Podcasts about girl you

Back to a 'normal' Diggers Delight this week. 2 hours of soulful gems featuring the likes of Bobby Womack, Lisa Stansfield, Barry White, Chairman of the Board and Gladys Knight, to name but a few. And don't forget 'North of the Gap' three blindingly good Northern stompers in the middle of the show. PLAYLIST   Artist Title Year 1 Bobby Womack, Give it up 1979 2 Mirage, Can't stop a man in love 1976 3 Al Hudson & the Soul Partners, When you're gone 1975 4 Loose Change, I wanna hold on to you 1979 5 Diephuis & Easter (ft. Jocelyn Brown), Don't quit   6 Conquest, Give it to me 1981 7 Lisa Stansfield, Too much lovemakin   8 Diane Ducane, Better late than never 1979 9 Percy and Them, Look in the mirror of my eyes 1977 10 Barry White, Barry and Glodean 1981 11 Bobby Moore, Call me your anything man 1975   NORTH OF THE GAP     12 Bob Relf, Girl You're my kind of wonderful 1970 13 Alfie Davison, Love is a serious business 1985 14 Bobby Sheen, Something new to do 1973         15 Flakes, No One 1981 16 Matt Bianco, Half a minute (Joey Negro Sunburst mix) 2013 17 Chairman of the Board, I'm on my way to a better place 1972 18 Eugene Record, Overdose of Joy 1977 19 Gladys Knight, Baby baby don't waste my time 1981 20 Sonny Turner & Sound Unlimited, Now that you're gone 1972 21 Marjie Joseph, Come on back to me lover 1977 22 Kent Drake, Boss thing together 1971 23 Ernest Ernie & the Sincerities, Do something 2018 24 Pretty Purdie & the Playboys, Watcha see is whatcha get 1971 25 Chloe Martin, It comse to my attention 1974

