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Hosted by ann thomas
11 episodes with ann thomas
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2 episodes with ann thomas
2 episodes with ann thomas
2 episodes with ann thomas
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Ann Thomas is live doing the Garden Show at English Gardens in Royal Oak talking about house plants.
April 2, 2025 ~ WJR's Gardening Show hosted by Ann Thomas will be live from their Annual Garden Party, this Saturday, April 5th from 2pm-3pm. Dean Darrin, English Gardens President or Retail Operations and Merchandising, and Ann Thomas join Kevin to preview the show.
This week, we're diving into some hot topics, starting with the outrageously sexist remarks made by Triple M's Marty Sheargold during prime time radio. We discuss his shocking comments about the Matildas and his claims that endometriosis is a fabricated issue. In the true crime realm, Caitlin shares her thoughts on the gripping documentary series, Devil in the Family: The Fall of Ruby Franke. This three-part investigation reveals the harrowing story of Ruby Franke, a former YouTube vlogger and mother of six, who was arrested for child abuse in August 2023 and sentenced to prison in February 2024 after pleading guilty to aggravated abuse against her children. On a lighter note, we discuss Mindy Kaling's brand-new comedy series on Netflix, Running Point. This entertaining 10-episode series stars Kate Hudson as a reformed party girl who unexpectedly takes charge of her family's pro basketball team and must prove her mettle as a businesswoman. For book lovers, Danika reviews her two latest reads: The Reformatory by Tananarive Due and The Widow's Husband's Secret by Frieda McFadden. Plus, we're excited to announce our March book club pick: The Spirit Collection of Thorne Hall by J. Ann Thomas. Follow us on socials: Instagram: https://www.instagram.com/thedeluludiariespod TikTok: https://www.tiktok.com/@thedeluludiariespod Danika's Instagram: https://www.instagram.com/danikarbrown Caitlin's Instagram: https://www.instagram.com/caitlinsltr Watch the episode in full on YouTube: https://youtu.be/UqhxjHXUKnY
1 Peter 3:14-15 But even if you should suffer for righteousness' sake, you are blessed. “And do not be afraid of their threats, nor be troubled.” But SANCTIFY the Lord God in your hearts, and always be ready to give a DEFENSE to everyone who asks you a reason for the hope that is in you, with meekness and fear;
Marissa chats with J. Ann Thomas about her new adult gothic ghost novel, THE SPIRIT COLLECTION OF THORNE HALL. Also in this episode: the unpredictability of being a podcaster with children, how publishing can be a roller coaster of a career, creating love interests that are not perfect but are perfect for the character, using a real house and its blueprints and diagrams to keep track of ghosts (!), using real people (alive and dead) to inspire characters, character names, narrating your own audio books, and so much more! Show Notes: Ventfort Hall Museum in Lennox, MA: https://gildedage.org/ MOMA Mourning Clothes exhibit: https://www.metmuseum.org/exhibitions/listings/2014/death-becomes-herChild Ballads: https://en.wikipedia.org/wiki/Child_Ballads The Happy Writer at Bookshop.orgPurchasing your books through our webstore at Bookshop.org supports independent bookstores. Amplify MarketersOur mission is to help your message rise above the noise so it can be heard loud & clear.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Order The Happy Writer: Get More Ideas, Write More Words, and Find More Joy from First Draft to Publication and Beyond https://bookshop.org/a/11756/9781250362377 Find out more and follow The Happy Writer on social media: https://www.marissameyer.com/podcast/
WJR is a Detroit-based AM radio station that broadcasts throughout Detroit, southeast Michigan, and parts of northern Ohio. At night, it can also be heard in most of the eastern United States and eastern Canada. WJR is one of the most powerful radio stations in the United States, with a power of 50,000 watts. We chat with Ann Thomas Battersby, the first female Program Director in the station's 101-year history. During her tenure at WJR, Ann has received numerous awards and honors from several organizations including Michigan Association of Broadcasters, United Press International, the Associated Press, and the Detroit Press Club – all celebrating her work both on and off the air. She was recently inducted into the Michigan Business Women Hall of Fame, and is the 2014 recipient of the Michigan Business and Professional Association's Women & Leadership in the Workplace Award. She has also been given the prestigious “Diamond” award from the Association for Women in Communications and in 2023 was awarded the Doc Fenkell Excellence in Media award from the CATCH charity.
Isaiah 43:25-26 “I, even I, am he who blots out your transgressions, for my own sake, and remembers YOUR SINS NO MORE .REVIEW the past for me, let us argue the matter TOGETHER ; state the case for your innocence.
November 1, 2024 ~ Ann Thomas joins Paul and Luanne Thomas Ewald at the Women Who Lead Broadcast.
October 29, 2024 ~ Kimberly Ann Thomas hopes to be elected for Michigan's Supreme Court and joins Kevin to share why she wants to serve the state of Michigan.
Mathew 15:10,11 When He had called the multitude to himself, He said to them, “Hear and understand: Not what goes into the mouth defiles a man; but what comes out of the mouth, this defiles a man.”
Ephesians 4:26 “In your ANGER DO NOT SIN”: Do not let the sun go down while you are still angry,
Amid the current political and social climate, several organizations have begun to roll back their diversity, equity, inclusion and accessibility (DEIA) programs. But is this just a passing trend or a more permanent reassessment of the role DEIA plays in the workplace? Ann Thomas, Chief Diversity and Inclusion Officer at Stinson LLP, joins the program to discuss the state of DEIA today, how firms of different sizes should approach their DEIA initiatives, and how clients are still looking for their firms to show progress on diversity and inclusion.
Faith
June 9, 2024 ~ Gardening author Janet Macunovich talks to Ann Thomas about watching pollinators on your garden!
June 1, 2024 ~ Rick Vespa of English Gardens talks to host Ann Thomas all about plant maintenance, pruning, and insect and plant control.
May 25, 2024 ~ Annette Ferris of English Gardens talks to host Ann Thomas about how to care for hydrangeas.
May 11, 2024 ~ Jessica DeGraaf of Proven Winners talks to host Ann Thomas about the fun new plants available at English Gardens
April 27, 2024 ~ Linda Hassell talks to host Ann Thomas about the basics of starting a garden from the ground up!
April 20, 2024 ~ Cindy Kern of Cardinal Farms talks to host Ann Thomas about how to properly cut flower stems and raise a vegetable garden.
April 7, 2024 ~ The Eatori is a Detroit restaurant gearing up for its reopening, so General Manager Christopher Southern and Spokeswoman Colleen Robar talk to Ann Thomas about the popular eatery returning.
April 7, 2024 ~ The Gilbert Family Foundation recently announced a $1.8 million, three-year investment in the Greening of Detroit to strengthen the organization's impact in Detroit. The announcement was made at a special ceremony honoring 22 new graduates of the Greening of Detroit's signature workforce development program, the Detroit Conservation Corps. Darnell Adams, director of Detroit community initiatives for the Gilbert Family Foundation, talks to Ann Thomas about this investment.
Hey, Sister-friend
Ann Thomas Callahan, Peepeekisis Cree Nation, was one of the first Indigenous graduates of the Winnipeg General Hospital's nursing school in 1958 in Canada. She was also involved in the creation of the Registered Nurses of Canadian Indian Ancestry, now called the Canadian Indigenous Nurses Association.
Hey, Sister-friend
Hi everyone. Welcome back to the Bilna Sandeep show. If you're wondering, why am I in Saree today, that is because today's guest is a very special lady today. Every time when I think of her, first thing that I remember is a lady in Saree. So welcome to the show, Ann Thomas. Ann's LinkedIn: https://www.linkedin.com/in/ann-thomas-b-tech-mba-cisa-non-practicing-68042a112/ Craftsafari's Instagram: https://www.instagram.com/thecraftsafari/ Craftsafari's LinkedIn: https://www.linkedin.com/company/the-craft-safari/ Check out this episode on YouTube Part 1: https://youtu.be/dyi5H7XWfgY?si=izPgyGQB0OD0_CUi Part 2: https://youtu.be/Md5BS_zE9HU?si=Zq3jSUBybEuQVaVI If you want to join my network of amazing people, book a call with me at this link: https://calendly.com/bilnasandeep Homepreneurs Instagram: https://www.instagram.com/homepreneurs/ Growwie's Instagram: https://www.instagram.com/growwiemedia/ Growwie's Website: www.growwie.com Built Market Lab's Website: www.builtmarketlab.com Timestamps for your convenience: Ann Thomas and the Craft Safari Journey (00:30) Surviving the Challenges of COVID-19 in the Handicraft Industry (04:18) The Power of Customer Relations (08:51) The Impact of Instagram and BNI on Craft Safari (11:51) Lessons from Leadership: Applying BNI Insights to Business (15:12) Delegation and Traveling: Balancing Business and Family (17:38) Lessons from Losing Data: Importance of Backups (18:55) Balancing Business and Four Children (25:04) Adapting to Technology for Remote Work (32:08) Overcoming Mom Guilt: Balancing Business and Motherhood (34:53) Embracing the Sari: A Symbol of Confidence and Power (36:15) The Importance of a Support System in Business (42:56) The Power of Positive Thinking in Entrepreneurship (46:18) If you found this episode useful, I would be grateful if you could take a screenshot and share it on Instagram stories by tagging me. If you are listening to this Podcast on iTunes, please take a moment to rate my podcast. I would really appreciate your feedback, and it will help me do more for you all. Select 'View in iTunes' > click on 'Ratings and Reviews' > You can tap on the number of stars to rate and click and write a review to type your valuable feedback for me. Rate us on iTunes and leave us a review on today's episode. Be sure to let me know what valuable insights you gained from today's episode. Follow us on social media for more tips: Bilna's Instagram - https://www.instagram.com/bilnasandeep/ Homepreneurs Instagram - https://www.instagram.com/homepreneurs/ Website - https://bilnasandeep.com/ https://www.homepreneursclub.com/ Facebook - https://www.facebook.com/homepreneursclub/ YouTube - https://www.youtube.com/c/BilnaSandeep/featured Send in a voice message: https://anchor.fm/bilnasandeep/message --- Send in a voice message: https://podcasters.spotify.com/pod/show/bilnasandeep/message
Aug. 13, 2023 ~ Renaissance Venture Capital CEO and Managing Partner Chris Rizik talks to host Ann Thomas about his company's UnDemo Day from Oct. 10-11 at Ford Field, where high-potential startups seeking funding, venture capitalists from around the U.S., and Michigan corporations gather to network.
Aug. 6, 2023 ~ Pastry chef April Anderson talks to host Ann Thomas about opening a second location of her bakery, Good Cakes and Bakes, in Downtown Detroit.
July 23, 2023 ~ Renaissance Venture Capital CEO and Managing Partner Chris Rizik talks to host Ann Thomas about his company's UnDemo Day from Oct. 10-11 at Ford Field, where high-potential startups seeking funding, venture capitalists from around the U.S., and Michigan corporations gather to network.
July 2, 2023 ~ Executive Director of the Gilbert Family Foundation and Rocket Community Fund Laura Grannemann talks to host Ann Thomas about the RCF's mission to ensure every U.S. resident has access to safe, stable housing.
Ann Thomas manages Transgender Talent Agency for Films & TV. To learn more about From the Heart Productions visit www.FromtheHeartProductions.com
June 12, 2023 ~ Jim Hughes, CATCH Executive Director talks to Paul about this non-profit's upcoming golf outing and preview party and he says this year they are honoring Dave Coulier and WJR's Ann Thomas.
June 4, 2023 ~ President and CEO of the Detroit Regional Partnership Maureen Donohue Krauss talks to host Ann Thomas about if Michigan is ready for the transition to electric vehicles.
June 4, 2023 ~ Detroit Future City Vice President Ashley Williams Clark talks to host Ann Thomas about the organization's work in creating equitable land use and economic development for the city of Detroit. Plus, President and CEO of the Hudson-Webber Foundation Melanca Clark joins to talk about investments made by her foundation into Ashley Williams Clark's Center for Equity, Engagement and Research to promote shared prosperity in the city.
June 4, 2023 ~ Vice President Government Affairs at Rocket Companies Jared Fleisher talks to host Ann Thomas about how the state should address the affordable housing crisis.
