Podcasts about Dozier

Major General James Lee Dozier is a retired U.S. Army officer who served 35 years with the U.S. Army and NATO in the United States, Europe and Asia. He was commissioned as an Army officer in 1956 following graduation from West Point. He earned a master's degree from the University of Arizona in aerospace engineering and is a graduate of the Command and General Staff College and the Army War College. During his service in Vietnam, General Dozier was awarded both the Silver Star and Bronze Star for heroism and the Purple Heart for combat wounds. In 1981 he was kidnapped by Red Brigades terrorists in Italy and held for 42 days before being rescued. General Dozer's conduct during this harrowing period was recognized by President Ronald Reagan with several invitations to visit the White House. On retirement from active service in 1985, Dozier returned to Florida and became a leader in agribusiness for 20 more years before retiring again in 2004. Since 1985 General Dozier has been actively involved in community groups and veterans' organizations, including the Lee County Electric Cooperative, the Southwest Florida Community Foundation, the Florida Commission on Veterans Affairs, the Southwest Council Boy Scouts of America, the Fort Myers Heart Walk, Rotary Club, the Lee Coast Chapter Military Officers Association of America, Good Wheels and the local Congressman's Service Academy Nominating Committee, among others. In 2015 he was inducted by Governor Scott into the Florida Veterans Hall of Fame. In this episode, he talks about his time at West Point, his relationship with Maj Gen George Patton IV and Gen Norman Schwarzkopf, and lessons from his kidnapping and captivity. You can purchase Gen Dozier's book, Finding My Pole Star, here. ***Follow the Greg Krino Show here...GregKrino.comYouTubeInstagramFacebookTwitterLinkedInIf you enjoyed the podcast, please leave a 5-star rating and friendly comment on your podcast app. It takes only a minute, and it really helps convince popular guests to join me.If you have comments or ideas for the show, please contact me at gregkrinoshow@gmail.com.

In season 4, Jordan and Luci are exploring contemporary saints from around the globe. Join them to hear discussions of history, weird facts, and even some advice for today's Christian feminists who are trying to pick up where these awesome church mothers left off. If you're enjoying expanding your ideas about Jesus, feminism, progressive Christianity, bad ass Bible ladies, the Episcopal Church, or anything else we've been talking about, get in contact! Email: twofeminists@gmail.com

Welcome to episode #83My guest is Ashlee DozierAshlee is a Florida entrepreneur with a love for travel and business.  In 2016, after a decade-long career in public health and having exited an abusive relationship, she set out on a four-month solo backpacking trip around the world.  Along the way, she discovered the luxurious world of Egyptian fragrances.  She built a business from the ground up, Anuket Luxury Apothecary, to share her passion with those looking for a natural alternative to traditional colognes and perfumes.In her episode, she shares her travel experiences, lessons on entrepreneurship, and her challenges and achievements.  Ashlee also talks about her belief that there's enough success available in the world for all of us to achieve it. She shares how she enjoys collaborating with other small businesses via Anuket.  All her exotic fragrance oils are imported from Egypt and hand-bottled in Florida. Let's Enjoy her story. Anuket Luxury ApothecaryTo Share - Connect & Relate: Linked In Instagram To be on the show Podmatch Profile Email us at behas.podcats@gmail.com Thank you for listening - Hasta Pronto!

Hair band Skid Row hails from Tom's River, New Jersay.  The band was formed in 1986 by bassist Rachel Boland and guitarist Dave "Snake" Sabo, and rounded out with guitarist Scotti Hill and drummer Rob Affuso.  Lead vocalist Sebastian Bach was recruited after being seen as a wedding singer at the age of 18 well before Adam Sandler would reveal this as a potential career option and path to love and fame.  Sabo was a high school friend of Jon Bon Jovi, and the two made a pact that if one was sucessful in the music business they would help the other out.  This led to Bon Jovi's manager Doc McGee seeking out Skid Row and getting them a contract with Atlantic Records in 1988.Skid Row was the band's eponymously titled debut album, and it would prove to be a huge success over time.  Though it received mixed critical reviews, the album went to number 6 on the Billboard 200 charts, and would be certified 5x platinum in 1995 by the RIAA.  The band headlined tours for Bon Jovi and Aerosmith in 1989-1990.  Bach would be the front man for the band for their first three albums until 1996, when friction between himself and Sabo led to his departure.  Skid Row is still active as of 2022, and has released six albums to date.John Lynch takes the helm on this album in his debut as a permanent member of the What the Riff crew. Youth Gone WildThis rocking anthem was the first single released from the album.  No matter what walk of life you are from, you are one of us - the youth gone wild.  Be true to yourself and not to what others expect of you.  "Hi man, there's something that you oughta know.  I tell ya Park Avenue leads to Skid Row."I Remember YouThe third single would be the one to really put Skid Row on the map.  It is a power ballad depicting a guy who can't get over a long lost love.  Bass player Rachel Bolan contributed the lyrics.  The line "love letters in the sand" was also the title of a number 1 hit from 1957 by Pat Boone.Sweet Little SisterA deeper cut that sounds a lot like Motley Crue chronicles the trouble that a boy crazy sister of a member of the band can create.  "For such a sweet little lady I would swear she's rotten to the core.  Oh yes she got her hands in the cookie jar."18 and LifeThis darker ballad tells the story of Ricky who kills someone with a gun while drunk and is sentenced to life in prison.  Dave "Snake" Sabo and Rachel Bolan wrote the song after reading a story in the local paper about an 18 year old who accidentally killed his friend with a gun he thought was unloaded.  ENTERTAINMENT TRACK:Theme song from the animated series “ALF:  The Animated Series” After its "real life" series, the cat-munching alien ALF returned in animated form.  It finished its run in 1989. STAFF PICKS:Charlotte Anne by Julian Cope Bruce leads off the staff picks with a forgotten song that hit number 1 on the Modern Rock Tracks chart at the time.  This is the first single from Cope's fourth solo album "My Nation Underground," an album that Cope considers to be a poor album.  Julian Cope comes out of the Liverpool punk scene, and his solo work is a bit reminiscent of the Cure.Driven Out by The FixxRob brings us British new wave band The Fixx in a work off their fifth album.  It talks about the pillaging of the land driven by greed.  "I'm cooking with microwaves to warm up food not seen the soil - plugged into my TV, used to the lies their telling me."  It hit number 55 on the Billboard Hot 100, and number 1 on the mainstream rock charts.Funky Cold Medina by Tone Loc Wayne's staff pick was everywhere in 1989.  A funky cold medina was an aphrodisiac, and its use would get the singer into all kinds of trouble when he gives it to his dog, or to a girl who turns out to be a transvestite.  It peaked at number 3 on the charts, and if the main beat sounds familiar, it may be because it comes from "Hot Blooded" by Foreigner. Two Hearts by Phil CollinsJohn features a song Collins sang for his poorly received film "Buster."  Lamont Dozier of Motown fame wrote this song, and it was Dozier's 14th and last number 1 song.  It is about two people connected through time and space even when they are not together.   NOVELTYTRACK:Let's Put the X in Sex by KissEven rock legends put out a failure from time to time.  This could be considered one of those - you be the judge!

Three years ago to the day that I lost my mom, the most devout Catholic I've ever known, I interviewed this week's podcast guest, who just so happens to be the daughter of a nun. Life is full of surprises, but rarely any accidents.Liz Dozier is the Founder & CEO of Chicago Beyond, an organization whose mission is to ensure that all young people have the opportunity to live a free and full life. Since its inception in 2016, Chicago Beyond has invested more than $40M in barriers to equity – from education, to youth safety, to health, wellness, and beyond.Raised by her mother, a former nun, and a father who was incarcerated, Liz has long felt called to lead a life of service, to root for the underdog, to elevate those in need, and to shine a light into the darkness. Her career journey is a beautiful summation of all of these. In 2009, Liz became the principal of Fenger High School, at the time known as one of the most violent and underperforming schools in the city of Chicago. Keenly aware of the correlation between these factors and the effects of traumatizing events outside of the classroom affecting these students, she quickly implemented many changes in the school that had dramatic and long-lasting positive effects on the school and its students' lives. Under Liz's leadership, Fenger became the first Chicago school to institute CARE teams to surround youths in crisis, the entire staff became trained in de-escalation and trauma-responsive approaches, and the school implemented grief counseling and anger group therapy sessions. The result? The school went from a 19% dropout rate to 2% and experienced double-digit increases in school attendance and graduation rate. Not only that, but Fenger became one of the district leaders in restorative justice, social-emotional learning, and academic interventions. Liz is a beautiful example of how one person can make a massive difference in improving the lives of those around them. She inspires us to remember that we all have the power to stand up for individuals and communities who are marginalized, traumatized, struggling, and desperate for someone to shine a light into the darkness. “I believe in people. Period. Full stop. I believe in the power of calling out inequities and calling in righteous and radical truth.” ~ Liz DozierTune in and bear witness to the awe-inspiring radical truths that Liz shares with us on the Cracking Open Podcast today. I hope it inspires you to shine your own unique and special light out into the world.Love,MollyLearn more about Chicago Beyond here Follow Chicago Beyond on Facebook, Instagram, LinkedIn, & Twitter Follow Liz on TwitterLearn more about Molly Carroll hereGet your free Body Emotion MapFind me on Social:InstagramFacebook

Apologies for the delay, but here is Part 2 finally.We would like to thank MaryAnne for the exclusive look inside the investigation as she was on-site during this process, her knowledge is impressive and you do not want to miss her insert into this episode. You can find her at:https://linktr.ee/crimecakes?utm_source=linktree_profile_share<sid=8893353a-8fd1-439f-bf6c-20c7fc45d169Florida is known for a lot of things, Disneyland and magical vacations, but buried deep in the forgotten history is the story of the Dozier School for Boys.Depravity that was left unchecked for one hundred and eleven years, that is until men started coming forward in their twilight years to recount their horrendous mistreatment. This sparked a probe into what happened to them and those that were lost in the convoluted history of the school. Stories abounded of abuse, neglect, rape and even murder, raising the question how many bodies were there really on the campus?*Trigger warning* This episode and the next we recount allegations of the men and truly grotesque things, listener discretion highly advised.Book used for research:https://www.amazon.com/We-Carry-Their-Bones-Justice/dp/0063030241Podcast used for research and you should totally check them out:https://podcasts.apple.com/us/podcast/the-most-haunted-city-on-earth-presented-by-the/id1633765510Upcoming Collab!!!! Find them at: https://linktr.ee/hhtr?utm_source=linktree_profile_share<sid=13c50542-6767-4b81-bce3-617d2c158de8Support the showFind us:https://linktr.ee/thatsnotgoodpodcast?utm_source=linktree_profile_share<sid=8c3c2b4a-339c-430a-ba57-f7233707dcbcGot a good story? Slide on into our DM's, they are always open.Want a shouter-outer? Leave us a review on Apple Podcasts and we will read it on air!Coming soon: MERCH!!!!!

Tune in to hear Artyce share her perspective as a cosmetology school teacher on Gen-Z Rising Stylists!Follow/subscribe to be the first to know when new episodes are released. Like what you hear? Leave us a review!KEY TAKEAWAYS:-- Most Rising Stylists want to work for themselves or in a concept/specialty salon.-- 70% of Rising Stylists want to specialize in their craft.-- 50% of RIsing Stylists want to pursue entrepreneurship and be the boss.-- They want a calming atmosphere and sensitivity to their feelings.-- Rising Stylists want a Mentor, not a Boss when deciding on the salon leader they want to work for.-- Rising Stylists need to hear about the investment we all made to get to where we are so they understand success comes with investment and work.-- Rising Stylists do not want to rush; they want to take only a couple of clients a day.-- SALON OWNERS: Be clear, upfront, and honest about workflow, pace, specialization, and expectationsMENTIONED IN TODAY'S EPISODE:-- Follow Artyce on Instagram: https://www.instagram.com/wherehairmeetsart/-- Follow The Art of Hair Agency LLC on Instagram: https://www.instagram.com/aohagency/-- Follow Paul Mitchell Tysons Corner on Instagram: https://www.instagram.com/pmtstysons/The Hairdresser Strong Show is all about Salon Owners, Rising Stylists, and Seasoned Stylists sharing their experiences, successes, failures, and advice to inform, educate, and empower their Fellow Hairdresser. We won't stop until we are all: Hairdresser Strong.

