham Bond Organisation, "Lease on Love"] and Bond and Baker also backed another Stigwood act, Winston G, on his debut single: [Excerpt: Winston G, "Please Don't Say"] But the group were developing severe tensions. Bruce and Baker had started out friendly, but by this time they hated each other. Bruce said he couldn't hear his own playing over Baker's loud drumming, Baker thought that Bruce was far too fussy a player and should try to play simpler lines. They'd both try to throw each other during performances, altering arrangements on the fly and playing things that would trip the other player up. And *neither* of them were particularly keen on Bond's new love of the Mellotron, which was all over their second album, giving it a distinctly proto-prog feel at times: [Excerpt: The Graham Bond Organisation, "Baby Can it Be True?"] Eventually at a gig in Golders Green, Baker started throwing drumsticks at Bruce's head while Bruce was trying to play a bass solo. Bruce retaliated by throwing his bass at Baker, and then jumping on him and starting a fistfight which had to be broken up by the venue security. Baker fired Bruce from the band, but Bruce kept turning up to gigs anyway, arguing that Baker had no right to sack him as it was a democracy. Baker always claimed that in fact Bond had wanted to sack Bruce but hadn't wanted to get his hands dirty, and insisted that Baker do it, but neither Bond nor Heckstall-Smith objected when Bruce turned up for the next couple of gigs. So Baker took matters into his own hands, He pulled out a knife and told Bruce "If you show up at one more gig, this is going in you." Within days, Bruce was playing with John Mayall, whose Bluesbreakers had gone through some lineup changes by this point. Roger Dean had only played with the Bluesbreakers for a short time before Mayall had replaced him. Mayall had not been impressed with Eric Clapton's playing with the Yardbirds at first -- even though graffiti saying "Clapton is God" was already starting to appear around London -- but he had been *very* impressed with Clapton's playing on "Got to Hurry", the B-side to "For Your Love": [Excerpt: The Yardbirds, "Got to Hurry"] When he discovered that Clapton had quit the band, he sprang into action and quickly recruited him to replace Dean. Clapton knew he had made the right choice when a month after he'd joined, the group got the word that Bob Dylan had been so impressed with Mayall's single "Crawling up a Hill" -- the one that nobody liked, not even Mayall himself -- that he wanted to jam with Mayall and his band in the studio. Clapton of course went along: [Excerpt: Bob Dylan and the Bluesbreakers, "If You Gotta Go, Go Now"] That was, of course, the session we've talked about in the Velvet Underground episode and elsewhere of which little other than that survives, and which Nico attended. At this point, Mayall didn't have a record contract, his experience recording with Mike Vernon having been no more successful than the Bond group's had been. But soon he got a one-off deal -- as a solo artist, not with the Bluesbreakers -- with Immediate Records. Clapton was the only member of the group to play on the single, which was produced by Immediate's house producer Jimmy Page: [Excerpt: John Mayall, "I'm Your Witchdoctor"] Page was impressed enough with Clapton's playing that he invited him round to Page's house to jam together. But what Clapton didn't know was that Page was taping their jam sessions, and that he handed those tapes over to Immediate Records -- whether he was forced to by his contract with the label or whether that had been his plan all along depends on whose story you believe, but Clapton never truly forgave him. Page and Clapton's guitar-only jams had overdubs by Bill Wyman, Ian Stewart, and drummer Chris Winter, and have been endlessly repackaged on blues compilations ever since: [Excerpt: Jimmy Page and Eric Clapton, "Draggin' My Tail"] But Mayall was having problems with John McVie, who had started to drink too much, and as soon as he found out that Jack Bruce was sacked by the Graham Bond Organisation, Mayall got in touch with Bruce and got him to join the band in McVie's place. Everyone was agreed that this lineup of the band -- Mayall, Clapton, Bruce, and Hughie Flint -- was going places: [Excerpt: John Mayall's Bluesbreakers with Jack Bruce, "Hoochie Coochie Man"] Unfortunately, it wasn't going to last long. Clapton, while he thought that Bruce was the greatest bass player he'd ever worked with, had other plans. He was going to leave the country and travel the world as a peripatetic busker. He was off on his travels, never to return. Luckily, Mayall had someone even better waiting in the wings. A young man had, according to Mayall, "kept coming down to all the gigs and saying, “Hey, what are you doing with him?” – referring to whichever guitarist was onstage that night – “I'm much better than he is. Why don't you let me play guitar for you?” He got really quite nasty about it, so finally, I let him sit in. And he was brilliant." Peter Green was probably the best blues guitarist in London at that time, but this lineup of the Bluesbreakers only lasted a handful of gigs -- Clapton discovered that busking in Greece wasn't as much fun as being called God in London, and came back very soon after he'd left. Mayall had told him that he could have his old job back when he got back, and so Green was out and Clapton was back in. And soon the Bluesbreakers' revolving door revolved again. Manfred Mann had just had a big hit with "If You Gotta Go, Go Now", the same song we heard Dylan playing earlier: [Excerpt: Manfred Mann, "If You Gotta Go, Go Now"] But their guitarist, Mike Vickers, had quit. Tom McGuinness, their bass player, had taken the opportunity to switch back to guitar -- the instrument he'd played in his first band with his friend Eric Clapton -- but that left them short a bass player. Manfred Mann were essentially the same kind of band as the Graham Bond Organisation -- a Hammond-led group of virtuoso multi-instrumentalists who played everything from hardcore Delta blues to complex modern jazz -- but unlike the Bond group they also had a string of massive pop hits, and so made a lot more money. The combination was irresistible to Bruce, and he joined the band just before they recorded an EP of jazz instrumental versions of recent hits: [Excerpt: Manfred Mann, "(I Can't Get No) Satisfaction"] Bruce had also been encouraged by Robert Stigwood to do a solo project, and so at the same time as he joined Manfred Mann, he also put out a solo single, "Drinkin' and Gamblin'" [Excerpt: Jack Bruce, "Drinkin' and Gamblin'"] But of course, the reason Bruce had joined Manfred Mann was that they were having pop hits as well as playing jazz, and soon