Podcasts about Bebo

Last week, the National Multiple Sclerosis Society and the European Committee for Treatment and Research in Multiple Sclerosis convened a meeting in Dublin, Ireland, to dive deeper into what a new framework for describing MS might look like.   There's still a tremendous amount of work to be done here. But, considering that whatever language is eventually adopted will affect every person living with MS, I want to keep you fully informed on this important work. So I'm devoting this entire episode of the podcast to sharing conversations I had with three of the attendees at the meeting in Dublin.    First, you'll hear from Dr. Bruce Bebo, the National MS Society's Executive Vice President of Research. Then, you'll hear from Dr. Daniel Ontaneda, a neurologist specializing in MS at the Cleveland Clinic, and, finally, you'll hear from Kathy Smith, who's lived with MS for the past 20 years.   As you listen to these conversations, I think you'll hear three slightly different perspectives, but you'll also hear some of the broad concepts and ideas around which there was a high level of agreement at our meeting. We have a lot to talk about! Are you ready for RealTalk MS??! This Week: A meeting to discuss moving to a biologically based description of MS  :22 Dr. Bruce Bebo discusses how a new framework for describing MS could impact MS research and people living with MS  3:45 Dr. Daniel Ontaneda describes some of the shortcomings of the current MS course descriptors and discusses how a new framework for describing MS could impact   people living with MS  17:34 Kathy Smith explains how current MS course descriptors fail to fully capture her experience as someone living with MS, and explains how new course descriptors could benefit people living with MS  26:24 What's next in the work to develop new course descriptors for MS  35:20 Share this episode  35:44 Have you downloaded the free RealTalk MS app?  36:03 SHARE THIS EPISODE OF REALTALK MS Just copy this link & paste it into your text or email: https://realtalkms.com/403 ADD YOUR VOICE TO THE CONVERSATION I've always thought about the RealTalk MS podcast as a conversation. And this is your opportunity to join the conversation by sharing your feedback, questions, and suggestions for topics that we can discuss in future podcast episodes. Please shoot me an email or call the RealTalk MS Listener Hotline and share your thoughts! Email: jon@realtalkms.com Phone: (310) 526-2283 And don't forget to join us in the RealTalk MS Facebook group! LINKS If your podcast app doesn't allow you to click on these links, you'll find them in the show notes in the RealTalk MS app or at www.RealTalkMS.com RealTalk MS Episode 279: A New Framework for Researching, Diagnosing, and Treating MS with Professor Tanja Kuhlmann https://realtalkms.com/279 RealTalk MS Episode 280: How the Proposed Framework for Diagnosing and Treating MS Will Affect You with Dr. Tim Coetzee https://realtalkms.com/280 Join the RealTalk MS Facebook Group https://facebook.com/groups/realtalkms Download the RealTalk MS App for iOS Devices https://itunes.apple.com/us/app/realtalk-ms/id1436917200 Download the RealTalk MS App for Android Deviceshttps://play.google.com/store/apps/details?id=tv.wizzard.android.realtalk Give RealTalk MS a rating and review http://www.realtalkms.com/review Follow RealTalk MS on Twitter, @RealTalkMS_jon, and subscribe to our newsletter at our website, RealTalkMS.com. RealTalk MS Episode 403 Guests: Dr. Bruce Bebo, Dr. Daniel Ontaneda, Kathy Smith Privacy Policy

Welcome to another episode of the Testing Peers Podcast. On this episode, Chris, Russell, David and Simon talk about how we can ensure Quality has a seat at the table of discussions, projects and all such scenarios where it should be there.Before that, Mr Banter (Chris) leads us off down a wonderful trail of memories of social media when it all began, everything from MySpace, Bebo, Friends Reunited and MSN Messenger covered and of course, the old Twitter during the pandemic.Simon leads us into a the topic, and mentions a comment Stephen Platten made on one of Chris's posts about a Culture of Quality on LinkedIn. Here is Stephen's comment:"How do you see us making sure we get our feet at the table so to speak? How do we get senior stakeholders to take notice?"Of course it depends on the context, and what influence is needed. It's also about who needs to care? Depending on the context and the problem you are having. The best way to get started is to look at engaging your senior leaders or the leadership level that make decisions in the context. It may be a need to educate and showcase the value that can be provided by being involved. The Peers dive into their own experiences and ways to help influence the decision makers to include a voice of quality.What challenges have you had in this scenario?contactUs@TestingPeers.comTwitter (https://twitter.com/testingpeers)LinkedIn (https://www.linkedin.com/company/testing-peers)Instagram (https://www.instagram.com/testingpeers/)Facebook (https://www.facebook.com/TestingPeers)We're also now on GoodPods, check it out via the mobile app storesIf you like what we do and are able to, please visit our Patreon to explore how you could support us going forwards: https://www.patreon.com/testingpeersThanks to our brand new sponsors – NFocus Testing.nFocus are a UK based software testing company. They've been supporting businesses for 24 years by providing services that include burst resource, accelerated test automation, performance testing and fully managed testing services. In 2021, they launched a Test Automation Academy to create amazing testers and they've now created jobs for 48 people in our industry in just under three years!nFocus were a big part of PeersCon in 2024 and 2025, really grateful for all they do supporting the Testing Peers.www.nfocus.co.uk and info@nfocus.co.uk for anyone wanting to get in touch.Support the show

In this episode, Billy and Christie are joined by Rosie, our Tea At Four founding father. We start off with Celebri-TEA, gossiping about Justin Bieber, JoJo Siwa's big brother debut and that disturbing Piper Rockelle documentary.ALSO, Rosie and Billy, being huge fans of ACOTAR, dive into why fairy porn is so addictive and the fact that erotic audiobooks are the way forward. Christie gets nostalgic over old-school fan fiction from her Bebo days. With some stats to back us, we find out which town in the UK is the spiciest (who listens to the most erotic fiction) and which generation are loving the spice the most…Let us know which books are your fav in the comments, and if you have any submissions or dilemmas please send them into teaatfour@junglecreations.com

Today I'm joined by Mark Jason Fanning — racing pundit, content creator, and all-round racing enthusiast. If you've ever found yourself caught up in the buzz of a raceday or just love hearing from someone who truly lives and breathes the sport, this one's for you.We chat about:How Mark first got into racing — from skipping school to hiding in ditches just to catch a glimpse of the action at ThurlesWorking with bookies on racedays to earn a few quid and fuel the passionHow the general interest in racing has changed over the years, even around big events like CheltenhamThe shift in tech from the Bebo days to building a brand and showing up online nowThe challenges of putting yourself out there and how to handle both constructive feedback and the not-so-constructivePlans for the year ahead, including setting up a little home studio for content creationTackling racing's bad reputation — and why we need more stories that highlight the real care and love for the horsesWhy good news doesn't travel as fast as bad news, and what needs to changeGoing to Cheltenham for the first time (despite working in racing for years) and how it lived up to the hypeMark also flips the script at the end and shares the best advice he would give someone starting outWe also take a moment to reflect on the tragic passing of jockey Michael O'Sullivan, and the impact it had on the racing community — a sobering reminder of the risks in the sport and the strength of the people within it.Where to find Mark:Instagram – @markjason86YouTube – MJF SportsIf you are interested in working with me you can find me :Equestrian Instagram:⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠@stronginthesaddle_⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Equestrian Tiktok: @ stronginthesaddle⁠⁠⁠⁠⁠⁠⁠⁠⁠FREE Happy Hips for horseriding PDF⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠FREE Supple Shoulders for the Saddle PDF⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Website:⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠www.chrissyhawkins.com⁠⁠⁠⁠⁠⁠⁠

HASTA QUE SE NOS DIÓ

In this episode, Kimberly and Tommaso share their travel experiences in Bergamo, Italy, focusing on Città Alta. They recount funny driving challenges and highlight the area's rich history and architecture. Key Points: Driving Adventures in Città Alta: Kimberly and Tommaso describe their memorable drive up to Città Alta. Automatic car was helpful on the steep inclines and narrow streets. They joke about capturing these experiences on video for YouTube. Exploring Piazza Vecchio and Piazza Duomo: The hosts discuss the beauty and history of Piazza Vecchio and Piazza Duomo. Palazzo Nuovo was designed to mirror Michelangelo's Palazzo dei Conservatori in Rome. Palazzo della Ragione, one of Italy's first municipal buildings, features a unique covered walkway. Capella Colioni's facade is incredibly intricate. Aperitivo Experience: Kimberly and Tommaso acknowledge the fact that all the locals knew to go early for an aperitivo at the coveted outdoor tables in Piazza Vecchio.  Yet they were very happy with an indoor aperitivo at small but refined bar, where they had a parmigiano lollipop! Meeting Luisa and Bebo: Kimberly and Tommaso meet Luisa, an Italian teacher, and her partner Bebo, an actor and comedian, for dinner. The restaurant offered authentic Bergamaschi cuisine. Tommaso enjoyed Casconcelli alla Bergamasca, while Kimberly and Luisa had polenta con formaggio e funghi. Visiting Roca di Bergamo: The hosts walked up to Roca di Bergamo, a fortress with 360-degree views. They explored Parco della Rimembranze, a park with memorials and tributes to various wars. The park features artifacts representing each military division. Next Week's Episode: Kimberly and Tommaso will discuss Città Basso, the lower city of Bergamo, in the next episode. Follow us on Social Media Instagram Facebook 

Kitchener, ON is a tight-knit brewing scene, and one man has been a pillar of the community for around a decade now. Rob Hern launched Short Finger Brewing in 2019 after running a successful home brew shop out of the same space, and he jumped back on the pod after two years to catch Cee and Nate up. They touched on his love for his "bastard Gueuze", why he transitioned from a home brew shop to a brewery, his connection with Bebo from Third Moon, how he curates his taproom lineup, the full story behind Pulp (his legendary collab with the now-defunct Barncat Artisan Ales) and successful launch event, his Eisbock collab with the also now-defunct Half Hours On Earth, his relationship with Arabella Park, the story behind their flagship Lando, and they also talked about the Short Finger x BAOS collab for the BAOS 10th Anniversary this spring. They got into five killer beers - Lil' Sippy mixed fermentation session saison collab with Escarpment Labs, True Believer Pale Ale, Existential Risk golden sour aged in peach brandy barrels, Fresh Hell Helles Lager, and Lando (AI) variant, their neutral oak blended barrel-aged farmhouse "bastard" Gueuze. This was fantastic - cheers! BAOS Podcast Subscribe to the podcast on YouTube | Website | Theme tune: Cee - BrewHeads

La cafeína es considerada una droga psicoactiva por varias organizaciones debido a sus efectos estimulantes en el sistema nervioso central. Algunas de las principales entidades que clasifican a la cafeína como una droga son:1.Organización Mundial de la Salud (OMS) – Considera la cafeína una sustancia psicoactiva y ha estudiado su potencial adictivo en diversos informes. 2.Administración de Alimentos y Medicamentos de EE. UU. (FDA) – Clasifica la cafeína como un fármaco y un aditivo alimentario. 3.Instituto Nacional sobre el Abuso de Drogas (NIDA, EE. UU.) – La incluye en la categoría de sustancias psicoactivas con potencial de abuso leve. 4.Asociación Americana de Psiquiatría (APA) – En el DSM-5 (Manual Diagnóstico y Estadístico de los Trastornos Mentales), reconoce la “intoxicación por cafeína” y el “síndrome de abstinencia de cafeína” como trastornos médicos. 5.Organización Internacional del Café (ICO) – Aunque no la clasifica como droga, reconoce sus efectos psicoactivos y el potencial de dependencia. 6.Comité Olímpico Internacional (COI) y Agencia Mundial Antidopaje (AMA) – Hasta 2004, la cafeína estaba en la lista de sustancias prohibidas en el deporte; aunque ya no lo está, sigue siendo monitoreada por sus efectos estimulantes.Aunque la cafeína es legal y de consumo generalizado, su clasificación como droga psicoactiva se debe a su capacidad para afectar el cerebro y generar dependencia.1: Genera adicción y dependencia extrema2: Dependería de una sustancia para hacer mi vida3: Altera los patrones de sueño4: Gastaría dinero todos los días de forma innecesaria5: Muchos cafés (como el torrefacto o las cápsulas de máquina) contienen sustancias cancerígenas y además el café provoca estrés, ansiedad, problemas de corazón y del estómago. Y mancha los dientes.6: Pierdo libertad y foco (después de sus efectos)7: Impacto medio ambiental desmesurado de los monocultivos del café que acaban con la biodiversidad de toda la zona de plantación.Todo esto no me lo he inventado yo. Hay infinidad de estudios científicos que dejo en la descripción.No hace falta ser Albert Einstein para tomar un café y activarte al momento y para darse cuenta de la adicción que genera. Siempre cuento que el médico le dijo a mi madre que dejará el café y el tabaco. El tabaco lo dejó al momento, el café lo redujo pero nunca lo dejó.Aquí tienes la lista ordenada de alimentos y bebidas con más cantidad de cafeína: 1.5-hour Energy (shot energético) – 350 mg/100 ml 2.Café espresso – 212 mg/100 ml 3.Tabletas de cafeína (por unidad) – 100-200 mg 4.Café de prensa francesa – 120 mg/100 ml 5.Café de filtro – 96 mg/100 ml 6.Bang Energy – 63 mg/100 ml 7.Redline Xtreme – 64 mg/100 ml 8.Café instantáneo – 63 mg/100 ml 9.Chocolate negro (>85% cacao, por 100 g) – 80 mg 10.Semillas de guaraná (por gramo) – 40-80 mg 11.Chicles con cafeína (marca especial, por unidad) – 50-100 mg 12.Monster Energy – 32 mg/100 ml 13.Red Bull – 32 mg/100 ml 14.Rockstar Energy – 31 mg/100 ml 15.Té negro – 47 mg/100 ml 16.Té matcha (preparado) – 25-35 mg/100 ml 17.Helado de café (por ración de 100 g) – 30-45 mg 18.Té verde – 30 mg/100 ml 19.Refrescos de cola – 10 mg/100 ml 20.Agua con cafeína (marcas especiales) – 10-50 mg/100 ml 21.Chocolate con leche (por 100 g) – 20 mg 22.Café descafeinado (contiene algo de cafeína) – 2 mg/100 ml Vamos con algunos estudios científicos que dicen que el café es bueno:Estudios científicos que dicen que tomar hasta 4 tazas de café es bueno para el corazón, vivir más y cosas así.Es curioso como existen infinidad de estudios científicos que te dejo en la descripción que indican que la cafeína es una droga con efectos secundarios gravísimos pero el café que es la bebida con más cantidad de cafeína de repente es bueno.Ok, debes saber esto: Nestlé, la marca de cereales azucarados que conoces y del chocolate Nestlé, es la propietaria de Nescafé. Mira: Desde 1963 existe el Organización Internacional del Café que busca aumentar el consumos del café en el mundo.El Promotion Fund del International Coffee Agreement (ICA) fue creado en 1968 como parte de los esfuerzos de la Organización Internacional del Café (OIC) para promover el consumo de café a nivel mundial. Su objetivo principal era financiar campañas de marketing, investigaciones y actividades para aumentar la demanda de café, especialmente en mercados emergentes.¿Sabes quién está ahí metido? Nestlé.El de los cereales que junto a Coca-Cola y Pepsi financian diversos estudios científicos para echar la culpa al sedentarismo y a las grasas del cáncer, ataques al corazón, diabetes… y no al verdadero culpable, el azúcar.Mira: https://borjagiron.com/estudios-cientificos-financiados-coca-cola-pepsi/Nestlé, a través de su marca Nescafé, ha invertido en programas de desarrollo y sostenibilidad del café, como el Nescafé Plan, que busca mejorar la calidad del café, apoyar a los agricultores y fomentar el consumo global.Nestlé tiene Alianza Estratégica con Starbucks desde 2018:* para expandir globalmente las marcas Starbucks® en el sector de foodservice. En este marco, Nestlé se convirtió en distribuidor autorizado de productos Starbucks® en canales fuera del hogar. weproudlyservestarbucks.com* Estudio sobre el Café y la Diabetes Tipo 2 (2013): Científicos de Nestlé, en colaboración con el Hospital Universitario de Lausanne y la Universidad de Berna, publicaron un estudio en el American Journal of Clinical Nutrition que demostró que el consumo de café soluble puede reducir la resistencia a la insulina, un factor subyacente en la diabetes tipo 2 y enfermedades cardiovasculares. 
empresa.nestle.es
* Uso de Inteligencia Artificial en el Cultivo de Café (2024): Nestlé ha empleado inteligencia artificial para desarrollar variedades de café más resistentes al cambio climático. Un hito clave de este proyecto fue la creación de un genoma de referencia de alta calidad para el café arábica, facilitando el desarrollo de cultivos más resilientes. 
hostelvending.com
¿Todo eso funciona? Aumento de las ventas año tras año.En 2023 el mercado del café estaba valorado en aproximadamente 495 mil millones de dólares y se espera que siga creciendo en los próximos años.Se consumen más de 2,25 mil millones de tazas de café al día.La cafeína es una droga. El café es la bebida con más concentración de cafeína. Y de repente el café es bueno.Es como el vino. Los estudios se hacen con vino sin alcohol pero eso no se dice. En marketing radical se enfatiza lo positivo. Yo solo bebo agua, agua con gas y limón.No bebo refrescos, alcohol, ni té ni café.Estudios científicos usados:Caffeine, coffee, and healthS. Garattini Published 1993 MedicineCaffeine: sleep and daytime sleepiness.Published 1 abr 2008 · T. Roehrs, T. RothCaffeine addiction: Need for awareness and research and regulatory measures.Published 4 feb 2017 · Shobhita Jain, A. S. Srivastava, R. Verma, Gaurav MagguRational Addiction to Caffeine: An Analysis of Coffee ConsumptionPublished 1 oct 1996 · N. Olekalns, P. BardsleyCaffeine – An Invisible AddictionPublished 11 jun 2023 · Sidra Ajmal, Laiba Ajmal, Aleena Babar, Amna Riasat, Farhat Batool, Tehniyat ZafarAddiction of Caffeine and SugarPublished 29 jun 2020 · P. CusackA Literature Review on Caffeine Related Disorder in Line with Coffee AddictionPublished 24 ene 2022 · Literature Review, Patrizia Muradi, A. ÜnalMás estudios en Instagram.com/borjagiron y en https://www.linkedin.com/feed/update/urn:li:activity:7290334638009376768/Comparte el episodio si crees que puede ayudar a alguien. Suscríbete para no perderte el resto de episodios.Conviértete en un seguidor de este podcast: https://www.spreaker.com/podcast/los-ultimos-dias--2659766/support.