Al & Val are joined by wrestling expert and DCOMmentaries superfan Trent Dozier to break down Andy Lawrence's hottest movieI Love Improv! with Trent DozierThe Tournament PodcastCam & Trent's Family Reunion (Live in LA on 1/25/23)Going to the Mat (March 9, 2004)IMDB WikipediaDirected by Stuart Gillard (Scream Team, Full Court Miracle, Twitches, Twitches Two, Charmed, 90210)Written by Chris & Laurie Nolan (I Kissed a Vampire, Adapt or Die), Steve Bloom (James & the Giant Peach, Jack Frost - 15 year gap in his credits)Starring: Andrew Lawrence as Jason "Jace" Newfield (Horse Sense, Jumping Ship, The Other Me, Brotherly Love, Recess, Hawaii 5-0)Alessandra Torresani as Mary Beth Rice (Character actor)Khleo Thomas as Vincent "Fly" Shu (Holes, character actor)Wayne Brady as Mason Wyatt (Whose Line, Let's Make a Deal, Bold & Beautiful, voice acting)D. B. Sweeney as Coach Rice (character actor)Billy Aaron Brown as John Lambrix (8 Simple Rules, character actor)Brenda Strong as Patty Newfield (Desperate Housewives, Starship Troopers, Deep End of the Ocean, Sports Night, Dallas, 13 Reasons Why, Supergirl)Brian Wimmer as Tom Newfield (China Beach, Flipper, stopped in 2013)Synopsis: Jake is a talented musician and also blind. When his family moves from New York to Utah he must find another hobby which will help him make friends. He discovers wrestling is one of the few sports where blind people compete on the same level as sighted ones, so becomes a wrestler. As his team improves he learns valuable lessons about himself.Next Movie: Zt3 ★ Support this podcast on Patreon ★

Florida is known for a lot of things, Disneyland and magical vacations, but buried deep in the forgotten history is the story of the Dozier School for Boys.Depravity that was left unchecked for one hundred and eleven years, that is until men started coming forward in their twilight years to recount their horrendous mistreatment. This sparked a probe into what happened to them and those that were lost in the convoluted history of the school. Stories abounded of abuse, neglect, rape and even murder, raising the question how many bodies were there really on the campus? *Trigger warning* This episode and the next we recount allegations of the men and truly grotesque things, listener discretion highly advised.Book used for research:https://www.amazon.com/We-Carry-Their-Bones-Justice/dp/0063030241Support the showFind us:https://linktr.ee/thatsnotgoodpodcast?utm_source=linktree_profile_share<sid=8c3c2b4a-339c-430a-ba57-f7233707dcbcGot a good story? Slide on into our DM's, they are always open.Want a shouter-outer? Leave us a review on Apple Podcasts and we will read it on air!Coming soon: MERCH!!!!!

The Full Interrogation Of Michael Brett Kelly Without CommentaryIn 2012, 18-year-old Brett Kelly of Macon, Georgia, was dating 38-year-old Tracy Jones. When Tracy hatched the plan to steal big bucks from the real-estate law firm she was employed at, she enlisted Kelly's assistance, along with that of his 23-year-old step-sister Courtney's. It was Kelly who brought 23-year-old Dozier on board as well. Their plan was to wire transfer the funds from the firm's escrow account to their own and then split the spoils four-ways.Tracy was a junior employee at the firm and thus, did not have the access to wire transfer funds without authorization from the upper management. This was not the same case with Gail Spencer, who had been with the firm for over 10 years and was the person in charge of handling wire transfers. Tracy needed to make the transfer through Gail's access and she needed Gail to not be at work. That's where Kelly and Dozier entered the scene. On the morning of October 5, 2012, Tracy knocked on Gail's door and made up an excuse to use her bathroom. 58-year-old Gail trusted the co-worker she saw every day in the office and let her in. In turn, Tracy let in Kelly and Dozier who were there to hold Gail hostage in her home while Tracy went to the office to wire transfer the money.Kelly was brandishing a pistol, once they were inside Gail's home, and threatened Gail at gunpoint. According to his statement, Dozier had no idea that Kelly had brought a gun with him. The plan had been to let Gail go after the money had been successfully transferred. But at some point, Kelly raped and sodomized Gail and then killed her by suffocating her with a plastic trash bag. All the while, Dozier had been keeping watch in the next room, and according to his own statement, he had also tried to stop Kelly from murdering Gail. They both fled the scene later in the day.The police found Gail dead in her home the next day when concerned neighbors called 911. A total amount of $1.4 million was stolen in five different transactions by Tracy. The first three transfers were to Courtney's bank accounts and Courtney decided to run away with all of the approximately $800,000. Four days later, Tracy did another two transfers, bringing the total amount of stolen funds to $1.4 million. Within a week of the crime, all four criminals – Tracy, Courtney, Brett, and Dozier – were caught by the police, thanks to a timely tip-off.They were both charged with multiple counts of aggravated assault, felony murder, malice murder, theft by taking, burglary, and false imprisonment. Only Brett Kelly was also charged with aggravated sodomy. While Kelly accepted his charges and pleaded guilty, earning a life sentence in prison without the possibility of parole, Dozier pleaded not guilty and went to trial in 2015. Dozier was also found guilty on all charges by the jury and was sentenced to life imprisonment without the possibility of parole also. In June 2019, Dozier appealed the court's decision but his appeal was reviewed and denied by the Supreme Court of Georgia. They both are still incarcerated in Georgia State Prison, where they will spend the rest of their lives. Tracy and Courtney got life imprisonment too, but Courtney has the possibility of parole.True Crime Podcast 2023 Police Interrogations, 911 Calls and True Police Stories Podcast

0 mins In this episode Hiram and I chat with Brie Blackford, co-founder of Elda's Kitchen. Brie recently made the move from California to Texas.  We ask her about the big life change and the major differences between Texas and Cali. We then talk about barbecue places she's visited in Houston and some other we recommend she try.  You may recognize one of the spots as the Pitmaster Jim Buchanon from Dozier's BBQ was on the Ready Set BBQ podcast.    10:00 minElda's Kitchen- What's New?  Brie tells us about what's new with Elda's Kitchen. If you follow her on social media you can see that she has been busy.  She also has a live cooking demo every Wednesday evening.  Elda's Kitchen has a new Dill Pickle Burger Sauce and a Spicy Ketchup sauce now available to order.  Hopefully we'll see them across all our HEB stores in Texas soon.  I'm wanting to try the Black Cherry BBQ sauce on some ribs.  Brie tells us some stories on the inspiration for some new flavors.   20:00 min We close out with some questions from the fans.  Eddie wanted to know if she had any holiday food traditions.  Hector wanted to know about tamales and if she liked them with or without ketchup. We ask for some tips on how to make a better prime rib roast.  I want to know who ate Brie's giant charcuterie board. We talk about some New Year's foods and wish everyone Happy Holiday's. A bunch of joes that cook like pros!!!Elda's Kitchen  Home - Elda's Kitchen (eldaskitchen.com)Dozier's BBQ Dozier's BBQ, Deer Processing, Meat Market (doziersbbq.com)Law Office of Hector Hernandezhttp://hhernandezlaw.com/?fbclid=IwAR3kaG_wQzrsUJ-cVxJLUyjvipMPM1R59xo9YMKFFsiGHaaUgdZ8hd8cB7YWebsite/Shop https://www.readysetbbq.com/Facebook Page https://www.facebook.com/readysetbbq

Today, Saba has a sit-down with Councilmember Jason Dozier. He recently introduced legislation that, if it passes, should change density and help make Atlanta more pedestrian-friendly. Per Dozier, it does three things: 1.) ban new gas stations, 2) ban new drive-thrus, and 3) remove the city's requirement for developers to build on-site parking.Take a Listen... Do You Agree? WE WANT TO HEAR FROM YOU! LEAVE A VOICE NOTE - Click HereContact Councilmember Jason Dozier P: (404) 330-6047F: (404) 739-9238E: Click HereTwitter To keep up with Where The Party At?, connect with us on Instagram or Twitter. Stay tuned and get informed! We are laying the foundation down to be able to have competent political conversations and discourse, all for the greater good.Subscribe and tune in for our “Who Runs Atlanta,” series of interviews with political candidates.Watch or listen to Where The Party At?: https://linktr.ee/wherethepartyatpodVisit Justeldredge.media for more shows and content!Watch or listen to Where The Party At?: https://linktr.ee/wherethepartyatpodVisit Justeldredge.media for our other shows and content.

The post 1.1.23 Dan Dozier – True Repentance appeared first on Fourth Avenue COC.

The best music artists aren’t married to one genre. Lady Dan (a.k.a. Tyler Dozier) wouldn’t be able to stick to just one if she tried. Prior to making her 2019 debut with the EP Songs For the Soulless, Dozier had been listening to all kinds of music. “I just didn't find my people,” Dozier says […]

This episode covers Ashlee Dozier, who's the owner of the Tampa Bay, Florida based fine fragrance company Anuket Luxury Apothecary. The company offers natural alternatives to traditional colognes and perfumes. . After leaving an abusive relationship, Ashlee set out on a four month solo backpacking trip around the world to rediscover herself. One of those stops in that journey was Egypt, where Ashlee visited a perfumery while taking a cruise down the Nile River. There she learned about the history of fragrances in Egypt, and took a strong liking to the unique qualities of Pure Papyrus Oil. After coming back to the states and realizing there was virtually no access to high quality, Pure Papyrus Oil, she worked to source the Papyrus Oil from the perfumery she visited in Egypt in order to share this unique fragrance with others. . The conversation ranges from some of the countries Ashlee visited on her four month journey, to lessons she's learned since starting the business back in 2019, and even deadly animals and emergency preparedness gets mentioned. Ashlee also answered a series of travel-related questions that will be asked to each guest in future episodes, and her answers certainly didn't disappoint. . Anuket Luxury Website: https://anuketluxury.com/ . Anuket Luxury on Facebook: https://www.facebook.com/anuketluxury . Anuket Luxury on Instagram: https://www.instagram.com/anuketluxury/ . Most Dangerous Animals in Michigan: https://www.journeyingtheglobe.com/dangerous-animals-in-mi chigan/ . Follow Juxtaposed Journeys on Social Media! . Facebook: https://www.facebook.com/JuxtaposedJourneys . Twitter: https://twitter.com/JuxJourneysPod . Instagram: https://www.instagram.com/juxtaposedjourneys/ . Interested in being featured in a future episode? Fill out the short questionnaire below, and if you're a good fit, you'll be contacted for an interview. . https://docs.google.com/forms/d/e/1FAIpQLSeUZw2voAG3CsUJdaby5npsbjiyS9ZE7D4MTJ5tGlPDYMFfoQ/viewform?usp=sf_link

Ashlee Dozier is the owner and founder of Anuket Luxury Apothecary. In 2016, after a decade-long career in public health and exiting an abusive relationship, she set out for some adventure. She went on a backpacking trip around the world that helped her discover a new passion for bringing exotic and luxurious goods to those looking for something as outside-the-box as she was.This episode you will hear how travelling inspired Ashlee to start her business as well as how she built scaled and funded her businessNew Episodes every Monday!www.stringcastmedia.com

We are soo divided True Believers! This week Podcast 616 wraps up its Captain America coverage with the super stuffed: Civil War! Join your host, Damon, and his guests Trent Dozier and Cam Herdt as they do a deep dive into all things Civil War including: - How is this current Avengers line up working together? - Would you make out with your exes niece?? - How useful are baseball caps and sunglasses as disguises???   All that plus a look into Trent's love for the San Francisco Giants. It's gonna be a blast… despite the depressing ending of the actual movie.   Listen. Subscribe. Enter Black Panther. Produced by: Michael Seijas

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.

durée : 00:37:43 - L'Invité(e) de Et maintenant ? - par : Quentin Lafay - Un militant écologiste français, puis un chef papou et son ami documentariste nous expliquent ce qu'ils entendent par "défendre une forêt".

In this episode Daniel sit downs with M.A. Dozier and his dad Mike Dozier, from Nimrod Outdoors to discuss the roles of men in the family. Nimrod Outdoors in a ministry that provides fathers and kids fishing and hunting retreats as a way to connect to their Heavenly Father and to one another.

