Podcast appearances and mentions of bryan mills

In the movie Taken, Bryan Mills is a father with a particular set of skills on a mission to rescue his kidnapped daughter. In the same way, our Heavenly Father is on a mission to rescue every one of His children that have been kidnapped by sin. In this powerful message, Ps. Mike looks at our relationship with God and His relentless pursuit of us.  

In the second part of our Liam Neeson spectacular, the guys shift their attention to Taken 3 (or Tak3n if you were a part of the stupid marketing team). It's a movie that asks the question... what if we just didn't take anyone? You can blame Liam Neeson for that and his weird-ass contract. But in regards to the movie, they also wonder what is up with Forest Whitaker's hands business? How stupid is Bryan Mills in his everyday life? Should you ever tamper with bagel evidence? Plus: a deep dive into a very specific emphasis-based type of criminal. Next week: It's a real doozy of a small-screen shameful. This one will dance all over your brain! What We've Been Watching: Late Night with the Devil In the Bedroom Questions? Comments? Suggestions? You can always shoot us an e-mail at wwttpodcast@gmail.com  Patreon: www.patreon.com/wwttpodcast Facebook: www.facebook.com/wwttpodcast Twitter: www.twitter.com/wwttpodcast Instagram: www.instagram.com/wwttpodcast Theme Song recorded by Taylor Sheasgreen: www.facebook.com/themotorleague Logo designed by Mariah Lirette: www.instagram.com/its.mariah.xo Montrose Monkington III: www.twitter.com/montrosethe3rd Taken 3 stars Liam Neeson, Maggie Grace, Forest Whitaker, Dougray Scott, Sam Spruell, Leland Orser, Jon Gries and Famke Janssen; directed by Olivier Megaton. Learn more about your ad choices. Visit megaphone.fm/adchoices

Here's a short teaser of our brand new Patreon-exclusive episode of Uncut Gems Tie-ins, a monthly series where we take a classic movie and connect it to a film discussed on our main show. This month we are talking about Taken, the movie which recalibrated Liam Neeson's career and transformed him from an aging prestige thespian into a latter-day superhero. Over the course of our conversation you will hear us talk about this surprising late-career shift, the meme of Bryan Mills, the legacy of Jack Bauer and Jason Bourne and the moral panic of setting Albanian human traffickers as the villains. We also talk making movies set in Europe, Bryan Mills' scruples, and Maggie Grace's graceless running. Enjoy! Tune in and enjoy! Hosts: Jakub Flasz & Randy Burrows ⁠⁠⁠Head over to our website to find out more! (uncutgemspodcast.com)⁠⁠⁠ Follow us on Twitter (⁠⁠⁠@UncutGemsPod⁠⁠⁠) and IG (⁠⁠⁠@UncutGemsPod⁠⁠⁠) ⁠⁠⁠Buy us a coffee over at Ko-Fi.com⁠⁠⁠ (ko-fi.com/uncutgemspod) ⁠⁠⁠Subscribe to our Patreon⁠⁠⁠ (patreon.com/uncutgemspod)

Taken again??? Surely no one's this unlucky!!!! Accused of a ruthless murder he never committed or witnessed, Bryan Mills goes on the run and brings out his particular set of skills to find the true killer and clear his name.

In Istanbul, retired CIA operative Bryan Mills and his wife are taken hostage by the father of a kidnapper Mills killed while rescuing his daughter. Now it's Kims turn to be the rescuer in the bizarre sequel.

We're on a summer break at the moment and will be back with new episodes in September. In the meantime we are re-releasing some of our favorite episodes. This week we are going back to the movie that started the podcast with our build of Bryan Mills from the movie Taken. Enjoy!

Bryan Mills, CEO of Community Health Network, doesn't hide in the executive wing. He walks the halls, meets new employees in person, and understands patients and their families because he too is a patient and supporting family member. He also loves to think completely differently about what “experience” means in healthcare. Listen in as Bryan talks about his unique perspective while also painting a vivid picture of the immense challenges every healthcare leader faces. He touches on PX, workforce, and consumerism – all from the CEO perspective. But Bryan doesn't sound like a typical CEO and that's what makes his observations even more powerful. Best of all? He's an optimist, and it shows.

Welcome to "I Hate Poor People," the thought-provoking podcast that dives deep into the complex issues surrounding poverty, inequality, and social class. Hosted by Bryan Mills & brandon Duff, this podcast offers a unique perspective challenging the notion of "hating" poor people, aiming to spark critical conversations and promote empathy and understanding.Join The Cashflow challenge hereWant to connect with us & learn more about passive income online then join our Private Facebook group - Passive Buddies Facebook GroupGet More Info At The Passive Buddies Website Click here

Welcome to "Branding Doesn't Matter If You Do This," the podcast that challenges conventional wisdom in the world of business and marketing. Hosted by Bryan Mills & Brandon Duff, this show takes a bold stance, exploring how a single crucial factor can outweigh the significance of branding in achieving success.Join The Cashflow challenge hereWant to connect with us & learn more about passive income online then join our Private Facebook group - Passive Buddies Facebook GroupGet More Info At The Passive Buddies Website Click here

An activist, comedian, director, and middle school theatre teacher, CJ Miller aspires to do everything he can to change the world for the better. A holder of degrees in both Theatre and Aerospace Technology, CJ is also a military veteran, an actor, and an outstanding dramaturg (even though no one knows what that is).  CJ can be found on Tiktok as @childlessparent speaking out against the legalized human trafficking system in the United States known as “adoption” in creative and entertaining ways.  Speaking of adoption, eight years ago CJ's daughter was adopted away from him against his wishes. A traumatic story steeped in racism and white supremacy, the ex-girlfriend and mother of CJ's child, a white Southern debutante, reached out to an adoption agency to help conceal her pregnancy and have the baby adopted out of the country. Why? Because she was afraid of losing her inheritance and being disowned by certain members of her family if they found out she had a child with a black man even though she had no problem letting her family know she was dating that black man.  . . . . White women are weird.  The adoption agency was more than willing to assist in separating a black man from his child for the sake of one white woman's selfishness and another one's infertility issues. And despite what feels like the entire country choosing not to acknowledge the cultural genocide of adoption, CJ is on a mission to be reunited with his daughter just like his heroes Bryan Mills and Bebe Chow. --- Send in a voice message: https://podcasters.spotify.com/pod/show/convosaboutadoption/message Support this podcast: https://podcasters.spotify.com/pod/show/convosaboutadoption/support

Prepare for an adrenaline-fueled thrill ride! Join the Born to Watch team as we revisit the heart-pounding action and relentless determination o of the 2008 hit film, Taken. Get ready to be on the edge of your seat all over again.Released in 2008, Taken is a pulse-pounding action thriller that showcases the talents of Liam Neeson in one of his most iconic roles. Directed by Pierre Morel and written by Luc Besson and Robert Mark Kamen, the film catapulted Neeson into the action genre spotlight and became a box office success. Known for its intense action sequences, gripping storyline, and Neeson's commanding presence, Taken has since become a modern classic in the genre. In this review, we will delve into the film's strengths, weaknesses, and overall impact.Taken introduces us to Bryan Mills (Liam Neeson), a retired CIA operative whose life takes a dramatic turn when his daughter, Kim (Maggie Grace), is kidnapped by a sex trafficking ring while on vacation in Paris. The plot unfolds with relentless momentum as Bryan races against time to rescue his daughter before she disappears forever.The film stands out for its tightly woven narrative, delivering a simple yet effective premise that keeps the audience engaged throughout. Bryan's transformation from a loving father to a relentless avenger is expertly portrayed, making him a highly relatable and sympathetic character. The film's exploration of the dark underbelly of human trafficking serves as a sobering reminder of the real-world issue it tackles.Liam Neeson's portrayal of Bryan Mills is nothing short of phenomenal. His on-screen presence is magnetic, as he effortlessly embodies the role of a seasoned, yet vulnerable, father on a mission. Neeson's deep voice, stoic demeanor, and unwavering determination lend an air of authenticity to the character, making his actions and the stakes feel real.Neeson's performance is emotionally charged, effectively conveying Bryan's desperation and determination to save his daughter. His delivery of the iconic phone call monologue, in which he threatens the kidnappers, has become one of the most memorable moments in action movie history. Neeson's physicality and intense fight sequences further highlight his versatility as an action star.Taken excels in delivering adrenaline-fueled action sequences that keep viewers on the edge of their seats. Director Pierre Morel masterfully crafts intense and gritty scenes, incorporating a frenetic pace that perfectly matches the urgency of Bryan's mission. The hand-to-hand combat, chase scenes, and shootouts are expertly choreographed, displaying a raw and visceral energy.The film's editing deserves praise for its seamless transitions and well-timed cuts, heightening the tension and intensifying the impact of each action sequence. The cinematography captures the dark and gritty atmosphere of Paris, showcasing both the beauty and the danger lurking beneath the surface.Taken benefits from a solid supporting cast that enhances the film's overall quality. Famke Janssen delivers a heartfelt performance as Lenore, Bryan's ex-wife and Kim's mother. Although her screen time is limited, her character provides emotional depth to Bryan's motivations.The antagonists, led by Olivier Rabourdin's Detective Franck Dotzler, are suitably menacing, portraying the cold and ruthless nature of the sex trafficking ring. The film doesn't delve deeply into their motivations, but they serve their purpose as formidable adversaries for Bryan.Taken remains a standout action thriller that has left an indelible mark on the genre. The film's compelling storyline, Liam Neeson's commanding performance, and high-octane action sequences come together to create an enthralling piece of cinema that will stand the test of time.Please follow the Podcast and join our community at https://linktr.ee/borntowatchpodcast If you are looking to start a podcast and want a host or get guests to pipe in remotely, look no further than Riverside.fmClick the link below https://riverside.fm/?utm_campaign=campaign_1&utm_medium=affiliate&utm_source=rewardful&via=matthew

Hope is what binds us together as football fans, it's what binds us to our favorite teams, and it's what we cling to when our favorite team get crushed by 138 charge Man City or are down 3-0 to a rampant Liverpool team at Anfield.  Both those things happened this week our intrepid podcasters are here to discuss it.  But this was a two game week so there is more.  Rick relives Tottenham's 2-2 draw with Man United and Cal laughs at whoever was wearing Chelsea's uniforms and rants at their "fans."  Oh, and he also discusses Arsenal's 3-1 victory, and then laughs at them some more.  The only way it could be funnier is if John Terry were their manager.  Rick previews Tottenham's upcoming London Derby with Crystal Palace and Cal hopes that Arsenal show up on Tyneside looking for the three points they needed last year like Bryan Mills looking for his daughter.Thank you for listening!@ATFPodcast1@ATFPodcast2https://www.arsenaltottenhamfanpodcast.com

Liam Neeson's career has spanned 47 years, over 100 films- and too many iconic roles to count. From Oskar Schidler, to Qui-Gon Jinn, to Ra's al Ghul, to everyone's favourite retired CIA operative Bryan Mills to brooding private detective Philip Marlowe in the 2022 release Marlowe. Liam Neeson theorised with ZB's Jack Tame that a character like Philip Marlowe has managed to keep readers and viewers intrigued over a century after his creation because people are drawn to noble protagonists who care about seeking justice. “Here's this guy, kind of down on his luck I suppose, carving out a not very lucrative career and seeking some kind of justice for a murder or some crime that's been committed and doing it in his own way. Sometimes he works for the bad guys, sometimes with the good guys. Something about that, there's a rebel in there and there's also an Arthurian knight of the Round Table in there.” Marlowe holds the unique distinction of being Liam Neeson's 100th film, but he remains modest about his accomplishments on stage or the screen. Even when Jack pressed further, Neeson still wouldn't name any personal highlights. “Seriously, I can't. A lot of that is just luck, Lady Luck.” The theme of seeking justice and avenging crimes is clearly timeless, as it's a driving force behind another iconic role filled by Neeson- retired CIA operative turned father figure Bryan Mills from the 2008 hit Taken. Surprisingly enough, Liam Neeson never actually imagined Taken being a hit- or eventually a meme. As he explained to Jack Tame, he assumed this was going to be dismissed as direct to video-grade cheesiness. “It's funny, when I first read that script (Taken) I thought- this is so corny. I heard this or feel like I've seen this in so many movies.” “I thought it would be straight to video. Like straight to video. But I wanted to do it because of all the fighting and I loved being with the stunt guys, doing all that stuff. And it was three months in Paris, how bad could it be?” Liam Neeson explained to Jack Tame that Taken was the start of the point in his career where he became an action star, as he later featured in The A-Team, The Grey, Wrath of the Titans and all the Taken sequels. “If I had five cents for every time I said, you know, I have a particular set of skills, I will find you… I'd be a very rich man. Because my kids would always say- Dad, would you leave a message for my friend?”See omnystudio.com/listener for privacy information.

On this episode of Ginger Bros we welcome Bryan Mills with Pro Touch Paintless Dent Repair to the show. Bryan is a phenomenal tech out of Kentucky and just one of the nicest guys you'll ever meet. Listen in as we get to know Bryan just a little bit better outside of the PDR world.

Here are some of the topics Ron had the opportunity to discuss with Bryan Mills;Bryan's journey from mechanical engineering to running the 3rd generation family business.A fun story about Bryan redesigning the Tapcon Screw.Bryan's diversification in the business during the Great Recession in 2009Mills Technologies and how EOS has been implemented to the company's culture.To get transcripts, resources of what was mentioned in the show, and more visit: onefirefly.com/au232SHOW NOTESBryan represents the third generation of the Mills family involved in the consumer and commercial technology industries. He started his career in product design, focusing on the integration of form and function in everyday items. After product design, Bryan moved into management and operations in a Fortune 500 company, working on projects varying from the commercialization of hybrid vehicle platforms to strategic planning and mergers and acquisitions. Looking for an opportunity to leverage his technical background and small business operations skills, Bryan joined Mills in 2009 to take over as president of the family business.At Mills, Bryan has focused on system standardization to provide exceptionally reliable and intuitive solutions for clients, and over the past 7 years has doubled the size of the company. Bryan is a past recipient of a “Profile of Excellence Award” by CEPro Magazine.Bryan has a BS in Mechanical Engineering from Northwestern University with a concentration in Design and is also a certified CEDIA Registered Outreach Instructor.Ron Callis is the CEO of One Firefly, LLC, a digital marketing agency based out of South Florida and creator of Automation Unplugged. Founded in 2007, One Firefly has quickly become the leading marketing firm specializing in integrated technology and security. The One Firefly team works hard to create innovative solutions to help Integrators boost their online presence, such as the elite website solution Mercury Pro.About One FireflyOne Firefly, LLC is an award-winning marketing agency that caters to technology professionals in the custom integration, security and solar energy markets. One Firefly is headquartered in Davie, Florida with staff located throughout North America and has been operating since 2007.

