Podcasts about bogalusa

Bautizado como "Klantown USA" por el periodista Paul Good, Bogalusa era un foco de actividad del Ku Klux Klan. La discriminación en este pequeño pueblo papelero habían sobrevivido a la Ley de Derechos Civiles de 1964. Presenta Jose M Corrales t.me/EnfoqueCritico (https://t.me/EnfoqueCritico) debateafondo@gmail.com @EnfoqueCritico_ facebook.com/DebateAFondo facebook.com/josemanuel.corrales.750/ / @enfoquecritico Instagram enfoquecritico Mastodon @EnfoqueCritico@masto.es Bluesky @enfoquecritico.bsky.social

A new petition to make Bourbon Street pedestrian-only now has more than 5,000 signatures. The petition comes after the deadly attack on New Year's Day when a driver rammed an SUV down Bourbon Street, killing 14 and injuring more than 30 others. Chris Olsen, French Quarter resident and owner of the vintage stores Vice and Graft and Swamp Rags, started this petition on Change.org. He joins us for more on the efforts to make the area safer.Last week, Bogalusa mayor Tyrin Truong was arrested as part of a multi-agency drug trafficking investigation. The Democrat was elected at just 23 years old, becoming the youngest mayor in the city's history, ushering in a wave of hope and modernity to a community in decline. Now he's facing charges for drug offenses and soliciting sex workers. Reporter for the Picayune Item Alex Moraski joins us with the latest on this investigation and what's next for Bogalusa.The new city of St. George is taking shape. After seceding from Baton Rouge in April of last year, the city now has an approved tax to fund its budget and upcoming leadership elections. But there's some tension surrounding big proposed salaries for the city's leadersPatrick Sloan-Turner has been covering the development of St. George for the Baton Rouge Advocate. He joins us with the latest updates.___Today's episode of Louisiana Considered was hosted by Karen Henderson. Our managing producer is Alana Schrieber. We receive production and technical support from Garrett Pittman, Adam Vos and our assistant producer, Aubry Procell. You can listen to Louisiana Considered Monday through Friday at noon and 7 p.m. It's available on Spotify, the NPR App and wherever you get your podcasts. Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to.Louisiana Considered is made possible with support from our listeners. Thank you!

Tracy sits down with author/illustrator duo Britt Gondolfi and Amanda Romanick to discuss their timely, poetic, beautifully illustrated picture book "Look Up! Fontaine the Pigeon Starts a Revolution," Published by Paw Prints. Fontaine the Pigeon is a small bird with a big mission: to get people to look away from their phones and admire the world around them. This picture book packs a powerful message with some seriously beautiful artwork. The revolution begins on April 30th! About the Britt & Amanda: Britt Gondolfi, born and raised in Southeast Louisiana, is a children's book author, community organizer, and mother. Since 2017, Britt has worked with the Bioneers Intercultural Conversation Program, facilitating programming for Atlanta, Bogalusa, and Houma students. While in law school, Britt supported the Bioneers Rights of Nature initiative by researching the intersection of tribal sovereignty and Federal Indian law, facilitating workshops on the Rights of Nature at the Ho-Chunk and Mashpee Wampanoag nations. Her first Children's book, "Look Up! Fontaine the Pigeon Starts a Revolution," is a hilarious social commentary on digital distraction and Nature's fight to save us from ourselves. Amanda Romanick is a multidisciplinary artist whose passion and education for craft began at the age of 5 when she was hand-selected for the Talented Arts Program in her hometown parish. She focused heavily on creative education and outlets like drawing and painting. She graduated with honors from Savannah College of Art and Design, where she concentrated on illustration and sequential art. Amanda is also a mom of a young child and felt the need to create a more balanced relationship between the natural world and screen use. Britt and Amanda are close friends, and so are their seven-year-old children, Sofia and Scout. This is their first published book. The book comes out with Paw Prints Publishing, an imprint of Baker & Taylor, April 30th 2024. You can get it everywhere books are sold or you can get it directly from the artists at www.fontainethepigeon.com.

Tracy sits down with author/illustrator duo Britt Gondolfi and Amanda Romanick to discuss their timely, poetic, beautifully illustrated picture book "Look Up! Fontaine the Pigeon Starts a Revolution," Published by Paw Prints. Fontaine the Pigeon is a small bird with a big mission: to get people to look away from their phones and admire the world around them. This picture book packs a powerful message with some seriously beautiful artwork. The revolution begins on April 30th! About the Britt & Amanda: Britt Gondolfi, born and raised in Southeast Louisiana, is a children's book author, community organizer, and mother. Since 2017, Britt has worked with the Bioneers Intercultural Conversation Program, facilitating programming for Atlanta, Bogalusa, and Houma students. While in law school, Britt supported the Bioneers Rights of Nature initiative by researching the intersection of tribal sovereignty and Federal Indian law, facilitating workshops on the Rights of Nature at the Ho-Chunk and Mashpee Wampanoag nations. Her first Children's book, "Look Up! Fontaine the Pigeon Starts a Revolution," is a hilarious social commentary on digital distraction and Nature's fight to save us from ourselves. Amanda Romanick is a multidisciplinary artist whose passion and education for craft began at the age of 5 when she was hand-selected for the Talented Arts Program in her hometown parish. She focused heavily on creative education and outlets like drawing and painting. She graduated with honors from Savannah College of Art and Design, where she concentrated on illustration and sequential art. Amanda is also a mom of a young child and felt the need to create a more balanced relationship between the natural world and screen use. Britt and Amanda are close friends, and so are their seven-year-old children, Sofia and Scout. This is their first published book. The book comes out with Paw Prints Publishing, an imprint of Baker & Taylor, April 30th 2024. You can get it everywhere books are sold or you can get it directly from the artists at www.fontainethepigeon.com.

Three New Orleans residents sued the city in 2021, alleging that the city had failed to ensure wheelchair accessible sidewalks – which, they said, violated the Americans with Disabilities Act. While the city later agreed to a settlement that required it to install ramps and curb cuts on hundreds of street corners, the city's own data revealed that less than half of the intersections identified for accessibility are compliant with standards set forth in the Americans with Disabilities Act.  Drew Costley has been reporting this story for Verite News. He joins us to discuss the causes of the slowdown – and how residents are responding. This year marks the 50th anniversary of the Bogalusa Heart Study. Started in 1972, this study looks at the impact of vascular and metabolic changes on health throughout the lifespan. And, it's one of the longest ongoing health studies of a biracial, semi-rural Southern community.  Back in January, Dr. Lydia Bazzano, who directs the Tulane Center for Lifespan Epidemiology Research, joined us to discuss what researchers have learned from the half-century of research. Today she joins us for an update on some new projects in the study that examine the connection between the heart and the brain.  Earlier this year, Louisiana opened up part of its coast to offshore wind farms. But the effort to encourage companies to establish wind farms in the state  wasn't very successful. Only two companies threw their hats in the ring during the first round of bids.  But according to a new report by the University of Louisiana at Lafayette's Kathleen Babineaux Blanco Public Policy Center, at the, the state's offshore wind industry still has plenty of growth potential.  Simone Maloz, campaign director for Restore the Mississippi River Delta – the organization that commissioned the report, joins us to explain. Today's episode of Louisiana Considered was hosted by Adam Vos. Our managing producer is Alana Schreiber and our assistant producer is Aubry Procell. Our engineer is Garrett Pittman. You can listen to Louisiana Considered Monday through Friday at 12 and 7 p.m. It's available on Spotify, Google Play and wherever you get your podcasts.  Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to. Louisiana Considered is made possible with support from our listeners. Thank you!See omnystudio.com/listener for privacy information.

When “Roe,” the play, premiered at the Oregon Shakespeare Festival in 2016, Roe vs. Wade, the landmark Supreme Court case, was the law of the land. A lot has changed since then, especially in the Gulf South. As Aubri Juhasz reports, an updated version of the play is being staged in an unexpected place — the capitol of a state with a near-total abortion ban.  And just a note, this story contains descriptions of abortion methods that may be disturbing for some listeners. When Governor-elect Jeff Landry won the race outright in October, many Democrats were left wondering, “Is it just too hard for a candidate on the left to win in a state that's increasingly red?” Doubters can look to Tyrin Truong. The mayor of Bogalusa won the election one year ago this month. At 23 years old, he became the youngest – and first Black – mayor in the city's history. Mayor Truong joins us to discuss his first year in office and his thoughts on the state of the Democratic Party in Louisiana.  A new study from Tulane University and published in the journal Nature Food shows how simple diet changes can reduce the average American's carbon footprint. Examples include switching from beef to chicken or drinking plant-based milk instead of cow's milk. Diego Rose, the study's author and professor and director of nutrition  at Tulane University's School of Public Health & Tropical Medicine joins us for more on climate-friendly eating habits. Today's episode of Louisiana Considered was hosted by Karen Henderson. Our managing producer is Alana Schreiber and assistant producer is Aubry Procell. Our engineer is Garrett Pittman. You can listen to Louisiana Considered Monday through Friday at 12 and 7 p.m. It's available on Spotify, Google Play and wherever you get your podcasts.  Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to. Louisiana Considered is made possible with support from our listeners. Thank you!See omnystudio.com/listener for privacy information.

Welcome to the Sports Zone Podcast, where we discuss, opine, and report on all things local sports.In this episode, Tulane kicks off spring practice with a wave of enthusiasm. could their offense, very good at the end of last season, get even better.How many will the wave win in 2023? are panel weighs in, do they have lofty expectations?The Pelicans finally win one – are they a playoff team, a play-in team, or neither?A Newman soccer coach whose next job is to clean up Bogalusa.And a first for the Southeastern women's basketball program.We cut down the nets, in the next 30 minutes in the WGNO Sports Zone.The Sports Zone Podcast is also available via Apple Podcasts on iTunes.

Two more stories for Black History Month: From former auto worker Jonathan Melrod, the fascinating story of David Fagen, who joined the U.S. Army to escape Jim Crow discrimination, and was sent to the Philippines, where not only did he and his fellow Black soldiers suffer from endemic racism in the military, but found that they were fighting on the wrong side of the U.S. war of Philippine conquest. Then, Labor History Today correspondent Alan Wierdak talks with Caleb Smith, a PhD student at Tulane about an important Title 7 discrimination lawsuit involving Harris Parson, a Black Korean War vet who went to work at Kaiser Aluminum and Chemical in Bogalusa, Louisiana. On this week's Labor History in Two:  Remembering E.D. Nixon. Questions, comments, or suggestions are welcome; to find out how you can be a part of Labor History Today, email us at LaborHistoryToday@gmail.com Labor History Today is produced by Union City Radio and the Kalmanovitz Initiative for Labor and the Working Poor. #LaborRadioPod #History #WorkingClass #ClassStruggle @GeorgetownKILWP #LaborHistory @UMDMLA @ILLaborHistory @AFLCIO @StrikeHistory #LaborHistory @wrkclasshistory  @JonathanMelrod @HornbakeLibrary

Dr. Hassink is joined by Dr. Katie Queen, a pediatrician board certified in obesity medicine. She is the Medical Director for the Center for Weight and Nutrition for Our Lady of Lake Children's Hospital in Baton Rouge, and works in a pediatric clinic in Bogalusa, Louisiana. Related Resources: • Obesity CPG Homepage • What is (IHBL)T? • Evaluation and Treatment Coding Card

This year marks the 50th anniversary of the Bogalusa Heart Study. Started in 1973, this study looks at the impact of vascular and metabolic changes on health throughout the lifespan. And, it's one of the longest on-going health studies of a biracial, semi-rural southern community.  Director of the Tulane Center for Lifespan Epidemiology Research, Dr. Lydia Bazzano tells us about the profound impact this study has had on various fields of research over the last half century. This weekend, the American Red Cross of Louisiana will head to Baton Rouge for a day of installing free smoke alarms. WWNO's Karl Lengel speaks with Ed Bush, Executive Director, Capital West Chapter in the Louisiana Region for the American Red Cross, to learn more about this event and hear how to mitigate fire risks.  Late last year, the Environmental Protection Agency announced that 53 million dollars would go out to communities across the nation to monitor air pollution. One of those recipients is the Cherokee community in Pascagoula, Mississippi where community members there have been sounding the alarm for a decade. But as the Gulf States Newsroom's Danny McArthur reports, many are skeptical that the new testing will fix their problems. Today's episode of Louisiana Considered was hosted by Alana Schreiber. Our managing producer is Alana Schreiber and our digital editor is Katelyn Umholtz. Our engineers are Garrett Pittman and Aubry Procell.  You can listen to Louisiana Considered Monday through Friday at 12:00 and 7:30 pm. It's available on Spotify, Google Play, and wherever you get your podcasts.  Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to. Louisiana Considered is made possible with support from our listeners. Thank you!See omnystudio.com/listener for privacy information.

When you're having a baby, it's good to have a solid team on your side. Meet Ashley Conner, RN, BSN, a Pediatric Nurse Navigator and  Evie Robison, RN, a Pregnancy Navigator—both Our Lady of Lourdes Women's & Children's Hospital. Conner and Robison join ParentingU host Stephanie to talk about how to pick a pediatrician, why you should make the choice before your baby is born—and how to get help making that decision! Both navigators stress that who you and your baby see for medical care in the early years is all about forming a relationship. Your baby's doctor is someone you may be seeing for years to come—what are some of the questions and considerations to take on now, before your baby arrives? In this thoughtful episode, you'll learn more about what to think about when choosing a doctor for your baby plus how to access resources available to you and your family. Questions Answered on the Show What is a Pediatric Nurse Navigator and what do they do? How do I find out a pediatrician's office policies and how they view pediatric care? Does “bedside manner” or a doctor's style matter when it comes to pediatrics? How do I get recommendations for pediatricians? Oops, I am not happy with the pediatrician I picked. What can I do? What are some practical things I should think about—like office location—when picking a doctor? Why are those so important? I just found out I'm pregnant! When should I start looking for a pediatrician? Does it matter if I have a pediatrician picked out before I give birth? What kinds of things should I know about myself before I pick a pediatrician? How do I set an appointment with a Pediatric Nurse Navigator? Resources for You Ready to start a relationship with an exceptional pediatrician? Find a pediatric provider in Baton Rouge. Find a pediatric provider in Acadiana. Find a pediatric provider in Northeast Louisiana. Find a pediatric provider in Bogalusa.    Preregister! Expectant moms can register at Our Lady of Lourdes Women's & Children's Hospital here ParentingU episode about Getting Ready for Baby ParentingU episode about Preparing to Breastfeed Digital Resources from our birthing hospitals: Our Lady of Lourdes Women's & Children's Hospital Our Lady of the Angels Hospital Francis Medical Center We hope you enjoy the new season of ParentingU! You can hear all episodes of ParentingU on our website or on your favorite podcast app including Apple Podcasts, Spotify, Stitcher, or Google Podcasts. New! Watch videos of our podcast on YouTube: ParentingU playlist.

Guest, CHUCK HICKS, Civil Rights Leader and Social Justice Advocate Chuck Hicks — “Mr. Black History” — is chair of the DC Black History Celebration Committee. Hicks sits on the DC Commission on Aging, the Martin Luther King, Jr. Day Commission and the MLK Holiday DC Committee. Chuck was instrumental in coordinating the Million Man March, the March on Washington and the Million Family March. He was a librarian with the DC Public Libraries for more than 50 years and a union leader with extensive experience working on social justice causes.  Chuck hails from Bogalusa, Louisiana, and is the son of deceased famed civil rights leader Robert Hicks. He graduated from Syracuse, University of Central Maryland, with bachelor's and master's degrees. This year, Father's Day and the Juneteenth holiday fall on the same day — June 19th. Marília and I will speak with Mr. Black History about civil rights in America, the fight for social justice and his annual event — the DC Black Fathers Matter Project. Please tune in for this important interview.

Is the light a comfort and the night disturbing? Yusef Komunyakaa explores the life and brilliance of what's in shadow and darkness.Yusef Komunyakaa was born in Bogalusa, Louisiana. The son of a carpenter, Komunyakaa has said that he was first alerted to the power of language through his grandparents, who were church people: “the sound of the Old Testament informed the cadences of their speech,” Komunyakaa has stated. “It was my first introduction to poetry.” He has taught at numerous institutions including University of New Orleans, Indiana University, and Princeton University. He is a senior faculty member in the NYU Creative Writing Program.Find the transcript for this show at onbeing.org.We're pleased to offer Yusef Komunyakaa's poem, and invite you to sign up here for the latest from Poetry Unbound.