A NATIONAL PRAYER INITIATIVE Join some of the best speakers in the country for 50 days of prayer before the coming election as we specifically pray for the best Biblical candidates in all fifty states. The 50-day fight has now become an ongoing battle that includes every aspect of our lives and society. Hear from Dr. Daniel Bernard, and Dr. Thomas Dozier about what we are fighting for and why joining together in prayer is our most valuable asset. ​As Derek Prince said, "God rules the nation from our knees." It is time to join each other on our knees for our country. Find out more about the 50 Day Fight: https://www.50dayfight.com YouTube Channel   About our Guests Dr. Daniel Bernard: Daniel  Bernard was born in Clearwater, Florida, on July 4, 1956. In December of 1978, Daniel accepted Jesus as his Lord and Savior. Shortly after getting saved, Daniel went to Kentucky Christian College where he obtained his BA in Bible. He furthered his education by attending  Cincinnati Bible Seminary for two years on a Leadership Scholarship.  Daniel received several awards for leadership and preaching. He earned an MA in Missiology from Liberty Theological Seminary. In September  2000, Daniel was awarded an Honorary Doctorate of Theology from  Tabernacle Bible College and Seminary in Tampa, Florida.  December of 1996, Somebody Cares Tampa  Bay (SCTB) was established. https://www.sctb.org/ Dr. Daniel  is the SCTB Founder | President  sctb.org  and just celebrated 25 years of service! Dr. Daniel is the author of, "Praying Up a Storm," "God's Soul Desire," and "City Impact in addition to two other books. Dr. Daniel has been a contributor to "101 Ways to Reach Your Community" and "101 Ways to Reach the Needy," by Steve Sjogren. Daniel has been a guest on the "700 Club," Christian Television Network, and has been featured in Outreach and Inspire Magazine. Daniel is available for speaking engagements and can be reached at Daniel@sctb.org. For more information about Somebody Cares Tampa Bay go to sctb.org   Dr. Thomas L. Dozier is the senior pastor of The Word of Grace and Truth Ministries, President of Grace and Truth Christian University and the founder of TLD Ministries in Tampa, FL Pastor Thomas L. Dozier, Ph.D.  is the senior pastor of The Word of Grace and Truth Ministries, President of Grace and Truth Christian University and the founder of TLD Ministries in Tampa, FL. He Attended Life Christian University: Ph.D. Theology; Master of Arts in Pastoral Counseling; Bachelor of Arts in Theology; Faith Theological Seminary & Bible College: Diploma in Theology; Morris Brown College Undergraduate Studies. Dr. Thomas L. Dozier was a part of the LCU faculty for eleven years.  Dr. Dozier served as Academic Dean in addition to Professor of Theology and Christian Counseling.  Over the years, Dr. Dozier has been instrumental in developing various Theological and Christian Counseling courses.  Dr.  Dozier is the Senior Pastor of The Word of Grace and Truth Ministries, the President of Grace and Truth Christian University as well as the Academic Dean of Theology and Christian Counseling. check out Pastor Dozier's website and other media platforms here:  https://www.wogatministries.com/our-pastor.html YouTube: https://youtu.be/ZWa9pKcj8Eg FB: https://m.facebook.com/sharer.php?sid=117277231685999&referrer=pages_feed  Keep up with Supernatural Junkies please subscribe to our newsletter on our website: http://supernaturaljunkies.com/podcast/ By signing up for our newsletter you will be the first to know about any special events we have planned, live streaming Q&A's and we will also have links to any articles or statistical data we talk about on the show, and get some awesome Supernatural Junkies Gear! Dr Kevan's New book The Covid Beast is out on Kindle, get it here: https://read.amazon.com/kp/embed?asin=B09NMTW7GF&preview=newtab&linkCode=kpe&ref_=cm_sw_r_kb_dp_ARERGN8PMPP7FF9KK87P&tag=drkdkruse%40hotmail.com  You can the paperback version of The Covid Beast https://supernaturaljunkies.com/covid19book/ get it  NEW from our website for less $ than even AMAZON!! Keep up with Supernatural Junkies please subscribe to our newsletter on our website: http://supernaturaljunkies.com/podcast/ By signing up for our newsletter you will be the first to know about any special events we have planned, live streaming Q&A's and we will also have links to any articles or statistical data we talk about on the show, and get some awesome Supernatural Junkies Gear! Dr Kevan's New book The Covid Beast is out on Kindle, get it here: https://read.amazon.com/kp/embed?asin=B09NMTW7GF&preview=newtab&linkCode=kpe&ref_=cm_sw_r_kb_dp_ARERGN8PMPP7FF9KK87P&tag=drkdkruse%40hotmail.com  You can the paperback version of The Covid Beast https://supernaturaljunkies.com/covid19book/ get it  NEW from our website for less $ than even AMAZON!!  Follow our channel on Rumble https://rumble.com/v1lsd10-satans-second-forbidden-fruit-part-2.html   View this profile on Instagram Supernatural Junkies (@supernatjunkies) • Instagram photos and videos     https://www.facebook.com/TheSupernaturalJunkies/groups/    

Contact Your Candidates John Dailey www.daileyformayor.com johndaileycampaign@gmail.com Kristin Dozier www.dozierformayor2022.com kristindozier@gmail.com

Hosts Julie Slater and Jason Friday chat with Jason's childhood friend Eden Dozier...a photographer and artist who has transformed herself inside and out...we talk about the importance of knowing oneself for personal evolution...connecting with others....how operating from your highest self is what helps you help others...and what it feels like to take something you love (portrait photography) and make a profession out of it... and more. Eden's website: www.edendozier.com Follow @cuzihavetopodcast on Instagram for all the latest news. We'd love to hear from you - email us at cuzihavetopodcast@gmail.com. Find other episodes or leave us a voice message for the show on the anchor website. Thanks for tuning in! Keep on living those dreams, friends, CUZ YOU HAVE TO!! - jULIE AND jASON --- Send in a voice message: https://anchor.fm/cuzihaveto/message

Does He know you? Join M.A. Dozier as he dives into Matthew 7:21-23. You can learn more about the Nimrod Outdoors ministry at https://www.nimrodoutdoors.com/ or follow us @nimrodoutdoorsministries on Facebook or Instagram.

Ashlee Dozier is a Florida girl with a love for travel and business. In 2016, after a decade-long career in public health and exiting an abusive relationship, she set out on a four-month solo backpacking trip around the world. Along the way, she discovered the luxurious world of Egyptian fragrances and created Anuket Luxury Apothecary to share her passion to those looking for a natural alternative to traditional colognes and perfumes.www. Ashlee Dozier is a Florida girl with a love for travel and business. In 2016, after a decade-long career in public health and exiting an abusive relationship, she set out on a four-month solo backpacking trip around the world. Along the way, she discovered the luxurious world of Egyptian fragrances and created Anuket Luxury Apothecary to share her passion to those looking for a natural alternative to traditional colognes and perfumes.www.anuketluxury.com

Ashlee Dozier is the owner and founder of Anuket Luxury Apothecary. In 2016, after a decade-long career in public health and exiting an abusive relationship, she set out for some adventure. A backpacking trip around the world helped her discover a new passion for bringing exotic and luxurious goods to those looking for something as outside-the-box as she was. Screw The Commute Podcast Show Notes Episode 655 How To Automate Your Business - https://screwthecommute.com/automatefree/ Internet Marketing Training Center - https://imtcva.org/ Higher Education Webinar – https://screwthecommute.com/webinars See Tom's Stuff – https://linktr.ee/antionandassociates 03:09 Tom's introduction to Ashlee Dozier 07:40 Transitioning to her first business 14:30 Travelling the world and got a backpack 16:18 Getting out of an abusive relationship 19:28 How Egypt turned things around 26:23 Expanding company beyond a single scent 31:56 Sponsor message 34:05 A typical day for Ashlee Entrepreneurial Resources Mentioned in This Podcast Higher Education Webinar - https://screwthecommute.com/webinars Screw The Commute - https://screwthecommute.com/ Screw The Commute Podcast App - https://screwthecommute.com/app/ College Ripoff Quiz - https://imtcva.org/quiz Know a young person for our Youth Episode Series? Send an email to Tom! - orders@antion.com Have a Roku box? Find Tom's Public Speaking Channel there! - https://channelstore.roku.com/details/267358/the-public-speaking-channel How To Automate Your Business - https://screwthecommute.com/automatefree/ Internet Marketing Retreat and Joint Venture Program - https://greatinternetmarketingtraining.com/ KickStartCart - http://www.kickstartcart.com/ Copywriting901 - https://copywriting901.com/ Disabilities Page - https://imtcva.org/disabilities/ Ashlee's website - https://anuketluxury.com/ Email Tom: Tom@ScrewTheCommute.com Internet Marketing Training Center - https://imtcva.org/ Related Episodes Autoresponders - https://screwthecommute.com/337/ Autoresponders Revisited - https://screwthecommute.com/654/ More Entrepreneurial Resources for Home Based Business, Lifestyle Business, Passive Income, Professional Speaking and Online Business I discovered a great new headline / subject line / subheading generator that will actually analyze which headlines and subject lines are best for your market. I negotiated a deal with the developer of this revolutionary and inexpensive software. Oh, and it's good on Mac and PC. Go here: http://jvz1.com/c/41743/183906 The Wordpress Ecourse. Learn how to Make World Class Websites for $20 or less. https://screwthecommute.com/wordpressecourse/ Join our Private Facebook Group! One week trial for only a buck and then $37 a month, or save a ton with one payment of $297 for a year. Click the image to see all the details and sign up or go to https://www.greatinternetmarketing.com/screwthecommute/ After you sign up, check your email for instructions on getting in the group.

Tim Dozier is CEO of full service ad agency Hummingbird Ideas in Mobile. His clients pay his firm to put them in the best light and make them easily found online. However, Tim tells us, search is changing. No longer is Google the go-to like it once was. And it's today's youth who are disrupting this market - using non-traditional online sites (i.e. TikTok, YouTube) to drive their search. Even though the results are less accurate, today's kids continue to go back, meaning Tim and team have to become more and more savvy to keep their clients in buyers' eyes.  Thanks to Show Sponsors: Alabama Center for Real Estate (ACRE) Angelo DePaola - The Coastal Connection Realty Burr Forman Attorneys Untied Bank E3 Termite and Pest Control Allison Horner - State Farm Agent Trey Langus - Transworld Business Advisors Persons Services Corps Roy Lewis Construction Bud-Busch Distribution

Tune in to hear Artyce Dozier share how she took control of her work and life by becoming an entrepreneur and opening up businesses to keep the income coming in, create jobs for others, and still have time to do the things she loves…not without a lot of work of course! KEY TAKEAWAYS: -- Worked at a Corporate Salon and got tons of education -- After ten years, she realized income doesn't go up at the same rate as the work you put in after a certain level. -- Went to Suite for better work/life balance and made all the money. -- This freedom and work/life balance didn't last long once her daughter won a beauty pageant which created a huge business for pageant hair. Thus, she started an agency... -- Focus on yourself and your health; if you get too busy, maybe it's time to expand your business with other stylists or assistants... -- Got a chance to teach at two different companies. Just ask your rep how you can become an educator! Travel and get paid! -- Get a mentor! Mentors in every aspect of your life will help you succeed! MENTIONED IN TODAY'S EPISODE: -- Follow Artyce on Instagram: https://www.instagram.com/wherehairmeetsart/ -- Follow The Art of Hair Agency LLC on Instagram: https://www.instagram.com/aohagency/ -- Follow Paul Mitchell Tysons Corner on Instagram: https://www.instagram.com/pmtstysons/ The views and opinions of our guests are theirs and important to hear. Each guest's views and opinions are their own and we aim to bring you diverse perspectives, career paths and thoughts about the craft and industry so you can become Hairdresser Strong! They do not necessarily reflect the positions of HairdresserStrong.com. We deliver curated resources, coaching, advice, and first-hand experience so you may become a well-rounded, self-sufficient, business-savvy, and strong individual, ready to transition or transform yourself and the industry. We won't stop until we are all: Hairdresser Strong.

Sophia Dozier is the Director of Diversity, Equity, and Inclusion at Rapid7, a company that believes in simplifying the complex to unite your teams around cybersecurity. She is a data-driven professional that supports diversity and inclusion. She helps drive strategy around diversity retention, engagement, leadership development, strategic partnerships, and hiring. Sophia also worked at Clong Education, IBM, and Google. In this episode... Are you in a career that you desire? Would you want to change your career? How can you do this efficiently without risking your current occupation?  Many people fear having honest conversations with their employers or managers about their career. They lack mentors and sponsors who can have those conversations and can successfully guide them. Companies also lack diversity, equity, and inclusion programs that enable employees to feel free in their careers. Now Sophia Dozier shares the ways she successfully transitioned careers and how she's creating DEI programs that give their employees a sense of belongingness.  In this episode of Reclaim Your Career, Jess Galica is joined by Sophia Dozier, the Director of Diversity, Equity, and Inclusion at Rapid7, to discuss how you can have career changes through different programs. Sophia talks about her career transition into DEI, the importance of having honest conversations about your career, and how she's incorporating mental health into overall DEI strategy.