Welcome to the MK Ultra adjacent episode with Dereck Coleman! We get super personal on this episode so thanks for listening and don't be embarrassed or ashamed of your mental health, we all have mash potato brain sometimes. The official stance of this podcast is that drug use is only advisable under the supervision of a doctor or mental health professional in a controlled setting. Also don't take ambien! Hosted by the newly married Dylan Tharp Eralie, music by Bryan Mills, edited by Selena Martinez (mash potato brain). Sources: https://web.archive.org/web/20150723031539/http://archives.drugabuse.gov/pdf/monographs/146.pdf https://www.camh.ca/en/health-info/mental-illness-and-addiction-index/hallucinogens https://pubs.acs.org/doi/10.1021/acschemneuro.8b00433 https://www.betterhealth.vic.gov.au/health/healthyliving/hallucinogens https://nida.nih.gov/publications/drugfacts/hallucinogens https://www.bps.org.uk/psychologist/how-do-hallucinogens-work-brain hopkinsmedicine.org/news/media/releases/hallucinogenic_drug_psilocybin_eases_existential_anxiety_in_people_with_life_threatening_cancer https://www.tandfonline.com/doi/full/10.1080/02791072.2022.2044096 https://en.wikipedia.org/wiki/Hallucinogen https://en.wikipedia.org/wiki/Psychedelic_drug https://en.wikipedia.org/wiki/Dissociative https://en.wikipedia.org/wiki/Deliriant https://en.wikipedia.org/wiki/List_of_psychedelic_drugs

Taken (also titled 96 Hours and The Hostage) is a 2008 French English-language action-thriller film written by Luc Besson and Robert Mark Kamen, and directed by Pierre Morel. It stars Liam Neeson, Maggie Grace, Famke Janssen, Katie Cassidy, Leland Orser, and Holly Valance. Neeson plays Bryan Mills, an ex-CIA officer who sets about tracking down his teenage daughter Kim (Grace) and her best friend Amanda (Cassidy) after the two girls are kidnapped by Albanian human traffickers while traveling in France during a vacation.

