Podcasts about hitchhike

It may seem at times that the Idaho ag department is playing whack-a-mole with the Japanese beetle.

What the bloomin' hell is a Gravastar? Are fast radio bursts like solar flares on steroids? Plus an interesting question on multiverses that can't be summed up in a short sentence. Izzie Clarke, Dr Becky Smethurst and Dr Robert Massey dive into The Supermassive Mailbox and take on your questions. Keep sending in your wonderful ponderings. Email them to podcast@ras.ac.uk or via Instagram @SupermassivepodThe Supermassive Podcast is a Boffin Media production. The producers are Izzie Clarke and Richard Hollingham. Hosted on Acast. See acast.com/privacy for more information.

We hear STRAIGHT from the Baronies again this week for part 2 of the hitchhike! Benny brings his experience from Universal Studios and Mary Beth reveals the closure of a beloved northeast rollercoaster.Please note that this episode may contain paid endorsements and advertisements for products and services. Individuals on the show may have a direct or indirect financial interest in products or services referred to in this episode.Sponsors:Order your copy of this spring's must-read memoir, Paper Doll by Dylan Mulvaney, here: https://amzn.to/42cL8n3Protect your online privacy TODAY by visiting ExpressVPN.com/ridepod.Go to Quince.com/ride for free shipping on your order and 365-day returns.Start earning points on rent you're already paying by going to joinbilt.com/RIDE.Produced by Dear Media.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This month Lee has revenge on his mind... 1970s revenge to be specific. So, he created a playlist of music from various 1970s films that deal with revenge in some form or another. Do not transgress against this podcast or it might come back to get your ass! --Main Theme from "The Night Visitor" (1971) --Henry Mancini --Daughter of Loneliness from "Bury Me an Angel" (1971) --East-West Pipeline --Dedicated to Love from "She Killed in Ecstasy" (1971) --Manfred Hubler & Siegfried Schwab --Wait for the Rain from "Last House on the Left" (1972) --David Alexander Hess --Amen from "Thriller: A Cruel Picture" (1973) --Ralph Lundsten --Opening Titles from "Karate Girl" (1973) --Unknown --Party People from "Death Wish" (1974) --Herbie Hancock --Mothball Karate from "The Killer Elite" (1975) --Jerry Fielding --J'entends Frapper & Notre Côté B from "Gina" (1975) --Michel Pagliaro --A Flower's All You Need from "The Night Train Murders" (1975) --Ennio Morricone & Demis Roussos --Di Corsa Oltre I Cento from "Hitch-Hike" (1977) --Ennio Morricone --Garrote from "The Farmer" (1977) --Hugo Montenegro --Max the Hunter & Max Decides on Vengeance from "Mad Max" (1979) --Brian May --The Glove from "The Glove" (1979) --Robert O. Ragland, vocals by Ernie Andrews Opening and closing music: Theme from Slaughter from "Slaughter" by Billy Preston, and Too Risky a Day for a Regatta from "Tentacles" by Stelvio Cipriani.

ALL ABOARD!!! Hitchhike time. We learned to spell it, too. We're so excited to talk about what the Baronies ride for this week.... HUT HUT!Please note that this episode may contain paid endorsements and advertisements for products and services. Individuals on the show may have a direct or indirect financial interest in products or services referred to in this episode.Sponsors:Stop putting off those doctors appointments and go to Zocdoc.com/RIDE to find and instantly book a top-rated doctor today.For a limited time, Home Chef is offering my listeners 18 Free Meals PLUS Free Dessert for Life and of course, Free Shipping on your first box! Go to HomeChef.com/RIDE.Head to https://www.squarespace.com/RIDE to save 10% off your first purchase of a website or domain using code RIDE.Go to Nutrafol.com and use code RIDE for $10 off your first month's subscription and free shipping.Go to ARTICLE.COM/ride for $50 off your first purchase of $100 or more.Produced by Dear Media.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The incredible Robert De Niro and producer Irwin Winkler talk about their new movie 'The Alto Knights'.De Niro tells Dave about how Irwin Winkler came up with the brilliant idea of Robert De Niro playing both mob bosses Frank Costello and Vito Genovese and how he hitchhiked in Cork when he was a teenager.

Benny and Mary Beth are showing you what happens... when people stop being polite...and start getting real... They're also referencing sacred texts this week with Mary Beth riding for Kelly Rohrbach's Instagram and Benny riding for Dante's Inferno. Hitchhike next week. Drive safe!Please note that this episode may contain paid endorsements and advertisements for products and services. Individuals on the show may have a direct or indirect financial interest in products or services referred to in this episode.Sponsors:Stop putting off those doctors appointments and go to Zocdoc.com/RIDE to find and instantly book a top-rated doctor today.Go to Quince.com/ride for free shipping on your order and 365-day returns.Produced by Dear Media.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Our series of adventure shows turns from the series Escape today to look at its big brother series, Suspense. Suspense rarely did straight up adventure stories, but this 1948 radio broadcast of "Hitch-Hike Poker" featuring Gregory Peck as an ex-GI hitchhiker, in a wild tale that begins innocently enough playing license plate poker with a seemingly charming travelling companion. But soon, things go off-the-rails, as sinister plots emerge. Visit our website: https://goodolddaysofradio.com/ Subscribe to our Facebook Group for news, discussions, and the latest podcast: https://www.facebook.com/groups/881779245938297 Our theme music is "Why Am I So Romantic?" from Animal Crackers: https://www.amazon.com/dp/B01KHJKAKS/ref=cm_sw_em_r_mt_dp_MK8MVCY4DVBAM8ZK39WD

Two teenagers living in rural Hawke's Bay are hitch hiking to school after their bus was canceled. The Brown whanau lives on a family farm on Aropaoanui Road, which connects to State Highway Two north of Napier. Until this year, 15 year old Chamon and 16 year old Laa got the bus to school and back each day, but the route has been axed. The Ministry of Education reviewed hundreds of routes last year; ditching some and merging others. Their father Mike Brown spoke to Lisa Owen.

Honky Tonk Therapy – Jared Hovis Talk About Crazy – Waylon Hanel Too Ugly to Hitchhike – The Doohickeys American Honky-Tonk Bar Association – Garth Brooks Beer I Come, Beer I Go – Kendall Shaffer The Garden – Sierra Ferrell Good Ol’ Boy – Conway Turley Midnight Hauler – Big City Brian Wright Vagabond’s Lament – Buffalo Wabs & The Price Hill Hustle Whatcha Gonna Do With a Cowboy – Chris LeDoux & Garth Brooks

In the final episode of Season 2, Charles welcomes Jim Turbert, an American communication technologist and podcaster residing in Rotterdam. Jim reflects on his first concert at age 13, where Ringo Starr's performance left a lasting impression, partly thanks to his music-loving uncle who influenced his musical tastes. He recounts various memorable concerts, including a powerful Afghan Wigs show in Boston, where lead singer Greg Dooley's storytelling made the performance unforgettable, even despite later learning Dooley's on-stage declaration of being on acid was untrue.Jim shares his appreciation for technically proficient artists like Mike Watt and Nels Cline, recounting a particularly electrifying performance that displayed exceptional guitar skills. His experiences underscore the importance of venue acoustics and crowd energy, such as how silence and attention at a Sigur Rós concert added to the immersive quality of the show. Conversely, he describes a disappointing Eagles concert during their 'When Hell Freezes Over' tour due to multiple breaks and inflated egos.A standout anecdote involves Jim losing a shoe while crowd-surfing at a Nirvana concert, only to have Kurt Cobain toss it backstage, leaving him to navigate the chilly New England night unshod. Amid these personal stories, Jim also touches on the broader implications of concert experiences, including nostalgic reflections on hitchhiking back from a Sonic Youth concert with friends and the pure joy of witnessing an early White Stripes performance in a frat house setting.In addition to sharing concert stories, Jim speaks about his podcast, 'Feel Free to Deviate,' which delves into people's career paths and their relationships with success. The podcast captures various personal and professional journeys, underscoring Jim's curiosity and communication skills.BANDS: Afghan Wigs, Aerosmith, Beatles, Black Crows, Blackfoot, Breeders, Clarence Clemens, Deep Purple, Dire Straits, Dr. John, The Eagles, Joe Walsh, Led Zeppelin, Living Color, Lounge Acts, Mason Ruffner, Ministry, Minutemen, Nazareth, Nick Cave, Nils Lofgren, Otoboke Beaver, Porno for Pyros, Radiohead, Ringo Starr, Rolling Stones, Sigur Rós, Soundgarden, Stevie Ray Vaughan, Sonic Youth, Ten Years After, the Doors, U2, Walter Trout, White Stripes, Willie Preston.VENUES: T. T. the Bears, Row Town, Lansdowne Street, Lake Compounce, University of Massachusetts, Panarchy, Orpheum, University of Vermont, Berklee Performance Center. PATREON:https://www.patreon.com/SeeingThemLivePlease help us defer the cost of producing this podcast by making a donation on Patreon.WEBSITE:https://seeingthemlive.com/Visit the Seeing Them Live website for bonus materials including the show blog, resource links for concert buffs, photos, materials related to our episodes, and our Ticket Stub Museum.INSTAGRAM:https://www.instagram.com/seeingthemlive/FACEBOOK:https://www.facebook.com/profile.php?id=61550090670708

Sacrifice *** Written by: No One of Consequence and Narrated by: Heather Thomas *** My Family Doesn't Hitchhike Anymore *** https://creativecommons.org/licenses/by-nc/2.0/ *** Support the show at patreon.com/creepypod *** Sound design by: Pacific Obadiah *** Title music by: Alex Aldea Learn more about your ad choices. Visit megaphone.fm/adchoices

Antarctica is an inhospitable place where survival cannot be taken for granted. Temperatures of minus 35 degrees Celsius are not uncommon in winter. Nevertheless, researchers keep coming across new animal and plant species that actually have no place on a continent made of ice and got there by hitching a ride. - Die Antarktis ist ein unwirtlicher Ort, an dem Überleben nicht selbstverständlich ist. Minus 35 Grad Celsius sind im Winter keine Seltenheit. Trotzdem stoßen Forschende immer wieder auf neue Tier- und Pflanzenarten, die eigentlich nichts auf dem Kontinent aus Eis zu suchen haben.

This week's pick is the sleazy 1977 film Hitch-Hike to Hell. Howard is a mild-mannered young man who drives a truck for a commercial laundry. He's also a mother-obsessed psycho who picks up young female hitchhikers, rapes them and kills them. As the bodies start piling up, the police finally begin to investigate.