If You're Ready To Upgrade Your Life - Mentally, Physically, Financially & Within Your Relationship To Become The Most ELITE Version Of Yourself Possible. Apex Is A Network Of Professionals Who Are On The Path To Becoming The Greatest Version Of Themselves. In Business, In Relationships, Physically, And Mentally. As A Member Of Apex, You Will Bare The Responsibility Of Representing What Winning Looks Like At All Times. Your Job As A Member Is To Evolve Into A Higher Version Of Yourself That You Can Be Proud Of. In Order To Become Great, You Must Crack The Code To Greatness. That's What They Have Done...More Info: https://apexentourage.com/levels

The Minnesota Timberwolves signed former Denver Nuggets defensive stopper PJ Dozier to a training-camp contract. A whopping 17 of the 20 players in camp now have NBA experience as the Wolves roster just keeps getting deeper. Ben Beecken (@bbeecken) breaks down the signing, as well as provides a roster preview for a pair of rotation players. What should expectations be for Naz Reid and Jordan McLaughlin this season? Support Us By Supporting Our Sponsors! Built Bar Built Bar is a protein bar that tastes like a candy bar. Go to builtbar.com and use promo code “LOCKEDON15,” and you'll get 15% off your next order. BetOnline BetOnline.net has you covered this season with more props, odds and lines than ever before. BetOnline – Where The Game Starts! RocketMoney Cancel unnecessary subscriptions with Rocket Money today. Go to RocketMoney.com/LockedOn Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this bonus episode, Greg pays tribute to Lamont Dozier, who co-wrote many of Motown's biggest hits. Send us a Voice Memo: Desktop: bit.ly/2RyD5Ah  Mobile: sayhi.chat/soundopsJoin our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lU

Amy's sister, @CristiDozier, is back on and we love when she joins the podcast! Amy uses ‘4 Things Gratitude' with Cristi to lead them into a variety of topics. Cristi shared a book, an Instagram follow, a TV show, and a drink that she's currently thankful for…but the conversation goes deep into each thing and they end up talking about: How Are You, Really? (a book by Jenna Kutcher)Amy getting called out for her “vibe” at a family reunion Rage / Punching bags  Imperfect progress Meditation  Rewiring our brains The Wonder Woman pose High Fiving Yourself In the Mirror Underrated Mental Health Hacks from @RawBeautyTalks (her IG follow recommendation) Amy possibly joining Cristi on a future episode of Building Roots on HGTV UNTOLD: The Girlfriend Who Didn't Exist (on Netflix)  Manti Te'o Catfishing Forgiveness Water + Coffee + Tequila (Cristi is a creature of habit) And so much more… Hope you enjoy their chat! Rate & Review if you haven't! You can email thoughts & questions to 4ThingsWithAmyBrown@gmail.com Links Related to Cristi:@RootHouseCoRootHouseCo.com   @RootDesignCoRootDesignCompany.com   HGTV's Building Roots:https://www.hgtv.com/shows/building-rootsSee omnystudio.com/listener for privacy information.

Join HawgBeat's Mason Choate and Alex Trader as the guys talk through the first game for Razorback commits Davion Dozier and Micah Tease. Tune in for talk about 2024 RBs, updates to the 2023 basketball recruiting rankings and more.

In this episode, I interview Tyler Dozier who is the COO of 48/7 live.Throughout the interview, Tyler and I talk about what it takes to throw an amazing event that impacts peoples lives.Here are the timestamps…1:16 How to throw an event14:52 How to make events unique20:31 Keeping a positive vibe under the pressure of running an event27:25 Making drastic changes during an event30:19 How to keep commitmentsLINKS MENTIONED IN THIS EPISODE:Download My Free Ebook: roiebook.comCONNECT WITH ME HERE:FacebookInstagramLinkedInTwitterTikTokYouTubeSUBSCRIBE TO THE PODCAST HERE:Apple PodcastsGoogle PodcastsAmazon MusicSpotifyStitcherYouTubeDOWNLOAD MY FREE EBOOK, ‘10 Marketing Steps You Can't Afford To Miss'!This FREE eBook Includes:Research for Creating a Marketing Strategy - valued at $997Creating an Action Plan - valued at $497Marketing Strategy Outline - valued at $497​Competitive Research Guide - valued at $249​Hiring Out Labor at a High ROI - valued at $99​Implementing Sequences (Organic, then Paid) - valued at $1,497​Tracking Analytics - valued at $197​Initiating - valued at $997​Hiring the Right Agency - valued at $249​The Tools Needed to Run Your Own Marketing Department - valued at $99Download my FREE EBOOK here: https://roiebook.com/#zackroiwilliams #roimf #roimfpodcast

Mark Thompson reflects on recent lives lost in the segment now called "Last Call": Actress Anne Heche died of injuries from a fiery car crash at the age of 53 Songwriter Lamont Dozier died at age 81. Dozier is known for co-writing songs including "Heat Wave", "How Sweet It Is," and "Stop In The Name of Love," Nicholas Evans, author of ‘The Horse Whisperer,' dies at 72 See omnystudio.com/listener for privacy information.

Mark Thompson reflects on recent lives lost in the segment now called "Last Call": Actress Anne Heche died of injuries from a fiery car crash at the age of 53 Songwriter Lamont Dozier died at age 81. Dozier is known for co-writing songs including "Heat Wave", "How Sweet It Is," and "Stop In The Name of Love," Nicholas Evans, author of ‘The Horse Whisperer,' dies at 72 See omnystudio.com/listener for privacy information.

Episode 743- Strategy, Stashes and More!Host: Justin Mason @JustinMasonFWFBCo-Host: Dave McDonald @RunDMCDNewsLuis Robert still out - wristLaureano hurt - sideSchwarber still out calfCarrasco obliqueJonathan India scratchedDJLM still out, getting MRI on toeReturning Rays: Margot, Harold Ramirez, WanderBuehler surgery done for the yearTatis done for the year PEDsChris Sale broken wrist riding bikeSpringer backCJ Abrams recalledChris Woodward firedTopicsSetting lineupsHitters: Maximizing Volume vs Using Intuition# of games in week or half-weekMatchupsPlatoon splitsRighty/LeftyHome/AwayQuality of pitchersPlaying timeEx: Sal Perez plays 7/7 games; Dozier 5/7ishHitter metricsOverall vs recent productionPitchers: 2x SP vs better 1x SP1 good 1 bad start1 good 1 mediocre startMatchupsSP splits Home/AwayOpposing Offense splits wRC+Righty/LeftyHome/AwayLast 14 daysEARTH updateGLARF still on topBARF still sucks (outside of Sammy Reid)NERF up to 2ndSLARF/TARF battling for 3rdRay Butler down to 3rd!Jeff Erickson 1stRyan Venancio 2nd

Lamont Dozier, the middle of the celebrated Holland-Dozier-Holland team that wrote and produced “You Can't Hurry Love,” “Heat Wave,” and dozens of other hits and helped make Motown an essential record company of the 1960s and beyond, died Monday at age 81.Duke Fakir, a close friend and the last surviving member of the original Four Tops, said, “I like to call Holland-Dozier-Holland ‘tailors of music.' They could take any artist, call them into their office, talk to them, listen to them, and write them a Top Ten song.”From 1963-1967, Dozier and brothers Brian and Eddie Holland crafted more than 25 Top Ten songs and mastered the blend of pop and rhythm and blues that allowed the Detroit label, and founder Berry Gordy, to defy boundaries between Black and white music and rival the Beatles on the airwaves. For Off-Ramp, we're listening back to his appearance at the kickoff of the Songwriters Hall of Fame at the Grammy Museum at LA Live in 2010. Songwriter Paul Williams was the emcee for the event.  And I have lots more tape from that event, featuring Williams, Ashford and Simpson, Mac Davis, and Hal David. We'll listen to that in coming weeks.    Support for this podcast is made possible by Gordon and Dona Crawford, who believe that quality journalism makes Los Angeles a better place to live; and by the Corporation for Public Broadcasting, a private corporation funded by the American people. Off-Ramp theme music by Fesliyan Studios.

This week, Detroit singer and songwriter Lamont Dozier passed away at age 81. Dozier helped write and produce countless hit records during his career. His work played a huge roll in Mowtown's success, and in the dominance of Black music on pop radio. Ann Delisi, host of Essential Music from WDET, joins the show to discuss the lasting impact of this Mowtown icon. GUESTS: Ann Delisi, host, Essential Music from WDET You can find a recording of Brian Holland, Lamont Dozier and Edward Holland's interview on Fresh Air here.—— Looking for more conversations from Stateside? Right this way. If you like what you hear on the pod, consider supporting our work.See omnystudio.com/listener for privacy information.

Lamont Dozier was one of the giants of songwriting. Known mostly for his work with the Holland brothers at Motown, Lamont was not only a gifted writer, but a wonderful storyteller.       In this tribute, we revisit Christopher's chat with Lamont in his home studio, plus we replay some highlights from our 2021 Motown specials as Dozier talks about creating some of the biggest hits of the '60s.       Lamont Dozier passed away on August 8 2022 at the age of 81

IM partner Keight Tucker Kennedy sits down with John Dozier, Institute Community and Equity Officer at MIT, and Tracie Jones, Assistant Dean for Diversity, Equity, and Inclusion in the School of Humanities, Arts, and Social Sciences at MIT, to discuss their individual journeys to working in the DEI space, their aspirations for their roles at MIT, and words of advice they have for others seeking transformational change in DEI.

Talking Tigers Podcast with Andy Burcham-Jim Dozier Photo: Auburn Athletics

The post Dan Dozier – Thirsty for God appeared first on Fourth Avenue COC.

This episode is part of Pledge Week 2022. Every day this week, I'll be posting old Patreon bonus episodes of the podcast which will have this short intro. These are short, ten- to twenty-minute bonus podcasts which get posted to Patreon for my paying backers every time I post a new main episode -- there are well over a hundred of these in the archive now. If you like the sound of these episodes, then go to patreon.com/andrewhickey and subscribe for as little as a dollar a month or ten dollars a year to get access to all those bonus episodes, plus new ones as they appear. Click below for the transcript Transcript Today we're going to look at a record which I actually originally intended to do a full episode on, but by an artist about whom there simply isn't enough information out there to pull together a full episode -- though some of this information will show up in other contexts in future episodes. So we're going to have a Patreon bonus episode on one of the great soul-pop records of the mid 1960s -- "Rescue Me" by Fontella Bass: [Excerpt: Fontella Bass, "Rescue Me"] Fontella Bass was actually a second-generation singer. Her mother, Martha Bass, was a great gospel singer, who had been trained by Willie Mae Ford Smith, who was often considered the greatest female gospel singer of the twentieth century but who chose only to perform live and on the radio rather than make records. Martha Bass had sung for a short time with the Clara Ward Singers, one of the most important and influential of gospel groups: [Excerpt: The Clara Ward Singers, "Wasn't It A Pity How They Punished My Lord?"] Fontella had been trained by her mother, but she got her start in secular music rather than the gospel music her mother stuck to. She spent much of the early sixties working as a piano player and singer in the band of Little Milton, the blues singer. I don't know exactly which records of his she's on, but she was likely on his top twenty R&B hit "So Mean to Me": [Excerpt: Little Milton, "So Mean to Me"] One night, Little Milton didn't turn up for a show, and so Bass was asked to take the lead vocals until he arrived. Milton's bandleader Oliver Sain was impressed with her voice, and when he quit working with Milton the next year, he took Bass with him, starting up a new act, "The Oliver Sain Soul Revue featuring Fontella and Bobby McClure". She signed to Bobbin Records, where she cut "I Don't Hurt Any More", a cover of an old Hank Snow country song, in 1962: [Excerpt: Fontella Bass, "I Don't Hurt Any More"] After a couple of records with Bobbin, she signed up with Ike Turner, who by this point was running a couple of record labels. She released a single backed by the Ikettes, "My Good Loving": [Excerpt: Fontella Bass, "My Good Loving"] And a duet with Tina Turner, "Poor Little Fool": [Excerpt: Fontella Bass and Tina Turner, "Poor Little Fool"] At the same time she was still working with Sain and McClure, and Sain's soul revue got signed to Checker records, the Chess subsidiary, which was now starting to make soul records, usually produced by Roquel Davis, Berry Gordy's former collaborator, and written or co-written by Carl Smith. These people were also working with Jackie Wilson at Brunswick, and were part of the same scene as Carl Davis, the producer who had worked with Curtis Mayfield, Major Lance, Gene Chandler and the rest. So this was a thriving scene -- not as big as the scenes in Memphis or Detroit, but definitely a group of people who were capable of making big soul hits.  Bass and McClure recorded a couple of duo singles with Checker, starting with "Don't Mess Up a Good Thing": [Excerpt: Fontella Bass and Bobby McClure, "Don't Mess Up a Good Thing"] That made the top forty on the pop charts, and number five on the R&B charts. But the follow-up only made the R&B top forty and didn't make the pop charts at all. But Bass would soon release a solo recording, though one with prominent backing vocals by Minnie Ripperton, that would become one of the all-time soul classics -- a Motown soundalike that was very obviously patterned after the songs that Holland, Dozier, and Holland were writing, and which captured their style perfectly: [Excerpt: Fontella Bass, "Rescue Me"] There's some dispute as to who actually wrote "Rescue Me". The credited songwriters are Carl Smith and Raynard Miner, but Bass has repeatedly claimed that she wrote most of the song herself, and that Roquel Davis had assured her that she would be fairly compensated, but she never was. According to Bass, when she finally got her first royalty cheque from Chess, she was so disgusted at the pitiful amount of money she was getting that she tore the cheque up and threw it back across the desk. Her follow-up to "Rescue Me", "Recovery", didn't do so well, making the lower reaches of the pop top forty: [Excerpt: Fontella Bass, "Recovery"] Several more singles were released off Bass' only album on Chess, but she very quickly became disgusted with the whole mainstream music industry. By this point she'd married the avant-garde jazz trumpeter Lester Bowie, and she started performing with his group, the Art Ensemble of Chicago. The music she recorded with the group is excellent, but if anyone bought The Art Ensemble of Chicago With Fontella Bass, the first of the two albums she recorded with the group, expecting something like "Rescue Me", they were probably at the very least bemused by what they got -- two twenty-minute-long tracks that sound like this: [Excerpt: The Art Ensemble of Chicago with Fontella Bass: "How Strange/Ole Jed"] In between the two albums she recorded with the Art Ensemble of Chicago, Bass also recorded a second solo album, but after it had little success she largely retired from music to raise her four children, though she would make the odd guest appearance on her husband's records. In the 1990s she made a few gospel records with her mother and her younger brother, the R&B singer David Peaston, and toured a little both on the nostalgia circuit and performing gospel, but she never returned to being a full-time musician. Both she and her brother died in 2012, Peaston from complications of diabetes, Bass from a heart attack after a series of illnesses. "Rescue Me" was her only big hit, and she retired at a point when she was still capable of making plenty of interesting music, but Fontella Bass still had a far more interesting, and fulfilling, career than many other artists who continue trying to chase the ghost of their one hit. She made music on her own terms, and nobody else's, right up until the end.