they did just that, with Bruce playing on their number one hit "Pretty Flamingo": [Excerpt: Manfred Mann, "Pretty Flamingo"] So John McVie was back in the Bluesbreakers, promising to keep his drinking under control. Mike Vernon still thought that Mayall had potential, but the people at Decca didn't agree, so Vernon got Mayall and Clapton -- but not the other band members -- to record a single for a small indie label he ran as a side project: [Excerpt: John Mayall and Eric Clapton, "Bernard Jenkins"] That label normally only released records in print runs of ninety-nine copies, because once you hit a hundred copies you had to pay tax on them, but there was so much demand for that single that they ended up pressing up five hundred copies, making it the label's biggest seller ever. Vernon eventually convinced the heads at Decca that the Bluesbreakers could be truly big, and so he got the OK to record the album that would generally be considered the greatest British blues album of all time -- Blues Breakers, also known as the Beano album because of Clapton reading a copy of the British kids' comic The Beano in the group photo on the front. [Excerpt: John Mayall with Eric Clapton, "Ramblin' On My Mind"] The album was a mixture of originals by Mayall and the standard repertoire of every blues or R&B band on the circuit -- songs like "Parchman Farm" and "What'd I Say" -- but what made the album unique was Clapton's guitar tone. Much to the chagrin of Vernon, and of engineer Gus Dudgeon, Clapton insisted on playing at the same volume that he would on stage. Vernon later said of Dudgeon "I can remember seeing his face the very first time Clapton plugged into the Marshall stack and turned it up and started playing at the sort of volume he was going to play. You could almost see Gus's eyes meet over the middle of his nose, and it was almost like he was just going to fall over from the sheer power of it all. But after an enormous amount of fiddling around and moving amps around, we got a sound that worked." [Excerpt: John Mayall with Eric Clapton, "Hideaway"] But by the time the album cane out. Clapton was no longer with the Bluesbreakers. The Graham Bond Organisation had struggled on for a while after Bruce's departure. They brought in a trumpet player, Mike Falana, and even had a hit record -- or at least, the B-side of a hit record. The Who had just put out a hit single, "Substitute", on Robert Stigwood's record label, Reaction: [Excerpt: The Who, "Substitute"] But, as you'll hear in episode 183, they had moved to Reaction Records after a falling out with their previous label, and with Shel Talmy their previous producer. The problem was, when "Substitute" was released, it had as its B-side a song called "Circles" (also known as "Instant Party -- it's been released under both names). They'd recorded an earlier version of the song for Talmy, and just as "Substitute" was starting to chart, Talmy got an injunction against the record and it had to be pulled. Reaction couldn't afford to lose the big hit record they'd spent money promoting, so they needed to put it out with a new B-side. But the Who hadn't got any unreleased recordings. But the Graham Bond Organisation had, and indeed they had an unreleased *instrumental*. So "Waltz For a Pig" became the B-side to a top-five single, credited to The Who Orchestra: [Excerpt: The Who Orchestra, "Waltz For a Pig"] That record provided the catalyst for the formation of Cream, because Ginger Baker had written the song, and got £1,350 for it, which he used to buy a new car. Baker had, for some time, been wanting to get out of the Graham Bond Organisation. He was trying to get off heroin -- though he would make many efforts to get clean over the decades, with little success -- while Bond was starting to use it far more heavily, and was also using acid and getting heavily into mysticism, which Baker despised. Baker may have had the idea for what he did next from an article in one of the music papers. John Entwistle of the Who would often tell a story about an article in Melody Maker -- though I've not been able to track down the article itself to get the full details -- in which musicians were asked to name which of their peers they'd put into a "super-group". He didn't remember the full details, but he did remember that the consensus choice had had Eric Clapton on lead guitar, himself on bass, and Ginger Baker on drums. As he said later "I don't remember who else was voted in, but a few months later, the Cream came along, and I did wonder if somebody was maybe believing too much of their own press". Incidentally, like The Buffalo Springfield and The Pink Floyd, Cream, the band we are about to meet, had releases both with and without the definite article, and Eric Clapton at least seems always to talk about them as "the Cream" even decades later, but they're primarily known as just Cream these days. Baker, having had enough of the Bond group, decided to drive up to Oxford to see Clapton playing with the Bluesbreakers. Clapton invited him to sit in for a couple of songs, and by all accounts the band sounded far better than they had previously. Clapton and Baker could obviously play well together, and Baker offered Clapton a lift back to London in his new car, and on the drive back asked Clapton if he wanted to form a new band. Clapton was as impressed by Baker's financial skills as he was by his musicianship. He said later "Musicians didn't have cars. You all got in a van." Clearly a musician who was *actually driving a new car he owned* was going places. He agreed to Baker's plan. But of course they needed a bass player, and Clapton thought he had the perfect solution -- "What about Jack?" Clapton knew that Bruce had been a member of the Graham Bond Organisation, but didn't know why he'd left the band -- he wasn't particularly clued in to what the wider music scene was doing, and all he knew was that Bruce had played with both him and Baker, and that he was the best bass player he'd ever played with. And Bruce *was* arguably the best bass player in London at that point, and he was starting to pick up session work as well as his work with Manfred Mann. For example it's him playing on the theme tune to "After The Fox" with Peter Sellers, the Hollies, and the song's composer Burt Bacharach: [Excerpt: The Hollies with Peter Sellers, "After the Fox"] Clapton was insistent. Baker's idea was that the band should be the best musicians around. That meant they needed the *best* musicians around, not the second best. If Jack Bruce wasn't joining, Eric Clapton wasn't joining either. Baker very reluctantly agreed, and went round to see Bruce the next day -- according to Baker it was in a spirit of generosity and giving Bruce one more chance, while