Ron's Amazing Stories is back with a brand new look and feel for the Audible audiobook review segment. This time around, the focus will be less on advertising and more on providing in-depth reviews of the books being discussed. The first book up for review is Weird Things in History and Why the Heck They Happened. This fascinating book takes a look at some of the strangest and most unexplained events in human history. The show also features two new listener stories. The first comes from Adelina, who tells a head-scratching tale of a strange encounter she had at a deer camp in Wisconsin. The second comes from Kandace, who recalls an incredible encounter she had with a mysterious creature in the woods. The featured story on this episode comes from the classic OTR series Suspense. This episode stars Gregory Peck in a rare radio appearance, and finds him playing a dangerous game of hitchhike poker. This classic tale of suspense will keep you on the edge of your seat from beginning to end. So tune in to Ron's Amazing Stories, and get ready for a wild ride through the worlds of the unexplained and the supernatural. Featured Story - Hitch-Hike Poker Our featured story stars award winning classic actor Gregory Peck. Peck didn't do much radio, but when he did it was special. The story is titled Hitch Hike Poker and is listed as one of the top ten best episodes of the OTR series Suspense. This episode is also special because the writers for this one incorporated the commercials into the story. Which makes the whole experience a little more interesting. Hitch Hike Poker First aired on CBS in 1948. Stories Include - Tune-In For Murder, Review - Weird Things in History and Why the Heck They HappenedWhere Deer Hunting Is A Way Of Life, The Peacock, and Hitch Hike Poker.  Ron's Amazing Stories Is Sponsored by: Audible - You can get a free audiobook and a 30 day free trial at . Your Stories: Do you have a story that you would like to share on the podcast or the blog? Head to the main website, click on Story Submission, leave your story, give it a title, and please tell me where you're from. I will read it if I can. Links are below. Music Used In This Podcast: Most of the music you hear on Ron's Amazing Stories has been composed by Kevin MacLeod () and is Licensed under . Other pieces are in the public domain. You can find great free music at which is a site owned by Kevin. Program Info: Ron's Amazing Stories is published each Thursday. You can download it from , stream it on or on the mobile version of . Do you prefer the radio? We are heard every Thursday at 10:00 pm and Sunday Night at 11:00 PM (EST) on . Check your local listing or find the station closest to you at this . Social Links: Contact Links:  