durée : 00:59:24 - Banzzaï du jeudi 13 février 2025 - par : Nathalie Piolé - Soyons jeunes, soyons insouciants, et profitons de nos vingt ans !.

Música popular cubana en 78 revoluciones x minuto. Ediciones que nos recuerdan algo del quehacer del pianista, arreglista y director de orquesta Bebo Valdés en plena década del 50. "Ritmando chá chá chá", pieza emblemática de Bebo con la sonoridad de la Orquesta "Riverside", da paso a otras dos temas de su autoría en el repertorio de ese notable jazz band, conducido por el saxofonista Pedro Vila. Mambo y swing desde una memorable audición en CMQ RadioCentro. "Güempa" y "Oye cómo gozo mama". Escuchemos el "son capetillo" que defendía el tresero Arsenio Rodríguez en la gran ciudad de New York. El guaguancó y el montuno a la manera de Arsenio, los grandes desvelos del ciego maravilloso. Trilogía vocal completada por Capo, Cándido Antomattei y Manolo en discos "Tico". Como en los innumerables sainetes criollos que acompañó en sus largos años de gloria, los centenarios compases de la orquesta del Teatro "Alhambra" vuelven a escucharse mientras subimos el telón. "El verraco está en la yuca", danzón de Felipe Valdés, nos acerca a La Habana que estrenaba el siglo XX. Con apenas medio millón de habitantes la popularidad del llamado teatro vernáculo en la capital cubana propició la aparición de numerosos teatros donde solía presentarse lo más valioso del género. Entre escenarios como "Payret", "Albisu ", "Cubano", "Campoamor", "Polyteama Grande", "Polyteama chico", "Nacional", "Principal de la Comedia" y "Armenoville", entre otros, brilló con luz propia el "Alhambra". Hasta el final de sus días el maestro Eduardo Robreño defendió las memorias de aquel sabroso antro del bufo, ubicado en las calles Consulado y Virtudes. En las tablas del "Alhambra" la picaresca criolla y la sátira política fueron platos fuertes bien servidos logrando, durante más de tres décadas y media, la increíble proeza de mantener su cartelera ininterrumpidamente. Federico Villoch, Regino López y Arias, desde el 10 de noviembre de 1900 hasta febrero de 1935 cuando se desplomó parte de su construcción, propiciaron que en en sus tablas crecieran artísticamente las figuras más relevantes del bufo en la Isla. Seguidamente: Arquímedes Pous y Ramón Espigul junto a Conchita Llauradó y Lola Mayorga, respectivamente. El negrito y la mulata, personajes claves de aquella cofradía donde también brillaron el gallego, el guajiro y el chino. Acompañados invariablemente por sones, rumbitas y guarachas, jamás dejaron de resonar con el pueblo. A continuación el guajiro y el negrito: Carlos Zarzo y Sergio Acebal. "El comienzo de la carretera". En la sencillez y aparente ingenuidad de sus textos y pasajes melódicos el público más humilde pudo ver reflejadas sus esperanzas, frustraciones, tristezas y alegrías. Sonidos donde sigue latiendo el pulso de una Isla al parecer condenada a vivir permanentemente, como en las tablas del viejo teatro bufo, entre la risa y el llanto. El 10 de octubre de 1922 nació oficialmente la radio cubana. Fue Rita Montaner parte del elenco artístico que intervino en la transmisión inaugural de la PWX de la Cuban Telephone Company. A poco más de un siglo de este acontecimiento el recuerdo de esta importante figura del teatro, el cine, la radio y la televisión llega con el respaldo de la orquesta CMQ, bajo la conducción del maestro Enrique González Mánticci. Luis Carbonell, el acuarelista de la poesía afroantillana, alguna vez fue presentado por dos míticas voces de la radio cubana: Eusebio Valls y Xiomara Fernández. Fragmentos del estelar show: "De fiesta con Bacardí". Regresamos a la Avenida Infanta marcada con el número 105. A partir de 1953, en el flamante estudio-teatro de los Hermanos Fernández: Radio Progreso, los cantantes y agrupaciones más destacadas de la época interactuaban con el público. Rolando Laserie con la banda de Bebo Valdés, Xiomara Alfaro con la jazz band "Hermanos Castro". La despedida a cargo de Celio González y Celia Cruz junto a Rogelio Martinez y Caíto con el conjunto "Sonora Matancera".

En el correo de hoy te explico cómo puedes aprovechar el tiempo que pasas en YouTube para mejorar tu contenido.Son tres pasos rápidos que he copiado a Paddy Galloway y marcan un antes y un después para los creadores.¿Ya estás suscrito?YouTube es mi plataforma favorita.Es la red social donde más tiempo paso (si es que podemos llamarla red social) y esto hace que sea mi principal vía de entrada para nuevas ideas.Ya sabéis que para poder crear buenos contenidos, la base es tener buenas ideas, pues en YouTube tenéis ideas de una calidad máxima y 100% contrastada.¿Cómo podemos encontrar ideas en YouTube?1- ¿Qué estoy buscando?Lo primero que tenemos que definir es qué tipo de ideas queremos tener.Para poder encontrar algo primero debemos saber qué estamos buscando.En mi caso, busco ideas en YouTube como:* Ideas para contenido: básicamente temas sobre los que puedo hablar.* Miniaturas: imágenes o composiciones que tienen fuerza para poder adaptarlas.* Titulares: el típico nombre del vídeo que genera buen mix con la miniatura y te obliga a clicar.* Introducciones: primeros 15-30 segundos que introducen un contenido.* Vectores virales: esto es algo un poco más complicado de explicar y que está relacionado con el algoritmo de YouTube.Estas son las cosas que quiero poder detectar y luego procesar en esta plataforma y gracias a las cuales me aseguro de que los contenidos que creo tengan un mínimo de interés y potencial de crecimiento.Sé que puede ser un poco coñazo ponerse a ver YouTube y tener que estar analizando todos los contenidos que ves, pero en mi caso ya me sale casi de forma natural.2- Detecto una idea ¿Qué hago?Este punto es muy importante.Las ideas es necesario almacenarlas lo más rápido posible para que no se pierdan.Para ello, es fundamental tener un sistema ágil y en este caso la opción más rápida para clasificar un vídeo que te despierta una idea es añadirlo a una “Playlists”.Tienes que crear una para cada tipo de idea que quieras clasificar.Mi recomendación es que no pases de 4-5 listas porque luego es un caos.3- Analizando las listasPoco a poco nuestras listas se van llenando de vídeos.Buen trabajo hasta aquí, pero la tarea complicada empieza ahora.Tenemos que sacarle partido a todo lo que hemos almacenado y para ello deberemos dedicarle un rato de forma periódica.Tiempo para transformar las ideas de esos vídeos seleccionados en algo útil para nuestro proyecto, porque si no lo que nos pasará es que tendremos otro espacio más en internet donde almacenar links a cosas que jamás revisamos.La versión fácil de esto es la que cuenta Paddy Galloway, guardarte una o dos horas a la semana para revisar lo que has metido en dichas listas y hacer limpieza.Un proceso de análisis donde tendrás que pillar cada vídeo y extraer lo que necesitas para tus contenidos.Tarea muy manual.La alternativa es hacer una automatización y usar IA para acelerar el proceso.Te amplío esta info en la sección de Qué estoy creando.En cualquier caso tendrás que dedicar algo de tiempo en valorar los resultados.Estos 3 pasos te van a generar un listado de recursos muy útiles cuando te pongas delante del folio en blanco y necesites inspiración.¿Se te ocurre cómo aplicarlo a otro canal?Te recomiendo* Mallos de Riglos: no soy especialmente montañero, pero siempre está bien dar una vuelta por la naturaleza.* Left - Time as never seen: una app que te dice visualmente el tiempo que te queda para terminar el año, o incluso de vida.* Dom Dolla b2b Solomun: ya sabéis que me gusta la electrónica, no puedo dejar de compartir alguna sesión interesante cuando la veo

One of the most important MS research events every year is the annual European Committee for Treatment and Research in MS Scientific Congress, usually referred to by its acronym, ECTRIMS.    You've made our podcast episode that followed ECTRIMS the most downloaded episode of the year. So, this week, I'm revisiting the two conversations that I had immediately after the ECTRIMS conference ended. In what has become an annual tradition, it's my privilege to sit down with the National MS Society's Executive Vice-President of Research, Dr. Bruce Bebo, just minutes after the conclusion of ECTRIMS to get his first impressions of the news and presentations that caught his eye.   This year, I also wanted to bring you the perspective of someone who's living with MS, who attended ECTRIMS for the very first time.  So, less than an hour after the conference concluded, I had a conversation with Kristine Werner Ozug. (Full disclosure, Kristine is a member of the RealTalk MS team.) We have a lot to talk about! Are you ready for RealTalk MS??! This Week: Revisiting ECTRIMS 2024   :22 Dr. Bruce Bebo shares the announcements and presentations that caught his eye at ECTRIMS  1:59 Kristine Werner Ozug shares a patient's perspective on attending the largest MS research conference in the world  14:07 Share this episode  26:54 Have you downloaded the free RealTalk MS app?  27:14 SHARE THIS EPISODE OF REALTALK MS Just copy this link & paste it into your text or email: https://realtalkms.com/383 ADD YOUR VOICE TO THE CONVERSATION I've always thought about the RealTalk MS podcast as a conversation. And this is your opportunity to join the conversation by sharing your feedback, questions, and suggestions for topics that we can discuss in future podcast episodes. Please shoot me an email or call the RealTalk MS Listener Hotline and share your thoughts! Email: jon@realtalkms.com Phone: (310) 526-2283 And don't forget to join us in the RealTalk MS Facebook group! LINKS If your podcast app doesn't allow you to click on these links, you'll find them in the show notes in the RealTalk MS app or at www.RealTalkMS.com RealTalk MS at ECTRIMS on YouTube https://www.youtube.com/playlist?list=PLATxgj1uHpxPOTklQKDkASWTEBoHXVGH1 Join the RealTalk MS Facebook Group https://facebook.com/groups/realtalkms Download the RealTalk MS App for iOS Devices https://itunes.apple.com/us/app/realtalk-ms/id1436917200 Download the RealTalk MS App for Android Deviceshttps://play.google.com/store/apps/details?id=tv.wizzard.android.realtalk Give RealTalk MS a rating and review http://www.realtalkms.com/review Follow RealTalk MS on Twitter, @RealTalkMS_jon, and subscribe to our newsletter at our website, RealTalkMS.com. RealTalk MS Episode 383 Guests: Dr. Bruce Bebo and Kristine Werner Ozug Privacy Policy

Sigueme En Todas Mis Plataformas Digitales Como @DjJonathanPty

Sigueme En Todas Mis Plataformas Digitales Como @DjJonathanPty

Bebo Granados sobre su libro de memorias by Gustavo Noriega

It's almost Christmas and the whole gang are together! If you're after an episode that goes off on wild tangents, then this is the one for you. Blue dinosaurs, Garth Crooks, Eagle-Bats, Aston Villa's new striker Wally Otkins - it's a weird one. Oh, and we unbox another O'Neills shirt and discuss our upcoming shirt of the year poll - don't forget to get your Top 5 shirt votes sent to hello@ttkaopod.com (ranked 1-5, we need it in order otherwise Mike gets grumpy). As always: like, subscribe, tell us if you have any information on missing dinosaurs. Find us on X, Instagram, YouTube, Bluesky and Bebo! @TheyThinkKits.