This week's episode looks at “All You Need is Love”, the Our World TV special, and the career of the Beatles from April 1966 through August 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on "Rain" by the Beatles. 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/ NB for the first few hours this was up, there was a slight editing glitch. If you downloaded the old version and don't want to redownload the whole thing, just look in the transcript for "Other than fixing John's two flubbed" for the text of the two missing paragraphs. Errata I say "Come Together" was a B-side, but the single was actually a double A-side. Also, I say the Lennon interview by Maureen Cleave appeared in Detroit magazine. That's what my source (Steve Turner's book) says, but someone on Twitter says that rather than Detroit magazine it was the Detroit Free Press. Also at one point I say "the videos for 'Paperback Writer' and 'Penny Lane'". I meant to say "Rain" rather than "Penny Lane" there. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. Particularly useful this time was Steve Turner's book Beatles '66. I also used Turner's The Beatles: The Stories Behind the Songs 1967-1970. Johnny Rogan's Starmakers and Svengalis had some information on Epstein I hadn't seen anywhere else. Some information about the "Bigger than Jesus" scandal comes from Ward, B. (2012). “The ‘C' is for Christ”: Arthur Unger, Datebook Magazine and the Beatles. Popular Music and Society, 35(4), 541-560. https://doi.org/10.1080/03007766.2011.608978 Information on Robert Stigwood comes from Mr Showbiz by Stephen Dando-Collins. And the quote at the end from Simon Napier-Bell is from You Don't Have to Say You Love Me, which is more entertaining than it is accurate, but is very entertaining. Sadly the only way to get the single mix of "All You Need is Love" is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Magical Mystery Tour. 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 start the episode -- this episode deals, in part, with the deaths of three gay men -- one by murder, one by suicide, and one by an accidental overdose, all linked at least in part to societal homophobia. I will try to deal with this as tactfully as I can, but anyone who's upset by those things might want to read the transcript instead of listening to the episode. This is also a very, very, *very* long episode -- this is likely to be the longest episode I *ever* do of this podcast, so settle in. We're going to be here a while. I obviously don't know how long it's going to be while I'm still recording, but based on the word count of my script, probably in the region of three hours. You have been warned. In 1967 the actor Patrick McGoohan was tired. He had been working on the hit series Danger Man for many years -- Danger Man had originally run from 1960 through 1962, then had taken a break, and had come back, retooled, with longer episodes in 1964. That longer series was a big hit, both in the UK and in the US, where it was retitled Secret Agent and had a new theme tune written by PF Sloan and Steve Barri and recorded by Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But McGoohan was tired of playing John Drake, the agent, and announced he was going to quit the series. Instead, with the help of George Markstein, Danger Man's script editor, he created a totally new series, in which McGoohan would star, and which McGoohan would also write and direct key episodes of. This new series, The Prisoner, featured a spy who is only ever given the name Number Six, and who many fans -- though not McGoohan himself -- took to be the same character as John Drake. Number Six resigns from his job as a secret agent, and is kidnapped and taken to a place known only as The Village -- the series was filmed in Portmeirion, an unusual-looking town in Gwynnedd, in North Wales -- which is full of other ex-agents. There he is interrogated to try to find out why he has quit his job. It's never made clear whether the interrogators are his old employers or their enemies, and there's a certain suggestion that maybe there is no real distinction between the two sides, that they're both running the Village together. He spends the entire series trying to escape, but refuses to explain himself -- and there's some debate among viewers as to whether it's implied or not that part of the reason he doesn't explain himself is that he knows his interrogators wouldn't understand why he quit: [Excerpt: The Prisoner intro, from episode Once Upon a Time, ] Certainly that explanation would fit in with McGoohan's own personality. According to McGoohan, the final episode of The Prisoner was, at the time, the most watched TV show ever broadcast in the UK, as people tuned in to find out the identity of Number One, the person behind the Village, and to see if Number Six would break free. I don't think that's actually the case, but it's what McGoohan always claimed, and it was certainly a very popular series. I won't spoil the ending for those of you who haven't watched it -- it's a remarkable series -- but ultimately the series seems to decide that such questions don't matter and that even asking them is missing the point. It's a work that's open to multiple interpretations, and is left deliberately ambiguous, but one of the messages many people have taken away from it is that not only are we trapped by a society that oppresses us, we're also trapped by our own identities. You can run from the trap that society has placed you in, from other people's interpretations of your life, your work, and your motives, but you ultimately can't run from yourself, and any time you try to break out of a prison, you'll find yourself trapped in another prison of your own making. The most horrifying implication of the episode is that possibly even death itself won't be a release, and you will spend all eternity trying to escape from an identity you're trapped in. Viewers became so outraged, according to McGoohan, that he had to go into hiding for an extended period, and while his later claims that he never worked in Britain again are an exaggeration, it is true that for the remainder of his life he concentrated on doing work in the US instead, where he hadn't created such anger. That final episode of The Prisoner was also the only one to use a piece of contemporary pop music, in two crucial scenes: [Excerpt: The Prisoner, "Fall Out", "All You Need is Love"] Back in October 2020, we started what I thought would be a year-long look at the period from late 1962 through early 1967, but which has turned out for reasons beyond my control to take more like twenty months, with a song which was one of the last of the big pre-Beatles pop hits, though we looked at it after their first single, "Telstar" by the Tornadoes: [Excerpt: The Tornadoes, "Telstar"] There were many reasons for choosing that as one of the bookends for this fifty-episode chunk of the podcast -- you'll see many connections between that episode and this one if you listen to them back-to-back -- but among them was that it's a song inspired by the launch of the first ever communications satellite, and a sign of how the world was going to become smaller as the sixties went on. Of course, to start with communications satellites didn't do much in that regard -- they were expensive to use, and had limited bandwidth, and were only available during limited time windows, but symbolically they meant that for the first time ever, people could see and hear events thousands of miles away as they were happening. It's not a coincidence that Britain and France signed the agreement to develop Concorde, the first supersonic airliner, a month after the first Beatles single and four months after the Telstar satellite was launched. The world was becoming ever more interconnected -- people were travelling faster and further, getting news from other countries quicker, and there was more cultural conversation – and misunderstanding – between countries thousands of miles apart. The Canadian media theorist Marshall McLuhan, the man who also coined the phrase “the medium is the message”, thought that this ever-faster connection would fundamentally change basic modes of thought in the Western world. McLuhan thought that technology made possible whole new modes of thought, and that just as the printing press had, in his view, caused Western liberalism and individualism, so these new electronic media would cause the rise of a new collective mode of thought. In 1962, the year of Concorde, Telstar, and “Love Me Do”, McLuhan wrote a book called The Gutenberg Galaxy, in which he said: “Instead of tending towards a vast Alexandrian library the world has become a computer, an electronic brain, exactly as an infantile piece of science fiction. And as our senses have gone outside us, Big Brother goes inside. So, unless aware of this dynamic, we shall at once move into a phase of panic terrors, exactly befitting a small world of tribal drums, total interdependence, and superimposed co-existence.… Terror is the normal state of any oral society, for in it everything affects everything all the time.…” He coined the term “the Global Village” to describe this new collectivism. The story we've seen over the last fifty episodes is one of a sort of cultural ping-pong between the USA and the UK, with innovations in American music inspiring British musicians, who in turn inspired American ones, whether that being the Beatles covering the Isley Brothers or the Rolling Stones doing a Bobby Womack song, or Paul Simon and Bob Dylan coming over to the UK and learning folk songs and guitar techniques from Martin Carthy. And increasingly we're going to see those influences spread to other countries, and influences coming *from* other countries. We've already seen one Jamaican artist, and the influence of Indian music has become very apparent. While the focus of this series is going to remain principally in the British Isles and North America, rock music was and is a worldwide phenomenon, and that's going to become increasingly a part of the story. And so in this episode we're going to look at a live performance -- well, mostly live -- that was seen by hundreds of millions of people all over the world as it happened, thanks to the magic of satellites: [Excerpt: The Beatles, "All You Need is Love"] When we left the Beatles, they had just finished recording "Tomorrow Never Knows", the most experimental track they had recorded up to that date, and if not the most experimental thing they *ever* recorded certainly in the top handful. But "Tomorrow Never Knows" was only the first track they recorded in the sessions for what would become arguably their greatest album, and certainly the one that currently has the most respect from critics. It's interesting to note that that album could have been very, very, different. When we think of Revolver now, we think of the innovative production of George Martin, and of Geoff Emerick and Ken Townshend's inventive ideas for pushing the sound of the equipment in Abbey Road studios, but until very late in the day the album was going to be recorded in the Stax studios in Memphis, with Steve Cropper producing -- whether George Martin would have been involved or not is something we don't even know. In 1965, the Rolling Stones had, as we've seen, started making records in the US, recording in LA and at the Chess studios in Chicago, and the Yardbirds had also been doing the same thing. Mick Jagger had become a convert to the idea of using American studios and working with American musicians, and he had constantly been telling Paul McCartney that the Beatles should do the same. Indeed, they'd put some feelers out in 1965 about the possibility of the group making an album with Holland, Dozier, and Holland in Detroit. Quite how this would have worked is hard to figure out -- Holland, Dozier, and Holland's skills were as songwriters, and in their work with a particular set of musicians -- so it's unsurprising that came to nothing. But recording at Stax was a different matter.  While Steve Cropper was a great songwriter in his own right, he was also adept at getting great sounds on covers of other people's material -- like on Otis Blue, the album he produced for Otis Redding in late 1965, which doesn't include a single Cropper original: [Excerpt: Otis Redding, "Satisfaction"] And the Beatles were very influenced by the records Stax were putting out, often namechecking Wilson Pickett in particular, and during the Rubber Soul sessions they had recorded a "Green Onions" soundalike track, imaginatively titled "12-Bar Original": [Excerpt: The Beatles, "12-Bar Original"] The idea of the group recording at Stax got far enough that they were actually booked in for two weeks starting the ninth of April, and there was even an offer from Elvis to let them stay at Graceland while they recorded, but then a couple of weeks earlier, the news leaked to the press, and Brian Epstein cancelled the booking. According to Cropper, Epstein talked about recording at the Atlantic studios in New York with him instead, but nothing went any further. It's hard to imagine what a Stax-based Beatles album would have been like, but even though it might have been a great album, it certainly wouldn't have been the Revolver we've come to know. Revolver is an unusual album in many ways, and one of the ways it's most distinct from the earlier Beatles albums is the dominance of keyboards. Both Lennon and McCartney had often written at the piano as well as the guitar -- McCartney more so than Lennon, but both had done so regularly -- but up to this point it had been normal for them to arrange the songs for guitars rather than keyboards, no matter how they'd started out. There had been the odd track where one of them, usually Lennon, would play a simple keyboard part, songs like "I'm Down" or "We Can Work it Out", but even those had been guitar records first and foremost. But on Revolver, that changed dramatically. There seems to have been a complex web of cause and effect here. Paul was becoming increasingly interested in moving his basslines away from simple walking basslines and root notes and the other staples of rock and roll basslines up to this point. As the sixties progressed, rock basslines were becoming ever more complex, and Tyler Mahan Coe has made a good case that this is largely down to innovations in production pioneered by Owen Bradley, and McCartney was certainly aware of Bradley's work -- he was a fan of Brenda Lee, who Bradley produced, for example. But the two influences that McCartney has mentioned most often in this regard are the busy, jazz-influenced, basslines that James Jamerson was playing at Motown: [Excerpt: The Four Tops, "It's the Same Old Song"] And the basslines that Brian Wilson was writing for various Wrecking Crew bassists to play for the Beach Boys: [Excerpt: The Beach Boys, "Don't Talk (Put Your Head on My Shoulder)"] Just to be clear, McCartney didn't hear that particular track until partway through the recording of Revolver, when Bruce Johnston visited the UK and brought with him an advance copy of Pet Sounds, but Pet Sounds influenced the later part of Revolver's recording, and Wilson had already started his experiments in that direction with the group's 1965 work. It's much easier to write a song with this kind of bassline, one that's integral to the composition, on the piano than it is to write it on a guitar, as you can work out the bassline with your left hand while working out the chords and melody with your right, so the habit that McCartney had already developed of writing on the piano made this easier. But also, starting with the recording of "Paperback Writer", McCartney switched his style of working in the studio. Where up to this point it had been normal for him to play bass as part of the recording of the basic track, playing with the other Beatles, he now started to take advantage of