Back with Libra; but first some nonsensical news. In 25 parts, edited from the works of FinalStand. Listen and subscribe to the ► Podcast at Connected..  “Just as echoes pollute sound, the echoes of our histories pollute our view of the World.” Katrina Explains the ‘Ash Men' "Amazons keep rather accurate histories, basing everything on lunar cycles. Our records, with minor gaps, date back to the Great Betrayal," Katrina began. "By modern parlance, around 1000 BCE, our ancestors stopped a millennia of a nomadic existence to settle in the land between the Váh, Hron rivers and Danube rivers." "You bitches know who the Magyar are," I interrupted abruptly. Sure, that region was in current day Slovakia, but it bordered Hungary, my ancestral homeland, even though our residency was separated by over 1500 years. "Of course I know who the Magyar are," Katrina shook her head mirthfully. "I simply can't resist busting your balls." I muttered angrily while avoiding using actual words. "Our numbers were enough to seize and hold the land," Katrina continued. "For centuries before that, we raided for men from tribes whose land we were moving through. After a few seasons, we disposed of the men and took some more." "When we chose to settle down, our Council decided to raid distant tribes and steal boys to be raised among our people. At first the males were virtual slaves yet in three generations, our people began seeing males as fathers, brothers and sons. We trained them in crafts. A few generations later, we voted to train them to be guardians; protectors of our hearths while the Host made war." "For eighteen generations things went well. We prospered, grew rich and strong. The tribes around us feared our wrath which made us proud yet was our undoing. New, stronger tribes migrated into the region from the West; we now know them to be Celts. The genesis of House Epona is from those first meetings. Many Celtic women embraced the Amazon lifestyle." "Though they knew of our strength, the first of these new tribes quickly went from peaceful coexistence to warfare. The Host crushed them. The problem was that new tribes kept coming and coming. Dirges of Mourning replaced the sweet taste of victory around our fires. We were always winning the key conflicts but our numbers were diminishing." "The males came to the Council and begged for the opportunity to join the Host in battle. Twice we rejected them. The third time, we relented and allowed a select few males to join us in the fight and for a time the balance was restored. Our doom crept upon us. More conflict resulted in more men taking up arms to fight." "What the Council could not perceive was the insidious influence of our enemies and it swept upon us on the wings of ravens by night; druids. Masculine deities, ethos and egos combined with our own blind arrogance to bring about our downfall. Constant contact with the Celts brought a different cultural view to our men. They began to question why women should rule." "Somewhere around the year 680 BCE, it began. It was not a calamity over in a night, or even a week yet once it began there was no stopping it. Most of our males, never fighters, were taken as slaves by their former brothers and their new Celtic masters. Not all fighting males betrayed us. Those males risked their very lives to sneak into fallen towns and villages to rescue their daughters." "The penalty our enemies exacted on our remaining fighting males was meant to keep the rest in line. They burned those brave men alive, in public. They burned them slowly, in much agony; the druids showed them how it was done. There is no record of any of our fighting males switching sides, or failing to undertake any mission for the Host. We survived as a people because of them." "When all hope of remaining in our new homes faded, we fled east into the mountains. My ancestors were furious, frightened and shamed. They decided they had let down their guards around men and swore to never do it again. The only obstacle to this way of thinking was the handful of men who risked all for the Host's survival and still lived." "They sent those male survivors on one last, suicidal mission. They were to return home and incite the Celts' wrath against the traitor males. For the Hell they unleashed, the druids were chosen for this final act vengeance. Amazon males slew the druids. The angry Celts fell upon their former allies, slaughtering the lot. "Somehow, a tiny band returned to their mistresses. Their return was unexpected. In their absence, the High Priestess and Council decided to rectify their centuries' old error in judgment. Only a few Houses; Arinniti among them; knows how each Council member voted yet the final decision is something we are dealing with today." "The 'valiant' Host went to their defenseless sons and butchered them. When the last Amazon males made it back they were rewarded with death as well. It is recorded that they didn't even resist, loyal to their last drop of blood. In less than ten minute's time, the last of the male line of Amazons perished." "These are the 'Ash Men' Oneida mentioned. Burned to death by our enemies for their devotion to us, burned to ash by the Host to hide our shame after we killed them for the crime of never betraying us. All full-blooded Amazons are taught about the Second Betrayal; except that last, pathetic and tragic addendum," Katrina educated me. "Oh shit," I interrupted. I was sure Katrina had more to tell me but I felt the hideous weight of this; now shared; past. "You believe that when this gets out, as all secrets do, it will undermine everything you have built. You did more than utterly betray those loyal brothers, you murdered your own sons." "That is one of the most serious issues the Council is dealing with," Elsa finally spoke. "That makes sense, but you are forgetting something," I shook my head. "Times change, people change, circumstances change. The Host misses the point." "That point would be?" Katrina studied me. I believed this was more of a case she wanted me to make the logical next step. "You betrayed us," I stated. "The lesson is not that men were lured away from the Amazon cause, it was that despite every reason to save themselves, men stayed loyal to the grisly end. If the Host is mindful and respectful, we males would rather be 'Ash Men' and safeguard our sons and daughters." "Men volunteered to fight, they did fight and fought well yet the Host refused to acknowledge anything had changed," I then paused. "Which is why I'm learning how to shoot, and knife-fight and why Elsa is here. Katrina, with the upmost respect; you are a manipulative bitch." "Cáel, I let you get away with a great deal," Katrina smirked. "Don't take advantage of it." "You seem to forget that I consider being murdered by your ilk highly more desirable than slavery," I retorted. "I hope it doesn't come to that, but if it does, you know you can't win," Katrina pointed out. "I have more invested in the fight than you do," I stated. "I'm fighting for the future of my people. You know that," Katrina bantered. "I'm fighting for my sons to be allowed to live free of bondage, or thrown from the cliffs, and for my daughters to not be a plague on the human soul," I grinned. "You would turn my daughters into Fabiola and; you can't even agree on letting the other half of your own offspring live, as if that was something 'normal' mothers would ever discuss." "Fabiola? Not Aya?" Katrina prodded. "I ignore the reality of Aya because I love her. There is no saving her. Your reach makes it hopeless, she wouldn't understand and she is already too poisoned by the rest of you anyway," I explained. "Watching her inevitable slide into madness is another reason for me to seek death in battle." "I enjoy these chats," Katrina smiled as she stood up. "You are a very complex individual and crossing wits with you has been an unexpected pleasure. Good night." Elsa moved to follow Katrina to the door. "Elsa?" I called out. She half-turned. "Try going with French cut instead of boy shorts tomorrow." There was a fey light in Elsa's eyes. I continued to creep closer to having status in her eyes. Not a sentient; I was that already. Amazons didn't have a glorious rival. Strong rivals you killed as soon as possible. Cáel Nyilas had become a nebulous entity treading down unexplored pathways in her until-now internally consistent World. "I won't let you win," she gave me a molten, hungry look. "I bet you say that to all the guys," I shot back. "Only the ones I care about," she gave me one more promissory fuck-note, turned and left. I didn't have time to mull over my bleak future forecast. Yasmin was coming over and we were definitely not going out to eat.  (Wednesday Night) Yasmin had a kink I hadn't really had to deal with before. She liked having sex standing up; anywhere. Sure I had made love in hallways, showers and against a refrigerator once, but Yasmin took this to a whole new level. The most horizontal I got her was fucking her on my bedroom dresser. She was also an aggressive nibbler which is a kind way of saying she bites down hard without breaking the skin. The scars would fade by morning, but I was going to catch Hell from Timothy and Odette later tonight. Our experience was; enhanced by yet another reality I was unaware of. Yasmin's ex was an 'intellectual'. In Brazil that must translate as a small penis with limited stamina, but don't hold me to that. Since the birth of her son and the 'incident' with her husband, Yasmin hadn't much 'personal' time; read: not much finger, or vibrator usage. Yasmin was tight, famished and extra aroused by me kicking Felix's macho ass an hour earlier. I ushered Yasmin into my place, she was looking smoky yet contained, so I gave her the ten cent tour. When I turned around, her sandals, pants and shirt were off. Silky violet was a good color on her. Yasmin didn't rush the removal of her final items, using their skimpy allure to draw me in like a striker to the goal. My Brazilian MILF loved being appreciated for every nuanced curve, scent and taste. She let me slip off her bra first then she pulled off my shirt. She didn't let me get behind her. This allowed her to pace her own aggression. Cáel was along for the ride. This wasn't fem domination, just a very hungry lady looking for some first-rate sportsmanship. Lucky for me, I was a full service arena with overtime expertise. Every little 'Give and Go' and 'tackle' was received, or dodged to keep our game in play. Here I was thinking of swinging a little more upper body workout later tonight. Yasmin's gymnastics made that redundant. My first insertion was welcomed by her. Yasmin repaid my diligence with lip services, strong hands massaging my back and arms, plus timely input concerning what was good and bad without running over the passion. Yasmin was not at Buffy's level of competition. Instead she brought her own torrid spirit that was new and exciting. I had no idea how Yasmin's husband ever found the energy to cheat on her. Yasmin would seek breaks in our activities. The rest of the hour-plus she was either at a vivid simmer, or a full-on blowtorch. Half the time I didn't even have to direct our intimacy; Yasmin was happy to manage all of the movements using her thighs, stomach muscles and arms to make it a highly memorable performance. As we staggered down from the peak of my climax, a sweaty, panting Yasmin informed me that she was glad she had started doing handstand push-ups once more. For those not in the know, imagine doing a handstand facing a wall. Now push your body up the wall which is occasionally done with your fingertips if you are a true bad-ass; like Yasmin and Timothy. That is another exercise I'm going to have to work on. Jacking-off and squeezing stress balls wasn't going to cut it anymore. "Ora, ora, meu bombom precioso ;  muito bom," Yasmin purred as I put her legs down; I had been holding the back of her knees with my elbows. "I'm the bomb? Sweet!" I sounded as energetic as I was able. My Brazilian Nitro-girl began laughing. "What did the rest of it mean?" "With every orgasm you give me, I'll give you a word," she taunted me. I looked at the ceiling. "I'm looking for a downside to that challenge," I met her gaze. "I can't see one." "We'll see about that when I leave. I have a sitter until 11:00 p.m. so you have good deal of bravado I want you to back-up," Yasmin looked carnivorously-aroused. We did get around to getting cleaned up then hoofed it to a local Egyptian cuisine eatery. On the way back, I screwed her against a streetlamp with the light burned out. You see a good deal of humor about girls in super-tight pants and all the contortions they go through to get into them. Peeling them out is much, much easier. Maybe it is the inspiration that makes the difference. Best of all, the reactions of people walking around us, or across the street. Overt disgust, ignoring the whole situation, and, my favorite, the running commentary. (First couple) #1 Girl: "Why don't we ever do that?" #1 Guy: "Do you bend that way?" (Second couple) #2 Girl: "Do you think she's hotter than me?" #2 Guy: "Let's go down to the next lamppost and find out." (Third couple) #3 Guy: "Don't they have a bed, or are they homeless?" There was no way we were dressed like homeless! #3 Girl: "You have all the romance of a rhino." Somebody wasn't getting some tonight. And because we were in a major metropolis, (Fourth couple) #4 Girl (1): "Are you practicing safe sex? If not, I have a condom," she touched my shoulder. Me: "We are good. I use Durex normally, though I'll use Trojan too." #4 Girl (2): "Are you okay, Miss?" Yasmin: (unhappy): "I'm fine. Now either let my man get back to slaking my every lust, or join in." #4 Girl (2) "Are you serious?" to Yasmin. #4 Girl (1) "Are you okay with this?" she addressed me. "She's my girlfriend." A few seconds of grunting, gasping sex ensued. Yasmin: "Yes, I am serious and you two are killing the mood. Mount up, or get off my horsy." The two ladies looked at one another. #4 Girl (1): "She's very ho; attractive. What do you say? It is safe sex," hint, hint. And thus I had a lesbian four-way. The first girl, Evie, was bi- and worked at Planned Parenthood, explaining the condom lore. Girl two, Samantha, was a lesbian, but having a strong sex drive, decided that Yasmin was as luscious as I thought she was. Back at my place, it took Samantha thirty minutes to get used to sharing her bed with a man. By then she decided I wasn't the enemy, despite my penis and hunger for the female form. Evie and Yasmin had zip inhibitions and let the lesbian and the straight guy work our differences while they basked in each other's femininity. Yasmin insisted she wasn't a lesbian, or bi-sexual. She had no sexual hang ups and found American's confusing because they did. We had wrapped up the first round with Evie giving me a quick blowjob because I had been a good boy and kept my sperm holstered for the entire encounter. Samantha threw on one of Odette's t-shirts (I didn't explain) and went to the bathroom. I got washed up; Samantha gave me a dirty look from the toilet then I reminded her I'd just seen her naked. We both exited to the living room and took up spots on the sofa as we waited for our prospective partner. I heard my roommates keys jingle in the lock. He walked in, taking in the now familiar scene of me with a new girl on the sofa. "Timothy Denver!" Samantha squealed when my roommate showed up. "Sammy; what are you doing in my apartment; with him?" Timothy meant me. They (Timothy and Samantha) hugged each other, Timothy lifting her off the ground. "Me and Evie are sharing his girlfriend," Samantha explained. "Which one?" Timothy put her down. Samantha shot me a semi-hostile look. Yasmin and Evie came out of the bedroom; having found Evie's clothing. That was their story and I wasn't going to argue with it. "Hi Timothy!" Evie ran up and hugged him too. Up she went. "Timothy, this is Yasmin," I made introductions. "The Brazilian Hottie," Timothy noted. "Yasmin, is Cáel sleeping around you on you?" Samantha inquired. "No. Cáel has sex with far too many other women to cheat on me," she informed them. Samantha didn't know what to make of that. "That means she's aware that I date a lot," I explained. I would have asked how Samantha, Evie and Timothy knew each other except now all their body art made sense. "Timothy, are you and Cáel;” Samantha asked. Timothy rolled his eyes. "God, I wish," Timothy sighed dramatically. "The dick on this guy is phenomenal." "Sammy, I know you would never, ever, ever go that way, but if you did, do it with Cáel here," Timothy told her. "He is the most sensitive, skilled and empathic lover I've ever seen. He's not at all possessive and totally confident in who he is." Sammy didn't look like she was contemplating a gender-preference switch. She was getting between me and Evie. "As long as you understand you, me and Evie," Sammy warned me. "Sadly, fidelity is not one of my virtues," I shrugged. "I could lie to you about it. You seem to be Timothy's friend, so I should treat you better than that." "You can trust me around Cáel," Evie insisted. "No, we can't," Timothy, Sammy and Yasmin all spoke simultaneously. I wasn't trustworthy, but at least I was consistently untrustworthy. "Listen to your friends and the woman you barely know," I met Evie's gaze. "I know I couldn't control myself around you and we'd both regret it." No we wouldn't. I could see that fire deep in her eyes. We were going to have sex again, just me and she. I was a lowdown dirty dog who gave an incredible dicking and I'd already made an insertion into Evie's body and mind. Not that it was terribly important to me; she was okay at sex, though not great. My words were for the listening audience. Timothy knew me better. "Cáel," Timothy stated firmly. "For me, man; don't fool around with Evie." I'd lied to roommates all the time. Like the women in my life, I wanted to keep them happy, or happily neutral. That attitude suddenly didn't work for me. "How?" sort of spilled out. No one expected my plaintive cry for relationship help. "What?" Sammy gulped. Yasmin snickered. She knew the score. "Sammy, Cáel's nailed a girl who was making a food delivery to us. In around an hour and a half, a waitress he met for a minute and gave his number to, will be here. She moved into his room. They are not a couple," Timothy tried to explain. "She lives here to hang out with me and bangs Cáel when he doesn't have anyone else over, yet, I swear on Buddha's Belly, I've never seen him abuse a girl," Timothy continued. "It is the strangest damn thing I've ever seen. He's stacked them up like jets at LaGuardia." "He's a shit-head player," Sammy glared. "Do you feel used?" Yasmin pointed out. "You don't because you weren't. He's not trying to out-dick your vagina. He's not out to steal Evie. He is admittedly hormonally unbalanced. That doesn't make him a bastard. I'm not here looking for a boyfriend and if I was, it would never be Cáel." "If you can get past the fact he might have sex with your girlfriend from time to time, he's really a great guy," Yasmin added. "Cáel is fearless and as long as sex is not involved, completely reliable." Sammy was clearly not believing any of this, finally turning back to Timothy. "He gives an incredibly good dicking, he's a dog, and he's one of my best friends," Timothy shrugged. I had been 'one of the guys', a 'buddy' and 'dude'. I had never been considered a man's best friend before and I had never heard Timothy toss that term around about anybody. I went up and hugged him. "Dude, you have lousy taste in friends," I patted his back. "Cáel, I have plenty of friends who wouldn't abandon me in a fight. You are the only person I know who took an arrow for a little girl you barely knew," Timothy patted my back. "You don't find that dedication often. In the past two months we've been through more freaky shit than I've experience in the past ten years. Faults and all, this has been the best time of my life." I stepped back until we were at arm's length. "I take that back. You don't have lousy taste in friends; you are delusional," I blinked. "He got shot; took an arrow; for a little girl?" Sammy gulped. "How come this is the first I'm hearing about it?" "That would be the bandage on your leg?" Evie pointed. "I have a dangerous job," I regarded the new girls. "I test poultry for signs of intelligence. Let's just say that a sleeper cell got past me and chaos ensued." "Translation: he can't talk about it," Yasmin smirked. "What do you do you really do?" Sammy pressed. "I'm working on a special project. We are taping strobe lights to Garden Gnomes then, using hobby store-bought rockets, my corporation is going to sell them as a Developing World-friendly alternative to the current GPS system," I looked grim. "Really?" Sammy looked uncertain. "I work for a really sleazy corporation," I confessed. "There is nothing they wouldn't do for a buck." "That's heartless," Sammy protested. "Men like that are raping the planet and exploiting the poor." "Sammy, I work for Havenstone Commercial Investments. I am one of three men in the entire workforce; that is well over 10,000 women; undoubtedly more," I smirked. "If it is any consolation, I am treated as little more than a pin-up model by my co-workers." "Oh wow," Evie snickered. "Were you hired for your looks?" "Hardly," I declared with authority. "I majored in Business with a minor in Philosophy from Bolingbrook College in New Hampshire, an institute of higher learning renowned for its 70% female student population and nothing else. Still, I am working for a Fortune 500 company at a job I am totally unqualified for, earning an unheard of starting salary and constantly required to work shirtless, or naked." "Personally, I think it was my creative writing skills that won them over," I nodded sagely. "You are a jerk," Timothy snorted. "I hate it when you tell the truth and make it sound unbelievable. It is a skill I've never seen wielding so cuttingly." No one said anything for a few seconds. "It is really annoying that no one believes I earned my position because I'm actually intelligent and hard-working," I grumbled. "Welcome to the world of a Carnival dancer," Yasmin laughed. "I was going 'a blond bimbo'," Sammy agreed, "but that works too." That broke down the social ice. Letting yourself soak up a bit of ridicule can pay huge dividends. I was going to be back in bed with every single woman in the room; even the lesbian, though I'd be sharing a girl with her, wait and see. For some reason, Sammy remained convinced I was an asshole, so she dared me to kiss Timothy. I shrugged, Timothy shrugged, so we kissed. Seriously, I have no clue what I Won't do for sex. When Timothy slipped me some tongue I nutted him. As he doubled over, I told him I wasn't the kind of guy who went beyond second base on the first date. The group informed me that second base was touching my cock; whoops. Then Evie reminded me that I had sex with her within fifteen minutes of our initial meeting. I replied I hadn't had anal sex with her yet, but if that was the case, I was sure Timothy would be a good sport about it all. Timothy had finally gotten back to his feet. Again, he nodded. This time he snatched me up, bench pressed me over his head (man, we need to re-spackle the ceiling) and bounced me off the sofa. Timothy is really strong too. I hit the floor, face down, but with my knees and palms catching my weight. I quickly summersaulted and regained my footing. I trusted Timothy. Still, talking about anal sex with a big, buff gay man then assuming the doggy-style position; let's not tempt fate. My antics earned me another round of sex. After Evie exploded (figuratively) all over the place with her; third euphoria, I looked over Yasmin's shoulder to Sammy, who was sexing up my Brazilian from the other side. "I have totally and completely re-evaluated having a lesbian in bed with me, Sammy," I testified. "You rock!" Sammy shot me a look, realized I was expounding true praise and picked up her ravishing of Yasmin. After we demolished Yasmin, Sammy mounted me. She wanted a 'test drive' more than anything else; the experience of feeling the differences between the masculine and feminine skeletal and muscular textures and nuances. "Can I touch your breasts?" I requested. Sammy thought it over, eventually giving me an 'okay' look. She had those nice, banana-cone shaped breasts with huge areolas and sizable nipples. I started off by lifting and weighing each teat, taking it nice and leisurely. Sammy decided I was doing a passable job so she stopped studying me and got into the sensation of the moment. That little gasp cued me in that I had earned the right to move a little farther. Her nipples were already engaged. A half-dozen grazing passes and they were definitely joyous. Lesbians, bi-sexual and straight women all have the same physiology, yet different visually, audibly, and olfactory stimuli were specific arousal cues. Most lesbians didn't like Old Spice, The Firemen of New York calendars and Enrique Iglesias. At the very least they aren't throwing their panties at Enrique. Touch and taste tend to be unisex. Baring you having big, calloused man-paws, fingers are fingers and hands are hands. Taste is taste and more individual specific than gender-related. Sorry ladies, your sweat can stink as much as a men's does. It is more a matter of diet. Both sexes should clean up 'down there'. It is common sexual courtesy, so use it. When I can, I use a subtle cologne though I've used women's Secret deodorant on rare occasions. It earned me curious looks every time, but it never stopped them. Sammy was already taking quick gulps of air when her worried eyes looked down at me again. She wanted to tell me to stop. She was caught in a double bind; she was getting gratification and the only reason to refuse it was because I was a man; a man she had allowed to touch her. That would make her either sexist, or a bigot. Never ignore the allure of the female orgasm. Add to that, never ignore the power of friendship. As Sammy struggled to master her 'lesbian outrage', Evie sneaked behind her, wiggling two fingers. "Evie," Sammy moaned in protest. "Sammy-love, he's not trying to fuck you," Evie murmured to her companion. "You are liking what he's doing and you know you have dynamite nipples. Let him have a sample." To me, "She likes a whole lot of suction and a tiny bit of teeth." Sammy attempted some kind of protest. Yasmin stroking Sammy's upper thigh, hip and stomach breached the dam of her inhibitions. So, I had a lesbian lowering her body toward mine. First her palms rested on my shoulders. Sammy's body flowed up mine until her elbows replaced her hands. As advised, I applied a wet vacuum seal. I twirled my tongue around her savory flesh, bringing Sammy to the point she embraced her tantric titillation. "You should have longer hair," she purred as she ran one hand through my locks. "I don't normally go for butch girls." You guys go be indignant if you wish. These were some sweet teats I was indulging in and I had zero regrets about 'girling-up' for a lesbian. Sammy finally climbed to the mountaintop of her orgasmic quest and howled out her victory. She cascaded down on me, my lower stomach syrupy with her juices and her bosom muzzling my face. Yasmin went to her knees, leaned over Sammy's prostrate form and began seriously making out with Evie. I lived in a vortex of unexpected pleasure and fulfillment. I had taken part in making a lesbian sexually complete. "You are the best guy I've ever been with," Sammy murmured. "He's the only guy you've ever been with," Evie teased. "Fine. He's still the best. Cáel, have you ever thought about becoming a post-op transsexual?" Sammy giggled. "No!" Yasmin protested. "That's where I draw the line. Cáel keeps his tender bits." "Mmm Mmm," I added my voice against that proposal. To punish Sammy for even bringing that up, I latched onto a breast like a starving lamprey and went to town. Damn right that put her in her place. Fifteen minute later, she finally let me come up for air. Ten minutes after that, we stumbled out of the apartment. I was going to see Yasmin safely home; she snickered then, seeing my hurt feelings, told me I was very brave and could take her home. Evie and Sammy lived close by. They had known Timothy from his days working at an ink place in Queens, but had lost touch when he opened his