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2 episodes with help it
2 episodes with help it
2 episodes with help it
2 episodes with help it
We're celebrating our 10th anniversary all year by digging in the vaults to re-present classic episodes with fresh commentary. Today, we're revisiting our 2021 conversation with Steve Perry. ABOUT STEVE PERRYOne of the most iconic voices in rock music history, Steve Perry is best known as the lead singer of the band Journey during the group's most successful period. His first Top 20 pop hit as either a performer or songwriter was the solo-written “Lovin', Touchin', Squeezin',” which became a hit for the band in 1979. In the following decade he co-wrote an unbelievable streak of classic songs with Neil Shon and Jonathan Cain, including “Any Way You Want It,” “Who's Crying Now,” “Open Arms,” “Separate Ways,” ”Send Her My Love,” and “Don't Stop Believin',” a single that's been certified five times platinum. His 1984 debut solo album Street Talk produced the classic singles “Oh Sherrie” and “Foolish Heart.” After penning additional Journey hits “Be Good to Yourself,” “Girl Can't Help It,” and “I'll be Alright Without You” he departed the band and released his second solo album, For the Love of Strange Medicine, featuring the single “You Better Wait.” After briefly reuniting with Journey and co-writing the additional hits “When You Love a Woman” and “Message of Love” in the mid-1990s, he stepped away from recording. Steve returned in 2018 with his third solo album, Traces. In 2021 he released his fourth solo record, a holiday collection called The Season, produced by Steve and Thom Flowers, and featuring contributions from multi-instrumentalist Dallas Kruse. The Rock & Roll Hall of Famer, whom Rolling Stone magazine named among the “100 Greatest Singers of All Time” joins us to talk about exploring the great American Christmas songbook from a writer's perspective, to share some stories about his own songs, and to offer some insight into his approach to the craft.
A handcrafted podcast mix where soul travels, rhythms speak, and every track is emotion in motion.1. Los Charly's Orchestra, Juan Laya, Jorge Montiel - Vibration2. Dark Horse & SoulFreakah - Envy Feat Faith Nakana3. Franck Roger, Shawn Chappelle, DJ Spinna - Enchanted4. Ayro vs DJ Spinna - Bounce5. The Jargons - Feat ZuluMafia - Trap6. Portia Monique, Reel People - Ain't Scared Of You7. Jimpster - Left & Right8. Laroye - People out there (You Gotta Do Whatcha Wanna do)9. Aquanote - Nowhere10. Loftsoul and The Latin Soul Brothas - Soul Inspiration11. Mustafa, Flexie Muiso RYB - Aqui Se Faz Aqui Se Paga12. 2fox Feat BB James, Liam Bailey - So Long13. Coflo, Nimiwari - Visions14. Lefthander ft. Pouyah - Breaking New Ground15. Afro-Mystik - Natural16. Dalminjo - And She Said17. Physics - Blue Flame EP18. Physics - First Flight19. Shur-I-Kan - Generations20. Rhythm Of Elements - Praia21. John Beltran - Ondas22. Anthony Nicholson - Spiderman23. Anthony Nicholson Feat. Michael Jackson - I Can't Help It
GGACP celebrates the birthday of Emmy-winning director and producer Allan Arkush by revisiting this in-depth interview from 2018. In this episode, Allan entertains Gilbert and Frank with tales of working at the late, great Fillmore East, crossing paths with Ol' Blue Eyes (and Groucho!) apprenticing for the legendary Roger Corman and helming the cult classic “Rock ‘n' Roll High School.” Also, Jackie Mason fails to connect, Malcolm McDowell talks to his crotch, Bruce Willis locks horns with Cybill Shepherd and “A Hard Day's Night” changes Allan's life forever. PLUS: P.J. Soles! “The Girl Can't Help It”! In praise of Alexander & Karaszewski! Zacherle introduces the Grateful Dead! And Allan (reluctantly) remembers “Caddyshack 2”! Learn more about your ad choices. Visit megaphone.fm/adchoices
Guest - Jamie Pukylo; Songs: Matthew Sipple - Hero, Dan Baney - Be the Light, Cherry Bomb of Erie - This Girl Can't Help It
durée : 00:59:19 - Can't Help It - par : Nathalie Piolé -
Johnny Cash - "I Can't Help It" [0:00:00] Johnny Cash - "You Win Again" [0:06:20] Toothpick Tommy and the Truckers - "Bip Bop" [0:08:24] Billy Riley - "Down By The Riverside" [0:10:21] Peck Touchton - "You've Changed Your Tune" [0:12:31] Music behind DJ: Freddy King - "The Bossa Nova Watusi Twist" [0:15:16] Billy Mize - "Solid Sender" [0:18:00] Davy Mills - "Trenton State Prison" [0:20:42] Jerry Reed - "Have Blues, Will Travel" [0:24:35] Jimmy Gene Smith - "Bottle of Gin" [0:26:52] Tennessee Ernie Ford - "Sixteen Tons" [0:28:09] Music behind DJ: Freddy King - "The Bossa Nova Watusi Twist" [0:30:43] Johnny Sea - "Stranger" [0:33:30] Sanford Clark - "A Cheat" [0:36:21] Jean Shepard - "Second Fiddle (To An Old Guitar)" [0:38:35] Gene Norton - "Gravy Train" [0:40:51] Gary D. Whatley - "Where's My Baby" [0:43:14] Music behind DJ: Freddy King - "The Bossa Nova Watusi Twist" [0:46:03] Merle Haggard - "I'm a Lonesome Fugitive" [0:47:58] Bob Allen and the Wanderers - "It's About Time" [0:51:37] Bill Cleaton - "Lovers Hall Of Shame" [0:52:39] Hershel Hamilton - "Is It Really Warm In Tampa" [0:54:47] https://www.wfmu.org/playlists/shows/149109
Johnny Cash - "I Can't Help It" [0:00:00] Johnny Cash - "You Win Again" [0:06:20] Toothpick Tommy and the Truckers - "Bip Bop" [0:08:24] Billy Riley - "Down By The Riverside" [0:10:21] Peck Touchton - "You've Changed Your Tune" [0:12:31] Music behind DJ: Freddy King - "The Bossa Nova Watusi Twist" [0:15:16] Billy Mize - "Solid Sender" [0:18:00] Davy Mills - "Trenton State Prison" [0:20:42] Jerry Reed - "Have Blues, Will Travel" [0:24:35] Jimmy Gene Smith - "Bottle of Gin" [0:26:52] Tennessee Ernie Ford - "Sixteen Tons" [0:28:09] Music behind DJ: Freddy King - "The Bossa Nova Watusi Twist" [0:30:43] Johnny Sea - "Stranger" [0:33:30] Sanford Clark - "A Cheat" [0:36:21] Jean Shepard - "Second Fiddle (To An Old Guitar)" [0:38:35] Gene Norton - "Gravy Train" [0:40:51] Gary D. Whatley - "Where's My Baby" [0:43:14] Music behind DJ: Freddy King - "The Bossa Nova Watusi Twist" [0:46:03] Merle Haggard - "I'm a Lonesome Fugitive" [0:47:58] Bob Allen and the Wanderers - "It's About Time" [0:51:37] Bill Cleaton - "Lovers Hall Of Shame" [0:52:39] Hershel Hamilton - "Is It Really Warm In Tampa" [0:54:47] https://www.wfmu.org/playlists/shows/149109
Join us as we dive into Acts 4:1-22 with the message We Can't Help It.We're glad you're here!
Hey everyone, welcome to your Friday Rant! Today, I'm tackling a common issue that I've noticed with some of my employees and clients, the necessity of always being curious. Episode Summary: In this rant, I share my thoughts on the pressure many people feel to know it all, particularly when starting a new job. I talk about how this anxiety can lead to mistakes because people are too afraid to ask questions. By embracing a mindset of curiosity and honesty, we can alleviate that pressure and grow more effectively in our roles. Key Highlights: - The Pressure to Know Everything: Many employees feel they have to prove their worth by having all the answers, which often leads to mistakes. - The Importance of Asking for Help: It's crucial to pause and seek guidance instead of pretending to know it all. - Getting Real: So many of us wear masks out of fear of judgment, which ultimately doesn't serve us. - The Power of Three Words: Being direct, honest, and curious can set you apart and help you grow personally and professionally. - Changing Perspectives: A recent experience with a new employee highlighted how shifting the timeline of expectations—understanding that expertise takes years—can ease anxiety and improve performance. Take a listen to this rant for some real talk on being true to yourself and embracing a mindset of growth. I hope you find value in these thoughts, and I'll catch you next time!
Ce 19 décembre, sur RTL2, Pop-Rock Station bouscule la tradition et célèbre un Noël hors normes. Marjorie Hache orchestre deux heures gorgées de soul (James Brown, Otis Redding), de rock pur (AC/DC, Judas Priest, Alice Cooper, The Offspring, Korn), de pépites indie (Bat For Lashes, Sufjan Stevens) et de perles inattendues (Rick Moranis). En termes de nouveautés, Orville Peck illumine la soirée avec "Happy Trails". L'album de la semaine, "All The Best For Christmas" du crooner Gaspard Royant, s'inscrit comme la bande-son idéale. Le live culte vient de Gaz Coombes & Adam Buxton avec "I Believe In Father Christmas". Côté reprises, Oasis ressuscite le célèbre titre de Slade, tandis que le long format est signé The Who : "Christmas" extrait de l'opéra rock "Tommy". La playlist de l'émission : AC/DC - Mistress For Christmas Valerie June - I Saw Mommy Kissing Santa Claus Orville Peck - Happy Trails James Brown - Santa Claus Go Straight To The Ghetto Rob Halford - Oh Holy Night Bat For Lashes - Christmas Day Oasis - Merry Xmas Everybody Otis Redding - Merry Christmas Baby Gaspard Royant - Wishing You A Merry Christmas (Feat. Aurelie Saada) Elton John - Step Into Christmas Ben Folds - You Don't Have To Be A Santa Claus Sharon Jones & The Dap-Kings - 8 Days (Of Hannukkah) John Lennon - Happy Xmas (War Is Over) Sufjan Stevens - That Was The Worst Christmas Ever The Offspring - Christmas (Baby Please Come Home) Rick Moranis - I Can't Help It, I Just Like Christmas Alice Cooper - Santa Claws Is Coming To Town Sabaton - Christmas Truce (Radio Edit) The Velvet Underground - Jesus The Dandy Warhols - Little Drummer Boy Gaz Coombes - I Believe In Father Christmas (Live Feat. Adam Buxton) Eartha Kitt - Santa Baby The Who - Christmas Korn - Jingle Balls Ice Nine Kills - Merry Axe-Mas King Hannah - Blue Christmas Sparks - Thank God It's Not Christmas Chuck Berry - Run Rudolph Run The Kinks - Father Christmas Type O Negative - Red Water (Christmas Mourning)
In this enlightening episode of Shark Theory, your host Baylor Barbee shares a personal experience that underscores the importance of foundational tools and slowing down amidst the rush of modern life. Baylor's recent mishap with transferring files to a new MacBook serves as a metaphor for how easy it is to overlook essential components of our daily routines, whether in personal or professional contexts. Baylor delves into the details of how missing a critical podcast setup file while transitioning to new technology became a reflective moment. He draws parallels between this experience and the broader theme of maintaining foundational tools in our lives. Baylor discusses the detrimental effects of neglecting core habits and offers practical advice on conducting life audits to prevent such oversights. Key Takeaways: Foundation Matters: Just as essential templates are crucial for recording quality podcasts, foundational habits are key to success in various life aspects. Slow Down: The modern obsession with speed can lead to errors and setbacks. It's crucial to focus on getting to your goals the right way instead of the fastest way. Know Your Tools: Identify and prioritize the tools and resources that are fundamental to your success and ensure they are up-to-date and effective. Ask for Help: It's okay to seek assistance when rebuilding or maintaining your foundational setups. Collaboration and asking for help can lead to better outcomes. Build on Success: Focus on mastering one area before moving on to others, ensuring that you build lasting success through solid, incremental growth. Notable Quotes: "We seemingly forget the foundation. We forget the templates for our lives, and it cost us time." "Success is built upon those habits. What are the different tools that I need?" "In our quest for speed, a lot of times we crash. It is much better to get to your goal safely." "It's our job to equip ourselves with the tools necessary to do our job. It's not our job to have to create the tools." "You have to do what I had to do. You have to rebuild your template." If you're looking to sharpen your mindset and achieve your goals, we've got you covered. Download our FREE Mindset Resources to get started on your journey to personal growth. Don't forget to check out our exclusive Shark Theory Apparel and Books for more tools and inspiration. Interested in taking your organization to the next level? Book Baylor to speak to your organization or at your next event. Mindset Matters - Let's make yours Unstoppable!
THE IDEAL BALANCE SHOW: Real talk, tips & coaching on everything fitness, family & finance.
Snag Our Signature Budget Template! In today's episode, we dive into some amazing success stories from our clients that will inspire and motivate you on your own financial journey.
These tips are essential for anyone on this journey, and I'm confident they're easier to implement than you might think.Ask for Help: It's easy to feel overwhelmed when you're juggling work, relationships, and fertility treatments. You can't do it all alone, and you don't have to. Asking for help is a sign of strength, not weakness.Let Go of Perfection: I know how tempting it is to try to be perfect in every aspect—fitness, nutrition, supplements, therapy—but it's unrealistic. It's okay to do your best without expecting perfection every day.Consistency is Key: If you're a regular listener, you'll know that this is my favorite phrase. Consistency in your fitness routine, nutrition, and overall health practices is far more effective than sporadic efforts.Take a Break if Needed: Sometimes, taking a step back can do wonders for your mental and physical health. Whether it's skipping tracking for a month or spacing out your cycles, listen to your body and take a break when necessary.Prioritize Sleep: I've said it before, and I'll say it again—sleep is non-negotiable. Good sleep hygiene, including a relaxing bedtime routine, can make all the difference in your TTC journey.These tips are just the beginning. There's so much more you can do to support your fertility. For more guidance, join me and my supportive community on Instagram at fitness_fertility. You can also visit fitnessfertility.com to sign up for a free workout I've designed specifically for women trying to conceive.Don't forget to subscribe to the Fitness Fertility Podcast for more expert interviews and in-depth discussions. And please, share the show with others who might be on the same journey—you never know who might need that little extra support. DISCLAIMER: The content in the podcast and on this webpage is not intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your doctor or qualified healthcare provider with any questions you may have. Never disregard professional medical advice or delay in seeking it because of something you have heard on the podcast or on my website.