So many coming-of-age stories focus on leaving where you're from—but what compels someone to come back? Musician PJ Morton returned to his hometown of New Orleans in 2016, and since then, he's established an independent record label, founded a non-profit organization, and worked to restore the home of jazz pioneer Buddy Bolden. In this episode, Hanif and PJ talk about embracing the strength in your roots, and the making of his just-released album, Watch the Sun, which features appearances from artists like Stevie Wonder, Nas, Jill Scott, and more. To close the episode, Hanif takes us on a musical tour of his home state of Ohio. For the playlist of songs curated for this episode head over to www.mixcloud.com/sonos. Music In This Week's Episode:Be Like Water (feat. Stevie Wonder and Nas) - PJ MortonFreedom Now - Tracy ChapmanPride & Vanity - Ohio PlayersDon't Know What To Do - The EdselsDead End America - The PagansTunnel Bound - MoodHeat Night - The WaitressesWe Don't Have To Take Our Clothes Off - Jermaine Stewart  Show notes:Watch the Sun is out today.PJ Morton is working to save Buddy Bolden's house. Once restored the house will become a community center, museum, and recording studio, offering music-business education for young performers and celebrating the jazz originator's legacy.Watch the Sun was recorded at Studio in the Country in Bogalusa, LO. Credits:This show is produced by work by work: Scott Newman, Jemma Rose Brown, Kathleen Ottinger, Rhiannon Corby, and by Hanif Abdurraqib. The show is mixed by Sam Bair. Extra gratitude to Joe Dawson and Saidah Blount at Sonos. 

In the summer of 1965, several Ku Klux Klan members riding in a pickup truck shot two Black deputies on patrol in Washington Parish, Louisiana. Deputy Oneal Moore, the driver of the patrol car and father of four daughters, died instantly. His partner, Creed Rogers, survived and radioed in a description of the vehicle. Less than an hour later, police in Mississippi spotted the truck and arrested its driver, a decorated World War II veteran named Ernest Ray McElveen. They returned McElveen to Washington Parish, where he spent eleven days in jail before authorities released him. Afterward, the FBI sent its top inspector to Bogalusa, Louisiana, to participate in the murder inquiry, the only civil rights era FBI investigation into the killing of a Black law enforcement officer by the KKK. Despite that assistance, lack of evidence and witnesses unwilling to come forward forced Louisiana prosecutors eventually to drop all charges against McElveen. The FBI continued its investigation but could not gather enough evidence to file charges, leaving the murder of Oneal Moore unsolved.Klan of Devils: The Murder of a Black Louisiana Deputy Sheriff is Stanley Nelson's investigation of this case, which the FBI probed from 1965 to 2016. Nelson describes the Klan's growth, and the emergence of Black activism in Bogalusa and Washington Parish, against the backdrop of political and social change in the 1950s and early 1960s. With the assistance of two retired FBI agents who worked the case, Nelson also explores the lives of the primary suspects, all of whom are now dead, and points to the Klansmen most likely responsible for the senseless and horrific attack. KLAN OF DEVILS: The Murder of a Black Louisiana Deputy Sheriff-Stanley Nelson

We head back down south to Bogalusa, Louisiana, in our interview with middle grade author Leslie C. Youngblood to talk about her sophomore novel

When the story of the protests for more civil rights in Louisiana is told there were several key stops along the way including a church in Shreveport, a march to Bogalusa and Dooky Chase restaurant in New Orleans. Organizer Brenda McKinley and former TV news anchor Norman Robinson join Errol Laborde, executive editor of Louisiana Life, along with podcast producer Kelly Massicot to tell stories about the height of the Civil Rights struggle. The story is now made more visual by the state's new Civil Rights trail, which provides informational trail markers and web-based information about the saga. Oh yes, we'll also hear about Ray Charles and his mention of Dooky Chase in one of his songs.

Patrick Madden hosted this Monday's episode of Louisiana Considered. WWNO/WRKF Capitol Access reporter Paul Brauntalks about the development of plans for COVID-19 vaccine mandates in Louisiana universities and state government workplaces after the FDA granted the Pfizer COVID-19 vaccine full approval this morning. NPR Weekend Edition host Scott Simoninterviewed Our Lady of the Angels Hospital Nursing Director of ICU Melissa Wise about how her hospital in Bogalusa is trying to give care to a massive influx of COVID-19 patients, and how she had to care for her husband at home after he had a stroke because her hospital had no beds available. The Times-Picayune | The Advocate reporter Sam Karlintalks about his article in today's paper about the rapid spread of the delta variant in rural Louisiana parishes, where vaccination rates are very low compared to urban areas. See omnystudio.com/listener for privacy information.

Fashion and portrait photographer Mark Elzey joins the podcast to talk about how a kid from Bogalusa, Louisiana with an early love of art and music ended up in New York shooting for some of the most respected publications in the world.  During our conversation Mark talks about falling in love with photography the moment he held a friend's camera in high school, making the move to San Fransisco at an early age to study photography and how that shaped the way he would pursue his career, how he was able to overcome his shyness and approach strangers on the street to take their portrait, and the way he set about creating a name for himself at New York Fashion Week.  We also talk about where he draws the most creative inspiration from, the challenges that people of color can sometimes face in the photography and fashion industry, and the advice he gives to others coming up.  To Learn More About Mark Elzey Visit: https://www.markelzey.com And Follow Him On Instagram At: https://www.instagram.com/markelzey/ To Learn More About Visual Revolutionary Visit: https://www.visualrevolutionary.com And Follow On Instagram At: https://www.instagram.com/visualrevolutionary/

Adam Vos hosted this Thursday's episode of Louisiana Considered. WRKF Morning Edition host Karen Hendersonspoke with Baton Rouge city council member Rowdy Gaudetabout a city ordinance he sponsored which increases penalties for drag racing in Baton Rouge. The ordinance, passed last night, will levy a $500 fine for first-time drag racing offenders and a $1,000 fine for subsequent offences. Lieutenant Governor Billy Nungesserand reporter Norman Robinsontell us about the newest marker on Louisiana's Civil Rights Trail, unveiled at A.Z. Young Park in downtown Baton Rouge this Monday. The marker commemorates the 105-mile march activists undertook from Bogalusa to Baton Rouge in August of 1967, which A.Z. Young helped organize. See omnystudio.com/listener for privacy information.

Produced by DuEwa World - Consulting + Bookings http://www.duewaworld.com Ep. 33 DuEwa interviewed author Leslie C. Youngblood. Leslie's forthcoming book is Forever This Summer (July 2021). It is the follow up to her debut novel for young readers, Love Like Sky. Visit www.lesliecyoungblood.com. Follow Nerdacity @nerdacitypodcast on IG or @nerdacitypod1 on Twitter @nerdacitypod1.  Visit DuEwa's website at www.duewaworld.com. BIO Leslie C. Youngblood received an MFA from the University of North Carolina at Greensboro. A former assistant professor of creative writing at Lincoln University in Jefferson City, she has lectured at Mississippi State University, UNC-Greensboro, and the University of Ghana at Legon. She began her undergraduate degree at Morris Brown College and completed her bachelor's at Georgia State University. After graduation, she served as a columnist and assistant editor for Atlanta Tribune: The Magazine. She's been awarded a host of writing honors including a 2014 Yaddo's Elizabeth Ames Residency, the Lorian Hemingway Short Story Prize, a Hurston Wright Fellowship, and the Room of Her Own Foundation's 2009 Orlando Short Story Prize. She received funding to attend the Norman Mailer Writers' Colony in 2011. Her short story, “Poor Girls' Palace,” was published in the winter 2009 edition of the Indiana Review, as well as Kwelijournal, 2014. In 2010 she won the Go On Girl! Book Club Aspiring Writer Award. In 2016 she landed a two-book publishing deal with Disney-Hyperion for her Middle-Grade novel, Love Like Sky. She works as a writing consultant for various businesses seeking assistance and Individuals looking to hone their skills. In 2019, Little, Brown for Young Readers acquired Love Like Sky and her forthcoming title, Forever This Summer, from Disney Books. Forever This Summer Publishes July 6, 2021. When she's not reading or working on her next novel, she enjoys watching Shark Tank, Chopped, and other shows where people are giving their all. Born in Bogalusa, Louisiana, and raised in Rochester, New York, she's fortunate to have a family of natural storytellers and a circle of supportive family and friends. --- Support this podcast: https://anchor.fm/duewafrazier/support

"Ministry is carrying a love relationship with your Father". Join your host, Caitlyn Riane, as I sit down with Senior Pastor Chris Allman of New Bethel Church in Bogalusa, La and dive into his story, what got him to where he is today and things he has learned along the way. Go check New Bethel Church - Igniting, Stirring, Sending - to listen to more of his teachings! It has been such an honor and BLESSING to glean from him!  --- Support this podcast: https://podcasters.spotify.com/pod/show/caitlyn--mitchell/support

Today is National Juice Slush Day, so Antonio and Iyube discussed the top slushie flavors and what slushies are called in different states. Maybe tomorrow should be National Brain Freeze Day? Our Associate Caller of the Day was Ramona “Candy Girl” from Store 1178 in Bedford, Texas. Bam from Store 803 in Bogalusa, Louisiana, also called in and explained that in his town, slushies are called “Bixie Cups.” Marie from Store 1342 in Kenner, Louisiana, joined in to say that she calls slushies “Frozen Cups.” In today’s This or That, Antonio and Iyube discussed if it is better to be overdressed or underdressed. For slushie eating purposes, it definitely makes sense to be underdressed, just in case! Our Social Media Highlights of the Day celebrated a few associate milestones. A huge congratulations to Coach Kristy from Store 5352 in Batavia, Illinois, for hitting her 10-year milestone at Walmart! At Store 5944 in Mount Laurel, New Jersey, Health Screener Nancy hit her one-year anniversary. Congratulations, Nancy! Thank you for keeping our associate family safe and healthy. Ever wanted to know how long it takes people to fall asleep on average? Listen now for the answer and much more on this Rollback Wednesday.

Groove and funk drummer from Bogalusa, LA talks about getting his start in music and playing with Weather Report. --- Support this podcast: https://anchor.fm/jake-feinberg/support

David in Elkhart: how much will my wife get from Social Security when I pass away? David also asks Gregory about the tax implications for his VA benefits, Social Security, and other income streams. Matthew in Houma has some comments to add for David's situation regarding VA benefits. Steve in Cleveland makes too much income to contribute to a Roth IRA. Gregory explains how Steve can get one started using a backdoor Roth conversion. Can a remarried widow draw a Social Security benefit from her first husbands record? James in Bogalusa asks Gregory about his wife's options between spoual and survivor benefits. Mark in Columbia has trouble qualifying for a mortgage in retirement, even though he has $2 million in assets. Gregory explains how many lenders are restricted by their approval process, and they should call Dwayne Stein. Wes Blanchard, Estate Planning Attorney, joins the show. Tom in Loranger asks him and Gregory about selling his house to his granddaughter at a low price to get around the Estate Tax. Gregory and Wes point out it's quite unlikely he will pass the $22+ million exemption. Let your will take care of that. Brian in Hammond has a string of rental properties that may cross the threshold for the Estate Tax. Wes Blanchard teaches you the main clauses to include in your will. Joe in Harvey can't close her deceased mom's checking account. Wes and Gregory help her out. John in Mandeville's wife inherited a trust with her siblings. The Roth clock is forever. Will your early Social Security haircut continue when she switches to the Spousal Benefit? Richard in Slidell asks about his wife's options. Kirk in Petal is close to having 30 years of substantial earnings that paid into Social Security, and could be exempt from the Windfall Elimination Provision. He could get a full Social Security retirement benefit plus two full state pensions as a teacher! Bad Excuses to Turn on Social Security Early. http://www.WinningAtLife.com

For Monday's Episode of the Sports Scouting Report Podcast With Lee Brecheen, Lee catches up with an old friend in former Bogalusa/Grambling/Chicago Bears defensive lineman Sean Smith. The former fourth round NFL Draft pick talks about the talent coming from his hometown Bogalusa, playing for legendary names like Eddie Robinson and Mike Ditka, playing for the dominant Chicago Bears defense, the adversity that he and his family have to overcome after football, and so much more!

In January 2021, the question still persists, why do race riots occur and what effect do they have? And now there is the added question of does the answer differ if these are Black-initiated versus White-initiated riots? These are the driving questions of part two of examining the history of American race riots. 00:37 - Race War and the Red Summer (1898-1921). I open by clarifying the definition of a race riot and the 4 perceived threats to White power behind the 26 (listed below) race riots of the Red Summer. 06:12 - Fighting Fascism at Home and Abroad (the 40s). World War 2 saw White-initiated riots for many of the same reasons as the race war era, but also the first modern, Black-initiated race riots, and Civil Rights legislation. 10:56 - The Turbulent Sixties. An era of completely modern race rioting. There were hundreds of race riots in 67 and 68 which garnered both government attention and aggressive policing. 15:10 - The Rodney Riot/The LA Riot. Jahne returns as we discuss the circumstances around the Rodney King riots. In many ways, the claims that some of the rioters made about justice sound a lot like vigilantism. The 26 race riots of the Red Summer according to Race Riots and Resistance by Jan Voogd: 1. Millen, Georgia, Apr 13 2. Charleston, South Carolina, May 10 3. Milan, Georgia, May 25 4. New London, Connecticut, Jun 13 5. Bisbee, Arizona, Jul 3 6. Longview, Texas, Jul 10 7. Port Arthur, Texas, Jul 15 8. Washington, DC, Jul 19-23 9. Norfolk, Virginia, Jul 21 10. Chicago, Illinois, Jul 27- Aug 3 11. Syracuse, New York, Jul 31 12. Lexington, Nebraska, ~ Aug 5 13. Mulberry, Florida, Aug 18 14. New York City, Aug 21 15. Laurens County, Georgia, Aug 27-28 16. Baltimore, Maryland, mid-Aug, mid-Sep 17. Knoxville, Tennessee, Aug 30 18. New York City, Sep 16 19. Omaha, Nebraska, Sep 28 20. Elaine, Arkansas, Oct 1 21. Gary, Indiana, Oct 4-5 22. Donora, Pennsylvania, Oct 9 23. Hubbard, Ohio, Oct 10 24. Corbin, Kentucky, Oct 30 25. Wilmington, Delaware, Nov 13 26. Bogalusa, Louisiana, Nov 22 Sources [As an Amazon Associate I earn from qualifying purchases.] Rioting in America [https://amzn.to/3r5ryGb (https://amzn.to/3r5ryGb)] by Paul Gilje Race Riots and Resistance by Jan Voogd https://www.nationalgeographic.com/history/2020/06/2020-not-1968/ (https://www.nationalgeographic.com/history/2020/06/2020-not-1968/) https://www.trumanlibrary.gov/education/presidential-inquiries/harry-s-truman-and-civil-rights (https://www.trumanlibrary.gov/education/presidential-inquiries/harry-s-truman-and-civil-rights) On the Mobile Dry Dock Riot: https://calendar.eji.org/racial-injustice/may/25 (https://calendar.eji.org/racial-injustice/may/25) On the Harlem Riot of 1935 https://www.blackpast.org/african-american-history/harlem-riot-1935/ (https://www.blackpast.org/african-american-history/harlem-riot-1935/) https://www.britannica.com/topic/Harlem-race-riot-of-1935 (https://www.britannica.com/topic/Harlem-race-riot-of-1935) On the 1968 riots and the militarization of the police https://www.history.com/news/mlk-assassination-riots-occupation (https://www.history.com/news/mlk-assassination-riots-occupation) https://www.nationalgeographic.com/history/2020/06/how-will-protests-end-history-says-depends-government-response/ (https://www.nationalgeographic.com/history/2020/06/how-will-protests-end-history-says-depends-government-response/) https://www.startribune.com/riots-of-the-1960s-led-to-today-s-militarized-police/571265822/ (https://www.startribune.com/riots-of-the-1960s-led-to-today-s-militarized-police/571265822/) https://www.smithsonianmag.com/smithsonian-institution/1968-kerner-commission-got-it-right-nobody-listened-180968318/ (https://www.smithsonianmag.com/smithsonian-institution/1968-kerner-commission-got-it-right-nobody-listened-180968318/) Music Credit PeaceLoveSoul by Jeris (c) copyright 2012 Licensed under a Creative Commons Attribution (3.0) license....