own place on the East Side. They promised to stay in touch. Sometimes I don't even have to try. Maybe that's why Timothy got so pissy with me at times. As for Yasmin and me, I fucked her in the hallway right outside her domicile because she still had twenty minutes left on her babysitter and there was a convenient vertical surface. We both went home with smiles on our faces. I met up with Odette walking up to my; now our; place. She wanted all the juicy details, helped me change our sheets, promised to do our laundry tomorrow morning and then we had sex. I was set up on my feet, shins and knees, Odette facing away from me and grinding her lush tight end on my rod when the door opened and Timothy Nerf-shot me; cause I definitely deserved it. (Thursday) Thursday was good. I inspected artificial wood products for artificial termites. Actually, I started out with Constanza; really Naomi and her Merry Band now; and learned how to actually fire a personal defense weapon. No more 'spray and pray' for me. They told me they had a special surprise for me on Friday. Color me concerned. According to Medical, I was a lousy lab monkey. Then Katrina informed me it was Brian's turn today to get poked, prodded and forced to cough up millions of little Brian-lettes for Havenstone's perverse pleasures. I e-mailed Brian my best wishes. I was seriously starting to question those 'so-called' medical experts ethical integrity. I worked with Buffy, teamed up with the Daphne/Desiree combo. Why? Because there was an emergency board meeting on Friday. I wasn't told this, but Daphne and I figured it out. To put some extra butter on my hell-bound soul, an agent of Rhada's gave me a private note informing me she wanted to talk. Keeping to Amazon Princess Rape Fantasy Bondage protocols, I ate the message before Buffy could pry it from my hands. Bad enough was all these crazy females trying to kill me, I also had to keep track of which ones hated the other ones. It reminded me of dating sorority sisters, except this time out, I could never leave the sorority house and they almost never went to classes. Oh, and they are all related to Jason Voorhees (that's the maniac from the Friday the 13th movies for those who had lived constructive lives) and we were adjacent to an Ace Hardware store. Plus I had a date with Libra and I was dedicated to 'tapping that ass' at least once more before I died. And, there was more! Deena, the swimming, 'fingers in her cunt' buddy dropped me a line telling me she was 'expecting' me this afternoon. There was no way I could swing that, despite her request that could be only construed as an order. I simply didn't have the time. I e-mailed her back, pleading for her to be in a bikini with several suggested sites for her to visit. Before my designated knife training, I had a fucked-up brainstorm about what to do with Rhada. I wrote a letter in Old Kingdom Hittite, sealed it in wax with the imprint of the symbol 'Lowest' on it, representing me, though Rhada's submissive side could easily misinterpret that. To get it to her, I went to the only one who could meet her face to face who I could trust. Katrina? Laughable. She could do it but she wouldn't touch this disaster with a three meter pole made out of male vertebrae. The only other person who met all the criteria; Oneida. Yes, I was a fucktard, fuck-nut and a waste of human potential. "Oneida, I need a favor," I asked the moment I hunted her down in Acquisitions. "Of course," her eyes lit up, her lips moistened and breathe quickened. She wasn't wanting a quick tussle in a side room. The chick wanted to be held closely while I whispered love poetry into her ear for her to hear alone. I was letting her down abysmally. "I need this message hand delivered to Rhada," I pressed the missive into her hands. She didn't know how to wrap her mind around that. Rhada? She knew we had fought, but what contact had we shared since then? She made the sane 'girl-logic' assumption. "Cáel, are you in trouble," she worried. Oh, I wish it was only trouble. "Not that you can help me with. If you can't do this, I'll find another way," I sighed. Yes, I was playing her. Oneida would run over hot coals for me. "No, no; I'll do it; why? Why Rhada?" Oneida pleaded. "I can't say and you cannot look at the message. It is critical that she, and she alone sees this," I impressed on her the importance of saving my life without saying 'please save my life'. By asking her to not look at the message, I increased the odds she'd look. I had no choice. If I didn't say anything about it, she'd make an excuse to look and tell herself that I hadn't forbidden her to look. Add to that, she was my racial superior. In her case, this meant she had to look out for my best interest. Oneida nodded and watched me leave. Training with Pamela was hands on this day. I had a wooden blade with a lead core to give me a better feel for the proper weight. Pamela had a meter long wooden rod. She had a miraculous ability to move her baton in a blur yet not hurt my fingers, hand, or wrist. It was very instructional. I was practicing stabbing and a bit of slashing. I left with a sense I'd added something useful to my repertoire. I wasn't calling out Elsa anytime soon; heck, I wasn't calling out Europa, Aya's 13 year old sister either. As we were cleaning up, Pamela noticed my uncertainty. "What is it?" she asked. "Oh, it is that you've resisted the urge to cause me pain," I mused. "Normally, I find Amazons to be very harsh." "That is certainly a common training style here," Pamela nodded. "I chose showing a student how to do things right as opposed to reminding the student what they did wrong." "Good enough. Thanks for treating me like I matter," I grinned. "What makes you think that?" Pamela and I started to leave the little dojo. Note, she didn't say 'assume'. "Trust me, I'm a sperm donor with sex appeal to virtually every other screwy dame in this place," I smirked. "I know the difference between what I see in their eyes and yours," I winked. "Ash Man," Pamela remarked. She zinged me, alright. "My granddaughters talk of you and not in a way I would expect Amazon women to talk about a male." "That and an Egg McMuffin;” I shrugged. "Means you won't die hungry," Pamela shrugged along with me. "This is why I volunteered to teach you; you deserve every chance to go out unconquered." "Do you think I have a chance; of that?" I questioned. "Not really. I didn't think I would ever be talking to a man in my native language again either, so who knows," she added. "Do you think I'm an Ash Man?" I wondered. Male; OKH; again? "I haven't a clue what one is," she rolled her shoulders. "I am neither my House Leader, nor its Keeper of Records." "Oh; what are you then?" I asked. The response she gave didn't make sense. "Cliff-walker? I don't know;” I furrowed my brow. "I am past my useful life yet refuse to take myself to the cliffs," Pamela told me. "I have unfinished business to attend to in this World." "What is that; if that isn't too rude?" I inquired. "A dead man spoke to me. He told me I would never find my way to the halls of my ancestors until I replaced a life for a life," she related. "That's; umm; odd," I suggested. "Cáel, I severed his throat to the spine. Even had he somehow been alive, he could not have spoken. Then there is the matter of speaking the Amazon tongue," Pamela continued. "Did he tell you anything else?" I played along. "No." "How will you know what life you should save; to replace a life for a life?" I searched her out. "He had the most unforgettable emerald green eyes," she filled me in. Just like my eyes. We had stepped into the elevator when she told me that. There were five other Amazons with us. I didn't know any of them. I reached out and put my hand on Pamela's stomach. "Whatever happens to me, and I don't want you to die, or anything; I want you to know you've done what needed to be done," I assured her. Pamela's laugh was so loud, deep and resounding, I was stunned that it came from such a thin frame. "That, my friend, is what being an Amazon is all about," Pamela slapped my back. What she said was wrong in so many ways and the Amazons around us knew it. I wasn't an Amazon and equating me to one of them was insulting to their feminine martial ardor. Also, no Amazon had ever called me a friend and meant it in a non-sexual manner. Things were getting uncomfortable. "Matron," one of the Amazons spoke up, "are you feeling well?" That was a polite way of saying 'have you lost your mind?' "Do you know why there are twenty 'First' Houses?" Pamela addressed me and ignored the others. "Not really. It wasn't in the Havenstone Handbook," I tried to sound innocently curious. "The first Amazon to escape capture came back for the rest," Pamela related. "She was free and if she was recaptured she would have certainly been raped again and most likely killed. She came back because no risk is too great for one's family. Like the first of the Unconquered, you risk everything for the spiritual and physical safety of your sisters." "He is not one of us!" a different Amazon insisted. "How bizarre that none of these crazy bitches can see it," Pamela smiled. "Who are you again?" I gave Pamela a worried look. "A discarded heroine, Cáel," Pamela answered. "I am an embarrassment, an anachronism and an arrogant warrior humbled." Clearly this was part of Havenstone's history I wasn't supposed to be privileged to hear. "You don't date much, do you?" I changed things up. Pamela snorted. "This whole scarred scholar-warrior with a tragic past works better with your moping, 19th century literature-reading college types. Cavemen like me prefer slinky clothing and feigned idiocy." "I'll keep that in mind," Pamela snickered. By the bug-eyed expression of our fellow travelers, Pamela was indeed some kind of heroic figure. She held no position, but her status was undeniable. "How about this: I will forgo taking myself to the cliffs until you give me my first great-granddaughter." "As long as we agree that I'm never going without a condom for the next five years," I counter-offered. "By the way, which two am I going to be surreptitiously avoiding?" "Brielle and Daphne," Pamela appeared amused with my expression. "Holy crap!" I exclaimed. "I really like those two. This is going to be tougher keeping you alive than I thought." "How many more days?" Pamela teased. "67," I groaned as we stepped out onto the Executive Services floor. Technically, I had an hour left of my work-day. "Look on the bright side, our first great-grandchild could be a Son," Pamela joked. Pamela clearly enjoyed 'freaking out' the Normals; the normal Amazon population that is. "That would truly suck," I remarked. "You ladies have zero experience with male names and no boy of mine is going to be named Shirley. Picking the baby boy names is going to be all on me." "How about Augustus?" Pamela suggested. I looked stunned. Buffy, having heard my voice, hopped up from her station and came blazing my way. I hadn't done a damn thing wrong yet she was angry with me. She didn't know Pamela and I hoped to hell I wasn't hitting on; okay, Pamela was a bit odd-looking. I'd still do her. "Cáel," Buffy snapped. "What is going on? Don't you have a job to do; with me?" "Buffy, this is Pamela. She's my knife instructor," I said. "Pamela, this is Buffy DuBois, my (dead word spoken)." Literally in Old Kingdom Hittite that meant 'mountaintop'. Pamela clearly got the implication. Buffy's fury about me slipping into OKH was mitigated by Pamela's appraising look. "Okay," Buffy grumbled. "What was that?" "Pinnacle, peak, highest point, mountaintop," Pamela answered for me. "I would wager it is a term of endearment and praise, but feel free to be offended despite him using the word for my benefit as opposed to yours. He might have incorrectly thought you knew how much he cared for you." Verbal beat down! "Who are you, anyway?" Buffy struggled to be polite. "Pamela Pile," my instructor stated. "I am not employed by Havenstone anymore." "That's not; possible;” Buffy questioned. "She is Brielle's and Daphne's Grandmother, Buffy," I explained. "That's nice," Buffy was less than impressed. "Cáel, take care. Buffy, I know nothing of men, but I know camaraderie and I know you can throw that away as quickly as you earned it," Pamela gave an even stare. "By the way, Pamela, you clearly have never been a kid on a playground," I joked. Buffy was irritated while Pamela was amused. "With a name like Augustus, he's either going to toughen up really fast, or get flattened. Trust me. My name was Cáel aka Cabbage Head all through elementary school." "What did they call you in; middle school? It is middle school, correct?" Pamela inquired. "Yes; middle school. By 6th grade, I was firmly a 'nobody'," I enlightened her. "Hell, my teachers could barely recall who I was. I stayed that way until I graduated high school." "I had asthma as a child," Pamela related. "I barely made it through my 12th year." "What did you do when you; is the term 'casted', or 'choosing a caste?" I posed. "It varies. Sometimes we choose and sometimes the caste chooses us," Pamela answered. "I ended up here, in what is now known as Executive Services." "Great," I grinned. "I bet you were enticed by our intensive training in marshmallow juggling. Am I right?" "Not really," Pamela grew serious. "I came here so I could build obstacle courses for kittens. It is an unappreciated melding of animal conditioning and engineering." I was really liking Pamela. She was like a kindred spirit in this madhouse. "Speaking of 'animal conditioning', Cáel, we need to get to work," Buffy huffed and off I went. We finished up, had our after-work meeting and began to head-out for the day. "Daphne, I met your grandmother; nice lady," I told my 'new hire' buddy. "Really, what was she doing here?" Daphne smiled affectionately. I need to wear a dead rat around my neck; the deader the better. "She is teaching me how to knife fight," I told her. Her not knowing that was odd. "Oh; I didn't know she did that," Daphne frowned. "She worked in Executive Services," I said. That appeared news to Daphne as well. "I thought that was why you joined." "Katrina," Daphne looked to our boss, "was my grandmother in the (dead word spoken) service?" That word roughly meant 'darkness of night' in OKH, but like so many things in a 'dead' language, interpretation could be sketchy. "She was before my time," Katrina nodded. "I do recall her legacy though." "What did she do? Normally I wouldn't care, except Pamela is a laugh riot," I smirked. "She was the most lethal Amazon assassin of the 20th century," Katrina stated deadpan. "Grans?" Daphne gasped. "She's always been so odd; I mean nice." "What happened to her?" I muttered. "I don't know," Katrina mused. "She came back from her last mission then took herself to the cliffs. A few weeks later she returned with no explanation for that either." "Well crap," I groaned. "She's never going to forgive me for that 'wet willy' (getting a fingertip slick with your saliva then sticking it in an opponent's ear). I'm a goner." Daphne play-punched me. We all heard the subsonic rumbling from the door. According to Buffy, she was the only one allowed to cause me physical discomfort and resented Daphne horning in on 'her turf'. Buffy had a new weapon in her arsenal this afternoon. "Your (dead word spoken) wants you to come here," Buffy snapped. Even Katrina looked at her in some confusion. "I was told that was a good thing," Buffy sizzled. "It most likely interpreted as 'most prized', or 'most esteemed'," Tigger translated. "Precisely it means 'mountaintop'." Buffy stuck out her chin proudly. "Cáel, I believe I made my desire clear," she commanded. "No can do McGiggles Sissy-pants," I grimaced, "I have a date tonight that precludes me from me being overly bruised; again." I was heading for the door, leading the 'new hires' out of Katrina's office. "I know you like laugh at death, Cáel," Dora snickered, "but I'm not sure the rictus of death counts." "I've got that covered, Dora," I actually brushed up against Buffy. "I'm having a laugh track installed in my urn." "Who says they'll ever find your body?" Buffy moved rapidly at my side. "Whoa; cannibalism. Where I come from, normally the guy eats the girl," I joked. "With you, Buffy, I'm never quite certain of our gender roles. I'm still terrified of letting you snuggle up from behind." "I hate you," Buffy growled. She wasn't upset. Her eyes were dancing with laughter. "What are you going to do when he is relocated?" Fabiola murdered the mood. "Blame you," Buffy glared at Fabiola. "I'm so scared," Fabiola mocked Buffy. "Fabiola, don't be like that," I moped. "You have such full, plump lips that clearly know how to take hold of a problem and work it through. Your thighs are the product of diligent effort on your part and I'm sure that when you grapple with an opponent, no one can break that fearful hold." "I'm sure anything your hands touch, you don't release until you've milked every ounce of life out of your target. You are truly a complete woman," I concluded. The elevator doors opened and we flooded out. Oneida was waiting for me. Buffy began laughing so hard she couldn't keep up. "What is it?" Oneida looked to Buffy. "That is the most obtuse description of fellatio, fucking and a hand job I've ever heard," Buffy wheezed. "Fabiola, he called you a whore and you can never prove it." Okay, I didn't call her a whore; money was never mentioned. Oneida looked distressed. "Oneida, Fabiola insinuated that Cáel would be relocated soon," Daphne came to the rescue. I still had something to take care of. "I knew I forgot something," I realized. "Buffy, can you hold my jacket?" I handed it to her. She examined it then dropped it to the ground. I shrugged then kept stripping. "Cáel?" Oneida worried. "I don't have my biking clothes on," I pointed out. "We can't go biking unless I'm dressed in my biking clothes." Was Oneida still upset about me stripping in public? No. She was about to spend time with me because she mistakenly perceived me to be a good guy. My bike trip with Oneida to a neutral halfway point proved that while Oneida was in good shape, she wasn't a cyclist. Cycling emphasized an unusual muscle sequence, so if you don't cycle much, it shows. I stuck close to her. Not only did it endear me to Oneida, it kept our two shadows at a safe distance so they didn't impinge on their princess's joyful mood. I sent Oneida on her way, got home and immediately started making adjustments to my night's plans. First I had to deal with Libra. I got into an argument with her. I insisted she should wear only jeans, a t-shirt with no bra, and comfortable shoes. Libra was furious. She wanted to go clubbing and look hot; preferably enticing some guys to make me jealous. She certainly wasn't going to come giftwrapped for an easy screw. She wasn't that kind of girl. She didn't like that I was that kind of guy. I insisted that I was the kind of guy who was fascinated with her. I was also happy that Brooke had gotten us back together; you know Brooke, the girl I had fucked to help her get over Felix then refused to sleep with so I could be with Libra. I was blistered and lambasted. I also got my way. I also got to see Libra embrace the ogling her attire earned her in my working class neighborhood as we walked around and talked. "Everyone is staring at my breasts," Libra whispered to me after a bit. She wanted to make me think she was unhappy while her nipples were excited and she was relishing the turning heads. Brooke was better looking, in my opinion, but Libra was definitely a girl who shouldn't walk around without a bra. Her breast are really shapely, large and firm, possibly her best attribute. We were hanging around an authentic Italian pizza joint, Libra against the wall, face to face with me. Without warning, I slipped my hand down, popped her jeans button open and unzipped her pants. "Cáel!" she hissed. Yum, Libra had gone panty-less as well. "Cáel," she repeated. Libra tried to stop my fingers from exploring. She was hampered by her desire to not make a scene while I was insistent. Nice sexy jeans are not only nice and sexy, they hug the hips. This meant I could peel the front of her pants open and work two fingers past her pubic hair to her puffy lips. "Stop," she whimpered. I didn't. I slipped a finger between her labia and she was moist and steamy. I wiggled a finger inside with no effort. "No one will see us," I murmured into Libra's ear. I wiggled my finger in deeper. "You are horrible," she moaned quietly. Her hands started out on my shoulders. A few seconds later, she migrated her arms down. I wasn't positive where she was going with that until she hooked her thumbs into her pants and slid them farther down. "Get it over with," she mumbled. She followed that up with tender kisses to my neck. Her moving her pants down allowed me to move a second finger in. All of that was a prelude. With my two slick fingers, I searched up for her clitoris. She (a clit is definitely a 'she') was hungering for my contact and offered up her tenderness to my attention. Libra's hand began clawing my abdomen through my shirt. Her nasal breathing was becoming ragged, so I eased off on the tempo my stimulation. I wasn't going to bring Libra to an embarrassing public display of sexual release. It took her a few seconds to figure out I wasn't teasing her, but shielding her from an uncontrolled release. "You are mean," her eyes blazed with lust as I sucked my fingers clean of her vaginal secretions. "Kiss me, or I swear to God I'm going to take you on one of these tables," I referred to the small tables the pizza parlor had for diners. Now Libra looked sultry and in charge. She rubbed her hips against my erection, appeared to contemplate her options and deigned to give me a kiss. It was barely a French kiss. Just enough to remind me I had taken advantage of her person and was being punished with pleasure. The box with the pizza slices barely made the toss to the sofa as Libra and I grappled with one another, yanking off our clothes and staggered to my bedroom. "You are going to fuck me so good for all the hell you've put me through," Libra erotically demanded. Ma'am, yes Ma'am. Prepared to do my duty, Ma'am. I decided to do something new for Libra. Trust me, you develop a sense for what sexual deviancies your sex partner has broached. This helps you figure out what they'd like to explore. That leads you to worrying about your partner's sexual history, but is a story for another time. "Hey!" Libra squawked as I handcuffed her left wrist. I wasn't done. With her right wrist beside her left, I looped the chain around a bar in the headboard and snared her other limb. "Motherfu;” she got out before I smothered her with a lip-lock. She put her teeth on my tongue then decided not to chew it off. I broke off the kiss. "Now you are going to do whatever I want you to," I gloated. "Scream, the cops come and you end up splashed all over the society page." Most likely a lie. "I'll never," she snarled as I rammed my dick in to the hilt. "Ah; you bastard," she grunted. Now I picked up my pace. Except having her hands bound, Libra was clearly getting into it. Right before climax, I eased off. Libra whined piteously. "Not yet," I murmured. When I repositioned her in doggy-style, my cock got back to work. This time, I alternated seriously deep cock-thrusts (not pounding) with spanking. Libra went wild; one of her most intense orgasms yet. Libra should have realized two things: my neighbors knew by now and the screams my bedmates generated, and Libra herself was truly an Angelic choir of erotic gratitude. "That; that; that was intense," Libra gasped. She was all sweat and electric; tired yet begging for more. "It gets better," I promised her as I freed her up. Given two minutes to rebound, I rolled over onto my back at her side. The cuffs were handed over and I placed my hands over my head. Libra's countenance was an explosion of thermal desire and numerous unanticipated opportunities. She straddled me, strung me up then; left. Huh? Libra didn't go far. She noticed my 'goodie' box which I had left nonchalantly available when we first tumbled in. What she pulled out didn't make me jump for joy; an ostrich feather, lube and a body wand (imagine a small mace, except the head is actually a vibrating ball). "So, you've done this before?" I questioned. "There is a ball-gag in there. Shut-up, behave, or I'll put it on you," Libra gave me a saucy threat. I nodded. Libra settled in beside me, worked the wand controls then rolled it along my stomach. "To answer your question; no, I've never used anything like this before, but I've wanted to. Now I have a delectable, helpless male with tons of stamina laid out before me." "This is going to be so much fun," she squealed with delight. "Maybe I should call Brooke?" She wasn't soliciting my opinion, just thinking aloud. She called Brooke who begged Libra for the chance to come over and help out. Libra promised Brooke could 'next time'. After that came the feather tickles, lubing up my cock, a hand job and finally using the wand on my cockhead until she shattered my resolve and I ejaculated. Libra licked all my creamy cum up, keeping eye contact through most of the process. For thirty seconds she left me with the sneaking suspicion she was going for round two. She freed me, gave me a good series of kisses then dropped down to bring my penis back to attention. That accomplish, Libra rolled my condom on, mounted me and slowly squirmed down my rod while mesmerizing me with her eyes. "Oh," she purred, "you are so, so bad." I sat up so that I was eye-level with her chin. Libra laid her forearms languidly over my shoulders, while mine deftly cupped each ass. "Does this mean you are breaking up with me?" I gave her my best puppy dog eyes. Libra made that squichy-angry play face. I was teasing and she knew I was teasing. "Do I have to hand-cuff you again?" Libra snickered. I slipped my right hand farther back and down. Using the liberal amount of lube Libra had lavished on my penis, I slicked up my forefinger and picked her sphincter. Libra gave a quick intake of breath. "For the sake of your backside, that might be wise," I teased right back. Libra pouted. "Are going to ream my poor, abused Henie?" she moped deceptively. Rule One plus the addendum; make the girl happy. If you make the girl happy, she'll figure out what makes you happy and do it for you. I lifted Libra up until my cock flopped out of her. It didn't take her two seconds. Her hand found my cock, pointed it up and steered it into her asshole with zero need for encouragement. "I can't believe you are making me do this," she groaned as her sphincter parted and my glans slipped in. I wasn't rushing things. I certainly wasn't coercing Lira in anyway either. She certainly relished my upper body strength that allowed me to match her pace in penetrating her. Once Libra was fully impaled, I rocked us over so that she lay on her back with her knees touching her breasts. A casual, relaxed screw followed. Yes, I could have pounded Libra and she would have loved it, except she was here for more than a series of orgasms. She wanted some kind of confirmation there was an 'us'. She hadn't wanted a relationship when we first met, or even after our first fuck. I was a hook-up; nothing more. The post-Felix episode with Brooke had changed that. I was far from acceptable, but more than a random fuck. Our status had become an enigma to her thus my approach with the soft anal fuck. I could certainly be a late night booty call, salvaging a bad night and making it good. This was a 'take him out for a weekend as a friend' change of events. I was still not in the clubhouse. Thirty minutes in bedroom while 'changing to go down to the pool with her other friends' they'd all know why she'd brought me along. Had Libra forgotten I was a Pound Puppy of the worst sort? Yes, but I felt no desire to remind her. We'd revisit the issue during that first weekend; guaranteed. Libra kept up a quiet bit of banter for a few minutes. Her words were meaningless. Her tonal quality was what I was paying attention to. I kept up a conversation which I would never recall. It is an art form; coherent babbling. My partner's words faded away into groans and grunts. "Ready?" I rumbled my hunger for her wantonness. Libra nodded once, hesitated then nodded several times vigorous