Weekly podcast discussing Erie, PA's “LIVE MUSIC SCENE”! Jack Stevenson (2 Man Happy Hour) & Brian Waller (Wildsound Productions) discuss who's playing where, spin some tunes by local artists & discuss “the scene” with their weekly guests! This week's guest is Dee Caruana. This week's topic The “ROLL IN for Veterans” Event. This week's musical selections: “This Girl Can't Help It” by Cherry Bomb, “Trees” by Garrett Owens & “22” by Dan Douglas. Thanks for listening & we hope to see YOU at a show real soon!! PEACE-OUT!! www.2manhappyhour.com
Silver Quintette - "Sinner's Crossroads" [0:00:00] Johnny Norwood - "He's Coming Soon" [0:03:54] Salem Jubilees - "Let Your Will Be Done" - Salem Jubilees [0:07:47] Vocalaires - "I Can't Help It" [0:12:06] William Nunnely and His Talking Guitar - "God is the Ruler" [0:16:07] Echoes of Zion - "Just a Closer Walk With Thee" [0:17:56] Beautiful Tones - "In That Great Judgement Morning" - Great Day [0:20:21] Original Holy Travelers - "Sampson" [0:23:42] Pilgrim Jubilee Singers - "Don't Let Him Down" - Don't Let Him Down [0:27:03] Joyful Sounds of Dallas, Texas - "Let Jesus Lead You" - Country People [0:34:09] Joyful Sounds of Dallas, Texas - "Country People" - Country People [0:36:49] Holy Propheteers - "I Know The Lord Will Make A Way" [0:41:37] Cleveland Godlen Echoes - "The Lord Will Take Care of His Own" - 30 Pieces of Silver [0:43:35] Morning Stars of Savannah - "Watch Over Me" - This Train [0:48:23] Ballard Brothers - "Standing Here Wondering" - Signs of the Times [0:52:32] Bro. J. Smith and his Stars of Harmony - "Somewhere Listening" [0:56:12] https://www.wfmu.org/playlists/shows/140960
YOOOO! We back with a brand new episode for yall! We start things off with music from Kaytranada, Tems, and BIA(5:45) Next up we discuss Kendrick Lamar's upcoming Juneteenth Concert and what and WHO to expect as well(38:41) Staying on Kendrick/Drake, we touch on Drake deleting his disses off of IG as well as his latest cryptic IG post(47:38) Afterwards Los gives his "Bad Boys 4" review *SPOILER ALERT*(1:05:18) We try to decide which is the "Song of the summer"(1:12:10) And finally we give our URL NOME 14 recap(1:13:50) Sending the show off we play our "Waves Of The Week". Los sets it off with "Can't Help It" by Royal Flush(1:34:59) and Arri closes it out with "Still" by Kaytranada Ft. Charlotte Day Wilson(1:41:39 FOLLOW THE BRAND! SUPPORT THE BRAND! IG: @GetYaBarsOffPod Tiktok: @GetYaBarsOffPod X/Twitter: @GetYaBarsOffPod Facebook: Get Ya Bars Off Network Group Youtube: Get Ya Bars Off Podcast/GYBO Clips --- Send in a voice message: https://podcasters.spotify.com/pod/show/gybo/message Support this podcast: https://podcasters.spotify.com/pod/show/gybo/support
Markus Philippe: Pink Panther; Vicente Archer, Gerald Clayton, Bill Stewart: Bye Nashville; Kenny Barron, Buster Williams: Will You Still Be Mine?; Benny Golson, Shirley Horn, Milgrew Miller, Ron Carter, Carl Allen: One Day, Forever; Scott Hamilton, Jan Lundgren: I've Grown Accustomed To Her Face; In 4 Vocal Jazz Quartett: I Can't Help It; New York […]
Singles Going Around- Humidity BoogieCount Five- "Psychotic Reaction"Ronnie Hawkins- "Forty Days"The Mustangs- "Shot In The Dark"Joe Louis Hill- "We All Gotta Go Sometime"Link Wray- "Fatback"Little Richard- "The Girl Can't Help It"Johnny Otis & Johnny "Guitar" Watson- "Let's Rock"The Vettes- "Devil Driver's Theme"Tommy James & The Shondells- "Hanky Panky"Howlin Wolf- "Mr Highway Man"The Kasenetz-Katz Super Circus- "Quick Joey Small"The Trashmen- "Bird Gasp '65"Freddy King- "Hideaway"Dick Dale- "Jessie Pearl"Little Junior's Blue Flames-"Feelin' Good"The Blonde Bomber- "Strollie Bun"Roy Orbison- "Domino"James Burton- "Polk Salad Annie"
I today's episode, I'm excited to share 39 important lessons I've learned over my 39 years. We'll dive into tips on how to be happier, grow personally, keep up good relationships, and find success. What You'll Learn: Living in the Moment: I'll talk about why it's great to enjoy what's happening right now and not always worry about what's next. Valuing People: How important it is to care for the relationships in your life because they really make a difference. Always Growing: I encourage everyone to keep learning and growing every day. It never stops! Setting High Goals: Why it's good to aim high and keep pushing yourself. Making a Difference: I'll share why it's important to leave a positive mark on the people around you. Handling Social Media: We'll discuss how to use social media wisely so it doesn't take over your life or make you unhappy. Being Real: I'll talk about the importance of being yourself, especially for your family and kids. Taking Care of Your Health: How looking after your health is one of the best things you can do for yourself. Asking for Help: It's okay to ask for help when you need it, and I'll tell you why that's a strong thing to do. Working Hard: How facing challenges and working hard can really help you grow. Enjoying the Ride: Lastly, I remind you to have fun with what you're doing and not just focus on the end goal.
Weekly podcast discussing the 814's “LIVE MUSIC SCENE”! Jack Stevenson (2 Man Happy Hour) & Brian Waller (Wildsound Productions) discuss who's playing where, spin some tunes by local artists & discuss “the scene” with their weekly guests! This week's guests: are invisible. This week's topic “The Boys of Summer's Summer Preview”. This week's musical selections: “This Girl Can't Help It” by Cherry Bomb, “Gimme Shelter” by Dean Wells & “All The Roads” by Northbound Soul. Thanks for listening & we hope to see YOU at a show real soon!! PEACE-OUT!! www.2manhappyhour.com
INTERVIEW: My Cosmic Girl on new single 'Help It' by Elliot Leighton on Radio One 91FM Dunedin
Finally, answers about Spider-Man's disastrous time gap! But first, bananas. Will reads Amazing Spider-Man by Wells and Romita Jr. vol 6: Dead Language Part 2, Hallows' Eve, She-Hulk by Rainbow Rowell vol 3: Girl Can't Help It, Captain America: Cold War Aftermath, and Hellcat: Devil on My Shoulder. Steve finishes his volume of X-Force: New Beginning (#117-120) and adds in Deadpool #50-53.
Opening music: Rebecca Loebe "Redneck Karaoke Bar" - Mystery Prize www.rebeccaloebe.com Raina Rose "Albatross" - Vesta www.rainarose.com www.folkpotions.com Carrie Elkin "Albatross" - The Penny Collector www.carrieelkin.com Sarah Shook ""Lesson"- Years www.disarmers.com Karen Jonas "Butter" - Lucky, Resivited www.karenjonas.com ******************** Aerynn "Light With You" www.aerynn.com Grace Morrison "Get Along" - Maybe Modern www.gracemorrison.com Scott Sean White "God Is Good" - Even Better On The Bad Days www.scottseanwhite.com Jann Klose "Sugar My" - surrender www.jannklose.com Amy Speace "Blues For Joy" - Tuscon www.amyspeace.com Kirsten Maxwell "I Can't Help It" - Crimson www.kirstenmaxwell.com David G Smith "Weight You Carry" - Witness Trees www.davidgsmithmusic.com ********************** ALBUM FOCUS: Christian Parker - Change Is Now: A Tribute To The Byrds www.christianparker.com "I'll Feel A Whole Lot Better" "Chimes Of Freedom" "Wild Mountain Thyme" "Ballad Of Easy Rider" *********************** Frenchy And The Punk "Blood" - Zen Ghost www.frenchyandthepunk.com Swansea Sound "Markin' It Down"- Twentieth Century www.facebook.com/swanseasound Ivytide "Baseboards" - Portable Darkroom www.ivytide.com Reaven "Never Let Me Go" www.reavenmusic.net The Jellybricks "All About You" - www.thejellybricks.com Mest "When We Were Young' www.mestmusic.com Purusa "Words" - Repair www.purusaband.com Castle Black "Heart Can't Feel" - The Highway At Night www.castlebackmusic.com Swive "Diamond Path" - Stereophonic Stylings Volume One https://www.facebook.com/Swivetheband/ The Idoru "Sewn Shut" - Undertow https://www.facebook.com/TheIdoruBand --- Send in a voice message: https://podcasters.spotify.com/pod/show/radiocblue/message Support this podcast: https://podcasters.spotify.com/pod/show/radiocblue/support
A roundtable discussion on the future of the orthodontic profession with innovators Dr. Brandon Owen, Dr. Melanie Wang & Dr. Jason Cope. This special episode was recorded in front of a live audience during the Ortho Innovation Summit in Austin, TX. On this episode, you’ll learn about: The guests’ favorite aspects of the Ortho Innovation Summit The benefits and challenges of adopting a digital workflow What orthodontic technologies or services are ripe for innovation Thoughts on what the future orthodontic practice might look like Advice the panel has for aspiring innovators & inventors Recorded March 2nd, 2024 at the Thompson Hotel during the Ortho Innovation Summit in Austin, TX. Generous support for this podcast comes from KLOwen Ortho, Voxel & ArchForm. Bonus Content: Tom O’Grady’s Fender Rhodes Piano Set ‘Leave the Door Open’ by Silk Sonic ‘What’s Going On’ by Marvin Gaye (Donny Hathaway version) ‘Lovely Day’ by Bill Withers ‘Just the Way You Are’ by Billy Joel ‘I Can’t Help It’ by Michael Jackson
Urbana Radio Show By David Penn Chapter #631 1.Vaudafunk - Luv U Bae - DROP Dance Society 2.Sugarstarr - A Good Time (12inch Mix) - Sugarstarr Traxx 3.ISHXN - Bad Boy Boogie - Dynamite Disco Club 4.James Womersley - You Got To Believe - Love To Be Recordings 5.Reach - Faithful (KPD Remixe) - freakin909 6.James Mac & Vall - Try Again - Sweat It Out 7.Funkerman & SEM - I Can't Help It - altra moda 8.HoneyLuv, Roland Clark - This Is My Life (Bontan Remix) - Nothing Else Matters Records 9.Marco Lys & Ben Miller - Give It To Me - Club Sweat 10.Tom & Jame - Ooh Yeah! - Be Yourself 11.Jon Fitz, JD & The Murphy Brothers - The Flow - Circus Recordings 12.Qubiko - The Reason Why - There Was Jack 13.David Penn & The Cube Guys - In the Air (CASSIMM Remix) - urbana recordings 14.Alex Now (ES) - Get Wild (Extended Mix) - adesso Thanks to all the labels and artist for their music. All tracks selected and mixed by David Penn DJDAVIDPENN.COM FACEBOOK DJDAVIDPENN INSTAGRAM @DJDAVIDPENN INGENIUM BOKINGS EUROPA MUSIC MANAGEMENT Encoded by MUSICZONE PODCAST SERVICES.
What's your most loved and least favorite song on Little Richard's debut album, 1957's Here's Little Richard?! We finally delve into the 1950s by talking about the oldest album we've ranked yet. Adam repeatedly circles back to himself, talking about his short European tour with the red-hot Little Richards and interviews two of its main creators: Sparkle Gail Higgins, longtime London/NY/California vintage clothing queen and Heartbreakers road manager who named her San Diego store the Girl Can't Help It and her friend Robert Lopez (El Vez), who started the wild allstar act to play at her store. Listen at WeWillRankYouPod.com, Apple, Spotify and your favorite piano store. Follow us and weigh in with your favorites on Facebook, Instagram & Threads and Twitter @wewillrankyoupod . Architect of Rock and Roll, Attitude, A-WOOOOOOO, a-wop-bop-a-loo-mop-a-lop-bam-boom, Baby, the beat, the beat, the beat, the Beatles, Pat Boone, Can't Believe You Wanna Leave, choreography, El Vez, energy, the Girl Can't Help It, Good Golly Miss Molly, the Heartbreakers, Sparkle Gail Higgins, Benny Hill, Jenny, Jenny, Little Adam, Little Richard, Little Robert, the Little Richards, Long Tall Sally, Robert Lopez, Lucille, Dean Martin, Paul McCartney, Miss Ann, my band, my band, my band, Oh Why?, Richard Penniman, piano, Elvis Presley, Ready Teddy, Rip It Up, rock and roll, Rubber Duckie, saxophone solo, She's Got It, shut up, Slippin' and Slidin', Trio, True, Fine Mama, Tutti Frutti, 1957. US: http://www.WeWillRankYouPod.com wewillrankyoupod@gmail.comhttp://www.facebook.com/WeWillRankYouPodhttp://www.instagram.com/WeWillRankYouPodhttps://www.threads.net/@WeWillRankYouPod http://www.twitter.com/WeWillRankYouPo http://www.YourOlderBrother.com (Sam's music page) http://www.YerDoinGreat.com (Adam's music page)https://open.spotify.com/user/dancecarbuzz (Dan's playlists)
Jonny and Mark are back to watch and discuss episodes 251 and 252 of "King of the Hill", "Uh-Oh Canada" and "The Boy Can't Help It".
