Podcasts about Gold Star

Listen to a new episode of Your Next Stop Live recorded live on Fireside, featuring guest Priyanka Venugopal. Priyanka is a coffee-loving-mama-bear who has always had a love of learning. It would be fair to say, she was the kid who would shoot their hand up, volunteer to erase the black boards and wanted every A+ and Gold Star imaginable. She wasn't overweight as a child, but was uncomfortable in being herself. She wanted to be better, well liked and overall "the perfect kid." Her weight did become somewhat of an issue in High School, which is when the oscillating number on the scale began. Sometimes up, sometimes down... based on the latest fad or how disciplined she could be at that moment in time. It all went a bit crazy after medical school and residency when she got pregnant and had her first baby. That was when she got to her heaviest and my old "tricks" just weren't cutting it. This was the period of her life she calls the good-on-paper-heavy-in-my-mind life. It is when she discovered Coaching, leaned into knowing herself better, lost over 60 lbs without counting a point or calorie and now helps teach and coach other high achieving working moms to do the same.   You can find Priyanka on LinkedIn and Instagram and check out her Website and Podcast.   Remarkable Quotes   “What I really want every human listening to this is to know that you can live in a body, in your forever home, in a way that feels delightful to you. What is that? If you got to be the authority of your body, where would you want to live?”   Find Us Online! Fireside: Juliet Hahn Instagram: Juliet Hahn LinkedIn: Juliet Hahn FB: Juliet Hahn Clubhouse: Juliet Hahn YouTube: Juliet Hahn Twitter: Juliet Hahn

Manny Vega is a Marine, retired police officer and a Gold Star father. We discuss his childhood trauma at the hands of a catholic priest, his journey into the Marines, violence, addiction, the Rampart scandal, the loss of his son, the Feres Doctrine and so much more.

Natalie looks at the importance of goal setting and explains how to set goals that you will want to achieveWithout goals in your life, you can easily find yourself just meandering through your life but take the time to work out your ‘why' and you can set goals that you will want to reach and go beyond KEY TAKEAWAYS When you set a goal and put a deadline on it you will work to achieve it Attaching a reason will give you the motivation to make things happen Push yourself to a bigger goal but have smaller milestones along the way Attach emotion to reaching the goal, and not getting to it and you will have more drive to get there Reward yourself along the way, track your progress and reward yourself for taking action towards your big goal BEST MOMENTS‘I work really well with reward systems which is why we are Goldstar!'‘If you get halfway to achieving the bigger goal you'll feel much better than getting halfway to achieving the smaller goal' RESOURCES FOR THIS EPISODE www.nataliearabella.com/goldstarmastermind Apply for the Confidence Collective - bit.ly/goldstarapplyJoin the Confident Entrepreneurs Collective Facebook Community https://www.facebook.com/groups/confidententrepreneurscollective  VALUABLE RESOURCES https://www.facebook.com/groups/confidententrepreneurscollective  http://www.nataliearabella.com/ Confidence Mastery Podcast  7 Step Confidently Wealthy Program   http://Bit.ly/GSElite  http://Bit.ly/bimapply https://nataliearabella.com/rockstarconfidence/  https://bit.ly/121withnatalie   ABOUT THE HOSTNatalie Bailey is a Property Developer and Confidence Coach. Having over 10 years' experience in running businesses, from Bars to Gyms and now builds houses with her business partner and Mum. She helps others be more confident and successful in health, wealth & happiness with kick-ass coaching at Gold Star Life.On a mission to help combat loneliness with the Better Together message, she helps busy, lost, and stuck entrepreneurs to truly connect with themselves, find their Rock Star Status and elevate their lives through her online Rock Star Confidence Coaching Programme, bespoke 121 coaching and group Masterminds. Also a Retreat Host, living between Mallorca, Barbados, and England, she embodies everything she teaches. With a background in Personal Training, health and fitness is high on the agenda, with wealth creation and happiness going hand in hand to create a confident and successful life.Check out www.nataliearabella.com for more information and coaching plansCONTACT METHOD FACEBOOK- https://www.facebook.com/nataliearabellabailey LinkedIn- https://www.linkedin.com/in/nataliegoldstarbep/ Instagram- https://www.instagram.com/nataliearabellabailey/ Clubhouse- https://www.clubhouse.com/@nataliearabella TikTok- https://www.tiktok.com/@nataliearabellabSee omnystudio.com/listener for privacy information.

Having an understanding of finances is such an important skill and tool that women need to truly be leaders in their lives. We all have blind spots, but working with a financial planner could help us avoid financial issues that we might not even know existed.  In this episode of Leading Lady, I sat down with Bridget Borel to talk more about finances and how women can start living and spending in accordance with their values and find financial wellness.  Bridget always says that money isn't math, and math isn't money. Financial decisions come in the context of our lives – events and relationships that shape who we are and how we live. She is driven to connect her clients with the resources they need to meet their goals and dreams.  Her greatest joy is working with women of leadership, ambition, and mission. That could mean a retired public servant, an entrepreneurial scientist balancing the needs of her business and her family, or a Gold Star widow running a non-profit to help other grieving families. These women have a purpose, and she is privileged to help them live out that purpose.  She came to the financial industry through work in insurance as well as research for a wealth management firm. As a fee-only financial planner, she's in the best position she can be to help clients solve their own financial puzzles. She holds a BS from Tulane University and lives in Annapolis with her three children.  Her free time is filled with CrossFit, stand-up paddle boarding, cooking, and live music. Tune in to learn more about what a financial planner can do for you!  Show notes available at www.leadinglady-coaching.com/podcast   Resources Mentioned:  Visit her website: https://rcsplanning.com/ Get her freebie: https://rcsplanning.com/insights/do-your-finances-align-with-your-values   Have you joined the Leading Ladies Facebook Group yet?! I would love to see you in there! Head to https://www.facebook.com/groups/LeadingLadiesAAL to join! Let's connect on Facebook: https://www.facebook.com/aalcoaching Let's connect on Instagram: https://www.instagram.com/leading.lady.coach

In honor of Veterans Day coming up we are talking with Carrie Zylka of Hunt Fish Travel Podcast along with Joe Wesner of Ultimate Veteran Adventures that is taking out some of our lady veterans out for a duck hunt next weekend on Saginaw Bay in Michigan. Joe's story about his service and recovery that led to Ultimate Veteran Adventures Was out of the service on a medical discharge Used the outdoors to help recover His experience led to forming UVA Talking about what makes up a good veterans organization Has formed a support group with veterans that he has taken into the outdoors How he met Carrie Z Veteran fishing trip in New York Carrie's experince How it helped her relate to her service Don't use a turkey choke to hunt ducks  The hunt on Saginaw Bay 2 1/2 day hunt Targeting old squaw ducks 4 lady veterans One coming from Colorado Info about Ultimate Veteran Adventures All volunteer All money goes for veteran adventures How to get in touch with the organization Looking for opportunities for veterans Need money to pay for trips Qualifications for veterans for trips Getting veteran's families involved Gold Star families Future trips How does other states work with veterans Omelette in a bag