Cáel's tombstone: For the love of women, women put him here.In 25 parts, edited from the works of FinalStand.Listen and subscribe to the ► Podcast at Connected..

La semaine dernière, je vous ai raconté comment et pourquoi els bande-son de Pulp Fiction et Forrest Gump sont aussi réussies. Maintenant, on va voir l'impact qu'elles ont eu, en 1994 et jusqu'à aujourd'hui.Bonne dégustation !Les extraits : The Byrds - Turn! Turn! Turn!Girl You'll Be a Woman Soon - Urge OverkillRumble - Link WrayThe Growlers - Old Cold RiverCCR - Fortunate SonTous les autres extraits sonores sont faits maison.Les sources : https://www.rogerebert.com/features/the-forrest-gump-soundtrack-hits-different-in-the-spotify-era NME, 22 October 1994Songs set the mood for 'Gump' - By LYNETTE RICE Los Angeles Daily News - August94https://medium.com/cuepoint/the-music-of-pulp-fiction-8a13a7cdb5a8 https://www.vivascene.com/surf-rock-then-now-and-forever/ https://www.slate.fr/story/151538/underground-pop-culture-histoire-surf https://www.reddit.com/r/movies/comments/1bzvli3/movies_that_copied_pulp_fiction/ https://uproxx.com/movies/tarantino-rip-offs-the-90s/ Les recos :Dans le Tempo - Wally BadarouL'album Veil de Lysistrata -Rejoignez nous sur Instagram ou notre salon Discord, (ou encore Threads, BlueSky, Facebook) pour discuter du podcast !Et si voulez soutenir Tartine ta Culture, retrouvez-nous sur Patreon ! Get bonus content on Patreon Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Warning. Do not use on fat chicks. They may get the wrong idea. *** GIRL: “What time is it?” A good time. GIRL: “You came in late today.” Hard drug use. GIRL: “Which way is it to X?” You don't seem like the kind of girl who'd go there. GIRL: “How are you?” Irresistible. GIRL: “Could you watch my laptop for me for a minute?” Ok, but close your porn windows first. I have a reputation. GIRL: “What'd you think of movie X?” All right... ready to hang on my every word? GIRL: “Are you going to X's party this Friday?” Yes. You can be happy now. GIRL: “What do you do?” You didn't just ask that. GIRL: in an elevator, “Could you press 4?” This is just like in the movies! GIRL: “My shift is ending soon. Can I close you out?” Your flirting skills need work. GIRL: “I think the coffee machine's broken.” Tried to put vodka in it again, didn't ya? GIRL: “Where's your car?” Tijuana. GIRL: “That sounds like a good idea.” Hey, it's me! GIRL: “It's a really nice day today.” Thanks! GIRL: “That's a cool hat.” Flattery will get you everywhere. GIRL: “Are you waiting in line?” I'd better be. Otherwise I'm standing around looking good for nothing. GIRL: “That'll be $69.75.” I bet you say that to all the guys. Just kidding about that last one. Sort of. *** Flirting with women ties into the whole alpha male philosophy of not taking girls seriously. Treating women's idle politeness like a sounding board for you to amp up the sexual tension and remind your quarry that you are a highly libidinous, fleshy extension of your turgid cock is good for establishing proper and healthy male-female relations. When you are flippant with women, they sense that you think you are better than them, and that turns them on. Women love a man who is better than them, but they will accept as a substitute a man who simply thinks he is better than them.

“It's complicated.” Commit it to memory and deploy liberally. *** GIRL: So are you dating anyone right now?  YOU: It's complicated. *** GIRL: Just how many girls have you been with?  YOU: It's complicated. *** GIRL: What are you looking for? YOU: It's complicated. *** GIRL: Will you buy me a drink? YOU: It's complicated. *** GIRL: You're not going to try to stick it in my ass tonight, are you? YOU: It's complicated. GIRL: *swoon*

Summertime done, come and gone, oh my my! (#RingoGarcia) Yep, fall is upon us and with it means a boatload of forthcoming Beatles goodies! Maybe? Could there be a 50th “Mind Games”? A deluxe “Rubber Soul”? The long-anticipated expanded “Love Songs” box set, with a bonus 7” test pressing of “Girl”/“You're Gonna Lose That Girl” and a gnome or two, for only $400? Sign us up!And over at Untitled Beatles Podcast HQ, we can't wait to kick off the fall season with our usual chicanery and good times. This week, in the spirit of Labor Day, we sip good old American brews, and preview our line-up with a TV Guide style Fall Preview Guide! And this ain't the free one you get in the Sunday paper, jack! It's the real deal. And you'll straight-up cheers *and* jeers all of your favorite returning fall shows on WUBP, Channel 3, like:

In this episode of Girl You're Hired, we'll discuss tips and strategies about deciding if a job or company is right for you. Guest Kelli Thompson shares her values-fit framework, which includes questions such as, "Will this job allow me to use my best talents 80% of the time?" "What's my energy level after each interview?" and "Am I passionate about this company and who they serve?" Additionally, Kelli shares specific interview questions that you can ask to clearly understand whether the role meets your criteria, including questions that can help discern what is true versus what employers think they want to hear. Don't miss this insightful episode on finding the right value-fit for your next job. Kelli Thompson is a keynote speaker, writer, and leadership coach with over 10 years of leadership experience for financial services and technology organizations. She is featured in Forbes, MarketWatch, HuffPost and is the author of Closing the Confidence Gap. You can download her free career clarity guide here. --- Support this podcast: https://podcasters.spotify.com/pod/show/girl-youre-hired/support

The unexpected can be the toughest part of a job interview, but with the right strategy, it can also be the most memorable. In this episode of Girl You're Hired the host, Lena Sernoff, shares her top tips for handling unpredictable interview questions with confidence and poise. With five expert tips, this episode will help you turn a curveball into a standout moment. --- Support this podcast: https://anchor.fm/girl-youre-hired/support

故事FM ❜ 第 680 期做这期节目的初衷是前段时间被广泛热议的，在高铁上到底要不要售卖卫生巾这个话题。在整个讨论的过程中，我们发现，月经作为一个会发生在绝大多数女性身上的生理现象，它在公共空间里是如此地被回避，描述它的时候所使用的词汇又是如此的不准确和缺乏说服力。而在我们发起这次有关月经的征集之后，也有听众留言问我们：月经有什么好说的？为什么要做一期这样的节目。我想这期节目正是尝试去回答这个问题。我们想让女性用真实的词汇、情感和记忆，在声音的空间里留下关于月经的痕迹。我们想要大方地谈论它，在洗手间里也在图书馆里；在来月经的日子里，也在不来月经的日子里。我们说出这个词，是希望有一天我们可以自在地提到它，而不再感到羞耻。*提示一下，本期节目既不是科普、也非解惑，节目中你听到的月经症状，如果与你在经期中感受到的相似，请及时就医，切勿轻易对号入座；另外我们也不在节目里推荐任何生理卫生产品，如果听完节目以后，你想要尝试，请勇敢地探索，小心地使用。特别预告这次月经的征集发出之后，我们收到了大量的投稿，透过月经这件事情，让我们看到了女孩们是如何体验羞耻感、面对羞耻感然后打败羞耻感的。下周，我们将会用图文的形式为你展现本期节目之外的更多的投稿，并邀请你和我们一起聊聊 「最让你感到羞耻的一件事」，谈谈我们内心隐秘的羞耻感。请你关注故事FM 微信公众号下周的推送，并期待你来下周的留言区分享你的故事。另外，特别预告，关于「月经」的话题我们还聊得远远不够，下周我们邀请了一位神秘大咖「返场」聊聊她的月经故事，敬请期待！Staff讲述者 | 月经和经历它的女性们主播 | @寇爱哲制作人 | 也卜声音设计 | 孙泽雨文案 | 也卜封面插画 | Cedric运营 | Yoyo 吴昊BGM List01.StoryFM Main Theme – 彭寒02.Girl You'll Be a Woman Soon – Urge Overkill03.Starlight – 彭寒04.Back to Moon – 彭寒05.The other Side of Shadow – 彭寒用你的声音，讲述你的故事。故事FM 是一档亲历者自述的声音节目，每周一三五更新。在以下渠道均可收听我们的节目：苹果播客 | 网易云音乐 | 喜马拉雅蜻蜓FM | 荔枝FM | 懒人听书小宇宙 | QQ音乐 | 酷狗音乐 | 酷我音乐Spotify | Google Podcast微信公众号：故事FM (ID: story_fm)新浪微博：@故事FM_StoryFM个人微信号：gushi_fm

Playlist: (1) - Cowgirl: Mz. Brown Suga / feat. Thrilla. (2) - Mr. Johnny: Keneisha. (3) - Ms. Tina: Tabu. (4) - Anything or Everything: Leo King / Feat: Roi Chip Anthony. (5) - Nipple In It: Du Right Man. (6) - Something Behind You: PC Band. (7) - Speed Dial: Chrissy Luvz. (8) - She A Freak: Leroy Jermaine / Feat. Johnny James. (9) - Jill of All Skills: Portia P. (10) - Kandy Girls: Kandy Girls. (11) - Da Cowboy Ride: Deshay / Feat Jeter Jones. (12) - Girl You're Looking Good: Kiko Pryor / Feat. Rodnae. (13) - Lotta Woman: Neicey. (14) - Man Handle It: J-Red The Nephew. (15) - I Got That Good Good: Stefunie. (16) - Hot Sauce: J Dallas. (17) - Like This: Southfield.