Johnny Cash - "I Can't Help It" [0:00:00] Johnny Cash - "You Win Again" [0:07:18] Sanford Clark - "A Cheat" [0:07:57] Hank Locklin - "Send Me the Pillow You Dream On" - Country and Western Stars [0:12:19] Betty Logan - "But I Did" [0:12:44] Lee Kelly - "No Letter Today" [0:14:49] Music behind DJ: The G-Men - "Raunchy Twist" [0:18:01] Willie Nelson - "I Gotta Get Drunk" - Both Sides Now [0:20:30] Waylon Jennings - "Gentle On My Mind" - Hangin' On [0:24:13] Ronnie Summers - "Freeze" [0:25:28] Geo. J. Camarinos, III - "You've Got Me Bugged" [0:27:16] Lenny Capello - "Cotton Candy" [0:29:31] Music behind DJ: The G-Men - "Raunchy Twist" [0:31:45] Tony Wilde - "Funny Bone" [0:34:21] Merle Haggard And Bonnie Owens - "Slowly But Surely" [0:36:54] Mickey Gilley - "(I'm Gonna Put My) Love In The Want Ads" [0:39:17] Jim Murphy and the Accents - "I'm Gone, Mama" [0:41:24] Mike Clark - "Green, Green Grass of Home" [0:44:52] Music behind DJ: The G-Men - "Raunchy Twist" [0:45:06] Jerry Jeff Walker - "Little Bird" - Viva Terlingua! [0:50:05] Eddie Nash - "Mama Tried" [0:53:37] https://www.wfmu.org/playlists/shows/134876
Johnny Cash - "I Can't Help It" [0:00:00] Johnny Cash - "You Win Again" [0:07:18] Sanford Clark - "A Cheat" [0:07:57] Hank Locklin - "Send Me the Pillow You Dream On" - Country and Western Stars [0:12:19] Betty Logan - "But I Did" [0:12:44] Lee Kelly - "No Letter Today" [0:14:49] Music behind DJ: The G-Men - "Raunchy Twist" [0:18:01] Willie Nelson - "I Gotta Get Drunk" - Both Sides Now [0:20:30] Waylon Jennings - "Gentle On My Mind" - Hangin' On [0:24:13] Ronnie Summers - "Freeze" [0:25:28] Geo. J. Camarinos, III - "You've Got Me Bugged" [0:27:16] Lenny Capello - "Cotton Candy" [0:29:31] Music behind DJ: The G-Men - "Raunchy Twist" [0:31:45] Tony Wilde - "Funny Bone" [0:34:21] Merle Haggard And Bonnie Owens - "Slowly But Surely" [0:36:54] Mickey Gilley - "(I'm Gonna Put My) Love In The Want Ads" [0:39:17] Jim Murphy and the Accents - "I'm Gone, Mama" [0:41:24] Mike Clark - "Green, Green Grass of Home" [0:44:52] Music behind DJ: The G-Men - "Raunchy Twist" [0:45:06] Jerry Jeff Walker - "Little Bird" - Viva Terlingua! [0:50:05] Eddie Nash - "Mama Tried" [0:53:37] https://www.wfmu.org/playlists/shows/134876
"We Can't Help It" sermon by Reverend Doug Cornelius. Acts 4:5-21.
Chuck Edwards - "Downtown Soulville" Music behind DJ: The Swinging Tigers - "Snake Walk (Pt. 1)" Debbie Dean - "Don't Let Him Shop Around" The Velvelettes - "He Was Really Sayin' Somethin'" Mary Wells - "I Don't Want to Take a Chance" LaBrenda Ben - "I Can't Help It, I Gotta Dance" Music behind DJ: San Remo Golden Strings - "Joy Road" Oma Heard - "Lifetime Man" The Supremes - "Love Is Like an Itching in My Heart" Hattie Littles - "Here You Come" The Marvelettes - "Two [sic] Many Fish in the Sea" The Marvelettes - "All the Love I've Got" The Marvelettes - "Danger Heartbreak Dead Ahead" The Marvelettes - "You're the One" The Marvelettes - "The Hunter Gets Captured by the Game" The Marvelettes - "I'll Keep Holding On" The Marvelettes - "I'm Gonna Hold On as Long as I Can" The Marvelettes - "Strange I Know" Brenda Holloway - "Starting the Hurt All Over Again" Martha Reeves & the Vandellas - "Show Me the Way" Kim Weston - "Take Me in Your Arms (Rock Me a Little While)" Tammi Terrell - "All I Do Is Think About You" Music behind DJ: San Remo Golden Strings - "Festival Time" https://www.wfmu.org/playlists/shows/132631
This content is for Members only. Come and join us by subscribing here In the meantime, here's some more details about the show: It's a warm welcome then to the man himself: Dr. Brad Stone - the JazzWeek Programmer of the Year 2017, who's here every Thursday to present The Creative Source - a two hour show, highlighting jazz-fusion and progressive jazz flavours from back then, the here and now, plus occasional forays into the future. Please feel free to get in touch with Brad with any comments or suggestions you might have; he'll be more than happy to hear from you: brad@soulandjazz.com or follow him via Facebook or Twitter. Enjoy! The Creative Source 7th September 2023 Artist - Track - Album - Year Joel Haynes The Return The Return! 2023 Maddie Vogler The Need to Be While We Have Time 2023 The Greg Silva Trio +1 Visions Her Autumn Sky 2017 Claire Daly with George Garzone Half Nelson VuVu for Frances 2023 Techno Cats Inside Straight The Music of Gregg Hill 2023 Benjamin Boone Caught in the Rhythm Caught in the Rhythm 2023 Dara Starr Tucker Standing on the Moon Dara Starr Tucker 2023 Mafalda Minnozzi Ne Me Quitte Pas (feat. Don Byron) Natural Impression 2023 Claudia Villela Agua Santa Cartas ao Vento 2023 Brandon Sanders I Can't Help It (feat. Jazzmeia Horn) Compton's Finest 2023 Arnie Sainz One's Comeuppance Darts 2023 Mike Clark Hat and Beard Kosen Rufu 2023 Shawn Maxwell Jerry J Town Suite 2023 Anthony Branker & Ascent, with drummer Ralph Peterson, Jr. Spirit Song Spirit Songs 2023 Pete Zimmer 5 A.M. Blues Dust Settles 2023 Mike Jones Trio Blues for Burns You Three Guys Know What You're Doing? 2023 Luis Giraldo/Ben Paterson Organ Trio Sometimes I'm Happy Ready, Willing & Able 2023 Terell Stafford Wruth's Blues Between Two Worlds 2023 Eunmi Lee Wavelength Introspection 2023 Eunmi Lee Azure Introspection 2023 Phil Haynes/Drew Gress/David Liebman Beloved Refracted CODA(s): No Fast Food III 2023 Arbenz/Krijger/Osby Vertical Hold Conversation #9 2022 François Bourassa Quartet Costard Swirl: Live @ Piccolo 2023 Ember August in March August in March 2023 The post The Creative Source (#CreativeSource) – 7th September 2023 appeared first on SoulandJazz.com | Stereo, not stereotypical ®.
Music behind DJ: Belco Rhythm Boys Band - "Take Time Out" [0:00:00] Hank Snow - "A Woman Captured Me" [0:04:13] Simon Crum - "Stand Up, Sit Down, Shut Your Mouth" [0:05:48] Allen Fontenot - "Webb Pierce Blues" [0:08:17] Lester Flatt & Earl Scruggs - "California Up Tight Band" [0:10:58] Country Ham - "Rolling Hills and Cedar Fences" - Songs of Yesterday [0:13:46] Music behind DJ: Belco Rhythm Boys Band - "When I Take My Sugar To Tea" [0:16:28] Sammy Duckitt - "No-Not-Once" [0:20:31] Lee Denson - "New Shoes" [0:22:35] Fats and His Cats - "Well Allright" [0:24:45] Del Reeves - "Be Glad" - Big Daddy Del [0:27:05] Charley Pride - "Kiss An Angel Good Mornin'" [0:30:01] Music behind DJ: Belco Rhythm Boys Band - "Take Time Out" [0:31:51] Stoney Edwards - "No Way To Drown A Memory" [0:34:47] Loretta Lynn & Conway Twitty - "I'm Gonna Roll You Like A Wheel" - United Talent [0:37:14] Conway Twitty - "It's Only Make Believe" [0:39:11] Charlie Freeman - "I Couldn't Help It" [0:41:26] Dale Snow - "So Long Blues" [0:43:23] Music behind DJ: Belco Rhythm Boys Band - "When I Take My Sugar To Tea" [0:46:04] Jimmy Goodman and the Belmonts - "Tag A Long" [0:48:45] Tom T. Hall - "The Six O'Clock News" - Soldier of Fortune [0:50:59] Kenny Rogers - "I Don't Need You" - Share Your Love [0:54:58] Country Ice Cream - "Jambalaya" [0:57:28] https://www.wfmu.org/playlists/shows/131110
Music behind DJ: Belco Rhythm Boys Band - "Take Time Out" [0:00:00] Hank Snow - "A Woman Captured Me" [0:04:13] Simon Crum - "Stand Up, Sit Down, Shut Your Mouth" [0:05:48] Allen Fontenot - "Webb Pierce Blues" [0:08:17] Lester Flatt & Earl Scruggs - "California Up Tight Band" [0:10:58] Country Ham - "Rolling Hills and Cedar Fences" - Songs of Yesterday [0:13:46] Music behind DJ: Belco Rhythm Boys Band - "When I Take My Sugar To Tea" [0:16:28] Sammy Duckitt - "No-Not-Once" [0:20:31] Lee Denson - "New Shoes" [0:22:35] Fats and His Cats - "Well Allright" [0:24:45] Del Reeves - "Be Glad" - Big Daddy Del [0:27:05] Charley Pride - "Kiss An Angel Good Mornin'" [0:30:01] Music behind DJ: Belco Rhythm Boys Band - "Take Time Out" [0:31:51] Stoney Edwards - "No Way To Drown A Memory" [0:34:47] Loretta Lynn & Conway Twitty - "I'm Gonna Roll You Like A Wheel" - United Talent [0:37:14] Conway Twitty - "It's Only Make Believe" [0:39:11] Charlie Freeman - "I Couldn't Help It" [0:41:26] Dale Snow - "So Long Blues" [0:43:23] Music behind DJ: Belco Rhythm Boys Band - "When I Take My Sugar To Tea" [0:46:04] Jimmy Goodman and the Belmonts - "Tag A Long" [0:48:45] Tom T. Hall - "The Six O'Clock News" - Soldier of Fortune [0:50:59] Kenny Rogers - "I Don't Need You" - Share Your Love [0:54:58] Country Ice Cream - "Jambalaya" [0:57:28] https://www.wfmu.org/playlists/shows/131110
Ma and Cliff are fighting again - will this be Cliff's Norman Bates moment? Rebecca is on the prowl again but is her best path forward the rich man right under her nose or the working man right under the bar? And what has gotten Norm so angry? Order a couple of bottles of beer, listen to Mahler's Third and enjoy "Rebecca Gaines, Rebecca Loses" and "The Guy Can't Help It"! (S11E23 starts 11:40 / S11E24 starts 33:00)
Dive into the latest transfer developments surrounding the USMNT in this detailed episode of It's Called Soccer. We'll break down Pulisic's shift to AC Milan, Weah's move to Juventus, potential changes for McKennie and Musah, and much more in our comprehensive review of the summer transfer market for USMNT players.
