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The 10th year that the Soquel High Jazz Band led by Jim Stewart has played on the show…. as always their jazz music is first class.
Welcome back to Season 2 Episode 3 of Sound Discussion. This month we're discussing the fascinating world of music production and mixing with our special guest Jim Stewart. He is a mixing engineer from Cleveland with over 15 years of experience. With a diverse roster of artists, Jim's knowledge is as rich as a well-mixed track!In this episode, we're dissecting the blurred lines between producing and mixing a song. Jim shares his insights on what it truly means to produce a track from start to finish and spoiler alert: it's not just about pressing buttons! We'll also discuss the importance of communication with artists, especially those stepping into the recording booth for the first time. Balancing artistic vision with technical execution is no easy feat!Jim reveals his favorite tools of the trade, including his go-to DAW, Pro Tools, and his beloved plugin, Fabfilter Pro Q. As we go through the conversation, we'll explore the ever-evolving landscape of music production, including the rising interest in Dolby Atmos and its implications for mixing engineers. Whether you're a budding producer, an experienced engineer, or just someone who loves to jam out, this episode is packed with valuable insights and lively discussions about the art and science of music production. So, plug in and get ready to be inspired!To connect with Jim Stewart, check out the links below.Instagram: https://www.instagram.com/jimstewartrec/Website: https://www.jimstewartmixing.comOther links mentioned in this episode:Recording Studio RockstarsThe Six Figure Home Studio Podcast - Episode 118Jim Sonfield - "Sitting In The Green GrassWe'd love to hear your thoughts on this episode! Drop us a line at sounddiscussionpodcast@gmail.com and find more information on our website: sounddiscussionpodcast.com.Show notes created by https://headliner.app Hosted on Acast. See acast.com/privacy for more information.
For our last series of the season, we have the story of the rise and fall, the rebirth and eventual demise of the legendary Memphis R&B, soul and funk label, Stax Records. This month we're talking about the groundbreaking album that helped kickstart what came to be known as the “Memphis sound” - the first official release on the Stax Record Label, 1962's “Green Onions” by Booker T. & the M.G.s.
Is Google still the king of search or has AI changed the game forever?The way people find information is undergoing the biggest shift in decades and government communicators can't afford to be left behind. In this episode of GovComms, host David Pembroke speaks with Jim Stewart, CEO of Stewart Media, about the seismic shift in digital search and what it means for public sector communication.A 25-year SEO veteran, Jim explains why this transformation is as significant as the birth of the internet and how government agencies can stay visible in AI-driven searches. From optimising government websites for AI-driven platforms to ensuring search bots can access critical public information, Jim breaks down the practical strategies to stay ahead.This isn't just another tech trend – it's a fundamental shift in how people find and use information. If you're in government communications, you can't afford to ignore it. Tune in now to learn how to keep your content discoverable, credible and ready for the AI era.Discussed in this episode:Learn how AI is reshaping search and SEO strategies.Discover why government communicators must adapt to AI search.Find out how to keep public sector content visible online.Expert tips on optimising websites for AI bots.Explore AI tools that enhance communication and accessibility.Understand the future of government messaging in the AI era.Show notes:NotebookLM | GoogleChatGPT | OpenAITrends | GoogleHow Robots.txt works | GoogleBeyond Google: Mastering Search in A World Of AI Assistants | Jim StewartWebsite | StewArt MediaBlog | GovComms Podcast Hosted on Acast. See acast.com/privacy for more information.
Stax Records and Special Guest Rob BowmanStax Records, founded in 1957 by Jim Stewart and Estelle Axton in Memphis, Tennessee, played a pivotal role in developing soul and R&B music. Originally called Satellite Records, it was rebranded in 1961, merging the founders' last names. Known for its deep, emotive sound, Stax produced timeless hits through iconic artists like Otis Redding, Isaac Hayes, Booker T. & the MG's, and Sam & Dave. The label's house band, Booker T. & the MG's, contributed immensely to its distinctive grooves. Stax also stood out for its progressive integration of black and white artists and staff, which was rare. After a split with Atlantic Records in 1968 and financial troubles, Stax ceased operations in 1975. Despite its short lifespan, Stax's influence endures. Rob Bowman, a renowned Stax historian, continues to highlight its enduring legacy in shaping soul, R&B, and pop music history. Rob Bowman's book Soulsville, U.S.A.The Story of Stax Records offers an in-depth look at the label's history, detailing its origins, rise, and eventual decline. The book also provides comprehensive biographies of the promoters, producers, and performers who contributed to the label's legacy. In addition to the book, there's an HBO Original four-part documentary series titled STAX: SOULSVILLE U.S.A. -the series delves into the rich history of Stax Records. It premiered on May 20, 2024, and is available for streaming on HBO Max.
Rockshow episode 211 The Story of Stax RecordsStax Records was a pioneering American record label based in Memphis, Tennessee, that played a crucial role in the development of soul, R&B, and funk music. Founded in 1957 by Jim Stewart and his sister Estelle Axton, the label became synonymous with the gritty, raw, and deeply emotional sound that defined Southern soul.Stax was home to legendary artists such as Otis Redding, Booker T. & the M.G.'s, Sam & Dave, Wilson Pickett (through a deal with Atlantic), Isaac Hayes, and The Staple Singers. Unlike Motown, which had a polished and orchestrated style, Stax music was known for its raw energy, tight horn sections, and a heavy gospel influence.One of Stax's most defining characteristics was its integrated roster of musicians, producers, and executives during a time of deep racial segregation in the South. The studio band, Booker T. & the M.G.'s, featured both Black and white musicians, which was groundbreaking in the 1960s.The label thrived throughout the 1960s but faced difficulties after the tragic death of Otis Redding in 1967 and the loss of its distribution deal with Atlantic Records in 1968. It experienced a resurgence in the early 1970s, largely due to Isaac Hayes' massive success with Hot Buttered Soul and Shaft. However, financial struggles led to Stax's bankruptcy in 1975.In later years, Stax was revived as a brand, and its legacy continues through reissues and the Stax Museum of American Soul Music in Memphis. Its impact on music remains profound, influencing countless artists across multiple genres.https://staxrecords.com/https://youtube.com/@staxrecords?si=bPBfHvzs7kxHrb5Dhttps://staxmuseum.org/#StaxRecords #SoulMusic #MemphisSoul #OtisRedding #IsaacHayes #BookerTandTheMGs #SouthernSoul #RNB #ClassicSoul #SamAndDave #TheStapleSingers #SoulLegends #Funk #VintageVinyl #MusicHistory #StaxMuseum #RespectYourRoots
Jim Stewart will continue serving as Wilson County sheriff for another four years. He was re-elected overwhelmingly by county voters Nov. 5. Unofficial election night results indicate Stewart, a Republican, received 20,421 votes to Democrat challenger Emmanuel Fultz's 5,807. Stewart has served as sheriff for four years; he was elected in November 2020 and sworn into office in January 2021. The former Stockdale city marshal was the first new sheriff in Wilson County for almost three decades. He succeeded Joe D. Tackitt Jr., who was elected in 1992. “I'm honored by your overwhelming support in the election,” Stewart said on...Article Link
Donald Trump will be the next president of the United States, and Jim Stewart will remain the Wilson County sheriff. These are among the outcomes of the Nov. 5 election. Wilson County voters — who turned out in force to cast early ballots — overwhelmingly supported Republican candidates. They joined other Texas voters in returning Ted Cruz to the U.S. Senate and Monica De La Cruz to the U.S. House of Representatives. In addition to returning Stewart to office, local voters also supported incumbents in the Floresville Independent School District (ISD) election, keeping trustees Joel Odom and Stephen Shodrock on...Article Link
Have you ever wondered what it takes to resurrect a classic car from decades of dormancy? Join us as we chat with Jim Stewart, the proud owner of a transformed 1957 Chevy, who faced an ultimatum from his wife that sparked a stunning restoration. Discover the fascinating journey of this blazed red beauty, now boasting a 383 blueprint Stroker engine, and learn about the incredible craftsmanship behind its rebirth. Jim's passion for classic cars extends beyond the showroom floor, as he shares tales of nostalgic road trips and the camaraderie among fellow car enthusiasts.We also take a trip down memory lane, reliving the bygone days of Missouri City and Sugar Land, where car culture thrived in the high school parking lots and at the Dickinson Drag Strip. From a $32.50 Chevrolet to thrilling street encounters with Ford Raptors, our conversation is a nostalgic celebration of the freedom and friendships forged through a shared love for cars. We highlight events like the Hot Rod Tour of Texas and gatherings at Tailpipes and Tacos that keep the spirit of driving alive for old-timers and newcomers alike.Switching gears, we explore the vibrant Houston car scene, spotlighting the meticulous work of Sergio Azcuy and his decade-long project on a 1979 Camaro. We dive into the future of iconic brands like Buick, with its shift to an all-electric lineup, and dish out insights on car modifications. Don't miss our shout-out to Roland's Paint and Body Shop, where automotive restoration and repair passion come to life. Whether you're a seasoned gearhead or just starting to explore the automotive world, there's something for everyone in this episode.Be sure to subscribe for more In Wheel Time Car Talk!The Original Lupe' Tortilla RestaurantsLupe Tortilla in Katy, Texas Gulf Coast Auto ShieldPaint protection, tint, and more!ProAm Auto AccessoriesProAm Auto Accessories: "THE" place to go to find exclusive and hard to find parts and accessories!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.---- ----- Want more In Wheel Time Car Talk any time? In Wheel Time Car Talk is now available on iHeartRadio! Just go to iheartradio.com/InWheelTimeCarTalk where ever you are.----- -----Be sure to subscribe on your favorite podcast provider for the next episode of In Wheel Time Car Talk and check out our live broadcast every Saturday, 10a - 12noonCT simulcasting on iHeartRadio, YouTube, Facebook, Twitter, Twitch and InWheelTime.com.In Wheel Time Car Talk podcast can be heard on you mobile device from providers such as:Apple Podcasts, Pandora Podcast, Amazon Music Podcast, Spotify, Google Podcasts, iHeartRadio podcast, TuneIn + Alexa, Podcast Addict, Castro, Castbox and more on your mobile device.Follow InWheelTime.com for the latest updates!Twitter: https://twitter.com/InWheelTimeInstagram: https://www.instagram.com/inwheeltime/https://www.iheart.com/live/in-wheel-time-car-talk-9327/https://www.youtube.com/inwheeltimehttps://www.Facebook.com/InWheelTimeFor more information about In Wheel Time Car Talk, email us at info@inwheeltime.comTags: In Wheel Time, automotive car talk show, car talk, Live car talk show, In Wheel Time Car Talk
Today's sermon is The Gifts of His Holy Spirit by Jim Stewart Find more teaching from Pastor Jim at calvarychapelkc.com
Give of yourself generously to those you work with! Jeremy talked about producing indie rock and pop bands in a small studio, touring in a signed band, building a new production studio, starting a mastermind group, and family life vs work balance. Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Jeremy Steckel, a musician and producer in Columbus OH. Having settled into an indie-pop and rock production and mixing universe, Jeremy focuses on building the landscape of the song around the core part of almost every modern song: the vocal performance. Nothing speaks louder than an emotional, well-captured vocal delivery and the song always has to serve that objective. Jeremy's credits include MEOWBOYS, Coastal Club, Lui, Darity, Sean Mac, Trauna, Brightest London, The Orphan The Poet and Embleton to name a few. Today we will talk about working as a touring guitarist, building a new mixing studio, how to get a great production and mix, and even finding ways to level up your business through the power of a mastermind group. Thank you to Jim Stewart for the introduction! THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://www.adam-audio.com https://www.native-instruments.com Use code ROCK10 to get 10% off! https://www.izotope.com Use code ROCK10 to get 10% off! https://www.empiricallabs.com/ Use code RSR10 to get 10% off the Arousor and BIG FrEQ plugins! https://traceaudio.com/ Use code RSR15 to get 15% off your custom printed labels! https://www.soundporter.com/ Get a free mix review and mastering demo! https://www.makebelievestudio.com/mbsi Get your MBSI plugin here! https://RecordingStudioRockstars.com/Academy https://www.thetoyboxstudio.com/ Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/01JZ98WpGH6UJlPdSvUmtH?si=df6b63c3f79748df If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/474
Join us this month as we chat with the Executive Director of the Chattanooga Audubon Society!