Shaan Puri was exceptional at doing the Silicon Valley thing. Still, he says his newsletter was the fastest way he's ever made money. Within a year of its creation, The Milk Road grew to 250k readers and a reported 8-figure exit. Shaan Puri is perhaps most famous for co-hosting the My First Million podcast with Sam Parr, which has garnered over 200 million YouTube views since it started in 2019. Some of his additional projects include Bebo (sold to Twitch in 2019), Blab (live-streaming service with ~4 million users), a venture fund, and his newsletter The Milk Road (250K readers in https://mixergy.com/moreint Rate this interview -> https://mixergy.com/rateint

Now that he's had a chance to digest all of the research presented at ECTRIMS, Dr. Bruce Bebo, the National MS Society's Executive Vice President of Research, is back to share the key research presented at the largest MS research conference in the world. This episode of RealTalk MS is the perfect follow-up to my initial conversation with Bruce, which occurred just minutes after ECTRIMS ended. (If you missed our conversation, you may want to check out Episode 369 of RealTalk MS.) We have a lot to talk about! Are you ready for RealTalk MS??! This Week: Part 2 of our coverage of ECTRIMS 2024  :22 Dr. Bruce Bebo shares the key research presented at ECTRIMS  1:06 Share this episode  26:13 Have you downloaded the free RealTalk MS app?  26:31 SHARE THIS EPISODE OF REALTALK MS Just copy this link & paste it into your text or email: https://realtalkms.com/373 ADD YOUR VOICE TO THE CONVERSATION I've always thought about the RealTalk MS podcast as a conversation. And this is your opportunity to join the conversation by sharing your feedback, questions, and suggestions for topics that we can discuss in future podcast episodes. Please shoot me an email or call the RealTalk MS Listener Hotline and share your thoughts! Email: jon@realtalkms.com Phone: (310) 526-2283 And don't forget to join us in the RealTalk MS Facebook group! LINKS If your podcast app doesn't allow you to click on these links, you'll find them in the show notes in the RealTalk MS app or at www.RealTalkMS.com RealTalk MS Episode 369: ECTRIMS 2024 with Kristine Werner Ozug and Dr. Bruce Bebo https://realtalkms.com/369 Join the RealTalk MS Facebook Group https://facebook.com/groups/realtalkms Download the RealTalk MS App for iOS Devices https://itunes.apple.com/us/app/realtalk-ms/id1436917200 Download the RealTalk MS App for Android Deviceshttps://play.google.com/store/apps/details?id=tv.wizzard.android.realtalk Give RealTalk MS a rating and review http://www.realtalkms.com/review Follow RealTalk MS on Twitter, @RealTalkMS_jon, and subscribe to our newsletter at our website, RealTalkMS.com. RealTalk MS Episode 373 Guest: Dr. Bruce Bebo Privacy Policy

Un 9 de octubre -de 1918 para Bebo y de 1941 para Chucho- nacieron en Cuba estos dos gigantes, padre e hijo, pianistas, compositores y arreglistas. Les dedicamos el programa con grabaciones de 'Descarga Valdés', 'Rareza del siglo' y 'A Chucho' -del disco de Bebo y Chucho Valdés 'Juntos para siempre'-, 'Bebo', 'Pilar' y 'Caridad Amaro' -del disco de Chucho Valdés and The Afro-Cuban Jazz Messengers-, 'Danza nº1', 'Danza nº2' y 'Tú' -del disco de piano solo 'Bebo'- y ' 'BeboChicoChuchoTuro' -del disco de Arturo O´Farrill y Chucho Valdés 'Familia: Tribute to Bebo + Chico'-. Escuchar audio

In 2020, the National MS Society convened the Pathways to Cures Think Tank. I shared news and interviews from what I considered a historic meeting back in Episode 125 of RealTalk MS.  The information shared and the work generated by that Think Tank led to the Pathways to Cures Global Summit in 2023. In Episodes 297and 298 of RealTalk MS, I shared news and interviews from what I described as yet another historic meeting. The Pathways to Cures Research Roadmap has been updated, and I'm devoting this week's episode of RealTalk MS to my conversation with the National MS Society's Executive Vice-President of Research, Dr. Bruce Bebo, and the MS Society's Vice-President of Global Initiatives, Shawna Golden, to bring us up to date on how this global MS research initiative has been refined and enhanced and how it's resetting the global MS research agenda. We have a lot to talk about! Are you ready for RealTalk MS??! This Week: The Pathways to Cures research roadmap has been updated  :22 Dr. Bruce Bebo and Shawna Golden discuss the refined and enhanced Pathways to Cures research roadmap  2:34 Share this episode  29:58 Have you downloaded the free RealTalk MS app?  30:18 SHARE THIS EPISODE OF REALTALK MS Just copy this link & paste it into your text or email: https://realtalkms.com/370 ADD YOUR VOICE TO THE CONVERSATION I've always thought about the RealTalk MS podcast as a conversation. And this is your opportunity to join the conversation by sharing your feedback, questions, and suggestions for topics that we can discuss in future podcast episodes. Please shoot me an email or call the RealTalk MS Listener Hotline and share your thoughts! Email: jon@realtalkms.com Phone: (310) 526-2283 And don't forget to join us in the RealTalk MS Facebook group! LINKS If your podcast app doesn't allow you to click on these links, you'll find them in the show notes in the RealTalk MS app or at www.RealTalkMS.com RealTalk MS Episode 125: From the Pathways to Cures Think Tank https://realtalkms.com/125 RealTalk MS Episode 297: From the Pathways to Cures Global Summit (Part 1) https://realtalkms.com/297 RealTalk MS Episode 298: From the Pathways to Cures Global Summit (Part 2) https://realtalkms.com/298 Join the RealTalk MS Facebook Group https://facebook.com/groups/realtalkms Download the RealTalk MS App for iOS Devices https://itunes.apple.com/us/app/realtalk-ms/id1436917200 Download the RealTalk MS App for Android Deviceshttps://play.google.com/store/apps/details?id=tv.wizzard.android.realtalk Give RealTalk MS a rating and review http://www.realtalkms.com/review Follow RealTalk MS on Twitter, @RealTalkMS_jon, and subscribe to our newsletter at our website, RealTalkMS.com. RealTalk MS Episode 370 Guests: Dr. Bruce Bebo, Shawna Golden Privacy Policy

ECTRIMS 2024, the largest MS research conference in the world concluded last week, and in this week's episode, we'll be hearing two slightly different perspectives on which news, announcements, and presentations stood out at this year's meeting.   The ECTRIMS conference can feel almost overwhelming. You find yourself among 9 or 10 thousand other attendees, trying to determine which of the more than 1700 scientific presentations you want to learn more about. It's both a marathon and a sprint that seem to be taking place simultaneously. Kristine Werner Ozug is a member of the RealTalk MS team and a person who lives with MS. This week, Kristine shares her perspective on attending ECTRIMS for the first time.  At the conclusion of ECTRIMS, you can almost hear a collective sigh coming from all the attendees. It feels like you've crossed the finish line, but now the work of sorting and processing all that you've seen, heard, and read over what feels like a non-stop 72-hour blur actually begins. Joining me to share his initial thoughts on the ECTRIMS news that caught his eye is the National MS Society's Executive Vice-President of Research, Dr. Bruce Bebo. We have a lot to talk about! Are you ready for RealTalk MS??! This Week: ECTRIMS 2024  :22 It's our 7th anniversary!  1:28 Kristine Werner Ozug shares a patient's perspective on attending the largest MS research conference in the world  3:56 Dr. Bruce Bebo shares the news and announcements that caught his eye at ECTRIMS 17:19 Share this episode  28:59 Have you downloaded the free RealTalk MS app?  29:19 SHARE THIS EPISODE OF REALTALK MS Just copy this link & paste it into your text or email: https://realtalkms.com/369 ADD YOUR VOICE TO THE CONVERSATION I've always thought about the RealTalk MS podcast as a conversation. And this is your opportunity to join the conversation by sharing your feedback, questions, and suggestions for topics that we can discuss in future podcast episodes. Please shoot me an email or call the RealTalk MS Listener Hotline and share your thoughts! Email: jon@realtalkms.com Phone: (310) 526-2283 And don't forget to join us in the RealTalk MS Facebook group! LINKS If your podcast app doesn't allow you to click on these links, you'll find them in the show notes in the RealTalk MS app or at www.RealTalkMS.com Join the RealTalk MS Facebook Group https://facebook.com/groups/realtalkms Download the RealTalk MS App for iOS Devices https://itunes.apple.com/us/app/realtalk-ms/id1436917200 Download the RealTalk MS App for Android Deviceshttps://play.google.com/store/apps/details?id=tv.wizzard.android.realtalk Give RealTalk MS a rating and review http://www.realtalkms.com/review Follow RealTalk MS on Twitter, @RealTalkMS_jon, and subscribe to our newsletter at our website, RealTalkMS.com. RealTalk MS Episode 369 Guests: Kristine Werner Ozug, Dr. Bruce Bebo Privacy Policy

The changing of the seasons and return to school has Charleen and Ellie thinking about the passage of time and how friendships change and drift as you get older. And in their journey down memory lane, there's also a resurgence of the iconic DJ Booney and DJ Cammy.The girls help a listener who is triggered by her boyfriends female friend - Because she looks so similar to the girl her ex cheated on her with. And In Phone A Friend you help one of the birds who's struggling to deal with her boyfriend's overbearing family.Email: holdmydrink@goloudnow.comInstagram: @holdmydrinkpod

Joel & Hannah have been invited to do some gravy wrestling. How do you think that'll go down? Plus, Hannah's Bebo account and Joel's radical honesty.Email: Hello@NeverEverPod.comInstagram: @NeverEverPod This episode contains explicit language and adult themes that may not be suitable for all listeners.Thanks for listening. Please subscribe and leave a five star review!Please review Global's Privacy Policy: https://global.com/legal/privacy-policy/

It's Bebo's world and we're just living in it! Whether you love or hate Poo, Geet, Dr Preet Sahni, Chameli, or Dolly, you can't ignore the most successful woman in the Kapoor khandaan. Unlike her older sister Karisma, there is no question Kareena is a bonafide superstar. Movies we discuss in detail: Khushi, Chameli, Omkara, Jab We Met, Tashan, and Milenge Milenge. If your favorite isn't there, don't worry; we mention many others in passing. What are your iconic Kareena performances and films? Subscribe to Filmi Ladies on Spotify https://open.spotify.com/show/7Ib9C1X5ObvN18u9WR0TK9 or Apple Podcasts https://podcasts.apple.com/us/podcast/filmi-ladies/id1642425062 @filmiladies on Instagram and Twitter Pitu is @pitusultan on Instagram Beth is @bethlovesbolly on Twitter Email us at filmiladies at gmail See our letterboxd for everything discussed on this podcast. https://boxd.it/qSpfy Our logo was designed by London-based artist Paula Ganoo @velcrothoughts on Instagram https://www.art2arts.co.uk/paula-vaughan

Jose Hernandez Fernandez (also known as Bebo) is an ex-pro player from the Dominican Republic who retired from the ATP Tour in 2020 and has since coached. He achieved success with WTA top 40 player Yue Yuan earlier in 2024 when she won her first WTA title and reached the quarter-finals of Indian Wells. I know Bebo personally, and for this podcast, we got to sit down in person and talk about his life on tour, the successes and struggles of being a tennis pro, growing up in the Dominican Republic, and what tennis organizations can do better to improve the situation for aspiring professional players.

Su excelencia en la improvisación, sobre todo en los sones montunos, consagró a Pío Leyva. Los primeros minutos del programa los acompaña en tres tiempos este legendario cantor quien, a lo largo de su extensa trayectoria, mantuvo en alto el emblema sonero. Lo escucharemos con la orquesta de Nabú Antúnez, andadura musical que lo llevó poco tiempo después al catálogo Panart, la pionera disquera independiente cubana, como parte del grupo de Francisco Repilado "Compay Segundo". Para los últimos años 50s el inquieto sonero de Morón ya sentaba cátedra en los salones bailables cristalizando la leyenda de "el montunero de Cuba". El desarrollo alcanzado por la industria del disco, como parte de la sólida maquinaria de producción y difusión musicales en la Isla, propiciaba el surgimiento de numerosas etiquetas. Bebo con su banda 'Sabor' le brindó apoyo al inquieto Pío Leyva en numerosos singles. 'Pío mentiroso', uno de sus grandes éxitos, nos permite disfrutar del arte de este incansable sonero. El inesperado boom comercial del 'Buenavista Social Club' le dió la oportunidad de despedirse en grande. El 22 de marzo de 2006, a los 88 años, se detuvo su corazón. Había nacido el 5 de mayo de 1917. Los históricos catálogos discográficos RCA Víctor, Panart y Maype nos permitirán recordar a Roberto Espí en el 25 aniversario de su partida. Con el respaldo de su Conjunto Casino, y en tiempo de bolero, nos acompañará este trovador que vio la luz el 26 de mayo en el Cienfuegos de 1913. Siendo apenas un adolescente se vinculó al mundo de la trova y el son. En 1931 fundó el Conjunto Lírico Caunabó y cuatro años más tarde su travesía artística lo llevó a trasladarse a La Habana donde integrará varios tríos junto a Mario Soto, Angel Alday y los hermanos Izquierdo. Desde 1940 hasta 1974 completó las diferentes trilogías y cuartetas vocales del Conjunto Casino. Al frente de esta agrupación la influencia del mundo trovadoresco lo llevó a fomentar la combinación de las voces prima, segunda y tercera. Memorables en ese sentido fueron los numerosos duetos que dejó en discos y presentaciones radiofónicas, combinando su voz segunda con las primas de Nelo Sosa, Alfredito Valdés, Roberto Faz y Orlando Vallejo, entre otros. En 1962 se despidió del mundo del disco estrenando -para la etiqueta independiente Maype- el bolero de su antiguo colega de trovas Jesús Díaz titulado: "Así me pagas tú". Buen recuerdo para Roberto Espí quién falleció en La Habana el 14 de mayo de 1999. Seguidamente los catálogos de los sellos independientes Panart y Kubaney nos acercarán algo de la vida y obra del maestro Luis Carbonell. Artista todo terreno, a la par de su brillante carrera como declamador, desarrolló igualmente en lo musical una notable labor como repertorista, director coral, productor discográfico y pianista acompañante. Hoy comenzamos recordándolo junto al trío femenino "Antillano", conformado por Francis Nápoles, Isaura Mendoza y Nelia Núñez. Acompañó la orquesta Panart bajo la dirección del Niño Rivera. Luis Carbonell y un álbum joya que vio la luz gracias a su notable talento como productor y director coral: "Esther Borja canta a dos, tres y cuatro voces". Una producción "Kubaney" donde intervino como instrumentista y donde también destacó la compositora y pianista santiaguera Nutmidia Vaillant. Y el 6 mayo de 1995 se despedía la voz de cristal del danzón cantado: Barbarito Diez. La mítica danzonera del "mago de las teclas" Antonio María Romeu fue la orquesta de sus triunfos definitivos. Los tiempos dorados de la bohemia, la trova y las tertulias del habanero Café "Vista Alegre" de los primeros años 30, regresan gracias a otro buen empeño de Ramón Sabat y su etiqueta Panart. Barbarito junto a Isaac Oviedo y Graciano Gómez, las entrañables voces del mítico café habanero.

Gepiano tiene un 1 on 1 con Vicente para hablar sobre actualidad pero sobretodo de como su propuesta va de la mano con la Inteligencia Artificial al congreso.