Junkie Entertainment News:Idris Elba Says He's Stepping Away From ActingLizzo Just Fine After Losing Big Role Wendy Williams Cancelled and Sherri Shepherd Moving Into Her SlotKanye Still Holding Kim Hostage While Running Around Miami With Her DoppelgangerJay Z Uses Power For Good As He Exposes Mississippi Prison For Inhumane Practices in New Docuseries Junkie ReviewsPeacock's Bel-Air (Episode 5: "PA to CA") Apple TV+'s Severance (Premiere)CW's Superman & Lois (Season 2- Episode 5: "Girl You'll Be A Woman, Soon") Junkie Black History FactOn this episode, we talk about the  Stono Rebellion of 1739, in which enslaved people organized an uprising and killed multiple slave owners in South Carolina. Try Hello Fresh and get a discount on Me Follow Us On Social Media:JunkieXperience.com Also, check us out on Twitter: @JunkieXperienceOn Instagram:@JunkieXperienceOn Facebook:@JunkieXperienceOn YouTube@JunkieXperience

We're back for more of Superman and Lois Radio! This time around  Lizzie and Lyra, reviewed “Girl… You'll Be a Woman, Soon.” In this episode, Sarah is about to have her quinceañera with zero planning, Lois and Clark are on the hunt for the truth, and Jordan somehow becomes our favorite child. Sorry, not sorry, Jonathan. Tune in and find out what they thought about the latest episode of Superman & Lois titled “Girl… You'll Be a Woman, Soon”! “The Thing in the Mines” — (8:00-9:00 p.m. ET) (TV-PG, D) (HDTV) THINGS TAKE A TURN ON SARAH'S (INDE NAVARETTE) BIG DAY – Lana (Emmanuelle Chriqui), Kyle (Erik Valdez) and Sarah (Inde Navarette) prepare for Sarah's quinceañera, but things don't end up going as smoothly as they had hoped. Clark (Tyler Hoechlin) finds himself struggling with feelings of guilt about what happened to John Irons (Wole Parks) and Lois (Elizabeth Tulloch) worries that she might have been wrong about Ally (guest star Rya Kihlstedt). Meanwhile, Jonathan (Jordan Elsass) learns that Ret. General Samuel Lane (Dylan Walsh) is planning to train Jordan (Alex Garfin). Lastly, Chrissy (Sofia Hasmik) goes searching for the truth about Lois. Tayler Buck also stars. The episode was directed by Diana Valentine and written by Rina Mimoun & Adam Mallinger. Find Superman & Lois Radio on: Social Media: Facebook – @SupermanRadio – Instagram Subscribe: Apple Podcasts – Stitcher Radio – YouTube – DC TV Podcasts – Google Podcasts – Spotify – Amazon Music (Coming Soon) – Podchaser – TuneIn (Coming Soon) – Podcast Index Contact: SupermanRadio@gmail.com Support: TeePublic Store

We're back for more of Superman and Lois Radio! This time around  Lizzie and Lyra, reviewed “Girl… You'll Be a Woman, Soon.” In this episode, Sarah is about to have her quinceañera with zero planning, Lois and Clark are on the hunt for the truth, and Jordan somehow becomes our favorite child. Sorry, not sorry, Jonathan. Tune in and find out what they thought about the latest episode of Superman & Lois titled “Girl… You'll Be a Woman, Soon”! “The Thing in the Mines” — (8:00-9:00 p.m. ET) (TV-PG, D) (HDTV) THINGS TAKE A TURN ON SARAH'S (INDE NAVARETTE) BIG DAY – Lana (Emmanuelle Chriqui), Kyle (Erik Valdez) and Sarah (Inde Navarette) prepare for Sarah's quinceañera, but things don't end up going as smoothly as they had hoped. Clark (Tyler Hoechlin) finds himself struggling with feelings of guilt about what happened to John Irons (Wole Parks) and Lois (Elizabeth Tulloch) worries that she might have been wrong about Ally (guest star Rya Kihlstedt). Meanwhile, Jonathan (Jordan Elsass) learns that Ret. General Samuel Lane (Dylan Walsh) is planning to train Jordan (Alex Garfin). Lastly, Chrissy (Sofia Hasmik) goes searching for the truth about Lois. Tayler Buck also stars. The episode was directed by Diana Valentine and written by Rina Mimoun & Adam Mallinger. Find Superman & Lois Radio on: Social Media: Facebook – @SupermanRadio – Instagram Subscribe: Apple Podcasts – Stitcher Radio – YouTube – DC TV Podcasts – Google Podcasts – Spotify – Amazon Music (Coming Soon) – Podchaser – TuneIn (Coming Soon) – Podcast Index Contact: SupermanRadio@gmail.com Support: TeePublic Store

Superman and Lois 2x05 "Girl… You'll Be a Woman, Soon" sees us shifted our allegiances on who we love and are done with. The post Superman and Lois Radio Season 2 – Episode 5: “Girl… You’ll Be a Woman, Soon” appeared first on Multiverse Of Color.

Superman and Lois 2x05 "Girl… You'll Be a Woman, Soon" sees us shifted our allegiances on who we love and are done with. The post Superman and Lois Radio Season 2 – Episode 5: “Girl… You'll Be a Woman, Soon” appeared first on DC TV Podcasts.

2nd annual Critics Choice Super Awards – Variety Nominated for “Best Superhero Series” Tyler Hoechlin has been nominated for “Best Actor in a Superhero Series”  2.5 Girl…You'll Be A Woman, Soon After a 2-week Olympic break, The CW's Superman & Lois has returned with new episodes. We break down Season 2, Episode 5 on this […]

2nd annual Critics Choice Super Awards – Variety Nominated for “Best Superhero Series” Tyler Hoechlin has been nominated for “Best Actor in a Superhero Series”  2.5 Girl…You'll Be A Woman, Soon After a 2-week Olympic break, The CW's Superman & Lois has returned with new episodes. We break down Season 2, Episode 5 on this […]

Helllllllo glowing girls. Girl, You're Glowing is a space where we get candid about dating, sex, relationships, grief, addiction, mental health, and motherhood. Girl You're Glowing is about that feeling you get when you start to heal from the inside out. Whether it's learning your worth in relationships, setting boundaries in your personal life, discovering your purpose, or healing from your past, we're all here to discover and uncover together. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/melissa-crouch/support

In this episode, we're joined by Aaron Brummet of The Itch Rock Radio & Podcast, to discuss 90's rock one hit wonders! Vote now for YOUR favorite playlists, hear the results of past episodes & listen to ALL of the playlists at: http://www.playlistwarspodcast.com SONGS DISCUSSED INCLUDE 500 Miles (The Proclaimers), Bittersweet Symphony (The Verve), Black Velvet (Alannah Myles), Cannonball (The Breeders), Counting Blue Cars (Dishwalla), Dizz Knee Land (Dada), Flagpole Sitta (Harvey Danger), Girl You'll Be Woman Soon (Urge Overkill), I Got A Girl (Tripping Daisy), In The Meantime (Spacehog), Laid (James), Mmm Mmm Mmm Mmm (Crash Test Dummies), Mother Mother (Tracy Bonham), My Own Worst Enemy (Lit), New Age Girl (Deadeye Dick), No Rain (Blind Melon), Pets (Porno For Pyros), Popular (Nada Surf), Possum Kingdom (Toadies), Save Tonight (Eagle Eyed Cherry), Sell Out (Reel Big Fish), Sucked Out (Superdrag), That Thing You Do! (The Wonders), Three Little Pigs (Green Jello / Jelly), Tubthumping (Chumbawumba), Unbelievable (EMF) & You Get What You Give (New Radicals) CONNECT WITH PLAYLIST WARS Facebook: https://www.facebook.com/playlistwars Twitter: http://twitter.com/playlistwars Instagram: https://www.instagram.com/playlistwarspodcast YouTube: https://www.youtube.com/channel/UCcW7NibxehYRf8_UZ88Qtbg FOR MORE ON THE ITCH ROCK RADIO & PODCAST Website: https://itchrocks.com/ Facebook: https://www.facebook.com/itchrocks/ Twitter: https://twitter.com/itchrocks Instagram: https://www.instagram.com/itchrocks/ --- Support this podcast: https://anchor.fm/playlistwars/support

Rebecca's latest album, Give Up Your Ghosts, is available on her website, and on all major listening platforms. Her new video series, featuring singer-songwriters talking about what it's like to be working musicians, is available on her YouTube channel. You can join "Team Loebe" on Patreon for as little as $1/month.Here's a link to the official Troubadours on Trek Spotify Playlist, where you can hear all the featured songs from every episode in one playlist (songs will be added as episodes air on Patreon):-Rebecca's song pairing for this episode: “Girl You'll Be a Woman Soon,” by Urge Overkill.-Grace's song pairings for this episode: “Changes” by David Bowie-Rebecca's featured song is "Growing Up," from her new album, Give Up Your Ghosts.Corrections:Yes, Star Trek IV (the one with the whales) is “The Voyage Home.”Many accept "Plato's Stepchildren" (TOS 03:10) as the "first interracial kiss on television" (there's debate on this point but it was certainly the first televised kiss between dark skinned and light skinned actors on American television). But that's only if we're talking about American television. Great Britain was ahead of the United States in this department by almost a decade. Rebecca asks when the "first consensualinterracial kiss" (kiss between dark skinned and light skinned actors) aired on American TV, since the Uhura/Kirk kiss was technically coerced by way of alien mind control in this particular episode. That's a harder question to answer. With these qualifiers, I couldn't find documentation of the "second interracial kiss" or the "first consensual interracial kiss." (If anyone out there has more on this, I'd be very interested to know the answer). Wikipedia has a fascinating entry on televised interracial kisses, documenting earlier examples (than the Uhura/Kirk kiss) of kisses between Asian and white actors and Hispanic and white actors (all light skinned actors) and examples on British television of kisses between actors with dark and light skin: https://en.wikipedia.org/wiki/First_interracial_kiss_on_televisionTribe of Creepy Children: It's interesting to note that the actor who plays Jahn, Michael J. Pollard, was 27 at the time. He was pretty short, so he was able to play a teenager throughout his 20s. He played a lot of memorable side characters, including CW Moss in Bonnie and Clyde (which came out in 1967). He was in lots of other movies and shows, like Dick Tracey and Scrooged and Roxanne, the Steve Martin movie. You can google him.  The other kids are mainly the children of actors in Star Trek: William Shatner's daughters Lisabeth and Melanie, Grace Lee Whitney's son Scott, Vincent McEveety's son Steven, and Gene Roddenberry's daughters, Darleen and Dawn. Two other children, Phil and Iona Morris, were the children of Mission Impossible actor Greg Morris, and they later appeared in other Star Trek shows. Phil Morris was in Star Trek III: The Search for Spock in a bit part and then was a guest star on Babylon 5, Star Trek: Deep Space Nine, and Star Trek: Voyager. Iona Morris was in a 2 part episode of Voyager but is mainly known as a voice actor. She was the voice for Storm in the animated X-Men series and in Spider Man: the Animated Series. 

Girl You've Got This! What does it mean to have IT?