Today's sermon is Trials from Heaven by Jim Stewart Find more teaching from Pastor Jim at www.calvarychapelkc.com
Play audio-only episode | Play video episode Click above to play either the audio-only episode or video episode in a new window. Episode Summary This discussion focuses on the crucial topic of project meetings, featuring insights from expert guests Rich Maltzman and Jim Stewart. Rich and Jim, both seasoned project management professionals, share their extensive experience in transforming inefficient and unproductive meetings into powerful tools that drive project success. With decades of experience between them, they reveal actionable tips and strategies that every project manager can apply to rescue their meetings from the brink of chaos.
"Finished in two words = Vocal level!" Dan talked about mastering from anywhere with a laptop and Audeze headphones, why speed is crucial, how to serve the song and client, finding your ideal speaker/headphone listening level, ear training, and bass! Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Dan Millice, a mastering engineer located in NYC with over 13 years of experience. During his career, Dan has been credited for mastering 11 Grammy-nominated projects. He recently mastered Terri Lyne Carrington's album "New Standards, Vol. 1," which secured a Grammy win for Best Jazz Instrumental Album. Thank you to Michael Estok and Jim Stewart for the introduction! THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://www.adam-audio.com https://www.native-instruments.com Use code ROCK10 to get 10% off! https://www.izotope.com Use code ROCK10 to get 10% off! https://gracedesign.com/ https://RecordingStudioRockstars.com/Academy https://www.thetoyboxstudio.com/ Check out the MBSI on sale now for $80 off! https://www.makebelievestudio.com/mbsi Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/0JyZsS8C8dfDaVxSktIRgQ?si=2d6cb027d0f34756 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/465
#23- Otis Redding-Complete & Unbelievable: The Otis Redding Dictionary of Soul (Stax) Released October 1966, Recorded May-September 1966 Complete & Unbelievable: The Otis Redding Dictionary of Soul, recorded at Stax Recording Studios in Memphis, is a seminal work in Otis Redding's career and soul music. Produced by Jim Stewart, Isaac Hayes, and Booker T. Jones, the album features legendary Stax studio musicians like Steve Cropper, Donald "Duck" Dunn, Al Jackson Jr., Booker T. Jones, and the Memphis Horns. It includes standout tracks such as the iconic "Try a Little Tenderness," "Fa-Fa-Fa-Fa-Fa (Sad Song)," and "My Lover's Prayer." It covers like "Day Tripper" and "Tennessee Waltz," each showcasing Redding's dynamic vocal range and the band's tight, soulful arrangements. The album received critical acclaim, reaching No. 5 on the Billboard R&B chart and No. 73 on the Billboard 200, solidifying Redding's legacy as a master of soulful expression and musical innovation. Full Album on YouTube https://youtube.com/playlist?list=PLn1E4mv4x-I4oNQ0qlroeWXxa4lDD4Lj9&si=6SlxhnkIL8UdM3Ms Full Album on Spotify https://open.spotify.com/album/25uNcuL4dAoV62eKmr8Q0Y?si=hK3DknToSX2TkN_3ggWDiA Curated 1966 Playlist Spotify: https://open.spotify.com/playlist/7I6dzYc5UJfko8unziRMWf?si=a07e4d1e27944d00
Today's sermon is What's Your Story by Jim Stewart Find more teaching from Pastor Jim at www.calvarychapelkc.com
Let's go to Memphis in the meantime, baby! Our featured interview is with Rob Bowman, the Toronto based academic scholar and Grammy Award-winning professor of ethnomusicology. Notably, Rob is a recognized authority on Stax Records, and has produced numerous Stax box sets in addition to writing an exhaustively researched book, Soulsville USA: The Story of Stax Records. He is also an executive producer and main source for Jamila Wignot's fantastic four part HBO Max documentary series, STAX: Soulsville, U.S.A. We also speak with Eric Friedl and Zac Ives from contemporary Memphis record store, Goner Records, who tell us about their store, their label, and their annual fall festival, Gonerfest. The Record Store Day Podcast is a weekly music chat show written, produced, engineered and hosted by Paul Myers, who also composed the theme music and selected interstitial music. Executive Producers (for Record Store Day) Michael Kurtz and Carrie Colliton. For the most up-to-date news about all things RSD, visit RecordStoreDay.com) Sponsored by Dogfish Head Craft Brewery (dogfish.com), Tito's Handmade Vodka (titosvodka.com), RSDMRKT.com, and Furnace Record Pressing, the official vinyl pressing plant of Record Store Day. Please consider subscribing to our podcast wherever you get podcasts, and tell your friends, we're here every week and we love making new friends.
Before Michael Jackson became the King of Pop, or Otis Redding claimed his place as one of the greatest singer-songwriters in American popular music history, their talents had to be discovered and shared with the world. Enter the competing labels Motown and Stax Records. In the early 1960s, Berry Gordy's Motown and Jim Stewart's Stax pioneered the sound of Black music, giving birth to soul and R&B amidst deadly civil unrest.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Summary In this episode, Andy interviews Rich Maltzman and Jim Stewart about their book Great Meetings Build Great Teams: A Guide for Project Leaders and Agilists. They discuss the common reasons why people dislike meetings, such as lack of purpose and poor facilitation. They introduce the concept of 'meeting goblins,' which are negative personalities that emerge during meetings, and provide strategies for dealing with them. The conversation also covers the challenges and best practices of virtual meetings, as well as the benefits and potential pitfalls of agile ceremonies like daily standups. The conversation focuses on the importance of effective meetings in building great teams. Rich and Jim share their experiences and strategies for running successful meetings, including setting ground rules, timekeeping, and using technology like AI for meeting summaries. They also discuss the impact of cultural differences on meetings and provide tips for managing diverse teams. The conversation concludes by emphasizing the link between great meetings and great teams, highlighting the role of meetings in fostering collaboration, building relationships, and achieving project goals. Sound Bites "Meetings are a fact of life, often complained about but also often tolerated." "Connection before context. Before you start right into the meeting, make sure you have a little bit of social interaction." "Goblins are personalities that come out during meetings, and it's up to the meeting facilitator to recognize and address them." "Great meetings aren't just about agendas and facilitation techniques; they're about showing that you care about the project and the team." "Rosie the Reticent is the quiet version of Nadia the Naysayer." "Decision latency is one of the biggest reasons for project failures, so it's crucial to have the right people at meetings." "Understanding national, regional, and organizational cultures is important for effective meetings." Chapters 00:00 Introduction 02:17 Start of Interview 02:28 Why Do People Hate Meetings 05:06 Meeting Goblins 16:03 Virtual Meetings 19:50 Connection Before Context 20:53 Advantages and Warnings: Agile Standups 27:29 How Culture Impacts Meetings 34:42 When Too Many People Are Invited 41:53 AI and Meetings 47:38 The Link Between Great Meetings and Great Teams 51:26 Interview Wrap Up 52:00 Andy Comments After the Interview 54:16 Outtakes Learn More You can learn more about Rich, Jim, and their book here: Jim on LinkedIn: Linkedin.com/in/jimstewartpmp/ Rich on LinkedIn: LinkedIn.com/in/exclaim/ Their book on Amazon: click here If you'd like more on this subject, here are some episodes to check out: Episodes 72 and 246, with meeting researcher Steven Rogelberg Episode 245, with meeting guru J. Elise Keith AI for Project Managers and Leaders With the constant stream of AI news, it's sometimes hard to grasp how these advancements can benefit us as project managers and leaders in our day-to-day work. That's why I developed our e-learning course: AI Made Simple: A Practical Guide to Using AI in Your Everyday Work. This self-guided course is designed for project managers and leaders aiming to harness AI's potential to enhance your work, streamline your workflow, and boost your productivity. Go to ai.i-leadonline.com to learn more and join us. The feedback from the program has been fantastic. Take this opportunity to unlock the potential of AI for your team and projects. Thank you for joining me for this episode of The People and Projects Podcast! Talent Triangle: Power Skills The following music was used for this episode: Music: The Fantastical Ferret by Tim Kulig License (CC BY 4.0): https://filmmusic.io/standard-license Music: Energetic & Drive Indie Rock YouTube: https://www.youtube.com/watch?v=S30Oxdmi1dg License (CC BY 4.0): https://filmmusic.io/standard-license
April 2024 - Join Poetry Editor Molly Zhu and David Banach for the latest episode of the Passengers Poetry Podcast, where they discuss their favorite poetry from Issue 5.1, including Lou Terlikowski's Aunt Kay Called the House Again, Jim Stewart's Private Key Follows, Kai-Lilly Karpman's The Arrest with Moon, and Gabrielle Fiedor's Robert.Produced, edited, and mastered by John E. Brady. Passengers Literary Press, Inc. is a 501(c)(3) nonprofit organization. All staff donate their time and effort. If you'd like to support our mission to publish art that is necessary rather than desired, please consider donating at the link below.Support the show
Carl Quintanilla and Sara Eisen tackle today's biggest Money Movers from the floor of the New York Stock Exchange.
Today's sermon is Are you Feeling Inadequate by Jim Stewart Find more teaching from Pastor Jim at www.calvarychapelkc.com
As the founder and owner of JPStewart Consulting, LLC, I offer a wide range of consulting and training services to help organizations achieve their strategic goals, improve their performance, and deliver the right projects with the right resources. I have managed and supported projects in various domains, such as IT, pharmaceutical, and medical device, and I have created project management simulations and courseware for educational purposes. My mission is to help instill best practices and foster a culture of collaboration, innovation, and learning in project management. I provide coaching and training in Agile methodologies to help deliver better outcomes for patients and stakeholders. I have over 20 years of experience as a project management and Agile coach, and I hold several credentials, including PMP, CSM, and PMI-ACP. I am also the co-author of the book "Great Meetings Build Great Teams" which discusses how to facilitate effective meetings for project teams. --- Send in a voice message: https://podcasters.spotify.com/pod/show/sundaylunchpm/message
In this episode of Great Practices, I'm talking with Rich Maltzman and Jim Stewart, co-authors of the book Great Meetings Build Great Teams. We'll discuss why meetings are such an important part of building a strong project team, the benefits of doing them well and the consequences of doing them poorly. You'll also find out what Kano Design Theory (very interesting, by the way) has to do with people expecting more and more out of your meetings and what you can make sure to deliver. Plus, find out what it means to be “large and in charge” and understand what poor driving habits have to do with understanding bad behaviors in meetings. Want to get in touch with Rich and Jim? Connect with Jim on LinkedIn Connect with Rich on LinkedIn Find out more about their book, Great Meetings Build Great Teams
As the founder and owner of JPStewart Consulting, LLC, I offer a wide range of consulting and training services to help organizations achieve their strategic goals, improve their performance, and deliver the right projects with the right resources. I have managed and supported projects in various domains, such as IT, pharmaceutical, and medical device, and I have created project management simulations and courseware for educational purposes. My mission is to help instill best practices and foster a culture of collaboration, innovation, and learning in project management. I provide coaching and training in Agile methodologies to help deliver better outcomes for patients and stakeholders. I have over 20 years of experience as a project management and Agile coach, and I hold several credentials, including PMP, CSM, and PMI-ACP. I am also the co-author of the book "Great Meetings Build Great Teams" which discusses how to facilitate effective meetings for project teams. --- Send in a voice message: https://podcasters.spotify.com/pod/show/sundaylunchpm/message
Today's sermon is Old Testament Truths and Examples preached by Jim Stewart Find more teaching from Pastor Jim at www.calvarychapelkc.com
Is the rally too extended to continue or is it just getting started? Cameron Dawson from NewEdge and NB Private Wealth's Shannon Saccocia give their forecasts. Plus, Jim Stewart – who wrote the book on Disney – breaks down what he's watching ahead of that company's earnings. And, Goldman Sachs Private Wealth's Sara Naison-Tarajano discusses her year-end playbook.
In this Auto Remarketing Podcast, Bill Zadeits speaks with Jim Stewart, Manager Regional Fixed Ops with Ally. Their conversation dives into why the fixed ops is so important to dealers in today's environment. Jim also touches on his deep experience working in dealerships and his career with Ally helping dealers identify areas of improvement in their fixed ops department.