according to Bruce he came round to eat humble pie and beg for forgiveness. Either way, Bruce agreed to join the band. The three met up for a rehearsal at Baker's home, and immediately Bruce and Baker started fighting, but also immediately they realised that they were great at playing together -- so great that they named themselves the Cream, as they were the cream of musicians on the scene. They knew they had something, but they didn't know what. At first they considered making their performances into Dada projects, inspired by the early-twentieth-century art movement. They liked a band that had just started to make waves, the Bonzo Dog Doo-Dah Band -- who had originally been called the Bonzo Dog Dada Band -- and they bought some props with the vague idea of using them on stage in the same way the Bonzos did. But as they played together they realised that they needed to do something different from that. At first, they thought they needed a fourth member -- a keyboard player. Graham Bond's name was brought up, but Clapton vetoed him. Clapton wanted Steve Winwood, the keyboard player and vocalist with the Spencer Davis Group. Indeed, Winwood was present at what was originally intended to be the first recording session the trio would play. Joe Boyd had asked Eric Clapton to round up a bunch of players to record some filler tracks for an Elektra blues compilation, and Clapton had asked Bruce and Baker to join him, Paul Jones on vocals, Winwood on Hammond and Clapton's friend Ben Palmer on piano for the session. Indeed, given that none of the original trio were keen on singing, that Paul Jones was just about to leave Manfred Mann, and that we know Clapton wanted Winwood in the band, one has to wonder if Clapton at least half-intended for this to be the eventual lineup of the band. If he did, that plan was foiled by Baker's refusal to take part in the session. Instead, this one-off band, named The Powerhouse, featured Pete York, the drummer from the Spencer Davis Group, on the session, which produced the first recording of Clapton playing on the Robert Johnson song originally titled "Cross Road Blues" but now generally better known just as "Crossroads": [Excerpt: The Powerhouse, "Crossroads"] We talked about Robert Johnson a little back in episode ninety-seven, but other than Bob Dylan, who was inspired by his lyrics, we had seen very little influence from Johnson up to this point, but he's going to be a major influence on rock guitar for the next few years, so we should talk about him a little here. It's often said that nobody knew anything about Robert Johnson, that he was almost a phantom other than his records which existed outside of any context as artefacts of their own. That's... not really the case. Johnson had died a little less than thirty years earlier, at only twenty-seven years old. Most of his half-siblings and step-siblings were alive, as were his son, his stepson, and dozens of musicians he'd played with over the years, women he'd had affairs with, and other assorted friends and relatives. What people mean is that information about Johnson's life was not yet known by people they consider important -- which is to say white blues scholars and musicians. Indeed, almost everything people like that -- people like *me* -- know of the facts of Johnson's life has only become known to us in the last four years. If, as some people had expected, I'd started this series with an episode on Johnson, I'd have had to redo the whole thing because of the information that's made its way to the public since then. But here's what was known -- or thought -- by white blues scholars in 1966. Johnson was, according to them, a field hand from somewhere in Mississippi, who played the guitar in between working on the cotton fields. He had done two recording sessions, in 1936 and 1937. One song from his first session, "Terraplane Blues", had been a very minor hit by blues standards: [Excerpt: Robert Johnson, "Terraplane Blues"] That had sold well -- nobody knows how well, but maybe as many as ten thousand copies, and it was certainly a record people knew in 1937 if they liked the Delta blues, but ten thousand copies total is nowhere near the sales of really successful records, and none of the follow-ups had sold anything like that much -- many of them had sold in the hundreds rather than the thousands. As Elijah Wald, one of Johnson's biographers put it "knowing about Johnson and Muddy Waters but not about Leroy Carr or Dinah Washington was like knowing about, say, the Sir Douglas Quintet but not knowing about the Beatles" -- though *I* would add that the Sir Douglas Quintet were much bigger during the sixties than Johnson was during his lifetime. One of the few white people who had noticed Johnson's existence at all was John Hammond, and he'd written a brief review of Johnson's first two singles under a pseudonym in a Communist newspaper. I'm going to quote it here, but the word he used to talk about Black people was considered correct then but isn't now, so I'll substitute Black for that word: "Before closing we cannot help but call your attention to the greatest [Black] blues singer who has cropped up in recent years, Robert Johnson. Recording them in deepest Mississippi, Vocalion has certainly done right by us and by the tunes "Last Fair Deal Gone Down" and "Terraplane Blues", to name only two of the four sides already released, sung to his own guitar accompaniment. Johnson makes Leadbelly sound like an accomplished poseur" Hammond had tried to get Johnson to perform at the Spirituals to Swing concerts we talked about in the very first episodes of the podcast, but he'd discovered that he'd died shortly before. He got Big Bill Broonzy instead, and played a couple of Johnson's records from a record player on the stage. Hammond introduced those recordings with a speech: "It is tragic that an American audience could not have been found seven or eight years ago for a concert of this kind. Bessie Smith was still at the height of her career and Joe Smith, probably the greatest trumpet player America ever knew, would still have been around to play obbligatos for her...dozens of other artists could have been there in the flesh. But that audience as well as this one would not have been able to hear Robert Johnson sing and play the blues on his guitar, for at that time Johnson was just an unknown hand on a Robinsonville, Mississippi plantation. Robert Johnson was going to be the big surprise of the evening for this audience at Carnegie Hall. I know him only from his Vocalion blues records and from the tall, exciting tales the recording engineers and supervisors used to bring about him from the improvised studios in Dallas and San Antonio. I don't believe Johnson had ever worked as a