June 4, 2023 ~ Detroit Riverfront Conservancy Chair Matthew Cullen talks to host Ann Thomas about the new Southwest Greenway and other exciting changes coming the riverfront area.
June 3, 2023 ~ English Gardens Landscape Company President Rick Vespa, along with English Gardens Graphic Designer Gracie Vespa, joins host Ann Thomas to talk about the history of English Gardens and to give gardening tips.
May 13, 2023 ~ 760 WJR's Ann Thomas speaks with English Gardens Nursery and Perennial Buyer Darrell Youngquest, who gives advice on buying plants for Mother's Day.
April 23, 2023 ~ Ann Thomas talks with CEO of the Bedrock Manufacturing Company Awenate Cobbina about the Shinola Detroit Store on Canfield Street.
April 22, 2023 ~ On the Earth Day Edition of "The WJR Gardening Show," 760 WJR's Ann Thomas speaks with English Gardens Nursery and Perennial Buyer Darrell Youngquest about planting shrubs and other plants before the last risk of frost. Learn what can be planted right now and how to take proper care of these plants throughout the season.
April 15, 2023 ~ English Gardens Landscape Company President Rick Vespa and Manager Jim Morris join 760 WJR's Ann Thomas for a roundtable on landscaping. From a small backyard upgrade to a full plot overhaul, learn how easy it can be to conceptualize, plan, and install an outdoor space that beautifies your life and improves the value of your home.
In the first part of this episode, I'm talking to Ann Thomas – founder, CEO, and manager of Transgender Talent – an independent production company and talent management for trans performers and artists. We talk about the entertainment industry, how its changed (and in some ways how it hasn't), challenges that trans performers and artists experience in the industry, how trans artists can navigate an increasingly dangerous political environment, why it's important to support these artists, and how you can do that. Then I'm talking to friend of the pod, Dr. Sara Benesh of the University of Wisconsin Milwaukee, our resident judicial scholar here at Deep Dive. Given the hellscape that the judiciary is bringing down on the United States, and after a particularly eventful week (last week), I have a lot of questions for Sara. And, so we're going there on the Wisconsin State Supreme Court race, District Court Judge Matthew Kacsmaryk's recent decision overturning the FDA's approval of Mifepristone, and the latest Clarence Thomas weirdness.And in my final thought, I discuss the cruelty of the modern Republican Party.Mentioned:Transgender TalentAuschwitz.orgActors AccessLindy and Jlo on YoutubeClarence Thomas and the Billionaire - ProPublicaThe Cruelty is the Point - Adam Serwer-------------------------Follow Deep Dive:InstagramPost.newsYouTube Email: deepdivewithshawn@gmail.com **Artwork: Dovi Design **Music: Joystock
TW // We do discuss topics that could be challenging to some listeners on this episode, including sexual assault. Please make a conscious decision when you decide to listen. I'mma bet you learn a lot from today's guest on the podcast... Ann Thomas is the founder of Transgender Talent
Dr. Donna-Ann Thomas, Yale University's Division Chief of Pain Management and Anesthesiology, migrated from Jamaica as a young adult and found herself in a life-changing accident that would alter the trajectory of her life and career. Believing that things don't just happen by chance, Dr. Thomas has committed her life to taking care of others through medicine and service-based missions around the globe. Her story is unique, uplifting and engaging, tune in now!
December 14, 2022 ~ WJR's Ann Thomas and Dr. Dr. Carole Kowalczyk of the Michigan Center for Fertility and Women's Health take a look back at their first 20 years as hosts of “The Healthy Woman Show.”
October 12, 2022 ~ WJR's Ann Thomas and Dr. Carole Kowalchuk from The Michigan Center for Fertility & Woman's Health speak with Beaumont Hospital Dearborn Diagnostic Radiology Specialist Dr. Lisa Awan about how yearly mammograms after age 40 can greatly reduce the likelihood of a serious breast cancer diagnosis.
thel seemed to have a jinx on the horses and was always loosing. She considered herself hardluck Ethel until one day she went to see a fortune teller who told her she will be lucky very soon that she will win five times. But beware a handsome man who will chase her and catch her because he wants to kill her. . . Duration: 29:42 Starring: Ruth Gilbert, Ann Thomas, Ralph Bell Broadcast Date: 8th June 1952
February 14, 2022 ~ Guy Gordon remembers the late Frank Beckmann with WJR Senior Producer Ann Thomas and former WJR News Director Dick Haefner.
February 14, 2022 ~ Full Show. The Guy Gordon Show remembers Frank Beckmann with Jim Brandstatter, Dick Haefner, Ann Thomas, Mike Bouchard, Chris Renwick, Mike Shirkey, Ed Coosaia and Doug Bernstein.
Episode 141 of A History of Rock Music in Five Hundred Songs looks at “River Deep Mountain High'”, and at the career of Ike and Tina Turner. Click the full post to read liner notes, links to more information, and a transcript of the episode. Also, this episode was recorded before the sad death of the great Ronnie Spector, whose records are featured a couple of times in this episode, which is partly about her abusive ex-husband. Her life paralleled Tina Turner's quite closely, and if you haven't heard the episode I did about her last year, you can find it at https://500songs.com/podcast/episode-110-be-my-baby-by-the-ronettes/. I wish I'd had the opportunity to fit a tribute into this episode too. Patreon backers also have a ten-minute bonus episode available, on "Wild Thing" by the Troggs. 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/ Resources As usual, all the songs excerpted in the podcast can be heard in full at Mixcloud. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the Brill Building scene, and I referred to it for the material about Jeff Barry and Ellie Greenwich. I've referred to two biographies of Phil Spector in this episode, Phil Spector: Out of His Head by Richard Williams and He's a Rebel by Mark Ribkowsky. Tina Turner has written two autobiographies. I Tina is now out of print but is slightly more interesting, as it contains interview material with other people in her life. My Love Story is the more recent one and covers her whole life up to 2019. Ike Turner's autobiography Takin' Back My Name is a despicable, self-serving, work of self-justification, and I do not recommend anyone buy or read it. But I did use it for quotes in the episode so it goes on the list. Ike Turner: King of Rhythm by John Collis is more even-handed, and contains a useful discography. That Kat Sure Could Play! is a four-CD compilation of Ike Turner's work up to 1957. The TAMI and Big TNT shows are available on a Blu-Ray containing both performances. There are many compilations available with some of the hits Spector produced, but I recommend getting Back to Mono, a four-CD overview of his career containing all the major singles put out by Philles. There are sadly no good compilations of Ike and Tina Turner's career, as they recorded for multiple labels, and would regularly rerecord the hits in new versions for each new label, so any compilation you find will have the actual hit version of one or two tracks, plus a bunch of shoddy remakes. However, the hit version of "River Deep, Mountain High" is on the album of the same name, which is a worthwhile album to get,. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today's episode is unfortunately another one of those which will require a content warning, because we're going to be talking about Ike and Tina Turner. For those of you who don't know, Ike Turner was possibly the most famously abusive spouse in the whole history of music, and it is literally impossible to talk about the duo's career without talking about that abuse. I am going to try not to go into too many of the details -- if nothing else, the details are very readily available for those who want to seek them out, not least in Tina's two autobiographies, so there's no sense in retraumatising people who've experienced domestic abuse by going over them needlessly -- but it would be dishonest to try to tell the story without talking about it at all. This is not going to be an episode *about* Ike Turner's brutal treatment of Tina Turner -- it's an episode about the record, and about music, and about their musical career -- but the environment in which "River Deep, Mountain High" was created was so full of toxic, abusive, destructive men that Ike Turner may only be the third-worst person credited on the record, and so that abuse will come up. If discussion of domestic abuse, gun violence, cocaine addiction, and suicide attempts are likely to cause you problems, you might want to read the transcript rather than listen to the podcast. That said, let's get on with the story. One of the problems I'm hitting at this point of the narrative is that starting with "I Fought the Law" we've hit a run of incredibly intertangled stories The three most recent episodes, this one, and nine of the next twelve, all really make up one big narrative about what happened when folk-rock and psychedelia hit the Hollywood scene and the Sunset Strip nightclubs started providing the raw material for the entertainment industry to turn into pop culture. We're going to be focusing on a small number of individuals, and that causes problems when trying to tell a linear narrative, because people don't live their lives sequentially -- it's not the case that everything happened to Phil Spector, and *then* everything happened to Cass Elliot, and *then* everything happened to Brian Wilson. All these people were living their lives and interacting and influencing each other, and so sometimes we'll have to mention something that will be dealt with in a future episode. So I'll say here and now that we *will* be doing an episode on the Lovin' Spoonful in two weeks. So when I say now that in late 1965 the Lovin' Spoonful were one of the biggest bands around, and possibly the hottest band in the country, you'll have to take that on trust. But they were, and in late 1965 their hit "Do You Believe in Magic?" had made the top ten: [Excerpt: The Lovin' Spoonful, "Do You Believe in Magic?"] Phil Spector, as always, was trying to stay aware of the latest trends in music, and he was floundering somewhat. Since the Beatles had hit America in 1964, the hits had dried up -- he'd produced a few minor hit records in 1964, but the only hits he'd made in 1965 had been with the Righteous Brothers -- none of his other acts were charting. And then the Righteous Brothers left him, after only a year. In late 1965, he had no hit acts and no prospect of having any. There was only one thing to do -- he needed to start making his own folk-rock records. And the Lovin' Spoonful gave him an idea how to do that. Their records were identifiably coming from the same kind of place as people like the Byrds or the Mamas and the Papas, but they were pop songs, not protest songs -- the Lovin' Spoonful weren't doing Dylan covers or anything intellectual, but joyous pop confections of a kind that anyone could relate to. Spector knew how to make pop records like that. But to do that, he needed a band. Even though he had been annoyed at the way that people had paid more attention to the Righteous Brothers, as white men, than they had to the other vocalists he'd made hit records with (who, as Black women, had been regarded by a sexist and racist public as interchangeable puppets being controlled by a Svengali rather than as artists in their own right), he knew he was going to have to work with a group of white male vocalist-instrumentalists if he wanted to have his own Lovin' Spoonful. And the group he chose was a group from Greenwich Village called MFQ. MFQ had originally named themselves the Modern Folk Quartet, as a parallel to the much better-known Modern Jazz Quartet, and consisted of Cyrus Faryar, Henry Diltz, Jerry Yester, and Chip Douglas, all of whom were multi-instrumentalists who would switch between guitar, banjo, mandolin, and bass depending on the song. They had combined Kingston Trio style clean-cut folk with Four Freshmen style modern harmonies -- Yester, who was a veteran of the New Christy Minstrels, said of the group's vocals that "the only vocals that competed with us back then was Curt Boettcher's group", and they had been taken under the wing of manager Herb Cohen, who had got them a record deal with Warner Brothers. They recorded two albums of folk songs, the first of which was produced by Jim Dickson, the Byrds' co-manager: [Excerpt: The Modern Folk Quartet, "Sassafras"] But after their second album, they had decided to go along with the trends and switch to folk-rock. They'd started playing with electric instruments, and after a few shows where John Sebastian, the lead singer of the Lovin' Spoonful, had sat in with them on drums, they'd got themselves a full-time drummer, "Fast" Eddie Hoh, and renamed themselves the Modern Folk Quintet, but they always shortened that to just MFQ. Spector was convinced that this group could be another Lovin' Spoonful if they had the right song, and MFQ in turn were eager to become something more than an unsuccessful folk group. Spector had the group rehearsing in his house for weeks at a stretch before taking them into the studio. The song that Spector chose to have the group record was written by a young songwriter he was working with named Harry Nilsson. Nilsson was as yet a complete unknown, who had not written a hit and was still working a day job, but he had a talent for melody, and he also had a unique songwriting sensibility combining humour and heartbreak. For example, he'd written a song that Spector had recorded with the Ronettes, "Here I Sit", which had been inspired by the famous graffito from public toilet walls -- "Here I sit, broken-hearted/Paid a dime and only farted": [Excerpt: The Ronettes, "Here I Sit"] That ability to take taboo bodily functions and turn them into innocent-sounding love lyrics is also at play in the song that Spector chose to have the MFQ record. "This Could be the Night" was written by Nilsson from the perspective of someone who is hoping to lose his virginity -- he feels like he's sitting on dynamite, and he's going to "give her some", but it still sounds innocent enough to get past the radio censors of the mid-sixties: [Excerpt: Harry Nilsson, "This Could Be the Night (demo)"] Spector took that song, and recorded a version of it which found the perfect balance between Spector's own wall of sound and the Lovin' Spoonful's "Good Time Music" sound: [Excerpt: MFQ, "This Could be the Night"] Brian Wilson was, according to many people, in the studio while that was being recorded, and for decades it would remain a favourite song of Wilson's -- he