Podcasts about Any Other Way

Join us for an illuminating journey into the life of Jackie Shane, a groundbreaking soul singer who carved her own path through the 1960s music scene. This episode explores how Shane's unwavering authenticity and electrifying performances challenged societal norms and paved the way for transgender representation in popular music. From her early days in Nashville to her transformative years in Toronto's vibrant music scene, discover how Jackie Shane's powerful voice and fearless self-expression left an indelible mark on music history. Learn about her chart-topping hit "Any Other Way," her mysterious disappearance at the height of her career, and the enduring legacy that continues to inspire generations. ---------------------------------------------------------- @translessonplan @mariiiwrld Merch: ⁠⁠⁠⁠https://trans-lesson-plan.printify.me/products⁠⁠⁠⁠ Subscribe to our newsletter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://mailchi.mp/a914d2eca1cf/trans-lesson-plan⁠⁠⁠ ---------------------------------------------------------- References: Allen, Dan. “Trailblazing Black Trans Singer Jackie Shane Finally Gets Her Due in Tennessee.” ⁠NBCNews.Com⁠, NBCUniversal News Group, 20 Sept. 2024, ⁠www.nbcnews.com/nbc-out/out-pop-culture/jackie-shane-singer-black-trans-lgbtq-tennessee-rcna171975⁠. Darling, Harper-Hugo. “Jackie Shane.” Making Queer History, Making Queer History, 29 May 2024, ⁠www.makingqueerhistory.com/articles/2020/2/24/jackie-shane-part-i⁠. Fensterstock, Alison. “Jackie Shane, a Force of Nature Who Disappeared, Has a Story All Her Own.” NPR, NPR, 25 Oct. 2017, ⁠www.npr.org/sections/therecord/2017/10/25/559775225/jackie-shane-a-force-of-nature-who-disappeared-has-a-story-all-her-own⁠. “Jackie Shane: Remembering the Groundbreaking Trans Soul Singer.” The Guardian, Guardian News and Media, 25 Feb. 2019, ⁠www.theguardian.com/music/2019/feb/25/jackie-shane-groundbreaking-trans-soul-singer⁠. Mcgowan, Douglas. “Jackie Shane: It's just, ‘yes ma'am, no ma'am.'” Southern Cultures, vol. 24, no. 3, 2018, pp. 30–44, ⁠https://doi.org/10.1353/scu.2018.0030⁠. “No Other Way: The Story of Jackie Shane.” Museum of Toronto, 2 Apr. 2024, ⁠www.museumoftoronto.com/collection/no-other-way-the-story-of-jackie-shane/⁠. Stack, Liam. “Jackie Shane, Transgender Pioneer of 1960s Soul Music, Dies at 78.” The New York Times, The New York Times, 23 Feb. 2019, ⁠www.nytimes.com/2019/02/22/obituaries/jackie-shane-dead.html⁠.

Michael Mabbott and Lucah Rosenberg-Lee are the directors of a new documentary about the late American R&B singer Jackie Shane. Jackie was a Black trans woman who became popular in Canada after moving to Toronto in the 1960s. She released a single called “Any Other Way” that charted across the country, but in the 1970s, she became a recluse and disappeared from the public eye. Michael and Lucah join Tom to discuss their film “Any Other Way: The Jackie Shane Story” and how an unreleased song was discovered in Jackie's house after she passed.

Jackie Shane was one of soul's first Black trans performers. She was born in 1940 in Nashville but her incredible voice took her across North America. She found a home in Toronto in the '60s, performing sold-out shows almost every night. In 1971, Shane disappeared from the spotlight.  When she eventually reemerged in the 2010s, there were still many questions surrounding her life and career.  Michael Mabbott and Lucah Rosenberg-Lee's latest documentary, Any Other Way, tells the story of Shane's life.

Michael Mabbott and Lucah Rosenberg-Lee are the directors of a new documentary about the late American R&B singer Jackie Shane. Jackie was a Black and trans woman who became popular in Canada after moving to Toronto in the 1960s. She released a single called “Any Other Way” that charted across the country, but in the 1970s, she became a recluse and disappeared from the public eye. Michael and Lucah join Tom to discuss their film “Any Other Way: The Jackie Shane Story” and how an unreleased song was discovered in Jackie's house after she passed.

Andy dials in from Virginia to talk Lightsleeper and share highlights from the Liam & Neil Finn show from Taronga Zoo in Sydney 2018. Performances include: Better To Be, Meet Me In The Air, Private Universe, Any Other Way, Hold Her Close.You can significantly support the continuation of the 240 podcast for a donation of just a couple dollars per month. This goes directly towards covering the podcast hosting fees. Big thank yous if you are in a position to help. Head over here to: http://patreon.com/240neilfinn

This week, Dana and Stephen are joined by Supreme Friend of the Pod, Isaac Butler, who co-hosts Slate's Working podcast and is the author of The Method: How the Twentieth Century Learned to Act (which is now available in paperback!). The panel begins by pondering Dream Scenario, a provocative new film from Norwegian writer-director Kristoffer Borgli. The nightmarish social satire stars Nicolas Cage as Paul Matthews, a hapless middle-aged biology professor who begins appearing randomly in people's dreams in a tale about anonymity and the cycle of virality. Then, the three speak with the brilliant author and classicist Emily Wilson about her recent translation of Homer's the Iliad, and her unique approach to metered verse and how she came to access the interior lives of Hector, Patroclus, Achilles, and more. Finally, the trio discusses Coyote vs. Acme, a completed film based on Ian Frazier's 1990 comic in The New Yorker, that was shelved last week by Warner Bros. (reportedly in favor of a $30 million tax write-off) then un-shelved when the studio received backlash for being “anti-art.”   In the exclusive Slate Plus segment, the panel descends into a different kind of nightmare: The Beatles' music video for “Now and Then.” Has director Peter Jackson created a touching CGI tribute to the legendary band? Or has he engineered something truly evil? Email us at culturefest@slate.com.  Endorsements: Dana: The Public Domain Review, an online journal and not-for-profit project dedicated to “the exploration of curious and compelling works from the history of art, literature, and ideas.” She's only just begun to scratch the site's surface, but recommends starting with “W.E.B. Du Bois' Hand-Drawn Infographics of African-American Life.” Isaac: Deadloch, an Australian feminist noir comedy set in a fictional working class fishing village that's been, as he describes, “gentrified by the most granola crunchy lesbians on earth.”   Stephen: The song “New Romantic” by British folk singer-songwriter Laura Marling, specifically her extraordinary 2006 live performance of it when she was quite young at a now-closed music venue in West London.  Outro music: “Any Other Way” by Particle House Podcast production by Cameron Drews. Production assistance by Kat Hong.  If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows. You'll also be supporting the work we do here on the Culture Gabfest. Sign up now at Slate.com/cultureplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Dana and Stephen are joined by Supreme Friend of the Pod, Isaac Butler, who co-hosts Slate's Working podcast and is the author of The Method: How the Twentieth Century Learned to Act (which is now available in paperback!). The panel begins by pondering Dream Scenario, a provocative new film from Norwegian writer-director Kristoffer Borgli. The nightmarish social satire stars Nicolas Cage as Paul Matthews, a hapless middle-aged biology professor who begins appearing randomly in people's dreams in a tale about anonymity and the cycle of virality. Then, the three speak with the brilliant author and classicist Emily Wilson about her recent translation of Homer's the Iliad, and her unique approach to metered verse and how she came to access the interior lives of Hector, Patroclus, Achilles, and more. Finally, the trio discusses Coyote vs. Acme, a completed film based on Ian Frazier's 1990 comic in The New Yorker, that was shelved last week by Warner Bros. (reportedly in favor of a $30 million tax write-off) then un-shelved when the studio received backlash for being “anti-art.”   In the exclusive Slate Plus segment, the panel descends into a different kind of nightmare: The Beatles' music video for “Now and Then.” Has director Peter Jackson created a touching CGI tribute to the legendary band? Or has he engineered something truly evil? Email us at culturefest@slate.com.  Endorsements: Dana: The Public Domain Review, an online journal and not-for-profit project dedicated to “the exploration of curious and compelling works from the history of art, literature, and ideas.” She's only just begun to scratch the site's surface, but recommends starting with “W.E.B. Du Bois' Hand-Drawn Infographics of African-American Life.” Isaac: Deadloch, an Australian feminist noir comedy set in a fictional working class fishing village that's been, as he describes, “gentrified by the most granola crunchy lesbians on earth.”   Stephen: The song “New Romantic” by British folk singer-songwriter Laura Marling, specifically her extraordinary 2006 live performance of it when she was quite young at a now-closed music venue in West London.  Outro music: “Any Other Way” by Particle House Podcast production by Cameron Drews. Production assistance by Kat Hong.  If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows. You'll also be supporting the work we do here on the Culture Gabfest. Sign up now at Slate.com/cultureplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices

On the show this week is William Bell, an incredible vocalist and legendary soul songwriter from Memphis. William was the first male artist signed to Stax Records in the early 60's and it's an honor to have him join me today to talk about his experiences. He grew up singing in church but quickly moved to the vibrant nightclub scene on Beale Street in Memphis where he worked with his vocal group The Del Rios at many of the venues there. He was first signed to Stax Records in the early 60's, primarily as a songwriter, but also as an artist. Other Stax artists at the time included Otis Redding, Carla Thomas, Booker T and the MG's, Sam and Dave, and The Staple Singers. William wrote one of the label's first hits with “You Don't Miss Your Water” in 1961, and had several other releases and hits but his tenure at Stax was truncated in the mid-60's when he enlisted in the army. When he returned to Memphis and the Stax world, he wrote more classic soul tunes like “Everybody Loves A Winner” and ”Any Other Way”, as well as the blues mega-hit “Born Under A Bad Sign”, which he tailored directly for Albert King (including whispering the lyrics in his ear as King sang the song for his record). That song has also been covered by Cream, Jimi Hendrix and Etta James, among many others.Bell's successes continued through the 70's and 80's writing and recording more hit soul tunes, and having songs covered by artists like Eric Clapton, Lou Rawls, Rod Stewart, and Billy Idol.In 2017 William collaborated with the incredible producer and guitarist John Leventhal to make his album “This Is Where I Live” which brought him in front of a new audience and won him a Grammy award. That killer album was followed by 2023's “One Day Closer To Home”. We'll be hearing lots more from William Bell in the years to come, so make sure you check his dates at williambellmusic.com and go so him live!Be sure to listen to the Accompanying Songs Playlist which contains some of the artist's work, plus many of the songs we discuss on the show:Playlist on Spotify / Playlist on Apple MusicIf you enjoyed this episode, please consider supporting the show with a donation or Patreon subscriptionThe show's website can be found at www.makersandshakerspodcast.comYour fearless host, Steve Dawson can be found at www.stevedawson.ca Become a member at https://plus.acast.com/s/mmasspodcast. Hosted on Acast. See acast.com/privacy for more information.

RAINBOW COUNTRYA 2 HOUR Nationally Syndicated Gay radio show & Canada's #2 LGBT Podcast working to give voice to the LGBT Community & BEYOND! ON EPISODE 361:HR 1 #GayTalkRadioOn Friday June 23 2023Heritage Toronto unveiled a new plaque honouring Nashville born#TRANS R&B Artist #JackieShane.Jackie rose to prominence in the Toronto music scene of the 1960sWhere she helped to break down barriers as a Transgender performerBest known for the single Any Other Way.For the FULL 2 hour episodes of Rainbow Country:Mark Tara Archiveshttp://marktara.com/RCarchives.html

This week, Slate's senior editor Rebecca Onion fills in for Julia. The panel begins by examining Sanctuary, a claustrophobic BDSM thriller starring Margaret Qualley and Christopher Abbott. Then, they debate Freevee's hard-to-define “reality” series Jury Duty. Finally, Dana and Stephen are joined by Slate music critic Chris Molanphy to discuss Morgan Wallen and his number one song, “Last Night” and the nature of cancel culture.   In the exclusive Slate Plus segment, the panel talks about Martha Stewart posing for Sports Illustrated's swimsuit cover at 81 and what it actually achieves in terms of empowerment for women.  Email us at culturefest@slate.com.  Endorsements: Stephen: “The Price of Crypto” — A comprehensive and non-esoteric summation of Bitcoin's history (both the network and “currency”) published by The New York Review of Books. Dana: The simple joy of spring cleaning — While clearing out her basement, Dana recently unearthed an old record player and rediscovered her love of listening to vinyls to pass time.  Rebecca: The Lure (2015) — To prepare for Disney's upcoming The Little Mermaid live action revival, Rebecca and her husband are binging mermaid-related movies. At the top of her list: The Lure, a Polish musical-horror film directed by Agnieszka Smoczyńska that tells the tale of two sirens who emerge from the water and perform in a nightclub.    Outro music: “Any Other Way” by Particle House. Podcast production by Cameron Drews. Production assistance by Kat Hong.  If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows. You'll also be supporting the work we do here on the Culture Gabfest. Sign up now at Slate.com/cultureplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Slate's senior editor Rebecca Onion fills in for Julia. The panel begins by examining Sanctuary, a claustrophobic BDSM thriller starring Margaret Qualley and Christopher Abbott. Then, they debate Freevee's hard-to-define “reality” series Jury Duty. Finally, Dana and Stephen are joined by Slate music critic Chris Molanphy to discuss Morgan Wallen and his number one song, “Last Night” and the nature of cancel culture.   In the exclusive Slate Plus segment, the panel talks about Martha Stewart posing for Sports Illustrated's swimsuit cover at 81 and what it actually achieves in terms of empowerment for women.  Email us at culturefest@slate.com.  Endorsements: Stephen: “The Price of Crypto” — A comprehensive and non-esoteric summation of Bitcoin's history (both the network and “currency”) published by The New York Review of Books. Dana: The simple joy of spring cleaning — While clearing out her basement, Dana recently unearthed an old record player and rediscovered her love of listening to vinyls to pass time.  Rebecca: The Lure (2015) — To prepare for Disney's upcoming The Little Mermaid live action revival, Rebecca and her husband are binging mermaid-related movies. At the top of her list: The Lure, a Polish musical-horror film directed by Agnieszka Smoczyńska that tells the tale of two sirens who emerge from the water and perform in a nightclub.    Outro music: “Any Other Way” by Particle House. Podcast production by Cameron Drews. Production assistance by Kat Hong.  If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows. You'll also be supporting the work we do here on the Culture Gabfest. Sign up now at Slate.com/cultureplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices

Since 2003, Numero Group has championed talented, overshadowed artists across genres by reissuing their albums with care and creativity. Hosts Jim DeRogatis and Greg Kot talk with Numero Group founders Rob Sevier and Ken Shipley about the label's history and working with everyone from Syl Johnson to Blondie. They'll also share some of their favorite Numero tracks.   Join our Facebook Group: https://bit.ly/3sivr9T Become a member on Patreon: https://bit.ly/3slWZvc Sign up for our newsletter: https://bit.ly/3eEvRnG Make a donation via PayPal: https://bit.ly/3dmt9lU Send us a Voice Memo: Desktop: bit.ly/2RyD5Ah  Mobile: sayhi.chat/soundops   Featured Songs: Syl Johnson, "Concrete Reservation," Is It Because I'm Black (Deluxe 50th Anniversary Edition), Numero, 2019The Beatles, "I Get By (With a Little Help From My Friends)," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Television, "Little Johnny Jewel," Ork Records: New York, New York, Numero, 2015Blondie, "Moonlight Drive," Against The Odds: 1974 - 1982, Capitol, 2022Mickey & The Soul Generation, "Give Everybody Some," Give Everybody Some (Single), Numero, 2023Jackie Shane, "Any Other Way," Any Other Way, Numero, 2017Bruce Springsteen, "Any Other Way," Only the Strong Survive, Columbia, 2022Joey Edmonds, "Blue," Whispers Lounge, Numero, 2020Charlie Megira, "Tomorrow's Gone," Tomorrow's Gone, Numero, 2019Mick Farren & The New Wave, "Lost Johnny," Ork Records: New York, New York, Numero, 201594 East, "If You See Me," If You See Me (Single), Numero, 2013Shemekia Copeland, "Too Far To Be Gone (feat. Sonny Landreth)," Done Come Too Far, Alligator, 2022  Support The Show: https://www.patreon.com/soundopinionsSee omnystudio.com/listener for privacy information.