Episode 107 of A History of Rock Music in 500 Songs looks at “Surf City” and the career of Jan and Dean, including a Pop Symphony, accidental conspiracy to kidnap, and a career that both started and ended with attempts to get out of being drafted. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Hey Little Cobra” by the Rip Chords. 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/ —-more—- Resources No Mixcloud this week, due to the number of songs by Jan and Dean. Stephen McParland has published many, many books on the California surf and hot-rod music scenes. The Grand High Potentates of California Rock: Jan and Dean “In Perspective” 1958-1968 is the one I used most here, but I referred to several. His books can be found at https://payhip.com/CMusicBooks I also used Dead Man’s Curve and Back: The Jan and Dean Story by Mark Thomas Passmore, and Dean Torrence’s autobiography Surf City.  The original mono versions of the Liberty singles are only available on an out-of-print CD that goes for over £400, and many compilations have later rerecordings (often by Dean without Jan) but this has the proper recordings, albeit in stereo mixes. This compilation contains their pre-Liberty singles, including the Jan & Arnie material.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   Transcript A warning about this episode — it features some discussion of a car crash and resulting disability and recovery, which may be upsetting to some people. Today we’re going to look at one of the most successful duos in rock and roll history, but one who have been relegated to a footnote because of their collaboration with a far more successful band, who had a similar sound to them. We’re going to look at Jan and Dean, and at “Surf City”: [Excerpt: Jan and Dean, “Surf City”] The story of Jan and Dean begins with Jan and Arnie, and with the Barons. We discussed the Barons briefly in the episode on “LSD-25”, a few months ago, but only in passing, so to recap — the Barons were a singing group that formed at University High School in LA in the late fifties, centred around Jan Berry. Various people involved in the group’s formation went on to be important parts of the LA music scene in the sixties, but by 1958 they were down to Berry and his friends Arnie Ginsburg — not the DJ we talked about last episode, Dean Torrence, and Don Altfeld. The group members all had a love for R&B, and hung around with various of the Black groups of the time — Don Altfeld has talked about him and Berry being present, but not participating, for Richard Berry’s recording of “Louie Louie”, though his memories of the time seem confused in the interviews I’ve read. And Jan Berry in particular was a real music obsessive, and had what may have been the biggest R&B and rock and roll record collection in LA — which he obtained by scamming record companies, which seems to be very in character for him. He got a letterhead made up for a fake radio station, KJAN, and wrote to every record company he could find asking for promo copies. He ended up getting six copies of every new release “to play on the radio”, and would give some of the extra copies to his friends — and others he would use as frisbees. According to Torrence, Berry would often receive two hundred new records a day, all free. Berry had a reel-to-reel tape recorder belonging to his father — his father, William Berry, was important in the Howard Hughes organisation, and had been in charge of the Spruce Goose project, even flying in the famous plane with Hughes, and Hughes had given him the tape recorder, which unlike almost all recording equipment available in the fifties had a primitive reverb function built in. With that and a microphone stolen from the school auditorium, Berry started recording himself and his friends, and he’d wanted to play one of the tapes he’d made at a party, so he’d taken it to a studio to be cut as an acetate, where it had been heard by Joe Lubin of Arwin Records, who took the tape and got session musicians to overdub it: [Excerpt: Jan and Arnie, “Jennie Lee”] That record was released as by Jan and Arnie, rather than the Barons — Dean Torrence was off doing six months in the army, to get out of being conscripted later. Torrence has always said that he could hear himself on the recording, and that it was one the Barons had done together, but everyone else involved has claimed that while the Barons did record a version of that song, the finished version only features Jan and Arnie’s vocals. Don Altfeld didn’t sing on it, because he was never allowed to sing in the Barons — he was forced to just mouth along, which given that both Jan and Dean were known for regularly singing flat must say something about just how bad a singer he is — though he did apparently hit a metal chair leg as percussion on the record. “Jennie Lee” went to number three on the Cashbox chart — number eight on Billboard — and was a big enough hit that it set a precedent for how all the records Jan Berry would be involved in for the next few years would be made — he would record vocals and piano in his garage, with a ton of reverb, and then the backing track would be recorded to that, usually by the same group of musicians that played on records by people like Sam Cooke, Ritchie Valens, and other late-fifties LA singers — a group centred around Ernie Freeman on piano and organ, Rene Hall on guitar, and Earl Palmer on drums. This was a completely backwards way of recording — normally you’d have the musicians play the backing track first and then overdub the vocals on it — but it was how they would carry on doing things for several years. Jan and Arnie’s follow-up, “Gas Money”, written by Berry, Ginsburg, and Altfeld, did less well, only making number eighty-one in the charts: [Excerpt: Jan and Arnie, “Gas Money”] And their third single didn’t chart at all. By this point, Arnie Ginsburg was getting thoroughly sick of working with Jan Berry — pretty much without exception everyone who knew Berry in the fifties and early sixties says two things about him — that he was the single most intelligent person they ever met, and that he was a domineering egomaniac who used anyone he could remorselessly. Jan and Arnie split up, and Arwin Records seems to have decided to stick with Arnie, rather than Jan — though this might have been because Arnie seemed *less* likely to have hits, as Dean Torrence has later claimed that Arwin was a tax dodge — it was owned by Marty Melcher, Doris Day’s husband, and seems to have been used as much to get out of paying as much tax on the family’s vast wealth as it was a real record label. Whatever the reason, though, Arnie made one more single, as The Rituals, backed by many of the people who had played with The Barons — Bruce Johnston, Sandy Nelson, and Dave Shostac, plus their regular collaborators Mike Deasy, Richie Polodor and Harper Cosby. It didn’t chart: [Excerpt: The Rituals, “Girl in Zanzibar”] Dean Torrence, who had by now left the Army, saw his chance, and soon Jan and Arnie had become Jan and Dean — after a brief phase in which it looked like they might persuade Dean to change his name in order to avoid losing the group name. They hooked up with a new management and production team, Lou Adler and Herb Alpert, who had both been working at Keen Records with Sam Cooke. Kim Fowley later said that it was him who persuaded Adler to sign the duo, but Kim Fowley said a lot of things, very few of them true. Adler and Alpert got the new duo signed to Doré Records, a small label based in LA, and their first release on the label was a cover version of a record originally by a group called the Laurels: [Excerpt: The Laurels, “Baby Talk”] Herb Alpert brought that song to the duo, and their version became a top ten hit, with Jan singing the low parts and Dean singing the lead: [Excerpt: Jan and Dean, “Baby Talk”] The hit was big enough that budget labels released soundalike cover versions of it, one of which was by a duo called Tom and Jerry, who had been one hit wonders a year earlier: [Excerpt: Tom and Jerry, “Baby Talk”] That cover version was unsuccessful, something Paul Simon and Art Garfunkel were probably very grateful for when they reinvented themselves as sensitive folkies a couple of years later. Around this time, Jan got his girlfriend pregnant. In order not to spoil their son’s promising career — as well as being a singer, he was also at university and planned to become a doctor — Jan’s parents adopted his son and raised the boy as their own son. The duo went on a tour with Little Willie John, Bobby Day, and Little Richard’s old backing band The Upsetters, playing to mainly Black audiences — a tour they were booked on because almost all West Coast doo-wop at that time was from Black singers. Once the mistake was realised, a decision was made to promote the new duo’s image more — lots of photos of the very blonde, very white, duo started to be released, as a way to reassure the white audience. The duo’s film-star good looks assured them of regular coverage in the teen magazines, but they didn’t have any more hits on Doré — of the seven singles they released in the two years after “Baby Talk”, none of them got to better than number fifty-three on the charts.  Eventually the duo left Doré, and Jan released one solo single, “Tomorrow’s Teardrops”: [Excerpt: Jan Berry, “Tomorrow’s Teardrops”] That was actually released as by Jan Barry, rather than Jan Berry, at a point when the duo had actually split up — Dean was getting tired of not having any further hit records, and wanted to concentrate on his college work, while Berry was one of those people who needs to be doing several things simultaneously. Berry’s new girlfriend Jill Gibson added backing vocals — by this time he’d dumped the one he’d got pregnant — and the song was written by Berry and Altfeld. Jan actually started his own label, Ripple Records — named after the brand of cheap wine — to release it, and Dean created the logo for him — the first of many he would create over the years. However, the duo soon reunited, and came up with a plan which would have them only touring during the summer break, and doing local performances in the LA area on those weekends when neither had any homework. Now they needed to get signed to a major label. The one they wanted was Liberty, the label that Eddie Cochran had been on, and whose owner, Si Waronker, was actually the cousin of the owners of Doré. And they had recorded a track that they were sure would get them signed to Liberty. The Marcels had recently had a hit with their doo-wop revival of the old standard “Blue Moon”: [Excerpt: The Marcels, “Blue Moon”] Jan had decided to make a soundalike arrangement of another song from the same period, using the same chord changes — the old Hoagy Carmichael song “Heart and Soul”: [Excerpt: Jan and Dean, “Heart and Soul”] They were sure that would be a hit. But Herb Alpert wasn’t — he thought it was a dreadful record, He hated it so much, in fact, that he broke up his partnership with Lou Adler. The division of the partnership’s assets was straightforward — they owned Jan and Dean’s contract, and they owned a tape recorder. Alpert got the tape recorder, and Adler got Jan and Dean. Alpert went on to have a string of hit records as a trumpet player, starting with “The Lonely Bull” in 1962: [Excerpt: Herb Alpert, “The Lonely Bull”] He later formed his own record label, A&M, and never seems to have regretted losing Jan & Dean. Jan and Dean took their tape of “Heart and Soul” to Liberty Records, who said that they did want to sign Jan and Dean, but they didn’t want to release a record like that — they told them to take it somewhere else, and then when the single was a flop, they could come back to Liberty and make some proper records. So the duo got a two-record deal with the small label Challenge Records, on the understanding that after those two singles they would move on to Liberty. And “Heart and Soul” turned out to be a big hit, making number twenty-five on the charts: [Excerpt: Jan and Dean, “Heart and Soul”] Their second single on Challenge only made number one hundred and four, but by this time they knew the drill — they’d release their first single on a new label, it would be a big hit, then everything after that would be a flop. But they were going to a new label anyway, and they were sure their first single on Liberty Records would be a huge hit, just like every time they changed labels. The first record they put out on Liberty was a cover of another oldie, “A Sunday Kind of Love”, suggested by Si Waronker’s son Lenny, who we’ll be hearing a lot more about in future episodes. By this point Lou Adler was working for Aldon Music as their West Coast representative, and so the track was credited as “produced by Lou Adler for Nevins-Kirshner”, but Jan was given a separate arrangement credit on the record. But despite their predictions that the single would be a hit because it was a new label, it only made number ninety-four on the charts. The follow-up, “Tennessee”, was a song which had been more or less forced on them — it was originally one of the recordings that Phil Spector produced during his short-lived contract with Liberty, for a group called the Ducanes, but when the Ducanes had made a hash of it, Liberty forced the song on Jan & Dean instead: [Excerpt: Jan and Dean, “Tennessee”] By this time, while Ernie Freeman was still the studio leader of the session musicians, Jan was requesting a rather larger group of musicians, and they’d started recording the backing tracks first. The musicians on “Tennessee” included Tommy Allsup and Jerry Allison of the Crickets, Earl Palmer on drums, and Glen Campbell on guitar, but even these proven hit-makers couldn’t bring the song to more than number sixty-nine on the charts. And even that was better than their next two singles, neither of which even made the Hot One Hundred — though the fact that by this point they were reduced to recording versions of “Frosty The Snowman”, and attempting to recapture their first hit with a sequel called “She’s Still Talking Baby Talk” shows how desperately they were casting around for something, anything that could be a hit. Eventually they found something that worked. A group called the Regents had recently had a hit with “Barbara Ann”: [Excerpt: The Regents, “Barbara Ann”] The duo had cut a cover version of that for their most recent album, and they thought it had worked well, and so they wanted something else that would allow Dean to sing a falsetto lead, over a bass vocal by Jan, with a girl’s name in the title. They eventually hit on an old standard from the 1940s, originally written as a favour for the songwriter’s lawyer, Lee Eastman, about his then one-year-old daughter Linda (who we’ll be hearing more about later in this series). Their version of “Linda” finally gave them another hit after five flops in a row, reaching number twenty-eight in the charts: [Excerpt: Jan and Dean, “Linda”] Their career was on an upswing again, and then everything changed for them when they played a gig with support from a local band who had just started having hits, the Beach Boys. The story goes that the Beach Boys were booked to do their own support slot and then to back Jan and Dean on their set. The show went down well with the audience, and they wanted an encore, but Jan and Dean had run out of rehearsed songs. So they suggested that the Beach Boys play their own two singles again, and Jan and Dean would sing with them. The group were flattered that two big stars like Jan and Dean would want to perform their songs, and eagerly joined in. Suddenly, Jan and Dean had an idea — their next album was going to be called Jan & Dean Take Linda Surfin’, but as yet they hadn’t recorded any surf songs. They invited the Beach Boys to come into the studio and record new versions of their two singles for Jan & Dean’s album, with Jan and Dean singing the leads: [Excerpt: Jan and Dean and the Beach Boys, “Surfin'”] The Beach Boys weren’t credited for that session, as they were signed to another label, but it started a long collaboration between the two groups. In particular, the Beach Boys’ leader Brian Wilson became a close collaborator with Berry. And at that same session, Wilson gave Jan and Dean what would become their biggest hit. After the recording, Jan and Dean asked Wilson if he had any new songs they might be able to do. The first one he played them, “Surfin’ USA”, he told them they couldn’t do anything with as he wanted that for the Beach Boys themselves. But then he played them two others. The one that Jan and Dean saw most potential in was a song he’d completed, “Gonna Hustle You”: [Excerpt: Brian Wilson, “Gonna Hustle You”] The duo wanted that as their next single, but Liberty Records flat out refused to put out something that sounded so dirty as “Gonna Hustle You”. They tried rewriting it as “Get a Chance With You”, but even that was too much. They put the song aside, though they’d return to it later as “The New Girl In School”, which would become a minor hit for them. Instead, they worked on a half-completed song that Wilson had started, very much in the same mould as the first two Beach Boys singles, with the provisional title “Goodie Connie Won’t You Please Come Home”. This song would become the first of many Jan and Dean songs for which the songwriting credit is disputed. No-one argues with the fact that the basic idea of the song was Brian Wilson’s, but Jan Berry’s process was to get a lot of people to throw ideas in, sometimes working in a group, sometimes working separately and not even knowing that other people had been involved. The song is officially credited to Wilson and Berry, but Don Altfeld has also claimed he contributed to it, Dean Torrence says that he wrote about a quarter of the lyrics, and it’s also been suggested that Roger Christian wrote the lyrics to the first verse. Christian was an LA-area DJ who was obsessed with cars, and had come to Wilson’s attention after he’d said on the air that the Beach Boys’ “409” was a great song about a bad car. He’d started writing songs with Wilson, and he would also collaborate with both Jan Berry and Wilson’s friend Gary Usher (who was a big part of this scene but hardly ever worked with Jan and Dean because he hated Jan). Almost every car song from this period, by the Beach Boys, Jan and Dean, or any number of studio groups, was co-written by Christian, and we’ll be hearing more about him in a future episode. This group of people — Jan and Dean, Brian Wilson, Roger Christian, and Don Altfeld — would write together in various combinations, and write a lot of hits, but a lot of the credits were assigned more or less randomly — though Jan Berry was almost always credited, and Dean Torrence almost never was. The completed song, titled “Surf City”, was recorded with members of the Wrecking Crew — the studio musicians who usually worked with Phil Spector — performing the backing track. In this case, these were Hal Blaine, Glen Campbell, Earl Palmer, Bill Pitman, Ray Pohlman and Billy Strange — there were two drummers because Berry liked a big drum sound. Brian Wilson was at the session, and soon after this he started using some of those musicians himself. While it was released as a Jan and Dean record, Dean doesn’t sing on it at all — the vocals featured Jan, three singers from another Liberty Records group called the Gents, and Brian Wilson, with Wilson and Tony Minichello of the Gents singing the falsetto parts that Dean would sing live: [Excerpt: Jan and Dean, “Surf City”] That went to number one, becoming Jan and Dean’s only number one, and Brian Wilson’s first — much to the fury of Wilson’s father Murry, who thought that Wilson’s hits should only be going to the Beach Boys. Murry Wilson may well have been more bothered by the fact that the publishing for the song went to Columbia/Screen Gems, to whom Jan was signed, rather than to Sea of Tunes, the company that published Wilson’s other songs, and which was owned by Murry himself. Murry started calling Jan a “pirate”, which prompted Berry to turn up to a Beach Boys session wearing a full pirate costume to taunt Murry. From “Linda” on, Jan and Dean had ten top forty hits with ten singles — one of the B-sides also charted, but they did miss with “Here They Come From All Over The World”, the theme tune for the TAMI Show, a classic rock concert film on which Jan and Dean appeared both as singers and as the hosts. That was by far their weakest single from this period, being as it is just a list of the musicians in the show, some of them described incorrectly — the song talks about “The Rolling Stones from Liverpool” and James Brown being “the King of the Blues”. All of these hits were made by the same team. The Wrecking Crew would play the instruments, the Gents — now renamed the Matadors, and sometimes the Blossoms would provide backing vocals on the earlier singles. The later ones would feature the Fantastic Baggies instead of the Matadors — two young songwriters, Steve Barri and P.F. Sloan, who were also making their own surf records. The lead would be sung by Jan, the falsetto by some combination of Brian Wilson, Dean Torrence, Tony Minichello and P.F. Sloan — often Dean wouldn’t appear at all. The singles would be written by some combination of Wilson, Berry, Altfeld and Christian, and the songs would be about the same subjects as the Beach Boys’ records — surf, cars, girls, or some combination of the three. Sometimes the records would be just repetitions of the formula, like “Drag City”, which was an attempt at a second “Surf City”: [Excerpt: Jan and Dean, “Drag City”] But often there would be a self-parodic element that wasn’t present in the Beach Boys’ singles, as in “The Little Old Lady From Pasadena”, a car song written by Berry, Christian, and Altfeld, based on a series of Dodge commercials featuring a car-racing old lady: [Excerpt: Jan and Dean, “The Little Old Lady From Pasadena”] And the grotesque “Dead Man’s Curve”, equal parts a serious attempt at a teen tragedy song and a parody of the genre, which took on a new meaning a few years after it was a hit: [Excerpt: Jan and Dean, “Dead Man’s Curve”] But while 1963 and 64 saw the duo rack up an incredible run of hits, they were making enemies. Jan was so unpleasant to people by this point that even the teen mags would call him out, with Teen Scene in March 1964 running an article which read, in part, “Blast of the month goes to half of a certain group whose initials are J&D. Reason for the blast: his personality, which makes enemies faster than Carter makes pills… (It’s the Jan Half)… Acting like Mr. Big Britches gets you nowhere, and your poor partner, who is one of the nicest guys on earth, shouldn’t be forced to go around making apologies for your actions.” And while Torrence may have been “one of the nicest guys on Earth”, not all of his friends were. In fact, in December 1963, his closest friend, Barry Keenan, was the ringleader in the kidnapping of Frank Sinatra Jr.  Keenan told Torrence about the plan in advance, and Torrence had lent Keenan a great deal of money, which Keenan used to finance the kidnapping. Torrence was accused of being a major part of the plot, though he was let off after testifying against the people who were actually involved — he’s always claimed that he thought that his friend’s talking about his plan for the perfect crime was just talk, not a serious plan. Torrence had even offered suggestions, jokingly, which Keenan had incorporated — and Keenan had left a bag containing fifty thousand dollars at Torrence’s home, Torrence’s share of the ransom money, which Torrence refused to keep. However, Sinatra Sr was annoyed enough at Torrence that a lot of plans for Jan and Dean TV shows and film appearances suddenly dried up. The lack of TV and film appearances was a particular problem as the music industry was changing under them, and surf and hot rod records weren’t the in thing any more — and Brian Wilson seems to have been less interested in working with them as well, as the Beach Boys overtook Jan and Dean in popularity. 1965 saw them trying to figure out the new, more serious, music scene, with experiments like Pop Symphony Number 1, an album of orchestral arrangements of the duo’s hits by Berry (who minored in music at UCLA) and George Tipton: [Excerpt: The Bel-Aire Pops Orchestra, “Surf City”] The duo also tried going folk-rock, releasing an album called Folk ‘n’ Roll, which featured another variation on the “Surf City” and “Drag City” theme — this one “Folk City”: [Excerpt: Jan and Dean, “Folk City”] That album didn’t do well at all, not least because the lead-off single was a pro-war protest song, released as a Jan Berry solo single. Berry had become incensed by Buffy Saint-Marie’s song “The Universal Soldier”, and had written a right-wing response, “The Universal Coward”: [Excerpt: Jan Berry, “The Universal Coward”] As you can imagine, that was not popular with the folk-rock crowd, especially coming as it did from someone who was still managing to avoid the draft by studying medicine, even as he was also a pop star. Torrence became so irritated with Berry, and with the music they were making, during the recording of that album that he ended up going down the hall to another studio, where the Beach Boys were recording their unplugged Party! album, and sitting in with them. He suggested they do a new recording of “Barbara Ann”, and he sang lead on it, uncredited: [Excerpt: The Beach Boys, “Barbara Ann”] That went to number two on the charts, becoming the biggest hit record that Torrence ever sang on. Torrence was happier with the next project, though, an album spoofing the popular TV show Batman, with several comedy sketches, along with songs about the characters from the TV show: [Excerpt: Jan and Dean, “Batman”] But by this point, in 1966, Jan and Dean’s singles were doing absolutely nothing in the charts. In March, Liberty Records dropped them. And then on April the twelfth, 1966, something happened that would end their chances of another comeback. Jan Berry had been in numerous accidents over the previous few years — he was a thrill-seeker, and would often end up crashing cars or breaking bones. On April the twelfth, he had an appointment at the draft board, at which he was given bad news — depending on which account you read, he was either told that his draft deferment was coming to an end and he was going to Vietnam straight away, or that he was going to Vietnam as soon as he graduated from medical school at the end of the school year. He was furious, and he got into his car. What happened next has been the subject of some debate. Some people say that a wheel came off his car — and some have hinted that this was the result of some of Sinatra’s friends getting revenge on Jan and Dean. Others just say he was driving carelessly, which he often did. Some have suggested that he was trying to deliberately get into a minor accident to avoid being drafted. Whatever happened, he was involved in a major accident, in which he, though luckily no-one else, was severely injured. He spent a month in a coma, and came out of it severely brain damaged. He had to relearn to read and speak, and for the rest of his life would have problems with his memory, his physical co-ordination, and his speech. Liberty kept releasing old Jan and Dean tracks, and even got them a final top twenty hit with “Popsicle”, a song from a few years earlier. Dean made a Jan and Dean album, Save For a Rainy Day, without Jan, while Jan was still recovering, as a way of trying to keep their career options open if Jan ever got better. Dean put it out on the duo’s own new label, J&D, and there were plans for Columbia to pick it up and give it a wider release, but Jan refused to sign the contracts — he was furious that Dean had made a Jan and Dean record without him, and would have nothing to do with it. Torrence tried to have a music career anyway — he put out a cover of the Beach Boys song “Vegetables” under the name The Laughing Gravy: [Excerpt: The Laughing Gravy, “Vegetables”] But he soon gave up, and became an artist, designing covers and logos for people like Harry Nilsson, Canned Heat, the Turtles, and the Beach Boys. Jan tried making his own Jan and Dean album without Dean, even though he was unable to sing again or write yet. With a lot of help from Roger Christian, he pulled together some old half-finished songs and finished them, got in some soundalike session singers and famous friends like Glen Campbell and Davy Jones of the Monkees and put together Carnival of Sound, an album that didn’t get released until 2010: [Excerpt: Jan and Dean, “Girl You’re Blowing My Mind”] In the mid-seventies, Jan and Dean got back together and started touring the nostalgia circuit, spurred by a TV movie, Dead Man’s Curve, based on their lives. There seemed to be a love-hate relationship between them in later years — they would split up and get back together, and their roles had reversed, with Dean now taking most of the leads on the shows — Dean had to look after Jan a lot of the time, and some reports said that Jan had to relearn the words to the three songs he sang lead on every night. But with the aid of some excellent backing musicians, and with some love and tolerance from the audience for Jan’s ongoing problems, they managed to regularly please crowds of thousands until a few weeks before Jan’s death in 2004. Since then, Dean has mostly performed with the Surf City All-Stars, a band that sometimes also features Al Jardine and David Marks of the Beach Boys, playing a few shows a year. He released an autobiography in 2016 — it came out at the same time as the autobiographies of Brian Wilson and Mike Love of the Beach Boys, ensuring that even at this late date, he would be overshadowed by his more famous colleagues.