recorded a solo version of it in the 1990s, and when he started touring solo for the first time in 1998 he included the song in his earliest live performances. He also tried to record it with his wife's group, American Spring, in the early 1970s, but was unable to, because while he could remember almost all of the song, he couldn't get hold of the lyrics. And the reason he couldn't get hold of the lyrics is that the record itself went unreleased, because Phil Spector had found a new performer he was focusing on instead. It happened during the filming of the Big TNT Show, a sequel to the TAMI Show, released by American International Pictures, for which "This Could Be the Night" was eventually used as a theme song. The MFQ were actually performers at the Big TNT Show, which Spector was musical director and associate producer of, but their performances were cut out of the finished film, leaving just their record being played over the credits. The Big TNT Show generally gets less respect than the TAMI Show, but it's a rather remarkable document of the American music scene at the very end of 1965, and it's far more diverse than the TAMI show. It opens with, of all people, David McCallum -- the actor who played Ilya Kuryakin on The Man From UNCLE -- conducting a band of session musicians playing an instrumental version of "Satisfaction": [Excerpt: David McCallum, "Satisfaction"] And then, in front of an audience which included Ron and Russel Mael, later of Sparks, and Frank Zappa, who is very clearly visible in audience shots, came performances of every then-current form of popular music. Ray Charles, Petula Clark, Bo Diddley, the Byrds, the Lovin' Spoonful, Roger Miller, the Ronettes, and Donovan all did multiple songs, though the oddest contribution was from Joan Baez, who as well as doing some of her normal folk repertoire also performed "You've Lost That Lovin' Feelin'" with Spector on piano: [Excerpt: Joan Baez and Phil Spector, "You've Lost That Lovin' Feelin'"] But the headline act on the eventual finished film was the least-known act on the bill, a duo who had not had a top forty hit for four years at this point, and who were only on the bill as a last-minute fill-in for an act who dropped out, but who were a sensational live act. So sensational that when Phil Spector saw them, he knew he needed to sign them -- or at least he needed to sign one of them: [Excerpt: Ike and Tina Turner with the Ikettes, "Please, Please, Please"] Because Ike and Tina Turner's performance at the Big TNT Show was, if anything, even more impressive than James Brown's performance on the TAMI Show the previous year. The last we saw of Ike Turner was way back in episode eleven. If you don't remember that, from more than three years ago, at the time Turner was the leader of a small band called the Kings of Rhythm. They'd been told by their friend B.B. King that if you wanted to make a record, the person you go to was Sam Phillips at Memphis Recording Services, and they'd recorded "Rocket '88", often cited as the first ever rock and roll record, under the name of their sax player and vocalist Jackie Brenston: [Excerpt: Jackie Brenston and the Delta Cats, "Rocket '88"] We looked at some of the repercussions from that recording throughout the first year and a half or so of the podcast, but we didn't look any more at the career of Ike Turner himself. While "Rocket '88" was a minor hit, the group hadn't followed it up, and Brenston had left to go solo. For a while Ike wasn't really very successful at all -- though he was still performing around Memphis, and a young man named Elvis Presley was taking notes at some of the shows. But things started to change for Ike when he once again turned up at Sam Phillips' studio -- this time because B.B. King was recording there. At the time, Sun Records had still not started as its own label, and Phillips' studio was being used for records made by all sorts of independent blues labels, including Modern Records, and Joe Bihari was producing a session for B.B. King, who had signed to Modern. The piano player on the session also had a connection to "Rocket '88" -- when Jackie Brenston had quit Ike's band to go solo, he'd put together a new band to tour as the Delta Cats, and Phineas Newborn Jr had ended up playing Turner's piano part on stage, before Brenston's career collapsed and Newborn became King's pianist. But Phineas Newborn was a very technical, dry, jazz pianist -- a wonderful player, but someone who was best suited to playing more cerebral material, as his own recordings as a bandleader from a few years later show: [Excerpt: Phineas Newborn Jr, "Barbados"] Bihari wasn't happy with what Newborn was playing, and the group took a break from recording to get something to eat and try to figure out the problem. While they were busy, Turner went over to the piano and started playing. Bihari said that that was exactly what they wanted, and Turner took over playing the part. In his autobiography, Turner variously remembers the song King was recording there as "You Know I Love You" and "Three O'Clock Blues", neither of which, as far as I can tell, were actually recorded at Phillips' studio, and both of which seem to have been recorded later -- it's difficult to say for sure because there were very few decent records kept of these things at the time. But we do know that Turner played on a lot of King's records in the early fifties, including on "Three O'Clock Blues", King's first big hit: [Excerpt: B.B. King, "Three O'Clock Blues"] For the next while, Turner was on salary at Modern Records, playing piano on sessions, acting as a talent scout, and also apparently writing many of the songs that Modern's artists would record, though those songs were all copyrighted under the name "Taub", a pseudonym for the Bihari brothers, as well as being a de facto arranger and producer for the company. He worked on many records made in and around Memphis, both for Modern Records and for other labels who drew from the same pool of artists and musicians. Records he played on and produced or arranged include several of Bobby "Blue" Bland's early records -- though Turner's claim in his autobiography that he played on Bland's version of "Stormy Monday" appears to be incorrect, as that wasn't recorded until a decade later. He did, though, play on Bland's “Drifting from Town to Town”, a rewrite of Charles Brown's “Driftin' Blues”, on which, as on many sessions run by Turner, the guitarist was Matt “Guitar” Murphy, who later found fame with the Blues Brothers: [Excerpt: Bobby "Blue" Bland with Ike Turner and his Orchestra, "Driftin' Blues"] Though I've also seen the piano part on that credited as being by Johnny Ace – there's often some confusion as to whether Turner or Ace played on a session, as they played with many of the same artists, but that one was later rereleased as by Bobby “Blue” Bland with Ike Turner and his Orchestra, so it's safe to say that Ike's on that one. He also played on several records by Howlin' Wolf, including "How Many More Years", recorded at Sam Phillips' studio: [Excerpt: Howlin' Wolf, "How Many More Years?"] Over the next few years he played with many artists we've covered already in the podcast, like Richard Berry and the Flairs, on whose recordings he played guitar rather than piano: [Excerpt: The Flairs, "Baby Wants"] He also played guitar on records by Elmore James: [Excerpt: Elmore James, "Please Find My Baby"] and played with Little Junior Parker, Little Milton, Johnny Ace, Roscoe Gordon, and many, many more. As well as making blues records, he also made R&B records in the style of Gene and Eunice with his then-wife Bonnie: [Excerpt: Bonnie and Ike Turner, "My Heart Belongs to You"] Bonnie was his fourth wife, all of them bigamous -- or at least, I *think* she was his fourth. I have seen two different lists Turner gave of his wives, both of them made up of entirely different people, though it doesn't help that many of them also went by nicknames. But Turner started getting married when he was fourteen, and as he would often put it "you gave a preacher two dollars, the papers cost three dollars, that was it. In those days Blacks didn't bother with divorces." (One thing you will see a lot with Turner, unfortunately, is his habit of taking his own personal misbehaviours and claiming they were either universal, or at least that they were universal among Black people, or among men. It's certainly true that some people in the Southeastern US had a more lackadaisical attitude towards remarrying without divorce at the time than we might expect, but it was in no way a Black thing specifically -- it was a people-like-Ike-Turner thing -- see for example the very similar behaviour of Jerry Lee Lewis. I'm trying, when I quote him, not to include too many of these generalisations, but I thought it important to include that one early on to show the kind of self-justification to which he was prone throughout his entire life.) It's largely because Bonnie played piano and was singing with his band that Turner switched to playing guitar, but there was another reason – while he disliked the attention he got on stage, he also didn't want a repeat of what had happened with Jackie Brenston, where Brenston as lead vocalist and frontman had claimed credit for what Ike thought of as his own record. Anyone who saw Ike Turner and his Kings of Rhythm was going to know that Ike Turner was the man who was making it all happen, and so he was going to play guitar up front rather than be on the piano in the background. So Turner took guitar lessons from Earl Hooker, one of the great blues guitarists of the period, who had played with Turner's piano inspiration Pinetop Perkins before recording solo tracks like "Sweet Angel": [Excerpt: Earl Hooker, "Sweet Angel"] Turner was always happier in the studio than performing live -- despite his astonishing ego, he was also a rather shy person who didn't like attention -- and he'd been happy working on salary for Modern and freelancing on occasion for other labels like Chess and Duke. But then the Biharis had brought him out to LA, where Modern Records was based, and as Joel Bihari put it "Ike did a great job for us, but he was a country boy. We brought him to L.A., and he just couldn't take city life. He only stayed a month, then left for East St. Louis to form his own band. He told me he was going back there to become a star." For once, Turner's memory of events lined up with what other people said about him. In his autobiography, he described what happened -- "Down in Mississippi, life is slow. Tomorrow, you are going to plough this field. The next day, you going to cut down these trees. You stop and you go on about your business. Next day, you start back on sawing trees or whatever you doing. Here I am in California, and this chick, this receptionist, is saying "Hold on, Mr Bihari, line 2... hold line 3... Hey Joe, Mr Something or other on the phone for you." I thought "What goddamn time does this stop?"" So Turner did head to East St. Louis -- which is a suburb of St. Louis proper, across the Mississippi river from it, and in Illinois rather than Missouri, and at the time a thriving industrial town in its own right, with over eighty thousand people living there. Hardly the laid-back country atmosphere that Turner was talking about, but still also far from LA both geographically and culturally. He put together a new lineup of the Kings of Rhythm, with a returning Jackie Brenston, who were soon recording for pretty much every label that was putting out blues and R&B tracks at that point, releasing records on RPM, Sue, Flair, Federal, and Modern as well as several smaller labels. usually with either Brenston or the group's drummer Billy Gayles singing lead: [Excerpt: Billy Gayles with Ike Turner's Kings of Rhythm, "Just One More Time"] None of these records was a success, but the Kings of Rhythm were becoming the most successful band in East St. Louis. In the mid-fifties the only group that was as popular in the greater St. Louis metro area was the Johnny Johnson trio -- which soon became the Chuck Berry trio, and went on to greater things, while the Kings of Rhythm remained on the club circuit. But Turner was also becoming notorious for his temper -- he got the nickname "Pistol-Whippin' Ike Turner" for the way he would attack people with his gun, He also though was successful enough that he built his own home studio, and that was where he recorded "Boxtop". a calypso song whose middle eight seems to have been nicked from "Why Do Fools Fall In Love?" and whose general feel owes more than a little to "Love is Strange": [Excerpt: Ike Turner, Carlson Oliver, and Little Ann, "Boxtop"] The female vocals on that track were by Turner's new backing vocalist, who at the time went by the stage name "Little Ann". Anna Mae Bullock had started going to see the Kings of Rhythm regularly when she was seventeen, because her sister was dating one of the members of the band, and she had become a fan almost immediately. She later described her first experience seeing the group: "The first time I saw Ike on stage he was at his very best, sharply dressed in a dark suit and tie. Ike wasn't conventionally handsome – actually, he wasn't handsome at all – and he certainly wasn't my type. Remember, I was a schoolgirl, all of seventeen, looking at a man. I was used to high school boys who were clean-cut, athletic, and dressed in denim, so Ike's processed hair, diamond ring, and skinny body – he was all edges and sharp cheekbones – looked old to me, even though he was only twenty-five. I'd never seen anyone that thin! I couldn't help thinking, God, he's ugly." Turner didn't find Bullock attractive either -- one of the few things both have always agreed on in all their public statements about their later relationship was that neither was ever particularly attracted to the other sexually -- and at first this had caused problems for Anna Mae. There was a spot in the show where Turner would invite a girl from the audience up on stage to sing, a different one every night, usually someone he'd decided he wanted to sleep with. Anna Mae desperately wanted to be one of the girls that would get up on stage, but Turner never picked her. But then one day she got her chance. Her sister's boyfriend was teasing her sister, trying to get her to sing in this spot, and passed her the microphone. Her sister didn't want to sing, so Anna Mae grabbed the mic instead, and started singing -- the song she sang was B.B. King's "You Know I Love You", the same song that Turner always remembered as being recorded at Sun studios, and on which Turner had played piano: [Excerpt: B.B. King, "You Know I Love You"] Turner suddenly took notice of Anna Mae. As he would later say, everyone *says* they can sing, but it turned out that Anna Mae could. He took