Podcasts about Baby Love

Shelli Spotts, Carolina Allen, and Alma Olaveson discuss what it means to work in the advocacy space as mothers referencing Alice Walker's book, We are the Ones We Have Been Waiting For: Light in a Time of Darkness and her daughter, Rebecca Walker's book, Baby Love: Choosing Motherhood After a Lifetime of Ambivalence.   “Advocacy is such an innate maternal thing to do, to advocate for other people that are vulnerable and can't help themselves… it just comes with the territory of being a mother.” - Carolina Allen   “The best advocacy, the best… changing of the world, the best community building happens as we do the things that we're doing in our lives… It's not stepping outside of ourselves, it's just expanding our efforts within our own sphere.” - Shelli Spotts   “I think that we just need to live more mindfully; the minute we walk out the door, to just live, ... have more integrity with who we are in our cause. I think having integrity actually allows for connection.” - Carolina Allen   “I think one skill that we all need to learn is a deep awareness and then a deep love and compassion of whatever comes up.” - Alma Olaveson   “The best way to teach is by being.” - Alma Olaveson   “I think one of the quotes from Rebecca's book, Baby Love, that I really loved is, ‘When it comes down to it, what life is about is showing up for the people you love again and again, and again and again.' And I think that that's a lot of what we've been talking about: that what we can do in the spaces we have and in the time we have is just [to] show up for those people again and again, and again and again.” - Shelli Spotts   Carolina Allen is the founder and leader of Big Ocean Women, the international maternal feminist organization representing perspectives of faith, family, and motherhood throughout civil society. Carolina holds a B.A. in philosophy from the University of Utah with an emphasis in cultural religions and philosophy of science. Her inspirational and philosophical work has been presented at various international U.N. conferences. She is a native of Brazil, and a fluent trilingual. She and her husband Kawika are parents to 7 children. She is an avid soccer fan and had a brief career as a semi-professional player.   Shell Spotts is an advocacy writer and creative writing teacher. She loves to spend time with her husband (usually in the garden) and their four almost adult children. She also loves to sew, to read, to write, and to drag her family outside to look at the sky. Shelli is passionate about poetry, Broadway show tunes, and telling stories—of ourselves, our families, and our communities.   Alma Olaveson is a dedicated advocate for women's empowerment and a passionate leader within Big Ocean Women. As a full-time mother, Alma is on a mission to create a paradigm shift in the collective consciousness of women by emphasizing one crucial element: reminding them of their innate worth, true identity, and the natural milestones in female development. Alma focuses her efforts on women who are considering pregnancy for the first time and preparing to welcome their first child. She is a firm believer that the most profound developmental milestone a woman can experience is becoming a mother for the first time. Alma is concerned that misinformation and beliefs that conflict with the natural progression of a woman's biology and feminine nature are adversely affecting the well-being of first-time mothers. Her passion lies in nurturing the spiritual, emotional, psychological, and social well-being of women as they transition from Maiden to Matrescence and ultimately to Motherhood. Alma graduated from BYUI with a degree in psychology and is currently a student at Peterson Academy. When she's not working, Alma enjoys exploring nature, hiking, chasing waterfalls, basking in the sun, and spending quality time with her kids and husband. She also loves reading, writing in her journal, and connecting with friends.

We're celebrating our 10th anniversary all year by digging in the vaults to re-present classic episodes with fresh commentary. Today, we're revisiting our milestone 100th episode with the legendary Lamont Dozier! ABOUT LAMONT DOZIERLamont Dozier, along with brothers Eddie and Brian Holland, wrote and produced more than 20 consecutive singles recorded by the Supremes, including ten #1 pop hits: “Where Did Our Love Go,” “Baby Love,” “Come See About Me,” “Stop! In the Name of Love,” “Back in My Arms Again,” “I Hear a Symphony,” “You Can't Hurry Love,” “You Keep Me Hangin' On,” “Love is Here and Now You're Gone,” and “The Happening.” Other Top 5 singles they wrote for the Supremes include “My World is Empty Without You” and “Reflections.” In addition to their hits with the Supremes, Holland, Dozier, and Holland helped further define the Motown sound by writing major pop and R&B hits such as “Heat Wave,” “Nowhere to Run,” and “Jimmy Mack” for Martha and the Vandellas, “Mickey's Monkey” for the Miracles, “Can I Get a Witness” and “You're a Wonderful One” for Marvin Gaye, and “(I'm A) Road Runner” for Junior Walker and the All Stars. The trio found particular success with The Four Tops, who scored hits with their songs “Baby I Need Your Loving,” “I Can't Help Myself (Sugar Pie Honey Bunch),” “It's the Same Old Song,” “Reach Out I'll Be There,” “Standing in the Shadows of Love,” and “Bernadette.” Additional hits include “Crumbs Off the Table” for Glass House, “Give Me Just a Little More Time” for Chairmen of the Board, “Band of Gold” for Freda Payne, and Dozier's own recording of “Why Can't We Be Lovers.” Hit cover versions of his songs by rock artists include “Don't Do It” by the Band, “Take Me in Your Arms (Rock Me a Little While)” by the Doobie Brothers, “How Sweet It Is (To Be Loved By You)” by James Taylor, and “This Old Heart of Mine” by Rod Stewart. With hits spanning multiple decades, Dozier also co-wrote “Two Hearts” with Phil Collins, earning a #1 pop hit, a Grammy award, a Golden Globe, and an Oscar nomination. Dozier is in the Songwriters Hall of Fame and the Rock and Roll Hall of Fame. He is the recipient of the prestigious Johnny Mercer Award for songwriting, as well as the BMI Icon award. Lamont Dozier was additionally named among Rolling Stone magazine's 100 Greatest Songwriters of All Time.

Tracklist 1:30 Barry White - Never, Never Gonna Give Ya Up 8:30 Imagination - Just an Illusion [feat. Errol Kennedy] 15:30 Lillo Thomas - I'm in Love 21:30 George Benson - Love X Love 27:00 Traks - Long Train Running 35:30 Candi Staton - Young Hearts Run Free (Mike Maurro 1976 12" Disco Remix) 47:00 Henri Salvador - Jazz Méditerranée 49:30 Fred Kingdom - Lost in the Rhythm 1:06:30 Donna Summer - Bad Girls 1:08:30 Raw Silk - Do It To The Music (Michael Gray Extended Mix) 1:09:30 Raw Silk - Do It To The Music (Michael Gray Remix) 1:12:30 Ray Martinez and Friends - Lady of the Night 1:20:00 Kool & the Gang - Celebrations 1:22:30 Madonna - Papa Don't Preach 1:24:30 Madonna - Papa Don't Preach (Extended Version) 1:31:00 Regrets - Je ne veux pas rentrer chez moi seule 1:36:00 Claude François - Alexandrie Alexandra (Dimitri From Paris Radio Edit) 1:38:00 Claude François - Alexandrie Alexandra (Dimitri From Paris Version discothèque) 1:41:30 Sylvester - You Make Me Feel (Mighty Real) (Michael Gray Remix) 1:53:00 Thommy Davis - Hot Shot - DJ Spen & Gary Hudgins Original Mix 1:54:00 Thommy Davis;Tasha Larae;Shelia Ford - Hot Shot 1:59:00 Tracy Hamlin - MacArthur Park 2:08:30 Madonna - Hung Up 2:18:00 Yazz;The Plastic Population - The Only Way Is Up 2:20:00 Yazz & The Plastic Population - The Only Way Is Up 2:21:00 Yazz - The Only Way Is Up 2:22:30 Astrud Gilberto - The Girl from Ipanema 2:35:30 Freddie James - Everybody Get up and Boogie 2:43:00 The Police - Message In A Bottle 2:51:00 Blondie - Call Me (Original 12" Mix; 1999 Remastered Version) 2:52:00 Blondie - Call Me (Theme From American Gigolo) 2:56:00 a-ha - Train of Thought (Radio Mix) [2015 Remaster] Disco House Type: DJ-SetMexico City, Mexique

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Welcome back Full House Fans! This week we have our first guest Christine Lakin! She helps us break down Season 2 Episode 16 "Baby Love" in which Michelle thinks she loves her new "boyfriend" Howie, and is heartbroken when she learns he has to leave back to Nebraska!Join us as Dave and Marla speak with Christine about her early acting days, acting in shows you had previously been a fan of, and reminisce with Marla about their shared experience filming the 2000 movie "Whatever It Takes".Follow @FullHouseRewind on Instagram, Facebook, TikTok and YouTube.#FullHouse #FullerHouse #PodcastSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Luis Herrero y Felipe Couselo analizan al grupo de música pop y soul estadounidense.

Air Date 12/4/01 Thank you so much for listening to NYPD Blue Balls! If you enjoyed this episode, we encourage you to rate and review the show on whatever podcast platform you happen to be listening on. Make sure to follow us on Instagram @asherbrotherspodcast For more content like this, follow Kirk on X (Twitter), Instagram & TikTok: @kirkhasglasses. Watch Kirk play video games and watch old movies: Youtube: https://www.youtube.com/channel/UCFgQ5XvqltSyP5a2UpPvUyQ Twitch: https://www.twitch.tv/kirkhasglasses Join the Discord: discord.gg/GKPU6

Ce 19 novembre, Marjorie Hache propose un programme mêlant habilement classiques et nouveautés. Parmi les incontournables, on redécouvre "Ballroom Blitz" de Sweet, "Baby Love" des Supremes et "Smoke On The Water" de Deep Purple. Du côté des nouveautés, Kaktus Einarsson présente "Gumbri" avec Damon Albarn, tandis que Tunde Adebimpe de TV On The Radio dévoile son single solo "Magnetic". L'album de la semaine est "From Zero" de Linkin Park, qui intègre leur nouvelle chanteuse Emily Armstrong ; le titre "Casuality" marque particulièrement les esprits. Le live du soir est "Absolution" de Ghost. La reprise du jour, "Are 'Friends' Electric?" de Gary Numan, est revisitée par The Dead Weather. Enfin, The Horrors annoncent leur prochain album pour 2025 avec "Trial By Far". La playlist de l'émission : The Offspring - Light It Up Sweet - The Ballroom Blitz The Supremes - Baby Love The Wombats - Let's Dance To Joy Division Kaktus Einarsson - Gumbri (With Damon Albarn) War - Low Rider Liam Gallagher - For What It's Worth Linkin Park - Casualty The Clash - Police On My Back Blush Aways - Lonely Things The Chemical Brothers - Block Rockin Beats (Studio) Tunde Adebimpe - Magnetic The Dead Weather - Are Friends Electric The Pretenders - Don't Get Me Wrong Supergrass - Diamond Hoo Ha Man The Horrors - Trial By Fire Deep Purple - Smoke On The Water Garbage - Push It Ghost - Absolution (Live At The Forum) The Subways - Rock & Roll Queen The Damned - Melody Lee Ex Voïd - Swansea Fun Lovin' Criminals - Scooby Snacks The Communards - Don't Leave Me This Way Isaac Hayes - Shaft (Version Long) Foo Fighters - The Teacher

Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 19ú lá de mí na Samhna, liomsa Lauren Ní Loingsigh. I 1972 ghabhadh Seán MacStiofáin I mBaile Átha Cliath tar éis a agallamh conspóideach a rinne sé ar RTÉ. Cuireadh sa phríosún é ar feadh sé mhí de bharr a bhallraíocht den IRA. I 1985 d'éirigh Mary Robinson ón bPáirtí an Lucht Oibre de bharr nach raibh sí ábalta tacaíocht a thabhairt chuig an Chomhaontú Angla-Éireannach. I 2007 ceadaíodh maoiniúchán faoi dheireadh tar éis deicheanna. Bhí an maoiniúchán i gcóir linn snámha i Ros Cré. I 2002 fuair TippFM an ceadúnas ionas go mbeidh siad ábalta craoladh don chontae ar fad. Sin Leona Lewis le Bleeding Love - an t-amhrán is mó ar an lá seo I 2007. Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 1964 – bhí an banna cheol The Supremes an chéad bhanna ceoil lán de mhná a raibh amhrán a chuaigh chuig uimhir a haon le Baby Love. Chuaigh an t-amhrán chuig uimhir a haon I Meiriceá chomh maith. I 2016 dhíol litir a scríobh John Lennon chuig Paul McCartney díreach tar éis a scair The Beatles. Dhíol an litir I gcóir 30 míle dollars chuig duine I Dallas. Bhí an litir dhá leathanach, lámhscrite ag John Lennon. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo, rugadh Calvin Klein I Nua Eabhrac I 1942 agus rugadh aisteoir Adam Driver I gCalifornia I 1983 agus seo chuid de a rudaí a rinne sé. Beidh mé ar ais libh amárach le heagrán nua de Ar An Lá Seo.

Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 19ú lá de mí na Samhna, liomsa Lauren Ní Loingsigh. I 1972 ghabhadh Seán MacStiofáin I mBaile Átha Cliath tar éis a agallamh conspóideach a rinne sé ar RTÉ. Cuireadh sa phríosún é ar feadh sé mhí de bharr a bhallraíocht den IRA. I 1985 d'éirigh Mary Robinson ón bPáirtí an Lucht Oibre de bharr nach raibh sí ábalta tacaíocht a thabhairt chuig an Chomhaontú Angla-Éireannach. I 1972 chuaigh níos mó ná 600 duine ón chontae chuig an 15ú dinnéar agus damhsa bliantúil den chumann Clár I Londain. I 2007 níos mó ná bliain tar éis, bhí an dealbh Icarus fós sa chlós comhairle. Bhí daoine ag déanamh cinneadh an raibh siad chun é a cur ar ais san áit chéanna nó cur é in áit difriúil. Mhol Brian Meaney chun é a cur ar timpeallán nua mar shainchomhartha nua. Sin Leona Lewis le Bleeding Love - an t-amhrán is mó ar an lá seo I 2007. Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 1964 – bhí an banna cheol The Supremes an chéad bhanna ceoil lán de mhná a raibh amhrán a chuaigh chuig uimhir a haon le Baby Love. Chuaigh an t-amhrán chuig uimhir a haon I Meiriceá chomh maith. I 2016 dhíol litir a scríobh John Lennon chuig Paul McCartney díreach tar éis a scair The Beatles. Dhíol an litir I gcóir 30 míle dollars chuig duine I Dallas. Bhí an litir dhá leathanach, lámhscrite ag John Lennon. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo, rugadh Calvin Klein I Nua Eabhrac I 1942 agus rugadh aisteoir Adam Driver I gCalifornia I 1983 agus seo chuid de a rudaí a rinne sé. Beidh mé ar ais libh amárach le heagrán nua de Ar An Lá Seo.

Participants: John Steppling, Max Parry, Hiroyuki Hamada, Shaenah Batterson, Dennis Riches. Subjects covered: What has been lost with the loss of handwriting and letter writing, looking back at “the covid years” and their ongoing effects, induced food scarcity, performance enhancing drugs in sports and other competitive endeavors, missiles “find” a refugee camp, an atom bomb “fell” from the sky—how language use strips of acts of war of their human agency, as in the bland official pronouncements on the Hiroshima memorial day, August 6, 2024. Music track "Baby Love" by Jack Littman, used with permission.

what's the mundane task that gives you joy?

Who knew the name “Howie” could cause us so much distress?! We have finally found our Season 2 “Sea Cruise”…  Uncle Jesse serenades ‘Meechelle' to get her to smile, and we even get a dream sequence / total disaster to go along with it. Speaking of couples in love - why can't Jesse and Becky just get a room?! At least the invention of "FaceTime" was created - and it all makes for another great new episode of How Rude, Tanneritos!See omnystudio.com/listener for privacy information.

Diana Ross, The Supremes. Diana Ross & The Supremes. Enough said. Oh, and thanks again to the Anti! In Top Ten Songs By Diana Ross & The Supremes Part 2, our beloved aunt Helene Eisen came through for us in style to round out our list with picks 5-1. Thanks also to the delightful Shannon Hurley for lively guest commentary in our loving tribute to the ultimate diva and all of the great music she has given us. If you missed Part 1, make haste to this link to hear it on Apple Podcasts:https://podcasts.apple.com/us/podcast/episode-609-top-ten-songs-by-diana-ross-the-supremes/id573735994?i=1000650352073The official Top Ten Songs By Diana Ross & The Supremes Spotify playlist might contain the greatest music an hour and 6 minutes can provide. It features every song heard in parts 1 & 2, bumper songs included. Pure gold here:https://open.spotify.com/playlist/7mQrG1cybuVuS8gqmFkiwC?si=4fc7c71063a641a0ATTT's Patreon is back, with an exclusive Bonus Episode every month featuring our patented Emergency Pod! format. Join for just $5 a month and get Patreon Emergency Pod #2 with guest David Daskal, out today!https://www.patreon.com/alltimetoptenWe're chatting about music! If you're on Facebook and want to join the ATTT community, chat with us in the All Time Top Ten Podcast Music Chat group:https://www.facebook.com/groups/940749894391295

This is a brief special "Christmas" edition as we listen to the sound of love that comes from one of my beautifully brilliant sugar babies Bailey J. I pray you listen with your heart as she shares with us about love, family, God and what it means to her! ENJOY!!!

Dateline: December 15, 2023. Rossifari Zoo News is back with a round up of the latest news in the world of zoos, aquariums, conservation, and animal weirdness!  In Zoo News, we start with our births, including an amazing story about African painted dogs at Potawatomi Zoo, another story about the same species at the Oklahoma City Zoo, a new rhino at the Oregon Zoo, and an adorable colobus monkey at the Memphis Zoo! We also say goodbye to an incredible old penguin at Aquarium of Niagara.We then move on to our other Zoo News stories, featuring a deep dive into the disgrace of the Natural Bridge Zoo in Virginia that came to light this week. After that, we spend some time talking about some lighter fare, including the Top Ten Zoo Lights for the year, an elephant seeming to take a selfie, how the B-52s are helping animals in human care, and so much more.In Conservation News, we talk about the reintroduction program for scimitar horned oryx and how incredibly successful it has been, and also an interesting story about river otters.And in Other News, we talk about the fact that dolphins are even cooler than we realized...and we already thought they were pretty darn cool! TO HELP ME HELP LEHIGH VALLEY ZOO GET RED PANDAS: https://gofund.me/2f33cfbdROSSIFARI LINKS: www.rossifari.com patreon.com/rossifari @rossifari on socials @rossifaripod on TikTok

It's a celebration!  SHOW NOTES We Recommend  Locking in the political season so you can get your education votes in when the time comes, checking out Netflix's "Live to 100" for a look at how people around the world are putting their health and happiness first, "Love At First Sight" and "The Ultimatum" for some romantic, relationship vibes and the Breakfast Club Interview with Kirk Franklin! Live to 100: Secrets of the Blue Zones (Netflix) https://www.netflix.com/title/81214929 Love At First Sight (Netflix)  https://www.netflix.com/title/81504327   The Ultimatum: Seasons 1 & 2 (Netflix) https://www.netflix.com/title/81292203      

Episode 188:   “Not a lot of people have basements in California.”Jim, Joseph, and George debate the best of the best single appearances by an actor/actress in film, and the Top 5 songs·        What did Paul Simon's Julio do that was against the law?·        Roger Miller's contaminated genius becomes the abomination known as the Hamster Dance.·        Producer Phil Ramone and the whistling sample/place-holder that made history·        Brando as Mister X·        Why is Charlie Sheen staying awake for 48 hours straight?·        Who ad-libbed a bit that has now been covered over 6 million times?·        Fumbling to Success: John Sebastian fails to copy the Supremes' ‘BABY LOVE' but lands on his feet with a hit.·        What is the impact of Joseph's wife on the show?

Walt Baby Love on #DriveInn with Fareed Khimani and SoniSideUp by Capital FM

Where to even begin... this conversation covers so many stretches with lessons shared throughout. Denise Kenny Byrne is co-founder of The Head Plan, a life + wellness coach and a mother to 4 month old baby girl. Denise's business is about writing it down + making it happen - but in motherhood we need to build a mindset ready for the unexpected. We talk about IVF, pregnancy anxiety, an emergency C-Section, the mental load of breastfeeding, hormonal crashes and the 4 month sleep regression - plus the absolute success story of The Head Plan that is running parallel to this wild journey. Honest, wise and hopeful this episode is a must listen. **Special points for the amount of times we made reference to our 90's icon Anneka Rice. FREE DOWNLOAD - Get Started with The Head Plan todayIf this conversation supports you at all please support us back and hit subscribe, rate or review.Every tiny bit of interaction helps.Hosted by Sinead O'Moore Get in touch at @stretchmarkspodcast This season is supported by VitabioticsStretch Marks is owned and produced by the brand story - sound editing by Alan Breslin. Hosted on Acast. See acast.com/privacy for more information.

This week we are away enjoying the summer on The Cape, so here's an episode we pre-recorded Memorial Day weekend! We talk about Laura and Liz's daughters recent birthdays (Adri, 4 and Kiki, 5) and all the details of their celebrations. We dive into our selfcare, from botox to emsculpt, some of our favorite products, and everything in between. Libby was diagnosed with Crohns & colitis just weeks before her wedding, and she discusses how she navigates and controls her symptoms. We also discuss the reality of your life changing with babies, but how becoming a mother is the BEST chapter of your life which was probably our favorite conversation of the episode. If you love this episode don't forget to leave us a 5-star review. And don't forget to follow us on Instagram: @badwivespodcast --- Send in a voice message: https://podcasters.spotify.com/pod/show/badwivesclub/message

Madonna breaks her silence and says she's on the road to recovery, Al Roker loves being a first time grandpa, and Happy National Pina Colada day!  

We're back babyyyyy! On this ep of Friend Island we are discussing Season 9 of Love Island UK, eps 1-18. Watch along with us as we dive into another season of drama and love!!!

Things are chugging along. Now that the baby's cooking, how has it been? BFFs Amrita and Andrew steer through the pregnancy as friends, finding new ways to care for one another, and maintain boundaries.  We also have several notes about the raggedy-ass American health care system....especially as uninsured freelancers. Yikes. Host Marina Weiss asks all the right questions and comments as we go.

In our extended trailer, you met Shontee, a mother of three. Two of Shontee's children are grown up but her youngest is Micah. Their story illustrates the journey parents take every day to do the best for their children. We talk to CEO of SCIMHA, Kerrie Schnake, about what exactly is Infant and Early Childhood Mental Health (IECMH) and introduce you to the work we do at SCIMHA.This series is proudly supported by the South Carolina Infant Mental Health Association. Learn more at https://www.scimha.org

Kenan and Tani took the week off. So they left you in good hands with a Throwback from 2020!   Welcome back Know It Alls! Today, we present to you, the official You Already Know podcast 90 Day Fiancé: Before The 90 Days season review extravaganza!!! Kenan and Tani leave no stone unturned, as they discuss this season's hottest TV show. Usman & Lisa, Big Ed & Rosemarie, Dave & Lana - you name it, we cover it...in detail! So get your popcorn ready and turn the volume UP!!!   Disclaimer: You Already Know contains strong language and is for Mature Audiences Only.   a greidiens production

This week, Audrey and Laura deep dive into all things Bejeweled, from the song's many references to the master's heist to the interesting timing of the music video's release. Plus, your favorite Folkwhores discuss the many easter eggs and fun moments in the TaylorVerse along the way...from Taylor liking a Gaylor TikTok to a cameo from Oscar-winner Laura Dern!

"Hindi sa ganun. Gusto kita. Gusto na kita, pero natatakot kasi ako. Kapag nalaman kasi ng mama ko na may nanliligaw sakin o kaya pag may boyfriend na ako, baka palayasin ako sa bahay. Baka nga ngayon inaantay nako ni mama, baka sinumbong nako ni Ate Ana. Kaya sorry talaga Joseph, akala ko kasi kaya na ng loob ko, pero hindi pala." #DearMORBabyLove - The Babylove Story Follow us: Youtube: https://www.youtube.com/c/MOREntertainment Twitter: https://www.twitter.com/MORentPH Instagram: https://www.instagram.com/morentertainmentph

** PLEASE SUBSCRIBE ** Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music's foremost masters of the groove. Become a TRUTH IN RHYTHM Member through YouTube or at https://www.patreon.com/truthinrhythm. Featured in TIR Episode 272: A true funk-rock icon – Mother's Finest singer/songwriter Joyce “Baby Jean” Kennedy! Along with her husband, Glenn “Doc” Murdock, she is a founding member of a band that has blazed musical trails and obliterated genre and racial boundaries throughout its 50+ year history.  With amazing classic tracks like “Baby Love,” “Truth'll Set You Free,” “Giving You All the Love (Inside of Me),” “Rain,” “Fire,” “Mickey's Monkey,” “Can't Fight the Feeling,” “Love Changes” and “Don't Wanna Come Back,” Mothers Finest notched three straight gold albums during the 1970s while becoming a world-renowned live act.  During a 1980s break from the group, Kennedy scored a hit ballad duet with Jeffrey Osbourne called “The First Time I Made Love.” This year, she released the six-song EP, “Rock'n My Soul,” and Mother's Finest continues to throw it down on stage. RECORDED OCTOBER 2022 LEGAL NOTICE: All video and audio content protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281). Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c400

# mother's finest baby love # progressive Rock&R&B band, very influential # dynamic lead vocalist Joyce Kennedy # songwriters dozier, holland,dozier # one Rock and funky jam# respect --- Support this podcast: https://anchor.fm/mr-maxxx/support

A show that George Clooney was quoted as saying was "a particular low point" in his career. "Baby Talk" was a television adaptation of the hit movie "Look Who's Talking" The show was created by Amy Heckerling, the writer and director of the original film and Ed Weinberger, who co-created such hit shows as "Taxi" & "The Cosby Show". The show was even originally slated to be called Look Who's Talking until it was determined that it may cause confusion with the sequel that would be airing concurrently. This show also readapted and recast the main characters so we don't see the likes of John Travolta and Kirstie Alley reprising their roles and instead of the baby being voiced by Bruce Willis the network went with Tony Danza who was already starring in the show "Who's The Boss" at the same time. Despite having the likes of Danza and Clooney involved in the project the show just didn't perform well. Shockingly a full second season was eventually ordered but not before a total re-haul changing nearly the entire cast and location. Those adjustments did little to improve ratings and the show was canceled at the conclusion of the season. But with all this in mind does the pilot episode have enough laughs to make you want to watch more? Listen as we do a deep dive of the show's pilot episode, "Baby Love".   www.S1E1POD.com Starring: Tony Danza, George Clooney, Julia Duffy, Lenny Wolpe, Ted McGinley, & William Hickey

Ep. 149: Bruce Bennett on Skolimowski's Deep End, Baby Love, Chabrol Freakout, and more Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. This episode I had a wonderful time talking with the inimitable Bruce Bennett, who's back on the show with a new garden of cinematic delights. We start with Deep End, a past hit from director Jerzy Skolimowski, who's enjoying a renaissance with EO. From there, we delve into unsung British rarities from the turn of the 1970s and the wildest Claude Chabrol film you ever did (or did not) see. But wait, there's more! So much more, in fact, that I will publish the second half of our jampacked chat separately. Stay tuned! Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow's Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

#OTD The song "Baby Love," the second of five consecutive number one singles by The Supremes, began a four week run atop the Billboard Hot 100.