Tim “The Red Hawk” Welch is joined by Red Hawk Academy fighters Tommy and Bebo. The boys go deep into the power of Jiu-Jitsu and how it can change your life. Tim gives advice to people in their 20s. Tim tells all on the infamous Pantoja vs Suga sparring session, Gilbert Burns vs kamaru Usman, Connor owning BKFC, MMA Rule Changes and more! This video is sponsored by PrizePicks! Click here https://prizepicks.onelink.me/ivHR/TIMBO and use the code TIMBO for a 100% Deposit Match Up to $100Check out Rizz Pharma boys! https://rizzpharma.comVIIA Hemp code: TMS for 15% off and free pack of gummies!https://bit.ly/viiatmsWeekly Newsletter!https://timwelch.substack.com/Confidential Podcast!https://www.patreon.com/redhawkacademyTimestamps:0:00 Intro0:19 PrizePicks1:01 Rizzz Pharma2:40 Welcome New Subscribers 3:51 The Power of Knowledge5:07 The Power of Mentors7:35 How to Deal with Anger Issues8:57 What to Look for in a Mentor13:27 How Tim Met His Editor Garrett18:58 A Message to the Fans19:44 How Tim and Garrett Started Working Together 20:12 How the Timbo Sugar Show Got Big22:07 Advice for People in Their 20s26:07 Bebo's BJJ Background27:17 Bebo's Run-in With The Law33:11 Jiu-Jitsu Can Change Your Life34:07 How BJJ Turned Tommy's Life Around35:24 Jiu-Jitsu Can Change Your Life Pt.235:42 Men's Red Flags36:55 Why Tim Loves Reality TV37:57 How to Start a Business 39:15 Take Control of Your Life39:38 Controlling Your Emotions is Difficult40:33 Strong or Weak Handshakes? 41:25 The Herb is For The Weak?42:18 Vaping is VERY Hard to Quit43:08 Tim's Hilarious Dip Story43:39 Vaping is VERY Hard to Quit Pt. 244:14 Tim Calls His Friend Ryan Allen46:20 Tequino is One of the Greats47:19 Ryan Will Never Go Vegan…48:07 Ilia vs Suga?48:52 Ryan and Tim are Going Rizzing Together49:47 Rizz Tips with Timbo53:27 Did Tinder Make Us Soft?54:44 Pantoja vs Sugar Spar, What Happened!?55:48 Henry Cejudo is an Interesting Guy…56:26 Demetrious Johnson is Going to Box!?57:08 Charles Oliveira is Moving Welterweight!?58:04 How Tim Feels About MMA Judging58:53 Should the UFC Remove the Cage?59:16 Potential MMA Rules Changes 1:00:19 Gilbert Burns Calls Out Usman1:01:07 The Type of Girl You Should Go For1:02:03 Sleeping With a Married Woman and Cheating1:04:04 McGregor Hasn't Signed the Contract Yet1:05:16 The Secret to Elite Cardio1:07:06 McGregor is a BKFC Owner 1:07:59 What the boys are Up to For the Rest of the Day1:09:31 Tommy Got Around…#timwelch #sugasean #mma #ufc #danawhite #podcast #dating #religion #injury #patreon #qanda #podcast #jiujitsu #bjj #nogi #connormcgregor #bkfc #iliatopuriaAdvertising Inquiries: https://redcircle.com/brands

“La Bella y La Bestia Podcast". Nuevos episodios todos los domingos, con el NuevoOficial & JulietteDays, disponible en todas las plataformas: Spotify, Amazon, Apple, Ivoox, Google. Aquí contamos anécdotas propias y de la audiencia. ADVERTENCIA: No apto para quienes se ofenden de todo. Síguenos en redes sociales: Instagram: @juliettedays // @elnuevooficial // @labellaylabestia_podcast Twitter: @juliettdays // @elnuevooficial Facebook: @labellaylabestiapodcast Tiktok: @juliettedays

Buen recuerdo para Graciela Pérez. Radicada en el Nueva York de comienzos de los años 40, se convirtió en la carismática voz que por más de cuatro décadas identificó, junto a Machito, la sonoridad de los "Afrocubans", una de las bandas más progresivas de su tiempo bajo la batuta musical de Mario Bauzá. Como parte inicial de su recorrido artístico recordamos la presencia de la juvenil Graciela en formaciones habaneras de importancia. Entre ellas la celebrada agrupación femenina "Anacaona" que, finalizando los años 30s, pasaba del septeto de sones al jazz band. Sus formidables cualidades interpretativas, acompañadas de un notable desenfado escénico, le abrieron muy pronto las puertas del éxito. Si en la Habana de mediados de los años 40, el más influyente de los cantantes cubanos: Orlando Guerra "Cascarita", triunfaba en el show radial "Pinilla" incluyendo en su repertorio el son montuno del compositor Blanco Suazo "Esto es lo último", en la ciudad de los rascacielos Graciela arrebataba al público latino y norteamericano con una original versión que ha quedado para la historia con otro título: "Mi cerebro". Unos minutos más junto al recuerdo de la tremenda Graciela Pérez quien falleció en Nueva York, la ciudad de sus grandes éxitos, el 7 de abril de 2010, a los 95 años. "Aquellos a quienes los dioses aman mueren jóvenes" sentenciaba Menandro, el antiguo escritor griego. Con la temprana muerte de Amado Borcelá, bien conocido en el ambiente musical de la frontera de los años 50 a los 60 como "Guapachá", la música popular, y en especial el jazz, perdía a uno de sus más grandes exponentes. Hoy rescatamos a Guapachá repasando el catálogo RCA Víctor. Así reproducimos una de sus primeras grabaciones acompañado por la banda de Bebo Valdés y el trío de Luisito Plá. Sus trabajos para el mundo del disco con Bebo fueron el puente perfecto para que Guapachá comenzara a colaborar, a comienzos de los años 60, con Chucho Valdés. Acompañado por el quinteto de jazz del joven pianista grabó un repertorio considerable editado por la etiqueta estatal Areito. Buen recuerdo para Amado Borcelá, el más guapachoso de los pioneros del jazz cubano. Cachao López se despidió del siglo XX en grande, gracias al decisivo apoyo del actor Andy García, devenido productor de dos formidables álbumes donde intervinieron además otros valiosos músicos. En su doble faceta de instrumentista y arreglista, revisitó un selecto y cubanísimo repertorio. En el mes de octubre de 1993 comenzó a trazarse el destino de estos sonidos que al año siguiente el emporio discográfico Sony Music editó bajo el emblema "Cachao Master Session". Casi en la despedida seleccionamos algunos tracks de esta formidable producción. Andy García intervino poniéndole voz y sentimiento a la conga "El Alcalde", sentido homenaje a su terruño Bejucal y especialmente a su padre René J.García. Adaptación del poema de Federico García Lorca "Son de negros en Cuba" con arreglo musical de Cachao. En 1954 hacia mucho que los años de gloria del gran Abelardo Barroso habían quedado atrás. Era cosa del pasado aquellos tiempos maravillosos de los años 20 cuando la fiebre del son se adueñaba de los salones bailables y el sonero entonaba sabroso poniéndole voz a los toques y alambres del "Habanero" y el "Nacional". Con el respaldo comercial de "Puchito", la etiqueta de Jesús Gorís, Barroso con la orquesta "Sensación" volvía al ruedo, y está vez para siempre. Un repertorio más bien clásico, donde Barroso retomó algunos de los viejos sones que solía cantar, le permitió reafirmar su sitial entre los grandes soneros de la escena cubana, extendiendo su ya longeva trayectoria hasta su retiro de la música, pocos años antes de su muerte. Con Abelardo Barroso y la orquesta "Sensación" de Rolando Valdés, nos despedimos.

'Pan con timba' un título cubano a más no poder, nos permite comenzar recordando algo de la vida y obra del pianista, arreglista, líder de orquesta y compositor Bebo Valdés. Sin embargo (más que resaltar su legado como instrumentista, pionero del jazz y creador del ritmo 'Batanga'), hoy llamamos la atención sobre su inmensa labor como arreglista. En este apartado, durante los años 50, incidió en el sonido de formatos claves como la orquesta de cuerdas y los jazz bands. Ambas sonoridades, en función de la canción y el bolero, tuvieron en Bebo a uno de sus grandes artífices. Su labor como productor musical de la etiqueta Gema, fundada por los hermanos Álvarez Guedes en 1957, quedó plasmada en numerosos discos. Tres grandes cantantes: Fernando Álvarez, Pacho Alonso y Doris de la Torre interpretando a dos importantes compositoras del feeling cubano: Marta Valdés y Ela O'Farrill. Nació en Puerto Príncipe, la capital haitiana, el 21 de marzo de 1919. A propósito del 105 aniversario de su natalicio recordaremos en tres tiempos a la cantante, actriz, compositora y folklorista Martha Jean Claude. Invitada por Celia Cruz, con quién había hecho amistad durante una de sus presentaciones en Haití, llegó a Cuba por primera vez a mediados de 1952. Como testimonio invaluable, un registro del 26 de agosto de ese año para la etiqueta Seeco: Celia Cruz y Martha Jean Claude con el conjunto 'Sonora Matancera': 'Choucone' (Pájaro amarillo) Martha Jean Claude, a finales de 1952, se asentó definitivamente en La Habana. Su arte tiene buena acogida en el ambiente artístico y musical por lo que se le comienza a ver en algunos espacios de la televisión en directo, entre ellos 'El show del mediodía'. Su proyección escénica y el profundo conocimiento de los cantos populares y las danzas de su tierra natal le proporcionan una cierta atmósfera exótica que a su vez le abrirá las puertas del cabaret. En el mítico 'Tropicana' causa sensación la producción 'Voodu ritual'. Para reforzar su carga espiritual, se presenta justo a las 3 de la madrugada. Nos acompaña uno de los cortes del album que le produjo por esas fechas la etiqueta independiente Gema a la cantante haitiana. Bautizada como la 'Hija de dos Islas' en sus presentaciones en la radio y televisión cubanas difundió siempre los cantos y ritmos del folklore haitiano. Martha Jean Claude falleció en La Habana el 14 de noviembre de 2001. La orquesta Aragón nos recuerda su faceta como compositora. Recién estrenados sus estudios en el Vedado habanero, la CMQ ponía en antena al conjunto Matamoros. 'Emisiones aniversario' de la formidable planta. Veteranos sonidos que nos devuelve la memoria radiofónica cubana. Año 1945 y las juveniles Hermanas Lago triunfaban en la CMQ Radio, estudios de Monte y Prado. Con la señal de la radio independiente cubana continuamos viaje. La jazz band 'Riverside', bajo la batuta del maestro Pedro Vila, formaba parte de la programación en directo de la CMQ RadioCentro allá por 1950. Fragmentos del estelar Show 'La Pausa que refresca' patrocinado por Coca Cola. Junto al cantante estrella de la banda: Tito Gómez solia presentarse Celia Cruz.

De la mano del hondo y emotivo sonido de su contrabajo, el músico navarro Javier Colina ha escrito algunas de las páginas más importantes de la música dentro y fuera de nuestro país. Su talento se ha sumado al de figuras como Tete Montoliu, Michel Camilo, Pat Metheny o Bebo Valdés. Precisamente a éste último, le rinde homenaje en un espectáculo que le lleva a compartir escenario con uno de los herederos del talento de Bebo, su nieto Cucurucho Valdés. De esta cita musical, de su participación en el festival Paco de Lucía Legacy y de su último disco, Rodizio musical en Recoletos Madrid, charlamos con el músico navarro. ¡Además de disfrutar de su arrollador talento en directo!Escuchar audio

Meet Amy Jackson, co-founder and CEO of  has spent her career building and shaping brands during times of rapid change. work directly with founders to develop thought leadership and support company goals, by designing a PR strategy that helps companies make a splash. Amy Jackson has helped potato farmers navigate the era of low-carb diets. She secured coverage in major media outlets leading up to the acquisitions of Bebo and Mint.com, and led LivingSocial's PR efforts bridging from Facebook darling to local merchant marketplace. She took Silicon Valley journalists through a walk down memory lane at the Computer History Museum's reopening. All of which led to coverage in The New York Times, Wall Street Journal, Bloomberg Businessweek and NBC to name a few. Listen to this episode if you want to learn practical ways to grow your business using customized PR strategies. Find out more information regarding Tale Splash below: Please follow and rate Veranda Entrepreneur Podcast on ,

The conversation is off to a wholesome start this week as PJ talks about his recent holistic endeavours which involved an evening of yoga and ice baths and a claim that breath work is the new MDMA. Kevin meanwhile gets his highs from playing Sandstorm by Darude in his spin class. The theme for the week is jealousy, the green eyed monster, something everyone experiences at some point in their life but for some reason most of us are too mortified to admit it. They talk about being jealous when they were younger of the kids in the estate who could do the Pele 7 and being jealous nowadays when one of the girlies on Instagram posts a pic of her fella and he's all caked up. Life can be so unfair.Get tickets for 'That's Showbiz' here: https://linktr.ee/Imgrandmam

Sidor som MSN Messenger, Bebo och MySpace är populära under 2000-talet och möjligheten att själv välja vem du vill vara attraherar många. Online behöver du inte följa de regler och sociala koder som råder IRL, och det finns otaliga historier om livslånga vänskaper och kärlekshistorier som en gång börjat i cyberrymden. Men internet kan också vara en farlig plats, och du kan aldrig säkert veta vem det faktiskt är som sitter och skriver på andra sidan skärmen och vad de har för intentioner. Manusförfattare: Tove Vahlne Källor:CBCABCNEWSIcantbelieveitnonfictionLionessrueTallhotblond(2009) dokumentärfilm - regisserad av Barbara Schroeder

CHOPPINITUPWITHCHUKY

Dejar de beber ha sido una de las decisiones más importantes. Lo he hecho para ganar claridad mental, reducir el estrés y alcanzar objetivos personales. Si tienes razones de peso, tú también puedes hacerlo. --- Send in a voice message: https://podcasters.spotify.com/pod/show/maestriafm/message

¿Te sientes perdido?¿Improductivo?¿Desmotivado tal vez?¿Quizá procrastinando algunas tareas?¿Has llegado a pensar incluso que eres vago?Préstame unos minutos de tu tiempo porque puedo ayudarte.La claridad es ese estado de conciencia que te permite procesar información, reflexionar y tomar decisiones de manera efectiva y eficiente.Se reducen las dudas y la confusión. Desaparece la niebla mental y el ruido.Te sientes enfocado y con la capacidad de entender mejor las situaciones que te rodean y llevarlas a tu terreno.Es la hostia.Y la hostia de difícil de conseguirlo.¿Y sabes por qué es tan complicado?Porque ya casi no nos hacemos preguntas.Activamos el piloto automático durante semanas, meses… e incluso años.El ruido no es algo nuevo.La claridad mental ha sido un tema de interés desde la antigüedad.Los estoicos enfatizaban la importancia de la percepción clara de la realidad para vivir una vida virtuosa.En el contexto del budismo, la claridad mental es un componente esencial del camino hacia el despertar.Filósofos y monjes, gente que se hace preguntas.Nosotros ahora tenemos redes sociales, Netflix y un cerebro en piloto automático.No nos lo están poniendo fácil para hacernos preguntas.Los beneficios de la claridad mentalEsto es lo que ocurre cuando reduces el ruido de tu mente:* Priorizas de forma efectiva: eres capaz de decidir qué cosas son prioritarias en tu vida con más rapidez y menos dudas.* Mejoras en la toma de decisiones: la claridad mental te permite tomar decisiones más informadas y coherentes con tu visión y objetivos a largo plazo.* Aumentas tu productividad: con menos ruido mental, cualquier tarea se pone en “modo fácil”.* Reduces el estrés: la claridad ayuda a manejar el estrés al facilitar un enfoque más sereno y menos reactivo a los problemas que surgen.* Mejora tu comunicación: articulas ideas mucho más claras. Cuando sabes a dónde vas es más sencillo explicar lo que tienes en mente.Estos son algunos de los beneficios más directos, pero la lista de efectos positivos indirectos es infinita.Lo que estoy haciendo para mejorar la claridadNo hay nada como pasar estos conceptos tan etéreos a acciones cotidianas.Aquí van algunos recursos prácticos que puedes hacer hoy mismo y despejan tu mente poco a poco.* Establece objetivos: sin duda la más importante. Pon el rumbo a tu vida y dirígete a alguna parte. Empieza dando dirección a tus días y luego a tus semanas. ¿Dónde quieres ir? Tengo una ayuda extra al final de esta newsletter.* Organizar el espacio de trabajo: yo lo tengo que hacer cada semana porque soy un desastre cíclico. Dedica unos minutos a poner tu escritorio o espacio de trabajo lo más ordenado posible.* 1 día, 1 tarea: te levantas y apuntas 1 tarea que quieres sacar hoy. Solo una. Ya tienes un foco para hoy. Evidentemente, vendrán más tareas y problemas y de todo, siempre pasa. Pero tú ya tienes una misión completada y eso es paz.* Haz equilibrios con las rutinas: café → tarea importante → emails … y listo para lo que venga. Este es mi arranque matutino y saber que funciona así cada día me hace sentir bien y avanzar.* Pausas obligatorias: mi perro me obliga a sacarlo a mitad de mañana a la calle. Tengo esa ventaja. Gracias a Bebo desconecto mentalmente y me muevo físicamente durante un rato, lo justo para hacer un pequeño reset.Estas son algunas de las cosas que a mí me funcionan.Seguro que tienes muchas más opciones que se adaptan mejor a tu tipo de trabajo, estilo de vida, estructura familiar… la cuestión es que las busques y las pongas en práctica.Para terminar, estoy construyendo una pequeña plantilla de Notion que podría servirte para estos primeros pasos en el camino a la claridad This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.guitermo.com