her on as an occasional backing singer, not at first as a full member of the band, but as a sort of apprentice, who he would teach how to use her talents more commercially. Turner always said that during this period, he would get Little Richard to help teach Anna Mae how to sing in a more uncontrolled, exuberant, style like he did, and Richard has backed this up, though Anna Mae never said anything about this. We do know though that Richard was a huge fan of Turner's -- the intro to "Good Golly Miss Molly": [Excerpt: Little Richard, "Good Golly Miss Molly"] was taken almost exactly from the intro to "Rocket '88": [Excerpt: Jackie Brenston and the Delta Cats, "Rocket '88"] and Richard later wrote the introduction to Turner's autobiography. So it's possible -- but both men were inveterate exaggerators, and Anna Mae only joined Ike's band a few months before Richard's conversion and retirement from music, and during a point when he was a massive star, so it seems unlikely. Anna Mae started dating Raymond Hill, a saxophone player in the group, and became pregnant by him -- but then Hill broke his ankle, and used that as an excuse to move back to Clarksdale, Mississippi, to be with his family, abandoning his pregnant teenage girlfriend, and it seems to be around this point that Turner and Anna Mae became romantically and sexually involved. Certainly, one of Ike's girlfriends, Lorraine Taylor, seems to have believed they were involved while Anna Mae was pregnant, and indeed that Turner, rather than Hill, was the father. Taylor threatened Bullock with Turner's gun, before turning it on herself and attempting suicide, though luckily she survived. She gave birth to Turner's son, Ike Junior, a couple of months after Bullock gave birth to her own son, Craig. But even after they got involved, Anna Mae was still mostly just doing odd bits of backing vocals, like on "Boxtop", recorded in 1958, or on 1959's "That's All I Need", released on Sue Records: [Excerpt: Ike Turner's Kings of Rhythm, "That's All I Need"] And it seemed that would be all that Anna Mae Bullock would do, until Ike Turner lent Art Lassiter eighty dollars he didn't want to pay back. Lassiter was a singer who was often backed by his own vocal trio, the Artettes, patterned after Ray Charles' Raelettes. He had performed with Turner's band on a semi-regular basis, since 1955 when he had recorded "As Long as I Have You" with his vocal group the Trojans, backed by "Ike Turner and his Orchestra": [Excerpt: The Trojans, Ike Turner and His Orchestra, "As Long as I Have You"] He'd recorded a few more tracks with Turner since then, both solo and under group names like The Rockers: [Excerpt: The Rockers, "Why Don't You Believe?"] In 1960, Lassiter needed new tyres for his car, and borrowed eighty dollars from Turner in order to get them -- a relatively substantial amount of money for a working musician back then. He told Turner that he would pay him back at a recording session they had booked, where Lassiter was going to record a song Turner had written, "A Fool in Love", with Turner's band and the Artettes. But Lassiter never showed up -- he didn't have the eighty dollars, and Turner found himself sat in a recording studio with a bunch of musicians he was paying for, paying twenty-five dollars an hour for the studio time, and with no singer there to record. At the time, he was still under the impression that Lassiter might eventually show up, if not at that session, then at least at a future one, but until he did, there was nothing he could do and he was getting angry. Bullock suggested that they cut the track without Lassiter. They were using a studio with a multi-track machine -- only two tracks, but that would be enough. They could cut the backing track on one track, and she could record a guide vocal on the other track, since she'd been around when Turner was teaching Lassiter the song. At least that way they wouldn't have wasted all the money. Turner saw the wisdom of the idea -- he said in his autobiography "This was the first time I got hip to two-track stereo" -- and after consulting with the engineer on the session, he decided to go ahead with Bullock's plan. The plan still caused problems, because they were recording the song in a key written for a man, so Bullock had to yell more than sing, causing problems for the engineer, who according to Turner kept saying things like "Goddammit, don't holler in my microphone". But it was only a demo vocal, after all, and they got it cut -- and as Lassiter didn't show up, Turner took Lassiter's backing vocal group as his own new group, renaming the Artettes to the Ikettes, and they became the first of a whole series of lineups of Ikettes who would record with Turner for the rest of his life. The intention was still to get Lassiter to sing lead on the record, but then Turner played an acetate of it at a club night where he was DJing as well as performing, and the kids apparently went wild: [Excerpt: Ike and Tina Turner, "A Fool in Love"] Turner took the demo to Juggy Murray at Sue Records, still with the intention of replacing Anna Mae's vocal with Lassiter's, but Murray insisted that that was the best thing about the record, and that it should be released exactly as it was, that it was a guaranteed hit. Although -- while that's the story that's told all the time about that record by everyone involved in the recording and release, and seems uncontested, there does seem to be one minor problem with the story, which is that the Ikettes sing "you know you love him, you can't understand/Why he treats you like he do when he's such a good man". I'm willing to be proved wrong, of course, but my suspicion is that Ike Turner wasn't such a progressive thinker that he was writing songs about male-male relationships in 1960. It's possible that the Ikettes were recorded on the same track as Tina's guide vocals, but if the intention was to overdub a new lead from Lassiter on an otherwise finished track, it would have made more sense for them to sing their finished backing vocal part. It seems more likely to me that they decided in the studio that the record was going to go out with Anna Mae singing lead, and the idea of Murray insisting is a later exaggeration. One thing that doesn't seem to be an exaggeration, though, is that initially Murray wanted the record to go out as by Ike Turner's Kings of Rhythm featuring Little Ann, but Turner had other ideas. While Murray insisted "the girl is the star", Turner knew what happened when other people were the credited stars on his records. He didn't want another Jackie Brenston, having a hit and immediately leaving Turner right back where he started. If Little Ann was the credited singer, Little Ann would become a star and Ike Turner would have to find a new singer. So he came up with a pseudonym. Turner was a fan of jungle women in film serials and TV, and he thought a wild-woman persona would suit Anna Mae's yelled vocal, and so he named his new star after Sheena, Queen of the Jungle, a female Tarzan knock-off comic character created by Will Eisner and Jerry Iger in the thirties, but who Turner probably knew from a TV series that had been on in 1955 and 56. He gave her his surname, changed "Sheena" slightly to make the new name alliterative and always at least claimed to have registered a trademark on the name he came up with, so if Anna Mae ever left the band he could just get a new singer to use the name. Anna Mae Bullock was now Tina Turner, and the record went out as by "Ike and Tina Turner": [Excerpt: Ike and Tina Turner, "A Fool in Love"] That went to number two on the R&B charts, and hit the top thirty on the pop charts, too. But there were already problems. After Ike had had a second son with Lorraine, he then got Tina pregnant with another of his children, still seeing both women. He had already started behaving abusively towards Tina, and as well as being pregnant, she was suffering from jaundice -- she says in the first of her two autobiographies that she distinctly remembered lying in her hospital bed, hearing "A Fool in Love" on the radio, and thinking "What's love got to do with it?", though as with all such self-mythologising we should take this with a pinch of salt. Turner was in need of money to pay for lawyers -- he had been arrested for financial crimes involving forged cheques -- and Juggy Murray wouldn't give him an advance until he delivered a follow-up to "A Fool in Love", so he insisted that Tina sneak herself out of the hospital and go into the studio, jaundiced and pregnant, to record the follow-up. Then, as soon as the jaundice had cleared up, they went on a four-month tour, with Tina heavily pregnant, to make enough money to pay Ike's legal bills. Turner worked his band relentlessly -- he would accept literally any gig, even tiny clubs with only a hundred people in the audience, reasoning that it was better for the band's image to play small venues that had to turn people away because they were packed to capacity, than to play large venues that were only half full. While "A Fool in Love" had a substantial white audience, the Ike and Tina Turner Revue was almost the epitome of the chitlin' circuit act, playing exciting, funky, tightly-choreographed shows for almost entirely Black audiences in much the same way as James Brown, and Ike Turner was in control of every aspect of the show. When Tina had to go into hospital to give birth, rather than give up the money from gigging, Ike hired a sex worker who bore a slight resemblance to Tina to be the new onstage "Tina Turner" until the real one was able to perform again. One of the Ikettes told the real Tina, who discharged herself from hospital, travelled to the venue, beat up the fake Tina, and took her place on stage two days after giving birth. The Ike and Tina Turner Revue, with the Kings of Rhythm backing Tina, the Ikettes, and male singer Jimmy Thomas, all of whom had solo spots, were an astonishing live act, but they were only intermittently successful on record. None of the three follow-ups to "A Fool in Love" did better than number eighty-two on the charts, and two of them didn't even make the R&B charts, though "I Idolize You" did make the R&B top five. Their next big hit came courtesy of Mickey and Sylvia. You may remember us talking about Mickey and Sylvia way back in episode forty-nine, from back in 2019, but if you don't, they were one of a series of R&B duet acts, like Gene and Eunice, who came up after the success of Shirley and Lee, and their big hit was "Love is Strange": [Excerpt: Mickey and Sylvia, "Love is Strange"] By 1961, their career had more or less ended, but they'd recorded a song co-written by the great R&B songwriter Rose Marie McCoy, which had gone unreleased: [Excerpt: Mickey and Sylvia, "It's Gonna Work Out Fine"] When that was shelved they remade it as an Ike and Tina Turner record, with Mickey and Sylvia being Ike -- Sylvia took on all the roles that Ike would normally do in the studio, arranging the track and playing lead guitar, as well as joining the Ikettes on backing vocals, while Mickey did the spoken answering vocals that most listeners assumed were Ike, and which Ike would replicate on stage. The result, unsurprisingly, sounded more like a Mickey and Sylvia record than anything Ike and Tina had ever released before, though it's very obviously Tina on lead vocals: [Excerpt: Ike and Tina Turner, "It's Gonna Work Out Fine"] That made the top twenty on the pop charts -- though it would be their last top forty hit for nearly a decade as Ike and Tina Turner. They did though have a couple of other hits as the Ikettes, with Ike Turner putting the girl group's name on the label so he could record for multiple labels. The first of these, "I'm Blue (The Gong Gong Song)" was a song Ike had written which would later go on to become something of an R&B standard. It featured Dolores Johnson on lead vocals, but Tina sang backing vocals and got a rare co-production credit: [Excerpt: The Ikettes, "I'm Blue (The Gong Gong Song)"] The other Ikettes top forty hit was in 1965, with a song written by Steve Venet and Tommy Boyce -- a songwriter we will be hearing more about in three weeks -- and produced by Venet: [Excerpt: The Ikettes, "Peaches 'n' Cream"] Ike wasn't keen on that record at first, but soon came round to it when it hit the charts. The success of that record caused that lineup of Ikettes to split from Ike and Tina -- the Ikettes had become a successful act in their own right, and Dick Clark's Caravan of Stars wanted to book them, but that would have meant they wouldn't be available for Ike and Tina shows. So Ike sent a different group of three girls out on the road with Clark's tour, keeping the original Ikettes back to record and tour with him, and didn't pay them any royalties on their records. They resented being unable to capitalise on their big hit, so they quit. At first they tried to keep the Ikettes name for themselves, and got Tina Turner's sister Alline to manage them, but eventually they changed their name to the Mirettes, and released a few semi-successful records. Ike got another trio of Ikettes to replace them, and carried on with Pat Arnold, Gloria Scott, and Maxine Smith as the new Ikettes,. One Ikette did remain pretty much throughout -- a woman called Ann Thomas, who Ike Turner was sleeping with, and who he would much later marry, but who he always claimed was never allowed to sing with the others, but was just there for her looks. By this point Ike and Tina had married, though Ike had not divorced any of his previous wives (though he paid some of them off when Ike and Tina became big). Ike and Tina's marriage in Tijuana was not remembered by either of them as a particularly happy experience -- Ike would always later insist that it wasn't a legal marriage at all, and in fact that it was the only one of his many, many, marriages that hadn't been, and was just a joke. He was regularly abusing her in the most horrific ways, but at this point the duo still seemed to the public to be perfectly matched. They actually only ended up on the Big TNT Show as a last-minute thing -- another act was sick, though none of my references mention who it was who got sick, just that someone was needed to fill in for them, and as Ike and Tina were now based in LA -- the country boy Ike had finally become a city boy after all -- and would take any job on no notice, they got the gig. Phil Spector was impressed, and he decided that he could revitalise his career by producing a hit for Tina Turner. There was only one thing wrong -- Tina Turner wasn't an act. *Ike* and Tina Turner was an act. And Ike Turner was a control freak, just like Spector was -- the two men had essentially the same personality, and Spector didn't want to work with someone else who would want to be in charge. After some