Episode one hundred and fifty-five of A History of Rock Music in Five Hundred Songs looks at “Waterloo Sunset” by the Kinks, and the self-inflicted damage the group did to their career between 1965 and 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a nineteen-minute bonus episode available, on "Excerpt From a Teenage Opera" by Keith West. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many Kinks songs. I've used several resources for this and future episodes on the Kinks, most notably Ray Davies: A Complicated Life by Johnny Rogan and You Really Got Me by Nick Hasted. X-Ray by Ray Davies is a remarkable autobiography with a framing story set in a dystopian science-fiction future, while Kink by Dave Davies is more revealing but less well-written. The Anthology 1964-1971 is a great box set that covers the Kinks' Pye years, which overlap almost exactly with their period of greatest creativity. For those who don't want a full box set, this two-CD set covers all the big hits. And this is the interview with Rasa I discuss in the episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, this episode has some mentions of racism and homophobia, several discussions of physical violence, one mention of domestic violence, and some discussion of mental illness. I've tried to discuss these things with a reasonable amount of sensitivity, but there's a tabloid element to some of my sources which inevitably percolates through, so be warned if you find those things upsetting. One of the promises I made right at the start of this project was that I would not be doing the thing that almost all podcasts do of making huge chunks of the episodes be about myself -- if I've had to update people about something in my life that affects the podcast, I've done it in separate admin episodes, so the episodes themselves will not be taken up with stuff about me. The podcast is not about me. I am making a very slight exception in this episode, for reasons that will become clear -- there's no way for me to tell this particular story the way I need to without bringing myself into it at least a little. So I wanted to state upfront that this is a one-off thing. The podcast is not suddenly going to change. But one question that I get asked a lot -- far more than I'd expect -- is "do the people you talk about in the podcast ever get in touch with you about what you've said?" Now that has actually happened twice, both times involving people leaving comments on relatively early episodes. The first time is probably the single thing I'm proudest of achieving with this series, and it was a comment left on the episode on "Goodnight My Love" a couple of years back: [Excerpt: Jesse Belvin, "Goodnight My Love"] That comment was from Debra Frazier and read “Jesse Belvin is my Beloved Uncle, my mother's brother. I've been waiting all my life for him to be recognized in this manner. I must say the content in this podcast is 100% correct!Joann and Jesse practically raised me. Can't express how grateful I am. Just so glad someone got it right. I still miss them dearly to this day. My world was forever changed Feb. 6th 1960. I can remember him writing most of those songs right there in my grandmother's living room. I think I'm his last living closest relative, that knows everything in this podcast is true." That comment by itself would have justified me doing this whole podcast. The other such comment actually came a couple of weeks ago, and was on the episode on "Only You": [Excerpt: The Platters, "Only You"] That was a longer comment, from Gayle Schrieber, an associate of Buck Ram, and started "Well, you got some of it right. Your smart-assed sarcasm and know-it-all attitude is irritating since I Do know it all from the business side but what the heck. You did better than most people – with the exception of Marv Goldberg." Given that Marv Goldberg is the single biggest expert on 1950s vocal groups in the world, I'll take that as at least a backhanded compliment. So those are the only two people who I've talked about in the podcast who've commented, but before the podcast I had a blog, and at various times people whose work I wrote about would comment -- John Cowsill of the Cowsills still remembers a blog post where I said nice things about him fourteen years ago, for example. And there was one comment on a blog post I made four or five years ago which confirmed something I'd suspected for a while… When we left the Kinks, at the end of 1964, they had just recorded their first album. That album was not very good, but did go to number three in the UK album charts, which is a much better result than it sounds. Freddie "Boom Boom" Cannon got to number one in 1960, but otherwise the only rock acts to make number one on the album charts from the start of the sixties through the end of 1967 were Elvis, Cliff Richard, the Shadows, the Beatles, the Rolling Stones, Bob Dylan and the Monkees. In the first few years of the sixties they were interspersed with the 101 Strings, trad jazz, the soundtrack to West Side Story, and a blackface minstrel group, The George Mitchell Singers. From mid-1963 through to the end of 1967, though, literally the only things to get to number one on the album charts were the Beatles, the Rolling Stones, Bob Dylan, the Monkees, and the soundtrack to The Sound of Music. That tiny cabal was eventually broken at the end of 1967 by Val Doonican Rocks… But Gently, and from 1968 on the top of the album charts becomes something like what we would expect today, with a whole variety of different acts, I make this point to point out two things The first is that number three on the album charts is an extremely good position for the Kinks to be in -- when they reached that point the Rolling Stones' second album had just entered at number one, and Beatles For Sale had dropped to number two after eight weeks at the top -- and the second is that for most rock artists and record labels, the album market was simply not big enough or competitive enough until 1968 for it to really matter. What did matter was the singles chart. And "You Really Got Me" had been a genuinely revolutionary hit record. According to Ray Davies it had caused particular consternation to both the Rolling Stones and the Yardbirds, both of whom had thought they would be the first to get to number one with a dirty, distorted, R&B-influenced guitar-riff song. And so three weeks after the release of the album came the group's second single. Originally, the plan had been to release a track Ray had been working on called "Tired of Waiting", but that was a slower track, and it was decided that the best thing to do would be to try to replicate the sound of their first hit. So instead, they released "All Day And All Of The Night": [Excerpt: The Kinks, "All Day And All Of The Night"] That track was recorded by the same team as had recorded "You Really Got Me", except with Perry Ford replacing Arthur Greenslade on piano. Once again, Bobby Graham was on drums rather than Mick Avory, and when Ray Davies suggested that he might want to play a different drum pattern, Graham just asked him witheringly "Who do you think you are?" "All Day and All of the Night" went to number two -- a very impressive result for a soundalike follow-up -- and was kept off the number one spot first by "Baby Love" by the Supremes and then by "Little Red Rooster" by the Rolling Stones. The group quickly followed it up with an EP, Kinksize Session, consisting of three mediocre originals plus the group's version of "Louie Louie". By February 1965 that had hit number one on the EP charts, knocking the Rolling Stones off. Things were going as well as possible for the group. Ray and his girlfriend Rasa got married towards the end of 1964 -- they had to, as Rasa was pregnant and from a very religious Catholic family. By contrast, Dave was leading the kind of life that can only really be led by a seventeen-year-old pop star -- he moved out of the family home and in with Mick Avory after his mother caught him in bed with five women, and once out of her watchful gaze he also started having affairs with men, which was still illegal in 1964. (And which indeed would still be illegal for seventeen-year-olds until 2001). In January, they released their third hit single, "Tired of Waiting for You". The track was a ballad rather than a rocker, but still essentially another variant on the theme of "You Really Got Me" -- a song based around a few repeated phrases of lyric, and with a chorus with two major chords a tone apart. "You Really Got Me"'s chorus has the change going up: [Plays "You Really Got Me" chorus chords] While "Tired Of Waiting For You"'s chorus has the change going down: [Plays "Tired of Waiting For You" chorus chords] But it's trivially easy to switch between the two if you play them in the same key: [Demonstrates] Ray has talked about how "Tired of Waiting for You" was partly inspired by how he felt tired of waiting for the fame that the Kinks deserved, and the music was written even before "You Really Got Me". But when they went into the studio to record it, the only lyrics he had were the chorus. Once they'd recorded the backing track, he worked on the lyrics at home, before coming back into the studio to record his vocals, with Rasa adding backing vocals on the softer middle eight: [Excerpt: The Kinks, "Tired of Waiting For You"] After that track was recorded, the group went on a tour of Australia, New Zealand, and Hong Kong. The flight out to Australia was thirty-four hours, and also required a number of stops. One stop to refuel in Moscow saw the group forced back onto the plane at gunpoint after Pete Quaife unwisely made a joke about the recently-deposed Russian Premier Nikita Khruschev. They also had a stop of a couple of days in Mumbai, where Ray was woken up by the sounds of fishermen chanting at the riverside, and enchanted by both the sound and the image. In Adelaide, Ray and Dave met up for the first time in years with their sister Rose and her husband Arthur. Ray was impressed by their comparative wealth, but disliked the slick modernity of their new suburban home. Dave became so emotional about seeing his big sister again that he talked about not leaving her house, not going to the show that night, and just staying in Australia so they could all be a family again. Rose sadly told him that he knew he couldn't do that, and he eventually agreed. But the tour wasn't all touching family reunions. They also got into a friendly rivalry with Manfred Mann, who were also on the tour and were competing with the Kinks to be the third-biggest group in the UK behind the Beatles and the Stones, and at one point both bands ended up on the same floor of the same hotel as the Stones, who were on their own Australian tour. The hotel manager came up in the night after a complaint about the noise, saw the damage that the combined partying of the three groups had caused, and barricaded them into that floor, locking the doors and the lift shafts, so that the damage could be contained to one floor. "Tired of Waiting" hit number one in the UK while the group were on tour, and it also became their biggest hit in the US, reaching number six, so on the way home they stopped off in the US for a quick promotional appearance on Hullabaloo. According to Ray's accounts, they were asked to do a dance like Freddie and the Dreamers, he and Mick decided to waltz together instead, and the cameras cut away horrified at the implied homosexuality. In fact, examining the footage shows the cameras staying on the group as Mick approaches Ray, arms extended, apparently offering to waltz, while Ray backs off nervous and confused, unsure what's going on. Meanwhile Dave and Pete on the other side of the stage are being gloriously camp with their arms around each other's shoulders. When they finally got back to the UK, they were shocked to hear this on the radio: [Excerpt: The Who, "I Can't Explain"] Ray was horrified that someone had apparently stolen the group's sound, especially when he found out it was the Who, who as the High Numbers had had a bit of a rivalry with the group. He said later "Dave thought it was us! It was produced by Shel Talmy, like we were. They used the same session singers as us, and Perry Ford played piano, like he did on ‘All Day And All Of The Night'. I felt a bit appalled by that. I think that was worse than stealing a song – they were actually stealing our whole style!” Pete Townshend later admitted as much, saying that he had deliberately demoed "I Can't Explain" to sound as much like the Kinks as possible so that Talmy would see its potential. But the Kinks were still, for the moment, doing far better than the Who. In March, shortly after returning from their foreign tour, they released their second album, Kinda Kinks. Like their first album, it was a very patchy effort, but it made number two on the charts, behind the Rolling Stones. But Ray Davies was starting to get unhappy. He was dissatisfied with everything about his life. He would talk later about looking at his wife lying in bed sleeping and thinking "What's she doing here?", and he was increasingly wondering if the celebrity pop star life was right for him, simultaneously resenting and craving the limelight, and doing things like phoning the music papers to deny rumours that he was leaving the Kinks -- rumours which didn't exist until he made those phone calls. As he thought the Who had stolen the Kinks' style, Ray decided to go in a different direction for the next Kinks single, and recorded "Everybody's Gonna Be Happy", which was apparently intended to sound like Motown, though to my ears it bears no resemblance: [Excerpt: The Kinks, "Everybody's Gonna Be Happy"] That only went to number nineteen -- still a hit, but a worry for a band who had had three massive hits in a row. Several of the band started to worry seriously that they were going to end up with no career at all. It didn't help that on the tour after recording that, Ray came down with pneumonia. Then Dave came down with bronchitis. Then Pete Quaife hit his head and had to be hospitalised with severe bleeding and concussion. According to Quaife, he fainted in a public toilet and hit his head on the bowl on the way down, but other band members have suggested that Quaife -- who had a reputation for telling tall stories, even in a band whose members are all known for rewriting history -- was ashamed after getting into a fight. In April they played the NME Poll-Winners' Party, on the same bill as the Beatles, the Rolling Stones, the Animals, the Moody Blues, the Searchers, Freddie And The Dreamers, Herman's Hermits, Wayne Fontana & The Mindbenders, the Rockin' Berries, the Seekers, the Ivy League, Them, the Bachelors, Georgie Fame & The Blue Flames, Cilla Black, Dusty Springfield, Twinkle, Tom Jones, Donovan, and Sounds Incorporated. Because they got there late they ended up headlining, going on after the Beatles, even though they hadn't won an award, only come second in best new group, coming far behind the Stones but just ahead of Manfred Mann and the Animals. The next single, "Set Me Free", was a conscious attempt to correct course after "Everybody's Gonna Be Happy" had been less successful: [Excerpt: The Kinks, "Set Me Free"] The song is once again repetitive, and once again based on a riff, structured similarly to "Tired of Waiting" but faster and more upbeat, and with a Beatles-style falsetto in the chorus. It worked -- it returned the group to the top ten -- but Ray wasn't happy at writing to order. He said in August of that year “I'm ashamed of that song. I can stand to hear and even sing most of the songs I've written, but not that one. It's built around pure idiot harmonies that have been used in a thousand songs.” More recently he's talked about how the lyric was an expression of him wanting to be set free from the constraint of having to write a hit song in the style he felt he was outgrowing. By the time the single was released, though, it looked like the group might not even be together any longer. There had always been tensions in the band. Ray and Dave had a relationship that made the Everly Brothers look like the model of family amity, and while Pete Quaife stayed out of the arguments for the most part, Mick Avory couldn't. The core of the group had always been the Davies brothers, and Quaife had known them for years, but Avory was a relative newcomer and hadn't grown up with them, and they also regarded him as a bit less intelligent than the rest of the group. He became the butt of jokes on a fairly constant basis. That would have been OK, except that Avory was also an essentially passive person, who didn't want to take sides in conflicts, while Dave Davies thought that as he and Avory were flatmates they should be on the same side, and resented when Avory didn't take his side in arguments with Ray. As Dave remembered it, the trigger came when he wanted to change the setlist and Mick didn't support him against Ray. In others' recollection, it came when the rest of the band tried to get Dave away from a party and he got violent with them. Both may be true. Either way, Dave got drunk and threw a suitcase at the back of a departing Mick, who was normally a fairly placid person but had had enough, and so he turned round, furious, grabbed Dave, got him in a headlock and just started punching, blackening both his eyes. According to some reports, Avory was so infuriated with Dave that he knocked him out, and Dave was so drunk and angry that when he came to he went for Avory again, and got knocked out again. The next day, the group were driven to their show in separate cars -- the Davies brothers in one, the rhythm section in the other -- they had separate dressing rooms, and made their entrance from separate directions. They got through the first song OK, and then Dave Davies insulted Avory's drumming, spat at him, and kicked his drums so they scattered all over the stage. At this point, a lot of the audience were still thinking this was part of the act, but Avory saw red again and picked up his hi-hat cymbal and smashed it down edge-first onto Dave's head. Everyone involved says that if his aim had been very slightly different he would have actually killed Dave. As it is, Dave collapsed, unconscious, bleeding everywhere. Ray screamed "My brother! He's killed my little brother!" and Mick, convinced he was a murderer, ran out of the theatre, still wearing his stage outfit of a hunting jacket and frilly shirt. He was running away for his life -- and that was literal, as Britain still technically had the death penalty at this point; while the last executions in Britain took place in 1964, capital punishment for murder wasn't abolished until late 1965 -- but at the same time a gang of screaming girls outside who didn't know what was going on were chasing him because he was a pop star. He managed to get back to London, where he found that the police had been looking for him but that Dave was alive and didn't want to press charges. However, he obviously couldn't go back to their shared home, and they had to cancel gigs because Dave had been hospitalised. It looked like the group were finished for good. Four days after that, Ray and Rasa's daughter Louisa was born, and shortly after that Ray was in the studio again, recording demos: [Excerpt: Ray Davies, "I Go to Sleep (demo)"] That song was part of a project that Larry Page, the group's co-manager, and Eddie Kassner, their publisher, had of making Ray's songwriting a bigger income source, and getting his songs recorded by other artists. Ray had been asked to write it for Peggy Lee, who soon recorded her own version: [Excerpt: Peggy Lee, "I Go to Sleep"] Several of the other tracks on that demo session featured Mitch Mitchell on drums. At the time, Mitchell was playing with another band that Page managed, and there seems to have been some thought of him possibly replacing Avory in the group. But instead, Larry Page cut the Gordian knot. He invited each band member to a meeting, just the two of them -- and didn't tell them that he'd scheduled all these meetings at the same time. When they got there, they found that they'd been tricked into having a full band meeting, at which point Page just talked to them about arrangements for their forthcoming American tour, and didn't let them get a word in until he'd finished. At the end he asked if they had any questions, and Mick Avory said he'd need some new cymbals because he'd broken his old ones on Dave's head. Before going on tour, the group recorded a song that Ray had written inspired by that droning chanting he'd heard in Mumbai. The song was variously titled "See My Friend" and "See My Friends" -- it has been released under both titles, and Ray seems to sing both words at different times -- and Ray told Maureen Cleave "The song is about homosexuality… It's like a football team and the way they're always kissing each other.” (We will be talking about Ray Davies' attitudes towards sexuality and gender in a future episode, but suffice to say that like much of Davies' worldview, he has a weird mixture of very progressive and very reactionary views, and he is also prone to observe behaviours in other people's private lives and make them part of his own public persona). The guitar part was recorded on a bad twelve-string guitar that fed back in the studio, creating a drone sound, which Shel Talmy picked up on and heavily compressed, creating a sound that bore more than a little resemblance to a sitar: [Excerpt: The Kinks, "See My Friend"] If that had been released at the time, it would have made the Kinks into trend-setters. Instead it was left in the can for nearly three months, and in the meantime the Yardbirds released the similar-sounding "Heart Full of Soul", making the Kinks look like bandwagon-jumpers when their own record came out, and reinforcing a paranoid belief that Ray had started to develop that his competitors were stealing his ideas. The track taking so long to come out was down to repercussions from the group's American tour, which changed the course of their whole career in ways they could not possibly have predicted. This was still the era when the musicians' unions of the US and UK had a restrictive one-in, one-out policy for musicians, and you couldn't get a visa to play in the US without the musicians' union's agreement -- and the AFM were not very keen on the British invasion, which they saw as taking jobs away from their members. There are countless stories from this period of bands like the Moody Blues getting to the US only to find that the arrangements have fallen through and they can't perform. Around this time, Wayne Fontana and the Mindbenders were told they weren't notable enough to get permission to play more than one gig, even though they were at number one on the charts in the US at the time. So it took a great deal of effort to get the Kinks' first US tour arranged, and they had to make a good impression. Unfortunately, while the Beatles and Stones knew how to play the game and give irreverent, cheeky answers that still left the interviewers amused and satisfied, the Kinks were just flat-out confusing and rude: [Excerpt: The Kinks Interview with Clay Cole] The whole tour went badly. They were booked into unsuitable venues, and there were a series of events like the group being booked on the same bill as the Dave Clark Five, and both groups having in their contract that they would be the headliner. Promoters started to complain about them to their management and the unions, and Ray was behaving worse and worse. By the time the tour hit LA, Ray was being truly obnoxious. According to Larry Page he refused to play one TV show because there was a Black drummer on the same show. Page said that it was not about personal prejudice -- though it's hard to see how it could not be, at least in part -- but just picking something arbitrary to complain about to show he had the power to mess things up. While shooting a spot for the show Where The Action Is, Ray got into a physical fight with one of the other cast members over nothing. What Ray didn't realise was that the person in question was a representative for AFTRA, the screen performers' union, and was already unhappy because Dave had earlier refused to join the union. Their behaviour got reported up the chain. The day after the fight was supposed to be the highlight of the tour, but Ray was missing his wife. In the mid-sixties, the Beach Boys would put on a big Summer Spectacular at the Hollywood Bowl every year, and the Kinks were due to play it, on a bill which as well as the Beach Boys also featured the Byrds, the Righteous Brothers, Dino, Desi & Billy, and Sonny and Cher. But Ray said he wasn't going on unless Rasa was there. And he didn't tell Larry Page, who was there, that. Instead, he told a journalist at the Daily Mirror in London, and the first Page heard about it was when the journalist phoned him to confirm that Ray wouldn't be playing. Now, they had already been working to try to get Rasa there for the show, because Ray had been complaining for a while. But Rasa didn't have a passport. Not only that, but she was an immigrant and her family were from Lithuania, and the US State Department weren't exactly keen on people from the Eastern Bloc flying to the US. And it was a long flight. I don't know exactly how long a flight from London to LA took then, but it takes eleven and a half hours now, and it will have been around that length. Somehow, working a miracle, Larry Page co-ordinated with his co-managers Robert Wace and Grenville Collins back in London -- difficult in itself as Wace and Collins and Page and his business partner Eddie Kassner were by now in two different factions, because Ray had been manipulating them and playing them off against each other for months. But the three of them worked together and somehow got Rasa to LA in time for Ray to go on stage. Page waited around long enough to see that Ray had got on stage at the Hollywood Bowl, then flew back to London. He had had enough of Ray's nonsense, and didn't really see any need to be there