professional musician anywhere, and it still knocks me over when I think of how lucky it is that a talent like his ever found its way onto phonograph records. We will have to be content with playing two of his records, the old "Walkin' Blues" and the new, unreleased, "Preachin' Blues", because Robert Johnson died last week at the precise moment when Vocalion scouts finally reached him and told him that he was booked to appear at Carnegie Hall on December 23. He was in his middle twenties and nobody seems to know what caused his death." And that was, for the most part, the end of Robert Johnson's impact on the culture for a generation. The Lomaxes went down to Clarksdale, Mississippi a couple of years later -- reports vary as to whether this was to see if they could find Johnson, who they were unaware was dead, or to find information out about him, and they did end up recording a young singer named Muddy Waters for the Library of Congress, including Waters' rendition of "32-20 Blues", Johnson's reworking of Skip James' "Twenty-Two Twenty Blues": [Excerpt: Muddy Waters, "32-20 Blues"] But Johnson's records remained unavailable after their initial release until 1959, when the blues scholar Samuel Charters published the book The Country Blues, which was the first book-length treatment ever of Delta blues. Sixteen years later Charters said "I shouldn't have written The Country Blues when I did; since I really didn't know enough, but I felt I couldn't afford to wait. So The Country Blues was two things. It was a romanticization of certain aspects of black life in an effort to force the white society to reconsider some of its racial attitudes, and on the other hand it was a cry for help. I wanted hundreds of people to go out and interview the surviving blues artists. I wanted people to record them and document their lives, their environment, and their music, not only so that their story would be preserved but also so they'd get a little money and a little recognition in their last years." Charters talked about Johnson in the book, as one of the performers who played "minor roles in the story of the blues", and said that almost nothing was known about his life. He talked about how he had been poisoned by his common-law wife, about how his records were recorded in a pool hall, and said "The finest of Robert Johnson's blues have a brooding sense of torment and despair. The blues has become a personified figure of despondency." Along with Charters' book came a compilation album of the same name, and that included the first ever reissue of one of Johnson's tracks, "Preaching Blues": [Excerpt: Robert Johnson, "Preaching Blues"] Two years later, John Hammond, who had remained an ardent fan of Johnson, had Columbia put out the King of the Delta Blues Singers album. At the time no white blues scholars knew what Johnson looked like and they had no photos of him, so a generic painting of a poor-looking Black man with a guitar was used for the cover. The liner note to King of the Delta Blues Singers talked about how Johnson was seventeen or eighteen when he made his recordings, how he was "dead before he reached his twenty-first birthday, poisoned by a jealous girlfriend", how he had "seldom, if ever, been away from the plantation in Robinsville, Mississippi, where he was born and raised", and how he had had such stage fright that when he was asked to play in front of other musicians, he'd turned to face a wall so he couldn't see them. And that would be all that any of the members of the Powerhouse would know about Johnson. Maybe they'd also heard the rumours that were starting to spread that Johnson had got his guitar-playing skills by selling his soul to the devil at a crossroads at midnight, but that would have been all they knew when they recorded their filler track for Elektra: [Excerpt: The Powerhouse, "Crossroads"] Either way, the Powerhouse lineup only lasted for that one session -- the group eventually decided that a simple trio would be best for the music they wanted to play. Clapton had seen Buddy Guy touring with just a bass player and drummer a year earlier, and had liked the idea of the freedom that gave him as a guitarist. The group soon took on Robert Stigwood as a manager, which caused more arguments between Bruce and Baker. Bruce was convinced that if they were doing an all-for-one one-for-all thing they should also manage themselves, but Baker pointed out that that was a daft idea when they could get one of the biggest managers in the country to look after them. A bigger argument, which almost killed the group before it started, happened when Baker told journalist Chris Welch of the Melody Maker about their plans. In an echo of the way that he and Bruce had been resigned from Blues Incorporated without being consulted, now with no discussion Manfred Mann and John Mayall were reading in the papers that their band members were quitting before those members had bothered to mention it. Mayall was furious, especially since the album Clapton had played on hadn't yet come out. Clapton was supposed to work a month's notice while Mayall found another guitarist, but Mayall spent two weeks begging Peter Green to rejoin the band. Green was less than eager -- after all, he'd been fired pretty much straight away earlier -- but Mayall eventually persuaded him. The second he did, Mayall turned round to Clapton and told him he didn't have to work the rest of his notice -- he'd found another guitar player and Clapton was fired: [Excerpt: John Mayall's Bluesbreakers, "Dust My Blues"] Manfred Mann meanwhile took on the Beatles' friend Klaus Voorman to replace Bruce. Voorman would remain with the band until the end, and like Green was for Mayall, Voorman was in some ways a better fit for Manfred Mann than Bruce was. In particular he could double on flute, as he did for example on their hit version of Bob Dylan's "The Mighty Quinn": [Excerpt: Manfred Mann "The Mighty Quinn"] The new group, The Cream, were of course signed in the UK to Stigwood's Reaction label. Other than the Who, who only stuck around for one album, Reaction was not a very successful label. Its biggest signing was a former keyboard player for Screaming Lord Sutch, who recorded for them under the names Paul Dean and Oscar, but who later became known as Paul Nicholas and had a successful career in musical theatre and sitcom. Nicholas never had any hits for Reaction, but he did release one interesting record, in 1967: [Excerpt: Oscar, "Over the Wall We Go"] That was one of the earliest songwriting attempts by a young man who had recently named himself David Bowie. Now the group were public, they started inviting journalists to their rehearsals, which were mostly spent trying to combine their disparate musical influences --