The podcast by project managers for project managers. Mastering effective meetings is essential for project managers, as successful meetings contribute significantly to project success. Rich Maltzman and Jim Stewart say we should apply the same strategic mindset to meetings as we do to projects, and they offer insights to enhance your facilitation skills to conduct successful meetings. Table of Contents 03:07 … Great Meetings Build Great Teams04:30 … Criteria for a Good Meeting05:44 … Allow Humor to Influence Meetings06:46 … Making a Sad Meeting Better08:32 … Why People are Attending a Meeting09:55 … Project Manage Meetings13:27 … A Meeting Planning Mindset15:12 … Don't Worry about Being Liked17:06 … Kevin and Kyle18:12 … Dealing with Conflict in a Meeting21:12 … Goa the Garrulous23:16 … Pat the Passive-Aggressive25:56 … The Fear of Forage28:29 … Risk Register29:45 … Virtual Meeting Success34:01 … Get in Touch35:00 … Closing JIM STEWART: If you blow the meeting, you get to make first impressions once. So the level of planning should be commensurate with the meeting. WENDY GROUNDS: You're listening to Manage This, the podcast by project managers for project managers. I'm Wendy Grounds, and with me in the studio are Bill Yates and our sound guy Danny Brewer. You can catch us wherever you listen to podcasts. One of the apps that we've come across is Podurama. It's a free app for podcast lovers, and we are also there. If you want to listen to us, take a listen on Podurama. You'll find a link to them on our transcript. We love having you join us twice a month to be motivated and inspired by project stories, leadership lessons, and advice from industry experts. One little thing to mention is we got an email from Feedspot, which is a content reader that helps people keep up with their websites. And they told me that we are one of the Top 30 podcasts for managers on the web. So we were very excited to hear that. Shout out to Feedspot. Thank you for voting for us. And we have some industry experts joining us today. We're very excited to bring you Jim Stewart, as well as a previous guest, Rich Maltzman. Since 2003, Jim has been the principal of JP Stewart Consulting, and he's a certified PMP, and he possesses multiple agile certifications. He is a longtime member of the Project Management Institute and served for several years on the board of the local chapter. With Rich Maltzman, he also is the co-author of the book “How to Facilitate Productive Project Planning Meetings” and its update, “Great Meetings Build Great Teams: A Guide for Project Leaders and Agilists.” Rich Maltzman also has his PMP. He has been an engineer since 1978 and a project management supervisor since 1988, including a two-year assignment in the Netherlands. Rich is also focused on consulting and teaching, and has developed curricula and taught at several universities. But we're very excited about their book “Great Meetings Build Great Teams,” and that's what we're talking about today. BILL YATES: Yes. This is a key to success for project managers is being able to successfully facilitate effective meetings. So this is going to be a great conversation. Plus, just reading through the book, there are so many familiar names and concepts that are there. They make reference to Andy Crowe and the “Alpha Project Management Study” in his book. They make reference to Alan Zucker, our instructor, who's fabulous, and some of the blogs and research that he's done. And they also talk a bit about Wayne Turmel and virtual meetings. We had him on Episode 64. Wayne was terrific. And also Carole Osterweil. She was on number 90, Episode 90 with us, talking about facing uncertainty. So lot of familiar folks that are being referenced here, and we look forward to talking about having more effective meetings. WENDY GROUNDS: Hi, Rich; and hi, Jim. Thank you so much for being with us today.
The podcast by project managers for project managers. Mastering effective meetings is essential for project managers, as successful meetings contribute significantly to project success. Rich Maltzman and Jim Stewart say we should apply the same strategic mindset to meetings as we do to projects, and they offer insights to enhance your facilitation skills to conduct […] The post Episode 186 – Mastering Effective Meetings: Strategies for Project Success appeared first on PMP Certification Exam Prep & Training - Velociteach.
Today's sermon is God is Still at Work in Israel preached by Jim Stewart, Find more teaching from Pastor Jim at calvarychapelkc.com
Disney CEO Bob Iger has announced plans to expand investment in parks and cruises; New York Times columnist and “Disney War” author James Stewart unpacks the House of Mouse's new strategy, as well as Iger's leadership. Yale lecturer and journalist Joanne Lipman examines the pros and cons of a four-day work week in light of employee unrest in the American workforce, from the UAW to SAG-AFTRA and beyond. Plus, Elon Musk's Neuralink is looking for brain implant trial subjects, Microsoft is making a fresh push into gaming, and the maker of Marlboro is rethinking its venture into pharma. Jim Stewart 11:32Joanne Lipman 23:03 In this episode:Joanne Lipman, @joannelipmanJames Stewart, @JamesStewartNYTAndrew Ross Sorkin, @andrewrsorkinJoe Kernen, @JoeSquawkBecky Quick, @BeckyQuickKatie Kramer, @Kramer_Katie
SUMMARYStax Records legend Deanie Parker talks about writing songs for Otis Redding, Albert King, William Bell, and Carla Thomas, dives deep on what made the Stax environment so special, and shines a light on the recently-released box sets of forgotten Stax songwriter demos. PART ONEScott and Paul discuss the wild story behind the monumental box set Written in Their Soul: The Stax Songwriter Demos.PART TWOOur in-depth interview with Deanie ParkerABOUT DEANIE PARKERWhile still in high school, Deanie Parker won a Memphis talent contest and an audition for Jim Stewart at Stax Records. He signed her and released her debut single, on the Volt label, in 1963. The self-penned “My Imaginary Guy” became a regional hit, but the life of a touring artist was not for Parker. She became the first Black employee at Stax's Satellite Record Shop before joining the label staff as the company's first publicist in 1964. Learning on the job while studying journalism at Memphis State, Parker eventually became the company's Vice President of Public Affairs. One of the first female publicists in the music industry, she worked closely with Isaac Hayes, Booker T & the MG's, Rufus and Carla Thomas, Johnnie Taylor, Albert King, and others. Wearing many hats at Stax, Deanie continued to write songs with colleagues such as Steve Cropper, Booker T. Jones, Eddie Floyd, Bettye Crutcher, Mack Rice, Mable John, and Homer Banks, with whom she penned the soul classic “Ain't That a Lot of Love.” The list of Stax artists who recorded her songs includes Otis Redding, Carla Thomas, William Bell, Sam & Dave, The Staple Singers, and more. Her other writing skills were put to use penning liner notes for classic albums such as Sam & Dave's Hold On, I'm Comin', Albert King's Born Under a Bad Sign, Otis Redding's Live in Europe, and Shirley Brown's Woman to Woman. From 1987 through 1995, Deanie served as the Assistant Director of the Memphis in May International Festival. A tireless champion of the Stax legacy, she became the first President and CEO of Soulsville, the nonprofit organization established to build and manage the Stax Museum of American Soul Music, Stax Music Academy, and the Soulsville Charter School. She was appointed to the Tennessee Arts Commission in 2004 and, in 2009, was awarded two Emmy awards for the I Am a Man documentary short, for which she was an executive producer and the title song composer. The list of artists outside the Stax family who've covered Deanie Parker's songs includes The Rolling Stones, Elvis Costello, Darlene Love, Taj Mahal, Three Dog Night, The Flying Burrito Brothers, The Band, New York Dolls, Simply Red, Hall & Oates, and many others. She is a co-producer and co-liner notes writer of the seven-CD collection Written in Their Soul: The Stax Songwriter Demos, and was recently announced as a 2023 inductee into the Memphis Music Hall of Fame.
Today's sermon is Satan and His Devices preached by Jim Stewart, Find more teaching from Pastor Jim at www.calvarychapelkc.com
The Everyday PM: Project Management Principles for Your Everyday Life
Are you a project leader or an agilist looking to improve your team's meetings? Look no further than the book "Great Meetings Build Great Teams: A Guide for Project Leaders and Agilists." This resource is packed with practical tips and insights on how to run effective meetings that drive collaboration and results. Whether you're new to leading teams or a seasoned pro, you'll find valuable strategies to help you build stronger, more productive teams. In the book, you'll learn about the key elements of successful meetings, including setting clear objectives, creating an inclusive environment, and fostering open communication. The podcast episode features interviews with experts in the field, who share their own experiences and advice on how to make the most of your team's meetings. So why wait? Check out "Great Meetings Build Great Teams" today and start improving your team's meetings for better results and happier team members. Happy reading (and listening)! Enjoyed this conversation? Definitely reach out to Jim and Rich to chat more about their professional experiences and publications. Leave your thoughts in the comments section below! --- Follow Our Hosts on LinkedIn: Ann Campea, MSPM, MPH, PMP, CSM Host and Founder of The Everyday PM An authentic leader who is well-versed in the launching of product and physical retail spaces, data system implementation and upgrades, onboarding of new employees, training, championing new process improvement initiatives, and building a solid project management community. Jim Stewart, PMP, IC-Agile Coach Principal of JP Stewart Consulting LLC Jim is a certified PMP® and possesses multiple Agile certifications including IC-Agile coach and Certified Scrum Product Owner. Jim is a long-time member of the Project Management Institute (PMI®) and served for several years on the board of the local chapter. He has, for many years, taught and developed courseware for PMP® classes and co-developed an Agile 101 online course. Rich Maltzman, PMP Master Lecturer at Boston University, Co-Founder and Principal of EarthPM, LLC As a Master Lecturer at Boston University, Rich develops and delivers courses for graduate students that help them achieve positive change in their careers and in the world. He has over 40 years of industry experience 30 of which is in Project Leadership, including the global PMO of Nokia, with a PMP certification and a passion for sustainability integration. --- Support this podcast: https://podcasters.spotify.com/pod/show/theeverydaypm/support
In 2002 the Rock Hall inducted Stax co-founder Jim Stewart, but excluded his sister Estelle Axton, the other Stax co-founder. Today we discuss her life and impact at Stax, why the label couldn't have succeeded without her and why her exclusion is a mistake that needs to be corrected. We also give a brief history of the Ahmet Ertegun award, discuss the ugly allegations against him and once again implore the Rock Hall to change the category name.