anyway, because they had a road manager, their publisher, their agent, and plenty of support staff. He felt that he was only there to be someone for Ray Davies to annoy and take his frustrations out on. And indeed, once Page flew back to the UK, Ray calmed down, though how much of that was the presence of Rasa it's hard to say. Their road manager at the time though said "If Larry wasn't there, Ray couldn't make problems because there was nobody there to make them to. He couldn't make problems for me because I just ignored them. For example, in Hawaii, the shirts got stolen. Ray said, ‘No way am I going onstage without my shirt.' So I turned around and said to him, ‘Great, don't go on!' Of course, they went on.” They did miss the gig the next night in San Francisco, with more or less the same lineup as the Hollywood Bowl show -- they'd had problems with the promoter of that show at an earlier gig in Reno, and so Ray said they weren't going to play unless they got paid in cash upfront. When the promoter refused, the group just walked on stage, waved, and walked off. But other than that, the rest of the tour went OK. What they didn't realise until later was that they had made so many enemies on that tour that it would be impossible for them to return to the US for another four years. They weren't blacklisted, as such, they just didn't get the special treatment that was necessary to make it possible for them to visit there. From that point on they would still have a few hits in the US, but nothing like the sustained massive success they had in the UK in the same period. Ray felt abandoned by Page, and started to side more and more with Wace and Collins. Page though was still trying to promote Ray's songwriting. Some of this, like the album "Kinky Music" by the Larry Page Orchestra, released during the tour, was possibly not the kind of promotion that anyone wanted, though some of it has a certain kitsch charm: [Excerpt: The Larry Page Orchestra, "All Day And All Of The Night"] Incidentally, the guitarist on that album was Jimmy Page, who had previously played rhythm guitar on a few Kinks album tracks. But other stuff that Larry Page was doing would be genuinely helpful. For example, on the tour he had become friendly with Stone and Greene, the managers who we heard about in the Buffalo Springfield episode. At this point they were managing Sonny and Cher, and when they came over to the UK, Page took the opportunity to get Cher into the studio to cut a version of Ray's "I Go to Sleep": [Excerpt: Cher, "I Go to Sleep"] Most songwriters, when told that the biggest new star of the year was cutting a cover version of one of their tracks for her next album, would be delighted. Ray Davies, on the other hand, went to the session and confronted Page, screaming about how Page was stealing his ideas. And it was Page being marginalised that caused "See My Friend" to be delayed, because while they were in the US, Page had produced the group in Gold Star Studios, recording a version of Ray's song "Ring the Bells", and Page wanted that as the next single, but the group had a contract with Shel Talmy which said he would be their producer. They couldn't release anything Talmy hadn't produced, but Page, who had control over the group's publishing with his business partner Kassner, wouldn't let them release "See My Friend". Eventually, Talmy won out, and "See My Friend" became the group's next single. It made the top ten on the Record Retailer chart, the one that's now the official UK chart cited in most sources, but only number fifteen on the NME chart which more people paid attention to at the time, and only spent a few weeks on the charts. Ray spent the summer complaining in the music papers about how the track -- "the only one I've really liked", as he said at the time -- wasn't selling as much as it deserved, and also insulting Larry Page and boasting about his own abilities, saying he was a better singer than Andy Williams and Tony Bennett. The group sacked Larry Page as their co-manager, and legal battles between Page and Kassner on one side and Collins and Wace on the other would continue for years, tying up much of the group's money. Page went on to produce a new band he was managing, making records that sounded very like the Kinks' early hits: [Excerpt: The Troggs, "Wild Thing"] The Kinks, meanwhile, decided to go in a different direction for their new EP, Kwyet Kinks, an EP of mostly softer, folk- and country-inspired songs. The most interesting thing on Kwyet Kinks was "Well-Respected Man", which saw Ray's songwriting go in a completely different direction as he started to write gentle social satires with more complex lyrics, rather than the repetitive riff-based songs he'd been doing before. That track was released as a single in the US, which didn't have much of an EP market, and made the top twenty there, despite its use of a word that in England at the time had a double meaning -- either a cigarette or a younger boy at a public school who has to be the servant of an older boy -- but in America was only used as a slur for gay people: [Excerpt: The Kinks, "Well Respected Man"] The group's next album, The Kink Kontroversy, was mostly written in a single week, and is another quickie knockoff album. It had the hit single "Til the End of the Day", another attempt at getting back to their old style of riffy rockers, and one which made the top ten. It also had a rerecorded version of "Ring the Bells", the song Larry Page had wanted to release as a single: [Excerpt: The Kinks, "Ring the Bells"] I'm sure that when Ray Davies heard "Ruby Tuesday" a little over a year later he didn't feel any better about the possibility that people were stealing his ideas. The Kink Kontroversy was a transitional album for the group in many ways. It was the first album to prominently feature Nicky Hopkins, who would be an integral part of the band's sound for the next three years, and the last one to feature a session drummer (Clem Cattini, rather than Avory, played on most of the tracks). From this point on there would essentially be a six-person group of studio Kinks who would make the records -- the four Kinks themselves, Rasa Davies on backing vocals, and Nicky Hopkins on piano. At the end of 1965 the group were flailing, mired in lawsuits, and had gone from being the third biggest group in the country at the start of the year to maybe the tenth or twentieth by the end of it. Something had to change. And it did with the group's next single, which in both its sound and its satirical subject matter was very much a return to the style of "Well Respected Man". "Dedicated Follower of Fashion" was inspired by anger. Ray was never a particularly sociable person, and he was not the kind to do the rounds of all the fashionable clubs like the other pop stars, including his brother, would. But he did feel a need to make some kind of effort and would occasionally host parties at his home for members of the fashionable set. But Davies didn't keep up with fashion the way they did, and some of them would mock him for the way he dressed. At one such party he got into a fistfight with someone who was making fun of his slightly flared trousers, kicked all the guests out, and then went to a typewriter and banged out a lyric mocking the guest and everyone like him: [Excerpt: The Kinks, "Dedicated Follower of Fashion"] The song wasn't popular with Ray's bandmates -- Dave thought it was too soft and wimpy, while Quaife got annoyed at the time Ray spent in the studio trying to make the opening guitar part sound a bit like a ukulele. But they couldn't argue with the results -- it went to number five on the charts, their biggest success since "Tired of Waiting for You" more than a year earlier, and more importantly in some ways it became part of the culture in a way their more recent singles hadn't. "Til The End of the Day" had made the top ten, but it wasn't a record that stuck in people's minds. But "Dedicated Follower of Fashion" was so popular that Ray soon got sick of people coming up to him in the street and singing "Oh yes he is!" at him. But then, Ray was getting sick of everything. In early 1966 he had a full-scale breakdown, brought on by the flu but really just down to pure exhaustion. Friends from this time say that Ray was an introverted control freak, always neurotic and trying to get control and success, but sabotaging it as soon as he attained it so that he didn't have to deal with the public. Just before a tour of Belgium, Rasa gave him an ultimatum -- either he sought medical help or she would leave him. He picked up their phone and slammed it into her face, blacking her eye -- the only time he was ever physically violent to her, she would later emphasise -- at which point it became imperative to get medical help for his mental condition. Ray stayed at home while the rest of the band went to Belgium -- they got in a substitute rhythm player, and Dave took the lead vocals -- though the tour didn't make them any new friends. Their co-manager Grenville Collins went along and with the tact and diplomacy for which the British upper classes are renowned the world over, would say things like “I understand every bloody word you're saying but I won't speak your filthy language. De Gaulle won't speak English, why should I speak French?” At home, Ray was doing worse and worse. When some pre-recorded footage of the Kinks singing "Dedicated Follower of Fashion" came on the TV, he unplugged it and stuck it in the oven. He said later "I was completely out of my mind. I went to sleep and I woke up a week later with a beard. I don't know what happened to me. I'd run into the West End with my money stuffed in my socks, I'd tried to punch my press agent, I was chased down Denmark Street by the police, hustled into a taxi by a psychiatrist and driven off somewhere. And I didn't know. I woke up and I said, ‘What's happening? When do we leave for Belgium?' And they said, ‘Ray it's all right. You had a collapse. Don't worry. You'll get better.'” He did get better, though for a long time he found himself unable to listen to any contemporary rock music other than Bob Dylan -- electric guitars made him think of the pop world that had made him ill -- and so he spent his time listening to classical and jazz records. He didn't want to be a pop star any more, and convinced himself he could quit the band if he went out on top by writing a number one single. And so he did: [Excerpt: The Kinks, "Sunny Afternoon"] Or at least, I say it's a single he wrote, but it's here that I finally get to a point I've been dancing round since the beginning of the episode. The chorus line, "In the summertime", was Rasa's suggestion, and in one of the only two interviews I've ever come across with her, for Johnny Rogan's biography of Ray, she calls the song "the only one where I wrote some words". But there's evidence, including another interview with her I'll talk about in a bit, that suggests that's not quite the case. For years, I thought it was an interesting coincidence that Ray Davies' songwriting ability follows a curve that almost precisely matches that of his relationship with Rasa. At the start, he's clearly talented -- "You Really Got Me" is a great track -- but he's an unformed writer and most of his work is pretty poor stuff. Then he marries Rasa, and his writing starts to become more interesting. Rasa starts to regularly contribute in the studio, and he becomes one of the great songwriters of his generation. For a five-year period in the mid-to-late-sixties, the period when their marriage is at its strongest, Ray writes a string of classic songs that are the equal of any catalogue in popular music. Then around 1970 Rasa stops coming to the studio, and their marriage is under strain. The records become patchier -- still plenty of classic tracks, but a lot more misses. And then in 1973, she left him, and his songwriting fell off a cliff. If you look at a typical Ray Davies concert setlist from 2017, the last time he toured, he did twenty songs, of which two were from his new album, one was the Kinks' one-off hit "Come Dancing" from 1983, and every other song was from the period when he and Rasa were married. Now, for a long time I just thought that was interesting, but likely a coincidence. After all, most rock songwriters do their most important work in their twenties, divorces have a way of messing people's mental health up, musical fashions change… there are a myriad reasons why these things could be like that. But… the circumstantial evidence just kept piling up. Ray's paranoia about people stealing his ideas meant that he became a lot more paranoid and secretive in his songwriting process, and would often not tell his bandmates the titles of the songs, the lyrics, or the vocal melody, until after they'd recorded the backing tracks -- they would record the tracks knowing the chord changes and tempo, but not what the actual song was. Increasingly he would be dictating parts to Quaife and Nicky Hopkins in the studio from the piano, telling them exactly what to play. But while Pete Quaife thought that Ray was being dictatorial in the studio and resented it, he resented something else more. As late as 1999 he was complaining about, in his words, "the silly little bint from Bradford virtually running the damn studio", telling him what to do, and feeling unable to argue back even though he regarded her as "a jumped-up groupie". Dave, on the other hand, valued Rasa's musical intuition and felt that Ray was the same. And she was apparently actually more up-to-date with the music in the charts than any of the band -- while they were out on the road, she would stay at home and listen to the radio and make note of what was charting and why. All this started to seem like a lot of circumstantial evidence that Rasa was possibly far more involved in the creation of the music than she gets credit for -- and given that she was never credited for her vocal parts on any Kinks records, was it too unbelievable that she might have contributed to the songwriting without credit? But then I found the other interview with Rasa I'm aware of, a short sidebar piece I'll link in the liner notes, and I'm going to quote that here: "Rasa, however, would sometimes take a very active role during the writing of the songs, many of which were written in the family home, even on occasion adding to the lyrics. She suggested the words “In the summertime” to ‘Sunny Afternoon', it is claimed. She now says, “I would make suggestions for a backing melody, sing along while Ray was playing the song(s) on the piano; at times I would add a lyric line or word(s). It was rewarding for me and was a major part of our life.” That was enough for me to become convinced that Rasa was a proper collaborator with Ray. I laid all this out in a blog post, being very careful how I phrased what I thought -- that while Ray Davies was probably the principal author of the songs credited to him (and to be clear, that is definitely what I think -- there's a stylistic continuity throughout his work that makes it very clear that the same man did the bulk of the work on all of it), the songs were the work of a writing partnership. As I said in that post "But even if Rasa only contributed ten percent, that seems likely to me to have been the ten percent that pulled those songs up to greatness. Even if all she did was pull Ray back from his more excessive instincts, perhaps cause him to show a little more compassion in his more satirical works (and the thing that's most notable about his post-Rasa songwriting is how much less compassionate it is), suggest a melodic line should go up instead of down at the end of a verse, that kind of thing… the cumulative effect of those sorts of suggestions can be enormous." I was just laying out my opinion, not stating anything as a certainty, though I was morally sure that Rasa deserved at least that much credit. And then Rasa commented on the post, saying "Dear Andrew. Your article was so informative and certainly not mischaracterised. Thank you for the 'history' of my input working with Ray. As I said previously, that time was magical and joyous." I think that's as close a statement as we're likely to get that the Kinks' biggest hits were actually the result of the songwriting team of Davies and Davies, and not of Ray alone, since nobody seems interested at all in a woman who sang on -- and likely co-wrote -- some of the biggest hit records of the sixties. Rasa gets mentioned in two sentences in the band's Wikipedia page, and as far as I can tell has only been interviewed twice -- an extensive interview by Johnny Rogan for his biography of Ray, in which he sadly doesn't seem to have pressed her on her songwriting contributions, and the sidebar above. I will probably continue to refer to Ray writing songs in this and the next episode on the Kinks, because I don't know for sure who wrote what, and he is the one who is legally credited as the sole writer. But… just bear that in mind. And bear it in mind whenever I or anyone else talk about the wives and girlfriends of other rock stars, because I'm sure she's not the only one. "Sunny Afternoon" knocked "Paperback Writer" off the number one spot, but by the time it did, Pete Quaife was out of the band. He'd fallen out with the Davies brothers so badly that he'd insisted on travelling separately from them, and he'd been in a car crash that had hospitalised him for six weeks. They'd quickly hired a temporary replacement, John Dalton, who had previously played with The Mark Four, the group that had evolved into The Creation. They needed him to mime for a TV appearance pretty much straight away, so they asked him "can you play a descending D minor scale?" and when he said yes he was hired -- because the opening of "Sunny Afternoon" used a trick Ray was very fond of, of holding a chord in the guitars while the bass descends in a scale, only changing chord when the notes would clash too badly, and then changing to the closest possible chord: [Excerpt: The Kinks, "Sunny Afternoon"] Around this time, the group also successfully renegotiated their contract with Pye Records, with the help of a new lawyer they had been advised to get in touch with -- Allen Klein. As well as helping renegotiate their contracts, Klein also passed on a demo of one of Ray's new songs to Herman's Hermits. “Dandy” was going to be on the Kinks' next album, but the Hermits released it as a single in the US and took it into the top ten: [Excerpt: Herman's Hermits, “Dandy”] In September, Pete Quaife formally quit the band -- he hadn't played with them in months after his accident -- and the next month the album Face To Face, recorded while Quaife was still in the group, was released. Face to Face was the group's first really solid album, and much of the album was in the same vein as "Sunny Afternoon" -- satirical songs that turned on the songwriter as much as on the people they were ostensibly about. It didn't do as well as the previous albums, but did still make the top twenty on the album chart. The group continued work, recording a new single, "Dead End Street", a song which is musically very similar to "Sunny Afternoon", but is lyrically astonishingly bleak, dealing with poverty and depression rather than more normal topics for a pop song. The group produced a promotional film for it, but the film was banned by the BBC as being in bad taste, as it showed the group as undertakers. But the single happened to be released two days after the broadcast of "Cathy Come Home", the seminal drama about homelessness, which suddenly brought homelessness onto the political agenda. While "Dead End Street" wasn't technically about homelessness, it was close enough that when the TV programme Panorama did a piece on the subject, they used "Dead End Street" to soundtrack it. The song made the top five, an astonishing achievement for something so dark: [Excerpt: The Kinks, "Dead End Street"] But the track also showed the next possible breach in the Kinks' hitmaking team -- when it was originally recorded, Shel Talmy had produced it, and had a French horn playing, but after he left the session, the band brought in a trombone player to replace the French horn, and rerecorded it without him. They would continue working with him for a little while, recording some of the tracks for their next album, but by the time the next single came out, Talmy would be out of the picture for good. But Pete Quaife, on the other hand, was nowhere near as out of the group as he had seemed. While he'd quit the band in September, Ray persuaded him to rejoin the band four days before "Dead End Street" came out, and John Dalton was back to working in his day job as a builder, though we'll be hearing more from him. The group put out a single in Europe, "Mr. Pleasant", a return to the style of "Well Respected Man" and "Dedicated Follower of Fashion": [Excerpt: The Kinks, “Mr. Pleasant”] That was a big hit in the Netherlands, but it wasn't released in the UK. They were working on something rather different. Ray had had the idea of writing a song called "Liverpool Sunset", about Liverpool, and about the decline of the Merseybeat bands who had been at the top of the profession when the Kinks had been starting out. But then the Beatles had released "Strawberry Fields Forever" and "Penny Lane", and Ray hadn't wanted to release anything about Liverpool's geography and look like he had stolen from them, given his attitudes to plagiarism. He said later "I sensed that the Beatles weren't going to be around long. When they moved to London, and ended up in Knightsbridge or wherever, I was still in Muswell Hill. I was loyal to my origins. Maybe I felt when they left it was all over for Merseybeat.” So instead, he -- or he and Rasa -- came up with a song about London, and about loneliness, and about a couple, Terry and Julie -- Terry was named after his nephew Terry who lived in Australia, while Julie's name came from Julie Christie, as she was then starring in a film with a Terry, Terrence Stamp: [Excerpt: The Kinks, "Waterloo Sunset"] It's interesting to look at the musical inspirations for the song. Many people at the time pointed out the song's similarity to "Winchester Cathedral" by the New Vaudeville Band, which had come out six months earlier with a similar melody and was also named after a place: [Excerpt: The New Vaudeville Band, "Winchester Cathedral"] And indeed Spike Milligan had parodied that song and replaced the lyrics with something more London-centric: [Excerpt: Spike Milligan, "Tower Bridge"] But it seems likely that Ray had taken inspiration from an older piece of music. We've talked before about Ferd Grofe in several episodes -- he was the one who orchestrated the original version of "Rhapsody in Blue", who wrote the piece of music that inspired Don Everly to write "Cathy's Clown", and who wrote the first music for the Novachord, the prototype synthesiser from the 1930s. As we saw earlier, Ray was listening to a lot of classical and jazz music rather than rock at this point, and one has to wonder if, at some point during his illness the previous year, he had come across Metropolis: A Blue Fantasy, which Grofe had written for Paul Whiteman's band in 1928, very much in the style of "Rhapsody in Blue", and this section, eight and a half minutes in, in particular: [Excerpt: Paul Whiteman, "Metropolis: A Blue Fantasy" ] "Waterloo Sunset" took three weeks to record. They started out, as usual, with a backing track recorded without the rest of the group knowing anything about the song they were recording -- though the group members did contribute some ideas to the arrangement, which was unusual by this point. Pete Quaife contributed to the bass part, while Dave Davies suggested the slapback echo on the guitar: [Excerpt: The Kinks, "Waterloo Sunset, Instrumental Take 2"] Only weeks later did they add the vocals. Ray had an ear infection, so rather than use headphones he sang to a playback through a speaker, which meant he had to sing more gently, giving the vocal a different tone from his normal singing style: [Excerpt: The Kinks, "Waterloo Sunset"] And in one of the few contributions Rasa made that has been generally acknowledged, she came up with the "Sha la la" vocals in the middle eight: [Excerpt: The Kinks, "Waterloo Sunset"] And the idea of having the track fade out on cascading, round-like vocals: [Excerpt: The Kinks, "Waterloo Sunset"] Once again the Kinks were at a turning point. A few weeks after "Waterloo Sunset" came out, the Monterey Pop Festival finally broke the Who in America -- a festival the Kinks were invited to play, but had to turn down because of their visa problems. It felt like the group were being passed by -- Ray has talked about how "Waterloo Sunset" would have been another good point for him to quit the group as he kept threatening to, or at least to stay home and just make the records, like Brian Wilson, while letting the band tour with Dave on lead vocals. He decided against it, though, as he would for decades to come. That attitude, of simultaneously wanting to be part of something and be a distanced, dispassionate observer of it, is what made "Waterloo Sunset" so special. As Ray has said, in words that seem almost to invoke the story of Moses: "it's a culmination of all my desires and hopes – it's a song about people going to a better world, but somehow I stayed where I was and became the observer in the song rather than the person who is proactive . . . I did not cross the river. They did and had a good life apparently." Ray stayed with the group, and we'll be picking up on what he and they did next in about a year's time. "Waterloo Sunset" went to number two on the charts, and has since become the most beloved song in the Kinks' whole catalogue. It's been called "the most beautiful song in the English language", and "the most beautiful song of the rock 'n' roll era", though Ray Davies, ever self-critical when he's not being self-aggrandising, thinks it could be improved upon. But most of the rest of us disagree. As the song itself says, "Waterloo Sunset's fine".

