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Esta semana volvemos para pincharos lo mejorcito del panorama actual más alternativo, indie y emergente... 120 minutos donde escucharemos a... CAPROS, D´BALDOMEROS, ANIMALES, PIELES SEBASTIÁN, REVERXO, NUEVO BERLÍN, DRAMATICS, PANAM, RUGE BOREAL, FINDE FANTASMA, LAPSUS PLANCK, JIMÉNEZ CON JOTA, JUST DIEGO, VIVA SUECIA & SILOÉ, MARBAN & RUFUS T. FIREFLY, NAT SIMONS & TARQUE, NOVEMBRE ELÈCTRIC & LA HABITACIÓN ROJA, K!NGDOM, BUN MOTION CLUB, AMANN & THE WAYWARD SONS, SEÑOR PI, LORD MALVO, IBOREH, VERDE 70, SUEDE, FAITHLESS, PET SHOP BOYS, CLAUDIA BRÜCKEN, BELINDA CARLISLE, THE 59 SOUND, EVA McBEL, LEWIS OFMAN & ALICIA TE QUIERO, PROYECTO PUNIK... y tendremos en el recuerdo a B-MOVIE... ¿Alguien da más? Y si no aguantas la espera... Hazte FAN en Ivoox y escucha el programa de cada semana antes que nadie y mucho más contenido exclusivo! 87.7 FM en Cantabria y arcofm.com/escuchar para el resto del mundo. Y en todas las redes sociales para que no pierdas detalle de la música más emergente y alternativa. Sigue nuestros podcast en Ivoox!
Estrenamos, en exclusiva, lo nuevo de DRAMATICS y GORILA FLO y pinchamos lo mejorcito del panorama actual más alternativo, indie y emergente... 120 minutos donde escucharemos a... LAMOT, TREMENDO PINKMAN, ISLA LAVANDA, CASINO MONTREAL, ANIMALES, MIL CÓRDOBAS, VERONA, NÔRTE, CARAJILLO, SALTO DE CAMA, THE WILD BOORIES, JIMÉNEZ CON JOTA, ANTUAN., ANORA KITO, KIRAI vs PEREDIUS, SILOÉ vs DJ NANO, LA LA LOVE YOU, MISS CAFFEÍNA, CIUTAT, DORIAN & MIRANDA!, SOBREZERO & GABRIEL DE LA ROSA, SIAMESES, VALIENTE BOSQUE, THE SAME WAY, COPERNICUS DREAMS, EL VERBO ODIADO, LA ÚLTIMA COPA, AMATEUR & DIEGO VASALLO, JORGE DREXLER & CONOCIENDO RUSIA... y tendremos en el recuerdo a ECHO & THE BUNNYMEN... ¿Alguien da más? Y si no aguantas la espera... Hazte FAN en Ivoox y escucha el programa de cada semana antes que nadie y mucho más contenido exclusivo! 87.7 FM en Cantabria y arcofm.com/escuchar para el resto del mundo. Y en todas las redes sociales para que no pierdas detalle de la música más emergente y alternativa. Sigue nuestros podcast en Ivoox!
Family drama arrises. Brew up some tea and come chat with me!
Taggy and Micky on Kilkenny reaching the Leinster Final, Tom Mullally on Carlow bouncing back and Kiely, Ryan, Queally and Cahill reactions to Munster dramatics.
Many mark the start of the singer-songwriter genre to have begun when Carole King released her second studio album, the iconic Tapestry. As would be expected from a singer-songwriter, all of the songs on the album were either written or co-written by King. Tapestry is considered one of the greatest albums of all time in the soft rock genre.Born Carol Joan Klein in Manhattan, King began piano lessons at four years of age. Her upbringing included friendship with Paul Simon and dating Neil Sedaka. In the 50's at the age of 17 she met and married Jerry Goffin with whom she would team up on songwriting through the 60's - King writing the music and Goffin writing the lyrics. They had several successful songs during the 60's including "Pleasant Valley Sunday" (The Monkees), "I'm Into Something Good" (Herman's Hermits), and "Up On the Roof" (the Drifters). King and Goffin divorced by 1968, and King moved to Laurel Canyon in Los Angeles to re-start her recording career.Tapestry features both new and old songs of Carole King's catalog. Several new friends from the Laurel Canyon area appear on the album, including James Taylor and Joni Mitchell. Fellow songwriter Toni Stern co-wrote two of the songs, including the hit "It's Too Late."The album was a hit, spending 313 weeks on the Billboard Charts (second only to "Dark Side of the Moon" in time on the chart). It also was a critical success, taking the Grammy for Album of the Year at the 1972 Grammy awards. King announced her retirement from music in May 2012, but has done a few things since then, including a live performance of Tapestry in Hyde Park in 2016. Friend of the show Greg Lyon sits in for Wayne while Bruce presents this soft rock album for this week's podcast.TapestryThe title track to the album is a look back on life as a colorful combination of threads woven into a picture or pattern, but not one intended to last. This is a deeper cut which was not released as a single.Where You LeadSeveral songs became hits for other artists while the album was still on the charts, including this one. Barbara Streisand recorded this song for her 1971 album, and it reached number 40. The song takes its inspiration from the book of Ruth in the Bible. It was also the theme song for the television series "Gilmore Girls." Toni Stern collaborated with King to write this song. You've Got a FriendThis is another song which became a hit for another artist. James Taylor did this on his 1971 album, "Mud Slide Slim and the Blue Horizon," making it to number 1 on the US charts. The two albums were being produced concurrently, and Taylor, Joni Mitchell, and Danny Kortchmar perform on both King's version and on Taylor's version. King has said the song is a response to the line in James Taylor's "Fire and Rain" which says "I've seen lonely times when I could not find a friend." So Far AwayJames Taylor is on acoustic guitar for this piece, and King is on piano. It went to number 14 on the Billboard Hot 100 and was on the charts in September 1971. It starts with a focus on the physical distance between lovers, then moves on to emotional distance. ENTERTAINMENT TRACK:Main theme from the serial Danger Island (from the television series “The Banana Splits Adventure Hour”) This live action 10-minute adventure short appeared as a part of "The Banana Splits Adventure Hour," which concluded this month. STAFF PICKS:Ain't No Sunshine by Bill WithersLynch leads off the staff picks with Withers' breakthrough single from his debut album, "Just As I Am." The inspiration for this song was the 1962 film "Days of Wine and Roses," which portrays two characters who were alcoholics. The idea is that someone may not be right for you, but you miss them regardless. Signs by Five Man Electrical Band"And the sign said 'long haired freaky people need not apply!" Rob brings us a signature song from a Canadian band. The song originally appeared as a B-side to a less successful song called "Hello Melinda Goodbye," but became successful on its own. Frontman Les Emerson wrote this song after seeing so many billboards in Los Angeles which obscured the natural scenery.Whatcha See Is Whatcha Get by The DramaticsGreg features the title song from the debut album of R&B group The Dramatics. This song contrasting the fakeness of people with the authenticity of the singer went to number 9 on the Billboard Hot 100 and number 3 on the R&B chart. It fuses a Motown feel with a Latin undertone.Thin Line Between Love and Hate by The PersuadersBruce brings us a cautionary tale about a guy who comes home late at night, finding his girl smiling and ready to cook him some dinner. He learns his lesson when he wakes up in the hospital, beaten to within an inch of his life. This song by a New York R&B group made it to number 15 on the US charts. INSTRUMENTAL TRACK:The Rock by Atomic RoosterWe close out with an instrumental from a British rock band originally co-formed by prog rock organist Vincent Crane and percussionist Carl Palmer. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.
¡Volvió la serie de Daredevil! Mejor dicho, renació, así que nos juntamos con Mario de Hablando en Globitos para hacer la RE: seña de la primera temporada de Daredevil: Born Again. O la cuarta temporada de Daredevil, algo así. El Kingpin es alcalde de New York City, hay un asesino en serie suelto, y Matt dejó de ser Daredevil por una pérdida personal importante... ¿como saldrá todo? Además, reseñamos el arco de los comics de Daredevil "Mayor Fisk" (de Soule, Landini, Garney, y otros), en el que está principalmente basada la serie, tratando de no hacer comparaciones, pero no lográndolo. Como si esto fuera poco, hablamos sobre catolicismo, bautismos, comuniones, y el Papa Francisco; porque claro, Matt Murdock es católico. Con música de The Newton Brothers & John Paesano, Imagine Dragons, y The Dramatics. Próximo programa: Historia de Editoriales de Comics Independientes (Parte II).
**Lynda Law's Soul Show Replay On traxfm.org. This Week Lynda Features Soul/Boogie/Dance Classics/Contemporary Soul From AP Connection, Chic, Gladys Knight & The Pips, Heatwave, BYAMM, Luther Vandross, The Dramatics, The Trammps & More #originalpirates #soulmusic #contemporarysoul #70smusic #80smusic #disco #danceclassics Catch Lynda's Soul Show Every Tuesday From 4:00PM UK Time On www.traxfm.org Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**
Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Entrevistamos a NORWEN, estrenamos en exclusiva lo nuevo de DRAMATICS y pinchamos lo mejorcito del panorama indie, emergente y alternativo... 120 minutos donde, además, escucharemos a... SWEET Q, WAKAME, SUPERGLÚ, GORILA FLO, ALEJO & RAÚL VITAL, ALISON DARWIN, LAVIDA, SUENA BABILONIA, RUGE BOREAL, BIKABI & SIOQUÉ, MISS MARPLE, POLÁRTICOS vs ESPABILAODJ, IRIS, BRIÓTICA, SIGMUND WILDER , QUERIDA MARGOT... y tendremos en el recuerdo a COCK ROBIN... ¿Alguien da más? Y si no aguantas la espera... Hazte FAN en Ivoox y escucha YA el programa de esta semana! 87.7 FM en Cantabria y arcofm.com/escuchar para el resto del mundo. Y en todas las redes sociales para que no pierdas detalle de la música más emergente y alternativa.Escucha este episodio completo y accede a todo el contenido exclusivo de Nos vemos en Primera Fila. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/776555
**It's The Relax With Rendell Show Replay On Trax FM & Rendell Radio. Rendell Featured Soul & Boogie/Rare Groove/80's & 70's Grooves/Easy Listening Cuts From Eddie Cochran, Waters, Vernon Burch, Tymes, Tavares, Sky's The Limit, Saturday Night Band, Sandy Mercer, Johnnie Taylor, Howard Hewitt, Glorai Gaynor, Fat Larry's Band, Fantasy Eurythmics, Elvis Presley, Dramatics, Dina Carroll, Chi-Lites, Arthur Prysock, Aalon, Average White Band & More. #originalpirates #soulmusic #disco #reggae #raregroove #easylistening #boogiefunk Catch Rendell Every Saturday From 8PM UK Time The Stations: Trax FM & Rendell Radio Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**
**The Groove Doctors Friday Drive Time Show Replay On traxfm.org. This Week The Groove Doctor Featured 80's Grooves/Rare Groove/Contemporary Soul From Norma Jean Wright Tear Down These Walls. Ozone. Hi-Tension. Brookly Dreams. Carol Douglas. The Four Tops. Cameo. The Dramatics. Teddy P. Beverly & Duane & More #originalpirates #soulmusic #boogie #80ssoul #RareGrooves Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : facebook.com/profile.php?id=10...100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**
Its the last of the rewind shows for January as we go back to 1975 this week with some disco from PIR, rare grooves from Undisputed Truth and an extended Triple Love Song Wind-Down with tracks from Minnie Riperton and The Dramatics.For more info and tracklisting, visit: https://thefaceradio.com/lock-and-stockTune into new broadcasts of Lock And Stock, Thursday from 4 – 6 PM EST / 9 -11 PM GMT.//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.