Jake and Tom dive into the 1-1 draw between the USMNT and Jamaica in the 2023 Gold Cup. We also discuss Gregg Berhalter's return and the turbulent relationship that USSF has with their fans. Vlatko Andonovski has announced the 23 players that will be going to the WWC in July! We break down the roster, who is in, who is out, and everything you need to know! Help It's Called Soccer go full time! Support on Patreon and receive a free sticker, koozie, and t-shirt: https://www.patreon.com/itscalledsoccer
Podcast links and notes ___________________ Checkout the NEW website MikeyPodcast.com Nominate The Mikey Podcast HERE Remember vote best Afternoon Drive Radio, Best Rock Radio Station, Best Talk Radio Station And be sure to tell everyone to vote!! Tap to Connect with me on Facebook, Instagram and TikTok Personal Instagram Personal Facebook Support the show and grab some merch HERE Save 20% at HigherElevation.com with promo code MIKEY Need help accessing this podcast? Tap this HELP _____________ It's WTF Wednesday! Jeffrey Epstein's Connections with MORE High-Ranking Officials and Institutions The Flamethrower Challenge is a new trend taking the TikTok world by storm, where users combine a can of spray paint and a lighter. It has left one teen with burns over 76% of his body. I share a story of my experience with a similar fire-related activity in the early 90s using hair spray, which almost resulted in a BP gas station burning down. An Australian man went on a drunken nude rampage and threatened to burn down a resort. A woman in China smashed a robotic "receptionist" to bits with a large piece of wood after losing her cool. A sex worker in the United States was arrested after stabbing a client in the penis, and a naked man caused chaos in downtown Lewiston, Pennsylvania. #ticktock #jeffreyEpstein #wtfnew #naked #themikeypodcast
Recorded 2023-02-28 02:01:30 DnB Radio Tracklisting: * Dr. Apollo & Reid Speed - Central Park* Monrroe, Duskee, Nina Arya - Reluctant (Original Mix)* Talix - Midnight Lights * Amante - Bring It Back (Original Mix)* Polaris, Schematic, Natalie Wood - Inner Vision (Original Mix)* Rueben, PHI NIX - In My Mind (Original Mix)* Camo & Krooked, Mira Lu Kovacs - No Way Out (feat. Mira Lu Kovacs) (RageMode Remix)* Sub Focus, AR/CO - Vibration (One More Time) (Original Mix)* Drs, Document One - Can't Explain (Original Mix)* Eljay, Trex - God Damn Sound (Molecular Remix)* Drs, Disrupta, Duskee - Waiting To Go (Original Mix)* The Vanguard Project - Karma (Emba Remix)* Sub Killaz - Back Is The Incredible* Skrimor - Gas (Original Mix)* VENTUS - FALLING (Djss remix)* Bassface Sascha, MC Spyda - Mind Your Step (Original Mix)* True Tactix - Chat About (VIP Mix) * A Sides - One DJ 2016* Inja, DJ Limited - Fall Down On Me (Original Mix)* Rueben - Spyware (Original Mix)* ID - ID* Delta Heavy - Ascend (Original Mix)* MYKOOL & Lateral - Fiction (feat. PAV4N)* Elder, Kyst Cortez - Up Next feat. Kyst Cortez (Original Mix)* Deekline, Liondub - Dream Of You (Original Mix)* Drs, Monrroe -Kiss & Tell (Original Mix)* Edlan, Tatora - Changes (Original Mix)* Inja, Jolliffe - New Perspective (Original Mix)* VENTUS - FALLING* B Live, Bou - F*ck Jump Up (feat. B Live) (Original Mix)* Ozone, GRAY, Diagnostix - No Face No Case (Original Mix)* Anais x Sudley x Champion DI - Live By The Sword* Rueben - Jet Stream (Original Mix)* SMG - Come Around (Original Mix)* Delta Heavy - Hydra (Original Mix)* Dread MC, Flowidus, T95 - Bad Behaviour (Original Mix)* T>I - Dye Migration (Serum Remix)* STREETZ OF RAGE - Other Worlds* Kanobie - Upside Down (feat. TomInTheChamber)* Talix - Say It* Hoax - Reptile (Waeys Remix)* Ky, Chris Kastro - Sledgehammer (Original Mix)* Teddy Killerz - Untitled 6 (Original Mix)* Delta Heavy, Jem Cooke - Heaven (Original Mix)* Delta Heavy - No Gravity (Original Mix)* Fred V & Grafix - Clap Funk * Woofax - Crazy (Original Mix)* Alix Perez - Chroma Chords (Original Mix) * Woofax - Moontricks - Solar Therapy (Woofax remix)* Dr. Apollo - Microtherapy (I Can't Help It) feat. Finni * Hazard - Time Tripping (Original Mix) * Alix Perez feat. Two Inch Punch - Broken Heart (Original Mix) * Camo & Krooked - Tagtraum (GLXY, Satl & Malaky Remix)* Camo & Krooked - Last of the Tribe (Break Remix)* Collette Warren, Monrroe, Confusious - Pieces (Monrroe Remix)* Unglued - Middle Finger (feat. MC LowQui)* Satl - Yang (Original Mix)* Whiney x Hugh Hardie - Blind Eyes (feat. Inja) (Whiney VIP)* Camo & Krooked - Turn Up (The Music) (Pola Bryson Remix)Tracklisting:* Dr. Apollo & Reid Speed - Central Park* Monrroe, Duskee, Nina Arya - Reluctant (Original Mix)* Talix - Midnight Lights * Amante - Bring It Back (Original Mix)* Polaris, Schematic, Natalie Wood - Inner Vision (Original Mix)* Rueben, PHI NIX - In My Mind (Original Mix)* Camo & Krooked, Mira Lu Kovacs - No Way Out (feat. Mira Lu Kovacs) (RageMode Remix)* Sub Focus, AR/CO - Vibration (One More Time) (Original Mix)* Drs, Document One - Can't Explain (Original Mix)* Eljay, Trex - God Damn Sound (Molecular Remix)* Drs, Disrupta, Duskee - Waiting To Go (Original Mix)* The Vanguard Project - Karma (Emba Remix)* Sub Killaz - Back Is The Incredible* Skrimor - Gas (Original Mix)* VENTUS - FALLING (Djss remix)* Bassface Sascha, MC Spyda - Mind Your Step (Original Mix)* True Tactix - Chat About (VIP Mix) * A Sides - One DJ 2016* Inja, DJ Limited - Fall Down On Me (Original Mix)* Rueben - Spyware (Original Mix)* ID - ID* Delta Heavy - Ascend (Original Mix)* MYKOOL & Lateral - Fiction (feat. PAV4N)* Elder, Kyst Cortez - Up Next feat. Kyst Cortez (Original Mix)* Deekline, Liondub - Dream Of You (Original Mix)* Drs, Monrroe -Kiss & Tell (Original Mix)* Edlan, Tatora - Changes (Original Mix)* Inja, Jolliffe - New Perspective (Original Mix)* VENTUS - FALLING* B Live, Bou - F*ck Jump Up (feat. B Live) (Original Mix)* Ozone, GRAY, Diagnostix - No Face No Case (Original Mix)* Anais x Sudley x Champion DI - Live By The Sword* Rueben - Jet Stream (Original Mix)* SMG - Come Around (Original Mix)* Delta Heavy - Hydra (Original Mix)* Dread MC, Flowidus, T95 - Bad Behaviour (Original Mix)* T>I - Dye Migration (Serum Remix)* STREETZ OF RAGE - Other Worlds* Kanobie - Upside Down (feat. TomInTheChamber)* Talix - Say It* Hoax - Reptile (Waeys Remix)* Ky, Chris Kastro - Sledgehammer (Original Mix)* Teddy Killerz - Untitled 6 (Original Mix)* Delta Heavy, Jem Cooke - Heaven (Original Mix)* Delta Heavy - No Gravity (Original Mix)* Fred V & Grafix - Clap Funk * Woofax - Crazy (Original Mix)* Alix Perez - Chroma Chords (Original Mix) * Woofax - Moontricks - Solar Therapy (Woofax remix)* Dr. Apollo - Microtherapy (I Can't Help It) feat. Finni * Hazard - Time Tripping (Original Mix) * Alix Perez feat. Two Inch Punch - Broken Heart (Original Mix) * Camo & Krooked - Tagtraum (GLXY, Satl & Malaky Remix)* Camo & Krooked - Last of the Tribe (Break Remix)* Collette Warren, Monrroe, Confusious - Pieces (Monrroe Remix)* Unglued - Middle Finger (feat. MC LowQui)* Satl - Yang (Original Mix)* Whiney x Hugh Hardie - Blind Eyes (feat. Inja) (Whiney VIP)* Camo & Krooked - Turn Up (The Music) (Pola Bryson Remix) Download, Distribute, and Donate!
We all often struggle to ask for help. It's common to think that if we can't ask for help, it's a sign of weakness. But asking for help isn't a weakness. It's a strength. In this episode, I'm discussing what happens when we become aware that we need help and then ask for help. How to Ask for Help Admit that you need help Be vulnerable enough to ask someone for help Accept the kindness offered Get Vulnerable and Ask for Help It's difficult to ask for help. Putting yourself out there, admitting what you feel are weaknesses, and asking for help is such a vulnerable thing to do. But there is actually so much power in admitting you need a helping hand. If you're not sure where you might need to ask for help, I will encourage you to look for those areas of your life that feel a bit sticky. That feels difficult to you. On a day-to-day basis, where are the specific areas you can ask for a little bit more help? These are the areas where you could reach out and ask for help. Asking for help is not comfortable. But you have to ask yourself if you want to keep going the way you are, or whether you want to put the work in and change it. This often means asking for help. What Happens When You Ask for Help When you ask someone else for help, you're not only helping yourself. You're helping show other people that it's okay to be vulnerable. That it's okay to open up and ask for help. In a way, it's giving the other person permission to be vulnerable. Asking someone for help lets them know that they can ask you for help if they need it. Finally, I talk about how setting boundaries and saying how you would like others to treat you is also a way to ask for help. Ask people to treat you how you prefer to be treated. What feels uncomfortable when you ask for help? What's stopping you from doing it? If you are able to do it, how would your life be different? Let me know in the comments on the episode page. In This Episode Why so many people have difficulty asking for help [1:45] The importance of identifying what areas you need to ask for help [8:30] How asking for help helps other people, too [12:30] What happens when you ask for help [23:30] Why you need to decide how you will allow people to treat you [25:00] Quotes “What's the fear of asking for help? The fear of asking for help is admitting that you can't do it all and then putting yourself out there. You have to be vulnerable to ask for help.” [5:35] “When you're asking for help, you're actually helping somebody, too.” [12:42] “Asking for help and having the vulnerability to say, ‘hey listen, we want this to go differently. We need help.' It's amazing. It's not comfortable. It's not comfortable evaluating what we're constantly doing and putting our ego aside to say, ‘this isn't working. How can we come together?' It is not comfortable because we have to put it out there and say, ‘something's off here. Do we want to keep going on this way, or do we want to put the work in and change it?” [19:04] “If we can think about help less about ‘I can't do this on my own' and instead, ‘wow, look at the opportunity that I have to better myself more so I can create more connection, adventure, freedom, and peace, all those things that I want in my life. I'm taking advantage of it.'” [21:53] “As we are discovering how we want to be treated, we need to ask for help in discovering that.” [26:51] Resources Mentioned Check out the full episode page here Find Life Coaching for Women Physicians Online Follow Dr. Ali Novitsky on Facebook | Instagram Subscribe to Life Coaching for Women Physicians on Apple Podcasts Podcast production by the team at Counterweight Creative Related Episodes Episode 63: Understanding The Enneagram with Dr. Sasha Shillcutt Episode 96: Dr. Shillcutt on Discovering Self-Love Through Boundaries Episode 125: Brave Boundaries with Dr. Sasha Shillcutt
Jayne Mansfield (1933-1967) was driven not just to be an actress but to be a star. One of the most influential sex symbols of her time, she was known for her platinum blonde hair, hourglass figure, outrageously low necklines, and flamboyant lifestyle. Hardworking and ambitious, Mansfield proved early in her career that she was adept in both comic and dramatic roles, but her tenacious search for the spotlight and her risqué promotional stunts caused her to be increasingly snubbed in Hollywood. In Jayne Mansfield: The Girl Couldn't Help It (UP of Kentucky, 2021), Eve Golden offers a joyful account of the star Andy Warhol called "the poet of publicity," revealing the smart, determined woman behind the persona. While she always had her sights set on the silver screen, Mansfield got her start as Rita Marlowe in the Broadway show Will Success Spoil Rock Hunter?. She made her film debut in the low-budget drama Female Jungle (1955) before landing the starring role in The Girl Can't Help It (1956). Mansfield followed this success with a dramatic role in The Wayward Bus (1957), winning a Golden Globe for New Star of the Year, and starred alongside Cary Grant in Kiss Them for Me (1957). Despite her popularity, her appearance as the first celebrity in Playboy and her nude scene in Promises! Promises! (1963) cemented her reputation as an outsider. By the 1960s, Mansfield's film career had declined, but she remained very popular with the public. She capitalized on that popularity through in-person and TV appearances, nightclub appearances, and stage productions. Her larger-than-life life ended sadly when she passed away at age thirty-four in a car accident. Golden looks beyond Mansfield's flashy public image and tragic death to fully explore her life and legacy. She discusses Mansfield's childhood, her many loves—including her famous on-again, off-again relationship with Miklós "Mickey" Hargitay—her struggles with alcohol, and her sometimes tumultuous family relationships. She also considers Mansfield's enduring contributions to American popular culture and celebrity culture. This funny, engaging biography offers a nuanced portrait of a fascinating woman who loved every minute of life and lived each one to the fullest. Carmen Gomez-Galisteo, Ph.D. is a lecturer at Centro de Educación Superior de Enseñanza e Investigación Educativa (CEIE). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Jayne Mansfield (1933-1967) was driven not just to be an actress but to be a star. One of the most influential sex symbols of her time, she was known for her platinum blonde hair, hourglass figure, outrageously low necklines, and flamboyant lifestyle. Hardworking and ambitious, Mansfield proved early in her career that she was adept in both comic and dramatic roles, but her tenacious search for the spotlight and her risqué promotional stunts caused her to be increasingly snubbed in Hollywood. In Jayne Mansfield: The Girl Couldn't Help It (UP of Kentucky, 2021), Eve Golden offers a joyful account of the star Andy Warhol called "the poet of publicity," revealing the smart, determined woman behind the persona. While she always had her sights set on the silver screen, Mansfield got her start as Rita Marlowe in the Broadway show Will Success Spoil Rock Hunter?. She made her film debut in the low-budget drama Female Jungle (1955) before landing the starring role in The Girl Can't Help It (1956). Mansfield followed this success with a dramatic role in The Wayward Bus (1957), winning a Golden Globe for New Star of the Year, and starred alongside Cary Grant in Kiss Them for Me (1957). Despite her popularity, her appearance as the first celebrity in Playboy and her nude scene in Promises! Promises! (1963) cemented her reputation as an outsider. By the 1960s, Mansfield's film career had declined, but she remained very popular with the public. She capitalized on that popularity through in-person and TV appearances, nightclub appearances, and stage productions. Her larger-than-life life ended sadly when she passed away at age thirty-four in a car accident. Golden looks beyond Mansfield's flashy public image and tragic death to fully explore her life and legacy. She discusses Mansfield's childhood, her many loves—including her famous on-again, off-again relationship with Miklós "Mickey" Hargitay—her struggles with alcohol, and her sometimes tumultuous family relationships. She also considers Mansfield's enduring contributions to American popular culture and celebrity culture. This funny, engaging biography offers a nuanced portrait of a fascinating woman who loved every minute of life and lived each one to the fullest. Carmen Gomez-Galisteo, Ph.D. is a lecturer at Centro de Educación Superior de Enseñanza e Investigación Educativa (CEIE). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
Jayne Mansfield (1933-1967) was driven not just to be an actress but to be a star. One of the most influential sex symbols of her time, she was known for her platinum blonde hair, hourglass figure, outrageously low necklines, and flamboyant lifestyle. Hardworking and ambitious, Mansfield proved early in her career that she was adept in both comic and dramatic roles, but her tenacious search for the spotlight and her risqué promotional stunts caused her to be increasingly snubbed in Hollywood. In Jayne Mansfield: The Girl Couldn't Help It (UP of Kentucky, 2021), Eve Golden offers a joyful account of the star Andy Warhol called "the poet of publicity," revealing the smart, determined woman behind the persona. While she always had her sights set on the silver screen, Mansfield got her start as Rita Marlowe in the Broadway show Will Success Spoil Rock Hunter?. She made her film debut in the low-budget drama Female Jungle (1955) before landing the starring role in The Girl Can't Help It (1956). Mansfield followed this success with a dramatic role in The Wayward Bus (1957), winning a Golden Globe for New Star of the Year, and starred alongside Cary Grant in Kiss Them for Me (1957). Despite her popularity, her appearance as the first celebrity in Playboy and her nude scene in Promises! Promises! (1963) cemented her reputation as an outsider. By the 1960s, Mansfield's film career had declined, but she remained very popular with the public. She capitalized on that popularity through in-person and TV appearances, nightclub appearances, and stage productions. Her larger-than-life life ended sadly when she passed away at age thirty-four in a car accident. Golden looks beyond Mansfield's flashy public image and tragic death to fully explore her life and legacy. She discusses Mansfield's childhood, her many loves—including her famous on-again, off-again relationship with Miklós "Mickey" Hargitay—her struggles with alcohol, and her sometimes tumultuous family relationships. She also considers Mansfield's enduring contributions to American popular culture and celebrity culture. This funny, engaging biography offers a nuanced portrait of a fascinating woman who loved every minute of life and lived each one to the fullest. Carmen Gomez-Galisteo, Ph.D. is a lecturer at Centro de Educación Superior de Enseñanza e Investigación Educativa (CEIE). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies
Jayne Mansfield (1933-1967) was driven not just to be an actress but to be a star. One of the most influential sex symbols of her time, she was known for her platinum blonde hair, hourglass figure, outrageously low necklines, and flamboyant lifestyle. Hardworking and ambitious, Mansfield proved early in her career that she was adept in both comic and dramatic roles, but her tenacious search for the spotlight and her risqué promotional stunts caused her to be increasingly snubbed in Hollywood. In Jayne Mansfield: The Girl Couldn't Help It (UP of Kentucky, 2021), Eve Golden offers a joyful account of the star Andy Warhol called "the poet of publicity," revealing the smart, determined woman behind the persona. While she always had her sights set on the silver screen, Mansfield got her start as Rita Marlowe in the Broadway show Will Success Spoil Rock Hunter?. She made her film debut in the low-budget drama Female Jungle (1955) before landing the starring role in The Girl Can't Help It (1956). Mansfield followed this success with a dramatic role in The Wayward Bus (1957), winning a Golden Globe for New Star of the Year, and starred alongside Cary Grant in Kiss Them for Me (1957). Despite her popularity, her appearance as the first celebrity in Playboy and her nude scene in Promises! Promises! (1963) cemented her reputation as an outsider. By the 1960s, Mansfield's film career had declined, but she remained very popular with the public. She capitalized on that popularity through in-person and TV appearances, nightclub appearances, and stage productions. Her larger-than-life life ended sadly when she passed away at age thirty-four in a car accident. Golden looks beyond Mansfield's flashy public image and tragic death to fully explore her life and legacy. She discusses Mansfield's childhood, her many loves—including her famous on-again, off-again relationship with Miklós "Mickey" Hargitay—her struggles with alcohol, and her sometimes tumultuous family relationships. She also considers Mansfield's enduring contributions to American popular culture and celebrity culture. This funny, engaging biography offers a nuanced portrait of a fascinating woman who loved every minute of life and lived each one to the fullest. Carmen Gomez-Galisteo, Ph.D. is a lecturer at Centro de Educación Superior de Enseñanza e Investigación Educativa (CEIE). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film
Jayne Mansfield (1933-1967) was driven not just to be an actress but to be a star. One of the most influential sex symbols of her time, she was known for her platinum blonde hair, hourglass figure, outrageously low necklines, and flamboyant lifestyle. Hardworking and ambitious, Mansfield proved early in her career that she was adept in both comic and dramatic roles, but her tenacious search for the spotlight and her risqué promotional stunts caused her to be increasingly snubbed in Hollywood. In Jayne Mansfield: The Girl Couldn't Help It (UP of Kentucky, 2021), Eve Golden offers a joyful account of the star Andy Warhol called "the poet of publicity," revealing the smart, determined woman behind the persona. While she always had her sights set on the silver screen, Mansfield got her start as Rita Marlowe in the Broadway show Will Success Spoil Rock Hunter?. She made her film debut in the low-budget drama Female Jungle (1955) before landing the starring role in The Girl Can't Help It (1956). Mansfield followed this success with a dramatic role in The Wayward Bus (1957), winning a Golden Globe for New Star of the Year, and starred alongside Cary Grant in Kiss Them for Me (1957). Despite her popularity, her appearance as the first celebrity in Playboy and her nude scene in Promises! Promises! (1963) cemented her reputation as an outsider. By the 1960s, Mansfield's film career had declined, but she remained very popular with the public. She capitalized on that popularity through in-person and TV appearances, nightclub appearances, and stage productions. Her larger-than-life life ended sadly when she passed away at age thirty-four in a car accident. Golden looks beyond Mansfield's flashy public image and tragic death to fully explore her life and legacy. She discusses Mansfield's childhood, her many loves—including her famous on-again, off-again relationship with Miklós "Mickey" Hargitay—her struggles with alcohol, and her sometimes tumultuous family relationships. She also considers Mansfield's enduring contributions to American popular culture and celebrity culture. This funny, engaging biography offers a nuanced portrait of a fascinating woman who loved every minute of life and lived each one to the fullest. Carmen Gomez-Galisteo, Ph.D. is a lecturer at Centro de Educación Superior de Enseñanza e Investigación Educativa (CEIE). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts
Jayne Mansfield (1933-1967) was driven not just to be an actress but to be a star. One of the most influential sex symbols of her time, she was known for her platinum blonde hair, hourglass figure, outrageously low necklines, and flamboyant lifestyle. Hardworking and ambitious, Mansfield proved early in her career that she was adept in both comic and dramatic roles, but her tenacious search for the spotlight and her risqué promotional stunts caused her to be increasingly snubbed in Hollywood. In Jayne Mansfield: The Girl Couldn't Help It (UP of Kentucky, 2021), Eve Golden offers a joyful account of the star Andy Warhol called "the poet of publicity," revealing the smart, determined woman behind the persona. While she always had her sights set on the silver screen, Mansfield got her start as Rita Marlowe in the Broadway show Will Success Spoil Rock Hunter?. She made her film debut in the low-budget drama Female Jungle (1955) before landing the starring role in The Girl Can't Help It (1956). Mansfield followed this success with a dramatic role in The Wayward Bus (1957), winning a Golden Globe for New Star of the Year, and starred alongside Cary Grant in Kiss Them for Me (1957). Despite her popularity, her appearance as the first celebrity in Playboy and her nude scene in Promises! Promises! (1963) cemented her reputation as an outsider. By the 1960s, Mansfield's film career had declined, but she remained very popular with the public. She capitalized on that popularity through in-person and TV appearances, nightclub appearances, and stage productions. Her larger-than-life life ended sadly when she passed away at age thirty-four in a car accident. Golden looks beyond Mansfield's flashy public image and tragic death to fully explore her life and legacy. She discusses Mansfield's childhood, her many loves—including her famous on-again, off-again relationship with Miklós "Mickey" Hargitay—her struggles with alcohol, and her sometimes tumultuous family relationships. She also considers Mansfield's enduring contributions to American popular culture and celebrity culture. This funny, engaging biography offers a nuanced portrait of a fascinating woman who loved every minute of life and lived each one to the fullest. Carmen Gomez-Galisteo, Ph.D. is a lecturer at Centro de Educación Superior de Enseñanza e Investigación Educativa (CEIE). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography
Lots of teams lost and struggled this week. Who has a legit shot to make the playoffs? Can Ohio State make it if they lose this weekend?https://www.TheSloopCast.comArtist: The New Bomb TurksSong: The Girl Can't Help It https://youtu.be/zCHq5oQ-ifg
Matthew Bannister on Ian Hamilton KC, the Scottish lawyer who, as a student, took part in removing the Stone of Destiny from Westminster Abbey and returning it to Scotland. Professor Audrey Evans, the paediatric oncologist who founded a global network of homes where the families of her young patients could stay during their treatment. Parvatiben Solanki, who teamed up with her husband to launch Garavi Gujarat, one of the biggest selling Asian news magazines outside India. Robbie Coltrane OBE (pictured), the actor best known for playing Hagrid in the Harry Potter films and the criminal psychologist 'Fitz' in Cracker. Producer: Neil George Interviewed guest: Kevin Drummond KC Interviewed guest: Richard Durham Interviewed guest: Shailesh Solanki Archive clips used: crisden1/ YouTube Channel, Òran na Cloiche performed by Ruairidh Caimbeul 14/07/2010; Infinity Features Entertainment/ The Mob Film Company/ Alliance, Stone of Destiny (2008) movie clip; BBC World Service, The History Hour - How I took the British Coronation Stone 29/12/2018; British Pathé, ‘The Stone' Returns 1951, AP Archive, Stone of Scone Is Returned After 700 Years In UK 21/07/2015; Modern Hero/ YouTube Channel, Meet Dr. Audrey Evans 27/05/2017; RMHC/ YouTube Channel, Ronald McDonald House Charities 16/07/2020; BBC One, Black Adder the Third, Ink and Incapability 05/06/1987; BBC Radio 4, Desert Island Discs – Robbie Coltrane 09/02/1992; BBC News Scotland 10/04/2014; BBC Scotland, Tutti Frutti – The Boy Can't Help It 03/05/1987; Eon Productions/ United Artists, GoldenEye (1995) movie clip; A+E Networks/ Granada Television, Cracker – Murder On The Train 27/09/1993; Hat Trick Productions, Clive Anderson Talks Back – Robbie Coltrane interview 29/10/1993; Warner Bros./ Heyday Films/ 1492 Pictures, Harry Potter And The Philosopher's Stone (2001) movie clip; Casey Patterson Entertainment/ Pulse Films/ Warner Horizon Unscripted Television, Harry Potter 20th Anniversary: Return To Hogwarts (2022); Warner Bros./ Heyday Films/ 1492 Pictures, Harry Potter And The Chamber Of Secrets (2002) movie clip.
¿Magos, prestidigitadores o simples trileros? El hecho es que, cuando parece que las cosas pintan mal, que el pardillo sabe dónde está escondida la bolita, un súbito giro de los acontecimientos lo vuelve todo del revés. Ya nada es como era, o como nos habían contado que era, y se sacan de la chistera un nuevo guion que resuelve todas las tramas, todas las incógnitas. Min. 01 Seg. 45 - Intro Min. 06 Seg. 16 - ¿Quién miente aquí? Min. 13 Seg. 49 - La noticia del día Min. 17 Seg. 51 - Se queda todo el mundo Min. 22 Seg. 38 - Milagro a medianoche Min. 28 Seg. 22 - A nadie le importan las consecuencias Min. 33 Seg. 10 - Esto se estudiará en las universidades Min. 38 Seg. 46 - Intento de patada en el culo Min. 42 Seg. 25 - Una pregunta que nadie se habría hecho Min. 48 Seg. 26 - Despedida Delaney, Bonnie & Friends (Londres 01/123/1969) I Don't Want To Discuss It Medley: Poor Elijah > Tribute To Johnson Medley: Tutti Frutti > The Girl Can't Help It > Long Tall Sally > Jenny Jenny I Don't Know Why Everybody Loves A Winner Coming Home Medley: Pour Your Love On Me > Just Plain Beautiful Manolo Sanlúcar - Torre Bermeja
Episode 144 of A History of Rock Music in Five Hundred Songs looks at “Last Train to Clarksville" and the beginnings of the career of the Monkees, along with a short primer on the origins of the Vietnam War. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a seventeen-minute bonus episode available, on "These Boots Are Made For Walking" by Nancy Sinatra, which I mispronounce at the end of this episode as "These Boots Were Made For Walking", so no need to correct me here. 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, all the songs excerpted in the podcast can be heard in full at Mixcloud. The best versions of the Monkees albums are the triple-CD super-deluxe versions that used to be available from monkees.com , and I've used Andrew Sandoval's liner notes for them extensively in this episode. Sadly, though, the only one of those that is still in print is More of the Monkees. For those just getting into the group, my advice is to start with this five-CD set, which contains their first five albums along with bonus tracks. The single biggest source of information I used in this episode is the first edition of Andrew Sandoval's The Monkees; The Day-By-Day Story. Sadly that is now out of print and goes for hundreds of pounds. Sandoval released a second edition of the book last year, which I was unfortunately unable to obtain, but that too is now out of print. If you can find a copy of either, do get one. Other sources used were Monkee Business by Eric Lefcowitz, and the autobiographies of three of the band members and one of the songwriters -- Infinite Tuesday by Michael Nesmith, They Made a Monkee Out of Me by Davy Jones, I'm a Believer by Micky Dolenz, and Psychedelic Bubble-Gum by Bobby Hart. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We've obviously talked in this podcast about several of the biggest hits of 1966 already, but we haven't mentioned the biggest hit of the year, one of the strangest records ever to make number one in the US -- "The Ballad of the Green Berets" by Sgt Barry Sadler: [Excerpt: Barry Sadler, "The Ballad of the Green Berets"] Barry Sadler was an altogether odd man, and just as a brief warning his story, which will last a minute or so, involves gun violence. At the time he wrote and recorded that song, he was on active duty in the military -- he was a combat medic who'd been fighting in the Vietnam War when he'd got a wound that had meant he had to be shipped back to the USA, and while at Fort Bragg he decided to write and record a song about his experiences, with the help of Robin Moore, a right-wing author of military books, both fiction and nonfiction, who wrote the books on which the films The Green Berets and The French Connection were based. Sadler's record became one of those massive fluke hits, selling over nine million copies and getting him appearances on the Ed Sullivan Show, but other than one top thirty hit, he never had another hit single. Instead, he tried and failed to have a TV career, then became a writer of pulp fiction himself, writing a series of twenty-one novels about the centurion who thrust his spear into Jesus' side when Jesus was being crucified, and is thus cursed to be a soldier until the second coming. He moved to Nashville, Tennessee, where he lived until he shot Lee Emerson, a country songwriter who had written songs for Marty Robbins, in the head, killing him, in an argument over a woman. He was sentenced to thirty days in jail for this misdemeanour, of which he served twenty-eight. Later he moved to Guatemala City, where he was himself shot in the head. The nearest Army base to Nashville, where Sadler lived after his discharge, is Fort Campbell, in Clarksville: [Excerpt: The Monkees, "Last Train to Clarksville"] The Vietnam War was a long and complicated war, one which affected nearly everything we're going to see in the next year or so of this podcast, and we're going to talk about it a lot, so it's worth giving a little bit of background here. In doing so, I'm going to use quite a flippant tone, but I want to make it clear that I'm not mocking the very real horrors that people suffered in the wars I'm talking about -- it's just that to sum up multiple decades of unimaginable horrors in a few sentences requires glossing over so much that you have to either laugh or cry. The origin of the Vietnam War, as in so many things in twentieth century history, can be found in European colonialism. France had invaded much of Southeast Asia in the mid-to-late nineteenth century, and created a territory known as French Indo-China, which became part of the French colonial Empire. But in 1940 France was taken over by Germany, and Japan was at war with China. Germany and Japan were allies, and the Japanese were worried that French Indo-China would be used to import fuel and arms to China -- plus, they quite fancied the idea of having a Japanese empire. So Vichy France let Japan take control of French Indo-China. But of course the *reason* that France had been taken over by Germany was that pretty much the whole world was at war in 1940, and obviously the countries that were fighting Germany and Japan -- the bloc led by Britain, soon to be joined by America and Russia -- weren't very keen on the idea of Japan getting more territory. But they were also busy with the whole "fighting a world war" thing, so they did what governments in this situation always do -- they funded local guerilla insurgent fighters on the basis that "my enemy's enemy is my friend", something that has luckily never had any negative consequences whatsoever, except for occasionally. Those local guerilla fighters were an anti-imperialist popular front, the Việt Minh, led by Hồ Chí Minh, a revolutionary Communist. They were dedicated to overthrowing foreign imperialist occupiers and gaining independence for Vietnam, and Hồ Chí Minh further wanted to establish a Soviet-style Communist government in the