multitracking to overdub his bass later, so he could spend extra time getting the bassline exactly right. McCartney lived closer to Abbey Road than the other three Beatles, and so could more easily get there early or stay late and tweak his parts. But if McCartney wasn't playing bass while the guitars and drums were being recorded, that meant he could play something else, and so increasingly he would play piano during the recording of the basic track. And that in turn would mean that there wouldn't always *be* a need for guitars on the track, because the harmonic support they would provide would be provided by the piano instead. This, as much as anything else, is the reason that Revolver sounds so radically different to any other Beatles album. Up to this point, with *very* rare exceptions like "Yesterday", every Beatles record, more or less, featured all four of the Beatles playing instruments. Now John and George weren't playing on "Good Day Sunshine" or "For No One", John wasn't playing on "Here, There, and Everywhere", "Eleanor Rigby" features no guitars or drums at all, and George's "Love You To" only features himself, plus a little tambourine from Ringo (Paul recorded a part for that one, but it doesn't seem to appear on the finished track). Of the three songwriting Beatles, the only one who at this point was consistently requiring the instrumental contributions of all the other band members was John, and even he did without Paul on "She Said, She Said", which by all accounts features either John or George on bass, after Paul had a rare bout of unprofessionalism and left the studio. Revolver is still an album made by a group -- and most of those tracks that don't feature John or George instrumentally still feature them vocally -- it's still a collaborative work in all the best ways. But it's no longer an album made by four people playing together in the same room at the same time. After starting work on "Tomorrow Never Knows", the next track they started work on was Paul's "Got to Get You Into My Life", but as it would turn out they would work on that song throughout most of the sessions for the album -- in a sign of how the group would increasingly work from this point on, Paul's song was subject to multiple re-recordings and tweakings in the studio, as he tinkered to try to make it perfect. The first recording to be completed for the album, though, was almost as much of a departure in its own way as "Tomorrow Never Knows" had been. George's song "Love You To" shows just how inspired he was by the music of Ravi Shankar, and how devoted he was to Indian music. While a few months earlier he had just about managed to pick out a simple melody on the sitar for "Norwegian Wood", by this point he was comfortable enough with Indian classical music that I've seen many, many sources claim that an outside session player is playing sitar on the track, though Anil Bhagwat, the tabla player on the track, always insisted that it was entirely Harrison's playing: [Excerpt: The Beatles, "Love You To"] There is a *lot* of debate as to whether it's George playing on the track, and I feel a little uncomfortable making a definitive statement in either direction. On the one hand I find it hard to believe that Harrison got that good that quickly on an unfamiliar instrument, when we know he wasn't a naturally facile musician. All the stories we have about his work in the studio suggest that he had to work very hard on his guitar solos, and that he would frequently fluff them. As a technical guitarist, Harrison was only mediocre -- his value lay in his inventiveness, not in technical ability -- and he had been playing guitar for over a decade, but sitar only a few months. There's also some session documentation suggesting that an unknown sitar player was hired. On the other hand there's the testimony of Anil Bhagwat that Harrison played the part himself, and he has been very firm on the subject, saying "If you go on the Internet there are a lot of questions asked about "Love You To". They say 'It's not George playing the sitar'. I can tell you here and now -- 100 percent it was George on sitar throughout. There were no other musicians involved. It was just me and him." And several people who are more knowledgeable than myself about the instrument have suggested that the sitar part on the track is played the way that a rock guitarist would play rather than the way someone with more knowledge of Indian classical music would play -- there's a blues feeling to some of the bends that apparently no genuine Indian classical musician would naturally do. I would suggest that the best explanation is that there's a professional sitar player trying to replicate a part that Harrison had previously demonstrated, while Harrison was in turn trying his best to replicate the sound of Ravi Shankar's work. Certainly the instrumental section sounds far more fluent, and far more stylistically correct, than one would expect: [Excerpt: The Beatles, "Love You To"] Where previous attempts at what got called "raga-rock" had taken a couple of surface features of Indian music -- some form of a drone, perhaps a modal scale -- and had generally used a guitar made to sound a little bit like a sitar, or had a sitar playing normal rock riffs, Harrison's song seems to be a genuine attempt to hybridise Indian ragas and rock music, combining the instrumentation, modes, and rhythmic complexity of someone like Ravi Shankar with lyrics that are seemingly inspired by Bob Dylan and a fairly conventional pop song structure (and a tiny bit of fuzz guitar). It's a record that could only be made by someone who properly understood both the Indian music he's emulating and the conventions of the Western pop song, and understood how those conventions could work together. Indeed, one thing I've rarely seen pointed out is how cleverly the album is sequenced, so that "Love You To" is followed by possibly the most conventional song on Revolver, "Here, There, and Everywhere", which was recorded towards the end of the sessions. Both songs share a distinctive feature not shared by the rest of the album, so the two songs can sound more of a pair than they otherwise would, retrospectively making "Love You To" seem more conventional than it is and "Here, There, and Everywhere" more unconventional -- both have as an introduction a separate piece of music that states some of the melodic themes of the rest of the song but isn't repeated later. In the case of "Love You To" it's the free-tempo bit at the beginning, characteristic of a lot of Indian music: [Excerpt: The Beatles, "Love You To"] While in the case of "Here, There, and Everywhere" it's the part that mimics an older style of songwriting, a separate intro of the type that would have been called a verse when written by the Gershwins or Cole Porter, but of course in the intervening decades "verse" had come to mean something else, so we now no longer have a specific term for this kind of intro -- but as you can hear, it's doing very much the same thing as that "Love You To" intro: [Excerpt: The Beatles, "Here, There, and Everywhere"] In the same day as the group completed "Love You To", overdubbing George's vocal and Ringo's tambourine, they also started work on a song that would show off a lot of the new techniques they had been working on in very different ways. Paul's "Paperback Writer" could indeed be seen as part of a loose trilogy with "Love You To" and "Tomorrow Never Knows", one song by each of the group's three songwriters exploring the idea of a song that's almost all on one chord. Both "Tomorrow Never Knows" and "Love You To" are based on a drone with occasional hints towards moving to one other chord. In the case of "Paperback Writer", the entire song stays on a single chord until the title -- it's on a G7 throughout until the first use of the word "writer", when it quickly goes to a C for two bars. I'm afraid I'm going to have to sing to show you how little the chords actually change, because the riff disguises this lack of movement somewhat, but the melody is also far more horizontal than most of McCartney's, so this shouldn't sound too painful, I hope: [demonstrates] This is essentially the exact same thing that both "Love You To" and "Tomorrow Never Knows" do, and all three have very similarly structured rising and falling modal melodies. There's also a bit of "Paperback Writer" that seems to tie directly into "Love You To", but also points to a possible very non-Indian inspiration for part of "Love You To". The Beach Boys' single "Sloop John B" was released in the UK a couple of days after the sessions for "Paperback Writer" and "Love You To", but it had been released in the US a month before, and the Beatles all got copies of every record in the American top thirty shipped to them. McCartney and Harrison have specifically pointed to it as an influence on "Paperback Writer". "Sloop John B" has a section where all the instruments drop out and we're left with just the group's vocal harmonies: [Excerpt: The Beach Boys, "Sloop John B"] And that seems to have been the inspiration behind the similar moment at a similar point in "Paperback Writer", which is used in place of a middle eight and also used for the song's intro: [Excerpt: The Beatles, "Paperback Writer"] Which is very close to what Harrison does at the end of each verse of "Love You To", where the instruments drop out for him to sing a long melismatic syllable before coming back in: [Excerpt: The Beatles, "Love You To"] Essentially, other than "Got to Get You Into My Life", which is an outlier and should not be counted, the first three songs attempted during the Revolver sessions are variations on a common theme, and it's a sign that no matter how different the results might  sound, the Beatles really were very much a group at this point, and were sharing ideas among themselves and developing those ideas in similar ways. "Paperback Writer" disguises what it's doing somewhat by having such a strong riff. Lennon referred to "Paperback Writer" as "son of 'Day Tripper'", and in terms of the Beatles' singles it's actually their third iteration of this riff idea, which they originally got from Bobby Parker's "Watch Your Step": [Excerpt: Bobby Parker, "Watch Your Step"] Which became the inspiration for "I Feel Fine": [Excerpt: The Beatles, "I Feel Fine"] Which they varied for "Day Tripper": [Excerpt: The Beatles, "Day Tripper"] And which then in turn got varied for "Paperback Writer": [Excerpt: The Beatles, "Paperback Writer"] As well as compositional ideas, there are sonic ideas shared between "Paperback Writer", "Tomorrow Never Knows", and "Love You To", and which would be shared by the rest of the tracks the Beatles recorded in the first half of 1966. Since Geoff Emerick had become the group's principal engineer, they'd started paying more attention to how to get a fuller sound, and so Emerick had miced the tabla on "Love You To" much more closely than anyone would normally mic an instrument from classical music, creating a deep, thudding sound, and similarly he had changed the way they recorded the drums on "Tomorrow Never Knows", again giving a much fuller sound. But the group also wanted the kind of big bass sounds they'd loved on records coming out of America -- sounds that no British studio was getting, largely because it was believed that if you cut too loud a bass sound into a record it would make the needle jump out of the groove. The new engineering team of Geoff Emerick and Ken Scott, though, thought that it was likely you could keep the needle in the groove if you had a smoother frequency response. You could do that if you used a microphone with a larger diaphragm to record the bass, but how could you do that? Inspiration finally struck -- loudspeakers are actually the same thing as microphones wired the other way round, so if you wired up a loudspeaker as if it were a microphone you could get a *really big* speaker, place it in front of the bass amp, and get a much stronger bass sound. The experiment wasn't a total success -- the sound they got had to be processed quite extensively to get rid of room noise, and then compressed in order to further prevent the needle-jumping issue, and so it's a muddier, less defined, tone than they would have liked, but one thing that can't be denied is that "Paperback Writer"'s bass sound is much, much, louder than on any previous Beatles record: [Excerpt: The Beatles, "Paperback Writer"] Almost every track the group recorded during the Revolver sessions involved all sorts of studio innovations, though rarely anything as truly revolutionary as the artificial double-tracking they'd used on "Tomorrow Never Knows", and which also appeared on "Paperback Writer" -- indeed, as "Paperback Writer" was released several months before Revolver, it became the first record released to use the technique. I could easily devote a good ten minutes to every track on Revolver, and to "Paperback Writer"s B-side, "Rain", but this is already shaping up to be an extraordinarily long episode and there's a lot of material to get through, so I'll break my usual pattern of devoting a Patreon bonus episode to something relatively obscure, and this week's bonus will be on "Rain" itself. "Paperback Writer", though, deserved the attention here even though it was not one of the group's more successful singles -- it did go to number one, but it didn't hit number one in the UK charts straight away, being kept off the top by "Strangers in the Night" by Frank Sinatra for the first week: [Excerpt: Frank Sinatra, "Strangers in the Night"] Coincidentally, "Strangers in the Night" was co-written by Bert Kaempfert, the German musician who had produced the group's very first recording sessions with Tony Sheridan back in 1961. On the group's German tour in 1966 they met up with Kaempfert again, and John greeted him by singing the first couple of lines of the Sinatra record. The single was the lowest-selling Beatles single in the UK since "Love Me Do". In the US it only made number one for two non-consecutive weeks, with "Strangers in the Night" knocking it off for a week in between. Now, by literally any other band's standards, that's still a massive hit, and it was the Beatles' tenth UK number one in a row (or ninth, depending on which chart you use for "Please Please Me"), but it's a sign that the group were moving out of the first phase of total unequivocal dominance of the charts. It was a turning point in a lot of other ways as well. Up to this point, while the group had been experimenting with different lyrical subjects on album tracks, every single had lyrics about romantic relationships -- with the possible exception of "Help!", which was about Lennon's emotional state but written in such a way that it could be heard as a plea to a lover. But in the case of "Paperback Writer", McCartney was inspired by his Aunt Mill asking him "Why do you write songs about love all the time? Can you ever write about a horse or the summit conference or something interesting?" His response was to think "All right, Aunt Mill, I'll show you", and to come up with a lyric that was very much in the style of the social satires that bands like the Kinks were releasing at the time. People often miss the humour in the lyric for "Paperback Writer", but there's a huge amount of comedy in lyrics about someone writing to a publisher saying they'd written a book based on someone else's book, and one can only imagine the feeling of weary recognition in slush-pile readers throughout the world as they heard the enthusiastic "It's a thousand pages, give or take a few, I'll be writing more in a week or two. I can make it longer..." From this point on, the group wouldn't release a single that was unambiguously about a romantic relationship until "The Ballad of John and Yoko",  the last single released while the band were still together. "Paperback Writer" also saw the Beatles for the