Sheila in Bogalusa asks if she can receive a spousal benefit from her husband's Social Security record AND a check from her Social Security record at the same time. Mrs. Sims will be getting monthly check from her deceased husband's pension, and a lump sum for the last 15 years of missed payments. Can you retire if you only have $100,000 saved? Dustin in Houma has a great new job, so how does he go about fixing his disasterous credit history? http://www.WinningAtLife.com

I am so honored to introduce you to my guests, Dr. Benjamin Close (my Daddy!) and Dr. Gerald Foret, for episode 13 of the Talk with Tori podcast!Benjamin Close, MD, Allergy and Immunologist in Alexandria, LA and Gerald Foret, MD, Hospitalist in Bogalusa, LA discuss COVID-19 and answer questions about the vaccine. With anything new, there is always some fear and unknown when it comes to an illness or a vaccine. We hope this episode brings you more comfort and confidence in taking the vaccine by learning factual information as we work together to end this pandemic. This episode will provide insight into the COVID-19 vaccine and will address issues and concerns.Dr. Ben's and Dr. Gerald's top recent faves/must haves:The Winds of WarDesignated SurvivorTalk with Tori PodcastHey Fightin' PodcastElliptical Intervals Seltzer Waters

In this first message from a three part series entitled, Thankful?, Pastor Greg Whaley examines our natural desire to complain as a symptom of "unthankfulness" in our heart.  With tongue in cheek, we see five ways to be un-thankful.  Yet, when we see Philippians 2:14-15, those five ways to be un-thankful are unrolled into five ways to be thankful.  We learn that it is only possible to be un-thankful when our bibles closed!  This message was presented on Sunday, November 1, 2020. This podcast is a ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening!

Is life a sacred thing and if so, does that impact the way we live and move and have our being?  In today's teaching, Pastor Greg Whaley takes us to Psalm 139 to see how God sees life and how He is involved in it.  From this passage we learn there is no part of our lives on this earth that God doesn't care about.  We also learn there is no place we can go where God is not there.  And just as importantly, there is no time before or time after our earthly life when we are not in His heart.  This teaching was presented on Sunday, October 25, 2020.  This podcast is a ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening!

The book of Jonah does not end like a Disney movie.  It ends with Jonah messing up again, just like real life.  In this last sermon from the More Than Just a Fish Tale series, Pastor Greg takes us to Jonah 4 to learn the last lessons Jonah has to give in the book.  It is here we learn the work of God in and through us is never in vain.  We learn the whole of our lives is an object lesson in God's mercy.  We learn there is never a good reason to be angry about mercy.  Powerful truths!  This teaching was presented on Sunday, October 18, 2020.  This podcast is a ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening!

As we follow Jonah from disobedience to obedience, Pastor Greg takes us to Jonah 3, where Jonah finally does what He is supposed to do - He prophesies to Nineveh. Yet before Jonah can even make his way through a third of the city, Nineveh repents from the lowliest commoner to the King himself.  Through Jonah's experience we find that God was and always is a God of second chances, that the message belongs to God and obedience belongs to us, that there is no such thing as half repentance, and that God always recognizes true repentance and is faithful to save.  This teaching was presented on Sunday, October 11, 2020.  This podcast is a ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening!

What would you say to God if you were stuck in the belly of great fish for three days?  Would you be angry?  Would you be hysterical?  In Jonah 2, we find the prayer of Jonah from inside the belly of the great fish.  In this prayer, Jonah thanks God.  He remembers a worse fate.  He promises to fulfill His vow.  We can do the same when we are in a place or a time of stillness and yielding.  This teaching was presented on Sunday, October 4, 2020.  This podcast is a ministry of First Baptist Church of Bogalusa, LA.  Thank you for listening!

We often think our relationship with Jesus is a private affair that has no impact on others.  If we obey, if we do not obey, that is just between us and God.  In this sermon from the Jonah series, Pastor Greg takes us to Jonah 1 where even pagan boatmen are spiritually savvy enough to see that Jonah's disobedience has an out-sized effect on them.  Our disobedience can do the same to others around us.  This teaching was presented on Sunday, September 27, 2020.  This podcast is a ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening!

This teaching from Pastor Greg was presented as a part of a Lord's Supper service at First Baptist Church in Bogalusa, Louisiana, on Sunday, September 20, 2020.

As we follow Jonah in his attempted escape from God, God finds him in a big way on the sea route to Tarshish.  A storm batters the boat and, incredibly Jonah is asleep in the stern.  Pastor Greg helps us to see this as a picture of our spiritual condition when we are running from God.  How is that we are sleeping when there are so many storms around us?  We need to listen and follow the word of the Lord to us.  This teaching was presented on Sunday, September 13, 2020.  This podcast is a ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening!

We begin a new sermon series at First Baptist by going to the old testament book of Jonah.  Modern folks seem to have a complicated relationship with Jonah.  We tend to focus on the fish rather than the man.  Pastor Greg takes us to the opening verses of Jonah to help us see the foundation of disobedience that sets in motion all that is to come for Jonah.  Like Jonah, we would rather take the long road to Tarshish than to the short road to Nineveh.  But the yoke of obedience is always lighter than than the boulder of disobedience.  This teaching was presented on Sunday, August 6, 2020.  This podcast is a ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening!

Childhood obesity: The Bogalusa Heart Study

In this last sermon from the Songs for the Journey series, Pastor Greg takes us to the last book in our scriptures.  In Revelation 15, we see the inhabitants of heaven singing between two very difficult moments - the great winepress of the wrath of God and the bowl judgments of Revelation 16.  What song can we sing when we are caught between a rock and hard place?  The song that is sung in heaven, no matter how bad it seems things are getting is always, "God is Great!" This teaching was presented on Sunday, August 30, 2020.  This podcast is a ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening!

In this bonus "Song for the Journey" Pastor Greg Whaley takes us to the monumental passage of scripture found in Philippians 2:5-11.  Jesus is not just Lord because He is one with the Father.  He is that, but this passage tells us He is Lord because He is willing to lay aside the God nature in order to take up the form of man.  As a man, He follows the will of His Father perfectly to the point of an death on the cross so that all men may know eternal life.  There is no other Lord like that!  This teaching was presented on Sunday, August 23, 2020.  This podcast is a ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening!

To sing of a King of Kings seem to be an outdated song for modern ears.  We do not have kings, at least not in any real sense.  Yet our hearts know we are made for a kingdom.  And the only King worthy of our total allegiance is Jesus Christ.  He is the one who holds and offers immortality.  He, Himself, is the access to an unapproachable God of the cosmos.  When we sing the song of the King of Kings, we are declaring to the world our faith - that which holds us together in the brokenness of the worldly empire.  This teaching was presented on Sunday, August 23, 2020.  This podcast is a ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening!

What is good and pleasant in the world?  Psalm 133 says it is when brothers and sisters dwell together in precious unity.  In an age that celebrates polarization, a song of precious unity is sorely needed. Pastor Greg Whaley shows us how to sing its verses from Psalm 130.  Unity in the faith is a light to truth in a darkened world.  Unity is a picture of the abundance of God's love toward His children.  Unity is the fecundity of heaven on a barren world.  This teaching was preached on Sunday, August 9, 2020.  This podcast is a ministry of First Baptist Church of Bogalusa, LA.  Thank you for listening.

The next song we are learning from our study of the Psalms of Ascent is the song of pardon.  Using Psalm 130 as the focus text, Pastor Greg Whaley reminds us that rather than singing the empty virtues of our fallen selves, we are to be singing a song of the goodness of our forgiving God in Jesus Christ.  Forgiveness is available to all and those who know how greatly they are forgiven live deeply in the kingdom of God! This message was preached on Sunday, August 2, 2020.  This podcast is a ministry of First Baptist Church of Bogalusa, LA.  Thank you for listening.

In a world that almost demands one "make something of themselves" in order to be prosperous, Psalm 127 comes as a refreshing corrective.  Pastor Greg Whaley continues the Songs for the Journey series by reminding us from the scripture that apart from God, all our work is vanity.  God loves to give to His children and He measures prosperity in the world by our godly investments in our families.  This teaching was presented on Sunday, July 26, 2020.  This podcast is a ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening!

Psalm 126 is a joyful and exuberant song of praise to the Lord for His goodness.  In this teaching, Pastor Greg encourages us to learn the song of praise that we can always sing no matter what the circumstances are around us.  The follower of Jesus can always sing the song of praise for the great, overwhelming, cosmos-shaking, sin-rending, saving love of God toward us in Christ Jesus our Lord. It is too good not to be true!  This teaching was presented on Sunday, July 19, 2020.  This podcast is a ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening.

What is that makes the believer different from the world?  It is the Jesus who is present with them every moment of every day.  In this next sermon from the Songs for the Journey series, Pastor Greg Whaley explores Psalm 125 to teach us a song of presence to sing in the undulating world in which we live.  Jesus' presence is an anchor for the soul, a guide for righteousness, and the giver of full and free life.  This message was preached on Sunday, July 13, 2020.  This podcast is a ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening!

In this next sermon in the series, Songs for the Journey, Pastor Greg takes us to Psalm 124 in order that we might learn to sing the song of power.  The Lord is on our side!  When we doubt this, it is because we are looking to the wrong thing for our source of power.  Without Jesus, we would truly be undone.  So, we bless Him for His mighty hand in our lives.  This teaching was presented on Sunday, June 28, 2020.  This podcast is a ministry of First Baptist Church of Bogalusa, LA.  Thank you for listening!

We review Steve in Bogalusa who has a questions about his status with Social Security's retirement benefit, spousal rules, and disability help. Are retroactive Social Security benefits on hold? Gregory has the report of some applications for Social Security retroactive benefits being denied. The IRS confirms there's no Required Minimum Distribution for any IRA in 2020, including inherited IRAs. John on the Northshore asks about the situation with the Required Minimum Distribution with his iherited IRA. You have until July 15 this year to make an IRA contribution for 2019. Dwayne Stein of Mortgage Gumbo joins us in reveiwing Brenda from Mandeville who is thinking about refinancing her home, because of lower rates. Dwayne explains how seller-paid closing costs can happen. Rick in Luling wants to get in the rental business, but not have to devote much time to it. Gregory and Dwayne agree he should think about getting multiple units and use a property manager. Jonathan in Pontchatoula was laid off by the Coronavirus lockdown, and took a forebearance. Gregory and Dwayne talk him through his options. John in Pascagoula asks Gregory about taking advantage of the extended deadline for 2019 IRA contributions, and maybe do a Roth conversion as well? Is the Required Minimum Distributions on a DROP? Eddie in Slidell has a firefighters' DROP account, and asks Gregory if the waived RMDs for 2020 count for him. Robert in Gautier wants to get the most out of Social Security using the spousal rules. Which work record gets turned on first? http://www.WinningAtLife.com

We sing about what we believe is important.  During these difficult times, there are lots of thoughts and words that come from anxiety and fear.  In the psalms of ascent, we see songs of faith and trust.  In this message, Pastor Greg teaches from Psalm 123 to remind us that we are to be people of prayer for whom prayer is not an accident or a last resort, but rather is the chief way we hear and respond to the world around us.  And so, we pray for great things from our Great God. We pray in dependence upon Him in persistence.  We pray in the humility befitting our place and His holiness.  This message was taught on Sunday, June 21, 2020.  This podcast is a part of the teaching ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening!

What worries our hearts in times of great transition is often manifested by the words we speak or figuratively, the songs we sing to the world and to ourselves.  The ancient Israelites had a selection of songs they would sing as they made their way to Jerusalem for festival worship.  These psalms serve as the basis for a new sermon series from Pastor Greg entitled Songs for the Journey. In this teaching, Pastor Greg takes us to Psalm 121 to learn a song of God's provision for us in our time of need.  This teaching was presented at First Baptist Church on Sunday, June 7, 2020.  This podcast is a ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening!

In this last sermon from the God Our Shelter series, Pastor Greg Whaley takes us to Hebrews 2 for a message entitled "Incarnation in an Instant World." When crises come, we would rather shrink away from the broken world around us rather than entering into the brokenness and sharing the Christ life in us with the world.  And yet, entering in (living incarnationally) is and always has been the will of the Father.  Jesus did not withdraw from becoming like us in His Incarnation and He calls each of us to live in the same way.  Where the mission meets the needs is the faith-filled soul.  This message was delivered on Sunday, May 31, 2020.  This podcast is a ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening!

From the God Our Shelter series, Pastor Greg Whaley takes us to Psalm 96 for this message entitled, "Beauty in a Blinded World."  We are called to live beautifully even in the midst of crisis because our God is beautiful beyond description.  Even when things are not going the way we planned, God is still worthy of beautiful worship. Who He is, what He does is always beautiful and inspires in those who love Him beautiful worship and beautiful lives.  And one of the most beautiful things about Him is that we are all the same before Him.  This teaching was shared on Sunday, May 24, 2020.  This podcast is a ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening!

As a part of the God Our Shelter sermon series, Pastor Greg Whaley returns to James 1 for this week's teaching entitled "Blooming in a Beat Up World."  When crises come, we are often thrown out of our comfort zone.  Crises can put us to the test, they can bring us low.  In those times, we can remember that it is the lowly who are best able to hear the good news of Jesus!  When trying times come, as they inevitably do, blessed are the steadfast who stand the test before them.  They are the ones who can receive the promises of God's heart.  This teaching was presented on Sunday, May 17, 2020.  This podcast is a ministry of First Baptist Church of Bogalusa, La.  Thank you for listening!

Tonya B. Ratliff is an apostolic reformer prophet, author, entrepreneur, retired educator, purpose coach, spiritual mentor, and life strategist. She is a native of Bogalusa, La. She resides in Ponchatoula, La. With her husband Allan and son, Nicholas. She has been given a mandate by God to reach hurting women through prayer, ministering the word of God; writing daily inspirations and mentoring. Her greatest fulfillment in life comes through helping young women tap into their God-given destiny and purpose. She was Anointed by God for such times as this. Tonya is the Founder of W.A.M. (Women Advancing in Ministry) which meets bi-weekly in her hometown to train and equip women leaders in Ministry. In 2017, Tonya instituted her first Master Class entitled (Queen Work Your Gift) which empowers women to walk into their ordained purpose in ministry or in business. Earlier this year she published her Fourth Book, called(Coffee With The King) which is a daily devotional which uses every day practical scenarios to minister to the believer as well as the non-believer. “Coffee with My King,” is a household brand which will transform the lives of millions on a weekly basis through the syndicate talk show (Wake Up with the King.) On January 6, 2018; The Redemption Center of Bogalusa, La; was launched where Pastor Allan and Tonya Ratliff are the Overseers. Tonya is better known as “The Purpose Midwife.” Armed with her microphone in her right hand and her pen in the left hand, she is ready to set the world ablaze for the Kingdom.

In the next installment of Pastor Greg's sermon series "God Our Shelter," we look again to the first chapter of James.  With so many trembling voices speaking around us, we need the truth of God to speak most loudly into lives.  The good news is when we ask God for wisdom, He loves to give out of His abundance generously!  In Christ, we are able to overcome doubt and be single-mindedly set on His living His life in and through us.  Double-mindedness makes us unstable, but a soul devoted to Jesus walks with purpose and truth when the world around us may be shaking. This message was shared on Sunday, May 3, 2020.  This podcast is a part of the teaching ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening! 

In these uncertain days, the world is frantic.  All the news and all the inputs in our modern lives makes us even more frantic. What is the answer for the Christian to live in faith in days like these.  In this podcast, Pastor Greg takes us to James chapter one, where James invites us to not just be listeners but doers of the word of God. Obedience to what the Lord is saying in our lives helps us to rest in faith during frantic times.  This message was shared on Sunday, April 26, 2020.  This podcast is a part of the teaching ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening! 