Welcome to The 80's Montage! (music, mateys and cool shit from the 80s) Your Hosts Jay Jovi & Sammy HardOn, singers from Australian 80's tribute band Rewind 80's. We take you back to living in the 80's: music, artists, TV commercials and video clips. Episode 142 : Celebrating Leo - Baby Love.. It's a ripper! Please rate, review and enjoy! Music licensed by APRA/AMCOS Theme music ©2019 M. Skerman see Facebook for links to videos & songs mentioned in this episode! Email: planet80sproductions@gmail.com Rewind 80's Band: www.rewind80sband.com Facebook: the80smontagepodcast twitter: 80_montage instagram: the80smontage Links from Episode 142: Celebrating Leo - Baby Love..Patreon Link With Thanks x https://www.patreon.com/the80smontagepodcast www.the80smontage.comLinks:Prince - Baby, I'm A Star (Extended Remaster 2020) #prince #leoseasonhttps://www.youtube.com/watch?v=l8AMNzHGyFcREGINA - Baby Love (Official Music Video)https://www.youtube.com/watch?v=9eJhzp0IHTc #ReginaWill to Power - Baby I Love Your Way #Willtopowerhttps://www.youtube.com/watch?v=79r_XaUU7yEHuey Lewis And The News - Doing It All For My Baby #hueylewisandthenewshttps://www.youtube.com/watch?v=lpdZvewjwJs#MilliVanilli #VevoMilli Vanilli - Baby Don't Forget My Number (Official Video)https://www.youtube.com/watch?v=JhyzGDPwmYUCold Chisel My Baby 1980 #coldchiselTracy Chapman - Baby Can I Hold You (Official Music Video)https://www.youtube.com/watch?v=DqoLMGSBGYchttps://www.youtube.com/watch?v=bCw84avEWwgPretenders "My Baby" Videohttps://www.youtube.com/watch?v=phx7dS_qi2o#BonJovi #BornToBeMyBaby #RemasteredBon Jovi - Born To Be My Baby (Official Music Video)https://www.youtube.com/watch?v=Ahf2B_eZUc4