Episode one hundred and fifty-six of A History of Rock Music in Five Hundred Songs looks at “I Was Made to Love Her", the early career of Stevie Wonder, and the Detroit riots of 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Groovin'" by the Young Rascals. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud playlist of all the recordings excerpted in this episode. The best value way to get all of Stevie Wonder's early singles is this MP3 collection, which has the original mono single mixes of fifty-five tracks for a very reasonable price. For those who prefer physical media, this is a decent single-CD collection of his early work at a very low price indeed. As well as the general Motown information listed below, I've also referred to Signed, Sealed, and Delivered: The Soulful Journey of Stevie Wonder by Mark Ribowsky, which rather astonishingly is the only full-length biography of Wonder, to Higher Ground: Stevie Wonder, Aretha Franklin, Curtis Mayfield, and the Rise and Fall of American Soul by Craig Werner, and to Detroit 67: The Year That Changed Soul by Stuart Cosgrove. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier's autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers'. Standing in the Shadows of Motown: The Life and Music of Legendary Bassist James Jamerson by "Dr Licks" is a mixture of a short biography of the great bass player, and tablature of his most impressive bass parts. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I begin -- this episode deals with disability and racism, and also deals from the very beginning with sex work and domestic violence. It also has some discussion of police violence and sexual assault. As always I will try to deal with those subjects as non-judgementally and sensitively as possible, but if you worry that anything about those subjects might disturb you, please check the transcript. Calvin Judkins was not a good man. Lula Mae Hardaway thought at first he might be, when he took her in, with her infant son whose father had left before the boy was born. He was someone who seemed, when he played the piano, to be deeply sensitive and emotional, and he even did the decent thing and married her when he got her pregnant. She thought she could save him, even though he was a street hustler and not even very good at it, and thirty years older than her -- she was only nineteen, he was nearly fifty. But she soon discovered that he wasn't interested in being saved, and instead he was interested in hurting her. He became physically and financially abusive, and started pimping her out. Lula would eventually realise that Calvin Judkins was no good, but not until she got pregnant again, shortly after the birth of her second son. Her third son was born premature -- different sources give different numbers for how premature, with some saying four months and others six weeks -- and while he apparently went by Stevland Judkins throughout his early childhood, the name on his birth certificate was apparently Stevland Morris, Lula having decided not to give another child the surname of her abuser, though nobody has ever properly explained where she got the surname "Morris" from. Little Stevland was put in an incubator with an oxygen mask, which saved the tiny child's life but destroyed his sight, giving him a condition called retinopathy of prematurity -- a condition which nowadays can be prevented and cured, but in 1951 was just an unavoidable consequence for some portion of premature babies. Shortly after the family moved from Saginaw to Detroit, Lula kicked Calvin out, and he would remain only a peripheral figure in his children's lives, but one thing he did do was notice young Stevland's interest in music, and on his increasingly infrequent visits to his wife and kids -- visits that usually ended with violence -- he would bring along toy instruments for the young child to play, like a harmonica and a set of bongos. Stevie was a real prodigy, and by the time he was nine he had a collection of real musical instruments, because everyone could see that the kid was something special. A neighbour who owned a piano gave it to Stevie when she moved out and couldn't take it with her. A local Lions Club gave him a drum kit at a party they organised for local blind children, and a barber gave him a chromatic harmonica after seeing him play his toy one. Stevie gave his first professional performance when he was eight. His mother had taken him to a picnic in the park, and there was a band playing, and the little boy got as close to the stage as he could and started dancing wildly. The MC of the show asked the child who he was, and he said "My name is Stevie, and I can sing and play drums", so of course they got the cute kid up on stage behind the drum kit while the band played Johnny Ace's "Pledging My Love": [Excerpt: Johnny Ace, "Pledging My Love"] He did well enough that they paid him seventy-five cents -- an enormous amount for a small child at that time -- though he was disappointed afterwards that they hadn't played something faster that would really allow him to show off his drumming skills. After that he would perform semi-regularly at small events, and always ask to be paid in quarters rather than paper money, because he liked the sound of the coins -- one of his party tricks was to be able to tell one coin from another by the sound of them hitting a table. Soon he formed a duo with a neighbourhood friend, John Glover, who was a couple of years older and could play guitar while Stevie sang and played harmonica and bongos. The two were friends, and both accomplished musicians for their age, but that wasn't the only reason Stevie latched on to Glover. Even as young as he was, he knew that Motown was soon going to be the place to be in Detroit if you were a musician, and Glover had an in -- his cousin was Ronnie White of the Miracles. Stevie and John performed as a duo everywhere they could and honed their act, performing particularly at the talent shows which were such an incubator of Black musical talent at the time, and they also at this point seem to have got the attention of Clarence Paul, but it was White who brought the duo to Motown. Stevie and John first played for White and Bobby Rodgers, another of the Miracles, then when they were impressed they took them through the several layers of Motown people who would have to sign off on signing a new act. First they were taken to see Brian Holland, who was a rising star within Motown as "Please Mr. Postman" was just entering the charts. They impressed him with a performance of the Miracles song "Bad Girl": [Excerpt: The Miracles, "Bad Girl"] After that, Stevie and John went to see Mickey Stevenson, who was at first sceptical, thinking that a kid so young -- Stevie was only eleven at the time -- must be some kind of novelty act rather than a serious musician. He said later "It was like, what's next, the singing mouse?" But Stevenson was won over by the child's talent. Normally, Stevenson had the power to sign whoever he liked to the label, but given the extra legal complications involved in signing someone under-age, he had to get Berry Gordy's permission. Gordy didn't even like signing teenagers because of all the extra paperwork that would be involved, and he certainly wasn't interested in signing pre-teens. But he came down to the studio to see what Stevie could do, and was amazed, not by his singing -- Gordy didn't think much of that -- but by his instrumental ability. First Stevie played harmonica and bongos as proficiently as an adult professional, and then he made his way around the studio playing on every other instrument in the place -- often only a few notes, but competent on them all. Gordy decided to sign the duo -- and the initial contract was for an act named "Steve and John" -- but it was soon decided to separate them. Glover would be allowed to hang around Motown while he was finishing school, and there would be a place for him when he finished -- he later became a staff songwriter, working on tracks for the Four Tops and the Miracles among others, and he would even later write a number one hit, "You Don't Have to be a Star (to be in My Show)" for Marilyn McCoo and Billy Davis Jr -- but they were going to make Stevie a star right now. The man put in charge of that was Clarence Paul. Paul, under his birth name of Clarence Pauling, had started his career in the "5" Royales, a vocal group he formed with his brother Lowman Pauling that had been signed to Apollo Records by Ralph Bass, and later to King Records. Paul seems to have been on at least some of the earliest recordings by the group, so is likely on their first single, "Give Me One More Chance": [Excerpt: The "5" Royales, "Give Me One More Chance"] But Paul was drafted to go and fight in the Korean War, and so wasn't part of the group's string of hit singles, mostly written by his brother Lowman, like "Think", which later became better known in James Brown's cover version, or "Dedicated to the One I Love", later covered by the Shirelles, but in its original version dominated by Lowman's stinging guitar playing: [Excerpt: The "5" Royales, "Dedicated to the One I Love"] After being discharged, Clarence had shortened his name to Clarence Paul, and had started recording for all the usual R&B labels like Roulette and Federal, with little success: [Excerpt: Clarence Paul, "I'm Gonna Love You, Love You Til I Die"] He'd also co-written "I Need Your Lovin'", which had been an R&B hit for Roy Hamilton: [Excerpt: Roy Hamilton, "I Need Your Lovin'"] Paul had recently come to work for Motown – one of the things Berry Gordy did to try to make his label more attractive was to hire the relatives of R&B stars on other labels, in the hopes of getting them to switch to Motown – and he was the new man on the team, not given any of the important work to do. He was working with acts like Henry Lumpkin and the Valladiers, and had also been the producer of "Mind Over Matter", the single the Temptations had released as The Pirates in a desperate attempt to get a hit: [Excerpt: The Pirates, "Mind Over Matter"] Paul was the person you turned to when no-one else was interested, and who would come up with bizarre ideas. A year or so after the time period we're talking about, it was him who produced an album of country music for the Supremes, before they'd had a hit, and came up with "The Man With the Rock and Roll Banjo Band" for them: [Excerpt: The Supremes, "The Man With The Rock and Roll Banjo Band"] So, Paul was the perfect person to give a child -- by this time twelve years old -- who had the triple novelties of being a multi-instrumentalist, a child, and blind. Stevie started spending all his time around the Motown studios, partly because he was eager to learn everything about making records and partly because his home life wasn't particularly great and he wanted to be somewhere else. He earned the affection and irritation, in equal measure, of people at Motown both for his habit of wandering into the middle of sessions because he couldn't see the light that showed that the studio was in use, and for his practical joking. He was a great mimic, and would do things like phoning one of the engineers and imitating Berry Gordy's voice, telling the engineer that Stevie would be coming down, and to give him studio equipment to take home. He'd also astonish women by complimenting them, in detail, on their dresses, having been told in advance what they looked like by an accomplice. But other "jokes" were less welcome -- he would regularly sexually assault women working at Motown, grabbing their breasts or buttocks and then claiming it was an accident because he couldn't see what he was doing. Most of the women he molested still speak of him fondly, and say everybody loved him, and this may even be the case -- and certainly I don't think any of us should be judged too harshly for what we did when we were twelve -- but this kind of thing led to a certain amount of pressure to make Stevie's career worth the extra effort he was causing everyone at Motown. Because Berry Gordy was not impressed with Stevie's vocals, the decision was made to promote him as a jazz instrumentalist, and so Clarence Paul insisted that his first release be an album, rather than doing what everyone would normally do and only put out an album after a hit single. Paul reasoned that there was no way on Earth they were going to be able to get a hit single with a jazz instrumental by a twelve-year-old kid, and eventually persuaded Gordy of the wisdom of this idea. So they started work on The Jazz Soul of Little Stevie, released under his new stagename of Little Stevie Wonder, supposedly a name given to him after Berry Gordy said "That kid's a wonder!", though Mickey Stevenson always said that the name came from a brainstorming session between him and Clarence Paul. The album featured Stevie on harmonica, piano, and organ on different tracks, but on the opening track, "Fingertips", he's playing the bongos that give the track its name: [Excerpt: Little Stevie Wonder, "Fingertips (studio version)"] The composition of that track is credited to Paul and the arranger Hank Cosby, but Beans Bowles, who played flute on the track, always claimed that he came up with the melody, and it seems quite likely to me that most of the tracks on the album were created more or less as jam sessions -- though Wonder's contributions were all overdubbed later. The album sat in the can for several months -- Berry Gordy was not at all sure of its commercial potential. Instead, he told Paul to go in another direction -- focusing on Wonder's blindness, he decided that what they needed to do was create an association in listeners' minds with Ray Charles, who at this point was at the peak of his commercial power. So back into the studio went Wonder and Paul, to record an album made up almost entirely of Ray Charles covers, titled Tribute to Uncle Ray. (Some sources have the Ray Charles tribute album recorded first -- and given Motown's lax record-keeping at this time it may be impossible to know for sure -- but this is the way round that Mark Ribowsky's biography of Wonder has it). But at Motown's regular quality control meeting it was decided that there wasn't a single on the album, and you didn't release an album like that without having a hit single first. By this point, Clarence Paul was convinced that Berry Gordy was just looking for excuses not to do anything with Wonder -- and there may have been a grain of truth to that. There's some evidence that Gordy was worried that the kid wouldn't be able to sing once his voice broke, and was scared of having another Frankie Lymon on his hands. But the decision was made that rather than put out either of those albums, they would put out a single. The A-side was a song called "I Call it Pretty Music But the Old People Call it the Blues, Part 1", which very much played on Wonder's image as a loveable naive kid: [Excerpt: Little Stevie Wonder, "I Call it Pretty Music But the Old People Call it the Blues, Part 1"] The B-side, meanwhile, was part two -- a slowed-down, near instrumental, version of the song, reframed as an actual blues, and as a showcase for Wonder's harmonica playing rather than his vocals. The single wasn't a hit, but it made number 101 on the Billboard charts, just missing the Hot One Hundred, which for the debut single of a new artist wasn't too bad, especially for Motown at this point in time, when most of its releases were flopping. That was good enough that Gordy authorised the release of the two albums that they had in the can. The next single, "Little Water Boy", was a rather baffling duet with Clarence Paul, which did nothing at all on the charts. [Excerpt: Clarence Paul and Little Stevie Wonder, "Little Water Boy"] After this came another flop single, written by Brian Holland, Lamont Dozier, and Janie Bradford, before the record that finally broke Little Stevie Wonder out into the mainstream in a big way. While Wonder hadn't had a hit yet, he was sent out on the first Motortown Revue tour, along with almost every other act on the label. Because he hadn't had a hit, he was supposed to only play one song per show, but nobody had told him how long that song should be. He had quickly become a great live performer, and the audiences were excited to watch him, so when he went into extended harmonica solos rather than quickly finishing the song, the audience would be with him. Clarence Paul, who came along on the tour, would have to motion to the onstage bandleader to stop the music, but the bandleader would know that the audiences were with Stevie, and so would just keep the song going as long as Stevie was playing. Often Paul would have to go on to the stage and shout in Wonder's ear to stop playing -- and often Wonder would ignore him, and have to be physically dragged off stage by Paul, still playing, causing the audience to boo Paul for stopping him from playing. Wonder would complain off-stage that the audience had been enjoying it, and didn't seem to get it into his head that he wasn't the star of the show, that the audiences *were* enjoying him, but were *there* to see the Miracles and Mary Wells and the Marvelettes and Marvin Gaye. This made all the acts who had to go on after him, and who were running late as a result, furious at him -- especially since one aspect of Wonder's blindness was that his circadian rhythms weren't regulated by sunlight in the same way that the sighted members of the tour's were. He would often wake up the entire tour bus by playing his harmonica at two or three in the morning, while they were all trying to sleep. Soon Berry Gordy insisted that Clarence Paul be on stage with Wonder throughout his performance, ready to drag him off stage, so that he wouldn't have to come out onto the stage to do it. But one of the first times he had done this had been on one of the very first Motortown Revue shows, before any of his records had come out. There he'd done a performance of "Fingertips", playing the flute part on harmonica rather than only playing bongos throughout as he had on the studio version -- leaving the percussion to Marvin Gaye, who was playing drums for Wonder's set: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] But he'd extended the song with a little bit of call-and-response vocalising: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] After the long performance ended, Clarence Paul dragged Wonder off-stage and the MC asked the audience to give him a round of applause -- but then Stevie came running back on and carried on playing: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] By this point, though, the musicians had started to change over -- Mary Wells, who was on after Wonder, was using different musicians from his, and some of her players were already on stage. You can hear Joe Swift, who was playing bass for Wells, asking what key he was meant to be playing in: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] Eventually, after six and a half minutes, they got Wonder off stage, but that performance became the two sides of Wonder's next single, with "Fingertips Part 2", the part with the ad lib singing and the false ending, rather than the instrumental part one, being labelled as the side the DJs should play. When it was released, the song started a slow climb up the charts, and by August 1963, three months after it came out, it was at number one -- only the second ever Motown number one, and the first ever live single to get there. Not only that, but Motown released a live album -- Recorded Live, the Twelve-Year-Old Genius (though as many people point out he was thirteen when it was released -- he was twelve when it was recorded though) and that made number one on the albums chart, becoming the first Motown album ever to do so. They followed up "Fingertips" with a similar sounding track, "Workout, Stevie, Workout", which made number thirty-three. After that, his albums -- though not yet his singles -- started to be released as by "Stevie Wonder" with no "Little" -- he'd had a bit of a growth spurt and his voice was breaking, and so marketing him as a child prodigy was not going to work much longer and they needed to transition him into a star with adult potential. In the Motown of 1963 that meant cutting an album of standards, because the belief at the time in Motown was that the future for their entertainers was doing show tunes at the Copacabana. But for some reason the audience who had wanted an R&B harmonica instrumental with call-and-response improvised gospel-influenced yelling was not in the mood for a thirteen year old singing "Put on a Happy Face" and "When You Wish Upon a Star", and especially not when the instrumental tracks were recorded in a key that suited him at age twelve but not thirteen, so he was clearly straining. "Fingertips" being a massive hit also meant Stevie was now near the top of the bill on the Motortown Revue when it went on its second tour. But this actually put him in a precarious position. When he had been down at the bottom of the bill and unknown, nobody expected anything from him, and he was following other minor acts, so when he was surprisingly good the audiences went wild. Now, near the top of the bill, he had to go on after Marvin Gaye, and he was not nearly so impressive in that context. The audiences were polite enough, but not in the raptures he was used to. Although Stevie could still beat Gaye in some circumstances. At Motown staff parties, Berry Gordy would always have a contest where he'd pit two artists against each other to see who could win the crowd over, something he thought instilled a fun and useful competitive spirit in his artists. They'd alternate songs, two songs each, and Gordy would decide on the winner based on audience response. For the 1963 Motown Christmas party, it was Stevie versus Marvin. Wonder went first, with "Workout, Stevie, Workout", and was apparently impressive, but then Gaye topped him with a version of "Hitch-Hike". So Stevie had to top that, and apparently did, with a hugely extended version of "I Call it Pretty Music", reworked in the Ray Charles style he'd used for "Fingertips". So Marvin Gaye had to top that with the final song of the contest, and he did, performing "Stubborn Kind of Fellow": [Excerpt: Marvin Gaye, "Stubborn Kind of Fellow"] And he was great. So great, it turned the crowd against him. They started booing, and someone in the audience shouted "Marvin, you should be ashamed of yourself, taking advantage of a little blind kid!" The crowd got so hostile Berry Gordy had to stop the performance and end the party early. He never had another contest like that again. There were other problems, as well. Wonder had been assigned a tutor, a young man named Ted Hull, who began to take serious control over his life. Hull was legally blind, so could teach Wonder using Braille, but unlike Wonder had some sight -- enough that he was even able to get a drivers' license and a co-pilot license for planes. Hull was put in loco parentis on most of Stevie's tours, and soon became basically inseparable from him, but this caused a lot of problems, not least because Hull was a conservative white man, while almost everyone else at Motown was Black, and Stevie was socially liberal and on the side of the civil rights and anti-Vietnam movements. Hull started to collaborate on songwriting with Wonder, which most people at Motown were OK with but which now seems like a serious conflict of interest, and he also started calling himself Stevie's "manager" -- which did *not* impress the people at Motown, who had their own conflict of interest because with Stevie, like with all their artists, they were his management company and agents as well as his record label and publishers. Motown grudgingly tolerated Hull, though, mostly because he was someone they could pass Lula Mae Hardaway to to deal with her complaints. Stevie's mother was not very impressed with the way that Motown were handling her son, and would make her opinion known to anyone who would listen. Hull and Hardaway did not get on at all, but he could be relied on to save the Gordy family members from having to deal with her. Wonder was sent over to Europe for Christmas 1963, to perform shows at the Paris Olympia and do some British media appearances. But both his mother and Hull had come along, and their clear dislike for each other was making him stressed. He started to get pains in his throat whenever he sang -- pains which everyone assumed were a stress reaction to the unhealthy atmosphere that happened whenever Hull and his mother were in the same room together, but which later turned out to be throat nodules that required surgery. Because of this, his singing was generally not up to standard, which meant he was moved to a less prominent place on the bill, which in turn led to his mother accusing the Gordy family of being against him and trying to stop him becoming a star. Wonder started to take her side and believe that Motown were conspiring against him, and at one point he even "accidentally" dropped a bottle of wine on Ted Hull's foot, breaking one of his toes, because he saw Hull as part of the enemy that was Motown. Before leaving for those shows, he had recorded the album he later considered the worst of his career. While he was now just plain Stevie on albums, he wasn't for his single releases, or in his first film appearance, where he was still Little Stevie Wonder. Berry Gordy was already trying to get a foot in the door in Hollywood -- by the end of the decade Motown would be moving from Detroit to LA -- and his first real connections there were with American International Pictures, the low-budget film-makers who have come up a lot in connection with the LA scene. AIP were the producers of the successful low-budget series of beach party films, which combined appearances by teen heartthrobs Frankie Avalon and Annette Funicello in swimsuits with cameo appearances by old film stars fallen on hard times, and with musical performances by bands like the Bobby Fuller Four. There would be a couple of Motown connections to these films -- most notably, the Supremes would do the theme tune for Dr. Goldfoot and the Bikini Machine -- but Muscle Beach Party was to be the first. Most of the music for Muscle Beach Party was written by Brian Wilson, Roger Christian, and Gary Usher, as one might expect for a film about surfing, and was performed by Dick Dale and the Del-Tones, the film's major musical guests, with Annette, Frankie, and Donna Loren [pron Lorren] adding vocals, on songs like "Muscle Bustle": [Excerpt: Donna Loren with Dick Dale and the Del-Tones, "Muscle Bustle"] The film followed the formula in every way -- it also had a cameo appearance by Peter Lorre, his last film appearance before his death, and it featured Little Stevie Wonder playing one of the few songs not written by the surf and car writers, a piece of nothing called "Happy Street". Stevie also featured in the follow-up, Bikini Beach, which came out a little under four months later, again doing a single number, "Happy Feelin'". To cash in on his appearances in these films, and having tried releasing albums of Little Stevie as jazz multi-instrumentalist, Ray Charles tribute act, live soulman and Andy Williams-style crooner, they now decided to see if they could sell him as a surf singer. Or at least, as Motown's idea of a surf singer, which meant a lot of songs about the beach and the sea -- mostly old standards like "Red Sails in the Sunset" and "Ebb Tide" -- backed by rather schlocky Wrecking Crew arrangements. And this is as good a place as any to take on one of the bits of disinformation that goes around about Motown. I've addressed this before, but it's worth repeating here in slightly more detail. Carol Kaye, one of the go-to Wrecking Crew bass players, is a known credit thief, and claims to have played on hundreds of records she didn't -- claims which too many people take seriously because she is a genuine pioneer and was for a long time undercredited on many records she *did* play on. In particular, she claims to have played on almost all the classic Motown hits that James Jamerson of the Funk Brothers played on, like the title track for this episode, and she claims this despite evidence including notarised statements from everyone involved in the records, the release of session recordings that show producers talking to the Funk Brothers, and most importantly the evidence of the recordings themselves, which have all the characteristics of the Detroit studio and sound like the Funk Brothers playing, and have absolutely nothing in common, sonically, with the records the Wrecking Crew played on at Gold Star, Western, and other LA studios. The Wrecking Crew *did* play on a lot of Motown records, but with a handful of exceptions, mostly by Brenda Holloway, the records they played on were quickie knock-off album tracks and potboiler albums made to tie in with film or TV work -- soundtracks to TV specials the acts did, and that kind of thing. And in this case, the Wrecking Crew played on the entire Stevie at the Beach album, including the last single to be released as by "Little Stevie Wonder", "Castles in the Sand", which was arranged by Jack Nitzsche: [Excerpt: Little Stevie Wonder, "Castles in the Sand"] Apparently the idea of surfin' Stevie didn't catch on any more than that of swingin' Stevie had earlier. Indeed, throughout 1964 and 65 Motown seem to have had less than no idea what they were doing with Stevie