This week, Felix Salmon, Emily Peck, and Elizabeth Spiers are joined by author and journalist Jim Stewart to recap episode one, season four of HBO's Succession. They talk architecture, business deals, and parallels between the television drama and real-life media moguls. Podcast production by Anna Phillips and Patrick Fort. Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, Felix Salmon, Emily Peck, and Elizabeth Spiers are joined by author and journalist Jim Stewart to recap episode one, season four of HBO's Succession. They talk architecture, business deals, and parallels between the television drama and real-life media moguls. Podcast production by Anna Phillips and Patrick Fort. Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, Felix Salmon, Emily Peck, and Elizabeth Spiers are joined by author and journalist Jim Stewart to recap episode one, season four of HBO's Succession. They talk architecture, business deals, and parallels between the television drama and real-life media moguls. Podcast production by Anna Phillips and Patrick Fort. Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, Felix Salmon, Emily Peck, and Elizabeth Spiers are joined by author and journalist Jim Stewart to recap episode one, season four of HBO's Succession. They talk architecture, business deals, and parallels between the television drama and real-life media moguls. Podcast production by Anna Phillips and Patrick Fort. Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, Felix Salmon, Emily Peck, and Elizabeth Spiers are joined by author and journalist Jim Stewart to recap episode one, season four of HBO's Succession. They talk architecture, business deals, and parallels between the television drama and real-life media moguls. Podcast production by Anna Phillips and Patrick Fort. Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, Felix Salmon, Emily Peck, and Elizabeth Spiers are joined by author and journalist Jim Stewart to recap episode one, season four of HBO's Succession. They talk architecture, business deals, and parallels between the television drama and real-life media moguls. Podcast production by Anna Phillips and Patrick Fort. Learn more about your ad choices. Visit megaphone.fm/adchoices
This is a very interesting interview. It's a personal story of how one individual, Jim Stewart, was impacted by trauma and how he continued to be impacted by trauma throughout his life. Jim shares his journey of being traumatized and what it was like for him to live with his symptoms and then what it was like to begin his healing journey.Jim is a trauma survivor, having experienced two near death events as well other traumas early in life. Having had a lifelong struggle with the impact of trauma, in the past six years Jim has embarked on a journey of healing. This included both EMDR and BrainSpotting. He is happy to say that he is now a survivor and he wishes to share his story of hope and healing with others.In This EpisodeJim's Email---What's new with The Trauma Therapist Project!The Trauma 5: gold nuggets from my 600+ interviewsThe Therapists Teach Workshop: a workshop for therapists who want to create their first online course.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5739761/advertisement
Episode 163 of A History of Rock Music in Five Hundred Songs looks at “(Sittin' on) The Dock of the Bay", Stax Records, and the short, tragic, life of Otis Redding. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Soul Man" by Sam and Dave. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Redding, even if I split into multiple parts. The main resource I used for the biographical details of Redding was Dreams to Remember: Otis Redding, Stax Records, and the Transformation of Southern Soul by Mark Ribowsky. Ribowsky is usually a very good, reliable, writer, but in this case there are a couple of lapses in editing which make it not a book I can wholeheartedly recommend, but the research on the biographical details of Redding seems to be the best. Information about Stax comes primarily from two books: Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. There are two Original Album Series box sets which between them contain all the albums Redding released in his life plus his first few posthumous albums, for a low price. Volume 1, volume 2. 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 ends with a description of a plane crash, which some people may find upsetting. There's also a mention of gun violence. In 2019 the film Summer of Soul came out. If you're unfamiliar with this film, it's a documentary of an event, the Harlem Cultural Festival, which gets called the "Black Woodstock" because it took place in the summer of 1969, overlapping the weekend that Woodstock happened. That event was a series of weekend free concerts in New York, performed by many of the greatest acts in Black music at that time -- people like Stevie Wonder, David Ruffin, Mahalia Jackson, B.B. King, the Staple Singers, Sly and the Family Stone, Nina Simone, and the Fifth Dimension. One thing that that film did was to throw into sharp relief a lot of the performances we've seen over the years by legends of white rock music of the same time. If you watch the film of Woodstock, or the earlier Monterey Pop festival, it's apparent that a lot of the musicians are quite sloppy. This is easy to dismiss as being a product of the situation -- they're playing outdoor venues, with no opportunity to soundcheck, using primitive PA systems, and often without monitors. Anyone would sound a bit sloppy in that situation, right? That is until you listen to the performances on the Summer of Soul soundtrack. The performers on those shows are playing in the same kind of circumstances, and in the case of Woodstock literally at the same time, so it's a fair comparison, and there really is no comparison. Whatever you think of the quality of the *music* (and some of my very favourite artists played at Monterey and Woodstock), the *musicianship* is orders of magnitude better at the Harlem Cultural Festival [Excerpt: Gladys Knight and the Pips “I Heard it Through the Grapevine (live)”] And of course there's a reason for this. Most of the people who played at those big hippie festivals had not had the same experiences as the Black musicians. The Black players were mostly veterans of the chitlin' circuit, where you had to play multiple shows a day, in front of demanding crowds who wanted their money's worth, and who wanted you to be able to play and also put on a show at the same time. When you're playing for crowds of working people who have spent a significant proportion of their money to go to the show, and on a bill with a dozen other acts who are competing for that audience's attention, you are going to get good or stop working. The guitar bands at Woodstock and Monterey, though, hadn't had the same kind of pressure. Their audiences were much more forgiving, much more willing to go with the musicians, view themselves as part of a community with them. And they had to play far fewer shows than the chitlin' circuit veterans, so they simply didn't develop the same chops before becoming famous (the best of them did after fame, of course). And so it's no surprise that while a lot of bands became more famous as a result of the Monterey Pop Festival, only three really became breakout stars in America as a direct result of it. One of those was the Who, who were already the third or fourth biggest band in the UK by that point, either just behind or just ahead of the Kinks, and so the surprise is more that it took them that long to become big in America. But the other two were themselves veterans of the chitlin' circuit. If you buy the Criterion Collection Blu-Ray of Monterey Pop, you get two extra discs along with the disc with the film of the full festival on it -- the only two performances that were thought worth turning into their own short mini-films. One of them is Jimi Hendrix's performance, and we will talk about that in a future episode. The other is titled Shake! Otis at Monterey: [Excerpt: Otis Redding, "Shake! (live at Monterey Pop Festival)"] Otis Redding came from Macon, Georgia, the home town of Little Richard, who became one of his biggest early influences, and like Richard he was torn in his early years between religion and secular music -- though in most other ways he was very different from Richard, and in particular he came from a much more supportive family. While his father, Otis senior, was a deacon in the church, and didn't approve much of blues, R&B, or jazz music or listen to it himself, he didn't prevent his son from listening to it, so young Otis grew up listening to records by Richard -- of whom he later said "If it hadn't been for Little Richard I would not be here... Richard has soul too. My present music has a lot of him in it" -- and another favourite, Clyde McPhatter: [Excerpt: Billy Ward and the Dominoes, "Have Mercy Baby"] Indeed, it's unclear exactly how much Otis senior *did* disapprove of those supposedly-sinful kinds of music. The biography I used as a source for this, and which says that Otis senior wouldn't listen to blues or jazz music at all, also quotes his son as saying that when he was a child his mother and father used to play him "a calypso song out then called 'Run Joe'" That will of course be this one: [Excerpt: Louis Jordan, "Run Joe"] I find it hard to reconcile the idea of someone who refused to listen to the blues or jazz listening to Louis Jordan, but then people are complex. Whatever Otis senior's feelings about secular music, he recognised from a very early age that his son had a special talent, and encouraged him to become a gospel singer. And at the same time he was listening to Little Richard, young Otis was also listening to gospel singers. One particular influence was a blind street singer, Reverend Pearly Brown: [Excerpt: Reverend Pearly Brown, "Ninety Nine and a Half Won't Do"] Redding was someone who cared deeply about his father's opinion, and it might well have been that he would eventually have become a gospel performer, because he started his career with a foot in both camps. What seems to have made the difference is that when he was sixteen, his father came down with tuberculosis. Even a few years earlier this would have been a terminal diagnosis, but thankfully by this point antibiotics had been invented, and the deacon eventually recovered. But it did mean that Otis junior had to become the family breadwinner while his father was sick, and so he turned decisively towards the kind of music that could make more money. He'd already started performing secular music. He'd joined a band led by Gladys Williams, who was the first female bandleader in the area. Williams sadly doesn't seem to have recorded anything -- discogs has a listing of a funk single by a Gladys Williams on a tiny label which may or may not be the same person, but in general she avoided recording studios, only wanting to play live -- but she was a very influential figure in Georgia music. According to her former trumpeter Newton Collier, who later went on to play with Redding and others, she trained both Fats Gonder and Lewis Hamlin, who went on to join the lineup of James Brown's band that made Live at the Apollo, and Collier says that Hamlin's arrangements for that album, and the way the band would segue from one track to another, were all things he'd been taught by Miss Gladys. Redding sang with Gladys Williams for a while, and she took him under her wing, trained him, and became his de facto first manager. She got him to perform at local talent shows, where he won fifteen weeks in a row, before he got banned from performing to give everyone else a chance. At all of these shows, the song he performed was one that Miss Gladys had rehearsed with him, Little Richard's "Heeby Jeebies": [Excerpt: Little Richard, "Heeby Jeebies"] At this time, Redding's repertoire was largely made up of songs by the two greats of fifties Georgia R&B -- Little Richard and James Brown -- plus some by his other idol Sam Cooke, and those singers would remain his greatest influences throughout his career. After his stint with Williams, Redding went on to join another band, Pat T Cake and the Mighty Panthers, whose guitarist Johnny Jenkins would be a major presence in his life for several years. The Mighty Panthers were soon giving Redding top billing, and advertising gigs as featuring Otis "Rockin' Robin" Redding -- presumably that was another song in his live repertoire. By this time Redding was sounding enough like Little Richard that when Richard's old backing band, The Upsetters, were looking for a new singer after Richard quit rock and roll for the ministry, they took Redding on as their vocalist for a tour. Once that tour had ended, Redding returned home to find that Johnny Jenkins had quit the Mighty Panthers and formed a new band, the Pinetoppers. Redding joined that band, who were managed by a white teenager named Phil Walden, who soon became Redding's personal manager as well. Walden and Redding developed a very strong bond, to the extent that Walden, who was studying at university, spent all his tuition money promoting Redding and almost got kicked out. When Redding found this out, he actually went round to everyone he knew and got loans from everyone until he had enough to pay for Walden's tuition -- much of it paid in coins. They had a strong enough bond that Walden would remain his manager for the rest of Redding's life, and even when Walden had to do two years in the Army in Germany, he managed Redding long-distance, with his brother looking after things at home. But of course, there wasn't much of a music industry in Georgia, and so with Walden's blessing and support, he moved to LA in 1960 to try to become a star. Just before he left, his girlfriend Zelma told him she was pregnant. He assured her that he was only going to be away for a few months, and that he would be back in time for the birth, and that he intended to come back to Georgia rich and marry her. Her response was "Sure you is". In LA, Redding met up with a local record producer, James "Jimmy Mack" McEachin, who would later go on to become an actor, appearing in several films with Clint Eastwood. McEachin produced a session for Redding at Gold Star studios, with arrangements by Rene Hall and using several of the musicians who later became the Wrecking Crew. "She's All Right", the first single that came from that session, was intended to sound as much like Jackie Wilson as possible, and was released under the name of The Shooters, the vocal group who provided the backing vocals: [Excerpt: The Shooters, "She's All Right"] "She's All Right" was released on Trans World, a small label owned by Morris Bernstein, who also owned Finer Arts records (and "She's All Right" seems to have been released on both labels). Neither of Bernstein's labels had any great success -- the biggest record they put out was a single by the Hollywood Argyles that came out after they'd stopped having hits -- and they didn't have any connection to the R&B market. Redding and McEachin couldn't find any R&B labels that wanted to pick up their recordings, and so Redding did return to Georgia and marry Zelma a few days before the birth of their son Dexter. Back in Georgia, he hooked up again with the Pinetoppers, and he and Jenkins started trying local record labels, attempting to get records put out by either of them. Redding was the first, and Otis Redding and the Pinetoppers put out a single, "Shout Bamalama", a slight reworking of a song that he'd recorded as "Gamma Lamma" for McEachin, which was obviously heavily influenced by Little Richard: [Excerpt: Otis Redding and the Pinetoppers, "Shout Bamalama"] That single was produced by a local record company owner, Bobby Smith, who signed Redding to a contract which Redding didn't read, but which turned out to be a management contract as well as a record contract. This would later be a problem, as Redding didn't have an actual contract with Phil Walden -- one thing that comes up time and again in stories about music in the Deep South at this time is people operating on handshake deals and presuming good faith on the part of each other. There was a problem with the record which nobody had foreseen though -- Redding was the first Black artist signed to Smith's label, which was called Confederate Records, and its logo was the Southern Cross. Now Smith, by all accounts, was less personally racist than most white men in Georgia at the time, and hadn't intended that as any kind of statement of white supremacy -- he'd just used a popular local symbol, without thinking through the implications. But as the phrase goes, intent isn't magic, and while Smith didn't intend it as racist, rather unsurprisingly Black DJs and record shops didn't see things in the same light. Smith was told by several DJs that they wouldn't play the record while it was on that label, and he started up a new subsidiary label, Orbit, and put the record out on that label. Redding and Smith continued collaborating, and there were plans for Redding to put out a second single on Orbit. That single was going to be "These Arms of Mine", a song