Welcome back to another episode! The boys are joined by Zane from the Beerly OB Podcast to talk some conference championship weekend football as well as all the drama that has sparked this weekend as some team's are already in the offseason mode. Grab a cold one and settle in with us! @BeerlyFootball
Nadine Chammas, founder of 'The Life Director,' is a pioneering social impact strategist with diverse talents. Growing up in Lebanon, her love for singing led her to formal education in Dramatics and Theatre Arts. After relocating to Dubai in 2000, she established the 'Scenez Group Production Company,' crafting culture-bridging plays. Nadine then launched the 'Scenez Drama and Arts Academy,' the first children's theater production company in the UAE. In this rewarding role, Nadine not only taught dramatics but also pioneered Drama Therapy, a healing process fostering self-esteem and confidence. Nadine hosted counseling sessions on one the biggest Arab channels, set up the 'Super Dooper Edutainment Center,' and continued her education with certifications in NLP Coaching and Positive Parenting. Nadine not only released 11 songs on digital platforms but also launched emotionally resonant audios, collectively amassing millions of views on YouTube and various digital platforms. In addition, Nadine seamlessly integrated her education, talents, and insights, culminating in the founding of 'The Life Director.' Nadine, recently published her book "The Stage is Yours," encapsulating her profound experiences and insights. Contact Nadine Chammas: Author of The Stage Is Yours, Creator of the TLD method Instagram.com/nadinechammas Instagram.com/nadinethelifedirector https://www.facebook.com/thelifedirector https://x.com/NadineChammas https://www.linkedin.com/in/nadinechammas https://youtube.com/@nadinechammas-8228?si=jrCfJyVf_NkEtg3x Dr. Kimberley Linert Speaker, Author, Broadcaster, Mentor, Trainer, Behavioral Optometrist Event Planners- I am available to speak at your event. Here is my media kit: https://brucemerrinscelebrityspeakers.com/portfolio/dr-kimberley-linert/ To book Dr. Linert on your podcast, television show, conference, corporate training or as an expert guest please email her at incrediblelifepodcast@gmail.com or Contact Bruce Merrin at Bruce Merrin's Celebrity Speakers at merrinpr@gmail.com 702.256.9199 Host of the Podcast Series: Incredible Life Creator Podcast Available on... Apple: https://podcasts.apple.com/us/podcast/incredible-life-creator-with-dr-kimberley-linert/id1472641267 Spotify: https://open.spotify.com/show/6DZE3EoHfhgcmSkxY1CvKf?si=ebe71549e7474663 and on 9 other podcast platforms Author of Book: "Visualizing Happiness in Every Area of Your Life" Get on Amazon: https://amzn.to/3srh6tZ Website: https://www.DrKimberleyLinert.com Please subscribe, share & LISTEN! Thanks. incrediblelifepodcast@gmail.com Social Media Links LinkedIn: https://www.linkedin.com/in/dr-kimberley-linert-incredible-life-creator/ Facebook: https://www.facebook.com/kimberley.linert/ The Great Discovery eLearning Platform: https://thegreatdiscovery.com/kimberley l
Adam Binnie is joined by Gemma Fay and John Walker to reflect on an eventful opening Premiership matchday of 2025. They assess the action in the first Old Firm of the year with Asim Rabbani from A Celtic State of Mind and discuss United's late win in the Dundee derby and the continuation of Aberdeen's winless streak. And, with the games coming thick and fast, they also look ahead to the weekend's fixtures.
1/2/25: Buckeyes' Rose Bowl Rout, Recapping ALL The CFP Quarterfinal Dramatics, Notre Dame-Georgia Preview & So Much More!
Hi all, Here is the podcast of my 'In The Groove' show on Starpoint Radio on Sunday 15th December 2024, featuring new releases by Nat Augustin, Merlin Bobb & Masaki Morii, Patrick Gibin, Cinta, Erik Rico Ft C-Boogie, David B. Whitley, Silver Skylarks, Nitecap, Prefix One Ft Kay Nueze and Gina Sedman as well as the new Bedfunk Promo from Pat Bedeau and a great remix from Ralph Sessions of 'My Life' due in the new year... theres vintage grooves from Maxine Singleton, Shock and The Dramatics, and 'A Touch Of Jazz' features one of my fav tracks of the past year by Àbáse, all in 2 hours of top tunes.I'll be back on Starpoint at midday on Sunday 22nd December for my traditional Christmas oldies show, so hope you can join me then x Paul Stuart 'In The Groove' - Starpoint Radio - Sunday 15th December 202401. Cinta - Wasted (Worth Control LP - ROEY Music 2024)02. Nitecap - Love and Light (Ft Nigel Hall) (Single - Perception Records 2024)03. The Dramatics - Stranger (In My Life)(Any Time Any Place LP - ABC Records 1979)04. Georgia Cécile - This Is Love (Single - Mahogany Songs 2024)05. Dojo Cuts - Rewind (Single - DCR 2024)06. Gina Sedman - What The World Needs (CD Version) (Valuable People LP - Gico Music 2024)07. Shock - I Think I Love You (Shock LP - Fantasy 1982)08. Cinta - Do You Love Me (Worth Control LP - ROEY Music 2024)09. Àbáse - Destruction Everywhere (Awakenings LP - abasemusic.bandcamp.com 2024)10. David B. Whitley - Flying Easy (Invitation EP - Whitley Entertainment 2024)11. Velvet Funk - Best Friends (Single - Velvet Funk 2024)12. Patrick Gibin - Come Mornin' (ft. Sandra St.Victor) (Strength In Numbers LP - patrickgibin.bandcamp.com 2024)13. Marcy Brown - Your Love (Single - Bassmanberg 2024)14. Nat Augustin - A Touch Of Love (Single - 2706563 Records DK 2024)15. Maxine Singleton - Don't You Love It (Peter Pan Artists 12" 1982)16. Prefix One Ft Kay Nueze - Dreams Come True (Mark Francis Vocal Remix) (Househead London 2024)17. Merlin Bobb & Masaki Morii - These 4 Walls (Vocal Main Mix) (Access 2024)18. Ledisi - Like It Was (Terry Hunter Remix)(Mirror Ball 2024)19. Silver Skylarks - Move Ya (NDATL Vocal Remix) (Skylark Soul Co 2024)20. Mike Agent X Clark Ft Paul Hill - I Don't Know Why (Oliver Dollar Remix) (Soul Clap 2024)21. Erik Rico Ft C-Boogie - How It Feels (To Be Loved) (Honeycomb Main Mix) (Cosmocities 2024)22. Pat Bedeau Ft Anna-Marie Johnson - My Life (Ralph Session Future Classic Extended Remix)(Bedfunk Promo 2024)23. Silver Skylarks - Just Can't Get It Right (Ben Hixon Remix)(Skylark Soul Co 2024)24. Rio Tashan Ft Robert Owens - Live It Up (Original Mix) (Kaoz Theory 2024)25. Floor Work - Dreamin Aint Enough (Billy D Edit) (Promo 2024)26. Rapson Ft Nathan Thomas - Masterpiece (Original Mix) (Quantize 2024)
Send us a textEver wondered how Donald Trump ended up as Time Magazine's Person of the Year or how drones became the latest obsession in political circles? Join us for a rollicking review of the past year's most bizarre events, where we poke fun at government spending and the quirky side of the Christmas spirit. From high-flying drones to the colorful antics of public figures, our light-hearted banter will have you laughing at the absurdities that kept us all entertained.But hold on tight, because we also take you on a chaotic journey through tech glitches and wild podcast tales! Dive into the eccentric world of Cat Williams, with his claims of genius and some truly strange podcast stories. We reminisce about the enigmatic Dr. Gotsit from the 80s, and dissect a digital scandal involving a Bitcoin hack. Ever experienced a tech fail? We have, and we're here to share the hilarity and nostalgia of trying to solve a mysterious 'gargling' sound glitch.As if that's not enough, we tackle some sensational headlines and unexpected dramas. Picture this: a CEO's shocking assassination, insurance company cover-ups, and even a woman threatening mayhem over a denied claim. Mix in some light-hearted tales like a solar eclipse adventure and a near-death motorcycle mishap, and you've got a perfect blend of the serious, the surreal, and the downright funny. Trust us, you don't want to miss this whirlwind of humor, controversy, and unforgettable stories!Support the showWe want everyone to enjoy the show and really appreciate your feed back
**Chris Stewart's Soulful Etiquette Show Replay On traxfm.org. This Week Chris Featured Soul/Boogie/Reggae/Contemporary Soul From AC Soul Symphony, Freddie McGregor, John Holt, Judy Street, The Pips, Kool & The Gang, The Undisputed Truth, Trey Lorenz, Marchio Bossa, Archie Bell & The Drells, The Dramatics, Anthony Hamilton, Gwen Dickey, Maze & More #originalpirates #soulmusic #contemporarysoul #70smusic #80smusic #disco #reggae Catch Chris Stewart's Soulful Etiquette Show Every Tuesday From 12:00PM UK Time On www.traxfm.org Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**
In episode 26 of CONTE CAST, Anthony Smith and Brendan Mahoney discuss relevant NCAA headlines from the past month, and recap BC's last five contests against ranked opponents. The guys start by offering their thoughts on the recent CHL/NCAA agreement allowing players in the WHL, OHL, and QMJHL to commit to college hockey programs effective immediately. Next, the guys summarize the recent performances featuring the men's and women's programs highlighting the key performers such as Ryan Leonard's consecutive game-winning goals. For moneylines featuring your Boston College Men's Hockey team, click the link below for this weekend's contests against UConn and Providence, and the best offers for all your local sportsbooks! https://signupexpert.com/conte
It's the newest edition of the podcast, as hosts T.J. Rives and Mike Gill are back to go over the latest in sports media news, ratings and they have a national pro football broadcasting guest with them, as well. It's all on the "Last Word on Sports Media Podcast!"The guys go over the "Blowout Saturday" of network games for ESPN/ABC, CBS Sports and NBC with almost all of the action being one-sided games. How did this affect the TV numbers, especially in the ABC primetime game window for Alabama vs. LSU?It was the opposite for the exciting early NFL games Sunday and that included the Chiefs blocking a field goal on the final play to preserve their 9-0 season beating Denver. And, on the show, we welcome Josh Appel of Sports USA radio , who was on the national call at Arrowhead to recount his call of the game and give us insight into how he broadcasts these games, etc.? It's great back and forth insight from Josh.The guys finish with some other items like the anticipated Mike Tyson-Jake Paul boxing match for Netflix on Friday night from Arlington, TX and also, kudos to some student newspaper reporters, again, for beating traditional "legacy" media to an important story with University of Florida hoop coach Todd Golden, who is under investigation for inappropriate behavior towards numerous young women. They have filed a complaint with the University and Golden is still coaching.It's all on the "Last Word on Sports Media Podcast" and make sure to follow/subscribe on Apple/Spreaker/Spotify, etc.!
It's the newest edition of the podcast, as hosts T.J. Rives and Mike Gill are back to go over the latest in sports media news, ratings and they have a national pro football broadcasting guest with them, as well. It's all on the "Last Word on Sports Media Podcast!"The guys go over the "Blowout Saturday" of network games for ESPN/ABC, CBS Sports and NBC with almost all of the action being one-sided games. How did this affect the TV numbers, especially in the ABC primetime game window for Alabama vs. LSU?It was the opposite for the exciting early NFL games Sunday and that included the Chiefs blocking a field goal on the final play to preserve their 9-0 season beating Denver. And, on the show, we welcome Josh Appel of Sports USA radio , who was on the national call at Arrowhead to recount his call of the game and give us insight into how he broadcasts these games, etc.? It's great back and forth insight from Josh.The guys finish with some other items like the anticipated Mike Tyson-Jake Paul boxing match for Netflix on Friday night from Arlington, TX and also, kudos to some student newspaper reporters, again, for beating traditional "legacy" media to an important story with University of Florida hoop coach Todd Golden, who is under investigation for inappropriate behavior towards numerous young women. They have filed a complaint with the University and Golden is still coaching.It's all on the "Last Word on Sports Media Podcast" and make sure to follow/subscribe on Apple/Spreaker/Spotify, etc.!