时隔四月 二十期爱趣英文即将截止招募，跟着卡卡老师彻底摆脱懒癌，全面系统提升！公众号：卡卡课堂 卡卡老师微信：zaocanyingyu说到“纸”你的第一反应是不是“paper”呢？今天卡卡老师带你学习各种“生活用纸”的地道英文哦。抽纸Facial Tissue[ˈfeɪʃəlˈtɪʃuː]我需要一盒抽纸来擦拭鼻子。I need a box of facial tissue to wipe my nose.餐巾纸Napkin[ˈnæpkɪn]请给我一张餐巾纸。Please give me a napkin.厕所用纸Toilet Paper[ˈtɔɪlɪtˈpeɪpər]卫生间没有纸了。There's no toilet paper in the bathroom. 擦拭纸Wiping Paper[ˈwaɪpɪŋˈpeɪpər]I need to buy some wiping paper for cleaning.我需要购买一些用于清洁的擦拭纸。包装纸Wrapping Paper[ˈræpɪŋˈpeɪpər]我需要一张漂亮的包装纸来包装礼物。I need a beautiful wrapping paper to wrap the gift.如果这期节目对你有用，记得点赞收藏，或者转发给需要它的人哦！

Ye Haw! Git along lil doggies, Paul and Alex are talking about having respect for people in service positions and how easy it is to take negative attention as positive attention, especially if you are John Arbuckle.  Get wrapped up in this week's strip Here.  Follow the Podcast on Twitter or Instagram Follow the Paul on Instagram  Follow Alex on Twitter or Instagram Mystic Lasagna is a Member of the Missing Sock network. For other great shows like this one, check out https://www.missingsocknetwork.com/ or search Missing Sock in your favorite pod catcher.  Also we have Merch!! Follow the network on Instagram.    Lasagnaste´  