Hour 1 -- UW Huskies upset victory over Oregon Ducks, pundits and pollsters didn't listen to the experts on elections: the voters, "bitter disappointment" about Nevada US Senate race where incumbent comes back in late tabulation to secure victory, the Nevada Senate race gives Democrats continuing control of the Senate regardless of Georgia run-off on Dec. 6th, Tunnel to Towers charity pays the mortgage of a Gold Star wife and daughters at NAS Whidbey. Hour 2 -- KVI callers sound off on what did Republicans do wrong with the election and lackluster campaign results, WA voter turn-out was lower than expected so where was the opposition to the status-quo?, one KVI caller says he has 10 co-workers who felt their vote wouldn't be counted even if they did vote. Hour 3 -- more KVI callers share their view of what Republicans should have done differently regarding the election campaigns, Seattle high school students intend to walk out of class today demanding mental health counselors after a senior was shot and killed on campus last week during class at Ingraham HS in north Seattle, the spectacular financial collapse within the last week of the 3rd largest crypto currency exchange in the world--FTX, the FTX head honcho caught up in the financial collapse is a 30-year-old Stanford grad who donated nearly $40 million to Democratic political campaigns and causes, how the collapse ignited within the last week, the irony that Seattle teachers who demanded distance learning during COVID are now demanding more mental health counselors after a fatal school shooting last week.

Ryan Manion, Gold Star sister of USMC 1st Lt. Travis Manion and President of leading VSO and Gold Star family organization Travis Manion Foundation (TMF) and authored the book "The Knock at the Door: Three Gold Star Families Bonded by Grief and Purpose", joined WMAL's "O'Connor and Company" radio program on Friday to reflect on Veterans Day and discuss all of the good work of the foundation. Website: https://www.travismanion.org/ For more coverage on the issues that matter to you, visit www.WMAL.com, download the WMAL app or tune in live on WMAL-FM 105.9 FM from 5-9 AM ET. To join the conversation, check us out on Twitter: @WMALDC, @LarryOConnor,  @Jgunlock,  @patricepinkfile and @heatherhunterdc.See omnystudio.com/listener for privacy information.

Gerard is LIVE from The Mississippi Armed Forces Museum at Camp Shelby to celebrate Veteran's Day and honor all who served in our country's Armed Forces, and he is joined by a variety of guests - from active duty service members to Gold Star family members and more!

In honor of Veterans Day coming up we are talking with Carrie Zylka of Hunt Fish Travel Podcast along with Joe Wesner of Ultimate Veteran Adventures that is taking out some of our lady veterans out for a duck hunt next weekend on Saginaw Bay in Michigan. Joe's story about his service and recovery that led to Ultimate Veteran Adventures Was out of the service on a medical discharge Used the outdoors to help recover His experience led to forming UVA Talking about what makes up a good veterans organization Has formed a support group with veterans that he has taken into the outdoors How he met Carrie Z Veteran fishing trip in New York Carrie's experince How it helped her relate to her service Don't use a turkey choke to hunt ducks  The hunt on Saginaw Bay 2 1/2 day hunt Targeting old squaw ducks 4 lady veterans One coming from Colorado Info about Ultimate Veteran Adventures All volunteer All money goes for veteran adventures How to get in touch with the organization Looking for opportunities for veterans Need money to pay for trips Qualifications for veterans for trips Getting veteran's families involved Gold Star families Future trips How does other states work with veterans Omelette in a bag

Hello, ya little Topo Chicos! On episode 91 of HINKY, the gang gets the debate going over the age-old tradition of which holiday is better: Thanksgiving or Christmas. We talk about our recent restaurant adventures, most of which were outside of Lexington, and Renee tells us about some fun holiday markets coming up for your holiday shopping. We try some tangy Doritos and festive popcorn in Everybody Tries, and Carrie tells us why really good things are better than sliced bread in the HINKY History Lesson. What else do we get into? Subscribe wherever you find podcasts to find out! Social media: Hungry in Kentucky: New episodes every other Wednesday Twitter and IG @hungryinky Bluegrass Bourbon and Eats: Facebook and IG @bluegrassbourbonandeats Twitter @bbandeats Girls Beer Sports: New episodes every Monday Facebook and IG @girlsbeersports Twitter @grlsbeersports Bluegrass Bourbon and Eats is also a blog! Read our posts at bbandeats.com

3:05pm- Last week, the Pennsylvania Supreme Court ruled that election officials cannot count mail-in ballots that are incorrectly dated. On Sunday, Senator Bob Casey Jr. (D-PA) warned that “hundreds of mail-in ballots have been reported as incorrectly dated.”    3:15pm- With recent polling indicating voters prefer Republican candidates in the November 8th midterms, Democrats have begun to emphasize their belief that democracy could fall under GOP leadership. Will their unsubstantiated hysterics be enough to change the minds of swing voters?   3:25pm- On Friday, President Joe Biden stated he wanted to shutdown coal plants “across America.” While speaking at a rally for Governor Kathy Hochul at Sarah Lawrence College in New York, Biden also vowed to end drilling for oil domestically. Recognizing the President's proclamations to end domestically produced fossil fuels could be harmful to Democrat candidates just days before the 2022 midterms, White House Press Secretary Karine Jean-Pierre claimed, Biden's “words were twisted.”    3:40pm- Charles McElwee—Editor of Real Clear Pennsylvania—joins The Rich Zeoli Show to discuss his latest editorial, “Voter Sentiment in PA Suggests a Republican Year.” McElwee warns that due to presumed complications with mail-in ballots and a divided Pennsylvania Supreme Court, the U.S. Senate race between John Fetterman and Dr. Mehmet Oz could end with a series of lawsuits that are ultimately heard by the U.S. Supreme Court.    4:05pm- The Washington Post's Glenn Kessler awarded President Joe Biden a “bottomless Pinocchio” for not only making grossly misleading statements but repeating the falsehoods routinely. For example, Biden claimed he has spent “more time with Xi Jinping than any other head of state” and has traveled more than “17,000 miles with him.” Kessler points out that not only are these claims false, but he has repeated the claim 21 times! According to the WaPo, Biden has also lied about the price of gas, student debt forgiveness, and Social Security cost-of-living increases.    4:30pm- During an interview, Congressman Sean Patrick Maloney (D-NY) suggested that his family combatted high gas prices by eating foods like Chef Boyardee.    4:45pm- Todd Shepherd—Broad + Liberty's Chief Investigative Reporter—joins The Rich Zeoli Show to discuss his most recent article, “Can You Drop Off 100 Ballots in PA? It's Probably Not Legal, But Two Agencies Refuse to Clarify.” At a recent board meeting, Bucks County Commissioner Bob Harvie (D) explained, “you could go to a senior center or a nursing home, and get a hundred ballots, as long as you have 100 designated-agent forms from each of those voters, you're allowed to bring 100 ballots. That's the law.”   5:05pm- President Joe Biden vowed to end domestic drilling and coal mining. Will those proclamations hurt Democrats in the November 8th midterm elections?   5:10- While speaking at the United Nations, Secretary-General Antonio Guterres stated that Russia's war in Ukraine has “exposed the profound weakness of our fossil fuel addiction”—warning that the world is on a “highway to climate hell.”   5:30pm- Chef Boyardee was awarded The Gold Star from the United States military for his tireless efforts to keep American troops fed during World War II. Who knew?    5:45pm- House Democratic Whip James Clyburn said that if Republicans win big in the 2022 midterms, it could be the end of the world—then, while on Fox News, he denied ever saying it, but did compare voting for Republicans to voting for Nazis…   6:05pm- Rich finds out he is being bumped for Temple basketball! It's just like the old days…