first time making a promotional film -- what we would now call a rock video -- rather than make personal appearances on TV shows. The film was directed by Michael Lindsay-Hogg, who the group would work with again in 1969, and shows Paul with a chipped front tooth -- he'd been in an accident while riding mopeds with his friend Tara Browne a few months earlier, and hadn't yet got round to having the tooth capped. When he did, the change in his teeth was one of the many bits of evidence used by conspiracy theorists to prove that the real Paul McCartney was dead and replaced by a lookalike. It also marks a change in who the most prominent Beatle on the group's A-sides was. Up to this point, Paul had had one solo lead on an A-side -- "Can't Buy Me Love" -- and everything else had been either a song with multiple vocalists like "Day Tripper" or "Love Me Do", or a song with a clear John lead like "Ticket to Ride" or "I Feel Fine". In the rest of their career, counting "Paperback Writer", the group would release nine new singles that hadn't already been included on an album. Of those nine singles, one was a double A-side with one John song and one Paul song, two had John songs on the A-side, and the other six were Paul. Where up to this point John had been "lead Beatle", for the rest of the sixties, Paul would be the group's driving force. Oddly, Paul got rather defensive about the record when asked about it in interviews after it failed to go straight to the top, saying "It's not our best single by any means, but we're very satisfied with it". But especially in its original mono mix it actually packs a powerful punch: [Excerpt: The Beatles, "Paperback Writer"] When the "Paperback Writer" single was released, an unusual image was used in the advertising -- a photo of the Beatles dressed in butchers' smocks, covered in blood, with chunks of meat and the dismembered body parts of baby dolls lying around on them. The image was meant as part of a triptych parodying religious art -- the photo on the left was to be an image showing the four Beatles connected to a woman by an umbilical cord made of sausages, the middle panel was meant to be this image, but with halos added over the Beatles' heads, and the panel on the right was George hammering a nail into John's head, symbolising both crucifixion and that the group were real, physical, people, not just images to be worshipped -- these weren't imaginary nails, and they weren't imaginary people. The photographer Robert Whittaker later said: “I did a photograph of the Beatles covered in raw meat, dolls and false teeth. Putting meat, dolls and false teeth with The Beatles is essentially part of the same thing, the breakdown of what is regarded as normal. The actual conception for what I still call “Somnambulant Adventure” was Moses coming down from Mount Sinai with the Ten Commandments. He comes across people worshipping a golden calf. All over the world I'd watched people worshiping like idols, like gods, four Beatles. To me they were just stock standard normal people. But this emotion that fans poured on them made me wonder where Christianity was heading.” The image wasn't that controversial in the UK, when it was used to advertise "Paperback Writer", but in the US it was initially used for the cover of an album, Yesterday... And Today, which was made up of a few tracks that had been left off the US versions of the Rubber Soul and Help! albums, plus both sides of the "We Can Work It Out"/"Day Tripper" single, and three rough mixes of songs that had been recorded for Revolver -- "Doctor Robert", "And Your Bird Can Sing", and "I'm Only Sleeping", which was the song that sounded most different from the mixes that were finally released: [Excerpt: The Beatles, "I'm Only Sleeping (Yesterday... and Today mix)"] Those three songs were all Lennon songs, which had the unfortunate effect that when the US version of Revolver was brought out later in the year, only two of the songs on the album were by Lennon, with six by McCartney and three by Harrison. Some have suggested that this was the motivation for the use of the butcher image on the cover of Yesterday... And Today -- saying it was the Beatles' protest against Capitol "butchering" their albums -- but in truth it was just that Capitol's art director chose the cover because he liked the image. Alan Livingston, the president of Capitol was not so sure, and called Brian Epstein to ask if the group would be OK with them using a different image. Epstein checked with John Lennon, but Lennon liked the image and so Epstein told Livingston the group insisted on them using that cover. Even though for the album cover the bloodstains on the butchers' smocks were airbrushed out, after Capitol had pressed up a million copies of the mono version of the album and two hundred thousand copies of the stereo version, and they'd sent out sixty thousand promo copies, they discovered that no record shops would stock the album with that cover. It cost Capitol more than two hundred thousand dollars to recall the album and replace the cover with a new one -- though while many of the covers were destroyed, others had the new cover, with a more acceptable photo of the group, pasted over them, and people have later carefully steamed off the sticker to reveal the original. This would not be the last time in 1966 that something that was intended as a statement on religion and the way people viewed the Beatles would cause the group trouble in America. In the middle of the recording sessions for Revolver, the group also made what turned out to be their last ever UK live performance in front of a paying audience. The group had played the NME Poll-Winners' Party every year since 1963, and they were always shows that featured all the biggest acts in the country at the time -- the 1966 show featured, as well as the Beatles and a bunch of smaller acts, the Rolling Stones, the Who, the Yardbirds, Roy Orbison, Cliff Richard and the Shadows, the Seekers, the Small Faces, the Walker Brothers, and Dusty Springfield. Unfortunately, while these events were always filmed for TV broadcast, the Beatles' performance on the first of May wasn't filmed. There are various stories about what happened, but the crux appears to be a disagreement between Andrew Oldham and Brian Epstein, sparked by John Lennon. When the Beatles got to the show, they were upset to discover that they had to wait around before going on stage -- normally, the awards would all be presented at the end, after all the performances, but the Rolling Stones had asked that the Beatles not follow them directly, so after the Stones finished their set, there would be a break for the awards to be given out, and then the Beatles would play their set, in front of an audience that had been bored by twenty-five minutes of awards ceremony, rather than one that had been excited by all the bands that came before them. John Lennon was annoyed, and insisted that the Beatles were going to go on straight after the Rolling Stones -- he seems to have taken this as some sort of power play by the Stones and to have got his hackles up about it. He told Epstein to deal with the people from the NME. But the NME people said that they had a contract with Andrew Oldham, and they weren't going to break it. Oldham refused to change the terms of the contract. Lennon said that he wasn't going to go on stage if they didn't directly follow the Stones. Maurice Kinn, the publisher of the NME, told Epstein that he wasn't going to break the contract with Oldham, and that if the Beatles didn't appear on stage, he would get Jimmy Savile, who was compering the show, to go out on stage and tell the ten thousand fans in the audience that the Beatles were backstage refusing to appear. He would then sue NEMS for breach of contract *and* NEMS would be liable for any damage caused by the rioting that was sure to happen. Lennon screamed a lot of abuse at Kinn, and told him the group would never play one of their events again, but the group did go on stage -- but because they hadn't yet signed the agreement to allow their performance to be filmed, they refused to allow it to be recorded. Apparently Andrew Oldham took all this as a sign that Epstein was starting to lose control of the group. Also during May 1966 there were visits from musicians from other countries, continuing the cultural exchange that was increasingly influencing the Beatles' art. Bruce Johnston of the Beach Boys came over to promote the group's new LP, Pet Sounds, which had been largely the work of Brian Wilson, who had retired from touring to concentrate on working in the studio. Johnston played the record for John and Paul, who listened to it twice, all the way through, in silence, in Johnston's hotel room: [Excerpt: The Beach Boys, "God Only Knows"] According to Johnston, after they'd listened through the album twice, they went over to a piano and started whispering to each other, picking out chords. Certainly the influence of Pet Sounds is very noticeable on songs like "Here, There, and Everywhere", written and recorded a few weeks after this meeting: [Excerpt: The Beatles, "Here, There, and Everywhere"] That track, and the last track recorded for the album, "She Said She Said" were unusual in one very important respect -- they were recorded while the Beatles were no longer under contract to EMI Records. Their contract expired on the fifth of June, 1966, and they finished Revolver without it having been renewed -- it would be several months before their new contract was signed, and it's rather lucky for music lovers that Brian Epstein was the kind of manager who considered personal relationships and basic honour and decency more important than the legal niceties, unlike any other managers of the era, otherwise we would not have Revolver in the form we know it today. After the meeting with Johnston, but before the recording of those last couple of Revolver tracks, the Beatles also met up again with Bob Dylan, who was on a UK tour with a new, loud, band he was working with called The Hawks. While the Beatles and Dylan all admired each other, there was by this point a lot of wariness on both sides, especially between Lennon and Dylan, both of them very similar personality types and neither wanting to let their guard down around the other or appear unhip. There's a famous half-hour-long film sequence of Lennon and Dylan sharing a taxi, which is a fascinating, excruciating, example of two insecure but arrogant men both trying desperately to impress the other but also equally desperate not to let the other know that they want to impress them: [Excerpt: Dylan and Lennon taxi ride] The day that was filmed, Lennon and Harrison also went to see Dylan play at the Royal Albert Hall. This tour had been controversial, because Dylan's band were loud and raucous, and Dylan's fans in the UK still thought of him as a folk musician. At one gig, earlier on the tour, an audience member had famously yelled out "Judas!" -- (just on the tiny chance that any of my listeners don't know that, Judas was the disciple who betrayed Jesus to the authorities, leading to his crucifixion) -- and that show was for many years bootlegged as the "Royal Albert Hall" show, though in fact it was recorded at the Free Trade Hall in Manchester. One of the *actual* Royal Albert Hall shows was released a few years ago -- the one the night before Lennon and Harrison saw Dylan: [Excerpt: Bob Dylan, "Like a Rolling Stone", Royal Albert Hall 1966] The show Lennon and Harrison saw would be Dylan's last for many years. Shortly after returning to the US, Dylan was in a motorbike accident, the details of which are still mysterious, and which some fans claim was faked altogether. The accident caused him to cancel all the concert dates he had booked, and devote himself to working in the studio for several years just like Brian Wilson. And from even further afield than America, Ravi Shankar came over to Britain, to work with his friend the violinist Yehudi Menuhin, on a duet album, West Meets East, that was an example in the classical world of the same kind of international cross-fertilisation that was happening in the pop world: [Excerpt: Yehudi Menuhin and Ravi Shankar, "Prabhati (based on Raga Gunkali)"] While he was in the UK, Shankar also performed at the Royal Festival Hall, and George Harrison went to the show. He'd seen Shankar live the year before, but this time he met up with him afterwards, and later said "He was the first person that impressed me in a way that was beyond just being a famous celebrity. Ravi was my link to the Vedic world. Ravi plugged me into the whole of reality. Elvis impressed me when I was a kid, and impressed me when I met him, but you couldn't later on go round to him and say 'Elvis, what's happening with the universe?'" After completing recording and mixing the as-yet-unnamed album, which had been by far the longest recording process of their career, and which still nearly sixty years later regularly tops polls of the best album of all time, the Beatles took a well-earned break. For a whole two days, at which point they flew off to Germany to do a three-day tour, on their way to Japan, where they were booked to play five shows at the Budokan. Unfortunately for the group, while they had no idea of this when they were booked to do the shows, many in Japan saw the Budokan as sacred ground, and they were the first ever Western group to play there. This led to numerous death threats and loud protests from far-right activists offended at the Beatles defiling their religious and nationalistic sensibilities. As a result, the police were on high alert -- so high that there were three thousand police in the audience for the shows, in a venue which only held ten thousand audience members. That's according to Mark Lewisohn's Complete Beatles Chronicle, though I have to say that the rather blurry footage of the audience in the video of those shows doesn't seem to show anything like those numbers. But frankly I'll take Lewisohn's word over that footage, as he's not someone to put out incorrect information. The threats to the group also meant that they had to be kept in their hotel rooms at all times except when actually performing, though they did make attempts to get out. At the press conference for the Tokyo shows, the group were also asked publicly for the first time their views on the war in Vietnam, and John replied "Well, we think about it every day, and we don't agree with it and we think that it's wrong. That's how much interest we take. That's all we can do about it... and say that we don't like it". I say they were asked publicly for the first time, because George had been asked about it for a series of interviews Maureen Cleave had done with the group a couple of months earlier, as we'll see in a bit, but nobody was paying attention to those interviews. Brian Epstein was upset that the question had gone to John. He had hoped that the inevitable Vietnam question would go to Paul, who he thought might be a bit more tactful. The last thing he needed was John Lennon saying something that would upset the Americans before their tour there a few weeks later. Luckily, people in America seemed to have better things to do than pay attention to John Lennon's opinions. The support acts for the Japanese shows included  several of the biggest names in Japanese rock music -- or "group sounds" as the genre was called there, Japanese people having realised that trying to say the phrase "rock and roll" would open them up to ridicule given that it had both "r" and "l" sounds in the phrase. The man who had coined the term "group sounds", Jackey Yoshikawa, was there with his group the Blue Comets, as was Isao Bito, who did a rather good cover version of Cliff Richard's "Dynamite": [Excerpt: Isao Bito, "Dynamite"] Bito, the Blue Comets, and the other two support acts, Yuya Uchida and the Blue Jeans, all got together