It's the hosts all united once again as Idol, Auto, Big and Stars unite to talk all things Lower Decks and pay tribute to Nichelle Nichols! ---- Join The Discord: https://bit.ly/TimelinesTalks Catch Up On YouTube: https://youtube.com/TimelinesTalks Watch Live On Twitch: https://twitch.tv/TimelinesTalks

Lamont Dozier was one third of the Motown songwriting team Holland Dozier Holland. He died Monday at the age of 81. Along with brothers Brian and Eddie Holland, he helped define the Motown sound, writing 10 Number One top hits for The Supremes, The Four Tops, Martha and the Vandellas, and Marvin Gaye — songs like "You Can't Hurry Love," "Baby Love," "Reach Out I'll Be There," "Can't Help Myself," "Heatwave," and "Sugar Pie, Honey Bunch." They spoke with Terry Gross in 2003.Justin Chang reviews The British romantic drama Ali & Ava.

SCOTUS delivers two landmark opinions in two days on the right to carry and ending the non-existent "right" to abortion. What's next? The J6 one-sided witch hunt drags on but is running out of gas.  Biden pushes for a gas tax holiday but an old friend calls it a gimmick. Plus our liberal lunatics, Patriot and outrages of the week.Copyright Sean Casey All Rights Reserved 

Nick and Mariah still got beef after all this? Tracee Ellis Ross and 'Black-ish' creator Kenya Barris are rumored to be having an affair. Get ready for some HOT TEA!

Intro/Outro: They Long to Be Close to You by The Carpenters1. Gimme Shelter by The Rolling Stones2. Isn't She Lovely by Stevie Wonder3. Baby Love by The Supremes4. Feel Good Inc. by Gorillaz5. Paid in Full by Eric B. & RakimVote on your favorite song from today's episode

Sack – “Wet Banana” – ‘Ripper' The Manges – “High on Stress” – ‘Book of Hate for Good People' Proton Packs – “Follow The Protocol” – split w/ Zoanoids Stinking Polecats – “Space Trip” – single Zoanoids – Cemetery Nights” – w/ Proton Packs Dead Years – “Waiting” – st Dirt Royal – “Shoot Me Now” - single Culture Trap – “A Different Kind of Summer” – single The Pulsebeats – “In The Picture” – ‘Lookin' Out' The Chats – “6 Litre GTR” – ‘Get Fucked' Pkew Pkew Pkew – “Let The Bridges We Burn Light The Way” – ‘Open Bar' All Away Lou – “Keep Your Head Up” – ‘Things Will Change' Extra Arms – “Big Dogs” – ‘What Is Even Happening Right Now?' Trevor Blendour – “Another Guy” – ‘Falling in Love with...' Mikey Erg – “Caroline Told Me So” – ‘Love at Leeds' Pinch Points – “King Rat” – ‘Process' The Butts – “The Black Tar Heroine” – ‘So It Goes' Future Girls – “Ghost” – ‘Year Long Winter' Wisconsin Anger Team – “Little Prisoners” – ‘Beyond The Everest Crater' Starter Jackets – “In Smithereens” – ‘Dead Malls' Death by Unga Bunga – “My Buddy and Me” – ‘Heavy Male Insecurity' Real Sickies – “Hold on Baby” – ‘Love is for Lovers' Fresh – “Morgan & Joanne” – single Cluttered – “Sink Sink Sink” – ‘The First Pandemic' Randells – “Elvis in a UFO” – ‘Kicks' Lost Love – “Everything is Alright” – ‘Empathy' Soft Jocks – “Trade Jobs” – ‘House of Love Fundraiser Compilation' Teenage Bigfoot – “Toilin' Trouble” – ‘Weapons Against Destruction' Wonk Unit - “Quality” – ‘Uncle Daddy' So-Cho Pistons – “All Right” – ‘Knuckleheads'

Brandon Sawyer talks with me about his fatherhood journey. He shares the values he looks to instill into his kids and life lessons he learned from them. After that we talk about Boss Baby: Back in Business series, in which he is the Executive Producer. In addition, Brandon talks about casting the actors for his show and his creative process.  Lastly, we finish the interview off with the Fatherhood Quick Five. About Brandon Sawyer  Brandon Sawyer is a writer and producer of many shows and series. He has done projects like, Boss Baby: Back in Business, Penguins of Madagascar: Operation Antarctica, Penguins of Madagascar and more. Now he is the Executive Producer in Boss Baby: Back in the Crib. This seriespicks up where the second film left off and follows Boss Baby as he moves in with his adult brother Tim's family, including his two nieces: brainy big kid Tabitha and fellow Baby Corp employee Tina. Together, Boss Baby and Tina co-lead a new Field Team fighting to increase Baby Love while keeping a new group of arch-nemeses - The Uncuddleables - from destroying Baby Corp itself. Follow Brandon on Twitter at @I_BrandonSawyer and check out Boss Baby: Back in the Crib on Netflix.  https://www.youtube.com/watch?v=dmi63FjkuMY About The Art of Fatherhood Podcast  The Art of Fatherhood Podcast follows the journey of fatherhood. Your host, Art Eddy talks with fantastic dads from all around the world where they share their thoughts on fatherhood. In addition, you get a unique perspective on fatherhood. You hear from guests like Joe Montana, Kevin Smith, Danny Trejo, Jerry Rice, Jeff Foxworthy, Patrick Warburton, Jeff Kinney, Paul Sun-Hyung Lee, Kyle Busch, Dennis Quaid, Dwight Freeney and many more.

Fur-Baby Love is the Best! --- Support this podcast: https://anchor.fm/mark-jeremy-trybulski/support

To hear music included in this episode please open a FREE account at Spotify.com where you'll be able to hear the songs discussed on this show. In this episode we welcome back prior guest, Bink, and Chico, as we sit back, laugh our butts off as we remember factoids of songs and musicians who dropped an LP, or have a birthday this week. Bands and musicians we discuss this week... Martha and the Vandellas, Michael Jackson, The Jackson Five, Stevie Wonder, Rush, The Supremes, Neil Diamond, Chris Isaak, Johnny Cash, Solitary Man, I Wish, Nowhere to Run To, Never Can Say Goodbye, Baby Love, Mary Wells My Guy, Johnny Cash One, Mull of Kintyre Wings and Paul McCartney, Parlaiment Funkadelic, Carrie Underwood, Vince Gill, How Great Thou Art, Patsy Cline Crazy, Willie Nelson, The Ohio Players Fire, Steelers Wheel, Gerry Rafferty, Right Down The Line, Stuck in the Middle With You, Kermit the Frog Rainbow Connection, Van Halen, David Lee Roth, Sammy Hagar, Alice in Chains, Jerry Cantrell, Layne Staley, The Rolling Stones, Keith Richards, The Who, John Entwistle, and many more,,, --- Send in a voice message: https://anchor.fm/finding-subjects-podcast/message

This week the hosts tackle the ongoing Madonna biopic audition bootcamps, Grimes' big reveal, Dolly Parton's open letter to the Rock n Roll Hall of Fame, Robert Pattinson's The Batman, Katy Perry's legal win, and Melinda Gates' new narrative. For this week's episode, the hosts discuss the new come-back record, Love Sux, by Avril Lavinge.