Much ado about the waste of wrapping paper, greeting cards and empire of the Hall brothers.

Can you feel it? The changing of the seasons? The crispness of the air? The ever-growing magnetic pull in the back of your head that urges you toward the mythical land of western Massachusetts? That can only mean one thing: the return of the one and only Summertime Funtime Bailiff MONTE BELMONTE! He joins us to clear the docket and dispense justice on issues relating to wrapping paper, the game of Blank Slate, hometowns, and more. PLUS: A letter from the mysterious ROBIN HOOD CAMP!

ASMR FOR MEN! Measuring YOU for a Suit

Featuring daily highlights from The Afternoon Mix with McCabe and Jenny 2-7 PM on 101.9fm The Mix | WTMX Chicago. McCabe and Jenny dive into relationships, entertainment news, trending topics from pop culture and social media, new music, and more. Today is Jenny's birthday and McCabe showed up with gifts wrapped in a plastic table cover. Not only are there plenty of birthdays to celebrate this week, but there are a lot of proposals to celebrate as well. Do you think it's rude proposing to someone at a wedding is rude? Dealbreaker Drama: If your significant other's mom didn't approve of you, would that stop you from trying to marry them? Today's Trends in 10 was about ‘Harry Potter: The Cursed Child' reportedly in the works. Listen live at wtmx.com or with the free Mix App available in the App Store and on Google Play. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome back to another episode of REAL TALK! In today's episode:- Self Care- Unemployment- AI Technology- Horror Games- AITAToday's AITA can be found here: https://www.reddit.com/r/AmItheAsshole/comments/10hvhbk/aita_for_returning_all_of_my_daughters_packages/?utm_source=share&utm_medium=ios_app&utm_name=iossmfReal Talk is a production of ZTS Collective.Listen to us on all of your favorite podcasting apps!Follow us on Instagram: https://www.instagram.com/realtalkzts/

Have you made a mistake wrapping presents?

Luke 2:1-7

This week on Doomcoming we are talking about the third episode of Yellowjackets: "The Dollhouse"! We've got a lot of Taissa, ever-increasing love for Van, us choosing which 1996 girl we'd have been and which we'd have a crush on, and Jenny obliging when Kristin asks her to do her Adult Nat impression again.Our episodes are spoiler free, so you can watch along with us in real time if you haven't seen the series yet, and each episode will also include a segment at the end called "What's The Buzz" where we talk about some spoilery theories for those of you who have seen the whole first season and who might be as deep into Reddit as Jenny...What's The Buzz Segment Timestamps: 1:13:40 - 1:20:08A Link To See Our Triangle Buddy: https://twitter.com/kristinnoeline/status/1544736112735883271/photo/1LOCATE YOUR HOSTS UPON THE INTERNET Jenny Owen Youngs | @jennyowenyoungs; jennyowenyoungs.comKristin Russo | @kristinnoeline; kristinnoeline.comBuffering: A Rewatch Adventure | @bufferingcast on twitter, facebook, and instagramLearn more about our team at bufferingthevampireslayer.com/our-team Produced by: Kristin Russo and Jenny Owen YoungsEdited by: Kristin RussoLogo: Devan PowerMUSICTheme song and segment music composed and performed by the one and only Jenny Owen Youngs.Closing music: Dreams by The Cranberries JOIN US ON PATREON | patreon.com/bufferingcastHOLIDAY MERCH INCLUDING ORNAMENTS, WRAPPING PAPER, HATS, TEES + MORE!bufferingthevampireslayer.com/shop+++We acknowledge that we and our team are occupying unceded and stolen lands and territories. Kristin occupies the Lenape territories of the Esopus Lenape Peoples. Jenny occupies the Wabanahkik territory of the Abenaki and Pennacook Peoples. Learn more about Land Acknowledgments + our continued anti-racist efforts atbufferingthevampireslayer.com/justkeepfighting

This week on Doomcoming we are talking about the third episode of Yellowjackets: "The Dollhouse"!  We've got a lot of Taissa, ever-increasing love for Van, us choosing which 1996 girl we'd have been and which we'd have a crush on, and Jenny obliging when Kristin asks her to do her Adult Nat impression again. Our episodes are spoiler free, so you can watch along with us in real time if you haven't seen the series yet, and each episode will also include a segment at the end called "What's The Buzz" where we talk about some spoilery theories for those of you who have seen the whole first season and who might be as deep into Reddit as Jenny... What's The Buzz Segment Timestamps: 1:13:40 - 1:20:08A Link To See Our Triangle Buddy: https://twitter.com/kristinnoeline/status/1544736112735883271/photo/1 LOCATE YOUR HOSTS UPON THE INTERNET  Jenny Owen Youngs | @jennyowenyoungs; jennyowenyoungs.comKristin Russo | @kristinnoeline; kristinnoeline.comBuffering: A Rewatch Adventure | @bufferingcast on twitter, facebook, and instagramLearn more about our team at bufferingthevampireslayer.com/our-team Produced by: Kristin Russo and Jenny Owen YoungsEdited by: Kristin RussoLogo: Devan Power MUSIC Theme song and segment music composed and performed by the one and only Jenny Owen Youngs. Closing music: Dreams by The Cranberries  JOIN US ON PATREON | patreon.com/bufferingcast HOLIDAY MERCH INCLUDING ORNAMENTS, WRAPPING PAPER, HATS, TEES + MORE!bufferingthevampireslayer.com/shop +++We acknowledge that we and our team are occupying unceded and stolen lands and territories. Kristin occupies the Lenape territories of the Esopus Lenape Peoples. Jenny occupies the Wabanahkik territory of the Abenaki and Pennacook Peoples.  Learn more about Land Acknowledgments + our continued anti-racist efforts atbufferingthevampireslayer.com/justkeepfighting Learn more about your ad choices. Visit megaphone.fm/adchoices