In talent acquisition, future-proofing is as important as focusing on the present! Today on Talk Talent To Me, Ali Bebo of Pearson joins us to discuss her many years of recruitment experience. You'll hear about how she went from retail to being senior CHRO at Pearson, how talent acquisition has changed since she got started, the role of AI in the industry, the importance of upscaling your talent, and why managers should avoid being passive in team building for the future. Ali thinks talent recruitment is much like coaching a sports team and in this episode, she explains how the two jobs are similar. We also discuss her experience in helping her company hire a new CEO before she leaves us with some incredible advice about knowing your superpower. Key Points From This Episode:   An introduction to today's guest, Allison (Ali) Bebo. Ali shares her version of New Year's resolutions and why she isn't a list-maker.  How Ali wound up in her role as senior CHRO at Pearson after working in retail.  Ali's views on how talent acquisition has changed over the years.  She tells us what Pearson does and how AI is affecting their work.  How they upscale their talent and educate others outside the company to do the same.  Why managers should be proactive in building up their teams now and for the future.  The parallels we can draw between sports and talent acquisition.  Ali tells us about the process of helping Pearson hire a new CEO.  Some parting advice for anyone wanting to level up in their careers.    Quotes:   “What can you do better than 10,000 people? – Once you can really answer that question, then you find roles and – opportunities where there's less friction. – Because when you're in a role that you're able to use your best strengths and get to do what you do best every day, then frankly, performance happens.” — Ali Bebo    Links Mentioned in Today's Episode:   Ali Bebo on LinkedIn Pearson Talk Talent to Me Hired  

Richie junto a Cornier, Andie, AroundPR y Bebo se van de chinchorreo y les da la grandiosa idea de grabar algo en lo que llegaban a su destino. Hablan sobre las reglas obligatorias que nosotros deberíamos tener.. y como de costumbre asquerosean al invitado nuevo.. de verdad que se lo van a disfrutar cc.

Sigueme En Todas Mis Plataformas Digitales Como @DjJonathanPty

The Waverider is flying Zambesi, New Zealand and Salvation, North Dakota trying to stop Mallus or Mailas from taking over the world.   “Guest Staring John Noble” – The Legends must stop Grodd from killing Obama in his college years, but that is just one of the crazy things going on this ep. Nate & Wally join Amaya in Zambesi. They convince her older self to pass on the totem and her daughter Esi to take it up. Damien joins the Legends to stop Mallus from forming and killing Nora in the process. They have to get John Noble to read Mallus' lines in the process. But things go south. Damien double crosses them, releases Grodd on the village and let's Nora escape.    “The Good, The Bad, and The Cuddly” – Rip sacrifices himself to buy the Legends some time against a fully formed Mallus. They head to Salvation, North Dakota where Jonah Hex is sheriff. Zari sends for help and Ava, Jax, Helen the Amazonian, and Kuasa Vixen come to help. The Legends must use the Totems to form a defender, but the first attempt fails. Ray and Damien go back in time and save Nora by sacrificing Damien to be Mallus' host. The Legends and friends must fight an army of Romans, Vikings, and Pirates. While they are being held at bay, the Legends form Bebo who defeats Mallus with wrestling moves and the day is saved. People love this ep, people hate this ep, and people are in the middle. We as podcasters were right there with them. Overall, we really loved season 3 and had forgotten how good it was, because we were hung up on the finale. But we appreciate the season more now. We loved going through it with all of you.   Contact Information If you want to join in the discussion, you can submit feedback via email to TomorrowsLegendsPodcast@gmail.com. Please submit all feedback by 7:00 pm eastern on Thursday. You can also join the Facebook group at facebook.com/groups/tomorrowslegends. Answer all the questions and agree to the group rules to be accepted. You can follow us on Twitter @tomorowslegends.  You can support the show on our Patreon page! https://www.patreon.com/TomorrowsLegends You will get access to bonus content like advanced releases, extra questions answered, hang-out sessions, bonus episodes, and merchandise of course!