For those who haven't heard the announcement I posted , songs from this point on will sometimes be split among multiple episodes, so this is the first part of a two-episode look at the song “I Heard it Through the Grapevine”. This week we take a short look at the song’s writers, Norman Whitfield and Barrett Strong, and the first released version by Gladys Knight and the Pips. In two weeks time we’ll take a longer look at the sixties career of the song’s most famous performer, Marvin Gaye. This episode is quite a light one. That one… won’t be. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode, on “Bend Me Shape Me” by Amen Corner. 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 Mixcloud will be up with the next episode. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. Motown: The Golden Years is another Motown encyclopaedia. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 693 tracks released on Motown singles. For information on Marvin Gaye, and his relationship with Norman Whitfield, I relied on Divided Soul: The Life of Marvin Gaye by David Ritz. I’ve also used information on Whitfield in  Ain't Too Proud to Beg: The Troubled Lives and Enduring Soul of the Temptations by Mark Ribowsky, I’ve also referred to interviews with Whitfield and Strong archived at rocksbackpages.com , notably “The Norman Whitfield interview”, John Abbey, Blues & Soul, 1 February 1977 For information about Gladys Knight, I’ve used her autobiography. The best collection of Gladys Knight and the Pips’ music is this 3-CD set, but the best way to hear Motown hits is in the context of other Motown hits. This five-CD box set contains the first five in the Motown Chartbusters series of British compilations. The Pips’ version of “I Heard it Through the Grapevine” is on disc 2, while Marvin Gaye’s is on disc 3, which is famously generally considered one of the best single-disc various artists compilations ever. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, a brief note — this episode contains some brief mentions of miscarriage and drug abuse. The history of modern music would be immeasurably different had it not been for one car breakdown. Norman Whitfield spent the first fifteen years of his life in New York, never leaving the city, until his grandmother died. She’d lived in LA, and that was where the funeral was held, and so the Whitfield family got into a car and drove right across the whole continent — two thousand five hundred miles — to attend the old lady’s funeral. And then after the funeral, they turned round and started to drive home again. But they only got as far as Detroit when the car, understandably, gave up the ghost.  Luckily, like many Black families, they had family in Detroit, and Norman’s aunt was not only willing to put the family up for a while, but her husband was able to give Norman’s father a job in his drug store while he saved up enough money to pay for the car to be fixed. But as it happened, the family liked Detroit, and they never did get around to driving back home to New York. Young Norman in particular took to the city’s nightlife, and soon as well as going to school he was working an evening job at a petrol station — but that was only to supplement the money he made as a pool hustler. Young Norman Whitfield was never going to be the kind of person who took a day job, and so along with his pool he started hanging out with musicians — in particular with Popcorn and the Mohawks, a band led by Popcorn Wylie. [Excerpt: Popcorn and the Mohawks, “Shimmy Gully”] Popcorn and the Mohawks were a band of serious jazz musicians, many of whom, including Wylie himself, went on to be members of the Funk Brothers, the team of session players that played on Motown’s hits — though Wylie would depart Motown fairly early after a falling out with Berry Gordy. They were some of the best musicians in Detroit at the time, and Whitfield would tag along with the group and play tambourine, and sometimes other hand percussion instruments. He wasn’t a serious musician at that point, just hanging out with a bunch of people who were, who were a year or two older than him. But he was learning — one thing that everyone says about Norman Whitfield in his youth is that he was someone who would stand on the periphery of every situation, not getting involved, but soaking in everything that the people around him were doing, and learning from them. And soon, he was playing percussion on sessions. At first, this wasn’t for Motown, but everything in the Detroit music scene connected back to the Gordy family in one way or another. In this case, the label was Thelma Records, which was formed by Berry Gordy’s ex-mother-in-law and named after Gordy’s first wife, who he had recently divorced. Of all the great Motown songwriters and producers, Whitfield’s life is the least-documented, to the extent that the chronology of his early career is very vague and contradictory, and Thelma was such a small label there even seems to be some dispute about when it existed — different sources give different dates, and while Whitfield always said he worked for Thelma records, he might have actually been employed by another label owned by the same people, Ge Ge, which might have operated earlier — but by most accounts Whitfield quickly progressed from session tambourine player to songwriter. According to an article on Whitfield from 1977, the first record of one of his songs was “Alone” by Tommy Storm on Thelma Records, but that record seems not to exist — however, some people on a soul message board, discussing this a few years ago, found an interview with a member of a group called The Fabulous Peps which also featured Storm, saying that their record on Ge Ge Records, “This Love I Have For You”, is a rewrite of that song by Don Davis, Thelma’s head of A&R, though the credit on the label for that is just to Davis and Ron Abner, another member of the group: [Excerpt: The Fabulous Peps, “This Love I Have For You”] So that might, or might not, be the first Norman Whitfield song ever to be released. The other song often credited as Whitfield’s first released song is “Answer Me” by Richard Street and the Distants — Street was another member of the Fabulous Peps, but we’ve encountered him and the Distants before when talking about the Temptations — the Distants were the group that Otis Williams, Melvin Franklin, and Al Bryant had been in before forming the Temptations — and indeed Street would much later rejoin his old bandmates in the Temptations, when Whitfield was producing for them. Unlike the Fabulous Peps track, this one was clearly credited to N. Whitfield, so whatever happened with the Storm track, this is almost certainly Whitfield’s first official credit as a songwriter: [Excerpt: Richard Street and the Distants, “Answer Me”] He was soon writing songs for a lot of small labels — most of which appear to have been recorded by the Thelma team and then licensed out — like “I’ve Gotten Over You” by the Sonnettes: [Excerpt: The Sonnettes, “I’ve Gotten Over You”] That was on KO Records, distributed by Scepter, and was a minor local hit — enough to finally bring Whitfield to the attention of Berry Gordy. According to many sources, Whitfield had been hanging around Hitsville for months trying to get a job with the label, but as he told the story in 1977 “Berry Gordy had sent Mickey Stevenson over to see me about signing with the company as an exclusive in-house writer and producer. The first act I was assigned to was Marvin Gaye and he had just started to become popular.” That’s not quite how the story went. According to everyone else, he was constantly hanging around Hitsville, getting himself into sessions and just watching them, and pestering people to let him get involved. Rather than being employed as a writer and producer, he was actually given a job in Motown’s quality control department for fifteen dollars a week, listening to potential records and seeing which ones he thought were hits, and rating them before they went to the regular department meetings for feedback from the truly important people. But he was also allowed to write songs. His first songwriting credit on a Motown record wasn’t Marvin Gaye, as Whitfield would later tell the story, but was in fact for the far less prestigious Mickey Woods — possibly the single least-known artist of Motown’s early years. Woods was a white teenager, the first white male solo artist signed to Motown, who released two novelty teen-pop singles. Whitfield’s first Motown song was the B-side to Woods’ second single, a knock-off of Sam Cooke’s “Cupid” called “They Call Me Cupid”, co-written with Berry Gordy and Brian Holland: [Excerpt: Mickey Woods, “They Call Me Cupid”] Unsurprisingly that didn’t set the world on fire, and Whitfield didn’t get another Motown label credit for thirteen months (though some of his songs for Thelma may have come out in this period). When he did, it was as co-writer with Mickey Stevenson — and, for the first time, sole producer — of the first single for a new singer, Kim Weston: [Excerpt: Kim Weston, “It Should Have Been Me”] As it turned out, that wasn’t a hit, but the flip-side, “Love Me All The Way”, co-written by Stevenson (who was also Weston’s husband) and Barney Ales, did become a minor hit, making the R&B top thirty. After that, Whitfield was on his way. It was only a month later that he wrote his first song for the Temptations, a B-side, “The Further You Look, The Less You See”: [Excerpt: The Temptations, “The Further You Look, The Less You See”] That was co-written with Smokey Robinson, and as we heard in the episode on “My Girl”, both Robinson and Whitfield vied with each other for the job of Temptations writer and producer. As we also heard in that episode, Robinson got the majority of the group’s singles for the next couple of years, but Whitfield would eventually take over from him. Whitfield’s work with the Temptations is probably his most important work as a writer and producer, and the Temptations story is intertwined deeply with this one, but for the most part I’m going to save discussion of Whitfield’s work with the group until we get to 1972, so bear with me if I seem to skim over that — and if I repeat myself in a couple of years when we get there. Whitfield’s first major success, though, was also the first top ten hit for Marvin Gaye, “Pride and Joy”: [Excerpt: Marvin Gaye, “Pride and Joy”] “Pride and Joy” had actually been written and recorded before the Kim Weston and Temptations tracks, and was intended as album filler — it was written during a session by Whitfield, Gaye, and Mickey Stevenson who was also the producer of the track, and recorded in the same session as it was written, with Martha and the Vandellas on backing vocals. The intended hit from the session, “Hitch-Hike”, we covered in the previous episode on Gaye, but that was successful enough that an album, That Stubborn Kinda Fellow, was released, with “Pride and Joy” on it. A few months later Gaye recut his lead vocal, over the same backing track, and the record was released as a single, reaching number ten on the pop charts and number two R&B: [Excerpt: Marvin Gaye, “Pride and Joy”] Whitfield had other successes as well, often as B-sides. “The Girl’s Alright With Me”, the B-side to Smokey Robinson’s hit for the Temptations “I’ll Be In Trouble”, went to number forty on the R&B chart in its own right: [Excerpt: The Temptations, “The Girl’s Alright With Me”] That was co-written with Eddie Holland, and Holland and Whitfield had a minor songwriting partnership at this time, with Holland writing lyrics and Whitfield the music. Eddie Holland even released a Holland and Whitfield collaboration himself during his brief attempt at a singing career — “I Couldn’t Cry if I Wanted To” was a song they wrote for the Temptations, who recorded it but then left it on the shelf for four years, so Holland put out his own version, again as a B-side: [Excerpt: Eddie Holland, “I Couldn’t Cry if I Wanted To”] Whitfield was very much a B-side kind of songwriter and producer at this point — but this could be to his advantage. In January 1963, around the same time as all these other tracks, he cut a filler track with the “no-hit Supremes”, “He Means the World to Me”, which was left on the shelf until they needed a B-side eighteen months later and pulled it out and released it: [Excerpt: The Supremes, “He Means the World to Me”] But the track that that was a B-side to was “Where Did Our Love Go?”, and at the time you could make a lot of money from writing the B-side to a hit that big. Indeed, at first, Whitfield made more money from “Where Did Our Love Go?” than Holland, Dozier, or Holland, because he got a hundred percent of the songwriters’ share for his side of the record, while they had to split their share three ways. Slowly Whitfield moved from being a B-side writer to being an A-side writer. With Eddie Holland he was given a chance at a Temptations A-side for the first time, with “Girl, (Why You Wanna Make Me Blue)”: [Excerpt: The Temptations, “Girl (Why You Wanna Make Me Blue)”] He also wrote for Jimmy Ruffin, but in 1964 it was with girl groups that Whitfield was doing his best work. With Mickey Stevenson he wrote “Needle in a Haystack” for the Velvettes: [Excerpt: The Velvettes, “Needle in a Haystack”] He wrote their classic followup “He Was Really Sayin' Somethin’” with Stevenson and Eddie Holland, and with Holland he also wrote “Too Many Fish in the Sea” for the Marvelettes: [Excerpt: The Marvelettes, “Too Many Fish In The Sea”] By late 1964, Whitfield wasn’t quite in the first rank of Motown songwriter-producers with Holland-Dozier-Holland and Smokey Robinson, but he was in the upper part of the second tier with Mickey Stevenson and Clarence Paul. And by early 1966, as we saw in the episode on “My Girl”, he had achieved what he’d wanted for four years, and become the Temptations’ primary writer and producer. As I said, we’re going to look at Whitfield’s time working with the Temptations later, but in 1966 and 67 they were the act he was most associated with, and in particular, he collaborated with Eddie Holland on three top ten hits for the group in 1966. But as we discussed in the episode on “I Can’t Help Myself”, Holland’s collaborations with Whitfield eventually caused problems for Holland with his other collaborators, when he won the BMI award for writing the most hit songs, depriving his brother and Lamont Dozier of their share of the award because his outside collaborations put him ahead of them. While Whitfield *could* write songs by himself, and had in the past, he was at his best as a collaborator — as well as his writing partnership with Eddie Holland he’d written with Mickey Stevenson, Marvin Gaye, and Janie Bradford. And so when Holland told him he was no longer able to work together, Whitfield started looking for someone else who could write lyrics for him, and he soon found someone: [Excerpt: Barrett Strong, “Money”] Barrett Strong had, of course, been the very first Motown act to have a major national hit, with “Money”, but as we discussed in the episode on that song he had been unable to have a follow-up hit, and had actually gone back to working on an assembly line for a while. But when you’ve had a hit as big as “Money”, working on an assembly line loses what little lustre it has, and Strong soon took himself off to New York and started hanging around the Brill Building, where he hooked up with Doc Pomus and Mort Shuman, the writers of such hits as “Save the Last Dance for Me”, “Viva Las Vegas”, “Sweets for My Sweet”, and “A Teenager in Love”.  Pomus and Shuman, according to Strong, signed him to a management contract, and they got him signed to Atlantic’s subsidiary Atco, where he recorded one single, “Seven Sins”, written and produced by the team: [Excerpt: Barrett Strong, “Seven Sins”] That was a flop, and Strong was dropped by the label. He bounced around a few cities before ending up in Chicago, where he signed to VeeJay Records and put out one more single as a performer, “Make Up Your Mind”, which also went nowhere: [Excerpt: Barrett Strong, “Make Up Your Mind”] Strong had co-written that, and as his performing career was now definitively over, he decided to move into songwriting as his main job. He co-wrote “Stay in My Corner” for the Dells, which was a top thirty R&B hit for them on VeeJay in 1965 and in a remade version in 1968 became a number one R&B hit and top ten pop hit for them: [Excerpt: The Dells, “Stay in My Corner”] And on his own he wrote another top thirty R&B hit, “This Heart of Mine”, for the Artistics: [Excerpt: The Artistics, “This Heart of Mine”] He wrote several other songs that had some minor success in 1965 and 66, before moving back to Detroit and hooking up again with his old label, this time coming to them as a songwriter with a track record rather than a one-hit wonder singer. As Strong put it “They were doing my style of music then, they were doing something a little different when I left, but they were doing the more soulful, R&B-style stuff, so I thought I had a place there. So I had an idea I thought I could take back and see if they could do something with it.” That idea was the first song he wrote under his new contract, and it was co-written with Norman Whitfield. It’s difficult to know how Whitfield and Strong started writing together, or much about their writing partnership, even though it was one of the most successful songwriting teams of the era, because neither man was interviewed in any great depth, and there’s almost no long-form writing on either of them. What does seem to have been the case is that both men had been aware of each other in the late fifties, when Strong was a budding R&B star and Whitfield merely a teenager hanging round watching the cool kids. The two may even have written together before — in an example of how the chronology for both Whitfield and Strong seems to make no sense, Whitfield had cowritten a song with Marvin Gaye, “Wherever I Lay My Hat, That’s My Home”, in 1962 — when Strong was supposedly away from Motown — and it had been included as an album track on the That Stubborn Kinda Fellow album: [Excerpt: Marvin Gaye, “Wherever I Lay My Hat, That’s My Home”] The writing on that was originally credited just to Whitfield and Gaye on the labels, but it is now credited to Whitfield, Gaye, and Strong, including with BMI. Similarly Gaye’s 1965 album track “Me and My Lonely Room” — recorded in 1963 but held back – was initially credited to Whitfield alone but is now credited to Whitfield and Strong, in a strange inverse of the way “Money” initially had Strong’s credit but it was later removed. But whether this was an administrative decision made later, or whether Strong had been moonlighting for Motown uncredited in 1962 and collaborated with Whitfield, they hadn’t been a formal writing team in the way Whitfield and Holland had been, and both later seemed to date their collaboration proper as starting in 1966 when Strong returned to Motown — and understandably. The two songs they’d written earlier – if indeed they had – had been album filler, but between 1967 when the first of their new collaborations came out and 1972 when they split up, they wrote twenty-three top forty hits together. Theirs seems to have been a purely business relationship — in the few interviews with Strong he talks about Whitfield as someone he was friendly with, but Whitfield’s comments on Strong seem always to be the kind of very careful comments one would make about someone for whom one has a great deal of professional respect, a great deal of personal dislike, but absolutely no wish to air the dirty laundry behind that dislike, or to burn bridges that don’t need burning. Either way, Whitfield was in need of a songwriting partner when Barrett Strong walked into a Motown rehearsal room, and recognised that Strong’s talents were complementary to his. So he told Strong, straight out, “I’ve had quite a few hit records already. If you write with me, I can guarantee you you’ll make at least a hundred thousand dollars a year” — though he went on to emphasise that that wasn’t a guarantee-guarantee, and would depend on Strong putting the work in. Strong agreed, and the first idea he brought in for his new team earned both of them more than that hundred thousand dollars by itself. Strong had been struck by the common phrase “I heard it through the grapevine”, and started singing that line over some Ray Charles style gospel chords. Norman Whitfield knew a hook when he heard one, and quickly started to build a full song around Strong’s line. Initially, by at least some accounts, they wanted to place the song with the Isley Brothers, who had just signed to Motown and had a hit with the Holland-Dozier-Holland song “This Old Heart of Mine”: [Excerpt: The Isley Brothers, “This Old Heart of Mine (Is Weak For You)”] For whatever reason, the Isley Brothers didn’t record the song, or if they did no copy of the recording has ever surfaced, though it does seem perfectly suited to their gospel-inflected style. The Isleys did, though, record another early Whitfield and Strong song, “That’s the Way Love Is”, which came out in 1967 as a flop single, but would later be covered more successfully by Marvin Gaye: [Excerpt: The Isley Brothers, “That’s the Way Love Is”] Instead, the song was first recorded by the Miracles. And here the story becomes somewhat murky. We have a recording by the Miracles, released on an album two years later, but some have suggested that that version isn’t the same recording they made in 1966 when Whitfield and Strong wrote the song originally: [Excerpt: Smokey Robinson and the Miracles, “I Heard it Through the Grapevine”] It certainly sounds to my ears like that is probably the version of the song the group recorded in 66 — it sounds, frankly, like a demo for the later, more famous version. All the main elements are there — notably the main Ray Charles style hook played simultaneously on Hammond organ and electric piano, and the almost skanking rhythm guitar stabs — but Smokey Robinson’s vocal isn’t *quite* passionate enough, the tempo is slightly off, and the drums don’t have the same cavernous rack tom sound that they have in the more famous version. If you weren’t familiar with the eventual hit, it would sound like a classic Motown track, but as it is it’s missing something… [Excerpt: Smokey Robinson and the Miracles, “I Heard it Through the Grapevine”] According to at least some sources, that was presented to the quality control team — the team in which Whitfield had started his career, as a potential single, but they dismissed it. It wasn’t a hit, and Berry Gordy said it was one of the worst songs he’d ever heard. But Whitfield knew the song was a hit, and so he went back into the studio and cut a new backing track: [Excerpt: Marvin Gaye, “I Heard it Through the Grapevine (backing track only)”] (Incidentally, no official release of the instrumental backing track for “I Heard it Through the Grapevine” exists, and I had to put that one together myself by taking the isolated parts someone had uploaded to youtube and synching them back together in editing software, so if there are some microsecond-level discrepancies between the instruments there, that’s on me, not on the Funk Brothers.) That track was originally intended for the Temptations, with whom Whitfield was making a series of hits at the time, but they never recorded it at the time. Whitfield did produce a version for them as an album track a couple of years later though, so we have an idea how they might have taken the song vocally — though by then David Ruffin had been replaced in the group by Dennis Edwards: [Excerpt: The Temptations, “I Heard it Through the Grapevine”] But instead of giving the song to the Temptations, Whitfield kept it back for Marvin Gaye, the singer with whom he’d had his first big breakthrough hit and for whom his two previous collaborations with Strong – if collaborations they were – had been written. Gaye and Whitfield didn’t get on very well — indeed, it seems that Whitfield didn’t get on very well with *anyone* — and Gaye would later complain about the occasions when Whitfield produced his records, saying “Norman and I came within a fraction of an inch of fighting. He thought I was a prick because I wasn't about to be intimidated by him. We clashed. He made me sing in keys much higher than I was used to. He had me reaching for notes that caused my throat veins to bulge.” But Gaye sang the song fantastically, and Whitfield was absolutely certain they had a sure-fire hit: [Excerpt: Marvin Gaye, “I Heard it Through the Grapevine”] But once again the quality control department refused to release the track. Indeed, it was Berry Gordy personally who decided, against the wishes of most of the department by all accounts, that instead of “I Heard it Through the Grapevine” Gaye’s next single should be a Holland-Dozier-Holland track, “Your Unchanging Love”, a soundalike rewrite of their earlier hit for him, “How Sweet It Is”. “Your Unchanging Love” made the top thirty, but was hardly a massive success. Gordy has later claimed that he always liked “Grapevine” but just thought it was a bit too experimental for Gaye’s image at the time, but reports from others who were there say that what Gordy actually said was “it sucks”. So “I Heard it Through the Grapevine” was left on the shelf, and the first fruit of the new Whitfield/Strong team to actually get released was “Gonna Give Her All the Love I’ve Got”, written for Jimmy Ruffin, the brother of Temptations lead singer David, who had had one big hit, “What Becomes of the Brokenhearted” and one medium one, “I’ve Passed This Way Before”, in 1966. Released in 1967, “Gonna Give Her All the Love I’ve Got” became Ruffin’s third and final hit, making number 29: [Excerpt: Jimmy Ruffin, “Gonna Give Her All the Love I’ve Got”] But Whitfield was still certain that “Grapevine” could be a hit. And then in 1967, a few months after he’d shelved Gaye’s version, came the record that changed everything in soul: [Excerpt: Aretha Franklin, “Respect”] Whitfield was astounded by that record, but also became determined he was going to “out-funk Aretha”, and “I Heard it Through the Grapevine” was going to be the way to do it. And he knew someone who thought she could do just that. Gladys Knight never got on well with Aretha Franklin. According to Knight’s autobiography this was one-sided on Franklin’s part, and Knight was always friendly to Franklin, but it’s also notable that she says the same about several other of the great sixties female soul singers (though not all of them by any means), and there seems to be a general pattern among those singers that they felt threatened by each other and that their own position in the industry was precarious, in a way the male singers usually didn’t. But Knight claimed she always *wished* she got on well with Franklin, because the two had such similar lives. They’d both started out singing gospel as child performers before moving on to the chitlin circuit at an early age, though Knight started her singing career even younger than Franklin did. Knight was only four when she started performing solos in church, and by the age of eight she had won the two thousand dollar top prize on Ted Mack’s Amateur Hour by singing Brahms’ “Lullaby” and the Nat “King” Cole hit “Too Young”: [Excerpt: Nat “King” Cole, “Too Young”] That success inspired her, and she soon formed a vocal group with her brother Bubba, sister Brenda and their cousins William and Eleanor Guest. They named themselves the Pips in honour of a cousin whose nickname that was, and started performing at talent contests in Atlanta Chitlin’ Circuit venues. They soon got a regular gig at one of them, the Peacock, despite them all being pre-teens at the time. The Pips also started touring, and came to the attention of Maurice King, the musical director of the Flame nightclub in Detroit, who became a vocal coach for the group. King got the group signed to Brunswick records, where they released their first single, a song King had written called “Whistle My Love”: [Excerpt: The Pips, “Whistle My Love”] According to Knight that came out in 1955, when she was eleven, but most other sources have it coming out in 1958. The group’s first two singles flopped, and Brenda and Eleanor quit the group, being replaced by another cousin, Edward Patten, and an unrelated singer Langston George, leaving Knight as the only girl in the quintet. While the group weren’t successful on records, they were getting a reputation live and toured on package tours with Sam Cooke, Jackie Wilson, and others. Knight also did some solo performances with a jazz band led by her music teacher, and started dating that band’s sax player, Jimmy Newman. The group’s next recording was much more successful. They went into a makeshift studio owned by a local club owner, Fats Hunter, and recorded what they thought was a demo, a version of the Johnny Otis song “Every Beat of My Heart”: [Excerpt: The Pips, “Every Beat of My Heart (HunTom version)”] The first they knew that Hunter had released that on his own small label was when they heard it on the radio. The record was picked up by VeeJay records, and it ended up going to number one on the R&B charts and number six on the pop charts, but they never saw any royalties from it. It brought them to the attention of another small label, Fury Records, which got them to rerecord the song, and that version *also* made the R&B top twenty and got as high as number forty-five on the pop charts: [Excerpt: Gladys Knight and the Pips, “Every Beat of My Heart (Fury version)”] However, just because they had a contract with Fury didn’t mean they actually got any more money, and Knight has talked about the label’s ownership being involved with gangsters. That was the first recording to be released as by “Gladys Knight and the Pips”, rather than just The Pips, and they would release a few more singles on Fury, including a second top twenty pop hit, the Don Covay song “Letter Full of Tears”: [Excerpt: Gladys Knight and the Pips, “Letter Full of Tears”] But Knight had got married to Newman, who was by now the group’s musical director, after she fell pregnant when she was sixteen and he was twenty. However, that first pregnancy tragically ended in miscarriage, and when she became pregnant again she decided to get off the road to reduce the risk. She spent a couple of years at home, having two children, while the other Pips – minus George who left soon after – continued without her to little success. But her marriage was starting to deteriorate under pressure of Newman’s drug use — they wouldn’t officially divorce until 1972, but they were already feeling the pressure, and would split up sooner rather than later — and Knight  returned to the stage, initially as a solo artist or duetting with Jerry Butler, but soon rejoining the Pips, who by this time were based in New York and working with the choreographer Cholly Atkins to improve their stagecraft. For the next few years the Pips drifted from label to label, scoring one more top forty hit in 1964 with Van McCoy’s “Giving Up”, but generally just getting by like so many other acts on the circuit. Eventually the group ended up moving to Detroit, and hooking up with Motown, where mentors like Cholly Atkins and Maurice King were already working. At first they thought they were taking a step up, but they soon found that they were a lower tier Motown act, considered on a par with the Spinners or the Contours rather than the big acts, and according to Knight they got pulled off an early Motown package tour because Diana Ross, with whom like Franklin Knight had something of a rivalry, thought they were too good on stage and were in danger of overshadowing her. Knight says in her autobiography that they “formed a little club of our own with some of the other malcontents” with Martha Reeves, Marvin Gaye, and someone she refers to as “Ivory Joe Hunter” but I presume she means Ivy Jo Hunter (one of the big problems when dealing with R&B musicians of this era is the number of people with similar names. Ivy Jo Hunter, Joe Hunter, and Ivory Joe Hunter were all R&B musicians for whom keyboard was their primary instrument, and both Ivy Jo and just plain Joe worked for Motown at different points, but Ivory Joe never did) Norman Whitfield was also part of that group of “malcontents”, and he was also the producer of the Pips’ first few singles for Motown, and so when he was looking for someone to outdo Aretha, someone with something to prove, he turned to them. He gave the group the demo tape, and they worked out a vocal arrangement for a radically different version of the song, one inspired by “Respect”: [Excerpt: Gladys Knight and the Pips, “I Heard it Through the Grapevine”] The third time was the charm, and quality control finally agreed to release “I Heard it Through the Grapevine” as a single. Gladys Knight always claimed it had no promotion, but Norman Whitfield’s persistence had paid off — the single went to number two on the pop charts (kept off the top by “Daydream Believer”), number one on the R&B charts, and became Motown’s biggest-selling single *ever* up until that point. It also got Knight a Grammy nomination for Best R&B Vocal Performance, Female — though the Grammy committee, at least, didn’t think she’d out-Aretha’d Aretha, as “Respect” won the award. And that, sadly, sort of summed up Gladys Knight and the Pips at Motown — they remained not quite the winners in everything. There’s no shame in being at number two behind a classic single like “Daydream Believer”, and certainly no shame in losing the Grammy to Aretha Franklin at her best, but until they left Motown in 1972 and started their run of hits on Buddah records, Gladys Knight and the Pips would always be in other people’s shadow. That even extended to “I Heard It Through the Grapevine” when, as we’ll hear in part two of this story, Norman Whitfield’s persistence paid off, Marvin Gaye’s version got released as a single, and *that* became the biggest-selling single on Motown ever, outselling the Pips version and making it forever his song, not theirs. And as a final coda to the story of Gladys Knight and the Pips at Motown, while they were touring off the back of “Grapevine’s” success, the Pips ran into someone they vaguely knew from his time as a musician in the fifties, who was promoting a group he was managing made up of his sons. Knight thought they had something, and got in touch with Motown several times trying to get them to sign the group, but she was ignored. After a few attempts, though, Bobby Taylor of another second-tier Motown group, the Vancouvers, also saw them and got in touch with Motown, and this time they got signed. But that story wasn’t good enough for Motown, and so neither Taylor nor Knight got the credit for discovering the group. Instead when Joe Jackson’s sons’ band made their first album, it was titled Diana Ross Presents the Jackson 5. But that, of course, is a story for another time…