Howard Middleton considers wearing a cushion cover. Katie Johnson is on the hunt for a comfy chair and ends up with two... in white leather. There's boiled cheese and cheese dreams. Designer Christmas wrapping paper and from 1960 the 'I Hate To Cook Book' Yes it's a typical week in the world of Shackbaggerly... loose and disorderly. Katie and Howard are on Instagram, Facebook and Pintrest. Look for The Shackbaggerly podcast. This week you can vote for the tune to be used for the Shackbaggerly Christmas Song 2022. Episode 94 will be available from Friday 16th December. Just pop over to your favourite podcast provider and subscribe to Shackbaggerly, they'll then send you a reminder when any new episodes are available. --- Send in a voice message: https://anchor.fm/katie-johnson73/message

Welcome to Doomcoming, a little "winter treat" of a rewatch podcast where we dig into the first season of Showtime's Yellowjackets one episode at a time. This week we are talking about 1.02 "F Sharp"! There's a whole lot of Misty, a nice serving of Wilson Phillips feelings, a wonderful impression of Adult Nat by Jenny, and Kristin getting caught up once again in rabbit-stew emotions.Our episodes are spoiler free, so you can watch along with us in real time if you haven't seen the series yet, and each episode will also include a segment at the end called "What's The Buzz" where we talk about some spoilery theories for those of you who have seen the whole first season and who might be as deep into Reddit as Jenny...What's The Buzz Segment Timestamps:LOCATE YOUR HOSTS UPON THE INTERNET Jenny Owen Youngs | @jennyowenyoungs; jennyowenyoungs.comKristin Russo | @kristinnoeline; kristinnoeline.comBuffering: A Rewatch Adventure | @bufferingcast on twitter, facebook, and instagramLearn more about our team at bufferingthevampireslayer.com/our-team Produced by: Kristin Russo and Jenny Owen YoungsEdited by: Kristin RussoLogo: Devan PowerMUSICTheme song and segment music composed and performed by the one and only Jenny Owen Youngs.Closing music: Hold On by Wilson PhillipsJOIN US ON PATREON | LIVE WATCH OF BUFFY'S AMENDS SATURDAY DECEMBER 10!patreon.com/bufferingcastHOLIDAY MERCH INCLUDING ORNAMENTS, WRAPPING PAPER, HATS, TEES + MORE!bufferingthevampireslayer.com/shop+++We acknowledge that we and our team are occupying unceded and stolen lands and territories. Kristin occupies the Lenape territories of the Esopus Lenape Peoples. Jenny occupies the Wabanahkik territory of the Abenaki and Pennacook Peoples. Learn more about Land Acknowledgments + our continued anti-racist efforts atbufferingthevampireslayer.com/justkeepfighting

Welcome to Doomcoming, a little "winter treat" of a rewatch podcast where we dig into the first season of Showtime's Yellowjackets one episode at a time.  This week we are talking about 1.02 "F Sharp"! There's a whole lot of Misty, a nice serving of Wilson Phillips feelings, a wonderful impression of Adult Nat by Jenny, and Kristin getting caught up once again in rabbit-stew emotions. Our episodes are spoiler free, so you can watch along with us in real time if you haven't seen the series yet, and each episode will also include a segment at the end called "What's The Buzz" where we talk about some spoilery theories for those of you who have seen the whole first season and who might be as deep into Reddit as Jenny... What's The Buzz Segment Timestamps: LOCATE YOUR HOSTS UPON THE INTERNET  Jenny Owen Youngs | @jennyowenyoungs; jennyowenyoungs.comKristin Russo | @kristinnoeline; kristinnoeline.comBuffering: A Rewatch Adventure | @bufferingcast on twitter, facebook, and instagramLearn more about our team at bufferingthevampireslayer.com/our-team Produced by: Kristin Russo and Jenny Owen YoungsEdited by: Kristin RussoLogo: Devan Power MUSIC Theme song and segment music composed and performed by the one and only Jenny Owen Youngs. Closing music: Hold On by Wilson Phillips JOIN US ON PATREON | LIVE WATCH OF BUFFY'S AMENDS SATURDAY DECEMBER 10!patreon.com/bufferingcast HOLIDAY MERCH INCLUDING ORNAMENTS, WRAPPING PAPER, HATS, TEES + MORE!bufferingthevampireslayer.com/shop +++We acknowledge that we and our team are occupying unceded and stolen lands and territories. Kristin occupies the Lenape territories of the Esopus Lenape Peoples. Jenny occupies the Wabanahkik territory of the Abenaki and Pennacook Peoples.  Learn more about Land Acknowledgments + our continued anti-racist efforts atbufferingthevampireslayer.com/justkeepfighting Learn more about your ad choices. Visit megaphone.fm/adchoices