PLAYLIST 11/25/21 Avenues – “Blood on The Moon” – ‘We're All Doomed' The Randells – “Devil Night” - single Capgun Heroes – “Won't Do You Wrong” – ‘Last Call for Adderol' Pep Talk – “Big Big Baby” – ‘Live, Laugh, Lobotomy' The Prozacs – “Blah Blah Blah” – ‘Fan Faves and Wannabee Hits' Kurt Baker – “Turn it Around” – single The Pulsebeats – “She Sings Like Joey Ramone” – ‘Lookin' Out' Lost Love – “Everything is Alright” – ‘Empathy' The Last Mile – “Better World” – ‘Respect The Frequency' Real Sickies – “Hold on Baby” – ‘Love is for Lovers' Danny Laj and The Looks – “Left Right to One” – ‘Retrospecatcle' The Scutches – “Better Off Alone” – ‘Band Favorites' Mikey Erg – “Other Lucindas” – st Dan Vapid and The Cheats – “Cyber World” – ‘Escape Velocity' Jimmy Vapid – “Critical Excess” – ‘Killmatic' Proto Idiot – “Long Ride Home” – ‘FUB' Autogramm – “Jody is a Cop” – ‘No Rules' Dartz – “Rollyz Quit His Job” – ‘Quit Before It Is Too Late' Neighborhood Brats –“Miss America Pageant” – ‘The Confines of Life' Soft Jocks –“Love Like Elvis” - ‘Sinking Dingers' Death Kill Overdrive – “Zero Dollars and Zero Cents” – st The Hammerbombs – “Tiny”- ‘Goodbye Dreamboat' Lost in Society – “Can't Come Back” – ‘Stay Jaded'