Hello everyone and welcome to another edition of Interviewing the Legends I'm your host Ray Shasho. In a distinguished career as a singer, songwriter and producer, William Bell has come to define the essence of “soul.” Born in Memphis but based in Atlanta since 1970, William Bell was one of the pioneers of the classic Stax/Volt sound, joining such other illustrious musical forces at that label as Otis Redding, Sam and Dave, Isaac Hayes, Booker T. & the MG's, Albert King, Eddie Floyd, Carla and Rufus Thomas, The Staple Singers and the Bar-Kays, among others. After a two-year stint in the Armed Forces, William released his first full-length album in 1967, the classic The Soul of a Bell, which included the Top 20 hit single, “Everybody Loves a Winner.” That same year, blues great Albert King recorded what came to be his signature tune, “Born Under a Bad Sign,” also written by Bell, which has since become one of the most-recorded blues songs of all-time. Among his other classic hits at Stax were “Any Other Way,” “Never Like This Before,” “A Tribute to a King” (William's personal tribute to Stax legend Otis Redding), “I Forgot to be Your Lover,” his internationally acclaimed duet with Judy Clay, “Private Number,” and the perennial Christmas music favorite, “Every Day Will Be Like a Holiday.” As a songwriter, William Bell's compositions have also been recorded by such diverse stars as Otis Redding, Eric Clapton, Billy Idol, Lou Rawls and Rod Stewart, among many others. In February 2017 William received a Grammy for his latest CD on STAX/Concord Records “This Is Where I Live” for Americana Album of the Year and performed on the live TV presentation with Gary Clark, Jr.!  On April 14th, 2023, William Bell will release an Album titled “One Day Closer To Home” with 12 NEW songs. William Bell continues to be a major force in the music industry! Please welcome Singer - Songwriter - Entertainer – Record Producer- Business Man- the legendary William Bell to Interviewing the Legends …   Legendary Soul Singer William Bell Releasing New Album  ‘One Day Closer To Home'   PURCHASE  THE LATEST ALBUM BY WILLIAM BELL entitled ‘ONE DAY CLOSER TO HOME' Available at https://williambellmusic.com/shop-download-music “One Day Closer To Home” is a master class on how to put down the deepest kind of blues from a lifetime achiever. With tremendous groove, the song leans into his signature, soulful sound. Bell doesn't waste a note, word, or bar telling this story of trying to get back to freedom and he makes you believe every bit of it. His vocal delivery is heart-wrenching, loaded with hope and despair all at once. Both the instrumentation and the track's music video are austere and minimal, which keeps the focus on Bell, where it belongs. It's an outstanding song that will catch you and keep you. OFFICIALLY RELEASED APRIL 14TH 2023   FOR MORE INFORMATION ABOUT WILLIAM BELL VISIT www.williambellmusic.com Official website www.facebook.com/TheRealWilliamBell Facebook www.youtube.com/@WilliamBellmusic You Tube https://music.apple.com/us/artist/william-bell/1198111 iTunes   Discography Studio albums Year  Album 1967  The Soul of a Bell 1969 Bound to Happen 1971  Wow ...William Bell 1972  Phases of Reality 1973  Waiting for William Bell 1974  Relating 1977  Coming Back for More It's Time You Took Another Listen 1983  Survivor 1985  Passion 1989 On a Roll 1992 Bedtime Stories 1999 A Portrait Is Forever 2006 New Lease on Life 2016 This Is Where I Live One Day Closer To Home (2023) Compilation albums The Best of William Bell (1988) The Very Best of William Bell (2007) Singles 1961  "You Don't Miss Your Water" 1962 "Any Other Way" 1963  "I Told You So" "Just as I Thought" "Somebody Mentioned Your Name" "I'll Show You" 1964 “Who Will It Be Tomorrow" 1965  "Crying All by Myself" 1966 "Share What You Got (But Keep What You Need)" "Never Like This Before" 1967    "Everybody Loves a Winner" "Eloise (Hang on in There)" "Everyday Will Be Like a Holiday" 1968   "Every Man Ought to Have a Woman” "A Tribute to a King" "Private Number" (with Judy Clay) "I Forgot to Be Your Lover" "My Baby Specializes" (with Judy Clay) 1969   "My Whole World Is Falling Down" "Happy" "Soul-A-Lujah" (with Johnnie Taylor, Eddie Floyd, Pervis Staples, Carla Thomas, Mavis Staples and Cleotha Staples) "Love's Sweet Sensation" (with Mavis Staples) "I Can't Stop" (with Carla Thomas) "Born Under a Bad Sign" 1970   "All I Have to Do Is Dream" (with Carla Thomas) "Lonely Soldier" 1971   "A Penny for Your Thoughts" "All for the Love of a Woman" 1972  "Save Us" 1973  "Lovin' on Borrowed Time" "I've Got to Go on Without You" 1974  "Gettin' What You Want (Losin' What You Got)" "Get It While It's Hot" 1976  "Tryin' to Love Two" 1977  "Coming Back for More" "Easy Comin' Out (Hard Goin' In)" 1983  "Bad Time to Break Up" "Playing Hard to Get" 1985  "Lovin' on Borrowed Time" (new version) 1986 "I Don't Want to Wake Up (Feelin' Guilty)" (with Janice Bulluck) "Headline News" "Passion" "Please Come Home for Christmas" 1989 "Getting Out of Your Bed" 1990 "Need Your Love So Bad" 1992 "Bedtime Story" 1995  "Shake Hands (Come Out Lovin')"     Support us!

This week, Nadira Goffe sits in for Julia as the panel begins by reviewing the Black Panther sequel, Wakanda Forever. Then, a discussion about the Selena Gomez documentary, My Mind & Me. Finally, they chat about Gen Z's impact on the midterms and the election of Maxwell Alejandro Frost.  In Slate Plus, the panel talks about the art they resisted at first, but came to love.   Email us at culturefest@slate.com. Endorsements  Dana: I will recommend Spielberg, a 2017 documentary about Steven Spielberg that I happened to watch on HBO because I was reviewing his new movie The Fablemans which is auto-biograohical or semi-autobiographical and has a lot of stuff about his childhood. So naturally I went back to try and what his actual childhood was like. Low and behold, this doc about Spielberg is really good. Available to stream on HBOMax. Nadira: I was inspired by the Selena Gomez documentary to bring something that is a piece of celebrity journalism. The 15K word piece Frank Sinatra has a Cold by Gay Talese is one of my favorite pieces of journalism ever. There's a really fun version on Neiman Storyboard with annotations both by someone interviewing Gay Talese and then Gat Talese responding to those questions. Also, I don't know how familiar you are with Moses Sumney but he is a queer Ghananian-American artist from California who makes, I'd describe it as etherial avant-garde jazz rock. He's so good. The lack of performing during the pandemic pushed him to make a sort of live conceptual concert film called BLACKALACHIA that he released last year. I saw him perform a live version of this concert film arrangement earlier this year in Brooklyn and it was one of the top 10 live shows in my life.  Steve: In the forthcoming New York Times Magazine, but it's already up on the web, there is a longform interview with Brian Eno. The thing about Eno is, talk about someone who deserves the elder statesman label! He's just stayed so vital and he's such an intellectual. It's a great interview. I could go on and on about Eno.  Podcast production by Cameron Drews. Production assistance by Yesica Balderrama. Outro music is "Any Other Way" by Particle House. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows. You'll also be supporting the work we do here on the Culture Gabfest. Sign up now at Slate.com/cultureplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Nadira Goffe sits in for Julia as the panel begins by reviewing the Black Panther sequel, Wakanda Forever. Then, a discussion about the Selena Gomez documentary, My Mind & Me. Finally, they chat about Gen Z's impact on the midterms and the election of Maxwell Alejandro Frost.  In Slate Plus, the panel talks about the art they resisted at first, but came to love.   Email us at culturefest@slate.com. Endorsements  Dana: I will recommend Spielberg, a 2017 documentary about Steven Spielberg that I happened to watch on HBO because I was reviewing his new movie The Fablemans which is auto-biograohical or semi-autobiographical and has a lot of stuff about his childhood. So naturally I went back to try and what his actual childhood was like. Low and behold, this doc about Spielberg is really good. Available to stream on HBOMax. Nadira: I was inspired by the Selena Gomez documentary to bring something that is a piece of celebrity journalism. The 15K word piece Frank Sinatra has a Cold by Gay Talese is one of my favorite pieces of journalism ever. There's a really fun version on Neiman Storyboard with annotations both by someone interviewing Gay Talese and then Gat Talese responding to those questions. Also, I don't know how familiar you are with Moses Sumney but he is a queer Ghananian-American artist from California who makes, I'd describe it as etherial avant-garde jazz rock. He's so good. The lack of performing during the pandemic pushed him to make a sort of live conceptual concert film called BLACKALACHIA that he released last year. I saw him perform a live version of this concert film arrangement earlier this year in Brooklyn and it was one of the top 10 live shows in my life.  Steve: In the forthcoming New York Times Magazine, but it's already up on the web, there is a longform interview with Brian Eno. The thing about Eno is, talk about someone who deserves the elder statesman label! He's just stayed so vital and he's such an intellectual. It's a great interview. I could go on and on about Eno.  Podcast production by Cameron Drews. Production assistance by Yesica Balderrama. Outro music is "Any Other Way" by Particle House. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows. You'll also be supporting the work we do here on the Culture Gabfest. Sign up now at Slate.com/cultureplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices

Recuperamos artefactos de Franz Ferdinand, Kenny Hoopla y Yard Act, a David Bowie y a The Black Crowes, escuchamos lo nuevo de Anabel Lee y Venturi y compartimos una de las versiones del nuevo disco de Bruce Springsteen, otro directo de Vetusta Morla y la nueva canción de Alex Lahey. VETUSTA MORLA ft ALIBORIA & EL NAÁN - Finisterre VENTURI - Un Millón FRANZ FERDINAND – Right Action KENNY HOOPLA -How Will I Rest In Peace If Im Buried by a highway THE WEEKND – Save Your Tears JAMILA WOODS - Boundaries (DRAMA Remix) KAISER CHIEFS - How 2 Dance DAVID BOWIE - Let's Dance (Tonbe Remix) THE BLACK CROWES – Hard To Handle BRUCE SPRINGSTEEN – Any Other Way MAXIMILIANO CALVO – Feng Shui LEIVA ft ELSA Y ELMAR – Flecha YARD ACT – The Overload KASABIAN – Club Foot ALEX LAHEY – Shit Talking ANABEL LEE - El Espacio ELYELLA – Memories Escuchar audio

This week, the panel begins by settling into the scenic Irish mystery of Bad Sisters. Then, the panel begrudgingly watches the Breitbart funded uh…indie film…My Son Hunter which may end up being the most interesting text the panel has discussed in a while. Finally, the panel is joined by co-host of Slate's Working podcast and special friend of the pod, June Thomas, to discuss the recent death of Queen Elizabeth II. In Slate Plus, the panel discusses the 2022 Emmy Awards. Email us at culturefest@slate.com. Endorsements Dana: A really great audiobook, Shirley, A Tale by Charlotte Brontë (the follow up to Jane Eyre) narrated by Georgina Sutton. Julia: Two endorsements: first, possibly the silliest thing ever endorsed, the $17 Scalp Brush from fancy salon-style shampoo company Sachajuan. Second: Dana is coming to Village Well Books & Coffee in Culver City, CA to discuss her book, Camera Man, this coming Saturday, September 17th at 5 pm. Steve: An interview with Harvard Philosopher of Science, Steven Shapin, in The Chronicle of Higher Education by Len Gutkin, titled “There's No Shame in Being a Hack.” Podcast production by Cameron Drews. Production assistance by Nadira Goffe. Outro music is "Any Other Way" by Particle House. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows. You'll also be supporting the work we do here on the Culture Gabfest. Sign up now at Slate.com/cultureplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, the panel begins by settling into the scenic Irish mystery of Bad Sisters. Then, the panel begrudgingly watches the Breitbart funded uh…indie film…My Son Hunter which may end up being the most interesting text the panel has discussed in a while. Finally, the panel is joined by co-host of Slate's Working podcast and special friend of the pod, June Thomas, to discuss the recent death of Queen Elizabeth II. In Slate Plus, the panel discusses the 2022 Emmy Awards. Email us at culturefest@slate.com. Endorsements Dana: A really great audiobook, Shirley, A Tale by Charlotte Brontë (the follow up to Jane Eyre) narrated by Georgina Sutton. Julia: Two endorsements: first, possibly the silliest thing ever endorsed, the $17 Scalp Brush from fancy salon-style shampoo company Sachajuan. Second: Dana is coming to Village Well Books & Coffee in Culver City, CA to discuss her book, Camera Man, this coming Saturday, September 17th at 5 pm. Steve: An interview with Harvard Philosopher of Science, Steven Shapin, in The Chronicle of Higher Education by Len Gutkin, titled “There's No Shame in Being a Hack.” Podcast production by Cameron Drews. Production assistance by Nadira Goffe. Outro music is "Any Other Way" by Particle House. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows. You'll also be supporting the work we do here on the Culture Gabfest. Sign up now at Slate.com/cultureplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, the panel begins by re-visiting the Top Gun academy with Top Gun: Maverick. Then, the panel is joined by critic and author Jason Bailey to assess the career of George Carlin, presented in the two-part documentary George Carlin's American Dream. Finally, the panel discusses the defamation trail of Johnny Depp and Amber Heard that is gripping the media.  In Slate Plus, the panel remembers the career of Ray Liotta. Email us at culturefest@slate.com. Endorsements Dana: The film Paris, 13th District, which is a light, French relationship movie where everyone has perfect sweaters, deep wine glasses, and engaging romantic arguments. Julia: A birdwatching app, Merlin. Which can now identify birds by shazaming its song to identify the bird species. Steve: Guardian book review from Anil Gomes, titled “Private Notebooks 1914–1916 by Ludwig Wittgenstein review—sex and logic,” about the first translation of famous philosopher's notebooks in English. Podcast production by Cameron Drews. Production assistance by Nadira Goffe. Outro music is "Any Other Way" by Particle House. Slate Plus members get ad-free podcasts, a bonus segment in each episode of the Culture Gabfest, full access to Slate's journalism on Slate.com, and more. Sign up now at slate.com/cultureplus. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, the panel begins by re-visiting the Top Gun academy with Top Gun: Maverick. Then, the panel is joined by critic and author Jason Bailey to assess the career of George Carlin, presented in the two-part documentary George Carlin's American Dream. Finally, the panel discusses the defamation trail of Johnny Depp and Amber Heard that is gripping the media.  In Slate Plus, the panel remembers the career of Ray Liotta. Email us at culturefest@slate.com. Endorsements Dana: The film Paris, 13th District, which is a light, French relationship movie where everyone has perfect sweaters, deep wine glasses, and engaging romantic arguments. Julia: A birdwatching app, Merlin. Which can now identify birds by shazaming its song to identify the bird species. Steve: Guardian book review from Anil Gomes, titled “Private Notebooks 1914–1916 by Ludwig Wittgenstein review—sex and logic,” about the first translation of famous philosopher's notebooks in English. Podcast production by Cameron Drews. Production assistance by Nadira Goffe. Outro music is "Any Other Way" by Particle House. Slate Plus members get ad-free podcasts, a bonus segment in each episode of the Culture Gabfest, full access to Slate's journalism on Slate.com, and more. Sign up now at slate.com/cultureplus. Learn more about your ad choices. Visit megaphone.fm/adchoices

Like most other parents, my sense of identity forever changed with the arrival of my disabled child. And in many ways, it's helped me to embrace (at least on good days!) a lifestyle I used to resent. But I've noticed a pushback from the disability community in claiming our child's disabilities as part of our own identities. So, of course, we had to examine this controversial and intimate topic with the best of the best. In this conversation with famed disability activist, speaker, and author of Demystifying Disability, Emily Ladau and Amanda Griffith-Atkins guest from Ep. 81 and mom to a disabled teen, we tackle questions like: Is it ok for us as parents to find identity in our children's disabilities? If so, where is the line? IS there a line? How can I respect both my child's lived experience and my own? Can I share those experiences on social media? How can parents and disabled people soften towards each other and put down the proverbial weapons? Links: Check out our sponsor WorthyBrands Eye and Port Patches. Purchase Demystifying Disability by Emily Ladau via Penguin House or Amazon. Listen to The Accessible Stall podcast Follow Emily on Instagram. Follow Amanda on Instagram. Follow Madeline on Instagram. Listen to Ep. 81: Health Anxiety w/ Amanda Griffith-Atkins, LMFT Listen to Ep. 54: Disabled Adult Perspective w/ Erica Stearns Listen to Ep. 77: To Those Who Cannot Say, “I Wouldn't Have them Any Other Way”