The Rich Zeoli Show- Hour 3: 5:05pm- President Joe Biden vowed to end domestic drilling and coal mining. Will those proclamations hurt Democrats in the November 8th midterm elections?   5:10- While speaking at the United Nations, Secretary-General Antonio Guterres stated that Russia's war in Ukraine has “exposed the profound weakness of our fossil fuel addiction”—warning that the world is on a “highway to climate hell.”   5:30pm- Chef Boyardee was awarded The Gold Star from the United States military for his tireless efforts to keep American troops fed during World War II. Who knew?    5:45pm- House Democratic Whip James Clyburn said that if Republicans win big in the 2022 midterms, it could be the end of the world—then, while on Fox News, he denied ever saying it, but did compare voting for Republicans to voting for Nazis…

Shownotes - Time is…well, everything.with Jamiee CampanellaAre you ready to not only become the master of your time but also learn the skills and resources needed to help YOU as a birth boss, and prepare your clients in one of the most transitional periods of their lives to be masters of their time too? In today's episode, we are talking with Jamiee Campanella of the Jamiee Campanella company, She is the creator of a program called time power. This is a jam-packed episode about everything that we talk about all the time that we just can't figure out how to manage, or at least manage well. Everyone is eager to learn some easy and realistic ways to better manage their time. Tune in to this episode to learn more about how you can do this through the resources Jaimee shares, and the work she offers.You can find Jaimee Campanella at:jaimeecampanella.comFollow her on Social Media for inspiration and tips:IG: https://www.instagram.com/jaimeecampanellaco/FB: https://www.facebook.com/jaimeecampanellacoTime Power Family Calendar: https://www.jaimeecampanella.com/family-calendar-detailsUse code GOLDSTAR for 50% offFREE resources:Free Training: 3 Shifts to Take Control of Your Time: https://www.jaimeecampanella.com/trainingYou can find me at: hiptoheart.comhttps://www.facebook.com/hiptohearthttps://www.instagram.com/hiptoheartJoin my Facebook group for Birth Professionalshttps://www.facebook.com/groups/businessforbirth

Note: This conversation is also available on YouTube https://youtu.be/_uf33cSUOq0 (https://youtu.be/_uf33cSUOq0) 143: "We are not just excavating our past, but we are actively writing our future." Wrapping up Filipino American History Month with Jen and Nani And that's a wrap for Filipino American History Month! Jen and Nani share some fun facts about Filipino American National Historical Society (FANHS), Stacey Salinas' upcoming California Museum Exhibit "California Is In The Heart," and ways to continue engaging with TFAW Project. Finally, they have a candid check in with one another about their journey as business partners thus far. Remember to private message us on Instagram https://www.instagram.com/thefilipinoamericanwoman/ (@thefilipinoamericanwoman) to inquire about the 5-Day Reflection Series. To join the waiting list for our mastermind focus group, contact Jen and Nani at jen@tfawproject.com and nani@tfawproject.com Resources Learn about the history of Filipino American History Month http://fanhs-national.org/filam/about/ (http://fanhs-national.org/filam/about/) “California Is in the Heart,” presented in partnership with the Bulosan Center for Filipino Studies and with support from the Filipino American National Historical Society Museum, underlines the critical role Filipino Americans have played in our state's history. This exhibit will be available October 29, 2022 - April 9, 2023 https://www.californiamuseum.org/california-heart (https://www.californiamuseum.org/california-heart) Learn about the non-profit, The Price of Freedom Foundation, that's working with Jen's family and other Gold Star families in writing the biographies of our fallen heroes https://priceoffreedomfoundation.org/ (https://priceoffreedomfoundation.org/) Read the Asian American History and the Filipino American Woman Project academic paper written by Stacey Salinas back in November 30th, 2017 https://tr.ee/JJqARFEG-M (https://tr.ee/JJqARFEG-M) Read our latest newsletter, published Tuesday, Oct. 25, 2022: https://mailchi.mp/45004c877c68/tfawproject (https://mailchi.mp/45004c877c68/tfawproject) -- LOVE OUR SHOW? Show your support at http://www.buyusboba.com/ (http://www.buyusboba.com/) Supporting us with a minimum of one cup of boba gets you access to our monthly book club. A monthly or annual support gets you access to our monthly book club and exclusive access to our private podcast: Tsismis with Jen & Nani! FREE ONLINE COMMUNITY: Chat with Jen and Nani, along with your fellow podcast listeners on Discord https://discord.gg/2hSaHK9Cps (https://discord.gg/2hSaHK9Cps) NEWSLETTER: Receive the latest stories, updates and media coverage by subscribing to our newsletter: http://eepurl.com/cO0bif (http://eepurl.com/cO0bif) ABOUT US: Welcome to the Filipino American Woman Project - A Podcast Show that shares stories and life lessons told by individuals living (or have lived) in America, that are of Filipino descent and are cisgender female. For Season 4, Jen and Nani pivot the show to focus on their journey as podcasters, content creators, and entrepreneurs -- with a focus on advocating for Filipino American women storytellers and authors. UPCOMING BOOK: Special thanks to the Bulosan Center for Filipino Studies at UC Davis for the opportunity to present our academic paper, Pinay Podcasters: Building a Self-Sustaining Community Through Storytelling, Collective Healing & Learning, and Collaboration. The initial draft is now available! Read more at http://pinaypodcasters.com/ (http://pinaypodcasters.com/) RECOGNITION: In December 2020 and December 2021, we received an Honorable Mention at the Asian American Podcaster's Golden Crane Podcast Awards. August 2020, Jen Amos participated as a speaker on behalf of TFAW Project for PodFest Global, which now holds the GUINNESS WORLD RECORDS™ title for Largest Attendance for a Virtual Podcasting Conference in One Week. May 2020, we were recognized as “Amplifying Asian Women Voices” on