Wonder, and he himself refers to all his recordings from this period as an embarrassment, saving particular scorn for the second single from Stevie at the Beach, "Hey Harmonica Man", possibly because that, unlike most of his other singles around this point, was a minor hit, reaching number twenty-nine on the charts. Motown were still pushing Wonder hard -- he even got an appearance on the Ed Sullivan Show in May 1964, only the second Motown act to appear on it after the Marvelettes -- but Wonder was getting more and more unhappy with the decisions they were making. He loathed the Stevie at the Beach album -- the records he'd made earlier, while patchy and not things he'd chosen, were at least in some way related to his musical interests. He *did* love jazz, and he *did* love Ray Charles, and he *did* love old standards, and the records were made by his friend Clarence Paul and with the studio musicians he'd grown to know in Detroit. But Stevie at the Beach was something that was imposed on Clarence Paul from above, it was cut with unfamiliar musicians, Stevie thought the films he was appearing in were embarrassing, and he wasn't even having much commercial success, which was the whole point of these compromises. He started to get more rebellious against Paul in the studio, though many of these decisions weren't made by Paul, and he would complain to anyone who would listen that if he was just allowed to do the music he wanted to sing, the way he wanted to sing it, he would have more hits. But for nine months he did basically no singing other than that Ed Sullivan Show appearance -- he had to recover from the operation to remove the throat nodules. When he did return to the studio, the first single he cut remained unreleased, and while some stuff from the archives was released between the start of 1964 and March 1965, the first single he recorded and released after the throat nodules, "Kiss Me Baby", which came out in March, was a complete flop. That single was released to coincide with the first Motown tour of Europe, which we looked at in the episode on "Stop! In the Name of Love", and which was mostly set up to promote the Supremes, but which also featured Martha and the Vandellas, the Miracles, and the Temptations. Even though Stevie had not had a major hit in eighteen months by this point, he was still brought along on the tour, the only solo artist to be included -- at this point Gordy thought that solo artists looked outdated compared to vocal groups, in a world dominated by bands, and so other solo artists like Marvin Gaye weren't invited. This was a sign that Gordy was happier with Stevie than his recent lack of chart success might suggest. One of the main reasons that Gordy had been in two minds about him was that he'd had no idea if Wonder would still be able to sing well after his voice broke. But now, as he was about to turn fifteen, his adult voice had more or less stabilised, and Gordy knew that he was capable of having a long career, if they just gave him the proper material. But for now his job on the tour was to do his couple of hits, smile, and be on the lower rungs of the ladder. But even that was still a prominent place to be given the scaled-down nature of this bill compared to the Motortown Revues. While the tour was in England, for example, Dusty Springfield presented a TV special focusing on all the acts on the tour, and while the Supremes were the main stars, Stevie got to do two songs, and also took part in the finale, a version of "Mickey's Monkey" led by Smokey Robinson but with all the performers joining in, with Wonder getting a harmonica solo: [Excerpt: Smokey Robinson and the Motown acts, "Mickey's Monkey"] Sadly, there was one aspect of the trip to the UK that was extremely upsetting for Wonder. Almost all the media attention he got -- which was relatively little, as he wasn't a Supreme -- was about his blindness, and one reporter in particular convinced him that there was an operation he could have to restore his sight, but that Motown were preventing him from finding out about it in order to keep his gimmick going. He was devastated about this, and then further devastated when Ted Hull finally convinced him that it wasn't true, and that he'd been lied to. Meanwhile other newspapers were reporting that he *could* see, and that he was just feigning blindness to boost his record sales. After the tour, a live recording of Wonder singing the blues standard "High Heeled Sneakers" was released as a single, and barely made the R&B top thirty, and didn't hit the top forty on the pop charts. Stevie's initial contract with Motown was going to expire in the middle of 1966, so there was a year to get him back to a point where he was having the kind of hits that other Motown acts were regularly getting at this point. Otherwise, it looked like his career might end by the time he was sixteen. The B-side to "High Heeled Sneakers" was another duet with Clarence Paul, who dominates the vocal sound for much of it -- a version of Willie Nelson's country classic "Funny How Time Slips Away": [Excerpt: Stevie Wonder and Clarence Paul, "Funny How Time Slips Away"] There are a few of these duet records scattered through Wonder's early career -- we'll hear another one a little later -- and they're mostly dismissed as Paul trying to muscle his way into a revival of his own recording career as an artist, and there may be some truth in that. But they're also a natural extension of the way the two of them worked in the studio. Motown didn't have the facilities to give Wonder Braille lyric sheets, and Paul didn't trust him to be able to remember the lyrics, so often when they made a record, Paul would be just off-mic, reciting the lyrics to Wonder fractionally ahead of him singing them. So it was more or less natural that this dynamic would leak out onto records, but not everyone saw it that way. But at the same time, there has been some suggestion that Paul was among those manoeuvring to get rid of Wonder from Motown as soon as his contract was finished -- despite the fact that Wonder was the only act Paul had worked on any big hits for. Either way, Paul and Wonder were starting to chafe at working with each other in the studio, and while Paul remained his on-stage musical director, the opportunity to work on Wonder's singles for what would surely be his last few months at Motown was given to Hank Cosby and Sylvia Moy. Cosby was a saxophone player and staff songwriter who had been working with Wonder and Paul for years -- he'd co-written "Fingertips" and several other tracks -- while Moy was a staff songwriter who was working as an apprentice to Cosby. Basically, at this point, nobody else wanted the job of writing for Wonder, and as Moy was having no luck getting songs cut by any other artists and her career was looking about as dead as Wonder's, they started working together. Wonder was, at this point, full of musical ideas but with absolutely no discipline. He's said in interviews that at this point he was writing a hundred and fifty songs a month, but these were often not full songs -- they were fragments, hooks, or a single verse, or a few lines, which he would pass on to Moy, who would turn his ideas into structured songs that fit the Motown hit template, usually with the assistance of Cosby. Then Cosby would come up with an arrangement, and would co-produce with Mickey Stevenson. The first song they came up with in this manner was a sign of how Wonder was looking outside the world of Motown to the rock music that was starting to dominate the US charts -- but which was itself inspired by Motown music. We heard in the last episode on the Rolling Stones how "Nowhere to Run" by the Vandellas: [Excerpt: Martha and the Vandellas, "Nowhere to Run"] had inspired the Stones' "Satisfaction": [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] And Wonder in turn was inspired by "Satisfaction" to come up with his own song -- though again, much of the work making it into an actual finished song was done by Sylvia Moy. They took the four-on-the-floor beat and basic melody of "Satisfaction" and brought it back to Motown, where those things had originated -- though they hadn't originated with Stevie, and this was his first record to sound like a Motown record in the way we think of those things. As a sign of how, despite the way these stories are usually told, the histories of rock and soul were completely and complexly intertwined, that four-on-the-floor beat itself was a conscious attempt by Holland, Dozier, and Holland to appeal to white listeners -- on the grounds that while Black people generally clapped on the backbeat, white people didn't, and so having a four-on-the-floor beat wouldn't throw them off. So Cosby, Moy, and Wonder, in trying to come up with a "Satisfaction" soundalike were Black Motown writers trying to copy a white rock band trying to copy Black Motown writers trying to appeal to a white rock audience. Wonder came up with the basic chorus hook, which was based around a lot of current slang terms he was fond of: [Excerpt: Stevie Wonder, "Uptight"] Then Moy, with some assistance from Cosby, filled it out into a full song. Lyrically, it was as close to social comment as Motown had come at this point -- Wonder was, like many of his peers in soul music, interested in the power of popular music to make political statements, and he would become a much more political artist in the next few years, but at this point it's still couched in the acceptable boy-meets-girl romantic love song that Motown specialised in. But in 1965 a story about a boy from the wrong side of the tracks dating a rich girl inevitably raised the idea that the boy and girl might be of different races -- a subject that was very, very, controversial in the mid-sixties. [Excerpt: Stevie Wonder, "Uptight"] "Uptight" made number three on the pop charts and number one on the R&B charts, and saved Stevie Wonder's career. And this is where, for all that I've criticised Motown in this episode, their strategy paid off. Mickey Stevenson talked a lot about how in the early sixties Motown didn't give up on artists -- if someone had potential but was not yet having hits or finding the right approach, they would keep putting out singles in a holding pattern, trying different things and seeing what would work, rather than toss them aside. It had already worked for the Temptations and the Supremes, and now it had worked for Stevie Wonder. He would be the last beneficiary of this policy -- soon things would change, and Motown would become increasingly focused on trying to get the maximum returns out of a small number of stars, rather than building careers for a range of artists -- but it paid off brilliantly for Wonder. "Uptight" was such a reinvention of Wonder's career, sound, and image that many of his fans consider it the real start of his career -- everything before it only counting as prologue. The follow-up, "Nothing's Too Good For My Baby", was an "Uptight" soundalike, and as with Motown soundalike follow-ups in general, it didn't do quite as well, but it still made the top twenty on the pop chart and got to number four on the R&B chart. Stevie Wonder was now safe at Motown, and so he was going to do something no other Motown act had ever done before -- he was going to record a protest song and release it as a single. For about a year he'd been ending his shows with a version of Bob Dylan's "Blowin' in the Wind", sung as a duet with Clarence Paul, who was still his on stage bandleader even though the two weren't working together in the studio as much. Wonder brought that into the studio, and recorded it with Paul back as the producer, and as his duet partner. Berry Gordy wasn't happy with the choice of single, but Wonder pushed, and Gordy knew that Wonder was on a winning streak and gave in, and so "Blowin' in the Wind" became Stevie Wonder's next single: [Excerpt: Stevie Wonder and Clarence Paul, "Blowin' in the Wind"] "Blowin' in the Wind" made the top ten, and number one on the R&B charts, and convinced Gordy that there was some commercial potential in going after the socially aware market, and over the next few years Motown would start putting out more and more political records. Because Motown convention was to have the producer of a hit record produce the next hit for that artist, and keep doing so until they had a flop, Paul was given the opportunity to produce the next single. "A Place in the Sun" was another ambiguously socially-aware song, co-written by the only white writer on Motown staff, Ron Miller, who happened to live in the same building as Stevie's tutor-cum-manager Ted Hull. "A Place in the Sun" was a pleasant enough song, inspired by "A Change is Gonna Come", but with a more watered-down, generic, message of hope, but the record was lifted by Stevie's voice, and again made the top ten. This meant that Paul and Miller, and Miller's writing partner Bryan Mills, got to work on his next  two singles -- his 1966 Christmas song "Someday at Christmas", which made number twenty-four, and the ballad "Travellin' Man" which made thirty-two. The downward trajectory with Paul meant that Wonder was soon working with other producers again. Harvey Fuqua and Johnny Bristol cut another Miller and Mills song with him, "Yester-Me, Yester-You, Yesterday": [Excerpt: Stevie Wonder, "Yester-Me, Yester-You, Yesterday"] But that was left in the can, as not good enough to release, and Stevie was soon back working with Cosby. The two of them had come up with an instrumental together in late 1966, but had not been able to come up with any words for it, so they played it for Smokey Robinson, who said their instrumental sounded like circus music, and wrote lyrics about a clown: [Excerpt: The Miracles, "The Tears of a Clown"] The Miracles cut that as album filler, but it was released three years later as a single and became the Miracles' only number one hit with Smokey Robinson as lead singer. So Wonder and Cosby definitely still had their commercial touch, even if their renewed collaboration with Moy, who they started working with again, took a while to find a hit. To start with, Wonder returned to the idea of taking inspiration from a hit by a white British group, as he had with "Uptight". This time it was the Beatles, and the track "Michelle", from the Rubber Soul album: [Excerpt: The Beatles, "Michelle"] Wonder took the idea of a song with some French lyrics, and a melody with some similarities to the Beatles song, and came up with "My Cherie Amour", which Cosby and Moy finished off. [Excerpt: Stevie Wonder, "My Cherie Amour"] Gordy wouldn't allow that to be released, saying it was too close to "Michelle" and people would think it was a rip-off, and it stayed in the vaults for several years. Cosby also produced a version of a song Ron Miller had written with Orlando Murden, "For Once in My Life", which pretty much every other Motown act was recording versions of -- the Four Tops, the Temptations, Billy Eckstine, Martha and the Vandellas and Barbra McNair all cut versions of it in 1967, and Gordy wouldn't let Wonder's version be put out either. So they had to return to the drawing board. But in truth, Stevie Wonder was not the biggest thing worrying Berry Gordy at this point. He was dealing with problems in the Supremes, which we'll look at in a future episode -- they were about to get rid of Florence Ballard, and thus possibly destroy one of the biggest acts in the world, but Gordy thought that if they *didn't* get rid of her they would be destroying themselves even more certainly. Not only that, but Gordy was in the midst of a secret affair with Diana Ross, Holland, Dozier, and Holland were getting restless about their contracts, and his producers kept bringing him unlistenable garbage that would never be a hit. Like Norman Whitfield, insisting that this track he'd cut with Marvin Gaye, "I Heard it Through the Grapevine", should be a single. Gordy had put his foot down about that one too, just like he had about "My Cherie Amour", and wouldn't allow it to be released. Meanwhile, many of the smaller acts on the label were starting to feel like they were being ignored by Gordy, and had formed what amounted to a union, having regular meetings at Clarence Paul's house to discuss how they could pressure the label to put the same effort into their careers as into those of the big stars. And the Funk Brothers, the musicians who played on all of Motown's hits, were also getting restless -- they contributed to the arrangements, and they did more for the sound of the records than half the credited producers; why weren't they getting production credits and royalties? Harvey Fuqua had divorced Gordy's sister Gwen, and so became persona non grata at the label and was in the process of leaving Motown, and so was Mickey Stevenson, Gordy's second in command, because Gordy wouldn't give him any stock in the company. And Detroit itself was on edge. The crime rate in the city had started to go up, but even worse, the *perception* of crime was going up. The Detroit News had been running a campaign to whip up fear, which it called its Secret Witness campaign, and running constant headlines about rapes, murders, and muggings. These in turn had led to increased calls for more funds for the police, calls which inevitably contained a strong racial element and at least implicitly linked the perceived rise in crime to the ongoing Civil Rights movement. At this point the police in Detroit were ninety-three percent white, even though Detroit's population was over thirty percent Black. The Mayor and Police Commissioner were trying to bring in some modest reforms, but they weren't going anywhere near fast enough for the Black population who felt harassed and attacked by the police, but were still going too fast for the white people who were being whipped up into a state of terror about supposedly soft-on-crime policies, and for the police who felt under siege and betrayed by the politicians. And this wasn't the only problem affecting the city, and especially affecting Black people. Redlining and underfunded housing projects meant that the large Black population was being crammed into smaller and smaller spaces with fewer local amenities. A few Black people who were lucky enough to become rich -- many of them associated with Motown -- were able to move into majority-white areas, but that was just leading to white flight, and to an increase in racial tensions. The police were on edge after the murder of George Overman Jr, the son of a policeman, and though they arrested the killers that was just another sign that they weren't being shown enough respect. They started organising "blu flu"s -- the police weren't allowed to strike, so they'd claim en masse that they were off sick, as a protest against the supposed soft-on-crime administration. Meanwhile John Sinclair was organising "love-ins", gatherings of hippies at which new bands like the MC5 played, which were being invaded by gangs of bikers who were there to beat up the hippies. And the Detroit auto industry was on its knees -- working conditions had got bad enough that the mostly Black workforce organised a series of wildcat strikes. All in all, Detroit was looking less and less like somewhere that Berry Gordy wanted to stay, and the small LA subsidiary of Motown was rapidly becoming, in his head if nowhere else, the more important part of the company, and its future. He was starting to think that maybe he should leave all these ungrateful people behind in their dangerous city, and move the parts of the operation that actually mattered out to Hollywood. Stevie Wonder was, of course, one of the parts that mattered, but the pressure was on in 1967 to come up with a hit as big as his records from 1965 and early 66, before he'd been sidetracked down the ballad route. The song that was eventually released was one on which Stevie's mother, Lula Mae Hardaway, had a co-writing credit: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] "I Was Made to Love Her" was inspired by Wonder's first love, a girl from the same housing projects as him, and he talked about the song being special to him because it was true, saying it "kind of speaks of my first love to a girl named Angie, who was a very beautiful woman... Actually, she was my third girlfriend but my first love. I used to call Angie up and, like, we would talk and say, 'I love you, I love you,' and we'd talk and we'd both go to sleep on the phone. And this was like from Detroit to California, right? You know, mother said, 'Boy, what you doing - get off the phone!' Boy, I tell you, it was ridiculous." But while it was inspired by her, like with many of the songs from this period, much of the lyric came from Moy -- her mother grew up in Arkansas, and that's why the lyric started "I was born in Little Rock", as *her* inspiration came from stories told by her parents. But truth be told, the lyrics weren't particularly detailed or impressive, just a standard story of young love. Rather what mattered in the record was the music. The song was structured differently from many Motown records, including most of Wonder's earlier ones. Most Motown records had a huge amount of dynamic variation, and a clear demarcation between verse and chorus. Even a record like "Dancing in the Street", which took most of its power from the tension and release caused by spending most of the track on one chord, had the release that came with the line "All we need is music", and could be clearly subdivided into different sections. "I Was Made to Love Her" wasn't like that. There was a tiny section which functioned as a middle eight -- and which cover versions like the one by the Beach Boys later that year tend to cut out, because it disrupts the song's flow: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] But other than that, the song has no verse or chorus, no distinct sections, it's just a series of lyrical couplets over the same four chords, repeating over and over, an incessant groove that could really go on indefinitely: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] This is as close as Motown had come at this point to the new genre of funk, of records that were just staying with one groove throughout. It wasn't a funk record, not yet -- it was still a pop-soul record, But what made it extraordinary was the bass line, and this is why I had to emphasise earlier that this was a record by the Funk Brothers, not the Wrecking Crew, no matter how much some Crew members may claim otherwise. As on most of Cosby's sessions, James Jamerson was given free reign to come up with his own part with little guidance, and what he came up with is extraordinary. This was at a time when rock and pop basslines were becoming a little more mobile, thanks to the influence of Jamerson in Detroit, Brian Wilson in LA, and Paul McCartney in London.  But for the most part, even those bass parts had been fairly straightforward technically -- often inventive, but usually just crotchets and quavers, still keeping rhythm along with the drums rather than in dialogue with them, roaming free rhythmically. Jamerson had started to change his approach, inspired by the change in studio equipment. Motown had upgraded to eight-track recording in 1965, and once he'd become aware of the possibilities, and of the greater prominence that his bass parts could have if they were recorded on their own track, Jamerson had become a much busier player. Jamerson was a jazz musician by inclination, and so would have been very aware of John Coltrane's legendary "sheets of sound", in which Coltrane would play fast arpeggios and scales, in clusters of five and seven notes, usually in semiquaver runs (though sometimes in even smaller fractions -- his solo in Miles Davis' "Straight, No Chaser" is mostly semiquavers but has a short passage in hemidemisemiquavers): [Excerpt: Miles Davis, "Straight, No Chaser"] Jamerson started to adapt the "sheets of sound" style to bass playing, treating the bass almost as a jazz solo instrument -- though unlike Coltrane he was also very, very concerned with creating something that people could tap their feet to. Much like James Brown, Jamerson was taking jazz techniques and repurposing them for dance music. The most notable example of that up to this point had been in the Four Tops' "Bernadette", where there are a few scuffling semiquaver runs thrown in, and which is a much more fluid part than most of his playing previously: [Excerpt: The Four Tops, "Bernadette"] But on "Bernadette", Jamerson had been limited by Holland, Dozier, and Holland, who liked him to improvise but around a framework they created. Cosby, on the other hand, because he had been a Funk Brother himself, was much more aware of the musicians' improvisational abilities, and would largely give them a free hand. This led to a truly remarkable bass part on "I Was Made to Love Her", which is somewhat buried in the single mix, but Marcus Miller did an isolated recreation of the part for the accompanying CD to a book on Jamerson, Standing in the Shadows of Motown, and listening to that you can hear just how inventive it is: [Excerpt: Marcus Miller, "I Was Made to Love Her"] This was exciting stuff -- though much less so for the touring musicians who went on the road with the Motown revues while Jamerson largely stayed in Detroit recording. Jamerson's family would later talk about him coming home grumbling because complaints from the touring musicians had been brought to him, and he'd been asked to play less difficult parts so they'd find it easier to replicate them on stage. "I Was Made to Love Her" wouldn't exist without Stevie Wonder, Hank Cosby, Sylvia Moy, or Lula Mae Hardaway, but it's James Jamerson's record through and through: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] It went to number two on the charts, sat between "Light My Fire" at number one, and "All You Need is Love" at number three, with the Beatles song soon to overtake it and make number one itself. But within a few weeks of "I Was Made to Love Her" reaching its chart peak, things in Detroit would change irrevocably. On the 23rd of July, the police busted an illegal drinking den. They thought they were only going to get about twenty-five people there, but there turned out to be a big party on. They tried to arrest seventy-four people, but their wagon wouldn't fit them all in so they had to call reinforcements and make the arrestees wait around til more wagons arrived. A crowd of hundreds gathered while they were waiting. Someone threw a brick at a squad car window, a rumour went round that the police had bayonetted someone, and soon the city was in flames. Riots lasted for days, with people burning down and looting businesses, but what really made the situation bad was the police's overreaction. They basically started shooting at young Black men, using them as target practice, and later claiming they were snipers, arsonists, and looters -- but there were cases like the Algiers Motel incident, where the police raided a motel where several Black men, including the members of the soul group The Dramatics, were hiding out along with a few white women. The police sexually assaulted the women, and then killed three of the men for associating with white women, in what was described as a "lynching with bullets". The policemen in question were later acquitted of all charges. The National Guard were called in, as were Federal troops -- the 82nd Airborne Division, and the 101st Airborne from Clarksville, the division in which Jimi Hendrix had recently served. After four days of rioting, one of the bloodiest riots in US history was at an end, with forty-three people dead (of whom thirty-three were Black and only one was a policeman). Official counts had 1,189 people injured, and over 7,200 arrests, almost all of them of Black people. A lot of the histories written later say that Black-owned businesses were spared during the riots, but that wasn't really the case. For example, Joe's Record Shop, owned by Joe Von Battle, who had put out the first records by C.L. Franklin and his daughter Aretha, was burned down, destroying not only the stock of records for sale but the master tapes of hundreds of recordings of Black artists, many of them unreleased and so now lost forever. John Lee Hooker, one of the artists whose music Von Battle had released, soon put out a song, "The Motor City is Burning", about the events: [Excerpt: John Lee Hooker, "The Motor City is Burning"] But one business that did remain unburned was Motown, with the Hitsville studio going untouched by flames and unlooted. Motown legend has this being down to the rioters showing respect for the studio that had done so much for Detroit, but it seems likely to have just been luck. Although Motown wasn't completely unscathed -- a National Guard tank fired a shell through the building, leaving a gigantic hole, which Berry Gordy saw as soon as he got back from a business trip he'd been on during the rioting. That was what made Berry Gordy decide once and for all that things needed to change. Motown owned a whole row of houses near the studio, which they used as additional office space and for everything other than the core business of making records. Gordy immediately started to sell them, and move the admin work into temporary rented space. He hadn't announced it yet, and it would be a few years before the move was complete, but from that moment on, the die was cast. Motown was going to leave Detroit and move to Hollywood.