¡We wouldn't have it ANY OTHER WAY chingu!Empezar el año con música de Eric Nam no es nada agridulce, al contrario, nos recuerda que si lo necesitamos mucho más de lo que quisiéramos admitir (y que nos encanta). Así que hoy hablaremos del regreso de este cantante americano, cuya carrera comenzó  en Corea, pero ahora nos trae su segundo álbum de estudio en inglés: “There And Back Again” este material tan real y humano, que transmite diversos sentimientos y propuestas musicales que no lo podríamos querer de otra manera. Síguenos en redes sociales:Instagram: https://www.instagram.com/entrechingus/Twitter: https://twitter.com/entre_chingus

# WildOn2sVlog #MotorcycleCLub #MCOFFICER New Officer of a Motorcycle Club with no experience is this weeks title on WildOn2s Vlog. In many motorcycle clubs this is a ongoing thing believe it or not. Motorcycle Club members have to start somewhere and some learn trial by error or with great mentorship. Join me WildOn2s with this weeks episode "New Officer of a Motorcycle Club with no Experience. ALL EQUIPMENT I USE: Purple Panda Mic https://amzn.to/3ct4FqE Gopro Hero 9 https://amzn.to/3u6c1GL Shoei Air II Helmet Matte Black https://amzn.to/3cvFXWU Motorcycle Helmet Chin Mount https://amzn.to/3rw2jvi Adobe Premiere Pro video editing https://amzn.to/3u2lU88 Blue Yeti Nano Studo Mic https://amzn.to/3w62hhs Here's my Merchandise Store which a % of all proceeds goes to a charity https://teespring.com/stores/wildon2s-2 DISCLAIMER: All videos, content, and other intellectual property found on this channel (unless otherwise specified) including the name "WildOn2s, WildOn2s Vlog" are Copyright© 2019-2021 WildOn2s. All Rights Reserved. Any person, company, or other entity who reuploads, repurposes, or in ANY OTHER WAY uses any content found on this channel without permission is subject to all applicable copyright laws and policies. ALL content on YouTube found to be in violation of our copyright is subject to removal by YouTube. Offending channels are also subject to punitive action by YouTube, such as Copyright Strikes. ***WE ASK THAT IF YOU CHOOSE TO CONTACT ANYONE IN THIS VIDEO TO ADDRESS YOUR QUESTIONS OR CONCERNS, YOU DO SO RESPECTFULLY, CORDIALLY, AND PROFESSIONALLY. BY CONTACTING ANYONE IN THIS VIDEO, YOU ASSUME ALL LIABILITY FOR YOUR ACTIONS. WE ARE NOT RESPONSIBLE FOR ANY OF YOUR ACTIONS*** By commenting on my videos, livestreams, community posts, or any other content on my channel, you assume full responsibility for your comment(s) and its/their contents. (YouTube is a privately owned company. Comments which violate YouTube's policies and Community Guidelines will most likely be removed by YouTube. We ask that you please remain cordial and respectful in the comments section and that you refrain from violating any policies or rules outlined in YouTube's Community Guidelines)

This week, Steve and Dana are joined by senior managing producer of Slate podcasts and co-host of Slate's Working podcast, June Thomas. First, the panel discusses the Princess Diana biopic Spencer. Dana tracked Kristen Stewart's career up to this Oscar vehicle film. Next, the panel gets a taste of the new "meet stew" of a show, Yellowjackets. Finally, the panel is joined by author and co-host of Slate's Working podcast Isaac Butler to remember the late, great Stephen Sondheim. In Slate Plus, the panel discusses their processes for writing a book. Email us at culturefest@slate.com. Endorsements Dana: Susan Orlean reading her own audiobook of her non-fiction novel Rin Tin Tin: The Life and the Legend about the famous Hollywood star...who also happens to be a German Shepherd.   June: The exhibit at the New York Historical Society titled “‘Turn Every Page': Inside the Robert A. Caro Archive.” Steve: Continuing his Rachel Cusk endorsement with his most recently read novel of hers, Transit. Podcast production by Cameron Drews. Production assistance by Nadira Goffe. Outro music is "Any Other Way" by Particle House Slate Plus members get ad-free podcasts, a bonus segment in each episode of the Culture Gabfest, full access to Slate's journalism on Slate.com, and more. Sign up now at slate.com/cultureplus. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Steve and Dana are joined by senior managing producer of Slate podcasts and co-host of Slate's Working podcast, June Thomas. First, the panel discusses the Princess Diana biopic Spencer. Dana tracked Kristen Stewart's career up to this Oscar vehicle film. Next, the panel gets a taste of the new "meet stew" of a show, Yellowjackets. Finally, the panel is joined by author and co-host of Slate's Working podcast Isaac Butler to remember the late, great Stephen Sondheim. In Slate Plus, the panel discusses their processes for writing a book. Email us at culturefest@slate.com. Endorsements Dana: Susan Orlean reading her own audiobook of her non-fiction novel Rin Tin Tin: The Life and the Legend about the famous Hollywood star...who also happens to be a German Shepherd.   June: The exhibit at the New York Historical Society titled “‘Turn Every Page': Inside the Robert A. Caro Archive.” Steve: Continuing his Rachel Cusk endorsement with his most recently read novel of hers, Transit. Podcast production by Cameron Drews. Production assistance by Nadira Goffe. Outro music is "Any Other Way" by Particle House Slate Plus members get ad-free podcasts, a bonus segment in each episode of the Culture Gabfest, full access to Slate's journalism on Slate.com, and more. Sign up now at slate.com/cultureplus. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Steve and Dana are joined by senior managing producer of Slate podcasts and co-host of Slate's Working podcast, June Thomas. First, the panel discusses the Princess Diana biopic Spencer. Dana tracked Kristen Stewart's career up to this Oscar vehicle film. Next, the panel gets a taste of the new "meet stew" of a show, Yellowjackets. Finally, the panel is joined by author and co-host of Slate's Working podcast Isaac Butler to remember the late, great Stephen Sondheim. In Slate Plus, the panel discusses their processes for writing a book. Email us at culturefest@slate.com. Endorsements Dana: Susan Orlean reading her own audiobook of her non-fiction novel Rin Tin Tin: The Life and the Legend about the famous Hollywood star...who also happens to be a German Shepherd.   June: The exhibit at the New York Historical Society titled “‘Turn Every Page': Inside the Robert A. Caro Archive.” Steve: Continuing his Rachel Cusk endorsement with his most recently read novel of hers, Transit. Podcast production by Cameron Drews. Production assistance by Nadira Goffe. Outro music is "Any Other Way" by Particle House Slate Plus members get ad-free podcasts, a bonus segment in each episode of the Culture Gabfest, full access to Slate's journalism on Slate.com, and more. Sign up now at slate.com/cultureplus. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hope you're feeling thankful, because Eric is BACK this week for another solo episode! From a magical trip out to Dubai for Armani to dining with the cast of ‘Squid Game' – OH, and releasing his new song ‘Any Other Way' – Eric has A LOT to catch you up on! Hear what he has to say on this week's special and also all the things that he's thankful for in this season. Get your tickets for Eric's ‘There and Back Again' world tour at https://ericnam.com Thank you to our sponsor, Ana Luisa! Check out their pieces starting at $39, and get 60% off by shopping their biggest sale of the year by visiting https://shop.analuisa.com/kpop Make sure to subscribe to @daebakshow (IT'S FREE) and leave a comment, rating and/or review on Spotify, Apple Podcasts, Soundcloud, and YouTube. To find out more about MINDSET by DIVE Studios, visit here: https://www.getmindset.com/ Download the MINDSET by DIVE Studios app at https://bit.ly/3rbOanf Episodes are presented by @thedivestudios Connect with us on all social media platforms and at https://www.divestudios.io/ SUPPORT & JOIN DIVE Studios' Patreon: https://www.patreon.com/divestudios JOIN DIVE Studios' Discord Channel: https://discord.gg/nnYX2E4 Connect with Eric: https://www.instagram.com/ericnam/ #Kpop #DaebakShow #DIVEStudios #EricNam #에릭남 #AnyOtherWay #ThereAndBackAgain #IDKYA #thereandbackagaintour #namnation Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hope you're feeling thankful, because Eric is BACK this week for another solo episode! From a magical trip out to Dubai for Armani to dining with the cast of ‘Squid Game' – OH, and releasing his new song ‘Any Other Way' – Eric has A LOT to catch you up on! Hear what he has to say on this week's special and also all the things that he's thankful for in this season. Get your tickets for Eric's ‘There and Back Again' world tour at https://ericnam.com Thank you to our sponsor, Ana Luisa! Check out their pieces starting at $39, and get 60% off by shopping their biggest sale of the year by visiting https://shop.analuisa.com/kpop Make sure to subscribe to @daebakshow (IT'S FREE) and leave a comment, rating and/or review on Spotify, Apple Podcasts, Soundcloud, and YouTube. To find out more about MINDSET by DIVE Studios, visit here: https://www.getmindset.com/ Download the MINDSET by DIVE Studios app at https://bit.ly/3rbOanf Episodes are presented by @thedivestudios Connect with us on all social media platforms and at https://www.divestudios.io/ SUPPORT & JOIN DIVE Studios' Patreon: https://www.patreon.com/divestudios JOIN DIVE Studios' Discord Channel: https://discord.gg/nnYX2E4 Connect with Eric: https://www.instagram.com/ericnam/ #Kpop #DaebakShow #DIVEStudios #EricNam #에릭남 #AnyOtherWay #ThereAndBackAgain #IDKYA #thereandbackagaintour #namnation Learn more about your ad choices. Visit megaphone.fm/adchoices

#Wildon2s #motorcycleclubs #bikerlife Are there any Neutral Zone Anymore in the motorcycle club set. There has been a rise of incidents at places that used to be neutral which is causing those very same businesses to shut their door on the biker set and riders. Please join me as we talk about this topic of Are there any Neutral Zones Anymore? Please hit the Like and Subscribe Just so folks are clear during the ride and rant I carry or have a script and shoot from the hip. My thoughts where a bit juggled and never meant that a private institution can't have policies for their establishment. That's their right. It's private. I was meaning areas in public. States are trying to pass laws to ban colors, rags, cuts, etc. That goes against our rights. ALL EQUIPMENT I USE: Purple Panda Mic https://amzn.to/3ct4FqE Gopro Hero 9 https://amzn.to/3u6c1GL Shoei Air II Helmet Matte Black https://amzn.to/3cvFXWU Motorcycle Helmet Chin Mount https://amzn.to/3rw2jvi Adobe Premiere Pro video editing https://amzn.to/3u2lU88 Blue Yeti Nano Studo Mic https://amzn.to/3w62hhs Here's my Merchandise Store which a % of all proceeds goes to a charity https://teespring.com/stores/wildon2s-2   DISCLAIMER: All videos, content, and other intellectual property found on this channel (unless otherwise specified) including the name "WildOn2s, WildOn2s Vlog" are Copyright© 2019-2021 WildOn2s. All Rights Reserved. Any person, company, or other entity who reuploads, repurposes, or in ANY OTHER WAY uses any content found on this channel without permission is subject to all applicable copyright laws and policies. ALL content on YouTube found to be in violation of our copyright is subject to removal by YouTube. Offending channels are also subject to punitive action by YouTube, such as Copyright Strikes. ***WE ASK THAT IF YOU CHOOSE TO CONTACT ANYONE IN THIS VIDEO TO ADDRESS YOUR QUESTIONS OR CONCERNS, YOU DO SO RESPECTFULLY, CORDIALLY, AND PROFESSIONALLY. BY CONTACTING ANYONE IN THIS VIDEO, YOU ASSUME ALL LIABILITY FOR YOUR ACTIONS. WE ARE NOT RESPONSIBLE FOR ANY OF YOUR ACTIONS*** By commenting on my videos, livestreams, community posts, or any other content on my channel, you assume full responsibility for your comment(s) and its/their contents. (YouTube is a privately owned company. Comments which violate YouTube's policies and Community Guidelines will most likely be removed by YouTube. We ask that you please remain cordial and respectful in the comments section and that you refrain from violating any policies or rules outlined in YouTube's Community Guidelines)

Scripture For Today:Matthew 26:44(This was Jesus praying in the Garden after He said, “Thy will be done…), So he left them (the disciples) and went away once more and prayed the third time, saying the same thing…”How to Pray According to God's Will pt 3If there was ever anyone, ANYONE, who knew what the Will of God was – it was Jesus. Amen! But, in this story about his agony in the Garden of Gethsemane, we see Him asking if there was ANY OTHER WAY to accomplish the plan of Salvation, He was asking God to do it.  But when He did not hear anything, no response whatsoever from the Father, He understood that everything written in the Bible about Him and about His sacrifice WAS God's Will. Amen! The fact that here, we see Him returning to His disciples, only to find them sleeping, proved the fact that HE had to do this alone. It was ONLY His decision. The Father had made HIS decision. The fact that scripture talked about what was going to happen is proof enough of that! Jesus KNEW the scriptures. He KNEW what was required.  But yet, as a temptation ONLY HE could overcome – and yes, there was a temptation to NOT go through with it… HE had to go back and remember what the scriptures had to say. What they said about Him. What they said about the sacrifice only HE could make. What they said about the future coming Kingdom. What they said about HE was the only way any other human being could EVER enter into a relationship with the Father – through HIM and only when HE went through with the ultimate torture, sacrifice and DEATH that awaited Him. But, He also had the promises of being RAISED UP from the dead.  He had risen the dead. He understood that, as written in  John 10:17-18, “The reason the Father loves me is that I lay down my life in order to take it up again. No one takes it (my life) from me. No one. I lay it down of my own accord. Since I lay it down, I also have the authority to take it up again. THIS is the charge I have received from my Father.” He understood that. He KNEW it was His destiny from before the foundation of the world was laid. Amen! Because of that, when He prayed to the Father that “if there is any other way – take this cup from me.”  But when He did not hear one peep from the Father – He said, “not my will but YOUR will be done.” He did not ask, “Take this cup away from me if it be thy will.” He KNEW what the scripture said. He KNEW that the Word of God IS the WILL OF GOD.  That is what we are reading here. Now, if that was good enough for Jesus – WHY on God's green earth do YOU think it is not good enough for you? WHY?  Go ahead… think of your excuse… I'll wait.  You can't. Because there IS NO VALID REASON for YOU to pray “if it be thy will.”  NONE. ZERO.  If YOU know what the scriptures say – you know God's Will on the matter.  The only way you will ever know God's will on the matter in front of you is to know the scripture. The only way you will ever know the scripture is – WHAT?  You have to READ the scriptures!   Ok, I've gone over again today… I pray you are getting this. It really is a matter of life or death that you understand what we are talking about. Life or death. Your life or your death. Maybe even the life or death of your spouse or kids. How about that? Get into the Word and LEARN what the Will of God truly is. Amen! Let's Pray! Please subscribe to this podcast, leave us a quick 5 star review on Apple Podcasts to help us grow and be sure to visit our website for more information on our ministry: https://podcastersforchrist.com/ (https://podcastersforchrist.com). And while you are at the website, download the free resource I have for you… it is free and is called, “How to Start a Christian Podcast.” It will bless you – go and download it today. You can also WATCH these session on our Facebook Playlist at this...

Originally recorded on September 26, 2021, this episode of TNT focuses on the the reissue/compilation "Any Other Way," by the pioneering transgender soul and R&B singer Jackie Shane, released in 2017 by the Numero Group.

Many problems that seem intractable, have solutions that elude us due to a weak or incomplete way of thinking about the problem. In this episode, we explore the police murder situation in the US by using the thinking tool - CAF (learn more in the podcast). Sometimes simple solutions only seem obvious in retrospect. However, simple does not necessarily mean easy. Furthermore there are key considerations in solutions selection, that we all miss from time to time. Many times what people do, that we consider as "evil" are merely the results of desperation, fear and anger - all mental states that interfere with efficient thinking. People sometimes feel they HAVE TO BE EVIL because they CANNOT SEE, think or conceptualize ANY OTHER WAY to achieve an ideal, purpose or vision which is incredibly important to them (whether the rest of us agree or not). So, let's solve America's killing-of-unarmed-suspects-problem in less than 1 hour. Ready? Let's go!