Episode 107 of A History of Rock Music in 500 Songs looks at "Surf City" and the career of Jan and Dean, including a Pop Symphony, accidental conspiracy to kidnap, and a career that both started and ended with attempts to get out of being drafted. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Hey Little Cobra" by the Rip Chords. 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/ ----more---- Resources No Mixcloud this week, due to the number of songs by Jan and Dean. Stephen McParland has published many, many books on the California surf and hot-rod music scenes. The Grand High Potentates of California Rock: Jan and Dean "In Perspective" 1958-1968 is the one I used most here, but I referred to several. His books can be found at https://payhip.com/CMusicBooks I also used Dead Man's Curve and Back: The Jan and Dean Story by Mark Thomas Passmore, and Dean Torrence's autobiography Surf City.  The original mono versions of the Liberty singles are only available on an out-of-print CD that goes for over £400, and many compilations have later rerecordings (often by Dean without Jan) but this has the proper recordings, albeit in stereo mixes. This compilation contains their pre-Liberty singles, including the Jan & Arnie material.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   Transcript A warning about this episode -- it features some discussion of a car crash and resulting disability and recovery, which may be upsetting to some people. Today we're going to look at one of the most successful duos in rock and roll history, but one who have been relegated to a footnote because of their collaboration with a far more successful band, who had a similar sound to them. We're going to look at Jan and Dean, and at "Surf City": [Excerpt: Jan and Dean, "Surf City"] The story of Jan and Dean begins with Jan and Arnie, and with the Barons. We discussed the Barons briefly in the episode on "LSD-25", a few months ago, but only in passing, so to recap -- the Barons were a singing group that formed at University High School in LA in the late fifties, centred around Jan Berry. Various people involved in the group's formation went on to be important parts of the LA music scene in the sixties, but by 1958 they were down to Berry and his friends Arnie Ginsburg -- not the DJ we talked about last episode, Dean Torrence, and Don Altfeld. The group members all had a love for R&B, and hung around with various of the Black groups of the time -- Don Altfeld has talked about him and Berry being present, but not participating, for Richard Berry's recording of "Louie Louie", though his memories of the time seem confused in the interviews I've read. And Jan Berry in particular was a real music obsessive, and had what may have been the biggest R&B and rock and roll record collection in LA -- which he obtained by scamming record companies, which seems to be very in character for him. He got a letterhead made up for a fake radio station, KJAN, and wrote to every record company he could find asking for promo copies. He ended up getting six copies of every new release "to play on the radio", and would give some of the extra copies to his friends -- and others he would use as frisbees. According to Torrence, Berry would often receive two hundred new records a day, all free. Berry had a reel-to-reel tape recorder belonging to his father -- his father, William Berry, was important in the Howard Hughes organisation, and had been in charge of the Spruce Goose project, even flying in the famous plane with Hughes, and Hughes had given him the tape recorder, which unlike almost all recording equipment available in the fifties had a primitive reverb function built in. With that and a microphone stolen from the school auditorium, Berry started recording himself and his friends, and he'd wanted to play one of the tapes he'd made at a party, so he'd taken it to a studio to be cut as an acetate, where it had been heard by Joe Lubin of Arwin Records, who took the tape and got session musicians to overdub it: [Excerpt: Jan and Arnie, "Jennie Lee"] That record was released as by Jan and Arnie, rather than the Barons -- Dean Torrence was off doing six months in the army, to get out of being conscripted later. Torrence has always said that he could hear himself on the recording, and that it was one the Barons had done together, but everyone else involved has claimed that while the Barons did record a version of that song, the finished version only features Jan and Arnie's vocals. Don Altfeld didn't sing on it, because he was never allowed to sing in the Barons -- he was forced to just mouth along, which given that both Jan and Dean were known for regularly singing flat must say something about just how bad a singer he is -- though he did apparently hit a metal chair leg as percussion on the record. "Jennie Lee" went to number three on the Cashbox chart -- number eight on Billboard -- and was a big enough hit that it set a precedent for how all the records Jan Berry would be involved in for the next few years would be made -- he would record vocals and piano in his garage, with a ton of reverb, and then the backing track would be recorded to that, usually by the same group of musicians that played on records by people like Sam Cooke, Ritchie Valens, and other late-fifties LA singers -- a group centred around Ernie Freeman on piano and organ, Rene Hall on guitar, and Earl Palmer on drums. This was a completely backwards way of recording -- normally you'd have the musicians play the backing track first and then overdub the vocals on it -- but it was how they would carry on doing things for several years. Jan and Arnie's follow-up, "Gas Money", written by Berry, Ginsburg, and Altfeld, did less well, only making number eighty-one in the charts: [Excerpt: Jan and Arnie, "Gas Money"] And their third single didn't chart at all. By this point, Arnie Ginsburg was getting thoroughly sick of working with Jan Berry -- pretty much without exception everyone who knew Berry in the fifties and early sixties says two things about him -- that he was the single most intelligent person they ever met, and that he was a domineering egomaniac who used anyone he could remorselessly. Jan and Arnie split up, and Arwin Records seems to have decided to stick with Arnie, rather than Jan -- though this might have been because Arnie seemed *less* likely to have hits, as Dean Torrence has later claimed that Arwin was a tax dodge -- it was owned by Marty Melcher, Doris Day's husband, and seems to have been used as much to get out of paying as much tax on the family's vast wealth as it was a real record label. Whatever the reason, though, Arnie made one more single, as The Rituals, backed by many of the people who had played with The Barons -- Bruce Johnston, Sandy Nelson, and Dave Shostac, plus their regular collaborators Mike Deasy, Richie Polodor and Harper Cosby. It didn't chart: [Excerpt: The Rituals, "Girl in Zanzibar"] Dean Torrence, who had by now left the Army, saw his chance, and soon Jan and Arnie had become Jan and Dean -- after a brief phase in which it looked like they might persuade Dean to change his name in order to avoid losing the group name. They hooked up with a new management and production team, Lou Adler and Herb Alpert, who had both been working at Keen Records with Sam Cooke. Kim Fowley later said that it was him who persuaded Adler to sign the duo, but Kim Fowley said a lot of things, very few of them true. Adler and Alpert got the new duo signed to Doré Records, a small label based in LA, and their first release on the label was a cover version of a record originally by a group called the Laurels: [Excerpt: The Laurels, "Baby Talk"] Herb Alpert brought that song to the duo, and their version became a top ten hit, with Jan singing the low parts and Dean singing the lead: [Excerpt: Jan and Dean, "Baby Talk"] The hit was big enough that budget labels released soundalike cover versions of it, one of which was by a duo called Tom and Jerry, who had been one hit wonders a year earlier: [Excerpt: Tom and Jerry, "Baby Talk"] That cover version was unsuccessful, something Paul Simon and Art Garfunkel were probably very grateful for when they reinvented themselves as sensitive folkies a couple of years later. Around this time, Jan got his girlfriend pregnant. In order not to spoil their son's promising career -- as well as being a singer, he was also at university and planned to become a doctor -- Jan's parents adopted his son and raised the boy as their own son. The duo went on a tour with Little Willie John, Bobby Day, and Little Richard's old backing band The Upsetters, playing to mainly Black audiences -- a tour they were booked on because almost all West Coast doo-wop at that time was from Black singers. Once the mistake was realised, a decision was made to promote the new duo's image more -- lots of photos of the very blonde, very white, duo started to be released, as a way to reassure the white audience. The duo's film-star good looks assured them of regular coverage in the teen magazines, but they didn't have any more hits on Doré -- of the seven singles they released in the two years after "Baby Talk", none of them got to better than number fifty-three on the charts.  Eventually the duo left Doré, and Jan released one solo single, "Tomorrow's Teardrops": [Excerpt: Jan Berry, "Tomorrow's Teardrops"] That was actually released as by Jan Barry, rather than Jan Berry, at a point when the duo had actually split up -- Dean was getting tired of not having any further hit records, and wanted to concentrate on his college work, while Berry was one of those people who needs to be doing several things simultaneously. Berry's new girlfriend Jill Gibson added backing vocals -- by this time he'd dumped the one he'd got pregnant -- and the song was written by Berry and Altfeld. Jan actually started his own label, Ripple Records -- named after the brand of cheap wine -- to release it, and Dean created the logo for him -- the first of many he would create over the years. However, the duo soon reunited, and came up with a plan which would have them only touring during the summer break, and doing local performances in the LA area on those weekends when neither had any homework. Now they needed to get signed to a major label. The one they wanted was Liberty, the label that Eddie Cochran had been on, and whose owner, Si Waronker, was actually the cousin of the owners of Doré. And they had recorded a track that they were sure would get them signed to Liberty. The Marcels had recently had a hit with their doo-wop revival of the old standard "Blue Moon": [Excerpt: The Marcels, "Blue Moon"] Jan had decided to make a soundalike arrangement of another song from the same period, using the same chord changes -- the old Hoagy Carmichael song "Heart and Soul": [Excerpt: Jan and Dean, "Heart and Soul"] They were sure that would be a hit. But Herb Alpert wasn't -- he thought it was a dreadful record, He hated it so much, in fact, that he broke up his partnership with Lou Adler. The division of the partnership's assets was straightforward -- they owned Jan and Dean's contract, and they owned a tape recorder. Alpert got the tape recorder, and Adler got Jan and Dean. Alpert went on to have a string of hit records as a trumpet player, starting with "The Lonely Bull" in 1962: [Excerpt: Herb Alpert, "The Lonely Bull"] He later formed his own record label, A&M, and never seems to have regretted losing Jan & Dean. Jan and Dean took their tape of "Heart and Soul" to Liberty Records, who said that they did want to sign Jan and Dean, but they didn't want to release a record like that -- they told them to take it somewhere else, and then when the single was a flop, they could come back to Liberty and make some proper records. So the duo got a two-record deal with the small label Challenge Records, on the understanding that after those two singles they would move on to Liberty. And "Heart and Soul" turned out to be a big hit, making number twenty-five on the charts: [Excerpt: Jan and Dean, "Heart and Soul"] Their second single on Challenge only made number one hundred and four, but by this time they knew the drill -- they'd release their first single on a new label, it would be a big hit, then everything after that would be a flop. But they were going to a new label anyway, and they were sure their first single on Liberty Records would be a huge hit, just like every time they changed labels. The first record they put out on Liberty was a cover of another oldie, "A Sunday Kind of Love", suggested by Si Waronker's son Lenny, who we'll be hearing a lot more about in future episodes. By this point Lou Adler was working for Aldon Music as their West Coast representative, and so the track was credited as "produced by Lou Adler for Nevins-Kirshner", but Jan was given a separate arrangement credit on the record. But despite their predictions that the single would be a hit because it was a new label, it only made number ninety-four on the charts. The follow-up, "Tennessee", was a song which had been more or less forced on them -- it was originally one of the recordings that Phil Spector produced during his short-lived contract with Liberty, for a group called the Ducanes, but when the Ducanes had made a hash of it, Liberty forced the song on Jan & Dean instead: [Excerpt: Jan and Dean, "Tennessee"] By this time, while Ernie Freeman was still the studio leader of the session musicians, Jan was requesting a rather larger group of musicians, and they'd started recording the backing tracks first. The musicians on "Tennessee" included Tommy Allsup and Jerry Allison of the Crickets, Earl Palmer on drums, and Glen Campbell on guitar, but even these proven hit-makers couldn't bring the song to more than number sixty-nine on the charts. And even that was better than their next two singles, neither of which even made the Hot One Hundred -- though the fact that by this point they were reduced to recording versions of "Frosty The Snowman", and attempting to recapture their first hit with a sequel called "She's Still Talking Baby Talk" shows how desperately they were casting around for something, anything that could be a hit. Eventually they found something that worked. A group called the Regents had recently had a hit with "Barbara Ann": [Excerpt: The Regents, "Barbara Ann"] The duo had cut a cover version of that for their most recent album, and they thought it had worked well, and so they wanted something else that would allow Dean to sing a falsetto lead, over a bass vocal by Jan, with a girl's name in the title. They eventually hit on an old standard from the 1940s, originally written as a favour for the songwriter's lawyer, Lee Eastman, about his then one-year-old daughter Linda (who we'll be hearing more about later in this series). Their version of "Linda" finally gave them another hit after five flops in a row, reaching number twenty-eight in the charts: [Excerpt: Jan and Dean, "Linda"] Their career was on an upswing again, and then everything changed for them when they played a gig with support from a local band who had just started having hits, the Beach Boys. The story goes that the Beach Boys were booked to do their own support slot and then to back Jan and Dean on their set. The show went down well with the audience, and they wanted an encore, but Jan and Dean had run out of rehearsed songs. So they suggested that the Beach Boys play their own two singles again, and Jan and Dean would sing with them. The group were flattered that two big stars like Jan and Dean would want to perform their songs, and eagerly joined in. Suddenly, Jan and Dean had an idea -- their next album was going to be called Jan & Dean Take Linda Surfin', but as yet they hadn't recorded any surf songs. They invited the Beach Boys to come into the studio and record new versions of their two singles for Jan & Dean's album, with Jan and Dean singing the leads: [Excerpt: Jan and Dean and the Beach Boys, "Surfin'"] The Beach Boys weren't credited for that session, as they were signed to another label, but it started a long collaboration between the two groups. In particular, the Beach Boys' leader Brian Wilson became a close collaborator with Berry. And at that same session, Wilson gave Jan and Dean what would become their biggest hit. After the recording, Jan and Dean asked Wilson if he had any new songs they might be able to do. The first one he played them, "Surfin' USA", he told them they couldn't do anything with as he wanted that for the Beach Boys themselves. But then he played them two others. The one that Jan and Dean saw most potential in was a song he'd completed, "Gonna Hustle You": [Excerpt: Brian Wilson, "Gonna Hustle You"] The duo wanted that as their next single, but Liberty Records flat out refused to put out something that sounded so dirty as "Gonna Hustle You". They tried rewriting it as "Get a Chance With You", but even that was too much. They put the song aside, though they'd return to it later as "The New Girl In School", which would become a minor hit for them. Instead, they worked on a half-completed song that Wilson had started, very much in the same mould as the first two Beach Boys singles, with the provisional title "Goodie Connie Won't You Please Come Home". This song would become the first of many Jan and Dean songs for which the songwriting credit is disputed. No-one argues with the fact that the basic idea of the song was Brian Wilson's, but Jan Berry's process was to get a lot of people to throw ideas in, sometimes working in a group, sometimes working separately and not even knowing that other people had been involved. The song is officially credited to Wilson and Berry, but Don Altfeld has also claimed he contributed to it, Dean Torrence says that he wrote about a quarter of the lyrics, and it's also been suggested that Roger Christian wrote the lyrics to the first verse. Christian was an LA-area DJ who was obsessed with cars, and had come to Wilson's attention after he'd said on the air that the Beach Boys' "409" was a great song about a bad car. He'd started writing songs with Wilson, and he would also collaborate with both Jan Berry and Wilson's friend Gary Usher (who was a big part of this scene but hardly ever worked with Jan and Dean because he hated Jan). Almost every car song from this period, by the Beach Boys, Jan and Dean, or any number of studio groups, was co-written by Christian, and we'll be hearing more about him in a future episode. This group of people -- Jan and Dean, Brian Wilson, Roger Christian, and Don Altfeld -- would write together in various combinations, and write a lot of hits, but a lot of the credits were assigned more or less randomly -- though Jan Berry was almost always credited, and Dean Torrence almost never was. The completed song, titled "Surf City", was recorded with members of the Wrecking Crew -- the studio musicians who usually worked with Phil Spector -- performing the backing track. In this case, these were Hal Blaine, Glen Campbell, Earl Palmer, Bill Pitman, Ray Pohlman and Billy Strange -- there were two drummers because Berry liked a big drum sound. Brian Wilson was at the session, and soon after this he started using some of those musicians himself. While it was released as a Jan and Dean record, Dean doesn't sing on it at all -- the vocals featured Jan, three singers from another Liberty Records group called the Gents, and Brian Wilson, with Wilson and Tony Minichello of the Gents singing the falsetto parts that Dean would sing live: [Excerpt: Jan and Dean, "Surf City"] That went to number one, becoming Jan and Dean's only number one, and Brian Wilson's first -- much to the fury of Wilson's father Murry, who thought that Wilson's hits should only be going to the Beach Boys. Murry Wilson may well have been more bothered by the fact that the publishing for the song went to Columbia/Screen Gems, to whom Jan was signed, rather than to Sea of Tunes, the company that published Wilson's other songs, and which was owned by Murry himself. Murry started calling Jan a "pirate", which prompted Berry to turn up to a Beach Boys session wearing a full pirate costume to taunt Murry. From "Linda" on, Jan and Dean had ten top forty hits with ten singles -- one of the B-sides also charted, but they did miss with "Here They Come From All Over The World", the theme tune for the TAMI Show, a classic rock concert film on which Jan and Dean appeared both as singers and as the hosts. That was by far their weakest single from this period, being as it is just a list of the musicians in the show, some of them described incorrectly -- the song talks about "The Rolling Stones from Liverpool" and James Brown being "the King of the Blues". All of these hits were made by the same team. The Wrecking Crew would play the instruments, the Gents -- now renamed the Matadors, and sometimes the Blossoms would provide backing vocals on the earlier singles. The later ones would feature the Fantastic Baggies instead of the Matadors -- two young songwriters, Steve Barri and P.F. Sloan, who were also making their own surf records. The lead would be sung by Jan, the falsetto by some combination of Brian Wilson, Dean Torrence, Tony Minichello and P.F. Sloan -- often Dean wouldn't appear at all. The singles would be written by some combination of Wilson, Berry, Altfeld and Christian, and the songs would be about the same subjects as the Beach Boys' records -- surf, cars, girls, or some combination of the three. Sometimes the records would be just repetitions of the formula, like "Drag City", which was an attempt at a second "Surf City": [Excerpt: Jan and Dean, "Drag City"] But often there would be a self-parodic element that wasn't present in the Beach Boys' singles, as in "The Little Old Lady From Pasadena", a car song written by Berry, Christian, and Altfeld, based on a series of Dodge commercials featuring a car-racing old lady: [Excerpt: Jan and Dean, "The Little Old Lady From Pasadena"] And the grotesque "Dead Man's Curve", equal parts a serious attempt at a teen tragedy song and a parody of the genre, which took on a new meaning a few years after it was a hit: [Excerpt: Jan and Dean, "Dead Man's Curve"] But while 1963 and 64 saw the duo rack up an incredible run of hits, they were making enemies. Jan was so unpleasant to people by this point that even the teen mags would call him out, with Teen Scene in March 1964 running an article which read, in part, "Blast of the month goes to half of a certain group whose initials are J&D. Reason for the blast: his personality, which makes enemies faster than Carter makes pills... (It's the Jan Half)... Acting like Mr. Big Britches gets you nowhere, and your poor partner, who is one of the nicest guys on earth, shouldn't be forced to go around making apologies for your actions." And while Torrence may have been "one of the nicest guys on Earth", not all of his friends were. In fact, in December 1963, his closest friend, Barry Keenan, was the ringleader in the kidnapping of Frank Sinatra Jr.  Keenan told Torrence about the plan in advance, and Torrence had lent Keenan a great deal of money, which Keenan used to finance the kidnapping. Torrence was accused of being a major part of the plot, though he was let off after testifying against the people who were actually involved -- he's always claimed that he thought that his friend's talking about his plan for the perfect crime was just talk, not a serious plan. Torrence had even offered suggestions, jokingly, which Keenan had incorporated -- and Keenan had left a bag containing fifty thousand dollars at Torrence's home, Torrence's share of the ransom money, which Torrence refused to keep. However, Sinatra Sr was annoyed enough at Torrence that a lot of plans for Jan and Dean TV shows and film appearances suddenly dried up. The lack of TV and film appearances was a particular problem as the music industry was changing under them, and surf and hot rod records weren't the in thing any more -- and Brian Wilson seems to have been less interested in working with them as well, as the Beach Boys overtook Jan and Dean in popularity. 1965 saw them trying to figure out the new, more serious, music scene, with experiments like Pop Symphony Number 1, an album of orchestral arrangements of the duo's hits by Berry (who minored in music at UCLA) and George Tipton: [Excerpt: The Bel-Aire Pops Orchestra, "Surf City"] The duo also tried going folk-rock, releasing an album called Folk 'n' Roll, which featured another variation on the "Surf City" and "Drag City" theme -- this one "Folk City": [Excerpt: Jan and Dean, "Folk City"] That album didn't do well at all, not least because the lead-off single was a pro-war protest song, released as a Jan Berry solo single. Berry had become incensed by Buffy Saint-Marie's song "The Universal Soldier", and had written a right-wing response, "The Universal Coward": [Excerpt: Jan Berry, "The Universal Coward"] As you can imagine, that was not popular with the folk-rock crowd, especially coming as it did from someone who was still managing to avoid the draft by studying medicine, even as he was also a pop star. Torrence became so irritated with Berry, and with the music they were making, during the recording of that album that he ended up going down the hall to another studio, where the Beach Boys were recording their unplugged Party! album, and sitting in with them. He suggested they do a new recording of "Barbara Ann", and he sang lead on it, uncredited: [Excerpt: The Beach Boys, "Barbara Ann"] That went to number two on the charts, becoming the biggest hit record that Torrence ever sang on. Torrence was happier with the next project, though, an album spoofing the popular TV show Batman, with several comedy sketches, along with songs about the characters from the TV show: [Excerpt: Jan and Dean, "Batman"] But by this point, in 1966, Jan and Dean's singles were doing absolutely nothing in the charts. In March, Liberty Records dropped them. And then on April the twelfth, 1966, something happened that would end their chances of another comeback. Jan Berry had been in numerous accidents over the previous few years -- he was a thrill-seeker, and would often end up crashing cars or breaking bones. On April the twelfth, he had an appointment at the draft board, at which he was given bad news -- depending on which account you read, he was either told that his draft deferment was coming to an end and he was going to Vietnam straight away, or that he was going to Vietnam as soon as he graduated from medical school at the end of the school year. He was furious, and he got into his car. What happened next has been the subject of some debate. Some people say that a wheel came off his car -- and some have hinted that this was the result of some of Sinatra's friends getting revenge on Jan and Dean. Others just say he was driving carelessly, which he often did. Some have suggested that he was trying to deliberately get into a minor accident to avoid being drafted. Whatever happened, he was involved in a major accident, in which he, though luckily no-one else, was severely injured. He spent a month in a coma, and came out of it severely brain damaged. He had to relearn to read and speak, and for the rest of his life would have problems with his memory, his physical co-ordination, and his speech. Liberty kept releasing old Jan and Dean tracks, and even got them a final top twenty hit with "Popsicle", a song from a few years earlier. Dean made a Jan and Dean album, Save For a Rainy Day, without Jan, while Jan was still recovering, as a way of trying to keep their career options open if Jan ever got better. Dean put it out on the duo's own new label, J&D, and there were plans for Columbia to pick it up and give it a wider release, but Jan refused to sign the contracts -- he was furious that Dean had made a Jan and Dean record without him, and would have nothing to do with it. Torrence tried to have a music career anyway -- he put out a cover of the Beach Boys song "Vegetables" under the name The Laughing Gravy: [Excerpt: The Laughing Gravy, "Vegetables"] But he soon gave up, and became an artist, designing covers and logos for people like Harry Nilsson, Canned Heat, the Turtles, and the Beach Boys. Jan tried making his own Jan and Dean album without Dean, even though he was unable to sing again or write yet. With a lot of help from Roger Christian, he pulled together some old half-finished songs and finished them, got in some soundalike session singers and famous friends like Glen Campbell and Davy Jones of the Monkees and put together Carnival of Sound, an album that didn't get released until 2010: [Excerpt: Jan and Dean, “Girl You're Blowing My Mind"] In the mid-seventies, Jan and Dean got back together and started touring the nostalgia circuit, spurred by a TV movie, Dead Man's Curve, based on their lives. There seemed to be a love-hate relationship between them in later years -- they would split up and get back together, and their roles had reversed, with Dean now taking most of the leads on the shows -- Dean had to look after Jan a lot of the time, and some reports said that Jan had to relearn the words to the three songs he sang lead on every night. But with the aid of some excellent backing musicians, and with some love and tolerance from the audience for Jan's ongoing problems, they managed to regularly please crowds of thousands until a few weeks before Jan's death in 2004. Since then, Dean has mostly performed with the Surf City All-Stars, a band that sometimes also features Al Jardine and David Marks of the Beach Boys, playing a few shows a year. He released an autobiography in 2016 -- it came out at the same time as the autobiographies of Brian Wilson and Mike Love of the Beach Boys, ensuring that even at this late date, he would be overshadowed by his more famous colleagues.