On the eve of his retirement, Parks Maintenance Supervisor Bryan Mills joins host Adam Curtis to reflect on his career with the City and the deep roots he formed in Sierra Vista after his service in the Army first brought him here. Before moving to Parks about three years ago, Bryan worked as a drafter and engineering technician in Public Works designing many of the public facilities he would later be charged with maintaining. 

Success is A Debt Paid Upfront | Featuring Bryan Mills

Bryan Mills continues the Seeds of Hope series with a message on the story of the Good Samaritan. Dave Redden will share an update on our the generosity campaign. We also see highlights of our Family Ministry and Hospitality efforts.

This week we will be building Bryan Mills from Taken. For all of the details go to hollywoodrolls.com

Podcast Show Notes Hey! Welcome to The S Word where we talk about the Stories, Strategies and Struggles of building a Successful business. If you enjoyed this episode, help spread the word by leaving a rating and review in Apple podcasts and telling what you think about the show. Are you struggling to bring in new clients consistently? Are your Ad costs spiralling? Head on over to storiesthatconvert.co.uk/quest to grab your FREE copy of the Storyselling Blueprint Quest and start building your own storytelling conversion machine today! Connect with me Facebook Instagram Connect with Bryan https://www.facebook.com/groups/325370398470863/?ref=share

Agents Scott and Cam, along with guest operatives Hassan and Levi from The Nerd Alternative podcast, brush up on their grenade sonar skills while travelling to Istanbul with Bryan Mills for Taken 2.    Directed by Olivier Megaton. Starring Liam Neeson, Maggie Grace, Famke Janssen, Leland Orser, Jon Gries, D.B. Sweeney, Luke Grimes and Rade Serbedzija. Check out The Nerd Alternative wherever you get your podcasts. Social media: @spyhards View the NOC List and the Disavowed List at Letterboxd.com/spyhards Podcast artwork by Hannah Hughes.

Today on Highkey Obsessed the Greatest Action Movie Hero of All Time Bracket Challenge continues! Thomas is joined by co-host of HowlerPod Ben Reinert to figure out which Spy is truly the best. This region is stockpiled with John Wick, James Bond, Eggsy, Bryan Mills, and many many more. The duo must band together in order to determine which of the 16 members of this region will emerge as the sole survivor and make their way to the Final Four! If you dig what you're hearing be sure to give us a rating and review wherever you get your podcasts. We welcome feedback on Instagram @highkey_obsessed_podcast and Twitter @HighkeyOPodcast. We also have a new website www.highkeyobsessed.com and an email highkeyobsessedpodcast@gmail.com, so pretty fancy stuff. Thanks for listening! Instagram: @highkey_obsessed_podcast Twitter: @HighkeyOPodcast.

It's Patrick Mahomes at #1, but who are we ranking second? Let's start with some stats about the position (4:00) including a surprising stat about Lamar Jackson near the goal line (7:45). Within this discussion, we'll talk about how prolific 2020 was for QBs and what to expect in 2021 ... How confident are Dave and Jamey in putting Josh Allen as their QB2 (11:04)? Which non-Mahomes QB has the most upside (14:00)? Which Top 6 QB has the most downside (18:50)? Which quarterback drafted outside the Top 10 could finish as QB1 (19:30)? ... Now moving on to the rankings, we determine when Mahomes should be picked (20:30), debate Jackson vs. Kyler Murray as QB3 (22:22) and tell you why Dak Prescott is QB5 even though you shouldn't be surprised if he is much better than that (28:40). And let's reveal our Top 3 movie dads of all-time (39:00)! Why the hell is John McClane on the list? Can anybody beat Bryan Mills from "Taken"? ... Email us at fantasyfootball@cbsi.com Fantasy Football Today' is available on Apple Podcasts, Spotify, Stitcher, Google Podcasts, Castbox, and wherever else you listen to podcasts. Follow our FFT team on Twitter: @FFToday, @AdamAizer, @JameyEisenberg, @daverichard, @heathcummingssr, @ctowerscbs, @BenSchragg Watch FFT on YouTube https://www.youtube.com/fantasyfootballtoday Join our Facebook group https://www.facebook.com/groups/FantasyFootballToday/ Sign up for the FFT newsletter https://www.cbssports.com/newsletter You can listen to Fantasy Football Today on your smart speakers! Simply say "Alexa, play the latest episode of the Fantasy Football Today podcast" or "Hey Google, play the latest episode of the Fantasy Football Today podcast." To hear more from the CBS Sports Podcast Network, visit https://www.cbssports.com/podcasts/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Though fans will have to wait a bit longer on Jamal Adams, the Seahawks made sure to extend one of their other All-Pro talents. Host Corbin Smith breaks down Michael Dickson's new four-year extension to stay in Seattle through 2025, answers listener mailbag questions, and continues dissecting the Seahawks 90-man roster with several intriguing undrafted rookies headlined by cornerback Bryan Mills. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Though fans will have to wait a bit longer on Jamal Adams, the Seahawks made sure to extend one of their other All-Pro talents. Host Corbin Smith breaks down Michael Dickson's new four-year extension to stay in Seattle through 2025, answers listener mailbag questions, and continues dissecting the Seahawks 90-man roster with several intriguing undrafted rookies headlined by cornerback Bryan Mills. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Ryan Roberts speaks with 2021 NFL Draft Prospect NC Central Cornerback Bryan Mills who signed with the Seattle Seahawks

Former North Carolina Central cornerback Bryan Mills played only one season for the Eagles, but he made the most of the season. He was named to the BOXTOROW HBCU Football All-America Team after tying for the MEAC lead with five interceptions and breaking up eight passes. When COVID-19 wiped out the fall 2020 season, MillsContinue Reading →

Donal talks with Alabama A&M head football coach Connell Maynor and former North Carolina Central star and National Football League Draft hopeful Bryan Mills. Plus a preview of the BOXTOROW National Game of the Week and the highlighting of the player of the week. Click to download or listen to the podcast.

Donal talks with Alabama A&M head football coach Connell Maynor about the Bulldogs’ game against Jackson State and about his acting career. Also former North Carolina Central star and National Football League Draft hopeful Bryan Mills tallks about the possibility of being drafted and about his time at NCCU. Plus, the #ESTofWWE Bianca Belair interview.Continue Reading →

Welcome back to Season 3 of the No "Meh" Movies Podcast. Nobody is out in theaters and streaming, proving dads can be tough guys too, so we went looking for the toughest dad we could find in a Meh movie and picked Bryan Mills in 2008's Taken (59% RT, 7.8 IMDb). Join hosts Davey Berris and Darren Cross as we discuss Taken, Liam Neeson as an action star, and decide once and for all if it's a good movie or a bad movie, because on this show there are No "Meh" Movies. Follow us on Twitter @NoMehMovies (For a movie to qualify as "Meh" it must be between 40-60% on Rotten Tomatoes or 4-6 on IMDb)

Thank you for Listening Please Share ​In Season 6 Episode 4 of The Fix Sports Podcast, Joseph shines his HBCU spotlight on North Carolins Central University cornerback Bryan Mills for being invited to the 2021 Senior Bowl. Also in the spotlight, Saint Augustine University's women's basketball player Bre'cha Byrd is now a published author. In HBCU news, Deion Sanders has another 4-star recruit joining Jackson State University's football team for the 2021 season. Formula 1's only b [...]