The Big Themes:The Task Force Tribute journey: In September, the group arrived in Washington, D.C., having traveled 8,500 miles in 23 days, with dozens of stops to connect with veterans and family members, including many Gold Star families.TFT is collecting stories for a virtual memorial: Next up for the group is to help create an unprecedented, high-tech virtual memorial composed of the hundreds of stories shared by military members and their families. To contribute a story, please visit the TFT website.The impact of sharing stories: Christian says that a common thread emerged in many of his conversations during the journey, which is the deep need among these service members and their families to talk about their experiences and their loved ones.Addressing mental health challenges as a community: The VA and other government agencies are not doing enough to support the mental health needs of members of the military, and Christian says that there's a great need for everyone around servicemen and women to step up themselves to help.The Big Quotes:"This model that we're in in our country, where our media, you know, 'you have to enrage to engage,' right? And it's driven by business models. It's driven by self interest. But that doesn't mean that it's driven by reality. And, folks, it's incumbent upon all of us to not get lazy and be cynical because cynicism is lazy. If you think something isn't right, productively, proactively, and constructively try and fix it.""If you do know a military member, actually, please don't thank them for their service—actually say, 'hey, you know, if you ever ever need someone to talk to, you can talk to me. And if you think I don't understand, you're probably right. But I'm willing to try. I'm willing to try.' And that, folks, could save a life. And it could save a life of an American that really risked their all for us." More about Task Force Tribute:Learn the backstory, make a donation, and get involved via their website. You can also get to know the non-profit group behind TFT, Project RELO.

We continue our discussion with Kevin Heilman.......kevinheilmanwoodworking.comSOCIAL MEDIA @kevinheilmanwoodworkingsave22.vetjohnnymomedia.comemail: johnnymomedia@gmail.com

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

The boys are back with one final transmission before leaving the UK, and oh boy, it's a doozy… Strap on your Gold Star helmets and be warned, this one is not for the faint of heart (Trigger Warning: this episode contains graphic descriptions of violence / murder of infants). This is the still developing story of the UK's "alleged" serial baby-killing nurse, Lucy Letby.

This week the boys welcome a very special guest, Fiona Dawson.  She is an Emmy®-nominated and award-winning director, producer, writer, and speaker, Dawson has advocated for the LGBTQ+ community for nearly two decades. Relating her personal experiences as a cisgender, gay and then bisexual woman, she blasts the stereotypes and stigma faced by people who don't fit neatly in a 'male' or 'female' category.For thousands of years, cultures around the world have had a concept of gender and sex as being nonbinary. With humor and wit, Dawson offers a direct and uncomplicated explanation of terms within the LGBTQ+ community for allies, supportive family and friends, or anyone curious to know more about gender and sexuality.  Fiona shares inspiring stories from the LGBTQ+ community of kindness and courage in the face of adversity. Her short film Transgender, at War and in Love (2015) for The New York Times and feature documentary TransMilitary (2018) helped elevate the stories of active-duty transgender service members to end their ban from the US military. With her genuine and warm heart, people describe Fiona as the bisexual, female version of Mr. Rogers. Your Auntie Fiona.  Without a doubt, Fiona is a ball of energy and we can't wait to share her with all of you!@tugayspod  #lgbt #lgbtq #lgbtqia+ #sandiego #gaysandiego #gaycommedy #nowwithfiona Gay San Diego comedy LGBT LGBTQ LGBTQIA+@tugayspod tugayspod@yahoo.com#lgbt #lgbtq #lgbtqia+ #sandiego #gaysandiego #gaycommedyGay San Diego comedy LGBT LGBTQ LGBTQIA+Producers: Nick Stone & Andy Smith

The best Halloween candies. When Buck asked, Clay teased: "It's a family ensemble Halloween costume this year -- that's a little bit of a hint." Marist poll: parents of school-aged kids favor GOP by nearly 70%. CDC votes to recommend covid shot be included in required vaccines for schools. NYC to reopen nuclear fallout shelters? Clay and Buck talk with Special Forces Vet and Gold Star husband Joe Kent, Trump-endorsed America First congressional candidate for Washington's 3rd district, who Clay called a kick-ass candidate and says we'll be hearing a lot about after this election. Bizarro C&B: The Joe Biden & John Fetterman Show. Clay's dad joke.Follow Clay & Buck on YouTube: https://www.youtube.com/c/clayandbuckSee omnystudio.com/listener for privacy information.

We have a fully packed episode for you guys this week. Join us as we get into, gold star lesbians, redefining what virginity means, the alienation of bisexuals in the queer community and more… We also want to give a big shout out to everyone that organised and came down to the PRIM basketball tournament over the weekend. We won and we aren't about to be humble about it…regardless, big up everyone who came through it was a great day and thanks @drybabe for putting on a great event (even if you was hopeless on the court)… Finally make sure you go grab tickets to our upcoming event ‘Shoot Your Shot' at Toca Social in Greenwich…hit the following link for tickets - https://www.eventbrite.co.uk/e/reveur-presents-shoot-your-shot-tickets-441155868077 As always, don't forget to hit us up using #TwoTwos on socials + rate and review us on Spotify and Apple Music…Peace!

Today I have two more interviews from Memorial 3 Gun the first is with JP Sullivan whom you've heard on the podcast before and he gives us the ambassador and competitor view of the match. Then we're joined by Gold Star parents Chuck & Cindy Lewellen who's son Matt was honored at the 2019 event. They're back to support other Gold Star families and you'll hear why they made the trip in this episode of the 3-Gun Show.

Natalee King discusses her time in the Air Force and how her husband died while serving in the Air Force and how that loss impacted her.

Jennifer Carazo is a gold star wife and the chairman of The Sugar Bear Foundation. The Sugar Bear Foundation was formed in honor of Lieutenant Colonel Mario “Sugar Bear” Carazo.Sugar Bear made the ultimate sacrifice July 22, 2010, when his AH-1W Super Cobra was shot down while conducting combat operations in Afghanistan.The mission of the foundation is to support the surviving spouses (Active-Duty and Service-Connected loss) and children of fallen United States military personnel by providing career, educational, financial, and wellness programs to help meet their immediate and ongoing needs, fostering their personal, emotional, and social well-being.In doing so, they continue Mario's legacy of service, share his story and celebrate his life in a way that is impactful upon their fallen military families. Jennifer Carazo is available to speak at your organization's event to bring awareness about Gold Star and Survivor issues.  Please email Admin@TheSugarBearFoundation.org to provide the details of your event.Book a free discovery call on how to Keep The Fire Burning in your relation or develope an Overcoming Obstacles mindset at https://calendly.com/enduringthebadge/15minFollow me on social Instagram at enduringthebadgepodcast & jerryfireandfuel for updates.