negotiation, they came to an agreement -- Spector could produce a Tina Turner record, but it would be released as an Ike and Tina Turner record. Ike would be paid twenty thousand dollars for his services, and those services would consist of staying well away from the studio and not interfering. Spector was going to go back to the old formulas that had worked for him, and work with the people who had contributed to his past successes, rather than leaving anything to chance. Jack Nitzsche had had a bit of a falling out with him and not worked on some of the singles he'd produced recently, but he was back. And Spector was going to work with Jeff Barry and Ellie Greenwich again. He'd fallen out with Barry and Greenwich when "Chapel of Love" had been a hit for the Dixie Cups rather than for one of Spector's own artists, and he'd been working with Mann and Weill and Goffin and King instead. But he knew that it was Barry and Greenwich who were the ones who had worked best with him, and who understood his musical needs best, so he actually travelled to see them in New York instead of getting them to come to him in LA, as a peace offering and a sign of how much he valued their input. The only problem was that Spector hadn't realised that Barry and Greenwich had actually split up. They were still working together in the studio, and indeed had just produced a minor hit single for a new act on Bert Berns' label BANG, for which Greenwich had written the horn arrangement: [Excerpt: Neil Diamond, "Solitary Man"] We'll hear more about Neil Diamond, and about Jeff Barry's work with him, in three weeks. But Barry and Greenwich were going through a divorce and weren't writing together any more, and came back together for one last writing session with Spector, at which, apparently, Ellie Greenwich would cry every time they wrote a line about love. The session produced four songs, of which two became singles. Barry produced a version of "I Can Hear Music", written at these sessions, for the Ronettes, who Spector was no longer interested in producing himself: [Excerpt: The Ronettes, "I Can Hear Music"] That only made number ninety-nine on the charts, but the song was later a hit for the Beach Boys and has become recognised as a classic. The other song they wrote in those sessions, though, was the one that Spector wanted to give to Tina Turner. "River Deep, Mountain High" was a true three-way collaboration -- Greenwich came up with the music for the verses, Spector for the choruses, and Barry wrote the lyrics and tweaked the melody slightly. Spector, Barry, and Greenwich spent two weeks in their writing session, mostly spent on "River Deep, Mountain High". Spector later said of the writing "Every time we'd write a love line, Ellie would start to cry. I couldn't figure out what was happening, and then I realised… it was a very uncomfortable situation. We wrote that, and we wrote ‘I Can Hear Music'…. We wrote three or four hit songs on that one writing session. “The whole thing about ‘River Deep' was the way I could feel that strong bass line. That's how it started. And then Jeff came up with the opening line. I wanted a tender song about a chick who loved somebody very much, but a different way of expressing it. So we came up with the rag doll and ‘I'm going to cuddle you like a little puppy'. And the idea was really built for Tina, just like ‘Lovin' Feelin” was built for the Righteous Brothers.” Spector spent weeks recording, remixing, rerecording, and reremixing the backing track, arranged by Nitzsche, creating the most thunderous, overblown, example of the Wall of Sound he had ever created, before getting Tina into the studio. He also spent weeks rehearsing Tina on the song, and according to her most of what he did was "carefully stripping away all traces of Ike from my performance" -- she was belting the song and adding embellishments, the way Ike Turner had always taught her to, and Spector kept insisting that she just sing the melody -- something that she had never had the opportunity to do before, and which she thought was wonderful. It was so different from anything else that she'd recorded that after each session, when Ike would ask her about the song, she would go completely blank -- she couldn't hold this pop song in her head except when she was running through it with Spector. Eventually she did remember it, and when she did Ike was not impressed, though the record became one of the definitive pop records of all time: [Excerpt: Ike and Tina Turner, "River Deep, Mountain High"] Spector was putting everything on the line for this record, which was intended to be his great comeback and masterpiece. That one track cost more than twenty thousand dollars to record -- an absolute fortune at a time when a single would normally be recorded in one or two sessions at most. It also required a lot of work on Tina's part. She later estimated that she had sung the opening line of the song a thousand times before Spector allowed her to move on to the second line, and talked about how she got so hot and sweaty singing the song over and over that she had to take her blouse off in the studio and sing the song in her bra. She later said "I still don't know what he wanted. I still don't know if I pleased him. But I never stopped trying." Spector produced a total of six tracks with Tina, including the other two songs written at those Barry and Greenwich sessions, "I'll Never Need More Than This", which became the second single released off the "River Deep, Mountain High" album, and "Hold On Baby", plus cover versions of Arthur Alexander's "Every Day I Have to Cry Some", Pomus and Shuman's "Save the Last Dance", and "A Love Like Yours (Don't Come Knocking Everyday)" a Holland-Dozier-Holland song which had originally been released as a Martha and the Vandellas B-side. The planned album was to be padded out with six tracks produced by Ike Turner, mostly remakes of the duo's earlier hits, and was planned for release after the single became the hit everyone knew it would. The single hit the Hot One Hundred soon after it was released: [Excerpt: Ike and Tina Turner, "River Deep, Mountain High"] ...and got no higher up the charts than number eighty-eight. The failure of the record basically destroyed Spector, and while he had been an abusive husband before this, now he became much worse, as he essentially retired from music for four years, and became increasingly paranoid and aggressive towards the industry that he thought was not respectful enough of his genius. There have been several different hypotheses as to why "River Deep Mountain High" was not a success. Some have said that it was simply because DJs were fed up of Spector refusing to pay payola, and had been looking for a reason to take him down a peg. Ike Turner thought it was due to racism, saying later “See, what's wrong with America, I think, is that rather than accept something for its value… what it's doing, America mixes race in it. You can't call that record R&B. But because it's Tina… if you had not put Tina's name on there and put ‘Joe Blow', then the Top 40 stations would have accepted it for being a pop record. But Tina Turner… they want to brand her as being an R&B artist. I think the main reason that ‘River Deep' didn't make it here in America was that the R&B stations wouldn't play it because they thought it was pop, and the pop stations wouldn't play it because they thought it was R&B. And it didn't get played at all. The only record I've heard that could come close to that record is a record by the Beach Boys called ‘Good Vibrations'. I think these are the two records that I've heard in my life that I really like, you know?” Meanwhile, Jeff Barry thought it was partly the DJs but also faults in the record caused by Phil Spector's egomania, saying "he has a self-destructive thing going for him, which is part of the reason that the mix on ‘River Deep' is terrible, he buried the lead and he knows he buried the lead and he cannot stop himself from doing that… if you listen to his records in sequence, the lead goes further and further in and to me what he is saying is, ‘It is not the song I wrote with Jeff and Ellie, it is not the song – just listen to those strings. I want more musicians, it's me, listen to that bass sound. …' That, to me, is what hurts in the long run... Also, I do think that the song is not as clear on the record as it should be, mix-wise. I don't want to use the word overproduced, because it isn't, it's just undermixed." There's possibly an element of all three of these factors in play. As we've discussed, 1965 seems to have been the year that the resegregation of American radio began, and the start of the long slow process of redefining genres so that rock and roll, still considered a predominantly Black music at the beginning of the sixties, was by the end of the decade considered an almost entirely white music. And it's also the case that "River Deep, Mountain High" was the most extreme production Spector ever committed to vinyl, and that Spector had made a lot of enemies in the music business. It's also, though, the case that it was a genuinely great record: [Excerpt: Ike and Tina Turner, "River Deep, Mountain High"] However, in the UK, it was promoted by Decca executive Tony Hall, who was a figure who straddled both sides of the entertainment world -- as part of his work as a music publicist he had been a presenter on Oh Boy!, written a column in Record Mirror, and presented a Radio Luxembourg show. Hall put his not-inconsiderable weight behind promoting the record, and it ended up reaching number two in the UK -- being successful enough that the album was also released over here, though it wouldn't come out in the US for several years. The record also attracted the attention of the Rolling Stones, who invited Ike and Tina to be their support act on a UK tour, which also featured the Yardbirds, and this would be a major change for the duo in all sorts of ways. Firstly, it got them properly in contact with British musicians -- and the Stones would get Ike and Tina as support artists several times over the next few years -- and also made the UK and Europe part of their regular tour itinerary. It also gave the duo their first big white rock audience, and over the next several years they would pivot more and more to performing music aimed at that audience, rather than the chitlin' circuit they'd been playing for previously. Ike was very conscious of wanting to move away from the blues and R&B -- while that was where he'd made his living as a musician, it wasn't music he actually liked, and he would often talk later about how much he respected Keith Richards and Eric Clapton, and how his favourite music was country music. Tina had also never been a fan of blues or R&B, and wanted to perform songs by the white British performers they were meeting. The tour also, though, gave Tina her first real thoughts of escape. She loved the UK and Europe, and started thinking about what life could be like for her not just being Ike Turner's wife and working fifty-one weeks a year at whatever gigs came along. But it also made that escape a little more difficult, because on the tour Tina lost one of her few confidantes in the organisation. Tina had helped Pat Arnold get away from her own abusive partner, and the two had become very close, but Arnold was increasingly uncomfortable being around Ike's abuse of Tina, and couldn't help her friend the way she'd been helped. She decided she needed to get out of a toxic situation, and decided to stay in England, where she'd struck up an affair with Mick Jagger, and where she found that there were many opportunities for her as a Black woman that simply hadn't been there in the US. (This is not to say that Britain doesn't have problems with racism -- it very much does, but those problems are *different* problems than the ones that the US had at that point, and Arnold found Britain's attitude more congenial to her personally). There was also another aspect, which a lot of Black female singers of her generation have mentioned and which probably applies here. Many Black women have said that they were astonished on visiting Britain to be hailed as great singers, when they thought of themselves as merely average. Britain does not have the kind of Black churches which had taught generations of Black American women to sing gospel, and so singers who in the US thought of themselves as merely OK would be far, far, better than any singers in the UK -- the technical standards were just so much lower here. (This is something that was still true at least as late as the mid-eighties. Bob Geldof talks in his autobiography about attending the recording session for "We Are the World" after having previously recorded "Do They Know It's Christmas?" and being astonished at how much more technically skilled the American stars were and how much more seriously they took their craft.) And Arnold wasn't just an adequate singer -- she was and is a genuinely great talent -- and so she quickly found herself in demand in the UK. Jagger got her signed to Immediate Records, a new label that had been started up by the Stones manager Andrew Oldham, and where Jimmy Page was the staff producer. She was given a new name, P.P. Arnold, which was meant to remind people of another American import, P.J. Proby, but which she disliked because the initials spelled "peepee". Her first single on the label, produced by Jagger, did nothing, but her second single, written by a then-unknown songwriter named Cat Stevens, became a big hit: [Excerpt: P.P. Arnold, "The First Cut is the Deepest"] She toured with a backing band, The Nice, and made records as a backing singer with artists like the Small Faces. She also recorded a duet with the unknown singer Rod Stewart, though that wasn't a success: [Excerpt: Rod Stewart and P.P. Arnold, "Come Home Baby"] We'll be hearing more about P.P. Arnold in future episodes, but the upshot of her success was that Tina had even fewer people to support her. The next few years were increasingly difficult for Tina, as Ike turned to cocaine use in a big way, became increasingly violent, and his abuse of her became much more violent. The descriptions of his behaviour in Tina's two volumes of autobiography are utterly harrowing, and I won't go into them in detail, except to say that nobody should have to suffer what she did. Ike's autobiography, on the other hand, has him attempting to defend himself, even while admitting to several of the most heinous allegations, by saying he didn't beat his wife any more than most men did. Now the sad thing is that this may well be true, at least among his peer group. Turner's behaviour was no worse than behaviour from, say, James Brown or Brian Jones or Phil Spector or Jerry Lee Lewis, and it may well be that behaviour like this was common