Aujourd'hui on se penche sur "Hitch-Hike" de Marvin Gaye et sur les débuts de l'un des artistes phares de la Motown. PLAYLIST Marvin Gaye The Marquees, "Wyatt Earp" Billy Stewart, "Billy's Heartache" Bo Diddley, "Diddley Daddy" Chuck Berry, "Back in the USA" Harvey and the Moonglows, "Mama Loochie" Harvey and the Moonglows, "Twelve Months of the Year" Etta James, "All I Could Do Was Cry" Marvin Gaye, "Let Your Conscience Be Your Guide" The Marvelettes, "Please Mr. Postman" Little Stevie Wonder, "I Call It Pretty Music, But the Old People Call it the Blues". The Spinners, "That's What Girls are Made For" The Marvelettes, "Beechwood 4-5789" Marvin Gaye, "Stubborn Kind of Fellow" Marvin Gaye, "What Kind of Fool Am I ?" Marvin Gaye, "Hitch-Hike" Martha and the Vandellas, "Hitch-Hike"  

A new season comes with a new name and a new logo.  I decided to do something very different for the first episode of the new show and have a special guest on to talk about a  wild life adventure of his own.  I open the season by interviewing my dad about a time in his younger days when he hitchhiked out to Las Vegas to work during his senior year of high school.  I have always been interested but never delved too much into it and this seemed like the perfect time.  

On a chilly December night in 1972 just outside of Boston, Massachusetts, what might have been just a routine traffic stop took an unexpected turn when two police officers trailed a mysterious man in a dark Cadillac and their pursuit spiraled into a high-speed chase and a shoot out. When officers finally caught up to the vehicle and apprehended the driver, the past four months of fear and torment through the greater Boston area would finally come to an end. These are the stories of Kathleen Randall, Deborah Rae Stevens, Ellen Reich, Sandra Ehramjian, Damaris “Synge” Gillispie and Ruth Hamilton.  View source material and photos for this episode at darkdowneast.com/hitchhikemurdererFollow @darkdowneast on Instagram, Facebook, and TikTokTo suggest a case visit darkdowneast.com/submit-caseDark Downeast is an audiochuck and Kylie Media production hosted by Kylie Low.