Kim was born in Idaho and lived there 6 weeks and then traveled with her mother and older brother to Missouri to join her father who was attending dental school. At the age of 4, the family moved to Orem, Utah where Kim attended elementary, Jr. High and High School. Kim was a very shy and rather socially awkward young lady and perhaps that's why the Lord decided to give her a few challenges along the way to toughen her up. Kim married her high school sweetheart and they moved to SLC where he was enrolled in Pre Med. By the time they were expecting their second child; Kim's husband hadfound interest in another woman and left the family. Kim was incredibly fortunate to be accepted into LPN school just 6 weeks after her little girl was born. One year later, she graduated from LPN school as the valedictorian of her class. Over the next 30 years, she worked for a physician, in the hospital setting and finally in running the largest hospice company in Utah. She was nominated as the Utah Hospice and Palliative Care President twice and served as President when Utah hosted the National Convention. She also received an award from the UHPCO which states, “In recognition of your service & dedication to the families, colleagues & community you serve” A second marriage brought forth three more beautiful babies while the family lived in Riverdale, Utah. A tragic automobile accident took the lives of her sweet 4 year old baby boy Nathan and her 36 year old Husband. Kim's youngest child of 21 months was also in the accident and was not breathing and was without a heartbeat when the first responders arrived. She will always be grateful for Officer Peterson who gave him CPR so that he could live to be a happy, healthy man with a family of his own. Several years later, Kim married for yes a third time. We combined our families under one roof and stared our life with 8 children between the ages of 3 and 15 th . It was like herding cats. We loved it. Two years later we added, “The ours baby”, Nigel to our family. He was so incredibly loved by all his brothers and sisters. Nigel was always fascinated with the military and read every military history book he could find.  He was a member of the Civil Air Patrol and one week after high school graduation he joined the USMC. Nigel's company was deployed to Afghanistan in October of 2009. His billet was intelligence and recon. He entered buildings to find weapons and the Taliban. Nigel was killed by an IED on March 4, 2010 while escorting a captured Taliban prisoner back to his vehicle. After Nigel's death, Kim volunteered for the Red Cross for several years and received “The Lifetime Hero Award” for her service to the military. Kim has served as President of the Provo/Orem Chamber of Commerce Women's Division as well as several positions in the health care arena. Kim also started her non-profit company called Gold Star Stars. She sent thousands of Gold Star car window stickers across the nation to grieving military parents. The Gold Stars listed their loved ones Branch, Rank, Name and Date of Death, with the words, “Never Forgotten” on them. She has been married to Todd Olsen for 35 years and they currently reside in Pleasant Grove, Utah. Over the last 12 years Kim has been speaking to schools, church and civic groups about faith, freedom and her great love for all those who serve in our military. She currently runs the Gold Star Families of Utah closed face book page where all our Utah fallen heroes are remembered. Post 4918 is a local VFW post located in American Fork where she currently serves as the Auxiliary President. She is on a committee that is bringing a Gold Star Families Monument to Sandy City. The groundbreaking was on July 29 th of this year and the dedication will be held on September 24 th at Sandy City Hall. Last but not least, she and her husband are serving as Senior Service Missionaries for the Church of Jesus Christ of Latter-day Saints. Her husband Todd has been diagnosed with terminal cancer so they are going to enjoy every minute they have together.

Today I have two interviews for you from my first experience at Memorial 3 Gun. The first is with gold star spouse Louise Cantrell, wife… The post 362: Gold Star Support with Lt. Gen Beaudette & Louise Cantrell first appeared on The 3-Gun Show.

Today I have two interviews for you from my first experience at Memorial 3 Gun. The first is with gold star spouse Louise Cantrell, wife of Edward Duane Cantrell who was honored at the 2022 match.

Less than 1% of Americans serve in the U.S. military. That leaves 99% of Americans who will never understand the cost of serving their country, particularly during wartime. Scott shares his path to emotional freedom from the scars of war after deploying to Afghanistan with his brother, Steven. Rather than Scott celebrating homecoming with his brother, he accompanied Steven, killed in action, in a casket draped with the American flag.Although Scott was scheduled to return to Afghanistan two short weeks after his brother's funeral, the mayor of Connecticut declared that he would not return to duty with his National Guard unit in Afghanistan because the family should have to endure the potential of another loss. But there is so much more to Scott's story. Because coming home after being in a war, doesn't necessarily feel like you're home. Scott put his grief to the side and picked up anger, and over the years, his grief ate away the core of his very being. He became someone he didn't recognize. His drinking got out of control, along with his anger, and he realized he could no longer go it alone and sought support.Like many grievers and veterans, Scott thought he was doing okay after a couple of years of therapy and stopped going. However, a life-threatening event with his spouse would occur, and he would later find his old patterns resurfacing. He sought support again and learned that growth and healing are ongoing processes.Whether you've served in the military, know or love someone who is serving or has served, or not, please listen to Scott's story. It may help bring a deeper understanding of the scars and costs of war - and America's 1%.RESOURCES:Podcast | Drive On PodcastBook | Surviving Son: An Afghanistan War Veteran Reveals His Nightmare Of Becoming A Gold Star BrotherVeteran ResourcesCONNECT: InstagramFacebookTwitterThe real divide in the U.S. is that only one percent of us fight in war, and the rest don't understand the true cost of conflict. - an op-ed piece by "60 Minutes" producer Henry Schuster, Operation Proper Exit ______NEED HELP?National Suicide Prevention Lifeline: 1-800-273-8255Crisis Text Line provides free, 24/7 support via text message. Text HOME to 741741 to connect with a trained Crisis CounselorIf you or anyone you know is struggling with grief due to any of the 40+ losses, free resources are available HERE.Are you enjoying the podcast? You may also enjoy my bi-weekly newsletter, The Unleashed Letters.CONNECT WITH VICTORIA: InstagramWebsiteLinkedInFacebookSupport the show

In this episode, we welcome Sara Wilkinson to the show. She is the Gold Star widow of Navy SEAL Chad Wilkinson. Chad served honorably for 21 years, including time with the Naval Special Warfare Development Group (DEVGRU). Tragically, her husband Chad died by suicide in 2018. Sara has now dedicated her life to bringing awareness to suicide prevention, specifically within the spec ops community. Part of that is the CHAD 1000X WOD that was named in honor of Chad. The workout is 1,000 weighted box step-ups, and it is done every Veterans Day. In this interview, we discuss the wake that suicide leaves, how to appropriately support a family that is grieving, what she has done to try to bring healing to her life, why suicide rates are so high in the military community, what she would do differently if she could go back to before Chad's death, signs we should all watch for as it pertains to brain injury and mental health, and much more. Let's get into it…  Episode notes and links HERE Donate to support our mission of equipping men to push back darkness Learn more about your ad choices. Visit megaphone.fm/adchoices

Down Home Cajun Music- Bosco StompIsom Fontenot- "La Bataille Dans Le Petit Abre" (Rounder 6002)Sidney Brown- "Highball Two Step" (Goldband 1046)Happy, Doc and the Boys- "Dans La Platin" (Fais Do-Do 1005)Joe Falcon- "Poche Town" (Columbia 40506)Nathan Abshire- "Kaplan Waltz" (O.T. 102)Adam et Cyprien Landreneau- "Danse De Limonade" (Rounder 6002)Hackberry Ramblers- "Louisiana Breakdown" (Bluebird 2011)Iry Lejeune- "Te Mone" (Folk-Star 101)Lawrence Walker- "Bosco Stomp" (Khoury's 616)Blind Uncle Gaspard- "Cher Ami Ma Vie Est Ruin" (Vocalion 5302)Falcon Trio- "Raise Your Window" (Bluebird 2183)Bois Sec Ardoin et Canray Fontenot- "Quo Fa're" (Rounder 6002)Amar Devillier- "Durald Two Step" (Lyric 1-B)Cleveland Mire- "Prison Waltz" (Feature 1033)Harry Choates- "Mari Jole Blon" (Gold Star 1350)Rayne Bo Ramblers- "Mabelle Tete Catin" (Bluebird 2087)Nathan Abshire et The Rayne Bo Ramblers- "Gueydan Breakdown" (Bluebird 2177)Amadie, Ophy et Cleoma Breaux- "Ma Blonde Est Partie" (Columbia 40510)*All selections from the original 78 rpm records and Lp's.