Welcome back to the Style Check Podcast! In this episode, co-hosts Sarah Liller and Tami DeLami delve deeper into the world of Kibbe body types, exploring each type's unique qualities and style needs. Picking up from Part 1, Sarah and Tami break down the foundational types—Dramatic, Natural, Gamine, Classic, and Romantic—along with their subcategories, like Soft Dramatic and Theatrical Romantic. Using celebrity examples, they illustrate each type's physical traits: Dramatics are “sharp” and “angular,” Romantics are “lush” and “curved,” and Gamines have a playful, youthful energy.Listeners learn how styling differs for each type. Dramatics look striking in sleek, unbroken lines, while Naturals shine in relaxed, textured looks. Classics benefit from tailored, polished pieces, and Gamines pop in bold colors and patterns. Romantics, meanwhile, excel in soft fabrics and feminine details that accentuate curves.Sarah and Tami also discuss Kibbe's unique terms, like “Kibbe width” for broader Naturals, and share practical tips for dressing each type. Emphasizing that Kibbe's system is a guideline rather than a strict rulebook, they encourage listeners to embrace what resonates and let go of what doesn't. With insights that help celebrate individual style, this episode is packed with inspiration for anyone curious about the art of body typing.Tune in to learn more, and stay tuned for Part 3, where Sarah and Tami will share how to apply these concepts in everyday life. Whether you're a Dramatic, Gamine, Classic, Romantic—or somewhere in between—this episode offers fresh perspectives to help you celebrate your unique beauty and personal style.Sarah's Instagram: https://www.instagram.com/stories/sarahlillerstyling/Tami's Instagram: https://www.instagram.com/tami_sofia/
In this episode, we dive into the heart of worship leadership with a lighthearted yet meaningful discussion on Leading Like a Big Softie. We explore what it means to be an effective leader, offering practical tips on communication, consistency, and caring for your team. Through fun examples—like trying to direct a worship team that's as unpredictable as a group of cats—we illustrate the importance of setting clear expectations and fostering an environment where everyone can thrive. You'll hear some funny stories about real-life worship team moments and how even a little miscommunication can lead to big laughs.We also talk about the importance of fostering unity and guiding your team spiritually. With stories of team-building mishaps and spiritual detours, you'll learn how to lead with love, bringing everyone together as a cohesive, spiritually connected group. Whether you're a seasoned worship leader or just getting started, this episode will leave you encouraged and equipped to lead your team with both joy and grace. Don't forget to subscribe on your favorite podcast platform so you never miss an episode filled with tips, stories, and laughter for worship leaders like you!Support the show
Ailish Forfar and Justin Cuthbert kick things off discussing the thrill of watching a playoff walk-off home run and what the best moment in sports is for fans. Then, MLB Networks Lauren Gardner (12:19) joins the show live from Cleveland to recap last night's thrilling matchup between the Yankees and Guardians and tee up tonight's contest. They discuss Stanton and Judge's postseason play, how Shohei has looked in his chance at playoff baseball, and more. Then, EJ Hradek (26:20) joins the show to discuss the Avs and Preds' winless starts to the season, the Sabres' struggles, how the Flames' success impacts their rebuild, Jake Oettinger's new contract, and much more!The views and opinions expressed in this podcast are those of the hosts and guests and do not necessarily reflect the position of Rogers Sports & Media or any affiliates.
Label: Volt 4058Year: 1971Condition: M-Last Price: $18.00. Not currently available for sale.God, I love this song! Nothing but the best from beginning to end. This single's A side -- the hit version of the song -- is slightly edited from a 3:56 album track. This is the first issue on the blue Volt label. Note: This beautiful copy comes in a vintage Volt Records factory sleeve. It has Near Mint labels, and the vinyl looks only lightly touched. The audio is close to Mint. (This scan is a representative image from our archives; this copy does NOT have a drillhole.)
(0:00) Felger, Mazz & Murray discuss Cam Neely's “64 million reasons” comment. (16:52) More thoughts on what Jeremy Swayman has had to say about his contract negotiations. (24:38) Does Bill Belichick already have a staff lined up for if/when he returns to coaching? (30:20) Callers weigh in on an Agenda Free Friday during the Lightning Round!
Recorded September 23rd, 2024 FOLLOW on INSTAGRAM, YOUTUBE & X: @cupofmets SUBSCRIBE on SPOTIFY, APPLE or wherever you get your favorite podcasts! DOWNLOAD The SeatGeek App, Use Code: "CUPOFMETS" to get $20.00 off BUY SOME SMACKIN' SEEDS - USE CODE: "IAN05405"
Is the modern political debate nothing more than a well-rehearsed show? Join us as we dissect the recent presidential debate, which seemed more like a theatrical performance than a serious political discussion. I recount the spontaneous decision to host a lively watch party despite the logistical hurdles, while Clay shares his preference for an undistracted viewing experience. We scrutinize the candidates' antics, particularly one who struggled with the split-screen format, turning the debate into a spectacle rather than a meaningful exchange of ideas.Switching gears, we tackle the vice presidential showdown, highlighting the standout performance of one participant who masterfully balanced composure and strategy, albeit with heavily scripted content. We delve into her attempts to unsettle her opponent and the moderators' glaring lack of live fact-checking. Our critique doesn't shy away from her perpetuation of falsehoods about major events like Charlottesville and January 6th, and we analyze a crucial moment where she addressed the former president's actions.Our episode continues with a deep dive into the pervasive issue of misinformation in debates and the missed opportunities for effective rebuttal. We evaluate how key figures strategically spread false narratives and the troubling implications of unchallenged inaccuracies. Analyzing the debate between Kamala Harris and her opponent, we explore how neither managed to decisively win over undecided voters. The episode wraps up with a discussion on the surprising political influence of celebrity endorsements, especially Taylor Swift's unexpected support, and its potential impact on the upcoming election. Don't miss our updates and reflections that promise to keep you informed and engaged.Support the showDON'T WAIT FOR THE NEXT EMERGENCY, PLUS, SAVE 15%: https://www.twc.health/elsa#ifounditonamazon https://a.co/ekT4dNOTRY AUDIBLE PLUS: https://amzn.to/3vb6Rw3Elsa's Books: https://www.amazon.com/~/e/B01E1VFRFQDesign Like A Pro: https://canva.7eqqol.net/xg6Nv...
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Ep. 188: Addict for Dramatics by Oh, We Talkin'?
Deion's Dramatics, Iowa Pork Producers, and Arcade Games - F H3
We explore the late-90s country pop of megastar Tim McGraw's megahit "Please Remember Me". Dramatics abound in this go-big-or-go-home production, but why exactly does this song feel more suited to a stadium stage than to a honky-tonk? And how can a cut that sounds so full manage to convey such emptiness?
We return to France (But not that one) as the dreamers dive to Notre Dame. But they may not be received with the welcome they were expecting… Disney Corner - 3:25 KH Story - 32:45 --- Support this podcast: https://podcasters.spotify.com/pod/show/kingdomheartsbyheart/support
Monday, July 22, 2024 Inside Sports with Al Eschbach -Preston Poole is in for the legend, NFL predictions, Open Championship, ACC dramatics and more. Follow the Sports Animal on Facebook, Instagram and X Preston Poole on X Follow Tony Z on Instagram and Facebook Listen to past episodes HERE! Follow Inside Sports Podcasts on Apple, Google and SpotifySee omnystudio.com/listener for privacy information.
The Woop Woop Troop has tangled with everything from ogres to zombie dragon turtles, but they've never fought two dozen creepy dolls in magical darkness before! Support Rated RPG via Patreon: Patreon.com/ratedrpg
Faith producing works is an adage often shared in conversation, and Drey Skonie has witnessed it throughout his life. As a soul singer, he adds the feel of hip-hop, funk, house, and dance to the legacy of legends like Eddie Kendricks (of the Temptations), Philippé Wynne (of the Spinners), and Ron Banks (of the Dramatics). Drey stands out with his unique style, and his music reflects the vibe of his band, the Klouds. In this episode of Detroit is Different, we explore how he saw his grandparents build a church from the ground up with church funds and delve into much more of his experiences. Drey, a contestant on MTV's Making the Band with Diddy, shares insights beyond the infamous cheesecake run, discussing the intricacies of the music industry. He also reveals his vision for his music and style and opens up about his role playing Mr. Entertainment, Jackie Wilson. Check out Drey Skonie on Detroit is Different for a deeper look into his journey. Detroit is Different is a podcast hosted by Khary Frazier covering people adding to the culture of an American Classic city. Visit www.detroitisdifferent.com to hear, see and experience more of what makes Detroit different. Follow, like, share, and subscribe to the Podcast on iTunes, Google Play, and Sticher. Comment, suggest and connect with the podcast by emailing info@detroitisdifferent.com Find out more at https://detroit-is-different.pinecast.co Send us your feedback online: https://pinecast.com/feedback/detroit-is-different/eaa1795b-52d0-44de-bdb7-14bb7fcfcbc7
FOX-TV, Motown, Royalty, Grammy Award Nominated Classic " Gin & Juice Snoop Dogg“Rollin down the street, smokin indo, sippin on gin and juice/ Laid back (with my mind on my money and my money on my mind)” ~ David Ruffin Jr. vocal on the Multi-Platinum Hit " Gin & Juice" The son of The Temptations Lead Singer David Ruffin whose voice can be heard on classic Hits like: : My Girl, I Wish It Would Rain, Ain't to Proud to Beg", I'm Losing You, Beauty's Only Skin Deep & other Love Song of the classic group lineup during Motown's Golden Era.David's NEW Music " Time of My Life & Cry, Cry, Cry just dropped and was recently on FOX-TV' Show "I Can See Your Voice" Season 2David Ruffin, Jr.is a talented, versatile, up-and-coming recording artist whose voice can be heard on numerous hip hop projects by major recording artists like Dr. Dre and Snoop Dogg's Grammy® Award winning Hip Hop, multi-platinum classic recording that he and Dr. Dre wrote entitled, Gin & Juice. He is originally from Detroit, Michigan and currently residing in Hollywood, California. DavidRuffinJr,comDavid has Summer Concert & TV Appearances with the Sons of Motown as well as other TV, Concert Theatre Events in 2023David Jr. is blessed with a tremendous and powerful first and second tenor and an equally impressive Alto and Falsetto. D-Ruff can be heard on numerous hip hop projects by such stellar artists as Dr. Dre, Snoop Dogg, Mel Man, Benzino, Dave Mays and Capone. As well as local Detroit talent such as T Money Green, Amir, Young Ruff, The Boss and Diamond. He has also performed with the legendary singing group, “The Dramatics”, as well as prepared several independent recordings over the last four years, and has emerged as an excellent songwriter. Highly touted music publications such as “The Rolling Stone”, “The Source” and “Rap Pages” have lauded David Jr. as a talented, disciplined, and strong artist. © 2024 All Rights Reserved© 2024 Building Abundant Success!!Join Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon ~ https://tinyurl.com/AmzBASAudacy: https://tinyurl.com/BASAud
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This week on In Black America, producer and host John L. Hanson, Jr. presents a tribute to the late Ron Banks, singer and founding member of the legendary R&B Detroit singing group The Dramatics, whose recording career included hits like All Because Of You, Whatcha See Is Whatcha Get, and Me And Mrs. Jones. Ron […] The post A Tribute to Ron Banks (Ep. 23, 2024) appeared first on KUT & KUTX Studios -- Podcasts.
This week, Chris plays tracks by artists such as Otis Clay, The Dramatics and Sharron Jones!Tonight's show also features a Top 7 from Paul Fradley.For more info and tracklisting, visit: https://thefaceradio.com/dab-of-soul/Tune into new broadcasts of Dab Of Soul every Tuesday from Midday - 2 PM EST / 5 - 7 PM GMT.//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.