Episode 170 of A History of Rock Music in Five Hundred Songs looks at "Astral Weeks", the early solo career of Van Morrison, and the death of Bert Berns.  Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-minute bonus episode available, on "Stoned Soul Picnic" by Laura Nyro. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata At one point I, ridiculously, misspeak the name of Charles Mingus' classic album. Black Saint and the Sinner Lady is not about dinner ladies. Also, I say Warren Smith Jr is on "Slim Slow Slider" when I meant to say Richard Davis (Smith is credited in some sources, but I only hear acoustic guitar, bass, and soprano sax on the finished track). Resources As usual, I've created Mixcloud playlists, with full versions of all the songs excerpted in this episode. As there are so many Van Morrison songs in this episode, the Mixcloud is split into three parts, one, two, and three. The information about Bert Berns comes from Here Comes the Night: The Dark Soul of Bert Berns and the Dirty Business of Rhythm and Blues by Joel Selvin. I've used several biographies of Van Morrison. Van Morrison: Into the Music by Ritchie Yorke is so sycophantic towards Morrison that the word “hagiography” would be, if anything, an understatement. Van Morrison: No Surrender by Johnny Rogan, on the other hand, is the kind of book that talks in the introduction about how the author has had to avoid discussing certain topics because of legal threats from the subject. Howard deWitt's Van Morrison: Astral Weeks to Stardom is over-thorough in the way some self-published books are, while Clinton Heylin's Can You Feel the Silence? is probably the best single volume on the artist. Information on Woodstock comes from Small Town Talk by Barney Hoskyns. Ryan Walsh's Astral Weeks: A Secret History of 1968 is about more than Astral Weeks, but does cover Morrison's period in and around Boston in more detail than anything else. The album Astral Weeks is worth hearing in its entirety. Not all of the music on The Authorized Bang Collection is as listenable, but it's the most complete collection available of everything Morrison recorded for Bang. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick warning -- this episode contains discussion of organised crime activity, and of sudden death. It also contains excerpts of songs which hint at attraction to underage girls and discuss terminal illness. If those subjects might upset you, you might want to read the transcript rather than listen to the episode. Anyway, on with the show. Van Morrison could have been the co-writer of "Piece of My Heart". Bert Berns was one of the great collaborators in the music business, and almost every hit he ever had was co-written, and he was always on the lookout for new collaborators, and in 1967 he was once again working with Van Morrison, who he'd worked with a couple of years earlier when Morrison was still the lead singer of Them. Towards the beginning of 1967 he had come up with a chorus, but no verse. He had the hook, "Take another little piece of my heart" -- Berns was writing a lot of songs with "heart" in the title at the time -- and wanted Morrison to come up with a verse to go with it. Van Morrison declined. He wasn't interested in writing pop songs, or in collaborating with other writers, and so Berns turned to one of his regular collaborators, Jerry Ragavoy, and it was Ragavoy who added the verses to one of the biggest successes of Berns' career: [Excerpt: Erma Franklin, "Piece of My Heart"] The story of how Van Morrison came to make the album that's often considered his masterpiece is intimately tied up with the story we've been telling in the background for several episodes now, the story of Atlantic Records' sale to Warners, and the story of Bert Berns' departure from Atlantic. For that reason, some parts of the story I'm about to tell will be familiar to those of you who've been paying close attention to the earlier episodes, but as always I'm going to take you from there to somewhere we've never been before. In 1962, Bert Berns was a moderately successful songwriter, who had written or co-written songs for many artists, especially for artists on Atlantic Records. He'd written songs for Atlantic artists like LaVern Baker, and when Atlantic's top pop producers Leiber and Stoller started to distance themselves from the label in the early sixties, he had moved into production as well, writing and producing Solomon Burke's big hit "Cry to Me": [Excerpt: Solomon Burke, "Cry to Me"] He was the producer and writer or co-writer of most of Burke's hits from that point forward, but at first he was still a freelance producer, and also produced records for Scepter Records, like the Isley Brothers' version of "Twist and Shout", another song he'd co-written, that one with Phil Medley. And as a jobbing songwriter, of course his songs were picked up by other producers, so Leiber and Stoller produced a version of his song "Tell Him" for the Exciters on United Artists: [Excerpt: The Exciters, "Tell Him"] Berns did freelance work for Leiber and Stoller as well as the other people he was working for. For example, when their former protege Phil Spector released his hit version of "Zip-a-Dee-Do-Dah", they got Berns to come up with a knockoff arrangement of "How Much is that Doggie in the Window?", released as by Baby Jane and the Rockabyes, with a production credit "Produced by Leiber and Stoller, directed by Bert Berns": [Excerpt: Baby Jane and the Rockabyes, "How Much is that Doggie in the Window?"] And when Leiber and Stoller stopped producing work for United Artists, Berns took over some of the artists they'd been producing for the label, like Marv Johnson, as well as producing his own new artists, like Garnet Mimms and the Enchanters, who had been discovered by Berns' friend Jerry Ragovoy, with whom he co-wrote their "Cry Baby": [Excerpt: Garnet Mimms and the Enchanters, "Cry Baby"] Berns was an inveterate collaborator. He was one of the few people to get co-writing credits with Leiber and Stoller, and he would collaborate seemingly with everyone who spoke to him for five minutes. He would also routinely reuse material, cutting the same songs time and again with different artists, knowing that a song must be a hit for *someone*. One of his closest collaborators was Jerry Wexler, who also became one of his best friends, even though one of their earliest interactions had been when Wexler had supervised Phil Spector's production of Berns' "Twist and Shout" for the Top Notes, a record that Berns had thought had butchered the song. Berns was, in his deepest bones, a record man. Listening to the records that Berns made, there's a strong continuity in everything he does. There's a love there of simplicity -- almost none of his records have more than three chords. He loved Latin sounds and rhythms -- a love he shared with other people working in Brill Building R&B at the time, like Leiber and Stoller and Spector -- and great voices in emotional distress. There's a reason that the records he produced for Solomon Burke were the first R&B records to be labelled "soul". Berns was one of those people for whom feel and commercial success are inextricable. He was an artist -- the records he made were powerfully expressive -- but he was an artist for whom the biggest validation was *getting a hit*. Only a small proportion of the records he made became hits, but enough did that in the early sixties he was a name that could be spoken of in the same breath as Leiber and Stoller, Spector, and Bacharach and David. And Atlantic needed a record man. The only people producing hits for the label at this point were Leiber and Stoller, and they were in the process of stopping doing freelance work and setting up their own label, Red Bird, as we talked about in the episode on the Shangri-Las. And anyway, they wanted more money than they were getting, and Jerry Wexler was never very keen on producers wanting money that could have gone to the record label. Wexler decided to sign Bert Berns up as a staff producer for Atlantic towards the end of 1963, and by May 1964 it was paying off. Atlantic hadn't been having hits, and now Berns had four tracks he wrote and produced for Atlantic on the Hot One Hundred, of which the highest charting was "My Girl Sloopy" by the Vibrations: [Excerpt: The Vibrations, "My Girl Sloopy"] Even higher on the charts though was the Beatles' version of "Twist and Shout". That record, indeed, had been successful enough in the UK that Berns had already made exploratory trips to the UK and produced records for Dick Rowe at Decca, a partnership we heard about in the episode on "Here Comes the Night". Berns had made partnerships there which would have vast repercussions for the music industry in both countries, and one of them was with the arranger Mike Leander, who was the uncredited arranger for the Drifters session for "Under the Boardwalk", a song written by Artie Resnick and Kenny Young and produced by Berns, recorded the day after the group's lead singer Rudy Lewis died of an overdose: [Excerpt: The Drifters, "Under the Boardwalk"] Berns was making hits on a regular basis by mid-1964, and the income from the label's new success allowed Jerry Wexler and the Ertegun brothers to buy out their other partners -- Ahmet Ertegun's old dentist, who had put up some of the initial money, and Miriam Bienstock, the ex-wife of their initial partner Herb Abramson, who'd got Abramson's share in the company after the divorce, and who was now married to Freddie Bienstock of Hill and Range publishing. Wexler and the Erteguns now owned the whole label. Berns also made regular trips to the UK to keep up his work with British musicians, and in one of those trips, as we heard in the episode on "Here Comes the Night", he produced several tracks for the group Them, including that track, written by Berns: [Excerpt: Them, "Here Comes the Night"] And a song written by the group's lead singer Van Morrison, "Gloria": [Excerpt: Them, "Gloria"] But Berns hadn't done much other work with them, because he had a new project. Part of the reason that Wexler and the Erteguns had gained total control of Atlantic was because, in a move pushed primarily by Wexler, they were looking at selling it. They'd already tried to merge with Leiber and Stoller's Red Bird Records, but lost the opportunity after a disastrous meeting, but they were in negotiations with several other labels, negotiations which would take another couple of years to bear fruit. But they weren't planning on getting out of the record business altogether. Whatever deal they made, they'd remain with Atlantic, but they were also planning on starting another label. Bert Berns had seen how successful Leiber and Stoller were with Red Bird, and wanted something similar. Wexler and the Erteguns didn't want to lose their one hit-maker, so they came up with an offer that would benefit all of them. Berns' publishing contract had just ended, so they would set up a new publishing company, WEB IV, named after the initials Wexler, Ertegun, and Berns, and the fact that there were four of them. Berns would own fifty percent of that, and the other three would own the other half. And they were going to start up a new label, with seventeen thousand dollars of the Atlantic partners' money. That label would be called Bang -- for Bert, Ahmet, Neshui, and Gerald -- and would be a separate company from Atlantic, so not affected by any sale. Berns would continue as a staff producer for Atlantic for now, but he'd have "his own" label, which he'd have a proper share in, and whether he was making hits for Atlantic or Bang, his partners would have a share of the profits. The first two records on Bang were "Shake and Jerk" by Billy Lamont, a track that they licensed from elsewhere and which didn't do much, and a more interesting track co-written by Berns. Bob Feldman, Richard Gottehrer, and Jerry Goldstein were Brill Building songwriters who had become known for writing "My Boyfriend's Back", a hit for the Angels, a couple of years earlier: [Excerpt: The Angels, "My Boyfriend's Back"] With the British invasion, the three of them had decided to create their own foreign beat group. As they couldn't do British accents, they pretended to be Australian, and as the Strangeloves -- named after the Stanley Kubrick film Dr  Strangelove -- they released one flop single. They cut another single, a version of "Bo Diddley", but the label they released their initial record through didn't want it. They then took the record to Atlantic, where Jerry Wexler said that they weren't interested in releasing some white men singing "Bo Diddley". But Ahmet Ertegun suggested they bring the track to Bert Berns to see what he thought. Berns pointed out that if they changed the lyrics and melody, but kept the same backing track, they could claim the copyright in the resulting song themselves. He worked with them on a new lyric, inspired by the novel Candy, a satirical pornographic novel co-written by Terry Southern, who had also co-written the screenplay to Dr Strangelove. Berns supervised some guitar overdubs, and the result went to number eleven: [Excerpt: The Strangeloves, "I Want Candy"] Berns had two other songs on the hot one hundred when that charted, too -- Them's version of "Here Comes the Night", and the version of Van McCoy's song "Baby I'm Yours" he'd produced for Barbara Lewis. Three records on the charts on three different labels. But despite the sheer number of charting records he'd had, he'd never had a number one, until the Strangeloves went on tour. Before the tour they'd cut a version of "My Girl Sloopy" for their album -- Berns always liked to reuse material -- and they started performing the song on the tour. The Dave Clark Five, who they were supporting, told them it sounded like a hit and they were going to do their own version when they got home. Feldman, Gottehrer, and Goldstein decided *they* might as well have the hit with it as anyone else. Rather than put it out as a Strangeloves record -- their own record was still rising up the charts, and there's no reason to be your own competition -- they decided to get a group of teenage musicians who supported them on the last date of the tour to sing new vocals to the backing track from the Strangeloves album. The group had been called Rick and the Raiders, but they argued so much that the Strangeloves nicknamed them the Hatfields and the McCoys, and when their version of "My Girl Sloopy", retitled "Hang on Sloopy", came out, it was under the band name The McCoys: [Excerpt: The McCoys, "Hang on Sloopy"] Berns was becoming a major success, and with major success in the New York music industry in the 1960s came Mafia involvement. We've talked a fair bit about Morris Levy's connection with the mob in many previous episodes, but mob influence was utterly pervasive throughout the New York part of the industry, and so for example Richard Gottehrer of the Strangeloves used to call Sonny Franzese of the Colombo crime family "Uncle John", they were so close. Franzese was big in the record business too, even after his conviction for bank robbery. Berns, unlike many of the other people in the industry, had no scruples at all about hanging out with Mafiosi. indeed his best friend in the mid sixties was Tommy Eboli, a member of the Genovese crime family who had been in the mob since the twenties, starting out working for "Lucky" Luciano. Berns was not himself a violent man, as far as anyone can tell, but he liked the glamour of hanging out with organised crime figures, and they liked hanging out with someone who was making so many hit records. And so while Leiber and Stoller, for example, ended up selling Red Bird Records to George Goldner for a single dollar in order to get away from the Mafiosi who were slowly muscling in on the label, Berns had no problems at all in keeping his own label going. Indeed, he would soon be doing so without the involvement of Atlantic Records. Berns' final work for Atlantic was in June 1966, when he cut a song he had co-written with Jeff Barry for the Drifters, inspired by the woman who would soon become Atlantic's biggest star: [Excerpt: The Drifters, "Aretha"] The way Berns told the story in public, there was no real bad blood between him, Wexler, and the Erteguns -- he'd just decided to go his own way, and he said “I will always be grateful to them for the help they've given me in getting Bang started,” The way Berns' wife would later tell the story, Jerry Wexler had suggested that rather than Berns owning fifty percent of Web IV, they should start to split everything four ways, and she had been horrified by this suggestion, kicked up a stink about it, and Wexler had then said that either Berns needed to buy the other three out, or quit and give them everything, and demanded Berns pay them three hundred thousand dollars. According to other people, Berns decided he wanted one hundred percent control of Web IV, and raised a breach of contract lawsuit against Atlantic, over the usual royalty non-payments that were endemic in the industry at that point. When Atlantic decided to fight the lawsuit rather than settle, Berns' mob friends got involved and threatened to break the legs of Wexler's fourteen-year-old daughter, and the mob ended up with full control of Bang records, while Berns had full control of his publishing company. Given later events, and in particular given the way Wexler talked about Berns until the day he died, with a vitriol that he never used about any of the other people he had business disputes with, it seems likely to me that the latter story is closer to the truth than the former. But most people involved weren't talking about the details of what went on, and so Berns still retained his relationships with many of the people in the business, not least of them Jeff Barry, so when Barry and Ellie Greenwich had a new potential star, it was Berns they thought to bring him to, even though the artist was white and Berns had recently given an interview saying that he wanted to work with more Black artists, because white artists simply didn't have soul. Barry and Greenwich's marriage was breaking up at the time, but they were still working together professionally, as we discussed in the episode on "River Deep, Mountain High", and they had been the main production team at Red Bird. But with Red Bird in terminal decline, they turned elsewhere when they found a potential major star after Greenwich was asked to sing backing vocals on one of his songwriting demos. They'd signed the new songwriter, Neil Diamond, to Leiber and Stoller's company Trio Music at first, but they soon started up their own company, Tallyrand Music, and signed Diamond to that, giving Diamond fifty percent of the company and keeping twenty-five percent each for themselves, and placed one of his songs with Jay and the Americans in 1965: [Excerpt: Jay and the Americans, "Sunday and Me"] That record made the top twenty, and had established Diamond as a songwriter, but he was still not a major performer -- he'd released one flop single on Columbia Records before meeting Barry and Greenwich. But they thought he had something, and Bert Berns agreed. Diamond was signed to Bang records, and Berns had a series of pre-production meetings with Barry and Greenwich before they took Diamond into the studio -- Barry and Greenwich were going to produce Diamond for Bang, as they had previously produced tracks for Red Bird, but they were going to shape the records according to Berns' aesthetic. The first single released from Diamond's first session, "Solitary Man", only made number fifty-five, but it was the first thing Diamond had recorded to make the Hot One Hundred at all: [Excerpt: Neil Diamond, "Solitary Man"] The second single, though, was much more Bert Berns' sort of thing -- a three-chord song that sounded like it could have been written by Berns himself, especially after Barry and Greenwich had added the Latin-style horns that Berns loved so much. Indeed according to some sources, Berns did make a songwriting suggestion -- Diamond's song had apparently been called "Money Money", and Berns had thought that was a ridiculous title, and suggested calling it "Cherry Cherry" instead: [Excerpt: Neil Diamond, "Cherry Cherry"] That became Diamond's first top ten hit. While Greenwich had been the one who had discovered Diamond, and Barry and Greenwich were the credited producers on all Diamond's records  as a result, Diamond soon found himself collaborating far more with Barry than with Greenwich, so for example the first number one he wrote, for the Monkees rather than himself, ended up having its production just credited to Barry. That record used a backing track recorded in New York by the same set of musicians used on most Bang records, like Al Gorgoni on lead guitar and Russ Savakus on bass: [Excerpt: The Monkees, "I'm a Believer"] Neil Diamond was becoming a solid hit-maker, but he started rubbing up badly against Berns. Berns wanted hits and only hits, and Diamond thought of himself as a serious artist. The crisis came when two songs were under contention for Diamond's next single in late 1967, after he'd had a whole run of hits for the label. The song Diamond wanted to release, "Shilo", was deeply personal to him: [Excerpt: Neil Diamond, "Shilo"] But Bert Berns had other ideas. "Shilo" didn't sound like a hit, and he knew a hit when he heard one. No, the clear next single, the only choice, was "Kentucky Woman": [Excerpt: Neil Diamond, "Kentucky Woman"] But Berns tried to compromise as best he could. Diamond's contract was up for renewal, and you don't want to lose someone who has had, as Diamond had at that point, five top twenty hits in a row, and who was also writing songs like "I'm a Believer" and "Red Red Wine". He told Diamond that he'd let "Shilo" come out as a single if Diamond signed an extension to his contract. Diamond said that not only was he not going to do that, he'd taken legal advice and discovered that there were problems with his contract which let him record for other labels -- the word "exclusive" had been missed out of the text, among other things. He wasn't going to be recording for Bang at all any more. The lawsuits over this would stretch out for a decade, and Diamond would eventually win, but the first few months were very, very difficult for Diamond. When he played the Bitter End, a club in New York, stink bombs were thrown into the audience. The Bitter End's manager was assaulted and severely beaten. Diamond moved his wife and child out of Manhattan, borrowed a gun, and after his last business meeting with Berns was heard talking about how he needed to contact the District Attorney and hire a bodyguard. Of the many threats that were issued against Diamond, though, the least disturbing was probably the threat Berns made to Diamond's career. Berns pointed out to Diamond in no uncertain terms that he didn't need Diamond anyway -- he already had someone he could replace Diamond with, another white male solo singer with a guitar who could churn out guaranteed hits. He had Van Morrison: [Excerpt: Van Morrison, "Brown-Eyed Girl"] When we left Van Morrison, Them had just split up due to the problems they had been having with their management team. Indeed, the problems Morrison was having with his managers seem curiously similar to the issues that Diamond was having with Bert Berns -- something that could possibly have been a warning sign to everyone involved, if any of them had known the full details of everyone else's situation. Sadly for all of them, none of them did. Them had had some early singles success, notably with the tracks Berns had produced for them, but Morrison's opinion of their second album, Them Again, was less than complimentary, and in general that album is mostly only remembered for the version of Bob Dylan's "It's All Over Now, Baby Blue", which is one of those cover versions that inspires subsequent covers more than the original ever did: [Excerpt: Them, "It's All Over Now, Baby Blue"] Them had toured the US around the time of the release of that album, but that tour had been a disaster. The group had gained a reputation for incredible live shows, including performances at the Whisky A-Go-Go with the Doors and Captain Beefheart as their support acts, but during the tour Van Morrison had decided that Phil Solomon, the group's manager, was getting too much money -- Morrison had agreed to do the tour on a salary, rather than a percentage, but the tour had been more successful than he'd expected, and Solomon was making a great deal of money off the tour, money that Morrison believed rightfully belonged to him. The group started collecting the money directly from promoters, and got into legal trouble with Solomon as a result. The tour ended with the group having ten thousand dollars that Solomon believed -- quite possibly correctly -- that he was owed. Various gangsters whose acquaintance the group had made offered to have the problem taken care of, but they decided instead to come to a legal agreement -- they would keep the money, and in return Solomon, whose production company the group were signed to, would get to keep all future royalties from the Them tracks. This probably seemed a good idea at the time, when the idea of records earning royalties for sixty or more years into the future seemed ridiculous, but Morrison in particular came to regret the decision bitterly. The group played one final gig when they got back to Belfast, but then split up, though a version of the group led by the bass player Alan Henderson continued performing for a few years to no success. Morrison put together a band that played a handful of gigs under the name Them Again, with little success, but he already had his eyes set on a return to the US. In Morrison's eyes, Bert Berns had been the only person in the music industry who had really understood him, and the two worked well together. He had also fallen in love with an American woman, Janet Planet, and wanted to find some way to be with her. As Morrison said later “I had a couple of other offers but I thought this was the best one, seeing as I wanted to come to America anyway. I can't remember the exact details of the deal. It wasn't really that spectacular, money-wise, I don't think. But it was pretty hard to refuse from the point of view that I really respected Bert as a producer. I'd rather have worked with Bert than some other guy with a bigger record company. From that angle, it was spectacular because Bert was somebody that I wanted to work with.” There's little evidence that Morrison did have other offers -- he was already getting a reputation as someone who it was difficult to work with -- but he and Berns had a mutual respect, and on January the ninth, 1967, he signed a contract with Bang records. That contract has come in for a lot of criticism over the years, but it was actually, *by the standards in operation in the music business in 1967*, a reasonably fair one. The contract provided that, for a $2,500 a year advance, Bang would record twelve sides in the first year, with an option for up to fifty more that year, and options for up to four more years on the same terms. Bang had the full ownership of the masters and the right to do what they wanted with them. According to at least one biographer, Morrison added clauses requiring Bang to actually record the twelve sides a year, and to put out at least three singles and one album per year while the contract was in operation. He also added one other clause which seems telling -- "Company agrees that Company will not make any reference to the name THEM on phonograph records, or in advertising copy in connection with the recording of Artist." Morrison was, at first, extremely happy with Berns. The problems started with their first session: [Excerpt: Van Morrison, "Brown-Eyed Girl (takes 1-6)"] When Morrison had played the songs he was working on for Berns, Berns had remarked that they sounded great with just Morrison and his guitar, so Morrison was surprised when he got into the studio to find the whole standard New York session crew there -- the same group of session players who were playing for everyone from the Monkees to Laura Nyro, from Neil Diamond to the Shangri-Las -- along with the Sweet Inspirations to provide backing vocals. As he described it later "This fellow Bert, he made it the way he wanted to, and I accepted that he was producing it... I'd write a song and bring it into the group and we'd sit there and bash it around and that's all it was -- they weren't playing the songs, they were just playing whatever it was. They'd say 'OK, we got drums so let's put drums on it,' and they weren't thinking about the song, all they were thinking about was putting drums on it... But it was my song, and I had to watch it go down." The first song they cut was "Brown-Eyed Girl", a song which Morrison has said was originally a calypso, and was originally titled "Brown-skinned Girl", though he's differed in interviews as to whether Berns changed the lyric or if he just decided to sing it differently without thinking about it in the session. Berns turned "Brown-Eyed Girl" into a hit single, because that was what he tended to do with songs, and the result sounds a lot like the kind of record that Bang were releasing for Neil Diamond: [Excerpt: Van Morrison, "Brown-Eyed Girl"] Morrison has, in later years, expressed his distaste for what was done to the song, and in particular he's said that the backing vocal part by the Sweet Inspirations was added by Berns and he disliked it: [Excerpt: Van Morrison, "Brown-Eyed Girl"] Morrison has been very dismissive of "Brown-Eyed Girl" over the years, but he seems not to have disliked it at the time, and the song itself is one that has stood the test of time, and is often pointed to by other songwriters as a great example of the writer's craft. I remember reading one interview with Randy Newman -- sadly, while I thought it was in Paul Zollo's "Songwriters on Songwriting" I just checked that and it's not, so I can't quote it precisely -- in which he says that he often points to the line "behind the stadium with you" as a perfect piece of writing, because it's such a strangely specific detail that it convinces you that it actually happened, and that means you implicitly believe the rest of the song. Though it should be made very clear here that Morrison has always said, over and over again, that nothing in his songs is based directly on his own experiences, and that they're all products of his imagination and composites of people he's known. This is very important to note before we go any further, because "Brown-Eyed Girl" is one of many songs from this period in Morrison's career which imply that their narrator has an attraction to underage girls -- in this case he remembers "making love in the green grass" in the distant past, while he also says "saw you just the other day, my how you have grown", and that particular combination is not perhaps one that should be dwelt on too closely. But there is of course a very big difference between a songwriter treating a subject as something that is worth thinking about in the course of a song and writing about their own lives, and that can be seen on one of the other songs that Morrison recorded in these sessions, "T.B. Sheets": [Excerpt: Van Morrison, "T.B. Sheets"] It seems very unlikely indeed that Van Morrison actually had a lover die of tuberculosis, as the lover in the song does, and while a lot of people seem convinced that it's autobiographical, simply because of the intensity of the performance (Morrison apparently broke down in tears after recording it), nobody has ever found anyone in Morrison's life who fits the story in the song, and he's always ridiculed such suggestions. What is true though is that "T.B. Sheets" is evidence against another claim that Morrison has made in the past - that on these initial sessions the eight songs recorded were meant to be the A and B sides of four singles and there was no plan of making an album. It is simply not plausible at all to suggest that "T.B. Sheets" -- a slow blues about terminal illness, that lasts nearly ten minutes -- was ever intended as a single. It