This is a bonus episode, part of Pledge Week 2021. Patreon backers get one of these with every episode of the main podcast. If you want to get those, and to support the podcast, please visit patreon.com/andrewhickey to sign up for a dollar a month or more. Click below for the transcript. This week's Patreon bonus episode is one that, for the longest time, I actually had scheduled as an episode of the main podcast, because the story of Jackie Shane is a fascinating one, and she was a major talent. Sadly, though, I just couldn't find a way to tie her in to the main narrative enough to justify her inclusion in the main podcast. But had I been able to, this would have been a much longer episode. So today, we're going to look at “Any Other Way” by Jackie Shane. [Excerpt: Jackie Shane, "Any Other Way"] Jackie Shane, who died last year, was never someone who had a huge amount of success, although she made a few TV appearances in the sixties. She didn't have the kind of connections to other performers that allow her to be fitted into the narrative, and that is in large part because she was the earliest prominent trans performer -- who came out as trans -- that I have been able to discover. This is not to say that she was the first trans performer -- I've talked in the main podcast about how Little Richard was almost certainly a closeted trans woman, and there was a whole history of drag in Black variety shows, especially, that often involved performers who we would now consider trans. Up until relatively recently, there was much less distinction between the identities that we now separate under the LGBT umbrella, and many trans women at the time would still think of themselves, or be thought of by others, as being gay men. But this isn't a podcast about identities, and they're also not something that I'm particularly expert in, being as I am a cis het white man. I merely mention this to explain why Shane was for a long time regarded publicly as a gay man, or a female impersonator, and it was only shortly before she died that she confirmed her gender publicly. That's not to say that she was ever closeted -- far from it -- but she was out of the spotlight for many decades, and those were the decades in which the labels we use for different LGBT+ identities changed. From a very early age, Jackie Shane did things her way, rather than the way the adults around her wanted. She was asked to join the choir at her church when she was eight, and agreed, but on condition that she didn't have to listen to anything the minister said, and that she wouldn't give any money to the collection. She also refused to join her school's track team, even though she was the best runner in the school, because she wasn't going to do anything just because of school spirit -- she wanted paying. She started out singing gospel music, and was particularly impressed by the phrasing and delivery of Ruth Davis, of the gospel group The Davis Sisters: [Excerpt: The Davis Sisters, "Twelve Gates to the City"] Her first musical performances were with a travelling preacher and con artist, who sang gospel songs -- she would hit metal chairs while he sang, adding percussion. She soon moved on to the drums, playing with an R&B trio who got their own local radio show, on which she would play drums standing up, while also singing. She also became friendly with Little Richard's band, the Upsetters, and later claimed to have shown Chuck Connors the drum pattern that was used for Richard's records "Rip It Up" and "Slippin' and Slidin'". That trio never made records on their own, but they would often back up other acts, like Lillian Offitt, who had a top ten R&B hit in 1957 with "I Miss You So", on which Shane played drums: [Excerpt: Lillian Offitt, "I Miss You So"] She became part of the house band for Excello Records, as well as performing regularly on the chitlin' circuit, but eventually she got tired of the bigotry in the Deep South and moved up to Canada, where they didn't have a context for her at all -- there were relatively few Black people at the time in Montreal, where she was based at first, or in Toronto where she later settled, and with no other context for a gospel-voiced Black trans woman a rumour went around that she was related to Little Richard. She started singing with a band led by a trumpeter called Frank Motley, who had played with Dizzy Gillespie, and whose big gimmick was playing two trumpets on stage at the same time, and she cut a few singles. Her first, a version of "Money", didn't do much at all: [Excerpt: Jackie Shane, "Money"] But her second was more interesting. The original version of "Any Other Way" was by William Bell, on Stax records: [Excerpt: William Bell, "Any Other Way"] Shane took the song and gave it a very different reading, especially on the line "Tell her that I'm happy, tell her that I'm gay": [Excerpt: Jackie Shane, "Any Other Way"] That became a local hit, and it later made the lower reaches of the Canadian national charts when it was reissued in the mid-sixties. Around this time, Shane also recorded a live album, which was released several years later, and which shows the power of her soul vocals: [Excerpt:Jackie Shane, "Barefootin' (Live)"] But while "Any Other Way" was a success, the follow-up "In My Tenement" wasn't, and Jackie was unhappy that she didn't get to pick her own material. She also missed out on other opportunities -- for example there was a possibility of a booking on the Ed Sullivan Show, which she missed out on because she refused to present as male for the performance. Eventually, she gave up on performing altogether, and moved back to Tennessee to look after her sick mother in the early seventies. She spent much of the next few decades trying to put her performing career behind her, refusing to talk to anyone about it until the middle of the last decade, when she started to be rediscovered by a new, larger, audience. A two-CD set of all her recordings came out in 2017, and there was talk of her making a return to the stage, but sadly she died last year, aged 78, before that became possible.

The People Who Died Part VII (#224) After a long diversion of playing nothin but Ken Nordine, we continue our journey through the people who we lost in the last few years. Enjoy! https://ia801501.us.archive.org/23/items/mutation-224/Mutation224.mp3   The People Who Died Part I: 01.) Nut Rocker * B. Bumble & The Stingers Part II: 02.) Any Other Way * … Continue reading The People Who Died Part VII (#224)

Episode one hundred and three of A History of Rock Music in Five Hundred Songs looks at “Hitch-Hike” by Marvin Gaye, and the early career of one of Motown’s defining artists. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Any Other Way” by Jackie Shane. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ (more…)

Episode one hundred and three of A History of Rock Music in Five Hundred Songs looks at “Hitch-Hike” by Marvin Gaye, and the early career of one of Motown’s defining artists. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Any Other Way” by Jackie Shane. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Erratum I say that Smokey Robinson was the only person allowed to be both a writer/producer and performer at Motown. That was Marvin Gaye’s later statement, but at this point Eddie Holland was also still doing all those things.   Resources As usual, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.  For Motown-related information in this and other Motown episodes, I’ve used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown.  To Be Loved by Berry Gordy is Gordy’s own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown’s thirty-year history. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 693 tracks released on Motown singles. There is a Complete Motown Singles 1959-62 box available from Hip-O-Select with comprehensive liner notes, but if you just want the music, I recommend instead this much cheaper bare-bones box from Real Gone Music. For information on Gaye specifically, I relied on Divided Soul: The Life of Marvin Gaye by David Ritz. The best collection of Gaye’s music is The Master, a four-disc box covering his recordings from “Stubborn Kind of Fellow” to the very last recordings of his life.   Transcript A brief note — this week’s episode contains some minor mentions of parental and domestic abuse, and some discussions of homophobia. I don’t think those mentions will be upsetting for anyone, but if you’re unsure you might want to check the transcript before listening. Today we’re going to look at the start of one of the great careers in soul music, and one of the great artists to come out of the Motown hit factory. We’re going to look at the continued growth of the Motown company, and at the personal relationships that would drive it in the 1960s, but would also eventually lead to its downfall. We’re going to look at “Hitch-Hike”, and the early career of Marvin Gaye: [Excerpt: Marvin Gaye, “Hitch-Hike”] One thing we’ve not talked about much in the podcast so far is the way that the entertainment industry, until relatively recently, acted as a safety valve for society, a place where people who didn’t fit in anywhere could build themselves a life and earn a living without playing along with the normal social conventions. And by instinct, temperament, and upbringing, Marvin Gaye was one of those people. He was always someone who rubbed up against authority. He spent his youth fighting with his abusive father, and eventually left home to join the Air Force just to get away from his father. But he didn’t stay long in the Air Force either — he was discharged due to mental problems, which he later claimed he’d faked, with his honourable discharge stating “Marvin Gay cannot adjust to regimentation and authority”. Back in Washington DC, where he’d grown up, and feeling like a failure, he formed a doo-wop group called the Marquees — in later years, Gaye would state that he’d come up with the name as a reference to the Marquis de Sade, but in fact Gaye hadn’t heard of de Sade at the time. The Marquees were like a million doo-wop groups of the time, and leaned towards the sweeter end of doo-wop, particularly modelling themselves on the Moonglows. The group performed around Washington, and came to the attention of Bo Diddley, who was living in the area and friends with a neighbour of the group. Diddley took them under his wing and wrote and produced both sides of their first single, which had another member, Reese Palmer, singing lead — Palmer also claimed that he wrote both songs, but Diddley is credited and they certainly sound like Diddley’s work to me. The tracks were originally backed by Diddley’s band, but Okeh, the record label for whom they were recording, asked that one of the two sides, “Wyatt Earp”, be rerecorded with session musicians like Panama Francis who played on almost every R&B record made on the East Coast at the time. Oddly, listening to both versions, the version with the session musicians sounds rather more raw and Bo-Diddleyesque than the one with Diddley’s band. The result had a lot of the sound of the records the Coasters were making around the same time: [Excerpt: The Marquees, “Wyatt Earp”] At the same initial session, the Marquees also sang backing vocals on a record by Billy Stewart. We’ve encountered Stewart briefly before — his first single, “Billy’s Blues”, was the first appearance of the guitar figure that later became the basis for “Love is Strange”, and he played piano in Diddley’s band. With Diddley’s band and the Marquees he recorded “Billy’s Heartache”: [Excerpt: Billy Stewart, “Billy’s Heartache”] However, the Marquees’ first record did nothing, and the group were dropped by the label and went back to just playing clubs around Washington DC. It looked like their dreams of stardom were over. But one of the group’s members, Chester Simmons, took a job as Bo Diddley’s driver, and that was to lead to the group’s second big break. Diddley was on a tour with the Moonglows, who as well as being fellow Chess artists had also backed Diddley on records like “Diddley Daddy”: [Excerpt: Bo Diddley, “Diddley Daddy”] Harvey Fuqua, the group’s leader, was complaining to Diddley about the rest of the group, and in particular about Bobby Lester, the group’s tenor singer. He was thinking of dropping the entire group and getting a new, better, set of Moonglows to work with. Simmons heard Fuqua talking with Diddley about this, and suggested that the Marquees might be suitable for the job. When the tour hit DC, Fuqua auditioned the Marquees, and started working with them to get them up to the standard he needed, even while he was still continuing to tour with the original Moonglows. Fuqua trained the Marquees in things like breath control. In particular, he had a technique he called “blow harmony”, getting the group to sing with gentle, breathy, “whoo” sounds rather than the harder-edged “doo” sounds that most doo-wop groups used — Fuqua was contemptuous of most doo-wop groups, calling them “gang groups”. He taught the Marquees how to shape their mouths, how to use the muscles in their throats, and all the other techniques that most singers have to pick up intuitively or never learn at all. The breathy sound that Fuqua taught them was to become one of the most important techniques that Gaye would use as a vocalist throughout his career. Fuqua took the group back with him to Chicago, and they added a sixth singer, Chuck Barkside, who doubled Simmons on the bass. There were attempts at expanding the group still further, as well — David Ruffin, later the lead singer of the Temptations, auditioned for the group, but was turned down by Fuqua.  The group, now renamed Harvey and the Moonglows, cut a few tracks for Chess, but most were never released, but they did better as backing vocalists. Along with Etta James, they sang the backing vocals on two hits by Chuck Berry, “Almost Grown” and “Back in the USA”: [Excerpt: Chuck Berry, “Back in the USA”] At the time, Etta and Harvey were in a relationship, and Marvin took note — being in a relationship with someone else in the industry could be good for your career. Marvin was starting to discover some other things, as well — like that he really didn’t enjoy being on stage, even though he loved singing, and that the strain of touring could be eased with the use of cannabis. Marvin didn’t want to be on the stage at all — he wanted to be making records. The studio was where he was comfortable. The new Moonglows did release some recordings of their own, one of which, “Mama Loochie”, had Marvin on lead vocals, and was cowritten by Marvin and Harvey: [Excerpt: Harvey and the Moonglows, “Mama Loochie”] Another record that featured Marvin, though not as lead vocalist, was “Twelve Months of the Year”, an attempt to recapture the success of the original Moonglows’ “Ten Commandments of Love”. On that one, Marvin does the spoken recitation at the beginning and end, as well as singing backing vocals: [Excerpt: Harvey and the Moonglows, “Twelve Months of the Year”] But the Moonglows were coming to the end of their career — and Harvey was also coming to the end of his relationship with Etta James. Anna Records, one of the labels owned by members of the Gordy family, had made a distribution agreement with Chess Records, and Leonard Chess suggested to Harvey that he move to Detroit and work with Anna as a Chess liaison. Soon Harvey Fuqua was fully part of the Gordy family, and he split up with Etta James and got into a relationship with Gwen Gordy. Gwen had split up with her own partner to be with Harvey — and then Gwen and her ex, Roquel Davis, co-wrote a song about the split, which Etta James sang: [Excerpt: Etta James, “All I Could Do Was Cry”] Marvin had come with Harvey — he’d signed with him as a solo artist, and Harvey thought that Marvin could become a Black Frank Sinatra, or better. Marvin was signed to Harvey Records, Harvey’s label, but after Harvey and Gwen got together romantically, their various labels all got rolled up in the Motown family. At first, Marvin wasn’t sure whether he would be recording at all once Harvey Records was shut down, but he made an impression on Berry Gordy by gatecrashing the Motown Christmas party in 1960 and performing “Mr. Sandman” at the piano. Soon he found that Berry Gordy had bought out his recording contract, as well as a fifty percent share of his management, and he was now signed with Tamla. Marvin was depressed by this to an extent — he saw Fuqua as a father figure — but he soon came to respect Gordy. He also found that Gordy’s sister Anna was very interested in him, and while she was seventeen years older than him, he didn’t see that as something that should stand in the way of his getting together with the boss’ sister. There was a real love between the twenty year old Marvin Gaye and the thirty-seven-year-old Anna Gordy, but Gaye also definitely realised that there was an advantage to becoming part of the family — and Berry Gordy, in turn, thought that having his artists be part of his family would be an advantage in controlling them. But right from the start, Marvin and Berry had different ideas about where Marvin’s career should go. Marvin saw himself becoming a singer in the same style as Nat “King” Cole or Jesse Belvin, while Gordy wanted him to be an R&B singer like everyone else at Motown. While Marvin liked singers like Sam Cooke, he was also an admirer of people like Dean Martin and Perry Como — he would later say that the sweaters he wore in many photos in the sixties were inspired by Como, and that “I always felt like my personality and Perry’s had a lot in common”. They eventually compromised — Marvin would record an album of old standards, but there would be an R&B single on it, one side written by Berry, and the other written by Harvey and Anna. The Soulful Moods of Marvin Gaye was only the second album released by Motown, which otherwise concentrated on singles, but neither it nor the single Berry wrote, “Let Your Conscience Be Your Guide”, had any commercial success: [Excerpt: Marvin Gaye, “Let Your Conscience Be Your Guide”] As well as singing on the album, Marvin also played drums and piano, and while his singing career wasn’t doing wonderfully at this point, he was becoming known around Motown for turning his hand to whatever was needed, from drumming on a session to sweeping the floor. The most notable thing about the album, though, was that he changed the spelling of his surname, from Gay spelled G-a-y to G-a-y-e. He gave three different reasons for this, at least two of which were connected.  The first one was that he was inspired by Sam Cooke, whose career he wanted to emulate. Cooke had added an “e” to his surname, and so Marvin was doing the same. The second reason, though, was that by this time the word “gay” was already being used to refer to sexuality, and there were rumours floating around about Marvin’s sexuality which he didn’t want to encourage. He did like to wear women’s clothing in private, and he said some things about his experience of gender which might suggest that he wasn’t entirely cis, but he was only interested in women sexually, and was (like many people at the time) at least mildly homophobic. And like many people he confused sexuality and gender, and he desperately didn’t want to be thought of as anything other than heterosexual. But there was another aspect to this as well. His father was also someone who wore women’s clothing, and tied in with Marvin’s wish not to be thought of as gay was a wish not to be thought of as like his father, who was physically and emotionally abusive of him throughout his life. And his father was Marvin Gay senior. By adding the “e”, as well as trying to avoid being thought of as gay, he was also trying to avoid being thought of as like his father. While Marvin’s first album was not a success, he was doing everything he could to get more involved with the label as a whole. He played drums on records, despite never having played the instrument before, simply because he wanted to be around the studio — he played on a record we’ve already looked at, “Please Mr. Postman” by the Marvelettes: [Excerpt: The Marvelettes, “Please Mr. Postman”] He played with the Miracles on occasion, and he also played on “I Call It Pretty Music, But the Old People Call it the Blues” by Little Stevie Wonder: [Excerpt, Little Stevie Wonder, “I Call It Pretty Music, But the Old People Call it the Blues”] And on “That’s What Girls are Made For”by the Spinners (the group known in the UK as the Detroit Spinners): [Excerpt: The Spinners, “That’s What Girls are Made For”] And he both co-wrote and played drums on “Beechwood 4-5789” by the Marvelettes, which made the top twenty:  [Excerpt: The Marvelettes, “Beechwood 4-5789”] But this kind of thing ended up with Gaye being pushed by Berry Gordy in the direction of writing, which was not something he wanted to do. At that time in Motown, there was a strict demarcation, and the only person who was allowed to write *and* perform *and* produce was Smokey Robinson — everyone else was either a writer/producer or a singer, and Marvin knew he wanted to be a singer first and foremost. But Marvin’s own records were flopping, and it was only because of Anna Gordy’s encouragement that he was able to continue releasing records at all  — if he hadn’t given up himself, he would almost certainly have been dropped by the label. And indirectly, his first hit was inspired by Anna. Marvin’s attitude to authority was coming out again in his attitude towards Motown and Berry Gordy. By this point, Motown had set up its famous charm school — a department of the label that taught its singers things like elocution, posture, how to dress and how to dance. Marvin absolutely refused to do any of that, although he later said he regretted it.  Anna told him all the time that he was stubborn, and he started thinking about this, and jamming with Mickey Stevenson, the Motown staff songwriter and producer with whom he worked most closely, and who had started out as a singer with Lionel Hampton. The two of them came up with what Marvin later described as a “basic jazz feeling”, and then Berry Gordy suggested a few extra chords they could stick in, and the result was “Stubborn Kind of Fellow”: [Excerpt: Marvin Gaye, “Stubborn Kind of Fellow”] You can hear what he meant about that starting out with a jazz feel, most notably with Beans Bowles’ flute part, but the finished product was very much an R&B record — Marvin sounds more like Ray Charles than Sinatra or Como, and the backing vocals by Martha and the Vandellas are certainly not anything that you would have got behind a crooner. The record went right up the R&B chart, making the R&B top ten, but it didn’t cross over to the pop audience that Gaye was after. He was disappointed, because what he wanted more than anything else was to get a white audience, because he knew that was where the money was, but after getting an R&B hit, he knew he would have to do as so many other Black entertainers had, and play to Black audiences for a long time before he crossed over. And that also meant going out on tour, something he hated. At the end of 1962 he was put on the bill of the Motortown Revue, along with the Contours, the Supremes, the Marvelettes, Little Stevie Wonder, Mary Wells, and the Miracles. On the live album from that tour, recorded at the Apollo, you can hear Gaye still trying to find a balance between his desire to be a Sinatra-type crooner appealing to a white audience, and his realisation that he was going to have to appeal to a Black audience. The result has him singing “What Kind of Fool Am I?”, the Anthony Newley show tune, but sticking in interpolations inspired by Ray Charles: [Excerpt: Marvin Gaye, “What Kind of Fool Am I?”] This was a real concern for him. He would later say “Commercially, though, I learned quickly that it was primarily my people who were going to support me. I vowed always to take care of them, give ’em the funk they wanted. It wasn’t my first choice, but there’s integrity in the idea of pleasing your own people. Secretly, I yearned to sing for rich Republicans in tuxes and tails at the Copacabana. No matter.” He hated that tour, but some of the musicians on the tour thought it was what made him into a star — specifically, they knew that Gaye had stage fright, hated being on stage, and would not put his all into a live performance. Unless they put Little Stevie Wonder on before him. Wonder’s performances were so exciting that Gaye had to give the audience everything he had or he’d get booed off the stage, and Gaye started to rise to the challenge. He would still get stage fright, and try to get out of performing live at all, but when he turned up and went on stage he became a captivating performer. And that was something that was very evident on the first recording he made after coming off the tour. The Apollo recording we just heard was from the last week of the tour, and two days after it concluded, on December 19th 1962, Marvin Gaye was back in the studio, where he felt most comfortable, writing a song with Mickey Stevenson and Clarence Paul. While there were three writers of the song, the bulk of it was written by Gaye, who came up with the basic groove before the other writers got involved, and who played both piano and drums on the record: [Excerpt: Marvin Gaye, “Hitch-Hike”] “Hitch-Hike” became Gaye’s first real crossover hit — it made number twelve on the R&B chart, but also made the top forty on the pop chart, largely because of his appearances on American Bandstand, where he demonstrated a new dance he’d made up, involving sticking your thumb out like a hitch-hiker, which became a minor craze among Bandstand’s audiences — we’re still in the period where a novelty dance was the most important thing in having a hit. The song also became the first Marvin Gaye song to get covered on a regular basis. The first cover version of it was by the Vandellas, who sang backing vocals on Marvin’s version, and who used the same backing track for their own recording — this was something that happened often with Motown, and if you listen to albums by Motown artists in the sixties, you’ll frequently hear a hit single with different vocals on it: [Excerpt: Martha and the Vandellas, “Hitch-Hike”] But while Martha and the Vandellas were the first to cover “Hitch-Hike”, they were far from the only ones — it became a favourite for white rock groups like the Sonics or the Rolling Stones to cover, and it would be the inspiration for many more rock records by people who wanted to show they could play soul. By June 1963, Marvin Gaye was a bona fide star, and married to Anna Gordy. He was even able to buy his mother a house. But while everything seemed to be going swimmingly as far as the public were concerned, there were already problems — at their wedding reception, Gaye and Anna got into a huge row which ended up with Anna hitting Gaye on the head with her shoe heel. And while he’d bought the house for his mother, his father was still living with her, and still as toxic as he had ever been.  But for the moment, those things didn’t matter. Marvin Gaye was on top of the world, and had started a run of singles that would come to define the Motown sound, and he was also becoming a successful songwriter — and the next time we look at him, it’ll be for a classic song he wrote for someone else.