This week, Chris features a great and rare selection of Soul music, including artists such as Miracles, Marvin Gaye and The Dramatics! For more info and tracklisting, visit: https://thefaceradio.com/dab-of-soul/Tune into new broadcasts of Dab Of Soul every Tuesday from Midday - 2 PM EST / 5 - 7 PM GMT.//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.
FOX-TV, Motown, Royalty, Grammy Award Nominated Classic " Gin & Juice Snoop Dogg“Rollin down the street, smokin indo, sippin on gin and juice/ Laid back (with my mind on my money and my money on my mind)” ~ David Ruffin Jr. vocal on the Multi-Platinum Hit " Gin & Juice" The son of The Temptations Lead Singer David Ruffin whose voice can be heard on classic Hits like: : My Girl, I Wish It Would Rain, Ain't to Proud to Beg", I'm Losing You, Beauty's Only Skin Deep & other Love Song of the classic group lineup during Motown's Golden Era.David's NEW Music " Time of My Life & Cry, Cry, Cry just dropped and was recently on FOX-TV' Show "I Can See Your Voice" Season 2David Ruffin, Jr.is a talented, versatile, up-and-coming recording artist whose voice can be heard on numerous hip hop projects by major recording artists like Dr. Dre and Snoop Dogg's Grammy® Award winning Hip Hop, multi-platinum classic recording that he and Dr. Dre wrote entitled, Gin & Juice. He is originally from Detroit, Michigan and currently residing in Hollywood, California. DavidRuffinJr,comDavid has Summer Concert & TV Appearances with the Sons of Motown as well as other TV, Concert Theatre Events in 2023David Jr. is blessed with a tremendous and powerful first and second tenor and an equally impressive Alto and Falsetto. D-Ruff can be heard on numerous hip hop projects by such stellar artists as Dr. Dre, Snoop Dogg, Mel Man, Benzino, Dave Mays and Capone. As well as local Detroit talent such as T Money Green, Amir, Young Ruff, The Boss and Diamond. He has also performed with the legendary singing group, “The Dramatics”, as well as prepared several independent recordings over the last four years, and has emerged as an excellent songwriter. Highly touted music publications such as “The Rolling Stone”, “The Source” and “Rap Pages” have lauded David Jr. as a talented, disciplined, and strong artist. © 2023 All Rights Reserved© 2023 Building Abundant Success!!Join Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon ~ https://tinyurl.com/AmzBASAudacy: https://tinyurl.com/BASAud
Author Marianna Buffolino is a new and upcoming writer from New York. Married to her childhood friend, Marianna and her husband grew up and continue to live in New York close to their families. Her love for books that pull you into another world has given her the urge to begin writing herself. Marianna's vision is to write stories that bring a mix of romance, suspense, and heat with a roller coaster of emotions, adding a touch of darkness.She prefers mixing alpha males with alpha females while peeling back their layers to reveal their weaknesses. Dramatics and twists and turns are also reflected in her writing. Traveling and anything that opens herself up to new experiences is something Marianna enjoys. She loves having brunch/dinner drinks with her close friends just as much as she enjoys spending evenings at home cuddled up with her husband as they debate what to watch on Netflix. http://authormariannabuffolina.com The Douglas Coleman Show now offers audio and video promotional packages for music artists as well as video promotional packages for authors. We also offer advertising.Please see our website for complete details. http://douglascolemanshow.comIf you have a comment about this episode or any other, please click the link below.https://ratethispodcast.com/douglascolemanshow Please help The Douglas Coleman Show continue to bring you high quality programs like this. Go to our Fundrazer page. https://fnd.us/e2CLX2?ref=sh_eCTqb8
Episode 168 of A History of Rock Music in Five Hundred Songs looks at “I Say a Little Prayer”, and the interaction of the sacred, political, and secular in Aretha Franklin's life and work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-five-minute bonus episode available, on "Abraham, Martin, and John" by Dion. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Aretha Franklin. Even splitting it into multiple parts would have required six or seven mixes. My main biographical source for Aretha Franklin is Respect: The Life of Aretha Franklin by David Ritz, and this is where most of the quotes from musicians come from. Information on C.L. Franklin came from Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America by Nick Salvatore. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. Peter Guralnick's Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom is possibly less essential, but still definitely worth reading. Information about Martin Luther King came from Martin Luther King: A Religious Life by Paul Harvey. I also referred to Burt Bacharach's autobiography Anyone Who Had a Heart, Carole King's autobiography A Natural Woman, and Soul Serenade: King Curtis and his Immortal Saxophone by Timothy R. Hoover. For information about Amazing Grace I also used Aaron Cohen's 33 1/3 book on the album. The film of the concerts is also definitely worth watching. And the Aretha Now album is available in this five-album box set for a ludicrously cheap price. But it's actually worth getting this nineteen-CD set with her first sixteen Atlantic albums and a couple of bonus discs of demos and outtakes. There's barely a duff track in the whole nineteen discs. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick warning before I begin. This episode contains some moderate references to domestic abuse, death by cancer, racial violence, police violence, and political assassination. Anyone who might be upset by those subjects might want to check the transcript rather than listening to the episode. Also, as with the previous episode on Aretha Franklin, this episode presents something of a problem. Like many people in this narrative, Franklin's career was affected by personal troubles, which shaped many of her decisions. But where most of the subjects of the podcast have chosen to live their lives in public and share intimate details of every aspect of their personal lives, Franklin was an extremely private person, who chose to share only carefully sanitised versions of her life, and tried as far as possible to keep things to herself. This of course presents a dilemma for anyone who wants to tell her story -- because even though the information is out there in biographies, and even though she's dead, it's not right to disrespect someone's wish for a private life. I have therefore tried, wherever possible, to stay away from talk of her personal life except where it *absolutely* affects the work, or where other people involved have publicly shared their own stories, and even there I've tried to keep it to a minimum. This will occasionally lead to me saying less about some topics than other people might, even though the information is easily findable, because I don't think we have an absolute right to invade someone else's privacy for entertainment. When we left Aretha Franklin, she had just finally broken through into the mainstream after a decade of performing, with a version of Otis Redding's song "Respect" on which she had been backed by her sisters, Erma and Carolyn. "Respect", in Franklin's interpretation, had been turned from a rather chauvinist song about a man demanding respect from his woman into an anthem of feminism, of Black power, and of a new political awakening. For white people of a certain generation, the summer of 1967 was "the summer of love". For many Black people, it was rather different. There's a quote that goes around (I've seen it credited in reliable sources to both Ebony and Jet magazine, but not ever seen an issue cited, so I can't say for sure where it came from) saying that the summer of 67 was the summer of "'retha, Rap, and revolt", referring to the trifecta of Aretha Franklin, the Black power leader Jamil Abdullah al-Amin (who was at the time known as H. Rap Brown, a name he later disclaimed) and the rioting that broke out in several major cities, particularly in Detroit: [Excerpt: John Lee Hooker, "The Motor City is Burning"] The mid sixties were, in many ways, the high point not of Black rights in the US -- for the most part there has been a lot of progress in civil rights in the intervening decades, though not without inevitable setbacks and attacks from the far right, and as movements like the Black Lives Matter movement have shown there is still a long way to go -- but of *hope* for Black rights. The moral force of the arguments made by the civil rights movement were starting to cause real change to happen for Black people in the US for the first time since the Reconstruction nearly a century before. But those changes weren't happening fast enough, and as we heard in the episode on "I Was Made to Love Her", there was not only a growing unrest among Black people, but a recognition that it was actually possible for things to change. A combination of hope and frustration can be a powerful catalyst, and whether Franklin wanted it or not, she was at the centre of things, both because of her newfound prominence as a star with a hit single that couldn't be interpreted as anything other than a political statement and because of her intimate family connections to the struggle. Even the most racist of white people these days pays lip service to the memory of Dr Martin Luther King, and when they do they quote just a handful of sentences from one speech King made in 1963, as if that sums up the full theological and political philosophy of that most complex of men. And as we discussed the last time we looked at Aretha Franklin, King gave versions of that speech, the "I Have a Dream" speech, twice. The most famous version was at the March on Washington, but the first time was a few weeks earlier, at what was at the time the largest civil rights demonstration in American history, in Detroit. Aretha's family connection to that event is made clear by the very opening of King's speech: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech"] So as summer 1967 got into swing, and white rock music was going to San Francisco to wear flowers in its hair, Aretha Franklin was at the centre of a very different kind of youth revolution. Franklin's second Atlantic album, Aretha Arrives, brought in some new personnel to the team that had recorded Aretha's first album for Atlantic. Along with the core Muscle Shoals players Jimmy Johnson, Spooner Oldham, Tommy Cogbill and Roger Hawkins, and a horn section led by King Curtis, Wexler and Dowd also brought in guitarist Joe South. South was a white session player from Georgia, who had had a few minor hits himself in the fifties -- he'd got his start recording a cover version of "The Purple People Eater Meets the Witch Doctor", the Big Bopper's B-side to "Chantilly Lace": [Excerpt: Joe South, "The Purple People Eater Meets the Witch Doctor"] He'd also written a few songs that had been recorded by people like Gene Vincent, but he'd mostly become a session player. He'd become a favourite musician of Bob Johnston's, and so he'd played guitar on Simon and Garfunkel's Sounds of Silence and Parsley, Sage, Rosemary and Thyme albums: [Excerpt: Simon and Garfunkel, "I am a Rock"] and bass on Bob Dylan's Blonde on Blonde, with Al Kooper particularly praising his playing on "Visions of Johanna": [Excerpt: Bob Dylan, "Visions of Johanna"] South would be the principal guitarist on this and Franklin's next album, before his own career took off in 1968 with "Games People Play": [Excerpt: Joe South, "Games People Play"] At this point, he had already written the other song he's best known for, "Hush", which later became a hit for Deep Purple: [Excerpt: Deep Purple, "Hush"] But he wasn't very well known, and was surprised to get the call for the Aretha Franklin session, especially because, as he put it "I was white and I was about to play behind the blackest genius since Ray Charles" But Jerry Wexler had told him that Franklin didn't care about the race of the musicians she played with, and South settled in as soon as Franklin smiled at him when he played a good guitar lick on her version of the blues standard "Going Down Slow": [Excerpt: Aretha Franklin, "Going Down Slow"] That was one of the few times Franklin smiled in those sessions though. Becoming an overnight success after years of trying and failing to make a name for herself had been a disorienting experience, and on top of that things weren't going well in her personal life. Her marriage to her manager Ted White was falling apart, and she was performing erratically thanks to the stress. In particular, at a gig in Georgia she had fallen off the stage and broken her arm. She soon returned to performing, but it meant she had problems with her right arm during the recording of the album, and didn't play as much piano as she would have previously -- on some of the faster songs she played only with her left hand. But the recording sessions had to go on, whether or not Aretha was physically capable of playing piano. As we discussed in the episode on Otis Redding, the owners of Atlantic Records were busily negotiating its sale to Warner Brothers in mid-1967. As Wexler said later “Everything in me said, Keep rolling, keep recording, keep the hits coming. She was red hot and I had no reason to believe that the streak wouldn't continue. I knew that it would be foolish—and even irresponsible—not to strike when the iron was hot. I also had personal motivation. A Wall Street financier had agreed to see what we could get for Atlantic Records. While Ahmet and Neshui had not agreed on a selling price, they had gone along with my plan to let the financier test our worth on the open market. I was always eager to pump out hits, but at this moment I was on overdrive. In this instance, I had a good partner in Ted White, who felt the same. He wanted as much product out there as possible." In truth, you can tell from Aretha Arrives that it's a record that was being thought of as "product" rather than one being made out of any kind of artistic impulse. It's a fine album -- in her ten-album run from I Never Loved a Man