wouldn't have even come close to fitting on one side of a forty-five. It was also presumably at this time that Berns brought up the topic of "Piece of My Heart". When Berns signed Erma Franklin, it was as a way of getting at Jerry Wexler, who had gone from being his closest friend to someone he wasn't on speaking terms with, by signing the sister of his new signing Aretha. Morrison, of course, didn't co-write it -- he'd already decided that he didn't play well with others -- but it's tempting to think about how the song might have been different had Morrison written it. The song in some ways seems a message to Wexler -- haven't you had enough from me already? -- but it's also notable how many songs Berns was writing with the word "heart" in the chorus, given that Berns knew he was on borrowed time from his own heart condition. As an example, around the same time he and Jerry Ragavoy co-wrote "Piece of My Heart", they also co-wrote another song, "Heart Be Still", a flagrant lift from "Peace Be Still" by Aretha Franklin's old mentor Rev. James Cleveland, which they cut with Lorraine Ellison: [Excerpt: Lorraine Ellison, "Heart Be Still"] Berns' heart condition had got much worse as a result of the stress from splitting with Atlantic, and he had started talking about maybe getting open-heart surgery, though that was still very new and experimental. One wonders how he must have felt listening to Morrison singing about watching someone slowly dying. Morrison has since had nothing but negative things to say about the sessions in March 1967, but at the time he seemed happy. He returned to Belfast almost straight away after the sessions, on the understanding that he'd be back in the US if "Brown-Eyed Girl" was a success. He wrote to Janet Planet in San Francisco telling her to listen to the radio -- she'd know if she heard "Brown-Eyed Girl" that he would be back on his way to see her. She soon did hear the song, and he was soon back in the US: [Excerpt: Van Morrison, "Brown-Eyed Girl"] By August, "Brown-Eyed Girl" had become a substantial hit, making the top ten, and Morrison was back in the States. He was starting to get less happy with Berns though. Bang had put out the eight tracks he'd recorded in March as an album, titled Blowin' Your Mind, and Morrison thought that the crass pseudo-psychedelia of the title, liner notes, and cover was very inappropriate -- Morrison has never been a heavy user of any drugs other than alcohol, and didn't particularly want to be associated with them. He also seems to have not realised that every track he recorded in those initial sessions would be on the album, which many people have called one of the great one-sided albums of all time -- side A, with "Brown-Eyed Girl", "He Ain't Give You None" and the extended "T.B. Sheets" tends to get far more love than side B, with five much lesser songs on it. Berns held a party for Morrison on a cruise around Manhattan, but it didn't go well -- when the performer Tiny Tim tried to get on board, Carmine "Wassel" DeNoia, a mobster friend of Berns' who was Berns' partner in a studio they'd managed to get from Atlantic as part of the settlement when Berns left, was so offended by Tim's long hair and effeminate voice and mannerisms that he threw him overboard into the harbour. DeNoia was meant to be Morrison's manager in the US, working with Berns, but he and Morrison didn't get on at all -- at one point DeNoia smashed Morrison's acoustic guitar over his head, and only later regretted the damage he'd done to a nice guitar. And Morrison and Berns weren't getting on either. Morrison went back into the studio to record four more songs for a follow-up to "Brown-Eyed Girl", but there was again a misunderstanding. Morrison thought he'd been promised that this time he could do his songs the way he wanted, but Berns was just frustrated that he wasn't coming up with another "Brown-Eyed Girl", but was instead coming up with slow songs about trans women. Berns overdubbed party noises and soul backing vocals onto "Madame George", possibly in an attempt to copy the Beach Boys' Party! album with its similar feel, but it was never going to be a "Barbara Ann": [Excerpt: Van Morrison, "Madame George (Bang version)"] In the end, Berns released one of the filler tracks from Blowin' Your Mind, "Ro Ro Rosey", as the next single, and it flopped. On December the twenty-ninth, Berns had a meeting with Neil Diamond, the meeting after which Diamond decided he needed to get a bodyguard. After that, he had a screaming row over the phone with Van Morrison, which made Berns ill with stress. The next day, he died of a heart attack. Berns' widow Ilene, who had only just given birth to a baby a couple of weeks earlier, would always blame Morrison for pushing her husband over the edge. Neither Van Morrison nor Jerry Wexler went to the funeral, but Neil Diamond did -- he went to try to persuade Ilene to let him out of his contract now Berns was dead. According to Janet Planet later, "We were at the hotel when we learned that Bert had died. We were just mortified, because things had been going really badly, and Van felt really bad, because I guess they'd parted having had some big fight or something... Even though he did love Bert, it was a strange relationship that lived and died in the studio... I remember we didn't go to the funeral, which probably was a mistake... I think [Van] had a really bad feeling about what was going to happen." But Morrison has later mostly talked about the more practical concerns that came up, which were largely the same as the ones Neil Diamond had, saying in 1997 "I'd signed a contract with Bert Berns for management, production, agency and record company,  publishing, the whole lot -- which was professional suicide as any lawyer will tell you now... Then the whole thing blew up. Bert Berns died and I was left broke." This was the same mistake, essentially, that he'd made with Phil Solomon, and in order to get out of it, it turned out he was going to have to do much the same for a third time.  But it was the experience with Berns specifically that traumatised Morrison enough that twenty-five years later he would still be writing songs about it, like "Big Time Operators": [Excerpt: Van Morrison, "Big Time Operators"] The option to renew Morrison's contracts with Berns' companies came on the ninth of January 1968, less than two weeks after Berns' death. After his death, Berns' share of ownership in his companies had passed to his widow, who was in a quandary. She had two young children, one of whom was only a few weeks old, and she needed an income after their father had died. She was also not well disposed at all towards Morrison, who she blamed for causing her husband's death. By all accounts the amazing thing is that Berns lived as long as he did given his heart condition and the state of medical science at the time, but it's easy to understand her thinking. She wanted nothing to do with Morrison, and wanted to punish him. On the other hand, her late husband's silent partners didn't want to let their cash cow go. And so Morrison came under a huge amount of pressure in very different directions. From one side, Carmine DiNoia was determined to make more money off Morrison, and Morrison has since talked about signing further contracts at this point with a gun literally to his head, and his hotel room being shot up. But on the other side, Ilene Berns wanted to destroy Morrison's career altogether. She found out that Bert Berns hadn't got Morrison the proper work permits and reported him to the immigration authorities. Morrison came very close to being deported, but in the end he managed to escape deportation by marrying Janet Planet. The newly-married couple moved to Cambridge, Massachusetts, to get away from New York and the mobsters, and to try to figure out the next steps in Morrison's career. Morrison started putting together a band, which he called The Van Morrison Controversy, and working on new songs. One of his earliest connections in Massachusetts was the lead singer of a band called the Hallucinations, who he met in a bar where he was trying to get a gig: [Excerpt: The Hallucinations, "Messin' With the Kid"] The Hallucinations' lead singer was called Peter Wolf, and would much later go on to become well-known as the singer with the J. Geils Band. He and Morrison became acquaintances, and later became closer friends when they realised they had another connection -- Wolf had a late-night radio show under the name Woofa Goofa, and he'd been receiving anonymous requests for obscure blues records from a fan of the show. Morrison had been the one sending in the requests, not realising his acquaintance was the DJ. Before he got his own band together, Morrison actually guested with the Hallucinations at one show they did in May 1968, supporting John Lee Hooker. The Hallucinations had been performing "Gloria" since Them's single had come out, and they invited Morrison to join them to perform it on stage. According to Wolf, Morrison was very drunk and ranted in cod-Japanese for thirty-five minutes, and tried to sing a different song while the band played "Gloria". The audience were apparently unimpressed, even though Wolf shouted at them “Don't you know who this man is? He wrote the song!” But in truth, Morrison was sick of "Gloria" and his earlier work, and was trying to push his music in a new direction. He would later talk about having had an epiphany after hearing one particular track on the radio: [Excerpt: The Band, "I Shall Be Released"] Like almost every musician in 1968, Morrison was hit like a lightning bolt by Music From Big Pink, and he decided that he needed to turn his music in the same direction. He started writing the song "Brand New Day", which would later appear on his album Moondance, inspired by the music on the album. The Van Morrison Controversy started out as a fairly straightforward rock band, with guitarist John Sheldon, bass player Tom Kielbania, and drummer Joey Bebo. Sheldon was a novice, though his first guitar teacher was the singer James Taylor, but the other two were students at Berklee, and very serious musicians. Morrison seems to have had various managers involved in rapid succession in 1968, including one who was himself a mobster, and another who was only known as Frank, but one of these managers advanced enough money that the musicians got paid every gig. These musicians were all interested in kinds of music other than just straight rock music, and as well as rehearsing up Morrison's hits and his new songs, they would also jam with him on songs from all sorts of other genres, particularly jazz and blues. The band worked up the song that would become "Domino" based on Sheldon jamming on a Bo Diddley riff, and another time the group were rehearsing a Grant Green jazz piece, "Lazy Afternoon": [Excerpt: Grant Green, "Lazy Afternoon"] Morrison started messing with the melody, and that became his classic song "Moondance": [Excerpt: Van Morrison, "Moondance"] No recordings of this electric lineup of the group are known to exist, though the backing musicians remember going to a recording studio called Ace recordings at one point and cutting some demos, which don't seem to circulate. Ace was a small studio which, according to all the published sources I've read, was best known for creating song poems, though it was a minor studio even in the song-poem world. For those who don't know, song poems were essentially a con aimed at wannabe songwriters who knew nothing about the business -- companies would advertise you too could become a successful, rich, songwriter if you sent in your "song poems", because anyone who knew the term "lyric" could be presumed to know too much about the music business to be useful. When people sent in their lyrics, they'd then be charged a fee to have them put out on their very own record -- with tracks made more or less on a conveyor belt with quick head arrangements, sung by session singers who were just handed a lyric sheet and told to get on with it. And thus were created such classics prized by collectors as "I Like Yellow Things", "Jimmy Carter Says 'Yes'", and "Listen Mister Hat". Obviously, for the most part these song poems did not lead to the customers becoming the next Ira Gershwin, but oddly even though Ace recordings is not one of the better-known song poem studios, it seems to have produced an actual hit song poem -- one that I don't think has ever before been identified as such until I made a connection, hence me going on this little tangent. Because in researching this episode I noticed something about its co-owner, Milton Yakus', main claim to fame. He co-wrote the song "Old Cape Cod", and to quote that song's Wikipedia page "The nucleus of the song was a poem written by Boston-area housewife Claire Rothrock, for whom Cape Cod was a favorite vacation spot. "Old Cape Cod" and its derivatives would be Rothrock's sole evident songwriting credit. She brought her poem to Ace Studios, a Boston recording studio owned by Milton Yakus, who adapted the poem into the song's lyrics." And while Yakus had written other songs, including songs for Patti Page who had the hit with "Old Cape Cod", apparently Page recorded that song after Rothrock brought her the demo after a gig, rather than getting it through any formal channels. It sounds to me like the massive hit and classic of the American songbook "Old Cape Cod" started life as a song-poem -- and if you're familiar with the form, it fits the genre perfectly: [Excerpt: Patti Page, "Old Cape Cod"] The studio was not the classiest of places, even if you discount the song-poems. Its main source of income was from cutting private records with mobsters' wives and mistresses singing (and dealing with the problems that came along when those records weren't successful) and it also had a sideline in bugging people's cars to see if their spouses were cheating, though Milton Yakus' son Shelly, who got his start at his dad's studio, later became one of the most respected recording engineers in the industry -- and indeed had already worked as assistant engineer on Music From Big Pink. And there was actually another distant connection to Morrison's new favourite band on these sessions. For some reason -- reports differ -- Bebo wasn't considered suitable for the session, and in his place was the one-handed drummer Victor "Moulty" Moulton, who had played with the Barbarians, who'd had a minor hit with "Are You a Boy or Are You a Girl?" a couple of years earlier: [Excerpt: The Barbarians, "Are You a Boy or Are You a Girl?"] A later Barbarians single, in early 1966, had featured Moulty telling his life story, punctuated by the kind of three-chord chorus that would have been at home on a Bert Berns single: [Excerpt: The Barbarians, "Moulty"] But while that record was credited to the Barbarians, Moulton was the only Barbarian on the track, with the instruments and backing vocals instead being provided by Levon and the Hawks. Shortly after the Ace sessions, the Van Morrison Controversy fell apart, though nobody seems to know why. Depending on which musician's story you listen to, either Morrison had a dream that he should get rid of all electric instruments and only use acoustic players, or there was talk of a record deal but the musicians weren't good enough, or the money from the mysterious manager (who may or may not have been the one who was a mobster) ran out. Bebo went back to university, and Sheldon left soon after, though Sheldon would remain in the music business in one form or another. His most prominent credit has been writing a couple of songs for his old friend James Taylor, including the song "Bittersweet" on Taylor's platinum-selling best-of, on which Sheldon also played guitar: [Excerpt: James Taylor, "Bittersweet"] Morrison and Kielbania continued for a while as a duo, with Morrison on acoustic guitar and Kielbania on double bass, but they were making very different music. Morrison's biggest influence at this point, other than The Band, was King Pleasure, a jazz singer who sang in the vocalese style we've talked about before -- the style where singers would sing lyrics to melodies that had previously been improvised by jazz musicians: [Excerpt: King Pleasure, "Moody's Mood for Love"] Morrison and Kielbania soon decided that to make the more improvisatory music they were interested in playing, they wanted another musician who could play solos. They ended up with John Payne, a jazz flute and saxophone player whose biggest inspiration was Charles Lloyd. This new lineup of the Van Morrison Controversy -- acoustic guitar, double bass, and jazz flute -- kept gigging around Boston, though the sound they were creating was hardly what the audiences coming to see the man who'd had that "Brown-Eyed Girl" hit the year before would have expected -- even when they did "Brown-Eyed Girl", as the one live recording of that line-up, made by Peter Wolf, shows: [Excerpt: The Van Morrison Controversy, "Brown-Eyed Girl (live in Boston 1968)"] That new style, with melodic bass underpinning freely extemporising jazz flute and soulful vocals, would become the basis of the album that to this day is usually considered Morrison's best. But before that could happen, there was the matter of the contracts to be sorted out. Warner-Reprise Records were definitely interested. Warners had spent the last few years buying up smaller companies like Atlantic, Autumn Records, and Reprise, and the label was building a reputation as the major label that would give artists the space and funding they needed to make the music they wanted to make. Idiosyncratic artists with difficult reputations (deserved or otherwise), like Neil Young, Randy Newman, Van Dyke Parks, the Grateful Dead, and Joni Mitchell, had all found homes on the label, which was soon also to start distributing Frank Zappa, the Beach Boys, and Captain Beefheart. A surly artist who wants to make mystical acoustic songs with jazz flute accompaniment was nothing unusual for them, and once Joe Smith, the man who had signed the Grateful Dead, was pointed in Morrison's direction by Andy Wickham, an A&R man working for the label, everyone knew that Morrison would be a perfect fit. But Morrison was still under contract to Bang records and Web IV, and those contracts said, among other things, that any other label that negotiated with Morrison would be held liable for breach of contract. Warners didn't want to show their interest in Morrison, because a major label wanting to sign him would cause Bang to raise the price of buying him out of his contract. Instead they got an independent production company to sign him, with a nod-and-wink understanding that they would then license the records to Warners. The company they chose was Inherit Productions, the production arm of Schwaid-Merenstein, a management company set up by Bob Schwaid, who had previously worked in Warners' publishing department, and record producer Lewis Merenstein. Merenstein came to another demo session at Ace Recordings, where he fell in love with the new music that Morrison was playing, and determined he would do everything in his power to make the record into the masterpiece it deserved to be. He and Morrison were, at least at this point, on exactly the same page, and bonded over their mutual love of King Pleasure. Morrison signed to Schwaid-Merenstein, just as he had with Bert Berns and before him Phil Solomon, for management, record production, and publishing. Schwaid-Merenstein were funded by Warners, and would license any recordings they made to Warners, once the contractual situation had been sorted out. The first thing to do was to negotiate the release from Web IV, the publishing company owned by Ilene Berns. Schwaid negotiated that, and Morrison got released on four conditions -- he had to make a substantial payment to Web IV, if he released a single within a year he had to give Web IV the publishing, any album he released in the next year had to contain at least two songs published by Web IV, and he had to give Web IV at least thirty-six new songs to publish within the next year. The first two conditions were no problem at all -- Warners had the money to buy the contract out, and Merenstein's plans for the first album didn't involve a single anyway. It wouldn't be too much of a hardship to include a couple of Web IV-published tracks on the album -- Morrison had written two songs, "Beside You" and "Madame George", that had already been published and that he was regularly including in his live sets. As for the thirty-six new songs... well, that all depended on what you called a song, didn't it? [Excerpt: Van Morrison, "Ring Worm"] Morrison went into a recording studio and recorded thirty-one ostensible songs, most of them lasting one minute to within a few seconds either way, in which he strummed one or two chords and spoke-sang whatever words came into his head -- for example one song, "Here Comes Dumb George", just consists of the words "Here Comes Dumb George" repeated over and over. Some of the 'songs', like "Twist and Shake" and "Hang on Groovy", are parodying Bert Berns' songwriting style; others, like "Waiting for My Royalty Check", "Blowin' Your Nose", and "Nose in Your Blow", are attacks on Bang's business practices. Several of the songs, like "Hold on George", "Here Comes Dumb George", "Dum Dum George", and "Goodbye George" are about a man called George who seems to have come to Boston to try and fail to make a record with Morrison. And “Want a Danish” is about wanting a Danish pastry. But in truth, this description is still making these "songs" sound more coherent than they are. The whole recording is of no musical merit whatsoever, and has absolutely nothing in it which could be considered to have any commercial potential at all. Which is of course the point -- just to show utter contempt to Ilene Berns and her company. The other problem that needed to be solved was Bang Records itself, which was now largely under the control of the mob. That was solved by Joe Smith. As Smith told the story "A friend of mine who knew some people said I could buy the contract for $20,000. I had to meet somebody in a warehouse on the third floor on Ninth Avenue in New York. I walked up there with twenty thousand-dollar bills -- and I was terrified. I was terrified I was going to give them the money, get a belt on the head and still not wind up with the contract. And there were two guys in the room. They looked out of central casting -- a big wide guy and  a tall, thin guy. They were wearing suits and hats and stuff. I said 'I'm here with the money. You got the contract?' I remember I took that contract and ran out the door and jumped from the third floor to the second floor, and almost broke my leg to get on the street, where I could get a cab and put the contract in a safe place back at Warner Brothers." But the problem was solved, and Lewis Merenstein could get to work translating the music he'd heard Morrison playing into a record. He decided that Kielbania and Payne were not suitable for the kind of recording he wanted -- though they were welcome to attend the sessions in case the musicians had any questions about the songs, and thus they would get session pay. Kielbania was, at first, upset by this, but he soon changed his mind when he realised who Merenstein was bringing in to replace him on bass for the session. Richard Davis, the bass player -- who sadly died two months ago as I write this -- would later go on to play on many classic rock records by people like Bruce Springsteen and Laura Nyro, largely as a result of his work for Morrison, but at the time he was known as one of the great jazz bass players, most notably having played on Eric Dolphy's Out to Lunch: [Excerpt: Eric Dolphy, "Hat and Beard"] Kielbania could see the wisdom of getting in one of the truly great players for the album, and he was happy to show Davis the parts he'd been playing on the songs live, which Davis could then embellish -- Davis later always denied this, but it's obvious when listening to the live recordings that Kielbania played on before these sessions that Davis is playing very similar lines. Warren Smith Jr, the vibraphone player, had played with great jazz musicians like Charles Mingus and Herbie Mann, as well as backing Lloyd Price, Aretha Franklin, and Janis Joplin. Connie Kay, the drummer, was the drummer for the Modern Jazz Quartet and had also played sessions with everyone from Ruth Brown to Miles Davis. And Jay Berliner, the guitarist, had played on records like Charles Mingus' classic The Black Saint and the Sinner Lady: [Excerpt: Charles Mingus: "Mode D - Trio and Group Dancers, Mode F - Single Solos & Group Dance"] There was also a flute player whose name nobody now remembers. Although all of these musicians were jobbing session musicians -- Berliner came to the first session for the album that became Astral Weeks straight from a session recording a jingle for Pringles potato chips -- they were all very capable of taking a simple song and using it as an opportunity for jazz improvisation. And that was what Merenstein asked them to do. The songs that Morrison was writing were lyrically oblique, but structurally they were very simple -- surprisingly so when one is used to listening to the finished album. Most of the songs were, harmonically, variants of the standard blues and R&B changes that Morrison was used to playing. "Cyprus Avenue" and "The Way Young Lovers Do", for example, are both basically twelve-bar blueses -- neither is *exactly* a standard twelve-bar blues, but both are close enough that they can be considered to fit the form. Other than what Kielbania and Payne showed the musicians, they received no guidance from Morrison, who came in, ran through the songs once for them, and then headed to the vocal booth. None of the musicians had much memory of Morrison at all -- Jay Berliner said “This little guy walks in, past everybody, disappears into the vocal booth, and almost never comes out, even on the playbacks, he stayed in there." While Richard Davis later said “Well, I was with three of my favorite fellas to play with, so that's what made it beautiful. We were not concerned with Van at all, he never spoke to us.” The sound of the basic tracks on Astral Weeks is not the sound of a single auteur, as one might expect given its reputation, it's the sound of extremely good jazz musicians improvising based on the instructions given by Lewis Merenstein, who was trying to capture the feeling he'd got from listening to Morrison's live performances and demos. And because these were extremely good musicians, the album was recorded extremely quickly. In the first session, they cut four songs. Two of those were songs that Morrison was contractually obliged to record because of his agreement with Web IV -- "Beside You" and "Madame George", two songs that Bert Berns had produced, now in radically different versions: [Excerpt: Van Morrison, "Madame George"] The third song, "Cyprus Avenue", is the song that has caused most controversy over the years, as it's another of the songs that Morrison wrote around this time that relate to a sexual or romantic interest in underage girls. In this case, the reasoning might have been as simple as that the song is a blues, and Morrison may have been thinking about a tradition of lyrics like this in blues songs like "Good Morning, Little Schoolgirl". Whatever the cause though, the lyrics have, to put it mildly, not aged well at all: [Excerpt: Van Morrison, "Cyprus Avenue"] That song would be his standard set-closer for live performances for much of the seventies. For the fourth and final song, though, they chose to record what would become the title track for the album, "Astral Weeks", a song that was a lot more elliptical, and which seems in part to be about Morrison's longing for Janet Planet from afar, but also about memories of childhood, and also one of the first songs to bring in Morrison's fascination with the occult and spirituality,  something that would be a recurring theme throughout his work, as the song was partly inspired by paintings by a friend of Morrison's which suggested to him the concept of astral travel: [Excerpt: Van Morrison, "Astral Weeks"] Morrison had a fascination with the idea of astral travel, as he had apparently had several out-of-body experiences as a child, and wanted to find some kind of explanation for them. Most of the songs on the album came, by Morrison's own account, as a kind of automatic writing, coming through him rather than being consciously written, and there's a fascination throughout with, to use the phrase from "Madame George", "childhood visions". The song is also one of the first songs in Morrison's repertoire to deliberately namecheck one of his idols, something else he would do often in future, when he talks about "talking to Huddie Leadbelly". "Astral Weeks" was a song that Morrison had been performing live for some time, and Payne had always enjoyed doing it. Unlike Kielbania he had no compunction about insisting that he was good enough to play on the record, and he eventually persuaded the session flute player to let him borrow his instrument, and Payne was allowed to play on the track: [Excerpt: Van Morrison, "Astral Weeks"] Or at least that's how the story is usually told -- Payne is usually credited for playing on "Madame George" too, even though everyone agrees that "Astral Weeks" was the last song of the night, but people's memories can fade over time. Either way, Payne's interplay with Jay Berliner on the guitar became such a strong point of the track that there was no question of bringing the unknown session player back -- Payne was going to be the woodwind player for the rest of the album: [Excerpt: Van Morrison, "Astral Weeks"] There was then a six-day break between sessions, during which time Payne and Kielbania went to get initiated into Scientology -- a religion with which Morrison himself would experiment a little over a decade later -- though they soon decided that it wasn't worth the cost of the courses they'd have to take, and gave up on the idea the same week. The next session didn't go so well. Jay Berliner was unavailable, and so Barry Kornfeld, a folkie who played with people like Dave Van Ronk, was brought in to replace him. Kornfeld was perfectly decent in the role, but they'd also brought in a string section, with the idea of recording some of the songs which needed string parts live. But the string players they brought in were incapable of improvising, coming from a classical rather than jazz tradition, and the only track that got used on the finished album was "The Way Young Lovers Do", by far the most conventional song on the album, a three-minute soul ballad structured as a waltz twelve-bar blues, where the strings are essentially playing the same parts that a horn section would play on a record by someone like Solomon Burke: [Excerpt: Van Morrison, "The Way Young Lovers Do"] It was decided that any string or horn parts on the rest of the album would just be done as overdubs. It was two weeks before the next and final session for the album, and that featured the return of Jay Berliner on guitar. The session started with "Sweet Thing" and "Ballerina", two songs that Morrison had been playing live for some time, and which were cut in relatively quick order.  They then made attempts at two more songs that didn't get very far, "Royalty", and "Going Around With Jesse James", before Morrison, stuck for something to record, pulled out a new lyric he'd never performed live, "Slim Slow Slider". The whole band ran through the song once, but then Merenstein decided to pare the arrangement down to just Morrison, Payne (on soprano sax rather than on flute), and Warren Smith Jr: [Excerpt: Van Morrison, "Slim Slow Slider"] That track was the only one where, after the recording, Merenstein didn't compliment the performance, remaining silent instead – Payne said “Maybe everyone was just tired, or maybe they were moved by it.” It seems likely it was the latter. The track eventually got chosen as the final track of the album, because Merenstein felt that it didn't fit conceptually with anything else -- and it's definitely a more negative track than the oth