Host Luisa Lyons chats with Jim McCarthy, CEO of Stellar and author of the new book Beyond the Back Row: The Breakthrough Potential of Digital Live Entertainment and Arts, which explains the why, how, and what of online events.In this lively conversation, McCarthy shares the value of an English degree, how working in e-commerce led him to the creation of Goldstar,  how the company changed course in March 2020, the creation of theatre streaming platform Stellar, how the NBA can be a model for streaming theatre, the current theatre business model and how streaming can make it better, re-thinking bootlegs, and accessibility. Beyond the Back Row is available via Amazon and Bookshop.org (these are affiliate links and Filmed Live Musicals may earn income from purchases made through these links). Jim McCarthy is the Co-Founder and CEO of Stellar, the only full-service livestream partner for professional live entertainment organizers, committed to delivering premium interactive online shows to paying audiences around the world.For nearly 20 years, Jim was the CEO/Co-Founder ofGoldstar helping 10 million people go to Goldstar to discover live events nationwide for 5,000 live entertainment organizers.When the COVID-19 crisis shut down the live entertainment industry in March 2020, Jim led the charge to develop Stellar, to help producers create and sell high quality-live streaming events. In August 2020, Stellar started welcoming creators and audiences in beta. Since then, millions of people have live streamed a variety of shows available on the platform. In July of 2022, his new book, Beyond the Back Row: The Breakthrough Potential of Digital Live Entertainment and Arts, was released to help break down the why, how, and what of online, streaming, and hybrid live events.For more info and a full length bio visit Stellar. Filmed Live Musicals is the most comprehensive online searchable database for musicals that have been filmed live on stage. Visit www.filmedlivemusicals.com to learn more. Follow us on Facebook and Twitter. You can also support the site at Patreon. Patrons get early access to content, bonus content in the weekly newsletter, and exclusive access to the streaming calendar, no matter how much you pledge. Become a Patron today! Filmed Live Musicals is created by Luisa Lyons. Luisa is an Australian actor, writer, and musician. She holds a Masters in Music Theatre from London's Royal Central School of Speech and Drama and now lives, works, and plays in New York. Learn more at www.luisalyons.com or follow on Twitter, Instagram, and Facebook. Support the show

Greg, Josh and Nick run down the excellent play at the end of the season that led to home field in the wild card round. They go over the hot streaks from Merrifield, Jansen and Teoscar, the up and down nature of the team that may bely the actual true talent level and Alek Manoah's Cy caliber finish to the season. Then they preview the upcoming series with the Mariners, looking at the various strengths and weaknesses of the Seattle club.Finally, they answer listener questions and give out a Gold Star and Do Over.

I found Kevin on TikTok @kevinheilmanwoodworking. His passion for creating woodwork for veterans is amazing. Hear his story right here!

Munster have finally got their first win of the URC season and who better to break it down than Alan Quinlan & Niamh Briggs! Get in contact on Twitter @rugbychannel15 or email therugbychannel@bauermedia.ie! Subscribe to The Rugby Channel for new episodes every week! #TheRed78

This past weekend, The Big Honker Lodge welcomed family and friends of children who lost fathers in combat overseas. Jeff Stanfield & Andy Shaver talk with mothers, Lara Smith and Katy Thom about losing their husbands, adjusting to single motherhood, and reaching out for help. Then, they talk with Anthony Gaddis and Joe Wesner. Joe runs Ultimate Veteran Adventures and he put this whole weekend together. Anthony tells of the relationship he has with the two boys who lost their father and Anthony's best friend to a roadside bomb.

We chat with Anthony Price today, Executive Director of the Gold Star Ride Foundation. In 2016, The Gold Star Ride Foundation began with a simple idea: Remember the families of the fallen. The Gold Star Ride Foundation actively supports, comforts and provides education benefits to Gold Star Families throughout the United States and provides these things directly with personal visits via motorcycle; and they support those other organizations that work to assist in these same activities. The Gold Star Ride Foundation averages 10 Gold Star Families a month, every month. They have honored families made Gold Star by every conflict since WWII. We encourage you to check out their book Yours, Very Sincerely And Respectfully: The True Story of the Gold Star Ride Foundation's 2018 Journey Across, Around and Through America, Honoring Gold Star Families. By Anthony Price and Keith Carey. All proceeds go to the foundation. www.goldstarride.org

Greg and Josh discuss the issues with the play to start Alek Manoah in a potential home field clinching game 162, changes to the batting order that coincides with Vlad's hidden hot streak, the missing Anthony Bass and some recent true bullpen meltdowns, Espinal to the IL and what it means for the lineup going forward, and the fun, chaotic energy brought by Raimel Tapia.Finally, they answer a couple of listener questions and give a Gold Star to Alek Manoah.

Chris Arzberger lives his life thru his faith.  Former Air Force Officer and current Co-owner of IB Logistics, with over 30 years of logistics, supply, transportation, engineering and information technology experience in military environments at the unit/production and headquarters levels.   Has B.S. in Civil Engineering, and M.S. in Logistics Management.  Parrillo Certified trainer since 1998, co-owner of Airport Fitness (1997-1998), and owner of INTUIT Fitness.  Fitness and living an active lifestyle is a priority no matter what challenges he faces during his life.  He have been successful at Bodybuilding, competitive sports, extreme activities, and coaching at adult and youth level.  Won Armed Forces bodybuilding championship in 1999.  Sponsored by Air Force in bodybuilding from 1999-2000 and held fitness classes at WPAFB.  Competitive category bike racer for Team Dayton (2003-2011), won Ride Across Indiana (over 1000) riders.  Perfect North lead ski instructor (1999-2015), in addition to teaching young adults and kids Chris was responsible for training instructors on how to perform their lessons.  Varsity football and track strength and conditioning coach for Springboro (2015-2017).  Heli skiing activities, spartan and warrior dashes are still some of his favorite activities.  Chris has a passion to impact the world by becoming one step closer to Jesus each day, serves on the leadership board and coach for Thrive together an initiative to alleviate all forms of poverty, volunteers at Victory Project Dayton coaching young adults, volunteers for Blue Skies for the Good Guys and Gals working with Purple Heart and Gold Star families, and started Testimonies of GOD (TOG) with two other faith led individuals.Facebook: https://www.facebook.com/chris.arzberger.5IG:@killinit24_7TIK TOK:@crazyfaithnfitnessConnect and tag me at:https://www.instagram.com/realangelabradford/You can subscribe to my YouTube Channel herehttps://www.youtube.com/channel/UCDU9L55higX03TQgq1IT_qQFeel free to leave a review on all major platforms to help get the word out and change more lives!