the Way I Love You through Amazing Grace there's not a bad album and barely a bad track -- but there's a lack of focus. There are only two originals on the album, neither of them written by Franklin herself, and the rest is an incoherent set of songs that show the tension between Franklin and her producers at Atlantic. Several songs are the kind of standards that Franklin had recorded for her old label Columbia, things like "You Are My Sunshine", or her version of "That's Life", which had been a hit for Frank Sinatra the previous year: [Excerpt: Aretha Franklin, "That's Life"] But mixed in with that are songs that are clearly the choice of Wexler. As we've discussed previously in episodes on Otis Redding and Wilson Pickett, at this point Atlantic had the idea that it was possible for soul artists to cross over into the white market by doing cover versions of white rock hits -- and indeed they'd had some success with that tactic. So while Franklin was suggesting Sinatra covers, Atlantic's hand is visible in the choices of songs like "(I Can't Get No) Satisfaction" and "96 Tears": [Excerpt: Aretha Franklin, "96 Tears'] Of the two originals on the album, one, the hit single "Baby I Love You" was written by Ronnie Shannon, the Detroit songwriter who had previously written "I Never Loved a Man (the Way I Love You)": [Excerpt: Aretha Franklin, "Baby I Love You"] As with the previous album, and several other songs on this one, that had backing vocals by Aretha's sisters, Erma and Carolyn. But the other original on the album, "Ain't Nobody (Gonna Turn Me Around)", didn't, even though it was written by Carolyn: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] To explain why, let's take a little detour and look at the co-writer of the song this episode is about, though we're not going to get to that for a little while yet. We've not talked much about Burt Bacharach in this series so far, but he's one of those figures who has come up a few times in the periphery and will come up again, so here is as good a time as any to discuss him, and bring everyone up to speed about his career up to 1967. Bacharach was one of the more privileged figures in the sixties pop music field. His father, Bert Bacharach (pronounced the same as his son, but spelled with an e rather than a u) had been a famous newspaper columnist, and his parents had bought him a Steinway grand piano to practice on -- they pushed him to learn the piano even though as a kid he wasn't interested in finger exercises and Debussy. What he was interested in, though, was jazz, and as a teenager he would often go into Manhattan and use a fake ID to see people like Dizzy Gillespie, who he idolised, and in his autobiography he talks rapturously of seeing Gillespie playing his bent trumpet -- he once saw Gillespie standing on a street corner with a pet monkey on his shoulder, and went home and tried to persuade his parents to buy him a monkey too. In particular, he talks about seeing the Count Basie band with Sonny Payne on drums as a teenager: [Excerpt: Count Basie, "Kid From Red Bank"] He saw them at Birdland, the club owned by Morris Levy where they would regularly play, and said of the performance "they were just so incredibly exciting that all of a sudden, I got into music in a way I never had before. What I heard in those clubs really turned my head around— it was like a big breath of fresh air when somebody throws open a window. That was when I knew for the first time how much I loved music and wanted to be connected to it in some way." Of course, there's a rather major problem with this story, as there is so often with narratives that musicians tell about their early career. In this case, Birdland didn't open until 1949, when Bacharach was twenty-one and stationed in Germany for his military service, while Sonny Payne didn't join Basie's band until 1954, when Bacharach had been a professional musician for many years. Also Dizzy Gillespie's trumpet bell only got bent on January 6, 1953. But presumably while Bacharach was conflating several memories, he did have some experience in some New York jazz club that led him to want to become a musician. Certainly there were enough great jazz musicians playing the clubs in those days. He went to McGill University to study music for two years, then went to study with Darius Milhaud, a hugely respected modernist composer. Milhaud was also one of the most important music teachers of the time -- among others he'd taught Stockhausen and Xenakkis, and would go on to teach Philip Glass and Steve Reich. This suited Bacharach, who by this point was a big fan of Schoenberg and Webern, and was trying to write atonal, difficult music. But Milhaud had also taught Dave Brubeck, and when Bacharach rather shamefacedly presented him with a composition which had an actual tune, he told Bacharach "Never be ashamed of writing a tune you can whistle". He dropped out of university and, like most men of his generation, had to serve in the armed forces. When he got out of the army, he continued his musical studies, still trying to learn to be an avant-garde composer, this time with Bohuslav Martinů and later with Henry Cowell, the experimental composer we've heard about quite a bit in previous episodes: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] He was still listening to a lot of avant garde music, and would continue doing so throughout the fifties, going to see people like John Cage. But he spent much of that time working in music that was very different from the avant-garde. He got a job as the band leader for the crooner Vic Damone: [Excerpt: Vic Damone. "Ebb Tide"] He also played for the vocal group the Ames Brothers. He decided while he was working with the Ames Brothers that he could write better material than they were getting from their publishers, and that it would be better to have a job where he didn't have to travel, so he got himself a job as a staff songwriter in the Brill Building. He wrote a string of flops and nearly hits, starting with "Keep Me In Mind" for Patti Page: [Excerpt: Patti Page, "Keep Me In Mind"] From early in his career he worked with the lyricist Hal David, and the two of them together wrote two big hits, "Magic Moments" for Perry Como: [Excerpt: Perry Como, "Magic Moments"] and "The Story of My Life" for Marty Robbins: [Excerpt: "The Story of My Life"] But at that point Bacharach was still also writing with other writers, notably Hal David's brother Mack, with whom he wrote the theme tune to the film The Blob, as performed by The Five Blobs: [Excerpt: The Five Blobs, "The Blob"] But Bacharach's songwriting career wasn't taking off, and he got himself a job as musical director for Marlene Dietrich -- a job he kept even after it did start to take off. Part of the problem was that he intuitively wrote music that didn't quite fit into standard structures -- there would be odd bars of unusual time signatures thrown in, unusual harmonies, and structural irregularities -- but then he'd take feedback from publishers and producers who would tell him the song could only be recorded if he straightened it out. He said later "The truth is that I ruined a lot of songs by not believing in myself enough to tell these guys they were wrong." He started writing songs for Scepter Records, usually with Hal David, but also with Bob Hilliard and Mack David, and started having R&B hits. One song he wrote with Mack David, "I'll Cherish You", had the lyrics rewritten by Luther Dixon to make them more harsh-sounding for a Shirelles single -- but the single was otherwise just Bacharach's demo with the vocals replaced, and you can even hear his voice briefly at the beginning: [Excerpt: The Shirelles, "Baby, It's You"] But he'd also started becoming interested in the production side of records more generally. He'd iced that some producers, when recording his songs, would change the sound for the worse -- he thought Gene McDaniels' version of "Tower of Strength", for example, was too fast. But on the other hand, other producers got a better sound than he'd heard in his head. He and Hilliard had written a song called "Please Stay", which they'd given to Leiber and Stoller to record with the Drifters, and he thought that their arrangement of the song was much better than the one he'd originally thought up: [Excerpt: The Drifters, "Please Stay"] He asked Leiber and Stoller if he could attend all their New York sessions and learn about record production from them. He started doing so, and eventually they started asking him to assist them on records. He and Hilliard wrote a song called "Mexican Divorce" for the Drifters, which Leiber and Stoller were going to produce, and as he put it "they were so busy running Redbird Records that they asked me to rehearse the background singers for them in my office." [Excerpt: The Drifters, "Mexican Divorce"] The backing singers who had been brought in to augment the Drifters on that record were a group of vocalists who had started out as members of a gospel group called the Drinkard singers: [Excerpt: The Drinkard Singers, "Singing in My Soul"] The Drinkard Singers had originally been a family group, whose members included Cissy Drinkard, who joined the group aged five (and who on her marriage would become known as Cissy Houston -- her daughter Whitney would later join the family business), her aunt Lee Warrick, and Warrick's adopted daughter Judy Clay. That group were discovered by the great gospel singer Mahalia Jackson, and spent much of the fifties performing with gospel greats including Jackson herself, Clara Ward, and Sister Rosetta Tharpe. But Houston was also the musical director of a group at her church, the Gospelaires, which featured Lee Warrick's two daughters Dionne and Dee Dee Warwick (for those who don't know, the Warwick sisters' birth name was Warrick, spelled with two rs. A printing error led to it being misspelled the same way as the British city on a record label, and from that point on Dionne at least pronounced the w in her misspelled name). And slowly, the Gospelaires rather than the Drinkard Singers became the focus, with a lineup of Houston, the Warwick sisters, the Warwick sisters' cousin Doris Troy, and Clay's sister Sylvia Shemwell. The real change in the group's fortunes came when, as we talked about a while back in the episode on "The Loco-Motion", the original lineup of the Cookies largely stopped working as session singers to become Ray Charles' Raelettes. As we discussed in that episode, a new lineup of Cookies formed in 1961, but it took a while for them to get started, and in the meantime the producers who had been relying on them for backing vocals were looking elsewhere, and they looked to the Gospelaires. "Mexican Divorce" was the first record to feature the group as backing vocalists -- though reports vary as to how many of them are on the record, with some saying it's only Troy and the Warwicks, others saying Houston was there, and yet others saying it was all five of them. Some of these discrepancies were because these singers were so good that many of them left to become solo singers in fairly short order. Troy was the first to do so, with her hit "Just One Look", on which the other Gospelaires sang backing vocals: [Excerpt: Doris Troy, "Just One Look"] But the next one to go solo was Dionne Warwick, and that was because she'd started working with Bacharach and Hal David as their principal demo singer. She started singing lead on their demos, and hoping that she'd get to release them on her own. One early one was "Make it Easy On Yourself", which was recorded by Jerry Butler, formerly of the Impressions. That record was produced by Bacharach, one of the first records he produced without outside supervision: [Excerpt: Jerry Butler, "Make it Easy On Yourself"] Warwick was very jealous that a song she'd sung the demo of had become a massive hit for someone else, and blamed Bacharach and David. The way she tells the story -- Bacharach always claimed this never happened, but as we've already seen he was himself not always the most reliable of narrators of his own life -- she got so angry she complained to them, and said "Don't make me over, man!" And so Bacharach and David wrote her this: [Excerpt: Dionne Warwick, "Don't Make Me Over"] Incidentally, in the UK, the hit version of that was a cover by the Swinging Blue Jeans: [Excerpt: The Swinging Blue Jeans, "Don't Make Me Over"] who also had a huge hit with "You're No Good": [Excerpt: The Swinging Blue Jeans, "You're No Good"] And *that* was originally recorded by *Dee Dee* Warwick: [Excerpt: Dee Dee Warwick, "You're No Good"] Dee Dee also had a successful solo career, but Dionne's was the real success, making the names of herself, and of Bacharach and David. The team had more than twenty top forty hits together, before Bacharach and David had a falling out in 1971 and stopped working together, and Warwick sued both of them for breach of contract as a result. But prior to that they had hit after hit, with classic records like "Anyone Who Had a Heart": [Excerpt: Dionne Warwick, "Anyone Who Had a Heart"] And "Walk On By": [Excerpt: Dionne Warwick, "Walk On By"] With Doris, Dionne, and Dee Dee all going solo, the group's membership was naturally in flux -- though the departed members would occasionally join their former bandmates for sessions, and the remaining members would sing backing vocals on their ex-members' records. By 1965 the group consisted of Cissy Houston, Sylvia Shemwell, the Warwick sisters' cousin Myrna Smith, and Estelle Brown. The group became *the* go-to singers for soul and R&B records made in New York. They were regularly hired by Leiber and Stoller to sing on their records, and they were also the particular favourites of Bert Berns. They sang backing vocals on almost every record he produced. It's them doing the gospel wails on "Cry Baby" by Garnet Mimms: [Excerpt: Garnet Mimms, "Cry Baby"] And they sang backing vocals on both versions of "If You Need Me" -- Wilson Pickett's original and Solomon Burke's more successful cover version, produced by Berns: [Excerpt: Solomon Burke, "If You Need Me"] They're on such Berns records as "Show Me Your Monkey", by Kenny Hamber: [Excerpt: Kenny Hamber, "Show Me Your Monkey"] And it was a Berns production that ended up getting them to be Aretha