newly-independent country. The Allies funded the Việt Minh in their fight against the Japanese occupiers until the end of the Second World War, at which point France was liberated from German occupation, Vietnam was liberated from Japanese occupation, and the French basically said "Hooray! We get our Empire back!", to which Hồ Chí Minh's response was, more or less, "what part of anti-imperialist Marxist dedicated to overthrowing foreign occupation of Vietnam did you not understand, exactly?" Obviously, the French weren't best pleased with this, and so began what was the first of a series of wars in the region. The First Indochina War lasted for years and ended in a negotiated peace of a sort. Of course, this led to the favoured tactic of the time, partition -- splitting a formerly-occupied country into two, at an arbitrary dividing line, a tactic which was notably successful in securing peace everywhere it was tried. Apart from Ireland, India, Korea, and a few other places, but surely it wouldn't be a problem in Vietnam, right? North Vietnam was controlled by the Communists, led by Hồ Chí Minh, and recognised by China and the USSR but not by the Western states. South Vietnam was nominally independent but led by the former puppet emperor who owed his position to France, soon replaced by a right-wing dictatorship. And both the right-wing dictatorship and the left-wing dictatorship were soon busily oppressing their own citizens and funding military opposition groups in the other country. This soon escalated into full-blown war, with the North backed by China and Russia and the South backed by America. This was one of a whole series of wars in small countries which were really proxy wars between the two major powers, the USA and the USSR, both of which were vying for control, but which couldn't confront each other directly because either country had enough nuclear weapons to destroy the whole world multiple times over. But the Vietnam War quickly became more than a small proxy war. The US started sending its own troops over, and more and more of them. The US had never ended the draft after World War II, and by the mid sixties significant numbers of young men were being called up and sent over to fight in a war that had by that point lasted a decade (depending on exactly when you count the war as starting from) between two countries they didn't care about, over things few of them understood, and at an exorbitant cost in lives. As you might imagine, this started to become unpopular among those likely to be drafted, and as the people most affected (other, of course, than the Vietnamese people, whose opinions on being bombed and shot at by foreigners supporting one of other of the dictators vying to rule over them nobody else was much interested in) were also of the generation who were the main audience for popular music, slowly this started to seep into the lyrics of songs -- a seepage which had already been prompted by the appearance in the folk and soul worlds of many songs against other horrors, like segregation. This started to hit the pop charts with songs like "The Universal Soldier" by Buffy Saint-Marie, which made the UK top five in a version by Donovan: [Excerpt: Donovan, "The Universal Soldier"] That charted in the lower regions of the US charts, and a cover version by Glen Campbell did slightly better: [Excerpt: Glen Campbell, "The Universal Soldier"] That was even though Campbell himself was a supporter of the war in Vietnam, and rather pro-military. Meanwhile, as we've seen a couple of times, Jan Berry of Jan and Dean recorded a pro-war answer song to that, "The Universal Coward": [Excerpt: Jan Berry, "The Universal Coward"] This, of course, was even though Berry was himself avoiding the draft. And I've not been able to find the credits for that track, but Glen Campbell regularly played guitar on Berry's sessions, so it's entirely possible that he played guitar on that record made by a coward, attacking his own record, which he disagreed with, for its cowardice. This is, of course, what happens when popular culture tries to engage with social and political issues -- pop culture is motivated by money, not ideological consistency, and so if there's money to be made from anti-war songs or from pro-war songs, someone will take that money. And so on October the ninth 1965, Billboard magazine ran a report: "Colpix Enters Protest Field HOLLYWOOD -Colpix has secured its first protest lyric disk, "The Willing Conscript,"as General Manager Bud Katzel initiates relationships with independent producers. The single features Lauren St. Davis. Katzel says the song was written during the Civil War, rewritten during World War I and most recently updated by Bob Krasnow and Sam Ashe. Screen Gems Music, the company's publishing wing, is tracing the song's history, Katzel said. Katzel's second single is "(You Got the Gamma Goochee" by an artist with that unusual stage name. The record is a Screen Gems production and was in the house when Katzel arrived one month ago. The executive said he was expressly looking for material for two contract artists, David Jones and Hoyt Axton. The company is also working on getting Axton a role in a television series, "Camp Runamuck." " To unpack this a little, Colpix was a record label, owned by Columbia Pictures, and we talked about that a little bit in the episode on "The Loco-Motion" -- the film and TV companies were getting into music, and Columbia had recently bought up Don Kirshner's Aldon publishing and Dimension Records as part of their strategy of tying in music with their TV shows. This is a company trying desperately to jump on a bandwagon -- Colpix at this time was not exactly having huge amounts of success with its records. Hoyt Axton, meanwhile, was a successful country singer and songwriter. We met his mother many episodes back -- Mae Axton was the writer of "Heartbreak Hotel". Axton himself is now best known as the dad in the 80s film Gremlins. David Jones will be coming up shortly. Bob Krasnow and Sam Ashe were record executives then at Kama Sutra records, but soon to move on -- we'll be hearing about Krasnow more in future episodes. Neither of them were songwriters, and while I have no real reason to disbelieve the claim that "The Willing Conscript" dates back to the Civil War, the earliest version *I* have been able to track down was its publication in issue 28 of Broadside Magazine in June 1963 -- nearly a hundred years after the American Civil War -- with the credit "by Tom Paxton" -- Paxton was a popular singer-songwriter of the time, and it certainly sounds like his writing. The first recording of it I know of was by Pete Seeger: [Excerpt: Pete Seeger, "The Willing Conscript"] But the odd thing is that by the time this was printed, the single had already been released the previous month, and it was not released under the name Lauren St Davis, or under the title "The Willing Conscript" -- there are precisely two differences between the song copyrighted as by Krasnow and Ashe and the one copyrighted two years earlier as by Paxton. One is that verses three and four are swapped round, the other is that it's now titled "The New Recruit". And presumably because they realised that the pseudonym "Lauren St. Davis" was trying just a bit too hard to sound cool and drug culture, they reverted to another stage name the performer had been using, Michael Blessing: [Excerpt: Michael Blessing, "The New Recruit"] Blessing's name was actually Michael Nesmith, and before we go any further, yes his mother, Bette Nesmith Graham, did invent the product that later became marketed in the US as Liquid Paper. At this time, though, that company wasn't anywhere near as successful as it later became, and was still a tiny company. I only mention it to forestall the ten thousand comments and tweets I would otherwise get asking why I didn't mention it. In Nesmith's autobiography, while he talks a lot about his mother, he barely mentions her business and says he was uninterested in it -- he talks far more about the love of art she instilled in him, as well as her interest in the deep questions of philosophy and religion, to which in her case and his they found answers in Christian Science, but both were interested in conversations about ideas, in a way that few other people in Nesmith's early environment were. Nesmith's mother was also responsible for his music career. He had spent two years in the Air Force in his late teens, and the year he got out, his mother and stepfather bought him a guitar for Christmas, after he was inspired by seeing Hoyt Axton performing live and thinking he could do that himself: [Excerpt: Hoyt Axton, "Greenback Dollar"] As he put it in his autobiography, "What did it matter that I couldn't play the guitar, couldn't sing very well, and didn't know any folk songs? I would be going to college and hanging out at the student union with pretty girls and singing folk songs. They would like me. I might even figure out a way to get a cool car." This is, of course, the thought process that pretty much every young man to pick up a guitar goes through, but Nesmith was more dedicated than most. He gave his first performance as a folk singer ten days after he first got a guitar, after practising the few chords in most folk songs for twelve hours a day every day in that time. He soon started performing as a folk singer, performing around Dallas both on his own and with his friend John London, performing the standard folk repertoire of Woody Guthrie and Lead Belly songs, things like "Pick a Bale of Cotton": [Excerpt: Michael Nesmith, "Pick a Bale of Cotton"] He also started writing his own songs, and put out a vanity record of one of them in 1963: [Excerpt: Mike Nesmith, "Wanderin'"] London moved to California, and Nesmith soon followed, with his first wife Phyllis and their son Christian. There Nesmith and London had the good fortune to be neighbours with someone who was a business associate of Frankie Laine, and they were signed to Laine's management company as a folk duo. However, Nesmith's real love was rock and roll, especially the heavier R&B end of the genre -- he was particularly inspired by Bo Diddley, and would always credit seeing Diddley live as a teenager as being his biggest musical influence. Soon Nesmith and London had formed a folk-rock trio with their friend Bill Sleeper. As Mike & John & Bill, they put out a single, "How Can You Kiss Me?", written by Nesmith: [Excerpt: Mike & John & Bill, "How Can You Kiss Me?"] They also recorded more of Nesmith's songs, like "All the King's Horses": [Excerpt: Mike & John & Bill, "All the King's Horses"] But that was left unreleased, as Bill was drafted, and Nesmith and London soon found themselves in The Survivors, one of several big folk groups run by Randy Sparks, the founder of the New Christie Minstrels. Nesmith was also writing songs throughout 1964 and 1965, and a few of those songs would be recorded by other people in 1966, like "Different Drum", which was recorded by the bluegrass band The Greenbriar Boys: [Excerpt: The Greenbriar Boys, "Different Drum"] That would more successfully be recorded by the Stone Poneys later of course. And Nesmith's "Mary Mary" was also picked up by the Paul Butterfield Blues Band: [Excerpt: The Paul Butterfield Blues Band, "Mary Mary"] But while Nesmith had written these songs by late 1965, he wasn't able to record them himself. He was signed by Bob Krasnow, who insisted he change his name to Michael Blessing, and recorded two singles for Colpix -- "The New Recruit", which we heard earlier, and a version of Buffy Saint-Marie's "Until It's Time For You To Go", sung in a high tenor range very far from Nesmith's normal singing voice: [Excerpt: Michael Blessing, "Until It's Time For You To Go"] But to my mind by far the best thing Nesmith recorded in this period is the unissued third Michael Blessing single, where Nesmith seems to have been given a chance to make the record he really wanted to make. The B-side, a version of Allen Toussaint's swamp-rocker "Get Out of My Life, Woman", is merely a quite good version of the song, but the A-side, a version of his idol Bo Diddley's classic "Who Do You Love?" is utterly extraordinary, and it's astonishing that it was never released at the time: [Excerpt: Michael Blessing, "Who Do You Love?"] But the Michael Blessing records did no better than anything else Colpix were putting out. Indeed, the only record they got onto the hot one hundred at all in a three and a half year period was a single by one David Jones, which reached the heady heights of number ninety-eight: [Excerpt: David Jones, "What Are We Going to Do?"] Jones had been brought up in extreme poverty in Openshaw in Manchester, but had been encouraged by his mother, who died when he was fourteen, to go into acting. He'd had a few parts on local radio, and had appeared as a child actor on TV shows made in Manchester, like appearing in the long-running soap opera Coronation Street (still on today) as Ena Sharples' grandson Colin: [Excerpt: Coronation St https://www.youtube.com/watch?v=5FDEvOs1imc , 13:30] He also had small roles in Z-Cars and Bill Naughton's TV play "June Evening", and a larger role in Keith Waterhouse's radio play "There is a Happy Land". But when he left school, he decided he was going to become a jockey rather than an actor -- he was always athletic, he loved horses, and he was short -- I've seen his height variously cited as five foot three and five foot four. But it turned out that the owner of the stables in which he was training had showbusiness connections, and got him the audition that changed his life, for the part of the Artful Dodger in Lionel Bart's West End musical Oliver! We've encountered Lionel Bart before a couple of times, but if you don't remember him, he was the songwriter who co-wrote Tommy Steele's hits, and who wrote "Living Doll" for Cliff Richard. He also discovered both Steele and Marty Wilde, and was one of the major figures in early British rock and roll. But after the Tommy Steele records, he'd turned his attention to stage musicals, writing book, music, and lyrics for a string of hits, and more-or-less singlehandedly inventing the modern British stage musical form -- something Andrew Lloyd Webber, for example, always credits him with. Oliver!, based on Oliver Twist, was his biggest success, and they were looking for a new Artful Dodger. This was *the* best role for a teenage boy in the UK at the time -- later performers to take the role on the London stage include Steve Marriott and Phil Collins, both of whom we'll no doubt encounter in future episodes -- and Jones got the job, although they were a bit worried at first about his Manchester vowels. He assured them though that he could learn to do a Cockney accent, and they took him on. Jones not having a natural Cockney accent ended up doing him the biggest favour of his career. While he could put on a relatively convincing one, he articulated quite carefully because it wasn't his natural accent. And so when the North American version found in previews that their real Cockney Dodger wasn't being understood perfectly, the fake Cockney Jones was brought over to join the show on Broadway, and was there from opening night on. On February the ninth, 1964, Jones found himself, as part of the Broadway cast of Oliver!, on the Ed Sullivan Show: [Excerpt: Davy Jones and Georgia Brown, "I'd Do Anything"] That same night, there were some other British people, who got a little bit more attention than Jones did: [Excerpt: The Beatles, "I Want to Hold Your Hand (live on Ed Sullivan)"] Davy Jones wasn't a particular fan of pop music at that point, but he knew he liked what he saw, and he wanted some of the same reaction. Shortly after this, Jones was picked up for management by Ward Sylvester, of Columbia Pictures, who was going to groom Jones for stardom. Jones continued in Oliver! for a while, and also had a brief run in a touring version of Pickwick, another musical based on a Dickens novel, this time starring Harry Secombe, the British comedian and singer who had made his name with the Goon Show. Jones' first single, "Dream Girl", came out in early 1965: [Excerpt: Davy Jones, "Dream Girl"] It was unsuccessful, as was his one album, David Jones, which seemed to be aiming at the teen idol market, but failing miserably. The second single, "What Are We Going to Do?" did make the very lowest regions of the Hot One Hundred, but the rest of the album was mostly attempts to sound a bit like Herman's Hermits -- a band whose lead singer, coincidentally, also came from Manchester, had appeared in Coronation Street, and was performing with a fake Cockney accent. Herman's Hermits had had a massive US hit with the old music hall song "I'm Henry VIII I Am": [Excerpt: Herman's Hermits, "I'm Henry VIII I Am"] So of course Davy had his own old music-hall song, "Any Old Iron": [Excerpt: Davy Jones, "Any Old Iron"] Also, the Turtles had recently had a hit with a folk-rock version of Dylan's "It Ain't Me Babe", and Davy cut his own version of their arrangement, in the one concession to rock music on the album: [Excerpt: Davy Jones, "It Ain't Me Babe"] The album was, unsurprisingly, completely unsuccessful, but Ward Sylvester was not disheartened. He had the perfect job for a young British teen idol who could sing and act. The Monkees was the brainchild of two young TV producers, Bob