Pastor Greg begins a new sermon series after Easter entitled "God Our Shelter".  This week, Pastor Greg takes us to Romans 5 where the apostle Paul describes tribulations.  Problems come no matter who you are, but for the one who trusts in Christs, tribulations work to produce perseverance, and perseverance leads to proven character. God can work these sufferings we endure into blessed hope in Him, and His hope never disappoints.  This message was shared on Sunday, April 19, 2020.  This podcast is a part of the teaching ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening! 

In the last episode of our Free Indeed sermon series, Pastor Greg brings us to Galatians 6 on this Resurrection Sunday. These last words of Galatians truthfully remind all believers the law doesn't save, Jesus does, and by His life, death, and resurrection, we are free from the law, alive in grace, and peaceful in truth.  This message was shared on Sunday, April 12, 2020.  This podcast is a part of the teaching ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening! 

What is the freedom which God births in us through Jesus Christ?  The grandest picture of it is contained in the statement, "You shall love your neighbors as yourself."  In this teaching from Galatians 5:13-15, Pastor Greg reminds us how it easy it is to love ourselves.  The work of Christ's spirit in one's life draws us to loving others as easily, as fully, and as well as we love ourselves.  In this is the whole law and the prophets.  This message was shared on Sunday, March 22, 2020.  This podcast is a part of the teaching ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening!

Continuing in the Free Indeed sermon series, Pastor Greg returns to Galatians to explore Galatians 5:1-5.  While many voices tell us freedom is the ability to do what we want, true freedom in Christ is the freedom to do and be what God wants.  This passage shows us true freedom is Jesus living His life in us.  Slavery is only doing what you what.  Faith is the hopeful expectation of God's kingdom to come in our hearts and in the world.  This message was shared on Sunday, March 15, 2020.  This podcast is a part of the teaching ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening! 

Pastor Greg's journey through Galatians is entitled Free Indeed.  In this teaching, Pastor Greg takes us to Galatians 4:1-9.  As believers, we are heirs with Christ Jesus, adopted into God's family through faith.  True adoption means we receive the Spirit of God, we may cry ABBA, Father in a personal relationship with Him, and our inheritance is the child's share, not the slave, with Jesus Christ our brother.  This message was shared on Sunday, March 1, 2020.  This podcast is a part of the teaching ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening!

If we are saved by grace through faith, then why does the Law exist?  To answer this question, Pastor Greg Whaley takes us to Galatians 3:19-29 where the apostle Paul tells us the scripture has shut up all of us under sin, that the promise made by faith in Jesus Christ might be given to those who believe.  The law reminds us we cannot save ourselves and thereby points us to our need for a Savior.  This message was shared on Sunday, February 23, 2020.  This podcast is a part of the teaching ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening!

Advocate To Host Acadiana Economic Outlook Summit on January 15, 2020 Adam Daigle, Business Editor of the Acadiana Advocate, joined the newspaper in August 2018 as the organization ramped up its daily business coverage online and in print. Its daily email business newsletter has consistently continued to add online subscribers as it feeds the need for local, up-to-date business news. On this Discover Lafayette podcast, Adam Daigle joined Jan Swift to discuss 2019 business news, the Advocate's upcoming January 15, 2020, Economic Outlook Summit to be held at the Acadiana Center for the Arts, and his love for Louisiana and why he moved back when the opportunity to work with The Advocate allowed him to be closer to family. The Advocate is Louisiana's largest newspaper and has experienced tremendous growth as it recently acquired the Times-Picayune in New Orleans and brought on extensive talent from other local newspapers. Adam shared that he feels The Advocate has "assembled an all-star team" that delivers the "best of the best" in news coverage. A 1995 graduate of Southeastern Louisiana University in Journalism and a native of Gonzales, Adam previously worked for the Tulsa World in Oklahoma for 12 years before returning to his home state of Louisiana. Adam served as a sports editor and later executive editor of The Lion's Roar, Southeastern's student newspaper. He and his wife, Shelly, have four children and are members of Asbury United Methodist Church in Lafayette. 2019 was a time of economic resurgence in Lafayette Parish, as retail sales continued to climb at a pace that may equal the all-time high previously reached in 2014 experienced prior to the oil and gas downturn which severely dampened the local economy. The Lafayette Regional Airport has counted a record number of travelers, also rivaling 2014 prior to the downturn. Real estate sales overall in Acadiana are breaking records, with St. Landry and Iberia Parishes doing exceptionally well. Job growth is steady, with a 4.3% unemployment rate, a sign that Lafayette's economy has recovered and stabilized. The biggest news of 2019 has no doubt been that of Chris Meaux's startup restaurant delivery service, Waitr, which has experienced extreme highs and lows since it went public early in its development, then acquired Bite Squad out of Minneapolis which brought on extreme debt and a consequent dramatic fall in its stock price. 2019's biggest business news story involved Waitr's dramatic fall in value as it acquired Bite Squad, had massive layoffs, and changed fee structures imposed upon its restaurant partners. Other compelling 2019 business news came late in the year and involved mergers of two solid companies based in Lafayette: (1) Lafayette General Health's merger with Oschner Health System; and (2) IBERIABANK's planned merger with First Horizon out of Memphis, TN which will enable more investment in advanced technologies and innovate practices. Both deals involve mergers of equals, which are anticipated to allow strong business growth locally in the Lafayette market and beyond. Lafayette General Health System set to merge with Oschner Health System. Photo by Leslie Westbrook.IBERIABANK's planned merger with First Horizon of Memphis. Photo by Scott Clause. Health and Information Technology job markets are hot in Acadiana, especially in Lafayette Parish, and attract young, educated workers needed to combat the out-migration of Louisiana's talent. While Adam Daigle recently wrote a series of articles on the out-migration of our under 34-year old educated populace, the majority of Louisiana towns that are losing talent are situated in North Louisiana and rural areas of the state. Adam lamented that some small towns' only source of revenue was their water department and cited examples such as Bogalusa and Clarence who may be going bankrupt due to the loss of the young people and businesses who are leaving for bigger cities and opportuni...

343. Part 2 of our interview with Deb Jannerson. Deb is an award-winning author of bildungsroman lit, queer romance, and poetry. Her debut YA book, The Women of Dauphine, is now available from NineStar Press. Her acclaimed poetry collections, Thanks for Nothing (Finishing Line Press, 2018) and Rabbit Rabbit (Finishing Line Press, 2016), are available wherever books are sold. More than one hundred of her pieces have appeared in anthologies and magazines, including viral articles for Bitch. She lives in New Orleans with her wife and pets. This week in Louisiana history. December 14, 1814. First clash with British in War of 1812 on Lake Borgne. This week in New Orleans history. December 14, 1935. Holy bat signal, Batman! The Sky Projector Comes to Town. We're Glad it Wasn't the Death Ray. On December 14, 1935 at 5:30 p.m., a $60,000 Sky Projector ("the only apparatus of its kind in the world" according to local publications) shot images of Santa Claus at the North Pole as well as Christmas text greetings (called "Sky Grams") onto the clouds from the front of the D.H. Holmes building on Canal Street. This week in Louisiana. Christmas in the Park in Bogalusa December 1-25, 2019 6:00 pm - 9:00 pm Cassidy Park 625 Willis Ave, Bogalusa, LA 70427 985-732-6200 Celebrate the Magic of Christmas as you stroll through Bogalusa's forested city park and view a manger scene that includes over 45,000 of the over one million colored lights and life size figures. Santa Claus visits the park every night and wants your child to remember their visit with a special photograph of them together. The park's half-mile circular road is closed to traffic so you and your family can enjoy the beauty of over one million colored lights and the music as you stroll at your own pace past the cajun village and the lake filled with jumping fish, an alligator, turtles, and a swan. Christmas in the Park brings families together with the magical celebration of lights. Dates of Operation: Nov 28-Dec 1; Dec 6-8; Dec 13-25 Drive thru: 6-7 pm Walk thru: 7-9 pm Trolley for those who need it. Drive thru in case of rain. $4.00 Adults. $1.00 Sturdents. $8.00 per car. Postcards from Louisiana. Funky 544.Listen on iTunesListen on StitcherListen on Google Play.Listen on Spotify.Listen on TuneIn.The Louisiana Anthology Home Page.Like us on Facebook.

In a new sermon series, Pastor Greg takes us to Romans 12 to hear Paul's words about gifts of the Spirit.  The first spiritual gift listed is prophecy.  While many images might pop into our heads when we think of prophecy, Pastor Greg helps us understand prophecy as the perfect revelation at the proper time for the sole purpose of the Father.  Like all the spiritual gifts, prophecy is not a gift given for the use of the recipient, but is rather a gift given for the use of the Giver.  This message was shared on Sunday, October 27, 2019.  This podcast is a part of the teaching ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening!

In Isaiah 54, the great prophet speaks of the restoration of the city of Jerusalem after the devastation of conquest and war.  Pastor Greg uses this passage as a symbol of God's promise of restoration to all those storm weary children of God who pass through tempest times.  A true renewal of the soul awaits those who rest in God in their tempest times.  This message was preached on Sunday, October 20, 2019, by Pastor Greg Whaley. This recording is a part of the teaching ministry of First Baptist Church of Bogalusa, Louisiana.

As the Israelites made the long and difficult trek to the Temple for worship, they sang songs.  One of those songs is Psalm 121.  In this message, Pastor Greg explores this passage as a song we might sing when we are walking through the long and difficult road of our tempest times.  This message was preached on Sunday, October 13, 2019, by Pastor Greg Whaley. This recording is a part of the teaching ministry of First Baptist Church of Bogalusa, Louisiana.

The hardest thing to find in the midst of tempest times is joy.  And yet, no matter what we are going through, we can always give thanks for the blessed hope we have in Christ Jesus.  In this message, Pastor Greg takes us to 1 Peter 1 to hear the apostle Paul tell how the mercy of God is an anchor in the storm.  This message was preached on Sunday, September 22, 2019, by Pastor Greg Whaley. This recording is a part of the teaching ministry of First Baptist Church of Bogalusa, Louisiana.

Pastor Greg continues to examine verses that speak to the tempest times of our lives.  In this message, we explore 2 Corinthians 4:16-18 where the apostle Paul compares the worldly definition of our tempests and the spiritual definition of our tempests that we might understand more fully God at work when upheaval comes.  Meaningless suffering is a terrible thing to behold, let alone to go through.  For the follower of Jesus, suffering is never meaningless, but rather produces in us the glorious and mysterious eternal weight of glory which is far beyond comparison to our earthly tempest.  This message was preached on Sunday, September 9, 2019, by Pastor Greg Whaley.  This recording is a part of the teaching ministry of First Baptist Church of Bogalusa, Louisiana.

In the tempests, we seek shelters, if the tempest be a storm in the sky or a storm in our lives.  Psalm 46 reminds us of the true shelter of refuge found in God alone.  In this teaching, Pastor Greg calls us to fall on Jesus in our tempest times as the only true refuge from the storms of life.  This message was preached on Sunday, August 25, 2019, by Pastor Greg Whaley. This recording is a part of the teaching ministry of First Baptist Church of Bogalusa, Louisiana.