Franklin's backing group. The group were becoming such an important part of the records that Atlantic and BANG Records, in particular, were putting out, that Jerry Wexler said "it was only a matter of common decency to put them under contract as a featured group". He signed them to Atlantic and renamed them from the Gospelaires to The Sweet Inspirations. Dan Penn and Spooner Oldham wrote a song for the group which became their only hit under their own name: [Excerpt: The Sweet Inspirations, "Sweet Inspiration"] But to start with, they released a cover of Pops Staples' civil rights song "Why (Am I treated So Bad)": [Excerpt: The Sweet Inspirations, "Why (Am I Treated So Bad?)"] That hadn't charted, and meanwhile, they'd all kept doing session work. Cissy had joined Erma and Carolyn Franklin on the backing vocals for Aretha's "I Never Loved a Man the Way I Love You": [Excerpt: Aretha Franklin, "I Never Loved a Man the Way I Love You"] Shortly after that, the whole group recorded backing vocals for Erma's single "Piece of My Heart", co-written and produced by Berns: [Excerpt: Erma Franklin, "Piece of My Heart"] That became a top ten record on the R&B charts, but that caused problems. Aretha Franklin had a few character flaws, and one of these was an extreme level of jealousy for any other female singer who had any level of success and came up in the business after her. She could be incredibly graceful towards anyone who had been successful before her -- she once gave one of her Grammies away to Esther Phillips, who had been up for the same award and had lost to her -- but she was terribly insecure, and saw any contemporary as a threat. She'd spent her time at Columbia Records fuming (with some justification) that Barbra Streisand was being given a much bigger marketing budget than her, and she saw Diana Ross, Gladys Knight, and Dionne Warwick as rivals rather than friends. And that went doubly for her sisters, who she was convinced should be supporting her because of family loyalty. She had been infuriated at John Hammond when Columbia had signed Erma, thinking he'd gone behind her back to create competition for her. And now Erma was recording with Bert Berns. Bert Berns who had for years been a colleague of Jerry Wexler and the Ertegun brothers at Atlantic. Aretha was convinced that Wexler had put Berns up to signing Erma as some kind of power play. There was only one problem with this -- it simply wasn't true. As Wexler later explained “Bert and I had suffered a bad falling-out, even though I had enormous respect for him. After all, he was the guy who brought over guitarist Jimmy Page from England to play on our sessions. Bert, Ahmet, Nesuhi, and I had started a label together—Bang!—where Bert produced Van Morrison's first album. But Bert also had a penchant for trouble. He courted the wise guys. He wanted total control over every last aspect of our business dealings. Finally it was too much, and the Erteguns and I let him go. He sued us for breach of contract and suddenly we were enemies. I felt that he signed Erma, an excellent singer, not merely for her talent but as a way to get back at me. If I could make a hit with Aretha, he'd show me up by making an even bigger hit on Erma. Because there was always an undercurrent of rivalry between the sisters, this only added to the tension.” There were two things that resulted from this paranoia on Aretha's part. The first was that she and Wexler, who had been on first-name terms up to that point, temporarily went back to being "Mr. Wexler" and "Miss Franklin" to each other. And the second was that Aretha no longer wanted Carolyn and Erma to be her main backing vocalists, though they would continue to appear on her future records on occasion. From this point on, the Sweet Inspirations would be the main backing vocalists for Aretha in the studio throughout her golden era [xxcut line (and when the Sweet Inspirations themselves weren't on the record, often it would be former members of the group taking their place)]: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] The last day of sessions for Aretha Arrives was July the twenty-third, 1967. And as we heard in the episode on "I Was Made to Love Her", that was the day that the Detroit riots started. To recap briefly, that was four days of rioting started because of a history of racist policing, made worse by those same racist police overreacting to the initial protests. By the end of those four days, the National Guard, 82nd Airborne Division, and the 101st Airborne from Clarksville were all called in to deal with the violence, which left forty-three dead (of whom thirty-three were Black and only one was a police officer), 1,189 people were injured, and over 7,200 arrested, almost all of them Black. Those days in July would be a turning point for almost every musician based in Detroit. In particular, the police had murdered three members of the soul group the Dramatics, in a massacre of which the author John Hersey, who had been asked by President Johnson to be part of the National Advisory Commission on Civil Disorders but had decided that would compromise his impartiality and did an independent journalistic investigation, said "The episode contained all the mythic themes of racial strife in the United States: the arm of the law taking the law into its own hands; interracial sex; the subtle poison of racist thinking by “decent” men who deny they are racists; the societal limbo into which, ever since slavery, so many young black men have been driven by our country; ambiguous justice in the courts; and the devastation in both black and white human lives that follows in the wake of violence as surely as ruinous and indiscriminate flood after torrents" But these were also the events that radicalised the MC5 -- the group had been playing a gig as Tim Buckley's support act when the rioting started, and guitarist Wayne Kramer decided afterwards to get stoned and watch the fires burning down the city through a telescope -- which police mistook for a rifle, leading to the National Guard knocking down Kramer's door. The MC5 would later cover "The Motor City is Burning", John Lee Hooker's song about the events: [Excerpt: The MC5, "The Motor City is Burning"] It would also be a turning point for Motown, too, in ways we'll talk about in a few future episodes. And it was a political turning point too -- Michigan Governor George Romney, a liberal Republican (at a time when such people existed) had been the favourite for the Republican Presidential candidacy when he'd entered the race in December 1966, but as racial tensions ramped up in Detroit during the early months of 1967 he'd started trailing Richard Nixon, a man who was consciously stoking racists' fears. President Johnson, the incumbent Democrat, who was at that point still considering standing for re-election, made sure to make it clear to everyone during the riots that the decision to call in the National Guard had been made at the State level, by Romney, rather than at the Federal level. That wasn't the only thing that removed the possibility of a Romney presidency, but it was a big part of the collapse of his campaign, and the, as it turned out, irrevocable turn towards right-authoritarianism that the party took with Nixon's Southern Strategy. Of course, Aretha Franklin had little way of knowing what was to come and how the riots would change the city and the country over the following decades. What she was primarily concerned about was the safety of her father, and to a lesser extent that of her sister-in-law Earline who was staying with him. Aretha, Carolyn, and Erma all tried to keep in constant touch with their father while they were out of town, and Aretha even talked about hiring private detectives to travel to Detroit, find her father, and get him out of the city to safety. But as her brother Cecil pointed out, he was probably the single most loved man among Black people in Detroit, and was unlikely to be harmed by the rioters, while he was too famous for the police to kill with impunity. Reverend Franklin had been having a stressful time anyway -- he had recently been fined for tax evasion, an action he was convinced the IRS had taken because of his friendship with Dr King and his role in the civil rights movement -- and according to Cecil "Aretha begged Daddy to move out of the city entirely. She wanted him to find another congregation in California, where he was especially popular—or at least move out to the suburbs. But he wouldn't budge. He said that, more than ever, he was needed to point out the root causes of the riots—the economic inequality, the pervasive racism in civic institutions, the woefully inadequate schools in inner-city Detroit, and the wholesale destruction of our neighborhoods by urban renewal. Some ministers fled the city, but not our father. The horror of what happened only recommitted him. He would not abandon his political agenda." To make things worse, Aretha was worried about her father in other ways -- as her marriage to Ted White was starting to disintegrate, she was looking to her father for guidance, and actually wanted him to take over her management. Eventually, Ruth Bowen, her booking agent, persuaded her brother Cecil that this was a job he could do, and that she would teach him everything he needed to know about the music business. She started training him up while Aretha was still married to White, in the expectation that that marriage couldn't last. Jerry Wexler, who only a few months earlier had been seeing Ted White as an ally in getting "product" from Franklin, had now changed his tune -- partly because the sale of Atlantic had gone through in the meantime. He later said “Sometimes she'd call me at night, and, in that barely audible little-girl voice of hers, she'd tell me that she wasn't sure she could go on. She always spoke in generalities. She never mentioned her husband, never gave me specifics of who was doing what to whom. And of course I knew better than to ask. She just said that she was tired of dealing with so much. My heart went out to her. She was a woman who suffered silently. She held so much in. I'd tell her to take as much time off as she needed. We had a lot of songs in the can that we could release without new material. ‘Oh, no, Jerry,' she'd say. ‘I can't stop recording. I've written some new songs, Carolyn's written some new songs. We gotta get in there and cut 'em.' ‘Are you sure?' I'd ask. ‘Positive,' she'd say. I'd set up the dates and typically she wouldn't show up for the first or second sessions. Carolyn or Erma would call me to say, ‘Ree's under the weather.' That was tough because we'd have asked people like Joe South and Bobby Womack to play on the sessions. Then I'd reschedule in the hopes she'd show." That third album she recorded in 1967, Lady Soul, was possibly her greatest achievement. The opening track, and second single, "Chain of Fools", released in November, was written by Don Covay -- or at least it's credited as having been written by Covay. There's a gospel record that came out around the same time on a very small label based in Houston -- "Pains of Life" by Rev. E. Fair And The Sensational Gladys Davis Trio: [Excerpt: Rev. E. Fair And The Sensational Gladys Davis Trio, "Pains of Life"] I've seen various claims online that that record came out shortly *before* "Chain of Fools", but I can't find any definitive evidence one way or the other -- it was on such a small label that release dates aren't available anywhere. Given that the B-side, which I haven't been able to track down online, is called "Wait Until the Midnight Hour", my guess is that rather than this being a case of Don Covay stealing the melody from an obscure gospel record he'd have had little chance to hear, it's the gospel record rewriting a then-current hit to be about religion, but I thought it worth mentioning. The song was actually written by Covay after Jerry Wexler asked him to come up with some songs for Otis Redding, but Wexler, after hearing it, decided it was better suited to Franklin, who gave an astonishing performance: [Excerpt: Aretha Franklin, "Chain of Fools"] Arif Mardin, the arranger of the album, said of that track “I was listed as the arranger of ‘Chain of Fools,' but I can't take credit. Aretha walked into the studio with the chart fully formed inside her head. The arrangement is based around the harmony vocals provided by Carolyn and Erma. To add heft, the Sweet Inspirations joined in. The vision of the song is entirely Aretha's.” According to Wexler, that's not *quite* true -- according to him, Joe South came up with the guitar part that makes up the intro, and he also said that when he played what he thought was the finished track to Ellie Greenwich, she came up with another vocal line for the backing vocals, which she overdubbed. But the core of the record's sound is definitely pure Aretha -- and Carolyn Franklin said that there was a reason for that. As she said later “Aretha didn't write ‘Chain,' but she might as well have. It was her story. When we were in the studio putting on the backgrounds with Ree doing lead, I knew she was singing about Ted. Listen to the lyrics talking about how for five long years she thought he was her man. Then she found out she was nothing but a link in the chain. Then she sings that her father told her to come on home. Well, he did. She sings about how her doctor said to take it easy. Well, he did too. She was drinking so much we thought she was on the verge of a breakdown. The line that slew me, though, was the one that said how one of these mornings the chain is gonna break but until then she'll take all she can take. That summed it up. Ree knew damn well that this man had been doggin' her since Jump Street. But somehow she held on and pushed it to the breaking point." [Excerpt: Aretha Franklin, "Chain of Fools"] That made number one on the R&B charts, and number two on the hot one hundred, kept from the top by "Judy In Disguise (With Glasses)" by John Fred and his Playboy Band -- a record that very few people would say has stood the test of time as well. The other most memorable track on the album was the one chosen as the first single, released in September. As Carole King told the story, she and Gerry Goffin were feeling like their career was in a