Episode one hundred and three of A History of Rock Music in Five Hundred Songs looks at "Hitch-Hike" by Marvin Gaye, and the early career of one of Motown's defining artists. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Any Other Way" by Jackie Shane. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Erratum I say that Smokey Robinson was the only person allowed to be both a writer/producer and performer at Motown. That was Marvin Gaye's later statement, but at this point Eddie Holland was also still doing all those things.   Resources As usual, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.  For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown.  To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 693 tracks released on Motown singles. There is a Complete Motown Singles 1959-62 box available from Hip-O-Select with comprehensive liner notes, but if you just want the music, I recommend instead this much cheaper bare-bones box from Real Gone Music. For information on Gaye specifically, I relied on Divided Soul: The Life of Marvin Gaye by David Ritz. The best collection of Gaye's music is The Master, a four-disc box covering his recordings from "Stubborn Kind of Fellow" to the very last recordings of his life.   Transcript A brief note -- this week's episode contains some minor mentions of parental and domestic abuse, and some discussions of homophobia. I don't think those mentions will be upsetting for anyone, but if you're unsure you might want to check the transcript before listening. Today we're going to look at the start of one of the great careers in soul music, and one of the great artists to come out of the Motown hit factory. We're going to look at the continued growth of the Motown company, and at the personal relationships that would drive it in the 1960s, but would also eventually lead to its downfall. We're going to look at "Hitch-Hike", and the early career of Marvin Gaye: [Excerpt: Marvin Gaye, "Hitch-Hike"] One thing we've not talked about much in the podcast so far is the way that the entertainment industry, until relatively recently, acted as a safety valve for society, a place where people who didn't fit in anywhere could build themselves a life and earn a living without playing along with the normal social conventions. And by instinct, temperament, and upbringing, Marvin Gaye was one of those people. He was always someone who rubbed up against authority. He spent his youth fighting with his abusive father, and eventually left home to join the Air Force just to get away from his father. But he didn't stay long in the Air Force either -- he was discharged due to mental problems, which he later claimed he'd faked, with his honourable discharge stating "Marvin Gay cannot adjust to regimentation and authority". Back in Washington DC, where he'd grown up, and feeling like a failure, he formed a doo-wop group called the Marquees -- in later years, Gaye would state that he'd come up with the name as a reference to the Marquis de Sade, but in fact Gaye hadn't heard of de Sade at the time. The Marquees were like a million doo-wop groups of the time, and leaned towards the sweeter end of doo-wop, particularly modelling themselves on the Moonglows. The group performed around Washington, and came to the attention of Bo Diddley, who was living in the area and friends with a neighbour of the group. Diddley took them under his wing and wrote and produced both sides of their first single, which had another member, Reese Palmer, singing lead -- Palmer also claimed that he wrote both songs, but Diddley is credited and they certainly sound like Diddley's work to me. The tracks were originally backed by Diddley's band, but Okeh, the record label for whom they were recording, asked that one of the two sides, "Wyatt Earp", be rerecorded with session musicians like Panama Francis who played on almost every R&B record made on the East Coast at the time. Oddly, listening to both versions, the version with the session musicians sounds rather more raw and Bo-Diddleyesque than the one with Diddley's band. The result had a lot of the sound of the records the Coasters were making around the same time: [Excerpt: The Marquees, "Wyatt Earp"] At the same initial session, the Marquees also sang backing vocals on a record by Billy Stewart. We've encountered Stewart briefly before -- his first single, "Billy's Blues", was the first appearance of the guitar figure that later became the basis for "Love is Strange", and he played piano in Diddley's band. With Diddley's band and the Marquees he recorded "Billy's Heartache": [Excerpt: Billy Stewart, "Billy's Heartache"] However, the Marquees' first record did nothing, and the group were dropped by the label and went back to just playing clubs around Washington DC. It looked like their dreams of stardom were over. But one of the group's members, Chester Simmons, took a job as Bo Diddley's driver, and that was to lead to the group's second big break. Diddley was on a tour with the Moonglows, who as well as being fellow Chess artists had also backed Diddley on records like "Diddley Daddy": [Excerpt: Bo Diddley, "Diddley Daddy"] Harvey Fuqua, the group's leader, was complaining to Diddley about the rest of the group, and in particular about Bobby Lester, the group's tenor singer. He was thinking of dropping the entire group and getting a new, better, set of Moonglows to work with. Simmons heard Fuqua talking with Diddley about this, and suggested that the Marquees might be suitable for the job. When the tour hit DC, Fuqua auditioned the Marquees, and started working with them to get them up to the standard he needed, even while he was still continuing to tour with the original Moonglows. Fuqua trained the Marquees in things like breath control. In particular, he had a technique he called "blow harmony", getting the group to sing with gentle, breathy, "whoo" sounds rather than the harder-edged "doo" sounds that most doo-wop groups used -- Fuqua was contemptuous of most doo-wop groups, calling them "gang groups". He taught the Marquees how to shape their mouths, how to use the muscles in their throats, and all the other techniques that most singers have to pick up intuitively or never learn at all. The breathy sound that Fuqua taught them was to become one of the most important techniques that Gaye would use as a vocalist throughout his career. Fuqua took the group back with him to Chicago, and they added a sixth singer, Chuck Barkside, who doubled Simmons on the bass. There were attempts at expanding the group still further, as well -- David Ruffin, later the lead singer of the Temptations, auditioned for the group, but was turned down by Fuqua.  The group, now renamed Harvey and the Moonglows, cut a few tracks for Chess, but most were never released, but they did better as backing vocalists. Along with Etta James, they sang the backing vocals on two hits by Chuck Berry, "Almost Grown" and "Back in the USA": [Excerpt: Chuck Berry, "Back in the USA"] At the time, Etta and Harvey were in a relationship, and Marvin took note -- being in a relationship with someone else in the industry could be good for your career. Marvin was starting to discover some other things, as well -- like that he really didn't enjoy being on stage, even though he loved singing, and that the strain of touring could be eased with the use of cannabis. Marvin didn't want to be on the stage at all -- he wanted to be making records. The studio was where he was comfortable. The new Moonglows did release some recordings of their own, one of which, "Mama Loochie", had Marvin on lead vocals, and was cowritten by Marvin and Harvey: [Excerpt: Harvey and the Moonglows, "Mama Loochie"] Another record that featured Marvin, though not as lead vocalist, was "Twelve Months of the Year", an attempt to recapture the success of the original Moonglows' "Ten Commandments of Love". On that one, Marvin does the spoken recitation at the beginning and end, as well as singing backing vocals: [Excerpt: Harvey and the Moonglows, "Twelve Months of the Year"] But the Moonglows were coming to the end of their career -- and Harvey was also coming to the end of his relationship with Etta James. Anna Records, one of the labels owned by members of the Gordy family, had made a distribution agreement with Chess Records, and Leonard Chess suggested to Harvey that he move to Detroit and work with Anna as a Chess liaison. Soon Harvey Fuqua was fully part of the Gordy family, and he split up with Etta James and got into a relationship with Gwen Gordy. Gwen had split up with her own partner to be with Harvey -- and then Gwen and her ex, Roquel Davis, co-wrote a song about the split, which Etta James sang: [Excerpt: Etta James, "All I Could Do Was Cry"] Marvin had come with Harvey -- he'd signed with him as a solo artist, and Harvey thought that Marvin could become a Black Frank Sinatra, or better. Marvin was signed to Harvey Records, Harvey's label, but after Harvey and Gwen got together romantically, their various labels all got rolled up in the Motown family. At first, Marvin wasn't sure whether he would be recording at all once Harvey Records was shut down, but he made an impression on Berry Gordy by gatecrashing the Motown Christmas party in 1960 and performing "Mr. Sandman" at the piano. Soon he found that Berry Gordy had bought out his recording contract, as well as a fifty percent share of his management, and he was now signed with Tamla. Marvin was depressed by this to an extent -- he saw Fuqua as a father figure -- but he soon came to respect Gordy. He also found that Gordy's sister Anna was very interested in him, and while she was seventeen years older than him, he didn't see that as something that should stand in the way of his getting together with the boss' sister. There was a real love between the twenty year old Marvin Gaye and the thirty-seven-year-old Anna Gordy, but Gaye also definitely realised that there was an advantage to becoming part of the family -- and Berry Gordy, in turn, thought that having his artists be part of his family would be an advantage in controlling them. But right from the start, Marvin and Berry had different ideas about where Marvin's career should go. Marvin saw himself becoming a singer in the same style as Nat "King" Cole or Jesse Belvin, while Gordy wanted him to be an R&B singer like everyone else at Motown. While Marvin liked singers like Sam Cooke, he was also an admirer of people like Dean Martin and Perry Como -- he would later say that the sweaters he wore in many photos in the sixties were inspired by Como, and that "I always felt like my personality and Perry's had a lot in common". They eventually compromised -- Marvin would record an album of old standards, but there would be an R&B single on it, one side written by Berry, and the other written by Harvey and Anna. The Soulful Moods of Marvin Gaye was only the second album released by Motown, which otherwise concentrated on singles, but neither it nor the single Berry wrote, "Let Your Conscience Be Your Guide", had any commercial success: [Excerpt: Marvin Gaye, "Let Your Conscience Be Your Guide"] As well as singing on the album, Marvin also played drums and piano, and while his singing career wasn't doing wonderfully at this point, he was becoming known around Motown for turning his hand to whatever was needed, from drumming on a session to sweeping the floor. The most notable thing about the album, though, was that he changed the spelling of his surname, from Gay spelled G-a-y to G-a-y-e. He gave three different reasons for this, at least two of which were connected.  The first one was that he was inspired by Sam Cooke, whose career he wanted to emulate. Cooke had added an "e" to his surname, and so Marvin was doing the same. The second reason, though, was that by this time the word "gay" was already being used to refer to sexuality, and there were rumours floating around about Marvin's sexuality which he didn't want to encourage. He did like to wear women's clothing in private, and he said some things about his experience of gender which might suggest that he wasn't entirely cis, but he was only interested in women sexually, and was (like many people at the time) at least mildly homophobic. And like many people he confused sexuality and gender, and he desperately didn't want to be thought of as anything other than heterosexual. But there was another aspect to this as well. His father was also someone who wore women's clothing, and tied in with Marvin's wish not to be thought of as gay was a wish not to be thought of as like his father, who was physically and emotionally abusive of him throughout his life. And his father was Marvin Gay senior. By adding the "e", as well as trying to avoid being thought of as gay, he was also trying to avoid being thought of as like his father. While Marvin's first album was not a success, he was doing everything he could to get more involved with the label as a whole. He played drums on records, despite never having played the instrument before, simply because he wanted to be around the studio -- he played on a record we've already looked at, "Please Mr. Postman" by the Marvelettes: [Excerpt: The Marvelettes, "Please Mr. Postman"] He played with the Miracles on occasion, and he also played on "I Call It Pretty Music, But the Old People Call it the Blues" by Little Stevie Wonder: [Excerpt, Little Stevie Wonder, "I Call It Pretty Music, But the Old People Call it the Blues"] And on "That's What Girls are Made For”by the Spinners (the group known in the UK as the Detroit Spinners): [Excerpt: The Spinners, "That's What Girls are Made For"] And he both co-wrote and played drums on "Beechwood 4-5789" by the Marvelettes, which made the top twenty:  [Excerpt: The Marvelettes, "Beechwood 4-5789"] But this kind of thing ended up with Gaye being pushed by Berry Gordy in the direction of writing, which was not something he wanted to do. At that time in Motown, there was a strict demarcation, and the only person who was allowed to write *and* perform *and* produce was Smokey Robinson -- everyone else was either a writer/producer or a singer, and Marvin knew he wanted to be a singer first and foremost. But Marvin's own records were flopping, and it was only because of Anna Gordy's encouragement that he was able to continue releasing records at all  -- if he hadn't given up himself, he would almost certainly have been dropped by the label. And indirectly, his first hit was inspired by Anna. Marvin's attitude to authority was coming out again in his attitude towards Motown and Berry Gordy. By this point, Motown had set up its famous charm school -- a department of the label that taught its singers things like elocution, posture, how to dress and how to dance. Marvin absolutely refused to do any of that, although he later said he regretted it.  Anna told him all the time that he was stubborn, and he started thinking about this, and jamming with Mickey Stevenson, the Motown staff songwriter and producer with whom he worked most closely, and who had started out as a singer with Lionel Hampton. The two of them came up with what Marvin later described as a "basic jazz feeling", and then Berry Gordy suggested a few extra chords they could stick in, and the result was "Stubborn Kind of Fellow": [Excerpt: Marvin Gaye, "Stubborn Kind of Fellow"] You can hear what he meant about that starting out with a jazz feel, most notably with Beans Bowles' flute part, but the finished product was very much an R&B record -- Marvin sounds more like Ray Charles than Sinatra or Como, and the backing vocals by Martha and the Vandellas are certainly not anything that you would have got behind a crooner. The record went right up the R&B chart, making the R&B top ten, but it didn't cross over to the pop audience that Gaye was after. He was disappointed, because what he wanted more than anything else was to get a white audience, because he knew that was where the money was, but after getting an R&B hit, he knew he would have to do as so many other Black entertainers had, and play to Black audiences for a long time before he crossed over. And that also meant going out on tour, something he hated. At the end of 1962 he was put on the bill of the Motortown Revue, along with the Contours, the Supremes, the Marvelettes, Little Stevie Wonder, Mary Wells, and the Miracles. On the live album from that tour, recorded at the Apollo, you can hear Gaye still trying to find a balance between his desire to be a Sinatra-type crooner appealing to a white audience, and his realisation that he was going to have to appeal to a Black audience. The result has him singing "What Kind of Fool Am I?", the Anthony Newley show tune, but sticking in interpolations inspired by Ray Charles: [Excerpt: Marvin Gaye, "What Kind of Fool Am I?"] This was a real concern for him. He would later say "Commercially, though, I learned quickly that it was primarily my people who were going to support me. I vowed always to take care of them, give 'em the funk they wanted. It wasn't my first choice, but there's integrity in the idea of pleasing your own people. Secretly, I yearned to sing for rich Republicans in tuxes and tails at the Copacabana. No matter." He hated that tour, but some of the musicians on the tour thought it was what made him into a star -- specifically, they knew that Gaye had stage fright, hated being on stage, and would not put his all into a live performance. Unless they put Little Stevie Wonder on before him. Wonder's performances were so exciting that Gaye had to give the audience everything he had or he'd get booed off the stage, and Gaye started to rise to the challenge. He would still get stage fright, and try to get out of performing live at all, but when he turned up and went on stage he became a captivating performer. And that was something that was very evident on the first recording he made after coming off the tour. The Apollo recording we just heard was from the last week of the tour, and two days after it concluded, on December 19th 1962, Marvin Gaye was back in the studio, where he felt most comfortable, writing a song with Mickey Stevenson and Clarence Paul. While there were three writers of the song, the bulk of it was written by Gaye, who came up with the basic groove before the other writers got involved, and who played both piano and drums on the record: [Excerpt: Marvin Gaye, "Hitch-Hike"] "Hitch-Hike" became Gaye's first real crossover hit -- it made number twelve on the R&B chart, but also made the top forty on the pop chart, largely because of his appearances on American Bandstand, where he demonstrated a new dance he'd made up, involving sticking your thumb out like a hitch-hiker, which became a minor craze among Bandstand's audiences -- we're still in the period where a novelty dance was the most important thing in having a hit. The song also became the first Marvin Gaye song to get covered on a regular basis. The first cover version of it was by the Vandellas, who sang backing vocals on Marvin's version, and who used the same backing track for their own recording -- this was something that happened often with Motown, and if you listen to albums by Motown artists in the sixties, you'll frequently hear a hit single with different vocals on it: [Excerpt: Martha and the Vandellas, "Hitch-Hike"] But while Martha and the Vandellas were the first to cover "Hitch-Hike", they were far from the only ones -- it became a favourite for white rock groups like the Sonics or the Rolling Stones to cover, and it would be the inspiration for many more rock records by people who wanted to show they could play soul. By June 1963, Marvin Gaye was a bona fide star, and married to Anna Gordy. He was even able to buy his mother a house. But while everything seemed to be going swimmingly as far as the public were concerned, there were already problems -- at their wedding reception, Gaye and Anna got into a huge row which ended up with Anna hitting Gaye on the head with her shoe heel. And while he'd bought the house for his mother, his father was still living with her, and still as toxic as he had ever been.  But for the moment, those things didn't matter. Marvin Gaye was on top of the world, and had started a run of singles that would come to define the Motown sound, and he was also becoming a successful songwriter -- and the next time we look at him, it'll be for a classic song he wrote for someone else.