Rafelson and Bert Schneider, who had come up with the idea of doing a TV show very loosely based on the Beatles' film A Hard Day's Night (though Rafelson would later claim that he'd had the idea many years before A Hard Day's Night and was inspired by his youth touring with folk bands -- Schneider always admitted the true inspiration though). This was not a particularly original idea -- there were a whole bunch of people trying to make TV shows based in some way around bands. Jan and Dean were working on a possible TV series, there was talk of a TV series starring The Who, there was a Beatles cartoon series, Hanna-Barbera were working on a cartoon series about a band called The Bats, and there was even another show proposed to Screen Gems, Columbia's TV department, titled Liverpool USA, which was meant to star Davy Jones, another British performer, and two American musicians, and to have songs provided by Don Kirshner's songwriters. That The Monkees, rather than these other series, was the one that made it to the TV (though obviously the Beatles cartoon series did too) is largely because Rafelson and Schneider's independent production company, Raybert, which they had started after leaving Screen Gems, was given two hundred and twenty-five thousand dollars to develop the series by their former colleague, Screen Gems' vice president in charge of programme development, the former child star Jackie Cooper. Of course, as well as being their former colleague, Cooper may have had some more incentive to give Bob Rafelson and Bert Schneider that money in that the head of Columbia Pictures, and thus Cooper's boss' boss, was one Abe Schneider. The original idea for the show was to use the Lovin' Spoonful, but as we heard last week they weren't too keen, and it was quickly decided instead that the production team would put together a group of performers. Davy Jones was immediately attached to the project, although Rafelson was uncomfortable with Jones, thinking he wasn't as rock and roll as Rafelson was hoping for -- he later conceded, though, that Jones was absolutely right for the group. As for everyone else, to start with Rafelson and Schneider placed an ad in a couple of the trade papers which read "Madness!! Auditions Folk and Roll Musicians-Singers for acting roles in new TV series. Running parts for 4 insane boys ages 17-21. Want spirited Ben Frank's types. Have courage to work. Must come down for interview" There were a couple of dogwhistles in there, to appeal to the hip crowd -- Ben Frank's was a twenty-four-hour restaurant on the Sunset Strip, where people including Frank Zappa and Jim Morrison used to hang out, and which was very much associated with the freak scene we've looked at in episodes on Zappa and the Byrds. Meanwhile "Must come down for interview" was meant to emphasise that you couldn't actually be high when you turned up -- but you were expected to be the kind of person who would at least at some points have been high. A lot of people answered that ad -- including Paul Williams, Harry Nilsson, Van Dyke Parks, and many more we'll be seeing along the way. But oddly, the only person actually signed up for the show because of that ad was Michael Nesmith -- who was already signed to Colpix Records anyway. According to Davy Jones, who was sitting in at the auditions, Schneider and Rafelson were deliberately trying to disorient the auditioners with provocative behaviour like just ignoring them, to see how they'd react. Nesmith was completely unfazed by this, and apparently walked in wearing a green wool hat and carrying a bag of laundry, saying that he needed to get this over with quickly so he could go and do his washing. John London, who came along to the audition as well, talked later about seeing Nesmith fill in a questionnaire that everyone had to fill in -- in a space asking about previous experience Nesmith just wrote "Life" and drew a big diagonal line across the rest of the page. That attitude certainly comes across in Nesmith's screen test: [Excerpt: Michael Nesmith screen test] Meanwhile, Rafelson and Schneider were also scouring the clubs for performers who might be useful, and put together a shortlist of people including Jerry Yester and Chip Douglas of the Modern Folk Quartet, Bill Chadwick, who was in the Survivors with Nesmith and London, and one Micky Braddock, whose agent they got in touch with and who was soon signed up. Braddock was the stage name of Micky Dolenz, who soon reverted to his birth surname, and it's the name by which he went in his first bout of fame. Dolenz was the son of two moderately successful Hollywood actors, George Dolenz and Janelle Johnson, and their connections had led to Dolenz, as Braddock, getting the lead role in the 1958 TV series Circus Boy, about a child named Corky who works in a circus looking after an elephant after his parents, the Flying Falcons, were killed in a trapeze accident. [Excerpt: Circus Boy, "I can't play a drum"] Oddly, one of the other people who had been considered for that role was Paul Williams, who was also considered for the Monkees but ultimately turned down, and would later write one of the Monkees' last singles. Dolenz had had a few minor TV appearances after that series had ended, including a recurring role on Peyton Place, but he had also started to get interested in music. He'd performed a bit as a folk duo with his sister Coco, and had also been the lead singer of a band called Micky and the One-Nighters, who later changed their name to the Missing Links, who'd played mostly covers of Little Richard and Chuck Berry songs and later British Invasion hits. He'd also recorded two tracks with Wrecking Crew backing, although neither track got released until after his later fame -- "Don't Do It": [Excerpt: Micky Dolenz, "Don't Do It"] and "Huff Puff": [Excerpt: Micky Dolenz, "Huff Puff"] Dolenz had a great singing voice, an irrepressible personality, and plenty of TV experience. He was obviously in. Rafelson and Schneider took quite a while whittling down the shortlist to the final four, and they *were* still considering people who'd applied through the ads. One they actually offered the role to was Stephen Stills, but he decided not to take the role. When he turned the role down, they asked if he knew anyone else who had a similar appearance to him, and as it happened he did. Steve Stills and Peter Tork had known of each other before they actually met on the streets of Greenwich Village -- the way they both told the story, on their first meeting they'd each approached the other and said "You must be the guy everyone says looks like me!" The two had become fast friends, and had played around the Greenwich Village folk scene together for a while, before going their separate ways -- Stills moving to California while Tork joined another of those big folk ensembles of the New Christie Minstrels type, this one called the Phoenix Singers. Tork had later moved to California himself, and reconnected with his old friend, and they had performed together for a while in a trio called the Buffalo Fish, with Tork playing various instruments, singing, and doing comedy bits. Oddly, while Tork was the member of the Monkees with the most experience as a musician, he was the only one who hadn't made a record when the TV show was put together. But he was by far the most skilled instrumentalist of the group -- as distinct from best musician, a distinction Tork was always scrupulous about making -- and could play guitar, bass, and keyboards, all to a high standard -- and I've also seen him in more recent years play French horn live. His great love, though, was the banjo, and you can hear how he must have sounded on the Greenwich Village folk scene in his solo spots on Monkees shows, where he would show off his banjo skills: [Excerpt: Peter Tork, "Cripple Creek"] Tork wouldn't get to use his instrumental skills much at first though, as most of the backing tracks for the group's records were going to be performed by other people. More impressive for the TV series producers was his gift for comedy, especially physical comedy -- having seen Tork perform live a few times, the only comparison I can make to his physical presence is to Harpo Marx, which is about as high a compliment as one can give. Indeed, Micky Dolenz has often pointed out that while there were intentional parallels to the Beatles in the casting of the group, the Marx Brothers are a far better parallel, and it's certainly easy to see Tork as Harpo, Dolenz as Chico, Nesmith as Groucho, and Jones as Zeppo. (This sounds like an insult to Jones, unless you're aware of how much the Marx Brothers films actually depended on Zeppo as the connective tissue between the more outrageous brothers and the more normal environment they were operating in, and how much the later films suffered for the lack of Zeppo). The new cast worked well together, even though there were obvious disagreements between them right from the start. Dolenz, at least at this point, seems to have been the gel that held the four together -- he had the experience of being a child star in common with Jones, he was a habitue of the Sunset Strip clubs where Nesmith and Tork had been hanging out, and he had personality traits in common with all of them. Notably, in later years, Dolenz would do duo tours with each of his three bandmates without the participation of the others. The others, though, didn't get on so well with each other. Jones and Tork seem to have got on OK, but they were very different people -- Jones was a showbiz entertainer, whose primary concern was that none of the other stars of the show be better looking than him, while Tork was later self-diagnosed as neurodivergent, a folkie proto-hippie who wanted to drift from town to town playing his banjo. Tork and Nesmith had similar backgrounds and attitudes in some respects -- and were united in their desire to have more musical input into the show than was originally intended -- but they were such different personalities in every aspect of their lives from their religious views to their politics to their taste in music they came into conflict. Nesmith would later say of Tork "I never liked Peter, he never liked me. So we had an uneasy truce between the two of us. As clear as I could tell, among his peers he was very well liked. But we rarely had a civil word to say to each other". Nesmith also didn't get on well with Jones, both of them seeming to view themselves as the natural leader of the group, with all the clashes that entails. The four Monkees were assigned instruments for their characters based not on instrumental skill, but on what suited their roles better. Jones was the teen idol character, so he was made the maraca-playing frontman who could dance without having to play an instrument, though Dolenz took far more of the lead vocals. Nesmith was made the guitarist, while Tork was put on bass, though Tork was by far the better guitarist of the two. And Dolenz was put on drums, even though he didn't play the drums -- Tork would always say later that if the roles had been allocated by actual playing ability, Jones would have been the drummer. Dolenz did, though, become a good drummer, if a rather idiosyncratic one. Tork would later say "Micky played the drums but Mike kept time, on that one record we all made, Headquarters. Mike was the timekeeper. I don't know that Micky relied on him but Mike had a much stronger sense of time. And Davy too, Davy has a much stronger sense of time. Micky played the drums like they were a musical instrument, as a colour. He played the drum colour.... as a band, there was a drummer and there was a timekeeper and they were different people." But at first, while the group were practising their instruments so they could mime convincingly on the TV and make personal appearances, they didn't need to play on their records. Indeed, on the initial pilot, they didn't even sing -- the recordings had been made before the cast had been finalised: [Excerpt: Boyce & Hart, "Monkees Theme (pilot version)"] The music was instead performed by two songwriters, Tommy Boyce and Bobby Hart, who would become hugely important in the Monkees project. Boyce and Hart were not the first choice for the project. Don Kirshner, the head of Screen Gems Music, had initially suggested Roger Atkins, a Brill Building songwriter working for his company, as the main songwriter for The Monkees. Atkins is best known for writing "It's My Life", a hit for the Animals: [Excerpt: The Animals, "It's My Life"] But Atkins didn't work out, though he would collaborate later on one song with Nesmith, and reading between the lines, it seems that there was some corporate infighting going on, though I've not seen it stated in so many words. There seems to have been a turf war between Don Kirshner, the head of Screen Gems' music publishing, who was based in the Brill Building, and Lester Sill, the West Coast executive we've seen so many times before, the mentor to Leiber and Stoller, Duane Eddy, and Phil Spector, who was now the head of Screen Gems music on the West Coast. It also seems to be the case that none of the top Brill Building songwriters were all that keen on being involved at this point -- writing songs for an unsold TV pilot wasn't exactly a plum gig. Sill ended up working closely with the TV people, and it seems to have been him who put forward Boyce and Hart, a songwriting team he was mentoring. Boyce and Hart had been working in the music industry for years, both together and separately, and had had some success, though they weren't one of the top-tier songwriting teams like Goffin and King. They'd both started as performers -- Boyce's first single, "Betty Jean", had come out in 1958: [Excerpt: Tommy Boyce, "Betty Jean"] And Hart's, "Love Whatcha Doin' to Me", under his birth name Robert Harshman, a year later: [Excerpt: Robert Harshman, "Love Whatcha Doin' to Me"] Boyce had been the first one to have real songwriting success, writing Fats Domino's top ten hit "Be My Guest" in 1959: [Excerpt: Fats Domino, "Be My Guest"] and cowriting two songs with singer Curtis Lee, both of which became singles produced by Phil Spector -- "Under the Moon of Love" and the top ten hit "Pretty Little Angel Eyes": [Excerpt: Curtis Lee, "Pretty Little Angel Eyes"] Boyce and Hart together, along with Wes Farrell, who had co-written "Twist and Shout" with Bert Berns, wrote "Lazy Elsie Molly" for Chubby Checker, and the number three hit "Come a Little Bit Closer" for Jay and the Americans: [Excerpt: Jay and the Americans, "Come a Little Bit Closer"] At this point they were both working in the Brill Building, but then Boyce moved to the West Coast, where he was paired with Steve Venet, the brother of Nik Venet, and they co-wrote and produced "Peaches and Cream" for the Ikettes: [Excerpt: The Ikettes, "Peaches and Cream"] Hart, meanwhile, was playing in the band of Teddy Randazzo, the accordion-playing singer who had appeared in The Girl Can't Help It, and with Randazzo and Bobby Weinstein he wrote "Hurts So Bad", which became a big hit for Little Anthony and the Imperials: [Excerpt: Little Anthony and the Imperials, "Hurts So Bad"] But Hart soon moved over to the West Coast, where he joined his old partner Boyce, who had been busy writing TV themes with Venet for shows like "Where the Action Is". Hart soon replaced Venet in the team, and the two soon wrote what would become undoubtedly their most famous piece of music ever, a theme tune that generations of TV viewers would grow to remember: [Excerpt: "Theme from Days of Our Lives"] Well, what did you *think* I meant? Yes, just as Davy Jones had starred in an early episode of Britain's longest-running soap opera, one that's still running today, so Boyce and Hart wrote the theme music for *America's* longest-running soap opera, which has been running every weekday since 1965, and has so far aired well in excess of fourteen thousand episodes. Meanwhile, Hart had started performing in a band called the Candy Store Prophets, with Larry Taylor -- who we last saw with the Gamblers, playing on "LSD-25" and "Moon Dawg" -- on bass, Gerry McGee on guitar, and Billy Lewis on drums. It was this band that Boyce and Hart used -- augmented by session guitarists Wayne Erwin and Louie Shelton and Wrecking Crew percussionist Gene Estes on tambourine, plus Boyce and session singer Ron Hicklin on backing vocals, to record first the demos and then the actual tracks that would become the Monkees hits. They had a couple of songs already that would be suitable for the pilot episode, but they needed something that would be usable as a theme song for the TV show. Boyce and Hart's usual working method was to write off another hit -- they'd try to replicate the hook or the feel or the basic sound of something that was already popular. In this case, they took inspiration from the song "Catch Us If You Can", the theme from the film that was the Dave Clark Five's attempt at their own A Hard Day's Night: [Excerpt: The Dave Clark Five, "Catch Us If You Can"] Boyce and Hart turned that idea into what would become the Monkees theme. We heard their performance of it earlier of course, but when the TV show finally came out, it was rerecorded with Dolenz singing: [Excerpt: The Monkees, "Monkees Theme"] For a while, Boyce and Hart hoped that they would get to perform all the music for the TV show, and there was even