slump. While they had had a huge run of hits in the early sixties through 1965, they had only had two new hits in 1966 -- "Goin' Back" for Dusty Springfield and "Don't Bring Me Down" for the Animals, and neither of those were anything like as massive as their previous hits. And up to that point in 1967, they'd only had one -- "Pleasant Valley Sunday" for the Monkees. They had managed to place several songs on Monkees albums and the TV show as well, so they weren't going to starve, but the rise of self-contained bands that were starting to dominate the charts, and Phil Spector's temporary retirement, meant there simply wasn't the opportunity for them to place material that there had been. They were also getting sick of travelling to the West Coast all the time, because as their children were growing slightly older they didn't want to disrupt their lives in New York, and were thinking of approaching some of the New York based labels and seeing if they needed songs. They were particularly considering Atlantic, because soul was more open to outside songwriters than other genres. As it happened, though, they didn't have to approach Atlantic, because Atlantic approached them. They were walking down Broadway when a limousine pulled up, and Jerry Wexler stuck his head out of the window. He'd come up with a good title that he wanted to use for a song for Aretha, would they be interested in writing a song called "Natural Woman"? They said of course they would, and Wexler drove off. They wrote the song that night, and King recorded a demo the next morning: [Excerpt: Carole King, "(You Make Me Feel Like) A Natural Woman (demo)"] They gave Wexler a co-writing credit because he had suggested the title. King later wrote in her autobiography "Hearing Aretha's performance of “Natural Woman” for the first time, I experienced a rare speechless moment. To this day I can't convey how I felt in mere words. Anyone who had written a song in 1967 hoping it would be performed by a singer who could take it to the highest level of excellence, emotional connection, and public exposure would surely have wanted that singer to be Aretha Franklin." She went on to say "But a recording that moves people is never just about the artist and the songwriters. It's about people like Jerry and Ahmet, who matched the songwriters with a great title and a gifted artist; Arif Mardin, whose magnificent orchestral arrangement deserves the place it will forever occupy in popular music history; Tom Dowd, whose engineering skills captured the magic of this memorable musical moment for posterity; and the musicians in the rhythm section, the orchestral players, and the vocal contributions of the background singers—among them the unforgettable “Ah-oo!” after the first line of the verse. And the promotion and marketing people helped this song reach more people than it might have without them." And that's correct -- unlike "Chain of Fools", this time Franklin did let Arif Mardin do most of the arrangement work -- though she came up with the piano part that Spooner Oldham plays on the record. Mardin said that because of the song's hymn-like feel they wanted to go for a more traditional written arrangement. He said "She loved the song to the point where she said she wanted to concentrate on the vocal and vocal alone. I had written a string chart and horn chart to augment the chorus and hired Ralph Burns to conduct. After just a couple of takes, we had it. That's when Ralph turned to me with wonder in his eyes. Ralph was one of the most celebrated arrangers of the modern era. He had done ‘Early Autumn' for Woody Herman and Stan Getz, and ‘Georgia on My Mind' for Ray Charles. He'd worked with everyone. ‘This woman comes from another planet' was all Ralph said. ‘She's just here visiting.'” [Excerpt: Aretha Franklin, "(You Make Me Feel Like) A Natural Woman"] By this point there was a well-functioning team making Franklin's records -- while the production credits would vary over the years, they were all essentially co-productions by the team of Franklin, Wexler, Mardin and Dowd, all collaborating and working together with a more-or-less unified purpose, and the backing was always by the same handful of session musicians and some combination of the Sweet Inspirations and Aretha's sisters. That didn't mean that occasional guests couldn't get involved -- as we discussed in the Cream episode, Eric Clapton played guitar on "Good to Me as I am to You": [Excerpt: Aretha Franklin, "Good to Me as I am to You"] Though that was one of the rare occasions on one of these records where something was overdubbed. Clapton apparently messed up the guitar part when playing behind Franklin, because he was too intimidated by playing with her, and came back the next day to redo his part without her in the studio. At this point, Aretha was at the height of her fame. Just before the final batch of album sessions began she appeared in the Macy's Thanksgiving Parade, and she was making regular TV appearances, like one on the Mike Douglas Show where she duetted with Frankie Valli on "That's Life": [Excerpt: Aretha Franklin and Frankie Valli, "That's Life"] But also, as Wexler said “Her career was kicking into high gear. Contending and resolving both the professional and personal challenges were too much. She didn't think she could do both, and I didn't blame her. Few people could. So she let the personal slide and concentrated on the professional. " Her concert promoter Ruth Bowen said of this time "Her father and Dr. King were putting pressure on her to sing everywhere, and she felt obligated. The record company was also screaming for more product. And I had a mountain of offers on my desk that kept getting higher with every passing hour. They wanted her in Europe. They wanted her in Latin America. They wanted her in every major venue in the U.S. TV was calling. She was being asked to do guest appearances on every show from Carol Burnett to Andy Williams to the Hollywood Palace. She wanted to do them all and she wanted to do none of them. She wanted to do them all because she's an entertainer who burns with ambition. She wanted to do none of them because she was emotionally drained. She needed to go away and renew her strength. I told her that at least a dozen times. She said she would, but she didn't listen to me." The pressures from her father and Dr King are a recurring motif in interviews with people about this period. Franklin was always a very political person, and would throughout her life volunteer time and money to liberal political causes and to the Democratic Party, but this was the height of her activism -- the Civil Rights movement was trying to capitalise on the gains it had made in the previous couple of years, and celebrity fundraisers and performances at rallies were an important way to do that. And at this point there were few bigger celebrities in America than Aretha Franklin. At a concert in her home town of Detroit on February the sixteenth, 1968, the Mayor declared the day Aretha Franklin Day. At the same show, Billboard, Record World *and* Cash Box magazines all presented her with plaques for being Female Vocalist of the Year. And Dr. King travelled up to be at the show and congratulate her publicly for all her work with his organisation, the Southern Christian Leadership Conference. Backstage at that show, Dr. King talked to Aretha's father, Reverend Franklin, about what he believed would be the next big battle -- a strike in Memphis: [Excerpt, Martin Luther King, "Mountaintop Speech" -- "And so, as a result of this, we are asking you tonight, to go out and tell your neighbors not to buy Coca-Cola in Memphis. Go by and tell them not to buy Sealtest milk. Tell them not to buy—what is the other bread?—Wonder Bread. And what is the other bread company, Jesse? Tell them not to buy Hart's bread. As Jesse Jackson has said, up to now, only the garbage men have been feeling pain; now we must kind of redistribute the pain. We are choosing these companies because they haven't been fair in their hiring policies; and we are choosing them because they can begin the process of saying, they are going to support the needs and the rights of these men who are on strike. And then they can move on downtown and tell Mayor Loeb to do what is right."] The strike in question was the Memphis Sanitation Workers' strike which had started a few days before. The struggle for Black labour rights was an integral part of the civil rights movement, and while it's not told that way in the sanitised version of the story that's made it into popular culture, the movement led by King was as much about economic justice as social justice -- King was a democratic socialist, and believed that economic oppression was both an effect of and cause of other forms of racial oppression, and that the rights of Black workers needed to be fought for. In 1967 he had set up a new organisation, the Poor People's Campaign, which was set to march on Washington to demand a program that included full employment, a guaranteed income -- King was strongly influenced in his later years by the ideas of Henry George, the proponent of a universal basic income based on land value tax -- the annual building of half a million affordable homes, and an end to the war in Vietnam. This was King's main focus in early 1968, and he saw the sanitation workers' strike as a major part of this campaign. Memphis was one of the most oppressive cities in the country, and its largely Black workforce of sanitation workers had been trying for most of the 1960s to unionise, and strike-breakers had been called in to stop them, and many of them had been fired by their white supervisors with no notice. They were working in unsafe conditions, for utterly inadequate wages, and the city government were ardent segregationists. After two workers had died on the first of February from using unsafe equipment, the union demanded changes -- safer working conditions, better wages, and recognition of the union. The city council refused, and almost all the sanitation workers stayed home and stopped work. After a few days, the council relented and agreed to their terms, but the Mayor, Henry Loeb, an ardent white supremacist who had stood on a platform of opposing desegregation, and who had previously been the Public Works Commissioner who had put these unsafe conditions in place, refused to listen. As far as he was concerned, he was the only one who could recognise the union, and he wouldn't. The workers continued their strike, marching holding signs that simply read "I am a Man": [Excerpt: Stevie Wonder, "Blowing in the Wind"] The Southern Christian Leadership Conference and the NAACP had been involved in organising support for the strikes from an early stage, and King visited Memphis many times. Much of the time he spent visiting there was spent negotiating with a group of more militant activists, who called themselves The Invaders and weren't completely convinced by King's nonviolent approach -- they believed that violence and rioting got more attention than non-violent protests. King explained to them that while he had been persuaded by Gandhi's writings of the moral case for nonviolent protest, he was also persuaded that it was pragmatically necessary -- asking the young men "how many guns do we have and how many guns do they have?", and pointing out as he often did that when it comes to violence a minority can't win against an armed majority. Rev Franklin went down to Memphis on the twenty-eighth of March to speak at a rally Dr. King was holding, but as it turned out the rally was cancelled -- the pre-rally march had got out of hand, with some people smashing windows, and Memphis police had, like the police in Detroit the previous year, violently overreacted, clubbing and gassing protestors and shooting and killing one unarmed teenage boy, Larry Payne. The day after Payne's funeral, Dr King was back in Memphis, though this time Rev Franklin was not with him. On April the third, he gave a speech which became known as the "Mountaintop Speech", in which he talked about the threats that had been made to his life: [Excerpt: Martin Luther King, "Mountaintop Speech": “And then I got to Memphis. And some began to say the threats, or talk about the threats that were out. What would happen to me from some of our sick white brothers? Well, I don't know what will happen now. We've got some difficult days ahead. But it doesn't matter with me now. Because I've been to the mountaintop. And I don't mind. Like anybody, I would like to live a long life. Longevity has its place. But I'm not concerned about that now. I just want to do God's will. And He's allowed me to go up to the mountain. And I've looked over. And I've seen the promised land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the promised land. So I'm happy, tonight. I'm not worried about anything. I'm not fearing any man. Mine eyes have seen the glory of the coming of the Lord."] The next day, Martin Luther King was shot dead. James Earl Ray, a white supremacist, pled guilty to the murder, and the evidence against him seems overwhelming from what I've read, but the King family have always claimed that the murder was part of a larger conspiracy and that Ray was not the gunman. Aretha was obviously distraught, and she attended the funeral, as did almost every other prominent Black public figure. James Baldwin wrote of the funeral: "In the pew directly before me sat Marlon Brando, Sammy Davis, Eartha Kitt—covered in black, looking like a lost, ten-year-old girl—and Sidney Poitier, in the same pew, or nearby. Marlon saw me, and nodded. The atmosphere was black, with a tension indescribable—as though something, perhaps the heavens, perhaps the earth, might crack. Everyone sat very still. The actual service sort of washed over me, in waves. It wasn't that it seemed unreal; it was the most real church service I've ever sat through in my life, or ever hope to sit through; but I have a childhood hangover thing about not weeping in public, and I was concentrating on holding myself together. I did not want to weep for Martin, tears seemed futile. But I may also have been afraid, and I could not have been the only one, that if I began to weep I would not be able to stop. There was more than enough to weep for, if one was