In today's pod-meal, Myq brings up the old topic of how he likes bringing up new topics. Also discussed: Niels Bohr, losing things, David Letterman, Daniel Kibblesmith's Loki comics, 2-second pranks, Codenames, and my beloved friends Zach Sherwin, Shane Mauss, Micah Sherman, and Liz Glazer. Alternate Titles: Improved and New Old and Exciting A Newie and a Goodie Fangled in Any Other Way? I Had a Glasses! The Suitcase Fairy Adverbalizedly Gratitude Radio Games Rule Under the Ocean's Pillow

Any Other Way

We are so excited to welcome you back to another episode of She Said, She Said! We are on episode #23, and no, that’s not why we began the episode encouraging everyone to go watch Nexflix’s new Michael Jordan’s documentary titled The Last Dance… anyway, today’s focus is on Pride Month - June may be over now, but we think it’s important to celebrate all year long. Pride never ends. Thank you to the LGBTQ+ community for your leadership & courage in the fight for equality. Fighting for true equality means fighting for Black trans lives. We also highlight the stories of Marsha P. Johnson (we encourage everyone to go watch Reina Gossett’s Happy Birthday, Marsha!), Jackie Shane and her album Any Other Way, Atta Boy’s newly released Big Heart Manners, the film Tangerine (2015) directed by Sean Baker, and the concept of “weathering,” along with a discussion that film should not just be seen as entertainment, but also as creativity & expression - something to learn from and educate yourself with. Check out our linktree, which has been updated to include any links from this episode that you may be interested in: https://linktr.ee/shesaidshesaid. As always, thanks for listening & for your sincere support - we feel so blessed!

Neil, Liam & Elroy Finn, live from home in Los Angeles, 27th March 2020. Fangradio Theme; Better To Be; Pour Le Monde; Chameleon Days; Not The Girl You Think You Are; Any Other Way; Sinner; Better To Be (reprise). Fangradio is Neil Finn’s audio stream on Mixlr. He pulls from the archives, plays covers, takes requests and is joined by Liam, Elroy and Sharon Finn from time to time as well. More information and media at www.neilfinn.com/fangradio . Tune in live at www.mixlr.com/fangradio .

Neil, Liam & Elroy Finn, live from home in Los Angeles, 24th March 2020. Fangradio Theme; Suffer Never; I Got You; Only Talking Sense; Any Other Way; Black and White Boy; Together Alone. Fangradio is Neil Finn’s audio stream on Mixlr. He pulls from the archives, plays covers, takes requests and is joined by Liam, Elroy and Sharon Finn from time to time as well. More information and media at www.neilfinn.com/fangradio . Tune in live at www.mixlr.com/fangradio .

On this episode of W.S.E.G., we talk to Singer-Songwritwer, Ruben Ryan. We talk about his career in music, getting sober, and we listen to a tune from his band, The Folk'n Rollers, "Any Other Way". Find Ruben: https://www.facebook.com/ruben.ryan.75 Find Our Sponsor Moded Studios: modedstudios.com Find Reina Mystique: reinamystique.com Get sober before writing the show: wespeakenglishgood@gmail.com wespeakenglishgood.com

5FM - Kid Fonque #SelectiveStyles Show 174 Tracklist (feat. Karyendasoul) - Moshe Yagami's TOP 5 1. Oxygenbuntu – "Please Stay" (feat. B’utiza) / Sunclock 2. Karyendasoul – "Waka" / Gondwana 3. Citizen Deep - "Sabela" (Original Mix) (feat Thiwe) / Thee Gobbs Production 4. Enoo Napa - "February" (Original Mix) / Sunclock 5. Black Coffee & Karyendasoul – "Any Other Way" (feat. Zhao) / Soulistic Music Catch the full show on Mixcloud link : https://www.mixcloud.com/kid_fonque/selective-styles-vol-175/

Playlist: The Young Presidents, Slipping Away, Diana Rein, Get Down, Charlie Wooten Project, Tell Me A Story, Bruce Katz, Down At The Barrelhouse, Bobby Rush, Good Stuff, Billy Price, We’re In Love J.P. Soars, If You Wanna Get To Heaven, Annika Chambers, You Can’t Win, Raw Terra, Monkey See, Monkey Do, Peyton Gilliland, Magnetic, Professor Louie And The Crowmatix, L-50 Blues, Heather Newman, Cheapshot, Dudley Taft, In Your Way, Altered Five Blues Band, Too Mad To Make Up, Coco Montoya, Coming In Hot, Janiva Magness, Lodi, Pascal Bokar, The Blues Don’t Like Nobody, The Nick Moss Band feat. Dennis Gruenling, 312 Blood, Joanne Broh, Kitchen Man, Misty Blues, Spilt Whiskey, Donna Hourigan & The Lucky Lips, Talk The Talk, Vanesse Thomas, Wake Me, Tweed, Walls, Moonshine Society, Shake, Emery Williams Jr, Hurtin’ On You, Eliza Neals feat. Popa Chubby, Knock, Knock Knockin’, Alex Lopez, Cheating Blues, Gracie Curran, Sweet Sativa, Vince Agwada, Credit Card, Jeff Dale & The South Woodlawners, Can I Boogie, Griff Hamlin And The Single Barrel Blues Band, Nothing Better, Delbert McClinton, Any Other Way, Kat Riggins, Queen Bee, Kat Riggins, Kitty Won’t Scratc, Mojomatics, Soy Baby, Many Thanks To: We here at the Black-Eyed & Blues Show would like to thank all the PR and radio people that get us music including Frank Roszak, Rick Lusher ,Doug Deutsch Publicity Services,American Showplace Music, Alive Natural Sounds, Ruf Records, Vizztone Records,Blind Pig Records,Delta Groove Records, Electro-Groove Records,Betsie Brown, Blind Raccoon Records, BratGirl Media, Mark Pucci Media, Mark Platt @RadioCandy.com, Bigtone Records, Rip Cat Records, Gulf Coast Records, Whiskey Bayou Records and all of the Blues Societies both in the U.S. and abroad. All of you help make this show as good as it is weekly. We are proud to play your artists.Thank you all very much! Blues In The Area: BLUES SCHEDULE WEEKLY REPORT 8/8 thru 8/14 BAND VENUE LOCATION THURSDAY 8/8 LIVIU POP with LUCKY PETERSON BLACK EYED SALLY'S HARTFORD ROCKY LAWRENCE THE CRAVE (6:30 PM ) ANSONIA TAB BENOIT NARROWS ART CENTER FALL RIVER MA KEN SAFETY OPEN MIC CJ SPARROWS CHESHIRE OPEN MIC FAST EDDIE'S BILLiARD CAFÉ NEW MILFORD DAVE STOLTZ SOLO OLD FARMS HOTEL AVON GREG SHERROD OPEN MIC THE BLACK SHEEP NIANTIC JIMI PHOTON JAM HUNGRY TIGER MANCHESTER WENDY MAY OPEN MIC THE BLACK DUCK CAFÉ WESTPORT OTIS AND THE HURRICANES NORTHSTAR RESTAURANT SCOTTS CORNER NY RAMBLIN DAN STEVENS PERKS AND CORKS WESTERLY RI CHRIS LEIGH BAND LATITUDE 41 (Blues Meets Pink 6 PM) MYSTIC BLUES ON THE ROCKS BACK PORCH RESTAURANT (6:30 PM ) OLD SAYBROOK MICHAEL CLEARY BAND MADISON BEACH HOTEL MADISON BABY DYNAMITE / ANNE MINOGUE CAFÉ NINE NEW HAVEN DARIK AND THE FUNBAGS MGM CASINO SPRINGFIELD MA LOVELACE / LESIW BLUES REVUE MAG'S PIZZA BAR AND GRILL SEYMOUR JAKE KULAK AND LOW DOWN HANGING HILLS BREWERY HARTFORD FRIDAY 8/9 LUCKY PETERSON with LIVIU POP ROTHBARD ALE ON BARD ALLEY WESTPORT DIAMONDBACK / COLE MORSON BAND HUNGRY TIGER (Block Party ) MANCHESTER BALKUN BROTHERS MAIN PUB MANCHESTER THE COFFEE GRINDERS SILK CITY COFFEE MANCHESTER MARK NOMAD MAPLE TREE CAFÉ SIMSBURY ROCKY LAWRENCE DANIEL PACKER INN MYSTIC ROB STONE THE FALCON MArLBORO NY JEFF PITCHELL & TEXAS FLOOD THEODORE'S SPRINGFIELD MA EDGAR WINTER BAND DARYL'S HOUSE PAWLING NY DEAN SHOT (Tribute to Howling Wolf) CHAN'S WOONSOCKET RI KAT RIGGINS BLACK EYED SALLY'S HARTFORD PROF HARP CONCERT ON THE GREEN (7 - 9 PM ) TAUNTON MA ZACK DEPUTY KNICKERBOCKER MUSIC CENTER WESTERLY RI ALI KAT & THE REVELATORS HAYMARKETCOMMON AMPHITHEATER STAFFORD SPRINGS GROOVE SECTION COPPER HILL GOLF CL;UB (6:30 ) EAST GRANBY THE SHUFFLE KINGS PERKS AND CORKS WESTERLY RI COBALT EXPRESS BRASS HORSE BARKHAMSTED DEAD MEETS MARLEY ARCH STREET TAVERN HARTFORD JAKE KULAK AND LOW DOWN NEW HAVEN COUNTRY CLUB HAMDEN SAWTELLES CAFÉ NINE NEW HAVEN TAB BENOIT NARROW ART CENTER FALL RIVER MA LEGION OF JERRY (Tribute to Garcia ) THE ACOUSTIC BRIDGEPORT PULSE SHAMROCK PUB WATERBURY THE HOOLIOS McCOOKS CONCERT SERIES NIANTIC JEN DURKIN & THE BUSINESS VETERANS MEMORIAL PARK SHELTON ERAN TROY DANNER (Electric Trio) COE PARK TORRINGTON FAKE ID SPOTTED HORSE WESTPORT GEORGE LESIW BAND TRIBUS BEER CO MILFORD SATURDAY 8/10 JOE LOUIS WALKER TOWNE CRIER CAFÉ BEACON NY LUCKY PETERSON THEODORE'S SPRINGFIELD MA GLOUCESTER BLUES FESTIVAL STAGE FORT PARK GLOUCESTER MA JOHNNY & EAST COAST ROCKERS SNEEKERS CAFÉ GROTON SHAWN TAYLOR STONES THROW SEYMOUR CHRIS LEIGH BAND CALABRESE CLUB (7 TO 10 PM ) WESTERLY RI SARA ASHLEIGH BAND PJ'S HOLLAND MA POPA CHUBBY CHAN'S WOONSOCKET RI THE VETTED PIT STOP MILFORD RED BALL EXPRESS BRYAC BLACK ROCK JAKE KULAK AND LOW DOWN COALHOUSE PIZZA STAMFORD BONE DRY DUO NOTE KITCHEN BETHEL OTIS AND THE HURRICANES PEACHES SOUTHERN PUB NORWALK THE BIG CHIEF BAND THE CRABSHELL STAMFORD FAKE ID OLD GREENWICH SOCIAL OLD GREENWICH SARAH BORGES & BROKEN SINGLES CAFÉ NINE NEW HAVEN COBALT RHYTHM KINGS LENNY'S BRANFORD THE GUY ZINDA BAND BILL'S SEAFOOD WESTBROOK MICHAEL CLEARY BAND THE BACK PORCH OLD SAYBROOK TSC ACOUSTIC BALOS WEST HARTFORD CHRIS STOVALL BROWN STOMPING GROUND PUTNAM JEFF PITCHELL BLACKLEDGE COUNTRY CLUB HEBRON SUE MENHART BAND OLDE MISTICK VILLAGE (2 PM ) MYSTIC HARVEST & RUST (Neil Young Tribute) ARCH STREET TAVERN HARTFORD SUPERGREEN HUNGRY TIGER MANCHESTER THE BERNADETTES / GREG MATTSON TIPPING CHAIR TAVERN MILLDALE THE DILEMMA (Corey Rieman ) SOFTAILS CAFÉ & GRILL DURHAM THE FUNK JUNKIES THE FALCON (7 PM ) MARLBORO NY DARIK AND THE FUNBAGS CAPT NICKS BLOCK ISLAND RI GEORGE LESIW BAND TRIBUS BEER CO (Free 1 to 4 pm ) MILFORD MICHAEL LOUIS MACGREGOR'S PUB (Central Mall) HUNTER NY MEASURED SOUL BLACK EYED SALLY'S HARTFORD DRIVING IRIS MAPLE TREE CAFÉ SIMSBURY SUNDAY 8/11 SUGAR RAY & THE BLUETONES NARRAGANSETT CAFÉ (4 TO 7 PM) JAMESTOWN RI FOUR BARREL BILLY DONAHUE'S BEACH BAR (3:30 PM ) MADISON TAB BENOIT / ERIC JOHNSON DARYL'S HOUSE PAWLING NY CARL RICCI & 706 UNION AVE BRASS HORSE (3 TO 7 PM ) BARKHAMSTED JOHN MAYALL KATY OLD SAYBROOK GREG SHERROD OPEN MIC THE ANDREA MISQUAMICUT RI BLUES JAM STONEHOUSE BAR (4 TO 8 PM ) BALTIC OPEN MIC STOMPING GROUND (7 PM ) PUTNAM LUCKY PETERSON with LIVIU POP THE CHICKEN SHACK MARLBOROUGH RICK HARRINGTON JAM CADY'S TAVERN CHEPACHET RI JIM'S BLUES JAM GREENDALES PUB WORCESTER MA ROCKABILLY JAM BOUNDARY BREWHOUSE PAWTUCKET RI ELECTRIC BLUES JAM SULLY'S PUB HARTFORD FRONT ROW BAND JAM MALONEY'S PUBLIC HOUSE MERIDEN WHAMMER JAMMER OPEN MIC VFW PRESTON THE LANGLY PROJECT LENNY'S (4 PM ) BRANFORD DITTY MACK / SOMEONE YOU CAN X RAY JUNE'S OUTBACK PUB KILLINGWORTH THE 5 O'CLOCKS SHERMAN GREEN FAIRFIELD BACK TO THE GARDEN TOWNE CRIER CAFÉ BEACON NY CEE CEE & THE RIDERS SUMMER CONCERTS SO KINGSTOWN RI JOHNNY & EAST COAST ROCKERS RATHSKELLER (3 PM ) CHARLESTOWN RI DAVID STOLTZ FLYING MONKEY (4 TO 7 PM) HARTFORD BLUES AND BEYOND JAM THE HILLS AT CLUB ONE FEEDING HILLS MA OPEN MIC STATE HOUSE NEW HAVEN PROF HARP DOUG'S HOUSE OF HARMONY NEW BEDFORD MA ROCKY LAWRENCE TAINO'S (1 PM ) MERIDEN MONDAY 8/12 GREG PICCOLO STEAK LOFT MYSTIC TUXEDO JUNCTION (Swing ) BILL'S SEAFOOD WESTBROOK TOMMY WHALEN OPEN MIC HUNGRY TIGER MANCHESTER LUCKY PETERSON with LIVIU POP THE TURNING POINT PIERMONT NY TERRI AND ROB OPEN MIC BUTTONWOOD TREE MIDDLETOWN BLUES JAM THE BAYOU MOUNT VERNON NY OPEN MIC JUNE'S OUTBACK PUB KILLINGWORTH OPEN MIC NOTE KITCHEN BETHEL TOM CRIVELLONE BLUES JAM THE ACOUSTIC BRIDGEPORT OPEN MIC STRANGE BREW PUB NORWICH PETEY HOP ACOUSTIC OPEN MIC LUCY'S LOUNGE PLEASANTVILLE NY TUESDAY 8/13 MICHAEL PALIN'S OTHER ORCHESTRA BLACK EYED SALLY'S HARTFORD JOHN MAYALL IRON HORSE (7 PM ) NORTHAMPTON MA RAMBLIN DAN STEVENS NIGHTINGALES (Pickin Party at 6 PM) OLD LYME MARK PARADISE HUNGRY TIGER MANCHESTER UNPLUGGED OPEN MIC STRANGE BREW PUB NORWICH BRANDT TAYLOR LENNY'S (6 PM ) BRANFORD ERAN TROY DANNER (Electric Trio ) JACKSON COVE OXFORD OPEN MIC CROWN AND HAMMER COLLINSVILLE WEDNESDAY 8/14 MURALI CORYELL NORWICH ART CENTER NORWICH F AND BLUES BAND HOWARD T BROWN PARK (6 PM ) NORWICH WACKY BLUES JAM GREENDALES PUB WORCESTER MA LAMB JAM SEAGRAPE CAFÉ FAIRFIELD ACOUSTIC OPEN MIC FALCON UNDERGROUND MARLBORO NY FREE FUNK WEDNESDAY ARCH STREET TAVERN HARTFORD DAVE STOLTZ OLD FARMS HOTEL AVON BATTLE OF THE BANDS ATRIUM LOUNGE FOXWOOD CASINO OPEN MIC MAPLE TREE CAFÉ SIMSBURY ROBERT EARL KEEN NARROWS ART CENTER FALL RIVER MA VINTAGE RHYTHM & BLUES ENSEMBLE PUB ON PARK CRANSTON RI RAMBLIN DAN STEVENS & MELLOW MEN OLD LYME INN (Patio at 6 pm) OLD LYME OPEN MIC YANTIC INN YANTIC JAKE KULAK AND LOW DOWN VALLEY ADVOCATE NORTHAMPTON MA BLUES ON THE ROCKS VILLAGE GAZEBO (6:30 PM ) ESSEX DAVE ROBBINS WHITE LION BREWING CO (5 PM ) SPRINGFIELD MA MURRAY THE WHEEL TOOTZY PIZZA WILTON FRIENDS DAY OPEN MIC THEODORE'S SPRINGFIELD MA SANDY CONNOLLY OPEN MIC DONAHUE'S BEACH BAR MADISON COMMUNITY JAM - GENE DONALDSON BLACK EYED SALLY'S HARTFORD ED TRAIN - JUKE JOINT WEDNESDAY PEACHES SOUTHERN PUB NORWALK https://itunes.apple.com/us/podcast/id502316055