enough among people he knew that Turner's behaviour didn't stand out at all. His abuse has become much better-known, because the person he was attacking happened to become one of the biggest stars in the world, while the women they attacked didn't. But that of course doesn't make what Ike did to Tina any better -- it just makes it infinitely sadder that so many more people suffered that way. In 1968, Tina actually tried to take her own life -- and she was so fearful of Ike that when she overdosed, she timed it so that she thought she would be able to at least get on stage and start the first song before collapsing, knowing that their contract required her to do that for Ike to get paid. As it was, one of the Ikettes noticed the tablets she had taken had made her so out of it she'd drawn a line across her face with her eyebrow pencil. She was hospitalised, and according to both Ike and Tina's reports, she was comatose and her heart actually stopped beating, but then Ike started yelling at her, saying if she wanted to die why didn't she do it by jumping in front of a truck, rather than leaving him with hospital bills, and telling her to go ahead and die if this was how she was going to treat him -- and she was so scared of Ike her heart started up again. (This does not seem medically likely to me, but I wasn't there, and they both were). Of course, Ike frames this as compassion and tough love. I would have different words for it myself. Tina would make several more suicide attempts over the years, but even as Tina's life was falling apart, the duo's professional career was on the up. They started playing more shows in the UK, and they toured the US as support for the Rolling Stones. They also started having hits again, after switching to performing funked-up cover versions of contemporary hits. They had a minor hit with a double-sided single of the Beatles' "Come Together" and the Stones' "Honky-Tonk Women", then a bigger one with a version of Sly and the Family Stone's "I Want to Take You Higher", then had their biggest hit ever with "Proud Mary". It's likely we'll be looking at Creedence Clearwater Revival's original version of that song at some point, but while Ike Turner disliked the original, Tina liked it, and Ike also became convinced of the song's merits by hearing a version by The Checkmates Ltd: [Excerpt: The Checkmates Ltd, "Proud Mary"] That was produced by Phil Spector, who came briefly out of his self-imposed exile from the music business in 1969 to produce a couple of singles for the Checkmates and Ronnie Spector. That version inspired Ike and Tina's recording of the song, which went to number four on the charts and won them a Grammy award in 1971: [Excerpt: Ike and Tina Turner, "Proud Mary"] Ike was also investing the money they were making into their music. He built his own state-of-the-art studio, Bolic Sound, which Tina always claimed was a nod to her maiden name, Bullock, but which he later always said was a coincidence. Several other acts hired the studio, especially people in Frank Zappa's orbit -- Flo and Eddie recorded their first album as a duo there, and Zappa recorded big chunks of Over-Nite Sensation and Apostrophe('), two of his most successful albums, at the studio. Acts hiring Bolic Sound also got Tina and the Ikettes on backing vocals if they wanted them, and so for example Tina is one of the backing vocalists on Zappa's "Cosmik Debris": [Excerpt: Frank Zappa, "Cosmik Debris"] One of the most difficult things she ever had to sing in her life was this passage in Zappa's song "Montana", which took the Ikettes several days' rehearsal to get right. [Excerpt: Frank Zappa and the Mothers of Invention, "Montana"] She was apparently so excited at having got that passage right that she called Ike out of his own session to come in and listen, but Ike was very much unimpressed, and insisted that Tina and the Ikettes not get credit on the records they made with Zappa. Zappa later said “I don't know how she managed to stick with that guy for so long. He treated her terribly and she's a really nice lady. We were recording down there on a Sunday. She wasn't involved with the session, but she came in on Sunday with a whole pot of stew that she brought for everyone working in the studio. Like out of nowhere, here's Tina Turner coming in with a rag on her head bringing a pot of stew. It was really nice.” By this point, Ike was unimpressed by anything other than cocaine and women, who he mostly got to sleep with him by having truly gargantuan amounts of cocaine around. As Ike was descending further into paranoia and abuse, though, Tina was coming into her own. She wrote "Nutbush City Limits" about the town where she grew up, and it reached number 22 on the charts -- higher than any song Ike ever wrote: [Excerpt: Ike and Tina Turner, "Nutbush City Limits"] Of course, Ike would later claim that he wrote the music and let Tina keep all the credit. Tina was also asked by the Who to appear in the film version of their rock opera Tommy, where her performance of "Acid Queen" was one of the highlights: [Excerpt: Tina Turner, "Acid Queen"] And while she was filming that in London, she was invited to guest on a TV show with Ann-Margret, who was a huge fan of Ike and Tina, and duetted with Tina -- but not Ike -- on a medley of her hits: [Excerpt: Tina Turner and Ann-Margret, "Nutbush City Limits/Honky Tonk Woman"] Just as with "River Deep, Mountain High", Tina was wanted for her own talents, independent of Ike. She was starting to see that as well as being an abusive husband, he was also not necessary for her to have a career. She was also starting to find parts of her life that she could have for herself, independent of her husband. She'd been introduced to Buddhist meditation by a friend, and took it up in a big way, much to Ike's disapproval. Things finally came to a head in July 1976, in Dallas, when Ike started beating her up and for the first time she fought back. She pretended to reconcile with him, waited for him to fall asleep, and ran across a busy interstate, almost getting hit by a ten-wheel truck, to get to another hotel she could see in the distance. Luckily, even though she had no money, and she was a Black woman in Dallas, not a city known for its enlightened attitudes in the 1970s, the manager of the Ramada Inn took pity on her and let her stay there for a while until she could get in touch with Buddhist friends. She spent the next few months living off the kindness of strangers, before making arrangements with Rhonda Graam, who had started working for Ike and Tina in 1964 as a fan, but had soon become indispensable to the organisation. Graam sided with Tina, and while still supposedly working for Ike she started putting together appearances for Tina on TV shows like Cher's. Cher was a fan of Tina's work, and was another woman trying to build a career after leaving an abusive husband who had been her musical partner: [Excerpt: Cher and Tina Turner, "Makin' Music is My Business"] Graam became Tina's full-time assistant, as well as her best friend, and remained part of her life until Graam's death a year ago. She also got Tina booked in to club gigs, but for a long time they found it hard to get bookings -- promoters would say she was "only half the act". Ike still wanted the duo to work together professionally, if not be a couple, but Tina absolutely refused, and Ike had gangster friends of his shoot up Graam's car, and Tina heard rumours that he was planning to hire a hit man to come after her. Tina filed for divorce, and gave Ike everything -- all the money the couple had earned together in sixteen years of work, all the property, all the intellectual property -- except for two cars, one of which Ike had given her and one which Sammy Davis Jr. had given her, and the one truly important thing -- the right to use the name "Tina Turner", which Ike had the trademark on. Ike had apparently been planning to hire someone else to perform as "Tina Turner" and carry on as if nothing had changed. Slowly, Tina built her career back up, though it was not without its missteps. She got a new manager, who also managed Olivia Newton-John, and the manager brought in a song he thought was perfect for Tina. She turned it down, and Newton-John recorded it instead: [Excerpt: Olivia Newton-John, "Physical"] But even while she was still playing small clubs, her old fans from the British rock scene were boosting her career. In 1981, after Rod Stewart saw her playing a club gig and singing his song "Hot Legs", he invited her to guest with him and perform the song on Saturday Night Live: [Excerpt: Rod Stewart and Tina Turner, "Hot Legs"] The Rolling Stones invited Tina to be their support act on a US tour, and to sing "Honky Tonk Women" on stage with them, and eventually when David Bowie, who was at the height of his fame at that point, told his record label he was going to see her on a night that EMI wanted to do an event for him, half the record industry showed up to the gig. She had already recorded a remake of the Temptations' "Ball of Confusion" with the British Electric Foundation -- a side project for two of the members of Heaven 17 -- in 1982, for one of their albums: [Excerpt: British Electric Foundation, "Ball of Confusion"] Now they were brought in to produce a new single for her, a remake of Al Green's "Let's Stay Together": [Excerpt: Tina Turner, "Let's Stay Together"] That made the top thirty in the US, and was a moderate hit in many places, making the top ten in the UK. She followed it up with another BEF production, a remake of "Help!" by the Beatles, which appears only to have been released in mainland Europe. But then came the big hit: [Excerpt: Tina Turner, "What's Love Got to Do With It?"] wenty-six years after she started performing with Ike, Tina Turner was suddenly a major star. She had a string of successes throughout the eighties and nineties, with more hit records, film appearances, a successful autobiography, a film based on the autobiography, and record-setting concert appearan
Hello, hello, hello, hello people seasons greetings, happy holidays. It's that time of year again, we welcome the Christmas feeling
Hey PRIDE fam! Welcome back to a brand new episode featuring founder and CEO of Transgender Talent, Ann Thomas! Listen in as we discuss her journey to becoming a leader in Trans representation, her opinion on the Dave Chappelle drama, what she sees for the future for Trans actors and so much more! So grab yourself a treat and take a little time to hang with PRIDE! --- Send in a voice message: https://anchor.fm/pridethepodcast/message
On this episode of #WeNeedToTalk Malynda chats with Founder of Transgender Talent, Hollywoods first talent management company that exclusively represents transgender and non-binary talent. Malynda and Ann talk about her journey to self discovery, what led her to start the agency, what needs to change in Hollywood and what stereotypes of the Transgender community she wants to change. Transgender Talent was founded in 2015 offering a safe and encouraging environment that fosters the talent of transgender actors by providing all management services as well as emotional and psychological support and more to their clients as they navigate the critical industry of film and television. Starting with three clients and now boasting a roster of almost 50, Transgender Talent is the most well-known and well respected management firm for transgender performers in the industry. Ann Thomas is second generation transgender. She and her father came out to each other in the early aughts after Ann, while caring for her father who was dying of cancer, found women's clothing in her father's closet while cleaning up the home. That prompted a very deep and emotional conversation resulting in them both coming out to each other. (We have wonderful video, as well as a one hour podcast about it in depth with Dr Drew.) Since founding Transgender Talent LLC, Ann has been a focal point, north star and important voice for many transgender performers who have come seeking a career in the entertainment industry. She has been quoted in articles from CNN to Rolling Stone and more but has never had a profile on her journey and the great work she does every day for others. They have three employees and are quickly growing. The management company provides its talent with all the tools they need to get started in the business: to find an agent, get jobs, advise on medical issues, hormone treatments, passports and more. They help provide a space for these artists often at a very vulnerable point in their careers and give them the platform and opportunity to succeed. The company boasts a talent, voice over, music and production division committed to telling transgender stories.
Ann Thomas is Chief Marketing Office of Western Reserve Distillers. Her background is in marketing, having spent some time working for an oncology radiation center and nursing homes where she was responsible for cultivating relationships with Dr’s and patients. Ann volunteered for an English speaking cancer association while living in Switzerland. When deciding to start […]
June 26, 2021 ~ On the premier edition of “Why I Vaccinate,” WJR's Ann Thomas and I Vaccinate Founder Veronica McNally overview the state of vaccinations in Michigan, with a look at the efficacy of the COVID-19 adolescent vaccine. Guests include Michigan Department of Health and Human Services Chief Medical Executive and Chief Deputy Director for Health and Human Services Dr. Joneigh Khaldun, and Michigan Medicine Pediatric Cardiologist Dr. John Charpie.
Bio Anne Thomas is a personal stylist based in Fairfield County serving clients all over the US, and now the UK and Canada. Anne graduated from the Fashion Institute of Technology more than 20 years ago and is an expert in styling women for special events, like vacations and for everyday wear; and everything in between. Contact information to be posted is limited to - Anne Thomas Personal Stylist Email: Shopwithannet@gmail.com Instagram and Facebook pages instagram.com/annescabicorner facebook.com/annescabicorner. Visit www.epbreakfastclub.com to learn more about our sisters club and how you can be apart of our rapid growing family
Is it ALWAYS the best policy? On this episode we talk with writer/director Leslie Ann Thomas and star Evan Watkins about their new film which is on VOD Platforms now. To turn their marriage around, a young couple on the rocks is prescribed a weekend of total honesty by their therapist. When their rambunctious group of friends joins them, the good, the bad, and the hilarious comes out in a way that only long-time friends can reveal. We talked with Leslie and Evan about the making of the film, it's unique tone and trying to keep a straight face while shooting a low budget indie comedy...