Episode thirty-four of A History of Rock Music in Five Hundred Songs looks at “Tutti Frutti” by Little Richard, and at the rather more family-unfriendly subject the song was originally about. Click the full post to read liner notes, links to more information, and a transcript of the episode. (Apologies that this one is a day late — health problems kept me from getting the edit finished). Also, a reminder for those who didn’t see the previous post — my patreon backers are now getting ten-minute mini-episodes every week, and the first one is up, and I guested on Jaffa Cake Jukebox this week, talking about the UK top twenty for January 18 1957. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Most of the information used here comes from The Life and Times of Little Richard: The Authorised Biography by Charles White, which is to all intents and purposes Richard’s autobiography, as much of the text is in his own words. A warning for those who might be considering buying this though — it contains descriptions of his abuse as a child, and is also full of internalised homo- bi- and trans-phobia. This collection contains everything Richard recorded before 1962, from his early blues singles through to his gospel albums from after he temporarily gave up rock and roll for the church. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There are a handful of musicians in the history of rock music who seem like true originals. You can always trace their influences, of course, but when you come across one of them, no matter how clearly you can see who they were copying and who they were inspired by, you still just respond to them as something new under the sun. And of all the classic musicians of rock and roll, probably nobody epitomises that more than Little Richard. Nobody before him sounded like he did, and while many later tried — everyone from Captain Beefheart to Paul McCartney — nobody ever quite sounded like him later. And there are good reasons for that, because Little Richard was — and still is — someone who is quite unlike anyone else. [Excerpt: Little Richard, “Tutti Frutti”, just the opening phrase] This episode will be the first time we see queer culture becoming a major part of the rock and roll story — we’ve dealt with possibly-LGBT people before, of course, with Big Mama Thornton and Sister Rosetta Tharpe, and with Johnny Ray in the Patreon-only episode about him, but this is the first time that an expression of sexuality has become part and parcel of the music itself, to the extent that we have to discuss it. And here, again, I have to point out that I am going to get things very wrong when I’m talking about Little Richard. I am a cis straight white man in Britain in the twenty-first century. Little Richard is a queer black man from the USA, and we’re talking about the middle of the twentieth century. I’m fairly familiar with current British LGBT+ culture, but even that is as an outsider. I am trying, always, to be completely fair and to never say anything that harms a marginalised group, but if I do so inadvertantly, I apologise. When I say he’s queer, I’m using the word not in its sense as a slur, but in the sense of an umbrella term for someone whose sexuality and gender identity are too complex to reduce to a single label, because he has at various times defined himself as gay, but he has also had relationships with women, and because from reading his autobiography there are so many passages where he talks about wishing he had been born a woman that it may well be that had he been born fifty years later he would have defined himself as a bisexual trans woman rather than a gay man. I will still, though, use “he” and “him” pronouns for him in this and future episodes, because those are the pronouns he uses himself. Here we’re again going to see something we saw with Rosetta Tharpe, but on a much grander scale — the pull between the secular and the divine. You see, as well as being some variety of queer, Little Richard is also a very, very, religious man, and a believer in a specific variety of fundamentalist Christianity that believes that any kind of sexuality or gender identity other than monogamous cis heterosexual is evil and sinful and the work of the Devil. He believes this very deeply and has at many times tried to live his life by this, and does so now. I, to put it as mildly as possible, disagree. But to understand the man and his music at all, you have to at least understand that this is the case. He has swung wildly between being almost the literal embodiment of the phrase “sex and drugs and rock and roll” and being a preacher who claims that homosexuality, bisexuality, and being trans are all works of the literal Devil — several times he’s gone from one to the other. As of 2017, and the last public interview I’ve seen with him, he has once again renounced rock and roll and same-sex relationships. I hope that he’s happy in his current situation. But at the time we’re talking about, he was a young person, and very much engaged in those things. [Excerpt: Little Richard, “Tutti Frutti”, just the opening phrase] Richard Penniman was the third of twelve children, born to parents who had met at a Pentecostal holiness meeting when they were thirteen and married when they were fourteen. Of all the children, Richard was the one who was most likely to cause trouble. He had a habit of playing practical jokes involving his own faeces — wrapping them up and giving them as presents to old ladies, or putting them in jars in the pantry for his mother to find. But he was also bullied terribly as a child, because he was disabled. One of his legs was significantly shorter than the other, his head was disproportionately large, and his eyes were different sizes. He was also subjected to homophobic abuse from a very early age, because the gait with which he walked because of his legs was vaguely mincing. At the age of fourteen, he decided to leave school and become a performer. He started out by touring with a snake-oil salesman. Snake oil is a traditional Chinese medicine, about which there have been claims made for centuries, and those claims might well be true. But snake oil in the US was usually a mixture of turpentine, tallow, camphor, and capsaicin. It wasn’t much different to Vicks’ VaporRub and similar substances, but it was sold as a cure-all for serious illnesses. Snake-oil salesmen would travel from town to town selling their placebo, and they would have entertainers performing with them in order to draw crowds. The young Richard Penniman travelled with “Doc Hudson”, and would sing the one non-religious song he knew, “Caldonia” by Louis Jordan: [Excerpt: Louis Jordan, “Caldonia”] The yelps and hiccups in Jordan’s vocals on that song would become a massive part of Richard’s own vocal style. Richard soon left the medicine show, and started touring with a band, B. Brown and his orchestra, and it was while he was touring with that band that he grew his hair into the huge pompadour that would later become a trademark, and he also got the name “Little Richard”. However, all the musicians in the band were older than him, so he moved on again to another touring show, and another, and another. In many of these shows, he would perform as a female impersonator, which started when one of the women in one of the shows took sick and Richard had to quickly cover for her by putting on her costume, but soon he was performing in shows that were mostly drag acts, performing to a largely gay crowd. It was while he was performing in these shows that he met the first of his two biggest influences. Billy Wright, like Richard, had been a female impersonator for a while too. Like Richard, he had a pompadour haircut, and he was a fairly major blues star in the period from 1949 through 1951, being one of the first blues singers to sing with gospel-inspired mannerisms: [Excerpt: Billy Wright, “Married Woman’s Boogie”] 5) Richard became something of a Billy Wright wannabe, and started incorporating parts of Wright’s style into his performances. He also learned that Wright was using makeup on stage — Pancake 31 — and started applying that same makeup to his own skin, something he would continue to do throughout his performing career. Wright introduced Richard to Zenas Sears, who was one of the many white DJs all across America who were starting to become successful by playing black music and speaking in approximations of African-American Vernacular English — people like Alan Freed and Dewey Phillips. Sears had connections with RCA Records, and impressed by Richard’s talent, he got them to sign him. Richard’s first single was called “Every Hour”, and was very much a Billy Wright imitation: [Excerpt: Little Richard, “Every Hour”] It was so close to Wright’s style, in fact, that Wright soon recorded his own knock-off of Richard’s song, “Every Evening”. [Excerpt: Billy Wright, “Every Evening”] At this point Richard was solely a singer — he hadn’t yet started to play an instrument to accompany himself. That changed when he met Esquerita. Esquerita was apparently born Stephen Quincey Reeder, but he was known to everyone as “Eskew” Reeder, after his initials, and that then became Esquerita, partly as a pun on the word “excreta”. Esquerita was another gay black R&B singer with a massive pompadour and a moustache. If Little Richard at this stage looked like a caricature of Billy Wright, Esquerita looked like a caricature of Little Richard. His hair was even bigger, he was even more flamboyant, and when he sang, he screamed even louder. And Esquerita also played the piano. Richard — who has never been unwilling to acknowledge the immense debt he owed to his inspirations — has said for years that Esquerita was the person who taught him how to play the piano, and that not only was his piano-playing style a copy of Esquerita’s, Esquerita was better. It’s hard to tell for sure exactly how much influence Esquerita actually had on Richard’s piano playing, because Esquerita himself didn’t make any records until after Richard did, at which point he was signed to his own record deal to be basically a Little Richard clone, but the records he did make certainly show a remarkable resemblance to Richard’s later style: [Excerpt: Esquerita: “Believe Me When I Say Rock And Roll Is Here To Stay”] Richard soon learned to play piano, and he was seen by Johnny Otis, who was impressed. Otis said: “I see this outrageous person, good-looking and very effeminate, with a big pompadour. He started singing and he was so good. I loved it. He reminded me of Dinah Washington. He did a few things, then he got on the floor. I think he even did a split, though I could be wrong about that. I remember it as being just beautiful, bizarre, and exotic, and when he got through he remarked, “This is Little Richard, King of the Blues,” and then he added, “And the Queen, too!” I knew I liked him then.” Otis recommended Richard to Don Robey, of Peacock Records, and Robey signed Richard and his band the Tempo Toppers. In early 1953, with none of his recordings for RCA having done anything, Little Richard and the Tempo Toppers went into the studio with another group, the Deuces of Rhythm, to record four tracks, issued as two singles: [Excerpt: Little Richard and the Tempo Toppers with the Deuces of Rhythm: “Ain’t That Good News”] None of these singles had any success, and Richard was *not* getting on very well at all with Don Robey. Robey was not the most respectful of people, and Richard let everyone know how badly he thought Robey treated his artists. Robey responded by beating Richard up so badly that he got a hernia which hurt for years and necessitated an operation. Richard would record one more session for Peacock, at the end of the year, when Don Robey gave him to Johnny Otis to handle. Otis took his own band into the studio with Richard, and the four songs they recorded at that session went unreleased at the time, but included a version of “Directly From My Heart To You”, a song Richard would soon rerecord, and another song called “Little Richard’s Boogie”: [Excerpt: Little Richard with Johnny Otis and his Orchestra, “Little Richard’s Boogie”] Nobody was very happy with the recordings, and Richard was dropped by Peacock. He was also, around the same time, made to move away from Macon, Georgia, where he lived, after being arrested for “lewd conduct” — what amounted to consensual voyeurism. And the Tempo Toppers had split up. Richard had been dumped by two record labels, his father had died recently, he had no band, and he wasn’t allowed to live in his home town any more. Things seemed pretty low. But before he’d moved away, Richard had met Lloyd Price, and Price had suggested that Richard send a demo tape in to Specialty Records, Price’s label. The tape lay unlistened at Specialty for months, and it was only because of Richard’s constant pestering for them to listen to it that Bumps Blackwell, who was then in charge of A&R at Specialty, eventually got round to listening to it. This was an enormous piece of good fortune, in a way that neither of them fully realised at the time. Blackwell had been a longtime friend and colleague of Ray Charles. When Charles’ gospel-influenced new sound had started making waves on the charts, Art Rupe, Specialty’s owner, had asked Blackwell to find him a gospel-sounding R&B singer of his own to compete with Ray Charles. Blackwell listened to the tape, which contained two songs, one of which was an early version of “Wonderin'”, and he could tell this was someone with as much gospel in his voice as Ray Charles had: [Excerpt: Little Richard, “Wonderin'”] Blackwell and Rupe made an agreement with Don Robey to buy out his contract for six hundred dollars — one gets the impression that Robey would have paid *them* six hundred dollars to get rid of Richard had they asked him. They knew that Richard liked the music of Fats Domino, and so they decided to hold their first session at Cosimo Matassa’s studio, where Domino recorded, and with the same session musicians that Domino used. Blackwell also brought in two great New Orleans piano players, Huey “Piano” Smith and James Booker, both of whom were players in the same style as Domino. You can hear Smith, for example, on his hit “The Rockin’ Pneumonia and the Boogie-Woogie Flu” from a couple of years later: [Excerpt: Huey “Piano” Smith, “The Rockin’ Pneumonia and the Boogie-Woogie Flu”] All of these people were veterans of sessions either for Domino or for artists who had worked in Domino’s style, like Lloyd Price or Smiley Lewis. The only difference here was that it would be Bumps Blackwell who did the arrangement and production, rather than Dave Bartholomew like on Domino’s records. However, the session didn’t go well at all. Blackwell had heard that Richard was an astounding live act, but he was just doing nothing in the studio. As Blackwell later put it “If you look like Tarzan and sound like Mickey Mouse it just doesn’t work out.” They did record some usable material — “Wonderin'”, which we heard before, came out OK, and they recorded “I’m Just a Lonely, Lonely, Guy” by a young songwriter called Dorothy LaBostrie, which seemed to go OK. They also cut a decent version of “Directly From My Heart to You”, a song which Richard had previously recorded with Johnny Otis: [Excerpt: Little RIchard, “Directly From My Heart to You”] So they had a couple of usable songs, but usable was about all you could say for them. They didn’t have anything that would make an impact, nothing that would live up to Richard’s potential. So Blackwell called a break, and they headed off to get themselves something to eat, at the Dew Drop Inn. And something happened there that would change Little RIchard’s career forever. The Dew Drop Inn had a piano, and it had an audience that Little Richard could show off in front of. He went over to the piano, started hammering the keys, and screamed out: [Excerpt: Little Richard, “Tutti Frutti”, just the opening phrase] On hearing Richard sing the song he performed then, Bumps Blackwell knew two things pretty much instantly. The first was that that song would definitely be a hit if he could get it released. And the second was that there was no way on Earth that he could possibly put it out. “Tutti Frutti” started as a song that Richard sang more or less as a joke. There is a whole undercurrent of R&B in the fifties which has very, very, sexually explicit lyrics, and I wish I was able to play some of those songs on this podcast without getting it dumped into the adult-only section on iTunes, because some of them are wonderful, and others are hilarious. “Tutti Frutti” in its original form was part of this undercurrent, and had lyrics that were clearly not broadcastable — “A wop bop a loo mop, a good goddam/Tutti Frutti, good booty/If it don’t fit, don’t force it, you can grease it, make it easy”. But Bumps Blackwell thought that there was *something* that could be made into a hit there. Handily, they had a songwriter on hand. Dorothy LaBostrie was a young woman he knew who had been trying to write songs, but who didn’t understand that songs had to have different melodies — all her lyrics were written to the melody of the same song, Dinah Washington’s “Blowtop Blues”: [Excerpt: Dinah Washington, “Blowtop Blues”] But her lyrics had showed promise, and so Blackwell had agreed to record one of her songs, “I’m Just a Lonely Lonely Guy”, with Richard. LaBostrie had been hanging round the studio to see how her song sounded when it was recorded, so Blackwell asked her to do a last-minute rewrite on “Tutti Frutti”, in the hope of getting something salvageable out of what had been a depressing session. But there was still a problem — Richard, not normally a man overly known for his modesty, became embarrassed at singing his song to the young woman. Blackwell explained to him that he really didn’t have much choice, and Richard eventually agreed to sing it to her — but only if he was turned to face the wall, so he couldn’t see this innocent-looking young woman’s face. (I should note here that both Richard and LaBostrie have told different stories about this over the years — both have claimed on several occasions that they were the sole author of the song and that the other didn’t deserve any credit at all. But this is the story as it was told by others who were there.) LaBostrie’s new lyrics were rudimentary at best. “I got a girl named Sue, she knows just what to do”. But they fit the metre, they weren’t about anal sex, and so they were going to be the new lyrics. The session was running late at this point, and when LaBostrie had the lyrics finished there was only fifteen minutes to go. It didn’t matter that the lyrics were trite. What mattered was that they got a track cut to salvage the session. Blackwell didn’t have time to teach the piano players the song, so he got Richard to play the piano himself. They cut the finished track in three takes, and Blackwell went back to California happy he at last had a hit: [Excerpt: Little Richard, “Tutti Frutti”] “Tutti Frutti” was, indeed, a massive hit. It went to number twenty-one on the pop charts. But… you know what comes next. There was an inept white cover version, this time by Pat Boone. [excerpt: Pat Boone, “Tutti Frutti”] Now, notice that there, Boone changes the lyrics. In Richard’s version, after all, he seems interested in both Sue and Daisy. A good Christian boy like Pat Boone couldn’t be heard singing about such immorality. That one-line change (and a couple of other spot changes to individual words to make things into full sentences) seems to be why a songwriter called Joe Lubin is also credited for the song. Getting a third of a song like “Tutti Frutti” for that little work sounds like a pretty good deal, at least for Lubin, if not for Richard. Another way in which Richard got less than he deserved was that the publishing was owned by a company owned by Art Rupe. That company licensed the song to Specialty Records for half the normal mechanical licensing rate — normally a publishing company would charge two cents per record pressed for their songs, but instead Specialty only had to pay one cent. This sort of cross-collateralisation was common with independent labels at the time, but it still rankled to Richard when he figured it out. Not that he was thinking about contracts at all at this point. He was becoming a huge star, and that meant he had to *break* a lot of contracts. He’d got concert bookings for several months ahead, but those bookings were in second-rate clubs, and he had to be in Hollywood to promote his new record and build a new career. But he also didn’t want to get a reputation for missing gigs. There was only one thing to do — hire an impostor to be Little Richard at these low-class gigs. So while Richard went off to promote his record, another young singer from Georgia with a pompadour and a gospel feel was being introduced with the phrase “Ladies and gentlemen—the hardest-working man in showbusiness today—Little Richard!” When James Brown went back to performing under his own name, he kept that introduction… Meanwhile, Richard was working on his second hit record. He and Blackwell decided that this record should be louder, faster, and more raucous than “Tutti Frutti” had been. If Pat Boone wanted to cover this one, he’d have to work a lot harder than he had previously. The basis for “Long Tall Sally” came from a scrap of lyric written by a teenage girl. Enotris Johnson had written a single verse of lyric on a scrap of paper, and had walked many miles to New Orleans to show the lyric to a DJ named Honey Chile. (Bumps Blackwell describes her as having walked from Opelousas, Mississippi, but there’s no such place — Johnson appears to have lived in Bogalusa, Louisiana). Johnson wanted to make enough money to pay for hospital for her sick aunt — the “Aunt Mary” in the song, and thought that Little Richard might sing the song and get her the money. What she had was only a few lines, but Honey Chile had taken Johnson on as a charity project, and Blackwell didn’t want to disappoint such an influential figure, so he and Richard hammered something together: [Excerpt: Little Richard, “Long Tall Sally”] The song, about a “John” who “jumps back in the alley” when he sees his wife coming while he’s engaged in activities of an unspecified nature with “Sally”, who is long, tall, and bald, once again stays just on the broadcastable side of the line, while implying sex of a non-heteronormative variety, possibly with a sex worker. Despite this, and despite the attempts to make the song uncoverably raucous, Pat Boone still sold a million copies with his cover version: [Excerpt: Pat Boone, “Long Tall Sally”] So Little Richard had managed to get that good clean-cut wholesome Christian white boy Pat Boone singing songs which gave him a lot more to worry about than whether he was singing “Ain’t” rather than “Isn’t”. But he was also becoming a big star himself — and he was getting an ego to go along with it. And he was starting to worry whether he should be making this devil music at all. When we next look at Little Richard, we’ll see just how the combination of self-doubt and ego led to his greatest successes and to the collapse of his career.  