Redding had originally given to another Confederate artist, a rockabilly performer called Buddy Leach (who doesn't seem to be the same Buddy Leach as the Democratic politician from Louisiana, or the saxophone player with George Thorogood and the Destroyers). Leach had recorded it as a B-side, with the slightly altered title "These Arms Are Mine". Sadly I can't provide an excerpt of that, as the record is so rare that even websites I've found by rockabilly collectors who are trying to get everything on Confederate Records haven't managed to get hold of copies. Meanwhile, Johnny Jenkins had been recording on another label, Tifco, and had put out a single called "Pinetop": [Excerpt: Johnny Jenkins and the Pinetoppers, "Pinetop"] That record had attracted the attention of Joe Galkin. Galkin was a semi-independent record promoter, who had worked for Atlantic in New York before moving back to his home town of Macon. Galkin had proved himself as a promoter by being responsible for the massive amounts of airplay given to Solomon Burke's "Just Out of Reach (of My Two Open Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (of My Two Open Arms)"] After that, Jerry Wexler had given Galkin fifty dollars a week and an expense account, and Galkin would drive to all the Black radio stations in the South and pitch Atlantic's records to them. But Galkin also had his own record label, Gerald Records, and when he went to those stations and heard them playing something from a smaller label, he would quickly negotiate with that smaller label, buy the master and the artist's contract, and put the record out on Gerald Records -- and then he would sell the track and the artist on to Atlantic, taking ten percent of the record's future earnings and a finder's fee. This is what happened with Johnny Jenkins' single, which was reissued on Gerald and then on Atlantic. Galkin signed Jenkins to a contract -- another of those contracts which also made him Jenkins' manager, and indeed the manager of the Pinetops. Jenkins' record ended up selling about twenty-five thousand records, but when Galkin saw the Pinetoppers performing live, he realised that Otis Redding was the real star. Since he had a contract with Jenkins, he came to an agreement with Walden, who was still Jenkins' manager as well as Redding's -- Walden would get fifty percent of Jenkins' publishing and they would be co-managers of Jenkins. But Galkin had plans for Redding, which he didn't tell anyone about, not even Redding himself. The one person he did tell was Jerry Wexler, who he phoned up and asked for two thousand dollars, explaining that he wanted to record Jenkins' follow-up single at Stax, and he also wanted to bring along a singer he'd discovered, who sang with Jenkins' band. Wexler agreed -- Atlantic had recently started distributing Stax's records on a handshake deal of much the same kind that Redding had with Walden. As far as everyone else was concerned, though, the session was just for Johnny Jenkins, the known quantity who'd already released a single for Atlantic. Otis Redding, meanwhile, was having to work a lot of odd jobs to feed his rapidly growing family, and one of those jobs was to work as Johnny Jenkins' driver, as Jenkins didn't have a driving license. So Galkin suggested that, given that Memphis was quite a long drive, Redding should drive Galkin and Jenkins to Stax, and carry the equipment for them. Bobby Smith, who still thought of himself as Redding's manager, was eager to help his friend's bandmate with his big break (and to help Galkin, in the hope that maybe Atlantic would start distributing Confederate too), and so he lent Redding the company station wagon to drive them to the session.The other Pinetoppers wouldn't be going -- Jenkins was going to be backed by Booker T and the MGs, the normal Stax backing band. Phil Walden, though, had told Redding that he should try to take the opportunity to get himself heard by Stax, and he pestered the musicians as they recorded Jenkins' "Spunky": [Excerpt: Johnny Jenkins, "Spunky"] Cropper later remembered “During the session, Al Jackson says to me, ‘The big tall guy that was driving Johnny, he's been bugging me to death, wanting me to hear him sing,' Al said, ‘Would you take some time and get this guy off of my back and listen to him?' And I said, ‘After the session I'll try to do it,' and then I just forgot about it.” What Redding didn't know, though Walden might have, is that Galkin had planned all along to get Redding to record while he was there. Galkin claimed to be Redding's manager, and told Jim Stewart, the co-owner of Stax who acted as main engineer and supervising producer on the sessions at this point, that Wexler had only funded the session on the basis that Redding would also get a shot at recording. Stewart was unimpressed -- Jenkins' session had not gone well, and it had taken them more than two hours to get two tracks down, but Galkin offered Stewart a trade -- Galkin, as Redding's manager, would take half of Stax's mechanical royalties for the records (which wouldn't be much) but in turn would give Stewart half the publishing on Redding's songs. That was enough to make Stewart interested, but by this point Booker T. Jones had already left the studio, so Steve Cropper moved to the piano for the forty minutes that was left of the session, with Jenkins remaining on guitar, and they tried to get two sides of a single cut. The first track they cut was "Hey Hey Baby", which didn't impress Stewart much -- he simply said that the world didn't need another Little Richard -- and so with time running out they cut another track, the ballad Redding had already given to Buddy Leach. He asked Cropper, who didn't play piano well, to play "church chords", by which he meant triplets, and Cropper said "he started singing ‘These Arms of Mine' and I know my hair lifted about three inches and I couldn't believe this guy's voice": [Excerpt: Otis Redding, "These Arms of Mine"] That was more impressive, though Stewart carefully feigned disinterest. Stewart and Galkin put together a contract which signed Redding to Stax -- though they put the single out on the less-important Volt subsidiary, as they did for much of Redding's subsequent output -- and gave Galkin and Stewart fifty percent each of the publishing rights to Redding's songs. Redding signed it, not even realising he was signing a proper contract rather than just one for a single record, because he was just used to signing whatever bit of paper was put in front of him at the time. This one was slightly different though, because Redding had had his twenty-first birthday since the last time he'd signed a contract, and so Galkin assumed that that meant all his other contracts were invalid -- not realising that Redding's contract with Bobby Smith had been countersigned by Redding's mother, and so was also legal. Walden also didn't realise that, but *did* realise that Galkin representing himself as Redding's manager to Stax might be a problem, so he quickly got Redding to sign a proper contract, formalising the handshake basis they'd been operating on up to that point. Walden was at this point in the middle of his Army service, but got the signature while he was home on leave. Walden then signed a deal with Galkin, giving Walden half of Galkin's fifty percent cut of Redding's publishing in return for Galkin getting a share of Walden's management proceeds. By this point everyone was on the same page -- Otis Redding was going to be a big star, and he became everyone's prime focus. Johnny Jenkins remained signed to Walden's agency -- which quickly grew to represent almost every big soul star that wasn't signed to Motown -- but he was regarded as a footnote. His record came out eventually on Volt, almost two years later, but he didn't release another record until 1968. Jenkins did, though, go on to have some influence. In 1970 he was given the opportunity to sing lead on an album backed by Duane Allman and the members of the Muscle Shoals studio band, many of whom went on to form the Allman Brothers Band. That record contained a cover of Dr. John's "I Walk on Guilded Splinters" which was later sampled by Beck for "Loser", the Wu-Tang Clan for "Gun Will Go" and Oasis for their hit "Go Let it Out": [Excerpt: Johnny Jenkins, "I Walk on Guilded Splinters"] Jenkins would play guitar on several future Otis Redding sessions, but would hold a grudge against Redding for the rest of his life for taking the stardom he thought was rightfully his, and would be one of the few people to have anything negative to say about Redding after his early death. When Bobby Smith heard about the release of "These Arms of Mine", he was furious, as his contract with Redding *was* in fact legally valid, and he'd been intending to get Redding to record the song himself. However, he realised that Stax could call on the resources of Atlantic Records, and Joe Galkin also hinted that if he played nice Atlantic might start distributing Confederate, too. Smith signed away all his rights to Redding -- again, thinking that he was only signing away the rights to a single record and song, and not reading the contract closely enough. In this case, Smith only had one working eye, and that wasn't good enough to see clearly -- he had to hold paper right up to his face to read anything on it -- and he simply couldn't read the small print on the contract, and so signed over Otis Redding's management, record contract, and publishing, for a flat seven hundred dollars. Now everything was legally -- if perhaps not ethically -- in the clear. Phil Walden was Otis Redding's manager, Stax was his record label, Joe Galkin got a cut off the top, and Walden, Galkin, and Jim Stewart all shared Redding's publishing. Although, to make it a hit, one more thing had to happen, and one more person had to get a cut of the song: [Excerpt: Otis Redding, "These Arms of Mine"] That sound was becoming out of fashion among Black listeners at the time. It was considered passe, and even though the Stax musicians loved the record, Jim Stewart didn't, and put it out not because he believed in Otis Redding, but because he believed in Joe Galkin. As Stewart later said “The Black radio stations were getting out of that Black country sound, we put it out to appease and please Joe.” For the most part DJs ignored the record, despite Galkin pushing it -- it was released in October 1962, that month which we have already pinpointed as the start of the sixties, and came out at the same time as a couple of other Stax releases, and the one they were really pushing was Carla Thomas' "I'll Bring it Home to You", an answer record to Sam Cooke's "Bring it On Home to Me": [Excerpt: Carla Thomas, "I'll Bring it Home to You"] "These Arms of Mine" wasn't even released as the A-side -- that was "Hey Hey Baby" -- until John R came along. John R was a Nashville DJ, and in fact he was the reason that Bobby Smith even knew that Redding had signed to Stax. R had heard Buddy Leach's version of the song, and called Smith, who was a friend of his, to tell him that his record had been covered, and that was the first Smith had heard of the matter. But R also called Jim Stewart at Stax, and told him that he was promoting the wrong side, and that if they started promoting "These Arms of Mine", R would play the record on his radio show, which could be heard in twenty-eight states. And, as a gesture of thanks for this suggestion -- and definitely not as payola, which would be very illegal -- Stewart gave R his share of the publishing rights to the song, which eventually made the top twenty on the R&B charts, and slipped into the lower end of the Hot One Hundred. "These Arms of Mine" was actually recorded at a turning point for Stax as an organisation. By the time it was released, Booker T Jones had left Memphis to go to university in Indiana to study music, with his tuition being paid for by his share of the royalties for "Green Onions", which hit the charts around the same time as Redding's first session: [Excerpt: Booker T. and the MGs, "Green Onions"] Most of Stax's most important sessions were recorded at weekends -- Jim Stewart still had a day job as a bank manager at this point, and he supervised the records that were likely to be hits -- so Jones could often commute back to the studio for session work, and could play sessions during his holidays. The rest of the time, other people would cover the piano parts, often Cropper, who played piano on Redding's next sessions, with Jenkins once again on guitar. As "These Arms of Mine" didn't start to become a hit until March, Redding didn't go into the studio again until June, when he cut the follow-up, "That's What My Heart Needs", with the MGs, Jenkins, and the horn section of the Mar-Keys. That made number twenty-seven on the Cashbox R&B chart -- this was in the period when Billboard had stopped having one. The follow-up, "Pain in My Heart", was cut in September and did even better, making number eleven on the Cashbox R&B chart: [Excerpt: Otis Redding, "Pain in My Heart"] It did well enough in fact that the Rolling Stones cut a cover version of the track: [Excerpt: The Rolling Stones, "Pain in My Heart"] Though Redding didn't get the songwriting royalties -- by that point Allen Toussaint had noticed how closely it resembled a song he'd written for Irma Thomas, "Ruler of My Heart": [Excerpt: Irma Thomas, "Ruler of My Heart"] And so the writing credit was changed to be Naomi Neville, one of the pseudonyms Toussaint used. By this point Redding was getting steady work, and becoming a popular live act. He'd put together his own band, and had asked Jenkins to join, but Jenkins didn't want to play second fiddle to him, and refused, and soon stopped being invited to the recording sessions as well. Indeed, Redding was *eager* to get as many of his old friends working with him as he could. For his second and third sessions, as well as bringing Jenkins, he'd brought along a whole gang of musicians from his touring show, and persuaded Stax to put out records by them, too. At those sessions, as well as Redding's singles, they also cut records by his valet (which was the term R&B performers in those years used for what we'd now call a gofer or roadie) Oscar Mack: [Excerpt: Oscar Mack, "Don't Be Afraid of Love"] For Eddie Kirkland, the guitarist in his touring band, who had previously played with John Lee Hooker and whose single was released under the name "Eddie Kirk": [Excerpt: Eddie Kirk, "The Hawg, Part 1"] And Bobby Marchan, a singer and female impersonator from New Orleans who had had some massive hits a few years earlier both on his own and as the singer with Huey "Piano" Smith and the Clowns, but had ended up in Macon without a record deal and been taken under Redding's wing: [Excerpt: Bobby Marchan, "What Can I Do?"] Redding would continue, throughout his life, to be someone who tried to build musical careers for his friends, though none of those singles was successful. The changes in Stax continued. In late autumn 1963, Atlantic got worried by the lack of new product coming from Stax. Carla Thomas had had a couple of R&B hits, and they were expecting a new single, but every time Jerry Wexler phoned Stax asking where the new single was, he was told it would be coming soon but the equipment was broken. After a couple of weeks of this, Wexler decided something fishy was going on, and sent Tom Dowd, his genius engineer, down to Stax to investigate. Dowd found when he got there that the equipment *was* broken, and had been for weeks, and was a simple fix. When Dowd spoke to Stewart, though, he discovered that they didn't know where to source replacement parts from. Dowd phoned his assistant in New York, and told him to go to the electronics shop and get the parts he needed. Then, as there were no next-day courier services at that time, Dowd's assistant went to the airport, found a flight attendant who was flying to Memphis, and gave her the parts and twenty-five dollars, with a promise of twenty-five more if she gave them to Dowd at the other end. The next morning, Dowd had the equipment fixed, and everyone involved became convinced that Dowd was a miracle worker, especially after he showed Steve Cropper some rudimentary tape-manipulation techniques that Cropper had never encountered before. Dowd had to wait around in Memphis for his flight, so he went to play golf with the musicians for a bit, and then they thought they might as well pop back to the studio and test the equipment out. When they did, Rufus Thomas -- Carla Thomas' father, who had also had a number of hits himself on Stax and Sun -- popped his head round the door to see if the equipment was working now. They told him it was, and he said he had a song if they were up for a spot of recording. They were, and so when Dowd flew back that night, he was able to tell Wexler not only that the next Carla Thomas single would soon be on its way, but that he had the tapes of a big hit single with him right there: [Excerpt: Rufus Thomas, "Walking the Dog"] "Walking the Dog" was a sensation. Jim Stewart later said “I remember our first order out of Chicago. I was in New York in Jerry Wexler's office at the time and