Ann Thomas is the cofounder of Wester Reserve Distillers, a craft distillery located just outside of Cleveland and Ohio’s only certified organic distillery. With her husband and son, Ann makes a full array of award winning spirits from all organic ingredients, including local organic non-GMO, heritage seed stock grains for their whiskies, gins, and vodka, organic Louisiana molasses for their rum, and organic agave for their tequila which they can’t call tequila because it isn’t made in Mexico.No, this episode isn't about wine, but the reason I wanted to highlight what Ann and her family are doing with Western Reserve Distillers is because I think it’s extremely important to get across a simple idea about organic agriculture: I’ve found that People often don’t care whether their spirits are made with organic ingredients. I think that’s because we tend to think about everything as it relates to us personally. So we think about organic concerns from a standpoint of what we put into our body, rather than what organic means for the world. But the simple idea that I want to get across with this episode is this, and really it’s the mission for this podcast: Organic is not as much about what we put into our bodies as it is about what we put into the world. Your purchase of your favorite bourbon or vodka supports an entire agricultural system and supply chain that involves millions of acres of land and waterways. Take corn for example, which is used in bourbon and other whiskies. It accounts for over 91 million acres of farmland in the US, most of which is grown conventionally with chemical herbicides and pesticides and fertilizers. Corn alone accounts for millions of tons of hazardous chemicals being dumped into our environment. If you are not buying organic spirits, you are helping to create and support that system.So I wanted to introduce you to one of a handful of spirits companies that is giving you an option to defund the destruction of our environment, including a bourbon that beat Pappy Van Winkle as best bourbon in the world. Ultimately, of course, it will be healthier for you too because you’ll get to live in a cleaner world.I know you’ll enjoy meeting Ann Thomas as much as I did, and I hope the great work she and her family are doing with Western Reserve Distillers makes you think twice the next time you reach for your favorite spirit.https://www.westernreservedistillers.com/Sponsor:https://centralaswine.com/
Yesterday we spoke to Ger Smith who praised the work of Sr Ann Thomas who died in October. We speak to family and friends of the late nun.
Jacee’s Daily Therapy During Quarantine + Riding Upcoming Horses + Goals For 2020
Guest host Ann Thomas speaks with Jessica A. Gold, M.D., M.S., and Christina Mangurian, M.D., M.A.S., about their commentary on sexual harassment and gender discrimination in the health care workplace and on how mental health professionals can help remedy these inequities. How pervasive is this problem in health care? [3:13] What are the goals of TIME'S UP Healthcare? [6:57] How are mental health professionals uniquely qualified to develop system-level efforts to promote change? [11:12] What are some key steps mental health care providers can take to raise awareness? [14:12] What progress has been made? [17:23] What does the future hold? [20:10] Be sure to let your colleagues know about the podcast, and please rate and review it on Apple Podcasts, Google Play, Stitcher, Spotify, or wherever you listen to it. Listen to other podcasts produced by the American Psychiatric Association. Browse articles online. Also visit the online edition of this month’s Journal to watch a video of Deputy Editor Daniel S. Pine, M.D., present highlights from the issue. Follow the Journal on Twitter. E-mail us at ajp@psych.org
In this episode, Neal Christopher and Badr Raknakaran give an overview of other podcasts that may be of interest to psychiatrists. Links to some resources below: (Not all are discussed in the episode) Psychopharmacology Updates Practical psychopharmacology updates for mental health clinicians. Useful for psychiatry / mental health professionals. Expert interviews and soundbites from CME presentations. Practical and free of commercial bias. Not sponsored by any pharmaceutical company. https://podcasts.apple.com/us/podcast/psychopharmacology-and-psychiatry-updates/id1425185370 MDedge https://podcasts.apple.com/us/podcast/mdedge-psychcast/id1382898254?mt=2 MDedge Psychcast is a weekly podcast from MDedge Psychiatry, online home of Clinical Psychiatry News and Current Psychiatry. Hosted by Editor in Chief Lorenzo Norris, MD, Psychcast features psychiatric clinicians discussing the issues and concerns that most affect their specialty. The information in this podcast is provided for informational and educational purposes only. The Medical Mind Podcast A podcast about innovation in mental health care from the APA Division of Education. APA Administration host Ann Thomas interviews APA members and other healthcare professionals about new initiatives in psychiatry. https://www.psychiatry.org/psychiatrists/education/podcasts/the-medical-mind-podcast Psychiatric Services From Pages to Practice Psychiatric Services Editor Lisa Dixon, M.D., M.P.H., and Podcast Editor and co-host Josh Berezin, M.D., M.S., discuss key aspects of research recently published by Psychiatric Services. Tune in to Psychiatric Services From Pages to Practice to learn about the latest mental health services research and why it is relevant. Topics include community-based treatment programs, collaborative care, evidence-based treatment and service delivery, criminal and social justice, policy analysis, and more. https://ps.psychiatryonline.org/podcast Psychiatry Unbound APA Publishing's Books podcast, hosted by APA Books Editor-in-Chief, Laura Roberts, M.D. Psychiatry Unbound offers the opportunity to hear the voices behind the most prominent psychiatric scholarship in the field today. Subscribe now to learn about important topics in the field of psychiatry and see how our authors are making an impact in clinical settings throughout the world. http://psychiatryunbound.apapublishing.libsynpro.com/ AJP Audio brings you highlights from each issue of The American Journal of Psychiatry. https://ajp.psychiatryonline.org/audio The Journal of Clinical Psychiatry Publisher's Podcast includes monthly audio updates of the features in each issue of JCP, plus special features added from time to time. https://podcasts.apple.com/us/podcast/the-journal-of-clinical-psychiatry-publishers-podcast/id386299220 Concepts in Psychiatry The premiere podcast for psychiatrists, psychiatry residents, and other mental health professionals interested in strengthening their knowledge of the fundamental concepts of psychiatry and learning the latest news in the treatment of mental health disorders. Hosted by Sarah DeLeon, MD, a third year psychiatry resident. https://podcasts.apple.com/us/podcast/concepts-in-psychiatry/id1257416543 PsychEd: educational psychiatry podcast This podcast is written and produced by psychiatry residents at the University of Toronto and is aimed at medical students and residents. Listeners will learn about fundamental and more advanced topics in psychiatry as our resident team explore these topics with world-class psychiatrists at U of T and abroad. https://podcasts.apple.com/us/podcast/psyched-educational-psychiatry-podcast/id1215646896 Journal of the American Academy of Child and Adolescent Psychiatry Each month JAACAP highlights a selected article found within the pages of the Journal by providing a podcast interview with the author. Tune in regularly to this feature of JAACAP, where we strive for a relaxed 'fireside chat' atmosphere in which authors can share aspects of their science that we are less often privy to. Podcasts are typically 15 to 20 minutes in length. https://podcasts.apple.com/us/podcast/journal-american-academy-child-adolescent-psychiatry/id660778429 Focus on Neurology and Psychiatry by ReachMD New research and clinical trials yield frequent developments in neuroscience and mental health. ReachMD welcomes an array of leading thinkers who lend their focused expertise to these principles, central to human function and ability. https://podcasts.apple.com/us/podcast/focus-on-neurology-and-psychiatry/id913720346 Mad in America podcast Welcome to the Mad in America podcast, a new weekly discussion that searches for the truth about psychiatric prescription drugs and mental health care worldwide. This podcast is part of Mad in America's mission to serve as a catalyst for rethinking psychiatric care. We believe that the current drug-based paradigm of care has failed our society and that scientific research, as well as the lived experience of those who have been diagnosed with a psychiatric disorder, calls for profound change. On the podcast we have interviews with experts and those with lived experience of the psychiatric system. Thank you for joining us as we discuss the many issues around rethinking psychiatric care around the world. https://podcasts.apple.com/us/podcast/focus-on-neurology-and-psychiatry/id913720346 SAGE Psychology & Psychiatry Welcome to the official free Podcast site from SAGE for Psychology & Psychiatry. SAGE is a leading international publisher of journals, books, and electronic media for academic, educational, and professional markets with principal offices in Los Angeles, London, New Delhi, and Singapore. https://podcasts.apple.com/us/podcast/sage-psychology-psychiatry/id871125966 Mental Health and Psychiatry (Video & Audio) Guest speakers, researchers and University of California faculty explore mental illness and mental health. https://podcasts.apple.com/us/podcast/mental-health-and-psychiatry-video/id522813934 https://podcasts.apple.com/us/podcast/mental-health-and-psychiatry-audio/id522813323 PeerView Neuroscience & Psychiatry CME/CNE/CPE Audio Podcast PeerView is an independent, professional medical publishing company focused on gathering and reporting information pertaining to clinically relevant advances and developments in the science and practice of medicine. As publishers of PeerView Publications, PeerView is solely responsible for the selection of publication topics, the preparation of editorial content and the distribution of all materials it publishes. https://podcasts.apple.com/us/podcast/peerview-neuroscience-psychiatry-cme-cne-cpe-audio/id179489480 Mental Health Book Club Podcast Sydney Timmins - a writer and Becky Lawrence - a secondary school teacher discuss books that contain mental health issues. Sydney and Becky will combine their love of reading and talking, working their way through anything from self-help, fiction and memoirs tackling a range of mental health issues. Trigger warning: this podcast discusses mental health topics that may cause distress to some listeners, we will give a full list of topics in each episodes show notes. https://podcasts.apple.com/us/podcast/mental-health-book-club-podcast/id1279210164 Mental - The Podcast to Destigmatise Mental Health Mental is the brain-child of Bobby Temps, who lives and thrives while managing his own mental health. Each week joined by a special guest Mental is intended to be a safe space to hear honest and open discussion about mental health in the hope listeners will feel more empowered to continue the conversation with others. This podcast is a chance for Bobby to give back for the support he has received and share what he continues to learn in the ongoing journey for optimum mental wellbeing. Covering many, many topics that influence mental health, we focus on identity and the sheer weight of being a human in our modern, technology-filled world. Learn about different conditions from first-hand experience, with statistics you can trust and inspiring guests. Mental health is something to be mindful of just as much as physical health, and Mental strives to let listeners know that they don't have to do so alone. Oh, and remember… you are enough! https://podcasts.apple.com/us/podcast/mental-the-podcast-to-destigmatise-mental-health/id1358920477 MQ Open Mind MQ: Transforming Mental Health https://www.mqmentalhealth.org/ MQ Open Mind looks at the science behind mental health and its potential to transform lives. The show digs deep into the cutting-edge research taking on mental illness and speaks to the people it could help. Hear conversations on a range of different conditions, from depression and anxiety to schizophrenia and bipolar. Brought to you by MQ: Transforming Mental Health, the new major mental health research charity https://podcasts.apple.com/us/podcast/mq-open-mind/id1271690765 Piece of Mind: Mental Health & Psychiatry We bring you the latest on mental health research at Cardiff University's MRC Centre and the National Centre for Mental Health (NCMH), plus real-life experiences of people affected by mental health problems. We would love to hear your feedback or ideas for future episodes, either comment on our latest episode, message us at info@ncmh.info or Tweet/Insta with #POMpod. https://podcasts.apple.com/us/podcast/piece-of-mind-mental-health-psychiatry/id1326789920 Mental Health Foundation podcast https://podcasts.apple.com/us/podcast/mental-health-foundation-podcast/id665005881 JAMA Psychiatry Author Interviews Interviews with authors of articles from JAMA Psychiatry. JAMA Psychiatry is an international peer-reviewed journal for clinicians, scholars, and research scientists in psychiatry, mental health, behavioral science, and allied fields. JAMA Psychiatry strives to publish original, state-of-the-art studies and commentaries of general interest to clinicians, scholars, and research scientists in the field. The journal seeks to inform and to educate its readers as well as to stimulate debate and further exploration into the nature, causes, treatment, and public health importance of mental illness. https://podcasts.apple.com/us/podcast/jama-psychiatry-author-interviews/id1227007379 ADD Lancet NEI Podcast Neuroscience Education Institute The Neuroscience Education Institute (NEI) is committed to help raise the standard of mental health by providing imaginative medical education that focuses on the highest level of