Episode thirty-four of A History of Rock Music in Five Hundred Songs looks at “Tutti Frutti” by Little Richard, and at the rather more family-unfriendly subject the song was originally about. Click the full post to read liner notes, links to more information, and a transcript of the episode. (Apologies that this one is a day late — health problems kept me from getting the edit finished). Also, a reminder for those who didn’t see the previous post — my patreon backers are now getting ten-minute mini-episodes every week, and the first one is up, and I guested on Jaffa Cake Jukebox this week, talking about the UK top twenty for January 18 1957. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Most of the information used here comes from The Life and Times of Little Richard: The Authorised Biography by Charles White, which is to all intents and purposes Richard’s autobiography, as much of the text is in his own words. A warning for those who might be considering buying this though — it contains descriptions of his abuse as a child, and is also full of internalised homo- bi- and trans-phobia. This collection contains everything Richard recorded before 1962, from his early blues singles through to his gospel albums from after he temporarily gave up rock and roll for the church. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There are a handful of musicians in the history of rock music who seem like true originals. You can always trace their influences, of course, but when you come across one of them, no matter how clearly you can see who they were copying and who they were inspired by, you still just respond to them as something new under the sun. And of all the classic musicians of rock and roll, probably nobody epitomises that more than Little Richard. Nobody before him sounded like he did, and while many later tried — everyone from Captain Beefheart to Paul McCartney — nobody ever quite sounded like him later. And there are good reasons for that, because Little Richard was — and still is — someone who is quite unlike anyone else. [Excerpt: Little Richard, “Tutti Frutti”, just the opening phrase] This episode will be the first time we see queer culture becoming a major part of the rock and roll story — we’ve dealt with possibly-LGBT people before, of course, with Big Mama Thornton and Sister Rosetta Tharpe, and with Johnny Ray in the Patreon-only episode about him, but this is the first time that an expression of sexuality has become part and parcel of the music itself, to the extent that we have to discuss it. And here, again, I have to point out that I am going to get things very wrong when I’m talking about Little Richard. I am a cis straight white man in Britain in the twenty-first century. Little Richard is a queer black man from the USA, and we’re talking about the middle of the twentieth century. I’m fairly familiar with current British LGBT+ culture, but even that is as an outsider. I am trying, always, to be completely fair and to never say anything that harms a marginalised group, but if I do so inadvertantly, I apologise. When I say he’s queer, I’m using the word not in its sense as a slur, but in the sense of an umbrella term for someone whose sexuality and gender identity are too complex to reduce to a single label, because he has at various times defined himself as gay, but he has also had relationships with women, and because from reading his autobiography there are so many passages where he talks about wishing he had been born a woman that it may well be that had he been born fifty years later he would have defined himself as a bisexual trans woman rather than a gay man. I will still, though, use “he” and “him” pronouns for him in this and future episodes, because those are the pronouns he uses himself. Here we’re again going to see something we saw with Rosetta Tharpe, but on a much grander scale — the pull between the secular and the divine. You see, as well as being some variety of queer, Little Richard is also a very, very, religious man, and a believer in a specific variety of fundamentalist Christianity that believes that any kind of sexuality or gender identity other than monogamous cis heterosexual is evil and sinful and the work of the Devil. He believes this very deeply and has at many times tried to live his life by this, and does so now. I, to put it as mildly as possible, disagree. But to understand the man and his music at all, you have to at least understand that this is the case. He has swung wildly between being almost the literal embodiment of the phrase “sex and drugs and rock and roll” and being a preacher who claims that homosexuality, bisexuality, and being trans are all works of the literal Devil — several times he’s gone from one to the other. As of 2017, and the last public interview I’ve seen with him, he has once again renounced rock and roll and same-sex relationships. I hope that he’s happy in his current situation. But at the time we’re talking about, he was a young person, and very much engaged in those things. [Excerpt: Little Richard, “Tutti Frutti”, just the opening phrase] Richard Penniman was the third of twelve children, born to parents who had met at a Pentecostal holiness meeting when they were thirteen and married when they were fourteen. Of all the children, Richard was the one who was most likely to cause trouble. He had a habit of playing practical jokes involving his own faeces — wrapping them up and giving them as presents to old ladies, or putting them in jars in the pantry for his mother to find. But he was also bullied terribly as a child, because he was disabled. One of his legs was significantly shorter than the other, his head was disproportionately large, and his eyes were different sizes. He was also subjected to homophobic abuse from a very early age, because the gait with which he walked because of his legs was vaguely mincing. At the age of fourteen, he decided to leave school and become a performer. He started out by touring with a snake-oil salesman. Snake oil is a traditional Chinese medicine, about which there have been claims made for centuries, and those claims might well be true. But snake oil in the US was usually a mixture of turpentine, tallow, camphor, and capsaicin. It wasn’t much different to Vicks’ VaporRub and similar substances, but it was sold as a cure-all for serious illnesses. Snake-oil salesmen would travel from town to town selling their placebo, and they would have entertainers performing with them in order to draw crowds. The young Richard Penniman travelled with “Doc Hudson”, and would sing the one non-religious song he knew, “Caldonia” by Louis Jordan: [Excerpt: Louis Jordan, “Caldonia”] The yelps and hiccups in Jordan’s vocals on that song would become a massive part of Richard’s own vocal style. Richard soon left the medicine show, and started touring with a band, B. Brown and his orchestra, and it was while he was touring with that band that he grew his hair into the huge pompadour that would later become a trademark, and he also got the name “Little Richard”. However, all the musicians in the band were older than him, so he moved on again to another touring show, and another, and another. In many of these shows, he would perform as a female impersonator, which started when one of the women in one of the shows took sick and Richard had to quickly cover for her by putting on her costume, but soon he was performing in shows that were mostly drag acts, performing to a largely gay crowd. It was while he was performing in these shows that he met the first of his two biggest influences. Billy Wright, like Richard, had been a female impersonator for a while too. Like Richard, he had a pompadour haircut, and he was a fairly major blues star in the period from 1949 through 1951, being one of the first blues singers to sing with gospel-inspired mannerisms: [Excerpt: Billy Wright, “Married Woman’s Boogie”] 5) Richard became something of a Billy Wright wannabe, and started incorporating parts of Wright’s style into his performances. He also learned that Wright was using makeup on stage — Pancake 31 — and started applying that same makeup to his own skin, something he would continue to do throughout his performing career. Wright introduced Richard to Zenas Sears, who was one of the many white DJs all across America who were starting to become successful by playing black music and speaking in approximations of African-American Vernacular English — people like Alan Freed and Dewey Phillips. Sears had connections with RCA Records, and impressed by Richard’s talent, he got them to sign him. Richard’s first single was called “Every Hour”, and was very much a Billy Wright imitation: [Excerpt: Little Richard, “Every Hour”] It was so close to Wright’s style, in fact, that Wright soon recorded his own knock-off of Richard’s song, “Every Evening”. [Excerpt: Billy Wright, “Every Evening”] At this point Richard was solely a singer — he hadn’t yet started to play an instrument to accompany himself. That changed when he met Esquerita. Esquerita was apparently born Stephen Quincey Reeder, but he was known to everyone as “Eskew” Reeder, after his initials, and that then became Esquerita, partly as a pun on the word “excreta”. Esquerita was another gay black R&B singer with a massive pompadour and a moustache. If Little Richard at this stage looked like a caricature of Billy Wright, Esquerita looked like a caricature of Little Richard. His hair was even bigger, he was even more flamboyant, and when he sang, he screamed even louder. And Esquerita also played the piano. Richard — who has never been unwilling to acknowledge the immense debt he owed to his inspirations — has said for years that Esquerita was the person who taught him how to play the piano, and that not only was his piano-playing style a copy of Esquerita’s, Esquerita was better. It’s hard to tell for sure exactly how much influence Esquerita actually had on Richard’s piano playing, because Esquerita himself didn’t make any records until after Richard did, at which point he was signed to his own record deal to be basically a Little Richard clone, but the records he did make certainly show a remarkable resemblance to Richard’s later style: [Excerpt: Esquerita: “Believe Me When I Say Rock And Roll Is Here To Stay”] Richard soon learned to play piano, and he was seen by Johnny Otis, who was impressed. Otis said: “I see this outrageous person, good-looking and very effeminate, with a big pompadour. He started singing and he was so good. I loved it. He reminded me of Dinah Washington. He did a few things, then he got on the floor. I think he even did a split, though I could be wrong about that. I remember it as being just beautiful, bizarre, and exotic, and when he got through he remarked, “This is Little Richard, King of the Blues,” and then he added, “And the Queen, too!” I knew I liked him then.” Otis recommended Richard to Don Robey, of Peacock Records, and Robey signed Richard and his band the Tempo Toppers. In early 1953, with none of his recordings for RCA having done anything, Little Richard and the Tempo Toppers went into the studio with another group, the Deuces of Rhythm, to record four tracks, issued as two singles: [Excerpt: Little Richard and the Tempo Toppers with the Deuces of Rhythm: “Ain’t That Good News”] None of these singles had any success, and Richard was *not* getting on very well at all with Don Robey. Robey was not the most respectful of people, and Richard let everyone know how badly he thought Robey treated his artists. Robey responded by beating Richard up so badly that he got a hernia which hurt for years and necessitated an operation. Richard would record one more session for Peacock, at the end of the year, when Don Robey gave him to Johnny Otis to handle. Otis took his own band into the studio with Richard, and the four songs they recorded at that session went unreleased at the time, but included a version of “Directly From My Heart To You”, a song Richard would soon rerecord, and another song called “Little Richard’s Boogie”: [Excerpt: Little Richard with Johnny Otis and his Orchestra, “Little Richard’s Boogie”] Nobody was very happy with the recordings, and Richard was dropped by Peacock. He was also, around the same time, made to move away from Macon, Georgia, where he lived, after being arrested for “lewd conduct” — what amounted to consensual voyeurism. And the Tempo Toppers had split up. Richard had been dumped by two record labels, his father had died recently, he had no band, and he wasn’t allowed to live in his home town any more. Things seemed pretty low. But before he’d moved away, Richard had met Lloyd Price, and Price had suggested that Richard send a demo tape in to Specialty Records, Price’s label. The tape lay unlistened at Specialty for months, and it was only because of Richard’s constant pestering for them to listen to it that Bumps Blackwell, who was then in charge of A&R at Specialty, eventually got round to listening to it. This was an enormous piece of good fortune, in a way that neither of them fully realised at the time. Blackwell had been a longtime friend and colleague of Ray Charles. When Charles’ gospel-influenced new sound had started making waves on the charts, Art Rupe, Specialty’s owner, had asked Blackwell to find him a gospel-sounding R&B singer of his own to compete with Ray Charles. Blackwell listened to the tape, which contained two songs, one of which was an early version of “Wonderin'”, and he could tell this was someone with as much gospel in his voice as Ray Charles had: [Excerpt: Little Richard, “Wonderin'”] Blackwell and Rupe made an agreement with Don Robey to buy out his contract for six hundred dollars — one gets the impression that Robey would have paid *them* six hundred dollars to get rid of Richard had they asked him. They knew that Richard liked the music of Fats Domino, and so they decided to hold their first session at Cosimo Matassa’s studio, where Domino recorded, and with the same session musicians that Domino used. Blackwell also brought in two great New Orleans piano players, Huey “Piano” Smith and James Booker, both of whom were players in the same style as Domino. You can hear Smith, for example, on his hit “The Rockin’ Pneumonia and the Boogie-Woogie Flu” from a couple of years later: [Excerpt: Huey “Piano” Smith, “The Rockin’ Pneumonia and the Boogie-Woogie Flu”] All of these people were veterans of sessions either for Domino or for artists who had worked in Domino’s style, like Lloyd Price or Smiley Lewis. The only difference here was that it would be Bumps Blackwell who did the arrangement and production, rather than Dave Bartholomew like on Domino’s records. However, the session didn’t go well at all. Blackwell had heard that Richard was an astounding live act, but he was just doing nothing in the studio. As Blackwell later put it “If you look like Tarzan and sound like Mickey Mouse it just doesn’t work out.” They did record some usable material — “Wonderin'”, which we heard before, came out OK, and they recorded “I’m Just a Lonely, Lonely, Guy” by a young songwriter called Dorothy LaBostrie, which seemed to go OK. They also cut a decent version of “Directly From My Heart to You”, a song which Richard had previously recorded with Johnny Otis: [Excerpt: Little RIchard, “Directly From My Heart to You”] So they had a couple of usable songs, but usable was about all you could say for them. They didn’t have anything that would make an impact, nothing that would live up to Richard’s potential. So Blackwell called a break, and they headed off to get themselves something to eat, at the Dew Drop Inn. And something happened there that would change Little RIchard’s career forever. The Dew Drop Inn had a piano, and it had an audience that Little Richard could show off in front of. He went over to the piano, started hammering the keys, and screamed out: [Excerpt: Little Richard, “Tutti Frutti”, just the opening phrase] On hearing Richard sing the song he performed then, Bumps Blackwell knew two things pretty much instantly. The first was that that song would definitely be a hit if he could get it released. And the second was that there was no way on Earth that he could possibly put it out. “Tutti Frutti” started as a song that Richard sang more or less as a joke. There is a whole undercurrent of R&B in the fifties which has very, very, sexually explicit lyrics, and I wish I was able to play some of those songs on this podcast without getting it dumped into the adult-only section on iTunes, because some of them are wonderful, and others are hilarious. “Tutti Frutti” in its original form was part of this undercurrent, and had lyrics that were clearly not broadcastable — “A wop bop a loo mop, a good goddam/Tutti Frutti, good booty/If it don’t fit, don’t force it, you can grease it, make it easy”. But Bumps Blackwell thought that there was *something* that could be made into a hit there. Handily, they had a songwriter on hand. Dorothy LaBostrie was a young woman he knew who had been trying to write songs, but who didn’t understand that songs had to have different melodies — all her lyrics were written to the melody of the same song, Dinah Washington’s “Blowtop Blues”: [Excerpt: Dinah Washington, “Blowtop Blues”] But her lyrics had showed promise, and so Blackwell had agreed to record one of her songs, “I’m Just a Lonely Lonely Guy”, with Richard. LaBostrie had been hanging round the studio to see how her song sounded when it was recorded, so Blackwell asked her to do a last-minute rewrite on “Tutti Frutti”, in the hope of getting something salvageable out of what had been a depressing session. But there was still a problem — Richard, not normally a man overly known for his modesty, became embarrassed at singing his song to the young woman. Blackwell explained to him that he really didn’t have much choice, and Richard eventually agreed to sing it to her — but only if he was turned to face the wall, so he couldn’t see this innocent-looking young woman’s face. (I should note here that both Richard and LaBostrie have told different stories about this over the years — both have claimed on several occasions that they were the sole author of the song and that the other didn’t deserve any credit at all. But this is the story as it was told by others who were there.) LaBostrie’s new lyrics were rudimentary at best. “I got a girl named Sue, she knows just what to do”. But they fit the metre, they weren’t about anal sex, and so they were going to be the new lyrics. The session was running late at this point, and when LaBostrie had the lyrics finished there was only fifteen minutes to go. It didn’t matter that the lyrics were trite. What mattered was that they got a track cut to salvage the session. Blackwell didn’t have time to teach the piano players the song, so he got Richard to play the piano himself. They cut the finished track in three takes, and Blackwell went back to California happy he at last had a hit: [Excerpt: Little Richard, “Tutti Frutti”] “Tutti Frutti” was, indeed, a massive hit. It went to number twenty-one on the pop charts. But… you know what comes next. There was an inept white cover version, this time by Pat Boone. [excerpt: Pat Boone, “Tutti Frutti”] Now, notice that there, Boone changes the lyrics. In Richard’s version, after all, he seems interested in both Sue and Daisy. A good Christian boy like Pat Boone couldn’t be heard singing about such immorality. That one-line change (and a couple of other spot changes to individual words to make things into full sentences) seems to be why a songwriter called Joe Lubin is also credited for the song. Getting a third of a song like “Tutti Frutti” for that little work sounds like a pretty good deal, at least for Lubin, if not for Richard. Another way in which Richard got less than he deserved was that the publishing was owned by a company owned by Art Rupe. That company licensed the song to Specialty Records for half the normal mechanical licensing rate — normally a publishing company would charge two cents per record pressed for their songs, but instead Specialty only had to pay one cent. This sort of cross-collateralisation was common with independent labels at the time, but it still rankled to Richard when he figured it out. Not that he was thinking about contracts at all at this point. He was becoming a huge star, and that meant he had to *break* a lot of contracts. He’d got concert bookings for several months ahead, but those bookings were in second-rate clubs, and he had to be in Hollywood to promote his new record and build a new career. But he also didn’t want to get a reputation for missing gigs. There was only one thing to do — hire an impostor to be Little Richard at these low-class gigs. So while Richard went off to promote his record, another young singer from Georgia with a pompadour and a gospel feel was being introduced with the phrase “Ladies and gentlemen—the hardest-working man in showbusiness today—Little Richard!” When James Brown went back to performing under his own name, he kept that introduction… Meanwhile, Richard was working on his second hit record. He and Blackwell decided that this record should be louder, faster, and more raucous than “Tutti Frutti” had been. If Pat Boone wanted to cover this one, he’d have to work a lot harder than he had previously. The basis for “Long Tall Sally” came from a scrap of lyric written by a teenage girl. Enotris Johnson had written a single verse of lyric on a scrap of paper, and had walked many miles to New Orleans to show the lyric to a DJ named Honey Chile. (Bumps Blackwell describes her as having walked from Opelousas, Mississippi, but there’s no such place — Johnson appears to have lived in Bogalusa, Louisiana). Johnson wanted to make enough money to pay for hospital for her sick aunt — the “Aunt Mary” in the song, and thought that Little Richard might sing the song and get her the money. What she had was only a few lines, but Honey Chile had taken Johnson on as a charity project, and Blackwell didn’t want to disappoint such an influential figure, so he and Richard hammered something together: [Excerpt: Little Richard, “Long Tall Sally”] The song, about a “John” who “jumps back in the alley” when he sees his wife coming while he’s engaged in activities of an unspecified nature with “Sally”, who is long, tall, and bald, once again stays just on the broadcastable side of the line, while implying sex of a non-heteronormative variety, possibly with a sex worker. Despite this, and despite the attempts to make the song uncoverably raucous, Pat Boone still sold a million copies with his cover version: [Excerpt: Pat Boone, “Long Tall Sally”] So Little Richard had managed to get that good clean-cut wholesome Christian white boy Pat Boone singing songs which gave him a lot more to worry about than whether he was singing “Ain’t” rather than “Isn’t”. But he was also becoming a big star himself — and he was getting an ego to go along with it. And he was starting to worry whether he should be making this devil music at all. When we next look at Little Richard, we’ll see just how the combination of self-doubt and ego led to his greatest successes and to the collapse of his career.  