GIVEAWAY ALERT!  Stand a chance to win Nomads of India merchandise - follow our stories on Instagram for more details! This week, The Musafir Stories speaks with Vatsal Nandu, a traveller and founder of travel community Nomads of India as he takes us to the breathtaking Zanskar and Suru Valley! Today's destination: Zanskar and Suru Valley, Ladakh! Nearest Airport: Srinagar International airport (SXR) Nearest Railway Station: Jammu Railway Station (JAT) Prerequisites:  NA Packing: Good walking shoes, camping gear if needed, AMS medication, warm clothes Time of the year: May-Oct Length of the itinerary: 12 days Itinerary Highlights:  Vatsal shares his experience travelling and hitchhiking across the Zanskar and Suru valley. The journey starts off at Kargil and Vatsal boards a bus to Sanku. Here he explores Kartse Khar ruins and the Maitreya Buddha Statue. He also makes a trip to Parkachik and Panikhar to get a view of the Nun Kun peaks. This covers the Suru valley leg of the journey. Other options include Rangdum monastery, Drang Drung glacier  Next stop is Padum, which is the administrative capital of Zanskar. From here, Vatsal makes trips to Purney and treks to Phugtal monastery, Gonbo Rongjon, Stongdae Monastery, Karsha Monastery, Zangla palace and Shilla waterfall and Sani lake and monastery. This covers the Zanskar leg of the itinerary.  Vatsal also talks about the hospitality of the locals, some options for food and boarding as well as challenges and adventures of travelling solo.  Links: Link to NOI's Instagram: https://www.instagram.com/nomadsofindia/ Link to NOI's facebook page: https://www.facebook.com/nomadsofindia Link to the website: https://nomadsofindia.com/ Link to the blog post: https://nomadsofindia.com/travel-guides/zanskar-valley-ultimate-travel-guide/ Follow the Musafir stories on: Twitter : https://twitter.com/musafirstories?lang=en Facebook: https://www.facebook.com/themusafirstories/ Instagram: https://www.instagram.com/musafirstoriespodcast/?hl=en website: www.themusafirstories.com email: themusafirstories@gmail.com Do follow IVM Podcasts on social media. We are @‌IVMPodcasts on Facebook, Twitter, & Instagram. Follow the show across platforms: Spotify, Google Podcasts, Apple Podcasts, JioSaavn, Gaana, Amazon Music Do share the word with your folks!See omnystudio.com/listener for privacy information.

Episode 98 featuring Taylor Clarke. We start things off with Would You do This for $200? Then we took the Wheel of Shots for a spin – trick shot this show was called Gibson's Worst. We follow that up with some Wasted Mad Libs. Then we do some Weird From the Beard followed by the Flip Cup challenge. Then of course we do some Ur Mah Sister! Lastly - we finish the show off with Walk the Plank! That and so much more. Enjoy. Time Well Wasted is so much more than just a podcast! It's a fully interactive live streamed experience that will have you laughing your ass off. Tune in live every Wednesday at 8:00PM EST if you want the full TWW experience!Want to get featured on our show? Have some content that you'd love for us to check out? Maybe you want to be a guest live on our show? Well don't be shy - reach out to us by email or on our website! Website: https://www.twwshow.netEmail: contact@twwshow.netFor TWW submissions, you can submit everything directly on our submission page! https://www.twwshow.net/submitCheck out our social media!TWW Website: https://www.twwshow.net/TWW on Facebook: https://www.facebook.com/wellwastedTWW on Instagram: https://www.instagram.com/wastedtalkshowTWW on Twitter: https://twitter.com/wastedshowTWW on Twitch: https://www.twitch.tv/tww_showTWW on Tiktok: https://www.tiktok.com/@twwshow

It is Tuesday on The Rickey Smiley Morning Show Podcast. Welcome back after the long Labor Day Weekend. If you have never heard of Burning Man, it is a festival way out in the desert in Nevada. It has been going on for days now but people were stuck at Burning Man because the land was too soggy to drive on and people could not get out. Well that did not stop Chris Rock and Diplo. The two walked six miles away from Burning Man and caught a ride from fans at the back of a pick up truck. Drake gave a fan who spent his furniture money on Drake concert tickets, $50,000 for the love. Tory Lanez recently married the mother of his child, Raina Chassagne. Tory Lanez is serving ten years in prison for the shooting that injured rapper Megan Thee Stallion. Beyoncé's birthday was yesterday while she performed in LA. The international icon turned forty-two years old. Beyoncé had a special guest, with Diana Ross joining her on stage to wish her a happy birthday. Jeff Johnson is back on with The RSMS Crew to tell us Three Things We Need to Know. He spoke about Coach Deion Sanders' impressive  win this weekend against TCU means a lot, not only for University of Colorado but to change the culture of coaching in college football. AND MUCH MORE FUNNY!!!See omnystudio.com/listener for privacy information.

On today's episode:My first public statement on the ‘Burpgate' saga.Does Ivan Milat's death mean it's safe to Hitchhike now?Why sport makes me cry.Examining the problem with the ‘only human' language patternWhat the depraved behaviour showcased in ‘The sound of Freedom' movie reveals about human nature.Understanding some brilliant German rules before we return to Bad Berneck for a family holidayAnd why it is taking me so bloody long to release my 18 models coach training program online.

After being forced to listen to the world's most dangerous podcast by a mysterious passenger at gunpoint, a man finds himself in a high-stakes game of cat and mouse where it becomes clear that not everything is as it seems. On Episode 575 of Trick or Treat Radio we discuss Sympathy for the Devil, from director Yuval Adler! We also pay tribute to the late great Paul Reubens, talk about how virtual sound stages are changing cinema, and how the bar for getting canceled has changed over the years. So grab your tuna melt with cheddar not mozzarella, make sure your underwear aren't too tight, and strap on for the world's most dangerous podcast!Stuff we talk about: Metalocalypse, Dethklok, Brendan Small, the Underground Lair of Lost Swag, long intros, Iron Chef, Samurai Jack, Most Xtreme Elimination Challenge, Takeshi's Castle, Aqua Teen Hunger Force, Invader Zim, Jackass, CKY, Primal, Genndy Tartakovsky, RIP Paul Reubens, Pee Wee Herman, The Tony Atlas of Testicles, Tommy Hil-FIGH-ger, Beau is Afraid, the origin of Rufus and Renaldo, ball reduction surgery, The Belvedere of Balls, Cheech and Chong, Midnight Madness, Phil Hartman, The Gong Show, Pee Wee's Big Adventure, Howard Dean, getting canceled, Cobweb, Talk to Me, overdraft charges, Barbie, Ryan Gosling, Blackout Tapes, Rolling Stones, Joel Kinnaman, Sympathy for the Devil, Martin Freeman, Black Panther, Shooter, Nicolas Cage, Stagecraft, Yuval Adler, Luke Paradise, The Hitcher, Locke, Tom Hardy, Collateral, Tom Cruise, Tuna Melts, Hitch-Hike, Vince Vaughn, Swingers, Altered Carbon, Children of Men, Jason Mamoa, Liam Neeson, Keanu Reeves, My Own Private Idaho, hair helmet, Werewolf Women of the SS, Reservoir Dogs, Wrath of Becky, Wrath of Becky, BSO at the B-House, sitcom couples sleeping in the same bed, Stephen Scarlata, Sharksploitation, Elio's Pizza, “I Am A Real Italian”, how do you make butter, butter flavored topping, Weird Science Table Read, Zombie Grrlz Podcast, Six Degrees of Sitcoms, Olive Garden breadsticks, Dementia is a Hell of a Drug, and Mr. Ballvedere.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

Title: The Expat Pod: Elsa Lagache Subtitle: A North American Adventure with Elsa Episode Number: 014 Release Date: 23/07/2023 Duration: [00:38:52] Welcome to The Expat Pod, the podcast where we explore the ins and outs of living abroad, embracing new cultures, and navigating life as an expat. I'm your host, James Doran, and today, we're diving into what it takes to move from France to the US with Elsa, how she managed to Hitchhike through Mexico on her year abroad, and the wonders on working in New York City. Connect with Us: Website: ⁠⁠https://www.tallmantravels.co.uk/the-expat-pod⁠⁠  Facebook: ⁠⁠https://www.facebook.com/profile.php?id=100089327439022⁠⁠  Instagram: ⁠⁠https://www.instagram.com/the.expat.pod/⁠⁠  Twitter: ⁠⁠https://twitter.com/ExpatPod⁠⁠ LinkedIn: ⁠⁠https://www.linkedin.com/company/the-expat-pod/⁠⁠  Subscribe, Rate, and Review: If you enjoyed this episode of The Expat Pod, please subscribe, rate, and leave us a review on your favorite podcast platform. Your support helps us reach more listeners like you and continue to deliver valuable content on life as an expat. --- Send in a voice message: https://podcasters.spotify.com/pod/show/theexpatpod/message

Young women are murdered in California in the 1970's.Come visit us on YouTube to see the maps, pics, diagrams and much more on this case as well as many others. 

Hello and welcome to number 113! Frank Paradis returns for another bumper episode this week and we are talking about his three-month trip hitchhiking across the Congo River Basin in the Democratic Republic of Congo. Frank's plan was to enter overland from Angola and make it across to Uganda via the DRC jungle in the southwest to the northeast. Frank wanted to avoid planes and see as much on the ground as possible and trust me, this episode has some epic stories.Frank talks us through some of his highs and lows such as running into rebels with machine guns, contracting Malaria with an almost devastating outcome, the amazing Congolese people who really helped him on his way, seeing the Bonobos in the wild whilst 'volunteering', having to wade through the jungle water in barefoot and so many more! There is a reason this episode is nearly three hours long. A truly unique story and one which will inspire some wanderlust in you.Enjoy and be inspired!Frank's Contact DetailsFacebook - https://www.facebook.com/profile.php?id=100015965017185 - please feel free to contact Frank anytime on Messenger if you have any questions about travel.Email - fxpg1999@gmail.comWinging It Travel PodcastHost/Creator/Writer/Composer/Editor - James HammondProducer - James HammondPodcast Art Design - Swamp Soup Company - Harry UttonPodcast SupportDiscovery Car Hire - https://www.discovercars.com/?a_aid=Jhammo89Merch Store - https://www.teepublic.com/stores/winging-it-travel-podcast?ref_id=25823Want some insurance whilst travelling and/or working remotely? Book below with SafetyWing.https://safetywing.com?referenceID=wingingittravelpodcast&utm_source=wingingittravelpodcast&utm_medium=AmbassadorBook Flights With Expedia Canadahttps://prf.hn/click/camref:1100lqfY7/creativeref:1100l68075/destination:https://www.expedia.com/Flights?siteid=1&langid=1033Book Hotels with Hotel.comhttps://hotels.prf.hn/click/camref:1101lqg8U/creativeref:1011l66932/destination:https://uk.hotels.com/?pos=HCOM_UK&locale=en_GBBuy Me A Coffee - https://www.buymeacoffee.com/wingingitEtsy StoreBuy my Digital Travel Planner - https://www.etsy.com/ca/listing/1220056512/digital-travel-planner?click_key=c580edd56767d7b03612dfae3b122f32e15fe1ec%3A1220056512&click_sum=80ff0159&ref=shop_home_recs_2Stickers - https://www.etsy.com/ca/listing/1216492546/winging-it-travel-podcast-stickers?click_key=ed1139c660585f268a8192aa8c136a5915118968%3A1216492546&click_sum=b8a8a048&ref=shop_home_recs_1&frs=1Contact me - jameshammondtravel@gmail.com or message on my social media on the links below.Social Media - follow me on:YouTube - Winging It Travel Podcast https://www.youtube.com/channel/UC173L0udkGL15RSkO3vIx5AInstagram - wingingittravelpodcast - https://www.instagram.com/wingingittravelpodcast/TikTok - wingingittravelpodcast - https://www.tiktok.com/@wingingittravelpodcastFacebook - Winging It Travel Podcast - https://www.facebook.com/jameshammondtravelTwitter - https://twitter.com/PodcastWingingReview - please head to Podchaser and leave a review for this podcast - https://www.podchaser.com/podcasts/winging-it-travel-podcast-1592244 or alternately you can leave a review and rating wherever you get your podcasts! MY SISTER PODCAST/YOUTUBE CHANNEL - The Trendy Coffee PodcastPlease follow and subscribe below.YouTube Channel - https://www.youtube.com/channel/UCgB8CA0tAk3ILcqEZ39a33gPodcast Links - https://linktr.ee/thetrendycoffeepodcastThanks for your support, James!