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During the last month, Katie and I have been dipping our toes into the world of Korean modern art. Let us share a few things about Lee Jung-Seop and his sketches on the back of cigarette foil. It got us emotional... Dignity and RespectI was adopted by Cult leader God Father Divine in 1962. In 1958, when I was four years...Listen on: Apple Podcasts SpotifySupport the show

VP S2 Ep67: Gift Wrapping Paper Tutorial! :) Flashback video! Thanks so much for being here :) Sincerely, Pam and Fam :) MY PODCAST!: The Paper Outpost Podcast! The Joy of Junk Journals! Free to Listen Anytime! Every Tuesday & Thursday! New audio material! Junk Journals, Paper Crafting, life of a crafter, answering crafty questions! Come have a listen on Apple Podcast, Spotify, Google Podcast or go to https://anchor.fm/the-paper-outpost You can make your own Podcast! It's easy at Anchor: Here is how!: anch.co/outpost Grab a FUNDLE! Now available in my Etsy Shop!: 100 pieces! A mix of antique/vintage ledger pages, hand-dyed papers, old postcards, tea cards, handwritten paper, awesome book pages and so much more! Wonderful to use in your junk journal creations! Free Priority Shipping in the USA! :) Limited supply! :) Want to see a Fundle? Video!: https://youtu.be/KJnWd9RSpOQ Want to Buy a Fundle? Etsy Shop: https://www.etsy.com/listing/1007331616/antique-vintage-ephemera-paper?ref=shop_home_active_6&frs=1&crt=1 NEW! PRINT & MAIL Option for Vintage Digikits! :) I heard your call :) No Printer? No Problem! :) I will print & mail 10 Digikits to you! Free Priority Shipping in the USA! :) 1. Select 10 names of digikits, & send me the list via Etsy message or email to pam@thepaperoutpost.com or simply say "Surprise me!" :) 2. Then buy the Print & Mail Digikit option in my Etsy shop! :) Direct Link here: https://www.etsy.com/listing/1071078687/printed-mailed-digikits-no-printer?ref=shop_home_active_1&frs=1&crt=1 That's 50 Pages total on lightweight cardstock! See All My Digikits! https://www.etsy.com/shop/ThePaperOutpost Sincerely, Pam at The Paper Outpost :)!! I am currently buried in paper and covered in glue ;) And I am in heaven! :) Remember that Fun Can Be Simple! Go Forth and Create with Reckless Abandon! :) VINTAGE DIGIKITS! Amazing images to download & print out at home on your printer!: Etsy Shop: https://www.etsy.com/shop/ThePaperOutpost MY AMAZON STORE!: My Personal Favorite Products & Tools!: Click here to see all my items in one click with pictures in my Amazon Store! https://www.amazon.com/shop/thepaperoutpost NEWSLETTER!: Free Monthly Emailed Newsletter from The Paper Outpost! Sign Up here: http://bit.ly/freechecklistofsupplies - Free Monthly Digital Printable! - Free Checklist of Junk Journal Supplies! - Free The Note From The Book Maker explaining what a junk journal is and how to use it! - Junk Journal Tips & Updates from Pam at The Paper Outpost! MY PODCAST!: The Paper Outpost Podcast! The Joy of Junk Journals! Free to Listen Anytime! Every Tuesday & Thursday! New audio material! Junk Journals, Paper Crafting, life of a crafter, answering crafty questions! Come have a listen on Apple Podcast, Spotify, Google Podcast or go to https://anchor.fm/the-paper-outpost You can make your own Podcast! It's easy at Anchor: Here is how!: anch.co/outpost COME FIND ME AT :) ETSY Shop: https://www.thepaperoutpost.com INSTAGRAM: https://www.instagram.com/thepaperoutpost FACEBOOK: https://www.facebook.com/ThePaperOutpost The Paper Outpost Facebook Group: https://www.facebook.com/ThePaperOutpost/ The Paper Outpost Podcast!: https://anchor.fm/the-paper-outpost AMAZON STORE: https://www.amazon.com/shop/thepaperoutpost PINTEREST: https://www.pinterest.com/thepaperoutpost TWITTER: https://twitter.com/thepaperoutpost YOUTUBE: https://www.youtube.com/ThePaperOutpost #thepaperoutpost #paperoutpost #thepaperoutpost #digikits #junkjournal #junkjournals #howtomakeajunkjournal #junkjournalpodcast #thepaperoutpostpodcast #thejoyofjunkjournals #fundle --- Send in a voice message: https://anchor.fm/the-paper-outpost/message Support this podcast: https://anchor.fm/the-paper-outpost/support

Unless you're raking in over a cool million in revenue, you should only be marketing ONE offer. However, you also have to continually create fresh content, so your audience doesn't become bored.  So...how do you do this without tearing everything down and starting fresh each time or making massive changes to your offer?  I break it all down in this episode!