apparently some vague talk of them being cast in it, but it was quickly decided that they would just be songwriters. Originally, the intent was that they wouldn't even produce the records, that instead the production would be done by a name producer. Micky Most, the Animals' producer, was sounded out for the role but wasn't interested. Snuff Garrett was brought in, but quickly discovered he didn't get on with the group at all -- in particular, they were all annoyed at the idea that Davy would be the sole lead vocalist, and the tracks Garrett cut with Davy on lead and the Wrecking Crew backing were scrapped. Instead, it was decided that Boyce and Hart would produce most of the tracks, initially with the help of the more experienced Jack Keller, and that they would only work with one Monkee at a time to minimise disruption -- usually Micky and sometimes Davy. These records would be made the same way as the demos had been, by the same set of musicians, just with one of the Monkees taking the lead. Meanwhile, as Nesmith was seriously interested in writing and production, and Rafelson and Schneider wanted to encourage the cast members, he was also assigned to write and produce songs for the show. Unlike Boyce and Hart, Nesmith wanted to use his bandmates' talents -- partly as a way of winning them over, as it was already becoming clear that the show would involve several competing factions. Nesmith's songs were mostly country-rock tracks that weren't considered suitable as singles, but they would be used on the TV show and as album tracks, and on Nesmith's songs Dolenz and Tork would sing backing vocals, and Tork would join the Wrecking Crew as an extra guitarist -- though he was well aware that his part on records like "Sweet Young Thing" wasn't strictly necessary when Glen Campbell, James Burton, Al Casey and Mike Deasy were also playing guitar: [Excerpt: The Monkees, "Sweet Young Thing"] That track was written by Nesmith with Goffin and King, and there seems to have been some effort to pair Nesmith, early on, with more commercial songwriters, though this soon fell by the wayside and Nesmith was allowed to keep making his own idiosyncratic records off to the side while Boyce and Hart got on with making the more commercial records. This was not, incidentally, something that most of the stars of the show objected to or even thought was a problem at the time. Tork was rather upset that he wasn't getting to have much involvement with the direction of the music, as he'd thought he was being employed as a musician, but Dolenz and Jones were actors first and foremost, while Nesmith was happily making his own tracks. They'd all known going in that most of the music for the show would be created by other people -- there were going to be two songs every episode, and there was no way that four people could write and record that much material themselves while also performing in a half-hour comedy show every week. Assuming, of course, that the show even aired. Initial audience response to the pilot was tepid at best, and it looked for a while like the show wasn't going to be green-lit. But Rafelson and Schneider -- and director James Frawley who played a crucial role in developing the show -- recut the pilot, cutting out one character altogether -- a manager who acted as an adult supervisor -- and adding in excerpts of the audition tapes, showing the real characters of some of the actors. As three of the four were playing characters loosely based on themselves -- Peter's "dummy" character wasn't anything like he was in real life, but was like the comedy character he'd developed in his folk-club performances -- this helped draw the audience in. It also, though, contributed to some line-blurring that became a problem. The re-edited pilot was a success, and the series sold. Indeed, the new format for the series was a unique one that had never been done on TV before -- it was a sitcom about four young men living together, without any older adult supervision, getting into improbable adventures, and with one or two semi-improvised "romps", inspired by silent slapstick, over which played original songs. This became strangely influential in British sitcom when the series came out over here -- two of the most important sitcoms of the next couple of decades, The Goodies and The Young Ones, are very clearly influenced by the Monkees. And before the broadcast of the first episode, they were going to release a single to promote it. The song chosen as the first single was one Boyce and Hart had written, inspired by the Beatles. Specifically inspired by this: [Excerpt: The Beatles, "Paperback Writer"] Hart heard that tag on the radio, and thought that the Beatles were singing "take the last train". When he heard the song again the next day and realised that the song had nothing to do with trains, he and Boyce sat down and wrote their own song inspired by his mishearing. "Last Train to Clarksville" is structured very, very, similarly to "Paperback Writer" -- both of them stay on one chord, a G7, for an eight-bar verse before changing to C7 for a chorus line -- the word "writer" for the Beatles, the "no no no" (inspired by the Beatles "yeah yeah yeah") for the Monkees. To show how close the parallels are, I've sped up the vocals from the Beatles track slightly to match the tempo with a karaoke backing track version of "Last Train to Clarksville" I found, and put the two together: [Excerpt: "Paperback Clarksville"] Lyrically, there was one inspiration I will talk about in a minute, but I think I've identified another inspiration that nobody has ever mentioned. The classic country song "Night Train to Memphis", co-written by Owen Bradley, and made famous by Roy Acuff, has some slight melodic similarity to "Last Train to Clarksville", and parallels the lyrics fairly closely -- "take the night train to Memphis" against "take the last train to Clarksville", both towns in Tennessee, and "when you arrive at the station, I'll be right there to meet you I'll be right there to greet you, So don't turn down my invitation" is clearly close to "and I'll meet you at the station, you can be here by 4:30 'cos I've made your reservation": [Excerpt: Roy Acuff, "Night Train to Memphis"] Interestingly, in May 1966, the same month that "Paperback Writer" was released, and so presumably the time that Hart heard the song on the radio for the first time, Rick Nelson, the teen idol formerly known as Ricky Nelson, who had started his own career as a performer in a sitcom, had released an album called Bright Lights and Country Music. He'd had a bit of a career downslump and was changing musical direction, and recording country songs. The last track on that album was a version of "Night Train to Memphis": [Excerpt: Rick Nelson, "Night Train to Memphis"] Now, I've never seen either Boyce or Hart ever mention even hearing that song, it's pure speculation on my part that there's any connection there at all, but I thought the similarity worth mentioning. The idea of the lyric, though, was to make a very mild statement about the Vietnam War. Clarksville was, as mentioned earlier, the site of Fort Campbell, a military training base, and they crafted a story about a young soldier being shipped off to war, calling his girlfriend to come and see him for one last night. This is left more-or-less ambiguous -- this was a song being written for a TV show intended for children, after all -- but it's still very clear on the line "and I don't know if I'm ever coming home". Now, Boyce and Hart were songwriters first and foremost, and as producers they were quite hands-off and would let the musicians shape the arrangements. They knew they wanted a guitar riff in the style of the Beatles' recent singles, and Louie Shelton came up with one based around the G7 chord that forms the basis of the song, starting with an octave leap: Shelton's riff became the hook that drove the record, and engineer Dave Hassinger added the final touch, manually raising the volume on the hi-hat mic for a fraction of a second every bar, creating a drum sound like a hissing steam brake: [Excerpt: The Monkees, "Last Train to Clarksville"] Now all that was needed was to get the lead vocals down. But Micky Dolenz was tired, and hungry, and overworked -- both Dolenz and Jones in their separate autobiographies talk about how it was normal for them to only get three hours' sleep a night between working twelve hour days filming the series, three-hour recording sessions, and publicity commitments. He got the verses down fine, but he just couldn't sing the middle eight. Boyce and Hart had written a complicated, multisyllabic, patter bridge, and he just couldn't get his tongue around that many syllables when he was that tired. He eventually asked if he could just sing "do do do" instead of the words, and the producers agreed. Surprisingly, it worked: [Excerpt: The Monkees, "Last Train to Clarksville"] "Last Train to Clarksville" was released in advance of the TV series, on a new label, Colgems, set up especially for the Monkees to replace Colpix, with a better distribution deal, and it went to number one. The TV show started out with mediocre ratings, but soon that too became a hit. And so did the first album released from the TV series. And that album was where some of the problems really started. The album itself was fine -- ten tracks produced by Boyce and Hart with the Candy Store Prophets playing and either Micky or Davy singing, mostly songs Boyce and Hart wrote, with a couple of numbers by Goffin and King and other Kirshner staff songwriters, plus two songs produced by Nesmith with the Wrecking Crew, and with token participation from Tork and Dolenz. The problem was the back cover, which gave little potted descriptions of each of them, with their height, eye colour, and so on. And under three of them it said "plays guitar and sings", while under Dolenz it said "plays drums and sings". Now this was technically accurate -- they all did play those instruments. They just didn't play them on the record, which was clearly the impression the cover was intended to give. Nesmith in particular was incandescent. He believed that people watching the TV show understood that the group weren't really performing that music, any more than Adam West was really fighting crime or William Shatner travelling through space. But crediting them on the record was, he felt, crossing a line into something close to con artistry. To make matters worse, success was bringing more people trying to have a say. Where before, the Monkees had been an irrelevance, left to a couple of B-list producer-songwriters on the West Coast, now they were a guaranteed hit factory, and every songwriter working for Kirshner wanted to write and produce for them -- which made sense because of the sheer quantity of material they needed for the TV show, but it made for a bigger, less democratic, organisation -- one in which Kirshner was suddenly in far more control. Suddenly as well as Boyce and Hart with the Candy Store Prophets and Nesmith with the Wrecking Crew, both of whom had been operating without much oversight from Kirshner, there were a bunch of tracks being cut on the East Coast by songwriting and production teams like Goffin and King, and Neil Sedaka and Carole Bayer. On the second Monkees album, released only a few months after the first, there were nine producers credited -- as well as Boyce, Hart, Jack Keller, and Nesmith, there were now also Goffin, King, Sedaka, Bayer, and Jeff Barry, who as well as cutting tracks on the east coast was also flying over to the West Coast, cutting more tracks with the Wrecking Crew, and producing vocal sessions while there. As well as producing songs he'd written himself, Barry was also supervising songs written by other people. One of those was a new songwriter he'd recently discovered and been co-producing for Bang Records, Neil Diamond, who had just had a big hit of his own with "Cherry Cherry": [Excerpt: Neil Diamond, "Cherry Cherry"] Diamond was signed with Screen Gems, and had written a song which Barry thought would be perfect for the Monkees, an uptempo song called "I'm a Believer", which he'd demoed with the regular Bang musicians -- top East Coast session players like Al Gorgoni, the guitarist who'd played on "The Sound of Silence": [Excerpt: Neil Diamond, "I'm a Believer"] Barry had cut a backing track for the Monkees using those same musicians, including Diamond on acoustic guitar, and brought it over to LA. And that track would indirectly lead to the first big crisis for the group. Barry, unlike Boyce and Hart, was interested in working with the whole group, and played all of them the backing track. Nesmith's reaction was a blunt "I'm a producer too, and that ain't no hit". He liked the song -- he wanted to have a go at producing a track on it himself, as it happened -- but he didn't think the backing track worked. Barry, trying to lighten the mood, joked that it wasn't finished and you needed to imagine it with strings and horns. Unfortunately, Nesmith didn't get that he was joking, and started talking about how that might indeed make a difference -- at which point everyone laughed and Nesmith took it badly -- his relationship with Barry quickly soured. Nesmith was getting increasingly dissatisfied with the way his songs and his productions were being sidelined, and was generally getting unhappy, and Tork was wanting more musical input too. They'd been talking with Rafelson and Schneider, who'd agreed that the group were now good enough on their instruments that they could start recording some tracks by themselves, an idea which Kirshner loathed. But for now they were recording Neil Diamond's song to Jeff Barry's backing track. Given that Nesmith liked the song, and given that he had some slight vocal resemblance to Diamond, the group suggested that Nesmith be given the lead vocal, and Kirshner and Barry agreed, although Kirshner at least apparently always intended for Dolenz to sing lead, and was just trying to pacify Nesmith. In the studio, Kirshner kept criticising Nesmith's vocal, and telling him he was doing it wrong, until eventually he stormed out, and Kirshner got what he wanted -- another Monkees hit with Micky Dolenz on lead, though this time it did at least have Jones and Tork on backing vocals: [Excerpt: The Monkees, "I'm a Believer"] That was released on November 23rd, 1966, as their second single, and became their second number one. And in January 1967, the group's second album, More of the Monkees, was released. That too went to number one. There was only one problem. The group weren't even told about the album coming out beforehand -- they had to buy their own copies from a record shop to even see what tracks were on it. Nesmith had his two tracks, but even Boyce and Hart were only given two, with the rest of the album being made up of tracks from the Brill Building songwriters Kirshner preferred. Lots of great Nesmith and Boyce and Hart tracks were left off the album in favour of some astonishingly weak material, including the two worst tracks the group ever recorded, "The Day We Fall in Love" and "Laugh", and a novelty song they found embarrassing, "Your Auntie Grizelda", included to give Tork a vocal spot. Nesmith called it "probably the worst album in the history of the world", though in truth seven of the twelve tracks are really very strong, though some of the other material is pretty poor. The group were also annoyed by the packaging. The liner notes were by Don Kirshner, and read to the group at least like a celebration of Kirshner himself as the one person responsible for everything on the record. Even the photo was an embarrassment -- the group had taken a series of photos in clothes from the department store J. C. Penney as part of an advertising campaign, and the group thought the clothes were ridiculous, but one of those photos was the one chosen for the cover. Nesmith and Tork made a decision, which the other two agreed to with varying degrees of willingness. They'd been fine miming to other people's records when it was clearly just for a TV show. But if they were being promoted as a real band, and having to go on tour promoting albums credited to them, they were going to *be* a real band, and take some responsibility for the music that was being put out in their name. With the support of Rafelson and Schneider, they started making preparations to do just that. But Don Kirshner had other ideas, and told them so in no uncertain terms. As far as he was concerned, they were a bunch of ungrateful, spoiled, kids who were very happy cashing the ridiculously large cheques they were getting, but now wanted to kill the goose that laid the golden egg. They were going to keep doing what they were told. Things came to a head in a business meeting in January 1967, when Nesmith gave an ultimatum. Either the group got to start playing on their own records, or he was quitting. Herb Moelis, Kirshner's lawyer, told Nesmith that he should read his contract more carefully, at which point Nesmith got up, punched a hole in the wall of the hotel suite they were in, and told Moelis "That could have been your face". So as 1967 began, the group were at a turning point. Would they be able to cut the puppet strings, or would they have to keep living a lie? We'll find out in a few weeks' time...
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