Our Special Subject this month is the films of Jacqueline Audry, a fairly recently rediscovered postwar French director. We watched all of the films we could find with English subtitles: Gigi (1949), Olivia (1951), Huis clos/No Exit (1954), and Les petits matins/Hitch-Hike (1962). From literary adaptations of some strong and scandalous material to an unusually gentle New Wave comedy, these films reveal a director who tackles the erotic frankly but not uncritically. We also have a Fear and Moviegoing in Toronto segment this week, in which we share our wildly divergent opinions on the Bob Fosse musical Sweet Charity. Can Shirley MacLaine do what Daniel Day-Lewis could not and save this unnecessary musical adaptation of a Fellini movie? Time Codes: 0h 00m 45s:      Introducing Jacqueline Audry & Colette 0h 15m 49s:      GIGI (1949) [dir. Jacqueline Audry] 0h 31m 28s:      OLIVIA (1951) [dir. Jacqueline Audry] 0h 53m 14s:      HUIS CLOS (1954) [dir. Jacqueline Audry] 1h 03m 43s:      LES PETITS MATINS  (1962) [dir. Jacqueline Audry]      1h 07m 01s:      Fear and Moviegoing in Toronto – Sweet Charity (1969) by Bob Fosse   +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com

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social commentary --- Support this podcast: https://podcasters.spotify.com/pod/show/supasly75/support

Lexi joined me this week to recap Yellowjackets Season 2 Episode 4: Old Wounds. This one is full of hot takes, geeking out over Natalie and her awesomeness, and of course lots of hilariousness with our typical obsessive theorizing. Why is Ben such a whiny little beyotch about being eaten? And why the eff does Mari keep review bombing my podcast?? Episode description: Relive your youth by hitting the road! Go on vacation with a new friend! Hitchhike, if you must! Just make sure you pack a good playlist for the ride. Some recommendations from us: "Anything You Can Do" and "You Get What You Give". Director: Scott Winant Writers: Ashley Lyle / Bart Nickerson / Julia Bicknell As mentioned in the video, donations to my medical fund to fix my stimulator (A cost of $5,000) can be made to the following: Fundraising site: spot.fund.com/kellyneedssurgery Your generosity is appreciated so very much!! ❤ As mentioned in this episode, if you have experience with childhood trauma and/or CPTSD, please check out @patrickteahanlicswtherapy . His videos have been so incredibly helpful for me. The Antler Queens is a disability-led podcast and YouTube channel, and the most inclusive Yellowjackets podcast you'll find. Visit us at theantlerqueenspodcast.com Email us at antlerqueenspodcast.com FB: facebook.com/theantlerqueens IG/Twitter: @theantlerqueens Please comment your thoughts! And let us know what you're most looking forward to in the rest of Season 2! Be sure to follow us on social media so you can stay in the loop on our new live aftershow: "Yellowjackets Afterparty (With The Antler Queens)"! Episodes will air live on YouTube immediately following new Yellowjackets episodes, and we'll be giving away a Yellowjackets letterman jacket on our finale! See you for the next episode coming very soon! Are you a big fan of Christina Ricci, Juliette, Lewis, Melanie Lynskey, or any other member of the Yellowjackets cast, and would like us to discuss one of their other projects? Have some thoughts you'd like to share on this episode or what you'd like us to discuss in the future? Leave a comment. We'd love to hear from you! If you have fan art or fun videos that you'd like to share (that don't include copyright-protected material), and would like us to feature it on our show, email us at antlerqueenspodcast@gmail.com . If you'd like to join a panel discussion or guest co-host an episode, send us a video letting us know what you'd like to talk about! Love, The Antler Queens: A Yellowjackets Podcast | TheAntlerQueens.com

Lexi joined me this week to recap Yellowjackets Season 2 Episode 4: Old Wounds. This one is full of hot takes, geeking out over Natalie and her awesomeness, and of course lots of hilariousness with our typical obsessive theorizing. Why is Ben such a whiny little beyotch about being eaten? And why the eff does Mari keep review bombing my podcast?? Episode description: Relive your youth by hitting the road! Go on vacation with a new friend! Hitchhike, if you must! Just make sure you pack a good playlist for the ride. Some recommendations from us: "Anything You Can Do" and "You Get What You Give". Director: Scott Winant Writers: Ashley Lyle / Bart Nickerson / Julia Bicknell As mentioned in the video, donations to my medical fund to fix my stimulator (A cost of $5,000) can be made to the following: Fundraising site: spot.fund.com/kellyneedssurgery Your generosity is appreciated so very much!! ❤ As mentioned in this episode, if you have experience with childhood trauma and/or CPTSD, please check out @patrickteahanlicswtherapy . His videos have been so incredibly helpful for me. The Antler Queens is a disability-led podcast and YouTube channel, and the most inclusive Yellowjackets podcast you'll find. Visit us at theantlerqueenspodcast.com Email us at antlerqueenspodcast.com FB: facebook.com/theantlerqueens IG/Twitter: @theantlerqueens Please comment your thoughts! And let us know what you're most looking forward to in the rest of Season 2! Be sure to follow us on social media so you can stay in the loop on our new live aftershow: "Yellowjackets Afterparty (With The Antler Queens)"! Episodes will air live on YouTube immediately following new Yellowjackets episodes, and we'll be giving away a Yellowjackets letterman jacket on our finale! See you for the next episode coming very soon! Are you a big fan of Christina Ricci, Juliette, Lewis, Melanie Lynskey, or any other member of the Yellowjackets cast, and would like us to discuss one of their other projects? Have some thoughts you'd like to share on this episode or what you'd like us to discuss in the future? Leave a comment. We'd love to hear from you! If you have fan art or fun videos that you'd like to share (that don't include copyright-protected material), and would like us to feature it on our show, email us at antlerqueenspodcast@gmail.com . If you'd like to join a panel discussion or guest co-host an episode, send us a video letting us know what you'd like to talk about! Love, The Antler Queens: A Yellowjackets Podcast | TheAntlerQueens.com

Hands in Yellowjackies! Buzz, buzz, buzz! Join the team from The You Don't Know Jackie Podcast as they discuss season two episode 4 (Old Wounds) of the Showtime series YELLOWJACKETS.Episode Description:  Relive your youth by hitting the road! Go on vacation with a new friend! Hitchhike, if you must! Just make sure you pack a good playlist for the ride. Some recommendations from us: "Anything You Can Do" and "You Get What You Give".Join the You Don't Know Jackie Patreon  TODAY!!!Show links:A You Don't Know Jackie View:https://podcasts.apple.com/us/podcast/a-you-dont-know-jackie-view/id1607388820You Don't Know Jackie Podcast:https://podcasts.apple.com/us/podcast/you-dont-know-jackie/id1468991220Squid Game Podcast: A You Don't Know Jackie View:https://podcasts.apple.com/us/podcast/squid-game-podcast-a-you-dont-know-jackie-view/id1589712731You Don't Know Jackie Facebook:https://m.facebook.com/You-Dont-Know-Jackie-360294407942565/You Don't Know Jackie Instagram:https://www.instagram.com/youdontknowjackie/?r=nametagYou Don't Know Jackie Twitter:https://mobile.twitter.com/JackiepodcastYou Don't Wanna Know Corey Instagram:https://www.instagram.com/youdontwannaknowcorey/?r=nametagLet's Talk AEWhttps://podcasts.apple.com/us/podcast/lets-talk-aew/id1588431937Let's Talk AEW Twitterhttps://twitter.com/letstalkaewThe Sports Witness Podcasthttps://podcasts.apple.com/us/podcast/the-sports-witness/id1679419825?i=1000606166279Support the show

In the late 1970s, terror struck the heart of Isla Vista, a small college town in central California, when three young women mysteriously disappeared without a trace. Months after the abductions began, the body of one of the victims was found in the ditch of a remote country road. Was the perpetrator a transient passing through, or was it possible that the killer was a part of their community, a wolf in sheep's clothing? Join Cassie, Marc, and a special guest, Cassie's husband Logan, as they discuss the ins and outs of the case. Submit questions and case suggestions HERE. Email us at: cantmakethisshituppod@gmail.com Contact us by mail at: P.O. Box 903 Solvang, CA 93464 Source Material: Born To Kill: Thor Christiansen Documentary Thor Nis Christiansen Thor Nis CHRISTIANSEN

This episode: Bacteriophages can hitch a ride on bacteria they don't infect to travel through soil on fungal filaments, potentially helping their carriers by infecting and killing their competitors! Download Episode (7.1 MB, 10.3 minutes) Show notes: Microbe of the episode: Epinotia aporema granulovirus News item Takeaways For tiny bacteria, partially dry soil can be like a vast system of caverns, with particles of soil separated by air-filled spaces much bigger than individual bacteria. Not all bacteria can swim through liquid, and those that can't simply try to thrive as best they can wherever they may be. But for those that can swim, fungi and other filamentous organisms can form bridges between soil particles that motile bacteria can swim across, reaching new places. In this study, phages were found to hitch a ride on bacteria they don't normally infect, crossing fungus-like filaments to new places and infecting the bacteria they find there. The bacteria carrying them can also benefit from this interaction, since the phages help the carrier bacteria compete and establish a colony in the new location.   Journal Paper: You X, Kallies R, Kühn I, Schmidt M, Harms H, Chatzinotas A, Wick LY. 2022. Phage co-transport with hyphal-riding bacteria fuels bacterial invasion in a water-unsaturated microbial model system. 5. ISME J 16:1275–1283.   Other interesting stories: Fungus species discovered in spacecraft assembly facility Oral microbes uniquely influence immune system interaction with mouth bones   Email questions or comments to bacteriofiles at gmail dot com. Thanks for listening! Subscribe: Apple Podcasts, Google Podcasts, Android, or RSS. Support the show at Patreon, or check out the show at Twitter or Facebook.