Paul Glass, who was our distributor in Chicago, called in an order for sixty-five thousand records. I said to Jerry, ‘Do you mean sixty-five hundred?' And he said, ‘Hell no, he wants sixty-five thousand.' That was the first order! He believed in the record so much that we ended up selling about two hundred thousand in Chicago alone.” The record made the top ten on the pop charts, but that wasn't the biggest thing that Dowd had taken away from the session. He came back raving to Wexler about the way they made records in Memphis, and how different it was from the New York way. In New York, there was a strict separation between the people in the control room and the musicians in the studio, the musicians were playing from written charts, and everyone had a job and did just that job. In Memphis, the musicians were making up the arrangements as they went, and everyone was producing or engineering all at the same time. Dowd, as someone with more technical ability than anyone at Stax, and who was also a trained musician who could make musical suggestions, was soon regularly commuting down to Memphis to be part of the production team, and Jerry Wexler was soon going down to record with other Atlantic artists there, as we heard about in the episode on "Midnight Hour". Shortly after Dowd's first visit to Memphis, another key member of the Stax team entered the picture. Right at the end of 1963, Floyd Newman recorded a track called "Frog Stomp", on which he used his own band rather than the MGs and Mar-Keys: [Excerpt: Floyd Newman, "Frog Stomp"] The piano player and co-writer on that track was a young man named Isaac Hayes, who had been trying to get work at Stax for some time. He'd started out as a singer, and had made a record, "Laura, We're On Our Last Go-Round", at American Sound, the studio run by the former Stax engineer and musician Chips Moman: [Excerpt: Isaac Hayes, "Laura, We're On Our Last Go-Round"] But that hadn't been a success, and Hayes had continued working a day job at a slaughterhouse -- and would continue doing so for much of the next few years, even after he started working at Stax (it's truly amazing how many of the people involved in Stax were making music as what we would now call a side-hustle). Hayes had become a piano player as a way of getting a little extra money -- he'd been offered a job as a fill-in when someone else had pulled out at the last minute on a gig on New Year's Eve, and took it even though he couldn't actually play piano, and spent his first show desperately vamping with two fingers, and was just lucky the audience was too drunk to care. But he had a remarkable facility for the instrument, and while unlike Booker T Jones he would never gain a great deal of technical knowledge, and was embarrassed for the rest of his life by both his playing ability and his lack of theory knowledge, he was as great as they come at soul, at playing with feel, and at inventing new harmonies on the fly. They still didn't have a musician at Stax that could replace Booker T, who was still off at university, so Isaac Hayes was taken on as a second session keyboard player, to cover for Jones when Jones was in Indiana -- though Hayes himself also had to work his own sessions around his dayjob, so didn't end up playing on "In the Midnight Hour", for example, because he was at the slaughterhouse. The first recording session that Hayes played on as a session player was an Otis Redding single, either his fourth single for Stax, "Come to Me", or his fifth, "Security": [Excerpt: Otis Redding, "Security"] "Security" is usually pointed to by fans as the point at which Redding really comes into his own, and started directing the musicians more. There's a distinct difference, in particular, in the interplay between Cropper's guitar, the Mar-Keys' horns, and Redding's voice. Where previously the horns had tended to play mostly pads, just holding chords under Redding's voice, now they were starting to do answering phrases. Jim Stewart always said that the only reason Stax used a horn section at all was because he'd been unable to find a decent group of backing vocalists, and the function the horns played on most of the early Stax recordings was somewhat similar to the one that the Jordanaires had played for Elvis, or the Picks for Buddy Holly, basically doing "oooh" sounds to fatten out the sound, plus the odd sax solo or simple riff. The way Redding used the horns, though, was more like the way Ray Charles used the Raelettes, or the interplay of a doo-wop vocal group, with call and response, interjections, and asides. He also did something in "Security" that would become a hallmark of records made at Stax -- instead of a solo, the instrumental break is played by the horns as an ensemble: [Excerpt: Otis Redding, "Security"] According to Wayne Jackson, the Mar-Keys' trumpeter, Redding was the one who had the idea of doing these horn ensemble sections, and the musicians liked them enough that they continued doing them on all the future sessions, no matter who with. The last Stax single of 1964 took the "Security" sound and refined it, and became the template for every big Stax hit to follow. "Mr. Pitiful" was the first collaboration between Redding and Steve Cropper, and was primarily Cropper's idea. Cropper later remembered “There was a disc jockey here named Moohah. He started calling Otis ‘Mr. Pitiful' 'cause he sounded so pitiful singing his ballads. So I said, ‘Great idea for a song!' I got the idea for writing about it in the shower. I was on my way down to pick up Otis. I got down there and I was humming it in the car. I said, ‘Hey, what do you think about this?' We just wrote the song on the way to the studio, just slapping our hands on our legs. We wrote it in about ten minutes, went in, showed it to the guys, he hummed a horn line, boom—we had it. When Jim Stewart walked in we had it all worked up. Two or three cuts later, there it was.” [Excerpt: Otis Redding, "Mr. Pitiful"] Cropper would often note later that Redding would never write about himself, but that Cropper would put details of Redding's life and persona into the songs, from "Mr. Pitiful" right up to their final collaboration, in which Cropper came up with lines about leaving home in Georgia. "Mr Pitiful" went to number ten on the R&B chart and peaked at number forty-one on the hot one hundred, and its B-side, "That's How Strong My Love Is", also made the R&B top twenty. Cropper and Redding soon settled into a fruitful writing partnership, to the extent that Cropper even kept a guitar permanently tuned to an open chord so that Redding could use it. Redding couldn't play the guitar, but liked to use one as a songwriting tool. When a guitar is tuned in standard tuning, you have to be able to make chord shapes to play it, because the sound of the open strings is a discord: [demonstrates] But you can tune a guitar so all the strings are the notes of a single chord, so they sound good together even when you don't make a chord shape: [demonstrates open-E tuning] With one of these open tunings, you can play chords with just a single finger barring a fret, and so they're very popular with, for example, slide guitarists who use a metal slide to play, or someone like Dolly Parton who has such long fingernails it's difficult to form chord shapes. Someone like Parton is of course an accomplished player, but open tunings also mean that someone who can't play well can just put their finger down on a fret and have it be a chord, so you can write songs just by running one finger up and down the fretboard: [demonstrates] So Redding could write, and even play acoustic rhythm guitar on some songs, which he did quite a lot in later years, without ever learning how to make chords. Now, there's a downside to this -- which is why standard tuning is still standard. If you tune to an open major chord, you can play major chords easily but minor chords become far more difficult. Handily, that wasn't a problem at Stax, because according to Isaac Hayes, Jim Stewart banned minor chords from being played at Stax. Hayes said “We'd play a chord in a session, and Jim would say, ‘I don't want to hear that chord.' Jim's ears were just tuned into one, four, and five. I mean, just simple changes. He said they were the breadwinners. He didn't like minor chords. Marvell and I always would try to put that pretty stuff in there. Jim didn't like that. We'd bump heads about that stuff. Me and Marvell fought all the time that. Booker wanted change as well. As time progressed, I was able to sneak a few in.” Of course, minor chords weren't *completely* banned from Stax, and some did sneak through, but even ballads would often have only major chords -- like Redding's next single, "I've Been Loving You Too Long". That track had its origins with Jerry Butler, the singer who had been lead vocalist of the Impressions before starting a solo career and having success with tracks like "For Your Precious Love": [Excerpt: Jerry Butler, "For Your Precious Love"] Redding liked that song, and covered it himself on his second album, and he had become friendly with Butler. Butler had half-written a song, and played it for Redding, who told him he'd like to fiddle with it, see what he could do. Butler forgot about the conversation, until he got a phone call from Redding, telling him that he'd recorded the song. Butler was confused, and also a little upset -- he'd been planning to finish the song himself, and record it. But then Redding played him the track, and Butler decided that doing so would be pointless -- it was Redding's song now: [Excerpt: Otis Redding, "I've Been Loving You Too Long"] "I've Been Loving You Too Long" became Redding's first really big hit, making number two on the R&B chart and twenty-one on the Hot One Hundred. It was soon being covered by the Rolling Stones and Ike & Tina Turner, and while Redding was still not really known to the white pop market, he was quickly becoming one of the biggest stars on the R&B scene. His record sales were still not matching his live performances -- he would always make far more money from appearances than from records -- but he was by now the performer that every other soul singer wanted to copy. "I've Been Loving You Too Long" came out just after Redding's second album, The Great Otis Redding Sings Soul Ballads, which happened to be the first album released on Volt Records. Before that, while Stax and Volt had released the singles, they'd licensed all the album tracks to Atlantic's Atco subsidiary, which had released the small number of albums put out by Stax artists. But times were changing and the LP market was becoming bigger. And more importantly, the *stereo* LP market was becoming bigger. Singles were still only released in mono, and would be for the next few years, but the album market had a substantial number of audiophiles, and they wanted stereo. This was a problem for Stax, because they only had a mono tape recorder, and they were scared of changing anything about their setup in case it destroyed their sound. Tom Dowd, who had been recording in eight track for years, was appalled by the technical limitations at the McLemore Ave studio, but eventually managed to get Jim Stewart, who despite -- or possibly because of -- being a white country musician was the most concerned that they keep their Black soul sound, to agree to a compromise. They would keep everything hooked up exactly the same -- the same primitive mixers, the same mono tape recorder -- and Stax would continue doing their mixes for mono, and all their singles would come directly off that mono tape. But at the same time, they would *also* have a two-track tape recorder plugged in to the mixer, with half the channels going on one track and half on the other. So while they were making the mix, they'd *also* be getting a stereo dump of that mix. The limitations of the situation meant that they might end up with drums and vocals in one channel and everything else in the other -- although as the musicians cut everything together in the studio, which had a lot of natural echo, leakage meant there was a *bit* of everything on every track -- but it would still be stereo. Redding's next album, Otis Blue, was recorded on this new equipment, with Dowd travelling down from New York to operate it. Dowd was so keen on making the album stereo that during that session, they rerecorded Redding's two most recent singles, "I've Been Loving You Too Long" and "Respect" (which hadn't yet come out but was in the process of being released) in soundalike versions so there would be stereo versions of the songs on the album -- so the stereo and mono versions of Otis Blue actually have different performances of those songs on them. It shows how intense the work rate was at Stax -- and how good they were at their jobs -- that apart from the opening track "Ole Man Trouble", which had already been recorded as a B-side, all of Otis Blue, which is often considered the greatest soul album in history, was recorded in a twenty-eight hour period, and it would have been shorter but there was a four-hour break in the middle, from 10PM to 2AM, so that the musicians on the session could play their regular local club gigs. And then after the album was finished, Otis left the session to perform a gig that evening. Tom Dowd, in particular, was astonished by the way Redding took charge in the studio, and how even though he had no technical musical knowledge, he would direct the musicians. Dowd called Redding a genius and told Phil Walden that the only two other artists he'd worked with who had as much ability in the studio were Bobby Darin and Ray Charles. Other than those singles and "Ole Man Trouble", Otis Blue was made up entirely of cover versions. There were three versions of songs by Sam Cooke, who had died just a few months earlier, and whose death had hit Redding hard -- for all that he styled himself on Little Richard vocally, he was also in awe of Cooke as a singer and stage presence. There were also covers of songs by The Temptations, William Bell, and B.B. King. And there was also an odd choice -- Steve Cropper suggested that Redding cut a cover of a song by a white band that was in the charts at the time: [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] Redding had never heard the song before -- he was not paying attention to the white pop scene at the time, just to his competition on the R&B charts -- but he was interested in doing it. Cropper sat by the turntable, scribbling down what he thought the lyrics Jagger was singing were, and they cut the track. Redding starts out more or less singing the right words: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] But quickly ends up just ad-libbing random exclamations in the same way that he would in many of his live performances: [Excerpt: Otis Redding, "(I Can't Get No) Satisfaction"] Otis Blue made number one on the R&B album chart, and also made number six on the UK album chart -- Redding, like many soul artists, was far more popular in the UK than in the US. It only made number seventy-five on the pop album charts in the US, but it did a remarkable thing as far as Stax was concerned -- it *stayed* in the lower reaches of the charts, and on the R&B album charts, for a long time. Redding had become what is known as a "catalogue artist", something that was almost unknown in rock and soul music at this time, but which was just starting to appear. Up to 1965, the interlinked genres that we now think of as rock and roll, rock, pop, blues, R&B, and soul, had all operated on the basis that singles were where the money was, and that singles should be treated like periodicals -- they go on the shelves, stay there for a few weeks, get replaced by the new thing, and nobody's interested any more. This had contributed to the explosive rate of change in pop music between about 1954 and 1968. You'd package old singles up into albums, and stick some filler tracks on there as a way of making a tiny bit of money from tracks which weren't good enough to release as singles, but that was just squeezing the last few drops of juice out of the orange, it wasn't really where the money was. The only exceptions were those artists like Ray Charles who crossed over into the jazz and adult pop markets. But in general, your record sales in the first few weeks and months *were* your record sales. But by the mid-sixties, as album sales started to take off more, things started to change. And Otis Redding was one of the first artists to really benefit from that. He wasn't having huge hit singles, and his albums weren't making the pop top forty, but they *kept selling*. Redding wouldn't have an album make the top forty in his lifetime, but they sold consistently, and everything from Otis Blue onward sold two hundred thousand or so copies -- a massive number in the much smaller album market of the time. These sales gave Redding some leverage. His contract with Stax was coming to an end in a few months, and he was getting offers from other companies. As part of his contract renegotiation, he got Jim Stewart -- who like so many people in this story including Redding himself liked to operate on handshake deals and assumptions