Episode thirty-four of A History of Rock Music in Five Hundred Songs looks at "Tutti Frutti" by Little Richard, and at the rather more family-unfriendly subject the song was originally about. Click the full post to read liner notes, links to more information, and a transcript of the episode. (Apologies that this one is a day late -- health problems kept me from getting the edit finished). Also, a reminder for those who didn't see the previous post -- my patreon backers are now getting ten-minute mini-episodes every week, and the first one is up, and I guested on Jaffa Cake Jukebox this week, talking about the UK top twenty for January 18 1957. ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. Most of the information used here comes from The Life and Times of Little Richard: The Authorised Biography by Charles White, which is to all intents and purposes Richard's autobiography, as much of the text is in his own words. A warning for those who might be considering buying this though -- it contains descriptions of his abuse as a child, and is also full of internalised homo- bi- and trans-phobia. This collection contains everything Richard recorded before 1962, from his early blues singles through to his gospel albums from after he temporarily gave up rock and roll for the church. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There are a handful of musicians in the history of rock music who seem like true originals. You can always trace their influences, of course, but when you come across one of them, no matter how clearly you can see who they were copying and who they were inspired by, you still just respond to them as something new under the sun. And of all the classic musicians of rock and roll, probably nobody epitomises that more than Little Richard. Nobody before him sounded like he did, and while many later tried -- everyone from Captain Beefheart to Paul McCartney -- nobody ever quite sounded like him later. And there are good reasons for that, because Little Richard was -- and still is -- someone who is quite unlike anyone else. [Excerpt: Little Richard, "Tutti Frutti", just the opening phrase] This episode will be the first time we see queer culture becoming a major part of the rock and roll story -- we've dealt with possibly-LGBT people before, of course, with Big Mama Thornton and Sister Rosetta Tharpe, and with Johnny Ray in the Patreon-only episode about him, but this is the first time that an expression of sexuality has become part and parcel of the music itself, to the extent that we have to discuss it. And here, again, I have to point out that I am going to get things very wrong when I'm talking about Little Richard. I am a cis straight white man in Britain in the twenty-first century. Little Richard is a queer black man from the USA, and we're talking about the middle of the twentieth century. I'm fairly familiar with current British LGBT+ culture, but even that is as an outsider. I am trying, always, to be completely fair and to never say anything that harms a marginalised group, but if I do so inadvertantly, I apologise. When I say he's queer, I'm using the word not in its sense as a slur, but in the sense of an umbrella term for someone whose sexuality and gender identity are too complex to reduce to a single label, because he has at various times defined himself as gay, but he has also had relationships with women, and because from reading his autobiography there are so many passages where he talks about wishing he had been born a woman that it may well be that had he been born fifty years later he would have defined himself as a bisexual trans woman rather than a gay man. I will still, though, use "he" and "him" pronouns for him in this and future episodes, because those are the pronouns he uses himself. Here we're again going to see something we saw with Rosetta Tharpe, but on a much grander scale -- the pull between the secular and the divine. You see, as well as being some variety of queer, Little Richard is also a very, very, religious man, and a believer in a specific variety of fundamentalist Christianity that believes that any kind of sexuality or gender identity other than monogamous cis heterosexual is evil and sinful and the work of the Devil. He believes this very deeply and has at many times tried to live his life by this, and does so now. I, to put it as mildly as possible, disagree. But to understand the man and his music at all, you have to at least understand that this is the case. He has swung wildly between being almost the literal embodiment of the phrase "sex and drugs and rock and roll" and being a preacher who claims that homosexuality, bisexuality, and being trans are all works of the literal Devil -- several times he's gone from one to the other. As of 2017, and the last public interview I've seen with him, he has once again renounced rock and roll and same-sex relationships. I hope that he's happy in his current situation. But at the time we're talking about, he was a young person, and very much engaged in those things. [Excerpt: Little Richard, "Tutti Frutti", just the opening phrase] Richard Penniman was the third of twelve children, born to parents who had met at a Pentecostal holiness meeting when they were thirteen and married when they were fourteen. Of all the children, Richard was the one who was most likely to cause trouble. He had a habit of playing practical jokes involving his own faeces -- wrapping them up and giving them as presents to old ladies, or putting them in jars in the pantry for his mother to find. But he was also bullied terribly as a child, because he was disabled. One of his legs was significantly shorter than the other, his head was disproportionately large, and his eyes were different sizes. He was also subjected to homophobic abuse from a very early age, because the gait with which he walked because of his legs was vaguely mincing. At the age of fourteen, he decided to leave school and become a performer. He started out by touring with a snake-oil salesman. Snake oil is a traditional Chinese medicine, about which there have been claims made for centuries, and those claims might well be true. But snake oil in the US was usually a mixture of turpentine, tallow, camphor, and capsaicin. It wasn't much different to Vicks' VaporRub and similar substances, but it was sold as a cure-all for serious illnesses. Snake-oil salesmen would travel from town to town selling their placebo, and they would have entertainers performing with them in order to draw crowds. The young Richard Penniman travelled with "Doc Hudson", and would sing the one non-religious song he knew, "Caldonia" by Louis Jordan: [Excerpt: Louis Jordan, "Caldonia"] The yelps and hiccups in Jordan's vocals on that song would become a massive part of Richard's own vocal style. Richard soon left the medicine show, and started touring with a band, B. Brown and his orchestra, and it was while he was touring with that band that he grew his hair into the huge pompadour that would later become a trademark, and he also got the name "Little Richard". However, all the musicians in the band were older than him, so he moved on again to another touring show, and another, and another. In many of these shows, he would perform as a female impersonator, which started when one of the women in one of the shows took sick and Richard had to quickly cover for her by putting on her costume, but soon he was performing in shows that were mostly drag acts, performing to a largely gay crowd. It was while he was performing in these shows that he met the first of his two biggest influences. Billy Wright, like Richard, had been a female impersonator for a while too. Like Richard, he had a pompadour haircut, and he was a fairly major blues star in the period from 1949 through 1951, being one of the first blues singers to sing with gospel-inspired mannerisms: [Excerpt: Billy Wright, "Married Woman's Boogie"] 5) Richard became something of a Billy Wright wannabe, and started incorporating parts of Wright's style into his performances. He also learned that Wright was using makeup on stage -- Pancake 31 -- and started applying that same makeup to his own skin, something he would continue to do throughout his performing career. Wright introduced Richard to Zenas Sears, who was one of the many white DJs all across America who were starting to become successful by playing black music and speaking in approximations of African-American Vernacular English -- people like Alan Freed and Dewey Phillips. Sears had connections with RCA Records, and impressed by Richard's talent, he got them to sign him. Richard's first single was called "Every Hour", and was very much a Billy Wright imitation: [Excerpt: Little Richard, "Every Hour"] It was so close to Wright's style, in fact, that Wright soon recorded his own knock-off of Richard's song, "Every Evening". [Excerpt: Billy Wright, "Every Evening"] At this point Richard was solely a singer -- he hadn't yet started to play an instrument to accompany himself. That changed when he met Esquerita. Esquerita was apparently born Stephen Quincey Reeder, but he was known to everyone as "Eskew" Reeder, after his initials, and that then became Esquerita, partly as a pun on the word "excreta". Esquerita was another gay black R&B singer with a massive pompadour and a moustache. If Little Richard at this stage looked like a caricature of Billy Wright, Esquerita looked like a caricature of Little Richard. His hair was even bigger, he was even more flamboyant, and when he sang, he screamed even louder. And Esquerita also played the piano. Richard -- who has never been unwilling to acknowledge the immense debt he owed to his inspirations -- has said for years that Esquerita was the person who taught him how to play the piano, and that not only was his piano-playing style a copy of Esquerita's, Esquerita was better. It's hard to tell for sure exactly how much influence Esquerita actually had on Richard's piano playing, because Esquerita himself didn't make any records until after Richard did, at which point he was signed to his own record deal to be basically a Little Richard clone, but the records he did make certainly show a remarkable resemblance to Richard's later style: [Excerpt: Esquerita: "Believe Me When I Say Rock And Roll Is Here To Stay"] Richard soon learned to play piano, and he was seen by Johnny Otis, who was impressed. Otis said: "I see this outrageous person, good-looking and very effeminate, with a big pompadour. He started singing and he was so good. I loved it. He reminded me of Dinah Washington. He did a few things, then he got on the floor. I think he even did a split, though I could be wrong about that. I remember it as being just beautiful, bizarre, and exotic, and when he got through he remarked, “This is Little Richard, King of the Blues,” and then he added, “And the Queen, too!” I knew I liked him then." Otis recommended Richard to Don Robey, of Peacock Records, and Robey signed Richard and his band the Tempo Toppers. In early 1953, with none of his recordings for RCA having done anything, Little Richard and the Tempo Toppers went into the studio with another group, the Deuces of Rhythm, to record four tracks, issued as two singles: [Excerpt: Little Richard and the Tempo Toppers with the Deuces of Rhythm: "Ain't That Good News"] None of these singles had any success, and Richard was *not* getting on very well at all with Don Robey. Robey was not the most respectful of people, and Richard let everyone know how badly he thought Robey treated his artists. Robey responded by beating Richard up so badly that he got a hernia which hurt for years and necessitated an operation. Richard would record one more session for Peacock, at the end of the year, when Don Robey gave him to Johnny Otis to handle. Otis took his own band into the studio with Richard, and the four songs they recorded at that session went unreleased at the time, but included a version of "Directly From My Heart To You", a song Richard would soon rerecord, and another song called "Little Richard's Boogie": [Excerpt: Little Richard with Johnny Otis and his Orchestra, "Little Richard's Boogie"] Nobody was very happy with the recordings, and Richard was dropped by Peacock. He was also, around the same time, made to move away from Macon, Georgia, where he lived, after being arrested for "lewd conduct" -- what amounted to consensual voyeurism. And the Tempo Toppers had split up. Richard had been dumped by two record labels, his father had died recently, he had no band, and he wasn't allowed to live in his home town any more. Things seemed pretty low. But before he'd moved away, Richard had met Lloyd Price, and Price had suggested that Richard send a demo tape in to Specialty Records, Price's label. The tape lay unlistened at Specialty for months, and it was only because of Richard's constant pestering for them to listen to it that Bumps Blackwell, who was then in charge of A&R at Specialty, eventually got round to listening to it. This was an enormous piece of good fortune, in a way that neither of them fully realised at the time. Blackwell had been a longtime friend and colleague of Ray Charles. When Charles' gospel-influenced new sound had started making waves on the charts, Art Rupe, Specialty's owner, had asked Blackwell to find him a gospel-sounding R&B singer of his own to compete with Ray Charles. Blackwell listened to the tape, which contained two songs, one of which was an early version of "Wonderin'", and he could tell this was someone with as much gospel in his voice as Ray Charles had: [Excerpt: Little Richard, "Wonderin'"] Blackwell and Rupe made an agreement with Don Robey to buy out his contract for six hundred dollars -- one gets the impression that Robey would have paid *them* six hundred dollars to get rid of Richard had they asked him. They knew that Richard liked the music of Fats Domino, and so they decided to hold their first session at Cosimo Matassa's studio, where Domino recorded, and with the same session musicians that Domino used. Blackwell also brought in two great New Orleans piano players, Huey "Piano" Smith and James Booker, both of whom were players in the same style as Domino. You can hear Smith, for example, on his hit "The Rockin' Pneumonia and the Boogie-Woogie Flu" from a couple of years later: [Excerpt: Huey "Piano" Smith, "The Rockin' Pneumonia and the Boogie-Woogie Flu"] All of these people were veterans of sessions either for Domino or for artists who had worked in Domino's style, like Lloyd Price or Smiley Lewis. The only difference here was that it would be Bumps Blackwell who did the arrangement and production, rather than Dave Bartholomew like on Domino's records. However, the session didn't go well at all. Blackwell had heard that Richard was an astounding live act, but he was just doing nothing in the studio. As Blackwell later put it "If you look like Tarzan and sound like Mickey Mouse it just doesn’t work out." They did record some usable material -- "Wonderin'", which we heard before, came out OK, and they recorded "I'm Just a Lonely, Lonely, Guy" by a young songwriter called Dorothy LaBostrie, which seemed to go OK. They also cut a decent version of "Directly From My Heart to You", a song which Richard had previously recorded with Johnny Otis: [Excerpt: Little RIchard, "Directly From My Heart to You"] So they had a couple of usable songs, but usable was about all you could say for them. They didn't have anything that would make an impact, nothing that would live up to Richard's potential. So Blackwell called a break, and they headed off to get themselves something to eat, at the Dew Drop Inn. And something happened there that would change Little RIchard's career forever. The Dew Drop Inn had a piano, and it had an audience that Little Richard could show off in front of. He went over to the piano, started hammering the keys, and screamed out: [Excerpt: Little Richard, "Tutti Frutti", just the opening phrase] On hearing Richard sing the song he performed then, Bumps Blackwell knew two things pretty much instantly. The first was that that song would definitely be a hit if he could get it released. And the second was that there was no way on Earth that he could possibly put it out. "Tutti Frutti" started as a song that Richard sang more or less as a joke. There is a whole undercurrent of R&B in the fifties which has very, very, sexually explicit lyrics, and I wish I was able to play some of those songs on this podcast without getting it dumped into the adult-only section on iTunes, because some of them are wonderful, and others are hilarious. "Tutti Frutti" in its original form was part of this undercurrent, and had lyrics that were clearly not broadcastable -- "A wop bop a loo mop, a good goddam/Tutti Frutti, good booty/If it don't fit, don't force it, you can grease it, make it easy". But Bumps Blackwell thought that there was *something* that could be made into a hit there. Handily, they had a songwriter on hand. Dorothy LaBostrie was a young woman he knew who had been trying to write songs, but who didn't understand that songs had to have different melodies -- all her lyrics were written to the melody of the same song, Dinah Washington's "Blowtop Blues": [Excerpt: Dinah Washington, "Blowtop Blues"] But her lyrics had showed promise, and so Blackwell had agreed to record one of her songs, "I'm Just a Lonely Lonely Guy", with Richard. LaBostrie had been hanging round the studio to see how her song sounded when it was recorded, so Blackwell asked her to do a last-minute rewrite on “Tutti Frutti”, in the hope of getting something salvageable out of what had been a depressing session. But there was still a problem -- Richard, not normally a man overly known for his modesty, became embarrassed at singing his song to the young woman. Blackwell explained to him that he really didn't have much choice, and Richard eventually agreed to sing it to her -- but only if he was turned to face the wall, so he couldn't see this innocent-looking young woman's face. (I should note here that both Richard and LaBostrie have told different stories about this over the years -- both have claimed on several occasions that they were the sole author of the song and that the other didn't deserve any credit at all. But this is the story as it was told by others who were there.) LaBostrie's new lyrics were rudimentary at best. "I got a girl named Sue, she knows just what to do". But they fit the metre, they weren't about anal sex, and so they were going to be the new lyrics. The session was running late at this point, and when LaBostrie had the lyrics finished there was only fifteen minutes to go. It didn't matter that the lyrics were trite. What mattered was that they got a track cut to salvage the session. Blackwell didn't have time to teach the piano players the song, so he got Richard to play the piano himself. They cut the finished track in three takes, and Blackwell went back to California happy he at last had a hit: [Excerpt: Little Richard, "Tutti Frutti"] "Tutti Frutti" was, indeed, a massive hit. It went to number twenty-one on the pop charts. But... you know what comes next. There was an inept white cover version, this time by Pat Boone. [excerpt: Pat Boone, "Tutti Frutti"] Now, notice that there, Boone changes the lyrics. In Richard's version, after all, he seems interested in both Sue and Daisy. A good Christian boy like Pat Boone couldn't be heard singing about such immorality. That one-line change (and a couple of other spot changes to individual words to make things into full sentences) seems to be why a songwriter called Joe Lubin is also credited for the song. Getting a third of a song like "Tutti Frutti" for that little work sounds like a pretty good deal, at least for Lubin, if not for Richard. Another way in which Richard got less than he deserved was that the publishing was owned by a company owned by Art Rupe. That company licensed the song to Specialty Records for half the normal mechanical licensing rate -- normally a publishing company would charge two cents per record pressed for their songs, but instead Specialty only had to pay one cent. This sort of cross-collateralisation was common with independent labels at the time, but it still rankled to Richard when he figured it out. Not that he was thinking about contracts at all at this point. He was becoming a huge star, and that meant he had to *break* a lot of contracts. He'd got concert bookings for several months ahead, but those bookings were in second-rate clubs, and he had to be in Hollywood to promote his new record and build a new career. But he also didn't want to get a reputation for missing gigs. There was only one thing to do -- hire an impostor to be Little Richard at these low-class gigs. So while Richard went off to promote his record, another young singer from Georgia with a pompadour and a gospel feel was being introduced with the phrase “Ladies and gentlemen—the hardest-working man in showbusiness today—Little Richard!” When James Brown went back to performing under his own name, he kept that introduction... Meanwhile, Richard was working on his second hit record. He and Blackwell decided that this record should be louder, faster, and more raucous than "Tutti Frutti" had been. If Pat Boone wanted to cover this one, he'd have to work a lot harder than he had previously. The basis for "Long Tall Sally" came from a scrap of lyric written by a teenage girl. Enotris Johnson had written a single verse of lyric on a scrap of paper, and had walked many miles to New Orleans to show the lyric to a DJ named Honey Chile. (Bumps Blackwell describes her as having walked from Opelousas, Mississippi, but there's no such place -- Johnson appears to have lived in Bogalusa, Louisiana). Johnson wanted to make enough money to pay for hospital for her sick aunt -- the "Aunt Mary" in the song, and thought that Little Richard might sing the song and get her the money. What she had was only a few lines, but Honey Chile had taken Johnson on as a charity project, and Blackwell didn't want to disappoint such an influential figure, so he and Richard hammered something together: [Excerpt: Little Richard, "Long Tall Sally"] The song, about a "John" who "jumps back in the alley" when he sees his wife coming while he's engaged in activities of an unspecified nature with "Sally", who is long, tall, and bald, once again stays just on the broadcastable side of the line, while implying sex of a non-heteronormative variety, possibly with a sex worker. Despite this, and despite the attempts to make the song uncoverably raucous, Pat Boone still sold a million copies with his cover version: [Excerpt: Pat Boone, "Long Tall Sally"] So Little Richard had managed to get that good clean-cut wholesome Christian white boy Pat Boone singing songs which gave him a lot more to worry about than whether he was singing "Ain't" rather than "Isn't". But he was also becoming a big star himself -- and he was getting an ego to go along with it. And he was starting to worry whether he should be making this devil music at all. When we next look at Little Richard, we'll see just how the combination of self-doubt and ego led to his greatest successes and to the collapse of his career.  