Empowerment and finding your unique lane and understanding your unique contribution is what we are missing in today's world. Put in another way, understanding your self and finding your purpose is the key to unlocking many of our collective issues. That's the mission behind Debra's extensive work pairing Astrology and psychology, and it's a boldly-embodied mission of our guest, Janne Robinson.   Blunt, raw, and immediately accessible emotionally, intellectually, and spiritually to all who read her words, Janne Robinson is a societal visionary, author, film director, and coach who swings from the very first sentence. Robinson's work as an artist and facilitator is to encourage people to become accessible to their truths. She believes that our world is sick—and truth is our medicine.    Janne and Debra share many common threads- from the celebration of women's power and entrepreneurship, to the liberation of our planet, to the brightly-colored tapestry that is a Gemini's personality, and so much in between. Debra highlights these connections and also breaks down where there are differences between her and Janne as seen in Janne's Astrological chart, like how the big, spontaneous, and loud effects of Jupiter play a part in giving Janne “extra juju”.    Hitchhike on a moving trip to Sedona that Janne recalls having a profound impact on her, and how leaning into the indigenous lessons of that trip have instilled new perspectives on the importance of being in right relation to the planet and to others. This conversation with Janne and Debra is rich with wisdom on our history as tribal people, the power of intuition, and individual empowerment with authentic living.    “Let there be no reason to not eat this life alive.” Enjoy!   This Is For The Women Who Don't Give A Fuck: https://amzn.to/3ZRR2rp  Website: www.jannerobinson.com Instagram: @jannerobinson Key Highlights From The Episode Empowerment and leaning into your purpose How everyone identifying their own unique lane (and staying in) would be a game-changer Moving out of outdated societal perspectives  Happiness in life does not equate to the economy game we play How Astrology helps to integrate and name parts of who we are Timestamps [03:11] How Janne would describe herself and her work [04:50] Janne's three books [05:55] Janne's Astrological chart [08:06] Janne's thoughts on how we help the planet and her big message [11:00] What Janne wishes people would do [11:44] Something that Janne can't live without [12:51] What Janne would be doing if she wasn't captured by her cause [14:02] Janne's definition of liberation [15:00] A shared function of the Gemini energy in Janne and Debra [16:16] Looking back at Janne's chart and identifying Janne's energy  [16:57] The gift of Astrology in identifying your purpose [17:30] How Janne works with women [18:32] Janne's perspective as a Renaissance woman and how that shows up in her work [20:32] Where Janne and Debra are different (a nod to Taurus and Gemini) [21:59] Debra's perspective on intimacy and relationships [23:50] How Janne's commitment to being so thoroughly herself shows up in her chart [26:52] How we lived in the past and how we are living (and need to live) now [28:51] How we can be colorful without wearing a costume [29:11] What Janne was like growing up, building her own world, and how that connects to her Astrological chart [30:58] Who Janne would want to have a conversation with across time and history [32:00] Janne's experience in Sedona and what she felt in her intuitive body [36:46] The last time Janne had a good cry [38:05] Janne's experiences with and reflections on Astrology [39:18] What Janne wished Debra asked her about [41:17] A message from Debra on comparisonitis  [42:47] The right answers to moving forward [43:58] Finishing with a prayer [45:04] Where and how to find Janne [47:06] Janne's reflections of appreciation towards Debra      

In the late 1970s, terror struck the hearts of Isla Vista, a small college town in central California, when three young women mysteriously disappeared without a trace. Months after the abductions began, the body of one of the victims was found in the ditch of a remote country road. Was the perpetrator a transient passing through, or was it possible that the killer was a part of their community, a wolf in sheep's clothing? Join Cassie, Marc, and a special guest, Cassie's husband Logan, as they discuss the ins and outs of the case. Submit questions and case suggestions HERE. Email us at: cantmakethisshituppod@gmail.com Contact us by mail at: P.O. Box 903 Solvang, CA 93464 Source Material: Born To Kill: Thor Christiansen Documentary Thor Nis Christiansen Thor Nis CHRISTIANSEN

The Break Room (FRIDAY 2/17/23) 6am Hour Includes:  1) If you're from Rochester and grew up here, how the hell did you make this mistake? 2) The fact that this man made it as far as he did without driving his own personal vehicle is pretty impressive.... also scary. 3) It turns out that despite participating in this as kids we know absolutely nothing about this outdoor sport. 

“In the early 1950s, Spree Killer, William “Cockeyed” Cook, terrorized the American Southwest leading to the deaths of six people”Written by: Tim ScottHosts: Chuck Walters, Brandy Herrman, and Tim ScottEditor and Audio Engineer: Thadd Scott Hosted on Acast. See acast.com/privacy for more information.

This week on Multiverse, I'm joined by Anthony, co-host of the We Have Issues Podcast, as we go back to 1977 for everyone's favorite teen heroes the Wonder Twins!! Not only were they honorary members of the Superfriends, they helped out the troubled youth of the 70s! We watch and talk the episode Hitchhike! Join us for such topics as saving your bus fare for the jukebox, heroes introduced in cartoons before comics, the teen trouble alert, Zan's powers being next to useless, and space monkeys!! All this and more as we talk "shape of...animation!" and "form of...cartoon!"

 DownloadWelcome to episode 299 of LOTC. This week the crew is joined by a guest that everyone who has listened to the show knows as a verb, noun, pronoun, adjective and so many other things, its the bensch himself Greg Bensch. Greg is a long time listener and supporter of the show as well as a regular caller that has caused a world wide phenomena, YOU GOT BENSCHED. We love Greg and we are so proud to have him join us for this weeks show. So what is the theme this week? Greg came up with the theme Road Trip or Travel horror. Those movies that involve a road trip and possibly travel that turns horrific or wrong. With the holidays coming up, road trips are very common, so what better theme then a whole show dedicated to those type movies. The Crew tackle a total of five feature film reviews as well as numerous recommendations from YOU the listeners. While you listen to this show we hope that you will get your pens and pencils out to right down any and all recommendations mentioned. Sit back, turn up the volume and take a journey with the crew through the Land Of The Creeps. Below will be links to the hosts as well as Breg Bensch. Also links for the creators of the music at the beginning and end of the episode. We also have links for the LOTC adopted band Lespecial. Check out any and all of these links. We also have our ratings for the movies featured in our reviews. Links will be up for purchases via Amazon or any other site for your convenience. Also if you LOVE the podcast and would like to have some of the LOTC swag, link to the store is on the side bar. We would love your support as well as know that there are a large family wearing our gear. HELP KEEP HORROR ALIVEMOVIE REVIEWS :DEATH VALLEY 1982Run Time : 1hr 27 min. Directed By : Dick RichardsStarring : Paul Le Mat, Catherine Hicks, Stephen McHattie and Peter BillingsleyRatings : Greg Bensch : 7Bill : 6.5Pearl : 7GregaMortis : 7.5Purchase Amazon Blu-RayDEAD END 2003Run Time : 1hr 27 min.Directed By : Jean-Baptiste Andrea & Fabrice CanepaStarring : Ray Wise, Lin Shaye, Mick CainRatings :Dave : 8Bill : 7.5Greg Bensch : 6Pearl : 8GregaMortis : 7.5Purchase Amazon DVDFEEDERS 1996Run Time : 1 hr 9 min.Directed By : Jon McBride, John Polonia, Mark PoloniaStarring : Jon McBride, John Polonia, Sebastian BarranBill : 4Greg Bensch : 3Pearl : .5GregaMortis : 2.5SOUTHBOUND 2015Run Time : 1 hr 29 min.Director : Matt Bettinelli-Olpin, Roxanne Benjamin, Susan BurkeStarring : Chad Villella, Matt Bettinelli-Olpin, Kristina PesicPearl : 8.5Bill : 6.5Greg Bensch : 7Dave : 9GregaMortis : 8.5Purchase Amazon Blu-RayHitch-Hike 1977Run Time : 1 hr 44 min.Director : Pasquale Festa CampanileStarring : Franco Nero, Corinne Clery, David HessGregaMortis : 8.5Dave : 8.5Bill : 7Greg Bensch : 8Pearl : 8.5Purchase Amazon Greg Bensch LinksFaceBookTwitterInstagramLetterboxdLOTC Links :Land Of The Creeps InstagramGregaMortisFacebookTwitterLand Of The Creeps Group PageLand Of The Creeps Fan PageJay Of  The Dead's New Horror Movie PodcastYoutubeInstagramEmailLetterboxdHaddonfield HatchetTwitterLand Of The Creeps TwitterDr. ShockDVD Infatuation TwitterDVD Infatuation WebsiteFacebookHorror Movie PodcastJay Of The Dead's New Horror Movies PodcastYouTube ChannelLetterboxdDVD Infatuation PodcastThe Illustrated Fan PodcastBill Van Veghel LinkFacebookLetterboxdPhantom Galaxy PodcastTwisted Temptress LinkLetterboxdLOTC Hotline Number1-804-569-56821-804-569-LOTCLOTC Intro is provided by Andy Ussery, Below are links to his social mediaEmail:FacebookTwitterOutro music provided by Greg Whitaker Below is Greg's Twitter accountTwitterFacebookLespecial FacebookLespecial Website

Goin' on the road with nothin' but the shirts upon their backs. The abduction of Lizzie.Scattershot Symphony is presented by Watchfire Music watchfiremusic.com 

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

"Invasion of the Hydronoids / Hitchhike / City in a Bottle / Space Emergency" Aired: September 24, 1977 Batman, Robin and Aquaman must stop an "Invasion of the Hydronoids.  Next, the Wonder Twins teach a lessson in how dangerous it is to "Hitchhile".  Then, the combied Justice League travel to another world to save a "City in a Bottle".  Finally, Wonder Woman and special guests. Hawkman and Hawkgirl, must rescue Skylab and Space Shuttle in a "Space Emergency". John and Dan Greenfield of 13th Dimension discuss the Brave and the Bold vibe of the first story, the creepiness of the Wonder Twins story, and the differences between Filmation and Ruby Spears Hawkman, along with the introduction of Hawkgirl. Dan references The Ultimate Super Friends Companion by Will Rodgers.  Check it out for yourself by purchasing a copy via Amazon.   Dan Greenfield is the editor and co-creator of 13thDimension.com, a website devoted primarily to comics and pop culture, past and present. To him, the basic food groups are Batman, Planet of the Apes, Star Trek (the Original Series), James Bond, the Beatles and the Stones. But if he had to he'd be able to subsist on Batman alone. Channel 11 in New York was his favorite syndicated channel as a kid -- you can guess why -- followed closely by Channel 5. Channel 9 didn't really enter into it unless he was home sick and there wasn't much else on. He's married to his remarkably patient wife Wendy and his best sidekick is his son, Sam. They have two cats,Lex and Zod.   Links 13th Dimension Website Facebook page Twitter  

Craig Umland joins Carmela this week to attempt our game of connections. Listen in and play along! Here are today's clues: 1. Nose, Boiled, Head, Knock. 2. Hitchhike, Snub, Green, Tom. 3. Element, Tire, Waker, Head. 4. Think, World, Strokes, Perspective.