of good faith on the part of everyone else, and who prided himself on being totally fair and not driving hard bargains -- to rework his publishing deal. Now Redding's music was going to be published by Redwal Music -- named after Redding and Phil Walden -- which was owned as a four-way split between Redding, Walden, Stewart, and Joe Galkin. Redding also got the right as part of his contract negotiations to record other artists using Stax's facilities and musicians. He set up his own label, Jotis Records -- a portmanteau of Joe and Otis, for Joe Galkin and himself, and put out records by Arthur Conley: [Excerpt: Arthur Conley, "Who's Fooling Who?"] Loretta Williams [Excerpt: Loretta Williams, "I'm Missing You"] and Billy Young [Excerpt: Billy Young, "The Sloopy"] None of these was a success, but it was another example of how Redding was trying to use his success to boost others. There were other changes going on at Stax as well. The company was becoming more tightly integrated with Atlantic Records -- Tom Dowd had started engineering more sessions, Jerry Wexler was turning up all the time, and they were starting to make records for Atlantic, as we discussed in the episode on "In the Midnight Hour". Atlantic were also loaning Stax Sam and Dave, who were contracted to Atlantic but treated as Stax artists, and whose hits were written by the new Stax songwriting team of Isaac Hayes and David Porter: [Excerpt: Sam and Dave, "Soul Man"] Redding was not hugely impressed by Sam and Dave, once saying in an interview "When I first heard the Righteous Brothers, I thought they were colored. I think they sing better than Sam and Dave", but they were having more and bigger chart hits than him, though they didn't have the same level of album sales. Also, by now Booker T and the MGs had a new bass player. Donald "Duck" Dunn had always been the "other" bass player at Stax, ever since he'd started with the Mar-Keys, and he'd played on many of Redding's recordings, as had Lewie Steinberg, the original bass player with the MGs. But in early 1965, the Stax studio musicians had cut a record originally intending it to be a Mar-Keys record, but decided to put it out as by Booker T and the MGs, even though Booker T wasn't there at the time -- Isaac Hayes played keyboards on the track: [Excerpt: Booker T and the MGs, "Boot-Leg"] Booker T Jones would always have a place at Stax, and would soon be back full time as he finished his degree, but from that point on Duck Dunn, not Lewie Steinberg, was the bass player for the MGs. Another change in 1965 was that Stax got serious about promotion. Up to this point, they'd just relied on Atlantic to promote their records, but obviously Atlantic put more effort into promoting records on which it made all the money than ones it just distributed. But as part of the deal to make records with Sam and Dave and Wilson Pickett, Atlantic had finally put their arrangement with Stax on a contractual footing, rather than their previous handshake deal, and they'd agreed to pay half the salary of a publicity person for Stax. Stax brought in Al Bell, who made a huge impression. Bell had been a DJ in Memphis, who had gone off to work with Martin Luther King for a while, before leaving after a year because, as he put it "I was not about passive resistance. I was about economic development, economic empowerment.” He'd returned to DJing, first in Memphis, then in Washington DC, where he'd been one of the biggest boosters of Stax records in the area. While he was in Washington, he'd also started making records himself. He'd produced several singles for Grover Mitchell on Decca: [Excerpt: Grover Mitchell, "Midnight Tears"] Those records were supervised by Milt Gabler, the same Milt Gabler who produced Louis Jordan's records and "Rock Around the Clock", and Bell co-produced them with Eddie Floyd, who wrote that song, and Chester Simmons, formerly of the Moonglows, and the three of them started their own label, Safice, which had put out a few records by Floyd and others, on the same kind of deal with Atlantic that Stax had: [Excerpt: Eddie Floyd, "Make Up Your Mind"] Floyd would himself soon become a staff songwriter at Stax. As with almost every decision at Stax, the decision to hire Bell was a cause of disagreement between Jim Stewart and his sister Estelle Axton, the "Ax" in Stax, who wasn't as involved in the day-to-day studio operations as her brother, but who was often regarded by the musicians as at least as important to the spirit of the label, and who tended to disagree with her brother on pretty much everything. Stewart didn't want to hire Bell, but according to Cropper “Estelle and I said, ‘Hey, we need somebody that can liaison between the disc jockeys and he's the man to do it. Atlantic's going into a radio station with six Atlantic records and one Stax record. We're not getting our due.' We knew that. We needed more promotion and he had all the pull with all those disc jockeys. He knew E. Rodney Jones and all the big cats, the Montagues and so on. He knew every one of them.” Many people at Stax will say that the label didn't even really start until Bell joined -- and he became so important to the label that he would eventually take it over from Stewart and Axton. Bell came in every day and immediately started phoning DJs, all day every day, starting in the morning with the drivetime East Coast DJs, and working his way across the US, ending up at midnight phoning the evening DJs in California. Booker T Jones said of him “He had energy like Otis Redding, except he wasn't a singer. He had the same type of energy. He'd come in the room, pull up his shoulders and that energy would start. He would start talking about the music business or what was going on and he energized everywhere he was. He was our Otis for promotion. It was the same type of energy charisma.” Meanwhile, of course, Redding was constantly releasing singles. Two more singles were released from Otis Blue -- his versions of "My Girl" and "Satisfaction", and he also released "I Can't Turn You Loose", which was originally the B-side to "Just One More Day" but ended up charting higher than its original A-side. It's around this time that Redding did something which seems completely out of character, but which really must be mentioned given that with very few exceptions everyone in his life talks about him as some kind of saint. One of Redding's friends was beaten up, and Redding, the friend, and another friend drove to the assailant's house and started shooting through the windows, starting a gun battle in which Redding got grazed. His friend got convicted of attempted murder, and got two years' probation, while Redding himself didn't face any criminal charges but did get sued by the victims, and settled out of court for a few hundred dollars. By this point Redding was becoming hugely rich from his concert appearances and album sales, but he still hadn't had a top twenty pop hit. He needed to break the white market. And so in April 1966, Redding went to LA, to play the Sunset Strip: [Excerpt: Otis Redding, "Respect (live at the Whisky A-Go-Go)"] Redding's performance at the Whisky A-Go-Go, a venue which otherwise hosted bands like the Doors, the Byrds, the Mothers of Invention, and Love, was his first real interaction with the white rock scene, part of a process that had started with his recording of "Satisfaction". The three-day residency got rave reviews, though the plans to release a live album of the shows were scuppered when Jim Stewart listened back to the tapes and decided that Redding's horn players were often out of tune. But almost everyone on the LA scene came out to see the shows, and Redding blew them away. According to one biography of Redding I used, it was seeing how Redding tuned his guitar that inspired the guitarist from the support band, the Rising Sons, to start playing in the same tuning -- though I can't believe for a moment that Ry Cooder, one of the greatest slide guitarists of his generation, didn't already know about open tunings. But Redding definitely impressed that band -- Taj Mahal, their lead singer, later said it was "one of the most amazing performances I'd ever seen". Also at the gigs was Bob Dylan, who played Redding a song he'd just recorded but not yet released: [Excerpt: Bob Dylan, "Just Like a Woman"] Redding agreed that the song sounded perfect for him, and said he would record it. He apparently made some attempts at rehearsing it at least, but never ended up recording it. He thought the first verse and chorus were great, but had problems with the second verse: [Excerpt: Bob Dylan, "Just Like a Woman"] Those lyrics were just too abstract for him to find a way to connect with them emotionally, and as a result he found himself completely unable to sing them. But like his recording of "Satisfaction", this was another clue to him that he should start paying more attention to what was going on in the white music industry, and that there might be things he could incorporate into his own style. As a result of the LA gigs, Bill Graham booked Redding for the Fillmore in San Francisco. Redding was at first cautious, thinking this might be a step too far, and that he wouldn't go down well with the hippie crowd, but Graham persuaded him, saying that whenever he asked any of the people who the San Francisco crowds most loved -- Jerry Garcia or Paul Butterfield or Mike Bloomfield -- who *they* most wanted to see play there, they all said Otis Redding. Redding reluctantly agreed, but before he took a trip to San Francisco, there was somewhere even further out for him to go. Redding was about to head to England but before he did there was another album to make, and this one would see even more of a push for the white market, though still trying to keep everything soulful. As well as Redding originals, including "Fa-Fa-Fa-Fa (Sad Song)", another song in the mould of "Mr. Pitiful", there was another cover of a contemporary hit by a guitar band -- this time a version of the Beatles' "Day Tripper" -- and two covers of old standards; the country song "Tennessee Waltz", which had recently been covered by Sam Cooke, and a song made famous by Bing Crosby, "Try a Little Tenderness". That song almost certainly came to mind because it had recently been used in the film Dr. Strangelove, but it had also been covered relatively recently by two soul greats, Aretha Franklin: [Excerpt: Aretha Franklin, "Try a Little Tenderness"] And Sam Cooke: [Excerpt: Sam Cooke, "Live Medley: I Love You For Sentimental Reasons/Try a Little Tenderness/You Send Me"] This version had horn parts arranged by Isaac Hayes, who by this point had been elevated to be considered one of the "Big Six" at Stax records -- Hayes, his songwriting partner David Porter, Steve Cropper, Duck Dunn, Booker T. Jones, and Al Jackson, were all given special status at the company, and treated as co-producers on every record -- all the records were now credited as produced by "staff", but it was the Big Six who split the royalties. Hayes came up with a horn part that was inspired by Sam Cooke's "A Change is Gonna Come", and which dominated the early part of the track: [Excerpt: Otis Redding, "Try a Little Tenderness"] Then the band came in, slowly at first: [Excerpt: Otis Redding, "Try a Little Tenderness"] But Al Jackson surprised them when they ran through the track by deciding that after the main song had been played, he'd kick the track into double-time, and give Redding a chance to stretch out and do his trademark grunts and "got-ta"s. The single version faded out shortly after that, but the version on the album kept going for an extra thirty seconds: [Excerpt: Otis Redding, "Try a Little Tenderness"] As Booker T. Jones said “Al came up with the idea of breaking up the rhythm, and Otis just took that and ran with it. He really got excited once he found out what Al was going to do on the drums. He realized how he could finish the song. That he could start it like a ballad and finish it full of emotion. That's how a lot of our arrangements would come together. Somebody would come up with something totally outrageous.” And it would have lasted longer but Jim Stewart pushed the faders down, realising the track was an uncommercial length even as it was. Live, the track could often stretch out to seven minutes or longer, as Redding drove the crowd into a frenzy, and it soon became one of the highlights of his live set, and a signature song for him: [Excerpt: Otis Redding, "Try a Little Tenderness (live in London)"] In September 1966, Redding went on his first tour outside the US. His records had all done much better in the UK than they had in America, and they were huge favourites of everyone on the Mod scene, and when he arrived in the UK he had a limo sent by Brian Epstein to meet him at the airport. The tour was an odd one, with multiple London shows, shows in a couple of big cities like Manchester and Bristol, and shows in smallish towns in Hampshire and Lincolnshire. Apparently the shows outside London weren't particularly well attended, but the London shows were all packed to overflowing. Redding also got his own episode of Ready! Steady! Go!, on which he performed solo as well as with guest stars Eric Burdon and Chris Farlowe: [Excerpt: Otis Redding, Chris Farlowe and Eric Burdon, "Shake/Land of a Thousand Dances"] After the UK tour, he went on a short tour of the Eastern US with Sam and Dave as his support act, and then headed west to the Fillmore for his three day residency there, introducing him to the San Francisco music scene. His first night at the venue was supported by the Grateful Dead, the second by Johnny Talbot and De Thangs and the third by Country Joe and the Fish, but there was no question that it was Otis Redding that everyone was coming to see. Janis Joplin turned up at the Fillmore every day at 3PM, to make sure she could be right at the front for Redding's shows that night, and Bill Graham said, decades later, "By far, Otis Redding was the single most extraordinary talent I had ever seen. There was no comparison. Then or now." However, after the Fillmore gigs, for the first time ever he started missing shows. The Sentinel, a Black newspaper in LA, reported a few days later "Otis Redding, the rock singer, failed to make many friends here the other day when he was slated to appear on the Christmas Eve show[...] Failed to draw well, and Redding reportedly would not go on." The Sentinel seem to think that Redding was just being a diva, but it's likely that this was the first sign of a problem that would change everything about his career -- he was developing vocal polyps that were making singing painful. It's notable though that the Sentinel refers to Redding as a "rock" singer, and shows again how different genres appeared in the mid-sixties to how they appear today. In that light, it's interesting to look at a quote from Redding from a few months later -- "Everybody thinks that all songs by colored people are rhythm and blues, but that's not true. Johnny Taylor, Muddy Waters, and B.B. King are blues singers. James Brown is not a blues singer. He has a rock and roll beat and he can sing slow pop songs. My own songs "Respect" and "Mr Pitiful" aren't blues songs. I'm speaking in terms of the beat and structure of the music. A blues is a song that goes twelve bars all the way through. Most of my songs are soul songs." So in Redding's eyes, neither he nor James Brown were R&B -- he was soul, which was a different thing from R&B, while Brown was rock and roll and pop, not soul, but journalists thought that Redding was rock. But while the lines between these things were far less distinct than they are today, and Redding was trying to cross over to the white audience, he knew what genre he was in, and celebrated that in a song he wrote with his friend Art
The Rich Zeoli Show- Hour 2: During Thursday's episode of The View, host Joy Behar suggested that, because East Palestine, Ohio voted overwhelmingly for Donald Trump in the 2020 presidential election, the community got what it deserved when a train derailed on February 3rd, 2023 and released toxic chemicals throughout the area. Even MSNBC's Mika Brzezinski has now called out Transportation Secretary Pete Buttigieg for waiting several weeks to visit East Palestine, Ohio following a train derailment that released toxic chemicals throughout the community. On Thursday afternoon, Sec. Buttigieg finally visited East Palestine. While visiting East Palestine, Ohio on Wednesday, former President Donald Trump stopped by a local McDonald's—treating firemen, police, first responders, and community members in attendance to lunch. While appearing at a CNN town hall with Norfolk Southern CEO Alan Shaw, lifelong East Palestine resident Jim Stewart heartbreakingly explained how the train derailment, and subsequent chemical spill, has taken his hometown and happy life away from him. Mary Louise Kelly and Jaclyn Jeffrey-Wilensky of NPR produced a report stating that it is “misinformation” to say whales washing-up on New Jersey beaches are the result of offshore wind development's usage of sonar. So, who do you believe—NPR or Greenpeace cofounder Dr. Patrick Moore?