Bryan Mills declares for NFL DraftLou Brocks Passes awayNFL and its relationship with HBCU'S And moreSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Project Power From Wikipedia: Project Power is a 2020 American superhero film directed by Ariel Schulman and Henry Joost, produced by Eric Newman and Bryan Unkeless, and written by Mattson Tomlin. It stars Jamie Foxx, Joseph Gordon-Levitt, and Dominique Fishback, alongside Colson Baker, Rodrigo Santoro, Amy Landecker and Allen Maldonado, and follows a drug dealer, police officer, and former soldier who team up to stop the distribution of a pill that gives the user superpowers for five minutes. Project Power is super Alpha Brain, Hot Boyz Trailer https://www.youtube.com/watch?v=war5d_yRndU Bout It Bout It The Movie https://www.youtube.com/watch?v=i4zGXe4f4rY New Orleans Anthem Song Who Dat Black And Gold https://www.youtube.com/watch?v=ZV2BG4dR9YA Machine Gun Kelly know best for his Oscar willing portrail of Tommy Lee in The Dirt…and the guy that looks a lot like MGK in Birdbox… plays Newt… I’ll tell ya he hasn’t been this hot since Kill Shot… Star of the Jamie Foxx show…Jamie Foxx plays Art aka Bryan Mills in Taken…he even possess’ special skills and a kidnapped daughter…Steaming Willy Beamon has become equal parts Jocko Willink and John W. Creasy Dominique Fishback is Robin The Supper Rapping Police Informant And Josph Gordon Levit as as as The Bad Luitant on the good stuff…Thats right, in theis New Orleans based super drug binge on the bayou…Rocking the Spokane native, New Orleans Saints native Steve Gleason influencer Casey Nuistadt makes a cameo and gets beaten tp death, so that’s comforting… The movie addresses so many spirit of the age talking points it feels like the movie was made yesterday. Think child abduction, experimental drugs… Power is super Alpha Brain on steroids I wouldn’t pay to see this in theaters but I would watch the sequels on Netflix… You’ve seen this film before, you haven’t seen it like this…

Our particular set of skills might not be that great, but we can all agree that Bryan Mills’ skills are incredible as we explore our nostalgia for 2008’s English-language French action-thriller film, Taken.This is a special episode as requested by Mike, who answered the call and donated to Dana’s fundraising campaign supporting the non-profit Angioma Alliance, Because Brains Shouldn’t Bleed!In this episode, Tim, Chris, Dana, and Kari explore their nostalgia and what they recall as their favorite moments. Spaz missed this episode because it was his birthday weekend and he was taken… by alcohol and steak. We finally find movies that Chris hasn’t seen before and Kari calls us out on our ratings. Tim and Dana are both looking forward to seeing this movie again for the first time as parents and how that may change their connection to this movie. Also, screw U2…----------Movie DetailsWritten by Luc Besson (5th element) and Robert Mark Kamen (Karate Kid, 5th element), and directed by Pierre MorelStarring Liam Neeson and Maggie GraceBudget of $25mil, made over $226mil in the box officeCurrently a 7.8 on IMDb----------Special shout out to Sticker Mule for donating a total of $100 to our August 31st giveaway. 2 winners will walk away with a $50 store credit to purchase their own customer stickers, coasters, labels, or even hot sauce. Sticker Mule is a personal favorite of ours and a company we’ve been using for years. www.stickermule.com A huge shout out and thank you to Retro Static Radio (www.ko-fi.com/RetroStaticRadio) for donating to our show. Head to their page to see some amazing projects they have in the works, commission them for some fun rewards and enjoy some NEW classic old timey radio performancesAnother huge shout out and thank you to our podcasting comedian friend Grim (www.grimyells.com) for donating to our show as well. Grim is by far one of the funniest podcasts I’ve listened to and I love hearing his take on the world around him. You will be entertained for sure.A special Ko-fi shout out to our friend, splatonoodles (www.ko-fi.com/splatonoodles) who has some wonderful illustrations to share. Lauren is a graphic artist that has some great commissions available, so please check out her page and fund her creativity!Finally, I wanted to thank The Paul and Griff Show (@paulngriffshow), Geeksploration the Podcast (@Geeksplorepod), and Maria (Facebook) for sharing their nostalgia with us in this episode.

Bryan Mills is one of the strongest organic lead generators in the Facebook community, generating over 5000 leads without spending any money on advertising. He is the founder of "Marketing Mastery", which teaches online marketers, how to get their first flow of leads within 90 minutes, of course, implementation. He is an online business coach for online marketers. Before getting into online space he was a soccer/football coach. He wanted to be able to help the new entrepreneurs, the people who have got so much passion, they just need that guidance. That is his biggest motivator to support in starting entrepreneurs right now. He says that the feeling you get when you coach somebody and they go, implement and deliver and get the result that was planned, it's one of the best feelings you can get. If you would like to connect with Bryan Mills check him out at: Www.bryanmills.co.uk/one https://www.facebook.com/bryan.mills.779 https://www.bryanmills.co.uk/hp1 ---------------------------------------------------------------------------------------------------------------------------- I am your host Kajal Khurana - KK, Author of best selling book on Amazon, Mindset & Health Coach, Nutritionist and a Reiki Healer. I am very passionate about helping entrepreneurs achieve their desired goals faster by using tools and techniques which will help them stay energized, focused so they can feel good with their body and mind and make better business decisions. If you enjoyed the episode, if it helped you in any way, or if you had ONE aha moment, please let me know, hit the subscribe button, rate the show and leave me a review. You will make my day :). My new book is launched on amazon here is the link please grab your copy http://mybook.to/whymefirst Get the 5 hacks to escape burnouts, including free weekly planner and a bonus of free 30 minutes consultation call with me, all inside the ebook: https://bit.ly/2yfhjIH Let me know what topics you want me to cover in my future episodes at info@bodymindsolution.com Or visit my website: https://bodymindsolution.com

In this episode of the Caring Greatly™ Podcast, Mr. Mills shares the challenges of leading a health system through the pandemic. We talk about the perspective he gained by his experience in the community, and the critical importance of communication as the financial, process, and health uncertainties of the COVID-19 response.

On the 203rd episode of the Inside the NFL Prospects podcast series, North Carolina Central CB Bryan Mills. Bryan goes back to his three interception game this past season, work ethic, Stephon Gilmore, and much more.

In this episode, we get to know Bryan Mills. Together we discuss his rise in the eyes of the NFL evaluators, how he processes information in pass coverage and the best place to eat near campus. --- Support this podcast: https://anchor.fm/craig-forrestal/support

I am your host KK, certified Yoga Therapist, Massage Therapist, Nutritionist and a Reiki Healer. I am very passionate about helping entrepreneurs achieve their desired goals faster by using tools and techniques which will help them stay energized, focused so they can feel good with their body and mind and make better business decisions.If you enjoyed the episode, if it helped you in any way, or if you had ONE aha moment, please let me know, hit the subscribe button, rate the show and leave me a review. You will make my day :)Get 5 hacks to escape burnout:https://bit.ly/2yfhjIHLet me know what topics you want me to cover in my future episodes at info@bodymindsolution.comOr visit my website: https://bodymindsolution.com

Episodio grabado con lentes de sol, donde Wisto hace dos mini reseñas de películas que se había perdido antes: Invisible Man y Mortal Kombat Legends: Scorpion's Revenge, dos versus: John Wick vs Bryan Mills de Taken y Predator vs Jason. Esto mientras Pari salva a Wisto de una araña. Pari cuenta la historia detrás de la creación de Predator y la pelea entre Sly y Arnold por el peor papel del mundo, el trailer cinemático de Assassin's Creed Valhalla, lo que más extrañamos por culpa de la pandemia, la anécdota de Wisto sobre recalentar un burrito en el comal y la anécdota un amigo que termina en nopales. Escúchanos en: Spotify / Apple Podcast / ivoox Síguenos: Twitter/ Facebook/ Instagram: holamsupernova holamsupernova@gmail.com

Episodio grabado con lentes de sol, donde Wisto hace dos mini reseñas de películas que se había perdido antes: Invisible Man y Mortal Kombat Legends: Scorpion's Revenge, dos versus: John Wick vs Bryan Mills de Taken y Predator vs Jason. Esto mientras Pari salva a Wisto de una araña. Pari cuenta la historia detrás de la creación de Predator y la pelea entre Sly y Arnold por el peor papel del mundo, el trailer cinemático de Assassin's Creed Valhalla, lo que más extrañamos por culpa de la pandemia, la anécdota de Wisto sobre recalentar un burrito en el comal y la anécdota un amigo que termina en nopales. Escúchanos en: Spotify / Apple Podcast / ivoox Síguenos: Twitter/ Facebook/ Instagram: holamsupernova holamsupernova@gmail.com

Clive Standen, dashing British actor, fencing gold medallist and Muay Thai expert sat down with Galaxy and talked about the hit series Vikings, Taken, and his new tv project Council of Dads.  Clive also gave some info about the new Vikings spinoff that you don't want to miss. Tune in now and get ready to enter our universe. Clive James Standen is a British actor best known for playing Bryan Mills in the NBC series Taken, based on the film trilogy of the same name, as well as Rollo in the History Channel series Vikings, Sir Gawain in the Starz series Camelot, Archer in the BBC TV series Robin Hood, and Private Carl Harris in the British sci-fi show Doctor Who.  Standen was born on a British Army base in Holywood, County Down, Northern Ireland, and grew up in Leicestershire, East Midlands, England. He went to school at the King Edward VII School, Melton Mowbray followed by a performing arts course at Melton Mowbray College. Standen then went on to earn a place on the 3 year diploma course in Acting at the London Academy of Music and Dramatic Art. Away from acting, in his late teens Standen was a former international Muay Thai boxer and later Fencing gold medalist.   For more amazing episodes like this one go to: www.ComicCon-Radio.com Follow us on Instagram  @ComicConRadio Please subscribe to Comic Con Radio on any platform you like! Always give us 5 stars. Please share this episode with the world! We love you all… Thank you for loving us back!

Guest speaker Bryan Mills begins the new message "Earn, Save, Give: Wesley's Simple Rules for Money" with a question ... "You're Calling Me?"

"If not for Bryan Mills, this movie would be called Took" We back, and we've brought our particular set of podcasting skills to revisit the movie that launched Liam Neeson's second career as an old man action star. We talk about his recent controversy, but also how this movie changed the game. We also share 10 fun facts, hand out some Tenzie awards and discuss the exact RIGHT moment to threaten someone. (NEXT EPISODE: Watchmen)

In the very first episode of "You're Old: The Movie", Sam, Brandon and Eli journey back to the iconic story of loving father Bryan Mills, a man who has a very particular set of skills which mostly involve death and stern voices. It's Taken, box office champ over Super Bowl Weekend 10 years ago. MUSIC:Intro/Outro - "A Jump Off" by John Powell from Jumper (2008)Intermission - "The Rooftop" by Nathaniel Méchaly from Taken (2009)

Today on The Neil Haley Show, The Total Tutor Neil Haley will interview  Clive Standen of NBC's Taken. From Executive Producer Luc Besson ("Taken," "The Fifth Element") comes a modern-day, edge-of-your-seat thriller that follows the origin story of younger, hungrier former Green Beret Bryan Mills (Clive Standen, "Vikings") as he deals with a personal tragedy that shakes his world. As he fights to overcome the trauma of the incident and exact revenge, Mills is pulled into a career as a deadly CIA operative, a job that awakens his very particular, and very dangerous, set of skills. In 30 years, this character is destined to become the Bryan Mills that we've come to love from the "Taken" films. The cast includes Jennifer Beals, Gaius Charles, Brooklyn Sudano, Monique Gabriela Curnen, Michael Irby, James Landry Hébert and Jose Pablo Cantillo.  

Assim como no Dia das mães, a gente resolveu fazer um Podcafé especial para homenagear o Dia dos Pais. E tem filme de tudo quanto é o tipo, né? Desde os de comédia como "Pai em Dose Dupla" até obras de drama como "O Filho Eterno". Entre tantos longas, há também alguns que são verdadeiras pérolas com pais marcantes no cinema, incluindo Bryan Mills de "Busca Implacável". Cada um tem sua pegada de paizão, dos escrachados que estão sempre na Sessão da Tarde - como é o caso dos longas protagonizados pelo Adam Sandler - aos mais cult (alô, "Árvore da Vida"!). E tem, claro, aqueles que você olha é só pode pensar "Pô, pai, que vacilo!". É a gente nem tá falando só de "Querida, encolhi, estiquei as crianças", hein! Tem aí uma série de papais pra lá de vacilões pra entrar nessa onda. A verdade é que alguns já se tornaram clássicos, mas todos os anos o repertório se renova. Em 2017, dezenas de filmes já colocaram a paternidade em pauta. Alguns, mais diretamente, como é o caso de "Uma Família de Dois" e "Capitão Fantástico". Outros, como coadjuvante, mas sempre em discussão - "Invasão Zumbi", "Z - A Cidade Perdida" e "No Escuro da Floresta" são alguns exemplos. A gente não poderia deixar de mencionar também o papel das animações, né? Então falamos no podcast também sobre as tantas e tantas que, assim como "Procurando Nemo", trabalham a complexa relação Pais e Filhos". A gente listou alguns desses filmes e falou sobre a presença da paternidade no cinema aqui nesse Podcafé explosivo Especial de Dia dos Pais! Dá o play!

This week, we’re looking for a man with a special set of skills.  We need someone that can kick ass and rescue anyone from danger, except his ex-wife.  We need a man like Bryan Mills from Taken 2, and to be fair the other Taken movies as well.  This time around Bryan’s whole family is the target of the kidnapping and revenge scheme.  He is working in Istanbul and is joined by his ex-wife Lenore and his daughter Kim for a quick getaway.  While they are relaxing and trying to enjoy their vacation, the father of one of Bryan’s previous victims is plotting revenge.  They eventually capture Bryan and Lenore and Kim sort of helps set them free.  By the time the movie is over Bryan has filled a small graveyard with fresh bodies.  How much of a time gap is there between the first and second movies?  Why did Bryan bring his family overseas so quickly after the previous “incident” from the first movie?  Why doesn’t Kim understand why Bryan is so overprotective?  Why did such a small wound incapacitate Lenore for so long?  How is Kim such an amazing stunt driver, yet  she can’t parallel park during her driving test?  This is a perfect movie to have on in the background while you are doing something more important.  Please rate and review the podcast wherever you get it and if you like the show, share it with your friends.  Have a great week.