An up-and-coming fad diet that has rapidly gained interest. What do we know about it and how can we advise patients that have questions? References: Patterson, R. E., Laughlin, G. A., LaCroix, A. Z., Hartman, S. J., Natarajan, L., Senger, C. M., ... & Gallo, L. C. (2015). Intermittent fasting and human metabolic health. Journal of the Academy of Nutrition and Dietetics, 115(8), 1203-1212. Chaix, A., Zarrinpar, A., Miu, P., & Panda, S. (2014). Time-restricted feeding is a preventative and therapeutic intervention against diverse nutritional challenges. Cell metabolism, 20(6), 991-1005. Froy, O. (2009). Metabolism and circadian rhythms—implications for obesity. Endocrine reviews, 31(1), 1-24. Hatori, M., Vollmers, C., Zarrinpar, A., DiTacchio, L., Bushong, E. A., Gill, S., ... & Ellisman, M. H. (2012). Time-restricted feeding without reducing caloric intake prevents metabolic diseases in mice fed a high-fat diet. Cell metabolism, 15(6), 848-860. Trepanowski, J. F., Kroeger, C. M., Barnosky, A., Klempel, M. C., Bhutani, S., Hoddy, K. K., ... & Ravussin, E. (2017). Effect of alternate-day fasting on weight loss, weight maintenance, and cardioprotection among metabolically healthy obese adults: a randomized clinical trial. JAMA internal medicine, 177(7), 930-938. Farshchi, H. R., Taylor, M. A., & Macdonald, I. A. (2005). Deleterious effects of omitting breakfast on insulin sensitivity and fasting lipid profiles in healthy lean women. The American journal of clinical nutrition, 81(2), 388-396. Morgan, K. J., Zabik, M. E., & Stampley, G. L. (1986). The role of breakfast in diet adequacy of the US adult population. Journal of the American College of Nutrition, 5(6), 551-563. Cho, S., Dietrich, M., Brown, C. J., Clark, C. A., & Block, G. (2003). The effect of breakfast type on total daily energy intake and body mass index: results from the Third National Health and Nutrition Examination Survey (NHANES III). Journal of the American College of Nutrition, 22(4), 296-302. Albertson, A. M., Anderson, G. H., Crockett, S. J., & Goebel, M. T. (2003). Ready-to-eat cereal consumption: its relationship with BMI and nutrient intake of children aged 4 to 12 years. Journal of the American dietetic association, 103(12), 1613-1619. Berkey, C. S., Rockett, H. R. H., Gillman, M. W., Field, A. E., & Colditz, G. A. (2003). Longitudinal study of skipping breakfast and weight change in adolescents. International journal of obesity, 27(10), 1258. Ma, Y., Bertone, E. R., Stanek III, E. J., Reed, G. W., Hebert, J. R., Cohen, N. L., ... & Ockene, I. S. (2003). Association between eating patterns and obesity in a free-living US adult population. American journal of epidemiology, 158(1), 85-92. Taylor, M. A., & Garrow, J. S. (2001). Compared with nibbling, neither gorging nor a morning fast affect short-term energy balance in obese patients in a chamber calorimeter. International journal of obesity, 25(4), 519. Nicklas, T. A., Myers, L., Reger, C., Beech, B., & Berenson, G. S. (1998). Impact of breakfast consumption on nutritional adequacy of the diets of young adults in Bogalusa, Louisiana: ethnic and gender contrasts. Journal of the American Dietetic Association, 98(12), 1432-1438.

ESPECIAL PROFESSOR LONGHAIR (texto de Carlos De Mora para SOLO BLUES Nº7) Nacido con el nombre de Henry Roeland Byrd el 19 de diciembre de 1918 en Bogalusa, Luisiana, su padre se llamaba James Byrd y su madre Mae, emigró a Nueva Orleans junto con su madre siendo niño. En sus primeros años en la ciudad se ganaba la vida bailando una especie de claque en las calles junto con dos amigos, pero pronto el trío empezó a hacer música a base de golpear latas, cacerolas y cajas vacías...

ESPECIAL PROFESSOR LONGHAIR (texto de Carlos De Mora para SOLO BLUES Nº7) Nacido con el nombre de Henry Roeland Byrd el 19 de diciembre de 1918 en Bogalusa, Luisiana, su padre se llamaba James Byrd y su madre Mae, emigró a Nueva Orleans junto con su madre siendo niño. En sus primeros años en la ciudad se ganaba la vida bailando una especie de claque en las calles junto con dos amigos, pero pronto el trío empezó a hacer música a base de golpear latas, cacerolas y cajas vacías...

Barbara Hicks-Collins grew up in a Civil Rights house (https://en.wikipedia.org/wiki/Robert_%22Bob%22_Hicks_House) in Bogalusa, Louisiana. In her family breakfast room in 1965, her father, the late Robert “Bob” Hicks (https://en.wikipedia.org/wiki/Robert_%22Bob%22_Hicks), founded the Bogalusa chapter of the Deacons for Defense and Justice (https://en.wikipedia.org/wiki/Deacons_for_Defense_and_Justice). The armed self-defense force was formed in response to local anti-integration violence that the local police force complicitly supported. The house became a communication hub, a safe house, and a medical triage station for injured activists denied medical services at the state hospital. After her father’s death, Barbara Hicks-Collins decided that the house has one more chapter: as the Bogalusa Civil Rights Museum (https://roberthicksfoundation.squarespace.com/civil-rights-museum). In this episode, Barbara Hicks-Collins talks about growing up with the Civil Rights movement in her living room and describes the process, progress, and challenges of today’s Bogalusa Civil Rights Museum project. Museum Archipelago is a tiny show guiding you through the rocky landscape of museums. Subscribe to the podcast via Apple Podcasts (https://itunes.apple.com/us/podcast/museum-archipelago/id1182755184), Google Podcasts (https://www.google.com/podcasts?feed=aHR0cHM6Ly93d3cubXVzZXVtYXJjaGlwZWxhZ28uY29tL3Jzcw==), Overcast (https://overcast.fm/itunes1182755184/museum-archipelago), or Spotify (https://open.spotify.com/show/5ImpDQJqEypxGNslnImXZE) to never miss an epsiode. Club Archipelago

Leatha Jackson learned how to cook ribs and steaks by working in her aunt’s restaurant in Bogalusa. In this episode, she looks back with pride on her fifty-year career as a professional short-order cook. For years, Jackson dreamed of opening a restaurant in her home near Columbia, Mississippi. She discusses the humble beginnings of Leatha’s Barbeque and why looks can be deceiving. By the time Leatha’s Barbeque moved to Hattiesburg, it had become a destination spot for barbeque lovers around the world. She credits her love of people and the power of word-of-mouth advertising. Podcast Extra: The menu at Leatha’s Barbeque Inn does not offer many choices: only five entrées and two sides. Jackson explains why the selection is limited and discusses the most popular menu items. Although Leatha Jackson passed away in September of 2013, Leatha’s BBQ is still in business and keeping her legacy alive. PHOTO: Leatha’s BBQ Inn Facebook page.

Confetti Park is a community radio program out of New Orleans. We feature local storytellers and songs that kids love, songs created for kids, or created by kids, inspired by life here Louisiana. This medley of kids music shows the diversity of our state sound. Songs featured in this episode, in order: When I Grow Up – Asylum Street Spankers Joke of the Day – Pirates on the Deck Watch out for the Pirates – Confetti Park Players Splish Splash – Dr. John Butterfly – a poem by Lily Bell Old Dan Tucker – Jeremy Lyons Hushabye Mountain – Lori Carsillo Lovely Little Ladybug – Confetti Park Players Eenie Meanie -a poem by Millie Moffett Bubblegum -a poem by Belen Walker Birdie -a poem by Virginia Strong Barefootin’ – Buckwheat Zydeco Also featured in this episode, a music memory from Foots Quinn of Bogalusa and the storytime feature Tale of a Spitball by Ms. Chocolate. The Confetti Park podcast and radio program, hosted by Katy Hobgood Ray, features music and stories spun in Louisiana. It showcases songs that kids love, songs created for kids, and songs created by kids. Sparkling interviews, in-studio performances, delightful music medleys, jokes, local author storytime, and a little surprise lagniappe make for an entertaining show!   The radio program version launched on April 4, 2015 in New Orleans on WHIV FM and is supported by the New Orleans Jazz and Heritage Foundation and Music Rising at Tulane University. Current broadcast schedule: WRFA 107.9 FM in Jamestown, NY every Saturday at 8 a.m. WHIV 102.3 FM in New Orleans every Saturday at 12 p.m. WHYR 96.9 FM in Baton Rouge every Sunday at 11:30 a.m. KSLU 90.9 FM in Hammond every Sunday at 12 p.m. Community radio stations, interested in carrying Confetti Park? Contact Katy Ray.

The deeper we go into the beatitudes, the deeper the devotion of the disciple.  In our age, moral purity seems to be an anachronistic and naive virtue, if it be a virtue at all.  Jesus words slam hard against this cultural convention.  It is the pure in heart who shall see God.  And so, the call upon the disciple is to follow Christ with a singular focus and purpose.  This teaching was presented on Sunday, March 19, 2017.  This podcast is a ministry of First Baptist Church of Bogalusa, Lousiana.  Thank you for listening!

Perhaps nowhere do we imitate God more or as well as we do when we are showing mercy.  Jesus tells us the merciful will recieve mercy.  So, the call on the life of a believer is to walk in Christ mercy with others.  It is this, Christ mercy through His Spirit, that allows us to give and receive mercy because it is the perfect mercy of God, not the false mercy of the prideful soul.  This teaching was presented on Sunday, March 12, 2017.  This podcast is a ministry of First Baptist Church of Bogalusa, Louisiana.  Thank you for listening!

"Bobby Rush i Professor Longhair"  “Porcupine meat”, el m

"Porcupine meat", el m

Terry "Foots" Quinn is a singer-songwriter from Bogalusa, Louisiana. Foots plays guitar and harmonica, and considers his biggest influences to be the Rolling Stones, Van Morrison, Allman Brothers, and rural blues and country players such as Jimmie Davis and Jimmie Rodgers.  Foots is the nephew of an important pioneer of early jazz guitar named Snoozer Quinn.Foots writes songs true to life growing up in the piney woods of Washington Parish. His descriptive lyrics capture the feelings, scenery and problems of small-town life, yet Foots always manages to bring a chuckle and point out the good things. He's also a railroad historian and afficionado, and has a large repertoire of train songs. Here he shares a music memory with Confetti Park: "My memory from way back is of a little drive-in chili bun stand called Floyd's—had curb service," says Foots. "They were playing 'Maybelline' over the loud speaker system, by Chuck Berry. It introduced me to some very fine rock n roll!"

Cynthia Baker Anderson and Fletcher Anderson oral history interview conducted by Joseph Mosnier in Bogalusa, Louisiana, 5/27/2011.

Geraldine Crawford Bennett, Toni Breaux, and Willie Elliot Jenkins oral history interview conducted by Joseph Mosnier in Bogalusa, Louisiana, 5/28/2011.

Rev. Willie Pierce

                    In this lecture, James Farmer discusses his multiple trips to Bogalusa, Louisiana.  Since he received multiple death threats, the state of Louisiana offered police protection to him. Farmer discusses how it was difficult for the black defense group, Deacons for Defense In Justice, to trust the police protection because of prior discrimination. One trip to Bogalusa involved [...]

Pastor preaches the importance of being rapture ready!

Pastor Travis Houston Preaches on the power of Jesus' name.

Onyx Coale is one of the top 3 highest paid women in the industry of network marketing. While she is a 'baby" in network marketing (having only done this business for 6 years), she has made a HUGE impact, both on the industry and other women. Onyx Coale is inspired by helping other women. She says that 85% of all women who earn more then $100,000 a year in the US do it in NWM. Six years into the industry, Onyx has a business that has grown to over 300,000 people globally. She says one of the best things about growing her global organization is that she gets to inspire women from MANY different cultures, and religious backgrounds. She says there is nothing more exiting than walking into a presentation in Malaysia, or Thailand, or India and seeing a room of 70% women, with completely different backgrounds. She says the thread is the same all over the world. The reason you build a NWM business is that it creates a residual income, yes of course, but more importantly, it gives women options. What’s type of conversations take place when you’re not around? Words like Impact Player, Life Changer, Giver, Peacemaker, are just a few words that describe those conversations that are had about Donna Allen. Hailing from Bogalusa, Louisiana, the quest to become a millionaire was imbedded into Donna’s mind while in the 8th grade. She recived her BA from Dillard and worked in coroporate america for 10 years.  In 1995, Donna became an entrepreneur using Network Marketing as the vehicle and faced many years of challenges, obstacles, setbacks, roadblocks and many hours of hard work. After studying the industry and teaming up with millionaires who were willing to mentor, guide and embrace her vision, she soon reached her goal of millionaire status. 

Pastor Houston preaches his passion for sustaining Apostolic Truth in our generation.

Have you ever been told you've been brainwashed? Pastor Houston preaches the importance of having our minds washed in the blood of Jesus Christ.

Pastor Houston shows how our enemies can push us into the miraculous.

Snow White and the 7 Dwarfs