Host Jeremy C. Park talks with Cathy Mullins, President of the Brandon Scott Mullins Memorial Foundation, who also is a Board Member with the Woody Williams Foundation, National Anthem singer with the Nashville Predators, and both a Gold Star and Blue Star Mother. During the interview, Cathy discusses her family's history of military service, and then shares the story and impact of her son, SPC Brandon Scott Mullins, who was killed in Afghanistan on August 25, 2011. In 2016, the Mullins family established the Brandon Scott Mullins Memorial Foundation to honor the life and legacy of their son through leadership scholarships at Apollo High School and the Owensboro Hockey League. During the interview, Cathy also highlights the Woody Williams Foundation, named after the Medal of Honor recipient Herschel "Woody" Williams, which establishes permanent Gold Star Families Memorial Monuments in communities throughout the United States, conducts Gold Star Families Outreach across the country, provides Living Legacy scholarships to eligible Gold Star Children, and advocates for educational benefits for all Gold Star Family members.Kentucky Remembers is the Signature Project Title for the Brandon Scott Mullins Memorial Foundation and provides meaningful ways for the community to come together in support of our active-duty military and veterans and their families.SPC Brandon Scott Mullins was killed in Afghanistan on August 25, 2011. In 2016, the Mullins family established the Brandon Scott Mullins Memorial Foundation to honor the life and legacy of their son through leadership scholarships at Apollo High School and the Owensboro Hockey League.The Woody Williams Foundation is a charitable 501c(3) nonprofit organization that pursues specific endeavors and goals through the vision of Medal of Honor recipient Hershel "Woody" Williams. The Foundation encourages, with the assistance of the American public and community leaders, establishing permanent Gold Star Families Memorial Monuments in communities throughout the United States, conducting Gold Star Families Outreach across the country, providing Living Legacy scholarships to eligible Gold Star Children, and advocating for educational benefits for all Gold Star Family members.History and mission of the organizationScholarships - Apollo high school and Owensboro nobody leagueEducation initiativesUpcoming eventsFacebook:https://www.facebook.com/kentuckyremembers/https://www.facebook.com/WoodyWilliamsFoundationTwitter:https://twitter.com/KYRemembershttps://www.facebook.com/WoodyWilliamsFoundationWebsite:www.kentuckyremembers.orghttps://woodywilliams.org/

"If something happens to me, you should be sad, but not forever." That's what Clint Ruiz told his wife Kira before a deployment to Afghanistan in 2012. Clint did not survive that deployment. Through those words, and his mission as a soldier, Kira and her family are keeping his legacy alive today. She joins us to share her story, and how Tunnel to Towers stepped into that story. This is PICK UP THE SIX Podcast. -- This episode is sponsored by Mudgear. Check out their website at www.mudgear.com and use the promo code PUT6 to save 15% off! Mudgear is MADE TOUGHER!

The current administration is ramping up their effort to squash any opposition as election season quickly approaches. More information has come out about the FBI seizing Mike Lindell's phone and once again the double standard in the justice system is troubling. We're indeed living in a clown world, but the clowns aren't funny, just dangerous. Lindsay Graham is introducing legislation for a national 15 week abortion ban. Is this a good idea or bad idea? More importantly, is now the time to be doing this? A Twitter whistleblower says 4000 employees at the company had access to user data along with the ability to take over user's accounts. At this point, there's no longer any reason to give these social media companies the benefit of the doubt when it comes to security and transparency. Nancy Pelosi had to instruct the crowd to applaud during a recent speech, which is always a sign the speech didn't go great. She also discussed the Inflation Reduction Act's effects on kitchen table items with the coherence of the town drunk at your local bar. Kamala Harris says the border is secure and she was not joking, just being an idiot as usual. On top of that, she believes the “threat from within” is as great as 9/11. Yes, Americans are now as big a threat as the terrorists that attacked our country. We're joined by Barb Allen, award winning author, speaker, Gold Star wife, co-founder of The Great American Syndicate, and host of the “Flex Your Freedom” podcast, and Sara Gonzales, BlazeTV host and clown world expert, to discuss all the insane statements coming from left and what to make of their rhetoric.  Today's Sponsors: My Patriot Supply is the nation's largest preparedness company, and their mission is your survival. It gives you a wide variety of delicious meals – breakfasts, lunches, dinners, drinks, and snacks – providing OVER TWO-THOUSAND CALORIES A DAY for THREE MONTHS. Go to https://www.PREPAREWITHCHAD.COM to get this 250-DOLLAR SAVINGS on the very popular THREE-MONTH Emergency Food Kit. Your order SHIPS FAST and FREE – and arrives in unmarked boxes for total privacy. PublicSq is the first app to connect freedom-loving Americans with their local community and the businesses that share their values. Whether you want to support a restaurant that only buys from local farms, a coffee shop that took a stand against Covid mandates, or a bank that would never cancel you for your political views, PublicSq. is your guide. And here's the best part, it's absolutely free to join. Just download the PublicSq. app from the Apple App Store or Google Play, create an account, and begin your search. You can also list your business for free, so your local community can support you. Download the app today. Upside is an incredible app for anyone who buys gas, groceries or dines out. With every purchase, I'm earning cash back thanks to Upside. Download the FREE Upside App and use promo code chad to get $5 or more cash back on your first purchase of $10 or more. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jeff Stanfield & Andy Shaver are joined by the founder of Ultimate Veteran Adventures, Joe Wesner. Joe has organized a dove hunt at Stanfield Hunting Outfitters for several Gold Star families and the guys discuss the work that has gone into that, women in combat, the power of modern medicine, and the recent anniversary of 9/11.