Following up on Caviar Night at The Olde Country Buffet, the good natured sexual harassment of the 80s, Regarding Henry toys at Kaybee, with BONUS: Brad's robot issues, business casual Admiral Akbar, imagining a rod, Bryan Mills jumps a fence, light saber world building, extra long danglers, the two important names. Links: Darth Light Saber replacement part (with dangler) Extra long dangler This is not what the dangler looks like Bryan Mills jumps over a fence Adam's prized possession

Jenn gives the crew a review of the Bon Jovi concert last night at the ACC and answers the highly contentious questions we at Derringer in the Morning have poured over the last couple of day: can Bon Jovi dance? Derringer shares the one thing a rock star can't do onstage and the one artist that broke this cardinal rule.  With the 'Big 150' coming up -- if you could go anywhere in Canada, cost isn't an issue, nor is time, where would you go? And Clive Standen stops by the Q studio to talk about 'Vikings' and his new role as Bryan Mills in the 'Taken' TV series. Definitely Derringer for Wednesday April 12, 2017 For more Derringer click here. See omnystudio.com/listener for privacy information.

On the brand new episode of Talk 2 Me Benjamin is joined by two very exciting guests, who are in Australia for Oz Comic Con: Arthur Darvill and Clive Standen! First up Benjamin chats with Dr Who and Legends of Tomorrow star, Arthur Darvill about his musical theatre work on Once, Honeymoon in Vegas and composing music for the upcoming musical movie, Been So Long. Then Benjamin chats to Vikings’ star Clive Standen about taking on the iconic role of Bryan Mills in the new series of Taken. All this & more on today’s episode of Benjamin Maio Mackay’s Talk 2 Me! Stream here or iTunes. A special thanks to Oz Comic Con for facilitating these interviews. ozcomiccon.com Follow the show: Facebook Twitter Instagram Supporters: Palace Nova Cinemas Mad Zombie Collectables

Join us this week as we perform a very particular set of skills to get our audio into your ears. We go back in time 30 years to discover a young Bryan Mills and how he became Liam Neeson. Listen as we dive into why bad guys always drive unmarked vans and how there are so many better choices, the odd neighborhood layout, and was the creepy guy really the bad guy?! Thomas fills us in on some unanswered questions from last week and we plunge deeper into the rules of Confession. Theme: TV Youth by Sonic Avenues - http://www.sonicavenues.com/ Our website: https://uninformedcritics.com Tweet us any questions or if you can help us answer our big questions of the week @UnInCritics

Welcome Renegade Nation it’s me Naughty Nicole and it’s time for another Renegade Review. And this go round, we’re focusing on NBC’s latest offering, Taken. The utter pointlessness of this constant mining and revamping of movies and shows has reached a new precipice of low with Taken. When you think of Taken, the first thing that comes to mind is probably Liam Neeson. The second thing is the threat he delivers in his gravelly, papa-bear-mode speech explaining to his daughter’s kidnapper over the phone that he has a particular set of skills and he’s not afraid to use them. Taken, manages to simultaneously deliver nothing reminiscent of the Liam Neeson movie franchise, while also being a completely different show after the premiere episode. It's that rare double middle finger that certainly doesn't benefit this average and mostly forgettable show that Taken becomes. So let’s face it: The most interesting thing about Taken is Liam Neeson as an action hero. Which means the most interesting thing about NBC’s Taken, the series, is the fact that it doesn’t have Liam Neeson. Nor does it have any of the charisma or magnetism he brought to the story. That’s not completely the fault of Clive Standen (Vikings), who’s saddled with having to fill movie-star-sized shoes as the younger Bryan Mills, but it is the fault of a series that has no idea what it wants to do beyond using its recognizable, franchised name. So let’s get this out of the way up front: Taken is not a very good movie as movies go. I mean, it’s a brutally efficient delivery mechanism for Neeson to growl and kill an astounding number of foreign nationals in only 90 minutes, and it’s exciting. The sequels became increasingly less efficient, more sadistic and more xenophobic. The appeal of the franchise can be boiled down to Neeson's rugged exceptionalism, a few European postcard locations and the satisfying crack that comes from breaking the bones of a man who keeps kidnapping members of your family.

The Total Tutor Neil Haley will interview Clive Standen of NBC's Taken. From Executive Producer Luc Besson ("Taken," "The Fifth Element") comes a modern-day, edge-of-your-seat thriller that follows the origin story of younger, hungrier former Green Beret Bryan Mills (Clive Standen, "Vikings") as he deals with a personal tragedy that shakes his world. As he fights to overcome the trauma of the incident and exact revenge, Mills is pulled into a career as a deadly CIA operative, a job that awakens his very particular, and very dangerous, set of skills. In 30 years, this character is destined to become the Bryan Mills that we've come to love from the "Taken" films. The cast includes Jennifer Beals, Gaius Charles, Brooklyn Sudano, Monique Gabriela Curnen, Michael Irby, James Landry Hébert and Jose Pablo Cantillo. Alexander Cary serves as writer and executive producer. Luc Besson, Matthew Gross, Edouard de Vésinne, Thomas Anargyros and director Alex Graves also executive produce.

New TV Shows for Fall 2016 Christmas. the Super Bowl, Fashion Week in New York, Taco Tuesday … Few things in life are as highly anticipated as television premier season every Fall. There isn't much we look forward to more. All of your favorite shows coming back for another season, and a ton of new shows to potentially add to the DVR queue. Who knows, one of them could be the next Grey's Anatomy or Ally McBeal, some of our favorite shows of all time. If you're interested, Cinema Blend has a great post with all the Fall TV Premiere Dates by date, time, and Network. ABC American Housewife Premieres: Tuesday, Oct. 11 at 8:30 PM Stars: Katie Mixon, Diedrich Bader, Ali Wong Producer: Sarah Dunn Premise: Mixon stars as Katie Otto, an unapologetic mother of three raising her family in the wealthy town of Westport, Connecticut that's full of "perfect" families. HT Guys Preview Score: Meh Conviction Premieres: Monday, Oct. 3 at 10:00 PM Stars: Hayley Atwell, Eddie Cahill, Shawn Ashmore, Merrin Dungey, Emily Kinney, Manny Montana, Daniel DiTomasso Premise: Former ne'er-do-well first daughter Hayes Morrison (Atwell) gets blackmailed into working for New York District Attorney Wayne Wallis' (Cahill) Conviction Integrity Unit, where she has to turn over wrongful convictions. HT Guys Preview Score: Meh Designated Survivor Premieres: Wednesday, Sep. 21 at 10:00 PM Stars: Kiefer Sutherland, Natascha McElhone, Maggie Q, Kal Penn, Adan Canto, Italia Ricci, LaMonica Garrett, Tanner Buchanan Producers: David Guggenheim, Simon Kinberg, Kiefer Sutherland, Mark Gordon, Nick Pepper, Suzan Bymel, Aditya Sood Premise: Sutherland stars as Tom Kirkman, a lower cabinet member who becomes president after an attack on Washington kills everyone ahead of him in the line of succession. HT Guys Preview Score: Jack Bauer as President? Yeah, we're in. Notorious Premieres: Thursday, Sep. 22 at 9:00 PM Stars: Piper Perabo, Daniel Sunjata, Ryan Guzman, Kevin Zegers, J. August Richards, Aimee Teegarden Premise: Inspired by the lives of criminal defense attorney Mark Geragos and cable news producer Wendy Walker, the drama examines the 24-hour news cycle and the relationship between the media and criminal law. HT Guys Preview Score: Mark Geragos the TV show? Pass. Speechless Premieres: Wednesday, Sep. 21 at 8:30 PM Stars: Minnie Driver, John Ross Bowie, Mason Cook, Micah Fowler, Kyla Kennedy, Cedric Yarbrough Premise: Driver stars as Maya DiMeo, a mother of three, one of whom is a special needs child. HT Guys Preview Score: Meh CBS Bull Premieres: Tuesday, Sep. 20 at 9:00 PM Stars: Michael Weatherly, Freddy Rodriguez, Geneva Carr, Chris Jackson, Jaime Lee Kirchner and Annabelle Attanasio Producers: Paul Attanasio, Dr. Phil McGraw, Jay McGraw, Steven Spielberg, Justin Falvey and Darryl Frank Premise: NCIS alum Michael Weatherly stars as Dr. Phil on the series, which will follow McGraw's early career as a trial consultant. McGraw will produce with his son Jay. HT Guys Preview Score: Sounds like loads of Bull The Great Indoors Premieres: Thursday, Oct. 27 at 8:30 PM Stars: Joel McHale, Stephen Fry, Chris Williams, Shaun Brown, Christopher Mintz-Plasse, Christine Ko, Susannah Fielding Premise: An adventure reporter (McHale) must adapt to his new job managing millennials in the digital department of a magazine. HT Guys Preview Score: Joel McHale is super funny and millennials are easy to make fun of. If you need a new sitcom in your life, this could be worth a look. Kevin Can Wait Premieres: Monday, Sep. 19 at 8:30 PM Stars: Kevin James, Erinn Hayes, Taylor Spreitler, Mary-Charles Jones, James Digiacomo, Ryan Cartwright Premise: The King of Queens star returns to CBS, this time playing a retired cop who realizes that home life is tougher than anything he faced on the street. HT Guys Preview Score: Meh. Have you seen Mall Cop 2? MacGyver Premieres: Friday, Sep. 23 at 8:00 PM Stars: Lucas Till, George Eads Premise: Till plays the titular problem-solver in the reboot, which follows 20-something MacGyver as he starts a clandestine organization to prevent disasters from happening. HT Guys Preview Score: Uh, what's next, an A-Team reboot? Man With A Plan Premieres: Monday, Oct. 24 at 8:30 PM Stars: Matt LeBlanc, Jessica Chaffin, Matt Cook, Grace Kaufman, Hala Finley, Matthew McCann Premise: A contractor (LeBlanc) becomes a stay-at-home dad when his wife returns to work and discovers that his kids are the worst. HT Guys Preview Score: meh Pure Genius Premieres: Thursday, Oct. 27 at 10:00 PM Stars: Augustus Prew, Dermot Mulroney, Brenda Song, Reshma Shetty, Ward Horton, Aaron Jennings, Odette Annable Premise: A Silicon Valley millionaire (Prew) taps a veteran surgeon with a controversial past (Mulroney) to head a hospital that will employ groundbreaking but potentially risky new procedures. HT Guys Preview Score: Doesn't sound like it'll last the season Training Day Premieres: Midseason Stars: Bill Paxton, Justin Cornwell, Drew Van Acker, Katrina Law, Lex Scott Davis, Julie Benz Premise: Based on the 2001 movie starring Denzel Washington and Ethan Hawke, the reboot picks up 15 years later and revolves around a young idealistic LAPD police officer (Cornwell) who is partnered with a morally questionable detective (Paxton). HT Guys Preview Score: No doubt. This is worth a look, but could go horribly wrong. FOX 24: Legacy Premieres: Mondays at 8/7c midseason Stars: Corey Hawkins, Miranda Otto, Jimmy Smits Producers: Howard Gordon, Brian Grazer, Manny Coto, Evan Katz, Stephen Hopkins, Kiefer Sutherland Premise: Former Army Ranger Eric Carter (Hawkins), the new Jack Bauer, turns to the CTU to try to stop a terrorist attack. The series will adopt the same real-time format as the original series, but will consist of only 12 episodes like 2014's event series 24: Live Another Day. HT Guys Preview Score: You had me at 24. The Exorcist Premieres: Friday, Sep. 23 at 9:00 PM Stars: Geena Davis, Alfonso Herrera, Ben Daniels, Brianne Howey, Hannah Kasulka, Alan Ruck, Kurt Egyiawan Premise: The horror remake follows two men who try to help the Rance family's case of demonic possession. Davis takes on the Ellen Burstyn role from the film as the family matriarch. Howey and Kasulka play the Rance daughters. HT Guys Preview Score: Would be surprised if it last the full season Lethal Weapon Premieres: Wednesday, Sep. 21 at 8:00 PM Stars: Damon Wayans, Sr., Clayne Crawford, Jordana Brewster, Kevin Rahm, Keesha Sharp Premise: A remake of the beloved film franchise, Wayans is your new Roger Murtaugh of the LAPD and Crawford is your new Martin Riggs, a former Navy SEAL who moves from Texas to L.A. after losing his wife and child. HT Guys Preview Score: Heck yeah! Definitely not too old for this $#!+ (show) Pitch Premieres: Thursday, Sep. 22 at 9:00 PM Stars: Kylie Bunbury, Mark-Paul Gosselaar, Ali Larter, Mark Consuelos, Dan Lauria, Michael Beach, Bob Balaban, Mo McRae, Meagan Holder, Tim Jo Premise: Ginny Baker (Bunbury) defies the odds to become the first woman to play in the MLB when she joins the San Diego Padres as its pitcher. HT Guys Preview Score: meh Prison Break Premieres: Tuesdays at 9/8c midseason Stars: Wentworth Miller, Dominic Purcell, Sarah Wayne Callies, Robert Knepper, Rockmond Dunbar, Amaury Nolasco, Mark Feuerstein Premise: A reboot of the original show, the event series picks up after Michael's (Miller) apparent death in the 2009 finale, when clues surface that Michael might actually be alive. HT Guys Preview Score: If you were into Prison Break before, it's worth a shot Son of Zorn Premieres: Sunday, Sep. 25 at 8:30 PM Stars: Jason Sudeikis, Cheryl Hines, Johnny Pemberton, Tim Meadows Premise: The live-action/animated hybrid comedy features Sudeikis as the voice of the animated title character who returns to Earth for the first time in 10 years from the land of Zephyria and tries to reconnect with his human son Alan (Pemberton) and ex-wife Edie (Hines). HT Guys Preview Score: Jason Sudeikis. Nuff said. NBC The Blacklist: Redemption Premieres: Midseason Stars: Famke Janssen, Ryan Eggold, Edi Gathegi, Tawny Cypress Premise: This spin-off of The Blacklist will follow Tom Keen (Eggold) as he teams up with Susan "Scottie" Hargrave (Janssen), whom he discovered is his mother on the mothership. Scottie is the head of Grey Matters, a covert mercenary task force that handles cases the government won't touch. HT Guys Preview Score: Blacklist is solid. Could work. Chicago Justice Premieres: Sundays at 9/8c midseason Stars: Philip Winchester, Carl Weathers, Nazneen Contractor, Joelle Carter, Ryan-James Hatanaka Premise: The fourth series in Dick Wolf's lucrative Chicago franchise takes viewers inside the Windy City's State's Attorney's office. The series was introduced as a backdoor pilot in an episode of Chicago P.D. in May. HT Guys Preview Score: If you're into the Chicago franchise. Plus, Apollo Creed? Emerald City Premieres: Midseason Stars: Adria Arjona, Oliver Jackson-Cohen, Vincent D'Onofrio, Joely Richardson, Florence Kasumba Premise: An dark, edgy reimagining of the Land of Oz book series, the fantasy series stars Arjona as Dorothy Gale and D'Onofrio plays The Wizard. HT Guys Preview Score: Maybe, if only to see how The Kingpin pulls off the role of The Wizard. The Good Place Premieres: Monday, Sep. 19 at 10:00 PM Stars: Kristen Bell, Ted Danson, Jameela Jamil, William Jackson Harper, Manny Jacinto, D'Arcy Carden Premise: When Eleanor (Bell) realizes that she's not a very good person, she gets a chance to start anew with the help of Michael (Danson) in the afterlife. HT Guys Preview Score: Ted Danson? A Cheers reboot maybe, otherwise: pass. Taken Premieres: Mondays at 10/9c midseason Stars: Clive Standen, Jennifer Beals, Gaius Charles, Monique Gabriela Curnen, James Landry Hebert, Michael Irby, Brooklyn Sudano, Jose Pablo Cantillo, Simu Liu Premise: A prequel to the movie franchise, Standen plays a young version of Liam Neeson's ass-kicking CIA agent Bryan Mills. HT Guys Preview Score: Young Liam Neeson? All in. This Is Us Premieres: Tuesday, Sep. 20 at 10:00 PM Stars: Mandy Moore, Milo Ventimiglia, Sterling K. Brown, Justin Hartley, Chrissy Metz, Susan Kelechi Watson, Chris Sullivan, Ron Cephas Jones Premise: The ensemble dramedy follows a group of people who share the same birthday and whose lives intersect in various ways. HT Guys Preview Score: Meh Timeless Premieres: Monday, Oct. 3 at 10:00 PM Stars: Abigail Spencer, Matt Lanter, Malcolm Barrett, Goran Visnjic, Paterson Joseph, Sakina Jaffrey, Claudia Doumit Premise: A trio is tasked with traveling through time to catch a criminal who stole a time machine that could catastrophically alter history. HT Guys Preview Score: Perhaps. We'll give it an episode or two. CW Frequency Premieres: Wednesday, Oct. 5 at 9:00 PM Stars: Peyton List, Riley Smith, Mekhi Phifer, Lenny Jacobson, Anthony Ruivivar, Devin Kelley, Daniel Bonjour Premise: A remake of the 2000 film starring Dennis Quaid and Jim Caviezel, the series will star List as a detective in 2016 who discovers she can speak via a ham radio to her estranged father, who died in 1996 and was also a detective. They team up to solve a cold case with a "butterfly effect" on the present day. HT Guys Preview Score: Maybe. It was a decent movie. No Tomorrow Premieres: Monday, Oct. 10 at 9:00 PM Stars: Tori Anderson, Josh Sasse, Sarayu Blue, Amy Pietz, Jesse Rath, Jonathan Langdon Premise: Based on a Brazilian format, the comedy focuses on procurement manager (Anderson) who falls for a man (Sasse) who lives every day like it's his last. Together, they try to fulfill every item on their bucket lists. HT Guys Preview Score: Meh Netflix Marvel's Luke Cage Premieres: Friday, September 30 at 12:01 AM Pacific Time Stars: Mike Colter, Mahershala Ali, Alfre Woodard, Simone Missick, Theo Rossi, Frank Whaley, and Sônia Braga Premise: Mike Colter stars as Luke Cage, a former convict who now fights crime. When a sabotaged experiment gives him super strength and unbreakable skin, Luke Cage becomes a fugitive attempting to rebuild his life in Harlem and must soon confront his past and fight a battle for the heart of his city. HT Guys Preview Score: For sure. A look back at the new TV shows for Fall 2015 How many survived? Of the shows we looked at for Fall premieres last year, not that many. This doesn't include shows we didn't talk about, or other late premiere shows like mid-season or summer replacement series. ABC (3/6) Blood & Oil - canceled Dr. Ken - renewed The Muppets - canceled Quantico - renewed Wicked City - canceled CBS (3/5) Angel From Hell - canceled Code Black - renewed Life in Pieces - renewed Limitless - canceled Supergirl - renewed CW (1/1) Crazy Ex-Girlfriend - renewed FOX (2/5) Grandfathered - canceled The Grinder - canceled Minority Report - canceled Rosewood - renewed Scream Queens - renewed NBC (2/6) Best Time Ever with Neil Patrick Harris - canceled Blindspot - renewed Chicago Med - renewed Heroes Reborn - canceled The Player - canceled Truth Be Told - canceled Research compiled with the help of TV Guide.