In the 1960s and 1970s, it was an accepted form of cross-country travel until, suddenly, it wasn't. Have you, would you … hitchhike?It's back!! Every Fall, we can count on a few things - the leaves changing colors, the air getting colder, and the return of the pumpkin spice latte. Why is it so popular? And you can get a pumpkin scented WHAT?!The recent hurricane in Florida brought death, destruction, and another opportunity to revive the famous internet hoax where people photoshop a shark into flooded city streets, railways, and backyards. So it was fake again this time, wasn't it?***Episode Sources/Go Deeper:https://www.vox.com/2015/6/8/8737623/hitchhikinghttps://www.theguardian.com/food/2022/sep/26/pumpkin-spice-latte-sales-ushttps://www.vox.com/culture/2018/8/29/17791082/pumpkin-spice-latte-starbucks-backlash-explainedhttps://www.nytimes.com/2022/09/30/us/hurricane-shark-ian-hoax.htmlhttp://www.commutethepodcast.comFollow Commute:Instagram - instagram.com/commutethepodcast/Twitter - @PodcastCommuteFacebook - facebook.com/commutethepodcast

Situated in the middle of a wild and beautiful outdoor playground, the town ofSmithers, British Columbia, Canada, rests at the foot of the luminous Hudson BayMountain. The town is located halfway between Prince George and Prince Rupert alongthe 450-mile evergreen-lined Highway 16. Currently, most of the inhabitants of Smithersare of European descent. The First Nations people, notably the Wet'suwet'en, called this land home for thousands of years. Now there are only about 8% of the current population are First Nations people.And even though the entire area of the Bulkley Valley is untamed, wild, andpeacefully scenic, there is another, darker side of the valley. All along Highway 16 arebillboards with the following warning: Girls Don't Hitchhike on the Highway of Tears.Killer on the Loose.Ramona Wilson was sixteen and a member of the Gitxsan nation. She was looking forward to going to a dance with several of her friends on a cool and calm evening in June of 1994, but she never made it to the dance. She simply vanished into the inky-blue twilight.Unfortunately, she's not the only one.Join Cam & Jen as we discuss Ramona Wilson, MMIWG, and the Highway of Tears.If you have any info about Ramona Wilson or any of the other 18 women mentioned in this episode, please call the British Columbia Crimestoppers at 1-800-222-8477.Promo from Murder in My FamilyThanks to the OTCP teamListener Discretion by Edward @OctoberpodVHS. You can find him on all your podcast apps or at https://www.youtube.com/c/octoberpodhomevideoProducer and theme music by Nico Vettesewetalkofdreams.comResearched and written by Lauretta AllenSources:https://www.cbc.ca/missingandmurdered/mmiw/profiles/ramona-lisa-wilsonhttps://zeph456.medium.com/who-killed-ramona-wilson-650858327d16https://thehueandcry.com/ramona-wilsonhttps://www.todayinbc.com/news/ramona-wilson-memorial-walk-twenty-five-years-but-still-no-closure/https://hazlitt.net/feature/death-and-afterlife-ramona-wilsonhttp://www.justicefornativewomen.com/2016/05/the-unsolved-murder-of-ramona-wilson.html?m=1https://www.interior-news.com/news/ramona-wilson-parade-marks-26th-anniversary-of-teens-disappearance/https://www.interior-news.com/news/ramona-wilson-memorial-walk-twenty-five-years-but-still-no-closure/https://www.cbc.ca/missingandmurdered/mmiw/profiles/ramona-lisa-wilsonhttps://www.youtube.com/watch?v=CsZkus8Rsmghttps://www.youtube.com/watch?v=YTW67EMWHu4&t=931shttps://www.findagrave.com/memorial/141655028/ramona-lisa-wilsonhttps://www.rcmp-grc.gc.ca/cc-afn/wilson-ramona-eng.htmhttps://en.wikipedia.org/wiki/Highway_of_Tearshttps://www.cftktv.com/27th-annual-ramona-wilson-memorial-walk-held-in-smithers-1.5470349https://about.rogers.com/news-ideas/working-together-to-support-safe-passage-along-the-highway-of-tears-for-indigenous-women-like-ramona-lisa-wilson/https://www.mmiwg-ffada.ca/wp-content/uploads/2019/06/20181128_MMIWG_Prince_George_B._Wilson_Statement_Vol_602_Public.pdfhttps://globalnews.ca/news/1447495/bc-crimestoppers-the-case-of-missing-16-year-old-ramona-wilson-of-smithers/https://www.tv-eh.com/2016/09/16/taken-highway-of-tears-ramona-wilson-and-alberta-williams/https://www.wcls.org/book-buzz-highway-of-tears/https://www.oas.org/en/iachr/reports/pdfs/indigenous-women-bc-canada-en.pdfhttps://www.newspapers.com/image/legacy/508837116/?terms=Ramona%20Wilson&match=1https://www.newspapers.com/image/legacy/508837781/?terms=Ramona%20Wilson&match=1https://www.newspapers.com/image/legacy/508830047/?terms=Ramona%20Wilson&match=1https://www.newspapers.com/image/legacy/508833476/?terms=Ramona%20Wilson&match=1https://www.newspapers.com/image/legacy/508835887/?terms=Ramona%20Wilson&match=1https://www.newspapers.com/image/legacy/496224219/?terms=Ramona%20Wilson&match=1https://www.newspapers.com/image/legacy/508830833/?terms=Ramona%20Wilson&match=1https://www.newspapers.com/image/legacy/508828579/?terms=Ramona%20Wilson&match=1https://www.newspapers.com/image/legacy/329086169/?terms=Ramona%20Wilson&match=1https://www.newspapers.com/image/legacy/329121381/?terms=Ramona%20Wilson&match=1https://www.newspapers.com/image/legacy/508829563/?terms=Ramona%20Wilson&match=1https://www.newspapers.com/image/legacy/496224157/?terms=Ramona%20Wilson&match=1https://www.newspapers.com/image/legacy/325310472/?terms=Ramona%20Wilson&match=1https://www.youtube.com/watch?v=QDALk_yImmEhttps://www.youtube.com/watch?v=d1pDbpXR21M https://www.thehueandcry.com/delphine... https://unidentified.wikia.org/wiki/D... http://www.justicefornativewomen.com/... https://www.cbc.ca/missingandmurdered... http://www.doenetwork.org/cases/707df... https://missingkids.ca/en/missing-chi... https://www.services.rcmp-grc.gc.ca/m... https://rcccmcc.com/2020/01/08/delphi... http://www.thecanadianencyclopedia.ca... https://unidentified.wikia.org/wiki/C... https://www.cbc.ca/missingandmurdered... http://www.justicefornativewomen.com/... http://www.doenetwork.org/cases/3474d...https://www.newspapers.com/image/legacy/495090395/?terms=Delphine%20Nikal&match=1https://www.newspapers.com/image/legacy/508815339/?terms=Delphine%20Nikal&match=1https://www.newspapers.com/image/legacy/466826757/?terms=Delphine%20Nikal&match=1https://www.newspapers.com/image/legacy/559123191/?terms=Delphine%20Nikal&match=1https://www.newspapers.com/image/legacy/496935874/?terms=Delphine%20Nikal&match=1https://www.newspapers.com/image/legacy/496928980/?terms=Delphine%20Nikal&match=1https://www.newspapers.com/image/legacy/505740277/?terms=Delphine%20Nikal&match=1https://www.newspapers.com/image/legacy/325472797/?terms=Delphine%20Nikal&match=1https://thehueandcry.com/delphine-nikalhttps://www.youtube.com/watch?v=QDALk_yImmEhttps://www.youtube.com/watch?v=d1pDbpXR21Mhttps://en.wikipedia.org/wiki/Smithers,_British_Columbia#Education,_health_&_emergency_serviceshttps://www.google.com/maps/place/Smithers,+BC,+Canada/@55.0577103,-128.84505,7.75z/data=!4m13!1m7!3m6!1s0x547509629c5d2717:0xa65b2375f04cb24f!2sSmithers,+BC,+Canada!3b1!8m2!3d54.782355!4d-127.1685541!3m4!1s0x547509629c5d2717:0xa65b2375f04cb24f!8m2!3d54.782355!4d-127.1685541https://tourismsmithers.com/plan-your-visit/about-smithershttps://en.wikipedia.org/wiki/Highway_of_Tearshttp://www.scsa.ca/programs/other-services/smithers-and-district-transithttps://globalnews.ca/news/1447495/bc-crimestoppers-the-case-of-missing-16-year-old-ramona-wilson-of-smithers/https://en.wikipedia.org/wiki/Missing_and_murdered_Indigenous_women#Controversies_and_Findings_of_the_2015_Reporthttps://unidentified-awareness.fandom.com/wiki/Delphine_Nikalhttps://en.wikipedia.org/wiki/E-Panahttps://www.newspapers.com/image/legacy/325435693/?terms=Nicole%20Hoar&match=1https://www.newspapers.com/image/legacy/486346607/?terms=Nicole%20Hoar&match=1https://www.findagrave.com/memorial/141655028/ramona-lisa-wilsonhttp://dyingwords.net/tag/project-e-pana/https://www.merrittherald.com/arrest-made-in-1978-murder-of-merritt-girl-3/https://www.wikiwand.com/en/Highway_of_Tears#/google_vignettehttps://www.facebook.com/watch/?v=540570367761798

in joi :) --- Send in a voice message: https://anchor.fm/themisterdavis/message

From 1970 until present day 73 women and girls have gone missing or turned up dead on Canada's highway 16, otherwise known as the highway of tears. A disproportionate number of these women and girls are indigenous. Most of their cases remain unsolved. Most of their faces remain unseen.  The Royal Canadian Mounted Police assembled a task force in 2005 in the hopes of solving 18 of these cases. The name of the task force is E-Pana. 18 is not enough. But it's a start. We could never endeavor to tell all of their stories today, we've told as many as we could and in time we will tell more. We also start to unravel the cultural genocide of indigenous people that has been going on in Canada and the United Stated for hundreds of years, and trace the generational trauma that is deeply rooted in the horror of residential schools.   May 5th is Red Dress Day, so wear your red in honor of the missing and murdered indigenous women, girls and 2 spirit people. For more on the red dress project, click the link below.    Click to learn more   Finding Cleo Podcast Who killed Alberta Williams Podcast Red dress project Ways to help https://www.amnesty.ca/what-we-do/no-more-stolen-sisters/ https://www.nativehope.org/missing-and-murdered-indigenous-women-mmiw https://www.csvanw.org/mmiw/   Affiliated Links Legends of the Iroquois (Myths and Legends)  (Leslie read the Song of the Hermit Thrush tale from this book)   WWBD Merch Buy your WWBD swag here!  Join the Conversation