to perform a specially written song, "Welcome Beatles": [Excerpt: "Welcome Beatles" ] But while the Japanese audience were enthusiastic, they were much less vocal about their enthusiasm than the audiences the Beatles were used to playing for. The group were used, of course, to playing in front of hordes of screaming teenagers who could not hear a single note, but because of the fear that a far-right terrorist would assassinate one of the group members, the police had imposed very, very, strict rules on the audience. Nobody in the audience was allowed to get out of their seat for any reason, and the police would clamp down very firmly on anyone who was too demonstrative. Because of that, the group could actually hear themselves, and they sounded sloppy as hell, especially on the newer material. Not that there was much of that. The only song they did from the Revolver sessions was "Paperback Writer", the new single, and while they did do a couple of tracks from Rubber Soul, those were under-rehearsed. As John said at the start of this tour, "I can't play any of Rubber Soul, it's so unrehearsed. The only time I played any of the numbers on it was when I recorded it. I forget about songs. They're only valid for a certain time." That's certainly borne out by the sound of their performances of Rubber Soul material at the Budokan: [Excerpt: The Beatles, "If I Needed Someone (live at the Budokan)"] It was while they were in Japan as well that they finally came up with the title for their new album. They'd been thinking of all sorts of ideas, like Abracadabra and Magic Circle, and tossing names around with increasing desperation for several days -- at one point they seem to have just started riffing on other groups' albums, and seem to have apparently seriously thought about naming the record in parodic tribute to their favourite artists -- suggestions included The Beatles On Safari, after the Beach Boys' Surfin' Safari (and possibly with a nod to their recent Pet Sounds album cover with animals, too), The Freewheelin' Beatles, after Dylan's second album, and my favourite, Ringo's suggestion After Geography, for the Rolling Stones' Aftermath. But eventually Paul came up with Revolver -- like Rubber Soul, a pun, in this case because the record itself revolves when on a turntable. Then it was off to the Philippines, and if the group thought Japan had been stressful, they had no idea what was coming. The trouble started in the Philippines from the moment they stepped off the plane, when they were bundled into a car without Neil Aspinall or Brian Epstein, and without their luggage, which was sent to customs. This was a problem in itself -- the group had got used to essentially being treated like diplomats, and to having their baggage let through customs without being searched, and so they'd started freely carrying various illicit substances with them. This would obviously be a problem -- but as it turned out, this was just to get a "customs charge" paid by Brian Epstein. But during their initial press conference the group were worried, given the hostility they'd faced from officialdom, that they were going to be arrested during the conference itself. They were asked what they would tell the Rolling Stones, who were going to be visiting the Philippines shortly after, and Lennon just said "We'll warn them". They also asked "is there a war on in the Philippines? Why is everybody armed?" At this time, the Philippines had a new leader, Ferdinand Marcos -- who is not to be confused with his son, Ferdinand Marcos Jr, also known as Bongbong Marcos, who just became President-Elect there last month. Marcos Sr was a dictatorial kleptocrat, one of the worst leaders of the latter half of the twentieth century, but that wasn't evident yet. He'd been elected only a few months earlier, and had presented himself as a Kennedy-like figure -- a young man who was also a war hero. He'd recently switched parties from the Liberal party to the right-wing Nacionalista Party, but wasn't yet being thought of as the monstrous dictator he later became. The person organising the Philippines shows had been ordered to get the Beatles to visit Ferdinand and Imelda Marcos at 11AM on the day of the show, but for some reason had instead put on their itinerary just the *suggestion* that the group should meet the Marcoses, and had put the time down as 3PM, and the Beatles chose to ignore that suggestion -- they'd refused to do that kind of government-official meet-and-greet ever since an incident in 1964 at the British Embassy in Washington where someone had cut off a bit of Ringo's hair. A military escort turned up at the group's hotel in the morning, to take them for their meeting. The group were all still in their rooms, and Brian Epstein was still eating breakfast and refused to disturb them, saying "Go back and tell the generals we're not coming." The group gave their performances as scheduled, but meanwhile there was outrage at the way the Beatles had refused to meet the Marcos family, who had brought hundreds of children -- friends of their own children, and relatives of top officials -- to a party to meet the group. Brian Epstein went on TV and tried to smooth things over, but the broadcast was interrupted by static and his message didn't get through to anyone. The next day, the group's security was taken away, as were the cars to take them to the airport. When they got to the airport, the escalators were turned off and the group were beaten up at the arrangement of the airport manager, who said in 1984 "I beat up the Beatles. I really thumped them. First I socked Epstein and he went down... then I socked Lennon and Ringo in the face. I was kicking them. They were pleading like frightened chickens. That's what happens when you insult the First Lady." Even on the plane there were further problems -- Brian Epstein and the group's road manager Mal Evans were both made to get off the plane to sort out supposed financial discrepancies, which led to them worrying that they were going to be arrested or worse -- Evans told the group to tell his wife he loved her as he left the plane. But eventually, they were able to leave, and after a brief layover in India -- which Ringo later said was the first time he felt he'd been somewhere truly foreign, as opposed to places like Germany or the USA which felt basically like home -- they got back to England: [Excerpt: "Ordinary passenger!"] When asked what they were going to do next, George replied “We're going to have a couple of weeks to recuperate before we go and get beaten up by the Americans,” The story of the "we're bigger than Jesus" controversy is one of the most widely misreported events in the lives of the Beatles, which is saying a great deal. One book that I've encountered, and one book only, Steve Turner's Beatles '66, tells the story of what actually happened, and even that book seems to miss some emphases. I've pieced what follows together from Turner's book and from an academic journal article I found which has some more detail. As far as I can tell, every single other book on the Beatles released up to this point bases their account of the story on an inaccurate press statement put out by Brian Epstein, not on the truth. Here's the story as it's generally told. John Lennon gave an interview to his friend, Maureen Cleave of the Evening Standard, during which he made some comments about how it was depressing that Christianity was losing relevance in the eyes of the public, and that the Beatles are more popular than Jesus, speaking casually because he was talking to a friend. That story was run in the Evening Standard more-or-less unnoticed, but then an American teen magazine picked up on the line about the Beatles being bigger than Jesus, reprinted chunks of the interview out of context and without the Beatles' knowledge or permission, as a way to stir up controversy, and there was an outcry, with people burning Beatles records and death threats from the Ku Klux Klan. That's... not exactly what happened. The first thing that you need to understand to know what happened is that Datebook wasn't a typical teen magazine. It *looked* just like a typical teen magazine, certainly, and much of its content was the kind of thing that you would get in Tiger Beat or any of the other magazines aimed at teenage girls -- the September 1966 issue was full of articles like "Life with the Walker Brothers... by their Road Manager", and interviews with the Dave Clark Five -- but it also had a long history of publishing material that was intended to make its readers think about social issues of the time, particularly Civil Rights. Arthur Unger, the magazine's editor and publisher, was a gay man in an interracial relationship, and while the subject of homosexuality was too taboo in the late fifties and sixties for him to have his magazine cover that, he did regularly include articles decrying segregation and calling for the girls reading the magazine to do their part on a personal level to stamp out racism. Datebook had regularly contained articles like one from 1963 talking about how segregation wasn't just a problem in the South, saying "If we are so ‘integrated' why must men in my own city of Philadelphia, the city of Brotherly Love, picket city hall because they are discriminated against when it comes to getting a job? And how come I am still unable to take my dark- complexioned friends to the same roller skating rink or swimming pool that I attend?” One of the writers for the magazine later said “We were much more than an entertainment magazine . . . . We tried to get kids involved in social issues . . . . It was a well-received magazine, recommended by libraries and schools, but during the Civil Rights period we did get pulled off a lot of stands in the South because of our views on integration” Art Unger, the editor and publisher, wasn't the only one pushing this liberal, integrationist, agenda. The managing editor at the time, Danny Fields, was another gay man who wanted to push the magazine even further than Unger, and who would later go on to manage the Stooges and the Ramones, being credited by some as being the single most important figure in punk rock's development, and being immortalised by the Ramones in their song "Danny Says": [Excerpt: The Ramones, "Danny Says"] So this was not a normal teen magazine, and that's certainly shown by the cover of the September 1966 issue, which as well as talking about the interviews with John Lennon and Paul McCartney inside, also advertised articles on Timothy Leary advising people to turn on, tune in, and drop out; an editorial about how interracial dating must be the next step after desegregation of schools, and a piece on "the ten adults you dig/hate the most" -- apparently the adult most teens dug in 1966 was Jackie Kennedy, the most hated was Barry Goldwater, and President Johnson, Billy Graham, and Martin Luther King appeared in the top ten on both lists. Now, in the early part of the year Maureen Cleave had done a whole series of articles on the Beatles -- double-page spreads on each band member, plus Brian Epstein, visiting them in their own homes (apart from Paul, who she met at a restaurant) and discussing their daily lives, their thoughts, and portraying them as rounded individuals. These articles are actually fascinating, because of something that everyone who met the Beatles in this period pointed out. When interviewed separately, all of them came across as thoughtful individuals, with their own opinions about all sorts of subjects, and their own tastes and senses of humour. But when two or more of them were together -- especially when John and Paul were interviewed together, but even in social situations, they would immediately revert to flip in-jokes and riffing on each other's statements, never revealing anything about themselves as individuals, but just going into Beatle mode -- simultaneously preserving the band's image, closing off outsiders, *and* making sure they didn't do or say anything that would get them mocked by the others. Cleave, as someone who actually took them all seriously, managed to get some very revealing information about all of them. In the article on Ringo, which is the most superficial -- one gets the impression that Cleave found him rather difficult to talk to when compared to the other, more verbally facile, band members -- she talked about how he had a lot of Wild West and military memorabilia, how he was a devoted family man and also devoted to his friends -- he had moved to the suburbs to be close to John and George, who already lived there. The most revealing quote about Ringo's personality was him saying "Of course that's the great thing about being married -- you have a house to sit in and company all the time. And you can still go to clubs, a bonus for being married. I love being a family man." While she looked at the other Beatles' tastes in literature in detail, she'd noted that the only books Ringo owned that weren't just for show were a few science fiction paperbacks, but that as he said "I'm not thick, it's just that I'm not educated. People can use words and I won't know what they mean. I say 'me' instead of 'my'." Ringo also didn't have a drum kit at home, saying he only played when he was on stage or in the studio, and that you couldn't practice on your own, you needed to play with other people. In the article on George, she talked about how he was learning the sitar,  and how he was thinking that it might be a good idea to go to India to study the sitar with Ravi Shankar for six months. She also talks about how during the interview, he played the guitar pretty much constantly, playing everything from songs from "Hello Dolly" to pieces by Bach to "the Trumpet Voluntary", by which she presumably means Clarke's "Prince of Denmark's March": [Excerpt: Jeremiah Clarke, "Prince of Denmark's March"] George was also the most outspoken on the subjects of politics, religion, and society, linking the ongoing war in Vietnam with the UK's reverence for the Second World War, saying "I think about it every day and it's wrong. Anything to do with war is wrong. They're all wrapped up in their Nelsons and their Churchills and their Montys -- always talking about war heroes. Look at All Our Yesterdays [a show on ITV that showed twenty-five-year-old newsreels] -- how we killed a few more Huns here and there. Makes me sick. They're the sort who are leaning on their walking sticks and telling us a few years in the army would do us good." He also had very strong words to say about religion, saying "I think religion falls flat on its face. All this 'love thy neighbour' but none of them are doing it. How can anybody get into the position of being Pope and accept all the glory and the money and the Mercedes-Benz and that? I could never be Pope until I'd sold my rich gates and my posh hat. I couldn't sit there with all that money on me and believe I was religious. Why can't we bring all this out in the open? Why is there all this stuff about blasphemy? If Christianity's as good as they say it is, it should stand up to a bit of discussion." Harrison also comes across as a very private person, saying "People keep saying, ‘We made you what you are,' well, I made Mr. Hovis what he is and I don't go round crawling over his gates and smashing up the wall round his house." (Hovis is a British company that makes bread and wholegrain flour). But more than anything else he comes across as an instinctive anti-authoritarian, being angry at bullying teachers, Popes, and Prime Ministers. McCartney's profile has him as the most self-consciously arty -- he talks about the plays of Alfred Jarry and the music of Karlheinz Stockhausen and Luciano Berio: [Excerpt: Luciano Berio, "Momenti (for magnetic tape)"] Though he was very worried that he might be sounding a little too pretentious, saying “I don't want to sound like Jonathan Miller going on" --