Tay shares his script for Taken 4 on this week's podcast! It was performed by Ben, David, and special guest Mark. What's the difference between saving your daughter and murdering hundreds of people in their native land? Bryan Mills will never know! Join us for a tale of vengeance, action, love, and all things TAKEN as Bryan takes on Beau Jangle down in Georgia! Contact us on Twitter @JONTPOD if you would like a copy of the script!

Action Movie Anatomy hosts Ben Bateman and Andrew Ghai break down Independence Day with guest host Cathy Kelley! Taken is a 2008 English-language French action thriller film directed by Pierre Morel, written by Luc Besson and Robert Mark Kamen, and starring Liam Neeson, Maggie Grace, Leland Orser, Jon Gries, David Warshofsky, Holly Valance, Katie Cassidy, Xander Berkeley, Olivier Rabourdin, Gérard Watkins, and Famke Janssen. It is the first installment in the Takenfilm series. Neeson plays a former CIA operative named Bryan Mills who sets about tracking down his daughter after she is kidnapped by human traffickers for sexual slavery while traveling in France. Numerous media outlets have cited the film as a turning point in Neeson's career that redefined and transformed him to an action film star. The film was met with mixed critical response, but was a financial success, earning over $226 million at the box office. The film is widely credited with establishing Neeson as a credible ac --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Der står Taken-maraton på programmet over de kommende uger, hvor jeg kigger nærmere på hele trilogien. Den første er fra 2008, og det var i den at Liam Neeson genopfandt sin skuespillerkarriere og dybest set genopfandt sig selv som den bryske og slagkraftige actionmand, Bryan Mills, der må til Paris for at redde sin datter fra en større gruppe østeuropæiske gangstere. Der er smæk for skillingen, selvtægt og tortur — og masser af fed action! Taken Trilogy udkom på dansk blu-ray fra Scanbox d. 7. maj. Hør mere om filmen i podcasten og læs om blu-rayen på bloggen.

Liam Neeson regresa como el exagente encubierto Bryan Mills, cuya reconciliación con su exmujer se interrumpe de manera trágica cuando es asesinada brutalmente. Consumido... See omnystudio.com/listener for privacy information.

Powertrio med Lill-Löf, Dupo och Kjellin denna vecka med mycket fokus på film och trailers! Vanne & Peter har sett Marvel/Disney-rullen Big Hero 6 som är supercute och sevärd, samt Taken 3 – men trots att de är Bryan Mills-fans sedan tidigare så är tankarna kring den nya rullen lite svalt. Dessutom har samtliga tre sett mästerverket Kingsman: The Secret Service med en rövsparkande Colin Firth och en läspande Samuel L Jackson. Mycket filmsnack med andra ord. Vi delar dessutom med oss av våra tankar kring de trailers som dök upp i samband med Super Bowl XLIX: Jurassic World, Terminator Genysis, Tomorrowland, Avengers: Age Of Ultron & Heroes Reborn. Tidigare idag (4/2) kom även trailern till Marvels första Netflix-serie Daredevil och det måste så klart sönderanalyseras! Halvkort episod men minst lika mycket galenskap som alltid!

Nesta edição do nosso bate-papo cinéfilo:- Cássia Eller (00:02:55): EXCLUSIVO! O diretor do documentário, Paulo Henrique Fontenelle (de Loki - Arnaldo Baptista e Dossiê Jango) conversa conosco e revela os bastidores do filme sobre a cantora, como ele mergulhou na pesquisa sobre sua vida e obra, o acesso à família e amigos próximos e como se deu o processo de montagem do longa.- Depois da Chuva (00:26:57): drama situado nos anos 80 discute a juventude em meio à transformação política do país;- Amor, Plástico e Barulho (00:30:49): mais um filme nacional em nosso programa, este situado na cena da música brega, mas com contornos mais profundos e sombrios do que se imagina;- Invencível (00:37:52): Angelina Jolie insiste em sua carreira de diretora, mas nem a ajuda dos irmãos Coen no roteiro consegue salvar o projeto;- Antes de Dormir (00:51:46): Nicole Kidman e Colin Firth emprestam o peso de seus nomes a um thriller previsível sobre amnésia;- Busca Implacável 3 (01:01:01): Liam Neeson mostra que o ex-agente Bryan Mills precisa levar a sério a aposentadoria;- Os Pinquins de Madagascar (01:12:29): personagens da franquia de animação confirmam que são a melhor coisa que existe nela;- A Entrevista (01:17:38): na Sessão Spoiler, a abominável comédia estrelada por James Franco e Seth Rogen.Programa apresentado e produzido por Renato Silveira, com os comentários de Antônio Tinôco e Stephania Amaral, da equipe Cinema em Cena, e Marcelo Seabra (do blog O Pipoqueiro).Edição e mixagem de áudio: Eduardo Garcia.Interaja com os demais ouvintes nos comentários abaixo. Tem um recado para a nossa equipe? Envie sua mensagem para o e-mail cinema@cinemaemcena.com.br

show notes News The top 25 skills that got people hired in 2014. Bryan Mills (aka Liam Neeson) will endorse your skills if you win a contest! Interesting to see a major film studio using LinkedIn to promote its latest movie release (Taken 3) and even more interesting to that LinkedIn are completely fine with this! Could Viadeo be a viable acquisition target for LinkedIn? Tax inspectors in Turkey use LinkedIn to catch tax evaders Commentary Do you want to find your 'future self' on LinkedIn? When you think about it you could and LinkedIn could make it even easier if they released tools to make it easier to predict your future based on real data from other profiles. Where is Jeff Weiner taking LinkedIn? I love this article and agree with the three areas that they believe LinkedIn is focussing its future on. Thanks to my two wonderful kids James & Anna for 'volunteering' to be interviewed for this show! Finally may I wish you a very merry and happy Christmas. 2015 is going to be a great year for LinkedIn and I look forward to sharing every moment of it with you. Thank you so much for listening, I really value your support and interest. As always I would welcome your feedback and questions. If you want to be on the show you can leave a comment by voicemail (right hand side of this page) or email me at mark@linkedinformed.com. Help me to promote the podcast It can be difficult to get noticed in iTunes and one thing that can really make a difference is reviews. If you enjoy the show please take a minute to write an honest review in iTunes, it would be most appreciated.  

TJ brings you up to speed on the goings on in the film world — and some stuff not really in the film world. First up, we've got Angelina Jolie's new ‘Maleficent' trailer. It's spooky, scary, and really good looking. And it's set to an unfamiliar arrangement of a familiar tune. And then TJ strayed a little off the beaten movie path this week to talk about Nintendo in three separate articles. But hey, he's an adult, he can do what he wants, right? One of the more exciting films coming up in the beginning of this year is ‘The Lego Movie' and TJ has lots of goodies for you on that front. Be sure to check out the clips from the upcoming film! Chad and TJ talked about ‘The Lone Survivor' this week on ‘The MovieByte Podcast'. It was better than either of them were expecting. Paramount will bow to Christopher Nolan's wishes and deliver the upcoming ‘Interstellar' on both film and in digital format. And in the "say what?" category, ‘Taken 3' is currently in the works. How many more times can these Bryan Mills and co go through this? And of course, as always, find out what to see this weekend!

Listen to me very carefully, you are about to be taken on an incredible review of Liam Neeson's 'Taken 2'. Bryan Mills is back, kickin' butt and takin' names as the father of one of his old victims comes looking for revenge. Does Neeson power the sequel to the same adrenaline-fueled heights as before? Or has age finally caught up?  Plus, we'll take a look at Tim Burton's stop-motion animated horror/comedy, 'Frankenweenie'! All this and more, so tune in to the show and join us in the chat room!

Meet Community Health Network's new President & CEO Elect, Bryan Mills

Welcome to another episode of The Behind the Scenes Show with Eric Fell and Shaun Stewart. This episode we take a look at upcoming DVD releases! Check out the show to see our take on Underworld Rise of the Lycans, Taken and Passengers. Enjoy!'Underworld: Rise of the Lycans' delves into the origins of the centuries-old blood feud between the aristocratic vampires, known as Death Dealers, and the barbaric Lycans (werewolves). A young Lycan, Lucian (Michael Sheen), emerges as a powerful leader who rallies the werewolves to rise up against Viktor (Bill Nighy), the cruel vampire king who has persecuted them for hundreds of years. Lucian is joined by his secret lover, the beautiful vampire Sonja (Rhona Mitra), in his battle to free the Lycans from their brutal enslavement.Seventeen year-old Kim is the pride and joy of her father, retired agent Bryan Mills who left the secret service to stay near Kim in California. Kim lives with her mother Lenore and her wealthy stepfather Stuart; she convinces the reluctant Bryan to sign an authorization to travel to Paris with her friend Amanda. When they arrive, they share a cab with the stranger Peter and Amanda tells to him that they are alone in Paris. When Bryan succeeds in contacting his daughter, she tells that criminals have just break in the spot and they are kidnapped by an Albanese gang of human trafficking. Bryan promises in the phone to kill the kidnapper of his daughter and immediately travels to Paris to find Kim and chase the criminals. Starring Liam Neeson and Maggie Grace.After a plane crash, a young therapist, Claire (Anne Hathaway), is assigned by her mentor (Andre Braugher) to counsel the flight's five survivors. When they share their recollections of the incident – which some say include an explosion that the airline claims never happened – Claire is intrigued by Eric (Patrick Wilson), the most secretive of the passengers. Just as Claire's professional relationship with Eric – despite her better judgment – blossoms into a romance, the survivors begin to disappear mysteriously, one by one. Claire suspects that Eric may hold all the answers and becomes determined to uncover the truth, no matter the consequences.Be sure to check out more Behind the Scenes as well as Previous Episodes!Subscribe to behind the Scenes in iTunes or by Email