With the constant barrage of attacks on everyday Americans coming from the current administration, some people are finding it difficult to overcome feelings of defeat or exasperation. While it's understandable to fall victim to those emotions, it's of vital importance to not let that feeling of defeat overtake your spirit, because that's how they win. They want you to give up and comply with the nonsense constantly being pushed on us. We're joined by Barb Allen, award winning author, speaker, Gold Star wife, co-founder of the Great American Syndicate, and host of the “Flex Your Freedom” podcast, to discuss her experiences and talk about her fascinating story. From having her husband murdered by a fellow American soldier to dealing with Army bureaucracy, Barb has an amazingly strong will and conviction that serves as a great example for current times. She discusses living in New York as the state falls apart and her disdain for the things Kathy Hochul said about New York Republicans. Mike Lindell says the FBI confiscated his cell phone while he was at a Hardee's. Apparently, the guy that sells pillows is so dangerous he needs to be accosted by agents of the state while he's at the drive-thru window waiting for his cheeseburger. Folks, if this is a glimpse of what's to come, and that appears to be the case, it is only going to get worse before it gets better. Today's Sponsors: Let me tell you how you could lose 5, 10 even up to 20 pounds! Safely, naturally and without jittery side effects! NuSu Labs Weight Control formula is a super antioxidant formula that's helped thousands lose weight for good! Order right now to try this brand-new formula absolutely risk free! Look in the mirror and feel confident about how you look without jitters and side effects! And if it doesn't work you don't pay! Go to https://www.nusulabs.com/CHAD and enter CHAD20 for an extra 20% off. And during this summer sales event, get a free month supply when you order! Limited supply so order now! Today I have an amazing offer that I have never had before. If you visit https://www.BonnerPrivateWines.com/CHAD, you'll not only get wine for over 50% off plus free shipping, you'll also get a BONUS bottle of small batch, limited production wine from their exclusive wine cellar. That's 4 bottles for the price of 3. It's a deal that's hard to turn down if you're a wine lover like myself. Learn more about your ad choices. Visit megaphone.fm/adchoices

Surviving a spouse is always difficult, even when the spouse has a high-risk military career. For Gold Star wife Traci Voelke, losing her husband and high school sweetheart Major Paul C. Voelke was a heartbreaking reminder of the importance of connecting with those we love. After Paul's death in his fifth deployment overseas, and facing raising their two sons alone, Traci has chosen to continue serving the military community as a lawyer and as part of the Army's Survivor Advisory Working Group. Through The 98 Fund's Alaska Project, she helps provide a safe space for military family survivors to vacation and learn new skills. She joins this episode of the Relentlessly Resilient podcast to share how connection and service have helped her deal with grief.   Even though we live in challenging times we can become Relentlessly Resilient as we lean on and learn from one another's experiences. Hosts Jennie Taylor and Michelle Scharf are no strangers to overcoming adversity; Michelle lost her husband to cancer, while Jennie's husband Major Brent Taylor was killed in the service of our country. Their stories bond them together and now listeners can join them weekly as they visit with others enduring challenges and who teach us how they are exercising resiliency, finding value in their grief, and purpose in moving forward.  Listen to the Relentlessly Resilient Podcast regularly on your favorite platform, at kslpodcasts.com, kslnewsradio.com, or on the KSL App. Join the Resilience conversation on Facebook at @RelentlesslyResilient and Instagram @RelentlesslyResilientPodcast. Produced by KellieAnn Halvorsen.See omnystudio.com/listener for privacy information.

It's hard to imagine how life could possibly go on when someone who has everything to live for commits suicide. How do you respond to such a tragedy? In this week's Team Never Quit Podcast, our guest, Sara Wilkinson, Gold Star wife of Navy SEAL Chad Wilkinson, speaks candidly about her military family life, her love for Chad, and raising their children on her own. Sara is determined to reduce the stigma surrounding the silent epidemic of Veteran suicide and bring awareness to its warning signs and triggers. She brings honor to Chad's legacy, and discusses the importance of fitness, and living large, despite what life brings. In this episode you will hear: My whole life I moved around. I attended 15 schools before I graduated. [For the military guys] it's really hard to hop off the hamster wheel unless someone tells you to hop off. And no one tells you to hop off. I was a Crossfit trainer and I opened a Crossfit gym in Virginia Beach. Men and women can all suffer from Blast Waves, PTS, PTSD, etc. It's really important to educate spouses and first responders on the ways that little things may be signs of something way bigger happening. In a partnership, it's our job to care for one another. If someone is exhibiting symptoms of PTS, PTSD, etc. the only thing you can do is manage the symptoms. It comes down to focusing on sleep. Everybody's mind is affected by the life they've lived. Ask yourself - What are the things you need to function optimally? How do we transition veterans from an operative status to living life independently, regardless of their history? I want my kids to know that this is a chapter in their story, and they have their whole life ahead of them. It's a backpack they carry that they'll never put down. But they'll do some amazing things in their life. Your kids are always watching you. The way they watch you and observe you is the biggest responsibility you have. My motto: Live big. Support Sara: CHAD 1000X website: https://chad1000x.com Sara Wilkinson Instagram: https://www.instagram.com/sarawilkinson7/?hl=en The Step Up Foundation: https://www.instagram.com/thestepupfoundation/?hl=en Follow Us: https://www.instagram.com/marcusluttrell/ https://www.instagram.com/andrewbrockenbush/ https://www.instagram.com/team_neverquit/ DraftKings Disclaimers If you or someone you know has a gambling problem, crisis counseling and referral services can be accessed by calling 1-800-GAMBLER (1-800-426-2537) (IL/IN/LA/MI/NJ/PA/WV/WY), 1-800-NEXT STEP (AZ), 1-800-522-4700 (CO/NH), 888-789-7777/visit http://ccpg.org/chat (CT), 1-800-BETS OFF (IA), 877-8-HOPENY/text HOPENY (467369) (NY), visit OPGR.org (OR), call/text TN REDLINE 1-800-889-9789 (TN), or 1-888-532-3500 (VA). 21+ (18+ NH/WY). Physically present in AZ/CO/CT/IL/IN/IA/LA(select parishes)/MI/NH/NJ/ NY/OR/PA/TN/VA/WV/WY only. New customer offer void in NH/OR/ONT-CA. $200 in Free bets: New customers only. 

TWS News 1: California's Electrical Grid – 00:35One Word Labor Day Weekend – 3:42Monday School: I Want Patience Now! – 11:14TWS News 2: Back to School Fear – 15:53Last Time the Internet Broke Your Heart – 18:30TWS News 3: Trends – 24:47The Gold Star You Want – 28:32Photo Op – 34:19Least of These: Banned from Russia – 38:50Zach Williams Song or Sauce Game – 41:05Name It & Claim It: Lawn Mower Names – 45:13You can join our Wally Show Poddies Facebook group at www.facebook.com/groups/WallyShowPoddies

Joe and Andy open the show recapping Praino's week in Vegas, discussing the Donovan Mitchell trade and the Mets slim lead over the Braves. Next Randy Ruther joins the boys to talk Bengals and Ruther drops a bombshell about Gold Star chili. Then Andy and Joe talk future NFL bets, Lions odds, and reveal the Manning Cast schedule. They finish the show with DirtBall calls and Praino drops and epic rant. https://app.prizepicks.com/sign-up?invite_code=DIRTY www.millerlite.com/dirtysports Subscribe on YouTube - www.youtube.com/DirtySports Follow us on Instagram: www.instagram.com/thedirtysports/ Follow us on Twitter - www.twitter.com/thedirtysports Follow Andy Ruther on IG - www.instagram.com/AndyRuther/ Follow Joe Praino on IG - www.instagram.com/JoePraino/