Episode one hundred and thirty-one of A History of Rock Music in Five Hundred Songs looks at “I Hear a Symphony” by the Supremes, and is the start of a three-episode look at Motown in 1965. 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 "Rescue Me" by Fontella Bass. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as too many of the songs were by the Supremes. 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. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier's autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers'. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Girl Groups by John Clemente contains potted biographies of many groups of the era. The Supremes biography I relied on most is The Supremes by Mark Ribowsky, which seems factually accurate but questionable in its judgments of people. I also used this omnibus edition of Mary Wilson's two volumes of autobiography. This box set contains everything you could want by the Supremes, but is extraordinarily expensive in physical form at the moment, though cheap as MP3s. This is a good budget substitute, though oddly doesn't contain “Stop in the Name of Love”. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Hi, this is Andrew. Between recording this episode and it going live, three great musicians, two of whom have been the subject of episodes of this podcast, sadly died. We lost Don Everly, Charlie Watts, and Tom T. Hall, and I just wanted to acknowledge them and their contributions to music before the episode starts. They'll all be missed. [theme music] Just a brief note before we start to say that this episode contains brief mentions of eating disorders, so if that might be a problem for you, check the transcript to make sure it's safe. Thanks. We've spent much of the last few months looking at the intersections of three different movements, each of which was important -- the influence of the Beatles and to a lesser extent the other Merseybeat bands, the influence of Bob Dylan and the folk and protest movement, and the British R&B guitar bands who were taking their interpretation of the sound of Chess Records back to the USA. But of course, while these guitar bands were all influencing everyone, they were also being influenced by the growth of soul, and in particular by Motown, and Motown's groups were among the few American acts who managed to keep having hits during the British Invasion. Indeed, 1965 was as much of a creative and commercial peak for the label as for the white guitar bands we've been looking at. So for the next few weeks we're going to move over to Detroit, and we're going to look at Motown. And this week and next week we're going to continue our look at the Holland-Dozier-Holland collaboration, and at the groups they were writing for. So today, we're going to look at the Supremes, at the career of the only Black act to seriously challenge the Beatles for chart dominance in the sixties and at the start of the inter-group rivalries that eventually took them down. We're going to look at "I Hear a Symphony” by the Supremes: [Excerpt: The Supremes, "I Hear a Symphony"] When we last looked at the Supremes, they had just had their second number one single. After having spent years being called "the no-hit Supremes" and recording third-rate material like "The Man With the Rock and Roll Banjo Band", they'd been taken on by Holland, Dozier, and Holland, Motown's new star songwriting team, and had recorded two songs written and produced by the team -- "Where Did Our Love Go?" and "Baby Love" -- both of which had reached number one. But there were already tensions in the group. Most notably, there was the tension between Florence Ballard and Diana Ross. Ballard had always considered herself the lead singer of the group, and almost everyone who knew the group at the time agreed that Ballard was the better singer. But Berry Gordy, the owner of Motown, thought that Ross was the member of the group who had actual star potential, and insisted that she be the lead vocalist on everything the Supremes cut. At first, this didn't matter too much -- after all, no matter who the lead singer on the records was, they were having the huge hits they'd always dreamed of -- but it inevitably led to friction within the group. But in late 1964, at least, everyone was on the same page. Berry Gordy, in particular, was delighted by the group's continued success -- they had been the *only* act other than the Beatles or Bobby Vinton to have more than one number one on the pop charts in 1964 -- and by the end of the year, they had released their third, "Come See About Me". "Come See About Me" actually got released only a month after "Baby Love", before the latter had even reached the top of the charts, and it seems like a ridiculous idea to release another single so close to that one. But it came out so early to make sure the Supremes had the hit with it. Because a soundalike had come out on Wand Records even before the Supremes' single came out. A fourteen-year-old girl called Nella Dodds had decided that she could sing quite a bit like Diana Ross, and since the Supremes were the biggest female group in the country at this point, she had a chance at being a star, too. She'd auditioned for Wand by singing along with the whole of the first Supremes album, and Wand Records had decided that she sounded enough like Ross that it was worth a shot putting out a single by her. They chose "Come See About Me", which had been released as an album track on that album, and put out this: [Excerpt: Nella Dodds, "Come See About Me"] Dodds' version of the track was cut to be a soundalike, and was so similar to the Supremes version that it's actually quite easy to cut between the two records. You can hear the joins, but they're *spookily* similar: [Excerpt: The Supremes and Nella Dodds, "Come See About Me", alternating phrases] That wasn't the only time a Holland-Dozier-Holland production would be copied wholesale -- we'll hear another, slightly less blatant, example later this episode. As Dodds' single started to rise up the charts, Berry Gordy got furious. If the record sounded good enough to be a hit single, his label was going to have the hit with it, and so the Supremes' version of "Come See About Me" was rush-released. It went to number one, and Nella Dodds vanished into obscurity. The group having three number one hits in a row focused everyone's minds, and Gordy held a meeting with Holland, Dozier, and Holland, and told them that from that point on the Supremes had to be their number one priority. They should drop everything they were doing and concentrate on making Supremes hits while the Supremes were having their moment of success. And so of course they did just that -- and in January 1965 they recorded the album which would contain the Supremes' fourth number one in a row: [Excerpt: The Supremes, "Stop! In the Name of Love"] The story of how "Stop! In the Name of Love" was conceived tells us a lot about the kind of life that the people at Motown were living, now they were all successful and making a great deal of money. The way Lamont Dozier tells the story, his marriage had fallen apart, and he was sleeping with multiple women, some of whom thought they were the only one. Dozier would regularly head to a motel near Hitsville for some of these assignations, and one day while he was there with one of his women, another one tracked him down. The woman he was with made her escape, and Dozier tried to make excuses, claiming he had just got very tired at work and booked a motel room to have a rest so he wouldn't have to go all the way home. His girlfriend didn't believe this rather transparent lie, and started throwing things at him. Dozier started yelling at her to stop it, and eventually mangled the phrase "Stop in the name of the law", shouting instead "Stop in the name of love!" Dozier immediately saw this line as the basis of a song, and his burst of inspiration amused the woman, who started laughing. It defused the situation, and led to a hit record. [Excerpt: The Supremes, "Stop! In the Name of Love"] Indeed, Dozier wasn't the only one whose experiences made up part of the lyrics for the song. All three of Holland, Dozier, and Holland were having complex love lives and going through the breakup of their first marriages. Eddie Holland has said that he used his own experiences in that regard in writing the lyrics to that song. All three men were having affairs with multiple women, but two of those affairs were important in their working lives -- Brian Holland was dating Diana Ross, while Lamont Dozier was seeing Mary Wilson. According to Eddie Holland, Florence seemed to think that this meant that the  remaining members of their respective trios should also pair up, but Holland didn't think that he should get involved, given Florence's mental fragility and his own promiscuous nature. Both Lamont and Brian later split up with their respective Supremes partners, but luckily everyone was professional enough that they were all able to continue working together. After "Stop! In the Name of Love" came "Back in Your Arms Again", making five number ones in a row for the combination of the Supremes and Holland-Dozier-Holland. On top of this, Holland-Dozier-Holland were busily making hits for the Four Tops, who we'll hear more about next week, and for the Isley Brothers, as well as writing odd songs for other artists like Marvin Gaye. To put this into perspective, at this point the *only* act ever to have had five number ones in a row on the US charts was Elvis, who had done it twice. The Beatles were about to hit their fifth, and would eventually get to six number ones in a row -- they had eleven in the UK, but many more Beatles singles were released in the US than in the UK, so there were more opportunities to break the streak. That was the company the Supremes were in. It's important to stress how big the Supremes, Motown, and Holland-Dozier-Holland were in 1965. There were twenty-seven Billboard number one singles that year, and six of them were from Motown -- compared to five from the Beatles and two from the Rolling Stones. Of those six number one Motown singles, five of them were Holland-Dozier-Holland productions, and four were by the Supremes. Of course, number one records are not the only measure of success in the music industry, but they are definitely a measure. By that measure, the Supremes were bigger than anyone except the Beatles, but this led to a certain amount of dissatisfaction among the rest of the Motown acts. They were being told that a rising tide would lift all boats, but the way they saw it, everyone who wasn't a Supreme was being ignored, unless they were named Smokey Robinson or Marvin Gaye. The Vandellas, for example, thought that records like "Dancing in the Street", which made number two in the charts, could have easily made number one had they been given the same kind of promotion as the Supremes. This was, to them, particularly evident when it came to the first British tour of the Motortown Revue, in March 1965. While the various Motown acts were on tour in the UK, the opportunity came up to do a TV special for Granada TV, presented by Dusty Springfield, who was the driving force behind the special. Springfield was particularly an admirer of Martha and the Vandellas, and got Martha to duet with her on her own hit "Wishin' and Hopin'": [Excerpt: Dusty Springfield and Martha Reeves, "Wishin' and Hopin'"] Yet while all the acts on the tour -- the Vandellas, Stevie Wonder, the Miracles, and the Temptations -- got their moments in the spotlight on the show, the Supremes did seem to dominate it, with more songs than any of the other acts. This was partly just good sense -- Motown was only just starting to have a presence in the UK, and to the extent it did the Supremes were almost the only Motown artists that had made any impression on the public consciousness at all at this point -- but it was also because Berry Gordy was becoming increasingly infatuated with Diana Ross, and they finally consummated their relationship in Paris at the end of the tour. Now, it is important to note here that this is always portrayed in every book about the group or Motown as "scheming Diana Ross used her feminine wiles to seduce hapless Berry Gordy, who was helplessly under her spell.” That's certainly one way to look at it. Another way to look at it is that Berry Gordy was a thirty-five-year-old married man sleeping with an employee of his who had only just turned twenty-one, and who had been his employee for several years. I wouldn't mention any of this at all -- I despise the gossiping nature of much music writing -- except that it is impossible to read anything at all about the Supremes without getting a take on the group's career from this point on that has Ross using her sexuality to manipulate Gordy in order to fulfil her own scheming ambition. I think there's no question at all that Ross was ambitious, but I think most of the narrative about her is rooted in misogyny, and a very deep misunderstanding of the power dynamics in her relationship with Gordy. But there is absolutely no question that Gordy saw the Supremes as the most important act on Motown -- and that he saw Diana Ross as the most important part of the Supremes. And decisions made for the benefit of Ross were not always decisions that would benefit her colleagues. For example, at this point in time, the fashion was for women to be very curvy, rather than thin. Ross was extremely thin, and so the group's outfits were padded. This wasn't such a problem for Mary, who had her own issues about a lack of curves, but for Florence, who was bigger than the other two, it was humiliating, because it made her look bigger than she was, and there was no question of the padding being removed from her clothes -- the decisions were being made on the basis of what made Diana look good. Of course, fashions change, and with the rise of the supermodel Twiggy, suddenly a more emaciated look became popular, so the group were able to drop the padding -- but that still left Florence as the unfashionable-looking one. She became deeply insecure about this, though she would hide it with humour -- after Twiggy became popular, there was a scripted bit of the show where Ross would say "thin is in", and Florence ad libbed "but fat is where it's at!", and her ad lib became part of the routine. After the Supremes' run of five number one singles, it might have seemed that they were invulnerable, but in September 1965, "Nothing But Heartaches" came out, and it only made number eleven: [Excerpt: The Supremes, “Nothing But Heartaches”] For any other act, this would be a major hit, but for an act that had had five number one hits in a row, it was a failure, and it was treated as such, even though it sold over a million copies. Berry Gordy actually sent out a memo to all Motown creative staff, saying "We will release nothing less than top ten product on any artist: and because the Supremes' world-wide acceptance is greater than the other artists, on them we will only release number-one records". Of course, that was easier said than done -- every songwriter and producer wanted only to be making number one records, after all, but it's a symptom of the attitudes that were showing up at Motown by this point -- a number eleven hit for a group that two years earlier had been laughed at for being the "no hit Supremes" was now regarded as a failure to be punished, while major successes were just to be considered the norm. But it's also a tribute to how successful Holland, Dozier, and Holland were by this point that the next Supremes single was, once again, another number one hit. The inspiration for "I Hear a Symphony" came from Dozier thinking about how characters in films often had musical motifs on the soundtrack, and how ridiculous it would be if people in real life walked around with their own musical accompaniments. But it might also be that the writing trio had something else in mind. In August, just over a month before the recording of "I Hear a Symphony", a girl group called The Toys had released a single called "A Lover's Concerto": [Excerpt: The Toys, "A Lover's Concerto"] That song had been based on a piece of music usually incorrectly attributed to Bach, but actually by the Baroque composer Christian Petzold, and had been written by Sandy Linzer and Denny Randell, two writers who usually wrote for the Four Seasons, whose four-on-the-floor style was very similar to that of Holland, Dozier, and Holland. Linzer and Randell had even put in a little nod to the Supremes in the song. Compare the intro of the Toys record: [Excerpt: The Toys, "A Lover's Concerto"] With the intro from "Stop! In the Name of Love!": [Excerpt: The Supremes, "Stop! In the Name of Love!"] The section from eight through sixteen seconds on the Toys record is so close to the section from eleven through nineteen seconds on the Supremes one that you can play them almost together -- I had to do a tiny splice five seconds in here because the musicians on the Toys record don't have the perfect timing of the Funk Brothers and drifted by 0.1 seconds, but I hope you can see just how close those two sections are: [Excerpt: The Supremes and The Toys together] See what I mean? The Toys' record reached number two on the charts -- not a number one, but better than the most recent Supremes record. So it might well be that Holland, Dozier, and Holland were also thinking about the Toys' record when they came to make their new one -- especially since it had contained a little nod to their own work. And the odd thing about that section is it's not integral to the Toys record at all -- it's just there, I think, as a nod and a wink to anyone listening for it. Certainly, Holland, Dozier, and Holland were aware of the Toys record -- they had the Supremes cut a cover version of it for the I Hear a Symphony album. That album also contained the Supremes' version of the Beatles' "Yesterday" -- another hit which had, of course, referenced classical music, with its string quartet backing. One hit record referencing classical music might be a fluke, but two was a pattern, and so whatever the writers' later claims about the inspiration, it's reasonable to suspect that at the very least they were paying close attention to this pattern. The lyrics to "I Hear a Symphony" were written in a rush. The original plan had been for the group to release a song called "Mother Dear" as their next single, but then Brian Holland and Lamont Dozier came up with the track and title for "I Hear a Symphony", and knew it would be a winner. There was one problem, though -- the single needed to be out relatively quickly, and the Supremes were travelling to the UK in two days' time. When the instrumental track had been cut, Brian Holland phoned his brother, waking him up, and telling him they needed a set of lyrics for the very next day. Holland was actually already a little burned out that day -- he'd just been working on "Road Runner" by Junior Walker and the All-Stars, which was intended as the follow-up to their big hit "Shotgun": [Excerpt: Junior Walker and the All-Stars, "(I'm a) Road Runner"] At least, Holland says that was what he was working on, though it came out five months later – but Motown often delayed releases by minor acts. "Road Runner" was not normal Holland-Dozier-Holland material, it had been difficult to write, and not only that they'd discovered that Walker couldn't play the saxophone part in the same keys that he could sing the song, so they'd had to varispeed the track in order to get both parts down. Holland had had a tiring day, and had just gone to sleep when the phone had rung. Brian Holland had a copy of the backing track couriered over to Eddie in the middle of the night, and Eddie stayed up all night writing the lyrics, eventually finishing them in the studio while he was teaching Diana Ross the song: [Excerpt: The Supremes, "I Hear a Symphony"] Because it had to be recorded in such a hurry, the Supremes were in London when the mixing was finalised -- as was Berry Gordy, who normally ran Motown's quality control meetings, the meetings in which the executives and producers all checked all the work that was going out to make sure it met the company's standards. Normally, if Gordy was out of town, Brian Holland would take over the meeting, but a new Supremes single was important enough to Gordy that he made an international phone call to the meeting and listened to the record over the phone. Gordy insisted that the vocal was too high in the mix, but Brian Holland pushed back, and Gordy eventually agreed to let the record go out as it was, despite his reservations. He agreed that he had been wrong when the record went to number one. It wouldn't start another streak of number ones, but the next eight singles would all go top ten, and the group would have another six number ones, including a streak of four in late 1966 and early 1967. There were other records, as well -- Christmas singles (which don't tend to get counted as "real singles", because Christmas records got put on their own special charts), and promotional efforts, like "Things Are Changing For The Better". That was a song that Brian Wilson and Mike Love of the Beach Boys had originally written for the Ronettes, under the title "Don't Hurt My Little Sister", but while Spector had cut a backing track, the song hadn't been considered worth the Ronettes adding their vocals, and the Beach Boys had cut their own version as an album track: [Excerpt: The Beach Boys, "Don't Hurt My Little Sister"] But a year later, the Advertising Council wanted a public information song, to promote the Civil Rights Act of 1964 and the subsequent Voting Rights Act of 1965, two landmark acts that between them meant that for the first time discrimination against Black people wasn't legal. They turned to Spector to come up with something, and Spector, not wanting to waste a hit on them, came up with some new lyrics for the unused backing track, using the various slogans the Advertising Council wanted. Spector got his assistant Jerry Riopelle to finish the track off, and three versions were cut with different vocals over the same backing track. Riopelle produced a version with the Blossoms on vocals, another version was performed by the white pop group Jay and the Americans, and finally Motown put out a version with the Supremes singing over Spector's track. It's not the greatest track ever recorded or anything, but it is the only collaboration between the three biggest American hit-makers of the early sixties -- the Beach Boys, Spector, and the Supremes -- even if they didn't actually work together on it, and so "Things Are Changing For The Better" is interesting as a capsule of American pop music in 1965: [Excerpt: The Supremes, "Things Are Changing For The Better"] But Gordy had plans for the Supremes that involved them moving away from being merely pop stars, and the title of “I Hear a Symphony” worked well for Gordy's plans. Like Sam Cooke before them, he wanted them to move into the more lucrative middle-class white market, and like Sam Cooke that meant playing the Copacabana. We talked a little about the Copacabana -- or the Copa as it was universally known -- in the episode on "A Change is Gonna Come", but it's hard to get across now what an important venue it was. It was a mob-controlled nightclub in New York, and while it was only a nightclub, not a huge-capacity venue, headlining there was considered a sign that an act had made it and become part of the elite. If you could headline at the Copacabana in the early sixties, you were no longer a transitory pop act who might be gone tomorrow, you were up there with Tony Bennett and Sammy Davis Jr and Martin and Lewis. Of course, that whole showbusiness world has largely gone now, and the entertainment industry was going through massive changes in the early sixties that would soon make whether an act had headlined at the Copa as irrelevant to their future prospects as where they had gone to school, but nobody at the time knew that the changes that were happening -- thanks in large part to labels like Motown -- were going to be lasting ones, rather than just fads. So Gordy decided that his flagship group were going to headline at the Copa -- even though he had to agree to a deal which meant that for their initial three-week residency  the group members only made sixty dollars a show each before expenses. And they were going to do a "classy" show. Yes, they would include a few of the hits, but most of the songs would be things like "Somewhere" from West Side Story, the Barbra Streisand song "People" -- which would be Florence's one lead vocal in the show -- the Guy Lombardo song "Enjoy Yourself, It's Later Than You Think", and of all things "Rock-a-bye Your Baby With a Dixie Melody": [Excerpt: The Supremes, "Rock-A-Bye Your Baby With a Dixie Melody"] The rest of the repertoire was show tunes, a gender-swapped version of "The Girl From Ipanema" retitled "The Boy From Ipanema", a parody of Roger Miller's "King of the Road" titled "Queen of the House", and a medley of Sam Cooke's hits. Other than the Cooke material and the brief run-throughs of their own number ones, the setlist was tailored entirely for the Copa's clientele, which barely overlapped at all with the Motown audience. The Copa residency was a triumph, and led to the Supremes making regular appearances at the venue for seven years, but it came at a great cost to the group members. Ross was so stressed she lost a stone of her already low weight, the first sign of the anorexia which she would deal with for many years to come. Meanwhile, Florence had to miss a chunk of the rehearsals as she became seriously ill with the flu, though she got herself well enough to make the opening night. And while it was what Berry Gordy had been working towards for years, it couldn't have come at a worse time for him personally -- his elder sister Loucye died suddenly of a brain haemorrhage shortly before the residency, and her funeral was actually the morning of the opening night. The opening night went exactly as Gordy had planned, except for one ad-lib -- during the song "You're Nobody 'Til Somebody Loves You", after Ross sang the line “But gold won't bring you happiness,” Florence interjected a joking line -- "Now wait a minute, honey. I don't know about all that." The audience loved her ad-lib -- Sammy Davis Jr., who was in the audience, yelled out "All right, girl! You tell it like it is!" -- and the line got added as a regular part of the performance: [Excerpt: The Supremes, “You're Nobody 'Til Somebody Loves You”] along with a rather less fun bit where Florence would mention "little old me", and Ross would snarkily respond "Little?" But even though it worked, Gordy was furious, partly just because he was understandably in a bad mood after his sister's funeral, partly because it was a deviation from the carefully-scripted performance, and partly because it was a moment in the spotlight for someone other than Diana Ross. As retaliation, a couple of days later he had Harvey Fuqua tell the group that they were dropping "People" -- Florence's only lead vocal -- from the set because there were too many show tunes. Then, a week or so later, "People" was added back to the set, but with Ross singing lead. (Mary Wilson had also asked to have her own lead vocal in the set, but Gordy had just looked at her sadly and said "Mary, you know you can't sing".) Florence was devastated. She was already drinking too much, but that escalated after the Copa engagement. Even though the group had never been as close as many groups are, they had all genuinely attempted to create a bond with each other, even all moving on to the same street. But now, that physical closeness just became an opportunity for the women to note the comings and goings at each other's houses and pass snarky comment on it. Ballard was fast becoming considered a liability by the powers that be at Motown, and even the existence of the Supremes was starting to be seen as something that was merely a hindrance for Diana Ross' career, rather than them being seen for what they were -- a massively successful group, not just a lead singer and her backing vocalists. Florence wasn't very long for the group, and when we next look at them, we'll no longer be looking at the Supremes, but at Diana Ross and the Supremes...

On this week's episode we're talking about our newest spiraler! Brenda is asking Sam all the pregnancy questions, so come spiral along!

This week on Race for the Ring, Mindie is joined by Certified Dating Coach and Host, Anwar White.In this episode, Mindie and Anwar uncover how our childhood affects our romantic relationships? Tune in as they discuss how the foundation we were given by our parents can impact the partner we become in the future, how we deal with arguing, hardships, love, and all of the above. This eye-opening conversation will be a guide on how to successfully have healthy romantic relationships. Anwar WhiteWebsite: https://www.getyourguycoaching.com/IG: https://www.instagram.com/getyourguy_coaching/?hl=enFacebook: https://www.facebook.com/groups/getyourguycoachingYouTube: https://www.youtube.com/channel/UCOYDp9iXnTXuCo18P77HcVg?view_as=subscriberMindie Barnetthttps://mbandassociatespr.com/Thank you to our sponsor, Ferkos Fine Jewelry. Use my code “Mindie15” for 15% off of your first order!https://ferkosfinejewelry.com/pages/contact Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Meatball and Big Dipper talk about doing drugs, eating praying and loving, and ordering at the drive thru. Plus Baby Love joins us to share her Girth Brooks story! Follow Baby Love @babylovebk Don't forget to vote for us for the 2021 Queerties! Also check out hipdot.com to order Meatball's new makeup palette!  Listen to Sloppy Seconds Ad-Free AND One Day Early on Forever Dog Plus Call us with your sex stories at 213-536-9180! Or e-mail us at sloppysecondspod@gmail.com FOLLOW SLOPPY SECONDS FOLLOW BIG DIPPER FOLLOW MEATBALL SLOPPY SECONDS IS A FOREVER DOG AND MOGULS OF MEDIA (M.O.M.) PODCAST Learn more about your ad choices. Visit megaphone.fm/adchoices