The Rich Zeoli Show- Full Episode (02/23/2023): 3:05pm- According to a report from The Wall Street Journal, the United States will expand its troop presence in Taiwan—specifically to train Taiwanese forces with weapon systems to prevent Chinese invasion of the island. What is the Biden Doctrine? Chinese leader Xi Jinping is planning to meet with Russian leader Vladmir Putin in Moscow in the coming months—alarmingly, China is considering providing the Russian military with lethal military aid. Are we moving closer to direct conflict with China? 3:30pm- As the Biden Administration sends troops to Taiwan and continues to send military equipment and financial assistance to Ukraine, is the executive branch exceeding its constitutional authority? While appearing on Fox News, Senator Mike Lee implored European allies to “pony up” money to support Ukraine's defense against Russian predations, explaining that the United States shouldn't be forced to unilaterally foot the bill. 3:45pm- On Tuesday, the United States Supreme Court heard oral arguments for Gonzalez v. Google LLC. According to Jess Bravin of The Wall Street Journal writes, “Supreme Court justices reacted skeptically…to claims that YouTube parent Google LLC could be sued for algorithms that automatically recommended extremist recruiting videos” in a legal case that tests “the liability of internet providers for material posted online.” Does Section 230 of the Communications Decency Act shield social media companies from liability for “content uploaded to their platforms”? During arguments, Justice Clarence Thomas compared YouTube's platform to a telephone company—explaining: “If you call information and ask for al-Baghdadi's number and they give it to you, I don't see how that's aiding and abetting.” 4:00pm- During Thursday's episode of The View, host Joy Behar suggested that, because East Palestine, Ohio voted overwhelmingly for Donald Trump in the 2020 presidential election, the community got what it deserved when a train derailed on February 3rd, 2023 and released toxic chemicals throughout the area. 4:10pm- Even MSNBC's Mika Brzezinski has now called out Transportation Secretary Pete Buttigieg for waiting several weeks to visit East Palestine, Ohio following a train derailment that released toxic chemicals throughout the community. On Thursday afternoon, Sec. Buttigieg finally visited East Palestine. 4:20pm- While visiting East Palestine, Ohio on Wednesday, former President Donald Trump stopped by a local McDonald's—treating firemen, police, first responders, and community members in attendance to lunch. 4:30pm- While appearing at a CNN town hall with Norfolk Southern CEO Alan Shaw, lifelong East Palestine resident Jim Stewart heartbreakingly explained how the train derailment, and subsequent chemical spill, has taken his hometown and happy life away from him. 4:45pm- Mary Louise Kelly and Jaclyn Jeffrey-Wilensky of NPR produced a report stating that it is “misinformation” to say whales washing-up on New Jersey beaches are the result of offshore wind development's usage of sonar. So, who do you believe—NPR or Greenpeace co-founder Dr. Patrick Moore? 5:00pm- Vitor Milo— Postdoctoral Research Fellow with the Open Health Project at George Mason University's Mercatus Center—joins The Rich Zeoli Show to discuss his research study, “Indoor Vaccine Mandates in US Cities, Vaccination Behavior, and COVID-19 Outcomes” which concludes that there is no evidence indicating that citywide vaccine mandates did anything to stop the spread of COVID-19. You can read the research study at: https://www.mercatus.org/research/working-papers/indoor-vaccine-mandates-and-covid-19 5:25pm- Did NATO just post the worst tweet ever? 5:35pm- While speaking at Drake University in Des Moines, Iowa on Wednesday, Senator Tim Scott (R-SC) explained that “fentanyl isn't the only poison” harming America—warning that the victim mentality being pushed by politicians is also incredibly dangerous. 5:50pm- Vice President Kamala Harris is talking about Venn diagrams…again. How does she manage to weave Venn diagrams into every conversation she has?
Veteran business journalist James B. Stewart specializes in getting behind the scenes to tell the stories of rich, powerful, and complicated subjects. He has a doozy with “Unscripted”, the new book he co-wrote about the last days of media mogul Sumner Redstone, who at one point was one of the most powerful men in the industry, and whose decline fueled years of fighting between his family, his employees, and his mistresses. If you like tawdry tales of sex, avarice, and greed — or wanted to know some of the real-life backstories behind HBO's “Succession” — this is for you. Stewart also talks about other massive media stories he's covered, including Bob Iger's rise at Disney, and the AT&T/Time Warner shotgun marriage and divorce. Stewart also offers reporting tips and explains why his background as a lawyer helps him as a journalist. Featuring: James B. Stewart (@jamesstewartnyt), Columnist for New York Times and Author Host: Peter Kafka (@pkafka), Senior Editor at Recode More to explore: Subscribe for free to Recode Media, Peter Kafka, one of the media industry's most acclaimed reporters, talks to business titans, journalists, comedians, and more to get their take on today's media landscape. About Recode by Vox: Recode by Vox helps you understand how tech is changing the world — and changing us. Learn more about your ad choices. Visit podcastchoices.com/adchoices
The New York Times columnist Jim Stewart is out with a new book chronicling the manipulations and secret machinations of Sumner Redstone's final years and the battle for his media empire. “Unscripted,” co-authored by Rachel Abrams, follows the drama that built the Paramount-CBS-Viacom business–and it's a real life “Succession” story. Coca Cola reported a beat on earnings this quarter, and CEO James Quincey discusses his company's strategy for marketing, inflation, and premixed cocktails. CPI data reveals inflation for January rose 6.4% from a year ago, signaling a continuing–albeit slow–moderation in inflation's climb. Plus, the White House is shuffling its economic team, Tesla workers are launching a unionization plan in New York, and NBC is reportedly hoping to win back the NBA. Happy Valentine's Day! In this episode:James Stewart, @JamesStewartNYTBecky Quick, @BeckyQuickJoe Kernen, @JoeSquawkAndrew Ross Sorkin, @andrewrsorkinKatie Kramer, @Kramer_Katie
Ed explains It's a Wonderful Life to Brian who's never seen it, then they discuss:1, RIP Paul Silas 3x NBA champion (79)RIP Grant Wahl, famous american soccer reporter (48)2. Lonzo Ball wished his girlfriend a happy 25th birthday but told her not to worry because he "aint Leo" referring to DiCapriohttps://ftw.usatoday.com/2022/12/lonzo-ball-leo-dicaprio-dating-younger-women-ally-rossel3. Grinnell College attempts NCAA record 111 3-pointers in a 124-67 win over Emmaus Bible Collegehttps://sports.yahoo.com/grinnell-college-sets-another-wild-ncaa-record-after-attempting-111-3-pointers-in-win-191211243.html#:~:text=The%20Pioneers%20attempted%20an%20NCAA,field%20in%20the%20second%20half.4. Albanian long jumper accused of using false information to get a spot in the Olympicshttps://www.espn.com/olympics/story/_/id/35216535/long-jumper-accused-using-false-information-get-olympic-spot5. Ben Gordon has been detained and sent to a Harlem hospital after trying to stab random people with sewing needles.https://www.sportskeeda.com/basketball/ben-gordon-detained-sent-harlem-hospital-reportedly-trying-stab-random-people-sewing-needles6. Jon Heyman prematurely tweeted that Aaron Judge to the Giants was a done deal.https://www.sportingnews.com/us/mlb/news/jon-heyman-aaron-judge-giants-arson-report-twitter/xmmtt7lpox6a8lofzcazmnmuAND:1. RIP "Star Wars" ewok and actor who appeared on shows like Happy Days, Gary Friedkin (70, covid)RIP Schoolhouse Rock co-creator George Newall (88)RIP Rock and Roll Hall of Fame member Jim Stewart, founder of Stax records (92)2. Studios pushed for Johnny Depp to be put in the Tim Roth role in Pulp Fiction but Tarantino wouldn't do ithttps://variety.com/2022/film/news/quentin-tarantino-rejected-johnny-depp-casting-pulp-fiction-1235450443/3. Florida man busted for public sex with a goldendoodle in front of kids, wrecking a church nativity scene, and tryinig to steal a carhttps://www.dailymail.co.uk/news/article-11508969/Florida-man-sex-dog-kids-wrecks-churchs-nativity.html4. Emily Blunt says Tom Cruise told her to "stop being such a pussy" during filming. "He just stared at me for a long time."https://www.independent.co.uk/arts-entertainment/films/news/emily-blunt-tom-cruise-edge-of-tomorrow-b2243358.html5. Keanu Reeves thought Matthew Perry questioning why he was still alive when other actors are dead came out of left field.https://news.yahoo.com/keanu-reeves-thought-matthew-perry-131359888.html#:~:text=Matthew%20Perry%20has%20apologized%20for,out%20of%20%22left%20field.%226. Apple exec who was fired after being caught on video joking about fondling "big-breasted women" says he stayed up all night trying to get the TikTok down before it went viralhttps://finance.yahoo.com/news/apple-exec-fired-being-caught-161613759.html7. Former Fox News regular arrested for kidnapping and extorting her mom for $224,000https://www.salon.com/2022/12/10/former-fox-news-regular-arrested-for-kidnapping-her-mother_partner/8. The New York Times accidentally ran a George & Tammy ad full of fake review quoteshttps://www.avclub.com/new-york-times-fake-george-and-tammy-ad-1849880184Support this podcast at — https://redcircle.com/the-baller-lifestyle-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
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