Sal Schiro came thru Choppin It Up With Chuky to talk about his professional MMA debut, his own podcast Sal's Hub, his experience as a high school security guard, Obama conspiracy theories and more! Had a couple cold ones at Tiny's Tap House once again with Bebo and Pizzle behind the scenes. Video version available on our YouTube channel. https://youtube.com/@choppinitupwithchuky?si=BRetz47TmN3rTX4dMake sure to follow us on IG@choppinitupwithchuky@funkmastersal@sals_hub@1funkyproduct@tinystaphouseLIKE, SHARE, COMMENT AND SUBSCRIBE CHOPPINITUPWITHCHUKY

In this People of UT episode, audio producer Mae Lackey talks to Brandon Zupan — a UT student who does it all. He's a founder of the UT Discord server, the treasurer for Longhorn Furries, a member of Texas Carillon, a moderator of the UT subreddit and a photographer for the UT Housing and Dining marketing team. He even drew the cover art. Hosted and produced by Mae Lackey. Cover art is "Bebo" by Brandon Zupan. Music by Blue Dot Sessions.

DEVOCIÓN MATUTINA PARA ADOLESCENTES 2023“QUIERO CONOCERTE”Narrado por: Isa ValenDesde: Buenos Aires, ArgentinaUna cortesía de DR'Ministries y Canaan Seventh-Day Adventist Church  04 DE NOVIEMBRE                                                          TU SALUD ¿ANDA BIEN? "Querido hermano, pido a Dios que, así como te va bien espiritualmente, te vaya bien en todo y tengas buena salud" (3 Juan 2). Dios ¿le importa nuestra salud? ¡Si! Él fue quien nos creó; por lo tanto, sabe qué cuidados debemos tener con nuestro cuerpo para que funcione bien. ¿Estás cuidando tu salud? La siguiente prueba te ayudará a responder esa pregunta.*AGUA1. ( ) Bebo ocho vasos al día.2. ( ) Solo bebo si tengo mucha sed.3. ( ) Prefiero tomar bebidas gaseosas.* ALIMENTACIÓN1. ( ) Trato de comer alimentos saludables cada día. Siempre como frutas y verduras.2. ( ) Rara vez como frutas y verduras. 3. () No logro comer alimentos saludables.*EJERCICIO1. ( ) Realizo actividades físicas al menos tres veces por semana.2. ( ) Solo hago ejercicio en las clases de Educación Física.3. ( ) Prefiero quedarme con la computadora o con el celular.* DESCANSO1. ( ) Por la noche, dejo mi celular a un lado y me acuesto temprano. Me duermo tarde y me despierto tarde.2. ( ) Paso varias noches en Internet o con la tele. Dios habita en ti. ¡Cuida de tu salud! Lee 1 Corintios 3:16 y 17.No estás cuidando bien de tu salud. Si no cambias tu estilo de vida, podrías enfermarte.

Darius Contractor Joins to Unpack Arc's Viral Loops and Show the Slack Redesign Haters They're Wrong This week, Brian and Fareed are joined by Darius Contractor, the current Chief Growth Officer at Otter.ai. Darius has a background in growth, product, and engineering, and his experience spans some of the world's most notable companies. These include early social media platform Bebo and renowned unicorns like Facebook, Dropbox, and Airtable. This week, we're all about the praise

Hello all you Private Parters! welcome back to the podcast where nothing is off limits.Happy Hump Day. To mark getting (nearly) half way through the week, we've got another bonus instalment for you.Today, Jamie & Tom reminisce on the old days, throwing it back to the likes of MSN and Bebo... and they discuss what terrible clothes they used to wear. They also share some embarrassing stories from their past, Jamie tells Tom which famous singer's relative he embarrassed himself in front of this week, and Tom also convinces Jamie to open his stand up show for him. If you have a particularly funny story to tell us, or have a dilemma you want Jamie & Tom's help on, DM us on Instagram. For all info on Tom's tour dates including how to buy tickets, click here NOW!To follow Tom on Instagram, click here.Don't forget to follow us on all our socials by clicking here, and make sure you don't miss out on our weekly episodes by subscribing. Hosted on Acast. See acast.com/privacy for more information.

Los enemigos del silencio nos cuentan las emborrachadas, situaciones y ocurrencias que los han hecho decir "Ya no bebo mas"

We continue our trip through the history of social networks. This time we look at Flickr, Orkut, Bebo, YouTube and Reddit. Two of those don't exist anymore! See omnystudio.com/listener for privacy information.