Nate is out of town, so Aaron conscripted one of our favorite buddies Tom Ryan (Ashamed No More) to hang with Kathy Reynolds for part two of the conversation on the practical side of disclosure.  Kathy and Tom give some real-world advice and real-life experience on the good, the bad and the ugly...and the beautiful, of disclosure.   Check out the ministry Kathy serves with at:  http://www.daringventures.com/ Check out Tom's book Ashamed No More at:   https://www.amazon.com/gp/product/0830837930/ref=dbs_a_def_rwt_hsch_vapi_taft_p1_i0 The music between segments was our friend Andy Gullahorn singing his song "Any Other Way"   Check it out!

Dear Heatrockers,   On a recent episode, our deep dive into Jackie Shane's "Any Other Way",  we unintentionally misgendered Ms. Shane and the late Wilmer Broadnax. Although some of this was addressed at the start of the episode, we'd like to take the opportunity to apologize to members of the transgender community and anyone who found our choice of words offensive and insensitive. We have re-cut the episode to remove the discussion of Broadnax and we pledge for the future to do a more thoughtful job in choosing our language in a respectful and accurate manner. Thanks to all of you who sent us feedback on this; we appreciate your input and support.   The Album: Jackie Shane Any Other Way (2017) This week's episode focuses on the life, career and resurgence of soul singing trans pioneer Jackie Shane, who spent much of the 50's and 60's alongside Frank Motley and the Motley Crew band enthralling Toronto audiences with her voice, her presence and her realism. We were thrilled to be joined by another old soul, singer Nick Waterhouse, a cool kid from the best coast whose sonic leanings hearken back to a time and type of rhythm and blues. He came to share the Jackie Shane's influence on him as a singer, the splendor that was her life and the songs that moved him from her seminal 2017 compilation album, Any Other Way. This one's too good to miss! And be sure to check out Nick Waterhouse's new self-titled record releasing 03/08. More on Nick Waterhouse Nick Waterhouse on Consequence of Sound Nick Waterhouse "Song for Winners" Website | Twitter More on Any Other Way official website Jackie's interview with the CBC" "Transgender Pioneer Jackie Shane Reflects on Her Re-Emergence & Grammy-Nominated Album" (Billboard) Show Tracklisting (all songs from Any Other Way unless indicated otherwise): New Way of Loving Nick Waterhouse: Wreck the Rod Stand Up Straight and Tall Walking the Dog Any Other Way Frank Motley and the Hitchhikers: Hook & Sling Money (That's What I Want) Dual Trumpet Bounce - Live Papa's Got A Brand New Bag - Live Comin' Down Money (That's What I Want) Violent Femmes: Blister in the Sun Stand Up Straight and Tall Money (That's What I Want) - Live Walking the Dog Shotgun - Live Here is the Spotify playlist of as many songs as we can find there. If you're not already subscribed to Heat Rocks in Apple Podcasts, do it here!

Welcome to another week Afro House lovers. I had fun selecting old and new songs for this one. I started with Rabs Vhafuwi 's "For Your Love" Featuring Portia Monique. For those of us who aren't familiar with the song, just check for the 9 Provinces LP. I absolutely loved mixing a few songs for the women. So look out for Kaygee The Vibe's "Glorious Goddess" Feat BusI N; Rosario, Inami & Jackie Queen's "African Woman ". Kususa's mix of Shay'iNumber is something to look out for on the dance floor if you haven't already. I finally got a chance to play Black Coffee & Karyendasoul's song "Any Other Way" featuring Zhao, it's off that Music Is Life LP. Which is just bananas. Also, listen keenly for The Scientists Of Sound Afro Tech Remix of "Move" featuring Distant People and Nontu Xulu. All in all, just a great vibe. **Track Listing** Rabs Vhafuwi - For Your Love Feat. Portia Monique from the 9 Provinces Album Saint Evo, Zipho - I Wanna Know Saint (Afro Mix) - Union Records Kaygee The Vibe Feat Busi N - Glorious Goddess (DJMreja & Neuvikal Soule Remix) Rosario, Inami & Jackie Queens - African Woman (DJMreja & Neuvikal Soule Remix) - Seres Producoes Soa Mattrix - W.O.M.A.N (Original Mix) Intruderz SA, P. Elle - African Woman (Afro Mix) - Cultures Records GINO BROWN, Mr Vince, Kususa - Shay'iNumber (Kususa Mix) - Afrocentric Records Cooks - Tshinakaho (Original Mix) Cloud Black Digital Black Motion Feat. Celimpilo - Ndinokuda (I Love You) (Manoo s Aitf Remix) - NULU044 Afrikan Roots ft Sipho - Ka Orata (I Love You, Too) from the Act 1 LP DeepQuestic, Lizwi - Wash'umuzi (Kiddy Deep Afromytes Remix) Urban Mystic Sounds Black Coffee & Karyendasoul - Any Other Way Feat. Zhao Soulistic Music from the Music Is Life LP Asyigo - Spirit Of The Lotus (S.O.T.L) (Original Mix) JusVibe Afrikan Roots - uMoya (feat. Andy Boi) from the Dawn Of The 8th Day LP Euphonik - The One (feat. Mpumi & Bekzin Terris) from thePerspective LP Gershon Jackson feat.Sio Blackwidow - How Did We Get Here (Mike Dunn White Noise MixX) Omni Music Solutions Lady Zamar - Love Is Blind (EyeRonik Phase Touch) Distant People, Nontu Xulu - Move (The Scientists Of Sound Afro Tech Remix) TR Records Sibutone, Mthandazo Gatya - Make Me Right (Echo Deep Remix) Bana Ba Moropa DJ Vivona - Moran (Zico House Junkie Remix) Sunclock Da Capo, Tshepo King, Louie Vega - Afrika (Ritual Dub Tool) Vega Records King Beku feat. Lalankie – Future (Arol Skinzie Remix II) Candid Beings J Enjoy

Welcome to another week Afro House lovers. I had fun selecting old and new songs for this one. I started with Rabs Vhafuwi 's "For Your Love" Featuring Portia Monique. For those of us who aren't familiar with the song, just check for the 9 Provinces LP. I absolutely loved mixing a few songs for the women. So look out for Kaygee The Vibe's "Glorious Goddess" Feat BusI N; Rosario, Inami & Jackie Queen's "African Woman ". Kususa's mix of Shay'iNumber is something to look out for on the dance floor if you haven't already. I finally got a chance to play Black Coffee & Karyendasoul's song "Any Other Way" featuring Zhao, it's off that Music Is Life LP. Which is just bananas. Also, listen keenly for The Scientists Of Sound Afro Tech Remix of "Move" featuring Distant People and Nontu Xulu. All in all, just a great vibe. **Track Listing** Rabs Vhafuwi - For Your Love Feat. Portia Monique from the 9 Provinces Album Saint Evo, Zipho - I Wanna Know Saint (Afro Mix) - Union Records Kaygee The Vibe Feat Busi N - Glorious Goddess (DJMreja & Neuvikal Soule Remix) Rosario, Inami & Jackie Queens - African Woman (DJMreja & Neuvikal Soule Remix) - Seres Producoes Soa Mattrix - W.O.M.A.N (Original Mix) Intruderz SA, P. Elle - African Woman (Afro Mix) - Cultures Records GINO BROWN, Mr Vince, Kususa - Shay'iNumber (Kususa Mix) - Afrocentric Records Cooks - Tshinakaho (Original Mix) Cloud Black Digital Black Motion Feat. Celimpilo - Ndinokuda (I Love You) (Manoo s Aitf Remix) - NULU044 Afrikan Roots ft Sipho - Ka Orata (I Love You, Too) from the Act 1 LP DeepQuestic, Lizwi - Wash'umuzi (Kiddy Deep Afromytes Remix) Urban Mystic Sounds Black Coffee & Karyendasoul - Any Other Way Feat. Zhao Soulistic Music from the Music Is Life LP Asyigo - Spirit Of The Lotus (S.O.T.L) (Original Mix) JusVibe Afrikan Roots - uMoya (feat. Andy Boi) from the Dawn Of The 8th Day LP Euphonik - The One (feat. Mpumi & Bekzin Terris) from thePerspective LP Gershon Jackson feat.Sio Blackwidow - How Did We Get Here (Mike Dunn White Noise MixX) Omni Music Solutions Lady Zamar - Love Is Blind (EyeRonik Phase Touch) Distant People, Nontu Xulu - Move (The Scientists Of Sound Afro Tech Remix) TR Records Sibutone, Mthandazo Gatya - Make Me Right (Echo Deep Remix) Bana Ba Moropa DJ Vivona - Moran (Zico House Junkie Remix) Sunclock Da Capo, Tshepo King, Louie Vega - Afrika (Ritual Dub Tool) Vega Records King Beku feat. Lalankie – Future (Arol Skinzie Remix II) Candid Beings J Enjoy