learning. Each episode offers an opportunity to learn about current issues in psychiatry from key opinion leaders in the medical field. NEI's Podcast would be of value to anyone with an interest in neuropsychiatric diseases and psychopharmacology. https://podcasts.apple.com/us/podcast/nei-podcast/id288425495 Therapy We All Wear It Differently A podcast for early career psychologists. If you're looking for inspiration and advice for your psychology career, you're in the right place. Amy Felman interviews working psychologists from diverse fields with all levels of experience as they share their journeys, challenges and career breakthroughs that have lead them to where they are today. Tune in and discover how we all wear it differently. https://podcasts.apple.com/us/podcast/we-all-wear-it-differently-podcast-for-early-career/id992827102 Psychologists Off The Clock: A Psychology Podcast About The Science And Practice Of Living Well Ever wonder what therapists talk about over coffee? We are three clinical psychologists who love to chat about the best ideas from psychology. In this podcast, we explore the psychological principles we use in our clinical work, and bring you ideas from psychology that can help you flourish in your work, parenting, relationships, and health. Thank you for listening to Psychologists Off The Clock! https://podcasts.apple.com/us/podcast/psychologists-off-clock-psychology-podcast-about-science/id1176171178 Shrink Rap Radio David Van Nuys, Ph.D. All the psychology you need to know and just enough to make you dangerous... This podcast features renowned psychologist,Dr. David Van Nuys , brining you in-depth interviews on a broad array of psychological topics including: psychotherapy, dreams, consciousness, depth psychology, business psychology, developmental psychology, mind/body psychology, personal growth, psychology and art, research psychology, social issues, and spirituality. The roster of world-class guests includes: Philip Zimbardo, Charles Tart, Irvin Yalom, Jonathan Haidt, Sara Lazar, Robert Altemeyer, Stanley Krippner, Arnold Mindell, Dacher Keltner, Michael Meade, and David Barlow among others. https://podcasts.apple.com/us/podcast/shrink-rap-radio/id79491957 Speaking of Psychology American Psychological Association "Speaking of Psychology" is an audio podcast series highlighting some of the latest, most important and relevant psychological research being conducted today. Produced by the American Psychological Association, these podcasts will help listeners apply the science of psychology to their everyday lives. https://podcasts.apple.com/us/podcast/speaking-of-psychology/id705934263 Counselor Toolbox Podcast Dr. Dawn-Elise Snipes Counselors, coaches and sober companions help hundreds of thousands of people affected by Addictions and Mental Health issues each year. Learn about the current research and practical counseling tools to improve your skills and provide the best possible services. Counselor Toolbox targets counselors, coaches and companions, but can also provide useful counseling self-help tools for persons struggling with these issues and their loved ones. AllCEUs is an approved counseling continuing education provider for addiction and mental health counselors in most states. Counseling CEUs are available for each episode. https://podcasts.apple.com/us/podcast/counselor-toolbox-podcast/id1120947649 The Trauma Therapist Guy Macpherson, PhD This is a podcast about people helping people. Bruce Perry, Gabor Mate, Janina Fisher and many other of the world's leading master therapists, thought leaders and game-changers who specialize in PTSD, post-traumatic stress disorder, trauma, complex trauma and related fields join Guy Macpherson, PhD at thetraumatherapistpodcast.com for inspiring interviews about what it takes and what it means to sit with those who've been impacted by trauma. https://podcasts.apple.com/us/podcast/the-trauma-therapist/id899009517 The Thoughtful Counselor The Thoughful Counselor Team The Thoughtful Counselor is a podcast that is dedicated to producing great conversations around current topics in counseling and psychotherapy. We view counseling and psychotherapy as a deeply beautiful and complex process, and strive to incorporate both the art and science of the field in each episode. https://podcasts.apple.com/us/podcast/the-thoughtful-counselor/id1152853871 Between Us: A Psychotherapy Podcast Psychotherapists John Totten and Mason Neely bring you this psychotherapy podcast that explores what is happening between therapists and patients, from both sides of the relationship. https://podcasts.apple.com/us/podcast/between-us-a-psychotherapy-podcast/id1152775317 The Modern Therapist's Survival Guide with Curt Widhalm and Katie Vernoy Curt Widhalm, LMFT and Katie Vernoy, LMFT The Modern Therapist's Survival Guide: Where Therapists Live, Breathe, and Practice as Human Beings It's time to reimagine therapy and what it means to be a therapist. We are human beings who can now present ourselves as whole people, with authenticity, purpose, and connection. Especially now, when clinicians must develop a personal brand to market their private practices, and are connecting over social media, engaging in social activism, pushing back against mental health stigma, and facing a whole new style of entrepreneurship. To support you as a whole person, a business owner, and a therapist, your hosts, Curt Widhalm and Katie Vernoy talk about how to approach the role of therapist in the modern age. https://podcasts.apple.com/us/podcast/modern-therapists-survival-guide-curt-widhalm-katie/id1310770477 ACT in Context Association for Contextual Behavioral Science ACT in Context is freely available to anyone, and its episodes will take listeners on a journey from the history and development of ACT through its clinical application and the future of the work. This podcast will primarily focus on ACT, but it will often touch upon several related issues such as behavioral principles, the underlying theory of language (Relational Frame Theory) and philosophy of science. We hope that informal learners, potential consumers, researchers and clinicians alike find it useful. https://podcasts.apple.com/us/podcast/act-in-context/id748513885 The Learn Psych Podcast is a monthly educational podcast on topics in psychiatry. It is targeted towards students and trainees, though it is often relevant to a wide variety of healthcare providers. https://podcasts.apple.com/us/podcast/learn-psych-podcast/id1118809594 Psychiatry Today Join Dr. Scot Bay every Wednesday night at 7PM while he discusses Psychiatry and mental health with guests. https://podcasts.apple.com/us/podcast/psychiatry-today/id279601313 Psychiatric videos for teaching Psychiatric interviews created for teaching purposes. https://podcasts.apple.com/us/podcast/psychiatric-videos-for-teaching/id670271700 Psyched??! We answer your call for psychiatry and mental health topics with our new upcoming podcast. We are two psychiatrists, David Carreon, 100%-nerd with a side of philosophy, and Jessi Gold, down-to-earth, empathic and, at times, sarcastic. We're starting a podcast called "Psyched!" aimed to communicate stories in neuroscience and psychiatry to a wider audience. We're targeting psychiatrists as our primary listeners, but hope to have a program that's accessible, entertaining and informative for a broader audience. Basically, we want to be the Economist for psychiatry. We'll cover everything from the foundational to the cutting-edge, from the popular to the weird. We hope to capture and communicate the excitement of psychiatry, and have fun while doing it. https://podcasts.apple.com/us/podcast/psyched-a-psychiatry-blog-episodes/id1299266826 Let's Talk about Borderline Personality Disorder A podcast about Borderline Personality Disorder by the National Education Alliance for Borderline Personality Disorder (NEABPD) https://podcasts.apple.com/us/podcast/lets-talk-about-borderline-personality-disorder/id1310234795 Psychiatry from University of Oxford Psychiatry is a medical discipline seeking to understand and treat mental illness. These podcasts provide an introduction to core topics in psychiatry, and to research undertaken in the Oxford University Department of Psychiatry. This series is relevant to health-care professionals and members of the public. The topic podcasts are particularly relevant to medical students studying psychiatry. https://podcasts.apple.com/us/podcast/psychiatry/id796432735 MGH Psychiatry Academy Podcasts https://player.fm/series/mgh-psychiatry-academy-podcasts
This month, host Ann Thomas talks with Alan S. Brown, M.D., M.P.H., about his research on the association of maternal insecticide levels with autism, and on maternal immune activation and neuropsychiatric illness. Executive Editor Michael Roy reviews research on how smoking affects cognitive functioning, a randomized controlled trial of parent-child psychotherapy, and challenges in managing mental health problems in transgender individuals.
Ann Thomas is a powerful and sought after speaker & mentor. She is the Founder of Ann Thomas Ministries (ATM). This ministry is dedicated to encouraging, equipping, & empowering individuals to BOLDLY pursue their purpose in and through Christ! She is back to encourage us to trust God, embrace the process (the cocoon), and to come out a strong beautiful butterfly. Let's embrace the process that leads to the promise!
Stepping out in faith to do the will of God often involves letting go of people we hold dear to our hearts. We must make up our minds to follow God's instructions and seperate for the sake of the call He has placed on our lives. It's time for change to occur so that we all can do, be, & have ALL that God has for us. Minister Ann Thomas will help us to let go of unhealthy attachments so that wwe can soar in our purpose. Visit Minister Thomas' website @ www.annthomasministry.com. Don't forget to purchase her amazing book, The New Consecrated Cocoon.
Dr. Drew speaks with Ann Thomas about her experiences coming out in a very conservative community. They also discuss the ways that people react to the transgender community, ranging from those who accept, to those who fetishize. Other topics of conversation include sexual identity vs. gender identity, and Ann's successful Transgender talent agency. DrDrew.com
Think of it - if all the attorneys of the world were happy and well-adjusted, then their clients would be treated differently, their colleagues, their spouses….this is Ann Thomas’ mission. To coach attorneys to success and happiness. In this episode, she shares common success blockers and how to get past them as well as her new journey to working with her spouse.
Photo Kibitz | Chatting about Photography, Photographers and their Images
What separates a snap shot from a fine art photograph which is worthy of hanging in a National Gallery? My guest on this episode of Photo Kibitz is Ann Thomas, Curator of Photography for the National Gallery of Canada. Ann and I chat about the National Gallery’s extensive world class collection of photographs, which starts practically from the beginning of photography and continues to grow with works from today. I also asked Ann how she looks at a photograph, what does she see in them. Of course, I couldn’t pass up the opportunity to ask how can I get my photographs into the National Gallery collection.
Join me, Dr. Kimberly McGeorge, Kareem and special guest co host Ann Thomas of Evolving Goddess as we discuss conscious parenting with author Annie Burnside. Annie is author of Soul to Soul Parenting, a radically different way of relating to your children and family. As always, we will be LIVE with your comments and questions. Due to tonights topic, we will NOT be doing LIVE readings, but we will be giving INTUITIVE insight and advice surrounding these topics.
Join me, Dr. Kimberly McGeorge and my amazing guest, Ann Thomas, Esq, who is an author, life coach and founder of Evolving Goddess. Ann specializes in helping high achieving women who stil have issues with their core identity and self worth. Creator of the Radical Self-Love System, Ann provides SECRETS to happiness. Check out her websites at www.evolvinggoddess.com and her conference website at www.BoldHer.com Even though Ann targets her material toward women, I work with my clients including men on these very same issues. We will be addressing ways to deal with this HUGE barrier to creating your own reality and manifesting all you desire. Shannon will join us and maybe our male guest co host that we are still searching for! Contact me if you are interested in trying out for our show as a guest MALE co host.
Do we have prophets today? Is there a prophetic part of our consciousness? Yes there is, says Charles Fillmore in his December 18, 1927, talk titled “Prophetic Vision Active.” My special guest is Rev. Ann Thomas, Unity minister in Washington State.
The Theatre Guild On The Air - The theatrical society in U.S.A. is termed as Theatre Guild. Founded in New York City in 1918 by Lawrence Langner (1890-1962) and others, the group proposed to produce high-quality, noncommercial plays. Its board of directors shared responsibility for choice of plays, management, and production. After the premiere of George Bernard Shawâs Heartbreak House in 1920, the Guild became his U.S. agent and staged 15 of his plays. It also produced successful plays by Eugene OâNeill, Maxwell Anderson, and Robert Sherwood and featured actors such as the Lunts and Helen Hayes. It helped develop the American musical by staging Porgy and Bess (1935), Oklahoma! (1943), and Carousel (1945); later also producing the radio series Theatre Guild on the Air (1945-53) and even presented plays on television.THIS EPISODE:February 24, 1946. ABC network. "Dead End". Sponsored by: United States Steel. The story of New York's slums that led to the creation of the "Dead End Kids," and is based on the play and film of the same name. Agnes Young, Alan Baxter, Anne Burr, Ann Thomas, Arnold Stang, Danny Leon, George Hicks (commercial spokesman), Joan Tetzel, Norman Brokenshire (announcer), Richard Conte, Sidney Kingsley (author). 59:20.
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