Started out this morning feeling so polite I always thought a fish could not be caught who wouldn't bite But you've got some bait a waitin' and I think I might try nibbling A little afternoon delight Sky rockets in flight Afternoon delight Afternoon delight Afternoon delight GM: Jonah M. Jackson / Chad: Andrew Johnson / Pat: Joseph Leitess MUSIC: Try A Music, Electric Donkey Muscles- Roccow “Soothing Rain” Remix- Jamphibious We'll Meet Again- Jeremy Blake Follow Your Dreams- Scott Holmes Witness- Mikos Da Gawd Triumph- Yung Logos Vulluke Kalle- DJ Bootsie Dark Tranquility- Anno Domini Beats Hey Dude- New Waver Ambient Sound by TabletopAudio.com and Komiku Additional Sound Design by Kickhat and InspectorJ Afternoon Delight and Girl You'll Be A Woman Soon midis provided by Gary's Midi Paradise. Bless you Gary.

It’s another To/From, y’all! Welcome to today’s episode, featuring Knoxville singer-songwriter, Redd. To hear Redd perform is a delight, as she brings a unique and soulful sound to each song that stays with you. In both her original tunes and covers, Redd makes each note very much her own. Be on the lookout for one of our main topics of discussion from this episode… Redd’s debut album!!! I hope you’ll also enjoy a little demo of Redd’s original “Girl You’re Lead” in the middle of today’s show!Check out Redd’s songs and videos on her YouTube channel below and follow @redd.music on Instagram:https://m.youtube.com/channel/UCIPf2soNoqfD9yY5Bexc_rg?view_as=subscriberSOME FUN NEWS: The day after this episode releases, that means Sunday April 5th, will be the day that the first episode of The Freakin’ Radcast will be live on patreon.com/gradymilligan — This is the new podcast project that is exclusively for the folks supporting all the creative work I’m doing via Patreon. There are fun topics picked out, interviews already recorded, and lots of weekly fun planned! So if you want to help make creative things that I’m up to more sustainable, as well as receiving bonus content from my music and conversational adventures, this is the way to do so! Thank you for being wonderful, friends!

Do you wonder feel anxious or worried about what you should be doing with your life? Well, good news ahead. My conversation with Chrystal Evans Hurst is packed with truth about how to stop the cycle of insecure and unhealthy thoughts. Chrystal is an author, encourager, and a deep well of wisdom. In her book, She’s Still There: Rescuing the Girl in You, she holds your hand and cheers you on to end the cycle of toxic thoughts and actions in your life. Our conversation was incredibly impactful and helpful in remembering to bring our thoughts into the light of God’s truth. Chrystal is a wife of 18 years, a homeschooling mother of 5, and a grandmother of 2. OH JOY! Her desire is to teach others to love God, love others, and to love themselves. We need more women in the world like Chrystal. I’m encouraged by how she is living her life in a way that is honoring to God and how she is encouraging so many women beside her to do the same. SHOW NOTES Chrystal’s website Find Chrystal on Instagram Chrystal’s Chronicles Podcast She’s Still There: Rescuing the Girl in You Show Up for Your Life: What the Girl You’ll be Tomorrow Wants You to Know Today Kingdom Man: Every Man’s Destiny, Every Woman’s Dream Kingdom Woman: Embracing Your Purpose, Power, and Possibilities The Dear Daughters signed book + bistro mug bundle is here for a limited time! Dear Daughters Coffee & Conversation with Kennesha Poe-Buycks La Grange, Texas Book Signing at The Busy B And be on the lookout for my visit to Arkansas to visit Amy Hannon. Dear Daughters is a template for those multi-generational conversations and relationships you’re craving. Dear Daughters is meant to be a bridge between two groups of women–dear daughters and spiritual mamas. Dear daughters are young women in search of spiritual guidance and spiritual mamas are women just a little further down the road with age-old wisdom to share. Each group has valuable insight for the other and the hope is that the reader will invite someone to come alongside them, pore over the included letters together, and pass along wisdom and advice that will make both lives more beautiful, wherever they are in their God story. This book, ideal for a gift, is a casebound hardcover with ribbon. Finally … grateful, grateful for Davis sharing her music for the DD Podcast. :)