Welcome to another week Afro House lovers. I had fun selecting old and new songs for this one. I started with Rabs Vhafuwi 's "For Your Love" Featuring Portia Monique. For those of us who aren't familiar with the song, just check for the 9 Provinces LP. I absolutely loved mixing a few songs for the women. So look out for Kaygee The Vibe's "Glorious Goddess" Feat BusI N; Rosario, Inami & Jackie Queen's "African Woman ". Kususa's mix of Shay'iNumber is something to look out for on the dance floor if you haven't already. I finally got a chance to play Black Coffee & Karyendasoul's song "Any Other Way" featuring Zhao, it's off that Music Is Life LP. Which is just bananas. Also, listen keenly for The Scientists Of Sound Afro Tech Remix of "Move" featuring Distant People and Nontu Xulu. All in all, just a great vibe. **Track Listing** Rabs Vhafuwi - For Your Love Feat. Portia Monique from the 9 Provinces Album Saint Evo, Zipho - I Wanna Know Saint (Afro Mix) - Union Records Kaygee The Vibe Feat Busi N - Glorious Goddess (DJMreja & Neuvikal Soule Remix) Rosario, Inami & Jackie Queens - African Woman (DJMreja & Neuvikal Soule Remix) - Seres Producoes Soa Mattrix - W.O.M.A.N (Original Mix) Intruderz SA, P. Elle - African Woman (Afro Mix) - Cultures Records GINO BROWN, Mr Vince, Kususa - Shay'iNumber (Kususa Mix) - Afrocentric Records Cooks - Tshinakaho (Original Mix) Cloud Black Digital Black Motion Feat. Celimpilo - Ndinokuda (I Love You) (Manoo s Aitf Remix) - NULU044 Afrikan Roots ft Sipho - Ka Orata (I Love You, Too) from the Act 1 LP DeepQuestic, Lizwi - Wash'umuzi (Kiddy Deep Afromytes Remix) Urban Mystic Sounds Black Coffee & Karyendasoul - Any Other Way Feat. Zhao Soulistic Music from the Music Is Life LP Asyigo - Spirit Of The Lotus (S.O.T.L) (Original Mix) JusVibe Afrikan Roots - uMoya (feat. Andy Boi) from the Dawn Of The 8th Day LP Euphonik - The One (feat. Mpumi & Bekzin Terris) from thePerspective LP Gershon Jackson feat.Sio Blackwidow - How Did We Get Here (Mike Dunn White Noise MixX) Omni Music Solutions Lady Zamar - Love Is Blind (EyeRonik Phase Touch) Distant People, Nontu Xulu - Move (The Scientists Of Sound Afro Tech Remix) TR Records Sibutone, Mthandazo Gatya - Make Me Right (Echo Deep Remix) Bana Ba Moropa DJ Vivona - Moran (Zico House Junkie Remix) Sunclock Da Capo, Tshepo King, Louie Vega - Afrika (Ritual Dub Tool) Vega Records King Beku feat. Lalankie – Future (Arol Skinzie Remix II) Candid Beings J Enjoy

Show aired on Fnoob Techno Radio 17 June 2017. Tracklist: Adrian Pitscher & Schellenberg "Damped Bell" (Damped Bell EP, Industrial Philharmonics IPHR053) Matrixxman "Beacon" (Deep Mind EP, Manhigh MANHIGH003) Sascha Müller - "99.02" (Punkt 99, Sascha Müller Music) Noncompliant - "Hedalexa (Original Mix)" (She/Her EP, Flash Recordings FLASH180) Rebekah - "For The Last Time (Original Mix)" (1997 Reprise EP, Soma Quality Recordings SOMA484D) Angy Kore - "Tamago" (Clarion, Himmel HIM001) Oscar Mulero - "Misophonia (Original Mix)" (Spatial Sequence Synesthesia EP, Mord MORD030) Mike Humphries - "Silver Machine (Original Mix)" (This Is Acid...Nothing Else Volume 4, Kobayashi KOB047) Human Insect - "Scientific Research (Original Mix)" (Scientific Research EP, Dreizehn Schallplatten DRE034) Joe Farr - "Don't Be Afraid" (Any Other Way, User Experience UX001) Oliver Deutschmann - "Tide" (In The Moment Of Death We Have No Regret, Hotflush HFT054)

A conversation between myself & my best friend about how to make lady love work long-term. Upspeak theme song is Dreams by Taken by trees Other music in this episode, in play order: This is the Day by The The; Any Other Way by Daniela Andrade; God Help the Girl by God Help the Girl; My Best Friend by Hello Saferide

We speak to Globe & Mail architecture critic Alex Bozikovic about Toronto Architecture: a city guide, a series of guided walking tours through Toronto's varied built landscape. And we speak to Jane Farrow and Ed Jackson, two of the editors of Any Other Way: how Toronto got queer, in which a series of essays paints a broad picture of Toronto's LGBTQ2S community.

Jon Mullane is an award-winning rock singer-songwriter from Halifax, Nova Scotia, Canada who has gained international acclaim and success with his music. He's had several Canadian top 40, Billboard-charting radio singles, and his song, My New American Girl, broke into the top 40 at #32 on the Hot AC Billboard Chart in the US. His songs have been featured on numerous television shows, commercials and sporting events, including his hit single, Make You Move, on NBC promoting the Beijing Olympics. Jon is a dynamic performer, whose songs instantly connect with audiences in any concert setting, large and small, and his list of concert and television appearances throughout North America is extensive, including performing at such legendary and iconic venues as The Viper Room and House of Blues in Hollywood, CA, 12th & Porter in Nashville, TN, and the Gibson Stage at NAMM in Anaheim, CA. His touring rock band consists of guitar, bass, keys, and drums. Jon also performs acoustically as a duo with his guitarist, Rob Bonfiglio of Wilson Phillips fame. Jon’s current single and music video, Born Beautiful, from his album SHINE, has been gaining extensive exposure and recognition since its release. In addition to the song receiving commercial radio airplay and national charting, Jon has formed partnerships through the music video with several mental health organizations, including The Campaign to Change Direction (changedirection.org - US), the Canadian Mental Health Association (CMHA.ca), and the National Alliance on Mental Illness (NAMI.org – US), to help raise awareness and change the culture of mental health. The video for Born Beautiful is the winner of the 2016 LA Music Critics Award for Best Video (Official) Male, the 2016 Hollywood Music in Media Award (HMMA) for Best Independent Music Video and the 2016 International Music and Entertainment Award (IMEA) for Music Video of the Year. View the music video here: youtu.be/qLNzTlj9Eg4 Jon is the subject of a new documentary, "Jon Mullane - Shine On" by John Rosborough of RPM Productions in Halifax, NS, Canada, which documents Jon's musical career as well as his personal struggles and triumphs. The condensed version of the documentary culminates with the worldwide digital release of Jon's album SHINE on September 16, 2016, and was premiered at Jon’s album release party in Hollywood. Watch the documentary here: vimeo.com/184704727 Awards are not new for Jon Mullane. His album SHINE picked up an award for Rock Album of the Year at the IMEAs, and the video for his single, Any Other Way, won Best Independent Music Video at the 2014 Hollywood Music in Media Awards. As his inspiring story continues to unfold, Jon Mullane defines what a real artist is… embracing an unbridled passion for and dedication to his music, combined with an authenticity that connects him with his fans.

Jon Mullane is an award-winning rock singer-songwriter from Halifax, Nova Scotia, Canada who has gained international acclaim and success with his music. He's had several Canadian top 40, Billboard-charting radio singles, and his song, My New American Girl, broke into the top 40 at #32 on the Hot AC Billboard Chart in the US. His songs have been featured on numerous television shows, commercials and sporting events, including his hit single, Make You Move, on NBC promoting the Beijing Olympics. Jon is a dynamic performer, whose songs instantly connect with audiences in any concert setting, large and small, and his list of concert and television appearances throughout North America is extensive, including performing at such legendary and iconic venues as The Viper Room and House of Blues in Hollywood, CA, 12th & Porter in Nashville, TN, and the Gibson Stage at NAMM in Anaheim, CA. His touring rock band consists of guitar, bass, keys, and drums. Jon also performs acoustically as a duo with his guitarist, Rob Bonfiglio of Wilson Phillips fame. Jon’s current single and music video, Born Beautiful, from his album SHINE, has been gaining extensive exposure and recognition since its release. In addition to the song receiving commercial radio airplay and national charting, Jon has formed partnerships through the music video with several mental health organizations, including The Campaign to Change Direction (changedirection.org - US), the Canadian Mental Health Association (CMHA.ca), and the National Alliance on Mental Illness (NAMI.org – US), to help raise awareness and change the culture of mental health. The video for Born Beautiful is the winner of the 2016 LA Music Critics Award for Best Video (Official) Male, the 2016 Hollywood Music in Media Award (HMMA) for Best Independent Music Video and the 2016 International Music and Entertainment Award (IMEA) for Music Video of the Year. View the music video here: youtu.be/qLNzTlj9Eg4 Jon is the subject of a new documentary, "Jon Mullane - Shine On" by John Rosborough of RPM Productions in Halifax, NS, Canada, which documents Jon's musical career as well as his personal struggles and triumphs. The condensed version of the documentary culminates with the worldwide digital release of Jon's album SHINE on September 16, 2016, and was premiered at Jon’s album release party in Hollywood. Watch the documentary here: vimeo.com/184704727 Awards are not new for Jon Mullane. His album SHINE picked up an award for Rock Album of the Year at the IMEAs, and the video for his single, Any Other Way, won Best Independent Music Video at the 2014 Hollywood Music in Media Awards. As his inspiring story continues to unfold, Jon Mullane defines what a real artist is… embracing an unbridled passion for and dedication to his music, combined with an authenticity that connects him with his fans.

This is the first time in 19 weeks that I have not made my deadline of releasing the podcast late Sunday night/early Monday morning. And I beat myself up about it for a couple of days. It put me in a foul mood and I immediately felt like a failure.   Then I decided to get over it. “It’s all about the song” as they say and while I wasn’t able to put this out in a week’s time, I got pretty damn close. And I felt like I was on to something with this one. So if it took a little longer to get it right, then so be it. A better song makes for a better episode and that was my focus instead of adhering to some self-imposed deadline.   I had the main skeleton of ‘Behind The Scenes” written two or three weeks ago. But I really didn’t start arranging it and whittling it down until last week.   In episode 5 of this season, I talked about Impostor Syndrome as it pertains to our career goals. But it creeps into our personal lives as well. We tend to look at others and their relationships and think that they have it all figured out, while we are over here floundering, hanging on by a thread.   I ran into this beautiful woman that I have known since we were kids. She was one of those girls growing up that was “out of my league” in my mind--unattainable. We were always friendly to one another but the thought of any romantic involvement was outside the realm of possibility. In fact, she scared the hell out of me to be honest.   I didn’t date in high school. I was a late bloomer and was always afraid of my own shadow growing up. It wasn’t until my late twenties and early thirties that I started taking risks.   So when I ran into this woman, who is even more gorgeous now, we started catching up. It turns out that she was going through a transition in her life. So I went out on a limb and took the chance that I had always been afraid to do for so many years.   And as we got to talking, it turns out that she had always had a crush on me too and even stated that I never noticed her in school but it was nice that I did now.  Well, needless to say, you could’ve knocked me over with a feather.   It’s not like I intended to write a song about this but hey, you write what you know, right? And what I know is that sometimes you just never know. “You just never know” could be an alternate title for this one.   So this revelation coupled with my constant battle with ‘Impostor Syndrome’ became the impetus of my next song.   I was goofing around with this fingerpicking thing and I just really liked the feel of it. I  was messing with this A chord formation and then took it to a G then immediately to a D. This simple progression had this really nice release of tension to it.   Then I just started singing these nonsense lyrics over it to try to build a melody. I call these “scrambled egg” lyrics which comes from Paul McCartney when he was writing ‘Yesterday.’ As he was writing it, he would sing the words ‘scrambled eggs’ before he came up with the word “yesterday” to build the melody.   And just as with ‘Any Other Way,’ the words just came. I was thinking about how clueless I am sometimes when it comes to relationships and I just blurted out the lines “I watch what other people do to try to learn a thing or two, but I just can’t seem to get it right."   I’ve been called morose as both a person and a songwriter and maybe I am. I think I’m a pretty happy guy but I do gravitate toward sad songs. Patty Griffin, whose songs can make me literally sob, is the best at this and is one of my favorite songwriters on the planet. Check out her song, ‘When It Don’t Come Easy.’ If that song doesn’t move you, you had better check your pulse.   So I like songs with depth. For a song to hold my interest, there has to be some sort of conflict. That’s what makes for a compelling story. And even if the song doesn’t end with a nice little bow tied around it, I at least want a glimmer of hope at the end.  I am an optimist no matter how much I have been pegged over the years as a sad sack.   So that’s why the first verse ends with “But maybe tonight.” I knew immediately after throwing that in there that I would repeat the first verse at the end of the song. It is unresolved both musically and lyrically but there is that hope.   To be a good songwriter, we must be observant. Marty Dodson talks about being a sponge, taking note of everything. And this has made me careful about what I consume. I mean, garbage in, garbage out. I think that my songs are naturally a good fit for sync licensing due in large part to the number of independent art films that I have consumed over the years.   So without being pretentious about it, I try to take in a ton of media that inspires me. And for me, this usually isn’t summer blockbuster movies or mainstream music for that matter with one dimensional storylines and lackluster dialogue or lyrics.   I became obsessed with the first season of the podcast Serial, which is the true life story of a teenager who was quite possibly wrongly convicted of killing his ex-girlfriend. I know, talk about morose, right? Then I found the podcast “Undisclosed” which is hosted by a team of lawyers dissecting this case, trying to get the conviction overturned.   And that’s where I believe that the lyrics for the chorus came about. While trying to write the chorus, I went to a minor chord that walks up to the major. Then the lines, “I fall in love with lovers walking in the rain, there’s no sign of struggle, no evidence of pain.” just came out. Using sign of struggle and evidence peppered in a love song was the perfect counterbalance to the “lovers walking in the rain” line.   I didn’t intend to write a waltz but that’s what happened. And looking back, this gave the song a nice bounce to give the song a lighter feel. A waltz is not exactly a recipe for a hit song but I’m not writing for Nashville here. These songs are mine. I am in service of the song, nothing else. And besides, Elliott Smith wrote a ton of songs in 3/4 time and I love them.   So I laid down two acoustic guitar parts and hard panned them. And just like with “Any Other Way,” I searched for a nice bed to give a spacey feel. I found this preset that has this harmonica sound. I’m not the biggest fan of the harmonica as an instrument, but this gave the song both a spacey and a rootsy feel to it.   Then I messed around with a guitar part to put in the middle and found another tremolo setting. This wasn’t intentional but I noticed after playing the song in another position on the guitar, it sounded like the intro to Jeff Buckley’s ‘Lover You Should Have Come Over.’ I’m a huge fan of Buckley and this little happy accident had me overjoyed.   Then I laid down my lead and harmony vocals. I originally had an extra chorus come in after the first verse but decided to change that to two verses, then the chorus. So I just went in and cut out the extra chorus and pieced the song back together.   With this song being a waltz, I decided not to write a bridge but rather do a simple guitar solo. I just laid down one solo part this time and duplicated it instead of recording it twice. But I did hard pan them. The reason for not recording it twice is that I found an effect that would ping from left to right in the speakers. So I wanted the guitar parts to be exact. The notes were a little too piercing so I played around with another effect to use on one side that had a warmer tone to it. It turned out perfectly.   I really hate that I wasn’t able to release this episode on time, but I believe it was worth it.   Brandon Barnett: Left Of Nashville EP   How To Get Noticed In The Music Industry When You're A Nobody (Like Me) An Ebook   Patty Griffin--'When It Don't Come Easy'   Jeff Buckley-'Lover, You Should've Come Over'  

This Week on "TheMusicBox" with National Recording Artist Tanya Dallas-Lewis!I It's Comedienne Tanya Lewis ANYONE WHO KNOWS MEEEE?? Knows I LOVE to laugh--and I'm almost ALWAYS smiling or laughing at something!! I can't face my day ANY OTHER WAY! So, it's a treat to have Comedienne Tanya Lewis [no relation!!!] join me in the studio TUH-NIGHT to talk about her upcoming event "DMV'S GOT TALENT 5!"  Plus, [as always--like, FOR REAL-FOR REAL!] the BEST in gospel music by artists that you ACTUALLY know [wowsa!], news, interviews, updates, how-to's and so much more!  Alright. So you know what to do! Sit back, relax, grab your favorite candy snack or cup of hot fruit flavored tea--and hang out with your fave' sis: MOI'! I promise you, you'll be so glad you did! I'm like SUNSHINE, I'm contagious! LOL! ;0)  -Tanya, Stellar/Dove Nominated Recording Artist EPISODE SPONSORS: POPW INC., BAPMINISTRIESRADIO.COM, AGAPE MULTIMEDIA INC., PO'MAN MEALS, HGS RADIO

This Week on "TheMusicBox" with National Recording Artist Tanya Dallas-Lewis!I It's Comedienne Tanya Lewis ANYONE WHO KNOWS MEEEE?? Knows I LOVE to laugh--and I'm almost ALWAYS smiling or laughing at something!! I can't face my day ANY OTHER WAY! So, it's a treat to have Comedienne Tanya Lewis [no relation!!!] join me in the studio TUH-NIGHT to talk about her upcoming event "DMV'S GOT TALENT 5!"  Plus, [as always--like, FOR REAL-FOR REAL!] the BEST in gospel music by artists that you ACTUALLY know [wowsa!], news, interviews, updates, how-to's and so much more!  Alright. So you know what to do! Sit back, relax, grab your favorite candy snack or cup of hot fruit flavored tea--and hang out with your fave' sis: MOI'! I promise you, you'll be so glad you did! I'm like SUNSHINE, I'm contagious! LOL! ;0)  -Tanya, Stellar/Dove Nominated Recording Artist EPISODE SPONSORS: POPW INC., BAPMINISTRIESRADIO.COM, AGAPE MULTIMEDIA INC., PO'MAN MEALS, HGS RADIO