to weep—so many of us, cut down, so soon. Medgar, Malcolm, Martin: and their widows, and their children. Reverend Ralph David Abernathy asked a certain sister to sing a song which Martin had loved—“Once more,” said Ralph David, “for Martin and for me,” and he sat down." Many articles and books on Aretha Franklin say that she sang at King's funeral. In fact she didn't, but there's a simple reason for the confusion. King's favourite song was the Thomas Dorsey gospel song "Take My Hand, Precious Lord", and indeed almost his last words were to ask a trumpet player, Ben Branch, if he would play the song at the rally he was going to be speaking at on the day of his death. At his request, Mahalia Jackson, his old friend, sang the song at his private funeral, which was not filmed, unlike the public part of the funeral that Baldwin described. Four months later, though, there was another public memorial for King, and Franklin did sing "Take My Hand, Precious Lord" at that service, in front of King's weeping widow and children, and that performance *was* filmed, and gets conflated in people's memories with Jackson's unfilmed earlier performance: [Excerpt: Aretha Franklin, "Take My Hand, Precious Lord (at Martin Luther King Memorial)"] Four years later, she would sing that at Mahalia Jackson's funeral. Through all this, Franklin had been working on her next album, Aretha Now, the sessions for which started more or less as soon as the sessions for Lady Soul had finished. The album was, in fact, bookended by deaths that affected Aretha. Just as King died at the end of the sessions, the beginning came around the time of the death of Otis Redding -- the sessions were cancelled for a day while Wexler travelled to Georgia for Redding's funeral, which Franklin was too devastated to attend, and Wexler would later say that the extra emotion in her performances on the album came from her emotional pain at Redding's death. The lead single on the album, "Think", was written by Franklin and -- according to the credits anyway -- her husband Ted White, and is very much in the same style as "Respect", and became another of her most-loved hits: [Excerpt: Aretha Franklin, "Think"] But probably the song on Aretha Now that now resonates the most is one that Jerry Wexler tried to persuade her not to record, and was only released as a B-side. Indeed, "I Say a Little Prayer" was a song that had already once been a hit after being a reject. Hal David, unlike Burt Bacharach, was a fairly political person and inspired by the protest song movement, and had been starting to incorporate his concerns about the political situation and the Vietnam War into his lyrics -- though as with many such writers, he did it in much less specific ways than a Phil Ochs or a Bob Dylan. This had started with "What the World Needs Now is Love", a song Bacharach and David had written for Jackie DeShannon in 1965: [Excerpt: Jackie DeShannon, "What the "World Needs Now is Love"] But he'd become much more overtly political for "The Windows of the World", a song they wrote for Dionne Warwick. Warwick has often said it's her favourite of her singles, but it wasn't a big hit -- Bacharach blamed himself for that, saying "Dionne recorded it as a single and I really blew it. I wrote a bad arrangement and the tempo was too fast, and I really regret making it the way I did because it's a good song." [Excerpt: Dionne Warwick, "The Windows of the World"] For that album, Bacharach and David had written another track, "I Say a Little Prayer", which was not as explicitly political, but was intended by David to have an implicit anti-war message, much like other songs of the period like "Last Train to Clarksville". David had sons who were the right age to be drafted, and while it's never stated, "I Say a Little Prayer" was written from the perspective of a woman whose partner is away fighting in the war, but is still in her thoughts: [Excerpt: Dionne Warwick, "I Say a Little Prayer"] The recording of Dionne Warwick's version was marked by stress. Bacharach had a particular way of writing music to tell the musicians the kind of feel he wanted for the part -- he'd write nonsense words above the stave, and tell the musicians to play the parts as if they were singing those words. The trumpet player hired for the session, Ernie Royal, got into a row with Bacharach about this unorthodox way of communicating musical feeling, and the track ended up taking ten takes (as opposed to the normal three for a Bacharach session), with Royal being replaced half-way through the session. Bacharach was never happy with the track even after all the work it had taken, and he fought to keep it from being released at all, saying the track was taken at too fast a tempo. It eventually came out as an album track nearly eighteen months after it was recorded -- an eternity in 1960s musical timescales -- and DJs started playing it almost as soon as it came out. Scepter records rushed out a single, over Bacharach's objections, but as he later said "One thing I love about the record business is how wrong I was. Disc jockeys all across the country started playing the track, and the song went to number four on the charts and then became the biggest hit Hal and I had ever written for Dionne." [Excerpt: Dionne Warwick, "I Say a Little Prayer"] Oddly, the B-side for Warwick's single, "Theme From the Valley of the Dolls" did even better, reaching number two. Almost as soon as the song was released as a single, Franklin started playing around with the song backstage, and in April 1968, right around the time of Dr. King's death, she recorded a version. Much as Burt Bacharach had been against releasing Dionne Warwick's version, Jerry Wexler was against Aretha even recording the song, saying later “I advised Aretha not to record it. I opposed it for two reasons. First, to cover a song only twelve weeks after the original reached the top of the charts was not smart business. You revisit such a hit eight months to a year later. That's standard practice. But more than that, Bacharach's melody, though lovely, was peculiarly suited to a lithe instrument like Dionne Warwick's—a light voice without the dark corners or emotional depths that define Aretha. Also, Hal David's lyric was also somewhat girlish and lacked the gravitas that Aretha required. “Aretha usually listened to me in the studio, but not this time. She had written a vocal arrangement for the Sweet Inspirations that was undoubtedly strong. Cissy Houston, Dionne's cousin, told me that Aretha was on the right track—she was seeing this song in a new way and had come up with a new groove. Cissy was on Aretha's side. Tommy Dowd and Arif were on Aretha's side. So I had no choice but to cave." It's quite possible that Wexler's objections made Franklin more, rather than less, determined to record the song. She regarded Warwick as a hated rival, as she did almost every prominent female singer of her generation and younger ones, and would undoubtedly have taken the implication that there was something that Warwick was simply better at than her to heart. [Excerpt: Aretha Franklin, "I Say a Little Prayer"] Wexler realised as soon as he heard it in the studio that Franklin's version was great, and Bacharach agreed, telling Franklin's biographer David Ritz “As much as I like the original recording by Dionne, there's no doubt that Aretha's is a better record. She imbued the song with heavy soul and took it to a far deeper place. Hers is the definitive version.” -- which is surprising because Franklin's version simplifies some of Bacharach's more unusual chord voicings, something he often found extremely upsetting. Wexler still though thought there was no way the song would be a hit, and it's understandable that he thought that way. Not only had it only just been on the charts a few months earlier, but it was the kind of song that wouldn't normally be a hit at all, and certainly not in the kind of rhythmic soul music for which Franklin was known. Almost everything she ever recorded is in simple time signatures -- 4/4, waltz time, or 6/8 -- but this is a Bacharach song so it's staggeringly metrically irregular. Normally even with semi-complex things I'm usually good at figuring out how to break it down into bars, but here I actually had to purchase a copy of the sheet music in order to be sure I was right about what's going on. I'm going to count beats along with the record here so you can see what I mean. The verse has three bars of 4/4, one bar of 2/4, and three more bars of 4/4, all repeated: [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] While the chorus has a bar of 4/4, a bar of 3/4 but with a chord change half way through so it sounds like it's in two if you're paying attention to the harmonic changes, two bars of 4/4, another waltz-time bar sounding like it's in two, two bars of four, another bar of three sounding in two, a bar of four, then three more bars of four but the first of those is *written* as four but played as if it's in six-eight time (but you can keep the four/four pulse going if you're counting): [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] I don't expect you to have necessarily followed that in great detail, but the point should be clear -- this was not some straightforward dance song. Incidentally, that bar played as if it's six/eight was something Aretha introduced to make the song even more irregular than how Bacharach wrote it. And on top of *that* of course the lyrics mixed the secular and the sacred, something that was still taboo in popular music at that time -- this is only a couple of years after Capitol records had been genuinely unsure about putting out the Beach Boys' "God Only Knows", and Franklin's gospel-inflected vocals made the religious connection even more obvious. But Franklin was insistent that the record go out as a single, and eventually it was released as the B-side to the far less impressive "The House That Jack Built". It became a double-sided hit, with the A-side making number two on the R&B chart and number seven on the Hot One Hundred, while "I Say a Little Prayer" made number three on the R&B chart and number ten overall. In the UK, "I Say a Little Prayer" made number four and became her biggest ever solo UK hit. It's now one of her most-remembered songs, while the A-side is largely forgotten: [Excerpt: Aretha Franklin, "I Say a Little Prayer"] For much of the
The body can achieve what the mind believes—or at least that's the mantra our guest today lives by. Sixteen-time World Heavyweight Champion and two-time WWE Hall of Famer Ric Flair joins the podcast to share his life story, from being stolen from an orphanage as a baby, to his stint as a WWE superstar, and surviving a life-altering plane crash in 1975. Ric gives listeners a deep dive into his journey, which epitomizes resilience, charisma, and the unyielding pursuit of excellence. Learn more about your ad choices. Visit megaphone.fm/adchoices
Slum Village sits down with Questlove Supreme as part of a month-long celebration of 50 years of Hip-Hop. In Part 2, T3 and Young RJ describe their group's evolution through the years—including J Dilla passing the production torch to his former pupil, RJ. The veteran duo discusses new music, working with The Dramatics, and how Slum Village has become one of the most perseverant groups in Rap history.See omnystudio.com/listener for privacy information.
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We were very fortunate to have Tyler Povanda from Save Face & Jhariah on the podcast to talk about their new single, "A Lesson In Dramatics". Enjoy! Save Face Socials: Twitter: https://twitter.com/savefacenj Instagram: https://www.instagram.com/savefacenj/ Facebook: https://www.facebook.com/savefacenj TikTok: https://www.tiktok.com/@savefacenj YouTube: https://www.youtube.com/user/SaveFaceNJ Apple Music: https://music.apple.com/us/artist/save-face/670257793 Spotify: https://open.spotify.com/artist/5DpkPhxrNNiGAJPY5seREe Website: http://www.saveface.band/ Jhariah Socials: Twitter: https://twitter.com/JhariahClare Instagram: https://www.instagram.com/jhariahclare/ Facebook: https://www.facebook.com/JhariahClare/ TikTok: https://www.tiktok.com/@jhariah_ YouTube: https://www.youtube.com/c/Jhariah Apple Music: https://music.apple.com/us/artist/jhariah/1273493034 Spotify: https://open.spotify.com/artist/5iMYu8Sj8dZEDsWJxSFwPP Bandcamp: https://jhariah.bandcamp.com/ Good Noise Podcast Socials: Twitter: https://twitter.com/good_noise_cast Instagram: https://www.instagram.com/goodnoisepodcast/ Facebook: https://www.facebook.com/goodnoisepod Discord: https://discord.gg/nDAQKwT YouTube: https://www.youtube.com/channel/UCFHKPdUxxe1MaGNWoFtjoJA Spotify: https://open.spotify.com/show/04IMtdIrCIvbIr7g6ttZHi All other streaming platforms: http://hyperurl.co/GoodNoisePodcast Patreon: https://www.patreon.com/goodnoisepodcast Bandcamp: https://goodnoiserecords.bandcamp.com/
This is The Zone of Disruption! This is the I AM RAPAPORT: STEREO PODCAST! His name is Michael Rapaport aka The Gringo Mandingo aka aptain Colitis aka The Disruptive Warrior aka Mr. NY aka The Inflamed Ashkenazi aka The Sultan of Sniff aka The Jewish Jake LaMotta & he is here to discuss: Not being able to make it to Virginia Beach, not feeling right this week but not worrying, January 6th Hearings & testimonials, the underrated terribleness of DTRUMP, William Barr & Ivanka Trump taking the stand, Jack Del Rio speaking wild, sitting next to Robert De Niro & talking with actors, NBA Finals & Draymond Dramatics, DeShaun Watson's increasing allegations & a whole lotta mo'! This episode is not to be missed! Game 5 Watch Party: https://www.eventbrite.com/e/watch-wager-win-party-game-5-tickets-358752256657 Stand Up Comedy Tickets on sale at: MichaelRapaportComedy.com For all things sports wagering use MyBookie.AG with Promo Code: RAPAPORT If you are interested in MLB, NHL, NBA & UFC Picks/Parlays Follow @TheCaptainPicks on Instagram & subscribe to packages at www.CaptainPicks.com www.dbpodcasts.com Produced by DBPodcasts.com Follow @dbpodcasts, @iamrapaport, @michaelrapaport on TikTok, Twitter & Instagram Music by Jansport J (Follow @JansportJ) www.JansportJMusic.com See omnystudio.com/listener for privacy information.
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